TERMS STARTING WITH
TERMS ANYWHERE
AkAsagarbha. (T. Nam mkha'i snying po; C. Xukongzang pusa; J. Kokuzo bosatsu; K. Hogongjang posal 空藏菩薩). In Sanskrit, "Storehouse/Womb of Space"; a BODHISATTVA who is one of the MAHOPAPUTRA, whose position is the north; also known as CakrapAni. He is usually considered to be a form of AKsOBHYA, although sometimes he is instead said to be the emanation of VAIROCANA. He is depicted in bodhisattva form, with one face and two hands in various MUDRAS; his most common attribute is a sun disc. His consort is MAlA, and he is the counterpart to KsItIGARBHA, the "Womb of the Earth." The sutra that describes his attributes, the AkAsagarbhasutra, was first translated into Chinese by BUDDHAYAsAS at the beginning of the fifth century and again by Dharmamitra a few decades later.
aNjali[mudrA]. (T. thal mo sbyar ba; C. hezhang; J. gassho; K. hapchang 合掌). In Sanskrit and PAli, "gesture of supplication" or "gesture of greeting." The aNjali is a traditional Indian gesture of salutation and respect wherein the palms of the hands are pressed together with fingers pointing up, usually at the level of the heart or the forehead. As a specific type of gesture (MUDRA), aNjali is used to symbolize thusness (TATHATA). In Buddhist iconography, this is one of the principal mudrAs of AVALOKITEsVARA, who in several forms holds a wish-fulfilling gem (CINTAMAnI) between cupped palms at his heart. This gesture is also commonly seen in images of religious donors and patrons.
AvataMsakasutra. (T. Mdo phal po che; C. Huayan jing; J. Kegongyo; K. Hwaom kyong 華嚴經). In Sanskrit, "Garland Scripture"; also known as the BUDDHAVATAMSAKASuTRA ("Scripture of the Garland of Buddhas"), or *BuddhAvataMsakanAmamahAvaipulyasutra, the Sanskrit reconstruction of the title of the Chinese translation Dafangguang fo huayan jing, which is usually abbreviated in Chinese simply as the HUAYAN JING ("Flower Garland Scripture"). The sutra is one of the most influential Buddhist scriptures in East Asia and the foundational text of the indigenous East Asian HUAYAN ZONG. The first major edition of the AvataMsakasutra was said to have been brought from KHOTAN and was translated into Chinese by BUDDHABHADRA in 421; this recension consisted of sixty rolls and thirty-four chapters. A second, longer recension, in eighty rolls and thirty-nine chapters, was translated into Chinese by sIKsANANDA in 699; this is sometimes referred to within the Huayan tradition as the "New [translation of the] AvataMsakasutra" (Xin Huayan jing). A Tibetan translation similar to the eighty-roll recension also exists. The AvataMsakasutra is traditionally classified as a VAIPULYASuTRA; it is an encyclopedic work that brings together a number of heterogeneous texts, such as the GAndAVYuHA and DAsABHuMIKASuTRA, which circulated independently before being compiled together in this scripture. No Sanskrit recension of the AvataMsakasutra has been discovered; even the title is not known from Sanskrit sources, but is a reconstruction of the Chinese. (Recent research in fact suggests that the correct Sanskrit title might actually be BuddhAvataMsakasutra, or "Scripture of the Garland of Buddhas," rather than AvataMsakasutra.) There are, however, extant Sanskrit recensions of two of its major constituents, the Dasabhumikasutra and Gandavyuha. Given the dearth of evidence of a Sanskrit recension of the complete AvataMsakasutra, and since the scripture was first introduced to China from Khotan, some scholars have argued that the scripture may actually be of Central Asian provenance (or at very least was heavily revised in Central Asia). There also exists in Chinese translation a forty-roll recension of the AvataMsakasutra, translated by PRAJNA in 798, which roughly corresponds to the Gandavyuha, otherwise known in Chinese as the Ru fajie pin or "Chapter on the Entry into the DHARMADHATU." Little attempt is made to synthesize these disparate materials into an overarching narrative, but there is a tenuous organizational schema involving a series of different "assemblies" to which the different discourses are addressed. The Chinese tradition presumed that the AvataMsakasutra was the first sermon of the Buddha (see HUAYAN ZHAO), and the sutra's first assembly takes place at the BODHI TREE two weeks after he had attained enlightenment while he was still immersed in the samAdhi of oceanic reflection (SAGARAMUDRASAMADHI). The AvataMsaka is therefore believed to provide a comprehensive and definitive description of the Buddha's enlightenment experience from within this profound state of samAdhi. The older sixty-roll recension includes a total of eight assemblies held at seven different locations: three in the human realm and the rest in the heavens. The later eighty-roll recension, however, includes a total of nine assemblies at seven locations, a discrepancy that led to much ink in Huayan exegesis. In terms of its content, the sutra offers exuberant descriptions of myriads of world systems populated by buddhas and bodhisattvas, along with elaborate imagery focusing especially on radiant light and boundless space. The scripture is also the inspiration for the famous metaphor of INDRAJALA (Indra's Net), a canopy made of transparent jewels in which each jewel is reflected in all the others, suggesting the multivalent levels of interaction between all phenomena in the universe. The text focuses on the unitary and all-pervasive nature of enlightenment, which belongs to the realm of the Buddha of Pervasive Light, VAIROCANA, the central buddha in the AvataMsaka, who embodies the DHARMAKAYA. The sutra emphasizes the knowledge and enlightenment of the buddhas as being something that is present in all sentient beings (see TATHAGATAGARBHA and BUDDHADHATU), just as the entire universe, or trichiliocosm (S. TRISAHASRAMAHASAHASRALOKADHATU) is contained in a minute mote of dust. This notion of interpenetration or interfusion (YUANRONG) is stressed in the thirty-second chapter of Buddhabhadra's translation, whose title bears the influential term "nature origination" (XINGQI). The sutra, especially in FAZANG's authoritative exegesis, is presumed to set forth a distinctive presentation of dependent origination (PRATĪTYASAMUTPADA) in terms of the dependence of the whole on its parts, stressing the unity of the universe and its emptiness (suNYATA) of inherent nature; dependent origination here emerges as a profound ecological vision in which the existence of any one thing is completely dependent on the existence of all other things and all things on any one thing. Various chapters of the sutra were also interpreted as providing the locus classicus for the exhaustive fifty-two stage MahAyAna path (MARGA) to buddhahood, which included the ten faiths (only implied in the scripture), the ten abodes, ten practices, ten dedications, and ten stages (DAsABHuMI), plus the two stages of awakening itself: virtual enlightenment (dengjue) and sublime enlightenment (miaojue). This soteriological process was then illustrated through the peregrinations of the lad SUDHANA to visit his religious mentors, each of whom is identified with one of these specific stages; Sudhana's lengthy pilgrimage is described in great detail in the massive final chapter (a third of the entire scripture), the Gandavyuha, titled in the AvataMsakasutra the "Entry into the DharmadhAtu" chapter (Ru fajie pin). The evocative and widely quoted statement in the "Brahmacarya" chapter that "at the time of the initial arousal of the aspiration for enlightenment (BODHICITTOTPADA), complete, perfect enlightenment (ANUTTARASAMYAKSAMBODHI) is already achieved" was also influential in the development of the East Asian notion of sudden enlightenment (DUNWU), since it implied that awakening could be achieved in an instant of sincere aspiration, without requiring three infinite eons (ASAMKHYEYAKALPA) of religious training. Chinese exegetes who promoted this sutra reserved the highest place for it in their scriptural taxonomies (see JIAOXIANG PANSHI) and designated it the "perfect" or "consummate" teaching (YUANJIAO) of Buddhism. Many commentaries on and exegeses of the sutra are extant, among which the most influential are those written by FAZANG, ZHIYAN, CHENGGUAN, LI TONGXUAN, GUIFENG ZONGMI, WoNHYO, ŬISANG, and MYoE KoBEN.
Hathayoga: A system of Yoga, for gaining control over the physical body and Prana; system of Asanas, Pranayama Bandhas, Mudras and Kriyas.
hatha yogi. ::: the one who uses relaxation and other practices such as yamas, niyamas, mudras, bandhas etc.. to gain control of the physical body and the subtle life force &
Mudra(Sanskrit) ::: A general name for certain intertwinings or positions of the fingers of the two hands, usedalone or together, in devotional yoga or exoteric religious worship, and these mudras or digital positionsare held by many Oriental mystics to have particular esoteric significance. They are found both in theBuddhist statues of northern Asia, especially those belonging to the Yogachara school, and also in Indiawhere they are perhaps particularly affected by the Hindu tantrikas. There is doubtless a good deal of hidefficacy in holding the fingers in proper position during meditation, but to the genuine occult student thesymbolic meaning of such mudras or digital positions is by far more useful and interesting. The subject istoo intricate, and of importance too small, to call for much detail of explanation here, or even to attempt afull exposition of the subject.
Sthirata: Steadiness or firmness either of mind through concentration or of body through Asanas, Mudras, etc.
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1:Because Shingon is Vajrayana, the main meditation practice involves working with visualizations, mantras, and mudra gestures. You replace your self-image with that of an archetype, you replace your usual mental talk with the mantra of that archetype, and you take on the physical and emotional body experience of that archetype through making mudras—ritual hand gestures. If your concentration is good enough, your identity briefly shifts. You become that archetype. ~ Shinzen Young, #NFDB
2:Just as a hug is the only way to express yourself when words are inadequate,mudras, or gestures, convey profound spiritual experiences that cannot adequately be expressed verbally. The most powerful,universal and healing mudra is a smile. When we overflow with joy, we cannot help but smile spontaneously. And when we are mired in doubt, fear, anxiety, and depression, a smile creates a map in the mind that leads us home to that joy that is hidden in even the darkest moments of our life. It is one thing to know that joy is possible in any moment—in any situation. It is another
skill entirely to know when to find that joy when your world is crumbling around you. The map is with you always—just smile! ~ Darren Main,#NFDB
3 Buddhism
2 Yoga
1 Integral Yoga
3 Bokar Rinpoche
2 Swami Sivananda Saraswati
3 Tara - The Feminine Divine
2 Amrita Gita
0 1963-05-11, #Agenda Vol 04, #The Mother, #Integral Yoga
Such is the case, for example, of Anandamayi-M, who was said to be hysterical because of the strange gestures she made during her meditations, until it turned out that they were ritual asanas and Mudras which she performed spontaneously.
As long as Nature lasts, he too is there; For this is sure that he and she are one.
1.01 - Hatha Yoga, #Amrita Gita, #Swami Sivananda Saraswati, #Hinduism
7. Learn the Asanas, Pranayama, Bandhas, Mudras and the Shad Kriyas under an expert Hatha Yogi.
8. Ida, Pingala and Sushumna are the three important Nadis in the body.
1.01 - Tara the Divine, #Tara - The Feminine Divine, #unset, #Integral Yoga
making certain Mudras, legs in a definite position,
adorned with various attri butes, and so on. In a
1.03 - Invocation of Tara, #Tara - The Feminine Divine, #unset, #Integral Yoga
and is put to use in doing the Mudras (hand gestures
symbolizing offerings, inviting deities, and so on). It is
--
the accomplishment of Mudras, and the use of various
objects.
1.04 - The Praise, #Tara - The Feminine Divine, #unset, #Integral Yoga
of the armor provided by Tara's mantras and Mudras.
Stanza 20
1.09 - Kundalini Yoga, #Amrita Gita, #Swami Sivananda Saraswati, #Hinduism
7. Asanas, Bandhas, Mudras, Pranayama help in awakening Kundalini.
8. Neti, Dhauti, Nauli, Bhasti, Kapalabhati and Trataka are the Shat-Kriyas or six Yoga Kriyas.
--
10. Maha-Mudra, Yoni-Mudra, Sambhavi-Mudra, Khechari Mudra, Sakti-Chalani Mudra and Vipareeta-Karani Mudra are the important Mudras.
11. Sarvangasana, Sirshasana, Paschimottanasana are the important Asanas.
12. Learn the Asanas, Pranayama, Bandhas and Mudras under an expert, Siddha Yogi Guru.
13. A Guru is one who has full illumination, who is endowed with all divine virtues, who is able to remove the doubts of his disciples and guide them in the path of Yoga.
Verses of Vemana, #is Book, #unset, #Integral Yoga
(Mystic) By gazing at the blight Mudras, happiness or sorrow is produced. Looking at the blessing of the Mudras and enjoying it, thou shalt shine as a beatified saint.
245
--- Overview of noun mudra
The noun mudra has 1 sense (no senses from tagged texts)
1. mudra ::: (ritual hand movement in Hindu religious dancing)
--- Synonyms/Hypernyms (Ordered by Estimated Frequency) of noun mudra
1 sense of mudra
Sense 1
mudra
=> gesture
=> motion, movement, move, motility
=> change
=> action
=> act, deed, human action, human activity
=> event
=> psychological feature
=> abstraction, abstract entity
=> entity
--- Hyponyms of noun mudra
--- Synonyms/Hypernyms (Ordered by Estimated Frequency) of noun mudra
1 sense of mudra
Sense 1
mudra
=> gesture
--- Coordinate Terms (sisters) of noun mudra
1 sense of mudra
Sense 1
mudra
-> gesture
=> jab, jabbing, poke, poking, thrust, thrusting
=> mudra
--- Grep of noun mudra
mudra
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https://religion.wikia.org/wiki/Mudra#CITEREFJohnson2000
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Kheper - mudras -- 52
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2015 Seshasamudram violence
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