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A variety of different styles of calligraphy exist in Tibet: The Uchen (དབུ་ཅན།, "headed"; also transliterated as uchan or dbu-can) style of the Tibetan script is marked by heavy horizontal lines and tapering vertical lines, and is the most common script for writing in the Tibetan language, and also appears in printed form because of its exceptional clarity.
A text in Tibetan script suspected to be Sanskrit in content. From the personal artifact collection of Donald Weir. The Tibetan alphabet, when used to write other languages such as Balti, Chinese and Sanskrit, often has additional and/or modified graphemes taken from the basic Tibetan alphabet to represent different sounds.
Lai Zhide's design is similar to the gakyil (dga' 'khyil or "wheel of joy") symbols of Tibetan Buddhism; but while the Tibetan designs have three or four swirls (representing the Three Jewels or the Four Noble Truths, i.e. as a triskele and a tetraskelion design), Lai Zhide's taijitu has two swirls, terminating in a central circle.
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Dzogchen (Tibetan: རྫོགས་ཆེན་, Wylie: rdzogs chen 'Great Completion' or 'Great Perfection'), also known as atiyoga (utmost yoga), is a tradition of teachings in Indo-Tibetan Buddhism and Bön aimed at discovering and continuing in the ultimate ground of existence. [2]
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The Phagspa, ʼPhags-pa or ḥPʻags-pa script [1] is an alphabet designed by the Tibetan monk and State Preceptor (later Imperial Preceptor) Drogön Chögyal Phagpa (1235–1280) for Kublai Khan (r. 1264–1294 ), the founder of the Yuan dynasty (1271–1368) in China, as a unified script for the written languages within the Yuan.
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