Kālacakra Tantra, the First of Two Rare and Early Woodblocks

1. Woodblocks Carved for Orgyanpa

One Thanksgiving holiday in Boston back in 1998, E. Gene Smith gave me free use of his library with permission to take out and photocopy anything I found interesting. I did find many astounding things. With one exception, I won’t bother you with them right now. That one thing I’d like to draw attention to is a woodblock printed copy of the Kālacakra Tantra with all five of its chapters in 179 folios. I didn’t photocopy it, but I surely did take some notes. I could scarcely believe I was holding such a precious object in my own hands and seeing it with my own eyes.

I noticed it had Chinese characters in the righthand margins. These are numbers for the benefit of printshop workers who couldn’t read Tibetan numbers, indicating that the woodcarving was not done inside Tibet. It also had glued directly onto every page tiny squares of paper bearing Arabic page numbers, as if in preparation for its photo-reproduction. The cloth label extending from the narrow end of the volume read: “dpal dus kyi 'khor lo'i rgyud yar 'brog par rnying” (which would seem to mean that it was an ‘old print’ [par rnying] from the area of Yamdrok Lake? I really can’t explain it). I will insert here a transcription of the printing colophon with part of the translator’s colophon that comes before it. It tells us that what we have here is the translation as established by one particular Sanskrit grammarian who was so important for the history of Tibetan literary arts, the fully ordained monk Shongtön (ཤོང་སྟོན་) who lived ca. 1235 to sometime after 1280. Since no later revisers are mentioned, we assume that this print represents Shongtön’s actual unrevised editorial work. This could prove of some significance for future studies of the changes in the Tibetan translation done over time. It has been said that the Tibetan version of the Kālacakra Tantra underwent around 25 different stages of translation and revision. The colophon says Shongtön compared two different Sanskrit exemplars from Magadha when he made his translation. And the Bla-ma Dam-pa Chos-kyi-rgyal-po mentioned there without a doubt intends the ruler Phagpa (འཕགས་པ་), known to have sponsored Shongtön’s philological pursuits with generous grants of gold.

According to what Gene told me later, this print in his collection had already been published in the works of Bodong Panchen Choglenamgyal (བོ་དོང་པཎ་ཆེན་ཕྱོགས་ལས་རྣམ་རྒྱལ་, 1376-1451). In fact, I could eventually locate it in vol. 116 of the set published under the English title Encyclopaedia Tibetica, where it fills the entire volume. Have a look at it. If you wonder what it is doing in the works of Bodong Panchen, wonder no more. Often things by other authors on subjects he had a special interest in were included,* and both he and Shongtön belonged to what might be called the Bodong E lineage of Sanskrit literary expertise. Shongtön would have been regarded by Bodong Panchen as an ancestor of sorts.**

(*The Padampa texts are another example of such texts not authored by him that were included. I may go into that another time. **A less important detail, but still worth noting is that this reprint version lacks the handwritten mchan-note that forms a part of the following transcription, but seems otherwise closely identical. If you were paying attention you would know that the text I saw in Gene's library was very likely the one used in the making of the published version just linked, so the absence of the mchan-note would seem to indicate an erasure in the publication process...  But then another small bit is clear only in the published version...)

Here are the colophon pages. I’ll transcribe them at the end of this blog:

So where would a poor Tibetanist like me turn for more information about the circumstances surrounding the making of this woodblock print? Where else but to Harvard professor Leonard W.J. van der Kuijp and his splendid essay entitled, The Kālacakra and Patronage of Tibetan Buddhism, at pages 20 and following. He dates the preparation of the woodblocks to somewhere between 1294 and 1309. That makes it a “Hor Par-ma” — let’s translate that as ‘Yuan Print’ — and one among the earliest woodblock prints ever made in the Tibetan language.* 

(*Some old Dhāraṇī prints may be considerably older, and notice, too, some other early and earlier things mentioned below in the bibliography. Small texts were woodblocked in Tibetan in Tangut Land already in the middle of the 12th century.) 

The colophon doesn’t state it in so many words, but it does appear that the Empress Mother (Ta’i-hu Yum) and Child, identified by Leonard as Kököcin and her son Öljeitü would have sponsored this printing as part of memorial observances for Qubilai following his death in the winter of 1294. To avoid possible confusion with another member of Mongolian royalty, this particular Öljeitü is one and the same as Qubilai's grandson and successor Temur (1265-1307).  The expressed function of the carving project is indicated in the line that could be translated, ‘completing the intentions of the Royal Lord of Men.’ Completing the intentions is a normal way to speak about meritorious donations of sacred objects (holy books, icons and so on) on behalf of the deceased person as one kind of funerary observance.

But I would say it isn’t just its age that makes it significant, the woodblock print itself is a veritable contact relic of the famous Kālacakra master Orgyanpa. And regardless of where it was made it’s a cultural monument of the Tibetan people’s literary and religious arts. Just knowing about its existence should go for a blessing.

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Here’s my transcription of the colophon for the use of those who read transliterated Tibetan with ease. I made some of the names in red font to draw attention to them.

177v.2  kha che'i pandi ta so ma nā tha dang lo tsha ba 'bro dge slong shes rab grags kyis bsgyur cing zhus te gtan la phab pa las / dus phyis yon tan phul du byung ba dpag tu med pas spras pa'i bla ma dam pa chos kyi rgyal po'i bka' lung dang / dpon chen shākya bzang po'i gsung bzhin du / mkhas pa chen po zhang ston mdo sde dpal dang / dus kyi 'khor lo'i tshul khong du tshud pa'i dge slong tshul khrims dar gyis don gyi cha la legs par dpyad cing bskul te / legs par sbyar ba'i skad kyis brda sprod pa'i bstan bcos rig pa'i dge slong shong ston gyis / dpal sa skya'i gtsug lag khang chen por yul dbus kyi rgya dpe gnyis la gtugs shing / legs par bcos te gtan la phab pa'o // // 

gang gi thugs dgongs rnam par dag pa yis //

'di la bskul zhing mthun rkyen bsgrubs pa dang //

bdag gis 'bad las bsod nams gang thob ba //

kun gyis 'di [178r] rtogs sangs rgyas sar gnas shog //

bde legs su gyur cig //

dpal ldan dus 'khor rgyud kyi rgyal po 'di //

sangs rgyas bstan pa dar cing rgyas pa dang //

mi dbang rgyal po'i thugs dgongs rdzogs pa 'am //

tha'i hu yum sras chab srid brtan byas nas //

gdul bya sems can kun la phan phyir du //

u rgyan pa zhes grags pas par du bsgrubs //

[note: here there is a handwritten mchan-note saying “sprul sku rin chen dpal bzang po”]

'di las byung ba'i dge ba'i rtsa ba rnams //

'gro bas kun mkhyen thob phyir smon lam brdab //

phyogs bcu rgyal ba rgya mtsho sras dang bcas //

ka rgyud [=bka' brgyud] bla ma rgyal ba'i 'phrin las mdzad //

rgyal ba'i gsung rab tshig don bcas pa dang //

'phags pa'i dge 'dun rnam grol zhi ba'i thugs //

dkon mchog gsum la phyag 'tshal skyabs su mchi //

'gro ba ma lus rtag tu ghurs [=thugs] rjes skyobs //

dkon mchog gsum gyi rang bzhin 'gro ba'i 'gon //

dus gsum rgyal ba'i ngo bo chos kyi rje //

khams gsum 'gro ba kun gyi skyabs gyur ba'i //

dpal ldan dgod tshang ba la gsol ba ['debs] //

[illeg. about 10 letters;   i] bzang sk[ye] ba thams cad du //

rang gi 'dod pa gang yang mi sgrub cing //

mtha' yas 'gro ba'i dpal mgon bya ba'i phyir //

rnam pa kun du bzhan [=gzhan] don byed par shog //

[178v] [illeg, about 6 letters] spy[o?]d snyan grags gnyen 'dun dang //

bdag gi dge ba'i rtsa ba thams cad kyis //

sems can kun la phan pa'i don gyi phyir //

phangs sems zhen chags med par rtongs bar [?] shog [?] //

mtha' bral phyag rgya chen po'i don rtogs nas //

dmigs med snying rje chen pos rgyud [.....?] bsten //

stong nyid snying rje zung 'jug rtogs pa'i don //

mtha' yas 'gro ba kun la skye bar shog //

pha rol phyin drug bsod nams mthar phyin te //

ye shes rtogs pas bzung 'dzin rtsad nas dag //

'gro kun tshogs gnyis lhun gyis grub pa'i //

dpal ldan sku gsum rgyal srid skyongs par shog //

zab mo dbang bzhi dgongs pa mthar phyin te //

gnas skabs bzhi bor sku bzhir lhun gyis grub //

nyon mongs rnams ni ye shes chen por 'bar //

'gro kun zab mo'i sngags la spyod par shog //

skye zhing skye ba dag ni thams cad du //

sdom gsum dri med rtsang ma srun pa dang //

bla ma dam pa'i zhabs drung gus btud te //

zab mo rdo rje theg pa'i tshig don rnams //

thos zhing rtogs nas tshul bzhin sgrub par shog //

phyogs bcu nam mkha'i mtha' dang mnyam pa'i //

sems can rnams gyi don rnams sgrub pa'i phyir //

ji ltar [remainder missing, but it is found in the reprint in Bo-dong-pa's Encyclopaedia Tibetica, vol. 116, p. 359, =fol. 179r] rgya dang rgyal ba'i sras rnams kyis //

dpag med 'gro ba'i don rnams grub pa ltar //

de ltar bdag gis kyang ni sgrub par shog //

bdag gis dus gsum dgye ba ci spyad pa //

nam mkha'i mtha' las gyur pa'i sems rnams //

bla med theg pa mchog gi sgor zhugs nas //

kun kyang rdo rje 'dzin pa'i bdag nyid shog //

sdig sems mi dge' nam yang mi spyod cing //

rtag tu dge ba 'ba' zhig spyod par shog //  //

 dge'o /

bkra shis par gyur cig / /  

[scribal colophon:] yi ge'i mkhan po rtse lda [=rtse lde, =rtse lnga?] rin chen dpal gyi dag par bris //  

om ye dharmâ he du pra bha wa he dun te … … [ends with verse of interdependent origination, but the style of its printed {?} letters seems rather different]

§=§=§

Reading List for Early Woodblock Printings of Tibetan Language Works

Dungkar Lobzang Trinlé, “Tibetan Woodblock Printing: An Ancient Art and Craft,” translated by the late Tsering Dhondup Gonkatsang, Himalaya, vol. 36, no. 1, article 17 (May 2016), pp. 162-177.  A useful introduction to the subject, much recommended.

David P. Jackson, “More on the Old Dga’-ldan and Gong-dkar-ba Xylographic Editions,” Studies in Central and East Asian Religions, vol. 2 (1989), pp. 1-18.

David P. Jackson, “Notes on Two Early Printed Editions of Sa-skya-pa Works,” Tibet Journal, vol. 8, no. 2 (1983), pp. 5-24. From p. 6: “The earliest known Tibetan-language xylographic blocks from which prints survive are those of the Kālacakra Tantra that were carved under Mongol patronage at the request of lama U-rgyan-pa (1230-1309).” The attached footnote 14 located on p. 22, gives the published version of it in Encyclopaedia Tibetica and comments that it was E. Gene Smith who brought it to his attention.

Matthew T. Kapstein, “A Fragment from a Previously Unknown Edition of the Pramāṇavarttika Commentary of Rgyal-tshab-rje Dar-ma-rin-chen (1364-1432),” contained in: Franz-Karl Ehrhard & Petra Maurer, eds., Nepalica-Tibetica: Festgabe for Christoph Cüppers, International Institute for Tibetan and Buddhist Studies (Andiast 2013), vol. 1, pp. 315-324.

Kawa Sherab Sangpo, “Mongolian Female Rulers as Patrons of Tibetan Printing at the Yuan Court: Some Preliminary Observations on Recently Discovered Materials,” contained in: Hildegard Diemberger, Franz-Karl Ehrhard, Peter Kornicki, eds., Tibetan Printing: Comparison, Continuities, and Change, Brill (Leiden 2016), pp. 38-44.

Leonard W.J. van der Kuijp, “Faulty Transmissions: Some Notes on Tibetan Textual Criticism and the Impact of Xylography,” contained in: Jean Luc Achard, Anne Chayet, Christina Scherrer-Schaub, Françoise Robin, et al., eds., Édition, éditions: l'écrit au Tibet, évolution et devenir, Indus Verlag (Munich 2010), pp. 441-463. Here is some impressive information about how students of Smar-pa Shes-rab-seng-ge (1135-1203) had his works carved into woodblocks in the very early 1200’s in Tangut country (see p. 453). There is mention, too, of a 1278 Dadu (Beijing) woodblock edition of the Tshad-ma Rigs-pa'i Gter by Sakya Pandita (p. 445), the date making it a definite Hor Par-ma.

Leonard W.J. van der Kuijp, The Kālacakra and the Patronage of Tibetan Buddhism by the Mongol Imperial Family, The Central Eurasian Studies Lectures series no. 4, Department of Central Eurasian Studies (Bloomington 2004), a booklet in 62 pages, especially pp. 20-29.

Leonard W.J. van der Kuijp, “A Note on the Hor Par-ma Mongol Xylograph of the Tibetan Translation of Dharmakīrti's Pramāṇavārttika (Tshad ma rnam 'grel),” Journal of Tibetology, vol. 9 (2014), pp. 1-5.  This woodblock print, to be seen at TBRC no. W1CZ2047, dates to 1284.

Leonard W.J. van der Kuijp, “Two Mongol Xylographs (Hor Par Ma) of the Tibetan Text of Sa Skya Pandita's Work on Buddhist Logic and Epistemology,” Journal of the International Association of Buddhist Studies, vol. 16, no. 2 (Winter 1993), pp. 279-298. This is about two Yuan era woodblock prints of Tibetan works, the first a work of Sakya Pandita printed in 1284 that Leonard at the time suggested is "perhaps... the earliest Tibetan blockprint as such." With all the new facsimiles and published editions of old Tibetan texts popping up in recent years, he was bound to change his mind, and did. The 2nd dates to the mid-Mongol era, likely the year 1315.

Brenda W.L. Li, A Critical Study of the Life of the 13th-Century Tibetan Monk U rgyan pa Rin chen dpal Based on His Biographies, doctoral dissertation, Oxford University (Oxford 2011). This seems to be the latest word on the life of Orgyanpa. It’s downloadable here. Once you have it on your screen, go first to p. 46, then to p. 294 for illustrations from the "woodblock text printed by U rgyan pa in Dadu (Beijing) in c.1293." It looks like an independently existing original print from the same woodblocks. It does seem hasty to say that Sherab Sangpo ‘discovered’ the existence of Yuan period printings of Tibetan texts (with reference to his 2009 publication). “Until this discovery, there had been neither textual nor other material evidence to prove that texts in the Tibetan language were printed in Yuan China.” If there is a discoverer, I suppose it would, to the best of my knowledge, have to be David Jackson (his 1983 essay, listed above) or E. Gene Smith before him. But even then, using the language of discovery or ‘firsts’ is bound to prove risky, every bit as risky as statements of who got somewhere first, or when any particular thing first took place in history.

Porong Dawa, “New Discoveries in Early Tibetan Printing History,” contained in: H. Diemberger, et al., eds., Tibetan Printing: Comparisons, Continuities & Change, Brill (Leiden 2016), pp. 195-211. An open access publication, find it if you can.

Marta Sernesi, “A Mongol Xylograph (hor par ma) of the Tibetan Version of the Mahāyānasūtrālaṃkārabhāṣya,” contained in: Vincent Tournier, Vincent Eltschinger & Marta Sernesi, eds., Archaeologies of the Written: Indian, Tibetan, and Buddhist Studies in Honour of Cristina Scherrer-Schaub, Università degli Studi di Napoli L'Orientale (Naples 2020), pp. 527-549. I suppose I should have listed a lot of other works on Tibetan xylography by Michela Clemente and by Marta Sernesi, but I'll do this some other time.

Shi Jinbo, “A Study of the Earliest Tibetan Woodcut Copies.”  PDF from internet.  I hope you can find it if you search for it.

Heather Stoddard, “The Woodcut Illustrations in Tibetan Style from the Xixiazang,” contained in the 2nd edition of her Early Sino-Tibetan Art, Orchid Press (Bangkok 2008), pp. 33-42. In the century before they were very nearly wiped out by the Mongol invasion (see The Flood that Backfired), the Tanguts (མི་ཉག / Xixia) were the foreigners who patronized verbal and visual icons for Tibetan masters. The emphasis here is on woodblocks of artworks rather than Tibetan texts, but in any case, it’s entirely relevant.

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This blog is offered in homage to Leonard, with gratitude.

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Have a close look at the Metropolitan Museum’s outstandingly accomplished stitched silk ‘painting,’ dated to 1330-32, depicting in its lower left-hand corner, these two Mongol princes, their wives in the facing right-hand corner. All four are in typical devotional poses as patrons of the holy object that is none other than the very icon where their portraits appear. Try to identify them. Didn’t Heather write about this somewhere? At least one of the legends is legible enough.

A detail. See the rest of it at the Met's website.

Postscript (December 1, 2021)

I see that TBRC has put up a scan a print from the 1294 Kālacakra Tantra woodblocks, but its first and last folios are either damaged or replaced by manuscript pages. Still, it's interesting as another impression from the same blocks.  Go to https://www.tbrc.org/#!rid=W4CZ75 to see it.