Satapitaka

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SATAPITAKA "The enormous, many-sided and original Sanskrit literature, wbich accompanies and hands down the long history of Indian culture from the remote times of the Vedic hymns up to the present day, must be considered the most valuable treasure the Indian nation has preserved. In this literature the development and history of the whole Indian culture, which has spread wide over its borders, is reflected as in a mirror. Thus Indian literature is not standing alone and isolated, but occupies its due place side by side with the literatures of the other civilized nations. Indian literature is a necessary complement to those. There can therefore be no doubt that the study of Sanskrit literature is not a matter which concerns India alone. As soon as it became known to the Western world, the intrinsic value, originality, independence and importance of Indian literature and culture were acknowledged and recognized at once in all countries where there was interest in the development and history of human science." In the vast sphere of the Eastern world we find everywhere the influence of Sanskrit literature and culture. Considering the fact that the amount of the population in these countries, India included, is above 1200 millions, that is about 50% of the population of the entire world, it becomes obvious that India is playing a leading role in the world's culture. It is the most noble aim of the Satapitaka to rescue from oblivion and destruction not only the entire Sanskrit literature as the original testimony of that wide-spread Indian culture, but also the translations and adaptations of Indian texts, which have been made in the long course of time in different countries. At the same time, the Satapitaka will include volumes on the archaeological remains of these lands. But apart from that the satapitaka intends also to enliven the Indian genius iteelf by reminding everyone of the high standard of Indian culture and literature and of what has been done by the Indian people in all fields of human understanding since the Vedic times upto now. Everybody in India and outside India will therefore acknowledge the necessity of preserving Sanskrit literature as completely

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and perfectly as possible. Considering the fact that all extant works - of Greek and Roman literature were already edited in the 19th century in a careful and critical manner by the most qualified scholars in Germany, England, France etc., and that there exist in these countries complete collections of editions of classical literature, it must be regretted that Sanskrit literature, though of no less value than the Western classical literature, has not yet been treated in the saine way. The larger part of Sanskrit literature is not yet edited at all. Many of the works, which have been printed, are no more available and the most important ones are to a great part long since out of print, so that there exists even from this standpoint an urgent need of new editions. On the other hand the number of Sanskrit texts which have been edited in a critical and satisfactory manner is rather smalli Often only a few manuscripts have been consulted, while the commentaries have often been neglected. In India the commentaries form a grand array. Critical and trustworthy editions of the world literatures are by no means made only for the sake of the philologists. They are of even more importance for researches in all kinds of spheres of human understanding. If, for example, there has to be written a history of philosophy, of medicine, or whatever it may be, it is absolutely necessary that the authors of such works base their researches on editions, which present the text in question in an authentic and reliable form, and register at the same time the various readings, which in some cases may be more illuminating. The ideal aim of a really critical edition is to present the text in that form in which it has been composed by the author himself. In order to reach this goal, or to come as near it as possible, all available manuscripts must be found out, examined and compared with each other. Certain groups of manuscripts will show a series of common peculiarities, so that they can be derived from a single older manuscript, which perhaps has been lost. The difficulty to reach a prototype is much greater in Indian than in Greek or Latin works. In India, the distance of time between the author and the oldest manuscripts is larger than in Greece and Rome. Unfortunately manuscripts in India are of a rather young date. But in spite of this regrettable fact the difficulties to attain a satisfactory text are not so serious as it may seem at first sight. From time to time Sanskrit manuscripts were renewed and copied. In most cases this was

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done by professional scribes, and no reason can be found why they should not have copied correctly. But of course during this long process of transmission, it has sometimes occurred that words have been misread, misplaced, missed, or even added. Hence the vast value of comparing manuscripts, whose provenances and scripts are wide apart both in space and time. Sometimes, however, it is not possible to attain a text which may be called authentic. There are occasionally two or more 'recensions of a text with respect to wording and extent, or even order of single parts and it may not be possible to decide which of these texts is the original. This difficulty is not met with in Greek or Roman literature. In contrast to Greece or Rome, where literary works were confined to a rather narrow space, Sanskrit works, such as the Mahabharata, the Ramayana, didactic poetry, fable books, or the extensive Puranas, were spread over a large territory and were read or recited in different and distant places again and again or were exposed to alterations according to circumstances. Sanskrit texts show another peculiarity not to be found in Western literatures. Almost all basic Sanskrit texts are accompanied by more or less extensive commentaries, and a single work has as a rule not only one but several. There are more than 40 commentaries on Kalidasa's Raghuvamsa. All these are of the greatest importance (though of course not all in the same degree), and that not only with regard to the text they are commenting on. In grammar, alamkara, philosophy and so on the learned authors of the commentaries have enlarged and advanced the sciences treated in the main text, introducing new points of view or systematizing what has been taught before. Besides, the commentaries abound very often in quotations from older texts many of which have been lost. Sometimes it may also happen that the quotations are not to be found in this form in the extant literature alluded to. It is further scarcely necessary to state that many commentaries, for example, those of Mallinatba, are composed in a splendid Sanskrit style and are real embellishments of the poetic works themselves. It is therefore necessary to pay special attention to the commentarial literature and to edit it in the same careful and reliable way as the chief texts. It may also be noted that the commentaries present the text in a different form or that they quote variant readings. The Satapitaka, however, will contain not only the Sanskrit literature as such. It traversed beyond the land of its origin--from the Western and Eastern sea coasts of India to Ceylon, Burma, Thai,

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Cambodge, Indonesia, and from Northern India to Tibet, Mongolia, Central Asia, China, Manchuria, Korea and Japan. There arose everywhere a special literature, closely connected with Sanskrit but showing at the same time peculiar features of the new country. This literature cannot be ignored. Moreover a good deal of Buddhist Sanskrit literature, and within it a large number of the most important and fundamental books, have been lost in India, and are known only through Tibetan and Chinese translations. It is absolutely necessary to include the vast Tibetan and Chinese literature in the Satapitaka. Only then shall we form a complete picture of the life and power of Sanskrit literature, its power to vitalise, to absorb and to mould the minds of men of diverse lands. But we shall do more. From the Tibetan translations it would be possible to roconstruct the original Sanskrit texts. This will be done by specialists, who are well-versed in the mode and technique that the Tibetan and Indian scholars followed while translating the Sanskrit texts into Tibetan. Old Sanskrit texts also found their way to further India and Indonesia. But in Indonesia these texts were not translated, but adapted to the needs and mental aptitude of the indigenous culture. These adaptations will form a part of the Satapitaka, as being of particular importance both for the history and fortune of Sanskrit literature and culture in foreign countries and above all for the culture of these countries themselves. For by adaptation and thorough working over of Sanskrit works Indonesia has formed its own national culture. We may compare the national Japanese art or even the mode of Japanese writing. Both are based on Chinese prototypes but thoroughly worked over and adapted to the national character and mentality and on that account have become Japanese. There are other groups of works, which are composed in foreign languages, but have to do directly with India, so that they have become indispensable for the understanding of Indian culture and history. All what has been written in Greek and Roman literature about India, as for instance, the descriptions of India composed by the Greek Megasthenes about the year 320 B.C., will be collected and critically edited. Further, the travel records of all persons, who in different times have visited India, as the Chinese pilgrims Fa-bsien, Sung-yun, Hsuan-tsang and I-tsing during the fifth, sixth and seventh centuries or the reports of the Arabian traveller Alberuni in the eleventh century, will be published in the Satapitaka. The Satapitaka will not only present the texts. The funda

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mental works in Sanskrit, Pali and Prakrit will be translated in full scale into Hindi and into other languages too, when that be expressively needed. For the rest of the literature summaries or reviews will be made. By means of these translations or summaries quick and trustworthy information will be at hand for anybody and especially for scholars who for the sake of their own humanistic studies and researches have to rely on Sanskrit literature, but do not understand Sanskrit so well as to be able to read the originals themselves. The literature composed in Tibetan, Mongolian, Chinese, Manchurian, Korean, Japanese and so on will, as a rule be, accom, panied by a translation or a review. As, however, the literature contained in the Tibetan Kanjur and Tanjur on the one hand and in the Chinese Tripitaka on the other is partly the same, being in both cases translations of Sanskrit books, the works will be translated or summarized only once. In this case we shall start with the Tibetan. For though the Tibetan translations are in general younger than the Chinese, the former follow the original Sanskrit texts almost word by word, so that a true idea of the Sanskrit works can be formed from the Tibetan versions in a much better way than from the Chinese. This applies of course only to cases where the Sanskrit text is lost; when the Sangkrit text is extant, then this alone will be translated or reviewed. In cases where Chinese and Tibetan, etc. represent different versions of the available text, a resume of the differences will be supplied. To the Chinese characters will be appended a Devanagari transliteration in 6 point) on the right, and the Sanskrit equivalent on the left (also in 6 point). A running Hindi translation will follow on opposite pages. The same will apply to other foreign scripts. When there are more than one translation of different length of a Sanskrit text, in Tibetan, Chinese or elsewhere, only such parts of a longer translation will be reviewed which are not contained in the shorter versions. As the Chinese Tripitaka contains many translations of Sanskrit books, which are not found in the Tibetan collections, the Chinese versions shall be translated or summarised. In case of Mongolian works, which are original and not translations from the Tibetan, Hindi translations or into other languages will be added, above all in case of historical and biographical literature. Also the copious Chinese independent works, contained in the

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Chinese Tripitaka, will be treated in the same way. This will apply also to Manchurian, Korean and Japanese literature. From these hints the extent and comprehensiveness of the Satapitaka may be perceived. It will be a real thesaurus of the entire Sanskrit and allied literatures and cultures. It will present in handy and reliable editions all the available texts, which have been composed from the earliest times of Indian history. A large number of works, among them major, minor, auxiliary, technical commentaries, sub-commentaries, and indexes, are still hidden in libraries and in private homes. They will throw new light, which is sorely needed. We may now give a general view of what the edition of a text will contain and how it will be equipped. It is of course not possible to treat every text in an identical manner, 'as many texts and groups of texts require individual treatment. The editing of Indian and allied texts presents a multitude of problems, more numerous than the editing of Greek or Roman works. Therefore it will be necessary to deal with these matters in a series of monographs, each being devoted to a particular Pitaka. In these monographs the technique of editing will be worked out for establi. shing the text as well as for presenting the variants, for the extent and type of exegetical notes, for the details to be incorporated in introductions and appendixes. The essential part is the text itself. It will be edited after examination of all available manuscripts as well as of previous editions. In metrical works every verse will begin with a fresh line. In prose works there will be division into paragraphs accor. ding to the contents. Under the text there will be printed the commentary. Under both text and commentary there will be found two sorts of notes; which, however, will be given together and not separately: critical and exegetical. The former will contain variant readings, the latter will consist of short explanations of certain words or sentences, and also references to parallel passages of the same work or to other texts. For the sake of lucidity different parts i.e. the text, the commentary and the footnotes, will be printed in different types. When there are two or more commentaries on the same text, they will be printed in a uniform type. When on the other hand there is a sub

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commentary on the commentary, the sub-commentary will be printed in smaller letters. The notes will be given in types which are smaller than the mentioned parts of the text. In each category quotations from other works or from the same work will be denoted by the use of types of a different face or by the use of inverted commas or similar signs. When there are very many commentaries to a work, it will be more appropriate to print the main text once, twice or oftener in separate volumes together with a group of commentaries, as be feasible. Every edition will contain an introduction and appendixes. What has to be given in the introduction depends naturally on the nature of the text itself. But in general the text will be considered and examined from the standpoint of grammar, lexicography, prosody, style, history, geography, etc., and the quotations will be discussed and identified. Special attention will be paid to the author, his life and his literary activity, to the place of the work in the entire cognate literature and to the development of the subject in question with regard to previous works as well as to the world point of view. The introduction will further deal with the commentaries and their authors and will give the description and criticism of the used manuscripts, of their script and provenance. Previous editions will be discussed and a bibliography will be given. In the appendixes one will find a series of indices, consisting of subject index, a list of quotations, authors quoted, proper names, important words, new words and subhasitas. In some cases the appendixes may be preceded by excursuses, in which certain matters, which are too extensive for being presented in the exegetical notes under the text, will be discussed. Lastly tables, charts and maps wherever needed. The edition of the text will be accompanied or followed by a translation or a review in Hindi and in any other language too, if desirable. The edition will further be complemented by adding facsimiles of unique manuscripts and other illustrations. In the same way all inscriptions will be followed by facsimiles of the documents on stone, copper and so on. As concerns the Central Asia Pitaka, all the fragments and texts will be published in facsimiles along with critical edition. Paintings, whether by themselves or when found in manuscripts, will be reproduced by chromophotography. The Satapitaka is to be divided firstly into two main sections,

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the former presenting the literature of India itself, the latter that of Extra-India. Concerning the first section the order will be after the subject. The subject will be again divided into groups, which wherever possible will be arranged in sequence of time. The principle according to which the second section of the Satapitaka should be arranged has been considered very carefully. For several reasons it appears best to follow the order of countries rather than that of subjects. Thus this section of the Satapitaka will begin with the countries in the North of India. The Pitakas will deal with Nepal, Tibet, Afghanistan, Central Asia, Mongolia, China, Manchuria, Korea and Japan. After this the countries Ceylon, Burma, Thailand, Cambodge, Laos, Malay, Indonesia and the Philippine will follow. The number of Pitakas devoted to each of the mentioned countries will of course be different. In some cases one Pitaka will be sufficient; but for certain countries there must be more, as will be seen from the plan given later on. As the Chinese Tripitaka is common to China, Manchuria, Korea and Japan, it will appear only once, in the China Pitaka. In the same way the Pali Tripitaka, which is common to Ceylon, Thailand, Burma, Laos and Cambodge, will be found only in the Pitaka devoted to Ceylon, as it originated there. Therefore the Pitaka for Burma, Thailand and so on will contain only such texts which are not found in the Pali Tripitaka. But, if on the other hand, e.g., in Burma literary works have been composed in the Pali language, these works will be contained in the Pitaka for Burma as the land of their origin. The same method will be followed in the Pitaka for Tibet, Mongolia and so on. Decision about the contents of one Pitaka will be controlled partially by homogeneity and partially by bulk. Thus for instance paintings, sculptures, inscriptions, coins, archaeological remains, bronzes, etc. could be put in one Pitaka, but on the other hand, if some of them soverally or in groups are capable of forming a respectable bulk, that could be styled as a separate Pitaka. On the other hand, the Tibetan Kanjur and Tanjur will in spite of their bulk form the contents of only two Pitakas because these collections have been fixed already in former times and a divi

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sion into three Pitakas in accordance with the Pali Tripitaka is not possible. Thus both Kanjur and Tanjur will be treated as two indivisible units. For the same reason the order of the texts in the two Tibetan collections will not be changed. As, however, the order of texts and groups of texts differs more or less in the xylographs of Narthang, Derge, Lhasa, Peking and other places, the arrangement found in the Narthang xylograph, as the best known, will be taken as the base. It will be followed by a concordance recording the variations in sequence of the different xylographs. As regards the working of single texts the Narthang version will again be taken as the base; the variants met with in other versions will be registered in the critical notes. In the Chinese Tripitaka there is no such traditional order of texts as in the Pali Tripitaka or in the Tibetan Kanjur and Tanjur. Indeed, in the several editions of the Chinese Tripitaka which have been published, the order of texts is not the same. In the extant Chinese catalogues of the Tripitaka the texts are arranged in each case after different principles. There is, however, nearly always a certain order under the traditional headings of Sutra, Vinaya and Abhidharma; but this threefold division is followed by a large supplement of Miscellanees. Even under the three headings of Sutra, Vinaya and Abhidharma the texts are not arranged according to a fixed system. The order in which the Chinese Tripitaka will appear in the Satapitaka is still an open question. We shall now give a rough and tentative plan of the Satapitaka. It is intended to evoke precise suggestions. FIRST SECTION: INDIA Veda-Pitaka II Brahmana-Pitaka III Upanisat-Pitaka IV Siksa-Chandah-Pitaka (including the Pratisak byas) Nirukta-Vyakarana-Pitaka (Nirukta including the Nighantus, and Vyaka. rana including Pali and Prakrit Grammar) VI Jyautiga. Pitaka (including Mathematios) Kalpa-Pitaka (Srauta- and Grhya- Sutras) VIII Kosa-Pitaka (including Buddhist and Jaina lexicons) IX Samgita-Pitaka X Kamasastra-Pitaka XI Alamkara-Pitaka (including Dramaturgy) XII Dharma-Pitaka (Dharmasutras, Smritis, Nibandhas) XIII Samkhya-Pitaka VII 9

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XIV XV XVI XVII XVIII XIX XX XXI XXII Yoga-Pitaka Nyaya-Pitaka (including Navya-nyaya) Vaisesika-Pitaka Karmamimamsa-Pitaka Vedanta-Pitaka Anya-darsana-Pitaka Saiva-Pitaka Tantra-Pitaka Vaisnava-Pitaka There would be eight Jaina Pitakas XXIII Svetambara-Siddhanta-Pitaka (including 46 books--12 Angas, 12 Upangas, 10 Prakirnas, 6 Chedasutras, Nandisutra, Anuyogadvara, 4 Mulasutras) XXIV Digambara-Pitaka (the Secondary Canon of the Digambaras, including Prathamanuyoga, Karananuyoga, Dravyanuyoga, Carananuyoga) XXV Caritra-Pitaka (including heroic legends, history) XXVI Literature on the Canon (including review of the Canon, description - of several systems, Jainism included, description of the whole Jaina system and of single parts of it, apology and polemic) XXVII Monastic and laic life (including also cult and ethios) XXVIII Jaina-Darsana-Pitaka (Philosophic literature including logic and doctrine of Karman) XXIX Cosmography XXX Poetry (including stotras, Katha, Nataka and subhasita) XXXI Bauddha-Sanigkrita-Pitaka (incorporating all Buddhist Sanskrit texts) XXXII Ayurveda-Pitaka (including Hast yayurveda, Asvayurveda and VIksa yurveda) XXXIII Silpa-Pitaka XXXIV Ramayana-Pitaka XXXV Mababharata-Pitaka XXXVI Gita-Pitaka (although Gita forms a part of the Mahabharata, a whole library has gathered around it) XXXVII Purana-Pitaka (including the Upa-puranas) XXXVIII Droyakavya-Pitaka (including Buddhist and Jaina) XIL Sravyakavya-Pitaka (ipoluding Buddhist and Jaina) XL Stotra-Pitaka XLI Subhasita-Pitaka XLII Pancatantra-Pitaka (including also the adaptations that have appeared in Eastern and Western languages) XLIII Arthasastra-Pitaka (including Niti literature) XLIV Purasasana-lekba-Pitaka (all inscriptions on rocks, pillars, copper-plates tablets, whether written in Sanskrit, Pali, Prakrit or Greek, Chinese and so on, found in India) XLV Mudra-Pitaka (coins found in India) YLVI Vastu-Pitaka (Architecture, descriptive volumes and plates of archaeo logical monuments) XLVII Murti-Pitaka (Soulpturo, descriptive volumos and plates of sculptural 10

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XLVIII and statuary remains) Pura vasega-Pitaka (archaeological sites, their excavations and remains discovered therefrom, including pottery, jewellery, implements, etc.) Alekhya-Pitaka (frescos from temples and caves, paintings from mes.) XLIX SECOND SECTION: BEYOND THE BORDERS OF INDIA ? LI LII LIII LIV LV Nepala-Pitaka (including Buddhist and non-Buddhist texts, art and archaeology) Tibet Kanjura-Pitaka Tanjura-Pitaka Bhota-Pitaka (Tibetan texts not contained in the Kanjur and Tanjur * (1) Translations from Sanskrit texts (2) Independent Tibetan literature (a) History, biography, poetry, grammar, etc. (b) Texts of the Bon Religion] Bhota-kala-vastu-puravasesa-Pitaka (Tibetan art and archaeology) Gandhara-Pitaka (containing archaeological remains from Afghanistan and its environments) Central Asia Vaksuva rsa-Pitaka (Sanskrit texts, texts and translations in Pali, Prakrit, Tokharian, Khotanese, Soghdian, Uigurian, Tibetan and Chinese to be reproduced both in facsimiles and critical editions; also art and archaeology) Mongolia Maudgalya-Kanjura-Pitaka (Mongolian translation of the Kanjur) Maudgalya-Tanjura-Pitaka (Mongolian translation of the Tanjur) Ma'udgalya-aitibya-Pitaka (history, biography, art and archaeology) China Chinese Tripitaka, first part: Sutra Chinese Tripitaka, second part: Vinaya Chinese Tripitaka, third part: Abhidharma. Chinese Tripitaka, fourth part: Miscellaneous works Chinese art and archaeology (particularly Buddhist) Manchuria Pitaka Korea Pitaka Japan Pitaka Ceylon Pali-Sutta-Pitaka Pali-Vinaya-Pitaka Pali-Abbidhamma-Pitaka Simbala-Pitaka (All other Pali and Singhalese literature not contained in the Pali Tripitaka, art and archaeology) LVI LVII LVIII LIX LX LXI LXII LXIII LXIV LXV LXVI LXVII LXVIII LXIX LXX 11

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* LXXI LXXII Brahma-Pitaka (Burmese literature, art and archaeology) Kambuja-Campadi-Pitaka (Cambodge, Thailand, Laos, Tonkin) Indonesia, Malay and Philippines LXXIII Dripantara-Mantragama-Pitaka (1. Veda- (a) in Bali works so named (b) Mantra (c) Kalpasastras (Ritualia) 2. Agama-(a) Palaksta (law and precopts) (b) Sagana (life conduot) (c) Niti (manuals for princes) ] Dripantara-Jyautina-kavyadi-pitaka (3. Wariga- (a) Wariga (Astro. logy) (b) Tutur (Cosmology, allegory, mysticism) (c) Kanda (Gram. mar, metrics, mythology) 4. Itihasa (Epic works)-- (a) Parwa (b) Kakawin (kavyas in Indian metres) (c) Kidung (kavyas in Indonesian metres) (a) Gaguritan (kavyas in New Balinese) ] LXXV Dvipantara-Aitihya-Tantra-Pitaka 15. Babad (histories) (a) Paman. cangah (family histories) (b) Historical accounts (such as Panraraton, Panji Vijayakrama etc.) (c) Ruins of Empires 6. Tantri-(a) Animal fables of Indian origin (b) Animal fables of native origin ] LXXVI Dvipantara-Puravasesa-Pitaka (archaeological remains) As the texts contained in single Pitakas are of different length and as the preparatory work requires in each case a different space of time, the whole will be divided into 'groups'. These groups are to be considered as 'working units' and will form the basis of the practical accomplishment of the gigantic work of the Satapitaka. Wherever possible each group will work independently of others. 12

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A PROVISIONAL LIST OF WORKS TO BE INCLUDED IN THE INDONESIAN PITAKA WEDA 1. MANTRA Aji pari Pangasih dewa Anusthana bwat sora Pangastawa widhi Ardhodarokti Pangekeban Argbadyatmika Parembon mantra Arthaweda (marti) Parembon paja Astakamantra Pasilih Astapungku Pasupatimantra Asthawa mantra Pitr puja Astra mantra Puja daha Atmaraksa parembon Puja Ksatriya Bhasma Puja padusus agung Buddhaweda Puja pancabalikrama Camanawidhi Puja pits Camanawidhi (ring sanghyang sora) Puja pitr maligya Caturweda Puja purwaka Durgastawa Puja Siwasutra Gagelaran ing mantra Pujastawa Garudeya mantra Sadwinayaka Krama sang diksita (yan amuja) Sawawedana Labuh agni Singhanama Lokanatha Siwasamuba Mantra atmara ksa Siwasamubadi Mantra ning ameras Surya gamapa Mantra pangastawa (Tamah sang hy8ng) (H) ribandan Mantra parembon Tirthagamana Margagamana Weda (k)satrya Nawagamana Weda parikrama Pabresihan sang wiku Weda sangguhu Padanan Widhiwakya Pamastu ning cor 2. KALPASA STRA (ritualia) Arghapatra Dharma kauripan Asta pranawa Indik (ma)ligya Asta pungku na waratna Janma prawsti Banten pangabenan Kajang pitr paja Caru magingsir (Kaputusan) r@igana Citayuni Karsanprayoga (Dartan) manak salab Karya yajna Cakranagara 13

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Karya ring gunung agung Korawasrama-tattwa Krama ning amegat sot (pare.bon) Krama ning sembah Kunadssta Kuntiyajna Kusumadewa Kusumadewa purana Mariguddha bhumi ana pub-napuh Mpu Lutuk Odalan Saraswati Pacacarwan Pamahayu ning anda kacacar Pamarisuddha ning a kirim wangke. Pamarissuddhan wang ala carane Pamastu ning cor Pamlaspas pustaka Pandewasraya(n) Pangabenan Pangentas Panglukatan Papgupakara deba kamranan Parembon babanten Pasasayutan Pawintenan Pitr kajang Pitr kinaranan Plutuk Plutuk ngaben Plutuk nawawedana Pracaru ning katiban kremi masih Prateka ning ambyanin tulang (marti) Prateka ning mati kacaoar Prateka ning wang rare Prayascita ning candragraha Puja (angarepaken) caru suci Puja dewa Puja mamukur Puja pangrandyan Puja parikrama Puja pitr kajang Putru pasaji Putru sangaskara Rogasanghara bhumi Sanggaran Sang hyang Dipamala Sari ning ampel galing Sari ning galungan Sasayuting wwang agring Siwabuddha Siwastawa Siwayajna Sucilaksana Surat kajang Tomah sang hyang (H)arisandana * Tingkah ing anawur sosot kawalunan Tingkah ing mungkah prayangan Tutuh sambuk Umatattwa Umatattwa (marti) Upakaraning mati (marti) Weda bwat sora Widhisastra Widbisastra tetep Widhi tu(w)ut Yama purwatattwa Yamapurwatattwa (marti) Yajna dhana Yajna-prakrti AGAMA 3. PALAKRTA (Laws and precepts) Adigama Agama Agama kutara (Agama) upapatti Anqatattwa Awig-awig banjar Camenggaon Awig-awig banjar Jerwan Awig-awig banjar Maspait Awig-awig banar nuh-gading Awig-awig banjar Pau Awig-awig banjar Pande Awig-awig banjar Pangyagan Awig-a wig banjar sadelod Tangluk Awig-awig banjar Sida yu miwah nuhaya 14

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Awig-awig banjar Tegal Awig-awig sikaha tlabah Bekukih Awig-awig banjar Yeh-tengah Awig-awig subak Iseh Awig-awig dangin peken Gelgel Awig-awig subak Lanaban Krobokan Awig-awig desa Abang-Songan Awig-awig subak Lanahan miwah BabaAwig-awig dosa Angantelu kan Awig-awig desa Babi Awig-awig subak Pagegehan Awig-awig desa Basangalas Awig-awig subak ring Badung Awig-awig desa Batu dingding Awig-awig subak ring Gyanar Awig-awig desa Bestala Awig-awig subak ring Mangwi Awig-awig desa Bila Awig-awig tatajen ring Gyanar Awig-awig desa Bitra Awig-awig tatajen ring Kabutambahan Awig-awig desa Bondalem Bhruna batya Awig-awig desa Budeng Dewadanda Awig-awig desa Bukit Dewagama Awig-a wig desa Bulyan (Dbarma) upa patti Awig-awig desa Gulingan-tengah Dharmawicara Awig-awig desa Katyasa Camyagamana Awig-awig desa Kekoran (I)strisanggraha Awig-awig desa Kubu-tambahan Krama nibg saksi Awig-awig desa Lumbwan Krama pura Awig-awig desa Mendayo Ketobhaya (Sasak-Bangli) Awig-awig desa Mendoyo Dangin Tukad Ketobbaya Saptanagar& Awig-awig desa Munggu Krtopa patti Awig-awig desa Padangksta Kutaragama Awig-awig dosa Padang-tegal Kutaramanawa Awig-awig desa Pagadungan Paksiwicara Awig-awig desa Panaringan Pangawit paswara Manguwi Awig-awig desa Panarukan Pacobaya krama desa marep ring krama Awig.awig dosa Panji pande ring desa Munggu Awig-awig desa Sangkanbhuwana Paswara astanagara Awig-awig desa Silangjana Paswara Bangli Awig-awig desa Singapadu Paswara caturragara Awig-awig dena Syangan Paswara desa Kuta Awig-awig desa Tabola. Paswara desa Legyan Awig-awig desa Tajun Paswara desa Pakutatan Awig-awig desa Tegalcangkring Paswara Gyanar Awig-awig desa Tenganan Pagringsingan Paswara Karangasem Awig-awig desa Timbrah Paswara Karangasem. Sasak Awig-awig desa Titab Paswara Lombok Awig-&wig desa Tulikup Paswara Mang(u)wi Awig-awig desa Tumbakbayuh Paswara pidabdab anglab muwah panuAwig-awig desa Tunju duk pajeg tanah ring wawengkon Awig-awig desa Ulakan karesidenan Bali miwah Lombok Awig-awig desa Yeh Embang Paswara Tabanan Awig-awig Gyanar Prateka ning bhatara turun ring Bali Awig-awig Mangwi Purwadhigama Awig-awig pura Bukit Purwana tattwa (catur wangsa pariksa) Awig-awig ska ha semal Purwapaswara 15

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Pyagem &wig-awig krama desa Ulakan Pyagem desa Santi Pyagem pura Besakih Sarasa muccaya agama Sarasamuccaya sempirap Satmawidhisastra Sima desa Bratan Sima desa Buleleng Sima desa Cempaga Sima desa Padangbulya Sima desa Padangkling Sima desa Panji Sima desa Sudaji Sima desa Suwug Sima desa Tejakula Sima subak Buleleng Sima subak ring Gyanar Sima subak ring Jembrana Sindhuwakya Siwasasanasastrasaroddhita Swayambhu Tattw& cacarikan Tattwagama Titi paswara Gyanar Widhi papinoatan Widhiwakya Wratisagana 4. SASANA (Life-conduct) Adipurana Agama Siwa-Buddha Ajna aji Astaloma Bhuwanapurana Candrabhairawa Caturyuga Dasabila Dowasasana Dharmasasana (gaguritan) (Gaguritan) (Tuwan) Smeru (Kakawin) Putrasasana Kidung Banoraja Kramanagara Krama ning aguron-guron Krama ning agurwan-gurwan Krama ning alaki-arabi Krama ning sembah Krama satya Kpta bhujangga Lebu guntur Mabameru Maharaja Bhairawa Maheswarigastra Mantrisasana Muhurta-laksan& Nawasasana Pakem (a)gama tirtha Pancasiksa Prakrti sagana Prasasti bhuwana Purwa sasana (kidung) Putrasagana (kakawin) Putrasasana (prose) Raja Bhairawa Raja pati gondala Rsisasana (Rsisasana) Caturyuga Saiwasasana Silakrama ning aguron-guron Silakrama ning agurwan-gurwan Silasasana sang prabhu Siwasasana Strisasana (gaguritan) Tattwa pitutur Tingkah ing dharmasisya . Tingkah ing maguru (Tutur) Dharma paramartha Widbisastra Iswara pranidbana 5. NITI (Manuals for princes) (Bhagawan) Indraloka (gaguritan) Bhagawan Indraloka 16

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Bhagawan Kamandaka Dharma upapatti (Gaguritan) Nitirajasasana Nitipraya Niti rajasasana (gaguritan) Nitisara (kakawin) Nitisara (prose) Papupulan surat para agung Pasraddhaniti (gaguritan) Rajaniti 6. WARIGA (astrology) Aji Swamandala Ala-ayu ning weton anut dauh Ala-ayu ning wuku Atmaprasangsa Bah sundari putih Bhagawan Garga Bungkah ing sundari trus Candrapraleka Caru bebas Carun sasih Caru pameradang Dadawuhan Dharmasawita (kakawin) Dukuh sakti Durmanggala (kakawin) Ekajalaragi Gaguritan dewasa Gaguritan dewasa kalakawya Jajar kamiri Janantaka Kajar ing atmaprasangsa Kala jagra Kaputusan sundari gading Kaputusan wariga gemet Kawruhan candra bhumi Klabang akit Klabang sebit Krama ning angingsirang umah Mala ping wuku Mpu Witaraga Pakarmayan Palalindon Palalanusan ing sasih Palalintangan Palalubangan (wariga) Pamancangah Maospait Pamarisuddhan ala ning dewasa Pamujan (w)uku Pangalihan pangeka sungsang Pangalihan purnama tilom Panebusan oton Pangunan sasih Papinceran pratithi Pararesyan Parareton Pasasanjan Patatiwan Pawacakan Pawateken Pawatekan ing weton Pracaru ala ning dewasa Prakampa Pratithi samutpada Rsi bhawa Rsi Garga Sadstu (kakawin) parembon Siksa ning tenung Sundari bang Sundari bolong Sundari bungkah Sundari cemeng Sundari gading Sundari gama Sundari tiga Sundari trus Sundari (w)ungu Suryamandala Suryamandala (parikan) Suryasewana Tenung Tenung beling Tenung catur cuntaka Tenung kelangan Tenung paweton Tenung sakit Tenung tana lara

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Tenung Wihaspatikalpa Tingkah apglaraken tenung Trilingga Turunan bhatara manut sasih (Tutur) Bab sundari Tutur Mpu Nagarunti (Tutur) Mpu Nagarunti parembon Uger-uger sasih Wariga Wariga bang Wariga blog Wariga caaoireka Wariga gemet Wariga krimping (Wariga) palalubangan Wariga pamarisuddhan ala ning dewasa Wariga pancakanda Wariga patemwan sasih (Wariga) Winasagari Widhi pawarangan (kakawid) Wshaspatikalpa Yamatattwa Yoga caturdewata 7. TUTUR (cosmology, allegory, mysticism) Aji adhyatmika Astabhumi Aji batur kalawasan (gaguritan) Astalingga Aji belyas (kidung) Atlas bhumi (kakawin) Aji brata Atmaprasangsa Aji destiloka krtih Awaruci (kidung) Aji janantaka Badawang-nala Aji kaprajuritan Bagus Dyarasa (gaguritan) Aji kembang Baka bhumi Aji kembang (kakawin) Banawa sekar Aji krakah Bandhakoti Aji kunang kunang Bhagawan buddhagotama Aji luwih Bhargawasiksa (kakawin) Aji mayasandhi Bhasa Amstamasa (kakawin) Aji nusup Bhasa Gumiringsing (kakawin) Aji pangawasan (Bhasa) kinalisan Aji pangukiran (kidung) Bhasa Kinalisan (kakawin) Aji purwa wangi (Bhasa) Sadhanayoga Aji putih Bhasa Sadbanayoga (kakawin) Aji Rama Rena Bhasa Sangu tangis (kakawin) Aji rama rena (gaguritan) (Bbasa) Tanakung Aji ratu ning sarira Bhasa Tanakung (kakawin) (Aji) Samyogadharana Aji trus tunjung Bhasma tiga Aksar& rajah Bhatara empelan Ambal manik Bhimaswarga Amotakundalini Bhimaswarga (tattwa) Andabbuwana Bhuwanakosa Anggaksara Bhuwana mabab A(ng)gastya parwa Bhuwana sangksepa Anggastyaprana Brahmandapurana (kakawin) Angkus prana Brahmanqapurana (prose) Ardhasmara Brabmoktawid bisastra Arthati (kidung) Bubhuksah (kidung) 18

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Buddha kacarem (Gaguritan) Tuwan Smeru Campaka gadang Gita Sakti Campurtalo Gong besi Canting kuning Grigub durdakah Caturbrahmawangsa tattwa Guhyawijaya Caturdasaksara Gunatama (gaguritan) Catur paksopadesa mabaratna Guwar-gawir Caturyuga widbi sastra (H)omasarira Copa kala Indraloka (Tutur) Cowak (kidung). Indutattwa Dangdang Bangbungalan (Iswara uwaca, ganapati matakwan Daganama Janmarahasya Dasaprakasa Japatwan Dasasila paramartha Jatirasa Dasawigama Jinaputra Dewatattwa Jiwa kasmaran (Dewatattwa) Medang kamulan Jnana lapas Dharmajati Jnana sandhi Dharmakaya (gaguritan) Jong biru (kidung) Dharma panamar (kidung) Jong manten Dharma pangolih Kadhyatmikan (tutur) Dharma panguwusan Kajar ing atmaprasangsa Dharmaparita (kidung) (Kakawin) Adhyatmikan Dharma putus (kakawin) (Kakawin) Banwalaksana Dharmasambada (Kakawin) Banawa sekar Dharmasarana (kakawin) (Kakawin) Kalisanghara Dharmasunya kling (kakawin) Kaki Melos Dharma trus atma Kaki t(u)wa Dharmawimala (kakawin) Kaki t(u)wa (kidung) Dsman Kalatattwa Drman (kidung) Kalepasan Dwijendra Kalepasan (kakawin) Eka prathama Kalepasan Mpu Keta Ender (Kalepasan) Mpu (Siwa) Keta Eta eto Kalepasan sang hyang Siwa (Gaguritan) Anggastya Kalima usadha (Gaguritan) Awaruci Kalingan in sastra ring raga (Gaguritan) Guna tama Kalpa buddha (Gaguritan) Ider bhuwana Kalulutan (Satwa) (Gaguritan) Japatwan Kamadrsti (Gaguritan) Kamajaya Kamajaya (Gaguritan) Kamoksap Kamoksan Gaguritan kaputusan Kamoksan (parombon) (Gaguritan) Lalampahan pitara Windu. Kanda ning caturbhumi sara Kandawada hana (Gaguritan) Mpu Siwaksta (Kaputusan) Aji mas gandhapura petak (Gaguritan) Muladbara Kaputusan campur talo (Gaguritan) Tutur Sayukti * Kaputusan dalem palinggih 19

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Kaputusan dasabayu Nawaruci (kidung) Kaputusan kadhyatmikan Nawaruci (prose) (Kaputusan) Nawangrum Neling (gaguritan) Karung kalah Neling Kawiswara Pamancangab Maospait Kawruhan kamoksan (Pamariguddba ning) RogasangharaKawruhan (Tattwa) bhumi Kidung kaputusan Pamattu bhatara (Kidung) Kstajnana Pambadah (kidung) Kidung mituturin awak Pan Bakti (Kidung) Pangeran Gowang Pancamahabbuta (Kidung) Pumaksa ing wengi Pancapada Korawa prasada Panglukunan dasaksara Ketasamaya Panugrahan bhatara ring pura Pulaki Kunjarakarna (gaguritan) Parama kaiwalya pada Kunjarakarna (kakawin) Parthajnanasura Kunjarakarna (prose) Parthakarma Kundalini Parthayajna Kuranta bolong Paseka dharma Kugumawicitra (kakawin) Pawisik warah (Lalampahan) pitara Windusara Payogan bbatara Guru (Lalampahan) pitara Windusara (gaguri- Pitutur (gaguritan) tan) Prabhu wibuh Lambang galukat (kakawin) Prakampa Lokakarsana Prakampa (kakawin) Lonirmala Pramanasura Lumah ing sunyad barma Prateka ning yoga nira sang sadhaka Madhya palud (gaguritan) Pratiloma (kakawin) Mahapadma Pratiti ning anangun wisada : Mahapadma ring jero Prayogapira sang eadhaka (Maha)raja Kunda Puja ning smara (kakawin) Mahayana Purnacandra Malawi (kakawin) Purusadasanta (kakawin) Mantra ning macaniga Purwabhumi kamulan Mantri kele Purwakabbumi Manuk dadali (kakawin) Purwa kamimitan Medangalas Purwakarma (gaguritan) Medang kamulan Purwan bhumi Medang kamulan lokadewa Purwan sang watugunung Mpu Keta Pustaka dewa Mpu Kuturan Pustakajati Mpu Raga runting Putru kalepasan Mpu Siwaketa (gaguritan) Raja Bhairawa Muladbara Raja pati gondala Muladbara (gaguritan) Rajapeni Mula ning Janma Ranayajna : Nawakanda Rare angon Nawangrum (Kaputusan) Rasa tama (gaguritan) 20

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sdayasastra (ga guritan) Rogasangbara Rwa bhineda. Rwa bhinedatan pasastra Sadripu (kakawin) Saiwadharma (kidung) Samprastuti ning (kakawin) Samyogadhara na Sanggraba kling Sang hyang Ratna Upadesa (Sang hyang) Adityahrdaya (Sang hyang) Aji mancongol (Sang hyang) Aji Sarira weda (Sang hyang) Kamahayanikan Sang hyang Mahapadma Sang hyang pamutus Sang hyang Paramopadesa Sapg hyang Pasupati (Sang hyang) prayogasandhi (Sang hyang) Saptaungkara Sang hyang Siwa griguh (Sang hyang) Tattwajnana (Sang hyang) Tattwawit Sang hyang Upadesa Sangkul pinge Sang Kulputih Sangsketa canda marmala Sapani-tattwa Saptaprana wa Saptati Sapu leger (gaguritan) Sarasamuccaya Sarasa muccaya (kawruhan) Sarasangka tha (kakawin) Saraswati (kakawin) Sari kuning (Sari ning) Raja peni Sariratattwa Sasangkasarana (tutur) Sebun bangkung (kidung) Sewaka Dharma Sewaka nugraha Sipta maya sunya Siwatattwa Siwatattwa parikan Siwa tiga (gaguritan) Slokantara Smarawedana Sri Jayakasunu Sunyadbarma kling (kakawin) Sunyatattwa Sutasoma (kakawin) Sutasoma parikan Sutasoma prasi Swac(h)andamarana . Swakarma Tanting mas Tantu panggelaran Tapajati (kidung) Tatas bhuwana Tatelik jati Tattwa brata Tattwajnana Tattwajnana (kakawin) (Tattwa) maya-maya sasawangan (Tattwa ning) aji yoga Tattwa Samadhi (Tattwa) trus atma Tattwawisesa Tattwawit Teges ing carita Dharma wulangun Teges ing carita Malat Teges ing kakawin Bharatayuddha Teg s ing kakawin Dewatmaka Teges ing pararatu ring raga Teges ing Suksmabhasa Teges ing sunya pitutur Teges ing sunya tan pamaya Teges ing warah (Teges ing) Wisik warah Tingkah ing aguru Tuduh (kidung) Tunjung biru (gaguritan) (Tutur aji mas) gandhapura petak Tutur aji Saraswati Tutur anacaraka (Tutur) Ardhasmara (Tutur) Bhagawan Panarikan Tutur bhatara brahma Tutur bhatara (b)aridharma Tutur dalem gading Tutur dalem rum (Tutur) Dukuh ampel gading (Tutur) Jagatkarana (Tutur) kadhyatmikan Tutur kalepasan 21

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(Tutur) kamoksan (Tutur) kamoksan (gaguritan) Tutur kanda sang alukun Tutur komala (Tutur) Mareka bhuwana mabah (Tutur mpu dewa) Raja Bima Tutur Mpu Siwakyta Tutur mula jatining kawitan Tutur parakriya Tutur pratingkabing angga Tutur prayoga ning wong atri Tutur rahayu Tutur raja peni (Tutur) Rare angon (Tutur) sang byang Bhuwana mareka Tutur sangkan paran Tutur sang hyang sundari gaoing (Tutur sang hyang aji) Tiga jnana (Tutur) Sa rasamuccaya Tutur Saraswati Tutur Sayukti (Tutur) Sayukti (gaguritan) Tutur emarabbawana (Tutur) Smarabhuwana (Tutur) Suknmaning Sastra Tutur sunda ri gaoing Tutur tungkod langit Tutur uttama Tutur wah ya Tutur wrehastra Tutur yukti Tuwan Condong (kidung) (Tuwan) Smeru (gaguritan) (Tuwan) S(u)meru (gaguritan) Uttarasabda amtta . Waringin sungsang Wekas ing rasa uttama Widhikrama (kidung) Widbisastra Wtdayasastra (gaguritan) Wihaspatitattwa Wshaspatitattwa parikan Wyakaranasastra Yoganidra Yogasandhi Yugasanghara (gaguritan) 8. KANDA (grammar, metrics, mythology) Aji astakosala Aji (b)anda (Aji) Griguh Aji krakah Aji laken Aji purwabbasitakrama Aji Saraswati (parembon) Anggulaprayasta Angguliprawesa Aran ing lagbu Aran para bhatara Asiku-paha Astakosala Asta patali ASwalaksana Bacakan wastan gending gong Balyan panasar (gaguritan) Bbasa dwijodab Bhasa Ekalawya Brahmamurti Cacakan mirab Cacangkriman Kanda empat Cacangkriman mamedi Cacangkriman panundungwisya Cakra wakaduta carita Calonarang (Kaputusan) Canda Canda aksara Canoidharma Cannikusuma Candrabbumi (kakawin Candragni Carcan ajam Carcan agu Carcan ayam Carcan banteng Carcan jadma Carcan jaran Caroan kodis (kakawin) Carcan kucing 22

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Carcan kuda Carcan paksi kitiran Carcan sawung Carcan soca Caturpataka Catursandhi Cuntakagraba mantra Dasakanda Dasaksara Dasanama Dasanama ning tamba Dasanama ning taru Dharma caruban Dharma Kapandeyan Dharmalaksana Dharma ning astakosala Dharma pawayangan Dharma pawin tenan Dharma sangging Dukuh Banol Dukuh Sucyajnana (Gaguritan) Carcan soca (Gaguritan) Mantra paiderideran Gaguritan pasang sastra (Gaguritan) (Tutur) Rangke kipa (Gaguritan) Yugasanghara Gitasancaya. Gurulag(b)u Gurulaghu (kakawin) Indikbrata Indrani Kagunan manuk balatuk (Kajar ing) ala-ayu ning ipen Kajar ing ipen ala (Kakawin) Cakrawakaduta (Kakawin) Canda aksasa (Kakawin) Dharmasawita (Kakawin) Pasasangkalan Kalima usada mabaputus Kalima usada putus Kalimosada kalimosadi (Teges ing) Kanda Colonarang Kanda dewa Kanda empat Kanda empat bhuta Kanda empat dewa Kanda empat (gaguritan) Kanda empat lare Kanda empat sari Kanda empat sari gunung pitu Kanda kati Kanda ning buddha kacapi Kanda ning kadaden Kanda ning nagara ring sarira Kandan sastra Kanda pitu Kandasagana Kanda wesi Kaputusan catur-kanda - Kaputusan kadaden ing janma Kaputusan kesna Kaputusan sang hyang Anirucapati Kaputusan sang byang cintawid hi Kawawadonap Kawit ing man usa Kawruhan ing pawistren Kawruhan kanda empat Kawruhan Kusumadewa Kawya Janaki Kidung Oruk Kidung Prigel Kidung Tatoken walamarga Kluwung geni Krakah panini Krakah puja Krakah sanggraha Krakah sari Krakah sastra Krama ning p(h)ala mwang putrasasana Krama selam (gaguritan) Ketabhasa Krtabbasa Ekalaw ya Kuntisraya Kurkutalaksana (kakawin) Kusumadewa Laksana ning ipyan Laksana ning paksi kitiran Madwakama (parembon) (Tutur) Mantra paidor-idoran Pakarman Pamanos karang Panarang Panarima brata Pancasuddha atma Pandewagraya(n) Pan ngan

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Panorangan Panestyan Pangaksama pawayangan Pangayamayam Pangecek Pangeger Pangirut Pujut Kakiwi Pangiwa Pangleyakan Pangraksa jiwa Pangujanan Pangujanan bangke maong Pangunan sasih Paramasastra kawi Papatutan gambang Papatutan gong gede Papatutan suling Pawintenan sastra Pawistren Piwolas Praksta ning paksi (ka kawin) Pranama bhasa Prawesa Puja parabhatara Pupuh gending gambang Pupuh gending gandrung Pupuh genning gender (Pupuh) genning gong Pupub gending joged Pupuh gending legong Pupuh gending suling Pupuh kidung Rahasyasanggama Rarajaban kadutan Rsi sambhinna Sadkayangan Sari ning kanda empat Sari ning pamutus Sasirop Sata pini Siksan paksi Sikut ing umah Siwa krakab Siwikarana Siwa kreket Slokan mirah Smarakridalaksana Smarareka Smaratantra (gaguritan) Surya panengen Swakarma Swara-wyanjana Swara-wyanjana (gaguritan) Tarupramana Tata ning askara Tatempuran sawung Tatenger pakedutan Tattwagama Teges ing suksmabhasa Tikas patanganan weda Tridasa proktah Tukang wada Turunan pandawa Tutur aji 'kanda empat Tutur dangdang bungalan Tutur gumi pranois Ukur ing kris Usana dewa Walanda kateng Wangbang purana Wargaksara Wawatkan (kakawin) Wiswakarma Witasancaya (kakawin) Wyanjanasandbi 9. USADA (medicine) Agniwicana Aji candrabhairawa Aji kukulanggasti Aji pangawasan Anangga upadesa Anqa kacacar (Anda ning) Usada rare Atmaraksa Babayon Balik sumpah Balyan papasar Bhatara sutasoma (kawisesan)

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Buddha kacapi Pamuteran wong menggat mwang dusta Buddha kacapi cemeng Panawar Buddha kacapi putih Panawar bhagawan Kasya pa Buddha prayoga Panongeran kustha Buddhitattwa Pangalah babai. Cakragni Pangasih sang hyang Twangagung Campurtalo (kaputusan) Panglukatan Dharma usada cemeng Panglukatan ( kaputusan ) sang hyang Dharma usada kling puja smarakusuma Dharma ugada tantri Panglukatan manik sadewa Dukuh jumpungan Pangolih-olih desti Gagelaran mantra Pangraksa bhuwana Gagelaran usada Pangraksa jiwa Geniwrec na (See Agniwucana) Pangrangsukan kawisesan Guru sumedang tala Pangundang babai . I Macaling (Kawisesan) Pangundang layak Indrani. Pangwisesan (Kaputusan) Kalima usada, Kalima usadi Pari-bhasa Kalima usada kuranta bolong Pekakas Kalima usada putus Pragolan Kanoa ning usada cemeng Prateges ing kadaden (Kaputusan) Bhagawan Kasyapa Prateka ning gring agung Kaputusan dharma usada Prathama ning caru Kaputusan kalima usadha paribhasa Pratingkah ing angemit usada Kaputusan mantra Prayoga japa (Kaputusan) Pangakan baha Progolan Kaputusan panji alit Rudraka waca * Kaputusan sang hyang brahmakunda-Rukminitattwa wijaya Sang hyang aji kreket Kaputusan sang byang canai kuning Sang hyang Brahmakunda wijaya Kusukeman balyan Sang hyang Brahma tiga kalis Kawisesan Sang hyang Candimas (Kaputusan) Kawisesan Mpu Moti Sang hyang Kalimausa di Kawisesan ngamuda (Sang hyang) Keta kundawijaya . Kuranta bolong Sang hyang Pasupatyagni Mantra pangwisesan (Sang hyang) Puja.smarakusuma Mantra parembon Sang hyang Tikbhuwana Mantra satus Sipta puja Pakakas Taru pramana Pamalik sumpah Tatelik jati Pamatuh Tatenger upas . Pamatuh agung Tatiwangan Pamatuh Pancapandawa Tattwa bhimasakti Pamoda smara Tatulak Pamugpug (Tatulak sang) Mpu Pradah Pamugpug cor Tatumbalan Pamugpug (Mantra) Telik jati (Usada) Pamungkem karang tenget Tingkah ing babai 25

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Tingkah sang yogiswara mamuja Usada rare Usada babugbugan Usada rare (for children) Usada babai Usada rastung Usada buduh Usada gari Usada catur kauripan Usada sari kuranta bolong Usada cela sari Usada sarah Usada cemeng sari Usada sato Usada cukil daki Usada sawah Usada cuwil Usada sawan Usada dalem Usada Siwa sapurna Usada dharma Usada spara Usada ila Usada tantri Usada kacacar Usada tatempuran Usada kuda Usada tatenger Usada mala Usada tiwang Usada manak Usada tuju Usada macukunda Usada tuwa Usada ning upas Usada wariga Usada pari Usada Wisnuja pa (Usada) paribbasa Uttama japa Usada punggung tiwas Winda kuning Usada putih ITIHASA (Epic works) 10. PARWA Adiparwa Kuntiyajna Adiparwa prasi Lalampaban gambuh Arjuna pramada Lubdhaka (arti) Arjunawiwaha (arti) Mosalaparwa Asramawasaparwa Pangastawan paragung ring pura Besakih Asramawasa parwa see Caturasrama parwa Prabhu Santanu Bharada(h)carita Pralapitaparwa Bhismaparwa Prasthanikaparwa Calon arang Purusada Cantakaparwa Ratnakanda Caturasramaparwa Siddhabuddhitattwa Cayadijaya lohitangsa Singhalangghala Dharmakusuma Swargarohanaparwa. Gara mata ram Udyoga parwa Jitam wrsam Usana parwa. Kalakeya Uttarakanda Kamaropini Wighnotsawa-Prasusena Kapiparwa Wirata parwa Kirtiparwa Wiwudaparwa Korawasrama 11. KAKAWIN (Kavyas in Indian metros) Abhimanyuwiwaba Ambaramadya 26

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Ambasraya Anang nirartha Anggabancana Ani-arana (Hanibarana ?) Arjunawijaya Arjunawiwaha Astakasra ya Astikayana Bancanaraga Bbarata yuddha Bharga wawijaya Bhomakaw ya Dewatmaka Dharmakusuma Dimbiwicitra Gatotkacasraya (H)arisraya (H)ariwangsa (H)ariwijaya Indrabapdbana Kalantaka Kandawadabana Kangsa Krsnakalantaka Krsnandaka Lubdhaka Manuk abba Narakawijaya Pandawawiwaba Parik(e)sit Parthakarma Partha yajna Pithuwijaya Ramakanda Ramaparasuwijaya Ramawijaya Ramayana Ratnawijaya Sakraprajaya Sancayakusuma Sarakusuma Satrughna Siwaratrikalpa Si Wrta Smaradabana Smaradabana (prasi) Subhadrawiwaha Sumanasantaka Sumantri Surantaka Tantri Wighnotsawa Wijayasraya Wiraga salaga Wiratawijaya Wstantaka 12. KIDUNG (Kavyas in Indonesian metres) Ajeng pasurwan Aji Dharma Alis-alis ijo Amad Muhamad Raden Seputra, Amir Andabranta Anggadhipa Angun-angun ad(b)ikara Arjawicitra Arjuna pralabdha Arthadaya Bhramara sangupati Bhramara sangupati (prasi) Cupak Curik Dadang-dudang Dangdang petak Dyah Durmita Ender Gajah kemuda Gajah Putih Guba gala-gala (H)arsawijaya Jagatkarana Jajar Pikatan Jayaprameya Jayapurana Jayendriya Jayenglango Jorum Juburwing jagul Bhomakawya 27

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Kala gumantung Kamurangan Kasmaran Kebo Mundar Kudagmarajna Kundang dyah Lemburaga Madhya muter saha-padmalingga Malat Manduka prakarana Manuk abha Marutsmara Megat kung Padma sari Panji margasmara Prigol Puntisaba Rasmisancaya edan lalangon Ratna wiwarja Rawisandbi Sandyaka Satyawan Smarawedana Srigati Sri nandi Sri tanjung Suddha mala Sumanasantaka Sunda Ukir kawi Ukir polaman Undakan pangrus Warga sari Wawilotan Wedasmara Widarismara Wilet manura Witaraga 13. GAGURITAN (Kavyas in New Balinese) Adi(parwa) parikan Ajeng Pasurwan Aji Dharma Amir Anda wesi Anglangsari Anglung smara Arjupawijaya parikan Arjunawiwaba Arjunawiwaha parikan Arthawarsa Ayuwrddhi Bage gerik Bagendali Bagus Turunan Bagus Umbara Banjar Wangaya barak Basur Bhagawan dawala Bbaratayuddha parikan Bhauma kawya parikan Bokah Bongkling Brahmana cute Brayut Bregan gundruk Cacimpedan Calon arang parikan Candrawati Cilinaya Citramidhara Cupaka Dampati lalangon Dampati lalangon (prasi) Dasapandawa Dewayajna ring Karangasem Dharmawangsa krtasiddhi Dukuh amantu wanara Dukuh siladri Durma Dyah Arini Enggung Gagendingan Gagendingan anak alit Gede Wayan Genning sang hyang Dadari (folksongs) Gending sang hyang mamedi (folksongs) Gosong tangkas Gusti Bagus jenglar Gusti Wayan

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(H)anuman wetu gangga (H)arisraya parikan I Belog Ider bhuwan & Jae Cekuh Jajar Pikatan Jambe nagara Jayaprana Jowarsa Kadgarawana Kaki Gusti Kamurangan Karya yajna ring Karang Pendem Kasmaran Kasuksman Kawikon Kedis Ketut Bangun Kicaka Kontabhoja Layon sari Lega prana Lingga peta Lub Lutung Luh raras Madhya palud Malat parikan Maling teba Mandir Mandra sari mandra santun Mangkak Mani guna Mantri alit Mantri sanak lima Megantaka Mpu Bahula Nalig Narasoma Nengah Jimbaran Ni Sumala Padem warak Pakang raras Pan Balang tamak Pannu keneng sapa parikan Pangajaran Pangeling-eling pamalaspas bale Guna wanita ring Denpasar Parigi-nagar Pudak sumekar Purwajati Purwaeanghara Raden seputra Ramapurana Ramayana (parikan) Ratmaja Salya Samba Sampik Sarpayajna Sasawangan Saselongan Sewagati Singandalang Smaratantra Smarawijaya Srikandi Sumaguna Surakarta Suranadi Tejarasa Togag Trate bang Tuwan We Uttarakanda (parikan) Wirajaya Wiryaguna BABAD (History) 14. PAMANCANGAA (Family histories) Babad arya Babad arya Kapakisan Babad arya Tabanan Babad Badung Babad Bangli Babad Batur 29 .

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Babad Blabatuh Babad brahmana buddha Babad brahmana Kamenuh Babad brahmana Siwa Babad Buleleng Babad Buleleng Sasak Babad Bungaya Babad dalem Babad dalem Samprangan Babad dalom turun ka-Bali Babad dukuh Suladri Babad gumi Babad Gusti Celuk Babad Jawadwipa Babad Jawi nguni Babad Karamas Babad Karang-asem Sasak Babad k(a)satrya Babad k(a)satrya taman-bali Babad ki Gusti Pasek-Gelgel Babad Madhura Babad Mangu(w)i Babad Mangu(w)i-Buleleng Babad Pande Bang Babad pande wesi Babad pasek Babad pasek gelgel Babad pasek kayu selem Babad pinatib Babad pula sari Babad pungakan timbul Babad ratu Tabanan Babad rusak gusti pande Babad sang brahmana catur Babad sanggubu asu asa Babad Sukabet Babad Taman.bali Babad triwangsa Babad Tusan Babad Ularan Babad wit k(a)patrya dalem Bancangah Bandesa Banoangah sanggubu Bhujangga ring Bali Brahmana cute Brahmanapurana Kalawasan potak Kawitan catur janma Kawitan Pasek Gelgel Lambang kawi Lelintih susuhunan sala . Nagarakrtagama Pabalik gusti batan jeruk Pamancangah Pedel Pamancangab Tabanan Pari-agem Pari-agem Taman Bali Parikandan Pasek Gelgel Pasung grigis Prasasti Prasasti brahmana Prasasti pande Prasasti pande capung Prasasti pande wesi Prasasti pasek gelgel Prasasti sangging Pyagem pinatih Rajapurana Rajapurana pura Basakih Tutur agu-asa 15. HISTORICAL ROMANCES Balisancaya Batur Kalawasan (H)arsawijaya (kidung) Jayakrama Kebo Iwa (Yuwa) Mayadanawa (kakawin) Mayadanawantaka (gaguritan) Mayadanawasntaka) (kakawin) Pararaton (kidung) Pararaton (prose) Pamancangab (kidung) Pamuktyan Willw)atikta Pasung grigis (kidung) Rajapurana (kidung) Rangga lawe Rangga lawe (parikan) Sorandaka (kidung) Sunda (kidung) Sundayana (kidung) Ugana Bali (gaguritan) 30

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Usana Bali (kakawin) Usana Bali sancaya Usana jawa Uwug Sasak (gaguritan) 16. RUIN OF EMPIRES Bhuwanawinasa (gaguritan) Cawah sundil Nderet (gaguritan) Panji saktiwijaya (gaguritan) Puranatattwa Rereg Gyanar (gaguritan) Rereg Kadiri Rereg Karanga som Rereg Karangasem (prose) Rereg Praya Rusak Banjar (gaguritan) Rusak Buleleng (gaguritan) Rusak Sasak (gaguritan) Uwug Banjar (gaguritan) Uwug Buleleng (gaguritan) Uwug Gyanar (gaguritan) Uwug Payangan Uwug Sasak (gaguritan) Wawatekan (kakawin) Yuddha Mang(u)wi TANTRI 17. ANIMAL FABLES (of Indian origin) Mandukaprakarana Ragawinasa Tantri (demung) Tantri (kadiri) Tantri kamandaka Tantri (prasi)