A mantra (Sanskrit: मन्त्र, romanized: mantra, English pronunciation /ˈmæntrə, ˈmɑːn-, ˈmʌn-/) is a sacred utterance, a numinous sound, a syllable, word or phonemes, or group of words in Sanskrit believed by practitioners to have psychological and/or spiritual powers. A mantra may or may not have a syntactic structure or literal meaning.
The earliest mantras were composed in Vedic Sanskrit in India, and are at least 3000 years old. Mantras now exist in various schools of Hinduism, Buddhism, Jainism, and Sikhism. In Japanese Shingon tradition, the word Shingon means mantra. Similar hymns, antiphons, chants, compositions, and concepts are found in Zoroastrianism, Taoism, Christianity, and elsewhere.
The use, structure, function, importance, and types of mantras vary according to the school and philosophy of Hinduism and Buddhism. Mantras serve a central role in tantra. In this school, mantras are considered to be a sacred formula and a deeply personal ritual, effective only after initiation. In other schools of Hinduism, Buddhism, Jainism or Sikhism, initiation is not a requirement.
Mantras come in many forms, including ṛc (verses from the Rigveda for example) and sāman (musical chants from the Sāmaveda for example). They are typically melodic, mathematically structured meters, believed to be resonant with numinous qualities. At its simplest, the word ॐ (Aum, Om) serves as a mantra. In more sophisticated forms, mantras are melodic phrases with spiritual interpretations such as a human longing for truth, reality, light, immortality, peace, love, knowledge, and action. Some mantras have no literal meaning, yet are musically uplifting and spiritually meaningful.
In Sanskrit, the Amarakosa lists the two elements of the word Matnra: the dhātu (seed) mantr (मन्त्र्) and the krit pratyaya (affix) ghañ. For the dhātu mantr Pānini gives 'gupta paribhāshana' - 'protected or secret speech'. The krit pratyaya ghañ expresses either karma (object) or bhāva (the state or act of the activity itself). Therefore a mantra is the speaking of a protected or secret sound.
The Sanskrit word mantra- (m.; also n. mantram in Tamil) is dervied from the root man- "to think"; the suffix -tra designates a "tool" or "instrument". Hence, a literal translation would be "a tool for thinking" or "an instrument of thought".
According to Bernfried Schlerath, the concept of sātyas mantras is found in Indo-Iranian Yasna 31.6 and the Rigveda, where it is considered structured thought in conformity with the reality or poetic (religious) formulas associated with inherent fulfillment.
Mantras are neither unique to Hinduism nor other Indian religions such as Buddhism; similar creative constructs developed in Asian and Western traditions as well. Mantras, suggests Frits Staal, may be older than language.
There is no generally accepted definition of mantra.
Renou has defined mantra as a thought. Mantras are structured formulae of thoughts, claims Silburn. Farquhar concludes that mantras are a religious thought, prayer, sacred utterance, but also believed to be a spell or weapon of supernatural power. Zimmer defines mantra as a verbal instrument to produce something in one’s mind. Bharati defines mantra, in the context of the Tantric school of Hinduism, to be a combination of mixed genuine and quasi-morphemes arranged in conventional patterns, based on codified esoteric traditions, passed on from a guru to a disciple through prescribed initiation.
Jan Gonda, a widely cited scholar on Indian mantras, defines mantra as general name for the verses, formulas or sequence of words in prose which contain praise, are believed to have religious, magical or spiritual efficiency, which are meditated upon, recited, muttered or sung in a ritual, and which are collected in the methodically arranged ancient texts of Hinduism. There is no universally applicable uniform definition of mantra because mantras are used in different religions, and within each religion in different schools of philosophy. In some schools of Hinduism for example, suggests Gonda, a mantra is sakti (power) to the devotee in the form of formulated and expressed thought. Staal clarifies that mantras are not rituals, they are what is recited or chanted during a ritual.
In Oxford Living Dictionary mantra is defined as a word or sound repeated to aid concentration in meditation. Cambridge Dictionary provides two different definitions. The first refers to Hinduism and Buddhism: a word or sound that is believed to have a special spiritual power. The second definition is more general: a word or phrase that is often repeated and expresses a particularly strong belief. For instance, a football team can choose individual words as their own "mantra."
There is a long history of scholarly disagreement on the meaning of mantras and whether they are instruments of mind, as implied by the etymological origin of the word mantra. One school suggests mantras are mostly meaningless sound constructs, while the other holds them to be mostly meaningful linguistic instruments of mind. Both schools agree that mantras have melody and a well designed mathematical precision in their construction and that their influence on the reciter and listener is similar to that is observed in people around the world listening to their beloved music that is devoid of words.
Staal presents a non-linguistic view of mantras. He suggests that verse mantras are metered and harmonized to mathematical precision (for example, in the viharanam technique), which resonate, but a lot of them are a hodgepodge of meaningless constructs such as are found in folk music around the world. Staal cautions that there are many mantras that can be translated and do have spiritual meaning and philosophical themes central to Hinduism, but that does not mean all mantras have a literal meaning. He further notes that even when mantras do not have a literal meaning, they do set a tone and ambiance in the ritual as they are recited, and thus have a straightforward and uncontroversial ritualistic meaning. The sounds may lack literal meaning, but they can have an effect. He compares mantras to bird songs, that have the power to communicate, yet do not have a literal meaning. On that saman category of Hindu mantras, which Staal described as resembling the arias of Bach's oratorios and other European classics, he notes that these mantras have musical structure, but they almost always are completely different from anything in the syntax of natural languages. Mantras are literally meaningless, yet musically meaningful to Staal. The saman chant mantras were transmitted, from one Hindu generation to next, verbally for over 1000 years, but never written, and a feat suggests Staal that was made possible by the strict mathematical principles used in constructing the mantras. These saman chant mantras are also mostly meaningless, cannot be literally translated as Sanskrit or any Indian language, but nevertheless are beautiful in their resonant themes, variations, inversions, and distribution. They draw the devotee in. Staal is not the first person to view Hindu mantras in this manner. The ancient Hindu Vedic ritualist Kautsa was one of the earliest scholars to note that mantras are meaningless; their function is phonetic and syntactic, not semantic.
Harvey Alper and others present mantras from the linguistic point view. They admit Staal's observation that many mantras do contain bits and pieces of meaningless jargon, but they question what language or text doesn't. The presence of an abracadabra bit does not necessarily imply the entire work is meaningless. Alper lists numerous mantras that have philosophical themes, moral principles, a call to virtuous life, and even mundane petitions. He suggests that from a set of millions of mantras, the devotee chooses some mantras voluntarily, thus expressing that speaker's intention, and the audience for that mantra is that speaker's chosen spiritual entity. Mantras deploy the language of spiritual expression, they are religious instruments, and that is what matters to the devotee. A mantra creates a feeling in the practicing person. It has an emotive numinous effect, it mesmerizes, it defies expression, and it creates sensations that are by definition private and at the heart of all religions and spiritual phenomena.
During the early Vedic period, claims Staal, Vedic poets became fascinated by the inspirational power of poems, metered verses, and music. They referred to them with the root dhi-, which evolved into dhyana (meditation) of Hinduism, and the language used to start and assist this process manifested as a mantra. By the middle vedic period (1000 BC to 500 BC), mantras were derived from all vedic compositions. They included ṛc (verses from Rigveda for example), sāman (musical chants from the Sāmaveda for example), yajus (a muttered formula from the yajurveda for example), and nigada (a loudly spoken yajus). During the Hindu Epics period and after, mantras multiplied in many ways and diversified to meet the needs and passions of various schools of Hinduism. Mantras took a center stage in the Tantric school, which posited that each mantra (bijas) is a deity; it is this distinct school of Hinduism and 'each mantra is a deity' reasoning that led to the perception that some Hindus have tens of millions of gods.
One function of mantras is to solemnize and ratify rituals. Each mantra, in Vedic rituals, is coupled with an act. According to Apastamba Srauta Sutra, each ritual act is accompanied by one mantra, unless the Sutra explicitly marks that one act corresponds to several mantras. According to Gonda, and others, there is a connection and rationale between a Vedic mantra and each Vedic ritual act that accompanies it. In these cases, the function of mantras was to be an instrument of ritual efficacy for the priest, and a tool of instruction for a ritual act for others.
Over time, as the Puranas and Epics were composed, the concepts of worship, virtues and spirituality evolved in Hinduism. Religions such as Jainism and Buddhism branched off, and new schools were founded, each continuing to develop and refine its own mantras. In Hinduism, suggests Alper, the function of mantras shifted from the quotidian to redemptive. In other words, in Vedic times, mantras were recited a practical, quotidian goal as intention, such as requesting a deity's help in the discovery of lost cattle, cure of illness, succeeding in competitive sport or journey away from home. The literal translation of Vedic mantras suggests that the function of mantra, in these cases, was to cope with the uncertainties and dilemmas of daily life. In a later period of Hinduism, mantras were recited with a transcendental redemptive goal as intention, such as escape from the cycle of life and rebirth, forgiveness for bad karma, and experiencing a spiritual connection with the god. The function of mantras, in these cases, was to cope with the human condition as a whole. According to Alper, redemptive spiritual mantras opened the door for mantras where every part need not have a literal meaning, but together their resonance and musical quality assisted the transcendental spiritual process. Overall, explains Alper, using Śivasūtra mantras as an example, Hindu mantras have philosophical themes and are metaphorical with social dimension and meaning; in other words, they are a spiritual language and instrument of thought.
According to Staal, Hindu mantras may be spoken aloud, anirukta (not enunciated), upamsu (inaudible), or manasa (not spoken, but recited in the mind). In ritual use, mantras are often silent instruments of meditation.
The most basic mantra is Om, which in Hinduism is known as the "pranava mantra," the source of all mantras. The Hindu philosophy behind this is the premise that before existence and beyond existence is only One reality, Brahman, and the first manifestation of Brahman expressed as Om. For this reason, Om is considered as a foundational idea and reminder, and thus is prefixed and suffixed to all Hindu prayers. While some mantras may invoke individual gods or principles, fundamental mantras, like the 'Shanti Mantra, the 'Gayatri Mantra' and others all ultimately focus on the One reality.
In the Tantric school the universe is sound. The supreme (para) brings forth existence through the Word (Shabda). Creation consists of vibrations at various frequencies and amplitudes giving rise to the phenomena of the world.
Buhnemann notes that deity mantras are an essential part of Tantric compendia. The tantric mantras vary in their structure and length. Mala mantras are those mantras which have an enormous number of syllables. In contrast, bija mantras are one-syllabled, typically ending in anusvara (a simple nasal sound). These are derived from the name of a deity; for example, Durga yields dum and Ganesha yields gam. Bija mantras are prefixed and appended to other mantras, thereby creating complex mantras. In the tantric school, these mantras are believed to have supernatural powers, and they are transmitted by a preceptor to a disciple in an initiation ritual. Tantric mantras found a significant audience and adaptations in medieval India, Hindu Southeast Asia and numerous Asian countries with Buddhism.
Majumdar and other scholars suggest mantras are central to the Tantric school, with numerous functions. From initiating and emancipating a tantric devotee to worshiping manifested forms of the divine. From enabling heightened sexual energy in the male and the female to acquiring supernormal psychological and spiritual power. From preventing evil influences to exorcizing demons, and many others. These claimed functions and other aspects of the tantric mantra are a subject of controversy among scholars.
Tantra usage is not unique to Hinduism: it is also found in Buddhism both inside and outside India.
Mantra japa is a practice of repetitively uttering the same mantra for an auspicious number of times, the most popular being 108, and sometimes just 5, 10, 28 or 1008. Japa is found in personal prayer or meditative efforts of some Hindus, as well during formal puja (group prayers). Japa is assisted by malas (bead necklaces) containing 108 beads and a head bead (sometimes referred to as the 'meru', or 'guru' bead); the devotee using his/her fingers to count each bead as he/she repeats the chosen mantra. Having reached 108 repetitions, if he/she wishes to continue another cycle of mantras, the devotee turns the mala around without crossing the head bead and repeats the cycle. Japa-yajna is claimed to be most effective if the mantra is repeated silently in mind (manasah).
According to this school, any shloka from holy Hindu texts like the Vedas, Upanishads, Bhagavad Gita, Yoga Sutra, even the Mahabharata, Ramayana, Durga saptashati or Chandi is a mantra, thus can be part of the japa, repeated to achieve a numinous effect. The Dharmasāstra claims Gāyatri mantra derived from Rig Veda verse 3.62.10, and the Purușasūkta mantra from Rig Veda verse 10.90 are most auspicious mantras for japa at sunrise and sunset; it is claimed to purify the mind and spirit.
Notable Hindu mantras
There are numerous other important mantras.
Shiva sutra mantras
Apart from Shiva Sutras, which originated from Shiva's tandava dance, the Shiva Sutras of Vasugupta are a collection of seventy-seven aphorisms that form the foundation of the tradition of spiritual mysticism known as Kashmir Shaivism. They are attributed to the sage Vasugupta of the 9th century C.E. Sambhavopaya (1-1 to 1–22), Saktopaya (2-1 to 2–10) and Anavopaya (3-1 to 3–45) are the main sub-divisions, three means of achieving God consciousness, of which the main technique of Saktopaya is a mantra. But "mantra" in this context does not mean incantation or muttering of some sacred formula. The word "mantra" is used here in its etymological signification. That which saves one by pondering over the light of Supreme I-consciousness is a mantra. The divine Supreme I-consciousness is the dynamo of all the mantras. Deha or body has been compared to wood, "mantra" has been compared to arani—a piece of wood used for kindling fire by friction; prana has been compared to fire. Sikha or flame has been compared to atma (Self); ambara or sky has been compared to Shiva. When prana is kindled by means of mantra used as arani, fire in the form of udana arises in susumna, and then just as flame arises out of kindled fire and gets dissolved in the sky, so also atma (Self) like a flame having burnt down the fuel of the body, gets absorbed in Shiva.
The Transcendental Meditation technique, also known as 'TM', uses mantras that are assigned to the practitioner to be used as thought sound only, not chanted, without connection to any meaning or idea.
The spiritual exercises of Surat Shabda Yoga include simran (repetition, particularly silent repetition of a mantra given at initiation), dhyan (concentration, viewing, or contemplation, particularly on the Inner Master), and bhajan (listening to the inner sounds of the Shabda or the Shabda Master).
Repetition of a "mantram" (i.e., mantra) or holy name is Point 2 in the eight-point Passage Meditation program taught by Eknath Easwaran, who recommended using a mantram drawn from a faith tradition, east or west. The mantram is to be used frequently throughout the day, at opportune moments. This method of mantram repetition, and the larger program, was developed for use in any major faith tradition, or outside all traditions. Easwaran's method of mantram repetition has been the subject of scientific research at the San Diego Veterans Administration, which has suggested health benefits that include managing stress and reducing symptoms of PTSD.
The concept of mantras in Jainism is not focused on material aspects, rather mainly deals with seeking forgiveness, praising Arihants, or deities like Nakoda, Padmavati, Manibhadra, Saraswati, Lakshmi, and others. Yet some mantras are claimed to enhance intellect, prosperity, wealth or fame. There are many mantras in Jainism; most of them are in Sanskrit or Prakrit, but in the last few centuries, some have been composed in Hindi or Gujrati languages. Mantras, couplets, are either chanted or sung, either aloud or by merely moving lips or in silence by thought.
The Navkar Mantra (literally, "Nine Line Mantra") is a central mantra in Jainism. The initial 5 lines consist of salutations to various sanctified souls, and the latter 4 lines are explanatory in nature, highlighting the benefits and greatness of this mantra.
Namo Arihantânam I bow to the Arihantâs (Conquerors). Namo Siddhânam I bow to the Siddhâs (Liberated Souls). Namo Âyariyânam I bow to the Âchâryas (Preceptors or Spiritual Leaders). Namo Uvajjhâyanam I bow to the Upadhyâya (Teachers). Namo Loe Savva Sahûnam I bow to all the Sadhûs in the world (Saints or Sages). Eso Panch Namokkaro,
Mangalanam Cha Savvesim,
Padhamam Havai Mangalam.
This fivefold salutation (mantra) destroys all sins
and of all auspicious mantras, (it) is the foremost auspicious one.
Khāmemi savva-jīve savvë jive khamantu me I ask pardon of all creatures, may all creatures pardon me. Mitti me savva-bhūesu, veraṃ mejjha na keṇavi May I have a friendship with all beings and enemy with none.
In Jainism, forgiveness is one of the main virtues to be cultivated. Kṣamāpanā or supreme forgiveness forms part of one of the ten characteristics of dharma.
In the pratikramana prayer, Jains repeatedly seek forgiveness from various creatures—even from ekindriyas or single sensed beings like plants and microorganisms that they may have harmed while eating and doing routine activities. Forgiveness is asked by uttering the phrase, Micchāmi dukkaḍaṃ. Micchāmi dukkaḍaṃ is a Prakrit phrase literally meaning "may all the evil that has been done be fruitless."
May you, O Revered One, voluntarily permit me. I would like to confess my sinful acts committed while walking. I honour your permission. I desire to absolve myself of the sinful acts by confessing them. I seek forgiveness from all those living beings which I may have tortured while walking, coming and going, treading on a living organism, seeds, green grass, dew drops, ant hills, moss, live water, live earth, spider web and others. I seek forgiveness from all these living beings, be they one sensed, two sensed, three sensed, four sensed or five sensed, which I may have kicked, covered with dust, rubbed with earth, collided with other, turned upside down, tormented, frightened, shifted from one place to another or killed and deprived them of their lives. (By confessing) may I be absolved of all these sins.
According to Jack Kornfield,
"The use of mantra or the repetition of certain phrases in Pali is a highly common form of meditation in the Theravada tradition. Simple mantras use repetition of the Buddha’s name, “Buddho,” [as “Buddho” is actually a title rather than a name] or use the “Dhamma,” or the “Sangha,” the community, as mantra words. Other used mantras are directed toward developing loving kindness. Some mantras direct attention to the process of change by repeating the Pali phrase that means “everything changes,” while other mantras are used to develop equanimity with phrases that would be translated, “let go.”
Very often mantra practice is combined with breathing meditation so that one recites a mantra simultaneously with in-breath and out-breath to help develop tranquility and concentration. Mantra meditation is especially popular among the lay people. Like other basic concentration exercises, it can be used simply to the mind, or it can be the basis for an insight practice where the mantra becomes the focus of observation of how life unfolds, or an aid in surrendering and letting go."
The "Buddho" mantra is widespread in the Thai Forest Tradition and was taught by Ajahn Chah and his students. Another popular mantra in Thai Buddhism is Samma-Araham, referring to the Buddha who has 'perfectly' (samma) attained 'perfection in the Buddhist sense' (araham), used in Dhammakaya meditation.
In the Tantric Theravada tradition of Southeast Asia, mantras are central to their method of meditation. Popular mantras in this tradition include Namo Buddhaya ("Homage to the Buddha") and Araham ("Worthy One").
Along with the ten mantras, the Great Compassion Mantra, the Shurangama Mantra of the Shurangama, Heart Sutra and various forms of nianfo are also chanted. The Shurangama Mantra may be the longest mantra. There are Thai Buddhist amulet katha: that is, mantras to be recited while holding an amulet.
Kūkai (774–835), a noted Buddhist monk, advanced a general theory of language based on his analysis of two forms of Buddhist ritual language: dharani (dhāra.nī) and mantra. Mantra is restricted to esoteric Buddhist practice whereas dharani is found in both esoteric and exoteric ritual. Dharanis for instance are found in the Heart Sutra. The term "shingon" is the Japanese pronunciation of the Chinese transcription of the Sanskrit word "mantra", 真言 (zhēnyán).
The word dharani derives from a Sanskrit root dh.r which means to hold or maintain. Ryuichi Abe suggests that it is generally understood as a mnemonic device which encapsulates the meaning of a section or chapter of a sutra. Dharanis are also considered to protect the one who chants them from malign influences and calamities.
The term mantra is traditionally said to be derived from two roots: man, to think; and the action-oriented suffix -tra. Thus a mantra can be considered to be a linguistic device for deepening one's thought or in the Buddhist context for developing the enlightened mind. They have also been used as magic spells for purposes such as attaining wealth and long life and eliminating enemies. In daily living, many thought the pronunciation of the mantra was not important to take its effect and the expected effect, may not happen because of fixed karma (定業), or because there appears a better way to solve the situation.
The distinction between dharani and mantra is hard to make. We can say that all mantras are dharanis but that not all dharanis are mantras. Mantras do tend to be shorter. Both tend to contain some unintelligible phonic fragments such as Om, or Hu.m, which is perhaps why some people consider them to be essentially meaningless. Kūkai made mantra a special class of dharani which showed that every syllable of a dharani was a manifestation of the true nature of reality – in Buddhist terms that all sound is a manifestation of shunyata or emptiness of self-nature. Thus rather than being devoid of meaning, Kūkai suggests that dharanis are in fact saturated with meaning – every syllable is symbolic on multiple levels.
One of Kūkai's distinctive contributions was to take this symbolic association even further by saying that there is no essential difference between the syllables of mantras and sacred texts, and those of ordinary language. If one understood the workings of mantra, then any sounds could be a representative of ultimate reality. This emphasis on sounds was one of the drivers for Kūkai's championing of the phonetic writing system, the kana, which was adopted in Japan around the time of Kūkai. He is generally credited with the invention of the kana, but there is apparently some doubt about this story amongst scholars.
This mantra-based theory of language had a powerful effect on Japanese thought and society which up until Kūkai's time had been dominated by imported Chinese culture of thought, particularly in the form of the Classical Chinese language which was used in the court and amongst the literati, and Confucianism which was the dominant political ideology. In particular, Kūkai was able to use this new theory of language to create links between indigenous Japanese culture and Buddhism. For instance, he made a link between the Buddha Mahavairocana and the Shinto sun Goddess Amaterasu. Since the emperors were thought to be descended form Amaterasu, Kūkai had found a powerful connection here that linked the emperors with the Buddha, and also in finding a way to integrate Shinto with Buddhism, something that had not happened with Confucianism. Buddhism then became essentially an indigenous religion in a way that Confucianism had not. And it was through language and mantra that this connection was made. Kūkai helped to elucidate what mantra is in a way that had not been done before: he addresses the fundamental questions of what a text is, how signs function, and above all, what language is. In this, he covers some of the same ground as modern day Structuralists and others scholars of language, although he comes to very different conclusions.
In this system of thought, all sounds are said to originate from "a" – which is the short a sound in father. For esoteric Buddhism "a" has a special function because it is associated with Shunyata or the idea that no thing exists in its own right, but is contingent upon causes and conditions. (See Dependent origination) In Sanskrit "a" is a prefix which changes the meaning of a word into its opposite, so "vidya" is understanding, and "avidya" is ignorance (the same arrangement is also found in many Greek words, like e.g. "atheism" vs. "theism" and "apathy" vs. "pathos"). The letter a is both visualised in the Siddham script and pronounced in rituals and meditation practices. In the Mahavairocana Sutra which is central to Shingon Buddhism it says: Thanks to the original vows of the Buddhas and Bodhisattvas, a miraculous force resides in the mantras, so that by pronouncing them one acquires merit without limits". [in Conze, p. 183]
A mantra is Kuji-kiri in Shugendo. The word Shingon means mantra. According to Alex Wayman and Ryujun Tajima, Shingon means "true speech", has the sense of "an exact mantra which reveals the truth of the dharmas", and is the path of mantras. The practice of writing mantras, and copying texts as a spiritual practice, became very refined in Japan, and some of these are written in the Japanese script and Siddham script of Sanskrit, recited in either language. There are thirteen mantras used in Shingon-Buddhism, each dedicated to a major deity. The mantra for each deity name in Japanese, its equivalent name in Sanskrit, a transliteration of mantra, and the Japanese version in Shingon tradition are as follows:
Mantrayana (Sanskrit), which may be translated as "way of the mantra", was the original self-identifying name of those that have come to be determined 'Nyingmapa'. The Nyingmapa which may be rendered as "those of the ancient way", a name constructed due to the genesis of the Sarma "fresh", "new" traditions. Mantrayana has developed into a synonym of Vajrayana.
Noted translator of Buddhist texts Edward Conze (1904–1979) distinguishes three periods in the Buddhist use of mantra.
Initially, according to Conze, like their fellow Indians, Buddhists used mantra as protective spells to ward off malign influences. Despite a Vinaya rule which forbids monks engaging in the Brahminical practice of chanting mantras for material gain, there is a number of protective mantras for a group of ascetic monks. However, even at this early stage, there is perhaps something more than animistic magic at work. Particularly in the case of the Ratana Sutta the efficacy of the verses seems to be related to the concept of "truth". Each verse of the sutta ends with "by the virtue of this truth may there be happiness".
Conze notes that later mantras were used more to guard the spiritual life of the chanter, and sections on mantras began to be included in some Mahayana sutras such as the White Lotus Sutra, and the Lankavatara Sutra. The scope of protection also changed in this time. In the Sutra of Golden Light the Four Great Kings promise to exercise sovereignty over the different classes of demigods, to protect the whole of Jambudvipa (the Indian subcontinent), to protect monks who proclaim the sutra, and to protect kings who patronise the monks who proclaim the sutra. The apotheosis of this type of approach is the Nichiren school of Buddhism that was founded in the 13th century Japan, and which distilled many previously complex Buddhist practices down to the veneration of the Lotus Sutra through a recitation of the daimoku: "Nam myoho renge kyo" which translates as "Homage to the Lotus Sutra".
The third period began, according to Conze, in about the 7th century, to take center stage and become a vehicle for salvation in their own right. Tantra started to gain momentum in the 6th and 7th century, with specifically Buddhist forms appearing as early as 300CE. Mantrayana was an early name for what is now more commonly known as Vajrayana, which gives us a hint as to the place of mantra in Indo-Tibetan Buddhism. The aim of Vajrayana practice is to give the practitioner a direct experience of reality, of things as they really are. Mantras function as symbols of that reality, and different mantras are different aspects of that reality – for example wisdom or compassion. Mantras are often associated with a particular deity, one famous exception being the Prajnaparamita mantra associated with the Heart Sutra. One of the key Vajrayana strategies for bringing about a direct experience of reality is to engage the entire psycho-physical organism in the practices. In one Buddhist analysis, the person consists of 'body, speech and mind' (refer: Three Vajra). So a typical sadhana or meditation practice might include mudras, or symbolic hand gestures; the recitations of mantras; as well as the visualisation of celestial beings and visualising the letters of the mantra which is being recited. Clearly here mantra is associated with speech. The meditator may visualise the letters in front of themselves, or within their body. They may be pronounced out loud, or internally in mind only.
Probably the most famous mantra of Buddhism is Om mani padme hum, the six syllable mantra of the Bodhisattva of compassion Avalokiteśvara (Tibetan: Chenrezig, Chinese: Guanyin). This mantra is particularly associated with the four-armed Shadakshari form of Avalokiteśvara. The Dalai Lama is said to be an incarnation of Avalokiteshvara, and so the mantra is especially revered by his devotees.
The book Foundations of Tibetan Mysticism by Lama Anagarika Govinda, gives a classic example of how such a mantra can contain many levels of symbolic meaning.
Donald Lopez gives a good discussion of this mantra and its various interpretations in his book Prisoners of Shangri-LA: Tibetan Buddhism and the West. Lopez is an authoritative writer and challenges the stereotypical analysis of the mantra as meaning "The Jewel in the Lotus", an interpretation that is not supported by either a linguistic analysis, nor by Tibetan tradition, and is symptomatic of the Western Orientalist approach to the 'exotic' East. He suggests that Manipadma is actually the name of a bodhisattva, a form of Avalokiteshvara who has many other names in any case including Padmapani or lotus flower in hand. The Brahminical insistence on the absolutely correct pronunciation of Sanskrit broke down as Buddhism was exported to other countries where the inhabitants found it impossible to reproduce the sounds. So in Tibet, for instance, where this mantra is on the lips of many Tibetans all their waking hours, the mantra is pronounced Om mani pema hung.
The following list of mantras is from Kailash: A Journal of Himalayan Studies, Volume 1, Number 2, 1973. (pp. 168–169) (augmented by other contributors). It also includes renderings of Om mani padme hum. The mantras used in Tibetan Buddhist practice are in Sanskrit, to preserve the original mantras. Visualizations and other practices are usually done in the Tibetan language.
According to Tibetan Buddhism, this mantra (Om tare tutare ture soha) can not only eliminate disease, troubles, disasters, and karma, but will also bring believers blessings, longer life, and even the wisdom to transcend one's circle of reincarnation. Tara representing long life and health.
Bahá’ís recite the mantra "Alláh-u-Abha" 95 times a day. Many use beads.
In the Sikh religion, a mantar or mantra is a Shabad (Word or hymn) from the Adi Granth to concentrate the mind on God. Through repetition of the mantra, and listening to one's own voice, thoughts are reduced and the mind rises above materialism to tune into the voice of God.
Mantras in Sikhism are fundamentally different from the secret mantras used in other religions. Unlike in other religions, Sikh mantras are open for anyone to use. They are used openly and are not taught in secret sessions but are used in front of assemblies of Sikhs.
The most widely known mantra in the Sikh faith is "Wahe Guru." According to the Sikh poet Bhai Gurdas, the word "Wahe Guru" is the Gurmantra, or the mantra given by the Guru, and eliminates ego.
According to the 10th Sikh Master, Guru Gobind Singh, the "Wahe Guru" mantra was given by God to the Order of the Khalsa, and reforms the apostate into the purified.
There are mantras in Taoism, such as the words in Dafan yinyu wuliang yin (大梵隱語無量音) and the Tibetan Buddhism mantra om (唵). There are mantras in Cheondoism, Daesun Jinrihoe, Jeung San Do and Onmyōdō.
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Mantra Yoga (chanting), Japa Yoga: Vaikhari Japa (speaking), Upamsu Japa (whispering or humming), Manasika Japa (mental repetition), Likhita Japa (writing)
Accor S.A., using the brand name AccorHotels, is a French multinational hospitality company that owns, manages and franchises hotels, resorts, and vacation properties. It is a constituent part of the CAC 40 index on the Paris Bourse. Accor is the largest hotel group in the world outside of the United States.The group is headquartered in Paris, Issy-les-Moulineaux, Évry and Courcouronnes. It operates in 100 countries, with more than 4,200 hotels and 250,000 employees worldwide. Its total capacity is approximately 570,000 rooms, with about 25% in France.
AccorHotels has a wide portfolio of 26 marques covering different segments of the hotel market. It includes luxury brands such as Raffles, Fairmont, Sofitel, Novotel and Pullman. In the budget range, Ibis and Formule 1 are its major subsidiaries, while its midrange offer includes Swissôtel, Mercure and Adagio.Aham (Kashmir Shaivism)
Aham, a concept of Kashmir Shaivism, is defined as the supreme heart (hṛdayam), transcendent Self, supreme I awareness or infinite consciousness. The space of Aham is where khecarī mudrā (free movement in the space of the heart) is realised. Khecarī mudrā is considered the supreme state of spiritual evolution.Gayatri Mantra
The Gāyatrī Mantra, also known as the Sāvitar Mantra, is a highly revered mantra from the Rig Veda (Mandala 3.62.10), dedicated to Savitr, the sun deity. Gāyatrī is the name of the Vedic meter in which the verse is composed. Its recitation is traditionally preceded by oṃ and the formula bhūr bhuvaḥ svaḥ, known as the mahāvyāhṛti, or "great (mystical) utterance". Vishvamitra is said to have created the Gayatri mantra.
The Gayatri mantra is cited widely in Vedic and post-Vedic texts, such as the mantra listings of the Śrauta liturgy, and classical Hindu texts such as the Bhagavad Gita, Harivamsa, and Manusmṛti. It is also praised by the Buddha in the Pāli Canon.
The mantra is an important part of the upanayana ceremony for young males in Hinduism, and has long been recited by dvija men as part of their daily rituals. Modern Hindu reform movements spread the practice of the mantra to include women and all castes and its use is now very widespread.Hare Krishna
Hare Krishna may refer to:
International Society for Krishna Consciousness, a group commonly known as "Hare Krishnas" or the "Hare Krishna movement"
Hare Krishna (mantra), a sixteen-word Vaishnava mantra also known as the "Maha Mantra" (Great Mantra)Hare Krishna (mantra)
The Hare Krishna mantra, also referred to reverentially as the Maha Mantra ("Great Mantra"), is a 16-word Vaishnava mantra which is mentioned in the Kali-Santarana Upanishad, and which from the 15th century rose to importance in the Bhakti movement following the teachings of Chaitanya Mahaprabhu. This Mantra is composed of two Sanskrit names of the Supreme Being, "Krishna," and "Rama."According to Gaudiya Vaishnava theology, one's original consciousness and goal of life is pure love of the god Krishna.
Since the 1960s, the mantra has been made well known outside India by A. C. Bhaktivedanta Swami Prabhupada and his movement, International Society for Krishna Consciousness (commonly known as the "Hare Krishnas" or the Hare Krishna movement).Jantar Mantar
The Jantar Mantar is an equinoctial sundial, consisting of a gigantic triangular gnomon with the hypotenuse parallel to the Earth's axis. On either side of the gnomon is a quadrant of a circle, parallel to the plane of the equator. The instrument is intended to measure the time of day, correct to half a second and declination of the Sun and the other heavenly bodies.
There are five Jantar Mantars in India, of which the largest is in Jaipur which features many instruments along with the world's largest stone sundial. The Vrihat Samrat yantra is a sundial that can give the local time to an accuracy of 2 seconds. It is a UNESCO World Heritage Site.Japa
Japa (Sanskrit: जप) is the meditative repetition of a mantra or a divine name. It is a practice found in Buddhism, Hinduism, Jainism and Sikhism.The mantra or name may be spoken softly, enough for the practitioner to hear it, or it may be spoken within the reciter's mind. Japa may be performed while sitting in a meditation posture, while performing other activities, or as part of formal worship in group settings.List of Ollywood films of 2014
This article lists of films produced by the Ollywood film industry and released in theaters in 2014. Premiere shows and film festival screenings are not considered as releases for this list.Mahamrityunjaya Mantra
The Rudra Mantra or Mahamrityunjaya Mantra (Sanskrit: महामृत्युंजय मंत्र or महामृत्युञ्जय मन्त्र, mahāmṛtyuṃjaya mantra or mahāmṛtyuñjaya mantra, lit. "Great Death-conquering Mantra"), also known as the Tryambakam Mantra, is a verse (sūkta) of the Rigveda (RV 7.59.12). The sūkta is addressed to Tryambaka, "The Three-eyed One", an epithet of Rudra. It is identified with Shiva. The verse also recurs in the Yajurveda (TS 1.8.6.i; VS 3.60).Mantra-Rock Dance
The Mantra-Rock Dance was a counterculture music event held on January 29, 1967, at the Avalon Ballroom in San Francisco. It was organized by followers of the International Society for Krishna Consciousness (ISKCON) as an opportunity for its founder, A. C. Bhaktivedanta Swami Prabhupada, to address a wider public. It was also a promotional and fundraising effort for their first center on the West Coast of the United States.The Mantra-Rock Dance featured some of the most prominent Californian rock groups of the time, such as the Grateful Dead and Big Brother and the Holding Company with Janis Joplin, as well as the then relatively unknown Moby Grape. The bands agreed to appear with Prabhupada and to perform for free; the proceeds were donated to the local Hare Krishna temple. The participation of countercultural leaders considerably boosted the event's popularity; among them were the poet Allen Ginsberg, who led the singing of the Hare Krishna mantra onstage along with Prabhupada, and LSD promoters Timothy Leary and Augustus Owsley Stanley III.The Mantra-Rock Dance concert was later called "the ultimate high" and "the major spiritual event of the San Francisco hippie era." It led to favorable media exposures for Prabhupada and his followers, and brought the Hare Krishna movement to the wider attention of the American public. The 40th anniversary of the Mantra-Rock Dance was commemorated in 2007 in Berkeley, California.Mul Mantar
The Mūl Mantar (Punjabi: ਮੂਲ ਮੰਤਰ, IPA: [muːlᵊ mən̪t̪əɾᵊ]) is the first composition in the Sikh holy text, the Adi Granth, which would become the Guru Granth Sahib, written in Punjabi. It is a series of affirmations and is the basis of Sikh theology, as well as the fundamental prayer. The Mul Mantar is the first composition of Guru Nanak Dev Ji. The Guru Granth Sahib begins with the Mul Mantar and it occurs more than one hundred times throughout the text where it is placed at the beginning of the particular Shabad, or hymn. In one of the Janamsakhis, the martyr Bhai Mani Singh explains that the reason for placing the Mul Mantar at the beginning of a Shabad is that a Gursikh, or full devotee of the Guru, is reminded that everything else will fade, and only the Satnam, the all-pervading supreme reality, will remain.Namokar Mantra
Ṇamōkāra mantra is the most significant mantra in Jainism. This is the first prayer recited by the Jains while meditating. The mantra is also variously referred to as the Pancha Namaskāra Mantra, Navakāra Mantra or Namaskāra Mantra. While reciting this mantra, the devotee bows with respect to the Panch Parameshti (the Supreme Five):
Arihant— Those who have destroyed the four inimical karmas
Siddha — The liberated souls
Acharyas — The spiritual leaders or Preceptors
Upadhayaya — Preceptor of less advanced ascetics
Sādhu — The monks or sages in the world practicing Samyak Charitra (right conduct)There is no mention of any particular names of the gods or any specific person. The prayer is done towards the guṇa (the good qualities) of the gods, teachers and the saints. Jains do not ask for any favors or material benefits from the tirthankaras or monastics. This mantra simply serves as a gesture of deep respect towards beings whom they believe are spiritually evolved, as well as to remind the people of their ultimate goal i.e. moksha (liberation).
Navkar Mantra consists of 35 letters.Om
Om (listen , IAST: Oṃ, Devanagari: ॐ, Kannada: ಓಂ, Tamil: ௐ, Malayalam: ഓം,Telugu: ఓం), also written as Aum, is the most sacred syllable symbol and mantra of Brahma, the Almighty God in Hinduism.
Brahman is Supreme Self, Ultimate Reality, Creator of all Existence. The syllable is often chanted either independently or before a mantra; it signifies the essence of the ultimate reality, consciousness or Atma. The Om sound is the primordial sound and is called the Shabda-Brahman (Brahman as sound).Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism. The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual sounds. It refers to Atman (soul, self within) and Brahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga. It is also used in other Dharmic religions, such as Buddhism, Jainism and Sikhism.
The syllable Om is also referred to as onkara (ओङ्कार, oṅkāra), omkara (ओंकार, oṃkāra) and pranava (प्रणव, praṇava).Om Namah Shivaya
Om Namah Shivaya (Devanagari: ॐ नमः शिवाय; IAST: Om Namaḥ Śivāya) is one of the most popular Hindu Mantra and the most important mantra in Shaivism. Namah Shivaya means "O salutations to the auspicious one!", or “adoration to Lord Shiva". It is called Siva Panchakshara, or Shiva Panchakshara or simply Panchakshara meaning the "five-syllable" mantra (viz., excluding the Om) and is dedicated to Lord Shiva. It is a holy salutation to Lord Shiva. This Mantra appears as 'Na' 'Ma' 'Śi' 'Vā' and 'Ya' in the Shri Rudram hymn which is a part of the Krishna Yajurveda and also in the Rudrashtadhyayi which is a part of the Shukla Yajurveda.Om mani padme hum
Auṃ maṇi padme hūṃ (Sanskrit: ॐ मणिपद्मे हूँ, IPA: [õːː mɐɳɪpɐdmeː ɦũː]) is the six-syllabled Sanskrit mantra particularly associated with the four-armed Shadakshari form of Avalokiteshvara, the bodhisattva of compassion. It first appears in the Mahayana Kāraṇḍavyūhasūtra where it is also referred to as the sadaksara (six syllabled) and the paramahrdaya, or “innermost heart” of Avalokiteshvara. In this text the mantra is seen as condensed form of all the Buddhist teachings.The first word Aum/Om is a sacred syllable found in Indian religions. The word Mani means "jewel" or "bead", Padme is the "lotus flower" (the Buddhist sacred flower), and Hum represents the spirit of enlightenment.In Tibetan Buddhism, this is the most ubiquitous mantra and the most popular form of religious practice, performed by laypersons and monastics alike. It is also an ever present feature of the landscape, commonly carved onto rocks, known as mani stones, painted into the sides of hills or else it is written on prayer flags and prayer wheels.Due to the increased interactions between Chinese Buddhists and Tibetans and Mongolians during the 11th century, the mantra also entered Chinese Buddhism. The mantra has also been adapted into Chinese Taoism.Prayer wheel
A prayer wheel is a cylindrical wheel (Tibetan: འཁོར་ལོ།, Wylie: khor lo) on a spindle made from metal, wood, stone, leather or coarse cotton. Traditionally, the mantra Om Mani Padme Hum is written in Newari language of Nepal, on the outside of the wheel. Also sometimes depicted are Dakinis, Protectors and very often the 8 auspicious symbols Ashtamangala. At the core of the cylinder is a "Life Tree" often made of wood or metal with certain mantras written on or wrapped around it. Many thousands (or in the case of larger prayer wheels, millions) of mantras are then wrapped around this life tree. The Mantra Om Mani Padme Hum is most commonly used, but other mantras may be used as well. According to the Tibetan Buddhist tradition based on the lineage texts regarding prayer wheels, spinning such a wheel will have much the same meritorious effect as orally reciting the prayers.Shri Rudram
Shri Rudram (Sanskrit: श्रीरुद्रम्, romanized: śrī-rudram), is a vedic mantra or chant in homage to Rudra (an epithet of Shiva) taken from the Krishna Yajurveda's Taittiriya Samhita (TS 4.5, 4.7). Chamakam (Sanskrit: चमकम्) is added by scriptural tradition to the Shri Rudram. Shri Rudram is also known as Śri Rudrapraśna, Śatarudrīya, and Rudradhyaya. The text is important in Shaivism where Shiva is viewed as God. The hymn is an early example of enumerating the names of a deity.Shri Rudram is also famous for its mention of the Shaivite holy mantra Namah Shivaya, which appears in the text of the Śatarudrīya in the eighth anuvaka of Taittiriya Samhita (TS 220.127.116.11).. It also contains the mantra Aum namah bhagavate rudraya and the Mahamrityunjaya Mantra.Slogan
A slogan is a memorable motto or phrase used in a clan, political, commercial, religious, and other context as a repetitive expression of an idea or purpose, with the goal of persuading members of the public or a more defined target group. The Oxford Dictionary of English defines a slogan as "a short and striking or memorable phrase used in advertising." A slogan usually has the attributes of being memorable, very concise and appealing to the audience.Vishvamitra
Brahmarshi Vishvamitra (viśvā-mitra) is one of the most venerated rishis or sages of ancient India. He is also credited as the author of most of Mandala 3 of the Rigveda, including Gayatri Mantra. The Puranas mention that only 24 rishis since antiquity have understood the whole meaning of—and thus wielded the whole power of—Gayatri Mantra. Vishvamitra is supposed to be the first, and Yajnavalkya the last.
The story of Vishvamitra is narrated in the Balakanda of Valmiki Ramayana. Mahabharata adds that Vishvamitra's relationship with Menaka resulted in a daughter, Shakuntala, whose story is narrated in Adi Parva of Mahabharata.
Vishvamitra was a king in ancient India, also called Kaushika (descendant of Kusha) and belonged to Amavasu Dynasty. Vishwamitra was originally the Chandravanshi (Somavanshi) King of Kanyakubja. He was a valiant warrior and the great-grandson of a great king named Kusha. Valmiki Ramayana, prose 51 of Bala Kanda, starts with the story of Vishvamitra:
There was a king named Kusha (not to be confused with Kusha, son of Rama), a brainchild of Brahma and Kusha's son was the powerful and verily righteous Kushanabha. One who is highly renowned by the name Gaadhi was the son of Kushanabha and Gaadhi's son is this great-saint of great resplendence, Vishvamitra. Vishvamitra ruled the earth and this great-resplendent king ruled the kingdom for many thousands of years.
His story also appears in various Puranas; however, with variations from Ramayana. Vishnu Purana and Harivamsha chapter 27 (dynasty of Amaavasu) of Mahabharata narrates the birth of Vishvamitra. According to Vishnu Purana, Kushanabha married a damsel of Purukutsa dynasty (later called as Shatamarshana lineage - descendants of the Ikshvaku king Trasadasyu) and had a son by name Gaadhi, who had a daughter named Satyavati (not to be confused with the Satyavati of Mahabharata).
Satyavati was married to an old man known as Ruchika who was foremost among the race of Bhrigu. Ruchika desired a son having the qualities of a good person and so he gave Satyavati a sacrificial offering (charu) which he had prepared to achieve this objective. He also gave Satyavati's mother another charu to make her conceive a son with the character of a Kshatriya at her request. But Satyavati's mother privately asked Satyavati to exchange her charu with her. This resulted in Satyavati's mother giving birth to Vishvamitra, and Satyavati gave birth to Jamadagni, father of Parashurama, a person with qualities of a warrior