Buddha frees the disc of the moon (Candrasūtra)

1970 ◽  
Vol 33 (1) ◽  
pp. 179-183 ◽  
Author(s):  
Ernst Waldschmidt
Keyword(s):  
The Sun ◽  
The Moon ◽  

The Candimā-sutta or ‘discourse on the moon’ in the Samyuttanikāya of the Pali canon based on the Indian myth according to which eclipses of the moon as well as of the sun are caused by a demon named Rāhu ‘the Seizer’, who is supposed to try to lay hold of one or the other of the two planets at certain times. The Sutta reports that on such an occasion the god dwelling in the moon takes his refuge in the Buddha who successfully shows his power and pity by directing Rāhu emphatically to set the moon at once at liberty.

Author(s):  
Felipe Nogueira de Carvalho

O objetivo deste artigo é sugerir que os ensinamentos Buddhistas sobreanattā(não-eu) não devem ser entendidos como uma negação categórica do eu, mas fazem parte de uma estratégia soteriológica comumente empregada pelo Buddha, de utilizar algo como ferramenta para o seu próprio fim. Tomando o kamma(ação) como o elemento central que estrutura todos os ensinamentos, podemos pensar na identificação do eu como um tipo de ação. Algumas instâncias desta ação serão hábeis e condutoras à libertação, e outras inábeis e condutoras ao sofrimento. Com isso em mente, este artigo irá analisar algumas ações inábeis do eu e do não-eu em suttasselecionados do Cânone Pali, mostrando como se encaixam na estratégia do Buddha de se utilizar de elementos como ferramentas para o abandono desses próprios elementos. Nessa perspectiva, o eu não é negado em absoluto desde o início do caminho, mas aprende-se a usa-lo de forma hábil como um meio de abandoná-lo.THE RAFT OF THE SELF: SOTERIOLOGICAL USES OF SELF AND NOT-SELF IN ANCIENT BUDDHISM ABSTRACTThe purpose of this article is to suggest that the Buddhist teachings on anattā (not-self) should not be understood as a categorical denial of the self, but constitute a soteriological strategy commonly employed by the Buddha, of using something as tool for its own demise.Taking kamma (action) as the main framework that structure all the other teachings, we can think of self-identification as a kind of action. Some instances of this action will be skillful and will lead to liberation, while others will be unskillful and will lead to suffering.With this in mind, the present article will analyze some skillful actions of self and not-self in selected suttas of the Pali canon, showing how they fit into the Buddha’s overall strategy of using elements as tools for their own demise. In this perspective, the self is not denied from the beginning of the path, but one learns how to use it skillfully in order to let go of it.


1932 ◽  
Vol 6 (4) ◽  
pp. 867-896 ◽  
Author(s):  
Th. Stcherbatsky

We must be thankful to Professor Berriedale Keith for once more calling attention to the problem of the doctrine preached bythe Buddha. The problem is indeed important for the history of Indian civilization, as well as for the comparative history of philosophy. Was there or was there not a real philosophy, or, to use an expression of the late M. Émile Senart, “ une pensée maàtresse d'ellemêeme,” in the sixth century B.C. in India ? Professor Keith thinks it “ really impracticable to discover with any precision the doctrine which Buddha in fact expounded ”. The reasons for this despair are several. First of all, an extraordinary diversity of doctrine has developed from the teaching of the Buddha in the sixth century B.C.1 Professor Keith apparently thinks that if a doctrine has much developed, it becomes “ undiscoverable ”. I rather feel inclined to disbelieve such an axiom. A rotten seed will have no growth; but a seed strong and healthy may produce luxuriant vegetation. The other reason is more plausible. “ What assurance have we that the Pali Canon really represents the views of the Buddha with any approach to accuracy ? ” But, even if it contained the records of contemporary eyewitnesses, the scepticism of Professor Keith would not be shaken, for “we need”, he says, “ only remember the difficulties presented by the Aristotelian view of the doctrine of Plato ”—in order to disbelieve an eyewitness of the highest authority.


2009 ◽  
Vol 26 (1) ◽  
pp. 85-102 ◽  
Author(s):  
Dhivan Thomas Jones

The episode of Brahm?’s request to the Buddha to teach has been regarded as problematic from early times, since it suggests that the Buddha was initially lacking in compassion. Comparison of versions of the story shows it to be possibly pre-A?okan in origin. A close reading of themes in the episode in relation to other incidents in the Buddha’s life described in the Pali canon show that it need not be taken as portraying an actual experience of the Buddha. The original purpose of the episode was not to describe the Buddha’s inner conflict but to show that Brahm?, representative of Brahmanical religion, was a follower of the Buddha. The episode was originally religious propaganda.


JOGED ◽  
2017 ◽  
Vol 7 (2) ◽  
Author(s):  
Dewi Sinta Fajawati

Bulan merupakan sumber inspiratif dalam penggarapan karya tari ini. Secara ilmu pengetahuan, Bulan adalah benda langit yang disebut satelit, satelit satu-satunya yang dimiliki Bumi dan tercipta secara alami. Banyak teori yang mengatakan tentang terbentuknya Bulan, salah satunya adalah teori Big bang atau dentuman besar. Pada dasarnya Bulan hanyalah sebuah Benda besar berbentuk bulat yang tidak bisa bercahaya, cahaya yang kita lihat pada malam hari merupakan refleksi dari cahaya matahari. Akan tetapi keindahannya memang tidak bisa dipungkiri, karena dia paling bercahaya diantara hamparan langit yang gelap. Cahayanya tidak selalu terang, bahkan tidak selalu bulat, terkadang hanya terlihat setengah atau terlihat seperti sabit..            Penata tari memetaforakan objek bulan yang berada di tempat yang sangat tinggi sebagai sebuah cita-cita yang ingin dicapai. Seringkali lagu anak-anak yang menjadi pengalaman auditif penata tari, menjadikan bulan sebagai objek yang ingin digapai, misal lagu ‘Ambilkan Bulan Bu’. Namun intisari yang akan dipakai dalam penggarapan koregrafinya adalah tentang fase bulan yang tercipta. Bersumber dari rangsang awal melihat bulan atau rangsang visual, penata tari menginterpretasikan fase-fase bulan yang terjadi sebagai fase kehidupan yang dijalani untuk menggapai sebuah cita-cita tersebut.            Koreografi diwujudkan dalam bentuk kelompok dengan membagi dua karate penari. Delapan penari merupakan simbolisasi Bulan, dan satu penari sebagai manusia yang bercita-cita. Dengan bentuk tari dramatik, penyajiannya dibagi menjadi 5 adegan, yaitu Introduksi Big bang, Adegan 1 Moon happen, Adegan 2 Mengejar Impian, Adegan 3 Dancing with Moon, dan Ending ‘Catch Your Dream’. The moon is the essential inspirations of this choreograph. Theoretically, the moon is a sky object which is called as satellite. The one and only naturally created satellite belongs to the planet Earth. There are many theories that explain how the moon was created. One of those theories is Big Bang theory or massive crash. Basically, the moon is just a huge circle thing which is unable to shine its glow. The light that we experience in the evening is the reflection of the sun. However, thebeauty of the moonlight is undeniable as it has the significant light within the darkest night sky. Its light is not always the strongest, even it’s not always circle (full), every so often it is seemed only the half part of it or crescent moon.            The choreographer interpreted the moon that belongs in the highest as the goals that she wants to reach. Most of the time, the children songs (lullaby) that pick the moon as the main object that is desired to be reached, for example the song “Ambilkan Bulan, Bu”. The essential idea that is explored in this choreograph is the creational phase of the moon itself. It was started by way of visual reaction when the choreographer observed the moon, she interpret the moon’s phases as the phases in human’s life which are gone through to reaching their goals. Fall and recovery, passionate, and even sometimes they give it in, are interpreted from the moonlight. The full moon which has the brightest and the most perfect light is likened as the strong spirit. The crescent moon with its soft light is interpreted as low spirit and unconfident.             This in-group-choreograph is separated into two characters with 8 female dancers that are the symbolization of the moon and the other one female dancer symbolizes a human with aspire. With dramatic dance form, this choreograph is presented into five parts, including introduction part of Big Bang, Moon Happen in part one, Chasing Dream is part two, Dancing With The Moon in part three, Catch Your Dream in the ending part.


Author(s):  
Justin S. Whitaker ◽  
Douglass Smith

The Pāli Canon presents a number of summaries of the Buddha’s teaching, one of the most concise being that of the Three Trainings (or Three Disciplines): ethics, meditation, and wisdom. The purpose of this chapter is to explicate the various formulations of these Three Trainings as well as to discuss their relationship to one another and other Pāli Buddhist teachings. Its focus is on the Pāli material of early Buddhism and Theravāda in particular. It discusses the Three Disciplines and their interrelations, along with analyses of what comes before the discipline, namely the ordinary worldling or person, and what comes after, namely the awakened person. The Three Trainings can be analytically divided, but the development of each reciprocates the development of the others. An illustration from the Pāli Canon, leaving out meditation, suggests that ethics and wisdom act ‘like one hand washing the other’.


Apeiron ◽  
2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Dirk L. Couprie

Abstract In this paper, three problems that have hardly been noticed or even gone unnoticed in the available literature in the cosmology of Philolaus are addressed. They have to do with the interrelationships of the orbits of the Earth, the Sun, and the Moon around the Central Fire and all three of them constitute potentially insurmountable obstacles within the context of the Philolaic system. The first difficulty is Werner Ekschmitt’s claim that the Philolaic system cannot account for the length of the day (νυχϑήμερον). It is shown that this problem can be solved with the help of the distinction between the synodic day and the sidereal day. The other two problems discussed in this paper are concerned with two hitherto unnoticed deficiencies in the explanation of lunar eclipses in the Philolaic system. The Philolaic system cannot account for long-lasting lunar eclipses and according to the internal logic of the system, during lunar eclipses the Moon enters the shadow of the Earth from the wrong side. It is almost unbelievable that nobody, from the Pythagoreans themselves up to recent authors, has noticed these two serious deficiencies, and especially the latter, in the cosmology of Philolaus the Pythagorean.


2009 ◽  
Vol 5 (S260) ◽  
pp. 135-148 ◽  
Author(s):  
Xenophon Moussas

AbstractIn this review the oldest known advanced astronomical instrument and dedicated analogue computer is presented, in context. The Antikythera Mechanism a mysterious device, assumed to be ahead of its time, probably made around 150 to 100 BCE, has been found in a 1st century BCE shipwreck near the island of Antikythera in a huge ship full of Greek treasures that were on their way to Rome. The Antikythera Mechanism is a clock-like device made of bronze gears, which looks much more advanced than its contemporary technological achievements. It is based on mathematics attributed to the Hipparchus and possibly carries knowledge and tradition that goes back to Archimedes, who according to ancient texts constructed several automata, including astronomical devices, a mechanical planetarium and a celestial sphere. The Antikythera Mechanism probably had a beautiful and expensive box; looking possibly like a very elaborate miniature Greek Temple, perhaps decorated with golden ornaments, of an elegant Hellenistic style, even perhaps with automatic statuettes, ‘daemons’, functioning as pointers that performed some of its operations. Made out of appropriately tailored trains of gears that enable to perform specialised calculations, the mechanism carries concentric scales and pointers, in one side showing the position of the Sun in the ecliptic and the sky, possibly giving the time, hour of the day or night, like a clock. The position of the Moon and its phase is also shown during the month. On the other side of the Mechanism, having probably the size of a box (main part 32×20×6 cm), are two large spiral scales with two pointers showing the time in two different very long calendars, the first one concerning the eclipses, and lasting 18 years 11 days and 8 hours, the Saros period, repeating the solar and lunar eclipses, and enabling their prediction, and the 19 year cycle of Meton, that is the period the Moon reappears in the same place of the sky, with the same phase. An additional four-year dial shows the year of all Greek Festivities, the so-called ‘games’ (Olympic, Pythian, Isthmian etc). Two additional dials give the Exeligmos, the 54 year and 34 day cycle, which provides a more accurate prediction of eclipses. It is possible that the Mechanism was also equipped with a planetary show display, as three of the planets and their motion (stationary points) are mentioned many times in the manual of the instrument, so it was also a planetarium. From the manual we have hints that the mechanism was probably also an observational instrument, as having instructions concerning a viewfinder and possibly how to orient the viewfinder to pass a sunbeam through it, probably measuring the altitude of the Sun. There are fragmented sentences that probably give instructions on how to move the pointers to set the position of the Sun, the Moon and the planets in their initial places in the ecliptic, on a specific day, or how to measure angular distances between two celestial bodies or their coordinates. This mechanism is definitely not the first one of its kind. The fact that it is accompanied with instructions means that the constructor had in its mind to be used by somebody else and one posits that he made at least another similar instrument.


Africa ◽  
1969 ◽  
Vol 39 (1) ◽  
pp. 24-53 ◽  
Author(s):  
Eric Ten Raa

Opening ParagraphThe Sandawe of central Tanzania speak a click language which shows no relationship with the languages of their Bantu-speaking neighbours, nor with any of the other non-Bantu languages in the neighbourhood; rather, it may be remotely related to the Khoisan languages of South Africa, in particular to Nama Hottentot. Physically the Sandawe differ to a degree from their neighbours, and their closest affinities may again be with Hottentot peoples. Sandawe material culture also differs to a degree from the cultures of their neighbours; like them, the Sandawe have an economy which largely depends on cattle-keeping and horticulture, but it is less sophisticated and their reliance on food-gathering and hunting is still considerably greater. Considering this difference in background it would be not at all surprising if their system of beliefs also showed differences. Comparisons cannot yet be profitably made, however, because little has so far been published about Sandawe religion, except a paper by van de Kimmenade and some details which can be found in the writings of Dempwolff and Bagshawe. In his ethnographic survey Huntingford draws our attention to the lack of knowledge of Sandawe religious beliefs, pointing out that these have been imperfectly recorded; yet he recognizes that the moon (láb′so or !áoso) and the sun (//′akásu) occupy a central position in Sandawe religion, which he summarizes as follows:It appears that the sun and the moon are regarded as supreme beings, and that propitiatory sacrifices are made to the ancestral spirits who can do both good and evil to mankind.


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