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Aaron Proffit explains the benefits of the long version of the dharani according to the tradition of Chinese Esoteric Buddhism as follows: [4] Chanting this dhāraṇī one thousand times is said to purify all past karma, bestow rebirth in the highest level of Sukhāvatī, and produce visions of Sukhāvatī , Amitāyus Buddha, and assemblies of ...
The belief was that a person who had accumulated much bad karma, and possible rebirth in Hell would be immediately freed and allowed a favorable rebirth into the Pure Land of Amitabha Buddha. This practice is known as dosha-kaji (土砂加持) in Japanese. Today, the mantra remains one of the most popular mantras in Shingon Buddhism
Singing Dharma songs is an extraodinarily skillful and enjoyable Buddhist practice technique that Rinpoche has introduced to his students in a variety of ways: Rinpoche himself sings regularly; he has given illuminating explanations of the profound songs of the great masters; has composed many of his own songs; and has instructed and encouraged ...
Descent paintings (known as "raigo" in Japanese) showing Amitabha with a host of bodhisattvas coming to lead the dying to the pure land often show twenty five bodhisattvas playing music. In the artistic traditions of Vajrayana Buddhism , a distinction is made between Amitāyus (Buddha of Infinite Life) and Amitābha (Buddha of Infinite Light).
The purpose of this sūtra is said to be to help sentient beings in a troubled and tumultuous world. According to this sūtra, beings will leave suffering and obtain happiness, increase in prosperity and longevity, remove karmic obstacles, eliminate disasters and calamities, remove enmity and hatred, fulfill all wishes, and quickly be led onto the Buddha's way.
The last line of the dharani is used as Yaoshi's short form mantra. Furthermore, much like the nianfo path of Amitabha, the name of Yaoshi is also recited for the benefit of being reborn in the Eastern Pure Lands, though this is deemphasized in favor of Yaoshi's role for the living. [citation needed]
During the Song dynasty, Yuanzhao (Chinese: 元照, 1048–1116) composed a commentary that draws on the various views found in Tiantai and in Shandao. Later in the Ming dynasty , Yunqi Zhuhong (1535–1615) composed a commentary which explains the sutra from the perspective of Huayan's teaching of principle and phenomena. [ 8 ]
The Phoenix Hall of Byōdō-in, which is seen as a model of what the Pure Land looks like. [8]Raigō paintings, in addition to depicting Amida, the Bodhisattvas, and the deceased, would also utilize local landscapes from which the painting is dedicated, as well as temple complex it is on.