#Buddhist-Hindu integration

[townpostin]

Buddhist Golden Temple Replica to Grace Durga Puja Celebration

Praveen Seva Samiti Plans Unique Myanmar-Inspired Pandal in Adityapur Innovative design aims to blend Buddhist architecture with traditional Durga Puja festivities, promising a cultural spectacle for devotees. JAMSHEDPUR – The Praveen Seva Samiti institution in Adityapur has begun preparations for this year’s Durga Puja, featuring a unique pandal inspired by Myanmar’s Buddhist Golden…

[literaryvein-reblogs]

Writing Notes: Mystical Items & Objects

Examples in Mythology and Literature

Pandora's Box

The god Prometheus stole fire from heaven to give to the human race, which originally consisted only of men

To punish humanity, the other gods created the first woman, the beautiful Pandora

As a gift, Zeus gave her a box, which she was told never to open

However, as soon as he was out of sight she took off the lid, and out swarmed all the troubles of the world, never to be recaptured

Only Hope was left in the box, stuck under the lid

Anything that looks ordinary but may produce unpredictable harmful results can thus be called a Pandora's box

Hermes' Winged Sandals

Also called the Talaria of Mercury

Are winged sandals, a symbol of the Greek messenger god Hermes (Mercury)

They were said to be made by the god Hephaestus of imperishable gold and they flew the god as swift as any bird

Cintamani Stone

Also referred to as the Chintamani

A wish-fulfilling stone that features across both Hindu and Buddhist religions

The stone features as one of many Mani Jewel (i.e., several gems that are mentioned prominently in Buddhist literature) images that can be found in the scripture of Buddhism

In Hinduism, the stone is connected to the gods Ganesha and Vishnu

Usually, it is depicted as a jewel in Vishnu’s possession known as the Kaustubha

The Kaustubha acts as a sign of divine authority

Arcane Artifacts & Objects

Offer a gateway between time past and time present, bringing layers of ancient history and new-world intrigue to a narrative

Such items are typically represented in fiction as works of long-lost knowledge, primordial features or landmarks, and curious objects of mysterious origin

Often lying dormant until the pivotal moment of discovery, these items invite characters and readers alike into a dance with the unknown

Examples: Necronomicon, Genie's Bottle

Necronomicon

Also referred to as the Book of the Dead

It appears in stories by H.P. Lovecraft

A dark grimoire (i.e., a magician's manual for invoking demons and the spirits of the dead) of forbidden knowledge

Used to open gateways of unearthly powers and cosmic horrors

Genie's Bottle

The classic magical item from mythology, also featured in Aladdin

A vessel of wish fulfillment that often leads to dramatic and unexpected consequences

Doorways & Portals

Doorways in fiction serve as gateways between worlds, dimensions, or states of reality, providing characters with universe-hopping capabilities and genre-defying journeys

These portals, whether physical structures or fantastical mechanisms, open up limitless storytelling possibilities, allowing for sudden shifts in setting and introducing elements of surprise and surrealism

Examples:

C.S. Lewis' wardrobe in The Chronicles of Narnia serves as a secret portal to a fantasy world, bridging the mundane with the fantastical

The eponymous board game in Jumanji transports its players into a wild and perilous jungle adventure, wrenching them from the safety of their living room

Jewelry, Gems, and Garments

Along with other various accessories, these serve several narrative functions, from symbolizing power and status to bestowing unique abilities upon their wearers

These items can act as plot catalysts (i.e. MacGuffins), embody character traits, or hold deep cultural or magical significance within a story’s world

Example: The Amulet of Mara in Skyrim not only reduces the cost of Restoration spells but also unlocks marriage options for the player, integrating gameplay with the narrative

Legendary Objects of Power

Carry with them stories of grandeur and lore, passed down through generations and intertwined with the fates of those who wield them

These are the objects that make or break worlds, bestow immense strength, and are frequently considered among the most powerful items in fiction

Example: Though it's never actually been seen, the Kusanagi Sword from Japanese folklore is a fabled sword that represents valor, said to be endowed with divine powers

Machinery and Technologies

Stretch the boundaries of physics and logic to offer a glimpse into what could be possible in alternate or future universes

These innovations, whether grounded in current science or verging on the fantastical, propel narratives forward and deepen the complexity of the story’s world

Writers can leverage these technological wonders to enhance their storytelling, using them to explore themes of power, ethics, and the human relationship with technology

Example: The body shields in Dune generate a protective forcefield around the wearer—advanced technology that current militaries can only dream of

Mundane Everyday Items

Possess extraordinary storytelling potential to transform the unassuming into the unforgettable

Seemingly ordinary, these objects can surprise both characters and readers, unveiling hidden depths and abilities when least expected

These seemingly mundane objects could fall into unsuspecting hands and create chaos or catalyze a hero’s journey

Additionally, they might only reveal their true nature to those worthy or capable of wielding their power, which can set the stage for narratives that are centered around discovery and mastery

Example: Oscar Wilde’s Portrait of Dorian Grey presents art as a vessel for dark magic, encapsulating the protagonist’s sins while he remains untouched by time

Sources: 1 2 3 4 ⚜ Writing Notes & References

[mahayanapilgrim]

What is Yab-Yum?

Yab-yum is a symbolic representation of the union between a male deity (yab) and a female deity (yum). The term itself originates from Tibet, where the word "yab" represents the masculine aspect, often referred to as the Father associated with wisdom and compassion, and "yum" represents the divine feminine, embodying the role of the Mother often associated with bliss and emptiness.

In artistic depictions, yab-yum is represented by a male deity in a seated position, often portrayed as a peaceful and enlightened Buddha or a deity like Vajrasattva, and a female deity sitting or standing in the lap of the male deity, embracing him. The female deity is often portrayed as a compassionate figure, such as the goddess Tara or the consort of the male deity.

The Spiritual Symbolism of Yab-Yum

An iconic image associated with tantra, the yab-yum position holds significant prominence within both Hindu and Buddhist tantric art. The posture transcends the boundaries of conventional human sexuality and delves into a realm of divine and cosmic union. At its core, the image embodies the concept of duality, therefore represented through the masculine and feminine union but gives direction towards a state of non-duality, or Advaita, where the illusion of separation dissolves, and a profound unity is experienced. It represents the profound understanding that existence arises from the interplay of opposites and that the ultimate reality encompasses both the manifest and the formless.

The yab-yum position signifies the merging and harmonizing of opposing forces. It represents the balance and integration of polarities within oneself and the universe. The masculine and feminine energies are seen as complementary aspects that together form a complete whole. In essence, the yab-yum symbolizes the union of wisdom and compassion, form and formlessness, masculine and feminine, and represents the inherent unity and interconnectedness of all things in the tantric worldview. 

The fundamental concept of 'Advaita,' or non-duality within Yab-Yum

In Sanskrit, the term, advaita means non-duality. It is also a concept commonly associated with Advaita Vedanta but equally relevant in the profound teachings of tantra. To understand the concept of Advaita, one must carefully deconstruct the linguistic implication of the term Advaita or its English translation 'not-two-ness.' Here the words do not suggest becoming one or infusion; it does not imply a merging into homogeneity. Instead, it represents a state where separation, division, and the illusion of individual identity cease to exist while the diverse elements retain their inherent nature. It is a state of neither loss nor acquisition. 

This understanding eludes the grasp of the rational mind, which can only comprehend the world in terms of singularity or plurality. Therefore, the yab-yum depiction of the union of a male and female deity highlights the fundamental principle that the apparent duality between self and other, subject and object, is illusory. It alludes to the understanding that the true nature of reality transcends dualistic distinctions signifying the inseparability and interdependence of the masculine and feminine energies, symbolizing the dissolution of all dualities but not infusing into a singularity. 

Vajrasattva and his consort in Yab-Yum

Vajrasattva is the embodiment of purity and compassion and, in his solitary form, is a familiar subject in Buddhist art. However, although less frequently, Vajrasattva is depicted with his consort in the yab-yum posture, alluding to a profound father-mother aspect of Vajrasattva. In the Yab-Yum depiction, he is joined by his consort, Vajratopa or Vajragarvi. The consort is often depicted holding a Kartika in her right hand and a kapala in her left, symbolizing the transformative and nurturing aspects of the feminine principle.

[champion-prism]

I'm seeing a lot of stuff that's like "Gojo shouldn't actually be back because he's served his narrative purpose, to aid his students and get them to surpass him." And honestly even though that makes sense in terms of JJK's larger narrative, I don't think it's true for Gojo's own character arc in particular.

Despite swapping ideologies with Geto at the end of high school, Gojo fundamentally still thinks in terms of a strong/weak dichotomy. He likes strong people, but "strong" is only defined in terms of sorcery skills. In spite of being the strongest sorcerer alive, though, Gojo achieves jack squat in his story. Can't save Riko. Can't save Suguru. Can't save Tsumiki. Boxed in Shibuya, can't save Nanami or Nobara or anyone. In truth, he is a complete and utter failure: who really benefits from his massive power?

I think a good conclusion to Gojo's arc isn't weakening Sukuna and dying- it's integrating himself with teams of sorcerers and fighting on par alongside his students.

A big addition to this is the idea of enlightenment that seems to both elude and follow Satoru around. The kanji used in his given name means "enlightenment". His heightened perception, his hand signs (mudras), the idea of infinity and infinite void all point towards the concept of a bodhisattva - one close to enlightenment.

But eastern philosophies place a huge emphasis on enlightenment being a state of complete detachment from a sense of self. Gojo has a massive ego- in a lot of Hindu and Buddhist stories, there is an archetype of a fallen saint that has massive spiritual power but falls to their ego, which hinders them from true spiritual evolution. This is probably his fatal flaw, hubris.

A good conclusion to his personal character arc would be seeing him actually grow out of these tendencies. To actually become even stronger, to reshape jujutsu society, and to actually finish off Sukuna because this poor boy has never done anything right in his life ever.

[blue-lotus333]

The Buddha in different religions/beliefs. 

Firstly, who is the Buddha?: 

The historical Buddha was a prince named Siddhartha Gautama who lived 2500 years ago in what is today northern India/Nepal. He was born into a warrior clan known as the Shakya, which is why he is often called Shakyamuni, “Sage of the Shakyas.” He is the one to later abandon worldly attachments, become enlightened, and found Buddhism.

The Buddha in Hinduism.

Some Hindus consider the Buddha as the 9th avatar of Vishnu/Dashavatara, The Buddha was integrated into Vaishnavism, it was also believed the Buddha’s wife, Yasodhara, was the avatar of the wealth Goddess Lakshmi, though Buddhists deny this, so as other Hindus who identify the 9th avatar of Vishnu to another being who was also called “buddha”.

The Buddha in Christianity.

Called St. Josaphat (Budhasaf) of India, The story of St. Josaphat tells of a prince in India who is converted to Christianity by a monk, despite his father's attempts to prevent it. The monk and prince are later honored as saints in Christendom. The Buddha was honored as a Christian saint for about a thousand years, but this wasn't recognized until the mid 19th century.

The Buddha in Hellenism.

Buddhism had a big influence on ancient Greeks, in which they would identify Buddhist beings with Greek beings, the Greeks were also the first ones to make Buddhist statues. Heracules (or Zeus) was identified with The bodhisattva Vajrapani, whom was seen as Buddha’s protector. There also was a Syncretism between The Buddhist Goddess Hariti & Greek goddess tykhe.

The Buddha in Taoism.

Some Taoist believe that the Buddha was a reincarnation of Laozi, the founder of Taoism. Some also believe he was either on the same power-level as the Jade emperor, the Taoist king of heaven, or stronger than him. 'Buddha' is absorbed wholly into the Taoist cosmology, becoming another term used to describe the generative tissue at the source of all things in both the mental and physical realms.

The Buddha in Shinto.

Buddhism & Shinto are mostly seen highly entwined in Japan. The buddha is called Shaka in Japanese & was transformed into a powerful Japanese deity, whom coexisted with the Shinto gods. Buddhist temples were often attached to Shinto shrines. A Shinto temple would sometimes have a priest of that shrine read a Buddhist sutra in which Shinto events took place.

[blrowanducks-blog]

Hayagriva, ritual mask

Hayagriva is a Great Protector (vidyaraja) and, together with Yamantaka, one of the most popular personal, tutelary deities (yidam) among the Gelugpa, particularly in Mongolia. It is a figure devotees could choose to identify with in their meditations (Yidam). Originally conceived as a form of the Hindu god Vishnu, Hayagriva was brought into the Buddhist pantheon in the sixth century as a manifestation of Avalokiteshvara, the Bodhisattva of Compassion, and a member of the Lotus Family of deities presided over by the Buddha Amitabha. His main role is as a destroyer of the obstacles standing in the way of enlightenment and as a Great Protector, particularly of the integrity of sacred texts.

Hayagriva is one of the very few yidams to assume a role as Great Protector in the 'tsam' ritual dance. The Mongolian tsam dances have an important artistical side. They include dances, musics and luxurious costumes, and have a didactic side since they represent a scenary or some persons from Buddhist philosophy. It's also supposed to bring good fortune to people. In the 19th century, more than 500 among the 700 monasteries of Mongolia had their own vision of the dance. Like Buddhas and bodhisattvas, the yidam were often generally ranked too high to appear in the dance. Although the nineteenth-century Russian Mongolist Aleksei Pozdneyev does not mention Hayagriva's participation in the Erleg Khan (Yama) tsam, Hayagriva did play a role in several different Tibetan performances, especially at Kumbum in Amdo. Similarly, in the tsam held as part of the ritual Mani Rimdu, Hayagriva has profound significance. Mani Rimdu's style was strongly influenced by Mindroling, a Nyingmapa monastery known for its elaborate dances using a hundred or more masks, whose head lama in the seventeenth century, Gyurme Dorje, was the guru of the broad-minded Fifth Dalai Lama. It was the Great Fifth who actively promoted the sacred dance among the Gelugpa and later influenced its development in Mongolia. In Mani Rimdu, which revolves around the figure of the Lord of the Dance (identified with Lokeshvara and Avalokiteshvara), Hayagriva is the "wisdom mind hero living inside Lokeshvara's heart" and is called on to perform a horse dance in which he "dissolves the three worlds into the objectless realm."

This large papier-mâché mask of Hayagriva depicts him in his role as one who expels demons and defines borders and who builds a Diamond Pavilion to keep out obstructive forces where devotees may dwell until Maitreya, the Future Buddha arrives.

[aesterblaster]

Hi there! Lovely blog 🥲 I came across a post about Rin (and his jaded side), which inspired me to rant a bit myself. I apologise if this lacks distinctness - English is not my native language, I also write on the bus so it must be worse than usual. Lastly, I don't have the alchemy of the verb so I tend to write more mud than gold lol. Anyways, I'd like to say something about Rin's ego (I'm consciously using arguments that I haven't seen yet, so I'll say very little about Rin's material living conditions such as the role of his age, his personality, the social impact of being Sae's brother etc, his “brother complex”...)

Well, mainly I find there are many parallels to be drawn between Nagi's character and Rin's, especially when it comes to their relationship with soccer (incidentally, the discussion they had at the end of the Manshine VS PXG match highlights their common problem; they have no ego). No… in fact I would say that there is a fundamental distinction between Nagi and Rin (absence of ego versus negation of the ego). I'm going to use schopenhauerian elements here (lightly) by integrating them with Kojève's ideas (the most primitive to the development of his thought on history). I don't think this is Kaneshiro’s ambition (but Schopenhauer (SC) drew heavily on Buddhist (anatman) and Hindu philosophy, so why not...) but Rin deals with the suffering of the world (equivalent here to the abandonment of his brother, who initially served as the pivot around which his reality revolved) by sublimating his own interiority (ego); he erases his 'ego' so as to become a footballer (he disappears in his work). For SC, the aim of the work is to develop an intuition that proposes a division of the world (a feeling of strangeness in the face of the notion of existence), which in itself makes it possible to overcome its absurdity (of the world). Moreover, everything Rin enjoys revolves around the question of the place or confirmation of the self within its realm (horror films = quest to feel/ his favorite music evokes the inability to find one's place in the world + Ciguatera (one of his favorite manga) tells the story of a young hopeless man with no goal outside of getting a bike and his new friends who gradually build themselves up in the midst of adolescence). Besides, in the same way that the abandonment of the Self is achieved through sublimation (freudian) in the work, it is also achieved through "charity" for Schopenhauer, and in some respects we could compare this to Rin's attitude before Sae's return (complacency towards his team-mates’s play style but also the stoic behaviour that emerged following Sae's departure).

It's true that, in the past, Rin undertook every action symmetrically to Sae's (theory of mimetic desire, which partly explains his disproportionate reaction to Sae's new purpose), whether through peer pressure or "willpower", although these dynamics can be criticised, they enabled Rin to situate himself in the world (shared existence creates a sense of belonging). He was the brother of the best (“even if my brother is stronger, he is still my brother, he treats me like his brother, we are equal, perhaps equivalent, we share a common humanity”). Except that this repression of the ego comes into conflict with the desire or struggle for recognition after Sae's return when he challenges Rin's perception of their shared humanity. Sae rejects Rin's humanity by telling him that he didn't see any value in him other than his ability as a player (which Sae doesn't recognise at the time). At this point, Sae imbues Rin with the idea that a being IS based on the object of his desire (to be, you have to desire something that surpasses the "need". A position that Sae continues to defend, particularly when he tells Sendo that his quest was primitive, even animal, so much so that it focused on primary needs (reproduction/affection (family), security (good salary/ position in the national team)... during this exchange he clearly establishes himself as the authentic human (free) being compared to a bunch of animals or sub-humans (enslaved)). One’s humanity (unlike animality, low things) is defined by the victory of conquering the desire of another being (the recurring theme of bllk). Whoever achieves this on his own, is in a sense, the master and the vanquished is a slave (master-slave dialectic), and while the master obtains recognition of his humanity from the slave, the master does not recognise the humanity of the slave.

In this way, self-awareness becomes a function of the other's awareness of us, and Rin integrates (even if he fights against it) his inhumanity (animality, even) and his subordinate position in relation to his brother (he’s the slave). Therefore, they are no longer brothers since they no longer recognise each other as equals. As a result, Rin performs a double negation of the ego (more or less voluntary and/or undergone), first through self-denial (for the benefit of others) and then through non-recognition (Sae’s abandonment). In addition, this could explain his jadedness and the disdain that you pointed out in your susdite post, because the value of the recognition I receive is a faction of the value of the recognition I give to others. In other words, the master gets recognition from the slave but it's not adequate because he doesn't recognise the slave, so the slave's recognition is worth almost nothing (as for now Rin doesn't care about soccer or blue lock, the aristos/master in his microcosm is Sae (Isagi only in relation to Sae) and, as in ancient Greece, the aristoi only recognise each other. In this sense, Rin seeks to recognise his own existence in the approval of his master (someone he wants to be equal to) and not in his work (if we're talking materialism, in Marxian thought, work is a means for man to recognise his own existence in the world in a broader sense, Rin really does live in a microcosm, but that can be explained by other factors) using outdated or even archaic means (for the venerative connotation of the term). It's funny that it's during the u20 match that he thinks it's imperative for him to make his mark on history. Even if I doubt Kaneshiro's qualities in this area, I'm still looking forward to seeing Rin's evolution in the quest for his true "ego" or "personal identity"now that he's started it, and he's wondering (I don't believe in these things but it could be interesting).

That said, I apologise for the length (I did try my best to keep it short), grammatical errors, spelling mistakes and inconsistencies. I only hope that I have been sufficiently comprehensible. Thank you for reading if you happen to do so. Have a nice day 😁

woah this was a full on psych thesis. Thanks! It was pretty long but I do enjoy your points and connections. I def agree that to Sae, Rin is still attatched to sub par desires and his recognition means nothing. I wonder if Sae's edginess isn't fully due to trauma but also realizing how futile Rin's way of thinking is. He just doesn't know how to properly explain it without being rude as hell.

[heaven-is-in-your-arms-series]

Shiva in Nataraja pose.

Although Thailand is predominantly Buddhist, its long history with India means that there are many areas of life where Hindu traditions still play a part.

Khon dance drama has its roots in Brahmanism, which you can see with the fact that they perform the Ramakien which is a Thai version of the Indian epic The Ramayana.

This connection means that as well as paying respects to living and dead dance teachers (which must be done before a performance,) dancers also pay respect to three Hindu gods who are considered founding teachers of the khon.

These are:

Lord Shiva

Lord Vishnu

Lord Ganesh

The Nataraja Pose depicts Shiva as the divine cosmic dancer. His dance is called the Tandava.

Many dancers offer their respect to Lord Shiva, who is integral in classical Indian dance forms as well.

[shintoinenglish]

Would you be able to share a little bit on the Buddhist aspects of your practice, or more broadly on Buddhist-Shinto integration amongst japanese laypeople if that makes sense?

also thank you so much for this blog, your resources are amazing and I feel like it's pretty rare to be able to find content online in english from a pov that actively embraces syncretic/pluralistic nonsectarian religiosity as something worth preserving and celebrating!

I definitely can't answer for everyone, but as for me, one of the main kamisama I worship (Benzaiten-sama) came to Japan through Buddhism (she is originally Hindu). An ofuda from a temple enshrining Itsukishima hime no Mikoto, a Shinto kamisama she is heavily syncretized with, is on my kamidana. I have prayer books dedicated specifically to Benzaiten-sama (more in the Shingon style) as well as jewelry with her Sanskrit seed letter that I wear as an omamori -- though it is not formally blessed in any way, it at least reminds me of her and I find the stone material used to be calming.

I mostly do Buddhist stuff in the ancestor veneration part, though it's more of a folk practice thing since I'm relying more on what my grandparents do/did as opposed to what Jodo Shinshu mandates. To give more specific examples, I have photos of some of them, and burn incense and celebrate Obon usually (which is one of those Japanese Buddhist things that is uniquely Japanese and not a part of Buddhism in other cultures). I also have an orin, which is like a small singing bowl except I was taught to hit it on the side. I know that a lot of singing bowls sold in the US are touristy but Japanese Buddhist altars usually have them and they're used differently than the way I've seen others used.

Sorry this got kinda long!

[madamlaydebug]

Meditation is a powerful tool for turning down the noise, for creating mental space, and for all the health and immunity benefits related to reduced stress.

The earliest records of meditation practice date from approximately 1500 years BCE (Before Common Era). It seems to have been an integral part of the earliest forms of the Vedic, or early Hindu, schools in India.

In the 6th to 4th centuries BCE, the Chinese Taoist and Indian Buddhist traditions began to develop their own versions of meditation practice.

[blessed1neha]

How should we meditate upon Krishna according to Bhagwad Gita?

The Gita itself gives the answer to your question in chapter 6 entitled Dhyāna Yoga.

11. In a clean place, having established for oneself a firm seat which is neither too high nor too low, and covering it with cloth, deer-skin and kusha grass one over the other, 12. there, sitting on the seat, focusing the mind in concentration, with the thoughts and the senses restrained, 13. Holding the trunk, head and neck erect, motionless and steady, focusing [the attention] at the tip of the nose , 14. Serene and fearless, holding the mind in check and fixing the thoughts on Me, holding Me to be Supreme. So the format is to pay attention first to the posture - which should above all be comfortable and steady. The spine and head erect one then focuses on watching the breath (i.e. the tip of the nose). The breath is connected to the mind in that slow steady breathing calms the naturally turbulent mind.

So after watching the breath for a count of 100 one then practices pratyahāra - withdrawal of the mind from external attention. Every time the mind wanders away you bring it back to the breath, ignoring all data from the senses.

After one has mastered this stage (after a number of days!!) one then visualizes Krishna either in the lotus of the heart or above the head while reciting the mantra oṃ namo bhagavad vāsudevāya. Again the mind will naturally wander but every time you become aware of this wandering, bring it back to the object of meditation - the chosen form of Krishna.

This is not a weekend project but a daily practice that has to be engaged in without having any particular goal in mind (niṣkāma). Dhyāna is an integral part of Hindu spiritual practice which is a much neglected aspect of it.

If you are serious about meditation it is best to attend classes taught by the Buddhists i.e. Vipassana. Learn the basic technique from them and then add Krishna’s form and mantra.

Subsidiary practices could also include some study of Hindu Psychology and basic Vedanta philosophy to get your bearings and understand the working of the mind.

[roamingroutes93]

Revealing the Historical Glory of Bahal Temple 1:

An Ancient Jewel in the Land of North Sumatra

Bahal 1 Temple in Portibi, North Sumatra, built in the 11th century AD, is a silent witness to the glory of Hindu-Buddhist civilization in that region. With its majestic architecture and intricate ornamentation, the temple reflects the high technical and aesthetic proficiency of the era. Works

Distribution of Religious and Cultural Power: Bahal 1 Temple also reflects the strong spread of Buddhist influence in that era, marking the tolerance and religious diversity typical of North Sumatran society at that time. As a center of activity of religious importance, Bahal 1 Temple is a symbol of unity and harmony amidst the complexity of a rich and diverse culture. **Eternity in History** Even though it has gone through various changes and challenges throughout the centuries, Bahal 1 Temple remains strong, showing the resilience and eternity of an inspiring historical message. With its unwavering appeal, this temple continues to attract the interest of historians, archaeologists and tourists who wish to understand and appreciate the majesty of North Sumatra's historical heritage. **Eternal Legacy** As an eternal relic from the past, Bahal 1 Temple is not only an integral part of North Sumatra's history, but also holds important messages about cultural diversity and spiritual wisdom that can continue to inspire future generations. Bahal 1 Temple in Portibi, North Sumatra, remains clear evidence of the rich history and cultural greatness that once flourished in this region, telling an amazing story about the glory of past civilizations.

**Cultural Heritage Custodian**: In an effort to preserve the valuable cultural heritage, various conservation and preservation measures have been taken to ensure the preservation of Bahal 1 Temple for future generations. The local government together with the community work together to maintain the authenticity and beauty of this temple so that it can still be enjoyed by visitors and historical researchers. **Sources of Spiritual Inspiration and Reflection**: Through the beauty and grandeur of its architecture and the historical value it contains, Bahal 1 Temple continues to be a source of inspiration for artists, scholars and history lovers, while also being a place of spiritual reflection for those seeking tranquility and wisdom from the past. With its uniqueness and timeless charm, Bahal 1 Temple in Portibi, North Sumatra, continues to attract world interest in the rich history and culture inherited from our ancestors, enriching our understanding of the ancient civilization that has shaped the identity of the people of North Sumatra.

Stepping into the Future with a Precious Heritage As we conclude this journey through the fascinating history surrounding Bahal 1 Temple, let us reflect on the richness of this cultural heritage as a solid foundation from which to look to the future. Through a deep understanding of the values ​​contained in it, we can continue to appreciate the richness and diversity of culture which is the foundation of the strength and identity of the people of North Sumatra. Let us protect and preserve Bahal 1 Temple as an inseparable part of our precious heritage, ensuring that its historical message will continue to be remembered and passed on to future generations.In this way, Bahal 1 Temple in Portibi, North Sumatra, remains an important marker of historical grandeur and cultural richness that continues to inspire and fascinate us. Hopefully this journey has opened a window into the beauty and wisdom of the past, giving us deep insight into the priceless heritage of the land of North Sumatra

Thank you for taking the time to read our blog about Bahal 1 Temple in Portibi, North Sumatra. We hope this story has given you a deep insight into the rich history and natural beauty that this place has. Don't hesitate to visit our blog regularly for interesting and inspiring content about Indonesia's cultural heritage and stunning tourist destinations. We hope this travel story has inspired you to explore Indonesia's extraordinary historical and natural wonders. Don't forget to share your experiences with us, and see you in the next travel story!

[lifeafterlifeparks]

Sky Burial: Learning from Ancient Deathcare Practices II

As discussed in Part I of our Sky Burial discussion, the ancient practice of sky burial, also known as celestial burial, is observed in various parts of the world today. Embodied by Zoroastrians and Tibetan Buddhists in regions like India, Bhutan, Mongolia, and China, this sacred ritual involves placing the departed on elevated sites where vultures and other scavenging birds consume the remains. Seen as an act of charity and respect for the natural cycle of life and death, sky burial holds deep spiritual significance. In the realms of Tibetan Buddhism and Zoroastrianism, the body is regarded as a mere vessel while the soul embarks on its journey to the afterlife. The act of giving one's body back to nature through sky burial is viewed as a gift, symbolizing respect for the sacred cycles of existence. Vultures, considered sacred carriers of the soul, play an integral role in this transcendent passage, forging a profound connection between the ritual and the spiritual realms. By embracing this ancient tradition, communities honor their departed loved ones while minimizing their ecological impact. It serves as a niche example of a sustainable and environmentally friendly alternative.

However, the convergence of reverence in Hinduism for sacred cows and the use of veterinary medication for their care on vulture populations historically created a complex layer to the preservation of this time-honored tradition and the delicate ecological balance.

In Hindu dominated areas of the world, cows are cared for well into their elder years. As they age, veterinarians would often administer pain killers to relieve ailments in the elderly cattle. The administration of veterinary medications, particularly non-steroidal anti-inflammatory drugs (NSAIDs) such as diclofenac, inadvertently sets off a chain of ecological repercussions. When vultures feed on the carcasses of medicated livestock, they face toxic effects, leading to kidney failure and devastating consequences for these majestic scavengers. This unforeseen connection highlights the urgent need for sustainable solutions that preserve both cultural practices and the delicate balance of the natural world.

Within this intricate landscape, the convergence of sacred cows and the decline of vultures poses a captivating challenge. Sacred cows hold immense reverence in various cultures, symbolizing a profound respect for life and abundance. The compassionate care extended to these gentle beings often involves the use of veterinary medications, intended to alleviate their suffering. However, life reveals the unintended consequences of our actions, with vultures, the custodians of the sky burial ritual, bearing the brunt of this unintended harm.

The exponential growth of urban populations and the prevalent use NSAIDS across South Asia and the Middle East decimated the indigenous vulture population by a staggering 97%. The collateral effect on sky burial practices has necessitated adaptations. Solar cremation has emerged as a substitute, allowing communities to preserve their ancestral customs while addressing the urgent need for vulture conservation. Concurrently, concerted efforts are being made by religious authorities to repopulate these endangered avian species.

Preserving the delicate interplay between cultural traditions, care for pets, and other domesticated animals, and environmental conservation demands ingenuity, collaboration, and unwavering dedication. Enlightening communities about the ecological impact of bovine medications on vultures becomes crucial. By fostering understanding and promoting vulture-safe alternatives like meloxicam, the gap the Himalayan Vulture population collapse was prevented. The case stands as a testament to the cascading effects that human intervention can have on conservation.

[mahayanapilgrim]

In the Theravadan Thai tradition, the monastic ordination ceremony is called "Buat Nak." "Buat" means to ordain, while "Nak" means naga, the mythical serpent or half-man, half-serpent mentioned in some Hindu and Buddhist scriptures. In Southeast Asia, nagas are considered to be divine, powerful, and highly respected.

When Buddhism arrived in Southeast Asia, the concept of nagas was incorporated with Buddhist beliefs. A Buddhist tale has it that Nantopananta, the naga prince, was so interested in Buddhism that he wanted to become a Buddhist monk. As Buddhist rules allow only for humans to enter the monkhood, Nantopananta, being a serpent, was barred from ordination. Though the naga prince had to give up his ambition, he did ask Lord Buddha to call any person wanting to be ordained as a Buddhist monk by the name "naga", as a nod to his devotion to the faith.

Since then, naga has become an integral part of the ordination ceremony. The man who will be ordained is called a nak (naga). [Thailand Foundation]

Nagas also show up in various other important instances in the sutras that can be shared in other posts in the future.

Image: A statue of Buddha protected/honored by the nagas that can be found in Sala Keoku, which is a park in Thailand featuring giant fantastic concrete sculptures inspired by Buddhism and Hinduism. It is located near Nong Khai and began in 1978. The larger statues in the park can reach 25m (82ft).

[squaresoneastasia]

Hinduism in China

Jeff Walker Intro. East Asian Studies Blog #3 26 November 2022 Hinduism in China I decided to write this blog to help educate myself and my classmate more about Hinduism. Even though I know Hinduism isn’t a popular religion in China, I have also heard about the small pockets of people there that do follow the religion. I am also aware that Hinduism and Buddhism have many similar teachings such as reincarnation, and karma, but also have key differences. The biggest difference is how Buddhism rejects the caste system in Hinduism. Even though these religions have many similarities, Hinduism has never caught on in China the way Buddhism has. A deeper dive into why this is a topic that should not be ignored. Hinduism is one of the biggest religions in the world and over a billion people practice Hinduism around the globe. This powerhouse of a religion dates back thousands of years and is very deeply rooted in Indian culture in particular. Even though there are so many followers of Hinduism in India, the religion never picked up the same kind of traction in mainland China. There is only an estimated 1.3 million followers of Hinduism in China today, despite there being over a billion people in the country. Even though Hinduism does not have widespread followers in China, as it does in the neighboring country India, the religion has still had a cultural impact on the country over the centuries. The link between China and India dates back thousands of years. One of the best examples of this is the word “Mandarin” which originated from and Sanskrit was brought from India to China originally. Even though the Hindu religion is only practiced by less than 1% of the population in China, Hinduism ideas were once widespread in many regions in China. These Hindu ideas originally spread through China by getting mixed in with Buddhist ideologies and Chinese myths. Many of these ideas and texts were brought by Hindu monks that traveled to China along the Tsung Ling route. The Tamil merchant guilds of Ayyavole and Manigramam were a group of Hindu communities that once thrives in south China during medieval times. They built many Hinduism temples and motifs. These communities were welcomed by the Chinese because of the wide range of goods they had to offer, and therefore brought many of their beliefs with them. This integrated into some cultures here and helped to establish some of the Hindu roots in China. There is also a village in China named Chedian, which is very close to the city of Quanzhou, that houses more than a dozen Hindu shrines and temples. The residents of Chedian pray to a goddess that is described as having four arms and sitting cross-legged. There are two servants by the goddess’s side, and a demon laying at her feet. Even though the identity of this goddess is unknown, the residents of Chedian are still active in their worshipping. Even though Hinduism has not caught on in China as Buddhism has, there are still deep roots there of the Hindu religion.

[mythnerdblogger]

damn girl it's like you know nothing about hinduism. why are white women like this. also, if you block me i'll know you're both stupid and scared of actual sources and calm arguments.

Fun fact! The god Vishnu is probably the most famous hindu god and, according to hindu texts, he would stalk women as they were bathing and then steal their clothes.

excellent conflation with vishnu = krishna, really off to an excellent start here, people. mind telling me where you got the 'probably most famous god' from because i am really interested. next, the text is a metaphor (like those in english class, yes, im sure you know the ones given how much you yap about them all day) for maya and how god is responsible for stripping it away. (and in text, he actually got punished by his mother for doing that, even as a 6 year old. but i don't think you're interested in that, are you?)

Of course men made lots of art about this beautiful event.

image one is on dollsofindia.com and made by a female artist. (you didn't know that did you.)

i cannot find the second image's artist anywhere but it was on etsy from what i can find.

image three is in the delhi national museum, and is in the pahari style from l'kangra school, artist unknown.

image four is in the walters art museum, and artist has been credited as 'indian' (wow.)

image five is in the met museum and artist is a woman (altho name is removed)

image six is once again in the met museum and and a pahari painting.

fun fact about the pahari paintings? they're done by women, even if they were invented by a man.

Well the metropolitan museum has a perfectly good explanation: "Krishna, the mischievous Divine Cowherd, has stolen the clothes of the bathing gopis, who shiver with cold but also with delight in their devotion to their lord. This splendid allegory of spiritual love-" excuse me what? the splendid what? lol

the very musuem that's often been bashed for it's stupid, incompetent and incorrect portrayals of gods, especially hindu gods is the one who's word is to be taken. exceptional, please continue.

Krishna is Vishnu in case you're wondering, he's an avatar of Vishnu kind of like Jesus is the avatar of God etc.

hag diya. krishna is a form of vishnu, and please stop using hindu concepts to refer to abrahamic gods dear lord. they. are. not. yours. to. use. i am aware of the concept of the trinity - the father, the son and the holy spirit, and no, it's not even remotely similar to the concept of avatars. stop using integral parts of hindu culture to fulfill your stupid, irrelevant, and culturally appropriative agenda, especially when there is no fucking resemblance.

ah it's not a creepy story it's just like if you love god and you're a woman you need to show him your body and beg him for your clothes and stuff. Makes sense.

excellent bad faith reading of the point, 10/10 marks, good luck with that in daily life. this comment is so stupid and so culturally christian it's a wonder you're not christian. oh wait. you are. ex christian, but still christian and it's in your fucking blood and how you read shit.

Metaphorically, this story serves to convey the power of devotion, to stand vulnerable before one’s God, secure in the power of bhakti, the unquestioning devotion to one’s god.

impressed that the met museum managed to write this without fucking it up. very nice.

Still according to hinduism, humans were created by the god Brahma.

wow finally a fact. wonder if this leads to something worse-

Brahma was a pervert "in love" with his own daughter, the goddess Śatarūpā. She tried to run from him so he grew several heads and arms to reach her no matter where she tried to hide. He grew four heads to look at her from every cardinal direction, she couldn't escape his gaze. He's a buddhist idol still represented with his 4 heads and arms for better stalking.

and it did. *sighs* this story has roots in the shiva purana (and the *god* purana's literal purpose is to glorify the god and make the others seem 'lesser'), so obviously vishnu and brahma would be considered lesser. but anyway. this is story is again, metaphorical, as are most things in hinduism (because it's a philosophy. but i dbt you'd know that or even try to listen to it given that your aim has been accomplished) and it's about how your own ego reaches a pinnacle where it has to be shattered by god himself, whether directly or through a medium.

funny how you absolutely did not mention lord shiva literally decapitating brahma for this because it didn't fit into your agenda. also brahma is both hindu and buddhist. his 4 heads represent the four cardinal directions as you mentioned, and also the 4 vedas.

funny how no mention of brahma's apology and shatrupa's consequent marriage to manu is mentioned.

Fun facts all around... I love religions.

same girl, same.

Fun fact! The god Vishnu is probably the most famous hindu god and, according to hindu texts, he would stalk women as they were bathing and then steal their clothes.

Only after the women begged him would he return their clothes and let them dress themselves and leave. Of course men made lots of art about this beautiful event.

It's funny how male gods act exactly like male humans isn't it? What lesson are hindu women supposed to take from this? Well the metropolitan museum has a perfectly good explanation: "Krishna, the mischievous Divine Cowherd, has stolen the clothes of the bathing gopis, who shiver with cold but also with delight in their devotion to their lord. This splendid allegory of spiritual love-" excuse me what? the splendid what? lol Krishna is Vishnu in case you're wondering, he's an avatar of Vishnu kind of like Jesus is the avatar of God etc. Anyway, the museum details: "it recounts his playful theft of the clothes of the female cowherds, the gopis, who had left their clothes on the Yamuna River bank while bathing. Krishna placed them high in the branches of a tree, in which he is seen perched, daring the gopis to venture from the water. Metaphorically, this story serves to convey the power of devotion, to stand vulnerable before one’s God, secure in the power of bhakti, the unquestioning devotion to one’s god." ah it's not a creepy story it's just like if you love god and you're a woman you need to show him your body and beg him for your clothes and stuff. Makes sense.

Still according to hinduism, humans were created by the god Brahma.

Brahma was a pervert "in love" with his own daughter, the goddess Śatarūpā. She tried to run from him so he grew several heads and arms to reach her no matter where she tried to hide. He grew four heads to look at her from every cardinal direction, she couldn't escape his gaze. He's a buddhist idol still represented with his 4 heads and arms for better stalking.

Fun facts all around... I love religions.