ChiekoYamano Introduction,CriticalEditionandTranslation Kakṡapuṫatantra Mantras ā dhana:ChapterOneofthe

Mantrasādhana:

Chapter One of the Kaks

̇ aput

̇ atantra Introduction, Critical Edition and Translation

Chieko Yamano

国際仏教学大学院大学研究紀要

第 19 号（平成 27 年) for Postgraduate Buddhist Studies

Vol. XIX, 2015

Mantrasādhana:

Chapter One of the Kaks

̇ aput

̇ atantra Introduction, Critical Edition and Translation

Chieko Yamano

The Word has been regarded as sacred in both ancient Eastern and Western civilizations. In India, the vāc (word) has been deified as a goddess, or regarded as having the nature of a god or goddess, since Vedic times. The act of naming was sometimes associated with the act of creation. The Word was seen as embodying the power of creation by Prajāpati, and was identified with Brahman, the primordial reality or the Absolute. The aks

̇ ara (syllable) ʻom

̇ ,ʼ which represents Brahman, was regarded as the universe itself and became an object of Upanis

̇ adic speculation, which deconstructed it into three morae: a, u, and m, and interpreted them as three Vedas, three genders, three worlds, or three divinities.

The idea of the Word as the power of creation and the syllable as a principle of the universe developed further in the Tantric tradition throughout medieval India. The mantra plays a crucial role in sādhanas, Tantric practices that aim for various mundane or supramundane attainments. Just as Brahman is present in om

̇ , certain entities are present in a syllable called bīja, and are addressed in the imperative mode in mantras. This tradition has produced an enormous number of mantras, forming an elaborate system of symbol manipulation through which humans can control the world.

The sound of the Vedic word is more important than the letter. The hymns and mantras in the Vedas must be transmitted by word of mouth.

The intangible entity in this tradition is given higher priority than the

tangible. The Tantric tradition inherited this idea; however, the written word has also become increasingly important. In Tantric practice, the bīja appears in the form of both sound and letter; the written mantra is used as an amulet or talisman and further enshrined or worshipped like a deity; and the yantra, a mystical diagram consisting of aks

̇ aras, is used for various purposes. A preference for materialization or fetishism is seen in various Tantric practices.

Here I discuss the Tantric mantras, focusing on the written aspect, used in the sādhana of the Kaks

̇ aput

̇ atantra.

Contents of Chapter 1 The Kaks

̇ aput

̇ atantra is a manual of Tantric practice exclusively dedicated to magical procedures and intended to generate worldly benefits.

It was probably compiled around the tenth century CE. Although it is based on the Śaiva tradition, its authorship is traditionally ascribed to Nāgārjuna, one of the most famous Buddhist scholars.

There are a considerable number of manuscripts of the work, most of which are dated to the seventeenth century or later and bear various titles, including Kaks

̇ aput

̇ a, Kacchaput

̇ a, Kaks

̇ yāput

̇ a, Kaks

̇ aput

̇ asarvasam

̇ - graha, and Siddhanāgārjuna. The strange term “kaks

̇ aput

̇ a” is the compound of “kaks

̇ a,” which means hiding-place, the armpit, a womanʼs girdle, an enclosure, etc., and “put

̇ a,” which means a fold, a hollow space, a cup made of a folded or doubled leaf, etc. The combination of these words means the armpit, or a cloth passed between the legs to cover the private parts. A Tibetan text with the same title translates this as “mchan khung gi sbyor ba” (the union of armpit). However, the relationship between the term and the contents of the text is unclear.

Furthermore, some of the manuscripts that I use are titled Kacchaput

̇ a instead of Kaks

̇ aput

̇ a in the colophons of each chapter. This

̇ ̇

term means a turtle shell, a box with compartments, and so on. In the Br ̇ hatsam

̇ hitā, Varāhamihira uses the term to mean a small box with sixteen compartments used for storing fragrant substances. The term

“kacchaput

̇ a” possibly means the kūrmacakra, a yantra formed to resemble a turtle, which is mentioned in the first chapter. ¹ The title Kaks

̇ aput

̇ a seems to have resulted from a phonetic confusion between ccha and ks

̇ a.

The first chapter of the Kaks

̇ aput

̇ a explains the mantrasādhana or preparatory procedures for performing various sādhanas in the following chapters. The tantra opens with verses dedicated to Śiva and Vāgdevatā (the goddess of the Word) [1-2]. It then notes that the tantra is a collection of the teachings which Śiva taught to Pārvatī. These are also the teachings which gods, siddhas, munis, and so on, taught in a previous time [3-5]. The tantra also includes the title of the āgamas consulted by the compiler [6-10]. Next, it lists the nineteen sādhanas explained in the following chapters, advising that the mantrasādhana should be performed before all these sādhanas [11-15].

The mantrasādhana is also known by the name of the puraścaran

̇ a or preparatory activity. This usually details the suitable place and time for each sādhana, and the recommended rosary and seat to be used. It also includes the rules of japa (recitation) and homa (fire offering) for the sādhana. The Kaks

̇ aput

̇ a first details the mantrām

̇ śaka, a method to ascertain if the mantra is appropriate for a practitioner [16-28]. Next, it explains the kūrmacakra, i.e. a yantra with which the practitioner checks whether or not the place is auspicious [29-39]. It next makes the following recommendations for each sādhana: which rosary should be used and how to tell the beads [40-49]; the suitable place, season, and date [50-59]; the

̇ ̇

1

There is another possibility. Chapter XX of the

Kaks

̇ aput

̇ a

explains a

yantra

with sixteen compartments, similar to one of

Br

̇ hatsam

̇ hitā. The yantra

would be

“kacchaput

̇ a”.

seats and seating postures to be used [60-66]; the vāsanā (imaging) or the object that the practitioner visualizes in each sādhana [67-69]; and the sthānadhyāna or the cakra, on which the practitioner should concentrate during each sādhana [70-77]. It also recounts the brief rules of japa [78-80]

and homa [81-88] and, complementarily, recommends diets to be followed after sādhanas [89-91]. The Mantrasādhana Chapter concludes with the method called saptopāya (seven means) that should be performed when a mantra has had no effect [92-107].

In the following sections, the mantrām

̇ śaka, kūrmacakra, and saptopāya are discussed in more detail to clarify the features of Tantric mantra used in the sādhana.

Mantrām

̇ śaka (Examination of Mantra)

As a preparation for the sādhanas explained in the following chapters, the practitioner should ascertain if the mantra recited in them is appropriate for him. The mantrām

̇ śaka is a kind of divination, through which one can predict the result of the relevant sādhana, using aks

̇ aras of both mantra (mantra-aks

̇ ara) and oneʼs own name (ātmanāma-aks

̇ ara). At first, one should break up the mantra and oneʼs own name into syllables, and then further divide this into consonants, vowels, anusvāra (m

̇ ), and visarga (h

̇ ). If there are consonant clusters, they should also be divided into each consonant. In the commentary on the Svacchandatantra [8.20], Ks ̇ emarāja explains this process taking the mantra “om

̇ śivāya namah

̇ ” as an example. The first syllable “om

̇ ” comprising a, u, and anusvāra, is broken up into three aks

̇ aras: a, u, and ma ² . The second syllable “śi” is broken up into śa and i. In this manner, the whole mantra is broken up into 10 aks

̇ aras:

̇ ̇

2

Ks

̇

emarāja converts the

anusvāra

into “ma”, but the

Kaks

̇ aput

̇ a

probably does into “am

̇

”.

a, u, ma, śa, i, va, ā, ya, na, and ma. Ks

̇ emarāja does not count the visarga here, but the Kaks

̇ aput

̇ a suggests that the visarga, too, should be counted, i.

e. “ah

̇ ” is to be added at the end, in this case.

Then these aks

̇ aras are purified by a means called sam

̇ skāra. The Mantra is supposed to have various kinds of faults (dos

̇ a) sometimes. The Kaks ̇ aput

̇ a does not mention the mantra-dos

̇ a, but other āgamas and treatises such like the Netratantra [8.59-63], the Tantrarājatantra [1.75-48 and 1.73-85], the Kulārn

̇ avatantra [15.65-69] and the Śāradātilaka [2.64-110], list various kinds ³ . The mantra-sam

̇ skāra is a means that purifies those dos

̇ as contained in the Mantra. We find various ways of conducting the mantra-sam

̇ skāra presented in the Netratantra [18.6-8], the Kulārn

̇ ava [15.71-72], and the Śāradātilaka [2.114-123]. ⁴ The Kaks

̇ aput

̇ a does not give an explanation for the mantra-sam

̇ skāra, but describes how to purify the aks

̇ aras of oneʼs own name. According to the Kaks

̇ aput

̇ a, the practitioner should purify them using the name given by his guru. This name, along with that given by his parents, should be broken up into aks ̇ aras. The practitioner should then combine both into an aks

̇ ara one by one, and pronounce them.

After purifying the aks

̇ aras of oneʼs own name in this manner, the practitioner should assign the aks

̇ aras of the mantra into four categories:

siddha, sādhya susiddhi, and ari. Since the Kaks

̇ aput

̇ a explains this briefly, we cannot clarify as to how they were so assigned; however, Ks

̇ emarājaʼs commentary on the Svacchanda [8. 20-22] gives a detailed account of the subject. According to Ks

̇ emarāja, one should count the number of aks

̇ aras between the ātmanāma-aks

̇ ara and mantra-aks

̇ ara in the order of Sanskrit syllabary, on oneʼs four fingers. If the mantra-aks

̇ ara falls on the first finger,

̇ ̇

3

The

Netratantra, Tantrarāja, Śāradātilaka, and Kulārn

̇ ava

count 9, 25, 50, and 60

dos

̇ as, respectively. On the mantra-dos

̇ a, see André Padoux [2011: 89].

4

On the

mantra-sam

̇ skāra, see Padoux [2011: 92-94] and Gudrun Bühnemann

[1991b: 299-300].

the aks

̇ ara is siddha; on the second, it is sādhya; on the third, it is susiddhi;

on the forth, it is ari.

ex) N1: व= → M1: अ ＝2: sādhya N2: इ= → M2: उ ＝2: sādhya

André Padoux [2011: 21] points out that, aside from the Svacchanda, the mantrām

̇ śaka, which does not use a specific yantra, but just counting on fingers, is also mentioned in the Netratantra [18.12]. ⁵ Even though the Kaks ̇ aput

̇ a mentioned the title of the Merutantra as its reference, it differs from this, as the mantrām

̇ śaka of the latter employs specific yantras. The Svacchanda and the Netratantra, both of which are listed in the reference

̇ ̇

5

However, the

Netratantra

itself only mentions four categories. The method is explained by Ks

̇

emarāja in his commentary.

N6 N5 N4 N3 N2 N1

र त इ म उ ण ष इ व

Name: Vis

̇

n

̇

umitra

N9 N8 N7

M6 M5 M4 M3 M2 M1

न य आ व इ श अ ̇ उ अ

M10

म

M11

अ:

Mantra:

om

̇ śivāya namah

̇

M9 M8 M7

अ ̇ औ ओ ऐ ए ॡ ऌ ॠ ऋ ऊ उ ई इ आ अ

0

अ:

1 4 3 2 1

भ

ब फ प न ध द थ त

→

→

→

→

→ N1

ह

亜

स ष श व ल य म ग

ख क

2

ण ढ ड ठ ट ञ झ ज छ च ङ घ

2 1 0

M2

→ N2 M1

Fig. 1

list in the introductory portion of the Kaks

̇ aput

̇ a, must be the main sources of the mantrām

̇ śaka here.

After assigning all aks

̇ aras to four categories, the practitioner should ascertain whether the whole mantra is auspicious or not. The Kaks

̇ aput

̇ a provides two ways to assign the whole mantra to siddha, sādhya, susiddhi, or ari. The mantra that has all four categories is assigned to siddha; that which has three categories excepting siddha is assigned to sādhya; that with three categories excluding ari is assigned to susiddha; and that which has three categories excepting susiddha is assigned to ari. Alternatively, the mantra that has a siddha at the beginning, end, or middle, is assigned to siddha; that which has a susiddhi at the beginning and end is assigned to susiddhi; that which has a sādhya at the beginning and end is assigned to sādhya; and that which has a susiddhi at the beginning and end is assigned to susiddhi. Although this takes time, the mantra assigned to siddha will bestow success. That assigned to sādhya also will bestow success, but one should perform a japa (recitation) and homa (fire offering) for a long period. That assigned to susiddhi will immediately bestow success just through smr

̇ ti (mental recitation), and that assigned to ari brings death to the practitioner.

The mantrām

̇ śaka mentioned in the Kaks

̇ aput

̇ a, has the simplest procedure amongst the various mantrām

̇ śakas. The most popular procedure of the mantrām

̇ śaka is one that employs a square-shaped yantra having 16 compartments, called akathaha-cakra. In this procedure, the four categories are divided into 16 subcategories. The Kulārn

̇ ava [15. 78-99]

explained various yantras used in the mantrām

̇ śaka including the akathaha- cakra. ⁶

̇ ̇

6

These are the

akathahacakra, akad

̇ amacakra, naks

̇ ataracakra, rāśicakra,

̇ r n

̇ idhanicakra, and kulākulacakra. On these yantras, see Bühnemann [1991a: 95-

103] [1991b: 293-297].

Kūrmacakra (Yantra Portrayed as a Tortoise)

The kūrmacakra is a square-shaped yantra having nine compart- ments, each of which is assigned to the face, arms, heart, sides, legs, and tail of a tortoise. Using this yantra, one can ascertain if a place where the sādhana is to be performed is auspicious. The 49 aks

̇ aras (syllabograms) are allocated to the nine compartments in the following manner: 16 vowels in the central compartment; ka-varga in the east; ca-varga in the southeast;

̇ t a-varga in the south; ta-varga in the southwest; pa-varga in the west; ya- varga in the northwest; śa-varga in the north; and ks

̇ a (or l

̇ a and ks

̇ a) in the northeast. The kūrmacakra is mentioned in various āgamas and treatises, however some of them prescribe different ways to allocate aks

̇ aras. The Śāradātilaka describes a slightly more complicated kūrmacakra, which has nine compartments nested in the centre compartment, each of which has a pair of vowels.

Having allocated aks

̇ aras, the practitioner worships nine tutelary deities, enshrined in each compartment.

Then, the Kaks

̇ aput

̇ a instructs as to how one may ascertain the dīpasthāna, an auspicious place. At first, one finds the first aks

̇ ara of the name of place where the sādhana is to be performed, in the kūrmacakra.

The compartment, where the aks

̇ ara is placed, is assigned to the face of

̇ ̇

Kaks ̇ aput

̇ atantra

तथदढन पफबभम

यरलव

टठडढण अआइईउऊऋॠ

ऌॡएऐओओअ ̇ अ:

शषसह

चछजझञ कखगघङ

亜

ऌॡ अआ ओऔ

एऐ

इई

तथदढन पफबभम

यरलव

टठडढण अ ̇ अ:

शषसह

चछजझञ कखगघङ

ळ

亜

Śāradātilaka ऋॠ

उऊ

Fig. 2

tortoise. With reference to the position of the face, other compartments are allotted to arms, heart, sides, legs, and tail. The practitioner notes his own position, amongst the nine places, by applying the kūrmacakra to a given area; a city, town, village, pilgrimage site, cemetery, shrine or house. In case the practitioner is located in the face-part, it will bring him excitement; in the hand-part, it will bring a little enjoyment; in the belly-part, it will bring neither enjoyment nor suffering; in the feet-part, it will bring suffering; and in the tail, it will bring death or imprisonment.

It seems that the Kaks

̇ aput

̇ a explains the above procedure based on an account in the Merutantra [6. 272-289]. Aside from the Merutantra, the Tantrarāja [5. 88-101] also gives a detailed account of the subject.

However, the Tantrarāja uses the term ʻkūrmavibhāga’ instead of ʻkūrmacakra,ʼand this term also appears in Varāhamihiraʼs Br

̇ hatsam

̇ hitā.

The kūrmavibhāga explained in the Br

̇ hatsam

̇ hitā [14. 1-33] is a chart used for astrological divination, which predicts the demise of a king of a country.

In this case, the nine compartments are allocated to certain places in Bhārata (India), and each compartment is related to three of 27 mansions.

As Katsuyuki Ida pointed out [Ida 2005: 125-126], the kūrmacakra appearing in Tantric texts is derived from an antecedent of jyotiśāstras (astrological treatises) including the Br

̇ hatsam

̇ hitā.

Saptopāya (Seven Means)

If the mantra does not manifest its effect despite following a prescribed procedure, the practitioner should perform the saptopāya, or seven means, that is, drāvan

̇ a (softening), bodhana (awakening), vaśya (controlling), pīd

̇ ana (pressing), śos

̇ a (drying up), pos

̇ an

̇ a (nourishing), and dahana (burning). These are the means that rejuvenate an ineffective mantra.

The drāvan

̇ a aims to soften the mantra through tying it to the bīja of

̇ ̇

Varun

̇ a, the god of Water, and sprinkling a mixture of milk, butter, water, and honey on the written mantra. If this does not work, the practitioner should make his next move, the bodhana. One makes the mantra awaken through placing the bījas of Sarasvatī, the goddess of Speech, before and after it. If this does not work, the vaśya should be performed. This brings the mantra under his control. One should write the mantra with red sandalwood, costus, turmeric, beeswax, and red arsenic on a birch bark, and wear it around oneʼs neck. If this does not work, the pīd

̇ ana comes next. The practitioner steps on the written mantra, and while reciting it joined its padas upside down. If this does not work, one should move to the next step, the pos

̇ aya. It aims to nourish the mantra. One should write it with cow- milk and honey, attaching Tripurasundarīʼs bīja to it, and wear it on oneʼs hand. If this does not work, the śos

̇ an

̇ a, which aims to dry up the mantra, should be performed. The practitioner attaches the bījas of Vāyu, the god of Wind, to it, and keeps the written mantra around his neck. The last resort is the dahanīya, which aims to burn the mantra at the stake. The practitioner encloses every aks

̇ ara of the mantra with four bījas of Agni, the god of Fire, and keeps the written mantra on his neck. The Kaks

̇ aput

̇ a asserts that the mantra will certainly have an effect after using these means.

The saptopāya, which encourages the mantra using bījas or materials, has some concepts in common with the mantra-sam

̇ skāra (purification of mantra) explained in the Netratantra [18.6-8], the Kulārn

̇ ava [15.71-72], and the Śāradātilaka [2.114-123]. However, they have few practices in common. For example, the bodhana prescribed in the Śāradātilaka, is a practice of touching each aks

̇ ara with oleander flowers while reciting Agniʼs bīja; in the Netratantra, there is a practice of adding ʻnamah

̇ ʼ to the mantra. ⁷

̇ ̇

7

On the

mantra-sam

̇ skāra, see Padoux [2011: 92-94] and Gudrun Bühnemann

[1991b: 299-300].

Among the saptopāya, the drāvan

̇ a, bodhana, pos

̇ aya, śos

̇ an

̇ a, and dahanīya use a bija, and attach it to the mantra. Ks

̇ emarājaʼs Netratantrod- dyota or the commentary on the Netratantra [18.10-12], gives a detailed account of various methods to tie a bīja to a mantra. ⁸ He explains 11 methods, that is, samput

̇ a, grathita, grasta, samasta, vidarbhita, ākranta, ādyanta, garbhastha, sarvatovr

̇ ta, yuktividarbha, and vidarbhagrathita.

Among them, the grathana, sam

̇ put

̇ a, vidarbhan

̇ a, and grasta are used in the saptopāya of the Kaks

̇ aput

̇ a. The grathana is used in the drāvan

̇ a.

According to Ks

̇ emarāja, the grathana is the method to place a bīja before and after each aks

̇ ara. Taking “om

̇ śivāya namah

̇ ” for example, one should insert Varun

̇ aʼs bīja “vam

̇ ” before and after each aks

̇ ara; a, u, ma, śa, i, vā, a, ya, na, ma, and ha. ⁹

The sam

̇ put

̇ a is used in the bodhana and the pos

̇ ana. It is the method of placing a bīja before and after the mantra. In the bodhana, Sarasvatiʼs bīja

“aim ̇ ” is inserted before and after the mantra; in the pos

̇ ana, Tripurasun- darīʼs bīja “sauh

̇ ” is inserted (Fig. 4).

The vidarbhana is used in the śos

̇ an

̇ a. It is the method of arranging an alternating bīja and an aks

̇ ara of the mantra. In the śos

̇ an

̇ a, the double bījas of Vāyu “yam

̇ yam

̇ ” are employed (Fig. 5).

̇ ̇

8

In the context of the

Netratantra, that which should be tied to the mantra is not

a

bīja

but the name of the object.

9

However, the

Kaks

̇ aput

̇ a

states that one should place a

bīja

before and after the mantra.

व ̇ अव ̇ व ̇ मव ̇ व ̇ नव ̇ व ̇ यव ̇ व ̇ आव ̇ व ̇ वव ̇ व ̇ इव ̇ व ̇ शव ̇ व ̇ अ ̇ व ̇ व ̇ उव ̇ व ̇ अव ̇

Fig. 3

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

Fig. 4

सौ: ऐ ̇ ॐ ॐ

娃娃

व व ^| -य नम: ^| -य नम: ऐ सौ: ̇

The grasta is used in the dahanīya. It is a method of enclosing each aks

̇ ara of the mantra within four bījas. In the dahanīya, Agniʼs bīja “ram

̇ ” is employed (Fig. 6).

We can find parallel verses from the saptopāya section in later texts, such as the Tattvacintāman

̇ i [20.93-107], the Śrīvidyārn

̇ avatantra [Ch16], and the Br

̇ hattantrasāra [4.44-55]. However, it seems that they do not cite verses from the Kaks

̇ aput

̇ a. The Śrīvidyārn

̇ avatantra mentions that they are a quotation from the Mahāhārakatantra, while the Br

̇ hattantrasāra attributes them to the Gautamīyatantra.

I have not discussed rules of japa (recitation) here, as the focus was on the written aspects of the Tantric mantra. However, a short summary of the same is provided. There are three kinds of japa: reciting in oneʼs mind, in a low voice, and aloud. The first is applied for śāntika (expelling evil), paus ̇ t

̇ ika (increasing welfare), and moks

̇ a (liberation); the second for vaśya (controlling others) and ākr

̇ s

̇ t

̇ i (attracting others); the third for minutiae of daily life. The formless, imperceptible, timeless, spaceless, and changeless have been regarded as important aspects of the sacred or numinous entity since Vedic times. Based on this notion, it seems that the inverse relationship between sacredness and concreteness is established here. To put it another way, concreteness is required for achieving worldly, individual benefits.

̇ ̇

य ̇ य ̇ अ:

य ̇ य ̇ म य ̇ य ̇ न य ̇ य ̇ य य ̇ य ̇ आ य ̇ य ̇ व य ̇ य ̇ इ य ̇ य ̇ श य ̇ य ̇ अ ̇ य ̇ य ̇ उ य ̇ य ̇ अ

Fig. 5

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

･･

र ̇ अ र ̇

र ̇

र ̇

Fig. 6

र ̇ उ र ̇

र ̇

र ̇ र ̇ अ ̇ र ̇

र ̇

र ̇

र ̇ श र ̇

र ̇

र ̇ र ̇ इ र ̇

र ̇

र ̇ र ̇ व र ̇

र ̇

र ̇

र ̇ आ र ̇

र ̇

र ̇

र ̇ य र ̇

र ̇

र ̇ र ̇ ब र ̇

र ̇

र ̇ र ̇ म र ̇

र ̇

र ̇

र ̇ अ: र ̇

र ̇

र ̇

We find a preference for materialization or fetishism in various Tantric practices, where an imperceptible unity is idolatrized. Similarly, concerning the Word, the written letter is frequently used: the written mantra is worn like a Chinese talisman, receives offerings like a deity, and is aggrieved like a sentient being, as discussed above. Once the sacred word acquired its substantiality, a mantra or a name was broken down into aks ̇ aras, resembling a substance broken down into elementary particles, and through analysing the aks

̇ aras, the science of divination was developed.

In the Upanis

̇ ad, the aks

̇ ara ʻom

̇ ,ʼ was regarded as the primordial sound, and its three morae were considered as the three principles of the world. The aks

̇ ara discussed above, however, is regarded as an element of an individual entity rather than a principle. The symbol system of aks

̇ ara established the science of divination, such as the mantrām

̇ śaka, which aims to predict the future, and the development of various geometric yantras including the kūrmacakra, which are employed for divination.

At the same time, the symbol system of aks

̇ ara became the source code of the Mantra, and produced an enormous amount of mantras. The Mantra is sometimes considered as meaningless sounds, but it functions as a script that operates on the world. The saptopāya mentioned above is a kind of an odd debugging process, which removes problems of the script.

The written word became increasingly important in Tantric practices. And the Kaks

̇ aput

̇ a is an excellent illustration of this historical development.

̇ ̇

Printed Editions and Manuscripts Used for This Edition Printed Edition

For my critical edition, I used the following three editions. Unfortunately, none of them mentions the textual witness (es) on which they are based.

My abbreviations contain ʻEʼ, for edition, followed by the initials of the editor (s), i. e. ĀN (Āśubodha and Nityabodha), Kh (Khan

̇ d

̇ elavāla) and P (Pañcānana).

E ĀN :

Indrajālavidyāsam

̇ grahah

̇ ; tatra indrajālaśāstram, kāmaratnam, dattātreya -tantram, sat

̇ karmmadīpikā, siddhanāgārjunakaks

̇ aput

̇ am Edited by Śrīāśubodha Vidyābhūs

̇ an

̇ a and Śrīnityabodha Vidyāratna (Calcutta: Vacaspatyayantra, 1915)

Sanskrit text, 20 chapters E Kh :

Siddhanāgārjunatantram; Siddhanāgārjunakaks

̇ aput

̇ am Edited by Es En Khan

̇ d

̇ elavāla (Vārān

̇ asī: Caukhambā Surabhāratī Prakāśana, 2001) Sanskrit text with Hindi commentary, 30 chapters E P :

Siddhanāgārjuna-Kaks

̇ aput

̇ am: mūla o anubāda sameta Edited by Pañcānana Śāstrī

(Kalikātā: Nababhārata Pābaliśārsa, 1984)

Bengali text with Bengali commentary, 31 chapters Manuscripts

̇ ̇

I have used twelve digital copies of manuscripts kindly provided by the Nepalese-German Manuscript Cataloguing Project (NGMCP), two digital copies from the Wellcome Library, London, and one digital copy from the University of Tokyo Library. The following summary provides brief bibliographic information for these manuscripts. The abbreviations for the manuscripts consist of the initial of the place of storage, that is, K (Kathmandu), L (London) or T (Tokyo), and a number. These numbers are tentatively assigned in order of microfilm number or catalogue number.

Among these manuscripts, the texts labelled K (subscript numbers 1, 2, 3, 4, 6, 9, 10, 11 and 12 only), L (subscript number 1 and 2) are available for Chapter 1.

K 1 : NGMCP no. 27933; Microfilm: A 0221-06 Script (s): Devanāgarī; Material: paper 110 leaves, chapters 1-20

K 2 : NGMCP no. 27940; Microfilm: A 0221-08 Script (s): Devanāgarī; Material: paper Year: Nepāla Sam

̇ vat 905 (〜1785 C. E.) 48 leaves, chapters 1-20

K 3 : NGMCP no. 27934; Microfilm: A 0222-11 Script (s): Devanāgarī; Material: paper 15 leaves, chapters 1-2

K 4 : NGMCP no. 27929; Microfilm: A 0223-05 Script (s): Newāri; Material: paper

156 leaves, chapters 1-25 (chapters 13-14 missing) This text has four additional chapters cited from the Ud

̇ d

̇ āmareśvara after Chapter 8 (Senāstambhana), and the chapter on Unmanīkaran

̇ a is placed after Chapter 10 (Māran

̇ a).

K 5 : NGMCP no. 27939; Microfilm: A 0225-12 Script (s): Devanāgarī; Material: paper

̇ ̇

28 leaves

This is a text with commentary, and it has no equivalent in the Kaks ̇ aput

̇ atantra.

K 6 : NGMCP no. 27943; Microfilm: B 0160-07 Script (s): Devanāgarī; Material: paper 118 leaves, chapters 1-20

K ₇ : NGMCP no. 27941; Microfilm: B 0161-09 Script (s): Devanāgarī; Material: paper 58 leaves, chapters 2-13

K 8 : NGMCP no. 27930; Microfilm: B 0163-06 Script (s): Devanāgarī; Material: paper 6 leaves

This seems to be a part of the Siddhakhan

̇ d

̇ a of the Rasaratnākara.

K 9 : NGMCP no. 27937; Microfilm: B 0166-19 Script (s): Newāri; Material: paper 48 leaves, chapters 1-20

K 10 : NGMCP no. 27936; Microfilm: B 0166-21

Script (s): Newāri and Devanāgarī; Material: paper 100 leaves, chapters 1-20

K 11 : NGMCP no. 27932; Microfilm: B 0167-06 Script (s): Newāri; Material: paper 128 leaves, chapters 1-20

K 12 : NGMCP no. 27945; Microfilm: C 0025-05 Script (s): Devanāgarī; Material: paper Year: Vikrama Sam

̇ vat 1734 (〜1677 C. E.) 65 leaves, chapters 1-21

This text has an additional chapter after Chapter 20.

L 1 : Wellcome Library, London, no. Alpha 899 Script (s): Devanāgarī; Material: paper 70 leaves, chapters 1-11

̇ ̇

L 2 : Wellcome Library, London, no. Alpha 900 Script (s): Devanāgarī; Material: paper

61 leaves, chapters 1-20 (chapters 12-15 missing) T: Tokyo University no. 204; Microfilm: 18. 005

Script (s): Devanāgarī; Material: paper 23 leaves, chapters 16-21

Sigla and Abbreviations Critical Edition

[ ] word(s) that the editor thinks should be deleted ( ) uncertain word(s) or syllable(s)

/// illegible part of syllable(s) because of physical damage

× empty space or space sign(×)in a given manuscript

… illegible syllable(s) Σ all available manuscripts conj. conjectured

ditt. dittography in

em. emended

n.e. no equivalent in om. omitted in

transp. transposed from another line to here in

r recto

v verso

I have adopted corrections if there were deletion signs or marginal additions in a given manuscript without noting this in my edition.

̇ ̇

Translation

[ ] word(s) added by the translator ( ) gloss

̇ ̇

̇ ̇

&KDSWHU0DQWUDVăGKDQD

E

Ă1

p.264, E

Kh

p.1, E

P

p.1, K

1 2 4 6 9 10 11 12

L

1

1v

*K

3

folio 1(1.1-1.4) is lost

\D˕ŋăQWD˕

¹

SDUDPăQYD\D˕

²

SDUDŋLYD˕ND˵NăODNăOăQWDNR

³

GK\ăQăWĦWD

4

DQăGLQLW\DQLFD\D˕

5

VD˳NDOSDVD˳NRFDND˕

ăEKăVăQWDUDEKăVDND˕VDPDUDVD˕VDUYăWPDQă

6

ERGKDND˕

7

VR·\D˳VDUYDPD\R

⁸

GDGăWX

⁹

MDJDWă˳

¹⁰

YLG\ăGLVLGGK\D̝̓DNDP

\ăQLW\ă·NXODNHOLŋREKLWDYDSX˕SŗUYRGLWă

¹¹

M̋PEKDWH SŗU˷ăEKă·P̋WDNX˷ʽDOĦ

¹²

SDUDSDUă

¹³

PDQWUăWPLNăVLGGKLGă

¹⁴

1

ŋăQWD˕@.

9

E

Ă1

E

Kh

E

P

ŋă˳WD˕.

1 6 11

L

12

ŋăWD˕.

2

ŋăQWD.

4

ŋăWD˳.

10

ŋă˳WD˳.

12 2

SDUDPăQYD\D˕@.

1 2 6 9 10 11 12

L

1

SDUDPă˳QYD\D˕/

2

SDUDPăQYD\D.

4

SDUDPăOD\D˕(

Ă1

E

Kh

E

P 3

ND˵NăODNăOăQWDNR@(

Ă1

ND˳NăODNăOăQWDNR.

1 6 9 10 11

ND˳NăODNăOă˳WDNR.

2

ND˳NăODNROăWDNR

K

4

ND˳NăODNăOă˳WDNă.

12

Nă˳NăODNăOă˳WDNH/

1

ND˵NăODPăO\DQWDNR(

Kh

E

P

NăOă˳WDNR- Mxă˳PDYăQ/

2

4

GK\ăQăWĦWDƒ@(

Ă1

E

Kh

E

P

GK\ăQăWĦWDP.

1 2 6 9 10 11 12

L

2

G\ăQăQLWDP/

1

G\ăQăQĦWDP.

4 5

ƒQLW\DQLFD\D˕@.

1 2 6 9 10 11 12

L

2

E

Ă1

ƒQLW\DQLQLFD\D˕/

1

ƒQLW\QLFD\D.

4

ƒQLW\DQLOD\D˕(

Kh

E

P 6

VDUYăWPDQăƒ@/

1 2

E

Ă1

E

Kh

VDUYYăWPDQăƒ.

2 9 10 12

E

P

VDUYYăWPDQă˳.

1 6 11

VDUYăWPDMăƒ.

4 7

ƒERGKDND˕@.

1 2 6 9 10 11 12 L1 2

E

Ă1

E

Kh

E

P

ƒERGKDND˳.

4

8

VDUYDPD\R@.

4 12

sarvvamayo K

1 6 10 11

VDUYDPD\D˳/

2

, sarvamarye L

1

, sarva K

2

, sarvva K

9

, ŋDUPD(

Ă1

E

Kh

E

P

9

GDGăWX@.

1 4 6 9 10 11 12

L

2

E

Ă1

E

Kh

E

P

GDUăWX.

2

GLGăWL/

1

10

MDJDWă˳@.

4 9 10 12

L

1 2

VDUYDMDJDWă˳.

2

E

Kh

VDUYYDMDJDWă˳.

611

E

P

VDUYYD˳MDJDWă˳.

1

, QLW\DMDJDWă˳(

Ă1

11

SŗUYRGLWă@.

2

SŗUYYRGLWă.

1 4 6 11

SŗUYRGKRGLWă(

P

SŗUYYYRGKRGLWă.

12

ERGKRGLWă(

Ă1

E

Kh

, EERGKRGLWă/

2

K

10

ERGKăGLWăU.

9

ERGKăGLQă˳/

1

12

·P̋WDNX˷ʽDOĦ@ em. P̋WDNX˷ʽDOĦ .

1 4 6 9 10 11

P̋WDNX˳ʽDOĦ .

2 12

P̋WDNX˷ʽDOă (

Ă1

E

Kh

E

P

P̋WDNX˳ʽDOă/

1

N̋WDNX˳ʽDOă/

2

13

SDUDSDUă@.

2 4 9 10 12

L

1 2

E

Ă1

E

Kh

E

P

SDUDSDUă˳.

1 6 11 14

VLGGKLGă@.

1 2 6 9 10 11

L

1

E

Ă1

E

Kh

E

P

VLGGKDGă/

2

VLGGKLGă˕.

4 12

̇ ̇ PăOăSXVWDNDGKăUL˷Ħ

¹⁵

WULQD\DQă

¹⁶

NXQGHQGXYDU˷ă·FDOă

¹⁷

QLW\ăQDQGDNXOD

¹⁸

SUDNăŋDMDQDQĦ˳

¹⁹

YăJGHYDWăP

²⁰

ăŋUD\H

²¹

\H̓ă˳YDNWUăF

²²

FKUXWD˳NL˳FLQPD˷LPDQWUDX̓DGKăGLNDP E

P

p.2, K

10

2r WDWWDWNDUPă˷L

23

WăQ

24

SŗUYD˳

25

SUD˷DPăPLPDKăWPDQD˕

26

VD˳VăUHEDKXYLVWĦU˷HYLG\ăVLGGKLP

27

DQHNDGKă E

Ă1

p.265, E

Kh

p.2, K

1

L

1

2r SURNWDYăx

²⁸

FKD˵NDUD˕SŗUYD˳\DGL

²⁹

S̋FFKDWLSăUYDWĦ

³⁰

K

2 6 11

2r DQ\DLUGHYDJD˷DL˕

³¹

VLGGKDLUPXQLGHŋLND

³²

VăGKDNDL˕

³³

K

4

2r

15

ƒSXVWDNDGKăUL˷Ħ@.

1 2 6 9 11 12

L

1 2

ƒSX̝̓DNDGKăUL˷Ħ.

4

ƒSXVWDNDGKăUL˷D˳.

10

ƒSXVWDNDGKăUL˷Ħ˳

E

Ă1

E

Kh

E

P

16

WULQD\DQă@.

1 2 6 9 10 11 12

L

1 2

WUL˷D\DQă.

9

WUL˷D\D˷ă.

4

WULQD\DQă˳(

Ă1

E

Kh

E

P

17

YDU˷ă ·FDOă@em. ƒYDU˷ăFDOă@ .

4

L

1 2

ƒYDU˷˷ăFDOă .

9

ƒYDU˷˷ăYDOă .

10

ƒYDU˷ăFDOă˳ .

12

,

ƒYDU˷ăFDWYă.

2

ƒYDU˷ăGLFD.

1 6 11

ƒYDU˷RMMYDOă˳(

Ă1

E

Kh

E

P

18

QLW\ăQDQGDNXODƒ@.

1 6 9 11 12

E

Ă1

E

Kh

E

P

QLW\ăQD˳GDNXODƒ/

1 2

K

2

QLW\ăQDQGDNXOH.

4 10 19

ƒSUDNăŋDMDQDQĦ˳@.

1 2 6 9 10 11

E

Ă1

E

Kh

E

P

ƒSUDNăMDQDQ\Ħ˳/

2

ƒSUDNăŋDMDQDQĦ/

1 12

ƒSUDNăVD-

MDQDQĦ.

4

20

YăJGHYDWăP@.

1 2 6 9 11 12

L

1 2

E

Ă1

E

Kh

E

P

YăJGHYDP.

4

ăQDQGDWăP.

10 21

ăŋUD\H@.

2 6 9 11 12

L

1

E

Ă1

E

Kh

E

P

ăŋUD\ă.

1

ăŋUD\D.

4 10

ăŋUDPHW/

2

22

YDNWUăF@.

4 6 10 11 12

E

Ă1

E

Kh

E

P

YDNUăF.

9

YăNWă.

1

Yăă/

2

YDNUă.

2

YăN\D˳/

1 23

WDWWDWNDUPă˷L@WDWWDWNDUPPă˷L.

9

WDWDWNDUPă˷L.

4

WDWDWNDUPPă˷L.

12

WDQWDWNDUPPă˷L.

10

WD˳WDWNDUPă˷L.

2

WD˳WDWNDUPPă˷L.

1 6 11

WDWNDUPă˷L/

2

WDWDQNDUPD˷L/

1

WDWNDUPD˷L(

Ă1

E

Kh

WDWNDUPPD˷L(

P

24

WăQ@.

1 6 9 11 12

L

1 2

WăP.

2

Wă˳.

4 10 12

UDWăQ(

Ă1

E

Kh

E

P

25

SŗUYD˳@.

12

L

2

E

Ă1

E

Kh

SŗUYYD˳.

1 6 9 10 11

E

P

ŗUYD˳.

2

SŗUYD.

4

SŗU˷ăQSŗU˷ăQ/

1 26

PDKăWPDQD˕@.

1 2 6 9 10 11

L

2

E

Ă1

PDKăWPDQă.

4 12

PDKăMDQăQ(

Kh

E

P

SXQD˕SXQD˕/

1 27

VLGGKLP@.

4 9

L

1

ƒVLGGKDP.

1 2 6 11

L

2

ƒVLGGKLU.

10 12

E

Ă1

E

Kh

E

P

28

SURNWDYăx@ (

Ă1

E

Kh

SURNWDYăQ .

4 10

L

2

E

P

SURNWDYă˳ .

1 6

SUăNWDYăQ /

1

SURNWDYă .

2

, SURNWDYăF.

9

SURNWDYă˳F.

11

SURNWDVăQ.

12

29

\DGL@.

1 3 4 6 9 10 11 12

E

Ă1

GL.

2

\DGă(

Kh

E

P

\DGD/

1

, yatin L

2 30

SăUYDWĦ@.

2

L

1 2

SăUYYDWĦ.

1 3 6 9 10 11

E

P

SăUYDWL.

4 12

31

GHYDJD˷DL˕@.

1 2 3 4 6 10 11

L

1

E

Ă1

E

Kh

E

P

GHYDJD˷DL/

2

K

9

GHYDLJD˷DL.

12

32

PXQLGHŋLNDƒ@.

1 2 3 4 6 11

E

Ă1

E

Kh

E

P

PPXQLGHŋLNDƒ.

9

PPD˷LGHŋLNDƒ.

10

PXQLUGHŋLNDƒ.

12

, PXQLEKLU/

1

EDOLUGHŋDNDƒ/

2

33

ƒVăGKDNDL˕@.

1 2 3 6 9 10 11 12

L

2

E

Ă1

E

Kh

E

P

ƒVăGKDNDL.

4

ƒVăGKDNRWWDPDL˕/

1

̇ ̇

\DG\DG

³⁴

XNWD˳

³⁵

hi

³⁶

ŋăVWUH̓XWDWVDUYDP

³⁷

DYDORNLWDP ŋăPEKDYH\ăPDOH

³⁸

ŋăNWH

³⁹

PDXOH

⁴⁰

NDXOH\DʽăPDUH VYDFFKDQGHOăNXOH

⁴¹

ŋDLYH

⁴²

UăMDWDQWUH·P̋WHŋYDUH XʽʽĦŋHYăWXOH

43

WDQWUHXFFKL̝̓HVLGGKDŋăYDUH

44

NL˵NL˷Ħ

45

PHUXWDQWUH

46

FD

47

NăODFD˷ʽHŋYDUĦPDWH

48

ŋăNLQĦʽăNLQĦ

⁴⁹

WDQWUHUDXGUH

⁵⁰

·QXJUDKDQLJUDKH

⁵¹

NDXWXNHŋDO\DWDQWUH

⁵²

FDNUL\ăNăODJX˷RWWDUH

⁵³

K

10

2v

34

\DG\DG@.

1 3 6 9 10 11 12

L

1 2

E

Ă1

E

Kh

E

P

\DG.

2 4

35

XNWD˳@.

1 2 3 6 9 10 11 12

L

2

E

Ă1

E

Kh

E

P

\XNWD˳.

4

L

1

XFND˳.

12 36

KL@.

1 2 3 6 9 10 11 12

L

2

E

Ă1

E

Kh

E

P

; iha K

4

, om. L

1

37

WDWVDUYDP@.

2

L

12

E

Ă1

E

Kh

WDWVDUYD˳P.

4

tat sarvvam K

1 3 9 11

E

P

WDWVDUYYD˳P.

6

; tan tat VDUYYD˳.

10

WDWDWVDUYYD˳P.

12

38

\ăPDOH@.

1 2 3 6 9 10 11

L

1

E

Ă1

E

Kh

E

P

\ăPDOD.

12

ʽăPDUH/

2

39

ŋăNWH@.

1 2 9 11 12

L

1 2

ŋDNWH.

4

ŋăNWH˕.

3

ŋăVWUH.

10

E

Ă1

E

Kh

E

P

, om. K

6 40

PDXOH@.

1 3 6 9 11

L

1 2

E

Ă1

E

Kh

E

P

PDXO.

2

PŗOH.

4 10 12

41

OăNXOH@.

1 3 4 6 9 10 11 12

L

2

NXOH/

1

NăNXOH(

Ă1

E

Kh

E

P

QăNXOH.

2 42

ŋDLYH@.

2 6 9 10 11 12

L

1

ŋHYH.

1 3

FDLYD.

4

ŋDXFH(

Ă1

E

Kh

E

P

ŋDXUH/

2 43

YăWXOH@.

2 9 10 12

L

1 2

E

Ă1

E

Kh

E

P

FăWXOH/

1

K

4

YăWGDOH.

1 3 6 11

44

VLGGKDŋăYDUH@.

1 2 3 6 9 11

L

1

E

Ă1

E

Kh

E

P

VLGGKDVăYDUH.

4

VLGGKLVăYDUH.

10

VLGGKăVă˳YDUH/

2

, VLGGKăVă̓DUH.

12

45

NL˵NL˷Ħƒ@.

10

E

Ă1

E

P

NL˳NL˷Ħ.

1 3 4 6 9

L

1

NL˳NLQĦ.

11

NL˳NĦ˷Ħ.

2

NL˳NL˷L.

12

NL˳ND˷Ħ/

2

, NL˵NL˷\ă˳(

Kh

46

PHUXWDQWUH@.

4

E

Ă1

E

Kh

E

P

PHUXWD˳WUH.

1 2 3 6 11

L

1 2

PHOXWD˳WUH.

12

; melatantre K

10 47

FD@.

1 2 3 6 9 11

L

1

E

Ă1

E

Kh

E

P

WX.

10 12

, om. K

4

48

NăODFD˷ʽHŋYDUĦPDWH@em. Nă˳ODFD˳ʽHŋYDUĦPDWH /

2

NăODFD˷ʽĦŋYDUĦPDWH .

1 3 6 11

NăODFD˳ʽĦŋYDUĦPDWH/

1

NăFD˳ʽĦŋYDUĦPDWH.

2

NăODFD˷ʽĦŋYDUDPDWH.

9

NăNDFD˳ʽHŋYDULPDWH K

12

NăODFD˷ʽHŋYDUHPDWH(

Ă1

E

Kh

E

P

NăNDFD˷ʽLŋYDUHPDWH.

4

NăODFD˷ʽHŋYDUĦPDWD˳.

10 49

ŋăNLQĦʽăNLQĦƒ@ .

1 2 6 9 10 11 12

L

1

E

Ă1

E

Kh

E

P

ŋăNLQĦʽDNLQĦƒ .

3

ŋă˵NLQĦʽăNLQĦƒ .

4

ŋăNDQă˳

ʽăNLQĦ˳/

2

50

UDXGUH@.

1 2 3 6 9 10 11 12

L

1 2

E

Ă1

E

Kh

E

P

UDXGUHWD˳WUHQD.

4

51

·QXJUDKDQLJUDKH@(

Ă1

E

Kh

E

P

QXJUDKDQLJUDKH.

1 2 6 11

L

1

QXJUDKDQL˕JUDKH.

3

QXJUDKH.

4

, QLJUDKDQXJUDKH.

9 12

WXJUDKDQLJUDKH.

10 L2

52

ŋDO\DWDQWUH@.

1 3 6 9 11

E

Ă1

E

Kh

ŋDO\DWD˳WUH.

2

L

2

ŋăO\DWDQWUH(

P

ŋLO\DWDQWUH.

4

, silyatantre K

10

, VLO\DWD˳WUH.

12

ŋDNWLWD˳WUH/

1

53

NUL\ăNăODJX˷RWWDUH@.

9

L

2

E

Ă1

E

Kh

E

P

NUL\ăNăODJX˷RWDUH.

10

NULăNăODJX˷RWWDUH.

12

NUL-

\ăNăODJD˷RWWDPH.

2 6 11

NUL\ăNăJD˷RWWDPH.

1

NUL\ăJD˷RWWDPD˳.

3

NULG\ăNăODJX˷ăWWXUH.

4

,

̇ ̇ KDUDPHNKDODNHJUDQWKH

⁵⁴

LQGUDMăOHUDVăU˷DYH

ăWKDUYD˷H

⁵⁵

PDKăYHGHFăUYăNH

⁵⁶

JăUXʽH·SLFD LW\HYDPăJDPRNWDx

⁵⁷

FDYDNWUăG

⁵⁸

YDNWUH˷D\DFFKUXWDP

⁵⁹

etat

60

VDUYD˳VDPXGGK̋W\D

61

GDGKQR

62

JK̋WDP

63

LYăGDUăW E

P

p.3, L

1

2v VăGKDNăQă˳

64

KLWăUWKă\D

65

PDQWUDNKD˷ʽDPLKRF\DWH

YDŋ\DPăNDU̓D˷D˳

⁶⁶

VWDPEKD˳

⁶⁷

PRKDPXFFă̝D

⁶⁸

PăUD˷DP K

3 11

2v YLGYH̓D˳

⁶⁹

Y\ăGKLNDUD˷D˳SDŋXŋDV\ăUWKD

⁷⁰

QăŋDQDP K

1 6

2v NDXWXNDx

71

FHQGUDMăODx

72

FD\DN̓L˷ĦPDQWUDVăGKDQDP ^E

Kh

p.3 FH̝DNDxFăxMDQD˳GLY\DPDG̋ŋ\D˳

73

SăGXNăJDWL˕

74

QLUăNăUDJX˷RWWDUH/

1

54

JUDQWKH@.

13691011

E

Ă1

E

Kh

E

P

JUD˳WKH.

212

L

2

; granthya K

4

WD˳WUH/

1

55

ăWKDUYD˷H@/

2

E

Ă1

E

Kh

ăWKDUYYD˷H.

10

E

P

ăWKDUYYDQH.

9

ăWKDYDU˷˷HYD.

4

DWKDUYD˷H.

2

L

1

, DWKDUYYD˷H.

13611

DWKDUYD˷DYH.

12

56

FăUYăNH@.

12361112

L

1

E

Ă1

E

Kh

E

P

FăUYYăNH.

910

FăYDNH.

4

FăUYăN\H/

2 57

ăJDPRNWDx@.

10

E

Ă1

E

Kh

E

P

ăJDPRNWD˳.

1234691112

ăJĦPRNWD˳/

2

ăJDPRNWH/

1 58

YDNWUăG@.

9

L

1

E

Ă1

E

Kh

E

P

YDNWăG.

10

YDNWDG.

12

YDNWUă.

4

GYDNWUă.

123611

JXUX/

2 59

\DFFKUXWDP@.

4912

E

Ă1

E

Kh

E

P

\DFKUXWD˳/

2

\DFFKXWD˳.

11

\DFKXWD˳.

1236

\DFKUD˳

L

1

\DFFKDWD˳.

10

60

HWDW@.

24612

L

2

E

Ă1

E

Kh

E

P

; tat L

1

, et K

1

K

3

, tattat K

910

, tatta K

12

61

VDPXGGK̋W\D@.

123691011

L

12

E

Ă1

E

Kh

E

P

VDPRGGK̋W\D.

12

VDPXGGKDV\D.

4 62

GDGKQR@.

4910

L

12

E

Ă1

E

Kh

E

P

GDGKDQR.

12

GJKQR.

123611

63

JK̋WDP@.

136101112

L

12

E

Ă1

E

Kh

JKD̝DP.

4

, ghatam K

2

GK̋WDY.

9 64

VăGKDNăQă˳@.

1369101112

L

12

E

Ă1

E

Kh

E

P

VăGKDNă˳Qă.

2

VăGKDNăQ.

4 65

KLWăUWKă\D@.

12369101112

L

12

E

Ă1

E

Kh

E

P

ăJDPRNWDxFD.

4

66

YDŋ\DPăNDU̓D˷D˳@.

126911

L

12

E

Ă1

E

Kh

E

P

YDŋ\DPăNDU̓D˷D.

34

YDŋ\ăNDU̓D˷D˳.

12

, YDŋ\ăN̓DU̓D˷D.

10

67

VWDPEKD˳@.

136

E

Ă1

E

Kh

E

P

VWD˳EKD˳.

29

L

2

VWDPEKD.

410

VWDEKD.

12

VWD˳EKR/

1 68

XFFă̝Dƒ@.

1234691011

L

12

E

Ă1

E

Kh

E

P

XFFă̝DQDƒ.

1012

69

YLGYH̓D˳@.

12369101112

L

2

YLGYH̓Dƒ.

4

E

Ă1

E

Kh

E

P

YLGYH̓R/

1

70

SDŋXŋDV\ăUWKDƒ@.

123469101112

E

Ă1

E

Kh

E

P

SDŋXVDV\ăUWKDƒ.

410

SDVXVDV\ăUWKD.

9

SDŋ\X VDV\ăUWKDƒ/

1

SDVăV\ăUWKDƒ.

12

SDŋXŋDV\ăGL/

2

71

NDXWXNDx@(

Ă1

E

Kh

E

P

NDXWXND˳/

1

K

123691011

NDXWXNH/

2

K

412

72

FHQGUDMăODx@(

Ă1

E

Kh

E

P

FH˳GUDMăOD˳.

2

L

12

FHQGUDMăOD.

4

FHQMăOD˳.

12

FDQGUDMăODx.

10

, FDQGUDMăOD˳.

136911

73

DG̋ŋ\D˳@.

1236911

L

12

E

Ă1

E

Kh

PDKDV\ă.

4

PDG̋V\D˳.

10

PDGULŋD˳.

12

74

SăGXNăJDWL˕@.

19101112

L

12

SăGXNăJD˕.

2

SăGXNăJDWL.

46

\ăGXNăJDWL˕.

3

SăGXNăJD-

̇ ̇

JX̝LNăNKHFDUDWYDxFDP̋WDVD˳MĦYDQăGLNDP K

2 4

2r WDWKăNDN̓DSX̝Ħ

⁷⁵

VLGGKL˕

⁷⁶

Vă˵JRSă˵JDP

⁷⁷

DQHNDGKă

>NDN̓HSX̝HQDQWDWUHQDVDUYDWDQWUă\DPŗODND˳@ ¹ VXVăGK\D˳SUDW\D\RSHWD˳

78

VăGKDNăQă˳KLWD˳

79

priyam

80

² tat tan

81

PDQWUDPXNKD˳MxăWYă

82

NDUWDY\D˳

83

VLGGKLPLFFKDWă

84

PDQWUDVăGKDQDND˳SŗUYD˳VLGGK\DUWKD˳

⁸⁵

VăGKDNRWWDPDL˕

YLQă

⁸⁶

PDQWUDYLGKăQHQDQD

⁸⁷

VLGGKL˳ODEKDWH

⁸⁸

NYDFLW

⁸⁹

E

Ă1

p.266, K

9

2r

0DQWUă˳ŋDND

DWKDPDQWUă˳ŋDND˳YDFPR

⁹⁰

PHUXWDQWUHŋLYRGLWD˳

⁹¹

³

*

¹

only K

4

n.e. K

12369101112

L

12

E

Ă1

E

Kh

E

P

*

²

DEFGom. L

1

*

³

DEDEom. K

10 12

tim E

Ă1

E

Kh

E

P

75

NDN̓DSX̝Ħƒ@.

9

L

1

E

Ă1

E

Kh

E

P

NDN̓DSX̝Lƒ.

1012

NDFFKDSX̝Ħƒ.

13611

NDSX̝Ħƒ.

2

NDFK̋

DSX̝Ħƒ/

2

GDWWăWUD\D.

4

76

ƒVLGGKL˕@.

10

E

Kh

E

P

ƒVLGGKL.

4

ƒVLGGKă˕.

9

E

Ă1

ƒVLGGKă.

13611

L

1

ƒVLGGKăV/

2

ƒVLGGK.

212 77

ƒVă˵JRSă˵JDP@(

Ă1

E

Kh

E

P

Vă˵JRSă˳JDP.

10

Vă˳JRSă˵JDP.

9

Vă˳JRSă˳JDP.

1361112

L

1

;

SăJDP.

2

Vă˳JRSăJRP.

4

Vă˳JRSăJăWL/

2

78

SUDW\D\RSHWD˳@.

1012

L

2

E

Ă1

E

Kh

E

P

QLW\D\RSHWD˳.

146911

QLW\D\ăSHWD˳.

2

QLW\D\R\HWD˳.

3 79

KLWD˳@.

491012

L

2

E

Ă1

E

Kh

E

P

GUXWD˳.

123611

80

SUL\DP@.

12361011

L

2

E

Ă1

E

Kh

E

P

; priya K

4

, priye K

9

S̋\D˳.

12 81

WDWWDQ@.

1369101112

E

Ă1

E

Kh

E

P

; tan tan(ma) L

2

, tantra K

4

WD˳WUD.

2 82

MxăWYă@.

1234691112

L

2

E

Ă1

E

Kh

E

P

MĦWYă.

10

83

NDUWDY\D˳@em.NDUWWDY\D˳.

12369101112

L

2

E

Kh

E

P

NDUWWDY\D.

4

NDUWWDY\ă(

Ă1 84

LFFKDWă@.

4911

E

Ă1

E

Kh

E

P

LFKDWă.

123612

L

2

LFFKDWă˳.

10

85

VLGGK\DUWKD˳@.

13691011

L

1

E

Ă1

E

Kh

E

P

VLGGKDUWKD˳.

12

VLGGKăUWKD˳.

2

VLGGKDUWKD/

2

, VLGGKLUWKD.

4

86

YLQă@.

491012

L

2

E

Ă1

E

Kh

E

P

; vina L

1

, vi K

2

YLG\ă.

13611 87

QD@.

2491012

L

12

E

Kh

E

P

; om. K

13611

, sa E

Ă1

88

ODEKDWH@.

10

L

2

FDODEKDWH.

12

ODEGKDYăQ(

Ă1

E

Kh

E

P

ODDYăQ.

9

ODEGGKDYă˳.

4

ODGK- YDYă/

1

ODEGKăUFFDQD˳.

1611

ODEGKăFFDQD˳.

3

ODEGKDFFDQ.

2

89

NYDFLW@.

1012

L

2

EKDYHW/

1

K

12346911

E

Ă1

E

Kh

E

P

90

YDFPR@.

6911

; va(v)mi L

1

YDGKPR.

2

F\R.

13

YDGKY\D.

4

YDN̓H/

2

YDN̓\H(

Ă1

E

Kh

E

P 91

ŋLYRGLWD˳@.

12346911

L

12

ŋLYRGLWH(

Ă1

E

Kh

E

P

̇ ̇ PDQWUDVăGKDND\RUYDU˷ăQ

⁹²

VYDUă˳ŋFDNUDPDWD˕S̋WKDN

⁹³

YLGKă\DVLGGKDVăGK\ăG\DLU

⁹⁴

JD˷D\HQ

⁹⁵

PDQWUDYLWWDPD˕ *

¹

E

P

p.4, L

1

3r

>PDQWUD˳YLFăU\DNUDPH˷DVăGKD\HWNUDPDWD˕S̋WKDN YLGKă\DVLGGKDVăGK\ăULVXVLGGKăQPDQWUDYLWWDPD˕@ *

²

DQXVYăUD˳YLVDUJDxFDMLKYăPŗOĦ\D

96

VD˷ʽKDNDP

97

K

11

3r

PXNWYă

⁹⁸

VD˳\XNWD

⁹⁹

YDU˷ă˳ŋ

¹⁰⁰

FDJD˷DQăNăUD\HG

¹⁰¹

EXGKD˕

¹⁰²

*

³

PăWăSLW̋N̋WD˳

¹⁰³

QăPDJXUX˷ăFD

¹⁰⁴

SUDNĦUWLWDP

¹⁰⁵

K

3

3r VD˳KLWRFFăUD˷ăW

106

SUăSWD˳

107

NHYDOăN̓DUDVD˳\XWDP

108

DSDEKUD˳ŋăN̓DUD˳W\DNWYă

109

VăGKDNDŋFăWUDŋRGKD\HW

110

*

⁴

*

¹

HIFGom. K

4

*

²

only E

Kh

n.eƙ(

Ă1

E

P

*

³

FGDE om. E

Ă1

E

Kh

E

P

*

⁴

18ef om. E

Kh 92

YDU˷ăQ@(

Ă1

E

Kh

E

P

YDU˷˷ăQ.

9

YăU˷ăQ/

1

YDU˷ăW.

2

YYDU˷ăW.

16

YYDU˷˷ăW.

11

YYD˷ăW.

3

,

YDUVPăQ/

2

93

PDQWUDVD̓XNWDYDU˷˷ăFDPD˷D˷ăNăOD\DGEXGKD˕.

4

94

ƒVăGK\ăG\DLU@.

13911

E

Ă1

E

Kh

E

P

ƒVăGK\ăG\DL.

6

ƒVăGK\ăGDL˕U/

2

ƒVăGK\ăU.

2

ƒVăGK\ăGL/

1 95

JD˷D\HQ@/

2

K

9

E

Ă1

E

Kh

E

P

JD˷D\HW/

1

JD˷D\D˳.

12611

JD˷D\D˳˕.

3

96

MLKYăPŗOĦ\Dƒ@.

26911

L

1

E

Ă1

E

Kh

E

P

MLKYăPŗOă\D/

2

MLKYăPŗOĦ.

13

97

ƒ̓D˷ʽKDND˳@conj.ƒ̓D˳̝DND˳.

9

ƒ̓D˳̝DNăQ/

1

ƒ̓D̝KDND˳.

2

ƒVD˳MxDNDP(

Ă1

E

Kh

E

P

,

ƒND˳̝KDND˳.

611

ƒND˳WKDND˳.

13

ƒNKD˳ʽDND˳/

2 98

PXNWYă@.

911

PXNWWNă.

13

PXNWă.

26

L

12 99

VD˳\XNWDƒ@.

9

L

1

˳\XNWDƒ/

2

VD˳PXNWDƒ.

123611

100

ƒYDU˷ă˳ŋ@em.YDU˷ă˳.

1236

YDU˷˷ă˳.

11

YDU˷ăŋ/

1

YDU˷˷D˳.

9

YDVPHFD/

2 101

JD˷DQăNăUD\HG@.

1236911

JD˷ăQă˳NăUD\HG/

1

JD˷DPă˳NăUD\RG/

2 102

EXGKD˕@.

136911

L

1

EXGKD˕.

2

YLGKD˕/

2

103

PăWăSLW̋N̋WD˳@.

26911

L

12

PăWăSLW̋N̋WD.

13

PăSLWULNDWKD˳.

4

104

JXUX˷ăFD@.

13611

JXUŗFFD.

4

JX.

2

JXUX˷ă\DFFD.

9

L

1

JXUX˷ă\DMxD/

2 105

SUDNĦUWLWDP@em.SUDNĦUWWLWD˳.

13611

NĦUWLWD˳.

9

L

1

NĦUWLWWD˳/

2

NĦWD˳.

2

NLUWWLWă.

4 106

VD˳KLWRFFăUD˷ăW@/

2

VD˳KLWRFFDUD˷ăW.

1

VD˳KLWRFFDUD˷DW.

11

VD˳KLWRFFăUD˷D/

1

VDKLWRF-

FăUD˷ăW(

Ă1

E

Kh

E

P

VDKLWRFFDUD˷ăW.

369

VDKLWRFFD˷DW.

2

VDKLWDXFFăUD˷ă.

4 107

SUăSWD˳@.

1236911

L

2

E

Ă1

E

Kh

E

P

̓ăSWD˳/

1

SăŋD.

4

108

NHYDOăN̓DUDVD˳\XWDP@.

136911

L

1

E

Ă1

NHYDUăN̓DUDVD˳\XWD˳.

4

NHYDOăDUDVD˳\XWD˳.

2

, NHYDOăN̓DUDVD˳SUDWD˳/

2

NOĦEDODN̓DLUDVD˳\XWD˳(

P

NOĦEDYDU˷DLUDVD˳\XWDP(

Kh 109

ƒW\DNWYă@.

1911

E

Ă1

E

P

ƒW\DNWă.

2364

L

1

W\DWWNă/

2

110

ŋRGKD\HW@.

19

L

1

E

Ă1

E

P

VRGKD\HW.

2311

VRGKD\DW.

4

ŋRGKD\HWD.

6

ERGKD\HW/

2

̇ ̇

vyañjanair

¹¹¹

Y\DxMDQD˳ŋRGK\D˳

¹¹²

svarair

¹¹³

QăPDVYDUă˳V

¹¹⁴

WDWKă

¹¹⁵

E

Kh

p.4 ăG\DPăG\HQDVD˳ŋRGK\D˳GYLWĦ\HQDGYLWĦ\DND˳

DQHQDLYDSUDNăUH˷DŋH̓ă˕

¹¹⁶

ŋRGK\ă\DWKăNUDPDP

¹¹⁷

ăG\D˳\DGDN̓DUD˳

118

QăPQR

119

JD˷D\HFFD

120

WDGăGLWD˕ K

4

3r

HYD˳PDQWUăN̓DUD˳

121

VWKăQD˳

122

PăW̋Nă\ăP

123

D\D˳NUDPD˕

124

FDWX̓NDxFDFDWX̓NDxFD

¹²⁵

SDULW\ăM\D˳

¹²⁶

SXQD˕SXQD˕

VLGGKDVăGK\D

¹²⁷

VXVLGGKăUL

¹²⁸

VD˳MxD\DLYD

¹²⁹

\DWKăNUDPDP

HYD˳NUDPH˷DVDUYH̓ă˳PDQWUă˷ă˳JD˷DQHN̋WH ^E

P

p.5

111

Y\DxMDQD˳@.

9

E

Ă1

E

Kh

E

P

Y\D˳MDQD˳.

136

L

1

MDQD˳.

2

Y\D˳MDQD/

2

Y\DMDQD˳.

11

, YDLMxDQD˳.

4

112

ŋRGK\D˳@.

3411

L

2

E

Ă1

E

Kh

E

P

VRGK\D˳.

16

VăGK\D˳.

2

L

1

ŋREK\D˳.

9 113

VYDUDLU@.

29

L

12

E

Ă1

E

Kh

E

P

VăUDLU.

1311

VăUDL.

4

, sorair K

6

114

ƒVYDUă˳V@/

1

E

Ă1

E

Kh

E

P

ƒVYDUăV.

136911

ƒVYDUă˳/

2

ƒVYDJD˕.

2

ƒŋYDUăGD\D.

4 115

WDWKă@.

136911

L

12

E

Ă1

E

Kh

E

P

; om. K

24

116

ŋH̓ă˕@.

9

L

1

E

Ă1

E

Kh

E

P

ŋH̓ă.

123611

L

2

ŋDL̓ă.

4

117

\DWKăNUDPDP@.

1236911

L

2

E

Ă1

E

Kh

E

P

\DWKăNUDPD.

4

\DWKăNUDPăW/

1 118

\DGDN̓DUD˳@.

1236911

L

2

E

Ă1

E

Kh

E

P

PDGDN̓DUD˳/

1

\DN̓DUR.

4 119

QăPQR@.

12346911

L

1

E

Kh

E

P

QăPQH/

2

QăPQă(

Ă1

120

JD˷D\HFFD@.

1236911

L

12

JD˷D\DFFD.

4

, gopanena E

Ă1

VWKăSD\HWWX(

Kh

E

P

121

PDQWUăN̓DUD˳@.

13911

E

Ă1

E

Kh

E

P

PD˳WUăN̓DUD˳.

6

PD˳WUăN̓DUD˳/

2

PDQWUăN̓DUDƒ.

4

PD˳WUăN̓DUDƒ.

2

, yatra L

1

122

VWKăQD˳@.

1346911

L

2

E

Ă1

VWKăQD˳.

2

VWKăS\D˳(

Kh

E

P

SDULVWKăQD˳/

1

123

PăW̋Nă\ăP@.

1236911

PăWULNă\ăP.

4

PăWUă˵Nă\ăP(

Ă1

PăWUă˵NăQăP(

Kh

E

P

PăW̋Nă˷ă˳

L

12

124

NUDPD˕@.

1246911

L

2

E

Ă1

E

Kh

E

P

NUDPD.

3

\DWKăNUDPăW/

1

125

FDWX̓NDx FD FDWX̓NDx FD@ (

Ă1

E

Kh

E

P

FDWX̓ND˳ FD FDWX̓ND˳ FD .

12346911

FDW̋VND˳

FDW̋̓ND˳FD/

1

FDWX̓NDFD/

2

126

SDULW\ăM\D˳@.

1

K

236911

E

Ă1

E

Kh

E

P

SDULW\ăM\ă˳.

4

, parityajya L

1

SDULW\ăM\D˳FDW̋̓ND˳FD/

2 127

VLGGKDVăGK\Dƒ@.

1236911

L

2

E

Ă1

E

Kh

E

P

VLGGKDVăGKH.

4

VLGGKD˕VăGK\D˕/

1

128

ƒVXVLGGKăULƒ@.

1

K

236911

E

Ă1

E

Kh

E

P

VDVLGGKăUL.

4

VXVLGGKR·UL˕/

1

VXVLGGKăGL/

2 129

VD˳MxD\DLYD@.

12346911

L

2

E

Ă1

E

Kh

E

P

; vijñeyo L

1

̇ ̇

NL\DW

¹³⁰

VLGGKD˳

¹³¹

NL\DW

¹³²

VăGK\DP

¹³³

LW\ăG\DSLYLFLQWD\HW

¹³⁴

K

1

L

1

3v yantre mantre

¹³⁵

EKDYHGHWDW

¹³⁶

VLGGKăGĦQă˳

¹³⁷

FDWX̝̓D\DP K

12

2v VDPDQWUD˕VLGGKD

¹³⁸

LW\XNWD˕

¹³⁹

VăGK\R

¹⁴⁰

YDLVLGGKDYDUMLWD˕

¹⁴¹

K

3

3v ULSXYDUMD˳

142

PDQWUD\DQWUD˳

143

sa

144

VXVLGGKDP

145

LKRF\DWH

146

VXVLGGKHQD

147

YLKĦQDx

148

FDWUD\D˳

149

\DF

150

FKDWUXEKă̓LWDP K

6

3v

ăGLVLGGKR·QWDVLGGKR

¹⁵¹

yo

¹⁵²

PDGK\DVLGGKR

¹⁵³

·WKDYăEKDYHW *

¹

130

NL\DW@.

9

L

2

E

Ă1

E

Kh

E

P

NL˳\DW.

1234611

L

1

131

VLGGKD˳@.

26911

L

2

E

Ă1

E

Kh

E

P

VLUGGKD˳.

13

VLGGKL˳.

4

VLGGKă˕/

1 132

NL\DW@.

249

L

12

E

Ă1

E

Kh

E

P

NL˳\DW.

13611

133

VăGK\DP@.

1

K

2346911

L

2

E

Ă1

E

Kh

E

P

VăGK\ă/

1

134

YLFLQWD\HW@.

136911

E

Ă1

E

Kh

E

P

YLFL˳WD\HW.

2

YLFL˳WWD\HW/

2

FL˳WD\HW/

1

YLFLQWUD\D.

4 135

\DQWUHPDQWUH@.

9

\D˳WUHPD˳WUH/

12

; yantramantre E

Ă1

, yatra mantre E

Kh

E

P

, mantre mant-

re K

134611

PD˳WUHPD˳WUH.

2

136

HWDW@.

1236911

L

1

E

Ă1

E

Kh

E

P

; yetat L

2

, yatra K

4

137

VLGGKăGĦQă˳@.

12346911

L

1

E

P

VLGGK\ăGĦQă˳(

Ă1

E

Kh

VLGGKDGăQă˳/

2

138

PDQWUD˕VLGGKD@.

9

E

Kh

E

P

PD˳WUDVVLGGKD/

1

PDQWUDVLGGKD.

13461011

E

Ă1

PD˳WUDVLGGKD K

212

PD˳WUDVLGK\D/

2

139

XNWD˕@.

123691112

L

12

E

Ă1

E

Kh

E

P

XNWD˳.

410

140

VăGK\R@.

1236911

L

1

E

Ă1

E

Kh

E

P

VăGK\ă/

2

VăGKD\ă.

10

Vă.

12

141

VLGGKDYDUMLWD˕@em.VLGGKDYDUMMLWD˕(

P

VLGGKLYDUMLWD˕.

1691011

L

12

E

Ă1

E

Kh

VLYDUMLWD˕.

2

, sivarjjita K

3

VLGGKLYDUMLWă.

4

VLGGKD̓DUMLWă.

1

142

ULSXYDUMD˳@.

246

E

Ă1

E

Kh

ULSXYDUMMD˳.

13911

E

P

ULSXUYDUM\D˳/

1

ULSXYDUMD.

12

L

2

ULSX- varjjya K

10

143

PDQWUD\DQWUD˳@.

136911

E

Ă1

PD˳WUD\D˳WUD˳.

2

L

2

; mantrayantra K

4

PD˳WUD\D˳WUD/

1

, WUD\D˳PDQWUD˳.

10

PD˳WUD\D˳PD˳WUD˳.

12

\DWUDPDQWUD˳(

Kh

E

P

144

VD@.

13691112

L

2

Vă(

Ă1

E

Kh

E

P

VX/

1

, si K

10

, om. K

24

145

VXVLGGKDP@.

136101112

L

1

VXVLGK\DP/

2

VXVLGGKLU(

Ă1

E

Kh

E

P

PXVLGGKDP.

9

VDPDVLG- GKD˳.

24

146

LKRF\DWH@.

91012

L

12

E

Ă1

E

Kh

E

P

DKRF\DWH.

134611

PDKRF\DWH.

2

147

VXVLGGKHQD@.

1369101112

L

12

VXVL.

2

VDGGKLGGKHQD.

4

VXVLGGKLP(

Ă1

VXVLGGKDP(

Kh

E

P 148

YLKĦQDx@em.YLKĦQD˳.

123691011

L

12

; vihinañ K

12

DYLKĦQDx(

Ă1

DULKĦQDx(

Kh

E

P

K

4 149

WUD\D˳@.

123469101112

L

2

\DQWUD˳(

Ă1

PDQWUD˳(

Kh

E

P

, tatra L

1

150

\DF@(

Ă1

E

Kh

E

P

yat K

10

; ya K

12346911

L

2

, jat K

12

\D˳/

1

151

ăGLVLGGKR·QWDVLGGKR@.

139

E

Kh

E

P

ăGLVLUGGKR·QWDVLGGKR/

2

ăGLVLGGKăQWDVLGGKR.

461011

E

Ă1

ăGLVLGGKă˳VWăVLGGKR.

12

ăGLVLGGKR/

1

ăGLVLGGKă\R.

2 152

\R@.

136101112

ya K

4

\ă.

9

, ’yam E

Ă1

E

Kh

E

P

, om. L

1

153

PDGK\DVLGGKR@.

123691112

L

2

E

Ă1

E

Kh

E

P

PDGK\HVLGGKR.

10

PDGK\DVLGGKRVLGGKDVLGGKR/

1