A Tentative Study on the Features of Loading and Naming in Tibetan Classical Literature (I)

Abstract : This paper discusses the typographical forms of Tibetan classics and the characteristics of the binding of Tibetan scriptures. Another important feature of the Tibetan texts is the use of color naming and modifier metaphor, which makes the Tibetan classics have distinctive characteristics of national culture.

The diligent and intelligent Tibetan people have created a splendid culture in the long river of historical development. Their Tibetan books and books are vast, they are ranked second only to ethnic minorities after the Han nationality, and the characteristics of the classics and ensembles have distinct national characteristics. They are named after the classics. To the use of modified metaphors, the form of books from woodcut engraving to Brahman clips is obviously marked by a Buddhist culture. Based on the existing data, this paper makes a preliminary study of several features of Tibetan classics.

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The material materials and technological activities of books constitute the binding of books. The binding history of Chinese books dates back to ancient times. It gradually emerged with the appearance of books. The original layout of simple strategies, volumes, and writing papers featured prominent functionalities. Ordering was facilitated by orderly ordering. Later, with the development and advancement of the inventions of engraving printing and book binding techniques, binding was used as a kind of artistic creation. More and more, it has become an expression of the external image of the book and the form through which it expresses the content of the books. The art creation of various peoples in book binding has become part of the splendid culture of the nation, and the style of the binding in the Tibetan texts represents the style. It is very characteristic.

The versions of Tibetan texts are very special. They are long strips, loose-leaf prints, and bindings of the Sanskrit book. This form is the most important feature of Tibetan texts. Sui Dynasty Du Bao's "The Great Miscellaneous Notes" contains: "The new scriptures come from foreign countries and use beidot leaves. The leaves resemble pods, and the leaves are thick and horizontal. They are written in lines. Clips.” The book bindings of the Sanskrit book were formed by the influence of the Bayesian Scriptures of India.

Bayesian is the leaf of Bedouol. Because of its wear resistance, people write the scriptures on Bayesian leaves and thread them through the holes to form an "album". It is very convenient to carry and read, and it is still in the monastery of Gelugpa in Gansu. The Labrang Monastery holds two parts of the Athenaeum's “The Lamp of the Bodhi” and the moon-known Sanskrit Baye. Due to the influence and inspiration of the Bayesian scriptures, Tibetan scriptures were used to creatively apply Bay leaf scriptures to the binding printing of books to form a distinctive strip-shaped Tibetan classics.
There are several different specifications for the long strips of Tibetan classics. There are "shaft sticks" of about 60-70 centimeters in length, approximately equal to the length of a typical shaft; there is an "an elbow" of about 40 centimeters in length. It is approximately equal to the length of an adult's elbow, and hence its name; there is also a "short copy" of about 25 centimeters in length, and of course other versions. This strip-shaped version of the printing is a woodcut engraving.

In the Tibetan area, the Dege Printing Sutra, the Nathon Printing Sutra, the Potala Palace Printing and Printing Sutra, the Taji Temple Printing Sutra, the Zhuoni Print Sutra, and the Labrang Monastery are all well-known publishing organizations and organizations. Woodcut engraving and printing is the main form of printing. It is particularly famous for the Degeban Printing Academy. The quality of printing plates is high and the printing process is very representative. The book version comes from a selection of hard birch materials. After a series of processes such as smoking, boiling, brewing, and drying, it is rigorously processed. The final carvings on both sides of the board are deep and steady, and the text is clear and clear.

Sanskrit is a long bar, loose-leafed. Each page of text is written horizontally from left to right. The number of words on the page is large, the vertical distance is relatively large, and horizontal orientation is reversed. The original binding form is similar to Bayesian Scriptures and the pages are arranged in order. The method of hole wearing is bound into "books." The Sanskrit folder is divided into two forms. One is a splint, which is equivalent to the nature of a letter, and the other is a non-plywood. In addition to the spread of Bayesian forms in Tibetan areas, the installation of this type of book in the form of Vatican is also related to the printing and reading habits of Tibetan. The Tibetan customs are used to sit cross-legged on the floor. This kind of sitting posture is convenient for long strips of scriptures to be placed across the legs. It is very convenient to read.

The wood used for the printed plates of the Tibetan classics is a long bar, and the production of long carved plates is a good thing. Therefore, it can be said that the long form of binding of the Tibetan classics is to absorb and popularize the Sanskrit Buddhist scriptures and combine with the actual conditions of the Tibetan areas to form the binding features with geographical features, which facilitates reading through the reading. (
Innovation is the soul of a nation’s progress. The Tibetan nation is a nation that is good at absorbing foreign culture, inheriting excellent traditional culture and actively innovating in inheritance. The printing of Tibetan texts is very particular about inserting beautiful Buddhist images into the scriptures. The contents of the classics are very complex. Most of them are based on Buddhist scripture, law, and theory. The Tibetan scriptures have a habit of printing inscribed images of some gods or stupas in the printed scriptures. Almost one, two, or even three Buddha images are printed at the beginning and end of each book. Other beautifully framed scriptures are printed with Buddha images on the pages of the beginning and the end of the scripture.

Among the books found in Dunhuang are the following illustrations, such as the Five-Generation Bodhisattva Bodhisattvas, the Manjusri Guanyin, and the Baodi Indyonide Sutra. It looks beautiful and full of novelty, giving a pleasing sensation. Classical works pay more attention to the forms of illustrations and illustrations. Illustrations are reproductions of textual content. As an organic part of prints, they can make up for what is difficult to describe in language and text. From an artistic point of view, as an art form, an illustration can not only see its embellishment and framing effect in print, but also has an important role in adjusting and beautifying the layout.

The illustrations of Tibetan scriptures can vividly express and respond to the inner world of the author's and readers' belief in Buddhism, and make the readers at a glance clear. The language's connotation and artistic expression are perfectly integrated here, reflecting the local customs at that time from another perspective. , with strong artistic and historical values. From another aspect, the printing technology in Tibetan areas has reached a certain height both in terms of style and level of development. Buddhism has played a positive role in promoting engraving and printing technology.

The selected plywood is made of precious rosewood and walnut wood. The workmanship is exquisite, the decoration is very elegant, the cover is mostly colored paint, and the exquisite color patterns are carved on the plywood. The Buddhist auspicious babao (Falun, French house) , Pisces, Aquarius, Magic Lo, Lotus, Treasure, and Lucky Knots are often the preferred patterns, as are Buddha statues, flames, orbs, etc. Secondly, in Buddhist art, lotus is regarded as a pure and noble symbol, and it contains auspicious and sacred symbols and is widely used in plywood covers.

The use of colors in Tibetan script classics is common. Tibetan "Dazang Jing" is a large series compiled from Buddhist scriptures. It consists of two parts: "Kanjul" and "Tanjul". It can be called an encyclopedia of Tibetan culture and has extensive content involving religion, philosophy, history, language, literature, art, astronomy, calendars, medicine, architecture, and other aspects. Its binding is very elegant, hardcover "Dazang Jing" with pearls, precious stones, turquoise, ivory and so on, it is very luxurious. Generally hardcover "Dazang Jing" to use yellow satin wrapped, the upper and lower plate selection of rosewood, walnut wood, and engraved with decorative patterns, painted with gold paint, looks magnificent.

In 1989, Dan Baoer, the eight-treasure transcribed, used a mixture of gold, otolith, silver, coral, tin, copper, white snails, and pearls to create a brilliance for the “ink”. Rich, the paper written by the Scriptures is made from the mainland's refined hard paper and Tibetan paper through a complex process, with anti-corrosion, anti-smashing, anti-leaching, durable and so on.

The Dege Press School is famous for its distinctive features in book printing. There are red and black versions of the book. The precious Buddhist scriptures are printed in the red version of cinnabar. The cinnabar contains minerals that are durable and resistant to discoloration and discoloration. In 1410 (Ming Yongle eight years), Ming Chengzu was the darling of his death, Xu Xu Minghui, sent people to Tibet to obtain the version of Cai Ba Kanzhuer, and invited the fifth Karmapa to get the Silver Association of Living Buddhas. Pakistan went to Nanjing Linggu Temple to serve as a general guide for Kanzhuer and printed the Tibetan Buddhist scriptures Kanjur. For the first time, people called the Kangar Seoul edition a Yongle version.

The publication of the Yongle version of Kanzhuer opened a precedent for the Tibetan woodcuts and had a profound influence on the Tibetan engravings. The Yongle version was printed with cinnabar juice. The general works use special inks for pigment printing. The raw materials used in the production of ink are decocted into butter lamps, as well as fluffs from the burning of oil pine (produced by Loza and Kampot), together with cow hide and others. The material of the composition was developed and the printing work was done manually.

The printing of Tibetan classics generally uses “hidden paper” produced in Tibetan areas. Tibetan paper is made from bark fibers and a root of Rhizoma typhus, and treated with lime and earth alkali. The paper is dull and dark. It is good, but it is rough. Because its grass is toxic, the paper has the characteristics of being free from worms and capable of long-term preservation.