DRANGSONG MANUSCRIPTS
1. Text number | Drangsong 200 | |||||||||||||||||||||||||||||||||||||||||||||
2. Text title (where present) in Tibetan |
༄༅།། ཡབ་སྲས་བཅུད་དྲིལ་གྱི་་་་་་་ཕྲིན་ལས་བཞུགས་པ་ལེགསྷོ།། |
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3. Text title (where present) in Wylie transliteration | Yab sras bcud dril gyi….phrin las bzhugs pa legs+ho/ | |||||||||||||||||||||||||||||||||||||||||||||
4. A brief summary of the item’s contents | Prayer to the lineage masters of the past, visualizing the main meditational deity, in the aspiration for enlightenment. | |||||||||||||||||||||||||||||||||||||||||||||
5. Number of folios | 9 | |||||||||||||||||||||||||||||||||||||||||||||
6. Scribe’s name | ||||||||||||||||||||||||||||||||||||||||||||||
7. Translation of title | The essence of the teachings on the gathering of the master and his two disciples | |||||||||||||||||||||||||||||||||||||||||||||
8. Transcription of colophon | ces mchod pa phul ba’i mnyes nas bdag la thim pas/ chu la chu ’dris pa’i/ lan tsha chu la
thims pal tar/ 2 su med par bsam lad sngags kyis ’phreng/ bdag gi spyi bor thims/ khog pa’i nang nas rgyu rdo rje’i rtse la thon/ yum gyi pad ma…….yum gyi zhal nas yang/ rang gis zhal du thims pa la/’khor lo ’khor bal tar dmigs la/ rtsa ba’i sngags sgra che na ’dzab dbyangs/ ’bring shus bu/ tha ma gong ba’i thos tsam du ’bum ’phrag 1 gam. Zhag grangs nyi shu rtsa 1 du bzlas par bya’o/ thugs rje rdzogs pa’i rim pa ni/ de latr lha dang bla ma bsgom pa’i dus na/ me long nang gi gzugs brnyan bzhin/ snang stong dngos bzung med pa’i rig pa spros bral ngang la/ bskyed bzlas byas p yin zhing / rgyas pa ’og nas ’byung ba latr ro/ de latr bsgrub pas/ dbang po ya rabs la zhag bdudn nang du zhal |
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9. Translation of colophon | In this case, after the offering, a sense of joy arises. The main meditation deity merges into my being, like water merging with water, or like fragrance merging into water. Visualizing myself as indistinguishable from the meditation deity, it merges into the crown of my head, reaching the vajra summit at my heart, entering through the mouth of the dakini… merging into my own mouth. Like a turning wheel, I visualize, loudly recite, or chant the root mantra, reciting it one hundred million times, or continuously for twenty-one nights. In this manner, the steps of perfect visualization, when visualizing the meditation deity and the guru, are like reflections in a mirror, a mind devoid of conceptual thoughts, observing emptiness and non-duality. The specific detailed procedure is as follows. By practising in this way, those with the most exceptional potential may encounter the meditation deity’s presence for seven nights… | |||||||||||||||||||||||||||||||||||||||||||||
10. General remarks | This text contains evidence of the transmission of this teaching from rGyal rong in eastern Tibet to Dolpo in the west. In the process of this transmission, in a similar way to the lineage of the sTag la me ‘bar cycle in this collection, it was primarily passed into Dolpo through individuals like Slob dpon bsTan pa ‘od zer, Bya dur Nyi ma ‘od zer, and others.
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11. Remarks on script | ’bru tsha, ’khyug ma tshugs | |||||||||||||||||||||||||||||||||||||||||||||
12. Format | Loose leaves | |||||||||||||||||||||||||||||||||||||||||||||
13. Size | 7.5 × 25.7 cm | |||||||||||||||||||||||||||||||||||||||||||||
14. Layout | ||||||||||||||||||||||||||||||||||||||||||||||
15. Illustrations and decorations | ||||||||||||||||||||||||||||||||||||||||||||||
16. Paper type | Woven, 2 layers, deterioration and dirt signs visible | |||||||||||||||||||||||||||||||||||||||||||||
17. Paper thickness | 0.18–0.24 mm | |||||||||||||||||||||||||||||||||||||||||||||
18. Nos of folio sampled | f. 1 | |||||||||||||||||||||||||||||||||||||||||||||
19. Fibre analysis | Daphne and Stellera sp. | |||||||||||||||||||||||||||||||||||||||||||||
20. AMS 14C dating | ||||||||||||||||||||||||||||||||||||||||||||||
21. XRF analysis | Main elements: Ca, Fe, K, S
Trace elements: Ti, Zn, Si |
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22. RTI | ||||||||||||||||||||||||||||||||||||||||||||||
23. GCMS |