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Focusing on compassion means that meditation consists of the wish to relieve a being from suffering, whereas focusing on loving-kindness means wishing a being happiness. [ 8 ] [ 9 ] The practice gradually increases in difficulty with respect to the targets that receive the practitioner's compassion or loving-kindness.
Kannon (観音)- the goddess of mercy and compassion, found not only in temples, but also in Shinto shrines. karamon (唐門) – generic term for a gate with an arched roof. [1] See also mon. karesansui* (枯山水) – lit. dry landscape. A Japanese rock garden, often present in Zen temples, and sometimes found in temples of other sects too.
Throughout the Mahāyāna world, Avalokiteśvara (Sanskrit; Chinese: Guan Yin; Japanese: Kannon; Tibetan: Chenrezig) is a bodhisattva who embodies karuṇā. In the Intermediate section of the Stages of Meditation by Kamalaśīla, he writes: Moved by compassion[karunā], Bodhisattvas take the vow to liberate all sentient beings.
Omamori, another kind of Japanese talisman, shares the same origin as and may be considered as a smaller and portable version of ofuda. A specific type of ofuda is a talisman issued by a Shinto shrine on which is written the name of the shrine or its enshrined kami and stamped with the shrine's seal .
Ninjō (人情, "human emotion or compassion") in Japanese, is human feeling that complements and opposes the value of giri, or social obligation, within the Japanese worldview. [1] Broadly speaking, ninjō is said to be the human feeling that inescapably springs up in conflict with social obligation. [2]
It has the Japanese symbol for 'light' written on or in it, copied from Okada's sacred art calligraphy and is blessed by the current Kyoshu Spiritual Leader. [13] It is a symbol of membership of a Johrei organisation and the member's dedication to Meishu-Sama and his teachings. [ 13 ]
The earliest Buddhist art is from the Mauryan era (322 BCE – 184 BCE), there is little archeological evidence for pre-Mauryan period symbolism. [6] Early Buddhist art (circa 2nd century BCE to 2nd century CE) is commonly (but not exclusively) aniconic (i.e. lacking an anthropomorphic image), and instead used various symbols to depict the Buddha.
[255] Its ideas and images are writ large in great works of Chinese and Japanese literature such as The Dream of the Red Chamber and The Tale of Genji. [256] The Lotus Sūtra has had an outsized influence on Japanese Buddhist poetry. [257] Far more poems have been Lotus Sūtra-inspired than other sutras. [258]