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New York Times
a day ago
- Health
- New York Times
Ancient Trees, Dwindling in the Wild, Thrive on Sacred Ground
The Putuo hornbeam, a hardy tree that thrives in the damp air by the East China Sea, could be easily overlooked by visitors to the Huiji Temple on an island in the Zhejiang Province. The tree has an unremarkable appearance: spotty bark, small stature and serrated leaves with veins as neatly spaced as notebook lines. But its status is singular. As far as conservationists can tell, no other mature specimen of its species is alive in the wild. The holdout on the island, Mount Putuo, has been there for about two centuries. And according to a study published Wednesday in the journal Current Biology, its setting may have been its salvation. The study found that religious sites in eastern China have become refuges for old, ancient and endangered trees. Since the early years of the Common Era, Buddhist and Taoist temples have sheltered plants that otherwise struggled to find a foothold, including at least eight species that now exist nowhere else on earth. 'This form of biodiversity conservation, rooted in cultural and traditional practices, has proven to be remarkably resilient, persisting even in the face of modern civilization and rapid economic development,' said Zhiyao Tang, a professor of ecology at Peking University and one of the study's authors. The trees survived at religious sites in part because they were planted and cultivated there. The report noted that Buddhism and Taoism emphasize spiritual association with plants and the temples tended to be left undisturbed, shielding the areas from deforestation. Want all of The Times? Subscribe.
India Gazette
28-05-2025
- India Gazette
'A Historic Spiritual Homecoming': Arrival of holy relics of Lord Buddha at Truc Lam Yen Tu Pagoda in Vietnam's Quang Ninh
By Rk Raina Truc Lam Pagoda [Vietnam], May 28 (ANI): The sacred relics of the Buddha from Sarnath have been on a tour of Vietnam from May 3 to June 2. The original plan was to display the relics in Vietnam till May 21, but on a special request by the Vietnamese Governmnet, the exposition has been extended till June 2. On a deeply emotional and spiritually charged day, the sacred relics of Lord Buddha arrived at Yen Tu Pagoda in Quang Ninh Province, Vietnam, marking the seventh leg of their profound pilgrimage to Vietnam from India. Their journey, which began with reverence and celebration in Ho Chi Minh City on May 2, has now reached a crescendo at one of Vietnam's most sacred spiritual sites. From the moment the relics crossed into Yen tu area, the atmosphere transformed into a living embodiment of devotion. Streets were filled with throngs of devotees--men, women, children, and the elderly--lining both sides of the road for kilometers right up to the place of enshrinement. Waving flags and chanting 'Buddham Sharanam Gacchami,' the Vietnamese people poured out their hearts in gratitude and reverence. Some wept openly, overwhelmed by what they described as the living presence of the Lord Buddha now in their midst. This sacred arrival is the first time many Vietnamese have witnessed the holy relics of the Enlightened One, and for them, it marks the beginning of a spiritual journey of a lifetime. People have travelled for hours from far locations and have waited in queues since 4 AM to get a glimpse of the Sarnath relic. Yen Tu Pagoda, is a site steeped in religious and national heritage. Nestled on the majestic Yen Tu Mountain, the pagoda is a powerful symbol of Vietnamese Buddhism and history. It was here, over 700 years ago, that King Tran Nhan Tong--one of Vietnam's most revered monarchs and a symbol of wisdom and peace--renounced his throne to found the Truc Lam Zen sect, shaping Vietnamese Buddhism with uniquely native spiritual values. His legacy continues to inspire generations, and the presence of the holy relics at this sacred site has amplified that inspiration to unprecedented levels. The significance of this moment extends beyond religious sentiment. It is a reaffirmation of the deep-rooted spiritual, cultural, and civilizational ties between India and Vietnam. These connections date back nearly 2,000 years to the early centuries of the Common Era, when Indian traders and monks brought the message of the Buddha to the shores of ancient Vietnam. They came not just for commerce, but for blessings, seeking protection from sea deities and bringing with them the teachings of compassion, peace, and enlightenment. The names of Dipankara Buddha and Avlokiteshwara Bodhisattva have echoed in Vietnamese prayers since those early days, representing protection and grace. The current journey of the relics--carried with honour and solemnity by Indian dignitaries in a special military aircraft--is more than a ceremonial event. It is a rekindling of an ancient bond. In each city--beginning with Ho Chi Minh City and passing through six sacred sites in six cities of Vietnam --the relics have drawn millions in collective prayer and cultural remembrance. In Yen Tu alone, over 2 million people are expected to visit the relics, making this one of the largest spiritual gatherings in recent Vietnamese history. According to the Vietnam Buddhist Sangha, till date, 12.95 million people have paid respect to the holy relics in the six cities. The long-term impact of this pilgrimage is profound. At a people-to-people level, the spiritual resonance of the relics has touched the hearts of Vietnamese citizens deeply. It has revived ancient memories of India as the land of the Buddha--the origin of Dhamma that continues to shape Vietnam's culture, rituals, and everyday life. At a diplomatic level, this journey is a symbolic cornerstone of India's Act East Policy, reinforcing the cultural dimension of strategic partnerships. The holy relics' journey from India to Vietnam has reawakened a shared spiritual consciousness that transcends language, geography, and political boundaries. It is a testament to the enduring values of peace, harmony, and mutual respect. This moment--of shared reverence and cultural revival--will be remembered not only as a highlight in the bilateral relationship between India and Vietnam but also as a model of how ancient wisdom can continue to guide modern diplomacy. As the chants of devotion echo through the serene forests of Yen Tu and candles flicker before the golden shrine housing the relics, one truth stands out clearly: the spirit of the Buddha still walks among us--uniting, healing, and illuminating the path forward.' The holy relic would end the month-long journey in Vietnam in the city of Danang in central Vietnam. This city has several Buddhist institutions and monasteries in its vicinity, and one expects a large number of people to pay their obeisance to the holy relics at this final destination. (ANI)
The Hindu
24-05-2025
- General
- The Hindu
INSV Kaundinya: Navy revives maritime heritage with stitched ship inspired by Ajanta mural
The Indian Navy has formally inducted the ancient-style stitched sail ship, naming it INSV Kaundinya, a vessel modelled on a 5th-century CE depiction of a ship in the Ajanta Caves. The induction ceremony took place on May 21, with officials stating that the Indian Naval Sailing Vessel (INSV) will be based in Karwar. The ship is named after the legendary mariner Kaundinya, who is believed to have sailed across the Indian Ocean to Southeast Asia. Navy officials said the vessel is emblematic of India's rich maritime traditions, symbolising centuries of exploration, trade, and cultural dialogue across the seas. The vessel will now prepare for a transoceanic voyage tracing an ancient maritime route from Gujarat to Oman, slated for later this year. Inspired by Ajanta's Maritime Imagery The inspiration for the vessel comes from Cave 2 at Ajanta in Chhatrapati Sambhajinagar (formerly Aurangabad), part of the UNESCO World Heritage Site. Among the 30 rock-cut caves, six preserve murals from the early centuries of the Common Era. The mural in Cave 2 features a large merchant vessel with a high stem and stern, three oblong sails attached to masts, and steering oars. 'This is one of the earliest surviving paintings that narrates the tale of India's international sea trade,' said an official from the Archaeological Survey of India (ASI). 'It is a vivid testimony of ancient Indian maritime activity.' The Ajanta murals largely illustrate Jataka Katha (stories from the Buddha's past lives) and Avadana Katha (narratives of heroic virtue). Art historian Saili K. Palande-Datar, who has studied Ajanta for over a decade, identified the ship painting as part of the Purna Avadana, a mythical Buddhist narrative. The Tale of Purna and Bhavila 'The painting of the ship that inspired the design of Kaundinya is from Purna Avadana Katha,' Ms. Palande-Datar said. 'It is the story of two brothers, Purna and Bhavila, sons of a rich merchant and a slave woman from Shurparaka—modern-day Nalasopara, two hours from Mumbai.' Owing to their illegitimacy, the brothers were excluded from their father's inheritance. They took to maritime trade and became successful sea-faring merchants. After six successful voyages, Purna encountered traders from Shravasti, in ancient times the capital of the Kosala kingdom, is now located within present day Uttar Pradesh, who introduced him to Buddhism. 'Purna was deeply moved by their accounts of the Buddha and chose to stay back in the Konkan region, then called Sunaparanta, to spread the teachings of Buddhism,' said Ms. Palande-Datar. 'Meanwhile, Bhavila set out on a seventh voyage to the island of Goshaila, famed for its sandalwood.' As per the narrative, the island was guarded by a supernatural being, Maheshwarayaksha, who, angered by the tree-felling, summoned storms to destroy the ship. In desperation, Bhavila prayed to his brother. Purna miraculously appeared, saved the ship, and pacified the guardian spirit. 'This entire tale is depicted in the Ajanta mural and directly inspired the Navy's ship design,' she added. On returning to the western coast, the brothers are said to have built a vihara (monastery) from the sandalwood. 'It is said the Buddha was so impressed by Purna's devotion that he journeyed from Shravasti to Nalasopara to meet him,' Ms. Palande-Datar noted. 'These tales serve to reinforce the religious significance of the region.' Ajanta's Cultural Legacy The Purna Avadana mural, dated to the 5th century CE, is one of many intricate paintings at Ajanta that reflect India's classical age. Executed under the Vakataka dynasty - contemporaries of the Guptas - the murals depict royal courts, gardens, wildlife, and celestial beings such as Garudas and Nagas, showcasing the material and spiritual culture of the period. 'These murals were painted using natural colours derived from mineral stones,' Ms. Palande-Datar said. 'They capture the opulence, urbanity, and rich symbolism of what can rightly be termed a golden age of Indian civilisation.' With the commissioning of INSV Kaundinya, the Indian Navy has not only revived a historical shipbuilding technique but also paid homage to a long and storied maritime tradition embedded in India's civilisational memory.
Yahoo
21-05-2025
- Politics
- Yahoo
Texas Senate passes bill requiring public schools to use B.C./A.D. system in classrooms
The Brief The Senate passed a bill that would require school districts to use "Before Christ" and "Anno Domini" when referencing historical dates. Historians have used "Before Common Era" and "Common Era" as a more inclusive solution. The bill must still get through the Texas House. AUSTIN, Texas - A Texas Senate bill would force public schools to use materials that use the terms "Before Christ" and "Anno Domini" when referring to historical periods of time. Senate Bill 2617 passed the upper chamber 23-8 Monday and now heads to the House where it faces a short deadline with just two weeks left in the session. The bill requires school districts to create a policy that states teachers must use B.C. and A.D. during instruction. Additionally, districts cannot use or purchase materials that reference the other way historians reference time – "Before Common Era" and "Common Era." While both B.C. and A.D., and B.C.E. and C.E. refer to the same timeline. The use of B.C.E. and C.E. is considered more inclusive to all religions, while B.C. and A.D. are rooted in Christianity. Anno Domini means "in the year of our lord." The use of B.C. and A.D. is commonly used to track the years before and after Jesus Christ's birth. The timeframe was used as the basis for the Gregorian calendar, which is still in use today. Before Common Era and Common Era are also based on the dates established by the Gregorian calendar. The shift back to B.C. and A.D. isn't the only push to add more Christianity in schools. On Wednesday, the House is set to hear a bill that would require the Ten Commandments to be placed in schools and one that would carve out time for students to pray and read the Bible or other religious texts during the school day. The Source Information on Senate Bill 2617 comes from the Texas Legislature. Information on the history and differences between B.C. and B.C.E. comes from an article from Information on the Ten Commandments bill and the prayer in schools bill comes from previous FOX 7 reporting and the House calendar.
Indian Express
23-04-2025
- Entertainment
- Indian Express
Sara Ali Khan seeks blessings at Guwahati's Kamakhya Temple: Expert explores the power of Tantra and divine feminine energy of this sacred site
Sara Ali Khan is currently on a spiritual journey across India. After recently visiting the Chandramouleshwara Temple in Karnataka, she travelled to Guwahati to seek blessings at the Kamakhya Temple — one of the most revered and powerful Shakti Peethas in the country. Known for its deep association with Tantra and the feminine divine, the temple is often visited by devotees seeking spiritual insight, healing, and transformation. Sharing glimpses of her visit on social media, Sara posted photos in a white chikankari salwar kurta, pausing to take in the serenity of the temple. She captioned her post with a poem: 'Moments of stillness amidst the perpetual flow. A purposeful reminder to breathe and go slow. Listen to the whispers of the river, feel the suns glow. Wander deep, embrace life and allow yourself to grow.' Many associate Kamakhya with devotion, but not much is known about the temple's tantric significance, its cultural heritage, and its role in spiritual practices that go beyond mainstream rituals. History and significance of this temple Saru Subba, historian and founder Carol School Guwahati, tells 'The Kamakhya Temple has an ancient and layered history, dating back to at least the early centuries of the Common Era, though its origins are believed to be even older. It has been destroyed and rebuilt multiple times — most notably in the 16th century under the Koch king Naranarayana, which gives the current structure its blend of ancient and medieval architecture.' It is considered one of the most important Shakti Peethas, he adds, where the yoni of Goddess Sati is said to have fallen, marking it as a sacred site for worshipping the goddess in her most elemental form. 'Its significance goes beyond the spiritual; it was also a center of Tantric learning and practice, attracting mystics and scholars from across the subcontinent,' notes Subba. View this post on Instagram A post shared by Kamakhya temple (@kamakhyamandir) Even today, he states that Kamakhya retains a unique position in Indian sacred geography — respected 'both as a pilgrimage site and as a place that preserves spiritual traditions that are often overlooked or misunderstood. Its rituals, festivals like Ambubachi Mela, and deep symbolism continue to inspire reverence and curiosity alike.' What makes the Kamakhya Temple unique compared to other Shakti temples in India? The Kamakhya Temple stands out among Shakti temples for its deep-rooted connection to the Tantric tradition. Subba explains, 'While many Shakti temples focus on divine femininity in nurturing or warrior forms, Kamakhya embraces the raw, unfiltered aspects of the feminine — creation, power, fertility, and transformation. What makes it truly unique is that the temple does not house an idol in the conventional sense. Instead, the yoni or womb-shaped stone, constantly bathed in natural spring water, is venerated.' He continues, 'This symbolism speaks directly to Tantric philosophy, which celebrates the union of the physical and the spiritual, the seen and the unseen. Tantra at Kamakhya is not about rituals misunderstood as occultism, but rather about transcending duality, embracing wholeness, and recognising the sacred in all aspects of life, including those often considered taboo.' How do temples like Kamakhya encourage spiritual seekers to embrace practices like stillness, surrender, and self-reflection? Temples like Kamakhya often exist on the thresholds — between the material and the spiritual, the known and the mystical. 'For seekers, this sacred ambiguity becomes a space for inward reflection. Kamakhya, perched atop the Nilachal hills and steeped in silence, naturally evokes a sense of stillness. Visitors often speak of an atmosphere that encourages quietude rather than display, where the inner journey feels just as important as the outer one,' highlights Subba. The temple's embrace of Tantra, with its emphasis on acceptance and inner exploration, supports a path of surrender — not as defeat but as trust in the unknown. Subba mentions, 'Self-reflection is intrinsic here; the symbolism, the rituals, and even the temple architecture are designed to turn one's gaze inward.'
