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Thematische Bibliographien / Tantric literature

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Auswahl der wissenschaftlichen Literatur zum Thema „Tantric literature“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 20. Februar 2023

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Zeitschriftenartikel zum Thema "Tantric literature"

1

Hackett, Paul G. „Re-making, Re-marking, or Re-using? Hermeneutical Strategies and Challenges in the Guhyasam?ja Commentarial Literature“. Buddhist Studies Review 33, Nr. 1-2 (20.01.2017): 163–79. http://dx.doi.org/10.1558/bsrv.31645.

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This paper presents a case study in the exegesis of Buddhist tantric literature by examining a segment of the corpus of Guhyasam?ja literature and, in doing so, addresses both emic and etic approaches to the hermeneutics of tantric texts. On the most basic level, we discuss the mechanisms for interpreting statements within the root tantra internal to the exegetical tantric literature itself, as exemplified by Candrak?rti’s ‘Brightening Lamp’ (Prad?poddyotana) commentary and the extensive sub-commentary by Bhavyak?rti. On another level, however, these same exegetical moves can be viewed in terms of the ideas ‘re-use’ and reformulation of the root text, and how they shape the understanding of the role and function of tantric commentary.

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Nepal, Gopal. „Tantric Buddhism in Nepal“. Research Nepal Journal of Development Studies 4, Nr. 1 (25.06.2021): 122–26. http://dx.doi.org/10.3126/rnjds.v4i1.38043.

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Tantrism is the science of practical spiritualism. Tantrism is the practical way out of enlightenment. It is the perfect mix of theoretical and empirical knowledge of liberation. Although there are different arguments for and against tantric Buddhism. To find out the basic overview of Tantric Buddhism the study has been conducted. It is a literature review of Tantric Buddhism in Nepal. In conclusion, the study found that there is a great contradiction between Buddhist philosophy with the law of cause and effect. It is difficult to make ritual action conform to such a law, as he demonstrated.

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SUGIKI, Tsunehiko. „Astrology in Mother-Tantric Literature“. JOURNAL OF INDIAN AND BUDDHIST STUDIES (INDOGAKU BUKKYOGAKU KENKYU) 51, Nr. 2 (2003): 1010–07. http://dx.doi.org/10.4259/ibk.51.1010.

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4

WATANABE, Hiroki. „Untouchables in Hindu Tantric Literature“. JOURNAL OF INDIAN AND BUDDHIST STUDIES (INDOGAKU BUKKYOGAKU KENKYU) 52, Nr. 2 (2004): 910–06. http://dx.doi.org/10.4259/ibk.52.910.

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5

YAMAHATA, Tomoyuki. „Apabhramsa Language in Tantric Literature“. Journal of Indian and Buddhist Studies (Indogaku Bukkyogaku Kenkyu) 56, Nr. 1 (2007): 287–84. http://dx.doi.org/10.4259/ibk.56.1_287.

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6

Chui, Tony. „Conceptualization of “Taking the Essence” (bcud len) as Tantric Rituals in the Writings of Sangye Gyatso: A Tradition or Interpretation?“ Religions 10, Nr. 4 (28.03.2019): 231. http://dx.doi.org/10.3390/rel10040231.

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Chülen (bcud len), the practice of “taking the essence”, is an important practice within the Tibetan medical tradition. Through nourishing the body with the so-called depleted “essence”, not only can one extend their lifespan but the practitioner can also restore their physical vitality. In recent years, this practice seems to be shifting away from the traditional religious mode of chülen involving tantric practices and rituals. Among the Tibetan medical literature, chülen is much emphasized in its religious aspects in the two important 17th century Tibetan medical commentaries on the Four Tantras (Rgyud bzhi) by the regent of the Fifth Dalai Lama, Desi Sangye Gyatso (Sde srid sangs rgyas rgya mtsho, 1653–1705): the Blue Beryl (Vaiḍūrya sngon po) and the Extended Commentary on the Instructional Tantra of the Four Tantras (Man ngag lhan thabs). Both texts are considered to be the most significant commentaries to the Four Tantras and have exerted a momentous impact on the interpretation of the Four Tantras even up to recent times. In their chapters on chülen, an assortment of chülen practices can be found. While there are some methods solely involving the extraction of essence in the material sense, there are also some in the spiritual-alchemical sense which are not observed in the Four Tantras. In this paper, I focus on the elaboration of the Four Tantras by Sangye Gyatso via his portrayal of ritualistic chülen in his two commentaries, where the tantric mode of promoting longevity and rekindling vitality is made efficacious by the operative socio-religious factors of his era, and which still exert their effect on our perception of chülen today.

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Serbaeva, Olga. „Feeding the Enemy to the Goddess: War Magic in Śaiva Tantric Texts“. Religions 13, Nr. 4 (24.03.2022): 278. http://dx.doi.org/10.3390/rel13040278.

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This article deals with the war magic as described in Sanskrit Śaiva tantric texts written between the 5th and the 12th Century A.D. This period marks a shift from the invocation of Aghora/Bhairava as the main war-helping god to the rituals invoking terrible goddesses, mātṛkās, yoginīs. At the same time, tantric religious specialists were invited to exchange their magical knowledge for kings’ patronage in such contexts as war, drought, epidemics and such. The original presupposition was that the rituals related to war shall be most violent and transgressive in the texts of the tantric initiated, compared to the Śaiva purāṇas written for broader public, and that of the “mixed” literature (that is one written by the initiated for the kings). However, this was contradicted by the text-based evidence, and it is the “mixed” literature that proposes the most violent rituals, while the whole subject of war happened to be of minor importance in the tantric literature. The war-prayogas were included to attract attention of the kings, but the aim of that was for the internal ritual use. The explanation of this contradiction is based on the fact that somewhere between the 10th and the 12th century, the tantric specialists working for the kings actually duped them into performing violent war-magic rituals, while the real intent of those procedures is actually calling the yoginīs in order to achieve a higher state in religious practice for the initiated himself. The article includes the materials from the Jayadrathayāmala and the Ṣaṭsāhasrasaṃhitā edited and translated for the first time.

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Tsunehiko, SUGIKI. „Tantric Appearances and Non-Tantric Meanings: Four Systems of the “Maṇḍala of Mantra” in the Buddhist Cakrasaṃvara Literature“. International Journal of Buddhist Thought and Culture 31, Nr. 1 (30.06.2021): 217–55. http://dx.doi.org/10.16893/ijbtc.2021.06.30.1.217.

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9

Williams, Richard David. „Playing the Spinal Chord: Tantric Musicology and Bengali Songs in the Nineteenth Century“. Journal of Hindu Studies 12, Nr. 3 (01.11.2019): 319–38. http://dx.doi.org/10.1093/jhs/hiz017.

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Abstract Across the nineteenth century, Bengali songbook editors applied musicological theory to their tantric religious practices. Responding to the new possibilities of musical publishing, these editors developed innovative techniques of relating the body to music by tying together tantric tropes with music theory and performance practice. Theories about the affective potential and poetic connotations of rāgas were brought into conversation with understandings of the yogic body, cakras, and the visualization of goddesses. These different theories, stemming from aesthetics and yogic philosophy, were put into effect through lyrical composition and the ways in which songs were set to music and edited for printed anthologies. This article considers different examples of tantric musical editorial, and explores how esoteric knowledge was applied in innovative ways through the medium of printed musical literature.

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Törzsök, Judit. „The Heads of the Godhead The Number of Heads/Faces of Yoginīs and Bhairavas in Early Śaiva Tantras“. Indo-Iranian Journal 56, Nr. 2 (2013): 133–55. http://dx.doi.org/10.1163/15728536-0000002.

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This paper examines the prescriptions for multi-headed representations of śaiva deities, in particular of yoginīs and Bhairavas, in early tantric or āgamic literature. Multi-headed deities appear mostly in the prescriptions of mantra images, usually without any discussion of their material representation. The paper shows that the four-faced mantric representation of Śiva, Bhairava and other divine creatures precedes the five-headed one, as is observable in epic literature and in art history. The fifth head is associated with tantric or āgamic śaivism, whose supreme deity is the five-headed Sadāśiva. As the five-headed mantra image becomes the standard, texts are rewritten to conform to this norm. Moreover, female deities are also often assimilated to this god and can be assigned four or five heads depending on the context. It is suggested as a hypothesis that the four-faced Śiva, or rather Īśvara, was perhaps adopted from the proto-tantric currents of the Atimārga (or from one particular current), from a representation whose Eastern or frontal face represented Śiva as half man, half woman (ardhanārīśvara).

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Dissertationen zum Thema "Tantric literature"

1

Chen, Jinhua. „The formation of early Esoteric Buddhism in Japan, a study of the three Japanese esoteric apocrypha“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ30080.pdf.

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Wright, Pamela. „A language of the body : images of disability in the works of D. H. Lawrence /“. Online access for everyone, 2006. http://www.dissertations.wsu.edu/Dissertations/Fall2006/p_wright_011607.pdf.

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Omori, Kyoko. „Detecting Japanese Vernacular Modernism: Shinseinen Magazine and the Development of the Tantei Shosetsu Genre, 1920-1931“. The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1048620868.

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4

Soud, William David. „Toward a divinised poetics : God, self, and poeisis in W.B. Yeats, David Jones, and T.S. Eliot“. Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:331a692d-a40c-4d30-a05b-f0d224eb0055.

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This thesis examines the traces of theological and broader religious discourses in selected works of three major twentieth-century poets. Each of the texts examined in this thesis encodes within its poetics a distinct, theologically derived conception of the ontological status of the self in relation to the Absolute. Yeats primarily envisions the relation as one of essential identity, Jones regards it as defined by alterity, and Eliot depicts it as dialectical and paradoxical. Critics have underestimated the impact on Yeats’s late work of his final and most sustained engagement with Indic traditions, which issued from his friendship and collaboration with Shri Purohit Swami. Though Yeats projected Theosophical notions on the Indic texts and traditions he studied with Purohit, he successfully incorporated principles of Classical Yoga and Tantra into his later poetry. Much of Yeats’s late poetics reflects his struggle to situate the individuated self ontologically in light of traditions that devalue that self in favor of an impersonal, cosmic subjectivity. David Jones’s The Anathemata encodes a religious position opposed to that of Yeats. For Jones, a devout Roman Catholic committed to the bodily, God is Wholly Other. The self is fallen and circumscribed, and must connect with the divine chiefly through the mediation of the sacraments. In The Anathemata, the poet functions as a kind of lay priest attempting sacramentally to recuperate sacred signs. Because, according to Jones’s exoteric theology, the self must love God through fellow creatures, The Anathemata is not only circular, forming a verbal templum around the Cross; it is also built of massive, rich elaborations of creaturely detail, including highly embroidered and historicized voices and discourses. Critics have long noted the influence of Christian mystical texts on Eliot’s Four Quartets, but some have also detected a countercurrent within the later three Quartets, one that resists the timeless even as the poem valorizes transcending time. This tension, central to Four Quartets, reflects Eliot’s engagement with the dialectical theology of Karl Barth. Eliot’s deployment of paradox and negation does not merely echo the apophatic theology of the mystical texts that figure in the poem; it also reflects the discursive strategies of Barth’s theology. The self in Four Quartets is dialectical and paradoxical: suspended between time and eternity, it can transcend its own finitude only by embracing it.

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5

Dark, Jann, University of Western Sydney, College of Arts und School of Communication Arts. „Relationship in the field of desire“. 2006. http://handle.uws.edu.au:8081/1959.7/16867.

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This thesis is divided into two parts. Part One, entitle “Working Through Condensation” describes a type of practice, Part Two, entitled “The Tourist and the Tourist Tout”, unravels and explores what was discovered through that practice. The intersection of two personal discoveries have been formative in my art practice. The first relates to the Indian Hindu and Buddhist concept of formlessness found in certain Tantric cosmogonies. This began, for me, an interest in the phenomenon of emptiness as an ontological awareness of how “art” or “creativity” happens. The second event was the hearing of a phrase, which I call a found phrase. The phrase, “working through condensation”, suggested a metaphoric tool for conceptualising my practice, through an analogous use of the process of condensation. I was struck by a similarity between my conception of the above found phrase and Tantric cosmogeny. In Part One of this thesis, I develop a link between elements in Tanta cosmogony, the found phrase and the Situationist Internationalist practice of derive as a basis for practice. This thesis has been largely constituted by three research journeys to India, where the conception and results of this practice unfolded.
Doctor of Creative Arts (DCA)

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6

Dark, Jann. „Relationship in the field of desire“. Thesis, 2006. http://handle.uws.edu.au:8081/1959.7/16867.

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This thesis is divided into two parts. Part One, entitle “Working Through Condensation” describes a type of practice, Part Two, entitled “The Tourist and the Tourist Tout”, unravels and explores what was discovered through that practice. The intersection of two personal discoveries have been formative in my art practice. The first relates to the Indian Hindu and Buddhist concept of formlessness found in certain Tantric cosmogonies. This began, for me, an interest in the phenomenon of emptiness as an ontological awareness of how “art” or “creativity” happens. The second event was the hearing of a phrase, which I call a found phrase. The phrase, “working through condensation”, suggested a metaphoric tool for conceptualising my practice, through an analogous use of the process of condensation. I was struck by a similarity between my conception of the above found phrase and Tantric cosmogeny. In Part One of this thesis, I develop a link between elements in Tanta cosmogony, the found phrase and the Situationist Internationalist practice of derive as a basis for practice. This thesis has been largely constituted by three research journeys to India, where the conception and results of this practice unfolded.

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7

Hernández, Sierra Adriana. „Erotismo, poema y budismo tántrico : Octavio Paz y los caminos del éxtasis“. Thèse, 2011. http://hdl.handle.net/1866/7019.

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Cette recherche a comme objectif l’étude d’un des thèmes clef dans la vaste œuvre du poète et essayiste mexicain Octavio Paz (1914-1998) : les analogies entre l’érotisme, le poème et le sacré comme chemins ou voies d’union et de réconciliation humaine, idée qui est particulièrement renforcée dans son œuvre à partir des voyages et du séjour en Orient –spécialement en Inde– entre 1951 et 1968. Pendant la période nommée « cycle indien » (‘ciclo hindú’), Paz s’est intéressé aux différentes traditions de la pensée orientale, particulièrement le bouddhisme, et surtout son orientation tantrique. Ce mémoire analyse les apports les plus significatifs du bouddhisme à l’œuvre de Paz. À partir de l’étude de concepts comme la vacuité, le silence, l’autre bord (‘otra orilla’), l’union extatique transcendante et la libération, ce mémoire soutient que Paz a approfondi les analogies entre l’érotisme, la poésie et le sacré en ne les concevant pas seulement comme expériences de réconciliation mais en les menant au-delà, au plan transcendental, à partir de l’union extatique dans la vacuité. Même si ce mémoire tient compte d’un grand nombre d’œuvres d’Octavio Paz, qui vont de El arco y la lira (1956) à Vislumbres de la India (1995), une attention particulière est dédiée à deux textes qui sont les plus représentatifs du résultat de sa rencontre avec l’Orient, Ladera este (1969) et El mono gramático (1974), dans lesquels il est possible d’observer les analogies que Paz établit entre l’érotisme, le poème, et le bouddhisme tantrique à partir de l’expérience de l’altérité (‘otredad’), qui propose à l’être humain la recherche de son ‘autre’ pour se réconcilier dans l’unité, et de l’expérience de dissipation dans la vacuité. La conclusion générale de l’étude souligne que l’érotisme, le poème, et le bouddhisme tantrique se proposent dans l’œuvre de Octavio Paz comme trois chemins parallèles de révélation par lesquels l’être humain peut accéder à sa plénitude, état manifeste dans l’expérience extatique.
This research studies a key subject in the work of the Mexican poet and essayist Octavio Paz (1914-1998): the analogies between eroticism, poetry and the sacred as three human ways of union, reconciliation, and liberation that are particularly reinforced in his work since his journey to and stay in the East –especially in India- between 1951 and 1968. During the period called Hindu cycle (‘ciclo hindu’), Paz was interested in different traditions of oriental thought such as Buddhism, especially in its tantric orientation. This study analyses the significant contributions of Buddhism to Paz’s work. The examination of concepts like vacuity, silence, another shore (‘otra orilla’), ecstatic transcendental union, and liberation proves that Paz studied the analogies between eroticism, poetry and the sacred in depth, broaching them not just as reconciliation experiences but taking them further (‘más allá’) to the transcendental level of ecstatic union in vacuity. Although a large number of Paz’s works are considered, from El arco y la lira (1956) to Vislumbres de la India (1995), particular attention is dedicated to two poetics texts which are the most representative of his encounter with the East - Ladera Este (1969) and El mono gramático (1974) - where we can observe the analogies that Paz established between eroticism, poetry and tantric Buddhism, through the experiences of ‘otherness’, which proposes to man the search of the ‘other’ to reconcile in unity, and dissipate in vacuity. The general conclusion of the study emphasizes that eroticism, poetry and tantric Buddhism are proposed in Octavio Paz’s work as three parallel ways of revelation from which human being can achieve plenitude, which is manifest in the ecstatic experience.
Esta investigación tiene como objetivo el estudio de un tema clave en la extensa obra del poeta y ensayista mexicano Octavio Paz (1914-1998): las analogías entre el erotismo, el poema y lo sagrado como caminos o vías de unión y reconciliación humana, ideas que se refuerzan particularmente en su obra a partir de los viajes y estancias en Oriente –especialmente en La India- entre 1951 y 1968. Durante el período denominado ‘ciclo hindú’, Paz se interesó en diferentes tradiciones de pensamiento oriental entre las que destacó el budismo, sobre todo en su orientación tántrica. Esta memoria analiza las significativas aportaciones del budismo a la obra de Paz y, a partir del estudio de los conceptos de vacuidad, silencio, otra orilla, unión extática trascendente y de liberación, se sostiene que Paz profundizó en las analogías entre el erotismo, la poesía y lo sagrado, no planteándolas sólo como experiencias de reconciliación sino llevándolas ‘más allá’, al plano trascendental, a partir de la unión extática en la vacuidad. Aunque se tiene en cuenta un buen número de obras de O. Paz desde El arco y la lira (1956) hasta Vislumbres de la India (1995), se dedica una atención particular a dos textos poéticos que son los más representativos del resultado de su encuentro con Oriente, Ladera este (1969) y El mono gramático (1974), donde se observan las analogías que Paz establece entre el erotismo, el poema y el budismo tántrico a partir de la experiencia de ‘otredad’, que propone al hombre una búsqueda de su ‘otro’ para reconciliarse en la unidad, y de la experiencia de disipación en la vacuidad. La conclusión general del estudio subraya que el erotismo, el poema y el budismo tántrico se plantean en la obra de Octavio Paz como tres caminos paralelos de revelación por los que el hombre puede acceder a su plenitud, estado manifiesto en la experiencia extática.

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Thayanithy, Maithili. „The Concept of Living Liberation in the Tirumantiram“. Thesis, 2010. http://hdl.handle.net/1807/24384.

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This dissertation examines the concept of living liberation in the Tirumantiram, a work recognised as one of the Tamil Saiva canonical texts composed around the ninth century. Modern scholarship has thus far attempted to comprehend the Tirumantiram in terms of the post-Tirumantiram traditions that developed after the thirteenth century: Tamil Saiva Siddhànta and Tamil Siddha. Consequently, the unity and coherence of the text are subjected to question, and the dual literary and cultural roots of the Tirumantiram remain largely uninvestigated. Besides, the significance of the Tirumantiram as one of the earliest vernacular works directly dealing with the question of soteriology for Tamil speaking populace, most of whom are not qualified for liberation and preceptorhood according to the Saivàgamas with which the text identifies itself, is not fully recognised. This dissertation argues that the concept of living liberation constitutes the unifying theme of the Tirumantiram, which is an outcome of the synthesis of Tamil and Sanskrit traditions, and demonstrates that the Tirumantiram-which does not apparently promote the ideology of temple cult around which the Tamil bhakti movement and Saivàgamas of Southern Saivism developed–exemplifies an alternative religious vision centred on the human body. This dissertation consists of four chapters. The first chapter examines the Tamil legacy to the concept of living liberation. The second examines the ambiguous relations between the Sanskrit traditions and the Tirumantiram. How the Tamil and Sanskrit traditions are fused together to produce a unique version of yoga, the means to attain living liberation, is the concern of the third chapter. The final chapter establishes through an analysis of sexual symbolism expressed in connotative language that the Tirumantiratm is an esoteric text. Thus, the Tirumantiram reflects the blending of an esoteric tantric sect with the leading mainstream bhakti religion, probably to win approval of and recognition in the Tamil Saiva community during the medieval period.

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Bücher zum Thema "Tantric literature"

1

The Tantric religion of India: An insight into Assam's Tantra literature. Kolkata: Punthi Pustak, 2009.

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Thapa, Shanker. Newār Buddhism: History, scholarship, and literature. Lalitpur: Nagarjuna Publications, 2005.

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editor, Loseries-Leick Andrea, Visva-Bharati. Centre for Buddhist Studies, Visva-Bharati. Department of Indo-Tibetan Studies, Asiatic Society (Kolkata India) und Csoma de Kőrös Society, Hrsg. Tantrik literature and culture, hermeneutics & expositions: Proceedings of the 6th International Csoma de Körös Symposium, Kolkata/Santiniketan, March 2009 : selected papers et al. Delhi: Buddhist World Press, 2013.

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Rje btsun Sa-skya-paʼi bkaʼ srol ltar rgyud ʼchad ñan byed pa la ñe bar mkho baʼi gsuṅ rab rnams bźugs so. [Kathmandu]: Bal-yul Rgyal-yoṅs Sa-chen gyi grwa Gu-ru, 2008.

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Śaivabhāratī-Śodhapratiṣṭhāna, Hrsg. Tantrāgama sāra sarvasva. Vārāṇasī: Śaivabhāratī-Śodhapratishṭhāna, 2005.

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6

Agvaanbaldan. Khutagt Manzushriĭn aldryg u̇nėkhėėr ȯgu̇u̇lėkhu̇ĭn zu̇rkhėn utgyn khuraanguĭ t︡s︡agaan li︠a︡nkhuan i︠a︡ruu u̇gs khėmėėgdėkh. Ulaanbaatar Khot: Admon, 2009.

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Norbu, Thinley. The small golden key to the treasure of the various essential necessities of general and extraordinary Buddhist Dharma. 2. Aufl. New York, N.Y: Jewel Publishing House, 1985.

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Sṅa-ʼgyur Bka-maʼi gźugs byaṅ yid bźin rin po cheʼi mdzod źes bya ba bźugs so. [Chʻengtu]: Si-khron dpe tshogs pa, Si-khron mi rigs dpe skrun khaṅ, 2006.

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Norbu, Namkhai. The supreme source: The Kunjed Gyalpo, the fundamental tantra of Dzogchen Semde. Ithaca, NY: Snow Lion Publications, 1999.

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Rnam par rgyal ba dpal Zwa-dmar paʼi chos sde., Hrsg. Ṅes don phyag rgya chen poʼi khrid mdzod dkar chag daṅ bkaʼ babs bźi ʼdzin gyi brgyud paʼi lo rgyus. [New Delhi: Rnam par rgyal ba dpal Źwa-dmar-paʼi chos sde, 1996.

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Buchteile zum Thema "Tantric literature"

1

Indradjaja, Agustijanto. „The Tantri Relief at The Gunung Kawi Bebitre and Pura Dalem Tampuagan Sites in Comparison“. In Proceedings of the Sixth International Conference on Language, Literature, Culture, and Education (ICOLLITE 2022), 28–34. Paris: Atlantis Press SARL, 2022. http://dx.doi.org/10.2991/978-2-494069-91-6_6.

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2

„Meditating Mantras: Meaning and Visualization in Tantric Literature“. In Theory and Practice of Yoga, 213–35. BRILL, 2005. http://dx.doi.org/10.1163/9789047416333_010.

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3

„Buddhism, Kingship and the Protection of the State: The Suvarṇaprabhāsottamasūtra and Dhāraṇī Literature“. In Śaivism and the Tantric Traditions, 234–48. BRILL, 2020. http://dx.doi.org/10.1163/9789004432802_012.

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4

Sauthoff, Patricia. „Introduction“. In Illness and Immortality, 1–8. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197553268.003.0001.

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Annotation:

The work begins with an introduction to the Netra and Svacchanda Tantras that locates them within the wider tantric canon. The chapter briefly introduces the main mantra of the texts and offers connections to a wider body of Sanskrit literature. It also introduces the main questions of the work: What do the Netra and Svacchanda Tantras mean by immortality? How does one attain it? How do the rites described within the text alleviate illness? What role does the deity play in the reduction of illness and attainment of immortality? What does that deity look like? Who has access to these rites?

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5

Mayer, Robert. „gTer ston and Tradent: Innovation and Conservation in Tibetan Treasure Literature“. In Dudjom Rinpoche's Vajrakīlaya Works: A Study in Authoring, Compiling, and Editing Texts in the Tibetan Revelatory Tradition, 30–46. Equinox Publishing, 2020. http://dx.doi.org/10.1558/equinox.35848.

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Robert Mayer reviews different levels of innovation witnessed in Treasure revelations, and ways of approaching the conservatism which is often found in the ritual traditions classified as Treasure revelations. He also considers what differentiates Treasure ritual texts from other types of tantric ritual writings.

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6

Mini, K. V., und H. H. Awasthi. „Study of Nadi’s in Tantric Literature and Their Relation to Neurons“. In Recent Developments in Medicine and Medical Research Vol. 1, 127–34. Book Publisher International (a part of SCIENCEDOMAIN International), 2021. http://dx.doi.org/10.9734/bpi/rdmmr/v1/12208d.

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7

Damrosch, David. „Comparisons“. In Comparing the Literatures, 303–33. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691134994.003.0009.

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This chapter explains the literary theory that bridge the divides between national traditions in a balanced assessment of similarities and differences called “perspectivism.” It addresses the question of comparability that grew sharper during the 1980s as comparatists began to give more attention to non-Western literatures and struggled to locate their studies along an expanded spectrum. It also analyzes Claudio Guillén's Entre louno y lo diverso, which asserts the necessity of keeping in mind the constant to and fro between the unity sought by human consciousness and the countless historical–spatial differentiations in the field of literature. The chapter looks into an essay by Robert Magliola that asserts a close comparability of sexualized religious iconography in the European Renaissance and in tantric Buddhism. It also talks about Pauline Yu's “Alienation Effects” as a skeptical discussion of the limits of East/West comparability.

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8

Garfield, Jay L. „Path as a Structure for Buddhist Ethics“. In Buddhist Ethics, 90–108. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190907631.003.0007.

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This chapter examines the use of the path metaphor in Buddhist ethics, connecting it to the emphasis on moral phenomenology and to the particularism of Buddhist ethics. It discusses how the concept of a path is used in Buddhist literature, in both the internal and external sense, as well as how these paths may be both followed and cultivated by practitioners. Various uses of this metaphor are addressed throughout the chapter, as well as the objectives and methods associated with each. Discussion includes the eightfold path, the path of purification, the graduated path, the bodhisattva path, and the tantric path.

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9

Jarow, E. H. Rick. „Introduction“. In The Cloud of Longing, 1–10. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197566633.003.0001.

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This chapter makes a case for the study of the Meghadūta within the study of world literature and literary visions of the environment. It discusses the sensibilities of classical Indian poetry (kāvya) and gives an overview of the history of studies of Indian poetry in the West. The next section summarizes the plot and structure of the Meghadūta, Kālidāsa’s celebrated lyric poem about the imagined journey of a cloud through the landscape of India to deliver a message from the protagonist (Yaksha) to his absent beloved. The “tantric sensibility” of the text is discussed along with the importance of the poem’s vision of the natural world.

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Cabezón, José Ignacio. „Types of Tantras and Their Ancillary Literature“. In The Buddha's Doctrine and the Nine Vehicles, 118–34. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199958603.003.0009.

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Konferenzberichte zum Thema "Tantric literature"

1

„THE SERPENT AND THE ROPE SWINGING IN TANTRIC TRANCE“. In 2nd National Conference on Translation, Language & Literature. ELK Asia Pacific Journals, 2015. http://dx.doi.org/10.16962/elkapj/si.nctll-2015.26.

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2

Iksan, Nur, Mayang Anggrian und Sony Sukmawan. „Spiritual Reposition in Tantri Kamandaka Comic Book and Reliefs of Jago Temple: Story of the Friendship of Swans and Tortoises“. In Proceedings of the 1st International Conference on Language, Literature, Education and Culture, ICOLLEC 2021, 9-10 October 2021, Malang, Indonesia. EAI, 2022. http://dx.doi.org/10.4108/eai.9-10-2021.2319679.

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