5 VALORES AMBIENTALES
5.2 G EOLOGIA Y P AISAJE
Fifty two years after the first printed edition of the Dags po 'i bka ' 'bum had been published in 1 520 at Dags Iha sgam po monastery, a reprint of the corpus was made in 1 572 by the printer Gnas rab 'byams pa Byams pa phun tshogs ( 1 503- 1 5 8 1 ) in the Mang yul gung thang region of southern Tibet. This reprint shall here be referred to with the siglum DK.B.
new printing blocks for the reprint were directly based on the 1 520 xylograph (DK.A), which in text critical terms means that DK.B is an apograph, i.e., a direct copy and descendant, of DK.A.
DK.B has been preserved in two incomplete prints as well as in six fragments.471 It seems that the xylograph contained 42 works in total, having two short extra texts added to the 40 works already found in DK.A. Combining together the various parts of DK.B preserved across the different prints, a total of 37 of its texts are extant, while five texts that probably were part of the original xylograph DK.B are not found in any of the available paper prints. The five missing texts are the parts that would correspond to DK.A.Pha, DK.A.Zha, DK.A.Chi, DK.A.*Ji, and DK.A.VaJTI. The contents of the various prints may be listed synoptically as follows:472
Synoptic Table of DK.B Prints
Text Label and Incomplete Print Incomplete Print Fragmentary Prints
number of folios NGMPP L118/3 NGMPP L247/4
0 1 . DK.B .Ka (7) Ll 1 8/3 - L456/ 1 5
02. DK.B .Kha (7) Ll 1 8/3 -
-03. DK.B .Ga (62) - L247/4 (incl .) L36/5
47° For details and translations of these printing and scribal colophons, see the summaries of the individual texts in chapter S below. Details of most of the colophons can also be found in KRAGH (20 1 3c : 373-376).
471 Additionally, there may exist another still unavailable print of DK.B in Gemur temple, Lahul, which served as the basis for the modem publication DK.P (see p. 1 87).
472 The table enumerates the contents of the corpus only via the alphabetical text labels without furnishing the full Tibetan titles . For a table showing the contents of DK.A including the alphabetical text labels along with the corresponding text titles in Tibetan and English, see p. 202. The symbol -indicates that a text is missing in the given print. The abbreviation "incl . " signifies "incomplete, "
meaning that one o r more folios are lacking i n the given print copy. The microfilm numbers starting with L and the abbreviation EGS will be identified below.
Chapter 4: The Manifold Sayings of Dags po -Background and Transmissi,on 1 75
04. DK.B .Nga ( 1 2) L l 1 8/3 L247/4
-05. DK.B .Ca (45) Ll 1 8/3 L247/4 (incl.) EGS, L4 1 9/2
06. DK.B . Cha ( 1 8) L I 1 8/3 L247/4 EGS
07. DK.B .Ja ( 1 8) L I 1 8/3 L247/4 EGS
08. DK.B .Nya ( 1 9) L I 1 8/3 L247/4 EGS , L4 1 9/2 (incl.)
09. DK.B .Ta ( 1 0) L I 1 8/3 -
-10. DK.B.Tha (50) LI 1 8/3 -
-1 -1 . DK.B .Da ( -1 5) L I 1 8/3 -
-1 2. DK.B .Na (4) L 1 1 8/3 - EGS
1 3 . DK.B .Pa ( 1 4) L I 1 8/3 -
-14. DK.B .Pha - -
-1 5. DK.B.Ba ( -1 6) L I 1 8/3 - EGS (incl. )
1 6 . DK.B .Ma (9) LI 1 8/3 L247/4 EGS
17. DK.B .Tsa ( 1 1 ) L I 1 8/3 -
-1 8 . DK.B .Tsha ( -1 0) L I 1 8/3 L247/4 EGS
19. DK.B .Dza (20) L I 1 8/3 L247/4 EGS
20. DK.B .Wa ( 1 1 ) L I 1 8/3 L247/4
-2 1 . DK.B .Zha - -
-22. DK.B .Za (9) - L247/4
-23. DK.B .'a ( 1 1 ) L I 1 8/3 L247/4
-24. DK.B .Ya (9) L I 1 8/3 -
-25 . DK.B .Ra ( 1 2) L I 1 8/3 L247/4
-26. DK.B .La ( 1 1 ) - L247/4
-27. DK.B.Sha ( 1 0) L I 1 8/3 L247/4 L22/37-L22-38
28. DK.B .Sa ( 1 2) L l 1 8/3 L247/4
-29. DK.B .Ha (7) - L247/4
-30. DK.B .A (20) L I 1 8/3 L247/4
-3 1 . DK.B . Ki (29) - L247/4
-32. DK.B.Khi (3 1 ) - L247/4
-3 -3 . DK.B .Gi ( 1 1 ) - L247/4
-34. DK.B .Ngi ( 1 0) L I 1 8/3 L247/4
-35. DK.B .Ci (6) - L247/4
-36. DK.B.Chi - -
-37. DK.B . *Ji - -
-38. DK.B .Om (3) L 1 1 8/3 L247/4
-39. DK.B.A� (2) Ll 1 8/3 -
-40. DK.B .Hum (2) Ll 1 8/3 -
-4 1 . DK.B .E ( 1 32) - - L l 36/7 (incl.)
42. DK.B .Vam - -
-1 7 6 Chapter 4: The Manifold Sayings of Dags p o -Background and Transmission
The first incomplete print of DK.B is found in the private collection of Tulku Tshewang in Nampa Kunden Monastery, Nepal . It was filmed by the NGMPP on November 28, (reel no. L 1 1 8/3, running no. L 1 525). It has 29 texts adding up to 388 folios measuring 8x48 cm.473
The second incomplete print of DK.B is preserved in the private collection of Ang Dorje in the Bde skyid bsam gling temple in Junbesi, Nepal. It was filmed by the NGMPP on May 1 3, 1 987 (reel no. L247/4, running no. L2957).474 It has 387 folios measuring 1 0,2x 52,5 cm covering 24 texts.
Of the six fragments of DK.B , the first is a print of text DK.B.Ka found in the private collection of Lama Ngawang in Targyang, Nepal. It was filmed by NGMPP on November 2 1 , 1 993 (reel no. L456/ 1 5 , running no. L4729). The second fragment is a complete print text DK.B .Ga belonging to Lama Gyagpa in Tarke Gyang, Nepal. It was filmed by
on November 24, 1 983 (reel no. L36/5, running no. L592).475 The third fragment is a print containing texts DK.B .Ca and DK.B .Nya found in the library of Lama Lundup in Kodari, Nepal. It was filmed by NGMPP on December 1 4, 1 992 (reel. no. L4 1 9/2, running no.
L4557) . The fourth fragment is a photocopy found in the collection of the late E. Gene SMITH (abbreviated 'EGS' in the above table) made from a xylograph of unknown loca
lity.476 The fragment contains nine texts. The fifth fragment is a print of text DK.B .Sha found in the dgon pa of Langtang, Nepal, which was filmed by NGMPP on April 30, 1 983 (reel nos. L22/37 and L22/38 , running nos. L323 and L324). The sixth and final fragment is a nearly complete print of text DK.B .E (Dags po thar rgyan) belonging to Sempa Lodoe in Glo smon thang. It was filmed by NGMPP on April 30, 1 987 (reel no. L l 3 6/7, running no.
L 1 652).
The majority of the texts can be established as being prints of the same xylographic printing blocks simply on the basis of the identical passages that are shared between them and their uniform design. The only exception to this principle is text DK.B .E, which
473 It should be noted that segments DK.B .Nga and DK.B .Da are reversed in the microfilm and their places should be swapped to reflect the proper order of the corpus.
474 In two earlier publications (KRAGH, 20 1 1 a: l 62 and 20 1 3c : 370 fn. 25), I have erroneously regarded microfilm NGMPP L247/4 to be of a separate xylograph from DK.B, which I labeled and referred to as " a later reprint of the Mang yul gung thang xylograph, the date and origin of which are unknown. " However, after renewed careful consideration of the textual evidence, I have now come to the conclusion that microfilm L247/4 simply is another paper print of DK.B whose printing quality is somewhat lesser than the prints represented by the other microfilms, perhaps reflecting that the wooden printing blocks had become quite worn out by the time when this print was made. Aside from minor tear and wear of individual letters in L247/3 , there are no substantial differences between the texts shared by the various microfilmed DK.B prints, such as L24 7 /4 and L 1 1 8/3 .
475 The NGMPP microfilm and online catalog currently also lists reel numbers L36/3 and L36/4 as fragments from S gam po pa's Dags po 'i bka ' 'bum. That, however, is incorrect. These films are fragments of chapter 1 and 2 of Legs pa bshad pa 'i rin po che 'i gter authored by Sa skya Pai:i�i ta
along with a few non-pertinent folios in L36/4 from an unidentified Bka ' brgyud pa work.
476 I am indebted to E. Gene SMITH for allowing me to copy his copy in 2004.
Chapter 4: The Manifold Sayings Dags po -B ackground and Transmissjon 1 77
exists in a single fragment (L l 3617). This fragment can be proven to be part of xylograph DK.B given the similarity in the design of its frontispiece decoration that it has with the frontispiece found on the cover of text DK.B .Ka in prints L 1 1 8/3 and L456/ 1 5 . Generally speaking, frontispiece designs of early xylographs reflect particular styles of craftsmanship that typically were unique to specific printing houses in pre-modern Tibet. They can consequently often be used in provenance studies to identify related prints (or parts of prints) and their geographic origin.
Xylograph DK.B is such a precise copy of its prototype DK.A that it reproduces each text of the corpus with the exact same pagination of each and every folio. Only the line breaks (but not the folio breaks) differ slightly in comparison to DK.A. Moreover, text critical analysis477 confirms that DK.B is a direct descendant of DK.A, because DK.B reproduces nearly all the corrupt readings of DK.A and introduces a small number of new corruptions of its own. The few cases where DK.B has a correct reading in lieu of a corrupt reading in DK.A can all be j ustifiably explained as simple emendations of minor, obvious spelling errors.
Aside from reproducing the works from DK.A, xylograph DK.B has added two new eulogies to the corpus and has in the process thereof given a new alphabetical label to the eulogy entitled Rje khu dbon rnam gsum la bstod pa utpala gzhon nu 'i chun po (DK.A. *Nyi) composed by Sgam po Bkra shis rnam rgyal in 1 5 1 9, which in DK.A was left without an alphabetical label. In DK.B, the said eulogy has been given the label OJ'n and the two extra eulogies have been furnished with the labels A(i and
Hurn.
It is uncertain whether the eulogy Shes bya ma ascribed to Phag mo gru pa (DK.A.*Ji) was reproduced in DK.B, since it is missing in all the extant prints. The first of the added eulogies (DK.B.A�, 2 folios) is a short poem entitled Prayer to the Stages of the Path of the Two Charioteers whose Teachings were transmitted to the Master Candraprabha Kumara [i.e., B sod nams rin chen](Rje zla 'ad gzhonu la bka ' bahs pa 'i shing rta gnyis kyi lm?1 rim gsol 'debs) .478 The colo
phon states that it was composed by the seventh Karma pa Chos grags rgya mtsho ( 1 454-1 506). The second added eulogy (DK.B.Hum, 2 folios) bears the title "A Praise to Mount Peace" (Ri bo shan ti 'i gnas bstod), being a poem that describes the religious marvels of Mount Dags Iha sgam po, also known as Ri bo Santi. The author is not named in the text, but a line in the poem identifies the narrator as B sod nams rin chen himself.479 He is said to have song the poem at the ridge of Copper Valley (zangs lung gsal sgang) on Mt. D ags po to the three realized men from Khams (rtogs ldan khams pa mi gsum), i.e., Karma pa Dus gsum mkhyen pa, Phag mo gru pa Rdo rje rgyal po, and Gsal stong Sho sgom in the male
477 My text critical editions and annotated translations of the five Tshogs chos texts from the corpus will be forthcoming in a future publication.
478 See fn. 1 44.
479 DK.B.Hum. 1 . l b4: " [This] is the practice place of mine, Dags po Iha rje" (nga dags po lha rje 'i sgrub gnas yin).
1 7 8 Chapter 4: The Man ifold Sayings of Dags p o -Background and Transmission
water dragon year (chu pho 'brug gi lo).480 The authorship is though very questionable;
because the poem is unknown in the earlier tradition. Also, the cited water dragon year impossible if the story were taken to be true, because the only water dragon year in nams rin chen's life time was 1 1 1 2, which is nine years before he reached Dags Iha sgam and long before the arrival of the mentioned students.
All the short scribal colophons mentioning the names of scribes and wood carvers in DK.A have been removed in DK.B . Instead, DK.B includes three scribal colophons of own. The first scribal colophon is found at the end of text DK.B .Ta. It names the scribe who copied the letters of text Ta, saying: "From the top of part Ta, [the text] was
by Nam mkha' mgon po. "481 The identity of Nam mkha' mgon po is not known. The scribal colophon is found at the end of text DK.B.Hiim, which reads: "May it be auspicious ! The letters of this print were written by the fingertips of Ga ba Bkra shis [from] lower bde. By this good action, may all beings quickly attain buddhahood ! "482 The
"lower Lan bde" (Ian bde smad kyi cha) seems to be an orthographic variant of the Lan valley near Mang yul gung thang, where the famous sixteenth-century printer Lha Rin chen mam rgyal ( 1 473- 1 557) ran a printery at Glang phug cave (EHRHARD, 2000: 1 7).
It may be the case that the scribe in question had received his training at or was otherwise associated with that facility. The third colophon is a carver's colophon found in the middle of the large treatise Dags po thar rgyan at the end of the text's chapter fifteen. It gives name of the person who carved (brkos) the wood blocks for the first half of the text, saying:
"The twelve [chapters?] till here were carved by Dpal ldan rdo rje. "483 The name Dpal ldan rdo rje is not identified with a known person.
DK.B generally omits all printing colophons found in DK.A except for two cases, where DK.A contains longer printing colophons. The first case is text DK.B.Ga, which is the large Sgam po pa hagiography composed by the publisher of the 1 5 20 xylograph, Sgam po nams lhun grub. In the 1 520 xylograph (DK.A.Ga), the publisher includes an extensive colophon describing the making of the hagiography and its printing at Dags Iha sgam po
1 520.484 In DK.B . Ga, the full colophon from DK.A is included up to the point of mentio
ning the printing in 1 520. To this, DK.B adds a phrase stating that the present print was redacted directly from the 1 520 xylograph produced at Mount Santi, i.e., Dags Iha sgam monastery. The remainder of DK.A.Ga's colophon stating the name of the scribe is
48° Cf. here the Bka ' brgyud mgur mtsho story concerning the three men from Khams mentioned in fn. 1 28 and the problem of its historical veracity.
481 DK.B .Ta.6. 1 0a7: I/ta pa 'i le rtse namkha ' mgon po 'i bkod//. Here, the expression ta pa is
interpreted as referring to text Ta (i.e., DK.B .Ta) . The phrase le rtse seems to mean " [from] the (rtse) of the section (le). " The spelling rta pa, meaning 'a rider', might also be a possible reading the blurred text, but that has been rejected in the above interpretation of the sentence.
482 DK.B . Hum. l . 1 b6 : l/maliga lmJ1 bha wantul /spar yig 'di ni Lan bde smad kyi cha/ ga ba bkra shis sor mo 'i rtse la dkrunl /dge bas 'gro kun sangs rgyas myur thob shag!/.
483 DK.B .E. 1 5 . 86b7: //'di yan bcu gnyis dpaldan rdo rje 'i brkoso//.
484 For the Tibetan text and translation from DK.A.Ga, see below p. 208 .
Chapter 4: The Manifold Sayings of Dags po -B ackground and 1 79
included in DK. B . Thus, the last part of the colophon in DK.B reads (with the part altered and added in DK.B underlined) :
This text, The Best of Jewel Ornaments of Liberation Adorning the Banner of Pervasive A Precious Wish}ulfilling Jewel in the Form of a Hagiography of the Dhanna Master, the Eminent and Great Sgam po pa, was redacted from the made (par du sgrubs pa la zhal zhus pa 'o) by Spyan snga chos kyi rje Bsod nams lhun grub zla 'od rgyal mtshan dpal bzang po, a descendant of the venerable master, in the male iron dragon year [ 1 520 CE] , 2398 years after the [S akyamuni's] nin'ii!za, 442 years after the great protector [Sgam po pa's]
birth, 367 years after his nirvii!za, on Mount Santi with the aim of promoting the Bka ' brgyud teachings. it be
The second printing colophon in DK.B is a reproduction of part of the long printing colophon found in DK.A at the end of text DK.A.E, The Jewel Ornament of Liberation.
Here, DK.B.E includes the first part of DK.A's printing colophon and then adds a sentence of its own:
The Complete Manifold Sayings along with the Ornament of Liberation were made into a print 2,388 years after the nirviina of our teacher Munlndra, 442 years after the birth of our protector [Bsod nams rin chen] , 367 years after he passed into the realm of reality (dharmadhiitu), on the fifteenth lunar day in the Month of the Rod of the male Iron Dragon year [ 1 520 CE] . It was redacted from the print produced in Dags Iha sgam po for the sake of spreading a countless number [of copies] of the Complete Manifold Sayings (bka ' 'bum yangs rdzogs).486
colophon's first sentence is taken verbatim from the beginning of the long printing colophon of DK.A.E. Hence, the stated year and date of the male Iron Dragon year ( 1 520 CE) only pertains to the printing of the Dags Iha sgam po xylograph (DK.A).487 The final sentence, however, is a significant addendum, because it again explicitly states that DK.B
485 DK.B . Ga.2.62a5.1: chos kyi rje dpal ldan sgam po pa 'i rnam par thar pa yid bzhin gyi nor bu rin po che kun khyab snyan pa 'i ba dan/ thar pa rin po che 'i brgyan gyi mchog ces bya ba 'di nil rje nyid kyi dbon po spyan snga chos kyi rje bsod nams lhun grub zla 'od rgyal mtshan dpal bzang pos/
ston pa mya ngan las 'das na da lta 'i bar la/ lo nyis stong gsum brgya go brgyad song zhing/ mgon po 'di nyid bltams nas bzhi brgya zhe gnyis song la/ mya ngan las 'das pa na gsum brgya re bdun song ba 'i lcags pho 'brug gi lo la/ bka ' brgyud kyi bstan pa spel ba 'i slad du! ri bo shantir par du sgrubs pa la zhal zhus pa 'o// mmiga lam//. For interpretation of the various dates mentioned in the colophon reproduced from the printing colophons shared between DK.A.Ga and DK.A.E, see KRAGH (20 1 3c: 374-375).
486 DK.B .E. 1 3 1 �.1: bka ' 'bum yangs rdzags thar rgyan dang bcas pa 'di nil ston pa thub pa 'i dbang po mya ngan las 'das nas/ nyis stong gsum brgya go brgyad dang/ mgon po 'di nyid bltams nas/ bzhi brgya zhe gnyis Ion/ chos kyi dbyings su zhugs nas/ gsum rgya re bdun rdzags pa yi! lcags pho 'brug gi lo/ dbyug pa zla ba 'i tshes bcwo lnga la/ bka ' 'bum yangs rdzags grangs med pa spel ba 'i phyir du/ dags Iha sgam por bsgrubs pa 'i par las zhal zhus pa 'o//.
487 For a detailed analysis of DK.A's colophon and its dates, see KRAGH (20 13c: 374-376). For a translation, see the summary of text DK.A.E in chapter five below.
1 80 Chapter 4: The Man(fold Sayings of Dags po -B ackground and Transmission
was copied from DK.A, i.e. , from the Dags Iha sgam po print. In DK.A.E, the printing colophon continues with stating the details of the production of the Dags Iha sgam xylograph. That part of DK.A.E's colophon has not been reproduced in DK.B .E. Instead, DK.B.E carries on with a later part of the colophon found in DK.A.E, wherein the problem of finding a reliable version of the Jewel Ornament text is discussed.488 The subsequent passage in DK.A.E's colophon concerning the names of the editor and scribes of the Dags Iha sgam po xylograph is omitted in DK.B .E. Finally, DK.B .E ends with a prayer that is only partially found in the extant copy of DK.A.E, which seems to indicate that additional final folio is lacking in the NGMPP microfilm of DK.A.E. In conclusion, printing colophons of DK.B confirm that the xylograph is a direct copy of DK.A, but do provide any further details regarding the location or date of the print.
Regarding the lay-out and xylographic design of DK.B , the cover pages of two texts have ornamented frontispiece decorations. The first is the cover page of the bka ' 'bum's text (DK.B .Ka. 1 . 1 a), where the frontispiece design depicts the title of the text inside square box resting on a lotus flower and surrounded by ornaments, a flaming jewel, other decorations.
A similar design is found on the cover page of text DK.B .E. l . l a, The Jewel Ornament Liberation:
488 For a translation and analysis, see KRAGH (201 3c:390-39 1 ) and the summary of text DK.A.E in chapter five below.
Chapter 4: The Manifold Sayings of Dags po -B ackground and Transmission 1 8 1
The style of these frontispiece designs i s partly reminiscent of the two frontispieces that appear in DK.A (likewise in texts Ka and E), particularly with regard to the flower element beneath the titles. However, aside from the lotus, the decorative parts of the frontispieces of DK.A and DK.B differ. Rather, the various elements of DK.B's frontispieces are very similar to other such designs seen on sixteenth-century xylographs produced in the Mang yul gung thang region in southern Tibet.489 Those xylographs were produced at several different local printeries by publishers and craftsmen who had been educated in the production of the large xylographic printing projects undertaken in the southern region by the Bka ' brgyud teacher Gtsang smyon He ru ka Rus pa'i rgyan can ( 1 452- 1 507).
The style of these frontispiece designs i s partly reminiscent of the two frontispieces that appear in DK.A (likewise in texts Ka and E), particularly with regard to the flower element beneath the titles. However, aside from the lotus, the decorative parts of the frontispieces of DK.A and DK.B differ. Rather, the various elements of DK.B's frontispieces are very similar to other such designs seen on sixteenth-century xylographs produced in the Mang yul gung thang region in southern Tibet.489 Those xylographs were produced at several different local printeries by publishers and craftsmen who had been educated in the production of the large xylographic printing projects undertaken in the southern region by the Bka ' brgyud teacher Gtsang smyon He ru ka Rus pa'i rgyan can ( 1 452- 1 507).