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Deity and Divinities of Nyingma Tradition

Tradition is the old school of is the name given to the followers of those original translations of the of the into . The Nyingma teachings are divided into the Long Transmission (Tib. ring gyü) of the and the Short Transmission (Tib. nyé gyü) of Terma; other teachings were received by directly in Pure Visions (Tib. dak nang) from deities or , in experiences or in dreams. .

All You need to know about Jivamukti Yoga

The method is a proprietary style of which is created by David Life and Sharon Gannon in 1984. Jivamukti is an ethical, physical, and that fuses vigorous with adherence to five central tenets. Many celebrities follow this Yogic Style over . For spiritual, psychological, and physical growth, the fusion of five principles with is crucial. So this is obvious to experience an overall transformation in .

Explaining Nairatmya

is a who is the consort of in the Hevajra-.  Nairaymya is an embodiment of the philosophical concept of anatman. Nairatmya and Shri malformed, Ugly One along with the ‘Extensive Lineage’ of Indian of the Hevajra Tantra. The life of Nairatmya In this section, we will learn about the life of Nairatmya. And after that, we will learn about the short etymological description of the Nairatmya. Etymology .
Tibetan Buddhist Eighth Karmapa Mikyo Dorje

Explaining Lama Teacher Karmapa Rolpai Dorje

Rolpai Dorje who is known as the 4th wearing the and Khacho Wangpoa was the 2nd . The Life of Karmapa Rolpai Dorje In this portion, we are going to learn the life of the Karmapa Rolpai Dorje, after the short etymological description of the word Karmapa Rolpai Dorje itself. Etymology of Rolpai Dorje Rolpaie Dorje (1340- 1383) was the fourth Gyalwa Karmapa. Earlier, we learn about the life of Rolpaie .
Nyingma refuge tree - Longchen Nyingtik Lineage

Nyingma Lineage tree thangka with explanation chart

The subject depicted in this is called Guruparampara, a “Line of Teachers.” It depicts the family tree of lineage, as it were, and its function is to indicate a line of descent. The meaning of this presentation is to show a refuge for believers. It creates a kind of structure with a number of deities and teachers in whom devotees take refuge, because they will help believers in the course of their .

Who is Padmasambhava?

For 2,500 years have considered with awe the achievement of . What induces such tremendous respect in them is not just that he gained , but that he did so without a teacher. Contemplating the difficulties that the had to overcome has given a very great appreciation of the value of a spiritual teacher. As developed, and the three yanas unfolded, the role and significance of the spiritual teacher .

The Lineage Tree – visualization of Refuge Tree

has such a unifying symbol, known variously as a Refuge assembly, Field of Merit, or . It is known as a Refuge assembly because it is a visualized gathering of figures representing the three Refuges. It is known as a Field of Merit because by visualizing a great array of figures and then making to them, and by performing other skillful actions, such as committing oneself to  .

Sacred Tibetan Tantric Yoga

The learning and practice is not like the regular practiced in the West. It is a of and exercise of the purely based on , a tantric tradition of Pundit and . It removes the negative omens from the channels and by physical positions and movements which harmonize wind and mind. The yoga practice helps stimulate the channels and , and .

Final Touch and Finishing Details In a Traditional Thangka Paintings

Facial Features The last main step involving the application of colours was the rendering of the faces of the . This was in effect the final stage of outlining, and sometimes a painter would step in at this point and complete the of his student. Of all the finishing details, the facial features demanded the most attention, and among these it was the eyes that received the greatest care. The painting .

The Magic of Composition in Tibetan paintings

By the the painter sat down to begin the sketch he already had in the main contents and of the . Usually, the patron had indicated to the painter precisely which deities he wanted to be depicted. Sometimes the patron also furnished a diagram that showe the names and relative positions of each figure in the , such diagrams often having been composed by the of the patron. When the .