surun khanda syrtypova - Academia.edu (original) (raw)

Papers by surun khanda syrtypova

The article is a continuation of the author’s research on Mongolian chess from the mid 13 th cent... more The article is a continuation of the author’s research on Mongolian chess from the mid 13 th century published in Orientalistica 2018(1). It offers a description of the survived chess figures and dates them back to the reign of Hulagu Khan (1217-1265) or, more precisely to the time of his military campaign to the Middle East. The author argues that the chess were used for learning military tactics. The craftsmen who produced chess sets supplied the faces with the features of real kings. The Buddhist style of sculptures (chess figures) betrays that as a noen was presented Ogedei Khan (1186-1241), the monarch who built the capital of the Mongol Empire, Karakorum (Kharkhorin) in the valley of the Orkhon River.

Mongolian Diaspora Journal of Mongolian History and Culture, Jul 31, 2023

The author compares the data of written and pictorial sources related to the most intimate aspect... more The author compares the data of written and pictorial sources related to the most intimate aspect of the life and work of the great Buddhist master Jebzun Damba Khutukhta Undur Gegen Zanabazar. This is the text of his secret namtar, which in Mongolian is usually called "Prayer for the Links of Rebirth" (Mong.: töröl üye-yin jarbiral). The example of this xylograph is kept in the National Library of Mongolia. The basic source for its creation, obviously, was "Jataka mala sugitikatha", the Tibetan text on the successive line of Tarantha (1575-1634). And the rarest example of Buddhist Mongolian painting of the 17th century is thangka by Zanabazar "The Perfection of Trikaya", which was kindly provided to the author by the owner of a private collection, B. Amarsana. The thangka is describing for the first time. A detailed analysis of the characters on the painting with the ritual tradition of the Vajrayana reveals the mysterious details of the spiritual practice of Undur Gegen and sets before us new horizons and questions for an in-depth study of Mongolian Buddhism. A comparative study of visual and verbal sources allows us to speak about the Practice of Long Life by the method of the White Chakrasamvara in the tradition of yogini Niguma by Undur Gegen Zanabazar along with the practice of long life by the method of Buddha Amitayus.

Свидетельство о регистрации средства массовой информации ПИ No ФС77-79202 от 22 сентября 2020 г.

Etnografia

The article draws on field materials from the expedition conducted in 2019 and uses a comparative... more The article draws on field materials from the expedition conducted in 2019 and uses a comparative analysis of the field data with historiographic sources. The Tsagaannuur reindeer herding district in the Khubsugul aimak of Mongolia is one of the most difficult to reach in the country. Because of the geographical conditions thwarting access of outsiders to the territory, the identity of the local population, recognized as a small-numbered ethnic group in Mongolia, remained intact. The flora and fauna of this highland region are very peculiar; it is a habitat of many rare endemic plants and animals in need of special protection. The region has been part of the Khubsugul National Park since 1992. However, the nomadic tradition of creating reservations, i.e., establishing protected areas at key natural territories, has been recorded here since the Middle Ages. The history of the emergence of the Darkhat Mongolian clans and Tuvan Todzhians is noteworthy. Historical Mongolian legends and peculiar features of local animal husbandry, particularly a large number of white horses and the features of the national Darhats costume, testify to the special ethnocultural regime in the region. The high mountain tracts of Baruun Taiga and Zuun Taiga are the only place in Mongolia where reindeer herding farms still operate. Mongolians call the small-numbered people engaged in reindeer herding the tsaatans. Globalization is experienced acutely in regions with nature’s harsh and fragile beauty and no less fragile indigenous culture of reindeer herders. The authors share the results of their short observation of the life and the current problems of this small nation residing in high-mountain taiga. Not pretending to offer an exhaustive analysis, they provide the readers with a snapshot of these people’s life and the prospects for further study.

Orientalistica

The article provides a comparative analysis of different approaches to the study of Buddhist icon... more The article provides a comparative analysis of different approaches to the study of Buddhist iconography and objects of religious art: scientific academic and traditional Buddhist. Their main goals and objectives, understanding of the fine art style in art history and the Buddhist tradition are considered. The possibility and necessity of using diverse sources of research, or rather, the complex and multidisciplinary principle of working with cult images of Buddhas, bodhisattvas and deities for the most profound and adequate understanding of them, as well as exhibiting them in a museum or other exhibition space, is argued. The ideal model for the development of such a research methodology, in the author's opinion, is the work of the greatest Buddhist master Gombodorjiin Zanabazar (1635–1723), who combined the qualities of both an artist, a highly educated Buddhist adept, spiritual mentor, and a ruler of the state. The types of written and other verbal sources, as well as the typ...

Orientalistica. 2023;6(1):73–86, 2023

A series of articles on various aspects of the work by the great Buddhist master Gombodorjiin Zan... more A series of articles on various aspects of the work by the great Buddhist
master Gombodorjiin Zanabazar (1635–1723), allows the reconstruction of the image
of the wisdom deity Manjushri. In the Buddhist pantheon Manjushri belongs to
the rank of bodhisattvas, the enlightened beings who have set themselves the highest
altruistic goal — to help all living beings until they all achieve Buddhahood. The
acquisition of knowledge and wisdom is considered the main thing in the practice of
Buddhists. Therefore, the cult image of Manjushri is one of the most widespread. The
bodhisattva Manjushri also occupies a prominent place in the work of Zanabazar; in
this work, there are about a dozen identi􀏐ied images, which are preserved in various
museum and private collections in Mongolia, Russia and China. Among these works,
there are, indeed, no masterpieces of the highest rank, which include, for example, the
Tathagatas of the Five Kinds and the White Tara. Nevertheless, they deserve special
attention because they bear the main features of the Zanabazar’s artistic style. For the
􀏐irst time, the article offers an all-encompassing description of all Manjushri images
by Zanabazar and his school.

Orientalistica. 2023;6(3- 4):534–547., 2023

The article provides a comparative analysis of different approaches to the study of Buddhist icon... more The article provides a comparative analysis of different approaches to the
study of Buddhist iconography and objects of religious art: scientiβic academic and
traditional Buddhist. Their main goals and objectives, understanding of the βine art
style in art history and the Buddhist tradition are considered. The possibility and
necessity of using diverse sources of research, or rather, the complex and multi-
disciplinary principle of working with cult images of Buddhas, bodhisattvas and
deities for the most profound and adequate understanding of them, as well as ex-
hibiting them in a museum or other exhibition space, is argued. The ideal model
for the development of such a research methodology, in the author's opinion, is the
work of the greatest Buddhist master Gombodorjiin Zanabazar (1635–1723), who
combined the qualities of both an artist, a highly educated Buddhist adept, spiritu-
al mentor, and a ruler of the state. The types of written and other verbal sources,
as well as the types of objects or visual sources that should be used to reveal the
theme of Buddhist artistic creativity are considered. It was also made an attempt to
formulate the most urgent tasks and promising directions for researchers of Tibe-
to-Mongolian Buddhists βine arts

Этнография. 2023. 2(20): 163–188. , 2023

The article draws on field materials from the expedition conducted in 2019 and uses a comparativ... more The article draws on field materials from the expedition conducted in 2019
and uses a comparative analysis of the field data with historiographic sources. The Tsagaannuur reindeer herding district in the Khubsugul aimak of Mongolia is one of the most difficult to
reach in the country. Because of the geographical conditions thwarting access of outsiders to the
territory, the identity of the local population, recognized as a small-numbered ethnic group in
Mongolia, remained intact. The flora and fauna of this highland region are very peculiar; it is
a habitat of many rare endemic plants and animals in need of special protection. The region has
been part of the Khubsugul National Park since 1992. However, the nomadic tradition of creating
reservations, i.e., establishing protected areas at key natural territories, has been recorded here
since the Middle Ages. The history of the emergence of the Darkhat Mongolian clans and Tuvan
Todzhians is noteworthy. Historical Mongolian legends and peculiar features of local animal
husbandry, particularly a large number of white horses and the features of the national Darhats
costume, testify to the special ethnocultural regime in the region. The high mountain tracts
of Baruun Taiga and Zuun Taiga are the only place in Mongolia where reindeer herding farms
still operate. Mongolians call the small-numbered people engaged in reindeer herding the tsaatans.
Globalization is experienced acutely in regions with nature’s harsh and fragile beauty and no
less fragile indigenous culture of reindeer herders. The authors share the results of their short observation of the life and the current problems of this small nation residing in high-mountain
taiga. Not pretending to offer an exhaustive analysis, they provide the readers with a snapshot
of these people’s life and the prospects for further study.

The Lineage of Spiritual Succession of the First Bogd Gegen of Mongolia Zanabazar (1634–1723) in His Secret Namtar and on the Thangka , 2023

Journal of the Institute of Oriental Studies RAS

Orientalistica, 2022

An article is made in a series about the artistic activity by a brilliant sculptor and extraordin... more An article is made in a series about the artistic activity by a brilliant sculptor
and extraordinary thinker G. Zanabazar (1635–1723), whose criation predetermined
the development of Buddhism and the entire course of events in Mongolia. The cult
practice of Maitreya as one of the heroes of the bodhisattvas and as the Buddha of the
Future among the Mongolian peoples arose under the decisive necessity of the first
rituals performed under the influence of Undur-Gegen in the Erdene-Zuu monastery
in 1657. Ritual meetings of the Buddha or Maitreya's cycle have become one of the
most beloved, very colorful and festive events in the large-scale life of the most important
Buddhist monasteries. The divine image of a beautiful, young yogi with the
image of a stupa in his hair, an antelope skin on his left shoulder, a jug of sacred water
and a gesture of preaching the teaching and at the same time granting protection,
a noble Zanabazar, distinguished by elegances and nobility, and very close in style and
spirit to the best works by Nepalese masters of the XI–XIV centuries. The sculpture
of the standing bodhisattva Maitreya, 72 cm high, made by Undur-Gegen Zanabazar,
is one of the main shrines of the capital's biggest Gandantegchenling Monastery. The
rarest painting, the thangka of Maitreya Zanabazar, is found in the G. Zanabazar Fine
Arts Museum in Ulaanbaatar. The second type of image of Maitreya is the crowned
Buddha, sitting in bhadraasana on a high seat, also widespread in Tibeto-Mongolian
Buddhism, and one of them is located in the Choijin Lama Museum-Temple in Ulaanbaatar,
it belongs to the Zanabazar’s school. In this article, for the first time, a detailed
description of the works by Zanabazar associated with to the cult of Maitreya is made.
Keywords: G. Zanabazar (1635–1723), cult of Maitreya, iconography of Shakyamuni,
sculpture, tangka, Gandantegchenling Monastery, Tushita, era of prosperity
Acknowledgements: The author thanks for the cooperation the Choijin Lama Temple
Museum (Mongolian: Чойжин ламын сүм музей), the Zanabazar Fine Arts Museum
(Mongolian: Г. Занабазарын нэрэмжит Дүрслэх урлагийн музей), the Gandantegchenling
Monastery (Mongolian: Гандантэгчинлэн хийд) (Ulaanbaatar) in Mongolia.

АННОТАЦИЯ: Период монгольского правления Юань (1271– 1368) признаётся некоторыми исследователями ... more АННОТАЦИЯ: Период монгольского правления Юань (1271–
1368) признаётся некоторыми исследователями временем наивыс-
шего рассвета искусства Китая. В XIII–XIV вв. возникает много но-
вых технологий и значительно меняется характер изобразительного
искусства на обширном евразийском пространстве, появляются но-
вые центры буддийской культуры. Художественный стиль, возник-
ший в этот период, принято называть сино-тибетским. Значит ли это,
что изобразительные традиции монгольских кочевников не имели
влияния в данном колоссальном процессе? Для ответа на вопрос ав-
тор предлагает новую интерпретацию известных памятников буд-
дийской живописи и пластики XIII–XIV вв.
КЛЮЧЕВЫЕ СЛОВА: династия Юань, буддийское изобрази-
тельное искусство, художественные и ремесленные традиции кочев-
никовМонголии и Центральной Азии, эстетика средневекового воина.

Сыртыпова Сурун-Ханда Дашинимаевна, д.и.н., в.н.с. Лаборатория экологии аридных территорий Инстит... more Сыртыпова Сурун-Ханда Дашинимаевна, д.и.н., в.н.с. Лаборатория экологии аридных территорий Института проблем экологии и эволюции им. А.Н. Северцова (ИПЭЭ) РАН,

Trudy IV RAN, 2021

According to written sources, a Mongolian child from the noble family of Tushetu Khan Gombojav (1... more According to written sources, a Mongolian child from the noble
family of Tushetu Khan Gombojav (1594–1655), for his unusual qualities and strange signs that accompanied his birth, was recognized as the embodiment of the famous Tibetan scholar Kunga Nyingbo Taranatha (1575–1634), the head of the Jonang sect, who died a year before the boy’s birth. He was the future spiritual and political ruler of Mongolia Javzandamba Khutagt Undur Gegeen Zanabazar (1635–1723). It is believed that in 1640, the 5th Dalai Lama Ngawang Gyatso (1617–1682) recognized him as a tulku (Tib. sprul sku) and sent the acharya Namkhai Son Davu from the Drepung Monastery to teach the boy the texts of the Kadam tradition. In 1649, the young Bogd Gegeen arrived in Tibet with the aim of receiving Buddhist education in one of the Gelug monasteries. He becomes a disciple of the 4th Panchen Lama Lobsan Choikyi Gyaltsen (1570–1662), who, after two years of intensive training, advises Zanabazar to return to his homeland, build a monastery in the mountains and engage in the spread of dharma, enlightenment and training of his people, predicting his greatest realization when choosing just
such a path. Zanabazar, following the instructions of the teacher, returned
to Khalkha in 1651 and in 1654 established the Ribo-gazhei-gandan-ling
Monastery complex in the Khentei Mountains. This monastery is known to
us as Sardagiin Hiid; its evolution and nomadic history eventually led to the formation of the present capital of Mongolia, Ulaanbaatar. During his stay in Tibet, Zanabazar received many initiations of various levels in the texts and practices of Vajrayana from Tibetan teachers, especially the 4th Panchen Lama and the 5th Dalai Lama, made a pilgrimage to holy places, the most important monasteries and temples of Tibet.
The biographies of Zanabazar testify that he created many portraits of his
teachers. Revealed artifacts confirm the testimony of biographers. There are images of the Gelug hierarchs, whose iconography of indicate their lifetime performance. Among them, there are sculptural and pictorial portraits of the 4th Panchen Lama Lobsan Choikyi Gyaltsen and miniature, pictorial images of the 5th Dalai Lama Ngawang Gyatso in compositions of various thangkas. The portraits of Lobsan Choikyi Gyaltsen, created by Zanabazar, testify not only to the reverence of the teacher. Thanks to the skill of the sculptor, we can feel the warmth and spiritual closeness of their relationship.

Orientalistiсa., 2020

In continuation of the study of the art heritage of Zanabazar (1635–1723), we have traced the con... more In continuation of the study of the art heritage of Zanabazar (1635–1723), we have traced the connection between the textual and art systems of the Buddhist cult of Tara goddess. This goddess was of particular importance for the master Zanabazar. In his turn, Zanabazar was recognized as the incarnation of the great Tibetan scholar Jetsun Taranatha (1575–1634), whose name means “Protected by Tara”. Undur-Gegen Zanabazar had deep spiritual relationship with the Savior Goddess both from his previous incarnations as well as directly transmitted by his teachers,
especially the IV Panchen Lama Lobsan Choiky Gyaltsen (1570–1662). The article deals with outstanding sculptural images of Tara by Dzanabazar and also by the artists of earlier times and by the followers of his style who came from Sri Lanka, Nepal, Tibet, Mongolia, Buryatia. The actual objects are currently preserved in various collections throughout the world. Among them that of the British Museum in London, the Metropolitan and the Rudin Museums in the United States, the Potala in Lhasa, the State Hermitage and the Russian Ethnographical Museum in St. Petersburg and Mongolian museums of Ulaanbaatar. Specific examples show how the canonical Buddhist standards of iconography were implemented under the influence of different regional ethnic craft traditions. The works by famous Buddhist artists, such as Sonam Gyaltsen (16th cent.), Choiing Dorje (1604–1664) as well as little-known Buryat masters of the late 19th century were used to compare with the masterpieces by Zanabazar.

MONGOLICA, 2021

Статья посвящена разбору основных положений и научных гипотез известного советского тибетолога, у... more Статья посвящена разбору основных положений и научных гипотез известного советского тибетолога, учителя нескольких поколений востоковедов постсоветского пространства Б. И. Кузнецова. Одним из главных направлений и идеей его научных изысканий была проблематика происхождения добуддийской религии тибетцев бон, поиски иранских корней и параллелей в исторических сюжетах, описанных в трудах греческих, тибетских, арабских, китайских и других авторов. Он идентифицирует религию бон, страну Шанг-Шунг и Олмо с Эламом или древним Ираном времен правления Ахеменидов, а главного бонского жреца, учителя Шенраба Мибо с зороастрийским проповедником. Такая постановка вопроса
могла иметь место в VII–V вв. до н. э., когда иранцы находились в пике могущества и вели активную политику расширения своего влияния, и не только на ближайших соседей, но на территории Центральной Азии. В статье предлагается некоторые выдвинутые Б. И. Кузнецовым положения проанализировать при помощи типологических материалов, сохраняющих архаичные автохтонные элементы, в частности многоплановые культы Пехара, Да-лха, Намсарая, в сравнении с зороастрийским культом Митры. События эпохи Ахеменидов хронологически совпадают с эпохой скифов и датировкой выдающихся предметов скифского прикладного искусства, влияния которого не избежала ни одна последующая культура Евразии. Для народов Центральной Азии, Монголии и Тибета наиболее актуально наследие скифо-сибирского звериного стиля. Активными наследниками традиции прикладного искусства южно-сибирских скифов продолжают оставаться монголы и тувинцы, кочевники, принявшие тибетский буддизм.

Джебзун-Дамба-хутухта Ундур-гэгэн Дзанабазар был первым буддийским лидером Монголии, совместившим... more Джебзун-Дамба-хутухта Ундур-гэгэн Дзанабазар был первым буддийским лидером Монголии, совместившим светскую и духовную власть в стране, которую к концу XVII в. все еще раздирали междоусобные войны, и его главной задачей было единение и просвещение монгольского народа. Практически во всех обнаруженных автором статьи работах Дзанабазар изображает себя как конкретного, исторического ламу, но с иконографическими признаками Будды Ваджрасаттвы. В этом выборе божественного символа усматривается глубина невербальной проповеди и таинство духовного завещания выдающегося буддийского мастера. Целью публикации является дальнейшее выявление, изучение и восполнение сведений об объектах художественного и духовного наследия Ундур-гэгэна Дзанабазара, находящихся в государственных, ведомственных, общинных и частных коллекциях Монголии и России. Результаты. В данной публикации рассмотрены впервые в контексте практики медитаций Дзанабазара и комплексном единстве разновременные автопортреты мастера-как скульптурные, так и живописные, в том числе миниатюрные фрагменты разных танка. Описания изображений даны как источники исторического и искусствоведческого исследования буддизма ваджраяны в сопоставлении с тантрическими текстами культа Будды Ваджрасаттвы, а также с историческими фактами из биографии Ундур-гэгэна. На основе анализа текстовых и изобразительных данных осуществляется попытка объяснения позиции Дзанабазара как духовного наставника и мастера изобразительного искусства в буддизме.

this is another publication in the series of articles written by S-Kh, Syrtypova on the Buddhist ... more this is another publication in the series of articles written by S-Kh, Syrtypova on the Buddhist iconography and the meaning of Buddhist deities in Mongolian Buddhism published in the Orientalistica earlier. This time the author deals with.
Ratnasambhava, Amitabha, Amoghasiddhi and Vairocana, the four of the Fife Tathagata Buddhas created by Zanabazar in 1683. The article comprises the history of their veneration, the specific details with regard to the spiritual of practices among Mongolian Buddhists and the visual representation of the deities by the famous artist Zanabazar. The sculpture of Ratnasambhava is preserved in the Museum-temple of Chiojin-lama, and others are preserved in the Zanabazar’s Museum of Fine Art in Ulaanbaatar city of Mongolia.

Ориенталистика , 2019

this is another article in the series of researches published by the present author, which deal ... more this is another article in the series of researches published by the present
author, which deal with the iconography and the meaning of Buddhist deities of Vajrayana in particular in Mongolian Buddhism. Buddha Akshobhya is a one of the Tathagata Buddhas, the forefathers of Five Buddha families or Five Dhyani Buddhas. The article deals with the development stages of the Akshobhya cult, some specific
features of its practice among Mongolian Buddhists and the visual representations by the famous master Ondor Gegen Zanabazar (1635–1723). The author publishes here images of various sculptures of Akshobhya from the collections of temples, museums, as well as private collections in Mongolia.

Mongolian Diaspora Journal of Mongolian History and Culture, Jul 31, 2023

Свидетельство о регистрации средства массовой информации ПИ No ФС77-79202 от 22 сентября 2020 г.

Etnografia

Orientalistica

Orientalistica. 2023;6(1):73–86, 2023

Orientalistica. 2023;6(3- 4):534–547., 2023

The article provides a comparative analysis of different approaches to the study of Buddhist icon... more The article provides a comparative analysis of different approaches to the
study of Buddhist iconography and objects of religious art: scientiβic academic and
traditional Buddhist. Their main goals and objectives, understanding of the βine art
style in art history and the Buddhist tradition are considered. The possibility and
necessity of using diverse sources of research, or rather, the complex and multi-
disciplinary principle of working with cult images of Buddhas, bodhisattvas and
deities for the most profound and adequate understanding of them, as well as ex-
hibiting them in a museum or other exhibition space, is argued. The ideal model
for the development of such a research methodology, in the author's opinion, is the
work of the greatest Buddhist master Gombodorjiin Zanabazar (1635–1723), who
combined the qualities of both an artist, a highly educated Buddhist adept, spiritu-
al mentor, and a ruler of the state. The types of written and other verbal sources,
as well as the types of objects or visual sources that should be used to reveal the
theme of Buddhist artistic creativity are considered. It was also made an attempt to
formulate the most urgent tasks and promising directions for researchers of Tibe-
to-Mongolian Buddhists βine arts

Этнография. 2023. 2(20): 163–188. , 2023

The Lineage of Spiritual Succession of the First Bogd Gegen of Mongolia Zanabazar (1634–1723) in His Secret Namtar and on the Thangka , 2023

Journal of the Institute of Oriental Studies RAS

Orientalistica, 2022

Trudy IV RAN, 2021

Orientalistiсa., 2020

MONGOLICA, 2021

Ориенталистика , 2019

Holy places of the nomads of Transbaikal (Traditional objects of worshiping as monuments of history and culture), 2007

Книга посвящена исследованию объектов традиционного культового почитания (святые места и буддийск... more Книга посвящена исследованию объектов традиционного культового почитания (святые места и буддийские книжные коллекции) в
Байкальском регионе. Святые места или сакральные территории рассматриваются как средства визуального памятования кочевой и
полукочевой культуры автохтонного населения, свидетельствующие о взаимосвязи природы и человеческого общества с древнейших времен и
структурирующие ритуальное пространство. Буддийские рукописи и ксилографы в государственных, общинных и частных коллекциях
рассматриваются как наиболее глубокий и емкий информационный ресурс, являющийся средством вербального памятования буддийской
цивилизации, а также реликвией высшего разряда. Совокупность святых мест и крупных книжных буддийских коллекций формируют этнокультурный ландшафт трансграничного региона, его уникальное
своеобразие на стыке гео-культурных плит, способствуют сохранению экологического равновесия и формированию социального капитала, как главного фактора устойчивого развития общества

Tibetan depository of manuscripst and xylographs: content and structure , 2006

В монографии представлены сведения по истории формирования, структуре тибетского фонда ЦВРК ИМБТ ... more В монографии представлены сведения по истории
формирования, структуре тибетского фонда ЦВРК ИМБТ СО РАН, составе сформированных коллекций с их количественной и содержательной оценкой, основные аспекты книжной культуры тибетского буддизма, определены методологические принципы систематизации тибетских буддийских текстов, а также осуществлена попытка определения места, роли и своеобразия бурятского фонда в мировой сети тибетских книжных коллекций и
направлений перспективных тибетологических исследований на основе материалов ЦВРК ИМБТ.
Книга рассчитана на востоковедов, историков, и широкий круг лиц, интересующихся проблемами сохранения культурного наследия тибетского буддизма.

Buddhist blockprinting in Buryatia XIX - early XX cen., 2006

Монография представляет результаты источниковедческих исследований тибетских и монгольских ксилог... more Монография представляет результаты источниковедческих
исследований тибетских и монгольских ксилографов из двух
крупнейших отечественных востоковедных фондов г. Улан-Удэ
(ИМБиТ СО РАН) и Санкт-Петербурга (СПбФ ИВ РАН).
Творческий коллектив авторов рассматривает историю,
содержание и значение книгопечатания в буддийских монастырях
Трансбайкалья с позиций разных аспектов: религиоведения,
философии, источниковедения, текстологии, культурологии.
Издание иллюстрировано факсимиле тибетских источников,
образцами печатной продукции бурятских дацанов, фотографиями
лам-издателей и исторических центров буддийского
книгопечатания в Бурятии.
Книга рассчитана на историков, востоковедов, учащихся и
самый широкий круг читателей, интересующихся проблемами
буддийской истории и культуры.