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A kartika or drigug (Sanskrit: kartari; Tibetan: གྲི་གུག་, Wylie: gri-gug, [1] or kartrika in Nepal [2]) is a small, crescent-shaped, hand-held ritual flaying knife used in the tantric ceremonies of Vajrayana Buddhism. The kartari is said to be "one of the quintessential attributes of the wrathful Tantric deities."
In combined portrayals, Mekhala is on the left, holding a skull-cup in her left hand and drawing a sword from her mouth with her right hand or simply holding a sword or a kartika knife. A skull-staff is supported in the crook of her left arm. Kanakhala holds her own severed head in her left hand and a sword or a kartika in her right.
Mahakala statue, holding a flaying knife (kartika) and skullcup (kapala). In Buddhism, wrathful deities or fierce deities are the fierce, wrathful or forceful (Tibetan: trowo, Sanskrit: krodha) forms (or "aspects", "manifestations") of enlightened Buddhas, Bodhisattvas or Devas (divine beings); normally the same figure has other, peaceful, aspects as well.
Kartika (knife), used in Buddhist ritual; Kartika (month), in the Hindu calendar or Karthikai in the Tamil calendar; Kartika I (rocket), the first Indonesian sounding rocket; Kartika Airlines, Indonesia; Karthika Deepam, regional Indian festival, related to Diwali
This article falls within the scope of WikiProject Buddhism, an attempt to promote better coordination, content distribution, and cross-referencing between pages dealing with Buddhism.
MM2 may refer to: MM2, a class of force fields; see force field (chemistry) MM2 (MMS), an interface utilized by the Multimedia Messaging Service standard; Mega Man 2, a 1988 video game for the NES; Mega Man II, a 1991 video game for the Game Boy; Midtown Madness 2, a 2000 video game for the PC; Motocross Madness 2, a 2000 video game for the PC
In most Hindu calendars, Kartika begins with the transit of the Sun into Libra, beginning on 18 October and lasting until 15 November. In the Nepali calendar , which is also the country's official calendar, Kartika is the seventh month of the year, similar to the Maithili and Bengali calendars .
Kartika has no permanent studio; like Affandi, she prefers to paint outside in the village environment where she interacts directly with her subjects and on-lookers. This contrasts with most contemporary Indonesian painters, who work in their studios from mind-images, memory, photographs or sketches.