DOCSLIB.ORG

Chibetto Moji ཅིབེཿཏ ོ་མོཇི チベット文字

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chibetto Moji ཅིབེཿཏ ོ་མོཇི チベット文字 CHIBETTO MOJI チベット文字 ཅིབེཿཏ ོ་མོཇི Introduction: Chibetto Moji is an adaptation of the Tibetan Uchen script for writing Japanese. The na e !itera!!" means ‘Tibetan characters$ in Japanese. This script is intended to be more straightforward and co prehensi%e than Japanese Kana 'both Hiragana and Kata(ana) in its phonetic representation of Japanese words. Morphe es are de!imited fro each other !i(e in Tibetan* thus there is no distinction between orthograph" of nati%e Japanese words and loan words; the" can be to!d apart from the conte,t. -!though Chibetto Moji doesn’t encode an" semantic content of Japanese words, one is permitted to use Kanji characters if that ma(es it easier to understand. Chibetto Moji a!so permits the use of Tibetan #!etter heads$ to distinguish di.erent words with identica! pronunciation fro each other. Ne%erthe!ess, the standard use of Chibetto Moji doesn’t feature an" Kanji characters or Tibetan letter heads since the" genera!!" aren’t necessar". The Script: In the fo!!owing images, the consonants (with inherent ‘a’ sound) of Chibetto Moji, !abe!!ed with e1ui%a!ents in Kata(ana and the vowe! mar(s are shown on a gre"ed out consonant # $ !abe!!ed with e1ui%a!ents in the #($ series ཀ of Kata(ana. A!ong with the vowe!s are 3 embe!!ishment mar(s labe!!ed with e1ui%a!ents in Kata(ana: There are some di.erences between Chibetto Moji and the Uchen used for Tibetan. In Chibetto Moji: fewer letters are used than in Tibetan each letter sounds the same where%er it is in a word; the" are phonetica!!" consistent there are no si!ent letters other than the 3 optiona! ‘letter heads’ (more on that later) there are no consonant c!usters a!though the [ 4 mar( can be used on consonants ྱ ◦ this mar( is ca!!ed the ‘pa!ata! mar(’ in Chibetto Moji ◦ when added to a consonant, it fo!!ows it with a ‘"’ sound, li(e in Tibetan ◦ some regu!ar Tibetan letters are treated as ligatures of Chibetto Moji letters with this mar(: ▪ 3 4 + [ 4 beco es [ 4. this is pronounced li(e [ts]+ this is a specia! case of pa!ata!i6ation ཅ ྱ ཙ ▪ 3 4 + [ 4 becomes [ 4. this is pronounced li(e [d64; this is a specia! case of pa!ata!i6ation ཇ ྱ ཛ ▪ 3 4 + [ 4 becomes [ 4. this is pronounced li(e ‘y’ as a consonant. འ ྱ ཡ ◦ /o other consonants combine with each other in Chibetto Moji each letter (inc!uding vowe! mar(s and embe!!ishments) represents 1 s"!!ab!e, and vice versa the letter [ 4 is a!wa"s used instead of [ 4, to represent an" vowe! not fo!!owed b" a consonant འ ཨ the letter [ 4 is used for the ‘f’ sound ཕ -s seen abo%e* a tota! of 78 p!ain consonants, 7 ‘pa!ata! mar($* 8 %owe!s and 2 embe!!ishments are used in Chibetto Moji. The pa!ata! mar( can be attached to most p!ain consonants to add a #"$ sound to it* occasiona!!" forming ligatures with the consonant and9or modif"ing its pronunciation. The 8 %owe!s occur as mar(s p!aced abo%e and be!ow consonants to for s"!!ab!es. -mong these, there are : p!ain %owe!s 3 * * * * 4 and 2 pa!ata! %owe!s 3 * * 4. The p!ain %owe!s are used on p!ain consonants ア イ ウ エ オ ヤ ユ ヨ and pa!ata! vowe!s, on pa!ata!i6ed consonants. The 2 embe!!ishment mar(s, shown here be!ow the %owe! mar(s, can be added to an" sy!!ab!e to perfor their functions. The #anusvara$ mar( has been adapted here to act as a fina! #n$ 3 4 added at the end of so e ン Japanese sy!!ab!es. The ‘%isarga’ mar( has been adapted here to doub!e a fo!!owing consonant li(e the [ 4 mar(. ッ The fo!!owing tab!e shows the various sy!!ab!es used in Chibetto Moji !abe!!ed with e1ui%a!ents in Kata(ana. Those sy!!ab!es shown in gre" are not forma!!" used in Japanese but can be used for proper nouns and loan words: ྱི ྱ ྱེ ྱ ོ ྱ ྱ ྱ ྱོ ཀ カ ཀི キ ʹ ク ཀེ ケ ཀコ ོ α キャ ཀྱུ キュ αキョ ོ ག ガ གི ギ ୴ グ གེ ゲ གゴ ོ ற ギャ གྱུ ギュ றギョ ོ ハ ヒ ヘ ホ ヒャ ヒュ ヒョ ཧ ཧི ཧེ ཧ ོ 龱 龱 龱 ོ ཅ チャ ཅི チ ᝴ チュ ཅེ チェ ཅチョ ོ ཙ ツャ 杴 ツ ཙོツォ ヂャ ヂ ヂュ ヂェ ヂョ ヅャ ヅ ཇ ジャ ཇི ジ ὴ ジュ ཇེ ジェ ཇジョ ོ ཛ 潴 ཛོヅォ ཤ シャ ཤི シ 鍴 シュ ཤེ シェ ཤショ ོ ཏ タ ཏི チィ 㽴 トゥ ཏེ テ ཏト ོ ད ダ དི ヂィ 䝴 ドゥ དེ デ དド ོ 䞱 ドャ དྱུ ドュ དྱུドョ ོ ན ནི ! 佴 " ནེ # ན$ ོ 侱 ニャ ནྱུ ニュ 侱ニョ ོ པ % པི & 却 ' པེ ( པ) ོ 厱 ピャ པྱུ ピュ 厱ピョ ོ བ * བི + 孴 , བེ - བ. ོ 宱 ビャ བྱུ ビュ 宱ビョ ོ མ / མི 0 捴 1 མེ 2 མ3 ོ 掱 ミャ མྱུ ミュ 掱ミョ ོ ཝ 4 ཝི 5 ཝེ 6 ཝ7 ོ འ 8 འི 9 荴 : འེ ; འ< ོ ཡ = 蝴 > ཡ? ོ ར @ རི A 譴 B རེ C རD ོ 讱 リャ རྱུ リュ 讱リョ ོ ས E 魴 F སེ G སH ོ ཟ I 罴 J ཟེ K ཟL ོ ཕ MN ཕི フィ 坴 M ཕེ フェ ཕMO ོ 垱 フャ ཕྱུ フュ 垱フョ ོ /ote: 1 or more of the 3 embe!!ishment mar(s can be used on an" of the s"!!ab!es abo%e, to form more sy!!ab!es. Morphemes: ;hi!e Chibetto Moji focuses on the phonetic representation of Japanese* the Japanese !anguage itse!f uses a !ot of homophones with %er" di.erent meanings. Chibetto Moji o.ers a coup!e of options to distinguish between homophones. One cou!d either use Kanji characters in p!ace of so e Chibetto Moji words* to specif" their meaning* or use Tibetan #!etter heads$ to mar( words with di.erent meaning "et identica! pronunciation apart. Both these features are optiona! and can be used to one$s discretion. The Tibetan !etter heads are basica!!" miniature Uchen !etters p!aced on top of the consonant in a s"!!ab!e without modif"ing the pronunciation of the s"!!ab!e. <i(e in Tibetan* Chibetto Moji o.ers 2 !etter heads, which don$t carr" an" phonetic va!ue, but can be used on di.erent words of identica! pronunciation to te!! them apart: There are no we!!=defined ru!es as to which !etter head must be used where as !ong as di.erent heads are used on di.erent homophones. <i(e in Tibetan* the morphemes in Chibetto Moji are separated using the ‘morphe e brea($ mar( 3 4. This ་ eases the reading of Japanese te,t b" disp!a"ing the nati%e %ocabu!ar"* grammatica! partic!es and !oan words in a sentence, discrete!". The Tibetan co ma separator [ 4 and sentence brea( mar( [ 4 are used for punctuation. ༔ ། 0amp!e Te,t: The fo!!owing samp!e te,t is the Japanese %ersion of artic!e 7 of the U>H?* using Chibetto Moji. It uses the standard form of Chibetto Moji (i.e. without optiona! features li(e letter heads or Kanji): 魴བེཏེ་ན ོ་ན쭾ག་ཝ ༔ 荴མརེ་ནགར་ནི་ཤིཏེ་ཇིཡཱུ་དེ་འརི ༔ ཀ杴 སག་ཏ ༔ ོ་ཀརི་ཏ ོ་ནི་杴འིཏེ་བྱཱོོདཱོོ་དེ་འ譴། ན쭾ག་ཝ ༔ རིསཱེེ་ཏརྱཱོོ ོ་ ཤ쭾་ཏ ོ་ཝ ོ་ས罴ཀེརརེཏེའརི ༔ ཏགའི་ནི་དཱོོཧཱོ་ན ོ ོ་སཱེེཤ쭾་ཝ ོ་མ ོཿཏེ་ཀཱོོདཱོོཤིནཀེརེབནརནའི།.
Load more

Recommended publications
  • Evolving Values in the Practice & Preservation of Bhutanese
    SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Spring 2014 Immaterial Traditions: Evolving Values in the Practice & Preservation of Bhutanese Calligraphy Madeline Johnson SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Interdisciplinary Arts and Media Commons Recommended Citation Johnson, Madeline, "Immaterial Traditions: Evolving Values in the Practice & Preservation of Bhutanese Calligraphy" (2014). Independent Study Project (ISP) Collection. 1829. https://digitalcollections.sit.edu/isp_collection/1829 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. IMMATERIAL TRADITIONS: EVOLVING VALUES IN THE PRACTICE & PRESERVATION OF BHUTANESE CALLIGRAPHY ! ! ! ! ! ! ! ! ! Madeline Johnson Academic Director: Isabelle Onians Senior Faculty Advisor: Hubert Decleer SIT Nepal: Tibetan and Himalayan Peoples Spring 2014 !"#$%&'(&)'*!%*!+& & & & !"#$%!&$' ()$%*+,&$(*)' & ,-+!'./&'(&#,0!"*%+%&)"$$-1."2,/& -.$/*+#'0'-!$.%(!1#' ' -*3&4"3-*1& & 2"2%.&4"3-*1& & 2%*&4"3-*1& & )"$$-1."2,-)&4%!,'5& &/!)2()2'()$.)$(*)#' ' )"$$-1."2,/&"+&4%5-!"!-'*& & +!"*5".5-6"!-'*&& $/.'3,$,%.'*3'&!11(2%!4/56'4%!&$(&.'0'4%.#.%7!$(*)' ' 5%"5&'.&"$-7%8& & "22$-%5&7"$0%+9&)"$$-1."2,/&:&!,%&(.%%&4".3%!&
    [Show full text]
  • Roman Jakobson, Linguistica E Poetica
    Testi e testimonianze di critica letteraria 6 Roman Jakobson, linguistica e poetica a cura di Edoardo Esposito, Stefania Sini e Marina Castagneto a cura di Stefania Sini, Marina Castagneto e Edoardo Esposito Roman Jakobson: linguistica e poetica Ledizioni © 2018 Ledizioni LediPublishing Via Alamanni, 11 – 20141 Milano – Italy www.ledizioni.it [email protected] Il volume è stato realizzato grazie al contributo del Dipartimento di Studi Letterari, Filologici e Lingu- istici dell’Università degli Studi di Milano e del Dipartimento di Studi Umanistici dell’Università del Piemonte Orientale. Prima edizione: 2018 Stefania Sini, Marina Castagneto e Edoardo Esposito (a cura di), Roman Jakobson: linguistica e poetica. ISBN cartaceo: 978-88-6705-685-9 Copertina e progetto grafico: ufficio grafico Ledizioni Informazioni sul catalogo e sulle ristampe dell’editore: www.ledizioni.it Le riproduzioni a uso differente da quello personale potranno avvenire, per un numero di pagine non superiore al 15% del presente volume, solo a seguito di specifica autorizzazione rilasciata da Ledizioni. Testi e testimonianze di critica letteraria Collana diretta da Edoardo Esposito e Laura Neri, Università di Milano Comitato scientifico Enza Biagini, Università di Firenze Roberto Ludovico, University of Massachusetts Amherst Caroline Patey, Università di Milano Tim Parks, Università IULM Daniela La Penna, University of Reading Roman Jakobson, 1978. With the permission by Linda Waugh, Executive Director of the Roman Jakobson Trust Indice I. POETICA E OLTRE Stefania Sini, Jakobson: prospettive plurali 13 JAKOBSON NEL XX SECOLO Linda R. Waugh, Working with Roman Jakobson: The Sound Shape of Language 25 Edoardo Esposito, Jakobson e l’Italia 43 Марина Сорокина, Нужна ли биография эмигранту? Роман Якобсон в московских архивах 61 Peter Steiner, Which Side Are You on? Roman Jakobson in Interwar Prague.
    [Show full text]
  • TRANSFORMATION THROUGH Were Not Laughing at Me, but with Me ART in My Ignorance and Joy and Zeal and Continued from Page 1 Enthusiasm
    mLioiiPO Box 6483, Ithaca, NY 14851 607-273-8519 SPRING 1999 NEWSLETTER & CATALOG '..' -tx SETTLING b CELEBRATION d INTO AMERICA: SALE! PART TWO 10% off every item Interviews with the in this catalog Four Tibetan Employees W e invite you to take advantage of this first ever opportunity to at Snow Lion save 10% on every item that you purchase from us until July 15th— this includes statues, thangkas—everything. You might also Win a Guided Tour to Tibet and Nepal in 2000—just tell us with your KARMA DORJEE ther either. I don't even know what order that you want to be entered in the Tibet trip contest. (If an item is already marked "on sale", use that sale price—we have a Karma Dorjee has a degree in eco- my parents looked like. I only knew number of specially priced items for you to consider.) nomics from the University of my father when I was very little. My Your direct purchases make possible the publication of new Mysore. In Dharamsala, India he sister told me that he worked as a books on Tibetan Buddhism. Since we have many excellent projects worked as a loan officer for the Ti- "dopso"—that's a stone carver, a scheduled for 1999, we especially appreciate your support! ■ betan Government-in-Exile. He builder. Looking back now, I can see worked for three years as treasurer that I would never want my own for the Tibetan Association of Ithaca. daughter to miss out on the love that Karma is in charge of purchase order- I missed frmjny parents growing up.
    [Show full text]
  • "Tibet Has Come to Washington" DESTRUCTIVE EMOTIONS
    Snow Lion Publications sv\LLionPO Box 6483, Ithaca, NY 14851 607-273-8519 Orders: 800-950-0313 ISSN 1059-3691 SUMMER 2000 NEWSLETTER Volume 15, Number 3 & CATALOG SUPPLEMENT "Tibet Has Come to Washington" DESTRUCTIVE EMOTIONS BY VICTORIA HUCKENPAHLER The Mind and Life Conference 2000 Sogyal Rinpoche comments on the Smithsonian Folklife Festival pro- BY VEN. THUBTEN CHODRON reason. Science sees emotions as gram, Tibetan Culture Beyond the Beginning in the mid-1980s, the having a physiological basis, and Land of Snows; the Ganden Tripa Mind and Life Institute has brought this raises further questions as to opens the first Great Prayer Festival together scientists from various fields human nature and the possibility of held in the West; H.H. Dalai Lama of expertise with His Holiness the pacifying destructive emotions. In addresses an audience of fifty thou- Dalai Lama in a series of confer- the West, emotions are important sand. ences. A theme is picked for each, for determining what is moral, and Under a turquoise sky, the living and five to seven scientists in that morality is essential for the function- mandala of Tibetan culture, which field are selected to make presen- ing of society. Thus working with was a highlight of this year's Smith- tations to His Holiness. These pre- emotions is seen as important for sonian Folklife Festival, spread itself sentations are given in the morning social interaction, not for having a over much of the National Mall, with session each day, and lively discus- good soul or being a good person. a variety of displays and activities sions among these key participants, This leads the West to focus on both sacred and secular.
    [Show full text]
  • Om Mani Padme Hum - Wikipedia
    Om mani padme hum - Wikipedia Not logged in Talk Contributions Create account Log in Article Talk Read Edit View history Om mani padme hum From Wikipedia, the free encyclopedia Main page O ma i padme h [1] Contents ṃ ṇ ūṃ (Sanskrit : Om mani padme hum Featured content , IPA: [õːː məɳipəd̪meː ɦũː]) is the six-syllabled Current events Sanskrit mantra particularly associated with the four- Random article armed Shadakshari form of Avalokiteshvara (Tibetan : སན་ Donate to Wikipedia Chenrezig, Chinese : 觀 Guanyin, Japanese : Wikipedia store རས་གཟིགས་ 音 かんのん 観音 Kannon or Kanzeon, Mongolian : Мэгжид Interaction The mantra in Tibetan Жанрайсиг Migjid Janraisig), the bodhisattva of with the six syllables colored Help compassion. About Wikipedia Chinese name Community portal The first word Om is a sacred syllable found in Indian Chinese 唵嘛呢叭咪吽 Recent changes religions. The word Mani means "jewel" or "bead", Padme Transcriptions Contact page is the "lotus flower " (the Buddhist sacred flower), and Hum Standard Mandarin [2][3] Tools represents the spirit of enlightenment . Hanyu Pinyin Ǎn mání bāmī hōng What links here It is commonly carved onto rocks, known as mani stones , or Karandavyuha Sutra name Related changes else it is written on paper which is inserted into prayer Chinese 唵麼抳缽訥銘吽 Upload file wheels. When an individual spins the wheel, it is said that Transcriptions Special pages the effect is the same as reciting the mantra as many times Standard Mandarin Permanent link as it is duplicated within the wheel. Hanyu Pinyin Ǎn mání bōnàmíng hōng
    [Show full text]
  • The Unicode Standard, Version 3.0, Issued by the Unicode Consor- Tium and Published by Addison-Wesley
    The Unicode Standard Version 3.0 The Unicode Consortium ADDISON–WESLEY An Imprint of Addison Wesley Longman, Inc. Reading, Massachusetts · Harlow, England · Menlo Park, California Berkeley, California · Don Mills, Ontario · Sydney Bonn · Amsterdam · Tokyo · Mexico City Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Addison-Wesley was aware of a trademark claim, the designations have been printed in initial capital letters. However, not all words in initial capital letters are trademark designations. The authors and publisher have taken care in preparation of this book, but make no expressed or implied warranty of any kind and assume no responsibility for errors or omissions. No liability is assumed for incidental or consequential damages in connection with or arising out of the use of the information or programs contained herein. The Unicode Character Database and other files are provided as-is by Unicode®, Inc. No claims are made as to fitness for any particular purpose. No warranties of any kind are expressed or implied. The recipient agrees to determine applicability of information provided. If these files have been purchased on computer-readable media, the sole remedy for any claim will be exchange of defective media within ninety days of receipt. Dai Kan-Wa Jiten used as the source of reference Kanji codes was written by Tetsuji Morohashi and published by Taishukan Shoten. ISBN 0-201-61633-5 Copyright © 1991-2000 by Unicode, Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or other- wise, without the prior written permission of the publisher or Unicode, Inc.
    [Show full text]
  • PAN Localization Survey of Language Computing in Asia 2005
    Survey of Language Computing in Asia 2005 Sarmad Hussain Nadir Durrani Sana Gul Center for Research in Urdu Language Processing National University of Computer and Emerging Sciences www.nu.edu.pk www.idrc.ca Published by Center for Research in Urdu Language Processing National University of Computer and Emerging Sciences Lahore, Pakistan Copyrights © International Development Research Center, Canada Printed by Walayatsons, Pakistan ISBN: 969-8961-00-3 This work was carried out with the aid of a grant from the International Development Research Centre (IDRC), Ottawa, Canada, administered through the Centre for Research in Urdu Language Processing (CRULP), National University of Computer and Emerging Sciences (NUCES), Pakistan. ii To the languages which will be lost before they are saved iii iv Preface This report is an effort to document the state of localization in Asia. There are a lot of different initiatives undertaken to localize technology across Asia. However, no study surveys the extent of work completed. It is necessary to document the status to formulate effective and coordinated strategies for further development. Therefore, current work was undertaken to collect the available data to baseline local language computing in Asia. This work has been done through PAN Localization project. There are about 2200 languages spoken in Asia. It is difficult to undertake the task of documenting the status of all these languages. Twenty languages are being surveyed to assess the level of language computing across Asia. The selected languages have official status in Asian countries of Middle East, South, South East and East Asia. The selection has been done to cover a variety of scripts and languages of Asia, but is eventually arbitrary.
    [Show full text]
  • |||FREE||| How to Write Tibetan Calligraphy: The
    HOW TO WRITE TIBETAN CALLIGRAPHY: THE ALPHABET AND BEYOND FREE DOWNLOAD Sanje Elliot | 96 pages | 06 Jan 2012 | Wisdom Publications,U.S. | 9780861716999 | English | Somerville, United States Tibetan Calligraphy Books Showing There are also four blank copy templates here four further writing exercises. The blank lines are designed for independent practice. Starting around the twelfth century, Uchen was also used for xylographic prints, a technique for the reproduction of sacred scriptures in which the letters are carved into wooden blocks in reverse, then inked and transferred to paper by applying pressure with a roll. Auteur: Sanje Elliott. Details if other :. The photos provide a scenic and global backdrop to meditate upon, and the calligraphy provides the spiritual wisdom to guide one s meditation. Calligraphic Tools Tibetan calligraphers used bamboo pens rgya smyug with points of various widths cut at various angles depending on the style of script they intended to write in. Journeys in Calligraphy: Inspiring Based on decades of research, The Dawn of Tibet How to Write Tibetan Calligraphy: The Alphabet and Beyond on a rich trove of archaeological, textual, and ethnographic materials collected and analyzed by the author. Average rating 4. History of the alphabet. Umed scripts are mainly used in manuscripts, in particular a condensed, space-saving form called petsug dpe tshugsand in letters and official documents, where more ornate styles are favored, such as drutsa bru tsa. Tashi Tshering rated it it was amazing Aug 06, Perfect for practitioners, artists, and anyone interested in the Tibetan language. At the end of the book the characters in the three different writing styles are each summarised on one page.
    [Show full text]
  • Dorje Lingpa and His Rediscovery of the "Gold Needle" in Bhutan
    Dorje Lingpa and His Rediscovery of the "Gold Needle" in Bhutan Samten G. Karmay1 Introduction Among the Buddhist ritual traditions that are still preserved and carried out as the central religious constituents of the annual festivals in Bhutan today those of Dorje Lingpa (1346-1405) stand out strikingly. This is particularly so in Bumthang area, Central Bhutan. In 1998 and 1999, I have had the good fortune to witness these spectacular festivals in Ogyen choling and, in 1999, at Jampa Lhakhang in Bumthang itself. Dorje Lingpa is considered as one of the five great "treasure revealers" (terton) among the Nyingmapa and an important Dzogchen master by the Bonpo tradition. He was thus an exceptional figure who clearly adopted an impartial approach to both Buddhist practices and the Bon, the non-Buddhist religious tradition in Tibet, in his spiritual quest. His approach therefore made him the precursor of what is later known as the "eclectic" (rime) movement of the nineteenth century (Smith 1970). Like many other Tibetan men of religion, Dorje Lingpa never settled himself in one place. He travelled around incessantly carried away by the motivation of disclosing hidden manuscripts and it was mainly because of this urge in him that he travelled to Bhutan, then known as Monyul or Lhomon (Cf. Pommaret 1999), where he flourished particularly. He had left in Bhutan not only his ritual legacy but also his family descendants. Centre National de la Recherche Scientifique, Paris Journal of Bhutan Studies Due to the studies of Michael Aris (1979: 158) and Francoise Pommaret (1997: 408, 414), the accounts of Dorje Lingpa's descendants who established themselves there as well as those of his reincarnations are now relatively well known.
    [Show full text]
  • The Mirror No
    No. 136 THE MIRROR June 2017 Upcoming Events with Contents Chögyal Namkhai Norbu Schedule . 2 The Relationship between the Physical Body and the Mind . 3 The Importance of the International Gakyil . 7 Photo: P . Fassoli Update on the IDC Annual General Meeting . 8 2017 Taiwan September 11–13, 2017 Roles of Responsibility Italy Taiwan Retreat within the IG . 9 Merigar West June 30–July 4, 2017 Malaysia Perseverance, Engagement, Ati Dzogchen Kyung-chen Ding-va, September 18–20, 2017 and Personal Commitment. 11 the Dzogchen Semde text “The Kuala Lumpur Retreat Great Garuda in Flight” Members of The P.R.C. International Gakyil . 13 Germany Samtengar Munich October 1–7, 2017 Shang Shung Foundation . 14 July 14–16, 2017 Samtengar retreat of Longsal Longde Ati Dzogchen Tsalchen teaching and practice ASIA . 20 Austria October 14-20, 2017 Dzamling Gar . 21 July 28–30, 2017 Long life practice with Chüdlen of Vienna Retreat Guru Amitayus Merigar West . 24 P.R.C. Hong Kong Merigar East. 27 Chengdu October 27–29, 2017 August 11, 2017 Giving Initiation of Shitro Korde Samtengar . 28 Travel to Chengdu and meeting Rangdrol of Changchub Dorje with Tibetan dancers and singers Namgyalgar . 29 Singapore August 18–20, 2017 November 3–5, 2017 Tsegyalgar East . 29 Chengdu Retreat Singapore Retreat Tsegyalgar West . 30 August 26, 2017 Australia Public Talk at the University November 10–14, 2017 Tashigar South. 31 Namgyalgar Retreat Beijing The Reopening of August 30, 2017 Argentina the IsIAO Library . 32 Visit to Jamyangling and Ganapuja November 24–28, 2017 Tashigar Sur Retreat Tibetan Coins Japan and Paper Money .
    [Show full text]
  • South and Southeast Asian Scripts 9
    Chapter 9 South and Southeast Asian Scripts 9 The following scripts are encoded in this group: • Devanagari •Bengali •Gurmukhi •Gujarati •Oriya •Tamil •Telugu •Kannada • Malayalam •Sinhala •Thai •Lao •Tibetan •Myanmar •Khmer The scripts of South and Southeast Asia share so many common features that a side-by-side comparison of a few will often reveal structural similarities even in the modern letter- forms. With minor historical exceptions, they are written from left to right; many use no interword spacing but use spaces or marks between phrases. They are all essentially alpha- betic scripts in which most symbols stand for a consonant plus an inherent vowel (usually the sound “ah”). Word-initial vowels in many of these scripts have special symbols, but word-internal vowels are usually written by juxtaposing a vowel sign in the vicinity of the affected consonant. Absence of the inherent vowel, when that occurs, is frequently marked with a special sign. Most of the scripts of South and Southeast Asia, from the Himalayas in the north to Sri Lanka in the south, from Pakistan in the west to the eastern-most islands of Indonesia, are derived from the ancient Brahmi script. The oldest lengthy inscriptions of India, the Asoka edicts of the third century , were written in two scripts, Kharosthi and Brahmi. These are both ultimately of Semitic origin, probably deriving from Aramaic, which was an The Unicode Standard 3.0 Copyright © 1991-2000 by Unicode, Inc. 209 South and Southeast Asian Scripts important administrative language of the Middle East at that time. Kharosthi, written from right to left, was supplanted by Brahmi and its derivatives.
    [Show full text]
  • A Sampler of the World's Writing Systems
    A sampler of the world’s writing systems J. Marshall Unger Department of East Asian Languages & Literatures The Ohio State University 2009 By world standards, writing is uncommon. Most of the languages that have ever been spoken lack writing systems. People improvise small, ad hoc sets of signs or signals whenever necessity demands a way to indicate specific objects or quantities, and no doubt have been doing so for thousands of years. But full writing—a system of marks capable to transcribing any and all utterances of a particular language—requires using signs that stand for speech sounds rather than directly for things or ideas. That two- dimensional signs can be so used—the rebus principle—was independently discovered just three times: once in Mesopotamia about 4,000 to 5,000 years ago; once in China perhaps 3,000 to 4,000 years ago; and once in Mesoamerica just over 2,000 years ago. Today’s principal writing systems can all be traced back ultimately to one of the two Asian systems. This exhibit attempts to convey the graphic diversity of writing systems past and present. Every writing system must strike a balance between logographic and phonographic strategies for representing speech sounds: too much emphasis on words and phrases makes a system unlearnable; too much phonetic detail makes it too cumbersome for daily use. Still, there is a rich variety of ways in which the necessary balance can be achieved. The samples shown here reflect the differences in the structures of the selected languages, their histories, and the cultures that sustain them.
    [Show full text]