Natural Features and Their Symbolic Counterparts in ChangjaLcang skya’s Song
Natural feature: Symbol
1. The Mountain
Mountain foot: Liberation
Mountain peak: Wisdom
2. On the Mountain
Meadow flowers: Virtue
Bumblebee dance: Causation
River flowing: Love
Forest breeze: Call to the path
Ripe fruit: Joy of contemplation
Birdsongs: Religious advice
Deer wandering: Joys of religious path
Cliffs: Spiritual plain
Scented herbs: Skill and wisdom
3. Above the Mountain
Cloud formations: Mañjuśrī’s magic
Objects: Merit
Light: Visions
Interpretation
Reeling in this interplay between the site’s natural features and a litany of ubiquitous Buddhist buzzwords, the poem would have the reader’s imaginative gaze move from low to high initially – from the basin of the mountain complex up to the clouds – but then it returns to the human scale, to the mountain paths and temple precincts, back to the human artifacts that imbue the landscape with cultural significance. As it moves the reader up and down the mountains, it elicits each of the five senses: sight, hearing, smell, touch, and taste. We hear the bees, the birds, the breeze and the rivers. We smell the wild flowers and herbs. Cooling winds and forest breezes touch us, as we reach out to rocky cliffs, high meadows, and waterfalls. We taste sweet fruit, and savor aromatic restorative herbs.
Yet it is sight that holds sway over the other senses in this and other Tibetan poems on Five-Peaked Mountain. To gain some sense of the overwhelming priority of visual themes in this literature, we can look to a time perhaps just prior to ChangjaLcang skya’s years at Five-Peaked Mountain, to when the elusive Lama Tsé Ngapa Penden DrakpaBla ma rtse lnga pa dpal ldan grags pa composed a guidebook in verse. Penden DrakpaDpal ldan grags pa’s Ornament for the Peaks (Karchak Lhünpö GyenDkar chag lhun po’i rgyan) does not seem to be currently available, but it appears to have been known to ChangjaLcang skya and – more importantly – was cited extensively by Yeshé PendenYe shes dpal ldan in his guidebook.27 From the 231 lines (something like fifty-seven four-line verses), quoted by Yeshé PendenYe shes dpal ldan, we can [page 227] see that Penden DrakpaDpal ldan grags pa’s work developed the topics commonly treated in the Tibetan poetry of Five-Peaked Mountain in far greater detail than any other extant work. One theme he elaborates upon is the many light formations for which the site is famous. Penden DrakpaDpal ldan grags pa lists ten lights by name: the “deep light,” the “very wide light,” the “hair tuft light,” the “stone pillar light,” the “light wheel,” and others. But light number ten is simply called “the light that shines in any way,” and in thirty-nine relentless lines of verse, Drakpa GyeltsenGrags pa rgyal mtshan all but blinds the reader with this multiform radiance:
Ten is the light that shines any way,
Appearing as one, appearing as many,
Appearing the same, or different, or paired,
Appearing for an instant, appearing for a minute,
Appearing long or over many moments,
Appearing clustered, appearing scattered,
Scattered light appearing clustered,
Mixed or unmixed with its own hue
Looking to be mixed, then not,
Very clear and not so clear,
Clear just as you see it,
Appearing to one, then appearing to all,
Appearing to one and all alike,
Appearing just this once, appearing all the time,
Shining in the morning, shining in the night,
Expanding and contracting, and then not,
Simple white or only green,
Green and red or as a set,
One, a hundred, a thousand, ten thousand,
Hundred thousand, hundred million, and on beyond,
Appearing as a single lamp or filling up the sky,
Appearing as a square, appearing as a circle,
Appearing as a crescent or other sorts of shapes,
Formed as a god or a human or a ghost,
A flower, a lamp, a censor and the like,
Shining as a young man, shining as an old man
Shining as the King’s lion throne,
Shining as five forms shining as a shrine,
Shining as a stūpa and much else besides,
Ribbons, canopies, and banners of light,
Appearing as a shining flag and much else besides,
Appearing as magician or dancer or bard,
Shining as the many riches of gods and men,
Golden lamps, celestial fire pure and white,
One, one hundred, thousands appear without end,
A giant damaru drum in sky and so much else,
Celestial instruments of all sorts, even sounding out,
Wondrous and fantastic emanations such as this,
[page 228]How can we describe them here when they cannot be fathomed?28
When in 1824 Drakpa GyeltsenGrags pa rgyal mtshan composed his eighty-verse devotional poem entitled Brahma’s Melody: A Place-Praise of Five-Peaked Mountain,29 he was certainly dazzled by Penden DrakpaDpal ldan grags pa’s unremitting litany of lights, and he praises each and every one of them, one through ten (he does not take up each variation of light number ten, however). Drakpa GyeltsenGrags pa rgyal mtshan was born in AmdoA mdo (in Domé Lhogyü BoraMdo smad lho rgyud ’bo ra), studied at Drepung’Bras spungs Monastery near LhasaLha sa from 1783 to 1788, and served as the twenty-third abbot of Labrang Monastery.30 In contrast to most other poets listed here whose travels we know something about, Drakpa GyeltsenGrags pa rgyal mtshan appears never to have visited Five-Peaked Mountain. His poem was composed at his home institution of Labrang. Many abbots of Labrang Monastery before and after Drakpa GyeltsenGrags pa rgyal mtshan visited the site, and it is easy to imagine that he would have had ample literary and oral sources from which to write his own work. It is clear that Drakpa GyeltsenGrags pa rgyal mtshan new of Lama Tsé Ngapa Penden DrakpaBla ma rtse lnga pa dpal ldan grags pa’s early verse guidebook, for he draws extensively from it (or a common source). In his praise of the ten lights (verses 53-64), for instance, Drakpa GyeltsenGrags pa rgyal mtshan integrates verse lines wholesale from the earlier work, occasionally making minor changes in vocabulary, or picking select lines to fit neatly into his own more formally structured devotional work.
The Thirteenth Dalai Lama, Tupten GyatsoThub bstan rgya mtsho, was the last of the great Tibetan Buddhist leaders to write on Five-Peaked Mountain during the Qing period, [page 229] and it is with him that we conclude. Composed at Five-Peaked Mountain in 1908, his Beautiful Clear Mirror: A Praise to Lord Mañjughoṣa’s Abode, consists of five chapters, detailing: 1. Mañjuśrī’s Body (twenty verses); 2. Mind (nine verses); 3. Good Qualities (eight verses); 4. Speech (seven verses); 5. Enlightened Activity (eleven verses).31 The Dalai Lama informs us that he wrote it while trying to come to terms with the plethora of Mañjuśrī images in the temples of Five-Peaked Mountain. But we can read the Dalai Lama at the moment for the insight he succinctly provides into the relationship between poetry, place, and the senses with the following lines:
Through sight, sound, memory, and feeling,
This best of places bestows a soothing coolness.32
Here the Dalai Lama appeals to the senses as key to understanding what is powerful about Five-Peaked Mountain. It is “cool” precisely to the extent that one can see, hear, feel, and recall the place. In a broad sense Five-Peaked Mountain is portrayed in the poetry (as well as the biographies and histories) of Tibetan Buddhist visitors and residents of the site as a Buddhist “retreat,” isolated from the frenetic social life of the Beijing and other cosmopolitan centers and yet intimately connected with a Buddhist institutional network stretching throughout China, Tibet, Mongolia, Nepal, and India. This network was largely held together by the memory to which the Dalai Lama draws our attention. Poetry was among the principle forms of communication – along with maps, prose guidebooks, rituals, oral legends, and the like – by which Five-Peaked Mountain was remembered – was evoked, envisioned, and embodied – throughout the Tibetan Buddhist world. Through the literary work of poetry Five-Peaked Mountain’s place within this institutional network was constantly maintained. For is poetry not, by virtue of its vivid language, intricate phrasing, rhythm, and repetition, one of the principle forms of expression by which place is brought before the senses, including and especially if one is not presently in place, but rather the place is in oneself, in one’s mind, in one’s imagination?
It will have come as no surprise that the Tibetan poetry on Five-Peaked Mountain is chiefly about visions, and that within the vast range of visionary topics it is largely about light. Yet we can pause to reflect on the tremendous effort undertaken by poets to evoke sight with sound, to appeal to the sense of seeing through the medium of the written or spoken word, to transpose vision into rhythm and wordplay. This is what Dobi GeshéRdo sbis dge bshes refers to in his own poem on Five-Peaked Mountain, written in the 1950s, as “pictures made of words.” And when he goes on to pray that the “sound of Mañjuśrī’s three mysteries” reaches the ears of many people through his poetry, he suggests that the body, speech and mind of Mañjuśrī [page 230] – in this case the mountain (body), its holy shrines, temples and monasteries (mind), and the teachings given in those places (speech) – are all in some sense accessible through words, through sound, through poetry.33 And if it is conceded that poetry can be culturally productive – if we grant that literature can create experience and is not epiphenomenal to it – then the poets of Five-Peaked Mountain are not merely – or perhaps not at all – describing the wonders of the place, but are among the creators of these wonders. If we grant a formative power to poetry, the Tibetan poetry on Five-Peaked Mountain is not simply about the place, it is the place. And so it is that Sumpa KhenpoSum pa mkhan po uses poetry to express what may well be the definitive epitome of Five-Peaked Mountain:
Who has fortune enough to come to this place,
No different than wisdom’s body itself,
Has searched for eons with eyes, ears, and mind:
Is this not the heart of seizing hold of life?34
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Note Citation for Page
Kurtis R. Schaeffer, “Tibetan Poetry on Wutai Shan,” Journal of the International Association of Tibetan Studies, no. 6 (December 2011): , http://www.thlib.org?tid=T5719 (accessed ).
Note Citation for Whole Article
Kurtis R. Schaeffer, “Tibetan Poetry on Wutai Shan,” Journal of the International Association of Tibetan Studies, no. 6 (December 2011): 215-242, http://www.thlib.org?tid=T5719 (accessed ).
Bibliography Citation
Schaeffer, Kurtis R. “Tibetan Poetry on Wutai Shan.” Journal of the International Association of Tibetan Studies, no. 6 (December 2011): 215-242. http://www.thlib.org?tid=T5719 (accessed ).
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