ༀ
`, '\u{0F01}': `༁
Terma mark used in a variety of terma, eg. Chog.gyur.gling.pa’s terms.dt,84
`, '\u{0F02}': `༂
`, '\u{0F03}': `༃
`, '\u{0F04}': `༄
In traditional, loose-leaf Tibetan pechas a head mark or yig-mgo (yig go) is used at the beginning of the front of the folio so that you can tell which is the front. Head marks are also used in both pechas and books to indicate the start of a headline or the start of the first paragraph in a longer text.
Head marks differ from text to text. The Unicode Standard provides a number of characters to give some basic coverage, but may not meet all needs.
This character is a common head mark, and there is also the extension character ༅ [U+0F05 TIBETAN MARK CLOSING YIG MGO SGAB MA]. A head mark can be written alone, or can be followed by as many as three closing marks; head marks are also followed by two shads.
The head mark was originally chosen to make a connection with dharmic principles. Example combinations include:dt,64
༅
This serves as an extension for head marks. It is commonly used with ༄ [U+0F04 TIBETAN MARK INITIAL YIG MGO MDUN MA]
The head mark was originally chosen to make a connection with dharmic principles. Example combinations include:dt,64
༆
A sign of the unchanging essence of the (Buddha’s) Dharmakaya, usually used to indicate the beginning of a new book withinanother book. It is not usually used to indicate the beginning of chapters, etc., within a book.dt,87
`, '\u{0F07}': `༇
An initial ornament for opening a letter.dt,64
`, '\u{0F08}': `༈
Used to separate texts that are equivalent to topics and subtopics, such as the start of a smaller text, the start of a prayer, a chapter boundary, or to mark the beginning and end of insertions into text in pechas.
This drul-shay is usually surrounded on both sides by the equivalent of about three non-breaking spaces (though no rule is specified). The drul-shay should not appear at the beginning of a new line and the whole structure of spacing-plus-shay needs to be kept together
Refs: The Unicode Standard 6.3, pp325-344, Formatting rules for Tibetan text
`, '\u{0F09}': `༉
In Bhutan, a starting flourish for a letter to an equal which is only used when the writer is making his own notes for his personal use.dt,86
List enumerator, used at the beginning of administrative letters in Bhutan.
`, '\u{0F0A}': `༊
Bhutanese petition honorific, used at the beginning of administrative letters for writing letters to someone else who is a superior. These days it is used for writing letters to the king.dt,86
`, '\u{0F0B}': `་
Performs the role of spaces in English for line breaking. eg. དོན་ཚན་དང་པོ། འགྲོ་བ་མིའི་རིགས་རྒྱུད་ཡོངས་ལ་སྐྱེས་ཙམ་ཉིད་ནས་ཆེ་མཐོངས་དང༌། ཐོབ་ཐངགི་རང་དབང་འདྲ་མཉམ་དུ་ཡོད་ལ། ཁོང་ཚོར་རང་བྱུང་གི་བློ་རྩལ་དང་བསམ་ཚུལ་བཟང་པོ་འདོན་པའི་འོས་བབས་ཀྱང་ཡོད། དེ་བཞིན་ཕན་ཚུན་གཅིག་གིས་གཅིག་ལ་བུ་སྤུན་གྱི་འདུ་ཤེས་འཛིན་པའི་བྱ་སྤྱོད་ཀྱང་ལག་ལེན་བསྟར་དགོས་པ་ཡིན༎
Often referred to as a 'syllable' delimiter, but not a syllable as in English.
See also ༌ U+0F0C TIBETAN MARK DELIMITER TSHEG BSTAR
`, '\u{0F0C}': `༌
`, '\u{0F0D}': `།
Denotes the end of a piece of text called a tshig-grub, a unit that can't be compared with English phrases or sentences, eg. དོན་ཚན་དང་པོ། འགྲོ་བ་མིའི་རིགས་རྒྱུད་ཡོངས་ལ་སྐྱེས་ཙམ་ཉིད་ནས་ཆེ་མཐོངས་དང༌། ཐོབ་ཐངགི་རང་དབང་འདྲ་མཉམ་དུ་ཡོད་ལ། ཁོང་ཚོར་རང་བྱུང་གི་བློ་རྩལ་དང་བསམ་ཚུལ་བཟང་པོ་འདོན་པའི་འོས་བབས་ཀྱང་ཡོད། དེ་བཞིན་ཕན་ཚུན་གཅིག་གིས་གཅིག་ལ་བུ་སྤུན་གྱི་འདུ་ཤེས་འཛིན་པའི་བྱ་སྤྱོད་ཀྱང་ལག་ལེན་བསྟར་དགོས་པ་ཡིན༎
See also ༎ U+0F0E TIBETAN MARK NYIS SHAD
`, '\u{0F0E}': `༎
Denotes the end of a piece of text called a don-tshan, a unit that can't be compared with English phrases or sentences, eg. དོན་ཚན་དང་པོ། འགྲོ་བ་མིའི་རིགས་རྒྱུད་ཡོངས་ལ་སྐྱེས་ཙམ་ཉིད་ནས་ཆེ་མཐོངས་དང༌། ཐོབ་ཐངགི་རང་དབང་འདྲ་མཉམ་དུ་ཡོད་ལ། ཁོང་ཚོར་རང་བྱུང་གི་བློ་རྩལ་དང་བསམ་ཚུལ་བཟང་པོ་འདོན་པའི་འོས་བབས་ཀྱང་ཡོད། དེ་བཞིན་ཕན་ཚུན་གཅིག་གིས་གཅིག་ལ་བུ་སྤུན་གྱི་འདུ་ཤེས་འཛིན་པའི་བྱ་སྤྱོད་ཀྱང་ལག་ལེན་བསྟར་དགོས་པ་ཡིན༎
Content authors may also just use two single shays together, if the spacing looks right.
See also ། U+0F0D TIBETAN MARK SHAD
`, '\u{0F0F}': `༏
`, '\u{0F10}': `༐
Regarded by Duff as an incorrect rendering of ༑ [U+0F11 TIBETAN MARK RIN CHEN SPUNGS SHAD]. He notes that the dots may also be horizontal, rather than vertical.dt,88
`, '\u{0F11}': `༑
In Tibetan, especially in pechas, it is considered a special case if the last syllable of an expression that is terminated by a ། [U+0F0D TIBETAN MARK SHAD] breaks onto a new line. In that case the shay or double-shay is replaced by ༑ [U+0F11 TIBETAN MARK RIN CHEN SPUNGS SHAD]. This change serves as an optical indication that there is a left-over syllable at the beginning of the line that actually belongs to the preceding line.
See also the Tibetan script summary.
`, '\u{0F12}': `༒
An ornamental form of ། [U+0F0D TIBETAN MARK SHAD]
`, '\u{0F13}': `༓
`, '\u{0F14}': `༔
If a section of text is actually a gter ma, a single terma symbol replaces both shad ། [U+0F0D TIBETAN MARK SHAD] and double shad ། །. Wood-block pechas sometimes simplify the gter ma, so that it looks like a visarga ཿ [U+0F7F TIBETAN SIGN RNAM BCAD].
`, '\u{0F15}': `༕
`, '\u{0F16}': `༖
`, '\u{0F17}': `༗
`, '\u{0F18}': `༘
`, '\u{0F19}': `༙
A small shay, inserted below other letters, numerals and signs. Placed underneath numerals in astrology.dt,93
`, '\u{0F1A}': `༚
The characters in the range U+0F1A-0F1F and U+0FCE-0FCF represent signs used in astrological almanacs. In Tibetan astrology groups of one, two or three black and white pebbles are used for purposes of divination. These are represented in astrological texts by hollow circles (representing white pebbles) and x-shaped crosses (representing black pebbles).
`, '\u{0F1B}': `༛
The characters in the range U+0F1A-0F1F and U+0FCE-0FCF represent signs used in astrological almanacs. In Tibetan astrology groups of one, two or three black and white pebbles are used for purposes of divination. These are represented in astrological texts by hollow circles (representing white pebbles) and x-shaped crosses (representing black pebbles).
`, '\u{0F1C}': `༜
The characters in the range U+0F1A-0F1F and U+0FCE-0FCF represent signs used in astrological almanacs. In Tibetan astrology groups of one, two or three black and white pebbles are used for purposes of divination. These are represented in astrological texts by hollow circles (representing white pebbles) and x-shaped crosses (representing black pebbles).
`, '\u{0F1D}': `༝
The characters in the range U+0F1A-0F1F and U+0FCE-0FCF represent signs used in astrological almanacs. In Tibetan astrology groups of one, two or three black and white pebbles are used for purposes of divination. These are represented in astrological texts by hollow circles (representing white pebbles) and x-shaped crosses (representing black pebbles).
`, '\u{0F1E}': `༞
The characters in the range U+0F1A-0F1F and U+0FCE-0FCF represent signs used in astrological almanacs. In Tibetan astrology groups of one, two or three black and white pebbles are used for purposes of divination. These are represented in astrological texts by hollow circles (representing white pebbles) and x-shaped crosses (representing black pebbles).
`, '\u{0F1F}': `༟
The characters in the range U+0F1A-0F1F and U+0FCE-0FCF represent signs used in astrological almanacs. In Tibetan astrology groups of one, two or three black and white pebbles are used for purposes of divination. These are represented in astrological texts by hollow circles (representing white pebbles) and x-shaped crosses (representing black pebbles).
`, '\u{0F20}': `༠
0 digit.
`, '\u{0F21}': `༡
1 digit.
`, '\u{0F22}': `༢
2 digit.
`, '\u{0F23}': `༣
3 digit.
`, '\u{0F24}': `༤
4 digit.
`, '\u{0F25}': `༥
5 digit.
`, '\u{0F26}': `༦
6 digit.
`, '\u{0F27}': `༧
7 digit.
`, '\u{0F28}': `༨
8 digit.
`, '\u{0F29}': `༩
9 digit.
`, '\u{0F2A}': `༪
The usage is not certain. By some interpretations, this has the value of 0.5. Used only in some traditional contexts, these appear as the last digit of a multidigit number, eg. ༤༬ represents 42.5. These are very rarely used, however, and other uses have been postulated.
`, '\u{0F2B}': `༫
The usage is not certain. By some interpretations, this has the value of 0.5. Used only in some traditional contexts, these appear as the last digit of a multidigit number, eg. ༤༬ represents 42.5. These are very rarely used, however, and other uses have been postulated.
`, '\u{0F2C}': `༬
The usage is not certain. By some interpretations, this has the value of 0.5. Used only in some traditional contexts, these appear as the last digit of a multidigit number, eg. ༤༬ represents 42.5. These are very rarely used, however, and other uses have been postulated.
`, '\u{0F2D}': `༭
The usage is not certain. By some interpretations, this has the value of 0.5. Used only in some traditional contexts, these appear as the last digit of a multidigit number, eg. ༤༬ represents 42.5. These are very rarely used, however, and other uses have been postulated.
`, '\u{0F2E}': `༮
The usage is not certain. By some interpretations, this has the value of 0.5. Used only in some traditional contexts, these appear as the last digit of a multidigit number, eg. ༤༬ represents 42.5. These are very rarely used, however, and other uses have been postulated.
`, '\u{0F2F}': `༯
The usage is not certain. By some interpretations, this has the value of 0.5. Used only in some traditional contexts, these appear as the last digit of a multidigit number, eg. ༤༬ represents 42.5. These are very rarely used, however, and other uses have been postulated.
`, '\u{0F30}': `༰
The usage is not certain. By some interpretations, this has the value of 0.5. Used only in some traditional contexts, these appear as the last digit of a multidigit number, eg. ༤༬ represents 42.5. These are very rarely used, however, and other uses have been postulated.
`, '\u{0F31}': `༱
The usage is not certain. By some interpretations, this has the value of 0.5. Used only in some traditional contexts, these appear as the last digit of a multidigit number, eg. ༤༬ represents 42.5. These are very rarely used, however, and other uses have been postulated.
`, '\u{0F32}': `༲
The usage is not certain. By some interpretations, this has the value of 0.5. Used only in some traditional contexts, these appear as the last digit of a multidigit number, eg. ༤༬ represents 42.5. These are very rarely used, however, and other uses have been postulated.
`, '\u{0F33}': `༳
The usage is not certain. By some interpretations, this has the value of 0.5. Used only in some traditional contexts, these appear as the last digit of a multidigit number, eg. ༤༬ represents 42.5. These are very rarely used, however, and other uses have been postulated.
`, '\u{0F34}': `༴
Indicates that text should continue as before, similar to 'etc.', and is used after the first few tsek-bar of a recurring phrase.
`, '\u{0F35}': `༵
Used to create a similar effect to underlining or to mark emphasis. The use of this mark is not straightforward, since it attaches to a syllable rather than a character and therefore to place it correctly the application needs to take syllable boundary positions into account. If entered as a combining character it can be added after the vowel-sign in a stack. Example: སྐལ་ལྡན་གདུལ་བྱར་སྣང་བའི་བསོ༵ད་ནམ༵ས་གཟུགས།
May also be used in interspersed commentaries to tag the root text that is being commented on. Example: སྐུ༵་གསུ༵ང་ཐུག༵ས།
Application software has to ignore this character for text processing, such as search and collation.
See also ◌༷ [U+0F37 TIBETAN MARK NGAS BZUNG SGOR RTAGS]
`, '\u{0F36}': `༶
Used with ྿ [U+0FBF TIBETAN KU RU KHA BZHI MIG CAN] to indicate where text should be inserted within other text or as references to footnotes and marginal notes. Marks the point of text insertion or annotation.
`, '\u{0F37}': `༷
Used to create a similar effect to underlining or to mark emphasis. The use of this mark is not straightforward, since it attaches to a syllable rather than a character and therefore to place it correctly the application needs to take syllable boundary positions into account. If entered as a combining character it can be added after the vowel-sign in a stack. Example: སྐལ་ལྡན་གདུལ་བྱར་སྣང་བའི་བསོ༷ད་ནམ༷ས་གཟུགས།
May also be used in interspersed commentaries to tag the root text that is being commented on. Example: སྐུ༷་གསུ༷ང་ཐུག༷ས།
Application software has to ignore this character for text processing, such as search and collation.
See also ◌༵ [U+0F35 TIBETAN MARK NGAS BZUNG NYI ZLA]
`, '\u{0F38}': `༸
Name marker, placed immediately before a person’s name to indicate great eminence.dt,91
`, '\u{0F39}': `༹
Should be used immediately after the consonant it modifies, even if that consonant is followed by a subjoined consonant.
This is an integral part of the three consonants ཙ [U+0F59 TIBETAN LETTER TSA], ཚ [U+0F5A TIBETAN LETTER TSHA] , and ཛ [U+0F5B TIBETAN LETTER DZA]. Although those consonants are not decomposable, this mark has been abstracted and may by itself be applied to ཕ [U+0F55 TIBETAN LETTER PHA] (ie. ཕ༹) and other consonants to make new letters for use in transliteration and transcription of other languages. For example, in modern literary Tibetan, it is one of the ways used to transcribe the Chinese “fa” and “va” sounds not represented by the normal Tibetan consonants.
Also used to represent tsa , tsha , and dza in abbreviations.
`, '\u{0F3A}': `༺
Bracket, paired with ༻ [U+0F3B TIBETAN MARK GUG RTAGS GYAS]
`, '\u{0F3B}': `༻
Bracket, paired with ༺ [U+0F3A TIBETAN MARK GUG RTAGS GYON]
`, '\u{0F3C}': `༼
Paired with ༽ [U+0F3D TIBETAN MARK ANG KHANG GYAS]to form a roof over one or more digits or words.
`, '\u{0F3D}': `༽
Paired with ༼ [U+0F3C TIBETAN MARK ANG KHANG GYON] to form a roof over one or more digits or words.
Can also be used alone much like a single parenthesis in list counters.
`, '\u{0F3E}': `༾
Sign indicating the waning lunar period which is appended to the right of numerals.dt,94
See also ༿ [U+0F3F TIBETAN SIGN MAR TSHES]
`, '\u{0F3F}': `༿
Sign indicating the waxing lunar period which is appended to the left of numerals.dt,94
See also ༾ [U+0F3E TIBETAN SIGN YAR TSHES].
`, '\u{0F40}': `ཀ
This description includes phonology for the subjoined code point.
ká consonant. By default, unaspirated, high tone.
ཀ
Not used in non-root positions.
After a prefix
No change.
དཀར་པོ་
བཀོད
With a following subscript
Used with the following subscripts. Some sound changes.
cá~kjá ཀྱ
ʈ͡ʂ~ʈá ཀྲ
lá ཀླ
ká ཀྭ
ཀྲུང་གོ
ཀླུང་མ
Subjoined below a superscript
0F90 is used after the following superscripts, which don't change the sound.
ká རྐ
ká ལྐ
ká སྐ
རྐང་པ
སྐར་མ
`, '\u{0F41}': `ཁ
kʰá consonant. By default, aspirated, high tone.
ཁ་པར
Doesn't occur after a prefix or below a superscript in Lhasa Tibetan words.
With a following subscript
Used with the following subscripts. Some sound changes.
cʰá~kʰjá ཁྱ
ʈ͡ʂʰá~ʈʰá ཁྲ
kʰá ཁྭ
ཁྱིམ
ཁྲོམ
`, '\u{0F42}': `ག
This description includes phonology for the subjoined code point.
kʰà~ɡà consonant. By default, aspirated, low tone.
ག་པར
After a prefix
kà~ɡà De-aspirated and voiced, but still low tone.
བགོད
དགུ
With a following subscript
Used with the following subscripts. Some sound changes.
cʰà~kʰjà གྱ
ʈ͡ʂʰà~ʈʰà གྲ
lá གླ
kʰà གྭ
འགྱོད་པ
གྲང་མོ
གླང
Transcriptions of foriegn words may have: གླ
ཧུང་གྷ་རི
Subjoined below a superscript
0F92 is used after the following superscripts, which de-aspirate / voice the sound.
kà~ɡà རྒ
kà~ɡà ལྒ
kà~ɡà སྒ
རྒ
སྒོ
སྒ
As a prefix
Used before 11 consonants.
⏵ གཅ གཏ གཙ the sound of the root is unaffected
⏵ གད root is de-aspirated / voiced (but still low tone)
⏵ གཉ གན གཡ root changes to high tone.
⏵ གཟ གཞ གཤ གས root is unaffected
གཅིག
གདུགས
གནམ་གྲུ
As a suffix
k~ɡ or nothing.
གཟིག
དག
གཅིག
`, '\u{0F43}': `གྷ
Used to represent an aspirated consonant in transcription/transliteration of non-Tibetan words.
Commonly written using 0F92 0FB7, which is also the normalised form.
`, '\u{0F44}': `ང
This description includes phonology for the subjoined code point.
ŋà consonant. By default, low tone.
ངག
Doesn't occur after a prefix or with subscripts in Lhasa Tibetan words.
Subjoined below a superscript
0F94 is used after the following superscripts, which change the tone.
ŋá རྔ
ŋá ལྔ
ŋá སྔ
རྔུལ
ལྔ
སྔ་དྲོ
As a suffix
ŋ
ཀླུང་མ
ཁ་བྱང
Usage before shad
Followed by tsheg when it occurs before a shad, eg. དང༌།. Unicode Standard recommends use of 0F0C to prevent line breaks between the tsheg and the shad.
Refs: Daniels, p431-436, The Unicode Standard 6.3, pp325-344, The Tibetan Language Student
`, '\u{0F45}': `ཅ
This description includes phonology for the subjoined code point.
t͡ɕá consonant. By default, unaspirated, high tone.
ཅི
Not used with subscripts in the Tibetan of Lhasa, and not used in non-root positions.
After a prefix
No change.
གཅིག
Subjoined below a superscript
0F95 is used after the following superscript, which doesn't change the sound.
t͡ɕá~cá ལྕ
ལྕགས
`, '\u{0F46}': `ཆ
t͡ɕʰá consonant. By default, aspirated, high tone.
ཆང
Not used with the standard sets of superscripts and subscripts in the Tibetan of Lhasa.
After a prefix
Infrequent, and don't affect the sound.
མཆོད
འཆད
`, '\u{0F47}': `ཇ
This description includes phonology for the subjoined code point.
t͡ɕʰà~d͡ʑà consonant. By default, aspirated, low tone.
ཇ
Not used with subscripts in the Tibetan of Lhasa, and not used in non-root positions.
After a prefix
t͡ɕà~ɟà De-aspirated / voiced, but still low tone.
མཇུག
འཇའ
Subjoined below a superscript
0F92 is used after the following superscripts, which de-aspirate / voice the sound.
t͡ɕà~ɟà རྗ
t͡ɕà~ɟà ལྗ
རྗོད
ལྗགས
`, '\u{0F49}': `ཉ
This description includes phonology for the subjoined code point.
ɲà consonant. By default, low tone. Wiktionary transcribes this as the voiced alveolo-palatal nasal, ȵ (which is not an IPA symbol).
ཉ
After a prefix
Infrequent. Raises the tone.
གཉིས
མཉམ་དུ
With a following subscript
No change.
ɲà ཉྭ
Subjoined below a superscript
0F99 is used after the following superscripts, which change the tone.
ɲá རྙ Note how the RA shape is not abbreviated, as it is for other combinations.
ɲá སྙ
རྙིང
སྙམ
`, '\u{0F4A}': `ཊ
Used for transcribing other languages, and also to distinguish foreign loan words from sequences of Tibetan syllables.
མོ་ཊ
The shape is a reversed version of ཏ [U+0F4F TIBETAN LETTER TA]
`, '\u{0F4B}': `ཋ
Used for transcribing other languages, and also to distinguish foreign loan words from sequences of Tibetan syllables.
ཋེག་ཟ་སི
The shape is a reversed version of ཐ [U+0F50 TIBETAN LETTER THA]
`, '\u{0F4C}': `ཌ
Used for transcribing other languages, and also to distinguish foreign loan words from sequences of Tibetan syllables.
ཁ་ཎ་ཌ
The shape is a reversed version of ད [U+0F51 TIBETAN LETTER DA]
`, '\u{0F4D}': `ཌྷ
Used for transcribing other languages.
Commonly written using ཌྷ, which is also the normalised form.
The shape is a reversed version of དྷ [U+0F52 TIBETAN LETTER DHA]
`, '\u{0F4E}': `ཎ
Used for transcribing other languages, and also to distinguish foreign loan words from sequences of Tibetan syllables.
ཁ་ཎ་ཌ
The shape is a reversed version of ན [U+0F53 TIBETAN LETTER NA]
`, '\u{0F4F}': `ཏ
This description includes phonology for the subjoined code point.
tá consonant. By default, unaspirated, high tone. Only used in root positions.
ཏིལ
After a prefix
No change.
གཏམ
With a following subscript
Used with the following subscript. Involves a sound change.
ʈá ཏྲ
ཁེ་ན་ཏྲ
ཨི་རི་ཏྲའ
Subjoined below a superscript
0F9F is used after the following superscripts, which don't change the sound.
tá རྟ
tá ལྟ
tá སྟ
རྟ
ལྟ་བ
སྟོང
`, '\u{0F50}': `ཐ
tʰá consonant. By default, aspirated, high tone. Only used in root positions.
ཐང
After a prefix
Infrequent and doesn't affect sound.
འཐུམ
མཐེ་བོ
With a following subscript
Used with the following subscript. Involves a sound change.
ʈʰá ཐྲ
ཨོ་སི་ཐྲི་ཡ
Subjoined below a superscript
Not used with the standard set of superscipts in Tibetan words.
`, '\u{0F51}': `ད
This description includes phonology for the subjoined code point.
tʰà consonant. By default, aspirated, low tone.
དོ
After a prefix
tà~dà De-aspirated / voiced, but still low tone.
གདུགས
དད་པ
With a following subscript
Used with the following subscripts. Some sound changes.
ʈ͡ʂà~ʈʰà དྲ
tʰà དྭ
དྲི་མ
དྭངས་ལྕགས
Subjoined below a superscript
0FA1 is used after the following superscripts, which de-aspirate / voice the sound.
tà~dà རྟ
tà~dà ལྟ
tà~dà སྟ
རྡོ
ལྟུང
སྡུར
As a prefix
Used before 6 consonants.
⏵ དཔ དཀ the sound of the root is unaffected
⏵ དབ དག root is de-aspirated / voiced (but still low tone)
⏵ དམ དང root changes to high tone.
དགུ
དངུལ
གཟའ་མིག་དམར
As a suffix
Not pronounced, but the vowel generally becomes long, and the suffix modifies the root's vowel quality as follows: a→ɛ, u→y, o→ø. The vowel quality doesn't change for i and e.
སད
ལུད
གཅོད
རྙེད
As a secondary suffix
Until the 19th century, was used as a silent secondary suffix, but is not officially used in modern Tibetan, eg.
གྱུརད
`, '\u{0F52}': `དྷ
Used to represent an aspirated consonant in transcription/transliteration of non-Tibetan words.
དྷེའི་ལ་ཝར
Can be written using དྷ. The Unicode Standard recommends using this precomposed form, but many applications silently normalise this to two characters.
`, '\u{0F53}': `ན
This description includes phonology for the subjoined code point.
nà consonant. By default, low tone.
ན
This is not used with a following subscript.
After a prefix
Infrequent. Raises the tone.
གནས
གནམ
Subjoined below a superscript
0FA3 is used after the following superscripts, which change the tone.
ná རྣ
ná སྣ
རྣམ་པ
སྣ
As a suffix
◌̃~n Nasalises the vowel or sometimes adds a final nasal, while modifying the root's vowel value to a short vowel as follows: a→ɛ, u→y, o→ø. For i and e the vowel quality is unchanged.
ཉན
བདུན
གསོན
འཛིན
`, '\u{0F54}': `པ
This description includes phonology for the subjoined code point.
pá consonant. By default, unaspirated, high tone.
པད་མ
After a prefix
No change.
དཔེ་ཆ
With a following subscript
t͡ɕá~cá པྱ
ʈ͡ʂá~ʈá པྲ
དཔྱ་ཁྲལ
པྲ་ཚིལ
Subjoined below a superscript
0FA4 is used after the following superscripts, which don't change the sound.
pá ལྤ
pá སྤ
ལྤགས་པ
སྤོས
`, '\u{0F55}': `ཕ
This description includes phonology for the subjoined code point.
pʰá consonant. By default, aspirated, high tone.
ཕོ
After a prefix
Doesn't occur in Tibetan words.
With a following subscript
t͡ɕʰá~cʰá ཕྱ
ʈ͡ʂʰá~ʈʰá ཕྲ
ཕྱག
ཕྲུ་གུ
Subjoined below a superscript
Not used with the standard set of superscripts in Tibetan words.
f is ཧྥ in transliterations of foreign words, such as country names.
ཧྥིན་ལན
`, '\u{0F56}': `བ
This description includes phonology for the subjoined code point.
pʰà consonant. By default, aspirated, low tone.
བ་ཕྱུགས
After a prefix
pà~bà De-aspirated and voiced, but still low tone.
འབབ
wà A common alternative sound for this letter.
དབང་སྒྱུར
ʔà A common alternative sound for this letter.
དབུ་མེད
With a following subscript
t͡ɕʰà~cʰà བྱ
ʈ͡ʂà~ʈʰà བྲ
lá བླ
ཕྱག
འབྲས
བླ་མ
Subjoined below a superscript
0FA6 is used after the following superscripts, which de-aspirate / voice the sound.
pà~bà རྦ
pà~bà ལྦ
pà~bà སྦ
རྦ
ལྦུ་བ
སྦི་ཅི་ལི
As a prefix
Used before 10 consonants.
⏵ བཀ བཅ བཏ བཙ the sound of the root is unaffected
⏵ བག བད root is de-aspirated / voiced (but still low tone)
⏵ བཞ བཟ བཤ བས root is unaffected.
བགོད
བཅུt͡ɕu˥ten
བརྙན
As a suffix
b~p̚~∅ Doesn't change the sound of the vowel.
ཤུབས
སློབ་མ
Irregular pronunciation
wà consonant.
This is a common pronunciation, especially when occurring alone in a non-word-initial position, or following a
རེ་བ
དབང་ཆ
`, '\u{0F57}': `བྷ
Used to represent an aspirated consonant in transcription/transliteration of non-Tibetan words.
Commonly written using བྷ, which is also the normalised form.
བྷར་མ
`, '\u{0F58}': `མ
This description includes phonology for the subjoined code point.
mà consonant. By default, low tone.
མི་
After a prefix
Infrequent. Raises the tone.
དམག
མིག་དམར
With a following subscript
Used with the following subscripts. Some sound changes.
ɲà མྱ Note the unusual pronunciation.
mà མྲ
མྱོང
Subjoined below a superscript
0FA8 is used after the following superscripts, which change the tone.
má རྨ
má སྨ
སྨན
རྨོ་མོ
As a prefix
Used before 11 consonants.
⏵ མཁ མཆ མཐ མཚ the sound of the root is unaffected (infrequent)
⏵ མག མཇ མད མཛ root is de-aspirated / voiced (but still low tone) In pre-modern text, this introduces homorganic pre-nasalisation for these consonants.
⏵ མང མཉ root changes to high tone.
མཆུ
མགོ
མཉམ་དུ
As a suffix
m
གཏམ
གནམ
`, '\u{0F59}': `ཙ
This description includes phonology for the subjoined code point.
t͡sá consonant. By default, unaspirated, high tone. Not used in non-root positions.
ཙི་ཙི
With prefixes
No change.
གཙང
Subjoined below a superscript
0FA9 is used after the following superscripts, which don't change the sound.
t͡sá རྩ
t͡sá སྩ
རྩེ
རྩི་ཤིང
With subscripts:
t͡sá ཙྭ
`, '\u{0F5A}': `ཚ
t͡sʰá consonant. By default, aspirated, high tone. Not used in non-root positions.
ཚ
Not used with the standard set of superscripts in Tibetan words.
After a prefix
Infrequent. No change.
མཚན
With a following subscript
Used with the following subscript. No sound changes.
t͡sʰá ཚྭ
ཚྭ
`, '\u{0F5B}': `ཛ
This description includes phonology for the subjoined code point.
t͡sʰà~d͡zà consonant. By default, aspirated, low tone. Not used in non-root positions.
ཛ་ཏི
Not used with a following subscript.
After a prefix
t͡sà De-aspirated / voiced, but still low tone.
འཛིན
དཔེ་མཛོད
Subjoined below a superscript
0FAB is used after the following superscript, which de-aspirates / voices the sound.
t͡sà~d͡zà རྫ
རྫོང
`, '\u{0F5C}': `ཛྷ
Used to represent an aspirated consonant in transcription/transliteration of non-Tibetan words.
Commonly written using ཛྷ, which is also the normalised form.
`, '\u{0F5D}': `ཝ
This description includes phonology for the subjoined code point.
wà consonant. By default, low tone. Not common.
ཝ
ལི་ཝང
Doesn't occur after a prefix, or with a following subscript. Not used with superscripts, but see the use of the subjoined form as a subscript.
As a subscript
Used in 13 combinations but doesn't change the sound: ཀྭ ཁྭ གྭ ཉྭ དྭ ཙྭ ཚྭ ཞྭ ཟྭ རྭ ལྭ ཤྭ ཧྭ
ཚྭ
དྭངས
Uniquely, ྭ can also appear as a sub-subscript, as in the following words, where the syllable is transcribed grwa.
གྲྭ་པ
བཟོ་གྲྭ
See also 0FBA
`, '\u{0F5E}': `ཞ
ɕà~ʑà consonant. By default, low tone.
ཞལ
ཞབས
Not used in non-root positions. Lhasa Tibetan doesn't use the subjoined version of this letter below a superscript.
After a prefix
ɕà~ʑà No change.
གཞིས་ཀ
With a following subscript
Used with one subscript. No sound change.
ɕà~ʑà ཞྭ
ཞྭ
`, '\u{0F5F}': `ཟ
sà~zà consonant. By default, low tone. It only occurs in root components.
ཟ
Lhasa Tibetan doesn't use the subjoined version of this letter below a superscript.
Appears with prefixes and suffixes, but not with superscripts. The sound doesn't normally change.
བཟང
གཟི
ཟས
With a following subscript
Used with the following subscripts. Some sound changes.
tà~ⁿda ཟླ The pronunciation is unusual, since all other combinations with this subscript produce the sound lá.
sà ཟྭ
ཟླ་བ
གཟའ་ཟླ་བ
`, '\u{0F60}': `འ
à Standalone vowel. Used as a base for dependent vowel signs, to create standalone vowels with a low tone (cf. ཨ [U+0F68 TIBETAN LETTER A]).
འུ་སུ
འོ་མ
འོད
As a prefix
Used as a silent prefix before 10 consonants, including:
⏵ འཁ འཆ འཐ འཚ the sound of the root is unaffected
⏵ འག འཇ འད འབ འཛ root is de-aspirated / voiced (but still low tone)
འཁོར་ལོ
འགོང
May also nasalise the juncture of two morphemes, as in dge-'dun, pronounced ɡenyn:
དགེ་འདུན
As a suffix
Silent when used as a suffix on its own. It is used to disambiguate words by indicating the location of the vowel in a syllable. For example, compare:
དག
དགའ
Diphthongs
Other than loanwords, Tibetan only allows diphthongs in diminutive expressions. 'A-chung is used to write these, as in the following:
མི་ → མེའུ་
རྡོ་ → རྡེའུ་
`, '\u{0F61}': `ཡ
jà consonant. By default, low tone.
ཡང
Appears with prefixes and suffixes, but not with superscripts or subscripts.
After a prefix
A prefix typically changes the tone to high.
གཡུ་མདོག
གཡག
As a subscript
0FB1 is used as a subscript after 7 consonants. It's effect is to produce palatalised sounds. Note that this also applies to letters that usually begin with p, and that m becomes ɲ.
ཀྱ cá ~ kjá ཁྱ cʰá ~ kʰjá གྱ cʰà ~ kʰjà པྱ cá ཕྱ cʰá བྱ cʰà མྱ ɲà
`, '\u{0F62}': `ར
ʐà~rà consonant. By default, low tone. (Most phonetic transcriptions use r, but Wiktionary shows ʐ for the Lhasa dialect.)
རེ་བ
རི
With a following subscript
Used with the following subscripts. Some sound change.
lá རླ.
rā རྭ
རླུང་རྟ
རླབས
As a superscript
Used as a superscript with the following 12 subjoined consonants (see the matrix).
⏵ རྐརྟརྩ unaffected
⏵ རྒརྗརྡརྦརྫ de-aspirate / voice (but still low tone)
⏵ རྔརྙརྣརྨ change to high tone.
The shape at the top of a stack can vary, depending on the subjoined consonant that follows. Usually it has a reduced form, eg. རྐ rka. But other times it retains its full form, eg. རྙ rnya. Use the standard character always: the font will choose the appropriate glyph for the context
རྐང་འཁོར
རྗོད
རྣམ་པ
See also 0F6A.
As a subscript
Used with 12 consonants. Those marked with an asterisk are very rare. Generally creates retroflex sounds. Converts stops to ʈ͡ʂ in the Lhasa dialect. (It may function as a medial -j- after k(ʰ).)
ཀྲ ʈ͡ʂá~ʈá
ཁྲ ʈ͡ʂʰá~ʈʰá
གྲ ʈ͡ʂʰà~ʈʰà
ཏྲ ʈ͡ʂá~ʈá*
ཐྲ ʈ͡ʂʰá~ʈʰá*
དྲ ʈ͡ʂà~ʈʰà
པྲ ʈ͡ʂá~ʈá
ཕྲ ʈ͡ʂʰá~ʈʰá
བྲ ʈ͡ʂà~ʈʰà
མྲ mà*
སྲ sá
ཧྲ ʂá~hrá
ཀྲུང་གོ
དྲི་མ
ཕྲག་པ
See also 0FBC.
As a suffix
Lengthens the vowel with a possible final ɹ sound.
སྐར་མ
དར་ཆ
`, '\u{0F63}': `ལ
là consonant. By default, low tone.
ལི
As a superscript
Used as a superscript with the following 11 subjoined consonants (see the matrix).
⏵ ལྐ ལྕ ལྟ ལྤ ལྭ unaffected
⏵ ལྒ ལྗ ལྡ ལྦ de-aspirate / voice (but still low tone)
⏵ ལྔ change to high tone.
⏵ ལྷ produces the heavily aspirated sound ɬá~ʰlá.
ལྕམ
ལྡག
ལྷ་ས
As a subscript
ླ is used as a subscript with 6 consonants.
⏵ ཀླ གླ བླ སླ རླ all pronounced lá
⏵ ཟླ pronounced ta~ⁿda.
ཀློག
བླ་མ
ཟླ་བ
As a suffix
Modifies the root's vowel value to a long vowel in these cases: a→ɛ, u→y, o→ø. For i and e the vowel may also be long, but there is no change in vowel quality.
བལ
ཡུལ
ཤེལ
With subscript
No change.
là ལྭ
`, '\u{0F64}': `ཤ
ɕá~ʃá consonant. By default, high tone.
ཤིང
Not used in non-root positions. Lhasa Tibetan doesn't use the subjoined version of this letter below a superscript.
After a prefix
ɕá~ʃá No change.
གཤེན
གསུང་བཤད
With a following subscript
No change.
ɕá~ʃá ཤྭ
`, '\u{0F65}': `ཥ
Used for transcribing other languages, and also to distinguish foreign loan words from sequences of Tibetan syllables.
The shape is a reversed version of ཤ [U+0F64 TIBETAN LETTER SHA]
`, '\u{0F66}': `ས
sá consonant. High tone by default.
སོ
Lhasa Tibetan doesn't use the subjoined version of this letter below a superscript.
After a prefix
No change.
གསའ
བསོད་ནམས
With a following subscript
Used with the following subscripts. Some sound changes.
sá སྲ
lá སླ
སྲོག
སློབ
As a superscript
Used as a superscript with the following 11 subjoined consonants (see the matrix).
⏵ ཀཏཔཙ unaffected
⏵ གདབ de-aspirate / voice (but still low tone)
⏵ ངཉནམ change to high tone.
སྐད
སྒ
སྔ
As a suffix
Modifies the root's vowel value to a short vowel and change the consonant to a following glottal stop in these cases: a→ɛ, u→y, o→ø. For i and e the consonant is silent but the vowel is usually long.
ཆོས
ཚེས
སྤོས
As a secondary suffix
Only two characters can appear in the secondary suffix location, according to Tibetan grammar, and this is the only one found in modern Tibetan. A character in this position adds no sound, nor does it affect the sounds in the rest of the syllable.
ཀྲུམས
ཐུགས
`, '\u{0F67}': `ཧ
há consonant. High tone by default.
ཧ་ཡང
With a following subscript
Used with the following subscripts. Some sound changes.
ʂá~hrá ཧྲ
hā ཧྭ
པ་ལི་ཀུང་ཧྲེ
ཀྲུང་ཧྭ་མི་དམངས་སྤྱི་མཐུན་རྒྱལ་ཁབ
fá ཧྥ is often used for foriegn words.
ཧྥིན་ལན
As a subscript
In Sanskrit text, ྷ is used to indicate aspiration. In modern Tibetan it is commonly used in just one combination.
ɬ~ʰlá ལྷ
ལྷ་ཁང
ལྷ་ས
`, '\u{0F68}': `ཨ
ʔá Standalone vowel. Used as a base for dependent vowel signs, to create standalone vowels with a high tone (cf. འ).
ཨང་གྲངས
ཨེམ་ཆི
ཨོཾ
`, '\u{0F69}': `ཀྵ
Used for transcription/transliteration of foreign text.
Should be written using ཀ [U+0F40 TIBETAN LETTER KA] and ྵ [U+0FB5 TIBETAN SUBJOINED LETTER SSA] .
`, '\u{0F6A}': `ཪ
Used only in transliteration of non-Tibetan texts, not in normal Tibetan text.
ར [U+0F62 TIBETAN LETTER RA] at the top of a stack usually has a reduced form, eg. རྐ rka
For transliterations it is sometimes desirable to retain the full form of RA where in Tibetan words it would be reduced. To do this use this character instead of the normal RA, but only where the normal RA would not produce the full form anyway, eg. do not use the following, which has the full form already: རྙ rnya
Standard form is ར [U+0F62 TIBETAN LETTER RA]
See also ྼ [U+0FBC TIBETAN SUBJOINED LETTER FIXED-FORM RA]
`, '\u{0F6B}': `ཫ
`, '\u{0F6C}': `ཬ
`, '\u{0F71}': `ཱ
Vowel lengthener.
A subjoined 'a-chung is used to express long vowels in loan words (Tibetan doesn't have them natively), such as those borrowed from Chinese, Hindi and Mongolian. The following examples show words related to Chinese and Sanskrit, respectively.
ཏཱ་བླ་མ་
ཤྲཱི་
For the vowels in these words use this character, and not 0FB0.
The Unicode Standard says: "U+0FB0 TIBETAN SUBJOINED LETTER -A ( a-chung ) should be used only in the very rare cases where a full-sized subjoined a-chung letter is required. The small vowel lengthening a-chung encoded as U+0F71 TIBETAN VOWEL SIGN AA is far more frequently used in Tibetan text, and it is therefore recommended that implementations treat this character (rather than U+0FB0) as the normal subjoined a-chung".
`, '\u{0F72}': `ི
i
`, '\u{0F73}': `ཱི
Combination used for Sanskrit transcriptions. Do not use. Use instead ཱི [U+0F71 TIBETAN VOWEL SIGN AA + U+0F72 TIBETAN VOWEL SIGN I]
`, '\u{0F74}': `ུ
u
`, '\u{0F75}': `ཱུ
Combination used for Sanskrit transcriptions. Do not use. Use instead ཱུ [U+0F71 TIBETAN VOWEL SIGN AA + U+0F74 TIBETAN VOWEL SIGN U]
`, '\u{0F76}': `ྲྀ
Combination used for Sanskrit transcriptions. Use instead ྲྀ [U+0FB2 TIBETAN SUBJOINED LETTER RA + U+0F80 TIBETAN VOWEL SIGN REVERSED I]
`, '\u{0F77}': `ཷ
Combination used for Sanskrit transcriptions. Do not use! Use instead ྲཱྀ [U+0FB2 TIBETAN SUBJOINED LETTER RA + U+0F71 TIBETAN VOWEL SIGN AA + U+0F80 TIBETAN VOWEL SIGN REVERSED I]
`, '\u{0F78}': `ླྀ
Combination used for Sanskrit transcriptions. Use instead ླྀ [U+0FB3 TIBETAN SUBJOINED LETTER LA + U+0F80 TIBETAN VOWEL SIGN REVERSED I]
`, '\u{0F79}': `ཹ
Combination used for Sanskrit transcriptions. Do not use! Use instead ླཱྀ [U+0FB3 TIBETAN SUBJOINED LETTER LA + U+0F71 TIBETAN VOWEL SIGN AA + U+0F80 TIBETAN VOWEL SIGN REVERSED I]
`, '\u{0F7A}': `ེ
e
`, '\u{0F7B}': `ཻ
Combination used for Sanskrit transcriptions.
`, '\u{0F7C}': `ོ
o
`, '\u{0F7D}': `ཽ
Combination used for Sanskrit transcriptions.
`, '\u{0F7E}': `ཾ
Used for Sanskrit transcriptions to represent the anusvara.
`, '\u{0F7F}': `ཿ
Used for Sanskrit transcriptions to represent the visarga.
May be followed by a space.
`, '\u{0F80}': `ྀ
Used for Sanskrit transcriptions.
`, '\u{0F81}': `ཱྀ
Combination used for Sanskrit transcriptions. Do not use. Use instead ཱྀ [U+0F71 TIBETAN VOWEL SIGN AA + U+0F80 TIBETAN VOWEL SIGN REVERSED I]
`, '\u{0F82}': `ྂ
`, '\u{0F83}': `ྃ
`, '\u{0F84}': `྄
Not used for Tibetan text.
Used in transliteration of Devanagari to kill the inherent vowel sound of a preceding character, eg. ཛཔ྄ is pronounced ʤap and not ʤapa
`, '\u{0F85}': `྅
A Sanskrit grammar sign used to show the loss of visarga.dt,84
`, '\u{0F86}': `྆
Borrowed from Sanskrit grammar, and only used when annotating Sanskrit text, this shows the stress given to a particular syllable. Used with ྇ [U+0F87 TIBETAN SIGN YANG RTAGS]
The sign is centred above the marked syllable.dt,91
`, '\u{0F87}': `྇
Borrowed from Sanskrit grammar, and only used when annotating Sanskrit text, this shows the stress given to a particular syllable. Used with ྆ [U+0F86 TIBETAN SIGN LCI RTAGS]
The sign is centred above the marked syllable.dt,91
`, '\u{0F88}': `ྈ
Used in Tibetan books on Sanskrit grammar, in ritual texts focused on the Kalacakra ("Wheel of time") system, and in commentaries on the Kalacakra Tantra.
Used as a superfix to the letters KA and KHA.
`, '\u{0F89}': `ྉ
Used in Tibetan books on Sanskrit grammar, in ritual texts focused on the Kalacakra ("Wheel of time") system, and in commentaries on the Kalacakra Tantra.
Used as a superfix to the letters PA and PHA.
`, '\u{0F8A}': `ྊ
`, '\u{0F8B}': `ྋ
`, '\u{0F8C}': `ྌ
See also ྉ [U+0F89 TIBETAN SIGN MCHU CAN]
`, '\u{0F8D}': `ྍ
Very rare. Used in Tibetan books on Sanskrit grammar, in ritual texts focused on the Kalacakra ("Wheel of time") system, and in commentaries on the Kalacakra Tantra.
`, '\u{0F8E}': `ྎ
Very rare. Used in Tibetan books on Sanskrit grammar, in ritual texts focused on the Kalacakra ("Wheel of time") system, and in commentaries on the Kalacakra Tantra.
`, '\u{0F8F}': `ྏ
Rare. Used in Tibetan books on Sanskrit grammar. See also ྎ [U+0F8E TIBETAN SUBJOINED SIGN MCHU CAN]. The ordinary and inverted forms of this sign are used contrastively in an important 18th century Chinese text, Tóngwén Yùntǒng , which describes the rules for transliterating Sanskrit and Tibetan into Mongolian and Manchu.
`, '\u{0F90}': `ྐ
Subjoined consonant, used after the following superscripts, which don't change the sound.
ká རྐ
ká ལྐ
ká སྐ
རྐང་པ
སྐར་མ
`, '\u{0F91}': `ྑ
Subjoined consonant. Not used for modern Lhasa Tibetan.
`, '\u{0F92}': `ྒ
Subjoined consonant, used after the following superscripts, which de-aspirate / voice the sound.
kà~ɡà རྒ
kà~ɡà ལྒ
kà~ɡà སྒ
རྒ
སྒོ
སྒ
`, '\u{0F93}': `ྒྷ
Used to represent an aspirated consonant in transcription/transliteration of non-Tibetan words.
Commonly written using ྒ [U+0F92 TIBETAN SUBJOINED LETTER GA] and ྷ [U+0FB7 TIBETAN SUBJOINED LETTER HA], which is also the normalised form.
`, '\u{0F94}': `ྔ
Subjoined consonant, used after the following superscripts, which change the tone.
ŋá རྔ
ŋá ལྔ
ŋá སྔ
རྔུལ
ལྔ
སྔ་དྲོ
`, '\u{0F95}': `ྕ
Subjoined consonant, used after the following superscript, which doesn't change the sound.
t͡ɕá~cá ལྕ
ལྕགས
`, '\u{0F96}': `ྖ
Subjoined consonant. Not used for modern Lhasa Tibetan.
`, '\u{0F97}': `ྗ
Subjoined consonant, used after the following superscripts, which de-aspirate / voice the sound.
t͡ɕà~ɟà རྗ
t͡ɕà~ɟà ལྗ
རྗོད
ལྗགས
`, '\u{0F99}': `ྙ
Subjoined consonant, used after the following superscripts, which change the tone.
ɲá རྙ Note how the RA shape is not abbreviated, as it is for other combinations.
ɲá སྙ
རྙིང
སྙམ
`, '\u{0F9A}': `ྚ
Used for transcribing other languages.
`, '\u{0F9B}': `ྛ
Used for transcribing other languages.
`, '\u{0F9C}': `ྜ
Used for transcribing other languages.
`, '\u{0F9D}': `ྜྷ
Used to represent an aspirated consonant in transcription/transliteration of non-Tibetan words.
Commonly written using ྜ [U+0F9C TIBETAN SUBJOINED LETTER DDA] and ྷ [U+0FB7 TIBETAN SUBJOINED LETTER HA]. which is also the normalised form.
`, '\u{0F9E}': `ྞ
Used for transcribing other languages.
`, '\u{0F9F}': `ྟ
Subjoined consonant, used after the following superscripts, which don't change the sound.
tá རྟ
tá ལྟ
tá སྟ
རྟ
ལྟ་བ
སྟོང
`, '\u{0FA0}': `ྠ
Subjoined consonant. Not used for modern Lhasa Tibetan.
`, '\u{0FA1}': `ྡ
Subjoined consonant, used after the following superscripts, which de-aspirate / voice the sound.
tà~dà རྟ
tà~dà ལྟ
tà~dà སྟ
རྡོ
ལྟུང
སྡུར
`, '\u{0FA2}': `ྡྷ
Used to represent an aspirated consonant in transcription/transliteration of non-Tibetan words.
Commonly written using ྡྷ [U+0FA2 TIBETAN SUBJOINED LETTER DHA] and ྷ [U+0FB7 TIBETAN SUBJOINED LETTER HA], which is also the normalised form.
`, '\u{0FA3}': `ྣ
Subjoined consonant, used after the following superscripts, which change the tone.
ná རྣ
ná སྣ
རྣམ་པ
སྣ
`, '\u{0FA4}': `ྤ
Subjoined consonant. Used after the following superscripts, which don't change the sound.
pá ལྤ
pá སྤ
ལྤགས་པ
སྤོས
`, '\u{0FA5}': `ྥ
Subjoined consonant, not used with the standard set of superscripts in modern Tibetan words.
f is ཧྥ in transliterations of foreign words, such as country names.
ཧྥིན་ལན
`, '\u{0FA6}': `ྦ
Subjoined consonant, used after the following superscripts, which de-aspirate / voice the sound.
pà~bà རྦ
pà~bà ལྦ
pà~bà སྦ
རྦ
ལྦུ་བ
སྦི་ཅི་ལི
`, '\u{0FA7}': `ྦྷ
Used to represent an aspirated consonant in transcription/transliteration of non-Tibetan words.
Commonly written using ྦ [U+0FA6 TIBETAN SUBJOINED LETTER BA] and ྷ [U+0FB7 TIBETAN SUBJOINED LETTER HA], which is also the normalised form.
`, '\u{0FA8}': `ྨ
Subjoined consonant, used after the following superscripts, which change the tone.
má རྨ
má སྨ
སྨན
རྨོ་མོ
`, '\u{0FA9}': `ྩ
Subjoined consonant, used after the following superscripts, which don't change the sound.
t͡sá རྩ
t͡sá སྩ
རྩེ
རྩི་ཤིང
`, '\u{0FAA}': `ྪ
Subjoined consonant. Not used for modern Lhasa Tibetan.
`, '\u{0FAB}': `ྫ
Subjoined consonant, used after the following superscript, which de-aspirates / voices the sound.
t͡sà~d͡zà རྫ
རྫོང
`, '\u{0FAC}': `ྫྷ
Used to represent an aspirated consonant in transcription/transliteration of non-Tibetan words.
Commonly written using ྫ [U+0FAB TIBETAN SUBJOINED LETTER DZA] and ྷ [U+0FB7 TIBETAN SUBJOINED LETTER HA], which is also the normalised form.
`, '\u{0FAD}': `ྭ
wà
Subjoined consonant, used as a subscript in 13 combinations but doesn't change the sound: ཀྭ ཁྭ གྭ ཉྭ དྭ ཙྭ ཚྭ ཞྭ ཟྭ རྭ ལྭ ཤྭ ཧྭ
ཚྭ
དྭངས
Uniquely, ྭ can also appear as a sub-subscript, as in the following words, where the syllable is transcribed grwa.
གྲྭ་པ
བཟོ་གྲྭ
See also ྺ [U+0FBA TIBETAN SUBJOINED LETTER FIXED-FORM WA]
`, '\u{0FAE}': `ྮ
Subjoined consonant. Not used for modern Lhasa Tibetan.
`, '\u{0FAF}': `ྯ
Subjoined consonant. Not used for modern Lhasa Tibetan.
`, '\u{0FB0}': `ྰ
à
A subjoined 'a-chung is used to express long vowels in loan words (Tibetan doesn't have them natively), such as those borrowed from Chinese, Hindi and Mongolian. For example, ཏཱ་བླ་མ་ (ta from Chinese), and ཤྲཱི་ from Sanskrit. For this purpose you should use ཱ [U+0F71 TIBETAN VOWEL SIGN AA], and not ྰ [U+0FB0 TIBETAN SUBJOINED LETTER -A]
The Unicode Standard says: "U+0FB0 TIBETAN SUBJOINED LETTER -A ( a-chung ) should be used only in the very rare cases where a full-sized subjoined a-chung letter is required. The small vowel lengthening a-chung encoded as U+0F71 TIBETAN VOWEL SIGN AA is far more frequently used in Tibetan text, and it is therefore recommended that implementations treat this character (rather than U+0FB0) as the normal subjoined a-chung".
`, '\u{0FB1}': `ྱ
Subjoined consonant, used as a subscript after 7 consonants. It's effect is to produce palatalised sounds. Note that this also applies to letters that usually begin with p, and that m becomes ɲ.
ཀྱ cá ~ kjá ཁྱ cʰá ~ kʰjá གྱ cʰà ~ kʰjà པྱ cá ཕྱ cʰá བྱ cʰà མྱ ɲà
See also 0FBB
`, '\u{0FB2}': `ྲ
Subjoined consonant, used as a subscript with 12 consonants. Those marked with an asterisk are very rare. Generally creates retroflex sounds. Converts stops to ʈ͡ʂ in the Lhasa dialect. (It may function as a medial -j- after k(ʰ).)
ཀྲ ʈ͡ʂá~ʈá
ཁྲ ʈ͡ʂʰá~ʈʰá
གྲ ʈ͡ʂʰà~ʈʰà
ཏྲ ʈ͡ʂá~ʈá*
ཐྲ ʈ͡ʂʰá~ʈʰá*
དྲ ʈ͡ʂà~ʈʰà
པྲ ʈ͡ʂá~ʈá
ཕྲ ʈ͡ʂʰá~ʈʰá
བྲ ʈ͡ʂà~ʈʰà
མྲ mà*
སྲ sá
ཧྲ ʂá~hrá
ཀྲུང་གོ
དྲི་མ
ཕྲག་པ
See also 0FBC.
`, '\u{0FB3}': `ླ
Subjoined consonant, used as a subscript with 6 consonants.
⏵ ཀླ གླ བླ སླ རླ all pronounced lá
⏵ ཟླ pronounced ta~ⁿda.
ཀློག
བླ་མ
ཟླ་བ
`, '\u{0FB4}': `ྴ
Subjoined consonant. Not used for modern Lhasa Tibetan.
`, '\u{0FB5}': `ྵ
Used for transcribing other languages.
`, '\u{0FB6}': `ྶ
Subjoined consonant. Not used for modern Lhasa Tibetan.
`, '\u{0FB7}': `ྷ
Subjoined consonant, used in Sanskrit text to indicate aspiration. In modern Tibetan it is commonly used in just one combination.
ɬ~ʰlá ལྷ
ལྷ་ཁང
ལྷ་ས
`, '\u{0FB8}': `ྸ
á
`, '\u{0FB9}': `ྐྵ
Used for transcription/transliteration of foreign text.
Should be written using ྐ [U+0F90 TIBETAN SUBJOINED LETTER KA] and ྵ [U+0FB5 TIBETAN SUBJOINED LETTER SSA] .
`, '\u{0FBA}': `ྺ
Used in transliteration of non-Tibetan texts, not in normal Tibetan text.
See also ྭ [U+0FAD TIBETAN SUBJOINED LETTER WA]
`, '\u{0FBB}': `ྻ
Used in transliteration of non-Tibetan texts, not in normal Tibetan text.
See also ྱ [U+0FB1 TIBETAN SUBJOINED LETTER YA]
`, '\u{0FBC}': `ྼ
Used in transliteration of non-Tibetan texts, not in normal Tibetan text.
See also ཪ [U+0F6A TIBETAN LETTER FIXED-FORM RA]
`, '\u{0FBE}': `྾
Indicates a refrain. Often repeated three times.
Also used as an alternative to ༴ [U+0F34 TIBETAN MARK BSDUS RTAGS], although often less favoured by educated Tibetans.dt,91
`, '\u{0FBF}': `྿
Used with ༶ [U+0F36 TIBETAN MARK CARET -DZUD RTAGS BZHI MIG CAN] to indicate where text should be inserted within other text or as references to footnotes and marginal notes. Marks the point of text insertion or annotation.
Similar to ※ [U+203B REFERENCE MARK]
`, '\u{0FC0}': `࿀
Musical notation mark: strike the drum with a heavy beat.
`, '\u{0FC1}': `࿁
Musical notation mark: strike the drum with a light beat.
`, '\u{0FC2}': `࿂
Musical notation mark: play the cang te-u or damaru.
`, '\u{0FC3}': `࿃
Musical notation mark: strike domed cymbals.
`, '\u{0FC4}': `࿄
`, '\u{0FC5}': `࿅
`, '\u{0FC6}': `࿆
May combine with letters or other symbols. It is typed after the sequence with which it combines.
࿇
`, '\u{0FC8}': `࿈
`, '\u{0FC9}': `࿉
`, '\u{0FCA}': `࿊
`, '\u{0FCB}': `࿋
`, '\u{0FCC}': `࿌
This is a Tibetan-specific version of ࿖ U+0FD6 LEFT-FACING SVASTI SIGN
The svasti signs encoded in the range U+0FD5 to U+0FD8 are considered symbols of good luck and well being. They are widely used sacred symbols in hinduism, buddhism and jainism, and are used religious texts, marriage invitations, and decorations. They are also used on religious flags in jainism, and buddist temples. On maps throughout Asia they mark the location of buddhist temples. The dotted forms are often used in the hindu tradition in India.
`, '\u{0FCE}': `࿎
The characters in the range U+0F1A-0F1F and U+0FCE-0FCF represent signs used in astrological almanacs. In Tibetan astrology groups of one, two or three black and white pebbles are used for purposes of divination. These are represented in astrological texts by hollow circles (representing white pebbles) and x-shaped crosses (representing black pebbles).
This particular combination doesn't occur in most astrological charts, because it is considered inauspicious, but does occur in some.
See this Unicode proposal for more information and examples.
`, '\u{0FCF}': `࿏
The characters in the range U+0F1A-0F1F and U+0FCE-0FCF represent signs used in astrological almanacs. In Tibetan astrology groups of one, two or three black and white pebbles are used for purposes of divination. These are represented in astrological texts by hollow circles (representing white pebbles) and x-shaped crosses (representing black pebbles).
`, '\u{0FD0}': `࿐
A Bhutanese starting flourish for giving a command when writing letters to someone who is lower than oneself. A guru, king, or high personage would use this when writing this to someone socially lower than himself.dt,86
`, '\u{0FD1}': `࿑
A Bhutanese starting flourish for a letter to an equal, indicating that the recipient is seen as special and with great love and appreciation.dt,86
`, '\u{0FD2}': `࿒
Variant of ་ [U+0F0B TIBETAN MARK INTERSYLLABIC TSHEG], common in early Tibetan monumental inscriptions and manuscript texts. Sometimes used alongside the normal tsek.
It may also be used between shays to mark off the end of a topic, eg. །࿒།࿒།
In some modern texts it has been used to point to the start of a section to which a textual note applies.
See Tibetan script notes for more information about use of the tsek. See also the Unicode proposal for more information and examples.
`, '\u{0FD3}': `࿓
Stylistic variant of ༄ [U+0F04 TIBETAN MARK INITIAL YIG MGO MDUN MA], used for archaic documents.
Head marks appear at the start of the front folio of loose-leaved pechas, to indicate where to begin reading. See Tibetan script notes. See also the Unicode proposal for more information and examples.
`, '\u{0FD4}': `࿔
Stylistic variant of ༅ [U+0F05 TIBETAN MARK CLOSING YIG MGO SGAB MA], used for archaic documents.
Head marks appear at the start of the front folio of loose-leaved pechas, to indicate where to begin reading. The head mark may be followed by one or more of these extension marks. See Tibetan script notes. See also the Unicode proposal for more information and examples.
`, '\u{0FD5}': `࿕
The svasti signs encoded in the range U+0FD5 to U+0FD8 are considered symbols of good luck and well being. They are widely used sacred symbols in hinduism, buddhism and jainism, and are used religious texts, marriage invitations, and decorations. They are also used on religious flags in jainism, and buddist temples. On maps throughout Asia they mark the location of buddhist temples. The dotted forms are often used in the hindu tradition in India.
These characters are located in the Tibetan block, but are intended for general use in other Asian scripts.
`, '\u{0FD6}': `࿖
The svasti signs encoded in the range U+0FD5 to U+0FD8 are considered symbols of good luck and well being. They are widely used sacred symbols in hinduism, buddhism and jainism, and are used religious texts, marriage invitations, and decorations. They are also used on religious flags in jainism, and buddist temples. On maps throughout Asia they mark the location of buddhist temples. The dotted forms are often used in the hindu tradition in India.
These characters are located in the Tibetan block, but are intended for general use in other Asian scripts.
See also ࿌ [U+0FCC TIBETAN SYMBOL NOR BU BZHI -KHYIL], which is a specifically Tibetan version of this sign.
`, '\u{0FD7}': `࿗
The svasti signs encoded in the range U+0FD5 to U+0FD8 are considered symbols of good luck and well being. They are widely used sacred symbols in hinduism, buddhism and jainism, and are used religious texts, marriage invitations, and decorations. They are also used on religious flags in jainism, and buddist temples. On maps throughout Asia they mark the location of buddhist temples. The dotted forms are often used in the hindu tradition in India.
These characters are located in the Tibetan block, but are intended for general use in other Asian scripts.
`, '\u{0FD8}': `࿘
The svasti signs encoded in the range U+0FD5 to U+0FD8 are considered symbols of good luck and well being. They are widely used sacred symbols in hinduism, buddhism and jainism, and are used religious texts, marriage invitations, and decorations. They are also used on religious flags in jainism, and buddist temples. On maps throughout Asia they mark the location of buddhist temples. The dotted forms are often used in the hindu tradition in India.
These characters are located in the Tibetan block, but are intended for general use in other Asian scripts.
`, '\u{0FD9}': `࿙
One type of Tibetan commentary uses annotations in the body of the text itself, in the same way as footnotes or parenthetical notes are used in English. The annotations (called mchan) usually follow the text that they are commenting upon and amplify or clarify it, and are usually preceded by this character, and occasionally succeeded by ࿚ [U+0FDA TIBETAN MARK TRAILING MCHAN RTAGS].dt,90
`, '\u{0FDA}': `࿚
One type of Tibetan commentary uses annotations in the body of the text itself, in the same way as footnotes or parenthetical notes are used in English. The annotations (called mchan) usually follow the text that they are commenting upon and amplify or clarify it, and are usually preceded by ࿙ [U+0FD9 TIBETAN MARK LEADING MCHAN RTAGS], and occasionally succeeded by this character.dt,90
`, }