Professor Holly Gayley offers a full translation of the tantric love letters between Namtrul Rinpoche and Khandro Tare Lhamo, two Buddhist lamas who worked to preserve Tibetan Buddhist culture in the wake of the Chinese Cultural Revolution.
Christians have Jesus, the Jews the Messiah, Muslims the Mahdi, and Buddhists Maitreya. All these names are applied to someone who will, at some time, appear on earth as a representative, regent or successor of the principal object of religious veneration.
China or India? India or China? Maybe Chindia? Anyone who has ever spent much time thinking about the future of the Asia or any particular country or company’s relationship to it, has probably asked this question, and more than once. Several terms, such as “Asia- Pacific” or the newly-launched “Indo-Pacific”, carry this question within it.
History by way of “things” has itself become a “thing”. Archaeologists, of course, always did history this way. But they would focus on, usually, assemblages of objects, rather individual pieces. While perhaps not the first—nothing is ever the first—the BBC and the British Museum’s A History of the World in 100 Objects by Neil MacGregor popularized the concept.
“Once the Master asked, ‘What is the question that lays it all out?’ In place of the asked monk, Yunmen answered, ‘Whack the monk next to me.’”
The swastika has been used for over three thousand years by billions of people in many cultures and religions—including Buddhism, Jainism and Hinduism—as an auspicious symbol of the sun and good fortune. However, beginning with its hijacking and misappropriation by Nazi Germany, it has also been used, and continues to be used, as a symbol of hate in the Western World.
The period ca. 645-770 marked an extraordinary era in the development of East Asian Buddhism and Buddhist art. Increased contacts between China and regions to both its west and east facilitated exchanges and the circulation of ideas, practices and art forms, giving rise to a synthetic art style uniform in both iconography and formal characteristics. The formulation of this new Buddhist art style occurred in China in the latter part of the seventh century, and from there it became widely disseminated and copied throughout East Asia, and to some extent in Central Asia, in the eighth century.