on by sGam-po-pa (1959), and The Life and Teaching of Nāropa (1963). E. Obermiller, History of Buddhism by Bu-ston (1931); G.N. Roerich, The Blue Annals of gZhon-nu-dpal (1949, 1953); D.S. Ruegg, The Life of Bu-ston Rin-po-che (1966); R.A. Stein, Tibetan Civilization (1972); G.C. Toussaint, Le Dict de Padma (1933); T.V. Wylie, The Geography of Tibet According to the 'Dzam-ling rgyas-bshad (1963). (Mongolian literature): Richard P. Lister, The Secret History of Genghis Khan (1969), a retelling of the ancient chronicle of Genghis' life and successors; Charles R. Bawden, The Mongol Chronicle Altan Tobči (1955), a translation with notes of a major native historical work incorporating folk elements; The Mongolia Society, Mongolian Folktales, Stories, and Proverbs in English Translation (1967), a small collection of typical old tales; Ts. Zhamtsarano, The Mongol Chronicles of the Seventeenth Century, trans. by Rudolf Loewenthal (1955), a description of five major historical chronicles; Walther Heissig, “Mongolische Literature,” in Altaistik, vol. 5 of the Handbuch der Orientalistik, pt. 2, pp. 227–274 (1964), the best overall general sketch; Ludmilla K. Gerasimovich, History of Modern Mongolian Literature, 1921–1964 (1970; originally published in Russian), a careful survey of the modern decades and writers.MusicRichard A. Waterman et al., “Bibliography of Asiatic Musics,” 13th installment, Notes of the Music Library Association, 8:100–118 (1950); Mark Slobin, “Zentralasien,” in Die Musik in Geschichte und Gegenwart, vol. 14 (1968), see sect. 1, “Afghanistan and the Sedentary Population of Turkestan”; and Record notes for “Afghanistan,” vol. 1–4, series Anthology of the World's Music, include photographs, musical illustrations; H.G. Farmer, “Turkestani Music,” Grove's Dictionary of Music and Musicians, 5th ed., vol. 8, pp. 610–612 (1954), historical background and general information; A. Huth, “Instruments of East Turkestan,” ibid., pp. 608–610, historical background; Johanna Spector, “Musical Tradition and Innovation,” in Edward Allworth (ed.), Central Asia: A Century of Russian Rule, pp. 434–484 (1967), detailed information on Turkistani music, with emphasis on the court tradition, including excellent illustrations and charts. (Music of the Turkic nomads, Mongolia, and Siberia): Ernst Emsheimer et al., The Music of the Mongols (1943, reprinted 1971), the classic work; Mark Slobin, Kirgiz Instrumental Music (1969), detailed study of one Central Asian tradition. (Music of the Himalayan peoples): P. Crossley-Holland, “Tibetan Music,” Grove's Dictionary of Music and Musicians, vol. 8, pp. 456–464, a thorough basic survey; Luther G. Jerstad, Mani-rimdu: Sherpa Dance-Drama (1969), a thorough account of a specific Himalayan tradition.Dance and theatreMircea Eliade, Le Chamanisme et les techniques archaïques de l'extase (1951; 2nd ed., 1968; Eng. trans., Shamanism: Archaic Techniques of Ecstasy, rev. ed., 1964), a classic study of the rituals, costumes, and symbolisms of shamanic performances; Luther G. Jerstad (op. cit.), an analytical and descriptive study of 'cham as performed in the Tengpoche monastery of northern Nepal. Materials and translations of some morality plays have been published by Marion H. Duncan in his Harvest Festival Dramas of Tibet (1955) and More Harvest Festival Dramas of Tibet (1967); and a study of the “Moon-cuckoo” play of the Mongols has been published in Japanese by Hidehiro Okada. Information on the performing arts may be found scattered in various other publications, but it is usually descriptive in nature and deals with only one genre. As yet no scholar has carried out a comprehensive analytical study of the origins and interrelations of dance and theatre in Central Asian regions.Visual artsAleksandr Belenitsky, Central Asia (Eng. trans. 1969), a short general survey of the area and its art; M.P. Griaznov and A.P. Bulgakov, L'Art ancien de l'Altai (1958), a helpful introduction to the subject (in Russian and French); Basil Gray, Buddhist Cave Paintings at Tun-huang (1959), a scholarly study; René Grouss