Nothing will remain
It will be brief
Still I want you inside
The minutes I serve you
In the water mirror
I offer you
Until the meeting of the suns
I touch the unreal
It makes me smile
The stream goes by
I weave my fingers into yours
One Last Time
Today I’ll be reminiscing about you
And as the consort of infinity
I shall rise
Month: August 2017 (Page 1 of 2)
Nothing will remain
The Buddha’s Name contains Amitabha’s great compassion, great vow power, and great meritorious virtues. This Name is alive and active, as it has the Buddha’s eyes, ears, and conscience. So, when we recite his Name, Amitabha Buddha can hear it immediately and, in response, appears to protect us, to clear all our karmic obstructions, and to increase our merits and virtues.
I’m going to tell a story. It’s a story that has been floating around in my head for years, perhaps decades. I don’t know where it came from. It’s likely I once heard a teacher tell it. Or maybe I read it somewhere. I’m sure I have also embellished it a bit over the years. If anyone recognizes the story, please let me know.
It goes like this. Long ago, in a far-off land, there was a doctor. He was a very skillful doctor. He was able to precisely diagnose the medical problems of everyone who consulted him and to give them prescriptions for medications that were extremely effective in curing them. His fame spread far and wide.
But not everyone who went to see him was cured.
Some people gratefully received their prescriptions, went home and copied them out in their best handwriting on to the most expensive paper. They then pasted them on a wall next to a picture of the doctor. Each morning and evening they would burn incense and bow three times in front of the prescriptions and the picture of the doctor. And whenever they were feeling particularly unwell, they would recite their prescription, sometimes up to one hundred times. But strangely they were never cured. In fact, their sicknesses slowly got worse.
When work on the film 2046 began before 2004, Hong Kong film star Tony Leung lobbied hard for director Wong Kar-wai to let him grow a mustache. This was because his character, Chow Mo-wan, was totally different to how he was in 2046‘s prequel In the Mood for Love: whereas Chow in Mood was a gentlemanly journalist, 2046‘s Chow was an emotionally hollow hack writing erotic tales and obsessed with the room number “2046,” which serves as the recurring motif of memories concerning his neighbor’s wife, Su Li-zhen (Maggie Cheung). Leung simply could not recognize the identity of 2046‘s Chow as the same Chow of Mood. Leung needed some visual distinction that would help him concentrate on acting a character he had played to near-perfection before, but whose script he couldn’t meaningfully read as belonging to the same man.
“If you could say it in words, there would be no reason to paint,” said the American artist Edward Hopper. Here, Hopper emphasizes the importance of painting as a language. Art has a power to free humankind but who is it freeing? The context of the works not only remains in the audience’s hearts, but also is rooted in human culture and history. Therefore, art has to be about the artist and the world around him—herself or himself and others.
In the Diamond Sutra, the Buddha said to Subhuti: “If, Subhuti, a Bodhisattva holds onto the idea that a self, a person, a living being, a lifespan exists, that person is not an authentic bodhisattva.”
The Buddha teaches us not to dwell on our perception of things, because there is no reality as we might perceive it. When conditions change, the situation will change with it. If an artist holds on to an egotistic mind, he or she cannot break past the barrier of a strong sense of self. Without this wisdom they cannot see that we are the other person and the other person is ourselves.
From Master Jingzong Facebook; English translation by Foying, edited by Jingnian
Are we qualified to educate a child, simply because we are adults? Are those who have teachers’ credentials competent enough to teach youngsters? Are more knowledgeable people capable of teaching kids?
Aren’t children more innocent, honest and joyful than we are? Are they not more capable of facing life with a smile?
So what is it we are supposed to impart to them? Knowledge is useful but is it more important than life itself? If there is know-how that degrades life instead of dignifying it, is it appropriate to instill it in our children’s minds?
My understanding of childhood education is that the young should be provided with good care and all the necessaries for living and developing fully. They must be safe and allowed to grow freely in accordance with their dispositions and characteristics.
While appropriately sharing knowledge, we should observe and appreciate our children who often become our teachers in life. By refining these truths with adult rationality, we can all grow in love together.
Bodhgaya is a special place of power, in particular when it fills with the energy generated by practices and blessings.
Earlier this year, during the Kalachakra 2017, walking from the hotel to the Kalachakra grounds, a leaflet on a market stall caught my attention.
It advertised an exhibition being held at the Mahayana Hotel, on the road to the main temple, entitled “Milarepa” 1 Jan to 20 Feb 2017, with an entrance fee of 150 rupees.
An exhibition about Jetsun himself, a first of its kind.
The doctrine of the Middle Way (Skt. madhyama-pratipad, Tib. ume lam) is one of the fundamental teachings of Buddhism. According to Theravada Buddhism, the term “Middle Way” is used for the first time in Dhammacakkappavattana Sutta, which is perceived as the first teaching that Buddha Shakyamuni delivered after his awakening. In this text the Buddha explains the Noble Eightfold Path as a middle way of moderation between the extremes.
In Mahayana Buddhism the Middle Way refers to the understanding of the emptiness (Skt. shunyata, Tib. tong pa nyid) that transcends the extremes of existence and non-existence. The Middle Way School of philosophy, known as Madhyamaka, was founded by the 2nd century Buddhist teacher Nagarjuna and represents the idea that all phenomena are empty by nature: at the conventional level, they do exist, but ultimately they are empty of inherent existence.
From On Love
A Discourse by Dharma Master Huijing
Pure Land Buddhism Amitabha-Recitation Society, December 23 and 27, 2015
The Sutra of Infinite Life and Splendor says:
May sentient beings caught in the various realms of rebirth be reborn soon in my land, so they can enjoy peace and happiness. Exercising compassion constantly to save all beings, I will deliver them from Avici Hell. “May sentient beings caught in the various realms of rebirth be reborn soon in my land, so they can enjoy peace and happiness.” This is a message from Amitabha Buddha to all beings. He has been calling out to us for ten kalpas. The call has come from the Land of Bliss to this Saha world, passing through a hundred thousand koṭis of Buddha realms. Riding on the infinite compassion of Amitabha’s 18th Vow, the Buddhas of the ten directions have also been calling on beings of all the worlds to recite Namo Amitabha Buddha and return to the Land of Bliss, the home of their own true nature.
It’s a classic moment in film, one of quite a few from Federico Fellini’s black and white cinematic masterpiece. The charismatic but emotionally lost gossip columnist Marcello Rubini, played by Marcello Mastroianni, is at the beach, holding his hands up in bemused resignation as he struggles and fails to discern the shouts of a young girl in the distance. Eventually, he can’t make out her words and leaves. The girl’s name, played by Valeria Ciangottini (she was personally chosen by the director) is Paola and Marcello (Rubini) has seen the character before in a restaurant – a sweet angel from a lost world of innocent affection, when love just meant love and nothing else. What might have happened had he been able to respond to her waving and shouting? The implication is that it would have been an encounter far removed from and superior to his Roman world of fallen aristocrats, broken celebrities, and suicidal intellectuals.
But the causes and conditions just weren’t there. He certainly behaves that way. He doesn’t rush to her. He seems hardly desperate to escape the emptiness of his life and reach for that remote if possible alternative future. His languid posture as he kneels on the sand, his reluctance and even laziness to move at all, speaks of a spiritual lethargy and “giving up” that has crippled him permanently as far as Fellini is concerned. This is no Hollywood where the protagonist cornily realizes the error of his ways and makes amends.