Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-07-19T15:07:50Z No. of bitstreams: 1 felipeandradearruda.pdf: 9353132 bytes, checksum: 18913723b69f5d34465a964de5778399 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-07-23T15:29:00Z (GMT) No. of bitstreams: 1 felipeandradearruda.pdf: 9353132 bytes, checksum: 18913723b69f5d34465a964de5778399 (MD5) / Made available in DSpace on 2018-07-23T15:29:00Z (GMT). No. of bitstreams: 1 felipeandradearruda.pdf: 9353132 bytes, checksum: 18913723b69f5d34465a964de5778399 (MD5) Previous issue date: 2018-02-08 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente projeto tem como objetivo traduzir e analisar a hagiografia de Guru Padmasambhava (este tido como o introdutor dos ensinamentos budistas no Tibete no século VIII) intitulada O Lótus Branco Imaculado: Vida e Liberação de Oḍḍiyāna (Wyl. o rgyan rnam thar dri med padma dkar po), de autoria da mestra e “reveladora de tesouros” (Wyl. gter ston) tibetana Sera Khandro (Wyl. se ra mkha’ ‘gro, 1892-1940), utilizando metodologias de análise particulares à tradição dos tesouros Terma (Wyl. gter ma), iniciada por Padmasambhava, tendo como referência o estilo e a abordagem da própria Sera Khandro e o tratado O Lótus Branco (Wyl. padma dkar po), de Jamgön Mipham Gyatso (Wyl. ‘jam mgon mi pham rgya mtsho, 1846-1912). / The present work aims to translate and analize the hagiography of Guru Padmasambhava (known as the introducer of the Buddhist teachings in Tibet during the eighth century) entitled The Immaculate White Lotus: Life and Liberation of Oḍḍiyāna (Wyl. o rgyan rnam thar dri med padma dkar po), written by the Tibetan female master and “treasure revealer” (Wyl. gter ston) Sera Khandro (Wyl. se ra mkha’ ‘gro, 1892-1940), using analytical methodologies particular to the Terma (Wyl. gter ma) treasure tradition, initiated by Padmasambhava, having as reference Sera Khandro’s own style and approach and Jamgön Mipham Gyatso’s (Wyl. ‘jam mgon mi pham rgya mtsho, 1846-1912) treatise The White Lotus (Wyl. padma dkar po).

Roman construction has become a reference of all ages for the grandeur, beauty, resistance, proportion, functionality, ingenuity, and many qualifications that put it ahead of many civilizations as an example of perfect architecture. The functionality of all its constructions is among the most remarkable concepts. Vitruvio already enumerated "utilitas" among his three principles, a very clear concept focused on joining together with beauty and resistance, the fundamental concepts of architecture. "Balnea, termae, spa" are the different names with which to define the same type of buildings, destined for personal care and bodily hygiene from a rational and natural point of view, without neglecting aspects such as social relations, customs, games and sport, constituting themselves as great centers of leisure and social encounter. The most advanced concepts in thermal and hydraulic engineering are applied in these buildings in order to develop one of the most complete architectural programs in terms of technique, composition and resistance in the same building. There are many factors that influence the correct functioning of a bath and that is why today's technology can be applied to simulate the protocols established over 2000 years ago and demonstrate the great physical knowledge that was had in the use of water, fire, air and construction. The Roman baths of Mura, located in the Roman city of Edeta (Llíria), together with the neighboring oracular sanctuary and various dependencies such as taverns, hospices and shops, are one of the most interesting examples of the thermal architecture of Hispania Citerior. These thermal baths would be part of one of the thermal complexes where water and fire would be used with great dexterity, developing a space with a double spa with porticoed fore following the Pompeian models. Construction materials and systems have been studied in detail thanks to the various archaeological excavation campaigns begun in 1971 and, above all, to the last architectural intervention completed three years ago and directed by the architect Julián Esteban Chapapría, whose objective was to consolidate the architectural remains of the building and adapt them for a worthy value according to the size of the site. The quality and quantity of the architectural remains, combined with the methodology and knowledge of the archaeologists Vicent Escrivà, Xavier Vidal and Carmen Fernández, have been able to determine constructive facets that help to understand its construction and especially the functional system of the installation. This thesis compiles the knowledge of the Roman thermal world, the data of the excavations and interventions carried out in the building and unifies them by means of computational simulations in order to understand the optimal operating protocols of one of the most technological constructions in our history, the major baths of Mura. / La construcción romana se ha convertido en referente de todas las épocas por la grandiosidad, belleza, resistencia, proporción, funcionalidad, ingenio, y un largo etcétera de calificativos que la sitúan por delante de muchas de civilizaciones como ejemplo de arquitectura perfecta. Entre estos conceptos más destacables figura la funcionalidad de todas sus construcciones. Vitruvio ya enumera entre sus tres principios "utilitas", un concepto muy claro enfocado a aunar conjuntamente con la belleza y la resistencia, los conceptos fundamentales de la arquitectura. "Balnea, termae, spa" son los diversos nombres con los que definir a un mismo tipo de edificios, destinados para el cuidado personal y la higiene corporal desde un punto de vista racional y natural, sin dejar de lado aspectos como las relaciones sociales, costumbres, juegos y deporte, constituyéndose como grandes centros de ocio y de encuentro social. En estos edificios se aplican los conceptos más avanzados en ingeniería térmica e hidráulica para conseguir desarrollar uno de los programas arquitectónicos más completos en cuanto a técnica, composición y resistencia en un mismo edificio. Son muchos los factores que influyen en el correcto funcionamiento de una terma y es por eso que con la tecnología de hoy en día se puede aplicar para comprobar mediante simulaciones los protocolos establecidos hace más de 2000 años, y demostrar el gran conocimiento físico que se tenía del uso del agua, del fuego, del aire y de la construcción. Las termas romanas de Mura, localizadas en la ciudad romana de Edeta (Llíria), conjuntamente con el santuario oracular colindante y diversas dependencias como tabernas, hospicios y tiendas, constituyen uno de los ejemplos más interesantes de la arquitectura termal de la Hispania Citerior. Estas termas formarían parte de uno de los complejos termales, en el que se utilizaría el agua y el fuego con gran destreza, desarrollando un espacio con unas termas dobles con palestra porticada siguiendo los modelos pompeyanos. Los materiales y sistemas constructivos se han podido estudiar con detalle gracias a las distintas campañas de excavaciones arqueológicas iniciadas en 1971 y sobre todo a la última intervención arquitectónica finalizada hace tres años y dirigida por el Dr. Arquitecto Julián Esteban Chapapría, cuyo objetivo era consolidar los restos arquitectónicos del edificio y adecuarlos para una puesta en valor digna acorde con la envergadura del yacimiento. La calidad y cantidad de los restos arquitectónicos aparecidos, unidos con la metodología y conocimientos de los arqueólogos Vicent Escrivà, Xavier Vidal y Carmen Fernández, han podido determinar facetas constructivas que ayudan a entender su construcción y sobre todo el sistema funcional propio de la instalación. Esta tesis recopila los conocimientos del mundo termal romano, los datos de las excavaciones e intervenciones realizadas en el edificio y los unifica mediante simulaciones computacionales para poder comprender los protocolos de funcionamiento óptimos de una de las construcciones más tecnológicas que existen en nuestra historia, las termas mayores de Mura. / La construcció romana s'ha convertit en referent de totes les èpoques per la grandiositat, bellesa, resistència, proporció, funcionalitat, enginy, i un llarg etcètera de qualificatius que la situen per davant de moltes de civilitzacions com a exemple d'arquitectura perfecta. Entre aquests conceptes més destacables hi ha la funcionalitat de totes les seues construccions. Vitruvi ja enumera entre els seus tres principis "utilitas", un concepte molt clar enfocat a unir conjuntament amb la bellesa i la resistència, els conceptes fonamentals de l'arquitectura. "Balnea, termae, spa" són els diversos noms per definir un mateix tipus d'edificis, destinats per a la cura personal i la higiene corporal des d'un punt de vista racional i natural, sense deixar de banda aspectes com les relacions socials, costums, jocs i esport, constituint-se com grans centres d'oci i de trobada social. En aquests edificis s'apliquen els conceptes més avançats en enginyeria tèrmica i hidràulica per aconseguir desenvolupar un dels programes arquitectònics més complets pel que fa a tècnica, composició i resistència en un mateix edifici. Són molts els factors que influeixen en el correcte funcionament d'una terma i és per això que amb la tecnologia d'avui en dia es pot comprovar mitjançant simulacions els protocols establerts fa més de 2000 anys, i demostrar el gran coneixement físic que es tenia l'ús de l'aigua, del foc, de l'aire i de la construcció. Les termes romanes de Mura, localitzades a la ciutat romana d'Edeta (Llíria), conjuntament amb el santuari oracular veí i les diverses dependències com tavernes, hospicis i botigues, constitueixen un dels exemples més interessants de l'arquitectura termal de la Hispania Citerior. Aquestes termes formarien part d'un dels complexos termals, en el qual s'utilitzaria l'aigua i el foc amb gran destresa, desenvolupant un espai amb unes termes dobles amb palestra porticada seguint els models pompeians. Els materials i sistemes constructius s'han pogut estudiar amb detall gràcies a les diferents campanyes d'excavacions arqueològiques iniciades el 1971 i sobretot a l'última intervenció arquitectònica finalitzada fa tres anys i dirigida pel Dr. Arquitecte Julià Esteban Chapapría, l'objectiu era consolidar les restes arquitectòniques de l'edifici i adequar-les per a una posada en valor digna d'acord amb l'envergadura del jaciment. La qualitat i quantitat de les restes arquitectòniques aparegudes, unides amb la metodologia i coneixements dels arqueòlegs Vicent Escrivà, Xavier Vidal i Carmen Fernández, han pogut determinar facetes constructives que ajuden a entendre la seua construcció i sobre tot el sistema funcional propi de la instal·lació. Aquesta tesi recull els coneixements del món termal romà, les dades de les excavacions i intervencions realitzades a l'edifici i els unifica mitjançant simulacions computacionals per poder comprendre els protocols de funcionament òptims d'una de les construccions més tecnològiques que existeixen en la nostra història, les termes majors de Mura. / Tormo Esteve, S. (2017). Las termas mayores de Mura (LLíria). Estudio aplicado a la funcionalidad hídrica y térmica de los complejos termales romanos [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90567 / TESIS

This works seeks to examine a small selection of biographies of Padmasambhava, the figure who introduced and spread the Buddhist teachings in Tibet during the eighth century. These writings appear to have a function that goes beyond merely recounting the details of Padmasambhava’s life and works. Two of these functions – the transmission of various teachings and support for the Tibetan identity – have been the main focus for my investigation.

銅色吉祥山 (Copper-Coloured Mountain)，藏音「桑東巴日」(Zangdok Palri) (zangs mdog dpal ri)，為寧瑪派傳承祖師－蓮花生大士的藏傳淨土，並且是專屬西藏所獨有且唯一以「聖山」形相方式呈現，將聖山與淨土結合，可以視為「聖山化的淨土信仰」。 此鄔金淨土與其他諸佛淨土不同之處有二：首先是，銅色吉祥山淨土，不在遙遠的他方虛空處，而是存在於世間，眾生所居住的南瞻部洲。繼之，於蓮師傳記所述，銅色吉祥山淨土的前身，本為食人羅剎居住的恐怖之地。蓮花生大士將羅剎國，轉化成清淨的圓滿淨土，即為蓮師悲智雙運的展現、殊勝伏藏寶地，更是西藏宗教傳統中獨有的純藏式淨土，寧瑪派傳承伏藏師與修行者，欲意通往的神聖究竟皈依處。 銅色吉祥山，以地行剎土的形式化現。山形，狀如倒立的心臟。山的底部，深達地底龍王的國界；山的半山腰處，是空行剎土；山的頂峰，直入梵天之境。整座銅色吉祥山，受藍色大海與羅剎諸島所圍繞。山中虹光如雲，廣大的平原處，矗有一座由四種珍寶，象徵法、報、化三身圓成的三層式蓮花光越量宮殿，圍繞各式神尊護法與空行聖眾蓮師，共護擁於虹光界的本尊－蓮花生大士。 本論文以銅色吉祥山淨土為母題，從地方/空間的視角，研究伏藏傳記的文字傳統、不丹壁畫與西藏唐卡的圖像傳統，以及香港舉辦銅色吉祥山法會的儀式實踐傳統，瞭解銅色吉祥山淨土，透過三大傳統多重共構而成的藏傳淨土。文字、圖像與儀式三大傳統，於第三、四、五章進行探討，主要從六個面向探討與延伸：其一，在佛教經典中，展現極致象徵的視角、多方詮釋的空間意涵。其二，於大伏藏師淨觀之相，是自然地景與神聖空間，動態交融而入的掘藏寶地，實得蓮師與空行殊勝法教。其三，圖像傳統中，瞭解重要構圖元素、宮殿本尊的多種配置、蓮師形態與法相的殊異。 其四，在跨圖像研究中，以蓮師八神變相為主題，過度至金剛舞儀式時，兩傳統呈現動態空間的交應。其五，伏藏師秋吉林巴淨觀之相為例，比較蓮師淨土諸相，如何共譯於傳記與圖像。最後，從香港蓮師法會田調，記錄銅色吉祥山如何透過儀式實踐，具象地再現出蓮師立體壇城，分析儀式中聖俗地方與空間的再造與轉化。 結論部分，以七個觀點總結，瞭解並再次確認：銅色吉祥山淨土，是三大傳統多重共構而成的藏傳淨土。以此基礎，更進一步以「地方」與「空間」的視角，帶出三個基本的原則：多重性、互融性與創造性。證實筆者的假設：銅色吉祥山淨土，不只是多重共構的藏傳淨土，更是神聖地方/空間並存與交融的多重共構體。 進一步歸納全文，分析銅色吉祥山淨土，其存在與化現的真實所在處。最末持以結論為研究立基，展望未來學術研究，繼續深入蓮師淨土，亦延伸至其他藏傳淨土的探究與比較。 透過三大藏傳佛教重要的傳統中的技藝表現，了解這三大傳統支撐、延續並強化蓮師信仰的傳統，同時也共構出專屬於西藏獨有的蓮花生大士銅色吉祥山淨土的大傳統，即是自成一個聖山空間化淨土信仰的傳統特色。銅色吉祥山作為自身傳統的中心點，一處無法被真實且具體定位的所在處，讓蓮師淨土成為普現於世間每處的人間淨土，是蓮花生大士最善巧方便與智慧的莊嚴相。 / The Copper-Coloured Mountain, pronounced as Zangdok Palri (zangs mdog dpal ri) in Tibet, is the Tibetan pureland of Padmasambhava who is the founder of the Nyingma Tradition. The Copper-Coloured Mountain pureland manifests itself in the form of a mountain with the combination of sacred mountain and pureland which can be seen as “a sacred mountainized belief of pureland.” The pureland of Copper-Coloured Mountain is to be distinguished from other purelands of Buddha for two reasons: Firstly, this pureland is not remotely located in a realm of void space apart from our world. It existed in the Jambudvīpa inhabited with all beings instead. Secondly, according to the accounts of Padmasambhava’s biographies, the Copper-Coloured Mountain was originally inhabited by fierce flesh-eating rākṣasas. Padmasambhava transformed the kingdom of Raksas into a pureland of peace and perfection. This origin is founded not only upon a revelation from Guru Rinpoche’s unity of compassion and wisdom of a sacred place of “Revealed Treasures” (terma), but also has the real uniqueness of being a purely Tibetan pureland and an ultimate divine refuge for all tertöns and practitioners in the Nyingma Tradition of Tibetan Buddhism. The Copper-Coloured Mountain manifests itself in the form of an island and is shaped like an inverted heart. The bottom of the mountain penetrates deeply into the underground of Naga’s realm. On the mountainside, it belongs to the realm of daka and dākinī. On the peak, the mountain reaches the realm of Brahma. The entire mountain is surrounded by a blue sea and the islands of the Rakshasa. In the vast plains of the mountain, Padmasambhava abides in a large three-storied edifice called The Lotus Light Palace. Made out of four gems, it is surrounded and protected by various deities and dharmapāla and also symbolizes the Trikāya of a Buddha, namely dharmakāya, sambhogakāya and nirmānakāya. The dissertation aims to analyze the “space” and “place” in the motif of the Copper-Coloured Mountain Pureland through an investigation into three main Buddhist traditional sources, namely the tertöns’ biographies of Revealed Treasures, the paintings from Bhutan murals and Tibetan thangkas, and my own field research in the ritual practices of the Copper-Coloured Mountain in Hong Kong during the year 2014. It is found, as explained in Chapters Three, Four and Five respectively, that the Copper-Coloured Mountain Pureland is multiply-constructed within the three traditions from six main perspectives: first, in the Buddhist scriptures, delicate symbols are used in interpreting the multi-spaces and places of the Copper-Coloured Mountain; second, in tertöns’ pure visions, the Copper-Coloured Mountain becomes a mixed-space of landscapes and sacred spaces for gaining the mind-treasures from Padmasambhava and his dākinī consorts; third, painting traditions convey the vital elements of its composition, such as the palace of the deities in multiple configurations and different figures in the appearances of Padmasambhava; fourth, in translation studies of the iconography, the paintings of Guru Tsangye (gu ru mtshan brgyad) reveal the varja dances of Padmasambhava with dynamic spaces for dialogues in both traditions; fifth, in Chokgyur Lingpa’s pure visions, both autobiographies and paintings engender differences and similarities in depictions of the journey into the Copper-Coloured mountain; and, finally, field researches of contemporary ritual in Hong Kong record the practices in visualizing a three-dimensional mandala of a three-storied Lotus Light palace that embodies holy and secular places/spaces-making and transformation. The conclusion comprises seven points confirming the understanding of the Copper-Coloured Mountain Pureland as a configuration multiply-constructed by three traditions. Based on the analysis of “place” and “space” in the three distinct traditions, the hypothesis concerning the basic principles of Multiplicity, Interfusion and Creativity is substantiated. The Copper-Coloured Mountain Pureland is not only a configuration built out of three traditions, but remains a sacred place/space coexisting and integrated into a single object of multiple constructions. Furthermore, in the conclusion of my research of the Copper-Coloured Mountain Pureland, I suggest the authentic locations of the Copper-Colored Mountain Pureland and look forward to further investigating Padmasambhava’s pureland and extending the study with comparisons to other Tibetan purelands of Buddhas in future research. Through the three main Tibetan Buddhist traditional sources of its important crafts in the Copper-Colored Mountain Pureland, it is recognized that the traditional belief of Padmasambhava receives the agency of sustainability, continuity and consolidation. Also, the Copper-Coloured Mountain Pureland manifests itself as a multiply-constructed tradition in a sacred form of a Tibetan Buddhist mountainized space of pureland belief. The Copper-Coloured Mountain Pureland reveals a sacred pivot for its tradition where cannot be able to locate in an authentic and specific site. For this undiscoverable reason, the Copper-Colored Mountain Pureland becomes an universally revealed pureland on our earth and the very way of wisdom and compassion from Padmasambhava’s solemnity.