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The attainment of enlightenment by Gautama Buddha is the very beginning of Buddhism as a religious phenomenon. Because of his attainment of enlightenment, he has been remembered as Buddha for centuries, even though it is uncertain whether buddha was the preferred title to remember him by from the earliest times. Previous scholarship has demonstrated that the term buddha was a common noun in the Indian religious context, and it was also employed to refer to his higher disciples. The verses of the Suttanipāta represent a complex corpus rich in many fundamental concepts common to Jain religious thought. Many epithets were introduced by Buddhists to praise their monastic founder as Jains do. Among them, buddha does not seem to be the preferred one among them. Contrarily, by redefining brāhmaṇa, Buddhists participate in the ascetic discourse of praising their master as the one who deserves to be regarded as that ideal. This paper argues that Buddhists advocated their master as a brāhmaṇa, a title that is not only consistent with the teachings of Jains but also one that may have preceded the popularity of Buddha as his most memorable title. [ABSTRACT FROM AUTHOR]

Teaching methods are very important elements of learning process, ensuring students not only receive the knowledge but also become attractive and engaged in the learning process. Teaching methods are designed to help the students to understand the teachings easily according to their capacities. This research aims to examine the teaching methods had been adopted by the Buddha as the great spiritual teacher in the world. This research is qualitative research methodology carried out with library approach. The data of the research is mainly based on primary sources which include the Sutta Pitaka and its commentaries, and secondary sources which include the journals, articles, or books written by scholars. Having critically examined the data, this research discovers that the Buddha had used several methods of teaching according to the characters and the capacity of the students. The Buddha examined the audiences' capacities and their characters before giving the sermon and decide to deliver the teachings by the methods they can understand easily. Looking at the discourses in the Sutta Pitaka, it can be understood that the Buddha had used several methods of teaching such as student-centered method, lecture method, discussion method, narrative method, parable method, gradual method and psychotherapy method. [ABSTRACT FROM AUTHOR]

This paper traces the making of Bamiyan Buddhas beyond the Bamiyan valley in Afghanistan since 2002. Recounting the building and rebuilding of a monastic complex in Bangkok, the study focuses on one of these new Buddhas, more complete than the "original" Bamiyan Buddha of the dually inscribed grotto, "Bamiyanguha-Bamiyan Museum", at Wat Saket. In their global manifestations, the Bamiyan Buddhas have emerged as mobile sites, as place holders with direct and indirect citations to the destroyed Buddhas of the valley. The building of Wat Saket's Bamiyan Buddha is situated within larger transnational histories of planned, projected, rejected, and reproduced Bamiyan Buddhas, within stylistic decisions related to questions of shifting material media, scale, and iconography involved in copying and reproductions, in the context of Thailand's changing engagements with itinerance, multiplication, and copying strategies around Buddha images, and in national and global circuits of collecting, exhibitions, gift, and piety. The museum, specifically the cave-museum of Wat Saket, as a site of retinal and haptic vision which continues to challenge and blur the distinctions between curatorial visions, specialist pedagogy, visual instructions, aesthetic contemplation, and rapidly shifting and evolving complex of ritual practices and leisure, remains at the heart of this study. [ABSTRACT FROM AUTHOR]

The article provides the analysis and typology of the enumerations of the names-epithets of Buddhas and Bodhisattvas recorded in Buddhist texts that were spread throughout the Buddhist area. Despite the fact that texts united under the common title ‘Buddha’s Names’ were very popular among Buddhists during Ancient and early Medieval time (the article contains titles’ list of relevant texts in Sanskrit, Tibetan and Chinese languages) the author points out weak study of these texts in the modern Buddhology. Moreover, there are also similar texts praising various gods (Viṣṇu, Śiva, etc.) in Indian orthodox tradition. The study of such written sources is very urgent since the lists of Buddhas and Bodhisattvas names, in addition to the functions of the spells protected from various adversities, can represent a kind of matrix lists encoding various aspects of the Buddhist doctrine. Moreover, some initial typologies are already present in Buddhist written sources. To solve the problems posed in the article, historical-genetic, historical-typological and systemic approaches were used. Based on the lists of Bodhisattvas names containing in the Prajñāpāramitā (‘The Perfect Wisdom’) texts, the author makes the assumption that these names mark the stages of the Buddhist yoga practice – levels of the Eightfold Noble Path. The analysis of Bodhisattvas names semantics allowed us to develop three typologies of the names-epithets: 1) stages of the religious practice; 2) spheres of the Buddhist cosmology; 3) aspects of the Noble Path (wisdom, morality, yogic practice). In conclusion, we state that all analyzed names are epithets of the four main Bodhisattvas, whose cult was widespread throughout Buddhist world – Avalokiteśvara, Mañjuśrī, Vajrapāṇi (Mahāsthāmaprāpta) and Maitreya. In their turn, they also mark various aspects of yogic practice.

Abstract This article discusses the encounter of mindfulness in the modern world which are rooted in the Buddhist tradition and the Christian tradition, which is known as contemplation. The encounter of two religious’ traditions, Buddhism and Christianity, forms the basis for exploring the spiritual formation of Christian mindfulness as a holistic spirituality of daily life. Christian mindfulness becomes an interdisciplinary spirituality in the modern world and interspirituality in a plural world. Abstrak Artikel ini mendiskusikan perjumpaan mindfulness di dunia modern yang berakar pada tradisi Buddha dan tradisi Kristen, yang dikenal dengan kontemplasi. Perjumpaan dua tradisi religius, tradisi Buddha dan tradisi Kristen menjadi dasar penggalian formasi spiritual Christian mindfulness sebagai sebuah spiritualitas holistik keseharian. Christian mindfulness menjadi spiritualitas interdisipliner di dunia modern dan interspiritualitas di dunia plural.

The introduction to the topic of this issue is an overview of the research articles authored by Russian, Lithuanian, and Indian scholars on various problems of Mahayana Buddhist philosophy. While explaining the status of the terms “Mahāyāna” and “Hīnayāna,” the author emphasizes that since they are represent the apologetic conceptualizations of Mahayanists, the appellation “Hīnayāna” (“Lesser Vehicle”, etc.) is not recognized either by those Buddhists who are supposed to be characterized by it, or by scholars striving for a neutral appellation. This creates difficulties, including the need for a generally accepted designation for this Buddhist tradition. However, despite the apologetic nature of the Mahāyāna - Hīnayāna opposition, the difference between the two is captured very plausibly. The first one teaches about the individual way of achieving liberation from the cycle of endless rebirths (saṃsāra) through a personal, individual self-perfection (the path of the arhat) leading to enlightenment (bodhi) and nirvāṇa (extinction of passions). The second one develops a full-fledged religion with its own pantheon and rituals, in which nirvāṇa and individual liberation, while remaining, more or less theoretically, the ultimate goal, are pushed to a distant plane. At the same time, the idea of compassion and the ideal of bodhisattva who, having taken a vow to help all living beings to get rid of sufferings, continues to remain in saṃsāra, is put forward in the center. However, despite this major difference a Buddhist discipline known as Abhidharma which consists in analysis and classification of discrete states of consciousness (dharmas), identified in meditation, remains a reference point in both traditions. Three authors touch upon it (Helen Ostrovskaya, Pradeep Gokhale, and Vladimir Korobov). Two of them (Ostrovskaya and Gokhale) focus on the problems of murder and death, and the third one (Korobov) dwells on the methodology of Abhidharma. Vladimir Ivanov offers a new interpretation of the structure of Śāntarakṣita’s treatise “Tattva-saṃgraha” with Kamalaśīla’s “Pañjikā” commentary. Yangutov and Lepekhov explore the specificity of Buddhism reception in China, Tibet, Mongolia, and Russia. Nesterkin publishes for the first time B. Baradiin’s theses for Agvan Dordjiev’s lecture, which exemplifies the Buryat Buddhist Renovationists’ interpretation of Buddhism. Burmistrov analyzes the views of Indian historians of philosophy on the history of Buddhism, Volkova - the concepts of Buddhist ethics in contemporary analytical philosophy.

Jung's view of God as a unity of Christ and Antichrist was rejected by Western theological circles, but a convergence can be found in Chinese Buddhist thought. Both Jungian psychology and Tiantai Buddhism believe that evil is intrinsic to the nature of God/Buddha, which is actually a manifestation of human nature. Only a God/Buddha with a paradoxical and antinomial character could provide a logical explanation for the paradox of the existence of evil and a Supreme Being. And both suggest that for the well-being of the human psyche, people should recognize evil and integrate it into a pursuit of good. [ABSTRACT FROM AUTHOR]

Artifacts pertaining to Buddhist culture are often studied in relation to their circulation from India throughout the rest of Asia; however, many traveled to Europe during the last few centuries as trade commodities and pieces for the art market, losing any devotional purpose in favor of a specific aesthetic sensitivity that was typically adapted to Western taste to appeal to collectors. This article presents a technical study of seven polychrome wooden sculptures from the Museo d'Arte Orientale (MAO) in Turin, Italy. Originally from China, these objects are generally attributed to the late Ming–early Qing dynasties (16th–18th centuries) based merely on stylistic and iconographic considerations. Scientific analysis sought to expand the available knowledge on their constituting materials and fabrication techniques, to address questions on their authenticity, to assess their state of preservation, and to trace the history of transformations they have undergone while transitioning from devotional objects to private collection and museum artwork. By delving into the sculptures' intricate paint stratigraphy, the results were also key to guiding treatment choices. The outcomes of this study were featured in the MAO exhibition "Buddha10. A Fragmented Display on Buddhist Visual Evolution" (October 2022–September 2023). [ABSTRACT FROM AUTHOR]

In the Western world of today, the swastika is practically exclusively associated with Nazism, but in reality it is an ancient religious symbol, used in a number of different cults, symbolizing different deities. The oldest finds so far have been made in Ukraine and are between twelve and fifteen thousand years old. About seven thousand years ago the symbol existed in present-day Iran and five thousand years ago it was frequently used in the Indus culture, later to occupy a prominent place as a symbol of luck and happiness in Hinduism and Jainism and also in Buddhism. It also occurred very early in Mesopotamia and was later taken over by Greek, Etruscan, Roman, Byzantine and Christian cultures. During the latter half of the 19th century in particular, its popularity as symbol of good luck grew steadily and a large number of different countries, companies, organizations and semi-religious societies adopted it in their seals, trademarks and icons. During the first decades of the 20th century, several quasi-religious movements with a pan-Germanic, “Aryan”, and nationalist orientation chose it for their blazons. In 1920, the swastika was selected as the symbol of the then newly formed Nazi party and in 1935 of Germany. In connection with the Nazi takeover in 1933, the Finnish art historian Lars-Ivar Ringbom wrote an article in which he questions the Nazis’ right to the swastika and their definition of its content. The present article reproduces Ringbom’s short text in extenso, commenting on and contrasting it with the now current Western way of seeing and defining the ancient sign.

This article analyses Sunil Sigdel’s painting “Peace Owners II,” a portrayal of three major political leaders of our time; Donald J. Trump, Vladimir Putin, and Kim Jong Un, from the holistic level of structure, meaning, and discourse. To interpret the painting, it utilizes Erwin Panofsky’s “art interpretation theory,” which examines visual art in pre-iconographical, iconographical, and iconological description, in conversation with visual rhetorics. This article, keeping Buddhist philosophy at the center, shows that Sigdel’s painting is a medley of the eastern tradition of thangka-paubha art and the notion of global politics and foregrounds the contradictions between the real peace preached by Gautam Buddha and shallow peace advocated by the modern world leaders. The allegory of political leaders depicts a contradiction between Buddha’s notion on peace and that of the Buddha-like demigod of our time who are disguisedly selling the false idea of a peace process throughout the world. The painting also contends that the failure of both political ideologies—democratic essence and communist values—in global politics is the reason for the juxtaposition of Buddha’s concept of peace and profit-oriented intentionally operationalized peace by so-called peace owners.

In the Japanese Buddhist canon, the heavenly sovereigns belong to the fourth class of Buddhist deities — after the Buddhas, bodhisattvas, and light kings. They are the largest group. Sculptures are distinguished by the complexity of plastic forms, decorativeness, and expression. In Japanese iconography, the appearance of Buddhist characters was transformed according to ethnic requirements; their attributes, costumes, and poses changed. The heavenly sovereigns, with soft faces reminiscent of bodhisattvas, were endowed with formidable features in Japan; secular attire was changed to the attire of warriors. Other deities, initially considered warlike, acquired a peaceful appearance. Four heavenly sovereigns (shitennō) should be singled out as the most famous — Tamonten, Jikokuten, Zōchōten, Kōmokuten. They hold weapons in their hands. For Kōmokuten, in his fight against ignorance, the word serves as a weapon, and he holds a scroll-sutra and a brush. In addition to them, Bonten, Taishakuten, Bishamonten became recognized. They have great physical and spiritual strength and appear in majestic poses. Bishamonten acts as a warrior-protector but is also a deity who bestows mercy on everyone. The warrior Benzaiten took on the traits of femininity. Kichijōten is known as the goddess of wealth and happiness. The cohort of heavenly sovereigns belong to the guardian deities of Buddhist law — Shūkongōjin and Kongōrikishi. They are akin to guards located in the niches of temple gates. Sacred sculptures demonstrate the martial spirit with a powerful physique, facial expressions, hand gestures, military armor. Initially static, the sculptures acquired expressiveness of movement due to the position of arms and legs. The article considers the most artistically significant sculptures to trace the process of improving the stylistic means of sculpting Japanese-Buddhist images, to reveal the features of grotesque works, and to expand knowledge about Buddhist temple sculpture.

The article describes and analyzes important iconographic elements of Buddhist cult sculpture, which are distinguished by great diversity and semantic content. Attention is focused on the etymology and semantics of the pedestals on which the sculptures stand or sit. Thanks to the pedestals, the sculpture was separated from the everyday profane world, its status in the hierarchy of Buddhist deities was emphasized, and its sublime sacral character was demonstrated. It turns out that the arsenal of pedestals is quite diverse. The richness of its forms is traced – from simple pedestals, low bases, which still have a symbolic meaning, to complex architectural structures. The classic pedestal-throne, representing a cascade of lotus flowers, on which prominent characters of the Buddhist world sat, was a manifestation of their divine origin and moral purity. The specific features of the pedestals are studied – the throne as a semantic analogue of the sacred mountain Sumeru, as well as zoomorphic thrones with various mounts and animals, which occupied a significant place in the diverse set of pedestals. It has been established that radiant halos in the form of disks, fiery circles, mandorlas around the body of the sculpture, which are emitting rays, differ in form and style. Their symbolic aesthetics, which tell about the characters, their purpose and role in the Buddhist world, is considered. Mandorlas, based on a lotus petal, make up the picturesque background of the figures and compositionally unite the sculptural group. While halos above the head as a symbol of holiness most often have simple geometric shapes of a circle, or a hoop, and, in some cases, they are elongated at the top and decorated with symbols, mandorlas are always richly decorated, artistically refined and look as if woven from patterns. They give the figures a regal majesty and festivity. It is noted that the brightness of the images is enhanced by the golden sheen, and the luminosity of the images is the reason for the skillful ornamentation of the mandorlas and their rich decoration. It is concluded that patterns on pedestals, halos, and mandorlas are an important element of the composition, indicating the uniqueness of decorative solutions. The types of pedestals worked out over the centuries, often with overhanging openwork canopies, various halos and mandorlas completed in form, contributed to the enrichment of plastic images. The article gives an idea of how diversely such important informational signs of Buddhist deities as pedestals, halos, and mandorlas are presented in Japanese iconography.

The regeneration crisis among Buddhists is a threat to the existence of Buddhists. This study aims to describe the discourses and movements of Buddhists in overcoming the crisis regeneration. This study reveals the causes of the regeneration crisis, the discourse's that were builts to overcome the regeneration crisis, and the movements carried out to overcome the Buddhist regeneration crisis. The research was conduct in Jepara, Central Java. The research method uses a holistic descriptive approach. The results of the studies stated that one of the causes of the regeneration crisis was religious conversion during the marriage, the discourse built by Buddhists through a shared space as a matchmaking agency, and the movement through the establishment of the Jepara Buddhist Youth Association (PMMBJ). This institution was used as a space for young Buddhists to get to know each other interpersonally and the media to find a mate and build a happy family through marriage. Through the discourses and movements, it is possible to minimize religious conversion. [ABSTRACT FROM AUTHOR]

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ÖZ: Buddha’nın (MÖ 563-483) hayatı ile ilgili bilgilere kendisinin ölümünden sonra yazıya geçirildiği bilinen Palī dilinde yazılmış Buddhist eserler sayesinde ulaşılmaktadır. İlgili eserlerde Buddha’nın hayatını konu edinen birçok anlatı yer almaktadır. Ancak eserlerde özellikle Buddha’nın yüceltildiği, kişiliğine mitolojik ve mucizevi unsurların eklendiği görülmektedir. Bu sebeple, Buddhist edebiyata ait eserler, Buddha’nın tarihsel gerçekliğini araştırmak isteyen kişiler için yanıltıcı olabilmektedir. Aslında Buddha’nın yaşamında ve hatta Buddhist düşünce yapısının özünde bu tür mitosların ve efsanelerin yeri yoktur. Eseri kaleme alan kişi(ler) tarafından ya da eserin yazılış döneminin Buddha’nın ölümünden çok sonra olması sebebiyle bu anlatılara mitsel özelliklerin eklenmesi olağan bir durum olarak değerlendirilmelidir. Buddha bir tanrı değil, insandır. Öldükten sonra tanrısallaştırılmıştır. Buddha’nın hayatını konu edinen çalışmalarda, “geleneksel kayıtlara göre” ifadesi kullanılarak mitoslaştırılan yaşamına referans gösterilmek istenmektedir. Bu çalışma, Buddha’nın hayatı ile ilgili anlatılara eklenen mitolojik unsurları literatür taraması ile tespit edip nitel araştırma yöntemi ile Buddha biyografilerinin karşılaştırmalı analizinden yararlanarak Buddha’nın tarihsel gerçekliğini ortaya koymayı hedeflemektedir. Çalışma boyunca Buddha’nın yaşamına dair olan anlatı farklılıkları, kendisine atfedilen olağanüstü özellikler ve Buddhist düşünce yapısında olmayan unsurlar araştırılarak Buddha’nın gerçek yaşamını ortaya çıkarmak amaçlanmıştır. Çalışmanın gerçek Buddha düşüncesini ve Buddhizm’in özünü öğrenmek isteyenlere yol göstermesi beklenmektedir. ABSTRACT: The life of Buddha’s information about (563-483 BC) has learned through Buddhist works written in Palī language, which known to have been written down after his death. There are many narratives about Buddha's life in this works. However, it has seen that especially Buddha has an overestimated and mythological, miraculous myths were added to his biography in this works. For this reason, Buddhist literature can be confusing for those who want to research the historical reality of Buddha. In fact, such myths and legends have not in Buddha's life or even in the principal of Buddhist spirit. It should be considered normal to add mythical stories to these narratives, either by the person(s) who wrote the work or because the writing period of the work was long after Buddha's death. Buddha is not a god but a human. He has been deified after death. In studies dealing with Buddha's life, the phrase "according to traditional records" has been used to refer to his mythological life. This study has aimed to reveal the historical reality of Buddha by identifying the mythological stories added to the narratives about Buddha's life through literature review, and by using qualitative research method and comparative analysis of Buddha biographies. Throughout the study, it is aimed to reveal the real life of Buddha by investigating the narrative differences about Buddha's life, the unusual stories attributed to him, and the stories that are not in the Buddhist spirit. It is expected that the work will guide those who want to learn the true Buddha thought and the spirit of Buddhism.

Introduction. The etymology of the Chinese character 佛 (fó) shows that not only phonetics but also morphology of the character proper, as well as its interpretation in ancient Chinese texts, serve important factors of its use to translate the concept of ‘Buddha’ from Sanskrit Indian sutras. Goals. Etymological analysis of the hieroglyph 佛 with identification of early meanings based on citations from classical philosophical writings will reveal reasons for the primary use of the character 佛 in translations, in contrast to other assonant lexemes (e.g., 浮). Insights into historical and cultural backgrounds, peculiarities of the dissemination of Buddha’s teachings and beginnings of Chinese translation studies prove instrumental in emphasizing the influence of these processes on subsequent development of the new meaning. Materials. The study analyzes Chinese etymological and explanatory dictionaries, language databases and Chinese historical texts, as well as materials presented in works of linguists and historians. Results. The sign 佛 had been used in Taoist and Confucian literature long before the arrival of Buddhism in China. Its etymological and semantic analyses, interpretations of main meanings discovered in philosophical texts make it possible to show origins of the new meaning of the hieroglyph 佛 ‘Buddha’ and its use in translations. The history of development of the pictophonetic 佛 involves a cognitive aspect of linguoregional studies and reflects the complex process of Buddhist teachings adaptation in China, as well as the formation of Chinese translation studies in the context of interaction between India, China and domains of Tokharistan (Xiyu states) in the earliest centuries AD.

Introduction Anthropologists have long found traces of myth in folk tales and the roots of some of these stories and legends are known as myths. Myths are the beliefs of ancient humans on which human culture is based. Thus, general public literature is perhaps an appearance of mythical beliefs, and by analyzing the common stories and narrations among the people of different regions, one can find great ancient treasures. This study compares two completely distant narratives - in terms of time and place - one of them is from the general popular literature and the other is the mythical narratives of India, so that by examining their differences and similarities, the deep connection between myth and popular literature will be revealed. This narration has been quoted from the people of Fasa. Fasa with 4205 square kilometers is located between Shiraz, Estahban, Darab and Jahrom. This city is located in the central part of Fars province. It is bounded by Shiraz from the northwest, Estahban from the northeast, Jahrom from the southwest and west, and Darab from the southeast and east. The language of most people in Fasa is Persian with the dialect of East Fars (a dialect between Shirazi and Kermani) and since different tribes have lived in this region from ancient times, several languages have become popular in it, among which Turkish and Arabic languages can be mentioned. Turkish and Arab ethnic groups with their native speakers in their mother tongue and use Persian language in conversation with other people, which this interaction and conflict of dialects and languages has formed different pronunciations of words between dialects among people of Fasa. Methodology In this research, the authors first collected the special and common narrative among the people of Fasa through field interviews; then they extracted the mythical sources related to the Buddha's history and studied the two narratives in a descriptive-analytical method, also adapted them to each other. Discussion A)- Birth The story of the Buddha's birth begins with the dream of Queen Maya, the king's wife; She dreams that Budisatova enters her womb in the form of a white elephant, and at that moment all the elements of nature begin to rejoice. In the folk tale, the beginning of the story is narrated differently; it is about a king having no son and praying that God will give him a son to succeed him after his death. The king's wish was granted and he soon had a child. The presence of fortune tellers in this story is after the birth of the baby; whereas in the life story of the Buddha, once interpreters predict his coming before his birth, and once on the seventh day of his birth, an old cleric man announced his future. In both stories an old man predicts that he will reach to high degree of spirituality. In Folk narrative, the birth of a baby is normal; but the Buddha has an unnatural birth; the queen stands under a tree and the baby is born from her side without any pain or discomfort. There is a strange resemblance in the next part of the story; that the baby does strange things after birth. In folklore, the baby prostrates immediately after birth; he kisses the ground and walks three steps. The Buddha also begins to walk in four main directions as soon as he is born. B) – Life In both narrations, it is emphasized to stay away from the phenomena of death, old age, disease and visiting the hermits. In both stories, the king keeps his son in a palace away from the others and recommends that he should be kept away from the signs of death, old age, disease, and anything that introduces him to the adversities of life. He then chooses for her a daughter from a noble family, but after a while, the young man, seeing the signs of the misfortunes of life, changes and leaves his wife, house and anonymously, he deals with spiritual journey. In the folk tale, the prince leaves his house on the wedding night, while the Buddha leaves his family when he has a son. Changing the face and clothes of the prince after leaving the family is also a common theme in both stories. During his several years of travel, he deals with discovery and intuition attaining a high spiritual level. Eventually he returns to his father to invite him to piety and justice. The difference between the two narrations is in the two short anecdotes that are quoted by the prince in the middle of the folk tale. When a marriage proposal is made by the king of a neighboring country and he asks the young man to be his son-in-law, the prince tells two stories to the king and his wife. Raising the marriage proposal by the girl's family is a kind of temptation of the prince with physical pleasures and worldly belongings, which is reflected in the life story of the Buddha, in the form of the manifestations of the beautiful daughters of 'Mara', and their intention is to deceive the prince and awaken his sensual desires. In both versions, the young man emerges with pride. Thus, the asceticism, secularism and religiosity of the prince, as well as his return from the journey and the invitation of his father to justice and truth, are the common themes of both stories. C) - Ethical message This folk tale also contains a moral message that is consistent with the message of the Buddha's narrative. The call to freedom and liberty, learning from the stories of the dead, justice and the establishment of justice are the messages and moral points of both stories. In both narrations, the prince returns to his father and calls him to truth. It is also said that the prince learned theology from the stars, the moon and the rocks and worked hard for many years until he reached a spiritual position. Then he took the skull of a human being from the graveyard and went to his father to remind him the human annihilation and to warn him of oppression. Conclusion As a result of this analysis, it became clear that the roots of some folk tales and legends that are current in the language of the people, are myths and legends of ancient myths. These two stories have a lot in common in terms of internal and external. The outline of both narratives is the same. In both stories, there is a kingdom that has no son, he asks God to give him a son. This baby is different from normal babies and walks immediately after birth. Predicting the future is also a common theme in both narratives. Most of the events in the life of the hero of both stories are similar and consistent with each other. What can be considered in this study is the futile attempt of human beings to free themselves from the fate of destiny; as the king makes many arrangements for his son; But he cannot change his predicted destiny. The moral message of both narrations is the same; Independence from the perishable and deceptive world; Effort and struggle to know the truth; and finally, justice and the establishment of justice. Based on the studies, it can be said that the Buddha's narration is broader and more mature than the popular narration of the people of Fasa. The narration of the people of Fasa contains a summary of the whole story of the Buddha, with the difference that also has two instructive short anecdotes in its heart. This analysis led to the following conclusions regarding these two narrations: - The first theory is that these two narrations have no connection with each other and their similarity is completely coincidental. - The second theory, which may be closer to reality, is that in the distant past, Buddhism had followers in the land of Persia and the surrounding areas, simultaneously with some regions of the country and as mentioned, with the arrival of Islam in Iran, gradually it is destroyed. In this case, the oral and folklore narrative is the same historical narrative that has changed over the time in some parts. - Another theory that cannot be ignored is that this story may have been made elsewhere and entered the area through the migration and movement of people. In Indo-European culture, people had much in common in beliefs and customs; Iran and India have had a similar culture for a long time and there were many exchanges between them for different reasons. It is obvious that each of the people of the neighboring country, by coming, transmitted customs and stories to the destination country; thus, it may be said that this story is a remnant of a story that the Persians in this region heard from Hindu immigrants or Iranians who had been travelling to India.

Copyright of RUMELI: Journal of Islamic Studies is the property of Trakya University, Faculty of Theology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Permainan dan agama seringkali dianggap dua bidang yang tidak saling terkait satu sama lain. Yang satu dikategorikan sebagai bidang sekuler dan yang satu dipandang sebagai sesuatu yang sakral. Mempertemukan dan menggabungkan dua hal ini bisa menimbulkan berbagai macam reaksi dan sering dianggap kontroversial. Inilah proyek yang diusung video game “Fight of Gods” yang menampilkan berbagai macam tokoh agama dan dewa-dewi dari berbagai macam sistem kepercayaan dengan jurus-jurus yang khas. Tokoh-tokoh sakral seperti Yesus, Buddha, dan Musa akan dipertarungkan satu sama lain di dalam game fighting ini. Beberapa negara seperti Malaysia, Singapore, dan Indonesia dengan segera mendeklarasikan bahwa video game tersebut adalah suatu penghujatan dan langsung menutup akses sehingga game tersebut tidak dapat diunduh dan dimainkan. Namun apakah memang benar bahwa permainan FoG ini telah menghujat dan atau menistakan agama dan kepercayaan? Berdasarkan analisis konsep penghujatan secara historis serta analisis agama didalam kerangka Frank Bosman, permainan FoG belum dapat dikategorikan sebagai penghujatan. Namun, produk seni yang kreatif ini sudah termasuk bentuk desakralisasi agama.

Muchas veces, en Paz, el proceso poético mismo y la experiencia de plenitud a la que lleva se dejan describir en términos cuasi religiosos, como un camino de iniciación que desemboca en una especie de éxtasis. El presente artículo se propone indagar las relaciones entre la palabra poética y lo sagrado en la obra del poeta mexicano, ciñéndose, más particularmente, a la noción de silencio. Es en los años de su más larga estadía en la India, como embajador de México, entre 1962 y 1968, cuando Paz tematiza el silencio como “culminación” de la palabra, confiriéndole un aura sagrada. Pero se pueden encontrar ecos de tal concepción en la etapa final de su escritura, y hasta en su último poema. Often, in Paz, the poetic process itself and the experience of fullness to which it leads are described in quasi-religious terms, as a path of initiation that leads to a kind of ecstasy. This article aims to investigate the relationship between the poetic word and the sacred in the work of the Mexican poet, adhering more particularly to the notion of silence. It was during the years of his longest stay in India, as ambassador of Mexico, between 1962 and 1968, that Paz made silence the “culmination” of the word, giving it a sacred aura. But echoes of such a conception can be found in the final stage of his writing, and even in his last poem.

One of the most important aspects of religious traditions is their moral structure. All religions advise their followers to live morally and set out some principles in this sense. Moral principles occupy an important place in the sacred texts of religions. On the other hand, texts based on moral teachings are frequently encountered in the religious literature produced outside the sacred texts. These texts can use various literary genres. In the case of the Buddhist tradition, the stories called Jātaka constitute an important literary genre in this respect. The Jātakas, which can be defined as the past life narratives of Buddha, deal with the virtues he exhibited while he was a bodhisattva, a candidate to become a Buddha. Hundreds of Jātakas are mentioned in the Buddhist tradition. The Jātaka book of the Pali Kanon contains 547 of them. In the Buddhist literature, there are also compilations that take their inspiration from the Jātaka stories. Jātakamālā, written by Aryasura (4th century AD?) and containing thirtyfour Jātaka stories, is the most well-known of these collections. This article, on the one hand, will try to introduce Jātakamālā and evaluate its contribution to reflecting the Buddhist moral tradition, on the other hand, it will try to reveal some moral principles of Buddhism within the framework of the stories contained in the work. [ABSTRACT FROM AUTHOR]

Copyright of Dokuz Eylul University Journal of Graduate School of Social Sciences is the property of Dokuz Eylul University Graduate School of Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Employing a mixed qualitative and quantitative method, this paper explores why and how Buddha is being reimagined, appropriated, and baked into American advertisements, as well as what underlying values inform such a practice. Building upon previous scholars’ work, we argue that Buddha-branded advertisements cater to all socio-economic classes not just the elite. Buddha is used as a spiritual resource to promote desire, reinforcing rather than challenging consumer culture. Buddha-branded advertisements are shaped by American cultural principles, and in return, the advertisements reshape various facets of identity and everyday American life.