Multivariant Levels of Interpretations on Selected Caryās

From Buddha-Nature

< Books

LibraryDissertationsMultivariant Levels of Interpretations on Selected Caryās
Line 27: Line 27:
 
***{{i|h. The Buddhist Cakras|31}}
 
***{{i|h. The Buddhist Cakras|31}}
 
***{{i|i. Consort Practice|34}}
 
***{{i|i. Consort Practice|34}}
 +
 +
*{{i|III. History of Buddhism in Bengal|38}}
 +
**{{i|1. Socio-economic Background|38}}
 +
**{{i|2. The Rise and fall of Buddhist Dynasties in Bengal|41}}
 +
 +
*{{i|IV. Definitions of Buddha Nature|47}}
 +
**{{i|1. The Tathāgatagarbha Theory|47}}
 +
***{{i|a. Definition of tathāgatagarbha|51}}
 +
***{{i|b. Tathāgatagarbha as already Buddha|55}}
 +
***{{i|c. Conventional and Higher Truths|56}}
 +
**{{i|2. The Sahaja Theory|57}}
 +
**{{i|3. Mahāsukha|58}}
 +
**{{i|4. Mahāmudrā|59}}
 +
**{{i|5. The meanings of terms summarized|61}}
 +
 +
*{{i|IV. SANDHABHĀṢĀ (twilight language)|62}}
 +
 +
VI. Transliterated Verses of the Caryagitis....................................................................69
 +
1. C A R Y A THREE: A Grog Shop............................................................................. 69
 +
a. Part One: About the Author: B ir u p a ...................................................................69
 +
b. Part Two: Textual Studies and Translations........................................................71
 +
c. Translations:................................................................................................................73
 +
d. S a n d h a b h a sa :.......................................................................................................... 75
 +
e. M a h a m u d ra depictions in sa n d h a b h a sa .........................................................81
 +
2. CARYA NINE: A Mad Elephant............................................................................. 83
 +
a. Part one: About the author: K a n h a ......................................................................83
 +
b. Part Two: Textual Studies and translation...........................................................84
 +
c. Translations:................................................................................................................86
 +
d. S a n d h a b h a sa :.......................................................................................................... 87
 +
e. M a h a m u d ra depictions in san d h ab h asa.........................................................93
 +
3. CARYA THIRTY-SIX: A Carefree Stalwart........................................................96
 +
a. Part one: About the author: K rsn acarya...........................................................96
 +
b. Part Two: Textual Studies and translation...........................................................96
 +
c. Translations:................................................................................................................97
 +
d. S a n d h a b h a sa :.......................................................................................................... 98
 +
e. M a h a m u d ra depictions in sa n d h a b h a sa .......................................................100
 +
4. CARYA FORTY: Futility of Religiosity.............................................................. 102
 +
a. Part one: About the author: K an.hu...................................................................102
 +
b. Part Two: Textual Studies and translation.........................................................102
 +
c. Translations:..............................................................................................................103
 +
d. S a n d h a b h a sa :........................................................................................................ 103
 +
e. M a h a m u d ra depictions in sa n d h a b h a sa ............................................ 105
 +
5. CARYA FORTY-TWO: Life and Death..............................................................107
 +
a. Part one: About the author: K a n h a ....................................................................107
 +
b. Part Two: Textual Studies and translation.........................................................107
 +
c. Translations:..............................................................................................................107
 +
d. S a n d h a b h a sa :........................................................................................................ 108
 +
e. M a h a m u d ra depictions in sa n d h a b h a sa .......................................................109
 +
6. CARYA FIFTEEN: A Benighted Traveler..........................................................I l l
 +
a. Part one: About the author: S a n ti.......................................................................I l l
 +
b. Part Two: Textual Studies and translation.........................................................I l l
 +
c. Translations:..............................................................................................................113
 +
c. S an d h ab h asa:........................................................................................................116
 +
e. M a h a m u d ra depictions in sa n d h a b h a sa .......................................................118
 +
7. CARYA TWENTY-EIGHT: A Couple of Savara Lovers................................ 120
 +
a. Part one: About the author: Savaripa............................................................... 120
 +
b. Part Two: Textual Studies and translation.........................................................121
 +
c. Translations:..............................................................................................................122
 +
d. S a n d h a b h a sa :........................................................................................................ 124
 +
e. M a h a m u d ra depictions in sa n d h a b h a sa .......................................................129
 +
8. CARYA TWENTY-NINE: The Unreal Reality.................................................. 131
 +
a. Part one: About the author: L uipa....................................................................131
 +
 +
b. Part Two: Textual Studies and translation........................................................ 131
 +
c. Translations:............................................................................................................. 132
 +
d. S an d h a b h a sa :........................................................................................................133
 +
e. M ah am u d ra depictions in sa n d h a b h a sa ...................................................... 134
 +
9. CARYA THIRTY: The Rising M oon .’.......................................................... 136
 +
a. Part one: About the author: Bhusuku.................................................................136
 +
b. Part Two: Textual Studies and translation............. 136
 +
c. Translations:............................................................................................................. 137
 +
d. S an d h ab h asa:........................................................................................................137
 +
e. M ah am u d ra depictions in sa n d h a b h a sa ...................................................... 139
 +
10. CARYA THRITY-SEVEN: An Experience of the Innate............................. 140
 +
a. Part one: About the author: T a ra k a p a ............................................................ 140
 +
b. Part Two: Textual Studies and translation........................................................ 140
 +
c. Translations:............................................................................................................. 141
 +
d. S an d h a b h a sa :........................................................................................................142
 +
e. M ah am u d ra depictions in sa n d h a b h a sa ...................................................... 144
 +
11. CARYA THIRTY-EIGHT: Paddling and towing a boat.............................. 146
 +
a. Part one: About the author: Saraha...................................................................146
 +
b. Part Two: Textual Studies and translation........................................................ 147
 +
c. Translations:.............................................................................................................148
 +
d. S an d h yab h asa:..................................................................................................... 149
 +
e. M ah am u d ra depictions in sa n d h a b h a sa ...................................................... 150
 +
12. CARYA THKTY-NINE: A Hapless Householder........................................ 152
 +
a. About The Author: Saraha.................................................................................... 152
 +
b. Part Two: Textual Studies and translation........................................................ 152
 +
b. Translation:............................................................................................................. 154
 +
d. S an d h ab h asa:........................................................................................................155
 +
e. M ah am u d ra depictions in sa n d h a b h a sa ...................................................... 157
 +
VH. Conclusion............................................................................................................... 159
 +
VIU. Bibliography..........................................................................................................165
 
|AddRelatedTab=No
 
|AddRelatedTab=No
 
}}
 
}}

Revision as of 16:05, 13 July 2020

Multivariant Levels of Interpretations on Selected Caryās
Thesis
Thesis
 Search online

Read Online

Abstract

The objective of this thesis is to investigate the multivariant levels of interpretation within selected Caryās. The Caryās selected depict Buddha Nature as it was understood in tāntric Buddhism in the area of Bengal. There are three levels of interpretation. The first level is the blatant meaning, and is outlined in the translation section of the songs. The second level is the anuyoga/Mother tāntra meaning. A comparison is made between the interpretations of selected scholars. The final level is the Mahāmudra meaning. This level is inferred from various textual sources.

Citation Bhattacherjee, Rupa. "Multivariant Levels of Interpretations on Selected Caryās." MA thesis, University of Calgary, 2000. https://www.collectionscanada.gc.ca/obj/s4/f2/dsk2/ftp03/MQ55135.pdf.

Anuyoga - The second set of the three inner tantras and the eighth of the nine vehicles according to the Nyingma tradition. Anuyoga includes many yogini tantras and focuses on the Completion Stage practices of sacred channels, energies and essential fluids and espouses the actualisation of empty bliss. Skt. अनुयोग Tib. ཨ་ནུ་ཡོ་ག

Retrieved from "https://buddhanature.tsadra.org/index.php?title=Books/Multivariant_Levels_of_Interpretations_on_Selected_Caryās&oldid=46055"