scholarly journals Об ойратской рукописи «Coqtu zandan» из фонда Российской национальной библиотеки

2020 ◽  
Vol 16 (4) ◽  
pp. 55-78
Author(s):  
Saglara V. Mirzaeva ◽  
◽  
Aisa O. Doleyeva
Keyword(s):  
Sanskrit Text ◽  
National Library ◽  
Buddhist Tradition ◽  
Handwritten Text ◽  
Digital Copy

The article introduces the Oirat handwritten text “Coqtu Zandan” (‘Shining Sandalwood’) from the collections of the Russian National Library. The text “Coqtu Zandan” is a translation of the prayer of repentance common in the Tibetan-Mongolian buddhist tradition, which is read out during the ritual of restoring the sojong vows. This prayer is mentioned under no. 23 (as “bodhi sadv-yin unal namančilaxui kemekü sudur”) in the list of translations of Zaya Pandita Namkhaijamts. The Tibetan original of this work, researchers call the text “Ltung Bshags” or one of the versions of the “Sutra of the Three Piles” (tib. phung po gsum pa’i mdo), included in the collection of the terma-works “Rinchen Terdzo”. The Sanskrit text of the Sutra “Aryatriskandha sūtram” has also reached our time, a digital copy of which is available on the website of the Digital Sanskrit Buddhist Canon Input Project. The publication of parallel Sanskrit and Tibetan Sutra texts within the framework of this article is also very relevant.

scholarly journals Об ойратской рукописи «Coqtu zandan» из фонда Российской национальной библиотеки

2020 ◽  
Vol 16 (4) ◽  
pp. 55-78
Author(s):  
Saglara V. Mirzaeva ◽  
◽  
Aisa O. Doleyeva ◽  
Keyword(s):  
Sanskrit Text ◽  
National Library ◽  
Buddhist Tradition ◽  
Handwritten Text ◽  
Digital Copy

The article introduces the Oirat handwritten text “Coqtu Zandan” (‘Shining Sandalwood’) from the collections of the Russian National Library. The text “Coqtu Zandan” is a translation of the prayer of repentance common in the Tibetan-Mongolian buddhist tradition, which is read out during the ritual of restoring the sojong vows. This prayer is mentioned under no. 23 (as “bodhi sadv-yin unal namančilaxui kemekü sudur”) in the list of translations of Zaya Pandita Namkhaijamts. The Tibetan original of this work, researchers call the text “Ltung Bshags” or one of the versions of the “Sutra of the Three Piles” (tib. phung po gsum pa’i mdo), included in the collection of the terma-works “Rinchen Terdzo”. The Sanskrit text of the Sutra “Aryatriskandha sūtram” has also reached our time, a digital copy of which is available on the website of the Digital Sanskrit Buddhist Canon Input Project. The publication of parallel Sanskrit and Tibetan Sutra texts within the framework of this article is also very relevant.

Transmission of Renaissance herbal images to China: the Beitang copy of Mattioli’s commentaries on Dioscorides and its annotations

2020 ◽  
Vol 47 (2) ◽  
pp. 236-253
Author(s):  
Wu Huiyi ◽  
Zheng Cheng
Keyword(s):  
Seventeenth Century ◽  
Natural History ◽  
National Library ◽  
Materia Medica ◽  
Close Analysis ◽  
Northern Chinese ◽  
Jesuit Missionaries ◽  
Animal Names ◽  
National Library Of China ◽  
Made In

The Beitang Collection, heritage of a seventeenth- and eighteenth-century Jesuit library in Beijing now housed in the National Library of China, contains an incomplete copy of Pietro Andrea Mattioli’s commentary on an Italian edition of Pedanius Dioscorides's De materia medica (1568) bearing extensive annotations in Chinese. Two hundred odd plant and animal names in a northern Chinese patois were recorded alongside illustrations, creating a rare record of seventeenth-century Chinese folk knowledge and of Sino-Western interaction in the field of natural history. Based on close analysis of the annotations and other contemporary sources, we argue that the annotations were probably made in Beijing by one or more Chinese low-level literati and Jesuit missionaries during the first two decades of the seventeenth century. We also conclude that the annotations were most likely directed at a Chinese audience, to whom the Jesuits intended to illustrate European craftsmanship using Mattioli’s images. This document probably constitutes the earliest known evidence of Jesuits' attempts at transmitting the art of European natural history drawings to China.

Boatmen, Wastrels, and Demons: Figures of Literature

CounterText ◽  
2018 ◽  
Vol 4 (1) ◽  
pp. 30-56 ◽  
Author(s):  
Simona Sawhney
Keyword(s):  
Social Studies ◽  
World Literature ◽  
Literary Texts ◽  
Sanskrit Text ◽  
Modern Democracy ◽  
Political Debates ◽  
The World ◽  
National Literatures

Engaging some of the questions opened by Ranjan Ghosh's and J. Hillis Miller's book Thinking Literature Across Continents (2016), this essay begins by returning to Aijaz Ahmad's earlier invocation of World Literature as a project that, like the proletariat itself, must stand in an antithetical relation to the capitalism that produced it. It asks: is there an essential link between a certain idea of literature and a figure of the world? If we try to broach this link through Derrida's enigmatic and repeated reflections on the secret – a secret ‘shared’ by both literature and democracy – how would we grasp Derrida's insistence on the ‘Latinity’ of literature? The groundlessness of reading that we confront most vividly in our encounter with fictional texts is both intensified, and in a way, clarified, by new readings and questions posed by the emergence of new reading publics. The essay contends that rather than being taught as representatives of national literatures, literary texts in ‘World Literature’ courses should be read as sites where serious historical and political debates are staged – debates which, while being local, are the bearers of universal significance. Such readings can only take place if World Literature strengthens its connections with the disciplines Miller calls, in the book, Social Studies. Paying particular attention to the Hindi writer Premchand's last story ‘Kafan’, and a brief section from the Sanskrit text the Natyashastra, it argues that struggles over representation, over the staging of minoritised figures, are integral to fiction and precede the thinking of modern democracy.

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