Nirmāṇa-kāya

1938 ◽  
Vol 70 (1) ◽  
pp. 81-84
Author(s):  
Ananda K. Coomaraswamy
Keyword(s):  
Works Of Art ◽  
The World ◽  
The Buddha ◽  
Pragmatic Equivalence

In the well-known doctrine of the Three Bodies of the Buddha, the physical and earthly manifestation is called a nirmāṇa-kāya, “a body of artifice” or even more literally “a body of measurement”; a body made, then, as images and other works of art are made, by a “measuring out” (root mā). In the Divyâvadāna, ch. xxxvii, the word nimittam is similarly used of the Buddha's appearance which he himself emanates and projects for Rudrâyaṇa's painters, who cannot grasp his likeness unaided. It may be remarked that Indian imagery is always as much or more an iconometry (tālamāna) than an iconography; and that all this has an important bearing on the pragmatic equivalence, in Buddhist iconodule theory, of the verbal, carnal, and fictile manifestations by means of which the Buddha is presented to the world in a likeness. Our present object, however, is rather to point out what has not been generally recognized hitherto, that prototypes of the expressions nirmāṇa-kāya and nimittam occur already in the Brāhmaṇas and Saṁhitās.

RISHTAN SCHOOL OF CERAMICS

2019 ◽  
Vol 16 (2) ◽  
pp. 73-77
Author(s):  
Akmal Marozikov ◽  
Keyword(s):  
Central Asia ◽  
Building Materials ◽  
Works Of Art ◽  
The World ◽  
Ferghana Valley ◽  
History Of ◽  
Made In ◽  
National Style

Ceramics is an area that has a long history of making clay bowls, bowls, plates,pitchers, bowls, bowls, bowls, pots, pans, toys, building materials and much more.Pottery developed in Central Asia in the XII-XIII centuries. Rishtan school, one of the oldest cities in the Ferghana Valley, is one of the largest centers of glazed ceramics inCentral Asia. Rishtan ceramics and miniatures are widely recognized among the peoples of the world and are considered one of the oldest cities in the Ferghana Valley. The article discusses the popularity of Rishtan masters, their products made in the national style,and works of art unique to any region

The concepts of Ayurveda and Pāli Literature in connection to Psychotherapy

2017 ◽  
Vol 2 (3) ◽  
Author(s):  
Kolarkar Rajesh Shivajirao ◽  
Kolarkar Rajashree Rajesh
Keyword(s):  
Mental Disorders ◽  
Laws Of Nature ◽  
Code Of Conduct ◽  
Economic Consequences ◽  
Ultimate Truth ◽  
Traditional System ◽  
The World ◽  
Mind And Body ◽  
The Mind ◽  
The Buddha

The perfect balance of Mind and body is considered as complete health in Pāli literature as well as in Ayurveda. Pāli literature and Ayurveda have their own identity as most ancient and traditional system of medicine in India.The universal teachings of the Buddha are the most precious legacy ancient India gave to the world. The teachings are a practical code of conduct, a way of purity and of gracious living. There is a scientific study of the truth pertaining to mind and matter, and the ultimate truth beyond. In fact, the Buddha should be more appropriately known as a super-scientist who studied the entire laws of nature governing the Universe, by direct personal experience. The Buddha's rational teachings are clearly explained in the Eight-fold Noble Path, divided in three divisions of Sīla (morality), Samādhi (mastery over the mind), Paññā i.e. ‘Pragya' (purification of the mind, by developing insight). In Ayurveda Psychotherapy can be done by Satvavajaya Chikitsa and good conduct. Aim is to augment the Satva Guna in order to correct the imbalance in state of Rajas (Passion) and Tamas (Inertia). Sattvavajaya as psychotherapy, is the mental restraint, or a "mind control" as referred by Caraka, as well as Vagbhata is achieved Dnyan (education), Vidnyan (training in developing skill), Dhairya (development of coping mechanism), Smruti (memory enhancement), Samadhi (concentration of mind). According to WHO, Mental disorders are the common problem. The burden of mental disorders continues to grow with significant impacts on health and major social, human rights and economic consequences in all countries of the world.

The Buddha's Path of Peace

2020 ◽  
Author(s):  
Richard Gombrich
Keyword(s):  
Everyday Life ◽  
Personal Experience ◽  
Environmental Concern ◽  
Human Relationships ◽  
The Core ◽  
World Today ◽  
Introductory Overview ◽  
The World ◽  
The Buddha

The Buddha’s Path of Peace sets out the basic instructions for the life-changing way of the Buddha (the so-called “Noble Eightfold Path”) wholly in the context of contemporary and everyday life, personal experience, human relationships, work, environmental concern and the human wish for peace. In this book, the core of the Buddha’s teaching is comprehensively cast in modern models of thought—borrowed from science and philosophy—and informed by contemporary concerns. The reader, who may be completely new to Buddhism, is accompanied along the Path with practical exercises that are fully explained. The Path begins with an introductory overview and then proceeds through Right Speech, Right Acting, Right Livelihood, Right Effort, Right Concentration, Right Mindfulness, Right Understanding and Right Resolve, and concludes with a short chapter on the relevance of the Path to the multiple crises facing the world today. The reader is mentored throughout by practical meditational and contemplative exercises, with tables, diagrams, analogies and stories. Gradually the reader who has followed this handbook with commitment will feel the benefits of growing peacefulness, wisdom and compassion.

Breaking through the Ordinary: The Arts and Future Possibility

1980 ◽  
Vol 162 (3) ◽  
pp. 18-26 ◽  
Author(s):  
Maxine Greene
Keyword(s):  
Vantage Point ◽  
Musical Piece ◽  
Future Possibility ◽  
Works Of Art ◽  
The Arts ◽  
The World ◽  
Opening Up ◽  
Common Action

Informed and active engagements with works of art make new experimential openings visible as they turn attention to the concreteness of the world. The ordinary and the taken-for-granted must be bracketed out if a poem or a painting or a musical piece is to be achieved. Viewed within the brackets and from an unfamiliar vantage point, reality may become questionable, in need of interpretation, perhaps in need of repair. If learners are provided opportunities for understanding their part in realizing illusioned worlds, they may come to confront their contributions to the construction of their social realities. Teachers who create situations that permit this to happen will be opening up their classrooms, not only to a new sense of the totality, but to a consciousness of what might be, what is not yet. And this, in turn, may provide a ground for common action, for desired change.

scholarly journals Affect, Belief, and the Arts

2021 ◽  
Vol 12 ◽  
Author(s):  
Rami Gabriel
Keyword(s):  
Social Practices ◽  
Direct Perception ◽  
Tertiary Level ◽  
Cooperative Groups ◽  
Cognitive Capacities ◽  
Works Of Art ◽  
The Arts ◽  
The Social ◽  
The World ◽  
Self Knowledge

The cultural project is a therapeutic melding of emotion, symbols, and knowledge. In this paper, I describe how spiritual emotions engendered through encounters in imaginative culture enable fixation of metaphysical beliefs. Evolved affective systems are domesticated through the social practices of imaginative culture so as to adapt people to live in culturally defined cooperative groups. Conditioning, as well as tertiary-level cognitive capacities such as symbols and language are enlisted to bond groups through the imaginative formats of myth and participatory ritual. These cultural materializations can be shared by communities both synchronically and diachronically in works of art. Art is thus a form of self-knowledge that equips us with a motivated understanding of ourselves in the world. In the sacred state produced through the arts and in religious acts, the sense of meaning becomes noetically distinct because affect infuses the experience of immanence, and one's memory of it, with salience. The quality imbued thereby makes humans attentive to subtle signs and broad “truths.” Saturated by emotions and the experience of alterity in the immanent encounter of imaginative culture, information made salient in the sacred experience can become the basis for belief fixation. Using examples drawn from mimetic arts and arts of immanence, I put forward a theory about how sensible affective knowledge is mediated through affective systems, direct perception, and the imagination.

scholarly journals THE TURN OF THE SCREW: HENRY JAMES AS AN AUTHOR AND A CRITIC

2020 ◽  
pp. 55-67
Author(s):  
M.B. Rarenko ◽  
Keyword(s):  
Henry James ◽  
William James ◽  
Absolute Truth ◽  
The Core ◽  
Works Of Art ◽  
Starting Point ◽  
The World ◽  
New Type ◽  
Points Of View ◽  
The Absolute

The article considers the story by Henry James (1843 – 1916) «The Turn of the Screw» (1898 – first edition, 1908 – second edition) in connection with the emergence of a new type of narrator in the writer's late prose. The worldview and creative method of H. James are formed under the influence of the philosophy of pragmatism, which became widespread at the turn of the XIX-XX centuries thanks to the works of the writer's elder brother, the philosopher William James (1842 – 1910). The core of pragmatism is the pluralistic concept of William James based on the assumption that knowledge can be realized from very limited, incomplete, and inadequate «points of view» and this leads to the statement that the absolute truth is essentially unknowable. The epistemological statements of William James's theory is that the content of knowledge is entirely determined by the installation of consciousness, and the content of the truth in this case depends on the goals and experience of the human, i.e. the central starting point is the consciousness of the person. Henry James not only creates works of art, but also sets out in detail the principles of his work both on the pages of fiction works of small and large prose, putting them in the mouths of their characters – representatives of the world of art, and in the prefaces to his works of fiction, as well as in critical works.

scholarly journals New Century – ‘New Essays’?

2019 ◽  
pp. 13-35
Author(s):  
Dobrawa Lisak-Gębala
Keyword(s):  
Travel Writing ◽  
21St Century ◽  
Ordinary Objects ◽  
Works Of Art ◽  
The World ◽  
The Mediterranean ◽  
Second World ◽  
Cognitive Attitude ◽  
Animal World ◽  
Form Of Expression

This article constitutes an attempt at organising the non-conservative tendencies in Polish essays published in the 21st century, which apply to themes, the lowering of the tone, and forms of writing. One major stream is travel writing, which focuses not on the Mediterranean legacy, but on the ‘second world’: long-disadvantaged provincial areas. Many essayists abandon the traditional topic of books and works of art, and turn to ‘reading’ the animal world, the plant world, and the world of ordinary objects. The essay has also become a tool for introducing polarisation between that which is mainstream and that which is marginal and concerns minorities. The fact of choosing a non-traditional topic often entails a non-canonical cognitive attitude, which translates into experiments within the area of the form of expression. The author of this article argues that all those innovations can be accommodated by the flexible convention of the essay as a genre which, in principle, is supposed to constitute an artistic cognitive experiment.

scholarly journals Cultural project «Soviet man»

2021 ◽  
pp. 36-45
Author(s):  
Tatyana S. Zlotnikova ◽  
Keyword(s):  
Cultural Practices ◽  
Human Experience ◽  
Works Of Art ◽  
The World ◽  
Cultural Project ◽  
Artistic Image ◽  
Empirical Material

The article actualizes the concept of «Soviet man» as a socio-cultural and philosophical-anthropological phenomenon. Based on a broad empirical material, the author substantiates the idea of the project «Soviet man» as a generalized artistic image, a set of social and moral characteristics, visual and verbal matrices. The integration of the cultural project with the world tradition (in particular, the ancient one) is established, and the artistic-aesthetic and socio-political aspects of works of art as cultural practices are substantiated. It is concluded that the considered concept incorporates human experience, which is in demand due to its diversity, tendentiousness, structural certainty, strangeness and recognizability.

“To See the World in a Grain of Sand”: Wolfgang Laib and the Aesthetics of Interpenetrability

2013 ◽  
Vol 17 (1-2) ◽  
pp. 57-73 ◽  
Author(s):  
Celina Jeffery
Keyword(s):  
Way Of Life ◽  
Works Of Art ◽  
The World ◽  
Subject And Object ◽  
The Subject ◽  
Intense Process

Abstract For the artist Wolfgang Laib, pollen is an extraordinary substance that signifies renewal, boundless energy, the temporal, the eternal, and the memory of the seasons. Laib’s pollen works are the result of an intense process of gathering, a pursuit of art as a way of life even that gives rise to works of art that are remarkable in their visual luminosity and textual delicacy. This essay considers Indra’s net as a metaphor for interpenetrability to conceptualize the folding of the subject and object that Laib’s pollen works allude to, and offers a deliberation on the spiritual within art.

Tathāgata

1937 ◽  
Vol 9 (2) ◽  
pp. 331-331
Author(s):  
Ananda K. Coomaraswamy
Keyword(s):  
The Sun ◽  
The World ◽  
The Buddha

In Bsos. viii, 781 ff., Mr. E. J. Thomas argues that “Tathagata” may have been taken over by the Buddhist from the Jain Tathāgaya, and that it may be an incorrect Sanskritization of some unknown non-Aryan and non-Dravidian word. This seems very far-fetched. Mr. Thomas does not take any account of possibly Vedic origins, common to Buddhism and Jainism. We have shown incidentally elsewhere that countless Buddhist terms, for example arkat and attā, are purely Vedic, and have argued that the Buddha legend is almost wholly made up of Vedic material with only such modifications as are inevitable when the eternal birth is to be retold in terms of a temporal narrative. We are convinced, in other words, that the Buddha, the “Kinsman of the Sun”, the “Eye of the World”, and “Great Person” of the Pali texts, the Buddha who may be represented in art by a pillar of fire, is an incarnation or descent (avatarana) of the Vedic Agni.

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