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Greco-Buddhism or Graeco-Buddhism was a cultural syncretism between Hellenistic culture and Buddhism developed between the 4th century BC and the 5th century AD in Gandhara, which was in present-day Pakistan and parts of north-east Afghanistan.
Most of this early Buddhist music were solemn chants and had no instrumental accompaniment. [62] Buddhist music was developed and promoted by Emperor Wu of Liang, who himself composed pieces of Buddhist music, introduced the genre to his court and promoted large scale Dharma assemblies which included music and chanting. [63]
Buddhist scriptural exegesis has always been driven by the soteriological needs of the tradition to find the true meaning (artha) of Buddhist scriptures. Another important issue in Buddhist hermeneutics is the problem of which sutras are to be taken to be 'Buddhavacana', "the word of the Buddha" and also which sutras contain the correct teachings.
Greco-Buddhist influences are found in Chinese Buddhist art, with local and temporal variations depending on the dynasties that adopted Buddhism. Money tree artifacts from the Han dynasty often contain small depictions of the Buddha similar to Gandhara styles, such as the high ushnisha , vertical hair bun, moustache, and symmetrical depictions ...
A. Wynne notes that Minor Rock Edict #3 mentions some Buddhist texts which have been identified and which might show that at the time of Ashoka (304–232 BCE) these were already fixed. [31] These citations include the "Rāhulāvada", which could refer to the Ambalaṭṭhikā Rāhulovāda Sutta (MN 61). [32]
The word dhāraṇī derives from a Sanskrit root √dhṛ meaning "to hold or maintain". [3] [30] This root is likely derived from the historical Vedic religion of ancient India, where chants and melodious sounds were believed to have innate spiritual and healing powers even if the sound cannot be translated and has no meaning (as in a music).
The earliest Buddhist texts explain that the four primary material elements are the sensory qualities solidity, fluidity, temperature, and mobility; their characterisation as earth, water, fire, and air, respectively, is declared an abstraction – instead of concentrating on the fact of material existence, one observes how a physical thing is ...
In Buddhism, the three marks of existence are three characteristics (Pali: tilakkhaṇa; Sanskrit: त्रिलक्षण trilakṣaṇa) of all existence and beings, namely anicca (impermanence), dukkha (commonly translated as "suffering" or "cause of suffering", "unsatisfactory", "unease"), [note 1] and anattā (without a lasting essence).