The buddha who uttered The Four Stanzas and dwells in the northeastern direction. See n.17.

A collective name for the realms of animals, hungry ghosts, and denizens of the hells.

This refers to what occurs at the end of an arhat’s or a buddha’s life. When nirvāṇa is attained at awakening, whether as an arhat or buddha, all suffering, afflicted mental states (kleśa), and causal processes (karman) that lead to rebirth and suffering in cyclic existence have ceased, but due to previously accumulated karma, the aggregates of that life remain and must still exhaust themselves. It is only at the end of life that these cease, and since no new aggregates arise, the arhat or buddha is said to attain parinirvāṇa, meaning “complete” or “final” nirvāṇa. This is synonymous with the attainment of nirvāṇa without remainder (anupadhiśeṣanirvāṇa).

According to the Mahāyāna view of a single vehicle (ekayāna), the arhat’s parinirvāṇa at death, despite being so called, is not final. The arhat must still enter the bodhisattva path and reach buddhahood (see Unraveling the Intent, Toh 106, 7.14.) On the other hand, the parinirvāṇa of a buddha, ultimately speaking, should be understood as a display manifested for the benefit of beings; see The Teaching on the Extraordinary Transformation That Is the Miracle of Attaining the Buddha’s Powers (Toh 186), 1.32.

The term parinirvāṇa is also associated specifically with the passing away of the Buddha Śākyamuni, in Kuśinagara, in northern India.

A term used to emphasize the superiority of buddhas as contrasted with the achievement of worthy ones (arhat) and solitary buddhas (pratyekabuddha).

The physical remains or personal objects of a previous tathāgata, arhat, or other realized person that are venerated for their perpetual spiritual potency. They are often enshrined in stūpas and other public monuments so the Buddhist community at large can benefit from their blessings and power.

The Tibetan translates both stūpa and caitya with the same word, mchod rten, meaning “basis” or “recipient” of “offerings” or “veneration.” Pali: cetiya.

A caitya, although often synonymous with stūpa, can also refer to any site, sanctuary or shrine that is made for veneration, and may or may not contain relics.

A stūpa, literally “heap” or “mound,” is a mounded or circular structure usually containing relics of the Buddha or the masters of the past. It is considered to be a sacred object representing the awakened mind of a buddha, but the symbolism of the stūpa is complex, and its design varies throughout the Buddhist world. Stūpas continue to be erected today as objects of veneration and merit making.

One of the standard epithets of the buddhas. A recurrent explanation offers three different meanings for su- that are meant to show the special qualities of “accomplishment of one’s own purpose” (svārthasampad) for a complete buddha. Thus, the Sugata is “well” gone, as in the expression su-rūpa (“having a good form”); he is gone “in a way that he shall not come back,” as in the expression su-naṣṭa-jvara (“a fever that has utterly gone”); and he has gone “without any remainder” as in the expression su-pūrṇa-ghaṭa (“a pot that is completely full”). According to Buddhaghoṣa, the term means that the way the Buddha went (Skt. gata) is good (Skt. su) and where he went (Skt. gata) is good (Skt. su).

A frequently used synonym for buddha. According to different explanations, it can be read as tathā-gata, literally meaning “one who has thus gone,” or as tathā-āgata, “one who has thus come.” Gata, though literally meaning “gone,” is a past passive participle used to describe a state or condition of existence. Tatha­(tā), often rendered as “suchness” or “thusness,” is the quality or condition of things as they really are, which cannot be conveyed in conceptual, dualistic terms. Therefore, this epithet is interpreted in different ways, but in general it implies one who has departed in the wake of the buddhas of the past, or one who has manifested the supreme awakening dependent on the reality that does not abide in the two extremes of existence and quiescence. It is also often used as a specific epithet of the Buddha Śākyamuni.

These are the major physical marks that identify the buddha body of emanation and which also, in some sources and traditions, portend the advent of a universal monarch. They are listed in The Play in Full (Toh 95), 7.99.

The Buddha, Dharma, and Saṅgha‍—the three objects of Buddhist refuge. In the Tibetan rendering, “the three rare and supreme ones.”

One of the epithets applied to a buddha.