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The Bardo Thodol (Tibetan: བར་དོ་ཐོས་གྲོལ, Wylie: bar do thos grol, 'Liberation through hearing during the intermediate state'), commonly known in the West as The Tibetan Book of the Dead, is a terma text from a larger corpus of teachings, the Profound Dharma of Self-Liberation through the Intention of the Peaceful and Wrathful Ones, [1] [note 1] revealed by Karma ...
The Tibetan Book of Living and Dying, written by Sogyal Rinpoche in 1992, is a presentation of the teachings of Tibetan Buddhism based on the Tibetan Book of the Dead or Bardo Thodol. The author wrote, "I have written The Tibetan Book of Living and Dying as the quintessence of the heart-advice of all my masters, to be a new Tibetan Book of the ...
The text of The Psychedelic Experience discusses the Tibetan Book of the Dead and use the process of death and rebirth presented in it as a metaphor for the experience of ego death or depersonalization that is commonly experienced under the influence of psychedelic drugs.
Lama Kazi Dawa Samdup (left) and Evans-Wentz, circa 1919. Walter Yeeling Evans-Wentz (February 2, 1878 – July 17, 1965) was an American anthropologist and writer who was a pioneer in the study of Tibetan Buddhism, and in transmission of Tibetan Buddhism to the Western world, most known for publishing an early English translation of The Tibetan Book of the Dead in 1927.
Other Tibetan Buddhist practices deal directly with the moment of death, preparing the meditator for entering and navigating the Bardo, the intermediate stage between life and death. This is the theme of the popular Great Liberation through hearing during the intermediate state ( Tibetan Book of the Dead ).
Tibetan Buddhists still make use of the Bardo Thodol (also known as ""Tibetan Book of the Dead"", dating to ca. the 8th century), which describes the experiences of the mind after death. It is recited by lamas over a dying or recently deceased person, or sometimes over an effigy of the deceased.
The premiere production of The Tibetan Book of the Dead was performed by members of the Houston Grand Opera Studio on May 31, 1996, at the Wortham Theater at Rice University. [3] The conductor was Charles Prince, and the stage director was Marcus Stern. The opera received critical acclaim and secured Gordon's place in the operatic genre.
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