Discovery of Metteyya the Awakened One with Awareness Universe(FOAINDMAOAU)
From Kushinara Nibbana Bhumi Pagoda in
 116 CLASSICAL LANGUAGES in BUDDHA'S own Words through http://sarvajan.ambedkar.orgat White Home 668, 5A main Road, 8th Cross, HAL 3rd Stage, Punya Bhumi Bengaluru- Magadhi Karnataka State -PRABUDDHA BHARAT
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LESSON 3457 Sat 26 Sep 2020 Discovery of Awakened One with Awareness Universe (DAOAU) For The Welfare, Happiness, Peace of All Sentient and Non-Sentient Beings and for them to Attain Eternal Peace as Final Goal. KUSHINARA NIBBANA BHUMI PAGODA-It is a 18 feet Dia All White Pagoda with a table or, but be sure to having above head level based on the usual use of the room. in 116 CLASSICAL LANGUAGES and planning to project Therevada Tipitaka in Buddha’s own words and Important Places like Lumbini, Bodh gaya, Saranath, Kushinara, Etc., in 3D 360 degree circle vision akin to Circarama At WHITE HOME 668, 5A main Road, 8th Cross, HAL III Stage, Prabuddha Bharat Puniya Bhumi Bengaluru Magadhi Karnataka State PRABUDDHA BHARAT 7,117 languages are spoken today. When a just born baby is kept isolated without anyone communicating with the baby, after a few days it will speak and human natural (Prakrit) language known as Classical Magahi Magadhi/Classical Chandaso language/ Magadhi Prakrit, Classical Hela Basa (Hela Language), Classical Pāḷi which are the same. Buddha spoke in Magadhi. All the 7111 languages and dialects are off shoot of Classical Magahi Magadhi. Hence all of them are Classical in nature (Prakrit) of Human Beings, just like all other living speices have their own naturallanguages for communication. 116 languages are translated by https://translate.google.com Please Visit and post to: http://sarvajan.ambedkar.org https://www.buddha-vacana.org/ in 29) Classical English,Roman,101) Classical Tamil-பாரம்பரிய இசைத்தமிழ் செம்மொழி,54) Classical Kannada- ಶಾಸ್ತ್ರೀಯ ಕನ್ನಡ,06) Classical Devanagari,Classical Hindi-Devanagari- शास्त्रीय हिंदी,72) Classical Marathi-क्लासिकल माओरी,69) Classical Malayalam-ക്ലാസിക്കൽ മലയാളം,77) Classical Odia (Oriya),82) Classical Punjabi-ਕਲਾਸੀਕਲ ਪੰਜਾਬੀ,86) Classical Sanskrit छ्लस्सिचल् षन्स्क्रित्,91) Classical Sindhi,103) Classical Telugu- క్లాసికల్ తెలుగు,16) Classical Bengali-ক্লাসিক্যাল বাংলা,40) Classical Gujarati-ક્લાસિકલ ગુજરાતી,
Filed under: General, Vinaya Pitaka, Sutta Pitaka, Abhidhamma Pitaka, Tipiṭaka
Posted by: site admin @ 8:27 am

LESSON 3457 Sat 26 Sep 2020

Discovery of  Awakened One with Awareness Universe (DAOAU) 

For The Welfare, Happiness, Peace of All Sentient and Non-Sentient Beings and for them to Attain Eternal Peace as Final Goal.

KUSHINARA NIBBANA BHUMI PAGODA-It
is a 18 feet Dia All White Pagoda with a table or, but be sure
to having above head level based on the usual use of the room.
in
116 CLASSICAL LANGUAGES and planning to project Therevada Tipitaka in Buddha’s own words and Important Places like
Lumbini, Bodh gaya, Saranath, Kushinara, Etc., in 3D 360 degree circle vision akin
to Circarama



At

WHITE HOME

668, 5A main Road, 8th Cross, HAL III Stage,

Prabuddha Bharat Puniya Bhumi Bengaluru

Magadhi Karnataka State

PRABUDDHA BHARAT


7,117 languages are spoken today.
When
a just born baby is kept isolated without anyone communicating with the
baby, after a few days it will speak and human natural (Prakrit)
language known as Classical Magahi Magadhi/Classical Chandaso language
/

Magadhi Prakrit,

Classical Hela Basa (Hela Language),


Classical Pāḷi

which are the same. Buddha spoke in Magadhi. All the 7111 languages and
dialects are off shoot of Classical Magahi Magadhi. Hence all of them
are Classical in nature (Prakrit) of Human Beings, just like all other
living speices have their own naturallanguages for communication. 116
languages are translated by

https://translate.google.com


Please Visit and post to:

http://sarvajan.ambedkar.org

https://www.buddha-vacana.org/

in 29) Classical English,Roman,101) Classical Tamil-பாரம்பரிய இசைத்தமிழ் செம்மொழி,54) Classical Kannada- ಶಾಸ್ತ್ರೀಯ ಕನ್ನಡ,06) Classical Devanagari,Classical Hindi-Devanagari- शास्त्रीय हिंदी,72) Classical Marathi-क्लासिकल माओरी,69) Classical Malayalam-ക്ലാസിക്കൽ മലയാളം,77) Classical Odia (Oriya),82) Classical Punjabi-ਕਲਾਸੀਕਲ ਪੰਜਾਬੀ,

86) Classical Sanskrit छ्लस्सिचल् षन्स्क्रित्,91) Classical Sindhi,103) Classical Telugu- క్లాసికల్ తెలుగు,16) Classical Bengali-ক্লাসিক্যাল বাংলা,40) Classical Gujarati-ક્લાસિકલ ગુજરાતી,



Amazon.com: New Guide to the Tipitaka: A Complete Reference to the Pali  Buddhist Canon (9781926892689): Meghaprasara, Matthew: Books


https://www.buddha-vacana.org/



— Āṇi Sutta —
Therefore,
bhikkhus, you should train thus: ‘We will listen to the utterance of
such discourses which are words of the Tathāgata, profound, profound in
meaning, leading beyond the world, (consistently) connected with
emptiness, we will lend ear, we will apply our mind on knowledge, we
will consider those teachings as to be taken up and mastered.’ This is
how, bhikkhus, you should train yourselves said the Buddha
Many
many happy returns of the day Venerable AnandaBhante Ji. From J
Chandrasekharan, Mrs. Navaneetham, Banu Rekha Pradeep Kumar, Sashi
Kanth, Shifu, Harshith, Pranay,Vinay. We are practising Theravada
Tipitaka as directed by your honourable self.

Image

https://www.buddha-vacana.org/


54) Classical Kannada- ಶಾಸ್ತ್ರೀಯ ಕನ್ನಡ,

ಆದ್ದರಿಂದ,
ಭಿಕ್ಷುಸ್, ನೀವು ಹೀಗೆ ತರಬೇತಿ ನೀಡಬೇಕು: ‘ನಾವು ತಥಾಗತದ ಪದಗಳು, ಆಳವಾದ,
ಅರ್ಥದಲ್ಲಿ ಆಳವಾದ, ಜಗತ್ತನ್ನು ಮೀರಿ ಮುನ್ನಡೆಸುವ, (ಸತತವಾಗಿ) ಖಾಲಿತನದೊಂದಿಗೆ
ಸಂಪರ್ಕ ಹೊಂದಿದ ಇಂತಹ ಪ್ರವಚನಗಳನ್ನು ನಾವು ಕೇಳುತ್ತೇವೆ, ನಾವು ಕಿವಿ ಸಾಲ
ನೀಡುತ್ತೇವೆ, ನಾವು
ಜ್ಞಾನದ ಮೇಲೆ ನಮ್ಮ ಮನಸ್ಸನ್ನು ಅನ್ವಯಿಸುತ್ತದೆ, ನಾವು ಆ ಬೋಧನೆಗಳನ್ನು ಕೈಗೆತ್ತಿಕೊಂಡು ಮಾಸ್ಟರಿಂಗ್ ಎಂದು ಪರಿಗಣಿಸುತ್ತೇವೆ. ‘ ಈ ರೀತಿ, ಭಿಕ್ಷುಸ್, ನೀವೇ ತರಬೇತಿ ನೀಡಬೇಕು.

101) Classical Tamil-பாரம்பரிய இசைத்தமிழ் செம்மொழி,
ஆகையால்,
பிக்குகளே, நீங்கள் இவ்வாறு பயிற்சியளிக்க வேண்டும்: ‘இதுபோன்ற
சொற்பொழிவுகளின் சொற்களை நாங்கள் கேட்போம், அவை ததகதாவின் சொற்கள்,
ஆழமானவை, அர்த்தத்தில் ஆழமானவை, உலகத்தைத் தாண்டி வழிநடத்துகின்றன,
(தொடர்ந்து) வெறுமையுடன் இணைக்கப்பட்டுள்ளன, நாங்கள் காது கொடுப்போம்,
அறிவின் மீது நம் மனதைப் பயன்படுத்துவோம், அந்த போதனைகளை எடுத்துக்கொள்வதற்கும் தேர்ச்சி பெறுவதற்கும் நாங்கள் கருதுவோம். ‘ இப்படித்தான், பிக்குகளே, நீங்களே பயிற்சி பெற வேண்டும்.

06) Classical Devanagari,Classical Hindi-Devanagari- शास्त्रीय हिंदी,

https://www.buddha-vacana.org/

इसलिए, भिक्खु, आपको इस प्रकार प्रशिक्षित करना चाहिए: ‘हम ऐसे प्रवचनों के उच्चारण के बारे में सुनेंगे जो ताथागट्टा शब्द हैं, गहरा, अर्थ में गहरा, दुनिया से परे, (लगातार) शून्यता से जुड़ा हुआ, हम कान उधार देंगे, हम हमारे दिमाग को ज्ञान पर लागू करेंगे, हम उन शिक्षाओं को अपनाएंगे और महारत हासिल करेंगे। ‘ यह है, कैसे, आप अपने आप को प्रशिक्षित करना चाहिए।

72) Classical Marathi-क्लासिकल माओरी,

https://www.buddha-vacana.org/

म्हणून, भिख्खूस, तुम्ही असे प्रशिक्षण घ्यावे: ‘आम्ही अशा प्रवचनांचे ऐकून घेऊया जे तागतगताचे शब्द आहेत, सखोल, प्रगल्भ, जगाच्या पलीकडे अग्रगण्य आहेत, (सतत) शून्यतेने जोडलेले आहेत, आपण कान देऊ, आपले ज्ञान ज्ञानावर लागू करेल, त्या शिकवण्या आपण स्वीकारल्या पाहिजेत आणि त्या मानल्या पाहिजेत. ‘ अशा प्रकारे, भिख्खूस, तुम्ही स्वतःला प्रशिक्षित केले पाहिजे.

69) Classical Malayalam-ക്ലാസിക്കൽ മലയാളം,

https://www.buddha-vacana.org/

അതിനാൽ, ഭിക്ഷുമാരേ, നിങ്ങൾ ഇങ്ങനെ പരിശീലിപ്പിക്കണം: ‘തത്തഗതയുടെ വാക്കുകൾ, അഗാധമായ, അർത്ഥത്തിൽ അഗാധമായ, ലോകത്തിനപ്പുറത്തേക്ക് നയിക്കുന്ന, (സ്ഥിരമായി) ശൂന്യതയുമായി ബന്ധപ്പെട്ടിരിക്കുന്ന അത്തരം പ്രഭാഷണങ്ങളുടെ ഉച്ചാരണം ഞങ്ങൾ കേൾക്കും, ഞങ്ങൾ ചെവി നൽകും, ഞങ്ങൾ അറിവിൽ നമ്മുടെ മനസ്സ് പ്രയോഗിക്കും, ആ പഠിപ്പിക്കലുകൾ ഏറ്റെടുക്കാനും പ്രാവീണ്യം നേടാനും ഞങ്ങൾ പരിഗണിക്കും. ‘ ഇങ്ങനെയാണ്, ഭിക്ഷുക്കളേ, നിങ്ങൾ സ്വയം പരിശീലിപ്പിക്കണം.

77) Classical Odia (Oriya),

https://www.buddha-vacana.org/

ତେଣୁ, ଭିକ୍କସ୍, ତୁମେ ଏହିପରି ତାଲିମ ଦେବା ଉଚିତ୍: ‘ଆମେ ଏପରି ବକ୍ତବ୍ୟର ଉଚ୍ଚାରଣକୁ ଶୁଣିବା, ଯାହା ଟାଥଗାଟାର ଶବ୍ଦ, ଗଭୀର, ଅର୍ଥର ଗଭୀର, ବିଶ୍ beyond ର ବାହାରେ, (କ୍ରମାଗତ ଭାବରେ) ଶୂନ୍ୟତା ସହିତ ଜଡିତ, ଆମେ କାନ end ଣ ଦେବୁ, ଆମେ ଜ୍ଞାନ ଉପରେ ଆମର ମନ ପ୍ରୟୋଗ କରିବ, ଆମେ ସେହି ଶିକ୍ଷାଗୁଡ଼ିକୁ ଗ୍ରହଣ କରାଯିବ ଏବଂ ବିଚାର କରିବୁ ବୋଲି ବିଚାର କରିବୁ। ଏହିପରି, ଭିକ୍କସ୍, ତୁମେ ନିଜକୁ ତାଲିମ ଦେବା ଉଚିତ୍ |

82) Classical Punjabi-ਕਲਾਸੀਕਲ ਪੰਜਾਬੀ,

https://www.buddha-vacana.org/

ਇਸ ਲਈ, ਭਿੱਖੁਸ, ਤੁਹਾਨੂੰ ਇਸ ਤਰ੍ਹਾਂ ਸਿਖਲਾਈ ਦੇਣੀ ਚਾਹੀਦੀ ਹੈ: ‘ਅਸੀਂ ਇਸ ਤਰ੍ਹਾਂ ਦੇ ਭਾਸ਼ਣ ਸੁਣਾਂਗੇ ਜੋ ਤੱਤਗੱਤੇ ਦੇ ਸ਼ਬਦ ਹਨ, ਅਰਥਾਂ ਵਿਚ ਡੂੰਘੇ, ਡੂੰਘੇ, ਸੰਸਾਰ ਤੋਂ ਪਰ੍ਹੇ, (ਨਿਰੰਤਰ) ਖਾਲੀਪਨ ਨਾਲ ਜੁੜੇ ਹੋਏ, ਅਸੀਂ ਕੰਨ ਉਤਾਰਾਂਗੇ, ਅਸੀਂ ਗਿਆਨ ‘ਤੇ ਆਪਣਾ ਮਨ ਲਾਗੂ ਕਰਾਂਗੇ, ਅਸੀਂ ਉਨ੍ਹਾਂ ਉਪਦੇਸ਼ਾਂ’ ਤੇ ਵਿਚਾਰ ਕਰਾਂਗੇ ਜਿਨ੍ਹਾਂ ਨੂੰ ਅਪਣਾਇਆ ਅਤੇ ਮਾਹਰ ਬਣਾਇਆ ਗਿਆ ਹੈ. ‘ ਇਸ ਤਰ੍ਹਾਂ, ਭਿੱਖੁਸ, ਤੁਹਾਨੂੰ ਆਪਣੇ ਆਪ ਨੂੰ ਸਿਖਲਾਈ ਦੇਣੀ ਚਾਹੀਦੀ ਹੈ.


86) Classical Sanskrit छ्लस्सिचल् षन्स्क्रित्,

86) छ्लस्सिचल् षन्स्क्रित् छ्लस्सिचल् षन्स्क्रित्
ह्त्त्प्सः//www.बुद्ध-वचन.ओर्ग्/
— Āṇइ षुत्त —
ठेरेfओरे, भिक्खुस्, योउ स्होउल्द् त्रैन् थुसः ‘Wए wइल्ल् लिस्तेन् तो थे उत्तेरन्चे ओf सुच्ह् दिस्चोउर्सेस् wहिच्ह् अरे wओर्द्स् ओf थे टथ्āगत, प्रोfओउन्द्, प्रोfओउन्द् इन् मेअनिन्ग्, लेअदिन्ग् बेयोन्द् थे wओर्ल्द्, (चोन्सिस्तेन्त्ल्य्) चोन्नेच्तेद् wइथ् एम्प्तिनेस्स्, wए wइल्ल् लेन्द् एअर्, wए wइल्ल् अप्प्ल्य् ओउर् मिन्द् ओन् क्नोwलेद्गे, wए wइल्ल् चोन्सिदेर् थोसे तेअच्हिन्ग्स् अस् तो बे तकेन् उप् अन्द् मस्तेरेद्.’ ठिस् इस् होw, भिक्खुस्, योउ स्होउल्द् त्रैन् योउर्सेल्वेस् सैद् थे Bउद्ध

91) Classical Sindhi,

https://www.buddha-vacana.org/
- Āṇ سٽا -
تنهن ڪري ، ڀاخس ، توهان کي اهڙيءَ طرح تربيت ڪرڻ گهرجي: ‘اسان اهڙن خيالن جو ويچار ٻڌندا سين ، جيڪي تاتهاگ جا لفظ آهن ، معنى ۾ گہرے ، گہرے معنيٰ ۾ ، دنيا کان اڳتي هلي رهيا آهن ، (مسلسل) خالي سان ڳن connectedيل آهن ، اسان ڪن قرض ڏينداسين ، اسان جي دماغ علم تي لاڳو ڪنداسين ، اسان انهن تعليمات تي غور ڪيو ويندو جيئن انهن کي وٺڻ ۽ بهتر هئڻ گهرجي. شيخ ، توهان کي پاڻ کي تربيت ڏيڻ گهرجي.


103) Classical Telugu- క్లాసికల్ తెలుగు,
https://www.buddha-vacana.org/

- Āṇi సుత్తా -
అందువల్ల, భిక్షువులారా, మీరు ఈ విధంగా శిక్షణ ఇవ్వాలి: ‘తథాగట యొక్క పదాలు, లోతైనవి, అర్థంలో లోతైనవి, ప్రపంచానికి మించినవి, (స్థిరంగా) శూన్యతతో అనుసంధానించబడినవి, మేము చెవికి అప్పు ఇస్తాము, జ్ఞానంపై మన మనస్సును వర్తింపజేస్తుంది, మేము ఆ బోధలను స్వాధీనం చేసుకుని, ప్రావీణ్యం పొందినట్లుగా భావిస్తాము. ‘ ఈ విధంగా, భిక్షూస్, మీరు మీరే శిక్షణ పొందాలి.

108) Classical Urdu- کلاسیکی اردو
https://www.buddha-vacana.org/
- Si سوٹا -
لہذا ، بھکھوس ، آپ کو اس طرح کی تربیت دی جانی چاہئے: ‘ہم اس طرح کے تقاریر کی بات کو سنیں گے جو تتگاتا کے الفاظ ہیں ، گہرا ، گہرا معنی میں ، دنیا سے آگے کی طرف جانے والے ، (مستقل طور پر) خالی پن کے ساتھ جڑے ہوئے ہیں ، ہم کان دھاریں گے ، ہم علم پر اپنا ذہن استعمال کریں گے ، ہم ان تعلیمات پر عمل پیرا ہوں گے اور اس میں مہارت حاصل کریں گے۔ ‘ اس طرح ، بھکھوس ، آپ کو اپنی تربیت کرنی چاہئے۔

16) Classical Bengali-ক্লাসিক্যাল বাংলা,
https://www.buddha-vacana.org/
- আই সুতা -
অতএব, ভখখুস, আপনার এই প্রশিক্ষণ দেওয়া উচিত: ‘আমরা এই জাতীয় বক্তৃতাগুলি শুনব যা তত্ত্বগঠনের শব্দ, গভীর, অর্থপূর্ণভাবে গভীর, বিশ্বকে ছাড়িয়ে এগিয়ে চলেছে, (ধারাবাহিকভাবে) শূন্যতার সাথে সংযুক্ত, আমরা কান ধার দেব, আমরা জ্ঞানের উপর আমাদের মন প্রয়োগ করবে, আমরা সেই শিক্ষাগুলি গ্রহণ ও দক্ষ হিসাবে বিবেচনা করব ‘’ এইভাবে, ভিখখুস, আপনার নিজের প্রশিক্ষণ দেওয়া উচিত।

40) Classical Gujarati-ક્લાસિકલ ગુજરાતી,
https://www.buddha-vacana.org/
- Si સુત્તા -
તેથી, ભિખ્ખુસ, તમારે આ રીતે તાલીમ લેવી જોઈએ: ‘અમે આવા પ્રવચનોની વાતો સાંભળીશું, જે તાગગતનાં શબ્દો છે, ગહન, અર્થમાં ગહન, વિશ્વની બહાર દોરી જાય છે, (સતત) ખાલીપણું સાથે જોડાયેલા છે, આપણે કાન ઉધારીશું, આપણે જ્ knowledgeાન પર આપણા મનનો ઉપયોગ કરીશું, અમે તે ઉપદેશોને ધ્યાનમાં લેવામાં અને માસ્ટર કરવામાં આવશે. ‘ આ રીતે, ભિખુસ, તમારે પોતાને તાલીમ આપવી જોઈએ.




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Daily Buddhist Theravada Pali Chanting by VenVajiradhamma Thera
Dhammalink
5.32K subscribers
Daily Buddhist Theravada Pali Chanting by Venerable Vajiradhamma.
One of the best Pali Buddhist Chanting. It is a very peaceful, tranquil, pleasant and harmonious chanting.
This
Chanting has helped many people to become peace, calm and tranquil,
build mindfulness while listening and/or chant attentively, re-gain
confidence from fear and uncertainty, bring happiness and positive
energy for those who are in sick and those in their last moment in this
very life (as hearing is thought to be the last sense to go in the dying
process). May you get the benefits of this chanting too.
This
compilation consists of Recollection of Buddha (Buddhanusati or
Itipiso), Recollection of Dhamma (Dhammanusati), Recollection of Sangaha
(Sanghanusati), Mangala Sutta, Ratana Sutta, Karaniya Metta Sutta,
Khandha Sutta, Bhaddekaratta Gatha, Metta Chant, Accaya Vivarana,
Vandana, Pattanumodana, Devanumodana, Punnanumodana and Patthana.
This
compilation is made possible by Venerable Samanera Dhammasiri getting
the permission from Venerable Vajiradhamma Thera to compile and
distribute, and co-edit and proofing. The background image is photo
taken by Venerable Dhammasubho. First compilation completed in 2007 and
further edit was done in 2015. Thanks and Sadhu to all who have assisted
and given me the opportunity to do this compilation especially my
family. May the merits accrue from this compilation share with all. With
Metta, Tissa Ng.
Copyright © 2007-2015 dhammalink.com
All right reserved. Permission is granted to duplicate without modification for non-commercial purpose.
Download Chanting Book here:
[You MUST retain this notice for all the duplication, linking or sharing]
Daily Buddhist Theravada Pali Chanting by VenVajiradhamma Thera

http://www.personal.utulsa.edu/~john-powell/Buddhist_Music/










Buddhism
and Music
An introduction to the musical practices of
Buddhism in Sri Lanka, Myanmar
(Burma)
, Thailand,
Cambodia, Laos, Vietnam, Indonesia, Tibet, Nepal, Bhutan, China, Mongolia, Korea, and Japan*

N.B.  If you hear several music clips playing simultaneously, try opening this website in Firefox.




What is Buddhism? 
The
term “Buddhism” describes a set of religious traditions that have
developed across Asia and parts of the rest of the world over the past
2,500 years, originating with Siddhartha Gautama (ca. 563 to 483 BC),
who was revered as the Buddha–the enlightened or awakened one–by his
disciples. Buddhism has spread through many Asian cultures and has been
altered and adapted according to local custom; as a result, its
diversity is one of its hallmarks. This diversity makes it difficult
sometimes to recognize similarities from one extreme of Buddhist
practice to another, but all practices and practitioners share some
points in common.

Who was the Buddha?
In spite of Buddhism’s regional diversity, the primary figure of all
Buddhist practice is the Buddha himself.  Siddhartha Gautama was
an Indian prince who, in his twenties, chose to renounce his aristocratic life of luxury and seek enlightenment.  After a
period of severe self-denial, he developed a more moderate approach,
realizing that neither indulgence nor denial could be effective in
realizing his goals: this philosophy of moderation is sometimes
referred to as the Middle Path.
He journeyed to a place called Bodh Gaya in northeast India, and
meditated under a large tree that came to be known as the Bodhi Tree or
the “tree of awakening.” In spite of temptations and assaults by
personifications of worldliness and desire, Siddhartha became aware of
the Dharma (Truth or Law) of
human existence:  it was the beginning of his enlightenment.

The Buddha’s teachings (Dharma).
The
Buddha meditated for several more weeks before beginning to pass on his
newly acquired knowledge to others. The lessons and sermons that he
delivered throughout his long missionary life are called sutra (in Pali,
sutta), and his early companions
and disciples became the basis for the early community known as the
Sangha, which eventually included hundreds of separate Buddhist groups.
The
sermons of the Buddha, along with monastic codes, wisdom narratives,
and philosophical discourses, were collected after his death into the
Pali Canon, otherwise known as the Tripitaka
(Three Baskets). This voluminous work, written in Pali, is the primary
source for understanding the role of chant and music in early Buddhism.

The Four Noble Truths.
Among the Buddha’s teachings in the Pali
Canon were the Four Noble Truths. Not every later
text refers to them, but they are generally held up as central to the
set of Buddhist beliefs. The Four
Noble Truths are:

1. The truth of suffering or dukkha [that all life is filled with
suffering].


2. The truth of the
origin of suffering [that desire, or tanha, causes
suffering].


3· The truth of the
cessation of suffering [that it is necessity to let go of desire].


4· The truth of the
Path [that there is a way to achieve enlightenment or nirvana].

The Noble Eightfold Path.
The fourth of the Noble Truths,
the Path, has eight ways called the Noble Eightfold Path.
The eight ways a Buddhist tries to follow to achieve enlightenment are the:

  1. complete views,
  2. complete intent,
  3. complete speech,
  4. complete action,
  5. complete livelihood,
  6. complete effort,
  7. complete mindfulness, and
  8. complete concentration.


Each of these ways is context specific, and examples of them abound
from the Buddha’s life and teachings. However, Buddhists within
different cultures behave appropriately according to their own cultural
norms.

Enlightenment, Nirvana, and Karma:  Impermanence, Suffering, and Non-Identity.
All of these ways to achieve enlightenment, or nirvana, are related to the laws of
karma, in which complete
action will result in a quicker path to nirvana, but
harmful action will lead to future suffering.  Nirvana itself is the result of the
extinction of desire and the “letting go” of the self.  Everything in the natural order are characterized by the
Three Marks of
Existence,
namely:

  1. impermanence (anicca)
  2. suffering (dukkha)
  3. absence of permanent
    identity or a soul (anatta)

The importance of impermanence in Buddhism makes the performance of
music an effective metaphor for Buddhist practices. The practice of
Buddhism has a very strong emphasis on discipline, ritual, and
meditation, whether monastic or among the laity.  Life-cycle
rituals, including funerals, are also celebrated in Buddhist traditions.

The followers of Buddha.

Shortly after the Buddha’s death at the age of eighty, the first
Buddhist council was formed to try to consolidate the essential canon
of the Buddha’s teaching. Some of the earliest Buddhist communities
used chant (i.e., a kind of song) to remember the teachings of the Buddha, and for hundreds of
years after his death all of his teachings were recalled solely
through the use of chant–one can reasonably claim, then, that the use
of musical chant is one of the earliest forms of information
technology.  Specialists in all the early Buddhist cultures were relied
on to remember and recite the Pali
Canon, and many of these specialists
were drawn from Nichiren the ranks of another cultural specialist: the bard.  In many areas of the world,
the bards
have been the ones who have borne the cultural memory of a place, kept
account records, and remembered the genealogies and the epic tales, and
Buddhist tradition is no exception. Within Buddhism, those people who
functioned as bards were the
monks.  It is important to recognize
that, while musical chant was (and still remains) one of the most
significant and effective ways to keep track of Buddhist teachings, it
also plays a major role in Buddhist worship today.

Three early schools of Buddhism.
A
number of factions developed in the early years after the Buddha’s
death, but all falling loosely within the boundaries of what is now
called the Hinayana (Small
Vehicle) school.   Hinayana
splintered within a hundred years, and one of its major subsets, Theravada, has since become
virtually synonymous with Hinayana
to many Westerners.  By approximately 100 AD, a second “school”
called Mahayana (Great
Vehicle), developed. Theravada
Buddhism is most closely linked with the areas of Sri Lanka and
Southeast Asia (including, especially, Burma and Thailand), while Mahayana Buddhism
is associated with Central and East Asia. The two traditions are
markedly different, not only in terms of the cultural areas to which
they belong but also in their fundamental beliefs and practices.

Theravada Buddhism vs. Mahayana Buddhism. 
One of the biggest differences between Theravada
and Mahayana Buddhism is that Theravada Buddhism relies heavily on the earliest
scriptural sources only, meaning that
new compositions or new additions to the early sutras are not
allowed.  Mahayana Buddhism
uses new texts, revelations, and teachings, rather than relying
exclusively on the oldest sutras
or scriptures. For example, new sutras
based on the teachings of the Buddha’s own disciples were developed by
later writers, and were viewed within the Mahayana tradition as having come
through the living memory of the Buddha.  But Theravada Buddhism
differs from Mahayana Buddhism
in more than its exclusive focus on original source materials.
Individual effort is seen as more important than the support of the
divine; wisdom is seen as a key virtue rather than compassion; monks
and nuns are seen as better positioned for committing themselves to
regular practice than lay people; the Buddha is considered a supreme
teacher rather than a savior; metaphysics and ritual are minimized
rather than emphasized; and meditation is considered more important
than petitionary prayer. 

The Three Jewels of Buddhism:  Buddha, Dhamma, and Sangha.
The literature of early Buddhism includes frequent references to the
“Three Jewels” of Buddhism: the Buddha himself, the Dhamma (Sanskrit, Dhammadharma), or the Teachings, and
the Sangha,
or community of practitioners. The “Three
Jewels” as a formula (Trisaranam,
or Three Refuges) became the
most important concise statement of
Buddhist belief, and is chanted frequently as part of the early ritual
services. Its recitation is also required among new candidates for
admission into the Sangha.
Theravada
chanting, including the chanting of the Three Refuges, is generally
conservative and limited to a few basic notes that resemble in
principle the cantillation from which it was primarily derived. The
principal chanter
is followed line by line in response by the other monks. Chanting of
the Vedic Three Refuges is normally preceded
by a short drum sequence and an invocation (Mangalacharanam), or an auspicious
formula for revering the Buddha (example:

)


Early negative attitudes toward music.
Theravada Buddhists regard
music as a type of sensual luxury, and their tradition notes that music
should be approached only with great caution. Among the Ten Precepts
accepted upon entering monastic life, the seventh requires the monk to
avoid dancing, singing, music, and entertainments, and to abstain from
wearing garlands, perfume, or cosmetics. The risk regarding music and
singing is that one might focus on the musical quality of the voice
rather than on the teachings enunciated in the song or chant
The
Buddha himself is said to have avoided attending musical performances,
and cautions his disciples about musical chant: “0 monks, there are
five disadvantages for one singing the teaching in an extended sung
intonation.

(1) He is attached to himself regarding that sound;
(2) and
others are attached to that sound;
(3) and even householders are
irritated.
(4) There is dissolution of concentration on the part of one
straining to lock in on the sound; and
(5) people who follow after
[this procedure] undergo an adherence to opinions.”

The musical reality of Buddhist practice.
The voice, however, is revered as essential for the performance of
Buddhist ritual not only in Mahayana
traditions, which emphasize mystical practices, but also in Theravada traditions.  The
literature of early Buddhism includes frequent references to the “Three Jewels” of Buddhism:”
the Buddha himself, the Dhamma (Sanskrit, dharma), or the Teachings, and the Sangha, or community of
practitioners. The “Three Jewels” as a formula (Trisaranam,
or Three Refuges) became the most important concise statement of
Buddhist belief, and is chanted frequently as part of the early ritual
services. Its recitation is also required among new candidates for
admission into the Sangha,
along with the Five or Ten Precepts.
Theravada chanting,
including the chanting of the Three
Refuges, is generally conservative and limited to a few basic
notes that resemble in principle the Vedic
cantillation from which it was primarily derived. The principal chanter
is followed line by line in response by the other monks. Chanting of
the Three Refuges is normally
preceded by a short drum sequence and an invocation (Mangalacharanam), or an auspicious
formula for revering the Buddha.  The following example includes
the drumming, the
invocation, and the
complete three-part Trisaranam.

To
the Buddha
for refuge I go
To the Dharma for refuge I go
To the Sangha for refuge I go
For the second time to the Buddha for refuge I go
For the second time to the Dharma for refuge I go
For the second time to the Sangha for refuge I go
For the third time to the Buddha for refuge I go
For the third time to the Dharma for refuge I go
For the third time to the Sangha for refuge I go.


In addition to the Three Refuges,
all Buddhists are required to recite the Five Precepts, which enumerate the
basic vows that Buddhists must honor. However, Buddhists who have
accepted monastic vows recite the Ten
Precepts, one of which abjures association with music and
entertainment. The below example provides the text and
translation for the Five Precepts.

 I
undertake to abstain from taking life
I undertake to abstain from taking the not-given
I undertake to abstain from sexual misconduct
I undertake to abstain from false speech
I undertake to abstain from taking intoxicants

Buddhist chant.
In Theravada Buddhism, music
is
appropriate only when it is subordinated to the message. Music has
little actual liturgical function, yet chanting continues to be central
to the preservation of the Pali Canon.
The Buddha’s First Sermon, including the Four Noble Truths and the Noble Eightfold Path, is regularly
chanted in the form of the Dhamma
Chakka Sutta (The Wheel of Dhamma/Truth). The below example
includes the Pali text and
translation of verse 9 describing the Second
Noble Truth of craving as the cause of suffering (dukkha). This is a unison chant
without call and response.

This
craving,
which should be eliminated, is the Noble Truth of the origin
of suffering, which monks should know. Concerning
things unheard of
before, there arose in me vision, knowledge,
understanding; there arose in
me wisdom; there arose in me penetrative insight
and light.



The ritualistic use of chant.
Rather than functioning as epiclesis (invoking the presence of
deity), Theravada chant is either didactic
(teaching), as in the above, or apotropeic
(warding off evil spirits and influences). Special protective chants
known as paritta in Pali
(Singhalese, piritha) form a
surprisingly significant dimension of Theravada practice in Southeast
Asia. The Maha Piritha
(Great Book of Protection), which is comprised of different parts from
the Pali Canon, is frequently chanted in Sri Lanka on many occasions.
The following example provides three
verses of blessings from a widely popular protective chant used at many
festivals and other auspicious occasions. The chanting style is similar
to the above examples. The complete chant in nineteen verses is known
as the Maha Jayamangala Catha.

May
all
blessings be yours;
May all gods protect you.
By the power of all Buddhas
May all happiness be yours.
May all blessings be yours;
May all gods protect you.
By the power of all Dharmas
May all happiness be yours.
May all blessings be yours;
May all gods protect you.
By the power of all the Sangha
May all happiness be yours.


Music whether in liturgical or non-liturgical settings has a place in
the Theravada Buddhist
tradition. Although it has no formal place in long established ritual
procedures, except for drums and horana
to inaugurate auspicious moments, its presence appears to have been
long assured insofar as its legitimization derives from the religious
themes on which it focuses. Music is accepted in this tradition as an
authentic form of religious expression insofar as it points beyond
itself as an artform.

The Role of chant in monasteries.
Chant is, of course, the best-known aspect of Buddhist music in the
Western world. The perusal of any music store will reveal at least a
dozen different CDs of chant, and particularly Tibetan Buddhist
chant.  In Tibetan monastic communities, learning to chant is so
important and universal that it is the one thing that almost all the
communities have in common; it is written explicitly into the
constitution of nearly every monastery. Young monks have to take
specific examinations on chant, and if they do not memorize or perform
the chants correctly, they may be dismissed from the monastery.

Different musical approaches to Buddhist chant.
All Buddhists do not rely on a single text, like the Bible or the
Qur’an.  Instead, new revelations were added for centuries after
the death of the Buddha, and many Buddhists disagree about the
canonical relevance of scripture from different cultures. There are
variations in the sutras
(literally, “thread”) or teachings of the Buddha between Theravada and Mahayana. Theravada Buddhism relies primarily
on the non-musical chanting of scriptures in the Pali language, which
few lay people understand, and Theravada
Buddhist
chanting does not follow a melody. Instead, because the words are
considered of paramount importance, this type of chant is sung in a
monotone. Placing a liturgical text over a complex melodic figure would
cloud the articulation of the text, and potentially alter the meaning
and the message of the words. In many areas of the world, the melodic
content decreases when the textual content is more important, as in,
for example, rap or opera. When it is less important to hear and
understand the words, musicians are often freer to expand
musical–especially melodic–material.

Chant in the vernacular.
With the rise of populist Mahayana
Buddhism, sutras
come to treat music in a more positive light.   Mahayana Buddhist
scriptures were originally developed in Sanskrit, but they have since
appeared in every vernacular language in which Buddhism is practised.
Buddhist services are essentially readings of doctrine, not occasions
for worship in the Western sense. Their chant texts include words
attributed to the Buddha himself, commentaries, statements of vows and
of faith, dedications, mantras (recitation formulas), and hymns of
praise. One of the most important texts in the Mahayana tradition is the Lotus sutra. Based on the sermons of
the Buddha, it forms the basis for all the major Japanese sects of
Buddhism, including the Pure Land
and Nichireri
sects. Chinese, Tibetan, Korean, and non-Asian Buddhists use other
texts specific to their cultures or translations of texts. Most
importantly, the recitation of these texts is itself an act of worship.

Instrumental music.
Instrumental music most often serves to demarcate aspects of Buddhist
ritual. While Theravada Buddhism
relies more on non-musical chant, Mahayana
Buddhism uses a wide variety of wind as well as percussion instruments. These wind
instruments include horns, double-reed oboe-type instruments, end-blown flutes, and conches. 
Circular breathing–the
act of inhaling through the nose while expelling air through the
lips–can  in itself be a meditative practice that leads to tremendous
focus and breath control.  Drums are very common in Mahayana Buddhist ritual performance practice,
and are associated metaphorically with the earliest days of the
Buddha’s teaching. “The act of proclaiming the Buddhist teaching is
traditionally known as ‘sounding the
drum of the Dharma
,”‘ and the drum appears frequently in
reference to Buddhist iconography.

Music and movement.
 Another important aspect of instrumental music in worship is its use in
clockwise circumambulation
around a stupa, or funerary or
reliquary building.  In walking around a stupa–particularly if musicians are
playing oboe-type
instruments that employ circular breathing–the worshippers not only
honor the Buddha and his teachings, but physically enact the movement
of the sun around the cosmic mountain, as it is represented by the
stupa. Musical performance is only one aspect that
parallels circumambulation, however, as the latter is deeply associated
with Buddhist devotional practice.

The chanting of sacred sound-formulas (mantras).
Mahayana Buddhist
tradition includes a major offshoot, Mantrayana
Buddhism. This branch gives primacy to ritual and the
transformation of consciousness through mantra, or sacred sound
formulas.  Mahayana Buddhism
predominates in Central and East Asia and, since it is better known in
the West, most studies of Buddhism and music are centred on those
areas. From an intellectual and spiritual point of view, Mantrayana Buddhism is represented
by an epistemologically oriented approach to the human situation,
codified in the Sutras, and
an experiential approach, codified in the Tantras. The Indian word tantra means, literally, “loom.” In its expanded sense, the
term may also refer to “living one’s possibilities.”

Mahayana Buddhism is
sometimes called Vajrayana
(Diamond Vehicle), Tantric Buddhism,
or Esoteric Buddhism. 
Its essential approach is that one can accomplish enlightenment much
more quickly than by expending effort stretched over the course of many
lifetimes; one may even become enlightened in a single lifetime. Mantrayana Buddhists
pay special attention to ritual practices and intellectual discipline,
and the emphasis on symbolic gesture, practice, and movement is crucial
to proper performance of the rituals.

The musical world of Buddhism.
Despite
the early proscriptions regarding music, both vocal and instrumental
music retain a position of importance within Buddhist
traditions.  According to
the Lotus Sutra, music adorns
the places where
the Buddha preaches to myriad beings. 

Each
stupa and temple is adorned with a
thousand curtains and banners
circling
around and
wrought with gems, and jeweled bells which harmoniously chime. All the
gods, dragons, and spirits, humans and non-humans, with incense,
flowers, and instrumental music, constantly make offerings


In Pure Land
Buddhism, Buddhist paradise is depicted as profoundly
musical place in which Buddhist law takes the form of gorgeous
melodies.
The Bodhisattva Ksitigharba Vow Sutra
describes singing praise of the bodhisattva
as a valuable practice for
lay Buddhists.

At
that time, Ksitigarbha Bodhisattva said to Sakyamuni
Buddha, “Honored of the World,
let me now declare how
human
beings in the future will acquire great benefit and
happiness, during their
lifetime and at the moment of their
death. I anticipate you to be
congenial enough to listen to
me.”

Sakyamuni Buddha then disclosed to Ksitigarbha
Bodhisattva, “It is because of
your compassionate Infinite
Loving
Kindness that you long to assert about a possible
tendency of relieving
all the erring beings from the six
States of reincarnation. Of
course, it is the proper time

now. Please speak promptly as I am about to enter Nibbana.
I wish to bless you
with success in discharging the
strong vow so that I shall have
no worry about human

beings in the future.”

Ksitigarbha
Bodhisattva told the Exalted Buddha, “Honored
of the World, I name below a
list of Buddhas for
your
hearing .


. . . . . . . . . .

Honored of the
World, all beings whether from the
Heaven or from the human realms, either
male or female,
of the present
or the future, who can
chant the name of
one of the above Buddhas, will gain
immeasurable merit.
  He
or she will receive more merit if he or she
chants the names of more Buddhas. Such beings will
attain great
benefit during
their lifetime or even after death. They will
never be cast into the evil State of
sufferings. If the relatives

of the dying person
chant the name of only one Buddha, the dying person will be relieved
from the
punishment of his
sins (except the punishment in the
Avici Hells). The punishment in the Avici
Hells is so great
that the
sinners who commit great sins will find it difficult
to escape from such punishment through
millions of
kalpas.

If others can chant
the names of
Buddhas for the dying
person,
his or her punishment will
gradually be lightened.
 
It is better if the dying person can also
chant the names of
Buddhas for he or she will receive
immeasurable happiness
and
avoid countless punishment for misdeeds committed while alive.”


The spread of Buddhism across Asia.
From its birthplace in Northern India,
Buddhism began to spread through South Asia, Southeast Asia, Indonesia,
the Far East, and, eventually, the rest of the world.  During the
time of the Mauryan emperor Ashoka,
who was a public supporter of the religion, and
his descendants, stupas
(Buddhist religious memorials) were built and efforts made to spread
Buddhism
throughout the enlarged Maurya empire and even into neighboring
lands—particularly to the Iranian-speaking regions of Afghanistan and
Central Asia, beyond the Mauryas’ northwest border, and to the island
of Sri Lanka south of India.
These two missions, in opposite directions, would ultimately lead, in
the first case to the spread of Buddhism into China, and in the second
case, to
the emergence of Theravada Buddhism
and its spread from Sri Lanka to the coastal lands of Southeast Asia.

This period marks the first known spread
of Buddhism beyond India.
According to the edicts of Ashoka, emissaries were sent to various
countries west of India to spread Buddhism (Dharma), particularly in
eastern provinces of the neighboring Seleucid
Empire, and even farther to Hellenistic
kingdoms of the Mediterranean. It is a matter of disagreement
among scholars whether or not these emissaries were accompanied by
Buddhist missionaries.

The gradual spread of Buddhism into adjacent areas meant that it came
into contact with new ethnical groups. During this period Buddhism was
exposed to a variety of influences, from Persian and Greek
civilization, to changing trends in non-Buddhist Indian
religions—themselves influenced by Buddhism. Striking examples of this
syncretistic development can be seen in the emergence of Greek-speaking
Buddhist monarchs in the Indo-Greek Kingdom, and in the development of
the Greco-Buddhist art of Gandhara.
A Greek king, Menander, has even been immortalized in the Buddhist
canon.

The Theravada school spread
south from India in the 3rd century BC, to Sri Lanka and Thailand and
Burma (Myanmar) and later also Indonesia. The Dharmagupta school
spread (also in 3rd century BC) north to Kashmir, Gandhara and
Afghanistan.

The Silk Road transmission of
Buddhism to China
is most commonly thought to have started in the late 2nd or the 1st
century AD, though the literary sources are all open to question. 
The first documented translation efforts by foreign Buddhist monks in
China were in the 2nd century AD, probably as a consequence of the
expansion of the Kushan Empire into the Chinese territory of the Tarim
Basin.  In the 2nd century AD, Mahayana
Sutras
spread to China, and then to Korea and Japan, and were translated into
Chinese. During the Indian period of Esoteric Buddhism (from the 8th
century onwards), Buddhism spread from India to Tibet and Mongolia.


Regional musical practices.
To
find out more about musical practices of
Buddhism in Sri Lanka, Myanmar
(Burma)
, Thailand, Cambodia, Laos, Vietnam, Indonesia, Tibet, Nepal, Bhutan, China, Mongolia, Korea, and Japan
you can either (1) click on the above links, or, which is infinitely more cool, (2)
click on the below thumbnail map of South Asia, Southeast Asia, and East
Asia.  This will bring up a bitmap with “hot spots,” in which you
may

  1. mouse over the countries…when the cursor turns into a pointing
    finger, click to navigate to a new webpage of that country
  2. if in the new webpage there is no image/video where clearly there
    should be an image/video, refresh your browser (^R)
  3. to go back to the image map, use your
    “back” button on your computer

(click on thumbnail map)









*This
introduction to Buddhism is taken from Sean Williams, “Buddhism and
Music” in Sacred Sound: Experiencing
Music in World Religions
, Guy Beck, ed. Wilfred Laurier
University Press (2006), pp.169-189.  Much
of the information on the following webpages is taken from The Garland Encyclopedia of World Music:
Volume 4: Southeast Asia - ed. Terry E. Miller (Professor Emeritus of
Ethnomusicology. Kent State University) and Sean Williams (Evergreen
State College) 1998; Volume 5: South Asia: The Indian Subcontinent -
ed. Alison Arnold (North Carolina State University) 1999;  Volume
7: East Asia: China, Japan, and Korea - ed. Robert Provine, (Professor
of Ethnomusicology, University of Maryland) 2001.   A more
extensive bibliography is Paul D. Greene, Keith
Howard, Terry E. Miller, Phong T. Nguyen and Hwee-San Tan, “
Buddhism and the Musical Cultures of Asia: A Critical
Literature Survey,” in The World of
Music
,Vol.
44, No. 2, Body and Ritual in Buddhist Musical Cultures (2002), 135-175
(VWB - Verlag für Wissenschaft und Bildung, 2002; available on JSTOR).



https://www.buddha-vacana.org/

— Āṇi Sutta —


05) Classical Pāḷi


Bhavissanti
bhikkhū anāgatam·addhānaṃ, ye te suttantā tathāgata·bhāsitā gambhīrā
gambhīr·atthā lok·uttarā suññata·p·paṭisaṃyuttā, tesu bhaññamānesu na
sussūsissanti na sotaṃ odahissanti na aññā cittaṃ upaṭṭhāpessanti na ca
te dhamme uggahetabbaṃ pariyāpuṇitabbaṃ maññissanti.

29) Classical English,Roman

In future
time, there will be bhikkhus who will not listen to the utterance of
such discourses which are words of the Tathāgata, profound, profound in
meaning, leading beyond the world, (consistently) connected with
emptiness, they will not lend ear, they will not apply their mind on
knowledge, they will not consider those teachings as to be taken up and
mastered.



Ye pana te suttantā kavi·katā kāveyyā citta·kkharā citta·byañjanā bāhirakā sāvaka·bhāsitā,
tesu bhaññamānesu sussūsissanti, sotaṃ odahissanti, aññā cittaṃ
upaṭṭhāpessanti, te ca dhamme uggahetabbaṃ pariyāpuṇitabbaṃ maññissanti.

On the contrary, they will listen to the utterance of
such discourses which are literary compositions made by poets, witty
words, witty letters, by people from outside, or the words of disciples,
they will lend ear, they will apply their mind on knowledge, they will
consider those teachings as to be taken up and mastered.

Evam·etesaṃ, bhikkhave,
suttantānaṃ tathāgata·bhāsitānaṃ gambhīrānaṃ gambhīr·atthānaṃ
lok·uttarānaṃ suññata·p·paṭisaṃyuttānaṃ antaradhānaṃ bhavissati.

Thus, bhikkhus, the discourses which are words of the
Tathāgata, profound, profound in meaning, leading beyond the world,
(consistently) connected with emptiness, will disappear.

Tasmātiha,
bhikkhave, evaṃ sikkhitabbaṃ: ‘ye te suttantā tathāgata·bhāsitā gambhīrā
gambhīr·atthā lok·uttarā suññata·p·paṭisaṃyuttā, tesu bhaññamānesu
sussūsissāma, sotaṃ odahissāma, aññā cittaṃ upaṭṭhāpessāma, te ca dhamme
uggahetabbaṃ pariyāpuṇitabbaṃ maññissāmā’ti. Evañhi vo, bhikkhave,
sikkhitabbanti.

Therefore, bhikkhus, you should
train thus: ‘We will listen to the utterance of such discourses which
are words of the Tathāgata, profound, profound in meaning, leading
beyond the world, (consistently) connected with emptiness, we will lend
ear, we will apply our mind on knowledge, we will consider those
teachings as to be taken up and mastered.’ This is how, bhikkhus, you
should train yourselves.

https://www.tbcm.org.my/listening-to-and-learning-the-dhamma/

Theravada Buddhist Council of Malaysia






Listening to (and Learning) the Dhamma



Listening to (and Learning) the Dhamma
– Dhamma Teaching by the Buddha
with commentaries by Ven. K. Sri Dhammananda and Thanissaro Bhikkhu


The Buddha said …
‘Staying at Savatthi. “Monks, there once was a time when the Dasarahas
had a large drum called ‘Summoner.’ Whenever Summoner was split, the
Dasarahas inserted another peg in it, until the time came when
Summoner’s original wooden body had disappeared and only a
conglomeration of pegs remained.


“In the same way, in the course of the future there will be monks who
won’t listen when discourses that are words of the Tathagata — deep,
deep in their meaning, transcendent, connected with emptiness — are
being recited. They won’t lend ear, won’t set their hearts on knowing
them, won’t regard these teachings as worth grasping or mastering. But
they will listen when discourses that are literary works — the works of
poets, elegant in sound, elegant in rhetoric, the work of outsiders,
words of disciples — are recited. They will lend ear and set their
hearts on knowing them. They will regard these teachings as worth
grasping & mastering.


“In this way the disappearance of the discourses that are words of
the Tathagata — deep, deep in their meaning, transcendent, connected
with emptiness — will come about.


“Thus you should train yourselves: ‘We will listen when discourses
that are words of the Tathagata — deep, deep in their meaning,
transcendent, connected with emptiness — are being recited. We will lend
ear, will set our hearts on knowing them, will regard these teachings
as worth grasping & mastering.’ That’s how you should train
yourselves.” ‘


– Āṇi Sutta : The Peg SN 20.7
– Source : www.accesstoinsight.org/tipitaka/sn/sn20/sn20.007.than.html



Image

Āṇi Sutta : The Peg SN 20.7



‘Message for All’
by Ven. K. Sri Dhammananda


‘.. The Buddha taught man that the greatest of conquests was not the
subjugation of others but of the self. He taught in the Dhammapada, ..’


‘Though one may conquer a thousand times
a thousand men in battle,
yet he indeed is the noblest victor
who conquers himself.’


– Dhammapada Verse 103


Read ‘Message for All’
in full here … www.budsas.org/ebud/whatbudbeliev/28.htm



Tipitaka is the collection of the teachings of the Buddha over 45
years in the Pāli language, and it consists of Sutta – conventional
teaching, Vinaya – disciplinary code, and Abhidhamma – moral psychology.


Read ‘Tri-Pitaka (or Tipitaka)’
by Ven. K. Sri Dhammananda
in full here … www.budsas.org/ebud/whatbudbeliev/62.htm



Dhamma Sharing (Video)
‘Dhamma Study – Recognizing the Dhamma’
by Thanissaro Bhikkhu


p1- https://youtu.be/DcEQjBsjzMM
p2- https://youtu.be/W8yuYxc9vIs
p3- https://youtu.be/VjUel0exuZ8
p4- https://youtu.be/xkP0A1_byeA
p5- https://youtu.be/ujs_RGttV0s
p6- https://youtu.be/EkVGm9FKSq0


Read ‘Recognizing the Dhamma : A Study Guide’
by Thanissaro Bhikkhu, here …

www.accesstoinsight.org/lib/study/recognizing.html



The eight principles for recognizing what qualifies
as Dhamma and Vinaya,
as taught in the Gotami Sutta AN 8.53.


‘I have heard that at one time the Blessed One was staying at Vesali, in the Peaked Roof Hall in the Great Forest.


Then Mahapajapati Gotami went to the Blessed One and, on arrival,
having bowed down to him, stood to one side. As she was standing there
she said to him: “It would be good, lord, if the Blessed One would teach
me the Dhamma in brief such that, having heard the Dhamma from the
Blessed One, I might dwell alone, secluded, heedful, ardent, &
resolute.”


“Gotami, the qualities of which you may know, ‘These qualities lead
to passion, not to dispassion; to being fettered, not to being
unfettered; to accumulating, not to shedding; to self-aggrandizement,
not to modesty; to discontent, not to contentment; to entanglement, not
to seclusion; to laziness, not to aroused persistence; to being
burdensome, not to being unburdensome’: You may categorically hold,
‘This is not the Dhamma, this is not the Vinaya, this is not the
Teacher’s instruction.’


“As for the qualities of which you may know, ‘These qualities lead to
dispassion, not to passion; to being unfettered, not to being fettered;
to shedding, not to accumulating; to modesty, not to
self-aggrandizement; to contentment, not to discontent; to seclusion,
not to entanglement; to aroused persistence, not to laziness; to being
unburdensome, not to being burdensome’: You may categorically hold,
‘This is the Dhamma, this is the Vinaya, this is the Teacher’s
instruction.’”


That is what the Blessed One said. Gratified, Mahapajapati Gotami delighted at his words.’


– Gotami Sutta : To Gotami AN 8.53
– Source : www.accesstoinsight.org/tipitaka/an/an08/an08.053.than.html


 


– Posted by CFFong


0:00 / 2:42

BSP
chief Mayawati makes ugly personal attack at PM Modi, says ‘wives of
BJP leaders are wary he’ll make their husbands leave them’

Friends
https://indianexpress.com/…/farm-bills-anti-farmer…/
Farm bills anti-farmer, will help rich: Mayawati and Akhilesh
The
Lok Sabha on Thursday passed The Farmers’ Produce Trade and Commerce
(Promotion and Facilitation) Bill, 2020 and The Farmers (Empowerment and
Protection) Agreement of Price Assurance and Farm Services Bill, 2020
Bahujan
Samaj Party (BSP) chief Mayawati and Samajwadi Party chief Akhilesh
Yadav on Friday slammed the BJP government at the Centre for the farm
Bills, calling them “anti-farmer” and “pro-rich”.
The Lok Sabha on
Thursday passed The Farmers’ Produce Trade and Commerce (Promotion and
Facilitation) Bill, 2020 and The Farmers (Empowerment and Protection)
Agreement of Price Assurance and Farm Services Bill, 2020.
Questioning
the manner in which the Bills were passed in the Lok Sabha, Mayawati
said, “Sansad mein kisanon se jure do Bill, unki sabhi shankaon ko door
kiye bina hi, kal paas kar diye gaye hain. Ush se BSP katai sehmat nahi
hai. (Two Bills related to farmers were passed in Parliament yesterday
without clearing doubts related to them. The BSP does not approve of it
at all.” She further said, “What does farmer of the entire country want?
It would be better if the Central government pays attention in this
direction.”
Samajwadi Party chief Akhilesh Yadav termed the two farm
Bills “pro-rich and anti-farming”, and said that once they come into
effect, they would reduce the farmers as mere labourers on their own
fields and would take away their right of getting appropriate price for
their crop.
“BJP sarkar kheti ko ameeron ke hathon girwi rakhne ke
liye shoshankari vidheyak layi hai.” (The BJP government has brought
these Bills, which would mortgage the farms in the hands of rich and
will exploit them).”
Akhilesh further said that these Bills were
being passed “to end the protection given to the farmers and slowly
finish the mandis where farmers sell their crop at minimum support price
(MSP). He said that in the future, the minimum support price to farmers
would be done away with and farmers will just work as labourers in
their own fields (“Woh apni hi jameen par majdoor ban jayenge”).
In Parliament too, members of the Samajwadi Party and Bahujan Samaj Party have joined the Opposition ranks to oppose the Bills.
Farm bills anti-farmer, will help rich: Mayawati and Akhilesh
indianexpress.com
Farm bills anti-farmer, will help rich: Mayawati and Akhilesh
War of words between PM Modi and Mayawati

Friends
https://www.indiatoday.in/…/war-of-words-between-pm…
War of words between PM Modi and Mayawati
indiatoday.in
War of words between PM Modi and Mayawati          
Mayawati claimed that women legislators in the Bharatiya Janata Pa

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