#devaloka

[mizushidokoro]

"Ryuurin, Hanpatsu, Tsugai no Ryuusei" -- the incantation for World Slash, and an epitaph to Gojo Satoru.

In JJK, incantations are supposed to boost power of a particular technique. When Sukuna used World Slash to kill Gojo, he imposed a binding vow that allowed him a single-use activation without the requirement of a hand sign, in exchange for using incantations and directing the attack for all subsequent uses.

In this post I'll examine the specific phrases in Sukuna's incantation and argue that each phrase of the incantation corresponds to an application of Gojo's Limitless technique. Then I'll briefly relate this to the binding vow requirements to argue that Sukuna's promise to never forget Gojo for the rest of his life is one of the conditions of that binding vow.

1. "龍鱗"

First, "ryuurin" (dragon scales) describes the basic application of Limitless, a strong defensive barrier like the scales of a dragon. This one is the most obvious, hinted at by Sukuna's words at the beginning of the fight, telling Gojo he plans to "strip away his scales." More will be said about the dragon references, in the discussion of the third phrase.

Less relevant but still interesting - there’s also a Buddhist reference here, according to this forum post:

At surface, straight value, it is just the literal scales of a dragon. The word can also be used to mean "a large quantity of things". Ryurin is also a metaphor for the power/authority/influence of heroes and of the Heavenly People (the residents of the Japanese version of the Devaloka, where devas and gods reside. Just a heavenly realm, basically.) Lastly, Ryurin means a dangerous condition/situation or a dangerous thing. So. For Sukuna, its basically 'dangerous divine power/authority'.

2. "反発"

Next, "hanpatsu." Hanpatsu means recoil, which is the equal and opposing force of an action. This describes Purple, which is the rebounding damage created by the collision of Red and Blue. At first I thought hanpatsu described Red, because Red is a “repulsing” force. Except “recoil” is not the same thing as repulsion. Another possibility was that hanpatsu described the relationship between Red and Blue — Red as the “equal and opposite” of blue, and vice versa. But we know the two aren’t equal in power, and neither technique is accurately described as the “recoil” or rebounding force produced by the other.

3. "番いの流星"

Finally, "tsugai no ryuusei." A few things here. First, the wordplay and translation. Like ”Ryuurin”, this term references dragons. Here Ryuusei, meaning meteor or comet, is also pun on the word dragon, ryuu (which isn’t novel, see the Japanese word for Pokémon move Draco Meteor, et al.). So a plausible English translation could also be “Twin Dragon Meteors.” Second, how dragons are relevant to Sukuna’s mythology. In Hida, there is a temple Senkoji said to be founded by “Ryomen Sukuna … approximately 1,600 years ago. A central architectural feature of the temple it Dragon Ceiling, a portrait of two dragons painted by Kano Tansetsu on the ceiling of the main buliding. From the website,

According to temple legend, a general of the Sengoku period committed suicide there by seppuku, staining the floor with blood. For the repose of general’s soul, the floorboards were incorporated into the ceiling of the main temple. Some time later, Kano Tansetsu visited Senkoji and painted the dragons on the ceiling. At Senkoji, the objects of worship include not only the main temple and the priest’s quarters, but also the entire temple complex.

According to this Reddit post, the temple’s founding tale describes how Sukuna fought off a dragon god living in the mountain and built a shrine in its place. So — from the fact that dragons are the mythological enemy of the figure Ryomen Sukuna, we may infer that the words of the incantation refer to an enemy or target of the World Slash technique.

What could "twin meteors" refer to other than the related techniques of Limitless, the twin floating spheres Red and Blue?

Another potential connection to Red/Blue rooted in dragon mythology is the tide jewels — the tide-ebbing (a repelling force, like Red) kanju and tide-flowing (an attracting force, like Blue) manju, possessed by Ryuujin, the Sea King.

The final reason I think the incantation refers to Gojo’s technique is because of Sukuna’s explanation in 236 for World Slash — he describes the process of developing the technique as figuring out how to target Limitless with Dismantle. So it makes sense that the incantation to power World Slash operates by describing its target, not World Slash itself.

It also lends significance to the order of the incantation — first visualizing the most generalized application of Limitless (ryuurin), then passing through Purple (hanpatsu) to finally arrive at two separate applications, Red and Blue (tsugai no ryuusei) — a conceptual "bisection" of Limitless into two discrete components.

4. Binding Vows

Isn't this pretty romantic? But wait there's more. We know now after Chapter 255 that in exchange for unleashing the World Slash that killed Gojo without using the hand sign, Sukuna now has to recite the incantation every time (+using the hand signs and directing the attack with his palm) he uses World Slash.

Assuming what I've previously argued is true (the incantation describes Gojo's Limitless), this gives Sukuna's last words to Gojo another layer of significance. When Sukuna tells Gojo he will never forget him, it's not just an expression or a promise, but a statement of the binding vow Sukuna has to make in order to land the killing blow. In other words, the cost of killing Gojo is having to remember him forever, to integrate him into Sukuna's own technique through a verbal invocation that must be made every single time Sukuna uses the world bisecting slash. Yeah, that's pretty romantic.

[justlarkin]

Worlds in a Nutshell

The Old Ones

El Dorado

The Oceanic Realm

Penglai

Devaloka

Tir Na nOg

Kamuy Kotan

Takamagahara

Utopia

[talonabraxas]

Tejas-Bhumi (Fire that is Earth), Akasa-Bhumi (Air that is Ground), Prthivi-Manuja (Earth that is Human Beings), Ap-Bhumi (Water that is Ground), Irana-Devaloká Manuja Bhumi (Wind that is Heaven Human Beings Ground), Akasa-Devaloka (Air that is Heaven), Prthivi-Bhumi (Earth that is Ground), Ap-Devaloka (Water that is Heaven), Prthivi-Devaloka (Earth that is Heaven).

Shambhala Series. 1974. Tadanori Yokoo.

[anomalocaris2hu]

Heaven in Touhou and its Relation to Buddhism

I've been reading a lot about Buddhism lately, and I'm finally coming to an understanding of how that informs the depiction of Heaven in Touhou Project. First, I will summarize some of the official descriptions of Heaven within Touhou, and then cover the elements of Buddhist cosmology that influenced those depictions.

Some notes on terminology. I prefer the Sanskrit forms of words to Pali when possible. Exceptions are when the Pali form is overwhelmingly used. I will give the Chinese/Japanese translations of Buddhist terminology in parentheses. Translations of Japanese text from Touhou is my own original translations rather than taken from the wiki or other fan translations.

Finally, a warning. I am not a Buddhist and am approaching the religion from an academic perspective. Therefore, I will not endorse the religion, nor will I explicitly attempt to refute it. Take everything in this post as a summary of Buddhism based on my own readings, and check out the references as they are written by actual scholars who study Buddhism, or practicing Buddhists.

Heaven in Touhou

Heaven in Touhou is constantly referred to as 天界、the first character meaning "heaven" or "sky," translating the Sanskrit word deva meaning "god," and the second character meaning "world" or "realm," translating the Sanskrit word loka meaning "world" in most situations.

Most of what we know about Heaven comes from the story of Scarlet Weather Rhapsody. In general it seems to be based on the Buddhist concept of the devaloka, but is not equivalent to it and not completely accurate to Buddhist cosmology.

In Tenshi's story in SWR, Tenshi states:

天界は成仏した霊が住む処

"Heaven is a place where spirits who have reached nirvana live." As we will see, this detail contradicts with established Buddhist dogma, and is something that serves to distinguish Touhou's Heaven from those of Buddhism.

Heaven being the destination for souls released from saṃsāra has consequences important to the world of Touhou. In a footnote to Yuyuko Saigyouji's article in PMiSS, Akyuu describes the situation in heaven:

＊４　天界は輪廻転生を断ち切った者が行くので、現在飽和状態である。

"Since heaven is the place that individuals who have broken free from saṃsāra, it is currently overcrowded." This is backed up by Yukari's route in SWR, where Yukari states the same thing, as well as Youmu's route.

Denizens of Heaven are referred to as celestials（天人）in the fan translations of Touhou, as well as in most translations of Buddhist literature. According to Akyuu in PMiSS,

天人は修行を積んだ仙人が、不老不死を得て生きたまま天界に行った天人と、死後、成仏して天界に行った天人が居る。

"Celestials are either hermits who have achieved immortality and ascended to Heaven, or to those who reached nirvana and went to Heaven after death."

Akyuu also describes the location of Heaven more precisely:

天界は雲の上に存在すると言われるが、本当はそうではない。冥界の中に存在し、冥界の遥か空の上に存在するのである。

"It's said that Heaven exists in the clouds, but in truth this is not the case. It actually exists in the Netherworld, and more precisely is located far above the sky in the Netherworld."

The last important detail about Heaven we are provided is the existence of a location within it known as bhavāgra or 有頂天 (uchouten). In Yukari's story in SWR, this is said to be where Tenshi lives. In fan translations you will often see this spelled Bhava-Agra or Bhavaagra.

Heaven in Buddhism

Buddhist cosmology is complex and differs from sect to sect. I will follow the description of Gethin, which is based on the Nikāyas and the Abhidharma [2]. The Three Realms doctrine is also expounded by Yogācāra [4]. The jargon will be coming fast here, so please turn to the glossary at the end of the post if needed. See [1] for a fuller picture, as I will omit details for the realms and worlds that aren't considered heavens.

Three Realms and Six Paths

The three realms or dhātus are

Ārūpyadhātu or Arūpaloka（無色界）- The "formless" realm, a non-corporeal realm where one who has attained an arūpa āyatana is reborn.

Rūpadhātu or Rūpaloka （色界）- A realm of forms, where beings who have attained dhyāna are reborn.

Kāmadhātu（欲界）- The realm of desire. This includes the Six Paths where beings are reborn based on their karma.

The Six Paths (confusingly also called realms) are

The Path of Deva（天道）- Rebirth as a deva, who lives a life of pleasure but is unable to practice the dharma due to being distracted by their pleasurable life.

The Path of Humans（人間道）- Rebirth as a human being, who experiences both pleasure and suffering.

The Path of Asura（修羅道）- Rebirth as an asura, a demi-god who experiences pleasure but also constantly fight among themselves or against the devas.

The Path of Beasts（畜生道）- Rebirth as a non-human animal, considered to consist of more suffering than life as a human.

The Path of Preta（餓鬼道）- Rebirth as a preta, who live in constant agony experiencing extreme hunger and thirst.

The Path of Hell（地獄道）- Rebirth in a naraka, a hell where one is tortured until one's negative karma is exhausted.

In non-Japanese sources, I think it's common for the Asura realm to be placed above the Human realm. Only the Path of Deva is considered to be a kind of "heaven," but sometimes the Asura and Deva Paths are combined to give a Five Path system.

Whether the three realms are referring to psychological states or actual locations (or in the case of Ārūpyadhātu, non-locations) one can be reborn in is debated in the academic literature I could find [3]. At the very least, the Six Paths are often described as physical locations, e.g. the devas have their own world they live in which is separate from that of humans, but some of the worlds can overlap. Humans and preta experience the same world, but the way they perceive it is vastly different.

The highest abode of the formless realm is bhavāgra, sometimes translated as "the peak of worldly existence" or "the peak of cyclic existence" [5]. It is the highest mental state one can attain; to go any further is to reach nirvana. In Touhou, bhavāgra is the peak of Heaven, and where Tenshi Hinanawi lives.

Overall, Touhou simplifies the cosmology of Buddhism for its depiction of Heaven. The Form and Formless realms are combined with the Deva path, and Heaven is reinterpreted as the rebirth destination for beings who reach nirvana. Unlike in Buddhism, where one can only enter a heaven by being reborn in one, in Touhou one can enter Heaven while alive through ascetic (hermit) practices after gaining immortality. This is a Taoist influence, where the Chinese concept of tian（天）is combined with the kinds of heaven in Buddhism.

The complex psychological description of meditative states, the dhyānas and arūpa-āyatanas, are not mentioned in Touhou (at least not when it comes to Heaven as a location). However, bhavāgra, the highest of the arūpa-āyatana, is present as a physical location within Heaven. The Japanese word for bhavāgra, 有頂天、can also describe a state of ecstasy, so it's likely ZUN would be more familiar with that word than the other arūpa-āyatanas.

I might do more of these posts in the future. I need to look more into Taoism and the Chinese influences that appear in the depiction of Heaven, as I know little of them. I avoided mentioning the Dragon Palace for this reason. I could also write about Hell in Touhou, since its structure is a lot more developed than Heaven.

Glossary

bhavāgra（有頂天）- an alternate name for the "Sphere of neither perception nor non-perception"（非想非非想処）. The highest plane of the Formless Realm（無色界）、a state where beings who reached the fourth formless dhyāna (arūpa-āyatana) are reborn in. In Touhou, a physical location in Heaven.

devaloka（天界）- a world of devas (Gods), i.e. heaven. In Touhou, a physical location above Gensokyo where beings who achieve nirvana are reborn.

dharma（法）- in this essay, primarily refers to the teachings of the Buddha and Buddhist belief more generally.

dhyāna（禅定）- meditation to achieve a mental state of concentration, equanimity, and awareness, or the resulting mental state. Beyond the four rūpa dhyānas are the four arūpa-āyatana. Attainment of these eight levels determines one's rebirth in either the Formless Realm or the Realm of Forms.

karma（業）- an action or its effect. In Indian religions, including Buddhism, karma is a cosmic principle whereby actions and their intents produce positive or negative results in this life or even after rebirth.

naraka（奈落）- a world in Hell, where those who performed bad deeds in a past life are reborn and tortured until they have exhausted their negative karma and can reenter saṃsāra.

nirvana（涅槃）- the cessation of the activity of the grasping mind, which results in liberation from suffering and saṃsāra.

preta（餓鬼）- a being that undergoes suffering greater than that of humans, being always hungry and thirsty. Often translated as "hungry ghost." Rebirth as a preta is a result of committing wicked acts in a previous life that don't merit rebirth in a Hell.

saṃsāra（輪廻転生）- the cycle of death and rebirth, where individuals are reincarnated into one of Three Realms, including the Six Domains of the lowest realm.

References

Gethin, Rupert. The Foundations of Buddhism. OUP Oxford, 1998.

Gethin, Rupert. "Cosmology and Meditation: From the Aggañña-Sutta to the Mahāyāna." History of Religions 36, no. 3 (1997): 183-217.

Burley, Mikel. "Conundrums of Buddhist Cosmology and Psychology." Numen 64, no. 4 (2017): 343-370.

Woo, Jeson. "On the Yogic Path to Enlightenment in later Yogācāra." Journal of Indian Philosophy 42 (2014): 499-509.

Higgins, David. "A Reply to Questions Concerning Mind and Primordial Knowing." Journal of the International Association of Buddhist Studies (2011): 31-96.

Touhou Sources

Perfect Memento in Strict Sense - Yuyuko Saigyouji

Perfect Memento in Strict Sense - Celestial.

Scarlet Weather Rhapsody (SWR) - Yukari's scenario

Scarlet Weather Rhapsody (SWR) - Tenshi's scenario

[mahayanapilgrim]

Exploring the Theistic Elements in Buddhist Philosophy: A Journey through Pali Canon to Mahayana Sutras and Tantras

Introduction:

Buddhism, often considered a nontheistic religion, diverges from traditional notions of a personal deity. The foundational teachings found in the Pali Canon emphasize the impermanence of existence and the absence of a creator god. However, as we delve into the rich tapestry of Buddhist thought, a nuanced exploration reveals a spectrum of perspectives, ranging from the non-deistic Pali Canon to the more mystically-hued Mahayana sutras and Tantras.

I. Pali Canon and Nontheistic Foundations:

The Pali Canon, containing the earliest recorded teachings of the Buddha, articulates a nontheistic stance. The emphasis lies on the Four Noble Truths, the Eightfold Path, and the concept of anatta (non-self). Here, gods (devas) are depicted as celestial beings in devaloka, experiencing temporary happiness but subject to the cycle of death and rebirth.

II. Hindu Agamas and Crossroads with Buddhism:

Drawing a connection to the Hindu Agamas, similarities emerge, reflecting the historical and cultural interplay between early Buddhism and Hinduism. Both traditions grapple with concepts of karma, rebirth, and the pursuit of liberation. Despite these parallels, Buddhism maintains its distinctive nontheistic flavor, resisting the notion of a supreme, eternal deity.

III. Mahayana Sutras: Mystical Dimensions and Ultimate Ground:

Mahayana Buddhism introduces a shift in focus, as some sutras convey a more mystical interpretation. Concepts like the "Awakened Mind" or "Buddha Nature" emerge, suggesting an immanent, omniscient, and transcendent reality underlying all things. This departure from strict nontheism opens the door to interpretations that border on theistic, albeit with a unique Buddhist flavor.

IV. Tantras and the Fusion of Transcendence:

Tantric Buddhism further expands the terrain, introducing esoteric practices and embracing a more explicit language of divine energy. Tantras, with their symbolic rituals and deity yoga, blur the lines between the immanent and the transcendent. The ultimate reality becomes a dynamic force intertwined with the practitioner's spiritual journey.

Conclusion:

In navigating the diverse landscape of Buddhist thought, it is crucial to recognize the evolution of ideas within different schools and historical contexts. While the Pali Canon emphasizes nontheism, Mahayana sutras and Tantras introduce elements that might resonate with theistic inclinations. The essence of Buddhism remains rooted in the quest for enlightenment, liberation from suffering, and the understanding of the nature of reality, regardless of the theological nuances that may emerge along the way.

[kairunatic]

https://www.tumblr.com/kairunatic/741500316004057088/this-is-honestly-bs-the-missionaries-could-have?source=share

Speaking of bs, couldn't have MC just dispelled the blizzard by using Aynurrakur's rule? Also Kamadeva has a rule that cuts the cycle of Devaloka, could that have also possibly been used to end Girimekra's cycle of failure?

I get that it would ruin the development, but it's still crazy sometimes MC doesn't use that stuff. (Probably use it for levitating chips to their bed or something).

That's the problem with MC they never fully untilize their Rule of to cut shit up

They can honestly be OP if they use it smart

[slumberpartysongs]

超天獄

Oomori Seiko - 超天獄 (Super Heaven [and Hell])

I clung on to fake emo style If it's not cheap I can't buy it, I'm getting along just fine with knock-off decor If you're not fashionable you'll be killed The scary cities all disappeared Take your offhand daydreams and use them as a control knob Adolescence that is based on congregating around alcohol I absolutely can't be living in Setagaya, right? [2]

The overthrowing of superiors vs. a trance that overtakes from behind The inferior class vs. self made charisma I stare at the host on the mobile billboard Spoiled brats will be eaten alive by the era It's a supermarket but it actually looks kind of cool [3] I'm so over concerts that feel like pachinko parlors Natural modern minimalism style additives An apparition with a completely white lower face

My destiny is to throw my whole life into everything I do The music is a little violent, but Once I've gathered my thoughts Come on, let's go get everything ready 

Blue from top to bottom, neither the ocean nor the sky Even more blue, it's not curses or resentment It's Super Heaven (and Hell), this is Super Heaven (and Hell) Life is weightless, it's warm

Family, Old neighbors, Best friends, Brethren I can't touch anyone, these are my lovely true colors I wonder who I am,  Who could I be? I can't really answer that, can I? It's not fearful, this holiness

Eroguro, city pop Subculture, jirai, menhera, rock [4] They're just genres, all of them Your excuse is that you can't make the real thing  Throw away all the slogans I’m going to become a woman who can’t be referred to [5] This is just a city that profits off of fights, but It’s starting to become my city

Trivial matters become gold Heaven's counterfeits arrive on the market Things that are worth nothing start to have worth In that case, it's time to design it, my Super Heaven (and Hell)

Blue from top to bottom, get messed up and keep going Even more blue, spirits rise just to fall It's Super Heaven (and Hell),  Super Heaven (and Hell) is here The people who paved the way are mastering their skills, getting up to date

Acceleration, Tokyo, Paid leave, Delusion I don't know anyone, portraits of back alleys I wonder who you are,  Who could you be? I can't really answer that, can I? It's not fearful, this new star

It's Super Heaven (and Hell), this is Super Heaven (and Hell) It's Super Heaven (and Hell), this is Super Heaven (and Hell) It's Super Heaven (and Hell), this is Super Heaven (and Hell) Ah, I'm not mistaken

Family, Old neighbors, Best friends, Brethren I can't touch anyone, these are my lovely true colors  I wonder who I am,  Who could I be? I can't really answer that, can I? It's not fearful, this holiness

TRANSLATION NOTES

[title] 天国 means 'heaven' and is pronounced 'tengoku'; 天獄 is also pronounced 'tengoku' but means 'hell'. In chinese 天獄 refers to 'the heavens and hells; devalokas and purgatories' but as far as i know this meaning doesn't exist in Japanese. I went with 'Super Heaven (and Hell)' because it kind of fits the Chinese meaning, but has the subtlety of the wordplay Seiko uses.

Setagaya is a special ward in Tokyo, the largest one.

I found this tweet purporting to have discovered the supermarket this line refers to; I don't know their source but hell, it does look kind of cool lol

These are all genres, as Seiko puts it, or subcultures, art styles, etc. that are popular or have been recently popular in Japan. City pop we all know, look up eroguro for yourself :,), jirai is a style meant to emulate a mentally unstable girl (kind of a mix between menhera and larme) and menhera is using signifiers of mental illness in your fashion music, art, etc.

This line literally means "i'm going to become a woman without pronouns" but in the context of the previous line about doing away with slogans, I decided to forego what may be a western interpretation of this line...

[vohtaro]

3, 8, 19, 21 for the ask game :-]

weirdly specific artist ask game !

(answers got long oops)

3. What ideas come from when you were little

in general, i don't know that i really use ideas from when i was little. but i do have one example that comes to mind: i remember when i was innnnnnn 3rd grade? i drew a tiger for some assignment. it was a tiger drinking from a lake, and i remember being so proud of myself for how i had drawn it. i mean, really, i'd basically stared at a reference and copied it. it wasn't divine ingenuity or anything KDJGHSK. but, it really made me love tigers. for some reason, drawing that tiger made me so appreciative of the animal and i became rather obsessed w them for a while. i genuinely wish i still had that drawing somewhere. i'd love to just how wonk that tiger i drew really was LMAO

the reason i bring that up is that this past year was the year of the tiger, and to celebrate tigers, i drew this . the idea was very fun for me and reminded me of a long-ago dream of mine which was to become some kind of animal caretaker.

8. What's an old project idea that you've lost interest in

-glances nervously at my wip graveyard-

there are a couple stand-out ones in my head. there's a comic idea i've had since february (oh almost a year ago 🚶‍♂️) about the specific moments in which madara changed from the moment of izuna's death to the point he decides to investigate the tablet. it's born from the "you've changed" dialogue from VotE bc madara says it towards hashirama but i was thinking about how madara had changed too and particular/episodic moments that caused a shift in him. the idea exploded from maybe 3-4 pages to like 17 and i have never made a long-form comic before, so i got overwhelmed the more time went by. there are so many pieces i like but my utter inexperience has essentially killed the project for now. i'd like to come back to it one day, but it may be a long time from now. to say i've lost interest in it isn't quite true, but i haven't been pursuing it because i often open what i have and get frustrated and stop LMAO

19. Favorite inanimate objects to draw (food, nature, etc.)

c-can i say none KDSJHGJKS

i think it's obv that i'm very comfortable drawing figures… perhaps a little too comfortable. this is a feeling i've honestly been wrestling with the past few weeks. i do genuinely wish i liked drawing nature especially. i feel like i could really enjoy that, but i haven't given myself the opportunity to explore that, and every time i think about doing it, my discomfort becomes painfully clear to me to the point i scrub any evidence of it from things i do finish.

21. Art styles nothing like your own but you like anyways

yoshitaka amano is an artist i really enjoy. i found him through a friend on twt and have enjoyed exploring what to me is such a vastly different approach artistic expression. his devaloka series is particularly fascinating to me and has inspired some personal work.

example from devaloka series (more can be found here)

yayoi kusama is a traditional artist who really just has an insanely diverse portfolio. there is a great documentary called "yayoi kusama: infinity" which not only explores her life but also the concept of infinity through her artistic vision. (the documentary has some heavy subject matter, so please be advised)

i am personally fond of her infinity nets (image from this article)

[udaynagas]

The Stupa of Descent from Devaloka, Dehradun

[magnatrash]

Can't belive I saw Yoshitaka Amano's Candy Girls AND devaloka with my very own two eyes

[globalnetworkingbarter]

Significance of Apsara in all religions

Apsaras, celestial beings known for their beauty and grace, hold significance in various religions and mythologies, each portraying them in a unique light.

Hinduism: In Hindu mythology, apsaras are celestial nymphs who are renowned for their beauty, grace, and talent in dance and music. They are often depicted as companions to the gods and are believed to be born from the churning of the cosmic ocean. Apsaras are associated with Indra, the king of the gods, and are considered symbols of beauty, creativity, and artistic inspiration. Some well-known Apsaras in Hindu mythology include Urvashi, Menaka, and Rambha.

Islam: In Islamic tradition, there is no direct equivalent to the apsara. However, the concept of celestial beings is present in Islamic cosmology, where angels are considered divine beings created by Allah to serve various purposes. In Islam, a houris is a woman with beautiful eyes who is described as a reward for the faithful Muslim men in paradise. The term is used four times in the Quran, where the houris are mentioned indirectly several other times, and hadith provide a "great deal of later elaboration”. The houris are mentioned in several passages of the Quran, always in plural form. No specific number is ever given in the Quran for the number of houris accompanying each believer.

Christianity: In Christianity, angels are considered celestial beings created by God to serve as messengers and guardians. While angels in Christianity are different from the apsaras in Hinduism and Buddhism, they share a similar concept of divine beings inhabiting the heavenly realms. According to the Catechism of the Catholic Church (CCC) paragraph 328, "the existence of the spiritual, non-corporeal beings that Sacred Scripture usually calls 'angels' is a truth of faith. The witness of Scripture is as clear as the unanimity of Tradition”.

Sikhism: In Sikhism, there is no specific mention of apsaras. Sikhism emphasizes the worship of one God and the importance of living a righteous life. While Sikhism does not have a concept of celestial beings like the apsaras, it acknowledges the existence of various realms and dimensions beyond the physical world.

Buddhism: In Buddhism, Apsaras are known as celestial beings who live in the realm of the gods (Devaloka). They are similar to their Hindu counterparts in terms of beauty and grace but are not as prominent in Buddhist teachings as they are in Hinduism. In Buddhist art and literature, Apsaras are sometimes depicted as attending on the Buddha or as symbols of beauty and the transitory nature of life.

[chaitanyavijnanam]

శ్రీ శివ మహా పురాణము - 851 / Sri Siva Maha Purana - 851

🌹 . శ్రీ శివ మహా పురాణము - 851 / Sri Siva Maha Purana - 851 🌹 ✍️. స్వామి తత్త్వ విదానంద సరస్వతి 📚. ప్రసాద్ భరద్వాజ 🌴. రుద్రసంహితా-యుద్ద ఖండః - అధ్యాయము - 31 🌴 🌻. బ్రహ్మవిష్ణువులకు శివుని ఉపదేశము - 6 🌻 దేవతలిట్లు పలికిరి - ఓ దేవదేవా! మహాదేవా! గిరిజాపతీ! శంకరా! మేము నిన్ను శరణు జొచ్చినాము. భయముచే కంగారు పడుతున్న దేవతలను రక్షించుము (48). దేవతలను నశింపజేసిన దానవవీరుడగు శంఖచూడుని సంహరించుము. ఆతడు దేవతలను యుద్ధములో జయించి కష్టములకు గురిచేసినాడు (49) దేవతలు అధికారములను గోల్పోయి మానవులవలె భూలోకములో తిరుగాడు చున్నారు. వాని భయము వలన వారు దేవలోకమును కన్నెత్తి చూడలేకున్నారు (50). దీనులనుద్ధరించే దయానిధీ! దేవతలనీ సంకటమునుండి ఉద్ధరించుము. ఆ దానవరాజును సంహరించి ఇంద్రునకు భయము నుండి విముక్తిని చేయుము. ఓ మహేశ్వరా! (51). ఈ మాటలను విని భక్త వత్సలుడగు శంభుడు నవ్వి మేఘగర్జనవలె గంభీరమగు స్వరముతో దేవతలనుద్దేశించి ఇట్లు పలికెను (52).

శ్రీ శంకరుడిట్లు పలికెను- ఓ హరీ! ఓ బ్రహ్మా! దేవతలారా! మీరు నిశ్చయముగా మీమీ స్థానములకు వెళ్లుడు. అనుచరులతో సహా శంఖచూడుని వధించెదను. ఈ విషయములో సంశయము వలదు (53).

సనత్కుమారుడిట్లు పలికెను- మహేశ్వరుని అమృతతుల్యమగు ఈ పలుకులను విని వారు అందరు శంఖచూడుడు నశించినట్లే యని తలంచి మహానందమును పొందిరి (54). అపుడు హరి వైకుంఠమునకు , బ్రహ్మ సత్యలోకమునకు వెళ్లిరి. దేవతలు మొదలగు వారు మహేశునకు ప్రణమిల్లి తమ స్థానములకు వెళ్లిరి (55).

శ్రీ శివ మహా పురాణములోని రుద్ర సంహితయందు యుద్ధఖండలో శివోపదేశవర్ణనము అనే ముప్పది ఒకటవ ఆధ్యాయము ముగిసినది (31).

సశేషం....

🌹 🌹 🌹 🌹 🌹

🌹 SRI SIVA MAHA PURANA - 851 🌹 ✍️ J.L. SHASTRI, 📚. Prasad Bharadwaj 🌴 Rudra-saṃhitā (5): Yuddha-khaṇḍa - CHAPTER 31 🌴 🌻 Śiva’s advice to Viṣṇu and Brahmā - 6 🌻

The gods said:—

48. O great god, lord of the gods, O Śiva, the lord of Pārvatī, we seek refuge in you. Please save the terrified gods.

49. Please slay Saṅkhacūḍa the king of Asura and the destroyer of the gods. The gods have been defeated and harassed by him.

50. Like men they are roaming on the earth divested of their powers. Their region the Devaloka has become very dreary to look at due to fear.

51. O uplifter of the distressed, O ocean of mercy, redeem the gods, from this exigency. O great lord, save Indra from fright by killing that ruler of Dānavas.

Sanatkumāra said:—

52. “On hearing the words of the gods, Śiva favourably disposed to his devotees spoke to them laughingly in the rumbling tone of the cloud.

Lord Śiva said:—

53. O Viṣṇu, O Brahmā, O Gods, return to your own abodes by all means. I shall kill Śaṅkhacūḍa along with his followers and attendants. There is no doubt about it.

Sanatkumāra said:—

54. On hearing the words of lord Śiva sweet as nectar they were excessively delighted considering the Dānava already killed.

55. After bowing to lord Śiva, Viṣṇu went to Vaikuṇṭha and Brahmā to Satyaloka. The god and others went to their own abodes.

Continues....

🌹🌹🌹🌹🌹

[justlarkin]

Back on my slander!! Asura is acknowledged to be self-sacrificial and kind, but cruel with the tendency to lend a hand to anyone in need, whether they be friend or foe. If he kept those attributes with his Asura identity when cutting out the Varuna-Kamadeva identity, then it would be likely that Varuna intentionally "sacrificed" everyone else in Devaloka by giving them gifts and trapping them in the cycle to save himself. His "gifts" may be sugarcoated as him trying to help people, but there's no way that he didn't know that the consequence of receiving a gift from him was being bound to the cycle of reincarnation and that he was screwing over people like Shiva, who wanted to reach enlightenment and escape the cycle.

They haven't commented on Varuna-Kamadeva's personality beyond his gift giving thing, because they don't want to reveal that he's a scumlord yet. They're waiting for that reveal when they introduce his biggest hater.

[sarnamg]

Buy Navratna rings online for their benefits

The Navratna ring is a commonly worn piece of jewelry that has all nine gemstones incorporated into it. Each of the nine gemstones in a Navratna ring represents the nine planets. It is believed that wearing the nine gemstones will attract positive vibes from the planets. Astrologers, after analyzing your horoscope, suggest wearing gemstones, if necessary.

Below mentioned are some benefits of the nine gemstones present in a navratna ring :-

Emerald – It plays an important role in education, fostering intellectual abilities, and boosting mental alertness and communication skills. It is associated with the planet Mercury.

Diamond – It entices power, wealth, and marital bliss and is associated with Indra, the king of Devaloka. Venus is the ruling planet of diamonds. They bring an abundance of wealth, prosperity, and luxury. Buy Navratna rings online and benefit from their inherited properties.

Pearl – It is associated with Agni, the god of fire, and promotes peace and mental well-being. It instills motherly affection and a sense of happiness. Pearl is also said to be associated with the Moon God.

Yellow Sapphire – Jupiter is the ruling planet of this gemstone and it is associated with the Kubera, the God of wealth. Yellow Sapphire attracts prosperity, luck, wisdom, judgement, jocundity, enthusiasm, and wealth.

Ruby – Ruby represents the Sun god, it is placed at the center of all Navratna rings, with the rest of the gemstones surrounding it. Ruby attracts energy, power, longevity, and success for any wearer. Buy Navratna rings online to learn more about their healing properties.

Red Coral – Mars is the ruling planet of this gemstone. It is said to be associated with the Yama god. It promotes physical strength, beauty, agility, and happy marriages.

Cat’s Eye – It is associated with Ketu, the planet with knowledge and spiritual awakening. Those people who do not have Ketu well-placed in their birth chart will be benefited from wearing the ring. Ketu represents the snake and has the power of affecting a person’s life to a vast extent. Wearing the gemstone is a wise option to prevent oneself from bad reputation and scandals. The gemstone reveals career-defining paths and fosters professional growth.

Blue Sapphire – Saturn is the ruling planet of Blue Sapphire and the gemstone is associated with Lord Varuna, the god of water. It cures all the doshas of an individual as revealed by their horoscope. It offers invaluable benefits to businesses and trading segments.

Grosular Garnet – Rahu is the ruling planet of this gemstone. The gemstone attracts power, fame, and legal as well as political success. There are some Doshas associated with Rahu, such as uncontrolled worldly desires, and obstacles in love and marriage relationships. They get removed by wearing the gemstone grosular garnet.

Buy Navratna rings online to benefit from their features and cherish them as a single jewellery piece.   

[mahayanapilgrim]

Exploring the Theistic Elements in Buddhist Philosophy: A Journey through Pali Canon to Mahayana Sutras and Tantras

Introduction:

Buddhism, often considered a nontheistic religion, diverges from traditional notions of a personal deity. The foundational teachings found in the Pali Canon emphasize the impermanence of existence and the absence of a creator god. However, as we delve into the rich tapestry of Buddhist thought, a nuanced exploration reveals a spectrum of perspectives, ranging from the non-deistic Pali Canon to the more mystically-hued Mahayana sutras and Tantras.

I. Pali Canon and Nontheistic Foundations:

The Pali Canon, containing the earliest recorded teachings of the Buddha, articulates a nontheistic stance. The emphasis lies on the Four Noble Truths, the Eightfold Path, and the concept of anatta (non-self). Here, gods (devas) are depicted as celestial beings in devaloka, experiencing temporary happiness but subject to the cycle of death and rebirth.

II. Hindu Agamas and Crossroads with Buddhism:

Drawing a connection to the Hindu Agamas, similarities emerge, reflecting the historical and cultural interplay between early Buddhism and Hinduism. Both traditions grapple with concepts of karma, rebirth, and the pursuit of liberation. Despite these parallels, Buddhism maintains its distinctive nontheistic flavor, resisting the notion of a supreme, eternal deity.

III. Mahayana Sutras: Mystical Dimensions and Ultimate Ground:

Mahayana Buddhism introduces a shift in focus, as some sutras convey a more mystical interpretation. Concepts like the "Awakened Mind" or "Buddha Nature" emerge, suggesting an immanent, omniscient, and transcendent reality underlying all things. This departure from strict nontheism opens the door to interpretations that border on theistic, albeit with a unique Buddhist flavor.

IV. Tantras and the Fusion of Transcendence:

Tantric Buddhism further expands the terrain, introducing esoteric practices and embracing a more explicit language of divine energy. Tantras, with their symbolic rituals and deity yoga, blur the lines between the immanent and the transcendent. The ultimate reality becomes a dynamic force intertwined with the practitioner's spiritual journey.

Conclusion:

In navigating the diverse landscape of Buddhist thought, it is crucial to recognize the evolution of ideas within different schools and historical contexts. While the Pali Canon emphasizes nontheism, Mahayana sutras and Tantras introduce elements that might resonate with theistic inclinations. The essence of Buddhism remains rooted in the quest for enlightenment, liberation from suffering, and the understanding of the nature of reality, regardless of the theological nuances that may emerge along the way.

[kairunatic]

https://www.tumblr.com/kairunatic/734327407879880704/httpswwwtumblrcomkairunatic73431815351083008?source=share

The sword Kalki weilds was actually given to him by Shiva after praying to him and Shiva was pleased by his devotion. From what I understand Devaloka follows the trimurti belief in which Brahma creates the universe then one of the avatars of Vishnu like Kalki(who is the last) purge out daemons and darkness to establish dharma which what Kalki means by being a destroyer since his incarnation happens at the Kali Yuga where the world is at its worst and full of sin. Since the whole world is full of sin his job is to purge the world instead of just part of it. This happens 4 times and then I believe Shiva destroys the entire universe and starts it over again with Brahma. Basically it's 4 smaller cycles with the big one coming at the end with Shiva. (This probably isn't the most accurate description but mostly summary.)

Oooo I ses