Chapter6 The wood‑engravings of gShen rab's life‑stories
著者(英) Samten G. Karmay
journal or
publication title
Senri Ethnological Reports
volume 57
page range 139‑210
year 2005‑12‑12
URL http://doi.org/10.15021/00001632
'
The wood‑engravings of gShen rab's life‑stories
Chapter6 Thewood‑engravingsofgShenrab'slife‑stories
The Bon religious literaturc abounds with legenclary stories about gShen rab Mi bo (hereafter Shenrab). There are mainly three classic texts ofvarying lengths dealing with
them. They aie the mDo :ctht4' gher mig 2 and gZi bij'id.3 Ilianks to the works by H. A.
Francke (1924) and D.L. Snellgrove (1967) the last two are the best known to scholars.
These texts deal not oniy with life‑stories of Shenrab, but also his teachings. The main goal of the authors of these works is to arouse didactic interest in readers. The most recent work on the same theme and explanatory in its presentation is the rGlyal gshen rnam thar by Lopon Tenzin Namdak.4 Hovvever, there is also another category of writings which are devoted to much the same theme, but their goal is different. They are especially designed to help the artists who want to convert the stories into visual images as well as those who want to be able to recognize the painted or diawn images. Several of these works have recently come to light,
1. mA{},am medbrgya ba 'i nrgon po maam mkkven tgyal ba gshen rab by mcizadpa rnam pa bcu gayis kyi rnam bshad khams gsum las rnam par rgyal ba V ayi 'od (Katen 082‑5).
This is an extensive work consisimg of 133 folios. It was written by Kun grol grags pa in 1756 at Rab brtan rgyal khab, i.e. in the kmgdom of Chu chen. He was requested to write it by the king Mu la ver ro (Nam inkha' rgyal po) for the purpose of dr:awing and painimg (zhal slyn gyi ri mo) as a guide to the artists.5 There is another person who also joined the king in asldng Kun grol to write the work. His name is given as Khro chung (khyung) Nang so Drung mu mu la vang ya (gYung drimg nam mkha' dbang ldan). He is described as a great scholar and is probably identical with the elder brother of the king Kim dga' nor bu of Khro skyabs who is normally referred to as Nang so rin pe che Nam mkha' dbang ldan or simply Nang so rin po che.6 The word nang so is a title used for the brothers of a reigning ruler as has already been mentioned.
TThe work is at the same time a commentary on the eulogy to Shenrab contained in the gZi brg'id.7 It is divided into twelve sections in accordance with the twelve acts (mdeadpa bcu gayis). The life ofthe Buddha Shakyarnuni is also told within the same framevvork. The Bonpo were therefore inspired by the Buddhist model for the life‑‑
stories of Shenrab. However, as Snellgrove (1967: 8) has already noted: "Yet this framework has been fi11ed with indigenous Tibetan legendary material which avvaits serious study". indeed, the materials contained in the life‑stories of gShen rab are ditl7erent from those of the Buddha. The Bonpo also speak of sixty‑one episodes as an extension from the twelve acts and this is funher developed intol08 episodes, but in the present work by Kun grol no clear indication of the sixty‑one accounts as such is given.
However, in my opinion, it was this work of Kun grol that served as the textual base fbr the drawing of the scenes of the sixty‑one episodes that were engraved on woodblocks
as wi11 be discussed below. The sixty‑one episodes are in fact derived from the sixty‑
one chapters of the gZi bry‑id.8
2. The next work which is more extensive than the previous one is entitled:
x2Vam mkltyen igyal ba gshen rab dyi sdyres rabs rnam bshad nor bu 'i phreng ba ()haten 097).
This work was composed by gYung drung bstan pa deang rgyal in 1828 at the momastery dGa' ldan dar rgyas nor bu'i gling also known as A khod Dar rgyas gling or simply gYung drung gling, the seat of Kun grol in Dre shod. Nothing is known about this author who in the colophon9 states that he was born in Derge and considers himself as the rebimh of sMon rgyal Padrna rgyal po,apersonage of the sMon rgyal family. As for sources, he mentions two works both by Kun grol: the bs7lod pltyag igrel and mDzad bcu'i rnam bshad (p, 644). While the first one is so fat not available for consultation the second is obviously the same as the one which we have already discussed above (No.1). The work contains a most detailed account of the sixty‑one previous rebirths (skye ba) of Shenrab similar to Budcihistl'a‑taka stories (pp, 20‑466). It then deals with the one hundred and eighi episodes (mdeadpa) in the life of Shenrab tpp. 466‑551).
The difference betvveen No. 1 and No. 2 is that the first one is focused only on the twelve acts whereas the second narrates all the sixty‑one rebirths in a most detailed manner as well as recounting briefly the one hundred and eiglrt episodes. This is foIIowed by an account of the stories after the death of Shenrab (pp. 551‑590). The work is clearly intended to aid the anists.iO It concludes by giving a short account of the history ofthe BOn religion in Tibet (pp. 580‑627).
3. d7L4u tlgyal gshen gyi skyes rabs dong mcinad pa dimg cu rtsa gcig gi gter sgo 'byedbyed Phrulgyi lde mig.
This text was written by Hor btsun bsTan 'dzin blo gros rgya mtsho (1889‑1975) [Pl. 81] in 1950 at the hermitage called Byang chub bsam gtan gling. It is the hermitage ofthe monastery mDa' chen dkar mo.ii The author was 62 when he wrote the work and he did it at the behest of mChog spru1 bsTan 'dzin dbang gi rgyal pe, the 3rd successor of sKyang spni Mu la ver zhi (Nam mkha' rgyal mtshan). The author describes his work as the ̀key to the sixty‑one episodes'. He expresses that it is vvritten not only as a guide to the artists but more particularly to assist those who wish to identify the scenes in paintings. It is written in verse. This text is inserted in the present volume in order to facilitate the reader's understandmg of the scenes of the sixty‑one episodes. In other words, this text is printed in the present book so that the reader has a written text at hand from which to corroborate the scenes of episodes of the wood‑engravings. However, the wood‑engravings that are reproduced in the volume do not always correspond to this text as wi11 be shown below. The reason for choosing this text to have printed here is
The wood‑engravings of gShen rab's life‑stories
bnjia Moreover, it is a text pleasantly composed. It begins with the four verses which are taken from Chapter 45 of the gZi bry'id.i2 'Ihese four verses are often recited by adepts as a prayer.
The first part (pp.213‑225) of the text deals with the provious rebinhs of Shenrab also in sixty‑one, but they are not enumerated as is done in text No. 2. The author states that there were normally ten thangkas depicting the rebirths tp.225). The second part (pp.225‑257) is devoted to the accounts of the sixty‑one episodes in the life‑stories of Shenrab. Each account is numbered. The amhor memions that there were normally eighteen thangkas illustrating the sixty‑･one episodes (p. 257). As mendoned earlier, the sixty‑one episodes are derived from the chapters of the gZi bry‑id which has exactly sixty‑one chapters.
I have a personal connection with this text and this may be the rigrrt place to mention it for historicai interest, The author Hor btsun bsTan 'cizin blo gros rgya mtsho was my great‑uncle on my rnatemal side, It happened that I was sent by my parents to stay with him for nine momhs at his hermitage mentioned above. This was in l950 when I was 14. The herrnitage vvas situatgd in 'Phan cha,i3 Amdo, the next region to the north of our place Shar khog.i4 It used to take about four days on horse back to go there from our place. During my stay with him as a pupil he began to write the text. His house, which he describes as pho brang ̀palace' in the colophon, was in fact a small bungalow, but was beautim11y situated in the middle of a pine fbrest up in the mountains and surrounded by some other small huts occupied by hermits. It was a liule away to the east of the bla brang, the residence of the SKyang sprul reincarnations, which was known as mi)a' chen kha ma tsl}ang and which had a 1arge and rich library. My great‑
uncle had been, before I went there, the tutor of the younger tulku called sKyang sprul Lung rtogs rgya mtsho and that was why he was living there. He needed to borrovv the gZi bty'id from the library for his study. It has twelve volumes and the books were written in silver on the black background paper and the sirc of each volume was very 1arge and heavy indeed weighng perhaps about ten kilograms, It was I who had to transport them to and fro on my back one by one every one or two weeks. I sti11 have a clear impression of him at wotk peering at the books and at the same time looking closely at the scenes of episodes printed on paper from the woodblocks in Gyalrong which he kept beside of his books on his table. From time to time he himself also went to the bla brang to check the thangkas.
The manuscript of the text has never been published up til1 now and it is a great pleasure to be able to present it to interested scholars and devotees alike in the present volume. The manuscript is a copy written in dou med script and it was sent to me in Paris from Amdo around 1988. It was computerized by the monks at Khri brtan nor bu rtse Monasteryi5 in Kathmandu, Nepal in 2002 for printing in the present book.
The Musee Guimet d'Art Asiatique in Paris preserves a set of thangkas cm 121‑
130) which were originally 12, but Nos. 6 and 8 were already missing when the acquisition of the paintings was made around 1908. These thangkas probably originated in Shar khog, Amdo. They depict narrative scenes of episodes in the lifed･story of Shenrab. As noted, such sets of thangka pairitings were not rare in the pre‑commmist era of Tibet. However, the set of the paintings in the Musde Guimet seems to be one of oniy three examples of such a work related to the life‑stories of Shenrab that exist outside Tibet, the other two are in Germany (Kvaerne 1986a: 36) and The Rubin Museum of Art in New York.
Nevertheless, it is very fbrtunate that our colleague Per Kvaerne (1986) has meticulously studied the thangkas in MuscSe Guimet and ptibliShed his wotk in French.
Every scene of the episodes on each thangka is mariced by a caption with numbers which are further divided by letters in order to identify al1 the smallest details in the painimgs. The captions are further endorsed by the provision of a Table of Concordance that refers back to the classical text, the gZi bnjid.
The engravings taken fi'om woedblocks in Gyalrong.
'IThe National }vfuseum of Ethonology in Osaka preserves imprints taken from the woociblocks in Gyalrong on two pieces of cotton.i6 The woodblocks, from which the impriirits were made, were engraved between 1758 and 1774 in Khro skyabs. The suiface of the printing blocks measured approximately 42.4 x S8.3 cm going by the actUal prints, but thcy vary slightly from one pimt to another. The depth of the woodblocks cannot be assessed since the woo(lblocks are no longer extant. They perished during the years of Cultural Revolution between 1965 and 1975. The prints at hand were made during the 1940s from the woodblocks which were then kept at the momastery mTshon to Ngo mtshar nor bu gling.i7
The prints are made on two pieces of white cotton, but the white cotton has become brownish from the smoke of incense and butter lamps which hung from the ceiling and against walls in temples. They were objects ef worship as they depict scenes of episodes in the life of the religious founder as well as other deities. I shall designate the two as Banner A and Banner B, Each banner has twenty‑four printed thangkas. in both banners the tharigkas are printed from left to right in two rows. The edges of the top part of the barmers are decorated with the traditional pattern used in temple banners, in this case narrow stripes of blue, yellow and red tissue horizontally sewn together and then sewn onto the main piece. From the red striped part another piece of tissue in different colours is sewn in folds at intervals betokening a cover for the prints, but in fact it comes only about 12 cm down from the top of the main part. This last piece of decoration is called Phur ma. The impression on cotton is less satisfactory than it would have been on paper. 'Ihere are places where printing is unclear due to insufficient ink and in other
The wood‑engravings of gShen rab's life‑stories
from woodblocks is al1 the more difficult since all was done by hand press only. There are ten prints depicting the previous bimhs (A 1‑A 10) and eighteen prints the sixty‑one episodes in the life‑story of Shenrab (B 1‑B 9, B 13‑B 21), hence twenty‑eight prints.
In his 7B (pp.225‑257) bsTan 'cizin blo gros rgya mtsho clearly states that normally there are ten thangkas of the prcvious birtlis and eighteen thangkas of the sixty‑one episodes.
BannerA [Pl. 82]
1.65 x 5.43 metres.
Al, A2 A3 A4 A5 A6 A7 A8 A9 A10 AH A12
A13 A14 A15 A16 A17 A18 A19 A20 A21 A22 A23 A24
lhe scenes of the prints from A 1 to A 10 in the top row depict the previous births ofShenrab similar toja'taka stories in Buddhism. A 11 and A 12 are repetitions ofB 13 and B 19 in Banner B. There are no inscriptions identifying the scenes of the previous bimbs. Another problem is that many of the scenes are too brief and too crowded on one pring for example, A 1. These stories of previous bimhs of Shenrab are described in 7]B (pp.213‑225), but the descriptions are often very brief. 7B does not number the scenes, but there are about 61 of them. As mentioned above, 7:B states that there were ten thangkas tp.223) and this number correspends well with the number of the prims we have in Banner A (A 1‑A 10).
In the stories of the previous births of Shermb, the scene normally features two opposing characters; one is a character with a virtuous dispesition and the other the opposite. The good character figure eventually becomes Shenral) while the wicked one the demon Khyab pa lag ring, the rnain rival of Shenrab. This plot is adhered to all through the stories ofthe provious binhs, for instance two animals and two brothers.
Ihe scenes of the stories of the previous bimhs in these ten printed thangicas, especially those in A 7, A 8 and A 9, seldom correspond either to the descriptions given in 2VPh or those found in 7]B and yet the source ef these two works is certainly the gZi bijid It is possible that another text was taken as the basis for drawing the scenes and engraving them on woodblocks. if this is the case I have not been al)le to find such a text. Another possibility is that the artists who drew the scenes have not correctly fbllowed the order of the scenes as given in the gZi bry'id. Nevertheless, I have been able to identify a certain number of the scenes and these I have related to 7B. On the other hana the sixty‑one episodes in the Shermb's life‑story fairly correspond to the descriptions given in both gZi bry'id and 7:B as wi11 be seen below.
A 1 [Pl. 83]
The scenes are concerned with the previous binhs of Shenrab in hell. Here he is called Gyad bu thung and drives a horse cart; the scenes in the upper part of A 1 the births of Shenrab in the realm ofthe IHa min (Asura) (7:B p. 213).
A 2 [Pl. 84]
The scene in the upper left corner is about dPal chen who meditates in a forest and a pack ofwolves led by its chiefchases a deer. He tries to save the deer (71B p.2l9).
A 3 [Pl, 85]
The scene in this print is concerned with a myth. There was a kmg and queen who had 1002 sons. The Teacher 'Bum khri glog gi lce can wrote down the names of the boys, those of their parents as well as those of four ministers of the kng all together 1008. He then placed the names in a fiower called HA spungs. This was the sign that in the present
aeon there would be IO08 Enlightened Ctnes (Buddhas). Then another Teacher called 'Khor ba kun 'dren was called in to bring out nine names from amongst the 1oo8 narnes in the flovver. These nine names represent the seven Enlightened Ones (ston pa rabs bchin) who preceded Shenrab and the one who is to come in the future (7ZB pp. 220‑
221) A 4 [Pl. 86]
In a prcwious binh Shemab was born as a man called Shes rab ldan. He met a master called bSod nams dbang and in the presence of the master he took a vow to become one day a Teacher himself leadmg other living beings to salvation (7:B p.214). The rest of the scenes are not identified.
A 5 [Pl. 87]
The scene in the bottom part depicts the births of Shemab in the realms of hell, anirnals and preta. in the realm of hell, the chief A ba Glang mgo (Yama) is seen (71B p.213).
The other scenes are not identified.
A 6 [Pl. 88]
In the upper left, there is the scene of the story of three parrot brothers and in the upper right the story of a rhnoceros. Below, there is also the story of the monk called IHa'i rgyal mtshan ri dwags 'dziri surrounded by different types of birds as well as the Klu spirits (71B p. 216),
A 7 [Pl. 89], A 8 [Pl.90]
The scenes of A 7, A 8, and some of those in A 9, as mentioned above, do not correspond to the descriptions given in 7ZB (pp.221‑223). They therefore remain unidentdied.
A9 [Pl. 91]
Shenrab is born as a prince cailed dBang skyong don yod khri sde who initiates in bui1ding several stupas ofwhich one is with three tops (M p. 219).
The wood‑engravings of gShen rab's life‑stories
A 10 [Pl. 92]
Shenrab as 'Chi med gtsug phud, a sage who resides on the summit of Sumeru where he preaches the Bon rDzogs chen and tantric doctrines prior to descencting to earth to be bom as Shemab (7IB pp. 223‑225). For further infbrrnation on this sage, see Karmay
1972: xx‑xxii; Mattin 1994: 24. ･
A 1l IPI. 931 and A 12 [Pl. 94]
A 11 is simplyarepeat ofB 13 and A 12 is that ofB 19, see below.
The series of irnages in the bottom row ofBanner A, from A 13 to A 24 are deities known as Cho ga bcu gnyis kyi lha, ̀Deities of the twelve rites'. They are identified with their names by inscription on the edge of the top part of the thanglcas. These deities are directly connected with twelve episodes of the sixty‑one episodes depicted on Banner B.
A 13 IPI. 95]
Kun rigs (rig) rnam snang, of Episode 25.
A 14 [Pl. 96]
rGyal ba rgya mtsho, cilf Episode 26.
A 15 IPI. 97]
Sangs rgyas sman lha (bla), ef Episode 34.
A l6 [Pl. 98}
Legs (dge) spyod smon lam mtha' yas, (21f Episode 35.
A 17 [Pl. 99]
Kun dbying (dbyings) sku lnga, (zt Episode 11.
A l8 [Pl. 100]
dBang ldan dus 'khor, of Episode 20.
A 19 [PHOI]
Byams ldan, ef Episode 19.
A 20 [Pl. 102]
rNam dag yum, czlf Episode 36.
A21 [})l. 103]
Byarn (byams) ma chen mo, of Episode 48.
A 22 [Pl. 104]
Yum chen Sa trig er trig sangs (Sa trig er sangs), (zlf Episode 46.
A 23 [Pl. 105]
sTon pa Khri gtsug rgyal ba, ef Episode 57.
A 24 [Pl. 106]
gYung drung rrum 'joms, of Episode 33.
1
2 3
4 5 6 7
8,
9 10 ll
12 13 14
15 16 17
This was publistied in lndia under the title: mDo U"s rin po che 'i ,gptid thams cad mkJryen pa 'i tshad ,na by Khedmp Gyatsho, Dolaoji, 1985 (of Karrnay l9n: 4, n. 1), 1lhis text is not
included in the Bon Karu'ur set published in Sichuan around 1987 and its catalogue made by Dan Martin et al in 2003.
Mattin et al 2003: No.11.
Martin et al: 2003: No. 1 . Ihe gZi brpld in 12 volumes was also pnhlished in the book forrnat by Bod ljongs bod yig dpe rnying dpe slcrun khang, Lhasa 2000.
Volumes 1‑2, Deihi 1971.
For the colophQn ofthis worlc see 1(bten p.664.
NG secti(m 4, f 17eg 18b, 23b; section 5, C 12a.
Vol. A, Chpter 61, bKb 'i gtad gnyer gyi' mdo (mDo cbimed gzi bol'd, Bod ljongs bod yig dpe rnying dpe skrun khang, Lhasa 2000), Vol. 12, pp 51 1‑513.
For a list of sixty‑one chapters and English translation of their titles, see Snellgrove 1 967: 5‑8.
For the colophon see Kbten, p. 737.
or p. 427 of the text.
Survey No. 198.
gZi bnyid, Vbl. 12, p. 50..
[I he place and pe(rple of 'Phan chu are also known as Bog zo.
Shar khog is known as Zung chu (also Zong chu) in Central Tibet. Now in Chnese admmistrative set up in Sichuan ir is known as Songpan which was ariginally the name ofthe main Chnese town in the region, ojr Karmay, Sagani 1998.
Survey No. 230.
Inventory Nos. H 221454n2 1455.
Survey No. 188; Pl. 40a40b.
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Pl．106 A24
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The wood‑engravings of gShen rab's life‑stories
BanerB [Pl. 107]
1.53 x5.43 metres
B1' B2 B3 B4 B5 B6 B7 B8 B9 B10 B11 B12 B13 Bl4 B15 B16 B17 B18 B19 B20 B21 B22 B23 B24
On Banner B from B 1 to B 9 and from B 13 to B 21 we have scenes of the sixty‑
one episodes. From B 10 to B 12 and B 22 to B 24 vve have images of certain deities that have no connection whatsoever with the life‑stories of Shenrab.
The scenes of the sixty‑one episodes begin on B 1 and aie clearly marked with insc riptions thus: mcizad pa dong po, Episode 1 and mduad pa gayis pa, Episode 2.
Likewise it continues on B 2, mcizadpa gsumpa, Episode 3; on B 3, mduadpa bzhipa, Episode 4 and mcizadpa dbeug pa, Episode 6, but the phrase mcizadpa lnga pa, Episode 5 seems to be missing. On B 4, the words mcizadpa bchtn pa, Episode 7 and mcizadpa bt:gyadpa, Episode 8 are inseribed. But from B 5, al1 the rest of the thangkas have no inscriptions at all. It is hard to see why they suddenly stop being identified. This inconsistency leaves us completely helpless in identifying the scenes, even with the help of the text by bsTan 'dzin blo gros rgya mtsho which, as wi11 be noted, does not always correspond to the ptmted images. The scenes in the Musee Guimet thangkas worked on by Per Kvaerne are not numbered according to the system of the sixty‑one episodes although they are essentially the same since it fo11ows the same source which is the gZi bijid
The visible features tl}at help in identifying the episcKlic scenes are mountains, rivers, lakes, forests, domestic, wild or mythic animals, hunting, stupas, temples, houses, battles, constructions, uptumed boats, style of clothes, seating arrangements, hell fire, cages, ritual objects, mandalas, rites and deities. lnevitably, most of the diawings of scenes are simply suggestive. When there are no particular features in scenes the identification has boen very haxardous particularly when they do not correspond to the text 7:B. The identification of the scenes in the thanglcas is therefore simply provisional pending further detailed research in the future. The pages references to chapters of the gZi brp̀id I have given below for Shenrab's life‑stories (B 1‑B 24) are only meant to indicate approximately where the stories can be found in the newly edited version of the gZi bij'ird (see the References) and not exactly where they are found.
B1 [Pl. 108]
Episode 1
Shenrab's descent from the heaven of the gods of Pure Light (gZi bnjid, Vol. 1, Chapter
