T Ananda Rao - definição. O que é T Ananda Rao. Significado, conceito
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O que (quem) é T Ananda Rao - definição

INDIAN ACTOR
T. L. Kanta Rao; Tadepalli Lakshmi Kanta Rao; Kanta Rao (Telugu actor); Kantharao; Kanta Rao; Kantha Rao (actor)

T. Ananda Rao         
  • T. Ananda Rao at his palace.
DIWAN OF MYSORE (1852-1919)
Tanjore Ananda Rao; Tanjore Ananda Rao CIE; Ananda Rao Thanjavarkar
Tanjore Ananda Rao (alternatively known as Ananda Rao Thanjavarkar) (15 May 1852 – 19 July 1919) was an Indian administrator and statesman who served as the 18th Diwan of Mysore from 1909 to 1912. He was the eldest son of Sir T.
Ananda Rao         
WIKIMEDIA DISAMBIGUATION PAGE
Anandarao; Ananda Rao (disambiguation)
Ananda Rao or Anandarao () is one of the Indian names based on the Buddha's principle disciple Ānanda.
Ānanda         
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  • Chinese statue, identified as likely being Ānanda
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  • Jetavana temple in Rājagṛiha]], [[India]]. Wall painting depicting the [[First Buddhist Council]], during which Ānanda is said to have pronounced the formula:"''evaṃ me sutaṃ''" ([[Thus have I heard]].) as an introduction to each of the Buddha's discourses that he recited from memory.
  • alt=Stupa, located at present-day Rajgir, at that time called Rajagaha
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ATTENDANT OF THE BUDDHA AND MAIN FIGURE IN FIRST BUDDHIST COUNCIL
Anandamaya; Ananda; Treasurer of the Dhamma; Treasurer of the Dharma; พระอานนท์

Ānanda (Pali and Sanskrit: आनन्द; 5th–4th century BCE) was the primary attendant of the Buddha and one of his ten principal disciples. Among the Buddha's many disciples, Ānanda stood out for having the best memory. Most of the texts of the early Buddhist Sutta-Piṭaka (Pali: सुत्त पिटक; Sanskrit: सूत्र-पिटक, Sūtra-Piṭaka) are attributed to his recollection of the Buddha's teachings during the First Buddhist Council. For that reason, he is known as the Treasurer of the Dhamma, with Dhamma (Sanskrit: धर्म, dharma) referring to the Buddha's teaching. In Early Buddhist Texts, Ānanda was the first cousin of the Buddha. Although the early texts do not agree on many parts of Ānanda's early life, they do agree that Ānanda was ordained as a monk and that Puṇṇa Mantānīputta (Sanskrit: पूर्ण मैत्रायणीपुत्र, Pūrṇa Maitrāyaṇīputra) became his teacher. Twenty years in the Buddha's ministry, Ānanda became the attendant of the Buddha, when the Buddha selected him for this task. Ānanda performed his duties with great devotion and care, and acted as an intermediary between the Buddha and the laypeople, as well as the saṅgha (Sanskrit: संघ, romanized: saṃgha, lit. 'monastic community'). He accompanied the Buddha for the rest of his life, acting not only as an assistant, but also a secretary and a mouthpiece.

Scholars are skeptical about the historicity of many events in Ānanda's life, especially the First Council, and consensus about this has yet to be established. A traditional account can be drawn from early texts, commentaries, and post-canonical chronicles. Ānanda had an important role in establishing the order of bhikkhunīs (Sanskrit: भिक्षुणी, romanized: bhikṣuṇī, lit.'female mendicant'), when he requested the Buddha on behalf of the latter's foster-mother Mahāpajāpati Gotamī (Sanskrit: महाप्रजापती गौतमी, Mahāprajāpatī Gautamī) to allow her to be ordained. Ānanda also accompanied the Buddha in the last year of his life, and therefore was witness to many tenets and principles that the Buddha conveyed before his death, including the well-known principle that the Buddhist community should take his teaching and discipline as their refuge, and that he would not appoint a new leader. The final period of the Buddha's life also shows that Ānanda was very much attached to the Buddha's person, and he saw the Buddha's passing with great sorrow.

Shortly after the Buddha's death, the First Council was convened, and Ānanda managed to attain enlightenment just before the council started, which was a requirement. He had a historical role during the council as the living memory of the Buddha, reciting many of the Buddha's discourses and checking them for accuracy. During the same council, however, he was chastised by Mahākassapa (Sanskrit: महाकाश्यप, Mahākāśyapa) and the rest of the saṅgha for allowing women to be ordained and failing to understand or respect the Buddha at several crucial moments. Ānanda continued to teach until the end of his life, passing on his spiritual heritage to his pupils Sāṇavāsī (Sanskrit: शाणकवासी, Śāṇakavāsī) and Majjhantika (Sanskrit: मध्यान्तिक, Madhyāntika), among others, who later assumed leading roles in the Second and Third Councils. Ānanda died 20 years after the Buddha, and stūpas (monuments) were erected at the river where he died.

Ānanda is one of the most loved figures in Buddhism. He was known for his memory, erudition and compassion, and was often praised by the Buddha for these matters. He functioned as a foil to the Buddha, however, in that he still had worldly attachments and was not yet enlightened, as opposed to the Buddha. In the Sanskrit textual traditions, Ānanda is considered the patriarch of the Dhamma who stood in a spiritual lineage, receiving the teaching from Mahākassapa and passing them on to his own pupils. Ānanda has been honored by bhikkhunīs since early medieval times for his merits in establishing the nun's order. In recent times, the composer Richard Wagner and Indian poet Rabindranath Tagore were inspired by stories about Ānanda in their work.

Wikipédia

Kantha Rao

Tadepalli Lakshmi Kantha Rao (16 November 1923 – 22 March 2009) was an Indian actor and producer known for his works predominantly in Telugu cinema. Regarded as one of the finest method actors, Rao appeared in more than 400 feature films, starring in many, in a variety of genres including mythological, social and folklore. He has also acted in a few Hindi, Kannada, Tamil, and Malayalam movies. He has produced about five films under the Hyma Films banner. In the 1960s, he was one of the primary actors in Telugu cinema, along with N. T. Rama Rao and Akkineni Nageswara Rao. Kantha Rao was known for portraying the roles of Narada, Lord Krishna and Arjuna. He played Lakshmana in the blockbuster film Lava Kusa, for which he received Vishehsa Puraskaram in 1963.