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Tibetan Buddhism practice of inner fire meditation as recorded in Tangut

fragments with Tibetan phonetic glosses

Article  in  Journal of Chinese Writing Systems · September 2018

DOI: 10.1177/2513850218781514

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Article

Journal of Chinese Writing Systems

2018, Vol 2(3) 163–184
Tibetan Buddhism practice of © The Author(s) 2018
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DOI: 10.1177/2513850218781514

in Tangut fragments with Tibetan journals.sagepub.com/home/cws

phonetic glosses

Chung-pui Tai
The University of Hong Kong, China

Abstract
This paper examines the content of the Tangut text in one of the largest joinable pieces of Tangut fragments with
Tibetan phonetic glosses, Fr. 3(8), Fr. 9(14), and Fr. 1(6) from ɢɧɜ. 8363 of the Archives of Orientalists of the Institute of
Oriental Manuscript, Russian Academy of Sciences. A detailed sentence-based translation of the Tangut text is provided.
The interpretation of these fragments suggests that the Tangut text is an instruction for vase breathing and inner fire
meditation, which is also known as “tummo.” This text should relate to the Six Yogas of NƗropa, which was mainly
practiced by the Kagyu School of Tibetan Buddhism during the Tangut era. The content of the text should help further
study on the identification of the origin of the text, and on the examination of the date of the fragments, which would
be critical in the study of the Tibetan phonetic glosses of the Tangut characters.

Keywords
Six Yogas of NƗropa, Tangut fragments, Tibetan Buddhism, Tibetan phonetic glosses, Tummo

Background Fr. 1(6). The dimensions of these three fragments are as

The Institute of Oriental Manuscripts of the Russian
Academy of Sciences and the British Library preserve
around 30 Tangut fragments in which Tangut characters are
transcribed with phonetic glosses in Tibetan writing. The
Tibetan phonetic glosses in these fragments provide intu-
itional descriptions of the sound values of Tangut charac-
ters, thus playing an important role in the reconstruction
of Tangut phonology. Among these Tangut fragments,
11 pieces are currently inventoried under ɢɧɜ. 8363 of the
Archives of Orientalists of the Russian Collection. These
fragments are all flimsy white-turned-brownish cotton
paper without frame lines. The Tibetan phonetic glosses are
written on the right of their corresponding Tangut charac-
ters in the fragments. Both the Tangut characters and their
Tibetan glosses are written sloppily in black ink. Further,
these 11 fragments are numbered randomly from Fr. 1(6),
Fr. 2(7), to Fr. 11(16). The numbering was probably done
by the Russian Tangutologist KB Kepping in the 1990s
(Arakawa, 1999: 28). When Arakawa (1999: 29) investi-
gated the fragments between 1997 and 1998, he discovered
that several of these fragments could be joined together
to form larger pieces. Among them the largest piece that
can be formed is the one joined by Fr. 3(8), Fr. 9(14), and
follows (Tai and Zaytsev, 2018):
Fr. 3(8): 26.4 cm × 32.1 cm, 11 lines, each line has 22 to 23
Tangut characters;
Fr. 9(14): 25.9 cm × 28.4 cm, 10 lines, each line has 23 to
24 Tangut characters;
Fr. 1(6): 26.7 cm × 31.3 cm, 11 lines, each line has 23 to 25
Tangut characters.
A character-for-character literal translation of the Tangut
text in these fragments is provided in Tai (2008: 51–54,
57–59; 2009: 95–96). In these works each Tangut character
is translated by a Chinese character, without considering
the semantic and syntactic differences between the two
languages. It is a convenient way to identify all Tangut
characters in the fragments, so that the phonological corre-
spondence between the Tangut characters and their Tibetan
phonetic glosses can be retrieved easily. The meaning of
the Tangut text is basically untouched.
Corresponding author:
Chung-pui Tai, Faculty of Education, The University of Hong Kong,
Pokfulam Road, Hong Kong, P.R. China.
Email: cptai@hku.hk
164
Different from previous works, this paper provides an
annotated sentence-based translation for the Tangut text in
these three joinable fragments, so that the content in the
Tangut text can be comprehended. It is worth explaining
why it is necessary to understand the Tangut text, although
the major significance of these fragments lays in the phono-
logical data revealed from Tibetan phonetic glosses. First,
the period of time that the Tibetan phonetic glosses in these
fragments represented is uncertain because all the Tangut
fragments with Tibetan phonetic glosses under ɢɧɜ. 8363
of the Russian Collection are incomplete and leave no clue
as to their date. An understanding of the Tangut text may
help in estimating the date of these fragments. For example,
if the same or highly similar Tangut texts could be found
in other manuscripts with a known date, then it would be
possible to trace the probable date of the fragments under
ɢɧɜ. 8363. Second, the Tangut text content would help in
identifying the sequence of fragments under ɢɧɜ. 8363.
These fragments are currently numbered randomly. Apart
from a few fragments that can be joined together, the
sequence of the rest remains unclear. If the Tangut texts
in these fragments were comprehended, then the flow of
content would help in reconstructing the sequence. Further-
more, the process of text reading would help in verifying
the accuracy of Tangut character identification in previous
work on the fragments. As the writing on these fragments is
quite sloppy, it is possible to misread the Tangut characters.
If this happened, then their Tibetan phonetic glosses would
be analyzed falsely. A detailed reading of Tangut text would
help in identifying these misread characters, in the sense
that a misread character would highly likely be incompre-
hensible under the sentence context. It should be noticed,
however, that other reasons may also make a Tangut
character incomprehensible, which will be discussed
below.
An additional benefit of a sentence-based reading of
Tangut text is that it would clarify the word and sentence
boundaries in the text. As Tai (2008: 32; 2009: 62–63)
points out, the transcribers who glossed the Tangut charac-
ters in Tibetan writing were probably native Tibetan speak-
ers who did not have the knowledge of Tangut writing.
Therefore, their glossing would be easily affected by
phonological processes in oral speech, such as intonation
and tone change. These processes, if they existed, usually
happened in the word or sentence boundary of the Tangut
text. Once these boundaries are clear, it will then be
possible to analyze whether these phonological processes
are reflected in the Tibetan phonetic glosses.
Challenges
To read and translate the Tangut text in these fragments is
not an easy task. One major reason is that it is read without
any comparable or corresponding text in other languages
for reference. At the same time, our understanding of the
Journal of Chinese Writing Systems 2(3)
words and grammar of Tangut texts translated from Tibetan
is still at a preliminary stage.
A large proportion of existing Tangut manuscripts are
translated from either Chinese or Tibetan. Therefore, the
conventional way to decipher a Tangut manuscript is to
read with reference to its corresponding Chinese or Tibetan
text. The first step to doing this is to conduct a literal char-
acter-for-character translation. This means that each Tangut
character is mapped with a Chinese character. The result of
this character-for-character translation is usually unread-
able, yet important keywords such as personal names or
specific religious terms often emerge. On most occasions
the keywords tell the theme of the text as well. Based on
these clues, it is possible to identify the corresponding text
in Chinese or Tibetan sources. It is the most critical step in
the process of decipherment. Once a corresponding text is
found, it would be much easier to read the Tangut text by
referring to it. Clarification of incomprehensible words and
sentence structures in the Tangut text is possible through
comparison. This approach is widely adopted in the study
of Tangut manuscripts. For example, the reading of the
Tangut version of Suvar‫ ޠ‬aprabhƗsa Snjtra (Wáng, 1932,
1933a, 1933b), MañjuĞrƯnƗmasa‫ ޜ‬gƯti (Lin, 2006), ZhƗn
Chá Shàn’è Yèbào JƯng (Tai, 2006), MahƗprajñƗpƗramitƗ
Snjtra (Huáng, 2012), GuƗn Mílè Púsà ShàngshƝng
DǀushuàitiƗn JƯng (Snjn, 2013), and VimalakƯrti Snjtra
(Wáng, 2015) are all conducted by referring to the Chinese
version of the same or closely related Buddhist sutras.
Secular Tangut manuscripts such as Classic of Filial Piety
(Grinstead, 1972), Sun Tzu’s Art of War (Kepping, 1979;
Lin, 1994), Mencius (Péng, 2012), and so forth are also
collated and translated with reference to their correspond-
ing Chinese editions.
To identify a corresponding text, however, is not always
easy. The first reason is that there are still some original
Tangut texts that are not translated from other languages.
Second, even if a Tangut text is translated from Chinese or
Tibetan, the source text may have been lost, or be little
known and difficult to identify. The latter situation is
particularly common when a Tangut text is translated
from Tibetan.
In the case of the Tangut fragments with Tibetan
phonetic glosses from ɢɧɜ. 8363, it is quite certain that the
Tangut texts inside are translated from Tibetan. Nevsky
(1926: xviii) identified the Tangut words •a-- lji2 খ᣸
1 2
and kjaa lji ᐷ᣸ in Fr. 5(10) as the Buddhist science of
language (Sk. ĞabdavidyƗ) terms Ɨli and kƗli, and thus he
suggested that the Tangut text should be a kind of Tibetan
Buddhism text translated from Tibetan. Tai (2008: 30–31)
made the same observation from the terms VajrayoginƯ
and “pig head” in the Tangut text. Tai (2008, 2009) has
already provided a complete character-for-character literal
translation for nearly all Tangut texts in the fragments with
Tibetan phonetic glosses. Originally it was hoped these
character-for-character translations would facilitate the
Tai
identification of the corresponding Tibetan source text.
After nearly a decade, however, little progress has been
made. One major factor is that the character-for-character
literal translation into Chinese characters, from a Tangut
text originating from a Tibetan source, is highly distorted
and almost unreadable for scholars familiar with Tibetan
Buddhist manuscripts. Therefore, it is a dilemma that with-
out a corresponding Tibetan text it would be difficult to
further collate the Tangut text. But contrarily, it would be
quite impossible to look for a corresponding text without a
better translation of the Tangut text.
Ikeda (2009, 2010, 2014) brings inspiration to a break-
through for this dilemma. His work attempts to provide a
paraphrased translation of Tangut text even when lacking a
comparable corresponding Tibetan text. Therefore, follow-
ing Ikeda’s pathway, this paper provides a sentence-based
reading of the Tangut text in the three joinable fragments
Fr. 3(8), Fr. 9(14), and Fr. 1(6) under ɢɧɜ. 8363 of the
Russian Collection.
Nonetheless, to translate the Tangut text in these frag-
ments is challenging. First of all, Tangut is a dead language
and our understanding of the language is restricted. For a
Tangut text that itself is translated from another language,
its use of words and its grammar structure are often further
influenced by the source language. It would be easier to
decipher a Tangut text when it is translated from Chinese,
as there are already relatively adequate works collating
Tangut manuscripts from Chinese sources to refer to. In
comparison, there are far fewer works collating Tangut
manuscripts of Tibetan sources. As a result, it is more dif-
ficult to find a reference when one encounters unfamiliar
words or grammar structures in Tangut texts of Tibetan
sources.
Second, since the content of the Tangut text in these
fragments is Tibetan Buddhism, it requires a sound knowl-
edge of the religion to read the text. Once the main religious
ideas in the text are identified, however, it will be easier
to read the rest of the text. The understanding of religious
concepts would also help when verifying the translation, as
the sentences should seldom go against the known religious
practices and beliefs. As we will discuss at the end of
the paper, the understanding of religious ideas is the most
critical part in the reading of Tangut text in this paper.
Apart from the challenge of religious knowledge, the
unexpected semantic correspondence of words may
obstruct the translation. For example, the Tangut word
2 1
gjuu rjur ᅽᘽ is often translated as “fortune” because in
Tangut manuscripts of Chinese sources this word usually
corresponds to the Chinese jíxiáng ঢ়⼹. As Snjn (2015)
illustrated, however, this Tangut word can correspond to
Tibetan bab bla, “orpiment,” in Tangut texts of Tibetan
sources. This kind of word correspondence provides solid
evidence on the reading of Tangut words in the text. In
the reading of the Tangut text in this paper, Snjn (2015) is
the major reference on word correspondences between the
Tangut text and its Tibetan source text. Other materials
165
showing word correspondences such as the Pearl in
the Palm (Lӿ, 1994) and the collation work on the
Suvar‫ޠ‬aprabhƗsa Snjtra (Wáng, 1932, 1933a, 1933b) are
also consulted.
Furthermore, all Tangut fragments with Tibetan phonetic
glosses in ɢɧɜ. 8363 are mutilated. It makes the sentences
in the Tangut texts broken and difficult to phrase, let alone
that the texts are already unpunctuated. The scratchy writ-
ing of Tangut characters and the possibility of misreading
the characters also sometimes affects the understanding of
sentences in these fragments.
Strategies
Amid these challenges, this paper adopts several strategies
to facilitate translation without any corresponding text.
At the word level, the meaning of a word is comprehended
by two methods. If a Tangut word has a corresponding
Chinese or Tibetan word in other translated Tangut manu-
scripts, then the meaning of the corresponding word will
be taken as the meaning of the Tangut word. For example,
the Tangut word tĞier1 •ju2 ၽᛝ literally means “benefit
seeking.” But in Volume 10 of the Tangut version of
Suvar‫ ޠ‬aprabhƗ Snjtra (Lӿ, 2008: 386–387; Wáng, 1933b:
368–369), which is translated from Chinese, this Tangut
word corresponds to the Chinese fƗngbiàn ᮍ֓ “conve-
nient, skillful means.” Therefore, tĞier1 •ju2 ၽᛝ is read as
“convenient, skillful means” in the text.
Sometimes a Tangut word may not have any correspond-
ing word in Chinese or Tibetan manuscripts, but the
combination of morphemes shows a clear connection with
existing Chinese or Tibetan concepts. For example, the
Tangut word mji1 njˣˣ1 ˄Ӥ literally means “not two,”
which, under the context of Tibetan Buddhism, shows clear
semantic and morphologic connection with the Sanskrit
advaya, Chinese bú’èr ϡѠ, and Tibetan gnyis su med pa,
all meaning “non-duality.” In such cases, the correspon-
dence between the Tangut word and the religious term
would still be considered established.
For other Tangut words, their meaning will be under-
stood at the character level by adopting the character expla-
nation from a modern Tangut dictionary (Lӿ, 2008). The
character meaning may, however, need further negotiation
if the explanation provided by the dictionary does not
fit well in the sentence context. For example, the Tangut
word gjwi2 ਼ is explained as “word” or “sentence” in the
dictionary (Lӿ, 2008: 520). Yet these meanings are incom-
prehensible in the sentence. Therefore it is re-interpreted
as “expression” after comparing several related Tangut
words and their corresponding Tibetan words (cf. note 1,
line 033 later).
At the sentence level, the sentences are phrased first
according to the position of the verbs as Tangut is a subject-
object-verb (SOV) language. The function words, such as
1 1
topic marker tja ఻, causative marker phji ॴ, locative
166 Journal of Chinese Writing Systems 2(3)

marker ˞ a ᛸ, anti-ergative marker •jij ‫ݒ‬, and modal

2 1
Line 5 is the Wylie transliteration of the Tibetan syllable
particle ljˣ1 ቗ would be taken as the reference points. The for phonetic glossing. In order to record syllable combina-
position of these function words would reveal the phrasal tions that do not exist in Tibetan spelling, minor changes
relationship in a sentence. Last but not least, the sentence to the rules of transliteration are adopted. Prescripts and
boundary is also identified by the structural pattern of the postscripts are separated from the main part by a dot. The
text. For example in line 002 of the interlinear gloss of the combination of basic script ka with an underscript ha is
Tangut text it mentions the collection of three different represented by k+ha to differentiate it from the basic script
items. One would then expect that the following sentences kha. Unrecognizable letters or vowel signs are represented
would elaborate three different items accordingly. In line by “-”. Doubtful letters are labeled with a question mark.
009 of the interlinear gloss, when the text mentions the Line 6 is a metaphrase gloss of Tangut words. On most
upward moving of an imaginary seed syllable from the occasions, the gloss is done at a character level. The gloss
emanation wheel, one would then expect the text to men- is done at a word level, however, when the corresponding
tion the dharma wheel, the enjoyment wheel, and so forth, Chinese or Tibetan word of a Tangut word in a text is
based on religious knowledge of the wheel (Sk. cakra) identified, or when the combination of Tangut morphemes
system inside the body. clearly connects with some existing Chinese or Tibetan
words. A free translation of the sentence is provided
under line 6.
The glossing rules
This paper adopts a sentence-based interlinear gloss for the
Tangut text in Fr. 3(8), Fr. 9(14), and Fr. 1(6). In order to The interlinear gloss of the Tangut text
accommodate Tangut writing and its Tibetan phonetic The interlinear gloss of the Tangut text in Fr. 3(8), Fr. 9(14),
glosses, a six-line gloss together with a line of free transla- and Fr. 1(6) follows:
tion is proposed as follows.
Line 1 marks the location of individual Tangut charac- 001. ĺBA
ters in the fragments. The first two letters represent the BA0101 BA0102 BA0103 BA0104 BA0105
fragments, namely, BA for Fr. 3(8), BB for Fr. 9(14), and L0705 L5856 L2679 L3583 L0508
[±6] ዆ ᛸ ౚ ఻ ᤻
BC for Fr. 1(6). The following two digits represent the
zjij1 ˞a2 njˣ2 tja1 ƾwu2
line number, and the last two digits represent the character g.z-.- gha ni ta ngu
number. For example, BA0105 represents the fifth Tangut moment -LOC arrive -top is
character in line 1 of Fr. 3(8). The beginning of a fragment
is marked with an arrow on the top of the lines. For “… is … arriving … at the moment of ….”
example “ėBA” means the beginning of fragment BA or
Fr. 3(8). 002.
Line 2 is the serial number of the Tangut character BA0106 BA0107 BA0108 BA0109 BA0110 BA0111
L5354 L5993 L2833 L2518 L1800 L1599
according to the Tangut–Chinese Dictionary compiled by ᒶ ም ʿ ય ེ ᢑ
Lӿ Fànwén (2008). For example, “L0508” means Tangut thjˣ
2
kha1 djˣj2 njiij1 lwo2 rjir1
character number 0508 in Lӿ’s dictionary. thi khha dhe g.ne l- ?
[1]
rie
[2]

Line 3 is the Tangut character. Characters in doubt are this -within meditation heart firm acquire

labeled with a question mark. The missing characters in the BA0112 BA0113 BA0114 BA0115 BA0201
fragments are represented by a square Õ. If the missing L1139 L1599 L0749 L4444 L0749
[4]
character can be retraced from the sentence content or its ‫ݒ‬ ᢑ ॴ ᘺ [±3] ॴ
1 1 1 1
•jij rjir phji ljˣ1 phji
Tibetan phonetic gloss, the retraced character will also be [3] [5] [6]
ye ? r- ? phi ? -i phi
squared like ਼, which means this character is missing in -ANTIERG acquire -CAUS and -CAUS
the fragment, but it can be credibly guessed. Square brack-
BA0202 BA0203 BA0204 BA0205 BA0206 BA0207
ets are used to indicate a missing part where the number of L3099 L1906 L2472 L1800 L2226 L0749
missing characters is uncertain. For example [±3] means ౴? ˂?
[7]
ಛ ེ
[8]
ழ ॴ
thatthere are approximately three missing Tangut charac- dĨjiij1 nioow1 gjwˣ1 lwo2 we2 phji1
ters in the sentence. ’.-e g.-- b.-u kli d.wi phi
guard? also? firm become -CAUS
Line 4 is the reconstructed pronunciation of Tangut
characters based on Gong’s scheme (2003). For the conve- BA0208 BA0206 BA0207 BA0208 BA0209 BA0210
nience of printing, the tensed vowel is represented by an L0535 L2226 L0749 L0535 L0724 L5865
৯ ழ ॴ ৯ ዽ ᛎ
underline instead of a dot under the vowel. The long vowel Ğjij
1
we
2
phji
1
Ğjij
1
njˣ
2
so
1

is represented by duplication of the vowel instead of an she d.wi phi she ni g.so.’
underline as in Gong’s scheme. -along.with become -CAUS -along.with and.so.forth three
Tai 167

BA0211 BA0212 BA0308 BA0309 BA0310 BA0311 BA0312 BA0313

L5932 L5612 L1546 L4444 L1245 L2698 L5865 L5932
ᑙ ᔣ ᡶ ᘺ ᣮ Ԥ[5] ᛎ ᑙ
mԥ2 tshjiij1 lju2 ljˣ1 •jij1 tsjiir2 so1 mԥ2
d.mu tshe lu.’ ldi g.ye rtse g.so.’ mu
kind speak body and self-nature three kind

BA0314 BA0315 BA0316 BA0317 BA0318

“Inside, there are three kinds of item, namely, those makes
L0795 L0478 L5573 L3791 L1481
one achieve a firm and meditative mind, and those makes …, ៀ ඏ
[6]
ᇟ?
[7]
છ ෽
those makes one become retaining [?] and firm and so forth.” rjˣr
2
Ğioo1 tjij2
bji2 tĞhiow1
[1]
ri zho.’ ƶ ’.bvi -.cho
This Tibetan phonetic gloss is incomplete and seems to consist of a radical NMLZ- collect navel? down knot
la.
[2]
This Tibetan phonetic gloss has two vowel symbols -i and -e. The reason
of having two vowel signs is unclear. The vowel symbol -e may, however, “under the navel [?], one should tie three kinds of collected
be just the extension of the vertical stroke of the radical ra. item, namely, the pledge being which grows flourishingly,
[3]
This Tibetan phonetic gloss is incomplete. It should be ye based on the the body which makes one grow flourishingly, and the self-
remaining part with reference to the Tibetan phonetic gloss of the same
nature.”
Tangut character at BA0307.
[4]
Tg. rjir1… rjir1 ᢑ… ᢑ from BA0111 to BA0113 should be the split form [1]
The superscript of this Tibetan phonetic gloss is unclear. It is identified as
of Tg. rjir1 rjir1 ᢑᢑ. The reduplication of Tg. rjir1 ᢑ “achieve” corre-
ga after comparing it with Tibetan phonetic glosses of the same Tangut
sponds to Ch. su΅dé ᠔ᕫ “acquisition” in the Tangut version of The Art
character in BB0709.
of War (Lӿ, 2008: 267; Lin, 1994: 7–233). [2]
[5] This Tangut character is highly incomplete. It should be the instrumental
This Tibetan phonetic gloss is incomplete and seems to consist of a radical 1
marker Tg. bju ‫ ܮ‬based on its remaining strokes and its Tibetan phonetic
ra.
[6] gloss.
This Tibetan phonetic gloss is incomplete. It should be phi based on the [3] 2
The missing Tangut character at BA0221 should be gjwi ਼ “word” by
remaining part with reference to the Tibetan phonetic gloss of the same
reference to BB0704 and BB0705. It forms the word Tg. la1 gjwi2 ᕿ਼
Tangut character at BA0207.
[7] “recorded word,” which should be a literal translation of Tb. dam tshig,
The Tangut characters at BA0202 and BA0203 are highly incomplete.
1 1 Sk. samaya, and Ch. shìyán 䁧㿔 or sƗnmèiyé ϝ᯽㘊 (Snjn, 2015: 32),
These two Tangut characters may be dĨjiij nioow ౴˂ based on the remain-
meaning the vow or the pledge (Buswell and Lopez, 2014: 747–748).
ing strokes and their Tibetan phonetic gloss, with reference to BB0505 and [4] 1 2 1 2
Tg. la gjwi kjir sjij ᕿ਼࿚࿥ “recorded word (of) brave consciousness”
BB0506. Tg. dĨjiij1 nioow1 ౴˂ literally means “abide again.” Its actual
should be a literal translation of Tb. dam tshig sems dpa’, Sk. samayasat-
meaning is, however, unclear.
tva, and Ch. sƗnmèiyé sàdu΅ ϝ᯽㘊㭽෉ (Snjn, 2015: 561–562). It means
[8]
Tg. gjwˣ1 lwo2 ಛེ “firm” corresponds with Ch. jiƗngù ෙ೎ in Volumes
the “pledge being” or the visualized image of a deity, which is the first
6 and 8 of the Tangut version of the Suvar‫ ޠ‬aprabhƗ Snjtra (Lӿ, 2008: 299,
among the three stages of generation (Tb. bskyed rim, Sk. utpattikrama,
407; Wáng, 1933b: 26, 188).
Ch. shƝngq΃ cìdì ⫳䍋⃵㄀, cf. Krang dbyi sun, 1993: 120, 755; Buswell
2 1
and Lopez, 2014: 748, 946). The second stage of generation, Tg. sjij kjir
003. sjij2 ኚ࿚࿥ “knowledge being,” is mentioned in note 1, line 010.
[5] 1 2
BA0213 BA0214 BA0215 BA0216 Tg. •jij tsjiir ᣮԤ “self-nature” should be a literal translation of Tb. rang
L5354 L3183 L2019 L0290 bzhin, which corresponds to Sk. svabhƗva and Ch. zìxìng 㞾ᗻ (Buswell
ᒶ ୑ ю Ӄ and Lopez, 2014: 879; Hirakawa, 1997: 987; Krang dbyi sun, 1993: 2653)
2 2 1 2 [6]
thjˣ wo thja sju The lower half of this Tangut character is incomplete. It is identified as
Ğioo1 ඏ “gather” after comparing its remaining strokes and its Tibetan
[1]
thi wo tha zu.’
this rationale that -as.if phonetic gloss with BB0315 and BC0705.
[7] 2
The upper half of this Tangut character is incomplete. It should be tjij ᇟ
“The rationale is like this:” “navel” after comparing its remaining strokes with BA0416.

[1]
The radical of this Tibetan phonetic gloss syllable is not clear in the
photo. It is quite clear on the original fragment, however, and is identified 005.
as wa. BA0319 BA0320 BA0321 BA0322 BA0401
L2261 L2750 L5498 L0290 L5894
[1]
004. ᅲ ૟ ᓟ Ӄ?[3] [±1] ᛭
˞u
2 1 1 2 2
BA0217 BA0218 BA0219 BA0220 BA0221 BA0301 •jow •jij sju dzjˣj
L0496 L0596 L0433 L5404 L3195 L1959 yo.ng[2] b.gu g.-- z- dze.ng
ቱ ᤮ ‫?ܮ‬
[2]
ᕿ ਼ [3] ࿚ raven head form -as.if corner
ljij1 dzjaa1 bju1 la1 gjwi2 kjir1
BA0402 BA0403 BA0404
gle[1] ’.dza.’ ’.bu.’ gla.’ b.-- rkyi
L5670 L2983 L1364
flourish grow -INS? pledge being
ሥ ʺ น
BA0302 BA0303 BA0304 BA0305 BA0306 BA0307 •o
1
•u2 ƾa1
[4]
L3469 L5981 L0496 L0596 L0749 L1139 wo wu d.nga.’
[4]
࿥ Σ ቱ ᤮ ॴ ‫ݒ‬ hang inside empty
2 -- 1 1 1 1
sjij •a ljij dzjaa phji •jij
ze a l-e ’.-- phi ye “(One should) hang them in … corners in the form similar to
PFV- flourish grow -CAUS -GEN a bird head, which are empty inside.”
168 Journal of Chinese Writing Systems 2(3)

[1]
Tg. •jow2 ᅲ corresponds to both Ch. hƝiwnj 咥⚣ “raven” and Ch. yànzi “By embracing the fortune syllables in the center of the wheel,
➩ᄤ “swallow” in Pearl in the Palm (lines 1 and 2, leaf 17, cf. Lӿ, 1994: and the fortune syllable inside the six fortune syllables on the
409). It is more likely to mean “raven” in this sentence as the raven head
‘six spokes’”
is symbolic in Tibetan Buddhism, for example in the worship of MahƗkƗla
(Wong, 2009).
[1] 2 --
[2]
The use of nga as postscript in BA0319, BA0401, and BA0409 is rare Tg. dĨiej lΩ ᠛̤ literally means “to think of the wheel.” In the sentence
among all glossing syllables. This stroke may not be postscript nga but a context, however, it should be a noun phrase. Therefore it would be more
symbol of other meanings, for example the full stop or the srog med mark appropriate to contextualize it as “the wheel in mind.”
[2] 2 2
that suppresses the inherent vowel sound. Tg. tjij gu ᇟጻ “navel middle” corresponds to Tb. lte ba “navel” in Volume
[3] 2
This Tangut character is highly incomplete. It should be sju Ӄ “as if” based 4 of the Tangut version of Sa‫ ޜ‬pu߆ atantra (Snjn, 2015: 287), and Tb. ze
on its remaining strokes and Tibetan phonetic gloss. vbru “stamen” in Volume 5 of the Tangut version of Sa‫ ޜ‬pu߆ atantra (Snjn,
[4]
The Tibetan phonetic gloss of BA0402 wo has a crossed-out vowel -u, and 2015: 569). The sense of “navel” for Tb. lte ba has an extended meaning
the Tibetan phonetic gloss of BA0403 wu has a crossed-out vowel -o. It of “center,” which is adopted here as it is the most logical sense in the
seems that the transcriber has once confused the pronunciation of these context.
[3] 2 1
two Tangut characters, and corrected the glosses after the mistake was Tg. gjuu rjur ᅽᘽ often corresponds to Ch. jíxiáng ঢ়⼹ “fortune” (Lӿ,
realized. 2008: 648; Lӿ and Nakajima, 1997: 174; Wáng, 1933b: 340). In Tangut
text translated from Tibetan sources, however, this word corresponds
to Tb. bab bla or ba bla “yellow pigment” (Snjn, 2015: 188). Here the
006.
meaning of “yellow pigment” seems to be more logical in the context.
BA0405 BA0406 BA0407 BA0408 BA0409 BA0410 [4] 1 1
Tg. tĞhjiw no ੺࣐ literally means “six spokes.” Its actual meaning in the
L0388 L1136 L4027 L5865 L5894 L3200
๪ ጻ Ӥ ᛎ ᛭ ੺ sentence context is unclear, which may refer to a six-spoked wheel.
[5]
thja2 gu2 njˣˣ1 so1 dzjˣj2 tĞhjiw1 The postscript va in this Tibetan phonetic gloss syllable seems like ba. It
Õ[1] b.gu g.ni.’ g.so.’ dze.ng chi.’ is identified as va because its stroke starts from the bottom, while the
that -within two three corner six letter ba should start its stroke from the top.
The meaning of Tg. tĞjˣ ࿩ here is uncertain. The original meaning of Tg.
[6] 1

BA0411 BA0412 tĞjˣ ࿩ is “to surround, to move around” (Lӿ, 2008: 414), but this meaning
1

L4108 L5670
can hardly be contextualized in this and the following sentences. Tg. tĞjˣ1
࣐[2] ሥ
࿩ often forms the word Tg. tĞjˣ1 ror2 ࿩஡ or ror2 tĞjˣ1 ஡࿩ with Tg. ror2
no1 •o1
஡, which also means “to surround, to move around” (Lӿ, 2008: 452–453).
g.no.’ wo
In Volume 3 of the Tangut version of Sa‫ ޜ‬pu߆ atantra, Tg. ror ஡ corre-
2
spoke hang
sponds with Tb. bsdus “to gather, to embrace” (Snjn, 2015: 26). It is
possible that Tg. tĞjˣ ࿩ is another corresponding term of Tb. bsdus,
1
“(Then) hang the “six-spoked” [?] in two or three corners
as the correspondence between a Tibetan term and its translating Tangut
among those corners.” character is not fixed. The meaning “to gather, to embrace” is adopted
here as it would contextualize the sentence much better than the original
[1]
This Tibetan phonetic gloss is smeared and not identifiable. meaning of the character.
[2]
Tg. tĞhjiw1 no1 ੺࣐ literally means “six spoke” but its actual meaning
is not clear. Based on the content of the text, this word may refer to an
008.
imagined six-spoked wheel of dharma (Sk. dharmachakra) that contains
BA0513 BA0514 BA0515 BA0516 BA0517
mantra syllables at the center of the wheel and at the end of each spoke.
L5865 L5932 L3229 L1822 L0724
[1]
ᛎ ᑙ ૳ ܱ ዽ
007. ƾwu2 mԥ2 ƾwԥԥ1 ƾwuu1 njˣ2
BA0413 BA0414 BA0415 BA0416 BA0417 BA0418 g.so.’ d.mu b.nge b.ngu ni
L0762 L1946 L1139 L5573 L1136 L4031 three kind incantation recitation and.so.forth
᠛ ̤[1] ‫ݒ‬ ᇟ ጻ[2] ᅽ
dĨiej2 lԥ-- •jij1 tjij2 gu2 gjuu2 BA0518 BA0519
je.’ ldi ye te b.gu ’.gyu L2569 L1946
wheel think.of -GEN center fortune ࿩ ̤
tĞjˣ1 lԥ--
BA0419 BA0420 BA0421 BA0422 BA0423 BA0501
rci ldi
L4437 L2403 L4444 L3200 L4108 L0089
ᘽ[3] Հ ᘺ ੺ ࣐
[4]
ƍ embrace think.of
1 2 1 1 1 1
rjur dji ljˣ tĞhjiw no tĞhjaa
ru dh- ldi chi.’ g.no.’ cha.’ “(One should) think of embracing three kinds of incantations
syllable and six spoke -on and so forth.”
BA0502 BA0503 BA0504 BA0505 BA0506 BA0507
L3200 L4031 L4437 L2403 L1136 L4031
[1]
Tg. ƾwΩΩ1 ƾwuu1 ૳ܱ “incantation recitation” corresponds to Ch. zhòusòng
੺ ᅽ ᘽ Հ ጻ ᅽ ੦䷠ in Volume 4 of Suvar‫ ޠ‬aprabhƗsa Snjtra (Lӿ, 2008: 525; Wáng, 1933a:
tĞhjiw1 gjuu2 rjur1 dji2 gu2 gjuu2 174).
[5]
chi.’ ’.gyu ru dhi b.gu ’.gyu
six fortune syllable -within fortune 009.
BA0508 BA0509 BA0510 BA0511 BA0512 BA0520 BA0521 BA0522 BA0523 BA0601 BA0602
L4437 L2403 L1139 L2569 L5880 L0762 L3229 L0724 L3315 L1671 L4573
ᘽ Հ ‫ݒ‬ ࿩[6] ๋ ᠛ ૳[1] ዽ ௡ ᚓ Ꮖ
rjur1 dji2 •jij1 tĞjˣ1 ƾwu2 dĨiej
2
ƾwԥԥ1 njˣ2 tsԥ1 njij1 bji1
ru dhi ye rci ngu je.’ b.ngu ni rtsi ne ’.bhi.’
syllable -ANTIERG embrace -INS wheel incantation and.so.forth color red light
Tai 169

BA0603 BA0604 BA0701 BA0702 BA0703 BA0704 BA0705 BA0706

L4628 L1946 L1139 L3268 L4444 L3791 L5689 L5815
ᚂ ̤ ‫ݒ‬ ୐ ᘺ છ ᝙[4] ᇿ
dwԥr2 lԥ-- •jij1 tĞhjwˣj1 ljˣ1 bji2 ˞a1 tsjˣ1
b.du.r ldi ye b.che ldi ’.bhi gha tsi
burn think.of -ANTIERG restrict and down gate also

BA0707 BA0708 BA0709 BA0710 BA0711 BA0712

“(One should) think of burning the red color of the wheel
L3268 L5880 L3791 L2302 L4511 L1890
incantation and so forth.” ୐ ๋ છ ᠯ
[5]
՜ ࿦
tĞhjwˣj1 ƾwu2 ƾwu2 ljˣ1
bjˣ1 bjij2
[1]
Tg. dĨiej2 ƾwΩΩ1 ᠛૳ “incantation wheel” should refer to the incantation b.che ngu d.bhi.’ li.’ d.bhi ’.bhe
that is arranged in wheel shape. restrict -INS down wind up high

BA0713 BA0714
010.
L3349 L5173
BA0605 BA0606 BA0607 BA0608 BA0609 BA0610
՜ ᜐ
L1771 L1959 L3469 L3600 L2019 L3229 2 --
rjijr dĨjˣ
ኚ ࿚ ࿥[1] ᄝ ю ૳
re ji
sjij2 kjir1 sjij2 ˞ju1 thja1 ƾwԥԥ1
-direction draw
g.se.’ rkyi ze g.yu.’ tha b.nge
knowledge being invite that incantation
“(One should) draw the underneath wind high upward by
BA0611 BA0612 BA0613 restricting the in and out of convenient breath upside, and by
L1822 L5856 L1616
restricting the bottom gate.”
ܱ ᛸ ቶ
ƾwuu
1
˞a2 •o2 [1] 1 2
Tg. tĞier •ju ၽᛝ literally means “benefit seeking.” It corresponds to Ch.
b.ngu gha wo
fƗngbiàn ᮍ֓ “convenient, skillful means” in Volume 10 of the Tangut
recitation -LOC enter
version of Suvar‫ ޠ‬aprabhƗ Snjtra (Lӿ, 2008: 386–387; Wáng, 1933b: 368–
369), and should be related to Sk. upƗya and Tb. thabs (Buswell and
“(Then one should) invite the knowledge being, and enters
Lopez, 2014: 942; Hirakawa, 1997: 583–584).
him when one is reciting that incantation.” [2]
Tg. ˞ie ߊ “breath” corresponds to Ch. qì ⇷ in Pearl in the Palm (line
2

3, leaf 19, cf. Lӿ, 1994: 413). While Ch. qì ⇷ often refers to the abstract
[1] 2 1 2
Tg. sjij kjir sjij ኚ࿚࿥ “wisdom (of) brave consciousness” corresponds vital energy, here Tg. ˞ie2 ߊ seems to refer to the actual breath in this
to Tb. ye shes sems dpa’ in Volume 5 of the Tangut version of Sa‫ ޜ‬pu߆ atantra sentence context, in comparison with Tg. ljˣ ᠯ “wind” in note 5 of this
1

(Snjn, 2015: 603). It should be related to Sk. jñƗnasattva, and Ch. zhìhuì
sàdu΅ ᱎ᜻㭽෉, which means the “knowledge being” or the true form
of the deity, which is the second among the three stages of generations
(Buswell and Lopez, 2014: 398; Krang dbyi sun, 1993: 1469). The third
1 2 1 2
stage of generation, Tg. la gjwi kjir sjij ᕿ਼࿚࿥ “pledge being,” is
line. In Volume 4 of the Tangut version of Sa‫ ޜ‬pu߆ atantra, Tg. lho-- •o2
˞ie2 ੁቶߊ corresponds to Ch. chnjrùqì ߎܹ⇷, which means breath out
and in (Snjn, 2015: 408).
[3]
This Tibetan phonetic gloss is smeared and not identifiable.
[4]
The meaning of Tg. bji ˞a છ᝙ “bottom gate” is unclear. Based on the
2 1

mentioned in note 4, line 004. sentence context, it may refer to anus.

[5]
Tg. ljˣ1 ᠯ “wind” corresponds to Ch. fƝng 乼 in Pearl in the Palm (lines
011. 4 and 5, leaf 8, cf. Lӿ, 1994: 390). It corresponds to Tb. rlung and Sk.
BA0614 BA0615 BA0616 BA0617 vƗyu, which refers to abstract and invisible energy inside the body (Buswell
L1918 L4027 L2226 L0705 and Lopez, 2014: 963–964).
[1]
˄ Ӥ ழ ዆
1 1 2 1
mji njˣˣ we zjij 013.
d.mi g.ni d.wi g.ze BA0715 BA0716 BA0717 BA0718 BA0719 BA0720
nondual become moment L0388 L0290 L2612 L3791 L2302 L3268
๪ Ӄ ୺ છ ᠯ ୐
“When one becomes nondual (with the knowledge being),” thja
2
sju2 phju2 bji2 ljˣ1 tĞhjwˣj1
tha zu pho ’.bhi gli b.che.’
Tg. mji njˣˣ ˄Ӥ literally means “not two.” It should be corresponding
[1] 1 1
that -as.if up down wind restrict
to Tb. gnyis su med pa, Sk. advaya, and Ch. bú’èr ϡѠ, meaning “non-
BA0721 BA0722 BA0801 BA0802 BA0803 BA0804
duality” (Buswell and Lopez, 2014: 18; Hirakawa, 1997: 34).
L3354 L0433 L1245 L2698 L0433 L0113
ళ ‫ܮ‬ ᣮ Ԥ ‫ܮ‬ ຿
012.
˞ie Ğjˣj
1 1 1 2 1 1
bju •jij tsjiir bju
BA0618 BA0619 BA0620 BA0621 BA0622 BA0623
d.ghi ’.bu g.ye rtse ’.bu she
L2612 L2341 L5346 L1010 L2797 L1616
[1]
force -INS self-nature -INS achieve
୺ ၽ ᛝ ߊ[2] ੁ ቶ
phju2 tĞier1 •ju2 ˞ie2 lho-- •o2
[3]
“Just like that, one would be able to achieve the restriction
pho.’ rcu yu d.ghi lho Õ
up convenient breath come.out enter
of upper and lower winds by one’s force and by one’s self-
nature.”
170 Journal of Chinese Writing Systems 2(3)

014. 016.
BA0805 BA0806 BA0807 BA0808 BA0809 BA0810 BA0901 BA0902 BA0903 BA0904 BA0905 BA0906
L1771 L4882 L2302 L0762 L1139 L4174 L4027 L4250 L4889 L2913 L0290 L0388
ኚ ᥔ ᠯ[1] ᠛ ‫ݒ‬ ࠔ Ӥ ࣙ ᓿ ˈ
[1]
Ӄ ๪
Ĩjˣr
2 -- 1 2 1 2 1 1 1 2 2 2
sjij ljˣ dĨiej •jij mju njˣˣ sji dĨjwˣ lja sju thja
g.se.’ g.zhi.r li je.’ ye mu g.ni zi b.je lda Zu tha
wisdom wind wheel -ANTIERG move two wood each.other cross -as.if that

BA0811 BA0812 BA0813 BA0814 BA0815 BA0816 BA0907 BA0908 BA0909 BA0910 BA0911 BA0912
L0433 L5573 L3791 L0762 L0724 L5937 L5856 L1245 L2698 L4408 L5185 L5880
[2]
‫ܮ‬ ᇟ છ ᠛ ዽ ጐ[3] ᛸ ᣮ Ԥ ࢉ ൵ ๋
˞a ƾwu
1 2 2 2 2 2 2 1 2 1 1 2
bju tjij bji dĨiej njˣ dĨiԥ •jij tsjiir mԥԥ dĨjaa
’.bu te d.bhi je.’ ni ji.’ gha g.ye rtse d.mu ’.ja.’ ngu
-INS navel down wheel and.so.forth circulate -LOC self-nature fire burn -INS

BA0913 BA0914 BA0915 BA0916

“(Then, one should) circulate the wisdom wind among the
L0802 L4684 L0497 L2162
wheel under the navel [the bliss protecting wheel?] and so ៗ ׂ
[2]
ᢍ ୉
forth by moving the wheel.” Ĩjˣr-- mej1 ƾewr2 bie2
zhi.r d.mi rngi ’.bhi.’
[1]
Tg. sjij2 Ĩjˣ r-- ኚᥔ “wisdom” corresponds to Ch. zhìhuì ᱎ᜻ in Volume vein eye -PL untie
200 of the Tangut version of MahƗprajñƗpƗramitƗ Snjtra (Lӿ, 2008: 294–
295; Wáng, 1932: 260–261), which should be related to Sk. prajñƗ and “As two pieces of wood rubbing each other. At that point, one
Tb. shes rab (Buswell and Lopez, 2014: 1077). Tg. sjij Ĩjˣ r ljˣ ኚᥔᠯ
2 -- 1
should untie the vein eyes by burning the self-nature fire.”
“wisdom wind” should be related to Ch. zhìhuìfƝng ᱎ᜻乼 or zhìhuìqì ᱎ
᜻⇷, which, according to some modern teachings of Tibetan Buddhism [1]
Tg. sji1… lja2 ࣙ… ˈ “wood … crossing” should be the partition form
(for example in Thubga Yishyin Norbu and Khenpo Sodargye Rinpoche,
of Tg. sji1 lja2 ࣙˈ “wood crossing,” which corresponds to Tb. srub byed
2015: 124), the “wisdom wind” is generated by carrying the “convenient
“to rub, to stir” in Volume 3 of the Tangut version of Sa‫ ޜ‬pu߆ atantra (Snjn,
wind” into “central vein” (Ch. zhǀngmài Ё㛜, which corresponds to Sk.
2015: 32).
avadhnjtƯ and Tb. rtsa dbu ma, cf. Buswell and Lopez, 2014: 82). Here
Tg. Ĩjˣr mej ៗׂ “vein eye” may refer to “vein knot” (Ch. màijié 㛜
[2] -- 1

the “convenient wind” should be related to Tg. tĞier •ju ˞ie ၽᛝߊ
1 2 2
㌤). In some modern teachings of Tibetan Buddhism (for example in
“convenient breath” in line 012.
[2] 2 2 2
Khenpo Tsering Dorjee Rinpoche and Chang Fu-Cheng, 2013: 102), it is
Tg. tjij bji dĨiej ᇟછ᠛ literally means “the wheel under navel.” Based
said there are 21 vein knots along the central vein caused by interweaving
on the description of wheels in the following sentences, this “wheel under
with the right or left veins.
navel” may refer to the “bliss protecting wheel” at the perineum
(Sk. sukhapƗlacakra, Tb. bde skyong gi ’khor lo, Ch. hùlèlún 䅋ῖ䓾, cf.
2 2 2 2 017.
Buswell and Lopez, 2014: 1076). Tg. tjij gu bji dĨiej ᇟጻછ᠛ “the
BA0917 BA0918 BA0919 BA0920 BA0921 BA0922
wheel under navel center” in line 021 may refer to the same wheel.
[3] 2 2 L0802 L2858 L2612 L4481 L5573 L1136
Tg. dĨiΩ ጐ “to circulate, to rotate” often joins with Tg. dĨiej ᠛ “wheel” [2]
2 2 ៗ ୞ ୺ ༰ ᇟ ጻ
to form the word Tg. dĨiΩ dĨiej ጐ᠛ “transmigration” (cf. Lӿ, 1994: 449,
Ĩjˣr
-- 2 2 1 2 2
2 2 zjir phju sjˣ tjij gu
2008: 936). At first glance Tg. dĨiΩ ጐ at BA0816 and Tg. dĨiej ᠛ at
zhi.r g.zi.’ pho[1] shi te b.gu
BA0817 forms Tg. dĨiΩ2 dĨiej2 ጐ᠛. This reading would, however, be
vein all.over up -toward navel
problematic as it will make the following characters Tg. no Ĩjˣr no
1 -- 1

࣐ៗ࣐ “spoke, vein, spoke” from BA0818 to BA0820 quite incompre- BA1001 BA1002 BA1003 BA1004 BA1005 BA1006
hensible. Therefore, it is proposed that Tg. dĨiΩ2 ጐ at BA0816 should be L1323 L0762 L1139 L0255 L2364 L0001
2
the verb of its preceding phrase, and Tg. dĨiej ᠛ at BA0817 should form ዕ ᠛
[3]
‫ݒ‬ ᝤ[4] ˛ ᤐ
another phrase with its following characters. 2 2 1 1 2 1
djii dĨiej •jij la seew sjwˣ
dhi je.’ ye gla g.si.’ b.su.’
015. emanation wheel -GEN imaginary seed
BA0817 BA0818 BA0819 BA0820 BA0821 BA0822
BA1007 BA1008 BA1009
L0762 L4108 L0802 L4108 L2858 L2939
[1] L5819 L1139 L4413
᠛ ࣐ ៗ ࣐[2] ୞ ǿ [5]
ᒔ ‫ݒ‬ ࠕ
Ĩjˣr
2 1 -- 1 2 1
dĨiej no no zjir zjij
ljwi1 •jij1 pju2
je.’ g.no zhi.r g.no rdzi.’ g.ze.’
b.li.’ ye ’.bu
wheel spoke vein spoke all.over stay
-ANTIERG burn

“(So that the wisdom wind can) stay all over the wheel spokes
“(Then) the fire should move upward all over the veins and
and the vein spokes.”
burn the imaginary seed syllable of the emanation wheel at
[1] the navel.”
There is an ink mark on the right of the Tibetan phonetic gloss at BA0818,
which seems like a Tibetan syllable d.wa. The reason for its existence is
[1]
unclear. On the original fragment it seems to have a small pencil writing of the
The exact meaning of Tg. Ĩjˣr no ៗ࣐ “vein spoke” here is unclear, letter “r” in cursive form on the top right side of this Tibetan phonetic
[2] -- 1

but may denote the vein branches. gloss.

Tai 171

[2] 2 2 [1]
Tg. tjij gu ᇟጻ “navel middle” can mean either “navel” or “central,” cf. The vowel -i of this Tibetan phonetic gloss ni is preserved on the top left
note 2, line 007. Here the sense of “navel” is adopted. corner of fragment BA (ɢɧɜ. 8363/Fr. 3(8)).
[3]
Tg. djii2 dĨiej2 ዕ᠛ “emanation wheel” corresponds to Tb. sprul pa’i ’khor [2]
Tg. tshja2 dĨiej2 ෪᠛ “requital wheel” corresponds to Tb. longs spyod
lo in Volume 3 of the Tangut version of Sa‫ ޜ‬pu߆ atantra (Snjn, 2015: 94). ’khor lo “enjoyment wheel” in Volume 3 of the Tangut version of
It is related to Sk. nirmƗ‫ ޠ‬acakra and Ch. huànhuàlún ᑏ࣪䓾 or qílún 㞡 Sa‫ ޜ‬pu߆ atantra (Snjn, 2015: 95). It is related to Sk. sambhogacakra and
䓾 (Buswell and Lopez, 2014: 1076). The emanation wheel is located at Ch. bàolún ฅ䓾, shòuyònglún ফ⫼䓾 or hóulún ଢ଼䓾 (Buswell and Lopez,
the navel. 2014: 243, 1076). The enjoyment wheel is located at the throat.
[4] 1
The missing Tangut character at BA1014 should be la ᝤ with reference
1 2
to the Tg. la seew ᝤ˛ “imaginary” in BA1016 and BA1017, and the 020.
Tibetan phonetic gloss gla in BA1004. BB0113 BB0114 BB0115 BB0116 BB0117 BB0118
[5]
Tg. sjwˣ1 ljwi1 ᤐᒔ “seed” corresponds to Ch. zh΅ngzi 。ᄤ “seed” in L4457 L0140 L0762 L1136 L2679 L0802
Volume 6 of the Tangut version of Suvar‫ ޠ‬aprabhƗ Snjtra (Lӿ, 2008: 1; ᢯ ອ ᠛[1] ጻ ౚ ៗ
Wáng, 1933b: 22). This “seed” should refer to the imagined seed syllable ljij2 rejr2 dĨiej2 gu2 njˣ2 Ĩjˣr--
(Sk. bƯja) during meditation. le.’ re -e [ku] [ni] [zhi.r] [wu]
great bliss wheel -within arrive vein
018.
BB0119 BB0120 BB0121 BB0122 BB0123 BB0201
BA1010 BA1011 BA1012 BA1013 BA1014 BA1015 L2983 L0255 L2364 L0001 L5819 L0724
L2518 L1136 L2679 L0467 L0762 L2983 ʺ ᝤ ˛ ᤐ ᒔ ዽ
[1]
ય ጻ ౚ ࿒ ᠛ ʺ •u2 la
1
seew
2
sjwˣ
1
ljwi
1
njˣ
2
1 2 2 1 2 2
njiij gu njˣ tsjiir dĨiej •u [gla] [g.so.’] [ ][2] [b.su.’] [b.li.’][3] ni
ne b.gu ni rtse g.je.’ wu -in imaginary seed and.so.forth
heart -within arrive dharma wheel -in
BB0202 BB0203
BA1016 BA1017 BA1018 BA1019 BA1020 BA1021 L4413 L0705
L0255 L2364 L0001 L5819 L1139 L4413 ࠕ ዆
[2]
ᝤ ˛ ᤐ ᒔ ‫ݒ‬ ࠕ pju2 zjij
1
1 2 1 1 1 2
la seew sjwˣ ljwi •jij pju bu g.ze
gla g.si.’ b.su.’ b.li.’ ye bu burn moment
imaginary seed -ANTIERG burn
“(Then it should) arrive in the middle of the great bliss wheel.
“(Then) it should arrive in the middle of the heart and burns At the moment of burning the imaginary seed syllable and so
the imaginary seed syllable in the dharma wheel.” forth in the vein.”
[1] 2 2 2
[1] 1 2
Tg. tsjiir dĨiej ࿒᠛ “dharma wheel” corresponds to Tb. chos kyi ’khor Tb. ljij rejr dĨiej ᢯ອ᠛ “great bliss wheel” corresponds to Tb. bde
lo in Volume 3 of the Tangut version of Sa‫ ޜ‬pu߆ atantra (Snjn, 2015: 94). chen ’khor lo in Volume 3 of the Tangut version of Sa‫ ޜ‬pu߆ atantra (Snjn,
It is related to Sk. dharmacakra and Ch. f΁lún ⊩䓾or xƯnlún ᖗ䓾 (Buswell 2015: 107). It is related to Sk. mahƗsukhacakra and Ch. dàlèlún ໻ῖ䓾
and Lopez, 2014: 243, 1076). The dharma wheel is located at the heart. (Buswell and Lopez, 2014: 1075). The great bliss wheel is located at the
[2]
Tg. la1 seew2 ᝤ˛ “virtual thinking” corresponds to Tb. rnam rtog “imag- forehead.
[2]
ination, imaginary” in Volume 3 of the Tangut version of Sa‫ ޜ‬pu߆ atantra There is a modern pencil writing “8363 1’III” between the Tibetan
phonetic glosses of BB0120 and BB0122, which should be the early
(Krang dbyi sun, 1993: 1566; Snjn, 2015: 116).
inventory number of the fragment.
[3]
The Tibetan phonetic glosses from BB0116 to BB0123 are preserved on
019. ĺBB the left edge of fragment BA (ɢɧɜ. 8363/Fr. 3(8)). The correspondence
BA1022 BA1023 BB0101 BB0102 BB0103 BB0104 between these Tibetan phonetic glosses and the Tangut characters in line
L0458 L1136 L2679 L1100 L0762 L1139 1 of fragment BB (ɢɧɜ. 8363/Fr. 9(14)) can be restored by joining the two
[2]
៭ ጻ ౚ ෪ ᠛ ‫ݒ‬ fragments together. From BB0117 to BB0120 the Tibetan phonetic gloss-
1 2 2 2 2 1
kor gu njˣ tshja dĨiej •jij es misalign with their corresponding Tangut characters. Each of them is
[1]
rko b.gu n[i] tsha je.’ ye in fact glossing the next Tangut character. There is no Tibetan phonetic
throat -within arrive enjoyment wheel -GEN gloss at BB0121, and the alignment returns to normal from BB0122.
Between the Tibetan phonetic glosses ku at BB0116 and zhi.r at BB0117,
BB0105 BB0106 BB0107 BB0108 BB0109 BB0110
there is a Tibetan gloss ni written in a smaller size. It should be a later
L0802 L2983 L0255 L2364 L0001 L5819 remedy after the scribe realized the misalignment.
ៗ ʺ ᝤ ˛ ᤐ ᒔ
Ĩjˣr
--
•u2 la1 seew2 sjwˣ1 ljwi1
021.
zhi.r wu gla g.si.’ b.su.’ b.li.’
BB0204 BB0205 BB0206 BB0207 BB0208 BB0209
vein -in imaginary seed
L2019 L1136 L1502 L2403 L1825 L5685
BB0111 BB0112 ю ጻ ෍[1] Հ ι ᕗ
1
L1139 L4413 thja gu2 xã1 dji2 tshjwa1 po1
‫ݒ‬ ࠕ tha -u ha‫ޜ‬ dhi b.tsha.’ bho
ha‫ޜ‬
1
•jij pju2 that -within syllable warm.up enlightened mind
ye bu.’
BB0210 BB0211 BB0212 BB0213 BB0214 BB0215
-antierg burn
L5319 L2518 L5120 L4751 L3791 L4161
[2]
ᡔ ય ೵ ‫[א‬3] છ ࡠ
“(Then) it should arrive in the middle of the throat and burns 1 1 1 1 2 1
tjˣj njiij swew sej bji lju
the imaginary seed syllable in the vein of the enjoyment dhe g.ne b.si.’ g.se.’ d.bvi.’ b.l-i
wheel.” purify down drift
172 Journal of Chinese Writing Systems 2(3)

[1] 2 1
Tg. tsew ৣ is an ordinal suffix (Lӿ, 2008: 216) of Tg. so ᛎ “three.”
BB0216 BB0217 BB0218 BB0219 BB0220 1 2
Therefore Tg. so tsew ᛎৣ means “third.”
L2474 L0802 L2858 L0010 L5171 [2]
Tg. dzju2 ବ “host” corresponds to Tb. dbang in Volumes 3 of the Tangut
ଇ[4] ៗ ୞ ʃ ᕄ
version of Sa‫ ޜ‬pu߆ atantra (Snjn, 2015: 154). Based on this clue, the word
rar2 Ĩjˣr-- zjir2 zji2 sԥ1 2 --
Tg. dzju lhjij ବஒ “host reception” should be a literal translation of Tb.
ra zhi.r g.zi.’ zi b.svi.’
dbang bskur, Sk. abhi޼ eka, and Ch. guànd΃ng ☠䷖ (Buswell and Lopez,
vein all.over all- full
2014: 12).

“Within that, (one should) warm up the ha‫ ޜ‬syllable inside,

purify the enlightened mind, and should drift it downward to 024.
BB0312 BB0313 BB0314 BB0315 BB0316 BB0317 BB0318
make it full all over the veins.”
L5354 L0290 L0070 L0478 L3101 L3101 L1946
[1]
[1]
Tg. xã1 ෍ is a Tangut character for transliterating the Sanskrit syllable ᒶ Ӄ Ƒ ඏ ౱ ȟ[2] ̤
ha‫( ޜ‬Snjn and Tai, 2012: 360), which should be the seed syllable inside thjˣ2 sju2 thjwˣ1 Ğioo1 •ji2 •ji2 lԥ--
[3]
the great bliss wheel. There are similar descriptions in modern teachings thi zu ? b.-- zho.’ yi yi ldi
of Tibetan Buddhism (for example, in Wáng, 2013: 288–289), that there this -as.if encounter collect repeatedly think.of
is a white and upside-down Tibetan syllable ho with a “moon and sun”
above (Tb. sna ldan, Sk. chandrabindu, the diacritic sign of a dot with a “(Then one should) ‘encounter and collect’ [?] like this, and
curved line below that represents the -a‫ ޜ‬sound) in the great bliss wheel. to think of it repeatedly.”
The Tibetan syllable ha‫ ޜ‬here is not a phonetic gloss of the Tangut
1
character xã ෍, rather it is the Tibetan seed syllable itself. [1]
This Tibetan phonetic gloss is unidentifiable in the photo. This gloss is
[2]
Tg. po1 tjˣj1 njiij1 ᕗᡔય “enlightened mind” should be related to Tb. also not very clear in the original fragment, but it seems likely to be zu.
byang chub sems, Sk. bodhicitta and Ch. pútíxƯn 㦽ᦤᖗ (Buswell and [2]
Tg. thjwˣ1 Ğioo1 Ƒඏ literally means “to encounter and to collect,” which
Lopez, 2014: 130–131) in which Tg. po tjˣj ᕗᡔ is a phonetic translit-
1 1
is not quite comprehensible under the sentence context. It may be a word
eration of Sk. bodhi “enlightenment, awakening.” It corresponds to Ch. translated from Tibetan that carries another meaning.
pútí 㦽ᦤ in Pearl in the Palm (line 6, leaf 36, cf. Lӿ, 1994: 446), and is [3]
This Tangut character is represented by an iteration mark “ȟ.” The orig-
related to Tb. byang chub (Buswell and Lopez, 2014: 129). inal meaning of Tg. •ji2 ౱ is “repeatedly.” When it is duplicated as Tg.
[3]
Tg. swew1 sej1 ೵‫“ א‬bright and pure” should be a literal translation •ji2 •ji2 ౱౱, it still means “constantly, repeatedly,” as evidenced by its
of Sk. prabhƗsvara or uttƗpanatƗ and is related to Ch. míngjìng ᯢ⎼
corresponding Chinese words bùy΃ ϡᏆ “constantly” in the Tangut trans-
(Hirakawa, 1997: 597). Muller (2010) provides several meanings for
lation of The Art of War (Lӿ, 2008: 506; Lin, 1994: 7–179) and l΍l΍ ሶሶ
Ch. míngjìng ᯢ⎼ in the Digital Dictionary of Buddhism: among them is
“repeatedly” in the Tangut translation of Forest of Categories (Lӿ, 2008:
“to purify,” which seems to be best fit the context of this sentence.
[4] 1 2 506; Shӿ et al., 1993: 48).
Tg. lju rar ࡠଇ “drift” corresponds to Ch. piƗoliú ⓖ⌕ “drift” in the
Tangut version of Liùz· TánjƯng ݁⼪ປ㍧ (Luó, 1932b: 232).
025.
022. BB0319 BB0320 BB0321 BB0322 BB0323 BB0401
BB0221 BB0222 BB0223 BB0224 BB0301 BB0302 BB0303 L2440 L0497 L2205 L3589 L5553 L5113
L5573 L1136 L3791 L0762 L1136 L2679 L0705 ᄗ ᢍ ઼ ᅬ ᓷ ቚ
ƾewr
2 2 1 1 2 1
ᇟ ጻ છ ᠛
[1]
ጻ ౚ ዆ njˣˣ ljˣˣr dzjˣj gji wji
tjij2 gu2 bji2 dĨiej2 gu2 njˣ2 zjij1 ni[1] rngi ldi dze.ng ’.gyi d.wi
te b.gu ’.bvi je.’ b.gu ni g.ze day -PL four time each do
navel down wheel -within arrive moment BB0402 BB0403 BB0404 BB0405 BB0406 BB0407
L1118 L2184 L0433 L2518 L2939 L1801
“When it arrives inside the wheel under the navel [the bliss ᣻ ੐ ‫ܮ‬ ય ǿ ᎋ
protecting wheel?],” dzjˣˣ
2
zjij2 bju1 njiij1 zjij1 dzjij2
’.dzi ze ’.bu g.ne g.ze.’ dze.ng
[1] 2 2 2 2
Tg. tjij gu bji dĨiej ᇟጻછ᠛ “the wheel under navel” should refer to exercise -do -INS heart stay other.else
the “bliss protecting wheel” at the perineum, cf. note 2, line 014.
BB0408 BB0409 BB0410 BB0411 BB0412 BB0413
L1918 L5262 L0025 L3583 L2833 L2518
023. [2]
˄ ᡋ Ɔ ఻ ʿ ય
BB0304 BB0305 BB0306 BB0307 BB0308 BB0309
mji
1
ƾewr1 khiee1 tja1 djˣj2 njiij1
L5865 L1290 L3266 L3159 L3589 L0140
[1] d.m- rngi khi.’ ta dhe.ng g.ne
ᛎ ৣ ବ ஒ[2] ᅬ ອ
1 2 2 -- 1 2 NEG- confused -TOP meditation heart
so tsew dzju lhjij dzjˣj rejr
g.so.’ g.tsi.’ ’.dzu lhe dze.ng re BB0414 BB0415 BB0416 BB0417 BB0418
third abhi޼eka time bliss L1064 L1599 L1139 L0508 L1599
v[3]
བ ᢑ ‫ݒ‬ ᤻ ᢑ
BB0310 BB0311
mjij2 rjir1 •jij1 ƾwu2 rjir1
L0290 L1946
me ri ye ri ngu
Ӄ ̤
2 -- not.yet acquire -ANTIERG is acquire
sju lԥ
zu ldi
-as.if think.of “If one can settle the heart and is not confused in other aspects
by doing exercise four times every day, then one would be
“(One should) think of the bliss as if the bliss one experienced able to acquire the meditative mind which has not been
during the third abhi޼ eka.” achieved yet.”
Tai 173

[1]
There is a strike off the Tibetan syllable ldi on the right of this Tibetan
028.
phonetic gloss. The scribe may have once misread the Tangut character of
BB0516 BB0517 BB0518 BB0519 BB0520 BB0521
BB0319 as Tg. ljˣˣr ઼ “four” that occurs at BB0321.
1
L1364 L5856 L2518 L5262 L0705 L3101
[2]
Tg. ƾewr khiee ᡋƆ “confused” corresponds to Ch. míluàn 䗋і in
1 1
น ᛸ ય ᡋ ዆ ౱
Volume 4 of the Tangut version of ZhƝnguàn Zhèngyào 䉲㾔ᬓ㽕 (Lӿ,
ƾa ˞a ƾewr
1 2 1 1 1 2
njiij zjij •ji
2008: 830–831; Niè, 2003: 120; St. Petersburg Branch of the Institute
d.nga.’ gha g.ne.’ rngi g.ze yi
of Oriental Studies of the Russian Academy of Sciences, 1996–1999:
void -LOC heart confuse moment again
XI–133–141).
[3]
Tg. rjir1… rjir1 ᢑ… ᢑ from BB0415 to BB0418 should be the split form BB0522 BB0523 BB0524 BB0601
1 1
of Tg. rjir rjir ᢑᢑ “acquisition,” cf. note 4, line 002. There is a tick- L2104 L0290 L0140 L1946
shaped symbol on the top right corner of Tg. rjir1 ᢑ in BB0418. At the ఑ Ӄ ອ ̤
same time, the Tibetan phonetic glosses of Tg. ƾwu ᤻ “to be” in BB0417
2
Ğji
1 2 2 --
sju rejr lԥ
1
and Tg. rjir ᢑ “acquisition” in BB0418 are reversed. By comparing the shi zu re.’ ldi
same tick-shaped symbol at BC0120, where the Tibetan phonetic glosses before -as.if bliss think.of
of BC0119 and BC0120 are also reversed, it is known that this tick
symbol should be marking the reversed sequence of two Tangut characters, “In void, when the heart is confused, (one should) repeat as
cf. note 2, line 038. Therefore, it should be that the Tangut characters at before to observe the bliss.”
BB0417 and BB0418 are to be reversed, whereas their Tibetan phonetic
glosses are already placed in the correct sequence.
029.
BB0602 BB0603 BB0604 BB0605 BB0606 BB0607
026. L0140 L4457 L0705 L3101 L1364 L1946
BB0419 BB0420 BB0421 BB0422 BB0423 BB0424 ອ ᢯ ዆ ౱ น ̤
L5865 L1290 L3266 L3159 L0140 L0290 2
ƾa
2 1 2 1 --
rejr ljij zjij •ji lԥ
ᛎ ৣ ବ ஒ ອ Ӄ re.’ gle g.ze.’ yi d.nga.’ ldi
so1 tsew2 dzju2 lhjij-- rejr2 sju2 bliss great moment again void think.of
[1] [2]
g.so.’ -i -u lhe re zu
third abhi޼eka bliss -as.if “When the bliss is great, (one should) repeat to observe the
BB0501 BB0502 BB0503 BB0504 BB0505 BB0506 void.”
L0615 L3159 L3583 L1599 L1906 L3099
[3]
ᗥ ஒ ఻ ᢑ ˂ ౴
030.
dwewr2 lhjij-- tja1 rjir1 nioow1 dĨjiij1
BB0608 BB0609 BB0610 BB0611 BB0612 BB0613
b.dhi.’ lhe.’ ta ri.’ g.nu.’ ’.je.’
L1364 L0140 L1599 L2748 L1737 L2226
perception -TOP achieve also guard [1]
น ອ ᢑ ੵ ๟ ழ
ƾa
1 2 1 2 1 2
BB0507 BB0508 BB0509 rejr rjir tĞhja ka we
L0749 L0535 L0508 d.nga.’ re.’ ri.’ cha k+ha.’ d.wi
ॴ ৯[3] ᤻ void bliss achieve equal become
Ğjij ƾwu
1 1 2
phji
BB0614 BB0615 BB0616 BB0617 BB0618
phi she ngu
L0705 L2472 L1800 L0508 L5285
-CAUS -along.with is [3]
዆ ಛ ེ ᤻ ቗ ƻ
ƾwu
1 1 2 2 1
“The perception like the bliss of the third abhi޼ eka is those
zjij gjwˣ lwo ljˣ
g.dze.’[2] b.gu kli ngu li
one achieved and retained [?].” moment firm is mod

[1]
The radical of this Tibetan phonetic gloss is unclear, which seems to be “At the moment when one achieves void and bliss and both
tsa. become equal, it is firm.”
[2]
The radical of this Tibetan phonetic gloss seems to have been amended.
The original radical may be da, then a stroke was added to change it into [1]
Tg. tĞhja2 ka1 ੵ๟ literally means “correct and equal,” which corresponds
la.
[3] 2 -- to Ch. píngdČng ᑇㄝ “equal, equality” in Volume 3 of the Tangut version
Tg. dwewr lhjij ᗥஒ literally means “consciousness received,” which
of Suvar‫ ޠ‬aprabhƗsa Snjtra (Lӿ, 2008: 451; Wáng, 1933a: 80–82).
should be related to Ch. juéshòu 㾎ফ and Sk. anubhava or pravedayati [2]
The Tibetan phonetic gloss of BB0614 does not match with its glossing
“perception” (Hirakawa, 1997: 1063).
Tangut character. The Tibetan syllable g.dze.’ at BB0614 should be gloss-
ing another Tangut character ᅬ dzjˣ j “time,” which shares a similar mean-
1

1
027. ing with ዆ zjij “moment.”
[3]
BB0510 BB0511 BB0512 BB0513 BB0514 BB0515 There is a small circle under BB0618. It may mark the end of a paragraph.
L2019 L0140 L4457 L0705 L1364 L1946
ю ອ ᢯ ዆ น ̤ 031.
ƾa
1 2 2 1 1 --
thja rejr ljij zjij lԥ BB0619 BB0620 BB0621 BB0622 BB0623 BB0701
tha re gle g.ze d.nga.’ ldi L4797 L5993 L0388 L1139 L1278 L3583
[1]
that bliss great moment void think.of ᣗ ም ๪ ‫ݒ‬ វ ఻
2 1 2 1 2 1
•jwˣr kha thja •jij •jˣ tja
“At the moment when the bliss is great, (one should) observe d.wi.r khha tha ye g.yi ta
the void.” text -within that -ANTIERG say -TOP
174 Journal of Chinese Writing Systems 2(3)

[3] 1
The Tangut character at BB0803 is smeared, which should be wee ᔬ
BB0702 BB0703 BB0704 BB0705 BB0706 BB0707 1 1 1
“birth” by reference to the word Tg. tsjiir wee mjii ࿒ᔬԦ in Fr. 5(10)
L2019 L2104 L5404 L3195 L1959 L3469
(Tai, 2008: 44). Tg. tsjiir1 wee1 mjii1 ࿒ᔬԦ literally means “dharma birth
ю ఑ ᕿ ਼ ࿚ ࿥[2]
palace.” It should be related to Tb. chos kyi ’byung gnas, Sk. dharmodaya
thja1 Ğji1 la1 gjwi2 kjir1 sjij2
and Ch. shƝngf΁gǀng ⫳⊩ᆂ or f΁shƝnggǀng ⊩⫳ᆂ. Dharmodaya is
tha shi gla.’ b.gyi rkyi ze
depicted as a downward-pointing triangle below the navel where the inner
that before pledge being
fire (Tb. gtum mo) is raised (Beer, 2003: 209–211; Tam, 1998: 170–172).
BB0708 BB0709 BB0710 BB0711 BB0712 BB0713
L5981 L0496 L0596 L0749 L1546 L1139
033.
Σ ቱ ᤮ ॴ ᡶ ‫ݒ‬
-- BB0807 BB0808 BB0809 BB0810 BB0811 BB0812
•a ljij1 dzjaa1 phji1 lju2 •jij1
L3183 L0010 L0113 L0749 L3195 L3583
a gle ’.dza.’ phi lu.’ ye [1]
୑ ʃ ຿ ॴ ਼ ఻
PFV- flourish grow -CAUS body -ANTIERG
wo2 zji2 Ğjˣj1 phji1 gjwi2 tja1
BB0714 wo zi.’ she phi b.gyi ta
L1278 rationale all- achieve -CAUS expression -TOP
វ
2 BB0813 BB0814 BB0815 BB0816 BB0817 BB0818
•jˣ
L2019 L0802 L1481 L2983 L0762 L1946
g.yi
ю ៗ ෽ ʺ ᠛ ̤
say
thja
1
Ĩjˣr-- tĞhiow1 •u2 dĨiej2 lԥ--
tha zhi.r b.cho.ng wu je.’ ldi
“The one which is said in that text, the body which makes the
that vein knot -in wheel think.of
pledge being to grow flourishingly.”
BB0819 BB0820
Tg. •jwˣr ᣗ literally means “writing, text,” which also carries the mean- L1139 L1278
[1] 2

ing of “recipe, method” (Lӿ, 2008: 759). It is not clear which written text ‫ݒ‬ វ
1 2
is referred to in this sentence. •jij •jˣ
[2]
Tg. la1 gjwi2 kjir1 sjij2 ᕿ਼࿚࿥ “recorded word (of) brave consciousness” ye g.yi
means the “pledge being” or the visualized image of a deity, cf. note 4, -ANTIERG say
line 004.
“The expression which makes the rationale all achievable is
032.
to think of the wheel in the vein knot.”
BB0715 BB0716 BB0717 BB0718 BB0719 BB0720 [1] 2
Tg. gjwi ਼ often corresponds to the meanings of “word” or “sentence”
L2467 L4751 L0785 L5856 L1278 L3583
[1] in Tangut manuscripts translated from Chinese (Lӿ, 2008: 520). It also
઴ ‫א‬ ԑ ᛸ វ ఻ 1 2
corresponds to the meaning of “vow” as in Tg. la gjwi ᕿ਼ “vow, pledge”
wja1 sej1 bju2 ˞a2 •jˣ2 tja1
(cf. note 3, line 004). Both meanings do not fit well in the context of this
d.wa.’ g.ze.’ ’.bvu.’ gha g.yi ta
sentence, however. Volume 3 of the Tangut version of Sa‫ ޜ‬pu߆ atantra pro-
lotus edge -LOC say -TOP
vides another correspondence to Tb. brda as in Tg. gjwi2 tsjij2 ਼૝ (Snjn,
BB0721 BB0722 BB0723 BB0724 BB0801 BB0802 2015: 130), which means “symbol, sign, name, posture, or symbolic item,
L5573 L3791 L0802 L1481 L1136 L0467 sound and movement” (Krang dbyi sun, 1993: 1483). Based on these
[2]
ᇟ છ ៗ ෽ ጻ ࿒ correspondences, especially the last one, it is suggested that the original
2
tjij2 bji2 Ĩjˣr-- tĞhiow1 gu2 tsjiir1 meaning of Tg. gjwi ਼ should be “expression,” so that all of the above
te ’.bvi zhi.r b.cho.ng b.gu rtse correspondences can make sense. The meaning of “expression” can fit in
navel down vein knot -within dharmodaya the context of this sentence as well.

BB0803 BB0804 BB0805 BB0806

L5435 L1892 L1139 L1747 034.
[3] BB0821 BB0822 BB0823 BB0901 BB0902 BB0903
ᔬ? Ԧ ‫ݒ‬ Ꭱ
wee1 mjii1 •jij1 nur1 L5354 L0290 L0762 L3583 L0105 L2090
-.wi d.mi ye rnu ᒶ Ӄ ᠛ ఻ ຸ ଀
2 2 2 1 1 2
-ANTIERG indicate thjˣ sju dĨiej tja kju lew
thi zu je.’ ta rkyu ldi
“The one on the edge of the lotus, is to illustrate the dharmo- this -as.if wheel -TOP seek -should

daya in the vein knot under the navel.”

“Therefore, one should seek for the wheel.”
[1] 1 1
Tg. wja sej ઴‫ א‬literally means “clean flower.” It corresponds to Ch.
liánhuƗ 㫂㢅 “lotus” in Pearl in the Palm (line 6, leaf 13, cf. Lӿ, 1994: 035.
400), and Tb. pad ma “lotus” in Volume 3 of the Tangut version of BB0904 BB0905 BB0906 BB0907 BB0908 BB0909
Sa‫ ޜ‬pu߆ atantra (Snjn, 2015: 29). L2436 L1139 L0113 L0749 L2484 L3183
[2]
Tg. Ĩjˣ r-- tĞhiow1 ៗ෽ literally means “vein knot.” In some modern teach- ౭ ‫ݒ‬ ຿ ॴ ᚵ ୑
Ğjˣj
1 1 1 1 1 2
ings of Tibetan Buddhism (for example in Khenpo Tsering Dorjee Rinpoche mjaa •jij phji nioow wo
and Chang Fu-Cheng, 2013: 102), it is said there are 21 vein knots along ma ye she phi g.nu wo.’
the central vein caused by interweaving with the right or left veins. effect -ANTIERG achieve -CAUS -CAUS rationale
Tai 175

BB0910 BB0911 BB0912 BB0913

“The color … red … is the color of incantation wheel and so
L0010 L0113 L0749 L1278 forth.”
ʃ ຿ ॴ វ
zji2 Ğjˣj1 phji1 •jˣ2 [1]
Part of the Tibetan phonetic glosses of BC0104 and BC0105 are preserved
[1]
zi she phi g.yi on the left edge of fragment BB (ɢɧɜ. 8363/Fr. 9(14)).
[2]
all- achieve -CAUS say This Tangut character is highly incomplete. It may be njij1 ᚓ “red” based
on its remaining strokes and the sentence context.
[3]
“(It is) because when the effect is achieved, the rationale will The upper half of this Tangut character is incomplete. Based on the remain-
1
all be achieved.” ing strokes it is identified as the topic marker Tg. tja ఻.

[1] 038.
The Tibetan phonetic gloss phi is placed in the space between BB0911 and
BB0912. Then another Tibetan phonetic gloss g.yi is placed right next to BC0115 BC0116 BC0117 BC0118 BC0119 BC0120
1
the Tangut character ॴ phji in BB0912, which is in fact the gloss for the L3229 L1822 L2091 L5057 L3583 L3195
next Tangut character វ •jˣ . There is no Tibetan phonetic gloss in BB0913.
v[2]
2 ૳ ܱ ௷ ؑ ఻ ਼
1
The scribe may have mistakenly glossed ॴ phji in BB0912 by the ƾwԥԥ1 ƾwuu1 zji2 ˞iej1 tja1 gjwi2
pronunciation of វ •jˣ2. The gloss phi may have been inserted later to b.nge b.ngu zi.[’] d.gye ’.[gyi][1] ta
rectify the mistake. incantation recitation extremely- true -top expression

BC0121 BC0122 BC0201 BC0202 BC0203 BC0204

036. L1771 L2852 L3600 L3229 L2403
[3]
BB0914 BB0915 BB0916 BB0917 BB0918 BB0919 ኚ ਬ ᄝ ૳ Հ[5] Õ
˞ju ƾwԥԥ
2 1 1 1 2
L5865 L5932 L2748 L4587 L3195 L3583 sjij tha dji
ᛎ ᑙ ੵ Ꮙ
[1]
਼ ఻ g.se.’ tha g.yu[4] b.ngu dhi Õ
1 2 2 1 2 1
so mԥ tĞhja •ioow gjwi tja wisdom Buddha invite incantation syllable
g.so.’ mu cha.’ yu.’ b.gyi ta
BC0205 BC0206 BC0207 BC0208 BC0209
three kind merit expression -TOP
L5856 L0749 L1139 L1278
BB0920 BB0921 BB0922 BB0923 BB0924 ᛸ Õ ॴ ‫ݒ‬ វ
˞a
2 1 1 2
L0762 L1136 L5865 L5932 L3229 phji •jij •jˣ
᠛ ጻ ᛎ ᑙ ૳ gha Õ phi ye g.y-
ƾwԥԥ1
2
dĨiej gu2 so1 mԥ2 -LOC -CAUS -ANTIERG say
je.’ b.gu g.so.’ mu b.ngu
wheel -within three kind incantation “The expression of the most truthful incantation is to invite
the “wisdom Buddha” [?] and to make … at … incantation
ĺBC
BC0101 BC0102 BC0103 syllable.”
L2569 L1139 L1278
[1]
࿩ ‫ݒ‬ វ Part of the Tibetan phonetic glosses of BC0117 and BC0119 are preserved
tĞjˣ1 •jij1 •jˣ2 on the left edge of fragment BB (ɢɧɜ. 8363/Fr. 9(14)).
[2] 2
rci y- g.[yi]
[2]
There is a tick-shaped symbol on the top right corner of Tg. gjwi ਼
embrace -ANTIERG say “expression” at BC0120. At the same time, the Tibetan phonetic glosses
1 2
of Tg. tja ఻ (topic marker) at BC0119 and Tg. gjwi ਼ “expression” at
“The expression of three kinds of merit is to embrace the three BC0120 are reversed. By comparing BB0918 and BB0919 in line 036, it
kinds of incantation in the wheel.” is known that the correct word order should be “…਼఻.” Therefore, it
should be the Tangut characters in BC0119 and BC0120 to be reversed,
[1] whereas the sequence of Tibetan phonetic glosses should be correct.
Tg. tĞhja2 •ioow1 ੵᏉ “merit” corresponds to Ch. ࡳᖋ gǀngdé in the
The tick-shaped symbol at BC0120 should thus be marking the reversed
Chinese–Tangut bilingual Stele for the Reestablishment of Ganying
sequence of the two Tangut characters. The same symbol also occurs at
Pagoda in Huguo Temple (Ch. Chóngxinj Hùguósì G΁nyìngt΁ BƝi 䞡ׂ䅋
BB0417 and BB0418 in line 024, where the two Tangut characters are also
೟ᇎᛳឝศ⹥, Lӿ, 2008: 728; Luó, 1932a: 160).
[2] reversed, whereas their Tibetan phonetic glosses are placed in the correct
The main part of this Tibetan phonetic gloss -yi is preserved on the top
sequence.
left corner of fragment BB (ɢɧɜ. 8363/Fr. 9(14)). [3] 2 1
The meaning of Tg. sjij tha ኚਬ “wisdom Buddha” is unclear.
[4]
The Tibetan phonetic glossing of line 2 overlaps the junction line where
037. two pieces of paper are glued together. This junction line illustrates that
BC0104 BC0105 BC0106 BC0107 BC0108 BC0109 the original manuscript of these fragments should be in a scroll binding.
[5]
L3315 L0820 L1671 L3583 L0762 This Tangut character is partially incomplete. It should be dji2 Հ “syllable”
[2]
௡ Õ ᚘ ᚓ? ఻[3] ᠛ after comparing its remaining strokes and Tibetan phonetic gloss with
1 2 1 1 2
tsԥ dĨjˣ njij tja dĨiej BC0408.
r[tsi] [ld-][1] g.ji -e ƶ je.’
color Õ red red -TOP wheel
039.
BC0110 BC0111 BC0112 BC0113 BC0114 BC0210 BC0211 BC0212 BC0213 BC0214 BC0215
L3229 L0724 L3315 L5612 L5285 L2871 L0270 L0724 L4027 L3195 L3583
[1]
૳ ዽ ௡ ᔣ ቗ Ⴚ Ҿ ዽ Ӥ ਼ ఻
˞jˣ
1 1 2 1 2 1
ƾwԥԥ
1 2 1 1 1
njˣ tsԥ tshjiij ljˣ kjˣˣr njˣ njˣˣ gjwi tja
b.ngu ni rtsi.’ tshe li.’ rgi rki[2] ni b.--[3] b.gyi ta
incantation and.so.forth color speak mod potter and.so.forth two expression -TOP
176 Journal of Chinese Writing Systems 2(3)

BC0216 BC0217 BC0218 BC0219 BC0220 BC0221 BC0402 BC0403 BC0404

L2612 L3791 L2302 L3268 L0433 L0762 L4413 L1139 L1278
[4]
୺ છ ᠯ ୐ ‫ܮ‬ ᠛ ࠕ ‫ݒ‬ វ?[5]
phju2 bji2 ljˣ1 tĞhjwˣj1 bju1 dĨiej2 pju2 •jij1 •jˣ2
pho ’.bhi gli b.che ’.bu je.’ bu.’ ye g.--
up down wind restrict -INS wheel burn -ANTIERG say?

BC0222 BC0223 BC0224 BC0301

“The extraordinary burning … is to burn the imaginary seed
L5937 L0762 L1139 L1747
ጐ ᠛
[4]
‫ݒ‬ Ꭱ
syllables in the four wheels upward by burning the fire of
dĨiԥ2 dĨiej2 •jij1 nur1 self-nature through wheel rotation.”
ji.- je.- ye rnu
[1]
rotation -ANTIERG indicate Tg. rjar1 gjij1 ፼ᓬ corresponds to Ch. xƯqí Ꮰ༛ “wonderful” in Volume
9 of the Tangut version of Suvar‫ ޠ‬aprabhƗsa Snjtra (Lӿ, 2008: 139; Wáng,
“The two expressions of “potter” [?] and so forth is to illustrate 1933b: 310–311) and Ch. yìcháng ⭄ᐌ “extraordinary” in Volume 10 of
the Tangut version of Suvar‫ ޠ‬aprabhƗsa Snjtra (Lӿ, 2008: 139; Wáng, 1933b:
the wheel rotation by restricting the upper and lower airs.”
320–321).
[2]
This Tangut character is incomplete and fuzzy. It may be the topic marker
[1]
Tg. ˞jˣ kjˣˣr ႺҾ “potter” corresponds to Ch. táojiàng 䱊ࣴ (Lӿ, 2008:
1 1 1
Tg. tja ఻ based on the remaining strokes and its Tibetan phonetic gloss.
[3]
46–47). The meaning of “potter” under the context of this sentence is This Tibetan phonetic gloss has two vowels -o and -u. The sequence of
unclear. It may refer to one of the previous incarnations of the Buddha, the two vowels is not clear, which can be either -uo or -ou.
[4] 2
when he was a potter (Cíyí, 1988: 2044; DƯng 1922/1991: 853–854). This Tangut character is incomplete. It is identified as Tg. pju ࠕ “burn”
[2] based on its remaining strokes and Tibetan phonetic gloss, also by referring
The radical of this Tibetan phonetic gloss is difficult to read, which can
be either ka or ga. By referring to the Tibetan phonetic gloss of the same to the same Tangut character at BA1009, BA1021, BB0112 and BB0202.
This Tangut character is incomplete. It should be Tg. •jˣ វ “say” based
[5] 2
Tangut character kjˣˣr Ҿ in Fr. 6(11) (Tai, 2008: 46), this radical is
1

identified as ka. on its remaining strokes and the context of the sentence.
[3]
In the Tibetan phonetic gloss of BC0213 only a Tibetan letter ba is
preserved. Based on this, ba should be the prescript rather than the radical 041.
of the glossing syllable. It is possible that this ba is in fact ga with the BC0405 BC0406 BC0407 BC0408 BC0409
last stroke being lost, as Tg. njˣˣ1 Ӥ is often glossed with a prescript ga L3583 L1502 L2403 L1825
[1]
elsewhere in the fragments. Õ [±3] ఻? ෍[2] Հ ι
1 1 2 1
[4]
Tg. dĨiΩ2 dĨiej2 ጐ᠛, which literally means “rotating wheel,” is often to tja xã dji tshjwa
be read as “reincarnation.” The meaning of “reincarnation” can hardly fit -i ta ha‫ޜ‬ dhi tsha
in the context here, however. Therefore it is read as the rotation of a wheel, -top ha‫ޜ‬ syllable warm.up
rather than the rotation of life. BC0410 BC0411 BC0412 BC0413 BC0414 BC0415
L3956 L5685 L5319 L2518 L5120 L4751
[3]
040. ᐺ ᕗ ᡔ ય ೵ ‫[א‬4]
1 1 1 1 1 1
BC0302 BC0303 BC0304 BC0305 BC0306 BC0307 dĨjwi po tjˣj njiij swew sej
L0819 L5531 L4628 b.ji.’ -h- Õ g.ne b.si.’ g.se.’
፼ ᓬ[1] ᚂ Õ Õ Õ melt enlightened mind purify
1 1 2
rjar gjij dwԥr BC0416 BC0417 BC0418 BC0419 BC0420 BC0421
ra ’.gyi b.-- j-.’ y- L0802 L0497 L2858 L4161 L2474 L5171
extraordinary burn ៗ ᢍ ୞ ࡠ ଇ
[5]
ᕄ
Ĩjˣr ƾewr
-- 2 2 1 2 1
BC0308 BC0309 BC0310 BC0311 BC0312 BC0313 zjir lju rar sԥ
L3583 L0762 L5937 L0762 L0433 L1245 zhi.r rngi zi.’ b.ldu.’ ra b.svi.’
఻?
[2]
᠛ ጐ ᠛ ‫ܮ‬ ᣮ vein -PL all.over drift full -INS
tja1 dĨiej2 dĨiԥ2 dĨiej2 bju1 •jij1 BC0422 BC0501 BC0502 BC0503 BC0504 BC0505
t- je.’ ji.’ je.’ ’.bu g.ye L5880 L5573 L3791 L0762 L0089 L5173
-top wheel rotation -INS self-nature ๋ ᇟ
[1]
છ ᠛[2] ƍ ᜐ ?[3]
BC0314 BC0315 BC0316 BC0317 BC0318 BC0319 ƾwu2 tjij2 bji2 dĨiej2 tĞhjaa1 dĨjˣ--
L2698 L4408 L5185 L4628 L5880 L2612 ngu ƶ ’.bvi.’ je.’ cha.’ ƶ
Ԥ ࢉ ൵ ᚂ ๋ ୺ navel down wheel -on draw ?
tsjiir
2
mԥԥ1 dĨjaa1 dwԥr2 ƾwu2 phju2
rtse g.mu ’.ja.’ b.du.r ngu phuo
[3] “… is to warm up and melt the ha‫ ޜ‬syllable, to purify the
fire burn -INS up enlightened mind, to draw [?] the wheel under the navel [the
bliss protecting wheel?] upward by drifting it fully all over
BC0320 BC0321 BC0322 BC0323 BC0324 BC0401
L4481 L2205 L0762 L2983 L0255 L2364 the veins,”
༰ ઼ ᠛ ʺ ᝤ ˛ [1] 1
This Tangut character is highly incomplete. It may be Tg. tja ఻ (topic
Ğjˣ
1
ljˣˣr1 dĨiej2 •u2 la1 seew2
marker) based on its remaining strokes and its Tibetan phonetic gloss.
shi ldi je.’ wu kla.’ -.si.’ [2]
The Tibetan syllable ha‫ ޜ‬here is not a phonetic gloss of the Tangut char-
-toward four wheel -in imaginary 1
acter xã ෍, rather it is the Tibetan seed syllable itself, cf. note 1, line 021.
Tai 177

[3]
The Tangut character in BC0411 is missing, and the one in BC0412 is “Then, the wheel just like a carriage wheel is the text which
highly incomplete. By referring to Tg. po1 tjˣj1 njiij1 ᕗᡔય “enlightened is (placed) upward like a pig face.”
mind” from BB0209 to BB0211, and judging from the remaining strokes
and their Tibetan phonetic glosses, the Tangut characters in BC0411 and [1]
This Tangut character and its Tibetan phonetic gloss are written next to
BC0412 should be Tg. po tjˣj ᕗᡔ, which is a phonetic transliteration
1 1
the Tangut character column in a smaller size, suggesting that this charac-
of Sk. bodhi “enlightenment, awakening,” cf. line 020, note 2.
[4] ter was inserted later.
The Tangut character in BC0415 is highly incomplete. By referring to Tg. [2] 1
1 1 This Tangut character is highly incomplete. It should be tshjiij ᔣ “to
swew sej ೵‫ א‬in BB0212 and BB0213, and judging from its remaining
1 speak” based on its remaining strokes and its Tibetan phonetic gloss.
strokes and its Tibetan phonetic gloss, it is identified as Tg. sej ‫“ א‬pure.”
[5] 1 2
Tg. lju rar ࡠଇ “drift” corresponds to Ch. piƗoliú ⓖ⌕ “drift,” cf. note
4, line 021.
044.
BC0608 BC0609 BC0610 BC0611
042. L5354 L3183 L2019 L0290
BC0506 BC0507 BC0508 BC0509 BC0510 BC0511 ᒶ ୑ ю Ӄ
2
L5865 L1290 L3266 L3159 L3589 L0089 thjˣ wo2 thja1 sju2
[4]
ᛎ ৣ ବ ஒ ᅬ ƍ thi wo tha zu
1 2 2 -- 1 1
so tsew dzju lhjij dzjˣj tĞhjaa this rationale that -as.if
g.-o ƶ ƶ lhe dze.ng cha.’
third abhi޼eka time -on
“The rationale is like this:”
BC0512 BC0513 BC0514 BC0515 BC0516
L0140 L0290 L1946 L1139 L1278
ອ Ӄ ̤ ‫ݒ‬ វ ƻ
[5] 045.
rejr2 sju2 lԥ-- •jij1 •jˣ2 BC0612 BC0613 BC0614 BC0615 BC0616 BC0617
re.’ zu ldi ye g.yi L2833 L0795 L5113 L4342 L2472 L1800
bliss -as.if think.of -ANTIERG say ʿ ៀ ቚ ग ಛ ེ
djˣj2 rjˣr
2
wji
1
dja
2
gjwˣ
1
lwo
2

[1]
“and to think of the great bliss as the bliss one experienced dhe.’ ri bi.’ dha[2] b.gu kli

during the third abhi޼eka.” meditation NMLZ- do PFV- firm

BC0618 BC0619 BC0620 BC0621 BC0622 BC0623

[1]
The Tangut character in BC0501 is incomplete and fuzzy. By referring to L1906 L3101 L0496 L0596 L0749 L0535
2 2
Tg. tjij bji ᇟછ in BC0701 and BC0702 and judging from its remaining ˂ ౱ ቱ ᤮ ॴ ৯
2
strokes, this Tangut character is identified as Tg. tjij ᇟ “navel.” nioow1 Ğjij
2 1 1 1 1
•ji ljij dzjaa phji
[2]
Tg. tjij2 bji2 dĨiej2 ᇟછ᠛ “the wheel under navel” may refer to the “bliss nyo yi kle ’.dza.’ phi she
protecting wheel” at the perineum, cf. note 2, line 014. also again flourish grow -CAUS -along.with
[3]
The missing Tangut character in BC0505 may be Tg. dĨjˣ-- ᜐ “to draw”
based on the sentence context. BC0624 BC0625 BC0701 BC0702 BC0703 BC0704
[4] 1 2 2 --
By referring to Tg. so tsew dzju lhjij ᛎৣବஒ “third abhi޼eka” from L5612 L3583 L5573 L3791 L0762 L1139
BB0305 to BB0307, the missing Tangut character in BC0507 is filled as ᔣ ఻ ᇟ છ ᠛[4] ‫ݒ‬
2
Tg. tsew ৣ, and the incomplete Tangut character in BC0508 is identified tshjiij1 tja1 tjij2 bji2 dĨiej2 •jij1
2
as Tg. dzju ବ. tshe?[3] ta te ’.bvi je.’ ye
[5]
There is a small circle under BC0516. It may mark the end of a paragraph. speak -TOP navel down wheel -ANTIERG

BC0705
043. L0478
BC0517 BC0518 BC0519 BC0520 BC0521 BC0522 ඏ[5]
L5379 L4233 L0762 L0290 L0762 L5612 Ğioo
[1] [2]
ᖚ ् ᠛ Ӄ ᠛ ᔣ zho.’
tĞjˣˣ1 ko1 dĨiej2 sju2 dĨiej2 tshjiij1 collect
g.ci.’ ko je.’ zu je.’ tshe
next carriage wheel -as.if wheel speak
“What strengthens the meditation conducted and further
BC0523 BC0524 BC0601 BC0602 BC0603 BC0604 makes it grow flourishingly is to collect [?] the wheel under
L3583 L4797 L2612 L3349 L1375 L1204 the navel [the bliss protecting wheel?],”
఻ ᣗ ୺ ՜ ‫ݾ‬ ዗
1
tja •jwˣr2 phju2 rjijr2 gju1 njijr-- [1]
There is an ink mark under the radical ra in this Tibetan phonetic gloss.
ta d.wi.r ƶ ƶ ’.gyu rne.’
It may be an underscript la, but it is also possible to be just a meaningless
-TOP text up -direction pig face
ink mark.
[2]
BC0605 BC0606 BC0607 This Tibetan phonetic gloss has a crossed-over vowel -i on the radical.
[3]
L5981 L0290 L0508 This Tibetan phonetic gloss is fuzzy, which should be tshe by referring to
Σ Ӄ ᤻ the Tibetan phonetic gloss of the same Tangut character in BA0212.
[4] 2 2 2
•a
--
sju2 ƾwu2 Tg. tjij bji dĨiej ᇟછ᠛ “the wheel under navel” may refer to the “bliss
a Õ -u protecting wheel” at the perineum, cf. note 2, line 014.
[5]
PFV- as.if is The actual meaning of “collecting the wheel under the navel” is unclear.
178 Journal of Chinese Writing Systems 2(3)

046. 048.
BC0706 BC0707 BC0708 BC0709 BC0710 BC0711 BC0810 BC0811 BC0812 BC0813 BC0814
L0802 L2858 L2612 L4481 L0055 L1136 L0388 L5856 L0140 L1946 L2090
ៗ ୞ ୺ ༰ ໜ ጻ[1] ๪ ᛸ ອ ̤ ଀
Ĩjˣr Ğjˣ ˞a
-- 2 2 1 2 2 2 2 2 -- 2
zjir phju tĞjiw gu thja rejr lԥ lew
zhi.r zi.’ pho shi ci.’ b.gu tha gha re.’ ldi ldi.’
vein all.over up -toward top -within that -LOC bliss think.of -should

BC0712 BC0713 BC0714 BC0715 BC0716 BC0717

“At that point, (one should) think of the bliss.”
L2679 L0705 L1375 L2750 L0118 L4511
ౚ ዆ ‫ݾ‬ ૟ ᤼ ՜
2
˞u
1 1 1 2 1
njˣ zjij gju no bjˣ 049.
ni g.ze.’ b.gyu.’ b.gu nho d.bhi.’ BC0815 BC0816 BC0817 BC0818 BC0819 BC0820
arrive moment pig head brain up L0140 L1918 L0009 L1542 L2104 L0290
ອ ˄ ʁ Ҧ ఑ Ӄ
BC0718 BC0719 BC0720 BC0721 BC0722 BC0723
rejr
2
mji1 Ğjwo1 ku1 Ğji1 sju2
L1890 L4027 L5865 L5894 L3200 L4108
[2] re d.mi sho b.ku shi zu
࿦ Ӥ ᛎ ᛭ ੺ ࣐
bliss NEG- arise therefore before -as.if
bjij2 njˣˣ1 so1 dzjˣj2 tĞhjiw1 no1
’.bhe.’ g.ni g.so dze.ng chi.’ g.no.’ BC0821 BC0822 BC0823 BC0901 BC0902 BC0903
high two three corner six spoke L5573 L3791 L0762 L1946 L5880 L0140
ᇟ છ ᠛ ̤ ๋ ອ
BC0724
ƾwu
2 2 2 -- 2 2
tjij bji dĨiej lԥ rejr
L5670
te ’.bvi wa ? ldi ngu re.’ ldi
ሥ
1 navel down wheel think.of -INS bliss
•o
wu BC0904 BC0905
hang L1946 L2090
̤ ଀
-- 2
lԥ lew
“and to move it upward all over the veins. When it arrives on
ldi.’ ---[1]
the top of the head, one should hang the “six spokes” [?] in think.of -should
two or three corners high upon the pig’s head and brain.”
“If the bliss does not arise, then one should think of the bliss
[1] 2 2
Tg. tĞjiw gu ໜጻ “inside the top” should refer to the top of the head.
by thinking of the wheel below the navel just like before.”
[2]
The actual meaning of Tg. tĞhjiw1 no1 ੺࣐ “six spokes” is unclear, cf.
[1]
note 4, line 007. The Tibetan phonetic glosses from BC0901 to BC0905 are chaotic. The
original gloss of BC0901, which seems to be wa, is smeared. Below there
are five Tibetan glossing syllables ldi, ngu, re.’, ldi, and ldi.’ squeezed
047. next to the Tangut characters from BC0902 and BC0904. Among them the
BC0725 BC0801 BC0802 BC0803 BC0804 BC0805 syllable re.’ is obviously inserted afterward. There is no Tibetan phonetic
L0762 L1946 L0705 L2920 L0535 L1118 gloss next to BC0905. The five squeezing syllables in fact correspond to
᠛ ̤ ዆ ȁ ৯
[1]
᣻? the Tangut characters from BC0901 to BC0905 respectively.
dĨiej2 lԥ-- zjij1 Ĩjˣ1 Ğjij1 dzjˣˣ2
je.’ ldi g.ze g.zhi ’.dzi.r 050.
wheel think.of moment left -along.with exercise? BC0906 BC0907 BC0908 BC0909 BC0910 BC0911
L5354 L0290 L3101 L3101 L1946 L5880
BC0806 BC0807 BC0808 BC0809 [1]
ᒶ Ӄ ౱ ȟ ̤ ๋
L2090 L5880 L5937 L0762
[2] thjˣ2 sju2 •ji2 •ji2 lԥ-- ƾwu2
଀? ๋ ጐ ᠛
thi zu yi yi ldi ngu
ƾwu
2 2 2 2
lew dĨiԥ dĨiej
this -as.if repeat think.of -INS
ldi ngu ji.’ je.’
-should? -INS rotation BC0912 BC0913 BC0914 BC0915
L3589 L0443 L1118 L2184
ᅬ ៫ ᣻ ੐
“When one thinks of the wheel, one should rotate the wheel 1
dzjˣj dĨjo2 dzjˣˣ2 zjij2
through exercising [?] the left vein channel.” dze.ng ’.jo.’ ’.dzi g.ze
time -long exercise -do

Tg. Ĩjˣ1 Ğjij1 ȁ৯ should refer to the left vein channel.

[1]

[2]
The Tangut characters at BC0805 and BC0806 are fuzzy and difficult to
“Just like this, one should exercise for a long time by thinking
identify. These two Tangut characters may be dzjˣˣ ᣻ “exercise” and lew
2 2 of it repeatedly.”
଀ “should” based on their identifiable strokes, their Tibetan phonetic
[1]
glosses, and by referring to similar Tibetan phonetic glosses at BB0402 This Tangut character is represented by an iteration mark “ȟ.” The depub-
2 2
and BB0903. licated form of Tg. •ji •ji ౱౱ means “constantly, repeatedly,” cf. note
3, line 024.
Tai 179

Chinese word jiànjiàn ┌┌ “gradually” in Volume 10 of the Tangut version

051.
of Suvar‫ ޠ‬aprabhƗsa Snjtra (Lӿ, 2008: 733; Wáng, 1933b: 338–339).
BC0916 BC0917 BC0918 BC0919 BC0920 BC0921 [2]
The vowel -e of this Tibetan phonetic gloss is fuzzy.
L1542 L0055 L1136 L0762 L5937 L0762 [3]
There is a modern pencil writing “8363 (4)” on the right between the
Ҧ ໜ ጻ ᠛ ጐ ᠛
1 2 2 2 2 2 Tibetan phonetic glosses of BC1022 and BC1023, which should be the
ku tĞjiw gu dĨiej dĨiԥ dĨiej
early inventory number of the fragment.
b.ku ci b.gu je.’ ji.’ je.’
therefore top -within wheel rotation
054.
BC0922 BC0923 BC0924 BC1001 BC1002 BC1003 BC1101 BC1102 BC1103 BC1104 BC1105
L0705 L5865 L1290 L3266 L3159 L3589
዆ ᛎ ৣ ବ ஒ ᅬ Õ Õ Õ [±1] Õ Õ
1 1 2 2 -- 1
zjij so tsew dzju lhjij dzjˣj
g.ze g.so tsi.’ dzu.’ lhe[1] dze.ng -i l- --.’ -i se
moment third abhi޼eka time
BC1106 BC1107 BC1108 BC1109 BC1110
BC1004 BC1005 BC1006 BC1007 BC1008
L1139 L1546 L1084
L0140 L0290 L0615 L3159 L5285
Õ [±1] ‫?ݒ‬ ᡶ? Õ ඐ?
ອ Ӄ ᗥ ஒ ቗
˞a
1 2 2
2 •jij lju
rejr sju2 dwewr2 lhjij-- ljˣ1
[2] y- ye lu.’ b.le.’ ’.ga.’
re.’ zu b.dhi lhe gli
-GEN ? body ? ten?
bliss -as.if perception mod
BC1111 BC1112
“Then, when the wheel on the top of the head rotates, one L5932
[1]
would perceive the bliss as the bliss one experienced during Õ ᑙ? [±8]
the third abhi޼ eka.”
2
mԥ
-.de mu
[1] kind?
The upper script la of this Tibetan phonetic gloss is fuzzy in the reproduced
image of the fragment, but is still identifiable by examining the original
fragment.
… the body of [?] … ten [?] … kinds [?] …”
[2]
The vowel -e of this Tibetan phonetic gloss is fuzzy in the reproduced
[1]
image of the fragment, but is still identifiable by examining the original This line only contains some Tibetan phonetic glosses. Not all of the
fragment. Tangut characters are preserved. Based on the remaining Tibetan phonetic
glosses, however, it is possible to guess that the Tangut characters of
1
BC1107, BC1108, BC1110, and BC1112 may be •jij ‫( ݒ‬genitive marker),
052.
lju2 ᡶ “body,” ˞a2 ඐ “ten,” and mΩ2 ᑙ “kind,” respectively.
BC1009 BC1010 BC1011 BC1012 BC1013 BC1014 BC1015
L0388 L3589 L5354 L0290 L0140 L0615 L3159
๪ ᅬ ᒶ Ӄ ອ ᗥ ஒ
thja
2
dzjˣj
1
thjˣ
2
sju
2
rejr
2
dwewr
2
lhjij
-- The text content
tha dze.ng thi zu re b.dhi lhe
that time this -as.if bliss perception
The Tangut text in these three fragments contains three
main paragraphs. The paragraphs are separated by small
“At that moment, one perceives the bliss like this.” circles following the Tangut characters at BB0618 (line
030) and BC0516 (line 042). The first paragraph starts
053. at BA0101 (line 001) and ends in BB0618 (line 030). The
BC1016 BC1017 BC1018 BC1019 BC1020 BC1021 beginning of this paragraph is incomplete. The remaining
L1542 L4625 L4625
[1]
L0496 L5981 L1546 part starts with mentioning three kinds of qualities, and as-
Ҧ ᠍ ȟ ቱ Σ ᡶ
1 2 2 1 -- 2
sociating them with three items related to one’s body and
ku mjiij mjiij ljij •a lju
b.ku me me gle[2] a lu.’
mind:
therefore gradually flourish PFV- body
… is … which arrives … at the moment of …. Inside, there
BC1022 BC1023
L0010 L0140
are three kinds of item, namely, those makes one achieve a
ʃ ອ
[3]
[±2] firm and meditative mind, and those makes …, those makes
2 2
zji rejr one become retaining [?] and firm and so forth. The rationale
zi re.’ is like this: under the navel [?], one should tie three kinds of
all- bliss
collected item, namely, the pledge being which grows flourish-
ingly, the body which makes one grow flourishingly, and the
“Therefore the bliss would flourish gradually, and the whole
self-nature.
body … all bliss.”

[1]
This Tangut character is represented by an iteration mark “ȟ.” The orig-
It then introduces the method of meditation. It mentions
2
inal meaning of Tg. mjiij ᠍ is “below, end,” but its duplication form Tg. “six-spoked,” which may be a kind of imaginary wheel. Its
mjiij2 mjiij2 ᠍᠍ means “gradually,” as evidenced by its corresponding actual meaning, however, remains unclear. The method of
180
meditation involves breath control, which should be the
practice of “vase breathing” (Sk. kumbhaka, Tb. rlung bum
pa can, Ch. b΁opíng qì ᇊ⫊⇷):
One should hang them in … corners in the form similar to a
bird head, which are empty inside. Then hang the “six-spoked”
[?] in two or three corners among those corners. Then, one
should think of embracing three kinds of incantations and so
forth by embracing the fortune syllables in the center of the
wheel, and the fortune syllable inside the six fortune syllables
on the “six spokes.” One should think of burning the red
color of the wheel incantation and so forth. Then one should
invite the knowledge being, and enters him when one is recit-
ing that incantation. One should draw the underneath wind
high upward by restricting the in and out of convenient breath
upside, and by restricting the bottom gate, when one becomes
nondual with the knowledge being. Just like that, one would
be able to achieve the restriction of upper and lower winds
by one’s force and by one’s self-nature.
After that the “wind” or “air” goes through the vein
spokes inside the body. It burns and the fire moves upwards
along the “wheels” in the body. These “wheels” obviously
refer to the wheel (Sk. cakra, Tb. ’khor lo, Ch. lún 䓾) sys-
tem in the body. These five wheels are shown in Table 1
(Buswell and Lopez, 2014: 1075–1076).
Table 1. The wheel system.
Location Wheel name Tangut name
Forehead Great bliss wheel 2 2 2
ljij rejr dĨiej ᢯ອ᠛
Throat Enjoyment wheel tshja2 dĨiej2 ෪᠛
Heart Dharma wheel
1 2
tsjiir dĨiej ࿒᠛
2 2
Navel Emanation wheel djii dĨiej ዕ᠛
2 2 2
Perineum Bliss protecting wheel tjij bji dĨiej ᇟછ᠛
The raising of fire along the wheels is a typical descrip-
tion in the Tibetan Buddhist practice of inner fire medita-
tion (Sk. ca‫ ݦޠ‬ƗlƯ, Tb. gtum mo, Ch. zhuǀ hu΅ dìng ᢭☿ᅮ):
Then, one should circulate the wisdom wind among the wheel
under the navel [the bliss protecting wheel?] and so forth by
moving the wheel, so that the wisdom wind can stay all over
the wheel spokes and the vein spokes as if two pieces of wood
rubbing each other. At that point, one should untie the
vein eyes by burning the self-nature fire. Then the fire should
move upward all over the veins and burn the imaginary seed
syllable of the emanation wheel at the navel. Then it should
arrive in the middle of the heart and burns the imaginary seed
syllable in the dharma wheel. Then it should arrive in the
middle of the throat and burns the imaginary seed syllable in
the vein of the enjoyment wheel. Then it should arrive in the
middle of the great bliss wheel. At the moment of burning the
imaginary seed syllable and so forth in the vein, one should
warm up the ha‫ ޜ‬syllable inside, purify the enlightened mind,
and should drift it downward to make it full all over the veins.
Journal of Chinese Writing Systems 2(3)
After the inner fire goes through the veins and wheels,
the text further describes the achievement of both “bliss”
and “void,” which echoes with the non-duality with the
knowledge being, and it makes the end of the first para-
graph. The third abhi޼ eka mentioned in this part is the third
among the four levels of abhi޼ eka, which is also known as
“wisdom abhi޼ eka.” The achievement of the third abhi޼ eka
should be the realization of dharmakƗya. It suggests that
the potential reader of this text should be a senior medita-
tion practitioner of Tibetan Buddhism, but not laymen or
the general public:
When it arrives inside the wheel under the navel [the bliss
protecting wheel?], one should think of the bliss as if the bliss
one experienced during the third abhi޼ eka. Then one should
“encounter and collect” [?] like this, and to think of it repeat-
edly. If one can settle the heart and is not confused in other
aspects by doing exercise four times every day, then one would
be able to acquire the meditative mind which has not been
achieved yet. The perception like the bliss of the third abhi޼ eka
is those one achieved and retained [?]. At the moment when
the bliss is great, one should observe the void. In void, when
the heart is confused, one should repeat as before to observe
the bliss. When the bliss is great, one should repeat to observe
the void. At the moment when one achieves void and bliss
and both become equal, it is firm.
The second paragraph starts at BB0619 (line 031), and
ends in BC0516 (line 042). This is a shorter paragraph
that elaborates the rationale behind the practices. Some
terms are incomprehensible in this paragraph, for example
“wisdom Buddha” and “potter,” which would need further
investigation:
The one which is said in that text, the body which makes the
pledge being to grow flourishingly, the one on the edge of the
lotus, is to illustrate the dharmodaya in the vein knot under
the navel. The expression which makes the rationale all
achievable is to think of the wheel in the vein knot. Therefore,
one should seek for the wheel. It is because when the effect
is achieved, the rationale will all be achieved. The expression
of three kinds of merit is to embrace the three kinds of incan-
tation in the wheel. The color … red … is the color of incan-
tation wheel and so forth. The expression of the most truthful
incantation is to invite the “wisdom Buddha” [?] and to
make … at … incantation syllable. The two expressions of
“potter” [?] and so forth is to illustrate the wheel rotation
by restricting the upper and lower airs. The extraordinary
burning … is to burn the imaginary seed syllables in the four
wheels upward by burning the fire of self-nature through
wheel rotation …. is to warm up and melt the ha‫ ޜ‬syllable,
to purify the enlightened mind, to draw [?] the wheel under
the navel [the bliss protecting wheel?] upward by drifting it
fully all over the veins, and to think of the great bliss as if
the bliss one experienced during the third abhi޼ eka.
Tai
The third paragraph starts at BC0517 (line 043). It
comes at the next stage of practice, yet the content of “plac-
ing the text upward like a pig face” in this stage is difficult
to comprehend. It seems like the previous paragraphs are
responding to the first item “the pledge being which grows
flourishingly” to be collected as described at the beginning
of the text. Then, from this paragraph it responds to the
second item “body which makes one grow flourishingly,”
therefore it focuses on the flourish of bliss in one’s body:
Then, the wheel just like a carriage wheel is the text which
is placed upward like a pig face. The rationale is like this:
What strengthens the meditation conducted and further makes
it grow flourishingly is to collect [?] the wheel under the
navel [the bliss protecting wheel?] and to move it upward all
over the veins. When it arrives on the top of the head, one
should hang the “six spokes” [?] in two or three corners high
upon the pig’s head and brain. When one thinks of the wheel,
one should rotate the wheel through exercising [?] the left
vein channel. At that point, one should think of the bliss. If
the bliss does not arise, then one should think of the bliss by
thinking of the wheel below the navel just like before. Just
like this, one should exercise for a long time by thinking of
it repeatedly. Then, when the wheel on the top of the head
rotates, one would perceive the bliss as if the bliss one
experienced during the third abhi޼eka. At that moment, one
perceives the bliss like this. Therefore the bliss would
flourish gradually, and the whole body … all bliss … the body
of [?] … ten [?] … kinds [?] …
The text ends here as the fragment is mutilated.
Discussion and conclusions
The inner fire meditation is part of the Six Yogas of NƗropa
(Tb. na ro chos drug), which, together with the Great Seal
(Sk. mahƗmudrƗ , Tb. phyag rgya chen po), form the core
doctrines of the Kagyu school (Kapstein, 1996: 278).
Therefore, the Tangut text in these three fragments should
come from a manuscript, probably a kind of quintessential
instruction (Tb. man ngag, Ch. yàomén 㽕䭔), from the
Kagyu tradition of Tibetan Buddhism during the Tangut
era (1038–1227 CE). Recent studies suggest, however, that
the Six Yogas of NƗropa were also practiced by the Sakya
School in Tangut (ShČn, 2007: 297; Snjn, 2017: 29). There-
fore the possibility that the fragments originate from a
manuscript of the Sakya tradition cannot be ruled out.
There are several records on inner fire meditation
preserved from the Tangut era, written in Chinese. In the
Secret Collection of Works on the Quintessential Path of
MahƗyƗna (Ch. Dàchéng Yàodào Mìjí ໻Ь㽕䘧ᆚ䲚)
there are two chapters entitled Ch. zhuǀhu΅ dìng ᢭☿ᅮ
“inner fire meditation” (FƗsƯbƗ, n.d./2015: 52–68) and
Ch. ji· zhǀu zhuǀhu΅ jì mén б਼᢭☿ࡥ䭔 “inner fire
treatment in nine cycles” (FƗsƯbƗ, n.d./2005: 68–70). ShČn
181
(2007: 257) considered these records to be more like the
practices of the Sakya School rather than the Kagyu School.
After comparing these two records with the fragments in
this paper, no evidence is found to support their philologi-
cal relationship, although they share the same theme. There
is another Chinese manuscript entitled Ch. zhuǀhu΅ néng
zhào wúmíng: fƝng xƯ zhízhuó gòngxíng zhƯ f΁ ᢭☿㛑✻⛵
ᯢ乼ᙃ෋㨫݅㸠П⊩ “inner fire is able to illuminate
nescience: instruction on the attachment and shared prac-
tice of wind and breath” among the Russian Collection
of Khara-Khoto manuscripts (St. Petersburg Branch of the
Institute of Oriental Studies of the Russian Academy of
Sciences, 1999: V-255). This text, however, does not share
philological similarity with the fragments.
Studies on the inheritance and translation of Tantric
texts during the Tangut era have touched on a Tibetan monk
named Tg. •ja2 ljow2 sjˣ2 pja1 ᆻӦӦຘ, which may be a
translation of Tb. yar klongs ba “the man from Yarlung”
(Nishida, 1999: XXXIX). He had another name, Tg. tsjiir1 ka2
tĞjij2 ࿒ዾ࿔, which literally means “dharma lion” and
may be a translation of the Tibetan name chos kyi seng ge
(Dunnell, 2009: 51). Records in Tangut manuscripts
suggest that he had arrived in Tangut by the 1180s CE
(Dunnell, 2009: 54). After that he was actively involved in
the inheritance and translation of Buddhist scriptures, and
2 2
was entitled “supreme receptor” (Tg. phju dzjiij ୺ន) in
Tangut. Among the Russian Collection of Tangut manu-
scripts, there are several works on the Six Yogas of NƗropa
in which he was enlisted as the transmitter (Snjn, 2017: 26),
for example:
1. Tg. tĞhjiw1 tsjiir1 gu2 •io1 tĞja1 tĞjˣˣ1 ੺࿒ଥᓗ໑ᖚ
“The path towards the consummate interfusion of
six dharmas,” ɢɧɜ. 2734 (Kychanov et al., 1999:
590);
2. Tg. ˞jˣ njij mjˣ lheew mja •jij rjar djˣj wji
1 2 2 2 1 1 1 2 1
Ğjij Ӟᥒᣬ્ຳ‫̏ݒ‬ʿቚ৯ “Instruction on medi-
1
tation through VajrayoginƯ,” ɢɧɜ. 2517 (Kychanov
et al., 1999: 539–540);
3. Tg. ka1 •jiij1 ƾwu2 ljˣˣr1 dzju2 lhjij-- ๟୨઼๋ବஒ৯
“The four abhi޼eka by equality,” ɢɧɜ. 4712 (Kycha-
nov et al., 1999: 541–542);
4. Tg. ˞jˣ1 njij2 mjˣ2 lheew2 mja1 bju1 sjij2 mΩΩ1 mji1
dzjwˣ lhjij tshji ƾwuu Ӟᥒᣬ્ຳ‫ܮ‬ኚࢉᎁቓ
2 -- 1 1
৯ክ‫“ ׷‬Quintessential instruction on realization
of wisdom flame through VajrayoginƯ,” ɢɧɜ. 4772
(Kychanov et al., 1999: 555–556).
As these manuscripts have not yet been published, it is
not clear to what extent they may be associated with the
Tangut text content in the fragments.
The aim of this paper is to provide a sentence-based
annotated translation for the Tangut text in three joinable
Tangut fragments with Tibetan phonetic glosses, Fr. 3(8),
Fr. 9(14), and Fr. 1(6) under ɢɧɜ. 8363 of the Russian
182
Collection of Khara-Khoto manuscripts. The translation of
the Tangut text from Fr. 3(8), Fr. 9(14), and Fr. 1(6) reveals
that it is a teaching on the procedure of meditation. It men-
tions how to achieve both “bliss” and “void” through con-
trolling the “air” or “wind” along the veins, which should
refer to the practice of “vase breathing.” It also describes
the burning of imaginary seed syllables along the internal
“wheels” from the bottom to the top inside the body. These
features resemble the tantric practice of the inner fire
meditation. During the Tangut era, inner fire meditation
was mainly practiced by the Kagyu School, but it was also
sometimes included in the teaching of the Sakya School.
The future direction of this study would be tracing the
Tangut and Chinese manuscripts on the Six Yogas of
NƗropa during the Tangut era, which hopefully would shed
light on the background of these Tangut fragments with
Tibetan phonetic glosses.
Funding
This study is funded by the Post-doctoral Rubicon Grant Project
"A Comprehensive Study of Tangut Fragments with Tibetan
Transcription" (446-08-025) of the Netherlands Organization for
Scientific Research (NWO).
Declaration of conflicting of interests
The author declares that there is no conflict of interest.
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䞞 [The Shishiah text of Suvar‫ޠ‬aprabhƗsa-snjtra (䞥‫ܝ‬ᯢ᳔㚰 GEN genitive
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㽓໣ⷨお [Shishiah Studies] 3: 1–397. MOD modal particle
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‫ܚ‬呦 (ed.) P·bƗ JƯngƗng, Kǀngxíng HƝi Fènnùm·, Dàyuánm΁n PFV perfective
Qiánxíng DČng BƗ Zh΅ng Héjí ᱂Ꮘ䞥߮ǃぎ㸠咥ᗓᗦ↡ǃ PL plural
໻೚⒵ࠡ㸠ㄝܿ⾡ড়䲚 [Karma Heruka, Dakini Krodikali TOP topic

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