The search found 61 results in 0.117 seconds.
Search results
First, in space, at the center of a cloud that illustrates the divine realm Tuṣita, draw three regions surrounded by jewels and filled with a multitude of flowers, lakes, forests, fine palaces, connected on a single ground. Or draw three disconnected arrangements of Tushita, whichever you like. In the largest arrangement, draw Shvetaketu teaching dharma to an entire retinue of divinities. In one draw Shvetaketu blowing a white conch and a host of divinities playing various instruments with two gods making requests. In the other location draw Shvetaketu placing a crown upon Maitreya.First, in space, at the center of a cloud that illustrates the divine realm Tuṣita, draw three regions surrounded by jewels and filled with a multitude of flowers, lakes, forests, fine palaces, connected on a single ground. Or draw three disconnected arrangements of Tushita, whichever you like. In the largest arrangement, draw Shvetaketu teaching dharma to an entire retinue of divinities. In one draw Shvetaketu blowing a white conch and a host of divinities playing various instruments with two gods making requests. In the other location draw Shvetaketu placing a crown upon Maitreya.First, in space, at the center of a cloud that illustrates the divine realm Tuṣita, draw three regions surrounded by jewels and filled with a multitude of flowers, lakes, forests, fine palaces, connected on a single ground. Or draw three disconnected arrangements of Tushita, whichever you like. In the largest arrangement, draw Shvetaketu teaching dharma to an entire retinue of divinities. In one draw Shvetaketu blowing a white conch and a host of divinities playing various instruments with two gods making requests. In the other location draw Shvetaketu placing a crown upon Maitreya.
In a forest near King Mahāpadma’s palace draw a gathering of many pratyekabuddhas, one rising in the sky with various kinds of light radiating from his body, one with clouds, lightning and rain coming from his body, and one with fire coming from his body. In the surrounding areas of each of those towns, draw their arrangement however is best and draw the eighteen heretic teachers in thatched huts, huts of leaves, caves, and so forth. Nowadays there is a tradition of drawing uṣṇīṣa crown protuberances on pratyekabuddhas but it is not necessary to draw them. Make an elongated urṇa between the eyebrows, because that is correct. There are countless explanations for that. Their possessions are generally like those of a renunciate but they do not require patched dharma robes. As a substitute for a dark begging bowl they hold a kind of beggar’s cup made from a dried gourd. It is also acceptable that some of them wield a cane staff and so forth. The reason we don’t make them with monk’s staffs, six patched dharma robes, begging bowls, books, and so forth is that pratyekabuddhas appear during periods in which the Buddha’s teaching does not exist. Among the the eighteen heretic teachers: for the gradual representation of the six sophists such as Pūrṇa Kāśyapa, the first has a shaved head and wears a small lower garment that has been dyed. The second has light colored hair bound up and the triangular loin cloth of an Indian. He has given up other clothes and has small earrings. Ashes are smeared on his body. The third has a shaved head, a single pointed staff, and a water vessel. His lower body is wrapped in an animal skin. The forth has a shaved head and wears a black object like a wheel. The fifth is similar to the fourth, and has black hair and white garments. The sixth is naked without even a loincloth. He has plucked out his hair until none remains. He sis cross-legged in meditative equipoise. Brahmin Hetujaya and so forth have the appearance of Brahmins, like the six. They wear the three white threads of a brahmin across their right shoulders and their lower bodies are covered with animal skins and red and white cotton cloth, reaching just an arm’s length. This is in the Indian style of dress. They hold tridents, water vessels, texts, and so forth. They have the three vertical lines in sandalwood powder on their foreheads, or the three are arranged as one, or they have slender waist like the shape of a gold or silver measure. It is suitable to draw each of them like this. They all have long facial hair, and their other hair is shaped or bound in a top knot, but it is taught that they did not have dreadlocks. Make them with topknots on their heads. Unless they have clearly distinguishable characteristics such as being old or young, they should be drawn as brahmins and they should be made with attributes like these. Having said they are brahmins, do not draw them only like elderly Tibetan meditators.The six who were masters of meditation, Arada Kalama and so forth, draw them with their hair bound up in a flat mass of tangles, long facial hair and finger nails, clothing of triangular loin cloths, animal skins, and leaves as appropriate, seated near water vases and other implements, with the gestures of meditation. Make those eighteen heretics with retinues of two or a few. They will manifestly take birth in Tuṣita.In a forest near King Mahāpadma’s palace draw a gathering of many pratyekabuddhas, one rising in the sky with various kinds of light radiating from his body, one with clouds, lightning and rain coming from his body, and one with fire coming from his body. In the surrounding areas of each of those towns, draw their arrangement however is best and draw the eighteen heretic teachers in thatched huts, huts of leaves, caves, and so forth. Nowadays there is a tradition of drawing uṣṇīṣa crown protuberances on pratyekabuddhas but it is not necessary to draw them. Make an elongated urṇa between the eyebrows, because that is correct. There are countless explanations for that. Their possessions are generally like those of a renunciate but they do not require patched dharma robes. As a substitute for a dark begging bowl they hold a kind of beggar’s cup made from a dried gourd. It is also acceptable that some of them wield a cane staff and so forth. The reason we don’t make them with monk’s staffs, six patched dharma robes, begging bowls, books, and so forth is that pratyekabuddhas appear during periods in which the Buddha’s teaching does not exist. Among the the eighteen heretic teachers: for the gradual representation of the six sophists such as Pūrṇa Kāśyapa, the first has a shaved head and wears a small lower garment that has been dyed. The second has light colored hair bound up and the triangular loin cloth of an Indian. He has given up other clothes and has small earrings. Ashes are smeared on his body. The third has a shaved head, a single pointed staff, and a water vessel. His lower body is wrapped in an animal skin. The forth has a shaved head and wears a black object like a wheel. The fifth is similar to the fourth, and has black hair and white garments. The sixth is naked without even a loincloth. He has plucked out his hair until none remains. He sis cross-legged in meditative equipoise. Brahmin Hetujaya and so forth have the appearance of Brahmins, like the six. They wear the three white threads of a brahmin across their right shoulders and their lower bodies are covered with animal skins and red and white cotton cloth, reaching just an arm’s length. This is in the Indian style of dress. They hold tridents, water vessels, texts, and so forth. They have the three vertical lines in sandalwood powder on their foreheads, or the three are arranged as one, or they have slender waist like the shape of a gold or silver measure. It is suitable to draw each of them like this. They all have long facial hair, and their other hair is shaped or bound in a top knot, but it is taught that they did not have dreadlocks. Make them with topknots on their heads. Unless they have clearly distinguishable characteristics such as being old or young, they should be drawn as brahmins and they should be made with attributes like these. Having said they are brahmins, do not draw them only like elderly Tibetan meditators.The six who were masters of meditation, Arada Kalama and so forth, draw them with their hair bound up in a flat mass of tangles, long facial hair and finger nails, clothing of triangular loin cloths, animal skins, and leaves as appropriate, seated near water vases and other implements, with the gestures of meditation. Make those eighteen heretics with retinues of two or a few. They will manifestly take birth in Tuṣita.In a forest near King Mahāpadma’s palace draw a gathering of many pratyekabuddhas, one rising in the sky with various kinds of light radiating from his body, one with clouds, lightning and rain coming from his body, and one with fire coming from his body. In the surrounding areas of each of those towns, draw their arrangement however is best and draw the eighteen heretic teachers in thatched huts, huts of leaves, caves, and so forth. Nowadays there is a tradition of drawing uṣṇīṣa crown protuberances on pratyekabuddhas but it is not necessary to draw them. Make an elongated urṇa between the eyebrows, because that is correct. There are countless explanations for that. Their possessions are generally like those of a renunciate but they do not require patched dharma robes. As a substitute for a dark begging bowl they hold a kind of beggar’s cup made from a dried gourd. It is also acceptable that some of them wield a cane staff and so forth. The reason we don’t make them with monk’s staffs, six patched dharma robes, begging bowls, books, and so forth is that pratyekabuddhas appear during periods in which the Buddha’s teaching does not exist. Among the the eighteen heretic teachers: for the gradual representation of the six sophists such as Pūrṇa Kāśyapa, the first has a shaved head and wears a small lower garment that has been dyed. The second has light colored hair bound up and the triangular loin cloth of an Indian. He has given up other clothes and has small earrings. Ashes are smeared on his body. The third has a shaved head, a single pointed staff, and a water vessel. His lower body is wrapped in an animal skin. The forth has a shaved head and wears a black object like a wheel. The fifth is similar to the fourth, and has black hair and white garments. The sixth is naked without even a loincloth. He has plucked out his hair until none remains. He sis cross-legged in meditative equipoise. Brahmin Hetujaya and so forth have the appearance of Brahmins, like the six. They wear the three white threads of a brahmin across their right shoulders and their lower bodies are covered with animal skins and red and white cotton cloth, reaching just an arm’s length. This is in the Indian style of dress. They hold tridents, water vessels, texts, and so forth. They have the three vertical lines in sandalwood powder on their foreheads, or the three are arranged as one, or they have slender waist like the shape of a gold or silver measure. It is suitable to draw each of them like this. They all have long facial hair, and their other hair is shaped or bound in a top knot, but it is taught that they did not have dreadlocks. Make them with topknots on their heads. Unless they have clearly distinguishable characteristics such as being old or young, they should be drawn as brahmins and they should be made with attributes like these. Having said they are brahmins, do not draw them only like elderly Tibetan meditators.The six who were masters of meditation, Arada Kalama and so forth, draw them with their hair bound up in a flat mass of tangles, long facial hair and finger nails, clothing of triangular loin cloths, animal skins, and leaves as appropriate, seated near water vases and other implements, with the gestures of meditation. Make those eighteen heretics with retinues of two or a few. They will manifestly take birth in Tuṣita.
Pages
