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Leng yan zheng mai ke hui / [Banlamidi yi Mijiashijia yi yu Fang Rong bi shou Zhang Yuancheng shu zhai ke pan] 楞嚴正脈科會 / [般剌密諦譯 彌伽釋迦譯語 房融筆受 張圓成疏摘科判
Get PDFCaption title: Leng yan zheng mai shu zhai ke hui jing, Caption title from preface: Leng yan jing guan ke du be
Da fo ding ru lai mi yin xiu zheng liao yi zhu pu sa wan xing shou leng yan jing 大 佛 頂 如 來 密 因 修 證 了義 諸 菩 薩 萬 行 首 楞 嚴 經 traduction de Paramiti 般 刺 蜜帝.
No full textBuddhāvatamṣaka-sūtra, traduction de Buddhabhadra, cf. Da fang guang fo hua yan jing.Hua yan jing 華 嚴 經, cf. Da fang guang fo hua yan jing.Sūraṅgama-sūtra, cf. Da fo ding ru lai mi yin xiu zheng liao yi zhu pu sa wan xing shou leng yan jing.Da fo ding ru lai mi yin xiu zheng liao yi zhu pu sa wan xing shou leng yan jing 大 佛 頂 如 來 蜜 因 修 證 了 義 諸 菩 薩 萬 行 首 楞 嚴 經Da fo ding jing 大 佛 頂 經, cf. Da fo ding ru lai mi yin xiu zheng liao yi zhu pu sa wan xing shou leng yan jing.Da fo ding wan xing shou leng yan jing 大 佛 頂 萬 行 首 楞 嚴 經, cf. Da fo ding ru lai mi yin xiu zheng liao yi zhu pu sa wan xing shou leng yan jing.Da zhou xin yi da fang guang fo hua yan jing 大 周 新 譯 大 方 廣 佛 花 嚴 經, cf. Da fang guang fo hua yan jing.Śūraṅgama-sūtraNumérisation effectuée à partir d'un document original.Juan 1 à 5 complets.T . 945, vol. 19, pp. 106 b-128b. Titre final des juan 1 à 5 : Da fo ding wan xing shou leng yan jing. Petite écriture soignée (sur les feuilles 13 à 26, traits un peu moins fins et légèrement empâtés). Encre foncée. Assez nombreuses additions. Quelques caractères corrigés en surcharge ou grattés et récrits. 38 colonnes par feuille, 27 à 37 caractères par colonne. Marges supérieures de 1,5 à 2,3 cm, inférieures de 1,2 à 2,6 cm. Réglure (marges et réglure tracée également au verso)
Da fo ding [ru lai miyin xiu zheng liao yi zhu pu sa] wan xing shou leng yan jing 大 佛 頂 [如 來 密 因 修 證了 義 諸 菩 薩] 萬 行 首 楞 嚴 經 [trad. de Paramiti].
No full textBuddhāvatamṣaka-sūtra, trad. Buddhabhadra, cf. Da fang guang fo hua yanjing.Hua yan jing 華 嚴 經, cf. Da fang guang fo hua yanjing.Sūraṅgama-sūtra, cf. Da foding ru lai mi yin xiu zheng liao yi zhu pu sa wan xing shou leng yanjing.Da fo ding ru lai mi yin xiu zheng liao yi zhu pu sa wanxing shou leng yan jing 大 佛 頂 如 來 蜜 因 修 證 了 義 諸 菩 薩 萬 行 首 楞 嚴 經Da fo ding jing 大 佛 頂 經, cf. Da fo ding ru lai mi yin xiu zheng liao yizhu pu sa wan xing shou leng yan jing.Da fo ding wan xing shouleng yan jing 大 佛 頂 萬 行 首 楞 嚴 經, cf. Da fo ding ru lai mi yin xiu zheng liao yizhu pu sa wan xing shou leng yan jing.Da zhou xin yi da fangguang fo hua yan jing 大 周 新 譯 大 方 廣 佛 花 嚴 經, cf. Da fang guang fo hua yanjing.Śūraṅgama-sūtraNumérisation effectuée à partir d'un document original.J. 3, 14premières col. manquent. T .945, vol. 19, pp. 115 a 5-119 b. Titre final : Dafo ding wan xing shou leng yan jing juan di san 大 佛 頂 萬 行 首 楞 嚴 經 卷 苐三. Bonne écr., légèrement empâtée. Encre foncée. Quelques car. grattés etrécrits. 28 col. par f., 16 à 18 car. par col. Marges sup. 3,7 à 4,1 cm, inf. 4à 4,3 cm. Réglure
Da fo ding ru lai mi yinxiu zheng liao yi zhu pu sa wan xing shou leng yan jing 大 佛 頂 如 來 蜜 因 修 證 了 義 諸菩 薩 萬 行 首 楞 嚴 經 trad. de Paramiti [般 刺] 蜜帝.
No full textBuddhāvatamṣaka-sūtra,trad. Buddhabhadra, cf. Da fang guang fo hua yan jing.Hua yanjing 華 嚴 經, cf. Da fang guang fo hua yan jing.Sūraṅgama-sūtra, cf. Da fo ding ru lai miyin xiu zheng liao yi zhu pu sa wan xing shou leng yan jing.Dafo ding ru lai mi yin xiu zheng liao yi zhu pu sa wan xing shou leng yan jing 大佛 頂 如 來 蜜 因 修 證 了 義 諸 菩 薩 萬 行 首 楞 嚴 經Da fo ding jing 大 佛 頂 經,cf. Da fo ding ru lai mi yin xiu zheng liao yi zhu pu sa wan xing shou leng yanjing.Da fo ding wan xing shou leng yan jing 大 佛 頂 萬 行 首 楞 嚴 經,cf. Da fo ding ru lai mi yin xiu zheng liao yi zhu pu sa wan xing shou leng yanjing.Da zhou xin yi da fang guang fo hua yan jing 大 周 新 譯 大 方 廣佛 花 嚴 經, cf. Da fang guang fo hua yan jing.Śūraṅgama-sūtraNumérisation effectuée à partir d'un document original.J. 1 à 5 complets.T . 945, vol. 19, pp. 106 b-128b. Titre final des j. 1 à 4 : Da fo ding wan xingshou leng yan jing 大 佛 頂 萬 行 首 楞 嚴 經. Titre final du j. 5 :Da fo ding jing. Bonne écr. très soignée,car. assez petits et serrés. Encre foncée. Espaces non inscrits de 1,5 à 3 cmau déb. des paragraphes. Quelques additions en petits car. entre les col. dutexte ou dans la marge inf. Car. grattés et corrigés en surcharge. 33 ou 34col. par f., 27 à 35 car. par col. Début d'une note en petits car. sur col.dédoublée sous le titre initial du j. 1, Marges sup. 1,2 à 2,2 cm, inf. 1 à 1,6cm. Réglure
Hubungan antara budaya: Kajian etnografi ke atas Kumpulan Wayang Kulit Sri Campuran Di Kelantan / Eyo Leng Yan
No full textMalaysia is of diverse backgrounds that require each ethnic group to respect, tolerate and understand other cultures in order to ensure prosperity and harmony. However, issues related to ethnic conflict have never been resolved. Studies conducted by previous researchers formulating the barriers to intercultural relations are language, culture, religion, and perception that lead to prejudice, ethnocentrism and racial polarization that hinder inter-ethnic communication. This study uses intercultural communication disciplines to see the phenomenon of an intercultural relations in the performance of the Kelantan’s Wayang Kulit performed by the Sri Campuran Wayang Kulit Group. This group was chosen as the subject of the study as the characteristics of this group have ethnic coalition, that contribute to intercultural communication. This study examines three main aspects of Kelantan's Wayang Kulit performing arts, include the cultural aspects of Kelantan community (cultural context), the Sri Campuran Kelantan Group (micro cultural context) and intercultural communication in the Kelantan's Wayang Kulit performing arts, thus forming cultural relations (environmental context). Through ethnography approach and participating observation methods in five locations of the show and interviewing methods, there is a cultural connection between various ethnic groups in Kelantan and does not raise issues related to language, culture, religion and perception
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Leng yan jing.
No full textSpecial collection from London Missionary Society.; On double leaves, oriental style, in case.; Also available in an electronic version via the Internet at http://nla.gov.au/nla.gen-vn380697.Leng yen sutra (Buddhist
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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