Buddhist devotion in the context of "Praṇidhāna"

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⭐ Core Definition: Buddhist devotion

Devotion, a central practice in Buddhism, refers to commitment to religious observances or to an object or person, and may be translated with Sanskrit or Pāli terms like saddhā, gārava or pūjā. Central to Buddhist devotion is the practice of Buddhānussati, the recollection of the inspiring qualities of the Buddha. Although buddhānussati was an important aspect of practice since Buddhism's early period, its importance was amplified with the arising of Mahāyāna Buddhism. Specifically, with Pure Land Buddhism, many forms of devotion were developed to recollect and connect with the celestial Buddhas, especially Amitābha.

Most Buddhists use ritual in pursuit of their spiritual aspirations. Common devotional practices are receiving a blessing, making merit, making a resolution, prostrating, making offerings, chanting, confession and repentance, and pilgrimage. Moreover, many types of visualizations, recollections and mantras are used in Buddhist meditation in different traditions to devote oneself to a Buddha, bodhisattva, or a teacher / guru. The often politically motivated practice of self-immolation is a less common aspect of devotion in some Buddhist communities.

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Buddhist devotion in the context of Anussati

Anussati (Pāli; Sanskrit: Anusmṛti; Chinese: 隨念; pinyin: suíniàn; Tibetan: རྗེས་སུ་དྲན་པ, Wylie: rjes su dran pa) means "recollection," "contemplation," "remembrance," "meditation", and "mindfulness". It refers to specific Buddhist meditational or devotional practices, such as recollecting the sublime qualities of the Buddha, which lead to mental tranquillity and abiding joy. In various contexts, the Pali literature and Sanskrit Mahayana sutras emphasise and identify different enumerations of recollections.

Anussati may also refer to meditative attainments, such as the ability to recollect past lives (pubbenivāsānussati), also called causal memory.

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Buddhist devotion in the context of Buddhist music

Buddhist music is music (Sanskrit: vàdita, saṅgīta) created for or inspired by Buddhism and includes numerous ritual and non-ritual musical forms. As a Buddhist art form, music has been used by Buddhists since the time of early Buddhism, as attested by artistic depictions in Indian sites like Sanchi. While certain early Buddhist sources contain negative attitudes to music, Mahayana sources tend to be much more positive to music, seeing it as a suitable offering to the Buddhas and as a skillful means to bring sentient beings to Buddhism.

Buddhist music retains a prominent place in many Buddhist traditions, and is usually used for ceremonial and devotional purposes. Buddhist music and chanting is often part of Buddhist rituals and festivals in which they may be seen as offerings to the Buddha.

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Buddhist devotion in the context of Chinese Buddhist canon

The Chinese Buddhist canon refers to a traditional collection of Chinese language Buddhist texts which are the central canonical works of East Asian Buddhism. The traditional term for the canon is Great Storage of Scriptures (traditional Chinese: 大藏經; simplified Chinese: 大藏经; pinyin: Dàzàngjīng; Japanese: 大蔵経; rōmaji: Daizōkyō; Korean: 대장경; romaja: Daejanggyeong; Vietnamese: Đại tạng kinh). The Chinese canon is a major source of scriptural and spiritual authority for East Asian Buddhism (the Buddhism of China, Korea, Japan and Vietnam). It is also an object of worship and devotion for Asian Buddhists and its reproduction is seen as an act of merit making. The canon has also been called by other names like “Internal Classics” (neidian 内典), “Myriad of Scriptures” (zhongjing 眾經), or “All Scriptures” (yiqiejing 一切經).

The development of the Great Storage of Scriptures was influenced by the Indian Buddhist concept of a Tripitaka, literally meaning "three baskets" (of Sutra, Vinaya, and Abhidharma), a term which referred to the scriptural canons of the various Indian Buddhist schools. However, Chinese Buddhists historically did not have access to a single Tripitaka from one school or collection. Instead, the canon grew over centuries as various Indian texts were translated and new texts composed in China. These various works (4,878 individual texts according to the Chinese scholar He Mei) were later collected into a distinct Chinese canon.

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