Relevant bibliographies by topics / Buddhist tantric deity

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Buddhist tantric deity'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Buddhist tantric deity"

1

Lepekhova, E. S. "Ganeša’s Cult and His Veneration in Japanese Buddhism." Journal of the Institute of Oriental Studies RAS, no. 1 (11) (2020): 33–46. http://dx.doi.org/10.31696/2618-7302-2020-1-33-46.

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This research focuses on the cult of the deity Ganeša in Japanese Buddhism. Ganeša is one of the Hindu gods, also known as Vinayaka, Ganapati and Vighnesa. Like many other Hindu deities, he was included in the pantheon of Vajrayana Buddhism. Due to this fact, various hypostases of Ganeša spread in Tibet, China and Japan, where his worship turned into an esoteric cult. In the Far East were known both single and paired images of Ganeša in the form of two hugging creatures with elephant heads. In Japan, such images were called Sosin Kangiten. In local esoteric Buddhism (mikkyō) they were interpreted as the opposites, male and female, phenomenal and absolute in the form of two sacred mandalas: the “Diamond mandala” and the “Womb Mandala”. For this reason, Ganeša is sometimes considered the epitome of the main deity of mikkyō tradition — Mahavairocana Buddha (Jp.: Dainiti Nerai) and was known as a composite element of another esoteric deity, Matarajin, or Santen, a triad of deities Saraswati, Dakini, and Ganeša. The history of Ganeša’s cult in these countries has not been sufficiently studied yet, however it shows the way in which elements of Hindu religion were preserved in the traditions of tantric Buddhism. While this religious and philosophical doctrine spread in the countries of Central Asia and the Far East, they gradually became part of local religious and cultural traditions. The author stresses that in the future they influenced not only the development of philosophical doctrines in local Buddhist schools, but also the formation of popular religious beliefs.
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Grela, Joanna. "Avalokiteśvara in Tibetan Buddhist art of the Later spread (Tib. phyi dar) of the Dharma. Image classification proposal, part 1." Polish Journal of the Arts and Culture New Series, no. 12 (2/2020) (2020): 27–40. http://dx.doi.org/10.4467/24506249pj.20.007.13446.

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According to traditional Buddhist narratives and popular beliefs, Tibetans are a people chosen by Avalokiteśvara. Therefore, his worship and multitude, as well as diversity of his images are quite common both in temples and public areas. Unlike the widespread analyses where the Bodhisattva has been treated as a peaceful tutelary deity, and classifications of its images have been based on morphological features (i.e. the number of hands, heads, etc.) or by artistic styles and techniques. This paper proposes another approach by grounding images in Tantric Buddhism models used locally. In the first part of the article, the images of Avalokiteshvara are inscribed in the bodyspeech-mind models as well as the external, secret and the first of the three internal aspects of the Three Refuges, also known as the Three Jewels, which covers a much wider set of iconographic material than usually considered.
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3

Payne, Richard. "Lethal Fire." Journal of Religion and Violence 6, no. 1 (2018): 11–31. http://dx.doi.org/10.5840/jrv201842348.

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An important element in the ritual corpus of Shingon Buddhism, a tantric tradition in Japan, is the homa (goma, 護摩). This is a votive ritual in which offerings are made into a fire, and has roots that trace to the Vedic ritual tradition. One of the five ritual functions that the homa can fulfill is destruction, abhicāra. A destructive ritual with Yamāntaka as the chief deity is one such ritual in the contemporary Shingon ritual corpus. Consideration of this ritual provides entrée into the history of destructive practices, including violent subjugation, that date from very early in the Buddhist tradition. Exploration of this theme is offered as a balancing corrective to the modern representation of Buddhism as an exception to the violent character of other religions. However, despite the history of destructive ritual practices, the contemporary homa examined in the latter part of the essay shows very few of the characteristics found historically. This indicates an ambiguity in the tradition between a historical understanding of such rituals as literally destructive of one’s enemies, and the contemporary understanding that the enemies to be destroyed are simply personifications of one’s own obscurations.
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Wang, Juan, and Damzhin Cedain. "Princess Wencheng in historical writing: The difficulty in narrating ethnic history in multi-ethnic China." Chinese Journal of Sociology 6, no. 4 (October 2020): 615–45. http://dx.doi.org/10.1177/2057150x20963264.

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For a multi-ethnic political entity, whether it is an empire or a nation-state, the key to survival is an inclusive order under which multiple ethnic groups with different heritages coexist peacefully. Historical writing on ethnic groups and interactions among them is an important part of this order. To demonstrate this point, this paper offers an examination of three different historical narratives of Princess Wencheng, the heroine of a “peace-making marriage” of the Tang Empire (AD 618–907), who married Songtsen Gampo, the king of Tubo (the ancient name of Tibet). In the first narrative, which is from Chinese classical literature, Princess Wencheng was treated as an insignificant figure and the text paid much more attention to the ceremony of the “peace-making marriage” than to the princess’s individual traits. In the second narrative, which is from Tibetan ancient literature, the princess was portrayed as the incarnation of “Green Tara”, a tantric deity in Tibetan Buddhism, and supposedly possessed goddess qualities and magical powers. This striking difference reflects the different views about the world and its ideal order of the two ancient civilizations. The third narrative, which was shaped by the nationalist discourse during the first part of the 20th century, depicted a new image of Princess Wencheng, gradually transforming her into a “transmitter of technology.” This paper offers a detailed analysis of this evolution and, furthermore, a critical comment on the historical writing done under the guidance of the so-called “progressive view of history”. Our conclusion provides a theoretical discussion of the structural dilemma for modern China as a multi-ethnic nation-state.
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Dissertations / Theses on the topic "Buddhist tantric deity"

1

Li, Gregory Kenneth, and 李群雄. "Tantric symbolism in Vajrayogini imagery." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45166225.

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English, Elizabeth. "Vajrayogini : her visualisation, rituals, and forms." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313185.

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Twist, Rebecca L. "Patronage, devotion and politics a Buddhological study of the Patola Sahi Dynasty's visual record /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1197663617.

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Books on the topic "Buddhist tantric deity"

1

Benard, Elisabeth Anne. Chinnamastā, the aweful Buddhist and Hindu tantric goddess. Delhi: Motilal Banarsidass Publishers, 1994.

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2

Goepper, Roger. Aizen-Myōō: The esoteric king of lust : an iconological study. [Zurich]: Artibus Asiae, 1993.

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3

Herrmann-Pfandt, Adelheid. Ḍākinīs: Zur Stellung und Symbolik des Weiblichen im tantrischen Buddhismus. Bonn: Indica et Tibetica-Verlag, 1992.

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4

The Vajra and bell. Birmingham: Windhorse, 2001.

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5

Nicholas, Ribush, ed. Becoming Vajrasattva: The tantric path of purification. Boston: Wisdom Publications, 2004.

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6

Reynolds, John Myrdhin. The sadhana practice of wrathful deities in Tibetan Buddhist tantra. Budapest, Hungary: Bodhiszattva Publisher, 2009.

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7

Yeshe, Thubten. Universal love: The yoga method of Buddha Maitreya. Boston: Lama Yeshe Wisdom Archive, 2008.

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8

1012-1097, Mar-pa Chos-kyi-blo-gros, ed. Bde mchog sñan rgyud kyi rtsa rluṅ ʼkhrul ʼkhor gyi skor: Three texts on the nature in practice of the yoga of the oral transmission of the Cakrasamvara. Rewalsar, Distt. Mandi, H.P., India: Zigar Drukpa Kargyud Instituite, 1985.

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9

English, Elizabeth. Vajrayoginī: Her visualizations, rituals & forms : a study of the cult of Vajrayoginī in India. Boston: Wisdom Publications, 2002.

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10

Paṇ chen Nā ro paʼi kye rdor ʼgrel pa. Beijing: Kruṅ-goʼi Bod rig paʼi dpe skrun khang, 2011.

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Book chapters on the topic "Buddhist tantric deity"

1

Bell, Christopher. "Pehar and the Five King Spirits." In The Dalai Lama and the Nechung Oracle, 19–44. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197533352.003.0002.

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Chapter 1 concerns the iconography and mythic origins of the protector deity Pehar and the Five King Spirits overall. This chapter specifically cites diverse mythological accounts of Pehar’s past, and his relationship to other deities, to not only introduce the reader to this deity but to illustrate how conflicting representations can offer opportunities for promoting certain characterizations. The stories cited in this chapter draw on Nyingma and Sakya texts predominantly, while noting how the imagery and themes in Pehar’s mythos reverberate through different communities who choose to understand the deity in different ways. This convoluted cluster of narratives nevertheless evince familiar tropes found across Buddhist, Tantric, and Tibetan milieus.
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"20. Two Tantric Meditations: Visualizing the Deity." In Buddhism in Practice, 236–45. Princeton University Press, 2007. http://dx.doi.org/10.1515/9781400880072-026.

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Samuel, Geoffrey. "Tibetan Longevity Meditation." In Asian Traditions of Meditation. University of Hawai'i Press, 2016. http://dx.doi.org/10.21313/hawaii/9780824855680.003.0008.

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The central aim of Tantric practice in Tibetan Buddhism is enlightenment, but the same techniques are also used to attain good health and a long life. The image of the Tantric deity and the surrounding mandala enables the imaginative recreation of a universe in which body-mind and wider environment are connected. Along with mantra recitation, secret breathing techniques, sometimes sexualized visualizations, and various movements and postures, this is understood to help the person reabsorb various kinds of life-essence that have been lost to the environment. Technique and culture are intertwined, since the practices are based on a ‘shamanic’ world-view in which life-essence may be lost to external forces, and the body-mind complex restored to good health and functioning through their recovery.
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"73. The Deity Of Miwa And Tendai Esoteric Thought." In Esoteric Buddhism and the Tantras in East Asia, 854–62. BRILL, 2011. http://dx.doi.org/10.1163/ej.9789004184916.i-1200.340.

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