TNH
We have a physical body, but we also have our Dharma body. Our Dharma body is our understanding of the Dharma and our practice of the Dharma.
If we have a good practice, then we are not afraid. There will be obstacles, difficulties on our path. But we are not afraid, because we have a practice, we have a Dharma body. And we can overcome, we can transform. And that is why we have to nourish our body, every day, for it to be solid.
My Dharma body has helped me so much. I have gone through a lot of difficulties, sufferings, and despair. We have gone through many wars, many divisions, many discriminations, many hate, many despair. And thanks to that Dharma body, we have been able to survive, to transform, to overcome.
And the best thing I offer is my Dharma body. And I want my friends, my disciples, to receive them and nourish them. And that is also for the sake of the future.
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Having a breakfast high in protein, as well as carbs can potentially quadruple weight loss.
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We Risk Being Ruled By Dangerous Binaries V PLURALISM
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Most of us spend an entire lifetime chasing thoughts and emotions like a dog, never finding complete satisfaction. Yet, with a slight but radical shift of attention, we turn toward the stone thrower—awareness itself.
Phakchok Rinpoche and Erric Solomon, “Creating a Confident Mind”
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KS
Self' should be meditated in the form of Bhairava [God]. Because there is no substance exists other than Bhairava [God].
- Lord Kshemaraja
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KS
BLISS V RAGA DWESA
In Aesthetic experience, all that is externally manifested is essentialy “Blissful”
(Ānandamayā), but in actual experience, the worldly objects are either painful or pleasant.
According to Pandey, in Abhinavagupta we can find an explanation for this problem in aesthetic enjoyment:
"External objects are painful or pleasant, when they are related to the individuality of the perceiving subject, when they are viewed objectively and purposively, when the relation between the subject and the object is utilitarian. But when the utilitarian relation is substituted by the aesthetical, when the object is viewed without any objective purpose, when the perceiving subject is free from all elements of individuality, when object is reflected on deindividualised self, it is not experienced as either pleasant or painful, but simply produces a stir in the universalised self of the percipient, brings about the predominance of the Ānanda aspect of the self."
This is exactly what happens when an aesthete hears sweet music. Now if the music or any other aesthetic object be not essentially of the nature of bliss or Para-Brahman how could it manifest the aspect of ‘bliss’ (Ānanda) of the deind-ividulised subject?
The aesthetic experience from music, according to Abhinavagupta, is the experience of ‘bliss’ (Ānanda) at the transcendental level. Accordingly, he holds that Sahridaya or aesthete is one who is capa-ble of rising to the transcendental level. Therefore, one who cannot cast off the limitations of body, etc. and rise to the transcendental level is ‘not aesthete’
(Ahridaya).
Abhinavgupta was a mystic, and the tradition as recorded by his followers and commentators tells us that he had realised the absolute:
"Mystic experience, therefore, he held to be nothing but realisation of the Self, free from all impurities, which constitute the individuality of the individual self. This implies the identity of the individual and the universal is essential. This means that the universal is essentially the same as the individual. His conception of the Universal, the Absolute, is, therefore, based upon the analysis of human mind."
(Pandey 1: 93-94)
In Abhinavagupta, aesthetic experience begins at the sense-level. It rises to the transcendental level through imagination, emotion and catharsis. In order to attain experience, one has to rely on pramata. It is the light of cit itself as a limited manifestation of the universal consciousness. As it sends its light towards the object it is pramana, or means of knowledge.
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