The origin and appearance of Da Xoa .VIETNAMESE TRANSLATE ENGLISH BY=VIETNAMESE BUDDHIST NUN=THICH CHAN TANH.
On the mouth, every day, we often hear the word "Da Xoa" in the oral wars. Again, world people also have the phrase "Madame Chou", "Madame La Sat" ... That's popular, but the origin and appearance of Da Xoa and La Sat is very vague. In this article, please look for something about "Devil Da Xa". And Luo will mention it on another occasion.
Da Xoa in languages has many different names: Yaksha (Sanskrit), Yakkha (Pali), Chinese: Yecha, Japanese: Yasha, Tib: Gnod-shyin, Khmer: Yăk (known in Vietnamese as Chấn), Thai: Yak / Nhak (1). In the Chinese scriptures, Yasha is transcribed as Duoclab (translation: victory over disease, majesty), Browse-massage, Yasha and is translated: Khiep, Dung Sue, Nang N, Gentleman, Oai Germany, From the Fund Sacrifice, Disabled Devil. The meanings of Da Xoa are Devil's Power (Temptation Devil), Devil's Teeth (Devil suddenly appears hidden), Khinh Tiep (lightning fast), Dung Kien (healthy) (2). In terms of gender, besides Da Xoa, there is Da Xoa female (Sanskrit: Yaksi or Yakshini; Yakshini is also called Yaksini or Yaksi and Yakkhini in Pali). 1. Yaksha is the name for a kind of divine nature, usually benevolent, is the custodian of the treasure of natural treasure hidden in the soil or tree roots.
In Hindu, Jainism, and Buddhist mythology, yaksha / yakshini has a double personality. On the one hand, yaksha is an innocuous beautiful fairy, connected with forests and mountains. But there is also a sinister, cynical, sometimes ghost-like yaksha (bhuta) in the deserted wilderness, often stalking to devour / devour travelers similar to La. Murder (raksasa).
In the poem Kalidasa Meghaduta, it is shown that yaksha is a romantic character: yaksha languishes / longs for love because of nostalgia for a loved one. On the contrary, in Yaksaprasnah's "Question of yaksa" Hindu textual dialogue, yaksha is a protector of a lake, challenging Yudhisthira. Initially yaksha may be the forest and village protector; after that, it was conceived as the gods who governed the earth and the earthly possessions.
Yakshini and Yaksha, both servants of Kubera, the ancient god of Wealth of India. In the Vedic Sutras, Kubera (also written as Kuvera) is the ruler of both demons or spirits living in the dark, a type of Pluto and is named after his father, Vaisravana. Later, Kubera was understood in a different sense: the god of Wealth / the god of wealth and their masters Da Xoa and Guhyaka (the hidden god, guarding the secret treasure). Kubera's palace is Alaka in the Himalayas and Chaitra-ratha garden in Madrara, one of the peaks of Mount Meru / Tudi painted cosmic center. According to the epic Ramayana (and also Mahabharata), Pulastya was born from the idea of Brahman. Vaisravana / Kubera is the son of Pulastya. However, Vaisravana is very close, devoting full love and respect to her grandfather. That made Pulastya very jealous. Brahman always praised Vaisravana and bestowed upon his beloved grandson the privilege of immortality, appointing Vaisravana the lord of all the precious treasures of the world and appointing Vaisravana the king of Lanka (presumed to be Lan / Sri Lanka). Outraged, Pulastya himself gave birth to a second child, Vaisravas - a brother who hates his brother not inferior to his father. In order to calm his father's heart, Vaisravana offered her father the beautiful female Rakshasi three aunts. A girl gave birth to Ravana and Kumbhakarna; another girl gave birth to Vibhishana; and the third girl gave birth to Rapa, Khara and Surpanakha. These children of Pulastya were also very jealous of the wealth of his brother Vaisravana. Thus, they persisted in practicing the austerities and received the divine privilege of their grandfather Brahman. With the power gained from this divine privilege, they turned against Vaisravana.
The above are key features of lineages of Yakshas. For the "Indian" countries of Southeast Asia, the concept of Yaksha is deeply rooted in the transmission of the Ramayana epic. This epic is considered a foundation literary work, occupying a particularly important position in the culture of Sri Lanka, Miama, Laos, Cambodia, Thailand ... Ramayana versions of each country (Phra Lak - Phra Lam of Laos; Cambodia's Rama Kien, Thailand's Rama Kien ...) are not only literary compositions to tell / read but also produce theatrical productions, folk performances and countless sculptures, decorations, and paintings. Accordingly, Yaksha's beliefs and appearances penetrate deeply into the consciousness of community (4).
2. In Hindu mythology, Yaksha is a kind of supernatural being, a servant of the god Kubera. However, some other data sources do not acknowledge this origin. For example, the type of Vampires / Yakshi is identified as a servant of Durga - wife of Shiva; or traced further back: Yaksha is the son of Kasyapa and the wives, who are the daughters of Daksha - a Vedic sage - are regarded as Praja-pati / father of mankind (5). They have no special properties, but are generally considered harmless, and are therefore called Punya-janas, or "good man"; But sometimes they appear as a kind of goblin with a fierce, frightening appearance.
In Indian art, Yaksha is shown sometimes as timid warriors, sometimes imposing, resilient / strong, but short.
In Japan, in general, these demigods are denoted as strong, muscular, muscular sons, often wearing only a sketchy cloth. They are often portrayed with bushy mustache and bristled snail-like eyes. Sometimes they are presented with crowns and earrings, but in general they have no special temper. The forms of Yaksha India and Japan are broadly similar. Yaksha seems to have merged with the mythological mascots of Japanese indigenous folklore (6).
In Southeast Asia, especially in Java, Yaksha assumed the role of guardians of temples. Yaksha (Thailand: Yak) is an important element in Thai temple architecture and art. Yaksha has been popular as a gatekeeper throughout the Buddhist shrine since at least the 14th century. Yaksha ceramic statues were produced in Thailand during the Sukhothai and Ayutthaya periods, between the fourteenth and sixteenth centuries, at the third century. Complex kiln located in North Thailand. Yaksha is described largely as a fierce face with bulging round eyes and protruding fangs, as well as green complexion. Similarly, the Khmer pagoda, Yaksha (known as Yăk) are also guardians. Usually shaped in pairs, arranged on both sides of doors, gates and steps. In addition to the fierce "zag" face with the fangs bent to the sides,
In general, Yaksha's appearance in Theravada Buddhist temple art is somewhat more solemn than the yaksha on the classical stage of these Southeast Asian countries. The distinctive feature is that in the stage masks, depending on the rank of each role, Yaksha can have 5, 3, 2 or a first floor, with one or four different sides. The number of first floors and faces denote the talents of each type of Yaksha. The main difference here is that the Yaksha guarding the pagoda is the type of Da Xoa that has turned in the direction of goodness, willingness to protect the dharma. The yakshas on stage (mainly excerpts from versions of the Ramayana epic) are of the kind of evil, of the antagonistic faction, the subject of submission of the righteous faction - representing the righteous and good.
The Jainans mainly worship the idols of Arihant and Tirthankara, who overpower their inner passions and attain the divine status. Some of these followers also believe that Yaksha and Yakshini take care of Tirthankara's well-being and well-being. Usually, they are found somewhere beside an idol, including a pair of Yaksha and Yakshini statues. Those are guard / guard gods. A typical Yaksha is to the right of the Jina and Yakshini idols on the left. In earlier times, Yaksha and Yakshini were considered devout followers of this religion and had supernatural powers / powers. Yaksha also wander through the cycle of life and death just like mortals, but they have supernatural powers. Hence, these Yakshas and Yakshinis also began to be worshiped.
The Jain Som sect that focused on the immediate effect of sacrifices should put Yaksha and Yaksani in their shrines. Some Yaksha are known to bestow prosperity and wealth to their devotees. As a result, these Yaksha became very popular: Yaksha statues were placed in Teman shrines and worshiped regularly. The Jainans also made offerings to them in order to pray to the Yakshas to grant the child good favor, wealth or the liberation from fear, sickness, or sickness (7).
Unlike Yaksha's fierce form, Yakshi is depicted as a naked young woman with a round, smiling face, wide hips, slim waist, wide shoulders, and full chest. Yakshi is often portrayed as exaggerating - in the sense of sensuality - to increase a woman's flexibility and seduction in order to associate them with fullness and fertility. In the Uddamareshvara Tantra, 36 Yakshi are described including incantations and ritual rules. Similar to the Yaksha listing, the Yakshi is also mentioned in the Tantraraja Tantra. This book also says that these creatures are the ones who give everything the world wishes for.
Three famous monuments of Indian Buddhism, Bharhut, Sanchi and Mathura, create a large number of Yakshi decorations. They are common on most of the tower's barrier pillars. Yakshi is often shown with arms reaching up against a tree branch and body flexing and flexing (Skt: tribhanga means 3 bend points); therefore, some authors claim that the young woman standing at this stump relies on the ancient tree deity (8).
The ashoka tree is often connected with the mythical creature Yakshi. This is also one of the factors that often repeat in Indian art. This type of statue is commonly found at the gates of many Buddhist and Hindu shrines: Yakshi standing on the trunk / trunk of a tree with a stylized blossoming ashoka is less common or less common than leaves with flowers and fruit. As an artistic element, trees and Yakshi are subjects towards radical stylization.
Some authors claim that the young woman standing at the stump is derived from the lush old tree symbol of the Indian subcontinent. Yakshi were an important decorative element in early Buddhist structures and they are found in ancient Buddhist archaeological sites. Yakshi becomes Salabhanjika (bottle tree maiden / virgin); Over the centuries, this has been the standard decorative element of Indian temple sculpture / architecture and architecture.
Shorea robusta is often confused with the ashoka tree (saraca indica) in the ancient literature of the Indian subcontinent. Salabhanjika pattern was also identified as the model of Queen Maya's posture when she gave birth to Prince Siddhārtha under the asoka tree in the garden in Lumbini. The Queen reached up and grabbed the elusive asoka tree branch and the Prince was born from the hip ... (9) (10).
Although associated with the belief of fertility, which signifies the richness of plants, but in South India, Yakshi is not considered a benevolent creature. They are said to stalk men, seducing them with their beauty to drink their blood. Thus, the duality of this kind of being is always preserved in the cultural-religious consciousness of the Indians. That, likewise happens in Buddhist texts.
3. In Buddhist beliefs, Da Xoa / Yaksha are demons on the ground or in nothingness, using posture to harm people, or using posture to preserve Dharma; is one of 8 sets of them. In terms of species, the Da Xoa beings are mentioned with 3 things: 1 / Da Xoa: have the merit of enjoying music, drinks and other pleasures; 2 / Da Xa Void: strong and fast like the wind; 3 / Palace of Da Xoa astronaut: have full amenities and enjoy happiness (according to Da Xa Dai Dai position, 12) (11).
Thus, Da Xoa's inherent duality is preserved in Buddhist beliefs and specific manifestations in the texts have various special details.
a) Here and there in the Buddhist texts, we see the preservation of the concept of the domination of Da Xoa by the Bhikkhu-monk / Vaisravana. According to the congress, in the A-jaw School 12 (treatise Dai ty-Bà-sa 133, treatise of Justice 31 ...): Da Xoa was under the leadership of Bhikkhu-sa-mon Thien King (Vaisravana) and told to protect the gods of the heavens such as Dao Loi, ... enjoy the joys and have the posture. According to the Dai Nhat sutra 5 recorded: in the Kim cang outside the Mandala of the Thai Tibetan world, at the North gate to worship Tỳ-sa-mon, the two sides of this god have painted 8 generals Da Xoa: Ma-ni Bat-da-la, Bo-hole-na-bah-la-la, Sell-chi-ca, Sa-multi-period-ly, Hel-ma-phu-da, Bhikkhu-sái-ca, A-tra- Phuong-ca and Semi-old-la (12).
The belief that Da Xoa was the retainer / subordinate of Bhikkhu-sa-mon Thien Vuong - the Guardian God and the Tai Loc god - appeared in our country through the legend of Thanh Giong / Phu Dong Thien Vuong with many details " "historicalization" has obscured the original beliefs. According to the records in Viet Dien, this king was / was worshiped as the god of Tho Dia, Kien So pagoda; After that, Ly Thai To sent a worker to build an idol and again "sent eight statues to serve" (13). These are the 8 generals Da Xoa, the lower out of Vaisravana mentioned above (14). In other words, this is a testimony of the presence of Da Xoa's beliefs - subordinates of Bhikkhu-sa-mon Thien Vuong in our country before the Ly dynasty.
In the Dharma Master Tathagata Sutta pledging merit, we seem to recognize the variation of the motif of the Tathagata monk and the customary General Da Xoa: the 12 gods of Da Xoa vow to support those who maintain the Medicine Doctor. Twelve of them have white Buddha that if someone is sick, they should recite the Medicine Master Sutta. Next, take the five-color silk thread and attach the title of 12 of them to the herd, when they heal, they take them out. Those twelve Da Xoa are: 1 / Cung-la-la general, 2 / Fine-extracting-la general, 3 / Maze-la general, 4 / An-to-la general, 5 / Anger-la general, 6 / San-to-la general, 7 / Nhon-reaching-la general, 8 / Ba-di-la general, 9 / Ma-tiger-la general, 10 / Chon-reach-la general, 11 / Chieu-pour-la general, 12 / Tỳ-listing-la general. (15)
b) One of the innate stories of Buddhism that mentioned Da Xoa is a story titled Cu Lau king listening to his wife, saying: Monk Thien Vuong turned into Da Xoa to test the king's heart. Thien Vuong set a condition: eat the king's wife and children, then give the sermon, let him listen. Cu Lau Vuong agreed. After eating the king's wife and children, he finished eating the king's wife and children, because the king preached to him. Done somewhere, Bhikkhu-monk works: the king's wife and son are resurrected (16).
In the above story, behind the content of the promotion and the practice is Da Xoa's cannibalism. The evil attributes of Da Xoa are also identified in the Great Sand Sutras mantra 3: The demons of Da Xoa and Luo often turn into symbols such as lions, elephants, tigers, deer, horses, buffaloes, donkeys, stray momentum, goat ... or big head but small body, or big belly with one head but two faces, three faces, ... the hand holding knife, spear, sword ... scary appearance, making people scared, yes being able to lose sight of the person and then absorb the spirit (17).
Because of the cruelty that harms sentient beings, in the Prussian subject (the Sutra of the Magic Lotus), there is a record of praising the title of Bodhisattva Avalokiteshvara to prevent "the demons of Da Xoa, La Sat" from harming.
c) In general, Da Xoa's duality is preserved in Buddhist doctrine, so in each sutra, Da Xoa is manifested as good or evil. One of the typical patterns, typical for racial personality is the story of Da Xoa Alavaka in the Sutras of Samyutta X.12, which records the dialogue between the Buddha and Alavaka:
"One time World Religion resided in Alavi, in residence. by Alavaka Yaksa. Alavaka then said to World Religion: Hey Sa-Mon, go out!
Fortunately, sage, Thế Tôn said and went out.
Hey Satan, come in.
Fortunately, sage, Thế Tôn said and entered.
The second time, ... The third time, Alavaka Alavaka told The Religion: Hey Sa-subjects, go out.
Fortunately, sage, Thế Tôn said and went out.
Hey Satan, come in.
Fortunately, sage, Thế Tôn said and entered.
The fourth time, Alavaka Alavaka told The Religion: Hey Sa-subjects, go out.
Hey sage, I'm not going out. Do whatever you think you have to do.
Hey Satan, I'm going to ask you a question. If you can't answer me, I will drive your mind crazy, or I break your heart, or grab your feet, I will throw you across the Ganges River.
Hey sage, I do not see anyone in the world of gods, demons or Brahma, with them Satan, Brahmin, with gods and humans can make My mind crazy, or make Broken My heart, or grabbed my feet, threw Me across the other bank of the Ganges River. However, sage, ask as you wish.
Alavaka: What for the world / Is the ultimate asset? / What is skillful to practice / Bring peace? / What is between you / Is the ultimate sweetness? / How to live / Called the ultimate life?
World Religion: Belief in the world / Is the ultimate asset / Dharma is skillful to practice / Bring peace / Truth between you / Is the ultimate sweetness / Must live with wisdom / Be called the ultimate .
Alavaka: How to overcome the bliss? / How to cross the great sea / How to be super suffering? / How to be pure?
World Religion: With faith, beyond exile / Not being distracted, crossing the sea / Diligence, super suffering / With mind, be pure.
Alavaka: How to have wisdom? / How to gain wealth? / How to gain a title / How to make friends? / Life after life, / How can we not be sad?
World Religion: Who believes in the Dharma / Of the A-la-Han / Dharma that makes the attainment / Nirvana (peaceful feet) / Poor learning, not distracted / Intelligent vision / Thanks to such practice / His position is wise / Doing what is appropriate / Carrying the responsibility / Exciting, like activity / So gaining the title / Honestly gaining the title / Alms friends / Life after life / So there is no sorrow / Believe in any householder / Looking for these four dharma s / Truthfulness and tame / Perseverance and generosity / He is after death / No more grief / Life after life / After death , not sorrow / I want you to ask / Sa-Mon, Brahmin / There are other methods / Better than these four: / Honesty and control / Discharge and patience.
Alavaka: How do I ask / Sa-subjects, Ba-la-subjects / Now that I know / Cause of the next life / Buddha came to Alavi / Really beneficial to me / Now I know clearly / Giving fruit So I will walk / Village after village / City after city / Pay homage to the Buddha of Righteousness / Pay homage to the Dharma / Dharma witnesses.END=NAM MO SHAKYAMUNI BUDDHA.( 3 TIMES ).GOLDEN AMITABHA MONASTERY=VIETNAMESE BUDDHIST NUN=THICH CHAN TANH.AUSTRALIA,SYDNEY.14/11/2020.
Da Xoa in languages has many different names: Yaksha (Sanskrit), Yakkha (Pali), Chinese: Yecha, Japanese: Yasha, Tib: Gnod-shyin, Khmer: Yăk (known in Vietnamese as Chấn), Thai: Yak / Nhak (1). In the Chinese scriptures, Yasha is transcribed as Duoclab (translation: victory over disease, majesty), Browse-massage, Yasha and is translated: Khiep, Dung Sue, Nang N, Gentleman, Oai Germany, From the Fund Sacrifice, Disabled Devil. The meanings of Da Xoa are Devil's Power (Temptation Devil), Devil's Teeth (Devil suddenly appears hidden), Khinh Tiep (lightning fast), Dung Kien (healthy) (2). In terms of gender, besides Da Xoa, there is Da Xoa female (Sanskrit: Yaksi or Yakshini; Yakshini is also called Yaksini or Yaksi and Yakkhini in Pali). 1. Yaksha is the name for a kind of divine nature, usually benevolent, is the custodian of the treasure of natural treasure hidden in the soil or tree roots.
In Hindu, Jainism, and Buddhist mythology, yaksha / yakshini has a double personality. On the one hand, yaksha is an innocuous beautiful fairy, connected with forests and mountains. But there is also a sinister, cynical, sometimes ghost-like yaksha (bhuta) in the deserted wilderness, often stalking to devour / devour travelers similar to La. Murder (raksasa).
In the poem Kalidasa Meghaduta, it is shown that yaksha is a romantic character: yaksha languishes / longs for love because of nostalgia for a loved one. On the contrary, in Yaksaprasnah's "Question of yaksa" Hindu textual dialogue, yaksha is a protector of a lake, challenging Yudhisthira. Initially yaksha may be the forest and village protector; after that, it was conceived as the gods who governed the earth and the earthly possessions.
Yakshini and Yaksha, both servants of Kubera, the ancient god of Wealth of India. In the Vedic Sutras, Kubera (also written as Kuvera) is the ruler of both demons or spirits living in the dark, a type of Pluto and is named after his father, Vaisravana. Later, Kubera was understood in a different sense: the god of Wealth / the god of wealth and their masters Da Xoa and Guhyaka (the hidden god, guarding the secret treasure). Kubera's palace is Alaka in the Himalayas and Chaitra-ratha garden in Madrara, one of the peaks of Mount Meru / Tudi painted cosmic center. According to the epic Ramayana (and also Mahabharata), Pulastya was born from the idea of Brahman. Vaisravana / Kubera is the son of Pulastya. However, Vaisravana is very close, devoting full love and respect to her grandfather. That made Pulastya very jealous. Brahman always praised Vaisravana and bestowed upon his beloved grandson the privilege of immortality, appointing Vaisravana the lord of all the precious treasures of the world and appointing Vaisravana the king of Lanka (presumed to be Lan / Sri Lanka). Outraged, Pulastya himself gave birth to a second child, Vaisravas - a brother who hates his brother not inferior to his father. In order to calm his father's heart, Vaisravana offered her father the beautiful female Rakshasi three aunts. A girl gave birth to Ravana and Kumbhakarna; another girl gave birth to Vibhishana; and the third girl gave birth to Rapa, Khara and Surpanakha. These children of Pulastya were also very jealous of the wealth of his brother Vaisravana. Thus, they persisted in practicing the austerities and received the divine privilege of their grandfather Brahman. With the power gained from this divine privilege, they turned against Vaisravana.
The above are key features of lineages of Yakshas. For the "Indian" countries of Southeast Asia, the concept of Yaksha is deeply rooted in the transmission of the Ramayana epic. This epic is considered a foundation literary work, occupying a particularly important position in the culture of Sri Lanka, Miama, Laos, Cambodia, Thailand ... Ramayana versions of each country (Phra Lak - Phra Lam of Laos; Cambodia's Rama Kien, Thailand's Rama Kien ...) are not only literary compositions to tell / read but also produce theatrical productions, folk performances and countless sculptures, decorations, and paintings. Accordingly, Yaksha's beliefs and appearances penetrate deeply into the consciousness of community (4).
2. In Hindu mythology, Yaksha is a kind of supernatural being, a servant of the god Kubera. However, some other data sources do not acknowledge this origin. For example, the type of Vampires / Yakshi is identified as a servant of Durga - wife of Shiva; or traced further back: Yaksha is the son of Kasyapa and the wives, who are the daughters of Daksha - a Vedic sage - are regarded as Praja-pati / father of mankind (5). They have no special properties, but are generally considered harmless, and are therefore called Punya-janas, or "good man"; But sometimes they appear as a kind of goblin with a fierce, frightening appearance.
In Indian art, Yaksha is shown sometimes as timid warriors, sometimes imposing, resilient / strong, but short.
In Japan, in general, these demigods are denoted as strong, muscular, muscular sons, often wearing only a sketchy cloth. They are often portrayed with bushy mustache and bristled snail-like eyes. Sometimes they are presented with crowns and earrings, but in general they have no special temper. The forms of Yaksha India and Japan are broadly similar. Yaksha seems to have merged with the mythological mascots of Japanese indigenous folklore (6).
In Southeast Asia, especially in Java, Yaksha assumed the role of guardians of temples. Yaksha (Thailand: Yak) is an important element in Thai temple architecture and art. Yaksha has been popular as a gatekeeper throughout the Buddhist shrine since at least the 14th century. Yaksha ceramic statues were produced in Thailand during the Sukhothai and Ayutthaya periods, between the fourteenth and sixteenth centuries, at the third century. Complex kiln located in North Thailand. Yaksha is described largely as a fierce face with bulging round eyes and protruding fangs, as well as green complexion. Similarly, the Khmer pagoda, Yaksha (known as Yăk) are also guardians. Usually shaped in pairs, arranged on both sides of doors, gates and steps. In addition to the fierce "zag" face with the fangs bent to the sides,
In general, Yaksha's appearance in Theravada Buddhist temple art is somewhat more solemn than the yaksha on the classical stage of these Southeast Asian countries. The distinctive feature is that in the stage masks, depending on the rank of each role, Yaksha can have 5, 3, 2 or a first floor, with one or four different sides. The number of first floors and faces denote the talents of each type of Yaksha. The main difference here is that the Yaksha guarding the pagoda is the type of Da Xoa that has turned in the direction of goodness, willingness to protect the dharma. The yakshas on stage (mainly excerpts from versions of the Ramayana epic) are of the kind of evil, of the antagonistic faction, the subject of submission of the righteous faction - representing the righteous and good.
The Jainans mainly worship the idols of Arihant and Tirthankara, who overpower their inner passions and attain the divine status. Some of these followers also believe that Yaksha and Yakshini take care of Tirthankara's well-being and well-being. Usually, they are found somewhere beside an idol, including a pair of Yaksha and Yakshini statues. Those are guard / guard gods. A typical Yaksha is to the right of the Jina and Yakshini idols on the left. In earlier times, Yaksha and Yakshini were considered devout followers of this religion and had supernatural powers / powers. Yaksha also wander through the cycle of life and death just like mortals, but they have supernatural powers. Hence, these Yakshas and Yakshinis also began to be worshiped.
The Jain Som sect that focused on the immediate effect of sacrifices should put Yaksha and Yaksani in their shrines. Some Yaksha are known to bestow prosperity and wealth to their devotees. As a result, these Yaksha became very popular: Yaksha statues were placed in Teman shrines and worshiped regularly. The Jainans also made offerings to them in order to pray to the Yakshas to grant the child good favor, wealth or the liberation from fear, sickness, or sickness (7).
Unlike Yaksha's fierce form, Yakshi is depicted as a naked young woman with a round, smiling face, wide hips, slim waist, wide shoulders, and full chest. Yakshi is often portrayed as exaggerating - in the sense of sensuality - to increase a woman's flexibility and seduction in order to associate them with fullness and fertility. In the Uddamareshvara Tantra, 36 Yakshi are described including incantations and ritual rules. Similar to the Yaksha listing, the Yakshi is also mentioned in the Tantraraja Tantra. This book also says that these creatures are the ones who give everything the world wishes for.
Three famous monuments of Indian Buddhism, Bharhut, Sanchi and Mathura, create a large number of Yakshi decorations. They are common on most of the tower's barrier pillars. Yakshi is often shown with arms reaching up against a tree branch and body flexing and flexing (Skt: tribhanga means 3 bend points); therefore, some authors claim that the young woman standing at this stump relies on the ancient tree deity (8).
The ashoka tree is often connected with the mythical creature Yakshi. This is also one of the factors that often repeat in Indian art. This type of statue is commonly found at the gates of many Buddhist and Hindu shrines: Yakshi standing on the trunk / trunk of a tree with a stylized blossoming ashoka is less common or less common than leaves with flowers and fruit. As an artistic element, trees and Yakshi are subjects towards radical stylization.
Some authors claim that the young woman standing at the stump is derived from the lush old tree symbol of the Indian subcontinent. Yakshi were an important decorative element in early Buddhist structures and they are found in ancient Buddhist archaeological sites. Yakshi becomes Salabhanjika (bottle tree maiden / virgin); Over the centuries, this has been the standard decorative element of Indian temple sculpture / architecture and architecture.
Shorea robusta is often confused with the ashoka tree (saraca indica) in the ancient literature of the Indian subcontinent. Salabhanjika pattern was also identified as the model of Queen Maya's posture when she gave birth to Prince Siddhārtha under the asoka tree in the garden in Lumbini. The Queen reached up and grabbed the elusive asoka tree branch and the Prince was born from the hip ... (9) (10).
Although associated with the belief of fertility, which signifies the richness of plants, but in South India, Yakshi is not considered a benevolent creature. They are said to stalk men, seducing them with their beauty to drink their blood. Thus, the duality of this kind of being is always preserved in the cultural-religious consciousness of the Indians. That, likewise happens in Buddhist texts.
3. In Buddhist beliefs, Da Xoa / Yaksha are demons on the ground or in nothingness, using posture to harm people, or using posture to preserve Dharma; is one of 8 sets of them. In terms of species, the Da Xoa beings are mentioned with 3 things: 1 / Da Xoa: have the merit of enjoying music, drinks and other pleasures; 2 / Da Xa Void: strong and fast like the wind; 3 / Palace of Da Xoa astronaut: have full amenities and enjoy happiness (according to Da Xa Dai Dai position, 12) (11).
Thus, Da Xoa's inherent duality is preserved in Buddhist beliefs and specific manifestations in the texts have various special details.
a) Here and there in the Buddhist texts, we see the preservation of the concept of the domination of Da Xoa by the Bhikkhu-monk / Vaisravana. According to the congress, in the A-jaw School 12 (treatise Dai ty-Bà-sa 133, treatise of Justice 31 ...): Da Xoa was under the leadership of Bhikkhu-sa-mon Thien King (Vaisravana) and told to protect the gods of the heavens such as Dao Loi, ... enjoy the joys and have the posture. According to the Dai Nhat sutra 5 recorded: in the Kim cang outside the Mandala of the Thai Tibetan world, at the North gate to worship Tỳ-sa-mon, the two sides of this god have painted 8 generals Da Xoa: Ma-ni Bat-da-la, Bo-hole-na-bah-la-la, Sell-chi-ca, Sa-multi-period-ly, Hel-ma-phu-da, Bhikkhu-sái-ca, A-tra- Phuong-ca and Semi-old-la (12).
The belief that Da Xoa was the retainer / subordinate of Bhikkhu-sa-mon Thien Vuong - the Guardian God and the Tai Loc god - appeared in our country through the legend of Thanh Giong / Phu Dong Thien Vuong with many details " "historicalization" has obscured the original beliefs. According to the records in Viet Dien, this king was / was worshiped as the god of Tho Dia, Kien So pagoda; After that, Ly Thai To sent a worker to build an idol and again "sent eight statues to serve" (13). These are the 8 generals Da Xoa, the lower out of Vaisravana mentioned above (14). In other words, this is a testimony of the presence of Da Xoa's beliefs - subordinates of Bhikkhu-sa-mon Thien Vuong in our country before the Ly dynasty.
In the Dharma Master Tathagata Sutta pledging merit, we seem to recognize the variation of the motif of the Tathagata monk and the customary General Da Xoa: the 12 gods of Da Xoa vow to support those who maintain the Medicine Doctor. Twelve of them have white Buddha that if someone is sick, they should recite the Medicine Master Sutta. Next, take the five-color silk thread and attach the title of 12 of them to the herd, when they heal, they take them out. Those twelve Da Xoa are: 1 / Cung-la-la general, 2 / Fine-extracting-la general, 3 / Maze-la general, 4 / An-to-la general, 5 / Anger-la general, 6 / San-to-la general, 7 / Nhon-reaching-la general, 8 / Ba-di-la general, 9 / Ma-tiger-la general, 10 / Chon-reach-la general, 11 / Chieu-pour-la general, 12 / Tỳ-listing-la general. (15)
b) One of the innate stories of Buddhism that mentioned Da Xoa is a story titled Cu Lau king listening to his wife, saying: Monk Thien Vuong turned into Da Xoa to test the king's heart. Thien Vuong set a condition: eat the king's wife and children, then give the sermon, let him listen. Cu Lau Vuong agreed. After eating the king's wife and children, he finished eating the king's wife and children, because the king preached to him. Done somewhere, Bhikkhu-monk works: the king's wife and son are resurrected (16).
In the above story, behind the content of the promotion and the practice is Da Xoa's cannibalism. The evil attributes of Da Xoa are also identified in the Great Sand Sutras mantra 3: The demons of Da Xoa and Luo often turn into symbols such as lions, elephants, tigers, deer, horses, buffaloes, donkeys, stray momentum, goat ... or big head but small body, or big belly with one head but two faces, three faces, ... the hand holding knife, spear, sword ... scary appearance, making people scared, yes being able to lose sight of the person and then absorb the spirit (17).
Because of the cruelty that harms sentient beings, in the Prussian subject (the Sutra of the Magic Lotus), there is a record of praising the title of Bodhisattva Avalokiteshvara to prevent "the demons of Da Xoa, La Sat" from harming.
c) In general, Da Xoa's duality is preserved in Buddhist doctrine, so in each sutra, Da Xoa is manifested as good or evil. One of the typical patterns, typical for racial personality is the story of Da Xoa Alavaka in the Sutras of Samyutta X.12, which records the dialogue between the Buddha and Alavaka:
"One time World Religion resided in Alavi, in residence. by Alavaka Yaksa. Alavaka then said to World Religion: Hey Sa-Mon, go out!
Fortunately, sage, Thế Tôn said and went out.
Hey Satan, come in.
Fortunately, sage, Thế Tôn said and entered.
The second time, ... The third time, Alavaka Alavaka told The Religion: Hey Sa-subjects, go out.
Fortunately, sage, Thế Tôn said and went out.
Hey Satan, come in.
Fortunately, sage, Thế Tôn said and entered.
The fourth time, Alavaka Alavaka told The Religion: Hey Sa-subjects, go out.
Hey sage, I'm not going out. Do whatever you think you have to do.
Hey Satan, I'm going to ask you a question. If you can't answer me, I will drive your mind crazy, or I break your heart, or grab your feet, I will throw you across the Ganges River.
Hey sage, I do not see anyone in the world of gods, demons or Brahma, with them Satan, Brahmin, with gods and humans can make My mind crazy, or make Broken My heart, or grabbed my feet, threw Me across the other bank of the Ganges River. However, sage, ask as you wish.
Alavaka: What for the world / Is the ultimate asset? / What is skillful to practice / Bring peace? / What is between you / Is the ultimate sweetness? / How to live / Called the ultimate life?
World Religion: Belief in the world / Is the ultimate asset / Dharma is skillful to practice / Bring peace / Truth between you / Is the ultimate sweetness / Must live with wisdom / Be called the ultimate .
Alavaka: How to overcome the bliss? / How to cross the great sea / How to be super suffering? / How to be pure?
World Religion: With faith, beyond exile / Not being distracted, crossing the sea / Diligence, super suffering / With mind, be pure.
Alavaka: How to have wisdom? / How to gain wealth? / How to gain a title / How to make friends? / Life after life, / How can we not be sad?
World Religion: Who believes in the Dharma / Of the A-la-Han / Dharma that makes the attainment / Nirvana (peaceful feet) / Poor learning, not distracted / Intelligent vision / Thanks to such practice / His position is wise / Doing what is appropriate / Carrying the responsibility / Exciting, like activity / So gaining the title / Honestly gaining the title / Alms friends / Life after life / So there is no sorrow / Believe in any householder / Looking for these four dharma s / Truthfulness and tame / Perseverance and generosity / He is after death / No more grief / Life after life / After death , not sorrow / I want you to ask / Sa-Mon, Brahmin / There are other methods / Better than these four: / Honesty and control / Discharge and patience.
Alavaka: How do I ask / Sa-subjects, Ba-la-subjects / Now that I know / Cause of the next life / Buddha came to Alavi / Really beneficial to me / Now I know clearly / Giving fruit So I will walk / Village after village / City after city / Pay homage to the Buddha of Righteousness / Pay homage to the Dharma / Dharma witnesses.END=NAM MO SHAKYAMUNI BUDDHA.( 3 TIMES ).GOLDEN AMITABHA MONASTERY=VIETNAMESE BUDDHIST NUN=THICH CHAN TANH.AUSTRALIA,SYDNEY.14/11/2020.
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