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The Vajrasattva Mantra and the Lord's Prayer exhibit a significant parallelism in structure and meaning, despite their different linguistic origins and cultural contexts. The analysis reveals that while the Vajrasattva Mantra is not a mere translation of the Lord's Prayer, its composition reflects an awareness of the latter text, adapted to fit a predominantly Buddhist perspective. This hybridization likely occurred in a Greco-Buddhist milieu, highlighting the interactions between early Christian and Buddhist traditions.
While the Tibetan lotsawas of old translated even Sanskrit names in their renowned translations of the Buddhist canonical texts, they left Sanskrit mantras untranslated. This is because the power of mantras is believed to derive from their sounds, sounds that could not be altered if this power was to remain intact. Thus we find that the mantras in the Kålacakra sådhana, like in all sådhanas, are in Sanskrit, not in Tibetan. Yet it is just here that, because of how foreign these sounds are, errors are most likely to creep in. Indeed we find that, over the centuries, the pronunciation of these sounds has altered, and, due to unfamiliarity with the words, even the spellings have been subject to scribal errors. One of the clearest examples of altered pronunciation may be seen in the case of the famous Vajrasattva mantra, widely used on its own for purification, and found as an integral part of many sådhanas, including most of the fuller versions of the Kålacakra sådhana. The 100-syllable Vajrasattva mantra as now pronounced may be seen in recent books on Tibetan Buddhism where it is given phonetically. From these, we see that the word Vajrasattva has become Benzar sato, 1 Benzar satto, 2 or Bedzra sato. 3 These transformations of its pronunciation are largely due to it being pronounced as in modern Tibetan. We see the same thing in English, where Vajrasattva is pronounced as if it is an English word. But it is a Sanskrit word, and as such, the first syllable of Vajra should rhyme with " judge, " and the first syllable of sattva should rhyme with " hut. " If the early Tibetan translators gave such importance to preserving the Sanskrit sounds, we should make an attempt to pronounce them correctly. 4 Then there is the question of meaning. The great majority of Sanskrit mantras have clear meanings that were meant to be
ABSTRACT: A tantric hymn in praise of the feminine divine, and describing her aniconic form (the Śrīyantra) as well as physical form, Saundarya Lahari is a complex and coded “mālā-mantra.” Believed to be composed by Ādi Saṇkara (ca. 8th century CE), this hymn in one hundred (or one hundred and three) stanzas is reputed for its mystical and magical effects. Over the centuries, it has become a tradition in itself with over thirty five commentaries propounding esoteric meanings, encoded seed-syllables (bījākśaras) and other mantras within the verses, explaining the tantric cosmology and prescribing ritual procedures to accompany the hymn. The chanting of Saundarya Lahari is popular in contemporary India as a devotional practice. As a mystical sound formula, mantras are typically considered untranslatable. In a mantra, sound is privileged over meaning. Its sounds and their combinations are believed to result in specific, intended effects, and the meaning of words (if any) are regarded peripheral— more useful as aids to concentration, directed will (saṁkalpa) or memorization, and for the production of devotional emotions (bhava) in the chanter. There are multiple manuals and handbooks in many languages (including English) and which include translations of the verses as well as commentaries and religious prescriptions. These have created as if an impenetrable fortress around the hymn for the general reader who may be a chanter or even heritage learner, rather than a tantric initiate. My own study of the hymn took the form of memorization, repetition, and translation as a way to form a personal bond with it. How to attempt an inter-semiotic translation, catch the meaning - albeit outer meaning - while including an expressive rhythm and maybe even the governing syllables of some of the verses? How to reproduce the syntax of Sanskrit with primary clauses often linked to multiple secondary clauses and yet maintain clarity? How to draw attention to connotations? The concepts in Saundarya Lahari are quintessentially Indian – and one needs to formulate a strategy for terms from tantra and yoga like “kuṇḍalini” or “cakra,” descriptive concepts like “maṇidvīpa,” and references like “tāṇḍava.” Mythological references have a backstory—and while translations may have to weighed down with footnotes, might it also be possible to aim for coherence without footnotes? My paper is about working with these questions and problems; I will share examples from my drawing board using the source-text, interlinear translation, my assumptions and the resulting translation.
Acta Tibetica et Buddhica vol. 4, 2011
An Introduction: a note on the dissemination of the six-syllable mantra is the quintessential name-mantra of the Bodhisattva Avalokitevara. Its origin, meaning, and textual sources have been variously discussed by scholars. 2 In this brief introductory section, I will note possible sources of the mantra concerning its dissemination throughout Tibet. The is a well-known gter-ma text of the Cycle of the Tibetan king Srong-btsan-sgam-po and the Bodhisattva Avalokitevara, in which the Bodhisattva's six-syllabled mantra is repeated throughout the text. The attributes the origin of the mantra exclusively to the (za ma tog bkod pa'i mdo), which is a text dedicated to the Bodhisattva Avalokitevara, who strives ceaselessly for saving the six classes of beings, and in which Avalokitevara's is revealed. 3 In chapter twenty-three of the Lo rgyus chen mo of the , a Brahmin youth, who is an incarnation of Avalokitevara, introduces the stra to the demoness (srin mo), and teaches them the mantra. 4 Besides the , there are other sources that contain the six-syllabled mantra. Imaeda points out the presence of the mantra in the text titled 1 This paper derives from my paper presented at the 11 th Seminar of the International Association for Tibetan Studies at Bonn in 2006;; I am very grateful to crya Karma dGe-'dun for reading the text to me and giving me an outline (sa bcad) of the text. Also, I would like to thank rGan Mi-'gyur rDo-rje for claryfing my understanding of the text.
A translation and study of the 100 Syllable Mantra, with a focus on how errors in transmission garbled the mantra.
Nāgārjuna's six-syllable mantra oṃ maṇi padme hūṃ in the bsTan 'gyur: A Text and A Translation of the Āryāvalokiteśvaraṣaḍakṣarasādhana ('Phags pa 'jig rten dbang phyug yi ge drug pa'i sgrub thabs) 1 Tomoko Makidono An Introduction: a note on the dissemination of the six-syllable mantra oṃ maṇi padme hūṃ Oṃ maṇi padme hūṃ is the quintessential name-mantra of the Bodhisattva Avalokiteśvara. Its origin, meaning, and textual sources have been variously discussed by scholars. 2 In this brief introductory section, I will note possible sources of the mantra concerning its dissemination throughout Tibet. The Maṇi bka' 'bum is a well-known gter-ma text of the Cycle of the Tibetan king Srong-btsan-sgam-po and the Bodhisattva Avalokiteśvara, in which the Bodhisattva's six-syllabled mantra is repeated throughout the text. The Maṇi bka' 'bum attributes the origin of the mantra exclusively to the Kāraṇḍavyūhasūtra (za ma tog bkod pa'i mdo), which is a text dedicated to the Bodhisattva Avalokiteśvara, who strives ceaselessly for saving the six classes of beings, and in which Avalokiteśvara's mantra, oṃ maṇi padme hūṃ, is revealed. 3 In chapter twenty-three of the Lo rgyus chen mo of the Maṇi bka' 'bum, a Brahmin youth, who is an incarnation of Avalokiteśvara, introduces the Kāraṇḍavyūhasūtra to the demoness (srin mo), and teaches them the mantra oṃ maṇi padme hūṃ. 4 Besides the Kāraṇḍavyūhasūtra, there are other sources that contain the six-syllabled mantra oṃ maṇi padme hūṃ. Imaeda points out the presence of the mantra in the text titled 1 This paper derives from my paper presented at the 11 th Seminar of the International Association for Tibetan Studies at Bonn in 2006; I am very grateful to Ācārya Karma dGe-'dun for reading the text to me and giving me an outline (sa bcad) of the text. Also, I would like to thank rGan Mi-'gyur rDo-rje for claryfing my understanding of the text.
Vedanta Kesari, July , 2024
The 121st Sukta in Rigveda’s 10th Mandala is attributed to Rishi Hiranyagarbha, identified as the son of Prajapati.1 Prajapati is the Devata, denoted by ‘Ka’. This Sukta, using Trishtup Chandas (meter), consists of 10 mantras. The Sukta’s title derives from both its Rishi and Devata. Interchangeably used, Prajapati and Hiranyagarbha represent the conscious creative force. The Taittiriya Samhita2 supports their synonymous usage. It is to be noted that Hiranyagarbha is stated as the oldest teacher of Yoga. This analysis aims to explore the profound meanings embedded in the two mantras each in every part and complete the discussion in five parts. The third and fourth Mantras are discussed in this part 2.
Asian Literature and Translation, 2023
No single standard translation of the mantra known as Sāvitrī, Gāyatrī, or Gāyatrī-Mantra (Ṛgveda III 62.10) has ever become widely accepted. Many authors seem to have felt that a famous mantra such as this one must have, or allow for, several interpretations and translations-a position that is not without justification, especially when it comes to mantras. Yet, translators of the Gāyatrī-Mantra have rarely taken into consideration that language changes over time, and that this has an impact on how the mantra is to be translated. The aim of this paper is to remedy this situation. It provides grammatical, morphological, etymological, lexical, and semantic analyses of the textual content of the mantra against the background of the linguistic changes that took place during the transition from early to late Old Indo-Aryan. In other words, this paper explores how the mantra would be understood by users of Vedic and Sanskrit. To this end, each textual component of the Gāyatrī-Mantra is analyzed in dedicated sections. An appendix also provides a collection of more than seventy scholarly translations into European languages.
Vedanta Kesari , 2022
This is part of a series that attempts lucid exposition of Vedic Mantras. This part discusses the famous Vedic Shanti Mantra - Saha Navavatu - that appears in the Taittriya Krishna Yajurveda - based on the commentary of Sayanacarya
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