Tibetan Calligraphy: How to Write the Alphabet and More

79 Pages·2012·2.93 MB·English

by  Sanje Elliott

TIBETAN CALLIGRAPHY

Wisdom Publications 199 Elm Street
Somerville MA 02144 USA
www.wisdompubs.org
© 2012 Frank Sanje Elliott
All rights reserved.
No part of this book may be reproduced in any form or by any means, electronic or mechanical, including
photography, recording, or by any information storage and retrieval system or technologies now known or
later developed, without permission in writing from the publisher.
Library of Congress Cataloging-in-Publication Data Elliott, Sanje.
Tibetan calligraphy : how to write the alphabet and more / Sanje Elliott.
p. cm.
ISBN 0-86171-699-X (pbk. : alk. paper) 1. Calligraphy, Tibetan—Technique. I. Title.
NK3639.T533E45 2011
745.6’199515—dc23
2011039573
ISBN 978-0-86171-699-9
eBook ISBN 978-1-61429-028-5
16 15 14 13 12
5 4 3 2 1
Cover design by Phil Pascuzzo.
Interior design by Gopa & Ted2, Inc.
Set in Arno Pro 11.25/16.
“As Long as Space Exits” on page 9 and “The Four Noble Truths” on page 82 are by Tashi Mannox and are
used by permission.
The photographs on pages 12, 14, 16, 17, and 18 are by Tendrel Photography.
The art and photography on pages x, 3, 7, and 8 are by the author.
Wisdom Publications’ books are printed on acid-free paper and meet the guidelines for permanence and
durability of the Production Guidelines for Book Longevity of the Council on Library Resources.
This book was produced with environmental mindfulness.
We have elected to print this title on paper that is FSC certified.
For more information, please visit our website, www.wisdompubs.org.
For information on FSC certified paper, visit www.fscus.org.
This book is dedicated to bodhichitta,
the wish that each and every being may achieve enlightenment,
becoming free from the causes of suffering
and suffused with the causes of true happiness.
TABLE OF CONTENTS
Foreword by Sarah Harding
Introduction
1. Getting Started
2. The Fundamental Pen Strokes
3. The Alphabet
4. Vowel Markers
5. Stacked Letters
6. The Six Reversed Letters
7. Punctuation
8. Numerals
9. Seed Syllables
10. Mantras
11. Prayers
Afterword
Additional Resources
Acknowledgments
About the Author

FOREWORD
T
IBET IN THE SEVENTH CENTURY was at the height of its political, economic,
and military might, with influence throughout much of Asia and the
subcontinent. The great King Songtsen Gampo (617–90) had married two
Buddhist princesses (considered to be emanations of Green and White Tara), and
under their influence Buddhism was flourishing as well. Soon, the king
recognized the need of a written script for both his statecraft and to support the
spread of Buddhism. He therefore decided to send his prime minister, Thönmi
Sambhota, to study in India at the great Buddhist university of Nalanda for some
years. Upon his return, Sambhota worked on developing a system of writing that
would accommodate the needs of Tibetans and of Buddhism. So it is Sambhota
that is credited with the creation of the alphabet and writing system that is still in
use.
Anam Thubten Rinpoche writes:
Skill in calligraphy was highly regarded as an important subject of study in
society. It not only served the holy scriptures, but helped the individual in
his or her daily life. The position of Calligrapher elevated one to
aristocratic status, and the lifestyle enjoyed as such was far beyond that of
the common person. In public schools calligraphy became one of the main
subjects of study. At Mindroling monastery [for example], it took six years
to graduate in calligraphy.
Tibetan calligraphy continued to evolve over time to include many styles and
characters, and its practice is still considered to be a component of one of the ten
arts and sciences that relate to individual spiritual practice. The practice ranges
from the foundation of perfect penmanship, to the most elaborate and creative
flourishes, to the simple strokes of a mind at ease. Above all, calligraphy holds
and transmits the word of the Buddha in all its many manifestations, and thus
embodies a worthy object of refuge: the Jewel of the Dharma.
Now for us it may seem that the art of Tibetan calligraphy has bifurcated into