Buddhist Cult Research Articles

BUDDHIST CULT BRONZE: TIBETAN SINGING BOWLS

The article is the fi rst of a series of works united by one common idea - a scientifi c interdisciplinary study of Buddhist cult bronzes. The text is devoted to the study of the Asian type of bells - Tibetan singing bowls. The study purposes to determine the features of the manufacture and use of the Asian type of bronze bell - the Tibetan singing bowl. The research materials are divided into several parts, refl ecting various aspects of the issues under consideration. The study is based on periodical press materials, the analysis of Russian and foreign literature, the study of private collections, and the authors’ personal observations. The research systematically reviews and analyzes the information regarding Tibetan singing bowls for the fi rst time in the scientifi c literature. The work covers general issues of scientifi c research of Buddhist cult bronzes. It also indicates the relevance of studying the Asian type of bells - Tibetan singing bowls. The research considers the features of the bells of Christian Europe and Buddhist Asia and aff ects the spread of Tibetan singing bowls. The purpose of the bowls and their practical application are described. The work discusses special bowls with a fountain eff ect - “singing bowls of dancing water”. The article presents the author’s graphic images refl ecting the varieties, appearance, and structure of bells. The materials of the article systematize and complement the existing knowledge about the Eastern variety of bells - Tibetan singing bowls. Based on the comparison and analysis of the research results, the authors make the following conclusions: singing bowls are a group of products belonging to Buddhist cult bronze. They represent an Asian type of bell made of copper alloy, used in religious practices and household activities. Having a wide range of applications in Asian countries, singing bowls in Western countries are considered primarily as a fashionable religious attribute. The article is useful for students, graduate students and teachers when conducting lectures and practical classes in historical, archaeological, psychological, and related disciplines at universities, as well as a wide range of readers interested in the cultures of the peoples of the world.

«Калмыцкая» коллекция из фондов Новочеркасского музея истории Донского казачества

Introduction. The article analyzes artifacts largely identified as Buddhist cult objects constituting an individual collection at Novocherkassk Museum of Don Cossack History. Goals. The paper aims to investigate the items of the ‘Kalmyk’ collection and introduce a complete list of the latter into scientific circulation for further expert analyses. Results. The study reveals some inaccuracies in museum labels and suggests new attribution details thereto. The ‘Kalmyk’ collection at Novocherkassk Museum of Don Cossack History is distinguished by that its pieces share somewhat common origin, and are directly related to Don Kalmyk Cossacks whose military service did leave its traces on the artifacts. The collection needs further detailed insights how it actually took shape, and a number of items require further attribution efforts since it is still unclear where and when they came from.

Semantics of Attributes of Japanese Buddhist Sculpture

The article is devoted to the description and analysis of some iconographic elements inherent in Buddhist cult sculpture, which made communication between a person and a deity possible. The set being analyzed in this article, which is distinguished by its diversity, is limited to attributes that the deities hold in their hands, as well as crowns crowning the heads of deities, since they occupy a particularly important place in the structure of Buddhist iconography. The various identification marks endowed with Buddhist deities, in general, remain unchanged. As symbols, since images of deities are perceived by the adherents of the faith, they contribute to the birth of the corresponding associations. Embodied in Buddhist sculpture with their characteristic semantics, the attributes help to understand the essence of Buddha's teaching. Some objects are an information sign exclusively for a certain deity, others may belong to the subject environment of different deities. In the visual arts of Japan, the attributes of Buddhist sculpture have become a conventional image, contributing to the message of the versatility of Buddhist teaching, revealing its spiritual essence. Religious and aesthetic merged into one in the works of outstanding masters, who paid special attention to iconographic details, giving them artistic expressiveness. Buddhist sculpture uses symbols with well-established traditional meanings – religious values that have become common culture. The semantic structure of the symbol appeals to the experience and knowledge of a parishioner in a temple or a visitor in a museum, deepening and expanding his spiritual and mental space. This is facilitated by the canonized system of pictorial language that has developed over the centuries.

Artistic features of pedestals, halos, mandorlas of Japanese Buddhist sculptures

The article describes and analyzes important iconographic elements of Buddhist cult sculpture, which are distinguished by great diversity and semantic content. Attention is focused on the etymology and semantics of the pedestals on which the sculptures stand or sit. Thanks to the pedestals, the sculpture was separated from the everyday profane world, its status in the hierarchy of Buddhist deities was emphasized, and its sublime sacral character was demonstrated. It turns out that the arsenal of pedestals is quite diverse. The richness of its forms is traced – from simple pedestals, low bases, which still have a symbolic meaning, to complex architectural structures. The classic pedestal-throne, representing a cascade of lotus flowers, on which prominent characters of the Buddhist world sat, was a manifestation of their divine origin and moral purity. The specific features of the pedestals are studied – the throne as a semantic analogue of the sacred mountain Sumeru, as well as zoomorphic thrones with various mounts and animals, which occupied a significant place in the diverse set of pedestals. It has been established that radiant halos in the form of disks, fiery circles, mandorlas around the body of the sculpture, which are emitting rays, differ in form and style. Their symbolic aesthetics, which tell about the characters, their purpose and role in the Buddhist world, is considered. Mandorlas, based on a lotus petal, make up the picturesque background of the figures and compositionally unite the sculptural group. While halos above the head as a symbol of holiness most often have simple geometric shapes of a circle, or a hoop, and, in some cases, they are elongated at the top and decorated with symbols, mandorlas are always richly decorated, artistically refined and look as if woven from patterns. They give the figures a regal majesty and festivity. It is noted that the brightness of the images is enhanced by the golden sheen, and the luminosity of the images is the reason for the skillful ornamentation of the mandorlas and their rich decoration. It is concluded that patterns on pedestals, halos, and mandorlas are an important element of the composition, indicating the uniqueness of decorative solutions. The types of pedestals worked out over the centuries, often with overhanging openwork canopies, various halos and mandorlas completed in form, contributed to the enrichment of plastic images. The article gives an idea of how diversely such important informational signs of Buddhist deities as pedestals, halos, and mandorlas are presented in Japanese iconography.

«Живые образы» против «обмирщения»: альтернативные интерпретации стиля японской скульптуры эпохи Камакура

In this article, I revise some ideas that were developed by Soviet and Russian scholars in regard to sculpture of the Kamakura period (1185–1333). N. A. Vinogradova and Y. A. Kuzhel’ use in their writings such notions as “proximity to common people” and “secularization” when describing the style of this sculpture. However, from this perspective it is impossible to make sense of such common customs of the period as putting dedication materials inside the sculpture or the creation of “naked” statues. Exploring the source of such interpretation, I suggest that it derives from the circumstances of the Soviet times preventing scholars from investigating too closely the religious context of the art. On the other hand, I make a point that the dialogue or opposition of the religious (abstract) and naturalistic (secular) is a common place of the art historical discourse, probably deriving from the Vienna school of art history. I suggest revising this interpretation of Kamakura sculpture according to the latest scholarship of Buddhist imagery. In this scholarship, we can frequently see the notion of the “living images”, meaning that Buddhist cult images can be regarded as living entities not only on popular level, but also in writings of Buddhist teachers on the subject. With references to religious studies written in Russian and English, I introduce theories and ideas of Japanese Buddhist teachers relevant to the understanding of sculpture of the Kamakura period. As it turns out, the word “living” is particularly relevant to the Kamakura statues as it is precisely during these times that the cult of statues as living Buddhas (shōjin butsu) has spread. According to Japanese scholars, this cult can be the very reason of the naturalistic rendering of the statues and the way the inner space was adorned. Thus, we can hardly speak about the “secularization” of Kamakura sculpture.

ЕВРОПЕЕЦ ВО ВЬЕТНАМСКОМ ПАНТЕОНЕ: КУЛЬТ БАКТЕРИОЛОГА АЛЕКСАНДРА ЙЕРСЕНА (1863–1943) В СОВРЕМЕННОМ ВЬЕТНАМЕ

The article examines the cult of the bacteriologist, the discoverer of the plague bacillus Alexandre Yersin (1863–1943) in modern Vietnam. The cult of Yersin developed in the place of his burial near the city of Nha Trang in the south of Vietnam, and Yersin is worshiped there both as a rural guardian spirit in the Vietnamese folk religion (thành hoàng), and as a bodhisattva in Mahayana Buddhism, although he was not a Buddhist. One of the Buddhist temples in which he is worshiped was previously his office. Meanwhile, Buddhist cult is closely related to the popular veneration of the scientist. Worship of Yersin as a guardian spirit takes place at his grave. An important feature of the cult is that the popular veneration of Yersin was supported by the state: in 2013, a biography of Yersin was published in which his merits are referred as a basis for honoring him as the patron spirit of the area. In addition, secular ceremonies in honor of Yersin contain elements of religious practices rooted in the Vietnamese belief in the existence of the spirits of the dead and their active influence on the daily life of living people. I consider the veneration of Yersin as a new syncretic cult of post-secular Vietnam which give evidence of the vitality of traditional beliefs and their ability to develop in changing social conditions.

Матрилокальная, пространственная и религиозная символика в традиционной свадебной обрядности у тувинцев и бурят в конце XIX – начале XXI века

Purpose. The purpose of the paper is to reveal archaic matrilocal and the cult of fire, areal, shaman and late Buddhist symbols in wedding traditions of the Buryats and Tuvans. A comparative ethnographic method is applied in the research according to which the symbols are considered and compared in terms of synchronic and diachronic aspects. The paper is current due to representation of unity of nomadic family-tribal orientation based on the example of similarities in wedding traditions of Turk and Mongol peoples. High interest in wedding rituals in traditional society is connected with religious and magical elements that represent praying to local spirits for tribal development and safety. Results. As a result, the authors come to the following conclusions: firstly, similarity of many elements of wedding ceremonies is defined by nomadic traditions and ideals of a family tribal structure by northern Buryats to Turk peoples and southern Tuvans to Mongolia. Secondly, the late arrival of Buddhism to Barguzin valley and Tuva was a reason of preservation of archaic cults of shamanism. Conclusion. In summary, it is important to note that comparative analysis of wedding traditions among the Tuvans and the Buryats helps to reveal historical evolution and transformation not only in wedding traditions but in their traditional world view in general. Similarities in diachronic elements of the ritual show unity of many cults that point to tight interactions between the Tuvans and the Mongols, Buryats and the Turk neighborhood. For instance, archaic cults of mother and fire are similar among the Tuvans and the Buryats. Many Shaman and Buddhist cult symbols do not change in Tuvinian and Buryat culture because their philosophies have not been changed on their corresponding territories for a long time. To conclude, comparative research of wedding traditions of Turk and Mongol peoples offers rich material for future research of historical evolution of many cults because the wedding, as one of the most important stages in humans’ life, is always connected with religious rituals of initiation, safety and sanctification.

Interpretation of the image of the Goddess Tara by Zanabazar compared to that by his predecesors and followers (from Sri Lanka to Siberia)

In continuation of the study of the art heritage of Zanabazar (1635–1723), we have traced the connection between the textual and art systems of the Buddhist cult ofTaragoddess. This goddess was of particular importance for the master Zanabazar. In his turn, Zanabazar was recognized as the incarnation of the great Tibetan scholar Jetsun Taranatha (1575–1634), whose name means “Protected byTara”. Undur-Gegen Zanabazar had deep spiritual relationship with the Savior Goddess both from his previous incarnations as well as directly transmitted by his teachers, especially the IV Panchen Lama Lobsan Choiky Gyaltsen (1570–1662). The article deals with outstanding sculptural images of Tara by Dzanabazar and also by the artists of earlier times and by the followers of his style who came fromSri Lanka,Nepal,Tibet,Mongolia, Buryatia. The actual objects are currently preserved in various collections throughout the world. Among them that of the British Museum in London, the Metropolitan and the Rudin Museums in the United States, the Potala in Lhasa, the State Hermitage and the Russian Ethnographical Museum in St. Petersburg and Mongolian museums of Ulaanbaatar. Specific examples show how the canonical Buddhist standards of iconography were implemented under the influence of different regional ethnic craft traditions. The works by famous Buddhist artists, such as Sonam Gyaltsen (16th cent.), Choiing Dorje (1604–1664) as well as little-known Buryat masters of the late 19th century were used to compare with the masterpieces by Zanabazar.

RODION RASKOLNIKOV’S IDEA IN VIETNAMESE TRANSLATION

The article discusses the translation into Vietnamese of excerpts about the protagonist Rodion Raskolnikov’s idea in Fyodor Dostoevsky’s novel «Crime and Punishment». We used all available Vietnamese translations of Fyodor Dostoevsky’s novel, adapted of the original language. We have done a comparative analysis of translations of the verbal conceptualisation of Rodion Raskolnikov’s ideas and their reverse translations accompanied by their analysis. What is worth drawing attention to, are the depressing poverty of Raskolnikov, his social protest as the main motives which made the hero to pass to the terrible crime. There is weakened interest in the hero’s idea, in its hidden godless character of Raskolnikov’s ideas – the protagonist challenges not only the outrageous social injustice, but also the foundations of Orthodoxy, according to which the Law of moral goodness comes from God rather than from humans. It has been shown that Vietnamese translators, working on the translations of «Crime and Punishment», have experienced several diffi culties. The main one is their lack of understanding and knowledge of the realia from Russian people’s daily religious and cultural life in the mid-19th century. The realities of everyday life and spiritual Orthodoxy are often replaced by the realities of the Buddhist cult, which brings to the novel an unusual «oriental» religious fl avour. Some specifi c clarifi cations are suggested for unclear content in the available translations.

Studying of conditions of water supply and water disposal in buddhist cult complex

In this article water consumption conditions in cult constructions are considered. An object of a research is water consumption and assignment of drains in Buddhist cult complexes of Ulan-Ude, the village of Ivolginsk (Republic of Buryatia), uts. Aginskoe (Zabaykalsky Krai) and Irkutsk. A research objective is: studying and analysis of features of water supply and water disposal of a number of Buddhist cult complexes.

Felt Ornamental Patterns within of the Ethnic Worldview (a Case Study of Kalmykia’s Museum Collections)

Introduction. The article deals with felting arts that constitute an indigenous phenomenon of Mongolic cultures. The study basically stems from the understanding that in terms of social development prospects traditional arts act as genetically related predecessors of modern ones. This is the reason there is certain interest in origins and development trends of ethnic traditions that figuratively mirror people’s mentality. The work focuses on the artistic vision of ancestors, their spatial picture of the world. Within the framework, it is urgent enough to identify peculiarities of worldviews developed by Mongolic nomads — the source materials for the first time ever being Kalmyk artistic felting patterns. The study aims to analyze ornamental patterns that serve as core structural elements to create decorative felting compositions; to introduce into scientific discourse corresponding felting-related materials contained in the Museum of the Kalmyk Scientific Center of the RAS. Methods. The interdisciplinary research methodology is predetermined by the comparative analysis of ornamental patterns aiming to reveal local features of Kalmyk felting arts. The traditional visual thinking, its symbolic fundamentals are investigated within the framework of art history and related academic disciplines, such as museology, ethnology, and culturology. Results. In terms of expressive means, the examined ornamental patterns manifest logical features of the ancestors’ visual thinking, the former being arranged along elements of the nomadic world. The archetypes repeatedly inherited within the traditional ethnic system constitute certain peculiarities that form the folk Kalmyk applied arts style typical for the traditional artistic handicraft artifacts — including felting ones — contained in the Zaya Pandita Museum of Traditional Culture (KalmSC of RAS) and other museums of the republic. The museum’s funds constituted by a number of nomadic lifestyle collections, including those of the Buddhist cult, serve as a source to explore folk decorative and applied arts, the latter being viewed within the system of Kalmyk artistic culture. The typical ornamental patterns of Kalmyk felting works are geometrical compositions characterized by distinct linear properties and laconic color schemes. The symmetry of ornamental decorative elements is underlined by respective fixed centers. Every certain quilting has top-and-down, central, left and right dimensions. Geometrically reversible ornamental patterns are also typical for Kalmyk decorative felting works. These are the spatial parameters of decorative felting items in the people’s traditional culture. Conclusions. The paper identifies the archetypes of the traditional worldview of Kalmyk nomads and respective local peculiarities manifested in decorative felting arts. The common ethno-genetic backgrounds of Turko-Mongols includes certain ethnic peculiarities that take corresponding forms within spatial parameters of ornamental felting patterns.

An Early Tibetan Gesar sang Text

This article introduces and presents an annotated English translation of what appears to be an early, and perhaps our earliest, Tibetan Gesar bsang (purifying smoke offering) ritual text. The translation is preceded by a discussion of the association between Gesar as a “worldly deity,” and the autochthonous Tibetan rite of smoke purification, and a tentative suggestion concerning Gesar’s role in the “Buddhicisation” of the bsang rite in Eastern Tibetan popular ritual culture. The article then gives a brief exposition of the layers discernible in the text’s presentation of Gesar: as the hero of a predominantly secular orientated chivalric-shamanic folkloric tradition, and his apotheosisation as a Buddha. The article then explores the difficulties in dating and attributing the text. The attribution to Karma Pakshi is ultimately rejected, in favour of a tentative attribution to the mid-late 17th century (and to Yongs-dge mi-’gyur rdo-je in particular) which would make sense in light of what can be discerned about the evolution of the Buddhist cult of Gesar in eastern Tibet around that time.

Przedmioty kultu lamaiskiego stosowane w obrzędzie Dugżuuba

The article presents the analysis of the Lamaist ritual Dugzhuuba. It is a great purification service – hural that takes place the day before the New Year according to the lunar calendar. Buddhists believe that participation in this rite purifies them from 64 sins as well as repelling all evil spirits. The most important items of Lamaist cult applied during this ritual are described in the article. Some of them are the balin – figures made of dough that are used as symbolic offerings to Dokshits (the severe deities), soor – a triangle pyramid, and others. In the article it is shown how the pragmatic side of the Buddhist cult, namely the rite Dugzhuuba, reflects and emphasizes the bases of Buddhist philosophy. The specifics of the Lamaist cult among the Buryat is also discussed.

Hold On to Your Dreams: Arthur Russell and the Downtown Music Scene, 1973-1992 (review)

Reviewed by: Hold On to Your Dreams: Arthur Russell and the Downtown Music Scene, 1973-1992 Stephen Luttmann Hold On to Your Dreams: Arthur Russell and the Downtown Music Scene, 1973-1992. By Tim Lawrence. Durham, NC: Duke University Press, 2009. xxviii, 414 p. ISBN 9780822344667 (hardcover), $84.95; ISBN 9780822344858 (paperback), $23.95.] Music example, discography, bibliography, index. In his essay "Music and Musical Practices in Postmodernity," Timothy D. Taylor takes stock of several attempts to schematize the differences between modernism and postmodernism, and finds them all wanting. [End Page 774] (The essay appears as the fifth chapter of Postmodern Music/Postmodern Thought, ed. Judy Lochhead and Joseph Auner [New York: Garland, 2002], 93-117.) Particularly questionable are attempts to periodize on the basis of style, and for reasons that most readers of this review will have already surmised by now: the "appropriation of 'low' cultural forms into 'high' " as an attempt to breach the "great divide" between the two levels (Taylor, p. 94, borrowing Andreas Huyssen's terms) is, in terms of style, about as old as the musical art itself, and therefore not characteristic or constitutive of postmodernism in any meaningful sense. What is new, Taylor argues, are the "(re)pre sentation, marketing, and consumption" (p. 103) of musical forms. Postmodernism is therefore best regarded as "ways of cultural production linked to political and economic realities" (p. 102), and postmodern music largely a product of composers "playing with juxtaposed sounds and fragmented identities in ways that we might be able to call postmodern in terms of style, but at the end of the day, safe as moderns in their stable subject positions" (p. 112). Taylor may be right, but there is a blind spot in his argument: is the history of postmodern music composition really reducible to so many classically trained composers—Mikel Rouse is Taylor's Exhibit A—slumming around in the pop world? One may or may not learn anything new about postmodern style (or styles) by broadening one's horizons, but surely it merits consideration that the "great divide" has been breached from the opposite direction, and from other planes, as well. Glenn Branca, for instance, went from being a punk-inspired No Waver to a "composer" and "conductor" of "symphonies," primarily for masses of electric guitars, to a composer of bona fide symphonies for bona fide orchestras and professionally trained conductors as well. (In retrospect, the irony quotes may have been appropriate only with regard to Branca's conducting.) Laurie Anderson, whom Taylor mentions only in passing, approached (and still approaches) music through performance art, and has staked out a position of her own that is resolutely non-"classical" but far removed from traditional pop and rock conventions. Then there are such composers who, acutely aware of genre boundaries and the levels of style (or at least pretension) associated with musical genres, set to infiltrating, mixing, and even reconciling them at every turn. In this last category is Arthur Russell, and Tim Lawrence's biography, the first devoted to him, significantly enhances our understanding of the hit-and-miss but endlessly productive and varied music scene in New York City during the 1970s and 1980s—and introduces us to a musician of genuine substance and partially realized promise as well. (Charles) Arthur Russell was born in Oskaloosa, Iowa, in 1951 and first learned to love music from his father's record collection and his mother's cello playing. In the fourth grade he began to play the cello himself, and the instrument was his most constant companion for the rest of his life. A certain moodiness and a disfiguring case of acne contributed to a more than usually rebellious adolescence, and he ran away, first to Iowa City and then to San Francisco, all without breaking contact with home. In San Francisco he fell in with a Buddhist cult, which he left for better Buddhist mentors when it became clear to him that he would have to choose between the cult and his cello. There he also met Allen Ginsberg, whom he eventually followed to New York, where he would live and work from 1973 until his death from AIDS-related complications in...

Comparative perspectives on the emergence of jindō and Shinto

AbstractThe common understanding that Shinto is Japan's “indigenous religion” makes it difficult to raise the question of when and how this Shinto emerged as a religious identity distinct from Buddhism. This article argues that Shinto arose from a Buddhist cult that incorporated the kami as jindō, rather than from the classical court cult that created a distance between Buddhism and the kami, and that defined the latter as jingi. This Buddhist jindō cult had obvious parallels in other Buddhist states (notably in the Burmese cult of nats), and a comparative approach is essential if we are to understand the dynamics at work here. To explain Shinto's emergence, we must, first, recognize and analyse its origins in jindō and, second, address its medieval dispersal from the royal court into the periphery – another process that can be fruitfully compared with Burma's nat cult.

Бодь мөрийн зэрэг ба хүний амьдралын тойрог

Philosophy of life. 2. Works on Path stages are first of all destined for practice. This kind of teaching is especially peculiarity of Eastern religious and philosophical thought. As for European philosophy, there are directions of ''Philosophy of life''. Common tendency of all these teachings consists in considering of moral problems of right life, of what is good and what is evil. These problems of personality are always connected with his surroundings and in most cases were set as a social philosophy. 2. A Wheel of life/12 links/ The main peculiarity of philosophy of life consists in basing on personal life experience, which is experience of activities towards surroundings. So ideas on surroundings are also a part of a concept about life. In Buddhism there are the twelve links, representing the wheel of life. 3. Turning a Wheel of Dharma by Buddha. There is also a concept of turning a wheel of Dharma by Buddha. If we make an observation about peculiarities of rotating wheel, we can see that the wheel has no end and all points of it are repeated by others. As for the twelve links, its can be defined by attachment to views on I, Soul, Mine. Concerning the wheel of Dharma, we can say that after the turning of it by the Buddha a wheel of life began to rotate around the Buddha's Dharma. There is a term ''an experienced Buddha'' in Buddhist sutras and it is said that experienced Buddha ''results from Bodhi''. It means that the Buddha's teaching is the result of his life experience, which was dedicated to other beings. If a method of becoming Buddha is Bodhi, awareness of it is represented by views on emptiness of I, Sould and Mine. Becoming the Buddha means awareness of human mind through awareness of his own one. 4. Socialization through rotating around Buddha's teaching As for the wheel of life, the Buddha is not outside of the wheel, but in the centre of it, and after the turning of the wheel of Dharma, the wheel of life is rotating around him, and human beings, rotating on the wheel, are guided by him in their morality. Tsonkapa's Lamrim, reflecting the path to Enlightenment and to becoming Buddha as a whole, considers not only inner world of humans on this path, but also his deeds and speech and is dedicated to their socialization with the help of the Buddha's teaching. 5. Buddhist cult as one of the methods to socialize human beings through the Buddha's teaching. Buddhist cult is mainly associated with Tsonkapa's modernization and sometimes is considered as moving away from early Buddhism. But it seems that Buddhist cult represents one of the methods to socialize, to shape inner world of humans. 6. Bow by 3 doors/body, speech and mind/ As an example, we can say some words about bow by body, speech and mind, as it is represented in the Stages on the Path to Bodhi by Tsonkapa /1,22a/. Purpose of bow by body is becoming sublime and means aiming to all Buddhas. Meaning of bow by body is ''good deeds'' and is giving force to acquire faith in good deeds. Bow by mind is giving force to mention awareness of buddhas and bodhisattvas. Bow by speech is praising them.

A Buddhist Cult Centre On the Right Bank of the Oxus. Excavations At Kara-Tepe in Termez in 1983-1992

A Buddhist Cult Centre On the Right Bank of the Oxus. Excavations At Kara-Tepe in Termez in 1983-1992

Art. IV.—The Indian Buddhist Cult of Avalokita and his Consort Tārā ‘the Saviouress,’ illustrated from the Remains in Magadha

The present paper brings the much despised Mahāyāna form of Buddhism fully home to the very cradle-land of Buddhism in India, and invests itwith unexpected importance in the history of Indian Buddhism.No one has yet realized the vast extent to which Mahāyāna and Tāntrik Buddhist remains cover India; nor sufficiently realized the leading part played by the Mahāyāna in Indian Buddhism during its most popular period.