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Journal articles on the topic 'Hinayana Buddhism'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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1

박중환. "Hinayana Buddhism in Sataekjijeokbi." Journal of Paekche Culture ll, no. 39 (August 2008): 125–41. http://dx.doi.org/10.35300/bjclab..39.200808.125.

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2

Sunarto. "The Impact of Hinduism and Buddhism on the Music of Indonesia." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 11 (June 22, 2023): 1–18. http://dx.doi.org/10.30819/aemr.11-1.

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The incorporation of Hinduism and Buddhism in Indonesia has given a unique characteristic to the Indonesian cultural reality. Since the Kalinga–Bali Yatra (from 320 BC to the establishment of Kalinga kingdom in Central Java around 500 AD), that is, the yearly ancient naval expedition of sailors from Orissa (Kalinga in India) to the Swarnadwipa Islands (Malacca, Sumatera, Java, Borneo, and Bali), the culture of Hinduism and Buddhism has been slowly introduced and acknowledged by the people of Indonesia. The earliest interaction between Hinduism/Buddhism and the locals could be tracked since the period of Kalinga kingdom in the central part of Java island. The influence of Hinduism and Buddhism in Indonesian traditional culture has penetrated to the people’s musical tradition in Java and Bali. On top of that, the story of Ramayana and Mahabharata has been adopted into Wayang Kulit tradition in Java. Among other Hindu–Buddhist influences in Indonesia comprise Indian drama– dance, Rasa esthetic theory, Mahayana Buddhist influence in Bedoyo, Slendro pathet (Javanese gamelan musical organization system), and Hinayana Buddhist concept of removal of nine consciousness of human beings.
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3

CHOI, Eun-young. "On the Reception of Hinayana Buddhism in Early Chinese Buddhism:." Journal of Indian and Buddhist Studies (Indogaku Bukkyogaku Kenkyu) 59, no. 2 (2011): 1026–21. http://dx.doi.org/10.4259/ibk.59.2_1026.

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4

Gunskii, Aleksei Yu. "EUGENE BURNOUF (1801–1852) AND HIS WORK “INTRODUCTION TO THE HISTORY OF INDIAN BUDDHISM”." Studia Religiosa Rossica: Russian Journal of Religion, no. 1 (2023): 90–114. http://dx.doi.org/10.28995/2658-4158-2023-1-90-114.

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The article examines the life and ideas of Eugene Burnouf (1801– 1852), one of the leading European Buddhologists of the 19th century. His work “Introduction to the History of Indian Buddhism” is considered the first scientific study of Indian Buddhism. The human image of the Buddha recreated in this work formed the basis of the concept of the “historical Buddha”, which prevailed at the end of the 19th century in Buddhist studies. For a long time, Burnouf’s work was considered outdated, but an English translation published in 2010 brought this research back into scientific circulation. The article briefly describes Burnouf’s biography, examines the state of European knowledge about the Buddha and Buddhism by the beginning of Burnouf’s activity. The article analyzes the image of the Buddha created by Burnouf as a preacher of morality and early Buddhism as a simple moral teaching. It is shown that such a representation is due to the classification of texts adopted by Burnouf. The author shows the shift of his research interest from the Mahayana sutras to earlier texts. The final part of the article describes some new ideas and possibilities arising from the modern reading of Burnouf’s text, in particular, the revision of the concept of the “historical Buddha” and the genesis of the terms “Mahayana” and “Hinayana”. A hypothesis is proposed about the possible influence of the “Introduction to the History of Indian Buddhism” on L.N. Tolstoy
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5

Licha, Stephan Kigensan. "The Small Vehicle: The Construction of Hinayana and Japan's Modern Buddhism." Monumenta Nipponica 76, no. 2 (2021): 329–61. http://dx.doi.org/10.1353/mni.2022.0002.

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6

Park, You-Jeong. "Philosophy of Mind: Heidegger’s Hermeneutics with a view to Yogacara Thought." Global Knowledge and Convergence Association 5, no. 2 (December 31, 2022): 11–31. http://dx.doi.org/10.47636/gkca.2022.5.2.11.

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This paper pursues to interpret Heidegger’s hermeneutics as Philosophy of Mind through Yogacara Thought. A famous korean professors’ study is referred in order to arrive at the goal of this study. At first, Yogacara thought is a critical hypothesis between Realism of Hinayana Buddhism and Deconstruction of Mahayana Buddhism. According to Yogacara thought, awareness of phenomena is a transformation of awareness of mind, so there is just consciousness only. In other words, there are eight consciousnesses in our mind, but all consciousnesses are derivatives of Alaya consciousness which covers all potentiality in our mind. Therefore, we can say that Yogacara thought is a mind philosophy. Heidegger’s ontology of Dasein can be understood in the point of view with Yogacara thought very well. Forgetness of Being(Seinsvergessenheit) can be understood as forgetness of Mind, and it leads us to understand the meaning of Being-there(Dasein) and it’s ontological structure. That is, the ontological way of Being-there is a transformation of unconscious mind because existential structure of Being-there can be interpreted as unconscious mind of Alaya consciousness. To conclude, Heidegger’s hermeneutics can be interpreted as a mind philosophy because Heidegger’s ontological fact can be understood Alaya’s unconscious fact.
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7

Han, Ji Yoon, Sun Hyang Kwon, Sang Won Na, and Chang Ho Shin. "Educational Characteristics Inherent in the mode of practice of Hinayana Buddhism and Mahayana Buddhism: Focusing on Āgama-sutra and Neo Gaṇḍavyūha-sūtra." Korea University Institute of Educational Research 32, no. 1 (February 28, 2019): 49–69. http://dx.doi.org/10.24299/kier.2019.32.1.49.

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8

Fatih, Muhammad. "Pluralisme Agama dalam Al-Qur’an Telaah atas Penafsiran Farid Esack." Progressa: Journal of Islamic Religious Instruction 4, no. 1 (September 25, 2020): 69–80. http://dx.doi.org/10.32616/pgr.v4.1.201.69-80.

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One of the issues that received considerable and dominant attention was the issue of diversity or religious plurality. This issue is a phenomenon that exists in the midst of the diversity of claims of absolute truth (Absolute Truth Claims) between religions that are contradicting one another. Each religion claims to be the truest and all others are heretical. This claim then gave birth to the belief commonly called the "Doctrine of Salvation" that salvation or heaven is the right of followers of certain religions, while adherents of other religions will be harmed and go to hell. In fact, this kind of belief also applies to adherents between sects or alians in the same religion. As is the case between Protestants and Catholics in Christianity, between Mahayana and Hinayana or Theravada in Buddhism, and also between various Islamic groups. This reality has brought pluralism to an increasingly broad and complex discourse. The Koran's recognition of religious pluralism is clear not only from the perspective of accepting other people as a legitimate religious community, but also from the acceptance of their spiritual life and the opportunity for a way of salvation for them. According to Esack, the preservation of the sanctity of these places of worship is not solely intended for the sake of maintaining the integrity of the multi-religious society, but also because God, who is the supreme being for these religions, and who is seen to be above differences in his outward expression, is worshiped in the place. -that place.
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9

Arimbawa, I. Komang Suastika, and G. Arya Anggriawan. "Perkembangan Ajaran Buddha dalam Trilogi Pembebasan." Sanjiwani: Jurnal Filsafat 11, no. 1 (July 2, 2020): 24. http://dx.doi.org/10.25078/sjf.v11i1.1530.

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<em>Before the birth of Buddhism, Indian society was familiar with various beliefs which were characterized by the ascetic tradition, the rites of the Brahmins, the religion of the Upanisads, and the strong ascetic traditions of the Jainas. Buddhist philosophy was born from the teachings of Buddha Gautama, obtained from the results of his enlightenment. The Buddha guided his followers to arrive at the Arahant. Buddhism is divided into two major schools, Hinayāna and Mahāyāna. Ethics or morality in Buddhism can be found in three sentences, such as avoiding bad deeds, adding to good deeds, and cleansing the heart, all of which are summarized in the Pancasila Buddha and Pancadhamma. The main teachings of the Buddha are recorded in the Tripitaka. Between philosophy, religion and ethics in Buddhism has a very close relationship in the goal of achieving liberation, because Buddhism does not separate knowledge from behavior, theory and practice.</em>
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10

SHIOMI, Yoshimasa. "The Sources of the Hinayana Buddhist Schools in the Blo gsal grub mtha' Chapter VIII." JOURNAL OF INDIAN AND BUDDHIST STUDIES (INDOGAKU BUKKYOGAKU KENKYU) 41, no. 2 (1993): 911–09. http://dx.doi.org/10.4259/ibk.41.911.

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11

Burmistrov, S. L. ""Bodhisattva-icchantika": On the problem of the state of bodhisattva in Mahayana." Orientalistica 4, no. 2 (July 14, 2021): 363–77. http://dx.doi.org/10.31696/2618-7043-2021-4-2-363-377.

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According to Buddhist teaching icchantikas are sentient beings that cut off their roots of merit (abilities to free themselves from three basic vices, greed, hatred and ignorance). In Hinayana doctrine icchantikas are doomed to be in samsara forever, without hope of deliverance. But in Mahayana even those who had cut off their roots of merit can restore them due to the infinite compassion of bodhisattvas and attain nirvana at last. Bodhisattva, knowing the illusoriness of the difference between nirvana and samsara, rises above it and can act in samsara for the salvation of all sentient beings without losing the state of enlightenment. So bodhisattva is similar to icchantikas in that he intentionally refuses to leave samsara, but, unlike them, his motive is not depravity but great compassion (mahakaruna). Paradoxical phrase “bodhisattva-icchan-tika” is a rhetorical method aimed at the activation of hearer's or reader's attention in order to let him to fully comprehend the essence of the teaching and promote him to the attainment of nirvana.
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12

Dubey, Shobharam. "Buddhist notation in the Vakataka frescoes of Ajanta." RESEARCH REVIEW International Journal of Multidisciplinary 7, no. 2 (February 20, 2022): 12–16. http://dx.doi.org/10.31305/rrijm.2022.v07.i02.003.

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The Ajanta paintings are mainly intended to depict various aspects of the life of Lord Buddha. The rest of the space between the stories has been decorated with vines, animal birds, geometric figures and other varied forms. Cave No. 9, 10, 19, 26 of the thirty caves of Ajanta are chaitya mandapas, while the rest are sangarams or viharas. At present there are only six cave paintings, in which cave nos.-1,2,9,10,16 and 17 are there. From the point of view of time, these paintings are divided into three categories – Satavahana period paintings, Vakataka period paintings and Vakatota period paintings. The oldest paintings are of caves 9 and 10, which are related to the Hinayana sect. Abstract in Hindi Lanaguage: अजन्ता के चित्रों का प्रायोजन मुख्यतः भगवान बुद्ध के जीवन के विभिन्न पहलुओं का अंकन है। कथांकनों के अनन्तर शेष स्थान को लतापत्रक, पशुपक्षियों ज्यामितिक आकृतियों तथा अन्य वैविध्यपूर्ण रूप सज्जा से अलंकृत किया गया है। अजन्ता की तीस गुफाओं में गुफा सं0- 9,10,19,26 चैत्य मण्डप हैं, जबकि शेष संघाराम अथवा विहार हैं। वर्तमान में मात्र छः गुफाओं के चित्र अवशेष हंै, जिनमें गुफा सं0-1,2,9,10,16 व 17 हैं। काल की दृष्टि से इन चित्रों को तीन वर्गो मंे विभक्त किया जाता है-सातवाहन कालीन चित्र, वाकाटककालीन चित्र तथा वाकाटकोत्तरकालीन चित्र। सर्वाधिक प्राचीन चित्र गुफा सं0 9 व 10 के हैं, जो कि हीनयान सम्प्रदाय से सम्बन्धित हैं। Keywords: माया का स्वप्न, असित ऋषि से चर्चा, गौतम का विद्याभ्यास, वृद्ध तथा तीन अन्य निमित्तों का दर्शन, सुजाता की खीर, धर्मोपदेश, नन्द की दीक्षा ।
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13

Dubey, Shobharam. "Buddhist markings in the Satavahana frescoes of Ajanta." RESEARCH HUB International Multidisciplinary Research Journal 9, no. 1 (January 12, 2022): 50–54. http://dx.doi.org/10.53573/rhimrj.2022.v09i01.010.

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The purpose of the paintings of Ajanta is mainly to depict various stories related to the life of Lord Buddha. The rest of the space between the stories has been decorated with vines, animal birds, geometric figures and other varied forms. Cave No. 9, 10, 19, 26 of the thirty caves of Ajanta are Chaitya Mandaps, while the rest are Sangharamas or Viharas. At present, there are only six cave paintings, in which cave nos.-1,2,9,10,16 and 17 are there. From the point of view of time, these paintings are divided into three categories – Satavahana period paintings, Vakataka period paintings and Vakatota period paintings. The oldest paintings are of caves 9 and 10, which are related to the Hinayana sect. Abstract in Hindi Language: अजन्ता के चित्रों का प्रायोजन मुख्यतः भगवान बुद्ध के जीवन से सम्बन्धित विभिन्न कथाओं का अंकन है। कथांकनों के अनन्तर शेष स्थान को लतापत्रक, पशुपक्षियों ज्यामितिक आकृतियों तथा अन्य वैविध्यपूर्ण रूप सज्जा से अलंकृत किया गया है। अजन्ता के तीस गुफाओं में गुफा सं0- 9,10,19,26 चैत्य मण्डप हैं, जबकि शेष संघाराम अथवा विहार हैं । वर्तमान में मात्र छः गुफाओं के चित्र अवशेष है, जिनमें गुफा सं0-1,2,9,10,16 व 17 हैं। काल की दृष्टि से इन चित्रों को तीन वर्गो मंे विभक्त किया जाता है-सातवाहन कालीन चित्र, वाकाटककालीन चित्र तथा वाकाटकोत्तरकालीन चित्र। सर्वाधिक प्राचीन चित्र गुफा सं0 9 व 10 के हैं, जो कि हीनयान सम्प्रदाय से सम्बन्धित हैं। Keywords: बोधिवृक्ष पूजा, स्तूप पूजा, साम जातक, छद्दन्त जातक, नागराजा, पशुओं का खेदा।
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14

Dubey, Shobharam. "Buddhist markings in the post vakataka murals of Ajanta." RESEARCH REVIEW International Journal of Multidisciplinary 6, no. 12 (December 15, 2021): 164–68. http://dx.doi.org/10.31305/rrijm.2021.v06.i12.024.

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The Ajanta paintings are mainly intended to depict various aspects of the life of Lord Buddha. The rest of the space between the stories has been decorated with vines, animal birds, geometric figures and other varied forms. Cave No. 9, 10, 19, 26 of the thirty caves of Ajanta are Chaitya Mandaps, while the rest are Santharams or Viharas. At present, there are only six cave paintings, in which cave nos.-1,2,9,10,16 and 17 are there. From the point of view of time, these paintings are divided into three categories – Satavahana period paintings, Vakataka period paintings and Vakatota period paintings. The oldest paintings are of caves 9 and 10, which are related to the Hinayana sect. Abstract in Hindi Language: अजन्ता के चित्रों का प्रायोजन मुख्यतः भगवान बुद्ध के जीवन के विभिन्न पहलुओं का अंकन है। कथांकनों के अनन्तर शेष स्थान को लतापत्रक, पशुपक्षियों ज्यामितिक आकृतियों तथा अन्य वैविध्यपूर्ण रूप सज्जा से अलंकृत किया गया है। अजन्ता के तीस गुफाओं में गुफा सं0- 9,10,19,26 चैत्य मण्डप हैं, जबकि शेष संथाराम अथवा विहार हैं। वर्तमान में मात्र छः गुफाओं के चित्र अवशेष है, जिनमें गुफा सं0-1,2,9,10,16 व 17 हैं। काल की दृष्टि से इन चित्रों को तीन वर्गो मंे विभक्त किया जाता है-सातवाहन कालीन चित्र, वाकाटककालीन चित्र तथा वाकाटकोत्तरकालीन चित्र। सर्वाधिक प्राचीन चित्र गुफा सं0 9 व 10 के हैं, जो कि हीनयान सम्प्रदाय से सम्बन्धित हैं। Keywords: वन्य उपासक, महाहंस जातक, बुद्ध के जीवन के दृश्य, सहस्त्र बुद्ध, बोधिसत्व, विधुर पंडित जातक, पूर्णावदान, क्षांतिवादी जातक, अलंकरण।
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15

NONOGAKI, Atsushi. "STANDARD PLANS OF BUDDHIST CAVES OF WESTERN MALWA REGION : Study on the forms of the later Hinayana Buddhist caves in India Part 2." Journal of Architecture and Planning (Transactions of AIJ) 61, no. 486 (1996): 231–40. http://dx.doi.org/10.3130/aija.61.231_3.

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16

NONOGAKI, Atsushi. "PLANS AND THE BASIC ARRANGEMENT OF BUDDHIST CAVES AT DHAMNAR : Study on the forms of the later Hinayana Buddhist caves in India Part 1." Journal of Architecture and Planning (Transactions of AIJ) 59, no. 460 (1994): 157–65. http://dx.doi.org/10.3130/aija.59.157_2.

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17

शर्मा, सोमनाथ. "बौद्धदर्शनविकासाय महाकवेरश्वघोषाचार्यस्ययोगदानम्." Haimaprabha 23, no. 1 (June 17, 2024): 172–83. http://dx.doi.org/10.3126/haimaprabha.v23i1.66740.

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आचार्याश्वघोषः महान् दार्शनिकः, सङ्गीतज्ञः, नाटककारः, महाकविश्चासीत् । महाकवेरश्वघोषस्य जीवनवृत्तविषये चीनतिब्बतादिषु बौद्धदेशेषु पर्याप्तरूपेण सामग्र्यः प्राप्यन्ते । महाकवेरश्वघोषस्य जीवनवृत्तमाधारीकृत्य रचितस्य सौन्दरनन्दमित्यस्य ग्रन्थस्यावलोकनेन ज्ञायते यदयं महाकवि अश्वघोषः महापण्डित–महाराजेत्यादिभिः उपाधिभिरलङ्कृत इति । महाकवेरश्वघोषस्य नामकरणविषये प्रामाणिकरूपेण कुत्राप्य'ल्लेखो न प्राप्यते,तथापि अनेकैराचार्यैः इदं भवितुं शक्नोति वेति रूपेणैव नामकरणं कृतं दृश्यते । महाकवेरश्वघोषस्य कृतिषु मध्ये बुद्धचरित–सौन्दरनन्द–बज्रसूचीप्रभृतयः ग्रन्थाः मुख्याःमन्यन्ते आचार्याः । केषाञ्चन विदुषां मतं वर्तते यत् अयमश्वघोषः महायानसम्प्रदायस्य तत्सिद्धान्तस्य च प्रचारक आसीदिति । तिब्बतीपरम्परायामयं सर्वास्तिवादित्वेन स्वीक्रियते । एतेन अश्वघोषः हीनयानसम्प्रदायस्य वर्तत इति ज्ञायते । अयमालेख आगमनविधिमवलम्ब्य प्रस्तुतो विद्यते । बौद्धदर्शनविकासाय महाकवेरश्वघोषस्य योगदानं तत्कृतीनांच वैशिष्ट्यं प्रतिपाद्यान्त्ये निष्कर्षः प्रदत्तः वर्तते । अस्मान्निष्कर्षाद्बौद्धदर्शनक्षेत्रे अश्वघोषस्य योगदानविषयकचिन्तने सारल्यं भविष्यतीत्यपेक्ष्यते । [Acharya Ashwaghosh was a great philosopher, musician, dramatist and poet. There are many materials about the biography of Mahakavi Ashwaghosha in Buddhist countries like China and Tibet. Looking at the book called Soundarananda based on the biography of Mahakavi Ashwaghosha, it shows that Mahakavi Ashwaghosha was honored with titles like Mahapandit and Maharaja. There is no authenticity of the name of Mahakavi Ashwaghosha, however, many scholars seem to have named him on the basis of probability. Acharya considers Buddhacharita, Soundarananda, Bajrasuchi and other books to be the most important works of Mahakavi Ashwaghosha. Some scholars believe that Ashwaghosha was the propagator of the Mahayana sect and its doctrines. In the Tibetan tradition, he is accepted as a universalist. This shows that Ashwaghosha belonged to the Hinayana sect. The contribution of Mahakavi Ashwaghosha in the development of Buddhadarshan and the characteristics of his works are discussed in this article. This article makes it easier to know about Ashwaghosha's contribution in the field of Buddhist philosophy.]
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Wiwanitkit, Viroj, Jamsai Suwansaksri, and Suphan Soogarun. "High blood lead levels amongst Hinayana Buddhist monks: A possible effect due to daily exposure to joss stick and candle smoke." Toxicological & Environmental Chemistry 90, no. 4 (July 2008): 639–41. http://dx.doi.org/10.1080/02772240701655429.

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19

Paatiwala, Ashish Savjibhai. "GREAT KINGS AS PATRON OF BUDDHISM." Towards Excellence, December 31, 2022, 384–92. http://dx.doi.org/10.37867/te140430.

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Buddhism is an Indian religion based on teachings attributed to the Lord Buddha. Buddhism gave us a simple and intelligible religion. The objective of the present paper is to study the contribution of Ajatshtru, Kalashoka, Ashoka, Kanishka and Harshvardhan in spread of Buddhism. The methodology of the paper is, historical, descriptive, analytical as well as qualitative. The Asoka gave patronage to the Hinayana branch of Buddhism. He sent his son and daughter to spread Buddhism in Sri Lanka. He erected several Buddhist Viharas. They convened the Buddhist Councils to spread of Buddhism. Kanishka and Harsha gave patronage to the Mahayana branch of Buddhism. He called the assemblies at Kannauj and Prayag to propagate Buddhism. This study is of great significance to evaluate the contribution of Ajatshtru, Kalashoka, Ashoka, Kanishka and Harshvardhan in spread of Buddhism. The result shows that they are considered the greatest kings as patron of Buddhism. They became patron of Buddhism and strove to spread Dhamma throughout his empire and beyond. In conclusion, their contribution towards Buddhism is an extraordinary and remarkable.
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