#abhidhamma

[averycanadianfilm]

The Theravada Abhidhamma with Bhikkhu Bodhi (Class #2, 7 Mar 2018)

32,954 views  Sep 30, 2018  

The Theravada Abhidhamma with Bhikkhu Bodhi 2018

Dharma Realm Buddhist University Extension hosted Venerable Bhikkhu Bodhi for a lecture series at the City of Ten Thousand Buddhas in Ukiah, CA. The Abhidhamma is the philosophical psychology of Early Buddhism, dealing with such topics as types of consciousness, the 52 mental factors, processes of cognition, and the development of the mind’s higher potentials. Venerable Bhikkhu Bodhi is an American Buddhist monk with many important publications to his credit, either as author, translator, or editor, including the main text for this class. 

 To learn more, visit: http://extension.drbu.edu/

[bunger-royale]

Thought-moments are mental states we experience when a physical or mental object enters the mind. Each thought-moment is followed by another. Time is thus the sine qua non of the succession of mental states. The fundamental unit of time is the duration of a thought-moment. The rapidity of these fleeting thought-moments is such that within the brief duration of a flash of lightning there may be billions of thought-moments.

[bhaskarlive]

Classical Language status to Pali is tribute Lord Buddha: PM Modi on International Abhidhamma Divas

Prime Minister Narendra Modi on Thursday attended the celebrations of International Abhidhamma Divas and recognition of Pali as a classical language at Vigyan Bhavan here, calling the new status of Pali a tribute to the enduring legacy of Lord Buddha.

Source: bhaskarlive.in

[vindelllas]

frivolous or fated: buddha and beauty 🧖🏽‍♀️🛀🏽

Disclaimer: this is only part one (my document was too long to include in one post). If you would like for me to post part two, please let me know!

🛁 The predominant attitude towards the beauty of things in the classical texts is one of suspicion and met with usual hostility. Physical beauty, especially that of women historically, is accused of causing attachment and craving. Beauty is deemed as “the nutriment for sensual desire” in mercurial principles and thereby being acclaimed as the source of greed, hate, and delusion too. Enjoyment of one’s beauty, and repulsion at another’s ugliness, is deemed as incompatible with the great virtue of equanimity that enjoins us to be mindful and attain enlightenment without the filtering usage of the prism of worldly subjection. Whereas, worldly beauty is demonized, as it is attributed to distracting the masses from the ubiquity of suffering in this earthly plane. This is why in many buddhist principles, the antithesis to beauty-based seduction is focusing oneself upon bringing awareness to the “ugly”, such as death. Yet in countries like Thailand, beauty is theorized to be rewarded to women who have lived without expressing aggression, perpetuating hatred, and experiencing feelings of resentment in a previous life. Focusing on an object such as a disc (or a yantra in vedic culture), is taking in great beauty and bestowing the onlooker with tranquil meditation abundance. In this post, I will be evaluating what true beauty means in various cultures and how we can incorporate these theories into nuanced conversations about self care and overall beautification of oneself. The following deep dive into primarily eastern literature and spiritual concepts does not mean that these are solely accurate opinions, but it is designed to expand one’s palette to spiritual beautification outside of western ideologies.

🛀🏽 There are several modes of beauty. However, the main three categories of beauty I have stumbled upon are inner beauty, wordly beauty, and physical beauty. Inner beauty is the beauty of one’s character, the beauty of the person’s spirit, or moral beauty. But this inner realm or entity is not exactly disjoined from bodily and physical existence. It is simply the beauty that belongs to a person in virtue of their character, moral qualities, understanding, and experience. In contrast with the beauty of things or the world, there is substantial evidence for the importance of inner beauty in Buddhist knowledge. In the Cakkavatti-Shanda sutta, buddha answers his own question, ‘What is beauty for a monk?’, with a list of qualities such as “right conduct, restraint, perfection in habit, and an awareness of danger in the slightest fault”. In the verses of the female ancestors, who repeatedly celebrate their emancipation from the desire to cultivate physical beauty, there is an interesting reference to one nun, Subh, who it is said “went forth full of faith, beautiful by reason of the true doctrine”. In the Abhidhamma, whole sections are devoted to defining the various forms of beautiful consciousness and beautiful mental factors: including compassion, non-delusion and mindfulness (some of which are present in all the beautiful states of consciousness).

🧼 However these references towards beauty have sparked much debate. The word “beauty” is used to talk about “the inner”, about character and virtues. Translators have begged the question why does Buddha not speak of the restrained, alert, right thinking monk as simply being “good” or “holy”? Why is he described as beautiful? And why was Subh deemed beautiful, rather than just virtuous, by reason of dharma? This literature is explicitly stating there is a lack of connection between inner beauty with the beauty of things as seen, heard or otherwise perceived through the ordinary senses, such as sight and hearing. It is, after all, the domain of sensory/what may be perceptually experienced. As children, we learn the use of words like “beautiful” via connecting the term with what is visible, audible or otherwise available to the senses.

🧴 Prominent aesthetic-based philosophers Immanuel Kant (ashwini surya and revati chandra), Alexander Baumgarten (pushya surya and hasta chandra), and Francis Hutcheson (ashlesha surya and uttara bhadrapada chandra) studied the primacy of the sensorial experience by defining beauty in terms of sensory experience. But it has long been recognized that sensorial beauty was a sign of a more elevated form of beauty. For example, Plato, in Phaedrus, states that true beauty is something that one on the earthly plane may only discern when “reminded by the sight of beauty on earth” and that beauty is apprehended through sight: “the keenest of our physical senses”. The journey towards this appreciation of “true beauty” prescribed to Socrates by Diotima in The Symposium, is through witnessing the sight of beautiful figures (bodies). For Kant and others, it was believed that it is the beauty of God that finally matters. As Abbé Suger stated: “the multi-coloured loveliness of gems has… [transported] me from material to immate- rial things, for our dull mind is incapable of rising to the truth except through that which is material”. According to these ideologies, it is in this manner too that one should interpret Suger’s succinct definition of beauty as what pleases through being seen. This is a concept explicitly explored in the rashi of virgo. In my previous notions on virgo nakshatras, I have stated that the journey through this rashi is the journey towards uncovering the jewels of chitra through the eroticism of uttara phalguni and abstinence of hasta, the material cravings of the flesh have become transmuted into the immaterial learnings all virgo natives crave.

🪒 In Buddhist ideologies of beauty, some writers have proposed certain analogies between inner beauty and that of objects of perceptual experience with the intention of justifying their references to inner beauty. For example, a beautiful mind has been compared to a beautiful garden due to neither being considered wild or disorderly. Additionally, similar to carefully crafted art pieces, the beautiful mind possesses balance, proportion, and rhythm. However, unless such analogies are developed and deepened, suspicion about the merely figurative use of beauty will continue to arise. The mind of a man (note this is only in reference to men and not women in this literature) is controlled via craving/delusion and may be disorderly. However, is this “disorder” comparable to that of an untended garden?

🖼️ Some ancient texts argue the causal connections between moral character and physical beauty, with the potential purpose of inviting a transfer of the vocabulary of beauty from the latter to the former. For example, think of the passages mentioned earlier where Buddha describes physical beauty as a future karmic reward for a virtuous life. However, causal connections like this are insufficient to warrant a transfer of terms from physical beauty to its correlation to a person’s character. If references to inner beauty are to be justified, more intimate connections than ones of analogy and cause and effect need to be established between the inner essence of a person and the primary domain of beauty, things as experienced through the ordinary senses. So let us explore further…

🎀 Philosopher Ludwig Wittgenstein (ashwini surya, conjunct buddha to the exact degree, and uttara bhadrapada chandra) once spoke “the human body is the best picture of the human soul”. As a painting may express the feelings of an artist, so too the body, via gesture, comportment, facial expression, or demeanor, is an expression of a person’s inner reality, their character. Inferring only when the inner finds beautiful expression in the body, there is good reason to speak of inner beauty. Similar to when a person’s attitude is described as cheerful due to their cheerful smile and physical gestures that convey it to other people. In this case, the beautiful soul is “beautiful” because its bodily expression in the world is beautiful. Expression, therefore, is a kind of intimate connection required between the inner and the outer. The virtuous mind and/or character is only beautiful because it finds beautiful expression in and through the body. The idea that virtue, like courage, finds bodily expression is no more difficult and controversial than the idea of bodily expression of feelings, i.e. cheerfulness and sadness. A gesture, for example, is an expression of anger or courage when it is itself angry or courageous, and in a way that presents itself as having such a quality, at least to the mindful observer. So why should virtue find expression in beautiful gestures? Is this a matter of luck?

🧧 This connection is not at all a matter of luck. Beauty that is expressed bodily is the expression of virtue. We recognize and appreciate gestures, facial expressions and so on as beautiful precisely because we experience them as expressions of virtue. A woman’s smile, for example, is found to be beautiful because it is seen to express compassion. A monk’s comportment is deemed to be beautiful because it is experienced as an expression of humility. It may perhaps be that this expression of compassion or humility is faux. But that does not negate from the fact that our reasoning for finding the smile or comportment beautiful is the perception of it as an expression of virtue. Behavior that expresses anger may be feigned, that does not mean that the connection between angry behavior and an angry mood is merely contingent. Nor is the connection between beauty of expression and virtue. This is why bodily altercations for the purpose of increasing one’s beauty is not necessarily warranted for demonization.

🪭 This virtue-based attitude toward bodily beauty was personified by the words of Kant. Kant argues beauty belongs to the human body due to the body’s manifestation of moral virtues. There are similarities to this virtue emphasis in Buddhist texts too. For example, it is implied that it is appropriate to call Subh “beautiful by reason of dharma” because of the ways her holiness is manifested in her personal cleanliness and calm/grace of her comportment. Some testaments to Buddha’s physical beauty are centered around his sexual attractiveness to women who are “overpowered by passion” in his presence. Therefore, it is true that sometimes Buddha is found to be physically beautiful, even by people deemed to possess pure minds, as gentle dispositions are casual for other virtues such as fine countenance and posture to manifest. According to canonical texts, nearly all of which make for masculine physical beauty, include “the torso of a lion” and “straight limbs” of which are aspects of the Buddha’s comportment, such as effortless grace of movement, cleanliness, and calm that are expressions of his virtue. It is not only in Pali and Sanskrit literature that there is evidence of a virtue-based understanding of bodily beauty. In eastern asian Buddhist writings, there are similar understandings and underlying connections. For example, beauty is not merely of appearance, but of the spirit (suggesting both are intertwined). It is this inner quality that possesses beauty precisely because of the way it manifests itself outwards via grand gestures, glances and poise. Thus implying there is no warrant for referring to inner beauty as beautiful unless this beauty is expressed in and through the body.

📿 For a person’s character or inner reality to qualify as beautiful, it must possess magnetism. It must attract the heart. Whether this magnetism or attraction is thought of as a further condition of inner beauty, in addition to bodily expression, or as an aspect of this expression that deserves to be made salient in an account of inner beauty is up to one’s personal spiritual journey. Either way, it is through the body that a person exercises magnetism and attracts the hearts/adoration of others. This beauty must be magnetic and attractive via exerting radiance that draws people to it, is an idea found in the teachings of Plato, Plotinus and a minority of later Christian thinkers such as the pseudo-dionysius. It is this magnetism that distinguishes the beautiful from the good. Certain states of a person can be considered “beautiful” and this is due to the person who exemplifies such beauty embodying or mediating a certain concentration of energy. This energy sustains a certain demeanor and perspective and through this radiation and attraction. It is an energy that is aptly described as an object or form of eros (erotic love). For a person to count as beautiful, it is not enough that their virtue shows up in some way, such as solely via donations that one makes to charities or volunteer work. It must show up in an aesthetically charged way: via gestures, demeanor, style, and presence that draws others, sensitive to the energy being radiated, to the person. For just as there was recognition that inner beauty must be bodily expressed, so there is an acknowledgement in some Buddhist texts that inner beauty must attract.

🔮 Consider once more the texts that attest to Buddha’s personal beauty. Gotama was said to become radiant in the presence of Buddha’s beauty and seeing him there, standing in his beauty, men and women are drawn to devote themselves and offer reverence to him (similar to the powerful mahavidyas discussed in the vedic religion). Contrarily, consider the sequence of verses in the Dhammapada in which the search for perfection is compared to a bee’s search for a beautifully scented flower. In order to possess beauty, the words and actions of one must exude a perfume that attracts others. This perfume of virtue, one verse tells us, “gives joy to the soul”, as the light of wisdom is emitted by a truly enlightened follower of dharma. So too inner beauty exerts the same magnetism on the searcher for perfection as a flower’s scent attracts a bee. This theme of beauty’s magnetism is a persistent one. In the thirteenth century, Dogen observed that the body of a true follower of Buddhism feels at ease and “their actions take on grace”, so that this person’s “appearance attracts others”. In this text, Dogen is drawing upon not only Buddhist principles, but a Daoist and Confucian tradition in which the de (‘virtue’) of “the consummate person” or sage is conceived of in terms of charisma, of an inner goodness that is at power to influence and attract others.

🪔 Beauty’s magnetism is attested to by contemporary Buddhists as well. In “Attracting the Heart”, Samuels examines the aesthetics of the emotions in present day Sri Lankan religious life. Samuels’ research provides a source of Buddhist testimonies, mainly from monks and novices, in relation to the magnetic power of moral beauty. For example, he speaks of how they attempt to go beautifully in order to attract the people’s hearts via their dignified posture, speech, or cleanliness. Stating a monk must be “beautiful to the eye” or to the ear, when reciting verses in order make people feel longing for “the holy life”. As Samuels states, his research confirms that there is value in an aesthetic standard that informs Buddhist practice and invests into a quality of bodily movement, posture, speech, and action. Thus, inducing an aesthetically pleasing transformation. This attempted to justify the notion of inner beauty that several authors attribute to Buddhist thinking. Such a justification is at least intimated in Buddhist texts and testimony. Thus, virtue, in order to constitute beauty of character, must be beautifully expressed in and through the body, in a way moreover that exerts magnetism or attraction. Later on, I explore the possibility that a distinctively Buddhist understanding of beauty in art may be inspired by the Buddhist understanding of inner beauty. Earlier, I spoke of the assertion that awakened experience is an experience of beauty, but it may be right to suggest, immediately afterwards, that through the awareness sought by Buddhists, our appreciation of the arts is also enriched. If this is true, however, it will solely be attributed to the beauty appreciated in art as it is intimately related to the inner beauty previously discussed.

🧘🏽‍♀️ For some Buddhists, the most contrary feature to the religion of the ordinary discourse of beauty is its discrimination, on the basis of subjective experience, between beautiful and non-beautiful things. The “beauty” that simply stands opposed to ugliness is not true beauty… but deemed to be rather a dualistic idea according to Yanagi Soetsu (uttara bhadrapada surya and swati chandra). True beauty, Soetsu describes, is a state of mind, of “freedom from impediment and preoccupation”. For someone who achieves this state of mind, “everything is beautiful”, includ- ing all works of art. These remarks attempt to relate beauty in the world to an inner, ‘true’ beauty of the mind but not without nuance. Yanagi himself makes the very distinctions between beautiful and vulgar (or graceful and garish) artworks which can be contradictory. Whether or not an intelligible concept of beauty, according to which everything is beautiful, can be developed, it is clear that this would not be the ordinary, central concept of beauty. To be told that, in the Buddhist understanding of ‘true beauty’, all art is beautiful is, in effect, to be told that Buddhism has nothing to contribute to the aesthetics of beauty in art.

🎨 The challenge is to work outwards towards a notion of beauty in the world and in art, one that is compatible with discernment between the beautiful and the non-beautiful, from the notion of inner beauty previously spoken about. We have encountered, in effect, a clear-cut, paradigmatic, case of worldly beauty–in the gesture, demeanor, comportment or whatever bestows a beautiful expression to virtue of character, and thereby justifies reference to inner beauty. The body and its actions are in and of the world, their beauty is, in this sense at least, worldly beauty. Crucially, we have also encountered a case where beauty of bodily expression is at the same time a case of beauty in art. Zeami’s view that a certain kind of inner beauty manifests itself outwards in the gestures, glances and poise of an individual. But this individual is an actor, whose beautiful bodily expression therefore belongs to an art form. More generally, in an appropriate context bodily movements and activity may constitute artistic performance, such as a dance. In such contexts, there is no difficulty in seeing that art inherits, via the bodily activity that constitutes it, the inner beauty that it expresses.

🪻 This concept may be applicable to other arts and practices, including many of those that, in East Asia, are called “ways" (Japanese do, as in judo). Not all of these – swordsmanship, for example, or calligraphy (shodo), or the way of tea (chado) – are accepted by the standard Western connotations of ‘the arts’, and certainly not of ‘the fine arts’. But, in Asia, a distinction between arts and crafts, and between these and various other do, is not a definite one. Indeed, it is regarded as an artificial and potentially misleading dualism. Arts or ‘ways’ such as archery, the tea ceremony and gardening differ from dance and mime, typically, in having a practical purpose, such as hitting a target, making tea or creating a garden. That is one reason why these arts require the use of ‘instruments’--a sword, a tea whisk, a hoe–as well as bodily movement. But it is not unnatural to regard these instruments as extensions of the body, as specifically honorary parts of the body. For in none of these practices is the instrument deemed to be a mere tool, to be used in a way dictated solely by a goal. These instruments are to be used with respect and, like one’s hands, with expression. The gardener or tea master is not just clearing away weeds or brewing up a nice cup of tea. They are engaged in a practice that bodies forth the virtues, including compassion, humility, mindfulness, and friendship. In effect, they are concerned with practicing an art or following a way in a beautiful style. Like Zeami’s actor or a dancer in a Buddhist temple, the gardener and tea master via their own and their extended, ‘honorary’ body seek for beautiful physical expression of an inner beauty.

🎭 Many of the Buddhist-inspired arts or ways, the sharp distinction familiar in Western discourse between practice and product, between artistry and artwork, is rejected. It may be an exaggeration to say that, for gardeners, caring for the garden is not a chore, but the very point of having a garden in the first place. But it not only conveys that gardening is not a mere means to an end, the garden itself, but it is a place that depends on a gardener’s continuing care, the garden is not a finished product distinct from the practice of making and maintaining it. To focus, therefore, on the beauty of a practice is not, in the case of many ‘ways’, to ignore the beauty of something, the work, that is separable from the practice. Additionally, even when a distinction is made between a bodily action and its artistic product, many Buddhist artists would refuse to accept that aesthetic attention should exclusively, or even primarily, be devoted to the latter. It is easy enough, of course, to distinguish a calligrapher’s action in drawing with a brush and ink from the characters that are the result of this action. But when it is said of Kobara Sensei, that he and his art “had become one”, the point is to emphasize that the products of an individual’s art are not to be appreciated in isolation from admiration for the individual themself, for the virtues, like kindness, enable their works to look the way they do.

🩰 Kobara’s virtue, his inner beauty, enables his works to look as they do in and through the bodily movements, the physical style, that at once express it and create the characters on the paper. This is an example of the general way in which, for Buddhists, artworks inherit the inner beauty of the people who make them. By giving a sense of the beautiful bodily engagement through which they came into existence, the works themselves body forth the inner beauty of the virtues. Interestingly in twentieth-century Western art criticism, there also developed an appreciation of works as expressive of the bodily activity responsible for them. A significant aspect, for example, of people’s enjoyment of works by Van Gogh, Rodin and Pollock is the palpable sense these works require a certain strength and energy that went into their making. The difference between this occurrence in Western art appreciation and the more abiding Asian tradition is the concern in the latter for the moral beauty that is expressed in an artist’s bodily practice. By extending to art the idea of the body as being beautiful in and through its magnetic expression of inner beauty, it is possible, then, to endorse Batchelor’s beliefs that Buddhism is not just inner experiences. It is known through buildings, gardens, sculptures, paintings, calligraphy, poetry and craftwork’ and “present in” the marks and gestures of artists and artisans.

💋 Please do let me know if I should post the second installment of this document! I have been candid to some about my current health struggles and taking a leave of absence from ballet. I am so incredibly touched with everyone’s kind words and appreciate the amount of kindness i have been met with during these vulnerable moments. I love each and everyone of you and am deeply praying for your successes and triumphs. While I spoke of Buddhism in this post, I will talk about Buddha (mercury) and certain nakshatras correlated to this theory soon…

xoxo,

angel 💋

[mahayanapilgrim]

The importance of effort (Viriya) in Theravada Buddhism- 01

The ultimate aim of every Buddhist of the Theravada Buddhism is to follow the noble eightfold path in order to attain the state of Nibbana as it is the only path to end all suffering and escape from the cycle of birth and death (samsara). However, it is not an easy task and one needs to have courage, determination, effort and perseverance to complete that task. The effort needed may vary in different people depending on their level of spiritual development and their capacity to understand the teaching.

In the Buddhist teachings the Buddha has consistently emphasised the significance of one's effort (viriya) required to cultivate and successfully complete the path of liberation to attain Nibbana. The Buddha's own determination and effort is well indicated by His resolution on the night of enlightenment when He sat down to meditate under the Bodhi tree (ficus religiosa) at the place presently known as Bodh Gaya in India;

"Though only my skin, sinews and bone may remain, and my blood and flesh may dry up and wither away, yet will I never move from this seat until I have attained full enlightenment"

The Pali word "Viriya" meaning a skilful attitude of engaging in wholesome activities has been translated into English language as effort, energy, vigour, exertion, diligence, persevering, persistence, etc. In the Higher Teachings of the Buddha (abhidhamma), effort has been described as one of the six occasional mental factors (cetasika). Effort is an ethically variable factor taking on the moral quality of the mind at any given time. The proximal cause for the arising of effort is a sense of spiritual urgency (samvega). This sense of spiritual urgency can arise when one reflects on birth, old age, disease, death, suffering in the lower planes of existence (apaya), suffering experienced in past lives, suffering to be experienced in future lives and suffering involved in searching for food in this life.

[readdude]

The Tripitaka - Holy book of Buddhism

Introduction

Welcome to the world of Buddhism, where peace and enlightenment are sought after through ancient teachings.

The Tripitaka, also known as the “Three Baskets,” is a religious book that guides millions of Buddhists worldwide.

It contains valuable knowledge about everything from personal conduct to meditation techniques.

In this blog, we can discover what the Tripitaka is, who wrote it, and why it remains such an essential part of Buddhist tradition today.

Then, Why are you waiting for? Let’s scroll down and learn an amazing one.

What is the Tripitaka?​

The Tripitaka is the Buddhist Holy book, also called the “Three Baskets.” It’s a collection of Buddhist teachings, including spiritual beliefs and day-to-day practices.

“Tripitaka” means three baskets, which refers to the physical format in which these scriptures were written on leaves and stored in baskets.

The Tripitaka comprises three parts: Vinaya Pitaka, Sutta Pitaka, and Abhidhamma Pitaka.

Each section covers different aspects of Buddhist philosophy and practice. Vinaya Pitaka deals with ethical conduct and monastic rules, while Sutta Pitika contains discourses on various subjects like meditation techniques, karma theory, etc. Abhidhamma pitika delves into matters related to mental states such as consciousness.

It’s believed that this invaluable collection was compiled several centuries after Buddha passed away by his followers, who memorized his teachings until they could be recorded in writing.

Despite numerous translations over time due to varying dialectic languages spoken during those times, today, the essence remains intact for many Buddhists who still regard it as their ultimate guide towards spiritual awakening.

Conclusion​

The Tripitaka is a significant and sacred text in Buddhism. It consists of three baskets – Vinaya Pitaka, Sutta Pitaka, and Abhidhamma Pitaka – essential to understanding Buddhist teachings. 

The Tripitaka contains the Three Jewels of Buddhism, the 4 Noble Truths, and the Eightfold Path that guide followers towards enlightenment.

The authorship of the Tripitaka remains uncertain as it was compiled over centuries by various scholars. Still, its significance cannot be denied as it continues to influence millions worldwide today. 

Studying the Tripitaka will undoubtedly deepen your knowledge and understanding of Buddhism’s spiritual essence, whether you are a devout Buddhist or merely interested in learning about this faith’s beliefs and practices.

[news365timesindia]

[ad_1] GG News Bureau New Delhi, 17th Oct. Prime Minister Narendra Modi is set to participate in the celebration of International Abhidhamma Divas and the recognition of Pali as a classical language on October 17 at Vigyan Bhavan, New Delhi. The event will commence at 10 AM, where the Prime Minister will address the gathering. International Abhidhamma Divas commemorates the descent of Lord Buddha from the celestial realm after teaching the Abhidhamma, a significant aspect of Buddhist philosophy. This year’s celebrations are particularly notable, as the recognition of Pali as a classical language, alongside four other languages, adds depth to the observance. Lord Buddha’s teachings on Abhidhamma are originally preserved in the Pali language. The event, organized by the Government of India in collaboration with the International Buddhist Confederation, is expected to attract academicians and monks from 14 countries, along with a considerable number of young experts on Buddha Dhamma from various universities across India. The post PM Modi to Celebrate International Abhidhamma Divas and Pali Recognition on Oct 17 appeared first on Global Governance News- Asia's First Bilingual News portal for Global News and Updates. [ad_2] Source link

[news365times]

[ad_1] GG News Bureau New Delhi, 17th Oct. Prime Minister Narendra Modi is set to participate in the celebration of International Abhidhamma Divas and the recognition of Pali as a classical language on October 17 at Vigyan Bhavan, New Delhi. The event will commence at 10 AM, where the Prime Minister will address the gathering. International Abhidhamma Divas commemorates the descent of Lord Buddha from the celestial realm after teaching the Abhidhamma, a significant aspect of Buddhist philosophy. This year’s celebrations are particularly notable, as the recognition of Pali as a classical language, alongside four other languages, adds depth to the observance. Lord Buddha’s teachings on Abhidhamma are originally preserved in the Pali language. The event, organized by the Government of India in collaboration with the International Buddhist Confederation, is expected to attract academicians and monks from 14 countries, along with a considerable number of young experts on Buddha Dhamma from various universities across India. The post PM Modi to Celebrate International Abhidhamma Divas and Pali Recognition on Oct 17 appeared first on Global Governance News- Asia's First Bilingual News portal for Global News and Updates. [ad_2] Source link

[allaboutparanormal]

Om Akkapahan sadly passed away in his sleep today from lung cancer & cardiac cancer.

He had a 5 rounds of Chemo, we have been last informed he was doing better.

He's a great loss for all of us

His cremation will be next Saturday

read below to have an idea about Thai Funerals, this is based on what's provided on the invitation posted by his family.

If you are unfamiliar with Thai funerals like myself here is some information for you based on what’s provided by the funeral invitation by #omakkaphan’s family

In Buddhist funeral traditions, the “bathing ceremony” and “Abhidhamma chanting” are important rituals:

1. Bathing Ceremony (พิธีรดน้ำศพ): This ritual is a symbolic act of purification for the deceased. Family members, friends, and attendees pour water over the hands of the deceased as a final gesture of respect and farewell. It serves as a way to show love, pay respects, and say goodbye to the departed.

2. Abhidhamma Chanting (สวดพระอภิธรรม): This is a Buddhist chanting ritual where monks recite passages from the Abhidhamma, the third part of the Pali Canon, which deals with Buddhist philosophy and teachings. The chanting is believed to bring peace to the deceased’s soul, transfer merit, and provide spiritual comfort to the family and attendees during the mourning period. It often takes place for several days leading up to the cremation ceremony.

In Thai Buddhist funeral traditions, the body of the deceased is usually placed in a coffin during the ceremonies. For the bathing ceremony, the body is respectfully prepared, and only the hands of the deceased are often placed outside the coffin so that attendees can pour water over them. This practice is symbolic and ensures that the body remains respectfully covered.

For the Abhidhamma chanting, the coffin is typically kept closed. The monks sit near the coffin and perform the chanting, and the body is not visible during this part of the ritual. The closed coffin remains present throughout the chanting sessions until the cremation ceremony.

In Thai Buddhist funeral traditions, several ceremonies take place over the course of multiple days to honor the deceased. Here’s a breakdown of the key ceremonies:

1. Bathing Ceremony (พิธีรดน้ำศพ): As mentioned earlier, this is the initial ritual where family and friends pour water over the deceased’s hands as a sign of respect and farewell. It is often held shortly after the death.

2. Daily Abhidhamma Chanting (สวดพระอภิธรรม): This chanting ritual is typically held in the evenings for several consecutive days, leading up to the cremation. Monks recite passages from the Abhidhamma to offer merit to the deceased and comfort the grieving family. The number of chanting days can vary, ranging from 1 to 7 days or more, depending on the family’s wishes.

3. Offering Food to Monks (ทำบุญเลี้ยงพระ): On one of the mornings before the cremation day, the family hosts a ceremony where they offer food and other essentials to the monks. This is an important act of merit-making for the deceased, believed to help them in their journey in the afterlife.

4. Cremation Ceremony (พิธีฌาปนกิจ): This is the main and final ceremony, typically held on the last day. It begins with monks chanting prayers, followed by a procession of the coffin to the crematorium. Attendees pay their final respects by placing a ceremonial flower (called “dok mai chan” or “sandalwood flower”) on or near the coffin as a symbol of farewell. The coffin is then placed in the crematorium, and the cremation process begins.

5. Collection of Ashes (เก็บอัฐิ): The morning after the cremation, family members gather to collect the ashes and bones of the deceased from the crematorium. The collected remains are often kept in an urn, which may be taken to a temple or kept at home.

6. Merit-Making Ceremony (ทำบุญอัฐิ): This is a post-cremation ceremony, usually held on the 7th, 50th, or 100th day after the death. It involves inviting monks to chant and perform rituals, offering food to the monks, and making merit on behalf of the deceased.

These ceremonies serve as a way for the family to express their respect, love, and care for the deceased while helping their soul transition peacefully in the afterlife.

[averycanadianfilm]

In summary, the Abhidhamma describes how 28 physical phenomena co-arise with 52 mental factors, manifesting as 89 types of consciousness, which unfold in series of 17 mind moments, governed by 24 types of causal relation. 

[wai-yan-maung-maung]

အင်္ဂလိပ်ဘာသာဖြင့် အဘိဓမ္မာကို

ဂုဏ်ထူး (Distinction) နှင့်အောင်မြင်ပြီး

အဘိဓမ္မဆေကဘွဲ့ B.A. (Abhidhamma) ရရှိခဲ့ပါသည်။

မဟာတန်းတက်ရောက်ရန် အသင့်ဖြစ်နေပါပြီ။

ထူးချွန်ဖို့ များစွာကြိုးစားရပါအုံးမည်။

အနန္တငါးဖြာကို ရိုကျိုးစွာကန်တော့လျက်

အဘိဓမ္မဆေက ကောလိယ ဝေယံမောင်မောင်

ဝဘ်ဆိုက်၌ကြည့်ရှုရန်

waiyanmaungmaung.blogspot.com/2024/09/ba-abhidhamma.html

#KawliyaWaiYanMaungMaung

#WaiYanMaungMaung

#ကောလိယဝေယံမောင်မောင်

#ဝေယံမောင်မောင် #အဘိဓမ္မဆေက

#Abhidhamma #UniversityOfAbhidhamma

[dreams4kahaani]

can I also add these pretty please

• Queen Chudala

• Vishakhadatta's Devichandraguptam

• Samaresh Basu's works

• Bori budruk village's tephra conservation

• Wildlife of Chambal river

• 3 Schools of Kathak

• Nose ornaments throughout the subcontinent

• Mrityu Bahini group

• Mango pickeling diversity through regions

• Rambha-Nalkuber

• Chhau dance

• Auroville experimental city

• Chalcolithic cultures of India

• Carolyn Rhys Davis' translation of Abhidhamma and its effect on Indian Psychology

• Mustache care and kohl history

• Manto

Interesting Topics to Research On for Bored AF People (desi version)

The Bengal Sultanate

Dominance of taka in Silk Route Trade

Tibetan Buddhism

Chamba Rumal

Pashupati Seal

Zeb-un-nissa Begum

Rasa theory of Natyashastra

Gargi-Yajnavalkya Dialogue

Saraswati (River and Goddess)

Rudraveena

Atman-Brahman Relation and Mahavakyas

70's Bollywood fashion

Paintings of Raja Ravi Varma

Dhrupad

History of Chai/Cha

Mother Goddess Mohenjo Daro

Chanakya

Prakrit Language

Baro-Bhuiyan

Chicankari

Brajabuli

Tantra

Shipton–Tilman Nanda Devi expeditions

Banaras

Annamalaiyar Temple

Chola Dynasty

Pala Empire

Terracotta Temples of Bengal

[pinky67756]

การค้นพบศาสนาบูธ: การเปิดเผยธรรมชาติที่แท้จริงของบรรทัดที่ศักดิ์สิทธิ์ (การค้นพบศาสนาบูธ: การเปิดเผยธรรมชาติที่แท้จริงของบรรทัดที่ศักดิ์สิทธิ์)

บูชาเป็นหนึ่งในศาสนาหลักของโลก ให้ความเห็นที่สําคัญในความเป็นอยู่ของมนุษย์ผ่านข้อความศักดิ์สิทธิ์ของมัน "ค้นพบข้อความศักดิ์สิทธิ์: บูชา" เป็นภาพยนตร์ YouTube ที่ดึงดูดความสนใจ ให้ผู้ชมเห็นบทเรียนและข้อความที่ซับซ้อนมากมายของบูชา ตอนนี้เราจะตรวจสอบจุดสําคัญของคําพูดที่สอดคล้องกันนี้เปิดเผย:

สามอัญมณี: ฐานพื้นฐานของความเชื่อบูดิสต์

ความคิดของสามอัญมณี - บูธดา ดาร์ม่า และซังฮา - เป็นพื้นฐานของศาสนาบูชา สิ่งเหล่านี้หมายถึงชุมชนของผู้ปฏิบัติการ ผู้สอน และเส้นทางในการปฏิบัติตามลําดับนั้น เหล่านี้สามคอลัมน์ให้แรงบันดาลใจและคําแนะนําสําหรับบูดิสต์ในเส้นทางจิตวิญญาณของพวกเขา และพวกเขาก็เป็นสถานที่บริสุทธิ์สําหรับพวกเขา

การกระจายตัวในพื้นที่และศุลกากร

มีสามโรงเรียนหลักของศาสนาบูชา: Theravada, Vajrayana, และ Mahayana ทุกประเพณีมีธรรมดาที่แตกต่างกันและเน้นทางภูมิศาสตร์ที่เฉพาะเจาะจง

การแพร่กระจายของศาสนาบูธในพื้นที่ต่างๆและช่องว่างในการสื่อสารที่เกิดจากมันส่งผลกระทบต่อความสําคัญของข้อความที่เฉพาะเจาะจงในแต่ละโรงเรียน

การเดินทางของซิดฮาร์ต้ากั๊อตมา

ฟิล์มนี้บอกเรื่องราวของบูดาแห่งประวัติศาสตร์ ซิดธาห์กั๊อตาม่า ผู้ที่ทิ้งการเลี้ยงลูกชายของเขาเพื่อหาความสว่างและความจริง การถ่า��ทอดบทเรียนของซิดธาห์เป็นไปได้โดยการส่องสว่างของเขาภายใต้ต้นไม้บอดี้ซึ่งเป็นจุดสุดยอดของการรับรู้ที่ลึกซึ้งเกี่ยวกับความสําคัญของความเป็นอยู่

The Tipitaka: สถาปัตยกรรมโบสถ์

"สามถัง" หรือ Vinaya Pitaka, Sutta Pitaka และ Abhidhamma Pitaka สร้างขึ้นจาก Tipitaka โมงเหล่านี้รวมถึงคําสอนโบสถ์ที่ซับซ้อน กฎระเบียบของศาสตราจารย์และบทเรียนเกี่ยวกับจิตวิทยาและปรัชญาของบูดิสต์

คําสอนของเทนทริกและแมฮ���ห์นา

โรงเรียนเทอเรวาดาส่วนใหญ่ใช้คานอนพาลี ในขณะที่ประเพณีเวจราเอานาและมาฮายานายังใช้คัมภีร์อื่น ๆ การสอนของเทนทริกให้เทคนิคของความลึกลับ เพื่อบรรลุการเปลี่ยนแปลงทางจิตวิญญาณ ในขณะที่การสอนของมาฮายาน่า มุ่งเน้นไปที่ความเห็นอกเห็นใจและความสมบูรณ์แบบของบอดhisattva

ชีวิตและคําสั่งในโบสถ์

- ผ่านการศึกษาและการสอน มนกและสุภาพบุรุษเป็นสิ่งสําคัญในการรักษาและการแพร่กระจายบทเรียนของโบสถ์ กฎเกณฑ์ที่ควบคุมชีวิตของโบสถ์ และศัตรูต้องปฏิบัติตามกฎการปฏิบัติที่เข้มงวดซึ่งมีวัตถุประสงค์เพื่อเสริมสร้างความจริยธรรมและความกฏหมายทางจิตวิญญาณ

การแสดงความขอบคุณและสนับสนุนต่อซานก้า

- นักปฏิบัติคนเลวให้อาหารที่อยู่อาศัย และสิ่งสําคัญอื่น ๆ สําหรับกลุ่มโบสถ์ ซานจาซึ่งประกอบด้วยโบสถ์ มีความเคารพสําหรับบทบาทในการปกป้องและการส่งมอบบทเรียนของบอดดาให้รุ่นหน้า

การเก็บรักษาและแบ่งปัน พระคัมภีร์บริสุทธิ์

- ภาพยนตร์เรื่องนี้ให้ภาพรวมของข้อความโบสถ์แรก เช่น โลตัสซูทราและไดมอนต์ซูตรา หนังสือเล่มโบสถ์สามารถทําซ้ําได้ในแบบที่ถูกแพร่กระจายอย่างกว้างขวางและได้รับการปกป้องด้วยความช่วยเหลือของการปฏิวัติการพิมพ์

ประเพณีโบราณของโบสถ์โคปต์: มรดกที่อุดมไปด้วยและต้นกําเนิดของโบราธ

- พระมหากษัตริย์แห่งโบสถ์โคปต์ในอียิปต์ ในปี 55 ศ. นี่คือจุดเริ่มต้นของประวัติศาสตร์ของคริสตจักร

- ประเพณีของคัปต์ซึ่งมีอยู่อย่างต่อเนื่องมานานกว่า 2,000 ปี มีความรู้มากมายที่ถูกเก็บไว้ในพระคัมภีร์บริสุทธิ์, บรรยายโบราณและบรรยายของบรรดาบรรดาผู้ปกครองคริสตจักรครั้งแรก งานของเซนต์เบซิล, เซนต์เกรโกเรียและเซนท์ไซริลเป็นสิ่งสําคัญสําหรับงานบริสุทธิ์ของโบสถ์และช่วยสร้างการเคารพที่อุดมไปด้วยความรู้สึก

การพบปะที่เกี่ยวข้องกับการสัมผัสเสียงและวิสัยทัศน์

ศาสนา: ความสอ��คล้องระหว่างความแตกต่าง

- คริสตจักรคาทอลิคซึ่งมีผู้ติดตามเกือบ 1.2 พันล้านคนทั่วโลก มุ่งเน้นไปที่ความซับซ้อนในหมู่สมาชิกที่หลากหลายของมัน

- การเคารพศาสนาคาทอลิคถูกจัดระเบียบตามวงจรบริสุทธิ์ที่ช่วยเพิ่มจิตวิญญาณของการเฉลิมฉลองในกลุ่มและประสบการณ์ทางศาสนาร่วมกันตลอดทั้งปีของคริสตจักร

- วิธีหลักที่ชาวคาทอลิคโต้ตอบกับพระคัมภีร์ไบเบิลคือ ในช่วงงานศพ เมื่อการอ่านและบทสนทนาช่วยให้สมาชิกในครมเข้าใจความหมายและการประยุกต์ใช้ของบรรทัดต่าง ๆ ของพระบิดา

การมีอิทธิพลจากศาสนาโพรสเตน: การปฏิเสธและการตีความใหม่

- ความพยายามของยุโรปที่จะเปลี่ยนบทเรียนและปฏิบัติการของคริสตจักรคาทอลิกโรมันก่อให้เกิดการปฏิเสธศรัทธา

- คนเช่น วิลเลียม ไทนดอลมีส่วนร่วมในการนําพระคัมภีร์เข้าสู่ภาษาทั่วไป ดังนั้นจึงขยายผู้ชมของพระคริสต์และทําลายอํานาจของศาสตราจารย์

- การฟื้นฟูภาษาอังกฤษได้ให้เกิดคริสตจักรของอังกฤษซึ่งเป็นตัวแทน หลังจากการแยกจากโบสถ์คริสตจักรคริสเตียนโรมัน อังกฤษได้สร้างตัวละครที่เป็นเอกลักษณ์ของตัวเองในช่วงหลายศตวรรษ

กระบวนการ: ยอมรับการมีส่วนร่วมในสังคมและการมีชีวิตชีวาทางวิญญาณ

การฟื้นฟูแห่งโบสถ์แห่งอังกฤษ ของพี่น้องเวสลีย์ได้ก่อให้เกิดศาสนาเมทโธดิสต์ ซึ่งให้ความสําคัญอย่างยิ่งกับกิจกรรมทางสังคม การศึกษาพระคัมภีร์และคณิตศาสตร์ทางจิตวิญญาณ

- มีผู้ติดตามมากกว่า 75 ล้านคน ในทั่วโลก นักวิจารณ์ Methodists ใส่ความสําคัญอย่างยิ่งกับนิรันดี้เป็นเครื่องมือในการแสดงออกทางจิตวิญญาณและการสอนทางศาสนา คุ้มค่าที่ยาวนานของเพลงเพลงเช่น "ความรักพระเจ้า, ความรักทั้งหมดที่ยอดเยี่ยม" ในการสื่อสารความรักและความอยู่รอดของพระเจ้าเป็นสิ่งที่อธิบายได้ดีที่สุดโดยหนังสือเพลงเพลงเพลงของโบสถ์เวสเลียน Methodist จากแอฟริกาใต้

ความคิดสุดท้าย: ยกเกียรติความหลากหลาย, ยืนยันความสามัคคี

ช่วงที่หลากหลายของศาสนาคริสเตียนแสดงให้เห็นถึงความเกี่ยวข้องที่ยาวนานและความสามารถในการปรับตัวกับสถานการณ์และวัฒนธรรมที่หลากหลาย แม้ว่าจะมีการแบ่งออกทางศาสนามากมาย แต่ความเชื่อในพระเยซูคริสต์เป็นผู้ช่วยก็เกินความแตกต่างทางทฤษฎี

การสร้างชุมชนโลกแห่งความศรัทธาในหมู่ชาวคริสเตียน

Discovering Sacred Texts: Buddhism" โดยพื้นฐานให้��ู้ชมความเข้าใจที่ดีกว่าของพระคัมภีร์แห่งโบสถ์, ธีม, และปรัชญา วิดีโอนี้เชิญผู้ชมเข้าสู่การเดินทางที่เปลี่ยนแปลงของการค้นพบตนเองและการตื่นเต้นทางวิญญาณผ่านการสืบสวนพระคัมภีร์โบราณและประเพณี

[mahayanapilgrim]

Wise Attention: Yoniso

Manasikara in Theravada Buddhism - 05

There are three fermentations or influxes (asava) that are the mental defilements that exist at the deepest level of the mind which prolong suffering and one's existence in the cycle of birth and death:

The influx of sense desire (kamasava)

The influx of desire for existence (bhavasava)

The influx of ignorance (avijjasava)

Although only the above three influxes are mentioned in the Sabbasava Sutta, four influxes have been described elsewhere in Buddhist teaching, particularly in the Abhidhamma (Buddha's Higher Teaching), namely:

The influx of sense desire (kamasava)

The influx of desire for existence (bhavasava)

The influx of wrong views (ditthasava)

The influx of ignorance (avijjasava)

In this discourse, the Buddha stated that:

"Monks, the ending of the fermentations is for one who knows and sees, I tell you, not for one who does not know and does not see. For one who knows what and sees what? Appropriate attention (yoniso manasikara) and inappropriate attention (ayoniso manasikara). When a monk attends inappropriately, unarisen fermentations arise, and arisen fermentations increase. When a monk attends appropriately, unarisen fermentations do not arise, and arisen fermentations are abandoned."