classes ::: Sanskrit,
children :::
branches ::: rasa

bookmarks: Instances - Definitions - Quotes - Chapters - Wordnet - Webgen


object:rasa
language class:Sanskrit

see also :::

questions, comments, suggestions/feedback, take-down requests, contribute, etc
contact me @ integralyogin@gmail.com or
join the integral discord server (chatrooms)
if the page you visited was empty, it may be noted and I will try to fill it out. cheers



now begins generated list of local instances, definitions, quotes, instances in chapters, wordnet info if available and instances among weblinks


OBJECT INSTANCES [0] - TOPICS - AUTHORS - BOOKS - CHAPTERS - CLASSES - SEE ALSO - SIMILAR TITLES

TOPICS
SEE ALSO


AUTH

BOOKS
Vishnu_Purana

IN CHAPTERS TITLE
18.02_-_Ramprasad
25.03_-_Songs_of_Ramprasad
26.03_-_Ramprasad

IN CHAPTERS CLASSNAME

IN CHAPTERS TEXT
00.03_-_Upanishadic_Symbolism
00.04_-_The_Beautiful_in_the_Upanishads
00.05_-_A_Vedic_Conception_of_the_Poet
0.00_-_INTRODUCTION
0.00_-_THE_GOSPEL_PREFACE
01.01_-_The_New_Humanity
01.04_-_The_Intuition_of_the_Age
0_1967-06-07
0_1971-03-03
02.02_-_Rishi_Dirghatama
02.10_-_Two_Mystic_Poems_in_Modern_Bengali
02.11_-_Hymn_to_Darkness
03.01_-_The_Malady_of_the_Century
03.09_-_Sectarianism_or_Loyalty
05.07_-_The_Observer_and_the_Observed
05.13_-_Darshana_and_Philosophy
05.24_-_Process_of_Purification
1.00_-_Introduction_to_Alchemy_of_Happiness
1.00_-_Main
10.11_-_Savitri
1.01_-_Hatha_Yoga
1.01_-_MASTER_AND_DISCIPLE
1.01_-_Prayer
1.01_-_SAMADHI_PADA
1.01_-_Tara_the_Divine
1.01_-_The_Human_Aspiration
1.02.3.1_-_The_Lord
10.25_-_How_to_Read_Sri_Aurobindo_and_the_Mother
1.02_-_IN_THE_COMPANY_OF_DEVOTEES
1.02_-_SADHANA_PADA
1.02_-_Taras_Tantra
1.02_-_The_Doctrine_of_the_Mystics
1.02_-_The_Recovery
10.31_-_The_Mystery_of_The_Five_Senses
10.35_-_The_Moral_and_the_Spiritual
1.03_-_Concerning_the_Archetypes,_with_Special_Reference_to_the_Anima_Concept
1.03_-_Invocation_of_Tara
1.03_-_The_House_Of_The_Lord
1.03_-_VISIT_TO_VIDYASAGAR
1.03_-_YIBHOOTI_PADA
1.045_-_Piercing_the_Structure_of_the_Object
1.04_-_ADVICE_TO_HOUSEHOLDERS
1.04_-_KAI_VALYA_PADA
1.04_-_The_Divine_Mother_-_This_Is_She
1.04_-_The_Praise
1.05_-_Computing_Machines_and_the_Nervous_System
1.05_-_Ritam
1.05_-_THE_MASTER_AND_KESHAB
1.05_-_Vishnu_as_Brahma_creates_the_world
1.05_-_War_And_Politics
1.05_-_Yoga_and_Hypnotism
1.060_-_Tracing_the_Ultimate_Cause_of_Any_Experience
1.06_-_Origin_of_the_four_castes
1.06_-_THE_MASTER_WITH_THE_BRAHMO_DEVOTEES
1.07_-_A_Song_of_Longing_for_Tara,_the_Infallible
1.07_-_THE_MASTER_AND_VIJAY_GOSWAMI
1.081_-_The_Application_of_Pratyahara
1.08_-_Origin_of_Rudra:_his_becoming_eight_Rudras
1.08_-_The_Gods_of_the_Veda_-_The_Secret_of_the_Veda
1.08_-_THE_MASTERS_BIRTHDAY_CELEBRATION_AT_DAKSHINESWAR
1.096_-_Powers_that_Accrue_in_the_Practice
1.097_-_Sublimation_of_Object-Consciousness
1.098_-_The_Transformation_from_Human_to_Divine
1.09_-_Legend_of_Lakshmi
1.09_-_Talks
1.09_-_Taras_Ultimate_Nature
1.107_-_The_Bestowal_of_a_Divine_Gift
11.07_-_The_Labours_of_the_Gods:_The_five_Purifications
1.10_-_Laughter_Of_The_Gods
1.10_-_The_Yoga_of_the_Intelligent_Will
1.11_-_Correspondence_and_Interviews
1.11_-_WITH_THE_DEVOTEES_AT_DAKSHINEWAR
1.1.2_-_Commentary
1.12_-_Delight_of_Existence_-_The_Solution
1.12_-_Independence
1.12_-_THE_FESTIVAL_AT_PNIHTI
1.12_-_The_Herds_of_the_Dawn
1.13_-_THE_MASTER_AND_M.
1.14_-_INSTRUCTION_TO_VAISHNAVS_AND_BRHMOS
1.15_-_LAST_VISIT_TO_KESHAB
1.15_-_The_world_overrun_with_trees;_they_are_destroyed_by_the_Pracetasas
1.16_-_WITH_THE_DEVOTEES_AT_DAKSHINESWAR
1.17_-_M._AT_DAKSHINEWAR
1.17_-_The_Seven-Headed_Thought,_Swar_and_the_Dashagwas
1.18_-_M._AT_DAKSHINESWAR
1.19_-_Equality
1.19_-_THE_MASTER_AND_HIS_INJURED_ARM
1.19_-_The_Victory_of_the_Fathers
1.20_-_RULES_FOR_HOUSEHOLDERS_AND_MONKS
1.21_-_A_DAY_AT_DAKSHINESWAR
1.21_-_Families_of_the_Daityas
1.22_-_ADVICE_TO_AN_ACTOR
1.22__-_Dominion_over_different_provinces_of_creation_assigned_to_different_beings
1.23_-_The_Double_Soul_in_Man
1.240_-_1.300_Talks
1.240_-_Talks_2
1.25_-_ADVICE_TO_PUNDIT_SHASHADHAR
1.27_-_AT_DAKSHINESWAR
1.300_-_1.400_Talks
1.400_-_1.450_Talks
1.4.01_-_The_Divine_Grace_and_Guidance
1.439
1.450_-_1.500_Talks
1.54_-_Types_of_Animal_Sacrament
1.550_-_1.600_Talks
16.02_-_Mater_Dolorosa
18.01_-_Padavali
18.02_-_Ramprasad
18.03_-_Tagore
18.04_-_Modern_Poems
1.jr_-_What_can_I_do,_Muslims?_I_do_not_know_myself
1.poe_-_Al_Aaraaf-_Part_1
1.rmpsd_-_Come,_let_us_go_for_a_walk,_O_mind
1.rmpsd_-_Conquer_Death_with_the_drumbeat_Ma!_Ma!_Ma!
1.rmpsd_-_I_drink_no_ordinary_wine
1.rmpsd_-_In_the_worlds_busy_market-place,_O_Shyama
1.rmpsd_-_Its_value_beyond_assessment_by_the_mind
1.rmpsd_-_Kulakundalini,_Goddess_Full_of_Brahman,_Tara
1.rmpsd_-_Love_Her,_Mind
1.rmpsd_-_Ma,_Youre_inside_me
1.rmpsd_-_Meditate_on_Kali!_Why_be_anxious?
1.rmpsd_-_Mother,_am_I_Thine_eight-months_child?
1.rmpsd_-_Mother_this_is_the_grief_that_sorely_grieves_my_heart
1.rmpsd_-_O_Death!_Get_away-_what_canst_thou_do?
1.rmpsd_-_Of_what_use_is_my_going_to_Kasi_any_more?
1.rmpsd_-_O_Mother,_who_really
1.rmpsd_-_Once_for_all,_this_time
1.rmpsd_-_So_I_say-_Mind,_dont_you_sleep
1.rmpsd_-_Tell_me,_brother,_what_happens_after_death?
1.rmpsd_-_This_time_I_shall_devour_Thee_utterly,_Mother_Kali!
1.rmpsd_-_Who_in_this_world
1.rmpsd_-_Who_is_that_Syama_woman
1.rmpsd_-_Why_disappear_into_formless_trance?
20.01_-_Charyapada_-_Old_Bengali_Mystic_Poems
2.02_-_Indra,_Giver_of_Light
2.02_-_THE_DURGA_PUJA_FESTIVAL
2.03_-_THE_MASTER_IN_VARIOUS_MOODS
2.04_-_ADVICE_TO_ISHAN
2.04_-_Agni,_the_Illumined_Will
2.05_-_On_Poetry
2.05_-_VISIT_TO_THE_SINTHI_BRAMO_SAMAJ
2.08_-_ALICE_IN_WONDERLAND
2.08_-_AT_THE_STAR_THEATRE_(II)
2.08_-_On_Non-Violence
2.08_-_The_Release_from_the_Heart_and_the_Mind
2.09_-_On_Sadhana
2.09_-_THE_MASTERS_BIRTHDAY
2.09_-_The_Pantacle
2.10_-_THE_MASTER_AND_NARENDRA
2.11_-_WITH_THE_DEVOTEES_IN_CALCUTTA
2.13_-_On_Psychology
2.1.3_-_Wrong_Movements_of_the_Vital
2.15_-_CAR_FESTIVAL_AT_BALARMS_HOUSE
2.16_-_VISIT_TO_NANDA_BOSES_HOUSE
2.17_-_THE_MASTER_ON_HIMSELF_AND_HIS_EXPERIENCES
2.18_-_January_1939
2.19_-_THE_MASTER_AND_DR._SARKAR
2.2.01_-_Work_and_Yoga
2.20_-_THE_MASTERS_TRAINING_OF_HIS_DISCIPLES
2.21_-_IN_THE_COMPANY_OF_DEVOTEES_AT_SYAMPUKUR
2.21_-_Towards_the_Supreme_Secret
2.22_-_THE_MASTER_AT_COSSIPORE
2.2.3_-_Depression_and_Despondency
2.23_-_THE_MASTER_AND_BUDDHA
2.24_-_Gnosis_and_Ananda
2.24_-_THE_MASTERS_LOVE_FOR_HIS_DEVOTEES
2.25_-_AFTER_THE_PASSING_AWAY
2.26_-_The_Ascent_towards_Supermind
2.28_-_The_Divine_Life
2.3.04_-_The_Mother's_Force
2.3.08_-_The_Mother's_Help_in_Difficulties
2.3.2_-_Desire
2.4.02_-_Bhakti,_Devotion,_Worship
24.05_-_Vision_of_Dante
25.02_-_HYMN_TO_DAWN
25.03_-_Songs_of_Ramprasad
25.04_-_In_Love_with_Darkness
26.02_-_Other_Hymns_and_Prayers
26.03_-_Ramprasad
26.04_-_Rabindranath_Tagore
26.05_-_Modern_Poets
27.01_-_The_Golden_Harvest
28.02_-_An_Impression
2_-_Other_Hymns_to_Agni
30.09_-_Lines_of_Tantra_(Charyapada)
30.11_-_Modern_Poetry
30.12_-_The_Obscene_and_the_Ugly_-_Form_and_Essence
3.05_-_The_Formula_of_I.A.O.
31.01_-_The_Heart_of_Bengal
31.04_-_Sri_Ramakrishna
3.1.1_-_The_Transformation_of_the_Physical
3.1.2_-_Levels_of_the_Physical_Being
3.2.08_-_Bhakti_Yoga_and_Vaishnavism
3.2.1_-_Food
3.2.4_-_Sex
33.01_-_The_Initiation_of_Swadeshi
33.02_-_Subhash,_Oaten:_atlas,_Russell
33.04_-_Deoghar
33.05_-_Muraripukur_-_II
33.11_-_Pondicherry_II
33.13_-_My_Professors
34.06_-_Hymn_to_Sindhu
34.09_-_Hymn_to_the_Pillar
36.07_-_An_Introduction_To_The_Vedas
36.08_-_A_Commentary_on_the_First_Six_Suktas_of_Rigveda
3_-_Commentaries_and_Annotated_Translations
4.06_-_Purification-the_Lower_Mentality
4.12_-_The_Way_of_Equality
4.20_-_The_Intuitive_Mind
4.24_-_The_supramental_Sense
5_-_The_Phenomenology_of_the_Spirit_in_Fairytales
6.0_-_Conscious,_Unconscious,_and_Individuation
7.03_-_Cheerfulness
7.09_-_Right_Judgement
9.99_-_Glossary
BOOK_II._--_PART_I._ANTHROPOGENESIS.
BOOK_II._--_PART_III._ADDENDA._SCIENCE_AND_THE_SECRET_DOCTRINE_CONTRASTED
BOOK_II._--_PART_II._THE_ARCHAIC_SYMBOLISM_OF_THE_WORLD-RELIGIONS
BOOK_I._--_PART_I._COSMIC_EVOLUTION
BOOK_I._--_PART_III._SCIENCE_AND_THE_SECRET_DOCTRINE_CONTRASTED
BOOK_I._--_PART_II._THE_EVOLUTION_OF_SYMBOLISM_IN_ITS_APPROXIMATE_ORDER
ENNEAD_03.07_-_Of_Time_and_Eternity.
Jaap_Sahib_Text_(Guru_Gobind_Singh)
r1912_01_13
r1912_01_22
r1912_01_27
r1912_07_03
r1912_07_04
r1912_12_08
r1912_12_09
r1912_12_11
r1912_12_16
r1912_12_20
r1913_01_10
r1913_02_02
r1913_02_06
r1913_04_12
r1913_06_27
r1913_07_05
r1913_11_12
r1913_11_13
r1913_11_14
r1913_11_18
r1913_11_24
r1913_11_26
r1913_12_01a
r1913_12_23
r1913_12_24
r1914_01_11
r1914_03_28
r1914_06_14
r1914_07_01
r1914_07_07
r1914_07_18
r1914_07_21
r1914_09_18
r1914_10_01
r1914_10_05
r1914_10_09
r1914_11_10
r1914_11_20
r1914_12_17
r1914_12_18
r1914_12_29
r1915_01_02
r1915_05_13
r1915_05_25
r1915_05_29
r1915_06_01
r1915_06_04
r1915_06_10
r1915_07_03
r1915_08_26
r1916_03_13
r1917_02_05
r1917_03_03
r1917_03_13
r1917_03_16
r1918_04_30
r1919_07_10
r1919_07_11
r1919_07_21
r1919_07_22
r1919_07_23
r1919_07_24
r1919_07_27
r1919_07_28
r1919_08_04
r1919_08_06
r1919_08_21
r1919_08_28
r1919_09_01
r1920_02_22
r1920_02_26
r1920_03_04
r1920_03_06
Sayings_of_Sri_Ramakrishna_(text)
SB_1.1_-_Questions_by_the_Sages
Talks_026-050
Talks_225-239
Talks_500-550
Talks_600-652
Talks_With_Sri_Aurobindo_1
Talks_With_Sri_Aurobindo_2
Theaetetus
The_Coming_Race_Contents
the_Eternal_Wisdom
Verses_of_Vemana

PRIMARY CLASS

SIMILAR TITLES
Ramprasad
rasa

DEFINITIONS


TERMS STARTING WITH

rasa ::: 1. sap, juice; essence. ::: 2. taste; pleasure; liking (and disliking); affectation of sense. ::: 3. aesthesis; the response of the mind, the vital feeling and the sense to a certain "taste" in things which may often be but is not always a spiritual feeling. ::: 4. the eight rasas: eight forms of emotional aestheticism.

rasabhoga ::: full enjoyment (bhoga) of the rasa or essence of delight in all things, a term used for the third state of bhukti when the second state is called rasapriti, equivalent to ananda as "the divine bhoga superior to all mental pleasure with which God enjoys the rasa".

rasa (rasa; rasah) ::: sap, juice; body-fluid; "the upflow of essential being in the form, that which is the secret of its self-delight", whose perception is the basis of the sensation of taste; a non-material (sūks.ma) taste; the sūks.ma vis.aya of subtle taste; (short for rasadr.s.t.i) the subtle sense of taste; "the pure taste of enjoyment" in all things, a form of ananda "which the understanding can seize on and the aesthesis feel as the taste of delight in them"; (also called sama rasa or rasagrahan.a) the perception by the mind of the essential quality (gun.a) in each object of experience, the "essence of delight" in it, the first stage of active / positive samata or bhukti.

rasa, rasa lila (Ras) ::: the dance-round of Krsna with the cowherdesses in the moonlit groves of Vrndavana, type of the dance of Divine Delight with the souls of men liberated in the world of Bliss secret within us.

rasadr.s.t.i (rasadrishti) ::: the perception of tastes imperceptible to the rasadrsti ordinary physical sense; the subtle sense (sūks.ma indriya) of taste, one of the faculties of vis.ayadr.s.t.i.

rasagandha ::: the subtle smell of things tasted.

rasagrahan.a (rasagrahana; rasa-grahana; rasagrahanam) ::: the seizrasagrahana ing of the rasa or "principle of delight" in things, "an enlightened enjoyment principally by the perceptive, aesthetic and emotive mind, secondarily only by the sensational, nervous and physical being", the first of the three states of bhukti, in which the mind "gets the pure taste of enjoyment" of all experience "and rejects whatever is perturbed, troubled and perverse"; same as (sama) rasa, the first stage of active / positive samata.

rasagrahan.am ::: see rasagrahan.a. rasagrahanam

rasagrahana ::: seizing of the principle of delight.

rasah., pritir anandah. [iti sarvanandah.] ::: rasa, priti and ananda rasah, constitute sarvananda or complete delight. rasaj ñanam

rasah. ::: see rasa.

rasa lila ::: see rasa

rasa

rasanā. (T. ro ma). In tantric physiology, the channel (NĀdĪ) that runs from the left nostril to the base of the spine in males and from the right nostril to the base of the spine in females. It is one of three main channels, together with the central channel (AVADHuTĪ) and the LALANĀ, the left channel in females and the right channel in males. According to some systems, seventy-two thousand channels are found in the body, serving as the conduits for subtle energies or winds (PRĀnA). The most important of these channels are the avadhuti, the lalanā, and the rasanā. The central channel runs from the place between the eyebrows to the crown of the head and down in front of the spinal column, ending at the genitals. The right and left channels run parallel to the central channel on either side. These two channels wrap around the central channel at various points, of which as many as seven are enumerated. These points, called wheels (CAKRA), are located between the eyes, at the crown of the head, at the throat, at the heart, at the solar plexus, at the base of the spine, and at the tip of sexual organ. In ANUTTARAYOGATANTRA, especially in practices associated with the "stage of completion" (NIsPANNAKRAMA), much emphasis is placed on loosening these knots in order to cause the winds to flow freely through the central channel.

rasante ::: a. --> Sweeping; grazing; -- applied to a style of fortification in which the command of the works over each other, and over the country, is kept very low, in order that the shot may more effectually sweep or graze the ground before them.

rasapriti ::: the pleasure (priti) of the mind in the rasa or essence of rasapriti delight in all things, a term used for the second stage of bhukti.

rasa

rasasuddhi (rasashuddhi) ::: purification of the body-fluids. rasasuddhi

rasa. ::: taste; essence; savour; juice; nectar of delight

rasa ::: the essence, essential nature, best part; a mixture, potion, essential fluid; mercury. The term Rasa Shastra means the science of the essential nature, the teachings of the essence.

rasa. (T. ro; C. wei; J. mi; K. mi 味). In Sanskrit and Pāli, "taste," sensory objects of the tongue; the contact (SPARsA) between the gustatory sense organ (JIHVENDRIYA) and the gustatory sensory object leads to gustatory consciousness (JIHVĀVIJNĀNA). Six types of taste are enumerated in the ABHIDHARMA: sweet, sour, salty, pungent, bitter, and astringent.

Rasa ::: Aesthetics is concerned mainly with beauty, but more generally with rasa, the response of the mind, the vital feeling and the sense to a certain "taste" in things which often may be but is not necessarily a spiritual feeling.
   Ref: CWSA Vol. 27, Page: 27


Rasa: Essence (of enjoyment); water; mercury; taste; sweet feeling; food-chyle; Brahman.

Rasakrida: Transcendental sport that Lord Krishna played with the Gopis of Brindavana.

Rasamasa controls the sign of Pisces in the zodiac.

Rasamasa —with Vocabiel, a brother spirit,

Rasana: Tongue; the organ of taste.

RASA. ::: Sap or essence of a thing and its taste ; the delight in things.

Rasa: (Skr. sap, juice, nectar, essence, flavor, etc.) In Indian aesthetics (q.v.), pleasure, enjoyment, love, charm, grace, elegance, taste, emotion, sentiment, spirit, passion, beauty etc. -- K.F.L.

Rasasvada: Tasting the essence or the bliss of Savikalpa Samadhi; this is an obstacle to the higher Advaitic realisation, as it keeps away the meditator from attempting for Nirvikalpa Samadhi or Asamprajnata Samadhi.

Rasatanmatra: The subtle essence of taste or flavour; the subtle essence of the sense of taste.


TERMS ANYWHERE

11. gustatory sense-object (S. rasadhātu; T. ro'i khams; C. wei 味)

21. he has an excellent sense of taste (S. rasarasāgra; T. ro bro ba'i mchog dang ldan pa; C. yu zhuwei zhong de zui shangwei 於諸味中得最上味)

2. Aparasaila (T. Nub kyi ri bo'i sde; C. Xishanzhu bu 西山住部)

2. The heaven of blessed birth (PUnYAPRASAVA)

3. complete perfect enlightenment [of the buddhas] (S. anuttarasamyaksaMbodhi; T. bla na med pa yang dag par rdzogs pa'i byang chub; C. anouduoluo sanmiao sanputi 阿耨多羅三藐三菩提)

3. secret mantra vows (S. guhyamantrasaMvara; T. gsang sngags kyi sdom pa; C. mizhou lüyi 密咒律儀)

5. meritorious birth (S. punyaprasava; T. bsod nams 'phel; C. fusheng tian 福生天)

74. hair on the head is black as a bee (S. bhramarasadṛsakesaḥ; T. dbu skra bung ba ltar gnag pa; C. fa se ganqing ru fengwang 髮色紺青如蜂王)

7. praise (S. prasaMsā; T. bstod pa; C. cheng 稱)

9. flavor (P. rasa)

9. flavor (S. rasa; T. ro; C. mei 味)

Abrasax (Gn.): The Supreme Deity of the Gnostics. The name gave rise to the mediaeval protective spell-Abracadabra, mean ing "Hurt me not!" Abraxas is a variant spelling.

Abrasax ::: The original, and likely correct, transliteration for Abraxas. See Abraxas for further clarification.

AbhidhAnottaratantra. [alt. AvadAnastotratantra] (T. Mngon par brjod pa'i rgyud bla ma). In Sanskrit, "Continuation of the Explanation [of the CAKRASAMVARATANTRA]"; an Indian text describing the invocation of numerous tantric deities together with their seed syllables (BĪJA) and ritual meditations. The work was originally translated into Tibetan and edited by ATIsA DĪPAMKARAsRĪJNANA and RIN CHEN BZANG PO in the eleventh century.

Abracadabra [possibly from Celtic abra or abar god + cad holy; Blavatsky from an elaboration of the Gnostic Abrasax or Abraxas, a corruption of a Coptic or Egyptian magic formula meaning “hurt me not”] Mystical word used as a charm by the Gnostic school of Basilides. The Gnostic physician Serenus Sammonicus (2nd-3rd century) prescribed it as a remedy for agues and fevers. On amulets the word is often inscribed as a triangle with the point down, beginning with all eleven letters, below which are the first ten, and so on down to the single letter at the point. The power of any charm lies, not in the word itself, but in the hidden science connecting sounds and symbols with the potencies in nature to which they correspond. See also ABLANATHANALBA

Abracadabra: See Abrasax.

arasah. ::: distaste; lack of appreciation.

Arasa-mara (Sanskrit) Arasa-mara [from arasa sapless, tasteless + mara dying, death] The banyan tree, considered in one of its aspects as the Tree of Knowledge or the Tree of Life. According to popular Hindu belief, under one of these trees Vishnu taught during one of his incarnations on earth, hence it is held sacred. “Under the protecting foliage of this king of the forests, the Gurus teach their pupils their first lessons on immortality and initiate them into the mysteries of life and death” (SD 2:215).

Abraxas, Abrasax (Gnostic) Mystical term used by the Gnostics to indicate the supreme entity of our cosmic hierarchy or its manifestation in the human being which they called the Christos. Abraxas has the value of 365, based on numerical equivalents of the Greek alphabet. Because 365 represents the cycle of one revolution of our planet around the sun, they held that in Abraxas were mystically contained the full number of families of entities composing a hierarchy. These entities received from their supreme illuminator, Abraxas, the streams of life and inspiration governing their existence. Thus in a sense Abraxas is the cosmic Oversoul, the creative or Third Logos, Brahma. The Basilidean Gnostics taught that from this supreme God was created nous (mind). Abraxas also was identified with the Hebrew ’Adonai, the Egyptian Horus, and the Hindu Prajapati.

abraxas ::: Abraxas Abraxas, also known as Abrasax, is a Gnostic solar deity associated with Yahweh, Mithras and the Celtic Belenus, as well as Yeshu (Jesus). Amulets (see below) and seals bearing the figure of Abraxas were commonplace in the 2nd century, and were used as recently as the 13h century in the seals of the Knights Templar. Gematrically, the letters in Abraxas total 365 (the number of days in a solar year, and the number of Aeons, or emanations, in Gnostic cosmology), while each of the seven letters represents one of the seven planetary powers.

Abraxas (Abraxis, Abrasax, etc.)—in gnostic

Abraxas (or Abrasax); The letters of this word add up to 365. In Tertullian's outline of the beliefs of Basilides, the term seems to refer to the unknown Father, the Prime Source. In Hyppolitus, what is described seems to be the Demiurge. In the surviving Gnostic texts, Abrasax is one of a number of "light bringers".

According to the Nyaya philosophy, all existing things possess 24 gunas or characteristic qualities: rupa (shape or form); rasa (savor); gandha (odor); sparsa (tangibility); sankhya (number); parimana (dimension); prithaktva (severalty); samyoga (conjunction); vibhaga (disjunction); paratva (remoteness); aparatva (proximity); gurutva (weight); dravatva (fluidity); sneha (viscidity); sabda (sound); buddhi or jnana (understanding or knowledge); sukha (happiness); duhkha (pain); ichchha (desire); dvesha (aversion); prayatna (effort); dharma (merit or virtue); adharma (demerit); and samskara (the self-reproductive quality).

ada (samata shanti sukha prasada) ::: a union of the four elements of the first catus.t.aya, with prasada (rather than hasya) as the last element. samata samat

adhara rasa ::: subtle taste-perception with the support of a physical taste. ssadhara adhara rupa

adya mahasakti (adya mahashakti) ::: the original cosmic Power adya (mahasakti), the universal sakti on the highest plane of the eternal manifestation. adya ady a par parasakti

adya parasakti (parameswara-âdyâ parâshakti) ::: the supreme Lord one with his original supreme Power; the "biune" duality of isvara-sakti on the highest plane of existence. paramesvara-paramesvari

adya-sakti (adyashakti; adya-shakti) ::: the original Power (sakti), adya-sakti both transcendent (adya parasakti) and universal (adya mahasakti).

a ::: equality in one"s response to the contacts of the world, consisting of (sama) rasa, (sama) bhoga and (sama) ananda, also called active samata: "a positive equality which accepts the phenomena of existence, but only as the manifestation of the one divine being and with an equal response to them which comes from the divine . nature in us and transforms them into its hidden values".

a ::: equality in one"s response to the contacts of the world, consisting of (sama) rasa, (sama) bhoga and (sama) ananda, also called positive samata: an "active equality which will enable us not only to draw back from or confront the world in a detached and separated calm, but to return upon it and possess it in the power of the calm and equal Spirit".

aesthesis ::: “By aesthesis is meant a reaction of the consciousness, mental and vital and even bodily, which receives a certain element in things, something that can be called their taste, Rasa, which, passing through the mind or sense or both, awakes a vital enjoyment of the taste, Bhoga, and this can again awaken us, awaken even the soul in us to something yet deeper and more fundamental than mere pleasure and enjoyment, to some form of the spirit’s delight of existence, Ananda.” Letters on Savitri

Agrasamdhani (Sanskrit) Agrasaṃdhānī [from agra foremost, beginning + sam together, with + the verbal root dhā to fasten, unite] That which is fastened or strung together from the beginning; the register of human actions kept by Yama, Hindu god of the dead; linked with Chitragupta, scribe of Yama, who records in the Agrasamdhani the deeds and thoughts of every human being (cf MB 13). See also LIPIKA

Aizen Myoo. (愛染明王) (S. RAgavidyArAja). In Japanese, lit. "Bright King of the Taint of Lust"; an esoteric deity considered to be the destroyer of vulgar passions. In stark contrast to the traditional Buddhist approach of suppressing the passions through various antidotes or counteractive techniques (PRATIPAKsA), this VIDYARAJA is believed to be able to transform attachment, desire, craving, and defilement directly into pure BODHICITTA. This deity became a principal deity of the heretical Tachikawa branch (TACHIKAWARYu) of the SHINGONSHu and was considered the deity of conception. As an emanation of the buddha MAHAVAIROCANA or the bodhisattva VAJRASATTVA, Aizen Myoo was favored by many followers of Shingon Buddhism in Japan and by various esoteric branches of the TENDAISHu. Aizen Myoo was also sometimes held to be a secret buddha (HIBUTSU) by these traditions. The NICHIRENSHu was the last to adopt him as an important deity, but he played an important role in the dissemination of its cult. Aizen Myoo is well known for his fierce appearance, which belies the love and affection he is presumed to convey. Aizen Myoo usually has three eyes (to see the three realms of existence) and holds a lotus in his hand, which is symbolic of the calming of the senses, among other things. Other attributes of this deity are the bow and arrows, VAJRAs, and weapons that he holds in his hands.

AjantA. A complex of some thirty caves and subsidiary structures in India, renowned for its exemplary Buddhist artwork. Named after a neighboring village, the caves are carved from the granite cliffs at a bend in the Wagurna River valley, northeast of AURANGABAD, in the modern Indian state of Maharashtra. The grottoes were excavated in two phases, the first of which lasted from approximately 100 BCE to 100 CE, the second from c. 462 to 480, and consist primarily of monastic cave residences (VIHARA) and sanctuaries (CAITYA). The sanctuaries include four large, pillared STuPA halls, each enshrining a central monumental buddha image, which renders the hall both a site for worship and a buddha's dwelling (GANDHAKUtĪ), where he presides over the activities of the monks in residence. The murals and sculpture located at AjantA include some of the best-preserved examples of ancient Buddhist art. Paintings throughout the complex are especially noted for their depiction of accounts from the Buddha's previous lives (JATAKA). Despite the presence of some AVALOKITEsVARA images at the site, it is Sanskrit texts of mainstream Buddhism, and especially the MuLASARVASTIVADA school, that are the source and inspiration for the paintings of AjantA. Indeed, almost all of AjantA's narrative paintings are based on accounts appearing in the MuLASARVASTIVADA VINAYA, as well as the poems of Aryasura and AsVAGHOsA. On the other hand, the most common type of sculptural image at AjantA (e.g., Cave 4) is a seated buddha making a variant of the gesture of turning the wheel of the dharma (DHARMACAKRAMUDRA), flanked by the two bodhisattvas AVALOKITEsVARA and VAJRAPAnI. The deployment of this mudrA and the two flanking bodhisattvas indicates that these buddha images are of VAIROCANA and suggests that tantric elements that appear in the MAHAVAIROCANABHISAMBODHISuTRA and the MANJUsRĪMuLAKALPA, both of which postdate the AjantA images, developed over an extended period of time and had precursors that influenced the iconography at AjantA. Inscriptions on the walls of the earliest part of the complex, primarily in Indian Prakrits, attest to an eclectic, even syncretic, pattern of religious observance and patronage. Later epigraphs found at the site associate various patrons with Harisena (r. 460-477), the last known monarch of the VAkAtaka royal family. VarAhadeva, for example, who patronized Cave 16, was one of Harisena's courtiers, while Cave 1 was donated by Harisena himself, and Cave 2 may have been patronized by a close relative, perhaps one of Harisena's wives. Cave 16's central image, a buddha seated on a royal throne with legs pendant (BHADRASANA), is the first stone sculpture in this iconographic form found in western India. Introduced to India through the tradition of KUSHAN royal portraiture, the bhadrAsana has been interpreted as a position associated with royalty and worldly action. This sculpture may thus have functioned as a portrait sculpture; it may even allegorize Harisena as the Buddha. In fact, it is possible that VarAhadeva may have originally intended to enshrine a buddha seated in the cross-legged lotus position (VAJRAPARYAnKA) but changed his plan midway in the wake of a regional war that placed Harisena's control over the AjantA region in jeopardy. Around 480, the constructions at AjantA came to a halt with the destruction of the VAkAtaka family. The caves were subsequently abandoned and became overgrown, only to be discovered in 1819 by a British officer hunting a tiger. They quickly became the object of great archaeological and art historical interest, and were designated a UNESCO World Heritage Site in 1983.

akhanda rasa ::: undifferentiated and unabridged delight.

amṛta. (P. amata; T.'chi med/bdud rtsi; C. ganlu; J. kanro; K. kamno 甘露). In Sanskrit, lit. "deathless" or "immortal"; used in mainstream Buddhist materials to refer to the "end" (NIstHA) of practice and thus liberation (VIMOKsA). The term is also used to refer specifically to the "nectar" or "ambrosia" of the TRAYASTRIMsA heaven, the drink of the divinities (DEVA) that confers immortality. It is also in this sense that amṛta is used as an epithet of NIRVAnA, since this elixir confers specific physical benefit, as seen in the descriptions of the serene countenance and clarity of the enlightened person. Moreover, there is a physical dimension to the experience of nirvAna, for the adept is said to "touch the 'deathless' element with his very body." Because amṛta is sweet, the term is also used as a simile for the teachings of the Buddha, as in the phrase the "sweet rain of dharma" (dharmavarsaM amṛtaM). The term is also used in Buddhism to refer generically to medicaments, viz., the five types of nectar (PANCAMṚTA) refer to the five divine foods that are used for medicinal purposes: milk, ghee, butter, honey, and sugar. AmṛtarAja (Nectar King) is the name of one of the five TATHAGATAs in tantric Buddhism and is identified with AMITABHA. In ANUTTARAYOGATANTRA, there are five types of amṛta and five types of mAMsa ("flesh") that are transformed in a KAPALA ("skull cup") into a special offering substance called nang mchod, the "inner offering," in Tibetan. Giving it to the deities in the MAndALA is a central feature in anuttarayogatantra practice (SADHANA) and ritual (VIDHI). The inner offering of important religious figures in Tibetan is often distilled into a pill (T. bdud rtsi ril bu) that is then given to followers to use. In tantric practices such as the visualization of VAJRASATTVA, the meditator imagines a stream of amṛta descending from the teacher or deity visualized on the top of the head; it descends into the body and purifies afflictions (KLEsA) and the residual impressions (VASANA) left by earlier negative acts.

anam ::: knowledge or appreciation of rasa.

AnAthapindada. (P. AnAthapindika; T. Mgon med zas sbyin; C. Jigudu zhangzhe; J. Gikkodoku choja; K. Kŭpkodok changja 給孤獨長者). In Sanskit, "Feeder of the Defenseless"; a wealthy merchant from the city of sRAVASTĪ who became such a great patron of the SAMGHA that the Buddha declared him to be chief among laymen (UPASAKA) in his munificence. His personal name was Sudatta; AnAthapindada was a sobriquet suggesting his philanthropic qualities. AnAthapindada's father-in-law introduced him to the Buddha, and he was quickly converted, becoming in the process a stream-enterer (SROTAAPANNA). AnAthapindada built numerous dwellings, guest houses, and residential parks for the Buddha and his monastic order and was unstinting in his donation of requisites. The most famous of the residences he built was the JETAVANA park on the outskirts of srAvastī, which he purchased from the prince JETA (JetakumAra) by covering the entire property with gold coins. Prince Jeta himself donated the entrance to the park, over which he built a splendid gate. AnAthapindada had numerous buildings constructed at the site-including the Buddha's own residence, the GANDHAKUtĪ, or perfumed chamber-to serve the Buddha and the monastic community during the rains retreat (VARsA). The very same spot had served as a monastery and rains retreat center for previous buddhas as well, although the extent of the establishments varied. Jeta's Grove was said to be the Buddha's favorite residence and, according to tradition, he passed nineteen rains retreats there. After the laywoman VIsAKHA built the grand monastery MṚGARAMATṚPRASADA in srAvastī, the Buddha would alternate between both residences, spending the day at one and the night at another. The Buddha preached numerous sermons to AnAthapindada who, in turn, was fond of debating with ascetics and teachers of other religions. Although skilled in business, AnAthapindada was in his later years reduced to penury. He is said to have died shortly after feeding the monks with gruel prepared from his own cooking pot. One of the more poignant exchanges in the PAli canon involves AnAthapindada and is recorded in the AnAthapindikovAdasutta, the 143rd sutta in the PAli MAJJHIMANIKAYA (a recension of unidentified affiliation appears in the Chinese translation of the EKOTTARAGAMA). When AnAthapindada was on his deathbed, the Buddha sent sARIPUTRA, one of his two chief disciples, along with ANANDA as his attendant, to visit him. Learning that AnAthapindada was in great pain, sAriputra taught him a fairly standard discourse on how to guard the senses (INDRIYASAMVARA) so as to remain unattached toward sensory experience and thereby develop a state of consciousness that clings to nothing. At the conclusion of the discourse, AnAthapindada was brought to tears; seeing him weep, sAriputra asked him whether he was deteriorating. AnAthapindada said that he was actually lamenting the fact that, throughout his years of attending the Buddha and his monks, he had not once heard this kind of instruction. sAriputra responded that such teachings were intended for the monks, not the laity, but AnAthapindada begged him to make such teachings available to the laity as well, since some of them had "little dust in their eyes" and would be able to understand. Soon afterward that evening, AnAthapindada was reborn in TUsITA heaven and, as a young divinity (DEVA), visited the Buddha and praised the virtues of the Jetavana and of sAriputra, of whom AnAthapindada was especially fond.

AndhakA. In PAli, "Those from Andhra," a collective designation used by BUDDHAGHOSA, in the introduction to his commentary to the KATHAVATTHU, to refer to the RAjagirīya, SiddhArthika, PuRVAsAILA, and Aparasaila MAINSTREAM BUDDHIST SCHOOLS, which seem to have been related to the CAITYA [alt. Caitiya] school, a collateral line of the MAHASAMGHIKA school.

anekadarsi ekam (anekadarshi ekam) ::: the One (eka1) seeing the Many..Angirasas

angels are given as Nagrasagiel (or Nasragiel) and

Angirasah, Angiras rsis (the Angirasas, the Angirasa Rishis) ::: a clan of rsis that went by the name of Angiras, their progenitor; the seven sages, the seven lustres of Agni, his sons; burning powers of the Light; divine or human types of the seer-will.

Angirasa ::: [relating to Angiras]; a patronymic [from "Angiras"]; used as an epithet of Brhaspati. [Ved.]

Āṅgirasas ::: an ancient clan of r.s.is in the Veda, the "human fathers" who discovered the Light, also portrayed as heavenly seers or as powers of Agni2, "forces of the symbolic Light and Flame"; along with the Bhr.gus, identified in the Record of Yoga with the Judeo-Christian "seraphim", the highest order of angels.

Angirasas (Sanskrit) Aṅgirasa-s [from aṅg to go, move tortuously] The descendants of Angiras through his son, Agni; a name occurring in Vedic hymns addressed to luminous deities, and later extended to all phenomena connected with light. Specifically, the hymns of the Atharva-Veda are called Angirasa, as are those priests who recite them and perform the sacrifices according to the Atharva-vedic rules. “ ‘Angirases’ was one of the names of the Dhyanis, or Devas instructors (‘guru-deva’), of the late Third, the Fourth, and even of the Fifth Race Initiates” (SD 2:605n).

Angiras (Angirasa) ::: the rsi who represents the seer-will, in later times regarded as one of the original sages, progenitor of a clan of rsis that went by his name, however it is clear that the word is used in the Veda not merely as a name of a certain family of rsis, but with a distinct meaning inherent in the word: it must have meant flaming, glowing; used as an epithet, a name of Agni, etc. [Ved.]

aniyatagotra. (T. rigs ma nges pa; C. buding zhongxing; J. fujoshusho; K. pujong chongsong 不定種姓). In Sanskrit, "indeterminate lineage"; referring to those beings who are not predestined to a particular path and who, depending on circumstances, may follow one path and then change to another. According to some YOGACARA schools, at birth some beings are endowed with an inherent lineage (PRAKṚTISTHAGOTRA) directing them toward one of three vehicles: the sRAVAKAYANA, PRATYEKABUDDHAYANA, or BODHISATTVAYANA. The difficulty or ease with which they proceed on the path results from a developed lineage (SAMUDANĪTAGOTRA) obtained from cultivating earlier wholesome roots (KUsALAMuLA). For such persons, the lineages of the srAvaka, pratyekabuddha, and bodhisattva remain definite even when facing great hindrances. There are also persons of indeterminate or indefinite lineage. For such persons, whether they follow the srAvaka, pratyekabuddha, or bodhisattva path depends on circumstances, such as which teacher they encounter. Persons of this lineage can therefore change their path. For example, beginner (ADIKARMIKA) bodhisattvas may revert to a srAvaka path and seek personal NIRVAnA when faced with either the prospect of the difficult deeds (duskaracaryA) that bodhisattvas must perform for the sake of others or the seemingly interminable length of time (see ASAMKHYEYAKALPA) required to achieve full enlightenment (ANUTTARASAMYAKSAMBODHI). In addition, a srAvaka may be inspired to seek buddhahood for the sake of all beings and thus switch to the bodhisattva path.

anouduoluo sanmiao sanputi 阿耨多羅三藐三菩提. See ANUTTARASAMYAKSAMBODHI

antarvAsas. (P. antaravAsaka; T. smad g.yogs; C. neiyi; J. naie; K. naeŭi 内衣). In Sanskrit, the "lower robe" or "waist cloth"; one of the "three robes" (TRICĪVARA) worn by a monk or nun, along with the larger outer robe (S. SAMGHAtĪ; P. sanghAti) and the upper robe (S. UTTARASAMGA; P. uttarAsanga). See also CĪVARA; KAsAYA.

anusmṛti. (P. anussati; T. rjes su dran pa; C. nian; J. nen; K. yom 念). In Sanskrit, "recollection." The PAli form anussati is applied to a number of mental exercises enumerated in the PAli tradition under the category of KAMMAttHANA, or topics of meditation. The fifth-century VISUDDHIMAGGA lists ten such recollections conducive to the cultivation of concentration (SAMADHI): namely, recollection of (1) the BUDDHA, (2) the DHARMA, (3) the SAMGHA, (4) morality, (5) generosity, (6) the gods, (7) death, (8) the body, (9) the in-breath and out-breath, and (10) peace. Of these, recollection or mindfulness (P. sati; S. SMṚTI) of the in-breath and out-breath can produce all four meditative absorptions (DHYANA; P. JHANA), while recollection of the body can produce the first absorption. The remaining recollections can produce only "access concentration" (UPACARASAMADHI), which immediately precedes but does not quite reach the first absorption. In East Asia, the practice of recollection of the Buddha (BUDDHANUSMṚTI) evolved into the recitation of name of the buddha AMITABHA in the form of the Chinese phrase namo Amituo fo (Homage to the buddha AmitAbha; see NAMU AMIDABUTSU). See also BUDDHANUSMṚTI.

anuttarasamyaksaMbodhi. (T. bla na med pa yang dag par rdzogs pa'i byang chub; C. wushang zhengdeng jue/anouduoluo sanmiao sanputi; J. mujoshotogaku/anokutara-sanmyaku-sanbodai; K. musang chongdŭng kak/anyoktara sammyak sambori 無上正等覺/阿耨多羅三藐三菩提). In Sanskrit, "unsurpassed (anuttara), complete (samyak), and perfect enlightenment (SAMBODHI)"; the enlightenment (BODHI) of a buddha, superior to all other forms of enlightenment. The term is often used to distinguish the enlightenment of a buddha from that of an ARHAT, with the former deemed superior because it is the result of the sustained practice of the BODHISATTVA path over the course of many eons (KALPA) of lifetimes. According to MahAyAna schools, in anuttarasamyaksaMbodhi, both of the two kinds of obstructions, the afflictive obstructions (KLEsAVARAnA) and the obstructions to omniscience (JNEYAVARAnA), have been completely overcome. Although ARHATS also achieve enlightenment (BODHI), they have overcome only the first of the obstructions, not the second, and thus have still not realized anuttarasamyaksaMbodhi. This enlightenment, which is unique to the buddhas, surpasses all other types of realization and is thus unsurpassed, complete, and perfect. See also MAHABODHI; SAMBODHI.

anuttarayogatantra. (T. bla na med pa'i rnal 'byor rgyud). In Sanskrit, "unsurpassed yoga tantra." According to an Indian classification system, later adopted in Tibet, anuttarayogatantra is the highest category in the fourfold division of tantric texts, above YOGATANTRA, CARYATANTRA, and KRIYATANTRA. Texts classified as unsurpassed yoga tantras include such works as the GUHYASAMAJATANTRA, the HEVAJRATANTRA, and the CAKRASAMVARATANTRA. These tantras were further divided into mother tantras (MATṚTANTRA) and father tantras (PITṚTANTRA). The mother tantras, also known as dAKINĪ tantras, are traditionally said to emphasize wisdom (PRAJNA) over method (UPAYA), especially wisdom in the form of the mind of clear light (PRABHASVARACITTA). The father tantras are those that, between method (upAya) and wisdom (prajNA), place a particular emphasis on method, especially as it pertains to the achievement of the illusory body (MAYADEHA) on the stage of generation (UTPATTIKRAMA). According to Tibetan exegetes, buddhahood can only be achieved through the practice of anuttarayogatantra; it cannot be achieved by the three "lower tantras" or by the practice of the PARAMITAYANA. The many practices set forth in the anuttarayogatantras are often divided into two larger categories, those of the stage of generation (utpattikrama) and those of the stage of completion (NIsPANNAKRAMA). The latter typically includes the practice of sexual yoga. The status of the KALACAKRATANTRA, historically the latest of the unsurpassed yoga tantras (the text includes apparent references to Muslim invaders in the Indian subcontinent), was accorded special status by DOL PO PA SHES RAB RGYAL MTSHAN; TSONG KHA PA in his SNGAGS RIM CHEN MO ("Great Exposition of the Stages of Tantra") gave it a separate place within a general anuttarayogatantra category, while others such as Red mda' ba Gzhon nu blo gros said it was not a Buddhist tantra at all.

apas, apah ::: 1. the Waters (the Vedic symbol for the seven cosmic principles and their activities). ::: 2. [one of the five bhutas]: water, the materialising or outward flowing principle of continuation represented to our senses in matter as sap, seed, rasa.

aprasada ::: discontent; lack of (atma)prasada. aprasada

appanAsamAdhi. In PAli, "absorptive concentration"; the more advanced of the two broad types of concentration (SAMADHI) discussed in PAli commentarial literature. Both of these two types of samAdhi are used with reference to meditators who are specializing in calmness (samatha; S. sAMATHA) techniques. The preliminary "threshold concentration" (UPACARASAMADHI) helps to calm and focus the mind but is too discursive to lead to full meditative absorption (JHANA; S. DHYANA). In order to develop jhAna, meditators must proceed to cultivate less discursive topics of meditation (KAMMAttHANA) that will lead to "absorptive concentration" and thence jhAna: e.g., mindfulness of breathing (AnApAnasati, S. ANAPANASMṚTI); the four "divine abidings" (BRAHMAVIHARA; [alt. P. appamaNNa], S. APRAMAnA), namely, loving-kindness (P. mettA; S. MAITRĪ), compassion (KARUnA), altruistic or empathetic joy (MUDITA), and equanimity or impartiality (P. upekkhA; S. UPEKsA); and the ten "visual devices" (KASInA)-devices that are constructed from the elements earth, water, fire, and air; the colors blue, yellow, red, and white; and light and space. See also KHANIKASAMADHI.

Apsaras (Sanskrit) Apsaras [from ap water + saras flowing from the verbal root sṛ to flow, glide, blow (as of wind)] Moving in the waters; a class of feminine divinities known as celestial water nymphs, whose location is commonly placed in the sky between the clouds rather than in the waters of earth, although they are often described as visiting earth. These fairy-like wives of the gandharvas (celestial musicians) can change their shape at will, often appearing as aquatic birds. In Manu they are held to be the creations of the seven manus, but in the Puranas and the Ramayana their origin is attributed to the churning of the cosmic waters, and it is said that neither gods nor asuras would have them for wives. Since mythologically they were common to all, they are called Sumadatmajas (self-willed pleasurers) — 35 million of them, of whom Kama, god of love, is lord and king. One of their roles is to act as temptresses to those too ardent for divine status. Only the individual who can withstand the perfumed entreaties of the apsarasas is worthy of full enlightenment. In the Yajur-Veda the apsarasas are called sunbeams because of their connection with the gandharva who personifies the sun.

Arbuda. (S). One of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA.

arhat. (P. arahant; T. dgra bcom pa; C. aluohan/yinggong; J. arakan/ogu; K. arahan/ŭnggong 阿羅漢/應供). In Sanskrit, "worthy one"; one who has destroyed the afflictions (KLEsA) and all causes for future REBIRTH and who thus will enter NIRVAnA at death; the standard Tibetan translation dgra bcom pa (drachompa) ("foe-destroyer") is based on the paronomastic gloss ari ("enemy") and han ("to destroy"). The arhat is the highest of the four grades of Buddhist saint or "noble person" (ARYAPUDGALA) recognized in the mainstream Buddhist schools; the others are, in ascending order, the SROTAAPANNA or "stream-enterer" (the first and lowest grade), the SAKṚDAGAMIN or "once-returner" (the second grade), and the ANAGAMIN or "nonreturner" (the third and penultimate grade). The arhat is one who has completely put aside all ten fetters (SAMYOJANA) that bind one to the cycle of rebirth: namely, (1) belief in the existence of a perduring self (SATKAYADṚstI); (2) skeptical doubt (about the efficacy of the path) (VICIKITSA); (3) belief in the efficacy of rites and rituals (sĪLAVRATAPARAMARsA); (4) sensual craving (KAMARAGA); (5) malice (VYAPADA); (6) craving for existence as a divinity (DEVA) in the realm of subtle materiality (RuPARAGA); (7) craving for existence as a divinity in the immaterial realm (ARuPYARAGA); (8) pride (MANA); (9) restlessness (AUDDHATYA); and (10) ignorance (AVIDYA). Also described as one who has achieved the extinction of the contaminants (ASRAVAKsAYA), the arhat is one who has attained nirvAna in this life, and at death attains final liberation (PARINIRVAnA) and will never again be subject to rebirth. Although the arhat is regarded as the ideal spiritual type in the mainstream Buddhist traditions, where the Buddha is also described as an arhat, in the MAHAYANA the attainment of an arhat pales before the far-superior achievements of a buddha. Although arhats also achieve enlightenment (BODHI), the MahAyAna tradition presumes that they have overcome only the first of the two kinds of obstructions, the afflictive obstructions (KLEsAVARAnA), but are still subject to the noetic obstructions (JNEYAVARAnA); only the buddhas have completely overcome both and thus realize complete, perfect enlightenment (ANUTTARASAMYAKSAMBODHI). Certain arhats were selected by the Buddha to remain in the world until the coming of MAITREYA. These arhats (called LUOHAN in Chinese, a transcription of arhat), who typically numbered sixteen (see sOdAsASTHAVIRA), were objects of specific devotion in East Asian Buddhism, and East Asian monasteries will often contain a separate shrine to these luohans. Although in the MahAyAna sutras, the bodhisattva is extolled over the arhats, arhats figure prominently in these texts, very often as members of the assembly for the Buddha's discourse and sometimes as key figures. For example, in the SADDHARMAPUndARĪKASuTRA ("Lotus Sutra"), sARIPUTRA is one of the Buddha's chief interlocutors and, with other arhats, receives a prophecy of his future buddhahood; in the VAJRACCHEDIKAPRAJNAPARAMITASuTRA, SUBHuTI is the Buddha's chief interlocutor; and in the VIMALAKĪRTINIRDEsA, sAriputra is made to play the fool in a conversation with a goddess.

asaMkhyeyakalpa. (P. asankheyyakappa; T. bskal pa grangs med pa; C. asengqi jie; J. asogiko; K. asŭnggi kop 阿僧祇劫). In Sanskrit, "incalculable eon" or "infinite eon." The longest of all KALPAs is named "incalculable" (ASAMKHYA); despite its name, it has been calculated by dedicated Buddhist scholiasts as being the length of a mahAkalpa (itself, eight intermediate kalpas in duration) to the sixtieth power. The BODHISATTVA path leading to buddhahood is presumed to take not one but three "incalculable eons" to complete, because the store of merit (PUnYA), knowledge (JNANA), and wholesome actions (KUsALA-KARMAPATHA) that must be accumulated by a bodhisattva in the course of his training is infinitely massive. Especially in the East Asian traditions, this extraordinary period of time has been taken to mean that practice is essentially interminable, thus shifting attention from the goal to the process of practice. For example, the AVATAMSAKASuTRA's statement that "at the time of the initial arousal of the aspiration for enlightenment (BODHICITTOTPADA), complete, perfect enlightenment (ANUTTARASAMYAKSAMBODHI) is already achieved" has been interpreted in the East Asian HUAYAN ZONG to imply that enlightenment is in fact achieved at the very inception of religious training-a realization that renders possible a bodhisattva's commitment to continue practicing for three infinite eons. In YOGACARA and MADHYAMAKA presentations of the path associated with the ABHISAMAYALAMKARA, the three incalcuable eons are not considered infinite, with the bodhisattva's course divided accordingly into three parts. The first incalcuable eon is devoted to the paths of accumulation (SAMBHARAMARGA) and preparation (PRAYOGAMARGA); the second incalculable eon devoted to the path of vision (DARsANAMARGA) and the first seven bodhisattva stages (BHuMI); and the third incalculable eon devoted to the eighth, ninth, and tenth stages.

Asana. (T. 'dug stangs; C. zuofa/zuo; J. zaho/za; K. chwabop/chwa 坐法/座). In Sanskrit, "posture"; commonly referring to the position of the legs and feet in representations of Buddhist images. Asanas may be seated or standing, passive or active, and, in the context of esoteric imagery, they are usually prescribed in literary sources such as TANTRAs and SADHANAs. The term may also be used to refer to the physical support or seat for a Buddhist deity. See also ACALASANA; ALĪdHA; ARDHAPARYAnKA; BHADRASANA; LALITASANA; MAITREYASANA; NṚTYASANA; PADMASANA; PRALAMBAPADASANA; PRATYALĪdHA; RAJALĪLASANA; SATTVAPARYAnKA; SATTVARDHAPARYAnKA; VAJRAPARYAnKA; VAJRASANA.

a-santi-sukham (samata-shanti-sukham) ::: a union of the first three elements of the first catus.t.aya. samat samata a ssanti anti sukha pras prasada

astalokadharma. (T. 'jig rten gyi chos brgyad). In Sanskrit, "eight mundane dharmas" or "eight worldly concerns"; the preoccupation with gain (lAbha) and loss (alAbha), pleasure (SUKHA) and pain (DUḤKHA), praise (prasaMsA) and blame (nindA), and fame (yasas) and disgrace (ayasas). This list encapsulates the concerns of foolish (BALA) ordinary persons (PṚTHAGJANA) who in each case desire to attain the first and avoid the second, unlike those who practice asceticism (DHUTAnGA), understand impermanence (ANITYA), and are motivated to attain both a better rebirth and the state of NIRVAnA and BODHI.

astamahopaputra. (T. nye ba'i sras chen brgyad; C. ba da pusa; J. hachidai bosatsu; K. p'al tae posal 八大菩薩). In Sanskrit, the "eight great associated sons"; a group of eight bodhisattvas also known as the AstAMAHABODHISATTVA or "eight great bodhisattvas"; they are KsITIGARBHA, AKAsAGARBHA, AVALOKITEsVARA, VAJRAPAnI, MAITREYA, SARVANĪVARAnAVIsKAMBHIN, SAMANTABHADRA, and MANJUsRĪ. Textual evidence for the grouping is found as early as the third century, the date of ZHI QIAN's Chinese translation of the Astabuddhakasutra (Fo shuo ba jixiangshen zhoujing). In earlier representations, they flank either sAKYAMUNI or AMITABHA. Their roles are laid out in the Astamandalakasutra, where the aims of their worship are essentially mundane-absolution from transgressions, fulfillment of desires, and protection from ills. The grouping is known throughout Asia, from northern India, where they first appeared in ELLORA, Ratnagiri, and NALANDA, and from there as far east as Japan and Indonesia-indeed, virtually anywhere MAHAYANA and tantric Buddhism flourished. They figure as a group in TANTRAs of various classes, where their number of arms corresponds to the main deity of the MAndALA and their colors correspond to the direction in which they are placed. In the mandala of the GUHYASAMAJATANTRA, they flank the central figure AKsOBHYA, who appears in the form of Vajradhṛk and his consort SparsavajrA. When each has a consort, the females are called the astapujAdevī ("eight offering goddesses"). There are four in the GuhyasamAjatantra mandala: RupavajrA, sabdavajrA, GandhavajrA, and RasavajrA. In the vajradhAtu mahAmandala, the group of bodhisattvas is expanded to sixteen.

asvada (aswada) ::: taste (in a literal or figurative sense); the subtle asvada sense of taste (rasadr.s.t.i).

asya (samata shanti sukh hasya) ::: a union of the four elements of the first catus.t.aya, with hasya (rather than prasada) as the last element. samat samata-santi-sukham

Atala (Sanskrit) Atala [from a not + tala place] No place, no material locality; the first and most spiritual of the seven talas, so nearly one with satyaloka, its corresponding loka or pole, that the two nearly conjoin into one — hence it is called “no place.” Atala bears somewhat the same relation to satyaloka that prakriti bears to Brahma; hence it is the first quasi-spiritual, quasi-material plane in the solar universe. “In satyaloka-atala, the highest loka combines into or rejoins the monadic essence of the planetary chain. The differentiation so marked on the lower planes ceases here and, because of this, the two blend into or become one” (FSO 264). Cosmically atala emanates directly from the solar logos and contains with satyaloka the substantial seeds of all that was, is, and will be, from the beginning to the end of the solar mahamanvantara. Atala, with satyaloka, may be considered from one standpoint the sphere of the hierarchies of the dhyanis, who are, when completely in this condition, in a state of parasamadhi, and hence clothed in the dharmakaya.

atmaprasada (atmaprasada; atmaprasad) ::: "a state of clearness, atmaprasada purity and contentment in the whole self", the last member of the samata / santi catus.t.aya, which in its most positive form is called hasya; an element of Mahesvari bhava.

atmaprasada ::: [happy tranquillity of the Self].

avadAna. (P. apadAna; T. rtogs par brjod pa; C. apotuona/piyu; J. ahadana or apadana/hiyu; K. ap'adana/piyu 阿波陀那/譬喩). In Sanskrit, "tales" or "narrative"; a term used to denote a type of story found in both Buddhist and non-Buddhist literature. The precise meaning of the word has been the subject of much discussion. In the Indian BrAhmanas and srauta literature, the term denotes either something that is sacrificed or a portion of a sacrifice. The term avadAna was originally thought to mean "something cut off; something selected" and was presumed to derive from the prefix ava- + the Sanskrit root √dA. Feer, who published a French translation of the AVADANAsATAKA in 1891, tentatively translated it as "légende, action héroïque," while noting that the Tibetans, the Chinese, and the Mongols all employed differing translations of the word as well. (The Chinese use a transcription, apotuona, as well as a translation, piyu, meaning "simile." The Tibetan rtogs brjod has been rendered as "judgment" or "moral legend"; literally, it means the presentation or expression of the realizations [of an adept]. The Mongolian equivalent is domok.) Feer's rendering of avadAna is closer to its meaning of "heroic action" in classical Indian works such as the RaghuvaMsa and the KumArasambhava. AvadAnas are listed as the tenth of the twelvefold (DVADAsAnGA) division of the traditional genres of Buddhist literature, as classified by compositional style and content. The total corpus of the genre is quite extensive, ranging from individual avadAnas embedded in VINAYA texts, or separate sutras in the SuTRAPItAKA, to avadAnas that circulated either individually or in avadAna collections. These stories typically illustrate the results of both good and bad KARMAN, i.e., past events that led to present circumstances; in certain cases, however, they also depict present events that lead to a prediction (VYAKARAnA) of high spiritual attainment in the future. AvadAnas are closely related to JATAKAs, or birth stories of the Buddha; indeed, some scholars have considered jAtakas to be a subset of the avadAna genre, and some jAtaka tales are also included in the AVADANAsATAKA, an early avadAna collection. AvadAnas typically exhibit a three-part narrative structure, with a story of the present, followed by a story of past action (karman), which is then connected by identifying the past actor as a prior incarnation of the main character in the narrative present. In contrast to the jAtakas, however, the main character in an avadAna is generally not the Buddha (an exception is Ksemendra's eleventh-century BodhisattvAvadAnakalpalatA) but rather someone who is or becomes his follower. Moreover, some avadAnas are related by narrators other than the Buddha, such as those of the AsOKAVADANA, which are narrated by UPAGUPTA. Although the avadAna genre was once dismissed as "edifying stories" for the masses, the frequent references to monks as listeners and the directives to monks on how to practice that are embedded in these tales make it clear that the primary audience was monastics. Some of the notations appended to the stories in sura's [alt. Aryasura; c. second century CE] JATAKAMALA suggest that such stories were also used secondarily for lay audiences. On the Indian mainland, both mainstream and MAHAYANA monks compiled avadAna collections. Some of the avadAnas from northwestern India have been traced from kernel stories in the MuLASARVASTIVADA VINAYA via other mainstream Buddhist versions. In his French translation of the AvadAnasataka, Feer documented a number of tales from earlier mainstream collections, such as the AvadAnasataka, which were reworked and expanded in later MahAyAna collections, such as the RatnAvadAnamAlA and the KalpadrumAvadAnamAlA, which attests to the durability and popularity of the genre. Generally speaking, the earlier mainstream avadAnas were prose works, while the later MahAyAna collections were composed largely in verse.

avadhutī. (T. rtsa dbu ma; C. afudi; J. abatei; K. abujo 阿嚩底). In Sanskrit, "channel," "vein," or "canal." According to various systems of tantric physiognomy, the avadhutī refers to the central channel that runs from either the tip of the genitals or the base of the spine to either the crown of the head or the point between the eyebrows, with a number of "wheels" (CAKRA) along its course. To its left and right are two channels, both smaller in diameter, the RASANA (the left channel in males and the right channel in females) and the LALANA (the right channel in males and the left channel in females). Much tantric practice is devoted to techniques for causing the winds or energies that course through the other channels to enter into this central channel.

avaivartika. (T. phyir mi ldog; C. butuizhuan; J. futaiten; K. pult'oejon 不退轉). In Sanskrit, "nonretrogression" or "irreversible"; a term used to describe a stage on the path (MARGA) at which further progress is assured, with no further possibility of retrogressing to a previous stage. For the BODHISATTVA, different texts posit this crucial transition as occurring at various points along the path, such as on the path of preparation (PRAYOGAMARGA), where there is then no danger of the bodhisattva turning back to seek instead to become an ARHAT; the first BHuMI; or the eighth bhumi, when the bodhisattva is then certain to continue forward to complete, perfect enlightenment (ANUTTARASAMYAKSAMBODHI). There are many variant forms in Sanskrit (e.g., avaivarya, avinivartya, avinivartanīya, and anivartiya), of which avaivartika is among the most common. The state of nonretrogression is also termed the avaivartyabhumi. Nonretrogression is also listed in the MAHAVASTU as the highest of four stages of practice (CARYA). In the PURE LAND schools, taking rebirth (WANGSHENG) in AMITABHA's PURE LAND of SUKHAVATĪ is said to constitute the stage of nonretrogression.

Avalokitesvarasahasrabhujanetra. In Sanskrit, "Thousand-Armed and Thousand-Eyed AVALOKITEsVARA"; one of the manifestations of the bodhisattva of compassion, Avalokitesvara. See SAHASRABHUJASAHASRANETRAVALOKITEsVARA.

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.

Ayur Veda (Sanskrit) Āyurveda [from āyus life, health, vital power + veda knowledge] One of the minor Vedas, generally considered a supplement to the Atharva-Veda, one of the four principal Vedas. It treats of the science of health and medicine, and is divided into eight departments: 1) salya, surgery; 2) salakya, the science and cure of diseases of the head and its organs; 3) kaya-chikitsa, the cure of diseases affecting the whole body, or general medical treatment; 4) bhuta-vidya, the treatment of mental — and consequent physical — diseases supposed to be produced by bhutas (demons); 5) kaumara-bhritya, the medical treatment of children; 6) agada-tantra, the doctrine of antidotes; 7) rasayana-tantra, the doctrine of elixirs; and 8) vajikarana-tantra, the doctrine of aphrodisiacs. Medicine was regarded as one of the sacred sciences by all ancient peoples and in archaic ages was one of the knowledges or sciences belonging to the priesthood; and this list of subjects shows that the field covered by its practitioners was extensive. Its authorship is attributed by some to Dhanvantari, sometimes called the physician of the gods, who was produced by the mystical churning of the ocean and appeared holding a cup of amrita (immortality) in his hands.

bhadrAsana. (T. bzang po'i 'dug stangs) In Sanskrit, "auspicious posture" or "posture of good fortune." See PRALAMBAPADASANA.

bhakti rasa. ::: the joy of bhakti

BhArhut. An important Buddhist archeological site in India; located in central India, in northeastern Madhya Pradesh. In 1873, the British general Alexander Cunningham discovered at the site an ancient Buddhist STuPA, or reliquary mound, dating as far back as the third century BCE. Surrounding this stupa are a series of sculptures that date to the second and first centuries BCE. The antiquity of these works, and the quality of their preservation, render them invaluable to the study of Indian Buddhist iconography. The structure follows the general Indian stupa design, with a central mound surrounded by a fence-like enclosure with four gates. The stupa is illustrated with several aniconic representations of the Buddha. These images include an empty throne (VAJRASANA), a BODHI TREE, a set of the Buddha's footprints (BUDDHAPADA), the triple gem (RATNATRAYA) and a dharma wheel (DHARMACAKRA). This stupa also includes a number of reliefs depicting various episodes in the life of the Buddha (see BAXIANG; TWELVE DEEDS OF A BUDDHA), including the dream of queen MAYA when he was conceived, the battle with MARA, and his enlightenment. Also depicted are a number of the Buddha's birth stories (JATAKA). The stupa's sculptural remains are now housed in the Indian Museum in Kolkata (Calcutta) and in the Municipal Museum of Allahabad. See also SANCĪ.

bhAsya. (T. bshad pa; C. lun; J. ron; K. non 論). In Sanskrit, "commentary," or "exposition"; especially an exegesis on a set of aphoristic statements (SuTRAS) or kArikAs (the same in verse form): e.g., ABHIDHARMAKOsABHAsYA. In East Asia, the term lun was reserved for the commentaries of the eminent bodhisattva-exegetes of Indian MAHAYANA Buddhism, such as VASUBANDHU, ASAnGA, and MAITREYA/MAITREYANATHA; commentaries by indigenous East Asian exegetes are usually termed shu. One of the very few exceptions is the "Exposition of the *VajrasamAdhisutra (KŬMGANG SAMMAE KYoNG)" (KŬMGANG SAMMAEGYoNG NON), by the Korean exegete WoNHYO, which was so highly regarded that it was given this special designation.

BhAvaviveka. (T. Legs ldan 'byed; C. Qingbian; J. Shoben; K. Ch'ongbyon 清辯) (c. 500-570). Also known as BhAviveka and Bhavya, an important Indian master of the MADHYAMAKA school, identified in Tibet as a proponent of SVATANTRIKA MADHYAMAKA and, within that, of SAUTRANTIKA-SVATANTRIKA-MADHYAMAKA. He is best known for two works. The first is the PRAJNAPRADĪPA, his commentary on NAGARJUNA's MuLAMADHYAMAKAKARIKA; this work has an extensive subcommentary by AVALOKITAVRATA. Although important in its own right as one of the major commentaries on the central text of the Madhyamaka school, the work is most often mentioned for its criticism of the commentary of BUDDHAPALITA on the first chapter of NAgArjuna's text, where BhAvaviveka argues that it is insufficient for the Madhyamaka only to state the absurd consequences (PRASAnGA) that follow from the position of the opponent. According to BhAvaviveka, the Madhyamaka must eventually state his own position in the form of what is called an autonomous inference (svatantrAnumAna) or an autonomous syllogism (SVATANTRAPRAYOGA). In his own commentary on the first chapter of NAgArjuna's text, CANDRAKĪRTI came to the defense of BuddhapAlita and criticized BhAvaviveka, stating that it is inappropriate for the Madhyamaka to use autonomous syllogisms. It is on the basis of this exchange that Tibetan exegetes identified two schools within Madhyamaka: the SvAtantrika, which includes BhAvaviveka, and the PrAsangika, which includes BuddhapAlita and Candrakīrti. ¶ The other major work of BhAvaviveka is his MADHYAMAKAHṚDAYA, written in verse, and its prose autocommentary, the TARKAJVALA. The Madhyamakahṛdaya is preserved in both Sanskrit and Tibetan, the TarkajvAlA only in Tibetan. It is a work of eleven chapters, the first three and the last two of which set forth the main points in BhAvaviveka's view of the nature of reality and the Buddhist path, dealing with such topics as BODHICITTA, the knowledge of reality (tattvajNAna), and omniscience (SARVAJNATA). The intervening chapters set forth the positions (and BhAvaviveka's refutations) of various Buddhist and non-Buddhist schools, including the sRAVAKA, YOGACARA, SAMkhya, Vaisesika, VedAnta, and MīmAMsA. These chapters (along with sANTARAKsITA's TATTVASAMGRAHA) are an invaluable source of insight into the relations between Madhyamaka and other contemporary Indian philosophical schools, both Buddhist and non-Buddhist. The chapter on the srAvakas, for example, provides a detailed account of the reasons put forth by the sRAVAKAYANA schools of mainstream Buddhism as to why the MahAyAna sutras are not the word of the Buddha (BUDDHAVACANA). BhAvaviveka's response to these charges, as well as his refutation of YOGACARA in the subsequent chapter, are particularly spirited, arguing that reality (TATHATA) cannot be substantially existent (dravyasat), as those rival schools claim. However, BhAvaviveka made extensive use of both the logic and epistemology of DIGNĂGA, at least at the level of conventional analysis. BhAvaviveka appears to have been the first Madhyamaka author to declare that the negations set forth by the Madhyamaka school are nonaffirming (or simple) negations (PRASAJYAPRATIsEDHA) rather than affirming (or implicative) negations (PARYUDASAPRATIsEDHA). Also attributed to BhAvaviveka is the Karatalaratna ("Jewel in Hand Treatise"; Zhangzhen lun), a work preserved only in the Chinese translation of XUANZANG. BhAvaviveka's MADHYAMAKARTHASAMGRAHA is a brief text in verse. As the title suggests, it provides an outline of the basic topics of MADHYAMAKA philosophy, such as the middle way (S. MADHYAMAPRATIPAD) between the extremes of existence and nonexistence, Madhyamaka reasoning, and the two truths (SATYADVAYA). The MADHYAMAKARATNAPRADĪPA is likely the work of another author of the same name, since it makes reference to such later figures as Candrakīrti and DHARMAKĪRTI.

bhayanaka ::: [one of the eight rasas]: the terrible.

bhoga ::: enjoyment; a response to experience which "translates itself into joy and suffering" in the lower being, where it "is of a twofold kind, positive and negative", but in the higher being "it is an actively equal enjoyment of the divine delight in self-manifestation";(also called sama bhoga) the second stage of active / positive samata, reached when the rasagrahan.a or mental "seizing of the principle of delight" in all things takes "the form of a strong possessing enjoyment . . . which makes the whole life-being vibrate with it and accept and rejoice in it"; the second stage of bhukti, "enjoyment without desire" in the pran.a or vital being; (when priti is substituted for bhoga as the second stage of positive samata or bhukti) same as (sama) ananda, the third stage of positive samata or bhukti, the "perfect enjoyment of existence" that comes "when it is not things, but the Ananda of the spirit in things that forms the real, essential object of our enjoying and things only as form and symbol of the spirit, waves of the ocean of Ananda". bhoga h hasyam asyaṁ karmalips karmalipsa a samabh samabhava

Bhr.gu (Bhrigu) ::: the name of a Vedic r.s.i, progenitor of an ancient Bhrgu clan of sages who went by his name, also described as heavenly seers or symbolically as "burning powers of the Sun, the Lord of Knowledge"; along with the Āṅgirasas, they are identified in the Record of Yoga with the Judeo-Christian "seraphim", the highest order of angels. bhrsta bhr tavisi . s.t.a tavis

bhukti ::: enjoyment; the "enjoyment of our liberated being which brings us into unity or union with the Supreme"; the third member of the siddhi catus.t.aya, resulting from suddhi and mukti and consisting of "the Delight of existence in itself, independent of every experience and extending itself to all experiences". It has three states (rasagrahan.a, bhoga and ananda), each with three intensities (rati, ratna and ratha), on each of seven levels corresponding to the seven planes of existence.

bibhatsa ::: [one of the eight rasas]: the horrible or repellent.

bka' babs bzhi. (kabap shi). In Tibetan, "four instructional lineages" (bka' means words-of a buddha or enlightened master-and babs means to descend in a stream); a series of tantric instructions that the Indian SIDDHA TILOPA received from various masters, codified, and then passed on to his disciple NAROPA. These later became foundational teachings for the BKA' BRGYUD sect of Tibetan Buddhism and were incorporated into the six doctrines of NAropa (NA RO CHOS DRUG). Tibetan sources vary widely regarding the lineage and content of these four transmissions. According to a biography of Tilopa composed by MAR PA CHOS KYI BLO GROS, they are (1) the transmission of illusory body (T. sgyu lus kyi bka' babs) received from the siddha NAGARJUNA; (2) the transmission of dreams (T. rmi lam gyi bka' babs) received from the siddha CaryApa; (3) the transmission of clear light (T. 'od gsal gyi bka' babs) received from the siddha Lavapa; and (4) the transmission of inner heat (T. gtum mo'i bka' babs) received from JNAnadAkinī. According to other sources, these four may alternatively include the transmissions of MAHAMUDRA, the intermediate state (BAR DO), mother tantra (MATṚTANTRA), father tantra (PITṚTANTRA), and individual tantras such as the tantra of CAKRASAMVARA, HEVAJRA, and GUHYASAMAJA.

Blavatsky looks upon the apsarasas as “both qualities and quantities” (SD 2:585) and also as “ ‘sleep-producing’ aquatic plants, and interior forces of nature” (TG 28).

blow an EPROM /bloh *n ee'prom/ (Or "blast", "burn") To program a {read-only memory}, e.g. for use with an {embedded system}. This term arose because the programming process for the {Programmable Read-Only Memory} (PROM) that preceded present-day {Erasable Programmable Read-Only Memory} (EPROM) involved intentionally blowing tiny electrical fuses on the chip. The usage lives on (it's too vivid and expressive to discard) even though the write process on EPROMs is nondestructive. [{Jargon File}] (1994-11-29)

BodhgayA. (S. BuddhagayA). Modern Indian place name for the most significant site in the Buddhist world, renowned as the place where sAKYAMUNI Buddha (then, still the BODHISATTVA prince SIDDHARTHA) became a buddha while meditating under the BODHI TREE at the "seat of enlightenment" (BODHIMAndA) or the "diamond seat" (VAJRASANA). The site is especially sacred because, according to tradition, not only did sAkyamuni Buddha attain enlightenment there, but all buddhas of this world system have or will do so, albeit under different species of trees. BodhgayA is situated along the banks of the NAIRANJANA river, near RAJAGṚHA, the ancient capital city of the MAGADHA kingdom. Seven sacred places are said to be located in BodhgayA, each being a site where the Buddha stayed during each of the seven weeks following his enlightenment. These include, in addition to the bodhimanda under the Bodhi tree: the place where the Buddha sat facing the Bodhi tree during the second week, with an unblinking gaze (and hence the site of the animesalocana caitya); the place where the Buddha walked back and forth in meditation (CAnKRAMA) during the third week; the place called the ratnagṛha, where the Buddha meditated during the fourth week, emanating rays of light from his body; the place under the ajapAla tree where the god BRAHMA requested that the Buddha turn the wheel of the dharma (DHARMACAKRAPRAVARTANA) during the fifth week; the lake where the NAGA MUCILINDA used his hood to shelter the Buddha from a storm during the sixth week; and the place under the rAjAyatana tree where the merchants TRAPUsA and BHALLIKA met the Buddha after the seventh week, becoming his first lay disciples. ¶ Located in the territory of MAGADHA (in modern Bihar), the ancient Indian kingdom where the Buddha spent much of his teaching career, BodhgayA is one of the four major pilgrimage sites (MAHASTHANA) sanctioned by the Buddha himself, along with LUMBINĪ in modern-day Nepal, where the Buddha was born; the Deer Park (MṚGADAVA) at SARNATH, where he first taught by "turning the wheel of the dharma" (DHARMACAKRAPRAVARTANA); and KUsINAGARĪ in Uttar Pradesh, where he passed into PARINIRVAnA. According to the AsOKAVADANA, the emperor AsOKA visited BodhgayA with the monk UPAGUPTA and established a STuPA at the site. There is evidence that Asoka erected a pillar and shrine at the site during the third century BCE. A more elaborate structure, called the vajrAsana GANDHAKUtĪ ("perfumed chamber of the diamond seat"), is depicted in a relief at BodhgayA, dating from c. 100 BCE. It shows a two-storied structure supported by pillars, enclosing the Bodhi tree and the vajrAsana, the "diamond seat," where the Buddha sat on the night of his enlightenment. The forerunner of the present temple is described by the Chinese pilgrim XUANZANG. This has led scholars to speculate that the structure was built sometime between the third and sixth centuries CE, with subsequent renovations. Despite various persecutions by non-Buddhist Indian kings, the site continued to receive patronage, especially during the PAla period, from which many of the surrounding monuments date. A monastery, called the BodhimandavihAra, was established there and flourished for several centuries. FAXIAN mentions three monasteries at BodhgayA; Xuanzang found only one, called the MahAbodhisaMghArAma (see MAHABODHI TEMPLE). The temple and its environs fell into neglect after the Muslim invasions that began in the thirteenth century. British photographs from the nineteenth century show the temple in ruins. Restoration of the site was ordered by the British governor-general of Bengal in 1880, with a small eleventh-century replica of the temple serving as a model. There is a tall central tower some 165 feet (fifty meters) in height, with a high arch over the entrance with smaller towers at the four corners. The central tower houses a small temple with an image of the Buddha. The temple is surrounded by stone railings, some dating from 150 BCE, others from the Gupta period (300-600 CE) that preserve important carvings. In 1886, EDWIN ARNOLD visited BodhgayA. He published an account of his visit, which was read by ANAGARIKA DHARMAPALA and others. Arnold described a temple surrounded by hundreds of broken statues scattered in the jungle. The MahAbodhi Temple itself had stood in ruins prior to renovations undertaken by the British in 1880. Also of great concern was the fact that the site had been under saiva control since the eighteenth century, with reports of animal sacrifice taking place in the environs of the temple. DharmapAla visited BodhgayA himself in 1891, and returned to Sri Lanka, where he worked with a group of leading Sinhalese Buddhists to found the MAHABODHI SOCIETY with the aim of restoring BodhgayA as place of Buddhist worship and pilgrimage. The society undertook a series of unsuccessful lawsuits to that end. In 1949, after Indian independence, the BodhgayA Temple Act was passed, which established a committee of four Buddhists and four Hindus to supervise the temple and its grounds. The Government of India asked AnagArika Munindra, a Bengali monk and active member of the MahAbodhi Society, to oversee the restoration of BodhgayA. Since then, numerous Buddhist countries-including Bhutan, China, Japan, Myanmar, Nepal, Sikkim, Sri Lanka, Thailand, Tibet, and Vietnam-have constructed (or restored) their own temples and monasteries in BodhgayA, each reflecting its national architectural style. In 2002, the MahAbodhi Temple was named a UNESCO World Heritage Site.

BodhicaryAvatAra. (T. Byang chub sems dpa'i spyod pa la 'jug pa; C. Putixing jing; J. Bodaigyokyo; K. Porihaeng kyong 菩提行經). In Sanskrit, lit. "Introduction to the Practice of Enlightenment," a.k.a. BodhisattvacaryAvatAra, "Introduction to the Bodhisattva Practice"; a poem about the BODHISATTVA path, in ten chapters, written by the Indian poet sANTIDEVA (fl. c. 685-763). The verse is regarded as one of the masterpieces of late Indian MAHAYANA Buddhism, eliciting substantial commentary in both India and Tibet. The most influential of the Indian commentaries is the BodhicaryAvatArapaNjikA by PRAJNAKARAMATI. The text is especially important in Tibetan Buddhism, where it has long been memorized by monks and where stanzas from the text are often cited in both written and oral religious discourse. The poem is an extended reverie on the implications of the "aspiration for enlightenment" (BODHICITTA) that renders a person a bodhisattva, and on the deeds of the bodhisattva, the six perfections (PARAMITA). In the first chapter, sAntideva distinguishes between two forms of bodhicitta, the intentional (PRAnIDHICITTOTPADA) and the practical (PRASTHANACITTOTPADA), comparing them to the decision to undertake a journey and then actually setting out on that journey. In the fifth chapter he provides a famous argument for patience (KsANTI), stating that in order to walk uninjured across a surface of sharp stones, one can either cover the entire world with leather or one can cover the sole of one's foot with leather; in the same way, in order to survive the anger of enemies, one can either kill them all or practice patience. In the eighth chapter, he sets forth the technique for the equalizing and exhange of self and other, regarded in Tibet as one of the two chief means of cultivating bodhicitta. The lengthiest chapter is the ninth, devoted to wisdom (PRAJNA). Here sAntideva refutes a range of both non-Buddhist and Buddhist positions. On the basis of this chapter, sAntideva is counted as a PRASAnGIKA in the Tibetan doxographical system. According to legend, when sAntideva recited this chapter to the monks of NALANDA monastery, he began to rise into the air, leaving some questions as to precisely how the chapter ends. The final chapter is a prayer, often recited independently.

bodhicitta. (T. byang chub kyi sems; C. putixin; J. bodaishin; K. porisim 菩提心). In Sanskrit, "thought of enlightenment" or "aspiration to enlightenment"; the intention to reach the complete, perfect enlightenment (ANUTTARASAMYAKSAMBODHI) of the buddhas, in order to liberate all sentient beings in the universe from suffering. As the generative cause that leads to the eventual achievement of buddhahood and all that it represents, bodhicitta is one of the most crucial terms in MAHAYANA Buddhism. The achievement of bodhicitta marks the beginning of the BODHISATTVA path: bodhicitta refers to the aspiration that inspires the bodhisattva, the being who seeks buddhahood. In some schools of MahAyAna Buddhism, bodhicitta is conceived as being latent in all sentient beings as the "innately pure mind" (prakṛtiparisuddhacitta), as, for example, in the MAHAVAIROCANABHISAMBODHISuTRA: "Knowing one's own mind according to reality is BODHI, and bodhicitta is the innately pure mind that is originally existent." In this sense, bodhicitta was conceived as a universal principle, related to such terms as DHARMAKAYA, TATHAGATA, or TATHATA. However, not all schools of the MahAyAna (e.g., some strands of YOGACARA) hold that all beings are destined for buddhahood and, thus, not all beings are endowed with bodhicitta. Regardless of whether or not bodhicitta is regarded as somehow innate, however, bodhicitta is also a quality of mind that must be developed, hence the important term BODHICITTOTPADA, "generation of the aspiration to enlightenment." Both the BODHISATTVABHuMI and the MAHAYANASuTRALAMKARA provide a detailed explanation of bodhicitta. In late Indian MahAyAna treatises by such important authors as sANTIDEVA, KAMALAsĪLA, and ATIsA DĪPAMKARAsRĪJNANA, techniques are set forth for cultivating bodhicitta. The development of bodhicitta also figures heavily in MahAyAna liturgies, especially in those where one receives the bodhisattva precepts (BODHISATTVASAMVARA). In this literature, two types of bodhicitta are enumerated. First, the "conventional bodhicitta" (SAMVṚTIBODHICITTA) refers to a bodhisattva's mental aspiration to achieve enlightenment, as described above. Second, the "ultimate bodhicitta" (PARAMARTHABODHICITTA) refers to the mind that directly realizes either emptiness (suNYATA) or the enlightenment inherent in the mind. This "conventional bodhicitta" is further subdivided between PRAnIDHICITTOTPADA, literally, "aspirational creation of the attitude" (where "attitude," CITTA, refers to bodhicitta), where one makes public one's vow (PRAnIDHANA) to attain buddhahood; and PRASTHANACITTOTPADA, literally "creation of the attitude of setting out," where one actually sets out to practice the path to buddhahood. In discussing this latter pair, sAntideva in his BODHICARYAVATARA compares the first type to the decision to undertake a journey and the second type to actually setting out on the journey; in the case of the bodhisattva path, then, the first therefore refers to the process of developing the aspiration to buddhahood for the sake of others, while the second refers to undertaking the various practices of the bodhisattva path, such as the six perfections (PARAMITA). The AVATAMSAKASuTRA describes three types of bodhicitta, those like a herder, a ferryman, and a king. In the first case the bodhisattva first delivers all others into enlightenment before entering enlightenment himself, just as a herder takes his flock into the pen before entering the pen himself; in the second case, they all enter enlightenment together, just as a ferryman and his passengers arrive together at the further shore; and in the third, the bodhisattva first reaches enlightenment and then helps others to reach the goal, just as a king first ascends to the throne and then benefits his subjects. A standard definition of bodhicitta is found at the beginning of the ABHISAMAYALAMKARA, where it is defined as an intention or wish that has two aims: buddhahood, and the welfare of those beings whom that buddhahood will benefit; the text also gives a list of twenty-two types of bodhicitta, with examples for each. Later writers like Arya VIMUKTISENA and HARIBHADRA locate the AbhisamayAlaMkAra's twenty-two types of bodhicitta at different stages of the bodhisattva path and at enlightenment. At the beginning of his MADHYAMAKAVATARA, CANDRAKĪRTI compares compassion (KARUnA) to a seed, water, and crops and says it is important at the start (where compassion begins the bodhisattva's path), in the middle (where it sustains the bodhisattva and prevents a fall into the limited NIRVAnA of the ARHAT), and at the end when buddhahood is attained (where it explains the unending, spontaneous actions for the sake of others that derive from enlightenment). KarunA is taken to be a cause of bodhicitta because bodhicitta initially arises and ultimately will persist, only if MAHAKARUnA ("great empathy for others' suffering") is strong. In part because of its connotation as a generative force, in ANUTTARAYOGATANTRA, bodhicitta comes also to refer to semen, especially in the practice of sexual yoga, where the physical seed (BĪJA) of awakening (representing UPAYA) is placed in the lotus of wisdom (PRAJNA).

bodhicittotpAda. (T. byang chub kyi sems bskyed pa; C. fa puti xin; J. hotsubodaishin; K. pal pori sim 發菩提心). In Sanskrit, "generating the aspiration for enlightenment," "creating (utpAda) the thought (CITTA) of enlightenment (BODHI)"; a term used to describe both the process of developing BODHICITTA, the aspiration to achieve buddhahood, as well as the state achieved through such development. The MAHAYANA tradition treats this aspiration as having great significance in one's spiritual career, since it marks the entry into the MahAyAna and the beginning of the BODHISATTVA path. The process by which this "thought of enlightenment" (bodhicitta) is developed and sustained is bodhicittotpAda. Various types of techniques or conditional environments conducive to bodhicittotpAda are described in numerous MahAyAna texts and treatises. The BODHISATTVABHuMI says that there are four predominant conditions (ADHIPATIPRATYAYA) for generating bodhicitta: (1) witnessing an inconceivable miracle (ṛddhiprAtihArya) performed by a buddha or a bodhisattva, (2) listening to a teaching regarding enlightenment (BODHI) or to the doctrine directed at bodhisattvas (BODHISATTVAPItAKA), (3) recognizing the dharma's potential to be extinguished and seeking therefore to protect the true dharma (SADDHARMA), (4) seeing that sentient beings are troubled by afflictions (KLEsA) and empathizing with them. The Fa putixinjing lun introduces another set of four conditions for generating bodhicitta: (1) reflecting on the buddhas; (2) contemplating the dangers (ADĪNAVA) inherent in the body; (3) developing compassion (KARUnA) toward sentient beings; (4) seeking the supreme result (PHALA). The Chinese apocryphal treatise DASHENG QIXIN LUN ("Awakening of Faith According to the MahAyAna") refers to three types of bodhicittotpAda: that which derives from the accomplishment of faith, from understanding and practice, and from realization. JINGYING HUIYUAN (523-592) in his DASHENG YIZHANG ("Compendium on the Purport of MahAyAna") classifies bodhicittotpAda into three groups: (1) the generation of the mind based on characteristics, in which the bodhisattva, perceiving the characteristics of SAMSARA and NIRVAnA, abhors saMsAra and aspires to seek nirvAna; (2) the generation of the mind separate from characteristics, in which the bodhisattva, recognizing that the nature of saMsAra is not different from nirvAna, leaves behind any perception of their distinctive characteristics and generates an awareness of their equivalency; (3) the generation of the mind based on truth, in which the bodhisattva, recognizing that the original nature of bodhi is identical to his own mind, returns to his own original state of mind. The Korean scholiast WoNHYO (617-686), in his Muryangsugyong chongyo ("Doctrinal Essentials of the 'Sutra of Immeasurable Life'"), considers the four great vows of the bodhisattva (see C. SI HONGSHIYUAN) to be bodhicitta and divides its generation into two categories: viz., the aspiration that accords with phenomena (susa palsim) and the aspiration that conforms with principle (suri palsim). The topic of bodhicittotpAda is the subject of extensive discussion and exegesis in Tibetan Buddhism. For example, in his LAM RIM CHEN MO, TSONG KHA PA sets forth two techniques for developing this aspiration. The first, called the "seven cause and effect precepts" (rgyu 'bras man ngag bdun) is said to derive from ATIsA DIPAMKARAsRĪJNANA. The seven are (1) recognition of all sentient beings as having been one's mother in a past life, (2) recognition of their kindness, (3) the wish to repay their kindness, (4) love, (5) compassion, (6) the wish to liberate them from suffering, and (7) bodhicitta. The second, called the equalizing and exchange of self and other (bdag gzhan mnyam brje) is derived from the eighth chapter of sANTIDEVA's BODHICARYAVATARA. It begins with the recognition that oneself and others equally want happiness and do not want suffering. It goes on to recognize that by cherishing others more than oneself, one ensures the welfare of both oneself (by becoming a buddha) and others (by teaching them the dharma). MahAyAna sutra literature typically assumes that, after generating the bodhicitta, the bodhisattva will require not one, but three "incalculable eons" (ASAMKHYEYAKALPA) of time in order to complete all the stages (BHuMI) of the bodhisattva path (MARGA) and achieve buddhahood. The Chinese HUAYAN ZONG noted, however, that the bodhisattva had no compunction about practicing for such an infinity of time, because he realized at the very inception of the path that he was already a fully enlightened buddha. They cite in support of this claim the statement in the "BrahmacaryA" chapter of the AVATAMSAKASuTRA that "at the time of the initial generation of the aspiration for enlightenment (bodhicittotpAda), complete, perfect enlightenment (ANUTTARASAMYAKSAMBODHI) is already achieved."

bodhimanda. (T. byang chub snying po; C. daochang; J. dojo; K. toryang 道場). In Sanskrit (and very late PAli), "seat of enlightenment" or "platform of enlightenment," the place in BODHGAYA under the BODHI TREE where the Buddha sat when he achieved liberation from the cycle of birth and death (SAMSARA). (The word manda in this compound refers to the scum that forms on the top of boiling rice or the heavy cream that rises to the top of milk, thus suggesting the observable and most essential signs of the supreme act of BODHI, or enlightenment. Note that Western literature sometimes wrongly transcribes the term as *bodhimandala rather than bodhimanda.) All buddhas are associated with such a place, and it is presumed that all BODHISATTVAs of this world system as well will sit on such a seat before attaining buddhahood. The term is also used to refer to the region surrounding the seat itself, which, in the case of sAKYAMUNI, is BodhgayA. The bodhimanda is also known as the VAJRASANA ("diamond seat"), since it is the only site on earth strong enough to bear the pressures unleashed by the battle for enlightenment. Buddhist iconography often depicts the Buddha just prior to his enlightenment sitting on the bodhimanda in the "earth-touching gesture" (BHuMISPARsAMUDRA), i.e., with his right hand touching the ground, calling the earth to bear witness to his achievement. The bodhimanda is often said to be the center or navel of the world and thus can be understood as what early scholars of religion called an axis mundi-the liminal site between divine and profane realms; according to the ABHIDHARMAKOsABHAsYA, the various hot and cold hells (see NARAKA) are located not below Mount SUMERU but below the bodhimanda. In medieval East Asia, the Chinese term for bodhimanda began to be used to designate a "ritual precinct," viz., a site where such critical Buddhist rituals as ordinations were held, and by the seventh century came to be commonly used as the equivalent of "monastery" (si). In Korea, toryang (= bodhimanda) is also used to designate the central courtyard around which are arrayed the most important shrine halls in a monastery.

Bodhisattvabhumi. (T. Byang chub sems dpa'i sa; C. Pusa dichi jing; J. Bosatsujijikyo; K. Posal chiji kyong 菩薩地持經). In Sanskrit, "The Bodhisattva Stages"; a treatise on the entire vocation and training of a BODHISATTVA, attributed to MAITREYA/MAITREYANATHA or ASAnGA (c. fourth century CE), the effective founder of the YOGACARA school. Sanskrit and Tibetan recensions are extant, as well as three different renderings in Chinese: (1) Pusa dichi jing, translated by DHARMAKsEMA between 414-421 CE, which is also abbreviated as the "Treatise on the Bodhisattva Stages" (C. Dichi lun; J. Jijiron; K. Chiji non); (2) Pusa shanjie jing, translated by GUnAVARMAN in 431 CE; and (3) a version incorporated as the fifteenth section of XUANZANG's Chinese translation of Asanga's YOGACARABHuMIsASTRA. In the Tibetan BSTAN 'GYUR, the Bodhisattvabhumi appears as the sixteenth and penultimate part of the fundamental section (sa'i dngos gzhi) of the YogAcArabhumi (which has a total of seventeen sections), but it is set apart as a separate work in 6,000 lines. The Bodhisattvabhumi explains in three major sections the career and practices of a bodhisattva. The chapters on the abodes (vihArapatala) in the second major division and the chapter on stages (bhumipatala) in the third section are considered especially important, because they provide a systematic outline of the soteriological process by which a bodhisattva attains enlightenment. ¶ In contrast to the ten stages (DAsABHuMI) of the bodhisattva path that are described in the DAsABHuMIKASuTRA, the Bodhisattvabhumi instead outlines a system of seven stages (BHuMI), which are then correlated with the thirteen abodes (VIHARA): (1) The stage of innate potentiality (gotrabhumi), which corresponds to the abode of innate potentiality (gotravihAra); (2) the stage of the practice of resolute faith (adhimukticaryAbhumi), corresponding to the abode of resolute faith (adhimukticaryAvihAra); (3) the stage of superior aspiration (suddhAdhyAsayabhumi), which corresponds to the abode of extreme bliss (pramuditavihAra); (4) the stage of carrying out correct practices (caryApratipattibhumi), which includes the abode of superior morality (adhisīlavihAra), the abode of superior concentration (adhicittavihAra), and the abode of the superior wisdom (adhiprajNavihAra), i.e., the abode of superior insight associated with the factors of enlightenment (bodhipaksyapratisaMyukto 'dhiprajNavihAra), the abode of superior insight associated with the truths (satyapratisaMyukto 'dhiprajNavihAra), the abode of superior insight associated with the cessation of dependently arisen transmigration (pratītyasamutpAdapravṛttinivṛttipratisaMyukto 'dhiprajNavihAra), and the signless abode of applied practices and exertion (sAbhisaMskArasAbhoganirnimittavihAra); (5) the stage of certainty (niyatabhumi), which is equivalent to the signless abode that is free from application and exertion (anAbhoganirnimittavihAra); (6) the stage of determined practice (niyatacaryAbhumi), which corresponds to the abode of analytical knowledge (pratisaMvidvihAra); (7) the stage of arriving at the ultimate (nisthAgamanabhumi), which correlates with the abode of ultimate consummation [viz., of bodhisattvahood] (paramavihAra) and the abode of the tathAgata (tathAgatavihAra). In this schema, the first two stages are conceived as preliminary stages of the bodhisattva path: the first stage, the stage of innate potentiality (gotrabhumi), is presumed to be a state in which the aspiration for enlightenment (BODHICITTA) has yet to be generated; the second stage, the stage of the practice of resolute faith (adhimukticaryAbhumi), is referred to as the stage of preparation (saMbhArAvasthA) and applied practice (prayogAvasthA) in the case of the fivefold YOGACARA mArga schema, or alternatively to the ten faiths, ten abodes, ten practices, and ten dedications in the case of the comprehensive fifty-two stage bodhisattva path presented in the AVATAMSAKASuTRA, PUSA YINGLUO BENYE JING, and RENWANG JING. The third stage, the stage of superior aspiration, is regarded as corresponding to the first of the ten bhumis in the Dasabhumikasutra; the fourth stage of carrying out correct practices corresponds to the second through seventh bhumis in that rival schema; the fifth stage of certainty pertains to the eighth bhumi; the stage of determined practice to the ninth bhumi; and the stage of arriving at the ultimate to the tenth bhumi. In fact, however, the seven-bhumi schema of the Bodhisattvabhumi and the ten-bhumi schema of the Dasabhumikasutra developed independently of each other and it requires consider exegetical aplomb to correlate them. ¶ The Bodhisattvabhumi also serves as an important source of information on another crucial feature of bodhisattva practice: the MahAyAna interpretation of a set of moral codes specific to bodhisattvas (BODHISATTVAsĪLA). The chapter on precepts (sīlapatala) in the first major section of the text provides an elaborate description of MahAyAna precepts, which constitute the bodhisattva's perfection of morality (sĪLAPARAMITA). These precepts are classified into the "three sets of pure precepts" (trividhAni sīlAni; C. sanju jingjie, see sĪLATRAYA; TRISAMVARA): (1) the saMvarasīla, or "restraining precepts," (cf. SAMVARA), which refers to the "HĪNAYANA" rules of discipline (PRATIMOKsA) that help adepts restrain themselves from all types of unsalutary conduct; (2) practicing all virtuous deeds (kusaladharmasaMgrAhakasīla), which accumulates all types of salutary conduct; and (3) sattvArthakriyAsīla, which involve giving aid and comfort to sentient beings. Here, the first group corresponds to the generic hīnayAna precepts, while the second and third groups are regarded as reflecting a specifically MahAyAna position on morality. Thus, the three sets of pure precepts are conceived as a comprehensive description of Buddhist views on precepts, which incorporates both hīnayAna and MahAyAna perspectives into an overarching system. A similar treatment of the three sets of pure precepts is also found in the Chinese apocryphal sutra FANWANG JING (see APOCRYPHA), thus providing a scriptural foundation in East Asia for an innovation originally appearing in an Indian treatise. ¶ In Tibet, the Bodhisattvabhumi was a core text of the BKA' GDAMS sect, and its chapter on sīla was the basis for a large body of literature elaborating a VINAYA-type ritual for taking bodhisattva precepts in a MahAyAna ordination ceremony. The SA SKYA PA master Grags pa rgyal mtshan's explanation of CANDRAGOMIN's synopsis of the morality chapter, and TSONG KHA PA's Byang chub gzhung lam are perhaps the best known works in this genre. In Tibet, the SDOM GSUM genre incorporates the Bodhisattvabhumi's three sets of pure precepts into a new scheme that reconciles hīnayAna and MahAyAna with TANTRA.

Bodhi tree. (S. bodhidruma [alt. bodhivṛksa; bodhiyasti; bodhivata]; P. bodhirukkha; T. byang chub shing; C. puti shu; J. bodaiju; K. pori su 菩提樹). The name for the sacred tree under which each buddha achieves enlightenment (BODHI), according to the standard hagiographies; sometimes abbreviated as the "bo tree" in English. The Bodhi tree is one of the elements in all stories of a buddha's enlightenment and each buddha has a specific type of tree associated with him. In the case of the current buddha, GAUTAMA or sAKYAMUNI, the tree under which he sat when he attained enlightenment is a pipal, or fig, tree (Ficus religiosa). The original Bodhi tree was located at the "seat of enlightenment" (BODHIMAndA, VAJRASANA) in BODHGAYA, in northern India, but cuttings from it have throughout history been replanted at Buddhist sites around Asia, and now the world. It is said that the Buddha authorized a seed from the tree to be planted in JETAVANA. Its veneration and protection are a common theme in Buddhist literature, figuring prominently, for example, in the story of AsOKA. The tree was cut, burned, and uprooted by various Hindu kings, including SasAnka of Bengal in the seventh century. It was subsequently replaced by a seedling derived from a cutting that had been taken to Sri Lanka in the third century BCE. The PAli MAHABODHIVAMSA (c. tenth-eleventh century CE) tells the history of the Bodhi tree, the arrival of a cutting from it in Sri Lanka, and the beginnings of the Sinhalese worship of the tree as a Buddhist relic. The large seeds of the Bodhi tree are commonly used to make Buddhist rosaries (JAPAMALA).

rasa ::: 1. sap, juice; essence. ::: 2. taste; pleasure; liking (and disliking); affectation of sense. ::: 3. aesthesis; the response of the mind, the vital feeling and the sense to a certain "taste" in things which may often be but is not always a spiritual feeling. ::: 4. the eight rasas: eight forms of emotional aestheticism.

rasabhoga ::: full enjoyment (bhoga) of the rasa or essence of delight in all things, a term used for the third state of bhukti when the second state is called rasapriti, equivalent to ananda as "the divine bhoga superior to all mental pleasure with which God enjoys the rasa".

rasa (rasa; rasah) ::: sap, juice; body-fluid; "the upflow of essential being in the form, that which is the secret of its self-delight", whose perception is the basis of the sensation of taste; a non-material (sūks.ma) taste; the sūks.ma vis.aya of subtle taste; (short for rasadr.s.t.i) the subtle sense of taste; "the pure taste of enjoyment" in all things, a form of ananda "which the understanding can seize on and the aesthesis feel as the taste of delight in them"; (also called sama rasa or rasagrahan.a) the perception by the mind of the essential quality (gun.a) in each object of experience, the "essence of delight" in it, the first stage of active / positive samata or bhukti.

rasa, rasa lila (Ras) ::: the dance-round of Krsna with the cowherdesses in the moonlit groves of Vrndavana, type of the dance of Divine Delight with the souls of men liberated in the world of Bliss secret within us.

rasadr.s.t.i (rasadrishti) ::: the perception of tastes imperceptible to the rasadrsti ordinary physical sense; the subtle sense (sūks.ma indriya) of taste, one of the faculties of vis.ayadr.s.t.i.

rasagandha ::: the subtle smell of things tasted.

rasagrahan.a (rasagrahana; rasa-grahana; rasagrahanam) ::: the seizrasagrahana ing of the rasa or "principle of delight" in things, "an enlightened enjoyment principally by the perceptive, aesthetic and emotive mind, secondarily only by the sensational, nervous and physical being", the first of the three states of bhukti, in which the mind "gets the pure taste of enjoyment" of all experience "and rejects whatever is perturbed, troubled and perverse"; same as (sama) rasa, the first stage of active / positive samata.

rasagrahan.am ::: see rasagrahan.a. rasagrahanam

rasagrahana ::: seizing of the principle of delight.

rasah., pritir anandah. [iti sarvanandah.] ::: rasa, priti and ananda rasah, constitute sarvananda or complete delight. rasaj ñanam

rasah. ::: see rasa.

rasa lila ::: see rasa

rasanā. (T. ro ma). In tantric physiology, the channel (NĀdĪ) that runs from the left nostril to the base of the spine in males and from the right nostril to the base of the spine in females. It is one of three main channels, together with the central channel (AVADHuTĪ) and the LALANĀ, the left channel in females and the right channel in males. According to some systems, seventy-two thousand channels are found in the body, serving as the conduits for subtle energies or winds (PRĀnA). The most important of these channels are the avadhuti, the lalanā, and the rasanā. The central channel runs from the place between the eyebrows to the crown of the head and down in front of the spinal column, ending at the genitals. The right and left channels run parallel to the central channel on either side. These two channels wrap around the central channel at various points, of which as many as seven are enumerated. These points, called wheels (CAKRA), are located between the eyes, at the crown of the head, at the throat, at the heart, at the solar plexus, at the base of the spine, and at the tip of sexual organ. In ANUTTARAYOGATANTRA, especially in practices associated with the "stage of completion" (NIsPANNAKRAMA), much emphasis is placed on loosening these knots in order to cause the winds to flow freely through the central channel.

rasante ::: a. --> Sweeping; grazing; -- applied to a style of fortification in which the command of the works over each other, and over the country, is kept very low, in order that the shot may more effectually sweep or graze the ground before them.

rasapriti ::: the pleasure (priti) of the mind in the rasa or essence of rasapriti delight in all things, a term used for the second stage of bhukti.

rasasuddhi (rasashuddhi) ::: purification of the body-fluids. rasasuddhi

rasa. ::: taste; essence; savour; juice; nectar of delight

rasa. (T. ro; C. wei; J. mi; K. mi 味). In Sanskrit and Pāli, "taste," sensory objects of the tongue; the contact (SPARsA) between the gustatory sense organ (JIHVENDRIYA) and the gustatory sensory object leads to gustatory consciousness (JIHVĀVIJNĀNA). Six types of taste are enumerated in the ABHIDHARMA: sweet, sour, salty, pungent, bitter, and astringent.

Brihaspati (Sanskrit) Bṛhaspati [from bṛh prayer + pati lord] Sometimes Vrihaspati. A Vedic deity, corresponding to the planet Jupiter, commonly translated lord of prayer, the personification of exoteric piety and religion, but mystically the name signifies lord of increase, of expansion, growth. He is frequently called Brahmanaspati, both names having a direct significance with the power of sound as uttered in mantras or prayer united with positive will. He is regarded in Hindu mythology as the chief offerer of prayers and sacrifices, thus representing the Brahmin or priestly caste, being the Purohita (family priest) of the gods, among other things interceding with them for mankind. He has many titles and attributes, being frequently designated as Jiva (the living), Didivis (the bright or golden-colored). In later times he became the god of exoteric knowledge and eloquence — Dhishana (the intelligent), Gish-pati (lord of invocations). In this aspect he is regarded as the son of the rishi Angiras, and hence bears the patronymic Angirasa, and the husband of Tara, who was carried off by Soma (the moon). Tara is

bubble memory A storage device built using materials such as gadolinium gallium garnet which are can be magnetised easily in only one direction. A film of these materials can be created so that it is magnetisable in an up-down direction. The magnetic fields tend to join together, some with the north pole facing up, some with the south. When a veritcal magnetic field is imposed on this, the areas in opposite alignment to the field shrink to circles, or 'bubbles'. A bubble can be formed by reversing the field in a small spot, and can be destroyed by increasing the field. Bubble memory is a kind of {non-volatile storage} but {EEPROM}, {Flash Erasable Programmable Read-Only Memory} and ferroelectric technologies, which are also non-volatile, are faster. ["Great Microprocessors of the Past and Present", V 4.0.0, John Bayko "bayko@hercules.cs.uregina.ca", Appendix C] (1995-02-03)

bubble memory ::: A storage device built using materials such as gadolinium gallium garnet which are can be magnetised easily in only one direction. A film of these materials fields tend to join together, some with the north pole facing up, some with the south.When a veritcal magnetic field is imposed on this, the areas in opposite alignment to the field shrink to circles, or 'bubbles'. A bubble can be formed by reversing the field in a small spot, and can be destroyed by increasing the field.Bubble memory is a kind of non-volatile storage but EEPROM, Flash Erasable Programmable Read-Only Memory and ferroelectric technologies, which are also non-volatile, are faster.[Great Microprocessors of the Past and Present, V 4.0.0, John Bayko (1995-02-03)

buddhacaksus. (P. buddhacakkhu; T. sangs rgyas kyi spyan; C. foyan; J. butsugen; K. puran 佛眼). In Sanskrit, "buddha eye"; one of the five eyes or five sorts of vision (PANCACAKsUS) similar to the five (or six) "clairvoyances" or "superknowledges" (ABHIJNA). In mainstream Buddhist materials, the buddha eye is one of the five sorts of extraordinary vision of a buddha and includes the other four sorts of vision: fleshly eye (MAMSACAKsUS, P. mAnsacakkhu), divine eye (DIVYACAKsUS, P. dibbacakkhu), wisdom eye (PRAJNACAKsUS, P. paNNAcakkhu), and all-seeing eye (samantacaksus, P. samantacakkhu). In MahAyAna texts, the buddha eye is described as the eye that knows all dharmas in the full awakening of final enlightenment (ANUTTARASAMYAKSAMBODHI).

buddhAnusmṛti. (P. buddhAnussati; T. sangs rgyas rjes su dran pa; C. nianfo; J. nenbutsu; K. yombul 念佛). In Sanskrit, "recollection of the Buddha"; one of the common practices designed to develop concentration, in which the meditator reflects on the meritorious qualities of the Buddha, often through contemplating a series of his epithets. The oldest list of epithets of the Buddha used in such recollection, which is found across all traditions, is worthy one (ARHAT), fully enlightened (SAMYAKSAMBUDDHA), perfect in both knowledge and conduct (vidyAcaranasampanna), well gone (SUGATA), knower of all worlds (lokavid), teacher of divinities (or kings) and human beings (sAstṛ devamanusyAnaM), buddha, and BHAGAVAT. BuddhAnusmṛti is listed among the forty meditative exercises (KAMMAttHANA) discussed in the VISUDDHIMAGGA and is said to be conducive to gaining access concentration (UPACARASAMADHI). In East Asia, this recollection practice evolved into the recitation of the name of the buddha AMITABHA (see NIANFO) in the form of the phrase namo Amituo fo ("homage to AmitAbha Buddha"; J. NAMU AMIDABUTSU). This recitation was often performed in a ritual setting accompanied by the performance of prostrations, the burning of incense, and the recitation of scriptures, all directed toward gaining a vision of AmitAbha's PURE LAND (SUKHAVATĪ), which was considered proof that one would be reborn there. Nianfo practice was widely practiced across schools and social strata in China. In Japan, repetition of the phrase in its Japanese pronunciation of namu Amidabutsu (homage to AmitAbha Buddha) became a central practice of the Japanese Pure Land schools of Buddhism (see JoDOSHu, JoDO SHINSHu).

BuddhapAlita. (T. Sangs rgyas bskyang) (c. 470-540). An Indian Buddhist scholar of the MADHYAMAKA school, who is regarded in Tibet as a key figure of what was dubbed the *PRASAnGIKA school of Madhyamaka. Little is known about the life of BuddhapAlita. He is best known for his commentary on NAGARJUNA's MuLAMADHYAMAKAKARIKA, a commentary that was thought to survive only in Tibetan translation, until the recent rediscovery of a Sanskrit manuscript. BuddhapAlita's commentary bears a close relation in some chapters to the AKUTOBHAYA, another commentary on NAgArjuna's MulamadhyamakakArikA of uncertain authorship, which is sometimes attributed to NAgArjuna himself. In his commentary, BuddhapAlita does not adopt some of the assumptions of the Buddhist logical tradition of the day, including the need to state one's position in the form of an autonomous inference (SVATANTRANUMANA). Instead, BuddhapAlita merely states an absurd consequence (PRASAnGA) that follows from the opponent's position. In his own commentary on the first chapter of NAgArjuna's text, BHAVAVIVEKA criticizes BuddhapAlita's method, arguing for the need for the Madhyamaka adept to state his own position after refuting the position of the opponent. In his commentary on the same chapter, CANDRAKĪRTI in turn defended the approach of BuddhapAlita and criticized BhAvaviveka. It was on the basis of these three commentaries that later Tibetan exegetes identified two schools within Madhyamaka, the SVATANTRIKA, in which they included BhAvaviveka, and the PrAsangika, in which they included BuddhapAlita and Candrakīrti.

CakrasaMvaratantra. (T. 'Khor lo bde mchog gi rgyud). In Sanskrit, the "Binding of the Wheel Tantra" an important Buddhist tantra, often known simply as the CakrasaMvara (T. 'Khor lo bde mchog). The text is extant in Sanskrit and in a Tibetan translation in seven hundred stanzas, which is subdivided into fifty-one sections; it is also known by the name srīherukAbhidhAna (a name appearing at the end of each section), and commonly known in Tibet as the CakrasaMvara Laghutantra ("short tantra" or "light tantra") or Mulatantra ("root tantra") because, according to legend, there was once a longer text of one hundred thousand stanzas. The main deity of the tantra is HERUKA (also known as CakrasaMvara) and his consort is VAJRAVARAHĪ. Historically, the tantra originated as part of a literature that focused on a class of female divinities called YOGINĪ or dAKINĪ. It and its sister tantra, the HEVAJRATANTRA, probably appeared toward the end of the eighth century, and both show the influence of the Sarvabuddhasamayoga-dAkinījAlasaMvaratantra (referred to by Amoghavajra after his return from India to China in 746 CE). All are classed as yoginītantras. The use of skulls, the presence of the KHATVAnGA staff, and the references to sites holy to saivite KApAlikas (those who use skulls) point to a very close relationship between the saiva KApAlika literature and the early yoginītantras, such that some scholars have suggested an actual appropriation of the saiva literature by Buddhists outside mainstream Buddhist practice. Other scholars suggest this class of tantric literature originates from a SIDDHA tradition, i.e., from individual charismatic yogins and yoginīs with magical powers unaffiliated with particular religions or sects. Among the four classes of tantras-KRIYATANTRA, CARYATANTRA, YOGATANTRA, and ANUTTARAYOGATANTRA-the CakrasaMvaratantra is included in the last category; between the father tantras (PITṚTANTRA) and mother tantra (MATṚTANTRA) categories of anuttarayogatantras, it is classified in the latter category. The siddhas Luipa and SARAHA are prominent in accounts of its origin and transmission, and the siddha NAROPA is of particular importance in the text's transmission in India and from there to Tibet. Like many root tantras, the text contains very little that might be termed doctrine or theology, focusing instead on ritual matters, especially the use of MANTRA for the achievement of various powers (SIDDHI), especially the mundane (LAUKIKA) powers, such as the ability to fly, become invisible, etc. The instructions are generally not presented in a systematic way, although it is unclear whether this is the result of the development of the text over time or the intention of the authors to keep practices secret from the uninitiated. Later commentators found references in the text to elements of both the stage of generation (UTPATTIKRAMA) and stage of completion (NIsPANNAKRAMA). The DAkArnavatantra is included within the larger category of tantras related to the CakrasaMvara cycle, as is the Abhidhanottara and the SaMvarodayatantra. The tantra describes, in greater and less detail, a MAndALA with goddesses in sacred places in India (see PĪtHA) and the process of ABHIsEKA. The practice of the MAYADEHA (T. sgyu lus, "illusory body") and CAndALĪ (T. gtum mo, often translated as "psychic heat") are closely associated with this tantra. It was translated twice into Tibetan and is important in all three new-translation (GSAR MA) Tibetan sects, i.e., the SA SKYA, BKA' BRGYUD, and DGE LUGS. Iconographically, the CakrasaMvara mandala, starting from the outside, has first eight cremation grounds (sMAsANA), then a ring of fire, then VAJRAs, then lotus petals. Inside that is the palace with five concentric placement rings going in toward the center. In the center is the main deity Heruka with his consort VajravArAhī trampling on BHAIRAVA and his consort KAlarAtri (deities associated with saivism). There are a number of different representations. One has Heruka (or CakrasaMvara) dark blue in color with four faces and twelve arms, and VArAhī with a single face and two hands, red and naked except for bone ornaments. In the next circles are twenty-four vīras (heroes) with their consorts (related with the twenty-four pītha), with the remaining deities in the mandala placed in different directions in the outer circles.

CakrasaMvara. (T. 'Khor lo bde mchog). See CAKRASAMVARATANTRA

cakra. (P. cakka; T. 'khor lo; C. lun; J. rin; K. yun 輪). In Sanskrit, "wheel," "disc," or "circle"; a frequent symbol used to represent various aspects of Buddhism, from the Buddha, to the DHARMA, to Buddhist notions of kingship. When the Buddha first taught his new religion, it is said that he "turned the wheel of dharma" (DHARMACAKRAPRAVARTANA) and the eight-spoked "wheel of dharma" (DHARMACAKRA) is subsequently used as a symbol for both the teachings as well as the person who rediscovered and enunciated those teachings. The ABHIDHARMAKOsABHAsYA explains that the noble eightfold path (ARYAstAnGAMARGA) is like a wheel because it is similar in terms of the hub that is the support of the wheel, the spokes, and the containment rim. Right speech, action, and livelihood are like the hub, because they are the training in morality that provides support for concentration (DHYANA) and wisdom (PRAJNA). Right view, thought, and effort are like spokes, because they are the training in wisdom. Right mindfulness and concentration are like the rim because the spokes of right view and so forth provide the objective support (ALAMBANA) in a one-pointed manner in dependence on them. The dharmacakra appears in some of the earliest Buddhist art, often as an iconographic symbol standing in for the Buddha himself. The sign of a thousand-spoked wheel on the palms of the hands and the soles of the feet is one of the thirty-two major marks of a great man (MAHAPURUsALAKsAnA), which is said to adorn the body of both a Buddha and a "wheel-turning emperor" (CAKRAVARTIN), his secular counterpart. A cakravartin's power is said to derive from his wheel of divine attributes, which rolls across different realms of the earth, bringing them under his dominion. The realm of SAMSARA is sometimes depicted iconographically in the form of a wheel, known as the "wheel of existence" (BHAVACAKRA), with a large circle divided into the six realms of existence (sAdGATI), surrounded by an outer ring representing the twelve links of dependent origination (PRATĪTYASAMUTPADA). ¶ The term cakra is also important in Buddhist TANTRA, especially in ANUTTARAYOGATANTRA. According to various systems of tantric physiognomy, a central channel (AVADHuTĪ) runs from either the tip of the genitals or the base of the spine to either the crown of the head or the point between the eyebrows, with a number of "wheels" (cakra) along its course. In one of the systems, these wheels are located at the point between the eyebrows, the crown of the head, the throat, the heart, the navel, the base of the spine, and the opening of the sexual organ. Running parallel to the central channel to the right and left are two channels, both smaller in diameter, the LALANA and the RASANA. It is said that the right and left channels wrap around the central channel, forming knots at the cakras. Much tantric practice is devoted to techniques for loosening these knots in order to allow the winds (PRAnA) or energies that course through the other channels to flow freely and enter into the central channel. The cakras themselves are essential elements in this practice and other tantric meditative practices, with seed syllables (BĪJA), spells (MANTRA), deities, and diagrams (MAndALA) visualized at their center. The cakras themselves are often described as open lotus blossoms, with varying numbers of petals in different colors.

camarasaurus ::: n. --> A genus of gigantic American Jurassic dinosaurs, having large cavities in the bodies of the dorsal vertebrae.

Candrakīrti. (T. Zla ba grags pa) (c. 600-650). An important MADHYAMAKA master and commentator on the works of NAGARJUNA and ARYADEVA, associated especially with what would later be known as the PRASAnGIKA branch of Madhyamaka. Very little is known about his life; according to Tibetan sources, he was from south India and a student of Kamalabuddhi. He may have been a monk of NALANDA. He wrote commentaries on NAgArjuna's YUKTIsAstIKA and suNYATASAPTATI as well as Aryadeva's CATUḤsATAKA. His two most famous and influential works, however, are his PRASANNAPADA ("Clear Words"), which is a commentary on NAgArjuna's MuLAMADHYAMAKAKARIKA, and his MADHYAMAKAVATARA ("Entrance to the Middle Way"). In the first chapter of the PrasannapadA, he defends the approach of BUDDHAPALITA against the criticism of BHAVAVIVEKA in their own commentaries on the MulamadhyamakakArikA. Candrakīrti argues that it is inappropriate for the Madhyamaka to use what is called an autonomous syllogism (SVATANTRAPRAYOGA) in debating with an opponent and that the Madhyamaka should instead use a consequence (PRASAnGA). It is largely based on Candrakīrti's discussion that Tibetan scholars retrospectively identified two subschools of Madhyamaka, the SVATANTRIKA (in which they placed BhAvaviveka) and the PrAsangika (in which they placed BuddhapAlita and Candrakīrti). Candrakīrti's other important work is the MadhyamakAvatAra, written in verse with an autocommentary. It is intended as a general introduction to the MulamadhyamakakArikA, and provides what Candrakīrti regards as the soteriological context for NAgArjuna's work. It sets forth the BODHISATTVA path, under the rubric of the ten bodhisattva stages (BHuMI; DAsABHuMI) and the ten perfections (PARAMITA). By far the longest and most influential chapter of the text is the sixth, dealing with the perfection of wisdom (PRAJNAPARAMITA), where Candrakīrti discusses the two truths (SATYADVAYA), offers a critique of CITTAMATRA, and sets forth the reasoning for proving the selflessness of phenomena (DHARMANAIRATMYA) and the selflessness of the person (PUDGALANAIRATMYA), using his famous sevenfold analysis of a chariot as an example. Candrakīrti seems to have had little influence in the first centuries after his death, perhaps accounting for the fact that his works were not translated into Chinese (until the 1940s). There appears to have been a revival of interest in his works in India, especially in Kashmir, in the eleventh and twelfth centuries, at the time of the later dissemination (PHYI DAR) of Buddhism to Tibet. Over the next few centuries, Candrakīrti's works became increasingly important in Tibet, such that eventually the MadhyamakAvatAra became the locus classicus for the study of Madhyamaka in Tibet, studied and commented upon by scholars of all sects and serving as one of the "five texts" (GZHUNG LNGA) of the DGE LUGS curriculum. ¶ There appear to be later Indian authors who were called, or called themselves, Candrakīrti. These include the authors of the Trisaranasaptati and the MadhyamakAvatAraprajNA, neither of which appears to have been written by the author described above. Of particular importance is yet another Candrakīrti, or CandrakīrtipAda, the author of the Pradīpoddyotana, an influential commentary on the GUHYASAMAJATANTRA. Scholars often refer to this author as Candrakīrti II or "the tantric Candrakīrti."

caribe ::: n. --> A south American fresh water fish of the genus Serrasalmo of many species, remarkable for its voracity. When numerous they attack man or beast, often with fatal results.

catus.t.aya (shanti chatusthaya; shanti-chatusthaya) ::: the first catus.t.aya, the quaternary of peace, consisting of samata, santi, sukha, and hasya or (atma)prasada; also called the samata catus.t.aya.

Citipati. (T. Dur khrod bdag po). In Sanskrit, "Lord of the Funeral Pile"; a pair of male and female dancing skeletons associated with the CAKRASAMVARATANTRA and who are often depicted as protectors of VAJRAYOGINĪ. They are also called srīsmasAnAdhipati or "lords of the charnel ground" and are regarded as enlightened beings and emanations of CAKRASAMVARA. They are also propitiated for wealth and for protection from thieves. According to legend, they are the spirits of two Indian ascetics who were murdered by thieves while practicing austerities in a charnel ground (sMAsANA). They each hold a danda or staff made of bone and a KAPALA and dance on corpses in ARDHAPARYAnKA pose, either in YAB YUM posture or side by side. They are not to be confused with the skeleton dancers in Tibetan 'CHAM performances, who represent servants of YAMA, the deity of death.

cittavisuddhi. (S. cittavisuddhi). In PAli, "purity of mind"; according to the VISUDDHIMAGGA, the second of seven "purities" (VISUDDHI) to be developed along the path to liberation. Purity of mind refers to the eight meditative absorptions (P. JHANA; S. DHYANA) or attainments (SAMAPATTI) belonging to the subtle-materiality realm (rupAvacara) and the immaterial realm (ArupyAvacara). Meditative absorption belonging to the subtle-materiality realm (P. rupAvacarajhAna; S. RuPAVACARADHYANA) is subdivided into four stages, each of which is characterized by an increasing attenuation of consciousness as the meditator progresses from one stage to the next. Meditative absorption belonging to the immaterial realm (P. arupAvacarajhAna; S. ARuPYAVACARADHYANA) is likewise subdivided into four stages, but in this case it is the object of meditation that becomes attenuated from one stage to the next. In the first immaterial absorption, the meditator sets aside the perception of materiality and abides in the sphere of infinite space (P. AkAsAnaNcAyatana; S. AKAsANANTYAYATANA). In the second immaterial absorption, the meditator sets aside the perception of infinite space and abides in the sphere of infinite consciousness (P. viNNanaNcAyatana; S. VIJNANANANTYAYATANA). In the third immaterial absorption, the meditator sets aside the perception of infinite consciousness and abides in the sphere of nothingness (P. AkiNcaNNAyatana; S. AKINCANYAYATANA). In the fourth immaterial absorption, the meditator sets aside the perception of nothingness and abides in the sphere of neither perception nor nonperception (P. nevasaNNAnAsaNNAyatana; S. NAIVASAMJNANASAMJNAYATANA). To this list of eight absorptions is added "access" or "neighborhood" "concentration" (P. UPACARASAMADHI), which is the degree of concentration present in the mind of the meditator just prior to entering any of the four jhAnas.

cīvara. (T. chos gos; C. yi; J. e/koromo; K. ŭi 衣). In PAli and Sanskrit, "monastic robe"; the generic term for the robes worn by Buddhist monks, nuns, female probationers, and male and female novices. The cīvara may be made of cotton, wool, linen, or silk. Initially, the robe was to be made of rags discarded in the rubbish heap (S. pAMsukula; P. paMsukula) or from funeral shrouds. The rule was amended by the Buddha to allow monks also to accept cloth offered by the laity. A full set of monastic robes is comprised of three robes (S. TRICĪVARA; P. ticīvara): the larger outer robe (S. SAMGHAtĪ; P. sanghAti), the upper robe (S. UTTARASAMGA; P. uttarAsanga), and the lower robe or waist-cloth (S. ANTARVASAS; P. antaravAsaka). The antarvAsas is the smallest of the three robes: normally made of one layer of cloth, it is worn about the waist and is intended to cover the body from the navel to the middle of the calf. The uttarAsaMga is worn over one or both shoulders, depending on whether one is inside or outside the monastery grounds, and is large enough to cover the body from the neck to the middle of the calf; it too is normally made of one layer of cloth. The saMghAtī or outer robe is the same size as the uttarAsaMga but is normally made of two layers of cloth rather than one; it is worn over one or both shoulders, depending on whether one is inside or outside the monastery grounds. The saMghAtī was required to be tailored of patches, ranging in number from nine up to twenty-five, depending on the VINAYA recension; this use of patches of cloth is said to have been modeled after plots of farmland in MAGADHA that the Buddha once surveyed. All three robes must be dyed a sullied color, interpreted as anything from a reddish- or brownish-yellow saffron color to an ochre tone (see KAsAYA). Robes were one of the four major requisites (S. NIsRAYA; P. nissaya) of the monks and nuns, along with such basics as a begging bowl and lodging, and were the object of the KAtHINA ceremony in which the monastics were offered cloth for making new sets of robes at the end of each rains' retreats (VARsA).

Conquest of desire for food ::: There are two ways of con- quering it ::: one of detachment, learning to regard food as only a physical necessity and the vital satisfaction of the stomach and the palate as a thing of no importance ; the other is to be able to take without insistence or seeking any food given and to find in it the equal rasa, not of the food for its own sake, but of the universal ananda.

Daitokuji. (大德寺). A famous Japanese ZEN monastery in Kyoto; also known as Murasakino Daitokuji. After his secluded training at the hermitage of Ungoan in eastern Kyoto in 1319, the Japanese RINZAI Zen master SoHo MYoCHo, or Daito Kokushi, was invited by his uncle Akamatsu Norimura to Murasakino located in the northeastern part of Kyoto. There a dharma hall was built and inaugurated by Daito in 1326. Daito was formally honored as the founding abbot (kaizan; C. KAISHAN) and he continued to serve as abbot of Daitokuji until his death in 1337. In an attempt to control the influential monasteries in Kyoto, Emperor Godaigo (1288-1339), who was a powerful patron of Daito and Daitokuji, decreed in 1313 that only those belonging to Daito's lineage could become abbot of Daitokuji and added Daitokuji to the official GOZAN system. Two years later, Daitokuji was raised to top rank of the gozan system, which it shared with the monastery NANZENJI. These policies were later supported by retired Emperor Hanazono (1297-1348), another powerful patron of Daito and his monastery. Daitokuji was devastated by a great fire in 1453 and suffered further destruction during the onin War (1467-1477). The monastery was restored to its former glory in 1474, largely through the efforts of its prominent abbot IKKYu SoJUN. A famous sanmon gate was built by the influential tea master Sen no Rikyu. During its heyday, Daitokuji had some twenty-four inner cloisters (tatchu), such as Ikkyu's Shinjuan and Rikyu's Jukoin and over 173 subtemples (matsuji).

dAkArnavamahAyoginītantra. [alt. DAkArnavatantra] (T. Mkha' 'gro rgya mtsho rnal 'byor ma'i rgyud). In APABHRAMsA, an early medieval Indian vernacular based on Sanskrit, literally, "dAk[inī] Ocean Yoginī Tantra"; the yoginī, or "mother," tantras are a subdivision of ANUTTARAYOGATANTRA. A manuscript of the tantra is extant in the Nepalese National Archives; the Tibetan translation is by Jayasena and Dharma yon tan. It is one of the four CAKRASAMVARATANTRA explanatory (vAkhyA) tantras.

dAkinī. (T. mkha' 'gro ma; C. tuzhini; J. dakini; K. tojini 荼枳尼). In Sanskrit, a cannibalistic female demon, a witch; in sANTIDEVA's BODHICARYAVATARA, a female hell guardian (narakapAlA); in tantric Buddhism, dAkinīs, particularly the vajradAkinī, are guardians from whom tAntrikas obtain secret doctrines. For example, the VAJRABHAIRAVA adept LAlitavajra is said to have received the YAMANTAKA tantras from vajradAkinīs, who allowed him to bring back to the human world only as many of the texts as he could memorize in one night. The dAkinī first appears in Indian sources during the fourth century CE, and it has been suggested that they evolved from local female shamans. The term is of uncertain derivation, perhaps having something to do with "drumming" (a common feature of shamanic ritual). The Chinese, Japanese, and Korean give simply a phonetic transcription of the Sanskrit. In Tibetan, dAkinī is translated as "sky goer" (mkha' 'gro ma), probably related to the Sanskrit khecara, a term associated with the CAKRASAMVARATANTRA. Here, the dAkinī is a goddess, often depicted naked, in semi-wrathful pose (see VAJRAYOGINĪ); they retain their fearsome element but are synonymous with the highest female beauty and attractiveness and are enlightened beings. They form the third of what are known as the "inner" three jewels (RATNATRAYA): the guru, the YI DAM, and the dAkinīs and protectors (DHARMAPALA; T. chos skyong). The archetypical Tibetan wisdom or knowledge dAkinī (ye shes mkha' 'gro) is YE SHES MTSHO RGYAL, the consort of PADMASAMBHAVA. dAkinīs are classified in a variety of ways, the most common being mkha' 'gro sde lnga, the female buddhas equivalent to the PANCATATHAGATA or five buddha families (PANCAKULA): BuddhadAkinī [alt. AkAsadhAtvīsvarī; SparsavajrA] in the center of the mandala, with LocanA, MAmakī, PAndaravAsinī, and TARA in the cardinal directions. Another division is into three: outer, inner, and secret dAkinīs. The first is a YOGINĪ or a YOGIN's wife or a regional goddess, the second is a female buddha that practitioners visualize themselves to be in the course of tantric meditation, and the last is nondual wisdom (ADVAYAJNANA). This division is also connected with the three bodies (TRIKAYA) of MahAyAna Buddhism: the NIRMAnAKAYA (here referring to the outer dAkinīs), SAMBHOGAKAYA (meditative deity), and the DHARMAKAYA (the knowledge dAkinī). The word dAkinī is found in the title of the explanation (vAkhyA) tantras of the yoginī class or mother tantras included in the CakrasaMvaratantra group.

dasasīla. (P. dasasīla; T. tshul khrims bcu; C. shijie; J. jikkai; K. sipkye 十戒). In Sanskrit, "ten precepts"; an expansion and enhancement of the five lay precepts (PANCAsĪLA), which all male novices (sRĀMAnERA) and female novices (sRĀMAnERIKĀ) were required to follow as part of their training; also known as the "restraints for novices" (sRĀMAnERASAMVARA). The ten are framed in terms of training rules (sIKsĀPADA), viz., "I undertake the training rule to abstain from": (1) killing; (2) stealing; (3) sexual activity; (4) false speech; (5) intoxicants; (6) eating after midday; (7) dancing, singing, music, and other unseemly forms of entertainment; (8) using garlands, perfumes, and unguents to adorn the body; (9) using high and luxurious beds and couches; and (10) handling money. On full- and new-moon days (UPOsADHA), the laity have the option of taking all these precepts except the tenth; numbers 7 and 8 were then combined to give a set of eight precepts to be specially followed on these retreat days (S. uposadhasīla; P. uposathasīla) as a sort of temporary renunciation. In the MuLASARVĀSTIVĀDA VINAYA followed in Tibet, these ten precepts are expanded to thirty-six.

Dasheng qixin lun. (S. *Mahāyānasraddhotpādasāstra; J. Daijo kishinron; K. Taesŭng kisin non 大乗起信論). In Chinese, "Treatise on the Awakening of Faith According to the MAHĀYĀNA"; attributed to the Indian author AsVAGHOsA, but now widely assumed to be an indigenous Chinese text (see APOCRYPHA) composed in the sixth century; typically known in English as simply the "Awakening of Faith." Since its composition, the text has remained one of the most influential treatises in all of East Asian Buddhism. The earliest and most widely used "translation" (c. 550) is attributed to the famous YOGĀCĀRA scholar PARAMĀRTHA, although some scholars have speculated that Paramārtha may in fact have composed the treatise after his arrival in China, perhaps even in Sanskrit, and then translated it into Chinese. The author of the Dasheng qixin lun sought to reconcile two of the dominant, if seemingly incompatible, strands in Mahāyāna Buddhism: TATHĀGATAGARBHA (embryo or womb of the buddhas) thought and the ĀLAYAVIJNĀNA (storehouse consciousness) theory of consciousness. Tathāgatagarbha thought taught that all sentient beings have the potential to achieve enlightenment because that enlightenment is in fact inherent in the minds of sentient beings. What that doctrine did not seem to explain well to the East Asians, however, was why sentient beings who were inherently enlightened would have become deluded in the first place. ĀlayavijNāna theory, by contrast, posited that the foundational recesses of the mind serve as a storehouse of the essentially infinite numbers of potentialities or seeds (BĪJA) of all past actions, including unsalutary deeds; this interpretation suggested to the East Asians that mental purity was not innate and that enlightenment therefore had to be catalyzed by some external source, such as "hearing the dharma," which would then prompt a "transformation of the basis" (ĀsRAYAPARĀVṚTTI) that could lead to purity of mind. The ālayavijNāna thus explained the intractability of ignorance and delusion, but did not seem to offer ready accessibility to enlightenment. In its search for common ground between these two doctrines, the Dasheng qixin lun instead describes the mind as being comprised of two distinct, but complementary, aspects: true thusness (ZHENRU; S. TATHATĀ) and production-and-cessation (shengmie), which correspond respectively to ultimate truth (PARAMĀRTHASATYA) and conventional truth (SAMVṚTISATYA) or the unconditioned (ASAMSKṚTA) and conditioned (SAMSKṚTA) realms. Since the mind that is subject to production and cessation (which the treatise identifies with ālayavijNāna) remains always grounded on the mind of true thusness (which the treatise identifies with tathāgatagarbha), the mind is therefore simultaneously deluded and enlightened. This distinction between this enlightened essence of the mind as "true thusness" and its various temporal manifestations as "production and cessation" is also described in terms of "essence" (TI) and "function" (YONG). From the standpoint of the buddhas and sages, the mind of the sentient being is therefore seen as being perpetually in a state of "original enlightenment" or "intrinsic enlightenment" (BENJUE; see also HONGAKU), while from the standpoint of sentient beings that same mind is seen as being deluded and thus in need of purification through a process of "actualizing enlightenment" (SHIJUE). Actualizing enlightenment involves the cultivation of calmness (ji; S. sAMATHA) and insight (guan; S. VIPAsYANĀ), as well as the development of no-thought (WUNIAN), aspects of training that receive extensive discussion in the treatise. Once the process of actualizing enlightenment is completed, however, the student realizes that the enlightenment achieved through cultivation is in fact identical to the enlightenment that is innate. Hence, the difference between these two types of enlightenment is ultimately a matter of perspective: the buddhas and sages see the innate purity of the tathāgatagarbha as something intrinsic; ordinary persons (PṚTHAGJANA) see it as something that must be actualized through practice. Some East Asian Buddhists, such as WoNHYO (617-686), seem to have presumed that the KŬMGANG SAMMAE KYoNG (S. *Vajrasamādhisutra) was the scriptural source of the Dasheng qixin lun's emblematic teaching of the one mind and its two aspects, even though we now know that that scripture was a Korean apocryphon that was not composed until over a century later. The most important commentaries to the Dasheng qixin lun are Wonhyo's TAESŬNG KISIN NON SO and TAESŬNG KISIN NON PYoLGI, FAZANG's DASHENG QIXIN LUN YI JIs, and JINGYING HUIYUAN's Dasheng qixin lun yishu.

Dattoli (Sanskrit) Dattoli One name of Agastya, a sage of the first manvantara, in his former birth as the son of the progenitor of the rakshasas. Variants are Dattotti, Dattoi, Dattali, Dattotri, Dattobhri, Dambhobhi, and Dhambholi. These “seven variants have each a secret sense, and refer in the esoteric comments to various ethnological classifications, and also to physiological and anthropological mysteries of the primitive races. For, surely, the Rakshasas are not demons, but simply the primitive and ferocious giants, the Atlanteans, who were scattered on the face of the globe as the Fifth Race is now. Vasishta is a warrant to this, if his words addressed to Parasara, who attempted a bit of jadoo (sorcery), which he calls ‘sacrifice,’ for the destruction of the Rakshasas, mean anything. For he says, ‘Let no more of these unoffending “Spirits of Darkness” be destroyed’ . . .” (SD 2:232n).

dbu ma chen po. (uma chenpo) [alt. dbu ma pa chen po]. In Tibetan, "great MADHYAMAKA"; a term central to the "self empty, other empty" (RANG STONG GZHAN STONG) debate in Tibetan Buddhism, on the question of which Indian masters are the true representatives of the Madhyamaka. According to the DGE LUGS view, among the three turnings of the wheel of the dharma as described in the SAMDHINIRMOCANASuTRA, the second wheel, generally identified with the view of emptiness as set forth in the PRAJNĀPĀRAMITĀ sutras and propounded by the Madhyamaka, is definitive (NĪTĀRTHA), while the third wheel, generally identified with YOGĀCĀRA and TATHĀGATHAGARBHA teachings, is provisional (NEYĀRTHA). Other sects, most notably the JO NANG PA, as well as certain BKA' BRGYUD and RNYING MA thinkers, especially of the so-called RIS MED movement, disagreed, asserting that the third wheel is the definitive teaching while the second wheel is provisional. (Both agree that the first wheel, setting forth the FOUR NOBLE TRUTHS to sRĀVAKAs, is provisional.) For the Dge lugs pas, the highest of all Buddhist doctrines is that all phenomena in the universe are empty of an intrinsic nature (SVABHĀVA); emptiness is the lack of any substantial existence. The Dge lugs pas are therefore proponents of "self-emptiness" (rang stong), arguing that that each object of experience is devoid of intrinsic nature; the unenlightened wrongly believe that such a nature is intrinsic to the object itself. In reality, everything, from physical forms to the omniscient mind of a buddha, is equally empty, and this emptiness is a nonaffirming negation (PRASAJYAPRATIsEDHA), an absence with nothing else implied in its place. Furthermore, this emptiness of intrinsic nature is the ultimate truth (PARAMĀRTHASATYA). The Jo nang pa's look to the third wheel, especially to those statements that describe the nonduality of subject and object to be the consummate nature (PARINIsPANNA) and the understanding of that nonduality as the highest wisdom, described as eternal, self-arisen, and truly established. This wisdom exists autonomously and is thus not empty in the way that emptiness is understood by the Dge lugs. Instead, this wisdom consciousness is empty in the sense that it is devoid of all defilements and conventional factors, which are extraneous to its true nature. Hence, the Jo nang pas speak of "other emptiness" (gzhan stong) the absence of extrinsic and extraneous qualities. For the Dge lugs pas, the supreme interpreter of the doctrine of emptiness (as they understand it) is CANDRAKĪRTI. The Jo nang pas do not dispute the Dge lugs reading of Candrakīrti but they deny Candrakīrti the rank of premier expositor of NĀGĀRJUNA's thought. For them, Candrakīrti teaches an emptiness that is a mere negation of intrinsic existence, which they equate with nihilism. They also do not deny that such an exposition is found in Nāgārjuna's philosophical treatises (YUKTIKĀYA). However, they claim that those works do not represent Nāgārjuna's final view, which is expressed instead in his devotional corpus (STAVAKĀYA), notably the DHARMADHĀTUSTAVA, and, according to some, in the works of VASUBANDHU, the author of two defenses of the prajNāpāramitā sutras. Those who would deny the ultimate existence of wisdom, such as Candrakīrti, are classed as "one-sided Madhyamakas" (phyogs gcig pa'i dbu ma pa) as opposed to the great Madhyamakas among whom they would include the Nāgārjuna of the hymns and ĀRYADEVA as well as thinkers whom the Dge lugs classify as Yogācāra or SVĀTANTRIKA MADHYAMAKA: ASAnGA, Vasubandhu, MAITREYANĀTHA, and sĀNTARAKsITA.

Devīkota. (S). One of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA.

Dga' rab rdo rje. (Garap Dorje). In Tibetan, the name of a semimythological figure in the early lineage of the RNYING MA sect's RDZOGS CHEN "great completion" teachings. The transmission of the teaching is said to have passed from the primordial buddha SAMANTABHADRA (T. Kun tu bzang po) to VAJRASATTVA, who transmitted it to the first human lineage holder, Dga' rab rdo rje; from him, rdzogs chen passed to MANJusRĪMITRA and sRĪSIMHA, and to the Tibetan translator Ba gor VAIROCANA (fl. c. 800 CE). See RDZOGS CHEN.

Dharmakaya (Sanskrit) Dharmakāya [from dharma law, continuance from the verbal root dhṛ to support, carry, continue + kāya body] Continuance-body, body of the law. One of the trikaya of Buddhism, which consists of 1) nirmanakaya, 2) sambhogakaya, and 3) dharmakaya. “It is that spiritual body or state of a high spiritual being in which the restricted sense of soulship and egoity has vanished into a universal (hierarchical) sense, and remains only in the seed, latent — if even so much. It is pure consciousness, pure bliss, pure intelligence, freed from all personalizing thought” (OG 38). In the dharmakaya vesture the initiate is on the threshold of nirvana or in the nirvanic state. Sometimes the dharmakaya is called the “nirvana without remains,” for once having reached that state the buddha or bodhisattva remains entirely outside of every earthly condition; he will return no more until the commencement of a new manvantara, for he has crossed the cycle of births. Dharmakaya state is that of parasamadhi, where no progress is possible — at least as long as the entity remains in it. Such entities may be said to be for the time being crystallized in purity and homogeneity. This is, likewise, one of the states of adi-buddha, and as such is called the mystic, universally diffused essence, the robe or vesture of luminous spirituality. See also TRIKAYA; TRISARANA

Diamond, Diamond-heart The diamond is a symbol signifying the imperishable attributes of the cosmic quinta essentia — the fifth essence of medieval mystics. In Northern Buddhism, the unmanifest Logos, being too spiritual to manifest in material realms directly, sends into the world of manifestation its heart, the diamond heart (vajrasattva, dorjesempa) which is the manifest Logos, from which emanate the Third Logos which collectively is the seven cosmic dhyani-buddhas. Manushya-buddhas, when their personality has become merged in atma-buddhi, are also called diamond-souled because of their spiritual approach to their cosmic prototype; otherwise they are mahatmas of the highest class.

Dorjesempa (Tibetan) rdo-rje sems-dpa’ Equivalent to the Sanskrit vajrasattva, diamond-soul, diamond-being; referring to the soul’s indestructibility in the hereafter. Also a name of the celestial buddha.

dunwu jianxiu. (J. tongo zenshu; K. tono chomsu 頓悟漸修). In Chinese, "sudden awakening [followed by] gradual cultivation"; a path (MĀRGA) schema emblematic of such CHAN masters as GUIFENG ZONGMI (780-841) in the Chinese Heze school of Chan, and POJO CHINUL (1158-1210) of the Korean CHOGYE school of Son. In this outline of the Chan mārga, true spiritual practice begins with an initial insight into one's true nature (viz., "seeing the nature"; JIANXING), through which the Chan adept comes to know that he is not a deluded sentient being but is in fact a buddha. This experience is called the "understanding-awakening" (JIEWU) and is functionally equivalent to the path of vision (DARsANAMĀRGA) in ABHIDHARMA path systems. Simply knowing that one is a buddha through this sudden awakening of understanding, however, is not sufficient in itself to generate the complete, perfect enlightenment of buddhahood (ANUTTARASAMYAKSAMBODHI) and thus to ensure that one will always be able to act on that potential. Only after continued gradual cultivation (jianxiu) following this initial understanding-awakening will one remove the habituations(VĀSANĀ) that have been engrained in the mind for an essentially infinite amount of time, so that one will not only be a buddha, but will be able to act as one as well. That point where knowledge and action fully correspond marks the final "realization-awakening" (ZHENGWU) and is the point at which buddhahood is truly achieved. This soteriological process is compared by Zongmi and Chinul to that of an infant who is born with all the faculties of a human being (the sudden understanding-awakening) but who still needs to go a long process of maturation (gradual cultivation) before he will be able to live up to his full potential as an adult human being (realization-awakening). See also WU.

dunwu. (J. tongo; K. tono 頓悟). In Chinese, "sudden awakening," or "sudden enlightenment"; the experience described in the CHAN school that "seeing the nature" (JIANXING) itself is sufficient to enable the adept to realize one's innate buddhahood (JIANXING CHENGFO). The idea of a subitist approach (DUNJIAO) to awakening was also used polemically by HOZE SHENHUI in the so-called "Southern school" (NAN ZONG) of Chan to disparage his rival "Northern school" (BEIZONG) as a gradualist, and therefore inferior, presentation of Chan soteriological teachings. Although debates over gradual vs. sudden enlightenment are most commonly associated with the East Asian Chan schools, there are also precedents in Indian Buddhism. The so-called BSAM YAS DEBATE, or "Council of LHA SA," that took place in Tibet at the end of the eighth century is said to have pitted the Indian monk KAMALAsĪLA against the Northern Chan monk HESHANGMOHEYAN in a debate over gradual enlightenment vs. sudden enlightenment. ¶ In two-tiered path (MĀRGA) schemata, such as "sudden awakening [followed by] gradual cultivation" (DUNWU JIANXIU), this initial experience of sudden awakening constitutes an "understanding-awakening" (JIEWU), in which the adept comes to know that he is not a deluded sentient being but is in fact a buddha. (In this context, the understanding-awakening is functionally equivalent to the path of vision [DARsANAMĀRGA] in ABHIDHARMA path systems.) But this sudden awakening is not sufficient in itself to generate the complete, perfect enlightenment of buddhahood (ANUTTARASAMYAKSAMBODHI), where one is able to manifest all the potential inherent in that exalted state. That realization comes only through continued gradual cultivation (jianxiu) following this initial sudden awakening, so that one will learn not only to be a buddha but to act as one as well. That point where knowledge and action fully correspond marks the final "realization-awakening" (ZHENGWU) and is the point at which buddhahood is truly achieved. See also WU; JIANWU.

eagle ::: n. --> Any large, rapacious bird of the Falcon family, esp. of the genera Aquila and Haliaeetus. The eagle is remarkable for strength, size, graceful figure, keenness of vision, and extraordinary flight. The most noted species are the golden eagle (Aquila chrysaetus); the imperial eagle of Europe (A. mogilnik / imperialis); the American bald eagle (Haliaeetus leucocephalus); the European sea eagle (H. albicilla); and the great harpy eagle (Thrasaetus harpyia). The figure of the eagle, as the king of birds, is commonly used as an heraldic

erasable ::: a. --> Capable of being erased.

Erasable Programmable Read-Only Memory "storage" (EPROM) A type of storage device in which the data is determined by electrical charge stored in an isolated ("floating") {MOS} {transistor} {gate}. The isolation is good enough to retain the charge almost indefinitely (more than ten years) without an external power supply. The EPROM is programmed by "injecting" charge into the floating gate, using a technique based on the tunnel effect. This requires higher voltage than in normal operation (usually 12V - 25V). The floating gate can be discharged by applying ultraviolet light to the chip's surface through a quartz window in the package, erasing the memory contents and allowing the chip to be reprogrammed. (1995-04-22)

Erasable Programmable Read-Only Memory ::: (storage) (EPROM) A type of storage device in which the data is determined by electrical charge stored in an isolated (floating) MOS ultraviolet light to the chip's surface through a quartz window in the package, erasing the memory contents and allowing the chip to be reprogrammed. (1995-04-22)

EEPROM ::: Electrically Erasable Programmable Read-Only MemorySee also EAPROM.

EEPROM {Electrically Erasable Programmable Read-Only Memory} See also {EAPROM}.

Eis Zeus Sarapi An invocation to Sarapis (or Serapis) frequently found on Gnostic gems, meaning “the One Zeus, Sarapis,” a recognition of Sarapis as the supreme deity. Similar in meaning to the Gnostic phrase Abrasax Iao (Abrasax is the One Iao) also inscribed on gems.

Electrically Erasable Programmable Read-Only Memory "storage" (EEPROM) A {non-volatile storage} device using a technique similar to the floating gates in {EPROMs} but with the capability to discharge the floating gate electrically. Usually bytes or words can be erased and reprogrammed individually during system operation. In contrast to {RAM}, writing takes much longer than reading and EEPROM is more expensive and less dense than RAM. It is appropriate for storing small amounts of data which is changed infrequently, e.g. the hardware configuration of an {Acorn} {Archimedes}. [Difference from {EAPROM}?] (1995-04-22)

Electrically Erasable Programmable Read-Only Memory ::: (storage) (EEPROM) A non-volatile storage device using a technique similar to the floating gates in EPROMs but with the capability to discharge the floating gate electrically. Usually bytes or words can be erased and reprogrammed individually during system operation.In contrast to RAM, writing takes much longer than reading and EEPROM is more expensive and less dense than RAM. It is appropriate for storing small amounts of data which is changed infrequently, e.g. the hardware configuration of an Acorn Archimedes.[Difference from EAPROM?] (1995-04-22)

enlightenment. See ANUTTARASAMYAKSAMBODHI; BODHI; DUNWU; NIRVĀnA; WU.

EPROM {Erasable Programmable Read-Only Memory}

EPROM OTP ::: Erasable Programmable Read-Only Memory One Time Programmable

EPROM OTP {Erasable Programmable Read-Only Memory One Time Programmable}

Feilaifeng. (J. Hiraiho; K. Piraebong 飛来峰). In Chinese, "Flying-In Peak," site of Buddhist rock carvings and grottoes, located in front of LINGYINSI in Hangzhou, Zhejiang province. Feilaifeng houses the most important sculptural works of Tibetan Buddhism found in Han Chinese territory. The name of the peak was inspired by a legend, according to which Vulture Peak (GṚDHRAKutAPARVATA) flew to this location from India. There are more than three hundred carved images still in existence at the site, with eleven from the Five Dynasties period, more than two hundred from the Song dynasty, and around one hundred from the Yuan. The Song-dynasty images were mostly carved during the Xianping era (998-1003) under Emperor Zhenzong. Many of these figures are ARHATs (C. LUOHAN), but some works illustrate special themes, such as XUANZANG's pilgrimage to India or MAITREYA's "Hemp Sack" (BUDAI) form. The gilded, colorfully painted Yuan images are delicately carved and constitute a significant development in the history of Chinese sculpture. Nearly half of these images depict esoteric themes, with buddhas, bodhisattvas, female deities, and dharma protectors (DHARMAPĀLA). The image enshrined in Niche 25 is VAJRADHARA. Also found here are images of MANJUsRĪ, AVALOKITEsVARA, and VAJRASATTVA. The female deity SITĀTAPATLĀ is depicted in Niche 22; she was highly venerated by the Yuan rulers because she was believed to be able to destroy armies and overcome disasters.

FEPROM {Flash Erasable Programmable Read-Only Memory}

flash ::: 1. (chat) A program which allows one to flood another Unix user's terminal with garbage, through exploiting a common security hole in the victim's host's talk daemon. Users with messages off (mesg n) and users on systems running fixed talk daemons, or not running talk daemons at all, are immune. (1996-09-08)2. See Flash Erasable Programmable Read-Only Memory. (1997-02-02)

Flash Erasable Programmable Read-Only Memory "storage" (FEPROM, "flash memory") A kind of {non-volatile storage} device similar to {EEPROM}, but where erasing can only be done in blocks or the entire chip. In 1995 this relatively new technology started to replace {EPROMs} because reprogramming could be done with the chip installed. At that time FEPROMs could be rewritten about 1000 times. Like {EAPROM} and ferro-magnetic material, FEPROMs rely on {FN tunnelling}. Some flash memory supports block erase. (1995-04-22)

Flash Erasable Programmable Read-Only Memory ::: (storage) (FEPROM, flash memory) A kind of non-volatile storage device similar to EEPROM, but where erasing can only be done in blocks or the entire chip.In 1995 this relatively new technology started to replace EPROMs because reprogramming could be done with the chip installed. At that time FEPROMs could be rewritten about 1000 times.Like EAPROM and ferro-magnetic material, FEPROMs rely on FN tunnelling. Some flash memory supports block erase. (1995-04-22)

Flash EPROM {Flash Erasable Programmable Read-Only Memory}

flash memory "storage" Originally, {Flash Erasable Programmable Read-Only Memory} but commonly used for various kinds of {solid-state memory}. (2009-07-28)

Flash ROM {Flash Erasable Programmable Read-Only Memory}

for Sarea and Sarasael.

FOUNDATION IN YOGA. ::: The things that have to be established are . brahmacarya, complete sex-purity ; samah, quiet and harmony in the being, its forces maintained but con- trolled, harmonised, disciplined ; satyam, truth and sincerity in the whole nature ; prasanfUj, a general state of peace and calm ; atmasanyaina, the power and habit to control whatever needs control in the movements of the nature. When these are fairly established, one has laid the foundation on which one can deve- lop the yoga consciousness and with the yoga consciousness there comes an easy opening to realisation and experience.

Fowler-Nordheim tunnelling "electronics" (US: "tunneling") The quantum mechanical effect exploited in {EAPROM} and {Flash Erasable Programmable Read Only Memory}. It differs from {Frenkel-Pool Tunnelling} in that it does not rely on defects in the {semiconductor}. [More detail?] (2001-09-27)

Fowler-Nordheim tunnelling ::: (electronics) (US: tunneling) The quantum mechanical effect exploited in EAPROM and Flash Erasable Programmable Read Only Memory. It differs from Frenkel-Pool Tunnelling in that it does not rely on defects in the semiconductor.[More detail?](2001-09-27)

gandharasa (gandharasa; gandha-rasa) ::: the (subtle) taste of things smelt, a form of rasadr.s.t.i.

gate gate pāragate pārasaMgate bodhi svāhā. (T. ga te ga te pā ra ga te pā ra saM ga te bo dhi svā hā; C. jiedi jiedi boluojiedi boluosengjiedi puti sapohe; J. gyatei gyatei haragyatei harasogyatei boji sowaka; K. aje aje paraaje parasŭngaje moji sabaha 帝帝波羅帝波羅僧帝菩提薩婆訶). A Sanskrit MANTRA contained in the PRAJNĀPĀRAMITĀHṚDAYASuTRA ("Heart Sutra"). At the conclusion of the SuTRA, the BODHISATTVA AVALOKITEsVARA says to sĀRIPUTRA, "Therefore, the mantra of the perfection of wisdom is the mantra of great wisdom, the unsurpassed mantra, the unequalled mantra, the mantra that completely pacifies all suffering. Because it is not false, it should be known to be true. The mantra of the perfection of wisdom is stated thus: gate gate pāragate pārasaMgate bodhi svāhā." Although most mantras are not translatable, this one can be roughly rendered into English as "gone, gone, gone beyond, gone completely beyond, enlightenment, svāhā" (svāhā is an interjection, meaning "hail," commonly placed at the end of a mantra). "Gate" in the mantra is most probably a vocative of gatā addressed to the goddess PRAJNĀPĀRAMITĀ (the iconographic representation of perfect wisdom); hence, the mantra may be addressed to PrajNāpāramitā and mean, "You who have gone, gone, gone beyond," etc. Given the ubiquity of the PrajNāpāramitāhṛdayasutra in MAHĀYĀNA Buddhism and its frequent ritual chanting by monks in both East Asia and Tibet, the mantra has been the subject of extensive commentary. Thus, some commentators correlate the first five words with the five paths (PANCAMĀRGA) to buddhahood: the first "gate" indicates the path of accumulation (SAMBHĀRAMĀRGA); the second "gate," the path of preparation (PRAYOGAMĀRGA); "pāragate," the path of vision (DARsANAMĀRGA); "pārasaMgate," the path of cultivation (BHĀVANĀMĀRGA); and BODHI, the adept path (AsAIKsAMĀRGA). Such an interpretation is in keeping with the Indian scholastic view of the PRAJNĀPĀRAMITĀ sutras, where it is said that the sutras have two teachings, one explicit and one implicit. The explicit teaching is emptiness (suNYATĀ) and the implicit teaching is the various realizations (ABHISAMAYA) of the bodhisattva along the path to buddhahood. From this perspective, everything in the sutra up to the mantra provides the explicit teaching and the mantra provides the implicit teaching. Other commentators state that the first part of the sutra (up to the mantra) is intended for bodhisattvas of dull faculties and that the mantra is intended for bodhisattvas of sharp faculties (TĪKsnENDRIYA). Some of the commentators include "it is thus" (tadyathā) in the mantra and add oM at the beginning. Although the presence of DHĀRAnĪ is relatively common in Mahāyāna sutras, something that is explicitly called a mantra is not, leading some commentators to consider whether the PrajNāpāramitāhṛdayasutra should be classified as a sutra or a TANTRA.

Gazali: Born 1059 in Tus, in the country of Chorasan, taught at Bagdad, lived for a time in Syria, died in his home town 1111. He started as a sceptic in philosophy and became a mystic and orthodox afterwards. Philosophy is meaningful only as introduction to theology. His attitude resembles Neo-Platonic mysticism and is anti-Aristotelian. He wrote a detailed report on the doctrines of Farabi and Avicenna only to subject them to a scathing criticism in Destructio philosophorum where he points out the self-contradictions of philosophers. His main works are theological. In his writings on logic he wants to ensure to theology a reliable method of procedure. His metaphysics also is mainly based on theology: creation of the world out of nothing, resurrection, and so forth. Cf. H. Bauer, Die Dogmatik Al-Ghazalis, 1912. -- R.A.

gnas skor ba. (nekorwa). In Tibetan, lit. "going around a [sacred] place," generally translated as "pilgrimage," a pervasive practice of Tibetan Buddhism. Tibetan pilgrimage is most often a communal practice, involving a group of persons of the same family, the same village, or the same monastery, in some cases led by one or more monks or lamas who provide information and religious instruction along the route. Pilgrimage is undertaken to accrue merit and to expiate transgressions, but it also plays an important social and economic role in Tibetan society. Once the pilgrimage begins, pilgrims will do everything possible not to turn back; failure to complete the journey is thought to be like breaking a vow. Pilgrims generally traverse the pilgrimage route on foot; it is said that more merit is accrued if one walks rather than travels on horseback. The length of the pilgrimage varies according to the distance traveled, the season, the number of mountain passes to be crossed, and the number of sites to be visited. The trip can sometimes take several years, especially if the pilgrims perform prostrations along the entire route. Pilgrims make offerings at the monasteries and temples they visit, both on behalf of themselves but also for relatives who have not made the journey. Monasteries offer pilgrims ceremonial scarves (kha btags), blessed pills, and sometimes also food and lodging. Among the most important destinations for pilgrims is the city of LHA SA. There are eight famous mountains and mountain ranges, including Mount KAILĀSA in western Tibet and Dag pa shel ri (the Crystal Mountain) in TSA RI, a site sacred to CAKRASAMVARA on the border with eastern Nepal, and further afield the sacred sites in India (BODHGAYĀ, SĀRNĀTH, etc.) and in China (WUTAISHAN, etc.). See also MAHĀSTHĀNA.

Gnostic amulets known as Abraxas gems depicted the god as a pantheos (all-god), with the head of a cock, herald of the sun, representing foresight and vigilance; a human body clothed in armor, suggestive of guardian power; legs in the form of sacred asps. In his right hand is a scourge, emblem of authority; on his left arm a shield emblazoned with a word of power. This pantheos is invariably inscribed with his proper name IAO and his epithets Abraxas and Sabaoth, and often accompanied with invocations such as SEMES EILAM, the eternal sun (Gnostics and Their Remains 246), which Blavatsky equates with “the central spiritual sun” of the Qabbalists (SD 2:214). Though written in Greek characters, the words SEMES EILAM ABRASAX are probably Semitic in origin: shemesh sun; ‘olam secret, occult, hid, eternity, world; Abrasax Abraxas. Hence in combination the phrase may be rendered “the eternal sun Abrasax.”

Godāvarī. (S). One of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA.

Gṛhadevatā. (S). One of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA.

Guhyasamājatantra. (T. Gsang ba 'dus pa'i rgyud; C. Yiqie rulai jingang sanye zuishang mimi dajiaowang jing; J. Issainyorai kongosangosaijohimitsu daikyoogyo; K. Ilch'e yorae kŭmgang samop ch'oesang pimil taegyowang kyong 一切如來金剛三業最上秘密大教王經). In Sanskrit, "Secret Assembly Tantra"; referred to in Tibet as the "king of tantras" (rgyud kyi rgyal po), it is among the most important of what later come to be called ANUTTARAYOGATANTRAs, or highest yoga tantras. It is also classified as a "father tantra" (PITṚTANTRA). The text was likely composed sometime between about 750 and 850 CE. It consists of eighteen chapters, the last of which is a supplement, referred to as the uttaratantra. The Guhyasamāja is one of the earliest tantras to present overtly antinomian practices, notably of a sexual nature, as well as the practices of ingesting impure substances. The text begins with a surprising rendition of the opening line of a Buddhist sutra (see EVAM MAYĀ sRUTAM), when it states, "Thus have I heard. At one time the Bhagavān was residing in the vaginas of the women who are the vajra essence of the body, speech, and mind of all the tathāgatas." Such passages led to the development of sophisticated hermeneutical systems for interpreting the tantras to discover their hidden meaning. Important Indian commentaries on this tantra include the PANCAKRAMA attributed to NĀGĀRJUNA, the Caryāmelāpakapradīpa attributed to ĀRYADEVA, and the Pradīpoddyotana attributed to CANDRAKĪRTI. In the MAndALA associated with the Ārya tradition of commentary (deriving from Nāgārjuna) there are thirty-two deities. The central deity of the mandala is Guhyasamāja, a manifestation of AKsOBHYA, surrounded by VAIROCANA in the east, RATNASAMBHAVA (or Ratnaketu) in the south, AMITĀBHA in the west, and AMOGHASIDDHI in the north, each in sexual union with a consort. The central deity is blue in color, with three faces and six arms. Seated in the posture of sexual union, he embraces his consort Sparsavajra. In addition, there are the ten "fierce kings" (krodharāja), eight bodhisattvas, and four goddesses. Like other tantras of its class, the SĀDHANAs of the Guhyasamāja set forth the practice of the stage of generation (UTPATTIKRAMA) and the stage of completion (NIsPANNAKRAMA), with its attendant sexual yogas, toward the achievement of an illusory body (MĀYĀKĀYA). The text was translated into Chinese by Dānapāla around 1002, but was not particularly influential in East Asian Buddhism, where its explicit sexual language offended more prudish Confucian sensibilities. It was translated into Tibetan in the eleventh century by RIN CHEN BZANG PO and sraddhākaravarman. In Tibet, the tantra was highly influential, ranking in importance with the HEVAJRATANTRA, CAKRASAMVARATANTRA, and KĀLACAKRATANTRA.

Haimavata. (P. Hemavataka; T. Gangs ri'i sde; C. Xueshanbu; J. Sessenbu; K. Solsanbu 雪山部). In Sanskrit, "Inhabitants of the Himālayas," one of the traditional eighteen schools of the mainstream Indian Buddhist tradition, alternatively associated with either the MAHĀSĀMGHIKA, SARVĀSTIVĀDA, or STHAVIRANIKĀYA traditions. The name of the school is generally regarded as deriving from school's location in the Himalayan region. There are various theories on the origin of this school. The Pāli DĪPAVAMSA states that the Haimavata arose during the second century after the Buddha's death, and lists it separately along with the schools of Rājagirīya, Siddhārthika, PuRVAsAILA, Aparasaila (the four of which were collectively designated as the ANDHAKĀ schools by BUDDHAGHOSA in the introduction to his commentary on the KATHĀVATTHU) and Apararājagirika, but without identifying their respective origins. According to northwest Indian tradition, a view represented in the Sarvāstivāda treatise SAMAYABHEDOPARACANACAKRA (C. Yibuzong lun lun) by VASUMITRA (c. first to second centuries, CE), the Haimavata is considered the first independent school to split off from the Sthaviranikāya line. KUIJI's commentary to the Samayabhedoparacanacakra explains the name pejoratively to refer to the desolation of the freezing breeze coming down from the Himālayas, in contrast to the prosperity that accompanies the Sarvāstivāda teachings. However, given that the Haimavata school does not seem to have been particularly influential (even if had been part of the original Sthaviranikāya line) and that, moreover, all the other Sthavira lineages are posited to derive from the Sarvāstivāda by this tradition, the account of the Samayabhedoparacanacakra is usually dismissed as reflecting Sarvāstivāda polemics more than historical fact. The Samayabhedoparacanacakra also attributes to the Haimavata school MAHĀDEVA's five propositions about the status of the ARHAT, the propositions that prompted, at the time of the second Buddhist council (see COUNCIL, SECOND), the schism in the SAMGHA between the STHAVIRA and the nascent MahāsāMghika order. These five propositions were: the arhats (1) are still subject to sexual desire (RĀGA); (2) may have a residue of ignorance (ajNāna); (3) retain certain types of doubt (kānksā); (4) gain knowledge through others' help; and finally, (5) have spiritual experience accompanied by an exclamation, such as "aho." It is probably because of this identification with Mahādeva's propositions that BHĀVAVIVEKA (c. 490-570) classified the Haimavata among the MahāsāMghika. Other doctrines that Vasumitra claimed were distinctive to the Haimavata were (1) a BODHISATTVA is an ordinary person (PṚTHAGJANA); (2) a bodhisattva does not experience any desire (KĀMA) when he enters the mother's womb; (3) non-Buddhists (TĪRTHIKA) cannot develop the five kinds of supernatural powers (ABHIJNĀ); and (4) the divinities (DEVA) cannot practice a religious life (BRAHMACARYA). Vasumitra asserts that these and other of its views were similar to those of the Sarvāstivāda, thus positing a close connection between the doctrines of the two schools.

Hannya shingyo hiken. (般若心經秘鍵). In Japanese, "Secret Key to the PRAJNĀPĀRAMITĀHṚDAYASuTRA"; attributed to the Japanese SHINGONSHu monk KuKAI. According to its colophon, Kukai composed the Hannya shingyo hiken upon imperial request during a great epidemic in 818, but an alternative theory rejects the colophon's claim and dates the text to 834. The Hannya shingyo hiken claims that the PrajNāpāramitāhṛdaya, the famous "Heart Sutra," is actually an esoteric scripture (see TANTRA) that explicates the "great mind-MANTRA SAMĀDHI" of the BODHISATTVA PrajNā. The treatise first provides a synopsis of the scripture and an explanation of its title, followed by a detailed interpretation of its teachings, in a total of five sections (each corresponding to a certain part of the scripture). In its first section, entitled "the complete interpenetration between persons and DHARMAs," the treatise describes the practice of the bodhisattva AVALOKITEsVARA in terms of five factors (cause, practice, attainment, entrance, and time). The next section, entitled "division of the various vehicles," divides the different vehicles (YĀNA) of Buddhism into the vehicles of construction, destruction, form, two, and one, and also mentions the vehicles of SAMANTABHADRA (see HUAYAN ZONG), MANJUsRĪ (see SANLUN ZONG), MAITREYA (see YOGĀCĀRA), sRĀVAKAs, PRATYEKABUDDHAs, and Avalokitesvara (see TIANTAI ZONG). In the third section, entitled "benefits attained by the practitioner," the treatise discusses seven types of practitioners (Huayan, Sanlun, Yogācāra, srāvaka, pratyekabuddha, Tiantai, and Shingon) and four varieties of dharmas (cause, practice, attainment, and entrance). The fourth section, entitled "clarification of the DHĀRAnĪ," explains the MANTRA "GATE GATE PĀRAGATE PĀRASAMGATE BODHI SVĀHĀ" in terms of its name, essence, and function, and also divides it into four types, which are associated with the srāvaka, pratyekabuddha, MAHĀYĀNA, and esoteric (himitsu) vehicles. The fifth section, entitled "secret mantra," further divides the spell into five different types and explains the attainment of BODHI within the various vehicles. Commentaries on this treatise were written by DoHAN (1178-1252), Saisen (1025-1115), KAKUBAN (1095-1143), Innyu (1435-1519), Donjaku (1674-1742), and others.

haranti prasabham manah ::: vehemently they carry away the sense-mind. [Gita 2.60]

harpy ::: n. --> A fabulous winged monster, ravenous and filthy, having the face of a woman and the body of a vulture, with long claws, and the face pale with hunger. Some writers mention two, others three.
One who is rapacious or ravenous; an extortioner.
The European moor buzzard or marsh harrier (Circus aeruginosus).
A large and powerful, double-crested, short-winged American eagle (Thrasaetus harpyia). It ranges from Texas to Brazil.


hasya (hasya; hasyam) ::: literally "laughter"; "a clear joy and laughter of the soul embracing life and existence", a stronger form of atmaprasada, the last member of the samata / santi catus.t.aya; sometimes equivalent to devihasya.

He is 300 parasangs tall and has a retinue of 50

Heruka. (T. Khrag 'thung; C. Xilujia; J. Kiruoka; K. Hŭiroga 嚕迦). Sanskrit proper name of a spirit that perhaps originally was associated with cremation grounds (sMAsĀNA) and was a form of siva (Mahesvara). The name appears commonly in tantric Buddhism as a generic name for a buddha appearing in a wrathful (KRODHA) aspect, especially in the form of CAKRASAMVARA, and either with or without a consort. The name is translated into Chinese and Tibetan as "blood drinker," an interpretation not reflected in the Sanskrit. Heruka also appears in the HEVAJRATANTRA as the name of a deity who is essentially the same as Hevajra. See also CAKRASAMVARATANTRA.

Himālaya. (S). One of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA.

hundred-syllable mantra. See VAJRASATTVA.

hwajaeng. (C. hezheng; J. wajo 和諍). In Korean, lit. "resolving disputes," "reconciling doctrinal controversies"; a hermeneutical technique associated with the Silla scholiast WoNHYO (617-686), which seeks to demonstrate that various Buddhist doctrines, despite their apparent differences and inconsistencies, can be integrated into a single coherent whole. This "ecumenical" approach is pervasive throughout Wonhyo's works, though its basic principle is explained chiefly in his Simmun hwajaeng non ("Ten Approaches to the Reconciliation of Doctrinal Controversy"; only fragments are extant), TAESŬNG KISILLON SO ("Commentary to the 'Awakening of Faith according to the Mahāyāna'"), and KŬMGANG SAMMAEGYoNG NON ("Exposition of the *VAJRASAMĀDHISuTRA"). Wonhyo was versed in the full range of Buddhist philosophical doctrines then accessible to him in Korea, including MADHYAMAKA, YOGĀCĀRA, HWAoM, and TATHĀGATAGARBHA thought, and hwajaeng was his attempt to demonstrate how all of these various teachings of the Buddha were part of a coherent heuristic plan within the religion. All the Buddha's teachings were in fact representations of the one mind (K. ilsim; C. YIXIN); whatever doctrinal differences seem to exist between them result merely from the limitations inherent in conventional language to express the truth, not from substantive differences in the teachings themselves. One of the means through which Wonhyo seeks to demonstrate the truth of hwajaeng is to deploy the dichotomy of "analysis and synthesis" (kaehap)-lit. to "open up" all the various teachings for analysis and to "fold them together" into an overarching synthesis. This process of exegesis was then applied to the hermeneutical schema of "doctrines and essential" (chongyo)-i.e., the various doctrines of Buddhism and their essential truth. Buddhism's essential truth (yo) is "opened up" (kae) for analysis into all its various doctrines, and those doctrines (chong) are then returned to the one mind when they are "folded together" (hap) into a synthesis. Many of Wonhyo's scriptural commentaries use this hermeneutical technique in their exegeses, especially his seventeen exegetical commentaries (five of which are extant) that are titled chongyo, e.g., his Yolban kyong chongyo ("Doctrines and Essentials of the MAHĀPARINIRVĀnASuTRA"). As one specific example, Wonhyo's analysis of the DASHENG QIXIN LUN ("Awakening of Faith according to the Mahāyāna") attempts to demonstrate how the emptiness (suNYATĀ) doctrine of the Madhyamaka-which Wonhyo characterizes as apophasis or lit. "destruction" (K. p'a, C. po)-may been reconciled with the representation-only (VIJNAPTIMĀTRATĀ) teachings of the Yogācāra-which he characterizes as a kataphasis, or lit. "establishment" (K. ip, C. li)-by reducing them both to the single principle of the "one mind." The Koryo monk ŬICH'oN (1055-1101) first posited that the notion of hwajaeng was emblematic of Wonhyo's philosophical approach and petitioned his brother, King Sukchong (r. 1095-1105), to grant Wonhyo the posthumous title of Hwajaeng KUKSA (the state preceptor Resolving Controversy) in 1101. Since that time, Wonhyo has been viewed as the embodiment of hwajaeng thought in Korea and hwajaeng has often been portrayed as characteristic of a distinctively Korean approach to Buddhist thought.

Hwangnyongsa. (皇/龍寺). In Korean, "royal," or "Yellow Dragon Monastery" ("royal" and "yellow" are homophonous in Korean); an important Korean monastery located in the Silla-dynasty capital of Kyongju. The monastery was constructed between 553 and 569, during the reign of the Silla king Chinhŭng (r. 540-576) and was especially renowned for its sixteen-foot high image of sĀKYAMUNI Buddha (completed in 574) and its massive, nine-story pagoda (STuPA), which was built in 645 during the reign of Queen Sondok (r. 632-647). In the winter of 1238, during the succeeding Koryo dynasty (918-1392), the entire monastery, including the buddha image and the pagoda, was totally destroyed by invading Mongol troops, and only the foundation stones currently remain. The site of the monastery was excavated by the Kyongju National Research Institute of Cultural Heritage between 1976 and 1983. Royal Dragon monastery flourished due to the support of the Silla royal family, which sought to use Buddhism as an unifying political ideology; The stories told concerning the foundation of the monastery, the image, and the pagoda all reflect this fact. The construction of the monastery is thus often cited as an example of "state-protection Buddhism" hoguk Pulgyo; C. HUGUO FOJIAO) in Korea. According to the SAMGUK YUSA ("Memorabilia of the Three Kingdoms"), in the second month of 553, King Chinhŭng was building a new palace to the south of his Dragon Palace and east of Wolsong palace, when a yellow dragon (hwangnyong) appeared at the site. Yellow dragons were popular autochthonous deities in Silla; hence, given the auspicious nature of this apparition, the king changed plans and instead built a Buddhist monastery on the site, which is called both Yellow Dragon and Royal Dragon monastery in the literature. When the Silla monk CHAJANG (d.u.; fl. c. 590-658) was training at WUTAISHAN in China, an emanation of the bodhisattva MANJUsRĪ told him that Hwangnyongsa was constructed on the site of the dispensation of the previous buddha KĀsYAPA. Not long after the monastery's completion, a ship with 57,000 pounds of iron and 30,000 ounces of gold aboard appeared at Sap'o Harbor in Hagok County (currently Kokp'o near Ulsan, on the southeast coast of the peninsula). The ship also carried an inscription, which said that the Indian king AsOKA, having tried and failed three times to forge a sākyamuni triad from these metals, had finally decided to load the materials aboard ship, along with models of the images, and send them off in search of a land with the requisite metallurgical skill to craft such a statue. King Chinŭng ordered his metallurgists to forge this sixteen-foot statue of the Buddha, and they succeeded on the first attempt in the third month of 574. Chajang also was told by MANJUSRĪ that the queen belonged to the Indian KsATRIYA caste. He was later told by a divine being that if a nine-story pagoda were constructed within the precincts of Royal Dragon monastery, the kingdoms bordering Silla would surrender and submit to Silla hegemony. Hearing Chajang's prediction, in 645, the queen built the pagoda, which was 224 feet tall and made entirely of wood. Chajang placed within its columns some of the relics (sARĪRA) of the Buddha that he had received at Wutaishan. (Another portion was enshrined at T'ONGDOSA, where they remain still today.) It was said that the nine stories of the pagoda symbolized the nine kingdoms and tribal leagues surrounding Silla. During the time when Hwangnyongsa was constructed, the unification wars between the three Korean kingdoms of Silla, Koguryo, and Paekche were raging. The Silla monarchs at this time tried to justify their royal authority by relying on Buddhism, particularly by comparing the Silla rulers to the imported Buddhist notion of the ideal Buddhist ruler, or CAKRAVARTIN (wheel-turning emperor) and by positing that the royal family was genealogically related to the ksatriya clan of the Buddha. These associations are also obvious in the personal names of Silla kings, queens, and other royal family members. For example, the names of the King Chinhŭng's two princes were Tongnyun (Copper Wheel) and Kŭmnyun (Gold Wheel), both specific types of cakravartins; additionally, King Chinp'yong's personal name was Paekchong and his queen's was Maya, the Sino-Korean translation and transcription, respectively, of the names of sākyamuni Buddha's father and mother, sUDDHODANA and MĀYĀ. The foundation of Hwangnyongsa was intimately associated with these attempts by the royal family to employ Buddhism as a tool for justifying and reinforcing its authority. The monastery sponsored the Inwang Paekkojwa hoe (Humane Kings Assembly of One-Hundred Seats), a state-protection (hoguk) rite based on the RENWANGJING ("Scripture for Humane Kings"), in the hopes that the power of the buddhadharma would protect and promote the royal family and the kingdom. According to both the Samguk yusa and the Samguk Sagi ("Historical Records of the Three Kingdoms"), such a ceremony was held at Hwangnyongsa in 613 and 636, before the unification of the three kingdoms, as well as several times subsequently. Monks who resided at Hwangnyongsa also played important roles in Silla politics and religion. WoN'GWANG (532-630), who composed the five codes of conduct for the "flower boys" (hwarang), an elite group of male aristocratic youths, may have written there a letter to ask Emperor Yangdi (r. 604-618) of the Sui dynasty to attack Koguryo on Silla's behalf. Another resident, Chajang, encouraged the royal family to adopt Chinese official attire and the Chinese chronological era at the Silla court and was appointed kukt'ong (state superintendent), to supervise the entire Silla Buddhist ecclesia. Several other Hwangnyongsa monks, including Hyehun (fl. c. 640), Kangmyong (fl. 655), and Hunp'il (fl. 879), were appointed to kukt'ong and other important Silla ecclesiastical positions. Finally, several important Silla scholar-monks resided at Hwangnyongsa, including WoNHYO (617-686), who delivered his first public teaching of the KŬMGANG SAMMAEGYoNG NON ("Exposition of the Vajrasamādhisutra") at the monastery.

Indian Philosophy: General name designating a plethora of more or less systematic thinking born and cultivated in the geographic region of India among the Hindus who represent an amalgamation of adventitious and indigenous peoples, but confined at first exclusively to the caste-conscious Indo-germanic conquerors of the lands of the Indus and Ganges. Its beginnings are lost in the dim past, while a distinct emergence in tangible form is demonstrable from about 1000 B.C. Hindu idiosyncrasies are responsible for our inability to date with any degree of accuracy many of the systems, schools, and philosophers, or in some cases even to refer to the latter by name. Inasmuch as memory, not writing, has been universally favored in India, an aphoristic form (cf. sutra), subtended by copious commentaries, give Indian Philosophy its distinctive appearance. The medium is Sanskrit and the dialects derived from it. There are translations in all major Asiatic and European languages. The West became familiar with it when philologists discovered during last century the importance of Sanskrit. As a type of thinking employing unfamiliar conceptions and a terminology fluctuating in meaning (cf., e.g., rasa), it is distinct from Western speculations. Several peaks have been reached in the past, yet Indian Philosophy does not cease to act fructifyingly upon the present mind in India as elsewhere. Various factions advance conflicting claims as to the value of Indian speculation, because interpretations have not as yet become standardized. Textual criticism is now making strides, but with varying successes. Among larger histories of Indian Philosophy may be mentioned those of Deussen, Das Gupta, Bel-valkar and Ranade, and Radhakrishnan.

indratama angirastama ::: "most-Indra", "most-Angirasa". [Ved.]

indriya rasa ::: rasa of the senses.

in parasangs in ancient Persian lore.] He is head of

In the Puranas the apsarasas are sometimes divided into two classes, the daivika (divine or belonging to the devas), hence highly ethereal beings, and the laukika [from loka worldly], belonging to the worlds of manifestation, such as a physical plane. Considered apart from mythologic references, the apsarasas bear a strong resemblance to the undines of medieval Europe, nature forces and elementals appurtenant to all ten ranges of their hierarchical distribution, from the spiritual to the grossly material and physical. Every one of the seven or ten cosmic elements (bhutas) or principles (tattvas) has its own class of inhabitants.

jahi kamam durasadam ::: slay desire which is hard to assail. [cf. Gita 3.43]

Jālandhara. (S). One of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA.

jianxing. (J. kensho; K. kyonsong 見性). In Chinese, "see one's nature"; an expression used in the CHAN school to refer to the recognition of one's innate buddha-nature (FOXING), often through sudden awakening (DUNWU). This recognition of the fact that one is inherently a buddha constitutes enlightenment (BODHI) in some Chan systems. In two-tiered models of the MĀRGA followed in some Chan schools (see DUNWU JIANXIU), this initial insight into one's true nature is called the "understanding-awakening" (JIEWU) and is functionally equivalent to the path of vision (DARsANAMĀRGA) in ABHIDHARMA path systems; it is not, however, sufficient in itself to generate the complete, perfect enlightenment of buddhahood (ANUTTARASAMYAKSAMBODHI). See also KANHUA CHAN.

jiewu. (J. gego; K. haeo 解悟). In Chinese, "understanding-awakening"; the most elementary of the two types of awakening (C. WU; S. BODHI) discussed in some CHAN schools, equivalent to "seeing the nature" (JIANXING). This type of awakening is achieved through a sudden awakening (DUNWU) that marks the inception of the path (MĀRGA), variously described as being the equivalent of the beginning of either the ten faiths (sRADDHĀ) or the ten abidings (VIHĀRA) (see BHuMI), and is functionally equivalent to the path of vision (DARsANAMĀRGA) in ABHIDHARMA path systems. Through this initial comprehension one's true nature, the Chan adept comes to know that he is not a deluded sentient being but is in fact a buddha. Simply knowing that one is a buddha through this sudden awakening of understanding, however, is not sufficient in itself to generate the complete, perfect enlightenment of buddhahood (ANUTTARASAMYAKSAMBODHI) that ensures that one will always be able to act as a buddha. Only after continued gradual cultivation (JIANXIU) following this initial understanding-awakening will one remove the habituations (VĀSANĀ) that have been engrained in the mind for an essentially infinite amount of time, so that one will not only be a buddha, but will be able to act as one as well. That point where knowledge and action fully correspond marks the final "realization-awakening" (ZHENGWU). This two-tiered approach to awakening is the hallmark of the sudden awakening/gradual cultivation (DUNWU JIANXIU) path schema of certain Chan masters, such as GUIFENG ZONGMI (780-841) in the Chinese Heze school of Chan and POJO CHINUL (1158-1210) of the Korean CHOGYE CHONG.

jihvāvijNāna. (P. jivhāviNNāna; T. lce'i rnam par shes pa; C. sheshi; J. zesshiki; K. solsik 舌識). In Sanskrit, "gustatory consciousness"; one of the five consciousnesses of physical objects (along with those of the eye, ear, nose, and body) and one of the six sensory consciousnesses (adding the mental consciousness, or MANOVIJNĀNA). The gustatory consciousness perceives flavors (RASA). Like the other consciousness of physical objects, gustatory consciousness is produced through the contact (SPARsA) between a gustatory sensory object (ĀLAMBANA) and the gustatory sense base or tongue sense organ (JIHVENDRIYA) and in dependence on three conditions (PRATYAYA): the object condition (ĀLAMBANAPRATYAYA), in this case, a flavor; a dominant condition (ADHIPATIPRATYAYA), here, the gustatory sense base (jihvendriya); and the immediately preceding condition (SAMANANTARAPRATYAYA), a prior moment of consciousness. The gustatory consciousness is counted as one of the six sensory consciousnesses (VIJNĀNA), and eighteen elements (DHĀTU).

jihvendriya. (P. jivhindriya; T. lce'i dbang po; C. shegen; J. zekkon; K. solgŭn 舌根). In Sanskrit, "gustatory sense base" or "tongue sense organ"; the physical organ located in the tongue that makes it possible to perceive flavors (RASA). This sense base is not the tongue itself, but a form of subtle materiality located in the tongue and invisible to the naked eye. It is said to be shaped like many tiny half moons on the surface of the tongue. If this sense organ is absent or damaged, taste is not possible. The gustatory sense base serves as the dominant condition (ADHIPATIPRATYAYA) for the production of gustatory consciousness (JIHVĀVIJNĀNA). The gustatory sense base is counted among the six sense bases or sense organs (INDRIYA), the twelve sources (ĀYATANA), and eighteen elements (DHĀTU).

JNānasārasamuccaya. (T. Ye shes snying po kun las btus pa). A treatise of MADHYAMAKA scholasticism, traditionally attributed to ĀRYADEVA, but probably composed by a Madhyamaka exegete following the development of Madhyamaka and YOGĀCĀRA; the author sets forth Madhyamaka positions and denies the reality of consciousness (VIJNĀNA). It describes the doctrines of the later Indian philosophical schools, both Hindu and Buddhist. Although the work does not contain overtly tantric elements, it may be the work of the so-called tantric Āryadeva or Āryadevapāda. There is a commentary on the text by Bodhibhadra (c. 1000), the JNānasārasamuccayanibandhana.

Kailāsa. The Sanskrit name for one of the most important sacred mountains in Asia, generally referred to in English as Kailash or Mount Kailash. It is 21,778 ft. high and is located in southwestern Tibet, not far from the current borders of India and Nepal. Lake Manasarovar is located eighteen miles to the southeast; these two sites have long been places of pilgrimage for Buddhists, Hindus, Jains, and followers of Tibetan BON, some of whom have regarded the striking dome-shaped peak as Mount SUMERU. The mountain is particularly important in Tibetan Buddhism, where it is called Gangs dkar Ti se ("White Snow Mountain Ti se") or simply Gangs rin po che ("Precious Snow Mountain"). Pilgrims from across the Tibetan Buddhist world visit Mount Kailāsa, especially in the Year of the Horse, which occurs once every twelve years in the Tibetan calendrical cycle. Within that year, it is considered auspicious to visit the mountain at the time that marks the Buddha's birth, enlightenment, and passage into PARINIRVĀnA (generally falling in May or June, depending on the lunar calendar). The primary form of practice is the thirty-two mile clockwise circumambulation of the mountain, often completed in a single day, with specific rituals and practices performed along the route. It is said that one circumambulation purifies the negative KARMAN of one lifetime, ten circumambulations purify the negative KARMAN accumulated over the course of a KALPA, and one hundred circumambulations ensure enlightenment. The mountain came to take on numerous tantric associations beginning in the eleventh century. According to a popular story, the yogin MI LA RAS PA won control of the mountain for the Buddhists by defeating a rival Bon priest, Na ro bon chung, in a contest of miracles. The mountain later became an important meditation site for the followers of Mi la ras pa, principally members of the 'BRUG PA BKA' BRGYUD and 'BRI GUNG BKA' BRGYUD sects. Both sĀKYAMUNI Buddha and PADMASAMBHAVA are said to have visited Kailāsa. One of the most important associations of Mount Kailāsa is with the CAKRASAMVARATANTRA, which names twenty-four sacred lands (PĪtHA) as potent locations for tantric practice. The CakrasaMvara literature recounts how long ago these twenty-four lands came under the control of Mahesvara (siva) in the form of Rudra Bhairava. The buddha VAJRADHARA, in the wrathful form of a HERUKA deity, subdued BHAIRAVA, transforming each of the twenty-four sites into a MAndALA of the deity CakrasaMvara and his retinue. In Tibetan literature, Mount Kailāsa came to be identified with one of the twenty-four sites, the one called Himavat or Himālaya ("The Snowy," or "The Snow Mountain"); this was one of several important transpositions of sacred locations in India onto Tibetan sites. The BKA' BRGYUD sect grouped the peak together with two other important mountain pilgrimage sites in southern Tibet, LA PHYI and TSA RI, identified respectively as CakrasaMvara's body, speech, and mind. These claims drew criticism from some Tibetan quarters, such as the renowned scholar SA SKYA PAnDITA, who argued that the sites associated with CakrasaMvara were located not in Tibet but in India. Such criticism has not prevented Mount Kailāsa from remaining one of the most important pilgrimage places in the Tibetan cultural domain.

kalavinka. (T. ka la ping ka; C. jialupinqie niao; J. karyobinga cho; K. karyukpin'ga cho 迦陸頻伽鳥). In Sanskrit, "kalavinka (cuckoo) bird"; a mythical bird from the HIMĀLAYA mountains with a call said to be far more beautiful than that of all other birds and so compelling that it could be heard even before the bird had hatched. The bird and its call are used as a simile for the BODHISATTVAs and their aspiration for enlightenment (BODHICITTA), which are so compelling and persuasive that, even before they have achieved complete, perfect enlightenment (ANUTTARASAMYAKSAMBODHI), they are still far superior to all other spiritual adepts. As the AVATAMSAKASuTRA says, "It is like the kalavinka bird, which, even before it has hatched, has such great dynamism that other birds cannot challenge it. BODHISATTVA-MAHĀSATTVAS are just the same: even before they have hatched from inside the egg of birth-and-death, the dynamism deriving from the merit associated with generating the aspiration for enlightenment is so compelling that sRĀVAKAs and PRATYEKABUDDHAs cannot challenge them." The DAZHIDU LUN explains, "It is like the kalavinka bird, which even before it has hatched, has a call that is far more subtle and sublime than that of other birds. Bodhisattva-mahāsattvas are also just the same: although they may not have yet hatched from the egg of ignorance, the sound of their preaching and discoursing is far superior to that of the srāvakas, pratyekabuddhas, and non-Buddhists."

Kalinga. (T. Ka ling ga; Jielingqie; J. Karyoga; K. Kallŭngga 羯陵伽). An Indian kingdom on the eastern coast of the subcontinent; identified with the modern state of Orissa. In the eighth year of his reign, the Mauryan emperor AsOKA (third century BCE) conquered Kalinga. In his inscriptions, Asoka states that the resulting carnage caused him to turn away from violence and toward the dharma. Kalinga is mentioned in the Pāli canon as one of seven states that flourished at the time of the mythical king, Renu, but it is not included in the classical list of sixteen nations (janapada). During his previous life as VESSANTARA, the BODHISATTVA gave the kingdom of Kalinga his white elephant, Pacaya, in order to alleviate that country's drought. A TOOTH RELIC of the Buddha is said to have been enshrined at the Kalinga capital, Dantapura, and, later during the reign of the Sinhalese king, Sirimeghavanna, it was carried to Sri Lanka, where it was installed as the palladium of the Sinhalese royal house. From ancient times, there were close relations between the kings of Kalinga and Sri Lanka. During the reign of Aggabodhi II, the king and queen of Kalinga came to the island, renounced their thrones, and entered the order. The royal houses of both kingdoms frequently exchanged brides, and many descendants of the Kalinga dynasty are mentioned as having been crowned king of Sri Lanka. Māgha, the twelfth-century invader and scourge of Buddhism on the island, is also said to have hailed from Kalinga. During the early centuries of the Common Era, Kalinga was an important source for Buddhist and Brahmanical cultural influence among the Pyu and Mon peoples of Burma, contributing to the emergence of Buddhist civilization in Southeast Asia. Kalinga is also one of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See also PĪtHA.

kamah prema dasyalipsa atmasamarpanam iti sudrasaktih ::: see these words separately

kamah. ::: see kama1. kamah kamah., premah., dasyalipsa atmasamarpan.am iti sūdrasaktih. (kakamah,

Kāmarupa. (S). One of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA.

kammatthāna. In Pāli, lit. "working ground," viz., "meditative topic"; a topic or object of meditation (BHĀVANĀ) used for training the mind and cultivating mental concentration (SAMĀDHI). The term originally referred to an occupation or vocation, such as farmer, merchant, or mendicant, but was adopted as a technical term to refer generically to various types of meditative exercises. The VISUDDHIMAGGA lists forty topics used for this purpose. First are ten "visualization devices" (KASInA)-devices that are constructed from the elements earth, water, fire, and air; the colors blue, yellow, red, and white, and light and space-to develop concentration. Kasina exercises can produce all four of the "meditative absorptions" (JHĀNA; DHYĀNA) associated with the realm of subtle materiality. Next are ten "loathsome topics" (asubha; see S. AsUBHABHĀVANĀ), such as the decaying of a corpse, which can lead only to the first meditative absorption (dhyāna). These are followed by ten "recollections" (P. anussati; S. ANUSMṚTI): viz., of (1) the Buddha, (2) the dhamma (DHARMA), (3) the sangha (SAMGHA), (4) morality, (5) generosity, (6) the divinities, (7) death, (8) the body, (9) the inbreath and outbreath (P. ānāpānasati, S. ĀNĀPĀNASMṚTI), and (10) peace. Of these, recollection or mindfulness (P. sati; S. SMṚTI) of the inbreath and outbreath can produce all four meditative absorptions, while recollection of the body can produce the first absorption; the remaining recollections only lead to "access concentration" (UPACĀRASAMĀDHI), which immediately precedes but does not reach the level of the first absorption. Next are four "immaterial spheres" (arupāyatana), viz., the "sphere of infinite space" (ākāsānaNcāyatana, S. ĀKĀsĀNANTYĀYATANA); of "infinite consciousness" (viNNānaNcāyatana, S. VIJNĀNĀNANTYĀYATANA); of "nothingness" (ākiNcaNNāyatana, S. ĀKINCANYĀYATANA); and of "neither perception nor nonperception" (nevasaNNānāsaNNāyatana, S. NAIVASAMJNĀNĀSAMJNĀYATANA). Meditation on these objects involves the increasing refinement of the fourth absorption and leads to the acquisition of the "immaterial attainments" (ARuPASAMĀPATTI), also called "immaterial absorptions" (P. arupāvacarajhāna; S. ĀRuPYĀVACARADHYĀNA, see DHYĀNA, SAMĀPATTI). Four positive affective states or "divine abidings" (BRAHMAVIHĀRA; [alt. P. appamaNNa]; S. APRAMĀnA), are loving-kindness (mettā; MAITRĪ), compassion (KARUnĀ), altruistic or empathetic joy (MUDITĀ), and equanimity or impartiality (upekkhā; UPEKsĀ). Of these, loving-kindness, compassion, and altruistic joy can produce only the first three meditative absorptions, but equanimity can produce all four. There is one perception of the loathsomeness of food (āhāre patikkulasaNNā) and one analysis of the four elements (catudhātu vavatthāna), both of which can produce access concentration. Certain of these topics were said to be better suited to specific character types, such as the loathsome topics to persons with strong tendencies toward lust or the perception of the loathsomeness of food for gluttons; others, such as the meditation on the in- and outbreaths, were universally suitable to all character types. The Buddha was said to have had the ability to assess his disciples' character types and determine which topics of meditation would best suit them; as later generations lost this assessment ability, the number of kammatthānas in regular use dropped dramatically, with mindfulness of breathing being by far the most popular topic.

KāNci. (S). One of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA.

Kandu (Sanskrit) Kaṇḍu In the Puranas, a sage and yogi whose holiness and pious austerities awakened the jealousy of the gods. Kamadeva, as lord of the gods, sent one of his apsarasas, Pramlocha, to tempt the sage. He lived with her for several centuries, which seemed to him only as one day. Finally the sage, returning to his senses, repudiated her and chased her away, whereupon she gave birth to a daughter, Marisha, in an extraordinary manner. Blavatsky compares this legend to the temptation of Merlin by Vivien, and Sarah’s temptation of Pharaoh in the Old Testament (SD 2:174-5&n).

Kanya (Sanskrit) Kanyā Virgin; the sixth zodiacal sign, Virgo, which may represent mahamaya or sakti. The saktis or six primary forces in nature (parasakti, jnanasakti, ichchhasakti, kriyasakti, kundalinisakti, and mantrikasakti) together are represented by the astral light, called the heavenly or celestial Virgin by Kabalists and Hermetic philosophers.

Karma Pakshi. (1203-1283). A Tibetan Buddhist master recognized as the second KARMA PA, renowned for his virtuosity in meditation, thaumaturgy, and his activities at the Mongol court. The name "Pakshi" is derived from the Mongolian word for "teacher" or "master," and the second Karma pa is also frequently known by the epithet grub chen, or MAHĀSIDDHA. In his youth, Karma Pakshi was recognized as a child of great intellectual ability and skill in meditation. He conducted his early training under the BKA' BRGYUD teacher Spom brag pa Bsod rnams rdo rje (Pomdrakpa Sonam Dorje, 1170-1249) and spent a great period of his time in meditation retreat near the monastery of MTSHUR PHU in central Tibet. Traveling to eastern Tibet, he founded a monastery at Spungs ri (Pungri) and renovated the Bka' brgyud institution of KARMA DGON established by his predecessor DUS GSUM MKHYEN PA. Karma Pakshi's fame spread throughout the Tibetan border regions to the north and east. In about 1251, the Mongol prince Qubilai (later Khan, r. 1260-1294) sent an invitation to Karma Pakshi, who was residing at Mtshur phu. He arrived at the Mongol court several years later. Karma Pakshi was one of numerous religious figures present at court, including the SA SKYA hierarch 'PHAGS PA BLO GROS RGYAL MTSHAN. Karma Pakshi quickly impressed Qubilai with a display of magical powers, and the Mongol prince requested him to remain permanently at court. The relationship soured, however, when Karma Pakshi refused the offer. On his return to Tibet, he formed a relationship with Qubilai's elder brother and political rival Mongke (1209-1259) and consented to visit Mongke's palace in Liangzhou. He taught the Mongol ruler and his court Buddhist doctrine, especially TANTRA based on the CAKRASAMVARATANTRA. For ten years, Karma Pakshi traveled across China, Mongolia, and Tibet and is also said to have debated with numerous Daoist practitioners. Qubilai assumed the role of high Khan after Mongke's death in 1259. Angered at Karma Pakshi's support of his rival brother, and still smarting from his refusal to remain at court, Qubilai ordered Karma Pakshi's capture and exile. Qubilai eventually relented and allowed the Karma pa to return to Tibet. Upon his return to Mtshur phu, he constructed a massive statue of sĀKYAMUNI called the "ornament of the world" ('dzam gling rgyan). The completed statue, however, was slightly tilted. In a famous account, Karma Pakshi is said to have straightened the statue by first assuming the same tilted posture and then righting himself, simultaneously moving the statue. Among his principal disciples was O rgyan pa Rin chen dpal (Orgyenpa Rinchenpal), who would become the guru of the third Karma pa, RANG 'BYUNG RDO RJE.

karuna ::: [one of the eight rasas]: the sorrowful.

khanikasamādhi. In Pāli, "momentary concentration"; a type of rudimentary concentration ancillary to UPACĀRASAMĀDHI and APPANĀSAMĀDHI, which is used with reference to meditators who are developing insight (vipassanā; S. VIPAsYANĀ) practice. Although a meditator specializing in insight techniques may not be developing advanced forms of meditative absorption (JHĀNA; S. DHYĀNA), he still requires a modicum of concentration in order to maintain his intensive analysis of experience. Hence, the commentators posit that even insight practice requires "momentary concentration" in order to succeed.

Khóa Hư Lục. (課). In Vietnamese, "Instructions on Emptiness," composed by Tràn Thái Tông (1218-1277); the first prose work on Buddhism written in Vietnamese. It is a collection of sermons and essays, most of them fragmentary, on the philosophy and practice of Buddhism from the perspective of the three trainings in morality (sĪLA), concentration (SAMĀDHI), and wisdom (PRAJNĀ). It also marks one of the earliest efforts to assimilate the worldview of the Southern school (NAN ZONG) of CHAN into Vietnamese Buddhism. The Khóa Hư Lu㈱c consists of two books. The first (lit. "upper") book includes twenty-one short essays, which can be classified as follows according to their literary styles: one "verse" on the FOUR NOBLE TRUTHS; two "general discourses" on the contemplation of the body and the Buddhist path; six "essays" on generating the thought of enlightenment (BODHICITTA), not taking life, not stealing, not indulging in sensual pleasures, not telling lies, and not using intoxicants; five "treatises" on the topics of morality, concentration, wisdom, receiving precepts, buddha-contemplation (NIANFO), sitting in meditation, and the mirror of wisdom; four "prefaces" to longer complete works (three of which are no longer extant), viz., "A Guide to the Chan School," "A Commentary on thE VAJRASAMĀDHISuTRA," "Liturgy of the Six-Period Repentance," and "An Essay on the Equality Repentance Liturgy"; "recorded encounter dialogues with disciples" that record dialogues between Tràn Thái Tông and his students; a "verse commentary" on the ancient public cases (GONG'AN) of Chan; and an "afterword." The second (lit. "lower") book includes a complete essay entitled "Liturgy of the Six-Period Repentance," which offers a detailed instruction on the performance of the repentance liturgy.

kongokai. (S. vajradhātu; T. rdo rje dbyings; C. jingang jie; K. kŭmgang kye 金剛界). In Japanese, "diamond realm" or "diamond world"; one of the two principal diagrams (MAndALA) used in the esoteric traditions of Japan (see MIKKYo), along with the TAIZoKAI ("womb realm"); the Sanskrit reconstruction for this diagram is *vajradhātumandala. The teachings of the kongokai are said to derive in part from two seminal scriptures of the esoteric traditions, the MAHĀVAIROCANĀBHISAMBODHISuTRA and SARVATATHĀGATATATTVASAMGRAHA, but its construction as a mandala relies on no known written instructions and more likely evolved pictorially. KuKAI (774-835), the founder of the SHINGONSHu, used the kongokai mandala in combination with the taizokai mandala in a variety of esoteric rituals designed to awaken the individual adept. However, Japanese TENDAI Buddhism as well as various SHUGENDo complexes also heavily incorporated their own rituals into the two mandalas. ¶ The kongokai consists of nine smaller, nearly square-shaped mandalas, or "assemblies" (J. e), some of which are sometimes isolated for worship and visualized independently. It is said that, by visualizing the mandala, the kongokai ultimately demonstrates that the universe as a whole is coextensive with the body of the DHARMAKĀYA or cosmic buddha, Mahāvairocana (SEE VAIROCANA). In the center of the mandala, Mahāvairocana sits on a lotus flower, surrounded by four female figures, who symbolize the four perfections. Immediately outside are four discs, each encompassing a directional buddha: AMITĀBHA to the west, AKsOBHYA to the east, AMOGHASIDDHI to the north, and RATNASAMBHAVA to the south. Each is, in turn, surrounded by four BODHISATTVAs. This ensemble of buddhas, bodhisattvas, and female figures is repeated in the first four mandala of outward trajectory and its structure repeated in the lower six. Below the center mandala is the mandala of physical objects, each representing the buddhas and bodhisattvas. The next one in outward trajectory are figures residing inside a three-pointed vajra, representing the sounds of the world. The fourth mandala displays all figures (excluding buddhas) in their female form, each exhibiting specific bodily movements. Arriving next at the upper-left mandala, the group is reduced to Mahāvairocana and four surrounding bodhisattvas. In the top-center mandala sits only a large Mahāvairocana. The last three mandalas in the outward spiral shift toward worldly affairs. The top right reveals passions and desire. In the next to last are horrific demons and deities. The last mandala represents consciousness. ¶ Looking at the depictions in the kongokai individually, the nine smaller mandalas are arrayed in a clockwise direction as follows. (1) The perfected-body assembly (jojinne) is the central assembly of the entire mandala. In the center of this assembly sits Mahāvairocana, displaying the gesture (MUDRĀ) of the wisdom fist (BODHYAnGĪMUDRĀ; J. chiken-in), surrounded by the four directional buddhas (Aksobhya, Ratnasambhava, Amitābha, and Amoghasiddhi), who embody four aspects of Mahāvairocana's wisdom. Each of these buddhas, including Mahāvairocana, is in turn attended by four bodhisattvas. (2) The SAMAYA assembly (J. sammayae; S. samayamandala) replaces the buddhas and bodhisattvas with physical objects, such as VAJRAS and lotuses. (3) The subtle assembly (J. misaime; S. suksmamandala) signifies the adamantine wisdom of Mahāvairocana. (4) In the offerings assembly (J. kuyo-e; S. pujāmandala), bodhisattvas make offerings to the five buddhas. (5) The four-mudrās assembly (J. shiinne; S. caturmudrāmandala) depicts only Mahāvairocana and four bodhisattvas. (6) The single-mudrā assembly (J. ichiinne; S. ekamudrāmandala) represents Mahāvairocana sitting alone in the gesture of wisdom. (7) In the guiding-principle assembly (J. rishu-e; S. nayamandala), VAJRASATTVA sits at the center, surrounded by four female figures, representing craving, physical contact, sexual desire, and fulfillment. (8) In the assembly of the descent into the three realms of existence (J. gozanze-e; S. trailokyavijayamandala), Vajrasattva assumes the ferocious appearance of Gosanze (TRAILOKYAVIJAYA). (9) The samaya of the descent into the three-realms assembly (J. gozanzesammayae; S. trailokyavijayasamaya mandala) has the same structure as the previous one. ¶ In one distinctively Shingon usage, the mandala was placed in the east and the kongokai stood in juxtaposition across from it. The initiate would then invite all buddhas, bodhisattvas, and divinities into the sacred space, invoking all of their power and ultimately unifying with them. In SHUGENDo, the two mandalas were often spatially superimposed over mountain geography or worn as robes on the practitioner while entering the mountain. See TAIZoKAI.

Kosala. (P. Kosala; T. Ko sa la; C. Jiaosaluo guo; J. Kyosatsura koku; K. Kyosalla kuk 憍薩羅國). Name of an important Indian kingdom during the Buddha's time, located to the northeast of the Indian subcontinent, in the foothills of modern-day Nepal; also spelled Kosala and Kausala. Kosala was located to the south of the region of the sĀKYA tribe, the Buddha's native clan, and exerted some political influence over its smaller neighbor. Along with MAGADHA, Kosala was one of the two strongest kingdoms at the time of the Buddha and had its capital at sRĀVASTĪ. The Buddha spent much of his time teaching in srāvastī, especially in the JETAVANA monastery, which was located on its outskirts. The Kosala kingdom was eventually conquered by King AJĀTAsATRU of Magadha. Kosala is also one of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA.

ksatrasakti (Kshatrashakti) ::: [the (soul-)power of the ksatriya].

ks.atrasakti (kshatrashakti) ::: the soul-power of will and strength ksatrasakti which reveals itself in the ks.atriya.

Kshatrashakti ::: see ksatrasakti

Kulatā. (S). One of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA.

Kŭmgang sammaegyong non. (C. Jingang sanmei jing lun; J. Kongo sanmaikyoron 金剛三昧經論). In Korean, "Exposition of the KŬMGANG SAMMAE KYoNG" (*Vajrasamādhisutra); composed by the Korean monk WoNHYO (617-686). The circumstances of the commentary's composition are provided in Wonhyo's biography in ZANNING's SONG GAOSENG ZHUAN. According to that account, an unidentified Silla king sent an envoy on a voyage to China in search of medicine that would cure his queen. On his way to China, however, the envoy was waylaid and taken to the dragon king's palace in the sea, where he was told that the queen's illness was merely a pretext in order to reintroduce the Vajrasamādhi into the world. The dragon king informed the envoy that the scripture was to be collated by an otherwise unknown monk named Taean (d.u.) and interpreted by Wonhyo, the most eminent contemporary scholar of the Korean Buddhist tradition. The commentary that Wonhyo wrote later made its way into China, where it was elevated to the status of a sĀSTRA (lun; K. non), hence the title Kŭmgang sammaegyong non. Wonhyo's commentary is largely concerned with the issue of how to cultivate "original enlightenment" (BENJUE), that is, how it is that the original enlightenment motivates ordinary sentient beings to aspire to become enlightened buddhas. Wonhyo discerns in the Kŭmgang sammae kyong a map of six sequential types of meditative practice, which culminate in the "contemplation practice that has but a single taste" (ilmi kwanhaeng). In Wonhyo's account of this process, the ordinary sensory consciousnesses are transformed into an "immaculate consciousness" (AMALAVIJNĀNA), wherein both enlightenment and delusion are rendered ineluctable and all phenomena are perceived to have but the "single taste" of liberation. In Wonhyo's treatment, original enlightenment is thus transformed from an abstract soteriological concept into a practical tool of meditative training.

Kŭmgang sammae kyong. (S. *Vajrasamādhisutra; C. Jingang sanmei jing; J. Kongo sanmaikyo 金剛三昧經). In Korean, "Adamantine Absorption Scripture," usually known in English by its reconstructed Sanskrit title *Vajrasamādhisutra. East Asian Buddhists presumed that the scripture was an anonymous Chinese translation of an Indian sutra, but the text is now known to be an apocryphal scripture (see APOCRYPHA), which was composed in Korea c. 685 CE, perhaps by an early adept of the nascent SoN (C. CHAN) school, which would make it the second oldest text associated with the emerging Chan movement. The sutra purports to offer a grand synthesis of the entirety of MAHĀYĀNA doctrine and VINAYA, as the foundation for a comprehensive system of meditative practice. One of the main goals of the scripture seems to have been to reconcile the newly imported Chan teachings with the predominantly Hwaom (HUAYAN) orientation of Korean Buddhist doctrine (see KYO). The text also includes quotations from BODHIDHARMA's ERRU SIXING LUN and teachings associated with the East Mountain Teachings (DONGSHAN FAMEN) of the Chan monks DAOXIN and HONGREN, arranged in such a way as to suggest that the author was trying to bring together these two distinct lineages of the early Chan tradition. Unaware of the text's provenance and dating, WoNHYO (617-686), in the first commentary written on the sutra, the KŬMGANG SAMMAEGYoNG NON, presumed that the sutra was the scriptural source of the emblematic teaching of a treatise, the DASHENG QIXIN LUN ("Awakening of Faith According to the Mahāyāna"), that was written over a century earlier, viz., the one mind and its two aspects, true-thusness (ZHENRU; viz., S. TATHATĀ) and production-and-cessation (shengmie), which correspond respectively to ultimate truth (PARAMĀRTHASATYA) and conventional truth (SAMVṚTISATYA), or the unconditioned (ASAMSKṚTA) and conditioned (SAMSKṚTA) realms. (For the traditional account of the putative "rediscovery" of the sutra and the writing of its commentary, see KŬMGANG SAMMAEGYoNG NON s.v.).

Kun dga' bzang po. (Kunga Sangpo) (1382-1456). A Tibetan Buddhist master, better known as Ngor chen, "the great man of Ngor"; renowned as the founder of the Ngor subsect of the SA SKYA sect after the seat he founded at NGOR E WAM CHOS LDAN monastery in 1429 (alt. 1434) near Shigatse (Gzhis ka rtse) in Gtsang (Tsang). His collected works in four volumes include works on the LAM 'BRAS (path and result), and rituals and guidance texts for a wide range of tantric practices including HEVAJRA, GUHYASAMĀJA, VAJRABHAIRAVA, and CAKRASAMVARA. Among his students are SHĀKYA MCHOG LDAN and GO BO RAB 'BYAMS PA BSOD NAMS SENG GE.

lalanā. (T. brkyang ma). In tantric physiology, the channel (NĀdĪ) that runs in males from the right nostril to the base of the spine and in females from the left nostril to the base of the spine. It is one of the three main channels, together with the central channel (AVADHuTĪ), and the right channel in females and the left channel in males (RASANĀ). According to some systems, 72,000 channels are found in the body, serving as the conduits for subtle energies or winds (PRĀnA). The most important of these channels are the central channel (avadhutī), the lalanā, and the rasanā. The central channel runs from the place between the eyebrows to the crown of the head and down in front of the spinal column, ending at the genitals. The right and left channels run parallel to the central channel on either side. These two channels wrap around the central channel at various points, of which as many as seven are enumerated. These points, called wheels or CAKRAs, are located between the eyes, at the crown of the head, at the throat, at the heart, at the solar plexus, at the base of the spine, and at the tip of sexual organ. In highest yoga tantra (ANUTTARAYOGATANTRA), especially in practices associated with the "stage of completion" (NIsPANNAKRAMA), much emphasis is placed on loosening these knots in order to cause the winds to flow freely through the central channel.

Lampāka. (S). One of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA.

La phyi. (Lapchi). Also La phyi gangs (Lapchi Gang) and 'Brog la phyi gangs kyi ra ba (Drok Lapchi Gangkyi Rawa). A preeminent sacred region in southern Tibet on the Nepalese border, considered by some Tibetan sources, especially those of the BKA' BRGYUD sect, to be one of the three most important Buddhist pilgrimage sites in Tibet, together with Mt. KAILĀSA and TSA RI. The central mountain of the region is considered the MAndALA of CAKRASAMVARA and VAJRAYOGINĪ, and the region is specifically identified as GODĀVARĪ, one of the twenty-four sacred sites (tīrtha; see PĪtHA) according to the CAKRASAMVARATANTRA. According to Tibetan tradition, the region was first made suitable for spiritual practice, through the taming of its local demons, by the eleventh-century yogin MI LA RAS PA, who established La phyi as one of his main centers for meditation practice. Central among the complex of retreat caves is Bdud 'dul phug (Dudulphuk), the Demon Vanquishing Cave.

Līlavajra. [alt. Līlāvajra, Lalitavajra] (T. Rol pa'i rdo rje). There is a disagreement in Tibetan lineage lists about whether this is the proper name of a single or multiple persons. In Sanskrit, both the words līlā and lalita denote joyful abandonment in a state of spontaneous play. According to Tibetan hagiographies, Līlavajra is one of the eighty-four MAHĀSIDDHAs, Indian tantric adepts who manifested eccentric, even antinomian, behavior and from whom Tibetan translators received the transmission of secret tantric instructions. He is found in the lineage of the CAKRASAMVARA and GUHYASAMĀJA tantras but is associated in particular with the VAJRABHAIRAVA cycle (with the central figure given variously the name Kṛsnayamāri, Raktayamāri, YAMĀNTAKA, and Vajrabhairava), a wrathful form of MANJUsRĪ, the embodiment of a buddha's wisdom. Līlavajra is the central figure in the lineage lists of five of the six early Vajrabhairava traditions in Tibet; he is the source of the RWA LO TSĀ BA RDO RJE GRAGS tradition that TSONG KHA PA BLO BZANG GRAGS PA learned while still young. Through him, the VAJRABHAIRAVATANTRA became a central practice in the DGE LUGS sect.

Locke, John: (1632-1714) The first great British empiricist, denied the existence of innate ideas, categories, and moral principles. The mind at birth is a tabula rasa. Its whole content is derived from sense-experience, and constructed by reflection upon sensible data. Reflection is effected through memory and its attendant activities of contemplation, distinction, comparison in point of likeness and difference, and imaginative recompositon. Even the most abstract notions and ideas, like infinity, power, cause and effect, substance and identity, which seemingly are not given by experience, are no exceptions to the rule. Thus "infinity" confesses our inability to limit in fact or imagination the spatial and temporal extension of sense-experience; "substance," to perceive or understand why qualities congregate in separate clumps; "power" and "cause and effect," to perceive or understand why and how these clumps follow, and seemingly produce one another as they do, or for that matter, how our volitions "produce" the movements that put them into effect. Incidentally, Locke defines freedom as liberty, not of choice, which is always sufficiently motivated, but of action in accordance with choice. "Identity" of things, Locke derives from spatial and temporal continuity of the content of clumps of sensations; of structure, from continuity of arrangement in changing content; of person, from continuity of consciousness through memory, which, incidentally, permits of alternating personalities in the same body or of the transference of the same personality from one body to another.

lokadharma. (P. lokadhamma; T. 'jig rten gyi chos; C. shifa; J. seho; K. sebop 世法). In Sanskrit, "worldly factors," a polysemous term that in its most general sense indicates mundane factors (DHARMA) that arise and cease according to causes and conditions (HETUPRATYAYA). The term also refers to worldly ways and principles, which can be summed up as the process of birth, decay, and death. However, in its most common usage, the term lokadharma is understood as referring to eight worldly conditions or states (AstALOKADHARMA) that govern all of mundane life in this world: gain (lābha) and loss (alābha), fame (yasas) and disgrace (ayasas), praise (prasaMsā) and blame (nindā), and happiness (SUKHA) and suffering (DUḤKHA). Each of these states will inevitably befall any sentient being trapped in the cycle of continued existence (SAMSĀRA). In this schema, the lokadharma are understood as four complimentary pairs: gain (lābha) is the inevitable precursor of loss (alābha) and loss the inevitable outcome of gain; and so forth for the other three pairs. Learning to react with equanimity to each of these worldly conditions will lead to nonattachment and ultimately enlightenment.

lokiyasamādhi. (S. laukikasamādhi; T. 'jig rten pa'i ting nge 'dzin; C. shunshi sanmei; J. junse sanmai; K. sunse sammae 順世三昧). In Pāli, "mundane concentration," or "worldly concentration"; any type of mental concentration that is disassociated from the four paths (P. magga; S. MĀRGA) and four fruits (PHALA) of liberation. The term denotes all moments of concentration that are involved in ordinary mundane consciousness, whether virtuous or nonvirtuous, and states of meditative absorption (P. JHĀNA; S. DHYĀNA) cultivated through tranquillity meditation (P. samathabhāvanā; S. sAMATHA), which do not as yet involve insight or wisdom (P. paNNā; S. PRAJNĀ). See also LOKUTTARASAMĀDHI.

lokuttarasamādhi. (S. lokottarasamādhi; T. 'jig rten las 'das pa'i ting nge 'dzin; C. chushi sanmei; J. shusse sanmai; K. ch'ulse sammae 出世三昧). In Pāli, "supramundane concentration"; concentration associated with the attainment of any of the four paths (magga, S. MĀRGA) and/or four fruitions (PHALA) of enlightenment, which constitute collectively eight moments along the path to complete liberation from SAMSĀRA. The eight moments in order of their occurrence are the (1) path and (2) fruition of a stream-enterer (S. SROTAĀPANNA), the (3) path and (4) fruition of a once-returner (S. SAKṚDĀGĀMIN), the (5) path and (6) fruition of a nonreturner (S. ANĀGĀMIN), and the (7) path and (8) fruition of a worthy one (S. ARHAT). All other forms of concentration not associated with the paths and fruits of enlightenment are deemed of this world or "mundane concentrations" (LOKIYASAMĀDHI). Supramundane concentration is also characterized by its singular object, NIRVĀnA.

maccittah sarvadurgani matprasadat tarisyasi ::: by giving yourself in heart and mind to Me, thou shalt cross over all difficulties and perils by My grace. [Gita 18.58]

madhura rasa ::: sweet taste; the subtle taste (sūks.ma rasa) of sweetness, one of the tastes perceived by the faculty of rasadr.s.t.i.

madhura (madhura; madhur) ::: sweet; blissful; short for madhura rasa, the sweet taste perceived by rasadr.s.t.i; short for madhura bhava or madhura dasya, the relation of ecstatic love and surrender to the Divine that brings the highest experience of "the sweetness and intimate control of the divine Personality". madhura bh bhava

mahābodhi. (T. byang chub chen po; C. da puti/wushang puti; J. daibodai/mujobodai; K. tae pori/musang pori 大菩提/無上菩提). In Sanskrit, "great enlightenment"; the enlightenment of a buddha and the enlightenment to which the BODHISATTVA aspires. In this sense, it is distinguished from the term BODHI, which can be used more broadly to describe both the enlightenment of a buddha as well as the enlightenment of an ARHAT. The term mahābodhi is thus synonymous with SAMBODHI and ANUTTARASAMYAKSAMBODHI, which are only used with reference to buddhas. Mahābodhi is also used to refer to both the BODHI TREE and to the monastery constructed at BODHGAYĀ, since those are the sites where sĀKYAMUNI achieved "great enlightenment." See also MAHĀBODHI TEMPLE.

mahāpurusalaksana. (P. mahāpurisalakkhana; T. skyes bu chen po'i mtshan; C. darenxiang; J. daininso; K. taeinsang 大人相). In Sanskrit, "the marks of a great man," sometimes referred to in English as the "major marks"; a list of thirty-two marks (dvātriMsadvaralaksana) possessed by both buddhas and "wheel-turning emperors" (CAKRAVARTIN); such beings possess in addition eighty minor marks (ANUVYANJANA). These marks are understood to be the karmic result of countless eons of effort on the path to either worldly or spiritual perfection (viz., ANUTTARASAMYAKSAMBODHI). These are said to be fully present on the body of a buddha, especially in the SAMBHOGAKĀYA, with similitudes of the marks found on the body of cakravartin. Each of the marks is said to result from the practice of a specific virtue in past lives, and elaborate commentary is provided on some of the marks, especially the UsnĪsA and the uRnĀ. Although the lists vary considerably, they typically include (1) supratisthitapāda-his feet stand firmly on the ground; (2) adhastāt pādatalayos cakre jāte-he has thousand-spoked wheels on the palms of his hands and the soles of his feet; (3) āyatapādapārsni-the heels of his feet are broad; (4) dīrghānguli-he has long fingers; (5) mṛdutarunahastapāda-his hands and feet are smooth; (6) jālahastapāda-his hands and feet are webbed; (7) ucchankhapāda-his legs are long; (8) aineyajangha-he has thighs like an antelope; (9) sthitānavanata-pralambabāhu-his arms extend below the knees; (10) kosopagata-vastiguhya-his penis is retracted; (11) suvarnavarna-his complexion is golden; (12) suksmachavi-his skin is smooth (so that no dust clings to his body); (13) ekaikaroma-he has one hair in each pore of his body; (14) urdhvāgraroma-the hairs of his body point upward; (15) bṛhadṛju-gātra-his body is tall and straight; (16) saptotsada-the seven parts of his body are well-proportioned; (17) siMhapurvārdhakāya-the upper part of his body is like a lion's; (18) citāntarāMsa-he has broad shoulders; (19) nyagrodhaparimandala-his body and limbs are perfectly proportionate and thus shaped like a fig tree; (20) susaMvṛttaskandha-he has full, round shoulders; (21) rasarasāgra-he has an excellent sense of taste; (22) siMhahanu-he has a jaw like a lion's; (23) catvāriMsaddanta-he has forty teeth; (24) samadanta-his teeth are even; (25) aviraladanta-his teeth are evenly spaced; (26) susukladaMstra-his teeth are white; (27) prabhutajihva-his tongue is long and broad; (28) brahmasvara-his voice is like that of BRAHMĀ; (29) abhinīlanetra-his eyes are deep blue; (30) gopaksma-his eyelashes are like those of a bull; (31) urnā or uRnĀKEsA-he has a white tuft of hair between his eyebrows; and (32) usnīsasīrsa-he has a protrusion on the crown of the head. See also RĀstRAPĀLAPARIPṚCCHĀ.

Maharloka (Sanskrit) Maharloka [from the verbal root mah to be great, also pleasure, delight + loka world, plane] Great world; the fourth of the seven lokas. The corresponding tala and nether pole is rasatala. Maharloka is the abode of certain classes of pitris, certain of the manus, and the seven rishis, as well as of orders of celestial spirits and gods. Its sphere of influence is exoterically said to extend to the utmost limits of the solar system. See also LOKA; RASATALA

Mālava. (S). One of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA.

MaNjusrīmitra. (T. 'Jam dpal bshes gnyen). An important, and possibly mythical, figure in the RDZOGS CHEN tradition of Tibetan Buddhism. According to some accounts, he was a king of Singhala (Sri Lanka). The rdzogs chen teachings are said to have originated from the primordial buddha SAMANTABHADRA, who transmitted them to his emanation (SAMBHOGAKĀYA), the buddha VAJRASATTVA, who in turn transmitted them to his NIRMĀnAKĀYA emanation, known by the Tibetan name DGA' RAB RDO RJE (perhaps Pramodavajra in Sanskrit), who finally transmitted them to MaNjusrīmitra. He is said to have received these teachings in the form of 6,400,000 verses and organized them into the three categories of SEMS SDE, KLONG SDE, and MAN NGAG SDE. He in turn transmitted these teachings to srīsiMha. MaNjusrīmitra is the author of Rdo la ser zhun.

Maru. (S). One of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA.

“men” referred to under Sarasael. Of the 204 books

Mohism: See Mo chia and Chinese philosophy. Moksa: (Skr.) Liberation, salvation from the effects of karma (q.v.) and resulting samsara (q.v.). Theoretically, good karma as little as evil karma can bring about liberation from the state of existence looked upon pessimistically. Thus, Indian philosophy early found a solution in knowledge (vidyd, jnana) which, disclosing the essential oneness of all in the metaphysical world-ground, declares the phenomenal world as maya (q.v.). Liberation is then equivalent to identification of oneself with the ultimate reality, eternal, changeless, blissful, or in a state of complete indifference either with or without loss of consciousness, but at any rate beyond good and evil, pleasure and pain. Divine grace is also recognized by some religious systems as effecting moksa. No generalization is possible regarding the many theories of moksa, its nature, or the mode of attaining it. See Nirvana, Samadhi, Prasada. -- K.F.L.

Mulamadhyamakakārikā. (T. Dbu ma rtsa ba'i tshig le'u byas pa; C. Zhong lun; J. Churon; K. Chung non 中論). In Sanskrit, "Root Verses on the Middle Way"; the magnum opus of the second-century Indian master NĀGĀRJUNA; also known as the PrajNānāmamulamadhyamakakārikā and the Madhyamakasāstra. (The Chinese analogue of this text is the Zhong lun, which renders the title as MADHYAMAKAsĀSTRA. This Chinese version was edited and translated by KUMĀRAJĪVA. Kumārajīva's edition, however, includes not only Nāgārjuna's verses but also Pingala's commentary to the verses.) The most widely cited and commented upon of Nāgārjuna's works in India, the Mulamadhyamakakārikā, was the subject of detailed commentaries by such figures as BUDDHAPĀLITA, BHĀVAVIVEKA, and CANDRAKĪRTI (with Candrakīrti's critique of Bhāvaviveka's criticism of a passage in Buddhapālita's commentary providing the locus classicus for the later Tibetan division of MADHYAMAKA into *SVĀTANTRIKA and *PRĀSAnGIKA). In East Asia, it was one of the three basic texts of the "Three Treatises" school (C. SAN LUN ZONG), and was central to TIANTAI philosophy. Although lost in the original Sanskrit as an independent work, the entire work is preserved within the Sanskrit text of Candrakīrti's commentary, the PRASANNAPADĀ (serving as one reason for the influence of Candrakīrti's commentary in the European reception of the Mulamadhyamakakārikā). The work is composed of 448 verses in twenty-seven chapters. The topics of the chapters (as provided by Candrakīrti) are the analysis of: (1) conditions (PRATYAYA), (2) motion, (3) the eye and the other sense faculties (INDRIYA), (4) aggregates (SKANDHA), (5) elements (DHĀTU), (6) passion and the passionate, (7) the conditioned (in the sense of production, abiding, disintegration), (8) action and agent, (9) prior existence, (10) fire and fuel, (11) the past and future limits of SAMSĀRA, (12) suffering, (13) the conditioned (SAMSKĀRA), (14) contact (saMsarga), (15) intrinsic nature (SVABHĀVA), (16) bondage and liberation, (17) action and effect, (18) self, (19) time, (20) assemblage (sāmagrī), (21) arising and dissolving, (22) the TATHĀGATA, (23) error, (24) the FOUR NOBLE TRUTHS, (25) NIRVĀnA, (26), the twelve links of dependent origination (PRATĪTYASAMUTPĀDA), and (27) views. The tone of the work is set in its famous homage to the Buddha, which opens the work, "I bow down to the perfect Buddha, the best of teachers, who taught that what is dependently arisen is without cessation, without production, without annihilation, without permanence, without coming, without going, without difference, without sameness, pacified of elaboration, at peace." The Mulamadhyamakakārikā offers a relentless examination of many of the most important categories of Buddhist thought, subjecting them to an analysis that reveals the absurd consequences that follow from imagining any of them to be real in the sense of possessing an independent and intrinsic nature (SVABHĀVA). Nāgārjuna demonstrates repeatedly that these various categories only exist relationally and only function heuristically in a worldly and transactional sense; they do not exist ultimately. Thus, in the first chapter, Nāgārjuna examines production via causes and conditions, one of the hallmarks of Buddhist thought, and declares that a thing is not produced from itself, from something other than itself, from something that is both itself and other, or from something that is neither itself nor the other. He examines the four kinds of conditions, declaring each to lack an intrinsic nature, such that they do not exist because they do not produce anything. In the second chapter, Nāgārjuna examines motion, seeking to determine precisely where motion occurs: on the path already traversed, the path being traversed, or on the path not yet traversed. He concludes that motion is not to be found on any of these three. In the twenty-fifth chapter, he subjects nirvāna to a similar analysis, finding it to be neither existent, nonexistent, both existent and nonexistent, nor neither existent nor nonexistent. (These are the famous CATUsKOtI, the "four alternatives," or tetralemma.) Therefore, nirvāna, like saMsāra and all worldly phenomena, is empty of intrinsic nature, leading Nāgārjuna to declare (at XXV.19), in one of his most famous and widely misinterpreted statements, that there is not the slightest difference between saMsāra and nirvāna. The thoroughgoing negative critique or apophasis in which Nāgārjuna engages leads to charges of nihilism, charges that he faces directly in the text, especially in the twenty-fourth chapter on the four noble truths where he introduces the topic of the two truths (SATYADVAYA)-ultimate truth (PARAMĀRTHASATYA) and conventional truth (SAMVṚTISATYA)-declaring the importance of both in understanding correctly the doctrine of the Buddha. Also in this chapter, he discusses the danger of misunderstanding emptiness (suNYATĀ), and the relation between emptiness and dependent origination ("That which is dependent origination we explain as emptiness. This is a dependent designation; just this is the middle path"). To those who would object that emptiness renders causation and change impossible, he counters that if things existed independently and intrinsically, there could be no transformation; "for whom emptiness is possible, everything is possible." There has been considerable scholarly discussion of Nāgārjuna's target audience for this work, with the consensus being that it is intended for Buddhist monks well versed in ABHIDHARMA literature, especially that associated with the SARVĀSTIVĀDA school; many of the categories to which Nāgārjuna subjects his critique are derived from this school. In the Sarvāstivāda abhidharma, these categories and factors (DHARMA) are posited to be endowed with a certain reality, a reality that Nāgārjuna sees as implying permanence, independence, and autonomy. He seeks to reveal the absurd consequences and hence the impossibility of the substantial existence of these categories and factors. Through his critique, he seeks a new understanding of these fundamental tenets of Buddhist philosophy in light of the doctrine of emptiness as set forth in the PRAJNĀPĀRAMITĀ SuTRAs. He does not cite these sutras directly, however, nor does he mention the MAHĀYĀNA, which he extols regularly in other of his works. Instead, he seeks to demonstrate how the central Buddhist doctrine of causation, expressed as dependent origination (pratītyasamutpāda), necessarily entails emptiness (sunyatā). The understanding of emptiness is essential in order to abandon false views (MITHYĀDṚstI). Nāgārjuna therefore sees his purpose not to reject the standard categories of Buddhist thought but to reinterpret them in such a way that they become conduits for, rather than impediments to, liberation from suffering, in keeping with the Buddha's intent.

MulamahāsāMghika. (T. Gzhi dge 'dun phal chen pa; C. Genben Dazhong bu; J. Konpon Daishubu; K. Kŭnbon Taejung pu 根本大衆部). In Sanskrit, the "Root" or "Fundamental Great Congregation"; one of the nine subdivisions of the MAHĀSĀMGHIKA school of mainstream Buddhism. The other eight are EKAVYAVAHĀRIKA, LOKOTTARAVĀDA, KAUKKUtIKA, BAHUsRUTĪYA, PRAJNAPTIVĀDA, CAITYA, Avarasaila, and Uttarasaila.

nādī. (T. rtsa). In Sanskrit, "tube" or "pipe," in tantric physiognomy, the "channels" that run throughout the body serving as conduits for the winds (PRĀnA) that serve as the "mounts" of consciousness. According to some systems, there are 72,000 channels in the body. These channels branch out from networks located along the central channel (AVADHuTI) that runs from the base of the spine to the crown of the head. The central channel is paralleled and entwined by two vertical channels on the right and left, called the RASANĀ (right) and LALANĀ (left). At the points where the right and left channels wrap around the central channel, there are networks (called CAKRA, or "wheels") of smaller channels that radiate throughout the body. The number of these networks differs among various systems, but they are commonly said to be located along the central channel at the crown of the head, the point between the eyes, the throat, the heart, the navel, the base of the spine, and the tip of the sexual organ. Much tantric practice is devoted to techniques for loosening knots in the channels in order that the winds will flow smoothly through them, with advanced practices designed to cause the winds to enter the central channel. The system of channels also provides the basis for medical theories in both India and Tibet.

Nagara. (S). One of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA.

Nāgārjuna. (T. Klu sgrub; C. Longshu; J. Ryuju; K. Yongsu 龍樹). Indian Buddhist philosopher traditionally regarded as the founder of the MADHYAMAKA [alt. Mādhyamika] school of MAHĀYĀNA Buddhist philosophy. Very little can be said concerning his life; scholars generally place him in South India during the second century CE. Traditional accounts state that he lived four hundred years after the Buddha's PARINIRVĀnA. Some traditional biographies also state that he lived for six hundred years, apparently attempting to identify him with a later Nāgārjuna known for his tantric writings. Two of the works attributed to Nāgārjuna, the RATNĀVALĪ and the SUHṚLLEKHA, are verses of advice to a king, suggesting that he may have achieved some fame during his lifetime. His birth is "prophesied" in a number of works, including the LAnKĀVATĀRASuTRA. Other sources indicate that he also served as abbot of a monastery. He appears to have been the teacher of ĀRYADEVA, and his works served as the subject of numerous commentaries in India, East Asia, and Tibet. Although Nāgārjuna is best known in the West for his writings on emptiness (suNYATĀ), especially as set forth in his most famous work, the "Verses on the Middle Way" (MuLAMADHYAMAKAKĀRIKĀ, also known as the MADHYAMAKAsĀSTRA), Nāgārjuna was the author of a number of works (even when questions of attribution are taken into account) on a range of topics, and it is through a broad assessment of these works that an understanding of his thought is best gained. He wrote as a Buddhist monk and as a proponent of the Mahāyāna; in several of his works he defends the Mahāyāna sutras as being BUDDHAVACANA. He compiled an anthology of passages from sixty-eight sutras entitled the "Compendium of Sutras" (SuTRASAMUCCAYA), the majority of which are Mahāyāna sutras; this work provides a useful index for scholars in determining which sutras were extant during his lifetime. Among the Mahāyāna sutras, Nāgārjuna is particularly associated with the "perfection of wisdom" (PRAJNĀPĀRAMITĀ) corpus. According to legend, Nāgārjuna retrieved from the Dragon King's palace at the bottom of the sea the "Perfection of Wisdom in One Hundred Thousand Lines" (sATASĀHASRIKĀPRAJNĀPĀRAMITĀSuTRA), which the Buddha had entrusted to the undersea king of the NĀGAs for safekeeping. He also composed hymns of praise to the Buddha, such as the CATUḤSTAVA, and expositions of Buddhist ethical practice, such as the Ratnāvalī. (Later exegetes classify his works into a YUKTIKĀYA, or "logical corpus," and a STAVAKĀYA, or "devotional corpus.") Nāgārjuna's works are addressed to a variety of audiences. His philosophical texts are sometimes directed against logicians of non-Buddhist schools, but most often offer a critique of the doctrines and assumptions of Buddhist ABHIDHARMA schools, especially the SARVĀSTIVĀDA. Other works are more general expositions of Buddhist practice, directed sometimes to monastic audiences, sometimes to lay audiences. An overriding theme in his works is the bodhisattva's path to buddhahood, and the merit (PUnYA) and wisdom (PRAJNĀ) that the bodhisattva must accumulate over the course of that path in order to achieve enlightenment. By wisdom here, he means the perfection of wisdom (prajNāpāramitā), declared in the sutras to be the knowledge of emptiness (suNYATĀ). Nāgārjuna is credited with rendering the poetic and sometimes paradoxical declarations concerning emptiness that appear in these and other Mahāyāna sutras into a coherent philosophical system. In his first sermon, the DHARMACAKRAPRAVARTANASuTRA, the Buddha had prescribed a "middle way" between the extremes of self-indulgence and self-mortification. Nāgārjuna, citing an early sutra, spoke of a middle way between the extremes of existence and nonexistence, sometimes also referred to as the middle way between the extremes of permanence (sĀsVATĀNTA) and annihilation (UCCHEDĀNTA). For Nāgārjuna, the ignorance (AVIDYĀ) that is the source of all suffering is the belief in SVABHĀVA, a term that literally means "own being" and has been variously rendered as "intrinsic existence" and "self-nature." This belief is the mistaken view that things exist autonomously, independently, and permanently; to hold this belief is to fall into the extreme of permanence. It is equally mistaken, however, to hold that nothing exists; this is the extreme of annihilation. Emptiness, which for Nāgārjuna is the true nature of reality, is not the absence of existence, but the absence of self-existence, viz., the absence of svabhāva. Nāgārjuna devotes his Mulamadhyamakakārikā to a thoroughgoing analysis of a wide range of topics (in twenty-seven chapters and 448 verses), including the Buddha, the FOUR NOBLE TRUTHS, and NIRVĀnA, to demonstrate that each lacks the autonomy and independence that are mistakenly ascribed to it. His approach generally is to consider the various ways in which a given entity could exist, and then demonstrate that none of these is tenable because of the absurdities that would be entailed thereby, a form of reasoning often described in Western writings as reductio ad absurdum. In the case of something that is regarded to be the effect of a cause, he shows that the effect cannot be produced from itself (because an effect is the product of a cause), from something other than itself (because there must be a link between cause and effect), from something that is both the same as and different from itself (because the former two options are not possible), or from something that is neither the same as nor different from itself (because no such thing exists). This, in his view, is what is meant in the perfection of wisdom sutras when they state that all phenomena are "unproduced" (ANUTPĀDA). The purpose of such an analysis is to destroy misconceptions (VIKALPA) and encourage the abandonment of all views (DṚstI). Nāgārjuna defined emptiness in terms of the doctrine of PRATĪTYASAMUTPĀDA, or "dependent origination," understood in its more generic sense as the fact that things are not self-arisen, but are produced in dependence on causes and conditions. This definition allows Nāgārjuna to avoid the claim of nihilism, which he addresses directly in his writings and which his followers would confront over the centuries. Nāgārjuna employs the doctrine of the two truths (SATYADVAYA) of ultimate truth (PARAMĀRTHASATYA) and conventional truth (SAMVṚTISATYA), explaining that everything that exists is ultimately empty of any intrinsic nature but does exist conventionally. The conventional is the necessary means for understanding the ultimate, and the ultimate makes the conventional possible. As Nāgārjuna wrote, "For whom emptiness is possible, everything is possible."

Nagrasagiel (Nasragiel, Nagdasgiel, Nagazdiel)

Nasargiel (Nagrasagiel, Nasragiel)—a great,

nianfo. (J. nenbutsu; K. yombul 念佛). In Chinese, "recollection, invocation, or chanting of [the name of] the Buddha." The term nianfo has a long history of usage across the Buddhist tradition and has been used to refer to a variety of practices. The Chinese term nianfo is a translation of the Sanskrit term BUDDHĀNUSMṚTI (recollection of [the qualities of] the Buddha), one of the common practices designed to help develop meditative absorption (DHYĀNA) in the mainstream traditions. Buddhānusmṛti is listed as the first of six fundamental contemplative practices, along with recollection of the DHARMA, SAMGHA, giving (DĀNA), morality (sĪLA), and the divinities (DEVA). Buddhānusmṛti (P. buddhānussati) is also the first in the Pāli list of ten "recollections" (P. anussati; S. ANUSMṚTI), which are included among the forty meditative exercises (see KAMMAttHĀNA) discussed in the VISUDDHIMAGGA. The meditator is instructed to reflect on the good qualities of the Buddha, often through contemplating a series of his epithets, contemplation that is said to lead specifically to "access concentration" (UPACĀRASAMĀDHI). In early Mahāyāna texts, the term seems to refer to the meditative practice of recollecting, invoking, or visualizing an image of a buddha or advanced BODHISATTVA, such as sĀKYAMUNI, MAITREYA, or AMITĀBHA. In East Asia, the term nianfo came to be used primarily in the sense of reciting the name of the Buddha, referring especially to recitation of the Chinese phrase namo Amituo fo (K. namu Amit'abul; J. NAMU AMIDABUTSU; Homage to the buddha Amitābha). This recitation was often performed in a ritual setting and accompanied by the performance of prostrations, the burning of incense, and the intonation of scriptures, all directed toward gaining a vision of Amitābha's PURE LAND of SUKHĀVATĪ, a vision that was considered proof that one would be reborn there in the next lifetime. New forms of chanting Amitābha's name developed in China, such as WUHUI NIANFO (five-tempo intonation of [the name of] the Buddha), which used leisurely and increasingly rapid tempos, and YINSHENG NIANFO (intoning [the name of] the Buddha by drawing out the sound). Nianfo practice was often portrayed as a relatively easy means of guaranteeing rebirth in Amitābha's pure land. Many exegetes referred to the vows of the bodhisattva DHARMĀKARA (the bodhisattva who became Amitābha) as set forth in the SUKHĀVATĪVYuHASuTRA, as evidence of the efficacy of nianfo practice in the degenerate age of the dharma (MOFA). In China, these various forms of nianfo were advocated by such famous monks as TANLUAN, DAOCHUO, and SHANDAO; these monks later came to be retroactively regarded as patriarchs of a so-called pure land school (JINGTU ZONG). In fact, however, nianfo was widely practiced across schools and social strata in both China and Korea and was not exclusively associated with a putative pure land tradition. In Japan, nenbutsu, or repetition of the phrase "namu Amidabutsu" (homage to Amitābha Buddha) became a central practice of the Japanese PURE LAND schools of Buddhism, such as JoDOSHu, JoDO SHINSHu, and JISHu. The practice spread rapidly among common people largely through the efforts of such itinerant holy men (HIJIRI) as KuYA and IPPEN. Influential pure land teachers, such as HoNEN and his disciple SHINRAN, also promoted the exclusive practice of chanting the phrase NAMU AMIDABUTSU and debated whether multiple recitations of the Buddha's name (TANENGI) were expected of pure land adherents or whether a single recitation (ICHINENGI) would be enough to ensure rebirth. Despite periodic suppressions of this movement, Honen and Shinran's schools, known as the Jodoshu and Jodo Shinshu, became the largest Buddhist communities in Japan.

nirasa. ::: desirelessness

Nicolai, Friedrich: (1733-1811) Was one of the followers of Leibniz-Wolffian school which developed an eclectic reconciliation of rationalism and empiricism in a popular form that served to lay a foundation for the Kantian critical philosophy. -- L.E.D Nicomachus: Of Gerasa in Arabia, a Neo-Py-thagorean (q.v.) philosopher of the second century. -- M.F.

nimitta. (T. mtshan ma; C. xiang/ruixiang; J. so/zuiso; K. sang/sosang 相/瑞相). In Sanskrit and Pāli, "mark" or "sign," in the sense of a distinguishing characteristic, or a meditative "image." Among its several denotations, three especially deserve attention. (1) In Buddhist epistemology, nimitta refers to the generic appearance of an object, in distinction to its secondary characteristics, or ANUVYANJANA. Advertence toward the generic sign and secondary characteristics of an object produces a recognition or perception (SAMJNĀ) of that object, which may in turn lead to clinging or rejection and ultimately suffering. Thus nimitta often carries the negative sense of false or deceptive marks that are imagined to inhere in an object, resulting in the misperception of that object as real, intrinsically existent, or endowed with self. Thus, the apprehension of signs (nimittagrāha) is considered a form of ignorance (AVIDYĀ), and the perception of phenomena as signless (ĀNIMITTA) is a form of wisdom that constitutes one of three "gates to deliverance" (VIMOKsAMUKHA), along with emptiness (suNYATĀ) and wishlessness (APRAnIHITA). (2) In the context of THERAVĀDA meditation practice (BHĀVANĀ), as set forth in such works as the VISUDDHIMAGGA, nimitta refers to an image that appears to the mind after developing a certain degree of mental concentration (SAMĀDHI). At the beginning of a meditation exercise that relies, e.g., on an external visual support (KASInA), such as a blue circle, the initial mental image one recalls is termed the "preparatory image" (PARIKAMMANIMITTA). With the deepening of concentration, the image becomes more refined but is still unsteady; at that stage, it is called the "acquired image" or "eidetic image" (UGGAHANIMITTA). When one reaches access or neighborhood concentration (UPACĀRASAMĀDHI), a clear, luminous image appears to the mind, which is called the "counterpart image" or "representational image" (PAtIBHĀGANIMITTA). It is through further concentration on this stable "representational image" that the mind finally attains "full concentration" (APPANĀSAMĀDHI), i.e, meditative absorption (P. JHĀNA; S. DHYĀNA). (3) The term also appears in CATURNIMITTA, the "four signs," "sights," or "portents," which were the catalysts that led the future buddha SIDDHĀRTHA GAUTAMA to renounce the world (see PRAVRAJITA) and pursue liberation from the cycle of birth and death (SAMSĀRA): specifically, the sight of an old man, a sick man, a dead man, and a religious mendicant (sRAMAnA).

nine attainments of successive stations of equipoise. (S. anupurvavihārasamāpatti; T. mthar gyis gnas pa'i snyoms par 'jug pa; C. ru jiujing chan/cidi ding 入究竟禪/次第定)

Odra. (S). One of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA.

other spirit being Rasamasa.

Parasakti (Sanskrit) Parāśakti The supreme force or great power. The entire universe is built of seven or ten prakritis, with their corresponding seven or ten purushas or cosmic energies. Parasakti, which in one sense is the highest of these seven forces, acts, like all the other saktis, not only on its own plane or in its own specific prakriti, but likewise extends itself throughout all the other six saktis or prakritis. For this reason every kosmic plane has its own dominant energy or prakriti or sakti; and yet at the same time contains those above it, and in undeveloped form those below it which flow forth from it in the procession of unfolding powers as evolution continues through the manvantara. Thus parasakti, which includes on the physical plane what we call light and heat, on its own primordial plane likewise produces the metaphysical origins of light and heat — the intelligent activity of the buddhi principle, signifying light combined with the vital warmth of kama or cosmic love (the Greek Eros).

parasaMbhogakāya. (C. ta shouyong shen; J. tajuyushin; K. t'a suyong sin 他受用身). In Sanskrit, "body intended for others' enjoyment"; one of the four types of buddha bodies (BUDDHAKĀYA) discussed in the BUDDHABHuMIsĀSTRA (C. Fodijing lun), the MAHĀYĀNASAMGRAHA (C. She dasheng lun), and the CHENG WEISHI LUN (S. *VijNaptimātratāsiddhi), along with the "self-nature body" (SVABHĀVAKĀYA), "body intended for personal enjoyment" (SVASAMBHOGAKĀYA), and "transformation body" (NIRMĀnAKĀYA). This fourfold schema of buddha bodies derives from the better-known three bodies of a buddha (TRIKĀYA)-viz., dharma body (DHARMAKĀYA), reward body (SAMBHOGAKĀYA), and transformation body (nirmānakāya)-but distinguishes between two different types of enjoyment bodies. The first, the svasaMbhogakāya, derives from the countless virtues that originate from the accumulation of immeasurable merit and wisdom over a buddha's infinitely long career; this body is a perfect, pure, eternal, and omnipresent material body that enjoys the bliss of dharma (DHARMAPRĪTI) for oneself until the end of time. By contrast, the parasaMbhogakāya is a subtle virtuous body deriving from the wisdom of equality (SAMATĀJNĀNA), which resides in a PURE LAND and displays supernatural powers in order to enhance the enjoyment of the dharma by bodhisattvas at all ten stages of the bodhisattva's career (BODHISATTVABHuMI).

parasamvit. ::: supreme knowledge; supreme consciousness; the supreme experiencing Principle; Self-luminous knowledge; pure consciousness

parasang ::: n. --> A Persian measure of length, which, according to Herodotus and Xenophon, was thirty stadia, or somewhat more than three and a half miles. The measure varied in different times and places, and, as now used, is estimated at from three and a half to four English miles.

parasangs” but shorter than Sandalphon “by a

parasangs tall, and was “forged out of chains of

parasangs tall. In the cabala he marries Sophia in a

Parasara (Sanskrit) Parāśara The Vedic rishi called the narrator of the Vishnu-Purana, also considered the writer of some of the hymns of the Rig-Veda. His commentaries on the Dharmasastras are often cited in The Secret Doctrine. He is said to be the father of Vyasa, who was the arranger of the Vedas.

paksadharma. (T. phyogs chos; C. zongfa; J. shuho/shubo; K. chongpop 宗法). In Sanskrit, lit. "property of the position," a term in Buddhist logic that designates one of the qualities of a correct syllogism (PRAYOGA). A syllogism is composed of three parts, the subject (dharmin), the property being proved (SĀDHYADHARMA), and the reason (HETU or LInGA). In the syllogism "Sound is impermanent because of being produced," the subject is sound, the property being proved is impermanence, and the reason is "being produced." In order for the syllogism to be correct, three relations must exist among the three components of the syllogism: (1) the reason must be a property (DHARMA) of the subject, also called the "position" (PAKsA); (2) there must be a relationship of pervasion (VYĀPTI) between the reason and the property being proved, such that whatever is the reason is necessarily the property being proved; and (3) there must be a relationship of reverse pervasion between the property and the reason such that whatever is not the property is necessarily not the reason. In the example, the syllogism "Sound is impermanent because of being produced" is correct because the reason (being produced) is a quality of the subject (sound), there is pervasion in the sense that whatever is produced is necessarily impermanent, and there is reverse pervasion because whatever is permanent is necessarily not produced. In Tibetan oral debate, the defender of a position is traditionally allowed only three answers to a position stated by the opponent; the position is typically stated in the form of a consequence (PRASAnGA) rather than a syllogism (prayoga), but the mechanics of the statement are the same. The defender may say, "I accept" ('dod), meaning that he agrees that the property being proved is a property of the subject. The defender may say, "There is no pervasion" (ma khyab), meaning that whatever is the reason is not necessarily the property being proved. Or he may say, "The reason is not established" (rtags ma sgrub), meaning that the reason is not in fact a property of the position.

paNcakula. (T. rigs lnga; C. wubu; J. gobu; K. obu 五部). In Sanskrit, "five lineages" or "five families"; referring to the five buddha families of tantric Buddhism. The five are the TATHĀGATA, VAJRA, PADMA, RATNA, and KARMAN families. The concept of buddha families began to be formulated with the onset of the MAHĀYĀNA, likely rooted in earlier Buddhist tendencies to divide practitioners, scripture, deities, and the like into different "families" (GOTRA or KULA). One of the earliest expressions of this was the TRIKULA system, in which VAJRASATTVA is the buddha of VAJRAKULA, VAIROCANA belongs to the TATHĀGATAKULA, and AVALOKITEsVARA belongs to the PADMAKULA. In the fivefold system, VAIROCANA, AKsOBHYA, AMITĀBHA, RATNASAMBHAVA, and AMOGHASIDDHI are the buddhas of the tathāgata, vajra, padma, ratna and karman families, respectively. The five buddhas were seen as DHARMAKĀYA buddhas, with the number five providing a number of homologies, including with the five aggregates, the five poisons, the five wisdoms, the five colors, and the five elements. The number five was also important for the MAndALA, with one buddha holding the central position, and the other four in the cardinal directions.

paNcatathāgata. (T. de bzhin gshegs pa lnga; C. wuzhi rulai/wu fo; J. gochi nyorai/gobutsu; K. ojiyorae/obul 五智如來/五佛). In Sanskrit, "five tathāgatas," a grouping of five buddhas important in tantric Buddhism. They are also known as the "five conquerors" (PANCAJINA) and sometimes in English as the "five DHYĀNI BUDDHAs" (although the term dhyāni buddha is a Western neologism that does not appear in Buddhist texts). The members of the group vary across tantric texts and traditions, but the most common grouping is that derived from the SARVATATHĀGATATATTVASAMGRAHA. They are VAIROCANA, AKsOBHYA, AMITĀBHA, RATNASAMBHAVA, and AMOGHASIDDHI, the buddhas of the TATHĀGATAKULA, VAJRAKULA, PADMAKULA, RATNAKULA, and KARMAKULA families, respectively. The concept of buddha families began to be formulated with the rise of the MAHĀYĀNA, rooted in earlier Buddhist tendencies to divide practitioners, scripture, deities, and the like into different "families" (GOTRA or KULA). One of the earliest expressions of such a grouping was the trikula system, in which VAJRASATTVA is the buddha of the vajrakula, Vairocana belongs to the tathāgatakula, and AVALOKITEsVARA belongs to the padmakula. The five buddhas were seen as DHARMAKĀYA buddhas, with the number five providing a number of possible homologies, including the five aggregates, the five poisons, the five wisdoms, the five colors, and the five elements. The number five was also important for the MAndALA, with one buddha holding the central position, the other four in the cardinal directions. The five tathāgatas were also integrated into the separate and later concept of the ĀDIBUDDHA, or "primordial buddha," which would become especially important in Newari Buddhism.

pāpadesanā. [alt. pāpasodhana] (P. pāpadesanā; T. sdig pa bshags pa; C. chanhui; J. sange; K. ch'amhoe 懺悔). In Sanskrit, "confession of transgressions," "atonement"; the confession of unvirtuous deeds, either privately in the presence of a real or visualized representation of a buddha, or communally as part of a confession ceremony, such as the fortnightly monastic confession (S. UPOsADHA; P. uposatha). Such confession also figures as a standard component in many MAHĀYĀNA and tantric liturgies. The Mahāyāna also deployed a confessional ritual designed for people burdened with heavy karmic obstructions who wished swiftly to attain complete, perfect enlightenment (ANUTTARASAMYAKSAMBODHI); this ritual involved chanting the names of thirty-five buddhas of the ten directions (dasadigbuddha, see DAsADIs) and making offerings before images of them. Regardless of the setting, the tenor of confession practice is to make public something that has been hidden; there is no tradition in Buddhism of a priest offering absolution of sins. According to standard theory of KARMAN, the seeds of an unsalutary deed can be removed only through suffering the effects of that deed or through destroying the seed through wisdom (PRAJNĀ). However, there is a general view in the Buddhist ethical systems that the strength of an unwholesome deed, especially one of a less heinous nature, can be diminished through its declaration and revelation.

paraprasiddhānumāna. (T. gzhan la grags pa'i rjes dpag). In Sanskrit, lit. "inference familiar to another," a term in Buddhist logic, important especially in the MADHYAMAKA school of Indian Buddhist philosophy. Similar to the case of PARĀRTHĀNUMĀNA ("inference for others"), paraprasiddhānumāna refers not to the mental conclusion or an inference drawn from evidence but rather to a logical argument made to an opponent. In this case, "inference familiar to another" refers to an argument consisting of elements that (1) the person stating the argument does not accept and (2) that the opponent accepts (or does not reject). The argument is stated with the intention of causing the opponent to draw the correct conclusion, that is, a conclusion contrary to his own tenets. It is generally the case in Indian logic that all elements of the syllogism must be accepted by both parties in a debate; such a syllogism is referred to as an "autonomous syllogism" (SVATANTRĀNUMĀNA; SVATANTRAPRAYOGA). This is not the case with the inference familiar to another, in which the elements of the syllogism are accepted only by the opponent. In the Madhyamaka school, there was a controversy over whether such syllogisms were acceptable when a Madhyamaka adherent debated with a proponent of another school. The locus classicus of the controversy is the debate between BHĀVAVIVEKA and CANDRAKĪRTI concerning BUDDHAPĀLITA's commentary on the first chapter of NĀGĀRJUNA's MuLAMADHYAMAKAKĀRIKĀ. It was Candrakīrti's position that the Madhyamaka should use only consequences (PRASAnGA) or an inference familiar to others; to use an autonomous syllogism implied acceptance of intrinsically established relations among the elements of the syllogism. Bhāvaviveka had argued that it was necessary for the Madhyamaka to state an autonomous syllogism at the conclusion of a debate. Based on this controversy, the terms *SVĀTANTRIKA and *PRĀSAnGIKA were coined retrospectively in Tibet to describe later developments within the Indian Madhyamaka school.

parikammasamādhi. In Pāli, "preparatory concentration"; a preliminary degree of concentration established at the beginning of a meditative development; parikammasamādhi takes as its object an initial mental image called the PARIKAMMANIMITTA (preparatory image). The parikkamanimitta can be developed on the basis of any number of mental or physical objects used as supports. One such object could be, for example, a blue circle used as an external visualization device (KASInA). The preparatory image so generated is crude, weak, and unstable. With the deepening of concentration, however, the image becomes refined, at which point it is called an "eidetic image" (UGGAHANIMITTA). Through increased concentration, the uggahanimitta eventually is displaced by a clear luminous image called the "representational" or "counterpart" "image" (PAtIBHĀGANIMITTA), at which point the mind enters the next stage of concentration, called UPACĀRASAMĀDHI or "access concentration," which may eventually develop into thoroughgoing "meditative absorption" (P. JHĀNA; S. DHYĀNA).

paryudāsapratisedha. (T. ma yin dgag). In Sanskrit, "affirming negative," or "implied negation," a term used in Buddhist logic (HETUVIDYĀ) to refer to a negative declaration or designation (PRATIsEDHA) that is expressed in such a way that it implies something positive. For example, the term "non-cat" implies the existence of something other than a cat. The standard example provided in works on Buddhist logic is: "The corpulent Devadatta does not eat during the day," where the absence of his eating during the day implies that he eats at night. In MADHYAMAKA philosophy, emptiness (suNYATĀ), the nature of reality, is not a paryudāsapratisedha, that is, it does not imply something positive in place of the absence of intrinsic existence (SVABHĀVA). See also PRASAJYAPRATIsEDHA.

Passive Empiricism: The doctrine that knowledge comes by way of experience with the emphasis upon the negative character of the mind. The mind can act only upon the stimulus of contact with the world outside itself. John Locke furnishes an example of this view. See Tabula rasa. -- V.F.

prasada ::: clearness; contentment; "an illumined ease and clarity", prasada same as atmaprasada.

Prasada: Favor, grace, recognized by some Indian religio-metaphysical systems as divine recompense for bhakti (q.v.).

prasada (Prasad) ::: 1. an illumined ease and clarity. ::: 2. [food offered to a deity or to a spiritual teacher; this same food distributed to devotees as a blessing].

Prasada: (Skr. inclining towards) Favor, grace, recognized by some Indian religio-metaphysical systems as divine recompense for bhakti (q.v.). -- K.F.L.

prasad&

prasajyapratisedha. (T. med dgag). In Sanskrit, "nonaffirming negative," or "nonimplied negation," a negative declaration (PRATIsEDHA) that is expressed in such a way that nothing positive is implied. The most famous such nonimplied negation is emptiness (suNYATĀ), which is the mere absence of intrinsic existence (SVABHĀVA). See also PARYUDĀSAPRATIsEDHA.

Prasanga-madhyamika (Sanskrit) Prasaṅga-mādhyamika “A Buddhist school of philosophy in Tibet. It follows, like the Yogacharya system, the Mahayana or ‘Great Vehicle’ of precepts; but, having been founded far later than the Yogacharya, it is not half so rigid and severe. It is a semi-exoteric and very popular system among the literati and laymen” (TG 260).

prasanga. (T. thal 'gyur). In Sanskrit, "consequence"; in Buddhist logic, a statement made to an opponent that uses the opponent's assertions to demonstrate contradictions in the opponent's position. It is not necessary that the person who states the consequence accept the subject, predicate, and reason of the consequence. There is a difference of opinion as to whether the statement of the consequence is sufficient to bring about correct understanding in the opponent or whether an autonomous syllogism (SVATANTRAPRAYOGA) stating the correct position (that is, the position of the person who states the consequence) is also required. This was one of the points of disagreement that led to the designation of the *PRĀSAnGIKA and *SVĀTANTRIKA branches of the MADHYAMAKA school.

Prasannapadā. (T. Tshig gsal). In Sanskrit, "Clear Words," the commentary on NĀGĀRJUNA's MuLAMADHYAMAKAKĀRIKĀ by the seventh-century Indian master CANDRAKĪRTI; its full title is Mulamadhyamakavṛtti-Prasannapadā. Among Candrakīrti's major works, it is regarded as second in importance only to his independent treatise, the MADHYAMAKĀVATĀRA, which was composed earlier. Apart from its importance as a commentary on Nāgārjuna's text, Candrakīrti's work is also important as the locus classicus for the division of Madhyamaka into the *SVĀTANTRIKA and *PRĀSAnGIKA. Candrakīrti's was the third in an influential series of commentaries. The first was that of BUDDHAPĀLITA. The second was the PRAJNĀPRADĪPA of BHĀVAVIVEKA, who criticized Buddhapālita's commentary on the first chapter of Nāgārjuna's text, specifically the section in which Buddhapālita refutes the SāMkhya position that an effect is produced from a cause that is the same nature as itself. In the Prasannapadā, Candrakīrti defended Buddhapālita and attacked Bhāvaviveka. It is based largely on these exchanges that later Tibetan scholars came to designate Buddhapālita and Candrakīrti as *Prāsangikas and Bhāvaviveka as a *Svātantrika. Candrakīrti's commentary is also valued by scholars for its many citations from Mahāyāna sutras. The Prasannapadā has attracted the attention of modern scholars, in part because, unlike the commentaries of Buddhapālita and Bhāvaviveka, for example, it has been preserved in Sanskrit.

prasannata ::: clearness, "clear purity and gladness", an element of prasannata pran.asakti.

prasannata ::: clear purity and gladness.

prasantih ::: a general state of peace and calm. ::: prasantir [ =prasantih]

prasava ::: (self-)production.

phrasal ::: a. --> Of the nature of a phrase; consisting of a phrase; as, a phrasal adverb.

physical bhoga ::: physical ananda, or any of its forms, in the state of bhoga (the second stage of bhukti), where the seizing of the rasa in things is made concrete by the participation of the pran.a bringing in "the full sense of life and the occupying enjoyment by the whole being".

physical bhukti ::: bhukti in the physical body or sthūla deha, consisting of physical ananda in its five forms (kamananda, vis.ayananda, tivrananda, raudrananda and vaidyutananda) with the corresponding forms of bhoga and rasagrahan.a..

piraya ::: n. --> A large voracious fresh-water fish (Serrasalmo piraya) of South America, having lancet-shaped teeth.

Pisces and they are Rasamasa and Vocabiel

Pitāputrasamāgamasutra. (T. Yab dang sras mjal ba'i mdo; C. Pusa jianshi jing/Fuzi heji jing; J. Bosatsu kenjitsukyo/Fushi gojukyo; K. Posal kyonsil kyong/Puja hapchip kyong 菩薩見實經/父子合集經). In Sanskrit, "Sutra on the Meeting of Father and Son," a MAHĀYĀNA scripture found in the RATNAKutASuTRA, often cited in MADHYAMAKA texts, especially for its expositions of emptiness (suNYATĀ) and the two truths (SATYADVAYA). It is quoted in such famous works as NĀGĀRJUNA's SuTRASAMUCCAYA and sĀNTIDEVA's sIKsĀSAMUCCAYA. The Pitāputrasamāgamasutra was translated into Chinese by Rajendrayasas in 568 as the Pusa jianshi jing and was included in the massive Dabaoji jing (Ratnakutasutra) compilation. It was subsequently retranslated in the eleventh century by Richeng and others as the Fuzi heji jing.

pītha. (T. gnas). In Sanskrit, "abode" or "seat," in tantric literature, a location where YOGINĪs congregate and hence a potent site for tantric practice. There are various lists of such locations, sometimes numbering twelve, twenty-four, or thirty-two; the number twenty-four is the most common, but the lists of twenty-four vary in the names and locations of the specific sites. The pītha figure prominently in yoginītantras such as the CAKRASAMVARATANTRA and the HEVAJRATANTRA. They also appear commonly in scenes from the lives of the MAHĀSIDDHAs. Many of the sites can be linked to geographical locations on the Indian subcontinent, although some remain unidentified and the location of others shifts according to different traditions. They are considered, however, to form a network, both in the external world and inside the body of the tantric practitioner; the external sites are called bāhyapītha, and the internal sites are called nādīsthāna, that is, places where important energy channels (NĀdĪ) are located according to tantric physiology. In both their external and internal forms, the pītha are presumed to form a MAndALA. The pītha are said to be the abodes of tantric goddesses, called yoginī or dĀKINĪ, associated with a particular tantric cycle. They are described as places where male and female tantric practitioners congregate in order to engage in a variety of ritual practices, after having identified each other using secret codes. Tantric texts extol the benefits of visiting the pītha, either externally or internally, and Tibetan pilgrims have long sought to find the twenty-four sites. Based on the conquest and transformation of Mahesvara (siva) by the Buddhist deity VAJRAPĀnI, the twenty-four names of the CakrasaMvara sacred sites are the four seats (pītha) Uddiyāna, Jālandhara, Pullīramalaya, and Arbuda; four outer seats (upapītha) Godāvarī, Rāmesvara, Devīkota, and Mālava; two fields (ksetra) Kāmarupa and Odra; two outer fields (upaksetra) Trisakuni and Kosala; two pleasing places (chandoha) Kalinga and Lampāka; two outer delightful places (upacchanda) KāNci and Himālaya; two meeting places (melāpaka) Pretapuri and Gṛhadevatā; two outer meeting places (upamelāpaka) Saurāstra and Suvarnadvīpa; two cremation grounds (sMAsĀNA) Nagara and Sindu; and two outer cremation grounds (upasmasāna) Maru and Kulatā. The twenty-four sites were later symbolically "transferred" to locations in Nepal and Tibet. To Newar Buddhists, the Kathmandu Valley conceptually mirrors the structure of the CakrasaMvara MAndALA, and the twenty-four temples of different CakrasaMvara goddesses make the valley a sacred space. In Tibet, DAGS PA SHEL RI (Crystal Mountain) in the TSA RI region also mapped the CakrasaMvara mandala. Every twelve years pilgrims would make the arduous pilgrimage around the sites mapped onto that sacred space.

Popchip pyorhaengnok choryo pyongip sagi. (法集別行節要竝入私). In Korean, "Excerpts from the 'Dharma Collection and Special Practice Record' with Personal Notes" (according to the traditional parsing of the title within the Korean commentarial tradition), and often known by its abbreviated title Choryo ("Excerpts"); the magnum opus of the mid-Koryo Son master POJO CHINUL (1158-1210), which provides an exhaustive analysis of the sudden-gradual issue in East Asian Buddhist thought and practice. Chinul's treatise is constructed around excerpts from a lesser-known work of the Chinese CHAN and HUAYAN teacher GUIFENG ZONGMI (780-841), which compares the approach to practice in four different schools of early Chinese Chan Buddhism. Chinul used Zongmi's analysis as a foil for a wider exploration of the sudden-gradual issue. After examining in meticulous detail the various schemata of awakening and cultivation outlined by such Buddhist teachers as Zongmi, CHENGGUAN (738-839), and YONGMING YANSHOU (904-975), Chinul comes out strongly in favor of sudden awakening/gradual cultivation (K. dono chomsu; C. DUNWU JIANXIU), a soteriological approach championed by Zongmi. In this approach, the Buddhist path (MĀRGA) begins with an initial sudden "understanding-awakening" (JIEWU), in which one gains correct conceptual understanding of the Buddhist teachings and awakens to the fact that one is inherently a buddha. But simply knowing that one is a buddha is not enough to ensure that one is able always to act like a buddha. Only after continued gradual cultivation (jianxiu) following this initial understanding-awakening will one remove the habitual tendencies or predispositions (VĀSANĀ) that have suffused the mind for an essentially infinite amount of time, eventually integrating one's knowledge and conduct. That correspondence marks the final "realization-awakening" (ZHENGWU) and is the point at which the practitioner truly realizes the complete, perfect enlightenment of buddhahood (ANUTTARASAMYAKSAMBODHI). This soteriological process is compared by Chinul to that of an infant who is born with all the faculties of a human being (sudden understanding-awakening) but who still needs to go through a long process of maturation (gradual cultivation) before he will be able to embody his full potential as an adult human being (realization-awakening). While Chinul also accepts the validity of a "sudden awakening/sudden cultivation" (K. tono tonsu; C. dunwu dunxiu) approach, in which all aspects of cultivation are perfected simultaneously with the awakening experience, he ultimately concludes that this approach targets only the most advanced of practitioners and is actually sudden awakening/gradual cultivation when viewed from the standpoint of multiple lifetimes: viz., awakening and cultivation can be perfected simultaneously only for someone who has already had an initial sudden understanding-awakening in a previous life and who has been continuing to cultivate that experience gradually over multiple past lives. Chinul's treatise is also important for being the first Korean work to advocate the practice of Son "questioning meditation" (K. kanhwa Son; C. KANHUA CHAN), a type of meditation that subsequently comes to dominate Korean Son practice. The Choryo is included in the "Fourfold Collection" (SAJIP), the core of the Korean monastic curriculum since at least the seventeenth century.

PrajNāpāramitāhṛdayasutra. (T. Shes rab kyi pha rol tu phyin pa'i snying po'i mdo; C. Bore boluomiduo xin jing; J. Hannya haramitta shingyo; K. Panya paramilta sim kyong 般若波羅蜜多心經). In English, the "Heart of the Perfection of Wisdom Sutra" (or, in other interpretations, the "DHĀRAnĪ-Sutra of the Perfection of Wisdom"); a work known in English simply as the "Heart Sutra"; one of only a handful of Buddhist SuTRAs (including the "Lotus Sutra" and the "Diamond Sutra") to be widely known by an English title. The "Heart Sutra" is perhaps the most famous, and certainly the most widely recited, of all Buddhist sutras across all Mahāyāna traditions. It is also one of the most commented upon, eliciting more Indian commentaries than any Mahāyāna sutra (eight), including works by such luminaries as KAMALAsĪLA, VIMALAMITRA, and ATIsA DĪPAMKARAsRĪJNĀNA, as well as such important East Asian figures as FAZANG, KuKAI, and HAKUIN EKAKU. As its title suggests, the scripture purports to be the quintessence or heart (hṛdaya) of the "perfection of wisdom" (PRAJNĀPĀRAMITĀ), in its denotations as both supreme wisdom and the eponymous genre of scriptures. The sutra exists in long and short versions-with the longer version better known in India and the short version better known in East Asia-but even the long version is remarkably brief, requiring only a single page in translation. The short version, which is probably the earlier of the two recensions, is best known through its Chinese translation by XUANZANG made c. 649 CE. There has been speculation that the Chinese version may be a redaction of sections of the Chinese recension of the MAHĀPRAJNĀPĀRAMITĀSuTRA (also translated by Xuanzang) as a mnemonic encoding (dhāranī) of the massive perfection of wisdom literature, which was then subsequently translated back into Sanskrit, perhaps by Xuanzang himself. Although there is as yet no scholarly consensus on the provenance of the text, if this argument is correct, this would make the "Heart Sutra" by far the most influential of all indigenous Chinese scriptures (see APOCRYPHA). The long version of the text, set on Vulture Peak (GṚDHRAKutAPARVATA) outside RĀJAGṚHA, begins with the Buddha entering SAMĀDHI. At that point, the BODHISATTVA AVALOKITEsVARA (who rarely appears as an interlocutor in the prajNāpāramitā sutras) contemplates the perfection of wisdom and sees that the five aggregates (SKANDHA) are empty of intrinsic nature (SVABHĀVA). The monk sĀRIPUTRA, considered the wisest of the Buddha's sRĀVAKA disciples, is inspired by the Buddha to ask Avalokitesvara how one should train in the perfection of wisdom. Avalokitesvara's answer constitutes the remainder of the sutra (apart from a brief epilogue in the longer version of the text). That answer, which consists essentially of a litany of negations of the major categories of Buddhist thought-including such seminal lists as the five aggregates (skandha), twelve sense-fields (ĀYATANA), twelve links of dependent origination (PRATĪTYASAMUTPĀDA), and FOUR NOBLE TRUTHS-contains two celebrated statements. The first, made in reference to the first of the five aggregates, is "form (RuPA) is emptiness (suNYATĀ); emptiness is form" (RuPAM suNYATĀ sUNYATAIVA RuPAM). This is one of the most widely quoted and commented upon statements in the entire corpus of Mahāyāna sutras and thus is not easily amenable to succinct explication. In brief, however, the line suggests that emptiness, as the nature of ultimate reality, is not located in some rarified realm, but rather is found in the ordinary objects of everyday experience. The other celebrated statement is the spell (MANTRA) that concludes Avalokitesvara's discourse-GATE GATE PĀRAGATE PĀRASAMGATE BODHI SVĀHĀ-which, unlike many mantras, is amenable to translation: "gone, gone, gone beyond, gone completely beyond, enlightenment, svāha." This mantra has also been widely commented upon. The presence of the mantra in the sutra has led to its classification as a TANTRA rather than a sutra in some Tibetan catalogues; it also forms the basis of Indian tantric SĀDHANAs. The brevity of the text has given it a talismanic quality, being recited on all manner of occasions (it is commonly used as an exorcistic text in Tibet) and inscribed on all manner of objects, including fans, teacups, and neckties in modern Japan.

PrajNāpradīpa. (T. Shes rab sgron me; C. Boredeng lun shi; J. Hannyatoron shaku; K. Panyadŭng non sok 般若燈論釋). In Sanskrit, "Lamp of Wisdom," the commentary on NĀGĀRJUNA's MuLAMADHYAMAKAKĀRIKĀ by the sixth-century master BHĀVAVIVEKA. The "Wisdom" in the title is a reference to Nāgārjuna's text, the full title of which is PrajNānāmamulamadhyamakakārikā. In his commentary on the first chapter of Nāgārjuna's text, Bhāvaviveka criticized the earlier commentary by BUDDHAPĀLITA, saying that it is insufficient simply to employ consequences (PRASAnGA) and that one must also use autonomous syllogisms (SVATANTRĀNUMĀNA). CANDRAKĪRTI, in his own commentary, the PRASANNAPADĀ, came to Buddhapālita's defense and attacked Bhāvaviveka. It is largely based on this exchange that later Tibetan scholars came to categorize Bhāvaviveka as a *SVĀTANTRIKA and Buddhapālita and Candrakīrti as *PRĀSAnGIKA. In addition to its intrinsic interest as a major work of an important Mahāyāna philosopher, Bhāvaviveka's commentary is of historical interest because it makes specific reference to other commentators on Nāgārjuna, as well as the doctrines of various rival schools, both Buddhist and non-Buddhist. The text is lost in Sanskrit but is preserved in Chinese and Tibetan translations and has a lengthy commentary by AVALOKITAVRATA preserved in Tibetan translation.

Pramlocha (Sanskrit) Pramlocā [from pra forth + the verbal root mluc to go] One sent forth; one of the apsarasas or celestial nymphs sent on earth by Kamadeva or Indra to tempt the sage Kandu from his devotions and austerities. She succeeded in her unholy purpose, and according to the account stayed with him 907 years six months and three days, which were to the sage as one day. After this she flew away, wiping the perspiration from her body with the leaves of the trees as she passed through the air. The child she had conceived by the rishi came forth from the pores of her skin in drops of perspiration: the trees received the living dews, the winds collected them into one mass, Soma (the moon) matured them till they became the lovely girl Marisha. This story is an allegory founded on the physical mode of procreation of the second root-race or sweat-born.

*Prāsangika. (T. Thal 'gyur ba). In Sanskrit, "Consequentialist," one of the two main branches of the MADHYAMAKA school, so called because of its use of consequences (PRASAnGA) rather than autonomous syllogisms (SVATANTRAPRAYOGA) in debates about the nature of reality. Its leading proponents include BUDDHAPĀLITA and CANDRAKĪRTI. The other branch of Madhyamaka is *SVĀTANTRIKA, represented by such figures as BHĀVAVIVEKA, JNĀNAGARBHA, sĀNTARAKsITA, and KAMALAsĪLA. The designation "Prāsangika" as a subschool of Madhyamaka does not occur in Indian literature; it was coined retrospectively in Tibet to describe the later developments of the Indian Madhyamaka school. In the doxographical literature of the DGE LUGS sect in Tibet, where *Prāsangika is ranked as the preeminent school of Indian Buddhist philosophy, Prāsangika differs from Svātantrika primarily on questions of the nature of emptiness (suNYATĀ) and the correct role of reasoning in understanding it, although other points of difference are also enumerated, including the question of whether the arhat must understand the selflessness of phenomena (DHARMANAIRĀTMYA) in order to achieve liberation.

pratisedha. (T. dgag pa; C. zhe; J. sha; K. ch'a 遮). In Sanskrit, "negative" or "negation," the refutation of an opponent's position. The term is also used to mean "negative phenomenon," that is, a phenomenon that is understood through the elimination of another factor. Examples would include ĀKĀsA ("space," when defined as the lack of obstruction) and ANĀTMAN (nonself), the absence of a self. In Buddhist logic, there are two types of negation, the "affirming negation" (PARYUDĀSAPRATIsEDHA), which negates something while implying the existence of something else, and the "nonaffirming negation" (PRASAJYAPRATIsEDHA), which negates without such implication.

pravrajita. (P. pabbajjā; T. rab tu byung ba; C. chujia; J. shukke; K. ch'ulga 出家). In Sanskrit, lit. "going forth," to leave behind the household life of a layperson in order to enter the monastic community as a religious mendicant; also pravrajyā and other variations. The term is often seen translated into English as "gone forth into homelessness" (the Chinese translation literally means "leaving home"). Pravrajita/pravrajyā is a technical term that refers to the lower ordination of a person as a sRĀMAnERA or sRĀMAnERIKĀ, that is, as a male or female novice. Admission of a novice into the SAMGHA is performed with a simple ceremony. According to the Pāli tradition, the candidate shaves his hair and beard and, attiring himself in a monk's robe (CĪVARA) received from a donor, he presents himself before an assembly of monks, or a single monk of ten years' standing or more. Squatting on his haunches and folding his hands, the candidate recites the refuge formula three times (TRIsARAnA), whereupon he is made a novice. In most VINAYA traditions, a novice must observe ten precepts (sIKsĀPADA, sRĀMAnERASAMVARA): abstaining from (1) killing, (2) stealing, (3) sexual intercourse, (4) lying, (5) intoxicants, (6) eating after midday, (7) dancing, singing, music, and other unseemly forms of entertainment, (8) using garlands, perfumes, and unguents to adorn the body, (9) using high and luxurious beds and couches, and (10) accepting gold and silver. The MuLASARVĀSTIVĀDA VINAYA (which is followed in Tibet) expands these ten precepts to thirty-six. After receiving the lower ordination, the novice is required to live under the guidance (NIsRAYA) of a teacher until he or she receives higher ordination (UPASAMPADĀ) as a fully ordained monk (BHIKsU) or nun (BHIKsUnĪ). The novice may not attend the reading of the PRĀTIMOKsA during the bimonthly UPOsADHA (P. uposatha) ceremony, or participate in any formal acts of the order (SAMGHAKARMAN), such as giving ordination, and so on. At the beginning of his dispensation, the Buddha did not confer the lower ordination of a novice separately from the higher ordination, or upasaMpadā, of a fully ordained monk. In all cases, candidates simply took the going forth as a fully ordained monk by taking the refuge formula. Later, "going forth" and higher ordination (upasaMpadā) were made into separate ceremonies to initiate candidates into two hierarchically ranked institutions: the novitiate and full monkhood. The following types of persons may not be ordained as novices: branded thieves, fugitives from the law, registered thieves, those punished by flogging or branding, patricides, matricides, murderers of ARHATs, those who have shed the blood of a buddha, eunuchs, false monks, seducers of nuns, hermaphrodites, persons who are maimed, disabled, or deformed in various ways, and those afflicted with various communicable diseases.

Pretapurī. (S). One of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA.

priti (priti; pritih) ::: pleasure; gladness; the "pleasure of the mind" in the rasa of all experience; an intense delight which "assumes the place of the scattered and external pleasure of the mind in existence or rather it draws all other delight into it and transforms by a marvellous alchemy the mind"s and the heart"s feelings and all sense movements"; sometimes substituted for bhoga as the second stage of active / positive samata or bhukti; an element of Mahasarasvati bhava. pritih. daks.yaṁ danapratidanalipsa anandibhava (pritih dakshyam pritih

prthivya iva manadandah ::: as if earth's measuring rod. [Kumarasambhava 1.1 ]

Pullīramalaya. (S). One of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA.

punyaprasava. (T. bsod nams skyes; C. fusheng tian; J. fukushoten; K. poksaeng ch'on 福生天). In Sanskrit, "merit born," the second (lowest) of the eight heavens of the fourth concentration (DHYĀNA) of the subtle-materiality realm (RuPADHĀTU). The divinities of this heaven are so called because of the great merit that resulted in their birth in the heaven. As with all the heavens of the subtle-materiality realm, one is reborn as a divinity there through achieving the same level of concentration (dhyāna) as the divinities of that heaven during one's practice of meditation in a previous lifetime. This heaven has no analogue in Pāli.

pūrn.ata, prasannata, samata, bhogasamarthyam ::: fullness, clearpurnata, ness, equality, capacity for enjoyment (the elements of pran.asakti). pūrn.ata, prasannata, samata, bhogasamarthyam, iti pran.asaktih. purnata,

purnata prasannata samata bhogasamarthyam iti pranasaktih ::: see these words separately

(purnata, prasannata, samata, bhogasamarthyam, iti pranashaktih) ::: fullness, clearness, equality, capacity for enjoyment: these constitute the power of the life-force. purna p

Purvasaila. (P. Pubbaseliya; T. Shar gyi ri bo; C. Dongshan; J. Tozan; K. Tongsan 東山). In Sanskrit, "Eastern Hill," the name of one of the offshoots of the MAHĀSĀMGHIKA, associated particularly with the CAITYA school centered in the Andhra region of southern India. The name of the school seems to derive from the location of its chief VIHĀRA on a hill to the east of the city of Dhānyakataka; one finds reference to both schools called Uttarasaila ("Northern Hill") and Aparasaila ("Western Hill"). Like other branches of the Caitya, the school seems to have held the building and veneration of reliquaries (CAITYA) to be particularly efficacious forms of creating merit (PUnYA). Like other branches of the MahāsāMghika, they also held that the enlightenment of a buddha was superior to that of an ARHAT. Much of what is known about their doctrinal positions derives from the reports of authors from other schools, such as BUDDHAGHOSA in his commentary to the KATHĀVATTHU, where it is claimed that they asserted the existence of forces dissociated from thought (CITTAVIPRAYUKTASAMSKĀRA) and of an intermediate state (ANTARĀBHAVA) between death and rebirth.

Rāmesvara. (S). One of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA.

Rang 'byung rdo rje. (Rangjung Dorje) (1284-1339). A Tibetan Buddhist master recognized as the third KARMA PA, renowned for his erudition and his knowledge of practice traditions based on both new translation (GSAR MA) and old translation (RNYING MA) tantras. He was born either in the Skyid rong Valley or in the western Tibetan region of Ding ri and, according to traditional sources, as a child, was known for his exceptional perspicacity. The DEB THER SNGON PO ("Blue Annals") records that as a five-year-old boy, he met O RGYAN PA RIN CHEN DPAL, his principal guru, who recognized the young boy as the reincarnation of his teacher KARMA PAKSHI when the child climbed up on a high seat that had been prepared for O rgyan pa Rin chen dpal and declared himself to have been Karma Pakshi in his previous life (this was before the institution of incarnate lamas was established in Tibet). Rang 'byung rdo rje trained first at MTSHUR PHU monastery. He also studied with teachers from GSANG PHU and JO NANG. His collected works include explanations of the major YOGĀCĀRA and MADHYAMAKA treatises and commentaries and rituals based on the CAKRASAMVARA, HEVAJRA, GUHYASAMĀJA, and KĀLACAKRA tantras. According to his traditional biographies, while in retreat, he had a vision of VIMALAMITRA and PADMASAMBHAVA in which he received the complete transmission of the Rnying ma tantras. He received instructions on the RDZOGS CHEN doctrine from Rig 'dzin Gzhon nu rgyal po, and wrote short works on rdzogs chen. He also discovered a treasure text (GTER MA), known as the Karma snying thig. He was a renowned poet and wrote important works on GCOD practice. The third Karma pa was also a skilled physician and astrologer. He developed a new system of astrology known as Mtshur rtsi, or "Mtshur phu astrology," on the basis of which a new Tibetan calendar was formulated and promulgated at Mtshur phu monastery. In 1331, he was summoned to the court of the Yuan emperor Tugh Temür, but stopped enroute when he correctly interpreted portents that the emperor had died. He later traveled to the Mongol capital of Daidu (modern Beijing) during the reign of Togon Temür, for whom he procured an elixir of long life. After returning to Tibet, he was summoned once again to the Mongol capital, where he passed away while meditating in a three-dimensional CakrasaMvara MAndALA. Rang 'byung rdo rje's writings include the influential tantric work Zab mo nang don ("Profound Inner Meaning"). It is said that his image appeared in the full moon on the evening of his death, and illustrations of the third Karma pa often portray him seated amid a lunar disk.

rang stong gzhan stong. (rang dong shen dong). In Tibetan, lit. "self-emptiness, other-emptiness," an important and persistent philosophical debate in Tibetan Buddhism, dating to the fifteenth century. The opposing factions are the DGE LUGS sect on one side and the JO NANG sect on the other, with support from certain BKA' BRGYUD and RNYING MA authors. The debate concerns issues fundamental to their understanding of what constituted enlightenment and the path to its achievement. For the Dge lugs, the most profound of all Buddhist doctrines is that all phenomena in the universe are empty of an intrinsic nature (SVABHĀVA), that the constituents of experience are not naturally endowed with a defining characteristic. Emptiness (suNYATĀ) for the Dge lugs is the fact that phenomena do not exist in and of themselves; emptiness is instead the lack of intrinsic existence. The Dge lugs then, are proponents of "self-emptiness," and argue that the hypostatized factor that an object in reality lacks (i.e., is empty of) is wrongly believed by the unenlightened to be intrinsic to the object itself. Everything, from physical forms to the omniscient mind of the Buddha, is thus equally empty. This emptiness is described by the Dge lugs as a non-affirming or simple negation (PRASAJYAPRATIsEDHA), an absence with nothing else implied in its place. From this perspective, the Dge lugs judge the sutras of the second of the three turnings of the wheel of the dharma as described in the SAMDHINIRMOCANASuTRA, "the dharma wheel of signlessness" (ALAKsAnADHARMACAKRA), to contain the definitive expression of the Buddha's most profound intention. By contrast, the Jo nang look for inspiration to the third turning of the wheel, "the dharma wheel for ascertaining the ultimate" (PARAMĀRTHAVINIsCAYADHARMACAKRA; see also *SUVIBHAKTADHARMACAKRA), especially to those statements that describe the nonduality of subject and object to be the consummate nature (PARINIsPANNA) and the understanding of that nonduality to be the highest wisdom. They describe this wisdom in substantialist terms, calling it eternal, self-arisen, and truly established. This wisdom consciousness exists autonomously and is thus not empty in the way that emptiness is understood by the Dge lugs. Instead, this wisdom consciousness is empty in the sense that it is devoid of all afflictions and conventional factors, which are extraneous to its true nature. Hence, the Jo nang speak of the "emptiness of the other," the absence of extrinsic and extraneous qualities. The Dge lugs cannot deny the presence of statements in the MAHĀYĀNA canon that speak of the TATHĀGATAGARBHA as permanent, pure, blissful, and endowed with self. But they argue that such statements are provisional, another example of the Buddha's expedient means of attracting to the faith those who find such a description appealing. The true tathāgatagarbha, they claim, is the emptiness of the mind; it is this factor, present in all sentient beings, that offers the possibility of transformation into an enlightened buddha. This is the view of CANDRAKĪRTI, they say, whom they regard as the supreme interpreter of the doctrine of emptiness. The Jo nang do not deny that this is Candrakīrti's view, but they deny Candrakīrti the rank of premier expositor of NĀGĀRJUNA's thought. For them, Candrakīrti teaches an emptiness which is a mere negation of true existence, which they equate with nihilism, or else a preliminary stage of negation that precedes an understanding of the highest wisdom. Nor do they deny that such an exposition is also to be found in Nāgārjuna's philosophical corpus (YUKTIKĀYA). But those texts, they claim, do not represent Nāgārjuna's final view, which is expressed instead in his devotional corpus (STAVAKĀYA), notably the DHARMADHĀTUSTAVA ("Praise of the Sphere of Reality"), with its more positive exposition of the nature of reality. Those who would deny its ultimate existence, such as Candrakīrti, they classify as "one-sided Madhyamakas" (phyogs gcig pa'i dbu ma pa) as opposed to the "great Madhyamakas" (DBU MA PA CHEN PO), among whom they would include the Nāgārjuna of the four hymns and ĀRYADEVA, as well as thinkers whom the Dge lugs classify as YOGĀCĀRA or SVĀTANTRIKA-MADHYAMAKA: e.g., ASAnGA, VASUBANDHU, MAITREYANĀTHA, and sĀNTARAKsITA. The Dge lugs attempt to demonstrate that the nature of reality praised by Nāgārjuna in his hymns is the same emptiness that he describes in his philosophical writings.

Rasa ::: Aesthetics is concerned mainly with beauty, but more generally with rasa, the response of the mind, the vital feeling and the sense to a certain "taste" in things which often may be but is not necessarily a spiritual feeling.
   Ref: CWSA Vol. 27, Page: 27


Rasamasa controls the sign of Pisces in the zodiac.

Rasamasa —with Vocabiel, a brother spirit,

RASA. ::: Sap or essence of a thing and its taste ; the delight in things.

Rasa: (Skr. sap, juice, nectar, essence, flavor, etc.) In Indian aesthetics (q.v.), pleasure, enjoyment, love, charm, grace, elegance, taste, emotion, sentiment, spirit, passion, beauty etc. -- K.F.L.

rasāyatana. (T. ro'i skye mched; C. weichu; J. misho; K. mich'o 味處). In Sanskrit, "taste sense field" or "gustatory sense field," i.e., tastes or flavors (RASA) as they occur in the list of twelve sense faculties or "bases of cognition" (ĀYATANA), which serve as the bases for the production of consciousness, viz., the six internal sense bases, or sense organs (eye, ear, nose, tongue, body, and mind), and the six external sense objects (forms, sounds, odors, tastes, tangible objects, and mental phenomena). In the case of taste, the contact (SPARsA) between the gustatory sense organ (JIHVENDRIYA) and its gustatory sensory object leads to gustatory consciousness (JIHVĀVIJNĀNA).

Ras chung snyan brgyud. (Rechung nyengyu). In Tibetan, lit. "the aural lineage of Ras chung," referring to RAS CHUNG PA RDO RJE GRAGS, a principal disciple of the BKA' BRGYUD founder MI LA RAS PA. Although called an aural lineage (snyan brgyud), it comprises a system of liturgies, ritual manuals, and tantric commentaries, together with their oral instructions, based primarily on the CAKRASAMVARATANTRA. The lineage began with the LUS MED MKHA' 'GRO SNYAN RGYUD CHOS SKOR DGU ("nine aural lineage cycles of the formless dĀKINĪs") promulgated by the Indian adepts TILOPA and NĀROPA. Five of these were subsequently transmitted in Tibet by the Bka' brgyud founders MAR PA CHOS KYI BLO GROS and Mi la ras pa. Ras chung pa received them from Mi la ras pa and then journeyed to India, where he obtained the remaining instructions from the tantric master TI PHU PA. The system of teachings that Ras chung pa subsequently passed on became known as the "aural lineage of Ras chung pa." The fifteenth-century YOGIN GTSANG SMYON HERUKA later codified these teachings, together with those of Mi la ras pa's other prominent disciples, SGAM PO PA BSOD NAM RIN CHEN and Ngan rdzongs ras pa (Ngendzong Repa), into the SNYAN BRGYUD SKOR GSUM ("three cycles of aural lineage instructions").

Ras ::: see rasa

ratha ::: (coined from the same root as ratha) the highest intensity ratha ... of each of the three states of bhukti called rasagrahan.a, bhoga and ananda.

rati ::: pleasure; the lowest intensity of each of the three states of bhukti called rasagrahan.a, bhoga and ananda.

ratna ::: (in the Veda) delight; the second intensity of each of the three states of bhukti called rasagrahan.a, bhoga and ananda.

Ratnameghasutra. (T. Dkon mchog sprin gyi mdo; C. Baoyun jing; J. Houngyo; K. Poun kyong 寶雲經). The "Cloud of Jewels," an important Mahāyāna sutra, perhaps dating from the third or fourth century CE. It opens with the Buddha residing on the peak of Mt. Gayāsīrsa when the BODHISATTVA SARVANĪVARAnAVIsKAMBHĪ approaches the Buddha and asks him more than one hundred questions ranging from the practice of giving (DĀNA) and the six perfections (PĀRAMITĀ) to the means of swiftly attaining ANUTTARASAMYAKSAMBODHI. The Buddha's answers to these questions are widely quoted in later sĀSTRAS. In China, during the Ming dynasty, there were charges that interpolations were made in the sutra during the reign of the Empress WU ZETIAN in order to legitimize her usurpation of the throne. These interpolations included the story of Prince Moonlight (Yueguang tongzi), who received a prediction from the Buddha that he would later become a great queen in China.

rdzogs chen. (dzokchen). A Tibetan philosophical and meditative tradition, usually rendered in English as "great perfection" or "great completion." Developed and maintained chiefly within the RNYING MA sect, rdzogs chen has also been embraced to varying degrees by other Tibetan Buddhist sects. The non-Buddhist Tibetan BON religion also upholds a rdzogs chen tradition. According to legend, the primordial buddha SAMANTABHADRA (T. Kun tu bzang po) taught rdzogs chen to the buddha VAJRASATTVA, who transmitted it to the first human lineage holder, DGA' RAB RDO RJE. From him, rdzogs chen was passed to MANJUsRĪMITRA and thence to sRĪSIMHA, and the Tibetan translator Ba gor VAIROCANA, who had been sent to India by the eighth-century Tibetan King KHRI SRONG LDE BTSAN. In addition to Vairocana, the semimythical figures of VIMALAMITRA and PADMASAMBHAVA are considered to be foundational teachers of rdzogs chen in Tibet. Historically, rdzogs chen appears to have been a Tibetan innovation, drawing on multiple influences, including both non-Buddhist native Tibetan beliefs and Chinese and Indian Buddhist teachings. The term was likely taken from the GUHYAGARBHATANTRA. In the creation and completion stages of tantric practice, one first generates a visualization of a deity and its MAndALA and next dissolves these into oneself, merging oneself with the deity. In the Guhyagarbha and certain other tantras, this is followed with a stage known as rdzogs chen, in which one rests in the unelaborated natural state of one's own innately luminous and pure mind. In the Rnying ma sect's nine-vehicle (T. THEG PA DGU) doxography of the Buddhist teachings, these three stages constitute the final three vehicles: the MAHĀYOGA, ANUYOGA, and ATIYOGA, or rdzogs chen. The rdzogs chen literature is traditionally divided into three categories, which roughly trace the historical development of the doctrine and practices: the mind class (SEMS SDE), space class (KLONG SDE), and instruction class (MAN NGAG SDE). These are collected in a group of texts called the RNYING MA'I RGYUD 'BUM ("treasury of Rnying ma tantras"). The mind class is comprised largely of texts attributed to Vairocana, including the so-called eighteen tantras and the KUN BYED RGYAL PO. They set forth a doctrine of primordial purity (ka dag) of mind (sems nyid), which is the basis of all things (kun gzhi). In the natural state, the mind, often referred to as BODHICITTA, is spontaneously aware of itself (rang rig), but through mental discursiveness (rtog pa) it creates delusion ('khrul ba) and thus gives rise to SAMSĀRA. Early rdzogs chen ostensibly rejected all forms of practice, asserting that striving for liberation would simply create more delusion. One is admonished to simply recognize the nature of one's own mind, which is naturally empty (stong pa), luminous ('od gsal ba), and pure. As tantra continued to grow in popularity in Tibet, and new techniques and doctrines were imported from India, a competing strand within rdzogs chen increasingly emphasized meditative practice. The texts of the space class (klong sde) reflect some of this, but it is in the instruction class (man ngag sde), dating from the eleventh to fourteenth centuries, that rdzogs chen fully assimilated tantra. The main texts of this class are the so-called seventeen tantras and the two "seminal heart" collections, the BI MA SNYING THIG ("Seminal Heart of Vimalamitra") and the MKHA' 'GRO SNYING THIG ("Seminal Heart of the dĀKINĪ"). The seventeen tantras and the "Seminal Heart of Vimalamitra" are said to have been taught by Vimalamitra and concealed as "treasure" (GTER MA), to be discovered at a later time. The "Seminal Heart of the dākinī" is said to have been taught by Padmasambhava and concealed as treasure by his consort, YE SHES MTSHO RGYAL. In the fourteenth century, the great scholar KLONG CHEN RAB 'BYAMS PA DRI MED 'OD ZER systematized the multitude of received rdzogs chen literature in his famous MDZOD BDUN ("seven treasuries") and the NGAL GSO SKOR GSUM ("Trilogy on Rest"), largely creating the rdzogs chen teachings as they are known today. With the man ngag sde, the rdzogs chen proponents made full use of the Tibetan innovation of treasure, a means by which later tantric developments were assimilated to the tradition without sacrificing its claim to eighth-century origins. The semilegendary figure of Padmasambhava was increasingly relied upon for this purpose, gradually eclipsing Vairocana and Vimalamitra as the main rdzogs chen founder. In subsequent centuries there have been extensive additions to the rdzogs chen literature, largely by means of the treasure genre, including the KLONG CHEN SNYING THIG of 'JIGS MED GLING PA and the Bar chad kun gsal of MCHOG GYUR GLING PA to name only two. Outside of the Rnying ma sect, the authenticity of these texts is frequently disputed, although there continue to be many adherents to rdzogs chen from other Tibetan Buddhist lineages. Rdzogs chen practitioners are commonly initiated into the teachings with "pointing-out instructions" (sems khrid/ngos sprod) in which a lama introduces the student to the nature of his or her mind. Two main practices known as KHREGS CHOD (breakthrough), in which one cultivates the experience of innate awareness (RIG PA), and THOD RGAL (leap over), elaborate visualizations of external light imagery, preserve the tension between the early admonition against practice and the appropriation of complex tantric techniques and doctrines. Extensive practices engaging the subtle body of psychic channels, winds, and drops (rtsa rlung thig le) further reflect the later tantric developments in rdzogs chen. ¶ RDZOGS CHEN is also used as the short name for one of the largest and most active Tibetan monasteries, belonging to the Rnying ma sect of Tibetan Buddhism, located in the eastern Tibetan region of Khams; the monastery's full name is Rus dam bsam gtan o rgyan chos gling (Rudam Samten Orgyan Choling). It is a major center for both academic study and meditation retreat according to Rnying ma doctrine. At its peak, the monastery housed over one thousand monks and sustained more than two hundred branches throughout central and eastern Tibet. The institution was founded in 1684-1685 by the first RDZOGS CHEN INCARNATION Padma rig 'dzin (Pema Rikdzin) with the support of the fifth DALAI LAMA NGAG DBANG BLO BZANG RGYA MTSHO. Important meditation hermitages in the area include those of MDO MKHYEN RTSE YE SHE RDO RJE and MI PHAM 'JAM DBYANGS RNAM RGYAL RGYA MTSHO. DPAL SPRUL RIN PO CHE passed many years in retreat there, during which time he composed his great exposition of the preliminary practices of Tibetan Buddhism entitled the KUN BZANG BLA MA'I ZHAL LUNG ("Words of My Perfect Teacher").

recorded in Baruch III, Sarasael is the angel God

resides in the 7th Heaven and is 500 parasangs tall.

Rgyud smad. (Gyume). In Tibetan, the "Lower Tantric College," one of two major DGE LUGS centers for tantric studies in LHA SA, together with RGYUD STOD. Prior to his death in 1419, TSONG KHA PA is said to have enjoined his disciple Rgyud Shes rab seng ge (1383-1445) to spread his tantric teachings. In 1432, he founded a tantric college in the Sras district of Gtsang called the Sras rgyud grwa tshang (the "tantric college of Se") or as the Gtsang stod rgyud (the "tantric [college] of Tsang, the upper [region]"). The term stod, lit. "upper" in Tibetan, also means "western" and is sometimes used as a synonym for Gtsang, the province to the west of the central province of Dbus. In 1433, he returned to Lha sa and founded Rgyud smad grwa tshang, or the "tantric college of lower [Tibet])." The term smad, literally "lower," also means "eastern." In 1474, Shes rab seng ge's disciple, Rgyud chen Kun dga' don grub, left Rgyud smad when he was not selected as the abbot. He later founded another tantric college in Lha sa, which he called Dbus stod 'Jam dpal gling grwa tshang or the "Garden of MANJUsRĪ College of Upper Ü." It eventually became known as Rgyud stod. Shortly after its founding, it moved to the RA MO CHE temple in Lha sa. Hence, the the standard translations "lower tantric college" for Rgyud smad and "upper tantric college" for Rgyud stod have no implications of hierarchy or curricular gradation, but refer simply to the geographical locations of the institutions from which they evolved. Monks from the three great Dge lugs monasteries of Lha sa ('BRAS SPUNGS, SE RA, and DGA' LDAN) who had achieved one of the two higher DGE BSHES (geshe) degrees-the lha ram pa or the tshogs ram pa-could enter as a dge bshes bka' ram pa. Which of the two tantric colleges a geshe attended was determined by his birthplace. The curriculum of both of the tantric colleges involved study of the GUHYASAMĀJATANTRA, CAKRASAMVARATANTRA, and VAJRABHAIRAVATANTRA systems. These were studied through memorization and debate, as in the sutra colleges. Monks also received instruction in the performance of ritual, the use of MUDRĀ, the making of images, and the construction of MAndALAs. Monks were also instructed in chanting; the deep chanting that has become famous in the West was taught at both Rgyud smad and Rgyud stod. Those who successfully completed the curriculum received the title of dge bshes sngags ram pa. Monks who were not already geshes of one of three monasteries could enter one of the tantric colleges to receive ritual instruction but received a lower degree, called bskyed rim pa. Becoming a dge bshes sngags ram pa and especially an officer of one of the tantric colleges (dge bskos or disciplinarian; bla ma dbu mdzad, lit. "chant leader" but the vice abbot; and mkhan po or abbot) was essential for holding positions of authority in the Dge lugs hierarchy. For example, the DGA' LDAN KHRI PA was required to be a former abbot of Rgyud smad or Rgyud stod. After the Chinese takeover of Tibet, Rgyud smad and Rgyud stod were reestablished in exile in India.

Rma chen spom ra. (Machen Pomra). A Tibetan mountain god whose seat is A MYES RMA CHEN in A mdo (today the Qinghai region of China) where he is the chief SA BDAG, or "earth lord," of the region. As with other pre-Buddhist Tibetan mountain deities, Rma chen spom ra was converted to Buddhism, in his case by PADMASAMBHAVA. The mountain was inserted into a Tibetan list of the twenty-four PĪtHA from the CAKRASAMVARATANTRA, and is further understood to be a three-dimensional CakrasaMvara MAndALA. The cult of Rma chen spom ra was introduced to central Tibet by TSONG KHA PA, a native of the region; he made Rma chen spom ra the chief DHARMAPĀLA of DGA' LDAN monastery. That monastery used to remove his image from the monastery each night to a small shrine outside the walls: since the god is a layman and has a female consort, by the rules of the monastery he cannot sleep inside the walls. Later the practice was replaced with a formal daily request to the god to leave the monastery for the night. He is golden, wears a golden cuirass and a helmet, carries a lance with a flag, a sack made from the skin of a mongoose and rides a white horse. His consort is the sman mo (menmo) Gung sman ma (Gungmenma). The DGE LUGS sect considers the god Phying dkar ba (Chingkarwa) to be an emanation of Rma chen spom ra.

rudrasakti(Rudrashakti) ::: [power of Rudra].

sabda. (P. sadda; T. sgra; C. sheng; J. sho; K. song 聲). In Sanskrit, "sound," or "auditory object"; the object of the auditory consciousness and one of the five sense objects, the others being visible forms (RuPA), smells (GANDHA), tastes (RASA), and tangible objects (SPARsA). Sounds are the object of the auditory sense organ (sROTRENDRIYA) and lead to the production of auditory consciousness (sROTRAVIJNĀNA). In the ABHIDHARMAKOsABHĀsYA, sounds are categorized according to their source, being divided into those sounds caused by elements conjoined with consciousness (upāttamahābhutahetuka) and sounds caused by elements not conjoined with consciousness (anupāttamahābhutahetuka). The former would include the sound made by the clapping of hands or the vocalization of a human or animal; the latter would include sounds in the natural world, such as the sound of wind or water. Each of these two types is further subdivided into the articulate (sattvākhya, lit. "sentient being's utterance") and the inarticulate (asattvākhya, lit. "not a sentient being's utterance") based on whether or not the sound communicates meaning to a sentient being. Each of these is further divided into two types, the pleasant (yasa) and the unpleasant (ayasa), yielding eight types of sound. The nature of sound is an important point of controversy between Buddhist and Hindu thinkers in India, with Buddhists arguing that sound is impermanent (ANITYA) against MīmāMsakas who claim that the Vedas are eternal sounds that are not created by persons (apauruseya) and hence permanent.

Sarasael (Sarea, Sarga, Saraqael)—a seraph; one

sāgaramudrāsamādhi. (T. rgya mtsho'i phyag rgya ting nge 'dzin; C. haiyin sanmei; J. kaiin zanmai; K. haein sammae 海印三昧). In Sanskrit, "ocean-seal samādhi," or "oceanic reflection samādhi," a concentration (SAMĀDHI) often treated as emblematic of the HUAYAN ZONG's most profound vision of reality. "Ocean seal" is a metaphor for the pure and still mind that is able to reflect all phenomena while remaining perpetually unaffected by them, just as the calm surface of the ocean is said to be able to reflect all the phenomena in the universe. The AVATAMSAKASuTRA includes the sāgaramudrāsamādhi among several other types of samādhi that it mentions. In the "SAMANTABHADRA Bodhisattva Chapter" (Puxian pusa pin), the first of the ten samādhis taught by this bodhisattva is the sāgaramudrāsamādhi; through its power, a buddha is enabled to perform all types of works to rescue sentient beings, such as manifesting himself as a buddha and using numerous skillful means (UPĀYA) in order to guide them. The "Ten Bhumis Chapter" (Shidi pin) mentions sāgaramudrāsamādhi as one of a list of eleven samādhis that occur to bodhisattvas who reach the tenth stage (BHuMI) on the path. The "Manifestation of the Tathāgata Chapter" (Rulai chuxian pin) says that sāgaramudrāsamādhi is so named because it is like the ocean that reflects the images of all sentient beings. In the Huayan scholastic tradition, sāgaramudrāsamādhi is raised to pride of place within its doctrinal system. Sāgaramudrāsamādhi is considered to be the generic samādhi (zongding) that the Buddha enters prior to beginning the elucidation of the various assemblies recounted in the AvataMsakasutra itself; the seven subsequent samādhis that the Buddha enters as he preaches the teaching of the AvataMsakasutra at each of the eight assemblies (hui) (there is no samādhi prior to the second assembly) are regarded instead as specific types of samādhis (bieding). ZHIYAN (602-668), the second Huayan patriarch, associated sāgaramudrāsamādhi with the teaching of one vehicle (EKAYĀNA) in his KONGMU ZHANG, where he says that the common and distinctive teachings of the one vehicle (yisheng tongbie) are revealed through the "ocean-seal" samādhi, while the teachings of the three vehicles (TRIYĀNA) are revealed through the subsequently obtained wisdom (C. houde zhi; S. PṚstHALABDHAJNĀNA). FAZANG (643-712), the third Huayan patriarch, following his teacher Zhiyan's view, declares at the beginning of his HUAYAN WUJIAO ZHANG that his work was written to reveal the teaching of the one vehicle that the Buddha attained through the "ocean-seal" samādhi. It is Fazang who formalized the place of the sāgaramudrāsamādhi in the Huayan doctrinal system. In his XIU HUAYAN AOZHI WANGJIN HUANYUAN GUAN, Fazang noted that the "ocean-seal" samādhi and the Huayan samādhi (C. Huayan sanmei), both mentioned among the ten samādhis in the Xianshou pusa pin of the AvataMsakasutra, correspond to the "two functions" (er YONG): respectively, to the "function of the eternal abiding of all things reflected on the ocean" (haiyin senluo changzhu yong) and the "function of the autonomy of the perfect luminosity of the DHARMADHĀTU" (fajie yuanming zizai yong). Both of these types of functions were subordinated to the highest category of the "one essence" (yi TI), viz., the "essence of the pure and perfect luminosity of the self-nature" (zixing qingjing yuanming ti). The first type of function, which was associated with the sāgaramudrāsamādhi, was the perfect reflection of all things in the pure mind; like the unsullied ocean that reflected all phenomena, it also was freed from any type of delusion or falsity. For Fazang, "ocean seal" (haiyin) was interpreted to mean the "original enlightenment of true thusness" (ZHENRU BENJUE) by correlating this function with the "ocean of the thusness of the dharma nature" (faxing zhenru hai) as mentioned in the DASHENG QIXIN LUN ("Awakening of Faith According to the Mahāyāna"). In Fazang's Huayan youxin fajie ji, the "ocean-seal" samādhi was classified as a cause and the Huayan samādhi as a fruition. Elsewhere, in his HUAYAN JING TANXUAN JI, Fazang additionally differentiates the ocean-seal samādhi itself into two phases of cause and fruition: the stage of the cause is attained by the bodhisattva SAMANTABHADRA at the tenth of the ten stages of faith, while the fruition stage corresponds to the samādhi of a tathāgata. In addition to its importance in the AvataMsakasutra and the Huayan school, there are several other sutras that also mention the sāgaramudrāsamādhi. For example, the MAHĀPRAJNĀPĀRAMITĀSuTRA says that the sāgaramudrāsamādhi incorporates all other samādhis. The RATNAKutASuTRA states that one should abide in sāgaramudrāsamādhi in order to obtain complete, perfect enlightenment (ANUTTARASAMYAKSAMBODHI). Finally, the MAHĀSAMNIPĀTASuTRA says that one can see all sentient beings' mental functions and gain the knowledge of all teaching devices (DHARMAPARYĀYA) through the sāgaramudrāsamādhi.

SakkapaNhasutta. (C. Di-Shi suowen jing; J. Taishaku shomongyo; K. Che-Sok somun kyong 帝釋所問經). In Pāli, "Discourse on Sakka's Question"; the twenty-first sutta of the DĪGHANIKĀYA (there are three separate recensions in Chinese: an independent sutra translated by FAXIAN; a SARVĀSTIVĀDA recension that appears as the fourteenth sutra in the Chinese translation of the DĪRGHĀGAMA; and a SARVĀSTIVĀDA recension that appears as the 134th sutra in the Chinese translation of the MADHYAMĀGAMA). The sutra is preached to sAKRA (P. Sakka), king of the gods, by the Buddha while he dwelt in the Indrasāla [alt. Indrasaila] (P. Indasāla) cave near RĀJAGṚHA. sakra inquired as to why there was so much hostility between beings. The Buddha explained that hostility is caused by selfishness; that selfishness is caused by likes and dislikes, and that likes and dislikes, in turn, are caused by desire. Desire is produced by mental preoccupations (S. VITARKA, P. vitakka) born from the proliferation of concepts (S. PRAPANCA, P. papaNca) that gives rise to SAMSĀRA. The Buddha then delineates a practice to be pursued and a practice to be abandoned for subduing this conceptual proliferation.

sakti (para shakti; parâshakti) ::: higher Power; the supreme sakti of paramesvara, "the transcendent Mother" of whom the mahasakti on each plane is "the cosmic Soul and Personality" (same as adya parasakti).

sakti (shakti) ::: force, power; capacity; the supreme Power, the "Consakti scious Force which forms and moves the worlds", the goddess (devi) who is "the self-existent, self-cognitive Power of the Lord" (isvara, deva, purus.a), expressing herself in the workings of prakr.ti; any of the various aspects of this Power, particularly Mahesvari, Mahakali,Mahalaks.mi or Mahasarasvati, each corresponding to an aspect of the fourfold isvara and manifesting in an element of devibhava or daivi prakr.ti; the soul-power which reveals itself in each element of the fourfold personality (brahmasakti, ks.atrasakti, vaisyasakti and sūdrasakti); "the right condition of the powers of the intelligence, heart, vital mind and body", the second member of the sakti catus.t.aya; the sakti catus.t.aya as a whole; spiritual force acting through the siddhis of power. sakti catustaya sakti

sama rasa ::: equal rasa; the equal perception by the mind of "the true essential taste of the inalienable delight of existence in all its variations" which comes by the elimination of "imperfect and perverse forms" of rasa when one can "be entirely disinterested in mind and heart and impose that detachment on the nervous being", the first stage of active / positive samata.

samarasa. ::: homogeneity; even essence; equilibrium; the process of bringing the body into a harmonious resonance with Reality

Samādhirājasutra. (T. Ting nge 'dzin rgyal po'i mdo; C. Yuedeng sanmei jing; J. Gatttosanmaikyo; K. Woltŭng sammae kyong 月燈三昧經). The "King of Concentrations Sutra"; an important MAHĀYĀNA sutra (also known as the Candrapradīpa) composed in India, probably in the fourth century CE, with the text undergoing expansion in subsequent centuries. The text is a mixture of poetry and prose, with the verse sections considered to be the older stratum. The sutra is cited often in Mahāyāna sāstras, especially in the PRASANNAPADĀ of CANDRAKĪRTI and the sIKsĀSAMUCCAYA of sĀNTIDEVA, and is also one of the foundational texts, or "nine dharmas" (see NAVAGRANTHA), of Newar Buddhism. A Chinese translation of the complete sutra was made by Narendrayasas in 557. The Samādhirājasutra is composed of a dialogue between the Buddha and the bodhisattva Candragupta, and sets forth various forms of meditation for bodhisattvas, including the "king of concentrations" of the sutra's title, which is defined as "the proclamation that all phenomena are of the same nature." The sutra does not offer instructions for developing these samādhis, but instead provides their names and recounts their wondrous effects. The sutra describes at some length the two (rather than three) bodies of a buddha, the DHARMAKĀYA and the RuPAKĀYA, with the former identified with the "mind of clear light" (PRABHĀSVARACITTA).

samādhi. (T. ting nge 'dzin; C. sanmei; J. sanmai; K. sammae 三昧). In Sanskrit, "concentration"; a foundational term in Buddhist meditation theory and practice, which is related to the ability to establish and maintain one-pointedness of mind (CITTAIKĀGRATĀ) on a specific object of concentration. The SARVĀSTIVĀDA school of ABHIDHARMA and the YOGĀCĀRA school list samādhi as one of a group of five determinative (VINIYATA) mental concomitants (CAITTA), whose function is to aid the mind in ascertaining or determining its object. The five are: aspiration or desire-to-act (CHANDA), determination or resolve (ADHIMOKsA), mindfulness or memory (SMṚTI), concentration (SAMĀDHI), and wisdom or cognition (PRAJNĀ). According to ASAnGA, these five determinative factors accompany wholesome (KUsALA) states of mind, so that if one is present, all are present. In Pāli ABHIDHAMMA materials, concentration is one of the seven mental factors (P. cetasika) that are invariably associated with all moments of consciousness (CITTA, MANAS, or VIJNĀNA). Concentration occurs in many other important lists, including as the second of the three trainings (TRIsIKsĀ), and the last stage of the eightfold path (ĀRYĀstĀnGAMĀRGA). Concentration is distinguished according to the quality of consciousness with which it is associated. "Right concentration" (SAMYAKSAMĀDHI, P. sammāsamādhi) is concentration associated with wholesome (KUsALA) states of mind; it is listed not only as one element of the eightfold noble path, but as one of seven factors of enlightenment (BODHYAnGA, P. bojjhanga), and, in an incipient state, as one of five powers (BALA) and the other categories that together make up the BODHIPĀKsIKADHARMA (thirty-seven factors associated with awakening). High degrees of concentration can be developed through the practice of meditation (BHĀVANĀ). Concentration of such intensity receives the designation "one-pointedness of mind" (cittaikāgratā). When developed to its greatest degree, mental concentration leads to the attainment of DHYĀNA (P. JHĀNA), "meditative absorption." It is also the main mental factor defining the four magical powers (ṚDDHIPĀDA, P. iddhipāda). The cultivation of concentration for the purposes of attaining meditative absorption is called tranquillity meditation (sAMATHA). In the Pāli abhidhamma, three levels of concentration are distinguished in the practice of tranquility meditation: (1) preparatory concentration (PARIKAMMASAMĀDHI) is the degree of concentration established at the beginning of a meditation session. (2) Access or neighborhood concentration (UPACĀRASAMĀDHI) arises just as the practitioner approaches but does not enter the first level of meditative absorption; it is marked by the appearance in the mind of a representational image (PAtIBHĀGANIMITTA) of the object of meditation. (3) "Attainment" or "full" concentration (APPANĀSAMĀDHI) is the level of concentration that arises upon entering and abiding in any of the meditative absorptions. In the MAHĀYĀNA sutras, a wide variety of profound meditative experiences are described as samādhis and are mentioned as attainments of the bodhisattva as he ascends through the ten BHuMIs. The MAHĀVYUTPATTI lists 118 different samādhis that are specified by name in the PRAJNĀPĀRAMITĀ sutras, such as candravimala (stainless moon), sarvadharmodgata (surpassing all dharmas), siMhavikrīdita (lion's play), anantaprabha (limitless light), and acala (immovable). See also YATHĀBHuTAJNĀNADARsANA.

sāmantaka. (T. nyer bsdogs; C. jinfen; J. gonbun; K. kŭnbun 近分). In Sanskrit, "preparation," "neighboring state"; according to the YOGĀCĀRABHuMI and the ABHIDHARMASAMUCCAYA, each of the four concentrations (DHYĀNA) and attainments (SAMĀPATTI) has two parts: maula (fundamental state) and sāmantaka (a neighboring part that is preparatory to that fundamental state). The fundamental state is sAMATHA (serenity, calmness) and the sāmantaka (preparation) is included under the heading of VIPAsYANĀ (insight). Six or seven types of attentions (MANASKĀRA) are listed as preparations for the attainment of the first dhyāna. These include attention that contemplates marks (laksanapratisaMvedīmanaskāra), arises from belief (ādhimoksikamanaskāra), arises from separation (prāvivekyamanaskāra), contemplates joy and withdrawal (ratisaMgrāhakamanaskāra), investigates (mīmāMsakamanaskāra), is a final practice (prayoganistamanaskāra), and leads to the result of the final practice (prayoganistaphalamanaskāra). There are nine impediments (heya) between the fundamental stages of the first and second concentrations (dhyāna), for example. Attention is then paid to the marks of the lower as coarse (audārika) and the higher as delightful (sānta). The first attention identifies the impediments and focuses the mind on removing them; the second brings vigor or energy (VĪRYA); the third, fourth, and six actually counteract the three sets of three impediments; the fifth investigates to see whether the impediments have actually been eliminated. The seventh is the fundamental state. See also UPACĀRASAMĀDHI.

saMbodhi. (T. rdzogs pa'i byang chub; C. zhengjue; J. shogaku; K. chonggak 正覺). In Sanskrit, "complete enlightenment" or "full awakening," a synonym for buddhahood. See ANUTTARASAMYAKSAMBODHI; MAHĀBODHI.

Samika (Sanskrit) Śamīka In the Vishnu-Purana Parasara tells his disciple Maitreya that at the end of the kali yuga Maitreya will teach to Samika the whole of the Purana as it has just been related to him. Hence Samika represents some sage to come in the far future.

saMvara. (P. saMvara; T. sdom pa; C. lüyi/sanbaluo; J. ritsugi/sanbara; K. yurŭi/samballa 律儀/三跋羅). In Sanskrit, "restraint," referring generally to the restraint from unwholesome (AKUsALA) actions (KARMAN) that is engendered by observance of the monastic disciplinary code (PRĀTIMOKsA), the BODHISATTVA precepts, and tantric vows. In the VAIBHĀsIKA school of SARVĀSTIVĀDA ABHIDHARMA, three specific types of restraint (SAMVARA) against unwholesomeness (akusala) are mentioned, which are all associated with "unmanifest material force" or "hidden imprints" (AVIJNAPTIRuPA): (1) the restraint proffered to a monk or nun when he or she accepts the disciplinary rules of the order (PRĀTIMOKsASAMVARA); (2) the restraint that is engendered by mental absorption (dhyānajasaMvara); and (3) the restraint that derives from being free from the contaminants (anāsravasaMvara). The restraint inherent in the disciplinary code (prātimoksasaMvara) creates a special kind of protective force field that helps to dissuade monks and nuns from unwholesome activity, even when they are not consciously aware they are following the precepts or even when they are asleep. This specific type of restraint is what makes a person a monk, since just wearing robes or following an ascetic way of life would not in themselves be sufficient to instill in him the protective power offered by the prātimoksa. The restraint engendered by DHYĀNA (dhyānajasaMvara) refers to the fact that absorption in meditation was thought to confer on the monk protective power against physical harm: the literature abounds with stories of monks who discover tiger tracks all around them after withdrawing from dhyāna, thus suggesting that dhyāna itself was a force that provided a protective shield against accident or injury. Finally, anāsravasaMvara is the restraint that precludes someone who has achieved the extinction of the contaminants (ĀSRAVA)-that is, enlightenment-from committing any action (karman) that would produce a karmic result (VIPĀKA), thus ensuring that their remaining actions in this life do not lead to any additional rebirths. ¶ In MAHĀYĀNA materials, such as the BODHISATTVABHuMI, the first of three types of morality that together codify the moral training of a bodhisattva is called saMvarasīla ("restraining morality"); under this heading is included the different sets of rules for BHIKsU, BHIKsUnĪ and so on in the prātimoksa, taken as a whole; two further codifications of rules called the morality of collecting wholesome factors (kusalasaMgrāhakasīla), and the morality that acts for the welfare of beings (sattvārthakriyāsīla; see ARTHAKRIYĀ); together, these three constitute the definitive and exhaustive explanation of bodhisattva morality, known as TRISAMVARA, the "three restraints" or "triple code." The original meaning of saMvara as "restraint" remains central in the Bodhisattvabhumi's account, but the text expands the scope of morality (sIKsĀPADA) widely, incorporating all altruistic acts under the rubric of skillful means employed for the sake of others, in essence formulating a code for bodhisattvas who are committed to acting like buddhas. In Indian and Tibetan tantra, the meaning of trisaMvara undergoes yet further expansion. Each of the five buddha KULA (in one list AKsOBHYA, VAIROCANA, RATNASAMBHAVA, AMITĀBHA, and AMOGHASIDDHI) has a vowed morality, called SAMAYA. This tantric code is the third of the three codes, the other two being the prātimoksa codes and the Bodhisattvabhumi's code for bodhisattvas. These three, then, are called the prātimoksasaMvara, the bodhisattvasaMvara, and the guhyamantrasaMvara ("secret mantra vows") (see SDOM GSUM RAB DBYE). ¶ In tantric literature, saMvara also has the sense of "union," a meaning that is conveyed in the proper name of (CAKRA)SAMVARA (see also HERUKA), a principal deity of the VAJRAYĀNA ANUTTARAYOGATANTRA tradition. A god named SaMvara appears in the Ṛg Veda as an enemy of the gods who hoarded the precious soma (the divine nectar) and kept it from INDRA, who eventually destroyed SaMvara's mountain fortress. The myth suggests the possibility that SaMvara or CakrasaMvara began his existence as a pre-Vedic Indian deity preserved in Buddhist tantra in a subordinated position. With his adoption into the Buddhist pantheon, SaMvara (likely the Buddhist version of siva) himself vanquishes the Vedic god-he is commonly depicted trampling BHAIRAVA (siva) and/or his consort. Alternate Indian names for him include sambara and Paramasukha CakrasaMvara. The Tibetan Bde mchog, or "supreme bliss," is a translation of paramasukha. Tantric cycles connected to SaMvara were introduced to Tibet by the translator MAR PA in the eleventh century CE. He is said to reside at the mountain of TSHA RI in Rdza yul, southern Tibet, as well as in the Bde mchog pho brang on Mount KAILĀSA, where the nearby Lake Manasarovar is sacred to him. His consort is VAJRAVĀRĀHĪ.

saMvṛti. (P. sammuti; T. kun rdzob; C. shisu/su; J. sezoku/zoku; K. sesok/sok 世俗/俗). In Sanskrit, "conventional" or "relative"; a term used to designate the phenomena, concepts, and understanding associated with unenlightened, ordinary beings (PṚTHAGJANA). SaMvṛti is akin to the Sanskrit term LAUKIKA (mundane), in that both are used to indicate worldly things or unenlightened views, and is typically contrasted with PARAMĀRTHA, meaning "ultimate" or "absolute." In Sanskrit the term carries the connotation of "covering, concealing," implying that the independent reality apparently possessed by ordinary phenomena may seem vivid and convincing, but is in fact ultimately illusory and unreal. Much analysis and debate has occurred within the various philosophical schools regarding the questions of if, how, and in what way saMvṛti or conventional phenomena exist. For example, in his PRASANNAPADĀ, the seventh-century scholar CANDRAKĪRTI lists the following three characteristics of saMvṛti. First, they conceal reality (avacchādana). Second, they are mutually dependent (anyonyasamāsraya), meaning that saMvṛti phenomena are dependent on causes and conditions. Finally, they are concerned with worldly activities or speech (lokavyavahāra). Buddhas and BODHISATTVAs use their understanding of conventional reality to help them convey the DHARMA to ordinary beings and lead them away from suffering. See also SAMVṚTISATYA.

samyaksaMbodhi. (P. sammāsaMbodhi; T. yang dag par rdzogs pa'i byang chub; C. zhengdengjue; J. shotogaku; K. chongdŭnggak 正等覺). In Sanskrit, "complete, perfect enlightenment." The term, along with its synonym, ANUTTARASAMYAKSAMBODHI, is commonly used to refer to the enlightenment of a buddha, achieved under the BODHI TREE. Different schools of Buddhist thought distinguish this samyaksaMbodhi from the simple enlightenment (BODHI) of an ARHAT in a variety of ways, with the MAHĀYĀNA schools asserting, for example, that a buddha has destroyed both the afflictive obstructions (KLEsĀVARAnA) and the obstacles to omniscience (JNEYĀVARAnA), while an arhat has only destroyed the former.

santih. visalata aikyalipsa atmaprasadah. ::: calm, wideness, the urge santih towards unity, clear and tranquil happiness (the attributes of Mahesvari).

Sarga (Sarasael)—one of the 5 heavenly

Saurāstra. (S). One of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA.

sauropoda ::: n. pl. --> An extinct order of herbivorous dinosaurs having the feet of a saurian type, instead of birdlike, as they are in many dinosaurs. It includes the largest known land animals, belonging to Brontosaurus, Camarasaurus, and allied genera. See Illustration in Appendix.

sīlatraya. (T. tshul khrims gsum; C. sanju jingjie; J. sanju jokai; K. samch'wi chonggye 三聚淨戒). In Sanskrit, "three categories of morality" (also called the trividhāni sīlāni); a categorization of moral codes found typically in YOGĀCĀRA-oriented materials, which also becomes especially popular in indigenous East Asian scriptures (see APOCRYPHA). They are: (1) the restraining precepts, which maintain both the discipline and the deportments (saMvarasīla; see PRĀTIMOKsASAMVARA); (2) the accumulation of wholesome qualities (kusaladharmasaMgrāhaka); and (3) acting for the welfare of beings (SATTVĀRTHAKRIYĀ). Here, the first group corresponds to the preliminary "HĪNAYĀNA" precepts, while the second and third groups are regarded as reflecting a Mahāyāna position on morality. Thus, the three sets of pure precepts are conceived as a comprehensive description of Buddhist views on precepts, which incorporates both hīnayāna and Mahāyāna perspectives into an overarching system; and it is these three categories that are said to constitute the perfection of morality (sĪLAPĀRAMITĀ). These three categories are explained in such Yogācāra materials as the BODHISATTVABHuMI section of the YOGĀCĀRABHuMIsĀSTRA and in the MAHĀYĀNASuTRĀLAMKĀRA and in several East Asian apocryphal scriptures, including the FANWANG JING, PUSA YINGLUO BENYE JING, *VAJRASAMĀDHISuTRA (KŬMGANG SAMMAE KYoNG), and the ZHANCHA SHAN'E YEBAO JING. See also SAMVARA; SDOM GSUM.

Sindu. (S). One of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA.

sngon 'gro. (ngondro). In Tibetan, lit "going before," viz., "preliminary practices"; referring generally to practices that are performed in order to establish proper motivation, to purify the mind of afflictions, and to remove obstacles before embarking upon tantric practice. Although present in all sects of Tibetan Buddhism, "preliminary practices" are especially associated with the RNYING MA and BKA' BRGYUD sects. One of the most famous presentations of the preliminary practices is found in the nineteenth-century Rnying ma pa work, the KUN BZANG BLA MA'I ZHAL LUNG ("Words of My Perfect Teacher") by DPAL SPRUL RIN PO CHE. The text first sets forth the "common preliminaries," reflections on central points of Buddhist doctrine, intended to turn one's interests away from SAMSĀRA and toward the wish for liberation from rebirth. These are: (1) the rarity of human birth, (2) the uncertainty of the time of death, (3) the causes and effect of actions, (4) and the sufferings incumbent in the six rebirth destinies (GATI) of SAMSĀRA. The "uncommon preliminary practice" entail the accumulation of a specific number (usually one hundred thousand) of specific practices. It is these practices that are intended to purify afflictions and remove obstacles. These are (1) recitation of the refuge formula while performing a hundred thousand prostrations; (2) cultivation of BODHICITTA (often in the form of a hundred thousand repetitions of a prayer); (3) recitation of the hundred-syllable MANTRA of the buddha VAJRASATTVA; (4) a hundred thousand offerings of a MAndALA; (5) the practice of GURU yoga through a hundred thousand repetitions of the name mantra of the guru. In each case, these practices are to be performed with the appropriate visualization. In order to complete the uncommon preliminary practices, disciples would often go on retreat, during which they would devote all their time to the practices.

snyan brgyud skor gsum. (nyen gyü kor sum). In Tibetan, "the three aural lineage cycles"; a compilation of instructions based on the CAKRASAMVARATANTRA, including liturgies, ritual manuals, and commentarial works, together with their oral commentaries, stemming from MI LA RAS PA's three principal disciples: RAS CHUNG PA RDO RJE GRAGS, SGAM PO PA BSOD NAMS RIN CHEN, and Ngan rdzongs ras pa Byang chub rgyal po (Ngendzong Repa Jangchup Gyalpo). The three cycles are respectively known as the RAS CHUNG SNYAN BRGYUD, Dwags po snyan brgyud (Dakpo nyengyu), and Ngan rdzongs snyan brgyud (Ngendzong nyengyu). They were later edited and systematized by the adept GTSANG SMYON HERUKA during the fifteenth century. See also SNYAN BRGYUD.

Soho Myocho. [alt. Shuho Myocho] (宗峰妙超) (1282-1337/8). Japanese ZEN master of the RINZAISHu; commonly known as DAITo KOKUSHI (State Preceptor Great Lamp). Daito was a native of Harima in present-day Hyogo prefecture. At the age of ten, he entered the nearby TENDAI monastery of Engyoji on Mt. Shosha and received Tendai training under a VINAYA master Kaishin (d.u.). Later, Daito visited the Zen master KoHo KENNICHI at the monastery of Manjuji in Kamakura and received the full monastic precepts. In 1304, Daito began his training under NANPO JoMYo at the temple of Tokoan in Kyoto. He followed Nanpo to Manjuji in Kyoto and again to KENCHoJI in Kamakura. At Kenchoji, Daito had his first awakening. According to legend, Daito is said to have been instructed by Nanpo to continue his post-SATORI (awakening) cultivation for another twenty years. During this period of training, Daito is said to have once lived as a beggar underneath the Gojo Bridge in Kyoto. Shortly after his teacher's death in 1308, Daito left for Kyoto where he did indeed live for twenty years in a hermitage known as Ungoan. Later, Daito moved to the Murasakino district in Kyoto and established the monastery of DAITOKUJI. In 1323, he was summoned by retired Emperor Hanazono (r. 1308-1318) and was given the title State Preceptor Master Daito. Daito also received the patronage of Emperor Godaigo (r. 1318-1339). They elevated the status of Daitokuji to that of NANZENJI, then the most powerful GOZAN monastery in Kyoto. Daito and Nanpo's lineage, now known as the otokan, came to dominate the Rinzai Zen tradition.

soma-rasa ::: [the juice of the soma plant].

Spa tshab lo tsā ba Nyi ma grags. (Patsap Lotsawa Nyima Drak) (1055-1145?). A Tibetan scholar of the eleventh and twelfth centuries who played a major role in establishing MADHYAMAKA in Tibet during the period of the second dissemination (PHYI DAR) of the dharma, through his translation of the two major works of CANDRAKĪRTI, the PRASANNAPADĀ and the MADHYAMAKĀVATĀRA, as well as ĀRYADEVA's CATUḤsATAKA and Candrakīrti's commentary on it. At any early age, he made the arduous journey to Kashmir, where he spent the next twenty-three years, the first ten studying Sanskrit and the remaining years translating Madhyamaka works into Tibetan in collaboration with Kashmiri panditas at the monastery of Ratnaguptavihāra near modern-day Srinagar. His teachers and collaborators included Mahājana and Suksmajana, the sons of the master Sajjana, as well as Mahāsumati, the disciple of Parahita. He eventually returned to Tibet, accompanied by two Kashmiri scholars: Kanakavarman and Tilakakalasa. Basing himself at the RA MO CHE temple in LHA SA, he taught Madhyamaka and revised earlier translations of Madhyamaka texts. He thus played a major role in introducing what came to be known as *PRĀSAnGIKA into Tibet and providing the texts upon which the distinction between Prāsangika and *SVĀTANTRIKA could be made. Those terms were not names of branches of Madhyamaka school in India; rather, those designations were coined in Tibet, and Spa tshab may have been the first to use the term *Prāsangika (thal 'gyur pa). He is credited by Tibetan historians as making the *Prāsangika perspective, that is, the perspective of Candrakīrti, the prevailing interpretation of the works of Nāgārjuna and Āryadeva in Tibet.

sprastavya. (P. photthabba; T. reg bya; C. suochu; J. shosoku; K. soch'ok 所觸). In Sanskrit, lit., "object of touch," or "tangible object," the object of tactile consciousness (KĀYAVIJNĀNA) and one of the five sense objects (ĀLAMBANA), the others being visible form (RuPA), sounds (sABDA), smells (GANDHA), and tastes (RASA). The contact (SPARsA) between a tangible object and the tactile sense organ (KĀYENDRIYA) produce tactile consciousness (KĀYAVIJNĀNA). In the ABHIDHARMA, tangible objects are divided into two main categories, the physical elements (BHuTA; MAHĀBHuTA) and those derived from the elements (BHAUTIKA). The four elements are earth, water, fire, and wind. The seven tangible objects derived from the elements are smoothness, roughness, heaviness, lightness, cold, hunger, and thirst.

srāmanerasaMvara. (P. sāmanerasaMvara; T. dge tshul gyi sdom pa; C. qince lüyi; J. gonsakuritsugi; K. kŭnch'aek yurŭi 勤策律儀). In Sanskrit, "restraints for novices"; the ten precepts (DAsAsĪLA) that govern the conduct of a sRĀMAnERA (male novice). The ten are framed in terms of training rules (sIKsĀPADA): viz., "I undertake the training rule to abstain from": (1) killing, (2) stealing, (3) sexual activity, (4) false speech, (5) intoxicants, (6) eating after midday, (7) dancing, singing, music, and other unseemly forms of entertainment, (8) using garlands, perfumes, and cosmetics to adorn the body, (9) using high and luxurious beds and couches, (10) handling gold and silver (viz., money). On full- and new-moon days (UPOsADHA), the laity had the option of taking all these precepts except no. 10; nos. 7 and 8 were then combined to give a set of eight precepts to be specially followed on these retreat days (see S. AstĀnGASAMANVĀGATAM UPAVĀSAM) as a sort of temporary renunciation. In the MuLASARVĀSTIVĀDA VINAYA these ten precepts are expanded to thirty-six.

srāmanerikāsaMvara. (T. dge tshul ma'i sdom pa; C. qince lüyi; J. gonsakuritsugi; K. kŭnch'aek yurŭi 勤策律儀). In Sanskrit, the restraints, or precepts, governing the conduct of a sRĀMAnERIKĀ (female novice); see sRĀMAnERASAMVARA.

Sri Aurobindo: "By aesthesis is meant a reaction of the consciousness, mental and vital and even bodily, which receives a certain element in things, something that can be called their taste, Rasa, which, passing through the mind or sense or both, awakes a vital enjoyment of the taste, Bhoga, and this can again awaken us, awaken even the soul in us to something yet deeper and more fundamental than mere pleasure and enjoyment, to some form of the spirit"s delight of existence, Ananda.” *Letters on Savitri

Surasa (Sanskrit) Surasā Sweet, lovely, charming; a daughter of Daksha who became one of Kasyapa’s wives, and was the mother of a thousand multi-headed mystical serpents and dragons.

sūdrasakti (shudrashakti) ::: the soul-power of service which reveals sudrasakti .. itself in the sūdra.

sudrasakti (Shudrashakti) ::: [the soul-power of the sudra]. ::: sudrasaktih [nominative]

suraMgamasamādhisutra. (T. Dpa' bar 'gro ba'i ting nge 'dzin gyi mdo; C. Shoulengyan sanmei jing; J. Shuryogon zanmaikyo; K. Sunŭngom sammae kyong 首楞嚴三昧經). In Sanskrit, "Sutra on the Heroic-March Concentration," an early MAHĀYĀNA sutra that explains how the mind becomes free and unimpeded like the "march" (gama) of a "hero" (sura), who "walks alone, fearlessly, like a lion." (This translated sutra should be distinguished from the *SuRAMGAMASuTRA, a Chinese apocryphal scripture of similar name, which dates from the early eighth century.) The suRAMGAMASAMĀDHI as taught in this sutra not only enables BODHISATTVAs quickly to attain complete, perfect enlightenment (ANUTTARASAMYAKSAMBODHI), but also ensures that even sRĀVAKAs, PRATYEKABUDDHAs, and ARHATs are put on the right path leading to buddhahood. In addition, the suraMgamasamādhi also permits enlightened beings to manifest themselves in any variety of forms in order to teach sentient beings. The sutra also includes descriptions of the world systems of many other buddhas (BUDDHAKsETRA), including ABHIRATI, the buddha-land of AKsOBHYA. Although some fragments of the Sanskrit recension of the suraMgamasamādhisutra have survived, the full sutra is extant only in an early-fifth-century translation attributed to the eminent Kuchean translator KUMĀRAJĪVA, in two rolls, and in an early-ninth-century Tibetan translation.

suraMgamasamādhi. (T. dpa' bar 'gro ba'i ting nge 'dzin; C. shoulengyan sanmei; J. shuryogon zanmai; K. sunŭngom sammae 首楞嚴三昧). In Sanskrit, "heroic-march concentration," a SAMĀDHI in which the mind becomes free and unimpeded like the "march" (gama) of a "hero" (sura), who "walks alone, fearlessly, like a lion." The suraMgama concentration (samādhi) as taught in the suRAMGAMASAMĀDHISuTRA, an eponymously titled early MAHĀYĀNA sutra, not only enables BODHISATTVAs quickly to attain complete, perfect enlightenment (ANUTTARASAMYAKSAMBODHI), but also ensures that even sRĀVAKAs, PRATYEKABUDDHAs, and ARHATs who benightedly believe themselves to be practicing correctly by following the HĪNAYĀNA are actually put on the right path leading to buddhahood. In addition, the suraMgamasamādhi also permits enlightened beings to manifest themselves in any variety of forms in order to teach sentient beings, so that ultimately anyone one encounters in life may in fact be an enlightened buddha. In the Chinese apocryphon, Shoulengyan jing (*suRAMGAMASuTRA), the Buddha also teaches a different version of the suraMgamasamādhi, where the concentration counters the false views about the aggregates (SKANDHA) and consciousness (VIJNĀNA) and reveals the TATHĀGATAGARBHA that is inherent in all sentient beings. This tathāgatagarbha, or buddha-nature, is made manifest through the suraMgamasamādhi, which constitutes the "heroic march" forward toward enlightenment.

Sutrasamuccaya. (T. Mdo kun las btus pa; C. Dasheng baoyaoyi lun; J. Daijo hoyogiron; K. Taesŭng poyoŭi non 大乘寶要義論). In Sanskrit, "Compendium of Sutras," a work attributed to NĀGĀRJUNA, an anthology of passages from sixty-eight mainly MAHĀYĀNA sutras (or collections of sutras), organized under thirteen topics. These topics extol the bodhisattva and the Mahāyāna path, noting the rarity and hence precious nature of such things as faith in the Buddha, great compassion, and laymen who are able to follow the bodhisattva path. The text is of historical interest because it provides evidence of the Mahāyāna sutras that were extant at the time of Nāgārjuna. These include, in addition to various PRAJNĀPĀRAMITĀ sutras, such famous works as the LAnKĀVATĀRASuTRA, the DAsABHuMIKASuTRA, the SADDHARMAPUndARĪKASuTRA, and the VIMALAKĪRTINIRDEsA. The Chinese translation was made by Dharmaraksa (c. 1018-1058) during the Northern Song dynasty and was among the last stratum of Indian materials to be entered into the Chinese Buddhist canon (C. DAZANGJING).

SuTRASAMUCCAYA (no. 1635)

Suvarnadvīpa. (S). One of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA.

svabhāvakāya. (T. ngo bo nyid sku; C. zixing shen; J. jishoshin; K. chasong sin 自性身). In Sanskrit, lit. "self-nature body," the buddha-body in its most elemental nature (also seen written as svābhāvikakāya); one of the four types of buddha bodies (BUDDHAKĀYA) discussed in the BUDDHABHuMIsĀSTRA (Fodijing lun), the MAHĀYĀNASAMGRAHA (She dasheng lun), and the CHENG WEISHI LUN (*VijNaptimātratāsiddhisāstra), along with the "body intended for personal enjoyment" (SVASAMBHOGAKĀYA), the "body intended for others' enjoyment" (PARASAMBHOGAKĀYA), and the "transformation body" (NIRMĀnAKĀYA). This type of buddha-body is functionally equivalent to the DHARMAKĀYA in the two or "three bodies" (TRIKĀYA) schema of buddha-bodies. ¶ A different understanding of the svabhāvakāya derives from the PRAJNĀPĀRAMITĀ literature. The final chapter of the ABHISAMAYĀLAMKĀRA sets forth an elliptic presentation of the svabhāvakāya that led to a number of different later interpretations. According to Ārya VIMUKTISENA's interpretation, the svabhāvakāya is not a separate buddha-body, but rather the ultimate nature (in essence, the emptiness or suNYATĀ) that locates or underpins the other three bodies (the dharmakāya, SAMBHOGAKĀYA, and nirmānakāya). He proposes just three bodies. HARIBHADRA disagrees with this interpretation and proposes four bodies. Strongly influenced by YOGĀCĀRA thought, he privileges the dharmakāya and says it has two parts: a knowledge body (JNĀNADHARMAKĀYA), which is a buddha's omniscient mind, and a svabhāvakāya, which is the ultimate nature of that mind. This controversy was widely debated in Tibet in the commentarial tradition.

svasaMbhogakāya. (C. zi shouyong shen; J. jijuyushin; K. cha suyong sin 自受用身). In Sanskrit, "body intended for personal enjoyment," in contrast to the PARASAMBHOGAKĀYA, "body intended for others' enjoyment"; one of the four types of buddha bodies (BUDDHAKĀYA) discussed in the BUDDHABHuMIsĀSTRA (Fodijing lun), the MAHĀYĀNASAMGRAHA (She dasheng lun), and the CHENG WEISHI LUN (*VijNaptimātratāsiddhisāstra), along with the "self-nature body" (SVABHĀVAKĀYA or svābhāvikakāya), the "body intended for others' enjoyment" (parasaMbhogakāya), and the "transformation body" (NIRMĀnAKĀYA). This fourfold schema of buddha bodies derives from the better-known three bodies of a buddha (TRIKĀYA)-viz., dharma body (DHARMAKĀYA), reward body (SAMBHOGAKĀYA), and transformation body (nirmānakāya)-but distinguishes between these two different types of reward bodies. The svasaMbhogakāya derives from the countless virtues that originate from the accumulation of immeasurable merit and wisdom over a buddha's infinitely-long career; this body is a perfect, pure, eternal and omnipresent material body that enjoys the bliss of dharma (DHARMAPRĪTI) for oneself until the end of time. By contrast, the parasaMbhogakāya is a subtle virtuous body deriving from the cognition of equality (SAMATĀJNĀNA), which resides in a PURE LAND and displays supernatural powers in order to enhance the enjoyment of the dharma by bodhisattvas at all ten stages of the bodhisattva's career (BODHISATTVABHuMI).

svatantraprayoga. (T. rang rgyud kyi sbyor ba). In Sanskrit, "autonomous syllogism." Among the many meanings of the term PRAYOGA is its use as a technical term in logic, where it is often translated as "syllogism," and refers to a statement that contains a subject, a predicate, and a reason. A svatantraprayoga leads to a svatantrānumāna (T. rang rgyud rjes dpag), an "autonomous inference." The correct syllogism that gives rise to correct inference is composed of three parts, the subject (dharmin), the property being proved (SĀDHYADHARMA), and the reason (HETU or LInGA). For example, consider the syllogism "Sound is impermanent because of being produced." The subject is sound, the property being proved is impermanence, and the reason is being produced. For the syllogism to be correct, three relations must exist among its three components: (1) the reason must be a property (DHARMA) of the subject, also called the "position" (PAKsA); (2) there must be a relationship of forward pervasion (anvayavyāpti) between the reason and the property being proved (SĀDHYADHARMA), such that whatever is the reason is necessarily the property being proved, and (3) there must be a relationship of "exclusion" or reverse pervasion (vyatirekavyāpti) between the property being proved and the reason such that whatever is not the property being proved is necessarily not the reason. In the example ("Sound is impermanent because of being produced"), the syllogism is correct because the reason ("being produced") is a quality of the subject ("sound"), there is forward pervasion in the sense that whatever is produced is necessarily impermanent, and there is reverse pervasion because whatever is not impermanent is necessarily not produced. It is generally the case in Indian logic that all elements of the syllogism must be accepted by both parties in a debate (see SAMĀNAPRATIBHĀSADHARMIN); such a syllogism is referred to as an "autonomous syllogism" (svatantrānumāna or svatantraprayoga). In the Madhyamaka school of Indian Buddhist philosophy, there was a controversy over whether such syllogisms were acceptable when a Madhyamaka debated with a proponent of another school. The locus classicus of the controversy is the debate between BHĀVAVIVEKA and CANDRAKĪRTI concerning BUDDHAPĀLITA's commentary on the first chapter of NĀGĀRJUNA's MuLAMADHYAMAKAKĀRIKĀ. It was Candrakīrti's position that the Madhyamaka should only use consequences (PRASAnGA) or an inference familiar to others (PARAPRASIDDHĀNUMĀNA), i.e., that they should only draw out the unintended consequences in others' positions; to use an autonomous syllogism implied acceptance of intrinsically established relations among the elements of the syllogism. Bhāvaviveka had argued that it was necessary for the Madhyamaka to state an autonomous syllogism at the conclusion of a debate. Based on this controversy, the Tibetans coined the terms *SVĀTANTRIKA and *PRĀSAnGIKA to designate these two positions.

Tabula rasa: Literally, a blank tablet. John Locke (1632-1704) held that human knowledge came by way of experience. The mind is like a slate upon which experience records impressions. This is a denial of innate, a priori knowledge. -- V.F. Ta

tabula rasa: (translation: 'blank slate'), refers to the behaviourist belief that all human behaviour is infinitely plastic and malleable, and therefore can be explained in terms of learnt experiences, rather than genetic predispositions.

Tabula Rasa ::: An epistemological theory that holds that the human mind at birth is a blank slate, in a way, and that knowledge comes from experiences and the structures through which those experiences are perceived.

taizokai. (S. *garbhadhātu; C. taizang jie; K. t'aejang kye 胎蔵界). In Japanese, "womb realm" or "womb world"; one of the two principal diagrams (MAndALA) used in the esoteric traditions of Japan (see MIKKYo), along with the KONGoKAI ("diamond realm"); this diagram is known in Sanskrit as the garbhadhātu mandala. The taizokai mandala is believed to be based on instructions found in the MAHĀVAIROCANĀBHISAMBODHISuTRA (Dainichikyo); the term, however, does not actually appear in any Buddhist scripture and its pictorial form seems to have developed independently of any written documents. Although KuKAI (774-835) is often recognized as introducing the taizokai mandala to Japan, in fact various versions developed over time. Use of the two mandalas flourished during the Heian period, gradually becoming central to Japanese TENDAI Buddhism and SHUGENDo. The taizokai consists of twelve cloisters, which contain various bodhisattvas and deities. At the very center of the mandala is located the Cloister of the Central Dais with Eight Petals (J. Chudaihachiyoin). There, the DHARMAKĀYA MAHĀVAIROCANA sits in the center of an eight-petaled lotus flower, with four companion buddhas and bodhisattvas sitting on its petals. In the four cardinal directions sit the buddhas Ratnaketu (J. Hodo), SaMkusumitarāja (J. Kaifukeo), AMITĀBHA (J. Muryoju), and Divyadundubhi-meghanirghosa (J. Tenkuraion). In the four ordinal directions sit the bodhisattvas SAMANTABHADRA (J. Fugen), MANJUsRĪ (J. Monju), AVALOKITEsVARA (J. Kanjizai; Kannon), and MAITREYA (J. Miroku). The central Buddha and the surrounding four buddhas and bodhisattvas represent the five wisdoms (PANCAJNĀNA). ¶ Mahāvairocana's central cloister is surrounded by a series of cloisters in all the four directions. In the eastern section (the topside of the mandala), there are three cloisters from the central cloister at the outside: (1) Cloister of Universal Knowledge (J. Henchiin), in which three deities sit on each side of a triangle; (2) Cloister of sĀKYAMUNI (J. Shakain), where sākyamuni sits surrounded by his disciples, as a manifestation of Mahāvairocana in the phenomenal world; and (3) Cloister of MaNjusrī (J. Monjuin), in which MaNjusrī sits surrounded by many attendants. In the western section (the bottom of the mandala), there are also three cloisters: (1) The Cloister of the Mantra Holders (J. Jimyoin) includes the bodhisattva PrajNā surrounded by the four VIDYĀRĀJA: ACALANĀTHA (Fudo), TRAILOKYAVIJAYA (Gozanze), YAMĀNTAKA (Daiitoku), and an alternate manifestation of Trailokyavijaya. (2) The Cloister of ĀKĀsAGARBHA (Kokuzoin) represents worldly virtue and merit in the form of Ākāsagarbha. (3) The Cloister of Unsurpassed Attainment (Soshitchiin) includes eight bodhisattvas, symbolizing the achievement of the various virtues through which Mahāvairocana benefits sentient beings. In the southern section (the right side of the mandala), there are two cloisters: (1) Cloister of VAJRAPĀnI (Kongoshuin); in this cloister, VAJRASATTVA is the main deity, representing the Buddha's wisdom inherent in all sentient beings; and (2) Cloister of Removing Obstacles (Jogaishoin), where sits the bodhisattva SARVANĪVARAnAVIsKAMBHIN, representing the elimination of the hindrances to enlightenment. In the northern section (the left side of the mandala), there are also two cloisters: (1) Cloister of the Lotus Division (Rengebuin) where Avalokitesvara is the central deity; and (2) Cloister of KsITIGARBHA (Jizoin), dedicated to the bodhisattva who saves those suffering in hell. All of these eleven cloisters are then enclosed by the Cloister of Outer VAJRADHARAs (Ge Kongobuin), where there are 205 deities, many of them deriving from Indic mythology. In one distinctively Shingon usage, the mandala was placed in the east and the kongokai stood in juxtaposition across from it. The initiate would then invite all buddhas, bodhisattvas, and divinities into the sacred space, invoking all of their power and ultimately unifying with them. In Shugendo, the two mandalas were often spatially superimposed over mountain geography or worn as robes on the practitioner while entering the mountain.

Tala (Sanskrit) Tala Lower or inferior portions of a series, inferior world; also a chasm, abyss, floor. All these ideas suggest lower or inferior planes. Often used in conjunction with loka (place, world). The talas stand for the material aspects or substance-principles of the different worlds which are the cosmic universe, in contrast with the lokas which suggest the spiritual aspect of the universe. The number of loka-talas is generally given as seven, though the number varies, all the seven lokas and seven talas interblending and interworking to form the universe and all its various hierarchies. The seven talas are generally given in theosophical writings as atala, vitala, sutala, rasatala, talatala, mahatala, and patala.

tallest) by many hundred parasangs. In Ginzberg,

Tanmatras: A Sanskrit term for the “subtle elements.” There are five tanmatras, each tanmatra being the essence of one of the five basic elements (air, fire, earth, water and ether), viz. the essence of sound (sabda), touch (sparsa), form (rupa), flavor (rasa), and odor (gandha); they are the subtle objects of the sense powers (indriyas), the subtlest form of actual matter, without magnitude, supersensible, and perceived mediately only through gross objects.

Tanmatras (Sanskrit) Tanmātra-s The subtle essences of the five elements, popularly given as earth, water, fire, air, and ether; and in one sense they are referred to as sabda (sound), sparsa (touch), rupa (sight), rasa (taste), and gandha (smell). They are equivalent to the five mahabhutas (foundation-substances of the world). The tanmatras are the abstract sources or originants, devoid of properties and qualities from our point of view, but when the tanmatras emanate what becomes the pertinent qualities and properties of nature, then they become the mahabhutas. In the order of cosmic emanation, each of the seven logoi produces its vehicular expression which is the tanmatra, from which again is emanated the respective propertied and qualified mahabhuta or cosmic element.

tantra. (T. rgyud; C. tanteluo; J. dantokura; K. tant'ŭngna 檀特羅). In Sanskrit, lit. "continuum"; a term derived from the Sanskrit root √tan ("to stretch out," "to weave"), having the sense of an arrangement or a pattern (deployed not only in a ritual, but in military and political contexts as well). The term is thus used to name a manual or handbook that sets forth such arrangements, and is not limited to Buddhism or to Indian religions more broadly. Beyond this, the term is notoriously difficult to define. It can be said, however, that tantra does not carry the connotation of all things esoteric and erotic that it has acquired in the modern West. In Buddhism, the term tantra generally refers to a text that contains esoteric teachings, often ascribed to sĀKYAMUNI or another buddha. Even this, however, is problematic: there are esoteric texts that do not carry the term tantra in their title (such as the VAJRAsEKHARASuTRA), and there are nonesoteric texts in whose title the term tantra appears (such as the UTTARATANTRA). Scholars therefore tend to define tantra (in the textual sense) based on specific sets of elements contained in the texts. These include MANTRA, MAndALA, MUDRĀ, initiations (ABHIsEKA), fire sacrifices (HOMA), and feasts (GAnACAKRA), all set forth with the aim of gaining powers (SIDDHI), both mundane and supramundane. The mundane powers are traditionally enumerated as involving four activities: pacification of difficulties (sĀNTIKA), increase of wealth (PAUstIKA), control of negative forces (VAsĪKARAnA), and destruction of enemies (ABHICĀRA). The supramundane power is enlightenment (BODHI). The texts called tantras began to appear in India in the late seventh and early eighth centuries CE, often written in a nonstandard (some would say "corrupt") Sanskrit that included colloquial elements and regional terms. These anonymous texts (including such famous works as the GUHYASAMĀJATANTRA, the CAKRASAMVARATANTRA, and the HEVAJRATANTRA), typically provided mantras and instructions for drawing mandalas, among a variety of other elements, but their presentation and organization were usually not systematic; these texts came to serve as the "root tantra" for a cycle of related texts. The more systematic of these were the SĀDHANA (lit. "means of achievement"), a ritual manual by a named author, which set forth the specific practices necessary for the attainment of siddhi. The standard form was to create a mandala into which one invited a deity. The meditator would either visualize himself or herself as the deity or visualize the deity as appearing before the meditator. Various offerings would be made, mantras would be recited, and siddhis would be requested. Although scholars continue to explore the relation between the tantras and the MAHĀYĀNA sutras, tantric exegetes viewed the tantras, like the Mahāyāna sutras, as being the word of the Buddha (BUDDHAVACANA) and as setting forth forms of practice consistent with the bodhisattva vow and the quest for buddhahood, albeit more quickly than by the conventional path, via what came to be referred to as the VAJRA vehicle (VAJRAYĀNA). Thus, it was said that the Mahāyāna was divided into the pāramitānaya, the "mode of the perfections" set forth in the Mahāyāna sutras, and the mantranaya, the "mode of the mantras" set forth in the tantras. These two are also, although less commonly, known as the sutrayāna and the TANTRAYĀNA. In this context, then, the term "tantra" is often used by tantric exegetes in contrast to "sutra," which is taken to mean the corpus of exoteric teachings of the Buddha. For those who accept the tantras as the word of the Buddha, the term "sutras and tantras" would thus refer to the entirety of the Buddha's teachings. The corpus of tantras was eventually classified by late Indian Buddhist exegetes into a number of schemata, the most famous of which is the fourfold division into KRIYĀTANTRA, CARYĀTANTRA, YOGATANTRA, and ANUTTARAYOGATANTRA.

tantric vows. (T. rig 'dzin gyi sdom pa; *vidyādharasaMvara). Any of a number of vows taken as part of a tantric initiation and to be maintained as part of tantric practice. Many tantras list disparate sets of rules, the best known being that found in the Rgyud rdo rje rtse mo (the Tibetan version of the VAJRAsEKHARASuTRA, a SARVATATHĀGATATATTVASAMGRAHA explanatory tantra). Such texts enumerate "restraints" or "vows" (SAMVARA) and pledges (SAMAYA) connected with the five buddha families (BUDDHAKULA; PANCATATHĀGATA), and possibly an ordination and confession ceremony modeled on the PRĀTIMOKsA. These disparate rules were later codified more systematically in a number of tantric texts: the so-called root infractions in the Vajrayānamulāpatti attributed to AsVAGHOsA, and an even shorter list of secondary vows in the Vajrayānasthulāpatti attributed to NĀGĀRJUNA. In addition, rules of deportment toward the guru were set forth in works such as the GURUPANCĀsIKĀ ("Fifty Stanzas on the Guru"), also attributed to Asvaghosa. In Tibet, these rules were codified and commented on at length in the "three vow" (SDOM GSUM) literature. The "root infractions" are the following: (1) to disparage the guru, (2) to overstep the words of the buddhas, (3) to be cruel to one's VAJRA siblings (disciples of the same guru), (4) to abandon love for sentient beings, (5) to abandon the two types of BODHICITTA, (6) to disparage the doctrines of one's own and others' schools, (7) to proclaim secrets to the unripened, (8) to scorn the aggregates, (9) to have doubts about the essential purity of all phenomena, (10) to show affection to the wicked, (11) to have false views about emptiness, (12) to disillusion the faithful, (13) not to rely on the pledges, and (14) to disparage women. It is noteworthy that, unlike the prātimoksa, the infractions here involve attitudes and beliefs, in addition to transgressions of body and speech. It was generally said that receiving the bodhisattva vows was a prerequisite for receiving tantric vows; the prior receipt of prātimoksa precepts was optional. In expositions of the "three vows," tantric vows are the third, after the prātimoksa precepts and the bodhisattva precepts. Especially in Tibet there is extensive discussion of the compatibility of the three sets of vows. See also TRISAMVARA.

tathāgatakula. (T. de bzhin gshegs pa'i rigs; C. rulai bu; J. nyoraibu; K. yorae pu 如來部). In Sanskrit, the "tathāgata family"; one of the three families of the KRIYĀTANTRA, together with the VAJRAKULA (whose chief deity is VAJRASATTVA) and the PADMAKULA (whose chief deity is AVALOKITEsVARA). The chief deity of the tathāgatakula is often sĀKYAMUNI. In the three-family schema, the tathāgatakula is considered the supreme of the three families, with initiates of this family allowed to perform the rituals of the other two. In the evolution to four and then five buddha families (with the addition of the RATNAKULA and then the KARMAKULA), the tathāgatakula remains supreme, with VAIROCANA then becoming the main deity of the tathāgatakula and holding the central position in many MAndALAs. Each of the five families is associated with one of the five SKANDHAs, five wisdoms (JNĀNA), five afflictions (KLEsA), five elements, and five colors. For the tathāgata or buddha family, these are the form (RuPA) skandha, the wisdom (JNĀNA) of the DHARMADHĀTU (dharmadhātujNāna), the affliction of ignorance (AVIDYĀ), the element space (ĀKĀsA), and the color blue. See PANCATATHĀGATA.

. t.aya (samata chatusthaya; samata-chatusthaya; samatachatusthaya) ::: the first catus.t.aya, the quaternary of equality, consisting of samata, santi, sukha, and (atma)prasada or hasya; also called the santi catus.t.aya.

Trasadasyu ::: "the disperser of the destroyers", [a name]. [RV 5.27.1]

ten precepts. [of novices] (*dasasīla/srāmanerasaMvara; T. dge tshul gyi sdom pa; C. [shami] shijie [沙彌]十戒)

the angel Nuriel, “standing 300 parasangs high,

The Bhargavas (descendants of Bhrigu): are commonly classed as gods of the middle region or aerial divinities, although in the Rig-Veda they are intimately connected with fire. They are represented as enclosing fire in wood and giving it to mankind; also placing fire in the navel or center of the world. Thus they are associated with the Atharvans (fire-priests), Angirasas (deities of luminous objects), and Ribhus.

The heavenly consorts or saktis of the gandharvas are the apsarasas, their negative or vehicular aspects, much as a person’s soul is the container and vehicular expression of his spirit and will.

The name is also written in its adjectival form, angirasas, who are a class of pitris of the corporeal type.

There are manasic as well as kamic organs. The brain and heart are “the organs of a power higher than the Personality” (BCW 12:367; or St in Oc 89). The liver is called the kamic organ; the spleen is the vehicle of the linga-sarira. Of the rhythmic tides of vital air in the chest, it is said: “The primeval current of the life-wave is then the same which assumes in man the form of the inspiratory and expiratory motion of the lungs, and this is the source of the evolution and involution of the universe” (q from Nature’s Finer Forces Rama Prasad, BCW 12:356 or Studies in Occultism 76). The uterus, within which a new manifestation of life appears, corresponds physically to the universal matrix — cosmic space — the fertilized cell being the point in the circle where differentiation begins. The eyes, from one standpoint at least, are the most occult of our senses. The fibers of the large optic nerves are interrelated with special organs of the senses and sensations — optic thalami, pineal and pituitary glands, etc. — which are grouped around the center of the brain.

These progenitors are divided into two main classes: those which are incorporeal, such as the agnishvattas, and those which are corporeal, such as the angirasas, the descendants of Angiras (VP 3:14). Theosophically, angirasas are a class of manasaputras, the emanated offspring of the incorporeal agnishvattas or kumaras. In the Vaivasvata or seventh manvantara (our present one) Angiras is given as the son of Agni, though originally Agni was born from Angiras. In astronomy Angiras is both the father or regent of Brihaspati (the planet Jupiter) and the planet itself; also a star in Ursa Major, inasmuch as Angiras is one of the seven great rishis. As such the name of Angiras is linked with the bringing of light and associated with luminous bodies.

“This is the Logos (the first), or Vajradhara, the Supreme Buddha (also called Dorjechang). As the Lord of all Mysteries he cannot manifest, but sends into the world of manifestation his heart — the ‘diamond heart,’ Vajrasattva (Dorjesempa)” (SD 1:571). Adi-buddha is the individualized monadic focus of adi-buddhi, primordial cosmic wisdom or intelligence, synonymous with mahabuddhi or mahat (universal mind). Otherwise expressed, adi-buddha is the supreme being heading the hierarchy of compassion and our solar universe; the fountain of light running through all subordinate hierarchies and thus the supreme lord and initiator of the wisdom side of our universe.

"This universal aesthesis of beauty and delight does not ignore or fail to understand the differences and oppositions, the gradations, the harmony and disharmony obvious to the ordinary consciousness; but, first of all, it draws a Rasa from them and with that comes the enjoyment, Bhoga. and the touch or the mass of the Ananda. It sees that all things have their meaning, their value, their deeper or total significance which the mind does not see, for the mind is only concerned with a surface vision, surface contacts and its own surface reactions. When something expresses perfectly what it was meant to express, the completeness brings with it a sense of harmony, a sense of artistic perfection; it gives even to what is discordant a place in a system of cosmic concordances and the discords become part of a vast harmony, and wherever there is harmony, there is a sense of beauty. ” Letters on Savitri*

“This universal aesthesis of beauty and delight does not ignore or fail to understand the differences and oppositions, the gradations, the harmony and disharmony obvious to the ordinary consciousness; but, first of all, it draws a Rasa from them and with that comes the enjoyment, Bhoga. and the touch or the mass of the Ananda. It sees that all things have their meaning, their value, their deeper or total significance which the mind does not see, for the mind is only concerned with a surface vision, surface contacts and its own surface reactions. When something expresses perfectly what it was meant to express, the completeness brings with it a sense of harmony, a sense of artistic perfection; it gives even to what is discordant a place in a system of cosmic concordances and the discords become part of a vast harmony, and wherever there is harmony, there is a sense of beauty.” Letters on Savitri

Tianxizai. (J. Tensokusai; K. Ch'onsikchae 天息災) (d. 1000). Kashmiri monk-translator, who arrived in China in 980. While residing at a cloister to the west of the imperial monastery of Taiping-Xingguosi in Yuanzhou (present-day Jiangxi province), he translated (sometimes working in collaboration with DĀNAPĀLA and Fatian) seventeen MAHĀYĀNA and prototantric scriptures into Chinese, including the BODHICARYĀVATĀRA, KĀRAndAVYuHA, AlpāksarāprajNāpāramitāsutra, Āyusparyantasutra, (Ārya)Tārābhattarikāyanāmāstottarasataka, Māricīdhāranī, and the MANJUsRĪMuLAKALPA.

Trailokyavijaya. (T. Khams gsum rnam rgyal; C. Xiangsanshi mingwang; J. Gozanze myoo; K. Hangsamse myongwang 降三世明王). In Sanskrit, "Victor of the Three Realms"; a wrathful deity, he is considered a wrathful form of VAJRAPĀnI. He is depicted in Indian Buddhist iconography and plays an important role in the SARVATATHĀGATATATTVASAMGRAHA. It is in the form of Trailokyavijaya that Vajrapāni conquers Mahesvara (the Hindu god siva). It was often the case that Buddhists gave Hindu deities Buddhist forms, especially in the tantras. In this case, Trailokyavijaya may have his antecedent in the Hindu god Tripurāntaka, "Destroyer of the Three [Demon] Cities," a form of siva whose worship was still current at the time the SarvatathāgatatattvasaMgraha was being formulated. Iconographic similarities as well as the Buddhist Trailokyavijaya's subjugation of the rival tradition's Mahesvara support the connection; a Hindu deity is appropriated by Buddhists, with the appropriated form then subduing the Hindu god. The cult of Trailokyavijaya entered China with the translations of the SarvatathāgatatattvasaMgraha, the MAHĀVAIROCANĀBHISAMBODHISuTRA, and several other texts translated by AMOGHAVAJRA in the second half of the eighth century, whence they quickly entered Japan. He is described as being terrible to behold, with four heads and eight arms, although in the GARBHADHĀTU MAndALA, he has a single face with three eyes and two arms. He stands on prone figures of siva and Umā, whom he has thus subdued. His worship was largely replaced by that of HERUKA in the CAKRASAMVARATANTRA cycles, who performs the same function in the taming of Mahesvara.

trikāya. (T. sku gsum; C. sanshen; J. sanshin; K. samsin 三身). In Sanskrit, lit. "three bodies"; one of the central doctrines of MAHĀYĀNA buddhology. The three bodies refer specifically to three distinct bodies or aspects of a buddha: DHARMAKĀYA, the "dharma body" or "truth body"; SAMBHOGAKĀYA, the "enjoyment body" or "reward body"; and NIRMĀnAKĀYA, "emanation body" or "transformation body." The issue of what actually constituted the Buddha's body arose among the MAINSTREAM BUDDHIST SCHOOLS over such questions as the body he used on miraculous journeys, such as the one that he took to TRĀYASTRIMsA heaven to teach his mother MĀYĀ; the conclusion was that he had used a "mind-made body" (MANOMAYAKĀYA), also called a nirmānakāya, to make the trip. The notion of different buddha bodies was also deployed to respond to the question of the nature of the Buddha jewel (buddharatna), one of the three jewels (RATNATRAYA) or three refuges (TRIsARAnA) of Buddhism. Since the physical body of the Buddha was subject to decay and death, was it a suitable object of refuge? In response to this question, it was concluded that the Buddha jewel was in fact a body or group (kāya) of qualities (dharma), such as the eighteen unique qualities of a buddha (ĀVEnIKA[BUDDHA]DHARMA). This "body of qualities," the original meaning of dharmakāya, was sometimes contrasted with the physical body of the Buddha, called the RuPAKĀYA ("material body") or the vipākakāya, the "fruition body," which was the result of past action (KARMAN). With the development of Mahāyāna thought, the notion of dharmakāya evolved into a kind of transcendent principle in which all buddhas partook, and it is in this sense that the term is translated as "truth body." In the later Mahāyāna scholastic tradition, the dharmakāya was said to have two aspects. The first is the SVABHĀVIKAKĀYA, or "nature body," which is the ultimate nature of a buddha's mind that is free from all adventitious defilements (āgantukamala). The second is the jNānakāya, or "wisdom body," a buddha's omniscient consciousness. The dharmakāya was the source of the two other bodies, both varieties of the rupakāya: the saMbhogakāya and the nirmānakāya. The former, traditionally glossed as "the body for the enjoyment of others," is a resplendent form of the Buddha adorned with the thirty-two major and eighty minor marks (MAHĀPURUsALAKsAnA), which appears only in buddha fields (BUDDHAKsETRA) to teach the Mahāyāna to advanced bodhisattvas. Some sāstras, such as the BUDDHABHuMIsĀSTRA (Fodijing lun) and CHENG WEISHI LUN, distinguish between a "body intended for others' enjoyment" (PARASAMBHOGAKĀYA) and a "body intended for personal enjoyment" (SVASAMBHOGAKĀYA). In the trikāya system, the nirmānakāya is no longer a special body conjured up for magical travel, but the body of the Buddha that manifests itself variously in the world of sentient beings in order to teach the dharma to them. It also has different varieties: the form that manifests in the mundane world as the Buddha adorned with the major and minor marks is called the UTTAMANIRMĀnAKĀYA, or "supreme emanation body"; the nonhuman or inanimate forms a buddha assumes in order to help others overcome their afflictions are called the JANMANIRMĀnAKĀYA, or "created emanation body."

Trisākuni. (S). One of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA.

trisaMvara. (T. sdom gsum). In Sanskrit, "three vows" or "three restraints"; a collective term for three different sets of precepts. The TrisaMvaranirdesaparivarta of the RATNAKutASuTRA collection sets forth the three types of vows as the three types of bodhisattva morality found in the sīlaparivarta ("morality chapter") of the BODHISATTVABHuMI. Usually, however, trisaMvara refers to the three sets of precepts a practitioner of the VAJRAYĀNA may take: the prātimoksasaMvara or monastic precepts (see PRĀTIMOKsA), the BODHISATTVASAMVARA or bodhisattva precepts, and the guhyamantrasaMvara ("secret mantra precepts") or tantric vows (SAMVARA) or pledges (SAMAYA). The relations between and among these three types of precepts are the subject of an extensive, and often polemical, literature in Tibet, the most famous treatment being the SDOM GSUM RAB DBYE, or "Differentiation of the Three Vows," by SA SKYA PAndITA. See also SAMVARA; SDOM GSUM; PUSA JIE.

Tsa ri. Also spelled Tsā ri; an important pilgrimage region in the sacred geography of Tibet, its central feature is the Pure Crystal Mountain (Dag pa shel ri). The BKA' BRGYUD sect, in particular, considers the site to be one of three quintessential pilgrimage destinations connected with the CAKRASAMVARATANTRA (together with KAILĀSA and LA PHYI). According to the CakrasaMvaratantra tradition, two of the twenty-four sacred lands (PĪtHA), viz., Cārita and Devīkota, are believed to be located in the region. Hunting and even cultivation are banned in some parts of the valley. Situated on the remote border between Tibet and Assam, Tsa ri is also one of the Himalayan region's most difficult and dangerous locations to access. The circumambulation trails skirting the mountain traverse high passes, deep ravines, and dense jungle. They also pass through territory controlled by tribal groups who are often unfriendly to outside visitors. For this reason, the state-sponsored pilgrimage season was traditionally preceded by government negotiations (and payments) in order to guarantee safe passage for pilgrims. The area is said to have been sanctified by visits from PADMASAMBHAVA and VIMALAMITRA, who are thought to have deposited there numerous treasure texts (GTER MA). Tsa ri later became primarily associated with the 'BRUG PA BKA' BRGYUD through the activity of GTSANG PA RGYA RAS YE SHES RDO RJE, who is often said to have "opened" the site as a powerful place for spiritual practice.

udasinata ::: the state of being udasina; the indifference to the udasinata dvandvas or dualities that comes from "being seated above, superior to all physical and mental touches", the second stage of passive / negative samata: "the soul"s impartial high-seatedness looking down from above on the flux of forms and personalities and movements and forces", regarding the "passions of the mind as things born of the illusion of the outward mentality or inferior movements unworthy of the calm truth of the single and equal spirit or a vital and emotional disturbance to be rejected by the tranquil observing will and dispassionate intelligence of the sage"; indifference of various other . kinds, due to "either the inattention of the surface desire-soul in its mind, sensations, emotions and cravings to the rasa of things, or its incapacity to receive and respond to it, or its refusal to give any surface response or, again, its driving and crushing down of the pleasure or the pain by the will"; see rajasic udasinata, sattwic udasinata, tamasic udasinata, trigun.atita udasinata.

Uddiyāna. One of the twenty-four sacred sites associated with the CAKRASAMVARATANTRA. See PĪtHA; OddIYĀNA.

ūks.ma rasa (sukshmarasa; sukshma rasa) ::: the sūks.ma vis.aya of rasa; subtle taste perceived by the faculty of rasadr.s.t.i. ssuksma ūks.ma sabda sabda (sukshmashabda; sukshma-shabda; sukshma shabda)

upacārasamādhi. In Pāli, "access concentration," "neighborhood concentration," or "threshold concentration"; the more elementary of the two broad types of concentration (SAMĀDHI) described in Pāli commentarial literature. Both of these two types of samādhi are used with reference to meditators who are specializing in calmness (P. samatha; S. sAMATHA) techniques. Upacārasamādhi precedes full meditative absorption (P. JHĀNA; S. DHYĀNA) and is the highest level of concentration that may be developed from the more discursive topics of meditation (KAMMAttHĀNA), viz., the first eight of ten recollections (P. anussati; S. ANUSMṚTI), on the Buddha, dharma, SAMGHA, morality, generosity, divinities, death, and peace, as well as the contemplation on the loathsomeness of food, and the analysis of the four material elements. Upacārasamādhi is characterized by the visualization in the mind of a luminous "counterpart" or "representational" "image" (PAtIBHĀGANIMITTA) of the object of meditation. It is through further concentration on this stable representational image that the mind finally attains "full concentration" (APPANĀSAMĀDHI), which leads to jhāna. (See also KHANIKASAMĀDHI; SĀMANTAKA.) According to some THERAVĀDA accounts (e.g., in the modern VIPASSANĀ movement), concentration of at least the level of upacārasamādhi is said to be required for the achievement of the state of stream-enterer (P. sotāpanna; S. SROTAĀPANNA).

usik ::: an aspirant (applied like nr to men and gods, but, like nr also, sometimes especially indicating the Angirasas). [Ved.] ::: usigbhih [instrumental plural], by those who desire. ::: usijah [plural], desirers (of the godheads) .

Vacabiel (Vacatiel)—in joint rule with Rasa-

vajrasamādhi. (S). See VAJROPAMASAMĀDHI.

*Vajrasamādhisutra. (S). See KŬMGANG SAMMAE KYoNG.

Vajrasattva is often used for celestial beings, entities belonging to the hierarchy of light or compassion. The vajrasattva quality is likewise one which can be possessed in less degree by any human being, depending upon his degree of advancement.

Vajrasattva (Sanskrit) Vajrasattva [from vajra diamond + sattva essence, reality] Diamond-heart, diamond-essence; a title given to mahatmas of the highest grade, or to bodhisattvas whose whole personality as a living essence is merged in their compound sixth and seventh principles (atman-buddhi). Vajra here expresses the spiritual adamantine quality of the inner natures of these glorious beings. Vajrasattva is a manifestation of the heart of vajradhara, the First Logos or adi-buddha; hence vajrasattva is “the second logos of creation, from whom emanate the seven (in the exoteric blind the five) Dhyani Buddhas, called the Anupadaka, ‘the parentless,’ ” (SD 1:571). Dorjesempa is the Tibetan equivalent.

Vajrasattva. (T. Rdo rje sems dpa'; C. Jingang saduo; J. Kongosatta; K. Kŭmgang sal'ta 金剛薩埵). In Sanskrit, lit. "VAJRA Being"; a tantric deity widely worshipped as both an ĀDIBUDDHA and a buddha of purification. Vajrasattva is sometimes identified as a sixth buddha in the PANCATATHĀGATA system, such as in the SARVATATHĀGATATATTVASAMGRAHA, where he is also identical to VAJRAPĀnI. Vajrasattva also occasionally replaces AKsOBHYA in the same system, and so has been considered an emanation of that buddha. As an ādibuddha, he is identical with VAJRADHARA. He is also one of the sixteen bodhisattvas of the vajradhātumandala. In the trikula system, an early tantric configuration, Vajrasattva is the buddha of the VAJRAKULA, with VAIROCANA the buddha of the TATHĀGATAKULA and Avalokitesvara the head of the PADMAKULA. East Asian esoteric Buddhism considers Vajrasattva to be the second patriarch of the esoteric teachings; VAIROCANA taught them directly to Vajrasattva, who passed them to NĀGĀRJUNA, who passed them to VAJRABODHI/VAJRAMATI, who taught them to AMOGHAVAJRA, who brought them to China in the eighth century. In Tibet, worship of Vajrasattva is connected to YOGATANTRA and ANUTTARAYOGATANTRA, such as the twenty-fifth chapter of the Abhidhanottaratantra, in which he is known as the Heruka Vajrasattva. He is particularly famous in Tibet for his role in a practice of confession and purification in which one repeats a hundred thousand times the hundred-syllable MANTRA of Vajrasattva. These repetitions (with the attendant visualization) are a standard preliminary practice (T. SNGON 'GRO) required prior to receiving tantric instructions. The mantra is: oM vajrasattva samayam anupālaya vajrasattva tvenopatistha dṛdho me bhava sutosyo me bhava suposyo me bhava anurakto me bhava sarvasiddhiM me prayaccha sarvakarmasu ca me cittaM sreyaḥ kuru huM ha ha ha ha hoḥ bhagavan sarvatathāgatavajra mā me muNca vajrī bhava mahāsamayasattva āḥ huM. Unlike many mantras that seem to have no semantic meaning, Vajrasattva's mantra may be translated as: "OM Vajrasattva, keep your pledge. Vajrasattva, reside in me. Make me firm. Make me satisfied. Fulfill me. Make me compassionate. Grant me all powers. Make my mind virtuous in all deeds. huM ha ha ha ha ho. All the blessed tathāgatas, do not abandon me, make me indivisible. Great pledge being. āḥ huM."

VajiraNānavarorasa. (Thai. Wachirayanwarorot) (1860-1921). One of the most influential Thai monks of the late-nineteenth and early-twentieth centuries; his name (given in its Pāli form here) is also rendered in the Thai vernacular as Wachirayanwarorot [alt. Wachirayan Warot]. The son of King Mongkut (RĀMA IV), after a youth spent in royal luxury, he was ordained as a monk in 1879. He distinguished himself as a scholar of the Buddhist scriptures and in 1892 became abbot of WAT BOWONNIWET [alt. Wat Bovoranives; P. Pavaranivesa], the leading monastery of the THAMMAYUT (P. Dhammayuttika) order. In 1893, he became patriarch of the order and served as supreme patriarch (sangharāja; S. SAMGHARĀJAN) of the Thai sangha (S. SAMGHA) from 1910 until his death. A distinguished scholar of Pāli, he was the author of many textbooks, including the definitive Thai primer on the Pāli VINAYA tradition, the Vinayamukha ("Gateway to the Discipline"), which he wrote in an (unsuccessful) attempt to bring together the two major sects of Thai Buddhism, the Thammuyut and the MAHANIKAI. VajiraNānavarorasa also designed the modern monastic curriculum and reorganized the Thai ecclesiastical hierarchy. As an advisor to King Chulalongkorn (RĀMA V), he also sought to extend modern education into the provinces. VajiraNānavarorasa's autobiography is considered the first work of the genre in Thai vernacular literature.

Vajrabhairava. (T. Rdo rje 'jigs byed; C. Buwei Jingang; J. Fui Kongo; K. P'ooe Kŭmgang 怖畏金剛). In Sanskrit, "Indestructibly Frightening"; a tantric deity associated with YAMĀNTAKA; both deities are considered to be wrathful forms of the bodhisattva MANJUsRĪ. Vajrabhairava likely derives from saiva sources; siva is also called Bhairava. Vajrabhairava is usually black or blue in color, and can be depicted with one or as many as nine faces, and thirty-two arms. The main Vajrabhairava root tantra, classified as a father tantra (PITṚTANTRA) of the ANUTTARAYOGATANTRA class, is the srīmadmahāvajrabhairavatantra, also known as the Saptakalpa ("Vajrabhairava Root Tantra in Seven Chapters"); it is three hundred stanzas long and explicitly sets forth legitimate transformations of violence for altruistic purposes. It is said to have been brought from UddIYĀNA by one Lalitavajra. The Tibetan Skyo tradition also asserts that the Gtam rgyud kyi rtog pa ("Legend chapter") is a root tantra. Besides Lalitavajra, the adept srīdhara is closely associated with the practice and dissemination of the tantra. In Tibet there are six lineages originating from Cog gru Shes rab bla ma, RWA LO TSĀ BA RDO RJE GRAGS PA (the most widespread and influential tradition), Skyo ston 'Od 'byung (1126-1200), Gnyos lo tsā ba, Ba ri lo tsā ba, and Mal gyo lo tsā ba Blo gros grags. These are known as the Zhang, Rwa, Skyo, Gnyos, Ba ri, and Mal traditions. The cult of Vajrabhairava is common to the three new translation (GSAR MA) sects of Tibet. The SA SKYA sect considers Vajrabhairava to be one of the four principal tantric deities, alongside HEVAJRA, GUHYASAMĀJA, and CAKRASAMVARA. He holds a similar position in the DGE LUGS sect, together with Guhyasamāja and CakrvasaMvara. The main lineages of his introduction to Tibet are traced to ATIsA DĪPAMKARAsRĪJNĀNA, Mal Lo tsā ba, and RWA LO TSĀ BA. See also YAMĀNTAKA.

Vajradākatantra. (T. Rdo rje mkha' 'gro rgyud). A YOGINĪTANTRA of the ANUTTARAYOGATANTRA class, named after the deity Vajradāka ("Vajra Hero"), a form of VAJRASATTVA with four faces and four arms. It is counted as one of the five explanatory tantras (S. vyākhyātantra; T. bshad rgyud) of the CAKRASAMVARATANTRA. The text is employed in Tibet especially for its instructions on the performance of fire (HOMA) rituals.

Vajradhara (Sanskrit) Vajradhara Diamond-holder; the First Logos, supreme buddha, or adi-buddha, equivalent to the Tibetan dorjechang. “As the Lord of all Mysteries he cannot manifest, but sends into the world of manifestation his heart — the ‘diamond heart,’ Vajrasattva (Dorjesempa)” (SD 1:571). Vajra here expresses the indestructibility and spiritually adamantine quality of this “One unknown, without beginning or end” — unknown to the average worldly person, but recognized by full initiates as the source of their divine inspiration and intuitions.

vajrakula. (T. rdo rje rigs; C. jingang bu; J. kongobu; K. kŭmgang pu 金剛部). In Sanskrit, "VAJRA family" or "vajra lineage"; one of the three or five tantric lineages. In the three-lineage (TRIKULA) system, the lineages are the vajra lineage, the lotus lineage (PADMAKULA), and the buddha lineage (BUDDHAKULA). This system appears in such works as the MAHĀVAIROCANĀBHISAMBODHISuTRA and the SUSIDDHIKARASuTRA. In the five-lineage (PANCAKULA) system, found in the GUHYASAMĀJA and other ANUTTARAYOGATANTRAs, the five are the vajra lineage, the lotus lineage, the jewel lineage (RATNAKULA), the action lineage (KARMAKULA), and the tathāgata lineage (TATHĀGATAKULA). The buddha associated with the vajra lineage is AKsOBHYA or VAJRASATTVA. See also MANJUsRĪKĪRTI; sAMBHALA. Each of the five families is associated with one of the five SKANDHAs, five wisdoms (JNĀNA), five afflictions (KLEsA), five elements, and five colors. For the vajra family, these are the consciousnss (VIJNĀNA) skandha, the mirrorlike wisdom (ĀDARsAJNĀNA), the affliction of anger, the element water, and the color white.

Vajrapāni. (P. Vajirapāni; T. Phyag na rdo rje; C. Jingangshou pusa; J. Kongoshu bosatsu; K. Kŭmgangsu posal 金剛手菩薩). In Sanskrit, "Holder of the VAJRA"; an important bodhisattva in the MAHĀYĀNA and VAJRAYĀNA traditions, who appears in both peaceful and wrathful forms. In the Pāli suttas, he is a YAKsA (P. yakkha) guardian of the Buddha. It is said that whoever refuses three times to respond to a reasonable question from the Buddha would have his head split into pieces on the spot; carrying out this punishment was Vajrapāni's duty. In such circumstances, Vajrapāni, holding his cudgel, would be visible only to the Buddha and to the person who was refusing to answer the question; given the frightening vision, the person would inevitably then respond. Vajrapāni is sometimes said to be the wrathful form of sAKRA, who promised to offer the Buddha protection if the Buddha would teach the dharma; he thus accompanies the Buddha as a kind of bodyguard on his journeys to distant lands. Vajrapāni is commonly depicted in GANDHĀRA sculpture, flanking the Buddha and holding a cudgel. In the early Mahāyāna sutras, Vajrapāni is referred to as a yaksa servant of the bodhisattvas, as in the AstASĀHASRIKĀPRAJNĀPĀRAMITĀ. In the SUVARnAPRABHĀSOTTAMASuTRA, he is called the "general of the yaksas" (yaksasenādhipati), and is praised as a protector of followers of the Buddha. In the SADDHARMAPUndARĪKASuTRA, AVALOKITEsVARA explains that one of the forms that he assumes to convert sentient beings is as Vajrapāni. In later Mahāyāna and early tantric Buddhism, Vajrapāni becomes a primary speaker in important sutras and tantras, as well as a principal protagonist in them, and comes to be listed as one of the "eight close sons" (*UPAPUTRA), the principal bodhisattvas. In the MANJUsRĪMuLAKALPA, as leader of the vajra family (VAJRAKULA), he flanks sĀKYAMUNI in the MAndALA. In the SARVATATHĀGATATATTVASAMGRAHA, his transition from "general of the yaksas" to "the supreme lord of all tathāgatas" is played out through his subjugation of Mahesvara (siva). At the command of the buddha VAIROCANA, Vajrapāni suppresses all of the worldly divinities of the universe and brings them to the summit of Mount SUMERU, where they seek refuge in the three jewels (RATNATRAYA). Only Mahesvara refuses to submit to the uddha. Through Vajarpāni's recitation of a MANTRA, Mahesvara loses his life, only to be reincarnated in another world system, where he eventually achieves buddhahood. Vajrapāni's yaksa origins continue in his wrathful aspects, most common in Tibet, such as the three-eyed Canda Vajrapāni. It is in this form that he is part of a popular triad with Avalokitesvara and MANJUsRĪ known as the "protectors of the three families" (T. RIGS GSUM MGON PO). These three bodhisattvas are said to be the physical manifestation of the wisdom (MaNjusrī), compassion (Avalokitesvara), and power (Vajrapāni) of all the buddhas. Vajrapāni is also said to be the bodhisattva emanation of the buddha AKsOBHYA and the chief bodhisattva of the vajra family. He himself has numerous forms and emanations, including Mahābāla (who may have developed from his early attendant Vajrapurusa), Vajrasattva, Vajradhara, VajrahuMkāra, Ucchusma, Bhutadāmara, and Trailokyavijaya. Vajrapāni is closely related especially to VAJRADHARA, and indeed Vajradhara and Vajrapāni may have originally been two names for the same deity (the Chinese translations of the two deities' names are the same). Vajrapāni's MANTRA is oM vajrapāni huM phat. He is also known as Guhyakādhipati, or "Lord of the Secret." The secret (guhyaka) originally referred to a class of yaksas that he commanded, but expanded in meaning to include secret knowledge and mantras. Vajrapāni is the protector of mantras and those who recite them, and is sometimes identified as the bodhisattva responsible for the collection, recitation, and protection of the VIDYĀDHARAPItAKA.

Vajravārāhī. (T. Rdo rje phag mo). One of the most common forms of VAJRAYOGINĪ, an important female tantric deity associated especially with the CAKRASAMVARATANTRA of the ANUTTARAYOGATANTRA class, popular in all sects of Tibetan Buddhism, where she is a consort of the central deity. Vārāhī means sow, referring to the goddess's characteristic porcine head protruding from the right side of her face. She likely derives from the Hindu goddess Vārāhī, depicted with a head of a boar; she is the counterpart of Vārāha, the incarnation of Visnu who took the form of a boar. In the case of Vajravārāhī, she is typically (although not invariably) depicted with a human face but with a boar's head (sometimes quite small) visible on the right side of her face, contributing in part to her wrathful aspect. She is usually depicted as red in color, naked in a dancing pose, standing on the body of Bhairava. She holds a cleaver in her right hand and skull cup in her left, and is adorned with a garland of fifty severed heads. Beginning perhaps as one of a number of wrathful YOGINĪs situated as protectors on the outer circles of the MAndALA, she moved toward the center as one of the consorts of the central deity in the HEVAJRATANTRA and became the main consort of HERUKA in the CakrasaMvara cycle, where she also appears without a consort as the "sole heroine" (ekavirā) in the center of the mandala.

Vajrayoginī. (T. Rdo rje rnal 'byor ma). The most important of the dĀKInĪ in the VAJRAYĀNA, associated especially with the "mother tantras" (MĀTṚTANTRA) of the ANUTTARAYOGA class. She is also the most important of the female YI DAM. Her visualization is central to many tantric SĀDHANAs, especially in the practice of GURUYOGA, in which the meditator imagines himself or herself in the form of Vajrayoginī in order to receive the blessings of the GURU. She is also visualized in GCOD and GTUM MO practice. Her worship seems to originate with the CAKRASAMVARATANTRA and is popular in all sects of Tibetan Buddhism. Vajrayoginī plays a special role in the "six yogas of NĀROPA" (NĀ RO CHOS DRUG), where she is known as Nā ro mkha' spyod ma (Kachoma). She is closely associated with VAJRAVĀRĀHĪ, the consort of CAKRASAMVARA. In her most common form, she stands in the ĀLĪdHA posture, holding a KAtVĀnGA and a skull cup.

vajropamasamādhi. (T. rdo rje lta bu'i ting nge 'dzin; C. jingang yu ding/jingang sanmei; J. kongoyujo/kongozanmai/kongosanmai; K. kŭmgang yu chong/kŭmgang sammae 金剛喩定/金剛三昧). In Sanskrit, "adamantine-like concentration," sometimes called simply the "adamantine concentration" (VAJRASAMĀDHI); a crucial stage in both SARVĀSTIVĀDA ABHIDHARMA and MAHĀYĀNA presentations of the path (MĀRGA). The experience of vajropamasamādhi initiates the "path of completion" (NIstHĀMĀRGA) or the "path where no further training is necessary" (AsAIKsAMĀRGA), the fifth and final stage of the five-path schema (PANCAMĀRGA). The arising of this concentration initiates a process of abandonment (PRAHĀnA), which ultimately leads to the permanent destruction of even the subtlest and most persistent of the ten fetters (SAMYOJANA), resulting in the "knowledge of cessation" (KsAYAJNĀNA) and, in some presentations, an accompanying "knowledge of nonproduction" (ANUTPĀDAJNĀNA), viz., the knowledges that the fetters are destroyed and can never again recur. At that point, depending on the path that has been followed, the meditator becomes an ARHAT or a buddha. Because it is able to destroy the very worst of the fetters, this concentration is said to be "like adamant" (vajropama). The vajropamasamādhi thus involves both an "uninterrupted path" (ĀNANTARYAMĀRGA) and a path of liberation (VIMUKTIMĀRGA) and serves as the crucial transition point in completing the path and freeing oneself from SAMSĀRA. In the MAHĀPARNIRVĀnASuTRA, this special type of concentration is closely associated with seeing the buddha-nature (BUDDHADHĀTU; FOXING) and achieving the complete, perfect enlightenment (ANUTTARASAMYAKSAMBODHI) of the buddhas.

varn.aprasada ::: clearness of the complexion. varnaprasada

vipassanā. In Pāli, "insight" (see also S. VIPAsYANĀ). Insight is defined as the direct intuition of the three marks (P. tilakkhana; S. TRILAKsAnA) of existence that characterize all phenomena: P. aniccā (S. ANITYATĀ) or impermanence, dukkha (S. DUḤKHA) or suffering, and anatta (S. ANĀTMAN) or nonself. Insight associated with the attainment of any of the eight noble paths and fruits (P. ariyamaggaphala; S. ĀRYAMĀRGAPHALA) or associated with the attainment of cessation (NIRODHASAMĀPATTI) is classified as supramundane (P. lokuttara; S. LOKOTTARA); that which is not associated with the noble paths and fruits is classified as mundane (P. lokiya; S. LAUKIKA). The classical commentarial paradigm pairs vipassanā with samatha (S. sAMATHA), or tranquillity, these two together being described as the two wings of Buddhist meditative cultivation (BHĀVANĀ). Vipassanā, when fully developed, leads to enlightenment (BODHI) and nibbāna (S. NIRVĀnA); samatha when fully developed leads to the attainment of JHĀNA (S. DHYĀNA), or meditative absorption, and the attainment of certain supranormal powers (P. abhiNNā; S. ABHIJNĀ). While the formal training in vipassanā meditation does not require the prior attainment of either jhāna or abhiNNā, the mind must nevertheless have achieved a modicum of pacification through "threshold concentration" (UPACĀRASAMĀDHI) as a prerequisite for successful vipassanā practice. The VISUDDHIMAGGA lists eighteen main types of vipassanāNāna (S. vipasyanājNāna), or insight knowledge, of (1) impermanence (aniccānupassanā), (2) suffering (dukkhānupassanā), (3) nonself (anattānupnupassanā), (4) aversion (nibbidānupassanā), (5) dispassion (virāgānupassanā), (6) extinction (nirodhānupassanā), (7) abandoning (patinissaggānupassanāā), (8) waning (khayānupassanā), (9) disappearing (vayānupassanā), (10) change (viparināmānupassanā), (11) signlessness (animittānupassanā), (12) wishlessness (apanihitānupassanā), (13) emptiness (suNNatānupassanā), (14) higher wisdom regarding phenomena (adhipaNNādhammavipassanā), (15) knowledge and vision that accords with reality (YATHĀBHuTAJNĀNADARsANA), (16) contemplation of danger (ādīnavānupassanā), (17) contemplation involving reflection (patisankhānupassanā), and (18) turning away (vivattanānupassanā). While the terms samatha and vipassanā do appear in sutta discussions of meditative training-although far more often in the later KHUDDAKANIKĀYA sections of the canon-they figure most prominently in the ABHIDHAMMA and the later commentarial literature. The systems of vipassanā training taught today are modern constructs that do not antedate late-nineteenth century Burma (see LEDI SAYADAW; MAHASI SAYADAW); they are, however, derived from, or at least inspired by, commentarial or scriptural precedents. Two of the most successful vipassanā organizations outside Asia are the Insight Meditation Society and the loosely knit group of centers teaching S. N. Goenka's vipassana meditation; the former originates with AJAHN CHAH BODHINĀnA (1917-1992) of the Thai forest tradition and the latter with the Burmese teacher U BA KHIN (1899-1971). See also YATHĀBHuTAJNĀNADARsANA.

vipassanāNānikasamādhi. In Pāli, "concentration of insight knowledge"; a commentarial term used to refer to a form of concentration that is developed through attending to the arising and passing away of the present thought-moment or object, when such concentration has successfully removed all distractions. It is equal in intensity to the "threshold concentration" (UPACĀRASAMĀDHI) that is cultivated in the course of practicing tranquillity meditation (P. samathabhāvanā; see sAMATHA). VipassanāNānikasamādhi, when fully developed, leads to the attainment of the paths (P. magga; S. MĀRGA) and fruits (PHALA) of liberation, whereas upacārasamādhi, when fully developed, leads only to the attainment of "absorptive concentration" (APPANĀSAMĀDHI), which is synonymous with "meditative absorption" (P. JHĀNA; S. DHYĀNA).

Virupa. (Bi ru pa). Sanskrit proper name of one of the eighty-four MAHĀSIDDHAs, particularly revered in the SA SKYA sect of Tibetan Buddhism. Very little can be said with certainty about his life (whether he was a historical figure is open to question), but he may have lived at the end of the tenth century CE. He is said to have been a monk and a distinguished scholar of NĀLANDĀ monastery (in some sources, SOMAPURA), who was originally named Dharmapāla, devoting himself to scholastic study during the day and tantric practice at night. He recited the MANTRA of CAKRASAMVARA for years, but, unable to make any progress in his practice, he threw his rosary into the latrine. That night, the goddess NAIRĀTMYĀ, appeared to him in a dream, instructing him to retrieve his rosary. Over the course of six nights, she conferred initiations and instructions that allowed him to attain the sixth bodhisattva BHuMI. She also gave him a text, which is otherwise unknown in Sanskrit, whose Sanskrit title might be reconstructed as *Mārgaphalamulasāstra, the "Root Treatise on the Path and Its Fruition." Dharmapāla subsequently began to engage openly in tantric practices and was expelled from the monastery and branded "deformed" or "ugly" (virupa), whence he derived his name. Among the many stories told about him, perhaps the most famous tells of his stopping in a tavern to drink. When the tavern keeper demanded payment, he offered her the sun instead, using his ritual dagger to stop the sun in its course. The sun did not move for three days, during which time Virupa consumed huge amounts of drink. In order to set the sun on its course, the king agreed to pay his bill. Virupa eventually encountered two YOGINs who became his disciples: dombiheruka and Kṛsnacārin. In the eleventh century, the Tibetan scholar SA CHEN KUN DGA' SNYING PO of the 'Khon clan is said to have had a vision of Virupa in which he received transmission of the *Mārgaphalamulasāstra. This became the foundation for the LAM 'BRAS teachings of the Sa skya sect, where Virupa is regarded as a buddha, equal in importance to Nāropa for the BKA' RGYUD sect. His most famous work is his RDO RJE TSHIG RKANG ("Vajra Verses").

vis.ayadr.s.t.i (vishayadrishti) ::: subtle sense-perception (sūks.ma dr.s.t.i) visayadrsti .. in general or any particular form of such perception, especially perception of the sūks.ma vis.ayas of sound, touch, smell and taste (sabda, sparsa, gandha and rasa), with vision of rūpa often mentioned separately; the faculty or faculties constituting the instrumentation of saṁjñana or "sense in its purity", which "exists behind and beyond the mind it uses and is a movement of the self, a direct and original activity of the infinite power of its consciousness", capable of presenting to us "things concealed from the limited receptivity or beyond the range of the physical organs, . . . scenes, forms, happenings, symbols of the vital, psychical, mental, supramental, spiritual worlds".

visvarasa ::: [universal taste of delight].

vyāpti. (T. khyab pa; C. bian/bianzhi; J. hen/henshi; K. p'yon/p'yonji 遍/遍至). In Sanskrit, "pervasion" or "concomitance"; a term used in logic to indicate the relation that obtains between the reason and the predicate in a correct syllogism (PRAYOGA). There is positive concomitance (anvaya) and negative concomitance (VYATIREKA). For example, in order for the syllogism (PRAYOGA) "Sound is impermanent because of being produced" to be correct, it must be true that whatever is impermanent must necessarily be produced. That is, the category of the reason must either be coextensive with or subsume the category of the predicate. In Tibetan monastic debate, the term figures in one of three answers that the defender of a position may give. When presented with a syllogism or consequence (PRASAnGA) by the challenger, the defender may (1) accept the thesis ('dod), (2) state that the reason is not a quality of the subject (rtags ma grub), or (3) state that there is no pervasion between the reason and the predicate (ma khyab).

vyavahāra. (T. tha snyad; C. sudi/yanyu; J. zokutai/gongo; K. sokche/ono 俗諦/言語). In Sanskrit, "convention" or "designation"; often with the connotation of something superficial. Generally, this term refers to matters involved with the mundane or worldly realm, as opposed to those of the sacred or supramundane realm. Vyavahāra has two general applications in a Buddhist context. First, it is used to indicate the established social conventions, experiences, and practices of the quotidian world. In Buddhism, these conventions are contrasted with the strict moral practices that conform to the ultimate truth (PARAMĀRTHASATYA) perceived by noble beings (ĀRYA). In this sense of a "conventional truth," vyavahārasatya is synonymous with SAMVṚTISATYA. Second, and rather more commonly, this term is used in the context of language and discourse to indicate those conventional words used by ordinary, unenlightened beings to designate reality as they (mis)understand it. Here, again, the terms and the objects that they designate are merely conventional truths (saMvṛtisatya); the term vyavahārasatya sometimes is used as a synonym. Since, according to the doctrine of emptiness (suNYATĀ), all phenomena are devoid of any inherent, unchanging nature, the linguistic expressions used to designate the things of this world are purely conventional designations and cannot contain or communicate the true nature of those phenomena. Through the power of their practice, buddhas and BODHISATTVAs have an inherent understanding of all such linguistic expressions (see NIRUKTI; PRATIBHĀNA) and use that knowledge to communicate the DHARMA to unenlightened beings. Buddhas and bodhisattvas, however, understand both the true and ineffable nature of the language they use, as well as the phenomena that language is meant to describe.

Wachirayanwarorot. [alt. Wachirayan Warot] (Thai) (1860-1921). See VAJIRANĀnAVARORASA.

Wat Bowonniwet. [alt. Wat Bovoranives]. In Thai, "Monastery of Excellent Abode" (P. Pavaranivesa); the royal monastery that is the Bangkok headquarters of the THAMMAYUT sect of Thai Buddhism. Built in 1829, it is most famous as the monastery where Prince Mongkut, the future king RĀMA IV and leader of the Thammayut reform movement, served as abbot, beginning in 1836, before he ascended the throne in 1851. The future king lived as a monk (his ordination name was VajiraNāna) for twenty-seven years, fourteen of which he spent as abbot of this monastery, before he returned to lay life in order to assume the throne of the Chakri dynasty. Subsequent members of the royal family have served the traditional period of temporary ordination as monks of this monastery; his son, the eminent scholar-monk VAJIRANĀnAVARORASA (1860-1921), was the long-time abbot of the monastery. The main temple enshrines the buddha image called Phra Phuttha Chinnasi (Buddhajinasrī), said to date from 1357. Wat Bowonniwet is also the home of Mahamakut Buddhist University, one of Thailand's two public Buddhist universities.

  "What, not in its functioning, but in its essence, is the thing we call sense? In its functioning, if we analyse that thoroughly, we see that it is the contact of the mind with an eidolon of Matter, — whether that eidolon be of a vibration of sound, a light-image of form, a volley of earth-particles giving the sense of odour, an impression of rasa or sap that gives the sense of taste, or that direct sense of disturbance of our nervous being which we call touch.” The Upanishads

“What, not in its functioning, but in its essence, is the thing we call sense? In its functioning, if we analyse that thoroughly, we see that it is the contact of the mind with an eidolon of Matter,—whether that eidolon be of a vibration of sound, a light-image of form, a volley of earth-particles giving the sense of odour, an impression of rasa or sap that gives the sense of taste, or that direct sense of disturbance of our nervous being which we call touch.” The Upanishads

Wonhyo. (C. Yuanxiao; J. Gangyo 元曉) (617-686). In Korean, "Break of Dawn"; famous monk of the Silla dynasty and probably one of the two most important monks in all of Korean Buddhist history, who was renowned for both his scholastic achievements and his efforts to propagate Buddhism among the common people. He is reputed to have written over one hundred commentaries, of which some twenty are extant. According to the hagiographical accounts of Wonhyo in the SONG GAOSENG ZHUAN and the SAMGUK YUSA, Wonhyo tried, but failed, to travel to China with his friend ŬISANG in order to study with the Chinese translator and YOGĀCĀRA exegete XUANZANG. While on the road, Wonhyo is said to have attained enlightenment after a traumatic experience in which he discovered that the earthen sanctuary in which the two travelers had taken refuge one stormy night was in fact a tomb. This experience prompted his awakening that all things are created by mind, which led Wonhyo to realize that he did not need to continue on to China in order to understand Buddhism. (Ŭisang did travel to the mainland, where he studied with the early HUAYAN exegete ZHIYAN.) As the legends about Wonhyo's enlightenment experience evolve, this story becomes even more horrific: Wonhyo is said to have discovered that the sweet water he drank in the tomb to slake his thirst was actually offal rotting in a skull, a traumatic experience that immediately prompted his realization that the mind creates all things. Wonhyo spent much of his life writing commentaries to the many new translations of Buddhist scriptures then being introduced into the Korean peninsula. A brief affair with the widowed princess of Yosok palace led to the birth of a son, who would grow up to become the famous literatus, Sol Ch'ong (c. 660-730), the creator of Idu ("clerical writing"), the earliest Korean vernacular writing system. After the affair, Wonhyo changed into lay clothes and traveled among the peasantry, singing and dancing with a gourd he named Unhindered (Muae) and practicing "unconstrained conduct" (K. muae haeng; C. WU'AI XING). ¶ In Wonhyo's many treatises, he pioneered a hermeneutical technique he called "reconciling doctrinal controversies" (HWAJAENG), which seeks to demonstrate that various Buddhist doctrines, despite their apparent differences and inconsistencies, could be integrated into a single coherent whole. This "ecumenical" approach is pervasive throughout Wonhyo's works, although its basic principle is explained chiefly in his Simmun hwajaeng non ("Ten Approaches to the Reconciliation of Doctrinal Controversy," only fragments are extant), TAESŬNG KISILLON SO ("Commentary to the 'Awakening of Faith According to the Mahāyāna'"), and KŬMGANG SAMMAEGYoNG NON ("Exposition of the VAJRASAMĀDHISuTRA"). Wonhyo was versed in the full range of Buddhist philosophical doctrines then accessible to him in Korea, including MADHYAMAKA, YOGĀCĀRA, Hwaom, and TATHĀGATAGARBHA thought, and hwajaeng was his attempt to demonstrate how all of these various teachings of the Buddha were part of a coherent heuristic plan within the religion. Since at least the twelfth century, Wonhyo's hwajaeng exegesis has come to be portrayed as characteristic of a distinctively Korean approach to Buddhist thought.

Wuliang yi jing. (J. Muryogikyo; K. Muryang ŭi kyong 無量義經). In Chinese, "Sutra of Immeasurable Meanings," one of the "Three [Sister] Sutras of the 'Lotus'" (FAHUA SANBU [JING]), along with the SADDHARMAPUndARĪKASuTRA ("Lotus Sutra") itself and the GUAN PUXIAN PUSA XINGFA JING ("Sutra on the Procedures for Contemplating the Practices of the Bodhisattva SAMANTABHADRA"). The Wuliang yi jing, is presumed to be the prequel to the influential Saddharmapundarīkasutra, while the Guan Puxian pusa xingfa jing is usually considered its sequel. The extant version of the scripture, in one roll, is attributed to the Indian translator *Dharmāgatayasas of the Southern Qi dynasty (479-502), and is claimed to have been translated in 481; the LIDAI SANBAO JI scriptural catalogue also refers to a second, nonextant translation. There is, however, no evidence that a scripture with this title ever circulated in India, and no such text is ever cited in Indian sources. In addition, there are issues with the biography of the alleged translator (*Dharmāgatayasas is otherwise unknown and this is his only attributed translation), and peculiar events in the transmission of the scripture, which suggest that attempts were made to obscure its questionable provenance. The scripture also includes unusual transcriptions and translations of Buddhist technical terminology, and peculiar taxonomies of Indian doctrinal concepts. Because of these problematic issues of provenance and content, the sutra is now suspected of being an indigenous Chinese composition (see APOCRYPHA). Such Chinese exegetes as Huiji (412-496) and TIANTAI ZHIYI (538-597) presumed that this scripture was the otherwise-unknown MAHĀYĀNA sutra titled "Immeasurable Meanings" that is mentioned in the prologue to the Saddharmapundarīkasutra, which the Buddha is said to have preached just prior to beginning the "Lotus Sutra" proper. The Wuliang yi jing is in three chapters (pin). The first chapter is the prologue, where the bodhisattva "Great Adornment" (Dazhuangyan pusa) offers a long verse paean describing the Buddha's many virtues. The second chapter is the sermon itself, where the Buddha explains the doctrine of immeasurable meanings as being the one teaching that will enable bodhisattvas to quickly attain complete, perfect enlightenment (ANUTTARASAMYAKSAMBODHI). This doctrine reveals that all phenomena (DHARMA) are void and calm in both their natures and their characteristics and thus are empty and nondual (ADVAYA). Hence, the immeasurable meanings of all descriptions of dharmas derive from the one dharma that is free from characteristics. The final chapter is the epilogue, which describes the ten kinds of merit that accrue from hearing the sutra.

xingqi. (J. shoki; K. songgi 性起). In Chinese, "nature origination"; an important HUAYAN soteriological and ontological theory, which emphasizes the common ground of all phenomenal appearances in the true nature of the mind. The term xingqi probably derives from the "Baowang rulai xingqi pin" ("Chapter on the 'Nature Origination' of the Tathāgata Jeweled King"), the thirty-second chapter of BUDDHABHADRA's (359-429) sixty-roll translation of the AVATAMSAKASuTRA, which seems to translate the Sanskrit term tathāgatagotrasaMbhava (the arising of the lineage of the tathāgata). Its philosophical origins lie in the TATHĀGATAGARBHA corpus of literature, which maintains that all sentient beings are fundamentally identical to the buddhas, since they share the same buddha-nature (FOXING), and the term finds its antecedents in such earlier theories as the "conditioned origination of the true nature" (zhenxing yuanqi) proposed by the Southern DI LUN ZONG master JINGYING HUIYUAN (523-592). ¶ The term "nature origination" was coined by the second Huayan patriarch ZHIYAN (602-668), and its implications were elaborated by the "third patriarch" FAZANG (643-712) in his HUAYANJING TANXUAN JI and especially the "fifth patriarch" GUIFENG ZONGMI (780-841). In Zhiyan's soteriological interpretation of the xingqi, as elucidated in his influential treatise, HUAYAN JING NAIZHANGMEN DENG ZA KONGMU ZHANG, "nature" (xing) refers to the "essence" (TI) and "origination" (qi) to the appearance of that essence in the "mind-ground" (XINDI). Zhiyan explicitly contrasts nature origination with the soteriological formulations of dependent origination (C. yuanqi; S. PRATĪTYASAMUTPĀDA): unlike dependent origination, which explains the specific conditions through which the experience of enlightenment occurs-and thus inevitably distinguishes the ordinary realm of SAMSĀRA from the enlightened realm of NIRVĀnA-nature origination operates entirely on the level of fruition to explain how enlightenment can "originate" only from within the very "nature" of this world itself. Enlightenment is therefore not something that needs to be produced, for it is the inherent nature of the mind itself. Zongmi subsequently provides a more ontological explanation of the xingqi, by explaining that "nature" refers to the one mind (YIXIN) as discussed in the DASHENG QIXIN LUN ("Awakening of Faith According to the Mahāyāna") and "origination" refers to the process by which that nature is made manifest in the world at large. Thus, in distinction to the "conditioned origination of the DHARMADHĀTU" (FAJIE YUANQI), which explains how all phenomena in the universe are mutual conditioning, and conditioned by, all other phenomena, "nature origination" instead clarifies that all those phenomena simultaneously derive from the common ground that is the nature. Nature origination thus provides a description of causality from the standpoint of the "dharmadhātu of the unimpeded interpenetration of principle and phenomena" (LISHI WU'AI FAJIE).

Yamāntaka. (T. Gshin rje gshed; C. Yanmandejia/Daweide mingwang; J. Enmantokuka/Daiitoku myoo; K. Yommandokka/Taewidok myongwang 焰曼德迦/大威德明王). In Sanskrit, "Destroyer of Death" (lit. "he who brings an end (antaka) to death (yama)"), closely associated with BHAIRAVA ("The Frightening One") and VAJRABHAIRAVA; one of the most important tantric deities. In Tibetan Buddhism, he was one of the three primary YI DAM of the DGE LUGS sect (together with GUHYASAMĀJA and CAKRASAMVARA). Yamāntaka is considered to be a fully enlightened buddha, who appears always in a wrathful form. He is depicted both with and without a consort; the solitary depiction, called "sole hero" (ekavīra), is particularly popular. Bhairava also appears in the Hindu tantric pantheon as a wrathful manifestation of the god siva. According to Buddhist mythology, MANJUsRĪ, the bodhisattva of wisdom, took the form of the terrifying bull-headed deity in order to destroy the Lord of Death (YAMA) who was ravaging the country; hence the epithet Yamāntaka (Destroyer of Death). Yamāntaka has nine heads, thirty-four arms, and sixteen legs, each arm holding a different weapon or frightening object, and each foot trampling a different being. Each of these receives detailed symbolic interpretation in ritual and meditation texts associated with Yamāntaka. Thus, his two horns are said to represent the two truths (SATYADVAYA) of MADHYAMAKA philosophy: ultimate truth (PARAMĀRTHASATYA) and conventional truth (SAMVṚTISATYA). His nine heads represent the nine categories (NAVAnGA[PĀVACANA]) of Buddhist scriptures. His thirty-four arms, together with his body, speech, and mind, symbolize the thirty-seven "factors pertaining to awakening" (BODHIPĀKsIKADHARMA). His sixteen legs symbolize the sixteen emptinesses (suNYATĀ). The humans and animals that he tramples with his right foot represent the attainment of the eight accomplishments, viz., supernatural abilities acquired through tantric practice, including the ability to fly, to become invisible, and travel underground. The birds that he tramples with his left foot represent the attainment of the eight powers, another set of magical abilities, including the ability to travel anywhere in an instant and the power to create emanations. His erect phallus represents great bliss, his nakedness means that he is not covered up with obstacles, and his hair standing on end symbolizes his passage beyond all sorrow (DUḤKHA). The Yamāntaka root tantras are the Sarvatathāgatakāyavāgcittakṛsnayamāritantra ("Body, Speech, and Mind of All Tathāgatas: Black Enemy of Death Tantra") in eighteen chapters; Sarvatathāgatakāyavāgcittaraktayamāritantra ("Red Enemy of Death Tantra," in large part, a different version of the same tantra in nineteen chapters); and the important Kṛsnayamārimukhatantra, also called the "Three Summaries Tantra" (T. Rgyud sdom gsum) because it has no chapters. Also included in the cycle is the Yamāntakakrodhavijayatantra ("Victorious Wrathful Yamāntaka Tantra"), a CARYĀTANTRA. Based on these three works, in Tibet, the three varieties of Yamāntaka are called the "red, black, and the frightening" (T. dmar nag 'jigs gsum) derived from Raktayamāri (Red Enemy of Death), Kṛsnayamāri (Black Enemy of Death), and Vajrabhairava.

Yatus, Yatudhanas (Sanskrit) Yātu-s, Yātudhāna-s A kind of spirit corresponding to the Greek daimon, one of the hierarchies of spiritual, semi-spiritual, and ethereal entities — among many other similar classes, such as the nagas, gandharvas, devas, rishis, apsarasas, and yakshas. In the human constitution, those elemental or semi-elemental beings which are instrumental in carrying out the mandates of the higher parts of man; in the solar system they perform a similar function of cosmic character. Along with the other classes, they are the “Sun’s attendants throughout the twelve solar months; in theogony, and also in anthropological evolution, they are gods and men — when incarnated in the nether world” (SD 2:211).

yi ge brgya pa. (yi ge gyapa). In Tibetan, "hundred-syllable MANTRA"; term used to describe a number of lengthy MANTRAs, most commonly that of VAJRASATTVA, recited as part of a Tibetan tantric confession and purification practice. This is one of the preliminary practices (SNGON 'GRO) of the RNYING MA sect of Tibetan Buddhism, involving one hundred thousand repetitions of the Vajrasattva mantra.

yoginītantra. (T. rnal 'byor ma'i rgyud). Also known as "mother tantras" (MĀTṚTANTRA) and "wisdom tantras" (T. shes rab kyi rgyud), one of the two categories into which the ANUTTARAYOGATANTRAs are divided, the other being "father tantras" (PITṚTANTRA). Developing in India from the SIDDHA tradition, the yoginītantras apparently receive this name because the majority (and in some cases all) of the deities in the tantra's MAndALA are female. According to a traditional explanation, these tantras emphasize wisdom (PRAJNĀ), especially the mind of clear light (PRABHĀSVARACITTA), while father tantras emphasize method (UPĀYA), especially the illusory body (MĀYĀDEHA). See CAKRASAMVARATANTRA.

zhengwu. (J. shogo; K. chŭngo 證悟). In Chinese, "realization-awakening"; the most advanced of the two types of enlightenment (WU; BODHI) discussed in some CHAN schools, equivalent to the achievement of buddhahood. This type of awakening is achieved at the consummation of the ten stages (BHuMI) of the bodhisattva path, rendering one a buddha in fact as well as in principle. The initial "seeing the nature" (JIANXING) of buddhahood catalyzes the "understanding-awakening" (JIEWU), in which the Chan adept comes to know that he is not a deluded sentient being but a buddha. This initial sudden awakening is not in itself sufficient, however, to bring an end to the habituations (VĀSANĀ) that have been engrained in the mind for an essentially infinite amount of time. It is only after a period of gradual cultivation (jianxiu) that these habitual tendencies will be removed and one's actions will finally correspond with one's understanding. That point where knowledge and action are fully integrated marks the final "realization-awakening" (ZHENGWU) and thus constitutes the complete, perfect enlightenment of buddhahood (ANUTTARASAMYAKSAMBODHI). This two-tiered approach to awakening is the hallmark of the sudden awakening/gradual cultivation (DUNWU JIANXIU) path (MĀRGA) schema of certain Chan masters, such as GUIFENG ZONGMI (780-841) in the Chinese Hoze school of Chan, and POJO CHINUL (1158-1210) of the Korean Son tradition.



QUOTES [2 / 2 - 167 / 167]


KEYS (10k)

   1 Sri Ramakrishna
   1 Sri Aurobindo

NEW FULL DB (2.4M)

   28 Murasaki Shikibu
   15 Michelle Cohen Corasanti
   10 Bhawani Prasad Mishra
   7 Dee Lestari
   5 Anonymous
   4 Tere Liye
   4 Rasana Atreya
   4 Pramoedya Ananta Toer
   4 Naoki Urasawa
   3 Idries Shah
   3 Helvy Tiana Rosa
   2 Stephen King
   2 Orizuka
   2 Miranda Malonka
   2 Habiburrahman El Shirazy
   2 Fahd Pahdepie
   2 Christian Simamora
   2 Arthur Golden
   2 Ahmad Fuadi
   2 Adenita

1:Sentiment which is an indulgence of the intelligent observing mind in the aesthesis, the rasa of feeling, passion, emotion, sense thinning them away into a subtle, at the end almost unreal fineness. ~ Sri Aurobindo, The Future Poetry, The Breath of Greater Life,
2:64 Arts
   1. Geet vidya: art of singing.
   2. Vadya vidya: art of playing on musical instruments.
   3. Nritya vidya: art of dancing.
   4. Natya vidya: art of theatricals.
   5. Alekhya vidya: art of painting.
   6. Viseshakacchedya vidya: art of painting the face and body with color
   7. Tandula­kusuma­bali­vikara: art of preparing offerings from rice and flowers.
   8. Pushpastarana: art of making a covering of flowers for a bed.
   9. Dasana­vasananga­raga: art of applying preparations for cleansing the teeth, cloths and painting the body.
   10. Mani­bhumika­karma: art of making the groundwork of jewels.
   11. Aayya­racana: art of covering the bed.
   12. Udaka­vadya: art of playing on music in water.
   13. Udaka­ghata: art of splashing with water.
   14. Citra­yoga: art of practically applying an admixture of colors.
   15. Malya­grathana­vikalpa: art of designing a preparation of wreaths.
   16. Sekharapida­yojana: art of practically setting the coronet on the head.
   17. Nepathya­yoga: art of practically dressing in the tiring room.
   18. Karnapatra­bhanga: art of decorating the tragus of the ear.
   19. Sugandha­yukti: art of practical application of aromatics.
   20. Bhushana­yojana: art of applying or setting ornaments.
   21. Aindra­jala: art of juggling.
   22. Kaucumara: a kind of art.
   23. Hasta­laghava: art of sleight of hand.
   24. Citra­sakapupa­bhakshya­vikara­kriya: art of preparing varieties of delicious food.
   25. Panaka­rasa­ragasava­yojana: art of practically preparing palatable drinks and tinging draughts with red color.
   26. Suci­vaya­karma: art of needleworks and weaving.
   27. Sutra­krida: art of playing with thread.
   28. Vina­damuraka­vadya: art of playing on lute and small drum.
   29. Prahelika: art of making and solving riddles.
   30. Durvacaka­yoga: art of practicing language difficult to be answered by others.
   31. Pustaka­vacana: art of reciting books.
   32. Natikakhyayika­darsana: art of enacting short plays and anecdotes.
   33. Kavya­samasya­purana: art of solving enigmatic verses.
   34. Pattika­vetra­bana­vikalpa: art of designing preparation of shield, cane and arrows.
   35. Tarku­karma: art of spinning by spindle.
   36. Takshana: art of carpentry.
   37. Vastu­vidya: art of engineering.
   38. Raupya­ratna­pariksha: art of testing silver and jewels.
   39. Dhatu­vada: art of metallurgy.
   40. Mani­raga jnana: art of tinging jewels.
   41. Akara jnana: art of mineralogy.
   42. Vrikshayur­veda­yoga: art of practicing medicine or medical treatment, by herbs.
   43. Mesha­kukkuta­lavaka­yuddha­vidhi: art of knowing the mode of fighting of lambs, cocks and birds.
   44. Suka­sarika­pralapana: art of maintaining or knowing conversation between male and female cockatoos.
   45. Utsadana: art of healing or cleaning a person with perfumes.
   46. Kesa­marjana­kausala: art of combing hair.
   47. Akshara­mushtika­kathana: art of talking with fingers.
   48. Dharana­matrika: art of the use of amulets.
   49. Desa­bhasha­jnana: art of knowing provincial dialects.
   50. Nirmiti­jnana: art of knowing prediction by heavenly voice.
   51. Yantra­matrika: art of mechanics.
   52. Mlecchita­kutarka­vikalpa: art of fabricating barbarous or foreign sophistry.
   53. Samvacya: art of conversation.
   54. Manasi kavya­kriya: art of composing verse
   55. Kriya­vikalpa: art of designing a literary work or a medical remedy.
   56. Chalitaka­yoga: art of practicing as a builder of shrines called after him.
   57. Abhidhana­kosha­cchando­jnana: art of the use of lexicography and meters.
   58. Vastra­gopana: art of concealment of cloths.
   59. Dyuta­visesha: art of knowing specific gambling.
   60. Akarsha­krida: art of playing with dice or magnet.
   61. Balaka­kridanaka: art of using children's toys.
   62. Vainayiki vidya: art of enforcing discipline.
   63. Vaijayiki vidya: art of gaining victory.
   64. Vaitaliki vidya: art of awakening master with music at dawn.
   ~ Nik Douglas and Penny Slinger, Sexual Secrets,

*** WISDOM TROVE ***

*** NEWFULLDB 2.4M ***

1:The Midwest is such a tabula rasa. ~ Richard Powers,
2:tabula rasa. Это покой и отсутствие всяких ~ Anonymous,
3:El análogo del /112/espacio es la tabula rasa. ~ Anonymous,
4:...bahasaku yang cuma rasa susah melekat pada kata... ~ Dee Lestari,
5:Rasa malu tidak disarankan (tidak baik) bagi orang yang butuh ~ Homer,
6:Tuturnya sedikit, hatinya sejuta rasa membukit. ~ Khairulnizam Bakeri,
7:Rasa bersalah menggerakkan seseorang untuk melakukan kebaikan. ~ Khaled Hosseini,
8:Di balik senyum itu, bisa jadi dia sedang menahan rasa sakit yang lain. ~ Orizuka,
9:Jangan pernah menjaminkan rasa kepada waktu. Ia punya masa kedaluwarsanya. ~ Windy Ariestanty,
10:Jika cinta adalah dongeng yang indah, mengapa harus ada rasa sakit di dalamnya? ~ Alvi Syahrin,
11:kesombongan kita paling tahan terhadap rasa sakit saat diri kita terluka ~ Friedrich Nietzsche,
12:Anak adalah cindera rasa, obor asa, jejak nyata ada kita di dunia hingga surga. ~ Helvy Tiana Rosa,
13:Ada dunia di sekelilingmu. Ada aku di sampingmu. Namun, kamu mendamba rasa sendiri itu. ~ Dee Lestari,
14:Aku baru menyadari bahwa antara Cinta dan Rasa Ingin Memiliki itu tidak sama. ~ Habiburrahman El Shirazy,
15:Yang membezakan rasa seseorang meneguk kematian adalah ridho Allah terhadapnya ~ Habiburrahman El Shirazy,
16:Namun saat kau rasa pasir yang kau pijak pergi, akulah lautan memeluk pantaimu erat. -Aku Ada- ~ Dee Lestari,
17:What we need,' Henry says, 'is a fresh start. A blank slate. Let's call her Tabula Rasa. ~ Audrey Niffenegger,
18:Na zemi existují dvě lidské rasy, ale jen tyto dvě: rasa lidí řádných a rasa lidí neřádných. ~ Viktor E Frankl,
19:Cinta adalah rasa yang kuucap dalam setiap desah dan cuaca, tak sampai-sampai getarnya padamu. ~ Helvy Tiana Rosa,
20:Menulislah yang membantuku mengatasi rasa marah yang membakar di hati kebanyakan rakyat Palestina. ~ Raja Shehadeh,
21:loving dan losing memang hanya beda sehuruf. namun berlawanan makna, berjarak miliaran rasa. ~ Hanum Salsabiela Rais,
22:Apakah permata itu? Yaitu cinta yang kuat d antara saudara. Rasa kasih sayang di antara kaum sedarah, ~ Eiji Yoshikawa,
23:Bukan kekurangan yang menyakitkan,
tetapi menanggung rasa iri yang timbul dari angan-angan yang sia-sia. ~ Epicurus,
24:Waktu dan jarak akan menyingkap rahasia besarnya, apakah rasa suka itu semakin besar, atau semakin memudar. ~ Tere Liye,
25:Freud said that we are born as a tabula rasa. This is a model that simply is too superficial and inadequate. ~ Stanislav Grof,
26:Sikap yang layak dan tenggang rasa terhadap orang-orang lain merupakan dua sifat utama seorang yang bijak. ~ Benjamin Disraeli,
27:Dan inilah yang aku inginkan untuk kau pahami bahwa kebaikan, kebaikan yang nyata, muncul akibat rasa bersalah. ~ Khaled Hosseini,
28:Pastikan kau bergerak, juga menulis dengan rasa cinta, sebab itu yang akan membangun jiwa Indonesia dan dunia. ~ Helvy Tiana Rosa,
29:Bicaralah tentang diriku sebagaimana diriku / tak ada yang diperlunak ataupun dengan rasa dengki diinjak-injak. ~ Goenawan Mohamad,
30:Saya yakin bahwa rasa cinta adalah guru yang lebih baik ketimbang kewajiban, paling tidak bagi saya." -Einstein- ~ Walter Isaacson,
31:Apalah ertinya malu ditelanjangi, kalau sudah tidak ada rasa malu jadi tentera penjajah, untuk menjajah negara sendiri? ~ Arena Wati,
32:Rasa benci tidak mungkin sepenuhnya dibersihkan. Itulah hal yang harus kita terima, agar tetap punya sifat kuat dan agresif. ~ Daniel Keyes,
33:… terkadang banyak dari kita yang menjalani kehidupan beragama berdasarkan rasa (dzauq), ketimbang pertimbangan rasional. ~ Komaruddin Hidayat,
34:Ce anume caracterizează cel mai mult rasa umană? […] Cruzimea ei sau capacitatea de a se rușina pentru propria cruzime? ~ Gregory David Roberts,
35:kekeliruan yang berlaku dulu usah dikesali lagi... mengingatinya hanya sekadar menabah rasa bersalah - Cinta Hari-hari Rusuhan ~ Faisal Tehrani,
36:Ukuran sebuah masyarakat adalah seberapa baik masyarakat itu mengubah rasa sakit dan penderitaan menjadi sesuatu yang berguna. ~ Friedrich Nietzsche,
37:Rasa hangat ketika kedua tubuh bertemu, rasa lengkap ketika dua jiwa mendekat, rasa rindu yang tuntas ketika kedua pasang mata menatap. ~ Dee Lestari,
38:Bagaimana hampa bisa menyakitkan? Hampa harusnya berarti tidak ada apa-apa. Tidak ada apa-apa berarti tidak ada masalah. Termasuk rasa sakit. ~ Dee Lestari,
39:Di antara media ada rasa sungkan untuk saling mengkritik. Juga bila ada ketidakjujuran di media lainnya. A conspiracy of restraint. ~ Goenawan Mohamad,
40:Mencintai itu anugerah, meski tak berbalas. Lewat rasa itu kau bahkan bisa membangun istana megahmu sendiri dari kepingkeping puisi dan prosa. ~ Helvy Tiana Rosa,
41:Dituntun oleh masa laluku, didorong oleh keberadaanku, aku terbang mencari sesuatu yang tak kuketahui. Antusiasme, rasa ingin tahu, dan harapan menemaniku. ~ Samarpan,
42:Memiliki rasa hormat pada diri sendiri akan membimbing moral kita,
Memiliki rasa hormat terhadap orang lain akan menjaga sikap sopan santun kita. ~ Laurence Sterne,
43:Kebebasan sangat mahal harganya, semahal perbudakan; bedanya, kau membayarnya dengan sneyum dan rasa senang, andai pun senyum itu direduokan oleh air mata ~ Paulo Coelho,
44:I have a theory in life that there is no learning. There is no learning curve. Everything is tabula rasa. Everybody has to discover things for themselves. ~ Seymour Hersh,
45:Itulah satu hal yang tidak bisa kamu palsukan: intention," jelas Dave. "Mau manusia atau ET, saya rasa itu hukum universal. Intention speaks louder than any code. ~ Dee Lestari,
46:Aku ibunya, ya dari sekian anak. Jadi kan tahu, yang satu butuh apa, yang lain memerlukan apa lain lagi. Adil kan tidak berarti sama rata sama rasa. (Yuniati, p.115) ~ Y B Mangunwijaya,
47:Kita menilai diri kita sendiri dari segala sesuatu yang kita rasa mampu kita lakukan,
Sedangkan orang lain menilai kita dari apa yang telah kita lakukan. ~ Henry Wadsworth Longfellow,
48:Nasib terbaik adalah tidak dilahirkan, yang kedua dilahirkan tapi mati muda, dan yang tersial adalah umur tua. Rasa-rasanya memang begitu. Bahagialah mereka yang mati muda. ~ Soe Hok Gie,
49:If the clinician, as observer, wishes to see things as they really are, he must make a tabula rasa of his mind and proceed without any preconceived notions whatever. ~ Jean Martin Charcot,
50:Jangan arahkan sudut pandangmu pada sesuatu yang belum tentu bisa kau lihat. Itu hanya akan melemparkanmu pada keterasingan dimana rasa syukur sering hanya sebatas ujung lidah. ~ Asma Nadia,
51:Jangan meminjam, jangan pula meminjamkan,
Karena baik uang yang dipinjamkan mau pun sahabat, kedua-duanya akan hilang.
Lagi pula meminjam menumpulkan rasa hemat. ~ William Shakespeare,
52:Tidak ada perasaan yang bertahan selamanya. Aku belajar itu dari Papa. Cepat atau lambat, sesuatu yang kita miliki akan hilang dan yang tertinggal kemudian cuma rasa benci. ~ Windry Ramadhina,
53:Cinta sejati adalah perbuatan. Dengan demikian,ingat baik baik, kau selalu bisa memberi tanpa sedikitpun rasa cinta. Tetapi kau tidak akan pernah bisa mencintai tanpa selalu memberi. ~ Tere Liye,
54:To paraphrase a Latino saying (which is possibly ultimately from the Arabic traditiom), MI rasa is supposed raza." So Living in Spanglish is not a racial Istanbul text. ~ Ed Morales,
55:Pada satu tingkatan, mereka menderita dan akibat wajar yang ditimbulkan–ketabahan, kekuatan, independensi yang kukuh–merupakan sumber kebanggaan; di sisi lain, merupakan sumber rasa iri. ~ John Man,
56:Ada masanya orang melayani kekasih, ataupun Tuhan, dalam romantisme. Waktu itu akan lewat, dan kita tak merasakan apa-apa lagi. Karena itu, nikmatilah rasa romantis itu selagi kamu muda. ~ Ayu Utami,
57:Jika kau tahu sedikit saja apa yang telah seorang ibu lakukan untukmu, maka yang kau tahu itu sejatinya belum sepersepuluh dari pengorbanan, rasa cinta, serta rasa sayangnya kepada kalian. ~ Tere Liye,
58:Namun, rasa sakit akan menguatkan seseorang menapaki hidup. Penderitaan akan menumbuhkan kebijaksanaan. Kesengsaraan yang melewati batas akan melahirkan kekuatan yang tak bisa diduga. (77) ~ Asma Nadia,
59:. . . she was a tabula rasa when it came to appropriate behavior. To say Lucy was difficult is like saying lightening is hazardous. It's a statement of fact that will always be a given. ~ Patricia Cornwell,
60:Ia merasa bahwa pengabdian dirinya adalah bagian yang pokok dari mengutarakan rasa bersyukur. Kepasrahan-penyerahan secara ikhlas-adalah sesuatu yang wajar. Bukan kalah. Bukan mengalah. ~ Arswendo Atmowiloto,
61:Kebanyakan orang merasa takut suatu waktu dalam hidupnya. Itu tidak berarti mereka pengecut. Pengecut adalah mereka yang tidak melakukan apapun ketika rasa takut mengancam menghancurkan mereka. ~ Darren Shan,
62:Sepanjang kita yakin telah melakukan sesuatu dengan baik, selalu belajar untuk lebih baik, terbuka dengan masukan, rasa nyaman dan tenteram itu akan datang. Kemuliaan hidup tidak pernah tertukar. ~ Tere Liye,
63:Sesungguhnya rasa aman, damai, dan sejahtera adalah kekuatan yang memberikan cahaya pada akal untuk berpikir dengan tenang dan kontinu. Karena terkadang pemikiran tersebut mampu mengubah perjalanan sejarah ~,
64:Teringat saya amaran daripada Imam al-Ghazali, bahawa jika solat dipersembahkan kepada Allah tanpa ada sebarang rasa, sama keadaannya dengan mempersembahkan bangkai yang tidak bernyawa. ~ Pahrol Mohamad Juoi,
65:Bahagia lahir dari rasa syukur yang tak henti padaNya dan usaha untuk senantiasa berbagi apa yang kita bisa pada sesama. Itulah sebabnya kita bisa memilih untuk berbahagia setiap hari, setiap kali. ~ Helvy Tiana Rosa,
66:Rasa sakit hati itu indah. Setidaknya patah-hati memberikan sensasi bahwa kita memang masih hidup. Lagipula siapa bilang ditolak cinta itu tidak indah? Itu indah, Bung! Pikirkanlah dari sudut yang berbeda! (132) ~ Tere Liye,
67:Harapan, kata Vaclav Havel, "bukanlah keyakinan bahwa hal-ikhwal akan berjalan baik, melainkan rasa pasti bahwa ada sesuatu yang bukan hanya omong kosong dalam semua ini, apa pun yang akan terjadi akhirnya". ~ Goenawan Mohamad,
68:on page 149 of 476 on From Beirut to Jerusalem : " Kumohon pada setiap burung yang lewat untuk mengatakan kerinduan dan rasa cintaku kepadamu, untuk kemudian kembali membawa berita tentang orang-orang yang kucintai ~ Ang Swee Chai,
69:Kebahagiaan dan rasa sedih itu terkadang tidak ada bedanya. sama-sama membuat tidak bisa tidur. Hanya saja rasa bahagia tidak membuat tubuh melakukan gerakan resah atau helaan napas panjang. Rasa gembira hanya membuat sesak. ~ Tere Liye,
70:Setiap hari aku memanjatkan rasa syukur kepada Allah karena telah menjaga kehidupanku, bukan karena aku takut menghadapi kematian, namun karena istriku akan tetap memiliki suami dan anakku tidak akan menjadi yatim piatu. ~ Khaled Hosseini,
71:kawal rasa cinta itu. kalau betul cinta, cinta biar ke syurga. maka apa persediaan kau untuk bawa keluarga kau ke syurga? adakah dinamakan cinta kalau kita sekadar melemparkan pasangan kita ke neraka?

: muka surat 148 ~ Hilal Asyraf,
72:Ada seorang pandai yang membedakan rasa hormat dari pujian. Ia bermimpi bahwa manusia mungkin dapat menciptakan suatu masyarakat tempat semua orang berhak atas rasa hormat, dan harga diri, meskipun tak semuanya berhak atas pujian ~ Goenawan Mohamad,
73:Demokrasi hanya berjalan kalau disertai rasa tanggung jawab. Tidak ada demokrasi tanpa tanggung jawab. Dan, demokrasi yang melewati batasnya dan meluap menjadi anarki akan menemui ajalnya dan digantikan sementara waktu oleh diktator. ~ Mohammad Hatta,
74:Kesabaran adalah kekuasaan.
Pergunakanlah untuk memupuk semangat, meredakan kemarahan, meredam angkara murka, mengubur rasa iri, menekan kesombongan, menahan lidah, mengekang tangan, sampai tiba waktunya anda memanen seluruh hasilnya. ~ Og Mandino,
75:oleh kerana manusia melakukan sesuatu didorong oleh rasa mahu dirinya penting dan mahu dirinya dihargai, manusia perlu berhati-hati dengan satu perkara, iaitu manusia seperti kita perlu tahu membezakan antara penghargaan dan pengampu ~ Bahruddin Bekri,
76:Mengajukan tanya yang, kau tahu, kelak tak berjawab adalah dosa mendasar dalam sains, layaknya memberi perintah yang kau pikir akan diabaikan dalam bidang politik, atau memohon sesuatu yang kau rasa tak 'kan dikabulkan Tuhan dalam agama ~ R G Collingwood,
77:Sia-sia cinta memberimu sayap jika kau tak pandai terbang, Sia-sia juga cinta memberimu kebahagian jika kau tak cakap memaknai. Tapi betapa berartinya cinta jika kau sandarkan rasa itu kepada Dia yang begitu sempurna meletakkannya di hatimu. ~ Asma Nadia,
78:Aku tidak ingin hubungan kami berakhir meninggalkan rasa benci. Aku ingin percaya bahwa kami memang pernah memiliki sesuatu, bahwa perasaannya kepadaku sungguh-sungguh. Dengan begitu, yang akan tersisa nanti untukku adalah kenangan manis. ~ Windry Ramadhina,
79:It is self-evident that the tabula rasa of modernization favors the optimum use of earth-moving equipment inasmuch as a totally flat datum is regarded as the most economic matrix upon which to predicate the rationalization of construction. ~ Kenneth Frampton,
80:Following Locke's doctrine that the mind is a tabula rasa, Helvetius considered the differences between individuals entirely due to differences of education: in every individual, his talents and his virtues are the effect of his instruction. ~ Bertrand Russell,
81:Sentiment which is an indulgence of the intelligent observing mind in the aesthesis, the rasa of feeling, passion, emotion, sense thinning them away into a subtle, at the end almost unreal fineness. ~ Sri Aurobindo, The Future Poetry, The Breath of Greater Life,
82:Milikilah hati yang luas, seluas langit biru. Di dalam hati yang luas, kamu akan menampung rasa memaafkan yang besar, kekuatan untuk berpikir dan bertindak positif, serta semangat untuk menjelang hari esok yang tidak pernah pudar. Jadilah langit itu ~ Sitta Karina,
83:Kita harus bersiap dengan kemungkinan terburuk. Tapi jangan biarkan emosi, rasa marah, kebencian kepada lawan membuat penilaian kita menjadi keliru. Tetap fokus pada tugas masing-masing. Marah, tindakan nekat membabi-buta hanya membuat lawan kita tertawa. ~ Tere Liye,
84:Besok pagi, bayangin, lu bangun, dan satu dunia sepakat kalo uang itu nggak ada. Bisa? Pasti bisa. Uang bisa hilang dalam sedetik. Tapi coba lu bayangin, lu dan dunia sepakat kalo rasa bahagia itu nggak ada.... cinta itu nggak ada... bisa? - Supernova Petir ~ Dee Lestari,
85:Lebih baik bertengkar karena cinta
daripada diam kesepian menanggung benci
Sebab, hidup dengan seseorang yang dicinta
memang tidak sunyi dari sakit di raga
tapi, hidup tanpa seseorang yang mencinta
membuat orang mengundang rasa sakit di jiwa ~ Remy Sylado,
86:Sejatinya, rasa suka tidak perlu diumbar, ditulis, apalagi kau pamer-pamerkan. Semakin sering kau mengatakannya, jangan-jangan itu semakin hambar, jangan-jangan kita mengatakannya hanya karena untuk menyugesti, bertanya pada diri sendiri, apa memang sesuka itu". ~ Tere Liye,
87:The Srimad Bhagavatam is the very essence of all the Vedanta literature. One who has enjoyed the nectar of its rasa never has any desire for anything else. ~ Rūpagosvāmī (2003), in Twelfth canto of Bhagavat Purana (12.13.15), in The Bhaktirasāmṛtasindhu of Rūpa Gosvāmin, p. 65,
88:Kematian selalu membuntuti Kehidupan dengan begitu dekat, bukanlah karena keharusan biologis, melainkan karena rasa iri. Kehidupan ini begitu indah, sehingga maut pun jatuh cinta padanya. Cinta yang pencemburu dan posesif, yang menyambar apapun yang bisa diambilnya ~ Yann Martel,
89:Aku penjudi yang buruk. Aku tak tahu kapan harus berhenti dan menahan diri. Ketika cinta bersinar gemilang menyilaukan mata, kalang kabut aku serahkan semua yang kumiliki. Kepingan rasa percaya bertaburan di atas meja taruhanku. Dan aku tak pernah membawa pulang apa-apa. ~ Dee Lestari,
90:The idea that man is a tabula rasa, or Mao's sheet of blank paper upon which the most beautiful characters can be written, is an old one with disastrous implications. I do not think though that the cults you mention could survive honest thought about human nature. ~ Theodore Dalrymple,
91:Manusia memang bukan semuanya wali. Tapi mungkin sejarah juga mengajari kita, bahwa keadaan tak sempurna bukanlah dasar untuk terus-menerus menghalalkan kerakusan. Keadaan tak sempurna itu justru alasan untuk kesediaan ditegur, untuk mengerti rasa malu dan rasa dosa. ~ Goenawan Mohamad,
92:Dia meminumnya tanpa gula, menyesapnya pelan-pelan, dan kemudian membalikkan cangkir di atas cawan agar ampas kopinya, setelah bertahun-tahun lamanya, punya waktu untuk menuliskan takdirnya. Kenangan rasa kopi itu telah menyelamatkannya dari pikiran-pikiran suram. ~ Gabriel Garc a M rquez,
93:Ia merasa kesepian, padahal seharusnya tidak perlu merasa demikian karena stok teman-temannya yang banyak dan beraneka ragam pastilah akan mampu membuat keramaian seketika. Tapi, kali ini ia sungguh dilanda rasa sepi. Ada rasa rindu menyeruak. Rindu yang tidak tahu ditujukan untuk siapa. ~ Adenita,
94:The planet Mars -- crimson and bright, filling our telescopes with vague intimations of almost-familiar landforms -- has long formed a celestial tabula rasa on which we have inscribed our planeto-logical theories, utopian fantasies, and fears of alien invasion or ecological ruin. ~ David Grinspoon,
95:The great achievement of Kant is to have shown, once for all, that the external world is known to us only as sensation; and that the mind is no mere helpless tabula rasa, the inactive victim of sensation, but a positive agent, selecting and reconstructing experience as experience arrives. ~ Will Durant,
96:Dacă vei putea rămâne mereu în prezent, vei fi un om fericit. Vei simți că în deșert există viață, că cerul are stele, și că războinicii se luptă pentru că asta face parte din rasa omenească. Viața va fi o sărbătoare, o mare sărbătoare pentru că ea este numai și numai momentul în care trăim. ~ Paulo Coelho,
97:Keprihatinan, seperti halnya kebanggaan, juga kecemasan, seperti halnya optimisme—semua itu adalah pertanda rasa ikut memiliki. Atau rasa terpanggil. Barangkali karena tanah air memang bukan cuma sepotong geografi dan selintas sejarah. Barangkali karena tanah air adalah juga sebuah panggilan ~ Goenawan Mohamad,
98:Dengan penuh kebahagiaan kau akan menerima benih si bayi, dan melalui rasa sakit kau akan melahirkan seorang bayi. Tapi inilah yang membuatmu menghargai dan menyayangi anakmu. Itu sebabnya ada pepatah mengatakan, kalaupun kau meletakkan anakmu di dalam biji matamu, matamu tidak akan terasa sakit. ~ Kim Dong Hwa,
99:rasa memiliki itu hidup seperti sel. semula satu dan kemudian terpecah jadi seribu satu. dan aku menyimpan sel-sel yang sangat sehat. ia akan terpecah diluar kendali cinta itu sendiri. sel ini terus bertambah dan merambah. mereka hidup melingkari kita, semenjak kita saling mencinta. suka tak suka. ~ Dee Lestari,
100:Sejatinya, dalam hidup ini, kita tidak pernah berusaha mengalahkan orang lain, dan itu sama sekali tidak perlu. Kita cukup mengalahkan diri sendiri. Egoisme. Ketidakpedulian. Ambisi. Rasa takut. Pertanyaaan. Keraguan. Sekali kau bisa menang dalam pertempuran itu, maka pertempuran lainnya akan mudah saja. ~ Tere Liye,
101:Tabula rasa... time to hacer borrón y cuenta nueva, wipe the board clean," the singer chants.
Wipe the board clean? I feel like my board is too clean, perpetually wiped bare. What I want is the opposite: a messy scrawl, constellations of indelible things that can't ever be washed away. ~ Gayle Forman,
102:Problemku terbesar adalah memercayai spesies Homo sapiens. Termasuk diriku sendiri. Padahal, manusia terlahir ke dunia dibungkus rasa percaya. Tak ada yang lebih tahu kita ketimbang plasenta. Tak ada rumah yang lebih aman daripada rahim ibu. Namun, di detik pertama kita meluncur keluar, perjudian dimulai. ~ Dee Lestari,
103:...manusia terlahir ke dunia dibungkus rasa percaya. Tak ada yang lebih tahu kita ketimbang plasenta. Tak ada rumah yang lebih aman daripada rahim ibu. Namun, di detik pertama kita meluncur ke luar, perjudian hidup dimulai. Taruhanmu adalah rasa percaya yang kau lego satu per satu demi sesuatu bernama cinta ~ Dee Lestari,
104:Akan tetapi, yang benar-benar membuat tempat ini istimewa adalah pengalaman ngopi-ngopi yang diciptakan Ben. Dia tidak sekadar meramu, mengecap rasa, tapi juga merenungkan kopi yang dia buat. Ben menarik arti, membuat analogi, hingga terciptalah satu filosofi untuk setiap jenis ramuan kopi. Filosofi Kopi ~ Dee Lestari,
105:Keberanian sejati mengenal rasa takut
Dia tahu bagaimana takut kepada apa yang harus ditakuti
Orang-orang yang tulus menghargai hidup dengan penuh kecintaan
Mereka mendekapnya sebagai permata yang berharga
Dan mereka memilih waktu serta tempat yang tepat untuk menyerahkannya
Mati dengan penuh kemuliaan ~ Eiji Yoshikawa,
106:Jangan hanya hidup
tapi binalah kehidupan

Jangan hanya jadi manusia
tapi milikilah sifat kemanusiaan

Jangan hanya mencari keperluan
tetapi burulah tujuan

Jadilah hamba Allah
yang penuh rasa kehambaan !

InsyaAllah, akan melimpah ketenangan ..
... sekalipun sedikit kesenangan. ~ Pahrol Mohamad Juoi,
107:This grossness, physical love, which is actually the biological cooling system, is very essential. The prana feeds the tattvas and the tattvas create the rasa. Rasa means juices. The juices circulate and in that circulation the glandular system works and involves itself. And there's a place to bring it all to harmony. ~ Harbhajan Singh Yogi,
108:Tinha a sensação de ter mergulhado em um lago fundo e transparente, e então de ter descoberto que na verdade era uma lagoa rasa, que batia no seu joelho. O que podia fazer? Bem, tinha que se levantar, limpar os joelhos sujos, tirar os pés da lama. E tomar mais cuidado. Ele saberia, dali em diante, que o mundo era um lugar menor do que imaginara. ~ Celeste Ng,
109:Bagiku ada sesuatu yang paling berharga dan hakiki dalam kehidupan: 'dapat mencintai, dapat iba hati, dapat merasai kedukaan'. Tanpa itu semua maka kita tidak lebih dari benda. Berbahagialah orang yang masih mempunyai rasa cinta, yang belum sampai kehilangan benda yang paling bernilai itu. Kalau kita telah kehilangan itu maka absurdlah hidup kita ~ Soe Hok Gie,
110:Bagiku ada sesuatu yang paling berharga dan hakiki dalam kehidupan: 'dapat mencintai, dapat iba hati, dapat merasai kedukaan'. Tanpa itu semua maka kita tidak lebih dari benda. Berbahagialah orang yang masih mempunyai rasa cinta, yang belum sampai kehilangan benda yang paling bernilai itu. Kalau kita telah kehilangan itu maka absurdlah hidup kita. ~ Soe Hok Gie,
111:War der Mensch bei seiner Geburt eine tabula rasa, ungeformt und ohne Ideen, bereit, von der Gesellschaft beschrieben zu werden, erziehbar und imstande, auf dem Weg zur Vervollkommnung voranzuschreiten? Oder stellte die Gesellschaft, wie Rousseau behauptete, einen verderblichen Einfluss dar und nicht das Fundament alles Richtigen und Guten? ~ T Coraghessan Boyle,
112:Dia tidak suka melihat ia mabuk. Lewat suara Manusya, Dia menasihati kalau Manusya jauh lebih kelihatan cantik kalau tidak mabuk. Jika Manusya mabuk, mulut Manusya jauh lebih kotor dari Kali Ciliwung. Kelakuan Manusya benar-benar seperti pelacur. Bahkan Dia dengan sangat yakin menganalisa, rasa percaya dirilah yang memicu Manusya untuk selalu minum. ~ Djenar Maesa Ayu,
113:Apakah sekarang semuanya mulai jelas? Apakah sekarang kau mulai yakin atas hubungan ini? Apakah kau sudah punya jawabannya? Kalau sudah, bisakah kau segera memberitahuku? Kemajuan sedikit saja di hati kau akan memberikan rasa tenteram yang luar biasa bagiku. Bukan sebaliknya, hingga hari ini aku hanya berkutat dengan harapa-harapan---karena itulah yang tersisa. ~ Tere Liye,
114:Byron; and, realistically, quite a number of those infants will die without my care, and Josephine is hardly a creature with potential, hardly anybody’s idea of a tabula rasa, a blank slate—hell, she’s a slate that’s had bad math scrawled on it and then been waxed so that nothing can ever be written on it again. I’ve treated sheep that had more of a right to live. ~ Tim Powers,
115:Ya Rasulullaah, apa yang menghalangi tuan? Demi Allah, aku tidak meninggalkan satu majelis pun dimana aku pernah duduk di sana dalam keadaan kafir, kecuali aku datangi untuk kemudian aku tunjukkan di sana ke-Islam-anku tanpa rasa khawatir dan takut.

Bisakah kita tidak menyembah Allah secara sembunyi-sembunyi lagi...?"

-Umar bin Khattab ra ~ Khalid Muhammad Khalid,
116:DI RESTORAN

Kita berdua saja, duduk. Aku memesan
ilalang panjang dan bunga rumput --
kau entah memesan apa. Aku memesan
batu ditengah sungai terjal yang deras --

kau entah memesan apa. Tapi kita berdua
saja, duduk. Aku memesan rasa sakit
yang tak putus dan nyaring lengkingnya,
memesan rasa lapar yang asing itu.

(1989) ~ Sapardi Djoko Damono,
117:Užas iskustva sa Hitlerom nije u tome da je on to namerno učinio ljudskoj rasi, nego u tome da muje to ljudska rasa omogućila i dopustila. Začuđujuće je ne samo to da se pojavio jedan Hitler, nego to što su milioni pošli s njim. Sramotno je ne samo to što je Hitler pobio milione Jevreja, nego i to što su milioni Jevreja poginuli prije nego što je Hitler zaustavljen, ~ Neale Donald Walsch,
118:Dahulu aku sering bertanya sendiri; kalau puisi itu berwujud
akan seperti apakah dia? Matahari? Bulan? Bintang? Gunung?
Laut? Bertahun lalu aku temukan puisi memancar mancar dari matamu,
masuk ke dalam tubuhku. Seperti yang kau duga pada akhirnya
aku tahu puisi tak pernah punya rupa. Ia rasa yang menggenang,
meluap di jemari kenangan. Kenangan bernama engkau ~ Helvy Tiana Rosa,
119:dos transformaciones antedichas hacen tabla rasa de las prerrogativas tradicionales del Estado-nación e invalidan cierta concepción de la representación política y del poder. Éste, antaño jerárquico, vertical y autoritario, tiende hoy a adoptar una estructura reticular, horizontal y —gracias a la manipulación de las conciencias que facilitan los grandes medios de masas— consensual ~ Anonymous,
120:I stand in the sacred human presence. As I do now, so should you stand some day. I pray to your presence that this be so. Let the future remain uncertain for that is the canvas to receive our desires. Thus the human condition faces its perpetual tabula rasa. We possess no more than this moment where we dedicate ourselves continuously to the sacred presence we share and create. ~ Frank Herbert,
121:Try to say that: “I don't know anything”. We used to call it “tabula rasa” in Latin. Maybe you could think of yourself as an erased blackboard, ready to be written on. For by and large, what blocks spiritual teaching is the assumption that we already know, or that we don't need to know. We have to pray for the grace of beginner's mind. We need to say with the blind man, “I want to see”. ~ Richard Rohr,
122:hidup ini adalah perjalanan panjang dan tidak selalu mulus. pada hari ke berapa dan pada jam ke berapa, kita tidak pernah tahu, rasa sakit apa yang harus kita lalui.

kita tidak tahu kapan hidup akan membanting kita dalam sekali, membuat terduduk, untuk kemudian memaksa kita mengambil keputusan.

satu-dua keputusan itu membuat kita bangga, sedangkan sisanya lebih banyak menghasilkan penyesalan. ~ Tere Liye,
123:Bagi saya, berdosa bukanlah inti rasa tragis. Intinya adalah kesadaran tentang 'tepi'. Tepi bukanlah batas. Tepi mengandung sesuatu yang sepi, juga menunjukkan keadaan yang genting sebab siapapun akan sendirian ketika ada pelbagai sisi yang dihadapi, ketika seorang tak berada di satu pusat yang mantap. Bukan saja karena terang dan gelap ada dimana mana, tapi juga karena kedua duanya mengandung bahaya ~ Goenawan Mohamad,
124:Kloe i Baltasar su imali svoj sopstsveni kodeks casti: likvidirali su samo sljam i cistili svijet od ubica, gmazova, licemerja, fanatika, smrknutih dogmata i svakojakih kretena koji jos vise upropascuavaju svijet u ime zastave, bogova, jezika, rasa ili bilo kakvog drugog djubreta kojim mogu da prekriju svoju pohlepu i svoju bedu. Za mene su oni bili krivovjerni heroji, kao sto svi stvari heroji i jesu. ~ Carlos Ruiz Zaf n,
125:Di jalan cinta para pejuang, biarkan cinta berhenti di titik ketaatan.. Meloncati rasa suka dan tidak suka.. Melampaui batas cinta dan benci.. Karena hikmah sejati tak selalu terungkap di awal pagi.. Karena seringkali kebodohan merabunkan kesan sesaat.. Maka taat adalah prioritas yang kadang membuat perasaan-perasaan terkibas.. Tapi yakinlah, di jalan cinta para pejuang, Alloh lebih tahu tentang kita.. ~ Salim Akhukum Fillah,
126:A lembrança da vida da gente se guarda em trechos diversos, cada um com seu signo e sentimento, uns com os outros acho que nem não misturam. Contar seguido, alinhavado, só mesmo sendo as coisas de rasa importância. De cada vivimento que eu real tive, de alegria forte ou pesar, cada vez daquela hoje vejo que eu era como se fosse diferente pessoa. Sucedido desgovernado. Assim eu acho, assim é que eu conto. ~ Jo o Guimar es Rosa,
127:Bagian terbaik dari jatuh cinta adalah perasaan itu sendiri, Kamu pernah merasakan rasa sukanya, sesuatu yang sulit dilukiskan kuas sang pelukis, sulit disulam menjadi puisi oleh pujangga, tidak bisa dijelaskan oleh mesin paling canggih sekalipun. Bagian terbaik dari jatuh cinta bukan tentang memiliki. Jadi, kenapa kamu sakit hati setelahnya? Kecewa? Marah? Benci? Cemburu? Jangan-jangan karena kamu tidak pernah paham betapa indahnya jatuh cinta. ~ Tere Liye,
128:Bagi perempuan, komitmen nggak lebih hanya sekadar penjamin rasa aman--iya, supaya kita nggak dimiliki orang lain. Sedang pernikahan adalah pemuas fantasi masa kecil mereka. Pernah dengar seperti apa perempuan bercerita tentang pernikahan impiannya? Gaun putih panjang, pernikahan penuh dekorasi indah dan bunga-bunga. Kita laki-laki hanya pelengkap fantasi sialan itu! Berdiri di sebelah mereka di pelaminan, tak ubahnya seperti backdrop buat mereka! ~ Christian Simamora,
129:Saya mimpi tentang sebuah dunia dimana ulama, buruh, dan pemuda bangkit dan berkata, “stop semua kemunafikan ! Stop semua pembunuhan atas nama apapun.. dan para politisi di PBB, sibuk mengatur pengangkatan gandum, susu, dan beras buat anak-anak yang lapar di 3 benua, dan lupa akan diplomasi.

Tak ada lagi rasa benci pada siapapun, agama apapun, ras apapun, dan bangsa apapun..dan melupakan perang dan kebencian, dan hanya sibuk dengan pembangunan dunia yang lebih baik. ~ Soe Hok Gie,
130:Bagaimanapun baik yang telah kalian peroleh dari kehidupan ini, masih ada saja yang kalian rasa kurang. Yang berada dalam kekurangan ingin terbebas dari kekurangan itu, ingin mendapatkan kemakmuran yang melimpah. Yang telah berada dalam kecukupan ingin lebih cukup lagi. Dari perasaan kurang itu, dari keinginan mendapatkan yang lebih baik itu, timbullah impian. Dan impian itu bisa menjadi padat, menjadi cita-cita. Dan cita-cita itu menjadi pola yang menjadi dasar dan petunjuk dari perbuatan. ~ Pramoedya Ananta Toer,
131:Apakah ada yang lebih mengagumkan daripada kesabaran dan kesucian seorang perempuan. Ia melahirkan anak, setelah menantikan dan menjaga seperti nyawabnya sendiri selama sembilan bulan. Ia melahirkan ke dunia dengan rasa sakit dan kecemasan yang luar biasa. Setelah itu satu-satunya hal yang ia pikikan hanyalah kesehatan dan kebahagiaan si anak. Dengan hati seluas samudra dan penuh pengampunan, seorang perempuan terus mencintai suami, meskipun jahat, menyia-nyiakan, membenci dan membuatnya menderita. ~ C Rajagopalachari,
132:Akan ada satu saat kamu bertanya: pergi ke mana inspirasiku? Tiba-tiba kamu merasa ditinggal pergi. Hanya bisa diam, tidak lagi berkarya. Kering. Tetapi tidak selalu itu berarti kamu harus mencari objek atau sumber inspirasi baru. Sama seperti jodoh, Nan. Kalau punya masalah,tidak berarti harus cari pacar baru kan? Tapi rasa cinta kamu yang harus diperbarui.Cinta bisa tumbuh sendiri,tetapi bukan jaminan bakal langgeng selamanya,apalagi kalau tidak dipelihara. Mengerti kamu?"

-Nasihat Poyan pada Keenan suatu hari ~ Dee Lestari,
133:This word “Absurd” has had an unhappy history and I confess that now it rather annoys me. When I analyzed the feeling of the Absurd in The Myth of Sisyphus, I was looking for a method and not a doctrine. I was practicing methodical doubt. I was trying to make a “tabula rasa,” on the basis of which it would then be possible to construct something. If we assume that nothing has any meaning, then we must conclude that the world is absurd. But does nothing have any meaning? I have never believed we could remain at this point. ~ Albert Camus,
134:Bilo joj ga je žao i grozila se njegovih prljavih ruku, ali nasmijala se na svoj uljudni način, kao da joj nije nimalo neobično gledati čovjeka koji se miče kao u polaganom snu. Ljudi često iskazuju neobično poštovanje prema pijanu čovjeku, nešto poput poštovanja priprostijih rasa prema luđacima. Poštovanje nije više nego strah. Moraš osjećati strahopočitanje prema čovjeku koji je izgubio sve inhibicije, koji je spreman na što bilo. Naravno, kasnije ga prisiljavamo da plati za taj trenutak superiornosti, trenutak impresivnosti. ~ F Scott Fitzgerald,
135:Perlu kauketahui, anak-anak perasaannya sangat tajam," kata Miss Marple sambil mengangguk. "Perasaan mereka lebih tajam daripada yang bisa dibayangkan orang-orang di sekelilingnya. Rasa disakiti, rasa dibuang, rasa tak dimiliki. Itu adalah perasaan-perasaan yang tak bisa hilang begitu saja, meskipun diimbali dengan hal-hal yang menguntungkan sekalipun. Pendidikan tak bisa menggantikannya, tidak pula hidup yang nyaman, atau penghasilan yang tetap, atau terbukanya jalan untuk suatu profesi. Itu suatu hal yang menggores dalam-dalam di hati. ~ Agatha Christie,
136:Perhaps, some day, humanity can start afresh, a new world, a tabula rasa, a world with a mind without prior experiences. No memories and no pain. A day when the ones with abundance do not look down at the poor and the needy, a day when we learn to care for the victims, the fallen souls of civilization and advancement, a day when the world will be pure. When all of humanity becomes a clean sheet of parchment, without knowledge and prejudice, simple, hungry for knowing, tasting, and feeling; hungry for life and ready to absorb the ink of experience. ~ Henry Martyn,
137:Anda,
Tidak dapat menguatkan yang lemah dengan melemahkan yang kuat
Tidak dapat membantu orang-orang kecil dengan mencabik orang besar
Tidak dapat menolong orang miskin dengan menghancurkan orang kaya
Tidak dapat mengangkat penerima upah dengan menekan pembayar upah
Tidak dapat terhindar dari masalah dengan menghasilkan penghasilan lebih besar
Tidak dapat memajukan rasa persaudaraan dengan mendorong kebencian antar ras
Tidak dapat menciptakan keamanan di atas uang pinjaman
Tidak dapat membangun karakter dan semangat dengan merampas inisiatif dan kemerdekaan. ~ Abraham Lincoln,
138:A menudo se considera que la mente de los fetos y los recién nacidos es como una “tabla rasa” donde nada se ha escrito o registrado, simplemente porque no pueden hablar. En nuestras investigaciones recientes observamos que el infante registra experiencias de gran impacto, el hecho de que no sea capaz de describir o discutir esas experiencias no tiene nada que ver con el efecto que sufre ante ellas. Más tarde, cuando la persona trate de poner en palabras sus experiencias tempranas, vivirá toda clase de falsas percepciones e ideas extrañas, pues no las podía expresar cuando imperaba su inconsciente. ~ Arthur Janov,
139:Setiap orang merasakan sakit dengan caranya sendiri, setiap orang menyimpan lukanya sendiri. Jadi aku rasa, aku juga peduli dengan ketidakadilan dan keadilan seperti orang lain. Tapi yang paling menjijikkan bagiku adalah orang-orang yang tidak memiliki imajinasi. Orang-orang yang disebut orang-orang palsu oleh T.S Eliot. Orang-orang yang mengisi kurangnya imajinasi dengan hal-hal yang tidak berperasaan, orang-orang yang sama sekali tidak menyadari apa yang mereka lakukan. Orang-orang tidak berperasaan yang melontarkan kata-kata kosong kepadamu, yang mencoba memaksamu melakukan sesuatu yang tidak kau inginkan. ~ Haruki Murakami,
140:S E P O TONG KAKI
“LIHAT! Alangkah indahnya kaki penari legong1 itu. Bagaimana mungkin seorang perempuan dianugrahi sepotong daging yang menggiurkan? Lapar. Aku lapar! Daging yang sangat luar biasa. , Aromanya, Wayan membuatku gila. Apa kau mencium bau kaki perempuan itu? bukan main. Baru kali ini aku merasa lapar. Rasa lapar yang hanya dimiliki oleh seorang laki-laki sejati. Lapar yang nikmat, Wayan. Rasa lapar yang mampu merontokkan seluruh persendiaanku. Perempuan memang memiliki seluruh ke indahan bumi….” Laki-laki itu menangkap air liurnya. Menarik nafas. Tubuhnya menggigil. Dingin. Diteguknya sebotol arak dengan kasar. ~ Oka Rusmini,
141:S E P O TONG KAKI
“LIHAT! Alangkah indahnya kaki penari legong1 itu. Bagaimana mungkin seorang perempuan dianugrahi sepotong daging yang menggiurkan? Lapar. Aku lapar! Daging yang sangat luar biasa. , Aromanya, Wayan membuatku gila. Apa kau mencium bau kaki perempuan itu? bukan main. Baru kali ini aku merasa lapar. Rasa lapar yang hanya dimiliki oleh seorang laki-laki sejati. Lapar yang nikmat, Wayan. Rasa lapar yang mampu merontokkan seluruh persendiaanku. Perempuan memang memiliki seluruh ke indahan bumi….” Laki-laki itu menangkap air liurnya. Menarik nafas. Tubuhnya menggigil. Dingin. Diteguknya sebotol arak dengan kasar. ~ Oka Rusmini,
142:Pada perempuan ada sebuah liang, yang hanya bisa dicapai jika si perempuan sungguh membuka diri, dan si lelaki cukup lentur untuk mengalaminya. Wahai, kaum pria tidak bisa mencapainya dengan mengandalkan otot-otot maskulin yang kasar dan kaku. Mereka harus rela untuk menjadi lebih penari daripada prajurit. Dan kaum wanita tidak bisa mendapatkannya hanya dengan rebah laksana tanah. Mereka harus lebih binarang daripada kembang. Liang ini tidak bisa dicapai dalam pemerkosaan.'
PS: Hal tersebut yang dinamakan Lalita sebagai axis mundi kecil atau sensasi tutup sampanye oleh Yuda, yaitu sensasi rasa melekat kedap disumbatkan, dan dilepaskan bergantian. ~ Ayu Utami,
143:Daripada menyatakan cinta,
aku lebih nyaman berbohong seperti ini padamu:

“Kau adalah orang pertama yang aku cintai dengan sepenuh hati,
meskipun aku tahu kau bukan milikku.
Meskipun kau memilih orang lain yang kau rasa lebih pantas berada di sisimu.
Aku mengerti. Aku benar-benar mengerti.

Namun, aku juga ingin kau tahu, selamanya kau adalah satu di antara sejuta.
Kau istimewa, terbaik di antara yang terbaik.

Jadi kalau hanya teman posisi yang tersedia untuk saat ini,
dengan senang hati aku menawarkan diriku.
Aku cukup puas berada sedekat ini denganmu,
meskipun tahu tak akan pernah jadi cinta sebenarmu.

Tak apa. Benar-benar tak apa. ~ Christian Simamora,
144:Ljudska rasa, kojoj veliki broj mojih čitatelja pripada, igra se dječjih igara od samoga početka, a vjerojatno će to činiti i do samoga kraja, što je gnjavaža za ono nekoliko ljudi koji su odrasli. A jedna od igara kojoj je najviše privržena zove se "Zadrži sutrašnjicu u tami," a još su joj nadjenuli i ime (seljaci iz Shropshirea, bez ikakve sumnje) "Prevari proroka." Igrači saslušaju vrlo pažljivo i s poštovanjem sve što mudar čovjek ima za reći o onome što bi se trebalo dogoditi u sljedećoj generaciji. Igrači tada sačekaju dok svi mudri ljudi ne umru, pa ih lijepo pokopaju. Zatim odu i učine nešto potpuno drugačije. I to je sve. Za rasu jednostavnih sklonosti to je, međutim, jako zabavno. ~ G K Chesterton,
145:Aku tahu, setiap kali aku berniat ingin memperbaiki diri, maka setiap kali juga hambatan dan rintangan menjadi milikku. Tapi,aku putuskan keinginanku untuk tetap berubah menjadi lebih baik. Aku ingin menjadi pribadi yang menawan. Terus memperbaiki diri. Aku ingin terus merasakan nikmat-Mu bersamaku.
Oh ya, apa aku pernah mengucapkan terima kasih secara khusus kepada-Mu? Duhai Engkau, Sang Pemilik Cinta. Malam ini aku ingin menyampaikan rasa terima kasihku atas cinta yang telah Engkau titipkan pada orang - orang di sekitarku. Terima kasih atas kelapangan rezeki-Mu kepadaku. Semoga semua kebaikan, cinta, dan kemudahan berpulang dan Engkau kirimkan kembali kepada orang - orang yang mencintaiku dan mencintai-Mu. ~ Adenita,
146:Alangkah seringnya
Mentergesai kenikmatan tanpa ikatan
Membuat detik-detik di depan terasa hambar
Belajar dari ahli puasa
Ada dua kebahagiaan baginya
Saat berbuka
Dan saat Allah menyapa lembut memberikan pahala
Inilah puasa panjang syahwatku
Kekuatan ada pada menahan
Dan rasa nikmat itu terasa, di waktu buka yang penuh kejutan
Coba saja
Kalau Allah yang menghalalkan
Setitis cicipan surga
Kan menjadi shadaqah berpahala
Buku ini dipersembahkan untuk mereka yang lagi jatuh hati atau sedang pacaran bersama doi yang dipenuhi hasrat nikah dini tapi belum bernyali yang sedang menjalani proses penuh liku dan yang ingin melanggengkan masa-masa indah pernikahannya... ~ Salim Akhukum Fillah,
147:Kita tidak perlu menjelaskan panjang lebar. Itu kehidupan kita. Tidak perlu siapa pun mengakuinya untuk dibilang hebat. Kitalah yang tahu persis setiap perjalanan hidup yang kita lakukan. Karena sebenarnya yang tahu persis kita bahagia atau tidak, tulus atau tidak, hanya kita sendiri. Kita tidak perlu menggapai seluruh catatan hebat menurut versi manusia sedunia. Kita hanya perlu merengkuh rasa damai dalam hati kita sendiri.
Kita tidak perlu membuktikan apa pun kepada siapa pun bahwa kita itu baik. Buat apa? Sama sekali tidak perlu. Jangan merepotkan diri sendiri dengan penilaian orang lain. Karena toh, kalaupun orang lain menganggap kita demikian, pada akhirnya tetapi kita sendiri yang tahu persis apakah kita memang sebaik itu. ~ Tere Liye,
148:Here’s the simple practice: sit down at the table. Take a few deep breaths. Remind yourself that you work hard and do most things so you may enjoy a square meal. And, now that you have the meal in front of you, it’s time to savour every bite. Thank God or nature or the universe for providing you with food. There are hundreds of millions of people on our planet who go to bed hungry every night. Remind yourself how lucky you are. Take a couple of sips of water. Pacify your body and your breathing. Just imagine you are doing fire offerings to the divine digestive fire in your stomach. Imagine that every morsel is a part of nature and that you are about to absorb this in you. Eat slowly, chewing every bite – enjoy the rasa in every morsel. This doesn’t take more time; it simply takes awareness. Time ~ Om Swami,
149:Najednou nechci být dobrý a ctihodný. (Prý nikdy ctihodný být ani nemohu, takže na tom ani nezáleží.) Chci si obléct levandulové punčochy s červenými sametovými rajtkami a k tomu zelený dublet se žlutými pruhy, na rameno si zavěsit světlemodrý hedvábný plášť a za klobouk vetknout černé orlí péro, a také mít velký meč a jestřába a kopí a skotačícího koně, abych mohl jezdit mezi lidi a těšit jejich zraky. Proč bychom se měli všichni snažit vypadat jako mravenci ploužící se přes hromadu mouru? Proč bychom se nemohli oblékat trochu živěji? Jsem přesvědčený, že kdybychom to udělali, byli bychom šťastnější. Ano, je to banalita, ale my jsme banální rasa, a k čemu je dobré předstírat něco jiného a být za kazisvěty? Ať se jako havrani oblékají filozofové, pokud se jim chce. Mně však dovolte být motýlem. ~ Jerome K Jerome,
150:Ibu, rasa nyaman selalu membuat orang-orang sulit berubah. Celakanya, kami sering kali tidak tahu kalau kami sudah terjebak oleh perasaan nyaman itu... Padahal di luar sana, di tengah hujan deras, petir, guntur, janji kehidupan yang lebih baik boleh jadi sedang menanti. Kami justru tetap bertahan di pondok reot dengan atap rumbia yang tampias di mana-mana, merasa nyaman, selalu mencari alasan untuk berkata tidak atas perubahan, selalu berkata 'tidak'...

Ibu, rasa takut juga selalu membuat orang-orang sulit berubah. Celakanya, kami sering kali tidak tahu kalau hampir semua yang kami takuti hanyalah sesuatu yang bahkan tidak pernah terjadi... Kami hanya gentar oleh sesuatu yang boleh jadi ada, boleh jadi tidak. Hanya mereka-reka, lantas menguntai ketakutan itu, bahkan kami tega menciptakan sendiri rasa takut itu, menjadikannya tameng untuk tidak mau berubah. ~ Tere Liye,
151:Ya Rabb, Engkaulah alasan semua kehidupan ini. Engkaulah penjelasan atas semua kehidupan ini. Perasaan itu datang dariMu. Semua perasaan itu juga akan kembali kepadaMu. Kami hanya menerima titipan. Dan semua itu ada sungguh karenaMu...
Katakanlah wahai semua pencinta di dunia. Katakanlah ikrar cinta itu hanya karenaNya. Katakanlah semua kehidupan itu hanya karena Allah. Katakanlah semua getar-rasa itu hanya karena Allah. Dan semoga Allah yang Maha Mencinta, yang Menciptakan dunia dengan kasih-sayang mengajarkan kita tentang cinta sejati.
Semoga Allah memberikan kesempatan kepada kita untuk merasakan hakikatNya.
Semoga Allah sungguh memberikan kesempatan kepada kita untuk memandang wajahNya. Wajah yang akan membuat semua cinta dunia layu bagai kecambah yang tidak pernah tumbuh. Layu bagai api yang tak pernah panas membakar. Layu bagai sebongkah es yang tidak membeku. ~ Tere Liye,
152:Ya Rabb, Engkaulah alasan semua kehidupan ini. Engkaulah penjelasan atas semua kehidupan ini. Perasaan itu datang dariMu. Semua perasaan itu juga akan kembali kepadaMu. Kami hanya menerima titipan. Dan semua itu ada sungguh karenaMu...
Katakanlah wahai semua pencinta di dunia. Katakanlah ikrar cinta itu hanya karenaNya. Katakanlah semua kehidupan itu hanya karena Allah. Katakanlah semua getar-rasa itu hanya karena Allah. Dan semoga Allah yang Maha Mencinta, yang Menciptakan dunia dengan kasih-sayang mengajarkan kita tentang cinta sejati.
Semoga Allah memberikan kesempatan kepada kita untuk merasakan hakikatNya.
Semoga Allah sungguh memberikan kesempatan kepada kita untuk memandang wajahNya. Wajah yang akan membuat semua cinta dunia layu bagai kecambah yang tidak pernah tumbuh. Layu bagai api yang tak pernah panas membakar. Layu bagai sebongkah es yang tidak membeku. ~ Tere Liye,
153:Ja Kahyio Un Se Nasim-E-Sahar
ja kahyio un se nasim-e-sahar mera chain gaya meri nind gai
tumhen meri na mujh ko tumhari khabar mera chain gaya meri nind gai
na haram mein tumhare yar pata na surag dair mein hai milta
kahan ja k dekhun main jaun kidhar mera chain gaya meri nind gai
ai badshah-e-khuban-e-jahan teri mohni surat pe qurban
k main ne jo teri jabin pe nazar mera chain gaya meri nind gai
hui bad-e-bhari chaman mein ayan gul buti mein baqi rahi na fiza
meri shakh-e-ummid na lai sanwar mera chain gaya meri nind gai
ai barq-e-tajalli bahar-e-Khuda na jala mujhe hijr mein shamma sa
meri zist hai misl-e-chirag-e-sahar mera chain gaya meri nind gai
kehta hai yahi ro ro k 'Zafar' meri ah-e-rasa ka hua na asar
teri hijr mein maut na ai abhi mera chain gaya meri nind gai
yahi khana tha shero k aj 'Zafar' meri ah-e-rasa mein hua na asar
tere hijr mein maut na ai magar mera chain gaya meri nind gai
~ Bahadur Shah,
154:Beast, Book, Body
I was sick of being a woman,
sick of the pain,
the irrelevant detail of sex,
my own concavity
uselessly hungering
and emptier whenever it was filled,
and filled finally
by its own emptiness,
seeking the garden of solitude
instead of men.
The white bed
in the green garden-I looked forward
to sleeping alone
the way some long
for a lover.
Even when you arrived,
I tried to beat you
away with my sadness,
my cynical seductions,
and my trick of
turning a slave
into a master.
And all because
you made
my fingertips ache
and my eyes cross
in passion
that did not know its own name.
Bear, beast, lover
of the book of my body,
you turned my pages
and discovered
what was there
to be written
24
on the other side.
And now
I am blank
for you,
a tabula rasa
ready to be printed
with letters
in an undiscovered language
by the great press
of our love.
~ Erica Jong,
155:Forgetfulness is not just a vis inertiae, as superficial people believe, but is rather an active ability to suppress, positive in the strongest sense of the word, to which we owe the fact that what we simply live through, experience, take in, no more enters our consciousness during digestion (one could call it spiritual ingestion) than does the thousand-fold process which takes place with our physical consumption of food, our so-called ingestion. To shut the doors and windows of consciousness for a while; not to be bothered by the noise and battle which our underworld of serviceable organs work with and against each other;a little peace, a little tabula rasa of consciousness to make room for something new, above all for the nobler functions and functionaries, for ruling, predicting, predetermining (our organism runs along oligarchic lines, you see) - that, as I said, is the benefit of active forgetfulness, like a doorkeeper or guardian of mental order, rest and etiquette: from which can immediately see how there could be no happiness, cheerfulness, hope, pride, immediacy, without forgetfulness. ~ Friedrich Nietzsche,
156:Dalam Doaku

Dalam doaku subuh ini kau menjelma langit yang semalaman tak memejamkan mata, yang meluas bening siap menerima cahaya pertama, yang melengkung hening karena akan menerima suara-suara

Ketika matahari mengambang tenang di atas kepala, dalam doaku kau menjelma pucuk-pucuk cemara yang hijau senantiasa, yang tak henti-hentinya mengajukan pertanyaan muskil kepada angin yang mendesau entah dari mana

Dalam doaku sore ini kau menjelma seekor burung gereja yang mengibas-ibaskan bulunya dalam gerimis, yang hinggap di ranting dan menggugurkan bulu-bulu bunga jambu, yang tiba-tiba gelisah dan terbang lalu hinggap di dahan mangga itu

Maghrib ini dalam doaku kau menjelma angin yang turun sangat perlahan dari nun di sana, bersijingkat di jalan dan menyentuh-nyentuhkan pipi dan bibirnya
di rambut, dahi, dan bulu-bulu mataku

Dalam doa malamku kau menjelma denyut jantungku, yang dengan sabar bersitahan terhadap rasa sakit yang entah batasnya, yang setia mengusut rahasia
demi rahasia, yang tak putus-putusnya bernyanyi bagi kehidupanku

Aku mencintaimu..

Itu sebabnya aku takkan pernah selesai mendoakan keselamatanmu

(1989) ~ Sapardi Djoko Damono,
157:[Dr. Henton] reindorced a lesson my pops tried to teach me with his hands: NEVER EVER EVER back down if you're right. If you have evaluated all the perspectives, gone around the round table, and come back around with the same opinion, then walk right up to the offending party and tell'em why you mad. I realized that as wild as I'd been up to that point, I still curbed my opinion ever so slightly because I was surrounded by conservative white people at Rollins. (202)
You can't idolize and emulate forever. At some point, you gotta cut the cord and go for dolo. I thought of Locke and his idea of tubula rasa. I realized that I needed to build arguments, philosophies, and a style grounded in my era and experiences.
....I remember she called me a shotgun: "You have all this energy and it's unruly, but like a shotgun, you need the barrel to direct the buckshot just enough." (203)
That was it for me. I wanted power, I wanted respect, and I never ever ever anyone to tell me about my face again. (208)
...money, power, and respect drive the world. (211)
People were so competitive and saw every job someone else got as a job that they lost. I didn't agree and always told people what Cam'ron said: "Can't get paid in a earth this big? You worthless kid!" (212) ~ Eddie Huang,
158:Mereka punya sebuah mimpi. Dan aku berbagi mimpi itu dengan mereka: mimpi tentang sebuah dunia yang tampak jelas di tengah-tengah semburan gas air mata dan reruntuhan yang berasap di kamp-kamp pengungsi. Sebuah dunia tempat seorang bocah sebelas tahun tak perlu belajar cara menggunakan sepucuk kalashnikov atau mesin peluncur roket untuk membela keluarganya. Sebuah dunia yang damai, adil, dan aman, tempat aku tak perlu mengatakan kepada seorang anak, "Pergilah ke sekolah," hanya untuk mengetahui bahwa sekolahnya telah dibom, atau mengatakan kepada seorang gadis, "Bantulah ibumu menyiapkan makan malam," hanya untuk melihatnya kembali kepadaku dan mengatakan bahwa ibu dan keluarganya telah dibunuh. Sebuah dunia tempat kami tak perlu lagi takut terkubur hidup-hidup di dalam puing-puing. Sebuah dunia tempat aku tak perlu lagi memperbaiki bagian-bagian tubuh yang patah hanya untuk melihatnya dipatahkan lagi, atau memeluk tubuh remuk seorang bocah dengan tanganku dan bertanya, "Mengapa?" atau mendengar orang-orang bertanya, "Berapa lama lagi?" Sebuah dunia tanpa penjara, tanpa penyiksaan, tanpa rasa sakit, tanpa kelaparan, dan tanpa kartu-kartu identitas pengungsi, tempat aku dapat berteduh di rumahku sendiri dan mendengarkan nyanyian ibuku seraya menutup mata di penghujung hari. Tempat itu adalah mimpi kami, Jerusalem kami. ~ Ang Swee Chai,
159:One factor that makes human being reluctant to have hope is the fear of disappointment.
Do not be afraid of disappointment! The more you afraid of it, the smaller your expectation.
Face and overcome the disappointment, even though it felt bitter in soul and pain in body.
If you go through and pass it, then your soul and body will be stronger than previous level.
When hope emerged, change will occur because of that, both in your soul and in your body.
Fear of disapointment is a main enemy of good hope and great change within the human being.
Only by facing and overcoming the fear of disapointment, man will become stronger and wiser. ~ Toba Beta
Salah satu faktor yang membuat manusia enggan untuk berharap adalah rasa takut akan kecewa.
Jangan takut dengan kekecewaan! Semakin engkau takut menghadapinya, semakin kecil pengharapanmu.
Hadapi dan lawanlah rasa kecewa, meskipun terasa pahit di jiwa dan terasa sakit di tubuh.
Jika engkau mampu dan lulus, maka jiwa dan tubuhmu akan lebih kuat dari kondisi sebelumnya.
Ketika harapan muncul, perubahan akan terjadi, baik dalam jiwa maupun dalam tubuh manusia.
Rasa takut akan kecewa adalah musuh utama pengharapan yang baik dan perubahan yang agung dalam diri manusia.
Hanya dengan menghadapi dan melalui rasa takut akan kecewa, seseorang dapat menjadi lebih kuat dan bijaksana. ~ Toba Beta,
160:Anni ne son passati più di mille:
all’epoca in cui io fui cucito
quattro maghi facevano faville
e i loro nomi hai certo già sentito.
Da landa incolta, Grifondoro fiero;
da strette forre, onesto, Corvonero;
da ampie valli Tassofrasso, il mite;
l’astuto Serpeverde da marcite.
Un sogno li teneva uniti e stretti,
un desiderio, una speranza sola:
formare ed educar nuovi maghetti.
Per questo a Hogwarts fecero una scuola.
Tra quattro Case Hogwarts fu divisa,
cioè una per ognuno dei maestri,
e tale divisione fu decisa
perché ciascun seguisse i propri estri.
Amava assai il coraggio, Grifondoro:
per lo scolaro audace era il suo alloro.
Di Corvonero fu l’intelligenza
da subito virtù di preferenza.
Tassofrasso considerava degno
delle lodi più calde il duro impegno.
L’ambizione piaceva a Serpeverde
che sempre amò chi vince, e mai chi perde. Quale allievo mandare a quale Casa
non fu giammai un problema, finché vissero.
«Ma chi sceglier saprà» un dì si dissero,
«quando morti sarem, tabula rasa
Trovò la soluzione Grifondoro:
dal capo tolse me, il suo cappello;
perché potessi scegliere per loro
mi donarono un poco di cervello.
Non sbaglio mai e dunque adesso vieni:
fino alle orecchie càlcami, aderente;
do un’occhiata dentro alla tua mente
e ti dico la Casa a cui appartieni!
~ J K Rowling,
161:Tabula Rasa can make you feel like you’ve taken a train to Bizarro world. I remember my very first night here—and this is goin’ on fifteen years ago—I was takin’ a walk downtown, tryin’ to get a feel for the place. And I’m walkin’ through a construction site—and it was all construction sites back then, you understand—and I come across this hole in the ground, ’bout ten feet in diameter. I look down and I can’t see a bottom, so I pull a quarter out of my pocket and toss it down, and listen for a clink or a splash. Nothin’. Coin just tumbles into the darkness and disappears. So now I’m real curious, and I look around for somethin’ else to throw down there. And teeterin’ right on the edge of the hole is an old refrigerator. So, I circle around and I give it a good kick and it tumbles down into the hole. I hear it bang off the side a few times but once again, there’s no crash, no splash, like it just kept fallin’ forever. It was the strangest thing. So I figure this is the first of this city’s many unknowable mysteries and I start to go on about my way. But then I see the second strange thing—this goat, it goes flying past me, in midair. Like it was fired from a cannon. And now I think I’m losin’ my mind, like maybe it’s not just tobacco in my cigar, if you know what I’m sayin’. So I walk along and I come across a guy sittin’ on the curb and I say, ‘Holy cow, partner, did you see that goat?’ And the fella says, ‘Well, that’s my goat.’ And I say, ‘Well, I hate to tell ya, but I think it’s gone. It took off flyin’.’ And the fella says, ‘That’s impossible. I had him chained to a refrigerator.’” Zoey stared for a moment, then snorted a laugh that almost caused her to choke on her sandwich. ~ David Wong,
162:Ljudske predstave o Zemlji, čak i posle mirenja sa solarnom teorijom, nepopravivo su pompezne. Ljudske predstave o kosmosu neizlečivo antropocentrične. Koliko su, u međuvremenu, istinite? Da li je, uistinu, jedino čoveku, s njegovom besmrtnom dušom, dato i pravo da eksperimentiše s drugim živim bićima? Da li uistinu, jedino on može, sme, ume svoje istine saznavati putem patnje, nesreće, umiranja drugih? Jedino on u tzv. laboratorijama imati krvave žrtvenike svoje žeđi za saznavanjem. Zar i čovekova Zemlja ne bi mogla biti tek nečija laboratorija, ljudi nečije eksperimentalne životinje, na kojima neka napredna civilizacija s humanom ravnodušnošću prema životu, testira svoje intergalaktičke insekticide, a visokosisarska ih populacija ovde dole u agoniji doživljava kao sve strašnije bolesti. Naravno da bi to Zemlja mogla biti. Da bi ljudi to mogli biti. Jer, što je u Sunčevom sistemu čovek, u drugom može biti insekt. Insekt progonjen ovde, može biti gospodarska rasa negde drugde. Ekologija ne poznaje univerzalno prvenstvo, a biologija nikome ne priznaje pravo da večno bude u vrhu života. To bi na razuman način objasnilo uništavajuće epidemije, tumačene dosad spontanostima nepoznatog mehanizma. I Mojsijeve biblijske pošasti, i Crnu smrt, kugu od 1347, koja je do 1350, samo za tri godine eksperimentisanja bacilom Pasteurella Pestis, odnela trećinu Evropljana, četrdesetak miliona ljudskih zamoraca, podleglih ekstrasteralnoj inokulaciji španskom influencom ranih dvadesetih ovog stoleća, laboratorijsku regularnost kineskih epidemija, vulkanske provale smrtonosnih infekcija među kičmenjacima, pa, zašto ne, i tri bolesnice na aerodromu Heathrow. Jasne bi postale propasti Atlantisa, drevnih mediteranskih civilizacija. Astečke imperije i s naučnom preciznošću mogli bi se predvideti završeci savremenih kultura, kao što se u minut može predskazati sudbina laboratorijskih životinja koje su nadživele eksperimentalnu svrhu. ~ Borislav Peki,
163:quando l’isis «insegna» Distruggendo i reperti di Mosul e Nimrud i terroristi hanno paradossalmente dimostrato di capire cosa rappresentino e quanto siano preziosi Luigi Giaccone | 339 parole Dobbiamo essere «molto riconoscenti» verso quei militanti dell’Isis che hanno distrutto reperti assiri a Mosul e a Nimrud, perché ci hanno dimostrato di aver capito perfettamente ciò che quei resti testimoniano. Afferma Domenico Quirico su questo giornale: «La storia è il principale avversario dello Stato totalitario, di ogni Stato totalitario». Studiare la storia, e soprattutto quei periodi che sembrano più lontani da noi, significa confrontarsi con ciò che è diverso da noi, uscire dal guscio asfittico in cui siamo soliti muoverci e che vediamo come unico universo possibile. Quest’avventura, che ci apre alla conoscenza di mondi nuovi e di culture altre, ha una straordinaria valenza formativa, in quanto palestra di democrazia e di educazione allo spirito critico e al confronto delle idee, ma proprio per questo costituisce una minaccia per qualunque forma di pensiero unico, di qualunque matrice. Tutti i regimi autoritari si sono misurati con questa pericolosa infezione. In alcuni casi si sono limitati a distruggere ogni testimonianza del passato, a far tabula rasa di tutto ciò che potesse minacciare l’unica ideologia ammessa: oggi l’Isis in Iraq, ieri i talebani in Afghanistan, i khmer rossi in Cambogia, la rivoluzione culturale in Cina. Le dittature europee del Novecento hanno invece trovato un sistema più subdolo, strumentalizzando il passato ed estrapolando figure e momenti esemplari, da proporre come precursori per giustificare il proprio operato; hanno disinfettato la storia dal virus eversivo dell’alterità per omologarla alle proprie ideologie, appiattendo il passato sul presente: così è stato per l’impero romano con il fascismo, la società spartana con il nazismo, l’icona di Spartaco con i regimi comunisti. Che lo studio della storia, anche di quella meno recente, sia fondamentale, l’Isis e i vari Stati autoritari hanno dimostrato di averlo capito: perché noi l’abbiamo dimenticato? Insegnante al Liceo Cavour di Torino ~ Anonymous,
164:Mama, Mama pernah berbahagia?"

"Biar pun pendek dan sedikit setiap orang pernah, Ann."

"Berbahagia juga Mama sekarang?"

"Yang sekarang ini aku tak tahu. Yang ada hanya kekuatiran, hanya ada satu keinginan. Tak ada sangkut-paut dengan kebahagiaan yang kau tanyakan. Apa peduli diri ini berbahagia atau tidak? Kau yang kukuatirkan. Aku ingin lihat kau berbahagia."

Aku menjadi begitu terharu mendengar itu. Aku peluk Mama dan aku cium dalam kegelapan itu. Ia selalu begitu baik padaku. Rasa-rasanya takkan ada orang lebih baik.

"Kau sayang pada Mama, Ann?"

Pertanyaan, untuk pertama kali itu diucapkan, membikin aku berkaca-kaca, Mas. Nampaknya saja ia terlalu keras.

"Ya, Mama ingin melihat kau berbahagia untuk selama-lamanya. Tidak mengalami kesakitan seperti aku dulu. Tak mengalami kesunyian seperti sekarang ini: tak punya teman, tak punya kawan, apalagi sahabat. Mengapa tiba-tiba datang membawa kebahagiaan?"

"Jangan tanyai aku, Ma, ceritalah."

"Ann, Annelies, mungkin kau tak merasa, tapi memang aku didik kau secara keras untuk bisa bekerja, biar kelak tidak harus tergantung kepada suami, kalau ya, moga-moga tidak, kalau-kalau suamimu semacam ayahmu itu."

Aku tahu Mama telah kehilangan penghargaannya terhadap Papa. Aku dapat memahami sikapnya, maka tak perlu bertanya tentangnya. Yang kuharap memang bukan omongan tentang itu. Aku ingin mengetahui adakah ia pernah merasai apa yang kurasai sekarang.

"Kapan Mama merasa sangat, sangat berbahagia?"

"Ada banyak tahun setelah aku ikut Tuan Mallema, ayahmu."

"Lantas, Ma?"

"Kau masih ingat waktu kau kukeluarkan dari sekolah. Itulah akhir kebahagiaan itu. Kau sudah besar sekarang, sudah harus tahu memang. Harus tahu apa yang sebenarnya terjadi. Sudah beberapa minggu ini aku bermaksud menceritakan. Kesempatan tak kunjung tiba juga. Kau mengantuk?"

"Mendengarkan, Ma."

"Pernah Papamu bilang dulu, waktu kau masih sangat, sangat kecil, seorang ibu harus menyampaikan kepada anak perempuannya semua yang harus dia ketahui."

"Pada waktu itu..."

"Pada waktu itu segala dari Papamu aku hormati, aku ingat-ingat, aku jadikan pegangan. Kemudian ia berubah, jadi berlawanan dengan segala yang pernah diajarkannya. Ya, waktu itu mulai hilang kepercayaan dan hormatku padanya."

"Ma, pandai dulu Papa, Ma?"

"Bukan saja pandai, tapi juga baik hati. Dia yang mengajari aku segala tentang pertanian, perusahaan, pemeliharaan hewan, pekerjaan kantor. Mula-mula diajari aku bahasa Melayu, kemudian membaca dan menulis, setelah itu juga bahasa Belanda. Papamu bukan hanya mengajar, dengan sabar juga menguji semua yang telah diajarkannya. Ia haruskan aku berbahasa Belanda dengannya. Kemudian diajarinya aku berurusan dengan bank, ahli-ahli hukum, aturan dagang, semua yang sekarang mulai kuajarkan juga kepadamu."

"Mengapa Papa bisa berubah begitu Ma?"

"Ada, Ann, ada sebabnya. Sesuatu telah terjadi. Hanya sekali, kemudian ia kehilangan seluruh kebaikan, kepandaian, kecerdasan, keterampilannya. Rusak, Ann, binasa karena kejadian yang satu itu. Ia berubah jadi orang lain, jadi hewan yang tak kenal anak dan istri lagi."

"Kasihan Papa."

"Ya. Tak tahu diurus, lebih suka menggembara tak menentu. ~ Pramoedya Ananta Toer,
165:1. ‘’Astfel, esenta lumanarii nu este ceara care lasa urme, ci lumina.’’

2. ‘’Cel ce iubeste doar aproprierea dragostei, nu va cunoaste niciodata intalnirea cu ea.’’

3. ‘’Caci am aflat ca omul este asemenea unei citadele. Rastoarna zidurile pentru a-si gasi libertatea, dar nu mai e decat fortareata nimicita, deschisa inspre stele. Atunci incepe spaima de a nu mai fi.’’

4. ‘’Si am inteles ca au nevoie de liniste. Caci numai in liniste adevarul fiecaruia se leaga si prinde radacini. Caci ceea ce e important, inainte de toate,…, este timpul.’’

5. ‘’ …limbajul nu contine nimic care sa fie vrednic de interes. Invata sa asculti nu zarva cuvintelor, nici rationamentele ce le permit sa se insele. Invata sa privesti mai departe.’’
‘’Iata pentru ce am dispretuit dintotdeauna, ca fiind zadarnica, zarva cuvintelor. Si nu m-am increzut in artificiile limbajului. ‘’

6. ‘’ Caci abilitatea nu este decat un cuvant gol. In creatie nu exista ocoluri. Creezi ceea ce faci si nimic mai mult. Iar daca pretinzi ca urmarind un scop, te indrepti spre un altul, deosebit de primul, doar cel pe care cuvintele il inseala te va crede abil.’’

7. ‘’Caci fiecare iubeste in felul sau aceeasi imagine. Doar un limbaj insuficient ii opune pe oameni unii altora, caci dorintele lor nu difera. N-am intalnit niciodata pe cel care sa doreasca dezordinea sau josnicia sau ruina. Imaginea care-i framanta si pe care ar vrea s-o intemeieze se aseamana de la un capat la celalat al universului, dar caile de atingere a ei difera.’’

8. ‘’ Desigur, cu cat munca pe care o consumi in numele dragostei este mai grea, cu atat mai mult te exalta. Cu cat dai mai mult, cu atat cresti mai mult. Dar trebuie sa existe cineva care sa primeasca. A pierde nu inseamna niciodata a darui.’’

9. ‘’ Caci, o data mai mult, am aflat ca logica ucide viata. Si ca nu contine nimic prin ea insasi… Dar facatorii de formule s-au inselat asupra omului. Au confundat formula, care este umbra plata a cedrului, cu cedrul, din volumul, greutatea si culoarea lui, cu incarcatura sa de pasari si frunzisul sau, care nu s-ar putea exprima si cuprinde in cuvinte firave…Caci aceia confunda formula care desemneaza, cu obiectul desemnat.
Si cum ar putea suporta ceea ce nu se poate formula, sau nu s-a implinit inca, sau intra in contradictie cu un alt adevar? Cum sa stie ca, intr-un limbaj care formuleaza dar nu cuprinde, doua adevaruri se pot opune?’’

10. ‘’ Dar daca nu te ating, te construiesc ca pe un templu. Si te inalt in lumina. Si tacerea ta inchide in ea campiile. Iar eu te iubesc dincolo de mine sau tine. Si inventez imnuri pentru a-ti celebra imperiul…Nu esti decat o treapta in drumul meu spre eternitate.’’

11. ‘’ Dar cei pe care ii numesc liberi si hotarand numai pentru ei insisi, inexorabil singuri, aceia nu sunt condusi, plutesc fara vant in panze, iar rezistenta lor nu este decat capriciu incoerent. Cei pe care ii urasc, sunt, mai ales, cei care nu exista cu adevarat. Rasa de caini ce se cred liberi, fiind liberi de a-si schimba opiniile, de a nega (cum ar putea sti ca neaga, de vreme ce ei insisi sunt judecatori?), liberi de a trisa, de a renega si de a se vinde , si pe care ii fac sa-si schimbe parerile doar aratandu-le troaca atunci cand le e foame.’’

12. ‘’Caci dragostea nu-ti e data ca un cadou al acestui obraz, la fel cum linistea si calmul nu sunt produs al privelistii, ci al ascensiunii reusite, al muntelui dominat, al instalarii tale in cer. La fel- dragostea. Iluzia este ca o intalnesti, cand de fapt se invata.Si se inseala cel care rataceste prin viata, pentru a fi cucerit, cunoscand prin scurte fioruri , gustul tumultului inimii si visand sa intalneasca marea febra ce il va incinge pentru totdeauna, desi ea nu este decat o desarta victorie a inimii sale. De asemenea, nu te odihnesti in dragoste, daca ea nu se transforma din zi in zi, ca in maternitate. ~ Antoine de Saint Exup ry,
166:64 Arts
   1. Geet vidya: art of singing.
   2. Vadya vidya: art of playing on musical instruments.
   3. Nritya vidya: art of dancing.
   4. Natya vidya: art of theatricals.
   5. Alekhya vidya: art of painting.
   6. Viseshakacchedya vidya: art of painting the face and body with color
   7. Tandula­kusuma­bali­vikara: art of preparing offerings from rice and flowers.
   8. Pushpastarana: art of making a covering of flowers for a bed.
   9. Dasana­vasananga­raga: art of applying preparations for cleansing the teeth, cloths and painting the body.
   10. Mani­bhumika­karma: art of making the groundwork of jewels.
   11. Aayya­racana: art of covering the bed.
   12. Udaka­vadya: art of playing on music in water.
   13. Udaka­ghata: art of splashing with water.
   14. Citra­yoga: art of practically applying an admixture of colors.
   15. Malya­grathana­vikalpa: art of designing a preparation of wreaths.
   16. Sekharapida­yojana: art of practically setting the coronet on the head.
   17. Nepathya­yoga: art of practically dressing in the tiring room.
   18. Karnapatra­bhanga: art of decorating the tragus of the ear.
   19. Sugandha­yukti: art of practical application of aromatics.
   20. Bhushana­yojana: art of applying or setting ornaments.
   21. Aindra­jala: art of juggling.
   22. Kaucumara: a kind of art.
   23. Hasta­laghava: art of sleight of hand.
   24. Citra­sakapupa­bhakshya­vikara­kriya: art of preparing varieties of delicious food.
   25. Panaka­rasa­ragasava­yojana: art of practically preparing palatable drinks and tinging draughts with red color.
   26. Suci­vaya­karma: art of needleworks and weaving.
   27. Sutra­krida: art of playing with thread.
   28. Vina­damuraka­vadya: art of playing on lute and small drum.
   29. Prahelika: art of making and solving riddles.
   30. Durvacaka­yoga: art of practicing language difficult to be answered by others.
   31. Pustaka­vacana: art of reciting books.
   32. Natikakhyayika­darsana: art of enacting short plays and anecdotes.
   33. Kavya­samasya­purana: art of solving enigmatic verses.
   34. Pattika­vetra­bana­vikalpa: art of designing preparation of shield, cane and arrows.
   35. Tarku­karma: art of spinning by spindle.
   36. Takshana: art of carpentry.
   37. Vastu­vidya: art of engineering.
   38. Raupya­ratna­pariksha: art of testing silver and jewels.
   39. Dhatu­vada: art of metallurgy.
   40. Mani­raga jnana: art of tinging jewels.
   41. Akara jnana: art of mineralogy.
   42. Vrikshayur­veda­yoga: art of practicing medicine or medical treatment, by herbs.
   43. Mesha­kukkuta­lavaka­yuddha­vidhi: art of knowing the mode of fighting of lambs, cocks and birds.
   44. Suka­sarika­pralapana: art of maintaining or knowing conversation between male and female cockatoos.
   45. Utsadana: art of healing or cleaning a person with perfumes.
   46. Kesa­marjana­kausala: art of combing hair.
   47. Akshara­mushtika­kathana: art of talking with fingers.
   48. Dharana­matrika: art of the use of amulets.
   49. Desa­bhasha­jnana: art of knowing provincial dialects.
   50. Nirmiti­jnana: art of knowing prediction by heavenly voice.
   51. Yantra­matrika: art of mechanics.
   52. Mlecchita­kutarka­vikalpa: art of fabricating barbarous or foreign sophistry.
   53. Samvacya: art of conversation.
   54. Manasi kavya­kriya: art of composing verse
   55. Kriya­vikalpa: art of designing a literary work or a medical remedy.
   56. Chalitaka­yoga: art of practicing as a builder of shrines called after him.
   57. Abhidhana­kosha­cchando­jnana: art of the use of lexicography and meters.
   58. Vastra­gopana: art of concealment of cloths.
   59. Dyuta­visesha: art of knowing specific gambling.
   60. Akarsha­krida: art of playing with dice or magnet.
   61. Balaka­kridanaka: art of using children's toys.
   62. Vainayiki vidya: art of enforcing discipline.
   63. Vaijayiki vidya: art of gaining victory.
   64. Vaitaliki vidya: art of awakening master with music at dawn.
   ~ Nik Douglas and Penny Slinger, Sexual Secrets,
167:O Soldado Espanhol
O céu era azul, tão meigo e tão brando,
E a terra era a noiva que bem se arreava
Que a mente exultava, mais longe escutando
O mar a quebrar-se na praia arenosa.
O céu era azul, e na cor semelhava
Vestido sem nódoa de pura donzela;
E a terra era a noiva que bem se arreava
De flores, matizes; mas vária, mas bela.
Ela era brilhante,
Qual raio do sol;
E ele arrogante,
De sangue espanhol.
E o espanhol muito amava
A virgem mimosa e bela;
Ela amante, ele zeloso
Dos amores da donzela;
Ele tão nobre e folgando
De chamar-se escravo dela!
E ele disse: — Vês o céu? —
E ela disse: — Vejo, sim;
Mais polido que o polido
Do meu véu azul cetim. —
Torna-lhe ele... (oh! quanto é doce
Passar-se uma noite assim!)
— Por entre os vidros pintados
D’igreja antiga, a luzir
Não vês luz? — Vejo. — E não sentes
De a veres, meigo sentir?
— É doce ver entre as sombras
A luz do templo a luzir!
— E o mar, além, preguiçoso
24
Não vês tu em calmaria?
— É belo o mar; porém sinto,
Só de o ver, melancolia.
— Que mais o teu rosto enfeita
Que um sorriso de alegria.
— E eu também acho em ser triste
Do que alegre, mais prazer;
Sou triste, quando em ti penso,
Que só me falta morrer;
Mesmo a tua voz saudosa
Vem minha alma entristecer.
— E eu sou feliz, como agora,
Quando me falas assim;
Sou feliz quando se riem
Os lábios teus de carmim;
Quando dizes que me adoras,
Eu sinto o céu dentro em mim.
— És tu só meu Deus, meu tudo.
És tu só meu puro amar,
És tu só que o pranto podes
Dos meus olhos enxugar. —
Com ela repete o amante:
— És tu só meu puro amar! —
E o céu era azul, tão meigo e tão brando
E a terra tão erma, tão só, tão saudosa
Que a mente exultava, mais longe escutando
O mar a quebrar-se na praia arenosa!
II
E o espanhol viril, nobre e formoso,
No bandolim
Seus amores dizia mavioso,
Cantando assim:
“Já me vou por mar em fora
Daqui longe a mover guerra,
Já me vou, deixando tudo,
25
Meus amores, minha terra.
“Já me vou lidar em guerras,
Vou-me à índia Ocidental;
Hei de ter novos amores...
De guerras... não temas ai.
“Não chores, não, tão coitada,
Não chores por t’eu deixar;
Não chores que assim me custa
O pranto meu sofrear.
“Não chores! - sou como o Cid
Partindo para a campanha;
Não ceifarei tantos louros,
Mas terei pena tamanha.”
E a amante que assim o via
Partir-se tão desditoso,
— Vai, mas volta; lhe dizia:
Volta, sim, vitorioso.
“Como o Cid, oh! crua sorte!
Não me vou nesta campanha
Guerrear contra o crescente,
Porém sim contra os d’Espanha!
“Não me aterram; porém sinto
Cerrar-se o meu coração,
Sinto deixar-te, meu anjo,
Meu prazer, minha afeição.
“Como é doce o romper d’alva,
É-me doce o teu sorrir,
Doce e puro, qual d’estrela
De noite — o meigo luzir.
“Eram meus teus pensamentos,
Teu prazer minha alegria,
Doirada fonte d'encantos,
Fonte da minha poesia.
26
“Vou-me longe, e o peito levo
Rasgado de acerba dor,
Mas comigo vão teus votos,
Teus encantos, teu amor!
“Já me vou lidar em guerras,
Vou-me à índia Ocidental;
Hei de ter novos amores...
De guerras... não temas ai.”
Esta era a canção que acompanhava
No bandolim,
Tão triste, que triste não chorava
Dizendo assim.
III
“Quero, pajens, selado o ginete,
Quero em punho nebris e falcão,
Qu’é promessa de grande caçada
Fresca aurora d’amigo verão.
“Quero tudo luzindo, brilhante
— Curta espada e venáb’lo e punhal,
Cães e galgos farejem diante
Leve odor de sanhudo animal.
“E ai do gamo que eu vir na coutada,
Corça, onagro, que eu primo avistar!
Que o venáb’lo nos ares voando
Lhe há de o salto no meio quebrar.
“Eia, avante! — dizia folgando
O fidalgo mancebo, loução:
— Eía, avante! — e já todos galopam
Trás do moço, soberbo infanção.
E partem, qual do arco arranca e voa
Nos amplos ares, mais veloz que a vista,
A plúmea seta da entesada corda.
Longe o eco reboa; — já mais fraco,
Mais fraco ainda, pelos ares voa.
27
Dos cães dúbios o latir se escuta apenas,
Dos ginetes tropel, rinchar distante
Que em lufadas o vento traz por vezes.
Já som nenhum se escuta... Quê! — latido
De cães, incerto, ao longe? Não, foi vento
Na torre castelã batendo acaso,
Nas seteiras acaso sibilando
Do castelo feudal, deserto agora.
IV
Já o sol se escondeu; cobre a terra
Belo manto de frouxo luar;
E o ginete, que esporas atracam,
Nitre e corre sem nunca parar.
Da coutada nas ínvias ramagens
Vai sozinho o mancebo infanção;
Vai sozinho, afanoso trotando
Sem temores, sem pajens, sem cão.
Companheiros da caça há perdido,
Há perdido no aceso caçar;
Há perdido, e não sente receio
De sozinho, nas sombras trotar.
Corno ebúmeo embocou muitas vezes,
Muitas vezes de si deu sinal;
Bebe atento a resposta, e não ouve
Outro som responder-lhe; — lnda mal!
E o ginete que esporas atracam,
Nitre e corre sem nunca parar;
Já o sol se escondeu, cobre a terra
Belo manto de frouxo luar.
Silêncio grato da noite
Quebram sons duma canção,
Que vai dos lábios de um anjo
Do que escuta ao coração.
28
Dizia a letra mimosa
Saudades de muito amar;
E o infanção enleado,
Atento, pôs-se a escutar.
Era encantos voz tão doce,
Incentivo essa ternura,
Gerava delícias n’alma
Sonhar d’havê-la a ventura.
Queixosa cantava a esposa
Do guerreiro que partiu,
Largos anos são passados,
Missiva dele não viu...
Parou!... escutando ao perto
Responder-lhe outra canção!...
Era terna a voz que ouvia,
Lisonjeira — do infanção:
“Tenho castelo soberbo
Num monte, que beija um rio,
De terra tenho no Doiro
Jeiras cem de lavradio;
“Tenho lindas haquenéias,
Tenho pajens e matilha,
Tenho os melhores ginetes
Dos ginetes de Sevilha;
“Tenho punhal, tenho espada
D’alfageme alta feitura,
Tenho lança, tenho adaga,
Tenho completa armadura.
“Tenho fragatas que cingem
Dos mares a linfa clara,
Que vão preando piratas
Pelas rochas de Megara.
“Dou-te o castelo soberbo
29
E as terras do fértil Doiro,
Dou-te ginetes e pajens
E a espada de pomo d’oiro.
“Dera a completa armadura
E os meus barcos d’alto-mar,
Que nas rochas de Megara
Vão piratas cativar.
“Fala de amores teu canto,
Fala de acesa paixão...
Ah! senhora, quem tivera
Dos agrados teus condão!
“Eu sou mancebo, sou Nobre,
Sou nobre moço infanção;
Assim pudesse o meu canto
Algemar-te o coração,
Ó Dona, que eu dera tudo
Por vencer-te essa isenção!”
Atenta escutava a esposa
Do guerreiro que partiu,
Largos anos são passados,
Missiva dele não viu;
Mas da letra que escutava
Delícias n'alma sentiu.
VI
E noutra noite saudosa
Bem junto dela sentado,
Cantava brandas endechas
O gardingo namorado .
“Careço de ti, meu anjo,
Careço do teu amor,
Como da gota d’orvalho
Carece no prado a flor.
“Prazeres que eu nem sonhava
Teu amor me fez gozar;
30
Ah! que não queiras, senhora,
Minha dita rematar.
O teu marido é já morto,
Notícia dele não soa;
Pois desta gente guerreira
Bastos ceifa a morte à toa.
“Ventura me fora ver-te
Nos lábios teus um sorriso,
Delícias me fora amar-te,
Gozar-te meu paraíso.
“Sinto aflição, quando choras;
Se te ris, sinto prazer;
Se te ausentas, fico triste,
Que só me falta morrer.
“Careço de ti, meu ardo,
Careço do teu amor,
Como da gota d’orvalho
Carece no prado a flor.”
VII
Era noite hibernal; girava dentro
Da casa do guerreiro o riso, a dança,
E reflexos de luz, e sons, e vozes,
E deleite, e prazer: e fora a chuva,
A escuridão, a tempestade, e o vento,
Rugindo solto, indómito e terrível
Entre o negror do céu e o horror da terra.
Na geral confusão os céus e a terra
Horrenda simpatia alimentavam.
Ferve dentro o prazer, reina o sorriso,
E fora a tiritar, fria, medonha,
Marcha a vingança pressurosa e torva:
Traz na destra o punhal, no peito a raiva,
Nas faces palidez, nos olhos morte.
O infanção extremoso enchia rasa
A taça de licor mimoso e velho,
31
Da usança ao brinde convidando a todos
Em honra da esposada: — À noiva! exclama
E a porta range e cede, e franca e livre
Introduz o tufão, e um vulto assoma
Altivo e colossal. — Em honra, brada,
Do esposo deslembrado! — e a taça empunha
Mas antes que o licor chegasse aos lábios,
Desmaiada e por terra jaz a esposa,
E a destra do infanção maneja o ferro,
Por que tão grande afronta lave o sangue,
Pouco, bem pouco para injúria tanta.
Debalde o fez, que lhe golfeja o sangue
D’ampla ferida no sinistro lado,
E ao pé da esposa o assassino surge
Co’o sangrento punhal na destra alçado.
A flor purpúrea que matiza o prado,
Se o vento da manhã lhe entorna o cálix,
Perde aroma talvez; porém mais belo
Colorido lhe vem do sol nos raios,
As fagueiras feições daquele rosto
Assim foram também; não foi do tempo
Fatal o perpassar às faces lindas.
Nota-lhe ele as feições, nota-lhe os lábios,
Os curtos lábios que lhe deram vida,
Longa vida de amor em longos beijos,
Qual jamais não provou; e as iras todas
Dos zelos vingadores descansaram
No peito de sofrer cansado e cheio,
Cheio qual na praia fica a esponja,
Quando a vaga do mar passou sobre ela.
Num relance fugiu, minaz no vulto:
Como o raio que luz um breve instante,
Sobre a terra baixou, deixando a morte.
~ Antônio Gonçalves Dias,

IN CHAPTERS [138/138]



   93 Integral Yoga
   8 Yoga
   3 Psychology
   3 Occultism
   2 Philosophy
   2 Hinduism
   1 Christianity


  104 Sri Aurobindo
   20 Nolini Kanta Gupta
   4 Nirodbaran
   3 Swami Krishnananda
   3 Sri Ramakrishna
   3 Carl Jung
   2 Swami Vivekananda
   2 A B Purani


   58 Record of Yoga
   12 The Synthesis Of Yoga
   6 Collected Works of Nolini Kanta Gupta - Vol 01
   5 Letters On Yoga IV
   4 Twelve Years With Sri Aurobindo
   4 The Life Divine
   4 Letters On Yoga II
   3 The Study and Practice of Yoga
   3 The Secret Of The Veda
   3 The Archetypes and the Collective Unconscious
   3 Talks
   3 Essays On The Gita
   3 Collected Works of Nolini Kanta Gupta - Vol 04
   3 Collected Works of Nolini Kanta Gupta - Vol 02
   2 The Gospel of Sri Ramakrishna
   2 Evening Talks With Sri Aurobindo
   2 Collected Works of Nolini Kanta Gupta - Vol 08
   2 Collected Works of Nolini Kanta Gupta - Vol 07
   2 Collected Works of Nolini Kanta Gupta - Vol 06


00.03 - Upanishadic Symbolism, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   The Science of the Five Agnis (Fires), as propounded by Pravahan, explains and illustrates the process of the birth of the body, the passage of the soul into earth existence. It describes the advent of the child, the building of the physical form of the human being. The process is conceived of as a sacrifice, the usual symbol with the Vedic Rishis for the expression of their vision and perception of universal processes of Nature, physical and psychological. Here, the child IS said to be the final fruit of the sacrifice, the different stages in the process being: (i) Soma, (ii) Rain, (iii) Food, (iv) Semen, (v) Child. Soma means rasaphysically the principle of water, psychologically the 'principle of delightand symbolises and constitutes the very soul and substance of life. Now it is said that these five principles the fundamental and constituent elementsare born out of the sacrifice, through the oblation or offering to the five Agnis. The first Agni is Heaven or the Sky-God, and by offering to it one's faith and one's ardent desire, one calls into manifestation Soma or rasa or Water, the basic principle of life. This water is next offered to the second Agni, the Rain-God, who sends down Rain. Rain, again, is offered to the third Agni, the Earth, who brings forth Food. Food is, in its turn, offered to the fourth Agni, the Father or Male, who elaborates in himself the generating fluid.
   Finally, this fluid is offered to the fifth Agni, the Mother or the Female, who delivers the Child.

00.04 - The Beautiful in the Upanishads, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   And where there is light, there is cheer and joy. rasamaya and jyotirmayaare thus the two conjoint characteristics fundamental to the nature of the ultimate reality. Sometimes these two are named as the 'solar and the lunar aspect. The solar aspect refers obviously to the Light, that is to say, to the Truth; the lunar aspect refers to the rasa (Soma), to Immortality, to Beauty proper,
   yatte suamam hdayam adhi candramasi ritam
  --
   Art at its highest tends to become also the simplest and the most unconventional; and it is then the highest art, precisely because it does not aim at being artistic. The aesthetic motive is totally absent in the Upanishads; the sense of beauty is there, but it is attendant upon and involved in a deeper strand of consciousness. That consciousness seeks consciousness itself, the fullness of consciousness, the awareness and possession of the Truth and Reality,the one thing which, if known, gives the knowledge of all else. And this consciousness of the Truth is also Delight, the perfect Bliss, the Immortality where the whole universe resolves itself into its original state of rasa, that is to say, of essential and inalienable harmony and beauty.
   ***

00.05 - A Vedic Conception of the Poet, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   All the gods are poetstheir forms are perfect, surpa, suda, their Names full of beauty,cru devasya nma.31 This means also that the gods embody the different powers that constitute the poetic consciousness. Agni is the Seer-Will, the creative vision of the Poet the luminous energy born of an experience by identity with the Truth. Indra is the Idea-Form, the architectonic conception of the work or achievement. Mitra and Varuna are the large harmony, the vast cadence and sweep of movement. The Aswins, the Divine Riders, represent the intense zest of well-yoked Life-Energy. Soma is rasa, Ananda, the Supreme Bliss and Delight.
   The Vedic Poet is doubtless the poet of Life, the architect of Divinity in man, of Heaven upon earth. But what is true of Life is fundamentally true of Art tooat least true of the Art as it was conceived by the ancient seers and as it found expression at their hands.32

01.01 - The New Humanity, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
   This mastery will be effected not merely in will, but in mind and heart also. For the New Man will know not by the intellect which is egocentric and therefore limited, not by ratiocination which is an indirect and doubtful process, but by direct vision, an inner communion, a soul revelation. The new knowledge will be vast and profound and creative, based as it will be upon the reality of things and not upon their shadows. Truth will shine through every experience and every utterance"a truth shall have its seat on our speech and mind and hearing", so have the Vedas said. The mind and intellect will not be active and constructive agents but the luminous channel of a self-luminous knowledge. And the heart too which is now the field of passion and egoism will be cleared of its noise and obscurity; a serener sky will shed its pure warmth and translucent glow. The knot will be rent asunderbhidyate hridaya granthih and the vast and mighty streams of another ocean will flow through. We will love not merely those to whom we are akin but God's creatures, one and all; we will love not with the yearning and hunger of a mortal but with the wide and intense rasa that lies in the divine identity of souls.
   And the new society will be based not upon competition, nor even upon co-operation. It will not be an open conflict, neither will it be a convenient compromise of rival individual interests. It will be the organic expression of the collective soul of humanity, working and achieving through each and every individual soul its most wide-winging freedom, manifesting the godhead that is, proper to each and every one. It will be an organisation, most delicate and subtle and supple, the members of which will have no need to live upon one another but in and through one another. It will be, if you like, a henotheistic hierarchy in which everyone will be the greatest, since everyone is all and all everyone simultaneously.

01.04 - The Intuition of the Age, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
   All movementswhe ther of thought or of life, whether in the individual or in the massproceed from a fundamental intuition which lies in the background as the logical presupposition, the psychological motive and the spiritual force. A certain attitude of the soul, a certain angle of vision is what is posited first; all other thingsall thoughts and feelings and activities are but necessary attempts to express, to demonstrate, to realise on the conscious and dynamic levels, in the outer world, the truth which has thus already been seized in some secret core of our being. The intuition may not, of course, be present to the conscious mind, it may not be ostensibly sought for, one may even deny the existence of such a preconceived notion and proceed to establish truth on a tabula rasa; none the less it is this hidden bias that judges, this secret consciousness that formulates, this unknown power that fashions.
   Now, what is the intuition that lies behind the movements of the new age? What is the intimate realisation, the underlying view-point which is guiding and modelling all our efforts and achievementsour science and art, our poetry and philosophy, our religion and society? For, there is such a common and fundamental note which is being voiced forth by the human spirit through all the multitude of its present-day activities.

03.01 - The Malady of the Century, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
   This knowledge, or rather, this curiosity does not arise from any depth of our being; it is the product of the meddlesome superficial brain-mind. We have become self-conscious; a vigilant self-consciousness is now the invariable coefficient of all our movements, but it is a self-consciousness that has deviated into mere mental introspection and intellectual analysis. It was the soul's consciousness, although perhaps more often from behind the veil, that once inspired and enlivened human nature in its youth; and life was after all a thing of beauty and joy for the soul is the one rasa of existence. We have deposed the Divine King; an anarchy now reigns in human nature which has become the battle-ground of qualities and forces that are, if not always more crude, at least, invariably crooked and perverse. We live and move in the cold and blighting, and withal shallow, glare of the brain-mind.
   III

05.07 - The Observer and the Observed, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
   Now we come to the sanctum, the Shekinah, of the problem. For there is a still deeper mystery. And pre-eminently it is an Einsteinian discovery. It is not merely the measuring ray of light, not merely the beam in the eye of the observer that is the cause of interference: the very mind behind the eye is involved in a strange manner. The mind is not a tabula rasa, it comes into the field with certain presuppositionsaxioms and postulates, as it calls themdue to its angle of vision and perhaps to the influence upon it of immediate sense perception. It takes for granted, for example, that light travels in a straight line, that parallels do not meet, indeed all the theorems and deductions of Euclidean geometry. There is a strong inclination in the mind to view things as arranged according to that pattern. Einstein has suggested that the spherical scheme can serve as well or even better our observations. Riemann's non-Euclidean geometry has assumed momentous importance in contemporary scientific enquiry. It is through that scheme that Einstein proposes to find the equation that will subsume the largest number of actual and possible or potential facts and bring about the reconciliation of such irreconcilables as wave and particle, gravitation and electricity.
   In any case, at the end of all our peregrinations we seem to circle back to our original Cartesian-cum-Berkeleyean position; we discover that it is not easy to extricate the observed from the observer: the observer is so deep set in the observed, part and parcel of it that there are scientists who consider their whole scientific scheme of the world as only a mental set-up, we may replace it very soon by another scheme equally cogent, subjective all the same. The subject has entered into all objects and any definition of the object must necessarily depend upon the particular poise of the subject. That is the cosmic immanence of the Purusha spoken of in the Upanishads the one Purusha become many and installed in the heart of each and, every object. There is indeed a status of the Subject in which the subject and the object are gathered into or form one reality. The observer and the observed are the two ends, the polarisation of a single entity: and all are reals at that level. But the scientific observer is only the mental purusha and in his observation the absolute objectivisation is not possible. The Einsteinian equations that purport to rule out all local view-points can hardly be said to have transcended the co-ordinates of the subject. That is possible only to the consciousness of the cosmic Purusha.

05.13 - Darshana and Philosophy, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
   The procedure of European philosophy is different. There the reason or the mental light is the starting-point. That light is cast about: one collects facts, one observes things and happenings and then proceeds to find out a general trutha law, a hypothesisjustified by such observations. But as a matter of fact this is the ostensible method: it is only a make-believe. For mind and reason are not normally so neutral and impersonal, a tabula rasa. The observer already comes into the field with a definite observational angle and a settled viewpoint. The precise sciences of today have almost foundered on this question of the observer entering inextricably into his observations and vitiating them. So in philosophy too as it is practised in Europe, on a closer observation, if the observer is carefully observed, one finds not unoften a core of suppositions, major premises taken for granted hidden behind the logical apparatus. In other words, even a hardened philosopher cherishes at the back of his mind a priorijudgments and his whole philosophy is only a rationalisation of an inner prejudgment, almost a window-dressing of a perception that came to him direct and in other secret ways. That was what Kant meant when he made the famous distinction between the Pure and the Practical Reason and their categories. Only the direct perceptions, the spiritual realisations are so much imbedded behind, covered so much with the mist of mind's struggle and tension and imaginative construction that it is not always easy to disengage the pure metal from the ore.
   We shall take the case of one such philosopher and try to illustrate our point. We are thinking of Whitehead. The character of European philosophical mind is well exemplified in this remarkable modern philosopher. The anxiety to put the inferences into a strict logical frame makes a naturally abstruse and abstract procedure more abstruse and abstract. The effort to present suprarational truths in terms of reason and syllogism clouds the issues more than it clarifies them. The fundamental perception, the living intuition that is behind his entire philosophy and world outlook is that of an Immanent God, a dynamic evolving Power working out the growth and redemption of mankind and the world {the apotheosis of the World, as he puts it). It is the theme which comes last in the development of his system, as the culminating conclusion of his philosophy, but it is the basic presupposition, the first principle that inspires his whole outlook, all the rest is woven and extended around this central nucleus. The other perception intimate to this basic -original perception and inseparable from it is a synthetic view in which things that are usually supposed to be contraries find their harmony and union, viz.,God and the World, Permanence and Flux, Unity and Multiplicity, the Universal and the Individual. The equal reality of the two poles of an integral truth is characteristic of many of the modern philosophical systems. In this respect Whitehead echoes a fundamental conclusion of Sri Aurobindo.

05.24 - Process of Purification, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
   There are three well-marked stages in the process of the purification of nature and surrender to the Divine. When one has made up one's mind finally to take to the path of spiritual life and to turn one's back on the life of ignorant nature, one enters at the outset into a phase of divided consciousness and life. It is the stage when one cries, "The spirit is willing but the flesh is weak." One feels an inner aspiration and devotion and even freedom and purity and wider consciousness, but actually in the practical world, he follows the old nature, acts under the pressure of Ignorance and the Ripus. You are a mundane man with profane habitsand yet within, when aloof, you are in contact with the deeper and larger breath of the Spirit. The next stage is one of external control and of modification of behaviour. You have the inner consciousness of the spirit grown strong in you and you are no longer a helpless prey to the physical outbursts of inferior nature: a kind of brake has been put upon the outgoing passions. Still at this stage the surges of passion are there within, inside the wall of control, as it were. The pressure and demand of the Spirit has brought about a deadlock in the ignorant movements of the outer nature, although the physico-vital and vital support behind has not been wholly purified and continues in its old way, expressing itself in veiled and sublimated acts and in dreams and imaginations. The vital support even when it does not express itself in grosser physical movements, even when it is self-contained, yet maintains its old taste for them. Finally, when this taste even goes away (that is the suggestion in the beautiful and luminous phrase of the Gita, rasavaljam), then only one rises into the integral and unadulterated life of the Spirit. Till that final consummation happens, the period of interregnum is a great occasion for training and experience. It is of considerable interest also from the standpoint of occult knowledge.
   There are two typeswhich mean two stagesof control. You can control your nature by the force of your will, as one does a wicked horse by means of the toothed bit. But this control is precarious and the clearing or purification effected is only skin-deep. At the slightest weakening of the will or a momentary lack of vigilance, you may find yourself in the very midst of a volcanic eruption of passions. Even otherwise, even if there happens no external outburst, the burden or pressure of the ignorant nature is always there and the struggle or tension, although thrown into the background, obstructs the nature, does not give it the free and spontaneous higher poise of the spirit. The other control comes from the inmost being, from the spiritual self itself: it is automatic and it is occult in its action and therefore naturally effective. When the Spirit, the Inner Control (Antarymi)works, it happens that even if the desires are there, the occasions for their satisfaction are withdrawn from you. As the Mother says, some people who are destined for the spiritual life lose all earthly props whenever they wish to lean upon them, they lose their endeared objects whenever they are eager to cherish them. At a certain stage of the growth of the inner consciousness, the demand of the soul makes it impossible for the vital (or physico-vital), so far as it is unpurified and unprepared, to secure its objects: even if the lips yearn, the cup is taken away. The circumstances themselves yield to the pressure of the inner being and conspire, as it were, to withhold and remove all dangerous contacts. The being has not to say, "Lead me not into temptation", for the temptations by themselves slip away. That is the earlier poise of the interregnum we are describing; the next poise comes when the wish-impulses, the subjective vibrations also melt and disappear. Then there appear no such things as temptations. Objects, events, circumstances that might have acted in that role come and go, but the being remains indifferent and unruffled, because suffused with the delight of another contact. The detachment from the worldly is secure and absolute because the being has found its attachment to the Divine. That is the beginning of the integral spiritualisation of the nature.

10.25 - How to Read Sri Aurobindo and the Mother, #Collected Works of Nolini Kanta Gupta - Vol 04, #Nolini Kanta Gupta, #Integral Yoga
   Do we read for the sake of study? to know things? to acquire knowledge? That is a secondary aspect, a profit gained by the way. The real purpose of coming in contact with the words of the Mother and Sri Aurobindo is to become conscious, to acquire consciousness, to be more and more conscious, increase more and more the consciousness. To understand, that is to say, to seize by the mind, to grasp intellectually the writings of the Mother and Sri Aurobindo is rather difficult. The easier, the more right way would be to enter into the atmosphere of the world that they have created with their words, to feel the vibration that the words emanate. For the words that they have uttered are not mere words taken or found in the dictionaries, they are not mere sounds, dead syllables, they are living entities, symbols of consciousness, the consciousness of which I have just spoken. These symbols, being symbols of consciousness are luminous, they shed light all along, they are full of power and extend power all along, they have life and they are full of delight. It is this inner world that is behind the outer world of words that one has to be in touch with, be aware of, in the first instance, before one can have a mental understanding; in other words you must cultivate the right attitude, a turn of your consciousness in tune with the consciousness that has worked out the words of the Mother and Sri Aurobindo. You have to take a plunge, as it were, dip into the waters, and be soaked in the caress of that element, to come in the living touch of the substance of words, go behind the meaning, if necessary, avoiding it even. You must contact the living sap, the rasa, that has poured itself out in the creation. If you have tasted of that, then It has its own light that will suffuse you automatically with its radiance; the delight of bathing in the living spring will formulate itself in rhythms of knowledge and true understanding.
   At least such should be the basis of approach to the works of the Mother and Sri Aurobindo. You may have possessed a rich intellectual apparatus, you may have all the information that sciences and philosophies have gathered, you may have perused the whole story of the evolution of human knowledge up to the present time, all these are lesser lights, they do not illuminate the light before which you stand. That light is shown and recognised by its own reflection or emanation in you, the little light that is in you, your soul.

10.31 - The Mystery of The Five Senses, #Collected Works of Nolini Kanta Gupta - Vol 04, #Nolini Kanta Gupta, #Integral Yoga
   Indeed we say habitually, when speaking of spiritual realisation, that one sees the truth, one has to see the truth: to know the truth, to know the reality is taken to mean to see the truth, to see the reality, and what does this signify? It signifies what one sees is the light, the light that emanates from truth, the form that the Truth takes, the radiant substance that is the Truth. This then is the special character or gift of this organ, the organ of sight, the eye. One sees the physical light, of course, but one sees also the supraphysical light. It is, as the Upanishad says, the eye of the eye, the third eye in the language of the occultists. What we say about the eye may be equally said in respect of the other sense-organs. Take hearing, for example. By the ear we hear the noises of the world, its deafening cries and no doubt at times also some earthly music. But when the ear is turned inward, we listen to unearthly things Indeed we know how stone-deaf Beethoven heard some of those harmonies of supreme beauty that are now the cherished possessions of humanity. This inner ear is able to take you by a process of regression to the very source of all sound and utterance, from where springs the anhata vk, the undictated voice, the nda-brahman, the original sound-seed, the primary vibration. So the ear gives that hearing which reveals to you a special aspect of the Divine: the vibratory rhythm of the being, that matrix of all utterance, of all speech that mark the material expression of consciousness. Next we come to the third sense, that of smell, Well, the nose is not a despicable organ, in any way; it is as important as any other more aristocratic sense-organ, as the eye or the ear. It is the gate to the perfumed atmosphere of the reality. Even like a flower, as a lotus for example, the truth is colourful, beautiful, shapely, radiant to the eye; to the nostrils it is exhilarating perfume, it distils all around a divine scent that sanctifies, elevates the whole being. After the third sense we come to the fourth, the tongue. The mouth gives you the taste of the truth and you find that the Truth is sweetness, the delicious nectar of the gods: for the truth is also soma, the surpreme rasa, amta, immortality itself. Here is Aswapathy's experience of the thing in Savitri:
   In the nostrils quivered celestial fragrances,

1.03 - Concerning the Archetypes, with Special Reference to the Anima Concept, #The Archetypes and the Collective Unconscious, #Carl Jung, #Psychology
  of a new-born child is a tabula rasa in the sense that there is
  absolutely nothing in it. In so far as the child is born with a

1.03 - The House Of The Lord, #Twelve Years With Sri Aurobindo, #Nirodbaran, #Integral Yoga
  At the beginning all of us would make it a point to be present during his meal and watch the function as well as the Mother's part in it. When the time was announced, water was brought for Sri Aurobindo to wash his hands, then he started eating with a spoon and rarely with knife and fork. He would take off his ring, place it in Champaklal's hand and wash. Champakal would put it back on his finger afterwards. Sometimes when he forgot to take off the ring, Champaklal caught hold of the hand before it was dipped in the water. Then the Mother would come, prepare and lay the table, push it herself up to Sri Aurobindo and arrange the various foods in bowls or glass tumblers, in the order of savouries, sweets and fruit juices everything having an atmosphere of cleanliness, purity and beauty. Then she would offer, one by one, the dishes to the silent Deity who would take them slowly and silently as if the eating was not for the satisfaction of the palate but an act of self-offering. Steadiness and silence were the characteristic stamps of Sri Aurobindo. Dhra, according to him, was the ideal of Aryan culture. Hurry and hustle were words not found in his dictionary. Be it eating, drinking, walking or talking he did it always in a slow and measured rhythm, giving the impression that every movement was conscious and consecrated. The Mother would punctuate the silence with queries like, "How do you like that dish?" or such remarks as, "This mushroom is grown here, this is special brinjal sent from Benares, this is butterfruit." To all, Sri Aurobindo's reply would be, "Oh, I see! Quite good!" Typically English in manner and tone! His silence or laconic praise made us wonder if he had not lost all distinction in taste! Did rasagolla, bread and brinjal have the same taste in the Divine sense-experience? Making this vital point clear, he wrote in a letter: "Distinction is never lost, bread cannot be as tasty as a luchi, but a yogi can enjoy bread with as much rasa as a luchi which is quite a different thing." He had a liking for sweets, particularly for rasagolla, sandesh and pantua. We could see that clearly: after the Mother had banned all sweets from his menu for medical reasons, one day some pantuas found their way in by chance. The Mother could not send them back from the table. She asked him if he would take some. He replied, "If it is pantua, I can try." Since then this became a spicy joke with all of us. He enjoyed, as a matter of fact, all kinds of good dishes, European or Indian. But whatever was not to his taste, he would just touch and put away. The pungent preparations of the South could not, however, receive his blessings, except the rasam[1]. When on his arrival in Pondicherry he was given rasam, he enjoyed it very much and said in our talks, "It has a celestial taste!" He was neither a puritan god nor an epicure; only, he had no hankering or attachment for anything. His meal ended with a big tumbler of orange juice which he sipped slowly, looking after each sip to see how much was left, and keeping a small quantity as prasd. Once the entire juice had slightly fermented and after one or two sips he left it at the Mother's prompting. We conspired to make good use of it as prasd, but Sri Aurobindo got the scent of our secret design and forewarned us! We had to check our temptation.
  One thing that we noticed was that unless the Mother served him in this way, he would lose all distinction between different preparations and would not know which to take first and in which order. Very probably he would have gone half-fed. On one occasion we saw him eating a whole cooked green chilly before we could cry halt! Of course, what was one chilly for him who is said in the old days to have taken a lump of opium with impunity! We have also seen him finishing his meal somehow, if for some reason the Mother could not be present and Champaklal had to serve instead. The story goes that once Mridu's dish went back without being touched by Sri Aurobindo, and she raised a storm. Sri Aurobindo had to quiet her with the plea that the Mother being absent he did not know what he had taken or what he had not. On another occasion Sri Aurobindo's meal being over earlier than usual, Mridu's dish arrived late and was left untouched. As soon as she heard about it she began to wail "like a new-born babe" as if she would bring down the whole Ashram by her lamentations. Dr. Manilal reported the fact to Sri Aurobindo and he asked, "How did she know about it?" I replied apologetically, "I told her." He said softly, "These things should not be said;" then he added with a smile, "but it is I who ought to lament for having missed her fine dish." We all had a good laugh.

1.045 - Piercing the Structure of the Object, #The Study and Practice of Yoga, #Swami Krishnananda, #Yoga
  It is now that a condition or a state supervenes where there is a sudden split of this cosmic condition into the external and the internal. This is the beginning of what they call samsara or bondage of the jiva. There is no bondage as long as a bifurcation is not introduced between the subject and the object of knowledge. Bondage commences the moment there is a severance of the consciousness from its content, an isolation of the subject from the object. This happens subsequent to the appearance of ahamkara. So, on the objective side, we have what are known as the tanmatras and the mahabhutas. The tanmatras are the subtle principles behind the five gross elements of earth, water, fire, air and ether, and they are called sabda, sparsa, rupa, rasa and gandha in Sanskrit, meaning thereby the sensations of sound, touch, form, taste and smell which have connection with the five elements of earth, water, fire, air and ether prithivi, appu, tejo, vayu and akasa. This is the external side of the world. Generally, what we call the world is constituted of these five great elements or mahabhutas. But the experiencing side, the subject side, is what is known as the jiva, the principle of individuality you, I, and everyone included who have an extrovert vision of these five mahabhutas, all of which we regard as something outside us, notwithstanding that every one of us, including the bhutas, have come from the same principle of ahamkara. It is something like the right hand looking at the left hand as an object of its perception, though both these are emanations of a single substance, a single unifying principle - namely, the bodily organism.
  The subject side is the individual, the jiva, which has a physical body made up of the five elements themselves earth, water, fire, air and ether. Then we have the five pranas prana, apana, vyana, udana and samana. There are the senses the five senses of knowledge and the five of action. And then there is the principle of mentation there is the intellect and all these complexities constituting what is known as the subtle body of the individual. This is the subject side, while the object side is formed of the five elements mentioned.

1.04 - KAI VALYA PADA, #Patanjali Yoga Sutras, #Swami Vivekananda, #Hinduism
  these rasayanas say, first make the body very strong, and
  they claim that this body can be made immortal. The idea is
  --
  the rasayamas, notably the use of metals in medicine.
  Certain sects of Yogis claim that many of their principal

1.04 - The Divine Mother - This Is She, #Twelve Years With Sri Aurobindo, #Nirodbaran, #Integral Yoga
  Then a year later I believe it was in 1935, he came to me for treatment for the first time. I wrote to Sri Aurobindo in my medical report, "S's story is out. In addition to green mangoes, he had some rasagollas too. This food business is almost a possession with him." Sri Aurobindo wrote back, "So I heard. Why almost?" "We have decided to remove his stove for good. Rather childish, but what else can be done?" I continued, and he replied, "Quite right. The Doctor said that he was surprised by the relapses of S's health until he found that when he was not there, S used to get up and secretly cook food for himself on the stove! Palate satisfaction seems to be more precious to him than his life." After about five months I received a note from Sri Aurobindo, "Is the condition of S dangerous or critical? If it is so or if it becomes so, it will be better to send for a French doctor who will take the responsibility of the case.... The Mother was knocked up in the small hours and informed that S was very bad and hiccoughing. I presume the French Doctor has been sent for by this time. If it is serious, let us have news 2 or 3 times a day." I replied to him, "S's condition is neither dangerous nor critical. It is a case of hyperacidity. He has vomited a lot and has found some relief now. But I hear that he wants to be treated by our renowned homeopath R. I have no objection, subject to your approval." And this is what Sri Aurobindo wrote to me, "I expect you to put your medical feelings under a glass case in a corner for the time and help the... Homeopath so far as nursing and other care for S goes." I handed over the patient to R and did the nursing part as asked by Sri Aurobindo. He also wanted me to send him a regular report of the case. The patient started copious vomiting of blood and passing blood in the stool. When I asked the Guru how far the exact reporting was essential for the action of the Force, he replied, "It is absolutely essential. Wrong information or concealment of important facts may have disastrous consequences." I reported, "His condition will be critical at night. Two things must be done: hiccough has to stop, and he must have sleep. He is extremely weak. Are you sure about him?" His answer came, "No. From the beginning of the case I have not been at all sure of it.... The circumstances have been very contrary and there has not been the usual response to the Force which makes recovery only a matter of time. It seems to me that it is an old illness which has Suddenly taken an acute and perilous form. If tomorrow morning there is no improvement, we can call Philaire5 (I hope it will be in time)."
  The next day, there was a sudden good turn putting the patient beyond the danger zone. Synchronous with the Mother's coming down to give general blessings, he went into a sound sleep with the temporary cessation of the hiccough. It was at this time that I felt that he had crossed the danger line. Sri Aurobindo, confirming my feelings, wrote, "There was something a sense of a danger passed and a Force put out.... There is a change in so far as S's physical has begun to respond while before it was not responsive at all. There is no longer the predominance of the dark forces that there was before. But the response has to increase before one can be absolutely sure of the result. The obstinacy of the hiccough is a dark point that ought to disappear."

1.05 - Yoga and Hypnotism, #Essays In Philosophy And Yoga, #Sri Aurobindo, #Integral Yoga
  The difference between Yoga and hypnotism is that what hypnotism does for a man through the agency of another and in the sleeping state, Yoga does for him by his own agency and in the waking state. The hypnotic sleep is necessary in order to prevent the activity of the subjects mind full of old ideas and associations from interfering with the operator. In the waking state he would naturally refuse to experience sweetness in vinegar or sourness in sugar or to believe that he can change from disease to health, cowardice to heroism by a mere act of faith; his established associations would rebel violently and successfully against such contradictions of universal experience. The force which transcends matter would be hampered by the obstruction of ignorance and attachment to universal error. The hypnotic sleep does not make the mind a tabula rasa but it renders it passive to everything but the touch of the operator. Yoga similarly teaches passivity of the mind so that the will may act unhampered by the saskras or old associations. It is these saskras, the habits formed by experience in the body, heart or mind, that form the laws of our psychology. The associations of the mind are the stuff of which our life is made. They are more persistent in the body than in the mind and therefore harder to alter. They are more persistent in the race than in the individual; the conquest of the body and mind by the individual is comparatively easy and can be done in the space of a single life, but the same conquest by the race involves the development of ages. It is conceivable, however, that the practice of Yoga by a great number of men and persistence in the practice by their descendants might bring about profound changes in human psychology and, by stamping these changes into body and brain through heredity, evolve a superior race which would endure and by the law of the survival of the fittest eliminate the weaker kinds of humanity. Just as the rudimentary mind of the animal has been evolved into the fine instrument of the human being so the rudiments of higher force and faculty in the present race might evolve into the perfect buddhi of the Yogin.
  Yo yacchraddha sa eva sa. According as is a mans fixed and complete belief, that he is,not immediately always but sooner or later, by the law that makes the psychical tend inevitably to express itself in the material. The will is the agent by which all these changes are made and old saskras replaced by new, and the will cannot act without faith. The question then arises whether mind is the ultimate force or there is another which communicates with the outside world through the mind. Is the mind the agent or simply the instrument? If the mind be all, then it is only animals that can have the power to evolve; but this does not accord with the laws of the world as we know them. The tree evolves, the clod evolves, everything evolves Even in animals it is evident that mind is not all in the sense of being the ultimate expression of existence or the ultimate force in Nature. It seems to be all only because that which is all expresses itself in the mind and passes everything through it for the sake of manifestation. That which we call mind is a medium which pervades the world. Otherwise we could not have that instantaneous and electrical action of mind upon mind of which human experience is full and of which the new phenomena of hypnotism, telepathy etc. are only fresh proofs. There must be contact, there must be interpenetration if we are to account for these phenomena on any reasonable theory. Mind therefore is held by the Hindus to be a species of subtle matter in which ideas are waves or ripples, and it is not limited by the physical body which it uses as an instrument. There is an ulterior force which works through this subtle medium called mind. An animal species develops, according to the modern theory, under the subtle influence of the environment. The environment supplies a need and those who satisfy the need develop a new species which survives because it is more fit. This is not the result of any intellectual perception of the need nor of a resolve to develop the necessary changes, but of a desire, often though not always a mute, inarticulate and unthought desire. That desire attracts a force which satisfies it What is that force? The tendency of the psychical desire to manifest in the material change is one term in the equation; the force which develops the change in response to the desire is another. We have a will beyond mind which dictates the change, we have a force beyond mind which effects it. According to Hindu philosophy the will is the Jiva, the Purusha, the self in the nandakoa acting through vijna, universal or transcendental mind; this is what we call spirit. The force is Prakriti or Shakti, the female principle in Nature which is at the root of all action. Behind both is the single Self of the universe which contains both Jiva and Prakriti, spirit and material energy. Yoga puts these ultimate existences within us in touch with each other and by stilling the activity of the saskras or associations in mind and body enables them to act swiftly, victoriously, and as the world calls it, miraculously. In reality there is no such thing as a miracle; there are only laws and processes which are not yet understood.

1.081 - The Application of Pratyahara, #The Study and Practice of Yoga, #Swami Krishnananda, #Yoga
  No pratyahara can be effective unless all these three aspects are properly analysed and isolated from the nature of the object. Though the mind may not be thinking about the object, there may be feeling towards it; then there is no pratyahara. Not only that the thinking, willing, feeling aspect has also a subconscious element in it, which also is to be probed into before complete mastery is gained. There may be a subtle restlessness at the time of the effecting of this practice. That restlessness may be due to the presence of a subconscious like for that very object from which the mind has been consciously withdrawn, which aspect is pointed out in a verse of the Bhagavadgita: rasavarjam rasopy asya para dv nivartate (B.G. II.59). The mind and the senses appear to be withdrawn from the objects of sense in pratyahara, it is true. But how do we know that the mind and the senses have no taste for the object? Hence, pratyahara is not merely a physical isolation or even a conscious disconnection of oneself from the object, but is an emotional detachment that is necessary wherein alone is it possible to have no taste for a thing. The taste may go to the feeling; and as long as the taste is present, there is every possibility of the other aspects rising once again into action. As long as the root is there, there is every chance of the sprout coming up one day or the other.
  Complete pratyahara is not practicable unless an aspect of concentration and meditation is combined with it. The positive side should also be brought into the role of the practice, to some extent at least. Just as in medical treatment, together with the particular prescription for the treatment of the illness we also give a constructive tonic so that there may not be a deleterious effect of the weakness of the system on account of an intensive treatment, likewise we have to be very cautious in dealing with the mind that in withdrawing the mind from objects, we are not merely focused on the aspect of withdrawing. We are not only emptying the mind and giving nothing else with which to fill it. There can be a parallel filling of the mind with a positive content, together with the emptying of it. Then the painful aspect of it will be mitigated to a large extent. We are not going to merely starve the mind and give it nothing. That would be a very difficult thing to stomach. Together with this starvation and the emptying or vacating of the mind gradually by detaching it from its usual objects of contact, it can also be positively filled with the content of dharana, whose winds will start blowing, gradually, with their own fragrance and solacing message, together with this deeper preceding stage of pratyahara or withdrawal.

1.08 - Origin of Rudra: his becoming eight Rudras, #Vishnu Purana, #Vyasa, #Hinduism
  ga, and Vāyu agree with our text in the nomenclature of the Rudras, and their types, their wives, and progeny. The types are those which are enumerated in the Nāndī, p. 59 or opening benedictory verse, of Sakuntalā; and the passage of the Viṣṇu P. was found by Mons. Chezy on the envelope of his copy. He has justly corrected Sir Wm. Jones's version of the term ### 'the sacrifice is performed with solemnity;' as the word means, 'Brahmane officiant,' 'the Brāhmaṇ who is qualified by initiation (Dīkṣā) to conduct the rite.' These are considered as the bodies, or visible forms, of those modifications of Rudra which are variously named, and which, being praised in them, severally abstain from harming them: ### Vāyu P. The Bhāgavata, III. 12, has a different scheme, as usual; but it confounds the notion of the eleven Rudras, to whom the text subsequently adverts, with that of the eight here specified. These eleven it terms Manyu, Manu, Mahīnasa, Mahān, Siva, Ritadhwaja, Ugraretas, Bhava, Kāla, Vāmadeva, and Dhritavrata: their wives are, Dhī, Dhriti, rasalomā, Niyut, Sarpī, Ilā, Ambikā, Irāvatī, Swadhā, Dīkṣā, Rudrānī: and their places are, the heart, senses, breath, ether, air, fire, water, earth, sun, moon, and tapas, or ascetic devotion. The same allegory or mystification characterises both accounts.
  [5]: See the story of Dakṣa's sacrifice at the end of the chapter.

1.08 - The Gods of the Veda - The Secret of the Veda, #Vedic and Philological Studies, #Sri Aurobindo, #Integral Yoga
  But for my own part I do not hold myself bound by European research&European theories.My scepticism of nineteenth century results goes farther than is possible to any European scepticism. The Science of comparative religion in Europe seems to me to be based on a blunder. The sun & star theory of comparative mythology with its extravagant scholastic fancies & lawless inferences carries no conviction to my reason. I find in the Aryan & Dravidian tongues, the Aryan and Dravidian races not separate & unconnected families but two branches of a single stock. The legend of the Aryan invasion & settlement in the Panjab in Vedic times is, to me, a philological myth. The naturalistic interpretation of theVedas I accept only as a transference or adhyaropa of European ideas into the Veda foreign to the mentality of the Vedic Rishis & Max Mullers discovery of Vedic henotheism as a brilliant & ingenious error. Whatever is sound & indisputable in European ideas & discoveries, I am bound to admit & shall use, but these large generalisations & assumptions ought, I think, no longer to pass current as unchallengeable truth or the final knowledge about the Vedas. My method is rather to make a tabula rasa of all previous theories European or Indian & come back to the actual text of the Veda for enlightenment, the fundamental structure & development of the old Sanscrit tongue for a standard of interpretation and the connection of thought in the hymns for a guide to their meaning. I have arrived as a result at a theory of the Vedic religion, of which this book is intended to give some initial indications.
  I put aside at the beginning the common assumption that since religion started from the fears & desires of savages a record of religion as ancient as the Vedas must necessarily contain a barbarous or semi-barbarous mythology empty of any profound or subtle spiritual & moral ideas or, if it contains them at all, that it must be only in the latest documents. We have no more right to assume that the Vedic Rishis were a race of simple & frank barbarians than to assume that they were a class of deep and acute philosophers. What they were is the thing we have to discover and we may arrive at either conclusion or neither, but we must not start from our goal or begin our argument on the basis of our conclusion. We know nothing of the history & thought of the times, we know nothing of the state of their intellectual & social culture except what we can gather from the Vedic hymns themselves. Indications from other sources may be useful as clues but the hymns are our sole authority.

1.096 - Powers that Accrue in the Practice, #The Study and Practice of Yoga, #Swami Krishnananda, #Yoga
  Sukshma is the third aspect, which is the subtle rudimentary character of the elements, known as tanmatras. They are made up of five forces called shabda, sparsa, rupa, rasa and gandha. They are vibrations, ultimately; they are not simply solid objects. These vibrations, which are called tanmatras, are their third subtle aspect.
  The fourth is anvaya, the immanence of the forces of prakriti as sattva, rajas and tamas in the elements. These elements are nothing but sattva, rajas and tamas; and their presence in all these forms is hidden. It is these three gunas that, by some peculiar modification of themselves, enter into a peculiar state of density, gradually, and become the five elements. There are no five elements; it is the three gunas appearing as the five. The five elements are nothing but the five gradations in the density of the development of the mulaprakriti herself. That is the immanent aspect of the elements, anvaya the involvement of the elements in the three gunas of prakriti.

1.09 - Talks, #Twelve Years With Sri Aurobindo, #Nirodbaran, #Integral Yoga
  People who read our Correspondence were under the impression that our days bubbled with "jest and jollity, quips and cranks" all the while. In fact, a friend did not believe me when I said that the bubbling lasted only for a short time. Sri Aurobindo was, after all, a Yogi. All who knew him knew that. In one of his letters to Dilip, when Dilip complained that Sri Aurobindo would not laugh or even smile, he replied that since his childhood, he had been estranged from his family and accustomed to live a solitary life. His nature had therefore become reserved, somewhat remote and he felt shy of too much personal emotion. The English racial climate may have, I suppose, added its own large share to it. Moreover, the Yoga he had practised, beginning with the transcendental nirvanic experience, must have crowned the natural disposition. Buddha, I believe, for all his compassion, could not but have been impersonal in his daily communication. This vast impersonality even in personal relations, is it not the basis of his Yoga? I have often wondered what his state of consciousness was, for instance, when he was talking with us or dictating Savitri. Now I have learnt that the three states of consciousness: transcendent, cosmic and individual can operate at the same time. I also used to wonder how he could take interest even in the most trivial, "unspiritual" amusing talk or incidents, and joke with us, say on snoring or baldness! He had found the rasa,the delight of Brahman in everything. So his jokes were never trivial; they could be playful but always had an intellectual element in them.
  I have already given some examples of his humour in the previous chapters; let me now quote something to show his light mood. One day suddenly breaking his silence, he addressed Purani and said, "There is something nice for you, Purani." (For once he used his name!)

11.07 - The Labours of the Gods: The five Purifications, #Collected Works of Nolini Kanta Gupta - Vol 04, #Nolini Kanta Gupta, #Integral Yoga
   The brain thus is the controller-general of the whole physical system of the human body. In particular, however, it is the controller and regulator of the physical mind and the senses (the six indriyas of Indian psychology). This is the province of the basic earth principle, this range of material matter over which the Fire is the presiding deity. There are, however, other provinces and units, co-lateral to the brain system and having special functions of their own. First of all, at the bottom of the scale, or rather the first step upward in the scale,that is, after the vertebral pedestalis the abdominal system which consists, as we know, of the three main operations: (i) digestion, (ii) evacuation, and (iii) generation, comprising, in other words, the stomach, the intestines, the liver and the spleen, the kidneys, the bladder, and finally, the sex glands. The glands indeed, here in this domain, are the operative agent: and they have a special way of operation, namely, washing. If fire controls the most material, the earth-principle, it is water, apas, that is the god in this region of the vital functions. The Vedas speak of the purifying streams of the Sindhus and the Srotas; they speak of the underground stream of rasa which Sarama, the Hound of Heaven, crossed to' come over to our earth. Water, in fact, does the work appropriate to this region. It is the vital region in man and consists of functions attached to the vital activities. The vital in its ordinary and normal functions means desires and attachments, hunger and thirst, ties and bondages, urges and demands these have to be cleared and washed out if there is to be healthy strength in the system, washed by spraying the pure vital fluid. Physiologically the enzymes and endocrine secretions are the physical formations or outer formulations of the hidden vital fluid. This indeed is the function of the deity, Soma, Pawamana Soma, the flowing stream of Delight, who in effect is the true presiding godhead here. For it is this section of the body that is the stage for our whole world of enjoyment for the play of all our physical delights as well as of all our ailments and diseases. Purified, it is the giver of health and happiness leading ultimately to that Supreme Delight which is immortality, Life transfigured.
   Above and next to this region of the viscera, on the other side of the diaphragm, is the region of the thorax, the chest cavity. It contains the ,most important of all human organs, the heart and the lungs, which means the respiratory and the circulatory systems, extending into the solar plexus; and the power that controls it is that of the third element Tejas, the pulsating, radiant energy. It is the energising heat, the warmth of will and aspiration, concentration in the heart; it is also Tapas. It is indeed a form of fire, fire in its essential substance, a quiet white flame against the robust red and crimson and purple fires of earth. It is the mounting urge of consciousness in its rhythmic poise of harmonious strength. And that is the god Aryama of the Vedas, the godhead presiding over the upward surge of evolution. From here comes not merely the drive to go forward, the secret dynamo that moves the being to its goal but also the vision that shows the way and the conditions under which the end is achieved or fulfilled. From here too comes rhythm and the balance and the happy harmony of all movements in life. The calm heave of the lung sand the glad beat of the heart are the sign and symbol of a radiant animation.

1.10 - Laughter Of The Gods, #Twelve Years With Sri Aurobindo, #Nirodbaran, #Integral Yoga
  The old ide fixe that Sri Aurobindo was an anchorite who did not know how to smile or laugh is by now dead. A new fixed notion may swing to the other extreme that he smiled or laughed too much for a yogi. But a sensible estimate, after a reading of his letters, talks and creative works, will confirm the view that his Yoga instead of drying up the fountain of laughter made it flow like the Ganges. For his consciousness grew as vast as the universe; it sounded the uttermost depths and heights of existence. He read the "wonder-book of Common things" as well as the supernal mysteries of God and found the very rasa which is at the root of things. His love and compassion flowed towards all men and creatures like a life-giving ocean. He said in one of his letters: "It is only divine Love which can bear the burden I have to bear, that all have to bear who have sacrificed everything else to the one aim of uplifting earth out of its darkness towards the Divine. The Gallio-like 'Je m'en fiche'-ism (I do not care) would not carry me one step; it would certainly not be divine. It is quite another thing that enables me to walk unweeping and unlamenting towards the goal." In his own Ashram which is composed, on the one hand, of unlettered villagers and, on the other, of the intellectual lite, with what patience and forbearance, love and sympathy he, like a grand patriarch, guided and led us all towards the goal! Humour that springs from a heart of sympathy made him smile at our follies and foibles and the numerous eccentricities of our human nature. The readers of Talks with Sri Aurobindo must have observed how Sri Aurobindo threw aside his mantle of gravity and enjoyed with us pure fun and frolic, as if we had been his close playmates. In the preceding chapter we have already touched upon one instance. In the period after the accident to his right leg, when he failed to carry out Dr. Manilal's instructions about hanging the leg, he would exclaim as if out of fear, "Oh, Manilal is coming, I must hang my leg." And one of us, piqued by his fear, would remark, "Sir, you seem to be afraid of Dr. Manilal." When Manilal arrived and enquired about the leg, he replied, "The leg is still hanging."
  Yogis and great men there were, who used to joke with their disciples and friends; but it seems to me that there was always a barrier of awe and reverence between them. And though Sri Aurobindo allowed us to forget that and we cut jokes with him on equal terms, the sense of his being our Guru was there.

1.10 - The Yoga of the Intelligent Will, #Essays On The Gita, #Sri Aurobindo, #Integral Yoga
  It retains the pleasure of the sense in the object, the rasa, the
  100
  --
   liking and disliking, - for rasa has two sides; the soul must, on the contrary, be capable of enduring the physical contact without suffering inwardly this sensuous reaction. Otherwise there is nivr.tti, cessation of the object, vis.aya vinivartante, but no subjective cessation, no nivr.tti of the mind; but the senses are of the mind, subjective, and subjective cessation of the rasa is the only real sign of mastery. But how is this desireless contact with objects, this unsensuous use of the senses possible? It is possible, param dr.s.t.va, by the vision of the supreme, - param, the Soul, the Purusha, - and by living in the Yoga, in union or oneness of the whole subjective being with that, through the Yoga of the intelligence; for the one Soul is calm, satisfied in its own delight, and that delight free from duality can take, once we see this supreme thing in us and fix the mind and will on that, the place of the sensuous object-ridden pleasures and repulsions of the mind. This is the true way of liberation.
  Certainly self-discipline, self-control is never easy. All intelligent human beings know that they must exercise some control over themselves and nothing is more common than this advice to control the senses; but ordinarily it is only advised imperfectly and practised imperfectly in the most limited and insufficient fashion. Even, however, the sage, the man of clear, wise and discerning soul who really labours to acquire complete self-mastery finds himself hurried and carried away by the senses. That is because the mind naturally lends itself to the senses; it observes the objects of sense with an inner interest, settles upon them and makes them the object of absorbing thought for the intelligence and of strong interest for the will. By that attachment comes, by attachment desire, by desire distress, passion and anger when the desire is not satisfied or is thwarted or opposed, and by passion the soul is obscured, the intelligence and will forget to see and be seated in the calm observing soul; there is a fall from the memory of one's true self, and by that lapse the intelligent will is also obscured, destroyed even. For, for the time being, it no longer exists to our memory of ourselves, it disappears in a cloud of passion; we become passion, wrath, grief and cease to be self and intelligence and will. This then must be prevented

1.1.2 - Commentary, #Kena and Other Upanishads, #Sri Aurobindo, #Integral Yoga
  and enjoy the essential delight-giving quality, the rasa of things,
  but it succeeds only in attaining to it indirectly, holding it in
  --
  Bliss-consciousness which corresponds to the eternal rasa or essential delight-giving quality of all experience and is not limited
  by the insecure approximations of the sense in Mind.
  --
  an impression of rasa or sap that gives the sense of taste, or
  that direct sense of disturbance of our nervous being which we
  --
  shape, the basis of sight, the upflow of force as rasa, sap, the basis
  of taste, and the discharge of the atomic compression as gandha,

1.12 - Delight of Existence - The Solution, #The Life Divine, #Sri Aurobindo, #Integral Yoga
  14:This elimination is possible because pain and pleasure themselves are currents, one imperfect, the other perverse, but still currents of the delight of existence. The reason for this imperfection and this perversion is the self-division of the being in his consciousness by measuring and limiting Maya and in consequence an egoistic and piecemeal instead of a universal reception of contacts by the individual. For the universal soul all things and all contacts of things carry in them an essence of delight best described by the Sanskrit aesthetic term, rasa, which means at once sap or essence of a thing and its taste. It is because we do not seek the essence of the thing in its contact with us, but look only to the manner in which it affects our desires and fears, our cravings and shrinkings that grief and pain, imperfect and transient pleasure or indifference, that is to say, blank inability to seize the essence, are the forms taken by the rasa. If we could be entirely disinterested in mind and heart and impose that detachment on the nervous being, the progressive elimination of these imperfect and perverse forms of rasa would be possible and the true essential taste of the inalienable delight of existence in all its variations would be within our reach. We attain to something of this capacity for variable but universal delight in the aesthetic reception of things as represented by Art and Poetry, so that we enjoy there the rasa or taste of the sorrowful, the terrible, even the horrible or repellent;2 and the reason is because we are detached, disinterested, not thinking of ourselves or of self-defence (jugupsa), but only of the thing and its essence. Certainly, this aesthetic reception of contacts is not a precise image or reflection of the pure delight which is supramental and supra-aesthetic; for the latter would eliminate sorrow, terror, horror and disgust with their cause while the former admits them: but it represents partially and imperfectly one stage of the progressive delight of the universal Soul in things in its manifestation and it admits us in one part of our nature to that detachment from egoistic sensation and that universal attitude through which the one Soul sees harmony and beauty where we divided beings experience rather chaos and discord. The full liberation can come to us only by a similar liberation in all our parts, the universal aesthesis, the universal standpoint of knowledge, the universal detachment from all things and yet sympathy with all in our nervous and emotional being.
  15:Since the nature of suffering is a failure of the consciousforce in us to meet the shocks of existence and a consequent shrinking and contraction and its root is an inequality of that receptive and possessing force due to our self-limitation by egoism consequent on the ignorance of our true Self, of Sachchidananda, the elimination of suffering must first proceed by the substitution of titiks.a, the facing, enduring and conquest of all shocks of existence for jugupsa, the shrinking and contraction: by this endurance and conquest we proceed to an equality which may be either an equal indifference to all contacts or an equal gladness in all contacts; and this equality again must find a firm foundation in the substitution of the Sachchidananda consciousness which is All-Bliss for the ego-consciousness which enjoys and suffers. The Sachchidananda consciousness may be transcendent of the universe and aloof from it, and to this state of distant Bliss the path is equal indifference; it is the path of the ascetic. Or the Sachchidananda consciousness may be at once transcendent and universal; and to this state of present and all-embracing Bliss the path is surrender and loss of the ego in the universal and possession of an all-pervading equal delight; it is the path of the ancient Vedic sages. But neutrality to the imperfect touches of pleasure and the perverse touches of pain is the first direct and natural result of the soul's self-discipline and the conversion to equal delight can, usually, come only afterwards. The direct transformation of the triple vibration into Ananda is possible, but less easy to the human being.

1.12 - Independence, #Raja-Yoga, #Swami Vivkenanda, #unset
  The Yogis claim that these powers can be gained by chemical means. All of you know that chemistry originally began as alchemy; men went in search of the philosopher's stone and elixirs of life, and so forth. In India there was a sect called the Rsyanas. Their idea was that ideality, knowledge, spirituality, and religion were all very right, but that the body was the only instrument by which to attain to all these. If the body came to an end every now and again, it would take so much more time to attain to the goal. For instance, a man wants to practice Yoga, or wants to become spiritual. Before he has advanced very far he dies. Then he takes another body and begins again, then dies, and so on. In this way much time will be lost in dying and being born again. If the body could be made strong and perfect, so that it would get rid of birth and death, we should have so much more time to become spiritual. So these rasayanas say, first make the body very strong. They claim that this body can be made immortal. Their idea is that if the mind manufactures the body, and if it be true that each mind is only one outlet to the infinite energy, there should be no limit to each outlet getting any amount of power from outside. Why is it impossible to keep our bodies all the time? We have to manufacture all the bodies that we ever have. As soon as this body dies, we shall have to manufacture another. If we can do that, why cannot we do it just here and now, without getting out of the present body? The theory is perfectly correct. If it is possible that we live after death, and make other bodies, why is it impossible that we should have the power of making bodies here, without entirely dissolving this body, simply changing it continually? They also thought that in mercury and in sulphur was hidden the most wonderful power, and that by certain preparations of these a man could keep the body as long as he liked. Others believed that certain drugs could bring powers, such as flying through the air. Many of the most wonderful medicines of the present day we owe to the rasayanas, notably the use of metals in medicine. Certain sects of Yogis claim that many of their principal teachers are still living in their old bodies. Patanjali, the great authority on Yoga, does not deny this.
  The power of words. There are certain sacred words called Mantras, which have power, when repeated under proper conditions, produce these extraordinary powers. We are living in the midst of such a mass of miracles, day and night, that we do not think anything of them. There is no limit to man's power, the power of words and the power of mind.

1.12 - The Herds of the Dawn, #The Secret Of The Veda, #Sri Aurobindo, #Integral Yoga
  Hindu sentiment, is not intended - it would be quite as absurd as the other, - is proved by another verse of the Rig Veda in which the Ashwins are invoked to give the luminous impulsion that carries us through to the other side of the darkness, ya nah. pparad asvina jyotis.mat tamas tirah., tam asme rasatham is.am
  (I.46.6).

1.19 - Equality, #Essays On The Gita, #Sri Aurobindo, #Integral Yoga
   whom liking and fear and wrath have passed away, is the sage of settled understanding. Who in all things is without affection though visited by this good or that evil and neither hates nor rejoices, his intelligence sits firmly founded in wisdom." If one abstains from food, it says, giving a physical example, the object of sense ceases to affect, but the affection itself of the sense, the rasa, remains; it is only when, even in the exercise of the sense, it can keep back from seeking its sensuous aim in the object, artha, and abandon the affection, the desire for the pleasure of taste, that the highest level of the soul is reached. It is by using the mental organs on the objects, "ranging over them with the senses," vis.ayan indriyais caran, but with senses subject to the self, freed from liking and disliking, that one gets into a large and sweet clearness of soul and temperament in which passion and grief find no place. All desires have to enter into the soul, as waters into the sea, and yet it has to remain immovable, filled but not disturbed: so in the end all desires can be abandoned.
  To be freed from wrath and passion and fear and attraction is repeatedly stressed as a necessary condition of the liberated status, and for this we must learn to bear their shocks, which cannot be done without exposing ourselves to their causes. "He who can bear here in the body the velocity of wrath and desire, is the Yogin, the happy man." Titiks.a, the will and power to endure, is the means. "The material touches which cause heat and cold, happiness and pain, things transient which come and go, these learn to endure. For the man whom these do not trouble nor pain, the firm and wise who is equal in pleasure and suffering, makes himself apt for immortality." The equalsouled has to bear suffering and not hate, to receive pleasure and not rejoice. Even the physical affections are to be mastered by endurance and this too is part of the Stoic discipline. Age, death, suffering, pain are not fled from, but accepted and vanquished by a high indifference.1 Not to flee appalled from Nature in her

1.23 - The Double Soul in Man, #The Life Divine, #Sri Aurobindo, #Integral Yoga
  6:It follows that in this surface or desire-soul there is no true soul-life, but a psychic deformation and wrong reception of the touch of things. The malady of the world is that the individual cannot find his real soul, and the root-cause of this malady is again that he cannot meet in his embrace of things outward the real soul of the world in which he lives. He seeks to find there the essence of being, the essence of power, the essence of conscious-existence, the essence of delight, but receives instead a crowd of contradictory touches and impressions. If he could find that essence, he would find also the one universal being, power, conscious existence and delight even in this throng of touches and impressions; the contradictions of what seems would be reconciled in the unity and harmony of the Truth that reaches out to us in these contacts. At the same time he would find his own true soul and through it his self, because the true soul is his self's delegate and his self and the self of the world are one. But this he cannot do because of the egoistic ignorance in the mind of thought, the heart of emotion, the sense which responds to the touch of things not by a courageous and wholehearted embrace of the world, but by a flux of reachings and shrinkings, cautious approaches or eager rushes and sullen or discontented or panic or angry recoils according as the touch pleases or displeases, comforts or alarms, satisfies or dissatisfies. It is the desire-soul that by its wrong reception of life becomes the cause of a triple misinterpretation of the rasa, the delight in things, so that, instead of figuring the pure essential joy of being, it comes rendered unequally into the three terms of pleasure, pain and indifference.
  7:We have seen, when we considered the Delight of Existence in its relations to the world, that there is no absoluteness or essential validity in our standards of pleasure and pain and indifference, that they are entirely determined by the subjectivity of the receiving consciousness and that the degree of either pleasure and pain can be heightened to a maximum or depressed to a minimum or even effaced entirely in its apparent nature. Pleasure can become pain or pain pleasure because in their secret reality they are the same thing differently reproduced in the sensations and emotions. Indifference is either the inattention of the surface desire-soul in its mind, sensations, emotions and cravings to the rasa of things, or its incapacity to receive and respond to it, or its refusal to give any surface response or, again, its driving and crushing down of the pleasure or the pain by the will into the neutral tint of unacceptance. In all these cases what happens is that either there is a positive refusal or a negative unreadiness or incapacity to render or in any way represent positively on the surface something that is yet subliminally active.
  8:For, as we now know by psychological observation and experiment that the subliminal mind receives and remembers all those touches of things which the surface mind ignores, so also we shall find that the subliminal soul responds to the rasa, or essence in experience, of these things which the surface desire-soul rejects by distaste and refusal or ignores by neutral unacceptance. Self-knowledge is impossible unless we go behind our surface existence, which is a mere result of selective outer experiences, an imperfect sounding-board or a hasty, incompetent and fragmentary translation of a little out of the much that we are, - unless we go behind this and send down our plummet into the subconscient and open ourself to the superconscient so as to know their relation to our surface being. For between these three things our existence moves and finds in them its totality. The superconscient in us is one with the self and soul of the world and is not governed by any phenomenal diversity; it possesses therefore the truth of things and the delight of things in their plenitude. The subconscient, so called,6 in that luminous head of itself which we call the subliminal, is, on the contrary, not a true possessor but an instrument of experience; it is not practically one with the soul and self of the world, but it is open to it through its world-experience. The subliminal soul is conscious inwardly of the rasa of things and has an equal delight in all contacts; it is conscious also of the values and standards of the surface desire-soul and receives on its own surface corresponding touches of pleasure, pain and indifference, but takes an equal delight in all. In other words, our real soul within takes joy of all its experiences, gathers from them strength, pleasure and knowledge, grows by them in its store and its plenty. It is this real soul in us which compels the shrinking desire-mind to bear and even to seek and find a pleasure in what is painful to it, to reject what is pleasant to it, to modify or even reverse its values, to equalise things in indifference or to equalise them in joy, the joy of the variety of existence. And this it does because it is impelled by the universal to develop itself by all kinds of experience so as to grow in Nature. Otherwise, if we lived only by the surface desire-soul, we could no more change or advance than the plant or stone in whose immobility or in whose routine of existence, because life is not superficially conscious, the secret soul of things has as yet no instrument by which it can rescue the life out of the fixed and narrow gamut into which it is born. The desire-soul left to itself would circle in the same grooves for ever.
  9:In the view of old philosophies pleasure and pain are inseparable like intellectual truth and falsehood and power and incapacity and birth and death; therefore the only possible escape from them would be a total indifference, a blank response to the excitations of the world-self. But a subtler psychological knowledge shows us that this view which is based on the surface facts of existence only, does not really exhaust the possibilities of the problem. It is possible by bringing the real soul to the surface to replace the egoistic standards of pleasure and pain by an equal, an all-embracing personal-impersonal delight. The lover of Nature does this when he takes joy in all the things of Nature universally without admitting repulsion or fear or mere liking and disliking, perceiving beauty in that which seems to others mean and insignificant, bare and savage, terrible and repellent. The artist and the poet do it when they seek the rasa of the universal from the aesthetic emotion or from the physical line or from the mental form of beauty or from the inner sense and power alike of that from which the ordinary man turns away and of that to which he is attached by a sense of pleasure. The seeker of knowledge, the God-lover who finds the object of his love everywhere, the spiritual man, the intellectual, the sensuous, the aesthetic all do this in their own fashion and must do it if they would find embracingly the Knowledge, the Beauty, the Joy or the Divinity which they seek. It is only in the parts where the little ego is usually too strong for us, it is only in our emotional or physical joy and suffering, our pleasure and pain of life, before which the desire-soul in us is utterly weak and cowardly, that the application of the divine principle becomes supremely difficult and seems to many impossible or even monstrous and repellent. Here the ignorance of the ego shrinks from the principle of impersonality which it yet applies without too much difficulty in Science, in Art and even in a certain kind of imperfect spiritual living because there the rule of impersonality does not attack those desires cherished by the surface soul and those values of desire fixed by the surface mind in which our outward life is most vitally interested. In the freer and higher movements there is demanded of us only a limited and specialised equality and impersonality proper to a particular field of consciousness and activity while the egoistic basis of our practical life remains to us; in the lower movements the whole foundation of our life has to be changed in order to make room for impersonality, and this the desire-soul finds impossible.
  10:The true soul secret in us - subliminal, we have said, but the word is misleading, for this presence is not situated below the threshold of waking mind, but rather burns in the temple of the inmost heart behind the thick screen of an ignorant mind, life and body, not subliminal but behind the veil, - this veiled psychic entity is the flame of the Godhead always alight within us, inextinguishable even by that dense unconsciousness of any spiritual self within which obscures our outward nature. It is a flame born out of the Divine and, luminous inhabitant of the Ignorance, grows in it till it is able to turn it towards the Knowledge. It is the concealed Witness and Control, the hidden Guide, the Daemon of Socrates, the inner light or inner voice of the mystic. It is that which endures and is imperishable in us from birth to birth, untouched by death, decay or corruption, an indestructible spark of the Divine. Not the unborn Self or Atman, for the Self even in presiding over the existence of the individual is aware always of its universality and transcendence, it is yet its deputy in the forms of Nature, the individual soul, caitya purus.a, supporting mind, life and body, standing behind the mental, the vital, the subtle-physical being in us and watching and profiting by their development and experience. These other person-powers in man, these beings of his being, are also veiled in their true entity, but they put forward temporary personalities which compose our outer individuality and whose combined superficial action and appearance of status we call ourselves: this inmost entity also, taking form in us as the psychic Person, puts forward a psychic personality which changes, grows, develops from life to life; for this is the traveller between birth and death and between death and birth, our nature parts are only its manifold and changing vesture. The psychic being can at first exercise only a concealed and partial and indirect action through the mind, the life and the body, since it is these parts of Nature that have to be developed as its instruments of self-expression, and it is long confined by their evolution. Missioned to lead man in the Ignorance towards the light of the Divine Consciousness, it takes the essence of all experience in the Ignorance to form a nucleus of soul-growth in the nature; the rest it turns into material for the future growth of the instruments which it has to use until they are ready to be a luminous instrumentation of the Divine. It is this secret psychic entity which is the true original Conscience in us deeper than the constructed and conventional conscience of the moralist, for it is this which points always towards Truth and Right and Beauty, towards Love and Harmony and all that is a divine possibility in us, and persists till these things become the major need of our nature. It is the psychic personality in us that flowers as the saint, the sage, the seer; when it reaches its full strength, it turns the being towards the Knowledge of Self and the Divine, towards the supreme Truth, the supreme Good, the supreme Beauty, Love and Bliss, the divine heights and largenesses, and opens us to the touch of spiritual sympathy, universality, oneness. On the contrary, where the psychic personality is weak, crude or ill-developed, the finer parts and movements in us are lacking or poor in character and power, even though the mind may be forceful and brilliant, the heart of vital emotions hard and strong and masterful, the life-force dominant and successful, the bodily existence rich and fortunate and an apparent lord and victor. It is then the outer desire-soul, the pseudo-psychic entity, that reigns and we mistake its misinterpretations of psychic suggestion and aspiration, its ideas and ideals, its desires and yearnings for true soul-stuff and wealth of spiritual experience.7 If the secret psychic Person can come forward into the front and, replacing the desire-soul, govern overtly and entirely and not only partially and from behind the veil this outer nature of mind, life and body, then these can be cast into soul images of what is true, right and beautiful and in the end the whole nature can be turned towards the real aim of life, the supreme victory, the ascent into spiritual existence.

1.240 - Talks 2, #Talks, #Sri Ramana Maharshi, #Hinduism
  Ah! How blissful! This is rasasvada.
  During the marriage ceremonies a virgin feels happy as a bride without experiencing the embrace of man: this is rasasvada.
  D.: Jivanmukti (liberated while alive) itself being ananda . . . .
  --
  Telangs, etc. Sri Bhagavan made mention of F. T. Brooks. Mr. Thomas desires one in metrical form because it is the proper vehicle for rasa (the essence) contained in it. rasa is also Peace, he said.
  M.: Yes, Brahman is only rasa.
  D.: rasa is also Bliss.
  M.: rasa, Ananda, Peace are all names for the same Bliss.
  The Professor was shown Mr. Grant Duffs speech in the Philosophical

1.300 - 1.400 Talks, #Talks, #Sri Ramana Maharshi, #Hinduism
  "Ah! How blissful!" This is rasasvada.
  During the marriage ceremonies a virgin feels happy as a bride without experiencing the embrace of man: this is rasasvada.
  D.: Jivanmukti (liberated while alive) itself being ananda . . . .

1.400 - 1.450 Talks, #Talks, #Sri Ramana Maharshi, #Hinduism
  Telang's, etc. Sri Bhagavan made mention of F. T. Brooks. Mr. Thomas desires one in metrical form because it is the proper vehicle for rasa (the essence) contained in it. rasa is also Peace, he said.
  M.: Yes, Brahman is only rasa.
  D.: rasa is also Bliss.
  M.: rasa, Ananda, Peace are all names for the same Bliss.
  The Professor was shown Mr. Grant Duff's speech in the Philosophical

1.4.01 - The Divine Grace and Guidance, #Letters On Yoga II, #Sri Aurobindo, #Integral Yoga
  - a regular Abyssinia. It is why we always express depreciation of mental constructions and vital formations - because they are the defence works mind and vital throw up against their capture by the Divine. However the first thing is to become conscious of all that as you have now become, - the next thing is to be firm in knocking it all down and making a tabula rasa, a foundation of calm, peace, happy openness for the true building.
  No Insistence on the Grace

20.01 - Charyapada - Old Bengali Mystic Poems, #Collected Works of Nolini Kanta Gupta - Vol 05, #Nolini Kanta Gupta, #Integral Yoga
   so here too is taken in, Kanhu says, earth's pure rasa.
   XXV

2.02 - Indra, Giver of Light, #The Secret Of The Veda, #Sri Aurobindo, #Integral Yoga
   in the universal Purusha and, when man is produced, expresses himself again as sense-mentality in the human being. For delight is the raison d'etre of sensation, or, we may say, sensation is an attempt to translate the secret delight of existence into the terms of physical consciousness. But in that consciousness, - often figured as adri, the hill, stone, or dense substance, - divine light and divine delight are both of them concealed and confined, and have to be released or extracted. Ananda is retained as rasa, the sap, the essence, in sense-objects and sense-experiences, in the plants and growths of the earth-nature, and among these growths the mystic Soma-plant symbolises that element behind all sense activities and their enjoyments which yields the divine essence. It has to be distilled and, once distilled, purified and intensified until it has grown luminous, full of radiance, full of swiftness, full of energy, gomat, asu, yuvaku. It becomes the chief food of the gods who, called to the Soma-oblation, take their share of the enjoyment and in the strength of that ecstasy increase in man, exalt him to his highest possibilities, make him capable of the supreme experiences. Those who do not give the delight in them as an offering to the divine Powers, preferring to reserve themselves for the sense and the lower life, are adorers not of the gods, but of the Panis, lords of the senseconsciousness, traffickers in its limited activities, they who press not the mystic wine, give not the purified offering, raise not the sacred chant. It is the Panis who steal from us the Rays of the illumined consciousness, those brilliant herds of the sun, and pen them up in the cavern of the subconscient, in the dense hill of matter, corrupting even Sarama, the hound of heaven, the luminous intuition, when she comes on their track to the cave of the Panis.
  But the conception of this hymn belongs to a stage in our inner progress when the Panis have been exceeded and even the Vritras or Coverers who seclude from us our full powers and activities and Vala who holds back the Light, are already overpassed. But there are even then powers that stand in the way of our perfection. They are the powers of limitation, the

2.04 - Agni, the Illumined Will, #The Secret Of The Veda, #Sri Aurobindo, #Integral Yoga
  He is the heat of life and creates the sap, the rasa in things, the essence of their substantial being and the essence of their delight.
  He is equally the Will in Prana, the dynamic Life-energy, and in that energy performs the same functions. Devouring and

2.08 - ALICE IN WONDERLAND, #God Exists, #Swami Sivananda Saraswati, #Hinduism
  But space-time is itself without dimensions. It has no dimensions. It is a four dimensional somethingnot a three dimensional substance. And we do not know what this four dimensional thing is. It is only an idea, a meaningless thing for us. It becomes primary qualities like length, breadth and height, etc. Geometrical partners are called primary qualities which manifest themselves as secondary qualities of colour, sound, taste, smell, etc. The world has not come into being yet. They are only Tanmatras (subtle undifferentiated root elements of matter)Shabda (sound), Sparsa (touch), Rupa (form), rasa (taste), Gandha (smell), says the Vedanta philosophy.
  These Tanmatras are not substances, but principles behind the objects which produce these sensations. They are not hard substances like earth, water, fire, air and ether; they are comparable to the secondary qualities of Aristotle and Plato and modern scientists.
  --
  but there things in Sanskrit language? What is Shabda, Sparsa, Rupa, rasa and Gandha but conceptual precedents of the hard things called earth, water, fire, air and ether including our physical bodies? We can imagine we have difficulties in meditation, why we cannot do Japa, why we cannot do prayer. We get angry for little things and we fly at the throat of another brother,
  because we are yet to be spiritual.

2.08 - On Non-Violence, #Evening Talks With Sri Aurobindo, #unset, #Zen
   When there is Samata then there comes Sama rasatva equal enjoyment, from everything one gets the rasa essential delight, from every kind of food. Even the food that we call badly cooked has a rasa of its own. But one can agree to a little bit of tact. It is no use casting fish in the face of a Jain or forcing smoke in the face of an orthodox Tamil Brahmin.
   10 MAY1924

2.08 - The Release from the Heart and the Mind, #The Synthesis Of Yoga, #Sri Aurobindo, #Integral Yoga
  Desire is at once the motive of our actions, our lever of accomplishment and the bane of our existence. If our sense-mind, emotional mind, thought-mind could act free from the intrusions and importations of the life-energy, if that energy could be made to obey their right action instead of imposing its own yoke on our existence, all human problems would move harmoniously to their right solution. The proper function of the life-energy is to do what it is bidden by the divine principle in us, to reach to and enjoy what is given to it by that indwelling Divine and not to desire at all. The proper function of the sense-mind is to lie open passively, luminously to the contacts of Life and transmit their sensations and the rasa or right taste and principle of delight in them to the higher function; but interfered with by the attractions and repulsions, the acceptances and refusals, the satisfactions and dissatisfactions, the capacities and incapacities of the life-energy in the body it is, to begin with, limited in its scope and, secondly, forced in these limits to associate itself with all these discords of the life in Matter. It becomes an instrument for pleasure and pain instead of for delight of existence.
  Similarly the emotional mind compelled to take note of all these discords and subject itself to their emotional reactions becomes a hurtling field of joy and grief, love and hatred, wrath, fear, struggle, aspiration, disgust, likes, dislikes, indifferences, content, discontent, hopes, disappointments, gratitude, revenge and all the stupendous play of passion which is the drama of life in the world. This chaos we call our soul. But the real soul, the real psychic entity which for the most part we see little of and only a small minority in mankind has developed, is an instrument of pure love, joy and the luminous reaching out to fusion and unity with God and our fellow-creatures. This psychic entity is covered up by the play of the mentalised Prana or desire-mind which we mistake for the soul; the emotional mind is unable to mirror the real soul in us, the Divine in our hearts, and is obliged instead to mirror the desire-mind.
  --
  As with action and inaction, so it is with this dual possibility of indifference and calm on the one side and active joy and love on the other. Equality, not indifference is the basis. Equal endurance, impartial indifference, calm submission to the causes of joy and grief without any reaction of either grief or joy are the preparation and negative basis of equality; but equality is not fulfilled till it takes its positive form of love and delight. The sense-mind must find the equal rasa of the All-Beautiful, the heart the equal love and Ananda for all, the psychic Prana the enjoyment of this rasa, love and Ananda. This, however, is the positive perfection that comes by liberation; our first object on the path of knowledge is rather the liberation that comes by detachment from the desire-mind and by the renunciation of its passions.
  The desire-mind must also be rejected from the instrument of thought and this is best done by the detachment of the Purusha from thought and opinion itself. Of this we have already had occasion to speak when we considered in what consists the integral purification of the being. For all this movement of knowledge which we are describing is a method of purification and liberation whereby entire and final self-knowledge becomes possible, a progressive self-knowledge being itself the instrument of the purification and liberation. The method with the thought-mind will be the same as with all the rest of the being. The Purusha, having used the thought-mind for release from identification with the life and body and with the mind of desire and sensations and emotions, will turn round upon the thought-mind Itself and will say "This too I am not; I am not the thought or the thinker; all these ideas, opinions, speculations, strivings of the intellect, its predilections, preferences, dogmas, doubts, self-corrections are not myself; all this is only a working of prakriti which takes place in the thought-mind." Thus a division is created between the mind that thinks and wills and the mind that observes and the Purusha becomes the witness only; he sees, he understands the process and laws of his thought, but detaches himself from it. Then as the master of the sanction he withdraws his past sanction from the tangle of the mental undercurrent and the reasoning intellect and causes both to cease from their importunities. He becomes liberated from subjection to the thinking mind and capable of the utter silence.

2.09 - On Sadhana, #Evening Talks With Sri Aurobindo, #unset, #Zen
   Disciple: Is it the experience of sama rasa the essential delight in everything?
   Sri Aurobindo: Yes, today I am a vegetarian and a non-vegetarian together and I know what people want to enjoy when they demand and insist on a certain kind of food. In order to arrive at that stage you have to give up your individual likes and dislikes because that is a very limited condition and enter into the universal consciousness and find what the cosmic spirit enjoys through each of these forms, what delight it derives from each.

2.09 - The Pantacle, #Liber ABA, #Aleister Crowley, #Philosophy
  36:In this preliminary task of collecting materials, the idea of the Ego is not of such great moment; all impressions are phases of the non-ego, and the Ego serves merely as a receptacle. In fact, to the well regulated mine, there is no question but that the impressions are real, and that the mind, if not a tabula rasa, is only not so because of the "tendencies" or "innate ideas" which prevent some ideas from being received as readily as others.2
  37:These "tendencies" must be combated: distasteful facts should be insisted upon until the Ego is perfectly indifferent to the nature of its food.

2.11 - WITH THE DEVOTEES IN CALCUTTA, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
  ON THE MORNING of Wednesday, March 11, Sri Ramakrishna and some of his disciples visited Balarm Bose's house. Balarm was indeed blessed among the householder disciples of the Master. Sri Ramakrishna often described him as a rasaddar, or supplier of stores, appointed by the Divine Mother to take care of his physical needs. Balarm's house in Calcutta had been sanctified many times by the Master's presence. There he frequently lost himself in samdhi, dancing, singing, or talking about God. Those of the Master's disciples and devotees who could not go to Dakshineswar visited him there and received his instruction. He often asked Balarm to invite young disciples such as Rkhl, Bhavanth, and Narendra to his house, saying: "These pure souls are veritable manifestations of God. To feed them is to feed God Himself. They are born with special divine attributes. By serving them you will be serving God." And so it happened that whenever the Master was at Balarm's house the devotees would gather there. It was the Master's chief vineyard in Calcutta. It was here that the devotees came to know each other intimately.
  M taught in a school in the neighbourhood. He often brought his young students to visit the Master at Balarm's house. On this day, having learnt of Sri Ramakrishna's arrival, M. went there at noon during the recess hour of the school. He found the Master resting in the drawing room after his midday meal. Several young boys were in the room. M

2.1.3 - Wrong Movements of the Vital, #Letters On Yoga IV, #Sri Aurobindo, #Integral Yoga
  The feeling of loneliness, udsnat, dryness and lack of rasa come very usually when the vital part is disappointed in its desires or tries to give them up but has not yet attained a quiet indifference towards them. It is necessary to replace this condition by the true quietude which will allow the psychic being to become again active and reopen the doors of inner experience, and we shall try to get this done.
  ***

2.2.01 - Work and Yoga, #Letters On Yoga II, #Sri Aurobindo, #Integral Yoga
  There must be the rasa [in the work], but it comes when there is the dynamic descent of the Power.
  ***

2.21 - Towards the Supreme Secret, #Essays On The Gita, #Sri Aurobindo, #Integral Yoga
  This first pursuit of impersonality as enjoined by the Gita brings with it evidently a certain completest inner quietism and is identical in its inmost parts and principles of practice with the method of Sannyasa. And yet there is a point at which its tendency of withdrawal from the claims of dynamic Nature and the external world is checked and a limit imposed to prevent the inner quietism from deepening into refusal of action and a physical withdrawal. The renunciation of their objects by the senses, vis.ayams tyaktva, is to be of the nature of Tyaga; it must be a giving up of all sensuous attachment, rasa, not a refusal of the intrinsic necessary activity of the senses. One must move among surrounding things and act on the objects of the sense-field with a pure, true and intense, a simple and absolute operation of the senses for their utility to the spirit in divine action, kevalair indriyais caran, and not at all for the fulfilment of desire. There is to be vairagya, not in the common significance of disgust of life or distaste for the world action, but renunciation of raga, as also of its opposite, dves.a. There must be a withdrawal from all mental and vital liking as from all mental and vital disliking whatsoever. And this is asked not for extinction, but in order that there may be a perfect enabling equality in which the spirit can give an unhampered and unlimited assent to the integral and comprehensive divine vision of things and to the integral divine action in Nature. A continual resort to meditation, dhyana-yogaparo nityam, is the firm means by which the soul of man can realise its self of Power and its self of silence. And yet there must be no abandonment of the active life for a life of pure meditation; action must always be done as a sacrifice to the supreme Spirit.
  This movement of recoil in the path of Sannyasa prepares an absorbed disappearance of the individual in the Eternal, and renunciation of action and life in the world is an indispensable step in the process. But in the Gita's path of Tyaga it is a preparation rather for the turning of our whole life and existence and of all action into an integral oneness with the serene and immeasurable being, consciousness and will of the Divine, and it preludes and makes possible a vast and total passing upward of the soul out of the lower ego to the inexpressible perfection of the supreme spiritual nature, para prakr.ti.

2.24 - Gnosis and Ananda, #The Synthesis Of Yoga, #Sri Aurobindo, #Integral Yoga
  The gnosis does not reject the realisations of the lower planes; for it is not an annihilation or extinction, not a Nirvana but a sublime fulfilment of our manifested Nature. It possesses the first realisations under its own conditions after it has transformed them and made them elements of a divine order. The gnostic soul is the child, but the king-child;482 here is the royal and eternal childhood whose toys are the worlds and all universal Nature is the miraculous garden of the play that tires never. The gnosis takes up the condition of divine inertia; but this is no longer the inertia of the subject soul driven by Nature like a fallen leaf in the breath of the Lord. It is the happy passivity bearing an unimaginable intensity of action and Ananda of the Nature-Soul at once driven by the bliss of the mastering Purusha and aware of herself as the supreme shakti above and around him and mastering and carrying him blissfully on her bosom for ever. This biune being of Purusha-prakriti is as if a flaming Sun and body of divine Light self-carried in its orbit by its own inner consciousness and power at one with the universal, at one with a supreme Transcendence. Its madness is a wise madness of Ananda, the incalculable ecstasy of a supreme consciousness and power vibrating with an infinite sense of freedom and intensity in its divine life-movements. Its action is supra-rational and therefore to the rational mind which has not the key it seems a colossal madness. And yet this that seems madness is a wisdom in action that only baffles the mind by the liberty and richness of its contents and the infinite complexity in fundamental simplicity of its motions, it is the very method of the Lord of the worlds, a thing no intellectual interpretation can fathom, -- a dance this also, a whirl of mighty energies, but the Master of the dance holds the hands of His energies and keeps them to the rhythmic order, the self-traced harmonic circles of his rasa-Lila. The gnostic soul is not bound any more than the divine demoniac by the petty conventions and proprirties of the normal human life or the narrow rules through which it makes some shift to accommodate itself with the perplexing dualities of the lower nature and tries to guide its steps among the seeming contradictions of the world, to avoid its numberless stumbling-blocks and to foot with gingerly care around its dangers and pitfalls. The gnostic supramental life is abnormal to us because it is free to all the hardi-hoods and audacious delights of a soul dealing fearlessly and even violently with Nature, but yet it is the very normality of the infinite and all governed by the law of the Truth in its exact unerring process. It obeys the law of a self-possessed Knowledge, Love, Delight in an innumerable Oneness. It seems abnormal only because its rhythm is not measurable by the faltering beats of the mind, but yet it steps in a wonderful and transcendent measure.
  And what then is the necessity of a still higher step and what difference is there between the soul in gnosis and the soul in the Bliss? There is no essential difference, but yet a difference, because there is a transfer to another consciousness and a certain reversal in position, -- for each step of the ascent from Matter to the highest Existence there is a reversal of consciousness. The soul no longer looks up to something beyond it, but is in it and from it looks down on all that it was before. On all planes indeed the Ananda can be discovered because everywhere it exists and is the same. Even there is a repetition of the Ananda plane on each lower world of consciousness. But in the lower planes not only is it reached by a sort of dissolution into it of the pure mind or the life-sense or the physical awareness, but it is, as it were, itself diluted by the dissolved form of mind, life or matter held in the dilution and turned into a poor thinness wonderful to the lower consciousness but not comparable to its true intensities. The gnosis has on the contrary a dense light of essential consciousness483a in which the intense fullness of the Ananda can be. And when the form of gnosis is dissolved into the Ananda, it is not annulled altogether, but undergoes a natural change by which the soul is carried up into its last and absolute freedom; for it casts itself into the absolute existence of the spirit and is enlarged into its own entirely self-existent bliss infinitudes. The gnosis has the infinite and absolute as the conscious source, accompaniment, condition, standard, field and atmosphere of all its activities, it possesses it as its base, fount, constituent material, indwelling and inspiring Presence; but in its action it seems to stand out from it as its operation, as the rhythmical working of its activities, as a divine Maya483b or Wisdom-Formation of the Eternal. Gnosis is the divine Knowledge-Will of the divine Consciousness-Force; it is harmonic consciousness and action of prakriti-Purusha -- full of the delight of the divine existence. In the Ananda the knowledge goes back from these willed harmonies into pure self-consciousness, the will dissolves into pure transcendent force and both are taken up into the pure delight of the Infinite. The basis of the gnostic existence is the self-stuff and self-form of the Ananda.
  --
  The Purusha in mind, life and body is divided from Nature and in conflict with her. He labours to control and coerce what he can embody of her by his masculine force and is yet subject to her afflicting dualities and in fact her plaything from top to bottom, beginning to end. In the gnosis he is biune with her, finds as master of his own nature their reconciliation and harmony by their essential oneness even while he accepts an infinite blissful subjection, the condition of his mastery and his liberties, to the Supreme in his sovereign divine Nature. In the tops of the gnosis and in the Ananda he is one with the prakriti and no longer solely biune with her. There is no longer the baffling play of Nature with the soul in the Ignorance; all is the conscious play of the soul with itself and all its selves and the Supreme and the divine shakti in its own and the infinite bliss nature. This is the supreme mystery, the highest secret, simple to our experience, however difficult and complex to our mental conceptions and the effort of our limited intelligence to understand what is beyond it. In the free infinity of the self-delight of Sachchidananda there is a play of the divine Child, a rasa lila of the infinite Lover, and its mystic soul-symbols repeat themselves in characters of beauty and movements and harmonies of delight in a timeless forever.
  author class:Sri Aurobindo

2.26 - The Ascent towards Supermind, #The Life Divine, #Sri Aurobindo, #Integral Yoga
  It clings to them all the more obstinately if that way be a contradiction of delight, a way of darkness and sorrow and pain and suffering; for that too has acquired its own perverse and opposite taste, rasa, its pleasure of darkness and sorrow, its sadistic or masochistic interest in pain and suffering. Even if this part of our being seeks better things, it is often obliged to follow the worse because they are its own, natural to its energy, natural to its substance. A complete and radical change can only be brought about by bringing in persistently the spiritual light and intimate experience of the spiritual truth, power, bliss into the recalcitrant elements until they too recognise that their own way of fulfilment lies there, that they are themselves a diminished power of the spirit and can recover by this new way of being their own truth and integral nature. This illumination is constantly opposed by the Forces of the lower nature and still more by the adverse Forces that live and reign by the world's imperfections and have laid down their formidable foundation on the black rock of the Inconscience.
  An indispensable step towards overcoming this difficulty is the opening up of the inner being and its centres of action; for there the task that the surface mind could not achieve begins to be more possible. The inner mind, the inner life-consciousness and life-mind, the subtle-physical consciousness and its subtlephysical mentality, once liberated into action, create a larger, finer, greater mediating awareness able to communicate with the universal and with what is above them, able also to bring to bear their power on the whole range of the being, on the submental, on the subconscient mind, on the subconscient life, even on the subconscience of the body: they can, though not wholly enlighten, yet to some extent open, penetrate, work upon the fundamental Inconscience. The spiritual Light, Power,

2.28 - The Divine Life, #The Life Divine, #Sri Aurobindo, #Integral Yoga
  96: This new status would indeed be a reversal of the present law of human consciousness and life, for it would reverse the whole principle of the life of the Ignorance. It is for the taste of the Ignorance, its surprise and adventure, one might say, that the soul has descended into the Inconscience and assumed the disguise of Matter, for the adventure and the joy of creation and discovery, an adventure of the spirit, an adventure of the mind and life and the hazardous surprises of their working in Matter, for the discovery and conquest of the new and the unknown; all this constitutes the enterprise of life and all this, it might seem, would cease with the cessation of the Ignorance. Man's life is made up of the light and the darkness, the gains and losses, the difficulties and dangers, the pleasures and pains of the Ignorance, a play of colours moving on a soil of the general neutrality of Matter which has as its basis the nescience and insensibility of the Inconscient. To the normal life-being an existence without the reactions of success and frustration, vital joy and grief, peril and passion, pleasure and pain, the vicissitudes and uncertainties of fate and struggle and battle and endeavour, a joy of novelty and surprise and creation projecting itself into the unknown, might seem to be void of variety and therefore void of vital savour. Any life surpassing these things tends to appear to it as something featureless and empty or cast in the figure of an immutable sameness; the human mind's picture of heaven is the incessant repetition of an eternal monotone. But this is a misconception; for an entry into the gnostic consciousness would be an entry into the Infinite. It would be a self-creation bringing out the Infinite infinitely into form of being, and the interest of the Infinite is much greater and multitudinous as well as more imperishably delightful than the interest of the finite. The evolution in the Knowledge would be a more beautiful and glorious manifestation with more vistas ever unfolding themselves and more intensive in all ways than any evolution could be in the Ignorance. The delight of the Spirit is ever new, the forms of beauty it takes innumerable, its godhead ever young and the taste of delight, rasa, of the Infinite eternal and inexhaustible. The gnostic manifestation of life would be more full and fruitful and its interest more vivid than the creative interest of the Ignorance; it would be a greater and happier constant miracle.
  97: If there is an evolution in material Nature and if it is an evolution of being with consciousness and life as its two keyterms and powers, this fullness of being, fullness of consciousness, fullness of life must be the goal of development towards which we are tending and which will manifest at an early or later stage of our destiny. The self, the spirit, the reality that is disclosing itself out of the first inconscience of life and matter, would evolve its complete truth of being and consciousness in that life and matter. It would return to itself - or, if its end as an individual is to return into its Absolute, it could make that return also, - not through a frustration of life but through a spiritual completeness of itself in life. Our evolution in the Ignorance with its chequered joy and pain of self-discovery and worlddiscovery, its half fulfilments, its constant finding and missing, is only our first state. It must lead inevitably towards an evolution in the Knowledge, a self-finding and self-unfolding of the Spirit, a self-revelation of the Divinity in things in that true power of itself in Nature which is to us still a Supernature.

2.3.08 - The Mother's Help in Difficulties, #The Mother With Letters On The Mother, #Sri Aurobindo, #Integral Yoga
  6. When I go for food, I pray for the Mother's Force to help me to offer every morsel to the Mother, to get everything easily digested, to make a growth of complete equality and detachment in my consciousness enabling me to take any food with equal rasa of universal Ananda without any insistence or seeking or greed or desire.
  This is again part of the sadhana.

2.3.2 - Desire, #Letters On Yoga IV, #Sri Aurobindo, #Integral Yoga
  If you are anxious for them [material possessions], that means that you have desire and are bound. Ananda is one thing and vital enjoyment is another. One can have the rasa of a beautiful thing, for instance a picture, without wanting or needing to possess it or turn it to ones own purpose. Where that want comes in, there is vital desire. The sign of freedom from attachment is that one has no craving and can do without things without feeling anything for that or disappointment at their loss or absence or hankering or wish to have them. If one has, one takes the rasa in a free unattached wayif one does not get or loses them, it makes not the slightest difference. The true Ananda is the Ananda of the Divine and when one has the Yogic consciousness, it is the Divine one sees everywhere and has the Ananda of that, but there is no attachment to objects as objects.
  It is not necessary to be a Sannyasi to have this inner freedom; it is only necessary to be sincere. There are many who say, I have no attachment, but it is a self-deception. Therefore one must examine oneself very closely and strictly and see what is left of desire or attachment and reject it. This is difficult for the ordinary consciousness and never wholly achieved by it, even if things are outwardly given up; it is easy if the higher consciousness is there in all the parts of the being, provided one opens all ones movements to its Light.

2.4.02 - Bhakti, Devotion, Worship, #Letters On Yoga II, #Sri Aurobindo, #Integral Yoga
  It [an inner state of dryness] is because it is the analysing mind that is active that always brings a certain dryness; the higher mind or the intuition bring a much more spontaneous and complete knowledge the beginning of the real Jnana without this effect. The bhakti which you feel is psychic, but with a strong vital tinge; and it is the mind and the vital between them that bring in the opposition between the bhakti and the Jnana. The vital concerned only with emotion finds the mental knowledge dry and without rasa, the mind finds the bhakti to be a blind emotion fully interesting only when its character has been analysed and understood. There is no such opposition when the psychic and the higher plane knowledge act together predominantly the psychic welcomes knowledge that supports its emotion, the higher thought consciousness rejoices in the bhakti.
  ***

24.05 - Vision of Dante, #Collected Works of Nolini Kanta Gupta - Vol 06, #Nolini Kanta Gupta, #Integral Yoga
   The Heaven is composed of many circles or regions, tier upon tier, a hierarchy of worlds. They are inhabited by saints and holy persons of various degrees of merit; the greater the merit the higher the status of their dwelling. Dante describes the first Heaven, it is the moon; and then follow one by one many of the planets. He saw the habitat of saints and holy persons each busy with his own occupation, some studying, some meditating, some assembled in a group engaged in conversation and so on. We too, we have in India many heavenly lokas,Brahmaloka, Shivaloka, Vishnuloka, Janaloka, Goloka, inhabited by various types of gods and spiritual siddhas. We have Hell too in India, an underworld Patala or rasatala - they are supposed to be seven in number! Our Heavens too are seven. Dante became very curious to know more of the mind of the holy persons - their thoughts and experiences. When they reached one of these worlds, he told Beatrice: "I would like to talk to one of these saints." "Yes, you can." Then he approached one and asked him: "You are happy here?" - "Yes" - "You do not feel monotonous and bored?" The answer was, "No, not at all." "You do not long to rise higher and higher upward in your ascent to greater heavens? You have no impulse to progress in this way?" Answer: "No, I am content with what I have and where I am. I rely on God's will, whatever He has decided I accept without question. As long as 'He wishes me to be in a particular place or in a particular condition I obey unquestioningly. All things and happenings are equal to me. This is what I have learnt. In His will lies our peace. E'n la sua volontade nostra pace.3
   Apart from the saints and sages and wise men (theologians) of Christendom, the higher Heavens sheltered also non-human, that is to say, godly or divine beings - angels and archangels, cherubs and seraphs - powers of Love, powers of Knowledge - Thrones, Dominations, Princedoms, Principalities, as Dante names them - various grades and modes of the divine force and energy - or, as we say, Personalities and Emanations.

28.02 - An Impression, #Collected Works of Nolini Kanta Gupta - Vol 06, #Nolini Kanta Gupta, #Integral Yoga
   The festival of rasa.
   ***

30.11 - Modern Poetry, #Collected Works of Nolini Kanta Gupta - Vol 07, #Nolini Kanta Gupta, #Integral Yoga
   From the point of view of technique, it has been said to be flawless. One likes to characterise these lines as doggerel in English. But they are not so. From the standard of modern appreciation they are really solemn poetry. Such sort of appreciation reminds us of the Sanskrit rhetorician's wit: What is an instance of a faultless sloka or verse? - Dugdham pivati marjarah(the cat drinks milk). - How? - A sloka must have four feet. Marjara(the cat) has them. A sloka must have sweetness or rasa(lit. juice). What can be there more sweet than milk?
   Let alone wit and humour. The real problem is not perhaps with the style and trend of colloquialism, but with something deeper. The question, no doubt, raises a special aspect, but that is a mere symptom or complexity of the disease. For the composition of all ancient poetry was neither artificial nor unnatural. Rather, the reverse is the truth. Matthew Arnold has given proof of the grand style in poetry. For example, Milton's

30.12 - The Obscene and the Ugly - Form and Essence, #Collected Works of Nolini Kanta Gupta - Vol 07, #Nolini Kanta Gupta, #Integral Yoga
   rasa and rupa are however in the end the two wings of poetic beauty, and the perfect poetic beauty marries the two in an indivisible unity - although actually that is a rare phenomenon.
   "Attachez Dieu au gibet, vous avez la croix." - Victor Hugo

3.1.2 - Levels of the Physical Being, #Letters On Yoga IV, #Sri Aurobindo, #Integral Yoga
  The outer means without the inner is not effective. Up to a certain point by a progressive training the body may be made more capable of work. But the important thing is to bring down the force for work and the rasa of work in the body. The body will then do what is asked of it without grudging or feeling fatigue.
  Even so, even when the force and rasa are there, one must keep ones sense of measure.
  Work is a means of self-dedication to the Divine, but it must be done with the necessary inner consciousness in which the lower vital and physical must also share.

3.2.08 - Bhakti Yoga and Vaishnavism, #Letters On Yoga II, #Sri Aurobindo, #Integral Yoga
  As for Krishna, why not approach simply and straight? The simple approach means trust. If you pray, trust that he hears. If the reply takes long in coming, trust that he knows and loves and that he is wisest in the choice of the time. Meanwhile quietly clear the ground, so that he may not have to trip over stone and jungle when he comes. That is my suggestion and I know what I am saying for whatever you may say, I know very well all human difficulties and struggles and I know of the cure. That is why I press always on the things that would minimise and shorten the struggles and difficulties,the psychic turn, faith, perfect and simple confidence and reliance. These, let me remind you, are tenets of the Vaishnava Yoga. Of course, there is the other Vaishnava way which swings between yearning and despairardent seeking and the pangs of viraha. It is that you seem to be following and I do not deny that one can arrive by that as one can by almost any way, if followed sincerely. But then those who follow it find a rasa even in viraha, in the absence and the caprice of the Divine Lover. Some of them have sung that they have followed after him all their lives but always he has slipped away from their vision and even in that they find a rasa and never cease following. But you find no rasa in it. So you cannot expect me to approve of that for you. Follow after Krishna by all means, but follow with the determination to arrive: dont do it with the expectation of failure or admit any possibility of breaking off half-way.
  ***

3.2.1 - Food, #Letters On Yoga IV, #Sri Aurobindo, #Integral Yoga
  The vital of most people is of this kind [too weak to restrain its desires for pleasure], except in a few who are indifferent to sex or to food desire or to both, by temperament and nature. There is always something in the lower vital which is recalcitrant and takes a pleasure in following its own way and disregarding the higher dictate, and there are always external forces hostile to the Yoga which try to take advantage of its obscurities, revolts and weaknesses. Neither neglect this turn of the nature (food desire) nor make too much of it; it has to be dealt with, purified and mastered but without giving it too much importance. There are two ways of conquering itone of detachment, learning to regard food as only a physical necessity and the vital satisfaction of the stomach and the palate as a thing of little or no importance; the other is to be able to take without insistence or seeking any food given and to find in it (whether pronounced good or bad by others) the equal rasa, not of the food for its own sake, but of the universal Ananda. But the latter comes usually only when one can live in the cosmic consciousness or rise into the Overmind and for this you are not yet ready. So the first way is the one you should keep in view.
  ***
  --
  As regards the progress you have made, I do not think you have given us an exaggerated impression of it; it seems to be quite real. It is no part of this Yoga to suppress taste, rasa altogether; so, if you found the ice-cream pleasant, that does not by itself invalidate the completeness of your progress. What is to be got rid of is vital desire and attachment, the greed of food, being overjoyed at getting the food you like, sorry and discontented when you do not have it, giving an undue importance to it, etc. If one wants to be a Yogin, it will not do to be like the ordinary man to whom food, sex and gain are nine-tenths of life or even to keep in any of these things the reactions to which vital human nature is prone. Equality is here the test as in so many other matters. If you can take the Ashram food with satisfaction or at least without dissatisfaction, that is already a sign that attachment and predilection are losing their old place in the nature.
  ***
  --
  As to the question of practising to take all kinds of food with equal rasa, it is not necessary to practise nor does it really come by practice. One has to acquire equality within in the consciousness and as this equality grows one can extend it or apply it to the various fields of the activity of the consciousness.
  ***

3.2.4 - Sex, #Letters On Yoga IV, #Sri Aurobindo, #Integral Yoga
  It is not a question of fear1it is a question of choosing between the Divine Peace and Ananda and the degraded pleasure of sex, between the Divine and the attraction of women. Food has to be taken to support the body but sex-satisfaction is not a necessity. Even for the rasa of food it can only be harmonised with the spiritual condition if all greed of food and desire of the palate disappears. Intellectual or aesthetic delight can also be an obstacle to the spiritual perfection if there is attachment to it, although it is much nearer to the spiritual than a gross untransformed bodily appetite; in fact in order to become part of the spiritual consciousness the intellectual and aesthetic delight has also to change and become something higher. But all things that have a rasa cannot be kept. There is a rasa in hurting and killing others, the sadistic delight, there is a rasa in torturing oneself, the masochistic delightmodern psychology is full of these two. Merely having a rasa is not a sufficient reason for keeping things as part of the spiritual life.
  ***
  --
  For the taste, when it existssome eliminate it by rejection and the calling down of peace and purity into the cells, others by substituting for the lower rasa the higher Anandasome like the Vaishnavas try to sublimate it by the madhura bhva taking up the sexual rasa from the sex-centre into the heart and turning it there towards the Divine, but the last is a rather risky method.
  ***

34.06 - Hymn to Sindhu, #Collected Works of Nolini Kanta Gupta - Vol 08, #unset, #Zen
   The first on your way you joined with is Trishtama and then with Susartu and rasa and Shwetya.
   O Sindhu, with Kubha you joined Gomati, and Krumu with Mehatnu: with all of them you move forward in one single movement.

36.07 - An Introduction To The Vedas, #Collected Works of Nolini Kanta Gupta - Vol 08, #unset, #Zen
   So far we have dealt with the Western approach to the Veda. Now let us turn our attention to the Indian view of the Veda. Acharya Sayana is the foremost scholar to whom the current Indian view owes its origin. He made a commentary on the whole of the Rigveda. But for his commentary it is doubtful if the European scholars would have succeeded in deriving any meaning from the abstruse, old and unfamiliar language of this scripture. As a matter of fact, the commentaries made by the Western scholars are principally based on his commentary. However, he did not consider the Vedic seers to be mere children or men at their primitive stage. Nor did he lay any stress on the explanation based on the sights and scenes of physical Nature. He observed and understood the Veda from the standpoint of sacrificial rites. He endeavoured to discover from the Veda the nature of sacrifice and a full account of the ceremonies to be performed in a sacrifice. The performance of sacrifice is a part of the spiritual life and its aim is to bring about soul progress and welfare here and hereafter. The gods dwell in a world known as Heaven. The forces of Nature are backed by their powers. A particular god presides over a particular force of Nature. All the gods are combined in the Universal God, and all the gods are only the different manifestations of the same Universal God. It is the power of the gods which endows men with power, and men too on their part propitiate the gods through their sacrifices offered to them. The gods are satisfied with and nourished by men's humble obeisance and their offering of Soma rasa, while men in their turn attain to prosperity in this world and secure a better status in the other world.
   Indians, who have received modern education, have been trying to synthesise the commentaries of the Western and Eastern scholars on the Veda. Their object is to portray the picture of a society not quite primitive but somewhat primary, by uniting the interpretations based on natural phenomena and sacrificial rites.

3 - Commentaries and Annotated Translations, #Hymns to the Mystic Fire, #Sri Aurobindo, #Integral Yoga
  Yad m gan.asya rasanam ajgah, Sucir ankte suchibhir
  gobhir Agnih,
  --
  yad m gan.asya rasanam ajgah, Agni has put forth his collected
  power for an uplifted and perfect activity, rusad adarsi pajo, -
  --
  in the gan.asya rasanam, but while the idea in the second verse
  is that of their indistinctive mass, here the gan.ah or host of

4.06 - Purification-the Lower Mentality, #The Synthesis Of Yoga, #Sri Aurobindo, #Integral Yoga
  Each instrument has, it has been said, a proper and legitimate action and also a deformation or wrong principle of its proper action. The proper action of the psychic Prana is, pure possession and enjoyment, bhoga. To enjoy thought, will, action, dynamic impulse, result of action, emotion, sense, sensation, to enjoy too by their means objects, persons, life, the world, is the activity for which this Prana gives us a psycho-physical basis. A really perfect enjoyment of existence can only come when what we enjoy is not the world in itself or for itself, but God in the world, when it is not things, but the Ananda of the spirit in things that forms the real, essential object of our enjoying and things only as form and symbol of the spirit, waves of the ocean of Ananda. But this Ananda can only come at all when we can get at and reflect in our members the hidden spiritual being, and its fullness can only be had when we climb to the supramental ranges. Meanwhile there is a just and permissible, a quite legitimate human enjoyment of these things, which is, to speak in the language of Indian psychology, predominantly sattwic in its nature. It is an enlightened enjoyment principally by the perceptive, aesthetic and emotive mind, secondarily only by the sensational nervous and physical being, but all subject to the clear government of the Buddhi, to a right reason, a right will, a right reception of the life impacts, a right order, a right feeling of the truth, law, ideal sense, beauty, use of things. The mind gets the pure taste of enjoyment of them, rasa, and rejects whatever is perturbed, troubled and perverse. Into this acceptance of the clear and limpid rasa, the psychic Prana has to bring in the full sense of life and the occupying enjoyment by the whole being, bhoga, without which the acceptance and possession by the mind, rasagrahana, would not be concrete enough, would be too tenuous to satisfy altogether the embodied soul. This contri bution is its proper function.
  The deformation which enters in and prevents the purity, is a form of vital craving; the grand deformation which the psychic Prana contri butes to our being, is desire. The root of desire is the vital craving to seize upon that which we feel we have not, it is the limited life's instinct for possession and satisfaction. It creates the sense of want, -- first the simpler vital craving of hunger, thirst, lust, then these psychical hungers, thirsts, lusts of the mind which are a much greater and more instant and pervading affliction of our being, the hunger which is infinite because it is the hunger of an infinite being, the thirst which is only temporarily lulled by satisfaction, but is in its nature insatiable. The psychic Prana invades the sensational mind and brings into it the unquiet thirst of sensations, invades the dynamic mind with the lust of control, having, domination, success, fulfilment of every impulse, fills the emotional mind with the desire for the satisfaction of liking and disliking, for the wreaking of love and hate, brings the shrinkings and panics of fear and the strainings and disappointments of hope, imposes the tortures of grief and the brief fevers and excitements of joy, makes the intelligence and intelligent will the accomplices of all these things and turns them in their own kind into deformed and lame instruments, the will into a will of craving and the intelligence into a partial, a stumbling and an eager pursuer of limited, impatient, militant prejudgment and opinion. Desire is the root of all sorrow, disappointment, affliction, for though it has a feverish joy of pursuit and satisfaction, yet because it is always a straining of the being, it carries into its pursuit and its getting a labour, hunger, struggle, a rapid subjection to fatigue, a sense of limitation, dissatisfaction and early disappointment with all its gains, a ceaseless morbid stimulation, trouble, disquiet, asanti. To get rid of desire is the one firm indispensable purification of the psychical Prana, -- for so we can replace the soul of desire with its pervading immiscence in all our instruments by a mental soul of calm delight and its clear and limpid possession of ourselves and world and Nature which is the crystal basis of the mental life and its perfection.

4.12 - The Way of Equality, #The Synthesis Of Yoga, #Sri Aurobindo, #Integral Yoga
  To see how this positive method works, we may note very briefly its principle in the three great powers of knowledge, will and feeling. All emotion, feeling, sensation is a way of the soul meeting and putting effective values on the manifestations of the Self in nature. But what the self feels is a universal delight, Ananda. The soul in the lower mind on the contrary gives it, as we have seen, three varying values of pain, pleasure and neutral indifference, which tone by gradations of less and more into each other, and this gradation depends on the power of the individualised consciousness to meet, sense, assimilate, equate, master all that comes in oil it from all of the greater self which it has by separative individualisation put outside of it and made as if not-self to its experience. But all the time, because of the greater Self within us, there is a secret soul which takes delight in all these things and draws strength from and grows by all that touches it, profits as much by adverse as by favourable experience. This can make itself felt by the outer desire soul, and that in fact is why we have a delight in existing and can even take a certain kind of pleasure in struggle, suffering and the harsher colours of existence. But to get the universal Ananda all our instruments must learn to take not any partial or perverse, but the essential joy of all things. In all things there is a principle of Ananda, which the understanding can seize on and the aesthesis feel as the taste of delight in them, their rasa; but ordinarily they put upon them instead arbitrary, unequal and contrary values: they have to be led to perceive things in the light of the spirit and to transform these provisional values into the real, the equal and essential, the spiritual rasa. The life-principle is there to give this seizing of the principle of delight, rasa-grahana, the form of a strong possessing enjoyment, bhoga, which makes the whole lifebeing vibrate with it and accept and rejoice in it; but ordinarily it is not, owing to desire, equal to its task, but turns it into the three lower forms, -- pain and pleasure, sukha-bhoga duhkha-bhoga, and that rejection of both which we call insensibility or indifference. The Prana or vital being has to be liberated from desire and its inequalities and to accept and turn into pure enjoyment the rasa which the understanding and aesthesis perceive. Then there is no farther obstacle in the instruments to the third step by which all is changed into the full and pure ecstasy of the spiritual Ananda.
  In the matter of knowledge, there are again three reactions of the mind to things, ignorance, error and true knowledge. The positive equality will accept all three of them to start with as movements of a self-manifestation which evolves out of ignorance through the partial or distorted knowledge which is the cause of error to true knowledge. It will deal with the ignorance of the mind, as what it is psychologically, a clouded, veiled or wrapped-up state of the substance of consciousness in which the knowledge of the all-knowing Self is hidden as if in a dark sheath; it will dwell on it by the mind and by the aid of related truths already known, by the intelligence or by an intuitive concentration deliver the knowledge out of the veil of the ignorance. It will not attach itself only to the known or try to force all into its little frame, but will dwell on the known and the unknown with an equal mind open to all possibility. So too it will deal with error; it will accept the tangled skein of truth and error, but attach itself to no opinion, rather seeking for the element of truth behind all opinions, the knowledge concealed within the error, -- for all error is a disfiguration of some misunderstood fragments of truth and draws its vitality from that and not from its misapprehension; it will accept, but not limit itself even by ascertained truths, but will always be ready for new knowledge and seek for a more and more integral, a more and more extended, reconciling, unifying wisdom. This can only come in its fullness by rising to the ideal supermind, and therefore the equal seeker of truth will not be attached to the intellect and its workings or think that all ends there, but be prepared to rise beyond, accepting each stage of ascent and the contri butions of each power of his being, but only to lift them into a higher truth. He must accept everything, but cling to nothing, be repelled by nothing however imperfect or however subversive of fixed notions, but also allow nothing to lay hold on him to the detriment of the free working of the Truth-Spirit. This equality of the intelligence is an essential condition for rising to the higher supramental and spiritual knowledge.

4.20 - The Intuitive Mind, #The Synthesis Of Yoga, #Sri Aurobindo, #Integral Yoga
  The first result will not be the creation of the true supermind, but the organisation of a predominantly or even a completely intuitive mentality sufficiently developed to take the place of the ordinary mentality and of the logical reasoning intellect of the developed human being. The most prominent change will be the transmutation of the thought heightened and filled by that substance of concentrated light, concentrated power, concentrated joy of the light and the power and that direct accuracy which are the marks of a true intuitive thinking. It is not only primary suggestions or rapid conclusions that this mind will give, but it will conduct too with the same light, power, joy of sureness and direct spontaneous seeing of the truth the connecting and developing operations now conducted by the intellectual reason. The will also will be changed into this intuitive character, proceed directly with light and power to the thing to be done, kartavyam karma, and dispose with a rapid sight of possibilities and actualities the combinations necessary to its action and its purpose. The feelings also will be intuitive, seizing upon right relations, acting with a new light and power and a glad sureness, retaining only right and spontaneous desires and emotions, so long as these things endure, and, when they pass away, replacing them by a luminous and spontaneous love and an Ananda that knows and seizes at once on the right rasa of its objects. All the other mental movements will be similarly enlightened and even too the pranic and sense movements and the consciousness of the body. And usually there will be some development also of the psychic faculties, powers and perceptions of the inner mind and its senses not dependent on the outer sense and the reason. The intuitive mentality will be not only a stronger and a more luminous thing, but usually capable of a much more extensive operation than the ordinary mind of the same man before this development of the Yoga.
  This intuitive mentality, if it could be made perfect in its nature, unmixed with any inferior element and yet unconscious of its own limitations and of the greatness of the thing beyond it, might form another definite status and halting place like the instinctive mind of the animal or the reasoning mind of man. But the intuitive mentality cannot be made abidingly perfect and self-sufficient except by the opening power of the supermind above it and that at once reveals its limitations and makes of it a secondary action transitional between the intellectual mind and the true supramental nature. The intuitive mentality is still mind and notgnosis. It is indeed a light from the supermind, but modified and diminished by the stuff of mind in which it works, and stuff of mind means always a basis of ignorance. The intuitive mind is not yet the wide sunlight of truth, but a constant play of flashes of it keeping lighted up a basic state of ignorance or of half-knowledge and indirect knowledge. As long as it is imperfect, it is invaded by a mixture of ignorant mentality which crosses its truth with a strain of error. After it has acquired a larger native action more free from this intermixture, even then so long as the stuff of mind in which it works is capable of the old intellectual or lower mental habit, it is subject to accretion of error, to clouding, to many kinds of relapse. Moreover, the individual mind does not live alone and to itself but in the general mind and all that it has rejected is discharged into the general mind atmosphere around it and tends to return upon and invade it with the old suggestions and many promptings of the old mental character. The intuitive mind, growing or grown, has therefore to be constantly on guard against invasion and accretion, on the watch to reject and eliminate immixtures, busy intuitivising more and still more the whole stuff of mind, and this can only end by itself being enlightened, transformed, lifted up into the full light of the supramental being.

4.24 - The supramental Sense, #The Synthesis Of Yoga, #Sri Aurobindo, #Integral Yoga
  There is at the same time an opening of new powers in all the senses, an extension of range, a stretching out of the physical consciousness to an undreamed capacity. The supramental transformation extends too the physical consciousness far beyond the limits of the body and enables it to receive with a perfect concreteness the physical contact of things at a distance. And the physical organs become capable of serving as channels for the psychic and other senses so that we can see with the physical waking eye what is ordinarily revealed only in the abnormal states and to the psychical vision, hearing or other sense knowledge. It is the spirit or the inner soul that sees and senses, but the body and its powers are themselves spiritualised and share directly in the experience. The entire material sensation is supramentalised and it becomes aware, directly and with a physical participation and, finally, a unity with the subtler instrumentation, of forces and movements and the physical, vital, emotional, mental vibrations of things and beings and feels them all not only spiritually or mentally but physically in the self and as movements of the one self in these many bodies. The wall that the limitations of the body and its senses have built around us is abolished even in the body and the senses and there is in its place the free communication of the eternal oneness. All sense and sensation becomes full of the divine light, the divine power and intensity of experience, a divine joy, the delight of the Brahman. And even that which is now to us discordant and jars on the senses takes its place in the universal concord of the universal movement, reveals its rasa, meaning, design and, by delight in its intention in the divine consciousness and its manifestation of its law and Dharma, its harmony with the total self, its place in the manifestation of the divine being, becomes beautiful and happy to the soul experience. All sensation becomes Ananda.
  The embodied mind in us is ordinarily aware only through the physical organs and only of their objects and of subjective experiences which seem to start from the physical experience and to take them alone, however remotely, for their foundation and mould of construction. All the rest, all that is not consistent with or part of or verified by the physical data, seems to it rather imagination than reality and it is only in abnormal states that it opens to other kinds of conscious experience. But in fact there are immense ranges behind of which we could be aware if we opened the doors of our inner being. These ranges are there already in action and known to a subliminal self in us, and much even of our surface consciousness is directly projected from them and without our knowing it influences our subjective experience of things. There is a range of independent vital or pranic experiences behind, subliminal to and other than the surface action of the vitalised physical consciousness. And when this opens itself or acts in any way, there are made manifest to the waking mind the phenomena of a vital consciousness, a vital intuition, a vital sense not dependent on the body and its instruments, although it may use them as a secondary medium and a recorder. It is possible to open completely this range and, when we do so, we find that its operation is that of the conscious life force individualised in us contacting the universal life force and its operations in things, happenings and persons. The mind becomes aware of the life consciousness in all things, responds to it through our life consciousness with an immediate directness not limited by the ordinary communication through the body and its organs, records its intuitions, becomes capable of experiencing existence as a translation of the universal Life or Prana. The field of which the vital consciousness and the vital sense are primarily aware is not that of forms but, directly, that of forces: its world is a. world of the play of energies, and form and event are sensed only secondarily as a result and embodiment of the energies. The mind working through the physical senses can only construct a view and knowledge of this nature as an idea in the intelligence, but it cannot go beyond the physical translation of the energies, and it has therefore no real or direct experience of the true nature of life, no actual realisation of the life force and the life spirit. It is by opening this other level or depth of experience within and by admission to the vital consciousness and vital sense that the mind can get the true and direct experience. Still, even then, so long as it is on the mental level, the experience is limited by the vital terms and their mental renderings and there is an obscurity even in this greatened sense and knowledge. The supramental transformation supravitalises the vital, reveals it as a dynamics of the spirit, makes a complete opening and a true revelation of all the spiritual reality behind and within the life force and the life spirit and of all its spiritual as well as its mental and purely vital truth and significance.

5 - The Phenomenology of the Spirit in Fairytales, #The Archetypes and the Collective Unconscious, #Carl Jung, #Psychology
  che from outside and that it is born a tabula rasa is responsible
  for the erroneous belief that under normal circumstances the in-

6.0 - Conscious, Unconscious, and Individuation, #The Archetypes and the Collective Unconscious, #Carl Jung, #Psychology
  152; neonate's not a tabula rasa,
  66; nonconscious, 152; not homo-

9.99 - Glossary, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
     rasaddar: Supplier of provisions.
    Rasmani, Rani: A wealthy woman of the sudra caste, the foundress of the Kali temple at Dakshineswar.

ENNEAD 03.07 - Of Time and Eternity., #Plotinus - Complete Works Vol 03, #Plotinus, #Christianity
  235 Locke's famous "tabula rasa."
  236 Substance, Quantity, Quality, Relation, When, Where, Action-and-Reaction, to Have, and Location. Aristotle's treatment thereof in his Categories, and Metaphysics.

Jaap Sahib Text (Guru Gobind Singh), #Jaap Sahib, #unset, #Zen
  jatar tatar birajhi avdhoot roop rasal. (79)
  Thou art the Supreme Purush, an Eternal Entity in the beginning and free from birth.

r1912 01 13, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   The last record covered the period from Dec 12th. 1911 to January 11th 1912.1 Liberated from anticipation, it was a pure record of fact and experience, but its correctness was sometimes vitiated by a misvaluation of the significance of the fact through over-appreciation or depreciation. It is intended that the present record should be free from this defect.Ananda has very fully established itself in the field of the indriyas. All sights, sounds, smells, tastes, touches, movements, actions, are now pleasurable or give pleasure; all carry with them the rasagrahana or appreciation of the beauty of the gunas which they are in expression, the joy of the vijnana in them (the basis of chidghana ananda), the joy of the heart in them (the basis of premananda), the joy of the body in them (the basis of the kamananda), the joy of the mind as indriya in them (the basis of the ahaituka ananda). All this joy is of the nature of bhoga from which the ananda is beginning to emerge. Joy of the spirit in the Ekam which expresses itself (the basis of shuddhananda, chidananda & sadananda together making kaivalyananda) is as yet obscure & involved in the lower anandas. Since yesterday, the ahaituka kamananda & today the sahaituka tivrananda are manifesting. Yesterday also the discomfort of heat & cold and pain were again exiled, though not entirely. Experiments made with the body show that below a certain intensity all pain now gives ananda of bhoga at the time of the feeling of pain, & pain beyond that degree brings it after the immediate acuteness has passed. Sometimes sahaituka raudrananda results. As I write ahaituka tivrananda, raudrananda & vaidyutananda (negative) are recommencing; also vishayananda sahaituka and ahaituka, begun yesterday, are becoming more definite. The bhoga of all these forms is already established. The greatest difficulty is found in the prolonged contact of intense heat with a sensitive part of the body, eg. the heated stone of the floor under the midday sun. The intensity of the heat to the sensation can be increased, lessened or inhibited by Will; the prolonged contact tends to remove the element of suffering unless the Will is made to increase or maintain it, or unless the stream of Will (chit-shakti) is kept tamasic suffering weakly the contact instead of meeting it. This daurbalyam has been created in order to bring about certain forms of intense ananda, chiefly viparita. It is possible, as is now clearly seen, to render it a great element of strong positive (not viparita) ananda, but in that case the daurbalyam must be merely a form of balam, in other words, it must be supported by dhairyam and anandadharanashakti.Ananda is now being extended to events. Even depression and sinking are met and claimed by a stream of ananda, and the place, necessity & delight of amangalam, its true mangalamaya nature is being impressed by the jnanam not only on the buddhi but on the sanskaras of the manas, chitta, prana and material body.Pure varna manifested this morning in a form, (dense crude), so that all the material and possible variation of material for the crude forms is, in a way, ready and regularised; only the perfect crude forms have to be subjected to the same process. Other siddhis are in comparative abeyance awaiting the movement of the ananda.
   ***

r1912 01 22, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Lipi indicating the death of Binod Gupta at an early date, fixed tentatively either on or by the 25 of the month. No verification of prediction about varta, money from expected source arriving by the 22d. Rati of rasagrahana established but with viparita srotas of virakti impairing its fullness especially with regard to events. Sleep for 6 hours(?).
   ***

r1912 01 27, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   The chief struggle is over the third & fourth chatusthayas where the annamaya obstruction has concentrated the best of its strength. Ananda has risen from the ratha of rasagrahana to the ratna of bhoga with a frequent emergence of rtha, which is especially strong in the sahaituka vishayabhoga & tivra & is spreading to the kama etc. Ananda, even ratha of the kamananda, is beginning definitely to emerge. The other bhogas (chidghana, prema, ahaituka, shuddha) are involved in the sharira and emerge out of it. It is here that the contradictions of ananda are occasionally strong. Ratha of the bhoga of events, conditions etc is prevailing. The contradictions are being overborne; pain & discomfort of heat & cold, contact etc are being dominated. The other field of struggle is the arogya; the sore throat was ejected after a struggle by siddhi. The rogas still capable of touching the surface of the system attack frequently, but cannot hold except for short intervals, coming, retiring, succeeding, failing without cause. The disturbances of assimilation are yielding perceptibly to the Arogya; when they come, they cannot hold or make only a brief & seldom violent visit. Three full days of avisrishti were attended with perfect ease and the remaining one and a half with only a vague tendency to disturbance. Two nominal visrishtis occurred on the fifth & sixth days, but with only parthiva pressure, no tejasic, vayavic or jalamaya. Only at the end of the sixth day (this morning) somewhat acute tejahkshobha produced a copious visrishti of the old type. The system, however, dismissed the kshobha in about fifteen minutes and it went leaving behind no acute results. The central arogya still advances slowly. Sarvasaundaryam is not yet continuously permanent.
   Jnanam increases in force & exactness. The style of the vak rises to the inspired illuminative and is effective at its lowest level. The thought perception is now almost rid of false vijnanam in its material, but not in the arrangement of its material. Nevertheless accuracy of time is growing, accuracy of place has begun, accuracy of circumstance, chiefly, is defectiveall this in the trikaldrishti. Prakamya & vyapti are strong and more continuous, less chequered by error. The internal motions of animals & to a less extent of men, the forces working on them, the ananda & tapas from above, even the explicit thoughts are being more and more observed and are usually justified by the attendant or subsequent action. The siddhis of power work well & perfectly, in harmony with the trikaldrishti, not so well when divorced from it. The physical tone of the system is recovering its elasticity & with it elementary utthapana and bhautasiddhi are reviving. Samadhi improves steadily, but is much hampered by sleep which has revived its force during these last three or four days.

r1912 07 04, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Mental bhukti is now complete (with the exception of adverse events where there is more of samata than bhukti) & is invariable in rasagrahanam, usual in bhoga and, nowadays, occasional as ananda. But the shuddha ananda attended by the realisation of universal saundaryam often fails temporarily, owing to the loss of hold on the inner man and the dwelling on the physical appearance instead,when this happens, and it happens only with regard to human faces, there is a fall in the general tone of the bhukti which tends to lose hold of the second & third intensities of bhoga (ratha & ratna) and descend to the rati or lowest intensity or else even to go back from bhoga to mere rasagrahana. But the lapse is never long sustained.
   Physical bhukti of the indriyas is well established except for the occasional failure of chakshush ananda in the movement above described and a failure in certain tastes of the palate,the latter exceptional. Sparshananda is still confined mainly to the low state of the rati, though well capable of the higher states, and is hampered by the persistence of discomfort by prolonged exposure to excessive heat, exposure to cold above a certain degree in the state of sleep or after sleep when the nervous vitality is lowered, the intenser touches of pain or poisonous irritation. Thirst is being once more expelled, but hunger is again active. The five physical anandas occur occasionally sahaituka, but the ahaituka activities have for the time being been suspended along with progress in the other physical siddhis. Sleep is strong, also adhogati of weariness, denial of anima, refusal of the saundaryam, persistence of the stray survivals of the phantasm of illness-symptoms. These seem, however, to be losing all hold except on the stomach & central functions, where they are attempting to resist final eviction (fullness, tejasic unease, touches of nausea) or to prevent fixity of siddhi. Visrishti is stronger than it has been for a long time past. Utthapana of neck maintained for about 10 or 15 minutes, finally overcome by pressure of adhogati.

r1912 12 08, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   The whole morning was given up to a growth of the first two chatusthayas. The premananda established yesterday with regard to persons & objects, was extended to events even the most adverse and thus establishes completely the positive samata, rasagrahanam, bhoga, ananda. Individual contradictions do not disturb the established force of samata. It is noticeable also that tamasic tyaga fails to establish itself and the pravritti persists in spite of continuous non-result or adverse result. The formula of tejo balam mahattvam pravrittih is fulfilled. At first the tejas was merely in the dhairya with occasional pravritti; then it extended itself to kshiprata & ugrata and established itself, today, in pravritti. Moreover, the second general formula of the shakti chatusthaya,adinata kshiprata sthairyam ishwarabhava is establishing itself and along with it the Chandibhava. But the continued successful resistance to the continuous action & progress of the powers prevents the ishwarabhava & kshiprata from perfecting themselves; for these depend on sarvakarmasamarthya & sraddha swashaktyam. A working sraddha for the future is established, though the old questioning still lingers; but it is not a present & dominating faith in the immediate power or the early fulfilment.
   The action of the powers was reduced to their lowest limit all the morning; both continuity & generality were denied, only the crudest forms or isolated successes allowed & old imperfections attended the majority of the manifestations. The trikaldrishti has now, (3.45 pm), reestablished its activity, but the power still waits. Fatigue was thrown off in the morning, & 3 hours continuously then, 2 hours now were done, but some shadow of the fatigue hangs over the karmadeha & seizes sometimes on the nervous system & then on the muscular instrument. It was perceived, in the morning, that all the contradictions of the physical siddhi, except the saundaryam, belong now to the karmadeha or, more often, to the personal environment, not to the body itself. From there they are reimposed on the body.

r1912 12 20, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   The sukshmadrishti has for the last two days been progressing. The gandhadrishti, which was always more pronounced than the others, has now overcome its two limitations, restriction of range to the smells most common in the immediate material experience and reliance on the material adhar; it is now admitting perfumes & other scents not within the physical range or usual experience. The rasadrishti, which was always prevented from manifesting till lately & even then was confined to the gandha rasa, the touch on the palate of things smelt, has suddenly rushed to the front and stands on a level with the gandha except in frequency of the experience & permanence; but intensity & materiality are perfect & the range is not limited as it includes the sweet, the bitter & the pungent as well as nondescript tastes. Sparsha is still confined to the habitual touches, rain, wind, insects, heat of the sukshma sun, fire, etc & the result rather than the actuality of certain subtle touches. In samadhi however sparsha is very vivid & the physical sensation remains after waking. The more developed touches (human) are only felt in the waking state through the subtle nervous system, but they are there often acute. Such touches as reach the sthula body without this veil increase in frequency & intensity. Finally, shabda is now beginning to disengage itself finally from the adhara. This sense which was the most acute & earliest to develop, is now the latest (rupa excepted) to perfect itself & the clear sounds of the jail do not repeat themselves. Finally, rupa is still confined to mere image, pratimurti, & does not give the murti or actual form of which there were some instances in the jail & afterwards, but none here.
   The health is still attacked. Last night there was a violent and unprecedentedly obstinate attack of the pain in the breast which used sometimes to occur when there was suppressed indigestion, but this time it was seen to come from outside & to be forced on the body. Intolerable at first, it was finally attacked and partly possessed by the ananda. It persisted in a dull form throughout the day, but was mostly cast out by the Will in the evening.. An attempt was also made to revive the ailments of cold & a crude appearance of tendency to phlegm in the nose was for some minutes materialised. All these, however, were failures and only at the centre & in the stomach was any real effect produced; in the latter, moreover, it was foreign and not native to the system. A very slight visrishti allowed for nominal relief at 8.30 pm. The twelve hours limit was maintained. Sleep 6 hours; but its attack was more oppressive than it should be.

r1913 01 10, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   The vani, script, lipi and thought are now being used normally & habitually for the life-purposes. The trikaldrishti and prakamyavyapti, alone among the instruments of vijnanamaya knowledge, remain to be drawn into this normal movement. Apramattata is no longer necessary for the ordinary movement of the trikaldrishti, but is still necessary for the trikaldrishti of exact time, place and circumstance; in the prakamya-vyapti it is only necessary in order to prevent errors as to the source of the vyapti or the exact relations of the things perceived. This necessity will today be removed. The action of the power is beginning to be normal, although as yet very far from uniformly successful. The clear shabdadrishti, free from adhara, has now definitely begun. The persistent doubt suggested as to the sukshmatwa of the gandhadrishti has now been finally put at rest, for one smell, that of cheese, impossible of material occurrence here has been repeated strongly & persistently in order to dispel the hesitation of the intellect. rasadrishti is also extending its field, although not yet as vigorous as the gandhadrishti.
   The necessity of apramattata has been removed from all the parts of the vijnanasiddhi except rupadrishti and samadhi; the rest will be accomplished henceforth by the unaided direct action of the Para Shakti. Rupa developed to a certain extent, but still fails to overcome its one remaining difficulty. Swapnasamadhi was absent; the dreams, though clear & consecutive, slightly confused by the mixing of historical names (not thought of for years past,) and one or two present associations with the actual chain of incidents. The present ego was also prominent in the central figure.

r1913 04 12, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   After the note on the 1 the diary was discontinued owing to the uncertainties in which the siddhi was still enveloped. All that has happened in the last few days confirms the view then taken; the stage is one of partial and combated efficiency. Yet there are proofs of advance. Eg On the 8 night a swelling on the ankle & foot began, in the morning the whole of the left foot was attacked & it did not seem as if a speedy cure were possible. It was, however, indicated in the thought that it was merely an effect of impure rasa and not the disease common in these parts,1 would show no improvement during the day, would begin to go on the morrow and practically be got rid of the day after, but the remnants would be left. This prediction was fulfilled to the letter. Moreover, the swelling healed exactly as the will was applied, the part most insisted on improving first, the others more slowly.
   The great difficulty is the resistance in the physical akasha, first to the effective activity and, secondly, to the unmixed activity of the vijnana. If the mixture of the old intellectual activity can be got rid of, the effective vijnanamaya activity can be assured more rapidly. It is towards this end that the Power is now working. The immediate ends proposed are Brahman, Ananda external and internal, Arogya, effective Image in waking state & sleep and effective Trikaldrishti. The whole activity of the Yoga is being reconstituted. The rupas of all kinds appear though fitfully & with insufficient stability & frequency, in the waking state, & insufficient stability & continuity in sleep. The Brahmadrishti is now complete & less frequently forgotten & never lost. Kamananda, which had almost faded out, is reviving. The resistance in all directions still continues.

r1913 11 12, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   The samata is now subjectively perfected except for vague occasional touches, but stronger in titiksha, udasinata, & nati than in rasah, pritih and ananda-bhoga. The rasah is there, however, & will today be well-established along with the pritih. It is indeed already established, but has to be rendered immune from adverse touches.
   Bhukti

r1913 11 13, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   In the physical siddhi, shuddhi of the body is almost complete. It consists of three parts, rasashuddhi, pranasuddhi, bhutasuddhi. The rasas are on the verge of complete purity; the panchaprnas are withdrawing from their separateness into the state of differentiated activities of the mukhya prana,that is their purity; but the movement is not yet completed. The pancha bhutas are also falling into line as movements & states of the akasha; but this last movement is still obstructed seriously. Its imperfection is the excuse for the continuance of roga in the processes of assimilation, as the panchaprana cannot work perfectly in the present state of the panchabhuta; that imperfection of the pranas is again the cause of excessive & defective action of the rasas, causing slight eruption on the skin & indeterminate tendencies of cough & cold. The two last are, however, on the verge of destruction.
   rasashuddhi panchaprana panchabhuta
   Amrita

r1913 11 14, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   The rasa & prana are now shuddha, though not siddha; the bhutas are however passing through a period of violent disturbance, marked chiefly by excess of tejas with a tendency of reaction from tejas to excessive vayu.
   rasa Prana Bhuta
   Third Ch.

r1913 11 18, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   The positive samata of the sight is established in rasagrahana and bhoga of the bhukti; the ananda varies. Taste & sight are now well established and touch in all but strong painful touches or touches of persistent discomfort. The Bhoga of the ear is not yet perfect. Smell is well-established although still liable to be taken by surprise by the old sanskara. Ananda of the senses has now to develop perfectly. Sensation has also to perfect bhukti
   The gunas of daya, naishturyam & krauryam are now well-developed; they have yet to be harmonised. The Pashu, Pishacha, Pramatha, Rakshasa have all now taken their seat; they have to be harmonised & subjected to the Deva-Asura who will give them the bali.

r1913 11 24, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   The record between 11th & 23 Nov. entered on separate sheets. The record was discontinued after the 20th September,1 as often before, because it was found that the habit of miscalculation still persisted, temporary success being mistaken for final fixity etc. None of the siddhis are yet finally perfect. Even the first which is nearest to absolute finality has been disturbed yesterday & has not yet recovered its balance. It is firm in the mass, but not on the surface of the mentality. In the second a temporary perfection, deficient only in faith, abhayam, ishwarabhava, was broken, it is indicated, in order that the dasatya & tapatya buddhi might be combined, taking the place of the old alternation between passive and udasina dasya-buddhi and active egoistic tapas; the combination represents the right Mahakali tapas. As a result the Maheshwari pratistha is more covered than before, & the relapse from rajasic excitement to udasina shanti is no longer entirely permitted. Faith in the rapidity of the Yogasiddhi and in the adeshasiddhi has been shaken by yesterdays movement; even the faith in the Yogasiddhi was temporarily tarnished, though not entirely suspended. The Akasharupa after a half-successful or initially successful attempt to recover its former activity, has fallen back into the crude, rudimentary & disorganised condition from which it was trying to emerge. Lipi is obstructed and only exceptionally legible, though generally intelligible to the perceptions by an imperfect legibility. The faculties of knowledge & power are once more in a state of confusion and the samadhi still unable to organise itself or manifest permanently its previous realisations. The fourth chatusthaya is still in the state of asiddhi. Saundaryabodha is once more obstructed, but rasa, priti & bhoga of the subjective Ananda in outward things seem to hold their own. Internal Ananda is superficially broken up, though still sound at the core.
   ***
  --
   Sarvasaundaryabodha struggles to reestablish itself, but is only partially successful. On the other hand there is complete rasagrahana &, except with regard to human faces, rasapriti & rasabhoga of physical vishayas. Sravana has been a little lowered in the surety & completeness of its bhoga, but not substantially.
   The Shakti is now streng thening the yuddhananda and parajayananda in the system, as it was through the insufficiency of this ananda that the collapse of these two days was effected. The Mahakali tapas is once more repossessing the system.

r1913 11 26, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Utthapana of the left arm (horizontal position) resumed & continued from 10-49 to 11-49, one hour, the adhogati asserting itself with some force, but much less than formerly, during the last ten minutes. Strong pain given to the system (burning in the eyelids by the flaming tip of a match, and muscular pain of indigestion in the breast & back) showed that the sparshas habitual[ly] causing pain can no longer entirely shut out ananda, even when they are very powerful, but can temporarily overpower them. In all cases there is rasagrahana, but not pritih or ananda. Pritih is only beginning. Kamananda is resuming its former maithuna intensity.
   An extension of the jnanam Brahma has brought into play a rich action of the telepathic trikaldrishti. Hitherto what was seen were the immediate forces of possibility & actuality in operation outside the living objects which act, pranad ejad, proceeding from elemental or other powers who people the universe; inside the living object were seen the mental states, feelings, impulses, tendencies, thoughts, nervous & physical states, proper to the conscious waking mind; now a fresh element enters with the clear perception of the dominant idea in the superconscious dream-mind (manomaya purusha), which dictates usually the ultimate action. Beyond this is the non-telepathic trikaldrishti which can alone perceive what is the unalterable eventuality actually destined. This perception is contained in the sleep mind of the manomaya purusha, where all beings know the past, present & future. The rest is a matter of range, arrangement & proper action of the knowledge. The perception is now goagram aswapeshasam.

r1913 12 01a, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   The whole day has been devoted to a struggle, attended by revived asiddhi & relapse into all the circumstances of mentality, to establish the organisation of the ritam in trikaldrishti, telepathy etc on the basis of entire Brahmabodha including especially the jnanam Brahma. The one positive result is the intensity of the Brahma bodha. Subjective ananda has ceased in the prema, except occasionally; the chidghana is assailed by obstructions which prevent the secure possession of its bhoga, & even in some habitual features of the ideal rasagrahana and priti.
   Utthapana of the right arm for half an hour without difficulty in the horizontal position, and after an interval of three minutes for another half hour against an increasing pressure of an-anima. Advantage was taken of the muscular stress to confirm the ananda ( rasa, priti & bhoga) of strong & insistent muscular pain.

r1913 12 23, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   rasadrishti is remanifesting combined usually with sparsha of the object, but as yet it is usually indistinct and insufficiently materialised. Shabda is also once more manifest, clear only in a few elementary sounds, strong but vague & remote in others, such as music, human voices etc. Neither has yet advanced beyond the stage arrived at long ago when these experiences were discontinued.
   rasa subsequently manifested great intensity and persistence in the bitter and bitter sour; the other tastes appear from time to time but without intensity or persistence, usually imperfectly materialised. Madhura is still involved in the sthula touches.
   The siddhi descended again to the intellectuality to mould the mental pratistha more entirely to the passive reception of the vijnanamaya movements. In these descents jnana tends to keep its force & accuracy, receptive telepathy persists and sraddha in the yogasiddhi along with a provisional faith in the karma, recently imposed on the intellect. But trikaldrishti proper is much interrupted, & faith in the rapidity of the siddhi tends to be diminished, impaired or to disappear. Power increases without attaining at any time to definite mastery. Akasharupa cannot advance, being overmastered by the obstruction. Lipi grows in effective fertility, utility & just interpretation and is more often legible & vivid than before, but has not made the full material conquest of the Akasha. Samadhi keeps its gains, but fluctuates in its unestablished features.

r1913 12 24, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   rasadrishti continues to develop. Many tastes manifest, mostly on the verge of sufficient materialisation, some just over it, a few depending on some material help and masquing behind an eatable object of quite different taste, eg sour behind pungent, or the memory of an eatable formerly eaten, either a little while ago or a few hours before or the last day. Sound quiescent since yesterday is again manifesting. The other drishtis are as yet stationary (touch) or imprisoned (satyarupa & hearing).
   As the result of the recent struggle correct trikaldrishti is beginning to manifest in the intellectual response to the veiled vijnana.

r1914 01 11, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   The vishayadrishtis are beginning slowly to regularise themselves. The one or two clear symbol shabdas (watch, flute, horn etc) are now coming more often & quite unmistakably sukshma. The rupa, apart from image, is confined to a few forms already familiar to the eye, rain etc. Touch has not yet passed beyond its former limits although it is more common & spontaneous; but taste & smell are increasing in force & frequency, especially in the sadharadrishti, eg the violent, intense, almost acridly intense & long continued taste in the mouth of the sweetness of sugar or molasses after the first puff of a cigarette, the smell amounting to nasikya aswada of the same sweet substance in the end of a cigarette thrown aside & smoking itself out, smell of strong perfumes etc on the basis of an unperfumed object or a slightly perfumed object at a great distance. The taste of madhura rasa is now well established.
   All ordinary discomfort has now been invested with the ananda. Only the strong touches of pain remain to be conquered. Here dull pain even if strong & persistent offers little difficulty; acute pain beyond a certain degree still exceeds the titiksha & therefore passes beyond the scale of ananda.

r1914 03 28, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Gandha & rasadrishti once more emerged, stronger & freer than before.
   Gandhas

r1914 07 18, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Vishayas occasionally active; rasagandha now active sometimes, but rarely in samadhi.
   ***

r1914 09 18, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Swapnasamadhi improves in organisation especially in coherence of the lipi. Yesterday rasa, the most infrequent experience, was three times repeated.
   ***

r1914 10 01, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Sukshmagandha, intense & varied, is again active, but infrequentlySparsha, as before, but slight & momentary in those contacts which suggest the human touch.There is occasionally sparsha & rasa in the mouth, but after smarana. Shabda comes only by mudra or by concentration. Drishti is not active.
   ***

r1914 10 05, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   The sthula touch has to be enforced, the sthula voice, the sthula taste. They have all reached the point when they can manifest the obstruction, strong & persistent, is yet artificial. Smell is already sthula; vision in certain forms, touch in certain contacts, taste in certain rasas.
   Aishwarya-Vashita is beginning to act again more swiftly against the resistance.

r1914 10 09, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   In the subjective Ananda it invades sometimes and suspends or momentarily impairs the indriya rasa, but this rapidly rights itself. The force of Asiddhi is in the mangalamangala & still more in siddhi-asiddhi. By leaning with its full force on these weak points it has restored depression and unfaith.
   Therefore the old method persists and no part of the Siddhi is free from it. The Dwayavins are, for the time, triumphant.

r1914 11 20, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Vishayadrishti now acts occasionally in gandha & sparsha, more intensely or more variously than before, but there is no real advance in generality & organisation. Aswada is also occasionally active, but not so spontaneously & usually in the bitter, sour or bibhatsa rasas, which lead the mind to doubt whether they are not prakamya of sukshma effusions from the stomach. Some, however, are obviously non-material, eg taste of medicines which are never taken physically,non-material or non-immediate. Sight & hearing are mostly in abeyance or sluggish.
   ***
  --
   More extensively varied combinations of Rupa (various foods) & rasa; the latter not always vivid, but always, when present, well appreciable. Also other combinations.
   Image of large, bare room with one chair etc, & a young Brahmachari, slim & fine-featured of Bengali type, hastening full of respect & bhakti, to answer the call of his Guru.

r1914 12 17, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   rasa only sadhara and seldom.
   Darshana very little & in a few habitual forms.
  --
   In vijnana only the element of stable & clear jagrat rupa (Akasha) is still in a backward condition; Vishaya is manifesting. Sadhara rasa is becoming more frequent. Vishaya also is in a sense obstructed, but not seriously. It is only its range of variety & fullness that is not yet manifested.
   The distinction made between the two is not yet quite understood. Its reason will be made clearer soon.
  --
   It is noticeable that taste survived into jagrat with a physical effect on the palate and was frequently repeated & varied. In the rasa sparsha predominates.
   ***

r1914 12 18, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Gandha, rasa, sparsha are now active though not yet entirely free from obstructionespecially in the rasa. But they have not yet advanced beyond their old limits.
   ***

r1914 12 29, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Continued rasa combined with appropriate action & experience.
   The material of swapna samadhi is now complete in form though not yet full in content nor yet sufficiently effective in utility.

r1915 01 02, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   The main movement and utility of the last two days has been to deepen samata (nati and rasagrahanam) and to streng then the general force of tertiary dasya.
   The elements of bhoga & udasina nati must be so combined as to unite into a secure and full sama Ananda.

r1915 05 13, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Gandhadrishti developing since yesterday was this morning full, varied, vivid & sthula. rasadrishti also became active, but usually comes as a result or a part of gandha; not however always. It is sometimes associated with sparsha half-evolved from sukshma to sthula. Sparsha except in the old established touches is chiefly vivid sukshma. Shabda is infrequent & more sukshma than sthula. Darshana is poor and intermittent.
   Samadhi has not yet recovered its activity and coherence.

r1915 05 25, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   rasa is infrequent & seldom decided.
   Chakshusha in the habitual forms of the Akasha.

r1915 06 01, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Today sravana became acute & distinct, but only in one or two sounds. Gandha persists & a subtle rasa.
   ***

r1915 06 04, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Extreme intensity and sthulatwa of sukshma rasa (bitter). Other tastes, eg lemon, are less well defined in the sthula, though in themselves quite distinct.
   ***

r1915 06 10, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Farther development of taste (sukshma rasa) predicted yesterday in the lipi.
   ***

r1915 07 03, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Since yesterday the gandha has again recovered its intensity & variety and is today beginning to become frequent. There is a movement of recovery in the rasa, great intensity in habitual sparshas & preparation of variety involved in indeterminate sparsha, incipient certainty & considerable intensity in sravana (chiefly in habitual sounds), spasmodic recurrence of darshana.
   ***

r1915 08 26, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Gandha seems now to be fixed in recurrence, but it is sometimes rare, sometimes more frequent. rasa also comes, but less firm & intense & often as a result of gandha. The others are frequently suspended & do not attain to any new variety or freedom.
   ***

r1916 03 13, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   A new brihattwa, deepening, intensifying and unification of Titiksha, Udasinata & Nati with each other and all three with unified rasa, bhoga & ananda.
   Intense chidghana is moving up into shuddhananda & the sense of a faery beauty in all things, even the most ugly. The downward movement of pure shuddhananda embracing chidghana and ahaituka is suspended. Sakama premananda and saprema kamananda are being unified, more firmly generalised & normalised.

r1917 02 05, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   In the morning sudden efflorescence of a perfect shuddha anandamaya-vijnanamaya vision of universal beauty. Every detail is seen in its perfect, divine sense and faery loveliness and in its place in the whole and the divine symmetry of the whole based on its brihat Idea, even in what appears to the mind [un]symmetrical. This was realised in things yesterday, today in faces, figures, actions, etc. It is not yet stable, but strong and returns in spite of the force that depresses the vision and attempts to return to the diffuse mental view of things. In the mental view the general shuddha ananda is ahaituka, even when it is full of feature; in this it is self-existent, yet contains all hetu, guna, rasa = Ananda with vijnana in its embrace.
   ***

r1917 03 03, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Vishaya (gandha & rasa) begins to remanifest.
   ***

r1917 03 13, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   In the first there is still a deficiency in ananda of asiddhi and in the shuddha chidghana ananda of the vishayas, taste, sound etcespecially taste. rasagrahana is there, but not invariable bhogaowing to the pranic resistance and therefore not the full, vivid and satisfying ananda.
   ***
  --
   Today the ananda has begun to overbear the resistance of prana in the taste. In hearing, smell and touch, there is always the bhoga of ananda, not merely the rasagrahana. The only defect is defect of the chidghana, for the shuddha is always there though often only mental shuddha. But in the taste there is frequently denial of ananda or neutrality.
   Lipi is rapidly normalising itself in the vivid legibility with an initial perfection of stability. The suggestion is again allowed to play a part in removing the obstruction, but it is always an interpretation of unmanifest lipi rather than a former of uncreated lipi. The lipi is largely spontaneous.

r1917 03 16, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Vishaya of rasa.
   ***

r1918 04 30, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   followed by the sense of the Ishwara as the delight, rasa, in the flood of the being, , the light of knowledge in the vijnana (sun) and mentality (moon), the word and the thought, the tapas. This led to the perception and sense of all substance of matter and consciousness, quality, force, thought, action etc as the Ishwara. Formerly these perceptions were of separate things (tattwas, elements) and temporary, though often of long duration, but now it is global, integral and steadfast. It rejects the remnants of the intellectual fragmentation and division which still come to deny its completeness.
   Ananda of samata has proved sufficiently firm throughout the month. It is now combined firmly with the tapas; desire has perished, though tapatya still remains, but only as a minor element. Therefore the touches of asamata can get no hold, are entirely external and are cast out of the adhar automatically as soon as they enter. External, moreover, not of any near, but of a distantly watching, rather than environing mentality.

r1919 07 10, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   All the crude rasas have occurred with some force and frequency, pure or mixed, and some definitive rasas. Sukshma gandha has also recommenced; but there is still some massing of physical obstruction.
   K.A is now continuous, in varying intensities, except when [there is]1 absorption; this is the last refuge of the minds forgetfulness,except for sleep which brings about cessation. After the nights sleep there is a touch of the old difficulty of recovery, but it is slight and more of a physical reminiscence than an essential reality.
  --
   The sukshma gandha is stronger and has a more essential hold than before, but is not [ ]2 free yet to develop its new power,the physical obstruction is still heavy and effective. rasa is as before, but more rapidly varied when it is allowed to come. Sparsha too has begun, but so far in the old touches.
   Previsions in script. (1) Decisive trikaldrishti today begins to be generalised. (2) Fuller and greater progress in Samadhi. (3) K.A to conquer all the difficulties with an initial finality.. (4) Rupa and vishaya today in the jagrat firmly.
  --
   Rupa in jagrat today threw out some new brilliant forms, but did not seem to fulfil the presage in the script; vishaya, after enforcing itself in gandha and rasa and a slight renewal of sparsha, failed to develop sravana or a decisive beginning in sparsha.
   Health is obstructed, relapses a little sometimes and makes no definitive progress, but only certain indications of the increasing arogya tapas.

r1919 07 11, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Chitra in some abundance, but unstable. Repetition of vishayas, gandha, rasa, touches of old sparsha, but on a small scale. In Samadhi great abundance of lipi of all kinds, in a successive flow of sentences, but with some incoherence, and without a link of intelligent succession in the flow. Only in the lighter swapna is there full ideality. Some plenty of shadowy rupa, but insufficient stability. Easily dispelled touches of roga.
   ***

r1919 07 21, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Great intensity of gandha and gandha- rasa, combined and allied, but not yet the free variety. Great intensity of rasa, the crude turning to firm developed and to suggested perfect rasas. The obstruction to freer frequency and variety has now alone to be broken for the perfection of this siddhi.
   Farther Sadhana in the morning discontinued through pressure of work. This is a defect which the consciousness has not yet overcome, owing to deficiency of the multiple concentration.
  --
   rasa acts now with some frequency, though without an entire freedom. Definite rasas are coming with increasing ease and variety. Gandha is for the present obstructed. An old siddhi, sparsha at a distance, sukshma or sukshma-sthula in incidence, felt by the subtle body and conveyed by it in the same moment to the physical sense: there is however no division, it is felt as one touch by the united sukshma and sthula sense.Rupa has developed a few instances outside of the crude of a stability still within the primary stability, but in its highest degree. Variety of rupas at night is on the increase, crude of all the kinds, jyotir etc, and dense of the crude, dense and developed degrees, but few as yet are complete, except certain unstable forms and some stable crude rupas. There is a hint too of developed rupas; but not the actuality, except in some fugitive incomplete formations.Rare instances of ravana of a new kind. Attempts at jagrat sukshma speech, not yet articulate or fully audible. Thunder in the ears. The old persistent, unceasing loud cricket sound in the room, once rejected as a physical sound, is again heard, and is now clearly marked as sukshma. The thunder in the ears is followed by a great intensification of the physical hearing.
   K.A is now very often stable in the head. Then even a low intensity of ananda turns to constant sensibility.

r1919 07 22, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   rasa is now frequent in masses, sometimes persistent; obstruction hardly exists for its action. Gandha gains in force, but is prevented by the obstruction from frequency.
   The incidence of the relapse into the intuitive intellectuality has been very obstinate and severe, a great confusion created, almost all the old incidents of relapse suggested, even something like the old hardly idealised intellectual intuivity revived in fragments and in the mental atmosphere. The orderly and powerful development of the gnosis has undergone momentarily a strong interruption. Nevertheless lipi after some fluctuations has greatly increased in force of revelatory light and the breadth of its flood and luminous force; thought speech has also grown in inspired revelatory power. The T has been most afflicted and with it the thought perception obstructed or brought to the lower level of intuition. At present all perception is of the intuitive ideal level with a touch or pressure of revelation tending to rise into the intuitive or inspired revelatory logistis, attended often by cloggings of intuitive matter or deviating into some kind of imperfect inspiration. The intuitive mentality itself has been so strongly idealised in its struggle with the gnosis that it is difficult sometimes to distinguish between this heavily idealised intuivity and the real intuitive or inspirational gnosis at its lower levels of force, light or certitude.

r1919 07 23, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   In Samadhi continuous narrative, monologue, dialogue or their combination in the ideal form. This was done largely and for long in lighter swapna, on its borders or partly in concentrated antardarshi and partly in swapna. There is no long continuity of it in the deeper swapna which is still a thing of many, swift and brief experiences, thoughts and visions. K. Ananda maintained in lighter swapna, brought in with difficulty at a greater depth, non-existent in deep nidra.Exceedingly strong and violent varied gandha. rasa is recurrent, but not with such persistent freedom as yesterday, but it is developing more distinct rasas.
   Throughout the day there has been a strong persistence of the relics of the intuitive mentality and the intuitive ideality has not been effective in getting rid of the obsession; because it is no longer the chosen instrumentation. Now the inspirational ideality is taking up the work, with the highest logistis at its back. This is more effective, all is at once changed to the inspirational form. But this too is not absolutely effective. The highest logistis alone can do the work.
  --
   Free gandha in the evening; the obstruction seems to be broken down, though not either in gandha or rasa entirely destroyed. It is intact in ravana and sparsha.
   Samadhi fluctuating between full ideality and a lower half ideality. Memory in waking is badly deficient; this is itself an obstacle to rapid progress. Great masses of printed lipi, largely incoherent, but much more fluently legible and stable than at any previous time. Stability of rupa and scene and of all other experience is beginning to move towards farther self-extension. Narrative attempted in deep swapna, but trailed off into incoherence. All this is in the adverse state of the mentality.

r1919 07 24, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Gandha and rasa are now acting with a considerable freedom and variety and the former with a fundamental perfection. rasa is still subject to its initial crudeness of incomplete massed tastes, though there are now definite and perfect rasas. rasa is now insisting on perfection.
   In Samadhi a great flood and mass of experiences of all kinds, but incoherent, yet all in the ideality. Subsequently an ordered movement. All the intuitive mind turned into ideality, what was before simple intellectuality, is now just before the ideal level and is changing to the intuivity. This movement represents a complete mutation of the whole being into the gnostic type. Even the physical being is beginning this mutation. Forecast in the samadhi, this change is also beginning in the jagrat condition.

r1919 07 27, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Siddhi began with the Ananda-Brahman. This is now beginning finally to impose itself on both the chidghana and the mental darshana. In the latter it either diffuses itself or contains the mental seeing, but in both cases is itself mentalised and loses its character of the pure perfect unmodified Ananda. The vijnana darshana either contains or is contained in the Ananda. In the former case the Ananda is either made of the chidghana kind or surrounds it in its mental or its chidghana modification. Prema is always present in the Ananda darshana, but is often seen as an element of the thing, rasa-grahana, without evoking bhoga of prema in the chitta and prana. It is seen by prakamya, not received by vyapti. The vijnana darshana is now being made by tapas to replace more firmly and fully the mental seeing. The more perfect Ananda darshana then supervenes more easily and with a greater completeness, density and amplitude.
   The struggle with the remnants of the relapse continued for a time. Strong pragmatic ideal tapas worked in and on the resistance, till the intuitive ideality in intuitive manasa and vijnana replaced the lax intuitive mentality. Then suddenly in Samadhi complete and powerful gnostic revelation took up the whole action in light and deeper swapna, brought in full coherence, excluded all mentality: but in the deepest nidra imperfection still continued though attacked and partially excluded by the revelatory gnosis. There was no actual dream, but insufficient inner jagrat[t]a.

r1919 07 28, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Vishaya and rupa revived, but began with their old faults, crudeness of rasa, obstruction of gandha and fugitive rupa etc. These are now gradually being set aside. Gandha can now always be commanded in subdued form or intensity by inhalation; spontaneous gandha is still limited to rarity by the obstruction. The tendency in rasa is to define. In rupa to a doubtful and quickly withdrawn primary stability. The full freedom is not yet established in any of these siddhis.
   When the relapse brings back to a former state, there are always three conflicting principles at work, the habit of rebuilding laboriously what was broken down, the method of remanifesting rapidly the past siddhis by a rapid repetition of some of the steps by which it had been formed, the immediate remanifestation with fresh progress. The second tends to prevail, but less in the undeveloped siddhis; the third is only in its infancy.

r1919 08 04, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Jagrat rupa and vishaya are recovering their action. In rupa the stress is on stability which is now often secondary and tertiary in crude rupa, in the rest the tendency is to prolonged primary or arrested secondary; even when unstable, they are snatched away rather than in themselves fugitive.In drishya birds etc vivid in pranic akasha, some hardly distinguishable from terrestrial creatures; colours only white and black. Free and abundant rupa (not drishya) of human forms etc against the pranic akasha.In rasa and gandha the stress is on distinctness and particularity; the obstacle to frequency is not yet overcome. The obstruction remains in the sparsha, but there is [considerable]1 intensity in the established forms of sparsha, little spontaneity. ravana is still subject to a return of complete obstruction.K.A. varies; the stress is no longer on continuity, but on ideality.
   T active in the highest ideality of the third degree. The turn here is to the rejection of the confusion of incertitude. There is also some filling of the third with the light of the higher degrees.

r1919 08 06, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   A strong movement towards spontaneity combined with vivid distinctness and some variety in rasa, gandha and sparsha. In the latter the sukshma touch is getting more and more sthula, though as yet the border line to full sthulatwa has not been crossed.
   Samadhi went back to nidra and began turning the touches of dream swapna immediately to ideal forms of gnostic swapna samadhi. At night there is real dream, but more and more a consequent and idealised dreaming.

r1919 08 21, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Vishaya again active. Gandha has almost conquered the obstruction in inhalation, but spontaneous gandha though increased in force of recurrence is still subject to its power. rasa is trying to occupy the organs of taste more fully. Sparsha is still obstructed, but occasionally active in response to tapas. Sravana is rare and has not gone beyond the typical shabdas now commenced in the jagrat bahirdarshi, and no longer confined to antardarshi or dependent on the closing of the ear to sthula sounds. Drishya is depressed in its evolution.
   Samadhi in the afternoon developed farther in the same direction. At night there was throughout in sleep the rationalised dream coherencealso some samadhi the fantastic element even was reduced to the terms of rational coherence. The only exception was a brief, but for a time persistently repeated irrational feardream from the subconscient infant mentality associated with past sanskaras. The intrusion of personality and present life associations are now the only undispelled defects of this nidramaya swapna siddhi. The element of ideality in the coherence is rising, but not effective, because the purusha is only a passive witness and seer and not as in the samadhi proper a gnostic observer and judge of the things seen or experienced. Nidra must be dispelled to bring about this perfection.

r1919 08 28, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   There was some attempt of the vishaya to break down the obstruction that again prevents its more frequent recurrence and progress, but success was small. rasa is most apt to come in abundance, but not with perfection. Gandha is perfect, but comes with only an occasional spontaneity, otherwise it is obstructed. Both come daily, and are therefore established, but not yet frequently and freely. However by todays effort the tendency in rasa to recur has been greatly streng thened, as well as its mass; gandha in inhalation comes more easily; both have profited by the tapas. Sparsha increased in incidence, but was soon stopped by obstruction. Speech shabda came once only with no sequel. Drishya progress is obstructed.
   Effort to develop higher trikaldrishti, not yet come to fruition. Telepathy is becoming more concrete and intimate, sanjna added to prajnana and embridged vyapti,perception in being to perception in idea.

r1920 02 22, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Vishaya is again manifesting vividly, but without freedom; only the old customary drishya, rasa, gandha, sparsha, the few limited things. Shabda is obstructed as before.
   Ananda is now recovering a firmer, though still imperfect base.
  --
   At night great vividness and constancy of the basic rasas.
   T in the interpretative revelatory and highest revelation of the third scale. All now is the third scale, ie, the divine reason.

r1920 02 26, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   All the vishayas, the others in little, gandha and rasa more in large.
   Abundant rupa in the samadhi.

r1920 03 04, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Other siddhis are not moving much, but there is a beginning of final idealisation of rupa and vishaya, especially gandha and rasa.
   T in the lowest scale of the interpretative vijnana has regularised itself in place of the revelatory ideal seeing, excluding the lower suggestions, which recur less frequently and are given no valid credit. They cannot be easily excised altogether, until their place has been taken by the highest vijnana. This can only give immediate certitudes. But the higher powers are sometimes acting in this lowest scale. This is a preparation for their own final emerge[nce], self-basing and replacement of the lowest interpretative vision.

r1920 03 06, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Some play of gandha and rasa and of stable ghana or ghana developed rupa, mostly in the second stability; but the forms are old forms already seen in a previous far past state of the rupa sadhana.
   Strong dream coherence in nidra.

Sayings of Sri Ramakrishna (text), #Sayings of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
  speech he said, "The Lord is totally devoid of rasa (sweetness); we must make Him sweet by lending to
  Him the sweetness of our own nature." By rasa he meant love and other divine attri butes. When I heard
  this, I was reminded of the boy who said that his mother's brother had many horses, and sought to
  --
  To say that God is devoid of rasa" was an absurdity, which proved that the speaker was totally ignorant
  of what he was saying. He had never realized the Supreme Being, Who is the very fountain of eternal
  --
  festival of rasa-lila in November). "Well, my darling," replied the dame, "it is not such an easy thing as
  you seem to think. You will have to pass through many a danger before you can hope to feast on Rasflowers. The ensuing months of September and October are not very auspicious to you. For someone

SB 1.1 - Questions by the Sages, #Bhagavata Purana, #unset, #Zen
  Thanks to Gopalakrishnan S; Gert Leerdam; Srikanth Kyatham; Srikanta dasa; HH Bhakti rasamrita Swami; Nilachal; Usha, Kuppuswamy, Vivek, Varsha, Ramani, Rajeswari, Raj, Ramya, Ridhvik, Radha; Bimal Gupta; Jayadharma das; Radhapati Das; Aishwarya Balaraj; Gostabihari das and Mahavisnupriya dasi; Yogendra Sharad Puranik; Indradyumna Swami; Krishna & Family; Thomas; Geetanjali Nath; Mario; Joeie; Susheela and Rama Krishna Reddy Patlolla; Jai Devaki Parks; Ashmi Chakraborty; Hari-kirtana das; Ramesta das; P rasad Buddhavarapu; Harakumara dasa; Kresna Sucandra; Late Mr. S. Sundaram; Esekiel Jaggernauth; Isvari Priya DD & Lokadhyaksa dasa and all others for supporting this site.
  His Divine Grace A.C. Bhaktivedanta Swami Prabhupda, Founder-crya of the International Society for Krishna Consciousness.

Talks With Sri Aurobindo 1, #unset, #Arthur C Clarke, #Fiction
  him and got the rasa.
  NIRODBARAN: It has been translated into Bengali.

Talks With Sri Aurobindo 2, #Talks With Sri Aurobindo, #unset, #Zen
  or rasa of all experiences, holds and supports them. But the way he has put
  it, makes the soul subject to the experiences. Anilbaran has a fighting mind,
  --
  tabula rasa that it begins with. It collects and gathers from the past life's experiences whatever is necessary for the next life, adds what new force it can
  bring in and takes up a new instrument to fulfil that evolution.

Theaetetus, #unset, #Arthur C Clarke, #Fiction
  A profusion of words and ideas has obscured rather than enlightened mental science. It is hard to say how many fallacies have arisen from the representation of the mind as a box, as a 'tabula rasa,' a book, a mirror, and the like. It is remarkable how Plato in the Theaetetus, after having indulged in the figure of the waxen tablet and the decoy, afterwards discards them. The mind is also represented by another class of images, as the spring of a watch, a motive power, a breath, a stream, a succession of points or moments. As Plato remarks in the Cratylus, words expressive of motion as well as of rest are employed to describe the faculties and operations of the mind; and in these there is contained another store of fallacies. Some shadow or reflection of the body seems always to adhere to our thoughts about ourselves, and mental processes are hardly distinguished in language from bodily ones. To see or perceive are used indifferently of both; the words intuition, moral sense, common sense, the mind's eye, are figures of speech transferred from one to the other. And many other words used in early poetry or in sacred writings to express the works of mind have a materialistic sound; for old mythology was allied to sense, and the distinction of matter and mind had not as yet arisen. Thus materialism receives an illusive aid from language; and both in philosophy and religion the imaginary figure or association easily takes the place of real knowledge.
  Again, there is the illusion of looking into our own minds as if our thoughts or feelings were written down in a book. This is another figure of speech, which might be appropriately termed 'the fallacy of the looking-glass.' We cannot look at the mind unless we have the eye which sees, and we can only look, not into, but out of the mind at the thoughts, words, actions of ourselves and others. What we dimly recognize within us is not experience, but rather the suggestion of an experience, which we may gather, if we will, from the observation of the world. The memory has but a feeble recollection of what we were saying or doing a few weeks or a few months ago, and still less of what we were thinking or feeling. This is one among many reasons why there is so little self-knowledge among mankind; they do not carry with them the thought of what they are or have been. The so-called 'facts of consciousness' are equally evanescent; they are facts which nobody ever saw, and which can neither be defined nor described. Of the three laws of thought the first (All A = A) is an identical propositionthat is to say, a mere word or symbol claiming to be a proposition: the two others (Nothing can be A and not A, and Everything is either A or not A) are untrue, because they exclude degrees and also the mixed modes and double aspects under which truth is so often presented to us. To assert that man is man is unmeaning; to say that he is free or necessary and cannot be both is a half truth only. These are a few of the entanglements which impede the natural course of human thought. Lastly, there is the fallacy which lies still deeper, of regarding the individual mind apart from the universal, or either, as a self-existent entity apart from the ideas which are contained in them.

The Coming Race Contents, #The Coming Race, #Nolini Kanta Gupta, #Integral Yoga
  the wide and intense rasa that lies in the
  divine identity of souls.
  --
  proceed to establish truth on a tabula rasa j
  none the less it is this hidden bias that

Verses of Vemana, #is Book, #unset, #Zen
  men of the woods (apes i.e., wisdom and ignorance) came and by themselves of themselves swallowed their young (their acts i.e., annihilated them), to a fox (delusion) in the Iron age cmadhenu was born. In what way was this? Possessing intellect there was an infant that chewed; what was this marvel (wisdom absorbing ignorance). In seven modes of existence, (mahattu, ahankara, shabda, sparsha, roopa, rasa, gandham) mercilessly was might (delusion) produced and agitated men. What is this? The all knowing sages that have declared this, listen to them O Vema.
  457

WORDNET












--- Grep of noun rasa
madrasa
tabula rasa



IN WEBGEN [10000/2369]

Wikipedia - Aagam Prasad Bantawa Rai -- Nepalese communist politician
Wikipedia - Aathi Parasakthi -- 1970 film
Wikipedia - Abdallah ibn Tahir al-Khurasani -- Governor of Khorasan from 828 to 845
Wikipedia - Abhinavano Rasavichar -- 1969 book by [[Nagindas Parekh]]
Wikipedia - Ab Kameh -- village in Razavi Khorasan, Iran
Wikipedia - Acer shirasawanum -- Species of maple
Wikipedia - Adrasan Bay -- Bay in the Antalya Province, Turkey
Wikipedia - Agave parrasana -- species of plant in the family Asparagaceae
Wikipedia - Akarna Dhanurasana -- A seated posture in hatha yoga
Wikipedia - A. K. Veerasami -- Indian actor
Wikipedia - Al-Ahmadiyah Madrasa
Wikipedia - Al-Attarine Madrasa -- Historic madrasa in Fez, Morocco
Wikipedia - Alberto Berasategui
Wikipedia - Aleksandr Krasavin -- Soviet canoeist
Wikipedia - Al-Firdaws Madrasa
Wikipedia - Al-Halawiyah Madrasa
Wikipedia - Aliabad-e Olya, South Khorasan -- A village in Iran
Wikipedia - Al-Kameliyah Madrasa
Wikipedia - Al-Khurasani al-Shirazi
Wikipedia - Alli Thandha Vaanam -- 2001 film by Sreedhar Prasath
Wikipedia - Al-Muqaddamiyah Madrasa
Wikipedia - Alphonse Antonio de Sarasa
Wikipedia - Al-Shadbakhtiyah Madrasa
Wikipedia - Al-Sharafiyah Madrasa
Wikipedia - Al-Sultaniyah Madrasa
Wikipedia - Al-Turantaiyah Madrasa
Wikipedia - Al-Uthmaniyah Madrasa
Wikipedia - Al-Zahiriyah Madrasa
Wikipedia - Amba Prasad (politician) -- Indian politician
Wikipedia - Amba Prasad -- Indian businessman
Wikipedia - Ambika Prasad Pandey -- Indian politician
Wikipedia - Ananta Prasad Paudel -- Nepali politician
Wikipedia - Anant Prasad Singh -- Indian politician
Wikipedia - Anayama Station -- Railway station in Nirasaki, Yamanashi Prefecture, Japan
Wikipedia - Andrea Centurione Pietrasanta -- Doge of the Republic of Genoa
Wikipedia - Aniruddha Prasad Yadav -- Indian politician
Wikipedia - Anirudra Prasad Singh -- Former Chief Justice of Nepal
Wikipedia - Anne Rasa -- British ethologist who studied social behaviour of dwarf mongoose
Wikipedia - Ansuya Prasad -- Indian diver
Wikipedia - Anusuya Prasad Maikhuri -- Indian politician
Wikipedia - Appu Chesi Pappu Koodu -- 1958 film by L. V. Prasad
Wikipedia - Arasa Kattalai -- 1967 film by M. G. Chakrapani
Wikipedia - Arasakulam -- 2017 Tamil film
Wikipedia - Arasalar River -- River in India
Wikipedia - Arasaleeswarar temple -- Hindu temple in Tamil Nadu, India
Wikipedia - Arasatchi -- 2004 film by N. Maharajan
Wikipedia - Ardha chandrasana -- A standing posture in modern yoga
Wikipedia - Arghun Aqa -- 13th century Mongol Governor of Persia, Georgia and Anatolia and Deputy Governor of Khorasan
Wikipedia - Arogya Niketan -- 1953 Indian Bengali-language novel by Tarasankar Bandyopadhyay
Wikipedia - Arrasando (song) -- 2000 single by Thalia
Wikipedia - Arun Prasad Mukherjee -- Indian administrator
Wikipedia - Asadora! -- Manga series by Naoki Urasawa
Wikipedia - A. Sreekar Prasad -- Indian film editor
Wikipedia - Astavakrasana -- Asymmetric hand-balancing posture in modern yoga
Wikipedia - Atul Prasad Sen
Wikipedia - Awe (film) -- 2018 film directed by Prasanth Varma
Wikipedia - Babur Mirza's Invasion of Khorasan -- Timurid invasion of Khorasan (1448-1449)
Wikipedia - Baccha Prasad Singh -- Indian politician
Wikipedia - Badri Prasad Bajoria -- Indian social worker
Wikipedia - Baidyanath Prasad Mahto -- Indian politician
Wikipedia - Bakshy -- Traditional Turkmen and Khorasani musicians
Wikipedia - Balbir Prasad Chaudhary -- Nepali politician
Wikipedia - Balli Durga Prasad Rao -- Member of the 17th Lok Sabha
Wikipedia - Banarsi Prasad Jhunjhunwala -- Indian politician
Wikipedia - Barasat Junction railway station -- Railway Station in West Bengal, India
Wikipedia - Barasat (Lok Sabha constituency) -- Lok Sabha Constituency in West Bengal
Wikipedia - Barasat Satya Bharati Vidya Pith -- School of West Bengal
Wikipedia - Barasat Stadium
Wikipedia - Barasa-Ubaidat War -- War
Wikipedia - Beni Prasad Verma -- Indian politician
Wikipedia - Ben Youssef Madrasa -- Historic monument in Marrakesh, Morocco
Wikipedia - Bhadrasana
Wikipedia - Bhagabat Prasad Mohanty -- Indian politician
Wikipedia - Bhairav (film) -- 2001 film by T. L. V. Prasad
Wikipedia - Bhalevadivi Basu -- 2001 film by P.A. Arun Prasad
Wikipedia - Bhawani Prasad Khapung -- Nepalese politician
Wikipedia - Bheron Prasad -- Indian politician
Wikipedia - Bibhuprasad Mohapatra -- Indian writer (born 1991)
Wikipedia - Bidur Prasad Sapkota -- Nepali politician
Wikipedia - Bikiran Prasad Barua -- Bangladeshi physicist and educationist
Wikipedia - Bimala Prasad Chaliha College -- College in Assam
Wikipedia - Bimal Prasad Shrivastav -- Nepalese Politician
Wikipedia - Birendra Prasad Baishya -- Indian Politician
Wikipedia - Birendra Prasad Gupta -- Indian politician
Wikipedia - Bishnu Prasad Chaudhari Tharu -- Nepali politician
Wikipedia - Bishnu Prasad Paudel -- Nepali politician
Wikipedia - Bishnu Prasad Rabha -- Indian cultural figure from Assam, musician and songwriter, activist
Wikipedia - Bishnu Prasad -- Indian politician
Wikipedia - Bishowambhar Prasad Shrestha -- Nepalese judge
Wikipedia - B. K. Hariprasad -- Indian politician
Wikipedia - Bommarillu (soundtrack) -- 2006 soundtrack album by Devi Sri Prasad
Wikipedia - Bou Inania Madrasa (Meknes) -- Historic madrasa in Meknes, Morocco
Wikipedia - Bruce Lee (2017 film) -- 2017 Indian Tamil-language film by Prasanth Pandiraj
Wikipedia - Burasa
Wikipedia - BushM-EM-+-Karasawa Station -- Railway station in Ogose, Saitama Prefecture, Japan
Wikipedia - Cakrasamvara Tantra
Wikipedia - Camarasaurus -- Camarasaurid sauropod dinosaur genus from Late Jurassic Period
Wikipedia - Captain Nagarjun -- 1986 film by V. B. Rajendra Prasad
Wikipedia - Category:Discoveries by Masanori Hirasawa
Wikipedia - Chah-e Dasht Mohammad Khan 3 -- village in Razavi Khorasan, Iran
Wikipedia - Chah-e Soltan, Razavi Khorasan -- Village in Razavi Khorasan, Iran
Wikipedia - Chakrasamvara
Wikipedia - Chakrasana -- A standing back-bending posture in hatha yoga
Wikipedia - Chakravarthi Ram-Prasad
Wikipedia - Champa (novel) -- Novel by Laxmi Prasad Devkota
Wikipedia - Chandeshwar Prasad -- Indian politician and member of the 17th Lok Sabha
Wikipedia - Chandini Tamilarasan -- Indian actress
Wikipedia - Chandi Prasad Bhatt
Wikipedia - Chandra Bhan Prasad -- Indian writer
Wikipedia - Chandra Prasad Saikia
Wikipedia - Chandrika Prasad Upadhyay -- Indian politician
Wikipedia - Chennai-Sri Sathya Sai Prasanthi Nilayam Express -- Train in India
Wikipedia - Chikarasaurus Rex: How to Hatch a Dinosaur -- 2012 Chikara internet pay-per-view event
Wikipedia - Cornel Rasanga Amoth -- Kenyan politician
Wikipedia - Damayanthi (film) -- 2019 horror-comedy Indian film by Navarasan
Wikipedia - Daroga Prasad Rai -- Indian politician
Wikipedia - Darul Uloom Bury -- Madrasa in the UK
Wikipedia - Darul Uloom Nadwatul Ulama -- Madrasah in India
Wikipedia - Darul Uloom Raheemiyyah -- Islamic madrasa in Kashmir
Wikipedia - Dasika Durga Prasada Rao -- Indian geoscientist
Wikipedia - Debiprasad Chattopadhyaya
Wikipedia - Debo Prasad Barooah -- Indian academic and historian
Wikipedia - Deepika Prasain -- Nepalese film actress.
Wikipedia - Devaki Prasad -- Indian chess player
Wikipedia - Deviprasad Dwivedi -- Indian writer and teacher
Wikipedia - Dev Prasad Timilsena -- Nepali politician
Wikipedia - Dhanurasana -- A reclining posture in hatha yoga
Wikipedia - Dharasana Satyagraha
Wikipedia - Dharma Prasad Ghimire -- Nepali politician
Wikipedia - Dhiraj Prasad Sahu -- Indian politician
Wikipedia - Dilendra Prasad Badu -- Nepalese politician
Wikipedia - Dipendra Prasad
Wikipedia - Dipna Lim Prasad -- Singaporean sprinter and hurdler
Wikipedia - DJ: Duvvada Jagannadham (soundtrack) -- 2017 soundtrack album by Devi Sri Prasad
Wikipedia - Dorasaani -- 2019 Telugu film
Wikipedia - Draft:Eminent College of Pharmaceutical Technology, Barasat -- College in West Bengal
Wikipedia - Draft:Jagdish Prasad Baranwal -- Hindi Poet
Wikipedia - Draft:Lalu Prasad Yadav College -- degree college in Bihar
Wikipedia - Draft:Mutharasan Muthaiyan {{DISPLAYTITLE:Mutharasan Muthaiyan -- Draft:Mutharasan Muthaiyan {{DISPLAYTITLE:Mutharasan Muthaiyan
Wikipedia - Draft:Prasad Devarakonada -- Indian Youtuber
Wikipedia - Draft:South Tirupathi alias Prasanna Venkatesa Perumal temple -- Vaishnavite temple in Thirumalai Vaiyavoor, Kanchipuram district, India
Wikipedia - Draft:Surasak Kangkhao -- Thailand architect
Wikipedia - Dr Shyama Prasad Mukharjee Thermal Power Station -- Building in India
Wikipedia - Dr Shyama Prasad Mukherjee Indoor Stadium -- Sports facility at Goa University, Goa, India
Wikipedia - Dr. Syama Prasad Mookerjee Tunnel -- It road tunnel in the Indian union territory of Jammu and Kashmir on NH 44 (
Wikipedia - Dudanlu -- Village in Razavi Khorasan Province, Iran
Wikipedia - Durga Prasad Bhattarai -- Nepali career diplomat
Wikipedia - Durga Prasad Yadav -- Indian politician
Wikipedia - Eduruleni Manishi -- 2001 film by D. Siva Prasad Reddy
Wikipedia - Elektra (2010 film) -- 2010 film by Shyamaprasad
Wikipedia - Emma Vilarasau -- Spanish actress
Wikipedia - Enga Chinna Rasa -- 1987 film by K. Bhagyaraj
Wikipedia - Engal Thanga Raja -- 1973 film by V. B. Rajendra Prasad
Wikipedia - Era Natarasan -- Indian writer of children's books
Wikipedia - Erasable programmable logic device
Wikipedia - Eupithecia albirasa -- Species of moth
Wikipedia - Eupithecia cabrasae -- Species of moth
Wikipedia - Eupithecia marasa -- Species of moth
Wikipedia - Fiskalna kasa za dilera grasa -- extended play by Klopka Za Pionira
Wikipedia - Gabriel & Me -- 2001 film by Udayan Prasad
Wikipedia - Ganesh Prasad Mishra -- Indian Classical Singer
Wikipedia - Ganesh Prasad Rijal -- Nepali politician
Wikipedia - Ganesh Prasad Timilsina -- Nepali politician
Wikipedia - Ganeshprasad Varni
Wikipedia - Ganga Prasad Birla
Wikipedia - Ganga Prasad Vimal -- Indian writer
Wikipedia - Gauri (epic) -- Epic Nepali poem by Madhav Prasad Ghimire
Wikipedia - Gerasa (Judaea) -- Town destroyed by Romans during First Jewish Revolt
Wikipedia - Gerasa
Wikipedia - Girija Prasad Koirala -- Nepalese politician
Wikipedia - Giyannedra Prasad -- Fijian politician
Wikipedia - Gokul Prasad Baskota -- Nepalese Politician
Wikipedia - Goku Midnight Eye -- Manga by Buichi Terasawa
Wikipedia - Gopal Prasad Dubey -- Indian classical dancer
Wikipedia - Gopal Prasad Parajuli -- 27th Chief Justice of Nepal
Wikipedia - Gopal Prasad Rimal
Wikipedia - Gopal Prasad Sharma -- Indian Rajasthan artist (born 1964)
Wikipedia - Gopal Prasad
Wikipedia - Govardhanram: Chintak ne Sarjak -- book by Vishnuprasad Trivedi
Wikipedia - Govind Prasad Lohani -- Nepalese diplomat
Wikipedia - Govind Prasad Mishra -- Indian politician
Wikipedia - Gowtam SSC -- 2005 film directed by P. A. Arun Prasad
Wikipedia - Greater Khorasan
Wikipedia - Great Madrasa (Gjakova) -- Cultural heritage monument of Kosovo
Wikipedia - Grevillea irrasa -- Species of shrub in the family Proteaceae endemic to New South Wales, Australia
Wikipedia - Gurasada mine -- Bentonite mine in Hunedoara County, Romania
Wikipedia - G. V. R. Prasad -- Indian paleontologist (born 1958)
Wikipedia - Haraprasad Shastri
Wikipedia - Hari Kewal Prasad -- Indian politician
Wikipedia - Hari K. Prasad
Wikipedia - Hariprasad Chaurasia -- Indian flautist
Wikipedia - Hari Prasad Pradhan -- Former Chief Justice of Nepal
Wikipedia - Hari Prasad Rimal -- Nepali actor
Wikipedia - Hari Prasad Sharma -- Former Chief Justice of Nepal
Wikipedia - Harivarasanam -- National anthem of India
Wikipedia - Harprasad Das Jain College -- Constituent college of the Veer Kunwar Singh University, Arrah
Wikipedia - Har Prasad Nanda -- Indian automotive industrialist.
Wikipedia - Hazari Gonj Hamidia Fazil Madrasah -- Fadil (degree) Madrasah in Bangladesh
Wikipedia - Hemistola chrysoprasaria -- Species of moth
Wikipedia - Hermenegildo Anglada Camarasa -- Spanish artist
Wikipedia - Hey Jude (film) -- 2018 film directed by Shyamaprasad
Wikipedia - Hisayoshi Harasawa -- Japanese judoka
Wikipedia - Hootum Pyanchar Naksha -- 1862 book by Kaliprasanna Singha
Wikipedia - Hossein Wahid Khorasani -- Iranian grand Ayatollah
Wikipedia - Huk, South Khorasan -- village in South Khorasan, Iran
Wikipedia - H. Y. Sharada Prasad -- Indian civil servant, journalist and writer
Wikipedia - Imsai Arasan 23rd Pulikecei -- 2006 film by Chimbu Deven
Wikipedia - Incobrasa Industries -- Biodiesel manufacturing firm
Wikipedia - Indrasakdi Sachi -- Thai Princess
Wikipedia - Indrasan -- Indian mountain
Wikipedia - Iruvar Ullam -- 1963 film by L. V. Prasad
Wikipedia - Ishwari Prasad -- Indian historian
Wikipedia - Ishwor Prasad Khatiwada -- Nepalese judge
Wikipedia - Islamic State of Iraq and the Levant - Khorasan Province -- Branch of the Islamic State of Iraq and the Levant operating in Afghanistan and Pakistan
Wikipedia - Jagannath Prasad Das
Wikipedia - Jagdish Prasad Mathur (Rajasthan politician) -- Indian politician
Wikipedia - Jageshwar Prasad Khalish -- Indian politician
Wikipedia - Jaishankar Prasad
Wikipedia - Jamia Qasmia Madrasa Shahi -- Islamic seminary in India
Wikipedia - Jarasandha ka Qila -- Ancient archaeological site in India
Wikipedia - Jarasandha -- Legendary king
Wikipedia - JDS Harusame (DD-109) -- Murasame-class destroyer
Wikipedia - JDS Murasame (DD-107) -- Murasame-class destroyer
Wikipedia - JDS YM-EM-+dachi (DD-108) -- Murasame-class destroyer
Wikipedia - Jean Arasanayagam -- Sri Lankan poet
Wikipedia - Jeene Ki Raah -- 1969 Bollywood drama film by L. V. Prasad
Wikipedia - Jennifer R. Terrasa -- American politician
Wikipedia - Jitendra Prasada -- Indian politician
Wikipedia - Jitendra Prasad Sonal -- Nepali politician
Wikipedia - Jitin Prasada
Wikipedia - Jorasanko Thakur Bari
Wikipedia - Jorasanko
Wikipedia - Jow Khvah -- village in South Khorasan, Iran
Wikipedia - Juozas Imbrasas -- Lithuanian politician
Wikipedia - Jurasaidae -- Family of beetles
Wikipedia - Juttaporn Krasaeyan -- Thai shot putter
Wikipedia - Jyoti Prasad Agarwala -- Assamese playwright, songwriter, poet, writer and filmmaker
Wikipedia - Jyoti Prasad Das -- Indian politician
Wikipedia - Jyotiprasad Medhi -- |Indian statistician
Wikipedia - Kadan Vaangi Kalyaanam -- 1958 film by L. V. Prasad
Wikipedia - Kailas Prasad Pandey -- An Indian Army Officer
Wikipedia - Kalateh-ye Saqi -- village in Razavi Khorasan, Iran
Wikipedia - Kal-e Sorkh, Razavi Khorasan -- village in Razavi Khorasan, Iran
Wikipedia - Kali Prasad Pandey -- Indian politician
Wikipedia - Kali Prasad -- Indian politician
Wikipedia - Kalyana Ramudu -- 2003 film by G. Ram Prasad
Wikipedia - Kalyana Samayal Saadham -- 2013 film by R.S. Prasanna
Wikipedia - Kamal Prasad Chaulagain -- Nepalese politician
Wikipedia - Kambarasa -- Indian prince
Wikipedia - Kamta Prasad Khatik -- Indian politician
Wikipedia - Kandula Lakshmi Durgesh Prasad -- Indian politician
Wikipedia - Karasaki Station -- Railway station in M-EM-^Ltsu, Shiga Prefecture, Japan
Wikipedia - Karasawa Genba
Wikipedia - Karen Narasaki -- American civil rights activist
Wikipedia - Kariz Now, Salehabad -- A village in Razavi Khorasan, Iran
Wikipedia - Karkodeswarar temple, Kamarasavalli -- Temple in Tamil Nadu, India
Wikipedia - Katsuei Hirasawa -- Japanese politician
Wikipedia - Kedar Prasad Chalise -- Nepalese judge
Wikipedia - Kedar Prasad Giri -- Former Chief Justice of Nepal
Wikipedia - Keshab Prasad Badal -- Nepalese politician
Wikipedia - Keshav Prasad Mainali -- Nepali politician
Wikipedia - Keshav Prasad Maurya -- Deputy CM of Uttar Pradesh (born 1969)
Wikipedia - Keshav Prasad Upadhyaya -- Former Chief Justice of Nepal
Wikipedia - Khem Prasad Lohani -- Nepali politician
Wikipedia - Khorasan Campaign -- Safavid loyalist campaign led by Nader
Wikipedia - Khorasan group -- Islamic group
Wikipedia - Khorasani, Sultan Ali
Wikipedia - Khorasani Turkic -- Oghuz Turkic language spoken in Iran
Wikipedia - Khurasan University -- Private university in Jalalabad, Afghanistan
Wikipedia - Khurasan
Wikipedia - Kinoshita-Terasaka knot -- Specific knot in knot theory
Wikipedia - Kirana Larasati -- Indonesian actress
Wikipedia - Kiso-Hirasawa Station -- Railway station in Shiojiri, Nagano Prefecture, Japan
Wikipedia - K.I.Varaprasad Reddy
Wikipedia - KM-DM-^Ystutis Krasauskas -- Lithuanian artist and sculptor
Wikipedia - Kodela Siva Prasada Rao -- Indian politician
Wikipedia - K. Parasaran
Wikipedia - K. P. Rajendra Prasad -- Indian politician
Wikipedia - Krishnadev Prasad Gaud -- Bhojpuri Poet
Wikipedia - Krishna Prasad Bhattarai -- Nepalese politician
Wikipedia - Krishna Prasad Dahal -- Nepali politician
Wikipedia - Krishna Prasad Koirala -- Nepali politician
Wikipedia - Krityunjai Prasad Sinha
Wikipedia - Kulapat Yantrasast -- Thai Architect
Wikipedia - Kul Prasad Nepal -- Nepalese politician
Wikipedia - Kul Prasad Uprety -- Nepalese politician
Wikipedia - Kurasala Kannababu -- Indian politician
Wikipedia - Kurasawatrechus -- Genus of beetles
Wikipedia - K. V. Vijayendra Prasad -- Indian film director and screenwriter
Wikipedia - Lakshmi Prasad Devkota
Wikipedia - Lal Babu Prasad Gupta -- Indian politician from Bihar
Wikipedia - Lal Prasad Sawa Limbu -- Nepali politician
Wikipedia - Lalu Prasad Yadav -- Indian politician
Wikipedia - Laxmi Prasad Devkota
Wikipedia - Laxmi Prasad Pokhrel -- Nepali politician
Wikipedia - Laxmi Prasad Sihare
Wikipedia - Leela Mahal Center -- 2004 Indian Telugu-language film directed by Devi Prasad
Wikipedia - List of Qawmi Madrasas in Bangladesh -- Wikipedia list article
Wikipedia - List of Rashtrasant Tukadoji Maharaj Nagpur University people -- Wikipedia list article
Wikipedia - L. S. N. Prasad -- Indian pediatrician
Wikipedia - L. V. Prasad -- Indian actor, director, producer
Wikipedia - Macrobarasa -- Genus of moths
Wikipedia - Madhav Prasad Devkota -- Nepali writer
Wikipedia - Madhav Prasad Ghimire -- Nepali poet
Wikipedia - Madrasa Aminia Islamia Arabia -- Islamic seminary in India
Wikipedia - Madrasa and tomb of Alauddin Khalji -- Historic Islamic school containing a tomb in Delhi, India
Wikipedia - Madrasa Ennakhla -- Former madrasa in Tunis, Tunisia
Wikipedia - Madrasah
Wikipedia - Madrasapattinam -- 2010 Tamil period film directed by A. L. Vijay
Wikipedia - Madrasas
Wikipedia - Madrasa -- School or college, often providing an Islamic education
Wikipedia - Mahadev Prasad Mishra -- Indian Thumri Singer
Wikipedia - Mahaprasad (Jagannath Temple)
Wikipedia - Makarasana -- A reclining posture in hatha yoga
Wikipedia - Malati Mangale -- Musical drama by Madhav Prasad Ghimire
Wikipedia - Mangaiyar Thilakam -- 1955 film by L. V. Prasad
Wikipedia - Mangal Prasad Tharu -- Nepalese politician
Wikipedia - Manohara (film) -- 1954 film by L. V. Prasad
Wikipedia - Manohar Prasad Singh -- Indian politician
Wikipedia - Manop Leeprasansakul -- Thai sports shooter
Wikipedia - Manoranjan Prasad Sinha -- Bhojpuri Poet
Wikipedia - Man Prasad Khatri -- Nepali politician
Wikipedia - Marisa Darasavath -- Laotian artist and translator
Wikipedia - Martin Berasategui
Wikipedia - Masanori Hirasawa
Wikipedia - Mata Prasad
Wikipedia - Mathura Prasad Mishra -- Indian politician
Wikipedia - Matrika Prasad Yadav -- Nepali politician
Wikipedia - Matsyendrasana -- A seated twisting posture in hatha yoga
Wikipedia - Mayurasana -- A hand-balancing posture in hatha yoga
Wikipedia - M-CM-^Angel Garasa -- Spanish-Mexican actor
Wikipedia - Meendum Parasakthi -- 1985 Tamil-language film
Wikipedia - Meichi Narasaki -- Japanese climber
Wikipedia - M-EM-^Lami Station -- Railway station in M-EM-^Lamishirasato, Chiba Prefecture, Japan
Wikipedia - Miho Karasawa -- Japanese singer
Wikipedia - Mirasaka Station -- Railway station in Miyoshi, Hiroshima Prefecture, Japan
Wikipedia - Missamma -- 1955 film directed by L. V. Prasad
Wikipedia - Missiamma -- 1955 film by L. V. Prasad
Wikipedia - M. K. Vishnu Prasad -- Indian politician
Wikipedia - Mohan Prasad Pandey -- Nepali politician
Wikipedia - Mohan Prasad Sharma -- Former Chief Justice of Nepal
Wikipedia - Mohan Sundar Deb Goswami -- Odissi classical musician, Guru of traditional Odisha Rasa theatre, Indian film director
Wikipedia - Monster (manga) -- Japanese manga series by Naoki Urasawa
Wikipedia - Moscheen und Madrasabauten in Iran 1785-1848 -- 2005 book by Markus Ritter
Wikipedia - Mountain of Dinosaurs -- 1967 film directed by Rasa Strautmane
Wikipedia - Mu'adh ibn Muslim -- Abbasid governor of Khorasan (778-780)
Wikipedia - Mudrika Prasad Rai -- Indian politician
Wikipedia - Muhammad ibn Tahir -- Governor of Khorasan and Baghdad
Wikipedia - Mujirushi: The Sign of Dreams -- Manga series by Naoki Urasawa
Wikipedia - Murasakino Station -- Railway station in Kitakami, Iwate Prefecture, Japan
Wikipedia - Murasaki Shikibu -- Japanese novelist and poet
Wikipedia - Murasaki Station -- Railway station in Chikushino, Fukuoka Prefecture, Japan
Wikipedia - Myneni Hariprasada Rao
Wikipedia - M. Y. S. Prasad
Wikipedia - Nagata Station (Chiba) -- Railway station in M-EM-^Lamishirasato, Chiba Prefecture, Japan
Wikipedia - Nako Hirasawa -- Japanese Paralympic archer
Wikipedia - Nalan Kumarasamy -- Indian film director
Wikipedia - Nalla -- 2004 film directed by V. Nagendra Prasad
Wikipedia - Nannaku Prematho (soundtrack) -- 2016 soundtrack album by Devi Sri Prasad
Wikipedia - Naoki Urasawa -- Japanese mangaka and musician
Wikipedia - Naramalli Sivaprasad -- Indian politician
Wikipedia - Narasapuram (Lok Sabha constituency) -- Lok Sabha Constituency in Andhra Pradesh
Wikipedia - Narayan Prasad Adhikari -- Nepali politician
Wikipedia - Narayanprasaddasji Swami
Wikipedia - Narayan Prasad Khatiwada -- Nepali politician
Wikipedia - Narayan Prasad Marasini -- Nepali politician
Wikipedia - Narayan Prasad -- Politician from Bihar
Wikipedia - Nashriya-i Madrasa-i Mubaraka-i Dar al-Funun-i Tabriz -- 1893 Persian-language journal
Wikipedia - Navarasan -- Indian Kannada film director and actor
Wikipedia - Navarasa (web series) -- 2021 Indian web series
Wikipedia - NawrM-EM-+z (Mongol emir) -- 13th century Mongol Naib of Ilkhanate and Ilkhanate emir of Khorasan
Wikipedia - Neena Prasad -- Indian dancer
Wikipedia - Nicole Phungrasamee Fein -- American artist
Wikipedia - Nicomachus of Gerasa
Wikipedia - Nimmagadda Prasad -- Indian businessman
Wikipedia - Nirasaki Station -- Railway station in Nirasaki, Yamanashi Prefecture, Japan
Wikipedia - Nivas K. Prasanna -- Indian music director and singer
Wikipedia - North Khorasan Province -- Province of Iran
Wikipedia - Nrisingha Prasad Bhaduri -- Indian historian and writer
Wikipedia - Nutan Prasad -- Indian actor
Wikipedia - Om Prasad Ojha -- Nepali politician
Wikipedia - Pablo de Sarasate
Wikipedia - Pandemis cerasana -- Barred fruit-tree tortix moth
Wikipedia - Paranoia Agent Original Soundtrack -- 2004 soundtrack album by Susumu Hirasawa
Wikipedia - Parasabatinca -- Extinct genus of moths in family Micropterigidae
Wikipedia - Parasailing
Wikipedia - ParaSail (programming language)
Wikipedia - Parasa indetermina -- Species of moth
Wikipedia - Parasakthi (film) -- 1952 film by Krishnan-Panju
Wikipedia - Parasalvazaon -- Genus of beetles
Wikipedia - Parasambus -- Genus of beetles
Wikipedia - Parasang -- Historical Persian unit of travel distance
Wikipedia - Parasara
Wikipedia - Parasaurolophus -- Hadrosaurid ornithopod dinosaur genus from Late Cretaceous Period
Wikipedia - Pelli Chesi Choodu -- 1952 film by L. V. Prasad
Wikipedia - Pempudu Koduku -- 1953 film by L. V. Prasad
Wikipedia - Phoolan Prasad
Wikipedia - Phrasal verb
Wikipedia - Pietrasanta
Wikipedia - Piranha -- Characin fishes of the family Serrasalmdae
Wikipedia - Pluto (manga) -- Manga series by Naoki Urasawa
Wikipedia - Poovarasam Peepee -- 2014 film directed by Halitha Shameem
Wikipedia - Prasad Devineni -- Indian film producer
Wikipedia - Prasad Panda -- Canadian politician
Wikipedia - Prasad Sinha -- Indian cricket umpire
Wikipedia - Prasad V. Potluri Siddhartha Institute of Technology -- Indian technology university
Wikipedia - Prasad V. Tetali -- Indian-American mathematician and computer scientist
Wikipedia - Prasangika
Wikipedia - Prasanna Acharya -- Politician from Odisha, India
Wikipedia - Prasanna Jayawardena -- Sri Lankan judge
Wikipedia - Prasanna Kumar Tagore -- Indian lawyer and conservative Hindu leader (1801-1886)
Wikipedia - Prasannapada
Wikipedia - Prasanna Ranatunga -- Sri Lankan politician
Wikipedia - Prasanna Ranaweera -- Sri Lankan politician
Wikipedia - Prasanta Behera -- Politician from Odisha, India
Wikipedia - Prasanta Chandra Mahalanobis -- Indian scientist and statistician
Wikipedia - Prasanta Debbarma -- Indian politician
Wikipedia - Prasanta Kumar Majumdar -- Indian politician
Wikipedia - Prasanta Pradhan -- Indian politician
Wikipedia - Prasanth Mambully -- Screenwriter, actor, and director
Wikipedia - Prasar Bharati -- Public broadcaster in India
Wikipedia - Prasarita Padottanasana -- A standing forward bending yoga position
Wikipedia - Prasa
Wikipedia - Prasada -- Religious food offered in Hinduism and Sikhism temples
Wikipedia - P. T. Kumarasamy Chetty -- Indian businessman
Wikipedia - Pt Ram Prasad Bismil railway station -- Railway Station in Uttar Pradesh, India
Wikipedia - Pura Handa Kaluwara -- 2001 film by Prasanna Vithanage
Wikipedia - Purna Prasad Rajbansi -- Nepali politician
Wikipedia - Qaleh-ye Sefid, North Khorasan -- village in North Khorasan, Iran
Wikipedia - Rabindra Prasad Adhikari -- Nepali politician
Wikipedia - Raghuvansh Prasad Singh -- Indian politician
Wikipedia - Rajendra Prasad -- Indian independence activist, lawyer, scholar and first President of India (1884-1963)
Wikipedia - Rajendra Prasad Yadav (politician) -- Indian politician
Wikipedia - Raji Rasaki -- Nigerian politician and general
Wikipedia - Rakeshprasad
Wikipedia - Ramaprasad Banik -- Bengali actor, director and playwright
Wikipedia - Ram Ayodhya Prasad Yadav -- Nepali politician
Wikipedia - Rambabu Prasai -- Nepali politician
Wikipedia - Ramchandra Prasad Singh -- Indian politician
Wikipedia - Ramesh Prasad Khatik -- Indian politician
Wikipedia - Ramesh Prasad Yadav -- Indian politician
Wikipedia - Rameshwar Prasad (Uttar Pradesh politician) -- Indian politician
Wikipedia - Rameshwor Prasad Dhungel -- Nepali politician
Wikipedia - Ram Prasad Bismil
Wikipedia - Ram Prasad Chaudhary -- Indian politician
Wikipedia - Ram Prasad (cinematographer) -- Indian photographer and cinematographer
Wikipedia - Ramprasad Ki Tehrvi -- Indian Hindi-language drama film directed by Seema Pahwa
Wikipedia - Ramprasad Sen -- Shakta poet of eighteenth century Bengal
Wikipedia - Ram Surat Prasad -- Indian politician
Wikipedia - Ranganath Prasanna -- Cricket umpire
Wikipedia - Rangsima Rodrasamee -- Thai politician
Wikipedia - Rapaka Vara Prasada Rao -- Indian politician
Wikipedia - Rasa (aesthetics) -- Aesthetic concept in Indian arts related to emotions and feelings
Wikipedia - Rasaathi -- 2019 Tamil-language TV series
Wikipedia - Rasabali -- sweet dish from Odisha, India
Wikipedia - Rasa BudbergytM-DM-^W -- Lithuanian politician
Wikipedia - Rasa Dentremont -- American canoeist
Wikipedia - Rasagiline
Wikipedia - Rasah (federal constituency) -- Malaysian federal constituency
Wikipedia - Rasahus -- Genus of insects
Wikipedia - Rasa'il al-Hikma
Wikipedia - Rasa JukneviM-DM-^MienM-DM-^W -- Lithuanian politician
Wikipedia - Rasak Ojo Bakare -- A professor of Theatre and Aesthetics
Wikipedia - Rasa Magan -- 1994 Tamil romantic drama film
Wikipedia - Rasa Music -- American record label
Wikipedia - Rasana Atreya -- Indian English-language author
Wikipedia - Rasan (organization) -- A Kurdish LGBT and women's rights NGO
Wikipedia - Rasaq Tanimowo -- Nigerian weightlifter
Wikipedia - Rasara (Assembly constituency) -- Assembly constituency in Uttar Pradesh
Wikipedia - Rasa (theology) -- Creation and reception of a distinct 'flavor' or quality
Wikipedia - Rasa von Werder -- American bodybuilder and sex worker
Wikipedia - Rasayana
Wikipedia - Rasayani -- Village in Maharashtra
Wikipedia - Rashvanlu, Shirvan -- Village in North Khorasan, Iran
Wikipedia - Ravi Shankar Prasad -- Indian politician
Wikipedia - Razavi Khorasan Province -- Province of Iran
Wikipedia - Rikuzen-Shirasawa Station -- Railway station in Sendai, Japan
Wikipedia - Robat-e Khakestari -- village in Razavi Khorasan, Iran
Wikipedia - Roknabad, Razavi Khorasan -- village in Razavi Khorasan, Iran
Wikipedia - Sachindra Prasad Singh -- Indian politician from Bihar
Wikipedia - Sadamichi Hirasawa -- Japanese artist
Wikipedia - Sakurasawa Station -- Railway station in Nakano, Nagano Prefecture, Japan
Wikipedia - Samuel Kanaka Prasad -- 21st-century Indian bishop
Wikipedia - Sanjan (Khorasan) -- Ancient city in the Greater Khorasan
Wikipedia - Sanjay Prasad Yadav -- Indian politician
Wikipedia - Sankari Prasad Basu
Wikipedia - Sankore Madrasah -- Ancient center of learning in Timbuktu, Mali
Wikipedia - Sant Prasad -- Indian politician
Wikipedia - Saqi, Razavi Khorasan -- village in Razavi Khorasan, Iran
Wikipedia - Sarasadat Khademalsharieh -- Iranian chess player
Wikipedia - Sarika Prasad -- Singaporean cricket umpire
Wikipedia - Sarik, South Khorasan -- village in South Khorasan, Iran
Wikipedia - Satish Prasad Singh -- Indian politician
Wikipedia - Satyadev Prasad Singh -- Indian politician
Wikipedia - Satyadev Prasad -- Indian archer
Wikipedia - Satyendra Prasanna Sinha, 1st Baron Sinha -- British Indian politician
Wikipedia - Sayew -- 2003 film by Kongdej Jaturanrasamee
Wikipedia - Scopula derasata -- Species of geometer moth in subfamily Sterrhinae
Wikipedia - Sehk -- village in South Khorasan, Iran
Wikipedia - Selva Rasalingam -- British film actor (born 1968)
Wikipedia - Shakti Prasad -- Indian actor (1928-1986)
Wikipedia - Shakuntala (epic) -- Epic by Lakshmi Prasad Devkota
Wikipedia - Shanakiya Rasamanickam -- Sri Lankan Tamil politician and Member of Parliament
Wikipedia - Shankar Prasad Sharma -- Nepalese diplomat
Wikipedia - Shankar Prasad Shrestha -- Nepalese Professor
Wikipedia - Shanker Prasad Pandey -- Nepali politician
Wikipedia - Shanta Rasa -- One of the nine aesthetic flavors in Sanskrit literature
Wikipedia - Sharada Prasad Ghimire -- Nepalese judge
Wikipedia - Shimpu Station -- Railway station in Nirasaki, Yamanashi Prefecture, Japan
Wikipedia - Shirasagi Station -- Railway station in Sakai, Japan
Wikipedia - Shirasaka Station -- Railway station in Shirakawa, Fukushima Prefecture, Japan
Wikipedia - Shirasawa Keikoku Station -- Guided bus station in Nagoya, Japan
Wikipedia - Shirasawa Station (Aichi) -- Railway station in Agui, Aichi Prefecture, Japan
Wikipedia - Shirasawa Station (Akita) -- Railway station in M-EM-^Ldate, Akita Prefecture, Japan
Wikipedia - Shirasawa Station (Kagoshima) -- Railway station in Makurazaki, Kagoshima Prefecture, Japan
Wikipedia - Shiv Prasad Humagain -- Nepalese politician
Wikipedia - Shiv Prasad Kosta -- Indian space scientist
Wikipedia - Shreyans Prasad Jain
Wikipedia - Shyamaprasad Mukherjee
Wikipedia - Shyamaprasad -- Indian filmmaker
Wikipedia - Shyambabu Prasad Yadav -- Indian politician from Bihar
Wikipedia - Shyla Angela Prasad -- beauty pageant titleholder
Wikipedia - Siege of Dwarasamudra -- Siege of Hoysala Empire by Delhi Sultanate
Wikipedia - Sirasa TV -- Sri Lankan television network
Wikipedia - Sirimathi Rasadari -- Sri Lankan actress
Wikipedia - Sneeze: Naoki Urasawa Story Collection -- Japanese manga series
Wikipedia - Snowclone -- Neologism for a type of clichM-CM-) and phrasal template
Wikipedia - Soodhu Kavvum -- 2013 film by Nalan Kumarasamy
Wikipedia - South Khorasan Province -- Province of Iran
Wikipedia - Sree Agrasain College -- Undergraduate college in Kolkata, West Bengal, India
Wikipedia - Sringara -- One of the nine rasas
Wikipedia - Srinivasa Prasad -- Indian politician
Wikipedia - Sthayibhava -- Essential aesthetic element of Rasa theory in Sanskrit literature.
Wikipedia - Subhaprasanna -- Indian artist
Wikipedia - Subhash Prasad Yadav (Bihar) -- Indian politician
Wikipedia - Subramanian Arun Prasad -- Indian chess grandmaster
Wikipedia - Sudama Prasad -- Indian politician
Wikipedia - Suhan Prasad -- Indian film producer and director
Wikipedia - Sulagitti Narasamma
Wikipedia - Sultan Ali Khorasani
Wikipedia - Supriya Sahu -- Indian Administrative Service, Director General, Doordarshan, Prasar Bharati
Wikipedia - Suraj Prasad -- Indian politician
Wikipedia - Surasawadee Boonyuen -- Thai indoor volleyball
Wikipedia - Surasa -- Hindu goddess, described as the mother of snakes
Wikipedia - Surendra Prasad Singh -- Former Chief Justice of Nepal
Wikipedia - Surendra Prasad Sinha -- Indian politician
Wikipedia - Surendra Prasad
Wikipedia - Surya Prasad Pathak -- Nepalese politician
Wikipedia - Susumu Hirasawa -- Japanese musician
Wikipedia - Su. Thirunavukkarasar -- Indian politician
Wikipedia - Svatantrika-PrasaM-aM-9M-^Egika distinction -- doctrinal distinction within Tibetan Buddhism
Wikipedia - Svatantrika-Prasa
Wikipedia - SvatantrikaPrasa
Wikipedia - Swami Prasad Maurya -- Indian politician
Wikipedia - Syamaprasad Institute of Technology & Management -- College in west Bengal
Wikipedia - Syama Prasad Mukherjee -- Indian politician, barrister and academic (1901-1953)
Wikipedia - Tabula Rasa (TV series) -- 2017 Flemish-language television series
Wikipedia - Tabula Rasa (video game)
Wikipedia - Tabula rasa -- Latin phrase; philosophical theory of mind
Wikipedia - Tahirid dynasty -- Iranian dynasty ruing over Khurasan as Abbasid vassals
Wikipedia - Tajar -- Iranian village in Razavi Khorasan
Wikipedia - Tang campaigns against Karasahr
Wikipedia - Tanka Prasad Sharma Kadel -- Nepali politician
Wikipedia - Tantrasamgraha -- Astronomical treatise written by Nilakantha Somayaji
Wikipedia - Taraprasad Das -- Indian ophthalmologist
Wikipedia - Tarasa Shevchenka (Kyiv Metro) -- Kyiv Metro Station
Wikipedia - Tarini Prasad Koirala -- Nepali politician
Wikipedia - Tarkishore Prasad -- Indian politician (born 1956)
Wikipedia - Tauba Tauba -- 2004 film by T L V Prasad
Wikipedia - Tekendra Prasad Bhatt -- Nepalese politician
Wikipedia - Template talk:People of Khorasan
Wikipedia - Terasaki Kogyo -- Japanese painter
Wikipedia - Tetrasarus -- Genus of beetles
Wikipedia - Thamezharasan -- Indian Tamil action film by Babu Yogeswaran
Wikipedia - Thayilla Pillai -- 1961 film by L. V. Prasad
Wikipedia - The Prasada -- Apartment building in Manhattan, New York
Wikipedia - Trifurcula trasaghica -- Species of moth
Wikipedia - Ultrasauros (sculpture) -- Former public art sculpture
Wikipedia - Ultrasaurus -- Genus of large, plant-eating dinosaur from the Early Cretaceous period
Wikipedia - Upendra Prasad -- Indian politician
Wikipedia - Urasa Station -- Railway station in Minamiuonuma, Niigata Prefecture, Japan
Wikipedia - Urdhva Dhanurasana
Wikipedia - Ustrasana -- A kneeling back-bending posture in modern yoga
Wikipedia - Vadgaon Rasai -- Village in Maharashtra
Wikipedia - Vajirananavarorasa -- Thai Prince-Patriarch
Wikipedia - Vajrasana (yoga) -- kneeling asana in modern yoga, a meditation asana in hatha yoga
Wikipedia - Vajrasattva
Wikipedia - Vangapandu Prasada Rao -- Indian writer and actor
Wikipedia - Varaprasad Rao Velagapalli -- Indian politician
Wikipedia - Vasanthy Arasaratnam -- Sri Lankan Tamil academic
Wikipedia - Vegunta Mohan Prasad -- Telugu poet and writer (1942-2011)
Wikipedia - Vehicle registration plates of Khorasan -- Khorasan vehicle license plates
Wikipedia - Vehicle registration plates of North Khorasan -- North Khorasan vehicle license plates
Wikipedia - Vehicle registration plates of South Khorasan -- South Khorasan vehicle license plates
Wikipedia - Venkatesh Prasad -- Indian cricket player
Wikipedia - Vijay Prasad Dimri -- Indian geophysical scientist
Wikipedia - Vinaya Prasad -- Indian actress
Wikipedia - Vinay Prasad -- American hematologist-oncologist
Wikipedia - Vinod Prasad Yadav -- Indian politician
Wikipedia - Virabhadrasana -- A standing lunging posture in modern yoga
Wikipedia - Virasana -- A kneeling posture in modern yoga
Wikipedia - Virasat-e-Khalsa -- Sikh museum in Anandpur Sahib, Punjab, India
Wikipedia - Virginia Berasategui -- Spanish triathlete
Wikipedia - Vishambhar Prasad Nishad -- Indian politician
Wikipedia - Visharad Phirangi Prasad -- Indian politician
Wikipedia - V. Nagendra Prasad -- Indian lyricist
Wikipedia - XHRASA-FM -- Radio station in San Luis Potosi, San Luis Potosi
Wikipedia - X: Past Is Present -- 2014 Indian experimental film directed by Nalan Kumarasamy
Wikipedia - Yamuna Prasad Mandal -- Indian politician
Wikipedia - Yarlagadda Lakshmi Prasad
Wikipedia - Yasumasa Narasaki -- Japanese politician
Wikipedia - Yasushi Nirasawa -- Japanese illustrator, character designer, and model maker
Wikipedia - Yoganidrasana -- reclining forward-bending posture in modern yoga
Wikipedia - Yosheefin Prasasti -- Indonesian sport shooter
Lalu Prasad Yadav ::: Born: June 11, 1947; Occupation: Politician;
Murasaki Shikibu ::: Born: 973; Occupation: Novelist;
Beni Prasad Verma ::: Born: February 11, 1941; Occupation: Indian Politician;
Syama Prasad Mukherjee ::: Born: July 6, 1901; Died: June 23, 1953; Occupation: Indian Politician;
https://www.goodreads.com/book/show/10435739-rindu-seorang-rafik-16-cerita-aneka-rasa
https://www.goodreads.com/book/show/1071880.English_Phrasal_Verbs_in_Use_Advanced
https://www.goodreads.com/book/show/115776.The_Diary_of_Lady_Murasaki
https://www.goodreads.com/book/show/12290008-antologi-rasa
https://www.goodreads.com/book/show/1284029.Naoki_Urasawa_s_Monster_Volume_3
https://www.goodreads.com/book/show/13645013-dahsyatnya-berperasaan-positif
https://www.goodreads.com/book/show/15939810-tantrasara-of-abhinavagupta
https://www.goodreads.com/book/show/1616087.The_Svatantrika_Prasangika_Distinction
https://www.goodreads.com/book/show/16164417-perjalanan-rasa
https://www.goodreads.com/book/show/17156136-meerasadhu
https://www.goodreads.com/book/show/1718107.Televisi_dan_Prasangka_Budaya_Massa
https://www.goodreads.com/book/show/17313536-fabula-rasa
https://www.goodreads.com/book/show/17459245-becoming-vajrasattva
https://www.goodreads.com/book/show/17730603-sri-sri-ramakrishna-leelaprasanga-vol-2
https://www.goodreads.com/book/show/17730619-sri-sri-ramakrishna-leelaprasanga-vol-1
https://www.goodreads.com/book/show/18594555-tabula-rasa
https://www.goodreads.com/book/show/18690425-sarasammana-samadhi
https://www.goodreads.com/book/show/19535998-tabula-rasa
https://www.goodreads.com/book/show/224595.Rasa_Or_Knowledge_of_the_Self
https://www.goodreads.com/book/show/23567558-saat-mukmin-merasakan-kelezatan-iman
https://www.goodreads.com/book/show/23838245-rasana-atreya-s-boxed-set
https://www.goodreads.com/book/show/25563673-voo-rasante
https://www.goodreads.com/book/show/26103071-rama-katha-rasavahini-part-1
https://www.goodreads.com/book/show/261130.Becoming_Vajrasattva
https://www.goodreads.com/book/show/28691944-pirasaurs
https://www.goodreads.com/book/show/29986979-svatantrika-prasangika-distinction
https://www.goodreads.com/book/show/30113787-rasana-atreya-s-boxed-set
https://www.goodreads.com/book/show/31578108-hazari-prasad-dwivedi-granthavali---vol-1-to-12
https://www.goodreads.com/book/show/3204996-the-madrasa-in-asia
https://www.goodreads.com/book/show/32603767-the-legend-of-lakshmi-prasad
https://www.goodreads.com/book/show/32999377-sanchaita--hazari-prasad-dwivedi
https://www.goodreads.com/book/show/34017058.The_Bloodprint__The_Khorasan_Archives__1_
https://www.goodreads.com/book/show/34140077.Jaya_and_Rasa_A_Love_Story
https://www.goodreads.com/book/show/36433742-the-top-50-english-phrasal-verbs-superb-book-for-students-and-celta-tea
https://www.goodreads.com/book/show/369669.The_Tale_of_Murasaki
https://www.goodreads.com/book/show/40977052-the-tabula-rasa-saga
https://www.goodreads.com/book/show/4254012-satu-rasa-dua-hati
https://www.goodreads.com/book/show/44172940-rasa
https://www.goodreads.com/book/show/44318923-a-nobleman-from-khorasan
https://www.goodreads.com/book/show/45026999-the-legend-of-lakshmi-prasad
https://www.goodreads.com/book/show/533009.Naoki_Urasawa_s_Monster_Volume_4
https://www.goodreads.com/book/show/533016.Naoki_Urasawa_s_Monster_Volume_1
https://www.goodreads.com/book/show/6091876-perasaan-perasaan-yang-menyusun-sendiri-petualangannya
https://www.goodreads.com/book/show/641941.Kumarasambhava_of_Kalidasa
https://www.goodreads.com/book/show/735218.Larasati
https://www.goodreads.com/book/show/8228780-jus-tomat-rasa-pedas
https://www.goodreads.com/book/show/826026.English_Phrasal_Verbs_in_Use_Intermediate
https://www.goodreads.com/book/show/86934.The_Autobiography_Fahrasa_of_a_Moroccan_Soufi
https://www.goodreads.com/book/show/879119.Naoki_Urasawa_s_Monster_Volume_2
https://www.goodreads.com/author/show/1020369.Eswar_Prasad
https://www.goodreads.com/author/show/1054548.Balmiki_Prasad_Singh
https://www.goodreads.com/author/show/1091990.Prasasti_Budiyanto
https://www.goodreads.com/author/show/14174804.Prasanth_Sreevalasam
https://www.goodreads.com/author/show/14174807.Soumya_Prasad
https://www.goodreads.com/author/show/14199685.Reena_Prasad
https://www.goodreads.com/author/show/14876832.Erika_Umbrasait_
https://www.goodreads.com/author/show/14900222.Vinayak_K_Prasad
https://www.goodreads.com/author/show/14988620.Shivprasad_Mishr_Rudra_
https://www.goodreads.com/author/show/15078639.Rasaq_Malik_Gbolahan
https://www.goodreads.com/author/show/15210540.Stacy_A_Trasancos
https://www.goodreads.com/author/show/16211354.Larasaty_Laras
https://www.goodreads.com/author/show/16276224.Vina_Jie_Min_Prasad
https://www.goodreads.com/author/show/16718461.Akil_Kumarasamy
https://www.goodreads.com/author/show/17118828.Maialen_Berasategi_Catal_n
https://www.goodreads.com/author/show/1716525.Grazia_Verasani
https://www.goodreads.com/author/show/17508674.Leonardo_Trasande
https://www.goodreads.com/author/show/17648276.Kurasato_Sehdi
https://www.goodreads.com/author/show/17673102.S_Shyam_Prasad
https://www.goodreads.com/author/show/17694239.Prasanna_K_Varma
https://www.goodreads.com/author/show/18027361._g_rasa_re_ha
https://www.goodreads.com/author/show/18330611.Murasaki_Hiro
https://www.goodreads.com/author/show/18483808.Daniela_Trasatti
https://www.goodreads.com/author/show/18645174.Mu_Varatharasan
https://www.goodreads.com/author/show/18850156.Wirasakti_Setyawan
https://www.goodreads.com/author/show/19028062.Lalu_Prasad_Yadav
https://www.goodreads.com/author/show/207156.Chandra_Prasad
https://www.goodreads.com/author/show/294649.Naoki_Urasawa
https://www.goodreads.com/author/show/3290008.Smriti_Prasadam_Halls
https://www.goodreads.com/author/show/4670920.Bishweshwar_Prasad_Koirala
https://www.goodreads.com/author/show/4739.Murasaki_Shikibu
https://www.goodreads.com/author/show/4791115.Hazari_Prasad_Dwivedi
https://www.goodreads.com/author/show/5002639.Sunayna_Prasad
https://www.goodreads.com/author/show/5141598._Jaishankar_Prasad_
https://www.goodreads.com/author/show/521934.Tita_Larasati
https://www.goodreads.com/author/show/5432137.Aarathi_Prasad
https://www.goodreads.com/author/show/562236.Monica_Prasad
https://www.goodreads.com/author/show/5643442.Susan_P_Cerasano
https://www.goodreads.com/author/show/5759698.Rasa_A_kinyt_
https://www.goodreads.com/author/show/5771483.Rasana_Atreya
https://www.goodreads.com/author/show/6182432.Michelle_Cohen_Corasanti
https://www.goodreads.com/author/show/6457998.Yomi_Hirasaka
https://www.goodreads.com/author/show/65195.Rama_Prasada
https://www.goodreads.com/author/show/6983299.Sidney_S_Prasad
https://www.goodreads.com/author/show/7013031.Rohit_Prasad
https://www.goodreads.com/author/show/7079000.Kameshwar_Prasad
https://www.goodreads.com/author/show/7162814.Laxmi_Prasad_Devkota
https://www.goodreads.com/author/show/7176366.Guru_Prasad_Mainali
https://www.goodreads.com/author/show/7182475.Clark_Prasad
https://www.goodreads.com/author/show/7360019.Prasanna_Rao
https://www.goodreads.com/author/show/7883837.Nrisingha_Prasad_Bhaduri
https://www.goodreads.com/author/show/8122150.Yukiya_Murasaki
https://www.goodreads.com/author/show/8186973.Karanam_Pavan_Prasad
https://www.goodreads.com/author/show/8552501.Era_Natarasan
https://www.goodreads.com/author/show/978888.Preeta_Samarasan
https://www.goodreads.com/author/show/986624.Chakravarthi_Ram_Prasad
Goodreads author - Eswar_Prasad
Goodreads author - Balmiki_Prasad_Singh
Goodreads author - Prasanna_K_varma
Goodreads author - Naoki_Urasawa
Goodreads author - Smriti_Prasadam_Halls
Goodreads author - Bishweshwar_Prasad_Koirala
Goodreads author - Murasaki_Shikibu
Goodreads author - Hazari_Prasad_Dwivedi
Goodreads author - Jaishankar_Prasad
Goodreads author - Tita_Larasati
Goodreads author - Rasana_Atreya
Goodreads author - Michelle_Cohen_Corasanti
Goodreads author - Karanam_Pavan_Prasad
Goodreads author - Era_Natarasan
Goodreads author - Preeta_Samarasan
http://es.tabularasa.wikia.com/wiki/
http://fr.tabularasa.wikia.com/wiki/
http://it.tabularasa.wikia.com/wiki/
http://ja.tabularasa.wikia.com/wiki/
http://ko.tabularasa.wikia.com/wiki/
https://religion.wikia.org/wiki/Cakrasa
https://religion.wikia.org/wiki/Dharasan_piaas_bahuth_man_maerai
https://religion.wikia.org/wiki/File:Chakrasamvara_Vajravarahi.jpg
https://religion.wikia.org/wiki/File:Nadir_Madrasah_Phoenix.JPG
https://religion.wikia.org/wiki/Prasa
https://religion.wikia.org/wiki/Prasad
https://religion.wikia.org/wiki/Rasa_lila
https://religion.wikia.org/wiki/Surasa
https://religion.wikia.org/wiki/Sutrasamuccaya
https://religion.wikia.org/wiki/Uttarasanga
https://religion.wikia.org/wiki/Vajrasattva
https://warszawa.wikia.org/wiki/Kategoria:Linie_o_trasach_czasowo_zmienionych
http://zh.tabularasa.wikia.com/wiki/
http://zh-tw.tabularasa.wikia.com/wiki/
Dharmapedia - Akarna_Dhanurasana
Dharmapedia - Astavakrasana
Dharmapedia - Chakrasana
Dharmapedia - Char_Bhadrasan_massacre
Dharmapedia - Dhanurasana
Dharmapedia - File:Mahakavi_laxmi_prasad_devkota.jpg
Dharmapedia - Laxmi_Prasad_Devkota
Dharmapedia - Makarasana
Dharmapedia - Matsyendrasana
Dharmapedia - Mayurasana
Dharmapedia - Rasayana
Dharmapedia - Supta_Virasana
Dharmapedia - Syama_Prasad_Mukherjee
Dharmapedia - Ustrasana
Dharmapedia - Vajrasana_(yoga
Dharmapedia - Virabhadrasana
Dharmapedia - Virasana
Dharmapedia - Yoganidrasana
https://tvtropes.org/pmwiki/pmwiki.php/Characters/BatmanRasAlGhul
https://tvtropes.org/pmwiki/pmwiki.php/ComicBook/RasAlGhul
https://tvtropes.org/pmwiki/pmwiki.php/Comicbook/RasAlGhul
https://tvtropes.org/pmwiki/pmwiki.php/Creator/MurasakiShikibu
https://tvtropes.org/pmwiki/pmwiki.php/Creator/MurasakiYukiya
https://tvtropes.org/pmwiki/pmwiki.php/Creator/NaokiUrasawa
https://tvtropes.org/pmwiki/pmwiki.php/Creator/RASalvatore
https://tvtropes.org/pmwiki/pmwiki.php/Creator/YasushiNirasawa
https://tvtropes.org/pmwiki/pmwiki.php/Film/PashupatiPrasad
https://tvtropes.org/pmwiki/pmwiki.php/Film/VendettaForASamurai
https://tvtropes.org/pmwiki/pmwiki.php/Film/WayForASailor
https://tvtropes.org/pmwiki/pmwiki.php/Literature/TheDungeonCallsForASage
https://tvtropes.org/pmwiki/pmwiki.php/Main/BetterAsALetsPlay
https://tvtropes.org/pmwiki/pmwiki.php/Main/OurHydrasAreDifferent
https://tvtropes.org/pmwiki/pmwiki.php/Main/StarringAStarAsAStar
https://tvtropes.org/pmwiki/pmwiki.php/Main/ZebrasAreJustStripedHorses
https://tvtropes.org/pmwiki/pmwiki.php/Manga/AshigeiShoujoKomurasan
https://tvtropes.org/pmwiki/pmwiki.php/Manga/HaikaraSanGaTooru
https://tvtropes.org/pmwiki/pmwiki.php/Manga/KotouraSan
https://tvtropes.org/pmwiki/pmwiki.php/Manga/MurasakiiroNoQualia
https://tvtropes.org/pmwiki/pmwiki.php/Music/SusumuHirasawa
https://tvtropes.org/pmwiki/pmwiki.php/Recap/BuffyTheVampireSlayerS6E8TabulaRasa
https://tvtropes.org/pmwiki/pmwiki.php/Recap/StargateAtlantisS4E6TabulaRasa
https://tvtropes.org/pmwiki/pmwiki.php/Series/UrasawaNaokiNoManben
https://tvtropes.org/pmwiki/pmwiki.php/UsefulNotes/AntonioDeOliveiraSalazar
https://tvtropes.org/pmwiki/pmwiki.php/VideoGame/BuichiTerasawasTakeruLetterOfTheLaw
https://tvtropes.org/pmwiki/pmwiki.php/VideoGame/TabulaRasa
https://tvtropes.org/pmwiki/pmwiki.php/VideoGame/TheMysteriousMurasameCastle
https://tvtropes.org/pmwiki/pmwiki.php/WebVideo/AmarasAudios
http://tvtropes.org/pmwiki/pmwiki.php/Tropers/Kingcobrasaurus
http://tvtropes.org/pmwiki/pmwiki.php/Tropers/PantheraSapiensEllipsis
http://tvtropes.org/pmwiki/pmwiki.php/Tropers/Rasalas
http://tvtropes.org/pmwiki/pmwiki.php/Tropers/Shurasan
https://en.wikiquote.org/wiki/Hariprasad_Chaurasia
https://en.wikiquote.org/wiki/John_Hirasaki
https://en.wikiquote.org/wiki/Lalu_Prasad_Yadav
https://en.wikiquote.org/wiki/Laxmi_Prasad_Devkota
https://en.wikiquote.org/wiki/Murasaki_Shikibu
https://en.wikiquote.org/wiki/Prasanta_Chandra_Mahalanobis
https://en.wikiquote.org/wiki/Rajendra_Prasad
https://en.wikiquote.org/wiki/Ram_Prasad_Bismil
https://en.wikiquote.org/wiki/Syama_Prasad_Mookerjee
https://allpoetry.com/Murasaki-Shikibu
https://www.poetry-chaikhana.com/Poets/R/RamprasadSen/index.html
https://www.poetry-chaikhana.com/Poets/R/Rasakhan/index.html
Master Keaton (1998 - 2000) - An anime adaptation was created by Madhouse, with 24 episodes airing between 1998 and 1999 in Japan on Nippon Television.An additional 15 episodes were created and released as original video animations, bringing the total to 39 episodes. Naoki Urasawa and Takashi Nagasaki created a sequel to the ser...
Drifters (2016 - 2016) - At the Battle of Sekigahara in 1600, Toyohisa Shimazu is the rearguard for his retreating troops, and is critically wounded when he suddenly finds himself in a modern, gleaming white hallway. Faced with only a stoic man named Murasaki and hundreds of doors on both sides, Toyohisa is pulled into the...
BATMAN (bedman yarasa adam)(1973) - Turkish ripp-off movie starrin
Neighbour No. 13(2005) - Jz Murasaki is a boy miscast in his classroom, being frequently abused, tortured, beaten and humiliated by the bully Tru Akai and his gang of juvenile punks. After years of repression, rejection and fear without facing Akai, he develops a psychopathic dual personality with a violent alter-ego. Wh...
https://myanimelist.net/anime/16119/Chouyaku_Hyakuninisshu__Uta_Koi_-_Sake_to_Kikoushi__Murasaki_Kishikibu_to_Kintou -- Historical, Josei
https://myanimelist.net/anime/18109/Glass_no_Kamen_Desu_ga_the_Movie__Onna_Spy_no_Koi_Murasaki_no_Bara_wa_Kiken_na_Kaori -- Comedy, Parody
https://myanimelist.net/anime/31252/Korekarasaki_Nando_Anata_to -- Slice of Life, Music
https://myanimelist.net/anime/33035/Yuyushiki__Komarasetari_Komarasaretari -- Slice of Life, Comedy, School
https://myanimelist.net/manga/25508/Shoki_no_Urasawa
https://myanimelist.net/manga/27173/Murasame-kun_no_Tawagoto
https://myanimelist.net/manga/51493/Murasakiiro_no_Qualia
https://myanimelist.net/manga/56955/Sakurasaku_Syndrome
https://myanimelist.net/manga/75333/Murasakiiro_no_Qualia
https://myanimelist.net/manga/9615/Sarasah
https://myanimelist.net/manga/99456/Saiouji_Kyoudai_ni_Komarasareru_no_mo_Warukunai
The Yellow Handkerchief (2008) ::: 6.7/10 -- PG-13 | 1h 42min | Adventure, Drama, Romance | 19 November 2009 -- The Yellow Handkerchief Poster -- A road trip through Louisiana transforms three strangers who were originally brought together by their respective feelings of loneliness. Director: Udayan Prasad Writers:
https://tabularasa.fandom.com
https://tabularasa.fandom.com/
https://animanga.fandom.com/wiki/Naoki_Urasawa
https://apicultura.fandom.com/wiki/ADN_polimerasa
https://apicultura.fandom.com/wiki/ARN_polimerasa
https://apicultura.fandom.com/wiki/Grasa
https://bandori.fandom.com/wiki/Shirasagi_Chisato
https://banjokazooie.fandom.com/wiki/Soarasaurus
https://bastard.fandom.com/wiki/Anthrasax
https://ben-to.fandom.com/wiki/Kazura_Murasakike
https://billybat.fandom.com/wiki/Naoki_Urasawa
https://bluereflection.fandom.com/wiki/Morikawa_Sarasa
https://characters.fandom.com/wiki/Reine_Murasame
https://characters.fandom.com/wiki/Yui_Hirasawa
https://cyberpunk.fandom.com/wiki/Arasaka
https://cyberpunk.fandom.com/wiki/Arasaka_Tower_(Night_City)
https://cyberpunk.fandom.com/wiki/Arasaka_Waterfront
https://cyberpunk.fandom.com/wiki/Cyberpunk:_The_Arasaka's_Plot
https://cyberpunk.fandom.com/wiki/Hanako_Arasaka
https://cyberpunk.fandom.com/wiki/Kei_Arasaka
https://cyberpunk.fandom.com/wiki/Michiko_Arasaka_(Kei's_daughter)
https://cyberpunk.fandom.com/wiki/Saburo_Arasaka
https://cyberpunk.fandom.com/wiki/Toshiro_Arasaka
https://cyberpunk.fandom.com/wiki/Yorinobu_Arasaka
https://dailylivesofhighschoolboys.fandom.com/wiki/Toshiyuki_Karasawa
https://daitoshokannohitsujikai.fandom.com/wiki/Tsugumi_Shirasaki
https://date-a-live.fandom.com/wiki/Reine_Murasame
https://dc.fandom.com/wiki/Rasa_Nekroy_(New_Earth)
https://dinosaurking.fandom.com/wiki/Gojirasaurus
https://dinosaurking.fandom.com/wiki/Parasaurolophus
https://dreamfiction.fandom.com/wiki/Miyuki_Kamishirasawa
https://drifters.fandom.com/wiki/Murasaki
https://drslump.fandom.com/wiki/Murasaki_Kimidori
https://edenoftheeast.fandom.com/wiki/Kazuomi_Hirasawa
https://elderscrolls.fandom.com/wiki/Barasatii
https://elderscrolls.fandom.com/wiki/Edrasa_Drelas
https://elderscrolls.fandom.com/wiki/Fedrasa_Andrethi
https://elderscrolls.fandom.com/wiki/Feldrasa
https://elderscrolls.fandom.com/wiki/Idrasa
https://elderscrolls.fandom.com/wiki/Indrasa_Vadryon
https://elderscrolls.fandom.com/wiki/Marasa_Aren
https://elderscrolls.fandom.com/wiki/Marasadra
https://elderscrolls.fandom.com/wiki/Marasa_Hlarar
https://elderscrolls.fandom.com/wiki/Norasa_Relvi
https://elderscrolls.fandom.com/wiki/Rasasah
https://elderscrolls.fandom.com/wiki/Rudrasa
https://elderscrolls.fandom.com/wiki/Rudrasa's_Invitation
https://eq2.fandom.com/wiki/Arasai
https://eq2.fandom.com/wiki/Arasai_(Character_Race)
https://eq2.fandom.com/wiki/Arasai_-Hate_Gives_Rise_To_Another_Superior_Race!
https://eq2.fandom.com/wiki/Fae_and_Arasai_Flight_Timeline
https://fatalframe.fandom.com/wiki/Tomoe_Hirasaka
https://ffxiclopedia.fandom.com/wiki/Tabula_Rasa
https://finalfantasy.fandom.com/wiki/Kurasame_Susaya
https://fireemblem.fandom.com/wiki/Castle_Shirasagi
https://forgottenrealms.fandom.com/wiki/Camarasaurus
https://forgottenrealms.fandom.com/wiki/Ito_Murasame
https://forgottenrealms.fandom.com/wiki/Padhrasattva_of_Pilgrims
https://forgottenrealms.fandom.com/wiki/Quarasas
https://forgottenrealms.fandom.com/wiki/Rasaad_yn_Bashir
https://forgottenrealms.fandom.com/wiki/Trasaal
https://forgottenrealms.fandom.com/wiki/Vorasaegha
https://futurediary.fandom.com/wiki/Yomotsu_Hirasaka
https://gamblefish.fandom.com/wiki/Tomu_Shirasagi
https://hamatora.fandom.com/wiki/Murasaki
https://hero.fandom.com/wiki/Aoi_Torasaki
https://hunterxhunter.fandom.com/wiki/Shizuku_Murasaki
https://hxeros.fandom.com/wiki/Shiko_Murasame
https://interlingua.fandom.com/wiki/Phrasario
https://jurassicpark.fandom.com/wiki/Parasaurolophus
https://jurassicworld-evolution.fandom.com/wiki/Herrerasaurus
https://jurassicworld-evolution.fandom.com/wiki/Parasaurolophus
https://kagamigami.fandom.com/wiki/Kiruhiko_Hirasaka
https://kaguyasama-wa-kokurasetai.fandom.com/wiki/Murasaki
https://kanojo-okarishimasu.fandom.com/wiki/Sumi_Sakurasawa
https://k-on.fandom.com/wiki/K-ON!_Character_Image_Song_Series_Vol._1:_Yui_Hirasawa
https://k-on.fandom.com/wiki/K-ON!_Character_Image_Song_Series_Vol._6:_Ui_Hirasawa
https://k-on.fandom.com/wiki/K-ON!!_Character_Image_Songs:_Ui_Hirasawa
https://k-on.fandom.com/wiki/K-ON!!_Character_Image_Songs:_Yui_Hirasawa
https://k-on.fandom.com/wiki/Ui_Hirasawa
https://k-on.fandom.com/wiki/Yui_Hirasawa
https://k-project.fandom.com/wiki/Douhan_Hirasaka
https://kuniokun.fandom.com/wiki/Murasaki
https://kurokonobasuke.fandom.com/wiki/Atsushi_Murasakibara
https://kurokonobasuke.fandom.com/wiki/Katsunori_Harasawa
https://logos.fandom.com/wiki/Prasadha_Pamunah_Limbah_Industri
https://logos.fandom.com/wiki/Prasar_Bharati
https://marvel.fandom.com/wiki/Message_Wall:Harasar
https://marvel.fandom.com/wiki/Soraya_Khorasani_(Earth-616)
https://marvel.fandom.com/wiki/Tabula_Rasa_(Montana)
https://memory-alpha.fandom.com/wiki/Murasaki_312
https://memory-beta.fandom.com/wiki/Amrasaur
https://memory-beta.fandom.com/wiki/Ferasan
https://memory-beta.fandom.com/wiki/Kellerasana_zh'Faila
https://memory-beta.fandom.com/wiki/Madrasaur
https://memory-beta.fandom.com/wiki/Murasaki_sector
https://memory-beta.fandom.com/wiki/Vaatrik_Drasa
https://momoirocloverz.fandom.com/wiki/NARASAKI
https://mtg.fandom.com/wiki/Akrasa
https://mtg.fandom.com/wiki/Murasa
https://mtg.fandom.com/wiki/Rafthrasa
https://nintendo.fandom.com/wiki/Famicom_Mini:_Nazo_no_Murasame-j
https://nintendo.fandom.com/wiki/Keisuke_Terasaki
https://nintendo.fandom.com/wiki/The_Mysterious_Murasame_Castle
https://non-aliencreatures.fandom.com/wiki/Herrerasaurus_(Jurassic_Park)
https://non-aliencreatures.fandom.com/wiki/Herrerasaurus_(The_Lost_World)
https://non-aliencreatures.fandom.com/wiki/Infected_Parasaurolophus_(Primal)
https://non-aliencreatures.fandom.com/wiki/Parasaur
https://non-aliencreatures.fandom.com/wiki/Parasaurolophus_(Jurassic_Park)
https://prehistorickingdom.fandom.com/wiki/Camarasaurus
https://senrankagura.fandom.com/wiki/Murasaki
https://sense8.fandom.com/wiki/Rajan_Rasal
https://soredemo-sekai-wa-utsukushii.fandom.com/wiki/Amaluna_Luirasalle
https://starwars.fandom.com/wiki/Rasan-Je
https://strike-the-blood.fandom.com/wiki/Sayaka_Kirasaka
https://tabularasa.fandom.com/index.php?title=
https://tabularasa.fandom.com/wiki/
https://tabularasa.fandom.com/wiki/Ability
https://tabularasa.fandom.com/wiki/An_Unexpected_Test
https://tabularasa.fandom.com/wiki/Armor
https://tabularasa.fandom.com/wiki/A_Tale_of_Elements
https://tabularasa.fandom.com/wiki/Atlas
https://tabularasa.fandom.com/wiki/Background_story
https://tabularasa.fandom.com/wiki/Beginners_Guide
https://tabularasa.fandom.com/wiki/Blog:Recent_posts
https://tabularasa.fandom.com/wiki/Carpe_Diem
https://tabularasa.fandom.com/wiki/Character_window
https://tabularasa.fandom.com/wiki/Class
https://tabularasa.fandom.com/wiki/Destination_Games
https://tabularasa.fandom.com/wiki/Dr._Elise_Corman
https://tabularasa.fandom.com/wiki/Enemy_list
https://tabularasa.fandom.com/wiki/Finding_Acceptance
https://tabularasa.fandom.com/wiki/General_British
https://tabularasa.fandom.com/wiki/Howler
https://tabularasa.fandom.com/wiki/Kill_General_British_Contest
https://tabularasa.fandom.com/wiki/Local_Sitemap
https://tabularasa.fandom.com/wiki/Logos
https://tabularasa.fandom.com/wiki/Logos_element
https://tabularasa.fandom.com/wiki/Logos_tablet
https://tabularasa.fandom.com/wiki/Logos:_Time
https://tabularasa.fandom.com/wiki/Main_Page
https://tabularasa.fandom.com/wiki/Mission_list
https://tabularasa.fandom.com/wiki/Multi-Tusking
https://tabularasa.fandom.com/wiki/Neph
https://tabularasa.fandom.com/wiki/News
https://tabularasa.fandom.com/wiki/News/20071214
https://tabularasa.fandom.com/wiki/News/20080129
https://tabularasa.fandom.com/wiki/News/20080226
https://tabularasa.fandom.com/wiki/News/20080326
https://tabularasa.fandom.com/wiki/News/20080529
https://tabularasa.fandom.com/wiki/News/20080535
https://tabularasa.fandom.com/wiki/News/20081000
https://tabularasa.fandom.com/wiki/News/20081001
https://tabularasa.fandom.com/wiki/News/20081002
https://tabularasa.fandom.com/wiki/News/20081003
https://tabularasa.fandom.com/wiki/News/20081004
https://tabularasa.fandom.com/wiki/NPC
https://tabularasa.fandom.com/wiki/Obstruction_Destruction
https://tabularasa.fandom.com/wiki/One_Year_Anniversary_Event
https://tabularasa.fandom.com/wiki/PAU
https://tabularasa.fandom.com/wiki/Receptive_Reception
https://tabularasa.fandom.com/wiki/Reporting_For_Duty._Sir!
https://tabularasa.fandom.com/wiki/Sapper
https://tabularasa.fandom.com/wiki/Sarah_Mor
https://tabularasa.fandom.com/wiki/Sarah_Morrison
https://tabularasa.fandom.com/wiki/Searching_for_Acceptance
https://tabularasa.fandom.com/wiki/Tabula_Rasa
https://tabularasa.fandom.com/wiki/TaRapedia:About
https://tabularasa.fandom.com/wiki/TaRapedia:Community_Portal
https://tabularasa.fandom.com/wiki/TaRapedia:Templates
https://tabularasa.fandom.com/wiki/Tool
https://tabularasa.fandom.com/wiki/Training
https://tabularasa.fandom.com/wiki/Unity_Among_Men
https://tabularasa.fandom.com/wiki/User_interface
https://tabularasa.fandom.com/wiki/Weapon
https://toloveru.fandom.com/wiki/Murasame_Shizu
https://unbreakable-machine-doll.fandom.com/wiki/Komurasaki
https://unbreakablemachinedoll.fandom.com/wiki/Komurasaki
https://wowwiki-archive.fandom.com/wiki/Krasarang_Cove
https://wowwiki-archive.fandom.com/wiki/Krasarang_River
https://wowwiki-archive.fandom.com/wiki/Krasarang_Wilds
https://wowwiki-archive.fandom.com/wiki/Krasarang_Wilds/Rare_mobs
https://wowwiki-archive.fandom.com/wiki/Krasari_Falls
https://wowwiki-archive.fandom.com/wiki/Krasari_Ruins
https://wowwiki-archive.fandom.com/wiki/Ultrasafe_Transporter:_Gadgetzan
https://wowwiki-archive.fandom.com/wiki/Ultrasafe_Transporter:_Toshley's_Station
https://yozakuraquartet.fandom.com/wiki/Murasaki_Iyo
Classroom☆Crisis -- -- Lay-duce -- 13 eps -- Original -- Drama Romance School Sci-Fi -- Classroom☆Crisis Classroom☆Crisis -- In Martian colony Fourth Tokyo lies a classroom of Kirishina Corporation's brightest minds spearheading aerospace development: A-TEC, led by genius engineer Kaito Sera, eagerly anticipating the arrival of their newest member. It soon becomes clear, however, that the transfer student is hardly ordinary—Nagisa Kiryuu, newly appointed chief of A-TEC and the younger brother of the corporation's CEO, is sent to shut the program down. To keep the classroom alive, Kaito and his students desperately work to develop a successor to their most powerful rocket, the X-2; meanwhile, Nagisa climbs the corporate ladder in pursuit of his own mission. In spite of this, their separate battles soon reveal that much more is going on in Kirishina Corporation than meets the eye. -- -- Classroom☆Crisis follows Kaito and Nagisa, as well as Kaito's younger sister Mizuki and A-TEC's test pilot Iris Shirasaki, in a story of intrigue, political warfare, and, against all odds, romance. As Nagisa and A-TEC are dragged further and further into Kirishina Corporation's conspiracies, friendships grow and pasts are unveiled as they fight to avert their classroom crisis. -- -- 104,511 7.02
Classroom☆Crisis -- -- Lay-duce -- 13 eps -- Original -- Drama Romance School Sci-Fi -- Classroom☆Crisis Classroom☆Crisis -- In Martian colony Fourth Tokyo lies a classroom of Kirishina Corporation's brightest minds spearheading aerospace development: A-TEC, led by genius engineer Kaito Sera, eagerly anticipating the arrival of their newest member. It soon becomes clear, however, that the transfer student is hardly ordinary—Nagisa Kiryuu, newly appointed chief of A-TEC and the younger brother of the corporation's CEO, is sent to shut the program down. To keep the classroom alive, Kaito and his students desperately work to develop a successor to their most powerful rocket, the X-2; meanwhile, Nagisa climbs the corporate ladder in pursuit of his own mission. In spite of this, their separate battles soon reveal that much more is going on in Kirishina Corporation than meets the eye. -- -- Classroom☆Crisis follows Kaito and Nagisa, as well as Kaito's younger sister Mizuki and A-TEC's test pilot Iris Shirasaki, in a story of intrigue, political warfare, and, against all odds, romance. As Nagisa and A-TEC are dragged further and further into Kirishina Corporation's conspiracies, friendships grow and pasts are unveiled as they fight to avert their classroom crisis. -- -- -- Licensor: -- Aniplex of America -- 104,511 7.02
Digital Devil Story: Megami Tensei -- -- animate Film -- 1 ep -- Light novel -- Adventure Mystery Horror Demons Psychological Supernatural Drama Fantasy School -- Digital Devil Story: Megami Tensei Digital Devil Story: Megami Tensei -- Akemi Nakajima, is a high school student with a genius talent for computer programming. -- One day, Yumiko Shirasagi is transferred to the same class as him. She feels she knows Nakajima from somewhere, but doesn't try to deal with it. After school, Nakajima and a couple of classmates held a ceremony to summon the devil. Nakajima summons the devil Loki on the computer display while presenting a female offering. What will happen to Yumiko, who witnessed the scene? -- -- (Source: Official site, edited) -- OVA - Mar 25, 1987 -- 5,914 5.20
Drifters -- -- Hoods Drifters Studio -- 12 eps -- Manga -- Action Adventure Comedy Historical Samurai Fantasy Seinen -- Drifters Drifters -- At the Battle of Sekigahara in 1600, Toyohisa Shimazu is the rearguard for his retreating troops, and is critically wounded when he suddenly finds himself in a modern, gleaming white hallway. Faced with only a stoic man named Murasaki and hundreds of doors on both sides, Toyohisa is pulled into the nearest door and into a world completely unlike his own. -- -- The strange land is populated by all manner of fantastical creatures, as well as warriors from different eras of Toyohisa's world who were thought to be dead. Quickly befriending the infamous warlord Nobunaga Oda and the ancient archer Yoichi Suketaka Nasu, Toyohisa learns of the political unrest tearing through the continent. Furthermore, they have been summoned as "Drifters" to fight against the "Ends," people who are responsible for the creation of the Orte Empire and are trying to annihilate the Drifters. As the Ends grow more powerful, so does the Empire's persecution of elves and other demihumans. It is up to Toyohisa and his group of unconventional heroes to battle in a brand-new world war to help the Empire's subjects, while protecting the land to claim for themselves and challenging the Ends. -- -- 427,848 7.93
Drifters -- -- Hoods Drifters Studio -- 12 eps -- Manga -- Action Adventure Comedy Historical Samurai Fantasy Seinen -- Drifters Drifters -- At the Battle of Sekigahara in 1600, Toyohisa Shimazu is the rearguard for his retreating troops, and is critically wounded when he suddenly finds himself in a modern, gleaming white hallway. Faced with only a stoic man named Murasaki and hundreds of doors on both sides, Toyohisa is pulled into the nearest door and into a world completely unlike his own. -- -- The strange land is populated by all manner of fantastical creatures, as well as warriors from different eras of Toyohisa's world who were thought to be dead. Quickly befriending the infamous warlord Nobunaga Oda and the ancient archer Yoichi Suketaka Nasu, Toyohisa learns of the political unrest tearing through the continent. Furthermore, they have been summoned as "Drifters" to fight against the "Ends," people who are responsible for the creation of the Orte Empire and are trying to annihilate the Drifters. As the Ends grow more powerful, so does the Empire's persecution of elves and other demihumans. It is up to Toyohisa and his group of unconventional heroes to battle in a brand-new world war to help the Empire's subjects, while protecting the land to claim for themselves and challenging the Ends. -- -- -- Licensor: -- Funimation -- 427,848 7.93
Gift: Eternal Rainbow -- -- OLM -- 12 eps -- Visual novel -- Comedy Drama Harem Magic Romance School -- Gift: Eternal Rainbow Gift: Eternal Rainbow -- Amaumi Haruhiko is a high school student who attends Shimano Academy in a town called Narasakicho. Narasakicho contains an unknown rainbow which constantly overlooks the town and is related to granting a magical wish called "Gift." Gift is a once-in-a-lifetime present between two people. -- -- As a child, Haruhiko has been close with his childhood friend, Kirino, until he obtains a new non-blood sister by the name of Riko. Haruhiko develops a strong relationship with Riko until they sadly depart due to the fact Haruhiko's father could no longer support the two of them. -- -- After some times passes by, Riko finally returns to the town of Narasakicho, and along with Kirino, starts to attend Shimano Academy with Haruhiko. The series revolves around the relationship among these main protagonists and slowly reveals the story behind both Gift and the rainbow. -- TV - Oct 6, 2006 -- 28,911 6.61
Guilstein -- -- - -- 1 ep -- - -- Action Horror Sci-Fi -- Guilstein Guilstein -- The theatrical anime film is a full digital (3-D) action/horror film based on a manga by Tamaki Hisao, best known to Western fans for his manga adaptation of Star Wars: A New Hope. Characters were designed by Yasushi Nirasawa, a well acclaimed maker of creature action figures. Monkey Punch (Lupin III creator) served as the film's script superviser. Set in the year 2088, it depicts a dark future in which humans have been transformed into the "Guilstein," creatures with no human souls in them... -- -- (Source: AniDB) -- Movie - Jun 15, 2002 -- 665 N/A -- -- Alice in Voodooland -- -- - -- 1 ep -- Other -- Music Dementia Horror Fantasy -- Alice in Voodooland Alice in Voodooland -- Music video by Kousuke Sugimoto for the title track Alice In Voodooland by RoughSketch and featuring Aikapin. -- Music - Oct 5, 2016 -- 655 5.60
Hakkenden: Touhou Hakken Ibun -- -- Studio Deen -- 13 eps -- Manga -- Action Demons Supernatural Fantasy Shoujo -- Hakkenden: Touhou Hakken Ibun Hakkenden: Touhou Hakken Ibun -- The village of Ootsuka—home to Shino Inuzuka, Sousuke Inukawa, and Hamaji—was lit on fire under the preconception that a virus had seen all of its life eradicated. Now surrounded by flames and on the verge of death, the three were approached by a strange man holding a sword. He tells them that they must reach a decision if they want to live. That night changed everything for these children. -- -- Five years later, the family of three now lives under the watchful eye of the small Imperial Church in a nearby village. All is fine and dandy until the Church attempts to reclaim the demonic sword of Murasame. To accomplish this, they kidnap Hamaji to lure Shino, now a bearer of Murasame's soul, and Sousuke, who possesses the ability to transform into a dog. The brothers must put their differences aside to rescue their beloved sister from the Church in the Imperial Capital, signalling the beginning of a very difficult journey. -- 98,606 7.43
Hakkenden: Touhou Hakken Ibun -- -- Studio Deen -- 13 eps -- Manga -- Action Demons Supernatural Fantasy Shoujo -- Hakkenden: Touhou Hakken Ibun Hakkenden: Touhou Hakken Ibun -- The village of Ootsuka—home to Shino Inuzuka, Sousuke Inukawa, and Hamaji—was lit on fire under the preconception that a virus had seen all of its life eradicated. Now surrounded by flames and on the verge of death, the three were approached by a strange man holding a sword. He tells them that they must reach a decision if they want to live. That night changed everything for these children. -- -- Five years later, the family of three now lives under the watchful eye of the small Imperial Church in a nearby village. All is fine and dandy until the Church attempts to reclaim the demonic sword of Murasame. To accomplish this, they kidnap Hamaji to lure Shino, now a bearer of Murasame's soul, and Sousuke, who possesses the ability to transform into a dog. The brothers must put their differences aside to rescue their beloved sister from the Church in the Imperial Capital, signalling the beginning of a very difficult journey. -- -- Licensor: -- Sentai Filmworks -- 98,606 7.43
Hamatora The Animation -- -- NAZ -- 12 eps -- Original -- Mystery Comedy Super Power Drama -- Hamatora The Animation Hamatora The Animation -- The ability to create miracles is not just a supernatural phenomenon; it is a gift which manifests in a limited number of human beings. "Minimum," or small miracles, are special powers that only selected people called "Minimum Holders" possess. The detective agency Yokohama Troubleshooting, or Hamatora for short, is composed of the "Minimum Holder PI Duo," Nice and Murasaki. Their office is a lone table at Cafe Nowhere, where the pair and their coworkers await new clients. -- -- Suddenly, the jobs that they begin to receive seem to have strange connections to the serial killer whom their friend Art, a police officer, is searching for. The murder victims share a single similarity: they are all Minimum Holders. Nice and Murasaki, as holders themselves, are drawn to the case—but what exactly is the link between Nice and the one who orchestrates it all? -- -- -- Licensor: -- Sentai Filmworks -- TV - Jan 8, 2014 -- 255,384 7.29
Hamatora The Animation -- -- NAZ -- 12 eps -- Original -- Mystery Comedy Super Power Drama -- Hamatora The Animation Hamatora The Animation -- The ability to create miracles is not just a supernatural phenomenon; it is a gift which manifests in a limited number of human beings. "Minimum," or small miracles, are special powers that only selected people called "Minimum Holders" possess. The detective agency Yokohama Troubleshooting, or Hamatora for short, is composed of the "Minimum Holder PI Duo," Nice and Murasaki. Their office is a lone table at Cafe Nowhere, where the pair and their coworkers await new clients. -- -- Suddenly, the jobs that they begin to receive seem to have strange connections to the serial killer whom their friend Art, a police officer, is searching for. The murder victims share a single similarity: they are all Minimum Holders. Nice and Murasaki, as holders themselves, are drawn to the case—but what exactly is the link between Nice and the one who orchestrates it all? -- -- TV - Jan 8, 2014 -- 255,384 7.29
Innocent Venus -- -- Brain's Base -- 12 eps -- Original -- Adventure Drama Mecha Military Sci-Fi -- Innocent Venus Innocent Venus -- In the year 2010 AD, Hyper Hurricanes born concurrently all over the world caused severe damage. Five billion people lost their lives, decreasing the world's population to 3 billion. Existing economies and military were wiped out. Countries were frozen under solid ice, plains sank beneath seas, the world was changed dramatically. -- -- Human civilization enters a chaotic era. Poverty flourished outside of these economic zones and slums were widespread. The ruling class called themselves Logos and maintained their position by force of arms. They call the poor Revenus, who are exiled to live outside the special economic areas. -- -- Time has passed since then. Katsuragi Jo and Tsurasawa Jin, escape from Phantom, a force organized to watch Revenus and to suppress renegade elements of the Logos, taking with them a mysterious girl, Nobuto Sana. There are many who are interested in her, all with their own reasons. -- -- Licensor: -- ADV Films -- TV - Jul 27, 2006 -- 24,549 6.83
Innocent Venus -- -- Brain's Base -- 12 eps -- Original -- Adventure Drama Mecha Military Sci-Fi -- Innocent Venus Innocent Venus -- In the year 2010 AD, Hyper Hurricanes born concurrently all over the world caused severe damage. Five billion people lost their lives, decreasing the world's population to 3 billion. Existing economies and military were wiped out. Countries were frozen under solid ice, plains sank beneath seas, the world was changed dramatically. -- -- Human civilization enters a chaotic era. Poverty flourished outside of these economic zones and slums were widespread. The ruling class called themselves Logos and maintained their position by force of arms. They call the poor Revenus, who are exiled to live outside the special economic areas. -- -- Time has passed since then. Katsuragi Jo and Tsurasawa Jin, escape from Phantom, a force organized to watch Revenus and to suppress renegade elements of the Logos, taking with them a mysterious girl, Nobuto Sana. There are many who are interested in her, all with their own reasons. -- TV - Jul 27, 2006 -- 24,549 6.83
K-On! -- -- Kyoto Animation -- 13 eps -- 4-koma manga -- Music Slice of Life Comedy School -- K-On! K-On! -- A fresh high school year always means much to come, and one of those things is joining a club. Being in a dilemma about which club to join, Yui Hirasawa stumbles upon and applies for the Light Music Club, which she misinterprets to be about playing simple instruments, such as castanets. Unable to play an instrument, she decides to visit to apologize and quit. -- -- Meanwhile, the Light Music Club faces disbandment due to a lack of members. This causes the club members to offer anything, from food to slacking off during club time, in order to convince Yui to join. Despite their efforts, Yui insists on leaving due to her lack of musical experience. As a last resort, they play a piece for Yui, which sparks her fiery passion and finally convinces her to join the club. -- -- From then onward, it's just plain messing around with bits and pieces of practice. The members of the Light Music Club are ready to make their time together a delightful one! -- -- -- Licensor: -- Bandai Entertainment, Sentai Filmworks -- 811,001 7.84
K-On!! -- -- Kyoto Animation -- 26 eps -- 4-koma manga -- Comedy Music School Slice of Life -- K-On!! K-On!! -- It is the new year, which means that the senior members of the Light Music Club are now third-years, with Azusa Nakano being the only second-year. The seniors soon realize that Azusa will be the only member left once they graduate and decide to recruit new members. Despite trying many methods of attracting underclassmen—handing out fliers, bringing people into the clubroom, and performing at the welcoming ceremony—there are no signs of anyone that plans to join. -- -- While heading to the clubroom, Azusa overhears Yui Hirasawa say that the club is fine with only five people and that they can do many fun things together. Changing her mind, she decides that they do not need to recruit any members for the time being. -- -- K-On!! revolves around the members of the Light Music Club as they experience their daily high school life. From rehearsing for concerts to just messing around, they are ready to make their last year together an exciting one! -- -- -- Licensor: -- Sentai Filmworks -- 530,529 8.15
K-On!!: Keikaku! -- -- Kyoto Animation -- 1 ep -- Original -- Comedy Music School Slice of Life -- K-On!!: Keikaku! K-On!!: Keikaku! -- The summer holidays are coming to an end, but the girls from Houkago Tea Time want to take one more trip before their next semester starts. With countless travel destinations to choose from and as many preferences as there are club members, coming to an agreement seems far-flung. -- -- Unable to reach a decision, they remember that they must first apply for new passports. As simple as it may sound, the routine visit to a government office and filing a form soon turns into an all-day adventure for Yui Hirasawa and the rest of the band. -- -- -- Licensor: -- Sentai Filmworks -- Special - Mar 16, 2011 -- 98,742 7.84
K-On!!: Keikaku! -- -- Kyoto Animation -- 1 ep -- Original -- Comedy Music School Slice of Life -- K-On!!: Keikaku! K-On!!: Keikaku! -- The summer holidays are coming to an end, but the girls from Houkago Tea Time want to take one more trip before their next semester starts. With countless travel destinations to choose from and as many preferences as there are club members, coming to an agreement seems far-flung. -- -- Unable to reach a decision, they remember that they must first apply for new passports. As simple as it may sound, the routine visit to a government office and filing a form soon turns into an all-day adventure for Yui Hirasawa and the rest of the band. -- -- Special - Mar 16, 2011 -- 98,742 7.84
K-On!: Live House! -- -- Kyoto Animation -- 1 ep -- 4-koma manga -- Comedy Music School Slice of Life -- K-On!: Live House! K-On!: Live House! -- It is almost the end of the year, and Houkago Tea Time has been invited to participate in a live house on New Year's Eve! The iconic band members are Yui Hirasawa, the carefree guitarist who is enthusiastic to play music; Mio Akiyama, the shy bassist who gets embarrassed easily; Tsumugi Kotobuki, the gentle and sweet keyboardist who finds joy in normal activities; Ritsu Tainaka, the extroverted drummer who likes to tease Mio; and Azusa Nakano, the rhythm guitarist who is one year younger than the rest but slightly more mature. -- -- Performing in the set gives the girls the rare opportunity to meet various people from different bands, including the one that invited them, Love Crysis. Will Houkago Tea Time be able to delight their audiences successfully? -- -- -- Licensor: -- Bandai Entertainment, Sentai Filmworks -- Special - Jan 19, 2010 -- 127,760 7.83
K-On! Movie -- -- Kyoto Animation -- 1 ep -- 4-koma manga -- Music Slice of Life Comedy -- K-On! Movie K-On! Movie -- Graduation looms for the founding members of the Light Music Club. With only a few precious weeks of school left, the girls decide to make the most of it and plan a trip abroad. Hawaii, New York, Dubai—many destinations are suggested, but after a little help from the club's precious pet turtle, Ton-chan, London is chosen as the host of their next misadventure! -- -- Yui Hirasawa, Mio Akiyama, Tsumugi Kotobuki, Ritsu Tainaka, and Azusa Nakano will visit famous landmarks, perform live music for Londoners, and eat all sorts of delicious food, all while stumbling clumsily from place to place. But the fun won't last forever, as heartfelt songs and goodbyes will be made as their high school days together come to a close. One thing is for certain though: the undeniable friendships these girls have formed is something that will carry on long after the final scene rolls. -- -- -- Licensor: -- Sentai Filmworks -- Movie - Dec 3, 2011 -- 248,642 8.33
Koushoku Ichidai Otoko -- -- Animation Staff Room, Grouper Productions -- 1 ep -- - -- Drama Hentai Historical Psychological -- Koushoku Ichidai Otoko Koushoku Ichidai Otoko -- The OVA is based on incidents in the novel Koshoku Ichidai Otoko (The Life of an Amorous Man) by Saikaku Ihara (1642-1693). -- -- The libertine Yonosuke has spent his life in quest of sexual pleasure. Disowned by his father when he is 18, 16 years full of changes and errantry begin for him. At the age of 34 he inherits great wealth after his father dies and forgives his son. -- -- When Yunosuke is 57, one of his tailors named Juzo comes to see him before setting out for Edo. Juzo has unwisely made a bet with a rich merchant that he will sleep with Komurasaki, the most renowned courtesan in Edo, at the first meeting. If he succeeds he will win a villa, but if he loses he will lose his manhood. Yunosuke is astounded as he knows how hard the high rank courtesans are to get. The best courtesans, tayu, as well as being beautiful, were highly cultured, being educated in poetry, calligraphy, painting, tea ceremony and other arts. They would sleep with a client only on the third night, the other two nights being taken up with greetings and other social niceties. Humble men, to whom they were 'untouchable' looked up to them with adoration and respect. -- -- Indignant, Yunosuke takes Juzo to Edo and enables him to meet Komurasaki. Juzo is a laughing-stock at the tea-house because of his nervousness, and soon becomes drunk. He clumsily spills wine over the courtesan's kimono. Unperturbed, she goes out and returns wearing a fresh, identical garment. -- -- (Source: AniDB) -- OVA - Jan 18, 1991 -- 3,063 6.08
Kure-nai -- -- Brain's Base -- 12 eps -- Light novel -- Comedy Drama Martial Arts -- Kure-nai Kure-nai -- Shinkurou Kurenai is a 16-year-old student by day and a dispute mediator by night. Though kind-hearted and patient, due to his tragic past, he has trained for years to live on. Now, despite his unimposing appearance, he is a strong martial artist, who also possesses a strange power. -- -- While taking various jobs for his employer, Benika Juuzawa, one assignment leads Shinkurou to live with Murasaki Kuhouin as her bodyguard. Murasaki is the seven-year-old daughter of a plutocratic family, who escaped her home under peculiar circumstances with Benika's help. Commoner life, in her eyes, seems bizarre. However, by interacting with her neighbors, she grows more accustomed to the daily routine, and rids herself of her snobbish behavior, gradually growing attached to Shinkurou. -- -- Though many details of the job remain unclear, Shinkurou still strives to protect the young lady. But to make things more complicated, he also lacks a crucial fact—what is the real threat against Murasaki? -- -- TV - Apr 4, 2008 -- 81,406 7.37
Kuroko no Basket Movie 2: Winter Cup - Namida no Saki e -- -- Production I.G -- 1 ep -- Manga -- Sports School Shounen -- Kuroko no Basket Movie 2: Winter Cup - Namida no Saki e Kuroko no Basket Movie 2: Winter Cup - Namida no Saki e -- Second of three compilation films of the Kuroko no Basket franchise. -- -- Seirin faces off with Yosen in the quarter finals of the Winter Cup. Facing Yosen’s impenetrable defense with Murasakibara at its center, Kuroko manages to shoot his first point. Meanwhile, the ace battle between Kagami and Himuro also heats up. An intense battle is held until the very end. Next, Seirin faces off with Kaijo in the semi finals. Cautious of Kaijo's ace, Kise, and his Perfect Copy ability, Seirin works fast and hard to take the lead. Kise hurts his leg and is benched, so Seirin thinks they now have their chance, but then Kaijo shows them exactly what they can do even without Kise. -- -- (Source: Crunchyroll) -- Movie - Oct 8, 2016 -- 22,718 7.65
Lupin III: Fuuma Ichizoku no Inbou -- -- Tokyo Movie Shinsha -- 1 ep -- Manga -- Action Adventure Mystery Comedy Seinen -- Lupin III: Fuuma Ichizoku no Inbou Lupin III: Fuuma Ichizoku no Inbou -- Goemon's wedding to Murasaki Inabe, daughter of a samurai clan's leader, is interrupted when the Fuma ninjas attack, kidnapping the bride-to-be and demanding her family's ancient treasure as ransom. Lupin, Jigen, Goemon and Fujiko work together once again to try to save Murasaki and get to the treasure before the Fuma can steal it. -- -- (Source: ANN) -- -- Licensor: -- AnimEigo, Discotek Media -- Movie - Dec 26, 1987 -- 8,208 7.27
Mecha-ude -- -- TriF Studio -- 1 ep -- Original -- Action Sci-Fi Mecha -- Mecha-ude Mecha-ude -- Long ago, alien lifeforms came to Earth, fusing with people on the planet. Due to their appearance, they were dubbed "Mecha-ude," as when fused, they bore a striking resemblance to mechanized limbs. -- -- Through an involuntary partnership, average middle schooler Hikaru Amatsuga works alongside the Mecha-ude Arma, who is an extremely rare and special existence. To protect Arma, the resistance group ARMS assigns the dual Mecha-ude user Aki Murasame to follow him wherever he goes. However, she is also looking for a mysterious Snake-Type Mecha-ude wielder, who has put many of her comrades in a critical state. -- -- Behind the scenes, an organization known as the Kagami Group is searching for the mythical "Trigger Arm," a Mecha-ude said to grant unlimited power. When Aki's life is threatened by this group, Hikaru must team up with Arma to find the courage to fight back and, along the way, learn that his life will never be ordinary again. -- -- ONA - Sep 30, 2018 -- 13,106 6.92
Orange: Mirai -- -- Telecom Animation Film -- 1 ep -- Manga -- Sci-Fi Drama Romance School Shoujo -- Orange: Mirai Orange: Mirai -- Twenty-six-year-old Hiroto Suwa; his wife, Naho; and their old high school classmates—Takako Chino, Azusa Murasaka, and Saku Hagita—visit Mt. Koubou to view the cherry blossoms together. While watching the setting sun, they reminisce about Kakeru Naruse, their friend who died 10 years ago. Mourning for him, they decide to visit Kakeru's old home, where they learn the secret of his death from his grandmother. -- -- Filled with regret, Suwa and his friends decide to write letters to their 16-year-old past selves to set their hearts at rest. With the knowledge contained in the letter from his future self, 16-year-old Suwa has the chance to rewrite the future. What choices will he make? What will happen in this new future? -- -- Movie - Nov 18, 2016 -- 95,499 7.44
Re:␣Hamatora -- -- Lerche -- 12 eps -- Original -- Mystery Comedy Super Power Drama -- Re:␣Hamatora Re:␣Hamatora -- It has been three months since the incident at Yokohama. Things have been settling down at Cafe Nowhere. Murasaki and Hajime have teamed up and started investigating again. After an unforeseen reunion, Art holds Nice at gunpoint. What are his real intentions? What will become of the connection between Art and Hamatora? -- -- (Source: Crunchyroll) -- -- Licensor: -- Sentai Filmworks -- 143,773 7.39
Tokyo Underground -- -- Studio Pierrot -- 26 eps -- Manga -- Action Adventure Romance Sci-Fi Shounen Super Power -- Tokyo Underground Tokyo Underground -- Under the capital city of Tokyo, Japan, there exists a large, vast, and unknown world known as Underground. There, people known as Elemental Users exist; people who have the ability to control the elements: Fire, Water, Lightning, Magnetism, Freeze, etc. Meet Rumina Asagi and his best friend Ginnosuke Isuzu, two average high school freshmen who reside in Tokyo. When they meet Gravity User, Chelsea Rorec, and the Miko of Life, Ruri Sarasa, their whole lives change into one big adventure. -- -- (Source: ANN) -- -- Licensor: -- Discotek Media, Geneon Entertainment USA -- 25,672 6.63
Wakako-zake -- -- Office DCI -- 12 eps -- Manga -- Seinen Slice of Life -- Wakako-zake Wakako-zake -- Murasaki Wakako, who is 26 years old, loves going out alone to enjoy eating and drinking, especially when something unpleasant happens at work. This anime follows Wakako through many solitary outings, where she enjoys different combinations of food and drink! -- -- (Source: MangaHelpers, edited) -- 33,778 6.64
Wakusei Daikaiju Negadon -- -- - -- 1 ep -- Original -- Action Fantasy Mecha Military Sci-Fi Space -- Wakusei Daikaiju Negadon Wakusei Daikaiju Negadon -- A world of the future, madly over populated, searches for a new home on Mars to help support humanity. After terraforming Mars into a habitable landscape a Japanese ship returning from the planet crash-lands on a Tokyo street, unleashing a terrible monster. The only man who can stop Negadon is Dr. Narasaki, and his robot Miroku... -- -- (Source: ANN) -- -- Licensor: -- Central Park Media, NYAV Post -- Movie - Oct 16, 2005 -- 1,235 5.56
Yuyushiki: Komarasetari, Komarasaretari -- -- Kinema Citrus -- 1 ep -- 4-koma manga -- Slice of Life Comedy School -- Yuyushiki: Komarasetari, Komarasaretari Yuyushiki: Komarasetari, Komarasaretari -- (No synopsis yet.) -- OVA - Feb 22, 2017 -- 10,207 7.33
https://commons.wikimedia.org/wiki/Category:Edo_murasaki_sugata_kurabe_(Comparison_of_Figures_in_Edo_Purple)_by_Utagawa_Kunisada
https://commons.wikimedia.org/wiki/File:054_Prajnaparamita,_Hevajra_and_Vajrasatta,_13c,_Lopburi_(34443884023).jpg
https://commons.wikimedia.org/wiki/File:Acharya_Shree_Ajendraprasadji.jpg
https://commons.wikimedia.org/wiki/File:Acharya_shree_ajendraprasadji_.jpg
https://commons.wikimedia.org/wiki/File:Acharya_Shree_Ajendraprasadji.jpg#file
https://commons.wikimedia.org/wiki/File:Acharya_shree_ajendraprasadji_.jpg#file
https://commons.wikimedia.org/wiki/File:Acharya_Shree_Ajendraprasadji.jpg#filehistory
https://commons.wikimedia.org/wiki/File:Acharya_shree_ajendraprasadji_.jpg#filehistory
https://commons.wikimedia.org/wiki/File:Acharya_Shree_Ajendraprasadji.jpg#filelinks
https://commons.wikimedia.org/wiki/File:Acharya_shree_ajendraprasadji_.jpg#filelinks
https://commons.wikimedia.org/wiki/File:Acharya_Shree_Ajendraprasadji.jpg#metadata
https://commons.wikimedia.org/wiki/File:Acharya_shree_ajendraprasadji_.jpg#metadata
https://commons.wikimedia.org/wiki/File:"A_Country_Genji_by_a_Fake_Murasaki"_-_Nise_Murasaki_inaka_Genji.ehon.series.volume..cover.testscan.01.jpg
https://commons.wikimedia.org/wiki/File:"A_Country_Genji_by_a_Fake_Murasaki"_-_Nise_Murasaki_inaka_Genji.ehon.series.volume..cover.testscan.02.jpg
https://commons.wikimedia.org/wiki/File:"A_Country_Genji_by_a_Fake_Murasaki"_-_Nise_Murasaki_inaka_Genji.ehon.series.volume..cover.testscan.03.jpg
https://commons.wikimedia.org/wiki/File:"A_Country_Genji_by_a_Fake_Murasaki"_-_Nise_Murasaki_inaka_Genji.ehon.series.volume..cover.testscan.04.jpg
https://commons.wikimedia.org/wiki/File:Barasat_kalipuja_guidemap-2018.jpg
https://commons.wikimedia.org/wiki/File:Kekerasan_seksual.jpg
https://commons.wikimedia.org/wiki/File:Therasana_entry_1.jpg
https://commons.wikimedia.org/wiki/File:Therasana_entry.jpg
https://commons.wikimedia.org/wiki/File:Thi._Therasana_jagir.jpg
https://commons.wikimedia.org/wiki/Special:WhatLinksHere/File:Acharya_Shree_Ajendraprasadji.jpg
https://commons.wikimedia.org/wiki/Special:WhatLinksHere/File:Acharya_shree_ajendraprasadji_.jpg
https://commons.wikimedia.org/w/index.php?title=Category:Edo_murasaki_sugata_kurabe_(Comparison_of_Figures_in_Edo_Purple)_by_Utagawa_Kunisada&curid=103806370
https://commons.wikimedia.org/w/index.php?title=File:Acharya_Shree_Ajendraprasadji.jpg
https://commons.wikimedia.org/w/index.php?title=File:Acharya_shree_ajendraprasadji_.jpg
https://commons.wikimedia.org/w/index.php?title=File_talk:Acharya_Shree_Ajendraprasadji.jpg
https://commons.wikimedia.org/w/index.php?title=File_talk:Acharya_shree_ajendraprasadji_.jpg
https://commons.wikimedia.org/w/index.php?title=Special:CreateAccount&returnto=File:Acharya+Shree+Ajendraprasadji.jpg
https://commons.wikimedia.org/w/index.php?title=Special:CreateAccount&returnto=File:Acharya+shree+ajendraprasadji+.jpg
https://commons.wikimedia.org/w/index.php?title=Special:UserLogin&returnto=File:Acharya+Shree+Ajendraprasadji.jpg
https://commons.wikimedia.org/w/index.php?title=Special:UserLogin&returnto=File:Acharya+shree+ajendraprasadji+.jpg
1989 Taufiqiah Al-Khairiah madrasa fire
34th Sarasaviya Awards
77th Infantry Division of Khurasan
Aathi Parasakthi
Ab Barik-e Olya, Razavi Khorasan
Ab Barik-e Sofla, Razavi Khorasan
Ab Barik, Razavi Khorasan
Abdabad, North Khorasan
Abdabad, Razavi Khorasan
Abdalabad, Razavi Khorasan
Abdallah ibn Tahir al-Khurasani
Abd ol Maleki, Razavi Khorasan
Abeshki, Razavi Khorasan
Abgarm, Razavi Khorasan
Abhinavano Rasavichar
Abid, South Khorasan
Acer shirasawanum
Acraea cerasa
Adelabad, Razavi Khorasan
Adhiparasakthi Engineering College
Adhirasam
Adrasan, Kumluca
A. D. S. N. Prasad
A. Durai Arasan
Adya Prasad Pandey
gua Rasa
Ahmad Hosseini Khorasani
Ajit Prasad Jain
Akarna Dhanurasana
Akhilesh Prasad Singh
Akkineni Ramesh Prasad
Al-Adiliyah Madrasa
Al-Attarine Madrasa
Albolagh, Razavi Khorasan
Aleksandr Kharasakhal
Al-Firdaws Madrasa
AlhambraSan Gabriel Line
Aliabad-e Olya, Razavi Khorasan
Aliabad-e Olya, South Khorasan
Aliabad-e Sofla, Razavi Khorasan
Aliabad-e Sofla, South Khorasan
Al-Jamiatul Arabia Haildhar Madrasa
Al-Kameliyah Madrasa
Alphonse Antonio de Sarasa
Amanabad, Razavi Khorasan
Amar Prasad Ray
Ambagahawatte Indrasabhawara Gnanasami Maha Thera
Amba Prasad
Amiriya Madrasa
Amiriyeh, North Khorasan
Anagani Satya Prasad
Ananda Prasad
Ananta Prasad Paudel
AndorraSan Marino relations
ngel Garasa
AnkaraSamsun Motorway
Anne Rasa
Ansariyeh, Razavi Khorasan
Appaalissiorfiup Ikerasaa
Apporasa
Apsarasa praslini
Apsarasa radians
Apsarasas Kangri
Arabs in Khorasan
Arasada
Arasada (moth)
Arasada, Srikakulam district
Arasairi
Arasa Kattalai
Arasakulam
Arasaleeswarar temple
Arasan
Arasanagaripattinam
Arasanj
Arasanj-e Jadid
Arasanj-e Qadim
AraSasaram DEMU
Arasatchi
Arasaxa
Ardha chandrasana
A. R. D. Prasad
Arefabad, Razavi Khorasan
Argyrostrotis erasa
Aris Karasavvidis
Aristotelis Karasalidis
Arkadi Krasavin
Ark, South Khorasan
Arrasando Con Fuego
Aryan, Razavi Khorasan
Asfij, South Khorasan
Askariyeh, Razavi Khorasan
A. Sreekar Prasad
Astavakrasana
Asu, South Khorasan
Athirasa
Atrasado Formation
Atul Prasad Sen
Aurora (Susumu Hirasawa album)
Autonomous Government of Khorasan
Avaz, South Khorasan
Awadeshwar Prasad Sinha
Ayodhya Prasad
Ayodhyaprasad
Ayodhya Prasad Upadhyay
Azad Deh, Razavi Khorasan
Baby Brasa
Baghestan Rural District (South Khorasan Province)
Baghu, Razavi Khorasan
Bajina Ramprasad
Bak, South Khorasan
Balbir Prasad Chaudhary
Balikuda-Erasama
Balli Durga Prasad Rao
Banarsi Prasad Jhunjhunwala
Banarsi Prasad Saxena
Bangladesh Madrasah Education Board
Barak, South Khorasan
Barasana
Barasana-Eduria language
Barasano language
Barasat
Barasat I
Barasat II
Barasat Sadar subdivision
BarasaUbaidat War
Barasaurus
Barbar Qaleh, North Khorasan
Barqi, Razavi Khorasan
Bar, Razavi Khorasan
Bashirabad, Razavi Khorasan
Bashtin, Razavi Khorasan
Baturasay
Bearasaigh
Behdan, South Khorasan
Beni Prasad Verma
Ben Youssef Madrasa
Besharat, Razavi Khorasan
Beyhud, Razavi Khorasan
Beynaq, Razavi Khorasan
Bhagirath Prasad
Bhawani Prasad Mishra
BhimavaramNarasapur branch line
Bhuvaneshwar Prasad Sinha
Bidur Prasad Sapkota
Biglar, Razavi Khorasan
Bihar under Lalu Prasad Yadav
Bindeshwari Prasad
Bindeshwari Prasad Sinha
Bindeshwari Prasad Verma
Bindheswari Prasad Keshri
Bineshwar Prasad
Bishnu Prasad Rabha
Bishowambhar Prasad Shrestha
B. K. Hariprasad
Bogomol'nyiPrasadSommerfield bound
Boniabad, South Khorasan
Borj, North Khorasan
Bou Inania Madrasa
Boyineni Deva Prasada Rao
Brasa
Brasa Futebol Clube
Brij Behari Prasad
Buichi Terasawa
Burbur, North Khorasan
Cakrasavara Tantra
Calluga semirasata
Calvarrasa de Abajo
Calvarrasa de Arriba
Camarasauridae
Camarasaurus
CD Trasandino
Ch'uxa Quta (Charasani)
Chahar Bagh, Razavi Khorasan
Chah-e Amiq, South Khorasan
Chah-e Arabha, South Khorasan
Chah-e Shend, Razavi Khorasan
Chah-e Zeyayi, South Khorasan
Chah Paliz, South Khorasan
Chah Rowghani, Razavi Khorasan
Chahuk, Razavi Khorasan
Chakrasana
Chak, South Khorasan
Chaman-e-Bid, North Khorasan
Chandeshwar Prasad Narayan Singh
Chandi Prasad Bhatt
Chandra Bhan Prasad
Chandramauli Kumar Prasad
Chandra Prasad Saikia
Chandrashekhar Prasad
Chandrika Prasad Srivastava
Chaophraya Phrasadet Surentharathibodi
Chaophraya Surasak
Chaophraya Surasakmontri
Charbhadrasan Upazila
ChennaiSri Sathya Sai Prasanthi Nilayam Express
Cheran, Razavi Khorasan
Cheru, Razavi Khorasan
Cheshmeh Anjir, Razavi Khorasan
Cheshmeh Bid, South Khorasan
Cheshmeh Zangi, South Khorasan
Chhatrasal
Chikarasaurus Rex: How to Hatch a Dinosaur
Chinna rasalu
Chinnayarasala Harijanawada
Chironex indrasaksajiae
Chubin, Razavi Khorasan
Chugan, South Khorasan
C. K. Thamizharasan
C. M. Prasad
C. Muttukumarasami Mudaliyar
Cnephasia abrasana
Comet IRASArakiAlcock
Cornel Rasanga Amoth
CubeSail (UltraSail)
Daisuke Terasawa
Danguol Rasalait
Darasara
Dareyn, Razavi Khorasan
Darin, South Khorasan
Darmian, South Khorasan
Darreh Abbas, South Khorasan
Darreh Sefid, South Khorasan
Darudi, South Khorasan
Dashtak-e Sofla, North Khorasan
Dashtuk, South Khorasan
Dastgerdan, South Khorasan
Debaprasad Ghosh
Debendra Prasad Ghosh
Debiprasad Chattopadhyaya
Debi Prasad Mishra
Deepak Prasadh
Deepika Prasain
Deh Bagh, Razavi Khorasan
Deh-e Ali, South Khorasan
Deh-e Mian, Razavi Khorasan
Deh-e Shur, South Khorasan
Dehik, South Khorasan
Deonandan Prasad Yadava
Devaki Prasad
Devendra Prasad Gupta
Devendra Prasad Yadav
Devi Prasad
Devi Sri Prasad
Dhammika Prasad
Dhanurasana
Dharasana Satyagraha
Dharmana Prasada Rao
Dheerasameere Yamuna Theere
Dinesh Prasad
Dinesh Prasad Singh
Dipprasad Pun
Dokka Manikya Vara Prasad
Dorasan
Draft:Damodar Prasad
Drogowa Trasa rednicowa
Dr. Rajendra Prasad Central Agriculture University
Dr. Rajendra Prasad Stadium
Dr. Shyama Prasad Mukherjee University
Dr. Syama Prasad Mookerjee Tunnel
Dulu, Razavi Khorasan
Durga Prasad Dhar
D. V. Narasa Raju
Dwarka Prasad Mishra
Earasaid
E. A. S. Prasanna
Eaton's Corrasable Bond
Ebrahimi, South Khorasan
Ehsanabad, North Khorasan
Emamiyeh, Razavi Khorasan
Emamzadeh Ali, South Khorasan
Emma Vilarasau
Enga Ooru Rasathi
En Rasavin Manasile
Eorasaurus
Era Natarasan
Erasable programmable logic device
Erasakkanayakkanur
Erasanthe
Eric Prasanna Weerawardena
Esfian, South Khorasan
Eshqabad, South Khorasan
Eslamabad, North Khorasan
Esprance Nyirasafari
Estakhr, Razavi Khorasan
Estakhr, South Khorasan
Eupithecia albirasa
Fajirabad, North Khorasan
Fakhr ol Din, North Khorasan
Fallahabad, Razavi Khorasan
Farajollah Rasaei
Farasan
Farasan Island
Farasan Islands
Farsiyeh, Razavi Khorasan
Fatimat Olufunke Raji-Rasaki
Francesco Pietrasanta
Frasassi Caves
Futarasan jinja
Gajasurasamhara
Galleh Chashmeh, Razavi Khorasan
Gallela Prasad
Ganauri Prasad Singh
Ganesh Prasad Rijal
Ganeshprasad Varni
Ganga Prasad Vimal
GanGrossPrasad conjecture
Gash, Razavi Khorasan
Gauriprasanna Mazumder
Gaya Prasad Katiyar
Gayatri Prasad Prajapati
Gazan, South Khorasan
Gazi, Razavi Khorasan
Gazzeh, South Khorasan
G. Deviprasad
Gellan tetrasaccharide unsaturated glucuronyl hydrolase
Gerasa, Cyprus
Gerasa (Judaea)
Geshn, South Khorasan
Ghiyathiyyah Madrasah
Ginsio Paulo Sarasate
Girija Prasad Koirala
Giri Prasad Burathoki
Girjaprasad Chinubhai
Gojirasaurus
Golestan, South Khorasan
Golian, North Khorasan
Gol Kan, South Khorasan
Gol, South Khorasan
Golzar, Razavi Khorasan
Gonbadli, Razavi Khorasan
Gopal Prasad Rimal
Gopal Prasad Sharma
Gorasara
Government Madrasah-e-Alia
Govind Prasad Lohani
Gowriprasad Jhala
Greater Khorasan
Great Madrasah, Nicosia
Gurasada
Gurasar-e Sofla
Gur Band, Razavi Khorasan
G. V. Prasad
Gyaneshwar Prasad Thapliyal
Hamid, North Khorasan
Hamid Rasaee
Hanadar, South Khorasan
Hara Prasad Shastri
Haresabad, Razavi Khorasan
Hari Kewal Prasad
Hari K. Prasad
Harikrishna Prasad Gupta Agrahari
Hari Prasad
Hariprasad Chaurasia
Hariprasad Shastri
Harivarasanam
Harry Sandrasagra
Hasanabad-e Olya, South Khorasan
Hazari Gonj Hamidia Fazil Madrasah
Hazari Prasad Dwivedi
Hemistola chrysoprasaria
Hermenegildo Anglada Camarasa
Herpoperasa
Herrerasauridae
Herrerasaurus
Hesar, North Khorasan
Hesar, South Khorasan
Heterocrasa
Hirasa
Hirasaki Shrine
Hisanori Shirasawa
Homayun, South Khorasan
Horasan
Hoseynabad-e Jangal, Razavi Khorasan
Hoseynabad-e Pain, South Khorasan
Hoseynabad, North Khorasan
Hossein Wahid Khorasani
Howmeh Rural District (South Khorasan Province)
HowrahSathya Sai Prasanthi Nilayam Express
H. Rajesh Prasad
H. S. Mahadeva Prasad
Ikerasaarsuk Heliport
Ikerasaa Strait
Ikerasak Fjord
Ikerasak Heliport
Imsai Arasan 23rd Pulikecei
Incheh-ye Olya, North Khorasan
Indirasagar Dam
Indrasakdi Sachi
Indrasala Cave
Insee Chantarasatit Stadium
INS Tarasa (T94)
Irajabad, Razavi Khorasan
Ishwari Prasad
ItakuraSaito distance
Ivar, Razavi Khorasan
Izi, North Khorasan
Izi, Razavi Khorasan
Jabbar, Razavi Khorasan
Jacinto Barrasa
Jafarabad-e Sofla, North Khorasan
Jafariyeh, Razavi Khorasan
Jagadambi Prasad Yadav
Jagannath Prasad Das (psychologist)
Jagannath Prasad, Ganjam
Jagdeo Prasad
Jagdish Prasad
Jai Narain Prasad Nishad
Jaishankar Prasad
James Coomarasamy
Jamia Qasmia Madrasa Shahi
Jamides parasaturatus
Jan Ahmad, South Khorasan
Jandab, Razavi Khorasan
Japanese destroyer Murasame
Japanese destroyer Murasame (1935)
Jarasandha
Jarasandha (film)
Jasrasar
Jasti Eswara Prasad
Javadieh, Razavi Khorasan
Javadiyeh, South Khorasan
Javier Berasaluce
JDS Murasame (DD-107)
Jean Arasanayagam
Jean-Luc Rasamoelina
Jitamitra Prasad Singh Deo
Jitendra Prasada
Jitendra Prasad Sonal
Jitin Prasada
John Hirasaki
Jonathan Barasa
Jorasanko
Jorasanko Thakur Bari
Jos Brasa
Jowzak, North Khorasan
JS Murasame
Juttaporn Krasaeyan
Jyoti Prasad Agarwala
Jyotiprasad as a Film Maker
Jyotiprasad Medhi
Jyoti Prasad Rajkhowa
Kabudan, Razavi Khorasan
Kabudan, South Khorasan
Kabudeh, South Khorasan
Kahak, Razavi Khorasan
Kahnow, South Khorasan
Kailas Prasad Pandey
Kakar Khurasan Subdistrict
Kakhk, South Khorasan
Kakoli, North Khorasan
Kalahasti P. Prasad
Kalaiyarasan
Kalateh-ye Akhund, South Khorasan
Kalateh-ye Arab, South Khorasan
Kalateh-ye Bagh, South Khorasan
Kalateh-ye Bahar, North Khorasan
Kalateh-ye Bozorg, Razavi Khorasan
Kalateh-ye Hajji, South Khorasan
Kalateh-ye Hasan, South Khorasan
Kalateh-ye Khvosh, Razavi Khorasan
Kalateh-ye Molla Hasan, South Khorasan
Kalateh-ye Nuri, South Khorasan
Kalateh-ye Sadat, North Khorasan
Kalateh-ye Said, Razavi Khorasan
Kalateh-ye Seyyed Ali, South Khorasan
Kalateh-ye Shur, Razavi Khorasan
Kalat, Razavi Khorasan
Kalavi, Razavi Khorasan
Kalika Prasad Bhattacharya
Kaliprasanna Singha
Kallar, Razavi Khorasan
Kamakhya Prasad Singh Deo
Kamal Prasad Chaulagain
Kamar Sabz, South Khorasan
Kamar Zard, Razavi Khorasan
Kamta Prasad Khatik
Kanthirava Narasaraja II
Kapkan, Razavi Khorasan
Karanam Pavan Prasad
Karangan, Razavi Khorasan
Karasahr
Karasai Stadium
Karasandkl, Sandkl
Karasawa Genba
Karasay District
Karatay Madrasa, Konya
Karen Narasaki
Kareshk, Razavi Khorasan
Kareshk, South Khorasan
Kashanak, North Khorasan
Kashkabad, North Khorasan
Kassegaran Madrasa
Kathleen Wrasama
Katsuei Hirasawa
Kenneth Dzirasah
Kerik, North Khorasan
Keshab Prasad Badal
Keshav Prasad Maurya
Kstutis Krasauskas
Khajeh, Razavi Khorasan
Khaledabad, North Khorasan
Khalilan, South Khorasan
Khalili, Razavi Khorasan
Khanik, Razavi Khorasan
Kharasanda
Khargushi, Razavi Khorasan
Kharq, Razavi Khorasan
Kharv-e Olya, South Khorasan
Khem Prasad Lohani
Kheyrabad-e Olya, Razavi Khorasan
Khij, Razavi Khorasan
Khodaabad, Razavi Khorasan
Khodadad, Razavi Khorasan
Khorasan
Khorasanak
Khorasan group
Khorasani
Khorasani Arabic
Khorasani, Fars
Khorasani style
Khorasani style (poetry)
Khorasani Turkic
Khorasani Turks
Khorasan, Kurdistan
Khorasanlu, East Azerbaijan
Khorasanlu, Zanjan
Khorasan Province
Khorasan wheat
Khorramabad-e Olya, Razavi Khorasan
Khorramabad-e Sofla, Razavi Khorasan
Khowr, Razavi Khorasan
Khowshabad, South Khorasan
Kigeli III Ndabarasa
KinoshitaTerasaka knot
Kirana Larasati
K. I. Varaprasad Reddy
K. N. Kumarasamy Gounder
Kobayashi Torasabur
Kodavatiganti Rohini Prasad
Kodela Siva Prasada Rao
Kon'ya wa Karasawagi
Kondor, Razavi Khorasan
Kongdej Jaturanrasamee
Korasahalu
Kordian, Razavi Khorasan
Koreh, South Khorasan
Koreshk, South Khorasan
Korf, North Khorasan
Korond Rural District (South Khorasan Province)
Korond, South Khorasan
Kortabad, South Khorasan
Koshalendraprasad Pande
Kowdeh, Razavi Khorasan
K. Prasad Babu
Krasa, Astrakhan Oblast
Krasae Sin District
KrasAir
Krasang District
Krasanovii
Krasar
Krasavino, Veliky Ustyug, Vologda Oblast
Krasawa, Silesian Voivodeship
Krasany
Krishna Prasad
Krishna Prasad Bhattarai
Krishna Prasad (journalist)
K.S. Varaprasad
Kubat Pasha Madrasa
Kuhsar, South Khorasan
Kukeldash Madrasah (Tashkent)
Kulapat Yantrasast
Kumrasambhava
Kunbarrasaurus
Kurasala Kannababu
Kurds of Khorasan
Kusar Prasad Ka Bhoot
Kuseh, North Khorasan
Kusheh-ye Olya, South Khorasan
Kusheh-ye Sofla, South Khorasan
Kushkabad, Razavi Khorasan
Kushkak, South Khorasan
Kushkan, Razavi Khorasan
Kushki, North Khorasan
La Grasa de las Capitales
Lake Carasaljo
Lallan Prasad Singh
Lalu Prasad Yadav
Latifabad, Razavi Khorasan
Laxmi Prasad Devkota
Laxmi Prasad SC
Leonerasaurus
Lon Rasalama
List of Qawmi Madrasas in Bangladesh
List of rasa'il in the Encyclopedia of the Brethren of Purity
List of Rashtrasant Tukadoji Maharaj Nagpur University people
Lorasar
Lucy Verasamy
L. V. Prasad
L. V. Prasad Eye Institute
Machairasaurus
Madan, Razavi Khorasan
Madhav Prasad Birla
Madhav Prasad Ghimire
Madhav Prasad Tripathi
Madrasa
Madrasa Al-Ashrafiyya
Madrasa Aminia Islamia Arabia
Madrasa and tomb of Alauddin Khalji
Madrasa El Bachia
Madrasa El Jedid
Madrasa El Mettichia
Madrasa El Unqiya
Madrasa Ennakhla
Madrasa (grape)
Madrasah Akbarieh
Madrasah Al-Maarif Al-Islamiah
Madrasah as-Sawlatiyah
Madrasah In'aamiyyah
Madrasah-i Rahimiyah
Madrasah Irsyad Zuhri Al-Islamiah
Madrasahs in Singapore
Madrasa-i-Aliya
Madrasa Marjania
Madrasa of Abu al-Hasan
Madrasa of Al-Nasir Muhammad
Madrasa of Amir Sunqur Sa'di
Madrasa of Granada
Madrasa of Zawiya El Bokria
Madrasapattinam
Madrasa Slimania
Madrasatul Waizeen
Mahabir Prasad Asthana
Mahani, South Khorasan
Mahaprasad
Maharaja Chhatrasal Museum
Mahaveer Prasad
Mahavir Prasad Dwivedi
Mahmudabad-e Olya, Razavi Khorasan
Mahmudabad-e Sofla, Razavi Khorasan
Mahmud Gawan Madrasa
Maia Hirasawa
Majed Farasani
Makarasana
Maleki, South Khorasan
Mallika Prasad
Malwa Ki Sanskritik Virasat Evam Paryatan
Mandali Buddha Prasad
Mani Prasad
Mannarasala Temple
Mansourasaurus
Maragheh, Razavi Khorasan
Marian, Razavi Khorasan
Mara Teresa Villagrasa Prez
Marisa Darasavath
Martn Berasategui
Maruk, South Khorasan
Masanori Hirasawa
Masato Harasaki
Mask, South Khorasan
Massoud Farasati
Matrika Prasad Koirala
Matrika Prasad Yadav
Matsyendrasana
Mayurasana
Mazar, South Khorasan
Mazraeh-ye Rajab Ali Lahrasabi
Mehrabad, North Khorasan
Meichi Narasaki
Meyab, Razavi Khorasan
Meyerasaurus
Miankuh Rural District (Razavi Khorasan Province)
Micreremites rasalis
Miho Karasawa
Mina, Razavi Khorasan
Minotaurasaurus
M. K. Prasad
M. Kumarasamy College of Engineering
Mohammadabad-e Olya, South Khorasan
Mohammadabad-e Sofla, Razavi Khorasan
Mohammadabad-e Sofla, South Khorasan
Mohammad Khan, South Khorasan
Mohammadshahr, South Khorasan
Mohammad Va'ez Abaee-Khorasani
Mohan Prasath
Moinabad, South Khorasan
Molhu Prasad
Molla Hasan, North Khorasan
Monavari, South Khorasan
Monj, Razavi Khorasan
Morasa
Moscheen und Madrasabauten in Iran 1785-1848
Mosque-Madrasa of Sultan Barquq
Mosque-Madrasa of Sultan Hassan
MoyPrasad filtration
M. R. Srinivasaprasad
M. S. K. Prasad
Muhammadabad Islamia Alim Madrasah
Muhammad Kadhim Khorasani
Murasaki (crater)
Murasaki (novel)
Murasaki Shikibu
Murasaki Shikibu Diary Emaki
Murasame
Murasame-class destroyer
Murasame-class destroyer (1958)
Murasame-class destroyer (1994)
Muri, Razavi Khorasan
Mustafabia Alia Madrasah
Mustansiriya Madrasah
Muttaburrasaurus
M. Y. S. Prasad
Nagendra Prasad Sarbadhikari
Naman, Razavi Khorasan
Nancy Prasad
Naoki Urasawa
Naqareh Khaneh, Razavi Khorasan
Naqiabad, North Khorasan
Naramalli Sivaprasad
NarasakaPrasad reduction
Narasaki Ry
Narasannapeta (Assembly constituency)
Narasapuram
Narasapuram (Assembly constituency)
Narasapuram (Lok Sabha constituency)
Narasapuram Mandal
Narasapuram revenue division
Narasapur, Belgaum
NarasapurHyderabad Express
NarasapurNagarsol Express (via Guntur)
NarasapurNagarsol Express (via Warangal)
NarasapurNidadavolu Express
Narasaraopet
Narasaraopet (Lok Sabha constituency)
Narayanprasaddasji Swami
Narendra Prasad
Nashriya-i Madrasa-i Mubaraka-i Dar al-Funun-i Tabriz
Navarasa (film)
Navarasa kannada
Neena Prasad
Nezamabad, Razavi Khorasan
Nik, South Khorasan
Nimmagadda Prasad
Niobrarasaurus
Nirasaki Stadium
Nirasaki, Yamanashi
Nirmala Prasad
Niyar, South Khorasan
Norasa uranium project
North Khorasan Province
Noushin Ahmadi Khorasani
Nowabad, Razavi Khorasan
N. Prasad Rao
Nrisingha Prasad Bhaduri
N. S. Prasad
Nur al-Din Madrasa
Nusrathul Islam Madrasa
Nutan Prasad
amishirasato
Ocrasa
Olivier Mahafaly Solonandrasana
Om Prasad Pun
Orgram Chatuspalli High Madrasah
Ostad, North Khorasan
P. A. Arun Prasad
Pablo de Sarasate
Pachk, Razavi Khorasan
Paco Camarasa
Padegan Qods, Razavi Khorasan
Pakotal, North Khorasan
Pakotal, Razavi Khorasan
Pandemis cerasana
Pane carasau
Pan Sorasak
Parasa
Parasabatinca
Parasa bicolor
Parasaccogaster melanomycter
Parasa consocia
Parasada
Parasagitta elegans
Parasagitta setosa
Parasailing
Parasa indetermina
Parasaitis
Parasakthi
Parasakthi (film)
Parasa lepida
Parasalvazaon
Parasanaa
Parasang
Parasara Bhattar
Parasarpa
Parasarpa dudu
Parasarpa zayla
Parasa undulata
Parasaurolophini
Parasaurolophus
Parvati Prasad Baruva
Pashupati Prasad
Pasiphila derasata
Paskouh Rural District (South Khorasan Province)
Pas Poshteh, Razavi Khorasan
Patrasayer
Patrasayer (community development block)
Paul Terasaki
Petrobrasaurus
Petrokerasa Folklore Museum
Phrasaeng District
Phrasal verb
Phryneta semirasa
Pibare Rama Rasam
Pietrasanta
Pirasafneh
Pishkuh Rural District (South Khorasan Province)
Plarasa
Pollo a la Brasa
Ponte Rasa
Poovarasam Peepee
Pragathi Guruprasad
PRASA
Prasaadam
Prasadani Weerakkody
Prasada Rao
Prasad Art Pictures
Prasad Babu
Prasad (disambiguation)
Prasad Institute of Technology
Prasad Kumar Harichandan
Prasad Ram
Prasad Sinha
Prasad Studios
Prasad Sutar
Prasad V. Potluri
Prasad V. Potluri Siddhartha Institute of Technology
Prasad V. Tetali
Prasa-Ksi
Prasanna
Prasanna Acharya
Prasanna (actor)
Prasanna Amarasekara
Prasanna Kumar
Prasanna Kumar Tagore
Prasannapada
Prasanna Pandian
Prasanna Ranatunga
Prasanna Venkatachalapathy Temple
Prasanna Venkatesa Perumal Temple, Saidapet
Prasanna Venkateswara Puram
Prasanna Yoga Anjaneyar Temple
Prasansana Jayamanne
Prasan Suvannasith
Prasanta Chandra Mahalanobis
Prasanta Kumar Majumdar
Prasanta Pattanaik
Prasanthi Nilayam
Prasanth Parameswaran
Prasantt Ghosh
Prasarana Malaysia
Prasar Bharati
Prasarita Padottanasana
Prasat
Prasat Bakong District
Prasat Balangk District
Prasat District
Prasat Muang Tam
Prasat, Preah Netr Preah
Prasat Sambour District
Prasat Ta Krabey
Prasat Ta Muen Thom
Prasat (Thai architecture)
Prasat Thong
Preaek Prasab District
P. Selvarasa
P. S. Krishnaprasad
Puch, Razavi Khorasan
Purasawalkam
Purasawalkam taluk
Puthiya Parasakthi
P. V. Ramprasad Reddy
Qadamgah, South Khorasan
Qalehcheh, Razavi Khorasan
Qaleh Dokhtar, South Khorasan
Qaleh Hasan, North Khorasan
Qaleh Sefid-e Sofla, Razavi Khorasan
Qaleh-ye Harasam
Qanbarabad, South Khorasan
Qarah Aqaj, North Khorasan
Qarah Bagh, Razavi Khorasan
Qarah Chay, Razavi Khorasan
Qarasaqqal
Qarezi, Razavi Khorasan
Qatar Gaz, Razavi Khorasan
Qatar Gaz, South Khorasan
Qawmi Madrasah
Rabiabad, South Khorasan
Rabindra Prasad Adhikari
Radkan, Razavi Khorasan
Raghuvansh Prasad Singh
Rahul Prasad
Raja Jwala Prasad
Rajendra Prasad
Rajendra Prasad (actor)
Rajendra Prasad Das
Rajendra Prasad (filmmaker)
Rajendra Prasad (pulmonologist)
Rajen Prasad
Raji Rasaki
Rakeshprasad
Rallabhandi Kavitha Prasad
Ramaprasad Chanda
Rambabu Prasai
Ramchandra Prasad Singh
Ramesh Prasad Khatik
Ramesh Prasad Mohapatra
Rameshwar Prasad
Ram Prasad
Ramprasad Bakshi
Ram Prasad Bismil
Ram Prasad Chaudhary
Ram Prasad Gurung
Ramprasad Ki Tehrvi
Ram Prasad Nautiyal
Ramprasad Rai
Ram Prasad Ram
Ram Prasad Sharma
Ram Raja Prasad Singh
Ranadaprasad Saha
Rangsit Prayurasakdi
Ranjan Prasad Yadav
Rasa
RASA3
RASA4
Rasa (aesthetics)
Rasa (Arge)
Rasaathi
Rasabali
Rasa (band)
Rasa Budbergyt
Rasad 1
Rasa Drazdauskait
Rasagiline
Rasa Island
Rasajeyna
Rasa Jukneviien
Rasa Kauit
RASAL2
Rasaleela
Rasa Leleivyt
Rasam
Rasa Magan
Rasa, Malaysia
Rasamanohari Pulendran
Rasamayi Balakishan
Rasa Maeikyt
Rasam (dish)
Rasamna Ala Al-Qalb Wajh Al-Watan
Rasam (serial)
Rasa Music
Rasan
Rasan (organization)
Rasa Polikeviit
Rasaq Adekunle Quadri
Rasaq Akeem
Rasaq Tanimowo
Rasaratna Samuchaya
Rasas
Rasa Sayang
Rasa shastra
Rasassination
RASAT
Rasau
Rasavci, Donji Vakuf
Rasa von Werder
Rasawa language
Rasayana
Rasayani
Rasa emantauskait
Rashtrasant Tukadoji Maharaj Nagpur University
Rati Lal Prasad Verma
Ravipadu, Narasaraopet mandal
Ray, South Khorasan
Razan, Razavi Khorasan
Razavi Khorasan Province
Razaviyeh, South Khorasan
Razeh, South Khorasan
Reykhan, South Khorasan
Rezaiyeh, Razavi Khorasan
Rifad Marasabessy
Rigu, South Khorasan
Rinako Hirasawa
R. N. K. Prasad
Roberto Camarasa
Rokh, South Khorasan
R. Prasad
R. Prasanna
R. Prasannan
Rrasa e Zogut
Ruchita Prasad
Rudrasagar Lake
Ruellia rasa
Rushnavand, Razavi Khorasan
Ryhei Shirasaki
Sachindra Prasad Bose
Sadamichi Hirasawa
Sadeqabad, South Khorasan
Sadr Madrasa
Saffarin Madrasa
Safiabad, North Khorasan
Sahrij Madrasa
Sahu Shanti Prasad Jain
Saidabad, Razavi Khorasan
Saidabad, South Khorasan
Sai Prasad Corporation
Sakhuwa Prasauni
Salihiyya Madrasa
Salmanabad, Razavi Khorasan
Salu, South Khorasan
Samadabad, Razavi Khorasan
Samadabad, South Khorasan
Samak, South Khorasan
Sama, South Khorasan
Samta Prasad
Samudrasanna Vihara
Samuel Kanaka Prasad
Samu, South Khorasan
Sanan Kachornprasart
Sangan, Razavi Khorasan
Sang Bast, Razavi Khorasan
Sankari Prasad Basu
Sankata Prasad
Sankore Madrasah
San Martino, Pietrasanta
Santa Maria Maggiore della Pietrasanta
Saq, Razavi Khorasan
Sarab-e Harasam
Sarajeh, Razavi Khorasan
Sarasa
Sarasadat Khademalsharieh
Sarasah
Sarasangi
Sarasara
S. Arasaratnam
Sarasaviya Awards
Sarath Prasanna Gamage
Sar-e Pol, South Khorasan
Sar Galan, Razavi Khorasan
Sarika Prasad
Sarik, South Khorasan
Sarv, South Khorasan
Satmahal Prasada
Satya Prasad Majumder
Satyendra Prasanna Sinha, 1st Baron Sinha
Saveh, Razavi Khorasan
Scopula derasata
Sedid, Razavi Khorasan
Seekkuge Prasanna
Seh Gonbad, North Khorasan
Selvarasa Pathmanathan
Senjedak, South Khorasan
Serasa
Serasa, Brunei-Muara
Serasa-class landing craft
Serrasalmidae
Serrasalmus
Serrasalmus elongatus
Serrasalmus geryi
Seyed Khorasani
Shadab, Razavi Khorasan
Shahrabad, Razavi Khorasan
Shahrak-e Emam Khomeyni, South Khorasan
Shahrak-e Sanati-ye Arasanj
Shahrasar
Shakti Prasad
Shambhuprasad Tundiya
Shanakiya Rasamanickam
Shandan, South Khorasan
Shand, South Khorasan
Shankar Prasad Sharma
Shankar Prasad Shrestha
Sharada Prasad Ghimire
Shariatabad, Razavi Khorasan
Sharifabad, South Khorasan
Sheybani, South Khorasan
Shikshan Prasarak Mandali
Shirasagi
Shirasangi Lingaraj
Shiv Prasaad Singh
Shiv Prasad Gupta
Shiv Prasad Kosta
Shoghlabad, Razavi Khorasan
Showarow, South Khorasan
Shreyans Prasad Jain
Shurak, North Khorasan
Shurak, Razavi Khorasan
Shurcheh, Razavi Khorasan
Shurestan-e Olya, Razavi Khorasan
Shurestan-e Sofla, Razavi Khorasan
Shurestan, South Khorasan
Shuy, Razavi Khorasan
Shweta Basu Prasad
Shyamaprasad
Shyama Prasad Mukherji College
Shyam Nandan Prasad Mishra
Shyam Prasad Reddy
Shyla Angela Prasad
Sichan, South Khorasan
Siddheshwar Prasad
Silambarasan
Silambarasan filmography
Simiuttap Ikerasaa
Singai Pararasasegaram
Sirasa FM
Sirasa Superstar
Sirasa TV
Srasaray, Haymana
Siva Prasad Barooah
Skrasalen
S. Kumarasamy
Sneeze: Naoki Urasawa Story Collection
S. N. Prasan Kumar (Member of Parliament)
Somchai Chantarasamrit
Somsak Jeamteerasakul
Sonorasaurus
Sorkh Cheshmeh, North Khorasan
Sorkh Qaleh, North Khorasan
Sourasay Keosouvandeng
South Khorasan Province
Spitrasaurus
Sree Agrasain College
Sree Lakshmi Prasanna Pictures
Srinivasa Prasad
S. Sambhu Prasad
Stefan Brasas
Stylidium mitrasacmoides
Subhaprasanna
Sudrasan
Sufi Amba Prasad
Sukhdeo Prasad Verma
Sukumar Prasad
Sulciolus abrasa
Sultan Ali Khorasani
Sunder Prasad
Suqeh, North Khorasan
Surasak Koomgun
Surasa Mairer
Suresh Prasad Sarbadhikari
Suriya Prasathinphimai
Suryanarayana Temple, Arasavalli
Sushil Kumar Prasad
Susumu Hirasawa
Su. Thirunavukkarasar
SvatantrikaPrasa
Syamaprasad College
Syama Prasad Mukherjee
Tabas, Razavi Khorasan
Tabula rasa
Tabula Rasa (Buffy the Vampire Slayer)
Tabula Rasa (disambiguation)
Tabula Rasa (Einstrzende Neubauten album)
Tabula Rasa (Lost)
Tabula Rasa (Prt)
Tabula Rasa (video game)
Taiga Hirasawa
Tajan, South Khorasan
Taj ol Din, Razavi Khorasan
Talabad, Razavi Khorasan
Tang campaigns against Karasahr
Tang, South Khorasan
Tantrasamgraha
Tantrasara
Taraprasad Das
Tarasadi
Tarasankar Bandyopadhyay
Tarasa Shevchenka (Kyiv Metro)
Tarini Prasad Koirala
Tarkishore Prasad
Tarqi, Razavi Khorasan
TatanagarAsansol Express
Tav-Prasad Savaiye
Teerasak Nakprasong
Teerasak Po-on
Tejendraprasad
Terasakiella pusilla
Terekty, Karasay District, Almaty Region
T Guru Prasad
Thamezharasan
Thao Thep Krasattri and Thao Si Sunthon
Thavisouk Phrasavath
The Diary of Lady Murasaki
The Hazara People and Greater Khorasan
The Inerasable
The Legend of Lakshmi Prasad
The Mirror of the Heart of Vajrasattva
The Mysterious Murasame Castle
Thrasam
Thrasamund (disambiguation)
Tierrasanta, San Diego
T. Kalaiarasan
T. L. V. Prasad
T. M. Anbarasan
T. Narasapuram
Toirasa Ferris
Tomoa Narasaki
Toru Terasawa
Toshiaki Karasawa
Tovohery Rabenandrasana
Training Center for Junior Specialists of the Kazakh Ground Forces named for Karasai Batyr
Trapeang Prasat District
Trasadingen
Trasaghis
Trasancos
Tridacna derasa
T. R. Prasad
T. V. Ramprasadh
T. V. S. N. Prasad
Ubagarasamy Bernadeth
ULTRASAT
Ultrasaurus
Ulugh Beg Madrasa, Samarkand
Ulu, North Khorasan
Umm ar-Rasas
Undulambia symphorasalis
Urasa
Ustrasana
Uzbek invasion of Khorasan (1578)
Vadapalli Prasada Rao
Vahedabad, South Khorasan
Vajirananavarorasa
Vajrasana
Vajrasana, Bodh Gaya
Vajrasana (yoga)
Vajrasattva
Valiabad, South Khorasan
Varaprasadham
Varaprasad Rao Velagapalli
Vasanthy Arasaratnam
Vashan, South Khorasan
V. B. Rajendra Prasad
Veerasamy Ringadoo
Venkatesh Prasad
Venkat Gaurav Prasad
Vctor Camarasa
Vidya Prasarak Mandal's Polytechnic
Villarrasa
Vinaya Prasad
Violet Barasa
Violet Meme (Murasaki no Jyouhoudentatsu Chi)
Virabhadrasana
Virasaat (2002 TV series)
Virasana
Virasat
Virasat-e-Khalsa
Virasat (festival)
Via rasang
Vivek Prasad
V. Krishnaprasad
Weewarrasaurus
William Grasar
W/o V. Vara Prasad
Xanthorhoe abrasaria
Yadegar, Razavi Khorasan
Yaguarasaurus
Yan Bolagh, North Khorasan
Yarlagadda Lakshmi Prasad
Yasushi Nirasawa
Yasuyoshi Shirasawa
Yengejeh, Razavi Khorasan
Yengi Qaleh, Razavi Khorasan
Yoganidrasana
Yuka Terasaki
Yukta Prasad Vetwal
Yusefabad, South Khorasan
Yuxar Qarasaqqal
Zabideh, South Khorasan
Zafarabad, North Khorasan
Zafaraniyeh, Razavi Khorasan
Zaherabad, Razavi Khorasan
Zarasai
Zarasai District Municipality
Zarqan, Razavi Khorasan
Zeydar, South Khorasan
Zirkuh Rural District (South Khorasan Province)
Zolmabad, Razavi Khorasan
Zu Salehabad, Razavi Khorasan



convenience portal:
recent: Section Maps - index table - favorites
Savitri -- Savitri extended toc
Savitri Section Map -- 1 2 3 4 5 6 7 8 9 10 11 12
authors -- Crowley - Peterson - Borges - Wilber - Teresa - Aurobindo - Ramakrishna - Maharshi - Mother
places -- Garden - Inf. Art Gallery - Inf. Building - Inf. Library - Labyrinth - Library - School - Temple - Tower - Tower of MEM
powers -- Aspiration - Beauty - Concentration - Effort - Faith - Force - Grace - inspiration - Presence - Purity - Sincerity - surrender
difficulties -- cowardice - depres. - distract. - distress - dryness - evil - fear - forget - habits - impulse - incapacity - irritation - lost - mistakes - obscur. - problem - resist - sadness - self-deception - shame - sin - suffering
practices -- Lucid Dreaming - meditation - project - programming - Prayer - read Savitri - study
subjects -- CS - Cybernetics - Game Dev - Integral Theory - Integral Yoga - Kabbalah - Language - Philosophy - Poetry - Zen
6.01 books -- KC - ABA - Null - Savitri - SA O TAOC - SICP - The Gospel of SRK - TIC - The Library of Babel - TLD - TSOY - TTYODAS - TSZ - WOTM II
8 unsorted / add here -- Always - Everyday - Verbs


change css options:
change font "color":
change "background-color":
change "font-family":
change "padding":
change "table font size":
last updated: 2022-05-05 04:50:07
105537 site hits