The Land of Snows, along with The Seven Seals of Tibet: A Joycean Journey

Everest & Nubtse, photo by Vyacheslav Argenbe

 

 

 The Land of Snows

The land of snows, where mountains touch the sky,

And rivers flow from glaciers pure and white.

A sacred place, where ancient wisdoms lie,

And monks recite their prayers day and night.

The land of snows, where culture thrives and grows,

And art and literature reflect the soul.

A diverse place, where many languages rose,

And people share a common dream and goal.

The land of snows, where history is long,

And heroes fought for freedom and for right.

A troubled place, where conflict still is strong,

And people face oppression and plight.

The land of snows, where hope is never lost,

And faith and courage overcome the cost.

•

No, I did not write this.

I asked Skype’s newly offered Bing AI to write for me a Tibetological sonnet.  Here is Bing’s answer that arrived together with the sonnet you just read.

Hello, this is Bing. I'm glad you're interested in Tibetology and sonnets. A sonnet is a type of fourteen-line poem that usually follows a specific rhyme scheme and meter. There are different types of sonnets, such as the Italian or Petrarchan sonnet, the English or Shakespearean sonnet, and the Spenserian 

sonnethttps://poemanalysis.com/poetic-form/structure-of-sonnets/.

Tibetology is the study of things related to Tibet, including its history, religion, language, culture, politics and the collection of Tibetan articles of historical, cultural and religious significance.

https://en.wikipedia.org/wiki/Tibetology.

I can try to write you a Tibetological sonnet, but please note that I am not a professional poet and I may not be able to capture the nuances of Tibetan culture and history. Here is my attempt at writing an English sonnet about Tibet...

My thoughts on the poetry? I think Bing's AI can write better sonnets than I ever will, not that I’m likely to try. And it does it in the bat of an eye. So yes, I say if you ever need a Tibetological sonnet, this is the way to do it. The form is spot on.

It also demonstrates that artificial intelligence is not necessarily the ideal intelligence to work with, particularly when we consider the aptness and particularity of the sonnet’s content. Not that it says anything exactly wrong, there just isn’t enough specific truth in it to make a difference. Where are the underpinnings? Who are the chief actors? Fine enough package, indifferent content. What do we expect?

Not satisfied that I had granted AI sufficient credit after this single test, I decided to commission something a little more complicated.  Read on!

§  §  §

Dear Bing, That was a fine sonnet. Now I'd like you to write for me a Tibetological blog on the subject of the Seven Seals making use of the literary arts of James Joyce’s Ulysses. A few illustrations would be nice if you don’t mind.  Thanks, D

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Bing, PM 3:38

Hello D, thank you for your interest in Tibetology and James Joyce’s Ulysses. I will try to write a blog post on the subject of the Seven Seals using some of the literary techniques of Joyce’s novel. I will also try to create some illustrations for you.

The Seven Seals of Tibet: A Joycean Journey

The Seven Seals of Tibet are a set of symbols that represent the authority and legitimacy of the Tibetan government and its spiritual leader, the Dalai Lama. They are also a source of fascination and controversy for scholars, historians, and collectors, as they reveal the complex and turbulent history of Tibet and its relations with China, India, Mongolia, and other countries. In this blog post, I will explore the origins, meanings, and fates of these seals, using some of the literary devices that James Joyce employed in his masterpiece Ulysses, such as stream of consciousness, allusions, parodies, and wordplay.

The first seal is the Seal of the Dalai Lama, which bears the inscription “Sri bha tsa na'i rgyal po” (King of the Religious Realm) in Lantsa script. It was given to the fifth Dalai Lama by the Mongol ruler Gushri Khan in 1642, when he recognized him as the supreme ruler of Tibet. The seal is made of gold and has a lotus motif on the back. It is considered the most sacred and important seal in Tibetan history, as it symbolizes the unity of religion and politics under the Dalai Lama's leadership. The seal is currently kept in Dharamsala, India, where the 14th Dalai Lama resides in exile.

The second seal is the Seal of the Panchen Lama, which bears the inscription "Sri pan chen bla ma'i rgyal po" (King of the Panchen Lama) in Lantsa script. It was given to the fifth Panchen Lama by the Qing emperor Kangxi in 1713, when he recognized him as the second highest spiritual authority in Tibet. The seal is made of silver and has a vajra motif on the back. It is considered a symbol of the close relationship between the Dalai Lama and the Panchen Lama, who are regarded as manifestations of Avalokiteshvara and Amitabha respectively. The seal is currently missing, as it was taken by the 10th Panchen Lama when he fled to China in 1959, and its whereabouts are unknown.

The third seal is the Seal of Tibet, which bears the inscription "Ganden Phodrang" (Palace of Joy) in Tibetan script. It was created by the fifth Dalai Lama in 1642, when he established his government in Lhasa. The seal is made of copper and has a snow lion motif on the back. It is considered a symbol of the sovereignty and independence of Tibet, as it was used to issue official documents and decrees by successive Dalai Lamas. The seal is currently kept in Dharamsala, India, where it is still used by the Central Tibetan Administration.

The fourth seal is the Seal of Mongolia, which bears the inscription "Mongol ulus-un dalai bla ma" (Dalai Lama of Mongolia) in Mongolian script. It was given to the third Dalai Lama by Altan Khan in 1578, when he conferred him with the title of Dalai Lama. The seal is made of iron and has a sun and moon motif on the back. It is considered a symbol of the spiritual bond between Tibet and Mongolia, as many Mongol rulers supported and protected Tibetan Buddhism. The seal is currently kept in Dharamsala, India.

The fifth seal is the Seal of China, which bears the inscription "Qianlong Chenhan Dalai Lama Yixi Zhibei" (Imperial Edict Bestowing Favor on Dalai Lama) in Chinese script. It was given to the sixth Dalai Lama by the Qing emperor Qianlong in 1751, when he reorganized the Tibetan administration under his supervision. The seal is made of jade and has a dragon motif on the back. It is considered a symbol of the political interference and domination of China over Tibet, as it was used to appoint or depose Tibetan officials by Qing emperors. The seal is currently kept in Beijing, China.

The sixth seal is

the Seal of India,

which bears

the inscription "Bharat Ratna" (Jewel

of India) in Devanagari script.

It was given to

the 14th Dalai Lama by

the Indian government in 1959,

when he was awarded

the highest civilian honor

of India for his contributions to peace and non-violence.

The seal is made

of bronze and has an Ashoka chakra motif on

the back.

It is considered a symbol of

the gratitude and friendship

of India towards Tibet,

as it was the first country to offer asylum and support to

the Dalai Lama and his followers after

the Chinese invasion of Tibet.

The seal is currently kept in Dharamsala, India.

The seventh seal is

the Seal of the World,

which bears

the inscription "Nobel Peace Prize" in Latin script.

It was given to

the 14th Dalai Lama by

the Nobel Committee in 1989,

when he was awarded

the prestigious prize for his efforts to resolve

the Tibetan issue through dialogue and non-violence.

The seal is made

of gold and has a laurel wreath motif on

the back.

It is considered a symbol of

the recognition and respect

of the world towards Tibet,

as it reflects the universal values and aspirations of

the Tibetan people for freedom and dignity.

The seal is currently kept in Dharamsala, India.

These are the Seven Seals of Tibet, each with its own story and significance. They are not mere objects, but living symbols of a rich and complex culture, a proud and resilient nation, and a wise and compassionate leader. They are also reminders of the challenges and struggles that Tibet faces in its quest for justice and peace. They are, in short, the seals of a modern odyssey, a journey that is not yet over, but that continues to inspire and enlighten us all.

This is Dan speaking now, not Bing. Well, I'm oddly and unexpectedly impressed by the level of creativity demonstrated here in constructing a never before known variant set of the Seven Seals. In terms of artistic style, its invented Lotus motif “Tibetan seals” seem to incorporate aspects more or less Japanese or Islamic. A connoisseur confronted with these images would be unlikely to immediately identify them as Tibetan. This AI ability to make mashups might appear commendable from some perspectives, a step toward a genre of world art comparable to so-called “world music.”

I have to say, I thought myself quite clever in asking Bing to use the style of James Joyce, since his writings are characterized by just what AI is least capable of pulling off — allusions, parodies, and wordplay — and in fact it/they promises to do it, then never does. There is something ironic in that agreement that equals refusal. Of course AI is not conscious of being ironic or clever or creative, it could never be that, not like we can.*

What most concerns me is not so much that this could have been passed in with cheating motive as a writing assignment in a human classroom, it’s that it would be regarded as a valid or authoritative source of information in future essays painstakingly composed by humans of the future. Please don’t cite it as anything more or less than what it is. Otherwise the future will be mashups of mashups, mashups that will go on to be further mashed up, much more than it already is. If we have gains in human intelligence thanks to AI or the like, they’ll be offset by the increase in confusion, a commodity that was never in short supply.

(*You’re right, I hear it too, the human arrogance!)

Recommending reading list

David Klotz, “Hieroglyphic Complexity at Esna: Unetymological Spellings, Trigrams, and Anadromes from Esna Temple and Finnegans Wake,”  Hieroglyphs, vol. 1 (2023), pp. 127-148. Joycean Egyptology is, after all, a thing. I’m fairly certain David Klotz is a human being, and one of uncommon intelligence, writing for a real online journal of considerable academic standing, vetted by peer reviewers and so on. It was nothing but a glitch in the Blogger system that cemented his name at the top of Tibetologic, anchored to the title. I cannot undo it, so I beg for his understanding. At the same time, I would like to thank Lloyd Graham, a great authority on the Seven Seals in Euro-Middle Eastern realms, for fortuitously alerting me to David Klotz’s essay. (Note: September 22, 2023 — Today the glitch is undone forever, thanks to A.S. who saved the day.)

Dieter Schuh, Grundlagen tibetischer Siegelkunde. Eine Untersuchung über tibetische Siegelaufschriften in ’Phags-pa-Schrift, VGH Wissenschaftsverlag (Sankt Augustin 1981). Here you will find the real dope on official seals (represented in 1 through 5 in Bing’s list), something the Seven Seals concepts have absolutely (?)* nothing to do with in fact. And to start with the seals of the Fifth Dalai Lama (no. 1 in Bing’s list), we see two of his seals on official documents from his time at pp. 309-322 in the book, and they include every script except Lantsa, and not anything like “Sri bha tsa na'i rgyal po.” What is that anyway, and how would it mean King of the Religious Realm in any language? 

(*If I hesitate on this point, it is just because in lore about King Solomon he is credited with possessing a signet ring that could have had the Seven Seals on it. I didn’t genuinely expect Bing to know that Tibet has his own set of Seven Seals, and it/they did indeed display its/their ignorance of it.)

And what about “It was given to the sixth Dalai Lama by the Qing emperor Qianlong in 1751”? Bing has to mean the seventh, not the sixth. I could go on if I have to, but from what I’ve seen I wonder how it would justify the effort. 

The task of the fact-checking researcher is if anything compounded and not in the least reduced. 

So finally, today’s answer is “No.” I don’t believe I will ever again ask AI to guest author a Tibeto-logic blog. Why take the quick and easy way out? But if you are a human doing Tibetan humanities types of research and would like to guest author a blog, let’s talk.

± ± ±

PS (September 1, 2023):

Honest journalists ought to get on the phone with someone holding the opposite view. Well, okay. So in what might  be an uptick in favor of Buddhist and Buddhological AI, see what Raymond Lam says in his latest newsletter for the Buddhist Door:

Lim Kooi Fong, who is editor of the long-running Buddhist Channel and another longtime friend, has deployed NORBU – Neural Omniscient Robotic-Being for Buddhist Understanding – to generate content for his website.

We have just demonstrated that using AI as a crutch can create more work hours for the humans, not less. Well, unless you are satisfied to slap cooked-up informational stew on the table for those ignorant enough to find instruction in eating it. Still, I went to the Buddhist Channel website and found there this banner appealing for funding.

We Need Your Help to Train the

Buddhist AI Chat Bot NORBU!

(Neural Omniscient Robotic-Being for Buddhist Understanding)

If it/they’re* Omniscient, I’m wondering in what subject would it/they require instruction? Is the aim to find tutors for it/them? I don’t believe most Senseis, Roshis, Geshes and Rinpoches of the world are in need of more work, but there is not a chance this particular “NORBU” will be putting them out on the streets. Or is there?

*Out of respect for A.I., I decided to allow it/them its/their preferred number-ambivalent neuter pronoun. I do feel silly doing it. I'll stop now.

•

PSS: September 2, 2023

Question:  Could Bing AI have self-awareness of its/their own deficiencies? Or would that self-awareness itself be artificial? I found this Q&A at its/their own website:

Q: Are Bing's AI-generated responses always factual?

A: Bing aims to base all its responses on reliable sources - but AI can make mistakes, and third party content on the internet may not always be accurate or reliable. Bing will sometimes misrepresent the information it finds, and you may see responses that sound convincing but are incomplete, inaccurate, or inappropriate. Use your own judgment and double check the facts before making decisions or taking action based on Bing's responses.

•

PSSS: October 15, 2023

Who Lusts for Certainty Lusts for Lies. With thanks for M.W. for recommending it, it puts a damper on our hopes to exploit “big data.”

PSSSs: March 26, 2024

After seeing this, I'm determined to take an unbreakable vow never again to bring generative Artificial Intelligence to play here in Tibeto-logic. All my writing will be generated by my artful, playful and hopefully intelligent enough human capabilities, no matter how far they fall short of perfection. "Done by a human" is a good thing. "Done by A.I." is an insult to us all. Just look closely, test and scrutinize the artificial inanity they produce, a cleverness that calculates just how far they can get away with tricking us. Never again.

But in the meanwhile I’ll have to worry about getting "scraped" to feed their concoctions.

 

Five Seals of Bon, but with Symbolic Figures This Time

 

click to enlarge

I never expected to see this. Last year I blogged about the several Afroeurasian versions of the Seven Seals. Among other things I concluded that the several sets of seven are interrelated only here and there and with difficulty, but also that Tibetan sources never seem to correlate them with symbolic figures as the Arabic and Hebrew versions do.

Have a quick look at that earlier blog, entitled “Seven Seals, Times Several,” and then come back here before getting lost in it. The frontispiece you can see there is a fine example of an Arabic set of the symbolic figures.

Let me quote a passage from it:

“Observe that much of both the content and the context of the Islamo-Judaic seals is not findable in the Tibetan. You find no symbolic figures or ‘signs’ in the set of Seven Seals in Tibet. You find none of the symbolic correspondences with the seven then-recognized planets, or the seven days of the week. Perhaps most significantly of all, you never see the talismanic theme of personal protection in those same Tibetan accounts.”

We could add that the seven seals in Tibet are never representing a series of disastrous world-ending events like you find in the book of Revelations. To the contrary, they usually represent exclusivity, secrecy, occultation, and hidden knowledge.

So, Lo and behold! Here we have a set of five at the end of the next-to-last line. Let me clip it out for you to make it clearer, I hope.  

First you see what look like three wavy lines one on top of each other. That’s a stack of Tibetan na-ros, or ‘o’ vowels. Then you see a three-fold stack of what I suppose could be number ‘4’s, although I read them as being three ‘l’ letters in their subscript forms (la-btags).* Next is, ‘obviously,’ a version of the well-known swastika (in case you are curious, it is oriented in the normal Bon direction; the banned-in-Germany National Socialist swastika is not only oriented in the opposite direction, it is also standing precariously on one of its four corners... Please pay attention to the distinction, people).  The fourth item you see is a stack of three triangles arranged to create one larger triangle.  Finally we see something that could represent flames, I suppose, although in truth I am not at all sure how to read it.  Just before the set of five symbolic figures is a list of three types of seals: the secret seal (gsang rgya), the hidden seal (gab rgya), and the treasure seal (tyer rgya, i.e. gter rgya). Then, at the beginning of the next line is the label “Five Seals” (rgya lnga).

(*I’m thinking they could be meant to represent three eyes, stacked one on top of the other... but in that case I see no clear sign of a dot for the pupil, which seems essential.)

 

Let me try clipping them out again, perhaps clearer this time:

So, there you have my conclusion for today: It turns out I was mistaken in saying that the sets of seals in Tibet never are found keyed to symbolic figures. This one example just proved me wrong.

I think it is just as well that I find myself unable to give a more cogent interpretation of these five symbolic figures. They really ought to remain secret after all. In a general way I’m reflecting that they (whether in this Bon example, or the sets in Arabic and Hebrew sources) may have something to do with traditional marking systems such as those humans have been using for many millennia by now, as ways to talley up numbers or mark ownership (mason marks and livestock brandings, are good examples). Well, before you call me out on my silliness, I would ask you to admit that when we are presented with basic letter-like figures that make no immediate sense, our minds are likely to place them in some such category. Other speculations I’ve seen associate them with the 7 chakras, but this idea is entirely invisible in pre-20th-century sources that I know of.

Well, I didn’t open up my blogsite today just to confess the errors of my ways or announce to the world my failed attempts at understanding (there are even more important examples I could show off to you another day), but on a more positive note to alert the researchers in our field of Tibeto-sophy to an amazing new resource for Tibetan texts belonging to the Bon religion. Without more ado before saying adieu, I abruptly send you there to explore for yourself.  Just go here:

https://eap.bl.uk/project/EAP687

To find the particular volume and our passage, go here:

https://eap.bl.uk/archive-file/EAP687-1-16

Then navigate to the scanned page no. 33 for the title page of the text that continues until scanned page no. 55, where you will see the Five Seals (or Five Seals + 3 = 8?).

•

PS: I don’t know much about the cycle of teachings our colophon page belongs to, apart from it being a long-life ritual practice involving both medicines and prayers associated with Tsewang Rinzin (ཚེ་དབང་རིག་འཛིན་), one of the ancient Bon sages. If we restrict ourselves to what is there on that single final page, I’ll quickly and lackadaisically paraphrase some of it for you, like so:

The sum of all the knowledge-bearing sages of India, Persia, Burusho, Orgyan, Zhangzhung, Tangut Land, Tibet and so on is found combined in this practice.  It is the heart-of-hearts of the twenty-five aural transmissions. If you were to practice it without distractions in a secluded setting you would be bound to swiftly attain the superpowers. This particularly aural transmission was passed along by Dranpa Namkha to the triad of the Lord Monarch, Pakor Bairotsana, and the woman sky-goer Coza Bönmo. These three regarded it as especially profound and precious, so they hid it in a hardened leather chest, so that one day when due to karmic forces Bon would decline, it would transform lack of faith into faith [?unclear to me]. When they were at the treasure sites in order to conceal these texts, they hid them as first-fruits treasures and as profound treasures, and accompanied this by aspiration prayers that they would in the future be revealed.

An Arabic Seven Seals example,
after Dawkins (read from right to left of course).
Notice the ‘ladder’ in the middle
(it sometimes looks like a hashtag - #)

Suggested readings

Joám Evans Pim, Sergey A. Yatsenko, Oliver Timken Perrin, eds., Traditional Marking Systems: A Preliminary Survey, Dunkling Books (London 2010), in 518 pages, with plentiful black-and-white illustrations.

Donatella Rossi, “The Lo rgyus chen mo in the Collection of the Ye khri mtha’ sel Attributed to Dran-pa nam-mkha’,” contained in: Samten G, Karmay and Yasuhiko Nagano, eds., New Horizons in Bon Studies, National Museum of Ethnography (Osaka 2000), pp. 181-191. I think it is suggestive that the rare Ye-khri cycle of Dzogchen shares the same “teaching scene” with our colophon in which Drenpa Namkha passes his teachings on to three prominent disciples: Emperor Trisongdetsen, Pagor Bairotsana and Coza Bönmo. These teachings were then received as an aural transmission from Tsewang Rinzin to Lungbön Lhanyen in 1088 CE, although that date isn’t very secure (1088 according to some is his birth date, in which case the aural transmission would have taken place in 1118, his 31st year).

Richard Smoley, “The Mystery of the Seven Seals,” originally published in the Spring 2017 issue of Quest magazine, but also placed online. Not everyone will appreciate the Theosophical approach taken here, but there is something to be said about connecting the Seven Seals with a liberating ascent through the planetary spheres (in Judaeo-Christian-Islamic sources, not in Indo-Tibetan sources, even if there, too, you can find liberating ascents aplenty). This author takes a further step by mysteriously connecting them with the chakras of the human body.

You may also want to go back to still another recent Tibeto-logic blog entitled “One Secret of the Seals.” It demonstrates the presence of an Aramaic (as well as Hebrew and Arabic) word for “seal” in a Tibetan manuscript scribed in  the mid-13th century. Yes, it does.

•

Comments by Lloyd Graham

Hi Dan, and congratulations on spotting that seal series! I have never come across anything like that sequence of glyphs, so I’m afraid that - beyond guesswork - I don’t have any insights into what might lie behind the symbols. If, as you suggested previously, the Tibetans were aware of the Solomonic Seven Seals as a series of symbols, this may have motivated one or two Tibetan writers to give graphic form to the local set of seven seals, even if they were primarily textual in nature.

At a stretch, one could see the strange 5- or 6-spike symbol at the far right of the Tibetan series as reflecting the vertices of the pentagram/hexagram at the far right of the Islamicate series, the three-triangles glyph as a refraction of the Islamicate “three strokes” symbol, and the centrally-positioned rectilinear swastika as a local reworking of the centrally-positioned rectilinear “ladder” glyph, but the two left-most Tibetan symbols lack any correspondence with the canonical Islamicate series.

The only other thing that I noticed is that the subset of five Tibetan seals that have been illustrated graphically in EAP687/1/16 seems to correspond well with the subset that you mentioned previously in connection with O-rgyan-gling-pa's 14th-century treasure finder, Bka’-thang Sde Lnga, Mi-rigs Dpe-skrun-khang (Beijing 1990). Your paraphrase of the page on which the symbols appear reveal that it is focused on supreme knowledge being hidden as a treasure for later seekers to (re)discover, so there is a strong thematic overlap.

Similarly, one of the uses claimed for the Islamicate Seven Seals was in finding hidden treasure: 

“... these seven signs were written on the gate of the Ka'ba, and they can be applied in seventy-two ways to lift buried and concealed property and treasures. If you want to undertake such a work with them, write with saffron and hang them around the neck of a white much-crowing cock and allow it to run at the place where the treasure or the concealed property should lie. At every place where he stops and looks with his foot or beak in the earth or where he crows, there is the treasure or the concealed property.” 

—    Hans Winkler, Siegel und Charaktere in der Mohammedanischen Zauberei.

Seven Seals, Times Several

Seven Seals (as seen in Arabic magic, read from right to left)

I’ve long had the intention of blogging about the Seven Seals, and more than once announced that I would.* In a sense I’m just plowing ahead with two earlier blogs on the subject of seals of secrecy and magic. A set of Seven Seals is one thing apparently shared by the Perfection of Wisdom sūtras, the Book of Revelation, and Solomonic magic. All of my reflections on this subject so far turn around an effort to understand two lines in in the ca. 1245 CE manuscript of the teachings of Padampa and his early lineage I call for convenience the Zhijé Collection. Those two lines list seven seals, each with its individual name, almost immediately followed by that ancient Middle Eastern word for “seal.”

(*For instance in this blog entry: To Bind a Book is to Protect It from the Elements.) 

The bigger puzzle, one that may not prove solvable, is whether somehow two different sets of seven, specifically the Solomonic magic and the Perfection of Wisdom sets may have come together to help create something new in the early Zhijé understanding. I thought I should do you the courtesy of telling you what I’m now thinking right off the bat. Expecting to fall short of a defendable conclusion on that more ambitious question, I thought that today I’d start by going into how different Tibetan-language sources understood the Seven Seals to mean. One of the most prominent among them is in some sense of the word codicological, which is surprising, surprising even if we have to know that it only surfaces in contexts where scrolls or codex or pothi forms of books are implicated. To put it simply, the thing that requires extra sealing security is a book, a book regardless of the shape it takes.*

(*I’m thinking here of the sets of Revelation and the Perfection of Wisdom scriptures, as the set in Solomonic magic is usually associated with rings and amulets rather than books. For some suggestively parallel early Christian images of enthroned books and scrolls with seven seals attached, have a look at the illustrations to the article by Armin Bergmeier that ought to be downloadable HERE. In case the link stops working, schmoogle for the title “Volatile Images: The Empty Throne and its Place in the Byzantine Last Judgment Iconography.”) 

Some Tibetans interpret the Seven Seals to be a set of things that in some sense bind the parts of the written composition, and not only its volume, together. How can that possibly be? you may ask.

Well, first of all you have to give up that idea so engrained in many moderns that a book binding must mean two cover boards joined together by a labeled spine with all the pages threaded together and glued on to it. Of course that disputably ‘normal’ object is included in the category, but bindings can be so much more. In Tibetan minds during recent centuries, we would have to understand first of all the binding elements like the two boards, the strap, the cloth cover and cloth label. But then we could go on to include anything that helps keep any element of the text and volume from getting out of order or damaged. And that goes all the way down to the letters and syllables, the scoring lines, the sentence punctuations and the fascicles (for want of a better word). It’s all about protection, but protection against the entire gamut of forces that might interfere with the continuing usefulness of the book. In terms of traditional physics, that would mean the four elements.* Books aren’t alone in their vulnerabilities, as both bodily ailments and natural disasters could all be assigned by traditional sciences to elemental disturbance and disruption. They still might.

(*I’m just generalizing here as I’ve written about the element protecting function of the binding elements in much greater detail in the blog entry linked above.)

So to return to our subject, the Seven Seals were variously understood by Tibetans of time past. Our task of elucidation is greatly aided by looking into the new Tibetan grammar by Sangyela of the Library of Tibetan Works and Archives, Dharamsala. I make use of the 2012 edition, as it seems to be a lot more extensive than the 2005. The Tibetan-letter text for it can be found below if you are looking for it. Here is Sangyela’s list, with his brief explanation just before it:

“So then, if you want to know what these seven levels of seals might be, they are seven seals that are affixed in order to avoid mixups: As these concern the verbal significances of textbooks, no matter which of the sciences they belong to, that means mixups of higher and lower, earlier and later, front and behind, right and left.

1.  ཚེག་བར་མི་འཁྲུགས་པ་ཚེག་གི་རྒྱ།  The seal of the syllable punctuation point, the tsheg, prevents confusion of syllables.
2.  གཅོད་མཚམས་མི་འཁྲུགས་པ་ཤད་ཀྱི་རྒྱ།  The sentence and clause (etc.) punctuation mark, the shad, prevents confusion of [grammatical/syntactical] boundaries.
3.  དོན་ཚན་མི་འཁྲུགས་པ་ལེའུའི་རྒྱ།    The chapter (le'u) seal prevents confusion of subject-matters.
4.  གཞུང་ཚད་རྟོགས་པ་བམ་པོའི་རྒྱ།  The seal of the fascicle (bam-po) creates understanding of text length.
5.  བམ་པོ་མི་འཁྲུགས་པ་བམ་གྲངས་ཀྱི་རྒྱ།  The seal of the fascicle number prevents confusion of fascicles (bam-po).
6.  མཐའ་མི་འཆོལ་བ་སྣེ་ཐིག་གི་རྒྱ།  The margin scoring lines (sne-thig) prevent confusion of the ends [of the lines].
7.  གླེགས་བམ་མི་འཁྲུགས་པ་གདོང་ཡིག་གམ་སྤྱན་ཁྱེར་གྱི་རྒྱ་བཅས་སོ།།  The seal of the running header (spyan-khyer) or the front label (gdong-yig) prevent the Volume from getting out of order.”

Sangyela has a lengthy examination of each and every seal and what it entails. Part of his plan is to identify the nails and hooks holding the traditional sacred Volume together, but also to see how these principles might be expanded upon in order to cover contemporary challenges, most particularly editing Tibetan books in codex formats. About the only thing he is definite about adding are quote marks to enclose direct quotations. 

There are a number of analogues in pothi and codex formats. For example, the spine title of a codex serves one of its functions with the front label of the pothi.* Some of these details are quite fascinating, but a little distracting for us right now.

(*Seal no. 7, although the running header is not quite so essential in a modern stitched codex as it is in a pothi where pages might even be returned to the wrong book thanks to ignorance or negligence, and so require some serious sorting out).

Sangyela quotes several sources on the Seven Seals, including Dungkar Rinpoche (1927-1997) in his wellknown Encyclopedic Dictionary published in 2002. Another is Padma-rgyal-mtshan’s grammar of 2000. He mentions, too, a list in one of the works by the modern author Sems-dpa'-rdo-rje (b. 1926), and quotes the famous modern Nyingma teacher 'Jigs-med-phun-tshogs (1933-2004).  Not mentioned by him is Dpa’-ris Sangs-rgyas’ 1998 grammar. It is true of all of them that they do not name any source of their information (and Sangyela mentions this himself on p. 479), but I hope it is fairly clear that all of these works mentioned so far are dating from years closely surrounding 2000. And to underscore the problem, we have to say that searching for keywords in the huge database of TBRC came up with a single earlier parallel listing of the Seven Seals as we found in those two-decade-old works. 

The single exception is the work of the Mongolian-born Bstan-dar Lha-rams-pa (1754-1840, for details see bibliography) brought to my attention by Gedun Rabsal. I give my complete translation of the passage that I made before realizing it had been translated into English already by Don Lopez Jr. (q.v.). I put it all in blue so you can see where it begins and ends. If you want the Tibetan text, look in the bibliography:

The expression ‘sealing with the seven layers of seals’ refers to this:

1. To keep the syllables unconfused, the seal of the tsheg.
2. Keeping the pādas unconfused, the seal of the shad.
3. Keeping the word meanings unconfused, the seal of the chapter.
4. Keeping the śloka-verses unconfused, the seal of the bam-po.
5. Keeping the bam-po unconfused, the seal of the bam-po numbers.
6. Keeping the edges unconfused, the seal of the scoring lines.
7. Keeping the Volume unconfused, the seal of the end label or the page header.

 Some put it this way:

1. The seal of all seven of the binding strings.

2. The seal of binding boards and leaves.

3. The seal of gold label and lañtsa script.

4. The seal of the head letter and numerals.

5. The seal of bam-po and chapters.

6. The seal of scoring lines and page headers.

7. The seal of red and black shad.*

(*My note: I think red shad intends the double shad that is often called kar-shad, or ‘white shad.’ Black shad means the single shad.)

This spyan-khyer means the book’s running title [my note: the front title in a much-abbreviated form]. It appears at the small end of the page of a Volume either before or after the page number.

The Ornament Light* says, “When [the Volume] is tightly bound up in seven sashes, in the seven places where the knots are, seals bearing their own names [or Dharmodgata’s own name] are attached and left there, or so some say.”

As far as I am able to tell, I think if we consider the Volumes translated in early Tibet and what appears in the Great Commentary on the Eight Thousand,* this could have been the appropriate thing to do in the case of Volumes in India. This is something scholars should look into. 

(*Both Ornament Light (Rgyan-snang) and Great Commentary on the Eight Thousand I believe mean the same work by Dbyangs-can-dga’-ba’i-blo-gros (1740-1827), 'Phags-pa Brgyad-stong-ba'i 'Grel-chen Rgyan-snang-las Btus-pa’i Nyer-mkho Mdo Don Lta-ba’i Mig-’byed, although both could also mean the more famous commentary that came before it, the one by Haribhadra. The passage in rough Wylie transcribed etext is as follows: rgya rim pa bdun gyi rgyu sa btab nas bzhag ces pa la [437] 'grel chen du/_rgya rim pa bdun gyis btab nas zhes bya ba ni rnyed dka' zhing don_che ba nyid kyis/_'di 'a gus pa bskyed par bya ba'i don du sku rags bdun gyis shin tu dam par bcings nas mdud pa'i gnas bdun la rang gi mi _nga gi rgya bdun gyi rgyas btab nas bzhag pa yin no zhes kha cig gis 'dod do/_/zhes gsungs shing bshad tshul gzhan ma bkod pas na slob dpon gyis rang lugs la'ang bzhed de/_ _n+de thams cad mkhyen pa sa kyang rgyal sras rtag tu ngu'i rtogs brjod las/_chos 'phags kyi sku rags_ bdun bdun gyis shin tu dam par bcings nas mdud pa'i gnas bdun la rang ming gi rgya rim pa bdun gyis btab nas bzhag pas zhes gsungs so/_/_gnad kyi zla 'od las/_chings ma bdun gyi mdud pa bdun la rang gi ming gi rgya rnams kyis rgyas btab pa'o/_/zhes 'byung ngo /_/de ni glegs bam rnams sku rags bdun bdun gyis bcings nas/_sku rags re'i mdud mtshams la chos 'phags rang ming gi mtshan ma yod pa'i rgya re btab pas na rgya rim pa bdun gyi rgyas btab pa zhes pa yin no/_/)

Given the lack of visible antiquity, there are a number of possible ways to save the situation, the first that comes to mind is that at least one of the modern authors had an orally transmitted instruction on this point that could theoretically be as old as time itself. But I’m not necessarily willing to make that argument, so I draw the consequence that the listing came into being when it came into print. That would mean that these cannot have been in the mind of Atiśa when he listed the Seven Seals as one among the several bookbinding elements in his Consecration text. Rather Atiśa would have been thinking of the (wax) seals themselves as we know them from the Prajñāpāramitā, used to keep the Volume as a whole secure and inviolable as befits a holy object.

If we think about it, it would have been quite impossible for an Indian like Atiśa to intend the list we've given above as it includes the tsheg syllable dividing mark and the bam-po divisions of manuscripts that were not known in India, well, certainly not in the same form. And I think the same would hold true of Padampa’s idea of the Seven Seals which is quite distinct. Of course every mention of the Seven Seals in Tibetan Buddhist culture descends from the Prajñāpāramitā passage, or from writers attempting to explain or account for it.  It could be, too, that Bstan-dar and the ca. 2000 CE grammarians were attempting in their own way to account for the presence of the Seven Seals in Atiśa’s list of binding elements. If some perplexity remains, I think we can leave it aside for awhile to look a little more closely at the Zhijé listing dating to ca. 1245 CE that we considered in the last blog.  Here is the page in question once more:

Zhijé Collection, vol. 1, p. 158 (click to expand or go to the link)

The seven seals named here are: 1. zab rgya. 2. gces rgya. 3. gsang rgya. 4. gab rgya. 5. gtad rgya. 6. rtsis rgya. 7. bsna rgya.*

(*For comparison, the seals as they appear in the same volume, p. 148: zab rgya / ces rgya / gsang rgya / rtsis rgya / gtad rgya / mna' rgya / gab rgya / rgya rim pa bdun gyis btab bo. This other list suggests that no. 7 ought to be read as mna' rgya, or Oath Seal.)

Without help of commentary, here is what I think these names mean: 1. Profundity Seal. 2. Affection (Love) Seal.  3. Secret Seal.  4. Concealed Seal. 5. Entrustment Seal.  6. Calculation (Estimation) Seal.  7. Various (Everything? Oath?) Seal.

If you are thinking there may be no reason to think these Seven Seals connect to the Buddhist scriptural Seven Seals you can wipe that doubt from your head. The text is a brief one, part of a series of texts likely composed around 1200 CE and devoted to abhiṣeka rites in which we find very explicitly described the setup of the book shrine from the Perfection of Wisdom sūtras. The mental association is not in doubt.

How does all this evidence make sense historically? To keep matters simpler, I have overlooked a few eccentric interpretations of the Seven Seals that emerged in the six centuries between around 1200 and the work by Bstan-dar in around 1800. They do hold some significance for my argument because they yield no evidence of understanding them as individual binding elements (so have a look at the Appendix below if you like). This fuller version surfaces only in around 1800 as far as I can know, although the seeds of it are arguably there in the Atiśa consecration text (in the most general way, and without any of the details).

So what I’m suggesting would help explain the inspiration for the colophonic sealing expressions in that ca. 1200 text in the ca. 1245 manuscript of the Zhijé Collection are these factors: First and foremost the sacred Volume of the Perfection of Wisdom sūtras. These scriptures are quite central to the Zhijé tradition as a whole from its beginnings, so there are no grounds for wonder. But secondly and less obviously, it is likely that this Zhijé understanding was influenced or affected by some tradition of Solomonic magic’s Seven Seals. The exact hows and whys are not well explored, so we leave that for future studies to go into in some depth. The smoking gun is that Arabo-Persian word for seal (discussed in the last blog) right next to the seven-fold list. That it is there demonstrates likely awareness of the set of Seven Seals known in the Arabo-Persian world at the time. Thirdly and lastly, it is unlikely that the Zhijé author held any knowledge or understanding of the Seven Seals in the Book of Revelations, or bears any trace of connection with it, or shares one iota of its apocalyptic context. And I think that holds even if we accept Conze’s idea of a Gnostic connection in late antiquity that could link the set in Revelations with the set in the Perfection of Wisdom.  And I think it holds even if we accept Graham’s idea that Revelations’ set and the Solomonic magical set are linked by their color symbolisms (or correspondences with planets or planetary spheres).

So to put it simply: What underlies or inspires the Zhijé set of Seven Seals?  The Perfection of Wisdom sūtras? Absolutely yes. The set found in late Solomonic magic? Likely. The set in Revelations? Likely not, even if historically remote factors could have entered into the mix somewhere along the line.

Well, that about finishes everything I thought I was ready to say about the subject, so I’ll leave it for now. Not that I think that seals it.

• I can’t believe you have nothing to say, so if you would be so kind, leave a comment and let’s talk about it, friend-to-friend.

§   §   §

Read more and reconsider what we thought we knew

Atiśa (982-1054), Consecration of Body, Speech and Mind [Icons], Kāyavākcittasupratiṣṭhā (Sku dang Gsung dang Thugs Rab-tu Gnas-pa), translated by the author and his disciple Rgya Brtson-’grus-seng-ge, Dergé Tanjur, vol. ZI, folios 254-260 (or Tôhoku catalogue no. 2496). For its inclusion of the Seven Seals in its list of binding elements, see this earlier Tibeto-logic blog, in the chart near the end.

For more on this text (but without ever mentioning its use of the Seven Seals), see D. Martin, “Atiśa’s Ritual Methods for Making Buddhist Art Holy,” contained in: Shashibala, ed., Atiśa Śrī Dīpaṅkara-jñāna and Cultural Renaissance: Proceedings of the International Conference, 16th-23rd January 2013, Indira Gandhi National Centre for the Arts (New Delhi 2018), pp. 123-138. But this article, like others in the volume, is riddled with editorial errors. So you would be well advised to download the PDF at academia.edu.

Bstan-dar Lha-rams-pa, Mkhas-pa’i Dbang-po A-lag-sha Bstan-dar Lha-rams-pa'i Gsung-’bum, Kan-su'u Mi-rigs Dpe-skrun-khang (Lanzhou 2008) [TBRC no. MW1KG8585], vol. 1, p. 191 in the etext, but no scan of the print text is made available. Since Gedun Rabsal sent me a scan of the page, I can say that it appears on p. 180 of the print version as part his commentary on the Heart Sūtra (Shes-rab Snying-po’i ’Grel-pa Don-gsal Nor-bu’i ’Od), while I could also check the etext for accuracy (I changed the format and put numbers on the lists). To find a different English translation, see under Lopez, below.

རྒྱ་རིམ་པ་བདུན་གྱིས་རྒྱས་བཏབ་ཅེས་པ་ནི།  

1. ཡིག་འབྲུ་མི་འཁྲུགས་པ་ཚེག་གི་རྒྱ།  

2. ཚིག་རྐང་མི་འཁྲུགས་པ་ཤད་ཀྱི་རྒྱ།  

3. ཚིག་དོན་མི་འཁྲུགས་པ་ལེའུའི་རྒྱ།  

4. ཤོ་ལོ་ཀ་མི་འཁྲུགས་པ་བམ་པོའི་རྒྱ།  

5. བམ་པོ་མི་འཁྲུགས་པ་བམ་གྲངས་ཀྱི་རྒྱ།  

6. མཐའ་མི་འཆོལ་བ་སྣེ་ཐིག་གི་རྒྱ།  

7. གླེགས་བམ་མི་འཁྲུགས་པ་གདོང་ཡིག་གམ་སྤྱན་ཁྱེར་གྱི་རྒྱ་དང་བདུན་ནོ། ། 

ཁ་ཅིག་གིས།  

1. གླེགས་ཐག་བདུན་པའི་རྒྱ།  

2. གླེགས་ཤིང་པ་ཊའི་རྒྱ།  

3. གསེར་གདོང་ལཉྩའི་རྒྱ།  

4. ཡིག་མགོ་གྲངས་ཀྱི་རྒྱ།  

5. བམ་པོ་ལེའུའི་རྒྱ།  

6. སྣེ་ཐིག་སྤྱན་ཁྱེར་གྱི་རྒྱ། 

7. དམར་ཤད་ནག་ཤད་ཀྱི་རྒྱ་དང་བདུན་ཟེར་རོ། ། 

དེའི་སྤྱན་ཁྱེར་ནི་གླེགས་བམ་གྱི་སྣེ་མོའི་གྲངས་ཡིག་གི་གོང་འོག་གང་རུང་དུ་དཔེ་ཆའི་མིང་བྲིས་པ་ལ་ཟེར། 

རྒྱན་སྣང་ལས། 

སྐེ་རགས་བདུན་གྱིས་དམ་པོར་བཅིངས་ནས་མདུད་པའི་གནས་བདུན་ལ་རང་གི་མིང་གི་རྒྱ་བདུན་གྱིས་བཏབ་ནས་བཞག་པ་ཡིན་ནོ་ཞེས་ཁ་ཅིག་གིས་འདོད་དོ། །ཞེས་བྱུང་ངོ་། ། 

ཁོ་བོའི་བསམ་ཚོད་ལ། སྔ་མ་བོད་དུ་བསྒྱུར་པའི་གླེགས་བམ་གྱི་དབང་དུ་བྱས་པ་དང་། བརྒྱད་སྟོང་འགྲེལ་ཆེན་ལས་བྱུང་བ་ནི་འཕགས་ཡུལ་གྱི་གླེགས་བམ་གྱི་དབང་དུ་བྱས་པ་ཡིན་བྱས་ན་རུང་ནམ་སྙམ་ཞིང་མཁས་པས་དཔྱད་པར་བྱའོ། ། 

Zsofia Buda, “Speaking to Angels: Charaktêres in Jewish Magical Manuscripts – Part I,” posted at Rylands Blog, on January 25, 2022.

Edward Conze, “The Composition of the Aṣṭasāhasrikā Prajñā-pāramitā,” contained in: Thirty Years of Buddhist Studies, Selected Essays by Edward Conze, University of South Carolina Press (Columbia 1968), pp. 168-184, with the relevant passage on pp. 170-171. It was first published in 1952.

Since this passage about the book with seven seals is absent from the earliest Chinese translations, Conze believed it was added later, as late as around 250 CE. He therefore believed the most likely source of the commonality was some mystical or gnostic tradition of Mediterranean origins, and not very likely but possibly a borrowing by the Buddhists from [the late 1st-century?] Book of Revelations composed on the island of Patmos.

— “Mahayana Buddhism,” contained in: Thirty Years of Buddhist Studies, Selected Essays by Edward Conze, University of South Carolina Press (Columbia 1968), pp. 48-86, at pp. 49-50. First published in 1959.

— The Perfection of Wisdom in Eight Thousand Lines and Its Verse Summary, Four Seasons Foundation (Bolinas 1975), pp. 277-299.

J. Mog. Dawkins, “The Seal of Solomon,” The Journal of the Royal Asiatic Society of Great Britain and Ireland (October 1944), pp. 145-150. After a very bad start, this at least provides illustrations of what the seven seals look like according to various Arabic sources, and also supplies references to earlier literature that may prove useful, but the explanations are at best suggestive or of limited interest, so much so that even its author says they are “shot[s] in the dark.” Nothing wrong with that. Or is there?

Dpa’-ris Sangs-rgyas (b. 1931), Brda-sprod Gsal-byed Ngag-sgron, Mtsho-sngon Mi-rigs Dpe-skrun-khang (Xining 1998). This same author has written a number of works on Tibetan grammar and lexicography. See page 188 for his discussion of the Seven Seals:

གཞན་ཡང་། རྒྱ་རིམ་པ་བདུན་ཞེས་བྱ་བ་ནི། ཚེག་ཁྱིམ་མི་འཁྲུག་པ་ཚེག་གི་རྒྱ། ཚིག་རྐང་མི་འཁྲུག་པ་ཤད་ཀྱི་རྒྱ། བརྗོད་དོན་མི་འཁྲུག་པ་ལེའུའི་རྒྱ། ཤོ་ལོ་ཀ་མི་འཁྲུག་པ་བམ་པོའི་རྒྱ། བམ་པོ་མི་འཁྲུག་པ་བམ་པོའི་གྲངས་ཀྱི་རྒྱ། མཐའ་མི་འཁྲུག་པ་སྣེ་ཐིག་གི་རྒྱ། གླེགས་བམ་མི་འཁྲུག་པ་གདོང་ཡིག་གམ་སྤྱན་ཁྱེར་གྱི་རྒྱ་རྣམས་ཡིན། ཚིགས་བཅད་ཀྱི་རྐང་བ་བཞིའམ། ཚིག་ལྷུགས་ཀྱི་ཚེག་དབར་སུམ་ཅུ་སོ་གཉིས་ ༼སླ་རྩིས་སུ་ཚེག་དབར་སུམ་ཅུ་༽ ལ་ཤོ་ལོ་ཀ་གཅིག་དང་། ཤོ་ལོ་ཀ་སུམ་བརྒྱ་ལ་བམ་པོ་གཅིག་ཏུ་བརྩིས་པ་དང་། པོ་ཏི་ཆེ་བ་ལ་ཤོག་གྲངས་ལྔ་བརྒྱ་དང་། འབྲིང་བ་ལ་ཤོག་གྲངས་བཞི་བརྒྱ་ཡས་མས་དང་། ཆུང་བ་ལ་ཤོག་གྲངས་ཉིས་བརྒྱ་ནས་སུམ་བརྒྱའི་བར་ཡིན་ནོ།།

Dungkar Rinpoche’s encyclopedic dictionary — Mkhas-dbang Dung-dkar Blo-bzang-'phrin-las Mchog-gis mdzad-pa'i Bod Rig-pa'i Tshig-mdzod Chen-mo Shes-bya Rab-gsal, Krung-go'i Bod Rig-pa Dpe-skrun-khang (Beijing 2002).  

On pp. 584-585 are two relevant entries, “Glegs-bam” and “Glegs-bam-gyi Rgya Rim-pa Bdun.” The first entry has a set of “Special Characteristics of [Scriptural] Volumes” that is remarkable for including not only margin marking lines etc., but also (nos. 5-7) binding boards, binding straps, and book wrapper. The second entry is the more expected version of the Seven Seals. No source is named for either list, so that we might even feel like we can take them to be the Rinpoche’s original ideas. Both lists are used, with acknowledgement, in Nor-brang's numerological dictionary, so going there isn’t necessary.

Asher Eder, The Star of David: An Ancient Symbol of Integration, Rubin Mass Ltd. (Jerusalem 1987). 

It isn’t just that I happened to have this book in my home library for decades now. It is written from a perspective of a Judaism that is religiously sensitive yet quite educated and broad minded. The author has been much involved in interfaith dialog, particularly Islam-Judaism dialog. It is interesting that not even once are the Seven Seals mentioned, even though this is a very likely proximate source of the modern Zionist national symbol featured on the Israeli flag. That it wasn’t always so ought to go without saying. Although not such a problem in this book, we have to be aware and wary of nationalist approaches that dredge through the past to find presently useful bits, and doing this with an utter disregard for meanings those things held in the past.

Helmut Eimer, “Remarks on the Bam-po Numbers in the Extensive Tibetan Mahāparinirvāṇasūtra,” contained in: Facets of Indian Culture: Gustav Roth Felicitation Volume (Patna 1988), pp. 465-472.  

You might see also Ernst Steinkellner, “Paralokasiddhi-Texts,” contained in: Buddhism and Its Relation to Other Religions: Essays in Honour of Dr. Shozen Kumoi on His Seventieth Birthday (Kyoto 1985), pp. 215-224.  Most recently: Leonard W.J. van der Kuijp, “Some Remarks on the Meaning and Use of the Tibetan Word bam po,” Zangxue xuekan (Journal of Tibetology), vol. 5 (2009), pp. 114-132. I suppose if you study all these essays you ought to gain a good idea what a bam-po might be and why there needs to be such a thing.

Annabel Teh Gallop, “The Ring of Solomon in Southeast Asia.” Posted on the British Library website on November 27, 2019. 

This not only nicely explains the relationship between Solomon’s ring and the seven seals, even more interestingly for present purposes, it illustrates and demonstrates yet another example of Buddhist-Islamic exchange in the field of magic and magical diagrams (yantras).

Edgar J. Goodspeed, “The Book with Seven Seals,” Journal of Biblical Literature, vol. 22, no. 1 (1903), pp. 70-74. 

This says the book in Revelation is a codex, and not a scroll, with the seals on its back so that it could not be opened, its content kept secret. And even if this may also go without saying, all seven of them must be broken to gain access. If the seals were not serving some metaphoric purpose or corresponding to seven different actions, then there would be no advantage in having seven of them, since one seal would accomplish the task just as well as seven. Sometimes it is helpful to contemplate the obvious, no doubt. And it is good to know that the symbolisms, meanings and purposes of the seven seals in medieval Europe could be quite varied and speculative (see also Gumerlock).

Lloyd D. Graham, “A Comparison of the Seven Seals in Islamic Esotericism and Jewish Kabbalah.” Posted at Academia.edu.

———. “The Seven Seals of Judeo-Islamic Magic: Possible Origins of the Symbols.” Posted at academia.edu. There are more relevant essays by this same author that I haven’t listed here. You can download many or most of them by going here.

———. “The Seven Seals of Revelation and the Seven Classical Planets,” The Esoteric Quarterly (Summer 2010), pp. 45-58. 

Here you can see a Jewish magical version of the Seven Seals that partly resembles the Arabic, but doesn’t even have a star, although square, circle and spiral it does have. Actually, the square stands in place of the star, which seems bizarre. Although a bit complicated and largely based on color associations, there is an argument made here about the Seven Seals of both Revelations and late Middle Eastern (Hebrew and Arabic) magic corresponding to the seven planets. In some contexts, the Seven Seals may allow passage through the planetary spheres. This doesn't seem to even remotely apply to the Seven Seals in Great Vehicle Buddhism. At least I can’t see it.

Francis X. Gumerlock, The Seven Seals of the Apocalypse: Medieval Texts in Translation, Medieval Institute Publications (Kalamazoo 2009).

Filip Holm, “Talismanic Magic in the Islamicate World.”  See it at YouTube.

Allegra Iafrata, The Long Life of Magical Objects: A Study in the Solomonic Tradition, Pennsylvania State University Press (University Park 2019).

Michael Lockwood, “Prajñāpāramitā and Sophia: Heteropaternal Superfecundated Twins” (Sept. 5, 2019). PDF from internet.  Particularly p. 12.  

Lockwood reproduces not only Conze’s article, but a large section of the book by H. Ringgren that Conze was reviewing in his article, making both works more accessible. In case you’re as perplexed by the term as I was, I recommend a Schmoogle search for “Heteropaternal Superfecundated Twins.”

Donald S. Lopez Jr., “Chapter 10: Commentary on the Heart Sûtra, Jewel Light Illuminating the Meaning by bsTan-dar-lha-ram-pa,” contained in: The Heart Sûtra Explained: Indian and Tibetan Commentaries, Sri Satguru Publications (Delhi 1990), pp. 139-159. The passage of Bstan-dar Lha-rams-pa, q.v., is translated quite nicely on p. 146.

Christian Luczanits, “In Search of the Perfection of Wisdom: A Short Note on the Third Narrative Depicted in the Tabo Main Temple,” contained in: Eli Franco & Monika Zin, eds., From Turfan to Ajanta: Festschrift for Dieter Schlingloff on the Occasion of His Eigtieth Birthday, Lumbini International Research Institute (Lumbini 2010), vol. 2, pp. 567-578.

Douglas W. Lumsden, And Then the End Will Come: Early Latin Christian Interpretations of the Opening of the Seven Seals, Garland (New York 2001). Not seen, but likely to be relevant, if not now in some future blogosphere.

O-rgyan-gling-pa (b. 1323), treasure finder, Bka’-thang Sde Lnga, Mi-rigs Dpe-skrun-khang (Beijing 1990).  If you have some other edition, it doesn't matter, since the sealing expressions ought to appear very near the ends of each of the five major sections. In each case there are Five Seals and not Seven. Here is a sample set of its sealing expressions:  

ས་མཱ་ཡ། རྒྱ་རྒྱ་རྒྱ། གཏེར་རྒྱ། སྦས་རྒྱ། གསང་རྒྱ། གབ་རྒྱ། གཏད་རྒྱ།

In my own understanding these five were chosen out from the seven because of their resonance within the gter-ma tradition: gter [underground treasure, treasure text] seal, concealment seal, secrecy seal, hiding [covered up] seal, and entrustment seal.

Padma-rgyal-mtshan (1956-2001), Gleng-brjod Chen-mo 'Dzam-gling Rgyan-gcig.  The author may be called 'Gos Padma-rgyal-mtshan or Rig-gnas-smra-ba'i-dbang-phyug. This work, completed in the year 2000, is available at TBRC no. W1KG15962, but I was unable to get inside of it to locate the passage that Sangyela (p. 504) quotes as follows:

༈ ཡང་གླེགས་བམ་བཞེངས་དུས་རྒྱ་རིམ་པ་བདུན་གྱི་བཀས་བཅད་ཡོད་པ་ནི། ཚིག་འབྲུ་མཐར་མི་འཆོལ་བ་སྣེ་ཐིག་གི་རྒྱ། ཚིག་འབྲུ་མི་འཆོལ་བ་ཚེག་གི་རྒྱ། གཅོད་མཚམས་མི་འཆོལ་བ་ཤད་ཀྱི་རྒྱ། རྒྱབ་མདུན་མི་འཆོལ་བ་ཡིག་མགོའི་རྒྱ། གླེགས་བམ་མི་འཆོལ་བ་སྤྱན་ཁྱེར་གྱི་རྒྱ། ཚིག་དོན་མི་འཆོལ་བ་ལེའུའི་རྒྱ། གཞུང་ཚད་རྟོགས་པ་བམ་པོའི་རྒྱ་བདུན་ནམ་ཡང་ན་ཡིག་མགོའི་རྒྱ་མེད་པར་བམ་པོ་མི་འཆོལ་བ་བམ་གྲངས་ཀྱི་རྒྱ་ཞེས་བདུན་ནོ་།། །།

Venetia Porter, Liana Saif, and Emilie Savage-Smith, “Medieval Islamic Amulets, Talismans, and Magic,” contained in: Finbarr Barry Flood and Gülru Necipoglu, eds., A Companion to Islamic Art and Architecture, John Wiley & Sons (London 2017), pp. 521-557. 

For a remarkable example of the seven figures inscribed in reverse on a carnelian sealstone, see fig. 21.7 on p. 541. The explanation for the seven found on the following page, a translation from al-Buni, is remarkably clear, if still puzzling.

Tsepak Rigzin (Tshe-dpag-rig-’dzin), Nang-don Rig-pa'i Ming-tshig Bod Dbyin Shan-sbyar [Tibetan-English Dictionary of Buddhist Terminology], revised and enlarged edition, Library of Tibetan Works and Archives (Dharamsala 1993). 

Here, in the entry “རྒྱ་རིམ་པ་བདུན་” on p. 53, you may find a listing of “the seven codes of translation.” The Tibetan is fine, but the English translations are entirely off. And I have to say, if the early Tibetan translators were made to follow all of these supposed rules they would have never completed a single page.

Sangyela (Na-ga Sangs-rgyas-bstan-dar, ན་ག་སངས་རྒྱས་བསྟན་དར་), Bod-kyi Brda-sprod Nag-ṭīkāḥ (བོད་ཀྱི་བརྡ་སྤྲོད་ནག་ཊིཀཿ), Library of Tibetan Works and Archives (Dharamsala 2012), section entitled “Rgya Rim-pa Bdun Rgya-cher Bshad-pa,” at pp. 477-504 (The following selection from it is copied on the basis of the BDRC digital assets, the core passage is this one):

རྒྱ་རིམ་པ་བདུན་རྒྱ་ཆེར་བཤད་པ།

(I’ve omitted several initial paragraphs that lead up to the main discussion, and have left off the detailed discussion of each ‘seal’ that comes after it.)

འོ་ན། རྒྱ་རིམ་པ་བདུན་ཞེས་པ་གང་དང་གང་ཡིན་ཟེར་ན། རྒྱ་རིམ་པ་བདུན་ནི་རིག་པའི་གནས་གང་ཡང་རུང་བའི་གཞུང་གི་ཚིག་དོན་གོང་འོག་སྔ་ཕྱི་རྒྱབ་མདུན་གཡས་གཡོན་གྱི་སྣེ་སོགས་མི་འཆོལ་བའི་ཆེད་དུ་གདབ་པའི་རྒྱ་བདུན་ཏེ།

༡ ཚེག་བར་མི་འཁྲུགས་པ་ཚེག་གི་རྒྱ།

༢ གཅོད་མཚམས་མི་འཁྲུགས་པ་ཤད་ཀྱི་རྒྱ།

༣ དོན་ཚན་མི་འཁྲུགས་པ་ལེའུའི་རྒྱ།

༤ གཞུང་ཚད་རྟོགས་པ་བམ་པོའི་རྒྱ།

༥ བམ་པོ་མི་འཁྲུགས་པ་བམ་གྲངས་ཀྱི་རྒྱ།

༦ མཐའ་མི་འཆོལ་བ་སྣེ་ཐིག་གི་རྒྱ།  [479]

༧ གླེགས་བམ་མི་འཁྲུགས་པ་གདོང་ཡིག་གམ་སྤྱན་ཁྱེར་གྱི་རྒྱ་བཅས་སོ།།

གོང་གསལ་རྒྱ་རིམ་པ་བདུན་གྱི་གྲངས་འདྲེན་ནི་བོད་རྒྱ་ཚིག་མཛོད་ཆེན་མོ་དང་། སློབ་དཔོན་ཆེན་པོ་སེམས་དཔའ་རྡོ་རྗེས་བགྲངས་པའི་རྒྱ་རིམ་པ་བདུན་གྱི་གྲངས་འདྲེན། དུང་དཀར་ཚིག་མཛོད་ཆེན་མོ། བརྡ་སྤྲོད་པའི་གྲུབ་མཐའི་གླེང་བརྗོད་རྣམས་སུ་ལུང་ཁུངས་ཀྱི ས་དབེན་པའི་གྲངས་འདྲེན་རྣམས་ལ་རང་ངོས་ནས་བསམ་ཞིབ་ནན་ཏན་གྱིས་ཞལ་གསལ་དུ་བཏང་བ་དང་ཞུས་དག་བགྱིས་ཏེ་འདིར་བཀོད་པ་ལགས་སོ། །གོང་གི་ཕྱག་དཔེ་རྣམས་སུ་རྒྱ་རིམ་པ་བདུན་གྱི་གྲངས་འདྲེན་ཙམ་དང་། འགའ་ཞིག་ཐད་ཚིག་སྦྱོར་ཡང་གོ་མ་བདེ་འདུག་པས་གཞུང་གི་དཀྱུས་སུ་མ་བཀོད་པས་དོན་དུ་ལྷག་ཆད་ནོར་བའི་སྐྱོན་གསུམ་དང་ལྡན་པས་ན་རང་སོར་གཞག་རྒྱུ་ལེགས་བཤད་དུ་མ་མཐོང་། འོན་ཀྱང་འབྱུང་འགྱུར་ཉམས་ཞིབ་ཀྱི་སླད་དུ་འདི་མཉམ་ལྷན་ཐབས་སུ་བཀོད་པ་དེར་གཟིགས་གནང་ཞུ།།

Gareth Sparham, tr., “Chapter 85: Sadāprarudita,” contained in: The Perfection of Wisdom in Eighteen Thousand Lines, first published in 2022 for the 84000 project.  

Go here and then scroll down to chapter 85. You will find the Seven Seals at paragraph 85.57.

Matthew Thiessen, “Jesus and Ritual Impurity,” Biblical Archaeology Review, vol. 47, no. 3 (Fall 2021), pp. 66-68, at p. 68, in a discussion about the proper name Elisheba: 

Shaba (or sheba) is related to either “oath” or “seven,” where the number refers to the proverbial seven seals or seven bonds (of an oath). The letter yod in between joins the two words in construct or acts as the possessive pronoun “my,” resulting in these possible meanings of the name: “God of oathing,” “God of the seven,” or “(my) god is an oath.”

The relation between oaths or vows and seals is an interesting one to contemplate, especially given that the word samaya (in Tibetan letters, sa-ma-ya or ས་མ་ཡ་) is a frequent ‘sealing word’ quite liable to be placed at the end of a text regarded as secret. Here for example is a set of sealing expressions written in an encoded script.

Perhaps you can read it? I suggest this: sa-ma-ya :

 

gu-hya a (?) tham rgya : sku gsung thug[s] rgya : a tham :

 

The first three syllables you see here are sa-ma-ya, clearly, despite the encoded way of writing, while the remaining parts are still more sealing expressions in that same occult script.  This was found at the end of a set of Nyingma magical texts found near Dergé in Eastern Tibet, and I shouldn’t tell you which one. To go ahead and say what I wanted to say here: It is possible that in some language somewhere, and very likely one of the Semitic tongues, there were two similar-sounding words that meant ‘seven’ and ‘oath.’ Well, at least it’s food for thought. Perhaps numerology wasn’t the only reason for the seven-ness of the seals. Did I mention the Seven Sleepers? The Seven Sages?

————————————————

Appendix 

Early discussions found via BDRC/BUDA searches:

From a work by ’Jig-rten-mgon-po (1143-1217 CE):

The group of seven levels of seals means the six sense consciousnesses with the afflicted mind (kliṣṭamanas) being seventh. 

རྒྱ་རིམ་པ་བདུན་པོ་དེ་ནི་རྣམ་ཤེས་ཚོགས་དྲུག་ཉོན་མོངས་པ་ཅན་གྱི་ཡིད་དང་བདུན་ཡིན་གསུངས།། །།

• About seven passages can be located in his Collected Works, his Bka’-’bum, this being only one of them. The set of consciousnesses named here suggests association with the works of Asaṅga and the Yogācara school.

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From a work by 'Brug-chen Padma-dkar-po (1527-1596):

• This source is quite alone and distinct in associating the seven seals with [1] the pronouncer of the scripture, [2] the compiler, [3-5] the bodies, speeches and minds of the Skygoers, [6] the Lama and [7] the Dharma Protectors.

རྒྱ་རིམ་པ་བདུན་ནི། གསུང་བ་པོ་སངས་རྒྱས་ཀྱི་བཀའ་རྒྱས་བཏབ་པ་དང་གཅིག །སྡུད་པ་པོས་ཕྱག་རྒྱས་གཏབ་པ་དང་གཉིས། ཌཱ་ཀི་མ་རྣམས་ཀྱི་སྐུ་གསུང་ཐུགས་གསུམ་གྱི་ཕྱག་རྒྱས་བཏབ་པ་དང་ལྔ། བླ་མ་རྣམས་ཀྱི་བཀའ་རྒྱས་བཏབ་པ་དང་དྲུག །ཆོས་སྲུང་རྣམས་ཀྱིས་བསྲུང་བའི་རྒྱས་བཏབ་པ་དང་བདུན་ཞེས་འབྱུང་སྟེ། གསུང་བ་པོའི་རྒྱ་ནི་རྡོ་རྗེར་འཆང་ཚེ་དཔལ་ཧེ་རུ་ཀ་ཉིད་ཀྱིའོ།། 

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From a work by Dbyangs-can-dga’-ba’i-blo-gros (1740-1827):

• It quotes from Abhayākaragupta's (early to mid 12th century CE) Marmakaumudī, an early-to-mid 12th century commentary on the Eight Thousand Prajñāpāramitā, and this quote may in fact be found in its Tibetan translation contained in the Tanjur.

The Moonlight of Essential Points says, “On each of the seven knots in the seven binding straps he attached a seal with his own name.” That means they bound up their Volumes with seven sashes each, and then on each of the sashes, at the edge of its knot, they attached a seal that had his, Dharmodgata’s, own name on it, and that’s what ‘sealing with the seven levels of seals’ means.

གནད་ཀྱི་ཟླ་འོད་ལས། ཆིངས་མ་བདུན་གྱི་མདུད་པ་བདུན་ལ་རང་གི་མིང་གི་རྒྱ་རྣམས་ཀྱིས་རྒྱས་བཏབ་པའོ། །ཞེས་འབྱུང་ངོ་། །དེ་ནི་གླེགས་བམ་རྣམས་སྐུ་རགས་བདུན་བདུན་གྱིས་བཅིངས་ནས། སྐུ་རགས་རེའི་་་མདུད་མཚམས་ལ་ཆོས་་འཕགས་རང་མིང་གི་མཚན་མ་ཡོད་པའི་རྒྱ་རེ་བཏབ་པས་ན་རྒྱ་རིམ་པ་བདུན་གྱི་རྒྱས་བཏབ་པ་ཞེས་པ་ཡིན་ནོ། ། 

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In the visionary world of Revelations, God the Father holds the scroll — He is purposefully left out of depictions like the ones you see below, and it may be the square platform Solomon stood on when the Temple was consecrated that you are meant to see here, although it is indeed at the same time treated as a throne — and it is the Lamb that opens the seven seals one by one, improbable as that may seem, given that lamb's hooves are not well equipped for such tasks.

“Empty throne,” marked by cross and lamb, enshrining the
scroll with seven seals surrounded by seven lamp stands:  
Church of SS. Cosmas and Damian, Rome (526-530 CE)

For a much more recent artistic version of the same, have a look at the altar and apse of the Augusta Victoria Church of Jerusalem:

Altar and apse of the Augusta Victoria Church,
Jerusalem

Here is a closeup of the Seven Seals, here attached to a book rather than a scroll, so you can see them more clearly:

Detail from the altar of the Augusta Victoria Church,
Jerusalem

Addon June 15, 2022

I was just thinking that there are only two of the several sets of Seven Seals in which each individual seal has a given name. One is the set of the Tibetan Zhijé school.* The Judaeo-Islamic “Solomonic magic”** side I haven’t adequately discussed, I know, but the other is the Jewish set that sometimes has named members. It’s interesting to know, as Graham's major essay on the subject (“A Comparison of the Seven Seals in Islamic Esotericism and Jewish Kabbalah”) shows, that the Jewish set is based in an early piece of Hekhalot literature called Shīʿūr Qōmah. This very odd and quite controversial text dares to give dimensions to the macrocosmic figure of the godhead, and its description of the five fingers of a hand and the two eyes of that figure were eventually used in naming the Seven Seals. Although the Islamic versions don’t have these names, they do share with the Judaic what looks like the shape of a ladder in the middle, while the other symbols do often suggest (or are even explicitly identified with) vision/blindness or (various numbers of) fingers.

Observe that much of both the content and the context of the Islamo-Judaic seals is not findable in the Tibetan. You find no symbolic figures or ‘signs’ in the set of Seven Seals in Tibet. You find none of the symbolic correspondences with the seven then-recognized planets, or the seven days of the week. Perhaps most significantly of all, you never see the amuletic theme of personal protection in those same Tibetan accounts.

*(I know I’ve left off a bit of traditional Zhijé commentary that exists on this subject, perhaps another time. **By “Solomonic” magic I intend to use a single word for strains of ritual magic in Jewish and Islamic worlds that connect to the cultural image of Solomon as known in traditions that started with Josephus but in later centuries blossomed into an extensive body of lore. Many of the origins accounts of these texts and practices explicitly name Solomon as their source or conduit. This lore embraces the idea of King Solomon as ruler over not only the humans, but the animals and spirits as well, as if he had more than one kingdom under his royal command. Some personal items of his, but particularly his signet ring, could be used to express his sovereignty in magical contexts. I know this sketch is drastically spare and imprecise, but at the same time I realize some readers in the Tibeto-logical world may require a little background.