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The importance of Phra Lak Phra Ram to Lao culture can be seen in how ubiquitous it is. It is a mainstay of dance and drama, song, painting, sculpture, religious texts, and manuscripts. It is also seen in the more common arts, such as classical morlam, folklore, and village dances. [14]
The Mahābrahmā, or the Great Brahma, is mentioned in Digha Nikaya as the being who dwells in the upper heaven; a Buddhist student can join him for one kalpa (eon, Brahma-year in Buddhism) after successfully entering the first jhana in the form realm of Buddhist practice. [2] In many Buddhist Suttas/Sutras, Mahabrahma pays visit to the Buddha.
The deity known as Brahma is also found in the samsara doctrine and cosmology of early Buddhism. [19] [20] Brahma is known as Fantian (梵天) in Chinese, Bonten (梵天) in Japanese, Hoān-thian (梵天) in Taiwanese, Pomch'on in Korean, Phạm Thiên in Vietnamese, Phra Phrom in Thai, and Tshangs pa in Tibetan. [3]
Music varies widely across Laos, with the lam saravane style being most popular, while the city of Luang Prabang is known for a slow form called khaplam wai. An extremely popular form of Lao lam that developed in Thailand is called mor lam sing , and is faster and electrified.
Seegiri Gala Musapath Kala and " Sirikatha Ena Maga" are highly popular songs even today as well as the lovely song Uttama Muni Dalada Balan Saki from Dalada Watha Radio Drama lyrics by Dr Ajantha Ranasinghe and melody by Prof. Sanath Nandasiri. In addition to play-back singing Dharmadasa sang for HMV and Columbia Records. It was a privilege to ...
Relief fragment of Mara in Gandhara style, found in Swat Valley The demons of mara. Palm leaf manuscript. Nalanda, Bihar, India Mara's assault on the Buddha (an aniconic representation: the Buddha is only symbolized by his throne), 2nd century, Amaravati Stupa, India Mara, his lustful daughters, and demonic army, attempting to tempt Buddha, on a 10th-century icon from Mogao Caves
Egodahage George Wilfred Alwis Samarakoon (13 January 1911 – 2 April 1962) known as Ananda Samarakoon was a Sri Lankan (Sinhalese) composer and musician. He composed the Sri Lankan national anthem "Namo Namo Matha" and is considered the father of artistic Sinhala music and founder of the modern Sri Lankan Sinhala Geeta Sahitya (Song Literature). [1]
Latha Walpola was a member at 12 years old of Radio Ceylon's Choir in 1946. C.A. Fonseka, a family friend and radio dramatist, brought her to Radio Ceylon to perform in his Sarala Gee programme with his son C.D. Fonseka.