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Handbook of Tibetan Buddhis#12B 9/1/10 11:38 AM Page 31
The Five Attributes of Sensory Enjoyment 31
dragon. On Indian-style thangkas the lute deities, these monastic cymbals appear in the
may be shown in the form of the Indian vi- form of the flat cymbals (Tib. zil-snyan) used
chitra vina, with two resonating gourds fas- in peaceful rites, rather than the domed
tened beneath a long and tubular-sectioned cymbals (Tib. rol-mo) used in wrathful rites.
wooden or bamboo neck. When gongs are depicted they are repre-
When two golden cymbals are depicted sented as a pair of symmetrical bell metal
to represent the faculty of sound, they are bowls, with two wooden striking sticks
commonly depicted in a symmetrical placed within them, and cloth rings under-
arrangement at the front center of the offer- neath their bases to sustain their resonance
ing bowl, with a draped silk ribbon looped when struck. The Chinese gong (Ch. lo), and
between their central handles. These cym- the Mongolian gong (Mon. dudaram), were
bals may take the form of the small Tibetan probably the prototypes of these symbols,
hand cymbals (Tib. ting-shag), made of bell which began to appear in later Tibetan art.
metal, which are about three inches in diam- In the modern mythology of the New Age
eter and produce a sustained high-pitched spiritual movement these gongs have come
ring. But they more commonly take the form to be known as ‘Tibetan singing bowls’, and
of the large bronze cymbals, which are used many fantastic tales of occult power have
in monastic rituals and produce a clashing been grafted onto their recent history and
sound. As a sense offering to the peaceful innovative techniques of playing. Brass or
bronze bowls first began to appear on Ti-
betan refugee stalls during the 1970’s, but
these objects were actually the eating or of-
fering bowls of these impoverished refugees.
Over the last few decades these Tibetan
singing bowls have been widely manufac-
tured for the tourist markets of India and
Nepal, but stories of their employment in
ancient Tibet as mystical musical instru-
ments are a modern myth.
When a flute is depicted it generally takes
the form of the Indian bamboo flute, or the
long transverse Chinese flute or ti. The ti is
fashioned from bamboo, with six or seven
finger holes and two mouth holes. When this
flute is played a thin bamboo membrane
covers one of the lower mouth holes, which
Pair of ritual bronze cymbals (top left); bowl
gong with wooden striker (top right).
Below are two pairs of Tibetan cymbals joined Chinese flute (ti) with bamboo membrane (top);
together with silk cloth as an offering. pair of Indian flutes tied with silk (bottom).