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R I V ISTA DEGLI STUDI ORIENTALI NUOVA SERIE

RIVISTA DEGLI S TUDI ORIENTALI NUOVA SERIE SAPIENZA UNIVERSITÀ DI ROMA ISTITUTO ITALIANO DI STUDI ORIENTALI * Direttore responsabile Raffaele Torella

* Direttore scientifico Raffaele Torella Comitato scientifico Prof. Pia Brancaccio (Drexel University) Prof. Cristina Scherrer-Schaub (Université de Lausanne, École pratique des hautes études, Paris) Prof. Phyllis Granoff (Yale University) Prof. Mohammad Ali Amir-Moezzi (École pratique des hautes études, Paris) Prof. Ghanshyam Sharma (inalco, Paris) Prof. Lawrence Wang-chi Wong (Hong Kong University) Prof. Cécile Michel (cnrs, Paris) Prof. Barbara Pizziconi (soas, University of London) Prof. Carter Eckert (Harvard University) Prof. Florian Schwarz (Österreichische Akademie der Wissenschaften, Wien) Comitato editoriale Alessandra Brezzi, Antonetta Bruno, Vanna Calasso, Leonardo Capezzone, Federica Casalin, Mario Casari, Franco D’Agostino, Ciro Lo Muzio, Matilde Mastrangelo, Giorgio Milanetti, Luca Milasi, Lorenzo Verderame Segretaria di redazione Carmela Mastrangelo

* Pubblicato con il contributo di Sapienza Università di Roma anvur: a

S A P I E N Z A U N I V E R S I TÀ DI ROMA I S T I T U TO I TA L I A N O D I S TU DI O RIEN TALI

STUDIES IN HO N O U R OF LUCI ANO PE T E CH . A C OMMEMORATIO N VO LU M E 1914-2014 A CURA DI ELENA DE ROSSI FILIBECK, MICHELA CLEMENTE, GIORGIO MILANETTI, OSCAR NALESINI, FEDERICA VENTURI

SUPPLEMENTO Nº 1 ALLA RIVISTA DEGLI STUDI ORIENTALI NUOVA SERIE VOLUME LXXXIX

PISA · ROMA FABRIZIO SERRA EDITORE 2016

RIVISTA DEGLI S TUDI ORIENTALI NUOVA SERIE Trimestrale I prezzi ufficiali di abbonamento cartaceo e Online sono consultabili presso il sito Internet della casa editrice www.libraweb.net. Print and Online official subscription rates are available at Publisher’s website www.libraweb.net. I versamenti possono essere eseguiti sul conto corrente postale n. 171574550 o tramite carta di credito (Visa, Eurocard, Mastercard, American Express, Carta Si) Fabrizio S er r a editore Pisa · Roma Casella postale n. 1, Succursale 8, I 56123 Pisa Uffici di Pisa: Via Santa Bibbiana 28, I 56127 Pisa, tel. +39 050542332, fax +39 050574888, [email protected] Uffici di Roma: Via Carlo Emanuele I 48, I 00185 Roma, tel. +39 0670493456, fax +39 0670476605, [email protected] * A norma del codice civile italiano, è vietata la riproduzione, totale o parziale (compresi estratti, ecc.), di questa pubblicazione in qualsiasi forma e versione (comprese bozze, ecc.), originale o derivata, e con qualsiasi mezzo a stampa o internet (compresi siti web personali e istituzionali, academia.edu, ecc.), elettronico, digitale, meccanico, per mezzo di fotocopie, pdf, microfilm, film, scanner o altro, senza il permesso scritto della casa editrice. Under Italian civil law this publication cannot be reproduced, wholly or in part (included offprints, etc.), in any form (included proofs, etc.), original or derived, or by any means: print, internet (included personal and institutional web sites, academia.edu, etc.), electronic, digital, mechanical, including photocopy, pdf, microfilm, film, scanner or any other medium, without permission in writing from the publisher. www.libraweb.net © Copyright 2016 by Sapienza Università di Roma and Fabrizio Serra editore, Pisa · Roma Fabrizio Serra editore incorporates the Imprints Accademia editoriale, Edizioni dell’Ateneo, Fabrizio Serra editore, Giardini editori e stampatori in Pisa, Gruppo editoriale internazionale and Istituti editoriali e poligrafici internazionali. issn 0392-4866 isbn 978-88-6227-858-4 isbn elettronico 978-88-6227-859-1

CONTENT S Foreword Professor Luciano Petech (1914-2010). A biographical note, by Elena De Rossi Filibeck Address of Vice-President of ISMEO, by Adriano V. Rossi

9 13 15

contributions Oscar Nalesini, The Personal Fonds of Luciano Petech and the Legacy of Giuseppe Tucci: the Case of the Corpus Inscriptionum Tibeticarum John Bray, Luciano Petech and the Historiography of Ladakh: Lives, Times and Academic Lineages Elena De Rossi Filibeck, A Note on the Cultural Meaning of the Traditional Wedding Songs from Rupshu and Other Areas of Ladakh Helga Uebach, Jampa L. Panglung, A Funeral Offering for the Deceased Queen Mother: The Inscription at the Mani Wall of the Great Monastery of Hemis in Ladakh Camillo A. Formigatti, Towards a Cultural History of Nepal, 14th - 17th century. A Nepalese Renaissance? Giorgio Milanetti, Drawing Inspiration from Petech’s Studies on Hindi Literature: Caste and Class Related Issues in Bhairav Prasad Gupta’s Ganga Maiya Mauro Crocenzi, Theorizing on Tibetan National Identity in Post-Maoist China Paolo Santangelo, Psychological Dynamics of Emotions in Chinese Traditional Culture: The Case of Anger Elliot Sperling, The Early History of the Pho lha Clan Michela Clemente, The Patronage Network of lHa btsun Rin chen rnam rGyal from Brag dkar rta so to the ’Phags pa lha khang Hildegard Diemberger, Tsering Dawa Sharshon, Some Remarks on an Early Print Edition of rGyal sras thogs med’s Biography and his Collected Works Alessandro Boesi, Medicinal Plants in Pre-Modern Tibet According to an Independent Traditional Doctor: An Outline of a Manuscript Amy Heller, Three Ancient Manuscripts from Tholing in the Tucci Collection, IsIAO, Roma. Part I: Manuscript 1329 E Erberto Lo Bue, A Tibetan Mahabodhi.The Main Image in the Dpal ’khor chos sde of rGyal rtse

17 27 35

45 51

67 75 85 93 103

111 119 125 133

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contents

Giacomella Orofino, The Myth of Rudra’s Subjugation According to the bsGrags pa gling grags. Some Observations on the Beginning of a Historiographical Tradition Donatella Rossi, The Three Teachings (don gsum) of Lady Co za Bon mo. A Bon po gter ma from the Giuseppe Tucci Tibetan Fund Marta Sernesi, The Royal Chronicle of the House of the North and a Rare 15th Century Book from La stod Byang Federica Venturi, Sa skya and Gye re Roberto Vitali, A Note on the Role of the Early Karma pas at Karma’i dgon (1182 - ca. 1363)

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147 155 165 179 189

appendix Paintings by Livia Liverani Paintings by Nyima Dhondup Alessandra Lazzari, Italian Comics on Tibet: an Exhibit

195 196 197

Program of the Symposium List of Contributors Plates

199 201 205

THREE ANCIENT MANUSCRIPTS FROM THOLING IN THE TUCCI COLLECTION, ISIAO, ROMA, PART, I: MANUSCRIPT 1329 E AMY HELLER In a spirit of homage to Professor Giuseppe Tucci for his unique contributions to the history of Tibet, and to contribute to the diffusion of his intellectual and artistic heritage, in 2006 and 2008, Professor Elena De Rossi Filibeck graciously invited me to Università “La Sapienza” Roma as visiting professor to study three previously unpublished Tibetan manuscripts of the Prajñāpāramitā with illuminations collected by Professor Tucci.1 The study of the codicology and art historical analysis of these three manuscripts sheds further light on the distinctive characteristics of manuscripts collected by Professor Tucci during his travels in Western Himalayas and Western Tibet 1933-1937 (Tucci 1935, 1937, 1949 and De Rossi Filibeck 1996, 2003, 2007) These three manuscripts had remained in Tucci’s possession and were posthumously acquired by the Tucci archive at the IsIAO. They are part of a corpus produced in the context of the 10th to 11th century revival of Buddhism promoted by the royal patronage of the kingdoms of Guge-Pu hrang, at their capitals in Tholing and Khojarnath respectively. In the present study, the focus is the study of the fragmentary manuscript 1329 E, an isolated illuminated leaf, which affords comparison, in terms of Kashmiri aesthetic grammar and archaic Tibetan codicology, with the renowned Prajñāpāramitā manuscripts collected at Tholing by Tucci, now conserved in the Los Angeles County Museum of Art.2 Furthermore, the IsIAO manuscript 1329 E has been subjected to scientific analysis (radiocarbon and paper composition) the results of which will be presented here. In order to introduce the aesthetic criteria for art historical analysis, a brief summary of characteristics of style and technique will be presented prior to the textual discussion of the manuscript fragment. 1. HISTORIC CONTEXT OF THE MANUSCRIPT 1329 E Among the masterpieces of Asian art treasures collected by Tucci, the best known manuscripts are twelve illuminated leaves found at Tholing. He identified their Kashmiri aesthetic matrix in comparison with the murals of the nearby sanctuary of 1

I thank Prof. Elena De Rossi Filibeck for her kind invitation to study these illuminated manuscripts of the Tucci archive, Dr. Francesco D’Arelli, director of the IsIAO Library for authorizing their photography and publication, and Dr. Oscar Nalesini who so generously helped me consult the Tucci photo archive of MNAO; his scans of the Tucci photos have tremendously influenced this research. I am most grateful to Dr. Michela Clemente for facilitating photography during the period of IsIAO’s closure, and to Luigi Fieni for his excellent photographs. In the Los Angeles County Museum of Art, the Southern Asian Art Council sponsored my research visit to study the Tholing manuscripts and I particularly acknowledge the help and expertise of Dr. Charlotte Eng of the Conservation Studio and Dr. Stephen Markel, curator of South Asian Art. 2 The two other manuscripts are studied separately, see Heller (in press) and Heller (forthcoming).

https://doi.org/10.19272/201603814016 · supplemento n. 1 «rso · n.s.», lxxxix, 2016

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Mang Nang and with the wood carvings of the doorways of sanctuaries in Tholing and Khojarnath, all of which he visited and studied, accompanied by Dr. Eugenio Ghersi, during his travels in 1933 and 1935.3 In his masterwork, Tibetan Painted Scrolls, Tucci stipulated that these illuminations and mural paintings reflect the work of Kashmiri schools of painting, which he described in detail: The temple of Mang nang has preserved the only frescoes known today which are certainly of the Kashmiri school, … [in the manuscripts of Tholing certain miniatures] express a highly artistic atmosphere; the figures are drawn with extreme delicacy, golden backgrounds are frequent, the halos are iridescent like rainbows. The miniatures are covered with a resinous varnish or lacquer, which imparts great lustre and freshness to the coloring; the figures are slender, tall, with no trace of the plumpness and fullness apparent in Bengali and Nepalese art; there is a well defined preference for erect and supple postures, a slight undulation of the body replaces the classical tribhaṅga. Details of dress are extremely accurate: embroidery and patterns can be distinctly seen. The colour is not applied in a flat manner but ably graded [sic: graduated], so as to produce chiaroscuro shadows and cause the figures to bulge out with a plastic relief. This group of miniatures … is derived from the same schools which decorated the chapels of Mang nang, although they are perhaps a little later; everything induces us to think that their country of origin is Kashmir. (Tucci 1949: 273-74).

Tucci’s 1949 attribution to Kashmiri artists has been corroborated by Paul Harrison’s recent studies of the codicology and iconography of the Tholing manuscript leaves now conserved in Los Angeles County Museum of Art. Harrison remarked «traces of faint red (or in one case, black) lettering in an Indic script beneath the frames [of the illuminations], which was deliberately effaced» (Harrison 2007: 235). The presence of these Indic letters considerably strengthens the likelihood that these illuminations were painted by Kashmiri artists, who were presumably working in tandem with Tibetan scribes to fulfill the directives of the royal edict to promote artistic and scribal excellence in order to foster the implantation of Buddhism (Vitali 1996: 111). Complementing Tucci’s studies, subsequent research by Petech and Vitali demonstrated that these artists’ efforts were part and parcel of the period of tremendous religious and cultural efflorescence in mNga’ ris skor gsum during the late 10th to mid-11th century. This period saw the invitation of Kashmiri artists to participate in the embellishment of the royal foundations of the monasteries of Tholing, Khojarnath and Tabo in 996, and slightly later of Nyar ma and Spithuk. These were followed by renovations at Tabo in 104142 and by the construction of the Mang nang monastery to lodge an illustrious royal guest, the Buddhist pandita cum translator Atiśa, who remained there from 10421045 (Petech 1997; Vitali 1996, 2003). The translation and production of Buddhist manuscripts, particularly Prajñāpāramitā sutra replete with illuminations, and their diffusion throughout the newly founded sanctuaries, was an integral part of this renaissance of Buddhism in mNga’ ris skor gsum.

3

See Tucci (1996: 160-162) for visit at Tholing and photograph labelled: “Ancient Manuscripts found in the Ruins of Upper Tholing” which illustrates the Tholing manuscript now conserved in Los Angeles County Museum of Art with the catalogue number M. 81.90. 9. See also Tucci (1937: 191-204) for discussion and photographs of the Mang nang murals; and Tucci (1989: 227-224) for visits at Mang nang and Tholing, and photograph labeled “Tholing, detail of sculpted wooden doors, 11th century”.

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three manuscripts from tholing in the tucci collection 127 2. DESCRIPTION OF THE TEXT OF 1329 E

The single page manuscript is a fragment of the Prajñāpāramitā in 100,000 verses, written in Tibetan dbu can letters in an elegant and stylized calligraphy of the highest quality on a smooth beige leaf of paper, 64.5 × 18 cm (57 × 12 cm), with circles 2.7 cm in diameter (Fig. 1).4 In terms of technique of manufacture, according to Dr. Agnieszka Helman-Ważny, the paper is made of fibers of the plants Daphne/Edgeworthia sp. and Stellera chameajasme, which is characteristic of paper made in the western Himalayas, where these plants are native (Helman-Ważny 2014: 111-112, and Figs 61/62).5 In terms of scientific testing in order to determine a chronological framework, while the Tholing Prajñāpāramitā leaves had been associated with artistic production at Tholing during the early phyi dar, in the late 10th to early 11th century (Tucci 1949; Pal 1983: 123 and 1988: 140-145, pl. 36-37), no radio-carbon analysis of the leaf had been performed. This prompted my request to IsIAO to undertake such a test, the results of which are discussed below. The Tibetan text is written with archaisms: da drag and ya btags are common, and there is one instance of superabundant ’a. Other features are tsheg before shad for all letters, and the horizontal ligatures for rts and sts. The siddham is single, ornamented top, vertical to 1 + | |.6 There are two binding holes surrounded by circles in red ink, and the margins are also drawn in red ink, while the reverse of the folio is blank except for the margins in red and the red circles of the binding holes. The page has been ruled for ten lines of script. The page is numbered Kha/nga, in red ink in vertical alignment outside the margin, with the words don gcig written in black ink, thus corresponding to the last page of volume 2, Kha, page 371 (De Rossi Filibeck 1996: 487). The full text reads as follows: (line 1) gang ’ga’i klung gi bye ma snyed dang/ shard lho’i phyogs mtshams kyi ’jig rten gyi khams gang ’ga’i klung gi bye ma snyed dang/ lho nub kyi phyogs mtshams kyi ’jig rten gyi khams gang ’ga’i klung gibye ma (line 2) snyed dang/ nub byang gi phyogs mtshams kyi ’jig rten gyi khams gan ’ga’i klung gi byed ma dang/ ’og gi phyogs kyi ’jig rten gyi khamsgang ’ga’i klung gi bye ma dang/ steng gi phyogs kyi ’jig rten gyi (line 3) khams gang ’ga’ klung gi byed ma snyed kyi sems can gang ji snyed cid yod pa de dag thams (illumination) cad pha rold tu phyind pa drug la bkod kyang sems can gang yang pha rold tu phyind pa (line 4) drug la bkod pa myed do/ de ci’i phyir zhe na/ rab ’byord sgyu ma’i chos nyid nye (illumination) bar bzung na/ chos rnams kyi chos nyid kyis de bzhin ba’i phyir te/ rab ’byord (line 5) de ltar na byan chub sems dpa’ sems dpa’ chen po go cha chen po b (circle of binding hole) gos pa (illumination) zhes bya’o // //

4

De Rossi Filibeck 2003: 437. I thank Agznieszka Helman-Ważny for her analysis of the paper of the Tholing manuscript 1329 E. 6 The archaisms in spelling and the scribal marks are identical with those on the Tholing leaves studied by Harrison 2007. This description of the siddham or mgo yig is according to conventions developed for the Sutra volume of the Tabo Catalogue (Harrison 2009), which note whether the siddham is single, double or triple, whether it is plain or adorned on top or bottom, what direction it curls towards (expressed in terms of the numbers on a clock face), and whether the two shad which typically follow it enclose two tsheg (usually side by side |.. |, sometimes one above the other | : |) or a blank space | |). 5

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On the sixth line, there is no calligraphy, only two black shad lines, two red shad at left margin, at both sides of the illumination and then at right margin. Beneath the illumination the Sanskrit word ithi (“It is thus”) is written in Tibetan letters, roughly centred, surrounded by a red shad and a black shad. 3. DESCRIPTION OF THE ILLUMINATION OF 1329 E The full illumination measures 9.4 cm in width and 9 cm in height, giving it a square appearance enhanced by the wide azure blue line which frames it (Fig. 2, detail of the Buddha of manuscript 1329 E). Centred on the leaf is a Buddha figure without a caption for his name, only the word ithi. The Buddha’s skin is green in color, his hair is black, edged with small spikes; his head has pendulous earlobes with red outline on the green skin. Likewise, his elongated almond-like eyes are carefully outlined in red. Touching only the upper eyelid, minute round pupils are placed towards the inner eye corners, accentuating his meditation gaze. A dark line ‒ as if khol ‒ is applied around the lower eyelids, while a shading effect contributes to create a large and heavy upper eyelid. His hairline has a widow’s peak, the uṣṇīṣa is oval. Holding his two hands over his heart in a variant of the namaskāra mudra, his shoulders and arms are naturalistic and somewhat slender. He wears a red monastic robe with small gold crosses on the fabric and a gold hem to the entire garment, which is draped to cover his torso at the level of the heart but leaves the right shoulder bare, while the robe rises close to the left side of his neck. The soles of his feet are tinted red, as if to indicate henna decoration, with small circles in the center of the sole to denote his divine nature. Seated in vajraparyaṅka āsana on a lotus cushion with multi-colored petals inside a circular halo of rainbow iridescence, his body is surrounded by elegant twists of deep red scrolls that are to be understood as his aura. This treatment represents the epitome of refinement in Indian painting techniques, as though painted by a brush with a single hair, «ek bal kalm» (Gunasinghe 1957: 38), while the suave sfumato modelling of the body creates volume by techniques of shading, «vartana» (Nardi 2007: 26), particularly at the lower neck, upper arms, elbows, and ankles. The iconographic identification of this Buddha remains enigmatic, as the hand gesture, body color and āsana do not correspond to well known identifications; it is tentatively proposed to be one of the 1000 Buddha of the Bhadrakalpa, the Good Eon. This identification is proposed due to stylistic and morphological similarity with a Buddha represented on another leaf of the Tholing manuscripts, now conserved in Los Angeles County Museum of Art (M 81.90.13). The measurements of the full leaf at the LACMA are slightly larger than the 1329 E, but this may be due to slight damage at the edges of the latter leaf over time. The measurements of the LACMA illumination are 9.8 × 8.9 cm, in comparison with 1329 E, 9.4 × 9 cm. Both illuminations have the azure blue outline, red background, and circular rainbow halo for the body, as well as a gold outline to the circular halo of the head. While the Buddha of M. 81.90.13 has gold body color, rather than green, it is virtually identical to the Buddha of manuscript 1329 E in regard to hairline, facial features, body proportions and draping of the robe (Fig. 3., detail of the Buddha of manuscript M 81.90.13). Among the Tholing manuscripts conserved in the Los Angeles County Museum of Art, Paul Harrison has demonstrated that M 81.90.13 is the last page of IsIAO

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three manuscripts from tholing in the tucci collection 129

1329 X (Harrison 2007: 241), which is volume Nya of an eight volume Prajñāpāramitā in 100,000 verses. The great similarities in the codicological aspects of the two manuscript leaves (Fig. 4., Full leaf of manuscript M 81.90.13), the representation of the two Buddha images, the dimensions of the page and the dimension of the illuminations between M 81.90.13 and the fragmentary leaf 1329 E tend to suggest that 1329 E, which is the last page of volume 2, may well belong to the same eight volume series as 1329 X/ M 81.90.13. In terms of chronological attribution, Tucci evoked the comparison of the Mang nang murals with some of the Tholing illuminations (Tucci 1937, 1949). His attribution seems particularly apt for the Buddha of 1329 E, as well as the Buddha of M 81.90.13, in comparison with the Mang nang mural painting of a Buddha surrounded by an assembly of bodhisattva and goddesses (Fig. 5, detail of the Buddha assembly at Mang nang, Tucci archive photo P-3291). Here the central figure has the same slender body proportions and jutting elbow, similar shape halo, similar facial shape and uṣṇīṣa, as well as the draping of the robe with the bare right shoulder while the robe touches the left side of the Buddha’s neck, precisely as observed on the green Buddha of 1329 E and the gold Buddha of M. 81.90.13. The Mang nang murals have been dated to ca. 1041 due to Atiśa’s residence there, which would suggest a similar chronology in the first half of the 11th century for the creation of these two Tholing manuscripts. 4. RADIO-CARBON ANALYSIS OF MANUSCRIPT 1329 E. The radio-carbon analysis was performed by Artelab (Roma) in January 2009. The sample was subject to appropriate preliminary chemical treatment prior to decontamination and desiccation. The results yield a chronological age of 245 ± 35 years BP (before present), which corresponds to 1520 - 1660 A.D. with a 48 % probability for 1520-1590 and a 19.4 percent probability between 1620 and 1660 A.D. (Fig. 6: curve of the ARTELAB report on 1329 E). This result was at variance with the codicological, art historical and historical contexts as hitherto understood for the Tholing manuscripts collected by Tucci. In view of this result, the Los Angeles County Museum of Art decided to perform radio-carbon analysis on the manuscript M 81.90.6 (Fig. 7: leaf of M 81.90.6). The sample was tested in February 2010 by the Arizona Accelerator Mass Spectrometry Facility, University of Arizona. The appropriate preliminary procedures of decontamination and desiccation were performed. By taking two samples from the manuscript leaf, it was possible to obtain six small samples for examination and analysis. The results yield a weighted mean of 1019 ± 19 radiocarbon years BP; the calendar age span of this measurement was 986 to 1030 A.D. at 95 % confidence (Fig. 8. Curve of the Arizona University report on M 81.90.6). A second weighted mean was calculated for all six samples, with a result of 1012 ± 15 radiocarbon Years BP, thus a calendar age spanning 991 A.D. to 1031 A.D. at 95 % confidence. The discrepancy between the two sets of radiocarbon results remains unresolved. It is possible that there was an external contamination (due to a subsequent layer of varnish?) or other unknown factors which resulted in the later chronological age determined for 1329 E by Artelab. Variations in the preparation of the samples may have potentially led to a mistake, but this cannot be determined with certainty. Insofar as so few ancient leaves are extant, the idea of taking a second sample of

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1329E for a new radio-carbon analysis was rapidly dismissed. Further, in view of the great similarity of the historical, codicological and art-historical context for these two leaves of the Tholing Prajñāpāramitā manuscripts, ostensibly the radio-carbon date of late 10th to 11th century corresponds to the attribution from the first half of the 11th century. To conclude, I would like to quote the remarks on this discrepancy by Professor Richard Ernst, Nobel Prize of Chemistry in 1991 and specialist in Tibetan art and pigment analysis: «After all, not all problems can ever be solved, but one should never forget that once one found a discrepancy that remained unsolved.»7 BIBLIOGRAPHY Primary sources Prajñāpāramitā, 100,000 verses (fragment), vol. Kha nga, fol. 371 a, IsIAO Tho gling bKa’ ’gyur, IsIAO, Roma. See De Rossi Filibeck 2003: accession number 1329 E. Prajñāpāramitā 100,000 verses (fragment), vol. Nya nga, fol. 357 a, Los Angeles County Museum of Art. See De Rossi Filibeck 2003: accession number: 1981.90.13.

Secondary sources De Rossi Filibeck, E. (1996) ‟Note on a Manuscript from the Tucci Collection in the IsIAO Library”, East and West, 46, 3-4: 485-487. —— (2003) Catalogue of the Tucci Tibetan Fund in the Library of IsIAO, vol. 2, Roma. —— (2006) ‟Aspetti formali e contenuti del manoscritto tibetano: esempi dal Tibet occidentale”, in G. Boccali, M. Scarpari (eds), Scritture e codici nelle culture dell’Asia: Giappone, Cina, Tibet, India. Prospettive di studio, Venezia: 287-305. —— (2007) ‟The Fragmentary Tholing bKa’ ’gyur in the IsIAO Library”, in Pramāṇakīrtiḥ, Papers Dedicated to Ernst Steinkellner on the Occasion of his 70th Birthday. Part I, in B. Kellner et alii (eds), Wien, Wiener Studien zur Tibetologie und Buddhismuskunde 70.1: 53-62. Gunasinghe, S. (1957) La Technique de la peinture indienne d’après les textes du Silpa, Paris. Harrison, P. (2007) ‟Notes on some West Tibetan manuscript folios in the Los Angeles County Museum of Art”, in B. Kellner et alii (eds), Pramāṇakīrtiḥ, Papers dedicated to Ernst Steinkellner on the occasion of his 70th birthday. Part I, Wiener Studien zur Tibetologie und Buddhismuskunde 70.1: 229 -245. Heller, A. (2010) ‟Preliminary Remarks on the Donor Inscriptions and Iconography of an 11th century Mchod rten at Tholing”, in E. Lo Bue, C. Luczanits, (eds) Tibetan Art and Architecture in Context, Andiast: 43 -74. —— (in press) ‟Three ancient manuscripts from Tholing in the Tucci collection, ISIAO, Roma, Part II: Manuscript 1329 0.”, in C. Jahoda et alii (eds) Proceedings of the Seechac conference Vienna Nov. 2014. —— (forthcoming) ‟Three ancient manuscripts from Tholing in the Tucci collection, IsIAO, Roma, Part III: Manuscript 1329 F.” Nardi, I. (2007) The Theory of Citrasutras in Indian Painting. Acritical re-evaluation of their uses and interpretations, London. Pal, P. (1983) Art of Tibet. A Catalogue of the Los Angeles County Museum of Art Collection, Berkeley. Pal, P., Meech-Pekarik, J. (1988) Buddhist Book Illuminations, New York, Hurstpierpoint. Petech, L. (1997) ‟Western Tibet: historical introduction”, in D. Klimburg-Salter, Tabo. A Lamp for the Kingdom, Milano, 229-256. Scherrer-Schaub, C., Harrison, P. (2003) Tabo Studies III. A Catalogue of the Manuscript 7

Richard R. Ernst, personal communications, 26.10.2009 and 3.04.2010.

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Collection of Tabo Monastery, Volume I, Sūtra Texts. Roma (SOR, CIII). Tucci, G. (1937) ‟Indian Paintings in Western Tibet”, Artibus Asiae, 7, 1/4: 191-204. —— (1949) Tibetan Painted Scrolls, Roma. —— (1973) Tibet, Archaeologia Mundi, Genève. —— (1989 [1937]) Sadhus et brigands du Kailash. Mon voyage au Tibet occidental, Paris. Tucci G., E. Ghersi (1996 [1936]) Secrets of Tibet, Being the Chronicle of the Tucci Scientific Expedition to Western Tibet of 1933, New Delhi. Vitali, R. (1996) The Kingdoms of Gu.ge Pu.hrang according to mNga’ ris rgyal.rabs by Gu.ge mKhan.chen Ngag.dbang grags.pa, Dharamsala. —— (1999) Records of Tho.ling. A literary and Visual Reconstruction of the “Mother” monastery in Gu.ge. —— (2003) “A Chronology (bstan rtsis) of Events in the History of mNga’ ris skor gsum (tenth - fifteenth centuries)”, in A. McKay (ed.), The History of Tibet, vol. II, London and New York, 53-89.

Fig. 1. Full leaf of Satasahasrika-prajñaparamita manuscript 1329 E, ink, opaque watercolor, and gold on paper (18 × 64.5 cm), IsIAO, Roma (photography by Luigi Fieni).

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Fig. 2. The Buddha of Satasahasrika-prajñaparamita manuscript 1329 E (detail), ink, opaque watercolor and gold on paper (9.4 × 9 cm) IsIAO, Roma (photography by Luigi Fieni).

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[14]

Fig. 3. The Buddha of manuscript M 81.90.13 (detail), Tholing Monastery, 11th century, ink, opaque watercolor, and gold on paper. Image: 3 7/8 × 3 1/2 in. (9.84 × 8.89 cm). From the Nasli and Alice Heeramaneck Collection, purchased with funds provided by the Jane and Justin Dart Foundation (M.81.90.13), Los Angeles County Museum of Art.

Fig. 4. Full leaf of manuscript M 81.90.13. Folio from a Satasahasrika-prajñaparamita (The Perfection of Wisdom in 100,000 Verses). Tholing Monastery, 11th century, ink, opaque watercolor, and gold on paper. Sheet: 7 1/2 × 26 1/8 in. (19.05 × 66.35 cm). From the Nasli and Alice Heeramaneck Collection, purchased with funds provided by the Jane and Justin Dart Foundation (M.81.90.13).

[15] pl. xv. heller 221

pl. xvi. heller

Fig. 5. The Buddha assembly (detail), Mang Nang, mural painting (mnao photographic archive, Giuseppe Tucci’s collection, P-3291, photography by Eugenio Ghersi, 1935; courtesy National Museum of Oriental Art, Rome).

222 [16]

[17]

pl. xvii. heller

223

Fig. 6. Chronological curve of the artelab report on manuscript 1329 E, 20.01.2009.

Fig. 7. Full leaf of manuscript M 81.90.6: Prajnaparamita with Devotees, Folio from a Satasahasrika-prajñaparamita (The Perfection of Wisdom in 100,000 Verses). Tholing monastery, 11th century, Ink, opaque watercolor, and gold on paper. Illustration: 4 7/8 × 10 3/4 in. (27.3 × 12.4 cm); Folio: 7 1/2 × 26 1/8 in. (19. × 66.3 cm). From the Nasli and Alice Heeramaneck Collection, purchased with funds provided by the Jane and Justin Dart Foundation (M.81.90.6), Los Angeles County Museum of Art.

224 pl. xviii. heller [18]

[19]

pl. xix. heller

Fig. 8. Chronological curve of the Arizona University report on manuscript M 81.90.6, 23.02.2010.

225

sta m pato e r i l e gato nella t i p o g r a f i a d i ag nan o, ag na no pisano (pisa).

* Finito di stampare nel mese di Dicembre 2016 (cz  · fg 1)

* Periodico iscritto alla Cancelleria del Tribunale di Roma in data  marzo 6 n. 11/6 Raffaele Torella, Direttore responsabile Periodico già registrato in data 3 aprile 1958 n. 699