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Le sūtra de Vimalakīrti en mongol: texte de Ergilu-A Rinčin; ms. de Leningrad
Book
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Description
An edition of the Vimalakīrtinirdeśasūtra in Mongolian in 2 vols. Text in Mongolian (Roman and Mongolian script); notes in French. Vol. 1 contains an introduction and transcription by G. Kara. Vol. 2 contains facsimiles of the text.
Citation
Kara, György, ed. Le sūtra de Vimalakīrti en mongol: texte de Ergilu-A Rinčin; ms. de Leningrad. 2 vols. Monumenta linguae Mongolicae collecta 9. Budapest: Akadémiai Kiadó, 1982.
Table of contents
- Avant-propos5
- I. Burqan-u ulus-i arilyaqui-gi terigülen ügüleküi eng uridu bölög [Saṅs-rgyas-kyi žiṅ yoṅs-su dag-pa gleṅ-gži] (lb-8a)16
- II. Čaylasi ügei : uran arya-yi : üǰügülküi nököge bölög [Thabs-la mkhas-pa bsam-gyis mi-khyab-pa] (8b-11a)27
- III. Arqad kiged : bodistv-nar-a yerü asayura ile [kü] ǰarlay boluysan yutayar bölög [Ñan-thos daṅ byaṅ-čhub sems-dpa' gtaṅ-bar rmas-pa] (11a-26b)32
- IIIbis. Qutuy-tu yeke kölgen-ü sambaya bilig-yi toyulbai. Nököge keseg (20a-26b)45
- IV. Ebedčin-iyer bayasqui kemekü : dötüger bölög [Na-ba yaṅ-dag-par dga'-bar bуа-ba] (26b-32a)55
- V. Sedkisi ügei yabudali üǰügülkü kemekü : tabduyar bölög [Rnam-par thar-pa bsam gyis mi-khyab-pa bstan-pa] (32a-35b) Iur ban keseg64
- VI. Ökin tengri-yi ǰiryudaȳar bölög [Lha-mo] (З6а-4Зb)71
- VII. Tegünčilen iregsen-ü tula-ta: dolodayar ǰüil bölög dayusba [De-bžin gšegs-pa'i rigs] (44b-48a)80
- VIII. Qoyar busu nom-un qayalya-tur oroqu kemekü: naimadayar bölög [Gñis-su med-pa'i čhos-kyi skor 'ǰug-pa] (48b-52a)86
- IX. Qubilyan-iyar rasiyan tügegsen : yisüdüger bölög [Sprul-pas žal-zas blaṅs-pa] (52a-57b) Dörben keseg91
- X. Barasi ügei : nom-un üdel kemekü arbadayar bölög [Zad-pa daṅ mi zad-pa žes bya-ba'i čhos-kyi rjoṅs] (58a-64a)99
- XI. Tegünčilen iregsen-ü Ködölüsi ügey-yin üǰügülküi kemekü :: arban nigedüger bölög ['Jig-rten-gyi khams mṅon-par dga'-ba blaṅs-pa daṅ de-bžin gšegs-pa mi khrugs-pa bstan-pa] (64a-68a)107
- XII. Uridu čayun siltayan kiged : degedü qayan-u toyuluysan kemekü arban qoyar-dayar bölög [Sṅon-gyi sbyor-ba daṅ dam-pa'i čhos gtaṅ-ba] (б8а-74а)113
- Colophon (74a-74b)120
- Bibliographie121
Interconnections
1 Recension of
Vimalakīrtinirdeśa (T. Dri med grags pas bstan pa'i mdo; C. Weimo jing; J. Yuimagyō; K. Yuma kyǒng 維摩經). In Sanskrit, "Vimalakīrti's Instructions"; one of the most beloved Indian Mahāyāna sūtras, renowned especially for having a layman, the eponymous Vimalakīrti, as its protagonist. The text probably dates from around the second century CE. Among the seven translations of the sūtra into Chinese, the most famous is that made by Kumārajīva in 406. His translation seems to have been adapted to appeal to Chinese mores, emphasizing the worldly elements of Vimalakīrti's teachings and introducing the term "filial piety" into the text. The sūtra was also translated by Xuanzang in 650. The sūtra was translated into Tibetan twice, the more famous being that of Chos nyid tshul khrims in the ninth Century. It has also been rendered into Sogdian, Khotanese, and Uighur. The original Sanskrit of the text was lost for over a millennia until a Sanskrit manuscript was discovered in the Po ta la palace in Tibet in 2001. The narrative of the sūtra begins with the Buddha requesting that his leading Śrāvaka disciples visit his lay disciple Vimalakīrti, who is ill. Each demurs, recounting a previous meeting with Vimalakīrti in which the layman had chastised the monk for his limited understanding of the dharma. The Buddha then instructs his leading bodhisattva disciples to visit Vimalakīrti. Each again demurs until MañjuśrI reluctantly agrees. Vimalakīrti explains that his sickness is the sickness of all sentient beings, and goes on to describe how a sick bodhisattva should understand his sickness, emphasizing the necessity of both wisdom (prajñā) and method (upāya). A large audience of monks and bodhisattvas then comes to Vimalakīrti's house, where he delivers a sermon on "inconceivable liberation" (acintyavimokṣa). Among the audience is Śariputra, the wisest of the Buddha's śrāvaka disciples. As in other Mahāyāna sūtras, the eminent śrāvaka is made to play the fool, repeatedly failing to understand how all dichotomies are overcome in emptiness (śūnyatā), most famously when a goddess momentarily transforms him into a female. Later, a series of bodhisattvas take turns describing various forms of duality and how they are overcome in nonduality. Vimalakīrti is the last to be invited to speak. He remains silent and is praised for this teaching of the entrance into nonduality. The sūtra is widely quoted in later literature, especially on the topics of emptiness, method, and nonduality. It became particularly famous in East Asia because the protagonist is a layman, who repeatedly demonstrates that his wisdom is superior to that of monks. Scenes from the sūtra are often depicted in East Asian Buddhist art. (Source: "Vimalakīrtinirdeśa." In The Princeton Dictionary of Buddhism, 971. Princeton University Press, 2014. http://www.jstor.org/stable/j.ctt46n41q.27.)
1 Scholarship on
Vimalakīrtinirdeśa (T. Dri med grags pas bstan pa'i mdo; C. Weimo jing; J. Yuimagyō; K. Yuma kyǒng 維摩經). In Sanskrit, "Vimalakīrti's Instructions"; one of the most beloved Indian Mahāyāna sūtras, renowned especially for having a layman, the eponymous Vimalakīrti, as its protagonist. The text probably dates from around the second century CE. Among the seven translations of the sūtra into Chinese, the most famous is that made by Kumārajīva in 406. His translation seems to have been adapted to appeal to Chinese mores, emphasizing the worldly elements of Vimalakīrti's teachings and introducing the term "filial piety" into the text. The sūtra was also translated by Xuanzang in 650. The sūtra was translated into Tibetan twice, the more famous being that of Chos nyid tshul khrims in the ninth Century. It has also been rendered into Sogdian, Khotanese, and Uighur. The original Sanskrit of the text was lost for over a millennia until a Sanskrit manuscript was discovered in the Po ta la palace in Tibet in 2001. The narrative of the sūtra begins with the Buddha requesting that his leading Śrāvaka disciples visit his lay disciple Vimalakīrti, who is ill. Each demurs, recounting a previous meeting with Vimalakīrti in which the layman had chastised the monk for his limited understanding of the dharma. The Buddha then instructs his leading bodhisattva disciples to visit Vimalakīrti. Each again demurs until MañjuśrI reluctantly agrees. Vimalakīrti explains that his sickness is the sickness of all sentient beings, and goes on to describe how a sick bodhisattva should understand his sickness, emphasizing the necessity of both wisdom (prajñā) and method (upāya). A large audience of monks and bodhisattvas then comes to Vimalakīrti's house, where he delivers a sermon on "inconceivable liberation" (acintyavimokṣa). Among the audience is Śariputra, the wisest of the Buddha's śrāvaka disciples. As in other Mahāyāna sūtras, the eminent śrāvaka is made to play the fool, repeatedly failing to understand how all dichotomies are overcome in emptiness (śūnyatā), most famously when a goddess momentarily transforms him into a female. Later, a series of bodhisattvas take turns describing various forms of duality and how they are overcome in nonduality. Vimalakīrti is the last to be invited to speak. He remains silent and is praised for this teaching of the entrance into nonduality. The sūtra is widely quoted in later literature, especially on the topics of emptiness, method, and nonduality. It became particularly famous in East Asia because the protagonist is a layman, who repeatedly demonstrates that his wisdom is superior to that of monks. Scenes from the sūtra are often depicted in East Asian Buddhist art. (Source: "Vimalakīrtinirdeśa." In The Princeton Dictionary of Buddhism, 971. Princeton University Press, 2014. http://www.jstor.org/stable/j.ctt46n41q.27.)
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