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Mi la ras pa's representation in Mang yul Gung thang xylographs: Preliminary remarks on the stylistic changes of 'the Laughing Vajra'
No full textThis essay stems from two correlated projects, namely Tibetan Book Evolution and Technology (TiBET) and Transforming Technologies and Buddhist Book Culture: The Introduction of Printing and Digital Text Reproduction in Tibetan Societies, both based at the Mongolia and Inner Asia Studies Unit (University of Cambridge) between 2010 and 2015. This essay focuses on Mi la ras pa’s illustrations found in xylographs printed in the Mang yul Gung thang kingdom (South-Western Tibet) in the 16th Century. It examines sixteen images of Mi la ras pa produced in four different printing houses between 1540-41 and 1581, and divides them into two stylistic types, the former of which is in turn divided into two subtypes. Illustrations are analysed according to some recurrent elements
Typology of drawn frames in Sixteenth century Mang yul Gung thang Xylographs
No full textThis article presents some preliminary results of the study of the drawn
frames found in the title pages of 16th-century Tibetan xylographs from the kingdom
of Mang yul Gung thang (South-western Tibet). Usually the title pages of Gung
thang prints have very similar and characteristic drawn frames, which are typical
of xylographs printed in this area in the 16th century. They may vary from a simple
to a more elaborated design, which may differ even in xylographs produced at the
same printing house. Title pages have been examined by the authors with the aim
of understanding whether the different designs of drawings could be associated
with a certain artist or a certain printing house. A description of identified types of
drawings and minor variations is provided in the article. An appendix with information
on artists working on title frames is also included
La pittura come omaggio: l’opera di Livia Liverani e Nyima Dhondup / Painting as hommage: the work of Livia Liverani e Nyima Dhondup
No full textIntroduzione all'opera pittorica degli artisti Livia Liverani e Nyima Dhondu
Introduzione al Buddhismo tantrico in India e in Tibet
No full textSia in India che in Occidente, il fenomeno religioso e culturale definito tantrismo è sempre stato soggetto a grandi
fraintendimenti. Con vicende alterne, è stato esperito quale percorso difficoltoso volto al risveglio spirituale, o assimilato a una serie di sinistre procedure imbevute di magia estrema e libertinaggio sessuale.
Che si osservi il fenomeno in ambito induista o buddhista, ci si trova a confrontarsi non già con una realtà monolitica definita solidamente e concretamente nel tempo e nella
storia, bensì con le vicende di una serie di tradizioni differenti, in contatto o in contrasto le une con le altre, nella
continuità di evoluzioni che giungono sino ai giorni nostri
The iconography of Tsong kha pa in the Bla ma mchod pa tshogs zhing, the spiritual feld for the accumulation of merits by offering and devotion to the Guru
No full textIn the dGe lugs Tibetan Buddhist tradition, the Bla ma mchod pa – an ensemble of tantric literatures, liturgies, and meditative practices – is a particularly revered form of guruyoga related to the highest tantric systems of the yoganiruttara classes. One of the main instructions related to the Bla ma mchod pa is the visualization of the merit feld, the tshogs zhing. This concerns the visualization of a spiritual feld of masters and deities gathered together to bestow blessings and knowledge to the adept. The instructions related to the visualization of the tshogs zhing gave birth to complex artistic representations based on iconographies which are still relatively little studied. The reference fgure of the assembly of the tshogs zhing is Tsong kha pa Blo bzang Grags pa (1357-1419), the founder of the dGe lugs tradition, known in this context as Bla ma Blo bzang Thub dbang rDo rje ’chang. The fgure of the founder is characterized by special symbols, uncommon to other dGe lugs tantric or non-tantric meditation systems. The present paper intends to provide an iconological study of the artistic representation of Tsong kha pa as depicted in the Bla ma mchod pa’s tshogs zhings with special attention to the literary sources and oral instructions connected to that iconograph
L’iconografia del campo dell’accumulazione dei meriti nella tradizione dGe lugs pa lo tshogs zhing
No full textNella letteratura religiosa della tradizione buddhista tibetana dGe lugs, lo tshogs zhing, "Campo dell'accumulazione dei meriti", indica un'assemblea di maestri e divinità che l'adepto tantrico deve visualizzare durante le prassi preliminari di una speciale esperienza contemplativa, conosciuta come Bla ma mchod pa. Tale visualizzazione, impiegata anche da altre prassi della stessa scuola, ha dato vita a iconografie particolarissime codificate in immagini molto care ai dge lugs pa, immagini che, attraverso la loro genesi e la loro evoluzione stilistica e simbolica, hanno testimoniato sia le vicende storiche che quelle religiose dell'istruzione esoterica preservata proprio dalla letteratura del Bla ma mchod pa
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
The bla ma mchod pa tshogs zhing in the Sangs rgyas ye shes’s tradition. An univestigated dge lugs pa tradition
No full textABSTRACT
In the Dge lugs pa tradition, the bla ma mchod pa is an instruction related to the higher yogatantra class. The bla ma mchod pa literature mainly stems from the root text of the First Paṇ chen Bla ma
Blo bzang chos kyi rgyal mtshan (1567–1662), to which almost all
the images connected to the tshogs zhings, that is the representation of a spiritual field for the accumulation of merits, can be ascribed. However, the Paṇ chen Bla ma’s root guru Sangs rgyas ye shes (1525–1590) also codified a bla ma mchod pa text. His instruction on the tshogs zhing are quite different compared to his disciple’s tradition. Yet, today only a few images dated to the 19th-century can be related to Sangs rgyas ye shes’s instructions. In this paper I propose a first comparison between the 16th century Sangs rgyas ye shes’s text and one of these late images, a starting point for a research on an almost completely unknown tradition
Il buddhismo del Tibet
No full textIl tantrismo buddhista, o Vajrayåna, in quanto caratterizzazione del tardo buddhismo dell’India, non prevede un nuovo esempio etico rispetto a quello del bodhisattva, né visioni filosofiche altre da quelle proposte dal Mahåyåna. In Tibet, infatti, il Vajrayåna viene considerato una forma specifica
del Mahåyåna, che tuttavia adotta metodi e prassi ritenuti più efficaci e rapidi (ma più difficoltosi) di quelli del veicolo classico del bodhisattva. Tali metodi si pensa siano capaci di condurre l’adepto al risveglio nell’arco di una sola vit
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