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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.
The alchemical symbol for the sun and various sun gods. Also the alchemical symbol for gold which is the metal represented by the Sun which is the astral counterpart. Eye of Horus: Ancient Egyptian religion: The eye of the god Horus, a symbol of protection, now associated with the occult and Kemetism, as well as the Goth subculture.
Relief fragment of Mara in Gandhara style, found in Swat Valley The demons of mara. Palm leaf manuscript. Nalanda, Bihar, India Mara's assault on the Buddha (an aniconic representation: the Buddha is only symbolized by his throne), 2nd century, Amaravati Stupa, India Mara, his lustful daughters, and demonic army, attempting to tempt Buddha, on a 10th-century icon from Mogao Caves
In Tibetan Buddhism, the Three Jewels and Three Roots are supports in which a Buddhist takes refuge by means of a prayer or recitation at the beginning of the day or of a practice session. The Three Jewels are the first and the Three Roots are the second set of three Tibetan Buddhist refuge formulations, the Outer , Inner and Secret forms of ...
Vajrayogini, a semi-wrathful dakini who is also known as sarvabuddhaḍākiṇī, the all-buddha Dakini.. In non-Tantric traditions of Mahayana Buddhism, these beings are protector deities who destroy obstacles to the Buddhas and the Dharma, act as guardians against demons and gather together sentient beings to listen to the teachings of the Buddhas.
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The three poisons (Sanskrit: triviṣa; Tibetan: dug gsum) in the Mahayana tradition or the three unwholesome roots (Sanskrit: akuśala-mūla; Pāli: akusala-mūla) in the Theravada tradition are a Buddhist term that refers to the three root kleshas that lead to all negative states.
Representations of the five Dhyani Buddhas, who are abstract aspects of Buddhahood rather than Buddhas or gods, have elaborate differences. [6] Each must face in a different direction (north, south, east, west, or center), and, when painted, each is a different color (blue, yellow, red, green, or white).