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“Hillbilly Buddhist” is a term that combines elements of rural culture with Buddhist philosophy. It often refers to individuals who come from a rural or working-class background in the Southern United States (often referred to as “hillbillies”) and have adopted or integrated Buddhist teachings and practices into their lives.
This term is somewhat colloquial and doesn’t represent a specific formal tradition of Buddhism. Instead, it reflects a blending of cultural identities, suggesting that people from diverse backgrounds can find meaning and resonance in the teachings of Buddhism regardless of their cultural or geographical roots.
The idea of a “Hillbilly Buddhist” may challenge stereotypes and highlight the universal aspects of Buddhist teachings that can be applied by individuals from various walks of life. It’s a reminder that spiritual seekers and practitioners can emerge from unexpected places and backgrounds, transcending cultural boundaries.
In Thailand it is a tradition (not strictly a rule) that the monk uses a “receiving cloth” to emphasize that there is no touching.
Learn more about the Theravadin Buddhist Monk’s Rules here:
The Vinaya rules disallow monks from touching or handling money.
As such, in Buddhist countries monks must have a Kappiya attendant to handle money for them.
However, if a monk has to travel and does not have a Kappiya, under such circumstances do the Vinaya rules allow him to handle money personally?
This is a problem especially in non-Buddhist countries.
In reply to: Why does a monk wear the robe?
The Lord Buddha gave this reflection about why a monk wears a robe:
Properly considering the robe, I use it: simply to ward off cold, to ward off heat, to ward off the touch of flies, mosquitoes, simply for the purpose of covering the parts of the body which cause shame.
In the Lord Buddha’s time, 2,500 years ago, clothing was made without complex machinery. (Although simple ‘sewing-frames’ are mentioned in the texts, which the monks would have used at robe-making – Kathina – time.) So the pattern of the robe is very simple and designed so that it can be made up out of patches of cloth, for discarded rags were often used after washing and dyeing.
This “yellow robe” is considered the banner of the arahant and emblem of Buddhism. For the ordinary monks it is a privilege to be able to wear this robe, continuing the tradition and practicing to be worthy of it.
There are rules as to the robes’ size, color, how they are sewn, type of cloth used, etc.
The color of the robes depends on the dye used. Until very recently, this would have been natural vegetable dye found in the jungle from roots or trees.
Nowadays chemical dyes are more used and sometimes give that more vivid orange color that one sees in Bangkok.
The color white is used by Buddhist devotees to show their commitment to keeping the Precepts — usually the Eight Precepts — on Observance Days. (White robes are also worn by the anagarika, or postulant before he becomes a monk.)
Learn more about the Theravadin Buddhist Monk’s Rules here:
Sketching of Tsongkhapa and the Gelugpa Refuge Tree Thangka
The sketching process is the first step in creating the desired art. Sketching involved several steps, the first is to lay down the main lines of orientation.
Complete sketch of Tsongkhapa and the Gelugpa Refuge Tree Thangka
Details of Tsongkhapa and the Gelugpa Refuge Tree Thangka Sketch showing the top left corner
Details of Tsongkhapa and the Gelugpa Refuge Tree Thangka Sketch showing the top right corner
Details of Tsongkhapa and the Gelugpa Refuge Tree Thangka Sketch showing the center
Details of Tsongkhapa and the Gelugpa Refuge Tree Thangka Sketch showing the top of the lineage Tree
Details of Tsongkhapa and the Gelugpa Refuge Tree Thangka Sketch showing Mahakala in the top of the lineage Tree
Details of Tsongkhapa and the Gelugpa Refuge Tree Thangka Sketch showing Mount Meru in the Bottom
Details of Tsongkhapa and the Gelugpa Refuge Tree Thangka Sketch showing the Bottom left corner
Details of Tsongkhapa and the Gelugpa Refuge Tree Thangka Sketch showing the Bottom right corner
Details of Tsongkhapa and the Gelugpa Refuge Tree Thangka Sketch showing the Left Tree
Details of Tsongkhapa and the Gelugpa Refuge Tree Thangka Sketch showing the right part
Details of Tsongkhapa and the Gelugpa Refuge Tree Thangka Sketch showing the right Tree
In reply to: Gold Mandala #58046
In reply to: How is Sri Yantra mandala portrayed in the Hinduism?
Amazing info it is. Still researching about mandala art and its history. Threads like this helped me a lot.
In reply to: Manjushree Thangka in process #54345
Manjushree Thangka making process includes several processes like canvas preparation, sketching, coloring, adding the details, opening the eye of deities, etc.
In reply to: Mantra Mandala Canvas Preparation #48547
In reply to: Tara Yantra Sketching #48463
Topic: Tara Yantra Sketching #48463
Preparing the canvas is very first step involved in painting. after that with certain Mathematics and clear idea about the size and the structure sketching is done.
Sketching is the base of the painting.Tara Yantra Sketching
