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Melong
(; sa, ādarśa, darpaṇa, italic=yes) is a Tibetan term that means "mirror", "looking glass". The is a symbol, divine attribute, and quality of the enlightened mindstream or . Meaning and significance The mirror is an ancient symbol throughout Indian religions. In Indian iconography it may be understood as a symbol for clarity, wholesome or complete perception, and 'primordial purity' () of the mindstream or consciousness. The mirror is often depicted as an accoutrement of the hagiographical signification of fully realised , , and . The mirror may be understood as a quality of the mindstream that denotes perceiving experience as it is without obscuration formed by , etc. Tantric Buddhism The mirror may be engaged in the advanced Tantric of the . As the mirror, so the mind. The mirror ''as'' the mind, following Yogacara, reflects quality and form, though it is not directly altered and is 'beyond all attributes and qualities' (). In an essay accompanying the curat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melong Dorje
(; sa, ādarśa, darpaṇa, italic=yes) is a Tibetan term that means "mirror", "looking glass". The is a symbol, divine attribute, and quality of the enlightened mindstream or . Meaning and significance The mirror is an ancient symbol throughout Indian religions. In Indian iconography it may be understood as a symbol for clarity, wholesome or complete perception, and 'primordial purity' () of the mindstream or consciousness. The mirror is often depicted as an accoutrement of the hagiographical signification of fully realised , , and . The mirror may be understood as a quality of the mindstream that denotes perceiving experience as it is without obscuration formed by , etc. Tantric Buddhism The mirror may be engaged in the advanced Tantric of the . As the mirror, so the mind. The mirror ''as'' the mind, following Yogacara, reflects quality and form, though it is not directly altered and is 'beyond all attributes and qualities' (). In an essay accompanying the curat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Xylograph
Woodcut is a relief printing technique in printmaking. An artist carves an image into the surface of a block of wood—typically with gouges—leaving the printing parts level with the surface while removing the non-printing parts. Areas that the artist cuts away carry no ink, while characters or images at surface level carry the ink to produce the print. The block is cut along the wood grain (unlike wood engraving, where the block is cut in the end-grain). The surface is covered with ink by rolling over the surface with an ink-covered roller (brayer), leaving ink upon the flat surface but not in the non-printing areas. Multiple colors can be printed by keying the paper to a frame around the woodblocks (using a different block for each color). The art of carving the woodcut can be called "xylography", but this is rarely used in English for images alone, although that and "xylographic" are used in connection with block books, which are small books containing text and images in t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tibetan Armour
Tibetan culture has a long history of producing armor for military and ceremonial use. Tibetan armor came in many forms, and was produced into the 20th century due to the isolation of the Tibetan Plateau. History Development Tibetan armor was heavily influenced by the armors of China and the various Mongol peoples. According to Donald J. La Rocca of the Metropolitan Museum of Art's Department of Arms and Armor, Tibetan soldiers were most commonly protected by body armor, a helmet, and a rattan-reed shield reinforced with iron struts. Tibetan cavalry also protected their horses's bodies with thin leather armor and their heads with thick iron plates. The most common form of Tibetan armor was lamellar armor called ''byang bu'i khrab,'' which was created by overlapping squares of force-absorbing material. A common material used in Tibetan armor was leather (which was really untanned or superficially tanned rawhide). Higher ranking Tibetan soldiers were equipped with iron or ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Five Tathagatas
5 is a number, numeral, and glyph. 5, five or number 5 may also refer to: * AD 5, the fifth year of the AD era * 5 BC, the fifth year before the AD era Literature * ''5'' (visual novel), a 2008 visual novel by Ram * ''5'' (comics), an award-winning comics anthology * ''No. 5'' (manga), a Japanese manga by Taiyō Matsumoto * The Famous Five (novel series), a series of children's adventure novels written by English author Enid Blyton Films * ''Five'' (1951 film), a post-apocalyptic film * ''Five'' (2003 film), an Iranian documentary by Abbas Kiarostami * ''Five'' (2011 film), a comedy-drama television film * ''Five'' (2016 film), a French comedy film * Number 5, the protagonist in the film ''Short Circuit'' (1986 film) Television and radio * 5 (TV channel), a television network in the Philippines (currently known as TV5 from 2008 to 2018 and again since 2020), owned by TV5 Network, Inc. * Channel 5 (British TV channel), British free-to-air television network sometime ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Akshobhya
Akshobhya ( sa, अक्षोभ्य, ''Akṣobhya'', "Immovable One"; ) is one of the Five Wisdom Buddhas, a product of the Adibuddha, who represents consciousness as an aspect of reality. By convention he is located in the east of the Diamond Realm and is the lord of the Eastern Pure Land Abhirati ('The Joyous'). His consort is Lochanā and he is normally accompanied by two elephants. His color is blue-black and his attributes include a bell, three robes, and staff, as well as a jewel, lotus, prayer wheel, and sword. He has several emanations. Textual history and doctrine Akshobhya appears in the Akṣobhyatathāgatasyavyūha Sūtra (), which was translated during the second century CE and is among the oldest known Mahayana or Pure Land texts. According to the scripture, a monk wished to practice the Dharma in the eastern world of delight and made a vow not to harbor anger or malice towards any being until he achieved enlightenment. He duly proved "immovable" and when ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Seventeen Tantras
The ''Seventeen Tantras of the Esoteric Instruction Series'' () or the ''Seventeen tantras of the Ancients'' (''rnying-ma'i rgyud bcu-bdun'') are an important collection of tantras in the Nyingma school of Tibetan Buddhism. They comprise the core scriptures of the "esoteric instruction series" (''Menngagde'') of Dzogchen teachings and are its most authoritative scriptures. The Seventeen Tantras are part of the ''Vima Nyingthig'' (''"Inner Essence of Vimalamitra"''), a terma cycle of Dzogchen texts revealed by the treasure discoverer Zhangton Tashi Dorje (c. 1097-1127) and associated with the 8th century Indian monk Vimalamitra who is traditionally believed by the Nyingma school to have first brought these texts to Tibet. The ''Vima Nyingthig'' itself consists of 'tantras' (''rgyud''), 'agamas' (''lung''), and ' upadeshas' (''man ngag''). The other texts are mainly exegetical literature on the material found in the Seventeen tantras. The Seventeen Tantras explain the view ( ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Mirror Of The Heart Of Vajrasattva
The Mirror of the Heart of Vajrasattva () is numbered amongst the 'Seventeen Tantras of Menngagde' () within Dzogchen discourse and is part of the textual support for the Vima Nyingtik. The ''Continuum of Vajrasattva's Heart-Mirror'' conveys how the 'lamps' () are the self-display of awareness. It furthermore lists twenty-one pointing-out instructions appropriate for people with different propensities and proclivities along with four key points and practice instructions. These Seventeen Tantras are to be found in the Canon of the Ancient School, the 'Nyingma Gyubum' (), volumes 9 and 10, folio numbers 143-159 of the edition edited by 'Jamyang Khyentse Rinpoche' commonly known as Dilgo Khyentse Rinpoche (Thimpu, Bhutan, 1973), reproduced from the manuscript preserved at 'Tingkye Gonpa Jang' () Monastery in Tibet. Nomenclature, orthography and etymology *'The Mirror of the Heart of Vajrasattva' () Mirror The Melong is an important polyvalent symbol and potent teaching tool in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dzogchen
Dzogchen (, "Great Perfection" or "Great Completion"), also known as ''atiyoga'' ( utmost yoga), is a tradition of teachings in Indo-Tibetan Buddhism and Yungdrung Bon aimed at discovering and continuing in the ultimate ground of existence. The primordial ground (''gzhi'', "basis") is said to have the qualities of purity (i.e. emptiness), spontaneity (''lhun grub'', associated with luminous clarity) and compassion (''thugs rje''). The goal of Dzogchen is knowledge of this basis, this knowledge is called ''rigpa'' (Skt. ''vidyā''). There are numerous spiritual practices taught in the various Dzogchen systems for awakening rigpa. History Dzogchen developed in the Tibetan Empire period and the Era of Fragmentation (9th-11th centuries) and continues to be practiced today both in Tibet and around the world. It is a central teaching of the Yundrung Bon tradition as well as in the Nyingma school of Tibetan Buddhism. In these traditions, Dzogchen is the highest and most defin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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