TOP 24 articles about The Bodhisattva

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Depicting 5 Forms of Manjushri Thangka

5 forms of Manjushri
Wutaishan Mountain in is considered special for the deity/. According to oral and Chinese literature, it was who first talked about the five different of . 5 forms of are represented on each of the five peaks: central and four directions. The Five Manjushri forms are not depicted in a consistent manner. There are many iconographic differences appearing between the various be they central .

Long Life Dakini Mandarava

Mandarava Thangka Painting
is also known as The Long Life Mandarava. Mandarava was the virtuous, and beautiful princess daughter of the royal couple in Zahor. Mandarava is also known as, , . She is along with . She is one of the two principal consorts of great 8th century Indian teacher , a founder-figure of , described as a ‘’ by many practitioners. Birth Place of Mandarava Mandarava was .

36 measurements of Tibetan Buddhism figures

This 18th-century essay drawing is similar in content to the photographic measurements. The so-called “image measurement” is the scale of the ’s human and the scale of the figure. This may be a reference guide for the of Buddha statues in or in the 18th century. It contains 36 detailed and the text is in . The representation of the figure is not fabricated out of thin . .

Lion Faced Dakini – Singhamukha Yogini

Lion-faced is a secret form of also has a relationship to Troma and the practice of . She is appropriate for clearing obstacles of the most pervasive and malignant kind and cutting through the “” of . This practice has been important in since the of . PeGyal Lingpa received this revelation directly from , appearing in a red-black form, instead of the more common dark .

Depicting the Painting of Machik Labdron and Chod Refuge

Machik Labdron and Chod Refuge
This is mid-20th-century of Machik Labdron and the Chod refuge field displaying teachers and deities. Painting Chart N°1  Asaṅga was “one of the most important spiritual figures” of and the “founder of the Yogacara school”. Traditionally, he and his half-brother are regarded as the major classical Indian exponents of Mahayana , Vijñanavada (awareness only) thought and Mahayana on path. N°2 The lineage of .

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  .

The Dark Armies of the Dharma

, the Lord of , gazes out across the world, his white radiance soothing the of living beings. With one pair of hands, he clasps to his heart the wish-fulfilling gem of his to eradicate the world’s pain. In his upper left hand, he holds of spiritual receptivity, the to leave the mud of and reach up toward the of true . Above his head, we sense .

Depicting the Painting of Shakyamuni with Geluk Masters

Shakyamuni with Geluk Masters
This 18th-century depicts with primordial , and , and Geluk . Painting Chart N°1 Maitreya Maitreya is regarded as a future Buddha of this world in eschatology. In some Buddhist literature, such as the and Sutra, he is referred to as Ajita. According to Buddhist tradition, Maitreya is a bodhisattva who will appear on in the future, achieve complete , .

The origin of the Graphic Arts of Buddhism

 is the artistic implementations  that are perused by  . It includes media which idolize  , and other of remarkable figures, both and mythical. Buddhist art explains the scenes from  the lives of all of the  and other graphic that helps to practice as well as physical objects connected with Buddhist practice, such as ,  and  . Buddhist art originated on the  following the historical life of , 6th to 5th century .

Sketching – The power of Tibetan paintings

is the major in creating the . Sketching involved several steps, the first of which was to lay down the main lines of orientation. Most important was the central vertical axis, for this would be the exact center of the around which the would plan the rest of the . The vertical axis usually marked the center of the , and it was in relation to this line that .
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