Materials
A wide variety of materials are used to make mala beads, though there are common standards. Beads made from the seeds of the rudraksha tree are considered sacred by Saivas, devotees of Siva, while beads made from the wood of the tulsi plant are used and revered by Vaishnavas, followers of Vishnu. Some Tibetan Buddhist traditions call for the use of animal bone (most commonly yak), but sometimes human bone is used, those of past Lamas being the most valuable. Others use wood or seeds from the Bodhi tree or seeds of the Lotus plant. Semiprecious stones such as carnelian and amethyst may be used, as well. The most common and least expensive material is sandalwood. In Hindu Tantra, as well as Buddhist Tantra (or Vajrayana), materials and colors of the beads can relate to a specific practice.
Read more about this topic: Hindu Prayer Beads
Famous quotes containing the word materials:
“Herein is the explanation of the analogies, which exist in all the arts. They are the re-appearance of one mind, working in many materials to many temporary ends. Raphael paints wisdom, Handel sings it, Phidias carves it, Shakspeare writes it, Wren builds it, Columbus sails it, Luther preaches it, Washington arms it, Watt mechanizes it. Painting was called “silent poetry,” and poetry “speaking painting.” The laws of each art are convertible into the laws of every other.”
—Ralph Waldo Emerson (1803–1882)
“Our job is now clear. All Americans must be prepared to make, on a 24 hour schedule, every war weapon possible and the war factory line will use men and materials which will bring, the war effort to every man, woman, and child in America. All one hundred thirty million of us will be needed to answer the sunrise stealth of the Sabbath Day Assassins.”
—Lyndon Baines Johnson (1908–1973)
“If our entertainment culture seems debased and unsatisfying, the hope is that our children will create something of greater worth. But it is as if we expect them to create out of nothing, like God, for the encouragement of creativity is in the popular mind, opposed to instruction. There is little sense that creativity must grow out of tradition, even when it is critical of that tradition, and children are scarcely being given the materials on which their creativity could work”
—C. John Sommerville (20th century)