Three marks of existence The Three marks of existence, within Buddhism, are three characteristics (Pali: tilakkhaṇa; Sanskrit: trilakṣaṇa) shared by all sentient beings, namely: impermanence (anicca); suffering or unsatisfactoriness (dukkha); non-self (Anatta). There is often a fourth Dharma Seal mentioned:[citation needed] Together the three characteristics of existence are called ti-lakkhana in Pali or tri-laksana in Sanskrit. By bringing the three (or four) seals into moment-to-moment experience through concentrated awareness, we are said to achieve wisdom—the third of the three higher trainings—the way out of samsara. Thus the method for leaving samsara involves a deep-rooted change in world view. Anicca[4][edit] [Pronounced Anitcha/Anitya] All compounded phenomena (things and experiences) are inconstant, unsteady, and impermanent. Dzongsar Jamyang Khyentse Rinpoche states that in the four seals of the Mahayana, Nirvana should be viewed as "beyond extremes". Dukkha[edit] Anatta[edit] See also[edit] Buddhism
Mottainai Mottainai (もったいない?, [mottainai]) is a Japanese term conveying a sense of regret concerning waste.[1] The expression "Mottainai!" can be uttered alone as an exclamation when something useful, such as food or time, is wasted, meaning roughly "what a waste!" Mottainai is an old Buddhist word, which has ties "with the Shinto idea that objects have souls Usage and translation[edit] Mottainai in Japanese refers to more than just physical waste (resources). As an exclamation ("mottainai!") History[edit] Origins[edit] In ancient Japanese, mottainai had various meanings, including a sense of gratitude mixed with shame for receiving greater favor from a superior than is properly merited by one's station in life.[1] One of the earliest appearances of the word mottainai is in the book Genpei Jōsuiki (A Record of the Genpei War, ca. 1247).[8] Mottainai is a compound word, mottai+nai.[9] Mottai (勿体?) Mottai was originally used in the construction mottai-ga-aru (勿体が有る? Efforts to revive the tradition[edit]
Mono no aware Mono no aware (物の哀れ?), literally "the pathos of things", and also translated as "an empathy toward things", or "a sensitivity to ephemera", is a Japanese term for the awareness of impermanence (無常, mujō?), or transience of things, and both a transient gentle sadness (or wistfulness) at their passing as well as a longer, deeper gentle sadness about this state being the reality of life. Origins[edit] The term was coined in the 18th century by the Edo period Japanese cultural scholar Motoori Norinaga and was originally a concept used in his literary criticism of The Tale of Genji, later applied to other seminal Japanese works including the Man'yōshū. It became central to his philosophy of literature and eventually to Japanese cultural tradition. Etymology[edit] The phrase is derived from the Japanese word mono (物?) In contemporary culture[edit] In the book A Lonely Resurrection by Barry Eisler, a character describes the concept of mono no aware as "the sadness of being human See also[edit]
Memento mori Earthly Vanity and Divine Salvation by Hans Memling. This triptych contrasts earthly beauty and luxury with the prospect of death and hell. The outer panels of Rogier van der Weyden's Braque Triptych shows the skull of the patron displayed in the inner panels. The bones rest on a brick, a symbol of his former industry and achievement.[1] Memento mori (Latin: "remember (that you have) to die"[2]) is the medieval Latin theory and practice of reflection on mortality, especially as a means of considering the vanity of earthly life and the transient nature of all earthly goods and pursuits. In art, memento mori are artistic or symbolic reminders of mortality.[2] In the European Christian art context, "the expression... developed with the growth of Christianity, which emphasized Heaven, Hell, and salvation of the soul in the afterlife Historic usage[edit] Classical[edit] Europe — Medieval through Victorian[edit] Prince of OrangeRené of Châlon died in 1544 at age 25. Use by religious[edit]
Saudade Saudade (European Portuguese: [sɐwˈðaðɨ], Brazilian Portuguese: [sawˈdadi] or [sawˈdadʒi], Galician: [sawˈðaðe]; plural saudades)[1] is a Portuguese and Galician word that has no direct translation in English. It describes a deep emotional state of nostalgic or profound melancholic longing for an absent something or someone that one loves. Moreover, it often carries a repressed knowledge that the object of longing may never return.[2] A stronger form of saudade may be felt towards people and things whose whereabouts are unknown, such as a lost lover, or a family member who has gone missing. Saudade was once described as "the love that remains" after someone is gone. Saudade is the recollection of feelings, experiences, places or events that once brought excitement, pleasure, well-being, which now triggers the senses and makes one live again. In Brazil, the day of Saudade is officially celebrated on 30 January.[3][4] History[edit] Origins[edit] Definition[edit] Elements[edit] Music[edit]
Agoge The agōgē (Greek: ἀγωγή in Attic Greek, or ἀγωγά, agōgá in Doric Greek) was the rigorous education and training regimen mandated for all male Spartan citizens, except for the firstborn son in the ruling houses, Eurypontid and Agiad. The training involved learning stealth, cultivating loyalty to the Spartan group, military training (e.g. pain tolerance), hunting, dancing, singing and social (communicating) preparation.[1] The word "agoge" meant in ancient Greek, rearing, but in this context generally meant leading, guidance or training.[2] The agoge was prestigious throughout the Greek world, and many aristocratic families from other cities vied to send their sons to Sparta to participate in the agoge for varying periods of time. The Spartans were very selective in which young men they would permit to enroll. Such honors were usually awarded to the próxenoi of Sparta in other cities and to a few other families of supreme ancestry and importance. Structure[edit] Education of girls[edit]
Macabre kids’ book art by Gojin Ishihara Here is a collection of wonderfully weird illustrations by Gōjin Ishihara, whose work graced the pages of numerous kids' books in the 1970s. The first 16 images below appeared in the "Illustrated Book of Japanese Monsters" (1972), which profiled supernatural creatures from Japanese legend. The other illustrations appeared in various educational and entertainment-oriented publications for children. - Kappa (river imp), Illustrated Book of Japanese Monsters, 1972 - Jorōgumo (lit. "whore spider"), Illustrated Book of Japanese Monsters, 1972 - Kubire-oni (strangler demon), Illustrated Book of Japanese Monsters, 1972 - Rokurokubi (long-necked woman), Illustrated Book of Japanese Monsters, 1972 - Onmoraki (bird demon), Illustrated Book of Japanese Monsters, 1972 - Nekomata (cat monster), Illustrated Book of Japanese Monsters, 1972 - Tengu (bird-like demon), Illustrated Book of Japanese Monsters, 1972 - Tenjō-sagari (ceiling dweller), Illustrated Book of Japanese Monsters, 1972 [Link: Gōjin Fechi]
Kabaddi Kabaddi Kabaddi is a wrestling sport originating from very early Indian civilization. The word Kabaddi is derived from a Tamil word Kai-pidi, literally meaning "(let's) Hold Hands", which is indeed the crucial aspect of play. It is the national game of Bangladesh, and the state game of Tamil Nadu, Punjab and Andhra Pradesh in India. In the international team version of kabaddi, two teams of seven members each occupy opposite halves of a field of 10 m × 13 m in case of men and 8 m × 12 m in case of women.[1] Each has three supplementary players held in reserve. The game is played with 20-minute halves and a five-minute halftime break during which the teams exchange sides. The rules of the game are as follows. The raider is sent off the field if: the raider crosses a boundary line.a part of the raider's body touches the ground outside the boundary (except during a struggle with an opposing team member). Each time when a player is "out", the opposing team earns a point. Types of Kabaddi[edit]
Average Faces From Around The World Added on Feb 08, 2011 / Category : StrangeNews / 228 Comments Finding the average face of people across the world was a tough job but someone had to do it. This guy basically takes a thousands and thousands images of everyday people from any city and the software makes an 'average' of the people, giving one final portrait. Take a look at this amazing project called "World of Facial Averages" If you like this article, Share it with the world: