The Minakata Mandala op.1 (see Fig.5) which is well-known and well-studied drawing of Kumagusu appears in his letter to Hōryu, written on July 18, 1903. In Shingon school, there are two main mandalas which symbolises the two realms of the universe. One expresses the Vairocana Tantra (dainichi kyō, 大日経) and is known as the Womb Realm (Sanskrit: Garbhadhatu, Taizōkai Mandala, 胎蔵界曼荼羅). The other expresses the Vajrasekhara Tantra (kongōchō kyō, 金剛頂経) and is known as the Diamond Realm (Sanskrit: Vajrhadhatu, Kongōkai Mandala, 金剛界曼荼羅). These two mandalas are always displayed in a set (nini-funi, 二而不而 or 而二不二) and are considered to be an expression of the entirety of Dharma. However, Minakata Mandala op.1 has no clear relationship with the Shingon school mandala and Tsurumi Kazuko coincidentally named his drawings as Minakata Mandala for convenience. Nine years after Kumagusu drew his concept of the relation between ‘heart-mind’, ‘substance’, and ‘event’ (Fig.1) based on the idea of infinite time (time with no beginning and no …show more content…
He also points out that starting from understanding the ‘substance wonder’, today’s science has identified the ‘reasons’ or ‘principle’ behind the phenomena belonging to ‘substance wonder’. However, according to Kumagusu, what has been identified as the ‘law’ or ‘principle’ of phenomena is only touching upon part of all wonders; he explains that though ‘event wonder’ has been investigated through mathematics and logic, ‘heart-mind wonder’ through psychology, since they all start from ‘substance wonder’ as the object of the research, science has yet to find the right method to directly investigate ‘heart-mind wonder’ and ‘event wonder’. , Following his explanation of wonders and his criticism of science, he starts his explanation of his mandala as
The “bell-shaped stupas” in Borobudur show how Buddhism was elaborated as it spread across Asian countries (Doc 2). The stupas create the shape of the Buddha as it is made for meditation and are distinctively found in Southeast Asia. Furthermore, this shows how art portrayed new developments of Buddha’s image, such as in the “Seated Buddha of Gandhara” in Pakistan (Doc 4). The statue represents the Eastern and Western culture as Greeks made the statues resemble Greek gods to portray the Buddha wearing a toga. This combines the culture of Hellenism and transforms Buddhism into a different image.
An example would be the Two Lotuses, from the Bharhut Stupa which was also made in the 1st century B.C. It was similarly carved with a type of sandstone and tells a story, and both sculptures show a similar technique in creating relief and adding detail. The Two Lotuses, from the Bharhut Stupa chronicle the major life events of the Buddha and deities found around the area.
Poetically speaking, the layout of a monument aesthetically
The ancient Greeks defined Kairos as meaning to act at the right or opportune moment, known as the ‘supreme moment’. Rhetorical situations often appear without warnings, each with its own unique set of challenges, at certain time and places that can’t be replicated. It is up to us as an individual, aspirating rhetoricians, to judge when the opportune moment to engage in rhetorical situations is. However, has the definition of how we engage in Kairos changed since its inception in ancient Greece?
Conclusion: The mind is substantively different from the body and indeed matter in general. Because in this conception the mind is substantively distinct from the body it becomes plausible for us to doubt the intuitive connection between mind and body. Indeed there are many aspects of the external world that do not appear to have minds and yet appear none the less real in spite of this for example mountains, sticks or lamps, given this we can begin to rationalize that perhaps minds can exist without bodies, and we only lack the capacity to perceive them.
Using this technique, he posits one will eventually find the truth and be on the right path. This summarization can be likened to Conze’s assertion that Buddhist thinkers loved paradox and contradictions. With this, he associates Buddhist thought with
Merleau-Ponty tells us that, “the real has to be described, not constructed or formed” (1969, p. 17). Phenomenological art therapy as explicated by Betensky (1995) is a clearly formulated art therapy approach that attempts to understand the phenomena of the artwork and the creative process from within itself through "intentional observation" and reflection. The three main features of the phenomenological method are 1) the attention to the description of the perceived phenomena; 2) focus on capturing the essence; and 3) the essence is found by intuiting and not by deduction or induction. The 5 key concepts of phenomenology concepts outlined by Merleau–Ponty in the introduction of Phenomenology of Religion (Bettis 1969) can be applied to art therapy (Carpendale, 2002).
Since he does feel happiness from the chase for knowledge, he has the right to be inspired by this action. He also mentions that the Golden One, a woman he meets and falls in love with, brings him joy, which he wouldn’t be able to say if it wasn’t for his curiosity and desire to know her that soars to levels unreachable. Therefore, his innovation and meeting of the Golden One refer back to his beginning of reaching for knowledge. The nature of a human also justifies the way they’re motivated.
What would we do without mystery? What would we do without
The mind in order to enjoy pleasure seeks the advice of the self. The self advises the mind to explore the forces of nature, both evil and benign (Devas and
It embodies the insight that there is a serious muddle at the centre of the whole of Descartes theory of knowledge. He says that we do not hold a clear idea of the mind to make out much. ‘He thinks that although we have knowledge through the idea of body, we know the mind “only through consciousness, and because of this, our knowledge of it is imperfect” (3–2.7, OCM 1:451; LO 237). Knowledge through ideas is superior because it involves direct access to the “blueprints” for creation in the divine understanding, whereas in consciousness we are employing our own weak cognitive resources that
This is usually in relation to the Bible. But there are also pieces of sacred geometry that are not always attached to the
There are not permitted a place in calculative ‘herd’, which is how most people seem to find their meaning, therefore they must find their meaning elsewhere and are forced to mediate lest they lose their minds... The only way meditative thought could be entirely eradicated is if mankind as a species ceases entirely to cast some individuals out of the social collective.”
West of the Diwan i aam is the Anup-talao a pool with a pavilion in the centre. Near it are three trabeate structures- a Turkish Sultana’s House, which has intricate floral and geometric carving on it, which according to Rizvi was not a house, but a chamber of discussion, the Khwabkhana or Akbar’s sleeping chamber and next that the Daftar Khana or records office which had Akbar’s jharoka. West of this area, are a series of small trabeate palaces