Tibetan Paintings from the Life of Gesar

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格萨尔画传*

石泰安著（法国高等实用研究院院长）

刘瑞云译（四川大学外国语学院）

张长虹校（四川大学中国藏学研究所）

众所周知，格萨尔是藏蒙史诗中的英雄。

一些将他表现为战神的绘画和塑像也曾经常受到关注，我在此不再赘述。然而，除了一些壁画之外，迄今

人们只见到过一幅描绘格萨尔生平的唐卡，由哈金（Hackin）于1928年发表介绍过。① 不过，一整套这类风格

的绘画曾到过巴黎，但错误的鉴定使它们并未引起注意。

哈金发表的绘画系维克特（M. Saint-Victor）先生的收藏，那么他又是从哪里得到这幅画的呢？在一

本拍卖物目录中很容易找到答案，这幅画就在其中，但是被错误地辨识。在这个《藏品目录》中，② 邓尼克

（J. Deniker）在773号下面的描述为（第212页）：“天女…神女的侍从之一；她骑着一头奔跑的深褐色牝鹿，

右手持一只饰有黄色圆盘的箭，左手执一白色圆盘（镜子？）…上方是宝生佛（Ratnasambhava）…环绕着中央

主尊的，是她的生平场景。我们注意到其它场景之中，在右侧，有一些拖着犁的裸体男人…每个场景都有藏文

题记。”看一眼哈金发表的照片就足以使人相信他们所讲的其实是同一幅画。

事实上，当我想过通过阅读目录说明来对比这张照片，以走出邓尼克随心所欲的辨识时，同一拍卖物中

的第776号画的描写吸引了我的注意力，让我一下呆住了。作者给这幅画命名“觉如如何回来”（Jo ru rjes na

pheb tshul）。描述中他提到“英雄觉如，身着白衣”以及“协噶（Jal dkhar）”。只要是读过藏文本格萨尔史

诗的人都知道觉如（Jo ru），是格萨尔（Ge sar）幼时的名字，以及他的哥哥协噶（Zhal dkar）。标题则解说

为：“觉如如何回来”。当我们读到第777号时就完全清楚了。在几只鸟的旁边，“Gling-gi-bu-bya-gsum，

即三只岭吉（Gling-gi）”。显然这一所谓的翻译应当纠正为“三只鸟，岭国生命之本”（bu应读作bla；参见

下文第6幅画）。受此警示，我终于意识到这11幅唐卡系列（目录中的第770-780号）勾勒出了完整的格萨尔生

平画卷。第773和774号唐卡被吉美博物馆（Musée Guimet）收藏。另外九幅画到哪里去了呢？我们只能寄希望

于未来某一天一个偶然会发现它们，重建其完整序列，重新考虑它们的价值。

出于谨慎，我不能断言，但可以肯定这些画来自中国，最初应该出自藏东。

本来它们可以被认为是独一无二的。如果不是好运让我发现了另外一套甚至细节都完全相同的绘画，就不

可能说出它们每幅所代表的意义。这一套曾属于木雅（Mi nyag）的古“王”，土司甲联升，他曾居住在打箭炉

（Dar rtse mdo，西康的入口，中国的一个藏族省份）。遗憾的是，这套画缺少了一幅画，第1幅。

* 该文译自Rolf A. Stein, "Peintures tibétaines de la vie de Gesar," Arts asiatiques, vol. 4, 1958 : 243-271.

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From the Treasury of Tibetan Pictorial A

rt: Painted Scrolls of the Life of Gesar

* Translated from Rolf A. Stein, "Peintures tibétaines de la vie de Gesar," Arts asiatiques, vol. 4, 1958 : 243-271.

Tibetan Paintings from the Life of Gesar*Rolf A. Stein (Director of Studies at the École pratique des Hautes Études)

Translated by Arthur Mckeown (Ph. D, Harvard University)

As we know, Gesar is the hero of the Tibetan and Mongolian epic.The paintings and statuary which depict him as a martial deity have been noted frequently. I will

not speak of them here. However, with the exception of some frescoes, we have known up until the present time only a single banner (thang ka) representing scenes from the life of Gesar; this being the one Hackin published and described in 1928.① Yet an entire collection of this genre of paintings passed through Paris. Falsely identified, they passed unnoticed.

The painting published by Hackin came from the collection of M. Saint-Victor. Whence did he get it? It is easy to identify it by referring to a catalogue of sale in which it was, it is true, misidentified. In the Catalogue de la Collection G...,② J. Deniker described, under no. 773 (p. 212): “The celestial goddess...one of the acolytes of Lha mo...; she gallops on a sepia colored doe, holding in her right hand an arrow adorned with a yellow disk, and in her left hand a white disk (mirror?)...Above, the buddha Ratnasambhava...Around the central figure, scenes from her life. We notice among the others, to the right, naked men dragging a plow...Each scene carries an inscription in Tibetan.” One glance at the photo published by Hackin convinces that it concerns the same painting.

In truth, while I had thought to compare the photo by reading the catalogue description to traverse Deniker's fantastic identifications, my attention was arrested, and my mind transfixed, by reading the description of painting no. 776 from the same sale. “Djo-roudjesna-pheb-ts'oul,” the author entitled; and, in the description, it speaks of the “hero Djo-rou, dressed all in white” and of “Jal-dkhar.” It suffices to have frequented the Tibetan texts from the Gesar epic to recognize from it Jo ru, a name that Ge sar carried in his youth, and his elder brother Zhal dkar. And the title is explained thus: Jo ru rjes na pheb tshul “How Jo ru came back.” The edifice is completed when we read in no. 777, next to some birds, “Gling-gi-bu-bya-gsum, that is to say the three Gling-gi.” We must naturally correct this so-called translation to: “the three birds, essences of the life of Gling” (bu is read bla, cf. painting no. 6, infra). Thus alerted, we realize that the series of eleven thangkas (nos. 770-780 from the Catalogue) constitutes a complete ensemble of the life of Gesar. Painting nos. 773 and 774 have been acquired by the Musée Guimet. What became of the other nine? We must hope that chance will discover them one day, restored and considered at their true value.

Discretion obliges me to remain vague, but we can affirm that these paintings came from China.They must have originally come from eastern Tibet.

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事实上，这套唐卡中的7幅都在背面标有编号，第11幅被清楚地标明是最后一张。③ 不过，这套唐卡只有10

幅，从标明的主题，可以看出缺少的是第1幅或第2幅，而且应该与哈金发表的吉美博物馆的那幅是同一幅。吉

美博物馆的另一幅画提供了证据，证明打箭炉和巴黎的两套画在制作时参照了同一模板。这幅画，从场景到人

物，都和打箭炉的第7幅是一样的，只是场景没有藏文题记解说。

所有的画都是按照一个模式创作的。中间是一位本尊的大画像；在上方，总是有一尊金刚乘神祇，两侧伴有

两位胁侍（一般是藏传佛教寺院的圣者）；围绕着中央主尊的是史诗的场景组合。而在米拉日巴（Mi la ras pa）的

传记画中，故事总是在画面下方展开，并且一般绘在左侧一角，④ 与此不同的是，格萨尔画面中场景的布局是

无序的。给故事的画面排序经常是非常困难甚至有时是不可能的。事实上，由于史诗有好几个版本，我所了解

的版本中没有一个可以完全与画面的顺序对应上。多个片段出于版本的考虑有增删。另外，画面解说题记中的

诸多文字拼写错误也使得解读具有不确定性。

如果详细地讨论所有描绘的场景以及翻译所有的题记，那将耗时过长，我仅限于粗线条的梳理。为了更好

地定位，我将每幅画分成横向三部分（上、中、下），纵向三部分（左、中、右）。用以下缩略语指代九个方

块：上左、上中、上右；中左、中中、中右；下左、下中、下右。中央的大像（本尊）总是“中中”，成组神

像和圣者总是“上中”。

上左上中上右

中左中中中右

下左下中下右

首先，与已知绘画进行对比列表如下：

藏品目录吉美博物馆打箭炉

773号〔I〕 23081 缺

772号〔II〕〔II〕

780号〔III〕〔III〕

776号〔IV〕〔IV〕

779号〔V〕〔V〕

777号〔VI〕〔VI〕

774号〔VII〕 21467（无题记）〔VII〕（有题记）

778号〔VIII〕〔VIII〕

771号〔IX〕〔IX〕

775号〔X〕〔X〕

770号〔XI〕〔XI〕

一、中央的本尊神（中中）

I．没有标注名字。一位着装女神，身白色，坐在一只“深褐色”牝鹿上（邓尼克目录，第212页）。她

头戴花饰，右手拿一面白色镜子，左手执一支箭，箭头朝下，箭端饰有箭羽、五色饰带及一黄色圆盘。这支

箭是一种宗教仪式用具，称为“才达”（tshe mda'，“长寿箭”），是人们在宗教祈福仪式（g.yang 'gug）及

婚礼仪式上用的一种器具。在史诗中，它也是珠贝嘉姆（Grub pa'i rgyal mo）的执物——珠贝嘉姆是岭国的天

界“姑母”，赐予英雄长寿。她同时还拿着装满“长寿酒”（tshe chang）的瓶子。⑤ 可惜，并非所有的细节都

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They may be believed unique. In any case, it may have been impossible to say what each of them represents, if good fortune had not allowed me to discover a series identical down to the smallest detail. This series belonged to the ancient “king” of the Mi nyag, the ex-tu si 土司 (indigenous chief) Jia Liansheng who resided at Tatsienlu (Dajianlu 打箭炉, Dartsedo, 拜半︽但︽扳车︽) at the entry of Xikang （西

康）, a Tibetan province of China. Unfortunately, it is missing one painting, the first.In fact, seven of the thankas carry a number on the back, the eleventh clearly indicated as being

the last. Yet, the series comprises only ten paintings.③ The subjects being indicated, we perceive that the painting which is missing ought to be the first or the second, and that it ought to be identical to that from the Musée Guimet published by Hackin. The proof that the same model served at the execution of the two series of Tatsienlu and of Paris is furnished by another painting from the Musée Guimet. It is, scene by scene and figure by figure, identical to painting no. VII from Tatsienlu, but the scenes are not explained by the captions.

All the paintings are constructed following the same plan. At the center is found a grand image representing a tutelary divinity. At the very top, we always see a divinity from the Vajrayāna flanked by two acolytes (generally saints of the lamaist church). All around the great central figure are grouped episodes from the epic. Contrary to the biographical pantings of Mi la ras pa where the history always commences at the bottom of the painting, and generally at the left corner,④ no order reigns in the disposition of episodes in the Gesar paintings. Often, it is very difficult, and sometimes impossible, to determine the successive order of the depicted episodes. In fact, numerous versions of the epic exist, and none of those with which I am familiar corresponds exactly to the cycle of paintings. Numerous episodes are added or subtracted according to the version. The orthographic faults which abound in the paintings' captions, moreover, render the interpretation doubtful.

It would take too long to discuss here in detail all the representative scenes and to translate all the captions. I shall limit myself to broad strokes. In order to facilitate orientation, I will divide each painting into three horizontal bands (high, middle, low) and three vertical bands (left, middle, right). The resulting nine squares will be designated by the abbreviations: HL = high and left, HM = high middle, HR = high and right; then: ML, MM, MR, and: LL, LM, LR. The great figure from the center (tutelary divinity) will be thus always MM, and the group of divinities and saints: HM.

HL HM HRML MM MRLL LM LR

First, here is a comparative table of known paintings:

Collection G... Musée Guimet TatsienluNo. 773 [I] 23081 MissingNo. 772 [II] IINo. 780 [III] IIINo. 776 [IV] IVNo. 779 [V] VNo. 777 [VI] VINo. 774 [VII] 21467 (without caption) VII (with caption)No. 778 [VIII] VIIINo. 771 [IX] IXNo. 775 [X] XNo. 770 [XI] XI

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符合史诗内容说明中关于珠贝嘉姆的描写。哈金将她辨识为“廷吉协桑玛”（mthing gi zhal bzang ma），“女神

拉姆（lha mo）的一个助手”，“她骑着一头母骡，拿一支箭（有时是一只蝇拂）及一面镜子”。⑥ 这一辨识相

当可疑。首先，我看不出这位女神在这里干什么，尤其是画中的形象与其肖像不符。在画中，她骑着一头牝

鹿，而非母骡。廷吉协桑玛是被米拉日巴降伏的珠穆朗玛地方诸神——“五姐妹”中的第二个，⑦ 她骑着一匹

马；而次仁玛（Tshe ring ma），姐妹们中的第一个，骑着一头狮子，第三个，珍桑玛（Mgrin bzang ma），

骑着一头牝鹿，这可能导致了混淆的产生。事实上，母性类的女神（sman btsun）有许多个，她们的名字、执

物和定位在各种地方神祇的目录中似乎有点部分重叠。⑧ 在其中的一个目录中，南方（Lho yul）的“姐姐”

（sring gcig）骑在一头金色的牝鹿身上（亦即黄色，gser sha yu mo），她被称为“吉廷雅玛贡”（Skyi mthing

g.ya' ma skyong），⑨“廷”（Mthing）似乎是西藏南部的一个地方，⑩ 我们很快会看到一幅画，在南方禅定佛

（Dhyānibuddha）的下方，是史诗开篇叙述的“门”（Mon，喜马拉雅本土）。可是“吉廷”（Skyi Mthing）

也是（传说中的）第一位祖先的家乡，人类的故土（myi yul），特别是在敦煌写本中，并且在苯波（bon po）

的谱系中，廷吉（Mthing gi）（或廷格，Mthing ge)是传说中的王，在地方神祇目录中，她却是原始时期的

一位王后〔ma btsun Rgyal mo Mthing ge, 在国王雅拉特珠（pha tshan Yab lha dal drug）旁边，后者是第一位祖

先〕。另一方面，吉廷同时又与黄河上游地方——玛（rma）有联系，这一地区的神山玛钦波热（Rma chen

spom ra）是格萨尔的保护神。

图1，吉美博物馆第23081号绘画的中央主尊

（第I幅）

Fig.1, The Central Figure of Picture no. 23081 of Musée Guimet ( The First)

Credits: Thierry Ollivier/RMN (Musée Guimet, Paris) /东方IC

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1. The Tutelary Divinities at the Center (MM)

I. -- The name is not indicated. A dressed goddess, a white figure, rides on a doe “de couleur bistre” (Deniker, Catalogue, p. 212), which gallops. She is coiffed with flowers and holds in her right hand a white mirror, in the left an arrow, the tip at the bottom, the end adorned, above the feather, with ribbons of five colors and with a yellow disk. This arrow is a ritual instrument, called tshe mda' (“arrow of long-life”), which is used in the rite of calling good fortune (g.yang 'gug ) and in marriage ceremonies. In the epic, it is the attribute of Grub pa'i Rgyal mo, one of the divine “aunts” of Gling who confers longevity to the hero. She hold at the same time a vase filled with “beer of long life” (tshe chang).⑤ Unfortunately, not all the details concord with the description–summarized in the epic–of Grub pa'i Rgyal mo. Hackin identified her with Mthing gi zhal bzang ma, “an assistant of the goddess Lha mo,” “who rides a mule and holds an arrow (sometimes a fly-whisk) and a mirror.”⑥ This identification is too doubtful. Further, I don't see what the goddess would be doing here. Above all, the figure from the painting does not correspond to her iconography. In the painting, she rides a doe, and not a mule. Mthing gi zhal bzang ma is the second of the “Five Sisters,” local divinities from the Everest region subjugated by Mi la ras pa.⑦ She rides a horse, while the first of the sisters, Tshe ring ma, rides a lion, and the third, Mgrin bzang ma, a doe. It may be that some confusion has occurred. There are in fact numerous goddesses of the mother type (sman btsun), whose names, attributes and localizations seem to overlap a bit in the various catalogues of local deities.⑧ In one of these catalogues, one “sister” (sring gcig) from the Southern Country (Lho yul) rides a golden doe (that is to say, yellow: gser sha yu mo). She is called Skyi Mthing g.ya' ma skyong.⑨ Mthing seems in fact to be a land south of Tibet.⑩ We shall see in a moment that the painting which occupies us is placed under the sign of the Dhyānibuddha of the South and that it concerns the Mon (Himalayan aboriginals) in the first episodes. Yet Skyi Mthing is also the (legendary) land of the first ancestor, the land of men (myi yul) par excellence in the Dunhuang manuscripts, and further, in the Bonpo geneologies, Mthing gi (or Mthing ge) is a legendary king and, in the catalogues of local deities, a queen from primitive times (ma btsun Rgyal mo Mthing ge, next to the pha tshan Yab lha dal drug, who is moreover a first ancestor). On the other hand, Skyi Mthing has equally been associated with the land of the Upper Yellow River, the land of Rma where the sacred mountain, Rma chen spom ra, is the tutelary deity of Gesar.

However, the woman of this holy mountain, Dgung sman lha ri (“celestial mountain, woman of the central Heaven”), hold in her right hand the vase of long life ('chi med tshe yi bum pa), from her left hand the mirror which illuminates the created world (snang srid bkra ba'i me long), and she rides a deer (sha ba la chibs), while the nine celestial sisters who accompany her carry arrows adorned with ribbons (mda' dar) and the same vase (tshe bum). In one painting which is said to represent Rma chen spom ra, his woman (to the right and above) rides a doe (in the words of the author, one can take it for a mule). As the central goddess of our painting, she has a crown of flowers and carries in her left hand an arrow, pointing down, the end adorned with ribbons and a disk of (yellow?) color. Yet, in place of a mirror, she carries in her right hand a bowl of fruit or sweets.

Being the woman of Gesar's tutelary mountain, this goddess, whose description corresponds in great part to that of our painting, which would make sense in a Gesar cycle. Yet I have never encountered her in one of his iconographies. It seems that she was supplanted there by another goddess. Her esoteric name, Rdo rje grag (mo) rgyal, recalls slightly that of the goddess (sman btsun) Rdo rje G.yu sgron ma who, she, stands to the left of Gesar, holds in her right hand the arrow adorned with ribbons and in the left a kapala filled with nectar (corresponding to the protector god Rdo rje legs pa). This goddess is nevertheless a protectress of central Tibet and exits the round of submissions of local divinities wrought by Padmasambhava (of whom Gesar is an incarnation in the lamaist versions).

We see how it is difficult to affirm with certitude which goddess is represented in our painting no. 1.

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︽得搬︽伴

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不过该神山的妻子贡门拉日（Dgung sman lha ri，“神山，中央天之妻”)，右手

持长寿瓶（'chi med tshe yi bum pa），左手拿着一面照亮已创世界的镜子（snang srid

bkra ba'i me long），她骑着一头鹿（sha ba la chibs），而那些陪伴她的九姐妹都拿着

装饰有彩带的箭（mda' dar）及同样的瓶（tshe bum）。在一幅据说是描绘玛钦波热

的画上，他的妻子（在其右侧及上方）骑着一头牝鹿（用作者的话，也可以看作是

一头骡子）。至于我们画中的中央女神，她头戴花冠，左手拿一支箭，尖端朝下，

尾端装饰有缎带和一个彩色圆盘（黄色？）。不过，她右手拿的不是一面镜子，而

是一盘水果或点心。

作为格萨尔守护山的妻子，这位女神，对她的描写大部分与我们的画相符合，放

在格萨尔圈子里很容易被理解。可是，我还从没有在有关他的肖像中遇见她，似乎她

被另一位女神取代了。她的密教名字，多杰扎莫杰〔Rdo rje gragm (mo) rgyal〕，有

点让人想起女神（sman btsun）多杰玉珍玛（Rdo rje G.yu sgron ma），她站在格萨尔

左侧，右手拿一支装饰有缎带的箭，左手持一只盛满甘露的噶巴拉碗（相当于保护

神多杰勒巴Rdo rje legs pa）。然而这位女神是卫藏的一位保护女神，存在于莲花生

降伏的地方神里面（在喇嘛教的版本中，格萨尔是莲花生的化身）。

可以看出，想有把握地判定我们一号画中的女神是何等困难，借用和替代已

经奏效，但无论如何，不应该对有时候看到镜子被甘露瓶（长寿水）取代而惊讶。

在瓶子的宗教仪式中，镜子实际上被固定在它的瓶颈处，在它上面——捕获神的形

象——倾倒圣水。

II．蓝色身相的人，头缠九条蛇。骑着一头白象。他的下半身是缠绕在坐骑肚子

上的蛇身。他左手持一瓶（治病），右手执一宝珠（nor bu，财富之义）。这是龙王

（nāga）祖纳仁钦（Gtsug na rin chen, Ratnacūd4a)。在史诗中，他是格萨尔母亲（一

名龙女，a nāgī）的父亲。

他的坐骑——大象，源于五王之一（sku lnga）的白哈尔组合，称为龙王。大象取

代了摩羯鱼（makara，藏语称为chu srin)，由于象鼻，我们知道龙（naga）可以表

示大象。

III．一名武士，身穿白色盔甲，头戴白色头盔，长有翅膀，格鲁达头（藏

语为khyung，大鹏鸟之义），“耳朵”和“角”都露在头盔外面（藏语称为rna

khyung）。他左手结印，右手执一战斧。他骑着一只有着绿色和蓝色翅膀（像他的

翅膀一样）、红喙（他的是蓝色）的格鲁达，嘴里，如通常那样，衔着蛇。他是

“哥哥”（pho ba = phu bo）东琼噶布（Dung khyung dkar po）（“白如海螺的格鲁

达”），是格萨尔在天界的哥哥，作为本尊与他同时出生。

IV．一位白色的骑者坐在一匹白马上，像是坐在一个坐凳上，而不是跨骑着。

他左手持一串念珠，右手执一饰有缎带的权杖，白色缠头前戴有王冠。这是“念钦

（gnyan chen，‘伟大的山神’）多杰巴瓦则”（Rdo rje 'bar ba brtsal）。在藏传佛

教仪式中，这是念钦唐拉（Gnyan chen Thang lha）的密教名字，在史诗中，协鲁

（Zhal lu），格萨尔的异母哥哥，是他的化身。

V．穿红色盔甲的红色武士，骑一匹红马。其胸前有一面镜子，战神可以通过它

图2，邓尼克目录中的第772号绘画（第II幅）

（拍照：石泰安）

Fig.2, Picture no. 772 of Collection G...( The Second) (photography by R.A.Stein)

图3，邓尼克目录中的第780号绘画（第III幅）（拍

照：石泰安）

Fig.3, Picture no. 780 of Collection G... ( The Third)(photography by R.A.Stein)

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Loans and substitutions have been effected. It is not surprising, in any case, to sometimes see the mirror replaced by the vase of nectar (water of long life). In the rite of the vase, the mirror is in fact attached to its neck and it is upon this–which captures the image of the god–that the consecrated water is poured.

II.-- Blue person, crowned with nine serpents. He rides a white elephant. The lower part of his body is a serpent which wraps around the belly of his mount. The left hand holds a vase (healing) and the right a jewel (nor bu, man

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i; wealth). This is the klu (nāga) Gtsug na rin chen (Ratnacūd4

a). In the epic, he is the father of the Gesar's mother (a nāgī).

His mount, the elephant, derives from an assimilation to one of the Five Kings (sku lnga), Pehar group, called Klu dbang. The elephant replaced a makara (Tib. chu srin), because of the trunk. We know that nāga may designate an elephant.

III.-- A warrior, dressed in white armor and wearing a white helmet. He has the wings and head of a garud

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a (Tib. khyung) of which the “ears” or “horns” go beyond the helmet (in Tibetan, rna khyung). His left hand sketches a mudrā, his right hand holds the ax of war. He rides a garud

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a with green and blue wings (like his) and with a red beak (whereas his is blue) which holds, as is customary, a nāga. This is the “elder brother”(pho ba = phu bo) Dung khyung dkar po (“garud

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a white as conch”), celestial brother of Gesar, born at the same time as him as tutelary divinity.

IV.-- A white rider seated on a white horse, as on a bench, and not astride. The left hand holds a rosary, the right a sort of beribboned sceptre. He carries a white turban in front of which is held a diadem. This is “gnyan chen ('great god of the mountain') Rdo rje 'bar ba brtsal”. In the lamaist ritual, this is the esoteric name of the gnyan chen Thang lha. In the epic, Zhalu, Gesar's half-brother, is his incarnation.

V.-- Red warrior in red armor, riding a red horse. On his chest, the mirror of the martial divinities who are embodied in mediums. Sheathes for bow (gzig shubs) and arrows (stag gdong). The right hand holds a lance. This is the btsan (terrible rock divinity) Yam shu [= shud] dmar po. He is well known in lamaism. A local divinity, a war god (dgra lha), he was promoted to the rank of protector of the religion (bstan srung, chos skyong).

VI.-- Warrior on a bay horse, draped in green armor, crowned with a helmet surmounted by a flag-plume (Tib. 'phru). The latter is formed from a cylindrical part in the middle, a sort of “victory banner” (rgyal mtshan; the peak red cinnabar; the body in three parts, high to low: white, red, blue; these are the colors of the three stages of the world, lha, btsan, klu). On both sides are added flags (red, with a white border), of which the exterior edge is adorned with white down. The helmet is blue, the two jewels (nor bu) which adorn it, red cinnabar. The warrior holds a lance, equipped, at the tip, with a red plume and a flag with five banners. This is “'Dzam gling Seng chen rgyal po, Great Lion-King of the World,” namely Gesar. Accepted in the lamaist worship and ritual, he is here figured as a tutelary war god (dgra lha), whence the presence, behind him, of savage animals which always characterize the Dgra lha. The flag is that of Vaiśravāna, a type from Khotan. In the halo of clouds which surround the rider, we perceive twice (between the legs of the horse and to the right of the helmet's plume) Ma Ne ne, the“maternal aunt,” Gesar's celestial counselor, riding the white lion of the glaciers with a turquoise mane (blue-green; seng ge dkar mo g.yu ral can).

VII.-- Young man riding a green dragon. He holds a serpent in his left hand and a book in his right hand. Serpents also issue from his hair. This is “the younger brother (nu 'o = nu bo) Klu sprul thod dkar,” celestial brother of Gesar, born at the same time as he (cf. no. III), and his tutelary divinity. The name signifies: “nāga-serpent, white turban,” but thod dkar, “white turban” is undoubtedly a scribal error for 'od dkar, “white light.” The form of this name is unstable. We find: Klu sbrul 'od chung (“small light”) and others (Stein, L'épopée..., index, 142).

VIII.-- Warrior with white helmet and armor, on a white horse. Mirrored chest, sheathes for bow and arrows. Beflagged lance in the left hand and sword(?) in the right. He is surrounded by eight other

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化身为各种介质。豹皮箭囊（gzig shubs)）和虎皮箭袋（stag gdong），右手拿一长矛。这是赞神（btsan, 恐怖的

山岩之神）延须玛布（Yam shu =［shud］, dmar po），他在藏传佛教中非常有名。（作为）一名地方神，一名

战神（dgra lha），他被晋升为宗教保护神之列（bstan srung，chos skyong）。

VI. 骑枣红色马的武士，身穿绿色盔甲，头戴头盔，顶上插有旗羽（藏语称 'phru），旗羽中间呈圆筒状，

是一种“胜利幛”〔rgyal mtshan；顶部朱红色，幢身分三部分，从上到下为：白色、红色、蓝色；这是三界的

颜色，神（lha）、赞（btsan）、龙（klu）〕，两侧还有小旗（红色，白边），外缘装饰有白色羽毛。头盔是蓝

色的，前面有两颗珠宝装饰，朱红色。武士手持长矛，有装饰，顶端饰红羽和一幅五条小旗组成的旗帜。这是

“世界雄狮大王（'Dzam gling seng chen rgyal po）”，即格萨尔。在藏传佛教的崇拜和仪轨中，他作为一名战

神被接受，他的后面总是有凶猛的动物，是战神的特征。旗子是多闻天（Vaiśravāna）的，一种来自于阗的类

型。在围绕着骑者的云彩光晕里，可以两次观察到（在马腿中间和头盔羽旗的右侧）玛乃乃（Ma Ne ne），

“姨母”，格萨尔在天界的顾问，骑着一头白色绿鬃雪狮（蓝-绿；seng ge dkar mo g.yu ral can）。

VII. 骑青龙的年轻人。他左手握一条蛇，右手持一本书，几条蛇从他的头发中钻出。这是“弟弟（nu 'o

= nu bo）鲁珠托噶（Klu sprul thod dkar）”，格萨尔在天界的弟弟，与他同时出生（参看第III），是他的保

护神。名字的寓意：“nāga-蛇，白色缠头”，但是“thod dkar（托噶）”，“白色缠头”无疑是“'od dkar

（沃噶）”的抄写错误，意为“白光”。这个名字的形式不稳定。我们发现有鲁珠沃琼（klu sbrul 'od chung）

（“小光”）及其它各种拼写形式（参见石泰安：《岭国喇嘛版格萨尔藏族史诗》，索引，142。译注：详细

信息参见注20，以后再次引用该书时，简称《藏族史诗……》）。

VIII. 头戴白色头盔、身穿白色盔甲的武士，骑着一匹白马。佩有胸镜、弓箭的箭囊。左手握旗帜装饰的

长矛，右手持剑（？）。他被另外八位着红色盔甲的武士环绕。上面有鸟，下面有凶猛的动物。他们是“战神

九兄弟（dgra lha mched dgu）”，在藏传佛教仪轨中非常有名。这些动物（dgra lha'i spyan gzigs，战神的供品），

以真实的、喂饱了的动物的形式，在寺庙外面的走廊里，常常被发现悬挂着或排成一行，用于献祭给怖畏神

（mgon khang，护法神殿）。至于史诗中的战神，参见石泰安前引书宗教词汇，第382页。

IX．骑虎的红色女神。左手执一只正在吐绿色宝石的猫鼬（ne'u le），右手持一珠宝（nor bu）。这是

“多杰苏列玛（Rdo rje zul le ma）”。在格萨尔仪轨中，她作为长寿王出现，有着神—英雄的平和样貌（Rdo

图4，邓尼克目录中的第776号绘画（第IV幅）


Fig.4, Picture no. 776 of Collection G...(The Fourth) (photography by R.A.Stein)

图5，邓尼克目录中的第779号绘画（第V幅）


Fig.5, Picture no. 779 of Collection G...(The Fifth) (photography by R.A.Stein)

图6，邓尼克目录中的第777号绘画（第VI幅）


Fig.6, Picture no. 777 of Collection G...(The Sixth) (photography by R.A.Stein)

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warriors in red armor. Above, birds and, below, savage animals. These are “Dgra lha mched dgu,” the nine fraternal war gods, well known in the lamaist ritual. The animals (dgra lha'i spyan gzigs) often find themselves, in the form of real, stuffed animals, suspended or lined up in the exterior gallery of the temples dedicated to the terrible divinities (mgon khang). For the dgra lha in the epic, see Stein, op. cit., religious vocbulary, p. 382.

IX.-- Red goddess riding a tiger. The left hand holds an ichneumon (ne'u le) spewing a green jewel, the right hand a jewel (nor bu). This is “Rdo rje zul le ma.” She appears in the ritual of Gesar as King of Long Life, a peaceful aspect of the god-hero (Rdo rje Tshe rgyal; Prayers to Gesar [cf. supra, n. 19], III, 5a). She is there qualified as “mother” (sman btsun). She combines the traits of the third and the fourth of the Five Sisters of Long Life (Tshe ring ma; the 3rd has the ichneumon; the 4th rides a tiger). We know that the ichneumon spitting jewels is the mark of the deity of wealth.

X.-- Peaceful warrior, clothed in red, crowned with a white turban whence emerges a conch and equipped in front with a crown. He rides a white horse. His left hand holds a tray laden with jewels, while his arm supports a lance with banner. The right hand holds a flaming sword. This is “Tshangs pa dung thod,” Brahmā with conch turban, generally called Tshangs pa dkar po (dung thod can), white Brahmā equipped with a turban and conch. An important personage from the lamaist pantheon. In the epic, he is the celestial father of Don grub who will incarnate as Gesar on earth (Stein, L'épopée..., index, 159), save in the Ladhaki and Mongol versions where he is replaced by Brgya byin (Śatakratu = Indra).

XI.-- White goddess riding a blue lion with red mane and tail. His left hand holds the vase (filled with water of long life); the right hand, the mirror. This is “the sister (sring lcam) Thig le[g] ma,” Gesar's celestial sister, born at the same time as he (cf. nos. III and VII). In the epic, she bears the name Tha le 'od dkar or Tha le 'od phrom (Stein, L'épopée, index, 151; Bacot ms., 25a), “Tha le white light.” There she rides, as the celestial mother, a white lion (the same in the Prayers to Gesar, 12b; II, 9a).

The lamaist inspiration for these paintings springs clearly from these divinities. The inspiration is the same as that for the xylograph which I published and which also makes allusion to the biographical paintings (op. cit., 13). The people placed at the summit of each painting speak in the same sense. We know that, in all the Tibetan paintings, these figures indicate the spiritual lineage of meditation to which the central personage is attached.

2. The Spiritual Masters Above (HM)

I. In the center: a divinity in yab yum (with his śakti): Rin chen 'byung ldan, Ratnasambhava,“dhyānibuddha” of the South. We see that the first scenes pass among the Mon, aborigines of the South (Himalaya). On his left: Sangs rgyas ye shes (Buddhajñāna), a sage from Nālanda who was a disciple of Śāntaraks

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ita and master of Padmasambhava. On his right: 'Jam dpal bshes gnyen (Mañjuśrīmitra), contemporary and master of the preceding. He transmitted commentaries to tantras and was incarnated as Mi la ras pa.

II.-- In the center: a red divinity in yab yum: Snang ba mtha' yas (Amitābha), “dhyānibuddha” of the West. On his right: Na ga ju(?) na (Nāgārjuna), with a yellow sun. The tradition attributes to him stories and legends, notably the Vetalapañcavim

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śatikā, from which the redactors of the Gesar epic drew inspiration (cf. my book: Recherches sur l'épopée et le barde au Tibet, prepared in 1959, in the collection of l'Institute des Hautes Études chinois, ch. VIII). On his left, Rgyal ba mchog dbyangs. He was one of the disciples of Padmasambhava, a minister to Khri srong lde btsan, who obtained the siddhi of Hayagrīva (Blue Annals, II, 474). It was he who explained that he was red and that the head of a green horse emerges from his head. His name and his characteristics resemble those of Aśvaghos

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a.III.-- In the center: a divinity in yab yum: Rdo rje sems pa (Vajrasattva), “dhyānibuddha” of the East.

On his left: “the monk (dge slong) Nam mkha'i snying po (Ākaśagarbha), disciple of Padmasambhava,

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rje tshe rgyal；《格萨尔祈祷文》见注释19，III，5a）。作为一名合格的“母亲”出现（sman btsun）。她兼有

长寿五姐妹中老三和老四的特征（Tshe ring ma，老三有猫鼬，老四骑虎）。我们知道吐宝的猫鼬是财富之神

的标志。

X．平和的武士，身着红色服饰，白色缠头中出现一海螺，前面戴有宝冠。他骑着一匹白马。左手执一装

满珠宝的托盘，手臂支撑着一根带旗长矛；右手执一焰剑，这是“仓巴东托（Tshangs pa dung thod）”，海螺缠

头的梵天（Brahmā），一般称为仓巴噶波（Tshangs pa dkar po, dung thod can)，有缠头和海螺的白梵天，他是

藏传佛教万神殿中的一个重要角色。在史诗中，他是顿珠（Don grub）在天界的父亲，顿珠将在人间化身为

格萨尔（石泰安：《藏族史诗……》，索引，159）。在拉达克和蒙古保存的版本中，他被甲钦（Brgya byin）

（Śatakratu=Indra，帝释）所取代。

XI．骑红鬃红尾蓝狮子的白色女神。左手执瓶（盛满长寿水），右手执镜子。这是“姐姐（sring lcam）提列

玛（Thig le[g]ma）”，格萨尔在天界的姐姐，与他同时出生（参看第III和第VII）。在史诗中，她的名字是塔列沃

噶（Tha le 'od dkar）或塔列沃春（Tha le 'od phrom）（石泰安：《藏族史诗……》，索引，151；巴科写本，25a)，

“塔列白光”。在这里，她像天母一样，骑着一头白狮（与《格萨尔祈祷文》中一样，12b；II，9a）。

这些绘画中的藏传佛教灵感明显源自这些神祇。这种灵感与我发表的木刻画中的一样，其中也提及了传记

画（前引书13页）。每幅画顶端的人物表达的寓意一致。我们知道，在所有的西藏绘画中，这些人物暗示着与中

央主尊有关的精神传承。

二、顶部的精神上师 (上中)

I. 中央：一双身像（yab yum，伴明妃）：仁钦迥丹（Rin chen 'byung ldan），宝生佛（Ratnasambhava），

南方的“禅定佛”（dhyānibuddha）。我们看到第一个场景发生在门地（Mon），南部的土著部落（喜马拉

雅）。他的左侧：桑杰益西（Sangs rgyas ye shes，Buddhajn~ āna，佛智），是一位那兰陀寺的圣者，他是寂护

（Śāntaraks4

ita）的学生，也是莲花生的老师。他的右侧是降边歇乃（'Jam dpal bshen gnyen, Man~ juśrīmitra，文殊

友），前者的同时代人及老师。他传播密续及其注疏，化身为米拉日巴（Mi la ras pa）。

II．中央：红色双身像：无量光佛（Snang ba mtha' yas, Amitābha），西方的“禅定佛”。其右侧：龙树

（Nagaju (?) na，Nāgārjuna），旁边有一个黄色太阳。传统赋予他许多故事和传说，尤其是著名的《尸语故

事》（Vetalapan~cavim4śatikā ），格萨尔的编订者从中获得了灵感（参看我的著作《西藏史诗与说唱艺人的研

究》，准备于1959年出版，高等实用研究院系列，第八章）。左侧：嘉瓦却央（Rgyal ba mchog dbyangs），

莲花生的弟子之一，赤松德赞（Khri srong lde btsan）的一名大相，证得了马头明王成就（siddhi of Hayagrīva）

（《青史》II，第474页）。这正可以解释为什么他曾是红色以及他头上升出的绿色马头。他的名字和特征同马

鸣（Aśvaghos4

a）类似。

III．中央：双身像：金刚萨埵（Rdo rje sems dpa'，Vajrasattva）。东方的“禅定佛”。其左侧：比丘（dge

slong）南喀宁波（Nam mkha'i snying po，Ākaśagarbha），莲花生的弟子，赤松德赞统治时期（742-797/804

年）西藏禅宗的代表，宁玛巴成就者的精神之父。其右侧：哞钦噶热（Hūm chen ka ra），莲花生八相之一或

者他的上师。

IV．中央：洛本仁波切（slob dpon rin po che），“珍贵的上师”，莲花生，戴着顶端饰有鹰羽、装饰

有日月的典型性帽子（石泰安前引书第七章）。其左侧：益西措杰（Ye shes mtsho rgyal），右侧：曼达惹娃

（Mandārava），她们是莲花生的两个妻子。

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under Khri srong lde btsan (742-797/804), representative of Chan to Tibet, spiritual father of Rnying ma pa siddhas. On his right: Hūm chen ka ra, one of the eight forms of Padmasambhava or his master.

IV.-- In the center: slob dpon rin po che, “the precious master,” Padmasambhava, with his characteristic hat surmounted by an eagle feather and adorned with the sun and moon (Stein, op. cit., ch. VII). To his left: Ye shes mtsho rgyal. To his right: Man dā ra ba (Mandārava). These are Padmasambhava's two women.

V.-- In the center: a divinity in yab yum (father: green; mother: white): Don yod grub pa (Amoghasiddha), “dhyānibuddha” of the North. To his left: a lama holding a phur bu: Rdo rje bdud 'joms, contemporary of Padmasambhava, author of a song to Bsam yas. To his right: a lama holding a vajra: Pra bha ha hi.

VI.-- In the center: a red divinity dancing on a foot which crushes a man. Sword, trident and crown of skulls: Gsang ba ye shes. This is the chief of all the d

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ākinī. To her left (and below): Sgrol dkar (white Tārā). To her right: Sgro(l) ljang (green Tārā).

VII.-- In the center: a divinity in yab (blue) yum (white): Kun thu bzang po (Samantabhadra). To his left: Dga' rab rdo rje, one of the fourty-two divinities of the bar do (Tucci, Tibetan Painted Scrolls, p. 550; next to Samantabhadra). To his right: Rdo rje sems dpa' (Vajrasattva), who also appears between the second and the sixth day of the bar do (loc. cit.).

VIII.-- In the center a yab yum, both white: Rnam par snang mdzad (Vairocana), “dhyānibuddha” of the Center. To his left: the lama Bai ro tsa na (Vairocana), disciple of Padmasambhava (cf. Laufer, Der Roman..., index), a great translator. To his right: a lama crowned with Padmasanbhava's hat, holding in his right hand a star of David (which also adorns the “hat of the tantrist, zhva nag, in the masked dances 'cham): Shantin4 g Gabha (Śāntigarbha?). This is perhaps Zhi ba 'od, prince of Bsam yas (Blue Annals, p. 575, 1010), but other personages of this name do exist.

IX.-- In the center: a red divinity dancing on one foot (garland and diadem of skulls): Rdo rje pha(g) mo (Vajravarahī), the yum of Hayagrīva who, in the epic, participates at the creation of the esoteric prototype of Gesar (Stein, L'épopée..., p. 21). On his left: a red lama with a book, Lha srin bran 'khol, “conqueror of demons.” This is undoubtedly A mes Byang chub 'dre 'khol, from the lineage of Rlangs, lama of Gling (starting in the 11th century, op. cit., p. 47). To his right: lama Gu hya tsand

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a.X.-- In the center: a red divinity (It is blue from the picture--Translator's note), Rdo rje 'chang

(Vajradhara), the point of departure for the practice lineages of the Bka' brgyud pa and Rnying ma pa, the same as in the epic (op. cit., p. 47). To his left: the lama Ljan ku ma (? rdzan ku ma?). To his right: Bi ma mi tra (Vimalamitra), a siddha from India, a tantrist in Tibet (Blue Annals, 106-108).

XI.-- In the center: a blue divinity, with the head of a lion, dancing on one foot which treads on a naked man (trident, flayed skin), the d

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ākinī (mkha' 'gro) Seng gdong ma (Sim4

havaktrā), assistant to Lha mo (Devī). To her left: a lama, sitting on a bed which touches a small, naked (red) man carrying on his arm a white flayed skin: 'Brog mi Dpal ye (= Dpal ldan ye shes). He was a tantrist from the 11th century, master of Mar pa (Blue Annals, 205-210). To her right: Dha na sam kri ta.

3. Episodes from the Life of Gesar

It now remains to briefly note the subjects treated in each of the eleven paintings.I.-- This painting corresponds more or less to chapter one and a part of chapter two of the Ling

Xylograph (Stein, L'épopée...) and to the beginning of David-Neel's account (ch. 1). There we may distinguish six principal episodes.

1) The antecedents in Heaven and in the subterranean world, before the birth of the heroes. “In the land of the gods, Mon chen 'od dkar and Thos pa dga'” (Ling xyl., I, 12a). This is the man with the white turban in the house (HL). Below, people surmounted by snakes; a child clothed in white: “in the land of

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V．中央：双身像（父：绿色；母：白色）：顿约珠巴（Don yod grub pa，

Amoghasiddha，不空成就佛），北方的“禅定佛”。其左侧：一名持金刚橛（phur bu）

的喇嘛：多杰都觉（Rdo rje bdud 'joms），莲花生同时代人，一首献给桑耶寺（Bsam

yas）的歌的作者。其右侧：一名持金刚杵的喇嘛：扎巴哈合（Pra bha ha hi）。

VI．中央：一尊红色身相的神祇，单脚踩在一男人身上跳舞。剑、三叉戟和骷髅

冠：桑哇益西（Gsang ba ye shes，密智空行母），她是所有空行母的首领。她的左侧

（和下方）：卓嘎（Sgrol dkar，白度母）；右侧：卓姜（Sgro [l] ljang，绿度母）。

VII．中央：双身像，蓝父（yab）白母（yum）：衮杜桑波（Kun thu bzang po，

Samantabhadra，普贤如来）。其左侧：噶热多杰（Dga'rab rdo rje，欢喜金刚），是

中阴（bar do）四十二神之一（图齐：《西藏画卷》，第550页；普贤旁边）。其右

侧：多杰森巴（Rdo rje sems dpa'，Vajrasattva，金刚萨埵），也出现于中阴的第二至

第六天之间（前引书）。

VIII．中央一尊双身像，均为白色：朗巴囊则（Rnam par snang mdzad，

Vairocana，大日如来)，中央的“禅定佛”。其左侧：喇嘛贝若遮那（Bai ro tsa na，

Vairocana），莲花生的弟子（参看劳夫：《王后箴言》索引），一位伟大的译师。

其右侧：一名头戴莲花生帽的喇嘛，右手持大卫星（六角星）〔在面具舞羌姆

（'cham）中，也用于装饰密教徒的帽子，黑帽（zhva nag）〕：香廷噶巴（Shanting

gabha，Śāntigarbha?），这可能是喜瓦沃（Zhi ba 'od），桑耶的王子（《青史》，第

575、1010页），但是，其他人也有同样的名字。

IX．中央：一尊红色身相的神祇，单脚舞蹈姿（骷髅花环和头冠）：多杰帕

莫（Rdo rje pha(g) mo，Vajravarahī，金刚亥母），马头明王（Hayagrīva）的明妃

（yum），在史诗中，参与了格萨尔密教祖型的创造（石泰安：《藏族史诗……》，

第21页）。其左侧：一名持经书的红色喇嘛，拉孙珍可（Lha srin bran 'khol），“降

魔者”，这无疑是阿美·绛曲则可（A mes Byang chub 'dre 'khol），来自朗氏世系

（Rlangs），岭国的喇嘛（始于11世纪，前引书第47页）。其右侧：喇嘛古雅扎达

（Gu hya tsand4

a）。

X．中央：一尊红色身相的神祇（从图中看，应为蓝色。——译注），多

杰羌（Rdo rje 'chang，Vajradhara，金刚持），噶举派（Bka'brgyud pa）和宁玛派

（Rnying ma pa）修行传承的出发点，与史诗中的描述一样（前引书第47页）。其

左侧：喇嘛坚古玛（Ljan ku ma?, rdzan ku ma?）。其右侧：毗玛密扎（Bi ma mi tra，

Vimalamitra，无垢友），来自印度的一名成就者，在西藏的一名密教徒（《青史》，

第106-108页）。

XI．中央：一尊蓝色身相的神祇，狮首，单脚舞蹈姿，踩一个裸体男人（三叉

戟，象皮），空行母（mkha' 'gro，d

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ākinī）森冬玛（Seng gdong ma，Sim4

havaktra，

狮面空行母），神女（Devī）的助手。其左侧：一喇嘛，坐在一张床上，一个较小

的、裸体的（红色）人，胳膊上拿着白色剥皮，摸着床：卓弥贝耶（'Brog mi dpal ye

= Bpal ldan ye shes，贝丹益西），他是一位11世纪的密教徒，玛尔巴的上师（《青

史》，第205-210页）。其右侧：达那桑智达（Dha na sam kri ta）。

图7，吉美博物馆第21467号绘画，曾为邓尼克目

录中的第774号（第VII幅）

Fig.7, Picture no. 21467 of Musée Guimet. Before it was no.774 of Collection G ( The Seventh)

图8，邓尼克目录中的第778号绘画（第VIII幅）（拍照：石泰安）

Fig.8, Picture no. 778 of Collection G...(The Eighth)(photography by R.A.Stein)

图9，邓尼克目录中的第771号绘画（第IX幅）（拍照：石泰安）

Fig.9, Picture no. 771 of Collection G...(The Ninth)(photography by R.A.Stein)

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the nāga, the son of the nāga Nor bu dri med” (HL). Nearby, three men with white turbans (HM). 2) The antecedents on the earth. The tribes of Gling near to which the hero is born, the the feast

prepared. In one house, three men with white turbans (HR): the three kings of religion. Below, the dragon which is the tutelary deity (dgra bla) of the Sdong, a tribe of Gling. Below, the preparations for worship (bsangs) rendered to the mountain in order to request the birth of a chief (Ling xyl., II, 3b-6b). To the right, in the center, the srid pa Ye smon rgyal po (first ancestor) and his descendants, ancestors of the Tibetans, the Hor and the Chinese. Further below, four of the primitive tribes of the Tibetans, Dbal, Sga, 'Bru and Lha ( =Lga)(ML). Below, up to the penultimate scene of LR, the adventures of the ancestor of Gling, Chos la 'phel and the three women from whom descend the chiefs of the three lineages of Gling. The beginning of this genealogy, from Ye smon rgyal po, is identical to that of the Rlangs family, revealed in the Rlangs po ti bse ru.

3) The war of Gling against 'Gog and the capture of 'Gog mo, future mother of Gesar (Ling xyl., II, 9a-17b). A small scene placed between LL and LM: four horsemen behind the rocks. On the left, a woman behind a white cow yak trailed by a horseman.

4) The birth of the hero, then called Jo ru, and his exploits of the first seven days (subjugation of various demons; Ling xyl., II, 28a, 30b-32a, 35a-45b). These scenes occupy ML and LM. We see, above, the mountain of Stag ri's birth. The hero is a boy dressed in white and capped with a white crown surmounted by plumes (cf. Stein, Recherches..., ch. 7). The birth is depicted in the great tent. To the left, the child slaughters with an arrow three bird-demons. Below, in the tent, Rgya za, the woman of the hero's wicked uncle, wishes to poison him, but the blaze which emanates from his body warns a minister. Next, in a rock cave, the heretical sorcerer is vanquished by Jo ru.

5) Expulsion of Jo ru and his mother. They pass by his future father-in-law (a pledge of betrothal). Life in exile. Scenes scattered over LL (initially the bottom) and between LM and LR. Furthest down and to the left, Jo ru and his mother, en route to exile, resting seven days with Skya lo. Above, Jo ru plays a trick on his future fiancée 'Brug mo. Between LM and LR: the child kills marmots and his mother is spading. They feed on Potentillas and the flesh of the marmots they have accumulated. The child with a lasso on the house: he obliges passers-by to pay him a toll.

6) The three final scenes from the bottom (LM, LR) seem to represent the taking possession of the land of exile (Rma yul) by Jo ru. He receives the homage (to the left) of the Chinese merchants which he protects from brigands.

II. -- This painting confines itself to presenting the principle personages of Gling with their castles. The names of the chiefs and the castles are indicated. Under the central figure, at LM, the grand castle Bsam 'grub Stag rtse where is found 'Dzam gling Seng chen rgyal po, “the king Great Lion of the World,” that is to say Gesar, with his father and his entourage.

III. -- The exploits of Jo ru (the young Gesar) from the age of two to seven years. He subjugates different “castles,” each a custodian of a category of cultural property, and distributes their contents to the warriors of Gling.

1) 2nd year, distribution of goats from the “castle of goats” (Ra rdzong; HL).2) 3rd year, distribution of gold from the “castle of gold” (Gser rdzong; HR).3) 4th year, subjugation of various antagonists (ML, LL). Transformed into a raven, Jo ru gives a

false oracle to his uncle (and adversary) Khro thung in order that he go hunting for yaks. This scene is placed under that of the subjugation of the goddess (lha mo or klu mo) A stag, a sort of wild amazon from the Northern plains. She later becomes Gesar's friend and aids him in his battles (the hail clouds, at the bottom of HL). We see her, on horseback, firing a bow. Further down (ML), she kills the wild demonic yak Khang [= Kham] pa ru ring . The history of Khro thung, coming to attend the hunt for the yak, is reprised below (LL). The horses and deer cross the river. Jo ru has crossed the Yellow River (Rma chu) with Khro thung and his nine sons. Eight sons drown. We see Jo ru draw his uncle from the water.

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三、格萨尔传记片段

现在我们简要注明十一幅画中每一幅所描绘的题材。

I．这幅画或多或少地对应于岭地木刻版的第一章及第二章的一部分（石泰安：《藏族史诗……》）和大

卫-妮尔（David-Neel）记叙的开端（第一章），这里我们可以辨别出六个主要的片段。

1）英雄诞生前，天界及地下世界的祖先。“在神的家乡，孟钦俄噶（Mon chen 'od dkar）和托巴噶（Thos

pa dga'）”（岭地木刻版，I，12a），这是在房子里面有着白色缠头的人（上左）。下方，人们头顶有蛇；一

个身穿白衣的小孩：“在龙的家乡，龙王罗布智美（Nor bu dri med）的儿子”（上左）。旁边，三位男人有

白色缠头（上中）。

2）人间的祖先。英雄诞生地附近的岭国各部落，准备好的宴会。在一座房子里，三位有着白缠头的男人

（上右）：宗教三法王。下方，龙，是岭国部落之一董氏家族（sdong）的战神（dgra bla）。再下，为了请求

一位首领的诞生，作祭拜山神的准备（bsangs）（岭地木刻版，II，3b-6b）。其右侧，中央，司巴·益孟嘉布

（srid pa Ye smon rgyal po，第一位祖先）及其后裔，是藏族、霍尔（Hor）和嘉族的祖先。继续向下，藏族的四

个原始部落，韦（Dbal）、噶（Sga）、珠（,Bru）、拉（Lha [=Lga]）（中左）。向下，直到下端右侧倒数第二个

场景，是岭国祖先们的历险经历，从曲拉潘（Chos la 'phel）和三位妃子繁衍出了岭国三支系的首领。这一谱系

的开端，始于益孟嘉布，与《朗氏家族史》（Rlangs po ti bse ru）中揭示的朗氏家族的谱系一样。

3）岭郭（,gog）大战，格萨尔未来的母亲郭姆（'Gog mo）被抓（岭地木刻版，II，9a-17b）。下左与下中之间

的一个场景：岩石后面有四位骑马的人。左侧，一位女人在一只白色母牦牛后面，后面跟随一位骑马的人。

4）英雄诞生，被命名为觉如（Jo ru），以及他前七天的功绩（降伏各种妖魔；岭地木刻版，II，28a，

30b-32a，35a-45b）。这些场景占据了中左和下中的空间。在上面，我们可以看到达日（Stag ri）诞生的山

脉。英雄是一位身穿白衣、头戴羽饰王冠的男孩（参看石泰安：《西藏史诗与说唱艺人的研究》第七章）。诞

生的场景被绘在一个大帐篷里。其左侧，小孩用箭射杀三只鸟魔；下面，在帐篷里，嘉萨（Rgya za），英雄的

恶叔叔的老婆，想毒死他，但他身上发出烈火警告一名大臣。旁边，在一个岩穴里，外教巫师被觉如征服。

5）觉如和他母亲被流放。他们经过了他未来的岳父家（订婚誓约）。流放的生活，场景散布在底部左侧

（从底部开始）和底部中间与底部右侧之间。最下端左侧，觉如和他母亲，在流放的路上，在嘉洛（Skya lo）

停留七天。在上面，觉如作弄他后来的未婚妻珠牡（'Brug mo）。在底部中间与右侧之间：小孩在捕杀旱獭，

他母亲在用铲子翻地，他们食用他们储存的旱獭肉及委陵菜。小孩拿着套索站在房顶：他强迫过往的人向他付

过路费。

6）从底部开始的最后三个场景（下中，下右），似乎描绘觉如取得了对流放地（Rma yul，玛域）的拥有

权。他正在接受那些因受他保护而免于盗匪侵害的商人们的敬意（其左侧）。

II．这幅画仅仅介绍了岭国的主要人物及他们的城堡。首领和城堡的名字都被标注了出来。中央主尊的下

面，底部中央，是大城堡桑珠达孜（Bsam 'grub stag rtse），“世界雄狮大王”，即格萨尔，就在这里，与他的

父亲以及眷属们一起。

III．觉如（年轻的格萨尔）两岁到七岁的功绩。他征服了不同的“宗”，每个宗都监护某一类的文化财

富，他将这些财富分给岭国的将领们。

1）第二年，分配“山羊宗”的山羊（Ra rdzong；上左）。

2）第三年，分配“金子宗”的金子（Gser rdzong；上右）。

3）第四年，征服各种对手（中左，下左）。他变成乌鸦向他的叔叔（及对手）晁同（Khro thung）传递

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4) Under the central image (LM). Subjugation by Jo ru of the “castle of the khyung (garud4

a)” of Sga sde [=bde]. The khyung is shot down and its cadaver crushes Khro thung with its enormous weight.

5) Scenes under 2) (HR). Jo ru's 5th year. Subjugation of the “castle of the cow-yaks” ('Bri rdzong) of Lcags mo (region of the Ngoloks on the Upper Yellow River) and distribution to these cows.

6) Below (MR), 6th year, subjugation of the “castle of crystal” (Shel rdzong) of Mount Ti se (Kailāsa) and the earth god, a nine-headed goat. Distribution of crystal.

7) Below (LR), 7th year (reading from bottom to top), subjugation of the “castle of barley” (Nas rdzong) of 'Dan ma and distribution of the barley (eight sacks in the assembly presided over by Jo ru on a throne). Jo ru, crowned and dressed in white, often sets hand to ear, exactly like Mi la ras pa and other“inspired”poets. This is so he hears the counsel of his tutelary divinities (the maternal aunt, Ma ne ne, and the sister; cf. supra, iconographie, no. XI). The question of this attitude of Jo ru and of his costume is treated at length in my book (Recherches..., ch. VII).

IV. -- Jo ru's 8th and 9th year. The order of episodes is different from that of the Ling xyl., but approaches the version from the Bacot ms. In the first work, Jo ru is expelled to the land of Rma, there he establishes himself as master in his 8th year, obliges the chiefs of Gling to seek his protection and distributes the fiefs to them. Despite this, he continues to live in exile. The race which makes him accede to the throne only takes place in his 12th year (David-Neel, in the 13th year). Yet, in the Bacot ms., the race is placed at the age of eight years, on the occasion of a struggle for the throne. In our painting, we can distinguish the following episodes.

1) Struggle over the throne of Gling which is transferred to Jo ru's place of exile , in Rma smad, when he is eight years old. Jo ru plays dice with his uncle Khro thung, and wins (in the tower-house, HL). Installed on the throne, he assists with the struggle between Khro thung and Zhal lu (his half-brother). The throne is transferred to Rma (HL-ML). We see him, below, in the mountain, surrounded by offerings.

2) To the right and below (between ML and LM), Jo ru is surrounded by his comrades, the mendicants from Tibet, India, China, etc., and the chief of Gling, Spyi dpon, decides that a race will be held.

3) We see this race at the bottom (LL, LM, LR). The women assembled at the “hill of the gods” (lha dil) attend the spectacle (Ling xyl., III, 71a ff; Stein, L'épopée..., p. 117). Horsemen are lined up all along the lower border.

4) In Jo ru's 9th year, he subjugated the “castle of sheep” of Bal (Nepal?; HR, MR and upper part of LR). First, at the top, he tames the “nine red-faced Yama brothers” (Ggin rje ngo mar spun dgu) in the mountain of Bal. Then (to the right), he surmounts another obstacle caused by Dal sgron (a woman). She submits. Below, between HR and MR, Jo ru, hand to ear, listens to the prediction on the taking of the sheep. Further down (MR), Spyi dpon explains how to manage the taking.

5) Some scenes placed below and to the left of the last image of sheep (LM-LR) concerning the capture of horses. It is not clear what this refers to. It might be 'Brug mo's search for Jo ru's horse (we see her next to the white tent in which Jo ru executes a rite for his father-in-law (Skya lo).

V. -- Jo ru's 10th through 12th years. Five great episodes are recognizable.1) (HL, ML). When he is ten years old, Jo ru procures gold for his country. The nāgī of the lake

Ma dros (Manasarovara), emerges from the water, offering him a box of gold (gser sgam). His divine counselor, Gnam sman Dkar mo, on a white lion, counsels him. Below, the assembly of Gling surround the “box of gold” which he distributes.

2) Partially nested in the preceding scenes, an expedition to the land of the North (Byang, HL, HM and ML). Jo ru finds himself at the edge of the water with three women from Byang. To the right, we see him in the magical palace of the king of Byang(HM). From his head emanates a cloud (HL) containing five people (the first two with the heads of a horse and a rat). These are the earth gods of Rma (Rma ri

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假神谕，让他去狩猎牦牛。这一场景绘于征服神女（lha mo，神女或klu mo，龙女）阿达（A stag）的下面，这

名野蛮的女将来自北部平原，她后来成为了格萨尔的朋友并在战斗中帮助他（冰雹云，顶端左侧的下面）。我

们看到她，骑在马背上，正在拉弓射箭。继续向下（中左），她杀死野魔牛康巴如仁（Khang〔=Kham〕pa ru

ring）。晁同的故事，他来参加狩猎牦牛，在下面（下左）得以继续。一些马和鹿正在过河，觉如和晁同以及

他的九个儿子穿越黄河（Rma chu），八个儿子溺水，我们看到觉如正把他的叔叔从水中拉起。

4）在中央主尊下面（下中）。觉如征服了噶德（Sga sde [=bde]）“大鸟宗”（khyung）。大鸟被射下，

他奇重的尸体压翻了晁同。

5）在场景2）下面（上右）。觉如的第五年，征服甲莫（Lcags mo）“母牦牛宗”（'Bri rdzong）（黄河

上游的俄洛地区Ngoloks），并分配这些牛。

6）在下方（中右），第六年，征服底斯山（Mount Ti se，冈底斯山）“水晶宗”（Shel rdzong）和世间

神——一只九头山羊。分配水晶。

7）在下方（下右），第七年（从底部向上读），征服丹玛（'Dan ma）“青稞宗”（Nas rdzong）并分配

青稞（由坐在宝座上的觉如主持的大会上有八个袋子）。觉如头戴王冠，身穿白衣，习惯地把手放在耳朵边，

正如同米拉日巴和其他“有灵感”的诗人那样。这是他在听他的保护神（姨母，玛乃乃和姐姐；参见上文，图

像第XI）的建议。觉如的这种姿态和他的服装问题在我的书中有详细的研究（石泰安：《西藏史诗与说唱艺人

的研究》第七章）。

IV．觉如的第八年及第九年。场景的顺序与岭地木刻版的不同，但是接近巴科写本的版本。在第一本著作

中，觉如被流放到玛地（Rma），在那里，他八岁时确立了自己的领袖地位，迫使岭国的首领寻求他的保护，

并向他们分封封地。尽管如此，他继续过着流放生活。使他登上王位的赛马比赛在他十二岁时才发生（大卫-

妮尔认为是十三岁）。但是，在巴科写本中，赛马发生在他八岁时，一场争夺王位的斗争之际。在我们的画面

中，我们可以辨认出以下场景。

1）争夺岭国王位的斗争转移到了觉如的流放地，在玛麦（Rma smad），当他八岁的时候，觉如同他叔叔

晁同掷骰子，他赢了（在碉房里，上左）。坐在王位上，他观看了晁同和协鲁（Zhal lu，他的异母兄弟）的争

斗。宝座被转移到了玛地（上左—中左），我们看到他，在下面，在山里，被供品围绕。

2）其右侧和下面（中左和下中之间），觉如被他的同伴们，来自藏地、汉地和印度等地的乞士们围绕

着，岭国的首领，总管（原文为spyi dyon，应为spyi dpon——译注）决定举行赛马。

3）我们在底部看到了这场赛马（下左、下中、下右）。女人们集合在“众神之山”上（lha dil）观看赛马

（岭国木刻本，III, 71a以下；石泰安：《藏族史诗…》，第117页）。骑士们都沿着底边排成一行。

4）觉如九岁时，他征服了柏（Nepal，尼泊尔？）的“绵羊宗”（上右、中右和下右的上面部分）。首

先，在顶部，他在柏地的山中降伏了“红面阎魔九兄弟”（Ggin rje ngo mar spun dgu）。然后（在右侧），他

战胜了另外一个由代珍（Dal sgron，一名女性）制造的障碍，使她臣服了。在下方，上右与中右之间，觉如，

手放在耳朵边，听取夺取绵羊的预言。再向下（中右），总管解说如何夺取绵羊。

5）在最后一个绵羊形象的下方和左侧布置的几个场景（下中—下右），与马的捕获有关，不清楚这指的

是什么，有可能是珠牡为觉如寻马（我们看到她在一个白色帐篷旁边，帐篷里面觉如在为他岳父（Skya lo，嘉

洛）举行一个仪式。

V．觉如十至十二岁。可以辨认出五个场景片段。

1）（上左，中左）。觉如十岁时，为自己的国家设法获取黄金。玛卓湖（Ma dros，Manasarovara）的龙女

（nāgī），从水中现出，向他献上一箱黄金（gser sgam）。他的天界顾问，朗曼噶姆（Gnam sman dkar mo）骑

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srid pa'i gzhi bdag) who “accompany” the castle to Gling. Before him, the daughter of the king of Byang confers a treasure on him. Further down, we see Jo ru flying and holding in his hands the green (iron) balls in order to kill the thirty chiefs of Byang. Below (ML), the thirty “brothers” of Gling kill these thirty chiefs and, led by Jo ru, remove the spoils of horses, cow-yaks, etc. Below, first (on the left), 'Brug mo is bound up by the chiefs of Byang and (on the right) Jo ru comes to rescue her. Then (on the right), Jo ru offers a scarf to the goddess Grub pa'i rgyal mo in order to request a “knot of longevity” (tshe mdud).

3) Reaching eleven years, Jo ru invades the “castle of the horses” of Zi ling 登︽滇爸︽ (Xi ning 西寧) in China. The prophecy on this subject is announced by the crow on the roof of the tower-house (to the right of the black tent; between ML, LL and LM). The subjugation is seen between MR and LR. The woman of this land, Sgrol (or Sgron) dkar, is invited to Gling (MR, house and white tent), whereas the man “from China,” Lhu khri, is killed (below, on the ground; Jo ru extends his hand). On the left, Jo ru conducts the woman and the horses to Gling. Lower down, he rides the marmots transformed into lions. Below, Jo ru, on the ground, has been struck by the horse which fled. Sitting down, he invokes the gods in order to succeed in capturing his horse Rkyang rgod. It is his woman, 'Brug mo, who captures it with a lasso (to the right; LR). It must return to the middle (between MM and LM) in order to see Jo ru on the throne proceed with the distribution of horses. In the Bacot ms., the conquest of the “castle of the horses” of Zi ling where reigns Klu khra (here Lhu khri) is assigned to the 11th year, the 12th year being dedicated to the conquest of the “castle of armor” of the A bse.

4) 12th year, subjugation of the “castle of armor” of the A bse (HR, MR). This is the end that we see at the very top: the distribution to the assembly presided over by Jo ru. In the struggle, Jo ru is transformed into a tree (to the left). We then see him (further down) in the castle. His warriors, notably his uncle, fight around the castle. Below, to the right, Jo ru kills with an arrow a lion named “motley man-lion” (Mi stag khra bo). On the left, he is transformed into the tiger which threatens to devour him: in order to test his half-brother Zhal lu. Within the glacier walls, on the right, he arrives by crossing the mountains on his red whip which serves as a hobbyhorse. His thirty warriors remained confined there for seven days.

5) The rest of the scenes seems to refer to the race (that the Bacot ms. places at the 8th year, but the Ling xyl. at the 12th): LL, ML, LR. As Jo ru lives in exile, his woman 'Brug mo must go and seek him out. In order to test her, he transforms into Nyi ma rgyal mtshan of Be ri (Stein, L'épopée..., pp. 96-102). Here it is the scene of the horseman and the woman with a scarf (LL). To the right, she seizes his horse. Jo ru threatens her with his slingshot (on the right). He shows her his glorious form (on the right): lying down, hat next to him, holding the sun at the end of his finger. Above, his woman is with him in the middle of the marmots which serve as his food in exile. At the bottom of the tableau, the series of horsemen which are undoubtedly meant to participate in the race.

VI. -- In most of the episodes, it is necessary to describe two groups of people. The entire top section, besides the divinities already described, is occupied by ten protectors of Gesar. These are, from left to right: 1) Ma Lab sgron (alias Ma gcig Lab sgron ma, the initiatrix of the feminine lineage of gcod, now a d

4

ākinī; born in 1055), with d4

amaru and bell; 2) (above) The sacred mountain of Rma Spom ra, carrying a yellow pot and a red serpent; 3) (below) The divine protector of the man Pho lha 'Od ldan; 4) The sacred mountain Ge mdzo, carrying a flag (this is the supernatural father of Gesar); 5) The warrior god Dgra lha, red man and horse (Mi rta dmar po , perhaps an error for Mi stag dmar po, the Mitag marpo of David-Neel, pp. 42, 163, 202); 6) Bde mchog dkar po (white Sam

4

vara), carrying a red flag and a beribboned arrow (Gesar's esoteric procreator; cf. Stein, L'épopée..., p. 21); 7) (below) The (celestial) younger brother, nu bo Klug phrug 'od chung, holding a violet serpent in his left hand (cf. supra, list of the central divinities, no. VII); 8) (above) The celestial counselor Gnam sman dkar mo, riding a green dragon which holds a pink ball in its left foot; 9) (below) The celestial aunt (sru mo) Rgod chung dkar mo, riding a white bird; 10) The mi mo Gnam chung sngon.︽

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着白狮，向他授记。下方，岭国集会，围着他分配的“金箱”。

2）部分嵌入前面的场景，一场北方地区（Byang，羌）的探险（上左、上中和中左）。觉如发现自己在水

边，那里有来自羌地的三位女人。其右侧，我们看到他在羌王的魔幻王宫里（上中），从他头顶化现出一朵白

云（上左），里面有五个人（前两位是马头和鼠头），他们是玛地的世间神（Rma ri srid pa'i gzhi bdag），“陪

伴”着城堡去岭国。在他前面，羌王的女儿向他敬献财宝。再向下，我们看到觉如在飞翔，手拿绿（铁）球，

去斩杀羌地的三十位首领。下面（中左），在觉如的带领下，岭国三十“兄弟”杀了三十位首领，带走马、

牦牛等战利品。下面，首先（在左侧），珠牡（'Brug mo）被羌地首领捆绑，（在右侧）觉如前来救她。然后

（在右侧），觉如向女神珠贝杰姆（Grub pa'i rgyal mo）敬献哈达以求取“长寿结”（tshe mdud）。

3）到了十一岁时，觉如攻打嘉地西宁的“马宗”。碉房顶上的乌鸦告知了这一预言（黑色帐篷的右侧；

中左、底左及底中之间）。征服的画面在中右和底右之间。这个地方的女人，卓嘎〔Sgrol（或Sgron）dkar，或

仲嘎〕受邀到岭国（中右，房子和白帐篷），而“汉地”的男人，鲁赤（Lhu khri）被杀（下方，地上；觉如

伸着手）。在左边，觉如带着女人和马匹回岭国。再向下，他骑着旱獭变的狮子。下方，觉如被逃跑的马踢倒

在地，他坐起来祈求神灵帮助捕获他的马——江廓（Rkyang rgod，赤兔马）。是他的妻子，珠牡用套马索捕

获了它（其右侧；底右）。必须再回到中间（在中中与下中之间）来看坐在王座上的觉如分配马匹。在巴科写

本中，对西宁（Zi ling）“马宗”的征服，统治鲁查（Klu khra，这里是鲁赤Lhu khri）是在十一岁时，十二岁

时则是对阿赛（A bse）“铠甲宗”的征服。

4）十二岁，征服阿赛“铠甲宗”（上右，中右）。这是我们在顶部看到的结尾：觉如主持的分配大会。

在战斗中，觉如变化为一颗树（左侧）。我们看到他在城堡中（向下一点），他的将士们，尤其是他的叔叔，

在城堡四周作战。下边，右侧，觉如用箭杀死一只叫作“杂色人虎”（Mi stag khra bo，弥达叉波，）的狮子。

在左侧，他变化成那只威胁要吞吃他的老虎：为的是考验他的异母哥哥协鲁。在冰川墙内，右侧，他骑着他的

红色马鞭当作竹马，翻山越岭，他的三十将士已经被困在那里七天了。

5）剩余的场景看起来指的是赛马（巴科写本是放在八岁，但岭国木刻本是放在十二岁）：下左、中左及

下右。由于觉如在流放中，他的妻子珠牡必须去找他。为了考验她，他变化成柏热（Be ri）的尼玛坚赞（Nyi

ma rgyal mtshan）（石泰安：《藏族史诗……》，96-102页）。这里是骑马人和披巾女人的场景（下左），其

右侧，她抓住他的马，觉如用他的弹弓威胁她（右侧）。他向她展示他的光辉形象（右侧）：躺着，帽子放在

旁边，指尖托着太阳。在上面，他的妻子和他在旱獭之中，旱獭是他流放时的食物。在画面的最底端，无疑是

参加赛马的骑手们的队伍。

VI．在大多数的场景中，需要描绘以下两组人物。整个顶端，除了已经描述过的神，被格萨尔的十个保

护神所占据，他们是（从左至右）：1）玛莱珍（Ma lab sgron）（又名玛吉莱卓玛，Ma gcig Lab sgron ma，

角（gcod）系母系的女创始人，现在是一位空行母，生于1055年），手持鼓（d4

amaru）和铃；2）（上面）

玛奔热神山（Rma spom ra），拿一个黄色罐子和一条红蛇；3）（下面）男性保护神颇拉沃丹（Pho lha ,od

ldan）；4）神山格佐（Ge mdzo），拿一面旗帜（这是格萨尔的超凡父亲）；5）战神，红色的人和马（弥达

玛波，Mi rta dmar po, 可能是Mi stag dmar po的误写，大卫-妮尔的Mitag marpo，第42、163、202页）；6）德

却噶布（Bde mchog dkar po，白胜乐white Sam4

vara），拿着一面红旗和一支饰有缎带的箭（格萨尔的密教父

亲；参看石泰安：《藏族史诗…》，第21页）；7）（下方）（天界的）弟弟鲁珠沃琼（nu bo Klu phrug 'od

chung），左手拿一条蓝紫色的蛇（参看前文中央尊神名录，第VII）；8）（上方）天界顾问朗曼噶姆（Gnam

sman dkar mo），骑一条青龙，左爪中抓着一个粉红色的球；9）（下面）天界姨母（sru mo）郭琼噶姆（Rgod

chung dkar mo），骑一白鸟；10）弥姆南琼恩（Mi mo Gnam chung sngon）。

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The group of twelve people who we see on the right of the central figure are the women, the lamas and the chiefs of Gling making offerings to Gesar. The episodes may be divided into six groups:

1) The entire lower register has to do with the horse race (LL, LM, LR). On the right, on both sides of the house, Jo ru is listening, then (to the right) once again alongside the mendicant Sgu ru whom he makes fall from his horse (Stein, L'épopée..., p. 125). On the other side, the stūpas (see the end of episode 5). 'Brug mo offers him his whip Bsam pa'i don grub and explains the “great secrets of the excellent horse” (mdo ba'i gsang chen; op. cit., p. 115). At the very bottom of the painting, the horsemen and, to the right, the demons of the hill where the race occurs, who desire to prevent it, but whom Jo ru subjugates. They welcome him under the forms of seven women (op. cit., p. 124).

2) Retreat after his enthronement. Jo ru has become the king Gesar. He is thirteen years old and is engaged in religious works (clothed as a lama; HL, ML). He erects a thousand statues of Buddha (1st house, we can see eleven of them), performs a 'bum (Prajñāpāramitā) in gold and silver (2nd house, first floor up, the Kanjur) and an offering of armor and arms (2nd house, ground floor). To the right, before the white tent Mthong ba kun smon, he preaches (chos kyi 'khor lo bskor). Above, in the clouds, three of his women ('Brug mo, Me za and Gnas sman) offer a sacrifice of purification (bsang ; vase and flags). Further down, in the big house (ML), he receives the oracle that he ought to conquer the “demon” (bdud, that is to say Klu btsan, demon of the North, who robbed his woman Me za). Under the house, we see him, in the “North without limits,” encounter the daughter of the North, Byang Mi khri bu mo Dge mtsho.

3) The expedition against Klu btsan (the Lutzén of David-Neel, ch. IV, pp. 120ff.): HR, MR. A group of three women and four men, friends of Gesar, escort him in the North. On the right, within the confines of the mountains, a last meeting before parting (Gesar is in arms). Below, Gesar, having arrived at a dead end in the pass of the North, is kneeling on the ground. His “celestial aunt” (sru mo) Rgod chung dkar mo arrives on her white bird in order to invite Ma Lab sgron (cf. supra, the protectors). The latter transforms herself into a wild yak (to the left) who shows the way to Gesar. He arrives at the pass marked by a pile of stones (obo) surmounted by white flags, and there encounters the three ministers of the demon, one from India (white), one from China (black) and one from Tibet (blue). Under this scene (between MR and LR), we see the three “life-essence birds” (bla bya) of Gling. A little below and to the right arrives a horseman on a black horse saddled with human skin. This is the demon Klu btsan. To his right is his castle, the towers of which are adorned with bleached stag horns and which bears the name: bdud mkhar Sha ru 'brug rdzong lcags ra smug po (“chamber of brown iron”; cf. Stein, L'épopée..., p. 107, the bdud mkhar Sha ru gnam rdzong). At the interior of the castle stands Me za who aids Gesar in slaying the demon. Below, Gesar pursues the demon to the “eagle rock” of Kong po.

4) Departure from the land of Klu btsan (between MM and LM). The woman of the demon (who was his first) selected Gesar at her home by means of a drink which makes him forget his country. The three birds of Gling that we see further up are coming to warn Gesar. They wake him from his oblivion by a “bath” (khrus) and a benediction (byin rlabs) fallen from Heaven (events which are not represented in the painting). We see here, below the white mountains, Gesar's celestial sister, on a lion, recalling to him his horse Rkyang lu, long since forsaken, and making a rite of purification (khrus gsol) on the armaments that he ought to take up again. Below, before the mountains, Gesar kills the “demon god”(bdud lha) transformed into a dog (to the left) as well as the brothers and the sister of the demon (to the right). Between this scene and the castle of the demon: Gesar with his flag on the return journey to Gling. Below, Gesar, transformed into a doctor (lha rje), sings to the female demon (bdud mo) with a head of iron and copper lips. Below, two stūpas, white and black, flanked by flags, are there to subdue the demon.

5) Return to Gling: LL (cf. David-Neel, pp. 137-150). During his absence, Khro thung chases out his mother and father. Transformed into a young monk, Gesar encounters his mother, expelled to Rma

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我们在中央主尊右侧看到一组十二个人，有女人、喇嘛和岭国首领，在向格萨尔敬献贡品，这些场景或许

可以被分成六组：

1）整个底部与赛马有关（下左、下中、下右）。右侧，在房子的两边，觉如在倾听，然后（其右）再

一次与乞丐古如（Sgu ru）一起，后者被他拉下了马（石泰安：《藏族史诗…》第125页）；另一侧，几座佛

塔（参见第5场景结尾），珠牡向他献上马鞭桑巴顿珠（Bsam pa'i don grub）并解释“这匹骏马的重大奥密”

（mdo ba'i gsang chen；上引书，第115页）。在画面的最下方，骑士及其右侧，赛马举行地的山精们妄图阻止

赛马，但被觉如降伏了，她们以七个女人的样子向他致意（上引书124页）。

2）登位后的静修。觉如成为格萨尔王，他当时十三岁并致力于宗教事业（着喇嘛装；上左，中左）。

他塑造了一千尊佛像（第一座房子里，我们可以看到其中的十一尊佛像），用金银汁书写《十万般若经》

（Prajn~ āpāramitā）（第二座房子里，第二层，甘珠尔），祭献盔甲和武器（第二座房子，第一层）。其右侧，

在白色帐篷通瓦贡曼（Mthong ba kun smon）前，他在说法（chos kyi 'khor lo bskor，转动法轮）。上面，在云

中，他的三个妻子珠牡、梅萨和朗曼（'Brug mo, Me za, Gnas sman）在作清净供养（bsang；罐子和旗子）。再

向下，在大房子里（中左），他接受神谕，应该去伏“魔”（bdud，指的是鲁赞Klu btsan，北方之魔，掠走了

他的妻子梅萨）。在房子下面，我们看到，在“茫茫无际的北方”，他遇到了北地弥赤姑娘格措（Byang Mi

khri bu mo Dge mtsho）。

3）远征鲁赞（大卫-妮尔书中的鲁赞，第四章，第120页及以后）：上右，中右。一组三女四男和格萨尔

的朋友们组成的队伍，陪同他去北方。右侧，在大山之中，离别前最后一次会议（格萨尔全副武装）。下面，格

萨尔在北方山口陷入绝境，跪在地上，他的“天界姨母”（sru mo）郭琼噶姆（Rgod chung dkar mo）为了邀请

玛莱仲（参见前面提到的保护神），驾白鸟来到。后者变化成一头野牦牛（其左侧）为格萨尔指路。他来到了

一个山口，山口有插着白旗的石堆（obo），在那儿他遇见了魔王的三个大臣，一个来自印度（白色），一个来自

嘉地（黑色），一个来自藏地（蓝色）。在这个场景下方，（中右与下右之间），我们看到岭国的三只“寄魂鸟”

（bla bya）。再下方一点及其右侧，来了一位骑着黑马的人，配有人皮鞍，这是魔王鲁赞，其右侧是他的城堡，顶

部装饰有漂白的鹿角，写有名字：魔国城堡夏如珠宗甲热穆布（bdud mkhar Sha ru 'brug rdzong lcags ra smug po）

（棕色铁房，参见石泰安：《藏族史诗…》第107页，魔国城堡夏如南宗（bdud mkhar sha ru gnam rdzong）。在城

堡里面站着梅萨，她帮助格萨尔杀死魔王。下面，格萨尔将魔王追至贡布（Kong po）的“鹰岩”。

4）离开鲁赞的地方（中中与下中之间）：魔王的妻子（她是他的第一个妻子）通过让格萨尔服用药酒，

使他忘记自己的国家而留在她的身边。再往上面，我们看到岭国的三只鸟前来警告格萨尔。它们用一种“沐

浴”（khrus）和天降的祝福（byin rlabs）把他从遗忘中唤醒（这些事件在画上没有被描绘出来）。在这里我们

看到，白山下面，格萨尔在天界的姐姐，骑在狮子上，让他想起已经被遗忘很久的马江鲁（Rkyang lu），并

为他应该重新拿起的武器作了一个洁净仪式（khrus gsol）。在下方，山前，格萨尔杀死了变为狗的“魔神”

（bdud lha，其左侧）以及魔神的姐姐和兄弟们（其右侧）。在这一场景与魔国城堡之间：格萨尔举着旗子在

返回岭国的路上。下方，格萨尔，变化成一名医生（lha rje），对着铁头铜唇的魔王的妻子（bdud mo）唱歌。

下面，两座佛塔，白色和黑色，两侧有旗帜，用以镇魔。

5）返回岭国：下左（参见大卫-妮尔，第137-150页）。格萨尔不在时，晁同赶走了他的父母。格萨尔变

化成一名年轻僧侣，遇到了他被放逐到玛麦（Rma smad）的母亲，在她的小帐篷前（sbris tshe，同样的表达见

石泰安：《藏族史诗…》，第370页），在那个帐篷下方（左侧边缘），是旱獭山（a spra）。格萨尔对着煮旱

獭和乌鸦的囊杰珠美（Snang rgyal 'bum me，此处'bum应为'brum——译注）唱歌。右侧，上方，格萨尔给他父

亲森伦〔Seng rlon（=blon）〕吃肉。他将自己变成一只乌鸦，反击大臣秦恩〔byin rlon（=Phying sngon），

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smad, in front of her small tent (sbris tshe; same expression, Stein, L'épopée..., p. 370). Under that tent (on the left border), this is the hill of marmots (a spra). Gesar sings to Snang rgyal 'bum me ('bum should be read 'brum–translator's note) who cooked marmot and crow. On the right, above, Gesar gives the meat to his father Seng rlon (=blon) to eat. He transforms himself into a crow against which the minister Byin rlon (=Phying blon, friend of Me za) launches a stone in a sling. Below, to the left, in front of the tent: Gesar encounters Spyi dpon at the pass of Khra phul (=phu) 'dzam gling la kha. On the right, he arrives in front of his castle, Seng phrug stag rtse.

VII. -- The War of Hor, II (very arbitrary ordering of episodes).1) Antecedents. During the absence of Gesar, the warriors of Gling stole horses from among the

Hor (HR). To the left of the horses, the castle of Zha lu = (zhal lu) Dngul chu khro rdzong. To the left (HL), the Hor abducted by Zha lu must rebuilt the “castle of tea” (Ja mkhar), namely the castle of Gling (L'épopée..., pp. 78, 80). Below, we see the encampment of Gling presided over by Zhal lu. Next to the prisoners, Khro thung boasts of the prior exploits of the people of Gling against the Hor.

2) The abduction of 'Brug mo. During this time, the king of the Hor, Gur dkar, invades Gling. He stands at the center of the white tent (LL). 'Brug mo offers him poisoned wine. She is attached to a cross (khram shing), but is protected by the three bird-essences of life of Gling. She sends them to carry a letter to Gesar so that he will come to her aid. To the right, an arrow embedded in the rock. This is the arrow which carries Gesar's response, from the land of the demon, which split the rock. To the right, the first camp of the Hor overrun by the warriors of Gling remaining behind.

3) Counter-offensive from Gling (HR-MR). In the absence of the king Gur dkar of the Hor, six warriors of Gling set fire to his palace and riddle it with arrows (bleached stag antlers on the roof). Coming back to the left (ML), the people of Gling have captured the bonpo lama of the Hor, named Gu ru, who killed a thousand men with his mantras. He is attached to a cross and is transfixed with a shower of arrows (recounted in Hermanns, Mythen und Mysterien der Tibeter, Köln, 1956, p. 242).

4) The death of Zha lu(between MM and LM). Above and to the right of the tents and the horsemen (LL, LM)., we see 'Brug mo, hand to ear, in front of a green phur bu in a pink tray. This is the piece of iron-essence of life (bla lcags) of the Hor which she has erected into a target for the arrows of Gling. To the right, the battle. Further to the right and above, to the left of the white birds (bird-spirits of Gling), Zha lu had the imprudence to remove his “vestment of long life” (tshe gos) and his defensive armament (srung 'khor; his armor and his helmet), the white pile on the rock to his side. On the left of this scene, the Hor warrior, Sdig gcod [= spyod], alias Me ru tse or Sdig chen Shan pa, transfixes Zha lu with his lance. To the left (between MM and LM), we see Zha lu next to a white chorten (stūpa; here called sku 'bum) which indicates his death. Below, his horse Rgya bya (“bird of China”; cf. Stein, L'épopée..., p. 42). To the left, this horse is brought to Gling be the warrior of Gling Sdon bran A span (It should be read Sdong btsan A span–translator's note).

VIII. -- The War of Hor, I.This painting bears on the back the mention “eighth,” and the preceding: “seventh,” but the context

proves that this is a mistake and that it is necessary to invert the order.1) Preparations in Gling (ML). We see the Gling camp presided over by Zha lu (alias 'Bum pa, Rgya

tsha), the half-brother of Gesar. To his right the women, 'Brug mo, 'Gog mo (the mother of Gesar), etc. In the center, an offering to the deities of the catapult (sgyogs). The engine is prepared below, under the direction of Chos skyong Ber nag of Sga bde.

2) Provocations (HR, MR). Zha lu (on a horse, with a flag) is among the Hor. He receives the offering of thirty arrows from Thang rtse of the Hor. To the right, he encounters the guardians of the horses of the Hor which submit themselves (HL). Further down (ML), Zha lu and his companions intercept the Hor who bring beef loaded with war offerings (armor, etc.) in order to make a sacrifice of “war” to the gods (lha gsol; it concerns giving them a renewed and increased vigor.

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梅萨的朋友〕用吊兜里的石子打他。下面，左边，帐篷前：格萨尔在叉普赞岭拉喀〔Khra phul（=phu）dzam

gling la kha〕山口遇到总管。右侧，他来到他自己的城堡森珠达孜前面。

VII．霍尔之战：二（场景顺序非常随意）。

1）战前发生的事。格萨尔不在期间，岭国将士从霍尔（Hor）盗窃了马匹（上右）。马的左侧，协鲁

（zha lu=zhal lu）的城堡：欧曲绰宗（Dngul chu khro rdzong，意为银水生铁城——译注）。其左侧（上

左），被协鲁劫掠过的霍尔必须重建“茶城”（Ja mkhar），即岭国的城堡（石泰安：《藏族史诗…》，第

78，80页）。下方，我们看到协鲁主持的岭国大营，在俘虏旁边，晁同在吹嘘岭国人民攻打霍尔的业绩。

2）珠牡（'Brug mo）被抢。当时，霍尔王白帐王（Gur dkar）入侵岭国。他站在白色帐篷中间（下左），

珠牡向他献上毒酒。她被绑在一个十字架上（khram shing），但是岭国的三只寄魂鸟保护着她，她派他们给格

萨尔送信，让他来救她。其右侧，一支箭插入岩石，这支箭带来了格萨尔从魔国的回复，它劈裂了岩石。再右

侧，霍尔的第一个营地被留守的岭国将士击溃。

3）岭国的反击（上右—中右）。趁霍尔的白帐王不在，六名岭国将士向他的宫殿放火并射箭（屋顶上

有漂白的雄鹿角）。回到左侧（中左），岭人抓获了霍尔的苯教喇嘛，名叫古如（Gu ru），他用咒语杀死了

一千个人，他被绑在十字架上，身体被箭雨射穿（在赫尔曼的书中有详细叙述，《西藏的神话与神秘》，科

隆，1956年，第242页）。

4）协鲁之死（中中与下中之间）。在帐篷和骑马人的右上方（下左，下中），我们看到珠牡，手放在耳朵

旁，站在一个放在粉红色托盘里的绿色金刚橛（phur bu）前面，这是霍尔的寄魂铁（bla lcags），她把它竖起来

作为岭军的箭靶。其右侧，是战斗。再向右向上，白鸟（岭国寄魂鸟）的左侧，协鲁轻率地脱去了他的“长寿法

衣”（tshe gos）和他的防护盔甲（srung 'khor，铠甲和头盔），（即是）他旁边石头上的白色堆。这个场景的左

侧，霍尔将领蒂角（Sdig gcod [＝spyod]），又名梅乳孜（Me ru tse）或蒂钦辛巴（Sdig chen shan pa），用他的长

矛刺穿了协鲁。其左侧（中中与下中之间），我们看到协鲁在一座白塔旁（这里叫sku 'bum，骨灰塔），暗示着

他的死亡。下方，他的马——嘉恰（Rgya bya，意为“中国鸟”，参见石泰安：《藏族史诗…》第42页）。其左

侧，这匹马被岭国将领冬赞阿奔（Sdon bran A span，此处应为Sdong btsan A span）带回了岭国。

VIII．霍尔之战：一。

这幅画背面标明“第八”，前一幅是“第七”，可是上下文却证明这是个错误，应该把顺序颠倒过来。

1）岭国的准备（中左）。我们看到格萨尔的异母哥哥协鲁（又名奔巴'Bum pa，嘉嚓Rgya tsha）主持的岭

国大营。其右侧的女人，珠牡（'Brug mo）、郭姆（'Gog mo）（格萨尔的妈妈），等等。中央，正在向神灵供

献弩炮（sgyogs）。稍下，在噶德·曲迥奔那（Sga bde Chos skyong ber nag）的指挥下正在进行武器准备。

2）挑衅（上右，中右）。协鲁（骑着马，有一旗帜）在霍尔人中间，他收到来自霍尔唐泽（Thang rtse）

三十支箭的供养。其右侧，他遇到归顺的霍尔马匹的守卫（上左）。再向下（中左），协鲁和他的同伴截获霍

尔人，后者赶着载满战争贡品（盔甲，等）的牛去向神进行“战争”祭祀（lha gsol；主要是给他们恢复元气，

增加力量）。

3）最初的小冲突（下左，下中，下右）。在河流的左侧，岭国将士遇到河流右侧霍尔人。再远一点，他

们闯入围墙围着的霍尔营地。上面，灰白色马上：协鲁。

4）掠走珠牡（上左）。这一场景本应该出现在下一幅画中。珠牡（在马车上，有两个人陪着）被霍尔军

从“茶城”（参见下面）带走。

IX．霍尔之战：三。

1）格萨尔回到晁同夺权的岭国。他以三位杂耍艺人的形象来到这位叔叔的房前（上左及中左之间；参看

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3) First skirmishes (LL, LM, LR). The warriors of Gling, to the left of the river, encounter those of Hor, to the right. Further, they penetrate the camp of the Hor, surrounded by a wall. Above, on the pale horse: Zha lu.

4) Abduction of 'Brug mo(HL). This scene ought to figure into the following painting. 'Brug mo is taken (in a chariot, with two companions) from the “Castle of Tea” (see infra) by the the army of the Hor.

IX. -- The War of Hor, III.1) Gesar returns to Gling where Khro thung has taken power. He goes before the house and that

uncle under the aspect of three acrobats (between HL and ML; cf. infra): three white men with crowns and flags, hand to ear. To the right and above (HM), two tents. In the first (above), the father of Gesar, Sing blo [= Seng blon] has been obliged to serve Me za. In the second, Khro thung commands Seng blon. To the left, Gesar (white boy) plays a trick on his uncle in order to punish him (under the pot). To the right, he has bound him and tied him to the tail of a galloping horse.

2) (HL). Gesar receives from his celestial sister the counsel on subjugating the Hor. He is in his castle Seng phrug stag rtse. Below the house, the two celestial sisters (Gnam sman), transformed into old women, rejoice in his departure.

3) (ML). Gesar, leaving for Hor, arrives at the pass which separates Gling from that country. His celestial sister Tha le 'od phrom, on a lion, tells him not to shoot arrows. To the right, the obo of the pass G.yag la se bo. Below and to the right, following the two women: Gesar sings that he will have for friends Chos 'bum (daughter of the blacksmith of the Hor) and 'Brug mo. Below, he encounters Zha lu transformed into a headless hawk and funerary stūpa (David-Neel, p. 139).

4) We must skip the scenes lined up below. Further down (LL): Gesar transforms himself into an army which camps (white tents). He appears in addition as two white boys (like the acrobats, but with neither crown nor flag): “a camp which serves to obtain the quintessence of the armies of China and India.” Further down, Gesar, transformed into an old lama, encounters Chos 'bum (to the left of the stream) who has just come to look for water (to the right). Below, under the cloud of hail, Gesar and Chos 'bum, “portent (rten 'brel)” of their union.

5) Adopted by the blacksmith of the Hor, the father of Chos 'bum, and having become his apprentice, Gesar vanquishes various people (order uncertain).

a) (LR). The castle of Gur dkar, king of the Hor. At the summit, the trophy of a head (that of Zha lu) between the antlers of a stag. Under the guise of a soothsayer, Gesar counsels the king to bury it. The iron chain necessary is forged by Gesar with a piece of iron which is the life-essence of the Hor. To the right of the palace, Gesar climbs the length of the chain, held by Chos 'bum below and Dung chung dkar po, the celestial brother, above (David-Neel, pp. 214-217). All along the base of the painting, he carries the chain on a yak followed by Chos 'bum. Previously, he appeared to 'Brug mo (on the first roof) under the form of three lamas (his sku sprul), flying in the clouds. Further down, 'Brug mo requests the two (three) lamas (gsung sprul of Gesar) to remove the misery of the war. To the left, in the cloud, three blue warriors and three beings with the heads of animals: these are the gods of the earth (srid pa'i gzhi bdag) of Rma who carried off to Gling the assets of the Hor.

b) Gesar transforms himself into three acrobats and three monkeys who put on a spectacle in order to humiliate the king ('dzam pa gsum, cf. Stein, Recherches..., ch. VII): we see them on the exterior of the lower floor. To the left a horseman: “the monkey Rdo rje Don grub” (Gesar). This monkey caresses, on the top of the castle, the head of Zha lu(David-Neel, pp. 233-234). On the interior of the castle, seven dancers (Gesar; he makes believe that these are the gods of the line of Nam thig, the first of the three great gods of the Hor. During the spectacle, Gesar kills the king, on the first floor, to the right (David-Neel, pp. 229-233).

c) Other exploits. In the castle, Gesar struggles with Sdig chod (= spyod), minister of the Hor. On

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下面）：三位戴冠举旗的白衣男子，一只手放在耳朵边。其右侧和上方（上中），两顶帐篷，第一顶里面（上

方）是格萨尔的父亲森伦（Sing blo [=Seng blon]）被迫服侍梅萨；第二顶里面，晁同指挥森伦。其左侧，格萨

尔（白色男孩）戏弄他的叔叔（在锅下）以惩罚他；其右侧，他把他捆起来系在奔跑的马尾上。

2）（上左）。格萨尔收到在天界的姐姐的授记，征服霍尔。他在他的森珠达孜城堡里。房子下方，两名

天界姐姐（Gnam sman，朗曼）化身为老妇人，为他的出发而高兴。

3）（中左）。格萨尔出发前往霍尔，到达岭国边界的山口。他的天界妹妹塔列沃春（Tha le 'od phrom），

骑着狮子，告诉他不要射箭。其右侧，雅拉赛沃（G·yag la se bo）山口的obo。下方和右边，跟着两名女人：

格萨尔唱道他将有两个朋友曲奔（Chos 'bum，霍尔铁匠的女儿）和珠牡。下方，他遇见变化为无头鹰的协鲁

和瘗葬塔（大卫-妮尔，第139页）。

4）我们必须跳过下面列出的场景。靠下一点（下左）：格萨尔变化成宿营的军队（白帐篷），并且以两

个白衣男孩的样子出现（如同杂耍艺人，但没有戴冠和举旗）：“用来获取嘉地及印度军队的精华的营地”。

继续向下，格萨尔变成一名老喇嘛，遇到了前来找水（右侧）的曲奔（小溪左侧）。下方，在冰雹云的下面，

格萨尔和曲奔结合的预兆（rten 'brel）。

5）被霍尔铁匠曲奔的父亲收留，成为他的学徒，格萨尔战胜各种人物（顺序不确定）。

a）（下右）。霍尔王白帐王的城堡。堡顶鹿角之间挂着作为战利品的头颅（协鲁的头颅）。格萨尔化

身为占卜者建议国王将之埋葬。必需的铁链由格萨尔用霍尔寄魂铁铸造。宫殿的右侧，格萨尔在沿着铁链

向上爬，下端由曲奔（抓着），上端由他的天界哥哥东琼噶布（Dung chung dkar po）抓着（大卫-妮尔，第

214-217页）。沿着画的底部，他领着牛，牛背上驮着铁链，后面跟着曲奔。之前，他以三位在云中飞翔的喇

嘛（sku sprul，他的化身）的形象出现在珠牡面前（在第一个屋顶)。下面，珠牡请求两名（三名）喇嘛消除战

争不幸。其左侧，在云中，三位蓝色将士及三位有着动物头的生灵：这是玛地（Rma）的世间神（srid pa'i gzhi

bdag，森巴喜达），他们将霍尔的财产运走，送到岭国。

b）格萨尔化身为三位杂耍艺人和三只猴子，他们表演节目以羞辱国王（'dzam pa gsum, 参看石泰安：《西

藏史诗与说唱艺人研究》第七章）：我们看到他们在下面一层的外面。其左侧是一位骑马人：“猴子多杰顿珠

（Rdo rje Don grub）（格萨尔）”。这只猴子在城堡的顶端抚摸协鲁的头颅（大卫-妮尔，第233-234页）。

在城堡里面，七名舞者〔格萨尔；他使他们相信这是南梯（Nam thig）之列神，前三位是霍尔的大神。在节目

表演过程中，格萨尔在二楼右侧杀了国王（大卫-妮尔，第229-233页）〕。

c）其他功绩。在城堡里，格萨尔在与蒂角〔Sdig chod（= spyod）〕打斗，蒂角是霍尔的大臣。在底层，

他杀死一位非常强壮的霍尔健将泽钦（Tsed chen），为此他祈求神灵帮助（在房前；大卫-妮尔，第196页）。

其左侧（中中—下中），从顶部到底部，格萨尔射杀多钦（Stobs chen）（回马箭）；他身着白装，他在“治

疗”他的脑子；下面，他把他掷下山崖（大卫-妮尔，第222页）；上面，他和蒂角〔Sdig gcod（= spyod）〕

玩骰子；山崖下面，他驯服一名魔精。中左和下左之间，场景在3号与4号之间跳换，其左边：霍尔喇嘛，耶松

（Ye song）被围困在由货贝（'gron bu dra ba）构成的不可逾越的墙（dam ra）之间；其右侧，格萨尔在一个铁

网中杀死霍尔三个主神中的第二个，巴替〔Bar thil（= thig，the）；大卫-妮尔，第237-238页〕。

6）嘉地的旅行：一。

这一章，由于蒙古和拉达克的一个手抄本（Rgya le'u），在欧洲很有名。画面遵循了这个写本的描述，

更为完整。嘉地的王后是一个魔鬼，濒死之际，她渴求国王保存她，并威胁要成为世界“生命之主”（srog

bdag）。嘉王的七个女儿请求格萨尔的帮助。为了前往，格萨尔需要特定的原料和器具，他通过多次冒险获得

了这些东西，首先是在木雅（Mi nyag），一般人无法进入的地方（蒙古版本：去天国），这个地方的国王与

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the ground floor, he kills a very strong Hor athlete, Tsed chen, and for this invokes the gods (in front of the house; David-Neel, p. 196). To the left (MM-LM), from top to bottom, Gesar draws against Stobs chen ( “Parthian Shot” ); in white, he “heals” his brain; below, he hurls him down a cliff (David-Neel, p. 222). Above, he plays dice with Sdig gcod [= spyod]. Under the cliff, he tames a demon. Between ML and LL, the scene skips between no. 3 and no. 4, to the left: the lama of the Hor, Ye song, is enclosed between impenetrable walls (dam ra) made of a net of cowrie shells ('gron bu dra ba; to the right, Gesar kills, in a net of iron, the second of the three principal gods of the Hor, Bar thil (= thig, the; David-Neel, pp. 237-238).

6) The Voyage in China, I:This chapter, known in Europe via the Mongolian and Ladakhi versions, occupies a manuscript

(Rgya le'u). The paintings follow the account of this written, more complete version. The queen of China is a demon. While dying and by demanding of the king that he preserve her, she threatens to become “the master of life” (srog bdag) of the world. The seven daughters of the king of China appeal to Gesar for aid. In order to come, Gesar needs certain ingredients and objects. He obtains them in the course of various adventures, above all in Mi nyag, a land inaccessible to the common (Mongol version: to Heaven). The king of the land is allied to the demon of the North Klu btsan and the Hor. He also has links with Mer bza', the ancient woman of Klu btsan, and with her lover, the minister Phying sngon. The latter, in the power of Gesar, first betrays Gesar and Gling, but then aids him in obtaining the objects.

a) The submission of the demon G.yu ral, “Turquoise Tresses” (HR).We see his “Turquoise Castle.” On the first floor, Gesar takes a woman by the feet and head: “having

killed the savage demon (srin rgod) 'Khyil pa, he subjugates the castle of turquoise.” Below, the king G.yu ral (Green Tresses). In order to pursue the demon in the air (to the left), Gesar transforms himself into a white khyung bearing six men, and his horse into a red khyung carrying six horses. Khro thung, to the side, is fleeing. Under the house, “the castle of gold, white rock, of the demoness,” his essence of life. Further down, “three demons, transformations of the king” (G.yu ral ?). Below, a theft of“horses of copper” (zangs rta; cf. infra) into China.

b) Below (MR), Gesar and three of his own with a lama who reads the Kanjur (bka' klog mi). To the right, while Khro thung and Tsha zhang (= 'Dan ma) hunt the deer, the girl-bird (see infra) is off to take“the book of India, source of gold” (Rgya yig po ti gser mgo).

X. -- The Voyage in China, II:1) The episode of the beings who are half human, half bird (shang shang): HL-HM.Gesar needs the blood of the male shang and the tears of the female shang. Their daughter, Mdo

sgron, will be his friend. For this, he first shoots down the wild buck (sgo) A gtsug (ms. : A 'tshog), equally necessary for the voyage. Gesar skins it and cuts it up (beween HL and HM): its chest is golden, the lower part of the body is silver. Its flesh attracts the male shang. Caught in the trap (to the left), the bird calls to the female. She carries (above and to the left) another necessary object. By Gesar's request, she offers him (below) her newborn daughter, Mdo sgron, who will aid Gesar (cf. supra, IX, end). We see her below, grown up. Eight ministers arrive from the left (clouds) at the edge of the lake Khri shog (Kokonor; to the right).

2) In the intermediary chapter of the Mi nyag, the minister Phying sngon sings his origin and history. The scenes (HL) seem to be pertinent, but I am unaware of the place and the content of the account. We see a white mountain: the sacred mountain Kha ba dkar po of the land of Rong to which belongs Phying sngon (to the south of Khams). Further down, in the tents: Gesar and his ministers with Rong thang smug po. The house, to the left, is the palace of Rong, Su lu dgung kris. Gesar there receives the offerings. On the ground floor, a statue of Padmasambhava.

3) Voyage to China. Gesar's camp sets up at the halfway mark, at Na ba khra leb (ML). On the other side (MR), five mountain-stūpas: the Ri bo rtse lnga (Wu tai shan 五台山) of China. At the base, Gesar

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北方鲁赞魔王和霍尔结成同盟，他还与鲁赞的老妻梅萨（Mer bza'）和她的情人，大

臣秦恩（Phying sngon）有联系。后者，在格萨尔的威力下，先是背叛了格萨尔和岭

国，但是后来又帮助他获得了那些东西。

a）征服玉热（G.yu ral）罗刹，“绿色长发”（上右）。

我们看到他的“玉宗”，在第二层，格萨尔提着一个女人的脚和头：“杀死了

野蛮罗刹（Srin rgod）庆巴（'Khyil pa），他降伏了玉宗”。下方，玉热王（G.yu

ral）（绿色长发）。为了追击空中的罗刹（左侧），格萨尔化身为白色的大鹏鸟

（khyung），载着六名男子，他的马变化成红色的大鹏鸟，载着六匹马。旁边，晁

同正在逃跑。房子下面，“女罗刹的金子宗，白岩”，他的生命之本。再向下，

“三名罗刹，国王的化身”（玉热，G.yu ral ?）。下面，“铜马”（zangs rta）盗贼

（参见下面）进入嘉地。

b）下方（中右），格萨尔和他的三位自己人与一名正在阅读甘珠尔的喇嘛（bka'

klog mi，噶洛米）。其右侧，晁同和嚓香（Tsha zhang [= 丹玛 'Dan ma]）在猎鹿，鸟

女（参见下面）要离开去取“印度之书，金子之源”（Rgya yig po ti gser mgo）。

X．嘉地的旅行：二。

1）半人半鸟（shang shang）生灵的场景：上左-上中。

格萨尔需要雄性共命鸟（shang）的血和雌性共命鸟的眼泪，他们的女儿朵珍

（Mdo sgron）将成为他的朋友。为此，他首先击毙了野鹿（sgo）阿祖（A gtsug）

（写本：A 'tshog），也是旅行必需要的。格萨尔将它剥皮并切碎（上左和上中之

间）：它的胸部是金子，身体的下半部是银子，它的肉引来了雄性共命鸟，被捕落

（左侧），鸟唤来它的雌伴，她带来了（上方及左侧）另一个必须的法器。应格萨

尔的要求，她献上了（下面）她刚出生的女儿朵珍，后者将帮助格萨尔（参看前面

IX，结尾）。我们在下方看到她，长大了。在赤肖湖边（Khri shog，Kokonor，青海

湖，右侧），从左侧（云中）来了八位大臣。

2）在木雅（Mi nyag）的场景，大臣秦恩唱吟他的来源和历史。场景（上左）

似乎与此有关，但是我能不确定描述中它的发生地点与内容。我们看到一座白色

的山峰：属于秦恩的绒地（Rong）的神山卡瓦噶布（Kha ba dkar po）〔在康区

（Khams）的南边〕。向下，在帐篷里：格萨尔与他的大臣们和绒唐穆波（Rong

thang smug po），房子的左侧是绒地的王宫苏鲁贡哲（Su lu dgung kris），格萨尔在

那面接受供养。在底层，有一尊莲花生塑像。

3）汉地之旅。格萨尔的营帐搭建在半路，在纳哇查勒（Na ba khra leb）（中

左），另外一侧（中右），有五座山峰塔：嘉地的五台山（Ri bo rtse lnga）。在山脚

处，格萨尔到达河边，下方，在嘉藏交流桥，其右侧，在房子里，嘉王的女儿们邀

请格萨尔。在桥上，与擅长歌唱的藏萨（Gtsang za）女儿们（骑在虎上）对歌之后，

其他女儿们邀请格萨尔到城堡去（右侧）。

4）嘉王决定了在嘉藏之间举行一系列比赛（中中）。赛歌，骰子游戏，赛马，

神学辩论，箭术（直到河边和下面）。其右侧和集会上方，嘉地的珍宝和马匹在一

名“金色空行母”的带领下被运至藏地。

图10，邓尼克目录中的第775号绘画（第X幅）


Fig.10, Picture no. 775 of Collection G... (The Tenth) (photography by R.A.Stein)

图11，邓尼克目录中的第770号绘画（第XI幅）


Fig.11, Picture no. 770 of Collection G... (The Eleventh) (photography by R.A.Stein)

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arrives at the river and, below, at the bridge of communication between China and Tibet. To the right, in the house, the daughters of the king of China who have invited Gesar. After an exchange of songs, on the bridge, with the Gtsang za daughters, experts in song (on a tiger), the other daughters invite Gesar to the castle (to the right).

4) The king of China decides a series of competitions between the Chinese and the Tibetans (MM). Competitions of song, games of dice, horse races, theological disputations, archery (up to the river and below). To the right and above this assembly, the Chinese treasures and the horses are transferred to Tibet under the conduction of a “golden d

4

ākinī.”5) Under the scenes of the competitions, LM, Gesar is subjected to tortures from which he emerges

unscathed thanks to the objects acquired previously. The daughter of China Kun thar, his friend, aids him and addresses songs to him: (on the left) he is thrown into a pit full of vermin; (on the right) impaled (the stake, gsal shing, appears as a lance) and (to the right) thrown into the fire which he transforms into a lake. Below, he rides a “horse of copper” (the horse with wheels; cf. supra).

6) On the right (LR), Gesar encounters the king of China (on the right). Each mounted on a bird, they are going to witness the spectacle of the world (?; to the right, in front of the white rocks).

7) The taking of the “castle of shields” (phub rdzong; HR). Episode placed here in order to fill out the tableau. It ought to be part of the series of castles specializing in diverse goods that Gesar then distributes to the Tibetans (cf. supra; here, he distributes the shields).

XI. -- Various Episodes and End.1) Debut of the war with the Hor (HR).a) The crow, a messenger from the king of the Hor, sent to find for him the most beautiful woman

in the world, encounters 'Brug mo. To the right, on the tent, the bird of ill-omen of the Hor atop the tent of Gling.

b) The plumes of this bird have been struck down by an arrow, the assembly of Gling inspect them (above, Zhal lu with the feathers; below, 'Brug mo recounts what has happened).

c) The people of Gling have made an incursion into Hor in order to steal the horses (MR). The Hor pursue them. Skirmishes (further down).

d) In the tent (LR), Khro thung betrays Gling. He is at the home of Gur dkar, the king of the Hor, in order to incite the abduction of 'Brug mo. Outside the tents, the departure of the army of the Hor.

2) End of the life of Gesar and descent into hell (rdzogs pa chen po).a) From the age of fifty (expedition into China) to seventy-two, Gesar lives in his castle (between

HL and ML). Above, the first house (HL): Gesar in “paradise” before Maitreya (Byams pa). To the right, on the first floor up: Gesar in meditation. This is the “house of meditation” (sgrub khang) in the atmosphere (bar snang; here the clouds), that of Tha le 'od phrom, his celestial sister.

b) Below, Gesar on horseback parting for hell in order to deliver his mother. Further down, he crosses “the pass which separates the dead from the living,” marked by three skulls (left) and three heads of the living (right). He fires arrows against hell. To the left, the “king of religion,” Yama, and his acolytes (the one with the scale of black and white pebbles in order to weigh the good and bad deeds). A thread conducts him above to three divinities: in the center: ?, to the left: Avalokiteśvara, to the right: Samantabhadra. Below, under the acolytes of Yama, Gesar moves towards the great cauldron of hell (dmyal zangs) and addresses a song to Yama (chos rgyal). Under the cauldron, a small woman held by a demon: 'Gog za, the mother of Gesar. Below, the punishments of hell (the liars have their tongues plowed, etc.).

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5）在竞赛场景下面，下中，格萨尔遭受折磨，由于先前获得的器物，他丝毫未受伤。嘉地女孩衮塔

（Kun thar），他的朋友，帮助他并给他唱歌：（在左侧）他被扔进一个布满了害虫的坑；（在右侧）他被刺

穿（尖头桩，gsal shing，外形象矛）并（在右侧）被扔进火中，火被他变成了湖。下面，他骑着“铜马”（带

轮子的马；参看上文）。

6）右侧（下右），格萨尔遇见了嘉王（右侧）。每人骑上一只鸟，他们要去参观大千世界（？；其右

侧，在白色岩石前面）。

7）夺取“盾牌宗”（Phub rdzong；上右）。片段放在这里是为了充实画面。它应该是有着不同财物的系

列宗之一，格萨尔将那里的财物分配给藏族人（参见上文；这里，他分配盾牌）。

XI．各种场景和结尾。

1）与霍尔战争的开端（上右）

a）乌鸦，霍尔王的信使，被派去为他寻找世界上最美的女人，遇见珠牡（'Brug mo）。其右侧，在帐篷

上面，霍尔的尸灾鸟出现在岭国的帐篷上。

b）这只鸟的羽毛已经被一支箭打落，岭国举行集会进行检视（上方，协鲁与羽毛；下方，珠牡详述发生

的事情。）。

c）岭人入侵霍尔以盗马（中右），霍尔人追击他们。小冲突（再下方）。

d）在帐篷里（下右），晁同背叛了岭国。他在霍尔王白帐王家里，为了煽动他抢掠珠牡。帐篷外面，霍

尔军队出征。

2）格萨尔生平的结尾和下入地狱（rdzogs pa chen po）。

a) 从五十岁（远征嘉地）到七十二岁，格萨尔生活在他的城堡里（上左与中左之间）。上方，第一座房

屋（上左）：格萨尔在“天堂”弥勒佛（Byams pa）面前。其右侧，在第二层：静修中的格萨尔。这是大气中

（bar snang；这里指云）的“修行室”（sgrub khang），他的天界妹妹塔列沃春（Tha le 'od phrom）的。

b）下面，格萨尔骑马出发到地狱去救度他的母亲。再下边，他穿越了“生死关口”，用三颗骷髅头（左

侧）和三个活人头（右侧）来表示。他向地狱射箭。其左侧，“宗教王”阎摩和他的随从们（一个拿着黑白卵

石天秤用于衡量善恶行为）。一根细线向上导向三神：中间：？，左侧：观音菩萨（Avalokites＇vara），右侧：

普贤如来（Samantabhadra）。下方，在阎摩随从带领下，格萨尔走向地狱大锅（dmyal zangs）并向阎摩（Chos

rgyal，法王）唱了一首歌。大锅下面，一位被魔鬼抓住的小妇人：郭萨（'Gog za），格萨尔的母亲。下面，地

狱的惩罚（撒谎者的舌头被犁铧划过，等等）。

注释

哈金，《（西藏）喇嘛教神话学》，刊于《亚洲神话学图册》，巴黎，1928年，第158-159页。邓尼克和德萨耶，《西藏艺术品第一部分目录及有趣事项》，特鲁奥酒店出售，5、6号房，1904年11月，21日（星期一）、22日（星期二）、23及

24日。大小：59.5×83cm；绘制在带有中国元素的“寿”字提花绸上（“长寿”）；装饰有交互缠绕、依次左旋、右旋的万字符构成的回旋纹以及一些

吉祥的预言：“好运白天，好运夜晚，好运中午...”。

托尼·斯密德，《着棉布衣的米拉日巴，藏族诗人圣者的画传》），斯德哥尔摩，1952年，第24页。

在礼拜仪式中，镜子是固定在长寿钵（tshe bum）上的。

罗列赫接受了他的辨认，见他的论文《岭格萨尔王史诗》，收入《孟加拉皇家亚洲学会期刊》 No.2，1942年，第307页。

《米拉日巴道歌集》，北京版，第153b页。

《拉桑》（lha bsang）中所有的土著神都被提及到。

《格聂拉桑》（Rgyal brngan lha bsang），木刻本，第19b页。

在格萨尔木刻本中，江孜版，2a章, 在格萨尔建立功勋的地方之中，“廷”（mthing）的名字在“门”（mon）的旁边。

托马斯，《Nam，汉藏交界的一种古老语言》，第135页。

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J. Hackin, “Mythologie du lamaïsme (Tibet),” in Mythologie asiatique illustrée. Paris, 1928 : 158-159. Collection G..., Catalogue de la première partie des œvres d'art et de haute curiosité du Tibet, by M. J. Deniker and M. E. Deshayes. Sold at the hotel Druout, room nos. 5 and 6, Monday the 21st, Tuesday the 22nd, 23rd and 24th of November, 1904.

Dimensions: 59.5 x 83 cm; mounted on Chinese silk brocade carrying the Chinese character shou 壽(“longevity”), the twists and turns formed by enlaced svastikas alternating in turning to the right and left, and by auspicious phrases like: nyin mo bde legs mtshan bde legs || nyin ma'i gung la bde legs shing,“blessings for the day, blessings for the night; blessings in the middle of the day...”

Toni Schmid, The Cotton Clad Mila, The Tibetan Poet-Saint's Life in Pictures, Stockholm, 1952 : 24. In the rites, the mirror is attached to the vase of long life (tshe bum). Roerich accepted this identification (“The Epic of King Kesar of Ling,” JASB, Letters, 8, 2 (1942) : 307. Mgur 'bum, Peking ed., fol. 153 b. The lha bsang in which all the local deities are evoked. Rgyal brngan lha bsang, xylograph, fol 19b. In a xylograph of Gesar, Gyantse ed., ch. 2a, Mthing is named next to the Mon among the lands where Gesar conducted his exploits. F.W. Thomas, Nam, 135. Bon gyi 'byung gnas, ed. S Ch. Das, 10. Rgyal brngan lha bsang, fol. 12b. It is remarkable that Mthing gi Zhal bzang ma specifically confers the siddhi (the power) “of illuminating the apparent world” (snang gsal bkra'i dngos grub), a nearly identical term (Mgur 'bum of Milarepa, 153b). Rma chen Spom ra'i gsol mchod, gsung 'bum of Lcang skya Rol pa'i rdo rje(1717-1786), vol. ca, no. 29, fol. 5b. Rock, “Seeking the Mountains of Mystery,” National Geographic Magazine 57, 2 (Feb. 1930): 184. The same object is carried (in the Three Hundred Images, Peking ed., fol. 91a) by the fourth of the sisters Tshe ring ma, called Blo bzang ma by this work, but Mi g.yo glang bzangs ma by the Mgur 'bum (loc. cit.) which attributes to her the siddhi of food (sman g.yang zas kyi dngos grub). In the Tibetan paintings from the Loo Collection (in Études d'orientalisme publiées par le Musée Guimet, etc., 1932, pp. 48-49 and pl. V), Mlle Linossier gave, wrongly perhaps, the name Mthing gi Zhal bzang ma as a goddess who carries the arrow with mirror and ribbon in the left hand, but a jewel in the right. She rides a beast which

Note

达斯编，《苯教史》第10页。《格聂拉桑》，第12b页。

值得注意的是廷吉协桑玛（mthing gi zhal bzang ma）是专门授予“照亮真实世界”（snang gsal bkra'i dngos grub)的力量（siddhi），一个几

乎完全相同的术语见于（《米拉日巴道歌集》，第153b页)。《玛钦波热祷祀》，见《章嘉·若必多杰全集》，卷ca, no.29, fol. 5b页。

若可，《寻找神秘之山》, 《国家地理杂志》，LVII, 2, 1930年2月，第184页。同样的东西由姐妹中的老四次仁玛（tshe ring ma）拿着（在《三百图像集》中，北京版，第91a页)，这部著作中称之洛桑玛（blo bzang

ma），而在《米拉日巴道歌集》（前引书）中被称为米约朗桑玛（mi g.yo glang bzangs ma），拥有授予食物的法力（sman g.yang zas kyi

dngos grub）。在洛收藏的西藏绘画中（在《吉美博物馆出版之东方研究》中，等等，1932年，第48-49页，图版V），利诺色尔小姐可能错误

地给出了廷吉协桑玛（mthing gi Zhal bzang ma）作为一名女神的名字，她左手执箭，上面有镜子和缎带，但右手执宝珠，骑着一头野兽，应

该表示牝鹿，但利诺色尔小姐说是一头骡子（尽管她也认为唐卡的四个其它坐骑是以骡为特征，这与中央的很不相同；这四只野兽都是马）。

因此她应该与五姐妹中的老三很好地对应起来，觉本珍桑玛（cod pan mgrin bzang ma），她拥有授予财宝的法力（《米拉日巴道歌集》，

前引书），并且她骑着牝鹿（或一头獐鹿），右手拿着——确实是——一只兔子（？猫鼬？），左手拿着一个圆盒（根据北京的《三百图像

集》）。《隆多喇嘛全集》，卷ya，5b，6b。《米帕绛贝堪巴多杰全集》，卷 na（《格萨尔祈祷文》），I, 5a 12a, 16a；II, 9a；III, 2a。

参看石泰安, 《岭国喇嘛版格萨尔藏族史诗》，《吉美博物馆年鉴》，卷LXI，巴黎，1956年，专有名索引。

布莱何斯泰纳，《生命之产》，《人类学档案》， V, 1950年，第108页。

参见第VII部分。

五世达赖喇嘛记载的两个宗教仪轨（《东北大学藏藏文佛教文献目录》，1953年，卷5697，5695）。巴科写本，第39a页（至于史诗文献的参考书目，引用于缩略标题下，参看我的著作《西藏史诗与说唱艺人的研究》第二章，即将出版于高等实

用研究院系列，巴黎，1959年。译注：该书已出有中文版，即[法]石泰安著，耿昇译，陈庆英校订，《西藏史诗与说唱艺人的研究》，西藏人民

出版社，1993年10月第1版；中国藏学出版社2005年再版。

参见图齐，《印度－西藏》，第三卷，图版II，第106-107页；内贝斯基·沃杰科维茨，《西藏的神灵和鬼怪》第168-170页。

参见赫尔曼书中的一张照片（no. 3），《西藏的神话与神秘》, 科隆，1956年。

内贝斯基·沃杰科维茨前引书145页以后，和图版V。

达斯编，《佛教史》，索引；劳夫, 布鲁夏斯基语, T. P. IX, I, 1908年，第15页。

罗列赫，《青史》，I，第168，369页；II，第436页。

拉露的论文，1939年，第506页；《青史》II，第705页。《达斯词典》779a；达斯编，《佛教史》，II，381 = fol. 241b。

劳夫，《王后箴言》, 第122-123页。《藏族英雄岭·格萨尔的超人生活》，巴黎，阿达耶, 1931年。

大多数文献都将这次远征放在他15岁时。

从此处开始，许多zha lu 应拼写为zhal lu。——译注

奔那使用的弩炮的魔力在洛岭写本中有描述，图齐, fol. 265a-266b，还有米帕的一个祈祷文中（VI. 1b：“他从天铁弩炮发射的石头点燃了金

刚杵”）。在《大臣箴言》第八章，它被用来反击格萨尔和天界四子，在《鬼神箴言》第十五章也有详细描述。“大弩炮”董热（gdong ra）是

一个山神（参见石泰安：《藏族史诗……》第26页）。

参考书目：略，参见本书英文译文。

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苍罢

ought to represent a doe, but which Mlle Linossier states to be a mule (although she also characterizes as mules the four other mounts of the thangka which differ quite a bit from that of the center; these four beasts are horses). She would therefore correspond better to the third of the Five Sisters, Cod pan Mgrin bzang ma, who gives the siddhi of treasures (bang mdzod nor gyi dngos grub ; Mgur 'bum, loc. cit.) and who rides a doe (or a roe), carrying -- it is true -- a rat (? ichneumon?) in the right hand and a round box in the left (following the Three Hundred Images from Peking). Gsung 'bum of Klong rdol bla ma, vol. ya, 5b, 6b. Gsung 'bum of Mi pham 'Jam dpal dgyes pa'i rdo rje (1846-1912), vol. na (Prayers to Gesar), I, 5a, 12a 16b; II, 9a; III, 2a. Cf. R.A. Stein, “L'épopée tibétaine de Gesar dans sa version lamaïque de Ling,” Annales du Musée Guimet, Bibl. d'Études, t. LXI, Paris, 1956, index of proper names. Bleichsteiner, “Srog. bdag, der Herr des Lebens,” Archiv f. Völkerk., V, 1950, p. 108. See no. VII. Two rituals enshrined by the 5th Dalai Lama (Catalogue of the Tohoku University Collection of Tibetan Works on Buddhism, 1953, nos. 5697, 5695). Bacot Ms., fol. 39a (for a bibliography of the epic texts, cited under an abridged title, see my book Recherches sur l'épopée et le barde au Tibet, ch. II, forthcoming in the collection of the Institut des Hautes Études chinois, Paris, 1959). Cf. Tucci, Indo-Tibetica, III, pl. II, pp. 106-7; Nebesky-Wojkowitz, Oracles and Demons of Tibet, pp. 168-170. See a photo (no. 3) in Hermanns, Mythen und Mysterien der Tibeter, Köln, 1956. Nebesky-Wojkotitz, op. cit., 145ff, and pl. V. Dpag bsam ljon bzang, ed. S. Ch. Das, index; Laufer, Die Bru zha Sprache, T.P., IX, I, 1908, p. 15. Roerich, The Blue Annals, I, 168, 369; II, 436. Lalou, in JAS, 1939, p. 506; Blue Annals, II, 705. Das, Dictionary, 779a; Dpag bsam ljon bzang, ed. Das, II, 381 = fol. 241b. Laufer, Der Roman einer tibetischen Königin, pp. 122-123. La vie surhumaine de Guésar de Ling, le héros thibétain. Paris: Adyar, 1931. The majority of the texts place this exploit at the age of fifteen years. From here, many zha lu should be changed into zhal lu.----Translater's note. The magic of the catapult exercised by Ber nag is described in the ms. Lho Gling, Tucci, fol. 265a-266b, and in a prayer of Mi pham(VI, 1b: “he launches the stone from the catapult of celestial iron, blazing vajra”). It is employed against Gesar and the Four Sons of Heaven (cf. Stein, Recherches..., ch. VI) in the Blon po bka' thang (ch. VIII) and described in detail in the Lha 'dre bka' thang (ch. XV). The “Great Catapult” Gdong ra is a mountain-divinity (Stein, L'épopée..., p. 26)._

Western Language SourcesBleichsteiner, R. “Srog. bdag, der Herr des Lebens,” Archiv für Völkerkunde, vol. V (1950): 104-137.Kanakura, Ensho and others ed., Catalogue of the Tohoku University Collection of Tibetan Works on Buddhism, Sendai: Tohoku University, 1953.Das, Sarat Chandra. Dictionary, Bibliotheca Indo-Buddhica Series 69, Delhi: Sri Satguru Publications, 1990.David-Neel, A. La vie surhumaine de Guésar de Ling, le héros thibétain. Paris: Adyar, 1931. (Translated into English as The Superhuman Life of Gesar of Ling. London: Rider, 1959.)Deniker, M.J., and M. E. Deshayes, eds. Collection G..., Catalogue de la première partie des œuvres d'art et de haute curiosité du Tibet, Paris: E. Moreau. 1904.Musée Guimet ed., Études d'orientalisme publiées par le Musée Guimet à la mémoire de Raymonde Linossier. Paris: Librairie Ernest Leroux, 1932.’Gos Lo tsā ba Gzhon nu dpal, Blue Annals, 2 vols, G. Roerich, tr., Calcutta: Royal Asiatic Society of Bengal, 1949, 1953.Hackin, J. “Mythologie du lamaïsme (Tibet),” in Mythologie asiatique illustrée, P.L. Couchoud ed., Paris: Librairie de France, 1928 : 121-162.Hermanns, M. Mythen und Mysterien; Magie und Religion der Tibeter, Köln: B. Pick, 1956.Lalou, M. “Sur la langue «nam»,” Journal asiatique, vol. 231 (1939): 453.Laufer, B. ed. and tr. Der Roman einer tibetischen Königin [Bka' thang sde lnga], Leipzig: O. Harrassowitz, 1911. “Die Bru-zha Sprache und die historische Stellung des Padmasambhava,” T’oung Pao, vol. 9, (1908): 1-46.de Nebesky-Wojkowitz, R. Oracles and Demons of Tibet: The Cult and Iconography of the Tibetan Protective Deities, s’Gravenhage: Mouton, 1956.Rock, J. “Seeking the Mountains of Mystery,” National Geographic Magazine, vol. 57 (1930): 131-185.Roerich, G. “The Epic of King Kesar of Ling,” Journal of the Royal Asiatic Society of Bengal, vol. 8, 2 (1942): 307.Schmid, T. The Cotton Clad Mila, The Tibetan Poet-Saint's Life in Pictures, Stockholm: Statens Etnografiska Museum, 1952.Stein, R. A. Recherches sur l'épopée et le barde au Tibet, Paris: Presses universitaires de France, 1959. “L'épopée tibétaine de Gesar dans sa version lamaïque de Ling,” Annales du Musée Guimet, Bibl. d'Études, t. LXI, Paris: Presses universitaires de France, 1956.Thomas, F.W. Nam: An Ancient Language of the Sino-Tibetan Borderland, London: Oxford University Press, 1951.Tucci, G. Tibetan Painted Scrolls, Roma: Libreria dello Stato, 1949. Indo-Tibetica, vol. III, Roma : Reale Accademia d'Italia, 1935-41.

Tibetan Language SourcesKhyung po Blo gros rgyal mtshan (14th-15th c.?). Rgyal rabs Bon gyi 'byung gnas, Edited by S Ch. Das. Calcutta: Bengal Secretariat Book Depot, 1915.Lcang skya Rol pa'i rdo rje (1717-1786). Rma chen Spom ra'i gsol mchod, In Rol pa'i rdo rje Gsung 'bum. TBRC accession number W28833, 5 [ca]: 377-388.Mi pham 'Jam dpal dgyes pa'i rdo rje (1846-1912). In Mi pham rgya mtsho Gsung 'bum. (TBRC accession number 23468, 6 [na]).Sum pa Mkhan po Ye shes dpal 'byor (1704-1788). Dpag bsam ljon bzang. Published as Dpag bsam ljon bzan4; or, The Wishing Tree, of History, Geography, Religion, &c., of Tibet. Edited by S. Ch. Das. Calcutta: Presidency Jail Press, 1908. Lho Gling = gling rje ge sar rgyal po'i rnam thar las/lho gling g.yul 'gyed.(TBRC accession number W1KG1628 (?)).O rgyen gling pa (b. 1263/1323). Blon po bka' thang. In Bka' thang sde lnga.(TBRC accession number W23841).----. Lha 'dre bka' thang. In Bka' thang sde lnga.(TBRC accession number W23841).

Bibliography

Tibetan Paintings from the Life of Gesar

Documents

Transcript of Tibetan Paintings from the Life of Gesar