Paňcabuddha对卡里亚的感知

A. Shrestha
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引用次数: 0

摘要

我对ahorātrapadasādhavidhi的研究是对caryā曲目的研究,在这个“表演仪式”的caryā曲目中,paňcabuddha是vajrayāna哲学体系的仓库,从中出现了一群神,他们填补了vajrayāna宗教宗教实践中万花筒般的可视化过程场景。象征主义的游戏通过akobhya, vairocana, amitābha, ratnasambhava和amoghasiddhi作为五种神圣力量或paňcabuddha代表paňcaskandha的投射,摇摆到空间的极端,将所有众生推向“不存在的存在”。在依赖于paňcabuddha的“可视化”的基础上,通过śunyatā的“实现”和人类群体的最终解放,一条通往nirvāna的道路得以缓解。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Paňcabuddha Perception of Caryā
My study of ahorātrapadasādhavidhi is the study of caryā repertoire and in this repertoire of caryā of ‘performing ritual’, paňcabuddha is the store house of vajrayāna philosophical system from which emerges the bunch of deities who fill the kaleidoscopic scenario of visualization process in the religious practice of vajrayāna religion. The play of symbolism is swung to the extremes of space and beyond through the projection of akşobhya, vairocana, amitābha, ratnasambhava and amoghasiddhi as five divine forces or paňcabuddha representing paňcaskandha, driving all the sentient beings to their ‘nonexistent existence’. On the basis of the reliance on the ‘visualization’ of paňcabuddha, a path to nirvāna is eased through the ‘realization’ of śunyatā and ultimate liberation of humanity a mass.
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