Authorship, originality and innovation in Tibetan Scriptural Revelations: A case study from the Dudjom Corpus.

事实上，相当一部分西藏宗教文献实际上是集体创作的，而不是个人创作的。很多东西也被循环利用，通常是通过记忆这一具有潜在变革性的媒介。更大的学科，特别是中世纪的希伯来语研究，在最近几十年里已经对记忆和书面文本的相互作用，以及由抄写员和学者作为“tradents”的匿名文学选集模型的公共建设有了更复杂的理解。然而，在藏学研究中缺乏这样的作品，藏学家们仍然普遍提出一个站不住脚的单一作者归属的惯例，好像在描述现代西方文学。当应用于神秘启示文学（gter-ma）时，这种solecism尤其尖锐，gter-ma是西藏宗教中一种非常强大的体裁，仔细分析表明，其中大部分实际上是集体创作的。先前对启示（gter-ma）的研究主要集中在个人幻想者最初的、有时是戏剧性的启示过程上，通常不加思索地认为他是最终文本的唯一作者。我们建议通过关注随后的编辑、写作和后来对启示的扩展等费力的“后台”过程来将这一点置于背景中。这一至关重要且受到严格控制的程序通常会借鉴大量已有的文献，需要在创新与传统之间取得巧妙的平衡。它常常可以雇用几位学识渊博的人，逐步将一个神秘主义者揭示的通常只是非常初级的文本，转变为可供公众消费的大规模成品文学作品。我们的项目将是有史以来第一次对藏传佛教的启示和作者身份进行这样的调查，因此，这是姗姗来迟的。我们打算以极具影响力的关于密宗神的启示文献rdo- rje Phur-pa作为案例研究，该文献由敦珠仁波切创作（bDud-'joms 'jigs-bral ye-shes rdo- rje, 1904-1987）。dudjm本人是一位有远见的启示者，也是一位多产的学者，他为许多不同的启示传统撰写或编辑文本，包括他自己和他的前任dudjm Lingpa(1835-1904)，以及他的前辈Zilnon Namkhai Dorje （Zil-gnon nam-mkha'i rdo-rje，约1867年出生）和Drakngak Lingpa (dragg -sngags gling-pa, 1871-1936)，以及应不丹人的邀请，白玛Lingpa （Padma gling-pa， 15 -16世纪）。他还编纂了流传下来的林玛学派的文本遗产，他创造了今天最具活力和最受欢迎的西藏宗教仪式传统之一。因此，对这位博学之士的关注不仅包含了Dudjom的启示传统，还包含了三个完全不同的启示传统，这可能会提供对比的案例。这个例子对我们来说特别容易理解，因为有现成的文本，也因为我们可以咨询Dudjom的第一代核心学生。仔细分析这些被揭示的文献的组成部分，并揭示其逐渐成熟的许多通常是艰苦的过程，将有助于提供一个更真实的画面，更广泛的原则和实践，在创造新的西藏经典。由于当代西藏的启示方法保留了印度和亚洲许多其他地区使用的古代特征，这项研究也可能有助于理解佛教经典启示的广泛类型，并将标志着一系列此类调查的第一次。

Modern Tibetologists habitually refer to 'authors' of religious texts or to 'visionary revealers' of scriptures (gter-ston), yet they remain uncomfortably aware that terms such as 'author' and 'revealer' do not necessarily mean to Tibetans what they imply in modern Western parlance. In truth, a considerable proportion of Tibetan religious literature is de facto produced collectively, rather than individually. Much is also recycled, often through the potentially transformative medium of memorisation. Larger disciplines, notably medieval Hebraic studies, have in recent decades arrived at sophisticated understandings of the interactions of memorisation and written text, and the communal construction along an anthological model of anonymous literature by scribes and scholars acting as 'tradents'. Yet, in the absence of such work in Tibetan Studies, Tibetanists still generally present the untenable convention of a single authorial attribution, as though describing modern Western literature. This solecism is especially acute when applied to mystically revealed literature (gter-ma), a very powerful genre in Tibetan religion, where close analysis shows much of it to be de facto collectively produced. Previous study of revelation (gter-ma) has focused heavily on the initial and sometimes theatrical revelatory process of the individual visionary, generally unreflectively crediting him with sole authorial status of the resulting texts. We propose to contextualise this by focusing on the laborious 'backstage' processes of the subsequent editing, writing up and later expansion of the revelation. This crucial and tightly controlled procedure, which typically draws upon a large amount of pre-existing literature, requires a skilful balance between innovation and tradition. It can often employ several greatly learned people gradually to transform what might often only be a very rudimentary text revealed by a mystic, into a large scale finished literary product ready for public consumption. Our project will be the first ever such investigation into what revelation and authorship actually entail in Tibetan Buddhism, and as such, it is long overdue. We intend to take as a case study the extremely influential revealed literature on the tantric deity, rDo-rje Phur-pa, produced by Dudjom Rinpoche (bDud-'joms 'jigs-bral ye-shes rdo- rje, 1904-1987). Dudjom was a visionary revealer himself and a prolific scholar who wrote or edited texts for a number of different revelatory traditions, including his own and those of his predecessor, Dudjom Lingpa (1835-1904), as well as his elder contemporaries Zilnon Namkhai Dorje (Zil-gnon nam-mkha'i rdo-rje, born c. 1867) and Drakngak Lingpa (Drag-sngags gling-pa, 1871-1936), and on the invitation of the Bhutanese, those of Pema Lingpa (Padma gling-pa, 15th-16th century). He also codified the transmitted textual heritage of the rNying-ma school, and he produced one of the most vibrant and popular Tibetan revealed ritual traditions today. The focus on this single polymath thus encompasses not only the Dudjom revelatory tradition but three quite separate revelatory traditions also, which may provide contrasting cases. The example is particularly accessible to us because of the availability of the texts, and because we are able to consult the first generation of Dudjom's inner circle of students. To analyse minutely the components of this revealed literature and to expose the many and often laborious processes of its gradual maturation will help provide a much truer picture of the broader principles and practices in the creation of new Tibetan scriptures. Since contemporary Tibetan revelatory methods preserve features of great antiquity that were used in India and many other parts of Asia, this research may also contribute to understanding the vast genre of Buddhist scriptural revelation in general, and will mark the first in a series of such investigations.