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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, no. 1-2 (January 20, 2017): 163–79. http://dx.doi.org/10.1558/bsrv.31645.
Повний текст джерелаАнотація:
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.
2
Nepal, Gopal. "Tantric Buddhism in Nepal." Research Nepal Journal of Development Studies 4, no. 1 (June 25, 2021): 122–26. http://dx.doi.org/10.3126/rnjds.v4i1.38043.
Повний текст джерелаАнотація:
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.
3
SUGIKI, Tsunehiko. "Astrology in Mother-Tantric Literature." JOURNAL OF INDIAN AND BUDDHIST STUDIES (INDOGAKU BUKKYOGAKU KENKYU) 51, no. 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, no. 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, no. 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, no. 4 (March 28, 2019): 231. http://dx.doi.org/10.3390/rel10040231.
Повний текст джерелаАнотація:
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.
7
Serbaeva, Olga. "Feeding the Enemy to the Goddess: War Magic in Śaiva Tantric Texts." Religions 13, no. 4 (March 24, 2022): 278. http://dx.doi.org/10.3390/rel13040278.
Повний текст джерелаАнотація:
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.
8
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, № 1 (30 червня 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, no. 3 (November 1, 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.
10
Törzsök, Judit. "The Heads of the Godhead The Number of Heads/Faces of Yoginīs and Bhairavas in Early Śaiva Tantras." Indo-Iranian Journal 56, no. 2 (2013): 133–55. http://dx.doi.org/10.1163/15728536-0000002.
Повний текст джерелаАнотація:
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).
11
Czyżykowski, Robert. "The Mystical World of the Body in the Bengali Tantric Work Nigūḍhārthaprakāśāvali". Religions 11, № 9 (16 вересня 2020): 472. http://dx.doi.org/10.3390/rel11090472.
Повний текст джерелаАнотація:
Amongst the wide collection of literature on the Bengali Tantric Vaiṣṇava Sahajiyās, the works of Mukundadāsa (or Mukundadeva) and his disciples are counted among the most influential. Those Middle Bengali texts that are usually recognized as a group of the four main texts of Mukunda and his circle or followers are commented in the work Nigūḍhārthaprakāśāvali (NPV, ‘The Array of lights on the hidden meanings’) by various disciples of this line. The main goal of this paper is to shed light on some aspects of the religious experience in the regional Tantric tradition. As we may suppose, the descriptions included in NPV refer to some previous experiences of the authors (gurus) of the tradition and describe imaginary internal worlds of the body in the manner specific to that tradition, using various esoteric terms and describing also various kinds of religious discipline (sādhana). This means the presentation of the relatively poorly known and still not well-studied Bengali Tantra is expressed in the vernacular Bengali language (Middle Bengali, madhyajuger Bānglā). I will try to demonstrate how the image of the human body (and its imagination in this particular tradition) serves as the basis for the religious experience.
12
Kragh, Ulrich Timme. "On the Making of the Tibetan Translation of Laksmī's Sahajasiddhipaddhati: 'Bro Lotsā ba Shes rab Grags and his Translation Endeavors. (Materials for the Study of the Female Tantric Master Laksmī of Uddiyāna, part I)." Indo-Iranian Journal 53, no. 3 (2010): 195–232. http://dx.doi.org/10.1163/001972410x520009.
Повний текст джерелаАнотація:
AbstractThe medieval Tantric literature entails many uncertainties about authorship and dating. The line between authentic and pseudepigraphical in this genre has traditionally been very fluid, and every Tantric text needs to be treated with due caution. In the case of the Sahajasiddhipaddhati, the Tibetan tradition maintains its author to be the 9th–10th century female master Laksmī from Uddiyāna. Given this work's significance, its possible female authorship and its inclusion of hitherto unresearched hagiographies of twelve Uddiyāna Tantric teachers including four women, it is most crucial to examine its provenance. If its authenticity can be established, the text would become one of the earliest hagiographical collections of the Indian Tantric tradition, predating by two to three centuries Abhayadattaśrī's standard anthology, Caturaśītisiddhapravrtti, which differs considerably from Laksmī's work. The Sahajasiddhipaddhati is only extant in a Tibetan translation by the Kashmirian scholar Somanātha and the Tibetan translator 'Bro Lotsā ba Shes rab Grags. Since the translated work is undated, the investigation of its provenance must begin with ascertaining the date of its Tibetan witness. Through a wide-ranging reading of medieval Tibetan historical sources and colophons of 11th-century Tantric works, it will be concluded that the translation was produced in Nepal somewhere between the years 1070 and 1090. The discovery sets a terminus ante quem for the Sanskrit original, placing its composition at least a century earlier than Abhayadattaśr¯ı's compilation.
13
Gray, David B. "Bodies of Knowledge: Bodily Perfection in Tantric Buddhist Practice." Religions 12, no. 2 (January 29, 2021): 89. http://dx.doi.org/10.3390/rel12020089.
Повний текст джерелаАнотація:
This essay explores conflicting attitudes toward the body in Buddhist literature, with a focus on the tantric Buddhist traditions of yoga and meditation, which advanced the notion that the body was an innately pure site for realization while nonetheless still encumbered with earlier notions of the body as an impure obstacle to be overcome. Looking closely at a short meditation text attributed to the female Indian saints Mekhalā and Kanakhalā, the author argues that the body plays a central role in the creative re-envisioning of the self that characterizes tantric Buddhist practice.
14
Sharma, Nirmala. "Surocolo bronzes and their tantric text." Acta Orientalia Academiae Scientiarum Hungaricae 64, no. 2 (June 2011): 209–19. http://dx.doi.org/10.1556/aorient.64.2011.2.6.
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15
Fujii, Akira. "Descriptions of the Latter Age and Accomplishments in Indian Tantric Literature." Journal of Indian and Buddhist Studies (Indogaku Bukkyogaku Kenkyu) 69, no. 3 (March 25, 2021): 1118–23. http://dx.doi.org/10.4259/ibk.69.3_1118.
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16
Stephen, Michele. "Sūrya-Sevana: A Balinese Tantric Practice." Archipel, no. 89 (April 15, 2015): 95–124. http://dx.doi.org/10.4000/archipel.492.
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17
Bianchi, Ester. "The Tantric Rebirth Movement in Modern China." Acta Orientalia Academiae Scientiarum Hungaricae 57, no. 1 (April 2004): 31–54. http://dx.doi.org/10.1556/aorient.57.2004.1.3.
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18
Stephenson, Jackson. "Love me for the Sake of the World: “Goddess Songs” in Tantric Buddhist Maṇḍala Rituals". Religions 11, № 3 (12 березня 2020): 124. http://dx.doi.org/10.3390/rel11030124.
Повний текст джерелаАнотація:
The presence of Apabhraṃśa in tantric Buddhist texts has long been noted by scholars, overwhelmingly explained away as an example of “Twilight language” (saṃdhā-bhāṣā). However, when one looks closer at the vast number of Apabhraṃśa verses in this canon, one finds recurring patterns, themes, and even tropes. This begs for deeper study, as well as establishing a taxonomy of these verses based on their place and use. This paper focuses on a specific subset of Apabhraṃśa verses: “goddess songs” in maṇḍala visualization rituals. These verses are sung by yoginīs at specific moments in esoteric Buddhist ritual syntax; while the sādhaka is absorbed in enstatic emptiness, four yoginīs call out to him with sexually charged appeals, begging him to return to the world and honor their commitments to all sentient beings. When juxtaposed with other Apabhraṃśa verses in tantric Buddhist texts, these songs express an immediacy and intimacy that stands out in both form and content from the surrounding text. This essay argues that Apabhraṃśa is a conscious stylistic choice for signaling intimate and esoteric passages in tantric literature, and so the vast number of Apabhraṃśa verses in this corpus should be reexamined in this light.
19
Fu, Ma, and Lidong Xia. "Philological Study of Several Old Uighur Tantric Manuscripts Recently Unearthed from Tuyuq, Xinjiang." Acta Orientalia Academiae Scientiarum Hungaricae 75, no. 1 (April 4, 2022): 15–31. http://dx.doi.org/10.1556/062.2022.00153.
Повний текст джерелаАнотація:
Among the recent archaeological finds in Tuyuq are several Old Uighur texts related to Tantric practices in the cave monasteries in the Mongol time. A fragment from Cave 24 preserves an unidentified text related to the Mahākāla rites, which has not been attested before. A fragment from Cave 54 provides us a new kind of manuscript of the Baxšï Ögdisi, which is different from the previously identified manuscripts from Dunhuang and Turfan. Another fragment from Cave 57 preserves a list of dates that can be identified as the days on which the lamp-lighting ceremony influenced by Chinese tantric Buddhism should have been held. Three wooden tablets with Uighur texts probably belong to guest monks or donors. These materials provide precious new information on the ritual and daily life of the Uighur Buddhist community in Tuyuq.
20
Linghui, Zhang. "Grounding Tantric Praxis in the Mahāyāna Meaning and Modes:." Acta Orientalia Academiae Scientiarum Hungaricae 72, no. 3 (September 2019): 355–71. http://dx.doi.org/10.1556/062.2019.72.3.6.
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21
Sayin, Ümit H. "RESPUESTA SEXUAL EXPANDIDA, TANTRA Y LOS LÍMİTES DEL POTENCİAL FEMENİNO." Revista Científica Arbitrada de la Fundación MenteClara 1, no. 2 (July 19, 2016): 50–79. http://dx.doi.org/10.32351/rca.v1.2.16.
Повний текст джерелаАнотація:
El orgasmo femenino y las “experiencias pico” femeninas tienen su adecuado reconocimiento en la antigua literatura histórica de la India, China y Extremo Oriente. Por siglos, las culturas orientales trataron de descubrir los límites y alcances de la respuesta orgásmica femenina, a diferencia de las culturas occidentales, donde, por siglos, el placer y el orgasmo femenino se tomaban como un pecado y no se consideraban aceptables, en oposición a la filosofía oriental, donde sí se consideraban aceptables. Por años, las culturas tántricas y taoístas fomentaron la actividad sexual prolongada, el coito y el orgasmo femenino. Sin embargo, Occidente empezó a comprender la verdadera naturaleza del orgasmo femenino en la segunda mitad del siglo XX con el uso de métodos de investigación científicos objetivos y racionales. Al igual que los orgasmos tántricos, la respuesta sexual expandida (RSE) se definió recientemente como: la capacidad de alcanzar orgasmos de larga duración, prolongados, múltiples o sostenidos o el status orgasmus que dura más tiempo y es más intenso que los patrones de orgasmos clásicos que se definen en la literatura. Este artículo de revisión explica algunos de los nuevos hallazgos sobre la sexualidad femenina, la RSE y los orgasmos prolongados-ampliados en comparación con las antiguas filosofías tántricas y taoístas.AbstractFemale orgasm and female “peak experiences” are well recognized in the ancient historical literature of the India, China and Far East. Eastern cultures tried to discover the limits and extents of female orgasmic response for centuries unlike the Western cultures, where, for centuries, pleasure and orgasm of females were accepted as a sin and were not regarded as acceptable as they were in the Eastern philosophy. Tantric cultures and Taoist cultures encouraged the prolonged sexual activity, coitus and female orgasm for hundreds of years. However, the West started to understand the real nature of female orgasm in the second half of twentieth century using objective and rational scientific investigation methods. Similar to Tantric Orgasms, ESR (Expanded Sexual Response) has been defined recently as: being able to attain long lasting and/or prolonged and/or multiple and/or sustained orgasms and/or status orgasmus that lasted longer and more intense than the classical orgasm patterns defined in the literature. This review article explains some of the novel findings on female sexuality, ESR and prolonged-expanded orgasms, in comparison with the old Tantric and Taoist philosophies.
22
Kragh, Ulrich Timme. "Chronotopic Narratives of Seven Gurus and Eleven Texts: A Medieval Buddhist Community of Female Tāntrikas in the Swat Valley of Pakistan." Cracow Indological Studies 20, no. 2 (December 31, 2018): 1–26. http://dx.doi.org/10.12797/cis.20.2018.02.02.
Повний текст джерелаАнотація:
Modern South Asian women’s writing wells up to the stirring surface of contemporary literature in now globally recognizable forms of fiction and memoir, inter alia, the novel, the poem, the biography, the autobiography. Yet, beneath these topmost layers of colonial and post-colonial literary tides flow undercurrents of precolonial women’s writing, often in radically other figurations of lettered expression. Even further down than the familiar temporal strata of the Vaiṣṇavite and Śaivite religious poetry written by the dozen authoresses ranging from Muktābāi to Rūpa Bhavānī between the thirteenth and eighteenth centuries, there exists another place in the deep, like an underwater lake, of a much older women’s writing penned by Tantric women gurus. The majority of this archaic Buddhist literature streamed out of the Swat valley in Pakistan, a locality for no less than seven known female gurus, who lived, taught, or wrote there between the eighth and eleventh centuries. After a short prologue on Swat and its recent history, the essay surveys eleven female-authored medieval Tantric works, which range in genre from ritual treatises, meditation practice-texts, and mystic poems, to literary forms that even seem evocative of contemporary women’s gendered voices: spiritual biography and autobiography empowered by a place.
23
Kohn, Robert E. "The Merging of Tantric Buddhism and L'Extase Tantrique in John Hawkes's The Passion Artist." Critique: Studies in Contemporary Fiction 47, no. 2 (January 2006): 147–66. http://dx.doi.org/10.3200/crit.47.2.147-166.
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24
Schelb, Edward. "The Charred Heart of Polyphemus: Tantric Ecstasy and Shamanic Violence in Robert Kelly's "The Loom"." Contemporary Literature 36, no. 2 (1995): 317. http://dx.doi.org/10.2307/1208904.
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25
Jacoby, Sarah H. "The science of sensual pleasure according to a Buddhist monk: Ju Mipam's contribution to kāmaśāstra literature in Tibet." Bulletin of the School of Oriental and African Studies 80, no. 2 (June 2017): 319–37. http://dx.doi.org/10.1017/s0041977x17000490.
Повний текст джерелаАнотація:
AbstractOf all the myriad aspects of Indian learning to be incorporated into Tibetan Buddhist scholarship, one of the least likely would seem to be the Indian science of sensual pleasure, kāmaśāstra. Even so, we do find traces of Sanskrit kāmaśāstra transposed into Tibetan Buddhist idiom. The most innovative example is the Treatise on Passion (’Dod pa'i bstan bcos) written by Ju Mipam Jamyang Namgyel Gyatso (1846–1912). This article investigates the reasons why the polymath monastic scholar Ju Mipam included kāmaśāstra in his expansive literary output, as well as his sources and influences for doing so. It argues that Mipam's work builds on an intertextuality already apparent in late medieval Sanskrit tantric and kāmaśāstric works, but one that took on new importance in the context of the non-biased outlook (Tib. ris med) that characterized Ju Mipam's nineteenth-century eastern Tibetan milieu.
26
Acri, Andrea. "Performance as Religious Observance in Some Śaiva Ascetic Traditions from South and Southeast Asia." Cracow Indological Studies 20, no. 1 (September 30, 2018): 1–30. http://dx.doi.org/10.12797/cis.20.2018.01.03.
Повний текст джерелаАнотація:
My essay synthesizes, and elaborates on, previous research on the overlaps between performative arts and ascetic traditions of the Śaiva Atimārga in South and Southeast Asia. My analysis focuses mainly on textual data from Sanskrit and Old Javanese literature from the 4th to the 15th centuries, with contributions from modern and contemporary ethnography of Java and Bali. Here I will argue that categories of Śaiva practitioners who combined dance, recitation, and drama in both areas may derive from a shared tantric fund, and that those low-status agents characterized by antinomian behaviours were not only driven by ideals of individual salvation or quest for powers, but also contributed to their local social milieus (i.e. as ‘folk’ entertainers) and ritual economies (i.e., as performers attached to temples and royal palaces).
27
Sarma, S. A. S. "Venerating Vēṭṭaykkorumakan (Son of Śiva and Pārvatī) through Ritual Arts". Cracow Indological Studies 20, № 1 (30 вересня 2018): 223–57. http://dx.doi.org/10.12797/cis.20.2018.01.09.
Повний текст джерелаАнотація:
Vēṭṭaykkorumakan is considered to be the son of Śiva and Pārvatī, born when they had assumed the form of a hunter and huntress. Although Vēṭṭaykkorumakan is considered as an incarnation, according to the narratives that are written in the local vernacular Malayalam, and known in the Malabar area of Kerala, he is considered to be only a hero too. Beside the tantric rituals that are usually performed for the deities, Vēṭṭaykkorumakan is venerated through two distinct rituals in Kerala, namely the Kaḷameḻuttuṃ Pāṭṭuṃ ritual in the southern part of Kerala, and the Teyyam ritual in northern Kerala. This article will discuss these two rituals in detail to examine how they are closely linked with theatre. Traces of the story of Śiva and Pārvatī assuming the form of a hunter and huntress in the Mahābhārata, and its influence in Sanskrit Literature and on other art forms, are briefly discussed also.
28
Wallace, V. A. "Imagination, Desire, and Aesthetics in Engendering a Vision of Śambhala." Orientalistica 2, no. 1 (September 7, 2019): 40–50. http://dx.doi.org/10.31696/2618-7043-2019-2-1-40-50.
Повний текст джерелаАнотація:
Abstract: the legend of Śambhala and a related eschatological battle between the twenty-fifth kalkī king of Śambhala and the enemy of Dharma, which initially appeared in the eleventh-century Indian, Buddhist tantric tradition of the Kālacakratantra, proliferated in the later Tibetan and Mongolian sources. In the nineteenth, and particularly in the early twentieth-century Mongolia, when the demolishing of Buddhist monasteries and persecution of Buddhist monks were carried out by the Mongolian Peoples’ Revolutionary Party, a wealth of literature on meditational and ritual practices related to the transference of consciousness (‘pho ba) to the Buddhist kingdom of Śambhala emerged. Witnessing the executions of monks and a destruction of Buddhism in Mongolia, Mongolian lamas in the country’s capital felt the urgency to compose practical guides to a swift transference of consciousness to Śambhala for the lamas who were facing an immanent death. The instructions on the transference of consciousness to Śambhala abound in meditations with visualization and imagination practices and accompanying rituals.
29
Andayani, Ambar. "Transformasi Teks Dari Pancatantra India Ke Tantri Kamandaka Jawa Kuno: Telaah Sastra Bandingan." ATAVISME 14, no. 2 (December 30, 2011): 138–55. http://dx.doi.org/10.24257/atavisme.v14i2.65.138-155.
Повний текст джерелаАнотація:
Motif cerita Tantri Kamandaka Jawa Kuno memiliki banyak kesamaan dengan Pancatantra India. Akan tetapi, jenis transformasi teks dari Pancatantra ke Tantri menunjukkan perubahan, baik ekserp, modifikasi, maupun ekspansi. Perbandingan warna lokal keduanya menunjukkan perbedaan. Pancatantra dicoraki ajaran Hindu dan Budha, sedangkan Tantri Kamandaka lebih diwarnai Hindu-Shiwa dan Tantrisme. Pancatantra lebih memuliakan Dewi Laksmi (ćakti Wishnu), sedangkan Tantri Kamandaka lebih mensakralkan Batari Uma (ćakti Shiwa). Pancatantra lebih menekankan pesan moral Karmaphala Hindu (perbuatan baik menghasilkan kebaikan, perbuatan buruk menghasilkan keburukan), sedangkan Tantri Kamandaka lebih menekankan Karma Budha (nilai suatu perbuatan bergantung pada niat pelakunya). Pancatantra mengajarkan Dharma Hindu bahwa tiap manusia mempunyai hak dan kewajiban sesuai dengan status kasta, sedangkan Tantri Kamandaka mengajarkan Kaladesa bahwa setiap tindakan harus menyesuaikan kondisi tempat dan waktu (empan papan).
Abstract:
The motifs of Old Javanese Tantri Kamandaka and Indian Pancatantra stories have so much in common. The texts of Pancatantra and Tantri Kamandaka however show types of transformation: excerpt, modification and expansion. The comparison of local color from both of them indicates differences. Pancatantra contains the lessons of Hindu and Buddha, while Tantri Kamandaka is colored more with Hindu-Siva and Tantrism. Dewi Laksmi is more respected in Pancatantra and Batari Uma (ćakti Shiwa) is more sacred in Tantri Kamandaka. Pancatantra more emphasizes on the moral value of Hindu Karmaphala (good deed results good, bad deed results bad), while Tantri Kamandaka more emphasizes on Buddha Karma (the value od deed depends on the will of the doer). Pancatantra educates Hindu Dharma that every human has right and duty depends on his caste status, and Tantri Kamandaka teaches Kaladesa that every conduct has to adapt with condition of the place and time (empan papan).
Key Words: comparative literature, story motif, textual transformation, Tantrism, Kaladesa
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Luwih, I. Made, and I. Ketut Sudarsana. "Hinduism Teachings in the Story of Ni Diah Tantri." Kamaya: Jurnal Ilmu Agama 4, no. 3 (September 10, 2021): 476–90. http://dx.doi.org/10.37329/kamaya.v4i3.1661.
Повний текст джерелаАнотація:
The study aimed to determine the narrative structure in Ni Diah Tantri’s story and its Hindu religious teachings. Data collection in this study used a literature study. Several techniques carried out data analysis in this study. These were descriptive techniques, qualitative techniques, interpretation, checking the data validity, presenting data (data display), and concluding (verification). The study results show that the teachings contained in the story of Ni Diah Tantri were a form of tendency from the author, which is very useful for readers. The Hindu religious teachings in the story of Ni Diah Tantri consist of self-control, especially lust which is influenced by the thoughts of Sang Prabhu Eswaryadala. The next teaching was Ni Diah Tantri’s teachings of love who truly sympathize and her love for his father so that Ni Diah Tantri is willing to be handed over to Sang Prabhu Eswaryadala. Last, the teachings of loyalty from Ki Patih Bandeswarya to Sang Prabhu Eswaryadala. Ki Patih Bandeswarya’s loyalty to Sang Prabhu Eswaryadala was manifested by Ki Patih’s obedience to the king’s orders to offer beautiful girls every day for marriage.
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Gould, Stephen J. "The Import of Asian Sexual Psychotechnologies into the United States: The 'New Woman' and the 'New Man' Go 'Tantric'." Journal of American Culture 14, no. 1 (March 1991): 19–23. http://dx.doi.org/10.1111/j.1542-734x.1991.00019.x.
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Fisher, Elaine M. "Śaivism after the Śaiva Age: Continuities in the Scriptural Corpus of the Vīramāheśvaras." Religions 12, no. 3 (March 23, 2021): 222. http://dx.doi.org/10.3390/rel12030222.
Повний текст джерелаАнотація:
This article makes the case that Vīraśaivism emerged in direct textual continuity with the tantric traditions of the Śaiva Age. In academic practice up through the present day, the study of Śaivism, through Sanskrit sources, and bhakti Hinduism, through the vernacular, are generally treated as distinct disciplines and objects of study. As a result, Vīraśaivism has yet to be systematically approached through a philological analysis of its precursors from earlier Śaiva traditions. With this aim in mind, I begin by documenting for the first time that a thirteenth-century Sanskrit work of what I have called the Vīramāheśvara textual corpus, the Somanāthabhāṣya or Vīramāheśvarācārasāroddhārabhāṣya, was most likely authored by Pālkurikĕ Somanātha, best known for his vernacular Telugu Vīraśaiva literature. Second, I outline the indebtedness of the early Sanskrit and Telugu Vīramāheśvara corpus to a popular work of early lay Śaivism, the Śivadharmaśāstra, with particular attention to the concepts of the jaṅgama and the iṣṭaliṅga. That the Vīramāheśvaras borrowed many of their formative concepts and practices directly from the Śivadharmaśāstra and other works of the Śaiva Age, I argue, belies the common assumption that Vīraśaivism originated as a social and religious revolution.
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Sarkar, Abhishek. "Shakespeare, "Macbeth" and the Hindu Nationalism of Nineteenth-Century Bengal." Multicultural Shakespeare: Translation, Appropriation and Performance 13, no. 28 (April 22, 2016): 117–29. http://dx.doi.org/10.1515/mstap-2016-0009.
Повний текст джерелаАнотація:
The essay examines a Bengali adaptation of Macbeth, namely Rudrapal Natak (published 1874) by Haralal Ray, juxtaposing it with differently accented commentaries on the play arising from the English-educated elites of 19th Bengal, and relating the play to the complex phenomenon of Hindu nationalism. This play remarkably translocates the mythos and ethos of Shakespeare’s original onto a Hindu field of signifiers, reformulating Shakespeare’s Witches as bhairavis (female hermits of a Tantric cult) who indulge unchallenged in ghastly rituals. It also tries to associate the gratuitous violence of the play with the fanciful yearning for a martial ideal of nation-building that formed a strand of the Hindu revivalist imaginary. If the depiction of the Witch-figures in Rudrapal undercuts the evocation of a monolithic and urbane Hindu sensibility that would be consistent with colonial modernity, the celebration of their violence may be read as an effort to emphasize the inclusivity (as well as autonomy) of the Hindu tradition and to defy the homogenizing expectations of Western enlightenment
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Cho, Seung-Mee. "A Comparative Study on the Samgukyusa with the Tibetan Tantric Literature: Focusing on the Similarities of the Image and Role of Women in the Tales of Enlightenment." BUL GYO HAK BO 100 (November 30, 2022): 149–73. http://dx.doi.org/10.18587/bh.2022.11.100.149.
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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.
Повний текст джерелаАнотація:
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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Mitruev, Bembya L. "Комментарий к коренной мантре Ваджракилаи". Oriental studies 15, № 1 (15 квітня 2022): 86–104. http://dx.doi.org/10.22162/2619-0990-2022-59-1-86-104.
Повний текст джерелаАнотація:
Introduction. Tibetan literature includes a separate class of commentaries to mantras which can be identified as commentaries to tantric texts. This paper examines A Brief Explanation of the Meaning of the Root Mantra of Vajrakīlaya [Titled] ‘The Heart Essence from an Old Man [Who] Holds Knowledge of the Old Translations School’ by Dongak Chokyi Gyatso (1903–1957). The text is viewed as a typical commentary on a Buddhist mantra with special attention be paid to elements of the Vajrakīlaya mantra as objects of analysis. Goals. The article aims to introduce the commentary to the Vajrakīlaya mantra into scientific circulation and provide insight into meanings of elements within a Buddhist mantra as such. Materials. The study explores A Brief Explanation of the Meaning of the Root Mantra of Vajrakīlaya contained in the second volume (za) of Collected Works by Tulku Sungrab from Nyenmo Monastery (Tib. snyan dgon sprul sku gsung rab pa’i gsung ‘bum) published in three volumes by the Sichuan People’s Publishing House (tib. si khron mi rigs dpe skrun khang) in Chengdu, 2006. The Collected Works are included in volumes 21–23 (zha, za, ’a) of the Golog Ancient Books Collection (Tib. mgo log dpe rnying dpe tshogs). Results. The study presents a brief biography of Dongak Chokyi Gyatso, examines the meaning of deity Vajrakīlaya’s name, translates and transliterates A Brief Explanation of the Meaning of the Root Mantra of Vajrakīlaya.
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Parajuli, Sandhya Khanal. "The Temple having Multiple Names and Tantrik Images: Rani Pokhari." Nepalese Culture 15, no. 1 (October 10, 2022): 41–56. http://dx.doi.org/10.3126/nc.v15i1.48530.
Повний текст джерелаАнотація:
Rani pokhari lies at the heart of Kathmandu city. It was located at the north eastern boundary of Hanumandhoka royal palace during the medieval period. It was constructed by King Pratap Malla of Kathmandu in N.S. 789/790 (1668/69 C.E.). Its original name is Nhu: pukhu as the king constructed a new pond in the city, which later became famous by the name “Rani pokhari.” Among hundreds of monuments of the Kathmandu valley, Rani pokhari is one, which along with its pleasant beauty, reflects marvelous art and architecture of medieval history. It is a monument dedicated to a deceased son by a parent with the wish of absolution of his soul. The granthakut styled deval established at the center of Rani pokhari is popular by several names as Balgopaleshwor, Yamaleshwor, Harishankari and Gaurishankar. A number of stone and terracotta images placed inside and outside the temple of Rani pokhari, and its premises reveals the essence of utmost tantrism mingled art of the medieval period. Detailed study about the naming of a deval, specific motive of placement of various images and their features have not been conducted yet. In this context, what is the temple actually named after? Which images are established in or around the temple and at the pond premises? What does the specific design of a pond and its iconographic features reveal? are the questions raised in this research and the answer is intended to be addressed. To find out the actual name of a temple, the identification of its images and the purpose of their placement along with their features is an objective of this research. This is mainly an explorative and qualitative research based upon the historical documents and monuments located at the site. Survey of site, collection of inscriptions, myths, legends, photography of images, interview with the concerned authorities and a review of related literature are the methodologies applied for the research. Through various references, it has been known in this article that the actual name of the deval of Rani Pokhari is Parameshwor Parameswori. King Pratap Malla constructed the pond in swastika yantra or mandala design and established syaumya and raudra form of deities for the liberation and eternal peace of his deceased son Chakravertendra Malla, to protect his spirit from wandering, disclosing the fault of tantric symbols engraved in coins and for the protection and welfare of his clan.
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Androsov, Valery P. "The King of Vajrayana - Guhya-Samaja-Tantra and Buddhist Tantrism: Source critical studies and Literature." Orientalistica 1, no. 1 (March 28, 2018): 19–44. http://dx.doi.org/10.31696/2618-7043-2018-1-1-19-44.
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Muhammad Muizzulatif and Shafa Inayatullah Machmud. "Literature Review: Menejemen Temper Tantrum pada Balita." Jurnal teknologi Kesehatan Borneo 3, no. 1 (June 30, 2022): 25–30. http://dx.doi.org/10.30602/jtkb.v3i1.46.
Повний текст джерелаАнотація:
Temper tantrum adalah perilaku yang sering terjadi pada usia anak prasekolah yang ditandai dengan ledakan emosi yang berlebihan dan perilaku akibat kondisi marah dan frustasi pada anak dengan manifestasi berupa perilaku keras kepala, perlawanan, pembangkangan, pemberontakan, kemarahan, kata-kata kasar, menangis, menjerit, berteriak, berguling, menendang, membenturkan kepala ke tembok, menjambak rambut, memukul, melempar barang, dan membanting badan ke lantai akibat kesulitan mengatur emosi dan perilaku, sehingga menimbulkan penderitaan bagi orang tua dan lingkungan. Temper tantrum terkait dengan tahap perkembangan, temperamen, dan status kesehatan (misalnya memiliki gangguan spektrum autisme). Temper tantrum pada anak kecil dapat diterima dan dianggap normatif, namun penanganan yang sesuai untuk mengatasi hal ini kurang dipahami oleh orang tua sehingga orang tua dapat menjadi stress terhadap perilaku tantrum anak. Literature review ini membahas temper tantrum pada balita dan cara mencegah serta menanganinya
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Gray, David. "Disclosing the Empty Secret: Textuality and Embodiment in the Cakrasamvara Tantra." Numen 52, no. 4 (2005): 417–44. http://dx.doi.org/10.1163/156852705775220017.
Повний текст джерелаАнотація:
AbstractThis article seeks to shed light on the textuality of Buddhist tantras and the esotericism that characterizes this genre of literature. It first examines the development of Buddhist models of textuality. Esoteric Buddhists developed a sophisticated textual theory that linked their scriptures to the gnosis of the Buddhas, which they claimed their practices could achieve most efficaciously. But the relation between text and practice is a problematical one. Indian Buddhists commentators on Cakrasamvara Tantra sought to resolve this problem through the trope of the "secret," an empty signifier that points both to practice traditions that are to be concealed, and an undisclosable gnosis to which some practices lead, and which others presuppose. The article closes with a survey of the changing interpretations of the "secret" as the tradition itself changed, highlighting the central importance of sexuality in the history of this tradition.
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M.V., Muralikrishnan. "Tantra Literature of Kerala- Special Reference to Mātṛsadbhāva". Addaiyan Journal of Arts, Humanities and Social Sciences 2, № 6 (17 серпня 2020): 35–41. http://dx.doi.org/10.36099/ajahss.2.6.4.
Повний текст джерелаАнотація:
Kerala has an enormous tradition on Tantra literature and also has different kinds of ritual peculiarities between Brahmanical and non-Brahmanical rituals. Most of the Tantra ritual manuals of Kerala focus the temple rituals and concomitant subjects too. Philosophical discussions are not much can be seen in Kerala Tantra manuals. There are many texts on Kerala Tantra that still remain in manuscripts from. The Mātṛsadbhāva is one among them, which discuss the ritual of Goddess Bhadrakālī/ Camuṇḍā along with Sapta-mātṛs, Śiva and Kṣetrapāla. The text is believed as the first Śākta text from Kerala. The text has twenty-eight chapters, begins from ācāryalakṣaṇa to ends in jīrṇodhāra. The text has a strong connection with South Indian Brahmayāmala and the author of Mātṛsadbhāva refer to Brahmayāmala many times. The present study is focusing on the special features of Tantra literature of Kerala and a special discussion on Mātṛsadbhāva along with Brahmayāmala and Śeṣasamuccaya.
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AKASH PARASHAR and S.M PASHA. "Literature review of Bhela Samhita related to Shalakya tantra." World Journal of Biology Pharmacy and Health Sciences 12, no. 2 (November 30, 2022): 001–4. http://dx.doi.org/10.30574/wjbphs.2022.12.2.0166.
Повний текст джерелаАнотація:
Shalakya Tantra is one among the ashtanga of Ayurveda. it is also called Urdhvanga. Understanding of Shalakya Tantra will help the physician in the planning of treatments for the diseases related to urdhvanga. Sushruta Samhita is considered as the main text for the shalakya references. There are many other treatises which are having hidden chikitsa principles related to shalakya diseases .one such text is bhela Samhita written by acharya bhela. Acharya bhela explained nidana, Lakshana, and chikitsa of various shalakya tantra-related diseases. Unfortunately, 50% part of shiroga roga chikitsa adhyaya is not available. So, it is an attempt to analyze and explore the remaining part for finding out new hidden treatment principles.
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Eskildsen, Stephen. "Emergency Death Meditations for Internal Alchemists." T'oung Pao 92, no. 4 (2006): 373–409. http://dx.doi.org/10.1163/156853206779361470.
Повний текст джерелаАнотація:
AbstractAn "emergency death meditation" is a psychic technique performed by a religious adept who has yet to attain the desired level of perfection but faces imminent death. This essay examines a few Daoist examples of such techniques endorsed in late Tang or early Song internal alchemical texts, such as the Taibai huandan pian, Zhen longhu jiuxian jing, and Dongyuanzi neidan jue. These texts describe emergency death meditation methods whereby the practitioner hopes to "enter the womb", "change the dwelling", "repel the killer demons" or "flee the numbers". The intended result is that the Spirit either transfers to another womb or body (in the cases of "entering a womb" and "changing the dwelling") or manages to stay on in its accustomed body (in the cases of "expelling the killer demons" and "fleeing the numbers"). In either case, the adept hopes subsequently to resume training and persevere in it until the Spirit is rendered pure yang and the loftiest mode of immortality is attained. The essay also discusses the intriguing parallels and possible connections between these emergency death meditations (especially "entering the womb") and those taught and practiced in Tantric Buddhist circles. Une "méditation d'urgence au moment de la mort" est une technique psychique utilisée par un adepte n'ayant pas encore atteint le niveau désiré de perfection mais confronté à une mort imminente. Cet article examine quelques exemples taoïstes de telles techniques approuvées par des textes d' alchimie interne datant de la fin des Tang ou du début des Song, tels le Taibai huandan pian, le Zhen long – hu jiuxian jing et le Dongyuanzi neidan jue. Ces texts décrivent des méthodes de méditation d' urgence face à la mort grace auxquelles l'adepte espère "entrer dans l'utérus", "changer de résidence", "repousserles démons tueurs" ou "fuir les nombres". Le résultat attendu est soit que l'Esprit émigre vers un autre utérus ou un autre corps, soit (dans les cas "repousser les démons tueurs" et "fuir les nombres") qu'il réussisse à rester dans son corps habituel. Dans un cas comme dans l'autre l'adepte espère reprendre par la suite sa preparation et persévérer jusqu'à ce que son Esprit devienne pur yang et atteigne le niveau suprême d'immortalité. L'article aborde également les parallèles intéressants et les connexions possibles entre ces techniques de méditation d'urgence (en particulier "entrer dans l'utérus") et celles qui étaient enseignées et pratiquées dans les milieux du bouddhisme tantrique.
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Mazaya, Shilny, and Aida Rusmariana. "Gambaran Pola Asuh Orang Tua Terhadap Kejadian Temper Tantrum Pada Anak Usia Prasekolah : Literature Review." Prosiding Seminar Nasional Kesehatan 1 (January 19, 2022): 2230–36. http://dx.doi.org/10.48144/prosiding.v1i.1044.
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AbstractPreschool children try to master all things in their world. Fail to have something that they want will trigger their emotional and can lead to a temper tantrum later on. Temper tantrums correlates with the way of parenting against their children. The study aimed to describe parenting patterns on the incidence of temper tantrums in preschool-aged children. The study applied a literature review, by seacrching for articles using the Garuda, Scilit and Google Schoolar databases. To find articles that match with the inclusion and exclusion criteria, keywords “Parenting Patterns, Temper Tantrums, Preschool, and Age 3-6 years” were used. Moreover, only articles published in 2016 to 2021 were included. The JBI Instrument for Cross Sectional Studies used to assess the quality of the articles. The results show that most parents (53,1%) applied democratic parenting. The incidence of temper tantrums in preschool-age children was majority (82,9%) in th low/moderate category. There are many parenting patterns applied such as democratic, authoritarian and permissive parenting. The majority of parents were applied democratic parenting. Parent suggested to increase their knowledge in term of good parenting. Furthermore, the incidence of temper tantrums among preschool-age children can be minimized.Keywords: Prenting, Preschool, Temper Tantrum
AbstrakPada masa prasekolah anak berusaha menguasai seluruh hal dalam dunianya, ketika anak menemukan bahwa ia tidak dapat memiliki semua yang mereka inginkan, itu akan memicu terjadinya ledakan emosi yang nantinya akan muncul sebagai temper tantrum, kejadian tersebut tidak lepas dari cara pengasuhan orang tua terhadap anaknya yang menyebabkan kejadian temper tantrum. Penelitian ini bertujuan untuk menggambarkan pola asuh orang tua terhadap kejadian temper tantrum pada anak usia prasekolah. Metode penelitian yang digunakan adalah Literature review, dengan pencarian artkel menggunakan database garba garuda, scilit dan google schoolar untuk menemukan artikel yang sesuai kriteria inklusi dan ekslusi dengan memasukkan kata kunci “Pola Asuh, Temper Tantrum, Prasekolah, Usia 3-6 tahun” dalam periode 2016-2021. Instrumen untuk menilai kualitas artikel menggunakan JBI Instrumen for Cross Sectional Studies. Hasil literature review menunjukkan sebagian besar orang tua menerapkan pola asuh demokratis sebanyak 255 responden (53,1%) dan kejadian temper tantrum pada anak usia prasekolah sebagian besar dengan kategori rendah/sedang sebanyak 398 anak (82,9%). Pola asuh yang diterapkan oleh orang tua terhadap kejadian temper tantrum pada anak usia prasekolah meliputi pola asuh demokratis, otoriter dan permisif, dengan mayoritas orang tua menerapkan pola asuh demokratis, semakin bertambahnya pengetahuan orang tua tentang pola asuh yang baik diharapkan orang tua mampu menekan angka kejadian temper tantrum.Kata kunci: Pola asuh; temper tantrum; prasekolah; usia 3-6 tahun
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Vardhan, Prabhakar, Sanjeev Sharma, and Shamsa Fiaz. "A Brief Review of Ophthalmology In Indian Classical Literature." International Research Journal of Ayurveda & Yoga 05, no. 06 (2022): 154–62. http://dx.doi.org/10.47223/irjay.2022.5624.
Повний текст джерелаАнотація:
Shalakya Tantra existed from ancient times, however not clearly. In pre-Vedic India, copper and bronze rods (Shalaka)were used to apply Anjanas (collyria) to avoid eye problems. Even though Shalakya tantra isn't mentioned in Vedic literature, eye anatomy and illnesses were known and treated in that age. Rigveda, the oldest known treatise, mentions eye illness treatment. Yajurveda mentions various eyecomponents. Atharvaved addresses Netra's synonyms, eye disorders like akshi-yakshma, and their symptoms. In Brahmanas and Upanishadas, the eye and its functions are described, along with blindness, netrasrava, and blindness cure. Shalakya word isn't mentioned. Shalakya Tantra was defined in the Samhita period, when Ayurveda developed in eight branches. Eye illnesses induced by Vata, Pitta, Shleshma, and Sannipataare listed in Lalitvistara text of Buddhist literature. Panini calls Shalakya experts 'Shalakkii' and describes timira and arma.Eye illnesses aren't discussed in Agnivesha Tantra (Charak Samhita) in detail. In carak samhits Eye illnesses are characterised by doshicpredominance and their origin and therapy are outlined. First 19 chapters of Shalakya are on ophthalmology. Sushruta Samhita describes local ocular therapeutic measures such as Kriya kalpa (Tarpana, Putpaka, Seka, Aschyotana and Anjana) and surgical techniques for treating eye problems. His eye surgical contributions are impressive. He discovered cataract surgery perhaps first. Vagbhatta detailed newer therapy techniques as Vidalaka, Gudana, and Sandhavanjana, along with new formulations and procedures. Acharya Madhava characterised ocular ailments after Sushruta, adding Kunchana and Pakshmashata.Bhavaprakasha. Yog Ratnakar, etc. described ophthalmology similarly to Sushruta Samhita with formulations for their treatment.
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Sugiharta, I. Putu Suweka Oka. "KAPASITAS TANTRA DALAM MENGELOLA KEMAMPUAN BERPIKIR." Sanjiwani: Jurnal Filsafat 13, no. 2 (September 30, 2022): 137–48. http://dx.doi.org/10.25078/sanjiwani.v13i2.1387.
Повний текст джерелаАнотація:
Tantra is a very mature method because it gives serious attention to the mind. Tantra experts have understood that human success or failure in life comes from the mind. Success and failure include both worldly and spiritual aspects. In its application, Tantra directs the human mind on the steps of regulating the mind. Once the mind can be conditioned properly then life becomes harmonious. The method of regulating the mind makes Tantra not only imaged as a passive mystical practice. The purpose of this study was to get an overview of the role of Tantra in managing thinking skills. The method used is a qualitative method that combines literature review and reasoning so that it appears that Tantra makes a major contribution to the management of thinking skills. Tantra is further stated to accommodate humans as thinking beings, Tantra deserves to be declared as knowledge, and Tantra includes the basic thinking faculties.
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Gómez-Peña, Guillermo. "Philosophical Tantrum #7." TDR/The Drama Review 56, no. 3 (September 2012): 7–8. http://dx.doi.org/10.1162/dram_a_00184.
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N H, Reeve. "Liberty in a Tantrum: D.H. Lawrence's Sun." Cambridge Quarterly XXIV, no. 3 (1995): 209–20. http://dx.doi.org/10.1093/camqtly/xxiv.3.209.
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Sayin, Ümit H. "Tantra y los límites del potencial femenino en la respuesta sexual." Revista Científica Arbitrada de la Fundación MenteClara 4, no. 2 (October 17, 2019): 203–43. http://dx.doi.org/10.32351/rca.v4.2.104.
Повний текст джерелаАнотація:
Este artículo explica algunos de los nuevos hallazgos sobre la sexualidad femenina, la Respuesta Sexual Expandida (RSE) y los orgasmos prolongados–ampliados en comparación con las descripciones de las antiguas filosofías tántricas y taoístas. El orgasmo femenino y las «experiencias pico» femeninas tienen su adecuado reconocimiento en la antigua literatura de la India, China y Extremo Oriente. Al igual que los orgasmos tántricos, la respuesta sexual expandida se definió recientemente como: la capacidad de alcanzar orgasmos de larga duración y/o prolongados y/o múltiples y/o sostenidos y/o status orgasmus que dura más tiempo y es más intenso que los patrones de orgasmos clásicos definidos en la literatura occidental. Occidente empezó a comprender la verdadera naturaleza del orgasmo femenino en la segunda mitad del siglo XX con el uso de métodos de investigación científicos objetivos y racionales. En esta revisión se presentan descripciones detalladas de estos fenómenos en el marco de investigaciones clínicas actuales.
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Setiyowati, Eppy, Umi Hanik, Ni Njoman Juliasih, and Aimmatul Chanifah. "The Impact of Parent Child Interaction Therapy on Temper Tantrums in Pre-school." Open Access Macedonian Journal of Medical Sciences 10, G (October 31, 2022): 720–25. http://dx.doi.org/10.3889/oamjms.2022.9191.
Повний текст джерелаАнотація:
Temper tantrum behavior is a child's emotional behavior which is shown by explosive anger and some parents consider this behavior to be bad behavior. Temper tantrums can occur in children aged 3-6 years or more. This literature review aims to determine the impact of PCIT (Parent Child Interaction Therapy) on temper tantrums in preschool. In finding this literature review used four databases (ProQuest, Scopus, Pubmed, and Sains Direct) for the design of the study used cross sectional, True Experimental, Observational and Systematic Reviews published in the last five years. The protocol and evaluation of the literature review used the PRISMA checklist to determine the selection of studies that were found and adapted to the objectives of the literature review. The results of literature review analysis of several parents in group and individual PCIT reported that the application of parent-child-based interventions was proven to be effective and has the potential to bring significant and lasting changes in increasing positive behavior in children with external behavior problems. The frequency of problematic child relationship behavior significantly decreased with increasing age of the child. In addition, assessing both positive and negative child relationship behavior could assist parents in understanding the relevance of different aspects for the development of parent-child relationships.