Tibetan writing. Tibetan writing Tibetan alphabet with translation

Pronunciation

So, let's begin:

The Tibetan alphabet consists of thirty main letters and four vowels... There are several types of writing of Tibetan letters. Here we will consider a spelling close to print, because it is the easiest to learn and the most used. After completing this course, it will be easy for you to master the varieties of other spellings.

Thirty basic letters can be called consonants, but it should be borne in mind that the Tibetan letter - syllabic writing... And each letter is not just a letter, one consonant, but a letter-syllable. Which includes both consonant and vowel sounds (if there are no symbols indicating a specific vowel sound, then this is "A"). These symbols, which change the vowel sound "a" in the syllable, are exactly the same four vowels.

Now let's move on to the alphabet. Look at the letters new to you and listen to how they sound.

Under each Tibetan letter in Cyrillic it is written approximate pronunciation... This is the wrong way to pronounce the letters. This is just a slightly similar pronunciation, but far from ideal, especially for some letters. The transcription, so to speak, is here only to make it easier for you to remember the alphabet. Tibetan letters are written in Latin characters as they are written in Wylie transliteration. Wylie transliteration is one of the most common systems for transliterating Tibetan characters using Latin. Most likely, Wylie will come in handy when you type Tibetan text on your computer. Often, with the help of it, philosophical terms in translations are clarified so that there is no confusion about what exactly is meant, because complex concepts such as Buddhist philosophy have no equivalent in Western languages. It is not necessary to memorize it now. Later, after completing a few lessons, you can always come back and learn it when it is already much easier and will not cause confusion.

The entire alphabet is divided into eight rows for a reason. Each row is a separate group of letters. This is especially true for the first five rows. There are several classifications and options for separating letters. Here we will divide them by sound into the following categories: deaf (marked in blue), aspirated voiceless (marked in yellow), voiced (marked in red), nasal (marked in purple), and unclassified (gray-blue).

The first five rows and the first three columns are letters with similar pronunciation. They differ only in sonority or deafness. The third column in these rows contains letters with a voiced pronunciation, for example ག་ ha. The second column contains voiceless consonants, aspirated voiceless, to be more precise. For example, ཕ་ pha. And in the first column in the first five rows there are letters, the sound of which is something in between the sound of letters from the second and third columns of the same row. Those. for example, in the second row, the letter of the first column ཅ་ (cha) sounds both not like ཆ་ (cha) and not like ཇ་ (ja). Its sound fluctuates between these two letters. All these rows have the same pattern. This is a very important rule. Further, when we go through two-syllable, three-syllable letters, this rule will be very useful to you.

It is important that you do not breathe deaf letters, highlighting the sound "x" in the middle of the syllable. The syllable ཁ་ (kha) is not at all the same as, for example, in the word "bacchanalia". The "x" sound is much less audible. He's not even there. When pronouncing aspirated syllables, just a little more air comes out than when you pronounce voiceless syllables without aspirating. Themselves, these voiceless syllables without aspiration (first column, five rows) sound very similar to the pronunciation of Russian syllables ka, cha and further, only a little louder, a little harder. The sound "g" in the letter ང་ (nga) is also used in the Cyrillic transcription purely formally. There is no such sound. And to pronounce it as, for example, in the word "hangar" is incorrect. The pronunciation of this letter resembles the pronunciation of the "ing" endings in English or the nasal "n" in French. The letter ཝ་ (ya) is pronounced not as two syllables, "y" and "a", but one. The sound "y" (again, conventionally "y") is here as a consonant, pronounced shortly and abruptly. Very similar to the English "w" sound.

 Assignment: Listen to the alphabet again to make sure what you just learned.

Tibetan syllables also have two tones: low and high. In some dialects, they are strongly audible, in some they are not audible. We won't talk about them in our lessons. Still worth mentioning: vowels following letters ཀ་ཁ་ཅ་ཆ་ཏ་ཐ་པ་ཕ་ཙ་ཚ་ཤ་ས་ཧ་ཨ་ ka, kha, cha, chha, ta, tha, pa, pha, tsa, tskha, sha, sa, ha and after the big "a" have a high tone. The rest of the syllables are pronounced in a low tone.

Writing

Each letter starts with an upper horizontal bar. This letter is called དབུ་ ཅན་ (u-chen) in Tibetan. Which means literally "with the head". The "head" in this case is precisely this first upper line. Letters should be written so that it (the upper horizontal line) of all letters is at the same level. Those. Tibetan words, if I may say so, do not lie on the line, as, for example, writing in Cyrillic or Latin, but seem to hang from the line.

Tibetan letters, in this writing style, are composed of separate lines that are connected to each other. There are two general rules spellings that fit almost all letters and their lines: horizontal lines are written from left to right, and vertical lines are written from top to bottom.

There is a tendency among Westerners who are learning to write in Tibetan to tilt the letters to the right. This is understandable, since the first grade we were taught to do this. But in the case of the Tibetan language, this is not necessary. You need to navigate along the right extreme vertical line, which many Tibetan letters have. It should be either strictly vertical, or you can tilt it slightly to the left, but only just a little.

The following is the letter writing table, which shows the sequence of the letter lines. When you write in Tibetan, it is highly advisable that you keep this sequence. Practice writing each letter while pronouncing how it is pronounced. If, while exercising, you fill in one page of your notebook with each letter, then this will be enough to continue to write without mistakes and easily distinguish the letters. Of course, for those who want to have beautiful handwriting, one page per letter will not be enough. The classification colors in the table are preserved.

ཀ་ ka

ཀ་

ཁ་

ཁ་

ག་ ha

ག་

ང་

ང་

ཅ་ cha

ཅ་

ཆ་

ཆ་

ཇ་

ཇ་

ཉ་ nya

ཉ་

ཏ་ that

ཏ་

ཐ་

ཐ་

ད་ yes

ད་

ན་ on

ན་

པ་ pa

པ་

ཕ་

ཕ་

བ་ ba

བ་

མ་ ma

མ་

ཙ་ tsa

ཙ་

ཚ་

ཚ་

ཛ་

ཛ་

Scholars are not unanimous as to which Indian alphabet became the model for Tibetan writing. Most call the Nagari script as a prototype. Others consider the Lantz or Vartula alphabet as such. Recently, researchers have agreed that the northern version of the Indian letter Gupta served as the source for the Tibetan alphabet. All these systems go back to the ancient Indian syllabic writing Brahmi, and it seems, through many steps, to the ancient Semitic writing. Phonetic and, obviously, syllabic writing, unlike hieroglyphic systems, was created by mankind once in one place, and for many millennia peoples have used only its varieties.

Tibetan writing is syllabic. It consists of thirty signs denoting syllables consisting of a consonant with a vowel "a". If it is necessary to designate another vowel sound, an icon is placed above or below the consonant - a hook, a bird, or something else like that. For example, without an icon it means "ba", and with icons - "bu", "bo", etc. One syllable is separated from the other by a dot. The Tibetan language is predominantly monosyllabic, i.e. each word consists of one syllable. So, the syllable "bod" means "Tibet".

Of course, combinations of thirty consonants at the beginning and end of a syllable and five vowels cannot exhaust the entire vocabulary of the Tibetan language. In the written Tibetan language, a variety of attributed, inscribed, signature signs are used. In the VII century. they were all, apparently, uttered. But now, thirteen centuries later, no. True, in the dialects of Amdo and Kham, which retained archaic features, some of them are still pronounced. Thus, the differences between the Tibetan script, which has changed little since the 7th century, and the real phonetic appearance of the modern language have become enormous. To make it clearer, it is written something like "boo-boo-boo", and read "la-la-la". At the same time, in another area, the same "boo-boo-boo" is read as "tram-tram". For example, the name of one well-known monastery is spelled “sa skya”, and it is pronounced in different places “Sachja”, “Sarcha”, “Sakya”; the name of the king Khri srong Ide brtsan "and in different dialects sounds like" Khrisrondetsan "," Tisondevtsan "," Trisongdetsen ", etc.

Is this good or bad? This is good, since it allows you to have a supra-dialectal literary written language that can be used by all Tibetans from different regions, who often do not understand each other during oral communication. In addition, it enables educated people to read and understand archaic texts. But this is also bad, since mastering the Tibetan literacy is no easier than the Chinese one.

Tibetan writing has several varieties - charter and many types of cursive writing. The charter was used for xylography (a method of printing from cut-out boards, widespread in China and Central Asia), as well as in all representative cases - for correspondence of canonical works, translation of authoritative writers. For household needs, for personal notes, for decrees and letters, the Tibetans used and still use cursive writing. Cursive writing is also different - more solemn, less solemn. In cursive writing, there are many abbreviations in the spelling of words, a kind of shorthand symbols. Sometimes a careless cursive text can only be read by its author, and sometimes even he cannot do it.

Section " Turks»: Elements d of the Zero Türkic runic writing (orkhon-Yenisei writing) —

Section " National religions of China and Japan»: Chinese hieroglyphic writing -

In total, we have investigated and built 11 alphabets according to the laws of the matrix of the Universe. The Tibetan alphabet will be the twelfth alphabet.

The history of the appearance of the Tibetan alphabet

Figure: 1. Tibetan alphabet - used in Tibetan. Consists of 30 letters-syllables. Created on the basis of an Indian prototype in the 7th century.

Alphabet

Wiley's transliteration is indicated in brackets

In addition, there are several "inverted" letters to convey the cerebral sounds of the Devanagari Sanskrit alphabet, which are absent in the Tibetan language:

For transmission " f"Ligature is used in Chinese borrowings ཧྥ

There is a classical rule for transliterating Sanskrit - च छ ज झ (ca cha ja jha) as ཙ ཚ ཛ ཛྷ (tsa tsha dza dzha), respectively, reflecting the East Indian or Newar pronunciation. Now the letters ཅ ཆ ཇ ཇྷ (ca cha ja jha) are also used.

Vowels are written above or below the syllable:

Calligraphy

Figure: 2. Tibetan Notation - Style A fish ».

Figure: 3. Tibetan Notation - Style bug ».

Cursive

Figure: 4. Tibetan cursive is called ume ( headless ).

1st Caique — Ka the name of the first letter of the Tibetan alphabet, denotes a voiceless velar plosive consonant. In the text, it is used to denote the number " 1 ". In the structure of a syllable, kaik can only be a syllable letter, it can have attributed, inscribed and subscribed letters and thus form 21 initial presented below in dictionary order.

2nd the letter of the Tibetan alphabet - " Kha (wiley Kha), khaik - the second letter of the Tibetan alphabet, the primer is associated with the word "mouth". In the text, it is used for the letter designation of the number "2". Kha - - mouth

3rd the letter of the Tibetan alphabet - " Ha or geek - the third letter of the Tibetan alphabet and one of the most frequent letters of the Tibetan writing, means a sonorous velar explosive sound. In the dictionary, the section of the letter ga can take up to 10 percent of the volume. In the text, the letter g can be used as the number 3. "

4th the letter of the Tibetan alphabet - " Nga - the fourth letter of the Tibetan alphabet, velar nasal consonant. In the Tibetan primer it is associated with the word nga - i (personal). IN tantric Buddhism symbolizes decay sanskar - elements of life. In the text, it can represent the number 4. In a word, it can be either a syllabic letter or a final. As a syllable, it is present in eight initials. "

5th the letter of the Tibetan alphabet - " Cha (wiley Ca) Is the fifth letter of the Tibetan alphabet. Indicates sound H... As part of a syllable, it can only be a root letter (mingji), therefore it can only be part of the initials of a syllable. In the text, the letter ca can be used as the number 5. Forms four initials. In the Tibetan dictionary, approximately 2% of the words start with these initials. In addition to the letter Cha in the Tibetan language, there are six more ways to convey the sound Ch.

Chemchemma - - butterfly, (chalak) - thing, object * (chacho) - noise.

6th the letter of the Tibetan alphabet - " Chha (waili cha) - the sixth letter of the Tibetan alphabet, can only be a syllabic letter, forms two initials with the assigned letters maik and achung with which the letter chaik is not combined. In the text, it can represent the number 6. Letter designation of numbers:

Number 6 (cha - couple). * (chagiguchhi) - 36. * (chajabkyuchhu) - 66 (chhu - water) ".

7th the letter of the Tibetan alphabet - " Jah (Wiley Ja) is the 7th letter of the Tibetan alphabet. Graphically is a homoglyph of the letter E. The transcription of this letter may vary from source to source. In Dandaron's dictionary - ja, and in Roerich's dictionary - jya, in A.V. Goryachev's dictionary - jya. One way or another, the ja transcription coincides with the transcription of three more initials based on bayataj. In the text, it can represent the number 7.

Jah can only act as a syllabic letter. There are six variants of initials with ja in dictionaries. In the Tibetan primer, this letter is associated with the word tea:

Jah - - tea, Mount Chomolungma -

8th the letter of the Tibetan alphabet - " Nya (Wiley Nya), nyaik - the eighth letter of the Tibetan alphabet, in the dictionaries of Roerich and Dandoron "nya", in Tibetan primers it is associated with the word "fish". Nya is a syllabic letter, in combination with the ascribed and inscribed forms six initials, and if you add four homonymous initials based on the pendulum, it turns out that there are eleven spellings of this sound in Tibetan. In the text, it can represent the number 8.

9th the letter of the Tibetan alphabet - " That (wiley ta), taik - the ninth letter of the Tibetan alphabet, can only be syllabic, in combination with other letters forms nine more initials. In the Tibetan primer, it is associated with the word "palm". In borrowings from Chinese, it is the synoglyph of the Chinese initial before. In borrowings from Sanskrit, a mirror image of this letter is used to convey the retroflex takar -.

Numeric matching: ta - 9, ti - 39, tu - 69, te - 99, then - 129 ".

10th the letter of the Tibetan alphabet - " Tha (Wiley Tha) - the tenth letter of the Tibetan alphabet, acts only as a syllabus and forms four initials. When transferring borrowings from Sanskrit for the Indian retroflex thakar, the mirror reflection of the letter tha - is used. Numerical value: tha - 10, thi - 40, thu - 70, te - 100, tho - 130 ".

11th the letter of the Tibetan alphabet - " Yes - The 11th letter of the Tibetan alphabet refers to those letters that can be attributed, and syllabic, and endings (suffixes). The properties of the assigned letter yes, as well as other assigned letters, include some voicing of the syllabic letter (the assigned letter cannot be read, see gaachacha, etc.); as a syllabic yes it is present in 13 variants of writing the initial of the syllable described below; as the final of a syllable, the letter da softens the vowel sound of the syllable, but itself is not readable in most pronunciations. Numerical value: yes - 11, di - 41, du - 71, de - 101, before - 131 ".

12th the letter of the Tibetan alphabet - " On, naik - The 12th letter of the Tibetan alphabet can be both a syllabic letter and a final. According to Roerich, the letter n, like other Tibetan letters in tantric texts, can have its own symbolic meaning. When transmitting the Sanskrit retroflex nakara ण, a mirror image of naika is used -. Numerical value: at - 12, for gig - 42, for toad - 72, for drenba - 102, for naro - 132.

13th the letter of the Tibetan alphabet - " Pa - The 13th letter of the Tibetan alphabet, refers to phoicam - for masculine letters, it can only be a syllabic letter. Numerical value: pa - 13, pi - 43, pu - 73, pe - 103, by - 133 ".

14th the letter of the Tibetan alphabet - " Pha (Wiley Pha) is the 14th letter of the Tibetan alphabet, an aspirated voiceless labioral plosive consonant. Numerical value: pha - 14, phi - 44, phu - 74, phe - 104, pho - 134 ".

Phukron (phukryon) - - dove, - Phurpa -

Figure: five. « Phurba, Kila (Skt. कील kila IAST; Tib. ཕུར་ བ, Wiley phur ba; " count " or " nail ") - a ritual dagger or stake, usually in the form of a handle in the form of three heads of an angry deity and a three-sided wedge shape , probably intended for stabbing a victim during rituals ( according to some reports, it was used as a nail for tying a ritual victim, but there are also other versions of its purpose). The subject takes its origin from the Vedic era ( maybe pre-history ), but later found purpose in the context of Tibetan versions of Buddhism and tantras .

Purba i real (« Of the visible world » Approx. Ed. In Tantric Buddhism, the purba is used as a weapon to subdue forces opposing the teachings. With the help of the purba, the practicing yogi literally nails their symbolic images to the ground .... Keela - ( sanskrit - dagger) a river in Russia, flows in the Republic of Dagestan. Tindinskaya(Kila) - a river in Russia, flows in the Republic of Dagestan. The mouth of the river is located 86 km away on the right bank of the Andi Koisu river. The length of the river is 21 km. "

15th the letter of the Tibetan alphabet - " Ba - The 15th letter of the Tibetan alphabet, in the primer it is associated with the word cow. The syllable can be a prefix, root and suffix letter (final). Numeric matching: ba - 15, bagigubi - 45, etc. Synoglyphs: Burmese badechay, etc. "

16th the letter of the Tibetan alphabet - " Ma - the 16th letter of the Tibetan alphabet. As part of a syllable, it can be both in the initial and in the final (ma is one of ten letters that can be at the end of a word). The initial can be used either as a root letter (mingji) or as a "prefix" (ngyonjug). As a prefix ma is included in 15 initials (maochacha and other "mao"), as a root letter ma forms ten initials, which are presented below in dictionary order. Used in the text to denote numbers "16", "Mi" - 46, "mu" - 76, "me" - 106, "mo" - 136. (Alphabetical notation of numbers).

Ma as part of the finals: ( lamas) - way».

17th the letter of the Tibetan alphabet - " Tsa - 17th letter of the Tibetan alphabet. In most transcriptions - tsa, in Roerich - tsa. A syllable can only be a syllabic letter. Graphically, it is the letter cha with the contact diacritical mark tsa-thru. Numerical value: tsa - 17, qi - 47, tsu - 77, tse - 107, tso - 137 ".

Qiqi - - mouse "

18th the letter of the Tibetan alphabet - " Tskha (Wiley tsha) - the 18th letter of the Tibetan alphabet, can only be syllabic. Transcription: Semichov - tskha, Roerich - tsa, Schmidt - ttsa. Graphically - the letter chha with a contact diacritical mark tsa-thru. Numeric matching: tskha - 18, tskhi - 48, tsku - 78, tskhe - 108, tskho - 138.

19th the letter of the Tibetan alphabet - " Dza (Wiley Dza) Is the 19th letter of the Tibetan alphabet. A word can only be a syllabic letter. Numeric matching: dza - 19, dzagiguji - 49, etc. Graphically, it is the letter Ja with the contact diacritical mark tsa-thru. "

20th tibetan alphabet letter – « Wah (wiley Wa) — the most rarely used tibetan alphabet letter... In Roerich's dictionary there is a special name for this letter - bachkhe. It is mainly used to transfer loan words and place names. In the alphabetic transmission of numbers, it corresponds to the number 20. Around the letter "va" there can be no inscribed, not signed. not assigned letters. "Ba" can only act as a syllable letter or a signature letter, taking the form of a vazur diacritic mark. In Tantric Buddhism, "va" is found in mandalas and symbolizes a state outside of causality, and is also a term for mysticism and occult sciences. Wah - - Tibetan fox "

21st the letter of the Tibetan alphabet - " Ms (Wiley zha) Is the 21st letter of the Tibetan alphabet. In domestic dictionaries, it has a different transcription: Semichov's - Ms., Roerich's - sha, and in pronunciation it is close to the 27th letter Shcha. According to the Tibetan classification of pronunciation hardness refers to feminine letters... Numeric matching: ms. - 21, zhi - 51, zhu - 81, same - 111, zho - 141.

A syllable can only be a syllabic letter, only "Ha" and "Ba" can be prescribed letters.

Press - - cat »

22nd the letter of the Tibetan alphabet - " Behind - the 22nd letter of the Tibetan alphabet, graphically - the homoglyph of the Chinese hieroglyphic key number 58 - 彐 "pig's head" According to the Tibetan classification, the hardness of pronunciation refers to the female letters. Numeric matching: for - 22, zi - 52, zu - 82, ze - 112, zo - 142 ".

23rd the letter of the Tibetan alphabet - " Achung (small A) - the 23rd letter of the Tibetan alphabet, it can be either a syllabic or a suffix. Like a syllabic letter achung can only be combined with suffixes. Inscribed and inscribed with Achung are not combined. Achung is also not compatible with vocal drenbu. In Tibetan practical transcription, Achung is used to convey Chinese diphthongs and Sanskrit long vowels. Numeric matching: a - 23, agigui - 53, etc. "

24th the letter of the Tibetan alphabet - " Ya (Wiley ya) is the 24th letter of the Tibetan alphabet. The letter "I" can be syllabic and subscribed (see yatak). As a syllabic it is written in two initials, as a subscription in 32 of which seven are basic, the rest are complex. In Burmese writing, yatak can be compared with the sign of the yapin. Numeric matching: ya -24, yi - 54, yu - 84, ye - 114, yo - 144 ".

25th the letter of the Tibetan alphabet - " Ra - The 25th letter of the Tibetan alphabet can be both a syllabic and a final (suffix), signature and inscription. In the Tibetan primer, it is associated with the word “ ra » — goat... Numeric matching: ra - 25, ri - 55, ru - 85, re - 115, ro - 145 ".

26th the letter of the Tibetan alphabet - " La - 26th letter of the Tibetan alphabet. In the primer it is associated with the word " la» — mountain pass (see Natu-La, Nangpa La). A syllable can be a central syllabic letter, a suffix, a signature letter and an inscription. Numeric matching: La - 26, Li - 56, Lu - 86, Le - 116, Lo - 146 ".

27th the letter of the Tibetan alphabet - " Sha, Shcha (Wiley sha) - the 27th letter of the Tibetan alphabet, can only be a syllabic letter. In the Tibetan primer, it is associated with the word shcha - meat. The pronunciation is close to the 21st letter, transcribed as Zha. In Tibetan practical transcription, based on the material of the dictionary, it conveys the Sanskrit letter shakar श (Shakyamuni, Shariputra, etc.) and the Chinese initial ㄒ (xi-). Numeric matching: conductive - 27, schi - 57, schu - 87, schu - 117, schi - 147 ".

28th the letter of the Tibetan alphabet - " Ca - The 28th letter of the Tibetan alphabet, in a syllable it can occupy four different positions: ca root (7 initials), sago - inscribed, sa-jedzhuk - suffix and sa-yangjuk - the second suffix. The cursive letter "Sa" in the ume style looks like a homoglyph of the Russian handwritten letter "I". Numeric matching: sa - 28, si - 58, su - 88, se - 118, so - 148. In the Tibetan primer the letter "sa" is associated with the word sa - earth, soil».

29th the letter of the Tibetan alphabet - " Ha -29th letter of the Tibetan alphabet, denotes a voiceless glottal slit consonant [h]. Numeric matching: Ha - 29, Hi - 59, Hu - 89, He - 119, Ho - 149. It can be only a syllabic letter, but it also forms a number of ligatures for the transmission of sounds borrowed from Sanskrit and Chinese, for example:

30th the letter of the Tibetan alphabet - " AND (big a) - the last letter of the Tibetan alphabet, refers to masculine letters. Used to indicate vowel sounds at the beginning of a syllable. Unlike a small a, a large A in a syllable can only be a syllabic letter, it is combined with all Tibetan vowels and can be combined with finals (dzhedzhug), it is not used with signature, attributed and inscribed letters.

In the text it is used to denote the number "", with the vowels "akikui" -, "ajabkyuu" -, "adrenbue" - and "anaro" - (alphabetical notation of numbers).

In Tibetan dictionaries, the letter A section occupies less than one percent of the volume, but the letter A itself is considered the shortest version of pronouncing the Prajnaparamita Sutra and is often found at the beginning of mantras, as, for example, in the mantra Om mani padme hum -

This concludes the Introduction with the descriptive part of the Tibetan alphabet. Let's move on to presenting our research results of the Tibetan alphabet in the matrix of the Universe.

COMMENT:

Above, we examined the alphabet itself and the features of the letters of the Tibetan alphabet. Let's move on to presenting the results of our research.

The Tibetan alphabet in the matrix of the Universe

Below in Figure 6 we will show, built by us on the basis of the Knowledge about the matrix of the Universe “ Initial view »Tibetan alphabet, similar to the one that was first built Thonmi-Sambhotoyminister, philologist of the king Sronzan Gampo – « Tibetan writing was developed in 639. Thonmi-Sambhotoy (སློབ་དཔོན་ ཐུ་ མི་ སམ་ བྷོ་ ཊ ། thon mi sam bho ṭa), minister, scholar and philologist of King Srontsan Gampo (སྲོང་ བཙན་ སྒམ་ པོ srong btsan sgam po). According to legend, the king sent to India (to the pandit Devavidyaisimhi) of his dignitary Thonmi Sambhotu, who, on the basis of Indian Bengali writing, developed the national Tibetan alphabet (they were invented signs for sounds that were absent in Sanskrit - ɂa, zha). Thonmi Sambhota also wrote the first grammar of the Tibetan language, based on the Sanskrit grammar. It is believed that he took part in the creation of the alphabet and grammar. Sronzan Gampo».

Figure: 6.« Initial View »Tibetan alphabet of 30 letters, built by us on the basis of the Knowledge about the matrix of the Universe. The first row of letters of the alphabet starts from the 28th level of the Upper world of the matrix of the Universe. The rows of letters of the alphabet horizontally were built from left to right ( left shown by arrows). The overwhelming majority of the letters of the alphabet occupy the 4th level of the matrix of the Universe vertically. Four letters occupy 3 levels vertically - these are: 1) 20th letter VA: 20th tibetan alphabet letter – « Wah (wiley Wa) — the most rarely used tibetan alphabet letter... In Roerich's dictionary there is a special name for this letter - bachkhe. It is mainly used to transfer loan words and place names. In literal transmission of numbers corresponds to the number 20... Around the letter "va" there can be no inscribed, not signed, not assigned letters. "Ва" can only act as a syllable letter or a signature letter, taking the form of a diacritic mark vazur ... In Tantric Buddhism " wa"Is found in mandalas and symbolizes a state outside of causation, and is also a term for mysticism and occult sciences. 2) 25th letter RA. 3) 26th letter LA and 4) 30th letter A large.

Tibetan mantra Om Mani Padme Hum in the matrix of the Universe

The section " Prayers and mantras"- (Figure 6) we found the position in the Upper world of the matrix of the Universe of the Tibetan prayer - Om Mani Padme Hum and wrote this mantra in Sanskrit letters. Below in Figure 7 we present this figure from work.

Figure: 7. In Buddhism, the "Six-syllable" " prayer is a mantra Om Mani Padme Hum (Skt. ॐ मणि पद्मे हूँ; Tib.: ཨོ ཾ་ མ་ ཎི་ པ་ དྨེ་ ཧཱ ུ ྃ །) is one of the most famous mantras in Mahayana Buddhism, especially characteristic of Tibetan Buddhism), the six-syllable mantra of the bodhisattva of compassion Avalokiteshvara. The mantra is especially associated with Shadakshari (Lord of Six Syllables) is the embodiment of Avalokiteshvara and has a deep sacred meaning". From Figure 5, we now know the position in the matrix of the Universe “ Name» female incarnation Avolokiteshvara - Mani Padma – jewel in the lotus.This gives us the opportunity to correctly arrange in the matrix of the Universe all the syllables included in the "Six-syllable mantra". In prayer - mantra syllables Mani Padme are in "center » ... On the right, the figure shows a Sanskrit Tibetan entry prayers - mantras – Om Mani Padme Hum... Sacred syllable OM - this is The Lord Himself at any Him hypostasis. This syllable is located on the 32-29th level of the Upper world of the matrix of the Universe. The vertical arrow next to it points upwards in the direction of all the worlds of the Lord, including the Spiritual worlds. The rest of the mantra syllables are written down to the 9th level of the Upper World of the matrix of the Universe, as shown on the right in the figure. About the meaning of the mantra: “This mantra has many meanings. They all boil down to explaining the meaning of the totality of sacred sounds of its constituent syllables. The mantra itself is rarely interpreted in terms of its literal translation: “Oh! The jewel in the [flower] of the lotus! " In particular, the 14th Dalai Lama explains that the mantra personifies the purity of the body, speech and mind of the Buddha. Second word (mani - « jewel») Correlates with bodhicitta - striving for Awakening, compassion and love. Third word (padme - "lotus flower"), correlates with wisdom. Fourth word (hum) personifies the indivisibility of practice (method) and wisdom. " So " Name» female incarnation Bodhisattva Avalokiteshvara — Mani Padmawritten in the matrix of the Universe " opened »Us the location in the matrix of the Universe prayer - mantras Om Mani Padme Hum.

Now we can write this mantra into the Upper World of the matrix of the Universe with the letters of the Tibetan alphabet.

Figure: eight. The figure shows the entry into the Upper world of the matrix of the Universe of the mantra Om Mani Padme Humletters of the Tibetan alphabet. At the top of the figure, the inset shows a recording of this mantra. It can be seen that there are specific characters to the left and right of the manra text ( symbols) in the form of two dots and an arrow pointing down. We considered that these signs have a certain meaning and assigned them a place similar to the Tibetan letters, as shown in the figure. As a result, the mantra, together with the signs ( symbols) took the position from the 36th to the 1st level of the Upper world of the matrix of the Universe. The upper part of the mantra is located in the space that corresponds abode of Maha Vishnu.

Figure: nine. Mantra text Om Mani Padme Hum,written in the letters of the Tibetan alphabet. To the right and left of the text of the mantra, specific signs (symbols) are clearly visible.

Figure: ten. The figure shows the position of the lower mark ( symbol) at the base of the sharp top of the pyramid of the Upper World of the matrix of the Universe. 1) space upper Tetraktis (contains 10 circles) at the place of transition between the Upper and Lower worlds of the matrix of the Universe. It can be seen that the middle point above the arrow is aligned with the top of the Lower World pyramid of the Universe matrix. The rest of the details of alignment with the matrix of the Universe of the sign (symbol) are clearly visible in the figure. Thus, our assumption about the meaning of the signs (symbols) at the beginning and end of the mantra Om Mani Padme Hum(figure 9)may be correct.

The sacred dagger of Bhurba or Kila and the Vedic deity Hayagriva

In a review or brief description letters of the Tibetan alphabet, we talked about the sacred Tibetan symbol Bhurba or Kila (Skt.). Phurba, Kila (Skt. कील kila IAST; Tib. ཕུར་ བ, Waili phur ba; “stake” or “nail”) is a ritual dagger or stake, usually in the form of a handle in the form of three heads of an angry deity and a three-edged wedge shape ... ”. We have combined this Tibetan symbol with the matrix of the universe. Figure 11 below shows the result of our alignment.

Figure: eleven. The figure shows the result of combining the Tibetan sacred symbol with the Upper World of the matrix of the Universe Bhurba or Keela (Sanskrit). The key for aligning with the matrix of the dagger pattern was the distance "A" between the details of the image, as shown in the figure, equal to the distance between two adjacent horizontal levels (6th and 5th). The total vertical character size is 8 levels. The same vertical size will be occupied by two syllables in Sanskrit - KI and LA (vertical letters occupy four levels of the matrix of the Universe). The rest of the details of combining the drawing of the symbol (dagger) with the matrix of the Universe are clearly visible in the figure.

Purba symbolizes the destruction of all concepts and attachment to one's own " i ", As well as ideas about illusory real (« Of the visible world » Approx. Ed.) of the world. In some special rituals of Tantric Buddhism, purba is used as a weapon to subjugate forces opposing doctrine . ….».

It was noted above that the handle of a dagger with a three-edged blade crowned with a horse head of a fierce protective Tibetan deity Hayagriva:

From Wikipedia, the free encyclopedia:

Figure: 12. Hayagriva as Vajimukhi, Cambodia, late 10th century, Guimet Museum. Hayagriva (Skt. हयग्रीव, literally "horse's neck"; i.e. Hayagriva) - a character in Hindu mythology (in modern Hinduism, usually as an embodiment of Vishnu) and Buddhist imagery system (as " angry deity protector of the Teaching ”, Dharmapala), is also found in ancient Jainism. In archaic statues of Hinduism, it is represented with a human body and a horse's head; in Buddhism, a small horse head (or three heads) is depicted above a human face (s).

The origins of the image are associated with the ancient Aryan cult of the horse (compare the cult of the horse in the sacrifice of ashvamedha). Later it, apparently, was rethought during the codification of the Vedas and the development of Vaishnavism and Buddhism.

Hinduism

Beheading of Hayagriva's head

In Vedic literature as Hayagriva, the god Yajna is embodied. In Puranic literature, Hayagriva is the embodiment of Vishnu. As Taittiriya Aranyaka describes the Yajna as protoform Vishnu, the information of these traditions does not contradict each other.

Agni, Indra, Vayu and Yajna once performed a Yajna with the aim of gaining havirbhagu which they would dedicate to all the gods. But in violation of the agreement, Yajna left the meeting, taking all yajnabhagu with him, and the gods who followed him drove away with a bow, given to him Davy ... The gods ensured that termites gnawed the bowstring of Yajna's bow. The bow straightened and cut off the head of the Yajna, and then the Yajna repented of his crime. Then the gods invited ashvinideva (divine healers), to give the Yajna a horse's head .

The Skanda Purana tells a similar story: the deities led by Brahma competed in greatness, and it turned out that Vishnu is superior to everyone in every competition. Then Brahma cursed him, and Vishnu's head fell off. After that, the gods performed a yajna, and Vishnu appeared on her, putting the head of a horse instead of his head to the neck. At the end of the yajna, Vishnu went to dharmaranya and performed tapas, thanks to which he received the blessing of Shiva, with the help of which he returned to his former head instead of a horse's head.

Asura

Asura Hayagriva, the son of Kashyapaprajapati and his wife Danu, according to the Ramayana Valmiki (Aranyakanda, Canto 14), in childhood began tapas (austerity) on the banks of the Sarasvati River, and after a thousand years Devi appeared and asked him to choose any reward. He wished to become invincible for the gods and asuras, as well as immortal ... When he learned that it was impossible to do this, he (Hayagriva) wished to become vulnerable only to someone with a horse's neck (for Hayagriva). Devi gave him the fulfillment of this desire. Having gained invulnerability and invincibility, he went to all three worlds, causing trouble kind people, and finally entered into battle with the gods. Having won the victory, he fell asleep, and during sleep Vishnu cut off his head with the help of Hayagriva's ornaments dedicated to Vishnu. Vishnu replaced his head with a horse and then killed Hayagriva as he ran away.

The abduction of the Vedas

In the Ramayana (IV. 6,5) Sugriva tells Rama that he will find Sita, as the lost Veda-shruti (Vedic wisdom) was found, and then (IV. 17, 50) Vali tells Rama that he will find Sita even if she is hidden at the bottom of the sea like Shvetashvatari. The commentator explains that Svetasvatari is the same as Veda-sruti and refers to a certain Puranic story about how the asuras Madhu and Kaitabha kidnapped the Veda-sruti and hid them in Patala (the lower world). Then Vishnu descended to Patala, assumed the form of Hayagriva, killed the asuras and returned the Veda-sruti.

Asura

According to the Bhagavata Purana (VIII.24), the asura Hayagriva kidnapped the Veda-sruti and hid it at the bottom of the sea. Vishnu, assuming the form

The Tibetan language is spoken by about six million people in Tibet and adjacent areas of India. The Tibetan language belongs to the Tibeto-Himalayan branch of the Tibeto-Burmese languages, which are part of the Tibeto-Chinese family. To designate the group of languages \u200b\u200bto which Tibetan belongs, modern philology has adopted the Indian term bhotia; dialects of the bhotia group are common in Bhutan, Sikkim, Nepal, Ladakh and Baltistan. The word Tibetan is used to denote the lingua franca of Tibet, that is, the dialect spoken in central Tibet, in the regions of U and Tsan.

For a long time, Tibet, closely associated with India, borrowed Buddhist religion and its scriptures from India. A closer acquaintance of the Tibetans with Buddhism was facilitated by the conquest of Chinese Turkestan, where they found numerous monasteries and libraries. Having mastered in short term the art of writing, Tibetans discovered a penchant for literature. The oldest surviving monuments of Tibetan literature date back to the 7th century. AD They are mainly translations of Sanskrit books; these translations are valuable not only because they contributed to the formation of the literary Tibetan language; thanks to them, we became aware of some works of Indian literature that have not come down to us in the original.

It is generally accepted that Tibetan writing was invented in 639 AD. Thon-mi Sambhotoy, minister of the great king Son-tsen-gam-po, who founded the Tibetan state and established its capital in Lhasa. However, Tibetan writing is not a new invention - it is the result of a reworking of an older script used in Tibet. In everything that concerns the outlines and order of letters, the Tibetan alphabet follows the Gupta script, differing from it only in a number of additional signs to designate sounds that are absent in Indian languages; in addition, in Tibetan the signs of the Indian voiced aspirates were not needed. It is only unclear which form of Gupta was the prototype of Tibetan writing - East Turkestan or the one from which the Nagari writing subsequently developed. The first guess seems more likely; A. H. Franke, and after him Hoornle, believe that the traditional Tibetan messages about the origin of the Tibetan alphabet need clarification. “Tibetan writing coincides with Khotanese in that the main character for the vowel a appears here as a consonant; this fact clearly shows that the Tibetan letter came from Khotan. " "The consonant use of the main vowel sign is completely alien to the Indo-Aryan languages \u200b\u200band scripts" (Hoernle).

So, according to Dr. Hoernle, the Tibetan alphabet can be called Indian only because its direct source - the Khotanese alphabet - goes back to the Indian alphabets. “The curious fact that in the Tibetan alphabet the basic sign a closes the whole series of basic consonant signs (gsal byed) is very instructive. In the Indian alphabetical system, the main signs of the vowels a, i, u, e take place in front of the consonant signs and, moreover, stand completely separate from them "(Hoernle).

Tibetan script, both in its original angular form, and in its elegant cursive versions derived from it, is used up to the present time. There is no doubt that initially its spelling reflected the actual pronunciation (in western and northeastern dialects, characteristic combinations of initial consonants, as a rule, remain to this day), however, over time, the lingua franca of Tibet has undergone significant changes: some new sounds appeared, a number of consonants were lost ; therefore, at present, Tibetan writing is very far from the true reproduction of oral speech.

Tibetan writing is also accepted for other dialects of bhotia.

There are two main types in Tibetan writing:

1) a statutory letter called wu-cheng (written dbu-chan, but db- is not pronounced in most dialects), that is, "having a head", it is a church letter par excellence; in addition, the form of the symbols of the statutory letter is adopted in the printed type (Fig. 190). Wu-cheng writing has several varieties, the most important of which is represented by the letter of seals;

2) cursive writing used in everyday practice is called u-me (spelled dbu-med) "headless." This is a secular letter; its main variety is tsuk-yi "cursive".

Tibetan writing and its branches: 1 - phonetic meanings of signs; 2 - wu-cheng; 3 - u-me; 4 - tsuk-yi; 5 - passepa; 6 - lepcha.

The main difference between mzzhdu u-cheng and u-me is, as the names themselves show, that for signs u-cheng, as well as for devanagari, upper horizontal lines are characteristic; they are absent in the letter to u-me. Tsuk-yi is the most simplified letter. In compound words, the suffixes of the first syllable 1 The inconsistency of Tibetan writing with modern pronunciation has led to the fact that syllables of words graphically often include old, already unpronounceable prefixes and suffixes, which makes them look very cumbersome. - Approx. ed. and the prefixes of the second are discarded. Bako lists seven hundred abbreviations of words commonly used in cursive writing. We can also mention the various ornamental and ritual forms of writing, used for inscriptions and for decorative purposes, as well as for the titles of books, sacred formulas, etc.

A kind of cipher is also known - a secret writing used in official correspondence, it is called rin-pun after its inventor Rin-cheng-pun-pa, who lived in the XIV century. AD

Compared to the most common Indian script, Devanagari, Tibetan script is greatly simplified, although they are basically similar. Wu-cheng, the most important type of Tibetan writing, is characterized by the inclusion of the vowel a in the consonant; thus, and does not require any separate naming, whereas other vowels following a consonant are superscripted (for e, i, and o) or subscript (for and). In the same way, "subscription" y (in kua, rua, etc.) and r and l are also denoted as part of consonant combinations. The end of each syllable is indicated by a dot, which is placed at the level of the upper line to the right of the letter that closes the syllable. The most important feature of the writing of consonants is the designation of cerebral in borrowed words with special signs that represent a mirror image of the signs of the corresponding dental; in colloquial Tibetan, cerebral are found only as a result of the contraction of certain groups of consonants.

A series of three books published by B. Gould and G. R. Richardson gives an idea of \u200b\u200bthe modern Tibetan language, which should be continued with books on the alphabet, verb and grammatical structure.

The Tibetan writing had two main branches.

Passep's letter

The famous Great Lama of Sakya - Phag-pa ("glorious") Lo-doi-ge-tsen (spelled bLo-gros-rgyal-mthsan), in Chinese Ba-ke-si-ba, known as Passepa (1234-1279 ), invited to China by Hubnlai Khan, played an important role in introducing the Mongolian imperial court to Buddhism, he also adapted the square Tibetan script to the Chinese and Mongolian languages, replacing the Uyghur alphabet. Under Chinese influence, the direction of this letter, commonly called passsepa, was vertical, but unlike Chinese, the columns ran from left to right. The passsep letter, officially adopted in 1272, was used quite rarely and did not last long, since the Uyghur was successfully used here. During the Yuan Dynasty, the passep letter was used in the imperial court, especially on official seals.

Lepcha letter

An offshoot of Tibetan is also the script used by the Rongs, the original inhabitants of Sikkim, a principality in the eastern Himalayas.

Samples of Tibetan writing: 1 - letter wu cheng; 2 - one of the varieties of cursive writing; 3, 4 - types of writing Lepcha.

Rongs are also called lepcha (this is a Nepalese nickname), or rong-pa ("people of the valleys"), or mom-pa ("people of the lowlands"). Their number is about 25 thousand; they speak the unpronominalized Himalayan language, which is among the Tibeto-Burmese, and are probably of the Mongolian race. Lepcha owes its culture and literature entirely to the Tibetan form of Buddhism known as Lamaism, which, according to legend, was brought to Sikkim around the middle of the 17th century by the patron saint of this principality Lha Tsun Cheng-po (this is a Tibetan title meaning "great reverend god" )

The Lepcha letter was apparently invented or revised by the Sikimm raja Chakdor Namgye (Phyag-rdor rnam-gyal) in 1086. This writing is characterized by the vowel signs and the terminal variants of the eight consonant signs (k, ng, t, n, p , m, r, l) in the form of dashes, dots and circles, which are placed above or next to the previous letter.

Application of Tibetan writing to other languages

Language to us

Tibetan writing was used for other languages \u200b\u200bas well. Two such languages, about the existence of which until recently nothing was known, have been preserved in several fragments of manuscripts from Central Asia. They were discovered and published by F.W. Thomas.

According to Professor Thomas, one of these two newly found languages \u200b\u200bis a dialect close to Lepcha; the Tibetan script was used for it. The second language, which FW Thomas called the language for us, is a monosyllabic language, “as ancient as Tibetan, but of a more primitive structure; perhaps it is closely related to the language of the Tibeto-Burmese people, known to the Chinese under the name, which is transliterated ... as Zho-qiang, Di-qiang, .. and Tsza-qiang, .. of the nationality,., inhabiting from distant times all the space to the south from the mountains, from Nanshan to the longitude of Khotan, and constituted, as can be assumed, one of the elements of the population of South Turkestan ”(Thomas).

For the language, we used the Tibetan letter of the "type resembling a square", with some features characteristic of the early period: "the handwriting is rather rough, the letters are large and sweeping" (Thomas).

Chinese in Tibetan transcription

The Chinese language provides some interesting examples of the difficulties that arise in adapting the writing of one language to other languages. Apparently, the Tibetan script was used regularly for the Chinese language. FW Thomas and JLM Closon (in part in collaboration with S. Miyamoto) published three such monuments. The first consists of two fragments of thick yellowish paper with text (partly in Chinese), filled with "graceful, somewhat cursive Tibetan script" of the 8th-10th centuries. AD The second's letter is "a fairly correct handwritten wu-cheng." The third monument is "a large and well-written manuscript" containing 486 lines of "good calligraphic cursive Tibetan writing"; it can be assumed that the manuscript was not written with one hand; it dates back to about the 8th-9th centuries. AD

So, about the writing of the ancient state of Shang Shung, which ancient Tibet also adopted from it. I will rely, as promised, on the research of Professor Namkhai Norbu Rinpoche "Precious Mirror ancient history Shang Shung and Tibet ".

"Without studying the ancient history of the Bon teachings that existed in the state of Shang Shung, as well as the genealogy of the kings of Shang Shung, it is impossible to clarify the more than three thousand and eight hundred year history of this state. (Meaning from the appearance of Shenrab Miwoche and his Teachings Yundrung Bon - )

Before the arrival of Shenrab Miwo, the history of Shang Shung had already spanned many generations, and from Menpei Lumlum to Shenrab Miwo's father, the Bonpo king Thekar, sixteen generations of the royal family of Mu ...

Shenrab Miwoche after his arrival laid the foundation for a new system

writing, and therefore we can definitely talk about

the existence of Shang Shung writing at least from the time

Shenraba Miwoche.

The Treasury of Precious Narratives states:

The Enlightened One was the first to create Tibetan writing. In the Sutra

With ten letters, he built a spacious building of sounds.

The capital sign "go" opened the way for them, the sign "shed" cut into

short phrases.

The sign "tseg" divided the phrases inside, evenly separating the syllables so that they

did not mix.

Hooks "gigu", "drenbu", "naro", "shabkyu" and "yata"

In combination with letters, they formed sentences with many

components.

Thus, first the alphabet of deities of pure countries (brought

Shenrabom Miwoche - Nanzed Dorje) was transformed into the alphabet

"punyig" of the Tagzig writing system (Tazig is the state,

presumably located in antiquity on the territory of the present

Kyrgyzstan - Nandzed Dorje), which was converted into an old

shang-shung alphabet "yiggen", and that, in turn, in the alphabet

"mardrak".

Example: "The capital sign" go "opened the way for them ..." - here

the sign with which any written text began is mentioned - this

image of a left-hand swastika marked with a signature crochet "

(which today in Tibetan means the sound "u" - Nanzed Dorje).

its writing, it should be noted right away that "the first historical

evidence, which in this case cannot be dispensed with, are

ancient Bon texts containing information about the history of the first people

Shang Shung, and it is impossible to separate the history of Tibet from this story. "

The first were "five clans of people who are not indigenous

only for the population of Shang Shung, Azha, Minyaga and Sumpa, they are

ancestors of all Tibetan families, therefore, all Tibetans can be attributed

to one of these five indigenous clans - Don, Dru, Dra, Go and Ga. "

Each of them had an individual dominant element -

earth, water, iron, fire and wood.

"According to Tophug, twelve minor principalities that existed before

the first king-lord of Tibet, Nyatri Tsenpo, came from the Don clan from

Minyaga, from the Dru clan of Sumbha, from the Dra clan of Shang Shung, from the

Ha from Azha. This is how the ancestral line of descendants came about. "

I cannot even describe in detail the historical

shaping processes (just refer to the book yourself

Namkhai Norbu Rinpoche), and immediately skip to writing questions,

because it is in this part that the current Russian Young Buddhists

claim the most nonsense after the immoderate by zeal

without wisdom to the Teaching by Tibetan lamas - they simply

claim that there was no written language for the coming of the Buddha Dharma in Tibet.

By the time the first king Nyatri Tsenpo came to Tibet, "there was no

no other cultural tradition, including the system of knowledge and

government, except for the one that came from

Shang-Shunga Bone. And this tradition was undoubtedly associated with

shang-shung language and writing. So starting from the first

Tibet did not dry up, every Tibetan king had his own bonpo -

the royal priest "kushen", who usually performed the rite of ablution

and, having elevated him to reign, gave him a name. This is the name that was

a sign of the greatness and inviolability of the ancient order and the royal dynasty

the defenders of Bon were taken from the Shang-shung language. ... and therefore not

only the first king of Nyatri Tsenpo, but also the kings known as the Seven

celestial "Three", including Mutri Tsenpo, Dintri Tsenpo, Dartri

Tsenpo, Etri Tsenpo and Sentri Tsenpo, as well as the kings known as

"Six Lek" - Asholek, Desholek, Tkhisolek, Gurumlek, Dranshilek and

Ishilek ... in a word, all Tibetan kings wore only Shang-shung

names, and therefore these names cannot have any meaning on

tibetan. ... The Shang Shung word for "three" (khri) means "deity"

or "the heart of the deity", in Tibetan "lha" or "lha thug". And such

a word like "mu" (dmu) means "all-encompassing" (Tib. kun kyab);

the word "din" means "space" (Tib. long); the word "gift" is "perfection"

(Tib. leg pa) etc.

Was it really before King Srongtsen Gampo (late 7th century A.D.

Nanzed Dorje) was there no writing system in Tibet? Or

did letter writing exist before this king? Was this one called

the Tibetan alphabet? Former Tibetan historians have argued that "before

this was not written in Tibet. "And this is explained by the fact that

writing is the basis of any, including Tibetan

culture ... Thus, such statements about the absence

scripts were intended to prove the absence of Tibetan culture

primordial ancient basis and extensive and deep knowledge. "

However, in the text of the teacher and translator Vairochana "The Great Picture

being "says:

"By the grace of Songtsen Gampo, a learned sage was invited from India

Ligi. Thonmi Sambhota remade (! - nandzed) writing,

translated several texts, such as "Collection of Chintamani Supreme

Jewel "," Sutra of the ten virtues "and others".

"So it says here that there was an ancient system in Tibet

letter writing, but since this writing style was inconvenient

to translate Indian texts into Tibetan, then to make the style

writing more convenient, as well as making it easier to understand Sanskrit and

for many other reasons, the old style of writing has been redesigned to be "scholar"

(Tonmi Sabhota did this based on the Devanagari script in India).

In this connection, a more convenient order of division by

case particles, etc., in a word, writing was

systematized with greater care. ... and not a word about

before that, writing did not exist in Tibet, that it was

created or given for the first time - there is no evidence of this.

In the treatise "Treasury of Precious Narratives" also

there is a quote that can confirm what was said:

When Buddhist teachings were translated
from Indian to Tibetan,

We couldn't translate the Indian system
letters in Tibetan.

Therefore, thirty
letters of the Tibetan alphabet,

The names of the deities were transcribed by their sound,

They didn't translate the mantras, they left it as it is
in Indian spelling.

variants of the ritual text "General offering to Do for all being",

which came across to him in different circumstances.

"... and all of them in the colophons at the end of the text said:

This concludes the text of the deep ritual of the great
propitiation - offerings to Do for the well-being of life
- which has been passed down from generation to generation to the present day
from the great shenpo Cheo, which I wrote, Sangpo Trinkhyo, and in

whom the Shang Shung and Tibetan masters continuously showed
magical powers.

We talked about many components of Shang Shung culture, and if

as an example, take at least only the only Gate of Bon,

for example, Shen well-being, then one even this section included

a huge number of extensive teachings on recognition of signs and

fortune-telling, astrology, diagnosis and treatment of diseases, rituals of That,

cheating death, etc. By the time the first king of Nyatri appeared

Tsenpo in Tibet had already spread various Bon teachings,

for example, known as the Bon of the Twelve Knowers, Bon's Master Knowledge

deities, knowledge of the ransom ritual, knowledge of purity, rituals of exile,

destruction, liberation. It is logical to assume that there were records

instructions for all these areas of the teachings. It is quite clear that

if it was possible to remember any of this, then no more than one or

two of these sciences, but to keep in memory all of them entirely would be

impossible. And from a historical point of view, it is also completely

it is impossible that the ignorant Tibetans living in the unenlightened

were able to remember all the various historically detailed

testimonies of the rule of the dynasty of their kings, literally memorize

extensive teachings from various fields of knowledge ...

The "Mirror, clearly reflecting the history of the royal dynasty" says:

"Over the years this prince has become a connoisseur of arts, crafts,
computing, sports exercise and five areas and achieved
success in them. ... he became known as Sontsen Gampo. "

This king ascended the throne at the age of 13. At 16, he took the queen from

Nepal, and two years later - a second wife, a queen from China.

It is said that at this time the Tibetan king Sontsen Gampo sent

chinese King Senge Tsenpo three scroll letters. About sending letters and

the Nepalese king is also said in the said "Mirror, clearly

reflecting the history of the royal dynasty. "All this proves that in

Tibet had a written language and related sciences and knowledge.

Let's also think - could Tonmi Sambhota, if he was dark and

illiterate person, in such a short time to master, being in

India, the local language (Sanskrit), writing and internal sciences,

communicate effectively with the Brahmin Lijin and the Pandit Lha Rigpei

Senge? And how long does it take to return to Tibet to create

writing from scratch, write a treatise "Eight Sections of Chakaran",

and then translate into Tibetan from Sanskrit a number of treatises and, how

it is said to bring them as a gift to the king (who, too, would not hurt already

then know this new writing to at least appreciate the gift)?

Tibet certainly had its own written tradition before

Dharma King Soncena Gampo, however, Tibetan historians gave

distorted picture. The main reason for this is that with

time, the Tibetans, who with great faith accepted what came from India

culture and knowledge. However, historical evidence and roots

cultures and knowledge from ancient Shang Shung have not been lost. AND

preserved this very thin stream of culture, mainly Bonpos.

But it gradually became customary to call any lamas who talk about this

adventurers, because with the persecution of Bon, the people

contempt for bonpo.

Now it is necessary to analyze whether the writing was called,

existed in Tibet before the introduction of the new writing system,

tibetan. All Bon sources say that "The teachings were

translated from the old Shang-shung letter to "mardrak", which was later changed into "big and small mar". And the "big mar" was transformed into a "scholar" ...

When I was 13 years old, I met with an old lama named Dizho, a Tibetan linguist from Dege Muksan. I received writing lessons from him. On the last day of training, he told me: "You have a talent for calligraphy and a keen mind. I know an old form of writing called" Letter from the Gods "(lha-bap), and if you want, I can teach you." Of course, I agreed.

Later, in the house of a doctor named Tsegyal, I saw a chest covered with this letter. These were lines from Arya Shantideva's "Entering the Practice of a Bodhisattva". Lama Tsegyal, realizing that I know this letter, said: "This is a good sign. This alphabet is the root of all Tibetan writing, but despite this, very few people know it. Do not forget it. There will be a time when it will be beneficial."

Having carried out a graphical analysis of the letter "lhabap", one can find in it the roots of the Tibetan letter "ume", the so-called cursive writing. The assertion that "ume" is simply something that came out with a very fast writing in the style of "ume" is unfounded. After all, the Bhutanese, although they wrote in cursive writing in "uchuchen", except for a cursory letter, did not succeed, no "ume". Therefore, it is quite obvious that the source of the Uchen style is the Indian letter Gupta, and the Ume style arose from the Mar style, which has Shang-shung roots. "