PK AS 19.22

Known as:	PK AS 19.22; Pelliot Koutchéen Ancienne Série 19.22 (number in 1982)
Cite this page as:	Georges-Jean Pinault; Hannes A. Fellner (collaborator). "PK AS 19.22". In A Comprehensive Edition of Tocharian Manuscripts (CEToM). Created and maintained by Melanie Malzahn, Martin Braun, Hannes A. Fellner, and Bernhard Koller. https://cetom.univie.ac.at/?m-pkas1922 (accessed 06 Oct. 2024).
Edition
Editor:	Georges-Jean Pinault; Hannes A. Fellner (collaborator)
Date of online publication:	2014-07
Provenience
Expedition code:	M 504 (provisional number 1403)
Collection:	Bibliothèque nationale de France, fonds Pelliot Koutchéen (Paris)
Language and Script
Language:	TB
Linguistic stage:	classical
Script:	classical
Text contents
Title of the work:	Pratītyasamutpāda
Text genre:	Literary
Text subgenre:	Abhidharma
Verse/Prose:	prose
Object
Manuscript:	PK AS 19
Material:	ink on paper
Form:	Poṭhī
Size (h × w):	6.5 × 24.7 cm
Number of lines:	5
Interline spacing:	1.2 cm

Images

Images from gallica.bnf.fr by courtesy of the Bibliothèque nationale de France, Département des Manuscrits, Pelliot koutchéen.

Transliteration

lf	82
a1	mā n[o] tū ne tre ṅka ske ntra [•] n· va ṣa· jñāṃ tsa wa rñai \|\| tu meṃ ña ke śtwā ra dhya na nma bha v[i] ///
a2	rmeṃ a skā cä nä yne ś[y]a ma stra pā rśai [pr]e – ·e ·auṃ pi rko¯ ¯ś nau s̝a toṃ • ya ma stra y[n]e ///
a3	[yw]ā rś·a ne ma k[t]e – [y]aṃ • śā rśā rsa a s·ā ○ ci • ta ṣa llo na mā stau k·a tsi ///
a4	– – (–) ṣṣe dh·a [na] – na [pa] ra mā [ṇu] [nta] [yn]·[¯] [¯ś] ya ma s̝a llo na • tu meṃ ke – ///
a5	– (–) na tū ne pa (– –) ///
b2	ṣle [n]·e – (–) – ka rst[au] mā o no lme tu sa tu pa¯ ¯stä wi ke ntra • tu m· – – – ra ta rka na[ṃ] ysā ///
b3	ke t[w]e – lk[ā] s̝s̝a· [pa] rwe ṣṣe dhyā nne ta rya ○ yke nta ske nte • tu meṃ n· – k[au]¯ – – – – ·ya [v]ā [j]i
b4	nta tu meṃ na no kau¯ ¯cä ya lle tri ce dhyā nä¯ ¯śc o mte pwi yo¯ ¯k ta ka rṣke lkā tsi o mte ///
b5	ñca re l[k]ā tsi ta rya yke nta • te ta ṅtsi pra tha gja ni ya neṃ • tu meṃ ma nte śu ddha vā sa nta ///

Transcription

80-2

a1	mā no tūne treṅkaskenträ • n(ai)vaṣa(ṃ)jñāṃtsa warñai ॥ tumeṃ ñake śtwāra dhyananma bhavi… ///
a2	…rmeṃ askācänä yneś yamasträ pārśai pre(śyain)e (k)auṃ-pirkoś nauṣä toṃ • yamasträ yne(ś) ///
a3	ywārś(k)ane makte (i)yaṃ • śār śārsa as(k)āci • taṣallona mā stauk(k)atsi ///
a4	– (pärwe)ṣṣe dh(y)ana(ṣṣa)na paramāṇunta yn(e)ś yamaṣällona • tumeṃ ke – ///
a5	– – na tūne pa – – ///
b2	ṣlen(ts)e – – – kärstau mā onolme tusa tu päst wikenträ • tum(eṃ) – – – ra tärkanaṃ ysā… ///
b3	ketwe – lkāṣṣä(ṃ) pärweṣṣe dhyānne tarya ykenta skente • tumeṃ n(ano) kau(c) – – – ·ya vāji{ra}
b4	…nta tumeṃ nano kauc yalle trice dhyānäśc omte pwi-yok takarṣke lkātsi omte ///
b5	…ñcare lkātsi tarya ykenta • te taṅtsi prathagjani yaneṃ • tumeṃ mante śuddhavāsänta ///

Translation

a1	... however, they do not cling to that, starting with state of neither consciousness nor unconsciousness. Thereupon now ... the four meditations (dhyāna)
a2	... after having ... he makes visible the (blades of) kuśa-grass in the time of ..., those before the sunrise. He makes visible ...
a3	... he goes himself in the middle of ... On the top of each other the (blades of) kuśa-grass should be put in order not to swell ...
a4	... the atoms belonging to the first meditation ought to made visible. Thereupon (the earth?) ...
a5	... to that ...
b2	... of the mountain ... no being has been destroyed. Because of that this disappears away. Thereupon ... it emits golden (object?) ...
b3	... jewelry ... he sees ... in the first meditation (dhyāna) there are three spheres ...
b3+	Thereupon again ... (one has to go) up (towards) ...
b4	... Thereupon again one has to go up towards the third meditation (dhyāna) in order to see the clarity of the pwi color there, there ...
b5	... in order to see the lovely one (?) along the three spheres. The worldly ones go only to this point. Thereupon the light abodes (śuddhāvāsa-) ... upwards ...

Commentary

Remarks

	The fragments of the PK AS 19 series (19.1-19.22) all belong to the same manuscript. The fragment is the left part of a leaf including the string hole which interrupts the third line. In the present condition of preservation there are two smaller pieces that can be attached to the bottom left and the right margin. The latter piece is quite damaged and exhibits imprints of akṣaras from other leaves.

The fragments of the PK AS 19 series (19.1-19.22) all belong to the same manuscript. The fragment is the left part of a leaf including the string hole which interrupts the third line. In the present condition of preservation there are two smaller pieces that can be attached to the bottom left and the right margin. The latter piece is quite damaged and exhibits imprints of akṣaras from other leaves.

Philological commentary

	There are only illegible remnants of akṣaras on this line.
n1	The vocalism of the akṣara 〈va〉 after 〈bha〉 is impossible to determine. If it is 〈vi〉, one may consider to connect with Skt. bhaviṣya-, for instance in the compound bhaviṣya-jagat-karṇadhāra- 'der zukünftige Steuermann der Welt' (Bechert and Waldschmidt 1973 3: 287a). Alternatively, one can restore 〈vau〉 and connect it with Skt. bhavaugha- 'die Flut des Werdens' (Bechert and Waldschmidt 1973 3: 287b).
n2	There 13 illegible akṣaras at the end of this line.
n3	The reading wikenträ is certain, however, the only conceivable subject is the demonstrative pronoun in the singular. Therefore we may consider that it is due to a scribal error for wiketrä. The form ysā- can be the beginning of the derived adjective of ysāṣṣe 'golden'. Alternatively, it can be the first member of the compound ysā-yok 'golden color'.
n4	The form vājira probably belongs to the loan of a Sanskrit compound beginning with vajra- 'diamond'.