Dhammapada Verse 302 Vajjiputtakabhikkhu Vatthu-Samsara - Journey
ABOUT AWAKEN ONES WITH AWARENESS China
Beijing
• Big Bell Temple (Juesheng Temple) • Fayuan Temple
• Guanghua Temple
• Guangji Temple
• Jietai Temple
• Miaoying Temple
• Tanzhe Temple
• Temple of Azure Clouds
• Tianning Temple
• Wanshou Temple
• Yonghe Temple
• Yunju Temple
• Zhenjue Temple
• Zhihua Temple
This sutta is widely considered as a the main reference for meditation practice.
E3. Nirodhasacca Niddesa
Katamaṃ ca, bhikkhave, dukkha·nirodhaṃ ariya·saccaṃ? Yo tassā-y·eva taṇhāya asesa-virāga-nirodho cāgo paṭinissaggo mutti anālayo. Sā kho pan·esā, bhikkhave, taṇhā kattha pahīyamānā pahīyati, kattha nirujjhamānā nirujjhati? Yaṃ loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. |
E3. Exposition of Nirodhasacca
And what, bhikkhus, is the dukkha-samudaya ariyasacca? It is this taṇhā leading to rebirth, connected with desire and enjoyment, finding delight here or there, that is to say: kāma-taṇhā, bhava-taṇhā and vibhava-taṇhā. But this taṇhā, தமிழ் E3. Nirodhasaccaமுடிவுறுகிற சத்தியத்தை விளக்கிக்காட்டுதல் மற்றும் எது, பிக்குகளே, dukkha-samudaya ariyasacca துக்கத்தின் மூலக்காரணமான மேதக்க மெய்ம்மை ?அது இந்த, மறுபிறப்பிற்கு வழிகாட்டும் அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, அத்துடன் இணைக்கப்பட்ட ஆர்வ வேட்கை மற்றும் இன்பம் நுகர்தல், இங்கும் அங்குமாக களிப்பூட்டு காண்டல், அதை வாக்காட: kāma-taṇhā, bhava-taṇhā and vibhava-taṇhā புலனுணர்வுக்கு ஆட்பட்ட சபல இச்சை, மறுமுறை தொடர்ந்து உயிர் வாழ அடக்க முடியாத ஆசை மற்றும் மறுமுறை தொடர்ந்து உயிர் வாழாதிருக்க அடக்க முடியாத ஆசை. ஆனால் இந்த taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, பிக்குளே, எழும்பும் நேரத்தில், அது எங்கே யெழும்புகிறது, தானே நிலைகொள்கிற நேரத்தில், அது எங்கே நிலைகொள்கிறது? அங்கே இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிற , அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எழும்பும் நேரத்தில், எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது. |
Kiñca loke piya·rūpaṃ sāta·rūpaṃ? Cakkhu loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Sotaṃ loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Ghānaṃ loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Jivhā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Kayo loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Mano loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. |
And what in the world is pleasant and agreeable? The eye in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The ear in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The nose in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The tongue in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. Kāya in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. Mana in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. மற்றும் எது இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறது? இந்த கண் உலகத்தினுள்ளே மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறது, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது. இந்த காது உலகத்தினுள்ளே மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறது, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது. இந்த மூக்கு உலகத்தினுள்ளே மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறது, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது. இந்த நாக்கு உலகத்தினுள்ளே மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறது, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ,முடிவுறுகிறது. இந்த Kāya காயம் உடல் உலகத்தினுள்ளே மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறது, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது. Mana மனம் உலகத்தினுள்ளே மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறது, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது. |
Rūpā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Saddā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Gandhā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Rasā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Phoṭṭhabbā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Dhammā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. |
Visible forms in the world are pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. Sounds in the world are pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. Smells in the world are pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. Tastes in the world are pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. Bodily phenomena in the world are pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. Dhammas in the world are pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. கண்ணுக்கு தெரிகிற படிவங்கள் இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது.ஒலிகள், இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது. வாசனைகள், இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எழும்பும் நேரத்தில், அது எங்கே எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது. சுவைகள் இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எழும்பும் நேரத்தில், அது எங்கே எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது. உடலியல்பான புலனுணர்வாதம் இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எழும்பும் நேரத்தில், அது எங்கே எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது.Dhammas தம்மங்கள் யாவுங் கடந்த மெய்யாகக் காண்டல் கட்டம் இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, அது எங்கே எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது. |
Cakkhu·viññāṇaṃ loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Sota·viññāṇaṃ loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Ghāna·viññāṇaṃ loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Jivhā·viññāṇaṃ loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Kāya·viññāṇaṃ loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Mano·viññāṇaṃ loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. |
The eye-viññāṇa in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The ear-viññāṇa in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The nose-viññāṇa in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The tongue-viññāṇa in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. Kāya-viññāṇa in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. Mana-viññāṇa in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. இந்த eye-viññāṇa கண்-விழிப்புணர்வுநிலை இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது.இந்த ear-viññāṇa காது-விழிப்புணர்வுநிலை இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, |
Cakkhu·samphasso loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Sota·samphasso loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Ghāna·samphasso loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Jivhā·samphasso loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Kāya·samphasso loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Mano·samphasso loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. |
The eye-samphassa in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The ear-samphassa in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The nose-samphassa in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The tongue-samphassa in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. Kāya-samphassa in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. Mana-samphassa in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. இந்த eye-samphassa கண்-தொடர்பு இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, |
Cakkhu·samphassa·jā vedanā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Sota·samphassa·jā vedanā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Ghāna·samphassa·jā vedanā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Jivhā·samphassa·jā vedanā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Kāya·samphassa·jā vedanā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Mano·samphassa·jā vedanā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. |
The vedanā born of eye-samphassa in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The vedanā born of ear-samphassa in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The vedanā born of nose-samphassa in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The vedanā born of tongue-samphassa in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The vedanā born of kāya-samphassa in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The vedanā born of mana-samphassa in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The vedanāவேதனையால் பிறந்த இந்த eye-samphassa கண்-தொடர்பு இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது.இந்த ear-samphassa காது-தொடர்பு இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது.இந்த nose-samphassa மூக்கு-தொடர்பு இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது.இந்த tongue-samphassa நாக்கு-தொடர்பு இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது.
இந்த Kāyaகாயம் -samphassa உடம்பு-தொடர்பு இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, |
Rūpā·saññā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Sadda·saññā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Gandha·saññā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Rasa·saññā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Phoṭṭhabba·saññā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Dhamma·saññā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. |
The saññā of visible forms in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The saññā of sounds in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The saññā of smells in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The saññā of tastes in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The saññā of bodily phenomena in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The saññā of Dhammas in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. இந்த saññā புலனுணர்வு கண்ணுக்கு தெரிகிற படிவங்கள் இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை,எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, |
Rūpā·sañcetanā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Sadda·sañcetanā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Gandha·sañcetanā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Rasa·sañcetanā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Phoṭṭhabba·sañcetanā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Dhamma·sañcetanā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. |
The intention [related to] visible forms in the world is pleasant and agreeable, there taṇhā, இந்த புலனுணர்வு தொகுத்த பொதுக் கருத்துப்படிவம் தொடர்புடைய கண்ணுக்கு தெரிகிற படிவங்கள் இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது.ஒலிகள், இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது.வாசனைகள், இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது.சுவைகள் இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது. உடலியல்பான புலனுணர்வாதம் இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது.Dhammas தம்மங்கள் யாவுங் கடந்த மெய்யாகக் காண்டல் கட்டம் இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை,எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, |
Rūpā·taṇhā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Sadda·taṇhā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Gandha·taṇhā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Rasa·taṇhā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Phoṭṭhabba·taṇhā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Dhamma·taṇhā loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. |
The taṇhā for visible forms in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The taṇhā for sounds in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The taṇhā for smells in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The taṇhā for tastes in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The taṇhā for bodily phenomena in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The taṇhā for dhammas in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. இந்த taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, கண்ணுக்கு தெரிகிற படிவங்கள் இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, |
Rūpā·vitakko loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Sadda·vitakko loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Gandha·vitakko loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Rasa·vitakko loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Phoṭṭhabba·vitakko loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Dhamma·vitakko loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. |
The vitakka of visible forms in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The vitakka of sounds in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The vitakka of smells in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The vitakka of tastes in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The vitakka of bodily phenomena in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The vitakka of dhammas in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. இந்த vitakka எண்ணம்/எதிரொளி கண்ணுக்கு தெரிகிற படிவங்கள் இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை,எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, |
Rūpā·vicāro loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Sadda·vicāro loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Gandha·vicāro loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Rasa·vicāro loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Phoṭṭhabba·vicāro loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Dhamma·vicāro loke piya·rūpaṃ sāta·rūpaṃ etthesā taṇhā pahīyamānā pahīyati, ettha nirujjhamānā nirujjhati. Idaṃ vuccati, bhikkhave, dukkhanirodhaṃ ariyasaccaṃ. |
The vicāra of visible forms in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The vicāra of sounds in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The vicāra of smells in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The vicāra of tastes in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The vicāra of bodily phenomena in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. The vicāra of dhammas in the world is pleasant and agreeable, there taṇhā, when abandoned, is abandoned, there when ceasing, it ceases. This is called, bhikkhus, the dukkhanirodha ariyasacca. இந்த vicāra ஒரு விஷயம் முடியும் முன்பே மற்றொரு விஷயத்திற்கு மாறுகி எண்ணம் கண்ணுக்கு தெரிகிற படிவங்கள் இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை, எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, எங்கே எப்போது முடிவுறுகிறதோ, முடிவுறுகிறது.ஒலிகள், இந்த உலகத்தினுள்ளே எவை மகிழ்வளிக்கிற மற்றும் ஒத்துக்கொள்கிறதாகக் காணப்படுகிறதோ, அங்கே தான் taṇhā அடக்க முடியாத ஆசை/இச்சை/தாகம்/தகாச் சிற்றின்பவேட்கை,எப்போது கைவிடப்பட்டதோ, கைவிடப்படுகிறது, |
Hard’s the going-forth, hard to delight in it,
hard the household life and dukkha is it too.
Dukkha’s to dwell with those dissimilar
and dukkha befalls the wanderer.
Be therefore not a wanderer,
not one whom dukkha befalls.
Explanation: It is hard to become a monk;
it is hard to be happy in the practice of a monk. To live with those of
a different temperament is painful. A traveller in samsara is continually
subject to dukkha; therefore, do not be a traveller in samsara; do not
be the one to be repeatedly subject to dukkha.
Dhammapada Verse 302
Vajjiputtakabhikkhu VatthuDuppabbajjam durabhiramam
duravasa ghara dukha
dukkho’ samanasamvaso
dukkhanupatitaddhagu
tasma na caddhagu siya
na ca dukkhanupatito siya.Verse 302: It is hard to become a bhikkhu; it is hard to be happy in the
practice of a bhikkhu. The hard life of a householder is painful; to live with
those of a different temperament is painful. A traveller in samsara is
continually subject to dukkha; therefore, do not be a traveller in samsara; do
not be the one to be subject to dukkha again and again.
The Story of the Bhikkhu from the Country of the Vajjis
While residing at the Veluvana monastery, the Buddha uttered Verse (302) of
this book, with reference to a bhikkhu from Vesali, a city in the country of the
Vajjis.On the night of the full moon day of Kattika, the people of Vesali celebrated
the festival of the constellations (Nakkhatta) on a grand scale. The whole city
was lit up, and there was much merry-making with singing, dancing, etc. As he
looked towards the city, standing alone in the monastery, the bhikkhu felt
lonely and dissatisfied with his lot. Softly, he murmured to himself,
“There can be no one whose lot is worse than mine”. At that instant,
the spirit guarding the woods appeared to him, and said, “those beings in
niraya envy the lot of the beings in the deva world; so also, people envy the
lot of those who live alone in the woods.” Hearing those words, the bhikkhu
realized the truth of those words and he regretted that he had thought so little
of the lot of a bhikkhu.Early in the morning the next day, the bhikkhu went to the Buddha and
reported the matter to him. In reply, the Buddha told him about the hardships in
the life of all beings.Then the Buddha spoke in verse as follows:
Verse 302: It is hard to become a bhikkhu; it is hard
to be happy in the practice of a bhikkhu. The hard life of a
householder is painful; to live with those of a different temperament
is painful. A traveller in samsara is continually subject to dukkha;
therefore, do not be a traveller in samsara; do not be the one to be
subject to dukkha again and again.
At the end of the discourse the bhikkhu attained arahatship.
Beijing
• Big Bell Temple (Juesheng Temple) • Fayuan Temple
http://en.wikipedia.org/wiki/Big_Bell_Temple
The Big Bell Temple, or Da Zhong Temple (simplified Chinese: 大钟寺; traditional Chinese: 大鐘寺; pinyin: Dàzhōng Sì), originally known as Jue Sheng Temple (simplified Chinese: 觉生寺; traditional Chinese: 覺生寺; pinyin: Juéshēng Sì), is a Buddhist temple located on Beisanhuan Road in Beijing, China.
The Big Bell Temple was built in 1733 during the reign of Emperor Yongzheng of the Qing Dynasty (1644-1911).[1] The temple’s name came after the famous “Yongle” Big Bell that is housed inside the temple, which was cast during the reign of Emperor Yongle (1403-1424) of the Ming Dynasty (1368-1644).[1] According to a test by the Chinese Academy of Sciences,
the Yongle Big Bell’s sound could reaches up to 120 decibels and can be
heard 50 kilometers away from the temple in the depth of night.[2]
Many music experts, including some from the Chinese Acoustics Institute
have found its tone pure, deep and melodious with a sprightly rhythm.
Its frequency ranges from 22 to 800 hertz.[2]
Accord to about.com:
The Yongle Big Bell weighs about 46 tons, with a
height of 5.5 meters and a diameter of 3.3 meters. The bell is famous
not only because of its size, but probably more importantly because of
the over 230,000 characters of Buddhist scriptures engraved on it.—About.com[1]
The Fayuan Temple (Chinese: 法源寺; pinyin: Fǎyuán Sì), situated in the southwest quarter of central Beijing, is one of the city’s most renowned Buddhist temples.
The temple was first built in 645 during the Tang Dynasty by Emperor Li Shimin,[1] and later rebuilt in the Zhengtong Period (1436–1449) of the Ming Dynasty.
The temple occupies an area of 6,700 square meters. The temple also
contains a large number of cultural relics, including sculptures of
ancient bronzes, stone lions, as well as gilded figures of the three
Buddhas-Vairochana. The temple also features large number of Buddhist
texts from the Ming and Qing dynasties.[2]
It has a compact overall arrangement and buildings are arranged along
the medial axis symmetrically. Main buildings there include the Gate of
Temple, Heavenly King Hall, Main Hall, Hall of Great Compassion, Sutra
Hall, and Bell and Drum Towers.
On both sides of the Gate of Temple stand the Bell Tower and the Drum
Tower respectively. The Main Hall, which is magnificent and sacred,
houses Statues of Flower Adornment School’s three saints: Vairocana
Buddha, Manjusri, and Samantabhadra. The Hall of Great Compassion houses
statues, carved stones, and artistic masterpieces. Among these statues
there stand some of the most valuable statues in ancient China - Pottery
Statue of Sitting Buddha of the Eastern Han Dynasty (25-220), Pottery-bottle Statue of Buddha of the Eastern Wu Dynasty (229-280), Stone Statue of Buddha of the Tang Dynasty (618-907), and Steel-cast Statue of Guanyin.
Taiwan writer Li Ao,
who published a novel: “Martyrs’ Shrine: The Story of the Reform
Movement of 1898 in China” (another name is called “Fayuan Temple”), is
about the beginning and the failure of the Hundred Days’ Reform in later
Qing Dynasty. He was won the nomination of Nobel Prize for Literature.
• Guanghua Temple
http://en.wikipedia.org/wiki/Guanghua_Temple_%28Beijing%29
Guanghua Temple (simplified Chinese: 广化寺; traditional Chinese: 廣化寺; pinyin: Guǎnghuā Sì) is located on 31 Ya’er Hutong, north of Shichahai in the Xicheng District of Beijing. First found during the Yuan Dynasty (1271 - 1368), it is one of Beijing’s most renowned Buddhist temples.[1]
• Guangji Temple
http://en.wikipedia.org/wiki/Guangji_Temple
The Guangji Temple (simplified Chinese: 广济寺; traditional Chinese: 廣濟寺; pinyin: Guǎngjì Sì) of Beijing, located at inner Fuchengmen Street, in the Xicheng District, is a renowned Buddhist temple. It is also the headquarters of the Buddhist Association of China.
Originally built in the Jin Dynasty (1115-1234), additions were made to the temple by successive dynasties. However, the present temple was completed during the Ming Dynasty (1368–1644). It covers an area of 5.766 acres (23,330 m2). The major structures in the temple divides between the main gate and four other large halls and many other temples.[1]
The temple houses a wall of 18 Buddhist deities, many Ming Dynasty
religious relics and a library of over 100,000 volumes of scriptures in
20 different languages, some of which date back to the time of the Song Dynasty.
• Jietai Temple
http://en.wikipedia.org/wiki/Jietai_Temple
Jietai Temple (Chinese: 戒台寺; pinyin: Jiè Tāi Sì) is a Buddhist temple in Mentougou District in western Beijing, China. It was constructed during the Tang dynasty, with major modifications made during the Ming and Qing Dynasties.
Like the older Tanzhe Temple nearby along China National Highway 108, Jietai Temple is now a tourist attraction of Beijing.
• Miaoying Temple
http://en.wikipedia.org/wiki/Miaoying_Temple
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The Miaoying Temple (simplified Chinese: 妙应寺; traditional Chinese: 妙應寺; pinyin: Miàoyìng Sì), also known as the “White Stupa Temple” (Chinese: 白塔寺; pinyin: Báitǎ Sì), is a Chinese Buddhist temple on the north side of Fuchengmennei Street in Xicheng District of Beijing.
There were temples built on the sites since the Liao and Yuan dynasties. The temple’s famous white stupa also dates to the Yuan Dynasty. However, the present-building dates to the Ming Dynasty as well as its given name, “Miaoying”, meaning “Divine Retribution”.[1]
In 1961, then Chinese Premier Zhou En-lai signed a Proclamation
stating that the Temple was to be protected as a National Treasure. This
Proclamation kept the White Stupa safe during the Cultural Revolution
of the 1960s.
In 1976, the temple was seriously damaged by the Tangshan earthquake. The top of stupa tilted to one side, and the bricks and mortar supporting the stupa crumbled off, and many relics were broken.
In 1978, the Beijing Department of Cultural Relics undertook the task
of repairing and renovating the temple. The courtyards, the four
corner-pavilions, the Hall of the Buddhas of the Three Ages, the Hall of
the Heavenly Kings (Tianwangdian) in front of the stupa, the Hall of
the Seven Buddhas and the stupa itself were repaired and renovated.[1]
As of 2010, the Stupa complex is currently undergoing another renovation.
Statue of the Nepali architect, Araniko, who helped construct the temple’s dagoba
• Tanzhe Temple
http://en.wikipedia.org/wiki/Tanzhe_Temple
The Tanzhe Temple (Chinese: 潭柘寺; pinyin: Tán Zhè Sì; literally “Temple of Pool and Zhe Tree“) is a Buddhist temple situated in the Western Hills, a mountainous area in western Beijing.
It is one of the most well-known temples in Beijing. At one time, it
was one of the most important temples in the nation. The temple is
located near China National Highway 108 in the Mentougou District of Beijing.
Built in the Jin Dynasty (265–420), it has an age of around 1,700 years. The area of the entire temple is 100 mu (6.8 hectares), and its arrangement of halls is akin to that found in the Ming and Qing dynasties. Tanzhe Temple is one of the oldest temples in Beijing.
Most of the existing buildings in the temple are from the Ming and
Qing dynasties, and there are pagodas from various historical periods
such as the Jin, Yuan, Ming and Qing dynasties. The two “Emperor trees”
by the Hall of Three Sages were planted during the Liao Dynasty about 1,000 years ago.
The spacious and imposing buildings are arranged in three main
northsouth axes. Along the central axis are the Archway, the Front Gate,
Deveraja Hall, Mahavira Hall and Vairochana Pavilion.
The temple’s central hall is its Mahavira Hall. 24 metres in length, 33 metres wide. Buddhist monks regularly perform religious ceremony here.
The temple is divided between the Hall of Abstinence, the Ordination Altar and the Hall to Guanyin. The latter has received fame because of its association with princess Miaoyan, daughter of Kublai Khan.
The princess is said to have entered the nunnery here in the 13th
century. The indentations can be found on the stone on which she always
knelt and prayed within the hall. Supposedly she was also buried within
the temple compound.
To the right of the main courtyard lies a separate yard containing
stone monuments built in different styles over a period of several
centuries and housing the remains of eminent monks.
• Temple of Azure Clouds
http://en.wikipedia.org/wiki/Temple_of_Azure_Clouds
The Temple of Azure Clouds (Chinese: 碧云寺; pinyin: Bìyún Sì), is a Buddhist temple located in the eastern part of the Western Hills, just outside the north gate of Fragrant Hills Park (Xiangshan Gongyuan), in the Haidian District, a northwestern suburb of Beijing, China, approximately 20 km from the city center. It was built in the 14th century (possibly in 1331), during the Yuan Dynasty (1271–1368) and was expanded in 1748.
The temple, which is built on six different levels over an elevation
of nearly 100 meters, is known for its fine scenery. The temple also
includes the Sun Yat-sen Memorial Hall, which is located at the center of the temple complex. Two other prominent features are the Arhats Hall and the Vajrasana Pagoda.
Inside Sun Yat-sen Memorial Hall lies an empty crystal coffin presented by the Soviet government in 1925 in memory of Sun Yat-sen
(his body had already been entombed and placed at the temple pagoda
until its relocation to Nanjing in 1929). Photos of Sun Yat-sen, his
handwriting, books and statue are also on display on two sides.
There are 512 statues, which include 500 wooden Arhats, 11 Bodhisattvas and one statue of Ji Gong (a famous Buddhist
monk) inside the Hall of Arhats. All the Arhats are vivid, life-size
statues with different poses and expressions. It has been said that two
of these Arhats were the statues of Emperor Kangxi and Emperor Qianlong of the Qing Dynasty (1644–1911). In addition to these life-sized images, there is a miniature statue of Ji Gong perched on an overhead beam.
The magnificent Vajra Throne Pagoda is the highest building in the
temple. This 35-meter-high tower with elegant decorations is a perfect
observational position to view all the scenery of western Beijing.[citation needed]
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• Tianning Temple
http://en.wikipedia.org/wiki/Tianning_Temple_%28Beijing%29
Tianning Temple | |
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A plaque at the front gate of the Tianning Temple | |
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Address | Beijing |
Country | China |
The Tianning Temple (simplified Chinese: 北京天宁寺; traditional Chinese: 北京天寧寺; pinyin: Běijing Tiānníng Sì) is located in the Guang’anmen district of Beijing, China. The temple contains the 12th-century Pagoda of Tianning Temple. The pagoda is a Liao Dynasty pagoda built from around 1100 to 1119 or 1120 CE, shortly before the Liao Dynasty was conquered by Song and Jin. This thirteen story, 57.8 m (189 ft) tall, octagonal-based Chinese pagoda is made of brick and stone, yet imitates the design of wooden-constructed pagodas from the era by featuring ornamental dougong (bracket supports). It rests on a large square platform, with the bottom portion of the pagoda taking on the shape of a sumeru
pedestal. The pagoda features a veranda with banisters, yet is entirely
solid with no hollow inside or staircase as some pagodas feature. Other
ornamental designs include arched doorways and heavenly Buddhist guardians. Its design inspired that of later pagodas, such as the similar Ming Dynasty era Pagoda of Cishou Temple of Beijing built in 1576.
The structure and ornamentation have remained the same since the pagoda was built, but a major earthquake in 1976
caused the original pearl-shaped steeple of the pagoda to break off and
fall. It has since been restored. The temple grounds surrounding the
pagoda have also been renovated and rebuilt several times over the
course of the Ming and Qing dynasties. The architectural historian Liang Sicheng (1901–1972)—known for discovering and documenting the oldest existent wooden structures still standing in China—lauded the Pagoda of Tianning Temple as a pristine architectural design of antiquity.
• Wanshou Temple
http://en.wikipedia.org/wiki/Wanshou_Temple
The Wanshou Temple (simplified Chinese: 万寿寺; traditional Chinese: 萬壽寺; pinyin: Wànshòu Sì) is a temple located at the Suzhou Jie (Suzhou street) in Beijing. In addition to being a Buddhist temple, the Wanshou Temple also houses the Beijing Art Museum (北京艺术博物馆/北京藝術博物館).
It was built in 1577 during the Wanli era of the Ming Dynasty
to store Chinese Buddhist scriptures; it also later became a permanent
celebration place for the imperial families of the Ming and Qing
dynasties.[1]
The Wanshou Temple was known as one of Beijing’s most important
temples, and it was declared as one of Beijing’s “Key Cultural Heritage
of Preservation” in August 1979.[1]
The Beijing Art Museum housed in the Wanshou Temple has also collected
and preserved precious historical relics such as bronze and jade
articles of Shang and Zhou Dynasties (17th - 3rd centuries B.C), and ancient art treasures such as porcelains, earthenwares, enamels, carved lacquer ware, ivory carving, wood carving, and many relics from past dynasties;[1] it has a permanent collection of 70,000 items.[2]
Among the most important items displayed in the museum includes
Chinese paintings and calligraphies from the Ming and Qing Dynasties
since 1368 A.D, Chinese weavings and embroideries of Ming and Qing
Dynasties, and ancient coins of China and foreign countries.[1] Modern Chinese, Japanese and other Asian arts and crafts and paintings are also displayed in the museum.[1]
• Yonghe Temple
http://en.wikipedia.org/wiki/Yunju_Temple
Yunju Temple (simplified Chinese: 云居寺; traditional Chinese: 雲居寺; pinyin: Yúnjū Sì) is located in Fangshan District, 70 kilometers southwest of Beijing.
• Yunju Temple
http://en.wikipedia.org/wiki/Yunju_Temple
Yunju Temple (simplified Chinese: 云居寺; traditional Chinese: 雲居寺; pinyin: Yúnjū Sì) is located in Fangshan District, 70 kilometers southwest of Beijing.
• Zhenjue Temple
http://en.wikipedia.org/wiki/Zhenjue_Temple
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The Five Pagoda Temple (Chinese: 五塔寺; pinyin: Wǔ Tǎ Sì), formally known as the “Temple of the Great Righteous Awakening” (simplified Chinese: 大真觉寺; traditional Chinese: 大真覺寺; pinyin: Dà Zhēnjué Sì) or “Zhenjue Temple” (Chinese: 真觉寺; Chinese: 真覺寺; pinyin: Zhēnjué Sì) for short, is a Buddhist temple from the era of the Ming Dynasty located in the city of Beijing, China.
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The temple has a square foundation, the “diamond throne”, that stands 7.7 metres (25 ft) tall[1]. The foundation can be accessed through a spiral staircase and supports five pagodas and a glazed pavilion[1]. Each of the pagodas has a rectangular floor plan[2].
Four of the pagodas are positioned on the corners of the foundation
(one pagoda on each corner), the fifth pagoda stands in the center[2]. The five pagodas are associated with the Five Dhyani Buddhas. The corner pagodas have 11 layers of eaves, whereas the slightly taller central pagoda has 13 layers[2]. The total height of the structure from its base to the tip of the central pagoda is 17 metres (56 ft)[1].The building is constructed from brick[1] and white marble, but the building has taken a rusty color due to the oxidation iron traces in the stone[2]. All four walls of the foundations are decorated with carving of the one thousand sagacious Buddhas arranged in rows[2] as well as Buddhist symbols (such as dharma wheels), animals (elephants and peacocks) and floral designs (bodhi trees[3]), as well as Sūtra texts[4].
Among the decorations is a pair of footprints that symbolizes the spread of Buddhism all over the world[1]. Traces of red pigments remain from the previous painting of the pedestal[5]. Its Diamond Throne Tower’s architectural style is that of a “diamond (Vajra) throne pagoda”, which is inspired by the Mahabodhi Temple in Bodh Gaya, India[2]
that marks the place where Buddha is said to have attained
enlightenment (bodhi). However, the design of the Diamond Throne Pagoda
in the Zhenjue Temple differs from that of the Mahabodhi Temple in the
proportions of the structure[6]:
The pedestal of the Mahabodhi Temple is much lower compared to the
overall height than the pedestal in the Zhenjue Temple. Furthermore, the
central pagoda in the Mahabodhi Temple is much taller than the corner
pagodas, whereas in the Zhenjue Temple, the central pagoda is only
slightly higher than the other pagodas. Besides the proportions, the two
buildings also differ in the decorations, which have a distinct Chinese
style in case of the Zhenjue Temple, e.g., they had glazed-tile roofs[6].
It is not clear how the architectural style of the “Diamond Throne Pagoda” of the Mahabodhi Temple was introduced to China[7].
According to one tradition. the design was presented to the imperial
court by the high-ranking Indian monk Pandida during the reign of the
Ming Emperor Yongle[3][7] in the early 15th century[2].
Besides the designs for the diamond throne pagoda, the monk is said to
have brought with him five golden Buddha statues. According to the
legend, these statues are buried in the temple, one under each pagoda[1].
However, references to such design can be found in much older Chinese
art and architecture, for example in a mural painting in the Dunhuang Grottoes that has been dated to the Northern dynasties, about 1000 years older than the Zhenjue Temple[6].
Using the style of the diamond throne pagoda, the temple was constructed later during the reign of the Ming Emperor Chenghua in 1473[2].
Besides the marble construction of the diamond throne pagoda, the
temple complex also contained a number wooden buildings; at least six
halls were present during the times of the Ming Dynasty[5]. The complex underwent renovation during the time of the Qing Dynasty in 1761 when the halls were tiled in yellow[5]. The temple complex was damaged by fire in 1860, during the Second Opium War and again in 1900 by the Eight-Nation Alliance that put down the Boxer Rebellion[2].
Only the stone structure of the five pagoda building proper survived
the destruction, the wooden halls perished, but the pedestal that once
supported the “Big Treasure Hall” remains on the site[5]. At present, the temple houses the Beijing Art Museum of Stone Carvings (Chinese: 北京石刻艺术博物馆; pinyin: Bĕijīng Shíkè Yìshù Bówùguǎn)[4]. The Zhenjue Temple has been listed as a national monument since 1961 (resolution 1-75).
• Zhihua Temple
http://en.wikipedia.org/wiki/Zhihua_Temple
Coordinates: 39.916156°N 116.425884°E
The Zhihua Temple (智化寺; pinyin: Zhìhuà Sì; lit. “Temple of Wisdom Attained”) is a Ming Dynasty-era Buddhist temple in Beijing, China. It is located in the Lumicang (禄米仓) hutong, in the Chaoyangmen area of the Dongcheng District, within the Second Ring Road to the north of Jinbaojie Street, west of the Yabaolu area. The temple was built in 1443 at the order of Wang Zhen, a powerful eunuch in the Rites Supervising Office of the court of the Zhengtong Emperor (also known as Yingzong; reigned 1436-1449 and 1457-1464).[1][2]
The temple, surrounding buildings, and grounds comprise approximately
20 thousand square meters. It is one of the most important original
building complexes from the Ming Dynasty period in the Old City area,
and one of the only wooden structures and groups of buildings from the
Ming Dynasty to remain intact in Beijing.[3]
It is also striking for its extensive use of black roof tiles. The
Beijing Cultural Exchange Museum, established in November 1992, is
located in the temple compound; its principal aim is “as a centre for
developing cultural exchange and for developing the study of cultural
relics and museums.”[4]
At the temple, a group of musicians regularly performs centuries-old
ritual music which has been handed down over 27 generations. The
six-member group is led by the octogenarian Buddhist monk Zhang Benxing
(张本兴, born c. 1922), the only surviving member of the 26th generation of
musicians, and the last person to have learned the music in the
traditional manner.[5] In addition to singing voices, the instruments used include guanzi (oboe), dizi (bamboo flute), sheng (mouth organ), yunluo (a set of ten small tuned gongs mounted vertically in a frame), and percussion including drums and cymbals.
The Zhihua Temple became a nationally preserved cultural and historic
relic in 1961. In 2005 the Chinese government undertook a renovation of
the temple (which is now complete) in preparation for the numerous
international visitors expected at the time of the 2008 Summer Olympics.
[72]
O |
NCE upon a time, many, many wild Goats lived in a cave
in the side of a hill. A Wolf lived with his mate not far from this cave.
Like all Wolves they liked the taste of Goat-meat.
So they caught the Goats, one after another,
and ate them all but one who was wiser than all the others.
Try as they might, the Wolves could not catch her.
One day the Wolf said to his mate:
“My dear, let us play a trick on that wise Goat.
I will lie down here pretending to be dead.
You go alone to the cave where the Goat lives,
and looking very sad, say to her: ‘My dear, do you see my mate lying
there dead? I am so sad; I have no friends. Will you be good to me?
Will you come and help me bury the body of my mate?’
The Goat will be sorry for you and I think she will come here with you.
When she stands beside me I will spring upon her and bite her in the neck.
[73] Then she will fall over dead, and we shall have good meat to eat.”
The Wolf then lay down, and his mate went to the Goat,
saying what she had been told to say.
But the wise Goat said: “My dear, all my family and friends
have been eaten by your mate. I am afraid to go one step with you.
I am far safer here than I would be there.”
“Do not be afraid,” said the Wolf. “What harm can a dead Wolf do to you?”
These and many more words the Wolf said to the Goat,
so that at last the Goat said she would go with the Wolf.
But as they went up the hill side by side, the Goat said to herself:
“Who knows what will happen? How do I know the Wolf is dead?”
She said to the Wolf, “I think it will be better if you go on in front of me.”
The Wolf thought he heard them coming. He was hungry
and he raised up his head to see if he could see them.
The Goat saw him raise his head, and she turned and ran back to her cave.
“Why did you raise your head when you were pretending to be dead?”
the Wolf asked her mate. He had no good answer.
By and by the Wolves were both so very hungry
that the
[74] Wolf asked his mate to try once more to catch the Goat.
This time the Wolf went to the Goat and said:
“My friend, your coming helped us, for as soon as you came,
my mate felt better. He is now very much better. Come and
talk to him. Let us be friends and have a good time together.”
[75] The wise Goat thought: “These wicked Wolves
want to play another trick on me. But I have thought of a trick
to play on them.” So the Goat said: “I will go to see your mate,
and I will take my friends with me. You go back and get ready for us.
Let us all have a good time together.”
Then the Wolf was afraid, and she asked:
“Who are the friends who will come with you? Tell me their names.”
The wise Goat said: “I will bring the two Hounds,
Old Gray and Young Tan, and that fine big dog called Four-Eyes.
And I will ask each of them to bring his mate.”
The Wolf waited to hear no more.
She turned, and away she ran back to her mate.
The Goat never saw either of them again.