Trace Foundation's Latse Newsletter, vol. 3

;-P{-+.{-14~+-"$-#m-#=:-8J m,kLATSE LIBRARY NEWSLETTER

]m-;}- 2005 ;}8m-%},-"k FALL 2005

;-P{-+.{-14~+-"$-#m-#=:-8J m,kJ m,kJLATSE LIBRARY NEWSLETTER

]m-;}-]m-;}-] 2005 ;}8m-%},-"k%},-"k%

MEMOIR

THE GESHE CHÖDRAK

I KNEW AND HIS DICTIONARY

by Horkhang Jampa Tendar

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n Latse Hosts Three Legendary

Singer-Songwriters

n The Dictionary of New Terms and The

Chinese–Tibetan Dictionary by Pema Bhum

n Ladakh Newspaper by Sonam Tsering

Origins of the ‘Tibet Myth’

in Western Fiction

by Ramon Prats

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&{+-P}1kFEATURE ARTICLE

FEATURED

AUTHOR

YIDAM

TSERI

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Lion o

f the S

nowy M

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ONI

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Raise Higher the Mountain Peak

In the rocky mountain there is a summitIt is like a natural crystal stupaThat is the life of Tibet.Raise higher the snow mountain peak.

In the grassland there is a rockIt is like a natural thunderbold daggerThat is the birth deity of Tibet.Raise higher the rocky mountain peak.

Above the lake there is a meadowIt is like a natural pile of grassThat is the guardian of Tibet.Raise higher the cairn (latse).

((TranslatedTranslated by Yangbum Gyal) by Yangbum Gyal)Translated by Yangbum Gyal)TranslatedTranslated by Yangbum Gyal)Translated

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“Raise Higher the Mountain Peak” is one of the many songs performed by Palgön

on the occasion of the 2005 Music Festival organized by the Latse Library in

New York to ring in the Tibetan Wood-Bird Year. Palgön is also the composer

and lyricist of the renowned song “Akhu Pema.” In his introduction to the song,

Palgön made the following remarks: “This song is new. The lyrics are written by

Larung Tulku Khenpo who sent me the words one day and asked me to compose

a melody. In accord with his wishes, I set his lyrics to music and, shortly before

coming to America, recorded the song on VCD. This VCD has not yet been

released. I think it appropriate to offer this song today to Latse Library. I had just

fi nished composing the melody, but not yet performed it, when the invitation from

Latse Library arrived. This coincidence, the centrality of the word latse for both the

song and the library, and the fact that today is my fi rst public performance of the

song are three spontaneous but auspiciously connected factors.”

FALL 2005 LATSE LIBRARY NEWSLETTER | 1

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EVENTS

Latse Hosts Three Legendary Singer-Songwriters

TALKS

Discussion on Contemporary Tibetan Art Movement

COLLECTION HIGHLIGHTS

The Dictionary of New Terms and The Chinese-

Tibetan Dictionary by Pema Bhum P}1-:m#LITERARY FEATURES

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MEMOIRS

The Geshe Chödrak I Knew and his Dictionary

by Horkhang Jampa Tendar

HISTORICAL NOTES

Ladakh Newspaper by Sonam Tsering

FEATURE ARTICLE

Origins of the ‘Tibet Myth’ in Western Fiction

by Ramon Prats

FEATURED AUTHOR Yidam Tsering by Lara Maconi

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Andrea Soros Colombel FOUNDER AND PRESIDENT

Eric Colombel EXECUTIVE ADVISOR Pema Bhum EDITOR-IN-CHIEF

Kristina Dy-Liacco NEWS EDITOR Lauran Hartley LITERARY FEATURES EDITOR

Sonam Dhargay LAYOUT AND DESIGN

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% {$-,=-#7m#=-*v0k %Latse Library Newsletter is published annually by Latse Contemporary Tibetan Cultural Latse Library Newsletter is published annually by Latse Contemporary Tibetan Cultural Latse Library NewsletterLibrary, 132 Perry Street, Suite 2B, New York, NY 10014 USA Tel.: 212-367-8490 Fax: 212-367-8479. Email: [email protected]. Contents copyright © unless otherwise noted. Electronic version of this newsletter can be found at www.latse.org.

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This year, Latse Library celebrated Tibetan New Year with a concert program that featured three giants of the Tibetan music world: Palgön, Tsering Topten Nelung, and Lobsang Palden Tawo. The concert was presented by Latse Library, with the Modern Tibetan Studies Program at Columbia University and the Center for Ethnomusicology at Columbia University, and was held at the Miller Theater on the campus of Columbia University on February 13.

LOSAR 2005:

Latse Hosts

THREE LEGENDARY SINGER-SONGWRITERS

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Onstage at the Losar 2005 concert (from left to right): from left to right): from left to right

Tsering Topten Nelung, Dawa Rinchen, Palgön, Serlha Tawo, Lobsang Palden Tawo.


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About the artists

Palgön is a self-taught singer and dranyen (Tibetan

lute) player from Machu in Amdo (eastern Tibet).

In the 1980s, he developed a unique folk musical

style that spread quickly throughout Amdo to become the

predominant musical sound of that region. Hits from his

early work include the famous “Akhu Pema“ and “Sha

yu mo she’u,“ and these songs inspired countless young

musicians to copy and innovate the style. A physician by

profession, Palgön still continues to teach students -- he has

been a teacher to over 30 singers including Dubey, Gonpo,

and Yungdrung Gyal -- and make recordings, and is a major

fi gure in cultural events in Amdo and beyond. Palgön’s sheer

exuberance for music is evident in the large-scale musical

numbers he has organized in the past in large gatherings

on the grasslands in Amdo. One song, “Sarasvati,“ which

he sang in the New York concert, was originally written for

a performance involving one thousand singers and lute and

mandolin players, all singing and stepping in unison.

Tsering Topten Nelung is a Tibetan singer-songwriter

residing in Switzerland. He began studying music, dancing,

and singing at the Tibetan Institute of the Performing Arts

(TIPA) in Dharamsala, India, at the age of ten. Tsering Topten

Nelung is a long-time member and teacher in Swiss-TIPA,

and also in the Tibetan music group Nangma. He is a

teacher of Tibetan folklore and instruments in various Tibetan

schools in Switzerland. Tsering Topten also provides musical

support to many Tibetan organizations and events across

Europe, and is the producer and featured artist on numerous

recordings, as well as a composer of songs and soundtracks

in both traditional and modern styles.

Lobsang Palden Tawo is widely known for his three

albums: Nangma (1982), Trinkor I (1985) and Trinkor I (1985) and Trinkor I Trinkor II

(1989). He produced and composed all the new Tibetan

songs that appear on those recordings, including the hits

“Nam gongi nyinda“ “Chugang Drenlu“ and “Phagi

4 | ;-P{-+.{-14~+-"$-#m-#=:-8J m,kJ m,kJ ] m-;}-2005 ;}8m-% },-"k

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Khangri Karpo.“ He is also co-composer of the soundtrack

for the fi lm Living Buddha (1992). A graduate of Heidelberg Living Buddha (1992). A graduate of Heidelberg Living Buddha

University, Dr. Tawo is a senior physician in the Klinikum

Ludenscheid (affi liated with the University of Bonn), and

founder of the Tadra-Project.

Tsering Topten Nelung and Lobsang Palden Tawo

have a history of working together, and shared the stage for

most of their numbers during the concert.

A sold-out performance

Despite somewhat sluggish advance sales, tickets

for the 700-seat theater on the campus of

Columbia University quickly sold out by starting

time, leaving many latecomers to regret not planning ahead!

The hall was buzzing with excitement as library director

Pema Bhum greeted the audience and introduced the

musicians. For many, it was the fi rst time to see in person the

creators of beloved songs and ballads. Palgön’s songs are

so popular that they often fi nd their way into other Tibetan

regions. The work of Tsering Topten Nelung and Lobsang

Palden Tawo thrilled Tibetans in the diaspora community,

and their popularity propelled their songs back into Tibet.

The sets by Nelung and Tawo were a blend

of traditional works, including Namthar and Namthar and Namthar Toeshay

selections, as well as some brand new numbers such as

“Ngatso Droway-lam,“ and the rousing “Tsering Tsomo.“

The crowd responded emotionally to older classics like

“Nam Gongi Nyinda.“ Nelung and Tawo also delighted the

audience with jokes and banter in between numbers, as well

as some impromptu dancing. The two singers were at times

joined by Dr. Tawo’s daughter Serlha, who sang backup

vocals. Serlha, who was born and raised in Germany,

has performed with her father and Nelung on previous

occasions, and her presence onstage refl ected this ease and

affi nity for her father’s creations. The duo plan to release a

new recording in the near future, and audiences can look

,{-;v$-3|-:m$-%}0=-X,-+$-K-0}-R}-07$-+.;-X,kTsering Topten Nelung and Lobsang Palden Tawo.


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forward to hearing this new material.

With the fi rst strums of “Akhu Pema,“ the fi rst song

of Palgön’s set, the hall erupted into cheers and applause.

The lyrics of the song are based on those of a nomad folk

song, for which Palgön wrote a melody. The piece was

fi rst performed in the studios of the Broadcasting Station of

Gannan Prefecture in 1981 and became an instant classic.

Palgön’s performance included some established hits mixed

with newer songs, including “Raise Higher the Peak of the

Mountain”, the fi rst public performance of this song. Palgön

felt that the piece is a natural and fi tting gift for Latse Library

as it expresses Tibetans’ attachment for high mountains and

snowlands. The last stanza mentions a latse (mountain peak latse (mountain peak latse

or pass). Also, Palgön relates, “It was just at the time when

I was completing this song that I received the invitation from

Latse Library to come to the United States for a performance.

I felt this was auspicious.“

A rare opportunity

Palgön was accompanied by Dawa Rinchen and

Gonpo, two young Tibetans from Amdo who

are currently living in the States. Dawa Rinchen,

originally from Golok, started studying music at 15 years

+.;-1#},k (+<m;k

) S-0-:m,-&{,k (#9},k) +$-1#},-.}k (#9=k)Palgön (center) accompanied by Dawa Rinchen (center) accompanied by Dawa Rinchen (center left) and left) and left

Gonpo (right).right).right

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old, and is self-taught in dranyen, mandolin, and piano.

He has given public performances in Nepal, India, and the

U.S., and is a song-writer as well. Gonpo began enjoying

music as a small boy in his native Ngaba, and currently

has plans to record an album. Meeting Palgön was a once

in a lifetime opportunity for the two young artists, who had

long studied his musical style, but met him for the fi rst time

at Latse. They spent many long afternoons at Latse Library,

playing, practicing, and exchanging ideas with the musical

pioneer. They later joined Palgön onstage at the Losar

concert for his sets, adding rich accompaniment on the

mandolin alongside Palgön’s dranyen. Gonpo was featured

in a solo, for which he played a traditional Amdo party

song. Dawa Rinchen also performed a solo number, “A

pho lug dzi,“ or “The Shepherd,“ a song by famous Tibetan

singer Yadong. “Of course everyone knows that I cannot

sing like Yadong,“ Dawa smiled, “ but by singing this I

express my wish that we will one day be able to celebrate

Losar with him.“

Tickets for the concert were for a suggested donation

of fi ve dollars, but many concert-goers demonstrated a deep

appreciation for the artists by donating much more. The

entirety of ticket proceeds and donations went directly to the

artists.

The concert ended with the ensemble of singers

joining together in “Achi dro (What a Happy Village!)“

with each singer taking a stanza and everyone joining up

on the refrain. The audience clapped in time and gave the

performers a standing ovation.

Said one Tibetan audience member to the library staff

as he was leaving the concert hall, “This is the most fun I’ve

had since moving to New York.“ ■ ■


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Latse Library continued to host lectures and talks

featuring speakers from around the world. In

June 2004, the library hosted Sang Dhak, a

researcher at the Chinese Center for Tibetan Studies

in Beijing. A widely-respected scholar of Sanskrit,

Sang Dhak’s talk "The Lharampa Geshe System of

Tibet", was based on over three years of research

on the Geshe Lharampa monastic education system.

Later that year, Latse was pleased to welcome back

Professor Heather Stoddard of the National Institute

of Oriental Languages and Civilizations, Paris, France.

Professor Stoddard is a foremost scholar of Tibetan

literature, history, and art and was

a panelist at the Gedun Choephel

Centennial Conference held at

Latse in 2003. Dr. Stoddard

presented her talk entitled "The

Emergence of Rebkong (Tongren)

as an Important Center of Tibetan

Culture in the Late 20th-Early

21st Century" in Tibetan and

interacted closely with an engaged

audience. In the spring of 2005,

Jambian Gyamco presented an

engaging talk on his experiences growing up in Khams

during the 1950s, as well as his work Gesang Meiduo

(Lucky Flower), considered to be the fi rst modern Tibetan

novel. Pasang Wangdu of the Tibetan Academy

of Social Sciences in Lhasa made a fascinating

presentation with "Research and historical fi ndings on

Tibetan Imperial Period Tombs of non-royal lineages."

Speakers from Around the Globe

featured at Latse Lecture Series

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On April 23, the library hosted Geshe Khotse

Tsulkhrim in conversation with library director Pema

Bhum. Khotse Tsulkhrim is the editor-compiler of the

large-scale compilation project The Grand Collection

of Quintessence of the Tibetan Ten Sciences. Later that

week, famous novelist Alai came to the library for a

lunchtime discussion of his experiences as a writer,

which was followed by a lively question and answer

session. Alai’s Red Poppies won the Mao Dun Prize,

China’s highest literary award, and was translated into

English to glowing reviews in the west. The novel has

also been translated into Tibetan and has been and

continues to be published serially in Light Rain, the

literary journal from Xining.

In May, Filmmaker Cynthia Chao gave a

screening of her short fi lm “Love for Qinghai,”an

intimate glimpse into the daily life of Lom-gya Monastery

of the Jonang-pa in Dzamthang, eastern Tibet. Ms.

Chao, who is originally from Taiwan, also showed slides

from her fi lm-making experience, and fi elded questions

from the audience.

One week later, Dr. Jigme Phuntsok

presented “Tibetan Medicine in Modern Times “ where

he spoke at length about his medical enterprise The

Qinghai Jigme Tibetan Medicine Co. and the Qinghai

Jigme Tibetan Medicine Research Institute, the former

being the only privately-owned enterprise started up by

a Buddhist monk in eastern Tibet. Dr. Jigme is a well-

known specialist of Tibetan medicine from Rebkong who

has developed new kinds of medicine with technology

combining Tibetan medical theory and clinical

experiences. Another lecture on Tibetan medicine

focused on another angle: “The Relationship Between

Mind and Body. “ Dr. Tenzin Dakpa is a gradaute

and presently senior doctor of the Men-Tsee-Khang, the

Tibetan Medical and Astrological Institute, Dharamsala,

8'm#=-1{+-/v,-3~#=kDr. Jigme Phuntsok


India. Dr. Dakpa, now lives in New York City, and

serves as Resident Health Advisor at the Medicine

Buddha Healing Center, the fi rst U.S. branch of Men-

Tsee-Khang.

Latse was also very pleased to host a lecture

by Professor Guru Kyi, an associate professor in the

Department of Mathematics at the Northwest University

for Nationalities in Lanzhou, Gansu Province, P.R.

China. Guru Kyi is a pioneer of her generation for

teaching sciences in the Tibetan language. She is the

author of several books and articles covering principles

of mathematics, mathematics education, Tibetan

mathematics in architecture and thangka painting, and

Tibetan astronomy. Her talk focused on the history and

current situation of teaching mathematics in the Tibetan

language. ■ ■

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C }8 v-C }8 v-C E }$-E }$-E = {:-,-9}+-.8m-ao0-= {:-,-9}+-.8m-ao0-= @ }#=-1m-:m#=-@ }#=-1m-:m#=-@ U }0-U }0-U f-&{,-1}8m-?$-Pm=-& { -3,-& { -3,-& > m -+#{-G,-&{,-1}-9m,k> m -+#{-G,-&{,-1}-9m,k> 1}-,m-"}$-3~8m-1m-:0=-< m -< m -< D }+-ò-*}#-D }+-ò-*}#-D1:-+{$-=$-#m-3,-:m#-0}+-!+-ò-U }0-U }0-U D m+-D m+-D A {+-1",-A {+-1",-A > m -> m -> E=-9m,k 1}-,m-?$-Pm=-< m -M1-#6#-+$-k< m -M1-#6#-+$-k< ?$-Pm=-< m -< m -< U }0-#=}kU }0-#=}kU 1":-;=-+$-*$-#8m-,$-#m-0}+-< m -Pm=-:m#-.k< m -Pm=-:m#-.k< 0}+-< m -< m -< !:-Pm=-:m#-.-0%=-< m -< m -< ! }:-;-+.{-+{0-+$-P}1-9m#-! }:-;-+.{-+{0-+$-P}1-9m#-! ! }:-6m#-#m-P}1-.-.}-9$-9m,k! }:-6m#-#m-P}1-.-.}-9$-9m,k! 1}8m-#=v$-0<+-,m-?$-Pm=-+{-0}+-!+-ò-+.{-D m+-D m+-D A=-.8m-;}-A=-.8m-;}-A Wv=-+$-+-W8m-#,=-%$=-< m -< m -< ! }:-;-9m,k ! }:-;-9m,k !

■ ■

$,-$#-1",-> m-=-> m-=-> N }+-%m#N }+-%m#N2004 ] m-] m-] S- 11 3|=- 12 (m,-;-P{-+.{-14~+-"$-#m=-0}+-< m-< m-< $,-$#-1",-M1=-;- “$#-1+}$=-0+#-1{+-< m-< m-< $,-$#-#m-=-N }+-N }+-N ” %m#-( {;k( {;k( “$#-1+}$=-0+#-1{+k” ,m-$#-

a-[ {+-[ {+-[ ]+-]+-] < m-1+}$=-1}-W-0v-+{- < m-1+}$=-1}-W-0v-+{- <(microphone)

=v=-<$-:$-+0$-#m=-<$-:$-+0$-#m=-<;#-_p-R$=-){-:$-#m=-0<+-8+}+-.-6m#-0<+-&}#-.-+$-P }#-8+}+-.-P }#-8+}+-.-P6m#-P }#-&}#-.-+{-9m,kP }#-&}#-.-+{-9m,kP 8+m-,m-?-:m-;-+:-=0-&{-08m-=0-&{-08m-= $,-$#-1",-M1=-< m=-:$-#m-0P1=-&}=-#=:-.-M1=-(,-.-.}-M1=-;-< m=-:$-#m-0P1=-&}=-#=:-.-M1=-(,-.-.}-M1=-;-< ( {;-08m-( {;-08m-(*0=-;1-6m#-9m,k ?-:m-;-0!}+-a m#-#6m:-07v$-#m=-a m#-#6m:-07v$-#m=-a $,-$#-P }#-P }#-P=-+$-k 0!}+-a m#-%m-9$-1{+-.:-a m#-%m-9$-1{+-.:-a !0=-*}#-:$-+$-3~+-W8m-3u;-> m=- > m=- > “$#-1+}$=-0+#-1{+k” < m=-< m=-< $,-$#-P }#-=-9$-9}+kP }#-=-9$-9}+kP ;-P{-+.{-14~+-"$-,=-;=-8]o;-8+m-8H-( {;-0-,m-+-:{=-*{$=-+$-.}-9m,-;k( {;-0-,m-+-:{=-*{$=-+$-.}-9m,-;k( 8+m-;-bo#=-1",-> m -1m-> m -1m-> E$=-^p$-,-9$-bo#=-1",-:{-:{8m-% {$-% {$-%,=-$,-$#-;-R } -"-R } -"-R @ }#=-9}+-.-+$-+{-;-0Pm-1*}$-&{-08m-$$-3u;-@ }#=-9}+-.-+$-+{-;-0Pm-1*}$-&{-08m-$$-3u;-@1$},-.:-#=;k 8+m-,m-0}+-< m -< m -< $,-$#-1",-E#=-%,-9m-+1-3|-:m$-1&}#-!q-3|8m-8/{,-.-Q}#=-,=-9v,-:m$-1-=}$-08m-!0=-9m,-%0=k $,-$#-P }#-8#}-1-0P1=-P }#-8#}-1-0P1=-P # },-;-# },-;-# $,-$#-1",-3$-1=-!q-

An Evening for Poets

On November 12, 2004, Latse hosted an

Open Mike Poetry Night open to all area

Tibetan poets. For those unfamiliar with

the concept, “mike“ is short for microphone, and an

open microphone means

that anyone is welcome to

approach the microphone

and recite what they wish.

This activity is a popular

method in America for poets

to share with audiences

new materials and new

styles. There are clubs and

venues devoted to both

planned poetry readings,

and the more casual and

+0$-@p#-3|-0K,kWangchuk Tseten

10 | ;-P{-+.{-14~+-"$-#m-#=:-8J m,kJ m,kJ ] m-;}-2005 ;}8m-% },-"k

#<{#=-$,-$#-.-"}$-;-* },-;1-+* },-;1-+* A$=-8+},-A$=-8+},-A A=kA=kA !0=-+{:-+0$-@p#-3|-0K,-;#=-;-P{-+.{-14~+-"$-;-@p#-3|-0K,-;#=-;-P{-+.{-14~+-"$-;-@p !q-1!q-1!q E},- o-/{0=-9}+-;kE},- o-/{0=-9}+-;kE "}$-#m=-$,-$#-.-+{-;-I{=-H,->,->,- m-]o=-0>m-]o=-0> %}+-%}+-% #},-=}$-#m=-9m-+1-3|-:m$-1&}#-#m-#},-=}$-#m=-9m-+1-3|-:m$-1&}#-#m-# !q-3|8m-!q-3|8m-!q1*8-1'v#-1*}$-'$-8#8-6m#-#m-!}:-;-#=v$-0<+-={1=-8]o;-*{0=-.-6m#-!}:-;-#=v$-0<+-={1=-8]o;-*{0=-.-6m#-!#,$-k +0$-@p#-3|-0K,-,m-"}$-:$-@p#-3|-0K,-,m-"}$-:$-@p $,-$#-1",-6m#-9m,-.8m-":-"}$-,m- “0}+-1m8m-:m#-#,=-H-W”W”W (www.tibetcul.com)

#=:-8A {+-#,$-A {+-#,$-A1",-E=-<$-9m,k<$-9m,k< "}$-#m=-:$-(m+-<"}$-#m=-:$-(m+-<"}$-#m=-:$-(m+- m=-0P1=-.8m-<m=-0P1=-.8m-< $,-$#-"-<=->{:->{:->

P}#-#,$-kP}#-#,$-kP 9m-+1-3|-:m$-;#=-< m -< m -< !q-.:-&{-[ {+-[ {+-[ A=-A=-A.-6m#-3~#=-"$-#m-1ò,-ò-0<1=-9}+k \o,-/,-*{0=-P-3~#=-.8m-;=-A {+-\o,-07$-A {+-\o,-07$-A W;-W;-W;#=-,=-<$-"}$-:$-+#8-08m-<$-"}$-:$-+#8-08m-<9m-+1-3|-:m$-;#=-< m-< m-< $,-P}1-"-<=-P }#-8+},-P }#-8+},-P A=kA=kA!}-;v1-) m-9-) m-9-) U }0-U }0-U f-&{,-

1}8m-+#{-G,-&{,-1}-8'1-+.;-;#=-,=-*}#-1:-$,-P}1-6m#-+{$-:0=-+0v=-#2$-!+-ò-0P#=-<m$-k +{-,=-"}$-#m-/-!+-;-3#=-!+-ò-0P#=k +{-,=-3~#=-bo#=-.-#6,-.-3$-1-9$-;-3#=-!+-ò-P }#-_p-0%t#P }#-_p-0%t#P

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■ ■

experimental “open mike.“ This was the first time Latse

has held such an event, and while the participants

were few, they proved to be extremely dedicated and

respectable poets in their own right. As the evening

came soon after the death of famed Tibetan poet Yidam

Tsering (see related article in this issue), the Poetry

Night started off with everyone reciting together some

prayers for the deceased laureate. Wangchuk Tseten

who was visiting Latse at the time, then paid homage to

the memory of Yidam Tsering, speaking movingly of the

latter’s last moments on earth. Enlarged photographs

of the poet were displayed in the event room. Trace

Foundation’s Kunsang Gya read some of his favorite

Yidam Tsering poems. Wangchuk Tseten, who is also a

well-known poet and a co-founder of the tibetcul.com

website, then recited some of his own works.

Professor Jamspal of Columbia University opened

the “open mike“ portion of the evening by reciting

a poem first in modern Central Tibetan dialect, and

then in his native Ladakhi dialect, inviting the rest of

the audience to join him. The group was delighted to

explore the intricacies of Tibetan spelling, as spoken

Tibetan in Ladakhi retains the sounds of all letters

used to spell a word (for example, Pö kay (Tibetan

language) is pronounced “Böd sket.“) Lobsang

Namkha presented a selection of his poems written

in English. This young poet’s experiments in writing

in a different tongue was alternately charming and

imaginative, with allusions that ranged from Buddha

to astronauts. Jinpa Dhargay recited his own carefully

wrought work “Prayers Before the Potala“ (Po ta la’i

mdun gyi gsol ‘debs) reflecting his thoughts on the

current Tibetan situation.■ ■

!}-;v1-) m-9-U }0-f-&{,-1}8m-+#{-G,-&{,-1}-8'1-+.;k

Professor Jamspal of

Columbia University


2005 S- 2 3|=- 26 (m,k ;-P{-+.{-14~+-"$-ò-+{$-:0=-0}+-< m -< m -< \w-P;-! }:-;-! }:-;-! E }=-1};-E }=-1};-E > m -3~#=-8ò-> m -3~#=-8ò->6m#-0!$=-<m$-k +{:-0}+-.-\w-P;-.-#=v1-> m=-> m=->

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L };-L };-L a m:-6{=-.-,=-/{0=ka m:-6{=-.-,=-/{0=ka)0%=-\w-P;-.-#=v1-> m -> m ->

On February 26, 2005, Latse Library hosted

a roundtable discussion on contemporary

Tibetan art with three Tibetan artists as well

as invited scholars from the fields of anthropology, art

history and museum studies. This event was held in

conjunction with the opening of "Old Soul, New Art,"

an exhibition of contemporary Tibetan art at Tibet

House New York. The exhibit featured the works of the

three artists: Gonkar Gyatso (London, U.K.), Karma

Phuntsok (Australia) and Losang Gyatso (Boulder,

Colorado, U.S.A.). The panel discussants included

TALKS#=v$-0<+k

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m-;-P{-+.{-14~+-"$-ò-

<m-<\w-P;-\w-P;-\w >m-#,=->m-#,=-> %$=-;-E}=-1};-E}=-1};-E A}=-1};-A}=-1};- =-.kA=-.kA

Latse Hosts Discussion on Contemporary Tibetan Art Movement

3~#=-&u$-E}=-1};k #9},-@}#=-,=k Dr. Clare Harris

R}-07$-:0-W=k Leigh Miller

R}-07$-W-13~k !O-/v,-3~#=k

#}$-+!:-W-13~k

Panel discussion (from left to right): Dr. Clare Harris (front left), Dr. Losang Rabgey, Leigh Miller, Losang Gyatso,

Karma Phuntsok and Gonkar Gyatso.

12 | ;-P{-+.{-14~+-"$-#m-#=:-8J m,kJ m,kJ ] m-;}-2005 ;}8m-% },-"k

Dr. Kathryn Selig Brown (Rubin Museum of Art); Susan

Chen (Emory University); Karl Debreczeny (University

of Chicago); Dr. Clare Harris (Oxford University);

Dr. Margaret McLagan (New York University); Leigh

Miller (Emory University) and Dr. Losang Rabgey

(University of Virginia). Dr. Carole McGranahan

(University of Colorado) also participated as one

of the main organizers of the discussion. The event,

which was open to the general public, was held in a

roundtable format, and covered three main topics of

discussion: Unexpected Lineages: from Traditional to

Contemporary Tibetan Art, which explored the path

Tibetan art has taken from the traditional style to that of

the modern age; In the Studio: Imagination, Influence

and Inspiration; and The Mandala of Art: Audience,

Community and Cultural Identity. Question and

answer sessions at the end of each panel enriched the

understanding between the gathered discussants and

the audience.

The "Old Soul, New Art" exhibition was the

first joint exhibition of these three distinguished artists

in the emerging field of contemporary Tibetan art.

Exhibition works ranged from photographic prints

that explore the many faces of contemporary Tibetan

identity, to reinterpreted paintings of Buddhist deities

in extraordinary circumstances, to thoroughly modern

paintings that explore the Tibetan soul. This exhibition

is also the inaugural project for the Mechak Center for

Contemporary Tibetan Art based in Boulder, Colorado;

the Center was founded in 2004 by Losang Gyatso.

Tamar Scoggin, project manager of the Mechak Center,

curated this historical exhibition. The exhibit was up

at Tibet House through early May 2005. In November

2005 it traveled to Emory University in Georgia,

Atlanta. For more information on Mechak Center for

Contemporary Art, please visit their website: www.

mechakgallery.com. ■ ■

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Dr. Kathryn Selig Brown(:v8v-

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(0m:-'m-,m-9-9m-U }0-U }0-U f-&{,-1}k

)0%=-

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(Emory

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< m -#,=-3u;-6m0-< m -#,=-3u;-6m0-< W=-1W=-1W = {,-8+}+-9}+-.-M1=-+{8m-= {,-8+}+-9}+-.-M1=-+{8m-= H-W-W-Wwww.

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COLLECTION+.{-+{0-$}-c}+k

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84n,-[ }$-+$-W-08m-*}#-,=-[ }$-+$-W-08m-*}#-,=-[ W-,#-+$-W-,#-+$-W#%m#-

\w#%m#-

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#$-1$-1+}-+0v=-"1=-#=v1-ò-9}+-.8m-W-,#-]o$-W-,#-]o$-W D,-)$-#m-84n,-[ }$-;=-"v$=-+$-+.{-[ }$-;=-"v$=-+$-+.{-[ ù,-"$-+#-#m=-0}+-9m#-_p-\w:-8#}-02t#=k+{-ò=-;}-2-0-"-<=-

ù+{-ò=-;}-2-0-"-<=-

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\w8m-+},-1-,}:-0:-

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m-3n#-14~+-%m#-+#}=-#;-\w

> m-3n#-14~+-%m#-+#}=-#;->&{-0:-1*}$-

,=-W-9m#-W-9m#-W#m-1m$-#=:-> m-3n#-> m-3n#-> 14~+-,=-1m$-#m-8E {;-0<+-E {;-0<+-E M1=-+}:-){-1m$-V$-M1=-0}+-V$-M1=-0}+-V9m#-;-\w:-8#}-02t#=k +{-W:-0\w:-08m-3n#-14~+-+{8m-,$-#m-1m$-

\w+{8m-,$-#m-1m$-

\wV$-1$-&{-0-V$-1$-&{-0-V !0=-+{8m-9m#-

\w0=-+{8m-9m#-

\w\w:-;-1m-1"}-

0-+$-1"}-08m-1m$-V$-M1=-+{:-1{+-V$-M1=-+{:-1{+-V %0=-3n#-14~+-+{-\w0=-3n#-14~+-+{-\w

+$-\w:-%$=-+{-#(m=-/,-1{+-ò->o:k>o:k>o 3n#-14~+-+{-;}-2 r2 r2-0-,$-"v;-;-1-#)}#=-\w-0-,$-"v;-;-1-#)}#=-\w

] m-3~#=-*}#-;-0] m-3~#=-*}#-;-0] C1-1{+k

Once the Chinese communist government had secured

control of all Tibetan areas circa 1950, it then faced the

challenge of integrating these regions both administratively

and ideologically. In order to further this project, Chinese

Communist Party offi ces that had been established throughout

Amdo, Central Tibet, and Kham, together with regional

publishing houses, set out to translate a mass of Chinese

administrative documents and ideological materials.

Recognizing the importance of a Chinese-Tibetan

dictionary to ensure the accuracy of translations and

the standardization of terms, some translators at that

time began to translate a dictionary of Chinese neologisms

into Tibetan. They did so by retaining the Chinese terms

and replacing all of the Chinese defi nitions with newly-coined

Tibetan terms. The majority of words in this glossary were thus

not vital for their translation work, while a great many words

that the translators did need were did need were did

lacking. As neither the dictionary

nor its method of translation was

benefi cial, the book circulated

only among translators, not the

general public.

*-$+-#=:-0am#am#a =-+{0-06m-+$-k W-0}+-<,-

a-0}+-<,-

aW-0}+-<,-W ^:-^:-^ >m-3n#->m-3n#->

14~+-+{0-#=v1k

The Dictionary of New Terms and The Chinese-Tibetan Dictionary

■ Pema Bhum■ .+-1-80v1k

ò=-:0=-#}$-18m-;}-:0=-T-0%t8m-,$-;-0am#=-<m$-+.{-ù,-A=-.8m-*-$+-#=:-0am#=-6{=-.8m-.}+-06mk

The Dictionary of New Terms in four The Dictionary of New Terms in four The Dictionary of New Terms

volumes, compiled and published in

the 1950s.

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*-$+-#=:-0a m#=-+{0-06mka m#=-+{0-06mka

1952 ;}:-.{-%m,-,-9}+-.8m-W-0}+-;}-2W-0}+-;}-2W r-0}+-;}-2 r-0}+-;}-2 -0-"#-%m#-#m=-+{-#-0}+-9m#-_p-0\w:-3:-08m-9m#-:m#=-;=-0\w:-A-W-9m#-#m-*-W-9m#-#m-*-W $+-+$-\w:-A {+-0}+-9m#-#m-*-

\w{+-0}+-9m#-#m-*-\w

A {+-0}+-9m#-#m-*-A $+-8*v-#=}#-A {+-8#}-3u#=k\w{+-8#}-3u#=k\w

A {+-8#}-3u#=kA 1953;}:-.{-%m,-+$-"1=-

\w;}:-.{-%m,-+$-"1=-

\w@ }#=k@ }#=k@ ?-1+}-@ }#=-@ }#=-@ < m -< m -< W-0}+-W-0}+-W < m -;}-2< m -;}-2< rm -;}-2 rm -;}-2 -0-"#-

%m#-1(1-84~1=-< m=-:$-:$-#m=-8*v-#=}#-< m=-:$-:$-#m=-8*v-#=}#-< A=-.8m-A=-.8m-A W-0}+-W-0}+-W < m -*-< m -*-<$+-#=:-.-M1=-#%m#-_p-(t$=-){-R$-+}:-#$-*v0-#,$-08m-8K=-0v-,m-*-$+-#=:-0a m#=-.}+-+$-.}-6{=-.-6m#-*},ka m#=-.}+-+$-.}-6{=-.-6m#-*},ka +{8m-,$-,-*-$+-(m=-% }$-[#-21-9}+-.-% }$-[#-21-9}+-.-% 1954 ;}8m-S- 5 .:-+.{-ù,-A=kA=kA+{$-=$-0}+-,$-#m-9m#-:m#=-=v-#2~-84n,-;-Cs8v-6m-+$-k

ù8v-6m-+$-k

ù

+1:-@ }#=-3~#=-.-;-]o$-@ }#=-3~#=-.-;-]o$-@ D,-)$-k 3~#=-1m81-Wv,-;=-;-?v-9},-7{:-0-W-0v8m-a-\w:-> m -1m$-> m -1m$-> V$-+$-k W-,#-#m-&0-W-,#-#m-&0-W N m+-N m+-N < m -,$-< m -,$-<ò->-%$-] }+-] }+-] W-&{-08m-*-

\w-&{-08m-*-

\wW-&{-08m-*-W $+- “8A }:-X,-A }:-X,-A E;-:m1-“ +$- “W;-#%{=-W;-#%{=-W

:m$-;v#=-“ 7{:-0-W-0v8m-1m$-V$-M1=-<$-3n#-14~+-.}+-8+m8m-<$-3n#-14~+-.}+-8+m8m-<,$-ò-*}#-1:-#),-8"{;-Ap$-9}+k 9$-3n#-14~+-.}+-+{8m-,$-ò-#),-8"{;-Ap$-08m-1m$-V$-#=:-.-#$-6m#-@ m=-=v-#6,-ò-@ m=-=v-#6,-ò-@ >o:-0-9$-9}+-+{k +.{:-,k +{$-=$-1{=-W;-7{:-0-W-0v-3n#-14~+-W;-7{:-0-W-0v-3n#-14~+-W+{8m-,$-ò-/-1{=-W;-"0-%{=-W;-"0-%{=-W Ap$-9}+-.-W-0v8}k*-$+-#=:-0a m#=-+{0-#(m=-.-,m-a m#=-+{0-#(m=-.-,m-a 1955 ;}:-+.{-ù,-

A=kA=kA +{0-+{8m-,$-#m-1m$-0L-3$-1-1954 ;}:-W-,#-#bo$-#m=-ù

-,#-#bo$-#m=-ù

W-,#-#bo$-#m=-W0&q=-.8m-3~#=-8ò- “!0=-+$-.}8m-W;-9}$=-1m-+1$=-8*v=-W;-9}$=-1m-+1$=-8*v=-W1m8m-3~#=-&{,-*{$=-+$-.}8m-E }=-3~#=kE }=-3~#=kE “ 6{=-.:-#),-8"{;-Ap$-08m-9m#-&- “Cs$-;-1m-+1$=-] m -1*v,-] m -1*v,-] W;-"0-W;-"0-W < m -P-< m -P-< D m1=kD m1=kD “ 7{:-0-W-0v8m-D m1=-+$-#bo$-#m-D m1=-+$-#bo$-#m-D a m#-#6m-+$-84n,-a m#-#6m-+$-84n,-a [ }$-[ }$-[ ! }:-! }:-! > m -9m#-&-> m -9m#-&-> E$=-+]o-0\w:-0-;=-Ap$-k 0}+-9m#-_p-0\w:-08m-9m#-&-+{-+]o-0}-+.{-ù,-1-A=-A=-A # },-;-+#{-0<{=-&{,-1}-<{=-:0-

\w},-;-+#{-0<{=-&{,-1}-<{=-:0-

\w# },-;-+#{-0<{=-&{,-1}-<{=-:0-# W-13~-1&}#-,=-+{-:{-:{-W-13~-1&}#-,=-+{-:{-:{-W

;-#7m#=-6m0-#,$-9}+-.-:{+kù;-#7m#=-6m0-#,$-9}+-.-:{+kù

3~#=-8ò-+{:-7#}$-=-W;-0-W;-0-W:m,-.}-&{-+$-.C-&{,-:m,-.}-!q-#}$-1-#(m=-<$-/{0=-9}+-.-+$-k<$-/{0=-9}+-.-+$-k< 3~#=-8ò-+{8m-*}#-,=-#),-8"{;-Ap$-08m-P-D m1=-+{-D m1=-+{-D W-,#-]o$-W-,#-]o$-WD,-)$-#m-#bo$-#m-P-D m1=-+$-.}-9m,kD m1=-+$-.}-9m,kD +{-8E {1=-E {1=-E ( {;-1-( {;-1-( A=-A=-A# },-;-# },-;-# 7W;-0-90-W;-0-90-W N=-M1-#(m=-;-9$-],-#7m#=-=v-/v;-){-],-#7m#=-=v-/v;-){-]+#}$=-! }:-bo=-9}+-.:-! }:-bo=-9}+-.:-! E#=k+{$-=$-9$-0}+-,$-;-W-W-W =0-_p-0{+-=0-_p-0{+-= ] }+-#)}$-06m,-.8m-] }+-#)}$-06m,-.8m-] W-W-W

,#-]o$-D,-#bo$-#m-D m1=-+$-#bo$-#m-D m1=-+$-#bo$-#m-D a m#-#6m-+$-84n,-a m#-#6m-+$-84n,-a [ }$-[ }$-[ ! }:-! }:-!> m -*-> m -*-> $+-#=:-.-+.{:-,- “:$-[ }$-V}$=-[ }$-V}$=-[ “ 7{:-0-W-0v-+$-k W-W-W!+-,=-a-\w:-A=-.8m-1m-1m$- A=-.8m-1m-1m$- A “1:-"{-=m-“ W-0v-+$-k W;-"0-W;-"0-W < m -< m -<

The Dictionary of New Terms (4 vols.)The Dictionary of New Terms (4 vols.)The Dictionary of New Terms

In 1952, a corps of Chinese and Tibetan translators in

Beijing began to cull Chinese terms and their corresponding

Tibetan glosses from works translated into Tibetan in preceding

years. In 1953, this group was joined by Chinese and Tibetan

translators from Khams and Amdo. Together they pooled all

of the Tibetan neologisms each had collected and deliberated

every term. The fi rst volume of The Dictionary of New Terms

comprises the fruit of their efforts and was published with more

than 2,000 entries in May 1954.

Many terms still used in Tibet today, including

transliterations from Chinese (e.g., kru’u zhi for zhuxi for zhuxi for

[chairman], gung khran tang for gung khran tang for gung khran tang gongchandang [Communist

Party], and u yon for huiyuan for huiyuan for [member]), as well as terms

frequently used in Chinese politics (e.g., ‘byor ldan gral rim

[bourgeosie] and rgyal gces ring lugs [patriotism]), were fi rst

set down in this dictionary. At the same time, this volume of

the dictionary contains newly coined terms that were later

changed. For example, the Chinese term zuguo (ancestral or zuguo (ancestral or zuguo

motherland), which we today gloss in Tibetan as mes rgyal, mes rgyal, mes rgyal

was translated as pha mes rgyal khab (lit. pha mes rgyal khab (lit. pha mes rgyal khab “forefathers-country”)

in this fi rst dictionary.

The second volume of The Dictionary of New Terms was

published in 1955. All of the terms in this volume were drawn

from Tibetan translations of nine documents concerning law,

governmental structures, and administration. Among these was

the Constitution of the People’s Republic of China (PRC), which

was ratifi ed at the First Plenary of the First National People’s

Congress convened in 1954. Prior to printing, each of these

nine Tibetan translations was carefully reviewed by Geshe

Sherab Gyatso. Also in attendance at the 1954 Congress

were His Holiness the Dalai Lama and the Panchen Rinpoche.

Before the Tibetan version of the PRC’s fi rst constitution was

distributed, it was also presented to His Holiness the Dalai

Lama and the Panchen Lama for their review and consideration.

This dictionary contains Tibetan neologisms for Chinese


1m$-=v8v-;{,- (:-<m-9-)W-0vk #}-=8m-1m$-?v-9},-C$-W-0v-1$-&{-0-9$-+{0-8+m8m-,$-;-#),-8"{;-Ap$-9}+k*-$+-#=:-0a m#=-+{0-#=v1-.-,m-a m#=-+{0-#=v1-.-,m-a 1957 ;}:-+.{-ù,-

A=-9}+-;kA=-9}+-;kA +{8m-,$-#m-*-$+-M1=-,m-W-,#-#m- W-,#-#m- W “W;-9}$=-1m-ù

;-9}$=-1m-ù

W;-9}$=-1m-W+1$=-8*v=-1m8m-3~#=-&{,-!0=-+$-.}8m-E }=-3~#=-*{$=-#(m=-E }=-3~#=-*{$=-#(m=-E.-+$-#=v1-.-“ #(m=-< m -< m -< !0=-< m -9m#-&-0%t-0ò,-0< m -9m#-&-0%t-0ò,-0< \w:-0-;=-Ap$-6m$-k +{$-=$-0}+-,$-;-9m#-$#-#(m=-*}#-;-=0-=0-= W-&{-08m- W-&{-08m- W “

Ap“

Ap\o,-

=0-=0-= Tt$-8Tt$-8Tt J m,-J m,-J “ +$-k “07}-3~$-;=-:m#=k“ “Q }#-co#=-07}-Q }#-co#=-07}-Q;=k“

Tt“

Tt “Q }#-0J,-Q }#-0J,-Q “ 7{:-0-W-0v8m-3,-:m#-+$-+.;-8A }:kA }:kA

] m -3~#=-0%=-] m -3~#=-0%=-] < m -1m$-0L-#=:-.-1$-.}-6m#-3n#-14~+-.}+-8+m-;=-< m -1m$-0L-#=:-.-1$-.}-6m#-3n#-14~+-.}+-8+m-;=-<Ap$-k [#-.:-E }=-3~#=-*{$=-#(m=-.8m-9m#-&-0}+-9m#-_p-0E }=-3~#=-*{$=-#(m=-.8m-9m#-&-0}+-9m#-_p-0E \w:-0:-

!0=-+{8m-;}-2 r0=-+{8m-;}-2 r0=-+{8m-;}-2-0-+$-1"=-.-&{,-.}-M1=-&{+-ò-/{0=-9}+-.8m-E=-=v-+#{-0<{=-<{=-:0-W-13~- W-13~- W (1884–1968)+$-k 3|-),-60=-Hs$- (1910–1985) k #=v$-:0-W-13-~- W-13-~- W (1896–1982)W-0v8m-1"=-&{,-M1=-<$-/{0=-9}+-;k<$-/{0=-9}+-;k< "}$-M1-.=-E }=-3~#=-*{$=-E }=-3~#=-*{$=-E#(m=-.8m-9m#-&-M1=-#=:-ò-0\w:-0-1-7+k E }=-3~#=-*{$=-E }=-3~#=-*{$=-E+$-.}8m-9m#-&-0\w:-7m,-.-M1=-;-

\w:-7m,-.-M1=-;-

\w[:-6m0-<$-#,$-0:-<$-#,$-0:-< E#=k

*-$+-#=:-0a m#=-.}+-06m-0-9$-a m#=-.}+-06m-0-9$-a 1957 ;}:-+.{-ù,-A=-9}+-;kA=-9}+-;kA .}+-+{8m-,$- 1954 ;}-,=- 1956 ;}-0:-;}-

ù;}-0:-;}-

ù

$}-#=v1-> m -1m-:m#=-+.{-> m -1m-:m#=-+.{-> ù,-"$-#m=-9m#-\w:-> m=-+.{-> m=-+.{-> ù,-A=-A=-A.8m-+{0-:m#=-=v1-%t-[#-+$-k

ù.8m-+{0-:m#=-=v1-%t-[#-+$-k

ù+{-+#-#m-,$-ò-

\w+{-+#-#m-,$-ò-

\w!0=-+{:-0}+-+},-;-

ù0=-+{:-0}+-+},-;-

ù

co#=-V {,-&{,-.}-*{0=-.8m- V {,-&{,-.}-*{0=-.8m- V “Cs$-;-1m-+1$=-] m-1*v,-] m-1*v,-] W;-"0-W;-"0-W < m-< m-< W;-W;-WN m+-N m+-N ] m-] m-] =0-"$-#m=-0!}+-.8m-0}+-=-#,=-=0-"$-#m=-0!}+-.8m-0}+-=-#,=-= < m-;=-+},-< m-;=-+},-< ! }:-! }:-! > m-&}+-+},-> m-&}+-+},->8#8-6m#“ %{=-.-W-0v-+$-k ;}-0%t-J#-"-<=-< m-:m$-;-< m-:m$-;-< W-,#-#m-W-,#-#m-W"}$=-=v-P}1-:m#-#m-0I}+-A-8+{1=-A-8+{1=-A %$=-+$-k 0=1-R }-#)}$-R }-#)}$-R %$=k P}1-%$=-0%=-@ }#=-3$-1:-+0$-@ }#=-3$-1:-+0$-@ \w:-> m-ao=-.-*},-.8m-18}-2|-_p$-> m-ao=-.-*},-.8m-18}-2|-_p$->#m- “9,-?,-ò-:m#-P;-! }:-! }:-! > m-0bo#=-1};-3~#=-8ò:-#,$-08m-#=v$-

\wm-0bo#=-1};-3~#=-8ò:-#,$-08m-#=v$-

\w> m-0bo#=-1};-3~#=-8ò:-#,$-08m-#=v$->

0<+k“ %{=-.-W-0v8m-!0=-+},-0I}+-.-+$-W-0-0I}+-.8m-9m#-:m#=-#$-1$-6m#-9}+k1m-+1$=-0J,-.:-+$-1m-:m#=-0J,-.:-#(m=-<$-3n#-14~+-<$-3n#-14~+-<

8+m-;-1m$-0L-#=:-.8m-9}$-"v$=-#;-&{,-#(m=-9m,k ò=-+{0-8+m-#(m=-#-@ m:-@ m:-@ 1951 ;}-+$- 1953 ;}:-0}+-9m#-_p-8+},-8#}-3u#=-<m$-k !0=-+{-+#-;-0}+-< m-9v;-"1=-;-8< m-9v;-"1=-;-8< >o:-0-&{,-.}-8>o:-0-&{,-.}-8>o E }-06m,-E }-06m,-E.8m-H m;-0H m;-0H a#=-< m-#,=-3u;-+$-0J,-.:-1$-.}-ò=-+{0-8+m-#(m=-< m-#,=-3u;-+$-0J,-.:-1$-.}-ò=-+{0-8+m-#(m=-< < m-< m-<,$-;-*},-9}+k +{8m-!0=-< m-1m-+1$=-0J,-.:-< m-1m-+1$=-0J,-.:-< > m-0}+-9m#-P}1-> m-0}+-9m#-P}1-> a m#-a m#-a.-#%m#-,m-1"=-+0$-+1v-+#{-0=1-#),- (1923–1993)1&}#-9m,k

communist law, governmental structures, and administration that

are still widely used today in Tibetan regions of the PRC, such

as the term rang skyong ljongs (autonomous region); names

transliterated from their Chinese pronunciations, such as Mar

khe si (Marx); names of countries, such as Su’u len (Soviet

Union); and positions such as u yon krang (committee chair).u yon krang (committee chair).u yon krang

The third volume of The Dictionary of New Terms was The Dictionary of New Terms was The Dictionary of New Terms

published in 1957. Its entries were all drawn from the

translations of seventeen documents issued for the second and

third plenaries of the First National People’s Congress. In

particular, this edition contains many new scientifi c, economic

and social terminology still widely used in both written and

spoken Tibetan expressions, such as kun khyab rlung ‘phrin

(broadcast radio), and bzo tshong las rigs (industry and bzo tshong las rigs (industry and bzo tshong las rigs

commerce), glog shugs bzo las (electric power industry), and glog shugs bzo las (electric power industry), and glog shugs bzo las

glog brnyan (fi lm or movie).

Prominent scholars, such as Geshe Sherab Gyatso (1884–

1968), Tsetan Zhabdrung (1910–85), and Sungrab Gyatso

(1896–1982) were among the great translators who traveled

to Beijing expressly for the purpose of translating documents

for the Second Plenary. In the process, they also revised

translations from the First Plenary.

The fourth volume of The Dictionary of New Terms was The Dictionary of New Terms was The Dictionary of New Terms

also published in 1957. Terms for this edition were culled

from more than thirty translations released by the Nationalities

Publishing House from 1954 to1956. A great many terms for

discussing contemporary concerns and views were contained

in these thirty works, which included ”Several resolutions

regarding Tibetan local affairs as drafted by the State Council

of the PRC” and ”Mao Zedong’s Speeches at the Forum on

Culture at Yenan.” The latter heavily infl uenced literary content,

thought and writing style in China for the next several decades.

Peoples Pictorial and Peoples Pictorial and Peoples Pictorial Nationalities Pictorial were also Nationalities Pictorial were also Nationalities Pictorial

two important sources of new words for the fourth volume of

the dictionary. The Tibetan versions of these two periodicals

had been launched in 1953 and 1955, respectively. Both

magazines featured propaganda about the monumental

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transformations occurring in Tibetan areas at that time, with

accompanying photographs. One of the fi rst Tibetan editors of

People’s Pictorial was the scholar Muge Samten (1923/4–93).

The fi rst Chinese–Tibetan Dictionary

Six years after the release of the fourth volume, the

Nationalities Publishing House in Beijing began to review

and revise all four volumes of The Dictionary of New Terms.

This process took fi ve years to complete, and in 1964 a new

compilation, The Chinese-Tibetan Dictionary, was released with The Chinese-Tibetan Dictionary, was released with The Chinese-Tibetan Dictionary

more than 31,000 entries. While this dictionary was based

on the four volumes published in the 1950s, it contained many

additional words. In the intervening years, a great mass of

Chinese communist propaganda and administrative materials

had been translated, including nearly all four volumes of The

Collected Works of Mao Zedong, which no family could be

without during the Cultural Revolution.

Three individuals were assigned the task of translating

The Collected Works of Mao Zedong: the late scholar Dorje

Gyalpo (1913--1992), the late Chinese Tibetologist Liu Liqian

(b. 1910), and writer-scholar Jambian Gyamco (b. 1938), now

at the Chinese Academy of Social Sciences. Horkhang Sonam

Penbar (1919--94) and the Sungrab Gyatso were invited

from Lhasa and Amdo, respectively, in order to proofread the

translation.

Derived in part from these translations, The Chinese-

Tibetan Dictionary (1964) served as a source for a great many

new terms that during the Cultural Revolution would become

known to all Tibetans, whether literate in Tibetan or not—words

such as mi dmangs kung hre (peoples communes) and spyi

tshogs ring lugs (socialism). Looking today at the materials

published in Central Tibet, Kham and Amdo during the Cultural

Revolution, we can still see the infl uence of local dialect in terms

of grammar. However, the standardization of Tibetan terms

for governmental administration and revolutionary thought had


=v1-% }$-[#-#m-0+#-(m+-%,k% }$-[#-#m-0+#-(m+-%,k% 3n#-14~+-# },-1-;=-1m$-# },-1-;=-1m$-# V$-#m-E$=-!-X0-06m-9m=-1$-0-+{-+.{-ù,-A=kA=kA ;}-$}-0%t-#(m=-.}-+{ -, m -W -,#-#bo$-#m-N m+-'v=-+1:-*;-<}:-08m-ò=-

ùm+-'v=-+1:-*;-<}:-08m-ò=-

ùN m+-'v=-+1:-*;-<}:-08m-ò=-N !0=-9m,-;k

W -,#-:$-#m-I}+-3u;-W:-,-N m+-'v=- N m+-'v=- N “#9},-[s$-“ #m-;}-S -9m,k 0:-!0=-8+m:-W -,#-+$-0}+-"1=-9}$=-=v-] m -3 ~#=-:m$-;v#=-] m -3 ~#=-:m$-;v#=-]< m -< m -< U }0-#=}-+$-kU }0-#=}-+$-kU 8A }:-1{+-A }:-1{+-A E;-:m1-:m#-#,=-#=:-0I{-&{,-.}k ;m,-+##-"v$-+## ;1-@ }#=-@ }#=-@ U }0-#=}-7{:-0-W-0v8m -;=-U }0-#=}-7{:-0-W-0v8m -;=-U8]o;-' -3~#=-(m,-#%m#-<$-131=-1-&+-.:-<$-131=-1-&+-.:-< Ap$-9}+k ;=-8]o;-%m-21-> m=-1$-0-> m=-1$-0-> ( {;-,-*-( {;-,-*-( $+-#=:-0-9$-+{-21-> m=-1$-> m=-1$->8/{;-Ap$-k +.{:-,-=}$-1-*#-.8m-&0-N m+-N m+-N < m -;=-8]o;-M1=-< m -;=-8]o;-M1=-<< m -1m$-8< m -1m$-8< H -1m,-+$-k ;m,-.{8} -;-+##-.-W#-W#-W !0=-< m - < m - < “;m,-+##-"v$-+##-“ W-0v-+$-k )m$-68}-/m,-;-+##-.-W#-W#-W !0=-< m - < m - < “#9=-[s$-D -;}#-Tt$-9,-“ 7{:-0-W-0v8m -1m$-V$-M1=-3n#-14~+-8+m:-*}#-1:-0!}+-9}+k

W -9m#-#m-1m$-V$-#$-6m#-+},-;-8'v#-!0=-1m$-3n#-+$-A -3n#-0%=-< m -8'v#-;1-1m-8< m -8'v#-;1-1m-8< H -9}$-#m-9}+-.-3n#-14~+-8+m:-0}+-9m#-_p-9}$-*0=-A=-9}+kA=-9}+kA +.{:-,-W-9m#-#m- W-9m#-#m- W

无产阶级专政7{:-0-

W-0v-1m$-3n#-+$-A-3n#-#(m=-!8m-$}-0}:-0{+-A-3n#-#(m=-!8m-$}-0}:-0{+-A ] }+-] }+-] A {+-&}#-.-;kA {+-&}#-.-;kA 1964;}8m-3n#-14~+-ò- “8A }:-1{+-A }:-1{+-A E;-:m1-> m=-> m=-> N m+-+0$-N m+-+0$-N " {:-84n,-" {:-84n,-" A {+-A {+-A.-“ 6{=-A -3n#-#%m#-.}8m -$}=-,=-0!}+-9}+-.-;-*{$=-8+m8m -3n#-14~+-ò- “8A }:-1{+-A }:-1{+-A E;-:m1-#m-N m+-+0$-N m+-+0$-N " {:-84n,-" {:-84n,-" “ 6{=-1m$-V$-#m-M1-.=-<$-0!}+-9}+k<$-0!}+-9}+k<3n#-14~+-8+m-1-0a m#=-a m#=-a # },-;-# },-;-# W -#bo$-#m=-0}+-< m -0L-< m -0L-<

c }+-;-#=:-0%}=-<m#-c }+-;-#=:-0%}=-<m#-c A=-.:kA=-.:kA M1-+A { -A { -A Hs#-.8m-8K {;-K {;-K a8m-!0=-=v- “> m -> m -> “ +$- “< m -< m -< “ a -W-0v8m -3n#-8J+-! }:-6m#-1{+-.-07}=-! }:-6m#-1{+-.-07}=-!<m$-k 0}+-9m#-#m-V {,-V {,-V > m -9m -#{-9m#-1#}81-+0v-> m -9m -#{-9m#-1#}81-+0v-> =o+-+$-9m#-<+-=}#=-< m -30-_p-< m -30-_p-< W -9m#-#m-V {,-V {,-V > m -9m -#{-M1=-0{+-> m -9m -#{-M1=-0{+-> ] }+-] }+-] A {+-+#}=-A {+-+#}=-A.:-#),-8"{;-A=-9}+kA=-9}+kA 3n#-14~+-8+m8m -,$-0}+-< m -9m -#{-#=:-< m -9m -#{-#=:-<0%}=-+{-+#-#=;-.}:-*},-9}+-+{k +.{:-,-3n#-14~+-8+m8m -1m$- “W -0}+-<,-^:-#m-3n#-14~+-“ +$- “8A }:-1{+-A }:-1{+-A E;-:m1-#m-N m+-+0$-N m+-+0$-N " {:-84n,- " {:-84n,- " “6{=-.-#(m=-;-8K {;-K {;-K a - “> m -> m -> “ 9m#-#(m=-+#}=-.-#=:-0%}=-A=-){- A=-){- A “#m“ 9m#-0{+-] }+-] }+-] A=-9}+-.-W-0v8}kA=-9}+-.-W-0v8}kA +{-06m,-3n#-14~+-8#}-0I}+-< m -< m -< !0=-=v-0}+-9m#-#m-V {,-V {,-V > m -9m -#{-> m -9m -#{-><+-< m -30-_p-< m -30-_p-< W -9m#-#m-V {,-V {,-V > m -9m -#{-#}:-*m#-+$-,#-*m#-=}#=-0{+-> m -9m -#{-#}:-*m#-+$-,#-*m#-=}#=-0{+->] }+-] }+-] A=-9}+kA=-9}+kA

reached a level of uniformity unprecedented in the history of the

Tibetan language (aside from what occurred centuries before in

Buddhist terminology), and the realization of such a standard

was due to this dictionary.

The second Chinese–Tibetan Dictionary

In 1976, twelve years after the publication of this last

dictionary, another dictionary with the same title, The Chinese-

Tibetan Dictionary, was released with more than 53,000 Tibetan Dictionary, was released with more than 53,000 Tibetan Dictionary

entries, more than four times the number of entries in the 1964

dictionary. The inter\vening twelve years was a period during

which Chinese government policy had slipped into extremism.

The Chinese government itself has called these the years

of “leftist extremism.” Throughout the PRC and including Tibet,

campaigns were continuously promulgated. There seemed

to be a new one each day: Socialist Education, the Great

Proletarian Cultural Revolution, the Campaign against Lin Biao

and Confucius, Line Education, etc. Each campaign introduced

a new set of terms. The1976 dictionary contained the names

of the various campaigns just mentioned and their respective

slogans, such as “Oppose Lin. Oppose Confucius” and “[beat

back the] right deviationist wind” used during the campaign

against Deng Xiaoping.

In Chinese, it is possible for the same word to serve as

different parts of speech. The 1976 dictionary attempted to

convey this in Tibetan. For example, Chinese phrases such

as wuchang jieji zhuanzheng (proletarian dictatorship) can wuchang jieji zhuanzheng (proletarian dictatorship) can wuchang jieji zhuanzheng

function either as a verb or a noun. In the 1964 dictionary,

this word was simply treated as a verb (i.e., “to rule by the

proletariat”) but in 1976 its defi nition as a noun was also

included.

Prior to the compilation of this dictionary, Tibetan

grammar had been reformed by the Chinese government. For

example, certain genitive or possessive markers (e.g., gyi, kyi) gyi, kyi) gyi, kyi

were eliminated. It was also decided that Chinese punctuation

18 | ;-P{-+.{-14~+-"$-#m-#=:-8J m,kJ m,kJ ] m-;}-2005 ;}8m-% },-"k

should replace traditional Tibetan punctuation, such as the yig

mgo or mgo or mgo dbu khyud and the dbu khyud and the dbu khyud shad. All of these Tibetan language

reforms are evident in this dictionary. For example, even in the

title of this dictionary gi is used instead of gi is used instead of gi gyi, as was the case

in the Tibetan term for “proletarian dictatorship” (‘byor med gral

rim g[y]i srid dbang sger ‘dzin). Similarly, in the introduction

to the dictionary, periods and commas are used in place of the

Tibetan shad.

The latest Chinese-Tibetan Dictionary

In 1991, some fi fteen years after the publication of The

Chinese-Tibetan Dictionary, another dictionary was published Chinese-Tibetan Dictionary, another dictionary was published Chinese-Tibetan Dictionary

with the same title but now 80,000 entries. While the TAR

People’s Publishing House served as the chief editing body, all

of the Tibetan publishing houses in China and Tibetan areas

(i.e. the nationalities publishing houses of Qinghai, Gansu,

Sichuan, Yunnan, and Beijing) worked in co-operation from

1986-1991 to compile the volume, basing it upon the 1976

version of The Chinese-Tibetan Dictionary.

Among those who worked on this last dictionary were

great scholars (e.g. Dorje Gyalpo and Thubten Nyima) and

staff who had gained experience in publishing and translation

at the various publishing houses during the 1950s, as well as a

new corps of young people who had studied both Tibetan and

Chinese.

All of the dictionaries discussed above can be found at

Latse Library. In particular, the four volumes of The Dictionary

of New Terms and many of the published documents from the of New Terms and many of the published documents from the of New Terms

1950s and 1960s that served as sources for these new terms,

as well as The Chinese-Tibetan Dictionary published in 1964,

are housed in the Rare Book Collection.■ ■

Translated by Lauran Hartley

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@ m=-=v-0}+-@ m=-=v-0}+-@ W8m-W8m-W !+-9m#-;-^$=-.-*},-.8m-#6},-ù$=-.-*},-.8m-#6},-ù \w$=-.-*},-.8m-#6},-

\w^$=-.-*},-.8m-#6},-^ [ {=-[ {=-[ <$-"#-%m#-<$-"#-%m#-<

9}+-+}k#}$-ò-Q {$-08m-Q {$-08m-Q W-0}+-3n#-14~+-3$-1-;-P{-+.{-14~+-"$-ò-W-0}+-3n#-14~+-3$-1-;-P{-+.{-14~+-"$-ò-W

9}+-.-;=k *-$+-#=:-0a m#=-+{0-06m-0}-+$-*-a m#=-+{0-06m-0}-+$-*-a $+-+{-+#-*}#-1:-1$},-=8m-+.{-+{0-;}-:0=-T-0%t-+$-Hs#-%t8m-,$-;-+.{-ù,-A=-.-A=-.-A 1$-&{-0k 1964 ;}:- +.{-ù,-A=-.8m-A=-.8m-AW-0}+-W-0}+-W <,-^:-> m -3n#-> m -3n#->14~+- 0%=-+.{-14~+-"$- 8+m8m-+.{-+!},-"$-ò- 9}+-+}k ■ ■

1991 ;}:-+.{-ù,-A=-.8m-W-0}+-<,-^:->m-3n#-14~+-*-1kThe latest edition of The

Chinese-Tibetan Dictionary, Chinese-Tibetan Dictionary, Chinese-Tibetan Dictionary

published in 1991.


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"}$-#m-3n#-14#=-+$-k~+-#=-+$-k

"}$-#m-3n#-14#=-+$-k

0L-+#-1m$-3n#-#=;-08m-!}:-:#=-21-!}:-:#=-21-! Q}:-:#=-21-Q}:-:#=-21- {$-0kQ{$-0kQ

■ >}:-"$-A>}:-"$-A>}:-"$- 1=-.-0A1=-.-0A %,-+:k

Geshe Chökyi Drakpa, author of the dictionary

Brda dag ming tshig gsal pa—or as the volume is more

popularly called “Geshe Chödrak’s Dictionary”—was born

in the Mongolian region of Buryatia in

the Earth-Dog Year (1898). At the age of

seven or eight, he became a monk at a

monastery near his birthplace Tsokaling.

There he studied reading and writing, as

well as religious practice. When he was

about 25 years old, he ran away to Lhasa

with several friends in order to practice

religion, and subsequently joined Jey

Samlo College at Sera Monastery.

In about the Water-Bird Year (1933),

Rahul Sankrityayan (1893-1963), an

Indian scholar, came to Lhasa and invited

the scholar Gedun Choephel and Geshe

Chödrak to India. The latter declined

his offer, but a few years later traveled

to India for the purposes of pilgrimage.

During that trip, he met Tharchin Bhabu,

founder of the Kalimpong-based Tibetan

The GESHE CHÖDRAK

I Knew And HIS DICTIONARY

■ Horkhang Jampa Tendar

MEMOIRH,-*}k

A photograph of Geshe Chödrak.

20 | ;-P{-+.{-14~+-"$-#m-#=:-8J m,kJ m,kJ ] m-;}-2005 ;}8m-% },-"k

#=:-8>o:-#=;-08m-1{-;}$-” 7{:-0-#=:-8+},-#,$-1",-+{-+$-*v#-,=-$}-<{=-=v->o:k1{-A m -A m -A ] m -;}] m -;}] 1936 21-;-?-:m-.-)-,:-

(Theos Casimir Bernard (1908–47)7{:-

0-6m#-#m=-1*:-@ m,-@ m,-@ )-)t-!+-\w:-:1-@#-:}#=-@#-:}#=-@;-D m+-,=-[-=:-9}$-,=-0}+-9v;-

\wm+-,=-[-=:-9}$-,=-0}+-9v;-

\wD m+-,=-[-=:-9}$-,=-0}+-9v;-D > m -0!8-> m -0!8->0%,-> m=-13~,-.8m-+.{-&-1$-.}-83~;-> m=-13~,-.8m-+.{-&-1$-.}-83~;-> &q+-A=-A=-A.:k +#{-0<{=-&}=-< m -< m -< E#=-.-1&}#-,=-"}$-#(m=-;-#=v$-:0-< m -+!:-&#-< m -+!:-&#-< a m#-:}#=-#,$-ka m#-:}#=-#,$-ka +!:-&#-a m#-=-3-:}$-#7m1-<#-_p-9m,-.-a m#-=-3-:}$-#7m1-<#-_p-9m,-.-a+$-/-+1-.8m-9v1-3|-0K,-a };-+!:-,m-3-:}$-a };-+!:-,m-3-:}$-a60=-.+-+0$-@p#-W;-.}8m-W;-.}8m-W N=-1}-9m,-6m$-k3-:}$-#7m1-<#-_p-9$-9$-/{0=-!0=-+#{-0<{=-&}=-E#=-+$-1';-0-+$-k )-)t-1*:-@ m,-@ m,-@ > m=-$}-> m=-$}-> c }+-#,$-8}#-"}$-"}-0}8m-/-+1-c }+-#,$-8}#-"}$-"}-0}8m-/-+1-c.8m-:m#-#,=-+#{-G,-ò-#+,-bo-#,$-k ò=-+{-,=-07v$-"}$-M1-#(m=-+#{-G,-+#{-Js#-#m-8K {;-0-&#=-.:-K {;-0-&#=-.:-K '$-k0}+-:0-Ap$- 16U#=-cu;-] m -;}-] m -;}-] 1941

;}:-+#{-0<{=-1&}#-,=-+#{-0<{=-[-:1=-cu

;}:-+#{-0<{=-1&}#-,=-+#{-0<{=-[-:1=-cu

8/:-1-0)$-% { -+#{-0<{=-% { -+#{-0<{=-% < m -13,-#,=-06{=k< m -13,-#,=-06{=k< 1946 ;}:-8-%#-#m-8#;-0-8ò1-*0=-1{+-.:->o:-%m$-k ={:-A {=-1",-.}-+#{-0<{=-0A {=-1",-.}-+#{-0<{=-0A %,-+:-;#=-<$-<$-<+{8m-7m$-&8m-,$-ò-V {,-8+=-=v-=}$-kV {,-8+=-=v-=}$-kV 1",-.}-+{-,m-@ m -=}#-,$-=}#-@ m -=}#-,$-=}#-@#(m=-;=-#$-9m,-R } -;-1m-${=-R } -;-1m-${=-R <$-"}$-=}#-.}-6m#-9m,-.:-<$-"}$-=}#-.}-6m#-9m,-.:-< '$-k +#{-0<{=-1&}#-,=-1",-.}-+{-V {,-8+=-=v-=}$-0-;-*v#=-/1-3+-V {,-8+=-=v-=}$-0-;-*v#=-/1-3+-V1{+-#,$-6m$-k :$-#m-1",-.}-0C }$=-=8m-+#},-.-;-0C }$=-=8m-+#},-.-;-0C &+-+$-1-0&+-=+-.:-1m-8ò#-#=v$-,=-+#},-.:-1-0bo#=-.-:{+k=+-.:-1m-8ò#-#=v$-,=-+#},-.:-1-0bo#=-.-:{+k= +{-,=-07v$-+#{-0<{=-1&}#->}:-"$-#7m#-<#-_p-0bo#=-< m -9}+-< m -9}+-< %0=-1m-M1=-< m=-"}$-;->}:-"$-+#{-0<{=-6{=-80}+-< m=-"}$-;->}:-"$-+#{-0<{=-6{=-80}+-< < m -9}+k< m -9}+k<

+#{-0<{=-&}=-E#=-< m -< m -< = m1-3$-k= m1-3$-k=

0}+-:0-Ap$- 16 1{-/#-] m -;}-] m -;}-] 1947;}-,=-"}-0}8m-90-+1-.-&0-1+}:-1+}-

Ap,=-"}-0}8m-90-+1-.-&0-1+}:-1+}-

Ap] m8m-[-] m8m-[-]

Pt8m-/}#=-+.},-ò-0Pt8m-/}#=-+.},-ò-0Pt ! } -06#-#,$-! } -06#-#,$-! % { -$-3~-% { -$-3~-%

newspaper, The Tibetan Mirror. In about

the Fire-Bird Year (1936), an American

named Bernard1 arrived in Lhasa,

accompanied by Tharchin Bhabu who was

serving as Bernard’s interpreter. Bernard

was collecting texts, including the Kanjur

and Tanjur, in different Tibetan areas. Tanjur, in different Tibetan areas. Tanjur

Geshe Chödrak helped the two men

prepare a list of all they had collected.

This list was compiled in the Tsarong

House. My paternal grandmother is the

daughter of Tsarong zhabs pad Wangchuk

Gyalpo. Thus, she would frequently

visit the Tsarong House and see Geshe

Chödrak working there. Bhabu Tharchin

introduced them to each other, and Geshe

Chödrak became my father’s classical

Tibetan studies (rig gnas) teacher. From

then on, my father and Geshe Chödrak

shared the close relationship of teacher

and student.

In the Iron-Snake Year (1941),

Geshe Chödrak obtained his geshe lharampa degree. But, geshe lharampa degree. But, geshe lharampa

in 1946 the controversy between the Reting regent and Taktra

had escalated

beyond compromise

and lead to the

death of Geshe

Tendar, the abbot

of Sera Jey. The

The wife of Geshe Chödrak, Acha (Mrs.) Metok of Rinpong. She is now deceased.

The daughter of Geshe Chödrak, Penpa Tsamchoe. She is still living.


,$-1m-3$-1-+{:-U#=-%#- 19510:-ò-& }+-+#}=-& }+-+#}=-& Ap$-k ò=-!0=-+{8m-:m$-;-[-=8m->}:-"$-#7m1-<#-_p-#7m1-<#-;-0+#-#({:-A {+-1",-A {+-1",-A#({:-.-+$-#9}#-.}-0&+-9}+-*}#-+#{-0<{=-&}=-E#=-;#=-<$->}:-<$->}:-<"$-,=-"$-.-#9:-,=-0bo#=k +{-ò=-+-ò$->}:-"$-"$-"}$=-< m -1}-< m -1}-<9,-9m,-.-#={:-07}-&{,-1}-+0$-8ò+-;#=-bo-0-+{8m-0v8m-1,8-1-,=-#}-;}#-.8m-0v-1}-1{-)}#-7{:-0-6m#-9}+-.-+{-+$-+#{-0<{=-1&}#-#(m=-0:-8K {;-0-K {;-0-K Ap$-% { -+#{-0<{=-1&}#-#m=-% { -+#{-0<{=-1&}#-#m=-%[-=:-800-Wv8m-*v#=-*#-0%+-8ò# +{-+},-"}-0}8m-90-+1-.=-1= {,-){-&0-= {,-){-&0-=1+}-,=-"}$-;-@#-@#-@ K m=-/v;-){-+{-W:-K m=-/v;-){-+{-W:-K#,$-1m-8}=-.-+$-k & }1-.-& }1-.-& [:-#=}-#,$-!q;-bo=-8ò#-.:k +#{-0<{=-1&}#-+{-;-1-+> {=-){-"}-0}8m-90-+1-.-> {=-){-"}-0}8m-90-+1-.->;- “= {+-:$-3~-= {+-:$-3~-= !q-H#-7{:-0-+{-8H-:$-:{+k R-1-&{,-.}-+$-k Es0-&{,k ##=-.-Wv+-84n,-=}#=-1m-H#-3~=-0v+-1{+-0% {,-,-+{-;-#=$-9v1-+$-k% {,-,-+{-;-#=$-9v1-+$-k% 1"8-8E } -1kE } -1kE 0+#-1}-=}#=-1m$-$,-.}-8+}#=-Wv-9}+-.-+$-k $-3~-f-.-+0v;-/}$=-< m=-0v+-1{+-0< m=-0v+-1{+-0< % {,-,-% {,-,-% f-;}#-+$-k 80:-"}# /-G,-=}#=-1m$-$,-#-:{-8+}#=-+#}=-.-0=1-.-A {+-1",-:{+-A {+-1",-:{+-A “ %{=-0!8-0< },-< },-<#,$-8ò# !0=-+{-ò=-+#{-8ò,-&}=-8/{;-;#=-[-=-6};-;=-"v$=-< m -02~,-"$-ò-0bo#=-9}+-%m$-k< m -02~,-"$-ò-0bo#=-9}+-%m$-k< /-+1-.8m-0!8-1$#=-W:-+#{-0<{=-1&}#-"}$-;-9$-9$-1';-0:-/{0=-< m -9}+-.:-< m -9}+-.:-< '$-k >}:-"$-1m-3$-&0-1+}-,=-[-=:-;}#-!0=-+#{-0<{=-1&}#-

+$-1{-)}#-;#=-#(m=-078-3~:->o:-3:-){-1{-)}#-;#=-;-1$;-9$-du1-3:-8ò# +#{-0<{=-1&}#-;-"}1-.-Ap$-!0=-/-+1-.8m-=:-9$-9$-/{0=-,=-0!8-1};-#,$-#m-9}+k

du.8m-=:-9$-9$-/{0=-,=-0!8-1};-#,$-#m-9}+k

du !0=-:{-+#{-

0<{=-1&}#-,=-+{-:m$-<-1}#-1}#-07}=-9}+-7{:-,=-"}-0}8m-90-+1-.-+$-$-3~-!+-#)}$-0-#,$-#m-9}+k +#{-0<{=-1&}#-<-1}#-1}#-07}-1"=-.}-6{-H#-:{+k "}$-#m=-!q-H#-#m-1}#-1}#-&u$-&u$-+{-1m-07}-0:-f-.8m-1}#-1}#-&{,-.}-+{-07}-#m-9}+k (m,-6m#-#m-6}#=-.-

latter was a Mongolian. (I don’t recall if it was

Outer or Inner Mongolia.) Geshe Chödrak

was terribly saddened by the death of this

abbot and remarked, “Now that my abbot

has died, I don’t care whether I stay at the

monastery or not.” And from then on, Geshe

stayed at the Horkhang house and became

known as “Horkhang Geshe.”

Family Life

In the Fire-Pig Year (1947), my

father was appointed fi nancial manager for

the Commissioner General Lhalu in Chamdo.

Our entire family stayed in Chamdo until the

Iron-Tiger Year (1951). During that period,

Geshe Chödrak continued to reside in the

Horkhang house, in addition to servants and

those who stayed behind to look after the

house. At that time there was a tenant in the

Horkhang house by the name of Metok, the former wife of

the son of the master goldsmith Wangdu. She had separated

from her husband and returned to the Horkhang home. When

she and Geshe Chödrak began to have a relationship, Geshe

decided to become a lay person. My father in Chamdo

came to know about this and wrote to his teacher about how

Geshe Chödrak should not have done this and urged him to

renew his vows. Geshe Chödrak responded by criticizing my

father: “All you aristocrats are the same. When great lamas,

yogis, and the lineage of ngakpa stay with women, you use ngakpa stay with women, you use ngakpa

fancy terms for the woman: “tantric partner,” “dakini,” and

“high consort.” When poor monks stay with women, you

think up terrible names to call him: disrobed monk, ‘bar khog

[derogatory term for a monk], old man, etc.” This was the

period when Gedun Choephel was in the Lhasa Shol prison,

and Geshe Chödrak went to see him frequently at my father’s

The twin sons of Geshe Chödrak, Wangdu (right) and Dawa Tsering (left). 1960.

22 | ;-P{-+.{-14~+-"$-#m-#=:-8J m,kJ m,kJ ] m-;}-2005 ;}8m-% },-"k

+#{-0<{=-1&}#-,=-($-ò-Js-]o-#(m=-0'1=-){-/-+1-.-;- “!q-$}-#7m#=-+$-k 1{-)}#-;-Js-]o-0v-#(m=-[ {=-=}$-k[ {=-=}$-k[ ” 6{=-1({=-3~:-&{,-.}-#,$-0-ò=-+-W8$-"}-0}8m-1m#-;1-ò-[$-[$-8&:-> m -8ò#> m -8ò#> 0v-#%m#-#m-1m$-;-S-0-3|-:m$-+$-k #%m#-;-+0$-8ò+-6{=-

8+}#=-#,$-14+-8ò# +{-#(m=-< m=-;}-:0=-0< m=-;}-:0=-0< W+-%t8m-1'v#-W+-%t8m-1'v#-W21-+$-+]o-0%t8m-8#}-21-;-&$-:#-;-1({=-H#-.8m-V {,-V {,-V > m=-> m=-> #-@ m:-3|-;=-8+=-=}$-k@ m:-3|-;=-8+=-=}$-k@ ] m -;}-] m -;}-] 1966 9=-1=-21-6m#-;-1{-)}#-;#=-;-0v-1}-6m#-[ {=-.-1m$-;-[ {=-.-1m$-;-[ ( {,-.-131=-#%}+-7{:-0-+{-+-W-( {,-.-131=-#%}+-7{:-0-+{-+-W-(0&+-9}+k

?-%#-1{-)}#-;#=-/;-&{:-] m -;}-] m -;}-] 1957 21-,=-[-=:-9{-<{=-0%,-.-7{:-0=-02t#=-.8m-" {:-" {:-" > m -F$-8"}:-+$-> m -F$-8"}:-+$-> )#-)#-07}-0%}=-W#-=-6m#-9}+-.-+{:-W#-=-6m#-9}+-.-+{:-W @#-;=-#,$-0:-/{0=-.-+$-k@#-;=-#,$-0:-/{0=-.-+$-k@ 1959;}-,=-07v$-[-=:-5-Q m$-F$-8"}:-07}-0%}=-1(1-;=-7{:-08m-F$-Q m$-F$-8"}:-07}-0%}=-1(1-;=-7{:-08m-F$-Q8"}:-+$-)#-)#-07}-0%}=-W#-=-6m#-9}+-.-+{:-W#-=-6m#-9}+-.-+{:-W @#-;=-#,$-0:-@#-;=-#,$-0:-@/{0=-< m -9}+k< m -9}+k< !0=-+{:-[-=8m-Js-]o-M1=-< m=- < m=- < “F$-#-:m;-07}-(,-?-%#-1{-)}#“ 7{:-08m-+#}+-K } -08m-#6=-6m#-K } -08m-#6=-6m#-K <$-#)}$-#m-8ò#-<$-#)}$-#m-8ò#-<.-+-W-H,-.8m-9v;-ò-#=;k 1{-)}#-;#=- 1985 ;}8m-,$-#:-> m -0bo#=-"$->}:-"$-0:-*}#-_p-0> m -0bo#=-"$->}:-"$-0:-*}#-_p-0> $r,-1,:-> m=-8+=k> m=-8+=k>

0L-+#-1m$-3n#-#=;-0-.:-ù,k

“0L-+#-1m$-3n#-#=;-0-“ 6{=-A-08m-3n#-14~+-+{->}:-"$-#7m1-<#-#m=-^ m,-0+#-^ m,-0+#-^ A=-,=-A=-,=-A 1949 ;}:- .:-ò-0F}=-Es0k /;-&{:-+#{-8ò,-&}=-8/{;-> m -+{0-*{:-+!:-.}-9$-;}-+{:-.:-ò-0F}-> m -+{0-*{:-+!:-.}-9$-;}-+{:-.:-ò-0F}->08m-;=-8#}-3u#=-.:-'$-k +{0-*{:-+!:-.}-9$-.:-ò-0F}-08m-^ m,-0+#-"}-0}8m-/-+1-.=-#,$-,-9$-k^ m,-0+#-"}-0}8m-/-+1-.=-#,$-,-9$-k^ .:-9m#-;-bo=-+#-#)}$-1",-+$-.:-0F}8m-;=-8+}1=-#,$-1",-3$-1-+#{-0<{=-&}=-E#=-;#=-:$-:{+k +{-06m,-+#{-8ò,-&}=-8/{;-;#=-"}-0}8m-90-+1-.-+$-:!-:-:m,-.}-&{-;-*}#-18m-ò=-=v-$}-c }+-#,$-c }+-#,$-c,",-9$-+#{-0<{=-&}=-E#=-:{+k +#{-8ò,-&}=-8/{;-;#=-02~,-"$-,=-Q }+-.-;-"#-"v:-#,$-1m-"-<=-Q }+-.-;-"#-"v:-#,$-1m-"-<=-Q Ap$-9}+-.-;=-#%m#-<$-+#{-0<{=-&}=-<$-+#{-0<{=-&}=-< E#=-9m,-.:-'$-k

“0L-+#-1m$-3n#-#=;-0-“6{=-A-08m-3n#-14~+-< m -<m$-.:-< m -<m$-.:-<+{-+#{-&}=-E#=-;#=-,=-:m#-#=:-!0=-+1m#=-1{+-ò-1-=}$-0:-:$-#m->}:-"$-0bo#=-<#-_p-(:-9}+k 0bo#=-<#-_p-3n#-14~+-+{-.:-ò-8+{0=-!0=-'#-3-^ }$-0-+$-k^ }$-0-+$-k^ .:-8+{0=-.k

request.

When the Horkhang family returned to Lhasa, Geshe

Chödrak and Metok were already husband and wife, and

Metok was pregnant. In his free time, Geshe Chödrak would

often visit to chat with my father. Sometimes Geshe would

announce: “I have made momos!” and would invite our family

to eat at his place. Geshe was very good at making meat

dumplings. He made not the tiny momos of aristocrats, but

the large momos of monks.

One morning, Geshe arrived with two newborns in his

arms. “Look, sir!” He said to my father. “Metok bore two

children!” I can still the joy on his face. He named one boy

Dawa Tsering and the other Wangdu. In the late 1980s or

early 1990s, both sons died from drinking too much. Around

1966, Metok bore a girl named Penpa Tsamchoe, who is still

alive today.

In 1957, Metok was working in a bicycle and

motorcycle repair shop opened in Lhasa by Yeshe Tenpa.

From 1959, she started working at the Waling Bicycle

Repair Cooperative. I still remember children in Lhasa

singing a humorous song called “Auntie Metok the Bicycle

Repairwoman.” In 1985, Metok passed away at the

Horkhang house, where she had earlier resided.

Publishing the Brda dag ming tshig gsal ba

Under the patronage of the Horkhang family,

the woodblocks to print the Brda dag ming tshig gsal

ba [Orthographical Dictionary] were fi nally completed ba [Orthographical Dictionary] were fi nally completed ba

in 1949. I think the woodblocks for Gedun Choephel’s

White Annals may also have been carved that year. They

too were sponsored by my father, but Geshe Chödrak

took responsibility for proofreading the White Annals and White Annals and White Annals

coordinating the woodblock carving. He was also the person

who fi rst introduced Gedun Choephel to my father and Rakra


(m-1:-! {1=-.k! {1=-.k! +{0-_p-0a m;-0-3$-1-"}$-:$-#m=-#,$-#m-9}+ka m;-0-3$-1-"}$-:$-#m=-#,$-#m-9}+ka +{0-_p-07}=-.-M1=-+#{-0<{=-1&}#-:$-#m=-D }1-;-0D }1-;-0D '1=-,=-02~$-% { -83~-*0=-% { -83~-*0=-% < m -"-< m -"-< ' },-#,$-k' },-#,$-k' 1951 ;}-,=-+#{-0<{=-1&}#-(m,-W:-0}+-V}$=-(m,-:{8m-3#=-.:-;=-"v$=-;-@#-;=-#,$-@#-;=-#,$-@0:-/{0=-< m -8ò#< m -8ò#< 6}:-ò-1v-1*v+-,=-<m$-.:-> m - > m - > “0L-+#-1m$-3n#-#=;-.-“

m -8ò#“

m -8ò#.:-8+{0=-+$-0}+-<}#-#m-+{0-07}=-,=-3~$-0-#,$-

#m-8ò# "}-0}-9$-+#{-0<{=-1&}#-#m-.:-8+{0=-#,$-=:-W+-1}-0W-0:-8E } -#m-9}+kE } -#m-9}+kE "}$-#m=-.:-8+{0=-#,$-I{=->}:-"$-#m-*}#-U#-ao0-< m -< m -< % {$-;-0% {$-;-0% C1-,=-'#-3-!1-.-#,$-#m-9}+-%m$-k (m,-6m#-Q } -0v:-Q } -0v:-Q Tt$-+]o-83u0-%m#-0Tt$-+]o-83u0-%m#-0Tt W0-,=-"}$-#m=-(m-1:-W0-,=-"}$-#m=-(m-1:-W !1-.8m-3n#-14~+-< m-<}#-[{-M1=-< m-<}#-[{-M1=-< Tt$-.}=-Tt$-.}=-Tt = {:-,=-,1-1"8-#$-0-+$-k= {:-,=-,1-1"8-#$-0-+$-k= :{-8#8-[-=8m-({-8+0=-0v1-.-:m8m-P{-;-7#=-.-:{+k +#{-0<{=-1&}#-/-+1-.8m-=:-/{0=-,=-*v#=-/1-&{,-.}=- “+-$8m-3n#-14~+-3$-1-Tt$-.}=-Tt$-.}=-Tt = {:-=}$-= {:-=}$-= “ #=v$=-.-+$-k /-+1-.-+{=-+#{-0<{=-;#=-;- “*v#=-D;-1-#,$-k +{-&q#-.}-:$-9m,-+}#=-1{+k $=-A=-,-3n#-14~+-+{-=-A=-,-3n#-14~+-+{-=-A @ }#=-#$-=:-@ }#=-#$-=:-@ =0-.8m-K{,-8=0-.8m-K{,-8= K {;-W-0v-1m,-K {;-W-0v-1m,-K,1-$1-> m -8ò#> m -8ò#> “ %{=-={1=-#=}-W-0v-#,$-0-"}-0}8m-9m+-;-#=;-.}:-H,-> m -8ò#> m -8ò#> @ m=-=v-1m-:m#=-+.{-@ m=-=v-1m-:m#=-+.{-@ ù,-"$-#m=-+.{-ù,-A=-I{=-A=-I{=-A3n#-14~+-+{-"}-0}8m-90-+1-.=-#=v$=-.-,$-06m,-#$-=:-

ù3n#-14~+-+{-"}-0}8m-90-+1-.=-#=v$=-.-,$-06m,-#$-=:-

ù ù3n#-14~+-+{-"}-0}8m-90-+1-.=-#=v$=-.-,$-06m,-#$-=:-

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Rinpoche, and he joined others in signing a guarantee for the

release of Gedun Choephel from prison.

Before the Cultural Revolution, when the woodblocks

for the dictionary Brda dag ming tshig gsal ba disappeared, Brda dag ming tshig gsal ba disappeared, Brda dag ming tshig gsal ba

Geshe Chödrak kept the blocks in his room at the Horkhang

house. He printed the dictionary in his own living quarters

and did all of the work himself: mixing the ink, printing the

pages, drying them in the sun, binding the volume. Geshe

Chödrak would then carry the volumes to market and sell them

for additional income.

Starting in 1951, Geshe Chödrak worked every day

at the offi ce of the Tibet Daily. On the side, he continued

manually printing the dictionary for sale. I used to go to

Geshe Chödrak’s place to watch him. Once the pages had

been printed, he would spread them out on the western [side

of the] roof for the ink to dry. One day a sudden and strong

wind swept up the papers and they fi lled the sky. Some

reached as far as the nearby peak of Bumpa Mountain. With

great disappointment, Geshe Chödrak went to see my father

and said, “The wind has carried all of my dictionaries away.”

I clearly remember my father consoling him. “Don’t worry,”

he said. “Perhaps this is more than a misfortune. Couldn’t

the scattering of your dictionary be an auspicious symbol?”

Indeed, the dictionary later reached far and wide, as my

father predicted, with its publication by the Nationalities

Publishing House in 1957.

I remember my father remarking on several occasions:

“Some people say that Gedun Choephel wrote Geshe

Chödrak’s dictionary and that Geshe Chödrak simply

published it under his own name. It was not at all like

that. Geshe Chödrak and Gedun Choephel were very

close friends, so they must have discussed the compilation

of this dictionary. However, Geshe Chödrak himself had

read all of the major religious texts; he was not only an

expert in classical poetry and grammar, but he also knew

the Mongolian language. He was highly talented and

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very honest. He would never claim credit for work done

by someone else. While the [poem in the] afterword of the

dictionary was written by Gedun Choephel, he had given it to

Geshe Chödrak.”

While Geshe Chödrak was working at the Tibet Daily, Tibet Daily, Tibet Daily

he still wanted to expand the dictionary. He continued to

collect a great number of entries, which I myself saw. These

words were written on countless small papers. They must

have been like what we today call “index cards.” He

probably had more than ten thousand such cards. Later,

during the Cultural Revolution Geshe Chödrak underwent a

great deal of hardship; he was accused of being a “Soviet

revisionist spy,” struggled, and then kept in isolation. Fearing

that he would continue to face such atrocities, his wife burnt

whatever books and writings she could fi nd—including his

dictionary entries. One day, he told my father: “Metok was

not able to distinguish between my books and my notes for

expanding the dictionary, so she burned them. They are

fools. They couldn’t distinguish between what was valuable

and not, and burned them! What a disappointment!”

Sad Parting

It was the middle of the Cultural Revolution. Geshe

Chödrak, like other older intellectuals in China, was

the victim of unfounded accusations, such as “Active

Counterrevolutionary,” “Soviet Revisionist spy,” etc. He

suffered for a very long time and was opposed, struggled

and kept in isolation. Geshe Chödrak stayed on the second

fl oor of the Horkhang home. Both he and my father were

considered enemies of the proletariat and were severely

restricted with people assigned to watch them. They had

contact with no one.

When I graduated from school in 1965, I was sent

to work in Chamdo. My fi rst home leave was not until

On the right is Horkhang Sonam Pelbar’s son (and the author of this piece) with Geshe Chödrak’s son Dawa Tsering (left).


1971. While in Lhasa, I secretly went to see Geshe. He lay

bedridden. His hair had turned totally white, and his beard

was long. He could not hear very well. His wife Metok told

him in a rather loud voice, “Mr. Horkhang’s son has come.”

Geshe’s eyes started to fi ll with tears. He looked at me for

a moment, but couldn’t speak. Then, after some time, he

took my hand and said, “The ‘cultural revolution’ has been

very harsh and chaotic; your father must be very scared. Tell

your father that there is no need to be afraid of his and my

relationship.” As he cried, I too began to weep. Though I

wanted to stay longer, I was unable to do so because of the

restrictions at that time and slowly left. Geshe Chödrak died

in 1972, shortly after I had returned to Chamdo. He was 75

years old.

In 1976, the Cultural Revolution ended and China’s

policy improved with each day. Eventually, those who had

been falsely accused during the Cultural Revolution were

exonerated. I still clearly remember how my father would

in those days visit the newspaper offi ce to ask that Geshe

Chödrak be exonerated. The head of the newspaper

offi ce was Party General-Secretary Tenzin. He showed

great concern and consoled Geshe Chödrak’s children

and other family members. At a gathering of Geshe’s

friends, neighbors, and family, the General-Secretary stated:

“Geshe Chödrak was in no way guilty.” During a memorial

organized at the newspaper offi ces, he again exonerated

Geshe Chödrak in front of the staff, saying that the Mongolian

teacher had been innocent.■ ■

Translated by Lauran Hartley

*The author is referring to Theos Casimir Bernard (1908–47), an explorer and scholar of religion who spent sixteen months in Tibet during 1936–37. See Paul Hackett, "Theos Casimir Bernard," <http://c250.columbia.edu/c250_celebrates/remarkable_columbians/theos_casimir_bernard.html>.

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With more than 26,000 terms, the With more than 26,000 terms, the With more than 26,000 terms, Brda dag

ming tshig gsal ba—or as it is more popularly called “Geshe

Chödrak’s Dictionary”—was the most comprehensive Tibetan

dictionary in existence prior to the publication of the Great

Tibetan-Chinese Dictionary in 1985. The Tibetan-Chinese Dictionary in 1985. The Tibetan-Chinese Dictionary Brda dag ming tshig

gsal ba [Orthographical Dictionary] was completed in 1946 by gsal ba [Orthographical Dictionary] was completed in 1946 by gsal ba

the scholar Geshe Chökyi Drakpa (1898-1972), who was born

in Mongolia but spent most of his life in Tibet. The woodblocks

for the dictionary were carved in 1949 under the patronage of

the Horkhang family.

In the afterword to the volume, the author writes: “In this

human realm, the world of joy and

sorrow,/ all human beings dream

of/ looking back from the dead/

and struggle to leave some small

legacy." Following the full fi ve

stanzas of this memorable poem

are the words: "This too was written

by Geshe Chödrak, who was

born in Mongolia but spent his life in Tibet, the Land of Snows."

Some have speculated that perhaps these verses are written not

by him but by his friend Gedun Choephel. It is now clear that

Horkhang Sonam Pelbar, who helped both of these scholars and

knew them well, also held this opinion. (See feature article in this

Newsletter.)

In 1957, the Nationalities Publishing House in Beijing

published the Brda dag ming tshig gsal pa with Chinese Brda dag ming tshig gsal pa with Chinese Brda dag ming tshig gsal pa

translations for each term and defi nition. Lobsang Chöpak

(whose identity is unknown to me) and Zhang Keqiang—a

scholar of Buddhism and in particular Tibetan Buddhism, as well

as translator of Jonang Taranatha’s Religious History of India—

were responsible for the Chinese translations. From then on, the

dictionary circulated more widely and its reputation, along with

that of its author Geshe Chödrak, spread throughout all Tibetan

regions.

An original print from these woodblocks can be found

GESHE CHÖDRAK’S ORTHOGRAPHICAL DICTIONARY

■ Pema Bhum

0L-+#-1m$-3n#-#=;-0k■ .+-1-80v1k

FALL 2005 |FALL 2005 LATSE LIBRARY NEWSLETTER | 27

+.{-+Am0=-+{-+{$-=$-#m-+{0-+Am0=-+{-+{$-=$-#m-+{0-+A Am0=-=v-*},-9}+-Am0=-=v-*},-9}+-A %0=-+{8m-,$-+},-am#-am#-a %$=-<$=-<$=- $-+{$-=$-#m-;v#=-W:-<}#-]o8m-#9},-<$-+{$-=$-#m-;v#=-W:-<}#-]o8m-#9},-< @$-+{$-=$-#m-;v#=-W:-<}#-]o8m-#9},-@$-+{$-=$-#m-;v#=-W:-<}#-]o8m-#9},- }#=-=v-0@}#=-=v-0@ C;-A;-A;- 8m-A8m-A1m$-3n#-M1=-0am#=-9}+-.8m-#9=-am#=-9}+-.8m-#9=-a @m#=-9}+-.8m-#9=-@m#=-9}+-.8m-#9=- }#=-=v-+{-+#-#m-8@}#=-=v-+{-+#-#m-8@ E{;-0<+-M1=-E{;-0<+-M1=-E0am#=-9}+kam#=-9}+ka +{-9$-0}+-<+{-9$-0}+-<+{-9$-0}+- m=-+#-9m#-7{:-0-+{-+{$-=$-#m-3n#-14~+-7{:-<m=-+#-9m#-7{:-0-+{-+{$-=$-#m-3n#-14~+-7{:-<08m-am#-am#-a %$=-=v-8/}=-.8m-+.{-13~,-6m#-9m,-;=-&{k 3n#-14~+-+{8m-<}#-E$=-8#}+-%$=-,m-<}#-E$=-9}$=-Q}#=-+<o=-#%m#-_p-0!}+-<o=-#%m#-_p-0!}+-<o1{+-.:-#=;-A1{+-.:-#=;-A1{+-.:-#=;- {+-:{-;-<}#-A{+-:{-;-<}#-A E$=-8#}+-131=-:{-A8#}+-131=-:{-A8#}+-131=-:{- =-9}+-+{-+.{:-,kA=-9}+-+{-+.{:-,kA #=;-A#=;-A#=;- {+-!-9m#-;=-A{+-!-9m#-;=-A Ap{+-!-9m#-;=-Ap{+-!-9m#-;=- $-08m-1m$-Ap$-08m-1m$-Ap3n#-M1=-<}#-E$=- 1 ,=- 720:-9m,-.-+$-k #=;-A#=;-A#=;- {+-"-9m#-A{+-"-9m#-A;-U{0=-U{0=-U !0=-9$-[:-<}#=-[:-<}#=-[ E$=-1 0Pm-8#}-07v$-9}+k3n#-14~+-+{-.:-ò-0W0-.8m-W0-.8m-W

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ù=-9}+kù

A=-9}+kA .:-*{$=-I{=-1-+#-_p-+.{-ù,-"$-#m=-ù,-"$-#m=-ù Wv-13,-%m-9$-1-0I}+-.:-P}1-.-Wv-13,-%m-9$-1-0I}+-.:-P}1-.-Wv.}8m-^:-^:-^ A:-A:- $-#m-+}+-A$-#m-+}+-A <$-#m-+}+-<$-#m-+}+- m-3n#=-0%+-

ùm-3n#=-0%+-

ù<m-3n#=-0%+-< $,-.}-+{-0!}+-1{+-+}k

■ ■

in the Rare Books Collection of Latse Library, thanks to the

generosity of Columbia University professor Lozang Jamspal.

The woodblock print is not elongated like most traditional Tibetan

texts, but is in the shape of modern-format books. It consists of

two volumes printed on Tibetan paper. If this edition is not the

fi rst instance of the transition to modern-format printing using

Tibetan woodblocks, it is certainly among the earliest.

The layout of the dictionary also follows modern

conventions in that terms are listed on the left with corresponding

defi nitions on the right. [Traditional Tibetan glossaries usually

listed words, and sometimes defi nitions, in paragraph-format and

were often in verse.] This dictionary is likely the fi rst instance of

the transformation of what Tibetans call "dag yig" or glossaries

into the structure of the modern dictionary. Yet, unlike modern

publications, the pages of this dictionary are not numbered

consecutively. Rather, the paging starts again for entries

beginning with a new letter. For example, all entries under “ka”

comprise pages 1-52 of the dictionary, and the page numbering

starts again with “1” for entries under “kha.”

Once this dictionary was published, Geshe Chödrak then

thought about expanding and revising the volume; he collected

many additional terms for which he wrote defi nitions, and fi led

them away. During the Cultural Revolution, however, his wife

Metok feared that her husband would face even harsher suffering

under a variety of charges. Not daring to keep anything that

could be used against him, she was compelled to burn his notes.

Like other Tibetan books, Geshe Chödrak’s dictionary

was banned during the Cultural Revolution. When the Cultural

Revolution ended, the dictionary was rehabilitated and in many

areas the copies previously left unsold were snatched up by

buyers as soon as the books reached the market. The Brda

dag ming tshig gsal ba had its fi fth printing in 1995. In this last dag ming tshig gsal ba had its fi fth printing in 1995. In this last dag ming tshig gsal ba

printing, the publishing house omitted without explanation the

lyrical verses that had concluded the previous printings. ■ ■

!}-;v1-)m-9-U}0-f-&{,-1}8m-U}0-+.},-;-3#=-.-R}-07$-8'1-+.;-1&}#-,=-8+m-#-#.{14~+-"$-;-#,$-08m-

”0L-+#-1m$-

3n#-#=;-0k”

Title page from Geshe

Chödrak’s Orthographical

Dictionary, donated to

Latse Library by Professor

Lozang Jamspal of

Columbia University.

| ] m-;}-2005 ;}8m-% },-"k28 | ;-P{-+.{-14~+-"$-#m-#=:-8J m,kJ m,kJ ] m-;}-] m-;}-] 2005 ;}8m-% },-"k% },-"k%

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The Afterwordto Geshe Chödrak’s Dictionary

This poem, whose authorship is discussed

in the preceding articles, concludes the Brda

dag ming tshig gsal ba.

And so I would say that

In this human realm, the world of joy and sorrow,

All human beings dream of

Looking back from the dead,

And struggle to leave some small legacy.

Many here have left behind their lineage, sons or students.

Still others have set down brilliant words and reputation.

Some build centers for religious learning or sacred supports,

then die.

And see the legacy of still others: their wealth and fi ne

estates!

With neither wealth nor dharma, this beggar

Has left as legacy�nothing named above,

But to cover the cost of the food he consumed,

This small book for humankind.

Thirteen years were spent in the busy

Writing of this unsolicited volume.

I am certain it holds some wee benefi t for others,

But will they praise or slam it?

With this act of virtue,

May I soon achieve the state of All-Seeing

Through lifetimes of effort in proper study of

Teachings on the fi ve areas of knowledge.

This too is written by Geshe Chödrak, who was born in

Mongolia but spent his life in Tibet, the Land of Snows.


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;}:-+A m,-'m8m-+1#-+.v$-#m=-0}+-A m,-'m8m-+1#-+.v$-#m=-0}+-A < m -< m -< W;-=-[-=:-+.v$-8'v#-W;-=-[-=:-+.v$-8'v#-W A=-A=-A.8m-;}-+{:-8"{;-9}+k ao0-@ }#=-02,-@ }#=-02,-@ W;-:m$-;v#=-W;-:m$-;v#=-W < m -< m -< % }0=-% }0=-%co#=-8+m-W:-#-I{=-=v-9{-co8m-3#=-.:-+$-+A m,-'m8m-+1#-+.v$-A m,-'m8m-+1#-+.v$-A+$-0& {0=-){-0}+-ò-84v;-08m-co#=-& {0=-){-0}+-ò-84v;-08m-co#=-& V {,-;-0K{,-,=k V {,-;-0K{,-,=k V W-,#-1,-W-,#-1,-W'v-N m+-#bo$-#m=-N m+-#bo$-#m=-N <$-;}-<=-<$-;}-<=-< < m -I{=-,=-0}+-9m#-/;-< m -I{=-,=-0}+-9m#-/;-< !+-< m -#=:-< m -#=:-<8>o:-7{:-08m-W-0}+-<,-W-0}+-<,-W ^:-^:-^ > m -3#=-.:-6m#-0)},-){-0}+-ò-1,-'v8m-> m -3#=-.:-6m#-0)},-){-0}+-ò-1,-'v8m->co#=-V {,-V {,-V ( {;-*0=-( {;-*0=-( A=kA=kA9m,-,8$-;-3#=-< m -?#-0< m -?#-0< rm -?#-0 rm -?#-0:-,m-!0=-+{:-+A m,-'m8m-+0$-8}#-A m,-'m8m-+0$-8}#-A

_p-9}+-.8m-;-3#=-< m -9v;-1m-3~8m-&{+-ò-0)},-.8m-3#=-.:-6m#-9m,-< m -9v;-1m-3~8m-&{+-ò-0)},-.8m-3#=-.:-6m#-9m,-<.-1-#)}#=k 0}+-"1=-O m;-0}:-O m;-0}:-O W-W-W =0-_p-8=0-_p-8= E {1=-E {1=-E Wv8m-+1m#=-

9v;-1{+-.:-'$-k 3#=-.:-8+},-*{$=-+$-.}8m-!0=-=v-E$=- 150 +.:-9}+-,8$-k :m1-> m=-+.:-> m=-+.:-> E$=- 60 ;-/0-% {k +{-;=-3#=-.:- % {k +{-;=-3#=-.:- % 20 L-I{-Q m$-#m-Q m$-#m-Q @ }#=-=v-0@ }#=-=v-0@ !q:-9}+k 3#=-.:-8+m- 1907 0:-ò-;-3#=-< m -?#-0< m -?#-0< rm -?#-0 rm -?#-0:-6{=-.8m-"-9m#-8}]-_p-+.:-8E {1=-E {1=-E A=-9}+-,8$-kA=-9}+-,8$-kA/ r-:,-"8{-9m=-P}1-a m#-#m-;=-131=-a m#-#m-;=-131=-a06#-.8m-I{=-=v-"}$-#m-;=-:}#=-3~=-0}+-ò-8E {1=-0+{-08m-&{+-ò-+1m#=-.-9m,-,1-E {1=-0+{-08m-&{+-ò-+1m#=-.-9m,-,1-E3#=-.:-> m-1m$-;=-?v:-Ly8m-3n#-?#-.:-> m-1m$-;=-?v:-Ly8m-3n#-?#-.:->6{=-.-+}:-,=-;-3#=-/}-(-:v-0\w:-){-0}+-(1=-'{-+}+-ò-0)$-9}+k 9m,-,8$-;}-

\w(1=-'{-+}+-ò-0)$-9}+k 9m,-,8$-;}-

\w

#%m#-;=-1-8#}:-0:- 1908 ;}:-3#=-.:-8+},-131=-&+-8ò#3#=-.:-8+m8m-co#=-V {,-8}#-V {,-8}#-V

_p- 1925 ;}:-9{-co8m-&}=-.-"v-ao-1*:-@ m,-@ m,-@ > m=-> m=-> W-#:-!-W-#:-!-W R },-R },-R )t#-_p-9v;-)t#-_p-9v;-)t @ }#=-@ }#=-@=}-=}8m-#=:-8>o:-1{-;}$-6{=-.8m-3#=-.:-E#=-%,-+{-+.:-8E {1=-E {1=-E A {+-8#}-A {+-8#}-A

■ 0=}+-,1=-3|-:m$-k

HISTORICAL NOTES;}-Wv=-< m-3n#-*}k

;-3#=-<m-?#-0 r:-6{=-.8m-3#=-.:->m-8H-.:-8+m-8':-1,->m-)m:-;m,-E}$-={:-,-9}+-.8m-1$8-&{-+.{-14~+-"$-#m-1"=-+0$- Hartmut Walravens

;#=-< m=-1"}-8+},-#,$-0:-*v#=-I{-&{k

30 | ;-P{-+.{-14~+-"$-#m-#=:-8J m,kJ m,kJ ] m-;}-2005 ;}8m-% },-"k

0P1=-9}+k "v-ao-1*:-@ m,-,m-;-@ m,-,m-;-@ 3#=-?#-0 r#=-?#-0 r#=-?#-0:-+.:-8E {1=-E {1=-EA {+-1",-1}-:A {+-1",-1}-:A r{+-1",-1}-: r{+-1",-1}-: -5,-&}=-3~#=-< m=-;-< m=-;-< 3#=-"v;-ò-#=}-[#=-"v;-ò-#=}-[#=-"v;-ò-#=}- }$-[ }$-[ A=-){k A=-){k A+{8m-3~#=-1m:->o:-,8$-k >o:-,8$-k >o 1920 ;}:-"}$-!-R },-R },-R )t#-_p-#,=-)t#-_p-#,=-)t ( }:-( }:-(> m=-+{:-=m-!}-@m-;,-&}=-3~#=-> m=-+{:-=m-!}-@m-;,-&}=-3~#=-> < m-< m-<

(the Church of Scotland):}#=-:1-8}#-_p-#=:-8>o:-1{-;}$-#m-P}1->o:-1{-;}$-#m-P}1->o a m#-a m#-a A {+-.8m-8#,-8"v:k A {+-.8m-8#,-8"v:k A#=:-8>o:-1{-;}$-0)},-,=-;}-#(m=-1-8#}:-0:-1}-: r:-1{-;}$-0)},-,=-;}-#(m=-1-8#}:-0:-1}-: r:-1{-;}$-0)},-,=-;}-#(m=-1-8#}:-0:-1}-: -5,-&}=-3~#=-< m=-;-< m=-;-< 3#=-?#-0 r#=-?#-0 r#=-?#-0:-U:-#=}8m-3u;-ò-< { -;$-?#-0< { -;$-?#-0< r{ -;$-?#-0 r{ -;$-?#-0:-7{:-0-6m#-;-3#=-< { -;$-ò-+.:-8< { -;$-ò-+.:-8< E {1=-E {1=-E A=-){- A=-){- A 1935 0:-ò-Wv,-[ }$-[ }$-[A=k ò=-:0=-A=k ò=-:0=-A # },-18m-# },-18m-# % }+-% }+-% < m -0}+-9m#-#m-3#=-.:-M1=- -8+m-< m -0}+-9m#-#m-3#=-.:-M1=- -8+m-<W:-#%m#-;-#%m#-8K {;-K {;-K > m=-/,-3u,-co#=-> m=-/,-3u,-co#=-> V {,-70-1}-V {,-70-1}-V Ap$-9}+k9{-co8m-3#=-.:-8+m-+#-&}=-;v#=-H m;-0H m;-0H a#=-A {+-.8m-A {+-.8m-A

;#-&-<-%#-9m,-.-0$ },-ò-1{+k 9m,-,8$-9m#-3#=-$ },-ò-1{+k 9m,-,8$-9m#-3#=-$ D }+-ò-(:-D }+-ò-(:-D08m-3#=-.:-8+m-+#-;-[:-6m0-A=-3|-+{-;-A=-3|-+{-;-A =+-&}=-#6,-9$-9}+k=+-&}=-#6,-9$-9}+k= 1m-! }:-6m#-#m=-+{$-! }:-6m#-#m=-+{$-! !0=-;-3#=-?#-0 r#=-?#-0 r#=-?#-0:-> m-:m,-*$-,m-> m-:m,-*$-,m-> !+-9m#-#m-=+-=+-=&}=-< m-*}#-,=-0<+-< m-*}#-,=-0<+-< < m-9}+k ;-< m-9}+k ;-< 3#=-?#-0 r#=-?#-0 r#=-?#-0:-> m -P}1-> m -P}1-> a m#-.-/a m#-.-/a rm#-.-/ rm#-.-/ -:,-"m-,m- 1896 % { -+]o$-;}-(m-co-P-% { -+]o$-;}-(m-co-P-% Hs#-#m-*}#-,=-;-3#=-=v-&}=-( {;-ò-8( {;-ò-8( A }:k A }:k A !0=-+{:-1}-: r0=-+{:-1}-: r0=-+{:-1}-: -5,-&}=-3~#=-< m=-9{-co8m-#=v$-< m=-9{-co8m-#=v$-<:0-0}+-9m#-_p-\w:-%$=-< m -*+-;-0=1-3u;-< m -*+-;-0=1-3u;-< '-3~#=-Ap$-9}+k / r-:,-"m-9m=-*}#-1:-0}+-"1=-9}$=-=v-#%m#-

\w-:,-"m-9m=-*}#-1:-0}+-"1=-9}$=-=v-#%m#-

\w>o:-> m=-#}-0+{-08m-> m=-#}-0+{-08m->

&{+-ò-0}+-< m -&}=-< m -&}=-< !+-ò-\w:-+#}=-.8m-0=1-3u;-;-W0-W0-W [ }:-[ }:-[ A=-A=-A,8$-k :m1-> m=-"}=-;-

\wm=-"}=-;-

\w> m=-"}=-;-> 3#=-< m -1m-={:-/;-&{-0=-,$-.8m-&}=-< m -1m-={:-/;-&{-0=-,$-.8m-&}=-<

+.{-M1=-"-8+},-+#{-^ }:-^ }:-^ > m -&{+-ò-,{-2~8m-> m -&{+-ò-,{-2~8m-> P }#-W-0v-6m#-;=-#}-0-P }#-W-0v-6m#-;=-#}-0-P;},-+!8-0-1*}$-% {k 0}+-% {k 0}+-% ] m -;-] m -;-] =0-.8m-&}=-=0-.8m-&}=-= !+-< m -0=1-< m -0=1-< R } -+}:-R } -+}:-R,=-;-3#=-< m -"-< m -"-< !+-#2~-0}:-07v$-k ;-3#=-<#=-<#=- m-?#-.:-,m-8+m-<m-?#-.:-,m-8+m-<W:-0}+-<W:-0}+-<W:-0}+- m-<m-<!+-+$-9m-#{8m-8K{;-0-;-6m0-8'v#-K{;-0-;-6m0-8'v#-K A{;-0-;-6m0-8'v#-A{;-0-;-6m0-8'v#- =-.8m-0A=-.8m-0A Wv+-:m1-Wv+-:m1-Wv D}+-,=-D}+-,=-D#=:-#)}+-A#=:-#)}+-A#=:-#)}+- =-.8m-/;-A=-.8m-/;-A !+-<+-<+- m-<m-<P}#-+{0-%m#-9m,kP}#-+{0-%m#-9m,kP;-3#=-< m -?#-0< m -?#-0< rm -?#-0 rm -?#-0:-;-,$-&}=-< m -M1-.-1m-1$},-.8m-&{+-òk < m -M1-.-1m-1$},-.8m-&{+-òk <

3#=-.:-8+m-(m+-+0v-%,-> m -&}=-+.{-/;-&{-0-+$-1m-8> m -&}=-+.{-/;-&{-0-+$-1m-8> H-0:-+0v-1{+-< m -9m#-#7v#=-=v-+.:-8+{0=-< m -9m#-#7v#=-=v-+.:-8+{0=-< A=-.-1-7+k &}=-A=-.-1-7+k &}=-A !+-1m-8H {=-.8m-;-H {=-.8m-;-H 3#=-< m -< m -< = m1-.-3~8m-$#-= m1-.-3~8m-$#-= Wv,-,-9}+-.8m-#,8-#)1-+$-k Qt-#6=k W;-:0=-0%=-W;-:0=-0%=-W @ }#=-@ }#=-@ a m#-#m=-3#=-.:-ò-1v-8+},-a m#-#m=-3#=-.:-ò-1v-8+},-aA=k #=:-8A=k #=:-8A >o:-> m -0I}+-> m -0I}+-> A-;-D }1-D }1-D > m-8> m-8> Ks-:m#=-< m -:m,-< m -:m,-<#}$-+$-k E }$-#m-Fy-8E }$-#m-Fy-8E J }#-#m-J }#-#m-J ! }:-0%=-#2~-0}-8'm#-K{,-! }:-0%=-#2~-0}-8'm#-K{,-! = m1-.8m-= m1-.8m-=83~-0-+$-8K {;-08m-#,=-3u;-80v:-8+},-K {;-08m-#,=-3u;-80v:-8+},-K A=-9}+k 3#=-.:-A=-9}+k 3#=-.:-A > m-> m->I}+-3n#-#m-&-,=-<$-3#=-.:-;-?#-0<$-3#=-.:-;-?#-0< r$-3#=-.:-;-?#-0 r$-3#=-.:-;-?#-0:-+$-k D }1-;-0D }1-;-0D r-4:k({,-K}#-.-;-.}-;m=-==-6{=-;-3#=-< m -9v;-1m-3~8m-"-< m -9v;-1m-3~8m-"-< !+-ò-8'#=-.8m-?v:-Ly-+$-+A m,-A m,-A !+-< m -*-< m -*-< $+-=}:-8'}#-A=-<m$-k A=-<m$-k A

;1-N };-8+m-I{=-,=-N };-8+m-I{=-,=-N < { -;$-?#-0< { -;$-?#-0< r{ -;$-?#-0 r{ -;$-?#-0:-> m=-> m=-> <$-<$-< Wv,-84n,-A=-9}+k A=-9}+k A+{:-0K{,-"-<=-< m -0=1-.:-;-< m -0=1-.:-;-< 3#=-?#-0 r#=-?#-0 r#=-?#-0:-> m=-> m=-> !0=-+{:-0}+-< m -9m-#{-;-,$-.8m-&}=-9m#-+$-#bo$-#m-< m -9m-#{-;-,$-.8m-&}=-9m#-+$-#bo$-#m-< D;-9m#-#m-ao=-.-21-;=-0{+-] }+-1{+-.8m-#,=-] }+-1{+-.8m-#,=-] %$=-;-#+}$-;{,-A=-.-1-7+k +-ò$-A=-.-1-7+k +-ò$-A+{$-=$-0}+-@ m -,$-#(m=-!:-0@ m -,$-#(m=-!:-0@ E } -E } -E Q {$-Q {$-Q A {+-06m,-.8m-0}+-A {+-06m,-.8m-0}+-A < m -*-< m -*-< $+-#%m#->o:-+$-k ] m -] m -] !+-+$-/;-!+-< m -8#;-0-0%=-;-;}-0< m -8#;-0-0%=-;-;}-0< W-W-W[#-#m-#}$-,=-0=1-6m0-+$-(1=-;{,-A=-9}+-.:-0=1kA=-9}+-.:-0=1kA1"=-+0$-+#{-8ò,-&}=-8/{;-> m=-+{0-+!:-ò-> m=-+{0-+!:-ò-> ”:$-:{-

M1=-'m-N m+-0N m+-0N %,-0%}=-< m -*-< m -*-< $+-+$-&}=-!+-;-&-8'}#-A {+-.-+{-A {+-.-+{-AN m+-ò-0}+-9v;-9}$=-Q}#=-N m+-ò-0}+-9v;-9}$=-Q}#=-N < m -< m -< !+-:m#=-<$-#%m#-_p-#,=-.-9m,<$-#%m#-_p-#,=-.-9m,< ”1}+k 9m,-,8$-+{$-=$-”1*8-1m”8#8-6m#-#m=-'$-0:-#$-H,-> m=-/;-> m=-/;-> !+-< m -< m -< !+-14~+-+$-Q {#=-01-Q {#=-01-Q & {0-.8m-& {0-.8m-& N };-$,-6m#-+:-N };-$,-6m#-+:-N06m,-.-8+m-8H8m-@ }#=-;-*1=-%+-@ }#=-;-*1=-%+-@ < m=-0#-7},-+#}=-< m=-0#-7},-+#}=-< A {+-+#}=-6{=-A {+-+#}=-6{=-A#=v$=-.8$-k !0=-+{:-1}-:r0=-+{:-1}-:r0=-+{:-1}-:-5,-&}=-3~#=-<-5,-&}=-3~#=-<-5,-&}=-3~#=- m=->m-1-;-98m-:m-<m=->m-1-;-98m-:m-< Wv+-ò-Wv+-ò-Wv/;-!+-#2~-0}:-07v$-%{-3n#-14~+-+$-3#=-.:-k +.{-+{0-0%=-+.:-

Wv{-3n#-14~+-+$-3#=-.:-k +.{-+{0-0%=-+.:-

Wv%{-3n#-14~+-+$-3#=-.:-k +.{-+{0-0%=-+.:-%

ù,-+$-8E {1=-E {1=-E ( {;-( {;-( W-&{,-.}-W-&{,-.}-W A {+-A {+-A < m -9}+-.-+{-;-7{:-< m -9}+-.-+{-;-7{:-< > m -1{+-+1-> m -1{+-+1-> $1k ;-3#=-?#-.:-,m-8+m-W:-9v;-A { -A { -A K#-.-21-1-#)}#=k 0}+-"1=-O m;-0}=-#}-0+{-6m$-O m;-0}=-#}-0+{-6m$-O =0-0+{-08m-:{-0-*}#-1-,=-0%$=-1{+k=0-0+{-08m-:{-0-*}#-1-,=-0%$=-1{+k=/ r-:,-"8{-9m=-"}$-#m-3#=-.:-> m -> m -> ! }:-;-3n#-*}-0!}+-.-! }:-;-3n#-*}-0!}+-.-!

#6m:-07v$-,k 1904 ;}:-+A m,-'m=-0}+-;-02,-84v;-A m,-'m=-0}+-;-02,-84v;-A A {+-A {+-A!0=k 0}+-+1#-#m-A m,-A m,-A T0=-%,-> m -13~,-> m -13~,-> Ns$-#m=-+A m,-+1#-A m,-+1#-A#m-1+{8v-"-8#}#-1m-*v0-.8m-#=:-8>o:-( {;-0-,k ( {;-0-,k ( P }#-.-.}-3~=-P }#-.-.}-3~=-P*}#-1:-#,=-3u;-8+m-0+{,-1m-N m+-.8m-*{-3~1-N m+-.8m-*{-3~1-N A {+k 9m,-,8$-A {+k 9m,-,8$-AI{=-=v-"}$-3~=-0}+-< m -07v$-+1#-M1=-=m1-;-:v-+$}=-=v-1*}$-0-< m -07v$-+1#-M1=-=m1-;-:v-+$}=-=v-1*}$-0-<,-3#=-.:-;-9m+-&{=-'{-0K,-ò-=}$-6{=-0<+k;-3#=-< m -?#-0< m -?#-0< rm -?#-0 rm -?#-0:-,m-1*:-#_p#=-,-0}+-1m-M1=-9{-co8m-

&}=-8}#-_p-8]o#-.8m-&{+-ò-#=:-#)}+-A=-.8m-&}=-;v#=-A=-.8m-&}=-;v#=-A < m -;#-< m -;#-<&-#=:-0-6m#-9m,-,}kk

■ ■

1&,k P}1-9m#-8+m-8K m -0:-K m -0:-K !q-60=-8'},- 0 r-60=-8'},- 0 r-60=-8'},- 0-:8{- (John Bray)

;#=-< m=-;}-1$-#}$-,=-;-< m=-;}-1$-#}$-,=-;-< 3#=-?#-0 r#=-?#-0 r#=-?#-0:-> m -$}-0co=-+$-"}$-#m=-> m -$}-0co=-+$-"}$-#m=-> K m=-.8m-P}1-K m=-.8m-P}1-K9m#-"#-%m#-0%=-1"}-8+},-#,$-0:-*v#=-I{-&{-bok

0=}+-,1=-3|-:m$-,m-?-1+}-:{0-#}$-,=-9m,k 8+=-.8m-;}-$}-0%t8m-:m$-;-0}+-9m#-#m-#=:-8>o:-> m -> m -> A-0-0au0=k +-;}-;},-B},-U }0-U }0-U f-&{,-1}8m-<:-

>o-&{,-1}8m-<:-

>oQ m$-+$-/{-Q m$-+$-/{-Q

Q m$-aum$-auQ m$-Q U }0-U }0-U f8m-1m8m-:m#-.-& { -3,-,=-1*:-& { -3,-,=-1*:-& @ m,k@ m,k@


Origins of the 'Tibet Myth' in Western Fiction

■ Ramon N. Prats

"Tibet? Does Tibet exist?" But of course it must.K.A. Goonan, The Bones of Time. New York: Tor,

1996, p. 1511989 ;}:-[0=-1#},-_ s0=-1#},-_ s0=-1#},-_ -;8m-R-1-;-,}-) {;-6m-0+{8m-) {;-6m-0+{8m-)#7{$=-K#=-/v;-0-+{=-&}=-< m -+0v-8< m -+0v-8< H {,-+{-8'm#-H {,-+{-8'm#-HK{,-= },-9}$=-= },-9}$=-= < m -83|-1{+-6m-08m-13~,-< m -83|-1{+-6m-08m-13~,-< A {+-ò-A {+-ò-A >o:-%m$-k

"}$-#m-13,-

1"}$-#m-13,-

1$,-E#=-W;-W;-W ] m8m-"}$=-=v-9$-P{:-] m8m-"}$=-=v-9$-P{:-] U {0=-<m$-8'm#-U {0=-<m$-8'm#-U

K{,-= },-9}$=-,=-0}+-;-<{=-K}#=-80:k= },-9}$=-,=-0}+-;-<{=-K}#=-80:k= +{8m-+0$-#m=-ao0-@ }#=-@ }#=-@ W;-"0-+#-_p-0}+-;-[-W;-"0-+#-_p-0}+-;-[-W au$-#m-8Js;-'$-+{-0=1-9v;-;=-8+=-.:-8/{;k ;}-0%t8m-,$-;k

au;}-0%t8m-,$-;k

au

W;-W;-W ] m8m-"}$=-=v-] m8m-"}$=-=v-] Q }#-0J,-Q }#-0J,-Q07}-f-+#-#m=- “0}+-“ %{=-.-;-1m$-#m=-8K {;-9$-+},-K {;-9$-+},-K > m=-8> m=-8> K {;-K {;-K1m-8K {;-K {;-K > m -> m -> Q }#-0J,-0%t-[#-07}=-9}+kQ }#-0J,-0%t-[#-07}=-9}+kQ +.{:-,-) {:-,-) {:-,-) & } -& } -&

/) {:-)}-) {:-)}-)

;}8v-=m-(Bernardo Bertolucci)

9m- “=$=-W=-&u$-&u$-W=-&u$-&u$-W “ (Little

Buddha, 1993) +$-k 06$-06#-?+-,}+- (Jean-Jacques

Annaud)< m - < m - < “0}+-ò-;}-0ò,-“ (Seven Years in Tibet, 1997)

1:-@m,-=m-!}:-={-07m-(Martin Scorsese)

9m- “!q-1ò,-“(Kundun, 1997)

0%=-#-1-#-1-;=-@ m -1-@ m -1-@ @ m -1-0}+-@ m -1-0}+-@ < m -:$-06m,-< m -:$-06m,-<#=;-08m-Q }#-0J,-*},-9}+kQ }#-0J,-*},-9}+kQ +{8m-":-K}#-07}8m-au$-P}1-> m -> m -> J {$-J {$-J0-:m$-1}-6m#-#m=-<$-0}+-(m-3|-0-6m#-8'm#-K{,-;-<$-0}+-(m-3|-0-6m#-8'm#-K{,-;-< #:-;=-<$-<{=-<$-<{=-<K}#=-W-&{:-W-&{:-W ( {;k( {;k( 1999 ;}:-0}+-< m -+:-=}-< m -+:-=}-<

(Tibet fashion);-8>o:-0->-%$-&{,-.}-6m#-Ap$-k +{-9$-0}+-.-+]o$-00-+:-1-#(m=-){k 1= {,-0P{-,}:-0v81-13,-#6,-Q}$-#=:-1= {,-0P{-,}:-0v81-13,-#6,-Q}$-#=:-1= = {,-0P{-= {,-0P{-=

The awarding of the Nobel Peace Prize to the Dalai Lama

in 1989 elevated the Tibetan charismatic leader to a

worldwide symbol of nonviolence, marking the apex of Tworldwide symbol of nonviolence, marking the apex of This international fame and making the whole world utterly aware

of Tibet at large. In consequence, the manifestations of the

Western world's mythical view of the Land of Snows registered

a spectacular growth. In ten years, over a dozen fi ction movies

featuring topics loosely labeled “Tibetan” were produced by the

international fi lm industry, starting with Bernardo Bertolucci's

Little Buddha (1993), Jean–Jacques Annaud's Seven Years

in Tibet (1997), and Martin Scorsese's in Tibet (1997), and Martin Scorsese's in Tibet Kundun (1997), in

an escalation of Tibetanization. In addition, a long string of

fi ctionalized accounts contributed to further the popularity of

a virtual Tibet. The "Tibet fashion" would come, though, to a

paradigmatic change in 1999, when two middle-aged Tibetans,

Khyentse Norbu, alias Dzongsar Khyentse Rinpoche, and

Jamyang Norbu,1 adopted two of the most cherished creations

of Western civilization—soccer, the most widespread sport in the

world, and Sherlock Holmes, the most proverbial of detectives—

in order to Tibetanize and restore them to the Western audience.

ao0-@ao0-@ao0- }#=-@}#=-@ <}#=-<}#=- m-K}#-07}8m-<m-K}#-07}8m-<0P1=-&}=-ao0-0P1=-&}=-ao0-

<0P1=-&}=-<0P1=-&}=- m-,$-#m-0}+-<m-,$-#m-0}+-< <m-,$-#m-0}+-<m-,$-#m-0}+- m-<m-<8Js;-'$-#m-8Ap$-#m-8Ap$-#m-8 $-"v$=kAp$-"v$=kAp■ :0-* },-* },-* I-% m-,=k% m-,=k%

“0}+-+1k 0}+-9}+-+1k” +{-;}=-9}+kò=-<ò=-<ò=- m-:v=-.k<m-:v=-.k< <}-E<}-E<}- $=- 151 ;=-H$=k

FEATURED ARTICLE

&{+-P}1k

32 | ;-P{-+.{-14~+-"$-#m-#=:-8J m,kJ m,kJ ] m-;}-2005 ;}8m-% },-"k

:m,-.}-&{-+$-k 8'1-+A$=-,}:-0v-A$=-,}:-0v-A#(m=-,=-ao0-@ }#=-@ }#=-@ W;-"0-W;-"0-W < m -< m -< N };-N };-NWv,-ò-&{=-+#8-'$-A {+-.8m-#=:-A {+-.8m-#=:-A Ap$-A-+$}=-#(m=-—841-Q m$-;-Q m$-;-Q =0-=0-=0L;-&{=-&{-08m-;v=-P{+-F$-) };-+$-k) };-+$-k) &{=-9}$=-E#=-< m -#=$-K};-.-<{:-< m -#=$-K};-.-<{:-<;}#->}1-=m-—0}+-1+}#-_p-0\w:-,=-ao0-@ }#=-.8m-@ }#=-.8m-@ P }#-.-.}-;-9$-

\w}#-.-.}-;-9$-

\wP }#-.-.}-;-9$-P [:-

80v;-&{+-#=:-P}1-> m -0I}+-#6m:-> m -0I}+-#6m:->R$=k "}$-#(m=-,=-:$-:$-=-,=-Q }#-0J,-6m#-Q }#-0J,-6m#-Q —/}:-0 (The Cup)

k

(8Ks#-9v;-+$-?}-=m-Am-9-#(m=-,=-1(1-8K {;-K {;-K > m=-07}=-.k> m=-07}=-.k>

) 8D0-D m+-D m+-D

+$-au$-P}1-6m#-—<{:-;}#->}1-=m8m-+

au=m8m-+

au< m;-8"}:k< m;-8"}:k<

(Xm-;m

)—P}1-8K m -K m -KA=kA=kA 0P1=-&}=-8+m-#(m=-< m=-ao0-< m=-ao0-<@ }#=-.8m-0}+-@ }#=-.8m-0}+-@ < m -8< m -8< Js;-'$-+{-+< }#=-131=-&{,-.}-6m#-;-0< }#=-131=-&{,-.}-6m#-;-0< [;k du;-> m=-:$-#m-1'v#-1-:$-#m=-7-0-06m,k> m=-:$-#m-1'v#-1-:$-#m=-7-0-06m,k> ao0-@ }#=-.8m-0}+-@ }#=-.8m-0}+-@ < m -< m -<8Js;-'$-+{-9$-P{:-U {0=-<m$-kU {0=-<m$-kU +-,m-$ m$-I{-1{+-.8m-$ m$-I{-1{+-.8m-$ " } -,=-8" } -,=-8" Js;-'$-+{-(1=-8#}-3u#=-9}+-+}kao0-@ }#=-.-M1=-0}+-;-8@ }#=-.-M1=-0}+-;-8@ Js;-'$-[ {=-.-+{-;}-[ {=-.-+{-;}-[ S-1$-.}8m-

# },-;-#_p#=-*v0k# },-;-#_p#=-*v0k# 1:-"m-.}-;}-(1254-1324)9m-!+-E#=-%,-

> m - > m - > “841-Q m$-Q m$-Q W=-0<+kW=-0<+kW “ 7{:-0-+{8m-,$-#m-0}+-< m -< m -< ! }:-;-! }:-;-! K m=-9}+-K m=-9}+-K.-+{-,=-F$-6m#-&#=-9}+-,-9$-k ò=-:0=-0%t-06m-,=-0}+-< m -=-< m -=-<*}#-;-#}1-.-+$}=-=v-( }=-.:-I}+-1",-( }=-.:-I}+-1",-( > m -9{-co8m-&}=-;v#=-> m -9{-co8m-&}=-;v#=-> ( {;-( {;-(1",-M1=-< m=-0}+-;-0< m=-0}+-;-0< [ }+-#)1-+$-[ }+-#)1-+$-[ $,-={$-+#-( {;-08m-I{=-=v-( {;-08m-I{=-=v-(0}+-< m -8< m -8< Js;-'$-+:-8#}-3u#=-.:-1$},k 9m,-,-9$-8+m-! }:-! }:-!> m -0P1=-&}=-> m -0P1=-&}=-> ( {;-1",-,m-ò=-:0=-0%t-+]o8m-( {;-1",-,m-ò=-:0=-0%t-+]o8m-( *+-+$-ò=-:0=-(m-co8m-% }+-;-0}+-;-0K};-*v0-.8m-V}$=-% }+-;-0}+-;-0K};-*v0-.8m-V}$=-% Wv-0-+$-k #=$-;=-.k 1"=-.k &}=-.-=}#=-;=-^p$-^p$-6m#-1-#)}#=-Ap$-1{+k ò=-Wv,-ò-#=$-W-%,-+$-kW-%,-+$-kW Qw-8Js;-%,k #=$-0-R}#->o:k 6m-0k 0!#-W-*{0=-.kW-*{0=-.kW "{:-V$-ò-;v=-.-=}#=-V$-ò-;v=-.-=}#=-V < m -< m -< E=-=v-8'}#-.8m-0}+-< m -9v;-"1=-+$-k< m -9v;-"1=-+$-k< :m#-#,=k N };-N };-N Wv,-;-#}$-#=;-> m -> m ->1m-8+m-:m#=-< m=-ò=-9v,-*v$-$v8m-,$-;-1m-1$-.}8m-+}-< m=-ò=-9v,-*v$-$v8m-,$-;-1m-1$-.}8m-+}-< '$-H$=-.:->o:k0P1=-&}=-+{8m-8K=-0v:-0}+-< m -< m -< ! }:-;-W-0-+1m#=-0=;-! }:-;-W-0-+1m#=-0=;-!

They did so by means of a fi lm—The Cup (a Bhutan–Australia The Cup (a Bhutan–Australia The Cup

co-production)—and a novel —The Mandala of Sherlock

Holmes (Delhi)—which they directed and wrote respectively.

Both pieces mark a signifi cant turning point in this story. Like the

snake that consumes its own tail, the Western myth of Tibet had

reached its climax, to enter a phase of inexorable decline.

The fascination of the West with Tibet goes far back in

time. It could have stemmed from Marco Polo's (1254–1324)

fabulous account of "Tebet" in his legendary Description of the

World, but most probably it started to develop in the aftermath World, but most probably it started to develop in the aftermath World

of the narratives and reports of the Catholic missionaries who

allegedly set foot in Tibet since the fourteenth century. Yet, it

was the works written by a handful of late--nineteenth and early–

twentieth century explorers, secret agents, scholars, spiritual

seekers, late missionaries, etc., who succeeded in reaching

Tibet, that actually prompted the open curiosity of the wide

public for that land, culture, and traditions, which were often

characterized as secret (when not secretive), magic, mysterious,

sacred, peaceful, forbidden, secluded, hostile…. That literary

outcome would decisively contribute to constructing a peculiar

view of Tibet, an archetype of sorts that entered the Western

Q}#-0J,-#,1-=8m-8K{;-131=-9;-0:->o:-0-6{=-.8m-<$-#m-:m-;8m-8&:-#6m8m-:m-1}kShangri-La, from the story-board of the fi lm Lost Horizon.

(www.spiritone.com/ ~dlevine/art/shangrila.html)


%,-6m#-<:-1:-Es0-%m$-k 0}+-< m -1-+< m -1-+< A m0=-<m#-ao0-A m0=-<m#-ao0-A @ }#=-.-M1=-@ }#=-.-M1=-@< m -< m -< $ m$-;-bo#=-9}+-+}k$ m$-;-bo#=-9}+-+}k$ [#-.:-ò-+{=-0}+-.8m-! }:-;-3~:-! }:-;-3~:-! '$-+1m#=-0=;-0-6m#-[ {=-=v-0%t#-9}+k[ {=-=v-0%t#-9}+k[ 9v;-! }:-.-1$-.}-6m#-;-! }:-.-1$-.}-6m#-;-!13~,-,k 0}+-.-,m- “:$-Ap$-"1=-Pw0-.}-+$-9v;-N };-13:-N };-13:-N '$-%,-> m -+#8-:m;-:m;-+$-k> m -+#8-:m;-:m;-+$-k> 0#-/{0=-.8m-1m-+1$=-“ (

1929 ;}:-;},-B},-;-+.{-ù,-A=-.8m-A=-.8m-A

D. Macdonald9m-R-18m-6m$-"1=k

)21-1-9m,-.:k

ù21-1-9m,-.:k

ù

&}=-< m -(1=-;{,-;-P{-#%m#-_p-#6};-08m-+.{-#6m-< m -(1=-;{,-;-P{-#%m#-_p-#6};-08m-+.{-#6m-<#=},-.}-6m#-+$-k &{=-/v;-ò-Ap$-08m-&}=-.8m-1m-+1$=-<m#-9m,k /;-&{:-0}+-1m-:{-:{-&}=-.-M;-1-:{-9m,-.:-&-8'}#-A {+-%m$-kA {+-%m$-kA *-,-" }1-&{,-ò-$}=-84n,-" }1-&{,-ò-$}=-84n,-" A {+kA {+kA f-V$-:{-:{-9$-V$-:{-:{-9$-V A1=-0P{-+$-<{=-:0-< m -0+#-(m+-< m -0+#-(m+-< R-1-W-0v-:{-9m,k R-1-1$-&{-0-8'm#-K{,-;=-0G;-081-"}$-3~:-Qw-8Js;-> m -> m -> % }0=-+$-X,k% }0=-+$-X,k% Wv,-8A1=-< m -0=1-3u;-< m -0=1-3u;-<8+m-+-W8m-0:-ò-#,=-9}+k 1+}:-,-0}+-.8m-%m-6m#-9m,-,-9$-/;-&{-0-8'm#-K{,-> m -> m -> E#=-3~+-;=-0G;-0-6m#-;-&-8'}#-A {+kA {+kA&{=-#-08m-0}+-.-K}#-07}8m-1m-'-—0+{,-(1=-<}:-9$-1m-

M1=-+#8-=-6m#-,m-Rudyard Kipling

> m=-0P1=-.8m-> m=-0P1=-.8m-> E#=-%,-#)1-Wv+-" r+-" r+-" m1-+-" m1-+-" > m - > m - >

TeshooR-1-

(1898 ;}:-;},-B},-;-+.{-

ù,-A=kA=kA) 7{:-0-+{-;=-9}$=-=v-E#=k 9m,-,-9$-K}#-07}8m-0}+-

.-0I}+-ù.-0I}+-ù

A-A=-){-(}-1",-&{=-1$-08m-+{0-,m-9$-+A=-){-(}-1",-&{=-1$-08m-+{0-,m-9$-+A A m,-;,-A m,-;,-A > m -P}1-> m -P}1->.-.}-9m,-.-

James Hilton7{:-0=-0P1=-.8m- “#,1-=8m-

8K {;-131=-9;-0:-K {;-131=-9;-0:-K >o:-0k“ (1933 ;}:-;},-B},-;-+.{-ù,-

A=kA=kA)7{:-0-+{-9m,k $-3~=-au$-8+m8m-,$-#m-<$-#m-:m-;-

(Shangri–La) ("$-.-0}+-< m-

aum-au< m-< “ S-8}+-# },-.}8m-V}$=-# },-.}8m-V}$=-# “ 7{:-0:-#0-

.8m-+#},-.-6m#-#m-1m$-k)7{:-0-8+m8m-8Ap$-"v$=-1m-<{=-<$-k<$-k< P}1-.-

.}-+{=-<1-L-;8m-! }:-;-<{=-K}#=-! }:-;-<{=-K}#=-! Ap$-6m$-+{=-R }-R }-R "}-"}- }-" }-" @}-@}- {-0-9m,-;=-&{k@ {-0-9m,-;=-&{k@ (<1-(<1-(

L-;-+$-<$-#m-:m-;-#(m=-a-({-9m,-.-;-*v#=-'$-#,$-:}#=k)

<1-L-;-,m-=$=-W=-&}=-;v#=-W=-&}=-;v#=-W < m -< m -< ##=-;1-> m -9m+-> m -9m+-> cu;-> m -+#-> m -+#->6m$-6m#-9m,-%m$-k [-au0-[ m+-[ m+-[ &q#-#m-1-9v1-U }0-U }0-U f-

(1875;}:-

E }$-E }$-E = {:-,{8v-9}#-_p-02t#=kau

{:-,{8v-9}#-_p-02t#=kau

= {:-,{8v-9}#-_p-02t#=k=) #=:-84v#=-#,$-1",-:-<m-9-9m-[ {=-[ {=-[

+1,-Helena Blavatsky

7{:-08m-#}-+},-R}#->o:-> m -0P1=-&}=-> m -0P1=-&}=->+#-_p-0!}+-9}+k +{-,=-:-<m-9-9m-:m-1}-.-0##=-0I}+-3+-1*},-.}-*}0-.-

Nicholas Roerich ("}$-#m-8E {1=-E {1=-E % },-"$-% },-"$-% E }$-E }$-E = {:-,{8v-= {:-,{8v-=

9}#-;- 1923 ;}:-" }-8" }-8" A {+-A {+-A A=kA=kA) #m=-:$-#m-:m-1}-+$-+.{-+{0-+#-_p-K m=kK m=kK

ò=-:0=-#}$-18m-;}-:0=-=v1-%t8m-,$-#m-+.;-8A }:-(1=-({=-&{,-A }:-(1=-({=-&{,-A.}8m-!0=-=vk “#,1-=8m-8K {;-131=-9;-0:-K {;-131=-9;-0:-K >o:-0-“ 7{:-0-+{=-8E } -0-1m-M1=-3|-:m$-;}-0E } -0-1m-M1=-3|-:m$-;}-0E W-+$-6m-0+{-0#-/{0=-0%=-W-+$-6m-0+{-0#-/{0=-0%=-W < m -9},-< m -9},-<

soul. In particular, it fostered a special perception of the Tibetan

people. For many travelers, Tibetans were not just a "cheerful,

happy-go-lucky people of hardy nature and curious customs" (D.

Macdonald, The Land of the Lama, London 1929), but the living

paradigm of the committed religious practitioner: the homo

religiosus par excellence. Almost every Tibetan was envisaged

as a deeply religious person, or even an expert meditator, and

every monk as a compassionate and wise lama. Lamas, were

considered to be typically endowed with paranormal or magical

powers—clichés that have partially survived to this day. All in

all, nearly everything Tibetan was considered beyond normal

standards.

The earliest Tibetan character—a likeable one, albeit much

distorted—popularized

by fi ction is the Teshoo

Lama of Kim (London

1898), Rudyard Kipling's

celebrated adventure tale.

Nevertheless, the honor of

being the fi rst bestseller on

pseudo-Tibetan themes goes

to Lost Horizon (London

1933) of James Hilton,

another British writer. We

do not know the genesis

of Hilton's Shangri-La (a Shangri-La (a Shangri-La

"lamasery" hidden in the

Blue Moon Valley of the

Tibetan plateau), but it is

likely that he had come

to know about and was

inspired by Shambhala (note

the similarity of this name

with Shangri-La), the mythical

realm of Tantric Buddhism

that had been described in the esoteric writings of the Russian

Helena Blavatsky, the alma mater of the Theosophical Society

#,1-=8m-8K{;-131=-9;-0:->o:-6{=-.8m-+{0-&u$-.:-#6mkCover of a pocket book

edition of Lost Horizon.

(www.noosfere.com/

showcase/pocket.htm)

34 | ;-P{-+.{-14~+-"$-#m-#=:-8J m,kJ m,kJ ] m-;}-2005 ;}8m-% },-"k

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au$-P}1-+{-+$-1m,-#%m#-.8m-ù

$-P}1-+{-+$-1m,-#%m#-.8m-ù

Q }#-0J,-Q }#-0J,-Q —/-:,-"m- "0-:-9m=-8D0-D m+-D m+-D A=-){-?}-=m-!-9m-A=-){-?}-=m-!-9m-A A-+#8-M1-E$=-#(m=-*}0-*},-.-:{+k +{-,m-W:-'$-0}+-< m -< m -< Q }#-0J,-*}#-1-9m,-,}kQ }#-0J,-*}#-1-9m,-,}kQ ao0-@ }#=-.-M1=-0}+-@ }#=-.-M1=-0}+-@;-9m+-+0$-<}:-08m-T0=-J {$-;-6},-,=-;}-T-0%t8m-I{=-=v->m;-@p$-J {$-;-6},-,=-;}-T-0%t8m-I{=-=v->m;-@p$-J#m “#,1-=8m-8K {;-131=-9;-0:-K {;-131=-9;-0:-K >o:-0-“ ;-^p$-1*8-9$-au$-1*v+-< m -+{0-#=v1-8< m -+{0-#=v1-8< K m -8#}-0P1=-9}+kK m -8#}-0P1=-9}+kK

!0=-+{-+$-13u$=-.:k “#,1-=8m-8K {;-131=-9;-K {;-131=-9;-K0:->o:-0-“ W;-W;-W ] m8m-] m8m-] % {$-;-;1-[}$=-% {$-;-;1-[}$=-% Ap$-0-+{=-R } -R } -R " } -" } -" @ { -,=k@ { -,=k@ ao0-@ }#=-.8m-@ }#=-.8m-@ \w-8Js;-:m$-;v#=-;-Wv=-9}+-<$-1m$-<$-1m$-< E#=-&u$-08m-+A m,-'m8m-P}1-.-.}-=m-:{;-

\wm,-'m8m-P}1-.-.}-=m-:{;-

\wA m,-'m8m-P}1-.-.}-=m-:{;-A

H>}-=m-!m,-=m-

(Cyril H. Hoskins)7{:-0=-“ 1m#-#=v1-.k 0}+-< m -< m -< R-1-6m#-#m-M1-*:k"(The Third

Eye: The Autobiography of a Tibetan Lama;},-@},-

;- 1956 ;}:-+.{-ù,-A=kA=kA) 6{=-.-0P1=k +{0-8+m-,m-0}+-

Wv+-,$-&}=-! }:-;-K}#-07}8m-ù

}:-;-K}#-07}8m-ù

! }:-;-K}#-07}8m-! au$-6m#-9m,-%m$-k TR } -07$-:1-.-R } -07$-:1-.-R

7{:-0-6m#-#m-1m$-*}#-,=-0P1=-9}+kau

7{:-0-6m#-#m-1m$-*}#-,=-0P1=-9}+kau

P}1-.-.}=-0<+-.-W:-,k ;}-"-<=-< m -< m -< # },-;k# },-;k# T

R } -07$-:1-.-7{:-0-6m#-"}8m-;v=-;-R } -07$-:1-.-7{:-0-6m#-"}8m-;v=-;-Rbo#=-,=-"}-:$-#m-#<m=-!-#6,-ò-0\w:k !q-60=->}-=m-!m,-> m=-> m=->

(/-:,-=m-.-[ {=-+1,-[ {=-+1,-[ > m -P}1-.-.}-> m -P}1-.-.}->

)?-;{#-07,-L-:-\w?-;{#-07,-L-:-\w

L{-5{+- ,m;-

(Alexandra David-Neel)> m=-0P1=-.8m- > m=-0P1=-.8m- > “0}+-ò-1$},-1= {,-= {,-=

.-+$-\w-1-1",-> m -1(1-ò-#,=-.k> m -1(1-ò-#,=-.k> “ (With Mystics and

Magicians in Tibet /-:,-=m8m-!+-< m -.:-1-< m -.:-1-< 1929 ;}:-.-:m=-

=m-;-+.{-ù,-A=-<m$-kA=-<m$-kA +A m,-9m#-#m-.:-1-A m,-9m#-#m-.:-1-A 1931 ;}:-;},-@},-ò-+.{-

ù@},-ò-+.{-

ùù,-A=kA=kA

)7{:-0-W-0v-# },-1-9}+-.8m-0P1=-# },-1-9}+-.8m-0P1=-# au$-+#-

;=-"{-07$-R$=-9}+-.:-${=-=}k L{-5{+- ,m;-> m -0P1=-+{0-aum -0P1=-+{0-

au> m -0P1=-+{0->

+{-,m-0P1=-&}=-+{-:m#=-< m -;1-3n#=-L{8v-80v1-6m#-9m,-;k< m -;1-3n#=-L{8v-80v1-6m#-9m,-;k< +{8m-,$-ò-1$-&{-0-0}+-< m -,$-&}=-< m -,$-&}=-< < m -,$-ò-9}+-.8m-8'm#-K{,-;=-< m -,$-ò-9}+-.8m-8'm#-K{,-;=-<0G;-08m-ao=-1*v-+$-k Qw-8Js;-> m -*0=-;1k> m -*0=-;1k> Es0-.-*}0-;v#=-=}#=-0I}+-#6m:-07v$-9}+k +{0-8+m-@ m=-=v-@ m=-=v-@ Ap$-08m-0}+-8K {;-K {;-K> m -K}#-07}8m-> m -K}#-07}8m-> au$-#m-P}1-.-.}-M1=-;-co#=-V {,-&{-<}=-<m#-9m,kV {,-&{-<}=-<m#-9m,kV L{-5{+- ,m;-> m=-

aum=-au> m=-> au$-:m$-"-<=-<$-0P1=-.-;=-<$-0P1=-.-;=-< E#=-&{-0-

,m- “1= {,-9},-T-X,-au

{,-9},-T-X,-au

= {,-9},-T-X,-= > m -> m -> R-1-1m-/1k" (Mipham, The Lama of

Five Wisdoms +A m,-A m,-A !+-< m -.:-1-< m -.:-1-< 1938 ;}-;},-@},-;-+.{-ù,-

(founded in New York in

1875), and then picked up

in the books and paintings of

another Russian, the highly

acclaimed artist Nicholas

Roerich (his museum opened

in 1923, also in New York).

The 1930s was the time of

the Great Depression, and

in a world in need of beats

of hope Lost Horizon—with

its utopian portrayal of a

serene and long human life

and a better world—easily

captured the public fantasy,

achieving a great success (it

was also the fi rst paperback

ever published) to the extent

that a feature movie—

directed by Frank Capra and

later awarded two Oscars—

bearing the same title followed only four years later, to become

the fi rst ever fi lm of the pseudo-Tibet genre. Riding the wave

of growing Western interest in Tibet, at least three sequels to

Hilton's Lost Horizon commenced to appear half a century later.

Before that, possibly stimulated by Lost Horizon's

international success, Cyril H. Hoskins—an obscure English

writer familiar with Western occultism—penned The Third

Eye: The Autobiography of a Tibetan Lama (London 1956), Eye: The Autobiography of a Tibetan Lama (London 1956), Eye: The Autobiography of a Tibetan Lama

a fi ction book about Tibetan religion, which he signed under

the name of T. Lobsang Rampa, the master who he claimed

had inhabited his body and transformed his personality years

before. Mr. Hoskins surely benefi ted from the availability of

works like Alexandra David-Neel's With Mystics and Magicians

in Tibet (London 1931; in Tibet (London 1931; in Tibet Mystiques et magiciens du Thibet,

Paris 1929), a landmark in its type, where she largely dealt Paris 1929), a landmark in its type, where she largely dealt Paris

with paranormal powers, occult techniques, and psychic feats

=m-:{;- H >}-=m-!m,-=m81- T R}-07$-:1-.-+$-1m#-#=v1-.-6{=-.8m-.:-#6mkCyril H. Hoskins alias T.

Lobsang Rampa and The

Third Eye


A=-.-+$-kA=-.-+$-kA /-:,-=m8m-!+-< m -.:-1-< m -.:-1-< 1935 ;}:-.-:m=-=m-;-+.{-ù,-A=kA=kA

)7{:-+{-8K=-V}$=-< m -< m -< f-.-R-1-9},-),-7{:-

0-6m#-+$-1(1-ò-0P1=kù

0-6m#-+$-1(1-ò-0P1=kù

@ m=-=v-@ m=-=v-@ f-.-+{-1}-:$-#m-#=}=-0v:-0+#-(:-A=kA=kA @ }#=-#6,-.-6m#-,=->}-=m-!m,-=m-9m-0:-ò-P}1-@ }#=-#6,-.-6m#-,=->}-=m-!m,-=m-9m-0:-ò-P}1-@;1-8+m-0)m$-,=-9}$-1",-,m->m,-:m#->:-:-

(Heinrich Harrer)9m=-0P1=-.8m- “0}+-ò-;}-0ò,k“ (Seven Years in Tibet +A m,-A m,-A !+-< m -.:-1-< m -.:-1-< 1953 ;}:-;},-@},-;-+.{-ù,-A=kA=kA 8':-1,-!+-< m -.:-1-< m -.:-1-< 1952 ;}:-5{,-;-+.{-ù,-A=kA=kA

)7{:-0-+{-9m,k

+{-,m-H,-*}8m-8K m -K m -K %$=-W:-K m=-.8m-0P1=-&}=-<m#-9m,-.-+{-+.{-ù

m=-.8m-0P1=-&}=-<m#-9m,-.-+{-+.{-ù

K m=-.8m-0P1=-&}=-<m#-9m,-.-+{-+.{-K ù,-A=-1-*#-_p-9v,-*v$-#m-,$-;-A=-1-*#-_p-9v,-*v$-#m-,$-;-A !+-9m#-1$-.}:-/0-\w:-A=kA=kA

(0}+-ù0}+-ù

9m#-#m-8>o:-6m#-<$-9}+-.8m-1m$-;- <$-9}+-.8m-1m$-;- < “0}+-,$-;}-0ò,k\w

0}+-,$-;}-0ò,k\w

“ 7{:-6m$-k W-#:-1{#-;}:-#,-Im-;-?-W-#:-1{#-;}:-#,-Im-;-?-W B {=-O-&{,-0}+-B {=-O-&{,-0}+-B < m -:m#-#bo$-6m0-8'v#-"$-< m -:m#-#bo$-6m0-8'v#-"$-<#m=- 1995 ;}:-+.{-ù,-A=kA=kA

) +{0-+{-,m-+{$-:0=-< m -ao0-< m -ao0-< Q m$-Q m$-Q.-6m#-[-=:-& }+-*v0-.:-

ù}+-*v0-.:-

ù& }+-*v0-.:-& >o:-08m-+$}=-Ap$-#m-:-c }+-9m,-;kc }+-9m,-;kc +{=-

0}+-+{-ao0-Q m$-ò-Q m$-ò-Q #:-;=-<$-1$},-3,-%,-ò-<$-1$},-3,-%,-ò-< >o:k “1m#-#=v1-.” ,m->-%$-1> }#=-> }#=-> Bp:-> m=-&{=-> m=-&{=-> K m,-.8m-+.{-+{0-K m,-.8m-+.{-+{0-K < m -*}-#bo$-ò-3u+-< m -*}-#bo$-ò-3u+-<+{-0}+-8K {;-K {;-K > m -K}#-07}8m-> m -K}#-07}8m-> au$-#m-;1-3n#=-L{8v-80v1-#(m=-.:->o:k au$-+{0-+{=-ao0-@ }#=-.8m-={1=-,-9}+-.8m-0}+-

au}#=-.8m-={1=-,-9}+-.8m-0}+-

au@ }#=-.8m-={1=-,-9}+-.8m-0}+-@ < m -< m -< '$-0J,-;-co#=-

V {,-*{0=-9}+kau{,-*{0=-9}+k

auV {,-*{0=-9}+kV [#-.:-ò-P }#-.-.}-1$-&{-0=-0}+-7{:-0-%m-9m,-1m-P }#-.-.}-1$-&{-0=-0}+-7{:-0-%m-9m,-1m-P<{=-.81-^p$-21-;=-1m-<{=-.=-"}-3~=-au$-+{=-0}+-< m -:m#-#bo$-< m -:m#-#bo$-<+$-&}=-;v#=-=}#=-#=;-0}:-1$},-9}+-.:-9m+-&{=-

au+$-&}=-;v#=-=}#=-#=;-0}:-1$},-9}+-.:-9m+-&{=-

auA=kA=kA

#}$-* }=-;=-#6,-0}+-0I}+-#6m8m-W{-0:-* }=-;=-#6,-0}+-0I}+-#6m8m-W{-0:-* >o:-08m->o:-08m->o au$-:m$-+$-au$-*v$-E$=-80}:-1m-&u$-0-6m#- 1989 ;}8m-# },-# },-# > m-3~$-::-*},-9}+k

aum-3~$-::-*},-9}+k

au> m-3~$-::-*},-9}+k>

au$-#m-(t=-3+-07$-$,-#$-W:-9$-k(t=-3+-07$-$,-#$-W:-9$-k(t ^p$-<=-<m#-+$}=-9}+-,$-06m,-9m,kau,$-06m,-9m,kau

(+.{:-,k R. B

?{-"-5};-(R. B Ekvall)

> m=-> m=->0P1=-.8m- “#,1-;-W0-#)+-.8m-:=-]o:kW0-#)+-.8m-:=-]o:kW ” (Tents against the

Sky 1956 ;}:-,{8v-9}#-;-+.{-ù,-A=kA=kA

)7{:-0-W-0v-+$-k F. R

>{-L{- &{1-) m:-=m-) m:-=m-)(H. R. Hyde-Chambers)

9m=-0P1=-.8m-”R-1k 0}+-< m -< m -< au$-:m$-6m#” (Lama: A Novel of Tibet

1984;}:-;},-@},-;-+.{-

au;}:-;},-@},-;-+.{-

auù,-A=kA=kA

)7{:-0-W-0vk

) 9m,-,8$-1$-.}-6m#-K}#-.-W-9,-ò-<}:-08m-0P1=-&}=-9m,k

ù-9,-ò-<}:-08m-0P1=-&}=-9m,k

ùW-9,-ò-<}:-08m-0P1=-&}=-9m,kW #%m#-<{=-\o,-E };-E };-E > m -+.{-> m -+.{->6m#-;k *{-9}-L}:- ?{-;m-+A m,-A m,-A

(Theodore Illion)7{:-0=-0P1=-

.8m-“#=$-08m-0}+-ò-R-1-+$-k '#-.k <{=-:0-%,-> m -> m -> D }+-D }+-Dò-Qw=-&=-< m=-bo#=-.k< m=-bo#=-.k< —0}+-< m -#=$-0-8< m -#=$-0-8< A {+-.8m-X{-1m#A {+-.8m-X{-1m#A ” (In

Secret Tibet: In Disguise amongst Lamas, Robbers, and

Wise Men—a Key to the Mysteries of Tibet) +A m,-A m,-A !+-< m -< m -<

attributed to Tibetan religions, so that it became one of the

books that most infl uenced future writers of Tibet fi ction. David-

Néel herself authored a few novels, the most appreciated of

which is Mipham, The Lama of Five Wisdoms (London 1938; Mipham, The Lama of Five Wisdoms (London 1938; Mipham, The Lama of Five Wisdoms

Mipham, le Lama aux Cinq Sagesses, Paris 1935), which

she wrote in collaboration with Lama Yongden, a Sikkimese

Buddhist monk whom she later adopted as stepson. Another

work that somehow paved the way to Hoskins, although on

a totally different level, was Heinrich Harrer's Seven Years in

Tibet (London 1953; Sieben Jahre in Tibet, Wien 1952), a

memoir—immediately translated into numerous languages2—

which brought an unprecedented fi rst-hand testimony by a

contemporary Westerner who had succeeded in living for a

long time in the exclusive Lhasa, making Tibet more present

than it had never been in the West. As for The Third Eye, it

very quickly made the bestseller lists, turning into the second

milestone for fi ction about Tibet. The book had an impact on

the Western imagination, all the more so because most of its

readers, little or not at all familiar with things Tibetan, thought

the story refl ected to Tibetan culture and religious tradition.

A fair number of novels and tales on Tibet-centered

topics did appear on the market before 1989, besides the

ones mentioned. Leaving aside their unequal value, few were

realistic (like R.B. Ekvall's Tents against the Sky, New York 1954,

or F.R. Hyde–Chambers' Lama: A Novel of Tibet, London 1984), Lama: A Novel of Tibet, London 1984), Lama: A Novel of Tibet

while many were the result of an oftentimes wild imagination.

We merely need to recall the whimsical In Secret Tibet: In

Disguise amongst Lamas, Robbers, and Wise Men--A Key To The

Mysteries Of Tibet (London 1937; Rätselhaftes Tibet, Hamburg

1936) by Theodore Illion. Among other fanciful notions about

Tibet, the author included in his supposed travelogue an

explanation and illustrations of how "Tibetan monks levitate

stones by using an acoustic levitation technique with the aid of

drums" (p. 195), a device employed for monastery construction!

And let us mention as well Lionel Davidson's adventure story

The Rose of Tibet (Harmondsworth 1962). The book is rife with

bizarre elements, and an erotic ingredient is incorporated. It

36 | ;-P{-+.{-14~+-"$-#m-#=:-8J m,kJ m,kJ ] m-;}-2005 ;}8m-% },-"k

.:-1- 1937 ;}:-;},-@},-;-+.{-ù,-+$-k 8':-1,-!+-< m -.:-< m -.:-<1- 1936 ;}:->1-.v:-Gm-;-+.{-ù,-A=kA=kA

)W-0v8}k P}1-.-.}-8+m:-

0}+-< m -< m -< ! }:-;-+#-! }:-;-+#-! '$-'-3~#=-<m#-9}+kù

-3~#=-<m#-9}+kù

"}=-V}$=-Wv8m-;1-9m#-%m#-_p- “0}+-< m -< m -< f-.-M1=-< m=-H-0Ly$-,=-L}-0-0:-< m=-H-0Ly$-,=-L}-0-0:-< '$-;-8/#=-=v-8'v#-*v0-“ %{=-e-6m$-+.{-13~,-ò-0!}+-9}+k P}1-.-.}-8+m-W:-,k *0=-8+m-;-0K{,-,=-+#},-.-9$-06{$=-.:-0<+k ;{-9{-,};- L{-5{+-=},-

(Lionel Davidson)> m=-0P1=-.8m-#=:-K}#=-83~;-> m=-0P1=-.8m-#=:-K}#=-83~;->

08m-au$- “0}+-< m -1{-)}#-< m -1{-)}#-< W-={-W-={-W"(1962 ;}:-?:-1},-=m-5}:-*m-;-+.{-

ù,-A=kA=kA) 7{:-0:-9$-9-13:-> m -> m -> Es0-&-1$-.}=-"{$=-9}+-.-+$-

8+}+-&#=-ù8+}+-&#=-ù

< m -&-9$-8< m -&-9$-8< H {=-9}+kH {=-9}+kH ao-1-;-a m0-#9}#=-1{+-.8m-M;-a m0-#9}#=-1{+-.8m-M;-a8A }:-1-&m#-A }:-1-&m#-A % }$-0bo#=-.8m-+#},-.-6m#-+{0-+{8m-0I}+-#6m-% }$-0bo#=-.8m-+#},-.-6m#-+{0-+{8m-0I}+-#6m-% A=-9}+kA=-9}+kA ] m:-0)$-+{-+#-#m=-8] m:-0)$-+{-+#-#m=-8] D m#-D m#-D ^ }:-^ }:-^ A {+-1m-&}#-A {+-1m-&}#-A <$- <$- < “#}-!0=-,1-Ap$-;-+{-+#-#m=-8D m#-D m#-D ^ }:-^ }:-^ A {+-A {+-A ” %{=-+$-k “+{-3~=-:$-(m+-< m=-+{-< m=-+{-< A {+-.-A {+-.-A8#}#-1m-*v0-” %{=-+$-k 9$-au$-8H {,-.-.}-,-:{- H {,-.-.}-,-:{- H “0v+-1{+-+{-+#-#m=-f-.-M1=-"}1-ò-1m-8'v#-... 9m,-,-9$-131=-131=-;-@ m -;}#=-@ m -;}#=-@ < m -1m-9$-+#},-.-+{8m-,$-;-8< m -1m-9$-+#},-.-+{8m-,$-;-8< E } -*v0-;kE } -*v0-;kE M;-8A }:-1-"-A }:-1-"-A<=-< m=-13,-1}-:{:{-*{$=-0%t-:{-< m=-13,-1}-:{:{-*{$=-0%t-:{-< A {+-*v0kA {+-*v0kA ” 8+m-;-8K=-0v-+!8-$;-%,-8#8-:{-8Ap$-0-,m-* }=-1{+-+{k* }=-1{+-+{k* “0v+-1{+-#=v1-Wv,-1-&+-.:-1$;-8+},-ò-8E } -+#}=-E } -+#}=-E Ap$-k” (

1994;}8m-Mandarin

.:-"$-#m-<}#-0v8m-W0-<-%,-W0-<-%,-W > m -.:-#6m-<}#-> m -.:-#6m-<}#-> E$=- 121 +$- 20040:k

) 1989 ,=- 1999 ;}8m-0:-;-0}+-8K {;-K {;-K au$-:m$-=v1-%t-[#-+.{-ù,-A=-9}+kA=-9}+kA ò=-:0=-(m-co-P-#%m#-8#}-3u#=-,=-

auò=-:0=-(m-co-P-#%m#-8#}-3u#=-,=-

au<$-<$-<

au$-:m$-0%}-T-21-*},-9}+kù

$-:m$-0%}-T-21-*},-9}+kù

+{-+#-;=-1$-&{-0-+A m,-A m,-A !+k =m-.,-98m-au.,-98m-au

!+k /-:,-=m8m-!+-0%=-=v-0P1=-9}+k +{-+#-;=-"-<=-<m#-+.{-13~,-ò-1m$-8+},-A=-.-#<1-#=;-W:kA=-.-#<1-#=;-W:kA 1:-"m- /-:v8v-*m-"m,-

(Mark Frutkin) > m=- > m=- > 1904 ;}:-+A m,-A m,-A

'm=-0}+-;-02,-84v;-A {+-A {+-A !0=-+1#-#m-I{=-8K$=-#=:-8#}+-.-?{-Lm-1},-Lm-",-Lm-;m:-

(Edmund Candler)> m -0P1=-&}=-;-> m -0P1=-&}=-;->

#6m-0%};-,=-0P1=-.“0}+-;-02,-84v;-” (Invading Tibet1991 ;}:-,{8v-9}#-;-+.{-ù,-A=kA=kA)+$-k ?m=-;m-078-

)+-*m- ?,-=m-!:-) } -:}-) } -:}-)(Elizabeth Ann Scarborough)

9m=-0P1=-<m$-k au$-#m-,$-#m-1m-'-#2~-0}-,m-<1-L-;-9m-0$-&{,-9m,-%m$-#){:-% },-ò-80}+-.8m-

au},-ò-80}+-.8m-

au% },-ò-80}+-.8m-% cu;-.8m-!q-0v+-1{+-#6},-ao-1-6m#-9m,-.8m-

“[0=-0%};-0-1*8-1-” (,{8v-9}#-;-cu,{8v-9}#-;-cu

1992 ;}:-+.{-ù,-A=kA=kA)k

"{,-1m-&};-(Ken Mitchell)

> m -$}-13:-%,-> m -$}-13:-%,-> > m -#,=-> m -#,=-> ! }:-6m#-;-ù}:-6m#-;-ù

! }:-6m#-;-!

centers on a monastery where one thousand bare-breasted

priestesses live, who "do it whenever they can," though in fact

they are not allowed sex. "But they do it. They can't help

themselves […]." We are told that "those women […] keep the

monks very busy. […] But sometimes people can get in from

outside. Some of the women can do it ten times in one night."

That, of course, leads to certain diffi culties, so that "three women

have to be kept constantly on the go aborting them" (pp. 121,

240; Mandarin Paperbacks edition, 1994).

Between 1989 and 1999, more than 30 novels about

Tibet were published and about 15 more have come to light in

the opening years of this century—mostly in English, Spanish,

or French. The following titles can be listed among them: Mark

Frutkin's Invading Tibet (New York 1991), a story based on the

works of Edmund Candler, the journalist who accompanied the

British invasion of Tibet in 1904; Elizabeth Ann Scarborough's

Last Refuge (New York 1992), where the protagonist is a young Last Refuge (New York 1992), where the protagonist is a young Last Refuge

woman who is the reincarnation of Tertön, the emissary of

Shambala; Ken Mitchell's Stones of the Dalai Lama (Vancouver Stones of the Dalai Lama (Vancouver Stones of the Dalai Lama

1993), a mystical journey dotted with humor; Kathleen Ann

Goonan's The Bones of Time (New York 1996), with a female The Bones of Time (New York 1996), with a female The Bones of Time

convert who becomes the Dalai Lama; or Eliot Pattison's four-

volume saga on the pro-Tibetan Chinese police inspector

Shan Tao Yun: The Skull Mantra, Water Touching Stone, Bone

Mountain, and Beautiful Ghosts (New York 1999, 2001, 2002, Beautiful Ghosts (New York 1999, 2001, 2002, Beautiful Ghosts

2004).

Fiction about Tibet has traditionally covered a variety

of literary categories—mystery, detective stories, historical

fi ction, science fi ction, biographical fi ction, mythological

motifs, adventure tales, mountaineering stories, etc.—and has

frequently been related to the broad fi eld of religious issues.

Since the Dalai Lama became a Nobel Laureate in 1989,

however, there has been a noticeable shift of focus in this

fi ctitious literature towards the contemporary situation of Tibet.

This shift can be partly attributed to the heightened international

awareness of the Tibetan cause, which itself has received the

support of many Hollywood icons and mass media celebrities.


#+-1}-9m-J-9m=- -W,-.-W,-.-W “_ s_ s_-;8m-R-18m-L}-” (0,-"}8v-0v:-;- 1993

;}:-+.{-ù,-A=kA=kA) "-*m-;m,- ?,- Gy-,,- (Kathleen Ann

Goonan)> m=-0P1=-.8m-> m=-0P1=-.8m-> au$-&}=-;v#=-0\w:-,=-_ s:-,=-_ s:-,=-_ -;8m-R-18m-

cu;-!q:->o:-08m-0v+-1{+-%m#-au

:-08m-0v+-1{+-%m#-auK m=-9}+-.8m-aum=-9}+-.8m-

auK m=-9}+-.8m-K “ò=-< m -:v=-.k< m -:v=-.k< ” (

,{8v-9}#-;- 1996 ;}:-+.{-ù,-A=kA=kA

)k ?{-;m=-?{-*m- /+-*m-=m,-> m -> m ->

01-.}-06m-%,-> m -> m -> au$-% {k% {k% 0}+-+},-;-W0-W0-W [ }:-[ }:-[ A {+-.8m-A {+-.8m-A W-1m8m-({,-W-1m8m-({,-WK}#-.-O,-)8}-9},-1m-

au,-)8}-9},-1m-

au'-#2~-0}-9m,-.8m-“*}+-!}:-> m -> m -> ##=-” +$-k

“&u-9m=-L}-;-:{#-.k” “:v=-.8m-:m-0}k” “9m+-ò-8}$-08m-8H { -H { -H

” (,{8v-9}#-;-1999k 2001k 2002k 2004 0%=-=v-+.{-

ù,-A=kA=kA)W-0v-0%=-=}k0}+-8K {;-K {;-K > m -K}#-07}8m-0P1=-> m -K}#-07}8m-0P1=-> au$-#m-:m#=-'-3~#=--#=$-

0-$}-13:-%,k ({,-K}#-#=$-K};-> m -> m -> au$-k ;}-Wv=-< m -K}#-07}k< m -K}#-07}k< 3,-:m#-#m-K}#-07}k [-au$-k #=:-K}#=-V}$=-

au#=:-K}#=-V}$=-

auWv8m-au$-k :m-

84|#=-< m -< m -< au$-=}#=-au

$-=}#=-auAp$-9}+-.-+$-k !0=-1$-.}:-

au0=-1$-.}:-

auW-&{-08m-&}=-W-&{-08m-&}=-W

;v#=-< m -0I}+-#6m-%,-aum -0I}+-#6m-%,-au

< m -0I}+-#6m-%,-< > m -> m -> au$-9$-Ap$-9}+k 9m,-,-9$-_ s9m,-,-9$-_ s9m,-,-9$-_ -;8m-R-1-1&}#-;-,}-) {;-6m-0+{-#7{$=-/v;-I{=-P}1-:m#-#m-

au{;-6m-0+{-#7{$=-/v;-I{=-P}1-:m#-#m-

au) {;-6m-0+{-#7{$=-/v;-I{=-P}1-:m#-#m-) _u#-"-+{-0}+-< m -< m -<

+{$-=$-#m-#,=-%$=-< m -*}#-;-8"}:-9}+k< m -*}#-;-8"}:-9}+k< _u#-"8m-8_u#-"8m-8_u

>o:-0-+{8m-Wv-13,-> m -&-8#8-<=-,m-0}+-+},-;-> m -&-8#8-<=-,m-0}+-+},-;-> W;-W;-W ] m8m-*}#-#m-<{=-K}#=-'{-

_um8m-*}#-#m-<{=-K}#=-'{-_u

] m8m-*}#-#m-<{=-K}#=-'{-]1*}:-=}$-0-+{-9m,-;k +{-9$-&{=-!+-E#=-%,-> m ->}-;m-5}8v-Bm-9m-> m ->}-;m-5}8v-Bm-9m->1m-'-M1=-+$-9}$=-E#=-%,-> m -0J,-8> m -0J,-8> J m,-+$-J m,-+$-J W$-0W$-0W a#=-W-0v8m-Wv+-;1-M1=-< m=-< m=-< W0-W0-W [ }:-[ }:-[ A=-.-;-0K{,-,=-A=-.-;-0K{,-,=-A Ap$-k0}+-< m -< m -< ! }:-;-9$-+#-.8m-<{=-9},-! }:-;-9$-+#-.8m-<{=-9},-! =0-0L;-=0-0L;-= Ap$-0-;-0K{,-

,=-K}#-07}-8Js;-'$-%,-M1=-:m1-9;-ò-8E } -${=-9m,kE } -${=-9m,kE +$}=-9}+-,m-K}#-07}-;=-W;-0:-0I}+-.-1-9m,-,1k W;-0:-0I}+-.-1-9m,-,1k W

■ ■

.+-1-80v1-,=-0\w:k\w:k\w

Additional Reading on the Mythicization of Tibet

Bishop, Peter. Dreams of Power: Tibetan Buddhism and the Western Imagination. London: Athlone Press; Rutherford, NJ: Fairleigh Dickinson University Press, 1993.

Brauen, Martin. In collaboration with Renate Koller and Markus Vock. Dreamworld Tibet: Western Illusions. Trumbull, CT: Weatherhill; Boston:Shambhala, 2004.

Dodin, Thierry and Räther, Heinz. Imagining Tibet: Perceptions, Projections, and Fantasies. Boston: Wisdom Publications, 2001.

Lopez, Donald S., Jr. Prisoners of Shangri-La: Tibetan Buddhism and the West. Chicago: University of Chicago Press, 1998.

Shakya, Tsering. “The Myth of Shangri-la: Tibet and the Occident.” Lungta 5, pp. 20-23. Lungta 5, pp. 20-23. Lungta

:0-* },-I-% m -(Ramon N. Prats)

,m-?m-@-;m-9m-,0-;{-=m-U }0-U }0-U f-&{,-1}8m-<:-@ }#=-:m#-.8m-@ }#=-:m#-.8m-@ & { -3,-ò-0}+-:m#-.8m-& { -3,-ò-0}+-:m#-.8m-&80v1-:1=-.8m-13,-#,=-R$=-<m$-k

U }0-U }0-U f-+{:-

1995 0:-ò-0}+-< m -< m -< !+-9m#-+$-P}1-:m#-#m-+#{-G,-&{,-1}-#,$-k

+{$-=$-"}$-,m-=m-.{,-> m -> m -> ):-=m-;}-,-E }$-E }$-E = {:-,-9}+-.8m-= {:-,-9}+-.8m-=.}1-.{8v-1 {0-:-1 {0-:-1 U }0-U }0-U f-&{,-1}-

(Pompeu Fabra University),-=$=-W=-&}=-;v#=-W=-&}=-;v#=-W < m -+#{-G,-&{,-1}-9m,k< m -+#{-G,-&{,-1}-9m,k<

Ramon N. Prats holds a doctoral degree in Tibetan Studies

from the Oriental Institute of the University of Naples

(Italy), where he was associate professor of Tibetan

language and literature until 1995. He is presently

professor of Buddhism at the Pompeu Fabra University in

Barcelona, Spain.

With the dissemination of more accurate knowledge of

Tibet, its demystifi cation is advancing step by step. This not so

bad, though. Isn’t it said that reality surpasses fi ction? ■ ■

1 See "A Conversation between Jamyang Norbu and Elliot Sperling,” Latse Library Newsletter 2 (fall 2004):14-- 17. 2 There is also a Tibetan translation of the book: Bod nang lo bdun. (McLeod Bod nang lo bdun. (McLeod Bod nang lo bdun. (Ganj: Amnye Machen Institute, 1995.)

38 | ;-P{-+.{-14~+-"$-#m-#=:-8J m,kJ m,kJ ] m-;}-2005 ;}8m-% },-"k

On 24 October 2004, the infl uential Tibetan poet Yidam Tsering, nicknamed “Lion of the Snowy Mountains,” passed away in the city

of Lanzhou in Gansu Province. Yidam Tsering was among the fi rst generation of Tibetan writers who started writing in the Maoist years following the foundation of the People's Republic of China (PRC). He was widely known in China, Tibet, and the Tibetan diaspora as one of the most vigorous and unconditional spokesmen on Tibetan identity. He was reckoned among the most representative and original fi gures in the contemporary Tibetan literary world, both for his work and for his outspoken views on Tibetan cultural revival and renewal. In his speeches and essays, Yidam Tsering stressed the importance of developing a modern Tibetan literature written in Tibetan, especially given Chinese cultural and linguistic domination in Tibet. What makes such advocacy particularly interesting is that he wrote solely in Chinese.

Because he was illiterate in Tibetan, Yidam Tsering adopted diverse poetic devices in order to express what he considered a Tibetan sensibility through poetry written in Chinese. His project regarding Tibetan tradition was one of recollection, recuperation, and re/construction, but also invention. Reading his work with a cross-cultural perspective is useful for avoiding simplistic approaches

to contemporary Tibetan culture and literature and leaves room for otherness and complexity.

Throughout the last half-century, Chinese came to serve as the offi cial language in Tibet, and a previously unknown literature—writing in Chinese by Tibetan authors—developed in the Land of Snows. At the same time, Tibetan mother-tongue literature, which was censured during the Cultural Revolution, was

revived after 1980 and has received varying levels of governmental support. Thus, Tibetan literature now refl ects a broader dynamic of two cultures coexisting

In Memory of Yidam Tsering, Lion of the Snowy Mountains

(1933–2004)

■ Lara Maconi

ROARS ECHOING THROUGH THE SNOWY MOUNTAINS

Poet Yidam Tsering

FEATURED AUTHOR

P}1-.-.-}Q{$-0k


within a single social context. Though the relationship between the two is complex and sometimes antithetical, cultural coexistence has nonetheless produced interesting results in terms of literary and linguistic hybridization.

Yidam Tsering’s poetry emerged in the context of rapid political and cultural transition, that is, the birth of a modern socialist Tibet under Mao's leadership. In this context, a new progressive Tibetan intelligentsia began to express considerable enthusiasm for change, modernization, republican ideals, and socialist values, while the Tibetan traditional order was radically upset. In exploring the context that gave rise to Yidam Tsering’s work, it is essential to stress the faith of certain Tibetan intellectuals in socialism as an international set of aspirations (not specifi cally identifi ed with Maoism), and the subsequent disappointment of these Tibetans upon realizing how values could be distorted in practice. In the fi eld of arts and literature, previously unheard-of literary concepts, such as Socialist Realism and Revolutionary Romanticism, confronted traditional Tibetan literary and artistic outlooks. The new Maoist policy promoted the complete secularization and politicization of literature—a sharp contrast to traditional Tibetan written literature, which was mainly an elitist activity, refi ned in taste, and rich in religious meaning. The new literature, created by the masses, for the masses, and in the language of the masses, had to eulogize the heroic constructions of socialism.

Yidam Tsering’s life and literature mirrored the construction of a modern socialist Tibet. To understand his development as a writer is to understand the change in his political and social commitment, particularly after the storm of the Cultural Revolution. Yidam Tsering was born on 10 February 1933 in the village of Congzhi (Congtse) in the area of Tsongka (Tshong kha) or what is known in Chinese as Ping’an County, Qinghai. His birth into a poor family left him little prospect for receiving an education. In pre-1950 Tibet, the great majority of Tibetans were illiterate, and it was only in his adolescence that Yidam Tsering attended a Xining primary school, where he studied Chinese and rudimentary Tibetan. He was still in school when in August 1949 Chinese soldiers of the People’s Liberation

Army (PLA) arrived in Tibet. The Army made a good fi rst impression, distributing food and money to local villagers. Tibetans were recruited to participate in the “construction of a new Tibet.” Many Tibetan youngsters of humble origin joined the revolutionary ranks; in exchange, they were nourished, dressed and educated (in Chinese) according to the new Maoist revolutionary principles. Yidam Tsering was one of those youngsters. Ever since the Long March, the Chinese Communist Party realized the potential of Tibetan recruits from poor families: some were genuinely attracted to the promise of an egalitarian society, while other young boys simply drifted into the ranks of the PLA. In the conclusion of Snowy Mountains Collection, his fi rst collection of poems, written in 1964 but published only in 1980, Yidam Tsering acknowledges his initial enthusiasm for socialist ideals:

When I joined the revolution, I was just a 15 or 16 year-old baby. At that time, all I knew was that the Old Society meant suffering. Except for this, everything was obscure to me. In the revolutionary ranks, I was taught the Party’s principles and Mao’s revolutionary philosophy. I became a Party member and really thought the Party was instilling me with wisdom and ideals. (Snowy Mountains Collection,181)

Yidam Tsering’s faith in an egalitarian utopia and class struggle as the deterministic force constituting societies prevailed throughout the 1950s, as he participated in various political movements. He was particularly active in the fi eld of folk arts and literature, working as a performer, lyricist, teacher, choreographer and director of a dance troupe. Eventually, he was appointed deputy director of the Preliminary Group of the Gansu Folk Art Research Committee. In 1955, he started to collect, arrange and translate Tibetan folk songs into Chinese, and in 1963 he published Wedding Songs, a collection of Chinese translations of fourteen folk songs from his homeland. Yidam Tsering’s interest in folk literature derived not merely from the pro-folkloric policy of the pre-Cultural Revolution years. Folk songs and any genuine manifestation of popular culture were

40 | ;-P{-+.{-14~+-"$-#m-#=:-8J m,kJ m,kJ ] m-;}-2005 ;}8m-% },-"k

permanent sources of inspiration and fi elds of constantly renewed investigation for the poet.

The excesses of the Cultural Revolution deeply affected Yidam Tsering’s life and philosophy. Like many other intellectuals in the PRC, Yidam Tsering was stigmatized as a ‘black line’s black specimen’ and a ‘reactionary nationalist.’ His works were censured, and he was rehabilitated only in 1980. His political and philosophical refl ections matured during those dark years. In a few poems (censured at that time) he denounces the corruption of the Party’s political ideals and the oppressive atmosphere of the time. The tone of these poems reveals Yidam Tsering’s untamable disposition, his more sentimental than political thirst for Justice and Equality, and his more humanistic than socialist meditations—values that he would develop in much later poetry.

During the self-searching period of the Cultural Revolution, Yidam Tsering acquired a new awareness of Tibet identity and culture. He grew increasingly curious about the specifi city of Tibetan culture, age-old traditions and splendor of which he knew little. He realized that his ‘Mother’ (Tibet) was getting weaker, that it needed the support of her ‘son’ to survive. He considered that both culture and economics were fundamental aspects in the process of preserving and developing specifi c Tibetan attributes. Ever since that period, Yidam Tsering was increasingly concerned with developing and improving Tibetan society, Tibetan-language education, and Tibetan literature written in the mother-tongue.

It was only in the post-Cultural Revolution years, and following the general revival of culture in the PRC, that Yidam Tsering wrote the bulk and the best of his poems. In addition to Snowy Mountains Collection (published in 1980 but containing poems written between 1958 and 1965), Yidam Tsering published fi ve volumes consisting primarily of poems and some essays: Snow Lion Collection (1991), Snowland Collection (1992), Snow Rhymes Collection (1996), The Snowland Sun (1997), and The Lion of the Snowy Mountains Roars (1999). The poems in these volumes illustrate the evolution of Yidam Tsering’s philosophy: from meditations on the “sufferings of the old society” to refl ections on the sufferings of all

societies, and ultimately to the realization that existence itself is suffering. Yidam Tsering’s social views on life matured into a cosmological awareness, into a meditation on ultimate truths.

By proposing a distinctive literary language, Yidam Tsering expressed his own sense of otherness vis à vis Chinese culture in a creative way. He adopted diverse strategies to differentiate his works from offi cial Chinese literary discourse, including the use of highly evocative symbols and images rich in Tibetan cultural connotations (such as the ancient Tibetan symbol of the ‘snow lion,’ and the term ‘Snowland,’ a name for Tibet), and the evocation of well-known Tibetan historical fi gures. He also stressed the importance of traveling around Tibet to regain contact with one’s own territory and culture and to recover a relationship between self and place. Several of Yidam Tsering’s poems record one specifi c stage of the poet’s travels in Tibet and of his meditative journey.

When considering the linguistic strategies that Yidam Tsering adopted to convey his sense of cultural distinctiveness, it is essential to realize how linguistic issues became crucial questions in his refl ections. The Indian writer Raja Rao has described the dilemma facing writers such as Yidam Tsering, for whom the core of the problem lies in the question of how to “convey in a language that is not one’s own the spirit that is one’s own.” For Yidam Tsering, Chinese was the language of his intellectual make-up but not of his emotional make-up. Yidam Tsering’s poems were always written out of linguistic tension, where the diffi culty of ‘translating’ into Chinese a ‘world’ supposedly experienced, conceived, and felt in Tibetan, coexisted with the conscious and unconscious will not to completely abandon the mother language. In his poems, Yidam Tsering attempted to construct a linguistic variation on Chinese such that the Chinese language is no longer Chinese, and Tibetan becomes the necessary referent to understand this new brand of Chinese. Providing Chinese with neologisms, semantic and phonetic translations, new images and new linguistic solutions, Yidam Tsering challenged the established structures and the authoritative exclusivity of Chinese expressions. By reading Yidam Tsering’s poems in a cross-cultural perspective, one experiences


Anthologies and other works by

Yidam Tsering

Hunli ge (Wedding songs). Shanghai: Shanghai wenyi

chubanshe, 1963. (96 pp.)

Xueshan ji (Snowy mountains collection). Lanzhou:

Gansu renmin chubanshe, 1980. (187 pp.)

Xueshi ji (Snow lion collection). Xining: Qinghai renmin


Xueyu ji (Snowland collection). Chengdu: Sichuan Xueyu ji (Snowland collection). Chengdu: Sichuan Xueyu ji

minzu chubanshe, 1992. (198 pp.)

Xueyun ji (Snow rhymes collection). Hezuo: Gannan Xueyun ji (Snow rhymes collection). Hezuo: Gannan Xueyun ji

Zangzu zizhizhou wenlian and Zla gsar (Moon Zla gsar (Moon Zla gsar

Shine), 1996. (120 pp.)

Xueyu de taiyang (The snowland sun). Beijing: Zuojia


Xueshan shizi hou (The lion of the snowy mountains

roars). Lanzhou: Gansu renmin chubanshe, 1999.

(250 pp.)

Xueyu zheren de sibian zhi hua. Jushi shouci dechu

yueqiu you shui de kexue jielun (Flowers of the

thoughts of a snowland sage: Scientifi c conclusions

on the existence of water on the moon proven

for the fi rst time in the world). Beijing: Dangdai

Zhongguo chubanshe, 1999. (316 pp.)

Lara Maconi (Ph.D. candidate) is a research assistant

and lecturer in Tibetan Studies at Langues 'O INALCO

in Paris. Having graduated in Chinese Studies from Ca'

Foscari University in Venice, her present research concerns

contemporary Tibetan literature, with a focus on works

written in Chinese, and questions of identity and diglossy.

She is a frequent contributor to the literary magazine

Neige d'Aout, Lyrisme et Extrême-Orient.Neige d'Aout, Lyrisme et Extrême-Orient.Neige d'Aout, Lyrisme et Extrême-Orient

a sort of ‘revitalizing explosion’ of canons: the canon of Tibetan tradition and its established values, as well as the canon of Chinese linguistic and literary standards and its civilizing discourse. The very axioms upon which canons are based are undermined, and the ensuing dualism makes room for otherness, complexity, and creativity.

Yidam Tsering was deeply concerned by the future of the new generation of Tibetan intellectuals. To his frequent contact with younger writers and students Yidam Tsering brought a communicative temperament and oratorical skills, which greatly helped him establish a lively human and intellectual dialogue. Many of his poems have been translated into Tibetan at the initiative of young Tibetan writers and editors. He is by far the most popularly translated of sinophone Tibetan writers. This fact indicates the great appreciation felt for Yidam Tsering’s poetry on the part of Tibetan-educated readers, as well as the affection and respect for the person of Yidam Tsering held by a new generation of Tibetan intellectuals. For the young, he is a symbol of moral integrity and human dignity, a powerful literary spur, and a source of enthusiasm and hope for a better future. Young Tibetans see in Yidam Tsering’s poems the complex mélange of frustration and hope, faced by Tibetans today. The roars of the Lion of the Snowy Mountains will forever echo throughout the mountains of the Land of Snows.

REFERENCES

Maconi, Lara. “Lion of the Snowy Mountains: The Tibetan Poet Yi dam tshe ring and his Chinese Poetry: Reconstructing Tibetan Cultural Identity in Chinese.” Chapter 7 in Tibet, Self, and the Tibetan Diaspora: Voices of Difference, edited by P. Christiaan Klieger, ed., 165–194. PIATS 2000, no. 2. Leiden: Brill, 2002.

Rao, Raja. Foreword to Kanthapura (1938), quoted in B. Ashcroft, G. Griffi ths, and H. Tiffi n, eds., The Empire Writes Back, p. 39. New York: Routledge, 2001.

Yidam Tsering. “Two Poems.” Translated by Herbert J. Batt. In Manoa: Songs of the Snow Lion 12:2. Honolulu: University of Hawai’i Press, 2000.

42 | ;-P{-+.{-14~+-"$-#m-#=:-8J m,kJ m,kJ ] m-;}-2005 ;}8m-% },-"k

Crystalline Seeds:Thönmi Sambhota

Since the man of Thon1 sowed the thirty crystalline seeds, The annals of civilization have recorded the splendid vestige of the three skor, the four skor, the four skor ru, and the six sgang.2

Afterwards, an ice-knife and a snow-sword dismembered the body of Dbus, Gtsang, Amdo, and Khams,But the fertile seeds still lie buried deep in the Bod pa’s pure heart! 3

Even the cold of a doubly severe winter can no longer lock up the sowing season!

Today the jade dragon has already roared, the seeds are ready to sprout.Barefoot, I reclaim the land of my heart to cultivate a brand-new century!

6 January 1983

Translated by Lara MaconiTranslated by Lara MaconiTranslated

Four Poems by Yidam Tsering

Author’s notes: 1. Thon mi Sam bho ta is the creator of the Tibetan alphabet. Thon mi

(that is, a person from Thon or a person whose surname is Thon) and

Sam bho ta (a man’s fi rst name) together produce the full name Sam

bho ta from Thon. The thirty seeds are the thirty letters of the Tibetan

alphabet.

2. These are Tibetan ancient territorial divisions: above the three skor of skor of skor

Mnga’ ris; at the center the four ru of Dbus Gtsang; below the six ru of Dbus Gtsang; below the six ru sgang

of Mdo Khams.

3. Bod: This is the name Tibetans use to refer to themselves (the name

of the nationality). Tubo is the [Chinese] phonetic transcription of the Tubo is the [Chinese] phonetic transcription of the Tubo

name that we use to refer to ourselves. Xizang in Tibetan is “Bod.” The

use of the term Zang originated during the Qing dynasty and is derived

from the name of the region of Gtsang, one of the three regions in the

designation ‘Mdo, Dbus, Gtsang’.

Yidan Cairang. “Jingliang de zhongzi.“ In Xueyu de taiyang. Beijing:

Zuojia chubanshe, 1997, p. 118.

晶亮的种子

吞米桑博扎

大从吞地人播下三十颗晶亮的种子，

文明的史册收揽了三部四茹刘冈的胜迹，

后来冰刀雪剑割裂了卫藏多康的肌肤，

萌芽的种子还埋在蕃域人的完美的心理。

再冷的严冬也锁不住播种的季节！

今朝玉龙已经咏啸，种子就要发芽，

我赤脚垦拓心田，耕植崭新的世纪！

1983。1。6

1. 吞米桑博扎：史称藏族文字的创制者，吞米：即“吞”地方的人（或

吞姓人），桑博扎：即名字，就是：吞地人桑博扎。30颗种子：指藏文

30字母。

2. 指藏族古代区划：即上阿里三部，中卫藏四茹，下多康六冈（部，

茹，冈均为区划单位）。

3.蕃：藏族从古至今的自称（即族名），如吐蕃就是自称的译音。“西

藏”在藏语里称“蕃”。“藏”源于清时朵卫藏的省称。陇南一藏乡亦

称“蕃域”。


What is True Cannot be Falsifi ed

A black stone soaked in the river cannot be washed white.A white stone placed under the sun cannot be darkened.Even if they were buried in a pile of ash,The rain could still distinguish them!

What is true cannot be falsifi ed.What is false cannot be true.This, indeed, is not diffi cult to understand!

Spring 1963 (Lanzhou)

Translated by Yangdon DhondupTranslated by Yangdon DhondupTranslated

Author’s note:

This is the the fi rst time I tried writing in the second form of the style of 4,

1, 2: “Four lines and two lines in two stanzas.” I have written more than

30 poems in this style, but before they could be published, they were

seized from my house and burned during the Cultural Revolution. This

poem alone remained in my head. Now, I show from where this style

came.

Yidan Cairang. “Zhende Jiabuliao.” In Xueyu de taiyang. Beijing: Zuojia

chubanshe, 1997, p. 56.

真的假不了

黑石头泡在河里洗不白，

白石头放在太阳下晒不黑，

即便把它们埋在灰堆里，

天降的雨水还会鉴别！

真的假不了，

假的真不了，

这本来就不是费解的难题！

1963。春。草于西北民院

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路

坦途上我欣赏马蹄的速度，

沙漠里我钦佩驼背的重负，

但是连岩鹰都胆颤心惊的雪山上，

我看见吐舌的牦牛象跃涧的猛虎！

奋斗者的足下都有一条通途！奋斗者的足下都有一条通途！

请不要把那潜水的本领说得太玄，请不要把那潜水的本领说得太玄，

我祖先的项链就是那海底的我祖先的项链就是那海底的珊瑚！

1981。12。于兰州 1981。12。于兰州

答辩

我赞亚马孙河鼓起印第安古歌的壮伟，

我叹服尼罗河我起《一千零一夜》的星辉，

但是并不因此对我的生身母亲说三道四，

因为黄河长江把《格萨尔》捧给群星灿烂的世界!因为黄河长江把《格萨尔》捧给群星灿烂的世界!

各民族的文明历史都不是天界的赐予！

我的责任不是从别处引进装束陌生母亲，

而是把生母的乳汁化作我谱写史诗的智慧！

1981 年冬

The Path

On the road I relish the speed of a horse’s hoof.In the desert I admire the heavy load a camel carries.On the snow mountain that frightens the eagle,I see the yak with its tongue stuck out jumping like a fi erce tiger from the ravine!I see the yak with its tongue stuck out jumping like a fi erce tiger from the ravine!

Beneath the feet of those who struggle, there will always be a path!Beneath the feet of those who struggle, there will always be a path!

Please do not to think too highly of the one who dives into the water--Please do not to think too highly of the one who dives into the water--The necklaces of my ancestors are the corals deep in that sea! The necklaces of my ancestors are the corals deep in that sea!

December 1981 (Lanzhou)


Yidan Cairang. “Lu.” In Yidan Cairang. “Lu.” In Xueyuji. Chengdu: Sichuan minzu chubanshe, 1992, p. 8.

Reply

I praise the Amazon, which sings the greatness of the native Americans.I praise the Amazon, which sings the greatness of the native Americans.I gasp in admiration when the Nile accumulates I gasp in admiration when the Nile accumulates The splendour of the Thousand and One Nights.The splendour of the Thousand and One Nights.But I do not therefore blame at all my mother,But I do not therefore blame at all my mother,Because the Yellow River and the Yangtse River offer Gesar to a world of bright stars!Because the Yellow River and the Yangtse River offer Gesar to a world of bright stars!

The civilization of each nationality is not granted in a day!The civilization of each nationality is not granted in a day!

My responsibility is not to dress up that unfamiliar mother from the faraway place,My responsibility is not to dress up that unfamiliar mother from the faraway place,But to transform my mother’s milk into wisdom that composes epics! But to transform my mother’s milk into wisdom that composes epics!

Winter 1981


Yidan Cairang. “Dabian.” In Xueyuji. Chengdu: Sichuan minzu chubanshe, 1992, p. 5.. Chengdu: Sichuan minzu chubanshe, 1992, p. 5.

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Latse Library is pleased to announce that the library catalog is now available online at our website, www.latse.org. The catalog contains almost 12,000 records representing the library’s unique collection. Users may use the database to perform a basic or detailed search for a particular item or simply browse the collection.

The library hopes that this recently-added library tool will attract a variety of patrons to learn more about and make greater use of the library’s collection.

Latse Library Catalog Now Online!

;-P{-+.{-14~+-"$-#m-+!:-&#-H-;1-*}#-,-9}+k

;-P{-+.{-14~+-"$-,m-\o,-/,-*{0=-P-3~#=-.8m-;=-#6m-6m#-9m,kLatse Library is a project of Trace Foundation

Trace Foundation's Latse Newsletter, vol. 3

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Transcript of Trace Foundation's Latse Newsletter, vol. 3