Please click a leporello code number from the drop-down menu above or from the list below to view a catalog entry and images for a particular manuscript. Once you've selected a manuscript, click on "+" or "-" to zoom in and out for a better view of the catalog entry or images.

ដើម្បីមើលបញ្ជីឬរូបថតនៃក្រាំងណាមួយ សូមចុចលើលេខកូដខាងក្រោមនេះ ។ កាលណាបានជ្រើសរើសក្រាំងមួយក្បាលហើយ លោកអ្នកអាចចុចលើ "+" ឬ "-" ដើម្បីធ្វើបញ្ជី ឬ រូបថតនោះ (ជាប្រភេទ PDF) រីកធំ ឬ រួញតូច ។

UB001 UB002 UB003 UB004 UB005 UB006 UB007 UB008 UB009 UB010 UB011 UB012 UB013 UB014 UB015 UB016 UB017 UB018 UB019 UB020 UB021 UB022 UB023 UB024 UB025 UB026 UB027 UB028 UB029 UB030 UB031 UB032 UB033 UB034 UB035 UB036 UB037 UB038 UB039 UB040 UB041 UB042 UB043 UB044 UB045 UB046 UB047 UB048 UB049 UB050 UB051 UB052 UB053 UB054 UB055 UB056 UB057 UB058 UB059 UB060 UB061 UB062 UB063 UB064 UB065 UB066 UB067 UB068 UB069 UB070

Some manuscripts above have additional catalog numbers as well. Their UB equivalents are listed below:

ក្រាំងខ្លះមានលេខកូដផ្សេងៗ ក្រៅអំពីលេខកូដក្នុងនិក្ខេបបទ (លេខកូដ «UB») រួមមានលេខកូដរបស់អង្គការសិក្សាស្រាវជ្រាវនិងអភិរក្សសាស្ត្រាស្លឹករឹតខ្មែរ (FEMC) ហើយនិងបណ្ណាល័យសាលាបារាំងចុងបូព៌ា ទីក្រុងប៉ារីស ។

• Bibliothèque EFEO - Preah Vanarat Ken Vong, Phnom Penh: FEMC d.936 = UB001; FEMC d.937 = UB013; FEMC d.938 = UB014; FEMC d.939 = UB015; FEMC d.940 = UB023; FEMC d.941 = UB026; FEMC d.942 = UB028; FEMC d.943 = UB030; FEMC d.944 = UB031; FEMC d.945 = UB035; FEMC d.946 = UB049; FEMC d.947 = UB050; FEMC d.948 = UB057; FEMC d.949 = UB059; FEMC d.950 = UB061; FEMC d.951 = UB062; FEMC d.952 = UB067; FEMC d.953 = UB068; FEMC d.954 = UB070; FEMC D'269 = UB056
• Bibliothèque de l'EFEO-FEMC, Phnom Penh: EFEO-FEMC Photocopy 2 / FEMC 116-B.06.03.01 = UB051; EFEO-FEMC Photocopy 11 / FEMC 125-B.06.03.01 = UB052; EFEO-FEMC Photocopy 13 / FEMC 127-B.06.03.01 = UB053; EFEO-FEMC Photocopy 14 / FEMC 128-B.06.03.01 = UB069; EFEO-FEMC Photocopy 15 / FEMC 129-B.06.03.01 = UB054; EFEO-FEMC Photocopy 16 / FEMC 127-B.06.03.01 = UB055EFEO-FEMC Photocopy 44 / FEMC 040-B.04.10.01 = UB017; EFEO-FEMC Photocopy 45 = UB039; EFEO-FEMC Photocopy 56 = UB025; EFEO-FEMC Photocopy 64 = UB042; FEMC 097-B.06.06.01 = UB037
• Bibliothèque de l'EFEO - Maison de l'Asie, Paris: EFEO CAMB O. 353 = UB021; EFEO CAMB O. 404 = UB022

About the Catalog អំពីបញ្ជីនេះ

សម្រាប់ផ្នែកខាងក្រោមនេះ ខ្ញុំពុំទាន់ធ្វើសេចក្តីប្រែជាភាសាខ្មែរទេ សូមមេត្តាអធ្យាស្រ័យផង ។

For each manuscript, I provide a PDF of the catalog entry from Appendix I of my dissertation, as well as a PDF of the digitized images of the manuscript (if the relevant permissions have been granted). The catalog records the date, provenance, materials, condition, dimensions, and contents of each manuscript, presented in the following format:

• Catalog numbers:
  • Running UB (“Unfolding Buddhism”) catalog number in bold (starting from UB001 and up to UB070), plus any additional catalog numbers (FEMC, EFEO-FEMC Photocopy, EFEO – Paris, or BNF)
• Provenance:
  • Date produced (single year, multiple years, range of years, or estimated period), collection (private collection, monastic library, or name of particular academic library) in location (name of monastery, village, commune, province, and country).
• Materials:
  • Writing implements (traditional ink and/or modern pencils and pens of various colors) in scripts (mūl, jrieṅ, Thai) on paper (traditional white or black snāy bark paper, modern papers of various colors and thicknesses) ruled with pencil, diluted ink, or scores, reinforced with adhesives (glue, cellophane tape, paper, plastic, staples) and covers (layered paper, thick wood, thin wood, hard cardboard).
• Condition:
  • Extent (none, minor, moderate, severe) of fold and/or edge wear and extent of wax, fire, water, mold, and/or insect damage, cleaned and/or repaired by whom, year.
• Dimensions:
  • Length by width in centimeters, number of lines per spread, complete in/fragment of number of spreads folded in a M-, W-, N-, И-, or NИ- fashion.
• Contents:
  • Summary of recto and verso contents by spread number, including covers, titles, texts, and colophons. Standardized titles as used throughout the dissertation are given in bold, whereas the titles as recorded in the manuscripts themselves are given in roman type.

The information regarding the catalog numbers, provenance, materials, and condition of the manuscripts is largely self-explanatory. For the dimensions and contents, however, I have adopted some distinctive conventions for this catalog that merit further explanation.

First, note the use of the term “spreads” as opposed to “pages.” One “spread” of a leporello consists of two parts, an upper “a” portion and a lower “b” portion divided by the fold line. These upper and lower portions are sometimes treated as individual “pages.” I have adopted a pagination based on spreads rather than pages for several reasons. Chief among these is that focusing on spreads captures the way the manuscript would be opened, read, and performed, namely one spread or two pages at a time, rather than multiple spreads.

The length by width dimensions of each manuscript refer to the dimensions of the cover, or one half-spread. The number of lines per spread indicate the range of the total number of written lines of text on the combined “a” (top) and “b” (bottom) portions (i.e. pages) of each spread. The “recto” side of the leporello is the first half of the manuscript, counted from the recto cover until the last spread before the verso cover. The “verso” side begins with the verso cover and continues back to the spread before the recto cover.

The folding arrangements of leporellos are more complicated than at first glance. My catalog acknowledges these complications by recording the four main ways leporellos may be folded. For these folds, I use the notation M, W, N, and И as a shorthand to describe their distinctive characteristics. Each of these symbols represents a schematic of what the leporello looks like when the viewer faces the manuscript on its outer right edge, such that the recto cover is on the left and the verso cover is on the right, and then gently expanded, like an accordion, so that the arrangement of the folds can be seen (Figure 1 above).

From this angle, M-folded manuscripts look like /\/\, or /\/\/\, /\/\/\/\/\, /\/\/\/\/\/\/\/\/\/\, and so on and so forth, depending on the total number of spreads. W-folded manuscripts look like \/\/ (or \/\/\/\/\/\/, etc.), N-folded ones like /\/, and И-folded ones like \/\. Each of these folds results in a different way of opening the recto cover, either “forwards” such that only a single leaf is raised, or “backwards” such that two leaves are raised at once, as well as different balance between the total number of spreads on the recto and verso sides. These characteristics can be summarized as follows:

• M fold: “forwards” or “thin” recto cover; # of recto spreads = # of verso spreads + 1
• W fold: “backwards” or “thick” recto cover; # of recto spreads = # of verso spreads – 1
• N fold: “forwards” or “thin” recto cover; # of recto spreads = # of verso spreads
• И fold: “backwards” or “thick” recto cover; # of recto spreads = # of verso spreads

There are a few cases of manuscripts in this catalog with more complex folding arrangements that cannot be resolved through repair, such as UB004, which I have notated as being complete in 57 NИ-folded spreads. This peculiar arrangement can be described as (/\*4) + | + (/\*23), yielding 28 recto spreads and 29 verso spreads. UB004 was likely originally M-folded, with 29 recto spreads and 28 verso spreads, but broke at the /\/\/\/\/ point before being written upon, and was then incorrectly put back together, thus resulting in 28 recto spreads and 29 verso spreads.

I am not aware of this aspect of leporellos being described elsewhere. Recording these folding arrangements, however, is not merely in service of codicological obscurantism or pseudo-topology. They are an essential tool for checking the correct pagination of manuscripts and for facilitating the repair of manuscripts torn at the fold creases.

Our team (Mech Khoeun, Chheat Sopheak, and myself) conduced many such repairs in 2016 and 2017. The simplest repairs involved using matte-finish cellophane tape (as used by the FEMC) to repair folds that were partially torn and in danger of complete separation. Some leporellos with layered paper covers also required fresh glue between the layers to keep them from falling apart. For leporellos that were more extensively damaged or disordered, we unfolded them on large mats or on clean tile floors to reveal their textual content and areas needing repair.

I then reviewed the textual context of each manuscript or manuscript fragment and determined where the manuscript could be joined together again. Unlike palm-leaf manuscripts, leporellos rarely contain pagination of any kind, and hence I had to ensure the textual continuity at each of the broken seams as well as notating, whenever possible, the number of spreads missing between seams in cases of loss. Once the appropriate places for repair and reordering had been identified, we worked together to use cellophane tape to restore the leporellos as close to their original state as possible (Figure 2 above).

Khoeun would then use a soft-bristle brush to gently clean any excess dirt, mold, or insect remains from the spreads of the manuscript before the photographing process could begin. For each leporello, Sopheak photographed the recto cover first (the first spread), followed by second and third pages of the manuscript (the second spread), then the fourth and fifth pages (the third spread), all the way until the verso cover, and then the same fashion on the verso side all the way back to the recto cover. The manuscripts were photographed using either a Sony RX100 Mark IV or, when the former was under repair, a Canon EOS Rebel T6 EF-S, driven directly by a laptop computer. Sopheak checked the images as they were being shot for focus and other errors, and Khoeun rechecked, adjusted, and cropped the images upon completing a manuscript. I then converted the images to PDF format and added red spread numbers in the upper right corner for easy reference.