#Buddhist Cremation

[asianfuneralservices]

Everything You Should Know About the Professional Hindu Funeral Service London

Death is the ultimate truth, and no one can escape its claws. However, families have to perform funeral rituals when someone dies in their family. Though this is the most painful moment, as relatives, it is our duty to maintain such piousness. With a professional Hindu funeral service in London, the task becomes easier. Here is all about the Hindu funeral service.

Hindu Death Rituals

Hinduism believes in reincarnation. It means that once the death happens, the sound of the person leaves the body and never returns to it; however, it travels to another body, which is known as the birth of a baby. This is the reason the dead body gets burned at the crematorium. Since the process is complex and there are certain rituals that have to be followed in different beliefs, it is important to know the exact death rituals in Hinduism.

Washing- The ritual starts by washing the body with several ingredients like milk, honey, yogurt, and ghee.

Applying Essential Oils-  Applying essential oils is another part of the ritual. Sandalwood mainly applied for men and turmeric for women.

Dressing- No dead body left naked till it is on the fire. A simple white cloth sheet is worn to the person who has died. There are some stylish and pricy clothes are also used to perform this ritual.

Flowers and Rice- In some funeral process, the attendees are allowed to place a garland of flowers and rice balls around the loved once. Several leaves like basil also used to adorn the body.

Lighting Lamp- Lamp is important to place near the head as it signifies the purity and assists the safe journey of the soul.

Sprinkling Water- Sprinkling water on the body is a symbol of cleansing the dead body, and it is part of the ritual.

Conducting Hindu Cremation Process

According to the scriptures, the cremation should be done as soon as possible. It is ideal to take place within the first day. Meanwhile, friends and family come to the home to offer their last respects, and then the cremation process starts.

While carrying the body to the crematorium, it is important to bring the body from the side of the feet. Priests and mourners recite hymns that are believed to make the path of liberation easier for the deceased person.

Hindu funeral is complex and there are a number of rituals to follow. Asian Funeral Services offers professional Hindu funeral service London that can mitigate the hassle of funeral of your loved one. Avail of this service to simplify the process!

Resource: https://asianfuneral.wordpress.com/2024/06/22/everything-you-should-know-about-the-professional-hindu-funeral-service-london/

[raffaellopalandri]

Intro to Buddhist rites for death

Daily writing promptDescribe a family member.View all responses Buddhist rites for death vary significantly across cultures, regions, and Buddhist traditions. Still, they share common themes and teachings rooted in the Buddha’s understanding of अनित्य – Anitya (impermanence), दुःख – Duhkha (suffering), and निर्वाण – Nirvana (cessation of suffering). Photo by Pixabay on Pexels.com The death…

[thxnks4themrms]

Dude if you don’t like cremation or it goes against your religious beliefs I don’t care just don’t shame people for doing it tf

[megyulmi]

Why Yuuji’s domain is a manifestation of his desire to save Megumi:

The hand symbol he used to open his domain is similar to the Mudra associated with Bodhisattva Kṣitigarbha, who is known as Bodhisattva Jizō (地蔵) in Japanese Buddhism.

In the common Japanese tradition, Bodhisattva Jizō is portrayed as the protector of the souls of children, who are condemned to stack piles of stones vainly on the banks of the Sanzu River (a mythological river in Japanese Buddhist tradition that one must cross to reach the afterlife), as these towers are repeatedly toppled. The legend has various versions. In one of the versions, the oni (demons) wreck the stone piles and torment the children, and the children seek haven with Bodhisattva Jizō who hides them inside his garment and comforts them. In another version, when the children pile stones at the 'Children’s Riverbed Hell', winds and flames are the agents knocking down the stone tower, and the flames reduce the children into cremated bones, to be revived back to whole by Bodhisattva Jizō.

It would not be an exaggeration to draw a comparison between the legend and the dynamic between Yuuji, Megumi and Sukuna: Megumi is one of those children at the riverbank, subjected to endless torment; Sukuna is the demon, the source of his torment; and Yuuji is the Bodhisattva, who has vowed to free those children from their torment, even at the cost of his own liberation (i.e. achieving Buddhahood).

We know that Domain Expansion is achieved by expanding one’s innate domain with cursed energy while using a barrier to construct it inside a separate space and that innate domain reflects one’s mind and soul. Saving Megumi has been Yuuji’s sole driving force, therefore it would not be an exaggeration either to assume that how he manifested his domain (i.e. the hand symbol for expanding it) is a reflection of his desire to save Megumi.

[cctinsleybaxter]

Thinking about my Buddhist coworker saying that when she told her Catholic husband she wants to be cremated instead of buried he said 'but how will I find you 🥺' and she said 'idk'

[littlestpersimmon]

My friend asked me to draw them on their wedding day (bc I drew Chintan and Jamil).

Some oc ranting for my own comfort.. Their names are Lihay and Panganoron. In my wip, there is a dominion called Sasaban.. and its in danger of occupation by its neighbor (called Janalila, which is a rajahnate and extremely powerful.). Sasaban's population is mostly coded Muslim.. and it is a sultanate- Panganoron is the heir, their crown prince under a regent, and he is mostly shunned by his people. Mainly because he follows a different religion from his state religion (like imagine if the sultan of Brunei's son was a Buddhist.) . And Panganoron is seen as "weak".. he is very gentle, soft-spoken, academia inclined rather than cunning and war-like as the rest of his predecessors. (His father followed the state religion, his mother was indigenous). Panganoron is keen on proving himself worthy of being sultan, but he had a tendency of being distracted by socioeconomics rather than warding off forces and marching off into the battlefronts- Panganoron built soup kitchens and schools rather than amassing armies, and he is staunchly anti war and anti caste systems- but because of the looming occupation, Panganoron has no real power or resources to challenge the harmful pre-existing hierarchies in Sasaban. Anyways. Panganoron was offered a way out of war with the neighboring country of Janalila, if he married a princess from a different dominion- a theocracy called Kalantiaw, the oldest and the most noble dominion in their world; The princess' name was Maitreyi. If he married her, not even Janalila would dare make enemies of Sasaban and Kalantiaw both.

Panganoron was game, but since all the borders and ports were tightly guarded, Panganoron would have to make his way to Kalantiaw in disguise, with a skeleton crew, and through old , forgotten passageways, and roads that are called "witherways", magical, and only existing within certain, precisely calculated timeframes, of which only certain groups of indigenous people could do.

Lihay is. Well. He is an "uripon"- the lowest of the low in their social classes- indentured to servitude for the rest of his life, very sick from working in the mines.. in my world building, primordial dragons were so large, their hollowed out bones were mined for thousands and thousands of years for coal that burned for decades, so hot it could cremate a cadaver in minutes- working in such mines was very dangerous- guaranteed anyone who spent more than a couple of hours in it would suffer a tamer version of radiation poisoning- but many miners become disfigured, with their skin melting and rotting. Sasaban deals with this by only making lepers and the lowliest uripon mine- Lihay had lived all his life in the dragon-mines, but he was also indigenous- and he knew his way around the witherways.. so.

Lihay is very shy. He is trans, autistic and mute, and he has an enormous crush on Panganoron; Lihay agrees to be their guide, in exchange for his freedom from the mines, freedom from being an uripon, to a maharlika (freeman, I borrowed it from tagalog for my worldbuilding. In the real world, Timawa would be more appropriate)..

Either way. Lihay and Panganoron, traveling together with Panganoron's small entourage, fall in love, which is Very Bad for Panganoron, when the fate of his kingdom rely on him marrying Maitreyi of Kalantiaw- and Very Very Bad when the person he falls in love with is someone like Lihay.

Btw, Panganoron's name means "the clouds that gather at the mountaintop" in Tagalog. (And Bicol), while Lihay's name (Dalihayang) is from a made up language, and it means "twenty four.). But later, Panganoron gives him the name "Hininwon", which means "cherished one" ! ! :')

Ps ps.

Panganoron's eyes are supposed to look like wayang kulit akdksk

[frostfires-blog]

Traditional Symbolism in Jujutsu Kaisen Opening 4 - Specialz

[⚠️Warning: Possible small spoilers⚠️]

Hata-jirushi (旗印)

The white banners seen in the background of this scene are most likely Hata-jirushi (旗印). Hata-jirushi were the most commonly used war banners on medieval Japanese battlefields. The kanji used here “旗印” literally translates to “symbol flag”, “marker banner”, etc.… These war banners were generally simple streamers attached by a horizontal cross-piece to a shaft, unlike the later used nobori (幟) which were stiffened. Later, some hata-jirushi were hemmed on their sides and tops to better attach them to their poles in such a way that they were visible from the front. The purpose of these banners was to help identify and distinguish different army sections and regiments.  The use of them in this scene helps to set the tone of this arc which is essentially the start of a war between jujutsu sorcerers and cursed spirits.

Torii (鳥居)

In this panel, several characters are seen passing through a torii (鳥居). A torii is a traditional Japanese gate mostly found at the entrance of and within Shinto shrines. Torii gates are where kami are thought to travel through and are welcomed to the shrine. It is customary to walk to the side of a torii gate when passing through instead of walking down the center—as it is believed that only kami may pass through the center. The word torii derives from the term “tōri-iru” (通り入る) which roughly translates to “pass through and enter”. These structures mark the transition between the mundane, secular world and the sacred grounds of the shrine. Thus, passing through a torii gate can be thought of as “crossing into another dimension or entering into spiritual communion with nature”. Torii gates act as both a physical barrier and spiritual guardian separating the profane from the sacred within its boundaries. Therefore, it is believed that those who pass through one, are cleansed of their worldly worries and enter a realm of tranquillity and peace. Aside from their religious significance, torii gates hold other more abstract meanings such as providing good fortune, hope, purity, and protection from evil spirits. In this panel, as the characters pass underneath the torii it signifies their crossing from the physical to the spiritual world—which could refer to them traveling down the path to enlightenment or death. Since torii are also believed to provide good fortune and protection from evil spirits, the characters passing under one could be a sort of send-off ritual before the battle to ensure their safety.

Ōnusa (大幣)

In addition to more hata-jirushi, we can see an ōnusa (大幣)—also known as a nusa (幣) or a Taima (大幣)—a wooden wand used in traditional Shinto purification rituals in this panel. Ōnusa are embellished with shide (paper streamers). The wand is also referred to as a  (祓串) when the shide are connected to a hexagonal or octagonal staff. It is believed that impurities are transferred from the person or thing to be purified to the ōnusa by waving the ōnusa left, right, then left again. The usage of them in this scene adds to the traditional imagery and the idea that something significant is about to happen that will require the characters to purify their minds and steel their resolve.

Nokotsudo (納骨堂)

In this scene, Itadori is seen standing in front of a nokotsudo (納骨堂) which is a Japanese ossuary. A nokotsudo is known as a “nokotsuden” or “reido” and is a building in which the remains of cremation are kept. Nokotsudo are generally built in the precincts of temples and are equipped with lockers to keep the remains and are occasionally equipped with Buddhist altars above these lockers to place Buddhist mortuary tablets. This scene portrays Itadori breaking down in front of a nokotsudo. This could either refer to him facing the ashes of the people Sukuna killed using his body—or perhaps more improbably the scene depicts him being confronted with the fact that his grandfather's wish has inadvertently led him down this troubled path.

Joss paper (金紙)

The rounded pieces of paper falling from the sky in this scene are likely pieces of joss paper (金紙). These are typically sheets of paper or papercrafts which are used as burnt offerings in ancestral worship as well as the veneration of deceased relatives on special holidays in Asia. Joss paper is typically printed with various representations of worldly goods such as money, houses, cars, credit cards, etc.… Joss paper is burnt at Asian funerals “to ensure that the deceased’s spirit has sufficient means in the afterlife”. In wuxia and xianxia C-dramas, joss paper is often seen falling from the scene during scenes in which the reanimated and ghostly beings invade the world of the living—which is somewhat similar to the setting in this scene with Megumi meeting his reanimated father. Additionally, it was partly Toji's pursuit of money that led to his death, taking him away from his son, so it is somewhat ironic to have joss paper raining down on him.

[P.S. A few people have been analysing this opening on other platforms, but I wanted to touch on some of the more obscure cultural nuances... I am not Japanese, so this is based off of my own research, so I apologise if I miss anything or get anything wrong. Feel free to make corrections or additions in the comments and reblogs respectively.]

[journeytothewestresearch]

Hello! I was watching the Beijing Opera's Havoc in Heaven, and while I was admiring the beautiful stage makeup, I noticed that very distinct symbol on the Monkey King's forehead that looks like a swirly sunburst.

I was wondering if that symbol has any particular meaning, or if it's simply an aesthetic symbol that has come to be associated with the Monkey King through his opera makeup? I thought it might be neat to integrate it into my own design for Sun Wukong, but I'd rather not do so with a symbol I don't know the meaning and context of. I figured you'd be the best person to ask!

Chinese opera makeup is a big blind spot in my knowledge, so please take the following info as more of a suggestion than a fact.

A cursory search shows that some online sources refer to the flaming orb as a Fozhu (佛珠, "Buddha Jewel") and Shelizi (舍利子) or Sheli zhu (舍利珠, "Śarīra"). I'm assuming that Fozhu is a variation of the latter two.

These pearl-like beads figure among the bodily relics left over from the historical Buddha’s cremation (fig. 1). Strong (2004) explains:

[They are the result] of a process of metamorphosis brought on not only by the fire of cremation but also by the perfections of the saint (in this case the Buddha) whose body they represent (p. 12).

I also imagine that there is a connection to the Ruyi baozhu (Ch: 如意寶珠, “as-you-will treasure jewel”; Sk: Cintāmaṇi, “wish-fulfilling jewel”). Also known as “Dragon jewels” (longzhu, 龍珠), these luminous orbs are commonly held by Bodhisattvas in Buddhist art (fig. 2), thereby signifying their ability to grant any wish that a believer desires (Buswell & Lopez, 2014, p. 193).

It wouldn't surprise me if Wukong was depicted with a holy, wish-granting treasure due to his great power and association with Buddhism.

Sources:

Buswell, R. E., & Lopez, D. S. (2014). The Princeton Dictionary of Buddhism. Princeton, NJ: Princeton University Press.

Strong, J. S. (2004). Relics of the Buddha. Princeton, NJ: Princeton University Press

[asianfuneralservices]

Discover compassionate Indian funeral directors near me, offering understanding and support during challenging times. We are committed to honoring cultural traditions and delivering personalized services that reflect the unique customs of the Indian community. Contact us today! For more information, you can call us at 020 8909 3737 or 07737 051232.

[colourme-feral]

At the wake for Gaipa’s mum, Alan goes to pay his respect and hands Gaipa some condolence money, or ภาษีสังคม (pahsee sangkom), which refers to money given to people at weddings, funeral and religious occasions.

A small amount is placed inside the envelope, which is passed to a member of the deceased’s family.

After returning from the wake, Jim and Li Ming pour some water on themselves. This seems to be related to the idea of using water, which is seen as cleansing, to rid oneself of bad luck, after attending a Buddhist wake or funeral.

Jim and Gaipa watch the smoke rise from the chimney, as Gaipa’s mum’s body is cremated, which is favoured by Buddhists, who believe that the soul of the deceased is released and can be reincarnated through cremation.

Source: http://www.speakrealthai.com/giving.html

Source: https://www.nirvanafugui.com/buddhist-funeral-etiquette/

Source: https://factsanddetails.com/southeast-asia/Thailand/sub5_8b/entry-3217.html

[namtanlovesfilm]

I’ve been trying to look up information on Thai Buddhist funerals but all the English websites are vague or have little information. Do you have any information or websites you could recommend?

so obviously I'm not the authority on those, but I remember doing research on it back in the day + thai dramas are surprisingly realistic at portraying their culture, and even their funerals. funerals usually take either 3, 5 or 7 days. it has to be an odd day due to buddhist beliefs. there's is a water bathing ritual after death, and the body is then dressed and placed in a coffin in a temple where monks & the deceased loved ones will visit the deceased for the number of days they've chosen before the cremation. buddhist chants are of course involved, and the loved ones also pass cloth to the monks on behalf of the dead. usually a family gets a whole room for their loved one and stay with them and at least one person stays with them the whole day, greeting guests and taking care of them. finally, the body is cremated. all temples have a crematorium. some people can also actually wait 100 days after the death to cremate the deceased one (as can be seen in the lakorn chuamong tong mon.) the ashes are usually either stored in funeral chedis, which are small pointy towers present in all thai temples, or they can be stored in line around the temple if it has extra walls around it, where people will come to pray for their loved one. special merit-making also happens 7, 50 & 100 days after the person passed away. hope that helped!

xxx

[mahayanapilgrim]

Can a mound of dirt represent the Buddha, the path to Enlightenment, a mountain and the universe all at the same time? It can if it is a stupa. The stupa (“stupa” is Sanskrit for heap) is an important form of Buddhist architecture, though it predates Buddhism. It is generally considered to be a sepulchral monument—a place of burial or a receptacle for religious objects. At its simplest, a stupa is a dirt burial mound faced with stone. In Buddhism, the earliest stupas contained portions of the Buddha’s ashes, and as a result, the stupa began to be associated with the body of the Buddha. Adding the Buddha’s ashes to the mound of dirt activated it with the energy of the Buddha himself.

Early stupas

Before Buddhism, great teachers were buried in mounds. Some were cremated, but sometimes they were buried in a seated, meditative position. The mound of earth covered them up. Thus, the domed shape of the stupa came to represent a person seated in meditation much as the Buddha was when he achieved Enlightenment and knowledge of the Four Noble Truths. The base of the stupa represents his crossed legs as he sat in a meditative pose (called padmasana or the lotus position). The middle portion is the Buddha’s body and the top of the mound, where a pole rises from the apex surrounded by a small fence, represents his head. Before images of the human Buddha were created, reliefs often depicted practitioners demonstrating devotion to a stupa.

The ashes of the Buddha were buried in stupas built at locations associated with important events in the Buddha’s life including Lumbini (where he was born), Bodh Gaya (where he achieved Enlightenment), Deer Park at Sarnath (where he preached his first sermon sharing the Four Noble Truths (also called the dharma or the law), and Kushingara (where he died). The choice of these sites and others were based on both real and legendary events.

“Calm and glad"

According to legend, King Ashoka, who was the first king to embrace Buddhism (he ruled over most of the Indian subcontinent from c. 269 - 232 B.C.E.), created 84,000 stupas and divided the Buddha’s ashes among them all. While this is an exaggeration (and the stupas were built by Ashoka some 250 years after the Buddha’s death), it is clear that Ashoka was responsible for building many stupas all over northern India and the other territories under the Mauryan Dynasty in areas now known as Nepal, Pakistan, Bangladesh, and Afghanistan.

One of Ashoka's goals was to provide new converts with the tools to help with their new faith. In this, Ashoka was following the directions of the Buddha who, prior to his death (parinirvana), directed that stupas should be erected in places other than those associated with key moments of his life so that “the hearts of many shall be made calm and glad.” Ashoka also built stupas in regions where the people might have difficulty reaching the stupas that contained the Buddha’s ashes.

One of the most famous stupas, The Great Stupa (Mahastupa) was built at the birthplace of Ashoka’s wife, Devi, daughter of a local merchant in the village of Sanchi located on an important trade route in the state of Madya Pradesh, India

Karmic benefits

The practice of building stupas spread with the Buddhist doctrine to Nepal and Tibet, Bhutan, Thailand, Burma, China and even the United States where large Buddhist communities are centered. While stupas have changed in form over the years, their function remains essentially unchanged. Stupas remind the Buddhist practitioner of the Buddha and his teachings almost 2,500 years after his death.

For Buddhists, building stupas also has karmic benefits. Karma, a key component in both Hinduism and Buddhism, is the energy generated by a person’s actions and the ethical consequences of those actions. Karma affects a person’s next existence or re-birth. For example, in the Avadana Sutra ten merits of building a stupa are outlined. One states that if a practitioner builds a stupa he or she will not be reborn in a remote location and will not suffer from extreme poverty. As a result, a vast number of stupas dot the countryside in Tibet (where they are called chorten) and in Burma (chedi).

The journey to enlightenment

Buddhists visit stupas to perform rituals that help them to achieve one of the most important goals of Buddhism: to understand the Buddha’s teachings, known as the Four Noble Truths (also known as the dharma and the law) so when they die they cease to be caught up in samsara, the endless cycle of birth and death.

The Four Noble Truths:

1. life is suffering (suffering=rebirth)

2. the cause of suffering is desire

3. the cause of desire must be overcome

4. when desire is overcome, there is no more suffering (suffering=rebirth)

Once individuals come to fully understand The Four Noble Truths, they are able to achieve Enlightenment, or the complete knowledge of the dharma. In fact, Buddha means “the Enlightened One” and it is the knowledge that the Buddha gained on his way to achieving Enlightenment that Buddhist practitioners seek on their own journey toward Enlightenment.

The circle or wheel

One of the early sutras (a collection of sayings attributed to the Buddha forming a religious text) records that the Buddha gave specific directions regarding the appropriate method of honoring his remains (the Maha-parinibbāna sutra): his ashes were to be buried in a stupa at the crossing of the mythical four great roads (the four directions of space), the unmoving hub of the wheel, the place of Enlightenment.

If one thinks of the stupa as a circle or wheel, the unmoving center symbolizes Enlightenment. Likewise, the practitioner achieves stillness and peace when the Buddhist dharma is fully understood. Many stupas are placed on a square base, and the four sides represent the four directions, north, south, east and west. Each side often has a gate in the center, which allows the practitioner to enter from any side. The gates are called torana. Each gate also represents the four great life events of the Buddha: East (Buddha’s birth), South (Enlightenment), West (First Sermon where he preached his teachings or dharma), and North (Nirvana). The gates are turned at right angles to the axis mundi to indicate movement in the manner of the arms of a svastika, a directional symbol that, in Sanskrit, means “to be good” (“su” means good or auspicious and “asti” means to be). The torana are directional gates guiding the practitioner in the correct direction on the correct path to Enlightenment, the understanding of the Four Noble Truths.

A microcosm of the universe

At the top of stupa is a yasti, or spire, which symbolizes the axis mundi (a line through the earth’s center around which the universe is thought to revolve). The yasti is surrounded by a harmika, a gate or fence, and is topped by chattras (umbrella-like objects symbolizing royalty and protection).

The stupa makes visible something that is so large as to be unimaginable. The axis symbolizes the center of the cosmos partitioning the world into six directions: north, south, east, west, the nadir and the zenith. This central axis, the axis mundi, is echoed in the same axis that bisects the human body. In this manner, the human body also functions as a microcosm of the universe. The spinal column is the axis that bisects Mt. Meru (the sacred mountain at the center of the Buddhist world) and around which the world pivots. The aim of the practitioner is to climb the mountain of one’s own mind, ascending stage by stage through the planes of increasing levels of Enlightenment.

Circumambulation

The practitioner does not enter the stupa, it is a solid object. Instead, the practitioner circumambulates (walks around) it as a meditational practice focusing on the Buddha’s teachings. This movement suggests the endless cycle of rebirth (samsara) and the spokes of the Eightfold Path (eight guidelines that assist the practitioner) that leads to knowledge of the Four Noble Truths and into the center of the unmoving hub of the wheel, Enlightenment. This walking meditation at a stupa enables the practitioner to visualize Enlightenment as the movement from the perimeter of the stupa to the unmoving hub at the center marked by the yasti.

The practitioner can walk to circumambulate the stupa or move around it through a series of prostrations (a movement that brings the practitioner’s body down low to the ground in a position of submission). An energetic and circular movement around the stupa raises the body’s temperature. Practitioners do this to mimic the heat of the fire that cremated the Buddha's body, a process that burned away the bonds of self-hood and attachment to the mundane or ordinary world. Attachments to the earthly realm are considered obstacles in the path toward Enlightenment. Circumambulation is not veneration for the relics themselves—a distinction sometime lost on novice practitioners. The Buddha did not want to be revered as a god, but wanted his ashes in the stupas to serve as a reminder of the Four Noble Truths.

Votive Offerings

Votive Stupa, Bodhgaya, 8th century, stone, 78 x 44 x 35 cm (Ashmolean Museum, Oxford)

Small stupas can function as votive offerings (objects that serve as the focal point for acts of devotion). In order to gain merit, to improve one’s karma, individuals could sponsor the casting of a votive stupa. Indian and Tibetan stupas typically have inscriptions that state that the stupa was made “so that all beings may attain Enlightenment.” Votive stupas can be consecrated and used in home altars or utilized in monastic shrines. Since they are small, they can be easily transported; votive stupas, along with small statues of the Buddha and other Buddhist deities, were carried across Nepal, over the Himalayas and into Tibet, helping to spread Buddhist doctrine. Votive stupas are often carved from stone or caste in bronze. The bronze stupas can also serve as a reliquary and ashes of important teachers can be encased inside.

This stupa clearly shows the link between the form of the stupa and the body of the Buddha. The Buddha is represented at his moment of Enlightenment, when he received the knowledge of the Four Noble Truths (the dharma or law). He is making the earth touching gesture (bhumisparsamudra) and is seated in padmasan, the lotus position. He is seated in a gateway signifying a sacred space that recalls the gates on each side of monumental stupas.

Essay by Dr. Karen Shelby

[thichnhathanhgems]

Over ten years ago, one of my disciples in Vietnam had a stupa - a Buddhist shrine - built for my ashes. I told her that I didn’t need a stupa for my ashes. I don’t want to be stuck in a stupa. I want to be everywhere.

“But," she protested, “it’s already built!"

“In that case," I said, “you’ll have to put an inscription on the front, saying, ‘I am not in here.’" It’s true. I won’t be there in the stupa. Even if my body is cremated and the ashes are put in there, they aren’t me. I won’t be in there. Why would I want to be in there when outside it is so beautiful?

But in case some people misunderstand, I told her they might need to add another inscription, saying, “I am not out there either." People won’t find me inside or outside the stupa. Yet they may still misunderstand. So there may need to be a third inscription that reads, “If I am to be found anywhere, it is in your peaceful way of breathing and walking." That is my continuation. Even though we may never have met in person, if, when you breathe in, you find peace in your breathing, I am there with you.

- Thich Nhat Hanh, in “The Art of Living".

[recentadultburnout]

Hello and first of all, thank you so much for all the informations about Thai customs and so, so much more!

Saw your requests where open so I thought I might ask about a topic as well.

I'm currently writing and welp, it didn't went well for a character so I wanted to ask about Thai graveyards and burial rites. (Like, is it a thing to have a family grave or not and so)

I found some information already about mourning but yeah... might need to add some more about it (god, I really hope i do not sound disrespectful!)

If you're able to help, it would be amazing! Hope you have a good day!

😊👍

I would say that I will make a chapter about it soon, but consider that my lastest attempt at a new chapter has been a WIP for 5 months now, and I have no hope of it seeing sunlight anytime soon. Also,  since there are quite a few different customs that can be done for the deceased depending on their religion, beliefs, or personal wishes, and each has so many details, I really don't know where to begin. So yeah, I'm unlikely to write anything unprompted. If there is a specific question, I will try to answer it tho.

Ok, let's focus on the question at hand: where do the dead's remains go? 

For the Thai Buddhist, the body will get cremated, and after the cremation, there is a choice to keep or not keep the cremated bone. 

If the deceased's family chooses not to keep any part of the remains, then they could float all of them out into a large body of water, such as a big river or ocean. 

If they choose to keep part of it, they could do the same with only part of the remaining ashes and keep the rest.

Keep all of it is, of course, also a choice.

Where? There are a few choices. They may keep it at their own house or keep it at the temple. There are a few different ways to go about that. Or a relatively new choice that, as of today, I'm pretty sure we still have only one provider in Thailand, a private company-provided place that comes with cleaning services and maybe a few other things.

As for other customs, the major ones in Thailand are Christian, Muslim, and Chinese's customs. In my understanding, all three will have a burial, and so they all have a grave.

Some examples⤵️

At 38.34, you will see Charn and Tinn visiting Charn's mom, who was placed at the private company-provided place.

At 44.36, you will see Tanthai place his father's cremated bone on the table inside the same room with Buddha images. 

At 16.52, you will see Mhok visiting his late family members, who were placed inside a temple wall.

โกศ container for cremated bone.

ผอบ other type of container that is also used for cremated bone.

ลุ้งลอยอังคาร a type of container specified for floating out the cremated bone into water. Some use materials that will dissolve after coming into contact with water.

From Pantip

เจดีย์(chedi) for cremated bone. One Chedi may contain several late family members inside. It is usually located inside a temple area.

[grislyintentions]

|| HC- Exuvia (Zhongli) ||

As established in game, the staged death of Rex Lapis includes the shedding of an Exuvia (which is basically an outer skin etc). This process is sort of similar to reptiles like snakes, who have often been joked about as 'dragons with no legs'. Given that most people are unfamiliar with the physiology of adepti and archons, it's natural that they would be fooled into thinking he really perished tm.

So then comes the problem of laying the 'body' to rest:

1: Depending on your beliefs, funeral rites are conducted differently. Eg: Buddhist funerals are different from Taoist funerals, so on so forth. As Liyue is a nation comprised of multiple inspirations for regions (Ga ming's food and cultural designs skew towards Cantonese), it is safe to assume that every region would have their own rites they want to perform in order to honour the archon.

Even the Liyue Qixing has no moral right to arbitrarily make any decisions without causing offense.

2: Preserving history and the archon's legacy is crucial in order to pass down such traditions/values/knowledge to future generations

Having a physical representation would leave little to imagination and allow others to reconnect with legends of old. To pay their respects in a personal way, much as one makes offerings/worship/prayer to statues in temples etc. After all, they view him as what we view deities/gods/goddesses and not a 'person'.

TLDR:

The best compromise to this would be for the Liyue Qixing to contract the Wangsheng Funeral Parlour in performing funeral rites within the harbour, whereby the Exuvia is cremated AFTER a cast/replica of it can be made.

This will then be displayed upon holy grounds and eventually be 'received home' in a place openly accessible to the public so that they can continue to pay homage to the 'ascended spirit' of Rex Lapis.

The ashes of the actual body will then be divided and split into sealed cremation urns for transport across other regions of Liyue so that others can have a chance to mourn for Rex Lapis and honour him with their own rites.

Of course there is no best solution. There are bound to be people who protest against cremation etc but it is a solution that would be beneficial to the majority- which is what the Liyue Qixing strives to accomplish, and why their jobs will forever be hard yet necessary in situations like this and others too.

[bcxsanson]

A Halloween thread — Part 1/12

—Probably rate e for horror and thriller elements—

It is supposed to be the season of change, of art. But this year's Shūbun is a chilly dreary affair, quite atypical for the time of year. The autumn equinox stars have just passed the firmament, skipping the milder weather all together. The seasonal changes are already underway and the leaves have started to turn. Luscious vibrant greens make way for shades of gold and red as the temperatures drop and the days grow shorter. It is an all too familiar sight to Katsuki who walks his usual rounds over the cemetery grounds. Briskly he strides past graves of Christians and Buddhists alike, eyes wandering the space impassively.

Of course nothing ever happens around here, he is good at his job. He has been doing it for decades at this point and takes pride in his work as a Kirk Grim.

It has been long since believed that if one buries a dog on newly consecrated ground, its spirit would guard the premises. When the westerners came across the sea, wishing to trade for teas and silks, so too did they bring their new religion of the singular almighty god that offered absolution. Missionaries were quick to erect churches and share their beliefs despite the shogun's disapproval. Although initially intriguing, the fad died quickly due to the prosecution and now, even though there are officially no more Christians or gaijins and missionaries to be found on the land of the rising sun, he still remains as proof, guarding those who had not been cremated as per Buddhist or Shinto beliefs, but rather buried according to the wishes of the Father, the Son and the Holy Spirit.

For many years nothing much changes on his dutiful watch. Once or twice a grave robber tries his luck, but they are quickly chased away when he shifts his form into that of a big golden fur wolf and snaps at their ankles, but that had been the height of excitement. Rumours quickly spread of a ‘wild dog’ on the ground and thieves had veered clear of the space since. The only visitors are those of the people still secretly practising the hidden religion in the dead of night, praying to the deceased and the lord under the cover of the moonless night. When they come, he takes the form of a tall man, with spiky blond hair similar to those who have bound him to this place. Upon saying the deceased’s name, he guides them across the plot to their loved ones so they may speak in private. When they are done, he guides them safely back to the living, offering safe passage so as to not be spirited away.

Tonight is supposed to be a night like any other. The orange harvest moon rises high and shines brightly, illuminating the low hanging mist swirling over the ground, which is stirred by the faintest wind from the sudden shift in temperature. That is when his ruby eyes spy her in the latest hour, at the peak of the moon’s bearing across the zenith. Silently she stands just beyond his realm, beyond his church’s consecrated ground.

A girl, as pale as the full moon itself with round cheeks.

He watches her.

It has been years since there has been a new arrival, even more since someone has been buried on his turf.

The new arrival herself is still. The wind, however, makes sure she grabs his attention. Chestnut brown hair billows with the cold wind and whips around her face. Her torn white dress, stained with blood and dirt, hangs loosely on her small frame as she simply stands there, gazing at the cemetery, while wordless tears tumble over her cheeks.

“Oi!” Katsuki calls out, but she does not move.

“Oi!”, he shouts again, and this time she slowly turns to him. The white fabric is torn at the front and reveals several stab wounds to her chest. The gashes run deep and messily overlap. As his eyes wander over her, he finds her neck is bruised with large dark blue hand marks.

Katsuki swallows against the lump in his throat.

It has been a long time since someone arrived unscheduled and in such a manner - dying a death so obviously violently.

The consecrated ground he watches is rich and sanctified despite the dead resting beneath the surface and the missionaries no longer tending to them. Doused with holy water and purified with psalms spoken to guide and help restless souls, they are a beacon to the lost. Those not buried here, wandering and lost spirits, often make their way here to try and find peace and safe passage.

To where, he does not know. The great beyond? The next life? Salvation?

Perhaps she is one of them. Searching for something he can never attain, eternally bound to this place. He should assist her before she turns, before she becomes a ghoul and haunts the living, and torments the innocent, but it does not fall within his responsibilities. He is to guard the ones within his realm, not beyond. Still, he can’t help but think she looks familiar.

“You can’t be here!”, he calls out.

From the distance he sees her open her mouth but not a single word falls from her lips despite them moving. Her pale hands race to her throat, as her eyes grow wider.

Sufficiently intrigued, Katsuki jumps down from his perch and steps closer. Slowly he approaches the fence - the border of his abandoned forgotten domain, the ever eternal yokai and that of the fleeting living mortals.

“If you’re not buried here, you cannot enter.”, he explains with his hands in his pockets and a shrug. “I don’t make the rules.”

He does not know if it is a spell or something else, but no spirit of the dead can enter the holy ground he guards. For all he knows it is a charm the gaijin have etched into the wood that he is unaware of or the fancy iron fence marking the fringe of his responsibilities.

Lifting her hand, she points to the far side of the graveyard, towards the mound with the withered sakura standing and he frowns.

“Either you talk or you fuck off, I can’t read minds.”, he mutters.

The night is long and he has duties to fulfil. He does not feel like spending the night trying to explain to a ghost that she cannot enter. Her lips tremble and the tears spill, shimmering like sweet water pearls in the moonlight as they trickle down ghastly pale, round cheeks. As she tears her mouth open, a piercing wail fills the air.

He flinches.

The howling screech accompanies the wind and simultaneously sends the crows to the heavens in an uproar and him to his knees. His hands shoot up to cover his ears, he slams his eyes shut and curls in on himself as much as possible to save himself from the cacophonous onslaught.

Inexplicably, and all too suddenly, the gust of wind lets up and the piercing sound disappears as instantaneously as it began. Looking up he blinks, the girl is gone, as is the moon which is now hiding behind the thick dark clouds.

Where she stood remains a bloody pair of footprints and is all the proof he has of her visit, though they do not last long. The first drop of rainfall douses the land in a chilly embrace, muddying and erasing all trace of her ever having stood there.