Thangka Painting of the Tibetan Oral Epic King Gesar 978-7-5085-2535-8

Citation preview

Brief Introduction of the Book Ki11g Cesar is an oral epic widely sung and

performed today by the broad masses of Tibetans. It has been preserved, spread, and expanded, with

an ever-growing length and ever-enriched contents because of the balladeers, or "Zongken" in Tibetan. A Zongthang is a Thangka of stories about the epic King Cesar. The folk ballad singers painted stories of Ki11g Cesar and pictures of characters to make their

performances more striking and to attract a wider audience. During their performance, they would hang the pictures and explain the plots shown on · the Thangka. In the Tibetan inhabited areas of China, King Cesar is worshipped as the God of Wat~ as well as the God of Wealth, by all nomadic people. The paintings and sta tues of King Cesar "arc very popular in the Amdo and Kham Areas, and in the Dege Area, in particular, almost each of the families worships him as God". All of the books about the life and deeds of King Cesar, whether hand- copied or woodcut, are equally worshipped and treasured. In those areas, people believe that keeping at least one copy of

Kiug Cesar at home can bring in fortune and dispel disasters. May this album good luck to the readers!

To My Honorable Mr. Zhong Jingwen

CONTENTS PREFACE 5 ILLUSTRATED MANUAL OF THE ORAL EPIC KING GESAR 12 Gods and Figures Described in the Oral Epic King Gesar 14 Illustrated l\llanual of the Oral Epic King Gesar 19 The Birth of the Hero 20 Ascending the Throne by Winning the Horse Race 3 0 The Great War between Mor and Ling 38 The Great War between Hor and Ling: the Invasion by Hor 46 The Great War between Hor and Ling: the Conquest of Hor 5 2 The Great War between Jiang and Ling 5 8 The Great War between Moin and Ling 66 The Conquest of Dashi and Obtaining Its Treasures 7 4

The Conquest of Ngazha and Obtaining Its Agates 82 The Conquest of Qeri and Obtaining Its Corals 90 The Conquest of Kachi and Obtaining Its Jade 98 The Conquest of Zhari and Obtaining Its Medicines 106 The Great War between Thogru and Ling 114 Triumph over Hell 12 0 THEARTOFTHANGKA 126 Drethang - Buddhist Thangka 12 8 Manthang - Thangka on Medicine 13 8 Zithang - Calendar Thangka 142 Zongthang - Thangka of the Oral Epic King Cesar 144 The Production of Zongthang 16 0 NEW DEVELOPMENTS OF ZONGTHANG 162 Paintings on King Cesar by Ballad Singers 16 9 Illustrations Project for the Selected Edition of King Cesar in Tibetan 170 The Cesar Thangka Project of the Tibet Academy of Social Sciences 1 7 2 REFERENCE 216 POSTSCRIPT 218

PREFACE

n the vast expanse of an area that embraces the magnificent Qinghai-Tibet Plateau, the extensive Mongolian Grassland, the sources of the Changjiang (Yangtze) and the Huanghe (Yellow) Rivers, the valley of the Yarlung Zangbo River, the lofty Tianshan Mountains, the beautiful Lake Baikal, the majestic and meandering Kunlun Mountains, and the awe-inspiring Himalayas, an oral heroic epic titled King Cesar has been circulating for ages.

I

A crystallization of the wisdom of the Tibetan people, King Cesar fean,res a long

history, numerous chapters, profound cultural insights, and interesting and colorful stories. Over thousands of years, it has been widely spread among the Ethnic Tibetan people, enjoying great popularity. Representing the greatest accomplishment of Tibetan folk culture, it is regarded as an encyclopedia of the history and society of the Tibetan ethnic group. lts academic and aesthetic value has been highly recognized. Internacional academic circles have praised it as "] Iomer's Epic of the Orient". King Cesar is a great contribution the Chinese nation has made to human civilization, and just as Homer's epics, it is a bright pearl in the treasure house of world culture as well as :a valuable cultural heritage of the world. Sliver Tara.

Compared with other famous epics in the world, King Cesar has rwo disti nctive characteristics. Firstly, it has been handed down through history, and is still circulatec.l among the Ethnic Tibetan, Mongolia, Yugur and Tu people, especially farmers and herdsmen. It is a living heroic epic. Secondly, composed of 120 volumes with more than one million lines totaling more than 20 million words, it is the longest epic in the world. le is eYen longer than the total length of tl1e epic of ancient Babylon, Gilgamesh, Homer's epic poems of ancient Greece, The Tliad and The Oqyssry, and the epics of ancient India, The K.a111qya11a and The Mahabharata. These characteristics are closely associated with the society, history, culture, art, religion, and geographical environment of Tibetans, which contributed to the birth, circulation, and development of the epic. The birth, circulation, and developmem of King Cesar have undergone a long process that has formed a rare cultural phenomenon in the history of human civilization. This process itself is a solemn, imposing epic poem.

Pattery discovered from lhe Karub Cultural Site of Chamdo.

The process of the birth, circulation, and development of King Cesar has spanned a wide range of social stages, from the clan society and tribe union periods in late primitive society to slave society, the feudal serfdom era, and modern time. Still being circulated in the surrounding areas of the H.imalayas and on the extensive Qinghai-Tibet Plateau, the epic enjoys deep favor among the ethnic Tibetan, Tu,

r'I

"dC' _.

_5_

Yugur, Mongolian people, and shows strong, everlasting artistic vitality. The purpose of the compilation and pubLication of this album is to introduce this great epic to both domestic and foreign readers through Thangka, an art form unique to the Tibetan ethnic group. Thangka, a Tibetan word meaning "painted scroll", is an art of painting on silk or cloth. It is an integral part of Tibetan painting art, and has a long history. Rope and other patterns on pottery unearthed from the Karub cultural site, dating back some 5,000 years, arc considered to be the earliest examples of Tibetan painting art. Rock paintings believed to have come later constitute the embryo of Tibetan painting art. Thangka is closely related to fresco in terms of painting art. ''Thang" means "show" in Tibetan; therefore, Thangka paintings are created to show what are painted in frescoes. During the Sharon Festival, the Potala Palace and monasteries in Lhasa, and the Tar Monastery in Qinghai hold grand events to unfold their huge Thangka. Along with the introduction of Buddhism, the cultural exchanges between Tibernn and the Han Chinese people as well as India and cpal increased, thus exerting deep influence on Tibetan painting art. r\ fter the 7th Century, Princess Wcnchcng of the Tang Dynasty (618-907) ,

Princess Bhribuci of Nepal, and Princess Jincheng of the Tang Dynasty moved to Tibet succession, bringing along numerous craftsmen and painters, as well as the developed culture of China's Central Plain area and the time-honored Indian culture, which gave tremendous impetus to the development of Tibetan painting arr. After Songtsan Gampo unified the Qinghai-Tibet Plateau area and founded Tubo Kingdom, he constructed a group of large palaces and temples, including the Potala Palace, Jokhang Temple, Ramoche Temple, and Chamzhub Monastery. From then on, Tibetan painting art entered a period of rapid development. Today, the Potala Palace and the Jokhang Temple and the Chamzhub Monastery still preserve the frescoes of the Tubo Period. The frescoes feature simple nature, rich colors, and concise lines, while figures are painted in a somewhat exaggerated way. Of particular note, a fresco in the Chamzhub Monastery depicts one r)f the famous seven sages in Tibetan history who came to Tibet in the First Century: how he cut woods co make charcoal, used tree bark to make glue, mined gold, silver, and iro n, dug irrigation canals, and engaged in farm cultivation. The monastery also preserves statues of Buddha and Thangka, which are regarded as the treasure of

Ustening to Buddhist scnpture. Photo by Jiang Shicheng

Ancient rock painting in Tibet.

the monastery because they arc said to be painted by Princess \Xlenchcng herself. These testify that the art of Thangka absorbed the fine elements o f the painting art of China's Central Plain area as well as India in ancient runes, and meanwhile retained ethni c and local characteri stics. Tt occupies an important position in China's, and even the world's history of painting. Tn terms of subject, Thangka can be classified as Dethang, Xiethang, Manthang, Zithang, and Zongthang. D crhang and Xiethang refer ro the Thangka that is all about Buddh ist sto ries. Manthang are devoted to Tibetan medical science and Tibetan medicines. Zithang arc devoted to Tibetan science astronomy and the calendar. The paintings with the stories of epic King Cesar as the motif are known as Zongthang. In terms of painting techniques, Thangka can be classified as Cuithang, Nathang, Sethang, and Cethang. While Cufrhang refers ro color paintings, Nathang are ink paintings. Because Nathang is easy to paint, the ea rlier paintings of King Cesar were mostly Nathang. Nathang is also widely used co paint the guardian deities of Tantra of Tibetan Buddhism, in order to give it a mysterious touch. Sechang, painted with gold powder, are mainly dedicated to the images of Buddhas and masters, so as to highlight their holiness and gravity. "Ce" in Tibetan means " red", and Cethang paintings are painted with cardinal red pigment, so as to bring about strong visual impact. Cethang paintings are mostly devoted to 1,000 Tara, 1,000 longevity Buddhas, or other Buddhas in groups. .In terms of painting styles, Thangka can be generally divided into South and North schools. \Xlhile the South School has roots in the 6th Century and derives fro m the painting styles of ancient India and 1 epal,

Pattery from Karub Cultural Site of Chamdo.

Unfolding Thangka during the Tibetan Shoton Festival.

the North School can be traced back to the 7th Ceomry, thanks co influence from China's Central Plain area, and prevai led between the 13th and 15th centuries. lo addition, there are also Manthang and Chenzi Schools. The founder of the Manthang School was an accomplished monk from Manthang area in today's Lhoka Prefecture, hence the name shares pronunciation with 1lanthang paintings but has a iliffcrcm meaning. The founder of the Chcnzi School was Chcnzi Chcmo from today's Gongkar County of Lhoka Prefecture. Thangka not only has its own characteristics in idea, and lines, but is also distinctive in the coloring materials it uses, which are extracted from colored minerals unique to the Qinghai-Tibet Plateau. Such pigments enjoy the following benefits: firstly, they contribute to a three-dimensional effect for the painting and a strong contrast between various colors; secondly, they arc not prone to dcgrailing or fading, so the radiant colors of the paintings last for a long period. Over hundreds of years, especially after the 19th Century, as Tibetan people increased their religious and cultural exchanges with the rest of the world,

A mural depicting the mass gathering to congratulating a Buddhism monastery rounded in Guge Kingdom of Ngari.

8

t

ir J

1

. l

J

I

V

7 ,..3 lSElr

Gesar Cham Dancing perlormance in the Riwoche Monastery in Chamdo Prefecture of Tibet in 2002, which has inheri ted for thousand years. Photo by Chen Dan

Thangka was introduced to different countries and won high praises. t\t present, many world-renowned museums have included Thangka in their collections, and collecting Thangka of different periods, different schools, and different styles has become a trend. J\.fost of the Thangka are devoted to religion, including the primitive Tibetan folk religion characterized by its respect and worship for holy mountains and holy Jakes; Bon, the original religion of Tibet; and Buddhism, introduced later. Because most of the Thangka pai nters come from ordinary people, the Thangka paintings arc strongly tinged with Tibetan fo lk culture. Whenever giving performances in fa rming and pastoral areas, the performers of Tibetan Opera take along a Thangka of Thangtong Gyalpo, an eminent monk, one of the founders of the Kagyu Sect of Tibetan Buddhism, and forefather of Tibetan Opera. Before performing, the artists burn incense and pay sacrifices to the painting of Thangtong Gyalpo, showing their respect and appreciation and praying for the success of the performance. Some high level, well-financed opera troupes purposely create Thangka based on their repertoire, such Princess Wencheng, and hang the paintings on the stage so as to help the audience better understand the opera. Thangka is closely associated with the epic, Ki,{~ Cesa,: Before the hand-coped and wood-cut forms of the epic emerged, the circulation of the epic largely depended on folk balladeers. ln order to reinforce rhe artistic inspiration and attract the audience's attention, some folk artists created Thangka paintings based on the characters and stories of Ki11g Cesar. These were the first Thangka of King Ge.wr. While singing and perfo rming, the balladeers pointed at the painting to make explanations. Gradually, rhe Thangka of Ki,~~ Cesar became a unique art form known as Zong,thang.

Zang in Tibetan means stories about Ki11g Cesar and Thang refers to Thangka. Since the painters of the early Zongthangs were balladeers, the paintings were crude. Yer, along \Vith the numerous practices and the development of thei r painting skills, Tibetan artists have created many cxcellenc Zongthang paintings.

Pr t,

9

Cliff painting at the Yaowang Shan (Mt. Chakpori} in Lhasa.

Some bal ladeers had a good command of story- telling through song and performing, but were poorly skiUcd in painting. On the other hand, some were not good at singing but superb at painting, so they began to commit themselves co painting Thangka. This group, caUed Lhariwa in Tibetan, made their living painting stories related to the epic as well as Tibetan Buddhism. Both the great epic of King Cesar and the fantastic art of Thangka are gems of T ibetan culture and art. When blended, they produce an astonishing artistic effect, each shining more brilliantly in the other's company. The intention of the compilation of this illustrated album of the epic lies in the following considerations. It is a long-standing culture and tradition shared by different countries around the world to adapt classic works .in light, popular forms. Not only foreign masterpieces, such as the Bible and Buddhist Scriptures, but also Ch ina's four famous classical novels, including Three Ki11gdo111s, 0111/aws of the A1arsh, jo11m~ lo the J.Y/est, and A Drea111 of Red Mansio11s, have all been popularized in ligbt ways. Even Tbe Colllt111111ist Manifesto, a great work dubbed by Lenin as the "Bible of the working class", has also been introduced to the mass working class and laborers through an ill ustrated format. Therefore, we believed that the epic, King Ge.rm; should also be popularized in a direct manner. Furthermore, except for Tibetan prints, there was no complete Mandarin version of the epic, not to mention foreign-language versions, so that the introdLtction of the epic in different models became necessary and urgent. Based on these facts, autl1ors decided to compile this illustrated album of King Cesar.

Gesar carved stone in 1he Gesar Temple of Moscar Village, Danba County. Sichuan Province. Photo by Yang Jiaming

The authors chose to introduce the world's longest, living epic through Thangka paintings, an art form unique to Tibet, in the hopes that both Chinese and foreign readers could understand the epic, King Cesar, through paingings and meanwhile get a taste of the art of Thangka through the stories of King Cesar, so that they will be able to enjoy and appreciate Tibetan culture from diverse angles. Professor Zhong Jingwen, a pioneer of Chinese folklore, said mo re than once before his death, "King Cesar should belong to all mankind!" What authors are doing is none ocher than contributing King Cesar to all mankind. Culture knO\vs no boundaries. Excellent cultures extent beyond time and space and belong to all of mankind. It is shame that so far, pe0ple's understanding of the great epic King Cesr1r is so limited, compared to either Homer's epics of ancient Greece or the two epics of ancient India. Indian scholars said that one cannot reaJly understand India without Linderstanding its two epics. By the same token, we believe that if you do not understand the epic King Cesar you cannot claim to be knowledgeable about Tibetan culture or the Tibetan people who created their splendid culture. May all readers, no matter who cares for and loves King Cesar as well as Tibetan culture, enjoy this album! Tashi Delek!

Jambian Gyamco October 8, 2012

ILLUSTRATED MANUAL OF THE ORAL EPIC KING GESAR

1. King Gesar It is said Gesar is the King of the State of Ling and the son of Skumlun, chieftain of the lower tribe in the State of Ling. His childhood name was Jorru. After he was enthroned by winning a horse race, he was given the honorific title "Lion King of the World Gesarr Lhobo Zhadui" with the abbreviated form "King Gesar". "Lhobo Zhadui" means "the pearl and jewel to subdue the enemy", and "Gesar" implies "rising to power" and "gaining fame and fortune" with the meanings of "stamen", "cream" or "hero". In the epic, he is described as Donzhu Karbu, the third son of Brahma of the Kingdom of God. Because monsters ran amok in the region of Tibet, Donzhu Karbu was sent at the invitation of Avalokitesvara to be born on Earth in order to conquer the monsters, help the poor and rescue the suffering. The oral epic King Gesar, which has been spread far and wide for hundreds of years across the Qinghai-Tibet Plateau and its surrounding regions, is an eulogy for the great heroic deeds King Gesar accomplished during his lifetime.

CD

2. Brahma Founder of Brahmanism. Believers of Brahmanism thought all things in the world were created by Brahma. Gesar was the third son of Brahma in the Kingdom of God. Because the common people in the region of Tibet suffered misfortune, Avalokitesvara sought help from Brahma, who sent his third son to be born in the human world, Gesar, therefore, was considered the son of god. In the hearts of the Tibetans, Brahma is a venerable god, who manages all affairs in Heaven, equivalent to the Jade Emperor in the hearts of the Han Chinese people. As a somewhat "earthly" god, he had queen, princes and princesses. 3. Langman Gyamo The guardian angel of King Gesar and the State of Ling. She is said to be the sister of Brahma and aunt of Gesar in Heaven and is addressed as Heavenly Aunt or Heavenly Mother in the epic. She was goddess w ith immense capabilities and could tell the future, often presenting herself as the spokeswoman for Brahma to deliver decrees or presages to Gesar and other chieftains of the State of Ling. Whenever Gesar was beset w ith difficulties or danger, she immediately came to his aid. Her image is seen throughout the epic. 4. Nyianqen Tangla Mountain God In the epic King Gesar, the State of Ling is described as the center of the world, boasting 13 mountain peaks known as the "Thirteen Mountain Gods". The Tangla of Nyianqen, often mentioned in the epic as the biggest mountain god, was regarded as the Guardian of Money and Valuables, the Master of Treasure, or the head of all mountain gods. It says in the Tibetan ancient codes and records that this god had 360 followers, or the Tanggula Range had 360 peaks, each peak has its own god, and all the peak gods surrounded the biggest one. That is why the Tangla Mountain God was called the head of all mountains' gods. Among the primitive objects of worship by the ancestors of Tibetans, there were "Four Big Gods", one of whom was the God of the West, the Tangla Mountain God.

®

®

~

@

5. Mt. Anye M achen God Also known as Maqinbangna Mountain God. In epic King Gesar, mountains and rivers are described as having their own gods, reflecting Tibetan nature worship and pantheist concepts in ancient times. Mt. Anye Machen, which lies in Guolou of Qinghai at the source of the Yellow River, was the mountain god of the State of Ling. King Gesar put his soul and entrusted his life on this snow-capped mountain. The god of Mt. Anye Machen was sometimes called the "War Lord" and sometimes the "head of local gods". Like the god of Tanggula Mountain, this mountain god was accompanied by 360 brother deities. He rode a white horse with a green mane, wore a white helm with purely red tiger decorations and a suit of golded armor, and carried a spear in his right hand and a gold basin in his left hand.

6. Welma, the God of War King Gesar is an epic about battles and wars waged between tribes in ancient times, so war stories run through it from beginning to end. It reflects the Tibetan worship of the God of War. The "War of God" is "Zhalha" in Tibetan, meaning "the god who resists the enemy". In the epic there are two main gods of war: one called "Gezuo", who was the war god of the State of Ling and the other called "Weima", who was the war god of King Gesar. Whenever King Gesar went on an expedition, he would offer sacrifices to his war god to plead for blessing so that he could triumph over all demons. This shows the view by the Tibetans that man is an integral part of nature. In the epic, King Gesar is described as having 13 protective gods: Roe, Jade Dragon, White Lion, Fierce Tiger, Whitemouthed Wild Horse, Blue Wolf, Rock Vulture, White-chested Yellow Bear, Sparrow Hawk, Deer, White-bellied Bear, Golden Snake and Double Fish. 7. Rongtsa Tsagon Also known as "Skyibum", meaning "CounselorGeneral", he was Gesar's uncle. According to Ling lineage, he was the eldest son of Choslhaphen of the lower tribe. Rongtsa Tsagon was a senoir general who enjoyed moral eminence and high esteem. From his name, we can see it clearly. "Tsa" means "eagle", and "gon" means "senior". "Tsagon" translates as "valorous eagle". As one of 30 veteran Ling generals, he was chosen by various tribes to manage state affairs before Gesar was born and made king. That is why he is often described as "Counselor-General King" or "Tsagon Counselor-General King" in the epic. During his administration, he handled many important affairs like "the welcoming of the birth of the hero" and "choosing the king by a horse race" . After Gesar won the horse race and became king, Tsagon helped him fight north and south, bending himself to his tasks and exerting himself to the utmost to make the State of Ling strong and to unify the Tibetan region. He made special contributions to the fight against the invasion of the State of Hor.

8. Gyiacha Shekar The abbreviated form of his name is "Gyiacha". Gesar's elder brother, of the same father but different mother, he was borne by Lhakha Cholma, a Han Chinese concubine of Skumlun, chieftain of the lower tribe in the State of Ling. "Gyia" means "Han" or the "Han Chinese people", and "cha" means "nephew". Put together, the words mean "the nephew of the Han Chinese people". "Shekar" refers to his face, which was as bright as the moon. Together with Gyuchi Prince of the State of Jiang and Lhahu Prince of the State of Hor, they are described as the "Three Nephews of the Han Chinese people" in the epic. As one of 30 generals and one of seven Gentlemen of the State of Ling, Gyiacha helped Gesar whole-heartedly in the fight against invasions. He performed deeds of great valour. Unfortunately, he was killed when the White Tent King of the State of Hor invaded Ling. After he died, he refused to go to Paradise and instead changed into a sparrow hawk. He did not become a god until King Gesar returned to Ling after conquering Hor. Later, he descended to Earth several times to help Gesar conquer enemy states and unify the region of Tibetans.

®

®

9. Danmar His name evokes powerfulness and awesomeness. As one of 30 generals and one of seven gentlemen of the State of Ling, Danmar was the best archer of Ling and Gesar's most trusted army general. Originally, Danmar's tribe did not belong to Ling. In order to show the allegiance of Danmar's tribe to Ling, the two states established a relation between nephew and uncle. In the epic, Danmar was presented as an important figure that performed outstanding services in battles to defend Ling and to conquer the Four Big States and the 18 Tribes. He won admiration from all the Ling army generals. The Sinbar and Danmar volume of the epic is a special account of these two figures. 10. Khrothung "Khro" means "getting angry" and "thung" means "short". Put together the name means "Khrothung was a short man with a short temper who got angry easily". The epic says he was Gesar's uncle, one of 30 army generals of the State of Ling and a chieftain of the Dharong Tribe. He was a powerful tribal head in the State of Ling. It is said that after he was born, he not only suckled his mother' breast but also drank the milk of cows, goats and dogs. So Khrothung was said to have four mothers. The epic describes him as a negative character: crafty, insidious, greedy and stingy. He was constantly eyeing the Ling throne and was hostile to the rulers of the state headed by King Gesar. He did many evil things harmful to his own tribe during the expedition to conquer the Four Big States and the 18 major tribes. When the White Tent King of the State of Hor invaded Ling, Khrothung's scheming reached its pinnacle, and he went so far as to have illicit relations with Hor to slaughter the people of his own tribe and betray his state in his quest for personal power and wealth. Although his mistakes and crimes were exposed and criticized many times, he did not pill in his horns. His evil behavior, however, served as a sharp contrast to the extraordinary intelligence of King Gesar in saving people in peril and vitalizing Ling. So the Tibetan proverb says: "Gesar would be not so illustrious without Khrothung".

®

I, '1 1c1'.Ex1 M:in 1JI rd r c k.>, 7 C~c:, ,, 17

11. Sinbar Merutse "Sinbar"is the general term for army generals of the State of Hor. Its original meaning is "butcher" of "hero". The most brave and brilliant army general of the State of Hor, he was generally called "Sinbar", his real name omitted from the epic. In his name, the word "dse" means "top" or "most" in Tibetan. Once he said about himself: "I am most kindhearted when I feel happy, most courageous when I am indignant, most fierce and malicious toward the enemy, most selfless toward war booties, and soft as silk toward common people". Many times, he remonstrated with the White Tent King regarding the invasion of Ling. But once the State of Hor began the invasion, he devoted himself heart and soul to the king of Hor and performed deeds of valor in battle. After the State of Hor was conquered by King Gesar, Sinbar was taken prisoner by Ling forces and surrendered under the influence of King Gesar. After that he was made leader of the Hor Tribe and become an important official under King Gesar. Later, in major battles to subdue demons and ghosts and to unify the region of Tibetans, Sinbar Merutse fought bravely and won praises from both soldiers and civilians of Ling. He died of illness after King Gesar went to the interior of China.

(f.Jl

12. Zhubmo Her full name was Sengjiang Zhubmo, which means "daughter of the lion, tiger and dragon" in Tibetan, an honorable meaning equivalent to today's "First Lady" or "Respected Madam". Zhubmo was King Gesar's concubine, the first of 13 concubines and the first of the Seven Sisters of Ling. The epic says she was the incarnation of White Tara, and daughter of Stonpa Jiandsan, chieftain of the Jialou Tribe in the State of Ling. When the State of Ling held a horse race to decide the King , she, together with the throne, was the prize. After Gesar became the King by winning the horse race, she became his understanding wife. When the war between Ling and Hor broke out, and Hor's troop took the opportunity of Gesar's absence and besieged Ling's city, she personally led the army to resist the invading enemy. After the city was taken, for the sake of the safety of Ling, she went alone as a prisoner to Hor to make a treaty. While staying in Hor, she never forgot her native land. She missed King Gesar immensely, and returned home immediately after Hor was conquered. The epic has many detailed accounts to describe her faithful love for King Gesar. 13. Ngada Lhamo The epic says she was the sister of Lhutsan , King of the State of Mor. She was a seasoned fighter and a valiant woman general, excellent especially in marksmanship and known as one of the Three Great Archers of Ling. King Gesar captured her and made her his concubine on his way to conquer the State of Mor. She helped him through many passes, thus speeding the death of King Lhutsan. After the State of Mor was destroyed, together with Maisa Ronje, she accompanied Gesar on a nineyear stay in the Nine-Roof Palace in the State of Mor. After Gesar returned to Ling, she remained in Mor for some time before going to Ling to follow Gesar in the conquest of the states of Hor, Moin, and Jiang, serving as King Gesar's good assistant on these expeditions. She died of illness after King Gesar went to establish friendly relations with the Han Chinese people. The epic has a special chapter entitled Saving a Wife from Hell to describe how Gesar saved her from Hell when he returned from talks with the Han Chinese people.

18 lhangKa Pa,n11ngs of thP. fbetm Ora lr,tc k.Jng C'8sc1r

~

The Birth of the Hero

ar between the State of Ling and the Tribe of Guo broke out. he Guo Tribe was defeated, and its chieftain fled and left his ife Medo Lhadse, who was captured and became the concubine of Skumlun, the chieftain of the Lower Tribe in the State of Ling. Medo Lhadse was originally the daughter of the Dragon King. When Skumlun took her home, the house turned exceptionally bright, all at once. But his Han Chinese concubine Lhakar Cholma was a1moyed and did not like living together with the daughter of the Dragon King, so Skumlun took her to his large tent, set up a small tent beside the large one for her and changed her name to Cuomo. Before long, Cuomo moved to the small tent to the foot of the Toad Mountain. Whatever she needed, Gyiacha, a son of the Han Chinese concubine, supplied her, so she regarded him as her own. One day, Cuomo went to the shore of a lake for a walk. She cupped some lake water in her hands and drank it. The water refreshed her immediately. But when she looked at her reflection in the water, she suddenly recalled her parents and the Dragon Palace she had left three years before. Tears welled up in her eyes, and the teardrops fell into the lake, becoming pearls that sank to the bottom of the lake. The Dragon King, Zouna Renqen, emerged immediately to comfort her and gave her an S-shaped ornamental object made of jade and many pearls and jewels. On the 8th night of the year's 3rd month in the Tibetan calendar, soon after Cuomo and Skumlun went to sleep, she fell into a dream when Padmasambhava came to put the vajra on her head and said to her: "My fortunate girl, today is the time for the son of God to be reincarnated in a new body. He wrn be the head of fom big cities, 18 small cities and 24 states in the region of Tibetans, the god to subdue ghosts and demons, and the monarch of the dark-haired Tibetans." When Cuomo woke up, she felt elated. Ten months and eight days later, she gave birth to a boy as big as a three-year-old child. When Gyiacha saw the infant, he was very fond of him. He took his newborn brother and kissed him again and again, saying, "The saying goes, when two brothers are united as one, they can smash any enemy's hammer; when two horses are together, they provide a base for getting rich. When we two brothers work together in the future, we can achieve whatever we want. I think we shall name this brother of mine Jorru for the time being." Jorru's birth brought great hope to both the soldiers and civilians of the Six Tribes in the State of Ling. Only Khrothi..mg from the Dharong Tribe felt wmappy and harbored resentment. He thought there should be

k

~

/

Ti~CJnq.