I. I. Lomakina, Marzan Sarav (A. Rona-Tas) 261 I. Low, Studien zur jiidischen Folklore (J. Schweitzer) 151 M. Metzger, La Haggada enluminee (A. Scheiber) 262 L. Sternbach, Subh5sita-Samgraha's (Gy. Wojtilla) 150 ACTA Semih Tezcan, Eski Uygurca Hsiian Tsang Biyografisi (P. Zieme, Berlin) 257 G. Vermes, Post-Biblical Studies (A. Scheiber) 384 A. F. Wright and D. Twitchett (ed.), Perspectives on the T'ang (Hilda Ecsedy) 147
Bibliographia ORIENTALIA 387 ACADEMIAE SCIENTIARUM HUNGARICAE
ADIUVANTIBUS B. CSONGOR, K. CZEGLEDY, G. KARA, J. NI METH, S. TELEGDI
REDIGIT L. LIGETI
TOMUS XXX FASCICULUS z
AKADEMIAI KIAD6, BUDAPEST 1976
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A'MONGOLIAN PICTURE-BOOK OF MOLON TOYIN'S DESCENT INTO HELL
BY
ALICE SARKOZI
Illuminated books were not rare in old Mongolia, though the specimens known to us are almost exclusively religious in character. The first pages of Buddhist works usually give representations of saints or divinities, printed, drawn or painted in a style strictly determined by the rigorous prescriptions of the Lamaist iconographic hand-books, consequently the composition and colours are not left to the painter's free choice but imposed on him by the man- uals of ritual. However, looking beyond purely religious works, very little can be found: books on divination, medicine, astrology and astronomy, pharma- cology with aspects of zoology and of botany offer a certain variety of illustra- tions.) Nor was portrait painting unknown to the Mongols, and some of the miniatures show an intention to depict individual features. 2 Mongolian religious painting was mainly under Chinese and Tibetan in- fluences as far as style and themes were concerned, though the technique of painting preserved local traditions as well. Book illustrations certainly go back to painted frescoes and portable scrolls. Lamaist shrines were decorated with narrative tankas in which a saint or divinity was placed in the centre. In the background small pictures, subdivided into many squares, illustrated a par- ticular story or the life of the main hero of the picture following it step by step. This kind of painting offered freedom to the artist to represent the earthly life as he saw it. 3 In the course of the development of this kind of painting
1 On Mongolian book illustrations cf.: W. Heissig-C. R. Bawden, Catalogue of Mongol Books, Manuscripts and Xylograph : Catalogue of Oriental Manuscripts, Xylo- graphs etc. in Danish Collections, vol. 3, Kopenhagen 1971, pp. XXVII-XXVIII; G. Kara, Knigi mongoljskich kocevnikov, Moskva 1972, pp. 131-135. 2 I. Lomakina, Marzan Sarav, Moskva 1974, pp. 37-54; C. R. Bawden,Some por- traits of the First Jebtsundamba Qutuytu : ZAS 4 (1970), pp. 199-225; A. Mostaert, A propos de quelques portraits d'empereurs mongols : Asia Major IV (1927), pp. 147-156; (portraits of the late Yuan time); V. Veit, Die in Deutschland be findlichen Portrdts der von Ch'ienlung 1754-55 unterworfenen blotenfiirsten: ZAS 4 (1970), pp. 199-225 (portraits in Sino-European style). 3 G. Tueci, Tibetan Painted Scrolls, vol. I, Ron% 1919, p. 230; S. Runnel, Die amaistischen Malereien and Bilddrucke im Linden-Museum : Tribu,s 16 (1967), pp.
274 ALICE SARKOZI A MONGOLIAN PICTURE BOOK 275
man enters the picture as an active hero and is represented with great freedom. and in literature.12 Some pieces of popular literature were discovered in the Fresco painters of- the temples had a good opportunity for their activities Thousand Buddha-Caves of Tunhuang. Among these long narrative pieces, in this new field. In the beginning the hand-scroll had mainly an illustrative generally written for recital before an audience, two versions of the Mu-lien function identical with the book scroll. By the end of the T'ang period in China (Maudgalyayana) story were found. This was one of the best known stories the movable hanging picture competed with mural painting and the hand- among the common people as well as the literati already as far back as the scroll became the most popular type. 4 ninth century. 1-3 It was one of the numerous narrations that were in close Later the texts of Buddhist sutras had to be explained to the uninitiated relation with the ancestor worship ceremony, the so-called avalambana held outside of the temples too. It was felt necessary to bring them as close to the on the 15th day of the 7th month. 14 people as possible. Thus various illuminated texts were prepared that left On the basis of all these it can be supposed that the Melon toyin story, the monasteries for the market places where picture-boards were shown to the as well as the custom of depicting popular, partly religious tales in picture- audience. These shows were accompanied with epic songs or verses.' Before book form came into Mongolia from China, though it was also well known in having been introduced into Tibet and later into Mongolia, the technique of Tibet. Small books on descent to hell must have been circulated in Mongolia illustrated recitation had been employed by monks in India, China and Japan too: the present paper is concerned with one of them. as well.' We have evidence of an illuminated Geser copy from Tibet that also The picture-book presently examined is a Molon toyin legend from must have served for recitation. Professor R.-A. Stein reported that books Mongolia'-' that strictly follows the popular version of the story in pictures. of this kind were used by story tellers and when they sang and chanted a narra- The outstanding peculiarity of the book lies in the fact that it contains no text tive they pointed to the scenes on a painting with a stick as the story unfolded.' at all. There is only one word in it on the second page: Labay indicating the The painters used these scrolls not merely as illustrations that alternate with name of the hero, in order to identify him. The fact that such a book was made the text, but also as a series of paintings of considerable length to be unrolled shows how popular this Molon toyin story was with the Mongols. with the left hand while rolling up the already shown sections with the right. Thus the painting had a new dimension in time and a possibility of developing extended stories.8 G. de Roerich mentioned that Geser tankas were shown 12 J. J. Duyvendak gives a detailed list of related representations (A Chinese during the recitals of the epic by itinerant story-tellers.° This practice seems 4Divina Comedian : T'oung Pao XLI (1952), p. 313): G. W. Clarke, The Yu-li or Precious to be an adaptation of the well-known Buddhist custom of presenting didactic Records : Journal of the China Branch of the Royal Asiatic Society XXVIII (1893-94), Buddhist dramas 70 also popular in Mongolia 11 pp. 1-168; H. Dore, Recherches sur les supertitions en Chine, fol. XVI, Chang-Hai 1914, pp. 171-197; the reliefs of Angkor Vat (G. Coedes, Les Bas-reliefs d 'Angkor Vat : Bulletin In China, illustrations depicting scenes of well known stories or biogra- de la Commission Archeologique de l'Indochine, annee 1911, pp. 203 - 208) and the Boro- phies may be closely connected with the literary genre pien-wen that intended budur (N. J. Krom, Beschrijving van Borobuclur I, 1920, pp. 57-66); also an East- Lo serve two purposes: entertainment and religious teaching, especially the Turkish translation of the Mi'raj, the journey of Mahomet, which was beautifully illustrated latter. The representation of infernal scenes was very popular both in painting (A. Pavet de Courteille, Mirddj-Nameh : Bibliotheque de l'Ecole des langues orientalea vivantes, serie II, vol. 6 (1882). 13 Lu Hsun, A Brief History of Chinese Fiction, Peking 1959, p. 140; Ch'en Shou-yi Chinese Literature, A Historical Introduction, New York 1961, pp. 323-325. On the con 35-64; A. D. Rudnev, Zametki o teehnike buddijskoj ikonografii u zuracinov (chudoz- nection of pien-wen with painting cf.: A. Waley, Ballads and Stories from Tun Huang nikov) Urgi, Zabajkaljja i Astrachanskoj gubernii : Sbornik Muzeja Antropologii i Etno- London 1960, pp. 242-243, 244-245; L. N. Menjsikov, Bjanjvenj o vozgajanii za milostl grafii V. (1905), pp. 1-15. (Rukopisj iz Dunjchuanskogo Fonda Instituta Vostokovedenija) I-II, Moskva 1972 4W. Cohn, Chinese Painting, London 1951, p. 22. pp. 17-35. 5 Lai Ming, A History of Chinese Literature, London 1964, pp. 253-255. 14 J. Przyluski, Les rites d'avalamba : Melanges chinois et bouddhiques I (1931-32 8 R.-A. Stein, Tibetan Civilization, London 1972, p. 285. pp: 221-224; S. Hummel, Guan-Yin in der Unterwelt : Sinologica 2 (1950), pp. 291-293 7 R.-A. Stein, Recherches sur l'e'popee et le barde au Tibet, Paris 1959, pp. 95-99. For a detailed analysis of the Maudgalyayana story as a part of this Chinese rite cf. 8 J. Buhot, Chinese and Japanese Art, New York-Washington 1967, p. 124. Kenneth Ch'en, Filial Piety in Chinese Buddhism: HJAS 28 (1968), pp. 81-97; Tut 9 G. N. Roerich, The Epic of King Kesar of Ling : JRASB VIII (1942) reprinted in Li-Ch'en, Annual Customs and Festivals in Peking, tr. by Derk Bodde, Hong Ko n€ Ju. N. Rerich, Izbrannye trudy, Moskva 1967, p. 211. 1965, p. 60. 19 D. Snellgrove-H. Richardson, A Cultural History of Tibet, London 1968, p. 258. 15 The picture-book published here is in G. Kara's personal library. I am gratefu 11W. Heissig, Die Pekinger lamaistischen Blockdrucke in mongolischer Sprache, to him to place it at my disposal. He mentioned this book in his work Knigi mongolj Wiesbaden 1954, p. 3. skich kocevnikov, p. 138, Note 193.
276 277
The book recalls the Biblia pauperum of Europe, or to speak in modern the events of the legend have been transplanted as well as the sufferings terms one may say that it is a 19th century scomic strip. of the damned people in the hot and cold hells. Some of the pictures occupy There exist different versions and translations of the Maudgalyayana the full page, but occasionally the space is divided into two or four parts story in Mongolia. 16 The popular version, which is the shorter one, is sometimes depicting several scenes of the story. The book seems to be defective, the end accompanied by pictures, and the technique and style of several of them have and perhaps some leaves representing the hells are missing. a close resemblance to our book.'' The pictures closely follow the story. They The illustrations, though of small artistic value, are well executed by describe how Molon, here a rich young Mongol merchant, becomes a monk the anonymous artist who must have been fairly familiar with the Chinese after the death of his mother, who, as a result of her sinful life, suffers in hell. style of composition. The painter, who` certainly was not regarded as an in- His son through virtuous life and praying is allowed to rescue her from hell. dividual creator, but as a humble craftsman, used a restricted number of The book consists of 13 leaves with pictures only on one side. The other colours: red, blue, yellow, black, green and in addition to them the white of side is blank. The pictures are drawn on Russian paper. One can date it as the paper. Pictures were drawn first in pencil, then painted in water colour, being made towards the end of the 19th century on the evidence of a paper- so the outline of the sketches can be seen in some of the pictures. The design 19 mill mark on leaf 11. This was the mill-mark of Fabrika naslednikov Sumkina lacks sense of perspective and the drawings are in outline without shades. with the words: Fabriki Jates No 7. It has worked since 1829 in Laljsk in the Colours were not mixed in order to produce new shades except green mixed Volga district and they have produced this kind of paper there since 1855. from blue and yellow. The contours are strongly emphasized. While the move- The edge of another mill-mark can be seen on leaf 9. 18 Pages are bordered by ments of the figures are vividly represented, the faces are motionless, and a a red frame. The illustrations depict scenes from Mongolian life into which certain sameness characterizes them. Let me call attention to the richly illustrated Mongolian version of the pictures must have been copied from an earlier Mongol 16 There are several versions and translations of the Lalitavistara 2° Its Molon toyin legend in Mon- representation. These illustrations, that possess a great value from the point golian. The earliest known version originates from the 16th-17th century now kept in of view of Mongolian art, are not simple decorations of the manuscript, but Leningrad: B. Ja. Vladimircov, Mongoljskie rukopisi i ksilografy postupivs"ie v Aziatskij Muzej RAN of prof. A. D. Rudneva: Izv. Ross. Ak. Nauk, 1918, Nos 1549-1568. The they serve to make the text better understood, and so they can be regarded transcription of this book: Molon szerzetes pokoljarasa : Maudgalyayanamatihrdaya-sutra as antecedents of the picture-book published here. For the first time the painter Ismeretlen fordito munkaja. Kozzeteszi L6rincz Laszlo: Mongol Nyelvemle'ktar X, Buda- saw the outer world through the eyes of a Mongol, and tried to cut loose from pest 1966. [Molon Toyin's Journey to the Hell. Work of an unknown translator, published by L. LSrinez ]: the traditions that had forced the artists to be but imitators of foreign ex- Recueil des monuments de la langue mongole X]. For other copies cf.: W. Heissig-K. Sagaster, amples. In a way he was still constrained by them, but he felt an urge to ex- Mongolische Handschriften, Blockdrucke, Landkarten, Wies- baden 1961, Nos 138-139; W. Heissig-C. R. Bawden, Catalogue, Nos MONG 417, 418, press himself. 471; W. Heissig, Die Pekinger Lamaistischen Blockdrucke in mongolischer Sprache, Wies- Comparing the creator of the Lalitavistara to the painter of the present baden 1954, No 15; W. Heissig, The Mongol Manuscripts and Xylographs of the Belgian picture-book, it can be easily stated that the fromer adhered more strictly Scheut-Mission: CAJ III (1957), p. 175, No 28; L. Ligeti, La collection Mongole Schilling The Lalitavistara pictures von Canstadt to the style of the scrolls than the artist of our book. a la Bibliotheque de l'Institut : T' oung Pao XXVII (1930), No. 175; D. M. Farquhar, A Description of the Mongolian Manuscripts and Xylographs in Washington, represented the saints sitting or standing on a lotus flower base in the pre- D. C.: CAJ scribed postures encircled by clouds. All the space around the figures is filled I (1956), p. 201; Rinchen, Four Mongolian Historical Records, New Delhi 1959, p. 84, No 280; Coyijalsiiriing, Buriyad modun bar-un nom-un tabun yarciy : Stu- if not with the persons taking an important part in the story then with dec- dia Mongolica I (1959), p. 11. The Library of the Hungarian Academy of Sciences pre- orative trees and clouds. The picture-book on Melon toyin comes nearer to serves a manuscript and a xylograph version of it (Mong. 76, and Mong. 82) both trans- every-day life as far as its theme and presentation are concerned. There is a lated by Siregetu guusi cor 'i. They are brought from Inner-Mongolia by Prof. L. Ligeti. fresh breath in these pictures, the world taking form here is not any longer 17 Prof. Heissig speaks of the Molon toyin illustrations: Geschichte der mongolischer Literatur I, Wiesbaden 1972, pp. 88-91; Handbuch der Orientalistik V, 2, Mongolistik, Chinese or Tibetan but Mongolian. Leiden-Koln 1964, pp. 248-249. Some pictures were published: W. Heissig, Geschichte, Fig. 5, 6, 7, 8; W. Heissig-C. R. Bawden, mongol zurag of. N. V. Koceskov, Catalogue, Plates VIII, IX; W. Heissig, Heiden, 19 On the characteristic Mongolian picture Hollenfahrts- and Schelmengeschichten der Mongolen, Zurich 1962, pp. 175, 189; W. Heissig, Narodnoe iskusstvo mongolov, Moskva 1973, pp. 98-99. Wiesbaden 1967, Plates, 1-65; L. A Lost Civilization, London 1966, pp. 117-118. 9°N. Poppe, The Twelve Deeds of Buddha, 18 XX (1967), Z. V.Uchastkina, History of Russian Hand Paperlnills and their Watermarks, Ligeti, A propos de la version mongole des «Douzes actes du Buddha>> : AOH Hilwarsium 1962, p. 174, No 197. pp. 61, 63, 68.
278 ALICE SARKOZI A MONGOLIAN PICTURE BOOK 279
In the following I proceed in the order of the pictures, and instead of so called <
280 ALICE SARKOZI A MONGOLIAN PICTURE BOOK 281
side of the picture there is a house built in Chinese style, 4° within the five Molon toyin's hat is decorated with a peacock feather. He wears a black traditional kinds of animals: horses, camels, yaks, sheep and goats (Mong. jacket (Mong. daqu).44 A low table (Mong. sirege) stands in front of them with morin, temege, sarluy, qonin, imay-a). Next to the house a beautiful tree stands two bowls (Mong. ayay-a) on it. On the right side a box can be seen, which with three fruits on each branch, perhaps representing the three sacred gems is probably the coffin of Molon's father.45 (Mong. yurban erdeni; Tib. dkon mchog gsum), that is Buddha (Mong. burqan; b) Molon toyin and his mother are dividing money, which is represented Tib. sans-rgyas), the community of monks (Mong. quvaray; Tib. dge-'dun) here by three yellow and three white bars indicating gold and silver. 46 They are and the Law (Mong. nom; Tib. chos). Decorative clouds fly in the sky as it has sitting in a house similar to the previous one, in the same position with the been customary in Mongolian pictures. 41 only difference that Melon Khatun's hat is blue here, not yellow as in the scene Text: Erte nigen caytu Labay kemegi burgan baysi-yin yirtincit-dur before. The small table in front of them is also slightly different. ogede bolun bayiqu-yin caytu . ecige qayan eke deg'au-ner-un qamtu burgan-i c) Molon toyin leaves on horseback accompanied by several horsemen. takiju bursang quvaray-ud-tur binvad-i erguju ugeguu yuyilyacin-dur oglige They have a blue spare-horse. The other horses are white. The relatives are ogcu olan mat aduyusu-ban jakiruyad olan-i job-iyer tedkun sayuju buyan-i saying good-bye with khadaks47 in their hands. One of the khadaks is yellow, yekede uiledcu nom-ud-i olan quvaray-ud-iyan ungsiyulun barica-yi bariju the others are white. ecige eke-ben erguju burgan-i kunduleju sayiqan amuyulang jiryalang-iyar Text: a) tegitn-'ii qoyin-a asiy erir-e qudalduyan-dur yabuqu-yi sedkiju sayubai : tende-ece olan on-dur jiryan sayuysan-u qoyin-a . Labay-un ecige eke-ece bosuy yuyun yabusuyai kemeged eke-dur-iyer morgun ayiladqaba: bi qu- nasun-aca nogcigsen dalduy-a asiy erir-e oduy-a eke mina . sedkil-dur yambar bui kemen asayun ocibe: ((Once upon a time, when Buddha, the teacher was staying in the world, ((Then he thought that he would go to seek profit in trade, and wanted there was a [man] called Labay, who, together with his king-father, mother to go to his mother to ask for permission. He bowed to his mother and said: and brothers, worshipped Buddha, offered food to the priests, gave alms I want to go to seek profit in trade, what is your opinion of it, mother ?>> to the destitute beggars. Having great herds he helped everybody in the right b) eke inu boyolcud noyad-tur oguleriin . dotoyadu sang-un alta ba monggu way, practised the virtues very much, and made the monks read the religious yayum-a-yi yary-a kemebe : tende-ece tedeger boyolcud . sang-un yayum-a-yi books, he prepared offering, honoured his father and mother, revered Buddha, niytalan yaryabasu sijir alta yurban mingyan tang bayijuyui : tegun-i Labay and so he lived in beautiful peace and bliss. Then, after they had lived happily yurba qubiyaju nige qubi-yi inu ger-un tariyalang-dur : nige qubi-yi yurban for many years, Labay's father departed from this life.» erdeni-yi takiqu-dur . nige qubi-yi inu qudalduyan-du abcu odsuyai kemebe: Picture 2 is divided into two parts; the upper part represents two ((His mother said to the servants and the nobles: ((Bring the golden and scenes: silver things out of the inner treasury I> Then the servants brought out care- a) Molon toyin and his mother are sitting in a house built in Chinese fully the treasure: the pure gold measured 3,000 langs. Labay divided it into style. He sits on the ground, and Molun Khatun is on a mattress (Mong. three parts and said: ((one part is for housekeeping, one part is for offerings olbuy talbay) with one leg under the body while the other knee is raised (Mong. to the three gems, and one part is for me to go into business. comcoyiju sayuqu). 42 They both wear hats (Mong. malyai)43 with ribbons and "Hansen; op. cit., pp. 65-70. 40 Chinese influence was very strong on the architecture of Mongolia. Cf. N. M. 4s The use of coffins was not common among the Mongolian people. It was intro- Sepetiljnikov, Architektura Mongolii, Moskva 1960, pp. 117-138; 205-212. duced among them either by the Russians or the Chinese. I. A. Lopatin, The Cult of the 41 This kind of cloud has become an individual decorative motive symbolising Dead among the Natives of the Amur Basin, 's-Gravenhage 1960, p. 92. happiness and good luck in Mongolian painting (icicle"n hg). N. V. Ko"eskov, op. cit., "The same representation of money can be seen in a 19th century Tibeto-Mon- p. 98; Ch. Njambuu, Chalchyn zarim nutgijn chee ugalzny ziijlees XIX-XX zuuny &hen golian xylograph depicting scenes of the underworld: Ene anu yambar wile-ber tams tie: Studia Ethnographica Instituti Historiae Academiae Scientiarum Reipublicae Populi birid-tu torokh u5ir-i ilyan salyafu tusbiiri firuy nom-i qamtu-da uileditigsen-ece ayus Mongolici 111/3 (1968), pp. 75-77; A. v. Gabain, op. cit., Textband p. 156, Tafelband anggarafu abubasu sayin mor-tur oroqu-yin ubadis orusibai, ((Teaching that shows by the 80/186. help of pictures the causes of having to be born in hell or among pretas, and by frightening 42 On the different postures of sitting among the Mongols of. A. Rona-Tas, Po it leads people to the right way. It is preserved in the Library of the Hungarian Academy sled am kocevnikov. Mongolija glazami etnografa, Moskva 1964, pp. 191-192; A. Mostaert, of Sciences No. Mong. 278a, b, c. Cf. Fig. 1. Dictionnaire ordos, Peking 1941, p. 712a. 47 For a detailed description of the several kinds of khadaks, their colours, measures, 43 Hats with upturned brims were worn both by men and women. Hansen, Mongol the occasions when they are used, cf. Gocoo, Mongol edijn deg chadag : Studia Ethnogra Costumes, pp. 137-145. phica Instituti Reipublicae Populi Mongoli 1/2 (1961), 22 p.
282 ALICE SARKOZI A MONGOLIAN PICTURE BOOK 283
c) tende-ece Labuy eke-e6e bosuy yuyun oluysan tula bicgudeger Labuy-tur decorated with ribbons56 and he holds a stick (Mong. duldui) in his hand. morgun beleg ba belegtei say'igan ages iugulelduju qaday tory-a alta monggu teri- The other monks wear the usual long-sleeved yellow robes with a red shawl gi ten-i beleg baribai :.... Labuy Ili kobegun-u qamtu mordaqui ... . (Mong. degedu Jebel; Tib. bla-gos). ((then Labuy asked his mother for permission, he got it, and everybody Text: a) Molon qatun. Labuy-i yadaysi qudalduyan-dur oduysan-u qoyin-a bowed to Labuy and gave him presents, wished him good luck, offered him monggu-ber olan mal-i qudaldun ab6u taryun bolyaju amta-ni sayigan bolumui khadag, silk, gold, silver and other thing Labuy leaves together with a kemen modun-aca elgtiu amidu bey-e-yi inu mon ber janciju cisu nO)i-yi beyen- boy, called Ili.) -dur qurayulju alayulju miq-a yasu-yi songgin-a sarimsay-iyar nayirayul 'u Picture 3 is also divided into two parts both representing the grave ariki darasu terigiuten-i goliju iden jiryabai : basa jiyasu-yi amidu-bar galayun sins of Melon Khatun. toyoyan-dur qabqaylan gayurcu idebei : basa yalayu takiy-a nuyusu-yin jerge a) In the upper picture Melon Khatun is sitting in a Chinese style house sibayu-nuyud-i amidu-bar usu-ben julyayan debisugseger ukukui-dur miq-a-yi with crossed legs (Mong. dial. jamilir) or jdwilj suj). In the other room a ser- anu dabusu-tai goli)u idebei : basa yaqay-yi amidu-bar jiruke-yi suyulun abuyad vant sitting on his heels (Mong. dial. coxoro') sii)49 is preparing food for her. mayu qar-a ongyod-i takiyad eldeb jail-un kundu nigul-i uileduged She is wearing a dress different from the previous one: now it is blue. She is jiryan sayubai : having a good meal. On the tables in front of them there are cups with bug ((After her son Labuy left to go into business, Melon Khatun bought and xusir50 and a tall jar (Mong. dombo) with tea.51 The servant is just picking several animals for silver, fattened them and thought that they would taste up a xusur. Outside the house butchers are slaughtering animals. Fish and good. She bound them to stakes and beat them while still alive so that their fowls are cooked in a pot (Mong. toyoyan).52 A pink cow, a white horse and a blood should get clotted in their body. Then she had them killed and mixed blue pig are just being killed with a hatchet. The animals are in unreal position their flesh and bones with onion and garlic, mixed it with spirits, wine and above the heads of the servants indicating that they are dead by now. The others, ate it and enjoyed herself. Further, she put live fish into a hot pot, servants wear blue, red and white degels, and white or black boots with up- fried them and ate them. And geese, hens, ducks and others were put into turned pointed toes. a hot pot while still alive, so that the birds pulled their own fluff with their b) Molon Khatun again wearing a new dress and boots,53 drives the priests own beaks, and when they were spread out and killed, she mixed their flesh away with a long stick. In the chapel on the left a priest points to the sacred with salt and ate them. Also she tore out the heart of live pigs and made objects and offerings turned over and thrown to the ground: cymbals (Mong. offering to evil and spiteful spirits of directions. She committed several kinds cang; Tib. sil-snan),54 a vessel with a peacock feather (Mong. bumba; Tib. of grave sins and enjoyed herself.) bum-pa or khrus-bum)" and bowls for offering. One of the monks wears a hat b) tende-ece Molon qatun anu . Labay-i qudalduyan-dur yadaysi oduysan qoyin-a quvaray-ud cuylaran burgan-i takiju takil baling beledkeju olan nom-i ungsiquy-yi Molon qatun minu cikin-dur buu sonosq-a . nidun-dur minu buu 48A. Rona-Tas, op. cit., pp. 191-192. ujegul kemeged burgan takil-ud-i quriyan unayaju orkiyad olan quvaray-ud-i 49 A. Rona-Tas, op. cit., p. 191. °° urtu modu-bar janciju kogegen yabuyuluyad qural nom-i tasulju mayu-dur Buuz and chusur are kinds of cakes of Chinese origin. K. V. Vjatkina, Mongoly Mongoljskoj Narodnoj Respubliki : Vostocno-aziatskij ete,ograficeskij sbornik ed. by O. L. ujeged kundu yeke kilinca nigul-i dur-a-bar uilectcu sayubai : Viljcevskij, Moskva 1960, p. 206. ((After Labay had gone out to do business, Molon Khatun said: ((Do not 54 Vjatkina, op. cit., p. 185. let me hear about the monks, the preparation of offering to Buddha, the reading 52 Vjatkina, op. cit., p. 187, picture 12; G. Gocoo, Gan tulga mongon bujl : Studia Etnographica 11/12-20 (1965), pp. 73-74. 53 Boots with turned-up pointed toes are of Chinese origin and pattern made of the vase and having in its upper end a bunch of ku$a grass and some peacock feather - cowhide. Women and men wear the same kind of boot. Rockhill, op. cit., p. 686; Rockhill, this instrument is the aspergil. The water used in these vases has a little saffron in it Diary of a Journey through Mongolia and Tibet, Washington 1894, p. 14. and sometimes a little sugar)) (op. cit., p. 741, Plate 42). 54 On cymbals like oltar objects of. Waddell, op. cit., p. 298; Tucci-Heissig, op. 56 For a similar hat of.: P. S. Pallas, Sammlungen historischer Nachrichten caber die cit., pp. 136-137. Mongolischen Volkerschaften II, St. Petersburg 1801, Plate 9B, fig. 3; Hansen, op. cit., 55 Waddell, op. cit., pp. 298, 341; Rockhill described it like this: tthe vase is of p. 138-139. Waddell also gives the picture of the same hat without stripes (p. 196, fig. 7). Persian shape with a large spherical body and a slender bent spout. The neck is short and It is called kar-ma snags-zva in Tibetain ((the enchanter's hat) of the Karmapa sect. narrow and terminates in a flaring mouth in shape like an overturned bowl. In the top It is shaped after the cake offering for the angry demons, and is worn during the dances of this is a small circular opening in which a chased metal tube fits, reaching far down iuto and gtor-rgyas sacrifice (op. cit., p. 199).
284 ALICE SARKOZI A MONGOLIAN PICTURE BOOK 285
of religious books, and do not let me see any of these things !» And she gathered takil baling ba 'ula kuyi sitaysayar buy-yi uyeju olan quvaray-ud sayi targaysan the offerings to Buddha, threw them away, and struck several monks with meta ayuyu kemen sanabai : a long stick. She slighted religious teaching and gave it up. She turned toward ((One day, while she was having a good time, a servant girl came and evil and committed grave sins and lived as she liked.s said: From the south Ili is coming. Molon Khatun answered: Do not let him Picture 4 consists of two parts: into the house of Buddha .Let all the people of the house come here quickly. a) In the upper part Molon Khatun can be seen on the right side again Open the door of the treasury. Offer a small cup and a lamp to Buddha. Place wearing a new blue and yellow dress. She is sitting in a Chinese style house there a table and chairs, and other things. Prepare beautiful food-offering on an olbuy talbay. One of her feet is pulled under her body, while the other is and call the monks together, and have them read the religious books. Clean stretched out. She receives Ili, the envoy of her son, who is bowing to her. He the house, and put up a good appearance. At the end let Ili come in. is sitting on his heels wearing a blue dress and a black and red hat with a pea- She told Ili beautiful deceptive words: I lived practising the virtues in cock feather. Priests are carrying sacred objects to a chapel on the left. Two the right way. Go and see the shrine. Then Ili went and looked at the shrine, of them are inside, and four others outside. There are several kinds of jars and saw that there were tables, chairs, carpets, food-offering and offering- (Mong. bumba) and sacrificial cakes (Mong. gtorma) in their hands. The last lamps, just burnt and thought that the monks had just dispersed.» person in the row is carrying two bumbas by a long stick laid on his shoulders. b) tendece Ili darui turgen bucayad aq-a Labay-un emun-e-ece uytun The heads of three of them are shaved. They wear the usual dress of lamas; oduyad sogudun eyin ayiladqaba . bidan-u qudalduyan-du oduysan-aa qoyisi yellow robes with blue or black collars, with blue wristbands and red shawls. yurban jil-un dotor-a qatun eke ber burqan situgen ba bursang quvaray-ud-i There are three offering bowls on a high altar in the Chinese style chapel. jalaju nom-i ungsiyulqu ba bacay sanvar-i sakiqu ba sakiyulqu . yadayu yuyi- b) In the lower picture Labay has just dismounted from his horse and linci-du oglige ogku teriguten eldeb jail-un buyan-i asuru yeke uiledugseger is kneeling. Ili is in front of him greeting him also on his knees. He reports sayin sayuju amui kemebesu Labay asayurun . eji-yi buyan uiledcu sayuysan-i what he saw in the house of Molon Khatun. Their horses are white, they have yayakiju medebe kemebesu Ili 6gilerun . bi sum-e-du oroyu ujebesu sirege sandali . saddles with high pommels, crupper and breast-strap on. 57 Labay wears a blue takil baling talbiysayar kiged kuji yula sitaysayar bayimui : olan bursang quvaray Jebel, black daqu, black boots and a hat with ribbons and feather. Ili's robe sayi tarqaysan meta bayiqu ajuyu kemebei : Labay ene age-yi sonosuyad dotor-a- is red with blue wristbands. He wears red boots and a hat similar to that of -ban bayasuyad eke-yugen buyan uiledugsen-i sonosuyad koke oytaryui-dur Labay's. There are two houses on the extreme left and right of the picture, jalbariju morgubei : and there is a kuriye next to right house. «Then Ili quickly returned and on arriving he knelt down in front of his Text: a) cinggiji yiryan sayutal-a nigen edur jaruca okin ireged eyin brother Labay and reported: After we had gone to do business, for three years ogulerun emun-e jug-ece Ili ayisui kemebei : Molon qatun oguler-'n . tegin-i the queen mother honored Buddha, and gathered the monks together, let them burqan-u bayising-du buu oroyul : ger-un kumin bugude salab inaysi iregtun . read the teachings and observed, and made others observe the fasts and vows. sang-un qayaly-a-yi negegtun : burqan-du takil coguce yula ergugtun : sirege san- She gave alms to the poor beggars and so on. She lived properly always cul- dali teriguten-i talbiyad ariyun sayin sayiqan baling takil-i talbiyad bursang tivating all the virtues. When he said that, Labay asked him if he had learnt quvaray-ud-i jalaju qural nom-i ungsiyulyu oron bayising-i arcin ceberleju how virtuous life his mother lived? Ili told him what he saw on entering the yangjutai bayily-a : tegun-u segul-tu Ili-yi inaysi oroyul . kemebei : Ili-du chapel: tables, chairs, food-offering placed there and offering lamps burning ; qudal sayiqan ages-i ogulebei . bi buyan-i sayitur uiledcu sayubai : ci ociju as if several monks had just left. Hearing these words Labay was very joyful situgen-iyen ujetugei . kemekui-dur Ili ociju ujebesu sirege sandali debisker inside, and hearing that his mother made virtuous deeds, he bowed to the blue sky praying.> P i c t u r e 5 consists of three parts: " On the Mongolian saddle cf.: U. K6hatmi Katalin, A steppe'k nomddja lohdton, a) The upper part shows the scene when Labay arrives home from his fegyverben [The armed nomad of the steppes on horseback], Budapest 1972, pp. 141-144, long journey and putting his hands together prays to heaven. His robe is the picture opposite to p. 40; of. K. U. Kohalmi, Two Saddle Finds from Western Mongolia: same as in the picture before, but examining the saddle of his horse, certain Acta Archaeologica Hung. XX (1968), pp. 347-358; S.I. Vajnstejn, Tuvincy-Todfincy, Istoriko-etnograficeskie ocerki, Moskva 1961, pp. 72-73; S. I. Vajnstejn, Istoriceskaja differences can be observed in its form and colour. Probably the painter did etnografija tuvincev, Moskva 1972, pp. 136-144; Rockhill, Journey through Mongolia and not want to indicate anything particular by this; these differences can be Tibet, p. 192; Lomakina, op. cit., pp. 65, 75. attributed to simple carelessness. The same neglectful attitude can be observed
A MONGOLIAN PICTURE BOOK 28 286 ALICE SARKOZI
at several points: houses representing the same scene, robes of the same per- Text: a) tende6e Labay-un iregsen-i aq-a deguu irgecud bugudeger sonosuza sons, furniture, equipment seem to look different without any apparent purpose. balyasun-aca yadaysi oduysayar yarba : Labay yeke Bola-aca oytaryui-du yalbari Relatives approaching Labay greet him with stretched out hands. Three ayisuy-yi uyeyu tere uytuysan albatu irge itid Labay-i kuryu iremegee eyin ayilac of them wear daqus on their blue or red degels, and the fourth one, who is on qabai : to Bola-yin ayan-aca ireku-du emun-e cinu burgan ugei : goyim-a cin his knees, wears a red degel. Their hats are decorated with ribbons and feathers. tngri ugei atal-a yayun-u tula morgumui y-e : Labay ogulerun . eke-yugen buya A smaller figure stands near a house on the left side. He is probably a child uiledugsen-i sonosuyad yurban erdeni-tu namancilan morgumui bi kemebei dressed just like the grown-ups. tedeger inu qariyu ogulerun . cimayi oduysan-aca qoyisi yurban yil boluysan-dv b) The left side of the lower picture represents a scene in which Labay Molon qatun eke cinu yurban erdeni-i ulu kitndulen bursang quvaray-ud-i yar, becomes unconscious and collapses. A man in a red robe holds his hat, and ciba : olan aduyusu mal-i alayu caylasi ugei nigul-i neng yeke iiiledbe : bas Labay's mother and an other man in a blue robe are trying to support him amitan-i amidu-bar modun-dur elguyu yancin alayulaqu ba toyoyan-du sibay by holding his hands. yiyasu teriguten-i silyalqu ba yaqay-yin yiruke-yi amidu-bar suyulun abcu buruy c) The next scene shows how the oaths of Melon Khatun saying she ongyod-i takiyu eldeb jail-urn kundu nigul-i uiledcil yiryan sayubai . bidet ulv should die if she said untrue words, come home to roots, and she dies because bugudeger Sinn eke-yin buyan uiledcu oglige oggugsen-i ese sonoscu ese gel of her sinful life. She is lying in a house built in Chinese style. Her body is kemen ogulebei : rolled up in a blue cover. 58 Her position is strange facing towards the ground. ((Then the elder and younger brothers and all the people heard tha Her beautiful hair-dress is changed now into simple plaited hair. Labay had arrived and they came out of the town. From a distance they sal Just next to the house we can see a scene describing the further way that Labay prayed to the sky while approaching. When the welcoming serval') of the departed. It represents not a real event of life, but the 49 days of bardo people came to Labay they asked him: When you have arrived from you (Mong. yayuradu).59 The figures of the mother - again in full dress and hair- long journey, there is no Buddha in front of you, there is no God behind yot dress - and the boy refer to the filial piety of Molon toyin. He is a small boy then, why do you pray'? Labay answered: I have heard that my mother di here holding a bowl in his hand, and offers it to his mother. virtuous deeds so I bow praying. They answered: Since you left three yeas A little further one can see the struggle of infernal beings for the soul have passed and your mother, Molon Khatun has not honoured the three gem of the dead. A woman is grasped by beast-headed creatures and taken away struck the monks, slaughtered a lot of animals, and committed countles to the underworld, while the other woman, certainly Melon Khatun, is also sins. She hung live animals on stakes, beat them and had them killed. Sh attacked by these terrible beings, but she is held back by a lama who is taking boiled fowls and fish in a pot and pulled out the hearts of live pigs and offere her by the hand. This figure represents the priest who is celebrating for the soul them to the evil spirits. She committed several kinds of grave sins, and live of the departed. 60 He is wearing a yellow robe with a red shawl and a conical a life of pleasure. We, all the people, has not heard or seen that your mothe hat"- In the upper half of the picture three inhabitants of the underworld - a has done any virtuous deeds or has given any alms.>> bald man, a wolf-headed and a bull-headed creature, seize the bare-headed woman. b) Labay ene uge-yi sonosuyad mayuyiran unabai : tende-ece ucuke delureyu kebtebesu eke inu uytuyu yadaysi yaryu irebei : eke inn Labay-un yar-ac 58 The position of the body in this picture is rather strange: face to the ground, bariyu nidun-iyen ukilaqu meta taylayu yeke dayu-iyar ogulebei . ai kobegu though Lopatin mentions in his book: ((the Mongols do not pay much attention to the position but usually leave the body just as it was at the time of death - this may be well mina . asiy ugei eel tavar-iyan aldabau : yamar ueir-aca ukilan ene metli kebt( the case here. ((The body is rolled up in a piece of felt or in the garment which the de- mui : amaray bida eke kobegiin yurbayulan mendu bui atala yayun-u tula ui ceased had on when she diede> (op. cit., pp. 78-79, 91). bayasba . kemebei : Labay eke-degen qariyu ogulerun . qudalduyan-u asiy-i yek 59 After the death the soul of the departed is in the state of bardo for 49 days olba : yaycaku cimayi aduyusun-u ami-yi tasulun eldeb yuil-un bandit yek - mentioned here - when it can go into the underworld or into any kind of rebirth. nigiil kilinSa uiledbei . kemen sonosSu Sinn tula emgenin kebtebei . kemebes For a detailed description cf.: R. A. Stein, Tibetan Civilization, p. 201; A. Tafel, Meine eke inn qariyu ogulerun . cimayi qudalduyan-u yayar oduysan-a6a qoyisi Tibetreise II, Stuttgart 1914, p. 238, W. Y. Evans-Wentz, The Tibetan Book of the Dead, London 1949, pp. 6-10, 28-31; Doolittle, op. cit., pp. 188-191. baSay barin oglige baramid-i ogbei : bursang quvaray-ud-i kundulen yarba 60 In Tibet the death service for assisting the spirit of the deceased to reach the erdeni-yi takiyu eldeb yuii-un sayiqan uiles-i uiledugulun sayubai bi : kobegu Western Paradise of Amitabha is called bde-ba-6an-kyi smon-lam. For a detailed de- sninu ese bisirebesu kii i yula untarayadui . sirege sandali debisker quriyayaduyl scription cf.: Evans-Wentz, op. cit., 18-30. Ili kobegun ii eyu uyeluge kemebei : Labay ene uge-yi sonoscu ese bisiren bayital- 61 For the same hat cf. Pallas, op. cit., Plate 9B fig. 2; Waddell, op. 196, cit., p. eke inn basa ogulerun . bi ger-tegen sayuyu aduyusun-u ami-yi tasulyu buyan- fig. j; Tucci-Heissig, op. cit., pp. 145, 155.
288 ALICE SARKOZI A MONGOLIAN PICTURE BOOK 289
Miles i ese uilediigsen bogesii bi ger-tegen qariyad kundu ebedcin kiirteju doloy- va6ir; Tib. rdo-rye).63 Next to his seat a low table stands with a tea-cup or -a qonoy-un eciis-tar yegudkesugei kemen ama aldabai : eke-yin tere age-yi offering bowl on it. A bare footed lama - perhaps Sdriputra - wearing Labay sonosuyad genedte qadquysan meta cociyu bosuyad eke-yugen qoyin-a-aca a red robe with a yellow shawl stands between the two rooms of the chapel dayan ger-tar-iyen gariyu irebei : uytuyu iregsen albatu-nar ger ger-tegen taraqan as if coming from the other room to the ceremony. He is holding an alarm- garicayabai : staff in his hand. A Buddha statue stands in the other room. It is in ((earth- ((On hearing these words, Labay lost consciousness and fell down. As he touching>> position with a bowl in his hand. His body is yellow indicating that regained his sences and lay there for a while, his mother came out to meet him. it was made of gold. In the third room an altar is set up with three offering She caught the hand of Labay and pretending to cry out, she covered her eyes bowls on it, and two vases of flowers stand in front of them on a lower table and said in a strong voice: Oh my son ! Have you lost your goods without any or box. profit? Why are you crying and lying here in this way? We, as well as you Outside the chapel Labay is lying on the ground and praying. He is bare- are healthy, why are you not happy then? Labay answered: I have found headed, a man holding his hat stands nearby. Labay is in his usual blue Jebel quite a big profit in business, but I have heard that you have killed animals with a yellow belt (Mong. base) but without his black daqu. The man nearby and committed several kinds of grave sins. I am lying here in suffering, because is wearing a similar dress and a moustache. of you. His mother answered: After you left for market places, I kept the fasts, On the right side of the picture one can see the grave of Molon Khatun, gave alms, honoured the monks, made offerings to the three gems, and did who is placed in a cave-like building or perhaps in a hut made of grass in sitting several kinds of good deeds, and lived in this way. My son, if you do not believe position.64 Her hands are clasped in prayer. Her hair is plaited. Swans and deer me, the boy, Ili saw that lamps and sticks were lit and tables, chairs and car- have gathered around her grave. Billowy clouds fly in the sky as seen in the pets were placed [in the chapel ]. On hearing these words Labay did not believe first picture, and a river-flows near the grave. Ahem at once, but his mother said taking an oath: If I killed animals and did b) Here one can see a monastery again in Chinese style. In one of the not do virtuous deeds while at home, let heavy illness catch me when I go home, two rooms a high-ranking priest is sitting on a high throne wearing a gown and let me die in seven days ! Hearing these words of his mother, Labay and a hat. In front of him a lama is standing and offering him a bowl, perhaps sprang up as if pricked [by a thorn], and went home following his mother. tea.65 This lama waers a yellow robe with a red shawl and black boots. In the Servants arriving to meet him, dispersed to their own homes.>> other room five other lamas are sitting on a lower bench. Three of them are c) Molon qatun ger-tar-iyen kuruged nigen cay boluysan tedui ebedcin bald. They all wear the same pleated yellow gown. Next to the monastery a kiirteju doloy-a qonoy-un qoyin-a fibrin yegudcii odbai : tende-ece Labay eke-yugen yurt (Mong. ger) stands. Its outer blue felt cover (Mong. yadayur toyurya) is ukugsen du dotor-a-ban mayu bolun enelun sinalun ukilabai : basa Labay eke- turned up so that the wooden lattice wall of the yurt (Mong. gam-a) is visible. -yin-iyen kegiir-i abdaralayad ger-un qoyimor talbiyu : eke-yin qoyiiu buyan-i The smoke-hole (Mong. toyonu) is open. The yurt is bound around by ropes 'ailedku-yin tula bursang quvaray-ud-i 'alayu nom-i ungsiyulyu buyan-t uiledun docin yisun qonoy dayusuysan: 63 For the same bell cf. Pallas, op. cit., Plate 9B fig. 8; Tucci-Heissig, op. eit. ((Arriving home, Molon Khatun at once become ill, and died in seven pp. 135, 138; Waddell, op. cit., 298, 341. Manipulating with this bell a special hand po days. Then ,Labay felt bed and suffered inside because of the death of her sition (Tib. phyag-rgya, Mong. mutur) and gestures are compulsory (Tucci-Heissig mother, and cried. Labay laid the corpse of his mother into a coffin and placed op. cit., p. 132). One usual position in which the bell is held is in the left hand the openin€ it on the honorary place of the house. Taking care for the future moral (life) of the bell pointed towards the body, the thumb against the handle and the fingers around of his mother, Labay called the priests, made them read religious books, and the body of the bell (Rockhill, op. cit., pp. 739-741, Plate 41). 64 For placing the dead into a tent of. J.-R. Roux, La mart chez les peoples altaique> practised virtuous actions. In this way he passed fourty-nine days.>> anciens et medievaux, Paris 1963, p. 148; U. Harva, Die religiosen Vorstellungen der altai Picture 6 is divided into two parts : schen Volkern, Helsinki 1938, p. 293. In the Secret History of the Mongols a tent is placec a) The uppert part shows a monastery in Sino-Mongol style with three over the body of the murdered Teb-tengeri: niken born gosliq abcira'ulfu Teb-tenggeri-yiry rooms. In one of them a priest is sitting and performing a ceremony (Mong. de'ere inu talbi'ulju (L. Ligeti, op. cit., p. 214). Tafel published a picture where the departec qural; Tib. 'chogs). His robe is the usual lama-robe, and his hat is very deco- is placed into a quadrangular grave in sitting position. This representation is very simila] to that here (op. cit., pp. 236-237, fig. 10-11). Rockhill also mentioned that bodies o: rative.62 He rings a bell (Mong. gonggo; Tib. dril-bu) that ends in a vajra (Mong. great lamas were interred in a sitting posture (op. cit., p. 730). 63 Services in monasteries are interrupted eight or ten times daily for refreshment 62 For similar hats of. Tucci-Heissig, op. cit., pp. 146, 151. when tea is served (Waddell, op. cit., pp. 214-215).
290 ALICE SARKOZI A MONGOLIAN PICTURE BOOK 291
(Mong. buslegir) and the red outer canvas cover (Mong. yadayur buriyesun) b) tende-ece yurban jil-un eats boluysan goyin-a eke-ytgen ner-e-yi biciged is also strengthened by ropes. The yurt has a felt-door (Mong. eguden) instead yal-dur sitayaju ger baray-a . alta monggi erdeni . ed ayurasu qubcasu terigtten-i of the modern wooden door (Mong. gayaly-a).66 elan bursang quvaray-ud-tur ergtbei : Labay er-e yay6ayar k,amtn gocorbai : Hard by the yurt all the treasures can be seen that Molon toyin abandoned <
292 ALICE SARKOZI A MONGOLIAN PICTURE BOOK 293
delgeremiii : nasun-aca nogcigsen bogesii tngri kiimiin-ii torol-i olumui . kemen Melon toyin went to Buddha to ask where he could find his mother, and how jarliy bolbai : Buddha sent him to look for her in the spheres of hell. tende-ece ilaju tegii,s nogcigsen burqan amin qabiya-tu Saribudari-tan-a Picture 8 is divided into two parts both representing several eyin kemen jarliy bolurun . tegiin-ii sagal terigiiten-i ditilejii abtuyai kemebesii scenes of the hells. The following leaves show pictures of the underworld, tende-ece ilaju tegiis nogcigsen burqan abisiy bosuy-i tegiis oggiiged altan mutur- but it is very difficult to identify them, or to arrange them into any known -iyan oroy-yin deger-e talbijuLabay ner-e-yi soliju degedii qubilyan Molon toyin system of hells, because while the text speaks of 18 cold and hot hells, we have kemen nereyidbei : here only 16 scenes. It can be supposed that one or more folios are missing, ((Then Labay renounced the vanity appurtenances of the world and went or the painter here followed a special system. More probably he intended to the place where Buddha was. He went round (Buddha) three times, put his to give only a selection of infernal scenes. Anyhow, some of the drawings are palms together, bowed, and said to the Bhagavant : My father and mother de- very characteristic of certain hells presenting situations described in other parted from life. They fulfilled all the virtuous teachings of the future. I came texts, or represented in other picture-books quoted below. On the other hand, here because now I should like to follow Buddha, the Bhagavant, and to be- some spheres of Buddhist hell, well-known from several descriptions, and from come a monk. And when he asked what the use of becoming a monk was, the Damdinsurung's text as well, are not represented here. There is no picture Bhagavant taught saying this: . . . if your father and mother are alive, their of the sword-forest where the damned flee hoping to find refuge and shelter life and virtue will be flourishing, if they are departed from life, they will find in the shade of lovely trees, but the leaves turn to swords and fall on themL71 the rebirth of heavenly people. a) In the centre Molon toyin rides a cloud. He had just arrived in hell Then the Bhagavant gave an order to Sariputra of meritorious life: where everything is in flames and smoke. On the right side a yellow bodied Shave off his beard and hair, and then the Bhagavant gave him his perfect female creature with eight bird 's heads is pushing a man into a blazing furnace. blessing, put his golden hand on his head, and changed his name Labay into Another man is already in the flames, and a bull-headed hell-guard keeps him Molon toyin, the eminent incarnation..>i7 0 inside with a long stick. On the left side the miserable damned try to escape b) Molon toyin ilaju tegiis nogcigsen burqan-dur basa eyin kemen ayilad- scraping on the ground among jagged rocks. qabai . bi aylay yajar odcu diyan-dur sayusuyai [.... ] b) Here the damned are crowded together between mountains which berke nereti2 ayulan-dur kiiruged nigen ariyun yajar-i olju iilii kodeliin resemble the heads of bulls and sheep. The rocks crush them. On the far left diyan-dur sayubai : side they can be seen completely flattened. On the right side two females tende-ece yurban jil boluysan-u qoyin-a dotor-a anu gegen gerel sacurayad are thrown into a great hot iron press. A horse-headed and a bull-headed bilig-iin nidii-ber deger-e yu6in yurban tngri-yin oron-i todorqai ztjebesii ecige guardian stand by with swords and hatchets in their hands. inu buyan-u erke-ber qan Qormusta bolun toroged ... tngri-ner-tit tusijii eldeb Perhaps, this scene can be identified with the hell called ((That which jiryal-iyar cenggen sayuqu-yi i ejii Molon toyin masi bayasuyad basa eke Molon oppresses by crushing)) (Mong. Quriyan daruyci; Tib. Bsdus-gzom; Skr. Sam- qatun gamiy-a torogsen-i ese iijeged ... . ghata) .72 ((And also, Melon toyin turned to the Bhagavant, saying: I will go into Text: a) [Molon toyin] asuru qalayun kikiten arban naiman tame-yin a deserted place and sit there in mediation. He went to a mountain called Berke, oron-du eke-yitgen erikii-yin tula egiile-ber nisiin odbai : found a pure place and sat there without moving in meditation. After three years had passed a bright light lit up inside him, and with 71 For detailed and systematic descriptions of Buddhist hells cf. Pallas, op. cit., his wisdom-eye he caught a clear sight of the place of the thirty-three heavens, 53-60; J. J. Jones, The Mahdvastu I, pp. 6-21; O. Kowalewski, Buddijskaja Kosmolo- where his father was born to become Khan Khormusta by the power of his gija, Kazanj 1837, pp. 130-145; I. J. Duyvendak, A Chinese «Divina Comedia»; pp. 255-316; F. de Filippi, An Account of Tibet. The Travels of Ippolito Desider of Pistoia virtues. Molon toyin was very glad on seeing his father, and that he relies on S.J. 1712-1727. With an Introduction by Wessels, S.J. London 1932, pp. 232 -238; gods and lives in bliss taking pleasure in it. But he did not see where his mother, O. Kowalewski, Mongoljskaja Chrestomatija, Kazanj 1837, pp. 130--145; B. Bergman, Melon Khatun was born.>> Nomadische Streifereien unter den Kalmuken in den Jahren 1802 and 1803 III, Riga 1804, Probably some folios are missing here. The text goes on telling us how pp. 58-60; M. Timkovski, Voyage a Pekin a travers la Mongolie en 1820 et 1821, Paris 1827; Waddell, op. cit., pp. 89-99; G. Z. Tsybikov, Lam-rim Chen-po, Vladivostok 1913, pp. 119-128. 70 It is customary that the lama who initiates the novice gives him a religious 72 Description of this hell: Jones, op. cit., p. 6; Kowalewski, op. cit., p. 133 (the name, by which he is henceforth known. Waddell, op. cit., p. 179. name of the hell here is guriyan ebdeg6i).
294 ALICE SARKOZI A MONGOLIAN PICTURE BOOK 295
tere tame-yin egztden-clatr yaltu nurm-a-dur amitan-i erlig-std 'ida-bar d) Here a man is stretched on a frame head downwards and dog or gadquju yabuyulqui-dur tedeger amitan-u arasu miq-a salburan unabai : sheep-headed yellow attendants of the hell grind him from heel to neck by eMolon toyin went away flying on a cloud into the land of the 18 ex- two iron grinders. tremely hot and cold hells in order to look for his mother. This hell can be well the so called ((Big hot)) (Mong. Yeke qalayun; Tib. At the gate of that hell the guardians of hell pricked the living beings Cha-ba Men-po; Skr. Tapana).75 with spears amidst blazing sparks, and when they made them move on, the Picture 10 is divided into four parts representing scenes of the hot skin and flesh of those beings split off.>> hells: Picture 9 depicts four scenes of the hells: a) There is a furnace in the centre with living beings burning inside. a) Here the damned are swallowed into the belly of jagged rocks. Two On the right side a man is just pushed into the flames by a dog-headed yellow of them are trying to escape their fate stepping aside in knee-deep burning creature who trusts a long pole into his body. The latter figure stands in the coals, or bloody mud. Three persons are thrown into a large cauldron and a next picture and his stick pierces the wall between the two scenes. This position spotted leopard-headed infernal attendant is boiling them holding a strange expresses that the damned get from one circle of the hells to the other, and that instrument in his hand. Their hair stands on end. the pictures are to be viewed in dynamic connection. On the far left a leopard- b) People here are stretched on a frame one's feet upwards and head headed attendant is pouring from a bottle burning hot iron or excrement into downwards. They are cut by a saw. The two creatures handling the saw are the mouth of a damned, and he holds a sword in his other hand. a blue bull-headed and a sheep-headed being with swords in their hands. b) On the left side we can see the figure mentioned above, and in the Stripes are painted on the bodies of the damned, so probably, the so called centre a woman is stretched upon a frame as if she were a skin of an ox. An ((Black lines)) hell (Mong. Qara siyum-tu; Tib. Mg-nag; Skr. Kalasittra) is attendant - here a man, not an animal-headed creature as usual - is driving depicted here where the guardians draw black lines with special instruments a pole into her body with a hammer. 76 on the bodies of the damned who are later sawn into pieces according to these c) Here also a furnace is placed in the centre with living beings burning 73 black lines. in flames. A horse-headed yellow guardian is throwing a man into the flames. c) A hunting scene is represented here, where the hunter is a bull- d) In the middle a traditional Mongol kettle support stands on three headed blue creature holding an arrow, and the victims are human beings shot legs. Human beings are boiled in the kettle and two attendants of the hell are in their heads 7 throwing them in from both sides. One of them is a pink deer with antlers, the other one is a monstrous man. 73 Jones, op. cit., p. 6; De Filippi, op. cit., p. 233; Kowalewski, op. cit., p. 133. Picture 11 depicts four scenes of hells: 74 Hunting scenes are frequent in hell descriptions. A man who was a hunter in a) A stove is placed in the centre here with people burning in it. Two this world is shot dead by animal headed creatures in hell. The xylograph preserved in monsters, a pink bull-headed one, and a yellow horse-headed one, are keeping the Hungarian Academy of Science (Mong 278), which is a description of hell with pic- tures, also contains a number of hunting scenes: 18b, 19a-b give pictures from the hell the fire going with the bodies of living beings. ((Reviving) (Mong. Dakin edegeregci; Tib. Yan-sos; Skr. Sanjivana), the sub-hell of it, b) In the centre of the picture a blue and pink marsh incorporates the called ((Mire of impurity)) (Mong. Ariyun busu-yin balciy sabar-tu; Tib. Mi-gcan-ba'i damned. They are suffering in filth and mud up the chins. Two of the victims 'dam). Leaf 25b is also a hunting scene from the sub-hell ((Changing into iron* (Mong. are bound round with ropes. The guardians here are yellow, and they have temur-tur korbelgegci; Tib. Ldags-kyis bsgyur). 46b is a scene from the sub-hell ((Always unhappy)) (Mong. Nebtedegen iilu bayasuy6i; Tib. Kun-tu mi dga'). 79b is a scene from the sub-hell ((That which oppresses by crushing)) (Mong. Quriyan daruyci, Tib. Bsdus gzom), 207/b-208/a give pictures from the sub-hell ((Burning living beings in fire)) (Mong. the 10th sub-hell: ((Course of tears like fire)) (Mong. Nilbusun ihrguljilel yal meta; Tib. Amitan-i yal-iyar tulegci; Tib. 'Gro-ba mes sreg-pa). For the above mentioned Tibetan Mchi-ma'i rgyun me lta-bu); 122b depicts a scene from the ((Big-hot) hell (Mong. Yeke names I am grateful to G. Bethlenfalvy. qalayun; Tib. Cha-ba 6hen-po; Skr. Tapana), the sub-hell called ((Flowing red river)) (Mong. 75 Jones, op. cit., p. 7. Ulayan usu bayuyci; Tib. Chu-bo dmar-po 'bab-pa). 151a is also a hunting scene from the 76 Prof. Bawden and Prof. Heissig published a similar picture in their catalogue, hell ((Very hot)) (Mong. Masida yeke qalayun; Tib. Rab-tu cha-ba; Skr. Pratapana) the sub- the 22v and 23r of a popular coloured lithography of the Molon toyin legend (Mong. 418), hell ((Net of ropes that fall down depressing)) (Mong. Utasu-bar bayly-a bayly-a-bar yutaya6i; where a woman is stretched upon a frame and a deer-headed creature drives a pole into Tib. Gnod-pa'i rgyud [rgyu? D. 206b represents a hunting scene from the hell ((Where there her breast. Further on a bull-headed attendant throws human beings into a kettle. The is no rest) (Mong. Amulasi ugei; Tib. Mnar-med; Skr. Avici), the sub-hell ((Cutting the skin text under the picture reads: yeke qalayun tamu-dur ukilan dayuqu kemeku ((the weeping into strips)) (Mong. Siri arisuban fisugulku; Tib. Ko-dra [- kro-dra gos-dra]. The leaves end screaming in the big hot hell)) (op. cit., Plate IX).
296 ALICE SARKOZI A MONGOLIAN PICTURE BOOK 297
the heads of a dog and a goat. It is perhaps the hell called ((Burning fire from pulates counting boards with a long stick. The other one is a bull-headed everywhere and bounding round with iron rope)) (Mong. Jug biikily-ece yal creature with a knife in his hand. The two cups in front of him on a table badarayci ba temiir degesii-ber oriyayad; Tib. Phyogs thams-ehad me 'bar-ba contatining yellow and white pebbles, also represents the good and evil deeds lcags-thag-gis dkris-pa), a section of the ((Big hot)) hell. 77 of mortals. c) Three jaggy iron mountains close up the damned here, and some of d) Molon toyin has found his mother in the underworld. He is standing them are stuck through by the peaks. This seems to be a scene from the ((Cold on the left side holding an alms ' cup and an alarm-staff of a mendicant monk. hell)) (Mong. Kiiiten tamu; Tib. Grail dmyal), where the sinful have to sit on ice. Another monk, perhaps the other favourite disciple of Buddha, Sdriputra d) This scene may also belong to the cold hell, though the kettle on the is bowing to the ground. Molon Khatun is in the centre, naked, with a blue right side with people boiling in it seems to be contradict this supposition. iron pillory on her neck, and an iron chain around her ankle. The guardians Other damned people are sitting among ice-floes or are stuck on the peaks next to her are two yellow figures, a dog-headed one with a hatchet in his of the jagged mountain-tops. The guardians here are a bull-headed pink hand, and a pig-headed one with a sword. A bull-headed figure is standing creature with a long-handled axe in his hand, and a yellow pig-headed being on the right side with a sword in his hand. with a special instrument which serves to stir the boiling beings in the pot. Text: a-b-c) temiir balyasun eguden ugei . arban jiryuyan dabqurlaysan-u Picture 12 is divided into four sections: dotor-a nom-un Erliy qayan altan sandali-yin deger-e sayun jalarayad amitan-u a) Melon toyin has just arrived before the ruler of hell, Yamantaka buyan ilyaju bayimui : buyan itiledugsen amitan-i amuyulang-tu oron-du (Mong. Erlig qayan; Tib. Gsin-rje'i rgyal-po) the ferocious emanation of ilege 'ii . nigul uiledugsen amitan-i tamu-tu cayajalaju bayimui : Manjusri. He is the most complicated and terrible of all the Northern Buddhist [ ] jegiin eteged-tu sarmaycin toluyai-tai erlig . yar-tayan cingnegur divinities represented here with bull's head.78 He has a crown of skulls and a barin bayumui : [. . ] tegi'tn-ece erlig qayan eyin asayubai : qutuytu ende yayun-u third eye (Mong. beige bilig-iin nidun; Tib. ses-rab-kyi spyan) in the middle kereg-tit irebei kemebei : Molon toyin eyin ogulernn . bi eke-yiigen eriju ireluge: of his forehead. In his right hand there is a staff (Mong. dokiyur beriy-e or burqan baysi mina eke-yi tamu-du bayin-a kemen jiyabai : Erlig qayan ber . sorbi; Tib. dbyug-gu) and perhaps a mirror (Mong. toli; Tib. me-lon)79 and in toyin a burqan baysi 6,m-a-du yayu 6inu bui kemen asayubasu Molon toyin . his left hand a skull cup (Mong. gabala; Tib. thod-pa). He has an animal-skin burqan minu baysi kemebei . eke-yugen arban naiman tamu-yin oron-dur eretugei around his waist. Flames are burning around his figure. In front of him Molon kemen jarliy boluysan-i dayaju mon tamu-yin oron bugude-ber erin kesuju toyin is on his knees wearing red trousers and an orange shawl. On the right asayubasu . tere 'obalangtu amitan-u dotor-a minu eke oyto iigei side a bull-headed monster is standing with a mirror and a sword in his hands. Molon toyin ber . minu eke ene bicig-i'tn dotoraki tainu-du ilgei bogesu He wears a tiger skin around his waist. yamar tamu-du odbai kemebesi't . qayan ber . emun-e temur ayula meta Ayusi On the right of the picture there is a pig-headed attendant of hell, who tamu bui : tegun-du ocitugei gebe : toyin ber tere Ayusi tamu-du kurbesu tere holds a balance in his hand. There are black and white pebbles in the pans tamu anu oroqu qayaly-a ugei-du . yeke dayun-iyar kedun-te dayudabasu dayu representing the evil and the good deeds of people." yarqu kumun ugei tula Erlig gayan-du ociju ayiladqabai . yeke qayan a tere b) The upper right picture represents the blazing Iron town (Mong. Ayusi tamu-yin qayaly-a yayun-du negegegdemui kemebesu [.... ] Temar balyasun; Tib. Gron-khyer) without any gates. Burqan jarliy bolurun . toyin a . ci buu ukilaytun : tere tamu-dur qayaly-a d) In the lower left picture two servants of hell count the sins and the bui : tegun-i negegej i bolumui : minu nomtu debel kilted badir ayay-a dulduy-yi virtues of people. The blue one has a spotted deer-head with antlers. He mani- bariju ociyad tamu-yin gayalyan-u emun-e dulduy-yi yurban-ta yajar gadqubasu qayaly-a negegegdemfii 77 The xylograph (Mong. 278) preserved in Budapest, gives a similar picture of ((The 16 storied iron-town is without a gate. In the middle of it Erlig this hell with people being bound around. Khan, 78 Alice Getty, The Gods of Northern Buddhism, Tokyo 1962, p. 164; A. Grtnwedel, the ruler is sitting on a golden throne dispensing justice separating Mythologie des Buddhismus in Tibet and der Mongolei, Leipzig 1900, p. 104. the virtues and the sins of the living. The virtuous are sent to the place of
79 The mirror reveals the soul in all its nakedness (Waddell, op. cit., p. 90). peace, and the sinful are condemned (to go) to hell. 80 The Great Judgment is determined solely by the person 's own deeds, and it is On his left a monkey-headed Erlig is sitting with a balance in his hand. concretely pictured by the ordeal of balance, where the good deeds, the white pebbles, Then Erlig asked: You, blessed one, why did you come here? Melon are weighed against the sins, the black counters, in scales (Waddell, op. cit., p. 90). In the xylograph of Budapest (Mong. 284) we can also see the Judge of Hell with a balance toyin answered: I came to look for my mother. Buddha, the master showed on leaf 116b. me that my mother was in the hell. Erlig Khan asked: Oh, monk, who is this
298 ALICE SARKOZI A MONGOLIAN PICTURE BOOK 299
Buddha, the master of you ? Molon toyin said: Buddha is my master, I followed toyin is standing on the left of Buddha wearing a red shawl and holding a staff his order saying ((go and look for your mother in the 18 hells, and when I and a bowl in his hands. wandered in those hells looking and asking for my mother, she was nowhere d) Molon toyin finds his mother in the form of a yellow dog running to to be found at all among those suffering people. him. He holds an alarm-staff and a bowl as usual. Decorative clouds fly on asked, if his mother was not in the hells contained And when Molon toyin the left, and a Chinese style house stands on the right side. the Khan said: To the south there is the in the list, then where she was ? Then Text: a) toyin ber ttnde-ece yabuju burgan-a ocibei : eke-yugen olju tamu- hell that is like an iron mountain. Go there ! When the toyin arrived Ayusi -a5a Yaryan yadabai kemebe : burqan anu usnir-aca gerel sacuraju arban naiman hell was without an entrance. He called out sometimes in a there, the Ayusi tame-yin gamut' amitan jobalang-aca gayacaju tonilbai : burqan anu 6inu eke Erlig Khan, loud voice, but there was nobody to give a voice, so he went to Cambudvib-tur amide bitkui cay-tayan buyan-i tebcin . kilinca nigul-i asuru Ayusi hell? and said: How is one to open the gate of the great yeke uiledugsen-iyer tame-acs toniluysan bolbacu birid-titr torobei : kemebe : . ! There is a gate to the hell. I shall Buddha said: Oh, monk, do not cry ((Then the monk went to Buddha and said: I have found my mother, open it. If you take my religious robe, my begging bowl and my stick, if you but I could not rescue her from hell. Then Buddha radiated light from his go to the gate of that hell and knock at the gate with the stick three times usnisa and saved all the living beings of the 18 hells. it will open.)> Buddha said: Your mother when alive in the world always practiced Molon qatun-u gadayasu-yi multuluyad kujugen-du inu tomor dongge d) evil and sinful actions, slighted righteousness and that is why even if she was emuskeju temur degesu-ber ginjileju eldeb meses-i tayilayad qakiruldun yasiju rescued from hell, she was born among the pretas.>> yaryaju acarabai : b) burqan-u jarliy-i sonoscu toyin eke-yugen erir-e odbai : burqan-u were taken off, and she was unyoked ((When the nails of Molon Khatun duldui ba ayay-a-yi bariju birid-an oron-du kurbei : tendeki-yin amitan-u her neck, from being chained with iron ropes, and from the iron pillory put on ten gun inu ayula-yin ted'i . kujugun inu degesun, u tedui . qoyolai anu kilyasun-u from the different knives she was led there shouting.>> tedui boged idegen um,dayan kuseju idebesu aman-du gig baytamui . kerbe Picture 13 consists of four scenes: aman-du baytabasu qoyolai anu kilyasun-u teduy-yin tula jalgiju ulu cidamui : The gathering of monks is sitting in a Chinese-style monastery. The a) kerbe jalgin cidabasu kebeli inu ulu caddumui : kerbe cadbasu kol inu masi chief lama is on the left side on a high throne, and the others are sitting in a narin tula ulu dayayamui : Molon qatun nige eyimu amitan bolju yeke ) 'obalang- row on a lower bench. They all wear the customary lama-robe which is gathered -iyar enelku-yi ujebei : Molontoyin eke-degen burgan-u badir ayayan-u dotoraki at the waist into a number of small folds. binvad idegen-i abcu ogbesu eke inu qaram sedkil-iyen tebciju cidaqu ugei tula pretas (Mong. birid, Tib. yi-dvags),81 b) Molon toyin arrives in the land of nige yar-iyar idegen-i abcu nokoge yar-iyar busud birid-i tulkibei tere idegen-i where his mother was reborn. His alarm-staff is in his left hand, and he gives Molon qatun idebesu keseg Mayan yal bolun qubilju gedesun-dur tuimer meta his bowl82 to one preta, who is certainly his mother. The pretas are blue with sitabai : black hair and flames issue from their mouths. Their mouth is only the size ((After having heard the words of Buddha, the toyin went to look for his of the eye of a needle, their necks are very slender, and their bellies are huge. mother. He took the staff and the bowl of Buddha, and reached the land of Molon toyin returns to Buddha. He is the central figure of the picture, c) pretas. Those living beings who were present there had a measuring as big sitting on a lotus throne in a Chinese style house. He puts his hand in blessing as a mountain, and a mouth measuring as narrow as the eye of a needle. Their on the head of a monk who is on his knees on Buddha 's right. Here Molon bellies were as large as valleys, their necks were like a rope and their throats like a single hair. Even if they could swallow it, their stomachs were not filled. Even if they got filled, they were unable to walk their feet being so very thin. 81 Detailed description of pretas of. S. Beal, A Catena of Buddhist Scriptures from Molon Khatun became a living being like these, and with great suffering she got Le sacrifice the Chinese, London 1871, p. 67; Waddell, op. cit., pp. 96-97; L. Ligeti, to know grief. When Molon toyin gave his mother the alms-food contained Histoire Secrete: A0H XXVII (1973), pp. 151-159; W. Stede, offert aux ancetres clans l ' in the bowl of Buddha, his mother, because she could not relinquish her greed Die Gespenster-Geschichten des Beta Vatthu, Leipzig 1914, G. Z. Tsybikov, op. cit., pp. 128- of mind took the food with one hand, and pushed away the other 134. pretas with 82 The same representation of Motor> toyin can be found on the cover page of the the other one. When Molon Khatun ate that food, it became a great red fire Peking xylograph of the Maudgalydyana story (Library of the Hungarian Academy of and burned in her stomach like a wild-fire.>> Sciences, Mong. 82). c) Molon toyin . egule kolgelen bucaju ireged ilaju tegus nogcigsen burqan-du
300 ALICE SARKOZI A MONGOLIAN PICTURE BOOK 301
eyin ocirun : burgan a minu eke birid-un jobalang-aca yayakibesu tonilumui kemebei : burgan baysi eyin kemen jarliy bolurun . cinu eke yeke kilincatu-yin tula Yangsin neretu balyasun-dur ologein sir-a noqay-yin torol-i olju torobei kemebe : tende-ece ber Molon toyin ber burgan-u jarliy-i sonoscu dotora-ban masida yasalun eke-yugen erir-e odbai : Molon toyin has arrived riding a cloud and descending said to the Bhagavant: Oh, Buddha, how can I rescue my mother from the sufferings of pretas. Buddha, the master answered: Because your mother was very sinful, she was born in the town called Yangsin,83 as a yellow female dog. When Molon toyin heard the words of Buddha, he was rather sorrowful inside, and went away to look for his mother.» c) biraman-u balyasun-du kurbesu nigen sir-a noqay-yi ujebesii yabuqu anu nisit meta qurdun boged Molon toyin-n dergede ireged gengsin debel-i jayuyad asuru yeke bayasun kicrben ayuljabai : toyin ber ene noqai mayad minu eke mon buyu kemeged ... . ((When he arrived into the town of Vaisali, he caught sight of a yellow dog, the walking of which was as fast as if it were flying. It came up to Molon toyin barking and caught at his gown and was very glad to meet him. It must be my mother - he said ...» The story in pictures ends here, but the text published by Damdinsurung goes on to tell that after Molon toyin had found his mother in the form of a dog, he went again to Buddha, and asked him how he could save his mother from that rebirth. Buddha instructed him to gather priests and to follow a pious life. Molon toyin acted according to Buddha's order, and in this way he suc- ceeded in rescuing his mother, who was reborn as the daughter of a brahman in the town Kabaliy (Kapilavastu). One or more leaves representing this happy ending of the story are missing from this picture-book.
Fig. 1. Bp. Mong. 278, ff. 364b, 364a, 244a, 244b, 144b
83 Tib. yaps-pa-can
Picture 3-4
A MONGOLIAN PICTURE BOOK 305 304 ALICE SARKOZI o0
o0
308 ALICE SARKOZI: A MONGOLIAN PICTURE BOOK A eta Orientalia Academiae Scientiarum Hungaricae, Tomas XXX (3), pp. 309-329 (1974)
LE TONGKI FUQA AQO XERGEN-I BITXE*
PAR
CORNELIE MELLES
t tabcila-, ma. tabcila- (Tiller, saccager»: tabcilafi IV 8; 4b, ma. tabcilafi tabcilab'i ibid., ma. tabcilafi tabcilaxa ibid., ma. tab5ilaxa tabcilambi ibid., ma. tabcilarnbi tabcilame ibid., ma. tabcilame tabcin IV 8; 4b, ma tabcin < * Voir AOH XXX, 69-120, 209-243.