#The Flower Ornament Scripture

[loneberry]

From “The Flower Bank World” in the Avatamsaka Sutra

The Buddhist Painting of Songgwansa Temple, Suncheon, South Korea (Illustration of Avatamsaka Sutra)

“Then Universally Good also said to the assembly, ‘In the land masses of this ocean of worlds are seas of fragrant waters, as numerous as atoms in unspeakably many buddha-fields. All beautiful jewels adorn the floors of those seas; gems of exquisite fragrances adorn their shores. They are meshed with luminous diamonds. Their fragrant waters shine with the colors of all jewels. Flowers of all kinds of gems swirl on their surfaces. Sandalwood powder settles on the bottom of the seas. They emanate the sounds of Buddhas’ speech. They radiate jewellike light. Boundless enlightening beings, holding various canopies, manifest mystic powers causing the adornments of all worlds to appear therein. Stairways of ten kinds of precious substances are set out in rows, with balustrades of ten kinds of jewels surrounding them. White lotuses ornamented with jewels, as many as atoms in four continents, are spread over the waters, in full bloom. There are unspeakable hundreds of thousands of billions of trillions of banners of ten precious elements, banners of belled gauze of raiments of all jewels, as many as sand grains in the Ganges river, jewel flower palaces of boundless forms, as many as sand grains in the Ganges river, a hundred thousand billion trillion lotus castles of ten precious substances, forests of jewel trees as many as atoms in four continents, networks of flaming jewels, as many sandalwood perfumes as grains of sand in the Ganges, and jewels of blazing radiance emitting the sounds of Buddhas’ speech…”

--From book five “The Flower Bank World” in the The Flower Ornament Scripture (Buddhāvataṃsaka Sūtra), translated from Chinese by Thomas Cleary. The various sutras were originally composed in Sanskrit and compiled and translated into Chinese in the 5th century CE. Thomas Cleary’s English translation is based on the Chinese translation done by the Khotanese monk Shikshananda (652-710 CE), who translated it at the request of the Tang Empress. 

I stumbled upon this sutra in the back of a book that included a ‘glossary of buddhist terms’ while at a Zen meditation retreat. Flower cosmology? That sounds like my shit. Since I didn’t have my phone I wrote the name down on a piece of paper and slipped it into my backpack. It really is as incredible as I imagined it to be.

“Alan Fox has described the sutra's worldview as ‘fractal’, ‘holographic’, and ‘psychedelic’”—yes.

“In the Huayan school, the teaching of interpenetration is depicted through various metaphors, such as Indra's net, a teaching which may have been influenced by the Gandhavyuha chapter's climax scene in Vairocana's Tower. Indra's net is an infinite cosmic net that contains a multifaceted jewel at each vertex, with each jewel being reflected in all of the other jewels, ad infinitum. Thus, each jewel contains the entire net of jewels reflected within.”

[journeytothewestresearch]

So, what IS the Samadhi Fire/True Fire of Samadhi? It can't be an average flame if it can take out Sun Wukong himself in JttW and the name sounds like it means something, but I can't find any context when I look it up.

Journey to the West states that Samādhi fire is not like earthly or heavenly flame. It is something more. Part of a poem in chapter 41 reads:

(Wu & Yu, 2012, vol. 2, p. 225)

The general concept of Samādhi (Sk: "concentration"; Ch: sanmei, 三昧) refers to an advanced level of meditation where one can "establish and maintain one-pointedness of mind on a specific object of concentration" (Buswell & Lopez, 2014, p. 743). Some Hindu and Buddhist sources associate it with a spiritually cleansing flame. One example comes from the Gaṇḍavyūha section of the Avataṃsaka Sūtra (Ch: Dafang guangfo huayan jing, 大方廣佛華嚴經; compiled by the 3rd or 4th-century CE). 

Sudhana (Ch: Shancai tongzi, 善財童子; i.e. Red Boy), the holy work's protagonist, seeks out 53 teachers in the course of his spiritual cultivation. His ninth instructor, a learned Brahmin named Jayoṣmāyatana (Ch: Shengre poluomen, 勝熱婆羅門; lit: "Victorious Heat Brahmin") is said to have achieved "the light of the concentration [i.e. Samādhi] of adamantine flame" (jingang yan sanmei guangming, 金剛焰三昧光明) (Clearly, 1993, p. 1218). The fire that he produces is so powerful that it scares even the gods and demons. Though, the point of the flames appears to be incineration of the ego and desires and illumination of the mind. Sudhana follows his instructions by throwing himself into the fire, thus gaining a higher level of spiritual knowledge.

Here is a translation of that section of the sutra (warning: it is wordy):

(Clearly, 1993, pp. 1217-1222)

A Song or Ming-era Japanese painting of the fire brahmin and Sudhana.

Sources:

Buswell, R. E. , & Lopez, D. S. (2014). The Princeton Dictionary of Buddhism. Princeton University Press.

Cleary, T. (1993). The Flower Ornament Scripture: A Translation of the Avatamsaka Sutra. Boston: Shambhala.

Wu, C., & Yu, A. C. (2012). The Journey to the West (Vols. 1-4) (Rev. ed.). Chicago, Illinois: University of Chicago Press.

[sunisglowing]

KARAKAS OF PLANETS AND THEIR HOUSES

(as per vedic astrology)

Karaka means significator or signification. Every object- living or dead signifies something in this world. It has a purpose for it's existence.

In Sanskrit dictionary, it means an operator, factor and who or what produces.

Naisargika karakas shows everything that exists in the creation. They include Rahu, Ketu and the seven Planets.

They are presided by Brahma.

Naisargika Karakas show not only human beings, but they show various impersonal things and matter.

They show everything that exists in Brahma's creation and affects a person

They are useful in analysis of general results, i.e. phalita jyotish.

THE HOUSES AND THEIR KARAKA PLANETS—

1ST HOUSE - SUN

2ND HOUSE - JUPITER

3RD HOUSE - MARS

4TH HOUSE - MOON & MERCURY

5TH HOUSE - JUPITER

6TH HOUSE - MARS & SATURN

7TH HOUSE - VENUS

8TH HOUSE - SATURN

9TH HOUSE - JUPITER & SUN

10TH HOUSE - MERCURY, SUN, JUPITER & SATURN

11TH HOUSE - JUPITER

12TH HOUSE - SATURN

note: there is different information on different sites regarding karaka of houses,

i have referred these from a book and view sites and written according to my own opinions and knowledge planets. choose what you want accordingly

KARAKA OF PLANETS—

SUN is the karaka of soul, vitality, heath, heart, right eye, status, influence, presitge, power, ego, father, royalty, royal favour, politics, heat, electricity, fame and honor, medical science.

MOON is the karaka of mind, emotions, mother, liquid, heart, sleep, happiness, travel (distant journeys too), milk, pearls, understanding inclination, good name and fame, facial lustre, royal favour, affluence (wealth), water, peace of mind

MARS is the karaka of courage, passion, valour, bravery, desire, leadership, strength, stamina, weapons, fire, injuries, scandals, controversies, younger brother, police, defense, army, soldiers, defense, anger, violence, leadership, doctors, diseases, opposition, enemies, mechanical engineering.

MERCURY is the karaka of all intelligence, speech, expression, education, communication, mathematics, learning, logic, writing, publishing, business, astrology, accounting, postman, medical knowledge and profession, dancing, drama, precious stones, maternal uncle, friends, discrimination, politics, analytical thinking, memory.

JUPITER is the karaka of knowledge, wisdom, learning, philosophy, teacher, wealth, devotion, children, banking, respect, religious perception, family, fortune, elder brother, husband, body fat, holy places, donation, corpulence, elders, scriptures, benevolence, fruity trees.

VENUS is the karaka of wife, marriage, beauty, fame, sexual matters, jewelry, ornaments, sensuality, pleasures, arts, creativity, singing, flowers, buying &selling, vehicles, perfumes, dance, music, genital organs, flowering trees, cooperation, cows, watery places, whiteness.

SATURN is the karaka of profession, longevity, karma, life, death, adversity, conduct, service, disease, trouble, poverty, losses, calamity, livelihood, theft, servants, old age, dishonor, imprisonment, grief, oils, agriculture, west direction, foreign language and science, minerals, greed, temptation.

RAHU is the karaka of paternal grandfather, movements, traveling, foreigners, outcasts, snake, snake bite, mystery, poison, skin disease, eczema, sharp pain in the body harsh speech, theft, widow, swelling in the body, pilgrimage.

KETU is the karaka of maternal grandfather, consumption, pain, fever, wound, witchcraft, horned animals, dog, cock (idk which one😂), birds, moksha, occult science, detachment, imprisonment, psychic abilities, wisdom, intelligence, healing arts, spices, isolation.

[santoschristos]

"Meditating with all his heart on Lord Krishna, whose eyes are handsome lotus flowers, whose complexion is a monsoon cloud, whose garments are lightning, who has two arms, who is rich in transcendental knowledge, who wears a garland of forest flowers, who is the supreme controller, who is surrounded by gopas, gopis, and surabhi cows, who rests under a sura-druma tree, who is decorated with splendid ornaments, who stands in the middle of a red lotus flower, and who is served by breezes that have touched the Yamuna’s waves, a person becomes free from repeated birth and death."

This mantra should be repeatedly chanted: "Klim Krishnaya Govindaya Gopijanavallabhaya Svaha"

Lotus Eyes of Krishna Image art by Mahaboka From: Gopala-Tapaniya Upanishad

[33-108]

"Srividya: the twists and turns of a tantric tradition : Phil Hine

In the last two issues of my Unfoldings newsletter, I have been engaging in an in-depth analysis of Kenneth Grant’s representation of Tantric mysteries in his books – using his 1999 book, Beyond the Mauve Zone as the main reference point. In support of this series of essays, I thought it would be helpful for those reading the essays to attempt a general overview of the historical development of the Tripurāsundarī traditions, known nowadays as Śrīvidyā. In this first post, I’m going to focus on the roots of this tradition – the Nityā

The term Śrīvidyā is a compound formed from Śrī – an honorific denoting auspiciousness (also an epithet of the Goddess), and Vidyā – a feminine mantra.

Exoterically, Vidyā can denote knowledge or wisdom. The early texts of the tradition do not use this term though, rather, the tradition referred to itself as the traipuradarśana (doctrine of Tripurā) or sometimes, the Saugbhāgyavidyā (Saugbhāgya denotes good fortune, happiness, and success). According to Anna A. Golovkova (2020), the term Śrīvidyā first appears in a fourteenth-century commentary on the Yoginīhṛdaya. The tradition is sometimes referred to as the ‘last sampradāya’ – the most recent of the nine classical Śaiva tantric traditions. The principal or ‘root’ text of the tradition, the Vāmakeśvarīmata tantra has been dated to between the 10th-11th century CE.

The Nityā Tradition

Contemporary scholars have identified the antecedents of the worship of Tripurāsundarī within a lost Kaula tradition, known as the Nityā (‘eternal’). Much of what is known about this tradition has been gleaned from references in tantric scriptures.

As Golovkova points out, there are no references to the Nityā in works of the Trika tradition, but there are in the later Kubjika tradition, such as the Kubjikāmata (tenth century), the vast Manthānabhairava Tantra, and the Ciñciṇīmatasārasamuccaya. Only one scripture of the Nityā has survived – the Nityākaula. Chapter 30 of the Manthānabhairava Tantra which largely concerns the rules for writing and transmitting scripture, names the Nityākaula as one of the scriptures it considers valid.

In the Nityā tradition, the principal goddess is Kāmeśvarī, and her consort is the god of love, Kāmadeva, accompanied by eleven subordinate Nityā goddesses (see this long essay for some related discussion of Kāma, his weapons, particularly the Sugarcane Bow).

These Nityā goddesses are placed around a triangle (identified with the yoni) and intermediate points of an enclosing hexagram. The points of the triangle are identified with three pīṭhas (seats) of the goddess: Jālandhara, Pūrṇapīṭha, and Uḍḍiyāna. The fourth pīṭha, Kāmarūpa, is the centre of the triangle and the abode of Kāmeśvarī. Hence Kāmarūpa is considered to be the greatest of the śaktī pīṭhas.

The Kālikāpurāṇa (c.10-11th century) gives a lengthy description of Kāmarūpa (Assam) as a kind of divine wonderland, where death cannot enter; where there are no temples or images, but the deities are present as mountains, ponds, trees, and streams. After the terrible events of Dakṣa’s sacrifice, Śiva’s spouse, Satī took her own life. The grieving Śiva carted her body about with him until the other gods sliced up her body. The goddess’ yonimaṇḍala fell at Kāmarūpa, on Mount Kāmagiri (mountain of desire).

The Kāmākhyā temple complex is a centre of Śakta Tantra, and the goddess Kāmākhyā is worshipped there in the form of a yoni-stone, submerged in a natural stream, located in an underground chamber beneath the temple. According to the Kālikāpurāṇa, bathing in the waters of this stream results in release from rebirth and instant liberation. The Kaulajñānanirṇaya says that all of the women who reside in Kāmarūpa are Yoginīs who can reveal secrets and grant siddhis.

Kāmeśvarī is described as being of red hue, bearing weapons the weapons of Kāmadeva (noose, goad, bow, flower-arrows), and extensively ornamented (see these posts for some related discussion of ornamentation).

According to Golovkova, many of these elements appear in the Vāmakeśvarīmata (and later scriptures) – such as the goddess’ red hue; her bearing of the weapons of Kāma; the triangle and her triadic form; and her identification with the pīṭhas. Although, in the later tradition, Kāma has been supplanted by Śiva, there are many references to Kāma – particularly in the names of the groups of subsidiary goddesses populating the layers of the Śricakra (here’s a quick tour through the Śricakra).

In her paper, Golovkova gives a very insightful comparison between a passage she has translated from the Nityākaula and a very similar passage from the Vāmakeśvarīmata. Both passages show that the worship of the goddesses necessitates that the (male) adept should, having installed the goddess in his own body using Nyāsa, must dress in red clothing, adorn himself with flowers, smear his body with red unguent, apply eyeliner (collyrium), chew betel and spices, and equip himself with the weapons of Kāma. He is trying to further identify himself with the goddess by taking on her physical characteristics. Similar practices, albeit directed at emulating the fury of Bhairava are described in the mudrākośa section of the Jayadrathayāmala. This kind of ritualistic male performance of femaleness can be found in early tantric scriptures -even those of the orthodox Śaiva Siddhanta.

The attraction of female partners – human, or otherwise (nāgas, gāndharvas, yakṣinīs, for example) is a core concern of the Nityākaula, and again, as Golovkova shows, this is a focus of the Vāmakeśvarīmata. I concur. There is a great deal of emphasis on not only attracting women but gaining wealth, and power, destroying enemies, and obtaining siddhis in the Vāmakeśvarīmata – and relatively little directed towards what we think of as spiritual liberation.

Locating female agency is always a tricky proposition in regards to the tantras. In this respect, Golovkova argues that in these early scriptures, women have no agency at all – they are highly sexualized, mere objects for the male ritual gaze and acquisition, subjects of practices that aim at attracting and subordinating them."

Sources:

- Bagchi, P.C., Magee, Mike. 1986. Kaulajnana-nirnaya of the The School of Matsyendranatha. Prachya Prakashan.

-Dyczkowski, Mark S.G. (2009). Manthanabhairavatantram Kumarikakhandah (The Section Concerning the Virgin Goddess of the Tantra of the Churning Bhairava In Fourteen Volumes). Indira Gandhi National Center for the Arts and D. K. Printworld Pvt. Ltd.

-Golovkova, Anna A. 2020. ‘The Forgotten Consort: The Goddess and Kāmadeva in the Early Worship of Tripurasundarī’. International Journal of Hindu Studies. https://link.springer.com/article/10.1007/s11407-020-09272-6

-Magee, Mike. 2011. The Mysteries of the Red Goddess. Prakasha Publishing.

-Rosati, Paolo E. 2023. ‘Crossing the boundaries of sex, blood and magic in the Tantric cult of Kāmākhyā’ in Acri, Andrea and Rosati, Paolo E. (eds) Tantra, Magic, and Vernacular Religions in Monsoon Asia. Routledge."

[falseandrealultravival]

Kuukai and the Rishukyo: It’s meaningless- This guy is an idiot (Esoteric Buddhism-1)

The sect that Kuukai founded is a major sect of esoteric Buddhism called Shingon Buddhism, and its temples are scattered throughout Japan. One time, I went to see a Shingon sect festival in my area. One word: gorgeous! It was a truly spectacular ceremony that made effective use of lanterns.

Now, after looking at it and thinking about it, I concluded that it was "too gorgeous!!" The Shingon sect seems to hold extravagant festivals without exception. Looking back, the scene when Kukai received the transmission ceremony from his master Huiguo in Chang'an, the capital of the Tang Dynasty where esoteric Buddhism was popular, can only be described as gorgeous. Surrounded by brightly colored ornaments, Kukai threw flowers at the Buddhas, and childishly, the Buddha would unite with the guardian deity of the Buddha whom he had thrown. He became a Tathagata.

If you want to convey the state of enlightenment, a more modest ceremony should be sufficient. Not doing so seems like a desire to "protect the nation," a desire to bypass personal salvation (enlightenment) and become involved in the fate of the nation. Shingon Buddhism is the perfect way to demonstrate the power of the nation. In other words, it's a "bluff".

Another point of contention is the strange description of Rishukyo, one of the fundamental scriptures of the Shingon sect. What it says is that when a young man and woman get to know each other, love develops, and they embrace each other with feelings that reach heaven, they are at the ``bodhisattva level'' (purity). In normal Buddhism, romantic feelings between men and women are usually excluded, so the description in the Rishūkyō stands out.

When it comes to human love, it's normal for two people to end up on the other side, and the scary situation of a love triangle often occurs. The moment a loved one of the opposite sex is abducted by someone of the same sex, the person concerned falls into hell instead of heaven. A bodhisattva quickly turns into a sinner in hell. As someone who has experienced this bitter love triangle, I declare that the Rishukyo sutra is falsehood. Kuukai is an idiot who made this the basic scripture.

Rei Morishia

[wangsejabin]

Chapter 94

The children of the Eastern Palace also had birthday gifts to give.

The First and Second County Princesses and the Third County Princess all gave embroidery, as they were old enough to do so, and although their work was not as good as that of the Needle and Thread Bureau, as they had said before, it was the thought that counted. The Fourth Mistress Wan Pui-yin gave her a Buddhist scripture, which she said she had copied by hand, and although her handwriting was not good, it was the thought that counted.

   Zong Duo gave her a jade pendant, of fine sheep's-fat white jade carved with a longevity bat, which was unremarkable, but Empress Fu seemed to like it, holding it up and looking at it, and smiling and praising Zong Duo a few times.

   Zong Yue, on the other hand, gave a jade ornament, of an ordinary kind, neither too eye-catching nor too over-the-top, quite in keeping with his age and status.

As for Wan Yin Long, originally Pan Er gave her the idea to send her shoes and purses, she didn't need to make them herself anyway, the palace maids made them and she sewed on a few stitches, Empress Fu also knew Wan Yin's character and would not be offended.

However, she did not agree, and went back to the cabinet to find some bead strings that she had shattered when she was a little girl and brought them to her to play with.

   Among them were pearls, tourmaline, cat's eye stones, turquoise, tortoiseshell stones and a bunch of other messy little stones, and she primped and picked out some suitable ones and strung them together to make a string of beads that could be worn on her wrist.

When it was done, Pan'er took a look at it, Wan Yin's seemingly big-hearted, but actually quite good at matching colours, this colour scheme at first glance is suitable for Empress Fu usually wear, no true reds and no purple as it was too fancy. Afterwards, Wan Yin found a box for the gift, and a birthday gift was made.

Empress Fu really liked it after she got it, and heard that it was made by Wan Yin's own hands, and even said she was thoughtful. This was the only one of the girls that Empress Fu had praised, and of the boys, it was Zong Duo who got the praise.

Unfortunately, his sister's thunder was soon stolen by Zong Lin, who had also prepared a birthday gift for Empress Fu.

This gift was unknown to anyone but the eunuchs and palace maids around Zong Lin, who, probably seeing how secretive Wan Yin was, also followed suit. Pan'er thought he was a small boy, so he couldn't give anything away anyway, maybe just some of his little wooden swords and horses, so she didn't mind him.

   It was also a brocade box, but it was much bigger than Wan Yin's.

Empress Fu was surprised to see that he was also giving her a birthday gift, but Zong Lin didn't care about that, he told Empress Fu to sit down, and he also went to the bottom and stood up, kowtowed to Empress Fu respectfully, and said a toast.

   Empress Fu was amazed by this and said to those around her that such a small child was doing a good job.

Pan'er was surrounded by a bunch of strange eyes, and instead of being pleased, she was a little embarrassed, mentally saying that she didn't know what the boy had given as a gift. If he had given them a small wooden horse or something that would not have made such a big splash, people would have said that mother and son were making a fool of themselves.

Soon it was time to reveal the birthday gift, and Zong Lin led Feng Hai, who was holding the gift, to Empress Fu.

   He was small and short, and his strength was no match for an adult, so he let Feng Hai crouch halfway while he uncovered the lid of the box.

   As soon as the lid was opened, the walls of the box automatically fell down to reveal a large bowl of blue and white flowers. The blue and white flowers on the bowl were all in the shape of the word longevity, and at the bottom of the bowl were a few pebbles with translucent water and two small fish swimming inside.

It was the same small fish that Zong Lin had caught with his own hands earlier.

   "My grandson just caught a few of them and gave two to Imperial Grandmother." As he said this, he was still quite reluctant to give them away, clearly saying that he was giving them away, but his eyes kept looking at them.

   Empress Fu took a questioning stance, and it was time for the mother to come out and speak.

Pan'er said, "He caught this fish himself, he treasures it like nothing else, and has been looking at it every day on his bedside for the past few days. Originally he was making a fuss about sending a birthday gift to the Empress, and I thought he was just fooling around, but I didn't expect to send this to him."

   "Good, very good, a child's heart." Empress Fu laughed, and asked Zong Lin, "You are willing to give your precious treasure to your imperial grandmother?"

Zong Lin was indeed reluctant to do so, but he said, "Father taught us that we should know filial piety as descendants, and although Lin was very reluctant to do so, it was only right to give my own treasures to my imperial grandmother for her birthday, and that was all I had." And so he gave half to his imperial grandmother.

   The rest of what he said, though he did not say it, was understood by Empress Fu and understood by all those below.

The First Lady of the Duke of Jin's House laughed, "The Third Duke is really filial."

" Not at all."

   "My little grandson, who is about the same age as the Third Prince, knows nothing of this, worthy of being a child of His Highness the Crown Prince's family."

In a flash, the crowd of titled ladies standing below were all praising him.

   Empress Fu smiled, stroked his head and said, "Well, Lin'er has filial piety, Imperial Grandmother will certainly take good care of your precious little fish."

   The whole birthday celebration had been very uneventful, except for the birthday gift from the Crown Princess, which had raised a few eyebrows, but now all the limelight had been stolen by a three-year-old child. What could a child of that age know? He must have been taught by his mother. But she had taught him well, and he had won the Queen's favour, so no one could say anything.

The Prince Consort stood there smiling, showing no signs of happiness or anger, while Hu Liangdi's eyes darted back and forth between Pan'er and the Prince Consort, wondering what she was thinking.

   As for the children in the Eastern Palace, although they were all forcibly calm, they were not too old and inevitably showed their envy. While Zong Yue's emotions did not show, Wan Yin was looking as if she had a share in the glory, her big eyes shining brightly, which if it weren't for the crowd, Pan Er guessed she would have to praise Zong Lin for a job well done.

But then Pan'er knew that the fish delivery must have been Zong Lin's own idea, but he couldn't have done it with such care, and the words he said.

She set her gaze on Feng Hai, her face smiling but the smile not reaching the eyes.

   The women of the Eastern Palace did not take up much of the drama at the birthday banquet today.

After all, there are many concubines and even relatives from the imperial family in the West Court, and since today is the Empress's birthday, it is only logical that there should be external ladies present, so there are many other ladies who have come to celebrate the birthday today.

   In the middle of the day, Pan'er said she would go to the purification room, and besides bringing Xiang Pu, she also called Feng Hai out.

   Feng Hai knew what was going on and knelt down as soon as he entered the purification room.

   "How old he is, and you are teaching him to fight for favour, you seem to have a big heart. Originally, I trusted you and thought that since Lin was so young, I was afraid that he would be led astray, so I placed you by his side, but look at this good thing you did!"

Feng Hai prostrated himself on the ground and spoke in a low voice, "Master, it was Little Prince himself who proposed to send the fish, the servant just helped him prepare the brocade box and bowl."

"Still trying to argue, you didn't teach him those words he said?"

   "Indeed, it was my servant who taught him. The minion just thought that you had asked someone to inquire what the eldest prince would send before preparing such a birthday gift for the second prince, and even the county princess's birthday gift you did not bother with, leaving the county princess to make her own arrangements. The minions actually understand what you mean, you just don't want to compete with that side, but don't you think about the feelings of the second prince and the fifth county princess?

   "If this becomes a habit, not of you but of the Second Prince, how will he be able to hold his head up in front of the Eldest Prince?"

   These words were like a thunderbolt, and Xiang Pu immediately scolded, "Feng Hai, you really have the audacity to say such things in front of your master!"

   Saying that, she turned to Pan'er and begged for mercy, "Master, please spare Feng Hai this time, he has followed the two princes for these years, and he has done hard work without merit, he must have been possessed, you should ask the second prince to punish him later, punish him severely."

   "Are you thinking the same thing?" Pan'er suddenly asked.

After a while, she said hesitantly, "I think you are always reluctant to compete with the Crown Princess' side. The Crown Princess is very concerned about the eldest son's homework, but you rarely ask the second son about his homework."

   After coming to the palace for these years, Xiang Pu has also long been not the Xiang Pu of the beginning and has learned to be much wiser.

   In fact, a few years down the line, many people have changed to a greater or lesser extent, only she is still the same old step, always thinking about the world peace.

Pan'er couldn't help but think of her previous life, how Yue'er had yielded to Zong Duo in front of and behind people, yes, in a new life, why did she always have to yield, could she avoid the inevitable disputes in the future by yielding? No, because the interests are there and sooner or later the conflict will be triggered.

   Feng Hai's idea was to let Lin'er take the lead, so as to raise the eyebrows of the East House, and at the same time to give Zong Yue a hint that you could not take the lead because of your circumstances and status, but your younger brother did not have such worries, he was still young after all, and taking the lead would not be too scandalous.

   Indeed, he had a heart. And even the Crown Princess could not fault the words that Zong Lin said today, she feared. Even a three-year-old child could be so filial, and the East Palace must be acting upwards and downwards for such a young child to behave like that. Even if there was an element of drama, no one would be insensitive enough to poke holes in it, so the flaw would be good for the Eastern Palace and indeed the entire Central Palace lineage.

Pan'er sighed and gave Feng Hai, who was lying on the ground, a somewhat complicated look, "Don't take any more liberties in the future, report anything, I'm not the kind of master who can't listen to advice."

   Feng Hai's heart was pleased, he immediately kowtowed and said, "I understand, my servant will definitely follow my master's orders."

   After that Feng Hai retreated and Pan Er used the purification room, the whole time she was thoughtful, but Xiang Pu did not dare to interject any more.

   --

   The palace banquet was set up from noon and continued into the evening.

Even though Empress Fu had repeatedly said that there was a disaster in the region of Shaanxi and Gansu, and that everything should be kept simple, the arrangements made by the House of Internal Affairs were still very rich.

   Before the evening banquet had even begun, fireworks were set off to the north of the island.

   Beneath the inky blue sky, the crowd gathered to watch the fireworks from the best viewpoint. The vast expanse of the sky and the splendour of the fireworks, which lasted for more than a quarter of an hour, were truly breathtaking. Even Pan'er, who had seen a lot of big scenes in her previous life, couldn't help but marvel at the ingenuity of the Home Office.

   After watching the fireworks, it was time to move on to the banquet, which was set up in the water pavilions of the curved corridor, divided into several places. There was a brightly lit area some distance away, dotted with candlelight, and if you looked at it from afar, the inky night sky, the quiet water and the long strings of luminous pearls strung on it, it was as beautiful as a painting.

   As the male and female guests were not in the same place, Wan Yin was with Pan'er at the dinner.

   The atmosphere was naturally much more relaxed as it was not in the palace, and from time to time a lady came forward to toast and speak with the Crown Princess, who was the most important person in the palace, as the banquet for the concubines was not here.

   The Crown Princess was placed next to Pan'er, and Wan Yin was already talking to Shu Yi across the table, and Pan'er also had some small talk with the Crown Princess.

   But she didn't ask Princess Yue how she was after that time, and she didn't mention it either, as if that day had never happened, but Pan'er did see that Princess Yue was looking better.

   Perhaps it was because the scenery in the Western Garden was really pleasant, and when people were in a good mood, they naturally looked better.

Fu Qiu suddenly came up behind Pan'er and whispered, " Greetings Liangdi, the Crown Prince has ordered someone to say that the third son has been naughty and has fought with the fifth son of Qi Wang's residence again, so you should go and bring the third son back."

   Pan'er was stunned to hear this, and had a bit of a headache, why was this boy hitting again? And some thin annoyance, thinking blame the Prince you did not say Zong Lin so do it right, now you know the headache.

She didn't think much about it, and told Wan Yin that she should stay by herself for a while, and also asked Yue Wang Fei to help look after her daughter, and left Bai Jue behind, and went away with Fu Qiu.

   When they went outside the water pavilion, it wasn't Fu Lu, it was a eunuch who looked somewhat familiar.

Although Pan'er couldn't name him, she knew he was a waiter at the Yu Qing Palace, so she didn't think much of it and took Xiang Pu with her to go with him.

It was dark, but the corridors were decorated with palace lamps, so it was not dim.

   The curved corridor is entirely in the style of the gardens of the south of the Yangtze River, built against the rocks, which are dotted with all kinds of strange stones and rocky hills, sometimes ascending and sometimes descending.

The eunuch leading the way seemed to notice that her pace was slowing down and turned to say, " Mistress Su, it's just a little further to go."

   Pan'er continued to follow, and after walking for a while, a sudden gust of wind blew, and as she was distracted, the eunuch in front of her back flashed, and the person disappeared.

   She was startled and stopped instantly.

She was about to turn around when a man turned out from behind the rockery at the side, none other than Prince Chu, dressed in blue brocade robes.

[mahayanapilgrim]

I see as many Buddhas as atoms in a hundred million lands

In one moment of consciousness, Showing the world in many ways Tranquility in an instant.

Avatamsaka Sutra - Flower Ornament Scripture

The Mandala is of Amitabha/Amitayus Buddha Sarvadurgati Tantra

[radical-revolution]

BUDDHA SPEAKS

The grasped cannot be grasped

The seen cannot be seen,

The heard cannot be heard:

The one mind is inconceivable.

The finite and the infinite

Are both ungraspable;

If any want to apprehend them,

Ultimately they apprehend nothing.

To say what should not be said

Is self-deception;

When one's own task is not complete,

One cannot gladden others.

Those who wish to laud the Buddha's

Boundless body of wondrous form

Could not express fully

Even in countless eons.

Just as the wish-fulfilling jewel

Can manifest all colors,

Being colorless yet manifesting color

So are all the Buddhas.

Also like clear space

Is formless and invisible

And though it shows all forms

None can see space,

So it is with the Buddhas;

They manifest infinite forms everywhere

Yet are not in the province of mental activity

So no one is able to see them.

Though the Buddha's voice is heard

The sound is not the Buddha;

And yet not apart from sound

Can the Truly Awake be known.

Enlightenment has no coming or going;

It's apart from all discriminations:

How then can one

Say he is able to see it?

The Buddhas have no doctrine:

How could Buddha have any explanation?

It is just in accord with one's own mind

One thinks Buddha expounds such a doctrine.

***Avatamsaka Sutra - Flower Ornament Scripture 452, 453

[palmithun]

Artarium Nand Gopal Statue: Capturing the Divine Essence of Laddu Gopal Idols in Hindu Religious Art

Introduction

In Hinduism, the worship of deities in the form of idols is a sacred tradition that spans millennia. Among the most beloved figures is Lord Krishna, often depicted in his childhood form as Laddu Gopal or Nand Gopal. Artarium, a distinguished name in the realm of religious art, offers a stunning collection of Nand Gopal statues that capture the divine essence and playful charm of these beloved idols. Let's explore the significance of these statues and their role in Hindu religious practices.

The Legend of Laddu Gopal

Lord Krishna, revered as the eighth avatar of Lord Vishnu, is a central figure in Hindu mythology and philosophy. His childhood exploits, including his endearing interactions with his foster parents Nanda and Yashoda in the village of Vrindavan, are immortalized in scriptures and folklore. Laddu Gopal, often depicted as a young child holding a butterball (laddu), embodies the innocence, mischief, and divine grace of Lord Krishna during his formative years.

The Symbolism of Nand Gopal Statues

Nand Gopal statues serve as tangible representations of Lord Krishna's divine presence and blessings. They are revered by devotees for their ability to evoke a sense of joy, love, and devotion, mirroring the intimate relationship between the worshipper and the worshipped. The sight of Laddu Gopal cradled in his foster mother's arms or engaged in playful antics with his companions symbolizes the eternal bond between the divine and the devotee, transcending time and space.

Artarium's Nand Gopal Statue Collection: A Testament to Artistic Excellence

Artarium's Nand Gopal statue collection exemplifies the brand's commitment to artistic excellence and spiritual authenticity. Each statue is meticulously crafted by skilled artisans, who painstakingly imbue every detail with reverence and devotion. From the intricate facial expressions to the delicate garments and ornaments, these statues are a testament to the craftsmanship and artistry that goes into creating timeless works of religious art.

Honoring Tradition with Modern Innovation

While rooted in tradition, Artarium's Nand Gopal statues also embrace modern innovation in materials and techniques. Made from high-quality resin, these statues offer durability, lifelike texture, and ease of maintenance, ensuring that they remain pristine and vibrant for years to come. The use of resin allows for greater flexibility in design and production, enabling artisans to capture the essence of Laddu Gopal's divine form with unparalleled precision and detail.

Elevating Spiritual Spaces

Whether placed in homes, temples, or sacred spaces, Artarium's Nand Gopal statues elevate the spiritual ambiance and create a sense of sanctity and serenity. Their presence inspires devotees to cultivate a deeper connection with the divine, fostering moments of prayer, meditation, and introspection. As devotees offer prayers and adorn the statues with flowers, incense, and sweets, they experience a profound sense of communion with Lord Krishna, basking in his boundless love and grace.

Celebrating Festivals and Rituals

Nand Gopal statues play a central role in Hindu festivals and rituals, particularly those dedicated to Lord Krishna such as Janmashtami and Govardhan Puja. During these auspicious occasions, devotees adorn the statues with colorful attire and exquisite ornaments, offering prayers and devotional songs in celebration of the divine birth and divine pastimes of Lord Krishna. The statues become focal points for community gatherings and spiritual festivities, uniting devotees in joyous reverence and devotion.

Conclusion

Artarium's Nand Gopal statue collection encapsulates the timeless beauty and spiritual significance of Laddu Gopal idols in Hindu religious art. With their exquisite craftsmanship, lifelike details, and profound symbolism, these statues serve as conduits for divine grace and blessings, enriching the spiritual lives of devotees around the world. As we behold the divine form of Nand Gopal, may we be reminded of the eternal love and wisdom of Lord Krishna, guiding us on the path of devotion, righteousness, and inner fulfillment.

[acalavidyaraja]

In the rich tapestry of Buddhist tradition, Dharma protectors play a vital role as guardians and defenders of the teachings of the Buddha and its practitioners. Rooted in both ancient scripture and contemporary practice, these beings are revered for their commitment to safeguarding the integrity and propagation of Buddhist wisdom.

Origins and Nature

Dharma protectors, known as "chos skyong" in Tibetan Buddhism, are entities—often depicted as deities, spirits, or celestial beings—that have taken vows to protect the Dharma, the teachings of the Buddha. They are believed to possess various degrees of supernatural powers and are enlisted to ward off obstacles, dispel negativity, and guide practitioners along the path to enlightenment.

Classification

Dharma protectors can be broadly classified into two categories: mundane and wisdom Dharma protectors.

1. Mundane Dharma Protectors : These are virtuous beings within the cycle of samsara who have made vows to protect the Dharma. They may include deities from various cultural and religious backgrounds who, out of compassion and devotion, have pledged their assistance to Buddhist practitioners.

2. Wisdom Dharma Protectors : These are considered emanations of enlightened beings such as Buddhas or Bodhisattvas. They embody the wisdom and compassion of these enlightened figures and are specifically tasked with protecting the Dharma and its practitioners. Examples include Mahakala, Palden Lhamo, and Dorje Shugden.

Roles and Functions

Dharma protectors fulfill a range of roles within Buddhist practice:

- Guardianship : They safeguard practitioners from spiritual and worldly obstacles, ensuring that they can progress on their path to enlightenment unhindered.

- Assistance : Dharma protectors are often invoked during rituals, prayers, and meditations to provide guidance, blessings, and support.

- Dispelling Negativity : They are believed to have the power to dispel negative energies, forces, and influences that may obstruct spiritual progress.

- Teaching and Guidance : Some Dharma protectors are also considered teachers who impart wisdom, empowerments, and instructions to practitioners.

Iconography and Symbolism

Dharma protectors are typically depicted in art and iconography adorned with symbolic attributes and ornaments. Their appearances often convey aspects of their enlightened nature, ferocious demeanor, and protective qualities. For example, wrathful expressions signify their ability to subdue obstacles and enemies of the Dharma, while symbolic weapons and implements represent their power to overcome adversities.

Devotion and Practice

Devotion to Dharma protectors is widespread in various Buddhist traditions, particularly in Tibetan Buddhism, where elaborate rituals and ceremonies are conducted to honor and invoke their blessings. Practitioners may offer prayers, incense, flowers, and other offerings as gestures of reverence and gratitude.

Controversies and Debates

Despite their revered status, Dharma protectors have been a subject of controversy and debate within some Buddhist communities. Questions surrounding their origins, practices, and sectarian affiliations have led to differing opinions and interpretations among scholars and practitioners.

Conclusion

Dharma protectors occupy a central place in Buddhist cosmology and practice, serving as guardians, guides, and benefactors to those who seek refuge in the Dharma. Whether viewed as mundane beings or manifestations of enlightened wisdom, their presence underscores the enduring commitment to preserving and disseminating the profound teachings of the Buddha for the benefit of all sentient beings.

[bllsbailey]

Catholic Leaders Are Furious Over Pope Francis' Plan to Bless Same-Sex Couples

At least 90 prominent Catholic leaders have signed an open letter asking Cardinals and Bishops around the world to oppose plans by Pope Francis to introduce blessings to same-sex couples. 

The letter argues that Fiducia Supplicans, a Vatican doctrine signed and approved last month by the Pope, would allow the blessing of "objectively sinful" relations and must be opposed at all costs. 

Cardinals and Bishops are asked to "forbid immediately the application of this document in your diocese" as well as contacting the Pope directly to demand he "urgently withdraw this unfortunate document, which is in contradiction with both Scripture and the universal and uninterrupted Tradition of the Church."

A copy of the letter was published by LifeSiteNews:

The blessing of a couple (whether “liturgical” or “pastoral”) is, so to speak, a natural sign. The concrete gesture sayssomething naturally, and therefore has a natural, immediate communicative effect, which cannot be artificially changed by the verbal caveats of the document. A blessing as such, in the universal language of humanity, always implies an approvalof what is being blessed. Therefore, the concrete sign that is given with such blessing, in front of the whole world, is that “irregular couples,” extramarital and homosexual alike, according to the Catholic Church, would now be acceptable to God, precisely in the type of union that specifically configures them as couples. Nor does it make sense to separate “couple” from “union,” as card.

The letter also argues that although same-sex couples will be prevented from some of the traditions involved with such blessings, these rules will inevitably be removed over time:

The fact that other significant and accidental circumstances such as timing, location, or ornaments such as flowers and wedding clothes are excluded from the act does not change the nature of the act, since the central and essential gesture remains. Furthermore, we all know from experience what such “restrictions” are worth and how long they last. The fact is that a priest is imparting a blessing on two people who present themselves as a couple, in the sexual sense, and precisely a couple defined by its objectively sinful relationship. Therefore—regardless of the intentions and interpretations of the document, or the explanations the priest may try to give—this action will be the visible and tangible sign of a different doctrine, which contradicts traditional doctrine.

The argument highlights the bitter divisions within the church over its religious and political direction under the current Pope's leadership.

The Argentinian, who became pontiff in 2013, is notorious for his progressive political positions and hostility to the more conservative wing of the church that held power under the previous Pope Benedict XVI.

Last year, the Vatican even published a document urging Catholic leaders not to criticize Francis on social media. 

"The Christian style should be reflective, not reactive, on social media," the letter stated. "Therefore, we should all be careful not to fall into the digital traps hidden in content that is intentionally designed to sow conflict among users by causing outrage or emotional reactions."

[prabirkumarm2]

Popular Attractions to Visit in Kalimpong

Kalimpong, in recent years, has seen lots of footfalls. The beauty of the town has come to the notice of lots of tourists. While visiting Kalimpong, here are the popular attractions people get to see. Have a look-

Nestled amidst the breathtaking Eastern Himalayas, Kalimpong is a serene hill station located in the Indian state of West Bengal. Overlooking the lush Teesta River Valley, this picturesque town exudes an old-world charm, making it a perfect destination for nature lovers, adventure enthusiasts, and those seeking tranquility away from the hustle and bustle of city life. With its pleasant climate, panoramic vistas, and rich cultural heritage, Kalimpong offers a plethora of attractions that leave travelers spellbound. Let's embark on a journey to explore the enchanting charms of Kalimpong.

Deolo Hill and Durpin Dara: Perched at an elevation of 1,704 meters, Deolo Hill is the highest point in Kalimpong and provides breathtaking panoramic views of the town and the snow-capped peaks of the Himalayas. It is an ideal spot to witness stunning sunrises and sunsets. Nearby, Durpin Dara offers another vantage point with awe-inspiring views of the surrounding valleys and the Teesta River winding its way through the landscape.

Zang Dhok Palri Phodang: This magnificent Buddhist monastery is a revered place of worship and a symbol of religious harmony in Kalimpong. The monastery houses rare Tibetan Buddhist scriptures, exquisite religious artifacts, and colorful murals that narrate the life of Lord Buddha. The tranquil ambiance and stunning architecture make Zang Dhok Palri Phodang a must-visit.

Flower Nurseries: Kalimpong is famous for its flower nurseries that cultivate a wide variety of exotic flowers, including orchids, gladioli, and cacti. The flower nurseries not only add vibrant hues to the landscape but also make for a delightful experience for nature enthusiasts and photographers.

Crockety: Step back in time as you visit Crockety, a colonial-era mansion that has been converted into a museum. It showcases an extensive collection of rare artifacts, antique furniture, and historical relics, offering a glimpse into Kalimpong's colonial past.

Pine View Nursery: For nature lovers and horticultural enthusiasts, Pine View Nursery is a must-visit attraction. The nursery is adorned with a vast collection of cacti, succulents, and other ornamental plants, providing a serene environment for a leisurely stroll.

Tharpa Choling Monastery: This ancient Bhutanese monastery, dating back to the mid-19th century, is a testament to the town's rich cultural heritage. The intricate frescoes, exquisite murals, and peaceful surroundings make it a spiritual and architectural marvel.

Morgan House: Another relic of Kalimpong's colonial past, Morgan House is a heritage property that has been converted into a tourist lodge. The architectural blend of British and traditional Tibetan styles is a unique feature that entices visitors.

Teesta River Rafting: Adventure seekers can get their adrenaline pumping with exhilarating white-water rafting on the Teesta River. The river offers a range of difficulty levels, catering to both beginners and experienced rafters.

Kalimpong Arts and Crafts Center: This center is a haven for art aficionados and shoppers. It houses a variety of traditional crafts and handicrafts, including thangkas (Buddhist paintings on silk), wood carvings, and handmade paper products.

Pedong: Located a short drive away from Kalimpong, Pedong is a quaint hamlet that is perfect for a peaceful retreat. The small village is surrounded by forests and offers breathtaking views of the Himalayas.

In addition to these attractions, Kalimpong's vibrant local markets, warm and welcoming locals, and delicious regional cuisine make the entire experience unforgettable. The town's cultural diversity, with influences from Tibetan, Nepali, and Bhutanese cultures, adds to its allure.

[creaturedeath4u]

They Lie Beneath The Soil Dark

Beneath the soil dark where ants and worms toil is constructed the infrastructure of the cause of morbid depressing sounds of weeping and gnashing of teeth. These sounds are from heartache and heartbreak of loss.

Someone or something died…

An absence of a physical relationship from death does not love coming to presence with spirit. Present death of the physical body lies beneath the earth crust soil far above the core. Those that are living with core values in a Christian contemporary normal situation has this burial picture of death. The picture is a dead corpse in the dirt. A body in the crust is the melted cheese in stuffed crust pizza. It makes the coffin & tombstone complete. Melting…. Rotting… Decaying…

In a coffin ornamented gravely with tombstone the process of death of the physical body occurs. This cheese in the crust melts adding to the juice of coming back to dust. This is the repulsive repungent rotting and decaying of a corpse. The smelly cheese. The decay in the ground is the passing on of what you once knew as beautiful & real. The dead person is going back to the pure element of dust.

In death you have a choice whether or not to believe in the supernatural.

It is that choice in the supernatural that depicts our experience of each death we come to know. The Bible teaches we have a spirit. That spirit of another creature or human will linger about you if you choose to feel it. Spirit can become our guide.

Spirit is our guide as our protectors take form about us. Humans and animals make a print on the reality our mind accepts. If Jesus was accepted through belief inside the heart through His death, burial, & resurrection you will get by getting born again with heaven as the final destination. Your body will await as dust in a coffin for the lord to gather you at His second coming. Christ is coming!

Christ’s crucifixion was that by which we were born again humans that have the gift of eternal life in heaven. That is where spirit goes.

Animals do not have the advanced brains we humans have. I believe animals have spirits or souls. They each have an individual spirit or soul amongst us.

Angels live amongst us like heavenly powerful pure beautiful humans looking like spread eagles. When an animal passes its spirit goes to heaven as a born again human saved by the blood of Christ does. That is my belief.

There is scripture of animals in heaven in the Bible

Isaiah 11:6–9

Then I heard every creature in heaven and on earth and under the earth and on the sea, and all that is in them, saying, ‘To him who sits on the throne and to the Lamb be praise and honor and glory and power, for ever and ever!’”

Revelation 5:13

“Then I saw heaven opened, and behold, a white horse!”

Well Revelation 5:13 does not say, “Then I saw heaven opened and behold I saw a white dwarf majestic rodent” Revelation 5:13 but states that in Isaiah 11:6-9 there were creatures in heaven.

My hamsters are creatures in heaven in my opinion from this scripture. So are my other deceased pets. That is what I believe. My family is Christian and we believe in a heaven and hell. That is why when my hamsters and other pets died we had a funeral and buried them. My deceased pets ascended to heaven.

My family prayed over our deceased pets. This prayer will help God comfort our hearts as we miss that which is physically gone.

I personally am a Christian Christ loving apostolic usui reiki master.

I feel joy when a loved one dies. I feel them with me in a happy place. Call it purgatory or heaven. As the deceased one sends visions and scents of flowers to comfort me and remind me they have not left in a spiritual sense I get warm fuzzy goose bumps. The deceased loved one’s presence is love.

The dead ones are just physically gone going to dust. God blew on the dust and gave us life. That is back to where we go. We go back to a dust waiting for heaven or hell. We will have a new perfect body if heaven destined it.

Make the choice. Animals are all bound to heaven in my opinion. I cannot find Bible scripture of anything but demons, evil souls, and beasts in hell. I did not find Bible scripture of animals in hell.

It is through my belief and through my upbringing of that belief of Christ that we had funerals for my pets and we bury them.

Some may just feed the rotting putrid carcass to creatures of nature or even eat them or make something out of them. But we put them in a box into the crust of earth in the soil waiting for their spirit to reign.

God is good. Satan is bad. God/Jesus is the hero satan is the villain. God & Jesus are one.

Blessed be the holy one. Jesus you are the holy one. Time in heaven is eternal us finished with life in the blink of an eye compared to eternity. The soul or creature in heaven can haunt to scare or it can comfort us blessing us. Wellness is the soul that comforts and blesses. That haunting or blessing can be a soul of either an animal or human.

The supernatural is a mystery for the paranormal warriors. Life is short but our soul’s life is eternal with acceptance and belief in Jesus. We have a forever home with Him.

Heaven…

Heaven is the place where gold is as prevalent as our current gravel or cement paving the earth roads. Magnificence cannot be known until heaven. Heaven is when we are face to face with Jesus. Jesus is immaculately pure and beautiful. May souls finally rest and have peace. The heavenly gold paths of righteousness will have us rejoice. It is good.

[thevaisnava]

I asked many people (non-Hindus) this question and I got the following replies: God cannot be seen (invisible) God is love God is great God is in the sky God has not been seen by anyone God was crucified None of these people have actually answered the question. They obviously have not read the Bhagavad-Gita. Just by looking at the Bhagavad-Gita for one second, you can see the all-beautiful God. By reading a few pages, you will know how merciful, loving, and great, God is. By surrendering unto Lord Krishna, one is guaranteed to return to the spiritual creation (the kingdom of God) at the end of this short life. In the spiritual creation called Vaikuntha, everyone lives eternally in the same body which is completely beautiful, full of bliss/love, full of knowledge, no old age, no disease, and with no misery. In the Srimad-Bhagavatam, a full description and history of God is given. His complexion is dark-blue, like that of a rain filled cloud His eyes are like lotus petals He is ever youthful He is full of bliss His beauty excels that of thousands of cupids He likes to play the flute He wears a peacock feather in his crown He wears the Kaustubha jewel around his neck He wears yellow garments If you know God’s name, address, description, qualities, pastimes, history of when He appeared in the past, when He will appear in the future, how He creates and maintains, how He witnesses all our actions. Then you know God, otherwise you don’t know God. You will find all this information, only in the Vedic scriptures like the Bhagavad-Gita and the Srimad-Bhagavatam. "His mouth expresses His happiness. His eyes spread like the petals of a lotus, and His garments, yellowish like the saffron of a kadamba flower, are bedecked with valuable jewels. His ornaments are all made of gold, set with jewels, and He wears a glowing head dress and earrings. His lotus feet are placed over the whorls of the lotus like hearts of great mystics. On His chest is the Kaustubha jewel, engraved with a beautiful calf, and there are other jewels on His shoulders. His complete torso is garlanded with fresh flowers. He is well decorated with an ornamental wreath about His waist and rings studded with valuable jewels on His fingers. His leglets, His bangles, His oiled hair, curling with a bluish tint, and His beautiful smiling face are all very pleasing." (Srimad-Bhagavatam 2.2.9-11)

[the-path-of-zen]

Reflections on Western Zen

It was Heather who commented that she observes young men and women coming to the Zen Center who are desperately searching for meaning in this consuming system of capitalism and consumerism.

These words have stayed with me and I can see how she has come to her position. You see, Heather is a monastic priest who has found an exit for herself from a system that is designed to use people for profit.

Years ago, I was listening to a commentary about why there is so much illegal immigration and this urge to give them citizenship. Now, I totally get the immigrant flight out of horrible situations, and sometimes there's no choice but to leave a region if you want to live. Yet, the commentator said that the reasons why every administration is very weak on the issue of the southern USA boarder is that the country needs the people to come in and consume. They need them to work, pay rent, engage in consumerism, and enter into usery debts; get mortgages, get credit cards.

This system pushes a person against the wall to forever pay debts. Work becomes the center of a person's life for without it there is no ability to pay debts acquired or to consume what is popular and live a lifestyle of decadence and consumerism. We are taught to be capitalist, to praise wealth and those to make it to the top of the mountain become heroes. Yet the reality is that the majority of people are near broke, with less than 500 USD of savings while living paycheck to paycheck with no real hope of making anything close to the type of money that will put them near the top of the capitalistic mountain.

This is what I believe Heather has observed, is that people are suckered to play in a system that is rigged in where those selected succeed, while everyone else is used for profits.

So, why then Zen? What is it about Zen that attracts men and women who have been trusted in the mad machine of captialisim/consumerism?

Well, for starters, Zen simply states that the whole machine is an illusion. That is true, it is not of nature and only exists in the minds of people. A piece of paper that we call 'money' only has value because the mind creates that value, thus illusion. When a person sees this, then everything that is not natural and is created of the mind is seen as illusion.

So, the person who sees this then ask, "What happens if I just drop the illusion?"

Many come to a Zen Center for a weekend or week-long retreat to see what happens if they just 'Stop believeing' in the illusions of the world. Many read Zen books -- most commonly the Recorded Sayings of Zen Masters to convince themselves that this world is illusionary as if that will somehow dissolve this world and show them a different world, the True World. This is the plot of the film series 'The Matrix' in that we live in a dualistic world, the false one and the true one.

Yet, the Buddha says something quite radical about this dualistic notion that most Zen seekers hold

From the The Vimalakīrti Sutra (Core Zen scripture):

Śāriputra said, “As I observe this land, it is hills and hollows, brambles and gravel, and rocks and mountains—all filled with defilements.”

At this the Buddha pointed to the earth with his toe, and instantly the trimegachiliocosm was as if ornamented with a hundred thousand jewels. It was like the Jewel Ornamentation land, with all its immeasurable merits, of Jewel Ornament Buddha.

The entire great assembly exclaimed at this unprecedented event, and they all saw themselves sitting on many-jeweled lotus flowers.

The Buddha told Śāriputra, “You should now observe the purity of this buddha land.”

Śāriputra said, “So it is, World-honored One. Originally I did not see it; originally I did not hear it. Now the purity of the Buddha’s country is entirely apparent.”

The Buddha said to Śāriputra, “My buddha country is always pure, like this. It is only so as to save inferior persons here that I manifest it as a defiled and impure land. It is like the many-jeweled eating utensils used in common by the gods, the food in which is of different colors depending on their merits. Just so, Śāriputra, if a person’s mind is pure he sees the merits and ornaments of this land.

So, WTF? Buddha says that this world 'is the pureland' and says I am an inferior person that cannot see it, and engage in defilements that further defile and create impurities.

In this, the illusion of the Matrix dualistic world is shattered, there is no 'True world' that will appear when you stop believing in the illusions.

“Before enlightenment chop wood, carry water. After enlightenment chop wood, carry water.” ~ Zen Proverb

Though it is a simple enough statement, it is also the most perplexing statement for the Zen seeker. It speaks to the Buddhas statement in the Vimalakīrti Sutra, that this is the Pureland, the enlightenment, and Nirvana is just your dropping dualistic views!

My Mentor in our monthly phone call suggested that the Christian rebirth, or resurrection, is also that dropping the dualistic view and entering into the Kingdom of God aka Nirvana.

I sometimes discuss the freedom that Zen brings, in that 'everything becomes a choice'. It is when you believe that you do not have a choice is when you suffer, in where delusions are created out of the illusions you are caught up in, because you believe you have no-choice.

Many have cited that Modern Zen is a student riding an Ass looking for a Donkey. There is a lot of truth to that statement, in that Zen students come to the temples, to the mountain Monastic centers, read books on Zen, contemplate Zen meanings -- to try and breakthrough illusion in this dualistic view that there is a True world that they don't yet know, but this True world is better than this world now.

When I was in the Navy, there was a common saying: "This duty assignment sucks, the last one was far better, and the next one will be great." When I was working in corporations, the same thing was also said as well. It is this mind of discomfort, of discontent, of unease that is seeking because THE MIND IS SUFFERING. It is this suffering that brings young men and women to the Zen centers in a belief that there is some 'other existence' that will be better than this existence (dualism again).

Many pray to hear what are called 'Turning words', a fabled story of Students who hear a word from the master and awaken to the TRUE REALITY. Many sit Zazen (Seated meditation) in praying that the performance art will transform them out of this sucky suffering, and many engaged in Asian cultural-religious rituals in hopes that there is something there that will magically work to show them Ultimate Reallity.

Does the Zen teacher really have the heart to tell them: None of that works at all. No amount of Zazen, chanting, praying, initiations, or commitment levels will help you.

Only to renounce, relinquish and abandon all illusions that abide in dualism is way to the pureland. And, when the student hears this, that this rotten stinking festering world of suffering is actually the pureland of where they want to go -- they reject it. Thus the dualism of mind continues.