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Five Great Sins (Mahāpātakas) with Special Reference to Śaiva Siddhānta

100%

Sathyanarayanan R.

tom 16: Tantric Traditions in Theory and Practice

315-338

The term prāyaścitta covers a number of rites and actions that are held to expiate or repair faults of omission and commission. In fact, many of the expiable offenses that are discussed in Saiddhāntika sources are not exclusively Śaiva but belong also to the realm of smārta traditions for they include such non-criminal and non-transgressive things as states of ritual impurity caused, for example, by life-events such as birth and death. The expiatory procedure for the five great sins vary between Śaiva and smārta systems. Śaiva scriptures prescribe different types of maṇḍalas for these five great sins using five BRAHMA-mantras to expiate along with moon-related fasting of kr̥ cchra, cāndrāyaṇa etc., and initiation (dīkṣā) or an installation of Śiva (pratiṣṭhā). Most of the smr̥ ti nibandhas say that the great sins are not expiable. Here I have focused on these two systems regarding the great sins, mainly taking into consideration the 12th-century Śaiva expiatory manual Prāyaścittasamuccaya of Trilocanaśiva.

Mandala – symbol emanacji jedności w wielości Interpretacja motywu w sztuce współczesnej

89%

Gil A.

Amor Fati

2017

nr 1(7)

58-77

The mandala symbol, which is a sui generis cultural phenomenon, however not because of its uniqueness, but generality of occurrence, and also a subject of the author's research interests, became the reason for writing this article. Mandala in the Eastern tradition, precisely in Buddhist tradiction, is a symbol of fullness, wholeness, emanation of unity in multiplicity. That is a uni-versal motif, which can be found in a wide range of cultural circles (f.e. in architecture, crafts and rituals). The aim of the article is to prove, that this symbol refers to unity and multiplicity in various ways of interpreting, among others, in Jungian psychology, semiology or Buddhist phi-losophy.

Wesele Andrzeja Wajdy jako mandala

51%

Kuśmierczyk S.

nr 79

6–21

The author calls on the concept of the mandala by C. G. Jung as ideogram expressing the content of the mental state in the current stage of the development of the inner man. The interpretation of Wedding as a mandala presents the location of the action as a quadrilateral inscribed in a circle. The analysis reveals the three sequences comprising the film, the fractal triadic structure of the whole work, the metamorphosis of the characters, and its close relationship with changing time and space and the importance of vision scenes. The author discusses the mythic-initiation structures and the rite of passage structure using the interpretative framework of Arnold van Gennep. He analyzes the unity of the visual and audio layers of the film, interpreted in the light of Paul Florensky’s ideas on golden highlighting in Russian orthodox icons. He discusses the colour scheme of the film, which is judged to be a remarkable achievement by Witold Sobociński cinematography. He shows the symbolic meaning of the colours that refer to color semantics in Polish folk culture and their relationship with the symbolism of the mandala form and the metamorphosis of the characters.