The Three Pure Land Sūtras - The...
Anonymous Anonymous
Theravada, Tibetan and Zen may be the most well-known forms of Buddhism in the West, but in many parts of the East it is the Pure Land schools which dominate. Though their roots are clearly embedded in the initial teachings of the historical figure of Shakyamuni, the richly devotional nature of Pure Land Buddhism lends a unique character to its approach and practice.
Pure Land, part of the Mahayana tradition, is especially popular in China, Japan, South Korea and Vietnam. It places its central attention on the figure of Amitabha, the Buddha of the West in the mandala of the five archetypal Buddhas.
Amitabha – Amida in Japan – is the Buddha of Infinite Light, placed in Sukhavati, the Land of Bliss, the goal of Pure Lane practitioners. They follow the precepts and doctrines common to Buddhists worldwide; but the principal practice is to express devotion to Amitabha. This is, perhaps, best known in the West by the Japanese ‘nembutsu’, the chanting of homage to Amida. When practised continuously and with deep sincerity, it will lead, it is believed, to lasting happiness in Sukhavati.
Three principal Sutras or texts underpin the Pure Land schools, and they are presented here in all their fulsome glory. The Smaller and Larger Sukhavativyuha Sutras (‘vyuha’ means ‘form’ or ‘arrangement’) contain extravagant descriptions of the Land of Bliss, replete with jewels, flowers, vibrant colours of all kinds and magical happenings. Imagination is all! By following the guidance contained within, and by taking refuge in Amitabha, the passage to Sukhavati is assured.
The third work, the Meditation on the Buddha Amitayus (the name means Infinite Life) follows a more narrative course. It tells the story of Vaidehi, the consort of King Bimbisara who has been imprisoned. She tries to save him and, when imprisoned in her turn, invokes the help of Shakyamuni, who gives specific instructions to enable her to reach Sukhavati.
The classic translations of these three Pure Land texts by Max Muller and J. Takakasu have been revised for this recording.
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