Tilopā’s Two Mahāmudrā Songs: A Comparative Study Including Critical Editions of the Dohākośa Within the Sārārthapañjikā and the Gaṅgāma with Rang byung rdo rje’s Commentary
摘要
Til(l)ipāda/Tilopā, conventionally called Tilopa (10th/11th century), is among the most influential figures in the history of tantric Buddhism and considered the major transmission holder in the Tibetan bKa’ brgyud pa traditions. One of his most prominent works, the Gaṅges Mahāmudrā (Gaṅgāma), has been translated multiple times and received considerable attention in academic research. However, a Dohākośa, another work ascribed to a Tilopā, has received little consideration. Also, despite the obvious importance of Tilopā for the traditions, the Gaṅgāma and Tilopā’s Dohākośa have not yet been compared. The present paper compares them regarding content, style, and Tibetan reception. It also provides critical editions of the two songs along with their commentaries: The Dohākośa in Apabhraṃśa including its Sanskrit commentary Sārārthapañjikā, in which it is preserved, and the Gaṅgāma (using the not yet published Dohā mDzod brgyad version) with its Tibetan commentary by the Third Karmapa. This investigation of the Indo-Tibetan formation and reception of spiritual poetry (dohā, mgur, etc.) shows that we are dealing with more than an individual’s (spontaneous) composition. These works rather draw from a shared textual heritage that has been used in three ways: to promote tantra, as framework for exegesis, and to contextualise mahāmudrā. Such comparative analysis constitutes a further step towards a more nuanced understanding of the genre within the Indian siddha-movement and aims to provide insights about the genre’s re-shaping in Tibet.