BUDDHIST TRADITION AND MANUSCRIPTOLOGY

(With Special Reference to Palm Leaf MSS)

• Dr. Sashibhusan Mishra
Assistant Professor
Sri Sitaram Vaidic Adarsha
Sanskrit Mahavidyalaya
7/2A, P.W.D. Road
Kolkata, 700035
West Bengal
Mobile N0.- 09883258920
Email- sashibhusan.mishra7@gmail.com
Abstract
Manuscripts have played a very significant role in the development,
preservation, propagation of knowledge in India. So for what, ancient
people thought that manuscript preservation was a baronial task for them.
Though it was a chore for some people, but many religious people,
organisations, learned people, luminaries, monasteries, temples etc.
collected and well preserved all those seeds of knowledge with much
more painstaking effort for a long time. Buddhist tradition, Buddhist
scholars etc. immensely helped manuscriptology in many ways. For
knowing the history of writing in India, writing system, history of writing
system, qualities of a scribe, history of script, ancient writing materials,
preparation of palm-leaves, preparation of palm-leaf manuscripts, cover
board, palm-leaf writing technique, coloring of palm-leaf manuscripts,
manuscript preservation etc. we are very much depending upon this
Buddhist tradition and scholars of this tradition.
Key Words- Buddhist tradition, Manuscripts, Palm-leaf Manuscripts,
Manuscriptology
0.1. Introduction- Manuscripts were the important source of knowledge in the
then India. The ocean of knowledge was written & preserved in various
manuscript forms. So for what, ancient people thought that manuscript
preservation was a baronial task for them. Though it was a chore for some
people, but many religious people, organisations, learned people,
luminaries, monasteries, temples etc. collected and well preserved all those
seeds of knowledge with much more painstaking effort for a long time. As
a result now we are able to find the traditional wisdom of Bhārata.

1
1.1. Derivation of the word Manuscript- Manuscripts have played a very
significant part in the development,
development, preservation, propagation of
knowledge in India.
India The word Manuscript derived from the Medieval Latin
word Manu means by hand and scriptus the past participle form of the
Medieval Latin word Scribere means written. The tabular form of the
derivation of this word is as follows.

Past Participle

But according to R.S.Shivaganesh Murthy the word Manuscript is

derived from the Latin word Manuscriptum and the corresponding English
meaning of this word is hand-written1.
The different names for Manuscript in Indian subcontinent in
various languages are – pÁÆÕulipi, pÁÆÕupatram, hastaprati,
hastaprati hastalekha,
hastakéti, hastalikhita, matékÁ, grantha, pothÁ,, pothi, poÉthi,
po poÉthÁ,
pustik Putthaya, pratilipi, ÐÁstra, koÐa,
puÉthi, potthaka, pustaka, pusta, pustikÁ,
nuska, bid, chopaÕÕi, kitÁb, bahi, guÔaka,
aka, parvana, parvancha, murakka,
ola, puskola, talli, sravanga, bahinuma pustika, patra, panavali, text,
codex, script, document, treatise, transcript, evidence, primary source etc.2
But in other prominent languages of world the translation of this
word is as follows-- (1) British English- manuscript, (2) American English-
English
manuscript, (3) Brazilian Portuguese-
Portuguese manuscrito, (4) Croatian-
Croatian rukopis,
(5) Czech- rukopis,
rukopis (6) Danish- manuscript, (7) Dutch-
Dutch manuscript, (8)
European Spanish-- manuscrito, (9) Finnish- käsin kirjoitettu teos,teos (10)
French- manuscript,
manuscript (11) German- Manuskript, (12) Italian-Italian manoscritto,
(13) Norwegian- manuscript, (14) Polish- rękopis,, (15) European
Portuguese- manuscrito,
manuscrito (16) Romanian- manuscris, (17) Spanish-

1. Sarma. K.V. (Author), Edited by Dash. Siniruddha (2007). Manuscripts of India

(Article), (Book) New Lights on Manuscriptology, Chennai, page-
page 1(pp. 1-17), Sree
Sarada Education Society Research Centre.
2. Prasad. J.S.R. (2016). An introduction to Manuscriptology.. (Online), Retrieved Sep.
29, 2016 from In slideshare: https://www.slideshare. net/JSRAPrasad/ introduction-
introduction
to-manuscriptology
manuscriptology

2
 manuscrito, (18) Swedish- manus, (19) Turkish- elyazması.3
3.1. Definition of Manuscript- Let us first discuss what is a Manuscript?
Etymologically, manuscript means something that is hand written, it means
handwritten document. In other words a manuscript is a handwritten
composition on paper, bark, cloth, metal, palm leaf or any other material
dating back at least seventy-five years that has significant scientific,
historical or aesthetic value. Lithographs and printed volumes are not
manuscripts. Again here the term manuscript is related to antiquity not
necessarily means the write up submitted by an author to a publisher.
"The Antiquities and Art Treasures Act, 1972" lays down the legal
framework for custody of manuscripts. Antiquities, defined under the Act
include “Any manuscript, record or other document which is of scientific,
historical, literary or aesthetic value and which has been in existence for
not less than seventy-five years.” If this definition is taken into
consideration in phase value, a manuscript means,-
1. A hand written document.
2. Which has scientific, historical, literary or aesthetic value.
3. Which is at least seventy-five years old.
Manuscripts are found in hundreds of different languages and
scripts. Often, one language is written in a number of different scripts. For
example, Sanskrit is written in Odia script, Grantha script, Devanagari
script, Bengali script and many other scripts. Manuscripts are distinct from
historical records such as epigraphs on rocks, firmans, revenue records
which provide direct information on events or processes in history.
Manuscripts have knowledge content.
4.1. Manuscriptology- Manuscriptology means, science of manuscripts in
which editing of the work is given supreme importance. Editing of the
work means reconstructing the text, nearest to the author’s autograph work
on the basis of evidences i.e. readings available in existent copy or copies
in the form of manuscript, quotations, translations, summaries, adaptations
& research articles. Studying hand written works of literature or lore is
subject matter of Manuscriptology.

3. Collins. Harper. (2017) Collins English Dictionary (Online), Retrieved Thursday 02

November 2017 from https://en.wikipedia.org/wiki/Collins_ English_Dictionary:
https://www.collinsdictionary.com/dictionary/english/manuscript.

3
5.1. Buddhist Tradition and Manuscriptology - Buddhist tradition, Buddhist
scholars etc. immensely helped this branch of knowledge in many ways.
For knowing the history of writing in India, writing system, history of
writing system, qualities of a scribe, history of script, ancient writing
materials, preparation of palm-leaves, preparation of palm-leaf
manuscripts, cover board, palm-leaf writing technique, coloring of palm-
leaf manuscripts, manuscript preservation etc. we are very much depending
upon this tradition and scholars of this tradition. Let us discuss some of
them.
5.2. Role of Buddhist Tradition for knowing the history of writing in India-
The history of writing in India is very old. While dealing with manuscripts
a question arises spontaneously that at what time the first manuscript could
have been written. Keeping this idea in mind the study of palaeography is
started. For Manuscriptology, neither the origin and genealogy of scripts
nor its development through the ages is required in detail, but a general
outline of history is essential, because the manuscripts are also written
documents in historical succession. Thus, the question of antiquity of
writing is dealt with here as a prelude to the study of manuscripts. For
analysing the history of writing we have to depend upon the written
chronicles, epoch-making literary works of prominent authors, epigraphs
&c.
The Buddhist works supplies us ample evidence regarding writing
system in ancient India. The Buddhist literature is very rich regarding the
evidences of writing system. SÚttapiÔaka, VinayapiÔaka and the NikÁyas,
includes akkharikÁ which probably known as a game played by the
children. According to BuddhagoÒa, its main feature was the letters were
read in the sky. Buhler4 tells us that, the Ceylonese TripiÔaka bear witness
not only to an acquaintance with writing, but also to its extensive use at the
time when the Buddhist canon was composed. Lekha (writing), lekhaka (a
writer), are mentioned in the Bhikkhu-PÁcittya 2, 2, and in the BhikkhunÍ-
PÁcittya 49, 2; and the former work praises writing as a branch of
knowledge that is honoured in all countries. The JÁtakas repeatedly speak
of private and official letters. They also know of royal proclamations, of
which MahÁvagga 1, 43 likewise mentions an instance; and they narrate

4. Buhler. G. (1962). Indian Paleography. Calcutta, (Pp. 22-23). Indian Studies Past
and Present.

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 that, important family affairs or moral and political maxims were engraved
on gold plates. Twice we hear of debtor's bonds (iÆapaÆÆa), and twice
even of MSS (potthaka). The PÁrÁjika section of the VinayapiÔaka (3.4.4)
declares that Buddhist monks shall not incise. Again JÁtaka No. 125 and
MahÁvagga 1,49, bear witness to the existence of elementary schools.
Again the JÁtaka mentions the wooden writing-board i.e., phalaka, wooden
i.e., varÆaka etc..
Again MajjhimanikÁya speaks of eight professions for house-
holders of which muddÁ (conveyancing), GaÆana (accountancy) & SaÉkhÁ
(appraising)- point to use of writing. Cullavaga deals with various methods
of voting; one of which at least needs writing. The Chinese translation of
Lalitavistara (308 A.D) recounts the childhood of Lord Buddha, where we
are told that he was sent to a lipiÐÁlÁ (Chapter-10) along with numerous
other friends.
So from above discussion it is clearly understood that the Buddhist
tradition is very much rich regarding the evidences of writing system.
5.3. Role of Buddhist Tradition for knowing the history of scripts in India-
A writing system is a set of visible or tactile signs used to represent
units of language in a systematic way. The process or result of recording
spoken language/inner feelings using a system of visual marks on a
surface; the concept includes the particular writing system (orthography)
which is available for a language, the choice and mastery of a particular
medium of expression whether handwriting or typing, and the product
which emerges the piece of writing is known as writing system.
Throughout history a number of different ways of representing language in
graphic media have been invented. These are called writing systems.
Ancient time history shows that man felt the need to communicate
with his fellowmen through means other than speech. Various forms of
picture writing were used for a long time in different parts of the globe to
record the happenings, before scripts were devised. The communities of
cave dwellers wished to make records of their lives and they left the
complex drawings and paintings on the walls of their caves. Over time, the
need to keep records and to send messages increased and the idea of
indicating objects by means of pictures was further developed.
Various forms of picture writing were used for a long time in
different parts of the world. For instance, the ancient Egyptians invented a
kind of picture writing called “hieroglyphs,” which means “sacred

5
carving.” Besides, the Chinese still have a kind of picture writing that is
known as ideographic. The symbols used in this system are called
characters, and these characters are used for every kind of objects and
every kind of ideas. So in this way at first Pictograph, then Ideograph & at
last Phonetic Script came into existence.
At present there are about 6000 languages in the world. Again some
languages has its own scripts (Example, Odia, Bengali etc.) and some has
not (Example,- Sanskrit etc.). There is no alphabet for some scripts. For
example,-Cuneiform, 4000 B.C., Hieroglyphic, 4000 B.C., Indus Script,
4000 B.C., Chinese Script, 3200 B.C., Cretan Script, 3000 B.C., Hittite
Script, 2000 B.C. etc.. Again there are alphabets for some scripts. For
example,- Hebrew Script, 1000 B.C., Semitic Script, 1000 B.C., Greek
Script, 900 B.C., Roman Script, 900 B.C., Armaic Script, 800 B.C., Arabic
Script, 800 B.C., Brahmi Script, 350 B.C., Kharosthi Script, 350 B.C.,
Nagari Script, 1000 A.D. etc..
In ancient India we find that so many scripts were in use. In this
regard we find some references regarding the name of scripts in some
ancient and later treatises. The famous Buddhist text Lalitavistara quotes
that, there were sixty four (64) scripts in ancient India. They are,- BrÁhmÍ,
KharoÒÔhÍ, PuskarasÁrÍ, AÉgalipi, BaÉgalipi, Magadhalipi, MÁÉgalyalipi,
ManuÒyalipi, AÉgulÍyalipi, S'akÁrilipi, BrahmavalÍlipi, DrÁviÕalipi,
KanÁrilipi, DakÒiÆalipi, Ugralipi, SaÉkhyÁlipi, Anulomalipi,
Ùrdhvadhanulipi, Daradalipi, KhÁsyalipi, CÍnalipi, HÚÆalipi,
MadhyakÒavistÁralipi, PuÒyalipi, Devalipi, NÁgalipi, YakÒalipi,
Gandharvalipi, Kinnaralipi, Mahoragalipi, Asuralipi, GaruÕalipi,
Mégacakralipi, Cakralipi, VÁyumarulipi, Bhaumadevalipi, AntarikÒalipi,
UttarakurudvÍpalipi, AparaguÕÁdilipi, PÚrvavidehalipi, UtprekÒalipi,
NikÒepalipi, VikÒepalipi, PrakÒepalipi, SÁgaralipi, Vajralipi,
Lekhapratilekhalipi, Anudrutalipi, S'ÁstrÁvartalipi, GaÆÁvartalipi,
UtprekÒÁvartalipi, VikÒepÁvartalipi, PÁdalikhitalipi, Dviruttarapadasa-
ndhilikhitalipi, Das'ottarapadasandhilikhitalipi, AdhyÁhÁriÆÍlipi, Sarvaru-
tsaÆgrahaÆÍlipi, VidyÁnulomalipi, Vimis'ritalipi, èpitapastaptalipi,
DharaÆÍprakÒepaÆÁlipi, SarvoÒadhaniÒyandalipi, SarvasÁrasaÆgrahaÆ-
iÍlipi, SarvabhÚtarudgrahaÆÍlip5.

5. Ojha. G.H. (Third Edition) (1971). BhÁratÍya PrÁcÍna LipimÁlÁ. New Delhi (p.
17.) Munshiram Manoharlal.

6
 Again there is another speculation that, the DevanÁgarÍ script is the
merger of two ancient scripts. Here we saw the famous Buddhist text
Lalitavistara quotes the names of 64 scripts including Deva Script and
NÁga Script. Most probably, in later period both scripts merged & took the
modern shape & identified with DevanÁgarÍ Script. 6
5.4 Buddhist Coloring Palm-Leaf Manuscript Tradition -
Illustrated Buddhist manuscripts of Asia are books that were
produced in abundance throughout the eleventh to thirteenth centuries.
These illustrated Buddhist books are monastic products transcribing
Buddhist sÚtras
The miniature paintings initially emerged in eastern India. The PÁla
kings patronized this form of art and buoyant to spread Buddhism. They
made immense contribution in encouraging this form of art as well as
spreading Buddhism. This new type of art was developed mainly in Bihar
and Bengal. These manuscripts were use to prepared with the leaves of the
Corypha umbraculifera and sometimes of the Borassus Flabellifer Linn
palm leaves.
The earliest illustrated Buddhist manuscript of the Indian
subcontinent is the manuscript of the AÒÔasāhasrikā Prajñāpāramitā is now
in the Cambridge University Library. Its colophon tells us that the
manuscript was made in the fourth regnal year of Mahīpāla I (992–1042
A.D.). The Pālas ruled in the ancient land of Magadha and adjacent regions
(i.e., now Bihar and parts of Bengal) from the eighth to the early thirteenth
centuries. The reign of Mahīpāla I mark a turning point in Pāla history
because he is responsible for stabilizing and recovering the territory that
was lost during the successions of weak kings before him. The heightened
religious activities and the degree of royal patronage of the Buddhist
institutions exemplified by the inscriptions bearing his regnal years suggest
the perfect atmosphere for commissioning beautifully illustrated Buddhist
manuscripts. A tradition of illustrating Buddhist books must have existed
before Mahīpāla's reign, but the surviving body of manuscripts suggests a
heyday of Buddhist book production, especially books with illustrations,
during the eleventh and twelfth centuries in eastern India. Illustrated
Buddhist manuscripts were made in regions outside Pāla territory in

6. Mishra. S. (2014). Catalogue of Palam Leaf Manuscripts with Basic

Manuscriptology. Ahmedabad. (p. 71). Acarya Sri Surendrasuriswarji Jaina
Tatvajnanasala.

7
eastern India, and we have manuscripts dated with the regnal years of the
Candras and the Varmans, who ruled other parts of eastern India during
this period. The popularity of illustrated Buddhist manuscripts was also
witnessed in Kathmandu Valley, Nepal, a region that seems to have been
culturally interconnected with eastern India during this time.
The colophon of the AÒÔasāhasrikā Prajñāpāramitā manuscript
mentioned above does not tell us where it was prepared, but the use of
Mahīpāla's regnal year suggests that the site of its production must have
been one of the famous Buddhist monasteries that prospered under the Pāla
rule. Even though only a few of the Pāla kings were devout Buddhists, they
continued to support the internationally well-known monastery of Nālānda
and founded other grand monasteries, such as Vikramashīla, located near
Bhagalpur in Bihar. We know from different colophons that manuscripts
were actually made in these famous monasteries of eastern India. For
example, the colophon tells us that,- a beautifully written manuscript of
AÒÔasāhasrikā Prajñāpāramitā that includes eighteen illustrations and
painted wooden covers was prepared by a scribe Ahunakunda of Sri
Nalanda in Magadha in the fifteenth year of the king Rāmapāla (1087–
1141 A.D.). This MS is now in the Bodleian Library, Oxford. Another MS
of AÒÔasāhasrikā Prajñāpāramitā written in ornamental KuÔila script was
made in Vikramashīla during the fifteenth year of King Gopāla III (1143–
1158 A.D.). This MS is now in the British Library.
Along with the accounts of later Tibetan monks visiting these sites,
the ruins at the excavated sites of Nalanda and Vikramashīla suggest a
blow of destruction by the Muslim army in the early thirteenth century, and
such an attack must have destroyed thousands of manuscripts kept at the
monasteries. This full-scale destruction of the Buddhist establishments in
eastern India may have nevertheless contributed to the preservation of
Buddhist manuscripts of the Pāla period: as the monks fled to Nepal and
Tibet, these manuscripts were transported to a more hospitable climate for
their fragile leaves, which otherwise may not have withstood almost a
thousand years of harsh weather.7
The students and pilgrims all over south East Asia use to flock to
Nalanda, Odantatpuri, Vikramsila, Somarupa etc. for educational and
religious instructions. On their way back to home, they used to take the

7. Kim. Jinah. (2017). Jain and Buddhist Manuscript Painting (Online). Retrieved 10
December 2017, from Encyclopedia of India: www.encyclopedia.com.

8
 bronzes and various types of manuscripts of Pāla Buddhist art as paradigm
along with them. In this way PÁla style of painting in MSS spread and
accepted quickly among countries like Tibet, Burma, Srilanka, Java etc..
Most of the examples of PÁla School are related to Vajrayāna School. This
form of art also reflects some approach of Ajanta. After the invasion by
Muslim invaders, some monks and artists fled to Nepal. It helped in
strengthen the existing art tradition there.
5.5 Buddhist Writing Materials- Knowledge of writing materials is also
essential to the study of handwriting and to the identification of the periods
in which a document or manuscript may have been produced8. Before the
invention of paper, the main writing materials in our country and abroad
throughout history were birch-bark, palm-leaves, copper-plates, clay-
tablets, stones, bamboos, skins, papyrus, wax tablets, vellum, parchment,
paper etc. Besides these, agaru-bark, bricks, earthenware, shell, ivory,
cloth, wood, etc. had also their uses as materials for writing.
Till paper was introduced in India, palm-leaves were one of the most
important materials used for writing purposes in this country. It is also the
major source of writing and painting in South and Southeast Asian
countries including Nepal, Sri Lanka, Burma, Thailand, Indonesia and
Cambodia. Palm leaf manuscripts relating to art and architecture,
mathematics, astronomy, astrology, and medicine dating back several
hundreds of years are still available for reference today. Large numbers of
collections of palm leaf manuscripts on palm leaves are found in museums
and libraries almost everywhere in India and also in some major
institutions abroad.
Though so many varieties of species of native palm trees are found
around the globe, but however, the leaves of only a few types of palm
species have been used for writing. The most widely used palm species are,
Corypha umbraculifera Linn, Borassus flabelliformis Linn, and Corypha
taliera Roxb9.
Major Buddhist manuscripts of eastern India and Nepal were made
with the leaves of the Corypha umbraculifera and sometimes of the
Borassus Flabellifer Linn.
8. Gwinn. Robert. P. (Vol. IX) (1986) “Paleography” in the Encyclopedia Britannica.
Alexandria. (p. 78) Micropaedia.
9. Agrawal. Om Prakash. (1984). Conservation of Manuscripts and Paintings of
South-East Asia, London. (pp. 25-27) Butterworths & Co Ltd.

9
 This Corypha umbraculifera is otherwise known as ShrÍtÁla or TÁla
or TÁÕÍ by some scholars. Here in this context it will be better to mention
that, the Indian names differ from each other. For example in one book10 it
is mentioned that, Borassus Flabellifer Linn is KharatÁla or TÁla, Corypha
umbraculifera is TÁlÍ or Talipot and Corypha Taliera Roxb is known as
S'rÍtÁla. Again Dr. Sircar11 opines that, TÁla or TÁÕa as Borassus
Flabellifer Linn and TÁlÍ or TÁÕÍ as Corypha umbraculifera. Here we
should remember that the fibers of the S'rÍtÁla leaves are more resistant to
decay than the KharatÁla leaves. It is because of these reasons that S'rÍtÁla
leaves have been preferred to KharatÁla leaves for writing manuscripts.
The Talipot palm is monocarpic, flowering only once, when it is 30 to 80
years old. It takes about a year for the fruit to mature, producing thousands
of rounds, yellow-green fruit 3-4 cm diameter, each containing a single
seed. The plant dies after fruiting.
Borassus Flabellifer Linn is also known as Asian Palmyra
palm, or Toddy palm, or Sugar palm, or Cambodian palm, or
Palmyra palm or KharatÁla or TÁla or TÁÕa. Again the Borassus
flabellifer plant and fruit is known as TÁãa in Odia, Tnaot in
Khmer, Thot Not in Vietnamese, TÁri in Hindi, TÁl in Bengali,
Tale Hannu or Tateningu in Kannada, Nungu in Tamil, Pana
Nangu in Malayalam, Thaati Munjalu in Telugu, Munjal in Urdu,
Lontar in Indonesian, Siwalan in Javanese, Ta’al in Madurese,
Ton Taan in Thai, Akadiru by the East Timorese, Tao in Divehi,
Tadfali (pronunciation variations are Tad-fali or Taadfali) in
Gujarati, Targula in Konkani, TaÕgolÁ in Marathi and sometimes
Ice-apple in British English. The leaves of the palmyra palm are
rather thick compared to those of the talipot palm and they have a
tendency to break very easily. The palmyra palm, i.e., Borassus
Flabellifer Linn, is mostly used in writing letters and notes and
not in the writing of important books. They also appear to be more
prone to insect attack than the talipot palms. The Borassus
flabellifer leaves are used for thatching, & for preparing mats,
baskets, fans, hats, umbrellas, and as writing material.
The use of paper in Buddhist manuscript production was known in
the Kathmandu Valley as early as the twelfth century, but palm leaf was
the most commonly used material for writing.
6.0 Culmination- Though Buddhist Tradition and Manuscriptology are
interlinked with each other and this tradition helped a lot to built

10. Gangadharan. G.G. (Chief Editor) (2010). Handbook of Medical Manuscriptology.

Bangalore. (p. 28). IAIM.
11. Sircar. Dinesh Chandra. (1965). Indian Epigraphy. Delhi. MLBD.

10
Manuscriptology in larger perspective, still here I discussed palm leaf
paintings and writings in short. Along with this discussion I also tried to
show the Buddhist manuscripts helped a lot to propagate Buddhism in
Asian region very prominently. My observations
vations in this regard are -
1. Buddhism, Buddhist Tradition, Buddhist Scholars, and Buddhist
Texts are having valuable contributions not only for spreading
Buddhism but also building Manuscriptology also. No doubt study
of various branches of Manuscriptology
anuscriptology will be incomplete without
Buddhist texts written in various manuscript forms.
2. The illustrations in MSS provide rare glimpses for historians, fol- fol
lowing the stylistic development of the paintings by comparing
compar them
to extant sculptures, with
with their sinuous and flowing line, as well as to
rare and fragmentary paintings that survive in archeological temple
and monastic complexes, such as at Ajanta
A and Ellora etc..
etc. They are
truly rare keystones and fundamental
fundamental sources in the understanding of
the development of Indian painting.
3. By the migration of pilgrims from Bihar to other places and other
places to Bihar for various reasons during PÁla sovereign,
sovereign the PÁla
style spread quickly among countries like Tibet, Burma, Srilanka
and Java. Due to this Buddhism enriched in many ways in Asian
region. Most of the examples of PÁla School are related to VajrayÁna
Vajra
School. This form of art also reflects some approach of Ajanta. After
the invasion by Muslim invaders, some monks and artists fled to
Nepal. It helped in strengthen the existing art tradition there also.

11
 Select Bibliography
1. Sarma. K.V. (Author), Edited by Dash.. Siniruddha (2007).
(2007) Manuscripts of
India (Article), (Book) New Lights on Manuscriptology, Chennai, Sree
Sarada Education Society Research Centre.
2. Prasad. J.S.R. (2016). An introduction to Manuscriptology.
Manuscriptology (Online),
Retrieved Sep. 29, 2016 from In slideshare: https://www.slideshare.
https://ww
net/JSRAPrasad/introduction
net/JSRAPrasad/introduction-to-manuscriptology
3. Collins. Harper. (2017) Collins English Dictionary (Online),
(Online) Retrieved
Thursday 02 November 2017 from https://en.wikipedia.org/wiki/Collins
_English_Dictionary
_English_Dictionary:https://www.collinsdictionary.com/dictionary/englis
ictionary.com/dictionary/englis/
manuscript.
4. Buhler. G. (1962).. Indian Paleography. Calcutta,, Indian Studies Past and
Present.
5. Ojha. G.H. (Third
Third Edition)
Edition (1971). BhÁratÍya PrÁcÍna na LipimÁlÁ.
Lipim New
Delhi, Munshiram Manoharlal.
Manoha
6. Mishra. S. (2014). Catalogue of Palam Leaf Manuscripts with Basic
Manuscriptology.. Ahmedabad. Acarya Sri Surendrasuriswarji Jaina
Tatvajnanasala.
7. Kim. Jinah. (2017). Jain and Buddhist Manuscript Painting (Online).
Retrieved 10 December 2017, from Encyclopedia of India: India
www.encyclopedia.com
www.encyclopedia.com.
8. Gwinn. Robert. P.. (Vol. IX) (1986) “Paleography” in the Encyclopedia
Britannica. Alexandria. Micropaedia.
9. Agrawal. Om Prakash.
Prakash (1984). Conservation of Manuscripts and Paintings
of South-East Asia,, London. Butterworths & Co Ltd.
10.Gangadharan. G.G. (Chief Editor) (2010). Handbook of Medical
Manuscriptology. Bangalore.
B IAIM.
11.Sircar. Dinesh Chandra.
Chandra (1965). Indian Epigraphy.. Delhi. MLBD.
M

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