德格印经院《三体合璧八千颂》雕版渊源考.pdf

37 1 2(1.6260012.626001)1704415 11 25 I06 A 2095-0039-2023-03-0037-07 2023-3-4基金项目：四川民族学院科研重点项目“馆藏德格版藏文古籍文献目录的明细整理研究”(XYZB2203JG)(1974-)(1964-)38”2 “(D.No.12,Ka)(598-1055)”3 “”4 “”5 “”6 “”1 “39 “”7 “8 “”9 40 “11 “”10 41”13 67 19 3 10.5 “”14 “”12 1704 “1704 42 157 O 58;337;338.2 M 2014:54;46.3 M 2013:416.4689121315 O 2;2;2;4;4;4.1011 M 1987:36;46.14 噶玛降村.浅析三体合璧般若波罗蜜多经八千颂版本特征 J.四川民族学院学报,2019,(4):2.16 O 25.15”170417041115 “16”1705 25 43德格印经院三体合璧八千颂雕版渊源考昂翁卓玛，麦 波摘要:三体合璧八千颂是德格印经院馆藏的镇馆之宝之一，具有很高的文物价值和学术价值。依据现存藏文历史文献，采用文献研究方法，认为三体合璧八千颂是赤松德赞时期译为藏文。梵藏双文对照版的这部经典，经历代译师多次校审，后由第四代德格土司赤庆桑吉登巴出资超过上万的粮斗并亲自主持，于公元1704年藏历4月15日始启雕版事业。总管事比丘根秋赤列；后勤总管桑珠宗主桑吉根呷、旦觉桑嘉；书法、绘画、雕刻总管内臣根呷伦珠；书法家彭措曲扎；梵文书法家比丘伍金益西、扎西翁修；藏文刻文模板扎勒、松玛扎西、伍金贡德；封面插图画师阿拉；雕刻总师拉加、阿彭带领 50 余名雕刻工匠，于同年藏历 11 月在龚垭土登罗布岭桑珠宗寨顺利竣工并馆藏于此。诸多研究者认为德格印经院印版均系德格土司登巴泽仁时期刻制，实则为德格土司桑吉登巴时期已开始雕版刻制，先后刻制了八千颂、郭罗达玛巴拉巴扎的文法本解和萨迦班智达的萨迦格言等，比登巴泽仁刻制甘珠尔早 25 年。可见，德格第四代土司桑吉登巴时期初刻雕版，第五代土司登巴泽仁时期达到兴盛。八千颂雕版的创制及其对藏族雕版刻制的管理、设计、梵藏双文书法、雕刻技艺、校对等各方面取得的成就，对后期德格雕版印刷事业及相关技艺传承方面影响深远，对藏族木刻雕版研究提供了重要的参考。关键词:德格印经院；三体合璧；雕版由来作者简介:昂翁卓玛（1974-），女，藏族，四川石渠人，四川民族学院法学院教授。研究方向：藏学、藏族历史。麦 波（1964-），男，藏族，四川色达人，四川民族学院图书馆教授。研究方向：藏学、藏族古代史。A Brief Analysis of the Engraving of“Eight-Thousand Gathas of the Three-Form”in sde dge Sutra-Printing HouseNgawang Drolma&MupoAbstrac t:The“Eight-Thousand Gathas of the Three-Form”is one of the precious cultural relics in the collection in sde dge Sutra-Printing House,based on the existing Tibetan historical documents,through documentary research methods,“Eight-Thousand Gathas of the Three-Form”was translated into Tibetan during khri srong ldevu btsan period,the Sanskrit-Tibetan version of this classic,by successive generations of translators have repeatedly proofread,and then carved by the fourth generation of sde dge khri chen sangs rgyas bstan pa organization.This paper presents a comprehensive analysis of the purpose of the engraving,the place of the engraving,the engraver,the person who wrote the original Tibetan Sanskrit,the design of the cover illustration,the engraver,the reviewer,the source,the Tibetan Sanskrit text,the aesthetics of the layout,the Sanskrit script,the characteristics of the engraving technique,and other personal opinions.Many researchers believe that the sde dge printing institute version was begun to build during the period of chos rgyal bstan pa tshe ring,but the beginning of engraving bka vgyur during sde dge khri chen sangs rgyas bstan pa was 25 years earlier.It can be seen that the fourth generation of the sde dge khri chen sangs rgyas bstan pa period first made the engraving plate,and the fifth generation of the chos rgyal bstan pa tshe ring period reached its flourishing time.The creation of the“Eight-Thousand Gathas of the Three-Form”engraving plate played an exemplary and propulsive role in the later generations of sde dge khri chen to engage in engraving and provided important documentary value in the study of Tibetan woodcut engraving.Keywords:sde dge Printing Institute,bodies of three-form,origin of engraving platesAbout the author:Ngawang Drolma(1974-),female,Tibetan,Sichuan Province.Professor at Law School of Sichuan Institute for Nationalities.Research interests:Tibetology and Tibetan history.Mupo(1964-),male,Tibetan,native of gser rta,Sichuan Province.Professor at Library of Sichuan Institute for Nationalities.Research interests:Tibetology and ancient Tibetan history.