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Samira Müller: So I stopped.

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Samira Müller: So let's start with the technical details right.

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Samira Müller: Hello everyone, since there are a lot of people we restricted to respond to the possibilities to turn on your video and microphones for better security and to save bandwidth.

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Samira Müller: But we will turn on the chat after the lecture begins, so you can also and chat and maybe make comments and during the lecture already and in the end, we will have the chance to ask questions you can do so either.

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Samira Müller: I raising your hand or by typing your question in the chat, we will then allow you to turn on your camera and turn on the microphone.

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Samira Müller: And please be aware that we are recording this event, yes it's already on recording and so, if we do not want to appear on the video you can type something please read before your question in the chat and then.

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Samira Müller: i'm going to read it out for you, so you don't have to switch on your camera and your sound will not be recorded and.

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Samira Müller: you're still people coming now what I think, since it is time we can start with the second part of our of the block about manuscripts about and doing one manuscripts today again with him like alone Bush in it.

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Samira Müller: You can take it wait thanks.

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Imre Galambos: Right, thank you very much Samira and welcome everyone back.

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Imre Galambos: And let me share my.

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Imre Galambos: my presentation.

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Imre Galambos: Can you see properly.

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Samira Müller: Yes, you can.

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Imre Galambos: Okay, so actually before starting.

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Imre Galambos: or before I started preparing for this.

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Imre Galambos: For these two lectures Samira told me to be.

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Imre Galambos: To talk more about methodology and I tried to do that, last time, I think, but.

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Imre Galambos: her question made me realize that maybe she meant she had in mind something else, like a different kind of methodology, maybe something more specific, rather than talking about manuscripts maybe how to find things.

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Imre Galambos: Within sort of this field of long studies or how to locate texts in the different databases and how to actually track down a manuscript so I thought I would talk about this today.

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Imre Galambos: A little more, and hopefully this will be.

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Imre Galambos: of use to.

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Imre Galambos: To you, and I see that some of some of the people here in the audience are actually experts have done long studies or psychology so I apologize if this is too trivial to do some of them, but basically last time, the question was how do you locate a manuscript.

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Imre Galambos: And I think what I showed the science.

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Imre Galambos: For example, the IDP website, and I said that you have to know the press mark.

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Imre Galambos: In a in order to be able to search for the manuscript So if you don't actually know to press mark then it's it's actually really, really hard to.

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Imre Galambos: find something even if you know the press mark it's still hard to find something if you're not used to because you have to enter the press mark the correct way, so you have to get used to the system and then.

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Imre Galambos: Then you can locate material much, much easier there's one way around this and that's Google, which allows you to where it finds you in a relatively flexible way, a number of things and.

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Imre Galambos: Of course we all use that quite a lot, but when you try to track something down, then you need to and if use old techniques, including Google, but let's concentrate on the press mark, so this the Chinese term, for this is the one town hall.

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Imre Galambos: So the the the, the number of the.

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Imre Galambos: The numbering the collection in the Institute, I guess, so in usually in the library and so these are the catalog numbers that have been assigned to the objects, in this case the manuscripts.

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Imre Galambos: And these.

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Imre Galambos: These catalog numbers actually change over time and so.

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Imre Galambos: In systems like the IDP database or the the French National Library system Gallica you have to use the press marks that they.

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Imre Galambos: have their official press marks and there is, there is a there's an emphasis on this, and so they will basically these websites not allow you to or not present any search results if you use the different way, this is the their way of kind of enforcing their system on you.

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Imre Galambos: Which is not unreasonable at all.

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Imre Galambos: So, if we look at the.

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Imre Galambos: The British Library collection in London.

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Imre Galambos: Well, first of all, we have to know that the British Library collection was originally the British Museum collection so when Stein.

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Imre Galambos: shift the material from Council to London, these were a bit positive in the basement of the British Museum and that's where they.

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Imre Galambos: kept for a very long time until 1979 I think when there was a and when the British Library was established, and so, then the textual material went to the library.

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Imre Galambos: And then the the pictorial material, so the paintings occasionally some manuscripts with paintings, they were kept in the Museum in the British Museum so now you'd have two different sites, but the manuscripts, we know that they they number.

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Imre Galambos: Over 20 maybe maybe around 30,000 items, they are in the library and the paintings are much more limited in number, there I think about four or 500 paintings, which are in the British Museum.

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Imre Galambos: So the press marks are of this time collection usually the ordinary Chinese.

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Imre Galambos: do know manuscripts are usually prefixed by an s so an s dot and then say in this example there's an example here it's 34 so the full press mark is actually all our dot a 210 slash s dot 34 and the library is trying to push people to use this full press mark because it's actually.

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Imre Galambos: it's not.

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Imre Galambos: 100%.

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Imre Galambos: On ambiguous if you only use s 34 because the number before that could be a 212 or something like that, so it doesn't it's not always a 210 but for the majority of Chinese.

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Imre Galambos: manuscripts from the turn on cave library when done our library cave, it is a 210 so that's the that's their catalog number all are obviously refers to oriental.

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Imre Galambos: And in China, they also use the.

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Imre Galambos: The character there soon.

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Imre Galambos: For the number instead of the S so it's super three for us to censor.

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Imre Galambos: And the suit I guess it relates to s and it's released relates to stein's Chinese name, which is surprising, which is his modern name.

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Imre Galambos: This is not how he was cold and the time but interestingly, the S before the 34 probably doesn't mean Stein So these are the numbers that Stein himself assigned to the manuscript and he was very unlikely to have been using his own initial.

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Imre Galambos: So just just as a personality trait he was not doing that so as Susan Whitfield to used to be the.

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Imre Galambos: The head of the.

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Imre Galambos: IDP she made a very good point about this one conference and so she suggested that the S probably stands for the word scroll.

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Imre Galambos: Because most of the manuscripts were scrolls or, at least when when he started cataloging them or numbering them, they were he started with the scrolls and so that's how.

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Imre Galambos: This this letter.

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Imre Galambos: Basically, stuck with it, that it's his name also begins with his surname begins with an essay as a coincidence, probably.

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Imre Galambos: Then there are other manuscripts in the British Library, for example, the the most of Tibetan material from the the same cave.

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Imre Galambos: Is prefixed with ios tip J fifth like to Jay and then you have a number of sequential number, so I oh alleys for India office library tidbits for Tibetan and J is.

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Imre Galambos: A code for the library cave, so there are other numbers which don't cite numbers which do not refer to the cave.

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Imre Galambos: And then there are also other material typically in other languages, but also from the same cave say in this case or dot eight to one to slash 161, which is a.

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Imre Galambos: manuscript in old Turkey.

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Imre Galambos: Again, you need to enter this number in order to define it I don't know if you can see my screen if I.

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Imre Galambos: type.

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Imre Galambos: And you see my browser.

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Samira Müller: know.

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Samira Müller: Within the presentation.

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Okay.

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Samira Müller: So.

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i'll just.

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Imre Galambos: Share again.

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Imre Galambos: here.

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Imre Galambos: Right.

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Imre Galambos: Perfect yes.

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Imre Galambos: So you can answer the whole number or something.

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Imre Galambos: Something like this.

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Imre Galambos: 1212 161 or you could just enter to slash 161 because it probably is going to find you that manuscript maybe a few more that have that moves train in them.

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Imre Galambos: But you're going to find the one that you're looking for, so this is a shortcuts you can use that So you can see it's a little booklet and it's written in old Turkey but it nevertheless comes from the from oil mogul.

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Imre Galambos: So comes from the mogul caves, and so this is how you find it if you if you do the I O l tape J something.

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Imre Galambos: To.

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Imre Galambos: Then you find the Tibetan ministry that you're looking for, so I Oh well being India office library is actually a different library it's not the British Library.

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Imre Galambos: So it's a separate collection but it's physically kept or stored at the British Library So if you want to look at them, you would still go to the same building but.

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Imre Galambos: At least.

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Imre Galambos: As organization wise they're there and they're supposed to represent the different collection.

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Imre Galambos: Okay.

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Imre Galambos: i'll go back to my other.

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Imre Galambos: yeah I mean.

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Imre Galambos: The same thing for Paris is a slightly different because, so the manuscripts are in the DNS so need people to take massive difference and.

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Imre Galambos: The paintings in a similar fashion, as in London, the paintings, are in a different institution in the.

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Imre Galambos: National Museum of Asian arts, which is the music gimme gimme museum and that's where all the older paintings are, but the manuscripts are at the library, the National Library.

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Imre Galambos: And they are prefixed with the P, which does indeed stand for Paleo dot and then four digit number and so.

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Imre Galambos: Unlike the Stein collection all the.

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Imre Galambos: numbers in the Paleo collection had four digits, and so they go from 2002 I don't remember 6500 or something like that there is a Chinese way or Japanese way also early Japanese way of representing the p would be character born and then sometimes they use Chinese numerals.

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Imre Galambos: which actually I think it makes them harder to see.

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Imre Galambos: at a glance, but maybe maybe not maybe for people who are more used to Chinese characters they work just the same.

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Imre Galambos: um so this boy is sometimes using in Chinese publications, but I think it was both the Su and Paul or first use my Japanese scholars early on.

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Imre Galambos: In the 1920s and 30s.

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Imre Galambos: And so, actually we've we've talked about this that we.

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Imre Galambos: The P should be when you search for it in any of the catalogs and I didn't write it here I forgot a Paleo shinola right so you'd have to write out.

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Imre Galambos: Paleo shinola and then 3445 but in scholarship it's very often they're very often just called or written like this P dot 344 or five and that's normally referring to them.

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Imre Galambos: Now this the third largest collection is in St Petersburg and there you have two sets of numbers, so the first one is that they call them the the ha or D h.

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Imre Galambos: written in Cyrillic and then a number.

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Imre Galambos: And on the English language scholarship at least they're often just replace the dh or the the hook is roof replaced with a.

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Imre Galambos: dx somewhat inconsistently because the exes mother her sound, but it's it's kind of looks the same as the Russian foot so and this the host that's we're doing wrong.

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Imre Galambos: So it's basically a dh but we write it as a dx and then a dash and then the number and this is how you would enter it into the.

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Imre Galambos: into the IDP database using.

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Imre Galambos: Latin letters, if you enter the Russian letters so really, then you will not find anything so you need to use this format, and then there is another, so this is the bigger part of the collection, another.

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Imre Galambos: way of.

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Imre Galambos: a smaller group of material.

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Imre Galambos: Is the initial.

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Imre Galambos: collection, which was which started to be canceled by a scholar called fluke and so because of him the initial is F or a foot and then it's transcribed into English is an F.

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Imre Galambos: And this is this is how you find the manuscripts.

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Imre Galambos: which were first capitals in St Petersburg so it's actually quite straightforward.

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Imre Galambos: If we go to the National Library of China, which is again a major collection with with like.

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Imre Galambos: 16,000 items, then you have again two different numbers so first, you have the old number, which is the chance to win numbers, plus a number, so the in this case is the US line zero or you had nine zero.

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Imre Galambos: And then they have new numbers which this is an accident that you have nine zero in both of them because they usually seem to be not related at all so it's the bd numbers that be done so baiting done on.

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Imre Galambos: begin to show one town hall when share.

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Imre Galambos: and

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Imre Galambos: So officially they've been the numbers are always five digits so when they're shorter they add zeros before the number.

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Imre Galambos: And again, this is how you find them in the IDP database, if you type bd 790 you don't find it if you type bd space any number you don't find anything so unfortunately it's a very rigid system, and so we have to follow that but, once you get used to it it's actually becomes quite.

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Imre Galambos: comfortable and you can easily find anything.

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Imre Galambos: This is, if you know, of course, the press mark, so the press mark in these databases is the is the is the key information.

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Imre Galambos: Now so for us actually The important thing now is defined the press mark, because you might not know the press mark and, if you look on.

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Imre Galambos: Different websites, then you will not always find the press much so websites love to put up manuscripts I don't know if the heart sutra or any any sort of in when my transformation text.

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Imre Galambos: All the images there but they leave out the press mark, so you, you see that that manuscript exists, but you have no idea how to find it because there's no press mark.

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Imre Galambos: So for that you have to turn to catalogs, and so the catalogs are actually there are quite a few catalogs for each collection or where none of them is perfect.

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Imre Galambos: And so, for this time collection.

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Imre Galambos: At this time it was still at the British Museum Lionel Giles, who was the keeper of oriental manuscripts and so he was the person in charge of the the Chinese manuscripts from day one, he published six articles, starting from 1935 in the bulletin of so as.

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Imre Galambos: All of them in the same.

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Imre Galambos: same Journal and, as he was I guess cataloging the the collection going through the manuscripts he he gather this information and then he kept publishing.

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Imre Galambos: This material, so he divided by time.

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Imre Galambos: So he started with the fifth and six centuries and then he moved on to two later periods so, then the second article was about the seventh century and then the eighth and so forth.

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Imre Galambos: And I think this is a really, really interesting.

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Imre Galambos: Collection I, for some reason I think people don't use it so much I have for my own purposes, I have the six articles I combine them into one PDF.

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Imre Galambos: Which is quite lengthy and almost like a book length and I can search in it quite easily I can search according to the the press mark, so you find on the number or according to the date.

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Imre Galambos: I think it's really, really useful, so I recommend everybody using these, and you can download them from the web, one by one, from Jay store.

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Imre Galambos: And so here's an example of the details, he goes into right, so he.

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Imre Galambos: This is a manuscript from 875 in the time period and well, so he says it's a time period, but I always tell my students that I don't like using the word tongue into Hong when do Hong is no longer part of the tongue so.

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Imre Galambos: But nevertheless, we can use it as an objective.

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Imre Galambos: time period, like, for us, the birth of Jesus Christ as a objective time period elsewhere as well.

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Imre Galambos: So here the manuscript s 4476 when it's the foreshore for more and Jordan and he gives some basic information and then he gets to the colorful and he translates them, so this collection these six articles, they all talk about the.

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Imre Galambos: manuscripts which are dated in this time collection, which is, which is quite important, because.

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Imre Galambos: You will not find any manuscript that doesn't have a date on it, so the things usually common in the collar phones usually at the end of the.

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Imre Galambos: The scroll or booklets.

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Imre Galambos: and

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Imre Galambos: Giles translates all of these, and I think that's these are really, really interesting it's an interesting read if you just sit down and read through.

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Imre Galambos: These color phones, because it gives you an idea what the manuscripts were about it so it's really interesting So if you we usually look at color phones today with an idea of.

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Imre Galambos: A date so we want to call a phone because it has a date, and then we can position the manuscript within our narrative of history.

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Imre Galambos: But I think it's really important also to look at what the color font actually says what's the context of the creation of this manuscript.

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Imre Galambos: So, for example, in this case, if we read the translation so on a day in the fifth moon of the second year of the temple rain.

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Imre Galambos: Ching Ching Ching reverently copied this sutra or caused this sutra to be copied on behalf of his deceased daughter praying that her soul may be reborn in the pure land and that all barriers of sin may be utterly annihilated.

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Imre Galambos: So basically the the context of copying this sutra was for the benefit of a bcs child somebody is this is john, and this is a fair, this is this kind of commemoration of the dead, obviously.

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Imre Galambos: This practice stands behind many of the copies of texts that we see, even if we don't have color phones.

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Imre Galambos: Speeding this but it's quite interesting that, when you read through these call phones one after the other, you will see that many of them has this time of text.

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Imre Galambos: And so, once you read about this East daughters, you see, about this East sons the seas mother, the scenes father.

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Imre Galambos: It really I think after reading about two dozen of these color falls it kind of gets to you, and so you start kind of maybe appreciating the human aspect behind copying the scriptures So these are copied in many cases for.

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Imre Galambos: yeah for the benefit of somebody who died from your family and if it's a if it's a small boy of seven or something like that it's it obviously was something quite emotional and quite personal to the people.

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Imre Galambos: Who copied the text so and I think it's it's very important to understand this, so not only look for the for the date or for the context or for names, or something like that, but actually to understand what the.

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Imre Galambos: What the reason we're the motivation behind the copying words.

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Imre Galambos: For the for the general the entire collection, we have this.

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Imre Galambos: catalogue of Giles which appeared a bit later in 1987 So this was, I think he died in 19 no 1957 and he died in 1958 So this was published basically after he had retired and he was in a.

165
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Imre Galambos: He was in a caramel home and this whole catalog was hidden under his bed, so it was.

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Imre Galambos: He gave it to one of his students Eric grinstead who helped to publish it so it's almost like a miracle that this whole catalog survived and it got published but it's really, really important for the collection and if you.

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Imre Galambos: If you need any of the old generation or Japanese scholars.

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Imre Galambos: For it like who used to work on doing Hong manuscripts everybody had a copy of this and everybody mark that up in fact the most famous one of the most famous demonic scholars.

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Imre Galambos: fujita akita he had a copy of this also and he marked it up almost every manuscript and notes on it.

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Imre Galambos: And so, he left the copy at the British Library or probably at the British Museum and and so now it's there with all his notes it's really, really interesting and quite interesting that he dedicated it to.

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Imre Galambos: To the British Library So this was obviously not Lionel journals because.

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Imre Galambos: Who was already ill or maybe already passed away at the time, but nevertheless.

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Imre Galambos: To the library.

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Imre Galambos: The interesting thing is that, because this collection talks or this catalogue talks about older manuscripts or takes into consideration all the manuscripts.

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Imre Galambos: Even if the information is not 100% accurate it's it's a very good framework kind of like structure.

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Imre Galambos: To record new information about manuscripts so that's why it's been so popular, if you look at the.

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Imre Galambos: table of contents and i'm not going to go through the whole thing, but just want to show you that, so it begins and.

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Imre Galambos: ends with the Buddhist texts, then he moves on to other texts and basically the organization is by by text So you see would begin with the maha pride in our parameters sutra so the BAT border Bola me boy gene, and then we go on, we have the vijay deca so the dingdong gene and then.

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Imre Galambos: so forth, then we have Lotus sutra and then basically.

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Imre Galambos: Under each text.

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Imre Galambos: jarvis journals collected the manuscripts relevant to it.

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Imre Galambos: If we look at the because this is a methods in psychology so maybe we could look at the secular attacks and you see that there are quite a few of them, they separate from the.

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Imre Galambos: The Buddhist texts, and the reason for this is because psychology back then maybe even today was primarily focused on non Buddhist texts, and so this is what everybody was interested in these are the attacks that Paleo, for example, collected.

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Imre Galambos: or selected when he was in the library cave because his interest was more psychological and journals interests and was obviously also.

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Imre Galambos: To some extent psychological that's why he separates the secular attacks and so he arranges them in in these categories like classics history typography and so forth.

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Imre Galambos: Now, if we look at the this.

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Imre Galambos: The actual description, we can see that he begins with the to eat, so the Book of changes and then he moves on.

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Imre Galambos: To the social and then the DEMO sure so it's basically a traditional Chinese categorization before.

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Imre Galambos: Well it's the beginning of the four categories categorization but it's not exactly that.

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Imre Galambos: But if you're looking for.

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Imre Galambos: One of these texts, you would find them here this catalog, so this is how if you're looking for the the Book of poetry manuscripts were doing wrong, this would be one place to start, of course, this is only valid for the Stein collection in London.

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Imre Galambos: or here, looking at the tales and biographies you can see that.

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Imre Galambos: They are in a different category So these are more like narrative.

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Imre Galambos: narrative stories and then you have say here the 7249 is the shins and beyond, so the story of Emperor of the Emperor ocean and his stepmother, so this is a famous transformation text began when, in which i'm.

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Imre Galambos: Sure, well, I wouldn't call him Emperor ocean so maybe shouldn't be Filial son he he's being.

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Imre Galambos: almost like persecuted by his stepmother who wants him dead and so she sets him up in a number of ways.

197
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Imre Galambos: But in the end, she.

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Imre Galambos: The truth comes out and shoes kind of.

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Imre Galambos: status is restored in front of his father.

200
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Imre Galambos: Okay.

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Imre Galambos: Another important thing, another important catalog related to the to design collection is this one, this is the catalog of Tibetan manuscripts from Tom Horn.

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Imre Galambos: In the in the office library.

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Imre Galambos: Which is probably less interesting for us here as psychologists, but.

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Imre Galambos: The important thing is that there is an appendix on Chinese manuscripts and it's compiled my kazoo inaki so here's his like shy you sure that his Chinese name but.

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Imre Galambos: So he was a well known scholar of Central Asia or inner Asia and he compiled a catalog of the Chinese manuscripts within that collection it's really interesting that this.

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Imre Galambos: Part of the collection, was much less known until.

207
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Imre Galambos: know just in general among people working on Chinese manuscripts because they.

208
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Imre Galambos: It was not part of the Chinese collection, it was part of the Tibetan collection, even though these were Chinese manuscripts so one of my.

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Imre Galambos: One of my books which we published in 2012 with a colleague.

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Imre Galambos: assembled Skype was manuscripts and travelers and it was about a group of texts.

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Imre Galambos: glued together into scroll and that scroll was in this collection and the reason why we could find such interesting material in 2010 let's say.

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Imre Galambos: was because many not many other people looked at this collection, so it was really interesting that you could still find something of major interest, even though, even after 100 years that people have been looking at and it's, not to say that nobody looked at it and some people.

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Imre Galambos: have written on it, but it just was not part of sort of mainstream knowledge, and yet it was extremely interesting and important manuscript.

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Imre Galambos: And for the French elections in in Paris, we have a number of these catalogs basically we have five volumes, which came out.

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Imre Galambos: In different times so starting from the 1970s 1970 and on, but the second volume never came out it's actually only four lines, even though it's five.

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Imre Galambos: And they didn't come out in over there and so number like number two has not come out, yet it exists in types it for him, but it has not been published and then, if a little bit later this other.

217
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Imre Galambos: collect catalog came out, and this is similar to inaki console wars catalog in that this is a.

218
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Imre Galambos: This is the friend of Chinese fragments in the Tibetan collection and this was compiled by Francois Francois as want to turn.

219
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Imre Galambos: Who.

220
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Imre Galambos: works on both Chinese and Tibetan manuscripts So if you need anything.

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Imre Galambos: If you want to look at any of the French collection that you need to look at these at these catalogs and i'm showing here just the sample of what they record.

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Imre Galambos: And this is actually quite interesting because this was a I think it was a milestone in the creation of catalogs at the time, because.

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Imre Galambos: You can see that.

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Imre Galambos: They recorded a text, but they also have information about sort of the code ecology of the manuscript so here it's describing that the.

225
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Imre Galambos: The handwriting is the Sheen, and this in small characters and and then the ink is kind of mostly pale and so forth, so it hasn't.

226
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Imre Galambos: In some cases, have quite a detailed description of what the manuscript looks like, so this is this kind of cataloging is based on French cataloguing of other types of manuscripts non Chinese or not even Asian manuscripts, but this was adopted for.

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Imre Galambos: compiling this catalog for Chinese manuscripts and it's actually quite interesting because.

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Imre Galambos: These volumes I think became quite influential so when the Russian collection was catalog he was also using this kind of system.

229
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Imre Galambos: Which is, which is, which is great, and none of this material is in jobs, for example, so the gentiles catalog.

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Imre Galambos: is primarily based on texts and the French catalog is not based on tax it's based on items so it's based on manuscripts and I think that's a very, very important step.

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Imre Galambos: in the right direction because we're dealing with with physical objects and it's it's important to recognize that and rather than just kind of always thinking in terms of what the content is, as I was talking about this just a second ago about the.

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Imre Galambos: The motivation for copying the the text which, in many cases was.

233
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Imre Galambos: Like commemorating.

234
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Imre Galambos: The deceased so that that kind of motivation is actually at the core of what this manuscript is about, so the text is important, but what the text actually says is much less important.

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Imre Galambos: than how the text is used in that particular instance, and I think if you look at the manuscripts from the point of view of manuscripts and organize them according to their press mark and as physical objects that it's a much, much better.

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Imre Galambos: approach.

237
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Imre Galambos: So here, this is the front, so the rectal and then the first, so the other side has several texts, and then they are identified, and if there are say dates, then the data identified So here we go through a number of texts i'm only showing the end because it's several pages long.

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Imre Galambos: And you can see that at the end again you have a very.

239
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Imre Galambos: Well, a very brief but, nevertheless, important.

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Imre Galambos: description or informative inscription description of what the manuscript looks like, so this is a scroll consisting of 10 sheets and then it gives the the dimensions and so forth, so this is this is really important, I think.

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Imre Galambos: it's great that all of the French catalogues have that not only that there are a lot of indices at the end, and these.

242
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Imre Galambos: Each index records.

243
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Imre Galambos: kind of very, very useful information such as like taboo characters or woods or 10 characters or or I don't know means of places names of people these kind of things so it's actually very, very informative and also.

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Imre Galambos: The creation of these catalogs it's not only about the the output, the result but it's kind of working on these catalogs a whole generation, or maybe even two generations of French scholars have been trained and so they've been trained in this very.

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Imre Galambos: specific way of working on manuscripts and hence the the the French school of Hong studies, has been very, very influential in probably most influential in the West.

246
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Imre Galambos: So it was really important to do these catalogs.

247
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Imre Galambos: Now the Russian collection has also.

248
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Imre Galambos: A catalog we have two volumes done by left magical and so first volume in 1963 and then in 1967 and, although this is earlier than the.

249
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Imre Galambos: Many of the French catalogs, but I think it incorporates much of the or many of the.

250
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Imre Galambos: The lessons learned from creating the French catalogs so it simply came out earlier, but nevertheless is is partly based on those So these are available.

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Imre Galambos: In PDF I think most people work on this have them but they're also an is also Chinese translation.

252
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Imre Galambos: which came out in two volumes came out in 1999 which is not only a translation, but there is some updates there as well, which are quite important.

253
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Imre Galambos: And there's also.

254
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Imre Galambos: A in 1984 men should have also compiled the.

255
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Imre Galambos: The description of Chinese manuscripts from the photo collection, which is the feature collection, which is mostly known for its tangled manuscripts but actually they've been.

256
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Imre Galambos: we're not just manuscripts but penguin books, because some of them are printed, but actually there's quite a lot of.

257
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Imre Galambos: Chinese manuscripts in that too, so these let's say three volumes are quite important, if you want to look at the Russian collection.

258
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Imre Galambos: And this is what i'm looking at the Chinese translation, because I assume that most people here would be familiar with Chinese or more people would be familiar with Chinese and Russian and so this is what it looks like, so this is.

259
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Imre Galambos: by item, like the French collection, so this is the the.

260
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Imre Galambos: Two four or five one manuscript and then it's basically the text or the main text, and it is the conversation towards one show, so the story of of the.

261
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Imre Galambos: The smart or the wise boy child tour was kind of debating with Confucius and based and few moving it humiliates Confucius in a debate.

262
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Imre Galambos: And so, this is a.

263
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Imre Galambos: There that, as you can read it it's basically in the booklet format and they are two.

264
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Imre Galambos: Two sheets or folded right by folio.

265
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Imre Galambos: From this booklet and then we have the.

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Imre Galambos: The beginning line and sometimes they write the end line as well, but.

267
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Imre Galambos: As you can see, at the end, you also have this description of what the paper is like kind of like the French capital it's very, very useful, I think, even today.

268
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Imre Galambos: it's it's an excellent catalog and of course Manchego was it was a very well trained psychologist and he he's been very influential in doing studies at the time.

269
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Imre Galambos: So.

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Imre Galambos: The Chinese collection.

271
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Imre Galambos: In the National Library of China.

272
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Imre Galambos: Has this cantaloupe.

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Imre Galambos: done by Professor fun one Tom and.

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Imre Galambos: This is actually very it's not just the catalog but it's also, as you can see here on the title it's the ginger beer Hall, the JAR jar so it's the.

275
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Imre Galambos: it's a table of.

276
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Imre Galambos: Well correspondences between the old numbers and the new numbers and I mentioned earlier, that these numbers were originally they were using the chance to win numbers and then at one point.

277
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Imre Galambos: Quite recently, they switched to the big numbers that Baden numbers and so without this book it's kind of difficult to find anything and I, you can see that this is what it looks like on the.

278
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Imre Galambos: A typical page on the inside, so you have the chimp Chancellor at home it's the gen and 58, and this is the title of the text and then this is the new number, and this is the number on the number of the microphone microfilm on which this text was.

279
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Imre Galambos: Digital digitize on that digitize the trick.

280
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Imre Galambos: or publish this micro micro films.

281
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Imre Galambos: And so you can go between.

282
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Imre Galambos: The old numbers and the numbers because, quite a few quite a few publications, they still use the old numbers and I think it's quite useful to.

283
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Imre Galambos: To have access to to immediately find what the new number is so ideally this information should be on IDP will the IDP website, but it's not unfortunately.

284
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Imre Galambos: And so you have to know the conversion you'd have to go between and the old and the new numbers and if you if you know, the new number obviously you should also convert it back to the old number if you're looking for scholarship on that particular object.

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Imre Galambos: But I should also mention that Professor from one channel, please the expert on doing whole Buddhist manuscript or just doing home manuscripts in general he's been compiling a catalog of of.

286
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Imre Galambos: All doing Hong collections so, including the one the ones in Paris and London and so there's been plus to publish that.

287
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Imre Galambos: i'm not sure when it's coming out but eventually will and it's probably actually as far.

288
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Imre Galambos: As we can see from presentations he's given it's it's it's a very detailed and very, very thorough catalog so.

289
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Imre Galambos: very likely will supersede all these older catalogs.

290
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Imre Galambos: But until then we have to use them now, how do we find a specific text, and this is where this little book comes into play, so this is the.

291
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Imre Galambos: donny schatz almost Wayne, and this is the symbian there's a there's a old lady deal beyond which is not caught up and just cold.

292
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Imre Galambos: So motion seem to loosen.

293
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Imre Galambos: That this is the symbian which is updated and.

294
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Imre Galambos: We should use this one, so this was published in 2000 and again.

295
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Imre Galambos: If you have a digital copy.

296
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Imre Galambos: And it's ocr, then you can search for any kind of text in it, and this is what it looks like in terms of the divisions quite interesting that you see the first two collections, the Stein and the the Paleo the pushy her collection is called.

297
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Imre Galambos: Well it's called the teaching loss or the record of plunder it's sutras.

298
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Imre Galambos: So, because.

299
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Imre Galambos: Both this time and the Paleo collection are considered you have been stolen from China, and then you have the National Library of China collection here, so if we look inside.

300
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Imre Galambos: We can see, this is the beginning of this time collection or the ones plundered by Stein and then we can see that.

301
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Imre Galambos: It is by text or no actually it's by item, but they use the zeros in Chinese style, which is not how it's actually in the acting in the British Library but.

302
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Imre Galambos: Nevertheless, you can identify the text, so this would be s one s two and then you can find the what the text is obviously at the end you can also go the other way around, so here you have a soil for.

303
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Imre Galambos: Finding manuscripts according to the text, so you see the the dictionary each each creating unique as surprising through three manuscripts and you can find them so.

304
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Imre Galambos: One manuscript in this time collection and doing the Paleo collections, and this is how you can go and find them, so I think i'm answering some serious question if you were looking for.

305
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Imre Galambos: a shortcut to find a particular text, this is where he would begin with this.

306
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Imre Galambos: With this catalog because.

307
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Imre Galambos: it's The easiest way it.

308
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Imre Galambos: Supposedly includes all collections where at least three of the.

309
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Imre Galambos: biggest ones.

310
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Imre Galambos: And then yeah you can you can easily track down any text, especially if you have a PDF which you search and it becomes really easy.

311
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Imre Galambos: Another text that's another catalog that recently came out is this one, it has an English title as well, so this is the concordance the details show cannon.

312
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Imre Galambos: And dunhuang Buddhist manuscripts, and this is a 2015 the third provisional edition and there might be newer one is just the copy that I downloaded this.

313
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Imre Galambos: Is this one so maybe there's a fourth edition, since then, or even fifth i'm not sure, but basically this is, this is a huge book, you can download it.

314
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Imre Galambos: So it's very, very comfortable it's fully searchable and it's it's incredibly detailed and very, very useful and quite actually very, very accurate.

315
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Imre Galambos: So if you're if what you're looking for is a Buddhist texts, then go no further, because this would be the place to find it so if you search for the same.

316
00:51:21.870 --> 00:51:26.640
Imre Galambos: text here and in the previous one in the in the.

317
00:51:28.590 --> 00:51:41.520
Imre Galambos: This volume, then you would find probably twice as many hits in this catalog because it's just it's more comprehensive, so it also includes the Russian collection and includes.

318
00:51:42.750 --> 00:51:52.050
Imre Galambos: Japanese collections and includes, as you can see here, for example, it includes the genie so the changing usual Beauvoir collection the.

319
00:51:53.460 --> 00:52:01.620
Imre Galambos: museum of art attention museum of art collection, which is not a major collection but it's it's Nevertheless, it is a collection.

320
00:52:02.220 --> 00:52:17.910
Imre Galambos: And then, if you go down here on the right hand side at the bottom, you see this you so that's the hunted down collection, which was only published quite recently, and so that's not included in any of any of the old catalogs.

321
00:52:18.990 --> 00:52:23.640
Imre Galambos: Actually, people didn't even really know about that collection before so.

322
00:52:24.840 --> 00:52:28.170
Imre Galambos: that's that's a major plus for this.

323
00:52:29.190 --> 00:52:41.820
Imre Galambos: catalog and but unfortunately the only works for but it's tax and not just for the stats but it's primarily concerned with and it's organized according to the type show cannon the cannon so.

324
00:52:44.370 --> 00:53:01.560
Imre Galambos: I don't know how useful, that is for people, not in Buddhist studies, but basically if you know the title number, then you can find the text easily much easier, is to just search the file and you will find pretty much anything.

325
00:53:02.610 --> 00:53:03.630
Imre Galambos: that's available that.

326
00:53:05.070 --> 00:53:21.090
Imre Galambos: You have to be aware, of course, that the shore and characters like that have various forms, and sometimes the Japanese for is not the one that's used in Chinese so maybe the best thing is to avoid those characters and search for other parts of the.

327
00:53:22.500 --> 00:53:23.910
Imre Galambos: Attacks but otherwise the.

328
00:53:25.230 --> 00:53:32.220
Imre Galambos: characters are full form, so the king, for example here it's not the Japanese thing but it's the Chinese.

329
00:53:33.750 --> 00:53:37.530
Imre Galambos: traditional form, which is very, very useful.

330
00:53:40.440 --> 00:53:46.650
Imre Galambos: here's just another page from this and you can see that some of the major texts like this one, the.

331
00:53:47.700 --> 00:54:03.840
Imre Galambos: map on portable me pointing insurance on the translation is just really popular and i'm only showing here this one page, but it goes on for pages and pages, because there are hundreds of copies of them in dental home.

332
00:54:04.920 --> 00:54:18.120
Imre Galambos: And what you can see here is that you can see, the location in the title canon of that boy in this this must have been an incredibly difficult or time consuming tasks to do.

333
00:54:19.650 --> 00:54:32.940
Imre Galambos: But I don't know I don't know how useful, this is to find the exact spot, because we can simply search for this also invitation or carolyn but, nevertheless, this is again, this is a monumental.

334
00:54:34.380 --> 00:54:37.140
Imre Galambos: And freely available downloadable.

335
00:54:38.520 --> 00:54:40.290
Imre Galambos: catalog, so this is wonderful.

336
00:54:42.240 --> 00:54:59.370
Imre Galambos: here's the continuation of the same sutra into Hall, and finally, I also want to mention this again many people must be familiar with this, this is a collection of color phones.

337
00:55:01.020 --> 00:55:13.680
Imre Galambos: So by either on so he was treating when he was one of the most famous Japanese scholars working on getting hungry and working on all sorts of facts mostly economic.

338
00:55:15.840 --> 00:55:21.810
Imre Galambos: Tanks but but also other types of texts and he collected he published this in 1990.

339
00:55:22.950 --> 00:55:31.530
Imre Galambos: So this is a collection I don't know if you can guess that from the title, this is the they using the word.

340
00:55:32.370 --> 00:55:54.120
Imre Galambos: Chicago which refers to call the phones so it's a collection of color forms in Chinese old or ancient Chinese manuscripts and basically it's any kind of manuscript and he oddly also includes manuscripts that don't exist, so, in some cases we have.

341
00:55:55.290 --> 00:56:13.050
Imre Galambos: Some color forms that survive as transmitted literature and those are included as well, but because of the enormous number of doing home manuscripts actually this whole collection is maybe 90% about doing on manuscripts so it's really.

342
00:56:14.340 --> 00:56:15.180
Imre Galambos: outstanding.

343
00:56:16.470 --> 00:56:28.650
Imre Galambos: How many doing home manuscripts have color phones here and they're all included here and from from diverse collection so basically almost any collection is.

344
00:56:29.850 --> 00:56:31.710
Imre Galambos: accounted for here, so you have.

345
00:56:33.090 --> 00:56:51.330
Imre Galambos: For example, you have manuscripts from the fuji using counting photo and places that are simply not part of any other catalog in general, because people had very little access to them, but he he gave that he went through all of these and cancel them.

346
00:56:53.010 --> 00:56:55.500
Imre Galambos: And so, this is what the.

347
00:56:57.420 --> 00:57:03.660
Imre Galambos: The Council of looks like looks on the inside, and it assigns numbers to.

348
00:57:06.180 --> 00:57:28.680
Imre Galambos: I guess to manuscript so it's it is by manuscript but the manuscript number is only at the end, so you can you see you have any character door Tang and then it says P 2718, so this is from this is the Paleo collection in Paris, and this is where you have the colorful so you have the.

349
00:57:29.700 --> 00:57:37.470
Imre Galambos: charger Lou New Jersey, so this is the debate of tea and and alcohol.

350
00:57:38.760 --> 00:57:41.670
Imre Galambos: And then you have an after that you have a.

351
00:57:42.870 --> 00:57:52.320
Imre Galambos: caller from dating to the fifth year of the cabal rain, and so the date is 972.

352
00:57:53.700 --> 00:58:00.840
Imre Galambos: This kind of title is a title is a modern title kind of descriptive based on what's in the.

353
00:58:01.980 --> 00:58:04.350
Imre Galambos: In the manuscript but it's.

354
00:58:05.520 --> 00:58:06.870
Imre Galambos: it's really interesting that.

355
00:58:08.640 --> 00:58:26.820
Imre Galambos: When you go to, for example, well let's look here, so you see here that this is a, this is a much longer call the phone and the transcription of color falls is actually quite accurate, so, in many cases, you find earlier publications and he corrects.

356
00:58:27.900 --> 00:58:35.280
Imre Galambos: Or maybe I don't know if he ever looks at some of the earlier publications, but nevertheless records the the correct.

357
00:58:36.870 --> 00:58:43.950
Imre Galambos: color phone, the text and it's so it's really, really again it's a monumental work very, very important.

358
00:58:45.690 --> 00:59:01.350
Imre Galambos: Now, when you get to items like this, so here you have seen way sweet, so the year of seeing way and that's that's based on the country kindergarten teacher system.

359
00:59:02.580 --> 00:59:04.260
Imre Galambos: And he usually dates them.

360
00:59:05.670 --> 00:59:14.610
Imre Galambos: quite early so now, in this case, I think, in this case, because he recognizes that this manuscript is is quite late.

361
00:59:15.930 --> 00:59:38.910
Imre Galambos: But actually if you look at it, where it's collected or where it's stored he's saying it's unknown, so its location is unknown, which is really interesting, but where it's recorded then it's recorded in in it was published by lauren you so probably 19 or nine or in one of the later publications.

362
00:59:40.260 --> 00:59:48.120
Imre Galambos: Modern you publish these and then some of some of these items that he published we don't know where they are today, so this is one of those.

363
00:59:49.230 --> 00:59:55.890
Imre Galambos: But let's look at the other example, and here we can see that, for example, here we have the.

364
00:59:57.240 --> 01:00:04.980
Imre Galambos: diamond sutra and there's a date at the end so it's the Johnson here with us sure so.

365
01:00:06.480 --> 01:00:24.030
Imre Galambos: The fifth know 15th day of the fifth month of the jobs a year, and he is guessing that the john's a year, maybe 844, and the reason for that is that this kind of dating without the heart so without the rain title.

366
01:00:25.110 --> 01:00:25.800
Imre Galambos: Was.

367
01:00:26.970 --> 01:00:32.430
Imre Galambos: specific to the Tibetan period into which ended in 848.

368
01:00:33.480 --> 01:00:54.240
Imre Galambos: Or, so they thought at the time, and today we know that this was not the case, because the same kind of dating continued even after the end of the development period so because of this, because of this assumption, many of the dates of these candidates actually.

369
01:00:55.500 --> 01:01:09.720
Imre Galambos: In iquitos cannot be beat to the tobacco and period and here he explicitly says, for example, the tube or etonian so the neutral year of the tobacco and period.

370
01:01:11.310 --> 01:01:22.290
Imre Galambos: But I mean maybe there is indication something related to Tibet, but I don't see any of that here in the in this color phone and we would need to look at the manuscript.

371
01:01:23.220 --> 01:01:33.060
Imre Galambos: But then we have the same thing in the next manuscript so this also relates to back to the Tibetan period and typically these manuscripts actually date.

372
01:01:34.380 --> 01:01:37.500
Imre Galambos: Later, so this dungeon years they.

373
01:01:39.000 --> 01:01:39.270
Imre Galambos: They.

374
01:01:40.740 --> 01:01:52.080
Imre Galambos: kind of repeat yeah they repeat every six years so many of these manuscripts are actually later like 16 years later, so the 845 it might be.

375
01:01:53.160 --> 01:01:54.540
Imre Galambos: I don't know nine or five.

376
01:01:56.730 --> 01:02:02.550
Imre Galambos: And that's quite common and scholars have written already about this.

377
01:02:04.350 --> 01:02:05.280
Imre Galambos: Okay, the chat.

378
01:02:13.170 --> 01:02:14.790
Imre Galambos: Okay hold on.

379
01:02:16.260 --> 01:02:20.130
Imre Galambos: yeah that's all I wanted to see, but I wanted to actually to go.

380
01:02:21.390 --> 01:02:24.540
Imre Galambos: to one of the manuscript so i'm going to.

381
01:02:25.770 --> 01:02:29.490
Imre Galambos: share this thing and go back.

382
01:02:34.290 --> 01:02:37.680
Imre Galambos: Here you can see, can you see my browser.

383
01:02:39.180 --> 01:02:40.680
Samira Müller: Now, yes Okay, yes.

384
01:02:41.190 --> 01:02:44.040
Imre Galambos: Yes, so, for example, if we look at.

385
01:02:46.500 --> 01:02:48.450
Imre Galambos: manuscript 137.

386
01:02:49.590 --> 01:02:52.380
Imre Galambos: s 137, so this is a.

387
01:02:53.430 --> 01:02:59.280
Imre Galambos: As you can see, if we open it in the IDP database, this is a.

388
01:03:02.040 --> 01:03:06.810
Imre Galambos: copy, we can enlarge this can you see the enlarged, a new window.

389
01:03:11.550 --> 01:03:12.510
Imre Galambos: So let me.

390
01:03:13.740 --> 01:03:14.910
Imre Galambos: share that and.

391
01:03:16.290 --> 01:03:17.670
Imre Galambos: Now you can see, probably.

392
01:03:17.910 --> 01:03:18.450
Yes.

393
01:03:19.470 --> 01:03:21.210
Imre Galambos: Okay, so this is.

394
01:03:21.780 --> 01:03:24.810
Imre Galambos: This is one little manuscript here.

395
01:03:26.280 --> 01:03:29.040
Imre Galambos: So if you find it if you're looking for the.

396
01:03:30.240 --> 01:03:34.890
Imre Galambos: machine going, and this is the border follow me to changing.

397
01:03:36.270 --> 01:03:41.850
Imre Galambos: Then you will find this manuscript and then you can track this manuscript to.

398
01:03:43.680 --> 01:03:54.570
Imre Galambos: among many others because they will be many, many other copies of the same text and so many of them will be in this collection some in in Paris others in St Petersburg and so forth.

399
01:03:55.440 --> 01:04:11.220
Imre Galambos: And, and what I wanted to say is actually, this is a kind of as a closing example is that this is a manuscript that's not very particular right it's very, very simple so it's almost like.

400
01:04:11.880 --> 01:04:20.460
Imre Galambos: We don't learn anything about it so it's the text that we can go through the text and maybe find some mistakes as we've seen last time.

401
01:04:20.850 --> 01:04:31.650
Imre Galambos: There are mistakes and some of the mistakes might be quite interesting, like last time we had the character seen instead of Russian so instead of deep we had heart.

402
01:04:33.120 --> 01:04:42.540
Imre Galambos: And examples like that, but in general the manuscript does not tell us anything about the text that we don't know.

403
01:04:44.520 --> 01:04:55.350
Imre Galambos: But by looking at the manuscripts rather than the text we can nevertheless come up with a few interesting observations.

404
01:04:56.100 --> 01:05:12.630
Imre Galambos: And I specifically chosen this manuscript because there's there's almost nothing you can kind of see in it and see anything special in it, and obviously special with the secret object and everything but in terms of information right.

405
01:05:13.950 --> 01:05:15.600
Imre Galambos: But I want to show you that.

406
01:05:17.820 --> 01:05:25.050
Imre Galambos: One explain that there's none of us quite a bit of information here that we can use so one of the things.

407
01:05:26.490 --> 01:05:37.770
Imre Galambos: Is that there's a new sheet beginning here right So if you can see, between the last line, and then the title at the end, you have a seam.

408
01:05:40.920 --> 01:05:44.700
Imre Galambos: line where the two sheets connect.

409
01:05:45.840 --> 01:05:57.450
Imre Galambos: I think there is one I haven't seen the original one I just found this example, this morning, and so that means that there was a new sheet attached.

410
01:05:58.590 --> 01:06:07.380
Imre Galambos: To the previous one, and you can see, you know that this text is very, very short right, so the what comes before it.

411
01:06:08.370 --> 01:06:31.470
Imre Galambos: That it's me the missing part is maybe another I don't know five six lines seven lines, but not more and, nevertheless, you have to all this thing would have fit on one sheet of paper because one sheet of paper typically can contain about 28 or 30 sometimes even 32 lines of text.

412
01:06:32.730 --> 01:06:43.230
Imre Galambos: But instead here you have this almost like artificially adding another or almost like a purpose, making the manuscript longer stretching it out.

413
01:06:44.160 --> 01:06:53.970
Imre Galambos: And then, this second sheet, or maybe the third sheet is there might have been one of the beginning with properties, the second, so the second sheet is.

414
01:06:54.990 --> 01:07:15.570
Imre Galambos: is then incomplete or rather than incomplete, we can say it's much shorter so it's coke here, and then the the corners are also called cut so it's you have battled corners and, at the end, you have a sign of what track traces of glue to why would you have traces of glue.

415
01:07:16.950 --> 01:07:26.340
Imre Galambos: it's because there was a roller there was a wooden roller attached to it and it's very clear the bevel corners and also the sub.

416
01:07:26.760 --> 01:07:42.840
Imre Galambos: traces of the glue here indicate that there was a roller at one point, so this was a manuscript that was kind of mounted or bound in a very formal way, there was a rumor and it was rolled up and.

417
01:07:44.400 --> 01:07:47.700
Imre Galambos: From a practical point of view it's completely unnecessary.

418
01:07:49.980 --> 01:07:51.390
Imre Galambos: Okay hold on somebody.

419
01:07:52.770 --> 01:08:04.560
Imre Galambos: saying in the heart sutra manuscript yeah I mean showing I see very thing likes making the outline of the columns in which the text is written, as well as the top and bottom margin, are these links, you know.

420
01:08:05.610 --> 01:08:18.810
Imre Galambos: I this into an appeal Gray, or are the phone lines okay So these are yeah, these are the ruling lives or Rule two lines, and they are done in a pale ink.

421
01:08:19.500 --> 01:08:28.590
Imre Galambos: So they look like pencil marks and obviously they didn't have pencils back then, so they used ink and then they.

422
01:08:29.430 --> 01:08:50.010
Imre Galambos: They use the ruler, and in some cases, you see that the end of the line kind of goes to the left or goes to the right indicating that that's where the ruler ended, and so they pushed beyond that and then the the line went in in one or the other direction, so these lines were.

423
01:08:52.140 --> 01:09:01.140
Imre Galambos: Well, quite quite common in these manuscripts one one thing you can see that this is a rather formally written manuscript in a.

424
01:09:01.590 --> 01:09:12.270
Imre Galambos: In a good handwriting carefully so you didn't write this kind of quickly before lunch what you took your time or it may be a professional person took.

425
01:09:12.750 --> 01:09:24.240
Imre Galambos: His time and he wrote it very slowly and accurately and so the ruling lines are actually part of that process, interestingly, at some point in history.

426
01:09:25.170 --> 01:09:37.590
Imre Galambos: I think around the eighth century or something you start seeing these characters going to the left of the lines close to the left line and further away from the right hand side line.

427
01:09:38.310 --> 01:09:49.740
Imre Galambos: But then that disappears in time and so zev also mentioned the the folding lines, and you can see these folders here, so these are traces of folding.

428
01:09:50.130 --> 01:10:02.550
Imre Galambos: But I think it's it's actually not folding but it's the rolling up so they're traces that the manuscript had been rolled up in one point and it's it seems to be.

429
01:10:04.020 --> 01:10:08.910
Imre Galambos: More it doesn't have the ruler anymore it's probably loosely rolled up now.

430
01:10:09.960 --> 01:10:22.410
Imre Galambos: So maybe the folding your eyes are actually it's possible that they are modern, the result of growing up or no first different paper it's hard to know.

431
01:10:23.880 --> 01:10:34.350
Imre Galambos: But coming back to this idea that you have such a short text on such a unnecessarily in such an unnecessary elaborate.

432
01:10:37.050 --> 01:10:38.130
Imre Galambos: kind of way of.

433
01:10:39.930 --> 01:11:00.360
Imre Galambos: Presenting or presentation is actually quite interesting because it, it shows that there was a deliberate effort to make this proper manuscript So if you copied a chapter of the Lotus sutra obviously you had enough text on it to make a long legacy of a four metre.

434
01:11:01.530 --> 01:11:11.220
Imre Galambos: or five metre scroll which looked very good as a scroll but with a short text like this, it was not possible, but nevertheless, you could add.

435
01:11:12.600 --> 01:11:20.820
Imre Galambos: An extra sheet here, and then the beginning, you could add a little bit, and unfortunately we're missing the beginning, what you see here is a conserved.

436
01:11:22.920 --> 01:11:25.860
Imre Galambos: Beginning added by modern conservators.

437
01:11:27.060 --> 01:11:27.600
Imre Galambos: So.

438
01:11:29.040 --> 01:11:39.420
Imre Galambos: You make this manuscript is as elaborate as possible and, again, we can only speculate about the reason for that, but this is not the only sutra that.

439
01:11:41.040 --> 01:11:41.760
Imre Galambos: People did.

440
01:11:43.290 --> 01:11:49.170
Imre Galambos: Did this word I i've recently written a paper on it on a very short durrani.

441
01:11:50.610 --> 01:12:07.380
Imre Galambos: it's the it's a durrani of resolving of hatred from past lives and it's also it's only 13 lines of text and their copies so quite a few copies of the sutra and it's bound.

442
01:12:08.130 --> 01:12:14.880
Imre Galambos: You know, in a very, very similar way to this so because we have those examples, and those are complete examples.

443
01:12:15.720 --> 01:12:28.740
Imre Galambos: We can kind of speculate about this other texts but bout also very short and bound in a kind of identical way actually what they were using it for.

444
01:12:29.550 --> 01:12:46.860
Imre Galambos: I mean we don't know what they were using it for but, basically, they were trying to make kind of a presentation copy whether this was given to people as a gift or was kind of again part of a commemoration of the dead we don't actually know for sure.

445
01:12:47.910 --> 01:12:51.990
Imre Galambos: Okay i'll stop here, because then we will have some time for questions.

446
01:12:53.160 --> 01:12:53.610
Imre Galambos: Thank you.

447
01:12:58.770 --> 01:13:00.090
Samira Müller: Thank you very much.

448
01:13:01.110 --> 01:13:06.300
Samira Müller: thanks for this elaborated answer to my question last time, I think that was.

449
01:13:07.680 --> 01:13:23.460
Samira Müller: At least, to me it was very helpful, I hope to the artists as well now, the floor is now open for questions, as I said before, if you do not want to appear on camera or your voice is heard you can just type your question in the chat.

450
01:13:25.110 --> 01:13:30.060
Samira Müller: As please read us or something like this, or you can just yeah I can.

451
01:13:31.530 --> 01:13:32.100
Samira Müller: Show you.

452
01:13:33.240 --> 01:13:39.630
Samira Müller: make yourself remarkable, so I can unmute you, and then you may you may ask your questions.

453
01:13:52.260 --> 01:13:55.740
Mariana Zorkina: Oh well, to give people some time to think.

454
01:13:57.180 --> 01:14:00.180
Mariana Zorkina: i'll ask a question, maybe it's a bit naive, but still.

455
01:14:01.380 --> 01:14:07.320
Mariana Zorkina: Given the really good quality of scans nowadays, does it.

456
01:14:08.550 --> 01:14:15.630
Mariana Zorkina: Really, is it really necessary to go and work with the physical corpus like, are there any benefits of doing that.

457
01:14:17.280 --> 01:14:37.320
Imre Galambos: Well, it depends what you what you're trying to accomplish So if you really want to, I think, if you want to work on manuscripts you have to you have to look at them in person, because there are a number of things you would not notice, so I just mentioned, this shorter this sutra about.

458
01:14:38.610 --> 01:14:39.900
Imre Galambos: Resolving hatred.

459
01:14:41.190 --> 01:14:44.340
Imre Galambos: From past lives that I worked on and I wrote that article.

460
01:14:45.360 --> 01:14:49.920
Imre Galambos: In December, when while he was do in December and he was locked down.

461
01:14:51.120 --> 01:15:01.800
Imre Galambos: A year ago, and so I couldn't see the original ones, and when once things opened up in this train I went to see the original ones, and I wish I.

462
01:15:03.240 --> 01:15:11.640
Imre Galambos: wish I wish I had seen them before before I published my article because it's, not that I mean I didn't get anything major.

463
01:15:12.330 --> 01:15:23.940
Imre Galambos: wrong, but nevertheless they were lots of lots of interesting things that I noticed, I mean, for example, that paper that was attached to the beginning again was one of these.

464
01:15:25.710 --> 01:15:32.130
Imre Galambos: Like not very useful cover sheets right that would you had no text actually on it.

465
01:15:33.720 --> 01:15:38.370
Imre Galambos: was much thicker in some cases was twice as thick and it was very rough.

466
01:15:39.810 --> 01:15:46.050
Imre Galambos: Compared to the rest of the manuscript and that immediately got me thinking about what was going on here right.

467
01:15:46.440 --> 01:15:55.110
Imre Galambos: And, and then other things, is that I saw the roller in some cases, and the ruler was like quite different from what it seemed like on the.

468
01:15:56.040 --> 01:16:06.090
Imre Galambos: On the scan and then there are many, many cases like this, so, and one of the one of my big surprises when I worked on a manuscript was the I went to the.

469
01:16:07.740 --> 01:16:20.940
Imre Galambos: To the library and I looked at the original and I was like oh it's so small, and I just I had no idea because I always see them this big screen blown up, so I can see properly.

470
01:16:21.480 --> 01:16:37.500
Imre Galambos: And I looked at it and it was time and I that's when I go in I look at the that's when I went and I looked at the scale and, yes, it was tiny, but like when you look at it, you kind of don't think about the scale right you just you just look at the image.

471
01:16:38.580 --> 01:16:40.680
Imre Galambos: And so I think there are things you can learn.

472
01:16:41.730 --> 01:16:48.540
Imre Galambos: about the manuscript and the more you do this, the more you notice and the more interesting it becomes.

473
01:16:49.050 --> 01:16:58.470
Imre Galambos: But if you're if you're doing a critical edition of attacks that only survives here, for example, you have a good scan I think that's enough so.

474
01:16:59.370 --> 01:17:10.770
Imre Galambos: it's, I think, maybe it's also important to recognize that when you need to look at the original and when you don't so not necessarily everybody needs to look at the original because.

475
01:17:11.340 --> 01:17:21.390
Imre Galambos: You know, or if you're only interested about the historical information that's in it again, you don't if you have a good quality photograph that's that should be enough.

476
01:17:22.380 --> 01:17:35.430
Imre Galambos: But if you work with manuscripts and you, you have worked with scripts or you want to work with manuscripts I think it's important to kind of to see as many as you can.

477
01:17:36.450 --> 01:17:40.260
Imre Galambos: And then you will start noticing things that otherwise you wouldn't have noticed.

478
01:17:42.030 --> 01:17:42.450
yeah.

479
01:17:43.860 --> 01:17:44.250
Mariana Zorkina: Thank you.

480
01:17:45.180 --> 01:17:46.500
Imre Galambos: Okay, we have.

481
01:17:48.510 --> 01:18:00.930
Imre Galambos: um it's of course it's useful there's so many things you can miss if you do not have the ability to check the inner bindings of scrolls are erased characters I wish I could see myself I.

482
01:18:01.950 --> 01:18:11.700
Imre Galambos: See myself all the early Anglo Saxon text or Egyptian proprietary I work on yes absolutely and.

483
01:18:12.960 --> 01:18:31.440
Imre Galambos: Again, you can see things like you can you can turn the manuscript to light, or you can actually use a light box to put underneath the manuscript and then you would notice things that you otherwise don't notice, I mean one of the things that you would definitely not notice by there.

484
01:18:32.460 --> 01:18:37.200
Imre Galambos: With naked eye is that these these so called cuckoo heated.

485
01:18:38.280 --> 01:18:48.810
Imre Galambos: comments which are pressed into the manuscript sometimes with the with the sharp end of the stylists without ink.

486
01:18:49.620 --> 01:18:56.790
Imre Galambos: And so those well they're not very common but you know if you don't know about them and you don't look for them, you never notice them.

487
01:18:57.480 --> 01:19:14.400
Imre Galambos: And so that's a that's a we use a Japanese word for that cool heater because it's the Japanese scholars notice them because they have them in Japan, so they because of that kind of background that kind of training they've looked at.

488
01:19:15.630 --> 01:19:18.780
Imre Galambos: looked for them and then they found some DEMO as well.

489
01:19:20.220 --> 01:19:32.400
Imre Galambos: Okay, all the manuscripts do we have some fragments of early mongo wisdom text so in the don't own library cave a different library gave was closed around.

490
01:19:33.870 --> 01:19:46.290
Imre Galambos: 1008 or shortly after that, and so there are no mongo texts texts at all at a single one no mongol tanks know tango texts but.

491
01:19:47.460 --> 01:19:50.130
Imre Galambos: Also at the mogul caves in the northern part.

492
01:19:51.660 --> 01:19:55.800
Imre Galambos: Of the caves their vehicle debate shoes of the northern zone.

493
01:19:56.460 --> 01:19:57.450
Imre Galambos: There are caves where.

494
01:19:57.690 --> 01:19:58.830
Imre Galambos: They have found.

495
01:19:59.850 --> 01:20:00.480
Imre Galambos: texts.

496
01:20:01.440 --> 01:20:08.730
Imre Galambos: So mongo texts and tango text as well, but i'm not sure about specifically by wisdom texts, I know there are some.

497
01:20:10.800 --> 01:20:14.910
Imre Galambos: Administrative or some kind of like contracts and these kind of things in.

498
01:20:14.910 --> 01:20:15.960
Imre Galambos: mongo but i'm not.

499
01:20:17.130 --> 01:20:19.350
Imre Galambos: I don't remember where they were exactly.

500
01:20:21.270 --> 01:20:36.090
Imre Galambos: Okay, and then Chris ninja I would second that you discover things you miss even on the best scans Of course you don't know what you're missing until you actually handle the manuscripts.

501
01:20:36.810 --> 01:20:47.430
Imre Galambos: and risk comments on a scale is a really important one also not all this time collection has good scans and the black and white can miss a lot, especially characters written.

502
01:20:48.030 --> 01:21:06.720
Imre Galambos: Exactly, so this time collection, you only have maybe less than half of this time collection digitized so it's typically the one the the manuscripts that you want to look at that are not digitized so it can be quite frustrating and then what you can do you look at the.

503
01:21:08.490 --> 01:21:14.160
Imre Galambos: These the Chinese publication, the Intel do Horowitz yeah.

504
01:21:15.270 --> 01:21:25.830
Imre Galambos: And you look for that, for your manuscript but interestingly that collection does not include any of the what is text.

505
01:21:26.940 --> 01:21:36.960
Imre Galambos: He was a decision, back then, I guess the Buddhist texts were to numerous and so again, you go back to the doing wrong bottom, which is horrible quality and.

506
01:21:37.560 --> 01:21:54.840
Imre Galambos: In most cases, you can read the text not always but you definitely not going to see any any of the marks, or in any any nuances including even punctuation marks, especially if they're in red or some other color yeah.

507
01:21:56.100 --> 01:22:10.980
Imre Galambos: Oh Vera more time was he I absolutely agree as far as maps, especially manuscript maps or concern I would rather say scan is very helpful, but only once you have seen the original yes.

508
01:22:12.810 --> 01:22:16.290
Imre Galambos: So that's true actually that once you have seen the original.

509
01:22:17.430 --> 01:22:28.320
Imre Galambos: You can go back and work on your scan, but when you go back and see the manuscript again say two years later, you would still discover many other things because in the meantime, you.

510
01:22:28.800 --> 01:22:42.210
Imre Galambos: You kind of you manage to connect it to a bunch of other things that you worked on it, so you kind of immerse yourself into this topic, and you know more about the manuscript and when you go back, you will see more and.

511
01:22:43.260 --> 01:22:53.340
Imre Galambos: More kind of evidence or more details that you haven't thought of in the first first time and, as I said, the more you work with these, the more you notice.

512
01:22:54.750 --> 01:22:55.410
Definitely.

513
01:22:57.750 --> 01:23:13.830
Imre Galambos: Okay, how about this smell or sense of manuscripts do you notice difference when you handle them would would that tell you how they might have been used some medical manuscripts hubs for mindful smell yeah I mean the meniscus did have smell and.

514
01:23:15.330 --> 01:23:20.280
Imre Galambos: Of course, when Stein was excavating actual sites, so now that didn't own.

515
01:23:21.390 --> 01:23:25.020
Imre Galambos: library cave but, when he was excavating say.

516
01:23:26.310 --> 01:23:34.860
Imre Galambos: Science at Nea and Lola and places like that he was he said he always went after this smell because he could find the the.

517
01:23:36.120 --> 01:23:54.780
Imre Galambos: delight train and it can also find the rubbish keeps which even 1500 years later, they would still smell and so that's where he found the most interesting manuscripts or that's where he found manuscripts because many of the wouldn't sleep, for example, where users toilet paper.

518
01:23:56.310 --> 01:24:00.930
Imre Galambos: At the time, but for specifically to do wrong manuscripts um.

519
01:24:02.430 --> 01:24:11.970
Imre Galambos: Well, you smell them I don't know I haven't been able to kind of or haven't done any research on kind of smelling them systematically one after the other.

520
01:24:12.570 --> 01:24:26.340
Imre Galambos: and partly because you, you only get to see one manuscript at a time right, so you have to have some incredible smell memory, to be able to compare them and to relate them, I think.

521
01:24:27.180 --> 01:24:47.310
Imre Galambos: Especially if you go to a different city you go to Paris and then you smell another one, so in that sense it's I think it's difficult and maybe some people have very good smell sense of smell, even in this post or coven world but.

522
01:24:49.470 --> 01:25:01.560
Imre Galambos: I don't know I haven't I haven't done research on that and, of course, we should remember that some of these manuscripts are today, see the manuscripts at the National Library of China, they are kept in new.

523
01:25:02.070 --> 01:25:11.460
Imre Galambos: boxes made of sandalwood and sometimes they use camphor there so both that would camphor smell, and maybe they will kind of.

524
01:25:13.980 --> 01:25:20.790
Imre Galambos: Well, not let you smell have the original smell or feel the originals no I don't know.

525
01:25:23.490 --> 01:25:23.940
Imre Galambos: Okay.

526
01:25:25.680 --> 01:25:32.580
Imre Galambos: Yes, and even touching delicately with gloves these tiny bits of precious paper we survive so many years, yes, so.

527
01:25:33.900 --> 01:25:51.330
Imre Galambos: say in the British Library you cannot use gloves right so because, when you use gloves your hands are much less sensitive, of course, you have to have clean hands, and so you have to wash your hands, you cannot have anything on them any dirt or grease.

528
01:25:52.410 --> 01:25:58.710
Imre Galambos: But then you you handle the manuscripts in with their hands and that's very, very useful, so this tactile.

529
01:25:59.310 --> 01:26:08.250
Imre Galambos: connection with manuscripts I think is very important because you can you can immediately feel the texture and you can you can feel good the.

530
01:26:09.210 --> 01:26:19.710
Imre Galambos: In many cases the the thickness of the paper if it's unusual, of course, you can have you have these instruments do you measure the thickness of paper but.

531
01:26:20.550 --> 01:26:31.410
Imre Galambos: You don't I mean I don't use it all the time, but if I feel like if I hold something and I, I feel that it's very, very thick or it's a very rigid paper.

532
01:26:31.860 --> 01:26:40.890
Imre Galambos: Then you can immediately think of put that information into context or try to put that information to contact so that's the additional.

533
01:26:41.790 --> 01:26:58.920
Imre Galambos: material, and in fact the paper of these court sponsored sutras which are the highest quality sutras is completely different from many of the other manuscripts so this information, I think that you obtained by touching manuscripts is is quite useful.

534
01:27:00.960 --> 01:27:01.500
Imre Galambos: Okay.

535
01:27:02.610 --> 01:27:20.940
Imre Galambos: If i'm not mistaken, the resolution of the images is reduced on the IDP website, even when they launched is this done for practical reasons, and is there any way to access the full resolution images So yes, it's done for practical reasons, because when this whole thing IDP was beginning.

536
01:27:22.140 --> 01:27:43.020
Imre Galambos: It was much the whole Internet was a much slower experience and so to download these these images were large back then, and so you can have access to the full resolution of their store than the library and the library servers, so there are.

537
01:27:44.790 --> 01:27:57.900
Imre Galambos: Well, I don't know how they store now, when I was there, they were storing them DVDs and they're being moved on to hard drives but basically you had a role image which was, which was an extremely large image and then.

538
01:27:59.190 --> 01:28:09.780
Imre Galambos: There was a process, the image and from that from those processed images were created the the large image, the middle and then the thumbnail on the IDP website.

539
01:28:10.320 --> 01:28:19.170
Imre Galambos: And unfortunately for the French collections appeal your collection, you only have the middle size image on the IDP website so you cannot.

540
01:28:19.770 --> 01:28:36.840
Imre Galambos: enlarge them on the IDP website, but you can nevertheless look at them in relatively good resolution at the Gallica system so basically, the answer is no, you cannot have access to the full resolution images, unfortunately.

541
01:28:38.310 --> 01:28:47.100
Imre Galambos: Okay, I remember the first time, my Professor showed me the unique manuscripts surviving from do was safe from the fire the cotton library.

542
01:28:48.300 --> 01:28:57.420
Imre Galambos: Yes, that we can all relate to these experiences I also had my first experience with doing on married scripts and you're quite memorable.

543
01:28:58.560 --> 01:29:09.750
Imre Galambos: The main protocol now at the bls is not is no gloves fingers sensitivities and point to touch 1000 year old paper supply okay.

544
01:29:10.710 --> 01:29:18.360
Imre Galambos: Everything changes in my first entrance to the British Library early printed and manuscripts had to be seeing all they would small gloves.

545
01:29:19.200 --> 01:29:30.930
Imre Galambos: But that was 15 years ago, yes, and I think in the BF you still use gloves I don't remember, now that the gloves also changed, so the initially you had these white.

546
01:29:32.190 --> 01:29:37.590
Imre Galambos: Cotton gloves and, in many cases they have rubber gloves maybe i'm not sure.

547
01:29:38.610 --> 01:29:56.130
Imre Galambos: On the subject of last information do you have a sense of how many of the ios or or manuscripts have had their wouldn't scroll rolling rods removed in London, perhaps in comparison with the Paleo or the last forever and can you tell the difference between the rumor rumor.

548
01:29:57.180 --> 01:29:57.570
Imre Galambos: well.

549
01:29:58.740 --> 01:30:09.390
Imre Galambos: I think, none of them will remove them purpose as far as I know, so I think what we see today is if the roller is missing it's because.

550
01:30:10.440 --> 01:30:18.720
Imre Galambos: The roller was lost before it was the manuscript was placed inside the library K, I mean said that.

551
01:30:19.830 --> 01:30:30.330
Imre Galambos: There are quite a number of very intrusive conservation techniques that happened in London, probably in the 1960s and we suffer the consequences of that so.

552
01:30:30.870 --> 01:30:42.360
Imre Galambos: it's possible that something was removed like I was always i'm always shocked when I see that some of the manuscripts were cropped so their margins were kind of.

553
01:30:43.710 --> 01:30:47.610
Imre Galambos: cropped maybe why half a centimeter sometimes like.

554
01:30:48.900 --> 01:31:05.730
Imre Galambos: cropping half a character, or for something I feel that very I mean i'm sure now that would be unheard of, as a conservation technique, but any kind of conservation is intrusive and maybe 20 years from now, we will look at today's practices.

555
01:31:06.840 --> 01:31:09.240
Imre Galambos: would wonder and horror.

556
01:31:10.320 --> 01:31:17.370
Imre Galambos: I don't know yeah now one other main question or their projects of translation of manuscripts.

557
01:31:18.660 --> 01:31:28.950
Imre Galambos: Well, I mean again we have to make a difference here between texts and manuscripts, and so the manuscripts are just holding the text so.

558
01:31:29.550 --> 01:31:41.100
Imre Galambos: In that case we would have to talk about translation of demonic texts and I don't know I mean they're Buddhists projects translating the same texts that are.

559
01:31:42.210 --> 01:31:51.000
Imre Galambos: kept in denial or that survive in too long as well, and then occasional me scholars would translate texts.

560
01:31:52.140 --> 01:31:58.950
Imre Galambos: A text that's arising dinner like I did with that Darren you eliminating hatred.

561
01:32:00.630 --> 01:32:08.490
Imre Galambos: But i'm not aware of any large project doing a whole scale translation of this material.

562
01:32:10.680 --> 01:32:18.090
Imre Galambos: I I don't know I guess there's there's a limited application to that probably because.

563
01:32:19.590 --> 01:32:27.810
Imre Galambos: These these Chinese manuscripts are in most cases are interesting for Chinese the Chinese audience and they would probably not needed.

564
01:32:28.500 --> 01:32:40.800
Imre Galambos: On that necessarily need a translation and in the West, I think the audience would be much smaller and maybe that wouldn't just justify the the effort or the the cost, maybe.

565
01:32:42.060 --> 01:32:42.660
Imre Galambos: Okay, where.

566
01:32:44.550 --> 01:32:55.800
Imre Galambos: Are the pieces of original holdings of manuscripts or only brawling i'm intrigued by the Korean at least the chosen practice of for the manuscripts and damaging them.

567
01:32:57.000 --> 01:33:00.360
Imre Galambos: And referring most forbid manuscript maps for us.

568
01:33:02.220 --> 01:33:02.820
Imre Galambos: um.

569
01:33:05.460 --> 01:33:13.770
Imre Galambos: Well, I think many like, if you look at the original Stein photographs of manuscripts I would argue, to actually get some of the manuscripts.

570
01:33:14.190 --> 01:33:36.390
Imre Galambos: In those images were folded rather than rolled, but I think now they're all rolled because we we look at them as scrolls so we rolled them and keep them that way, and also many of these booklets so these Codex type booklets they were folded it's very clear, so if you if you.

571
01:33:37.590 --> 01:33:45.420
Imre Galambos: take them out of the envelope in which their store today and they immediately jump back into kind of trying to get folded.

572
01:33:47.040 --> 01:33:48.720
Imre Galambos: Not many of them, but some of them.

573
01:33:50.610 --> 01:34:05.400
Imre Galambos: And then it's I would think again we flatten them because we think these kind of books should be flat but originally they may have been folded okay for everyone a wonderful fine file, I found.

574
01:34:13.080 --> 01:34:13.860
Imre Galambos: Two big fire.

575
01:34:25.410 --> 01:34:28.020
Imre Galambos: it's from the oriental studies.

576
01:34:29.730 --> 01:34:31.050
Imre Galambos: website.

577
01:34:43.770 --> 01:34:44.790
Imre Galambos: Look kills there.

578
01:34:55.380 --> 01:35:01.470
Imre Galambos: yeah Okay, so this is the the written monuments of the orient the the journal.

579
01:35:02.730 --> 01:35:04.620
Imre Galambos: And so, when the tango.

580
01:35:22.590 --> 01:35:44.610
Imre Galambos: Okay, so this, this is, I mean they publish this several times a year and I think, maybe, all of them are on the Internet i'm not sure, but this one talks about some of the collections to Hong Kong and koto koto collection and maybe some other maybe the quote of collection in St Petersburg.

581
01:35:46.620 --> 01:35:50.250
Imre Galambos: So it is quite relevant to today's talk.

582
01:35:52.140 --> 01:35:52.560
Imre Galambos: Okay.

583
01:35:53.460 --> 01:35:54.900
Samira Müller: Well, I think, with this.

584
01:35:54.960 --> 01:36:06.120
Samira Müller: We can conclude this discussion, thank you very much for your questions and thanks to enroll for answering them so thoroughly and think we all.

585
01:36:06.660 --> 01:36:27.840
Samira Müller: enjoy today's talk, thank you very much for coming, and also for the talk of course specials a special thanks, as you all know him what does this for free for us he does this, because he thinks it's also important to notice, thank you very much, and maybe magana was wants to.

586
01:36:30.210 --> 01:36:34.650
Samira Müller: say some final remarks, please share our talks.

587
01:36:35.670 --> 01:36:46.590
Mariana Zorkina: Well, there are just too small things i'd like to see first of all, all of the recordings are going to be on our website and you will be able to access them.

588
01:36:46.980 --> 01:36:57.630
Mariana Zorkina: In a week or two, and the second thing is that, with this lecture we end the block on working with manuscripts and working with texts.

589
01:36:58.020 --> 01:37:13.500
Mariana Zorkina: And starting next week we'll have historical linguistics and we'll have Lucas who talk about grammar of classical Chinese so really looking forward to that and hope to see all of you there as well.

590
01:37:16.440 --> 01:37:17.850
Imre Galambos: Okay well Thank you everyone.

591
01:37:17.940 --> 01:37:18.510
Imre Galambos: Thank you.

592
01:37:18.570 --> 01:37:19.710
Samira Müller: Christopher Thank you.

593
01:37:20.370 --> 01:37:20.880
Everyone.

594
01:37:23.400 --> 01:37:24.540
Samira Müller: and have a nice evening.

595
01:37:24.840 --> 01:37:25.230
Imre Galambos: You too.

596
01:37:25.260 --> 01:37:25.770
Mariana Zorkina: Thank you.

597
01:37:26.250 --> 01:37:26.640
Imre Galambos: bye bye.

598
01:37:27.870 --> 01:37:28.620
Imre Galambos: Thank you, Louis.