A Preliminary Study on the Features of the Text and Naming of Tibetan Classical Books (2)

Color is a perception of the objective world. It is one of the basic elements that make up the world. In addition to natural features, people’s eyes have more social and cultural connotations.

As a symbol of recording color, the symbolic meaning of color words in different cultural backgrounds and different nationalities is different. The expression of advocating color often has conceptual performance factors. The Tibetan nation is a nation that loves color. They live in a colorful world with blue sky, white clouds, green grass, and flowers. Sunshine, blue sky, and white clouds are the most poetic symphonies and bright colors on the Tibetan Plateau. Their perception of color reflects Out of their emotions. The use of color naming literature by Tibetans is a unique cultural phenomenon.

The Tibetan classics named after the color words include "White History", "Qing History", "Red History", "History of New History", "Huang Shi" (also known as "Huang Liuli"), and "The White Glazes There is also the "Blue Glass" by Dji Sangjiejiacuo. The "History of the Red History" written by Ziba Gandhi Dorje is a history book written by individuals with fixed genres in the history of Tibet. He created a new style of Tibetan historiography, and he also has a catalogue of Cai Bai Kanzhuer's "White History". "The History of Flowers", which reflects the history of Wang Tong, is one of the representative works of the combination of historical books and teachings. It represents the progressive trend of literature creation. Yellow symbolizes the light and the boundless connotation of Dharma in the Tibetan religious ideology. It is an extremely sacred hue, and is also a special color for high-ranking Daedes and the upper classes.

The essence of color is to describe the color of a thing. Color is a kind of visual phenomenon. People obtain the perception of color by the color of the specific physical object attached. Because of this characteristic of color, people use color to describe nature. phenomenon. The Tibetan worship of white is the pursuit of “truth, goodness, and beauty”. White has become a symbol and a synonym in the Tibetan aesthetic concept. White expresses people’s sincerity and is a symbol of purity, auspiciousness, justice and prosperity. Hada, who presented white to his friends and relatives, expressed respect for the elderly and elders and expressed good wishes to his peers and younger generations.

Obviously, the Tibetan people's preference for white is not only because the white snow on the plateau does not accompany it all the time, but also has a sense of respect for white, and it also has a certain cultural origin with the totem worship and ancestor worship of the Tibetan people.

The variety of colors indicates to some extent the discourse of linguistic signs. According to scholars who have studied the history of Tibetans in the study of historical documents during the Tubo period, as early as Tibetan history in the Tibetan era, some historical documents were used. Named after the color, the red volume is mainly the household registration register; the inventory (Dahong volume) is a more detailed roster, not only the name registration, statistics, but also the related fields, animal husbandry, the amount of the property, and the registered account holders should pay Taxes, etc. The white book is the roster of the soldiers, and the yellow paper book is the document that records the official order of the king. This truly reflects the classification of the system of Tibetan society.

Another feature of the Tibetan texts is the use of a variety of modifiers to embellish the title of the book. The name of the book can be described as a gorgeous adaptation of the classics. This form has a national character in the history of bookbinding in China. We can see from the several types of naming that its Tibetan culture is rich and colorful. Named after the images of mythological figures are "Wenshuung, Brahma, and Brahma", "Academy of Brahma, Brahma", "Academy of Entertainment", "Poetry, Aroma of Fantasy," and "Wishes of Concentration". “Green Horse Boys”; modified with the title of “Nature Regulations and Discrimination”, “Ci’s Bhazanzan, Xinyong Crescent”, “Dharma Law, General Yiming, Gan Luguang” Anti-motivation Law, Fire Breathing Swirl, "For Mandala Rules and Regulations, Second Funds for Food", "Achievers' Story", "Autumn Calling for Rain," "Fireworks Easy-to-Go, Flourishing", "Auspicious Words Peacock's "Yue-Yi Lei", "Sect Establishment Theory Must Be Mesmerized", "Thirty-Five Buddha Praises, Ganges Flow," "The History of Ando and Church History, Book of the Sea", "Poetic Theory" “Hai Zang”, etc.; classics borrowed from plants include “Generation of Law, Lotus, Song and Dance”, “Poetic Mirror, Du Fu Song,” “New Poetry, Bee Garden,” and Gepe Ganden and Zhuo Linsi. Nada Tatsuki, Rugao Teng, Guide to Publications, Snow Flowers, Mandala Rules, Spikes, Ritual Twenty "Taramu", "Tsutura", "Prayers, Fruits", etc.; there are books named after the objects: "The Labrang Monastery, God's Titanic Drum", "The Mandala Language, and the Baifafa." "Sound", "Successful Exemption, Wide Open and Closed Doors", "Tarajin Impossible Relief, King Kong," "Luo Duo Lama Collection, Golden Chain", "Super Heaven's Treasure", "Conquering the Three Realms of Wisdom" "Hooks," "reviews the practice of the line, breaking the sword of my sword", "suppression of war magic demon rule black poison arrow" and so on.
It can be said that the Tibetan metaphor has a wide range of use of the modified metaphor and is rich in content. A large number of modified metaphors contain a strong religious culture. In the use of modified metaphor, the author's affectionate color of the modified image is implied, and the scenes of the literary world in the Tibetan literary world are displayed in a variety of contests, such as the modification of Yu Bai's “white method snail”, “golden chain”, “green boy” and “black”. Poisonous words such as "Poisonous Arrow" also contain the author's unique understanding of color and his apparent love and affection. The color and image show the main purpose of the literature. Color and style are expressed here so appropriately that they leave readers with endless memories. Beauty.

The layout of the Tibetan classics has a feature that there are one or three or five different chants in front of the main body of the classics. The number of general eulogies is determined based on the amount of content. If there are few books, there are relatively few words that extol the eulogy. If the content is complex and the length of the text is long, then there are many eulogies. The first words are composed, and some praise words are splendid. There are as many as 17 eulogies in "The Book of Heroes". Often one of the eulogies represents one of the essence of the work of the book. Therefore, the writer pays great attention to the creation of the eulogy.

Proofreading is also a very important task in the publication of Tibetan classics. There are roughly the following aspects of the proofreading method: (1) The manuscript school—mainly a comprehensive review of whether the content of the manuscript meets the requirements of the publication, from the aspects of the accuracy of the ideological content, the correctness of the typos and the punctuation, etc. Ready to work. (2) The edition of the school - that is, the contents to be engraved are written one by one on the printing paper to be pasted on the engraving, and the mistakes and missing words are corrected after proofreading, which improves the accuracy of the engraving. . (3) Layout School - Conduct careful examination according to the carved layout to check for typos, errors, and missing lines. In fact, the engraving work is a very hard physical and mental work. A slight carelessness and carelessness may cause mistakes. Therefore, it must be done carefully and carefully. (4) Fill School - After mistakes in the process of engraving, take the word error and add the correct word. The proofreading method adopted in the engraving and printing of Tibetan areas played a positive role in the publication of qualified prints.

Source: Journal of Tibet Nationalities University

Author: GRAPHIC COMMUNICATION (Tibet Nationalities Institute editorial department Xianyang, Shaanxi 712082)