A NEW FRAGMENT OF AN UNKNOWN COMMENTARY TO THE YUANJUE JING

Author(s): Zhang Tieshan,Peter Zieme / Language(s): English / Issue: 4/2012

The fragment we are publishing here is preserved in the Chinese Academy of Cultural Heritage (the former China Institute of Cultural Relics). It is the 53rd leaf of an Uigur manuscript that contains the beginning of an unknown commentary to the Yuanjue jing. Other leaves of the same manuscript of the Hedin Collection in Stockholm were studied by K. Kudara in 1992.

Al-Kindī’s treatise on definitions and its place in history of philosophy

Author(s): Tomasz Stefaniuk / Language(s): English / Issue: XXIX/2017

The paper focuses on al-Kindī’s Treatise on definitions - the oldest surviving Arabic glossary of philosophical and scientific terms. Its author presents more than one definition of the term falsafa (philosophy). Does this mean that he was not sure how to explain to his coreligionists what philosophy really is? In this article I aim to focus on the content of all six definitions of philosophy presented in the treatise. I also compare some of al-Kindī’s definitions of philosophy with the way in which some Greek philosophers, known to him, understood it, as well as with certain ideas derived from the source texts of Islam. The results of the study led to the belief that al-Kindī sought to induce his readers to agree that philosophy was not a threat to the Muslim faith, but rather a science which aims to improve man in the moral sense, and also to significantly increase the human knowledge of the world created by God.

AYAGRĪVAVIDYĀ: SPELL TO THE HORSE-NECKED ONE

Author(s): Beáta Kakas / Language(s): English / Issue: 4/2011

The Hayagrīvavidyā included in a Gilgit manuscript belongs to the earliest works invoking the god Hayagrīva. It is a spell which could be applied to achieve several aims. The god destroys the enemies, rescues from danger, his mantra protects against all sorts of evil, demons and black magic. His mare-face is believed to counteract the effects of enemy mantras.

BHAGAVADGITA

Author(s): / Language(s): Romany / Publication Year: 2009

Translation to Romany language of the ancient Indian epic "Bhagavad Gita". / "We translated the ancient Indian epic Bhagavadgita for the first time in the world in the Roma language some ten years ago. The first variant of the text was published in the Andral magazine Nos 10, 19-20, 21, 22-23, 24, 25-26, 27-28 and 29-30 from 2000 till 2003. A decade after the first translation came to light, the translation comes out in a separate revised version. Many times I have pointed out that for me the Andral translations are no more than preliminary attempts; it was far more important for us to participate in a ‘game’ aiming at a goal that was next to impossible in the past and dare tackle the linguistic problems that occurred. The different texts are merely challenges for different solutions. No venture, no win." / "U puranuindueku eposi “Bhagavadgita” irizyam rromani chshibati agu drom desh bresh anglal. Agu variantus hramusaribnasti mukyam andu zhuralusti “Andral” andw ila 10, 19-20, 21, 22-23, 24, 25-26, 27-28 ti 29-30 mashkaral 2000 ti 2003 breshwndi. Desh bresha palal kanatu mukyam u agu kotor, u sastu irizipi akana inkila korrkorimnangu pandakerdu ti lachshwskerdu inkalzipnasti. Aver drom da vakerimas, ta Andraliskw irizipya mangi sini butserni, amingi astsyal mangseyla pis u “khelwybi” ti ovil bizaprimi buti manushwndar, ti shiyzis ti kerws chshipas, kontu her manush anglisarni vakwtsindar phennasli, ta si … bishiyzimnu, hwzlws ti astarws tut ti alakhis u tertipya sar ti irizis u tekstuya, sar ti irizis u inkistu angla tw ekhindi swy nanwy chshibakw problemuya. U ekha-avera hramusaribya sade mangina ti benin andw tuti u indriya ti rodis ekha-avera tertipya ti kerws butsi twrri en lachshws. Bi ti kerws kiya butsi, si nanwyshiyzimis ti alakhis sotu ti ovil."

Bir Anomali Olarak Varidat: Şeyh Bedreddin’in Varidat’inin Felsefi Boyutlari

Author(s): Çetin Türkyilmaz / Language(s): Turkish / Issue: 85/2016

This article deals with philosophical dimensions of various ideas in Sheikh Bedreddin’s work Varidat in relation to those of various currents of thought that are claimed to underlie Bedreddin’s work. First, Neo-platonist notions that are presumed to underpin Sheikh Bedreddin’s views will be presented with reference to Plotinus and Sühreverdi’s works, before pointing at several critical points that distinguish Varidat from the neo-platonist philosophy. At first, the basic difference between Bedreddin and Neo-platonism is based on a thought according to which a body that is a manifestation of God is never be “evil”. Besides, contrary to Sühreverdi’s view, Bedreddin wants to get rid of all transcendent conception of being in his thought. Secondly, considering those claims that Bedreddin was influenced by the Hurifi thought and materialism, the materialist standpoint (Dehrîyyun) represented by İbn Ravendi, and El-Maarri will be discussed to show how Bedreddin’s vision ties in and also differs from it. Bedreddin’s basic difference from materialism (Dehriyyun) stems from a fact that he asserts a mystical conception of being whereas materialism is based on a rationalist perspective in which all things can be explain in a rational way. In contrast to the messianic understanding of Hurufism, for Bedreddin such messianic inclinations and hopes are not important in respect of Sufi thought. Thirdly, Sheihk Bedreddin will placed at midway between the philosophies of İbn Arabi and Spinoza, and Sheikh Bedreddin will be argued to stand closer to Spinoza. On the other hand, it will also be argued that Sheikh Bedreddin departs from Spinoza particularly in terms of methodology. In conclusion, it will be claimed that Sheikh Bedreddin’s Varidat can be considered an anomaly as it stands apart from those all those views despite its resemblances.

Body ‒ Tradition ‒ Expression. Remarks om Japanese Culture

Author(s): Leszek Sosnowski / Language(s): English / Issue: 1/2014

The way the Japanese attribute the meaning to their world and how it becomes under-standable to them seems particularly attractive. This attitude underlies the fundamen-tal difference between the European and Japanese culture. A Westerner seeks to fully disclose the world, unveiling all its secrets. Accordingly, various strategies to achieve this goal have been developed in the Western culture, leading to different results. All scientific (philosophical) and non-scientific (commonsense) stands share a common conviction that truth is a Holy Grail of cognition, and that it is equally unattainable. The Japanese have been shaped by three religions: Shinto, Buddhism and Confucian-ism, and these regulate every aspect of their private as well as social functioning. An internal participant has no difficulties to adjust to the requirements of a particular re-ligion. Likewise, the truth also acquires different meanings depending on the context. For an external observer, however, the overlapping of these diverse domains of life creates a problem, as it results in an original but complicated culture.

Buddhist philosophy for the treatment of problem gambling

Author(s): Edo Shonin,William Van Gordon,Mark D. Griffiths / Language(s): English / Issue: 2/2013

In the last five years, scientific interest into the potential applications of Buddhist-derived interventions (BDIs) for the treatment of problem gambling has been growing. This paper reviews current directions, proposes conceptual applications, and discusses integration issues relating to the utilisation of BDIs as problem gambling treatments. Method: A literature search and evaluation of the empirical literature for BDIs as problem gambling treatments was undertaken. Results: To date, research has been limited to cross-sectional studies and clinical case studies and findings indicate that Buddhist-derived mindfulness practices have the potential to play an important role in ameliorating problem gambling symptomatology. As an adjunct to mindfulness, other Buddhist-derived practices are also of interest including: (i) insight meditation techniques (e.g., meditation on ‘emptiness’) to overcome avoidance and dissociation strategies, (ii) ‘antidotes’ (e.g., patience, impermanence, etc.) to attenuate impulsivity and salience-related issues, (iii) loving-kindness and compassion meditation to foster positive thinking and reduce conflict, and (iv) ‘middle-way’ principles and ‘bliss-substitution’ to reduce relapse and temper withdrawal symptoms. In addition to an absence of controlled treatment studies, the successful operationalisation of BDIs as effective treatments for problem gambling may be impeded by issues such as a deficiency of suitably experienced BDI clinicians, and the poor provision by service providers of both BDIs and dedicated gambling interventions. Conclusions: Preliminary findings for BDIs as problem gambling treatments are promising, however, further research is required.

Buddyzm w literaturze na przykładzie opowiadania Iwan Kublachanow Wiktora Pielewina

Author(s): Aleksandra Imosa / Language(s): Polish / Issue: 5/2015

The subject of this article brings together literary theory and cultural studies as it concerns the introduction of Buddhist elements into literature. Victor Pelevin's Ivan Kublakhanov is studied as an example of this literary phenomenon. The axis of this short story is assumed to be the doctrine of dependent arising. The Four Noble Truths, the concept of Anatman and The Tibetan Book of the Dead are also taken into consideration. Each element is explained briefly and supported by a presentation of appropriate passages from the story.

BUDISTINĖ JOGINĖS PERCEPCIJOS (YOGIPRATYAKṢ A) APOLOGIJA INDIJOJE

Author(s): Audrius Beinorius / Language(s): Lithuanian / Issue: 93/2018

The article is dedicated to the analysis of the conception of yogic perception (yogipratyakṣa) in Indian Buddhist philosophy. By relying on the primary Buddhist Sanskrit sources and contemporary critical studies, the historically relevant questions are raised: how yogic perception has been treated in Indian Buddhist tradition, and especially in the texts by the eminent representatives of its Yogācāra-Vijñānavada logico-epistemological school (Diṅnāga, Dharmakīrti, Ratnakīrti)? Why was it recognised as a valid source of knowledge, and what role was it granted to in the general Buddhist epistemological scheme (pramāṇavada)? Combined – textological semantic, hermeneutical and comparative – methodologies are applied in the course of analysis. The following conclusion has been made: while representing a coherent empiricist and phenomenalist approach, Buddhism has supplemented the classical Indian system of valid means of knowledge with two more means, namely, with that of yogic perception and authoritative testimony (āpta). However, by acknowledging the validity of yogic perception the Buddhists agreed, that it does not ensure per se the cognition of the truth and should be verified by the other valid means of knowledge. Most important from the Buddhist perspective is that such extraordinary perception should correspond to Buddha’s experience and its conceptual description.

Cultural Narratives of Superflat and Supercute – Feasting on the Imaginary

Author(s): Ana Došen / Language(s): English / Issue: 9/2016

Japanese artist Takashi Murakami conceptualized the Superflatart movement based on a “flattened” form of Japanese animation,manga and Edo wood-block art and its specific way of controlling “thespeed of the observer’s gaze”. His “theory of art in two-dimensions”proclaims the absence of depth where all the differences of cultural,social, historical (temporal) contexts operate as comparable and equal.Additionally, the phenomenon of Japanese cuteness (kawaii) – emanatingthe playful, the immature and the gentle – demonstrates an immensefascination towards the realms of “flat” fictional characters. The proliferationof cute characters, ranging from those globally recognized to locallycontextualized mascots (appearing on diverse consumer products),seems to be unrelenting. This paper explores the cultural narratives ofsuperflatness in which viral consumerism obliterates the distinction betweenart and commodity, and gives prominence to no-depth contentdesigned for instant gratification, measured in a blink of an eye.

Czego muzyk improwizator może się nauczyć od mistrza sztuk walki?

Praca z qi w wewnętrznych sztukach walki oraz we współczesnej improwizacji swobodnej

Author(s): Rafal Mazur / Language(s): Polish / Issue: 2/2013

In the Confucian cultural circle it is believed that the efficiency and quality of one’s actions is closely determined by the quality of one’s “work with qi.” This belief is found equally in philosophical writings, texts on aesthetics, and notes of masters of the martial arts, as well as within the so-called “folk/common wisdom.” The phenomenon of “working with qi” is related to working on one’s mind, and on closer examination seems adaptable and applicable in contexts other than that of Chinese culture. In this article I will try to explain what the “work with qi” consists in on the example of Taijiquan martial art, and then sketch a theoretical possibility of “working with qi” in the practice of free improvisation in contemporary music.

Czy Budda praktykował ascezę w okresie poprzedzającym jego przebudzenie? Krytyczna analiza sutty Māhasīhanāda ze zbioru Majjhimanikāya

Author(s): Grzegorz Polak / Language(s): Polish / Issue: 1/2017

It is widely believed, that the Buddha practiced the most radical forms of asceticism and self mortification prior to his awakening. A critical analysis of the suttas depicting that crucial period of his life shows, however, that the only text which portrays the bodhisatta as a foremost ascetic is the Māhasīhanāda Sutta (MN 12/I, 68). The aim of this paper is to examine the issue of the authenticity of this text and thus to answer the question as to whether there is enough ground to claim that the Buddha was an ascetic at all. Through a comparative analysis, I show that the structure and content of the Māhasīhanāda Sutta cannot be reconciled with other suttas from the Majjhima Nikāya, which describe the bodhisatta’s path to awakening. I point out certain late features of the Māhasīhanāda Sutta. Then, through a comparative analysis I try to show that some parts of the Buddhist text may have been borrowed from the Jain Āyāraṁga Sutta. Next, I attempt to reinterpret the term attakilamathānuyogo from the Dhammacakkappavattana Sutta in such a way which will not pertain to asceticism. In the final part of the paper, I try to explain how the view that the Buddha was a foremost ascetic prior to his awakening could have arisen.

DEMOCRATIC ELEMENTS IN TRADITIONAL YORUBA SOCIETY AS A BASIS FOR THE CULTURE OF DEMOCRACY IN AFRICA AND THE GLOBAL SOCIAL ORDER

Author(s): Olatunji A. Oyeshile / Language(s): English / Issue: 2/2017

The paper examines democratic concepts or elements in traditional Yoruba society and their implications for the culture of democracy in Africa and the social order at the global level. One of the major problems confronting African states is the problem of governance. Political crises have metamorphosed into problems of ethnic conflict, war, corruption, economic stagnation, social disorder and paucity of sustainable development in Africa and these crises have also resulted in global disequilibrium. This paper revisits traditional Yoruba society, with a special emphasis on the democratic elements. It adopts as its theoretical framework some aspects of the traditional Yoruba socio-ethical values to underscore the importance of democratic elements based on communal values. Such concepts as ifowosowopo (cooperation), agbajo owo (solidarity), amumora (toler-ance), and ilosiwaju (progress) are examined to point up their roles in addressing the crisis of (democratic) governance. The paper establishes that the inbuilt democratic elements, based on social ethical values, helped to sustain governance in traditional Yoruba society. It is concluded that democratic elements are much more important than democracy itself.

Dharma and Religion in Tagore’s Views

Author(s): Iwona Milewska / Language(s): English / Issue: 1/2014

Rabindranath Tagore (1861–1941), one of the greatest contemporary Indian thinkers, discussed the problem of comparative study of religion and faith on the grounds of global pluralism and religious diversity. He presented his views in numerous poetical works but he also delivered many speeches, mostly addressed to Western audiences. In his writing, Tagore often uses the English term “religion” and the Sanskrit term dharma interchangeably. This article focuses on both key terms and on the question whether they may be seen as equivalent according to him. To answer this question one needs to consider their etymological meanings but also Tagore’s concepts of the so called “Man the Eternal” and “Divinity in Man”.

FALSE FRIENDS IN THE FANFANYU

Author(s): Gudrun Pinte / Language(s): English / Issue: 1/2012

In the present article, a remarkable phenomenon is brought to the attention of those interested in early Chinese translations of Buddhist texts: false friends in the Fanfanyu (T54n2130). Baochang’s Sanskrit–Chinese lexicon that was compiled as early as 517 AD reveals some curious examples of faux amis. In the present contribution, this case will be illustrated with references from the Shanjian lü piposha (T24n1462), a 5th century Chinese translation of the Samantapāsādikā, Buddhaghosa’s commentary on the Pāli Vinaya. The fact that Baochang did not realise that this text was not translated from Sanskrit, inadvertently gave rise to some interesting jeux de mots.

Further Remarks Apropos of the 'Ba'-rom-pa and the Tanguts

Author(s): Elliot Sperling / Language(s): English / Issue: 1/2004

The 'Ba'-rom-pa subsect of the Tibetan Buddhist Bka'-brgyud-pa sect played an instrumental role in establishing the cult of Mahākāla at the court of the last Tangut emperors. The cult was a major element in ritual Tibetan Buddhist practices utilised to empower these Tangut emperors in the mundane world. It is from this tradition that the practice of propitiating Mahākāla came to be adopted by the Tangut state's Mongol conquerors. Over the last several years, a number of new sources have become available that detail aspects of the 'Ba'-rom-pa role at the Tangut court. Using them allows for a deeper understanding of the life of Ti-shrī Ras-pa, the last Tibetan imperial preceptor at that court, and of his place in the transmission of teachings that included the explicitly power-oriented Mahākāla instructions transmitted by Rtsa-mi lo-tsā-ba. These sources also cast new light on the existing accounts of the Mongol siege of the Tangut capitol, from a Tibetan perspective, and permit us to make some reasonable identifications of the Tangut emperors mentioned in Tibetan sources with those mentioned in Chinese sources.

Hedonism and Indian philosophy of peace: An examination

Author(s): Aditya Kumar Gupta,Kanika Saraf / Language(s): English / Issue: XXIX/2017

This paper deals with critical analysis of western hedonism in the light of Indian theory of peace. Indian Philosophers have made ‘peace’ the goal of worldly human life, which is keeping equidistance from pleasure and pain. Attachment is the reason behind the presence of these two ‘sovereign masters’ of Human life. External thing or any other human being is not capable of indulging us either of them; it is the worldly attachment which brings Pleasure and pain. Pleasure and pain always come together. Western Hedonists could not go to the root of pleasure or pain in life. Their observation was mere empirical. Indian thinkers, except those of Carvaka school, have given a particular philosophy which is Peace oriented and which finds worldly pleasures or pains temporary and mostly ‘man-made’.

Historia ceremonii herbacianej w Japonii

Author(s): Michal Sokolowski / Language(s): Polish / Issue: 4/2014

Ceremonia herbaciana jest czymś niezwykle złożonym i prostym zarazem. Z jednej strony może być traktowana jako wyraz filozofii, duchowości, kultury i estetyki Dalekiego Wschodu, może być analizowana przez pryzmat buddyzmu zen, pośrednio także taoizmu, który do jego wykształcenia się przy-czynił, może być umiejscawiana w chińskiej i japońskiej kulturze i historii. Jest także ceremoniałem obostrzonym mnóstwem niezwykle szczegółowych i precyzyjnych reguł i zasad. Z drugiej strony pozostaje prostą czynnością wspólnego wypicia herbaty w atmosferze życzliwości i harmonii, bardzo przy tym uniwersalną i naturalną. Z jednej strony jest wyrafinowaną sztuką, z drugiej – całościową drogą życia. Złożoność nie wyklucza prostoty, gdy to, co najprostsze, okazuje się najtrudniejsze. Zen i ceremonię herbacianą łączy przekonanie o możliwości sięgnięcia w głęboki wymiar codzienności i znalezienia głębi w tym, co zwyczajne. Zarówno w zen, jak i w ceremonii herbacianej ważniejsze od zamkniętego systemu reguł są wskazówki i własna praktyka – nie jest możliwe dotarcie do ich sedna poprzez słowa ani poprzez teorię.Ceremonia herbaciana w duchu zen uczy sięgania do Doskonałości, której doświadczenie „tu i teraz” umożliwia osiągnięcie szczęścia nieuwarunkowanego od spełniania pragnień –w tym sensie pozostaje też aktualna i żywa niezależnie od obowiązującej etykiety, form, sposobów nauczania, interpretacji.

İbn Miskeveyh’de Estetiğin Tezâhürleri

Author(s): Ramazan Turan / Language(s): Turkish / Issue: 2/2017

It cannot be said that Ibn Miskawayh (d. 421/1030) who lived in the 11th century, systematically addressed the fundamental issues of aesthetics and philosophy of art. But he dealt with aesthetic experience and beauty as a problem. He regards the basic characters of the aesthetic experience as unity. The unity is the nature of the divine and purpose of seeking harmony, proportion and rhythm in the physical world is to approach this unity. According to him, the beauty is an objective concept and the thing that is beautiful is determined in the triangle of soul-nature-matter. What makes something beautiful is the harmony between the soul that reflects the divine and the sufficiency of the substance which has an ability to take it. When the artist processes the appropriate thing for the soul on the matter then the completeness arises. The completeness is the product of the relationship between theory and practice, each of them completes the other. Ibn Miskawayh also analyzes music and poetry in his work, and he thinks that music is the closest experience to reach the divine. The experience which is obtained through music is more influential than any other arts. In his view, music is related to the unity and the cosmic order. He has a prudent approach to poetry because he draws attention to the fact that the poetry uses tricks which irritate direct the soul.Summary: The aim of this study is to examine the aesthetics experience and beauty expressions in the Ibn Miskawayh’s (d. 421/1030) thought. He dealt with aesthetic experience and beauty as a problem. He mentions two kinds of beauty perception: the first one is temporary and partial beauty, the other one is general beauty perception. The temporary and partial beauty sense is individual, there is no objective criterion. But the general beauty sense is mentioned as an objective and the real beauty. According to him, the forms are seen beautifully by people is a result of the completeness and harmony between elements. Ibn Miskawayh's view of aesthetic experience arises in four aspects. The first is triangle of soul-nature-matter where the nature is the front namely the dimension in which nature is effective when we have to determine the aesthetic harmony between matter and soul. The intervention of the artist at this dimension has no effect. Beauty, unity and harmony are determined by the ability of material to take shape and the model taken from the soul. The more the resulting product represents the soul, the more its impact on the perceiving. This is the effect on objects that appear as beauty, flaw, ugliness, and that perceive visually.In the second dimension, which is the triangle of soul-nature-matter, the artist takes place between nature and material, where the artist is more active. Artist composes a matter while performing art. The aesthetic formation of the artist's product, in the first place, is the representation of the nature and even the soul forms. If the artist reflects the forms of the soul in his work and he imitates its forms, the product which is obtained becomes better. At that moment the artist enjoys his art, takes pleasure and feels special feelings.The other dimension is the aesthetic experience that is obtained by avoiding the effects of nature, which is only about music. According to him, the pleasure of music is more effective than the others and it is like pleasures of the divine world. A person who is competent to receive the divine goes beyond physical pleasures by the influence of music. But on the contrary, there are also some voices that affect the person in the negative and that disturb the soul.Forth, the material dimension. Although the source of the principles that enable the aesthetic experience base on in the divine world, the material has an effect on this experience. In other words, in the formation of this experience, the ability of the material to take the form of soul must be perfect. He explains this by giving examples of the wax and seal. According to this, if the wax is not competent enough to receive, for example dry, wet, solid or melted, the seal cannot take that form even if it is competent to give a copy, the wax cannot take it. Therefore, it must be free from imperfections.According to him, the reasons why we perceive something beautiful are the balance, harmony, rhythm, and conformity in colors and measure. These criteria are different for every artistic experience. Moderation and balance are related to visual experience; harmony and rhythm are related to music; hardness, softness, loudness is related to sound and meter is related to literature. All of these arise when the forms are that appropriate to what they received from. That is, there should be a proportion among soul, nature, artist and matter. There is no need for proportions if there is a unity but if there is no unity then we need for proportions that catch it. In addition, his emphasis on unity seems to reflect New Platonist influences as well as being a reflection of the principle of the Tawḥid of Islam.He draws attention to the fact that the unity must exist in literary arts, in poetry and literature should have a single measure and it must obey it until it is finished. In his opinion, if the order is established in literary arts, that is, if the place is not filled unnecessarily thing and put the words appropriate to the meaning, it is not pleasant to audience.According to him, if there is practice and experience in performing art then it becomes the art. If only the theoretical knowledge is taken into account and is not constantly supported by work and practice, it is not possible to talk about the artistic skill. According to him, the artist is also an expert in art. Hence, the harmony of the theoretical and the practical field provides the best excellence, while the route that leads to excellence determines the purpose of that thing in its nature.He explains the influence of music on souls in terms of the unity and the harmonic ratio. According to him, there is important relation between music and the order of the universe. According to him the divine order and harmony are the gifts of the Supreme Creator. There is only the man, who is intelligent, strives to reach divine order, which is the ultimate goal. This view is close to the tradition that represented by Ikhwān aṣ-Ṣafā.While Ibn Miskawayh has given place to poems in his works, he draws attention not only to its positive aspects but also to its negative effect. He does not reject poetry, but draws attention to the need for children to be taught poems about good habits supported by historical information. Also, they should be kept away from worthless poems which their subject is love and lovers and from the thought that the poets are fine-hearted persons. From this point, his opinions refer to the Platonic view, but Ibn Miskawayh’s concern about poetry is pure ethical concern.