Pedagogical Similarities Between Sankara And Mooji

Mirabai’s life and devotional practices serve as a model of the spiritual path of bhakti yoga. Initially considered mad, Mirabai brushed off any hostilities and danced with a blissful ecstasy in the streets (Fisher 105). She paid little heed to social conventions and described herself as, “defiant of world censure or family shame” (Fisher 105). Free from societal constraints, Mirabai sung devotions like, Without Krishna I Cannot Sleep, during her time as a wanderer around 1500 and 1550.

The relationship between Govinda and Siddhartha forms a circular path. As young boys set on reaching enlightenment, they offer one another a sense of

I chose to do my research paper on the colorful and extraordinarily detailed mural titled “Dhrtarastra (Dharma King of the East Direction) with 16 Attendants” by Shashi Dhoj Tulachand. Shashi is also known as Guru Nawang Chhogyall Tenzin is a 69 year- old spiritual leader of the Chhairo gompa, a branch of Tibetan Buddhism from Tuksche, a remote village located in Mustang, Nepal's northernmost district, adjacent to Tibet. He is a master in Buddhist thangka painting who is committed to re-establishing the lost teaching tradition of Chhairo gompa. Shashi comes from a long line of Buddhist artists, his father Kamal Dhoj Tulachan, and grandfather were responsible for many wall paintings and statues to be found in gompas, chortens and private household shrines in the villages of the Thak Kola and the upper Kali Gandaki area.

For the sake of reference, an individual analysis of both philosophers will be established in order to make the differences of each system more

Buddhism is the fourth largest religion on earth and is composed of three major traditions today; Theravada, Mahayana and Tibetan Buddhism (“Lecture 5”). The founder of Buddhism, known as Buddha, was a royal prince named Siddhartha Guatama from Northern India. Siddhartha’s father kept him closely confined inside of a large palace, with the intention of preventing him from taking up a religious life, so that he too would one day become a great king. However, one day while Siddhartha was outside of the palace, he observed four sights that would change his destiny forever. The purpose of this paper is to discuss the four sights experienced by Siddhartha Guatama, their significance and examine why they led him to seek religious

This is truly an illuminating moments as readers are finally convinced of Siddhartha’s readiness as Buddha and are strangely perplexed at Siddhartha’s relentless dedication to the holy

Werner seeks to change his destiny while Siddhartha searches for himself. Werner from All the Light We Cannot See and Siddhartha from Siddhartha set out on journeys to change the inevitable. Although Werner and Siddhartha’s journey’s on searching and seeking are very different due to the time periods, they can be compared by using Joseph Campbell’s monomyth theory, most prominently separation and initiation. Both journeys tell an exquisite story, by starting with leaving their normal world.

Siddhartha finally reaches his pursuit towards enlightenment, and given that without the important symbols throughout the story, he would have never attained Nirvana; these symbols include the all mighty river, the importance of the peaceful smile, and the sacred mantra “Om”. Reaching Nirvana is an end goal for Siddhartha so he sets off on a relentless journey to find the truth. On this unforgettable journey, he comes across many experiences that symbolize his quest to enlightenment.

”xiii Indian society is no different when it came to what they expected of their women. In a song composed by a Buddhist nun Sumangalamata, the composer exclaims of her new freedom. She defines herself as “a woman well set free!” and explains that she is free “from kitchen drudgery” and free “from the harsh grip of hunger, from empty cooking pots, (and most importantly) free too of that unscrupulous man.

Hinduism is an Indian phenomena, it is difficult to define, and difficult for the outsiders to understand some of the unusual religious, philosophical and cultural beliefs. It is according to Huston Smith, the…” least dogmatic and most diverse of all religions…” because of the belief that there is a ‘flowing though’ cycle where in samsara ones is born, lives, suffers, dies and is re-born over and over until the ‘moksha’ occurs. This spiritual liberation is achieved by yoking oneself to God then one may reach Atman: the real self that is separate from the physical body. It is unchanging, eternal and a sign of the soul and spread throughout all the parts of and in the earth. This is the God that cannot be understood or always known yet Hindus are encouraged to relate to the God they know best.

When Siddhartha leaves the town and returns to the river, he feels miserable and shame. He ponders the paths he has taken in search of enlightenment. Hopelessly, Siddhartha contemplates suicide. When he is deliberating, “the Om touched Siddhartha’s ears, he slumbering spirit suddenly awoke and it recognized the folly of his action”(79). This inner voice of Om awakes Siddhartha and finally saves him.

Ellen Goldberg, a professor of Religious Studies at Queen’s university, suggests that iconography is a dynamic and essential component of Hindu religious expression as it serves as a meditational and devotional aid for worshipers (Goldberg, 11). Shiva’s symbolic attributes work to reinforce crucial elements that are regarded as spiritually and domestically desirable. In regards to religious virtues that are revered which are illustrated through Shiva’s iconography, the Ganges River, which flows from Shiva’s head, indicates his role as supreme creator. The Ganges River is a rather sacred aspect of the natural world for Hindu’s for not only religious purposes, but for their everyday lives such as travelling, filtration and it provides water for crops and livestock. Additionally, Shiva’s snake, third eye, water pot and prayer beads are reflective of his religious influence. Devotees of Shiva, often members of the religious sect Shaivism, aspire to master the life force, open their third eye of wisdom and incorporate prayer into their lives as depicted through the ascetic attributes of Shiva. Furthermore, devotees of Shiva strive to attain moksha through his wisdom; they work to realize and come to know Shiva within their own hearts. To summarize, followers of Shiva work to achieve these religious goals by practicing

Siddhartha has been a character of many things; he continuously evolves throughout the story in search of enlightenment until he attains nirvana. In Hermann Hesse’s novel, Siddhartha, he appears to have a unique way of describing his characters and the way they transform. Throughout this novel, Siddhartha’s character constantly changes as he makes new discoveries about himself. In this excerpt, Hesse’s use of imagery, syntax and juxtaposition displays the realization Siddhartha has of being present in the world through self-indulgence. Hermann Hesse’s use of imagery articulates Siddhartha’s character as someone who has a meticulous attention to detail, a keen eye for his surroundings.

But one cannot love words.” (Hesse,117). Siddhartha’s interactions with Govinda have placed him on a high understanding of reawakening. Through time, the process of rebirth allows one to collect wisdom from all kinds of

Throughout time, Buddhism has had a significant influence within Indian art. The evolution of Buddhism can be examined through the use of Buddha in Indian Art. Through detailed research and analysis, the influence Buddha portrayed can be examined through the various pieces of Indian art. Within some of the earliest works of Indian art, Buddha was not shown in the human form. Much of his appearance was shown through a pair of footprints or an empty seat. (Heilbrunn Timeline of Art History) Within the first century AD, Buddha was shown to truly conquer the artistic scene of Indian art. (Heilbrunn Timeline