#dpal

[undekoo]

Guys I made this small paper ghost an dpals the dirnstiomrinst chruspy thing around 4 days ago and it still didnt rip 🔥🔥🔥 he looks so stupid

[susieporta]

Il nodo infinito (sanscrito: Śrīvatsa; Tibetan: Dpal be'u) rappresenta l'intreccio insolubile della Saggezza e della Compassione, e della Śūnyatā con la Pratītya-samutpāda.

_Nessuno cade, ognuno aiuta ogni altro, e di qui l'intreccio infinito dell'esperienza nell'esperienza e la nascita dell'Uno

_La Saggezza è l'incontro di visione e osservazione e umiltà

[saiyukiitaliaandinternational]

Buddhist references in Saiyuki (part 1)

English translation of this post.

I love this scene a lot because of both how it was drawn (the style is very beautiful, linear, clean and detailed) and Hakkai's words. When Goku says "He looks like the real one", Hakkai replies with "Because he is the real one". Despite he is not always like a Sanzo, he is a real Sanzo due to his title and the sutra he brings on his shoulders. Here we can notice the "dual nature" of Minekura characters, in this case Genjo Sanzo, who usually does not behave like a "real" Sanzo (we know his defects well) but depending on the occasion (religious ceremony) he knows how to be one (thank god observant people don't see him when he is not in the limelight XD). Depending on the occasion we have to wear masks that do not always fit the situation.

What I like the most about Reload Blast (I actually like everything about it) are the Buddhist references that I have found in this image and will analyse here.

The first symbol that caught my interest was the Endless Knot ( srivatsa in Sanskrit , dpal be'u in Tibetan) or Eternal Knot. It is composed of closed lines intersecting at right angles and symbolizes the beginningless cycle of existence, the inextricable bond of wisdom and compassionate method of Buddha's enlightenment and infinite love and harmony. Originally it seems to have been connected to the Nagas (klu in Tibetan) serpentine beings, half human and half serpent, linked to the water element, protectors of treasures, Sutras (the Prajnaparamita Sutra was hidden by the Buddha in the Naga realm) and also many Teachings. Some of them are Dharmapala (protectors of the Dharma). This symbol is also linked to nandyavarta, a variant of swastika a primordial symbol of constant, endless flux. It is also one of Eight Auspicious Signs, why "auspicious sign"? Because it is the highest symbol of good omen if it is offered together with a gift or a writing and indicates the bond between the giver and the recipient, remembering that every positive and favorable effect for us in the future has its roots, its causes from our actions in the present. As mentioned, it represents the link between Wisdom and Method and these two, from a tantric perspective, are the feminine (Wisdom) and masculine (Method) energy. Since it has neither beginning nor end it also symbolizes the infinite wisdom and knowledge of the Buddha and the eternity of the Dharma through its ceaseless becoming and being in its manifesting for the benefit of all sentient beings. Here is a picture of it:

Author Dontpanic (DogCow in German Wikipedia)

Another thing that leapt out at me is the Mandala (dkyil khor in Tibetan) which more generally represents the palace, the energy field, the Enlightened environment, the Pure Land of the Yidam taken into account. The drawing of the image is very generic, but if I get a close-up of the center I think there might be a seed syllable which is linked to Yidam (1). Mandala represents the quintessence of all phenomenal perceptions, it is the support that allows the practitioner to access these perceptions and the center is none other than the mind of the Buddhas. The Mandala is therefore a skillful means of purifying and transmuting the darkened perception of ordinary beings into enlightened perception. We have three ways to look at the Mandala:

Mandala of the Base: it is the natural Mandala of the Vision, the purity of all phenomena, the intrinsic potential of all things ans beings.

Mandala of the Way: it is the means to integrate the practice with this Vision and is divided into two aspects. The graphic Mandala which represents the plane of reality and the Mandala of significance which concerns the experiences of the practitioner, which in turn concerns the outer Mandala of external perceptions, the inner Mandala of internal perceptions and the secret Mandala which reveal the mind of wisdom.

Mandala of the Fruit: it is achieved when one obtains Buddha's (both trikaya and five wisdoms) Enlightenment (the Fruit of the Way).

Depending on the context a Mandala can have multiple meanings, i.e. it can symbolize the Guru/Master surrounded by his/her/their disciples (2). The Mandala can be divided into "Divine residence Mandala" and "Resident divinity Mandala": it must be imagined as a building of light, square with four doors that rests on an enormous cross-shaped vajra. The four doors symbolize the "Four Noble Truths", the four equal sides of the base of the Mandala represent the Equanimity of the Buddhas towards creatures. The palace is surrounded by a barrier of vajras that prevent anyone and anything from penetrating, in turn this barrier is surrounded by flames, the flames of primordial wisdom. Externally or internally (depending on the type of Tantra, but here you can't see it well, because as mentioned it is a very generic Mandala) at this line of fire or rather circle of fire there are eight cemeteries inhabited by terrible and frightening beings (I wouldn't like to hazard a guess, I think they could be the Eight cemeteries of ancient India considered suitable for meditation but I could also be wrong). This symbolizes the understanding of Emptiness, which goes beyond the dualist division of impure/pure since in Tantrism (not only in Tibetan but also in Japanese, Kashmir and other forms of Tantrism) one is beyond the dualist dichotomy of things and everything is a manifestation of primordial purity. These three barriers (the cemeteries, the vajras and the fire) teach us a very important thing: to access the Yidam palace and tantric practice you must have the ability to abandon Samsara, to develop altruistic aspiration and understand Emptiness. The "Mandala of the deities who reside there" is made up of all the deities, the main one and his retinue. At the center of each mandala there is the main Yidam, which represents the primordial condition of existence, corresponding to the space element, the Mandala is therefore a sacred space charged with the energy of the Yidam and its retinue is capable of transforming the disciple, here I put the peaceful (3) Mahamayuri Mandala:

The other object that can be seen is the incense holder which is very important in altars and offerings as can also be seen well here in this page.

As functional as these objects and symbols may seem (and I know they are in part) to the graphic representation of the place, here elements with a profound meaning that must make us reflect have been inserted. I really appreciate that Minekura included them.

Notes:

(1) In Sanskrit, iṣṭadevatā, it is translated as "meditational deity", literally "cherished divinity", but I do not like this translation choice because it can lead to the erroneous idea that in Buddhism, especially in Vajrayana, there is a god worship kind of which is not true because in Buddhism practitioner focuses on Enlightened beings and takes refuge only in them. Gods are sentient beings residing on ārūpadhātu, rūpadhātu and kāmadhātu and are all subject to the merciless rules of karma and twelve nidānas. They are in the same boat as humans, asuras, animals, pretas and naraka beings. This is why I prefer the Tibetan term Yidam which means "effort of the mind". The word is said to be a contraction of ཡིད་ཀྱི་དམ་ཚིག (yid kyi dam tshig), which means to bind one’s mind ཡིད (yid)་ by promise་དམ་ཚིག (dam tshig). I know very little of Tibetan but it intrigues me as language because of deep and interesting implications it has from a doctrinal and academic level it gives to Buddhist terms and concepts.

(2) I do not rule out that in the manga page there might be a symbolic connection between Sanzo who recites the Sutra and disciples around him.

(3) "Peaceful" here means in opposition to wrathful Yidams which use violent means to destroy obstacles to Enlightenment. Peaceful Yidams on the other hand use subduing methods to deal with obstacles.

---------------------------------------------------

Final thoughts: sorry if this description of Mandala and endless knot is not precise at describing in a more concise and spoon-fed way with types of mandalas, their meanings, symbolism etc. Information provided here are based on my personal experience with Buddhist practice, Buddhist forums, resources, books, academic texts (especially the ones made by Alexander Berzin) and experiences from other practitioners. Maybe in future I might talk in a more descriptive yet very detailed way. Here I wanted to focus more on core essence of these objects shown in the manga page. Hope you like it and have a nice day/evening.

[mahayanapilgrim]

Khandro Mumtso aka Jetsünma Mume Yeshe Tsomo

Rare photo of the Dakini in Full Tantric Costume

Khandro Mumtso aka Jetsünma Yeshe Tsomo aka Mumtso is regarded as a Dakini or Khandroma (mkha' 'gro ma), a great female master, a precious lama (bla ma rin po che), and incarnation of Mingyur Paldrön.

Moreover, she is Khenchen Jigme Phüntsog's niece (mkhan chen 'jigs med phun tshogs 'byung gnas,

1933-2004) and the female abbot, khenmo (mkhan mo), as well as the monastic teacher of the nun's quarter, kyorpön (skyor dpon) of the Pema Khandro Duling (padma mkha' 'gro 'du gling) in the religious encampment of Larung, Serta, Eastern Tibet (khams gser rta/thar bla rung chos sgar).

She has been recognized by HH 14. Dalai Lama Tendzin Gyatso as incarnation, tulku (sprul sku), of the great female Mindroling Master Khandro Mingyur Paldrön (mkha' 'gro mi 'gyur dpal sgron, 1699-1769), the daughter of Terdag Lingpa (gter bdag gling pa, 1646-1714). She offers teachings to the resident nuns who by the late 1990s numbered approximately 5,000 individuals.

Here biography has been published: The Chariot of Faith:

A Biography of Jestun ma mume yeshe tshomo, the Incarnation of Migyur Palgyi Dronma. Mi' gyur dpal gryi sgron ma'i rnam rol rje btsun ma mu med ye shes mtsho mo'i rnam thar dad pa'i shing rta. no date (2011), no publisher.

To cause yourself and your life to be intensely filled with happiness, do everything you can to give happiness to others.

Do all the good you can. By all the means you can. In all the ways you can. In all the places you can. At all the times you can. To all the people you can.

As long as ever you can.

May you be well and happy my friends.

I am grateful for your interest in Dharma and following my blog.

Any mistakes are solely my own and not the fault with the Dharma or masters quoted here.

[acalavidyaraja]

༅། །ཨོ་རྒྱན་གཙོ་མོ་ལ་གདམས་པ།

Advice for Urgyen Tsomo

by the Fifteenth Karmapa, Khakhyab Dorje

ཕྱི་མ་སོམས་ལ་འཇིག་རྟེན་རྒྱབ་ཏུ་སྐྱུར། །

chima som la jikten gyabtu kyur

Think of the future and turn your back on this world.

ལས་འབྲས་སོམས་ལ་སྡོམ་པ་དམ་ཚིག་སྲུངས། །

lé dré som la dompa damtsik sung

Think of the effects of actions and keep vows and samaya.

ཕན་ཡོན་སོམས་ལ་དམ་པའི་ཆོས་ཁ་འབུངས། །

penyön som la dampé chö kha bung

Think of the advantages and apply yourself to the sacred Dharma.

མི་རྟག་སོམས་ལ་སྒྲུབ་ལ་སྙིང་རུས་བསྐྱེད། །

mi tak som la drub la nyingrü kyé

Think of impermanence and develop perseverance in the practice.

ཉེས་དམིགས་སོམས་ལ་��ཁོར་བའི་མཚོར་མ་ཆགས། །

nyemik som la khorwé tsor ma chak

Think of its flaws and avoid attachment to the ocean of saṃsāra.

འདི་རྣམས་ཁོ་བོའི་ཁ་ཆེམས་སྙིང་གཏམ་ཡིན། །

dinam khowö kha chem nying tam yin

These points are my testament, my heartfelt advice.

ཞེས་པའང་ཨོ་རྒྱན་མཚོ་མོ་ལ་གདམས་པའོ།། །།

This is an instruction for Urgyen Tsomo.

| Translated by Abraham Ta-Quan, 2020.

Source: mkha' khyab rdo rje. gsung 'bum/_mkha' khyab rdo rje/ dpal spungs par ma/. 10 vols. Delhi: Konchhog Lhadrepa, 1993–94. (BDRC W22081). Vol. 9: 878

In the rich tapestry of Tibetan Buddhism, the guidance imparted by revered masters holds profound wisdom for practitioners seeking spiritual advancement. The Fifteenth Karmapa, Khakhyab Dorje, offers invaluable counsel to Urgyen Tsomo, encapsulating essential principles for navigating the spiritual path. Let us embark on a comprehensive exploration of the Karmapa's advice, elucidating each facet for deeper understanding and practical application.

1. Thinking of the Future and Turning Away from the World : The Karmapa urges Urgyen Tsomo to contemplate the impermanence of worldly pursuits and to redirect her focus towards future spiritual goals. This injunction underscores the transient nature of worldly achievements, encouraging practitioners to cultivate a mindset oriented towards spiritual progress. By relinquishing attachment to ephemeral phenomena, one can channel energies towards the pursuit of lasting inner fulfillment.

2. Reflecting on the Effects of Actions and Upholding Vows : Central to Buddhist ethics is the principle of karma – the law of cause and effect. The Karmapa reminds Urgyen Tsomo of the profound implications of her actions and the importance of ethical conduct. By conscientiously upholding vows and commitments, practitioners create conducive conditions for spiritual growth and cultivate virtues essential for awakening. This admonition serves as a beacon, guiding individuals towards virtuous conduct and wholesome living.

3. Considering the Advantages and Committing to the Sacred Dharma : The Karmapa underscores the unparalleled benefits of engaging with the sacred teachings of Buddhism. By immersing oneself in the study and application of Dharma, practitioners unlock the transformative power of wisdom and compassion. This directive emphasizes the pragmatic approach of integrating spiritual principles into daily life, thereby fostering holistic development and inner harmony.

4. Contemplating Impermanence and Cultivating Perseverance : The transient nature of existence serves as a poignant reminder of life's ephemeral nature. The Karmapa exhorts Urgyen Tsomo to reflect deeply on impermanence, thereby fueling the flame of perseverance in her spiritual practice. By recognizing the fleeting nature of worldly phenomena, practitioners cultivate resilience and steadfastness on the path towards enlightenment. This contemplation serves as a potent catalyst for deepening one's commitment to the spiritual journey despite inevitable challenges.

5. Recognizing Flaws and Overcoming Attachment to Samsara : Samsara, the cycle of birth and death, perpetuates suffering through the illusion of inherent existence. The Karmapa advises Urgyen Tsomo to discern the flaws inherent in cyclic existence and to transcend attachment to its transient pleasures. By cultivating wisdom and insight, practitioners liberate themselves from the shackles of attachment, thereby embarking on the path towards ultimate liberation. This injunction serves as a clarion call to renounce worldly entanglements and to journey towards the sublime state of enlightenment.

In conclusion, the Fifteenth Karmapa's guidance to Urgyen Tsomo encapsulates profound insights essential for traversing the spiritual path. Each admonition serves as a beacon of wisdom, illuminating the way forward amidst the complexities of worldly existence. By integrating these teachings into practice, practitioners can cultivate inner transformation and realize the timeless truths of awakening. May this elucidation inspire seekers on their journey towards spiritual fulfillment and ultimate liberation.

This article delves into the nuanced aspects of the Fifteenth Karmapa's advice, providing clarity and depth to each directive for comprehensive understanding.

[caffeiiine]

I need to inject this song directly into my bloodstream<3

OMGGG

GHOST AN PALS

CSAPHOQLDJWFBQIHPWLKDNCXKJDLWQS

10/10 SONG POTATO YOUA RE ACTUALLY SO REAL RN SO REAL AND TRUE FOR THAT ONE

[swampgh0stt]

@dearnonnatives, I hope it’s okay that I tag you in this? My brother took the worst of it, but he & I were both at Standing Rock

From my brother, recounting the tale of today on the Front Lines of Oceti Sakowin:

One year ago today, while wearing what had become my signature bright orange jacket, I was shot three times. Twice in the back, with my arms up and walking away from the police after they had said -and I was complying, "Viking, get your people off the bridge", and once in the hand, breaking it.

It was the first time I swore while at Oceti Sakowin. I turned around and yelled at them, "You fucking cowards!"

I was immediately knocked back by a concussion grenade, and then blown to the ground by a concussion grenade detonating ten feet from the right side of my head, and then rendered unconscious by another, which detonated inches from the left side of my head.

I came to, laying in the middle of the Backwater Bridge, got to my feet, and was hit with clouds of tear gas. I then watched, as rounds I had not seen before, flew overhead, with greater range than the previous canisters, split into five or six pieces, and smoked with some sort of tear gas I hadn't experienced before.

The winds had shifted, and the smoke was blowing back toward me. With my head pounding, and nearly complete loss of hearing on my left side, I inhaled the smoke, had a vasovagal syncope, and dropped to the ground, unconscious.

I regained consciousness to two Iktčé Wičháša brothers hauling me off the bridge, and all I remember them saying is, "Fuck! He's heavy! You've got to walk, Viking! We can't carry you!"

I told them to shove me over the guard rail onto the grassy shoulder, and they did.

I laid there, head pounding, trying to breathe, hand swelling, and the skin on my back feeling as if it were on fire.

I regained my senses, stood up, jumped over the guard rail, and went back to the line to pull anyone injured back to the medics.

We started that night.

We were removing a vehicle Morton County repeatedly said was ours, a vehicle they said we lit on fire, a vehicle they said we left there, blocking the road. So we took ownership of what they said was our property, and legally removed it from a State highway.

We hooked up the chains to Betty, and we pulled the truck out after I had a conversation with the cops, where they said, "You can go ahead and pull that truck out, we have a hundred more to put in its place".

I responded, "DEAL!"

Looking back on that conversation today, I'm not sure they intended to give us permission, and maybe I misunderstood what they meant by "you can go ahead and pull that truck out".

The entire time I was there, I had worn my orange jacket. I did it to be seen, so that people could identify me as a peaceful entity, there to protect and de-escalate both sides, to help keep things non-violent.

After they shot me in the back while my arms were up, I removed the orange jacket, put on my black duster, my hat, and my feathers.

I was done being peaceful. I was angry. I took an oath, to defend the Constitution, from all enemies, foreign and domestic, and these tyrants and mercenaries violated Article VI. The Supremecy Clause. Treaties are the Supreme Law of the land. They behaved without honor, broke their own oaths, and no longer deserved my non-aggressive position.

This was the day I declared war against the United States of America. They have yet to seek my forgiveness, or negotiate their surrender.

I still have vivid recollections of that day, and have emotional responses when seeing images, or watching videos, call it PTSD, I suppose. I was angry in the moment, but so proud to see all of my brothers and sisters stand up. I feel that this was the night we woke up the world. This is when people started caring, who had just blown us off before. Our songs, our prayers, our cries, our screams, echoed across the globe.

I can only imagine what my wife Natalia, my mother Mimi, my brother, Russell, my children, Kyrie, Drake, Madrona, Elijah, Echo, Ella, and the rest of my family back home felt, watching this night unfold, but it was the night I woke up, and for all the atrocities, all the pain, anguish and torment, I am thankful and humbled to have been there, to experience my awakening, in such a profound way.

To all of my brothers and sisters, who did far more that night and sacrificed beyond any measure of what I did, and the medics who worked tirelessly for us all, thank you. Thank you for showing up on that bridge after we pulled that truck out. Thank you for having our backs, and for holding your ground against all odds. Thank you Joe, Sioux Z, Michael, and Benji. Thank you to my Mille Lacs father, Brian, who held us in prayer and smoked his pipe every day back at his home in Minnesota. Thank you to Sonny, Daniel, Justin, and Lois, who watched this night unfold in Washington, and held us all in prayer. Thank you Sonny, Terry, Robin, Joseph, Lisa, Lindsey, Angie, Angela, my brother from another mother Jay Dee, my little cousin Sage, and my dearest brother and right hand, Frank. Thank you Kalisa, Harrison, and Noah, two of you I have hurt and burned so deeply, we probably can't ever come back from it, and that is a shame I must live with forever.

Thank you Steven, Stefon, Lucie, Kelley, Jeremy, SRjr. Thank you Curly at Sicangu. Thank you Greg, I don't know how you did all you did in that wheelchair. Thank you Grandma Diane, for always keeping us warm, fed, and hugging us with a smile only you could give. Thank you Caroline, for trying to get the story out. Thank you Unicorn Riot, Dallas, and everyone else using technology to make sure what happened would be remembered.

Thank you to the Húŋkpapȟa Lakȟóta for being our host.

Thank you to anyone and everyone I could not tag.

Thank you to all of my Iktčé Wičháša Oyáte.

Thank you Grandfather Raven, for guiding me east. Thank you great waters, for showing me my path. Thank you təˡqʷuʔbəʔ, without you, I would have never awoken.

You are all the true heroes of November 20th. I am deeply honored to have stood next to you, shook your hand, and felt your embrace.

I mean no offense to anyone I have forgotten, and I say these things in the most humble way.

Never forget the 20th of November.

[vajranam]

Manjushri Prayer

༄༅། །འཇམ་དཔལ་གསོལ་འདེབས་བཞུགས༔

A Prayer to Mañjuśrī

by Apang Tertön

 ཨེ་མ་ཧོ༔

emaho

Emaho!

སྤྲོས་བྲལ་དོན་གྱི་འོག་མིན་ན༔

trödral dön gyi womin na

In the Akaniṣṭha realm of reality, free from elaboration,

ཆོས་སྐུའི་སྟོན་པ་ཀུན་བཟང་ལ༔

chökü tönpa kunzang la

Dharmakāya teacher Samantabhadra,

གསོལ་བ་འདེབས་སོ་བྱིན་གྱིས་རློབས༔

solwa deb so jingyi lob

To you I pray: Inspire me with your blessings,

མཁྱེན་རབ་ཐོགས་མེད་དངོས་གྲུབ་རྩོལ༔

khyen rab tokmé ngödrub tsol

And grant me the attainment of unimpeded wisdom!

 འགགས་མེད་ལྔ་ལྡན་ཆེན་པོའི་ཞིང་༔

gakmé ngaden chenpö shying

In the great realm of fivefold ceaselessness,

ལོངས་སྐུའི་སྟོན་པ་རིགས་ལྔ་ལ༔

longkü tönpa rik nga la

Sambhogakāya teachers of the five families,

གསོལ་བ་འདེབས་སོ་བྱིན་གྱིས་རློབས༔

solwa deb so jingyi lob

To you I pray: Inspire me with your blessings,

མཁྱེན་རབ་ཐོགས་མེད་དངོས་གྲུབ་རྩོལ༔

khyen rab tokmé ngödrub tsol

And grant me the attainment of unimpeded wisdom!

 ཤར་ཕྱོགས་རི་བོ་རྩེ་ལྔའི་གནས༔

sharchok riwo tsé ngé né

In the Five-Peaked Mountain to the east,

སྤྲུལ་སྐུ་འཇམ་དཔལ་རིགས་ལྔ་ལ༔

tulku jampal rik nga la

Nirmāṇakāya Mañjuśrīs of the five families,

གསོལ་བ་འདེབས་སོ་བྱིན་གྱིས་རློབས༔

solwa deb so jingyi lob

To you I pray: Inspire me with your blessings,

མཁྱེན་རབ་ཐོགས་མེད་དངོས་གྲུབ་རྩོལ༔

khyen rab tokmé ngödrub tsol

And grant me the attainment of unimpeded wisdom!

 དགའ་རབ་ཤྲི་སེང་བཤེས་གཉེན་དང་༔

garab shri seng shenyen dang

Garab Dorje, Śrī Siṃha, Mañjuśrīmitra,

ཛྙཱ་ན་སཱུ་དྲ་བི་མ་ལར༔

jnana su dra bimalar

Jñānasūtra and Vimalamitra,

གསོལ་བ་འདེབས་སོ་བྱིན་གྱིས་རློབས༔

solwa deb so jingyi lob

To you I pray: Inspire me with your blessings,

མཁྱེན་རབ་ཐོགས་མེད་དངོས་གྲུབ་རྩོལ༔

khyen rab tokmé ngödrub tsol

And grant me the attainment of unimpeded wisdom!

 བརྫུས་སྐྱེས་སློབ་དཔོན་སཾ་བྷ་ཝ༔

dzü kyé lobpön sam bhava

The miraculously born master Padmasambhava,

མཚོ་རྒྱལ་རྗེ་འབངས་རིག་འཛིན་ལ༔

tsogyal jebang rigdzin la

Yeshe Tsogyal, lord and subjects and vidyādharas,

གསོལ་བ་འདེབས་སོ་བྱིན་གྱིས་རློབས༔

solwa deb so jingyi lob

To you I pray: Inspire me with your blessings,

མཁྱེན་རབ་ཐོགས་མེད་དངོས་གྲུབ་རྩོལ༔

khyen rab tokmé ngödrub tsol

And grant me the attainment of unimpeded wisdom!

 ལྷ་སྲས་ཆེན་པོ་ཕྲིན་ལས་གླིང་༔

lhasé chenpo trinlé ling

Great prince Trinlé Lingpa,

བརྒྱུད་གསུམ་རིག་འཛིན་བླ་མ་ལ༔

gyü sum rigdzin lama la

Vidyādhara gurus of the three transmissions,

གསོལ་བ་འདེབས་སོ་བྱིན་གྱིས་རློབས༔

solwa deb so jingyi lob

To you I pray: Inspire me with your blessings,

མཁྱེན་རབ་ཐོགས་མེད་དངོས་གྲུབ་རྩོལ༔

khyen rab tokmé ngödrub tsol

And grant me the attainment of unimpeded wisdom!

 རྩ་གསུམ་ལྷ་ཚོགས་ཐམས་ཅད་ལ༔

tsa sum lhatsok tamché la

By the power and blessings of praying with devotion

གུས་པས་གསོལ་བཏབ་མཐུ་བྱིན་གྱིས༔

güpé soltab tu jin gyi

To the gathering of deities of the Three Roots,

ཆོས་ཀྱི་མཐུན་རྐྱེན་ཡིད་བཞིན་འགྲུབ༔

chö kyi tünkyen yishyin drub

May there be favorable conditions for the Dharma and the fulfilment of my wishes!

འགལ་རྐྱེན་བར་ཆད་མ་ལུས་སེལ༔

galkyen barché malü sel

And may all unfavorable circumstances and obstacles be dispelled!

 མཆོག་དང་ཐུན་མོང་དངོས་གྲུབ་རྣམས༔

chok dang tünmong ngödrub nam

Once all the supreme and ordinary siddhis

ཚེ་འདིར་ཐོབ་ནས་འབད་མེད་དུ༔

tsé dir tob né bemé du

Are effortlessly accomplished in this very life,

ས་ལམ་ཡོན་ཏན་མཐའ་རུ་ཕྱིན༔

salam yönten ta ru chin

May I perfect the qualities of the paths and bhūmis,

རྡོ་རྗེ་འཆང་དབང་བླ་མ་དང་༔

dorjé chang wang lama dang

And easily attain the state in which

དབྱེར་མེད་མགོན་པོ་འཇམ་དཔལ་དབྱངས༔

yermé gönpo jampal yang

There is no separation between Vajradhāra, Guru,

གོ་འཕང་བདེ་བླག་ཐོབ་པར་ཤོག༔

gopang delak tobpar shok

And the Protector Mañjughoṣa, I pray!

 དེ་ལྟར་གུས་པས་གསོལ་བཏབ་ན༔ བྱིན་རླབས་འཇུག་པར་ཐེ་ཚོམས་མེད༔ ས་མ་ཡ༔ རྒྱ་རྒྱ་རྒྱ༔

If you pray in this way with devotion, there is no doubt that blessings will infuse your being. Samaya. Seal. Seal. Seal.

 ཅེས་གྲུབ་ཐོབ་ཆེན་པོ་རིག་འཛིན་དབང་པོའི་ངོར། ཆོས་དབྱིངས་རྡོ་རྗེས་བྲིས་པ་མངྒ་ལཾ༎ ༎

Chöying Dorje wrote this prayer at the request of the mahāsiddha Rigdzin Wangpo. Maṅgalam.

 | Translated by Abraham Ta-Quan, 2021

 Source: a pang gter ston. "'jam dpal gsol 'debs/." In gter chos/_dpa' bo chos dbyings rdo rje. Gangtok: Dodrup Sangey Lama, 1976. TBRC W23183. Vol. 1: 515–516

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Cara Praktis Budidaya Bunga Gladiol

Gladiol adalah komoditi tanaman hias yang cukup prospektif untuk diperbudidayakan secara semakin makin tambah meluas, baik sebagai bunga potong atau taman. Bunganya bervariatif dalam warna, wujud dan ukuran.

Masuknya gladiol di Indonesia telah berjalan semenjak beberapa puluh tahun yang lalu. Beragam kultivar dihadirkan, dimulai dari yang berbunga kecil dan kurang memikat sampai tipe hibrida kekinian berbunga besar yang beragam wujud dan berwarna. Tetapi di sejumlah sentral produksi bunga gladiol, kultivar-kultivar yang diperbudidayakan terbatas keberagamannya.

Balai Riset Tanaman Hias sampai tahun 1999 sudah mengintroduksi sekitar 30 kultivar, tetapi biasanya kurang berkembang karena sensitif pada layu fusarium dan kurang menyesuaikan dengan lingkungan tropis. Empat kultivar gladiol hasil persilangan BALITHI sudah dilepaskan, yakni Dayang Sumbi, Kaifa, Clara dan Nabila.

Keproduktifan bunga potong dan bibit gladiol pada tingkat petani masih rendah, yakni baru capai 169.189 batang dan 136.406 subang/ha (Ameriana at al., 1991). Budidaya gladiol biasanya masih dilaksanakan secara sampingan dengan tehnik budidaya yang memiliki sifat tradisionil, hingga hasil yang didapat tidak optimal, baik kualitas atau jumlahnya.

Botani Tanaman Hias Bunga Gladiol

Gladiol datang dari bahasa Latin ‘Gladius' yang memiliki arti pedang kecil, memperlihatkan pada wujud daunnya yang sempit dan panjang seperti pedang. Genus Gladiolus terbagi dalam 180 spesies yang disebut tanaman satu musim berupa herba. Gladiol datang dari Afrika Selatan dan telah menebar di Asia semenjak 2000 tahun yang lalu, selanjutnya di tahun 1730 mulai masuk dataran Eropa dan berkembang baik di Belanda.

Kategorisasi gladiol seperti berikut (Badriah, 1995):

Seksi : Tracheophyta

Subdivisi : Pteropsida

Klas : Angiospermae

Subklas : Monocotyledoneae

Ordo : Iridales

Kerabat : Iridaceae

Genus : Gladiolus

Spesies : Gladiolus hybridus

Seperti ciri-ciri tanaman yang terhitung subklas Monocotyledoneae, tanaman gladiol berakar serabut, akan tetapi tanaman gladiol membuat juga akar kontraktil berdiameter ± 0,7 cm warna putih yang berperan menyokong dan tempatkan subang baru pada susunan tanah yang pas (Pfeifer, 1931).

Akar kontraktil memiliki beberapa rambut lembut yang berperan sebagai penyerap air dan organ penyimpan sebentar. Subang baru semakin berkembang untuk gantikan subang induk yang makin mengkerut dituruti dengan mengecilnya diameter akar kontraktil.

Subang ialah tangkai yang termodifikasi jadi bundar gepeng dan memiliki kandungan buku, batas dan mata tunas. Subang terjadi dari batas tunas terikuth yang membesar dan hasilkan organ stok makanan yang sanggup berperan sebagai alat reproduksi. Sisi yang membesar itu dalam pembentukannya tertutup oleh sisi bawah dari daun yang jadi kering dan mengeras, dan bertindak selaku penutup organ cadangan makanan. Mata tunas berada pada dua segi yang berbeda dari subang.

Sepanjang babak vegetatif sampai babak generatif bisa terjadi pembesaran pada batas terikuth dari tanaman yang selanjutnya berkembang jadi subang baru. Subang baru semakin berkembang dan jadi membesar untuk gantikan subang induk yang lama-lama semakin mengkerut dan pada akhirnya mati.

Bersama dengan mengkerutnya subang induk, tercipta anak subang dari stolon yang dari mata tunas aksilar antara subang induk dan subang baru. Anak subang sebagai jaringan berdaging yang dilapis kulit luar yang keras. Jumlah anak subang yang tercipta bervariatif bergantung kultivar dan kedalaman tanam.

Persyaratan Tumbuh Bunga Gladiol

Tanaman gladiol memberinya tanggapan yang lain pada macam situasi keadaan. Factor lingkungan yang punya pengaruh pada perkembangan dan pembungaan gladiol ialah sinar, temperatur dan kelembapan.

Beberapa tipe tumbuhan pembungaannya dikuasai oleh periodisitas sinar. Dampak periodisitas mulai efisien jika tanaman sudah capai babak dasar vegetatif. Tanaman gladiol memerlukan cahaya matahari penuh untuk perkembangan dan perubahannya. Kondisi kurang maksimal yang terjadi pada babak pertama masa krisis, saat terciptanya daun ke-3 sampai daun ke tujuh, akan mengakibatkan bunga jadi kering dan kuntum bunga tidak tercipta secara normal. Dan jika kekurangan sinar terjadi di saat pembangunan daun ke 5, 6 dan 7, kekeringan cuman terlihat pada kuncup bunganya saja (Badriah, 1995).

Gladiol bisa tumbuh secara baik di wilayah di ketinggian tempat di antara 600 sampai 1400 m dpal, pH sekitar di antara 5,8 sampai 6,5, temperatur 10oC sampai 25oC. Temperatur rerata kurang dari 10oC akan mengakibatkan perkembangan dan perubahan tanaman terhalang. Bila temperatur rendah berjalan lama, perkembangan tanaman akan berhenti. Temperatur optimal untuk perkembangan gladiol ialah 27oC, terkadang bisa beradaptasi sampai temperatur 40oC, jika kelembapan tanah dan tanaman relatif tinggi (Badriah, 1995). Temperatur punya pengaruh juga pada usia tanaman mulai berbunga.

Perbanyakan Tanaman Hias Gladiol

Perbanyakan bisa dilaksanakan secara vegetatif atau generatif. Pergandaan secara generatif hanya untuk maksud pemuliaan, gladiol sebagai tanaman yang heterozigot hingga turunan yang dibuat akan bervariatif. Biji didapat dengan penyerbukan alami atau bikinan. Penyerbukan dengan alami bisa terjadi pada kultivar-kultivar gladiol yang tepung sari dan kepala putiknya masak bertepatan dengan kontribusi serangga atau angin.

Dan pada kultivar-kultivar gladiol yang tepung sari dan kepala putiknya periode pada saat yang berlainan dibutuhkan penyerbukan secara bikinan, yakni dengan menempatkan tepung sari pada kepala putik yang telah masak. Bila penyerbukan sukses, buah akan tercipta 5 sampai 7 hari selanjutnya dan bisa dipanen sesudah buah warna coklat dan rengat, lebih kurang sebulan sesudah penyerbukan. Biji yang dibuat sekitar 1 sampai 200 biji (Herlina, 1995a).

Biji dapat segera disemai, tanpa alami dormansi dan akan berkecambah sesudah 7-12 hari. Daun yang tumbuh dari biji cuman sejumlah 1-2 lembar. Tanaman tumbuh kurang lebih lima bulan dan hasilkan anak subang kecil, anak subang ini ditanamkan kembali sampai 3 transisi penanaman, baru sanggup hasilkan bunga.

Perbanyakan secara vegetatif bisa dilaksanakan dengan memakai subang utuh, subang iris dan anak subang (Herlina, 1995a).

a. Perbanyakan dengan subang utuh

Subang utuh yang jadi bibit untuk memproduksi bunga minimum dengan diameter 2,5 cm. Semakin besar ukuran subang bibit, semakin cepat timbulnya primordial bunga, dan semakin bertambah panjang batang bunga, jumlah kuntum bunga per batang dan diameter bunga mekar.

b. Perbanyakan dengan subang iris

Pada satu subang bisa tumbuh 1-4 mata tunas, tiap mata tunas akan hasilkan satu subang baru dan satu batang bunga, tapi untuk memperoleh kualitas bunga yang bagus cuman dipiara 1-2 tunas saja.

Pemisahan subang bisa dilaksanakan pada subang yang memiliki berat lebih dari 20 gr, bila kurang dari itu akan hasilkan kualitas bunga yang lebih rendah (Soertini dan Syamsulbachri, 1975). Pemisahan subang bisa dilaksanakan dengan 2 langkah, yakni dibelah dua sisi (pemisahan pas di tengah-tengah subang) dan dibelah jadi tiga sisi (sisi tengah, segi kanan dan segi kiri untuk subang yang dengan diameter lebih dari 4 cm).

Yang penting jadi perhatian dalam pemisahan subang ialah:

Pisau yang dipakai harus bersih dan tajam. Tiap pemisahan mengikuti masukkan mata tunas. Sisi sisa belahan perlu dibaluri dengan fungisida pekat supaya tidak ada infeksi oleh pathogen. c. Pergandaan dengan anak subang

Anak subang tercipta dari stolon yang dari mata tunas aksilar antara subang induk dan subang baru di saat mengkerutnya subang induk. Jumlah anak subang yang tercipta bervariatif bergantung kultivar dan kedalaman tanam.

Pemakaian anak subang sebagai bahan pergandaan cuman ditujukan untuk hasilkan subang. Dari anak subang dengan diameter 1 cm dibutuhkan 2 transisi penanaman sampai sanggup menghasilkan bunga potong, lebih kurang sepanjang 16 bulan.

Penyiapan Tempat

Galdiol benar-benar tolerir pada beragam susunan tanah, seperti tanah yang enteng berpasir dengan bahan organik rendah sampai tanah yang berat berlempung atau simak, gladiol bisa tumbuh baik. Tetapi demikin tanah yang berdrainase buruk mengakibatkan akar gladiol gampang hancur.

Penanaman gladiol harus diupayakan pada tempat yang bukan sisa pertanaman gladiol atau keluarga dekatnya, seperti irislah, ixia, freesia dan monbretia, atau minimum setahun selanjutnya. Di Australia dan New Zealand, tempat sisa pertanaman gladiol didiamkan sepanjang tiga tahun saat sebelum ditanam gladiol kembali. Tindakan itu akan punya pengaruh positif untuk menahan penyakit yang muncul dari pertanaman gladiol awalnya. Kalaulah mau tak mau memakai tempat itu karena itu desinfeksi tempat, atau perendaman tempat sepanjang beberapa minggu harus dilaksanakan untuk menghindar penyakit tular tanah (McKay and Hughes, 1982). Saat sebelum tanam, tempat seharusnya disiram sama air, hingga di saat subang gladiol ditanamkan, tanah cukup lembab hingga akar bisa tumbuh secara cepat.

Penyiapan Bibit

Bibit gladiol siap tanam jika sudah melalui periode dormansinya, dengan diidentikkan timbulnya calon akar berbentuk benjolan kecil warna putih melingkar pada bagian bawah subang, dan timbulnya tunas. Jika tunas capai 1 cm, karena itu subang siap tanam. Penanaman yang telat mengakibatkan tunas makin tinggi dan akar makin panjang, hingga terjadi kerusakan tunas dan akar di saat penanaman.

Subang bibit untuk memproduksi bunga dengan diameter minimum 2,5 cm (Dod et al., 1989). Subang bibit harus diputuskan yang sehat dan tidak cacat. Untuk menahan hama dan penyakit yang terikut dari area untuk menyimpan atau mengecilkan kerusakan di lega, seharusnya subang dikasih tindakan insektisida dan fungisida sesuai jumlah saran saat sebelum ditanamkan, dengan pencelupan sepanjang 15-30 menit. Untuk kutu putih, saat sebelum pencelupan pada larutan pestisida, subang dipendam dulu pada air yang sudah dikasih detergen 1 sdm untuk 5 ltr air sepanjang 5 menit, supaya susunan lilin pada kutu putih hancur.

Penanaman Bunga Gladiol

Tempat penanaman jangan ternaungi, sinar matahari secara penuh bisa diterima oleh tanaman. Di Indonesia, gladiol bisa ditanamkan selama setahun. Penanaman disamakan dengan keperluan bunga potong karena usia tanaman gladiol mulai dari tanam sampai berbunga sekitar di antara 60-90 hari bergantung pada kultivar dan temperatur, pada musim kemarau tanaman semakin lebih cepat berbunga dibanding musim hujan.

Langkah penanaman bisa dilaksanakan dengan guludan atau tanpa guludan. Bila pengairan dilaksanakan dengan tergenangi, karena itu penanaman seharusnya dengan guludan supaya drainasenya baik. Tinggi guludan disamakan dengan kedalaman tanam, yakni lebih dari 15 cm, karena kedalaman tanam subang gladiol 10-15 cm. Tepian guludan seharusnya dibikin sepadat kemungkinan supaya tanah tidak gampang longsor hingga tanaman tidak rebah (Herlina, 1995b). Bertepatan dengan penyiangan, tanah disekitaran guludan dibumbun untuk gantikan tanah dalam guludan yang longsor.

Jika penanaman dilaksanakan tanpa guludan, sering tanaman rebah atau batang bunga bengkok yang mengakibatkan turunnya kualitas bunga, seharusnya pakai ajir dari bambu untuk menyokong bunga.

Kerapatan tanaman penting karena tentukan kekekaran tanaman dan kualitas bunga, bila terlampau rapat karena itu tanaman akan kurang kuat dan panjang (etiolasi). Ukuran subang tentukan jarak tanam, untuk subang yang dengan diameter 4 cm karena itu jarak tanam yang dipakai 20 x 20 cm, ukuran subang lebih kecil bisa ditanamkan lebih rapat.

Kedalaman tanam subang perlu memerhatikan struktur tanah dan waktu tanam. Pada tanah simak dan lempung, subang ditanamkan lebih dangkal dibanding tanah enteng dan berpasir. Pada tanah enteng dan berpasir bila ditanamkan dangkal akan menyebabkan tanaman gampang rebah. Pada musim kemarau ditanamkan lebih dalam dibanding musim hujan. Temperatur tanah semakin lebih rendah pada lokasi yang lebih dalam. Kedalaman tanam yang disarankan 10-15 cm untuk subang dengan diameter lebih 2,5 cm (Herlina, 1995b).

Pemupukan

Tanaman gladiol membutuhkan pemupukan supaya tumbuh maksimal dan berproduksi secara baik. Keperluan pupuk benar-benar bervariatif bergantung pada type tanah, curahan hujan, langkah pengairan dan kesuburan tanah. Pada tanah enteng berpasir yang kurang kandungan bahan organiknya dibutuhkan pemupukan yang semakin banyak khususnya pada musim hujan.

Secara umum pemupukan terbagi dalam pupuk nitrogen 90-135 kg/ha, fosfat 90-180 kg/ha dan kalium 110-180 kg/ha untuk satu transisi tanaman. Nitrogen diberi 3x, yakni (Herlina, 1995b):

sesudah daun ke-2 atau ke-3 tercipta. di saat primordia bunga ada (± 60 hari sesudah tanam). sesudah panen bunga. Pupuk fosfat cuman diberi saat tanam yang digabung dengan beberapa pupuk kalium, beberapa pupuk kalium diberi bertepatan dengan pemberian pupuk nitrogen yang ke-2 .

Kekurangan elemen N mengakibatkan pengurangan panjang malai bunga atau jumlah kuntum per malai, dan daun warna hijau pucat. Kekurangan P bisa diidentikkan dengan sisi ujung daun yang warna hijau tua dan daun sisi bawah keungu-unguan, batang bunga gampang patah. Kekurangan K mengakibatkan jumlah kuntum bunga menyusut, malai bunga pendek, pembungaan terhalang, daun tua menguning berikut beberapa bagian antara urat daun pada daun muda.

Kekurangan Ca mengakibatkan kuntum bunga pecah di bawah kuntum ke-2 dan ke-3 . Kekurangan yang berat bisa mengakibatkan kuncup bunga jadi kering atau membusuk. Kekurangan Mg mengakibatkan klorosis pada bagian di antara urat daun-daun tua, dan jika kekurangan Fe terjadi klorosis pada bagian di antara urat daun yang muda. Kekurangan Bo mengakibatkan tepian daun pecah, salah wujud pada daun dan malai bunga pendek. Ujung daun yang kecoklatan sebagai tanda-tanda keracunan F (Herlina, 1995b).

[gimdonghwan]

[saiyukiitaliaandinternational]

Riferimenti buddhisti in "Saiyuki" parte 1

Questa scena mi piace molto sia per come è disegnata (lo stile molto bello, lineare, pulito e dettagliato) sia per le parole di Hakkai. Quando Goku dice “Sembra quello vero”, Hakkai replica dicendo “Perché lui è quello vero”. Nonostante non sia sempre come un vero Sanzo (come uno si aspetterebbe, sentendo il suo nome), egli è il vero Sanzo poiché è investito sia del titolo di “Sanzo” sia del Sutra che porta alle spalle. Anche qui notiamo la “doppia natura” dei personaggi minekuriani, in questo caso Genjo Sanzo, che solitamente non si comporta da “vero” Sanzo (conosciamo bene i suoi difetti) ma che in base all'occasione (cerimonia religiosa) sa esserlo (meno male che i fedeli non lo vedono quando i riflettori sono spenti altrimenti XD). Dobbiamo indossare delle vesti e delle maschere non sempre proprie in funzione dell'occasione e del momento.

La cosa però che mi è piaciuta di più (a dire il vero mi piace tutto, specie il Reload Blast), dato che sono un po' di anni che studio il Buddhismo, sono stati i riferimenti buddhisti che qui metto, prendendo l'immagine di sopra e modificandola un po':

Il primo simbolo che mi ha colpita è stato il Nodo senza fine (in Sanscrito srivatsa, in Tibetano dpal be’u) o Nodo dell'eternità. Esso è composto da linee chiuse intersecantesi ad angolo retto e simboleggia il ciclo di esistenza senza inizio, il legame inestricabile di saggezza e metodo compassionevole dell’illuminazione di Buddha e l’infinito amore ed armonia. In origine pare sia stato connesso ai Naga (in Tibetano klu) esseri serpentini metà umani e metà serpenti, legati all'elemento acqua, protettori di tesori, Sutra (il Sutra della Prajnaparamita venne nascosto dal Buddha nel reame dei Naga) e anche Insegnamenti tant'è che alcuni di essi sono Dharmapala (protettori del Dharma). Questo simbolo è anche associato al nandyavarta una variante dello swastika, simbolo primordiale del divenire senza fine inoltre è uno degli Otto Simboli di Buon Auspicio nel Buddhismo, buon auspicio perché? Perché esso è il più alto simbolo di buon auspicio se viene offerto insieme a un dono o a uno scritto ed indica il legame tra chi dona e chi riceve, ricordando che ogni effetto positivo e favorevole per noi in futuro ha le sue radici, le sue cause dalle nostre azioni nel presente. Come detto rappresenta il legame di Saggezza e Metodo e questi due, tantricamente, sono l'energia femminile (Saggezza) e maschile (Metodo). Dato che non ha né inizio né fine simboleggia anche l'infinita saggezza e conoscenza del Buddha e l'eternità del Dharma per mezzo del suo incessante divenire ed essere nella sua manifestazione per il bene di tutti gli esseri senzienti. Qui una sua immagine:

Autore Dontpanic (= Dogcow on de.wikipedia) anche se è in pubblico dominio

L'altra cosa che balza all'occhio è il Mandala ( in Tibetano dkyil khor) che più in generale rappresenta il palazzo,il campo di energia,l'ambiente illuminato,la Terra Pura dello Yidam considerato. Qui nell'immagine il disegno è molto generico,ma avvicinandomi e ingrandendo l'immagine al suo centro potrei dedurre una sillaba-seme,le quali sono legate agli Yidam (tradotto dal Sanscrito,secondo me molto malamente perché fuorvianti,come “divinità meditazionali”,mentre Yidam in Tibetano vuol dire “sforzo della mente”). Esso rappresenta la quintessenza di tutte le percezioni fenomeniche,il supporto permette al praticante di accedere a tali percezioni e il centro non è altro che la mente dei Buddha. Il Mandala è perciò un mezzo abile per purificare e trasmutare la percezione oscurata degli esseri ordinari in percezione illuminata. Abbiamo tre modi per considerare il Mandala:

Mandala della Base: è il Mandala naturale della Visione, la purezza di tutti i fenomeni.

Mandala della Via: esso è il mezzo per integrare la pratica con tale Visione e si suddivide in due aspetti. Il Mandala grafico che rappresenta il piano della realtà e il Mandala del significato che riguarda le esperienze del praticante, che riguarda a sua volta il Mandala esterno delle percezioni esterne, il Mandala interno delle percezioni interne e il Mandala segreto che rivelano la mente di saggezza.

Mandala del Frutto: è realizzato quando si ottiene l'Illuminazione (il Frutto della Via) di un Buddha (i tre corpi o trikaya e le cinque saggezze).

Il Mandala può avere molti significati a seconda del contesto,ad esempio può rappresentare il Maestro circondato dai propri discepoli (non escludo che possa esserci un certo collegamento simbolico in questo senso, vedendo Sanzo che recita il Sutra circondato da fedeli). Il Mandala può essere suddiviso in “Mandala residenza divina” e “Mandala divinità che risiedono”: deve essere immaginato come un edificio di luce, quadrato con quattro porte che poggia su di un enorme vajra a croce. Le quattro porte simboleggiano le “quattro nobili verità”, i quattro lati uguali della base del Mandala rappresentano l'Equanimità dei Buddha verso le creature.Il palazzo è circondato da una barriera di vajra che impediscono a chiunque e a qualsiasi cosa di penetrare,a sua volta questa barriera è avvolta da delle fiamme,le fiamme della Saggezza Originaria. Esternamente o internamente (dipende dal tipo di Tantra, qui però non si vede bene, perché come detto è un Mandala molto generico) a tale linea di fuoco o meglio cerchio di fuoco si trovano otto cimiteri (non vorrei azzardare un'ipotesi, credo possano essere gli Otto cimiteri dell'India antica considerati adatti alla meditazione ma potrei anche sbagliarmi) abitati da esseri terribili e spaventosi. Questo simboleggia la comprensione della Vacuità,che va oltre la divisione dualistica di impuro/puro poiché nel tantrismo (non solo tibetano anche giapponese, kashmiro ecc.) si è al di là della dicotomia dualistica delle cose e tutto è manifestazione della purezza originaria. Queste tre barriere (i cimiteri, i vajra e il fuoco) ci insegnano una cosa molto importante: per accedere al palazzo dello Yidam e alla pratica tantrica bisogna avere l'attitudine ad abbandonare il Samsara, l'aspirazione altruistica e comprendere la Vacuità. Il “Mandala delle divinità che vi risiedono” è costituito dall'insieme delle divinità,quella principale ed il suo seguito. Al centro di ogni mandala c'è lo Yidam principale,che rappresenta la condizione primordiale dell'esistenza, corrispondente all'elemento spazio, il Mandala è dunque uno spazio sacro carico dell'energia dello Yidam e del suo seguito in grado di trasformare il discepolo,qui metto un Mandala pacifico di Mahamayuri:

L'altro oggetto che si vede è il porta incenso molto importante negli altari e nelle offerte come si vede bene anche qui.

Per quanto possano sembrare funzionali (e lo so sono in parte) questi oggetti e simboli alla rappresentazione grafica del luogo, qui sono stati inseriti elementi dal profondo significato che devono far riflettere. Apprezzo moltissimo che la Minekura li abbia inseriti.

[mahayanapilgrim]

Blessings from 41st Throne Holder Sakya Trizin

Sakya Trizin is holding the Guru Padmasambhava's Representative or kutsab (sku tshab) known as 'The Master with Blazing Splendor of Accomplishments' or

'Guru'i Ngödrub Palbar' (gu ru'i ngos grub dpal 'bar) discovered by Tertön Choggyur Lingpa, and which is a great means for being liberated upon seeing (mthong grol sku tshab).

In front of him is another terma discovery of Terton Choggyur Lingpa, a particular precious Guru Padmasambhava's Representative (gu ru'i sku tshab rin po che), which is said to have been empowered by Guru Padmasambhava before being concealed as treasure object representing his enlightened body.

The 41st Throne Holder Sakya Trizin Ngawang Kunga Thegchen Pelbar (ngag dbang kun dga' theg chen dpal bar, b. 1945) was the 41st throne holder from 1951 to 2017..

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