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Namu is used in Buddhism as a prefix expressing taking refuge in a Buddha or similar object of veneration. Among varying Nichiren sects, the phonetic use of Nam versus Namu is a linguistic but not a dogmatic issue, [ 15 ] due to common contractions and u is devoiced in many varieties of Japanese words. [ 16 ]
In the throat singing prevalent amongst the Buddhist monks of Tibet and Mongolia, [13] the long and slow outbreath during chanting is the core of the practice. The sound of the chant also serves to focus the mind in one-pointed concentration , while the sense of self dissolves as awareness becomes absorbed into a realm of pure sound.
The canonical Buddhist Vinayas (monastic codes) generally reject the use of musical chanting and singing for reciting the Buddhist scriptures, since it was seen as a sensuous distraction. [15] They are prohibit monks and nuns from listening to or performing music since it is connected with sensual pleasure.
The traditional Chinese Buddhist liturgy for morning chanting (simplified Chinese: 早课; traditional Chinese: 早課), evening chanting (simplified Chinese: 晚课; traditional Chinese: 晚課), and regularly scheduled Dharma services (simplified Chinese: 共修法会; traditional Chinese: 共修法會) in the Chan and Pure Land schools combine mantras, recitation of the Buddha's name and ...
The Jinapanjara (Pali: jinapañjara; Thai: ชินบัญชร, Chinabanchon), sometimes known in English as "The Cage of the Conqueror", is a post-canonical Buddhist Paritta chant. It is the most popular paritta (protective text) in Thailand. [1] It has existed since the end of the nineteenth century, from the time of the reign of Rama II.
The kaihōgyō (回峰行, circling the mountain) is an ascetic practice performed by Tendai Buddhist monks. [ 1 ] [ 2 ] [ 3 ] The practice involves repeatedly walking a route on Mount Hiei , the location of the Tendai school headquarters , all the while offering prayers at halls, shrines and other sacred places.
Shōmyō (声明) is a style of Japanese Buddhist chant, used mainly in the Tendai and Shingon sects. [1] There are two styles: ryokyoku and rikkyoku, described as difficult and easy to remember, respectively. Shōmyō, like gagaku, employs the Yo scale, a pentatonic scale with ascending intervals of two, three, two, two, and three semitones. [2]
[45] [46] For example, the Vajrasamadhi-sutra – a Korean Buddhist text likely composed in the 7th century by an unknown monk, one important to the Chan and Zen Buddhist tradition in East Asia, the Dharani chapter is the eighth (second last), with a brief conversational epilogue between the Tathagata Buddha and Ananda being the last chapter.