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Crédits : Cornell University Press

1The study of books as material objects is a relatively young applied historical discipline that developed primarily through work with Greek, Latin, and Hebrew materials. In a narrow sense, this discipline is called codicology (from Latin codex): this term was first proposed by Alphonse Dain in his 1949 monograph Les manuscrits to distinguish this discipline, whose object is “des manuscrits eux-mêmes, et non celle de leur écriture” (Dain 1975, p. 76), from palaeography. Thus, codicology deals with formats, writing materials, writing implements, and all other material aspects involved in creating a book as an object. Codicology, due to the specific characteristics of the book cultures that served as its source material when it was emerging, is primarily associated with codex formats, although its scope has long since broadened significantly. It now covers other book formats and their production methods, as well as book culture more broadly. This expanded scope includes palaeography itself – the very discipline from which codicology needed to be distinguished in its formative stage, as well as scriptorium practices, marginalia, various aspects of book usage, and so on. Codicology expanded beyond its initial focus on manuscripts to encompass the study of early printed books: the distinctive characteristics of their production and dissemination, along with their sustained coexistence and close interaction with manuscripts, substantiate their inclusion within the ambit of codicological research. Through the analysis of physical objects, codicology offers a unique perspective on how culture functions within a society, including interactions with and influences from other people. While Western manuscripts have been thoroughly studied with established conventions and terminology, much work remains to be done regarding Asian traditions. Therefore, the publication of the two-volume Tibetan Manuscripts and Early Printed Books represents a milestone not only for Tibetan studies but also for codicology as a whole.

2A decade ago, Matthew T. Kapstein spearheaded a major enterprise to create the book under review. The project culminated in a collective publication that should be in the library of anyone who works with Tibetan sources and engages with Tibetan book culture. The authors bear great responsibility, as their work will shape this field for many years to come. The first volume (Elements) covers fundamental aspects of codicology like formats, materials, text layout, and colophons, while the second (Elaborations) shifts focus to specialised topics including major manuscript collections (Kanjurs), official documents, medicine and divination texts, Tibetan books in China and Mongolia, and detailed case studies of specific manuscripts. Professor Kapstein, in addition to his editorial responsibilities, made contributions to both volumes, authoring or co-authoring several chapters. The oeuvre has been well received, and the first volume was the recipient of the 2024 Toshihide Numata Book Award in Buddhism. The purpose of this review is not to augment the (undoubtedly merited) acclaim, but rather to encourage reflection on the conception and process of realisation of such a comprehensive work, its intended audience, its scope and limitations.

4Another fundamental challenge of comprehensive works such as this is striking a balance between broad generalisations and specific examples: scholars must derive general principles from particular cases, ensuring that these principles remain connected to their source material. This methodological tension requires careful consideration of how to integrate case studies with theoretical frameworks in each instance. For example, chapter 6, “Manuscript illumination”, written by Amy Heller and Matthew Kapstein, uses illustrations of Prajñāpāramitā texts from various stages of the tradition’s development as a reference point. While this creates an interesting perspective, the focus is sometimes shifted to excessive detail regarding Prajñāpāramitā iconography. The authors also decided to dedicate this chapter solely to doctrinal texts in which illustrations serve religious and decorative functions. Utilitarian illustrations in medical and astrological texts, meanwhile, are described in other chapters of the book. While this approach has its advantages, it prevents readers from gaining a comprehensive overview of all possible functions of traditional book illustration.

5A more significant concern is the occasional lack of structure, which would better serve readers unfamiliar with particular topics, such as Tibetan punctuation. While the relevant section (vol. 1, 4.2) lists punctuation marks, the double dot used for syllable separation in early texts receives only a passing mention (vol. 1, p. 164, note 12). There is also some imprecision in combining punctuation with foliation (4.2), and abbreviations with numerals (4.3), into a single subsection, when each of these topics could have warranted its own separate treatment. On the other hand, it is extremely useful that each chapter can be read independently, with cross-references provided.

7Turning to the question of the book’s intended audience and practical applications, it will likely prove an invaluable resource for those beginning to engage with Tibetan sources from various historical periods – particularly those who, having previously encountered only modern editions, are now venturing into the world of manuscripts and literary heritage. The book can also offer a solid foundation for those teaching courses related to Tibetan literature, codicology, or material culture. Additionally, scholars engaged in comparative studies of book cultures across civilisations will find ample material for cross-cultural analysis. However, readers should not approach this work as a comprehensive reference manual that enables to identify a manuscript’s place of production or to assign definitive dates – even at the level of centuries. In fact, such capabilities remain beyond the reach of the discipline, and further research is needed before a comprehensive methodology or a detailed chronology of Tibetan book production can be established. Rather than providing a manual for manuscript authentication, the book’s true value lies in its skilful introduction to the complexities and emerging methodologies of the still developing field of Tibetan codicology.