Tibetan is spoken by about six million people in Tibet and surrounding areas of India. The Tibetan language belongs to the Tibeto-Himalayan branch of the Tibeto-Burman languages, part of the Tibeto-Chinese family. To designate the group of languages to which Tibetan belongs, modern philology has adopted the Indian term Bhotia; dialects of the Bhotia group are common in Bhutan, Sikkim, Nepal, Ladakh and Baltistan. The word Tibetan is used to designate the lingua franca of Tibet, that is, the dialect spoken in central Tibet, in the Wu and Tsang regions.
Tibet, which has long been closely associated with India, borrowed the Buddhist religion and its scriptures from India. The conquest of Chinese Turkestan, where they found numerous monasteries and libraries, contributed to a closer acquaintance of the Tibetans with Buddhism. Having mastered the art of writing in a short time, Tibetans discovered a penchant for literature. The oldest surviving monuments of Tibetan literature date back to the 7th century. AD They are mainly translations of Sanskrit books; these translations are valuable not only because they contributed to the formation of the literary Tibetan language; thanks to them, we became aware of some works of Indian literature that have not reached us in the original.
It is generally accepted that Tibetan writing was invented in 639 AD. Thon-mi Sambhota, minister of the great king Song-tsen-gam-po, who founded the Tibetan state and established its capital in Lhasa. However, Tibetan writing is not a new invention - it is the result of processing an older writing system used in Tibet. In everything regarding the style and order of letters, the Tibetan alphabet follows the Gupta script, differing from it only in a number of additional signs to indicate sounds that are absent in Indian languages; In addition, in Tibetan it turned out that the signs of Indian voiced aspirates are not needed. It is not clear which form of Gupta was the prototype of the Tibetan script - the East Turkestan one or the one from which the Nagari script subsequently developed. The first assumption seems more likely; A. H. Franke, and after him Hoernle, believe that traditional Tibetan reports about the origin of the Tibetan alphabet need clarification. “The Tibetan script coincides with the Khotanese in that the main sign for the vowel a appears here as a consonant; this fact clearly shows that Tibetan writing came from Khotan." “The consonantal use of the basic vowel sign is completely alien to Indo-Aryan languages and scripts” (Hörnle).
So, according to Dr. Hörnle, the Tibetan alphabet can be called Indian only because its direct source, the Khotanese alphabet, goes back to the Indian alphabets. “The curious fact that in the Tibetan alphabet the basic sign a closes the entire series of basic consonant signs (gsal byed) is very instructive. In the Indian alphabetic system, the basic vowel signs a, i, u, e occupy a place before the consonant signs and, moreover, stand completely separate from them” (Hörnle).
Tibetan writing, both in its original angular form and in its elegant cursive variants derived from it, is used up to the present day. There is no doubt that initially its spelling reflected the actual pronunciation (in the western and northeastern dialects, the characteristic combinations of initial consonants, as a rule, are preserved to this day), but over time the lingua franca of Tibet has undergone significant changes: some new sounds have appeared, a number of consonants have been lost ; Therefore, at present, Tibetan writing is very far from a true reproduction of oral speech.
The Tibetan script is also adopted for other Bhotia dialects.
There are two main types in Tibetan writing:
1) the statutory letter, called wu-cheng (written dbu-chan, but db- is not pronounced in most dialects), that is, “having a head”, it is the church letter par excellence; in addition, the form of the characters of the statutory letter is adopted in the printed font (Fig. 190). The wucheng script has several varieties, the most important of which is represented by the seal script;
2) cursive writing used in everyday practice is called u-me (spelled dbu-med) "headless". This is secular writing; its main variety is tsuk-yi "cursive writing".
Tibetan writing and its branches: 1 - phonetic meanings of signs; 2 - wu-cheng; 3 - u-me; 4 - tsuk-yi; 5 - passepa; 6 - Lepcha.
The main difference between wu-cheng and wu-me is, as the names themselves show, that the wu-cheng signs, as well as the Devanagari signs, are characterized by upper horizontal lines; they are absent from the u-me letter. Tsuk-yi is the most simplified letter. In compound words, suffixes of the first syllable 1 The discrepancy between the Tibetan script and modern pronunciation has led to the fact that the syllables of words graphically often include old, no longer pronounced prefixes and suffixes, which is why they look very cumbersome. - Approx. ed. and the prefixes of the second are discarded. Bako lists seven hundred word abbreviations commonly used in cursive writing. Mention may also be made of various ornamental and ritual forms of writing used for inscriptions and decorative purposes, as well as for book titles, sacred formulas, etc.
A kind of cipher is also known - a secret writing used in official correspondence, it is called rin-pun after its inventor Rin-chen-pun-pa, who lived in the 14th century. AD
Compared to the most common Indian script, Devanagari, the Tibetan script is greatly simplified, although they are similar in basic features. Wu-cheng, the most important type of Tibetan script, is characterized by the inclusion of the vowel a in the consonant; thus, a does not require any separate marking, while other vowels following a consonant are represented by superscript (for e, i and o) or subscript (for i) marks. In a similar way, the “signature” y (in kua, rua, etc.) and r and l are also designated as part of consonant combinations. The end of each syllable is indicated by a dot, which is placed at the level of the top line to the right of the letter that closes the syllable. The most important feature of the writing of consonants is the designation of cerebral consonants in borrowed words with special signs that represent a mirror image of the corresponding dental signs; in spoken Tibetan, cerebral ones occur only as a result of contraction of certain groups of consonants.
A series of three books published by B. Gould and G. R. Richardson gives an idea of the modern Tibetan language, which should be continued by books on the alphabet, verb and grammatical structure.
Tibetan writing had two main branches.
Passepa letter
The famous Great Lama of Sakya - Phag-pa ("the illustrious") Lo-doi-ge-tsen (spelled bLo-gros-rgyal-mthsan), in Chinese Ba-ke-si-ba, known as Passepa (1234-1279 ), invited to China by Khubnlai Khan, played a big role in introducing Buddhism to the Mongolian imperial court; he also adapted the square Tibetan script to the Chinese and Mongolian languages, replacing the Uyghur alphabet with it. Under Chinese influence, the direction of this script, usually called passepa, was vertical, but unlike Chinese, the columns ran from left to right. The passepa letter, officially adopted in 1272, was used quite rarely and did not last long, since the Uyghur one was successfully used here. During the Yuan Dynasty, the passepa script was used in the imperial court, especially on official seals.
Lepcha letter
An offshoot of Tibetan is also the script used by the Rong, the original inhabitants of Sikkim, a principality in the eastern Himalayas.
Samples of Tibetan writing: 1 - Wu Cheng writing; 2 - one of the varieties of cursive writing; 3, 4 - types of Lepcha writing.
The Rong are also called Lepcha (a Nepalese nickname), or Rong-pa ("dwellers of the valleys"), or Mom-pa ("dwellers of the lowlands"). Their number is about 25 thousand; they speak an unpronominalized Himalayan language, one of the Tibeto-Burman languages, and probably belong to the Mongolian race. The Lepchas owe their culture and literature entirely to the Tibetan form of Buddhism known as Lamaism, which, according to legend, was brought to Sikkim around the mid-17th century by the patron saint of this principality, Lha Tsung Cheng-po (a Tibetan title meaning "great reverend god" )
The Lepcha script was apparently invented or modified by the Sikimm Raja Chakdor Namgye (Phyag-rdor rnam-gyal) in 1086. A characteristic feature of this script is the vowel marks and terminal variants of the eight consonant marks (k, ng, t, n, p , m, r, l) in the form of dashes, dots and circles, which are placed above or next to the previous letter.
Application of Tibetan script to other languages
Language to us
The Tibetan script was also used for other languages. Two such languages, the existence of which until recently was unknown, are preserved in several fragments of manuscripts from Central Asia. They were discovered and published by F. W. Thomas.
According to Professor Thomas's definition, one of these two newly discovered languages is a dialect close to Lepcha; Tibetan script was used for it. The second language, called Nam by F. W. Thomas, is a monosyllabic language, “as ancient as Tibetan, but of a more primitive structure; perhaps it is closely related to the language of the Tibeto-Burman people, known to the Chinese under the name that is transliterated... as Ruo-Qiang, Di-Qiang,.. and Tsa-Qiang,.. people..., who have inhabited the entire area to the south since ancient times from the mountains, from Nanshan to the longitude of Khotan, and constituted, as can be assumed, one of the elements of the population of Southern Turkestan” (Thomas).
For the language we used the Tibetan script “of a type reminiscent of a square,” with some features characteristic of the early period: “the handwriting is rather rough, the letters are large and sweeping” (Thomas).
Chinese language in Tibetan transcription
The Chinese language provides a number of interesting examples of the difficulties that arise in the course of adapting the writing of one language to other languages. Apparently the Tibetan script was used regularly for Chinese. F. W. Thomas and J. L. M. Clawson (partly in collaboration with S. Miyamoto) published three such monuments. The first consists of two fragments of thick yellowish paper with text (partly in Chinese) written in “elegant, somewhat cursive Tibetan script” of the 8th-10th centuries. AD The letter of the second is “a fairly correct handwritten wu-cheng.” The third monument is a "large and well-written manuscript" containing 486 lines of "good calligraphic cursive Tibetan script"; it can be assumed that the manuscript was not written by one hand; It dates back approximately to the 8th-9th centuries. AD
Alphabet
The Tibetan alphabet consists of thirty letter-syllables, created on the basis of an Indian prototype in the 7th century AD. There are several types of this letter - block letters and several types of cursive and ornamental letters, although we do not consider the latter.
These letters, when combined in various ways, form the characteristic compound Tibetan word-syllables.
Each letter of the Tibetan alphabet is actually a syllable with an inherent vowel sound -a. Such letter-syllables represent the smallest words in the Tibetan language.
When it is necessary to transcribe the Tibetan script using Roman letters, we can resort to one of several invented transcription systems. However, the pronunciation of some letters differs from these standard equivalents, so a modified pronunciation should be used when reading Tibetan.
It should be noted that there are two variants of pronunciation of Tibetan words - colloquial (oral) and used when reading. The latter strives to preserve a more complete pronunciation of words. Unfortunately, a complete and accurate description of Tibetan pronunciation is quite difficult and it would be best to ask a native speaker for it. So here is a slightly simplified version to suit the needs of most people for your guidance.
K.A. Reminds me of the pronunciation of the "s" in the English word "cap"
KHA Reminds me of the pronunciation of the "s" in the vigorously pronounced English word "cold"
GA Reminds me of the pronunciation of the "g" in the English word "gone"
N.G.A. Reminds me of the pronunciation of "ng" in the English word "singer"
C.A. Reminds me of the pronunciation of "ch" in the English word "teacher"
CHA Reminiscent of the pronunciation of "ch" in the vigorously pronounced English word "champ"
JA Reminds me of the pronunciation of the "j" in the English word "jam"
NYA Reminds me of the pronunciation of "ny" in the English word "news"
T.A. Reminds me of the pronunciation of the "t" in the English word "halter"
THA Reminiscent of the pronunciation of the "t" in the vigorously pronounced English word "toe"
D.A. Reminds me of the pronunciation of "d" in the English word "done"
N.A. Reminds me of the pronunciation of the "n" in the English word "no"
PA Reminds me of the pronunciation of "p" in the English word "people"
P.H.A. Resembles the pronunciation of "p" in the vigorously pronounced English word "pen"
B.A. Reminds me of the pronunciation of "b" in the English word "bubble"
M.A. Reminds me of the pronunciation of "m" in the English word "mat"
TSA Reminds me of the pronunciation of "ts" in the English word "eats"
TSHA Resembles the pronunciation of "ts" in the vigorously pronounced English word "tsar"
DZA Reminds me of the pronunciation of "ds" in the English word "adds"
W.A. Reminds me of the pronunciation of the "w" in the English word "way"
ZHA Reminds me of the pronunciation of "sh" in the English word "shah" with a low-pitched vowel
ZA Reminder
So, about the writing of the ancient state of Shang-Shung, which ancient Tibet adopted from it. I will rely, as promised, on the study of Professor Namkhai Norbu Rinpoche, “The Precious Mirror of the Ancient History of Shang Shung and Tibet.”
“Without studying the ancient history of the Bon teachings that existed in the state of Shang Shung, as well as the genealogy of the kings of Shang Shung, it is impossible to clarify the more than three thousand eight hundred year history of this state (meaning from the appearance there of Shenrab Miwoche and his Teachings of Yundrung Bon - Nandzed Dorje )
Before the arrival of Shenrab Miwo, the history of Shang-Shung already numbered many generations, and sixteen generations of the royal family of Mu passed from Menpei Lumlum to Shenrab Miwo’s father, the Bonpo king Thyokar...
Shenrab Miwoche, after his arrival, laid the foundation for a new system
writing, and therefore we can speak with certainty about
existence of the Zhang Shung writing system at least since the time
Shenraba Mivoche.
The Treasury of Precious Narratives says:
The Enlightened One was the first to create Tibetan writing. In Sutra
From ten letters he built a spacious building of sounds.
The capital sign "go" opened the way for them, the sign "shed" cut into
short phrases.
The sign "tseg" divided phrases inside, evenly separating syllables so that they
didn't mix.
Gigu, drenbu, naro, shabkyu and yata hooks
In combination with letters they formed sentences with many
components.
Thus, first the alphabet of the deities of the pure countries (brought
Shenrab Miwoche - Nandzed Dorje) was transformed into an alphabet
"punyig" of the Tagzig writing system (Tazig - state,
supposedly located in ancient times on the territory of the present
Kyrgyzstan - Nandzed Dorje), which was converted into the old
the Shang-Shung alphabet "Yiggen", and that, in turn, into the alphabet
"mardrak".
Example: “The capital sign “go” opened the way for them...” - here
the sign with which any written text began is mentioned - this is
image of a left-handed swastika, marked with a signature hook"
(which today represents the sound “u” in Tibetan - Nandzed Dorje).
its writing, it is worth noting immediately that “the first historical
evidence, which cannot be dispensed with in this case, is
ancient Bon texts containing information about the history of the first people
Shang Shung, and from this history it is impossible to separate the history of Tibet."
The first were the "five clans of people who are indigenous
only for the population of Shang Shung, Azha, Minyag and Sump, they are
ancestors of all Tibetan clans, therefore all Tibetans can be classified as
to one of these five indigenous clans - Don, Dru, Dra, Go and Ga."
Each of them corresponded to an individual dominant element -
earth, water, iron, fire and wood.
"According to Tophug, twelve small principalities that existed before
the first king-ruler of Tibet Nyatri Tsenpo, descended from the Don clan from
Minyaga, from the clan of Dru from Sumbha, from the clan of Dra from Shang-Shung, from the clan
Ga from Azha. This is how the family line of descendants came about."
I cannot even describe the historical
formative processes (for this, just refer to the book yourself
Namkhai Norbu Rinpoche), but I’ll jump straight to questions of writing,
because it is in this part that the current Russian Young Buddhists
claim most nonsense after those immoderate in zeal
their own without wisdom to the Teaching of Tibetan lamas - they simply
claim that there was no written record of the coming of the Buddha Dharma in Tibet.
By the time the first king Nyatri Tsenpo came to Tibet, “there was no
no other cultural tradition, including a system of knowledge and
government, except for the one that came from
Shang-Shunga Bone. And this tradition was undoubtedly associated with
Shang Shung language and writing. So starting from the first
Tibet did not dry up, each Tibetan king had his own bonpo -
the royal priest "kushen", who usually performed the rite of ablution
and, having elevated him to reign, gave him a name. This is the name that was
a sign of the greatness and inviolability of the ancient order and the royal dynasty
defenders of Bon were taken from the Shang Shung language. ...And that's why I don't
not only the first king Nyatri Tsenpo, but also the kings known as the Seven
celestial "Three", including Mutri Tsenpo, Dintri Tsenpo, Dartri
Tsenpo, Etri Tsenpo and Sentri Tsenpo, as well as the kings known as
"Six Lek" - Asholek, Desholek, Tkhisholek, Gurumlek, Dranshilek and
Ishilek... in a word, all Tibetan kings wore only Zhang-Shung
names, and therefore these names cannot have any meaning on
Tibetan ...The Shang Shung word "three" (khri) means "deity",
or "heart of the deity", in Tibetan "lha" or "lha tug". And this
a word like "mu" (dmu) means "all-encompassing" (Tib. kun kyab);
the word "din" - "space" (Tib. long); the word "gift" is "perfection"
(Tib. leg pa), etc.
Is it really before King Srongtsen Gampo (late 7th century AD)
Nandzed Dorje) did Tibet have no writing system? Or
did alphabetic writing exist before this king? Was this one called
Tibetan alphabet? Previous Tibetan historians stated that "before
there was no written language in Tibet." And this is explained by the fact that
writing is the basis of any writing, including Tibetan
culture... Thus, such statements about the absence
writings were intended to prove the absence of Tibetan culture
primordial ancient basis and extensive and deep knowledge."
However, in the text of the teacher and translator Vairocana, “The Great Picture
being" says:
"By the grace of Songtsen Gampo, a learned sage was invited from India
Liji. Thonmi Sambhota redesigned (! - nandzed) writing,
translated several texts, such as "Collection of Chintamani Supreme
Jewel", "Sutra of the Ten Virtues" and others."
"So it says here that in Tibet there was an ancient system
alphabetic writing, but since this writing style was inconvenient
to translate Indian texts into Tibetan, then to make a style
spelling more convenient, and also facilitate the understanding of Sanskrit and
many other reasons, the old style of writing was converted into "scholarly"
(Thonmi Sabhota did this based on the Indian Devanagari script).
In this regard, a more convenient procedure for dividing into
case particles, etc., in a word, writing was
systematized with greater care. ...and not a word about what
before that there was no written language in Tibet, that it was
created or given for the first time - there is not a single proof of this.
In the treatise "Treasury of Precious Stories" also
Here is a quote that can confirm this:
When Buddhist teachings were translated
from Indian to Tibetan,
They couldn’t translate the Indian system
letters to Tibetan.
Therefore, thirty were taken as a sample
letters of the Tibetan alphabet,
The names of deities were transcribed according to their sounds,
The mantras were not translated, they were left as is
in Indian script.
variants of the ritual text "The general offering to Do for all being",
which he came across in different circumstances.
"...and in all of them the colophons at the end of the text said:
This concludes the text of the deep ritual of the great
propitiation - offerings to Do for life well-being
- which has been passed down from generation to generation to this day
from the great shenpo Cheo, who was recorded by me, Sangpo Trinkhyo, and in
which the Zhang Shung and Tibetan masters continuously showed
magical powers.
We talked about many components of the Zhang Shung culture, and if
as an example, take at least the only Bona Gate,
for example, Shen prosperity, then even this section included
a huge number of extensive teachings on recognizing signs and
fortune telling, astrology, diagnosis and treatment of diseases, rituals.
cheating death, etc. By the time of the appearance of the first Nyatri king
Tsenpo in Tibet had already spread various Bon teachings,
for example, known as the Bon of the twelve knowers, the Main Knowledge of Bon
deities, knowledge of ransom ritual, knowledge of purity, banishing rituals,
destruction, liberation. It is logical to assume that there were also recordings
instructions on all these sections of the teachings. It is quite obvious that
if it was possible to remember any of this, then no more than one or
two of these sciences, but to retain all of them in memory would be
impossible. And from a historical point of view it is also completely
it is impossible that the ignorant Tibetans, living in an unenlightened
were able to remember all the various historically detailed
testimonies about the reign of the dynasty of their kings, memorize verbatim
extensive teachings from various fields of knowledge...
The Mirror Clearly Reflecting the History of the Royal Dynasty says:
"Over the years, this prince became an expert in arts and crafts,
computing, sports exercises and five areas and achieved
success in them. ...he became known as Sontsen Gampo."
This king ascended the throne at the age of 13. At 16 he married the queen from
Nepal, and two years later - his second wife, a queen from China.
It is said that at this time the Tibetan king Songtsen Gampo sent
three letter-scrolls to the Chinese king Senge Tsenpo. About sending letters and
Nepalese king is also told in the mentioned “Mirror, clearly
reflecting the history of the royal dynasty." All this proves that in
Tibet had writing and related sciences and knowledge.
Let us also think about whether Thonmi Sambhota could have been dark and
illiterate person, in such a short time to master, being in
India, the local language (Sanskrit), writing and internal sciences,
communicate effectively with Brahmin Lijin and Pandit Lha Rigpey
Senge? How long does it take to return to Tibet to create
writing from scratch, write a treatise "Eight Sections of Chakaran",
then translate a number of treatises into Tibetan from Sanskrit and, as
it is said to present them as a gift to the king (who would also do well to
know then this new writing in order to at least appreciate the gift)?
Tibet definitely had its own written tradition before
Dharma King Songtsen Gampo, but Tibetan historians have given
distorted picture. The main reason for this is that with
over time, the Tibetans, who with great faith accepted what came from India
culture and knowledge. However, historical evidence and roots
the cultures and knowledge from ancient Shang Shung were not lost. AND
preserved this very subtle stream of culture mainly by the Bonpos.
But it gradually became customary to call any lamas who talk about this
adventurers, since with the persecution of Bon the people established
contempt for the Bonpo.
Now we should analyze whether the writing was called
existed in Tibet before the introduction of a new writing system,
Tibetan. All Bon sources say that "The teachings were
translated from the old Shang Shung script to "mardrak", which was later converted into "large and small mar". And the “big mar” was converted into “uchen”...
When I was 13 years old, I met an old lama named Dizyo, a Tibetan linguistic scholar from Dege Muksan. I received writing lessons from him. On the last day of training, he told me: “You have a talent for calligraphy and a sharp mind. I know an ancient type of writing called “Letter sent down by the gods” (lha-bap), and if you want, I can teach you it.” I, of course, agreed.
Later, in the house of a doctor named Tsegyal, I saw a chest covered with this letter. These were lines from “Entering the Practice of the Bodhisattva” by Arya Shantideva. Lama Tsegyal, realizing that I knew this letter, said: “This is a good sign. This alphabet is the root of all Tibetan writing, but despite this, there are very few who know it. Do not forget it. There will be a time when it will be useful.”
By conducting a graphical analysis of the Lhabap script, one can find in it the roots of the Tibetan Ume script, the so-called cursive script. The assertion that "ume" is simply something that came out of writing very quickly in the "uchen" style is baseless. After all, the Bhutanese, although they wrote in cursive in “uchen”, except for fluent writing, did not succeed in anything, no “ume”. Therefore, it is quite obvious that the source of the Uchen style is the Indian Gupta script, and the Ume style arose from the Mar style, which has Shang-Shung roots.
Chapter " Turks": Elements d Revneturkic runic script (Orkhon-Yenisei writing) —
Chapter " National religions of China and Japan": Chinese hieroglyphic writing -
In total, we researched and built 11 alphabets according to the laws of the matrix of the Universe. The Tibetan alphabet will be the twelfth alphabet.
The history of the appearance of the Tibetan alphabet
Rice. 1. Tibetan alphabet- used in Tibetan language. Consists of 30 letter-syllables. Created on the basis of an Indian prototype in the 7th century.
Alphabet
Wiley's transliteration is indicated in brackets
In addition, there are several "reversed" letters to represent the cerebral sounds of the Sanskrit Devanagari alphabet, which are not present in the Tibetan language:
To transfer " f» Chinese borrowings use the ligature ཧྥ
There is a classical rule to transliterate Sanskrit - च छ ज झ (ca cha ja jha) as ཙ ཚ ཛ ཛྷ (tsa tsha dza dzha) respectively, reflecting East Indian or Newar pronunciation. Nowadays the letters ཅ ཆ ཇ ཇྷ (ca cha ja jha) are also used.
Vowels are written above or below the syllable:
Calligraphy
Rice. 2. Tibetan Recording - Style " Fish
».
Rice. 3. Tibetan Recording - Style " Bug
».
Cursive
Rice. 4. Tibetan cursive writing is called ume ( without a head
).
1st Caique — Ka the name of the first letter of the Tibetan alphabet, denotes a voiceless velar plosive consonant. In the text it is used to indicate the letter number " 1 " In the structure of a syllable, a kaik can only be a syllabic-forming letter, it can have subscripts, superscripts and signature letters and thus form 21 initial presented below in dictionary order.
2nd letter of the Tibetan alphabet - " Kha(Wiley Kha), Khaik- the second letter of the Tibetan alphabet, the primer is associated with the word “mouth”. In the text, the number “2” is used to represent the letter. Kha- - mouth
3rd letter of the Tibetan alphabet - " Ha or Gaik- the third letter of the Tibetan alphabet and one of the most common letters in Tibetan writing, means a voiced velar plosive sound. In the dictionary, the section on the letter ga can occupy up to 10 percent of the volume. In the text, the letter ga can be used as the number 3."
4th letter of the Tibetan alphabet - " Nga- the fourth letter of the Tibetan alphabet, velar nasal consonant. In the Tibetan primer it is associated with the word nga - I (personal place). IN tantric Buddhism symbolizes decay sanskar - elements of life. In the text it can represent the number 4. In a word it can be either a syllabic letter or a final letter. It is present as a syllabic in eight initials.”
5th letter of the Tibetan alphabet - " Cha(wiley Ca) is the fifth letter of the Tibetan alphabet. Indicates sound H. A syllable can only contain a root letter (mingji), and therefore can only be part of the initials of a syllable. In the text, the letter cha can be used as the number 5. It forms four initials. In the Tibetan dictionary, approximately 2% of words begin with these initials. In addition to the letter Cha, there are six more ways to express the sound Ch in the Tibetan language.
Chemchemma - butterfly, (chalak) - thing, object * (chacho) - noise.
6th letter of the Tibetan alphabet - " Chha(wili cha) - the sixth letter of the Tibetan alphabet, can only be a syllabic letter, forms two initials with the superscript letters maik and achung with which the letter chaik does not combine. In the text it can represent the number 6. Letter designation of numbers:
Number 6 (chha - pair). * (chhagiguchhi) - 36. * (chhazhabkyuchhu) - 66 (chhu - water)."
7th letter of the Tibetan alphabet - " Jah(wili Ja) is the 7th letter of the Tibetan alphabet. Graphically, it is a homoglyph of the letter E. The transcription of this letter may vary in different sources. In Dandaron’s dictionary it is ja, and in Roerich’s dictionary it is dzya, in A.V. Goryachev’s dictionary it is dja. One way or another, the transcription of ja coincides with the transcription of three more initials based on bayataj. In the text it can represent the number 7.
Jah can only act as a syllabic letter. There are six variants of initials with ja in the dictionaries. In the Tibetan ABC book, this letter is associated with the word tea:
Ja - - tea, Mount Chomolungma -
8th letter of the Tibetan alphabet - " Nya(wiley Nya), Nyaik- the eighth letter of the Tibetan alphabet, in the dictionaries of Roerich and Dandoron “nya”, in Tibetan primers it is associated with the word “fish”. Nya is a syllabic letter, in combination with prescriptive and inscriptional it forms six initials, and if we add four homonymous initials based on pendulum, it turns out that in Tibetan there are eleven variants of spelling this sound. In the text it can represent the number 8.
9th letter of the Tibetan alphabet - " Ta(wiley ta), taik- the ninth letter of the Tibetan alphabet, can only be syllabic, in combination with other letters it forms nine more initials. In the Tibetan alphabet book it is associated with the word “palm tree”. In Chinese loanwords, it is a synoglyph of the Chinese initial do. In borrowings from Sanskrit, the mirror image of this letter is used to convey retroflex takara.
Numeric Match: ta - 9, ti - 39, tu - 69, te - 99, then - 129.”
10th letter of the Tibetan alphabet - " Tha(Wylie Tha) is the tenth letter of the Tibetan alphabet, acts only as a syllabicator and forms four initials. When transmitting borrowings from Sanskrit, the Indian retroflex thakar is used to reflect the letter tha - . Numeric value: tha - 10, thi - 40, thi - 70, thi - 100, thi - 130.”
11th letter of the Tibetan alphabet - " Yes- The 11th letter of the Tibetan alphabet, refers to those letters that can be prescriptive, syllabic, and finals (suffixes). The properties of the capital letter yes, like other capital letters, include some voicing of the syllabic letter (the capital letter is not readable, see gaochacha, etc.); as a syllable-forming yes is present in 13 variants of writing the syllable initial described below; as a syllable final, the letter yes softens the vowel sound of the syllable, but in most pronunciation variants it itself is not readable. Numeric value: yes - 11, di - 41, du - 71, de - 101, do - 131.”
12th letter of the Tibetan alphabet - " On, naik- The 12th letter of the Tibetan alphabet, can be both a syllabic letter and a final letter. According to Roerich, the letter na, like other Tibetan letters in tantric texts, can have its own symbolic meaning. When transmitting the Sanskrit retroflex nakara ण, the mirror reflection naika is used - . Numeric value: on - 12, on giga - 42, on zhabkyu - 72, on drenbu - 102, on naro - 132.”
13th letter of the Tibetan alphabet - " Pa- 13th letter of the Tibetan alphabet, refers to phoikam - male letters, can only be a syllabic letter. Numeric value: pa - 13, pi - 43, pu - 73, pe - 103, po - 133.”
14th letter of the Tibetan alphabet - " Pha(Wiley Pha) is the 14th letter of the Tibetan alphabet, an aspirated voiceless labial plosive consonant. Numeric value: pha - 14, phi - 44, pho - 74, phe - 104, pho - 134.”
Phukron (phukren) - - dove, - Phurpa -
Rice. 5. « Phurba, Kila(Sanskrit. कील kila IAST; Tib. ཕུར་བ, Wiley phur ba; " count " or " nail ") - a ritual dagger or stake, usually shaped like a handle in the form of three heads of an angry deity and a triangular wedge shape , probably intended for stabbing victims during rituals ( according to some reports, it was used as a nail for tying a ritual victim, but there are also other versions of its purpose). The item dates back to the Vedic era ( perhaps pre-Vedic ), but later found purpose in the context of Tibetan versions of Buddhism and tantra .
Purba I real (« Visible World » Note Ed. Tantric Buddhism, phurba is used as a weapon to subdue forces opposing the teachings. With the help of phurba, the practicing yogi literally nails their symbolic images to the ground... Kila – ( Sanskrit – dagger) a river in Russia, flows in the Republic of Dagestan. Tindinskaya(Kila) is a river in Russia, flowing in the Republic of Dagestan. The mouth of the river is located 86 km along the right bank of the Andiyskoe Koisu River. The length of the river is 21 km.”
15th letter of the Tibetan alphabet - " Ba— The 15th letter of the Tibetan alphabet, in the primer it is associated with the word cow. A syllable can have a prefix, root and suffix letter (final). Numeric Match: ba - 15, bagigubi - 45, etc. Sinoglyphs: Burmese badechai, etc. »
16th letter of the Tibetan alphabet - " Ma- 16th letter of the Tibetan alphabet. As part of a syllable it can be both an initial and a final (ma is one of ten letters that can appear at the end of a word). The initial can be used either as a root letter (mingzhi) or as a “prefix” (ngyonjug). As the prefix ma, it is part of 15 initials (maochacha and others “mao”), as the root letter ma forms ten initials, which are presented below in dictionary order. In the text it is used to indicate number "16", “mi” - 46, “mu” - 76, “me” - 106, “mo” - 136. (Alphabetical notation of numbers).
Ma as part of the finals: ( lam) - path».
17th letter of the Tibetan alphabet - " Tsa- 17th letter of the Tibetan alphabet. In most transcriptions - tsa, in Roerich - tsa. A syllable can only have a syllabic letter. Graphically, it is the letter cha with the contact diacritic sign tsa-thru. Numeric value: tsa - 17, qi - 47, tsu - 77, tse - 107, tso - 137.”
Tsitsi - mouse
18th letter of the Tibetan alphabet - " Tsha(Wiley tsha) - the 18th letter of the Tibetan alphabet, can only be syllabic. Transcription: Semichov - tskha, Roerich - tsa, Schmidt - ttsa. Graphically, the letter chkha with the contact diacritic sign tsa-thru. Numeric Match: tskha - 18, tskhi - 48, tskhu - 78, tskhe - 108, tskho - 138.
19th letter of the Tibetan alphabet - " Dza(Wylie Dza) is the 19th letter of the Tibetan alphabet. A word can only have a syllabic letter. Numeric Match: dza - 19, zagiguji - 49, etc. Graphically, it is the letter ja with the contact diacritic sign tsa-tkhru.”
20th letter of the Tibetan alphabet – « Va(wiley Wa) — the most rarely used letter of the Tibetan alphabet. In Roerich's dictionary there is a special name for this letter - bachhe. Mainly used to convey borrowed words and place names. In the literal transmission of numbers it corresponds to the number 20. There cannot be any inscriptions or signatures around the letter “va”. not capital letters. "Va" can only act as a syllabic letter or a signature letter, taking the form of a vazur diacritic. In Tantric Buddhism, "va" is found in mandalas and symbolizes a state beyond cause and effect, and is also a term for mysticism and the occult sciences. Va— — Tibetan fox »
21st letter of the Tibetan alphabet - " Zha(Wylie zha) is the 21st letter of the Tibetan alphabet. In domestic dictionaries it has different transcriptions: in Semichov it is zha, in Roerich it is sha and in pronunciation it is close to the 27th letter Shcha. According to the Tibetan classification of pronunciation hardness refers to feminine letters. Numeric Match: lady - 21, zhi - 51, zhu - 81, zhe - 111, zho - 141.
A syllable can only have a syllabic letter, and only “Ga” and “Ba” can be capital letters.
Press - - cat »
22nd letter of the Tibetan alphabet - " For- The 22nd letter of the Tibetan alphabet, graphically - a homoglyph of the Chinese hieroglyphic key No. 58 - 彐 “pig's head”. According to the Tibetan classification of hardness of pronunciation, it refers to female letters. Numeric Match: for — 22, zi - 52, zu - 82, ze - 112, zo - 142.”
23rd letter of the Tibetan alphabet - " Achung (small A) is the 23rd letter of the Tibetan alphabet, can be either a syllabic or a suffix. As a syllabic letter achung can only be combined with suffixes. Attributed and inscribed with achung are not combined. Achung also does not combine with the drenbu vowel. In Tibetan practical transcription, achung is used to represent Chinese diphthongs and Sanskrit long vowels. Numeric Match: a - 23, agigui - 53, etc.”
24th letter of the Tibetan alphabet - " Ya(Wiley ya) is the 24th letter of the Tibetan alphabet. The letter “I” can be syllabic and subscribed (see yatak). As a syllabic it is written in two initials, as a signature in 32 of which seven are basic, the rest are complex. In Burmese writing, yatak can be compared to the yaping sign. Numeric Match: ya -24, yi - 54, yu - 84, ye - 114, yo – 144".
25th letter of the Tibetan alphabet - " Ra- The 25th letter of the Tibetan alphabet, can be either a syllabic or a final (suffix), subscribed or inscribed. In the Tibetan primer it is associated with the word “ ra » — goat. Numeric Match: ra - 25, ri - 55, ru - 85, re - 115, ro - 145.”
26th letter of the Tibetan alphabet - " La— 26th letter of the Tibetan alphabet. In the primer it is associated with the word “ la» — mountain pass(see Nathu-La, Nangpa La). In a syllable there can be a central syllabic letter, a suffix, a signature letter and an inscription letter. Numeric Match: La - 26, Li - 56, Lu - 86, Le - 116, Lo - 146.”
27th letter of the Tibetan alphabet - " Sha, Sha(Wiley sha) - the 27th letter of the Tibetan alphabet, can only be a syllabic letter. In the Tibetan primer it is associated with the word shcha - meat. In pronunciation it is close to the 21st letter, transcribed as Zha. In Tibetan practical transcription based on the dictionary material, it conveys the Sanskrit letter Shakar श (Shakyamuni, Shariputra, etc.) and the Chinese initial ㄒ (xi-). Numeric Match: now - 27, cabbage soup - 57, schu - 87, shche - 117, scho - 147.”
28th letter of the Tibetan alphabet - " Ca- The 28th letter of the Tibetan alphabet, it can occupy four different positions in a syllable: sa root (7 initials), sago - inscription, sa-jejuk - suffix and sa-yangjuk - second suffix. The cursive letter "Sa" in the Ume style looks like a homoglyph of the Russian handwritten letter "I". Numeric Match: sa - 28, si - 58, su - 88, se - 118, so - 148. In the Tibetan primer the letter "sa" is associated with the word sa - earth, soil».
29th letter of the Tibetan alphabet - " Ha-29th letter of the Tibetan alphabet, denotes the voiceless glottal fricative consonant [h]. Numeric Match: Ha - 29, Hi - 59, Hu - 89, He - 119, Ho - 149. It can only be a syllabic letter, but it also forms a whole series of ligatures to convey sounds borrowed from Sanskrit and Chinese, for example:
30th letter of the Tibetan alphabet - " A (big a) - the last letter of the Tibetan alphabet, refers to masculine letters. Used to indicate vowel sounds at the beginning of a syllable. Unlike small a, large A in a syllable can only be a syllabic-forming letter, it is combined with all Tibetan vowels and can be combined with finals (jejug), but is not used with signature, subscript and superscript letters.
The text uses “ ” to denote the number, with the vowels “akikui” - , “azhabkyuu” - , “adrenbue” - and “anaroo” - (Alphabetical notation of numbers).
In Tibetan dictionaries, the letter A section takes up less than one percent of the volume, but the letter A itself is considered the shortest version of the pronunciation of the Prajnaparamita Sutra and is often found at the beginning of mantras, such as in the mantra Om mani padme hum -
This concludes the Introduction with the descriptive part of the Tibetan alphabet. Let us proceed to the presentation of our results of the study of the Tibetan alphabet in the matrix of the Universe.
COMMENT:
Above we looked at the alphabet itself and the features of the letters of the Tibetan alphabet. Let's move on to presenting the results of our research.
Tibetan alphabet in the matrix of the Universe
Below in Figure 6 we will show what we built on the basis of Knowledge about the matrix of the Universe “ Initial view » Tibetan alphabet, similar to the one first constructed Thonmi-Sambhotoy minister, philologist of the king Srontsang-Gampo – « Tibetan script was developed in 639 Thonmi-Sambhotoy(སློབ་དཔོན་ཐུ་མི་སམ་བྷོ་ཊ། thon mi sam bho ṭa), minister, scholar-philologist of King Srontsang-Gampo (སྲོང ་བཙན་སྒམ་པོ srong btsan sgam po). According to legend, the king sent to India (to the pandit Devavidyaisimhi) his dignitary Thonmi Sambhot, who, based on the Indian Bengali script, developed the national Tibetan alphabet (it was invented signs for sounds not found in Sanskrit – ɂa, zha). Thonmi Sambhota also wrote the first grammar of the Tibetan language, taking Sanskrit grammar as a model. It is believed that he himself took part in the creation of the alphabet and grammar Srontsang-Gampo».
Rice. 6.« Original View
» Tibetan alphabet of 30 letters, built by us on the basis of Knowledge about the matrix of the Universe. The first row of letters of the alphabet begins with the 28th level of the Upper World of the matrix of the Universe. Rows of letters of the alphabet were built horizontally from left to right ( shown on the left by arrows). The vast majority of letters of the alphabet occupy the 4th vertical level of the matrix of the Universe. Four letters occupy 3 vertical levels - these are: 1) 20th letter BA: 20th letter of the Tibetan alphabet – « Va(wiley Wa) — the most rarely used
letter of the Tibetan alphabet. In Roerich's dictionary there is a special name for this letter - bachhe. Mainly used to convey borrowed words and place names. In the literal transmission of numbers corresponds to the number 20. There cannot be any inscription, non-subscript, or subscript letters around the letter “va”. "Va" can only act as a syllabic letter or a signature letter taking the form of a diacritic vazur
. In Tantric Buddhism " va"is found in mandalas and symbolizes a state beyond cause-and-effect relationships, and is also a term denoting mysticism and the occult sciences. 2) 25th letter RA. 3) the 26th letter LA and 4) the 30th letter A capital.
Tibetan mantra Om Mani Padme Hum in the matrix of the Universe
In the work section " Prayers and mantras“- (Figure 6) we found the position in the Upper World of the matrix of the Universe of the Tibetan prayer - Om Mani Padme Hum and wrote down this mantra in Sanskrit letters. Below in Figure 7 we present this drawing from the work.
Rice. 7. In Buddhism, the “Six-syllable” is known. prayer - mantra Om Mani Padme Hum(Sanskrit: ॐ मणि पद्मे हूँ; Tib.: ཨོཾ་མ་ཎི་པ་དྨེ་ཧཱུྃ།) - one of the most famous mantras in Buddhism Mahayana, especially characteristic of Tibetan Buddhism), the six-syllable mantra of the bodhisattva of compassion Avalokitesvara. The mantra is especially associated with Shadakshari(Lord of Six Syllables) is the embodiment of Avalokiteshvara and has a deep sacred meaning.” From Figure 5 we now know the position in the matrix of the Universe “ Name» female hypostasis
Avolokiteshvara - Mani Padma – jewel in lotus. This gives us the opportunity to correctly arrange in the matrix of the Universe all the syllables included in the “Six-Syllable Mantra”. Syllables in prayer - mantra Mani Padme are in "center
»
. The picture on the right shows the Sanskrit writing of the Tibetan prayers - mantras – Om Mani Padme Hum. sacred syllable OM- This Lord Himself at any His hypostases. This syllable is located on the 32-29th level of the Upper World of the matrix of the Universe. The vertical arrow next to it points upward in the direction of all the worlds of the Lord, including the Spiritual worlds. The remaining syllables of the mantra are written down to the 9th level of the Upper World of the matrix of the Universe, as shown on the right in the figure. About the meaning of the mantra: “This mantra has many meanings. They all come down to explaining the meaning of the totality of sacred sounds of its constituent syllables. The mantra itself is rarely interpreted in the meaning determined by its literal translation: “Oh! The jewel in the lotus [flower]!” In particular, the 14th Dalai Lama explains that the mantra represents the purity of the body, speech and mind of the Buddha. Second word (mani - « jewel") correlates with bodhichitta - the desire for Awakening, compassion and love. Third word (padme- “lotus flower”), correlates with wisdom. Fourth word (hum) represents the indivisibility of practice (method) and wisdom." So " Name» female hypostasis
Bodhisattva Avalokiteshvara — Mani Padma, recorded in the matrix of the Universe " opened
» us location in the matrix of the Universe prayers - mantras Om Mani Padme Hum.
Now we can write this mantra into the Upper World of the matrix of the Universe using the letters of the Tibetan alphabet.
Rice. 8. The figure shows the entry of the mantra into the Upper World of the matrix of the Universe Om Mani Padme Humletters of the Tibetan alphabet. The inset at the top of the picture shows the recording of this mantra. It can be seen that to the left and right of the text of the manra there are specific signs ( symbols) in the form of two dots and an arrow pointing down. We considered that these signs have a certain meaning and assigned them a place similar to the Tibetan letters, as shown in the figure. As a result, the mantra, together with the signs ( symbols) took the position from the 36th to the 1st level of the Upper World of the matrix of the Universe. The upper part of the mantra is located in the space that corresponds
Abode of Maha Vishnu.
Rice. 9. Mantra text Om Mani Padme Hum, written in letters of the Tibetan alphabet. To the right and left of the text of the mantra, specific signs (symbols) are clearly visible.
Rice. 10. The figure shows the position of the lower sign ( symbol) at the base of the sharp peak of the pyramid of the Upper World of the matrix of the Universe. 1) space upper
Tetractys (contains 10 circles) at the place of transition between the Upper and Lower worlds of the matrix of the Universe. It can be seen that the middle point above the arrow coincides with the top of the pyramid of the Lower World of the matrix of the Universe. The remaining details of the alignment of the sign (symbol) with the matrix of the Universe are clearly visible in the figure. Thus, our assumption about the meaning of the signs (symbols) at the beginning and end of the mantra Om Mani Padme Hum(Figure 9)may be correct.
Sacred dagger Bhurba or Qila and Vedic deity Hayagriva
In review or brief description letters of the Tibetan alphabet, we talked about the sacred Tibetan symbol Bhurba or Qila (Sanskrit). Phurba, Kila(Sanskrit. कील kila IAST; Tib. ཕུར་བ, Wylie phur ba; “stake” or “nail”) - a ritual dagger or stake, usually having the shape of a handle in the form of three heads of an angry deity and a triangular wedge shape ... " We combined this Tibetan symbol with the matrix of the universe. Below in Figure 11 is the result of our combination.
Rice. 11. The figure shows the result of combining the Tibetan sacred symbol with the Upper World of the matrix of the Universe Bhurba or Kila(Sanskrit). The key to aligning the dagger pattern with the matrix was the distance “A” between the image details, as shown in the figure, equal to the distance between two adjacent horizontal levels (6th and 5th). The total vertical size of the symbol is 8 levels. The same vertical size will be occupied by two syllables in Sanskrit - CI And LA(letters vertically occupy four levels of the matrix of the Universe). The remaining details of combining the design of the symbol (dagger) with the matrix of the Universe are clearly visible in the figure.
Purba symbolizes the destruction of all concepts and attachment to one's own " I ", as well as ideas about the illusory real (« Visible World » Note Ed.) peace. In some special rituals of Tantric Buddhism, phurba is used as a weapon to subdue forces opposing the doctrine . ….».
It was noted above that the handle of a dagger with a triangular blade crowned by the horse head of a fierce protective Tibetan deity Hayagriva:
Material from Wikipedia - the free encyclopedia:
Rice. 12. Hayagriva in the form of Vajimukha, Cambodia, late 10th century, Guimet Museum. Hayagriva(Sanskrit हयग्रीव, literally “horse neck”; i.e. Hayagriva) is a character in Hindu mythology (in modern Hinduism usually as an incarnation of Vishnu) and the Buddhist figurative system (as “ wrathful protector deity of the Teaching
", dharmapala), is also found in ancient Jainism. In archaic Hindu statues it is represented with a human body and a horse's head, in Buddhism a small horse head (or three heads) is depicted above a human face(s).
The origins of the image are associated with the ancient Aryan cult of the horse (cf. the cult of the horse in the Ashvamedha sacrifice). It was apparently later reinterpreted during the codification of the Vedas and the development of Vaishnavism and Buddhism.
Hinduism
Beheading of Hayagriva
In Vedic literature, the god Yajna is incarnated as Hayagriva. In Puranic literature, Hayagriva is an incarnation of Vishnu. Since the Taittiriya Aranyaka describes the Yajna as protoform Vishnu, the information from these traditions does not contradict each other.
Agni, Indra, Vayu and Yajna once performed a Yagna in order to gain havirbhagu , which they would dedicate to all the gods. But in violation of the agreement, Yajna left the meeting, taking away all Yajnabhaga with himself, and drove away the gods who followed him with a bow, given to him by Davy . The gods ensured that termites gnawed Yajna's bow string. The bow, straightening up, cut off Yajna's head, and then Yajna repented of his crime. Then the gods invited Ashvinidev (divine healers), so that they attach a horse's head to the Yajna .
The Skanda Purana tells a similar story: deities led by Brahma competed in greatness, and Vishnu came out on top in every competition. Then Brahma cursed him, and Vishnu's head fell off. After this, the gods performed the yajna, and Vishnu appeared at it, placing the head of a horse instead of his head on his neck. At the end of the yagna, Vishnu went to dharmaranya and performed tapas, thanks to which he received the blessing of Shiva, with the help of which he regained his previous head instead of a horse's head.
Asura
Asura Hayagriva, the son of Kasyapaprajapati and his wife Danu, according to Valmiki's Ramayana (Aranyakanda, Canto 14), began tapas (asceticism) on the banks of the Saraswati River, and after a thousand years Devi appeared and asked him to choose any reward. He wished to become invincible for the gods and asuras, as well as immortal . When he learned that it was impossible to accomplish this, he (Hayagriva) wished to become vulnerable only to the one with a horse's neck (for Hayagriva). Devi granted him the fulfillment of this wish. Having gained invulnerability and invincibility, he went through all three worlds, causing trouble to good people, and finally entered into battle with the gods. Having won the victory, he fell asleep, and during his sleep Vishnu cut off his head with the help of Hayagriva’s own jewelry, dedicated to Vishnu. Vishnu replaced his head with a horse's , and then killed Hayagriva as he ran away.
Theft of the Vedas
In the Ramayana (IV. 6,5) Sugriva tells Rama that he will find Sita, just as the lost Veda-shruti (Vedic wisdom) was found, and then (IV. 17, 50) Vali tells Rama that he will find Sita even if she is hidden at the bottom of the sea, like Shvetashvatari. The commentator explains that Shvetashvatari is the same as Veda-shruti, and refers to a certain Puranic story about how the asuras Madhu and Kaitabha stole the Veda-shruti and hid it in Patala (the lower world). Then Vishnu descended to Patala, took the form of Hayagriva, killed the asuras and returned Veda-shruti.
Asura
According to the Bhagavata Purana (VIII.24), the asura Hayagriva stole the Veda-sruti and hid it at the bottom of the sea. Vishnu, taking the form
