Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
1
Thanks is due to the UKs Arts and Humanities Research Council (AHRC), who
very generously funded this research.
2
Different sources give him different dates. See the discussion in Cantwell and
Mayer 2013: 87100.
154 CATHY CANTWELL AND ROB MAYER
3
For a more detailed analysis, see Cantwell and Mayer 2013.
4
Within contemporary rituals we can find such items as a khra spyangs gtor zlog,
a khra spyangs dres byang, and a khra spyang zor rite. Thanks to Riccardo Canzio for
sharing with us his unpublished handlist of some ritual sections within dBal phur nag
po sgrub pai las tshogs skor 1974. See also des Jardins 2012: 187.
THE WINGED AND THE FANGED 155
5
See the vivid description of this in Schrempf 1999: 207208.
156 CATHY CANTWELL AND ROB MAYER
6
Chapter 6, incipit: // ji yang med pai stong pa las/ mkha klong dbyings kyi rang
bzhin gyis/ drag gsas sku gsung thugs su grub/ de las lha mi bya gsu sprul/ yab gcig
mkha gying sprul pa las/ khra gsas khyung rgod thabs kyi bya/ From out of the empti-
ness that is nothing whatsoever, the natural quality of the sky[-like nature] and expanse
[of mind], with its spatial field, becomes established as the body, speech and mind of
the Destructive Divinity. From it emanate the trio of deity, human, and bird.* From an
emanation of the single father, Khajing, the bird of skilful methods, Hawk Divinity,
Wild Garua [arises]. Etc. *(Lopon Tenzin Namdak explains, deity = the Phurpa yi
dam; human = sTag la me bar; bird = the Hawk deities).
THE WINGED AND THE FANGED 157
as the phra men ma, or hybrid females. Again, these are zoocephalic
deities who emanate from the ten direction herukas as pairs, known as
Carnivores (za byed) and Killers (gsod byed). The rNying ma version is
less systematic than the Bon, with not all the Carnivores being fanged,
and not all the Killers being winged, and the central deity does not have
an additional animal-headed pair. The most common rNying ma list is
as follows:
1. Above, the pig-headed carnivore and lizard-headed killer
2. East, the tiger-headed carnivore and vulture-headed killer [vulture is
the same]
3. South-east, the yak-headed carnivore and raven-headed killer [raven
is the same]
4. South, the stag-headed carnivore and owl-headed killer [owl is the
same]
5. South-west, the leopard-headed carnivore and crow-headed killer [this
one is parallel]
6. West, the cat-headed carnivore and hoopoe-headed killer [this one is
parallel]
7 North-west, the wolf-headed carnivore and hawk-headed killer [this
one is very similar]
8. North, the lion-headed carnivore and bat-headed killer [bat is the same]
9. North-east, the bear-headed carnivore and weasel-headed killer
10. Below, the brown bear-headed carnivore and rat-headed killer
It is worth noting that this list is found in early Phur pa texts, and also
in Chapters 12 and 13 of the Thabs zhags manuscript as found at Dun-
huang (and in the bsTan gyur).8 While the Thabs zhags root text (which
shows no clear sign of having been written or compiled in Tibetan)
clearly signals the existence of such a group, it does not specify them
all: only its commentarial text (which does show possible signs of hav-
ing been written or compiled in Tibetan) lists them in full.9
For traditional polemicists of whatever persuasion, the historical re-
lations between the Bon and rNying ma variants might constitute an
important consideration. Is the Bon list a later adaptation of the Bud-
dhist one, slightly modified to accentuate the winged/fanged binary?
8
See Cantwell and Mayer 2012: 299, 302.
9
Felicitously, an intact manuscript of the Thabs zhags commentary, complete with
the root tantra embedded as lemmata, has been preserved at Dunhuang. This root tan-
tra in the form of lemmata incorporates clear indicative errors avoided in some other
branches of the root tantra transmission. From these one can infer the existence of an
archetype that was, at a minimum, two levels of copying prior to the Dunhuang version.
See Cantwell and Mayer 2012: 10.
THE WINGED AND THE FANGED 159
Or might the Buddhist list include some Bon influences? Is the winged/
fanged binary itself predominantly indigenous in origin, as we currently
guess? Or, might this binary have first developed as an elaboration of
early Buddhist tantric traditions of zoocephalic phra men ma, such as
those of the Thabs zhags commentary and early Vajraklaya tantras, or
those found in the rGyud gSang ba snying pos Chapter 15, where we
do indeed find a list of eight phra men ma, precisely four of whom are
winged, and precisely four fanged?10 To add to the historical confusion,
it has never yet been quantitatively established to what extent such ear-
ly rNying ma tantric traditions are pristinely Indic, and to what extent
they might also include Tibet-specific redactions, whether made by In-
dian missionaries or by Tibetan converts.
In this context, we must also consider what increasingly became a
standard form of rNying ma pa heruka, with three fanged heads, two
wings, six arms, and four legs. This form is widely attested from Nyang
ral nyi ma od zer (112492) onwards, but also appears in at least one
much older source, Chapter 12 of the Thabs zhags root tantra (which,
unlike its commentary, shows no clear sign of having been written or
compiled in Tibetan).11 What is of interest is his two wings: for while
numerous herukas, as described in the many surviving sources that are
incontestably pristinely Indian, might bare their fangs, few if any have
so far been found spreading their wings. It would seem that if winged
herukas did exist in India, they were most probably part of a rare, mi-
nority tradition.12 Might the rNying ma pas increasingly widespread
10
seng gdong (lion), stag gdong (tiger), wa gdong (fox), khyi gdong (dog), bzhad
gdong (swan or water bird), kang kai gdong (Skt. kaka = heron), dur byai gdong
(charnel ground bird), ug pai gdong (owl).
11 Despite the explicit mention of wings on the herukas in the Thabs zhags, the
descriptions of herukas in the rGyud gSang ba snying pos Chapters 15 and 17 mention
only the three heads, the six arms, and the four legs, but do not mention any wings;
and even the fangs are only mentioned near the end, in the eulogy in Chapter 21; nev-
ertheless the later tradition seems to take the presence of the wings as implicit (thanks
to Gyurme Dorje for his clarification). Likewise some early Sa skya descriptions of the
Phur pa heruka omit the wings, and the Dunhuang text IOL Tib J 306 also describes a
rNying ma-style heruka, but without the wings.
12
So far, we know of only a single possible example for an Indian winged heruka:
bDe mchog rdo rje mkha lding (Vajragaruasamvara), a form of Samvara combined
with garua, surrounded by a retinue of a further 50 deities in garua form. It is found
in Taranathas sGrub thabs rin byung brgya rtsa (deity 228), and transmitted in some
dGe lugs and Jo nang pa traditions. According to the notes attached to TBRC Resource
ID T711, the tradition was transmitted by Rwa lo tsa ba rDo rje grags, which might
indicate Indian rather than Tibetan origins. If it is indeed Indian rather than Tibetan, it
might be seen as an exception that proves the rule, since the comparative rarity of such
160 CATHY CANTWELL AND ROB MAYER
winged herukas in Indian sources seems in stark contrast to their widespread occur-
rence in rNying ma pa sources. Note, however, that in this case, the wings do not appear
to be inherent to heruka per se as in the rNying ma examples, but only appear upon him
because heruka is here combined with garua. In short, the wings derive from garua;
they are not inherent to heruka as in so many rNying ma pa examples. Thanks to Jeff
Watt for this reference.
13
Like the innumerable Phur pa lo rgyus texts (historical narratives with a ritual
function) of later centuries, PT44 describes Padmasambhavas induction of the ritually
important bSe goddesses of Nepal into the Buddhist pantheon for the first time, to serve
as Phur pa protector deities. Padmasambhava does this as a prelude to his transmission
of Phur pa teachings to Tibetan and Nepali disciples. These Nepalese bSe deities also
turn up in canonical NGB texts, such as the Phur pa bcu gnyis, so that the historical-nar-
rative Phur pa lo rgyus texts and the canonical NGB tantras mutually reinforce one
another. Likewise, Sa skya Paitas redaction of the rDo rje phur pa rtsa bai dum bu,
which became canonical beyond the rNying ma school through its inclusion in the Tshal
pa Kanjur, is explicitly interpreted by the subsequent Sa skya tradition to represent
these same bSe goddessses initially tamed by Padmasambhava. The unavoidable impli-
cation is that the Sa skya system of Phur pa exegesis consciously accepts the rNying ma
lo rgyus tradition, that an Indian siddha, Padmasambhava, had introduced significant
ritual additions particularly intended for Tibet, to an originally Indian scriptural tantric
tradition, understood as bKa or Buddhavacana. Coming from a rNying ma and Sa skya
background as he did, Bu ston was undoubtedly familiar with these Phur pa lo rgyus
traditions. See Cantwell and Mayer 2008: 4547, 5666. In a very similar manner, IOL
TibJ 321 seems to say that the Thabs zhags root tantra had been redacted in a significant
way by Padmasambhava, or perhaps even revealed by him, although the original point
of departure for its maala design remains close to that of the Indian Sarva-tathga-
ta-tattva-sagraha. See Cantwell and Mayer 2012: 9198.
THE WINGED AND THE FANGED 161
14
Unpublished talk delivered at the Tibetan Protector Deities Workshop, Wolfson
College, Oxford, 4 June 2014.
15
gnam gyi bya dkar mche ba can: bya la mche ba mi srid de: ltas ngan kun gyi
pha ru byung: sa yi byi nag gshog pa can: byi bar gshog pa mi srid de: ltas ngan kun
gyi ma ru byung: de gnyis srid du sbrum pa las: ltas ngan brgyad cu rtsa gcig byung:
de las nad gdon bgegs rigs dang: chag che nyam nga thams cad byung: (bDud joms
Collected writings, vol. Ba: 302303).
162 CATHY CANTWELL AND ROB MAYER
pearing incongruous offspring with both wings and fangs, who emanate
evil omens that descend like a rain on the enemies of Bon, strenuously
destroying them.
No doubt, there is plenty of material here, enough for a book or PhD.
For the time being, we simply present a translation of Chapter 7 of the
Black Pillar.16
Base text (=Kanj): Ka ba nag po man ngag rtsa bai rgyud, vol. 160,
pp. 1125 of Theg chen g.yung drung bon gyi bka gyur, Bod ljongs
bod yig dpe rnying dpe skrun khang, Lhasa 1999. (= 3rd edition of Bon
Kanjur, in 178 volumes)
Nor: Vol. 35, pp. 172 of Bonpo Kanjur held in the University of Oslo,
Norway, published by Ha-san-yon and Bon-slob Nam-mkha bstan-dz-
in, Sichuan, c. 1987 (= 2nd Edition of Bon Kanjur, in 192 volumes)
Tenj: Vol. 268, pp. 1163, Bon gyi brten gyur chen mo, 2nd edition
(in 333 vols), n.d., n.p., ISBN 7-223-00984-5 (sic). From a private col-
lection, courtesy of Dr J.-L. Achard. (This is identical with the version
found in vol. 268, pp. 165345 of Tanbai Nyima, ed., Bonpo Tenjur, 380
vols, Lhasa 1998.)
Ktm: dbu med ms from the library of Geshe Yungdung Gyaltsen, foli-
os 1a49v. NGMPP Reel Number E3406/2, Running Number E55878,
filmed 20/9/2000.
KTY: oral explanations of Khenpo Tenpa Yungdrung, Shenten Dargye
Ling, Blou, France, 2011/12.
Bonpo Thangkas from Rebkong: edited by Bon brgya dge legs lhun
grub rgya mtsho; Shinichi Tsumagari, Musashi Tachikawa, Yasuhiko
Nagano Suita, Osaka: National Museum of Ethnology, 2011.
Thangka Paintings of Yungdrung Bon: A sngags Tshe ring bkra shis and
gNyan mo grub (eds). gYung drung bon gyi rab byams dkyil khor rgya
mtshoi zhal thang kun dus / Thangka Paintings of Yungdrung Bon /
. Si khron dpe skrun tshogs pa / Si khron mi rigs dpe krun
khang, 341 pp. (hard cover in slip case, larger than A4) 2010.
16
Some questions of gender remain problematic in our interpretation, which is not
altogether unusual in old Phur pa texts such as these, whether Buddhist or Bon.
THE WINGED AND THE FANGED 163
17
yi: Tenj, Ktm, Nor yis; we follow Tenj, Ktm, Nor
18
byin rlabs: Tenj byin brlabs
19
Kanjs reading would be: Were emanated in bygone times, [by] the consecration
of the wrathful Wal Bon, on the great Wal mountain.
20
log: Tenj, Nor logs
21
gdong: Tenj, Nor gdangs ; we follow Tenj, Nor
22
g.yui: Tenj, Nor g.yu yi
23
log: Tenj, Nor logs
24
gdangs: Nor nag
25
log: Tenj, Nor logs
26
log: Tenj, Nor logs
164 CATHY CANTWELL AND ROB MAYER
27
pai: Tenj pa yi
28
Ktm, 10v.23 and Nor 15r 12 omit the previous line, but differ from our base
text Kanj and Tenj in giving instead the seven lines from here, up to kha dog phyogs
dang mthun pa ru/ KTY: these seven lines may have been omitted in the other versions,
but should be included here, since they give a necessary part of the narrative, namely
the arising of the Five Springs.
29
pa: Ktm omits
30
ru: Nor yi
31
brtags: Tenj, Ktm rtags, Nor brtan
32
ma: Ktm mai
33
min ma: Tenj, Ktm, Nor smin ma; Tenj, Ktm, Nor are better.
34
KTY: the meaning here is eyebrows.
35
babs: Nor bab
36
The Kathmandu/Norway passage has introduced emanations of the Wrathful
male deitiesbut if this text is not in error, these are presumably to be distinguished
from the Wal Wolves introduced now, who are described immediately below as ema-
nations of the Wrathful female deities. It therefore seems to make sense to start a new
THE WINGED AND THE FANGED 165
sentence here. However, uncertainty about the intended genders remains (see also note
67 below).
37
ru: Nor ni
38
mche: Nor mchu
39
The Wal Wolf emanations are not mentioned on the list of deities for Thangka 43
in Bonpo Thangkas from Rebkong, but they are surely the five unlabelled small, wolf-
like emanations depicted near the bottom of the thangka. The white wolf is near the
bottom right of the thangka (perhaps indicating the east); the yellow is slightly lower
and more central; the blue is at the same level as the white, on the left hand side; the
reddish is just to the left of this and a little higher; while the green is central and slightly
higher than the other wolves. They seem neither to be depicted in Thangka 57, nor
to be described Thangka Paintings of Yungdrung Bon, although their emanations are
depicted (see below).
40
thig lei : Tenj thig les; Nor omits
41
brgyan: Nor rgyan
42
nyid: Tenj, Ktm, Nor gnyis; we follow Tenj, Ktm, Nor
43
cig yid cig la: Tenj gcig yid gcig la, Nor gcig gcig la yid
44
gyur na: Nor gyur nas
45
bsrid pai: Tenj srid pai; Nor omits
46
thung: Nor thungs
47
gdong: Tenj, Ktm, Nor gong; we follow Tenj, Ktm, Nor
48
khrai: Tenj khra yis; we follow Tenj here
49
og nas thung: Nor og thungs
50
KTY: The imagery here has meanings at different levels. The precious springs of
existence imply the eternal primordial time of original existence.
166 CATHY CANTWELL AND ROB MAYER
yid sems dres [29] bai51 rin chen sgo ngar bltas/
[They] give birth to precious eggs which are the fusion of mind and
mental [consciousness],
de las sprul pa dbal gyi phur pa52 lnga ru byung/
From which emanations are produced as the five Wal messengers.
dung spyang khra gshog sprin dpung ral pa [2] can/
53
The Conch Wolf with Hawk Wings has locks of hair piled up [like]
clouds;
lcags spyang khra gshog me dpung chu54 od can/
The Iron Wolf with Hawk Wings has a mass of flames, with the radi-
ance of light over water;
zangs lcags55 khra gshog khra yi mchu sder can/
The Copper Wolf with Hawk Wings has hawks beak [and] talons;
gser spyang khra gshog56 sprin57 dmar58 ral [3] pa can/
The Golden Wolf with Hawk Wings has red locks [like heaped] clouds;
51
bai: Tenj, Nor pai
52
sprul pa dbal gyi phur pa: Tenj, Ktm sprul pa dbal gyi pho nya, Nor dbal gyi
sprul pa; we follow Tenj and Ktm
53
Note that in Bonpo Thangkas from Rebkong (Thangka 43), these emanations are
depicted (towards each side of the upper section of the painting) as having wolf-like
bodies and heads, but bird beaks as well as wings, thus, fully integrating the wolf and
the hawk. Note also that in this thangka, the group are all shown with a large head of
bushy hair, which is indicated in some of the description given here in the Ka ba nag po.
They are depicted in the upper left of Thangka 57 in Thangka Paintings of Yungdrung
Bon, just below the Five Hawk Emanations, and they are described on p. 151 (group
18): (1) a white wolf body with the wings of a hawk, a white tail, bent like a sickle, and
hawk beak, wings and talons; (2) similarly, an iron-coloured wolf body with hawk beak,
wings and talons, and hair locks emitting flames; (3) a copper-coloured wolf body; (4)
a yellow-coloured wolf body; (5) a deep blue-coloured wolf body (1 spyang khui lus
dkar po/ khra yi gshog pa can rnga ma dkar po zor ba bzhin bkug pa/ khra yi mchu dang
gshogs pa sder mo can/ 2 de bzhin du lcags mdog can gyi spyang lus/ khra yi gshog
sder mchu dang ral pa me dpung phro ba can/ 3 spyang lus zangs mdog can/ 4 spyang
lus gser mdog can/ 5 spyang lus mthing mdog can bcas lngao//). In this thangka il-
lustration, their open mouths appear to depict wolf teeth, despite their beak-like snouts.
54
chu: Tenj chung, Nor spu, Ktm ral pa spu, losing the metre. KTY advises that
Kanjs reading, chu, is preferable to chung but no better than ral pa spu. Both chu and
ral pa spu can work equally well. Me dpung chu od can is often used in the sense of
flames with the radiance of light playing over water. Ktms reading could read as
and hair locks with luminous strands.., but could also be interpreted in other slightly
different ways.
55
lcags: Tenj, Ktm, Nor spyang; Tenj, Ktm, Nor are preferable.
56
khra gshog: Nor omits
57
sprin: Ktm, Nor rlung
58
dmar: Nor mar
THE WINGED AND THE FANGED 167
g.yu spyang khra gshog thig ler59 khyil [Nor 15v] pai spyan/
The Turquoise Wolf with Hawk Wings has eyes which become round
like bindus.
gshen gyi bka nyan dgra la rtags60 byin ma/
[These] females61 who are obedient to the practitioner, producing signs
for the enemies,62
rol pai63 cho phrul ya ma [Ktm 11r] zung gi bu/
Have, as [their] display, miraculously appearing incongruous offspring;
[4] sprul pa ltas ngan64 dgra la char du bebs/
[Their] emanated evil omens descend like a rain on the enemies;
dbal phur pho nya drag poi las la brtson/
Wal Phurpas servants are strenuous in their destructive actions.
de lngai cho phrul mngon par65 byung [Tenj 35] ba ni/
[These] actually manifesting miraculous manifestations of the five of
them:
nyi ma phyogs bzhi [5] dbus dang lngar/
[Upon] sun[s], in the four directions and the middle, making five,
rigs mthun spyang khu66 lnga po la/
67
[There are] five wolves in accordance with the five families;
59
thig ler: Nor thig le
60
rtags: Nor rtag
61
KTY: this is referring to the above mentioned group of five hawk-wolves.
62
KTY: this means they show warning signs to the obstacles, or let them see the
consequences of their deeds.
63
rol pai: Nor rig pai
64
ltas ngan: Nor ltar na
65
par: Nor du
66
spyang khu: Nor spyang gi
67
This further set of emanations do not appear to be depicted in Bonpo Thangkas
from Rebkong (Thangka 43). They are depicted in the upper right of Thangka 57 in
Thangka Paintings of Yungdrung Bon, just below the Five Hawks, and they are de-
scribed as the Wolf emanations (spyang khui sprul pa lnga) on p.151 (group 19): a
white wolf ridden by a white hawk [which] casts a snake lasso from the tips of its tal-
ons; a black wolf ridden by a black hawk; a red wolf ridden by a red hawk, and a yellow
wolf by a yellow hawk; a blue wolf ridden by a blue hawk; the hawks similarly casting
snake lassos from their talons (spyang khu dkar mo bya khra dkar pos zhon pa/ bya yi
sder rtses sbrul zhags phen pa/ spyang nag khra nag gis zhon pa/ spyang khu dmar
mo khra dmar mos/ gser spyang gser khras zhon pa/ spyang sngon khra sngon gyis
zhon pa/ khra yis sder mos sbrul zhags phen pa sogs drao//). The wording of this
description (the particles, mo and po in the first example) would suggest that the wolf
168 CATHY CANTWELL AND ROB MAYER
mounts are female while the hawk riders are male, and this would appear to fit with our
text above, which seems to give the Wal Wolves given at the beginning of the chapter
as female emanations. However, there is some uncertainty (see above) and the set of
Hawk emanations in Chapter 6 are similarly given female particles. Also, although
not explicit in this text, the pairs of carnivore/bird-headed phra men ma in the rNying
ma tradition are often given as male/female pairs, and KTY explains that generally in
Bon contexts, the wolves are male, and the hawks female. In any case, we now have
another variation on the combination of the wolves and hawks, this time as linked pairs
of mounts and riders.
68
khras: Nor khra
69
yis: Tenj yi
70
pa: Tenj pai
71
dam: Nor dag
72
skyongs: Tenj skyong
73
skad: Tenj, Nor rked; Ktm rkyen. KTY: the Tenj, Nor reading is preferable.
74
grol: Tenj dril; KTY: grim (to frequent) may in fact be the correct reading here.
75
sgo bai: Tenj, Nor rked pai; Ktm rkyen kyi.
76
gates: Tenjs reading of waist might also be plausible
77
brjid: Ktm dzin
78
KTY: the image of the knot (rgya mdud) symbolises that it is unchanging in its
essence (thig le), indicating its eternal essence (ngo bo) or natural condition.
THE WINGED AND THE FANGED 169
BIBLIOGRAPHY
A sngags Tshe ring bkra shis and gNyan mo grub (eds) 2010. Thangka Paintings of
Yungdrung Bon. (g.Yung drung bon gyi rab byams dkyil khor rgya mtshoi zhal
thang kun dus / .) Sichuan: Si khron dpe skrun tshogs pa, Si khron
mi rigs dpe krun khang.
dBal phur nag po sgrub pai las tshogs skor 1974, 5 vols. Dolanji, P.O. Ochghat (HP),
India: Tibetan Bonpo Monastic Centre.
Bon brgya dge legs lhun grub rgya mtsho, Shinichi Tsumagari, Musashi Tachikawa,
Yasuhiko Nagano (eds) 2011. Bonpo Thangkas from Rebkong. Suita, Osaka: Na-
tional Museum of Ethnology.
Cantwell, Cathy and Robert Mayer 2013. Neither the same nor different: the Bon Ka
ba Nag po in relation to Rnying ma Phur pa Texts. In Brandon Dotson, Kazushi
Iwao and Tsuguhito Takeuchi (eds), Scribes, Texts, and Rituals in Early Tibet and
Dunhuang, pp. 87100. Wiesbaden: Reichert Verlag.
79
dpung stobs: Nor stobs dbang
80
bdud: Nor dug
81
rtogs: Tenj, Nor rtog
82
phrin: Tenj, Nor phrin
83
ces gsungs swo: Tenj, Nor zhes gsungso
84
byung lugs: Ktm byung khungs, Nor sprul pa
170 CATHY CANTWELL AND ROB MAYER
2012. A Noble Noose of Methods, the Lotus Garland Synopsis: A Mahyoga Tan-
tra and its Commentary. Vienna: The Austrian Academy of Sciences Press.
2008. Early Tibetan Documents on Phur pa from Dunhuang. Vienna: The Austri-
an Academy of Sciences Press.
bDud joms Rin po che, Jigs bral ye shes rdo rje (197985). The Collected Writings
and Revelations of H. H. bDud-joms Rin-po-che Jigs bral ye shes rdo rje, 25
vols. Kalimpong, Dupjung Lama. An electronic version is available from the Ti-
betan Buddhist Resource Centre (http://www.tbrc.org) with the title bDud joms
jigs bral ye shes rdo rjei gsung bum, W20869 0334-0358, 25 vols.
des Jardins, Jean-Marc 2012. The Records of Tshul khrims mchog rgyal on the Black
Phur pa Cycle of the Tibetan Bon pos. Revue dtudes tibtaines 23: 169202.
Schrempf, Mona 1999. Taming the earth, controlling the cosmos: transformation of
space in Tibetan Buddhist and Bon-po ritual dance. In Toni Huber (ed.), Sacred
Spaces and Powerful Places in Tibetan Culture, pp. 198224. Dharamsala: Li-
brary of Tibetan Works and Archives.