 So good morning, good afternoon, and good evening, everyone. First, I'm very grateful to Roma and the Secchi for organizing this online conference. Today, I will be presenting one of my recent studies here, How to Curse and Kill Your Enemies, Ritual of Violence from Caracoto. As Roma mentioned yesterday, my talk today will touch on the darker side of local society at Caracoto. So the presentation consists of three main parts. First one is introduction, the ritual and the manuscript. Second one is a comparative study of Chinese and Tibetan ritual texts, which then moves on to conclusion. So let me start by giving you some basic knowledge about this topic. This study examines Tibetan Buddhist tantric texts from Caracoto after the fall of the Tibetan Empire in the 19th century. The Tibetan language continued to be used as an international lingua franca by non-Tibetan people, and the Tibetan Buddhists kept flourishing in central Asia from the 10th to the 14th century. The Tangud Empire was a major state in central Asia from the 11th to the 13th century, and was profoundly influenced by Tibetan Buddhists. On the slide is a map produced by the ERC project, Buddhist Road, at the Center for Religious Studies at Huo Hong University. One can see the boundaries of Tangud Empire in 1150. The spread of Tibetan Buddhists to the Tangud Empire are reflected in the document at Earth at Caracoto. Scholars have found Tibetan Buddhist texts in multiple languages at Caracoto, including mainly Tibetan, Chinese and Tangut. For more information, you can refer to the three publications on the slide. Among these vast Tibetan Buddhist texts from Caracoto, today we focus on one category of tantric ritual texts called Yuanren Li'e Shi, ritual of making use of human effigies. Yuanren is used to transcribe the Tibetan word, Zhuqiao, the object of the ritual, which refers to the animal person or spirit targeted by the ritualist. The Chinese word Li'e sometimes written as Langge is transcribed from Tibetan term, linga, phonetic transliteration of the Sanskrit term linga. Literally means mark or sign. It is used to designate substitute effigy in the tantric ritual context. The use of effigies has been found in ancient Greece, India, Egypt, China and later in Japan and being used by African people. This type of ritual device is widely referred to as Wududu in popular culture. For the Wududu or human effigies in Tibetan Buddhist, the most important research available comes from Kuvers. The information on his article is on the slide. Based on the previous studies, I will introduce the basic principle of the ritual and explain how this ritual comes to be established. In the operations, the practitioner makes an image in the likeness of a victim, the practitioner casts the magical power on the effigy and thereby achieves his purpose of effecting the ritual target. This ritual is based on the principle of similarity which presumes that there's some invisible connections between two analogous objects. So this kind of bond, the ritualist can manipulate his victim. So in the Karakoto documents, we find four main texts containing the ritual involving the use of human effigies. I have written my articles, introduced this document. Here, I will go, I just go through these four texts quickly. The first text is called Yu Hushen, Qiong Xiu, the invocation of Yu Hushen. But I haven't quite figured out which dear to Yu Hushen is, but I think she may well be Kuru Kula. Another point worth noting is that this text is a Nimaaba text attributed to Benjamin Sambawa. So this manuscript is dated to 13th to 14th century and it is a booklet with a stitched binding. So it's a physical format of this text. So the next text, the second manuscript is called Zwu Daxi Youmen. So the text is also dated to the 13th to the 14th century and it is a bond in a, how to say, palm flat form. So you can see also this, the photocopies of this text on the slide. So, and the third text here is called Da Hei Qiu Xiu Bin Zuo Fa, the ritual text on invocation and the practice of a Makara. So this text is also dated to the 13th to 14th century and it's also a booklet binding format. And the fourth text, it's called DX178. So it's actually a collection of Tibetan tantric ritual texts consisting mainly of a certain texts on various forms of Makara plus other texts related to Nara, Simha and the Vajrapani. And this scroll is dated to late 12th century to the 14th century and it is a scroll form. And scholar Alexander Zouli has started this scroll made a transcription and a translation in Russian and offered a photocopies of the manuscript. So now with a basic knowledge of this manuscript, we move on to the study of the ritual. So here we focus only on two manuscripts, pack Tibetan scroll DX178 and Chinese manuscript B59. So comparative study reveals four ritual texts involving human effigies in Tibetan scroll DX178 are translated into Chinese and included in B59 Chinese manuscript. So this study will take one of the four as example and address three main questions. The first is how did this ritual text spread to the Tangud empire? And the second is how is the ritual of using human effigies effigies performed? And the third is what is the ritual performed for? So actually previously we did not know the origin of the Chinese text B59 until the Tibetan text DX178 was rediscovered. So actually when Shen Wei-Rong published his study of the Chinese Makata documents of Karakoto, in 2005 the Tibetan scroll DX178 were still considered a Dunhuang document and it was not published. Zhuling also in his publication in 2015, Zhuling also made no mention of the Chinese Makata literature in Karakoto. So it seems that the two scholars both are not aware of the existence of the Makata literature in another language. So based on their studies, I make a comparative study of these two language documents. My study shows that the name of the transmitter of the ritual, namely Galao Zawa that appears in a number of Tibetan texts have been removed from the Chinese translations. So on the slide you can see one example, I give you that from DX178. So actually it's as a beginning part of the prayer part you can see Wei Qian Bo Galao La Cha Tsai Luo but in the Chinese translation we see that Jing Li Ji Xiang Haeruga it means the Tibetan translated into English it means homage to the glorious Galao Zawa but in the Chinese it means homage to the glorious Haeruga. So this suggests that Galao Zawa was important not only for the disseminations of the Tibetan texts of Makata but also a source of Chinese text. So you can see that the texts are identical but in the Chinese version you see the disappearing of the Galao Zawa's contribution to the text. But my next question is asking who is this Galao Zawa? So Galao Zawa should know better. So I assume that he is a key figure in the spread of Makata teachings in the Tangku Empire. So I summarized the information from his biography. So Galao Zawa was born in Dewu Qiong, the Zhongka area. So it's actually the boundary between the city and the Tibetan lands. So in the 1130 to 1140 Galao Zawa had traveled to India and studied and Jami Lodzawa, Sange Jakba at the Dojie Den Monastery. Galao Zawa meditated at Sita Vada outside of Bodhagaya and visualized Makata and received the teaching from the deity. At the end of the 1140s, he passed through central Tibet and came to Eastern come to spread Buddhist teachings and remained there until 1155. So it is likely that Galao Zawa were the teachings of Makata all the way from India to Tibet. So I just select an episode which took place during his stay in Eastern come. Here, I just read, I just show you my translation here. The local inhabitants of Gajongzha backed him to pray for rain. At first, he did not exceed to this request, but after there, repeated please, he bestowed upon them the drum of the Lord, Chima, that were said to belong to the Tibetan emperor and instruct. Wherever there's need of rain strikes these drums there, well, wear a ring coat such as a felt garment before you go because the rain comes down right away at the stroke of the drum. What happened next was exactly what he said it would be. So it's a translation from the biography of Galao Zawa written by Lama Xiang actually. So here we see a metaphorical description of his relationship with the Tibetan emperor. So I actually discussed it in detail about this episode in my paper that would be published in this year in the framework of Buddhist Road Project at Bohum University. So but I'm not going to talk about the details here. I also discussed the historical development of this terminology, drum of Lord Chima in Tibetan historical writings there. So now we move on the second question. So my next question is, how is the ritual of using human effigies performed? So we will take one text as an example and then concentrate on three aspects of the ritual. The first one is the ritual structure. Second one is the mantra recitation. And the third is the materials used for the ritual. So the text, the Tibetan and the Chinese text are given also on the slide. So the pitch numbers of the text you see. So here I will not go into the details of the specific texture studies here, but mainly summarize the basic structure of the ritual. The ritual is performed according to the Karakoto documents. I mean, the ritual is performed in eight steps. The first step is evoking the Tuitillary Deity Mahakala. The second one is joining an image or molding a door resembling the target. The third is visualizing that Mahakala separates the target from its divine protector. And the fourth is visualizing that Mahakala causes the target to be powerless and accept into the image. The fifth is inserting the image into the door. And the sixth is liberating or you can see killing the target by pricking the door with a needle or destroying it with a chopper. The seventh is making offering to Mahakala and seeding the deity away. So the eighth is discarding the use of destroyed door into the flowing water or burying it in an ominous ground. So the ritual is done, as you can see, the ritual is done through a combination of visualization and practical operations. So the Mahakala part, it's realized through the visualization or meditation by the practitioner. The deity at the center of the ritual can also be replaced by other diaries. For example, Yamataka of Marichi of Yuhushan. As the central deity changes the seed's words and as a mantra of the ritual change, but as a basic structure of the ritual remains the same. Here we also say during the performance of the ritual, one, the practitioner should also recite the following mantras. First is Om Vajramahaya, Mahara-ya, Mahara-ya, Satcha-satcha, Phum Phum Path. So here I gave also Chinese and Tibetan translation, so it means Mahara-ya is a causative form from marine kill, so kill somebody. Satcha-satcha or Mao-jia or in Tibetan Che-Gang-Mong, this blanket is used by the practitioner. You can also fill this blanket with the name of your enemy, Zhang Shaolin or the other people's name. I don't know. So and also the next part, I will draw your attention to the matriarchal culture in Karakoto. So we can also say from the ritual texts, the door is made of a door. I mean this Puttara or Puttali is made of a door, made of various kinds of unlucky saw. It's called Bu Xiangtu. So I translated it literally unlucky saw. So it's about, for example, earth from a very ground, the dirt trodded on by the victim, the soil from a tract of those who died result of spring. The pain used to draw the image of your target is made of human bone or a quill from a ribbon. Repigament made of a poison sword or the black mustard seed as a powder mixed with human blood. And the portrait of the target should be drawn on paper, burnt back or on the cloth from the cremation ground. So and also the and also next question, I would like to answer, what is this ritual performed for? So the call of the Tiki 312 as we have introduced before, is a ritual collection divided into 38 sections. The first four sections are the general preparatory procedures while the fifth to the 38th comprise of 34 individual ritual options. These rituals seem to have been gathered from numerous sources and a majority of them make use of human effigies. I'm not going to throw them one by one, but here I would give you some examples. For example, the purpose of most of these rituals, involving the use of human effigies are vicious. For example, the seventh is for inflecting harm on one's enemies. The ninth is for soaring discord between other people or for helping with the prison break, for obstructing the treat of other people, for expending others from their hometown, and for transforming medicine into a transforming medicine into poison and such and such. So these rituals are wordly oriented and fall into the categories of a subjugation, you know that, or ferocity, or killing. In addition, we also see there are two other types, Vida Vesa, provoking enmity between friends and lovers, and Ucha Tana, causing someone to leave his village or hometown. So here, now we're going to this, we are moving on to this conclusion part. So here we mainly, so far we have found a number of ritual texts of making human effigies within effigies within the Karakotos collections. The texts are mainly in Chinese Tibetan languages. There's some evidence that country texts in Chinese were also used by practitioners of Tangut ethnic groups. Well, I will give you some one example here. You can see this is a Chinese manuscript, Tiki 262. So on the backside of one page, we see a line of Tangut characters. So I translate is Om, True Buddha, and Holy Sheet, Thor 3, so it's a verse not finished. So this text, Om is a seeds level and this kind of probably commentary on this seeds level or something, I don't know, but this text, this line I mean is a Buddhist nature and that the scribe is familiar with Tangud script. We can see from here the scribe who writes this line must be familiar with the Tangud script. We may assume that the person who wrote this line was most probably a Tangud Buddhist. This is an evidence indicating that these Chinese Maracala texts were accessible to Tangud tantric practitioners. So here, for the physical form, I will say that these texts were mostly bound within portable booklets and in the final section of this booklets, we find diagrams that teach how to arrange offering, produce visualization. The binding forms and the arrangement of these documents so that they were produced for very practical purpose and carried around by the practitioners like manuals and used to guide them through the rituals. These few features are just indirectly that such rituals of making human effigies were popular among the local peoples of Kada Koto at that time. So these magical operations using human effigies mainly designed to control and change the complex of reality in the sphere of social relations. They may rise away in which people react to the adverse situation and the violence inherited in the social communities that seem to be. So I would like to argue at the last point is the significance of these rituals for understanding the local community in Kada Koto. So here is my talk and thank you for your attention and I also wish you all happy Chinese New Year e-advice. Thank you all.