The Original Words of the Buddha
The Original Words of the Buddha
2638 Fri 1 Jun LESSON
https://www.youtube.com/watch?v=0QNUKcwohcg
♫ Buddha Music for Kids ★ 2 ★ Birth of The Buddha - Best Buddhist Song for Children, Buddhism Music
Zen Moon - Relaxing Meditation Music Videos
Published on Jul 30, 2017
Very good Buddhism song for your kids. We hope these great melodies will give your kids a good childhood memory.
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Buddha Bless You!
Lyrics:
In the ancient land
A child is born
Once in a time so long
And the gods and men
So they said
Homage to the Lord
*Namo tassa bhagavato arahato
Samma-sambuddhassa.
*Translation:
Homage to that Lord, the Worthy One,
Perfectly enlightened by Himself.
♫ Buddha Music for Kids ★ 2 ★ Birth of The Buddha - Best Buddhist Song for Children, Buddhism Music.
We (Zen Moon) have no rights to the song. More details at below.
Picture: drawn with all heart by Zen Moon
Song name: Birth of The Buddha
Song copyright: Buddha Dharma Education Association Inc / BuddhaNet
Category
Entertainment
https://www.youtube.com/watch?v=_W8r9k6wirk
♫ Buddha Music for Kids ★ 3 ★ Don’t Be Angry - Best Buddhist Song for Children, Buddhism Music
Zen Moon - Relaxing Meditation Music Videos
Published on Jul 30, 2017
Very nice Buddhism song for your kids. We hope these great melodies will give your kids a good childhood memory.
If you enjoy this video, please like it & subscribe.
Thanks very much for your support.
Buddha Bless You!
Lyrics:
If you’re angry
You’ll make yourself
An ugly little child, ugly little child
Put on a smile
And cheer up
Make your daddy and mummy proud
La la la la la la la la
Anger scares your friends away
La la la la la la la la
So smile and brighten up your day
♫ Buddha Music for Kids ★ 3 ★ Don’t Be Angry - Best Buddhist Song for Children, Buddhism Music.
We (Zen Moon) have no rights to the song. More details at below.
Picture: drawn with all heart by Zen Moon
Song name: Don’t Be Angry
Singer: Imee Ooi
Song copyright: Buddha Dharma Education Association Inc / BuddhaNet
Category
Entertainment
https://www.youtube.com/watch…
Niwan Dutu Himi Sinhala Song - Tharindu Madhawa Padmabandu
Tharindu Padmabandu
Published on Sep 5, 2009
Niwan Dutu Himi - Buddhist Sinhala Song
Category
Music
https://www.youtube.com/watch…
Yelawolf - Punk ft. Travis Barker, Juicy J
YelaWolfMusic
Published on Oct 4, 2017
Yelawolf “PUNK” feat. Juicy J & Travis Barker is Out Now!
http://smarturl.it/PunkYelawolf
Follow Yelawolf:
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Music video by Yelawolf performing Punk. (C) 2017 Interscope Records
http://vevo.ly/0FA6l9
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Song
Punk
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Yelawolf
Licensed by
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Buy it now on Google Play
https://www.youtube.com/watch?v=Mz62DfKYcq0
Buddha tamil story
Sabarish Sundaravadivel
Published on Mar 4, 2017
Category
People & Blogs
https://www.youtube.com/watch?v=-lshOBoSl2Y
உலகிற்கு புத்தரின் செய்தி- சொற்பொழிவு
Swami Vidyananda Tamil
Published on Jul 29, 2017
SWAMI VIVEKANANDA TEACHINGS
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People & Blogs
https://www.youtube.com/watch?v=OX8hN4VQPYc
Shaolin big Buddha kung fu (luohan quan), simplified forms 1-3 + info
Shaolin kung fu
Published on May 27, 2017
’simplified luohan quan’, as we may call it here, is practiced in
Dengfeng area around Shaolin temple. it is somehow different from the
original Shaolin luohanquan. while the original Shaolin small and big
luohan quan forms imitate the Buddhist luohans, in the simplified forms
they’ve omitted or changed most the luohan-imitating postures of
Shaolin small and big luohan quan forms. in this sense, these simplified
forms lack the character of the luohan quan of Shaolin temple and it’s
really not appropriate to consider them ‘luohan quan’. so, i recommend
you learn the original luohan quan forms instead, and i just put this
video here for informational purpose only.
you may have seen
these simplified forms performed by many people, like here monk Deyang
performs it, and also many others like monk Deqian (who compiled the
most simplified forms of small and big luohan quans into his
Encyclopedia: http://www.scribd.com/lists/4133108
, see volume 2, p. 188-208), and monks Deqi, Decheng, Xinghong, abbot
Yongxin, late monk Degen’s disciples like Liu Zhenhai, Zhu Tianxi and
his disciple Zhang Shijie, and numerous others. the fact is sometimes
you may see the simplified small and big luohan quans performed with
radically big differences. this is because people have kept changing
these forms on their own by adding in random stuff taken from the
original Shaolin small and big luohan forms and other Shaolin forms. for
example, the simplified form of Shaolin big luohan quan which folk
Shaolin master Li Gensheng (李根生) taught in Dengfeng is considered the
standard form of the simplified big luohan quan. however, the form is
extended to 3 sections by considering it as 2 sections and adding an
extra 3rd section to the end. monk Degen changed it a bit and added an
extra 3rd section to the end when teaching it to Zu Tianxi. Zhang Shijie
performs it without the extra section. Liu Zhenhai learned it as a
3-section form with more moves from the original big luohan quan and
other standard forms, like big hog quan and pao quan, and a totally
different 3rd section. here, monk Deyang performs the standard form with
a simplified version of Liu Zhenhai’s 3rd section plus a few
intermediary moves. monk Deqian’s encyclopedia also has an even more
simplified version of this 3rd section. you know that people have even
recently added an irrelevant 3rd part to the original Shaolin big luohan
quan.
this process does not end here in just simplifying and
adding some stuff to luohan quan. for the first time, in the Jin and
Yuan dynasties (1115-1368), monk Jueyuan (觉远) with the help of folk
masters Bai Yufeng (白玉峰) and Li Sou (李叟) tried to extend Shaolin luohan
quan. originally, there were only 4 or so luohans, the holy Buddhist
icons who reach nirvana (enlightenment), in Chinese Buddhism, but into
the late Ming dynasty (1368-1644), this number has been gradually
increased to 18. this motivated people to make some extended luohan
quans with 18 forms. these systems usually have 9 or 18 forms, one form
for each or a couple of the 18 luohans; we call these the ‘18 luohan
quans’. for example, monk Degen knew at least 3 totally different 18
luohan quans and taught some forms of each system to 3 of his disciples:
monk Yongwen, Liu Zhenhai, and Zhu Tianxi. a few forms of another 18
luohan quan is also promoted by abbot Yongxin and monk Yanzhuang from
Shaolin temple. monk Yantong also teaches another different 18 luohan
quan (http://www.scribd.com/doc/143730581),
which is also promoted in the Shaolin temple website. what is common
between all these different 18 luohan quans is that they’ve gotten the
simplified forms of Shaolin small and big luohan quan and have extended
them by random moves and random forms to make them fit 18 characters.
sometimes, people call their extended small luohan quan as big luohan
and call their simplified big luohan quan as small luohan quan, which is
just a confusion out of ignorance. anyway, these simplifications and
extensions lack the character of luohan quan and none of them have found
their ways into the core curriculum of Shaolin temple and most of them
are considered as rare and even lost. once again keep in mind that the
original Shaolin luohan quan has just 2 forms: small and big luohan
quans, which you can learn from the videos in this channel.
Amituofo! _/\_
Category
Sports
https://www.youtube.com/watch?v=9f8zb_QKZEo
Shaolin kung fu basic moves 1
Shaolin kung fu
Published on Jan 16, 2012
instructor: monk Deyang, from Shaolin temple
__________________
complete set of Shaolin kung fu video tutorials:
* Shaolin kung fu training: http://www.youtube.com/playlist?list=…
* Shaolin kung fu styles: http://www.youtube.com/playlist?list=…
* Shaolin kung fu weapons: http://www.youtube.com/playlist?list=…
Category
Sports
Saheb Kanshi Ram @SahebKanshiRam 19h19 hours ago
कांशीराम जी के इस भाषण ने रख दिया था सारे मूलनिवासियो को हिलाकर Pay back to the society Bamcef
I support BAMCEF Mulnivasi
Published on Mar 14, 2018
Bamcef bharat mukti morcha waman meshram Manyawar Kanshi ram ji speech pay back to the society
Category
News & Politics
The Original Words of the Buddha
https://www.youtube.com/watch…
Wakht Ba Razi Pashto Song by Haroon Bacha || ClassicPashto
Classic Pashto
Published on Feb 14, 2017
Wakht Ba Razi Lyric By Haroon Bacha uploaded by Classic Pashto Youtube channel
Category
People & Blogs
https://www.youtube.com/watch?v=6sGRZfkeEoc
GEOGRAPHY PERSIA buddhism iran rotn07ak james kenneth powell youtube 512
JAMES K POWELL II
Published on Apr 28, 2009
GEOGRAPHY PERSIA buddhism iran rotn07ak james kenneth powell youtube 512
Category
Education
https://www.youtube.com/watch…
ANAMNESIS | After Tōru TAKEMITSU (for cello and guitar) by Marek PASIECZNY | feat. Andrzej BAUER
Marek Pasieczny
Published on Feb 28, 2015
SCORE: http://pasieczny.com/scores/ || https://www.facebook.com/MAREK.PASIECZNY Andrzej BAUER (cello) http://andrzejbauer.com/home/ Marek PASIECZNY (guitar) http://pasieczny.com world premiere during The ISCM World Music Days 2014, Wroclaw, Poland, October 2014 0:03 Part I 2:43 Part II 9:21 Part III
Project co-financed by the Ministry of Culture and National Heritage of
the Republic of Poland within the programme „Collections” – the
priority „Composition Commissions” implemented by the Institute of Music
and Dance.
ANAMNESIS
From the Greek words anamimnēskein
meaning to recall, to remember; and mimnēskein: to call to mind. In
psychology, ‘anamnesis’ is used to describe the recall to memory, a
recollection; while in medicine, it represents the ability to recall
past events. In philosophy, ‘anamnesis’ is a concept in Plato’s
epistemological and psychological theory. Platonicism is a recollection
of the ideas which the soul had known in a previous existence,
especially by means of reasoning. It is the idea that humans possess
knowledge from past incarnations and that learning consists of
rediscovering that knowledge within us. In the Catholic religion,
‘anamnesis’ appears as a prayer in a Eucharistic service, recalling the
Passion, Resurrection, and Ascension of Christ.
ANAMNESIS has
been divided into three movements, with each movement increasing in
tempo resulting in a gradual condensation in the flow of time. The
piece is however meant as a whole, with the movements connected in two
ways. Firstly, each movement consists of materials from the other two
movements; however this diminishes progressively towards the end. Almost
half of the first movement consists of materials from the 2nd and 3rd
movements. The second movement, however, contains only nearly 30% of the
materials from the 1st and 3rd movements. Finally the third movement is
made up of 80% new material with the remaining 20% from the 1st and 2nd
movements. The core linking factor of the piece is a five-note pattern -
forming the main theme (based in part on the Japanese Ichikosucho
scale) – which unfolds partially in the first movement, finally
presented in its entirety in the second movement, and returning in
reminiscence at the very end of movement three.
In 1992,
Takemitsu composed a trio for flute, viola and harp entitled “And then I
knew ’twas wind”. This work is a late example of Takemitsu’s life-long
interest in French music. It was his tribute to Claude Debussy.
Takemitsu borrowed the instrumentation of Debussy’s Sonata No. 2 for
flute, viola, and harp, and also alluded to it by a literal quote of a
rising figure that first appears in the viola. He described the piece as
a “…soul, or unconscious mind (we could even call it a ‘dream’),
which continued to blow, like the wind, invisibly, through human
consciousness.” Following Takemitsu’s idea of borrowing and quoting, I
took a figure from the harp solo in the very first opening bar of
Takemitsu’s “And then I knew ’twas wind”. The original material is a
six-note figure which I have used throughout my piece, partially
presented six times (twice in every movement) and finally appearing in
its complete form at the end of the piece.
The tuning of the
open strings on stringed instruments such as the guitar defines and
determines the instrumental possibilities for the compositional
material. Particular tunings reflect the technical and musical aspect of
a certain composition, providing the key to new sounds, harmonies and
technical possibilities (for composer and performer). The guitar tuning
of the ANAMNESIS is E♭-A-D-G- B♭-E which is based on Miyako-Bushi scale
(equivalent to a hemitonic scale – containing two semitones) with added
ninth (e natural = E open string) and it has never been used before in
the classical guitar literature.
The phenomenon of ANAMNESIS
(i.e. recalling to memory) is also reflected musically via a number of
‘central notes’ which continuously recur (repeating the same note on
different strings or via natural or artificial harmonics.). This
suggests (for the listener) the illusion of memory of previously heard
notes.
Marek Pasieczny (London; November, 2014)
(…) perhaps I
am one of those who try to see the invisible, to hear the inaudible.
Human perception is not uniform but has varying levels. My music is
something like a signal sent to the unknown. Moreover, I imagine and
believe that my signal meets another’s signal, and the resulting
physical change creates a new harmony different from the original two.
And this is a continuous, changing process. Therefore, my music will not
be complete in the form of a score. Rather, if refuses completion.
Toru Takemitsu
(from ‘Gardener of Time’; September 16, 1993 Tokyo)
Category
Music