Remerciez-le!

Remerciez @Admin pour avoir partagé cet document gratuitement, de la manière la plus simple, en partageant sur les réseaux sociaux.

NOTE TO USERS This reproduction is the best copy available. ® UMI • • Saraha's

NOTE TO USERS This reproduction is the best copy available. ® UMI • • Saraha's Adamantine Songs: Texts, Contexts, Translations and Traditions of the Great Seal Lara E. Braitstein Faculty of Religious Studies McGiII University, Montreal October,2004 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor ofPhilosophy . © Lara E. Braitstein, 2004 1+1 Library and Archives Canada Bibliothèque et Archives Canada Published Heritage Branch Direction du Patrimoine de l'édition 395 Wellington Street Ottawa ON K1A ON4 Canada 395, rue Wellington Ottawa ON K1A ON4 Canada NOTICE: The author has granted a non- exclusive license allowing Library and Archives Canada to reproduce, publish, archive, preserve, conserve, communicate to the public by telecommunication or on the Internet, loan, distribute and sell theses worldwide, for commercial or non- commercial purposes, in microform, paper, electronic and/or any other formats. The author retains copyright ownership and moral rights in this thesis. Neither the thesis nor substantial extracts from it may be printed or otherwise reproduced without the author's permission. ln compliance with the Canadian Privacy Act some supporting forms may have been removed from this thesis. While these forms may be included in the document page cou nt, their removal does not represent any loss of content from the thesis. • •• Canada AVIS: Your file Votre référence ISBN: 0-494-12812-7 Our file Notre référence ISBN: 0-494-12812-7 L'auteur a accordé une licence non exclusive permettant à la Bibliothèque et Archives Canada de reproduire, publier, archiver, sauvegarder, conserver, transmettre au public par télécommunication ou par l'Internet, prêter, distribuer et vendre des thèses partout dans le monde, à des fins commerciales ou autres, sur support microforme, papier, électronique et/ou autres formats. L'auteur conserve la propriété du droit d'auteur et des droits moraux qui protège cette thèse. Ni la thèse ni des extraits substantiels de celle-ci ne doivent être imprimés ou autrement reproduits sans son autorisation. Conformément à la loi canadienne sur la protection de la vie privée, quelques formulaires secondaires ont été enlevés de cette thèse. Bien que ces formulaires aient inclus dans la pagination, il n'y aura aucun contenu manquant. • • Abstract My dissertation is focused on a cycle of Saraha's Adamantine Songs and their relationship to the Great Seal. Belonging to a genre known as 'Adamantine Songs' - Vajra Gïti in Sanskrit, or rDo rje'i gLu in Tibetan - their titles are: "A Body Treaswy called the Immortal Adamantine Song"~ "A Speech Treaswy called the Maiijugho~a Adamantine Song" and "A Mind Treaswy called the Unbom Adamantine Song". The dissertation is divided into two parts: the tirst is the contextualization of a Great Seal (Sanskrit: mahiimudriï~ Tibetan: phyag rgya chenpo) root text by the adept Saraha~ and the second is a critical edition of the Tibetan text along with the tirst full translation of the text into English. The critical edition of the Tibetan is based on versions of the poems drawn from five different Tibetan sources - four scriptural (the sDe dge, Co ne, sNar thang and 'Peking' bsTan 'gyurs) and one literary (Mipham Rinpoche's 19th centwy collection 'phags yul grub dbang dam pa rnams kyi zab mo'i do ha rnams las kho la byung mu fig phreng ba or "Pearl Garland of the Profound Dohiis of the Noble Great Siddhas of India"). The first chapters of the dissertation explore the contexts of this song cycle, its author and traditions that relate to it, in particular the Karma Kagyü (karma bka' brgyud) school of Tibetan Buddhism. The tirst chapter is a discussion of the author, Saraha, the tales of whose many 'lives' pervade Tibetan Buddhist traditions to this day. Chapter 2 explores the broader context of South Asian siddha traditions, while Chapters 3 and 4 provide an analysis of the Great Seal both as it emerges through Saraha's work and as it exists as a living tradition in the Tibetan Buddhist context. As mentioned above, particular emphasis is given to the Karma Kagyü school. Finally, Chapter 5 provides an introduction to Tibetan poetics and the Sanskrit traditions that influence it. • • Résumé Le point central de ma dissertation se porte sur un cycle des Chansons adamantines de Saraha et de leur rapport avec le Grand Sceau. Appartenant à un genre connu sous le nom des «Chansons adamantines» - Vajra Gïti en sanskrit, ou rDo rje 'i gLu en tibétain - leurs titres sont: «Un trésor du corps surnommé Chanson adamantine immortelle» , «Un trésor de la parole nommé Chanson adamantine Maîijugho~», et «Un trésor de l'esprit connu sous le nom de Chanson adamantine qui est inaissable». Cette dissertation se compose largement de deux parties: la première est la contextualisation d'un texte de base «Grand sceau» (Sanskrit mahiimudrii; Tibetan: phyag rgya chenpo) par l'adepte Saraha; et la seconde est une édition critique du texte tibétain avec la première traduction complète du texte en anglais. L'édition critique tibétaine est basée sur des versions de poèmes issus de cinq sources tibétaines différentes - quatre scripturales (les bsTan- 'gyurs du sDe dge, Co ne, sNar thang et Pékin) et une littéraire (la collection du 1ge siècle de Mipham Rinpoche 'phags yul gruh dbang dam pa rnams kyi zah mo 'i do ha rnams las kho la hyung mu fig phreng ha ou <<Rosaire de perles du profond Dohas du grand noble Siddhas des Indes»). Les premiers chapitres de la dissertation explorent les contextes de ce cycle de chansons, leur auteur et les traditions qui s'y rapportent, en particulier l'école de bouddhisme tibétain Karma Kagyü (karma hka' brgyud). Le premier chapitre est une discussion sur l'auteur, Saraba, dont les histoires de ses nombreuses vies imprègne les traditions bouddhistes tibétaines à ce jour. Le chapitre 2 explore le contexte plus large des traditions siddha de l'Asie du sud, tandis que les chapitres 3 et 4 offrent une analyse du «Grand sceau» non seulement tel qu'il apparaît dans le travail de Saraha, mais aussi comme une tradition vivante dans le contexte du bouddhisme tibétain. Tel que mentionné plus haut, un accent particulier est donné à l'école Karma Kagyü. Finalement, le chapitre 5 donne une introduction à la poétique tibétaine et aux traditions sanscrites qui l'influencent. • TABLE OF CONTENTS ACKN"OWLEDGEMENTS ...................................... '" ................................ .i IN1'RODUCTION ................................................................................... 1 Outline ..................................................................................... 4 Methodological Issues ................................................................... 9 Sources ................................................................................... 14 A Note on Transliteration .............................................................. 14 PART 1: CONTEXTS CHAPTER 1: LOCATING SARAHA ........................................................... 16 Pasts .......................................................................................... 16 Presence ..................................................................................... 27 Conclusion .................................................................................. 39 CHAPTER 2: SIDDHA TRADITIONS ......................................................... .40 Non-Buddhist South Asian Siddha Traditions .......................................... 58 The Importance of the Indian Siddhas in the Tibetan Context ....................... 64 Conclusion .................................................................................. 66 CHAPTER 3: SARAHA AND THE GREAT SEAL .......................................... 68 Form ......................................................................................... 68 Formless ................................................................. , ................... 73 Çonclusion .................................................................................. 82 CHAPTER 4: TIBETAN TRADITIONS OF THE GREAT SEAL .......................... 83 The Nyingma and the Great Seal ............................ , ............................ 83 The Geluk Great Seal. ..................................................................... 85 Sakya and Kagyü: Great Seal, Great Controversy ..................................... 87 Kagyü: Path Mahamudra i. Introduction ..................................................................... 96 ii. The Four Yogas ................................................................ 99 Mahamudra / Phyag rgya Chen po: What's in a Name? i. Ground and Fruition Great Seal.. .......................................... 104 ii. Sütra, Tantra, Essence ...................................................... 110 View, Meditation and Conduct.. ....................................................... 113 Conclusion .................................. , .............................................. 116 • • CHAPTER 5: GENRE AND POETICS: UNDERSTANDING ADAMANTINE SONGS Transmission and Tradition ............................ , ...... , '" ...................... 118 Tibetan Poetic Genres: an introduction ................................................ 124 South Asian Literary Context of the Siddhas ......................................... 130 i. DoM ...... .................................................................. '" 131 .. C - _. 132 11. aryagztz ........................... '" ... '" ........................... '" ... . iii. Vajraglti: Adamantine Songs ... '" ........................................ 134 Tantric Hermeneutics: Sandhyli-bhli§li ................................................ 137 Conclusion ............................................................... '" ............... 139 PART II: TEXTS INTRODUCTION TO CRITICAL EDITION ................................................ 142 SKU'I MDZOD 'CHI MED RDO RJE'I GLU ................................................ 145 GSUNG GI MDZOD 'JAM DBYANGS RDO RJE'I GLU ................................. 170 THUGS KYI MDZOD SKYE MED RDO RJE'I GLU ...................................... 181 BODY TREASURY .............................................................................. 187 SPEECH TREASURY ........................................................................... 212 MIND TREASUR Y ................................................................. , ............ 224 CONCLUSIONS .............................. , ................................................... 230 GLOSSARY ....................................................................................... 233 BIBLIOGRAPHY ................................................................................. 235 • • • Acknowledgements It is difficult to know where to begin, as this project would have been impossible without the help of so many people and institutions. To begin with, 1 am most grateful to the Shastri Indo-Canadian Institute for providing me with the opportunity to study for a year in New Delhi. The education and inspiration 1 gained while there cannot be measured. 1 am also grateful to Le Fonds Quebecois de la Recherche sur la Nature et les Technologies (formerly FCAR), the Social Sciences and Humanities Research Council (SSHRC), and finally to the Faculty of Religious Studies at McGill University which always managed to come through with much needed support in grants and in employment. 1 am extremely thankful to Dr. Thupten Jinpa, who has helped and encouraged me through this work from the beginning. 1 could not have accompli shed this without you. 1 thank Dr. Richard Hayes for his support, humour and numerous valuable teachings over uploads/Litterature/ braitstein-l-e-saraha-x27-s-adamantine-songs.pdf