Tibetan singing bowls heal the body and soul, restoring energy. Musical instrument and clothes of monks Singing bowls what is it
Sergey Gabbasov
History and classification of Tibetan folk musical instruments
The area where ethnic Tibetans live is much larger than the Tibetan Plateau, which is traditionally associated with "classical" Tibet. Bearers of Tibetan culture, peoples of the Sino-Tibetan and Tibeto-Burmese language groups also live in Nepal - the kingdom of Lo-Mustang ( bLo ), and in the kingdom of Bhutan, and in Ladakh (northeast India). Thus, a rather vast region is occupied by Tibetan culture. Central Asia. Tibetan culture itself is very homogeneous throughout its distribution, having differences in language, material culture(clothing - its cut and ornamentation, the type of dwelling and its architectural features), while having relative uniformity in the types of economic activity and traditional activities, vehicles, religion and its features, mythology, folklore, music.
It is about music, more precisely about folk musical instruments, that will be discussed in this article.
Tibetan music has a clear division into folk and religious (liturgical). Folk music has a much greater heterogeneity in the regions where Tibetan culture is spread, and the manner of performance, character musical works, melody, rhythm, and instrumentation. Liturgical music is "fixed" by the canons of performance and is found in the form of liturgical music of Tibetan Buddhism (Lamaism) outside the spread of Tibetan culture as such - in Mongolia, Buryatia, Tuva, Kalmykia.
Musical instruments are either imported or autochthonous. The brought tools began to appear in the places where the Tibetan culture was spread with the beginning of contacts with other peoples, primarily with India and China (mainly on the basis of Buddhism). In this case, there are very, very few original Tibetan instruments.
First, consider the instruments of folk, non-religious music.
The most famous and widespread Tibetan folk instrument is the "dramien" ( dramyen ), Tibetan lute. Distributed everywhere. The closest analogues are rubab, tar, setar Central Asia and the Middle East.
The next tool is transverse flute"telin" ( khred gling ). Similar instruments are widespread in India and Nepal (bansuri), Central Asia (nai) and China.
Another instrument is paired timpani made of clay. The closest analogues are tablak in Central Asia, dholak in India.
These three musical instruments make up the main, if not the only instrument of Tibetan folk music. As you can see, it's pretty scarce.
Now consider liturgical musical instruments. There is much more variety here. Many of these tools are still sometimes used in Everyday life outside of religious ceremonies. An indication of an analogy only leads a parallel with a similar instrument from another people, and an indication of the origin - that it is known that the instrument is not local.
- "Dongchen"(dung chen ) - a long metal (copper or copper-nickel) pipe with a socket at the end. In length from 1.5 to 6 meters, in addition to religious rites, it is used during folk holidays. IN this case it is not clear whether this is a vestige of a pre-existing tradition of performing folk (non-liturgical) music on the dunchen, or whether it is a new formation. The closest analogue is the Tajik "sornai" (a long metal pipe with a bell at the end). It is quite possible that the Dunchen is a direct descendant of the weed, given that the Tibetan Bon religion took quite a lot from the country of Tagzig, which included modern Tajikistan.
- "Radung"(ra dung) - a kind of dungchen with a wider bell.
- "Nga"(rnga ), Also " lag nga" ( lag rnga )," har nga"(khar rnga ) - a flat double-sided drum, which is played with a special curved beater, usually tied to the ceiling or placed on a stand. Sometimes used during folk holidays.
- "Silnjen"(sil snyen) - flat plates. When playing, they are held vertically. Sometimes used during folk holidays. Similar analogues are in China.
- "Rolmo" (roll mo) or " boop"(sbu b ) - plates with bulges in the middle. Keep horizontal when playing. Analogues of the instrument are in Nepal, India, but the tradition of playing differs significantly.
- "Zurna"(bsu rna ), or " gyalin"(rgya ling), a kind of oboe, according to musicological classification, belongs to folk shawls. The closest analogues are the zurnas of Central Asia and the Middle East. It is believed (including by the Tibetans themselves) that this instrument "came" from Iran (which, in principle, it can be seen from the name - the Persian word "zurna"). Although instruments of this class are also found in India. It is widely used in liturgical music (one of the main musical instruments of the ritual music of Tibetan Buddhism and Bon) and folk music(often accompanied by timpani).
- "Shang"(gzhang) - a flat bell, when played, it is clamped in the palm of your hand with an extension upwards and sways from side to side so that the tongue tied with a rope to the center hits the edges. There are no analogues of this instrument, as well as the tradition of playing it.
- "Nga chen"(rnga "chen ) - big drum, which is beaten during worship, when the whole community gathers, and sometimes this drum is beaten on the roof of the temple to call the monks.
- "Genpo" (mgon po ) - a small drum used for worship in temples dedicated to protective deities (yidams).
-"G andi"- a long wooden board made of sandalwood. According to V. Suzukei, the length of the gandhi is about 2.5 m, the width is no more than 15 cm, the thickness is about 6 cm. made of sandalwood. When playing, the gandhi is taken on the left shoulder and supported by the left hand, the stick is in the right hand." Only special lamas could play the gandhi, calling the rest to worship with signals. Emphasizing the sacredness of the instrument, V. Suzukei points to its use as a mechanism “Religious dogmatics, the ritualism of Lamaism, the pantheon of deities, mythology and the pandemonium of evil spirits to appease, intimidate and suppress which the ritual actions of most rites are aimed at - in this entire complex system, musical instruments are of no small importance, the sounds of which have ambiguous symbolism intertwined with the entire corps of gods, demons and evil spirits, invoked with the help of music for ritual treats and suppression.
The following instruments are purely liturgical, but no longer of local origin, brought in.
- "Damaru"(da ma ru ) - a double-sided drum, shaped like an hourglass, with two balls on strings attached to the narrowing point. When playing, the drum is held horizontally and rotated alternately in one direction or the other, ensuring that the ball on the ropes hits the membranes. It is believed, including by the Tibetans themselves, that this instrument was brought from India, as well as
- "canlin" (rkang gling ) - a pipe made of human tibia or metal (copper or copper-nickel alloy).
- "kandung" (rkang dung ) is an instrument that differs from the kanlin in that it has a telescopic knee that increases its length. This instrument is a Tibetan modification of the introduced kallin; a kind of hybrid with dongchen.
- "Dilba"(drillbu ) - a bell with a handle, often in the form of a vajra. There are two styles of playing this bell - simple (swinging from side to side) and playing with a beater (a wooden beater is driven along the lower rim of the bell, causing it to vibrate and resonate). It is believed, including by the Tibetans themselves, that this instrument was brought from India.
- "Dunkar"(dung dkar) - a shell. It is of Indian origin, made either with a metal mouthpiece (for this it is set in metal and glued with sealing wax), or the natural form is left.
- "Tin-shang"(ting gzhang ) - small flat, slightly convex metal plates. They are of Indian origin (from the Indian instrument "karataly")
- "Gyal nga" (rgyal rnga), "har nga" (khar rnga listen)) is a gong used to strike the hours during monastic gatherings. It has an Indian origin, where it performs the same function.
- "Carlin"(kar gling ) is a wind instrument of Chinese origin, used on holidays. It is played on the upper floors of the temple. The presence of musical instruments of Chinese origin is explained by long contacts with the Chinese Buddhist school, as well as
- "Bupag"(sbu phag ) is a trumpet of Chinese origin and
- "Ratin" (draw ting ) is an instrument consisting of nine gongs played by two drummers.
The fact that these instruments are exclusively liturgical proves once again that they are not autochthonous; they were borrowed specifically for certain (also borrowed) rituals.
Some of these instruments are used very little (in the sense of their parts in the liturgy are very small), and on some, on the contrary, they play almost the entire liturgy. Some are generally used only in certain practices and cases, while each monastery and sect has its own peculiarities of instrumentation for each liturgy and features of playing and making (and designing) instruments.
If you try to make a list of primordially Tibetan musical instruments, you get the following picture:
- "rolmo" (rol mo) or "boop" (sbub),- "dungchen" (dung chen),
- "radung" (ra dung),
- "nga" (rnga), "nga chen" (rnga" chen), "genpo" (mgon po),
- "shang" (gzhang)
- "gandhi"
About the rest of the instruments, one can say that either it is known for sure that they were not originally Tibetan, or there is such an assumption.
It is very interesting that these are all liturgical instruments, and not folk ones. Apparently, this happened due to the fact that the canons "conserve" liturgical instruments, while folk instruments are not canonized and are subject to any foreign influences.
But this does not mean that the rest of the Tibetan instruments are borrowed. It is quite possible that they are simply common for the peoples of the Himalayas, India and China as for the peoples of one region of Asia. And the listed tools are unique to Tibetans.
In this section you can buy oriental musical instruments, Tibetan pipes, buddhist instruments, bells, jew's harps, unusual musical instruments.
Tibetan pipes
Tibetan pipes different in diameter and length. There are small and long pipes (up to 3 meters). Also popular Buddhist shells- an unusual musical instrument that produces a piercing and strong sound, richly decorated with chasing and stones. Buddhist shells also vary in size and length. Except Tibetan pipes and shells also presented kartals, arc-shaped trumpets, flutes, gongs and horns.
ethnic drums
You can buy from us ethnic drums- Unusual tools on the handle and in the frame. The drums are very beautifully made - they are decorated with paintings, the frames and wooden parts of the drums are decorated with carvings. Ethnic drums vary in sound and diameter.
Buddhist damaru drums
In stock Buddhist drums for practices - damaru. Damaru also have different sizes. Tambourines and gongs are also available.
Buddhist bells
With us you can buy buddhist bells with vajars. Buddhist bells different in size, sound and quality. Tibetan bells can also be purchased with a case.
Vargans
We also have an assortment jew's harps, hokosas, ocarins, bugles.
You can buy a Tibetan harp, Potkin's harp, a harp with three tongues and etc.
Musical instruments
There are several musical instruments used in ritual ceremonies in Tibetan Buddhism. Among them: Ra-dang or Dang Chen, Nga, Nga Chen, Gyaling, Kangdung, Sil-Nyan.
A trumpet, a prototype of the western flute, made of very hard wood such as teak or rosewood with eight playing holes. It is usually adorned with seven metal rings. precious stones. The trumpet is blown so that the sound is not interrupted. During religious ceremonies, the monks have to do this for half an hour non-stop.
There are 2 types of Nga drums. The first (hand drum), it is used during ritual processions. The drum is long, decorated with 1 thread wooden handle, at the end of which is a vajra. Sometimes a silk scarf is tied on the handle as a symbol of reverence for the divine musical instrument.
Its diameter is over three feet. The drum hangs inside a wooden frame. An image of a lotus is also used as decoration. The drum stick has a curved shape, at the end it is covered with fabric for greater softness when struck.
Kangdung. This trumpet is used to express reverence and admiration for peaceful deities. It is made of copper, decorated with wood carvings and gilding. At the beginning of each section of a large collective ritual, all musical instruments are played loudly in the monastery.
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Dongchen - big pipe
It was invented by Tibetan masters. When Venerable Zhovo Atisha was invited to Tibet, in order to pay respect to the greatest Pandita, the illustrious prince Janchup Od arranged musical performance, offering the sounds of a large trumpet. Now in our time this tradition has not disappeared and the same ceremony is held at the receptions of highly educated Masters. When Cham is danced during major festivals, a large trumpet is also used.
The size of the large pipe varies from 7 to 3 cubits in length. The narrow opening of the mouthpiece gradually widens towards the bell. It consists of three parts that fit neatly into each other. Copper and brass are used as materials for manufacturing. Therefore, its other name is Rakdun, literally translated from Tibetan rak - brass, dong - pipe. The sounds produced are divided into: loud - masculine and quiet - feminine.
Dongak
Dongak, this piece of monastic clothing was not used in India, but only in Tibet. Due to the high altitude, cold climate, Dongak served as a kind of sleeveless shirt. It looks like a skin from the head of an elephant, an elephant is considered a strong animal, so a monk who puts on this clothes creates a prerequisite for gaining power in the future to discard negative karma and increase virtue like the power of an elephant. The shoulder pads that replaced the sleeves are reminiscent of elephant ears. At the time of Landarma, when the Teaching was brought into decline. Four monks were needed to conduct the ceremony of initiation into monks (Bhikshus). But only three were found in Tibet. And they were forced to invite a fourth from China. And therefore, as a sign of respect, the shoulder pads are sheathed along the contour with blue braid, for the same reason, the monastic clothes of Namdzhyar and Lagoi are sheathed with blue threads. Also, there used to be a tradition to make a loop at the lower end of the braid, where the monks put their thumbs in order not to carelessly wave their arms while walking.
Shamtap
Shamtap, this is the lower monastic robe. It is worn only by novices - Shramaneras and monks - Bhikshus. As Buddha Gautama preached: "wear shamtap with meaning and order"! All the details of this attire have a hidden meaning, it consists of connected rectangular pieces of fabric, each of which symbolizes a certain obligation from a vow given by a monk. For example, Shramaners have 36 obligations, and Bhikshus 253, as indicated by the number of rectangles on the shamtapa. It can not be removed even during sleep.
Zen.
Everyday cloak made of red material, two cubits wide, five to ten cubits long, according to the height of the monk.
When the Buddha renounced life in the world in front of the stupa, he took off his worldly clothes and put on the monastic one, which the celestials offered him. And after that, his followers-disciples dressed in exactly the same clothes. Firstly, in order to distinguish between monks and laity, and secondly, these clothes do not contradict the vows of Bhikkhus. Thirdly, so that the monks would wear these clothes and not think about beauty.
Once, in the old days, King Bimbisara met with a non-Christian Brahmin and, mistakenly thinking that he was a Buddhist monk, bowed to him. And so after that, the Buddha, in order to distinguish between tirthiks and Buddhist monks-Bhikshus, introduced such clothes as "Namjyar" and "Lagoy", from square patches. Nowadays, in northern Buddhism, they are rarely worn in everyday life. They are used during the purification ritual-Sojong. And also while preaching or listening to the Teaching. "Lagoi" and "Namjjar" are the same size but differ in color, one is orange and the other is yellow. The first is intended for all those who have taken monastic vows, the second only for monks who have taken the full ordination of a Bhikkhu.
Source - a book of monks from the monastery DREPUNG GOMAN SAMLO KANTSEN
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It has a bamboo stem with a single scoring tongue. There are 8 playing holes made in the flute barrel, 7 upper ones, one lower one. At the end of the trunk is a small horn socket.
It is also sometimes made from other types of wood. The resonator bell is also wooden.
In addition, the number of playing holes in rare cases can vary from 7 to 9. Accordingly, the range of the instrument also changes somewhat.
sound loud, bright and pleasant. Mabu is related in sound formation. The instrument is well suited for festivals.
Interesting fact: Mabu, along with other traditional oriental instruments, sounds in the game Swords of Destiny for the PlayStation 2 platform.
There is another woodwind instrument with the name, whose homeland is Solomon islands.
Video: Mabu on video + sound
Thanks to these videos, you can get acquainted with the tool, see real game on it, listen to its sound, feel the specifics of the technique:
There is no video for this tool yet. :(
If you have one - write! :)
Sale of tools: where to buy/order?
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