Dr. Gibson demonstrates the use of new astrological techniques for diagnosingmental illness. Charts & graphs.

Parashari Jaimini and Tajik are the three most popular systems of Vedic Astrology. Parashar gives more importance to the planets while Jaimini considers the rashis to be more important. Tajik is mainly used in Prashna Shastra and in Varshaphal. Tajik diverts slightly always from the main stream of the traditional methods and employs newer techniques of Astrology. 'Tajik Neelakanthi', of Acharya Neelakantha, which was composed in the 16th century AD, is the base of Taik Jyotish. This does not mean that Varshaphal and Prashna techniques were not practised in vedic Astrology before this. 'Uttar Kalamrit' of Kalidas mentions and describes the computation of Varshaphal dasha which is different from the 'Mudda dasha' of Varshaphal. Apart from this, 'Shat Panchashikha' of Prithyushyas is the established classic of Prashna Shastra, which was composed centuries before 'Tajik Neelakanthi'. Ancient Kairaleeya Jyotish is also well known for considering Prashna to be their main technique. The influence of Greek and Arab culture is clearly seen on the word 'Tajik'. Arrival of the invaders from Western Asia initiated the exchange of culture between India and West Asia. This exchange introduced some newer techniques to our Vedic Astrology. One of these techniques was Tajik. This has been marked as the beginning of Tajik jyotish. Tajik word does not belong to Sanskrit. There are different opinions regarding this issue. Some scholars consider it to be a distorted from of the word 'Jatak'. Another view is that meaning of Tajik is a horse in Turkish and Persian language. The speed of this technique has been compared to that of a horse and for this reason it has been named Tajik. In any case the influence of Mohammedans on this knowledge is very clear. This is also confirmed by the other words of Tajik, namely mudda, muntha, sahams and the names of the Tajik yogas like Ithasal, Ikkabal, Ishraf, nakta, radda and khallasar etc. Moving at the average speed of 1° per day, Sun completes one round of the Zodiac in one year. For casting the annual horoscope we select the time when Sun reaches the longitude of the natal Sun. The horoscope cast for that date and time becomes the annual horoscope and the Varshaphal is decided on the basis of this horoscope. In a similar manner prediction for any year of the person's life can be given on the basis of the annual horoscope. In other words the annual horoscope is based on the longitude of the natal Sun and not on the date and time of birth. This also means that the date, day and time of the annual horoscope is generally different from that of the birth horoscope.

This volume, a directory of astrological correspondences, is the result of a research project that drew together the thoughts of many others into a reference book, assuming the role of a dictionary to astrologers, but vastly more complete. It is the only place where all sign, planetary and house rulerships have been brought together and put in a good workable order. It is organized in such a way that one can use the book for quick and easy reference, and it eliminates the need to search through various other volumes. In four parts: an alphabetical listing, a listing by planets, a listing by signs, a listing by houses. Plus an Appendix with special listings: principal bones of the body, principal veins of the body, chart of an organization, flavors and handwriting forms. Enthusiastically endorsed and used by professionals and students alike, no reference library is complete without this best-selling volume.

Buddhism, often described as an austere religion that condemns desire, promotes denial, and idealizes the contemplative life, actually has a thriving leisure culture in Asia. Creative religious improvisations designed by Buddhists have been produced both within and outside of monasteries across the region—in Nepal, Japan, Korea, Macau, Hong Kong, Singapore, Laos, Thailand, and Vietnam. Justin McDaniel looks at the growth of Asia’s culture of Buddhist leisure—what he calls “socially disengaged Buddhism”—through a study of architects responsible for monuments, museums, amusement parks, and other sites. In conversation with noted theorists of material and visual culture and anthropologists of art, McDaniel argues that such sites highlight the importance of public, leisure, and spectacle culture from a Buddhist perspective and illustrate how “secular” and “religious,” “public” and “private,” are in many ways false binaries. Moreover, places like Lek Wiriyaphan’s Sanctuary of Truth in Thailand, Suối Tiên Amusement Park in Saigon, and Shi Fa Zhao’s multilevel museum/ritual space/tea house in Singapore reflect a growing Buddhist ecumenism built through repetitive affective encounters instead of didactic sermons and sectarian developments. They present different Buddhist traditions, images, and aesthetic expressions as united but not uniform, collected but not concise: Together they form a gathering, not a movement. Despite the ingenuity of lay and ordained visionaries like Wiriyaphan and Zhao and their colleagues Kenzo Tange, Chan-soo Park, Tadao Ando, and others discussed in this book, creators of Buddhist leisure sites often face problems along the way. Parks and museums are complex adaptive systems that are changed and influenced by budgets, available materials, local and global economic conditions, and visitors. Architects must often compromise and settle at local optima, and no matter what they intend, their buildings will develop lives of their own. Provocative and theoretically innovative, Architects of Buddhist Leisure asks readers to question the very category of “religious” architecture. It challenges current methodological approaches in religious studies and speaks to a broad audience interested in modern art, architecture, religion, anthropology, and material culture. An electronic version of this book is freely available thanks to the support of libraries working with Knowledge Unlatched, a collaborative initiative designed to make high-quality books open access for the public good. The open-access version of this book is licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0), which means that the work may be freely downloaded and shared for non-commercial purposes, provided credit is given to the author. Derivative works and commercial uses require permission from the publisher.

At publication date, a free ebook version of this title will be available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. The Monastery Rules discusses the position of the monasteries in pre-1950s Tibetan Buddhist societies and how that position was informed by the far-reaching relationship of monastic Buddhism with Tibetan society, economy, law, and culture. Jansen focuses her study on monastic guidelines, or bca’ yig. The first study of its kind to examine the genre in detail, the book contains an exploration of its parallels in other Buddhist cultures, its connection to the Vinaya, and its value as socio-historical source-material. The guidelines are witness to certain socio-economic changes, while also containing rules that aim to change the monastery in order to preserve it. Jansen argues that the monastic institutions’ influence on society was maintained not merely due to prevailing power-relations, but also because of certain deep-rooted Buddhist beliefs.

This book explores an area of contemporary religion, spirituality and popular culture which has not so far been investigated in depth, the phenomenon of astrology in the modern west. Locating modern astrology historically and sociologically in its religious, New Age and millenarian contexts, Nicholas Campion considers astrology's relation to modernity and draws on extensive fieldwork and interviews with leading modern astrologers to present an invaluable contribution to our understanding of the origins and nature of New Age ideology. This book challenges the notion that astrology is either 'marginal' or a feature of postmodernism. Concluding that astrology is more popular than the usual figures suggest, Campion argues that modern astrology is largely shaped by New Age thought, influenced by the European Millenarian tradition, that it can be seen as an heir to classical Gnosticism and is part of the vernacular religion of the modern west.