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-Period ōjōden —in which salvation is portrayed as the culmination of the character’s life—the moment of conversion appears as a kind of turning point, a point of discontinuity with the past, when self-motivated practices are rejected in favor of an exclusive reliance on the “Other power” of Amida. It is a
breath to be the root of life. 36 Therefore, Amida is, in verity, the life of all beings. Since the living beings of the world are endless, we call Amida “Endless Life.” 37 A particularly notable use of Kakuban’s idea of kimyō as life-breath is that made by the Danna-ryu cult of Genshi Kimyō
paintings can currently sell for millions of dollars. His work was influential in the development of a specifically canadian art scene in the twentieth century, which he ardently sup- ported throughout his life. although his prominent and wealthy family background was piously Presbyterian and Baptist
.s.: a khatri (‘high’ caste) sikh living in southern california, having migrated from Punjab after the crisis of 1984, cannot have had the same life experiences as a jat (agriculturalist caste) sikh living in michigan, having come to the u.s. via south africa, and yet the experiences of these two are
the “inner logic” of the belief system. 6 This interpretation is in part motivated by a strong interest in communication across cultures—partly for professional reasons, partly for reasons of life experience. In the context of such experiences and explorations I have adopted a hypothesis about the
life and the earth’s ecology, it is difficult to make much sense of this kind of thinking…. Perhaps sophisticated Buddhists, following the lead of Shinran, understand that the Pure Land is not a real place at all, but basically a symbol for a different state of mind; but would such notion be attractive
contract of an older Barbarī woman, white-haired, with scarred skin (likely the body art of scarification), “ugly” hands, missing teeth, named Qanyūn was transcribed on a piece of papyrus in 280/893. Her body bears witness to a difficult life, whether marked by violence, hard labor, poor health or corporal
and religious arts. in response to the ongoing political situation there has been a push by influential Tibetan buddhists, including the dalai lama, to adapt the teachings to foreign audiences. ultimately, the adaptation of Tibetan buddhist ritual is motivated by the need to preserve cultural and
small sized monks are active in a hilly landscape [Plate 13]. These vignette-like representations break with the sacred meaning of the surroundings by hinting to everyday life in a monastic community. Their style relates to similar representations on the South wall introduced later. Lastly, at the
life at home. What did their non-initiated relatives believe and practice? 3 see for example, Banikanta Kakati, The Mother Goddess Kamakhya (gauhati: pub- lication Board assam, 1989), 8–9, 21, 38–40; nihar rajan mishra, Kamakhya: A Socio- Cultural Study (new delhi: d.K. printworld, 2004), 15–17, 28