This article explores the unmined textual history of one of Tibet's most influential historiographies, the Pillar Testament (bKa’-chems-ka-khol-ma), usually dated to the eleventh or the twelfth century. Drawing on previously known and unknown witnesses, the article compares a variety of narratives across most extant redactions. In doing so, it finds that the redaction chiefly consulted by scholars to date is an expanded and contaminated version that is notably later than previously assumed. Instead, another and heretofore largely neglected witness emerges as the most archaic extant redaction. The textual comparisons spotlight a wide range of alterations in the work's narratives and thus demonstrate how perceptions of early Tibetan historical episodes shifted over time. Such changes affected remembrance of Sino-Tibetan imperial relations, the origins of Buddhism and writing in Tibet and the genealogy of its emperors, among other things. The article concludes by critically discussing the witnesses’ dating and the hope we may place in the hunt for the work's illustrious but elusive original.

This paper examines two tenth-century woodblock prints from Dunhuang acquired by Sir Aurel Stein. They are registered under the numbers Ch.00151 and Ch.00152 at the British Museum. The first, Ch.00151, is dedicated to Avalokiteśvara and the second, Ch.00152, to Amitābha, both with magical formulas written in Siddham characters in square or circular fashion around the central image of the respective deity. Editions, translations and identifications of the texts are presented along with a study of the Chinese inscriptions on the side of the xylographs. It is shown that these two objects were apparently produced to serve as amulets.

The Golden Window above the Golden Door of Caukoṭ Darbār, a building on the western side of the (former) Royal Palace complex, is a major attraction in the city of Patan (Nepal). The gilt window panel features a representation of Avalokiteśvara in his form as Sṛṣṭikartā (“creator”) emanating Hindu divinities from his body. The sides, base and tympanum of the window likewise display Hindu divinities. The construction of the window has been ascribed to different kings of the late Malla period (1483–1768) and is said to illustrate their support for the Buddhist practices of their subjects, while providing a Hindu interpretative framework for such practices. In this paper I identify the divinities on the window and examine textual and visual sources that shed light on the date of the window's construction, including the inscriptions above and at the sides of the Golden Door. I show that there is no evidence for such an early dating of the window and that the Golden Window was probably constructed sometime in the nineteenth century in either the Śāh period (1769–1846) or, more likely, the Rāṇā period (1846–1951). I conclude with some thoughts on the possible significance of the peculiar configuration of divinities surrounding the Bodhisattva on the window.