Printing Blocks and Tangka
The ink and paper production are moved over to the nunnery where Khema Samava, the head nun, is overseeing villagers rolling the paper out and cutting it to the precise measurements for our freestanding wood block printer. The history of this style printer is a long one and has been responsible for some of the most beautifully created texts since the before the 1400's. Some of our books will be printed with this method but there will be many more donated, traded for and purchased over the years. The history of libraries being sponsored through the kindness of those who have much is a long one in Tibet and in India. Merit for the gifts and patronage was one reason these projects were supported but there is also the symbolism of being tied to books, intelligence, studying the teachings and such. There is evidence that there was an economy of books where by the books were given or traded but the actual reciprocity is uncertain but may tie to wholesome karma or power.
The library is taking form physically but our dream of having a full, locally printed, text of the Tripitaka or Three Baskets is a long way off but we are committed as a village. I may never see this text fully printed using the traditional method of wood block printing as the volumes are expansive but the children in the village will celebrate this event. We have prepared hundreds of boards for carving out the relief of texts preparing them for printing and many of those have had the texts reverse imprinted onto them by careful scribes. I received my first imprinted board last week to begin etching out the relief for printing and was very relieved that the wood is not so hard that it chips as I feared. It is like cutting into a hard squash or other firm surface with my tools. This is a long process and the light is not always generous to my eyes but concentration on the work is a form of meditation as there is nothing else in ones mind except the process. Each completed block is returned to the nunnery and placed in order having been checked for errors.
When I am not working on preparing the blocks for printing, I have been working on creating a thangka. In an earlier letter I mentioned that I was studying this form of art. I discovered a villager who is a tailor and has agreed to help with the completion of the piece to be included in the library. We will have books on healing and medicines within the collection and my thangka is of the Healing Blue Buddha or Medicine Buddha sitting on a lotus throne, holding an aurora sprig in the right hand while the left is holding a bowl with healing herbs. I have the two white lions at the bottom of the throne to representing the Buddha’s power and strength in the compassion of healing all beings. The monks helped to teach me the correct mudras and I have the right hand expressing the giving position with the herbs but the left hand, even though it is holding the bowl, is in the meditation position. I do not have any gold to add to my painting but since the artist of a tangka is not specified it is always possible to add gold as we are able to later to make the piece even more beautiful. This piece of art, like an icon, is not a passive part within the library; it will be used as a guide for contemplative experience in meditation and in such will take on an active part of the practice. The use of icons within meditation is common within Buddhism. The rich blue colour chosen for the Medicine Buddha is lapis lazuli, the same name as the very valuable stone which can be polished to create a reflective surface it is also reflective of the colour of the pure sky being linked to the purity of the Buddha compassion. The tailor will take this painting and create a three dimensional aspect by adding wood dowlings at the top and bottom along with leather edging to it. This piece will hang, near the healing texts in the library.
Hannah was talking about the interior of the library being painted blue, yellow, white and green tones. It should be very comfortable with a table to work at and shelves housing both books and plates for printing. Khema Samavawas explained that there will be a likeness of Vajrayoginī displayed as well and perhaps with her consort. Vajrayoginī is thought to provide methods of preventing ordinary death and instead creating a path to enlightenment. The interior of the library, with the free standing manual block printing press and the desk will create a desire for teaching I think. We will also be able to create blocks for printing the wind horse paper flags to use in the Bsang. These rituals will continue, the juniper purifications, and Dilshad, a ritualist will help keep the project safe and successful.
Today, I need to bundle up a large bag of walnuts and hazelnuts to deliver to Simay who lives up the hill beyond Herbert, the trader. Simay, a builder, is going on the expedition to the caves to see if, as Pasang and Chogyam Dorje hope, there will be a discovery of new texts and sutras or perhaps relics and treasures. I envy them their energy to be part of such a dangerous project. I will continue to carve out the texts on the printing blocks and help in the village where needed. Books are a gift for the future and as such will add merit to all who help but it is not for merit we do the work. It is the ability to make the project a little easier for another and to share in the community.
