Mara

Origin

The etymological origin is the decisive canon of the Sanskrit 'Māra' meaning 'death, destruction (death, destruction)' — the decisive canon derived from the Sanskrit root 'mṛ (to die)'. The decisive origin canon is the decisive canon of the Padhāna Sutta (Padhāna Sutta, Sutta on Striving, verses 425-449) of the Pali Sutta Nipāta (Sutta Nipāta) of c. 5th-3rd century BCE — when the Buddha Siddhārtha Gautama (Siddhārtha Gautama) drew near to enlightenment under the Bodhi tree (Bodhi tree), Māra sent his army and three daughters (Taṇhā Taṇhā, craving; Aratī Aratī, discontent; Rāga Rāga, passion) to tempt and threaten him, but all failed — the decisive canon in which Māra's arrows all turned into flower petals. The decisive Sanskrit Buddhacarita canon is the decisive canon of Buddhacarita (Buddhacarita) Canto 13 by Aśvaghoṣa (Aśvaghoṣa, c. 80-150 CE) of the 2nd century CE — the trial of Māra's army and three daughters — and the decisive canon of the defeat of Māra's army in Lalitavistara Sūtra (Lalitavistara Sūtra) Chapter 21 of the 3rd century CE. The decisive art canon is the decisive origin art canon of the Mara-defeat scene at the Bharhut Stupa (Bharhut Stupa) of India of the 2nd century BCE and the Sanchi Stupa (Sanchi Stupa) of the 1st century BCE, and the decisive canon of the Ajanta Caves (Ajanta Caves) of India of the 5th-6th century CE and Borobudur (Borobudur) of Indonesia of the 9th century CE. The decisive East Asian canon is the decisive canon settled as the Chinese character ' (mo)' — the decisive canon in which Kumārajīva (Kumārajīva, 344-413) of the 5th century newly coined the Chinese character '' in his Chinese translations of Buddhist sutras (Lotus Sutra etc.).

Features

• Giant and threatening demon king
• Mounted on an elephant or commanding an army
• Three daughters — Taṇhā (Taṇhā, craving), Aratī (Aratī, discontent), Rāga (Rāga, passion)
• Illusion weapons — the anecdote of arrows thrown at the Buddha turning into flower petals
• Main axis — Lord of the sixth heaven of the desire realm Paranirmita-vaśavartin — the obstructer of enlightenment
• Aliases Māra Pāpīyas (Māra Pāpīyas)

Stories

The Buddha-Māra trial under the Bodhi tree in the Padhāna Sutta of the Pali Sutta Nipāta of c. 5th-3rd century BCE is the decisive origin, and the decisive textual canon is Buddhacarita Canto 13 by Aśvaghoṣa of the 2nd century CE and Lalitavistara Sūtra Chapter 21 of the 3rd century CE. The decisive canon called upon in Buddhist meditation and practice traditions as a metaphor for recognizing and overcoming the 'inner Māra' — one's own desires, laziness, and doubts — and the decisive canon in which the scene of the Buddha's defeat of Māra (Māravijaya) is commonly depicted in paintings and sculptures of temples in Southeast Asia, Tibet, Korea, and Japan. The decisive art canon is the decisive canon of the Mara-defeat scenes at the Bharhut Stupa of the 2nd century BCE, the Sanchi Stupa of the 1st century BCE, the Ajanta Caves of the 5th-6th century CE, and Borobudur of the 9th century CE, and the decisive 20th-century literary canon is the decisive canon of the novel Siddhartha (Siddhartha) of 1922 by the German Hermann Hesse (Hermann Hesse, 1877-1962) — the trial of the Buddha's enlightenment and Māra. The decisive East Asian martial arts/creative canon is the decisive canon as the prototype of the 'Demon King (Maoh)' character in Japanese manga, games, and novels.

Weakness

Māra's weaknesses are: (1) the Buddha's enlightenment — the decisive canonical weakness — powerless before the Buddha's enlightenment (bodhi) and right view, with the decisive canon that Māra's arrows all turned into flower petals at the Bodhi tree trial; (2) compassion — the decisive canonical weakness — powerless before the Buddha's compassion (karuṇā); (3) firm meditation — the decisive canonical weakness — cannot approach those of firm meditation (samādhi) and pure conduct (śīla); (4) the Buddha's finger — the decisive canonical weakness — the decisive canon of Māra retreating after the Buddha called the earth as witness with the 'earth-touching mudra (bhūmisparśa mudrā)'; (5) right view — the decisive canonical weakness — powerless before the right view (samyak-dṛṣṭi) of the Eightfold Path; (6) binding of the desire realm — the decisive canon of being bound as lord of the sixth heaven of the desire realm; (7) binding of the sacred domain — the decisive canon; (8) binding of enlightenment — the decisive canon of his own powerlessness after the Buddha's enlightenment. The decisive canonical finale is the decisive mythological canon of the Padhāna Sutta — 'My arrows all turn into flower petals, so I, Māra, am defeated'.

Cultural Significance

Māra is not merely a demon king icon but the canonical iconographic figure of the decisive Buddhist canon, traversing the Padhāna Sutta of the Pali Sutta Nipāta of c. 5th-3rd century BCE, Buddhacarita Canto 13 by Aśvaghoṣa of the 2nd century CE, Lalitavistara Sūtra Chapter 21 of the 3rd century CE, the Bharhut Stupa of the 2nd century BCE, the Sanchi Stupa of the 1st century BCE, the Ajanta Caves of the 5th-6th century CE, Borobudur of the 9th century CE, Kumārajīva's Chinese translations of Buddhist sutras of the 5th century, and Hesse's Siddhartha of 1922. The etymological origin settled as the decisive canon of the Sanskrit 'Māra' meaning 'death, destruction' — derived from the Sanskrit root 'mṛ (to die)'. The decisive origin canon is the decisive canon of the Padhāna Sutta (Padhāna Sutta, Sutta on Striving, verses 425-449) of the Pali Sutta Nipāta (Sutta Nipāta) of c. 5th-3rd century BCE — when the Buddha Siddhārtha Gautama (Siddhārtha Gautama, c. 563-483 BCE or 480-400 BCE) drew near to enlightenment under the Bodhi tree (Bodhi tree, Bodh Gaya, Bihar state, India) of Uruvelā (Uruvelā), Māra sent his 10-army (desire, discontent, craving, lust, laziness, fear, doubt, hypocrisy, pride, fame) and three daughters (Taṇhā Taṇhā, craving; Aratī Aratī, discontent; Rāga Rāga, passion) to tempt and threaten him, but all failed — the decisive canon in which the Buddha called the earth as witness with the 'earth-touching mudra (bhūmisparśa mudrā)' and Māra's arrows all turned into flower petals. The decisive Sanskrit Buddhacarita canon is the decisive canon of Buddhacarita (Buddhacarita) Canto 13 by the Indian poet and philosopher Aśvaghoṣa (Aśvaghoṣa, c. 80-150 CE) of the 2nd century CE — the trial of Māra's army and three daughters — and the decisive canon of the defeat of Māra's army in Lalitavistara Sūtra (Lalitavistara Sūtra) Chapter 21 of the 3rd century CE. The decisive art canon is the decisive origin art canon of the Mara-defeat (Māravijaya) scene at the Bharhut Stupa (Bharhut Stupa, Madhya Pradesh, India) of the 2nd century BCE and the Sanchi Stupa (Sanchi Stupa) of the 1st century BCE, and the decisive canon of the Ajanta Caves (Ajanta Caves) of India of the 5th-6th century CE and Borobudur (Borobudur) of Indonesia of the 9th century CE. The decisive East Asian canon is the decisive canon of the Chinese character ' (mo)' from Kumārajīva (Kumārajīva, 344-413) of Kucha of the 5th century, and the decisive 20th-century literary canon is the decisive canon of the novel Siddhartha (Siddhartha) of 1922 by the German Hermann Hesse (Hermann Hesse, 1877-1962, 1946 Nobel Prize in Literature) — the trial of the Buddha's enlightenment and Māra — and the decisive East Asian martial arts/creative canon is the decisive canon as the prototype of the 'Demon King (Maoh)' character in Japanese manga, games, and novels.

In Popular Culture

Pali Sutta Nipāta Padhāna Sutta (Padhāna Sutta) trial of Mara and three daughters (c. 5th-3rd century BCE) — decisive origin canonAśvaghoṣa Buddhacarita (Buddhacarita) Canto 13 Mara's army and three daughters (2nd century CE) — decisive Sanskrit canonLalitavistara Sūtra (Lalitavistara Sūtra) Chapter 21 defeat of Mara's army (3rd century CE) — decisive Mahayana canonBharhut Stupa Mara-defeat scene (2nd century BCE) — decisive origin art canonSanchi Stupa Mara-defeat scene (1st century BCE) — decisive origin art canonAjanta Caves Mara-defeat scene (5th-6th century CE) — decisive art canonBorobudur Mara-defeat scene (9th century CE) — decisive art canonKumārajīva Chinese translation of Buddhist sutras Chinese character ' (mo)' (5th century) — decisive East Asian translation canonHermann Hesse novel Siddhartha (1922) — decisive 20th-century literary canonPrototype of 'Demon King (Maoh)' character in Japanese manga, games, and novels — decisive East Asian martial arts/creative canon