krainaksiazek the theory and practice of meditation in chinese buddhism 20169876

- znaleziono 10 produkty w 1 sklepie

Crossroads in Psychoanalysis, Buddhism, and Mindfulness - 2858344846

167,98 z³

Crossroads in Psychoanalysis, Buddhism, and Mindfulness Rowman & Littlefield Publishers

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A comprehensive collection of essays exploring the interstices of Eastern and Western modes of thinking about the self, Crossroads in Psychoanalysis, Buddhism, and Mindfulness: The Word and the Breath documents just some of the challenges, conflicts, pitfalls, and "wow" moments that inhere in today's historical and cultural intersections of theory, practice, and experience. As this collection demonstrates, the crossroads between Buddhist and psychoanalytic approaches to mindfulness are rich beyond belief in integrative potential. The surprising and fertile connections from which this book originates, and the future ones which every reader in turn will spur, will invigorate and intensify this specific form of contemporary commerce at the crossroads of East and West. Analytically-oriented psychotherapists, themselves of different "climates" and cultures, break out of the seclusion of the consulting room to think, translate, meditate on, and mediate their experiences-generated via the maternal order-in such a way as to make those experiences thinkable via the necessary filters of the paternal order of language. In this light the "word and the breath" of the book's subtitle are addressed as the privileged "instruments" of psychoanalysis and meditation, respectively.

Sklep: Libristo.pl

Crossroads in Psychoanalysis, Buddhism, and Mindfulness - 2869575909

330,10 z³

Crossroads in Psychoanalysis, Buddhism, and Mindfulness Jason Aronson Inc. Publishers

Ksi±¿ki / Literatura obcojêzyczna

A comprehensive collection of essays exploring the interstices of Eastern and Western modes of thinking about the self, Crossroads in Psychoanalysis, Buddhism, and Mindfulness: The Word and the Breath documents just some of the challenges, conflicts, pitfalls, and "wow" moments that inhere in today's historical and cultural intersections of theory, practice, and experience. As this collection demonstrates, the crossroads between Buddhist and psychoanalytic approaches to mindfulness are rich beyond belief in integrative potential. The surprising and fertile connections from which this book originates, and the future ones which every reader in turn will spur, will invigorate and intensify this specific form of contemporary commerce at the crossroads of East and West. Analytically-oriented psychotherapists, themselves of different "climates" and cultures, break out of the seclusion of the consulting room to think, translate, meditate on, and mediate their experiences-generated via the maternal order-in such a way as to make those experiences thinkable via the necessary filters of the paternal order of language. In this light the "word and the breath" of the book's subtitle are addressed as the privileged "instruments" of psychoanalysis and meditation, respectively.

Sklep: Libristo.pl

The Six Dharma Gates to the Sublime - 2869429863

76,79 z³

The Six Dharma Gates to the Sublime KALAVINKA PR

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"The Six Gates to the Sublime" is a classic Buddhist meditation instruction manual explaining the six practices crucial to success in traditional Indian Buddhist breath-focused (anapana) meditation and calming-and-insight (samatha-vipasyana) meditation. Correctly implemented, these six "gates" lead the meditator to realization of the fourth of the four truths (cessation), of which the "sublimity" referenced in the title is one of the four canonically-described practice aspects. This classic was written by the sixth-century monk and meditation master, Shramana Zhiyi (Chih-i), one of the most illustrious figures in the history of Chinese Buddhism. Master Zhiyi is famous for his role in the founding of the Tiantai teachings lineage and for his authorship of a quartet of meditation manuals of which this is one. The translator of this volume is the American monk, Bhikshu Dharmamitra, a translator of numerous classic works from the Indian and Chinese Buddhist traditions.

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Hoofprint of the Ox - 2826716114

156,60 z³

Hoofprint of the Ox BERTRAMS

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Revered by Buddhists in the United States and China, Master Sheng-yen shares his wisdom and teachings in this first comprehensive English primer of Chan, the Chinese tradition of Buddhism that inspired Japanese Zen. Often mistunderstood as a system of mind games, the Chan path leads to enlightenment through apparent contradiction. while demanding the mental and physical discipline of traditional Buddhist doctrine, it asserts that wisdom (Buddha-nature) is innate and immediate in all living beings, and thus not to be achieved through devotion to the strictures of religious practice. You arrive without departing. Master Sheng-yen provides an unprecedented understanding of Chan, its precepts, and its practice. Beginning with a basic overview of Buddhism and meditation, 'Hoofprint of the Ox' detials the progressive mental exercises traditionally followed by all Buddhists. Known as the Three Disciplines, these procedures develop moral purity, meditiative concentration, and enlightening insight through the 'stilling' of the mind. Master Sheng-yen then expounds Chan Buddhism, recounting its centuries-old history in China and illuminating its fundamental tenets. He contemplates the nature of Buddhahood, specifies the physical and mental prerequisites for beginning Chan practice, and humbly considers what it means to be an enlightened Chan master. Drawing its title from a famous series of pictures that symbolizes the Chan path as the search of an ox-herd for his wayward ox, 'Hoofprint of the Ox' is an inspirational guide to self-discovery through mental transformation. A profound contribution to Western understanding of Chan and Zen, this book is intended for practicing Buddhists as well as anyone interested in learning about the Buddhist path.

Sklep: Libristo.pl

Bodies in Balance - 2869557704

331,94 z³

Bodies in Balance University of Washington Press

Ksi±¿ki / Literatura obcojêzyczna

Bodies in Balance: The Art of Tibetan Medicine is the first comprehensive, interdisciplinary exploration of the triangular relationship between the Tibetan art and science of healing (Sowa Rigpa), Buddhism, and the visual arts. This book is dedicated to the history, theory, and practice of Tibetan medicine, a unique and complex system of understanding body and mind, treating illness, and fostering health and well-being. Rooted in classical Indian medicine, Sowa Rigpa has been influenced by Chinese, Greco-Arab, and indigenous medical knowledge and practices and further developed within the context of Buddhism in Tibet. It adapted to new geographic, socio-cultural, and medical environments on the Tibetan Plateau, the Himalayas, and Mongolia and survives today as a living medical tradition whose principles are at the heart of many complementary therapies now widely used in the West. Generously illustrated with more than two hundred images, Bodies in Balance includes essays on contemporary practice, pharmacology, astrology, history, foundational treatises, and the Medicine Buddha. The volume brings to life the theory and practice of this constantly evolving, ancient healing art, which is becoming increasingly sought after world-wide. Theresia Hofer, an anthropologist, is the curator of the Bodies in Balance: The Art of Tibetan Medicine exhibition and author of The Inheritance of Change: Transmission and Practice of Tibetan Medicine in Ngamring.

Sklep: Libristo.pl

Teachings Of The Buddha - 2869405635

62,07 z³

Teachings Of The Buddha PUBLISHERS GROUP

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This treasury of essential Buddhist writings draws from the most popular Indian, Tibetan, Chinese, and Japanese sources. Among the selections are some of the earliest recorded sayings of the Buddha on the practice of freedom, passages from later Indian scriptures on the perfection of wisdom, verses from Tibetan masters on the enlightened mind, and songs in praise of meditation by Zen teachers. The book also includes traditional instruction on how to practice sitting meditation, cultivate calm awareness, and live with compassion. Jack Kornfield, one of the most respected American Buddhist teachers, has compiled these teachings to impart the essence and inspiration of Buddhism to readers of all spiritual traditions.

Sklep: Libristo.pl

Der Klang des Dao - 2869419163

236,57 z³

Der Klang des Dao Academia Verlag GmbH

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'Große Musik ist tonlos.' Ein daoistischer Künstler spürt in einer absichtslosen Ich-Leere, befreit von jeglicher Konventionalität und Konformität, die Ursprünglichkeit und Unberührtheit der Natur. Die Stille als Essenz ist in allen Tätigkeiten und Künsten als eine Geistigkeit zu verstehen, die in spezifischen Manifestationen (äußere Ruhe, Schweigen, Bewegungslosigkeit, Gedankenleere) eine tiefe Harmonie zwischen einem menschlichen Mikro- und metaphysischen Makrokosmos zum Ausdruck bringt. Da das Sein aus dem Nichts bzw. der Leere begründet wird, sind in der Form- und Farblosigkeit, der Stille alle Formen, Farben und Klänge enthalten. Der Text über 'Das Geistige in der abendländischen Musikkultur' lädt ein zu einer interkulturellen Reflexion und Zusammenschau entsprechender ästhetisch-philosophischer Phänomene, wobei mannigfaltige Ausprägungen einer noetischen Kunstauffassung in den verschiedenen Epochen der europäischen Musikgeschichte angesprochen werden. Gegenstand der vorliegenden Arbeit ist die der daoistischen Philosophie verhafteten Kultur sowie ihre Korrespondenzen in der abendländischen Musikgeschichte. Das Buch beginnt im ersten Kapitel mit einer historisch-mythologische Spurensuche, die sich der Stellung der Musik in der chinesischen Gesellschaft widmet. Der Daoismus wird dabei, von volksreligiösen und alchemistischen Tendenzen herausgelöst, als philosophische und ästhetische Denkrichtung betrachtet. Wichtige Phänomene der ostasiatischen Ideenwelt werden - bezogen auf die daoistisch inspirierte Lebenswelt - vorgestellt und analysiert. Der eremitistische Lebensstil eines daoistischen Adepten zeichnet sich durch eine die verschiedenen Künste und Wissenschaften integrierende Mußekultur aus, wobei im zweiten Kapitel der Zusammenhang zwischen Philosophie, Musik, Kalligraphie, Malerei, Lyrik, Gebräuchen und Tischsitten, der Bewegungsmeditation T'ai-Ji-Quan und dem chinesischen 'Go'-Spiel (wei qi) als Konglomerat dieser der Gesellschaft abgewandten Ästhetik herausgearbeitet wird. Die daoistische Kunstausübung kann aus europäischer Sicht nicht unter den Aspekten des Werkcharakters bzw. Konzeptionellen verstanden werden; sie ist vielmehr ein zufälliges und 'natürliches' Produkt einer spontanen Reflexion der eigenen inneren und unbewussten Wirklichkeit, aus der ohne willkürliche Normen und Vorschriften eigene poetische Kraftreserven freigesetzt werden. Wie der Musiker, so bemühen sich Dichter, Maler und Kalligraph um eine reine Spiegelung einer unberührten Ursprünglichkeit der Natur. Die Stille als Essenz ist somit in allen Tätigkeiten und Künsten dieselbe - eine Geistigkeit, die in spezifischen Manifestationen eine tiefe Harmonie zum Ausdruck bringt. Da das Sein aus dem Nichts bzw. der Leere begründet wird, sind in der Formlosigkeit, der Farblosigkeit, der Stille alle Formen, Farben und Klänge enthalten. (Zweites Kapitel) Das dritte Kapitel ist von den wesentlichen Schriften der daoistischen Musikästhetik geprägt: Entsprechende Texte von Laozi, Liezi, Zhunagzi, Lü Buwei, Liu An, Sima Qian, Tao Yuanming, Lü Yen und Shen Kuo werden - in historischer Reihenfolge angeordnet - miteinander verglichen bzw. auf die Thematik hin interpretiert. Das folgende vierte Kapitel konzentriert und subsumiert die essentiellen und zentralen Elemente dieser Musikphilosophie bzw. Mußekultur. Das umfangreiche fünfte Kapitel beschäftigt sich mit dem 'Geistigen in der abendländischen Musikkultur', wobei die unterschiedlichen Ausprägungen einer noetischen Musikauffassung zur Reflexion bzw. Zusammenschau ähnlicher ästhetisch-philosophischer Phänomene einladen:YYRRR YYRRRDer Vergleich von daoistischem Gedankengut mit hellenistischer Philosophie erscheint deshalb spannend und sinnvoll, da die zeitliche Koinzidenz (Laozi, Pythagoras, Heraklit, Platon.) eine Gegenüberstellung, respektive Zusammenschau geradezu herausfordert. Mittelalterliche Spekulationen in Bezug auf eine Verbindung irdischer Musik mit der göttlichen Sphärenmusik befassen sich mit den Ideen einer für die Menschen nicht hörbaren musica mundana bzw. musizierender Engelschöre und münden in einen Exkurs über die Beschreibung der Musik in Dantes 'Divina Commedia'.YYRRR YYRRRAls typischer Vertreter der Renaissance erscheint Johannes Kepler, der in seinem Werk 'De Harmonices Mundi' die Weltharmonie aus Musikgesetzen bzw. Intervallen ableitet und als Übereinstimmung mit diesen Tonverhältnissen eine entsprechende psychische Disposition des Menschen annimmt.YYRRR YYRRRNeupythagoreische Vorstellungen, wonach die tatsächlich erklingende Musik (lediglich) als Abbild zahlenmäßiger Ideen und damit seelischer Qualitäten verstanden wird, halten sich über viele Jahrhunderte. Daneben wird zunehmend die Auffassung vertreten, dass der Tonkunst eine sprachähnliche Struktur zugrunde liegt, die - im Gegensatz zur tatsächlich existierenden Wortsprache - zunächst die Schönheit (bzw. das Elementare und Ursprüngliche) der Natur und später das Unsagbare und Unendliche auszudrücken vermag. Kontemplation als neue Rezeption von Musik entsteht in dem Prozess einer Säkularisierung der Religion und begründet im 19. Jahrhundert eine zunehmende 'Sakralisierung' der Kunst. Die Betonung der Stille, bzw. reduktionistische Tendenzen in der Musik des 20. Jahrhunderts können ebenfalls als Phänomene einer Vergeistigung in den modernen Künsten gedeutet werden. Gerade die noetische Musikauffassung des 20. Jahrhunderts ist von einer Psychologisierung geprägt, die die polare Entwicklung einer von physikalischer Empirie nicht mehr fasslichen Welt genauso einschließt wie die musikalische Atomisierung und Determinierung (Dodekaphonie, Serielle Musik). In diesem Kontext ist auch der Exkurs 'Sprachliche Verknüpfungen musikalischer Resonanzen' zu sehen, wobei versucht wird, musikalische Ereignisse und Formen abseits einer auditiven Rezeption in Worte bzw. in die Syntax zu bringen. (vgl. auch die Beispiele von Georg Trakl, Paul Celan, Hans Arp, Josef Weinheber, Ingeborg Bachmann, Robert Schneider). Die Beschäftigung mit dem koreanischen Komponisten Isang Yun bildet die Synthese und den Abschluss einer interkulturellen Diskussion. Yun, der seine Musik als direkt 'aus dem Geist des Dao' kommend bezeichnet, studierte sowohl in Ostasien als auch Europa Musik bzw. hatte als erster asiatischer Komponist in Europa einen großen Erfolg. Das sechste Kapitel ('Astrologie; Kosmologie und Musik') projiziert die vorangegangenen Überlegungen auf die Folie einer musikalisch-, geometrisch-, mathematisch- und astronomisch-astrologischen Ebene. Die quadrivischen Schwesterwissenschaften der 'septem artes liberales' stehen dabei in einem engen esoterischen Zusammenhang mit den 'himmlischen' Urprinzipien. Die nächsten Überlegungen gehen der Frage einer Urkraft des Universums und der subatomaren Welt nach, wobei wiederum Vertreter der modernen Physik (insbesondere die der Quantenmechanik und der Relativitätstheorie) eine Brücke zu fernöstlichem Gedankengut aufzubauen imstande sind. Der Absatz über 'Das Hören als geistige Erfahrung von Raum und Zeit' leitet zum letzten großen und siebten Kapitel 'Musikpädagogik und Kontemplation' über, wobei praktische Umsetzungen von Maria Montessori, Klang-Yoga-Erfahrungen von Jochen Kirchhoff, Dorotée Kreusch-Jacob und Wolfgang Roscher vorgestellt und diskutiert werden. Kreative und künstlerische Aktivitäten, das intuitive Erzeugen von Sprache, Bildern, Klängen und stillen Momenten, die Erfahrung gemeinsam erlernter Bewegungsabfolgen, die erstarrte Zeit im nachdenklichen Spiel und vielleicht auch der bewusste und sensible Umgang mit einer naturnahen Mußekultur als Beispiel eines sozialkommunikativen und ästhetischen Erlebnisses werden als meditative Seins- und Bildungsqualitäten in der Schule vorgestellt. Im Anhang (S. 629 bis 698) folgt eine Besprechung charakteristischer chinesische Schriftzeichen und 'daoistisch inspirierte' Bilder sowie abendländische Sphärenmodelle. Das Buch beinhaltet zum einen eine umfangreiche Analyse der daoistischen Kultur, insbesondere der daoistischen Musikästhetik. Zum anderen ergibt sich aus der interdisziplinären, interkulturellen wie historisch-deskriptiven Diskussion die spannende These einer ideellen Form von Musik, die in der abstrakten und vergeistigten Form einer kosmischen Entsprechung einen vielleicht weniger erforschten, dessen ungeachtet aber bemerkenswerten und im kulturellen Dialog wichtigen Aspekt anzusprechen versucht. *** This work concerns the culture linked with Taoist philosophy and its parallels in the history of western music. The starting-point is an attempt to find traces, in history or myth, of the place of music within Chinese society, considering Taoism as a philosophical and aesthetic philosophy, stripped of all popular religious and alchemical leanings. Important phenomena of the Eastern Asian world are presented and analysed, with reference to the life-world inspired by Taoist thought. (Chapter 1) The hermitical lifestyle of a Taoist adept is characterised by a leisure culture embracing the arts and sciences. Chapter 2 focuses on the links between philosophy, music, calligraphy, painting, poetry, customs and table etiquette, TÆai-Ji-Quan (meditation in movement) and the Chinese game of Go (wei qi) as a conglomerate of this aesthetic detached from society. From a European point of view, the Taoist practice of the arts cannot be understood under stylistic or conceptional aspects; it is a fortuitous, 'natural' product of spontaneous reflection of one's own inner, unconscious reality, which releases its own poetic reserves without arbitrary norms or rules. Like the musician, poets, painters and calligraphers strive to achieve a pure reflection of pristine Nature. Thus stillness as essence is the same in all arts and activities - a spirituality which in specific manifestations expresses profound harmony. Since being derives from the void, all forms, colours and sounds are contained in stillness, formlessness and colourlessness. (Chapter 2) Chapter 3 concerns the main writings on Taoist musical aesthetics. Texts by Laozi, Liezi, Zhunagzi, Lü Buwei, Liu An, Sima Qian, Tao Yuanming, Lü Yen and Shen Kuo are arranged in chronological order, compared, and their content interpreted. Chapter 4 summarises and subsumes the essential and central elements of this music philosophy and leisure culture. Chapter 5, which deals extensively with the spiritual element in western musical culture, the wide variety of noetic conceptions of music inviting reflection on and a survey of similar aesthetic and philosophical phenomena: In view of their contemporaneity (Laozi, Pythagoras, Heraclitus, Plato.) a comparison of Taoist ideology with Hellenistic philosophy seems worthwhile. Mediaeval speculation on a link between earthly music and the divine music of the spheres considers the concept of a musica mundana, or angelic choirs, inaudible to man; this leads to discussion of the music in Dante's Divina Commedia. Representative of the Renaissance is Johannes Kepler who, in his work Harmonices Mundi, derives world harmony from laws of music and intervals, and assumes in accordance with these a corresponding psychological disposition in man. Neo-Pythagorean notions of the audible music's being understood (purely) as a copy of numerical ideas, and thus of psychological qualities, have survived over the centuries. At the same time, the view is becoming increasingly widespread that the art of music is based on a linguistic structure which - in contrast to existing verbal language - is capable of expressing first the primal beauty of Nature, and later the ineffable and the infinite. Contemplation as a new way of perceiving music emerged in the process of religious secularisation, and explains the increasing 'sacralisation' of the arts in the 19th century. The emphasis on stillness, or reductionist trends in 20th-century music, can also be interpreted as a phenomenon of spiritualisation in the modern arts. The 20th-century noetic conception of music is marked by a psychologisation which includes both the polar development of a world no longer comprehensible by physical empiricism and musical atomisation and determinism (dodecaphony, serial music). The discussion of linguistic connections of musical resonances also belongs in this context; an attempt is made to introduce into the words or syntax musical events and forms distinct from auditory perception (cf. examples from Georg Trakl, Paul Celan, Hans Arp, Josef Weinheber, Ingeborg Bachmann, Robert Schneider). A study of the Korean composer Isang Yun forms the synthesis and conclusion of the intercultural discussion. Yun, who describes his music as coming directly 'from the spirit of Tao', studied music in both Eastern Asia and Europe, enjoying great success as the first Asian composer in Europe. Chapter 6 (Astrology, Cosmology and Music) projects the preceding reflections on to the background of a musical, geometric, mathematical and astronomical/astrological level. Here the quadrivial sciences - the higher division of the seven liberal arts - are in a close esoteric relationship with the ''heavenly' fundamental principles. The ensuing reflections investigate the question of a primeval force of the universe and the subatomic world, where representatives from modern physics (especially quantum mechanics and relativity theory) are able to construct a bridge to Far Eastern ideology. The section on hearing as a spiritual experience of space and time leads into the final main chapter (Chapter 7), on musical education and contemplation, which presents and discusses practical implementation by Maria Montessori and sound-yoga experiences by Jochen Kirchhoff, Dorotée Kreusch-Jacob and Wolfgang Roscher. Creative and artistic activities, the intuitive production of language, images, sounds and moments of stillness, the experience of jointly learned sequences of movements, how time freezes in meditative play, and perhaps also the conscious and sensitive use of a nature-oriented leisure culture as an example of an aesthetic experience of social communication, are presented as meditative existential and educational qualities in schools. The appendix deals with some typical Chinese characters, images of Taoist inspiration, and western models of the spheres. This work aims on the one hand at a comprehensive analysis of Taoist culture, with special reference to Taoist musical aesthetics. On the other, the interdisciplinary, intercultural, historical and descriptive discussion gives rise to the interesting thesis of a purely ideal form of music, which in the abstract and spiritualised form of a cosmic counterpart attempts to address an aspect perhaps less researched, though remarkable and important in any cultural dialogue.

Sklep: Libristo.pl

Original Tao - 2869791681

142,21 z³

Original Tao Columbia University Press

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Revolutionizing received opinion of Taoism's origins in light of historic new discoveries, Harold D. Roth has uncovered China's oldest mystical text -- the original expression of Taoist philosophy -- and presents it here with a complete translation and commentary. Over the past twenty-five years, documents recovered from the tombs of China's ancient elite have sparked a revolution in scholarship about early Chinese thought, in particular the origins of Taoist philosophy and religion. In Original Tao, Harold D. Roth exhumes the seminal text of Taoism -- Inward Training (Nei-yeh) -- not from a tomb but from the pages of the Kuan Tzu, a voluminous text on politics and economics in which this mystical tract had been "buried" for centuries. Inward Training is composed of short poetic verses devoted to the practice of breath meditation, and to the insights about the nature of human beings and the form of the cosmos derived from this practice. In its poetic form and tone, the work closely resembles the Tao-te Ching; moreover, it clearly evokes Taoism's affinities to other mystical traditions, notably aspects of Hinduism and Buddhism. Roth argues that Inward Training is the foundational text of early Taoism and traces the book to the mid-fourth century B.C. (the late Warring States period in China). These verses contain the oldest surviving expressions of a method for mystical "inner cultivation," which Roth identifies as the basis for all early Taoist texts, including the Chuang Tzu and the world-renowned Tao-te Ching. With these historic discoveries, he reveals the possibility of a much deeper continuity between early "philosophical" Taoism and the later Taoist religion than scholars had previously suspected. Original Tao contains an elegant and luminous complete translation of the original text. Roth's comprehensive analysis explains what Inward Training meant to the people who wrote it, how this work came to be "entombed" within the Kuan Tzu, and why the text was largely overlooked after the early Han period.

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Religions and Nonviolence - 2859259099

275,17 z³

Religions and Nonviolence Praeger Publishers Inc

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Covering all the major-and some of the larger minor-religions of the world, Religions and Nonviolence: The Rise of Effective Advocacy for Peace examines the rich history of how human thinking on nonviolence has developed and what each religion offers to the theory and practice of nonviolence, providing a counterpoint to the perspective that religion has largely inspired violence and intolerance. It also traces the contributions of religious traditions to secular nonviolent practices, recognizes and explains why religion has historically inspired violence, and provides additional resources for investigating the crossroads of religion and advocacy of nonviolence and peace. The author addresses the nonviolence traditions in religions such as Bahai, Buddhism, Christianity, Ethical Atheism, the First Nations of North America, Judaism, Hinduism, Islam, Sikhism, Tenrikyo, and Revitalized Paganism. Ancient religions with important contributions to nonviolence-Zoroastrianism, Taoism, and Jainism-receive attention, as do Mo Tse and other Chinese philosophers as well as Pythagoras and other classical Greek thinkers. Students of religion, history of religion, sociology, or psychology will find this book key to achieving a balanced and therefore more accurate understanding of both religion and history. General readers will gain insights into the commonalities among different religions as well as each major religion's historical and current stances on issues of violence, such as human or animal sacrifice, slavery, war, and the death penalty.

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The Book of Balance and Harmony: A Taoist Handbook - 2873340213

122,64 z³

The Book of Balance and Harmony: A Taoist Handbook SHAMBHALA PUB

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"The Book of Balance and Harmony " is a renowned anthology of writing by a thirteenth-century master of the Complete Reality School of Taoism, a movement begun around the turn of the first millennium CE whose aim was a return to the purity of Taoism's original principles and practices. This classic collection, compiled by one of the master's disciples, is still very much in use by the Taoist adepts of China today. Its serves as a compendium of the teaching of the Complete Reality School, both in theory and in practice, employing a rich variety of literary forms, including essays, dialogues, poetry, and song. The writings herein condense the essences of the Chinese religious traditions of Taoism, Confucianism, and Buddhism into an alchemical elixir teaching Vitality, Energy, and Spirit--the "three treasures" of Taoism that promise mental and physical well-being.

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