1999. Manuscript LTWA no. 23476. A ‘sDe can’ sample of the brGyad stong pa. TJ 24(2), 29–43. Co-author Nickolai N. Dudka

M anuscript LTW A No. 23476: A JlsDecan" Sample of the brGyad stong pa 1. THE AHASAHASRIKA IN THE CONTEXT OF PRAJNAPARAMITA LiTERATURE The A ~ ta sa h a srika P ra jila p a ra m ita (Mitra 1888; Wogihara 1932-5; Vaidya 1960), in Tibetan S ite s ra b kyi p h a ro l tu p h yin p a b rg ya d sto n g p a , usually cited under the abbreviated title of b rG ya d sto n g p a , is the "Prajnaparamita in Eight Thousand Lines" (Conze 1958; 1973). This sa tra , together with the R a tn a g u f/a sa rrtca ya g a th ti, is assumed by modem scholars to be the textual basis of the Prajnaparamita philosophical system (Conze 1960: 1-10). As to its time of composition, we can infer a date from Lokakl?ema's first Chinese translation, which goes back to 179/80 A.D. (Conze 1960: 19): a translation showing that "the sa tra had already assumed the basic format preserved in the Sanskrit" (Lancaster 1968: 317). Starting from the first centuries of the Christian era, the A $ ta sa h a srika was devotedly expanded into 10,000 (D a sa sa h a srika ), 18,000 (A $ ta d a sa and 100,000 lines (S a ta sa h a srika ). sa h a srika ), 25,000 (P a flca virrtS a tisa h a srika ) This process of expansion of the basic Prajilaparamita literature was followed by a gradual contraction, which eventually reduced the text to a single syllable (E ka k$ a ra ; see the "Appendix"). These works gave rise to a vast exegetical literature. In the Tibetan language, among the commentaries and sub-commentaries, 39 texts are contained in the S h e r p h yin section of the b sT a n 'g yu r (nos.5184 to 5223 in 71). The first Tibetan tradition, congruous with the Indian commentators of the Pala dynasty, styles these root sa tra s as the "six mothers" (yu m d ru g ) and the "eleven sons" (sra s b cu g cig ) respectively (Obermiller 1933: 7; C~ .1960: 17). These are listed in Tsong kha pa's L e g s b sh a d g se r p h re n g (Vot.t~,fo1.6a.2-4) thus: ••.We thank Dr. Kira F. Samosuk, Curator of the Khorakhoto Collection in the Hermitage, S1,Petersburg, for having the material of the manuscript analyzed in the laboratory of that Museum We extend our gratitude to Mr. Gyatsho Tshering, Director of the LTWA, for his support and permission to send some particles of the manuscript for the chemical analysis. Expressions of thanks also to the staff of the Manusctipt Section of the LTWA for their friendly collaboration. The iconological and stylistical remarks on the illuminations are by N. N. Dudkai all the rest is by F. Torricelli. This paper is an occasion to give the first results of an exploratory investigation on the threefold textual tradition of the brGyad stong pa. A more detailed study will see the light in the future. 'o n 'di'i rtsa b a 'i m d o rn a m s g a n g zh e n a / d e la sp yir sh e r p h yo g s la yu m d ru g sra s b e u b d u n zh e s sn g a m a rn a m s kyis b rd J1 b ya s p a la 'b u m [S a ta - b e u g cig ste sra s yu m sa h a srikiiJ n yi kh ri [P a flca virrzS a tisa h a srikiiJ sh e s ra b kh ri p a [D a S a sa h a srikiiJI g iith ii] m a m s yu m [P a flca sa tikiiJI su m [A d h ya rd h a S a tikiiJI yin zh in g ( sh e r p h yin b rg ya p a [T risa tikii In g a p ra jiliip iira m itii-m u kh a JI = V a jra cch e d ikiiJI b e u p a [A rd h a S a tikiiJI yi sg o n ye r gyis ste b e u g cig tsh u l b rg ya p a b rg ya In g a b e u p a In g a p a [P a flca virrzS a tikii- zh u s p a [S u vikriin ta vikriim i-p a ri- g e g cig m a [E kiik$ a rfJI [P ra jtlii-h rd J1 ya J sd u d p a [S a flca ya - b d u n b rg ya p a [S a p ta S a tikiiJlln g a ra b rtsa l rn a m g n o n p rcd ziiJI ka u sh i ka [K a u sika JI iik$ a riiJI sh e r sn yin g kh ri b rg ya d sto n g p a [A $ ttId a S a sa h a srika JI b rg ya d sto n g p a [A $ ta sa h a srikiiJI ni yi g e n yu n g ngu [S va lp - sra s so il With respect to the criterion of this classification, we are informed in detail by Bu ston rin chen grub (1290-1364)in his C h o s 'b yu n g (fo1.70b.3-5; cf. Obermiller 1932: 49) that, according to Dharmamitra (Chos kyi bshes gnyen), the Prajnaparamita literature is focused either (1) on the ultimate truth (p a ra m a rth a : d o n d a m ), that is on emptiness (su n ya ta : sto n g p a n yid ), or on the three gates to liberation (trivim o k$ a m u kh a : rn a m th a r sg o g su m ), and (2) on the eightfold process of clear realization (a b h isa m a ya : m n g o n rto g s b rg ya d ). The first topic is expounded in the P ra jiia -h rd a ya , and so forth. The second is expounded in the S a ta sa h a srika , the most extensive (rg ya s p a sT o n g p h ra g b rg ya p a ), the P a iica vim sa tisa h a srika , the most extensive of the intermediate ('b rin g g i rg ya s p a N yi kh ri ln g a sto n g p a ), the ~ ta d a sa sa h a srika , the intermediate of the intermediate ('b rin g g i 'b rin g K h ri b rg ya d sto n g p a ), the D a sa sa h a srika , the most abridged of the intermediate ('b rin g g i b sd u s p a S h cs ra b kh ri· p a ), the A $ ta sa h a srika , the most extensive of the abridged (b sd u s p a 'i rg ya s p a b rG ya d sto n g p a ), and in the R a tn a g u 1 ;la sa 1 'f'!ca ya g a th a , the most abridged of the abridged (b sd u s p a 'i b sd u s p a Y o n ta n rin p o ch e b sd u d p a ). Thus, while the 11 "sons" concentrate on the essence of the doctrine, the eight forms of a b h isa m a ya dealt with in the six "mothers" are the same eight principal topics of Maitreyanatha's A b h isa m a ya la n ka ra , viz. (1) omniscience (sa rva jiia n a : rn a m m kh ye n ), (2) knowledge of the paths (m a rg a jiia n a : g zh i sh e s), (4) complete : la m sh e s), (3) knowledge of the bases (va stu jiia n a training of all aspects (sa rva ka ra p ra yo g a : rn a m rd zo g s sb yo r b a ), (5) peak training (m u rd h a p ra yo g a : rtse m o 'i sb yo r b a ), (6) serial training (a n u p u rva p ra yo g a : m th a r g yis sb yo r h a ), (7) momentary training (k$ a vika p ra yo g a : ska d cig m a 'i sb yo r h a ), and (8) the D h a rm a ka ya of intuitive knowledge (jn a n a d h a rm a ka ya : ye sh e sch o s sku ). However, while Bu ston's six-fold arrangement is still consistent with the Indian Madhyamika author Dharmamitra (P ra sp h u ta p a d ti, fol.30b.6), who regClrds the R a tn a g u 1 ;la -sa 1 'f'!ca ya g a th a as the most abridged of the abridged Prajnaparamita siitra s: ra b tu b sd u s p a 'p h a g s p a sh e s ra b kyi p h a ro l tu p h yin p a sd u d p a tsh ig s su b e a d p a ... Beginning with Tsong kha pa, this view is not accepted any longer, because the Samcayagatha, the supposed sixth "mother", constitutes chapter 84 of the A$tadasasahasrikti, as we read in the Legs bshad gser phreng (Vol.tsa, fo1.6a.6-b.1): khyad par,du sdud pa khri tJrgyad stong pa dang so sor bgrang ba ni glegs bam tsam yang ma mthong bar stOl1pa yin te/ khTi brgyad stong ba la le'u gya bdun yod pa'i gya bzhi pa (6b) ni sdud pa yin pa ... Accordingly, as we read for instance in the catalogue (dkar ch.ag) of the Phug brag manuscript bKa' 'gyur, titled bKa' 'gyur rin po che'i dkar ch.agsgsal ba'i me long (LTWA no.228, fols.4a.5-5a.6), the Satasahasrikti is still appraised as the most extensive of the "mothers" (yum rgyas pa sTong phrag brgya pa). The three intermediate ones, viz. Paiicavimsatisahasrikti, A$tadasasahasrikti and Dasasahasrikti are classified as the most extensive (yum 'bring po'i rgyas pa sTong phrag nyi shu lnga pa), the intermediate (yum 'bring gi 'bring po Khri brgyad stong pa), and the most abridged (yum 'bring gi bsdus pa Shes rab khri pa), respectively. Only the A$tasahasn'kti is now considered to be an abridged "mother" (yum bsdus pa brGyad stang pa). 2. THE THREEFOLD TEXTIJAL TRADmON OF TIlE BRGYAD STONG PA Regarding the Tibetan translation of theA$tasahasrikti, according to the catalogue of the Phug brag bKa' 'gyur (op.cit., fo1.5b.2),the three versions of the brGyad stong pa included in that edition (Ph-a, Ph-{j, Ph-'Y) would be called i"Phreng ba can", "bZo sbyangs" and "sDe can" (text: bde chen): ... spel ba 'di la yang 'phreng ba can! <gi lea> bzo sbyangs/ <gu kha> bde chen gsuml <go ga> du bzhugs pa'o// Mention of this threefold tradition can be found also in the 5th Dalai Lama Ngag dbang blo bzang rgya mtsho's Tham phud (Vo1.2, fol.25b.2-3): tJrgyad stong pa la 'phreng can! bzo sbyangs/ sde can zhes ming gsum du grags pa 'gyur gyi tshig sna ring thung cung zad /as don la khyad par med pa'i rgyu mtshan 'jig rten gyi mig gcig pu zha lu 10 chen Tin c<h>en chos skyong bzang pos gsungs/ This is confirmed by Jampa Samten (1989: 118, n.10; 1992: 12), who informs us that Zha lu 10 tsa ba Rin chen chos skyong bzang po would have rendered the three Sanskrit words "Seni$ka", "Prakni$ka", and "Sani$ka":as "sDe can", '''Phreng ba can and "bZOsbyangs" respectively. Both the Sanskrit and Tibetan names refer to the non-Buddhist ascetic mendicant (parivrajaka : kun tu rgyu), Sret:\ika Vatsagotra. In the Sarvastivadins' Samyuktagama (no. 105, pp.31c-32), Sret:\ika is taught by the Buddha that the Tathagata cannot be found in the skandhas, not outside them, nor in their absence. In spite of this, Sret:\ika accepts the Tathagata "in a supreme act of faith" (Conze 1973: 72, n.5). Accordingly, the name Sret:\ika occurs three h , times in the 1st chapter of the A$tasahasrika, where Buddha's omniscience (sarvajiiatti : thams cad mkhyen pa nyid) is dealt with. Let us read the beginning of the consistent passage (Vaidya 5.7-9): sa ce n n im itta to g ra h fta vyii a b fia vi~ ya t n a ce h a S re 1 ;ika /:Lp a rivriija ka /:! sra d d h iim a la p sya ta / ta tra hi S re t/ika /:L p a rivriija ka /:! sa rva jfliijiliin e a d h i-m u cya sra d d h J1 n u siirf p riid e sike n a jfliin e n a va tfrJ:lfllJ. ... thus rendered in Conze's translation (1958: 3; 1973: 85): If it could be seized through a sign, then Srel)ika, the Wanderer, would not have gained faith in this our religion. Srcl)ika, the Wanderer, believed resolutely in this cognition of the all-knowing, and as a "faith-follower" he entered on a cognition with a limited scope... In order to identify which of the three versions a brGyad stong pa text is, we must then see how the name SreI:\ika has been translated. On the basis of this criterion, the Phug brag bka' 'gyur actually includes two "'Phreng ba can" versions (Ph-a and Ph-')'), and one "bZo sbyangs" (ph-{3). In fact, the above quotation is rendered in Ph-a (fo1.9b.7) and Ph-')' (fo1.8b.5) as follows: g a l te m tsh a n m a r b zu n g (P h -a t: g zu n g ) la d a d p a r mi 'g yu r ye sh e s 'di la b a zh ig n a / ku n b a r g yu r tu rg yu n a / ku n tu rg yu p h re n g b a ca n 'di p h re n g b a ca n th a m s ca d m kh ye n p a 'i m o s n a s d a d p a s rje s su 'b ra n g zh in g p h yo g s g d g p a 'i ye sh e s kyis zh u g s so ... - This passage, distinctive of the '"Phreng ba can" version, apart from Ph-a and Ph-1', is common to all the bka' 'gyur editions thus far checked: sNarthang (fo1.7a.7), sDe dge (fo1.5a.2), Peking Qianlong (fo1.5b.2), Urga (foI.5a.2), lHa sa (fo1.8a.7 of the Shes rig dPar khang 1st repr.), and the modem reprint of the sTog Palace (fo1.7a.4). The "bZo sbyangs" corresponding passage runs thus in Ph-{3 (fo1.10b.4): g a l te m tsh a n m a r b zu n g b a r g yu r b a zh ig n a / ku n d u rg yu n a / ku n d u rg yu sd e ca n 'di la d a d p a r mi 'g yu r b zo sb ya n g th a m s ca d m kh ye n d a d p a s rje s su yid ra n g s sh in g p h yo g s d g p a 'i ye sh e s p a 'i ye sh e s 'di la m o s n a si kyis zh u g s so ... Other "bZo sbyangs" texts can be found in three manuscripts preserved in the LTWA. One, without access number, is written in gold and silver; the other two, nos.14523 and 23507, are in gold, and in gold and silver respectively. In all three, the name SreI:\ika is more uniformly rendered as "bZo sbyangs" than in Ph-{3where, as we can see in the above quotation, "sDe can" is also used once. As for the "sDe can" version of the brGyad stong pa, the only sample found so far is the LTWA manuscript no.23476, where the "SreI:\ika" passage reads as follows (fol.9a.1): g a l te m tsm m m a r b zu n g b a r g yu r n a / ku n tu rg yu sd e ca n 'd i la d a d p a r mi 'g yu r b a zh ig n a / ku n tu rg yu sd e ca n th a m s ca d m kh ye n p a 'i ye sh e s 'd i la m o s n a si d a d p a 'i rje s su 'b ra n g zh in g p h yo g s g cig p a 'i ye sh e s kyis zh u g s so ... The long colophon of the" 'Phreng ba can" version (cf. Chattopadhyaya 1967: 360-61; 499-500), informs us that the brGyad stong pa was translated (bsgyur), revised (zhus) and edited (gtan la phab) by the Indian doctor (mkhan po : upadyaya) Sakyasena, by Jnanasiddhi, and by the great reviser and translator (zhu chen gyi 10 tsa ba), the venerable (ban de : vandya) Dharmatasna, among others. Again, by command (bkas) of the mighty lord, the King dPal lha btsan po bkra shis lha sde btsan of Tibet, the Indian doctor Subha!:iita with the monk Rin ch en bzang po, a "linguist" (sgra bsgyur) and 10 tsa ba, translated it in conformity with the commentary ('grel pa dang mthun par; Haribhadra's Abhisamayalankiiraloka, TT no.5189, Subha!:iita and Rin chen bzang po transl.). Again, it was restored (bcos), revised and edited by the Indian doctor and great pa1J.t;litaDi:parpkara Snjftana (Atlsa) with the great reviser and 10 tsa ba, the monk Rin chen bzang po, on the basis of (gtugs) a commentary from the Central Land (yul dbus : Magadha). Once again, while the great pal:u#ta Di:parpkara Sri:jnana and the 10 tsa ba 'Brom rGyal ba'i 'byung gnas were expounding (bshad) the brGyad stong pa at sNye thang Na mo che of Kyi smad, the two edited the major part of it. Then, in the Ra sgreng monastery, the 10 tsii ba 'Brom rGyal ba'i 'byung gnas, on the basis of three Indian manuscripts of the sutra, edited it for the second time. Again, the same venerable 10 tsa ba prepared an explanation and edited small portions of it. Some time later, the great 10 tsii ba and Sakya monk Blo ldan shes rab, having collected (bsags) many Kasl\miri and Magadhi manuscripts, edited it. Once again, the great All-knower of the Kaliyuga (snyigs dus kyi thams cad mkhyen pa), Zha lu 10 tsa ba the glorious Rin chen chos skyong bzang po, revised and edited many Indian and Tibetan manuscripts which were not fully correct. The only colophon of the "bZo sbyangs" version thus far discovered is in the LTWA manuscript no.14523 (foI.296a.7). In it only the first three names occurring in the "'Phreng ba can" colophon are listed: Sakyasena (text: Shag kya se na), Jftanasiddhi CgNyan na si tz), Dharmatasna (Dar rma ta shi la), and others «(la) sags pa). As for the colophon o f the "sDe can" manuscript LTWA no.23476 (fol. 350a.8), it tells us that the Indian doctor Kamalasna and the great reviser and translator, the venerable dPal (b)rtsegs, translated, revised and edited it. Later, the scholar Dharmasnbhadra and the great reviser and 10 tsii ba, the monk Rin chen bzang po further restored and edited: rg ya g a r gyi m kh a n p o ka m a la sh i la d a n g l zh u ch e n g yi la tsh tsa b a b a n d e d p a l rtse g s kyi sg yu r d n g zh u s te M a n la p h ilb p a !a s sla d kyi p h a n ti ta d h a rm a sh ri b ra tra dang/ zhu chen gyi ID tsha ba dge slong Tin chen bzang pos legs par beDS te shing btan la phab pa'o// If we compare the three colophons, scheme: "'Phreng ba can" we can trace out the following "bZo sbyangs" "sDe can" (those mentioned in Ph-a after Zha lu,lo tsa ba are omitted) (LTWA no.14523) (LTWA no.23476) Sakyasena Jfianasiddhi DharmamsIla, etc. Sakyasena Jfianasiddhi DharmatasIla, etc. dPal brtsegs Subhiiliita Rin chen bzang po KamalaSlla DharmaSribhadra Rin chen bzang po DlPaIllkara Srijfiana Rin chen bzang po DlPaITlkara Srijfiana 'Bram rGyal ba'i 'byung gnas 'Bram rGyal ba'i 'byung gnas 'Bram rGyal ba'i 'byung gnas Blo Idan shes rab Rin chen chos skyong bzang po On the basis of the above outline of Indian pa1;lt,iitas,Tibetan 10 tSt! bas and revisers connected with the brGyad stong pa, and the fact that Jnanasiddhi is mentioned among the first translators, we may reasonably assume that the history of the" 'Phreng ba can" textual tradition begins in the period of the earlier diffusion of Buddhism (snga dar) in Tibet, during the time of the Dharmaraja Khri srong lde btsan (754-797).Jnanasiddhi (Ye shes grub pa) of ICe, was in fact "one who had entered into the King's favour (rgyal po'i bID thub byas)", as stated by Bu ston's "Request to the Master Byang chub rgyal mtshan" (Tucci 1949:673). According to the same document, he was sent by Khri srong lde btsan to invite Santar~ita and Padmasambhava, or only the latter according to Bu ston's Chos 'byung (Obermiller 1932: 189). Also, the great reviser and 10 tsii ba ban de Dharmatasila is known to us as one of the compilers of the Mahavyutpatti who, at the invitation of the Dharmaraja RaJ pa can (815/7-836/8),revised the Buddhist texts so far translated (Obermiller 1932: 196-97; Dudjom 1991, 11:522). The further development of the" 'Phreng ba can" version of the brGyad of the later diffusion (phyi dar), as it hinges on the activity of Rin ch en bzang po (958-1055) and Dlpatrlkara Srljfi.ana Ansa (982-1054). The latter's disciple, 'Brom ston rGyal ba'i 'byung gnas (1003-1064), followed by rNgog la tsa ba Blo ldan shes rab (1059-1109), and then Zha lu la tsa ba Rin chen chos skyong bzang po (1441-1528),Bu ston's successor and abbot of Zha lu, concluded the task. Not much can be inferred from the unique colophon of the "bZa sbyangs", apart from the fact that it apparently has the same origin as the "'Phreng ba can", and that it did not have any further evolution. The tradition of the "sDe can" also originated at the time of King Khri srong lde btsan as well, with two well-known savants of that generation. The former, KamalaSila (713-763), a disciple of the Madhyamika master Santarak!;;ita, is the gradualist Indian "hero" of the Council(s) of Tibet. The latter, the great translator sKa ba dPal brtsegs (Srikuta), is one of the compilers of the catalogue of the books kept in the sTong thang ldan dkar castle, the Pha brang stad thang ldan dktlr gyi bktl' dang bstan bcos 'gyur ro cog gi dkar chag, preserved in the bsTan 'gyur (TT no.5851). For this lOan dkar Catalogue, in which the brGyad stang pa is listed as well (Lalou 1953: 319, no.5), the probable date of 812 has been proposed by Tucci (1958: 46). The development of the "sDe can" tradition of the brGyad stang pa seemingly ends with Rin chen bzang po, before Ansa's coming to Tibet in 1042. stang pa starts at the very beginning 3. MANUSCRIPT L TWA No.23476 The codex itself is a manuscript in gold and silver (gser dngul spel bris ma). It is a bundle of loose leaves in the oblong format (pod) of thick paper smoothed and made black, wrapped in an elegant damask cover (dpe ras). The folios, numbered 1a-350a with the volume letter ktl on the left margin, have the size of c. 64 x 22 cm (written surface: c. 44 x 13). Fo1.1a bears no title. Fol.1b has one line in gold, "rgya gar sktld du", with two lateral illuminations of c. 9.3 cm (width) x 10.2 cm (height). Fol.2a has three lines in gold; fols.2b-3a, four lines in gold; fols.3b-4a, five lines in gold and silver; fols.4b-5a, six lines gls; fols.5b-6a seven lines gls; fols.6b349b eight lines gls. Fo1.350a has nine lines gls, with the last two lines in smaller script, and two lateral illuminations of c. 9 x 12.5 cm. The text, written in a fine dbu can script, does not show any paleographic and orthographic archaism. Far more interesting are its four illuminations, which reveal the steady hand of a mature artist. Illumination no.1 (fol.1b, left) presents the Buddha Sakyamuni in the earth-witness gesture (bhumisparsamudrii), sitting in the diamond posture (vajrasana) on a lion throne (sirrzhasana). He is attended by two standing disciples, namely the two Arhats Sariputra and Maudgalyayana. The Buddha is dressed in a monk's deep red robe, garnished with simple golden floral moti~s. The colour of the body is golden yellow. He is sitting upon a pale blue cushion, placed on a multicoloured throne. From the center of the cushion, a soft curtain hangs down: the inner portion, which is red and decorated with geometrical designs, is surrounded by green; a white lion at each side stands looking outward. Behind Sakyamuni there are two halos: a circular one-light blue-around the head, and an oval one-green and ornamented with dark blue scrolls-around the body. The two attending disciples, dressed in the same red monk's robes, show a pink complexion and keep a golden bowl (p tU ra ) in the right hands and a golden staff (kh a kkh a ra ) in the left ones. The background of all the three figures is a red circular halo delightfully animated with traditional arabesque motifs. Illumination no.2 (fol.1b,right) shows the Bodhisattva Maitreya with the sitting in va jra sa n a on a gesture of giving teachings (d h a rm a ca kra m u d ra ), lion throne. He is attended by two standing Bodhisattvas slightly leaning towards him. Maitreya is diademed and bejewelled with all the ornaments of S a m b h o g a ka ya : crown, ear-pendants, two kinds of necklaces, bracelets, armlets, and anklets. It is worth noticing that, while the right bracelet has been finished with gold, the left one, the armlets and the anklets have been just outlined in brown colour. From his shoulders a beautiful light blue scarf drops and coils around his arms. He holds two lotus stems supporting his two symbols on a level with each shoulder. On the left stem is a wheel (ca kra ), representing the turning of the Wheel of the Law. On the right is a water vase (kalaSil) which is, from the very beginning, one of the distinguishing marks of the future Buddha (Torricelli 1994).His upper body is unclad and he wears a greenish skirt (d h o tz) beautified with golden ornaments. His waist is fastened by a white belt (m e kh a la ) lavishly falling to a blue cushion slightly shadowed from below. The throne of Maitreya is a replica of the sirrzh a sa n a of the previous picture. The two halos are similar as well, but the colours are different: the small circular one is green, and the big oval one is green-blue. The attending Bodhisattva to our left is Avalokitesvara. He is white and holds in his right hand the stalk of a lotus flower (p a d m a ). The other is VajrapaQ.i.He is sky-blue and keeps a lotus stem supporting an adamant sceptre (va jra ). Both of them wear transparent d h o tis, and are adorned with the ornaments of the S a m b h o g a ka ya , which have been painted in great detail with gold colour and brown outlines. The background of the three figures is exactly the same as the one previously described. Looking at the overall effect of these two illustrations on the first folio, we could speculate that if the former illumination represents the N irm a IJa ktiya level of the historical Teacher with two of his Students, and the latter one the future Teacher and two of his retinue in the S a m b h o g a ktiya , the P ra jfitip tira m ita text itself characterizes the D h a rm a ktiya . Illumination no.3 (fo1.350a,left) shows a carriage seemingly pulled by a horse, the harnessed green head of which is visible on the right. In the foreground we can see three big yellow-rimmed wheels, which are drawn irregularly, perhaps to suggest the motion of the vehicle. Their outer circles are decorated with blue petal-like spokes, while the inner red circles include some geometrical motifs. Three sinuous girls of different complexions-white, grey and yellowbut equally adorned are 'on the cart, the right yellow one being bigger and apparently supported by a white cloud. Above them, two other heavenly figures-yellow and green-are wearing Bodhisattva ornaments and floating upon grey clQuds. All five of these figures are making gestures of worship (n a m a sktira ). As for the yellowish structure on the upper left side of the picture, we can guess that the artist wanted to suggest a heavenly mansion surrounded by a garden painted in a quite realistic manner. We distinguish in fact a green tree and some foliage against a vividly red background ornamented by charming flower decorations. The structure of the illumination no.4 (fo1.350a,right) is similar to the second one on the first folio. It shows in fact a seated Bodhisattva in d h a rm a ca kra m u d ra , but here his ornaments are decorated with greater care. He is attended by two standing Bodhisattvas-white and green-in an elegantly ornate red background. The group is situated now on three flowers (p a d m a sa n a ), the biggest of which has silver petals. While the main Bodhisattva is supported by the biggest flower, the attendants stand on two smaller ones. Both hold in their right hands a lotus stalk. Dressed in diaphanous d h o tis, they are adorned with the ornaments of the S a m b h o g a ka ya , painted in great detail with gold colour and brown outlines. The floral decoration, which takes the lower third of the picture, has been interpreted by the artist in a very elaborate and "personal" way. Here we can see two red-yellowish blossoms immediately below the biggest one, and two daisy-like flowers, with white petals and orange buds underneath. The space in between is richly filled with stylized leaves. It is reasonable to suggest that these two last pictures illustrate the tale of the Bodhisattva Sadaprarudita (rTag tu ngu) in quest of Bodhisattva Dharmodgata (Chos 'phags) and the latter's Prajnaparamita teaching: a "late a va d iin a " (Conze 1960: 4) which is in chapters 30 and 31 of the ~tasiihasrikii. Let us read two passages 1973: 288 ff.) that could. be relevant describes the carriage procession of daughter with her followers going Dharmodgata (cf. Vaidya 249.10-16): in Conze's translation (1958: 212 ff.; to our illuminations. The former Sadaprarudita and the merchant's to Gandhavati, the residence of ... She [the merchant's daughter) took five hundred carriages and ordered her five hundred servant girls to get ready. She took abundant riches, and ample provisions, mounted one carriage together with the Bodhisattva Sadaprarudita, and proceeded East, surrounded by the five ,hundred maidens on their five hundred carts, accompanied by a huge retinue, and preceded by her parents. After some time the Bodhisattva Sadaprarudita saw the city of Gandhavati from afar ... The latter passage gives us some hints to appreciate the function of the impressive floral decoration below the seated Bodhisattva, allowing us to identify him as Dharmodgata himself (Vaidya 250.25-251.1): ... They then worshipped the Bodhisattva Dharmodgata by scattering flowers, etc., over him, and played heavenly music on their instruments--motivated by a desire to worship dharma. The flowers then rose high above the head of the Bodhisattva Dharmodgata and formed a pointed tower of flowers. And those flowers of various colours, golden and silvery, stood high in the air, like a canopy ... A comparable image of Dharmodgata is on foUb (left) of vol.kha of the sDe dge bKa' 'gyur edition of the A$tiidasasiilzasrikii (Kolmas 1978: 124). Here the Bodhisattva is alone, seated on a padmtisana, with two big bunches of flowers on a level with each shoulder. Regarding the style of these illuminations, we could consider them an early example of the Nepali influenced manner of Tibetan painting. Another good instance of it can be found in the inner side of a 13th century manuscript cover preserved in the British Museum, which has been described and discussed by W. Zwalf (1985: 137, Plate 190), P. Pal (Pal & Meech-Pekarik 1988: 163-64), and M. M. Rhie (Rhie & Thurman 1991: 314-15, no.122). Its style has been labelled as "Sakyapa" by Pal (Pal & Meech-Pekarik 1988: 163 ff.) because, ... from their very beginning, the Sakyapa establishments were partial to Nepali artists and, hence, the early works of this school through the sixteenth century reveal the unusually strong influence of the Nepali aesthetic ... (ibid.) Such a manner is characterized by "red as predominant colour", "strictly linear definition of form", and "a profusion of subtle, densely packed stylized scrollwork in the background that animates the otherwise formal and somewhat rigid symmetry of the composition" (pal 1988: 62-3). According to Dr. Samosuk of the Hermitage, the paper of the manuscript has been made from bamboo. Since it contains also traces of rice hay with whorl nervations, it is possible to date this material before the procedure for eliminating these nervations was generally adopted, around the 13th century. Furthermore, on the basis of a stylistic investigation, Dr. Samosuk would date the illuminations of manuscript LTWA no.23476 to the 13th century. References Bethlenfalvy, G., A catalogue of the Urga Kanjur - in the Prof. Raghuvira Collection at the International AcademY'of Indian Culture, New Delhi, 1980. Bethlenfalvy, G., A Hand-List Of the Wan Bator Manuscript of the rGyal-rtse Them sPans-ma, Budapest, 1982. Bu ston rin chen grub, Chos 'byung, = bDe bar gshegs pa'i bstan pa'i gsal byed chos kyi 'byung gnas gsung rab rin po che'i mdzod, in The Collected Works of Bu ston, Vol.ya, ("Sata-pitaka Series", Vol.64), New Delhi, 1971, pp.633-1056, (Engl. transl. E. Obermiller 1932). Chattopadhyaya, A., Atf~a and Tibet, Calcutta, 1967 (repr. Delhi, 1996). Conze, E., A$tastIlUlsrika Prajflt1pdramitd, translated into English by E. Conze (The Perfection of Wisdom in Eight Thousand Slokas, Calcutta, 1958. __ , The Prajflt1paramita Literature, 's-Gravenhage 1960 (rev. ed. Tokyo, 1978). __ , The Perfection of Wisdom in Eight Thousand Lines & its Verse Summary, translated by Edward Conze, (new ed. of Conze 1958) Bolinas, 1973 (rev. ed. 1975). Dharmamitraj'rasphu!apadd=AbhisamaydlarrtkiIra-karika-prajflt1paramita-upadesa-~astratfk1I-prasphu!apada,Tshig-le'ur byas-pa'i 'grel-bshad tshig rab-tu gsal-ba, IT no.5194. Dudjom = bDud-'joms Jigs bral Yes shes rdo rje, The Nyingma School of Tibetan Buddhism: Its Fundamentals and History, Boston, 1991. Eimer, H, "The Position of the 'Jan Sa tham/LithangEdition Within the Tradition of the Tibetan Kanjur", in H Eimer ed., Indology and Indo- Tibetology: Thirty Years of Indian and Indo-Tibetan Studies in Bonn (lndica and Tibetica 13), Bonn, 1988, pp.43-52. Jarnpa Samten Shastri, "Preliminary Notes on the Phug-brag bKa'·' gyur: A Unique of the Tibetan Buddhist Canon", in Tibetan Studies. Proceedings of the 5th Seminar of the International Association for Tibetan Studies - Narita 1989, Naritasan Shinshoji, 1992. __ , Phug-brag bKa'-'gyur bris-ma'i dkar-chag: A catalogue of the Phug-brag Manuscript Kanjur, Dharamsala, 1992. Kolmas, J., The Iconography of the Derge Kanjur and Tanjur, New Delhi, 1978. Lalou, M., "Les textes bouddhiques au temps du Roi Khri-sron-Ide-bcan", Journal Asiatique, CCXLI, 1953, pp.313-53. Lancaster, L., An Analysis of the A$!asahasrika-prajflt1paramitd-sutrafrom the Chinese Translations, Dissertation, Wisconsin University, 1968. Maitreyanatha,Abhisamayalarrtkara =AbhisamaydlarrtkiIra-nama-prajiitlpdramita-upadeSa~iistra-karika, Shes rab kyi pha 1 '0 1 tu phyin pa'i man ngag gi bstan bcos mngon par rtogs pa'i rgyan zhes bya ba'i tshig le'ur byas pa, IT no.5184. Mibu, 1., "A Comparative List of the Bkal:t-l:tgyur Division in Co-ne, Peking, Sdedge and Snar-than Editions", TaisM Daigaku Kenkya Kiyo, XLIV, Tokyo, 1959, pp. 1-69. Mitra, R., ed., ~tast1hasrilaI prajfltiparamitiisi1tra, Calcutta, 1888. Ngag dbang blo bzang rgya mtsho, Tham phud, in Thams cad mkhyen pa lnga pa chen po'i gsung 'bum, VoLtsa. Modem photostat: Sku gsun thugs gsar bzheils rin po che'i mdlOd rdzas khan bzan gi dkar chag diln tham phud deb khrims yig gi 'go rgyans sde bzhi sgo 'phar phye ba'i skal bzaiz. A collection of records and histories of newly constructed Buddhist images, canonical texts, temples, stupas etc., registers of religious donations, religious and secular edicts and proclamations, etc. by the Fifth Dalai Lama Nag-dba1i-blo-bzan-rgya-mtsho, Vo1.2, reproduced from Lhasa prints from the library of Tsepon W. D. Shakabpa, New Delhi, 1974. Obermiller, E., Bu-ston's History of Buddhism, Heidelberg, 1932 (repr. Delhi, 1986). __ , "The Doctrine of the Prajfiaparamim as exposed in the Abhisamayalarnkara of Maitreya", Acta Orientalia, XI, 1933, pp.I-133, 334-54 (n. ed. Prajfliiparamita in Tibetan Buddhism, H. S. Sobti ed., Delhi, 1988). Otani = A Comparative Analytical Catalogue of the KJlnjur Division of the Tibetan Tripitaka, Sakurabe ed., Kyoto, 1930-32. Pal, P., Tibetan Paintings: A Study of Tibetan Thankas Eleven to Nineteenth Centuries, New Delhi, 1988. Pal, P., J. Meech-Pekarik, Buddhist Book Illuminations, New York, 1988. PPL = Conze 1960. Rhie, M. M., R. A. F. Thurman, Wisdom and Compassion: The Sacred Art of Tibet, (Exibition at the Asian Art Museum of San Francisco, April 17, 1991- December 28, 1991) New York, 1991. Saito, K., "Kawaguchi Ekai-shi ShOrai Toyo Bunko-shozo Shahon Chibetto Daizokyo Chasa BiM", TaisM Daigaku Kenkya Kiy{j, LXIII, 1977, pp.406-45. Skorupski, T., A Catalogue of the sTog Palace KJlnjur, Tokyo, 1985. Takasaki, J., A Catalogue of the Lhasa Edition of the Tibetan Tripitaka - in Comparison with other Editions, Tokyo, 1%5. Tohoku = A Complete Catalogue of the Tibetan Buddhist Canons (Bkatz-tzgyur and Bstantzgyur), H. Di, M. Suzuki, Y. Kanakura, T. Tada eds., Sendai, 1934. Torricelli, F., "Some Notes on the Maitreya Image in Western Ladakh", The Tibet Journal, XIX, I, 1994. Tsong kha pa, Legs bshad gser phreng = Shes rab kyi pha rol tu phyin pa'i man ngag gi bstan beos mngon par rtogs pa'i rgyan 'grel pa dilng bcas pa'i rgya cher bshad pa'i legs bshad gser phreng, Tashilunpo edition, vols. tsa, tsha. IT = The Tibetan Tripitaka, Peking Edition, D. 1. Suzuki ed., Tokyo 1955-61. Tucci, G., Tibetan Painted Scrolls, Rome, 1949. __ ., Minor Buddhist Texts. Il, Rome, 1958. Vaidya, P. L., ed., A$tast1hasrilaIPrajfliiparamita - With Haribhadra's Commentary Called Aloka, Darbhanga, 1960. Wogihara, u., ed., Abhisamayalarrzko.riilolaIprajfltiparamitavyakhya,Tokyo, 1932-35. Zwalf, W., (cd.) Buddhism Art and Faith, ("British Museum Publications") London, 1985. Appendix T h e P ra jfliip iira m itii L ite ra tu re in T ib e ta n T ra n s la tio n The titles of the Prajii.aparamita root texts still extant in Tibetan are listed here in the order given by Edward Conze (1960: 31-92). A concordance/follows among various b K il' 'g yu r editions, arranged in chronological order (Eimer 1988: 44-5): UB = Ulah Bator Manuscript, kept in the State Library, Ulan Bator, 15th cent.? (Bethlenfalvy 1982); Ph = Phug brag Manuscript, in the LTWA, Dharamsala, 1696/1706 Oampa Samten 1992); sT = sTog Palace Manuscript, in the royal palace of sTog, Ladakh, early 18th cent. (Skorupski 1985); C = Co ne blockprint, 1721-31 (Mibu 1959); N = sNar thang blockprint, 1730-32 (Saito 1977); D = sDe dge blockprint, 1733 (Tohoku); Q = Peking Qianlong blockprint, 1717-20/1737 (Otani, TT); T = Kawaguchi Collection Manuscript, in the Toyo Bunko, Tokyo, 1858-78 (Saito 1977); U = Urga blockprint, 1908-10 (Bethlenfalvy 1980); H = IHa sa blockprint, 1934 (Takasaki 1965). Reference in brackets to the title number in Conze's P ra jfliip iira m itii L ite ra tu re (P P L ) is provided as well. S a ta siih a srikii-p ra jfliip iira m itii (S a ta siih a srikii); p h ra g b rg ya p a (sT a n g p h ra g b rg ya p a , 730; T 9; U 8; H 9 (P P L or 'B u m ); lcyi p h a ra l tu p h yin p a sta n g UB 8; Ph 7; sT 9; C 999; N 9; D 8; Q S h e s ra b 1 ); P a fle a vim sa tisiih a srikii-p ra jfliip iira m itii (P a flca vim sa tisiih a srika ); (Nyi kh ri ln g a sta n g sT 12; C 1000; N 10; D 9; Q 731; T 10; U 9; H 10 (P P L p h yin p a sta n g p h ra g n yi sh u ln g a p a (A rya )- A $ tiid a S a siih a srikii-p ra jfliip iira m itii-n iim a ('P h a g s p a ) S h e s ra b kyi S h e s ra b kyi p h a ro l tu or Nyi kh ri); UB 9; Ph 8; 2 ); m a h iiyiin Jl-sa tra (A $ tiid a S a -siih a srikii); p h a ra l tu p h yin p a kh rid b rg ya d sta n g p a zh e s b ya b a th e g p a ch e n p a 'i m d a (K h ri b rg ya d sta n g p a ); U 10; H 12 (P P L pa, UB 10; Ph 9; sT 13; C 1027; N 11; D 10; Q 732; T 11; 3 ); (A rya )- D a S a stih a srikii-p ra jfliip iira m itii-n iim a -m a h iiyiin Jl-su tra (D a S a siih a s rikii); ('P h a g s p a ) kyi p h a ra l tu p h yin p a kh ri b a zh e s b ya b a th e g p a ch e n p a 'i m d a (S h e s ra b kh ri p a ); UB 11; Ph 10; sT 14; C 1028; N 12; D 11; Q 733; T 30; U 11; H 13 (P P L 4 ); (A rya )-A ~ ta sa h a srikii-p ra jfliip a ra m ita (A ~ ta siih a srikii); (,P h a g s p a ) S h e s ra b kyi p h a ra l tu p h yin p a b rg ya d sta n g p a (b rG ya d sta n g p a ); UB 12; Ph 11; sT 15; C 1001; N 13; D 12; Q 734; T 31; U 12; H 11 (P P L 5 ); (A rya )- P ra jfliip iira m ita -ra tn Jlg u va -sa flca ya g iith ii (R a tn a g u va -sa flca ya g iith ii, or S a flca ya S h e s ra b g iith a ); ('P h a g s p a ) S h e s ra b kyi p h a ra l tu p h yin p a b sd u d p a tsh ig su b e a d p a (S h e s ra b lcyi p h a ra l tu p h yin p a ya n ta "! rin p a ch e b sd u d p a , or b sD u d C 1002; N 17; D 13; Q 735; T 15; U 13; H 17 (P P L Sa); (A rya )-S u vikra n ta vikra m ip ra jfliip iira m itii, lcyi or p a rip rce h ii-p ra jfliip a ra m ita - S u vikra n ta vikra m i-p a rip rce h ii, n ird e § a p a ); UB 16; Ph 12; sT 19; (S iird d h a d vi -siih a srikii- or S iird d h a d visiih a srikii); rtsa l g yis T n Jlm p a r g n a n p a s zh u s p a sh e s ra b kyi p h a ra l tu p h yin ('P h a g s p a ) R a b p a b sta n p a (S h e s p a ra b rtsa l gyi T n Jlm p a r g n a n p a s zh u s p a , or R a b rtsa l T n Jlm UB 13; Ph 15; sT 16; C 1003; N 14; D 14; Q 736; T 12; U 14; H ra b kyi p h a ra l tu p h yin g n a n g yis zh u s p a ); 1 4 (P P L 6 ); or m a h iiyiin Jl-su tra (M tl1 1 ju srf-p a riva rta , lcyi p h a ra l tu p h yin p a b d u n b rg ya p a zh e s b ya b a th e g p a ch e n p a 'i m d a (b D u n b rg ya p a ); UB 14, 77; Ph 17, 77; sT 11-46, 17; C 1004, 1029-46; N IS, 78; D 24, 90; Q 737, 760-46; T 13; U 24; HIS, 90 (P P L 7 ); (A rya )-S a p ta S a tikii- n a m a -p ra j1 la p iira m itii- S a p ta S a tikti); ('P h a g s p a ) S h e s ra b (A rya )-P a flca sa tikil-p ra jfla p iira m itii p h yin p a In g a b rg ya p a (lN g a 738; T 14; V 15; H 16 (P P L (P a flca S a tikil); b rg ya p a ); (,P h a g s p a ) S h e s ra b kyi p h a ro l tu VB 15; Ph 16; sT 18; C 1005; N 16; D 15; Q 7a); (A rya )- V a jra cch e d ikil-n iim a -p ra jfla p iira m itii-m a h iiyiin a -su tra (V a jra cch e d ikil,o rT risa tikii); (,P h a g s p a ) S h e s ra b kyi p h a ro l tu p h yin or g S u m b rg ya 739; T 16; V 16; H 18 (P P L 8 ); m d o (rD o rje g co d p a , p a rd o rje g co d p a zh e s b ya b a th e g p a ch e n p o 'i p a ); VB 17; Ph 14; sT 20; C 1006; N 18; D 16; Q (A rya -b h a g a va tf)-P ra jfla p iira m itii-p a flciiS ikil (A rd h a S a tikil, or P a flciisikil); ld a n 'd a s m a sh e s ra b kyi p h a ro l tu p h yin p a In g a b cu p a (S h e r p h yin b cu p a ); ('P h a g s p a ) b C o m ln g a b cu p a , VB 20; Ph -; sT 23; C 1007; N 21; D 18; Q 740; T 19; V 18; H 21 (B h a g a va tf)-P ra jfla p iira m itii-h rd a ya (P ra jfla -h rd a ya ); or IN g a (P P L 9 ); (b C o m ld a n 'd a s m a ) S h e s ra b kyi VB 25, 557; Ph 13, 672; sT 28,490; C 165; N 26, 475; D 21, 531; Q 160; T 24, 484; V 21, 531; H 26, 499 (P P L 1 1 ); p h a ro l tu p h yin p a 'i sn yin g p o (S h e s ra b sn yin g P a flca p a ra m itiin ird e sa -n a m a -m a h iiya n a -su tra ; b a th e g p a ch e n p o 'i m d o ; p o ); P h a ro l tu p h yin p a In g a b sta n p a zh e s b ya VB 270; Ph 352; sT 221; C 820; N 167; D 181; Q 848; H 182 (P P L 1 4 ); S h e s ra b kyi p h a ro l VB 18, 515; Ph 21, 484; sT 21; C 124; N 19,439; D 17,489; Q 121; T 17,442; V 17,488; H 19,455 (P P L 1 7 ); S va lp iik$ a rii-p ra jfla p iira m itii (S va lp iik$ a rii); S h e s ra b kyi p h a ro l tu p h yin p a yi g e n yu n g n g u zh e s b ya b a th e g p a ch e n p o 'i m o o (Yi g e n yu n g n g u ); VB 23, 556; Ph 19; sT 26; C 164; N 24, 474; D 22, 530; Q 159; T 22, 483; V 22, 530; H 24, 498 (P P L 1 8 ); K a u S ika -p ra jfla p a ra m itii; S h e ~ ra b kyi p h a ro l tu p h yin p a K o 'u sh i ka ; VB 22, 580; Ph 18; sT 25; C 178; N 23,488; D 19,554; Q 173; T 21, 507; V 19,555; H 23, 512 (P P L 19); P ra jfla p iira m ita -n a ya -sa ta p a flciiS a tikil tu p h yin (A d h ya rd h a S a tila i, or N a ya ); p a 'i tsh u l b rg ya ln g a b cu p a (T sh u l b rg ya In g a b cu p a ); (A rya )-P ra jfla p iira m ita -su rya g a rb h a -m a h iiya n a -su tra ; p h yin p a n yi m a 'i sn yin g p o 'i th e g p a ch e n p o 'i m d o ; D 26; Q 742; V 26; H 27 ('P h a g s p a ) S h e s ra b kyi p h a ro l tu VB 26; Ph 23; sT 29; C 1009; N 27; (P P L 2 0 ); (A rya )-C a n d ra g a rb h a -p ra jfla p a ra m itii-m a h iiyiin a -su tra ; kyi p h a ro l tu p h yin p a th e g D 27; Q 743; U 27; H 28 (P P L ra b p a ch e n p o 'i m d o ; ('P h a g s p a ) Z la b a 'i sn yin g p o 2 1 ); (A rya )-P ra jfla p iira m ita -sa m a n ta b h a d ra -m a h iiyiin a -su tra ; tu p h yin p a ku n tu b za n g p o th e g p a ch e n p o 'i m d o ; D 28; Q 744; U 28; H 29 (,P h a g s p a ) S h e s ra b kyi p h a ro l VB 28; Ph 25; sT 31; C 1011; N 29; (P P L 2 2 ); (A rya ).P ra jfla p a ra m ita -va jra p a vi-m a h t1 ya n a -su tra ; p h yin p a lilg n a rd o rje 'i m d o th e g p a ch e n p o ; Q 745; U 29; H 30 sh e s VB 27; Ph 24; sT 30; C 1010; N 28; ('P h a g s p a ) S h e s T a b kyi p h a ro l tu UB 29; Ph 26; sT 32; C 1012; N 30; D 29; (P P L 2 3 ); (A rya )-P ra jfla p a ra m ita -va jra ke tu -m a h iiyiin a -su tra ; ('P h a g s p a ) S h e s ra b kyi p h a ro l tu p h yin p a rd o rje rg ya l m tsh a n g yi m d o th e g p a ch e n p o ; 31; D 30; Q 746; U 30; H 31 UB 30; Ph 27; sT 33; C 1013; N (P P L 2 4 ); P ra jfla p a ra m ita .n iim a -il$ fa S a ta ktI; S h e s ra b kyi p h a ro l tu p h yin p a 'i m tsh a n b rg ya rtsa b rg ya d p a ; UB 19, 579; Ph 22; sT 22; C 177; N 20, 487; D 25, 553; Q 172; U 25, 554; H 20, 511 (P P L 2 5 ); S h e s ra b kyi p h a ro l tu p h yin p a 'i sg o n yi sh u (sGo n ye r In g a p a ); UB 24, 518; Ph -; sT 27; C 127; N 25, 444; D 20, 491; Q 124; T 23, 445; U 20, 490; H 25, 460 (P P L 2 6 ); P a flca vim S a tiktI-p ra jfla p a ra m ita -m u kh a ; rtsa In g a p a B h a g a va tf-p ra jfld p iira m itii-sa rva -ta th a g a ta -m a tii-e ka lc$ a rii-n a m a (E ka k$ a n -m a tti-n a m a - sa rva -ta th a g h a ta -p ra jflt1 p iira m itii, or E kiik$anJ; h e a m ld a n 'das m a sh e s ra b Icyi p h a ro l tu p h yin p a d e h zh in g sh e g s p a th a m s ca d Icyi yu m yi g e g cig m a zh e s b ya h a (D e h zh in g S h e g s p a th a m s ca d Icyi yu m sh e s ra b Icyi p h a ro l tu p h yin p a yi g e g cig m a zh e s h ya h a , or Yi g e g cig ma);UB 21; Ph 20; sI 24;C 1008; N 22; D 23; Q 741; I 20; V 23; H 22 (P P L 3 2 ); D h a rm a ca kra -p ra va rta n a -su tra ; Chos 1 cyi 'kh o r 10 ra h tu h sko r h a 'i m d o ; UB 335; Ph -; sT 289; C 1014; N 347; D 31; Q 747; T 286; V 31; H 32 (P P L p.25, no. 1); ]tita ka -n id 4 n a ; sKyes p a ra b s 1 cyig le n g g zh i; VB 336; Ph -; sT 290; C 1015; N 348; D 32; Q 748; T 287; V 32; H 33 (P P L p.25, no.2); A ttiltiitfya -su tra ; lC a n g 10 ca n Icyi p h o lJra n g g i m d o ; VB 337; Ph -j sT 291; C 1016; N 349; D 33, 1061; Q 749; I 288; V 33; H 34 (P P L p.25, no.3); M a h a sa m a ya -su tra ; 'Dus p a ch e n p o 'i m d o ; VB 338, 678; Ph -; sT 292, 6 0 9 j C 337, 1017; N 350; D 34, 653; Q 332, 750; T 289, 604; V 34, 654, 1064; H 35 (P P L p.25, n o .4 )j M ilitrf-sa tra ; B ya m s p a 'i m d o ; VB 3 3 9 j Ph; sT 293; C 1018; N 351; D 35; Q 751; T 290; V 35; H 36 (P P L p.25, no.5); M a itrf-h h a va n a -siltra ; D 36; Q 752; B ya m s p a h sg o m p a 'i m d o ; VB 340; Ph -; sT 294; C 1 0 1 9 j N 3 5 2 j T 291; V 36; H 37 (P P L p.25, no.6); P a flca -~ ik$ iln U $ a 1 flS l1 -su trah; S la h p a In g a 'i p h a n yo n g yi m d o ; VB 341; Ph -; sT 2 9 5 j C 1020; N 353; D 37; Q 753; T 292; V 37; H 38 (P P L p.25, no.7); G iri-a n a n d a ~ su tra ; Ri'i ku n d g a ' h o 'i m d o ; VB 342; Ph -; sT 2%; C 1 0 2 1 j N 354; D 38; Q 754; T 293; V 38; H 39 (P P L p.25, no.8); N a n d o p a n a n d s-n ilg a ra ja -d a tn a n a -su tra ; Klll'i rg ya l p o d g a ' h o n ye r d g a ' 'd u lh a 'i VB 349; Ph -; sT m do; 303; C 1022; N 355; D 39; Q 755; T 300; V 39; H 40 (P P L p.25, no.9); M a h JikM ya p a -su tra ; 'O d sru n g ch e n p o 'i m d o ; VB 350; Ph -; sT 304; C 1023; N 356; D 40j Q 756; T 301; V 4 0 j H 41 (P P L p.25, no.10); S a rya -su tra ; N yi m a 'i tiu lo ; VB 351; Ph; sT 305; C 1 0 2 4 j N 357; D 41; Q 757; T 302; V 41; H 42 (P P L p.25, no.ll); C a n d ra -sa tra ; Z la h a 'i m d o ; VB 111,352; Ph 279; sT 63, 306; C 970,1025; N 316, 358; D 42, 331; Q 758, 9l17; I 63, 303; V 42, 331; H 43, 335 (P P L p.25, n o .1 2 )j M a h tim a ilg n Ja -su tra ; h K ra shis ch e n p o 'i m d o ; VB 353; Ph -; sT 307; C 1026; N 359; D 43; Q 759; I 304; V 43, 360; H 44 (P P L p.25, no.13).