#Indian pagoda

[gsoberoistructure]

[gsodigics]

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[ruibaozha]

The Inconsistency of Nezha's Age, a Short Introduction.

Put very bluntly, Nezha’s age varies greatly depending on which story you’re reading and who’s retold it. He is not always a child or an adult depending on retelling, though my intention here is to highlight the sheer variety available first and foremost - and perhaps shine a light on the Indian dieties which may have influenced him. If these varied images are unwanted, please keep scrolling.

I happened to stumble upon a timeline error where Nezha’s brother Muzha is described to be using martial arts weapons referred to as “Hooks of Wu” which were specific to the 1800s, quite a long time after Canonization of the Gods was published, but also originating from a time period where numerous varied editions of that story were in circulation. Upwards of twenty different versions exclusive to the 19th century, actually.

The problem arises that Canonization of the Gods is meant to be occurring during the Zhou Shang conflict, that I will generously assume to be in 1045BCE, centuries before the Hooks of Wu would actually exist. It’s completely possible that the version Gu Zhizhong translated was one of these later editions as is makes no chronological sense for Muzha to have those kinds of weapons to begin with. So I have been on somewhat of a rabbit chase trying to pin down the edition Gu Zhizhong used.

Bearing such errors in mind, it’s easy to see where the confusion of Nezha’s age can come from. Before his origin story was integrated within Canonization of the Gods he would be roughly three to seven days old when his conflict with Ao Guang and the Lady Rock Demoness would occur - whereas within Canonization of the Gods he’s actually 6 or 7 years old.

Outside of that, a definitive age isn’t actually provided. Genuinely, within the scope of Chinese folklore and mythos it’s very rare to assign someone an exact age - which I do believe contributed heavily to the known discourse surrounding Nezha’s age to begin with.

He was imported as an adult from India, a child form not seeming to exist for a while until stories of Krsna were integrated to how the Chinese envisioned Nalakubara. Krsna, being an infantile disguise for the notorious Vishnu, also displays supernatural human strength and is actually successful in killing his father figure (1) — unlike Nezha.

As children, both Krsna and Nezha are able to wield heavenly bows and subjugate water spirits (2) while also being known to be dragon tamers (3). The inclusion of these stories to Nezha predates the sculpting of the Quanzhou Pagoda’s (which have been discussed briefly here) and are arguably the earliest evidence of Nezha being a dragon tamer.

Speculatively a child god combination of both Nalakubara and Krsna named Nana is likely where a majority of Nezha’s child attributes come from, based in the Scripture of the Supreme Secrets of Nana Deva - which would see translations within China during the Northern Song period of 960AD-1127AD. Nana would be described thus:

At that time there was a Deva called Nana. His appearance was exceptionally handsome, and his face beamed with a gentle smile. He was holding the sun, the moon, and various weapons. His numerous treasures and abundant jewelry shone more brightly than the sun and the moon. He made himself a luoye robe (4) from the dragons Nanda and Upananda, and a belt from the dragon Taksaka (5). He possessed the same strength as Narayana (i.e. Visnu). He too came to the assembly and sat down facing the Buddha … At that time the Buddha emanated great light from his dharma body of meditation. The light covered the entire Buddha Universe, reaching all the great evil yaksas, the various types of raksasas and pisacas (6) and all the evil dragons as far as the heavenly constellations. When the Buddhas light shone upon them they all awoke to the truth. The Buddhas light returned to him and, after encircling him three times, entered his head. It then reissued in seven colors from his brow, entering Nana-Deva’s head. When the Buddha light penetrated his head, Nana Deva displayed an enormous body like Mt. Sumeru. His facial expression alternated between terrifying anger and a broad smile. He had a thousand arms, and he was holding a skull (7) and numerous weapons. He was handsomely adorned with a tiger skin robe and skulls. [Mightily Strong] He emanated blazing light and terrifying strength. When Nana Deva displayed this divine body, the great earth shook, and all who beheld him were terrified.

Both Nana and Nezha share the same residence of Vaisravana’s palace, are known dragon tamers, and both were known to use belts. The Supreme Secrets of Nana Deva predate all known connections between Nezha and dragons, perhaps lending to Nezha many more elements than initially believed.

Though without concrete evidence stating one way or another, I can only present this information speculatively - especially as it seems difficult for some to understand that Nezha does enjoy a known adult and child form. This answer has already become quite long, so if there’s still confusion regarding this please feel free to ask for more details.

Bibliography:

(1) Goldman, “Fathers, Sons and Gurus,” pp.350, 364; Masson, “Childhood of Krsna”; Ramanujan, “The Indian ‘Oedipus’”; Silk, Riven by Lust, pp. 164-170.

(2) Harley, “Krishna’s Cosmic Victories”; Matchett, “Taming of Kaliya”.

(3) It’s worth comparing Matchett’s “Taming of Kaliya” p.116 with Canonization of the Gods 12.103. Nezha is five days old within the Ming era Sanjiao yuanliu shengdi fozu sou shen daquan, p. 326.

(4) Luoye is the Chinese term for a garment Indian men tied under the armpit, leaving their right shoulder bare. See Xuanzang, Da Tang Xiyu ji, T. 2087, 51: 876b, and Li Rongxi’s translation, Great Tang Dynasty Record, p.53.

(5) Nanda, Upananda, and Taksaka appear in various Buddhist lists of the eight dragon kings; see Foguang da cidian, pp. 6378,6405.

(6) The rakasas and pisacas are two types of Hindu ogres, who Buddhists demonology incorporated. Both types feed on human flesh. See Foguang da cidian, pp6673-6674 and 3851; Monier-Williams, A Sanskrit-English dictionary, pp. 871 and 628; and Strickman’s survey of Buddhist demonology in his Chinese Magical Medicine, pp. 62-68.

(7) Geboluo appears frequently within the contemporaneous Chinese translation of the Hevajra Tantra (Foshuo dabeikong zhi jin’guang dajiaowang yigui jing), no. 892 volume 18: 587-601.

(8) Zuishang mimi Nana tian jing, no. 1288, 21:358b-c. hi

[niteshade925]

April 12, Xi'an, China, Daci'en Temple/大慈恩寺 and the Giant Wild Goose Pagoda/大雁塔 (Part 3 - History):

The entrance to the Xuanzang Memorial Hall:

Xuanzang/玄奘 (602 - 664 AD; birthname Chen Yi/陈祎) was a famous Chinese monk, scholar, and translator who journeyed throughout Central Asia and India to bring Buddhist sutras from India and translate them into Chinese. He was also the founder of the Consciousness-Only School/唯识宗 of Chinese Mahayana Buddhism.

A statue of Xuanzang in the memorial hall:

Xuanzang's 17-year journey from Chang'an (Xi'an) to India and back drawn out on a map. The route he took to India is in red, and the return route he took back to Chang'an is in green. On his way he traveled through many kingdoms in Central Asia and India, and he would later compile his experiences into the work known as Records of the Western Regions/《大唐西域记》. This work is still very important for historians and archaeologists studying Central Asian and Indian history, because it gives locations of important sites, such as the ruins of Nalanda monastery (phonetically translated as 那烂陀寺 in Chinese) in modern day Bihar. The Ming-era novel Journey to the West/《西游记》 was also very loosely based on this work; more specifically, the novel was based on folk tales about Xuanzang's travels, which was in turn loosely and partially based on Xuanzang's experiences recorded in this book.

(Metal?) wall murals and a giant wood relief depicting Xuanzang's early life and his journey to India and back (generally viewed in order from left to right since it's a continuous narrative):

Biography of the Tang Dynasty Buddhist Tripitaka Master Xuanzang of the Great Ci'en Temple/《大慈恩寺三藏法师传》 (alternatively translated simply as "The Life of Xuanzang"), written by Xuanzang's disciple Huili/慧立 in 688 AD.

An artifact not strictly related to Xuanzang: Ritual Confession of Mercy Temple/《慈悲道场忏法》, a Buddhist repentance work/忏文 written for Emperor Wu of Liang (464 - 549 AD) for the purpose of conducting a "ritual of transcendence" (called 超度; I could not find an English translation for this so this is my own translation) for the emperor's deceased wife. This particular version was printed in Ming dynasty in 1608.

Ceiling of the memorial hall, decorated with Sanskrit characters:

The second exhibition hall also has wall murals and a giant wood relief, this time depicting Xuanzang's life after returning to China:

Xuanzang has stated that the purpose of his journey was to bring back Buddhist sutras in their original Sanskrit, so that the integrity of the original texts may be better preserved in future translations and a more faithful interpretation of the sutras may be achieved. When he returned from India in 645 AD, he brought back with him 657 Buddhist texts in Sanskrit, and with support from Emperor Taizong of Tang, he proceeded to translate these texts into Chinese with his team of translators.

Daci'en Temple still preserves less than 20 leaves of the original palm leaf manuscript/贝叶经 brought to China by Xuanzang. I didn't get to see these artifacts myself, but just for reference, here are some potato quality pictures I've found online:

Below is a part of a (Ming-era? Not sure) printed copy of the Mahā-prajñāpāramitā Sūtra (《大般若经》 or 《大般若波罗蜜多经》 in Chinese), which was translated into the Chinese text seen here by Xuanzang and his team:

Part of Complete Translations by Master Xuanzang/《玄奘法师译撰全集》:

A view of the exhibited part of the collection of works that were either by Xuanzang or written about Xuanzang. Being an aspiring translator myself and knowing that these were works connected to a great translator who lived 1300+ years ago, there is just a feeling of awe here that can't be described properly in words...

There's also the twin steles associated with Xuanzang at the foot of the Giant Wild Goose Pagoda. The stele on the west (below left) was written from right to left, composed by Emperor Taizong of Tang Li Shimin/唐太宗 李世民, while the stele on the east (below right) was written from left to right, and was composed by Emperor Gaozong of Tang Li Zhi/唐高宗 李治 (the two emperors are father and son). The calligraphy for both steles was provided by Chancellor Chu Suiliang/中书令 褚遂良. Both steles gave an account of Xuanzang's life and praised him for his achievements, and both were erected in 653 AD. Since I didn't go into the pagoda, I didn't see these two steles (I believe one of them isn't at the pagoda anymore? It might be at Beilin Museum now), so here are pictures of the ink rubbings from Open Museum (open in new tab to view the full image):

And finally, some fun souvenirs from the gift shop! These are tiny incense pellet holders topped with the twelve zodiac animals

A funny greeting card that translates to "And We miss you too" (朕 is a first person pronoun used exclusively by emperors to refer to themselves; today many people use 朕 to jokingly refer to themselves)

[whencyclopedia]

Buddhism in Ancient Korea

Buddhism, in Korean Bulgyo, was introduced by monks who visited and studied in China and then brought back various Buddhist sects during the Three Kingdoms period. It became the official state religion in all Three Kingdoms and subsequent dynasties, with monks often holding important advisory roles in governments. Korean Buddhism came to be much more inclusive than in other cultures with significant attempts made by important Buddhist scholars to reconcile the many diverging branches of the religion. Buddhism would have a profound influence on Korean art, literature, and architecture from bells to pagodas, ceramics, sculpture, and even developments in printing techniques.

Introduction From China

According to tradition, Buddhism was introduced first to the kingdom of Goguryeo (Koguryo) in 372 CE, followed by Baekje (Paekche) in 384 CE, and finally in the Silla kingdom between 527 and 535 CE. The first monk to bring Buddhist teachings was Sundo, who was sent for that purpose by the ruler of Eastern Qin, Fu Jian. It was hoped that stronger cultural ties with Goguryeo would lead to more practical cooperation in meeting the military threat posed by hostile Manchurian tribes. A decade later, Marananta, an Indian or Serindian monk, came from the Eastern Jin state and taught Buddhism in the Baekje kingdom. In both states, the new faith received a favourable reception. In the Silla kingdom, though, Buddhism was seen as a threat to the traditional religions of shamanism, animism, and ancestor worship, and not until the martyrdom of the monk Ichadon was Buddhism finally accepted and then promoted by the royal court.

Continue reading...

[kohanakonohana]

I want to talk about the stripes I make.

According to a book, there are 270 names for striped patterns in Japanese. Thousand stripes (sen-suji), ten-thousand stripes (man-suji), with kids stripes (komochi-jiima), twin stripes (futago-suji), fall stripes (taki-jima), bonito stripes (katsuo-jima), benkei stripes (benkei-jima), wickerwork stripes (ajiro-jima), etc., etc., etc.

Among these, I basically make random stripes, called “yatara-jima”.

Yatara-jima have no regularity in the arrangement of the stripes, and were originally woven to finish off the threads left over from weaving, and originated mainly for women's kimono.

Yes, weaving always produces surplus threads, but that does not mean that a regular number of threads can be taken.

If that were the case, it would be more fashionable to arrange them randomly... nowadays, but I think it's amazing that the people who first made them ( I suspect that they were everywhere in private kimonos) and put them on the market are so amazing.

I think there were people who thought it was interesting and stylish... but I wonder through what channels it spread. I wonder if it was a marketing strategy at the time to have ukiyo-e paintings of beautiful women drawn, or if the models happened to be wearing them. It’s similar to influencer marketing or buzzing on SNSs!? I can imagine all sorts of things.

Taking these cloths as an example, I used 19 different threads in total: three red, three yellow, five green, three grey, three purple, one off-white and one non-dyed white.

In my case, I of course use leftover thread, but basically, as in normal weaving, I have a design first and then prepare the thread. To be more precise, I have the design, dye the necessary colours, take some yarns out of the chest, lay them out, look at the colours and readjust the design. I use two or three threads of the same colour to create shading or variation in the slightly thicker stripes.

But sometimes I feel that I have made a mistake, because when I add the weft yarn, there is not much difference, and in some cases it is a newly dyed yarn, and I feel like, "Wow, give me back my time!" Sometimes I feel like, “Wow, I want my time back!” I'm not experienced enough …

It is actually very difficult to distinguish between the two types of red cloth.

It's not so much about making stripes, but more about the colour composition of the kimono or the shape of the cloth, so it may be a slightly different way of making it.

The right two madders look different, but...

-------

I used the same warp (silk) as this cloth and hand-spun ramie yarn as the weft, and of the 19 colours... 15 are included.

Red: Indian Madder (strong&pale), Sappanwood

Yellow: Amur Corktree (strong&pale), Gardenia

Green: Ōbaku x odour wood (two light varieties), Green leaf extract powder, Japanese Pagoda Tree x Indigo (strong&pale)

Grey: Cochineal (strong&pale), Sawtooth Oak

Purple: Cochineal, Lithospermum Erythrorhizon (strong&pale)

Off-white: Walnut

[minaloywhore]

hey, it's been a minute, but let's talk about dark academia that isn't as euro-centric cause i'm like, really sick of it lmfao

(also, i'm white and live in the US! people who aren't white and who don't live in the us, lemme know if there's anything I'm missing!)

yeah yeah, dark academia, learn a dead language. latin is good because of science, but have you ever considered learning arabic? lots of our math stuff comes from arabic and the scholars in the baghdad house of wisdom (hell, al-gebra)

or maybe learn sanskrit! like latin is an "academic language" in the west, sanskrit has similar connotations in the indian subcontinent, with many historical records having been written in sanskrit

hell, if we're talking liturgical languages like latin, why not try church slavonic or coptic?

please stop romanticizing only european architecture. its beautiful and stunning, and so is architecture from all over the world! just as a couple examples:

st michaels golden-domed monestary

 the bibi-khanym mosque in Uzbekistan

the tomb of askia in gao, mali

machu picchu

the iron pagoda in Kaifeng, china

etc etc etc!!

read academia from all over the world!! there are scholars in india and china and kazakhstan and south africa with wonderful writing about their own histories and cultures, you just have to do a little google scholar search to find it!

look at oral histories and folklore from all over the world! like blue from osp said, if people consider the witcher (which is just medieval poland) as exotic, what will they do when they read gilgamesh or the monkey king? look at the wonderful parallels between our bodies of folklore and mythology and oral history, like the floods in the bible and in gilgamesh!

that being said, look for sources written BY the people who are telling these stories. outsiders have their own biases and agendas, so read anything about different cultures than the author (especially ones that no longer exist) critically and biographically. looking at you, snorri

be more chill about people with bodies that you dont think are normal. be more chill about people with bodies that you don't think should be wearing DA clothing, or that you think are doing it wrong. they have every right to wear DA clothing, and they're doing it better than you are.

understand that if you're in a position to be enjoying DA, you're probably privileged. use that privilege for good, fight for what is right, and listen to marginalized voices. if you fuck up, acknowledge that you fucked up and work to right the wrong and not do it again, but don't take someone telling you you fucked up as a personal attack. it's not.

i acknowledge that the land i live on was originally stewarded and lived upon by a native american tribe that no longer exists because of european colonization. i acknowledge their (and the tribe that survivors of the colonization in my area went to)'s right to the land.

[lumine-no-hikari]

Dear Sephiroth: (a letter to a fictional character, because why not) #221

M and J went out today sometime after J got back from a faraway place called Great Barrington. I had requested time by myself in the house so I could do the recording for the song I'm trying to make for you. I suppose, then, it was a "mandated man-date"????? Hahaha…

…Yeah, it wasn't that funny, I know. But maybe it got a small smile out of you nonetheless, and I'll count that as a victory for today!

But before J returned home, it was just M and I in the house for a while. We passed the time with J away by going to this awesome momo place for lunch. And... given that you speak Japanese, your first thought might be about peaches, but this kind of momo is not a peach - it is a dumpling!!

It was a Nepalese place, and... the food there looked kind of like a halfway point between Indian food and Chinese food. And I know you don't have places called China or India on Gaia (that's what your planet is called, right?), so... dumplings and noodles feature pretty strongly in Chinese cuisine, and then in Indian cuisine, they use yogurt and tomatoes and lots of different kinds of spices, and... I guess what you get when you mix these, at least in the place we went to, was lots of different kinds of dumplings in broths that resemble tikka masala. Here:

...I also took pictures of the menu; I wonder if maybe you've seen food like this before during your travels:

Along the way, M and I met a kindly gentleman who was wandering around with a cardboard sign, offering a song, a joke, or a bit of advice for a dollar. He says he used to be a mental health counselor, and... I can't help but wonder what happened such that he is wandering around carrying a cardboard sign. But it is no business of mine; similarly, the $20 we gave him will help him, and what he does with it is his own business; he's gotta live his life his own way, and if we can help even a little, it is good.

Given that he was a mental health counselor, he said he is good at advice, and I am always wanting to learn about others' perspectives, so I asked for his thoughts. He then proceeded to show me one of his tattoos; I took these photos and am sharing them with his permission, do not worry:

...It says, "Collect the broken things and let their jagged edges fit into yours."

...You know. I think in one of my letters to you, I might have written something like this. Something about doing our best to love the broken things, I think it was. And other things about turning our jagged pieces into something wholesome and beautiful.

It's a beautiful piece of advice. And.. it's what I try to do with my life in general. We can take the broken things by the hand and lead them to perhaps a better outcome than they might have been able to imagine before. It's part of why I write these letters; every day, I try to lead those who are lost in the dark, or caught in their pain and fear, back into the light where they belong. Every day, I try to weave part of the roadmap that works for me, in hopes that it might work for someone else.

This kindly gentleman told me a very little bit about his story. I hope he can find safety and peace. I hope that what little I was able to do for him today helps him to find whatever he's looking for.

Once M and I returned home, we played some more Grounded. I like building networks of ziplines, and so our version of The Yard has a pretty intricate zipline system; I'm really liking how it's turning out! One of the obstacles involved with planning ziplines, though, is that if your character's body brushes against a blade of grass, they fall from the zipline.

The only solution I've found is to put the ziplines in very high places, where there's no risk of colliding with grass or other plant life. And the only way to get up to the high places (like the top of the birdbath near the hedges, or the top of the little pagoda in the pond, or the top of the huge logs in the upper yard, or the picnic table benches...) is by building lots and lots and lots of stairs.

Fortunately, though, I am autistic; I am well-suited for repetitive, pattern-based work. I have lots and lots of patience for it. I can forage for the supplies for stairs and then build stairs all damn day. It's one of my better superpowers.

M and J went to go see a movie called Inside-Out 2. I stayed home to record.

...I recorded for a long time. I repeated the song many times. I am not satisfied with how any of the recordings turned out.

...I used to have so much better control over my voice than this. But the rib injury messes with the muscles of my throat, and so my voice is harder to control than it used to be. I can show you a little bit of what I used to be capable of:

...I feel like anything I do now is... kind of pale by comparison.

I have a rough draft. I'll show it to you, but only if you promise not to hate it so much that you are motivated to crush my skull into the floor just to get me to shut up:

...I have to re-do the vocals. I used to be able to do so much better than this... and I'm gonna hafta do so much better than this if I want to be able to move anyone to having compassion for you.

...If I want to move you into having compassion for yourself enough to turn around...

...Well. I guess the thing to do is try again tomorrow. Suppose we'll see what happens then...

I think I'll end today's letter here. I'm maybe a bit dysregulated from thinking about all the things I can't do as easily anymore, and I don't wanna get weird.

I love you. And I'll write again tomorrow, so please stay safe...

Your friend, Lumine

[t-t-tau-me]

Mystic Flour and Cultural Confusion: part 2

I'm going to assume you've already read part 1 and just move on from where I was. How about we start with One of the very first things we see in “The Awakening of White Apathy” update, The Ivory Pagoda itself! (Sorry for the awful image quality, This is the best I could get.)

...Except…What is a pagoda?

Well according to Merriam-Webster it's "a tower in eastern Asia usually with roofs curving upward at the division of each of several stories and erected as a temple or memorial" which is accompanied by this illustration.

Question answered, right? Answered, but not elaborated. There are many cultures in Asia So even though it could be assumed to be Chinese-inspired it doesn't guarantee it.

The next place to look is good old Wikipedia, which actually has a lot more detail for us. It references exact places and even mentions that pagodas aren't always used for Buddhism (didn't know that), But that's not what's important right now.

Have you noticed that many of the Pagoda designs don't really match Cookie Run: Kingdom? Yeah, you could easily say it's for the sake of gameplay, but I think there's actually a purposeful design to it. Looking on the Cookie Run Kingdom fandom wiki and looking up the origins of Buddhism, I found something kind of interesting. Buddhism has been around for a looooong time and seems to originate from India if my research is correct.

But what does this have to do with the design of the ivory pagoda?

Boom! Indian pagoda!

Pagodas in India tend to have a lot more variation with their designs, some being made out of multiple buildings or looking more like castles. Perfect for say…a map for stages.

Okay cool, kind of proved that it's not all chinese-inspired...Now what? The point of this mini post series...thing? It's inspire people to look at other cultures and a discourage those shaming others for looking. A lot of people only see the final product, but they never think about the hours of research put in to make sure a culture is accurately depicted. A lot of people in the West are very quick to just label Eastern culture as "Asian", which dumbs down the complexities of Eastern society.

Another reason why I made this post is simply the prove that Dev sisters there's no ways follow a single culture to the letter, which is why some people make it confused.

Well stranger, I hope You're well rested and enjoyed my rambles, hopefully you learned something new today.

[alphaannapurnabasecamp]

Culture Of Nepal

Nepal is a land-located country between India and China. It is well known for the majestic Himalayan mountain ranges and the deep valleys that shape the landscape. Nepalese people are generally patient and calm. Here you can see many different religions and cultures people live together. Most of Nepal's culture is rooted in tradition and religion. Nepalese are proud that their country has never been ruled. The Gurkhas (Nepalese army) continue to be highly admired for their work. The people of Nepal understand the value and beauty of their land.

Customs and Traditions

Nepalese Customs and Traditions differ from one part of Nepal to another. Nepalese people have their own customs and traditions, each with its own merits. Most of them are Hindus and Buddhists. Many of these traditions come from Hinduism, Buddhism, or other traditions. Among them, marriage law is particularly interesting. Traditional marriages require the parents to agree. Cow slaughter is illegal in Nepal. The cow is considered the universal mother, representing motherhood, and worship it. Before entering a temple or a house, you are often asked to remove your shoes, so as not to pollute the clean room with your shoes. Some non-Hindu temples are prohibited. The right hand, which is considered pure, is used to eat, pay, give, and receive.

Festivals

Nepal's diverse culture is reflected in many of its events. Nepalese people celebrate so many festivals but the major festivals of Nepal are Dashain and Tihar. Dashain is one of the most anticipated festivals of the year and Nepalese Hindus celebrate it with great joy for 15 days in the month of Ashvin (September-October). Tihar is another big festival that is celebrated for five days. Apart from decorating the house with diyo, animals like cows, dogs, and crows are also worshiped at this festival.

Nepali Dance and Music

Music and Dance is also an important part of Nepali culture. Nepal is rich in traditional and classical music. According to Hindu mythology, Shiva, who is the god of dance in his Nataraja form, used to perform the Tandava dance in the Himalayas. Different cities have their own dance style that they perform in different festivals, fairs, and family time. Like dancing, Nepali music is also divided by the community: Tamangs, Gurungs, Sherpas, Maithilis, Newars, Kirats, Magars, and Tharus each have their own songs and dancing styles. Musical instruments like Madal, Dhimey, Panchai Baja, and Sarangi are the traditional musical instruments of Nepal.

Architecture of Nepal

Nepalese architecture is characterized by two main styles: the pagoda style with many revolving stalls and the domed stupa style.

The Pashupatinath Temple in Kathmandu, which attracts many tourists, is one of the oldest examples of the pagoda style in the world, built in the first century AD. A Nepalese architect named Araniko was the first to introduce pagoda-style architecture to China. Other examples of this style include Basantpur Palace and Changu Narayan Temple. Boudhanath and Swayambhunath stupas are beautiful examples of stupa architecture. The Shikhara type is another important type of architecture it consists of a high tower in the form of a mountain with carvings in stone or wood. The Krishna Temple in Patan is an example of this type of architecture. In addition to these, the Newa style, derived from the Newar is also can be seen.

Food of Nepal

Nepalese cuisine is heavily influenced by Indian, Tibetan, and Chinese cuisine. Dal, Bhat, and Tarkari is the staple food of all Nepalese regardless of ethnicity. Bhat means rice, dal means lentils, and tarkari means vegetable curry. Apart from this, there are different types of food that are eaten by different tribes and regions. For example, people living in the highlands can replace rice with other grains such as wheat, corn, millet, corn, or barley.

Traditional Clothes

The traditional clothes of Nepal are Daura-Surul and Dhaka Topi for men and Gunyo-Cholo for women. Traditional clothes are different from the caste and culture. People of different cultures wore their own cultural dress at festivals and marriage functions.

Religion

In Nepal, most of the people are Hindus. The census shows that 81.3% of the people follow the Hindu religion, 9% people follow Buddhists, 4.4% Muslims, 3% Kiratis ( the religion of some natives of the Himalayas) tribal), 1.4% Christians, and the remaining 0.9% are Jains, Sikhs, and some people who do not follow any religion. There are places of worship for all religions in the country and all religions celebrate their own festivals. There is great harmony and cooperation between the Hindu and Buddhist communities in Nepal as they share places of worship and celebrate together. Lumbini in Nepal is actually the birthplace of Lord Buddha, so it is a holy place for Hindus and Buddhists.

Language

Nepali is the national language of Nepal, it is actually a multilingual country, with each ethnic group communicating in their own language. As many as 123 languages ​​are spoken in Nepal, the most spoken of which are Nepali, Newari, Maithili, Bhojpuri, Tharu, and Tamang. The Nepali language is written in the Devanagari language and actually evolved from the ancient Sanskrit language.

Handicrafts Arts

Variety of products including metalware, pottery, textiles, wood and stone handicrafts, paper, bone, horn, leather, bamboo, etc. The list seems endless, which means you will never run out of products to buy in Nepal. Although some of these objects, such as metal images of gods and goddesses, religious objects such as bells and vajras, wooden carvings, and silver ornaments, have been made since the beginning of civilization. Among textiles, it is useful to know Pashmina and clothes of yak wool. Nepalese artisans have received respect and admiration for their work from people around the world.

[aroundtheworldwithphillyfogg]

October 24th, 1872: meet Aouda

The project was a bold one, full of difficulty, perhaps impracticable. Mr. Fogg was going to risk life, or at least liberty, and therefore the success of his tour. But he did not hesitate, and he found in Sir Francis Cromarty an enthusiastic ally.

As for Passepartout, he was ready for anything that might be proposed. His master’s idea charmed him; he perceived a heart, a soul, under that icy exterior. He began to love Phileas Fogg.

There remained the guide: what course would he adopt? Would he not take part with the Indians? In default of his assistance, it was necessary to be assured of his neutrality.

Sir Francis frankly put the question to him.

“Officers,” replied the guide, “I am a Parsee, and this woman is a Parsee. Command me as you will.”

“Excellent!” said Mr. Fogg.

“However,” resumed the guide, “it is certain, not only that we shall risk our lives, but horrible tortures, if we are taken.”

“That is foreseen,” replied Mr. Fogg. “I think we must wait till night before acting.”

“I think so,” said the guide.

The worthy Indian then gave some account of the victim, who, he said, was a celebrated beauty of the Parsee race, and the daughter of a wealthy Bombay merchant. She had received a thoroughly English education in that city, and, from her manners and intelligence, would be thought an European. Her name was Aouda. Left an orphan, she was married against her will to the old rajah of Bundelcund; and, knowing the fate that awaited her, she escaped, was retaken, and devoted by the rajah’s relatives, who had an interest in her death, to the sacrifice from which it seemed she could not escape.

The Parsee’s narrative only confirmed Mr. Fogg and his companions in their generous design. It was decided that the guide should direct the elephant towards the pagoda of Pillaji, which he accordingly approached as quickly as possible. They halted, half an hour afterwards, in a copse, some five hundred feet from the pagoda, where they were well concealed; but they could hear the groans and cries of the fakirs distinctly.

They then discussed the means of getting at the victim. The guide was familiar with the pagoda of Pillaji, in which, as he declared, the young woman was imprisoned. Could they enter any of its doors while the whole party of Indians was plunged in a drunken sleep, or was it safer to attempt to make a hole in the walls? This could only be determined at the moment and the place themselves; but it was certain that the abduction must be made that night, and not when, at break of day, the victim was led to her funeral pyre. Then no human intervention could save her.

As soon as night fell, about six o’clock, they decided to make a reconnaissance around the pagoda. The cries of the fakirs were just ceasing; the Indians were in the act of plunging themselves into the drunkenness caused by liquid opium mingled with hemp, and it might be possible to slip between them to the temple itself.

The Parsee, leading the others, noiselessly crept through the wood, and in ten minutes they found themselves on the banks of a small stream, whence, by the light of the rosin torches, they perceived a pyre of wood, on the top of which lay the embalmed body of the rajah, which was to be burned with his wife. The pagoda, whose minarets loomed above the trees in the deepening dusk, stood a hundred steps away.

“Come!” whispered the guide.

He slipped more cautiously than ever through the brush, followed by his companions; the silence around was only broken by the low murmuring of the wind among the branches.

Soon the Parsee stopped on the borders of the glade, which was lit up by the torches. The ground was covered by groups of the Indians, motionless in their drunken sleep; it seemed a battlefield strewn with the dead. Men, women, and children lay together.

In the background, among the trees, the pagoda of Pillaji loomed distinctly. Much to the guide’s disappointment, the guards of the rajah, lighted by torches, were watching at the doors and marching to and fro with naked sabres; probably the priests, too, were watching within.

The Parsee, now convinced that it was impossible to force an entrance to the temple, advanced no farther, but led his companions back again. Phileas Fogg and Sir Francis Cromarty also saw that nothing could be attempted in that direction. They stopped, and engaged in a whispered colloquy.

“It is only eight now,” said the brigadier, “and these guards may also go to sleep.”

“It is not impossible,” returned the Parsee.

They lay down at the foot of a tree, and waited.

The time seemed long; the guide ever and anon left them to take an observation on the edge of the wood, but the guards watched steadily by the glare of the torches, and a dim light crept through the windows of the pagoda.

They waited till midnight; but no change took place among the guards, and it became apparent that their yielding to sleep could not be counted on. The other plan must be carried out; an opening in the walls of the pagoda must be made. It remained to ascertain whether the priests were watching by the side of their victim as assiduously as were the soldiers at the door.

After a last consultation, the guide announced that he was ready for the attempt, and advanced, followed by the others. They took a roundabout way, so as to get at the pagoda on the rear. They reached the walls about half-past twelve, without having met anyone; here there was no guard, nor were there either windows or doors.

The night was dark. The moon, on the wane, scarcely left the horizon, and was covered with heavy clouds; the height of the trees deepened the darkness.

It was not enough to reach the walls; an opening in them must be accomplished, and to attain this purpose the party only had their pocket-knives. Happily the temple walls were built of brick and wood, which could be penetrated with little difficulty; after one brick had been taken out, the rest would yield easily.

They set noiselessly to work, and the Parsee on one side and Passepartout on the other began to loosen the bricks so as to make an aperture two feet wide. They were getting on rapidly, when suddenly a cry was heard in the interior of the temple, followed almost instantly by other cries replying from the outside. Passepartout and the guide stopped. Had they been heard? Was the alarm being given? Common prudence urged them to retire, and they did so, followed by Phileas Fogg and Sir Francis. They again hid themselves in the wood, and waited till the disturbance, whatever it might be, ceased, holding themselves ready to resume their attempt without delay. But, awkwardly enough, the guards now appeared at the rear of the temple, and there installed themselves, in readiness to prevent a surprise.

It would be difficult to describe the disappointment of the party, thus interrupted in their work. They could not now reach the victim; how, then, could they save her? Sir Francis shook his fists, Passepartout was beside himself, and the guide gnashed his teeth with rage. The tranquil Fogg waited, without betraying any emotion.

“We have nothing to do but to go away,” whispered Sir Francis.

“Nothing but to go away,” echoed the guide.

“Stop,” said Fogg. “I am only due at Allahabad tomorrow before noon.”

“But what can you hope to do?” asked Sir Francis. “In a few hours it will be daylight, and—”

“The chance which now seems lost may present itself at the last moment.”

Sir Francis would have liked to read Phileas Fogg’s eyes. What was this cool Englishman thinking of? Was he planning to make a rush for the young woman at the very moment of the sacrifice, and boldly snatch her from her executioners?

This would be utter folly, and it was hard to admit that Fogg was such a fool. Sir Francis consented, however, to remain to the end of this terrible drama. The guide led them to the rear of the glade, where they were able to observe the sleeping groups.

Meanwhile Passepartout, who had perched himself on the lower branches of a tree, was resolving an idea which had at first struck him like a flash, and which was now firmly lodged in his brain.

He had commenced by saying to himself, “What folly!” and then he repeated, “Why not, after all? It’s a chance,—perhaps the only one; and with such sots!” Thinking thus, he slipped, with the suppleness of a serpent, to the lowest branches, the ends of which bent almost to the ground.

The hours passed, and the lighter shades now announced the approach of day, though it was not yet light. This was the moment. The slumbering multitude became animated, the tambourines sounded, songs and cries arose; the hour of the sacrifice had come. The doors of the pagoda swung open, and a bright light escaped from its interior, in the midst of which Mr. Fogg and Sir Francis espied the victim. She seemed, having shaken off the stupor of intoxication, to be striving to escape from her executioner. Sir Francis’s heart throbbed; and, convulsively seizing Mr. Fogg’s hand, found in it an open knife. Just at this moment the crowd began to move. The young woman had again fallen into a stupor caused by the fumes of hemp, and passed among the fakirs, who escorted her with their wild, religious cries.

Phileas Fogg and his companions, mingling in the rear ranks of the crowd, followed; and in two minutes they reached the banks of the stream, and stopped fifty paces from the pyre, upon which still lay the rajah’s corpse. In the semi-obscurity they saw the victim, quite senseless, stretched out beside her husband’s body. Then a torch was brought, and the wood, heavily soaked with oil, instantly took fire.

At this moment Sir Francis and the guide seized Phileas Fogg, who, in an instant of mad generosity, was about to rush upon the pyre. But he had quickly pushed them aside, when the whole scene suddenly changed. A cry of terror arose. The whole multitude prostrated themselves, terror-stricken, on the ground.

The old rajah was not dead, then, since he rose of a sudden, like a spectre, took up his wife in his arms, and descended from the pyre in the midst of the clouds of smoke, which only heightened his ghostly appearance.

Fakirs and soldiers and priests, seized with instant terror, lay there, with their faces on the ground, not daring to lift their eyes and behold such a prodigy.

The inanimate victim was borne along by the vigorous arms which supported her, and which she did not seem in the least to burden. Mr. Fogg and Sir Francis stood erect, the Parsee bowed his head, and Passepartout was, no doubt, scarcely less stupefied.

The resuscitated rajah approached Sir Francis and Mr. Fogg, and, in an abrupt tone, said, “Let us be off!”

It was Passepartout himself, who had slipped upon the pyre in the midst of the smoke and, profiting by the still overhanging darkness, had delivered the young woman from death! It was Passepartout who, playing his part with a happy audacity, had passed through the crowd amid the general terror.

A moment after all four of the party had disappeared in the woods, and the elephant was bearing them away at a rapid pace. But the cries and noise, and a ball which whizzed through Phileas Fogg’s hat, apprised them that the trick had been discovered.

The old rajah’s body, indeed, now appeared upon the burning pyre; and the priests, recovered from their terror, perceived that an abduction had taken place. They hastened into the forest, followed by the soldiers, who fired a volley after the fugitives; but the latter rapidly increased the distance between them, and ere long found themselves beyond the reach of the bullets and arrows.

The rash exploit had been accomplished; and for an hour Passepartout laughed gaily at his success. Sir Francis pressed the worthy fellow’s hand, and his master said, “Well done!” which, from him, was high commendation; to which Passepartout replied that all the credit of the affair belonged to Mr. Fogg. As for him, he had only been struck with a “queer” idea; and he laughed to think that for a few moments he, Passepartout, the ex-gymnast, ex-sergeant fireman, had been the spouse of a charming woman, a venerable, embalmed rajah! As for the young Indian woman, she had been unconscious throughout of what was passing, and now, wrapped up in a travelling-blanket, was reposing in one of the howdahs.

The elephant, thanks to the skilful guidance of the Parsee, was advancing rapidly through the still darksome forest, and, an hour after leaving the pagoda, had crossed a vast plain. They made a halt at seven o’clock, the young woman being still in a state of complete prostration. The guide made her drink a little brandy and water, but the drowsiness which stupefied her could not yet be shaken off. Sir Francis, who was familiar with the effects of the intoxication produced by the fumes of hemp, reassured his companions on her account. But he was more disturbed at the prospect of her future fate. He told Phileas Fogg that, should Aouda remain in India, she would inevitably fall again into the hands of her executioners. These fanatics were scattered throughout the county, and would, despite the English police, recover their victim at Madras, Bombay, or Calcutta. She would only be safe by quitting India for ever.

Phileas Fogg replied that he would reflect upon the matter.

The station at Allahabad was reached about ten o’clock, and, the interrupted line of railway being resumed, would enable them to reach Calcutta in less than twenty-four hours. Phileas Fogg would thus be able to arrive in time to take the steamer which left Calcutta the next day, October 25th, at noon, for Hong Kong.

The young woman was placed in one of the waiting-rooms of the station, whilst Passepartout was charged with purchasing for her various articles of toilet, a dress, shawl, and some furs; for which his master gave him unlimited credit. Passepartout started off forthwith, and found himself in the streets of Allahabad, that is, the City of God, one of the most venerated in India, being built at the junction of the two sacred rivers, Ganges and Jumna, the waters of which attract pilgrims from every part of the peninsula. The Ganges, according to the legends of the Ramayana, rises in heaven, whence, owing to Brahma’s agency, it descends to the earth.

Passepartout made it a point, as he made his purchases, to take a good look at the city. It was formerly defended by a noble fort, which has since become a state prison; its commerce has dwindled away, and Passepartout in vain looked about him for such a bazaar as he used to frequent in Regent Street. At last he came upon an elderly, crusty Jew, who sold second-hand articles, and from whom he purchased a dress of Scotch stuff, a large mantle, and a fine otter-skin pelisse, for which he did not hesitate to pay seventy-five pounds. He then returned triumphantly to the station.

The influence to which the priests of Pillaji had subjected Aouda began gradually to yield, and she became more herself, so that her fine eyes resumed all their soft Indian expression.

When the poet-king, Ucaf Uddaul, celebrates the charms of the queen of Ahmehnagara, he speaks thus:

“Her shining tresses, divided in two parts, encircle the harmonious contour of her white and delicate cheeks, brilliant in their glow and freshness. Her ebony brows have the form and charm of the bow of Kama, the god of love, and beneath her long silken lashes the purest reflections and a celestial light swim, as in the sacred lakes of Himalaya, in the black pupils of her great clear eyes. Her teeth, fine, equal, and white, glitter between her smiling lips like dewdrops in a passion-flower’s half-enveloped breast. Her delicately formed ears, her vermilion hands, her little feet, curved and tender as the lotus-bud, glitter with the brilliancy of the loveliest pearls of Ceylon, the most dazzling diamonds of Golconda. Her narrow and supple waist, which a hand may clasp around, sets forth the outline of her rounded figure and the beauty of her bosom, where youth in its flower displays the wealth of its treasures; and beneath the silken folds of her tunic she seems to have been modelled in pure silver by the godlike hand of Vicvarcarma, the immortal sculptor.”

It is enough to say, without applying this poetical rhapsody to Aouda, that she was a charming woman, in all the European acceptation of the phrase. She spoke English with great purity, and the guide had not exaggerated in saying that the young Parsee had been transformed by her bringing up.

The train was about to start from Allahabad, and Mr. Fogg proceeded to pay the guide the price agreed upon for his service, and not a farthing more; which astonished Passepartout, who remembered all that his master owed to the guide’s devotion. He had, indeed, risked his life in the adventure at Pillaji, and, if he should be caught afterwards by the Indians, he would with difficulty escape their vengeance. Kiouni, also, must be disposed of. What should be done with the elephant, which had been so dearly purchased? Phileas Fogg had already determined this question.

“Parsee,” said he to the guide, “you have been serviceable and devoted. I have paid for your service, but not for your devotion. Would you like to have this elephant? He is yours.”

The guide’s eyes glistened.

“Your honour is giving me a fortune!” cried he.

“Take him, guide,” returned Mr. Fogg, “and I shall still be your debtor.”

“Good!” exclaimed Passepartout. “Take him, friend. Kiouni is a brave and faithful beast.” And, going up to the elephant, he gave him several lumps of sugar, saying, “Here, Kiouni, here, here.”

The elephant grunted out his satisfaction, and, clasping Passepartout around the waist with his trunk, lifted him as high as his head. Passepartout, not in the least alarmed, caressed the animal, which replaced him gently on the ground.

Soon after, Phileas Fogg, Sir Francis Cromarty, and Passepartout, installed in a carriage with Aouda, who had the best seat, were whirling at full speed towards Benares. It was a run of eighty miles, and was accomplished in two hours. During the journey, the young woman fully recovered her senses. What was her astonishment to find herself in this carriage, on the railway, dressed in European habiliments, and with travellers who were quite strangers to her! Her companions first set about fully reviving her with a little liquor, and then Sir Francis narrated to her what had passed, dwelling upon the courage with which Phileas Fogg had not hesitated to risk his life to save her, and recounting the happy sequel of the venture, the result of Passepartout’s rash idea. Mr. Fogg said nothing; while Passepartout, abashed, kept repeating that “it wasn’t worth telling.”

Aouda pathetically thanked her deliverers, rather with tears than words; her fine eyes interpreted her gratitude better than her lips. Then, as her thoughts strayed back to the scene of the sacrifice, and recalled the dangers which still menaced her, she shuddered with terror.

Phileas Fogg understood what was passing in Aouda’s mind, and offered, in order to reassure her, to escort her to Hong Kong, where she might remain safely until the affair was hushed up—an offer which she eagerly and gratefully accepted. She had, it seems, a Parsee relation, who was one of the principal merchants of Hong Kong, which is wholly an English city, though on an island on the Chinese coast.

At half-past twelve the train stopped at Benares. The Brahmin legends assert that this city is built on the site of the ancient Casi, which, like Mahomet’s tomb, was once suspended between heaven and earth; though the Benares of to-day, which the Orientalists call the Athens of India, stands quite unpoetically on the solid earth, Passepartout caught glimpses of its brick houses and clay huts, giving an aspect of desolation to the place, as the train entered it.

Benares was Sir Francis Cromarty’s destination, the troops he was rejoining being encamped some miles northward of the city. He bade adieu to Phileas Fogg, wishing him all success, and expressing the hope that he would come that way again in a less original but more profitable fashion. Mr. Fogg lightly pressed him by the hand. The parting of Aouda, who did not forget what she owed to Sir Francis, betrayed more warmth; and, as for Passepartout, he received a hearty shake of the hand from the gallant general.

The railway, on leaving Benares, passed for a while along the valley of the Ganges. Through the windows of their carriage the travellers had glimpses of the diversified landscape of Behar, with its mountains clothed in verdure, its fields of barley, wheat, and corn, its jungles peopled with green alligators, its neat villages, and its still thickly-leaved forests. Elephants were bathing in the waters of the sacred river, and groups of Indians, despite the advanced season and chilly air, were performing solemnly their pious ablutions. These were fervent Brahmins, the bitterest foes of Buddhism, their deities being Vishnu, the solar god, Shiva, the divine impersonation of natural forces, and Brahma, the supreme ruler of priests and legislators. What would these divinities think of India, anglicised as it is to-day, with steamers whistling and scudding along the Ganges, frightening the gulls which float upon its surface, the turtles swarming along its banks, and the faithful dwelling upon its borders?

The panorama passed before their eyes like a flash, save when the steam concealed it fitfully from the view; the travellers could scarcely discern the fort of Chupenie, twenty miles south-westward from Benares, the ancient stronghold of the rajahs of Behar; or Ghazipur and its famous rose-water factories; or the tomb of Lord Cornwallis, rising on the left bank of the Ganges; the fortified town of Buxar, or Patna, a large manufacturing and trading-place, where is held the principal opium market of India; or Monghir, a more than European town, for it is as English as Manchester or Birmingham, with its iron foundries, edgetool factories, and high chimneys puffing clouds of black smoke heavenward.

Night came on; the train passed on at full speed, in the midst of the roaring of the tigers, bears, and wolves which fled before the locomotive; and the marvels of Bengal, Golconda ruined Gour, Murshedabad, the ancient capital, Burdwan, Hugly, and the French town of Chandernagor, where Passepartout would have been proud to see his country’s flag flying, were hidden from their view in the darkness.

[gsoberoistructure]

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[alsjeblieft-zeg]

161 of 2023

How much as your life been influenced by other cultures? [True or False]

Created by joybucket

🇫🇷 France 🇫🇷 You've had a French manicure. You like to eat French toast. 🥪 You like to eat French fries. 🍟 (except that they’re not even French) You've ordered French dip at a restaurant. You've taken a ballet class. 🩰 Something you own has a picture of the Eiffel Tower on it. You've either visited Paris OR you'd like to visit Paris. You like to eat croissants. 🥐 You know how to French-braid hair. You've had your hair French-braided. You've been to a live performance of the Nutcracker. You've tried macarons. (didn’t like them) You've made your own macarons. You like macarons. You've worn a beret. You can speak French. (well, it’s debatable XD) You took a French class in school. (mandatory here)

🇨🇳 China 🇨🇳 You own something that was made in China. You love Chinese food. 🥡 🥢 You've eaten at a Chinese restaurant. You've been to a Chinatown in a big city. You know how to eat with chopsticks. 🥢 You own a Chinese paper lantern. 🏮 You know what your Chinese zodiac sign is. You've read Chinese historical fiction. 📕 You've flown a dragon kite. 🐉🪁 You celebrate the Chinese New Year. 🧧

🇯🇵 Japan 🇯🇵 You like to read anime/manga. You've dressed up as an anime character. You've been to a cosplay event. You like to draw anime characters. You've listened to Jpop music. You like Japanese street fashion. You've tried sushi. 🍣 You like sushi. 🍱 You've tried pockey. You like pockey. You think kimonos look cool. 👘 You've worn a kimono. 👘 You've taken a martial arts class. 🥋 There are cherry blossom trees in your neighborhood. 🌸 🍒 You love cherry blossoms. You've been friends with a Japanese exchange student. You've shopped at a Sanrio store. You've ordered something online from an Asian website. You've experimented with the feng shui style of decorating. You've used the Tokyo Tower emoji. 🗼 You know what "konichiwa" means. You've tried jasmine green tea. 🍵 You've drank Arizona Green Tea. You've tried origami. You know how to make a paper crane. You've sang karaoke at a karaoke bar. 🎤 You think Japanese symbols look really cool.

🇨🇳🇯🇵🇹🇭🇰🇷🇰🇵 Asia 🇻🇳🇰🇭🇹🇼🇲🇾🇵🇭 You like Indian food. 🍲 You like Thai food. 🍲 You've tried yoga. 🧘‍♀️ You regularly practice yoga. 🧘‍♂️ You've experimented with Buddhism. 🕉 You're a Buddhist. You like elephants. 🐘 You own a shirt with an elephant on it. 🐘 You've experimented with Hinduism. 🕉 You're a Hindu. You own a pair of pants with elephants on them. 🐘 You've ridden an elephant. 🐘 You like to drink green tea. 🍵 You like Yogi tea. ☕️ You own a set of matryoshka dolls. 🪆 You like to watch sumo wrestling. You have an Asian symbol tattooed on your body. You own a set of Japanese dolls. 🎎 You've worn a sari.🥻 You've read Indian historical fiction. You've read Japanese historical fiction. You own something that was made in Taiwan. You own something that was made in Cambodia. You own a Buddhist statue. You've taken a belly dancing class. You've worn a shimmy belt. You like Indian music. There is a park with a pagoda in your neighborhood. You've had an Asian friend. You've saved a fortune from a fortune cookie that you really liked. 🥠 You're on a quest to find spiritual enlightenment. You've tried to balance your chakras. You've burned incense. You've made curry. You like curry. You've used the spice Turmeric. You own something made of bamboo. You own something that has an Asian symbol on it. You've played the flute.

🏴󠁧󠁢󠁥󠁮󠁧󠁿 England 🏴󠁧󠁢󠁥󠁮󠁧󠁿 You speak English. (obviously lol) You like to drink tea. ☕️ You like English Breakfast Tea. ☕️ You've been to London. You want to go to London. You've had your picture taken next to a red telephone booth. You like to eat scones. You love British accents. You like English muffins. You own something with a picture of either Big Ben, a red telephone booth, or a British guard on it. 💂‍♀️ You've read English historical fiction. You own something with the British flag on it. 🇬🇧 You like the British flag. 🇬🇧 Your country's flag has the colors of the British flag on it. 🇬🇧 You've attended a university that had a big Clock Tower in the middle of campus. You've read the Harry Potter series. 📚

🇩🇪 Germany 🇩🇪 You know someone who is German. (well, my mum is half-German if it counts) You learned about the Holocaust in school. You've been to Germany. You've been friends with a foreign exchange student from Germany. You've been to a town that is known for its German architecture. You had to read The Dairy of Anne Franke for school.

🇮🇪 Ireland 🇮🇪 You like Celtic music. 🎻 You know someone who can play the violin. 🎻 You've taken violin lessons. You've taken an Irish dance class. You've tried Irish soda bread. ...and you liked it. You celebrate St. Patrick's Day. You have red hair. 👩‍🦰 You like redheads. You've dyed your hair red. You know the legend of St.Patrick. You've been to a pub. 🍺 You've been to Ireland. 🇮🇪 You want to visit Ireland someday. You've danced an Irish jig. You've found a four-leaf clover. 🍀 You own a claddagh ring. You've tied a Celtic knot. You've worn a kilt ....or any plaid skirt. You know how to play the bagpipes. (I wish) You like the color green.

🇲🇽 Mexico 🇲🇽 You love Mexican food. 🌮 You like tacos. 🌮 You've owned a chihuahua. You've played the maracas. You like to eat beans. 🫘 You've worn a sombrero. You've worn a shirt with bright-colored embroidery on it. You can speak Spanish. You took a Spanish class in school. You like sugar skulls. You've had a birthday party with a piñata. 🪅 You've hit a piñata at someone else's birthday party. 🪅 You've met someone named Maria. You like Mexican music. You know someone who can speak Spanish fluently. You know how to count to ten in Spanish. You've had a friend who's Mexican. You've been to Mexico.

[mahayanapilgrim]

Global Spread of Buddhism - 05

Buddhism in Myanmar (Burma)

According to Burmese legend it is believed that Gautama Buddha visited Burma on four different occasions and the hair relics that were given by Buddha to the two merchants Thapassu and Bhalluka are believed to have been enshrined in a pagoda called Shewdagon Pagoda in Burma.Theravada tradition of Buddhism is said to have arrived in Southern Burma through the Buddhist missionaries sent by King Asoka following the 3rd Buddhist Council in the 3rd century BC. Around the 5th century Mahayana tradition was also introduced in to Northern Burma by the Indian migrants. During the 11th century a king named Anawratha became the ruler of both Southern and Northern Burma who converted to Theravada Buddhism and made it the state religion.

Beginning from that period there has been a fairly constant exchange of Theravada Buddhist practices between Burma and Sri Lanka to the advantage of both countries in reversing a decline in Theravada practice. During the 17th century several Buddhist texts including the Abhidhamma of the Tripitaka were translated into Burmese language and from then on the study of Abhidhamma had become popular among the Burmese which is said to continue to date.

Two Buddhist Councils, the 5th Buddhist Council in 1871 and the 6th Buddhist Council from 1954 to 1956 were held in Burma. It is believed that around 89% of the Burmese population of around 55 million are followers of Theravada Buddhist tradition.

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To-ji

The To-ji Shingon Buddhist temple complex is located in Kyoto, Japan. Founded in 796 CE, its five-storey wooden pagoda is the largest in Japan, a symbol of the city, and listed as a National Treasure. The complex includes other examples of ancient architectural styles such as the Kondo Main Hall and Kodo Lecture Hall, as well as many important figure sculptures. To-ji is also a UNESCO World Heritage Site and remains the centre of Shingon (Esoteric) Buddhism in Japan.

To-ji (meaning East Temple) was founded as a more modest building in 796 CE when it stood at the east side of the Rashomon gate of Heiankyo (Kyoto), then the capital of Japan. It was and continued to be the most important state-funded temple in Heiankyo. In 823 CE it was enlarged under the supervision of the scholar monk Kukai (aka Kobo Daishi), the founder of Shingon Buddhism in Japan. To-ji, thus, became a monastery complex for the study of that faith. It was the first Japanese Buddhist temple complex to be dedicated to one sect only, and its number of Shingon monks was limited to 50, led by an abbot or choja.

Kondo (Main Hall)

The Kondo building or Main Hall (aka Golden Hall) is the largest structure at To-ji and a National Treasure of Japan. It was first built in the 8th century CE but destroyed by fire in 1486 CE, eventually being reconstructed in 1603 CE. It has a double roof in the irimoya style, but it also includes elements from the Indian tenjiku style making it an excellent example of Momoyama Period (1573-1600 CE) architecture. It appears to have two storeys from the outside but really has only one, the interior ceiling being 12 metres (39 ft) high.

Inside the hall is a gilded wooden statue of Yakushi Nyorai, the Buddha of medicine and healing, which stands an impressive 2.9 metres (9.6 ft) tall with a large aureole or halo behind which has seven miniature figures of the Buddha. The pedestal on which the figure stands is supported by small standing sculptures of the Twelve Heavenly Generals who act as Yakushi Nyorai's guardians. On either side are figures of Nikko Bosatsu and Gakko Bosatsu, the sun and moon deities, respectively. This pair and the Yakushi Nyorai statue were sculpted by the celebrated Buddhist sculptor Kosei in 1603 CE and are all listed as Important Cultural Properties.

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