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Tradition holds that terma may be a physical object such as a text or ritual implement that is buried in the ground (or earth), hidden in a rock or crystal, secreted in a herb, or a tree, hidden in a lake (or water), or hidden in the sky (space). Though a literal understanding of terma is "hidden treasure", and sometimes objects are hidden away, the teachings associated should be understood as being 'concealed within the mind of the guru', that is, the true place of concealment is in the terton's mindstream. If the concealed or encoded teaching or object is a text, it is often written in dakini script: a non-human type of code or writing.
...termas are not always made public right away. The conditions may not be right; people may not yet be ready for them; and further instructions may need to be revealed to clarify their meaning. Often, the tertön himself has to practice them for many years
From the perspective of Dzogchen, the ultimate nature of all sentient beings is said to be pure, all-encompassing, primordial awareness or naturally occurring timeless awareness. This intrinsic awareness has no form of its own and yet is capable of perceiving, experiencing, reflecting, or expressing all form. It does so without being affected by those forms in any ultimate, permanent way. The analogy given by Dzogchen masters is that one's nature is like a mirror which reflects with complete openness but is not affected by the reflections, or like a crystal ball that takes on the colour of the material on which it is placed without itself being changed. The knowledge that ensues from recognizing this mirror-like clarity (which cannot be found by searching nor identified is what Dzogchenpas refer to as rigpa. One knows that there is a primordial freedom from grasping his or her mind
Originally posted by Kantzveldt
reply to post by longlostbrother
There is no absolute agreement about a lot of things, but in the case of the swastika there actually should be as it is the easiest of motifs to identify, it's contextual usage in many cultures is indicative that it represents through Ursa Major the Celestial rotation of the Heavens, ie the principle that translates stars across the horizon East to West, that it represents the four quarters of Heaven, marks the solar solstices and equinoxes...is thus associated with translation through space and time and fortune/progression.
Have a read of this;
www.gutenberg.org...
Originally posted by Kantzveldt
reply to post by longlostbrother
There aren't any other credible theories worthy of being called such, a most plausible scenario is based on all available evidence referenced within what is known specific cultural contexts, the conclusion of those who make such studies is that the Swastika was based upon Ursa Major and its cyclic progressions.
I'm always open to counter suggestions so if you'd like to make one go ahead...
The genesis of the swastika symbol is often treated in conjunction with cross symbols in general, such as the sun cross of pagan Bronze Age religion. Beyond its certain presence in the "proto-writing" symbol systems emerging in the Neolithic,[8] nothing certain is known about the symbol's origin. There are nevertheless a number of speculative hypotheses. One hypothesis is that the cross symbols and the swastika share a common origin in simply symbolizing the sun. Another hypothesis is that the 4 arms of the cross represent 4 aspects of nature - the sun, wind, water, soil. Some have said the 4 arms of cross are four seasons, where the division for 90-degree sections correspond to the solstices and equinoxes
Originally posted by Kantzveldt
reply to post by longlostbrother
There aren't any other credible theories worthy of being called such, a most plausible scenario is based on all available evidence referenced within what is known specific cultural contexts, the conclusion of those who make such studies is that the Swastika was based upon Ursa Major and its cyclic progressions.
I'm always open to counter suggestions so if you'd like to make one go ahead...