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Diploma Project|Buddhism Through Sounds


Lama Khenpo L. Tshering
Principal, SIHNS, Ganhgtok

Library Staff
LTWA, Dharamsala

Lama Sonam
Director, Tsechokling Monastery,
Dharamsala
Mr. Prakash Dilwal
School Teacher, Leh
Prof. Sangita Meshram
Nagpur University
Special Thanks to,
All the Monastic Organizations and the Lamas
Workshop Staff, NID Gandhinagar
Mr. K. P. Somkuwar
Ms. S. K Somkuwar
Vinay Hasija
Priyanka Borar
Suvani Suri
Ms. Shilpa Das
Guide
Dr. Jignesh Khakar
Coordinator, New Media Design
Mr. Arshad bhai
Mechatronics Lab
Mr. C. S. Rao
Secretary, HRDD, Sikkim
Dr. Y. P. Nepal
Joint Secretary, HRDD, Sikkim
Mr. Tashi Tenzing
Research Consultant, NIT, Gangtok
Mr. Tashi Densapa
Director, NIT, Gangtok
Mr. Tenzin Samphel
General Librarian, NIT, Gangtok
Sir Jigmee Kaleon
Music Teacher, Gangtok
Acknowledgments
Conclusion 153

Future Scope
Experience and Learning
Annexure 157

Insights 101

Findings
Revised Brief

Explorations
Prototyping 109

Explorations
Prototyping
Table of Contents
Introduction 3

Abstract
Motivation
Preface
Initial Brief
Research 13

Monasteries Visited
Initial investigation
Buddhism
Buddhism in Tibet
Tibetan Buddhism and Related Sounds

INTRODUCTION
1
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This project presented an opportunity to know the
signicance of sound and music in Buddhism, to
know about the spiritual effect of sounds through
chanting and musical instruments. It offered a
way to know more about Buddhism through the
medium of sounds. It also mentions variations
observed in Buddhism during the course of this
project, and draws out a comparison between
the current practices and teachings of Buddha
mentioned in various texts.
The projects artefact offers an opportunity to
indulge with the different sounds observed
during a Buddhist prayer. The artefact offers
an insight into the variations observed through
sound as a medium. It is an attempt to be able
to stir people to question or to know more
about the existing practices. People are open
to interpret the different sounds used in the
installation and come up with their meanings
and experiences.
1.1
Abstract
"He who knows the secret of the sound knows
the mystery of the whole universe"

- Hazrat Inayat Khan in The Mysticism
of Sound
Sound is all around us and its effects on humans
cannot be denied. Having physiological
as well as psychological effect on us, it
very much affects how we behave or react
towards a particular sound. Sound has the
ability to alter with our emotions, to make
us happy or sad; ability to calm down our
heart beats and also, to make us anxious.
Silence, too, is an important factor that
inuences our behavioral reactions. Silence
and Sound are inter-related. One cannot
understand the importance of silence without
having sounds around. How ever soothing and
calm silence is, too much of it can become
unnerving too. One of the good combinations
of silence and sounds can be experienced in
the Buddhist monasteries. The play of silence
and sound in their prayers and chanting leaves
one mesmerized.
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Diploma Project|Buddhism Through Sounds
Through my knowledge of technology and
sound as medium, I took this project up as a
challenge to present my point of view in a way
that people leave with an experience and a
thought about Buddhism.
1.2
Motivation
Technically, sound is the vibration of air
particles. But its effect on us is far beyond
dening it as just the vibration of particles. We
associate with sound and music in a way that
it affects our moods and attitudes.
I have always been fascinated with how
unnerving or soothing sounds can be; How
a combination of different sounds and silence
has the ability of lightening up our moods or
make us serene or violent or anxious. I always
found it interesting; to know the meanings that
people or cultures hold about sounds and their
different interpretations.
Every religion has sound as its one of the
core practices. Be it the sound of bells or the
repetitions of mantras, it always makes one stop
and pay attention to them. Being a Buddhist,
knowing more about its sound and signicances
offered the rst step towards this vast topic. To
start with, musical instruments in practice in the
monasteries seemed the perfect option. Idea
of getting to know my religion in a better way
acted as an inspiration.
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Snehal Somkuwar|New Media Design
his followers, and the spread of his religion
since then is a vast eld to study. As the number
of searches on internet
increased, understanding went farther. Again,
narrowing it down was a necessity. Options
were either to concentrate on the life of Buddha,
his teachings or the spread of Buddhism or on
to the beliefs of people and how they follow it.
it. Hardly knowing much about Buddhism, it
was an opportunity to know more about this
religion (still debated if its a religion, as
quoted by an elder family member).
Buddhism, a story of 2500 years, even that
proved to be a vast area. Main events of
Buddhas life are well known. But his teachings,
Its tale is one of the incredible dramas and
biggest ideas. Its a place where children
grow up in a global superpower and yet, still
know what means to belong to an ancient
civilization.
Michael Wood
Indian culture is one of the ancient cultures
of the world; home to many important old
religions like Hinduism, Islam, Christianity and
Buddhism. Many scholars have researched and
written volumes on it, and still not covered it
totally.
It was during a video documentary The Story
of India, that the idea of this project started.
The idea was to capture the essence of the
unique Indian culture.
After reading and watching a few more
documentaries, the vastness of it posed a
question. The history and culture of India is so
vast, so rich and diverse, that to cover it in a
six-month research project is barely possible.
Narrowing it down was a personal choice.
Being a Buddhist, it was easier to decide on
1.3
Preface
Fig 1.1 Based on book The Story Of India by Michael Wood
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Diploma Project|Buddhism Through Sounds
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Having visited a Buddhist monastery and
attending a prayer there as a kid, came to
the rescue. The few outside people, other than
the residing monks, attending the prayer, were
given a musical instrument for maintaining a
constant rhythm during the prayer. The monks
were playing different instruments throughout
the prayer, drums, trumpets etc. It was then that
the idea of research on musical instruments
used in a Buddhist monastery started. It suited
my interest in the eld of sound too.
Secondary research, proved benecial in the
way that it gave an idea about the instruments
in use in the monasteries. A few stated the
purpose of their use and how they are used.
Visiting a few stupas, speaking to a few monks
there, and to a few elders, introduced me to
the two vehicles, Hinayana and Mahayana of
Buddhism, which were not considered till then
in this project.
Fig 1.2 Initial options on Buddhism
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Diploma Project|Buddhism Through Sounds
in religious and historical terms.
At this time, project was at a very nascent stage
and creating a brief for it was found difcult.
However, an initial brief was prepared based
on the information at hand which was subject
to change.
As per the information gathered then, Hinayana,
the lesser vehicle, which is also followed in
the family, favours no idol worshipping and
believes totally in meditation. Their prayers
are simple and just the repetition of a few
Mantras, Chanting. Monasteries are used
for the sole purpose of meditation and musical
instruments are not used in this vehicle. The
prayer I attended years ago, those monks were
either the followers of Buddhism in Japan,
Tibet or China. Thats the Mahayana branch
of Buddhism, the greater vehicle that supports
following rituals with meditation and uses many
instruments for the same.
A senior professor guided to take a tour up
north and visit the traditional old monasteries;
Mainly the monasteries in Dharamsala and
Ladakh region, to attend their prayers and
interview them, so that I get more insight on
the topic. A plan was then chalked out for a
months long trip to Sikkim, Dharamsala and
Leh. The plan was to visit maximum number of
monasteries avoiding much time in travelling.
There are hundreds of monasteries in these
regions and deciding which ones to visit was
done as per the distances and their importance
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1.4
Initial Brief
Buddhism, whose beliefs and practices are
based on the teachings of Prince Siddhartha
Gautama, known as Buddha, is a widespread
religion. This project would emphasize more
on Mahayana, and especially Vajrayana
or Diamond Vehicle sect of Mahayana.
Vajrayana, also known as Tantric Buddhism
is followed in Tibet and North India region. It
accepts all the basic concepts of Mahayana,
but also includes a vast array of spiritual and
physical techniques, designed to enhance
Buddhist practice. Tantric Buddhism is largely
concerned with ritual and meditative practices.
In all these rituals, a certain set of musical
instruments are used, called Monastic Ritual
instruments. These instruments serve a certain
purpose; call it offering of sound to deities or
invocation of gods.
This project would aim to use sound as a
medium to provide an idea of Tibetan ritual
instruments, used in Buddhist monasteries and
their importance, meaning and signicance of
their sounds. Also, it would provide a glimpse
of Buddhism and see if Tibetan Buddhism is
any different than the primitive Buddhism that
originated in India.
R E S E A R C H
2
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Secondary research provided the names and
locations of all the major monasteries and
the rst broad list of monasteries to visit was
made. The list covered monasteries with lesser
distances (from each other and from the place
of stay I decided) and religious and historical
importance.
The rst place visited was Gangtok, Sikkim,
followed by Dharamsala and then Leh.
2.1
Monasteries Visited
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Diploma Project|Buddhism Through Sounds
Gangtok, Sikkim
Sikkim, the second smallest state in India,
located in the himalayan mountain range has
Buddhism as its second religion. There are
around 75 monasteries in this state that follow
Tibetan Buddhism. Its capital, which is also the
largest city of Sikkim, was the rst stop.
The list of Sikkim, had around ten monasteries,
and aim was to cover atleast ve of them
and spend good time in ateast two and
interview the monks there in ten days of time.
Getting permission to spend ample time in
the monasteries and interviewing was a task.
I had been told its quite difcult for a female
to get access in the monasteries for research
work. First day, meeting with the Secretary,
HRD department, Sikkim, Mr. C.S Rao, helped.
He introduced me to Lama Khenpo L. Tshering
and Dr. Y.P. Nepal.
Lama Khenpo L. Tshering, is a monk and
principal of a Buddhist school, Sikkim Institute
of Higher Nyingma Studies (SIHNS). SIHNS
was established by the government of Sikkim, in
year 1983 to preserve the religion and culture
of this place. It offers post graduate buddhist
studies and is afliated to Sampurnanand
Sanskrit University in Varanasi.
Lama Tshering was excited about the project
and mentioned that many students come for
research work. He showed interest in the topic
I had chosen. He guided me through the basics
and introduced me to Vajrayana branch of
buddhism. He offered that I can visit his college
and get my queries cleared from him as needed.
Dr. Y.P. Nepal, is Joint director in HRD
department of Govt. of Sikkim. He accompanied
me to Namgyal Institute of Tibetology and
introduced me to the General Librarian, Mr.
Tenzin Samphel and Research consultant, Mr.
Tashi Tenzing to help me with my queries in
the later visits. He also took me to the famous
Rumtek monastery and got me the permission
to visit the main prayer area and click pictures.
After reaching there, a new list of monasteries
was made. First list was far too ambitious,
depending on the montainous roads and the
rainy season.
Namgyal Institute of
Tibetology
Namgyal Institute of Tibetology, an
institute establish to support the research
works on their religion and culture, history
and art. It also has a museum containing
unique collection of statues, ancient
manuscripts, ritual and art objects.
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Arithang Monastery
Arithang is a small and new monastery in
Gangtok with 9 monks (ages :6 to 27) and
a head lama. It is a two storeyed building,
housing a study hall and a prayer hall. They
have a few rooms and kitchen for the monks
residing there. It belongs to Nyingma
1
sect of
Vajrayana. It was right in front of the guest
house where I was staying and the prayers and
the instruments could be heard every morning
around 6 A.M. I attended their prayer for three
days in the morning and once in the evening.
Fig 2.1 Arithang Monastery , Arithang Road, Gangtok
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Diploma Project|Buddhism Through Sounds
Rumtek Monastery
Around 50 years old, Rumtek is an important
monastery for Kagyupa
1
sect and largest in
Sikkim. It is also known as the Dharmachakra
Centre. It has a Nalanda Institute of Higher
Buddhist Studies where hundreds of monks
perform their studies. I attended their practice
for cham
2
festival twice.
Fig 2.2 Rumtek Monastery, 24 kms from Gangtok
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Old Rumtek Gompa
Near to the Dharmachakra Centre, Old Rumtek
Gompa is said to be 300 years old. His holiness
16th Karmapa
3
stayed here and guided the
completion of New Rumtek Monastery. It
belongs to the Kagyu sect.
Fig 2.3 Old Rumtek Monastery, few kms from Rumtek Monastery
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Diploma Project|Buddhism Through Sounds
Fig 2.3 Old Rumtek Monastery, few kms from Rumtek Monastery
Enchey Monastery
Established in 1840, Enchey is over 150 years
old and belong to Nyingma sect of Vajrayana
Buddhism. Literal meaning of Enchey is Solitary,
and it suits its name well. Its a quiet monastery
with a big area and housing hundreds of prayer
wheels. This important monastery of Sikkim,
houses around 90 monks. There were almost no
musical instrument kept in the prayer hall, and
a monk answered that they are removed only
during the prayer and then kept inside again.
Fig 2.4 Enchey Monastery, Gangtok
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Lingdum Monastery
Lingdum is also known as Ranka Monastery. This
big and beautiful, fairly peaceful monastery,
houses around 300 monks. A long line of
copper prayer wheels guides the way to the
monastery. It belongs to Kagyupa sect.
Fig 2.5 Lingdum Monastery, Ranka, Sikkim
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Diploma Project|Buddhism Through Sounds
Fig 2.6 Monasteries Visited in Sikkim.
Map Reference : Sikkim Tourist Guide
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Dharamsala, Himachal Pradesh
Dharamsala, a hill station in Himachal Pradesh,
is famous as home for his holiness Dalai lama. It
houses the Tibetan government in exile as well.
It has become a famous tourist place and also
a place which attracts students of Buddhism.
Main monastery to visit here was Dalai Lamas
residence, Namgyal Monastery with a few
other. Dharamsala houses a Tibetan library,
Library of Tibetan Works and Archives
which has a huge collection of tibetan books,
manuscripts and and many other religious
resources.
Library of Tibetan Works and
Archives (LTWA)
It is a Tibetan Library in Dharamsala, founded in order to
preserve the Tibetan manuscripts and books and many other
religious resources relocated from Tibet during the exile. It was
formed by His holiness, the 14th Dalai Lama in June, 1970. It
is dedicated to the conservation and propagation of Tibetan
Culture around the globe.
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Diploma Project|Buddhism Through Sounds
Tsechokling
Monastery
Tsechokling Monastery was rebuilt in
Dharamsala after it was destroyed by Chinese
invasion in Tibet in 1959. Around 25 monks
stay here in this monastery, including the ve
who ed during the invasion and are teaching
here. The monastery belongs to Gelugpa
4
sect
of Vajrayana Buddhism.
A small interview with a novice monk, led
to Lama Sonam, who is the present director
of Tsechokling Monastery. He provided a lot
of information on Tibetan Buddhism and the
musical instruments used. He advised to go
to a monastery called Karmapa temple, for
gaining more insight.
Fig 2.7 Tsechokling Monastery
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Gyuto
Monastery
Gyuto Monastery was re-establish in India
after the Chinese invasion in Tibet in 1959.
It is famously known as Karmapa Temple
because of its seat for his holiness the 17th
Karmapa. It houses over 500 monks and have
a vast residential complex for them. It belongs
to the Gelug sect.
The head lama in the temple, who was offering
a pooja to Goddess Kali with 100 other monks,
guided me to the LTWA, for better and sorted
information.
Fig 2.8 Gyuto Monastery
(Karmapa Temple)
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Namgyal
Monastery
Namgyal Monastery, can be called as the
personal monastery of His Holiness Dalai Lama
and has been assisting Dalai Lama to carry out
prayers and rituals. It was founded by second
Dalai Lama in Tibet and after Chinese invasion,
re-established in India by 14th Dalai Lama and
few other Namgyal Monks.
It houses around 200 monks and many others
keep coming for the teachings and meditation.
It has Dalai Lamas residence and it belongs
to Gelugpa Sect.
Fig 2.8 Namgyal Monastery
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Fig 2.9 Monasteries visited in Dharamsala
Map Reference : Dharamsala Tourist Map
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Leh, a region in Ladakh, Jammu and Kashmir is
also the second largest district in India. Famous
for its scenic beauty, Leh has its major religion
as Buddhism.
Monasteries in Leh, except a few, are situated
far from the main town. Travelling takes a lot
of time considering the snowclad mountainous
roads and rough terrain.
The list of monasteries that I had made to
visit there, was inspected by family friend Mr.
Prakash Dilwal, who has been staying in Leh
for years and teaches in a school there. He
advised on the monasteries that are important
there and should be visited and a revised list
was prepared.
Leh, Ladakh
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Hemis Monastery
Hemis Gompa is the largest and richest
monastery in the Ladakh region. It belongs to
Druk-pa lineage of Kagyupa sect. It is said to
be built in the year 1630, which makes it over
300 years old. It has two main sections, prayer
hall and assembly hall. It also houses a museum
having many objects of religious importance.
I visited the monastery twice and attended two
of their prayers. Lama Jigmat, who also takes
care of the soveniour shop at the monastery,
provided the information I needed. Another
Lama, also called Jigmat, let me attend a
prayer which he was offering alone to the
Lord Padmasambhava
5
.
Fig 2.10 Hemis Monastery
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Shanti Stupa
Also known as Japanese Gompa, Shanti
Stupa is a recent religious monument in Leh.
It was inaugurated by 14th Dalai Lama in
1985. It has a prayer hall that is very apt for
meditation. I could witness a monk meditating
with his continuous chants and two musical
ritual instruments.
Fig 2.11 Shanti Stupa
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Thiksey
Monastery
This 600 years old Gompa, is a 12 storeyed,
one of the largest and oldest monasteries in
Ladakh. Over 100 monks stay here and follow
Gelug-pa sect of Buddhism. It is famous for its
40 feet tall statue of Maitreya6 Buddha. It has
a main prayer hall, where I attended a prayer,
in which old lamas were teaching small student
lamas. It houses an old library, a museum, and
a temple dedicated to Goddess Tara7.
Fig 2.12 Thiksey Monastery
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Spituk Monastery
This 11th century monastery, is a three-storeyed
structure standing on a hill. When extablished
it was under the Kadampa
8
sect of Buddhism
but Gelugpa was introduced later. There are
about 150 monks in this monastery.
Fig 2.13 Spituk Monastery
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Diskit
Monastery
Around 350 years old Diskit Monastery, oldest
and largest in Nubra Valley, is famous for
its murals. It is located in the Nubra valley,
north of Leh. Situated at the highest point, near
the village, it has some parts of the structure,
around 750 years old. It is the residence for
around 120 monks who follow Gelugpa sect.
It has a small temple for Goddess Kali and few
other deities, who are only uncovered during
festivals. There is a huge 32 metre tall statue
of Maitreya Buddha near to this monastery.
Diskit is considered to be a branch of Thiksey
Monastery.
Fig 2.14 Diskit Monastery
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Samstanling Monastery
Samstanling Gompa is situated in the Sumoor
village of Nubra Valley. It was established
in year 1843 and houses over 100 monks.
It belongs to the Gelugpa sect of Vajrayana
Buddhism.
Fig 2.15 Samstanling Monastery, Sumoor, Ladakh
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Soma and Chandazik
Monastery
Soma and Chandazik are two small gompas
in the Leh Palace. Chandazik has a huge Kali
temple that opens once in three years for one
hour. In Chandazik gompa, I witnessed a monk
offering puja to Mahakali and Avlokiteshwara
9
.
Fig 2.16 Soma Monastery, Leh Palace
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Leh Palace
Leh Palace, is a nine storeyed structure established
in 17th century for the royal family, but was later
abandoned in mid 19th century. The palace is in ruins
now but under the process of getting restored. It is a
huge palace housing many rooms and a few temples.
Once entered it seems like a Maze.
Fig 2.17 Chandazik
Monastery, Leh Palace
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Alchi Gompa
Alchi Monasatery is located in the village Alchi,
on the bank of Indus river in the Leh district. It is
one of the oldest and famous for its 11th century
old paintings. It has three main structures, the
ancient assembly hall, a three storey building,
called Sumsteg and a Manjushri temple. It also
houses a few small temples of Bodhisattvas.
Because of language barrier, I could not
communicate much with the lama praying there.
The little I understood, this gompa originally
did not belong to any sect when established,
but started following Gelug-pa sect later.
Fig 2.18 Alchi Monastery, Leh
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Diploma Project|Buddhism Through Sounds
Shey Monastery
Shey Palace and Gompa, was built in 1645
as the royal residence for the Namgyal kings
of the Ladakh. It has a 12 metre tall gold and
copper statue of Shakyamuni
10
Buddha. A very
few lamas stay here who take care of the pujas
and the rituals in the temple here.
1. A sect of Buddhism
2. Mask and costume dance and is part of Buddhist festival
3. Head of Kagyupa sect of Vajrayana Buddhism
4. A sect of Buddhism
5. Follower of Buddha, who took Buddhism to Tibet.
6. Future Buddha
7. Buddhist Goddess
8. Old sect of Buddhism
9. A Bodhisattva
10. Buddha so called as he was the sage of Sakya people
in Kapilvastu
Fig 2.19 Shey Monastery,
Leh
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Fig 2.20 Monasteries visited in Leh, Ladakh
Map Reference : Ladakh Tourist Map
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2.2
Initial Investigations
A few points were kept in mind when the
research was started and a set of needed
information about the instruments was charted.
These were
Historical data about the instruments,
their origin, uses etc.
Rituals where these instruments are
used and why
Meanings the monks hold about these
instruments and their signicance for
them.
How it plays a role in their life,
culturally and spiritually
These were the initial questions with which
the rst meeting with Principal Lama Khenpo
Tshering took place. Lama Tshering spoke about
the impact of Hinduism on Tibetan Buddhism.
He pointed out the similarities and differences
between Hindu music and Tibetan music. He
gave an example of hand bell, Ghanti, that
is is used in both Hindu religion and Tibetan
Buddhism is of importance. The way it is held
by a Hindu Pandit and by a Lama have a
few differences but the sound of it, the sound
of void, holds similar importance in both the
religions. He mentioned a few other instruments
like damru, drum, trumpets which are used in
other religions as well.
He gave introduction of different vehicles of
Buddhism viz. Hinayana, Mahayana and
Vajrayana and different sects viz. Nyingmapa,
Kagyupa, Sakyapa and Gelugpa, of Vajrayana.
He emphasized to know more about them
before moving on to musical instruments as the
use and signicance differ with the vehicles
and the differnet sects. He threw light on how
Buddhism started in Tibet and the kind of
Buddhism followed in Tibet. He spoke about
the gurus and their impacts on the sects of
Buddhism.

Fig 2.21 Lama Khenpo Tshering
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mentioned the importance of knowing more
about Tibetan Buddhism, its sects and the
Gods and Goddesses, before moving on to
the musical instruments. He pointed out the
differences in use of musical instruments in
different vehicles and sects, and how the
teachings in different vehicles affect the use
of instruments. He mentioned the effect of
Tibets old religion Bon-pa and how it has
been merged with Buddhism.
introduced the Wheel of Existence: Samsara,
philosophy of karma and sins as taught by
Buddha.
Mr. Jigmee Gyatso Kaleon is a music teacher
and practices Buddhism intensely. He has
two prayer halls set up in his house for lamas
to visit and for his personal practice. He too
Mr. Tashi Tenzing, while giving a round of
museum in NIT, mentioned about the Buddhism
in Tibet: Vajrayana and different deities that
hold importance and are prayed to. He spoke
about the rituals and ceremonies performed in
which different instruments are used and the
variation in their use with the sects and the
deities. He mentioned different Buddhas and
Bodhisattvas, especially Guru Padmasambhava
who brought Buddhism to Tibet. Mantrayana
and Tantrayana and the use of tantric practices
were the few pieces on which he talked. He
After speaking to them, conclusion was;
Before collecting the information on various
musical instruments, it was necessary to
know about:
Buddhism and its Vehicles
Tibetan Buddhism and its sects
Effect of Hinduism and other
religions on Tibetan Buddhism
Gods and Goddesses
Guru Padmasambhava and
bodhisattvas
Tantrayana and Tantric Practices
Effect of Tibets old religion Bon pa
Fig 2.22 Mr. Tashi Tenzing
Fig 2.23 Sir Jigmee Gyatso Kaleon
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Diploma Project|Buddhism Through Sounds
In the initial years, Buddhism mainly ourished
under the patronage of kings and wealthy lay
people. In the 3rd century, it was Asoka, the
rst royal patron of Buddhism, whose efforts
were largely responsible for the popularization
of the teachings of Buddha in and outside
India. To establish the path of non-violence as
a way of life in his empire, he emphasized
the Buddhist way of life, social action and
compassionate equal justice for all. He made
it available to common people where it had
been majorly restricted to the educated and
previleged classes.
From the 9th century onwards, there was a
gradual decline of Buddhism. Reason may
be called as support by common people to
Hindu beliefs or Muslim invasion in the 11th
century. During the invasion, monasteries were
destroyed and the monks were killed. Buddhism
is dependent on a teacher-student group for its
existence and in the absence of monk teachers,
it had largely disappeared from India by the
13th century.
2.3
Buddhism
All created things must pass on. Strive on,
diligently.
- Gautama Buddha
As known, Buddhism was started by Siddhartha
Gautama around 2500 years ago. Basic events
of his life are well known; he was born into a
royal family, insulated by the sufferings of life,
discovering the hard facts of life, his search
for truth and answers and his enlightenment.
The word Buddha literally means the
awakened one and so Buddhism is more about
experiencing the truth for oneself. As mentioned
by Bharat Ratna S. Radhakrishnan, the rst Vice
President of India in the book 2500 years of
Buddhism, Buddhism did not start as a new
and an independent religion, but as an offshoot
of the more ancient faith of the Hindus, perhaps
a schism or a heresay. Siddhartha Gautama
being an ordinary man, and not having any
divine origin, Buddhism does not believe in the
creater god and idol worshipping.
Even being the place of origin, Buddhism
in India stayed steady for a smaller time,
before its declination started for many
reasons.
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in search of truth. Buddha denying both the
extremes, chose the Middle path.
The middle path produces spritual insight and
intellectual wisdom to see things as they truly
are. It leads to the attainment of Four Noble
Truths through the Noble Eightfold Path.
The Four Noble Truths
The four noble truths contain the essence of
Buddhas teachings. These are the four principles
that Buddha understood while meditating for
the search of truth.
1. First Noble Truth : Suffering
All life is suffering and there is no real happiness
in this world. Material happiness is merely the
gratication of some desire and the satisfaction
it brings is temporary. There is no permanent
happiness or satisfaction.
Three obvious kinds of suffering mentioned by
Buddha is old age, sickness and death.
The teachings of Buddha are collected in three
volumes, called Tipitaka, which means Three
baskets.
1. Vinaya Pitaka: Rules and regulations
of the order of monks and nuns
2. Sutta Pitaka: Collection of various
discourses delivered by Buddha on
various occasions
3. Abhidhamma Pitaka: Expounds the
essence of Buddhas profound teachings
Middle Path
Buddha has spoken about two extremes.
1. Constant attachment to sensual
pleasures
2. Constant addiction to self mortication
People of this world are either too much
attached to the wordly pleasures, having strong
connections with the people, materials and thus
give in to the cravings, staying far away from
the truth; Or there is another group of people
who give up every bond, and make themselves
suffer, with lack of food and water and shelter,
Buddha and his
Teachings
The pali term Buddha is derived from the
word Budh, that means to understand or to be
awakened. For Buddha it is said, As he fully
comprehended the four Noble Truths and as
he arose from the slumbers of ignorance, he
is called a Buddha. A Bodhisattva is the one
who is practising to attain Buddhahood. Every
aspirant to Buddhahood, passes through the
Bodhisattva period -- a period of intensive
exercise and development of the qualities of
generosity, discpline, renunciation, wisdom,
energy, endurance, truthfulness, determination,
benevolence and perfect equanimity.
Buddha has talked about seeking truth within
self. He talks about himself as an incomparable
teacher who will not provide enlightenment to
his students but through his own experiences,
guide to the path of enlightenment.
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2. Second Noble Truth : Cause of
Suffering
Human beings are subject to desires or cravings,
which is the root cause of suffering. Craving
can be the attachmentt to the worldy things or
attachment to the existence. Such desires and
cravings lead to ignorance of truth. Craving
leads to grief and fear and thus suffering.
3. Third Noble Truth : Cessation of Suffering
The third truth talks about separation and
destruction of craving. Buddha says, in order to
extinguish desires, one is supposed to liberate
oneself from attachments. Complete cessation
of sufferings is Nirvana which is the ultimate
goal of Buddhists. It can be achieved in this life
by the total eradication of all forms of craving.
4. Fourth Noble Truth : Path to the Cessation
of Suffering
The third noble truth has to be realised by
following the Noble Eightfold path. This is a
unique path leading to cessation of sufferings
and thus Nirvana. This is the fourth Noble truth.
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6. Right Effort
Cultivating positive states of mind; freeing
oneself from evil and unwholesome states and
preventing them arising in future.
7. Right Mindfulness
Developing awareness of the body, sensations,
feelings and states of mind.
8. Right Concentration
Developing the mental focus necessary for this
awareness.
Eightfold path is summarized into three
categories.
Wisdom
Morality
Concentration
The Noble Eightfold Path comprises of:
1. Right Understanding
Right understanding of the teachings of Buddha,
of the four Noble truths.
2. Right Thoughts
A commitment to cultivate the right attitudes.
Right thoughts include thoughts on non- violence,
love for all beings.
3. Right Speech
Speaking truthfully, avoiding slander, gossip
and abusive speech.
4. Right Action
Behaving peacefully and harmoniously;
refraining from stealing, killing and
overindulgence in sensual pleasure.
5. Right Livelihood
Avoiding making a living in ways that cause
harm, such as exploiting people or killing
animals, or trading in intoxicants or weapons.
The Noble Eightfold Path
Right Understanding deals with the knowledge
of oneself as one really is; it leads to Right
Thoughts of non-attachment or renunciation,
loving-kindness, and harmlessness, which
are opposed to selshness, illwill, and cruelty
respectively. Right Thoughts result in Right
Speech, Right Action, and Right Livelihood,
which three factors perfect ones morality. The
sixth factor is Right Effort which deals with the
elimination of evil states and the development
of good states in oneself. This self-purication is
best done by a careful introspection, for which
Right Mindfulness, the seventh factor, is essential.
Effort, combined with Mindfulness, produces
Right Concentration or one-pointedness of the
mind, the eighth factor. A one-pointed mind
resembles a polished mirror where everything
is clearly reected with no distortion.
--Excerpt from The Buddha and His Teachings
by Narada Mahathera on Eightfold Path
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Hence, mere belief is dethroned and for it is
substituted belief based on knowledge.
As mentioned in The Buddha and His Teachings,
focusing on Vedas and Upanishads, Buddha
said Do not accept anything on mere heresay.
Do not accept anything by mere tradition. Do
not accept anything on account of rumours.
Do not accept anything just because it accords
with your scriptures. Do not accept anything
by merely considering the appearances. Do
not accept anything merely because it agrees
with your preconcieved notions. Do not accept
anything merely because it seems acceptable.
Do not accept anything thinking an ascetic
is respected by us. But when you know for
yourselves, act accordingly.
Even for his own teachings, he asked his
followers not to accept his teachings blindly,
but to understand the meaning behind them.
As the wise test gold by burning, cutting and
rubbing it, so are you to accept my words after
examining them and not merely out of regard
for me.
Buddha on God
God is referred as a superhuman being
worshipped as its having power over nature
or human, principal object of faith and the
creator of universe. Buddha rejected the idea
of existence of a creator whether in the form
of a being or a force. He argued that God
who is called the permanent force, constant,
eternal and unchanging, how is so possible in
the world which is ever changing and in which
nothing is permanent.

Buddha on Religion
In the Oxford dictionary, religion is dened as
the belief in and worship of a superhuman
controlling power, especially a personal god or
gods, a particular system of faith and worship, a
pursuit or interest followed with great devotion.
Buddha denies the existence of god and thus
the core purpose of religion, as mentioned
above, is defeated.
Buddhism is not exactly a religion, in the sense
it doesnt demand blind faith from its adherents.
Buddha on Sankhya system
Buddha followed the Indian philosoper Kapilas
Sankhya System. It says the truth must be
supported by proof. There is no truth without
proof. For the purpose of proving the truth,
Kapila provided two means of proof: perception
and inference.
By perception he meant recognition and
interpretation of a present object. Inference,
he dened in three stages
a. From cause to effect, as from the
presence of clouds to rain

b. From effect to cause, as from the
smoke to re
c. By analogy, as when we infer from
the fact that if Snake and Crocodile
belong to same family and Snake is a
reptile, so crocodile is a reptile too.
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Buddha on Karma
The Buddhas law of Karma applied mainly to
karma and its effect on the present life. Although
at some places, it is mentioned, effect of past
life karmas has some inuence on present life,
but at some places, there is mention of Buddha
doubting the same.
Buddha on Rebirth
While talking about Rebirth, Buddha denies the
existence of soul and that soul takes the birth
again. Buddha said, human body is composed
of four elements; earth, water, re and air.
When a body dies, these elements join the mass
of similar elements oating in the space. When
the four elements from this space join together
a new birth takes place. This is the rebirth
Buddha has spoken about. These elements
need not and are not necessarily from the same
body which is dead. They may be drawn from
different dead bodies. It is most improbable
that the elements of dead body come together
to form a new body, if so happens, rebirth of
same sentient being is possible.
Dr. B. R Ambedkar in his book The Buddha
and his Dhamma has mentioned differences
in Dhamma (Buddhas teachings) and religion;
Religion is concerned with revealing the
beginning of things, while Dhamma is not,
The purpose of religion is to explain the origin
of the world, while the purpose of Dhamma
is to reconstruct the world. In Dhamma there
is no place for prayers, pilgrimages, rituals
ceremonies or sacrices, it holds Morality at the
highest. Dhamma is not about pleasing gods
for wish fullling or for the search of truth.
Because Buddhism does not include the idea
of worshipping a creator god, some people
do not see it as a religion. The basic beliefs
of Buddhist teaching are straightforward
and practical: nothing is xed or permanent;
actions have consequences; change is possible.
So Buddhism addresses itself to all people
irrespective of race, nationality, caste, sexuality,
or gender. It teaches practical methods which
enable people to realise and use its teachings
in order to transform their experience.
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Spread Of Buddhism
Originated in India, Buddhism spread in
many parts of Asia in different forms, by the
time it vanished from its motherland. During
its 2,500-year history, Buddhism has grown
from a tiny religious community in northern
India into a movement that now spans the
globe. It also got its roots set as the national
religion in many of the places. Today, Buddhism
is found in Thailand, Sri Lanka, Myanmar,
Cambodia, Laos, Japan, China, etc, and in
some parts of India, Pakistan, Bangladesh and
Nepal, in European countries and the USA.
It is supposed to be followed by 350 million
people worldwide.
Fig 2.24 Spread Of Buddhism
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Mahayana
The Greater Vehicle or the Highest Path, is the
most followed branch of Buddhism. It originated
in India around 100 CE and spread into Inner
Asia, China, Tibet, Mongolia, Siberia and
Japan. It is not a single group but a collection of
traditions like Tibetan Buddhism, Zen Buddhism
and some more.

Where Hinayanaya talks about the liberation
of an individual, Mahayana aims at the
liberation of all living beings, which means
that everything is included in the vast vision of
Mahayana. Sufferings and confusions of self
and others is part of the path of Mahayana.
The goal for a Mahayana practitionaer is the
Path of Bodhisattva, which leads to becoming
a Buddha. The Bodhisattva is reborn voluntarily
in order to aid all living beings to become
enlightened.
Schools of Buddhism
When Buddha died, he left no heir to take his
place as authority. Dhamma and Vinaya
1
were
to be taken as the supreme authority. Buddhas
sayings and his teachings were handed down
orally from teachers to disciples, and for a
long time there were no records for the words
of the teachers. About hundred years after the
passing of Buddha, differences arose among
the monks about the actual words of the the
teachers and their interpretations. And the
division of Sangha started.
Some teachers took the teachings to the south,
and their school was called Hinayana, and
the teachers who went North with Buddhas
teachings, formed a school called Mahayana,
Sir Jigmee Kaleon said in his interview. Every
country, that Buddhism went, North or South,
added its own attributes and religious practices
to make it their own religion. Thus Buddhism
in Tibet or Mongolia differed as much from the
Buddhism in China or Japan as Buddhism in
North with the Buddhism in South. But they all
shared the same goal, achieving enlightenment.
Hinayana
It literally means, The Little Vehicle or the Lesser
path, and is supposed to have originated after
a conict between Buddhists on their beliefs
as a counter for Mahayana. After 1950, the
world fellowship of Buddhists declared not to
use the term Hinayana when refering to any
form of Buddhism.
In Hinayana, it is believed that its strict discipline
of meditation narrows down or tames the speed
and confusion of mind.It allows simple and
direct experience of the mind. In addition to
the discipline of meditation, it also stresses on
the importance of discipline of being attentive
to conduct.
The goal of Hinayana practitioners is to end
attachment to self and thereby, becoming an
Arhat, who undergoes no further rebirth. Those
on the path of Arhatship, helps others to achieve
enlightenment.
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Theraveda
Theravada literally means, The Teachings of
the Elders. It is believed to rst prosper in South
India and later spread into Sri Lanka, Ceylon,
Burma, Thailand, Cambodia, Indonesia and
Malaysia. Theravadins emphasise a meditative
approach to the transformation of consciousness.
The teaching of the Buddha according to this
school is very plain. He asks us to 'abstain
from all kinds of evil, to accumulate all that is
good and to purify our mind'. In recent decades
Theravada has begun to take root in the West.
Hinayana, is taken as a synonym to
Theravada most of the times. Theravada
Buddhism went to Sri Lanka during 3rd
century BC when there was no Mahayana.
Hinayana sects developed in India and
an existence independeant from the form
of Buddhism in Sri Lanka. Hinayana
originally referred to the commitment of
individuals, not to a school of Buddhism.
Later it became incorrectly used as an
inappropriate and pejorative term for
the Theravada. It is believed that the
Hinayana sects, do not exist anywhere
in the world.
Once the monks took the liberty to divide
the Sangha, the number of schools or sects
kept increasing, depending on the teachers
or the differences in the interpretation of
teachings. The two schools mentioned
above are considered the main schools of
Buddhism.
1. Pali or Sandkrit word that means discipline
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Fig 2.25 Vehicles Of Buddhism
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of the sixth century, to have been rapacious
savages and reputed cannibals, without a
written language and followers of an animastic
and devil- dancing or Shamanist religion, the
Bon, resembling in many ways the Taoism of
China.
2.4
Buddhism in Tibet
Tibet
Teachings of Buddhism, wherever they
spread, were able to arouse a new historical
consciousness in the peoples minds and this
is nowhere seen so vividly as in Tibet.

-Prof V. V. Gokhale in 2500 years of
Buddhism
Tibet, known as The Land of Snows, is located
on a plateu at altitudes of more than 13000 ft
and surrounded by vast mountain ranges. These
towering mountains dominate the landscape
and have always been considered as a dwelling
place for the gods. It used to be known as an
impenetrable country beacause of formidable
terrain and mountain ranges.
A fair picture of early Tibet can be drawn from
the excerpt given below from the book Buddhism
of Tibet or Lamaism by L. A. Wadell. Up till
the seventh century Tibet was inaccessible even
to the Chinese. The Tibetans of this prehistoric
period are seen, from the few glimpses that we
have of them in Chinese history about the end
Many records arent found of early Tibet
as there wasnt any alphabetical language.
Also because of the harsh terrain and
environment, many outsiders couldnt
travel to Tibet. Tibetan history is almost
none before its Buddhist era i.e. seventh
century AD
Fig 2.26 Tibet
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the appropriate manner, he can call the gods
to himself as allies and defenders.
The folk religion, Bon still maintains its importance
in Tibet through the various practices that are
infused with Buddhist elements and practices.
Early religion of Tibet :
Bon
Bon was the indigenous religion of Tibet, a
system of shamanistic and animistic practices
performed by priests called bonpo (bon po).
They believed in the spirits and that the natural
objects, natural phenomena and universe posses
souls of their own.Their priests performed rituals
to appease local spirits and ensure the well-
being of the dead in the afterlife. The tradition
also included systems of divination, astrology,
healing rituals to placate harmful spirits, and
herbal medicine.
Through intense rituals and sacrices, bonpo
believed in invocation of gods and deities for
their benets. Author Jane Hope, in his book
Introducing Buddha explained, The spitituality
of Bon is founded in a cosmological reality;
nine gods created the world, a world in which
birth, death, marriage and sickness all have
their place.If the worshipper can attune himself
to the gods through ritual, he can full the
cosmic order. By invoking the Bon deities, in
When Buddhism came to Tibet, it faced
opposition from the Bon priests. In order
to make place for Buddhism in Tibet, lot of
Bon practices were merged into Buddhism
resulting in the Dilution of Buddhism.
Fig 2.27 Practioner performing Bon practices and Mask used in the bon rituals
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failed to meet the Bon priests in an encounter
of miracle. The Bon elements in the court
proclaimed the foreigners defeat in clever
terms and reconverted the bulk of the population
into their native faith. The king did not yield
and invited the famous master of Tantra, Guru
Padmasambhava to visit Tibet.
the germs of Buddhism in Tibetan soil.
Although lot of efforts were made for making
Buddhism the national religion, it did not take
root in a foreign soil as easliy and quickly as
Sron Tsan Gampo might have thought. The
progress of Buddhism wasnt smooth in the
rst two centuries. Bon was so deeply rooted
in the mind of common man that Buddhism
faced a lot of harsh opposition from the bon
priests. Even the common man was more
attuned to the magical properties of Bon than
the philosophical teachings of Buddhism.
As told by Author Nirmal C. Sinha, in An
Introduction to the History and Religion of
Tibet, the legend goes like, The Bon priests
disputed the authority of the Buddhist monks
and challenged them to polemics and mysteries.
Victory in doctrinal debates was easy for
scholar monks who no doubt emphasized the
doctrine of salvation for all. The eld of magic
was however not convenient for the monks from
India as few of them were adept in occult. In
the second half of the 8th cnetury, during the
reign of Tri-song-De-tsen, the Buddhist monks
Starting of Buddhism in
Tibet
Just as Asoka was the great Buddhist emperor
for India, Tibetan had the king Sron-Tsan-Gampo
(born in 617 AD). He took two princesses, one
from China and one from Nepal, as his wives.
Both were devout Buddhist and got Buddhist
scriptures and idols of Buddha. Temples were
built and images of the Buddha were installed.
It is mentioned in a few books that there was
no religion in Tibet at that time. To achieve
his ambition of introducing civilization in his
people, he appointed a minister, on his wives
advice and sent him to India to get Buddhist
books. He also invited monks and scholars
from Nepal and India to expound the Buddhas
doctrine.
Author of Buddhism of Tibet or Lamaism, L. A.
Waddell, wrote, Sron Tsan Gampo, being one
of the greatest kings of Tibet and the rst patron
of learning and civilization in that country, and
having with the aid of his wives rst planted
Lamaism is the name given to Tibetan
Buddhism. Lama means teacher or high
priest and it is equivalent to the Sanskrit
term Guru. Its the title given to all the
monks who take monastic vows.
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Thus many of the terrifying gures in Tibetan art
are the old enemies of Buddhism who now act
as Protectors. In the West, these demons would
have been exterminated in grim witch-hunts,
rather than welcomed as protectors.
It is believed that Gurus most powerful weapon
for warring the demons was Vajra, symbolic
of the thunderbolt of Lord Indra and he used
spells from the Mahayana doctrines, by which
he shattered his supernatural adverseries.
And so the term Vajrayana came into the picture
for the form of Buddhism followed in Tibet.
Fig 2.28 Guru Padmasambhava
Guru Padmasambhava is called the founder
of Tibetan Buddhism or Lamaism and is
worshipped in Lamaism as Buddha himself.
Padmasambhava or The Lotus Born is known
as Guru Rinpoche by the Tibetans. It means
the precious Teacher or the Jewel Teacher.
His native land Udyana was famous for the
prociency of its priests in sorcery, exorcism
and magic. They were believed to bring on
changes of weather with their sorceries.
When Padmasambhava arrived in Tibet, there
were many forces in the country opposing the
religion. These forces are depicted as demons.
He defeated all these demons, made most of
them defenders of his religion, and guaranteed
them that in return of their services, they will
be duly worshipped and fed. And just like that,
different gods and goddesses came into picture
in Tibetan Buddhism.
Quoted by Author John Hope in Introducing
Buddha, Padmasambhava did not annhilate
these forces, however, subdued them, and
made them into guardians of Buddhism in Tibet.
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It is practised mainly in the Himalayan regions
namely Ladakh, Sikkim, Nepal, Bhutan, Tibet
and some parts of China. Its uniqueness lies
in the use of Tantric practices as an aid for
enlightenment.
Vajrayana Buddhism is also called Esoteric
Buddhism, as the transmission of certain
teachings only occurs directly from teacher to
student during an initiation or empowerment
and cannot be learned from a book.
Vajrayana
The Vajra Vehicle or the Diamond Vehicle
is often called as the third turning wheel of
Buddhism (Mahayana and Hinayana being
the rst and second). It is also known as
Tantrayana, Mantrayana, Esoteric Buddhism
or the Thunderbolt way.
Tantrayana:- the Tantra Vehicle. It is so called
because of the use of Tantric practices.
At some places, references can be found
that Tantric practices seeped in Buddhism
through Indian classical cultures. In that
era, North-East India: Bengal, Orissa,
Assam, Tantra drew inspiration from local
magic and occult arts. Since Buddhism
went to Tibet at this time, Tantra holds a
strong position in Tibetan Buddhism.
Mantrayana :- the Mantra Vehicle. Reciting
of Mantras to make the mind clear and
peaceful.
Vajrayana is best known as an extension
of Mahayana. Principal Tshering in his
interview mentioned, there is still a debate
if Vajrayana is the third school of Buddhism
or if its a branch of Mahayana. For them,
they consider it as a branch of Mahayana.
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Nyingma Pa
Nyingma literally means Old Order and it
suits this oldest sect of Vajrayana in Tibet. It
was formed by Padmasambhava and for a
long time it stayed away from all the political
issues, while other sects got involved in political
issues. It worships Guru Padmasambhava in a
variety of forms, divine and demonical.
Nyingma, the red hat sect of Lamas, order
emphasizes the great perfection and its tantric
practices are mainly based on the Old Tantras
and on the instructions found in Hidden
Treasures. It is more near to the Native Bon
practices and celibacy and abstinence is rarely
practised.
Sir Jigmee in his interview said, Nyingma
pa order sticks to too much tantric practices.
Nyingma-pa is divided into sub sects based
on the adoption of different revelations. These
subsects are named either after the fouder or
the parent monastery.
Sects of Vajrayana
The Vajrayana sects are founded on Mahayana
philosophies and doctrines; tantra is the method
to follow the teachings. Padmasambhava got
Vajrayana in Tibet and led the foundation of
the Nyingma school. Later in the 11th and
12th century AD, lineage of Atisa, Marpa and
Brogmi, gave rise to other schools of Tibetan
Buddhism - Kagyupa, Kadampa, Sakyapa and
Gelukpa, the school of Dalai Lama.
Quoted by Sir Jigmee Kaleon in his interview,
As differences arose in the teachings of
different teachers, new sects started forming.
They werent totally different from the original
ones, but only by few rules.
Lama Khenpo Tshering in his interview said,
It was the effect of gurus, their traditions, that
resulted in different sects. Nyingmapa is the
oldest sect, founded by Guru Rinpoche in 6th
century and it had its monopoly till year 1027
AD. After 1027 AD, Sakyapa, Kagyupa and
then Gelugpa came into picture.
Padmasambhava is said to have hidden
scrolls of teachings for the times when
they would be really required. These were
called Hidden Treasures. These scrolls
were found by the earlier Mahayanists.
Kagyu Pa
It was formed in the latter half of the eleventh
century AD by Lama Marpa, who had visited
India and obtained special instructions from the
Indian guru Atisa. The name Kagyu Pa means
a follower of the successive orders or the
teaching lineage, expressive of the fact that
the sect believes that the rulings of the later
sages are inspired.
Its distinctive features are its hermit practices,
meditation in caves and other abandoned
places. It follows the mode of mystic insight or
the Great Attitude. The most important gure
in Kagyu Pa sect is Saint Milarepa, who was
the pupil of founder Saint Marpa.
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Sir Jigmee in his interview mentioned that
Kagyu Pa order practices tantric practices but
less than the Nyingma order.
Kagyu Pa sect hold His holiness Karmapa as
the head of their sect.
Sakya Pa
Sakya literally means Grey Earth. First
monastery of this sect was formed in a town in
Western Tibet in 1071 AD, which had ground
of grey colour. It traces its origins to India,
particularly to the great adept Saint Virupa.
In another text, teacher Gyalpo is said to be
the founder who mixed together the old and
new tantra and formed his doctrine, calling
it new-old occult mystery of deep sight. Its
mystic insight is called the fruitful path.
The characteristic meditative system of Sakya
is termed path and result or Path including
the result which signies that in the system
these two are held inseparable and not two
distinct factualities.
Sakya Pa is divided into two subsects. These
differ from one another only in founders.
Gelug Pa
A great scholar, Tsong Khapa(1357 1419)
and follower of Saint Atisa formed the sect
Gelug-pa or Yellow Hat or reformed the sect
Kadampa. His followers were called Gahlug-
pa, Followers of Gahdan fashion (Gahdan
being the name of the monastery built by
Tsong Khapa). The name was later changed
to Gelugpa or Followers of the Virtuous order.
Gelugpa is highly involved with the political
issues of Tibet. The highest lama of this order,
Dalai Lama, is called the ruler of Tibet.
Sir Jigmee Kaleon mentioned, Followers of
Sakya and Gelugpa sects are more into reading
Origin of the name Yellow hat
The Yellow Hat sect got its name because of
the caps Tsong Khapa made his followers
wear and was of yellow colour as their
dress robes.
Fig 2.29His Holiness 17th Karmapa
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sutras. They perform tantric practices but its
too less as compared to the other two sects.
Differences in the four sects
Style of practising and teaching differs
Political involvements

Amount of tantra or sutra practising

Common Theme of the four sects
All have Mahayana orientation
Present a path to awakening that incorporates
practise of sutra and tantra systems

Same amount of philosophical and liturgical
texts imported from India

All trace back their origin to Indian gurus

Give importance to overcome attachment
to the phenomena of cyclic existance and
the idea that it is necessary for trainees to
develop an attitude of sincere renunciation

Follow the Vinaya of Mulasarvativada
school which has been the standard
since the establishment of the rst monastic
institution

Mental training is the focus

Philosophical view of all orders is the
middle way school of Nagarjuna
Fig 2.30 His Holiness 14th Dalai Lama
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Tibetan Deities
Buddha denies the existence of a creator god
or any supernatural forces. But as Buddhism
spread, the different cultures it encountered, in
order to convert those nations, it incorporated
many local gods and gave place to them in
the religion. In addition to the worship of
Budhha in many forms, Mahayana school has
created innumerable metaphysical Buddhas
and Bodhisattvas. It also incorporated many
of the demons of the local culture, calling them
defensive forces or protectors.
As mentioned earlier, when Guru
Padmasambhava came to Tibet, many evil
forces and demons were active. To get rid
of them, Guru Padmasambhava made them
protector or Guardian of Buddhism in return of
they being worshipped by the Tibetan people.
These forces then became the gods and deities,
worshipped even today.
Sir Jigmee Kaleon said, there are number
of deities and gods which are followed for
many different reasons, be it for protection
from evil spirits or wish fullment. They may
be a focus or aid to individual meditation
and transformation, or they may function
as a protector of the dharma. In all cases,
they function as a means to liberation and
enlightenment.
Author L. A. Wadell, in his book Buddhism
of Tibet or Lamaism, has devised a list of the
categories of god, based on his research.
1. Buddhas: Celestial and Human
2. Bodhisats: Celestial and Human,
including Indian saints and
apotheosized Lamas.
3. Tutelaries: Mostly demonical
4. Defenders of the faith and witches
5. Indian Brahmanical gods,
godlings and genii
6. Country gods and gaurdians and
Local gods
7. Personal gods or familiars

According to Tibetan Buddhist tradition,
Buddha Shakyamuni taught the tantric
approach, or Vajrayana including the use
of deity practices, in a fourth Turning of the
Wheel. (Tantra is referred as fourth turning
of wheel in Vajrayana schools)
According to Tibetan Tantric tradition, two
aspects of Buddhahood or two forms of deities
are mentioned, peaceful and wrathful. The
peaceful Buddhas represent the passive aspect
of Buddhahood, whereas wrathful represent the
dynamic aspect. Sir Kaleon named the peaceful
deities as embodiment of Boddhisattvas and
wrathful deities as the destroyer.
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Fig 2.31 Famous Gods and Deities in Tibet
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structure of a ritual to a simple formula:
A. MOTIVATION
Refuge to Buddha and Thought of
Enlightenment. This motivation is to cultivate
the power and wisdom to liberate all sentient
beings from the vicious Circle of Suffering.

B. SACRIFICE
The ritualists are offering themselves and all the
beauty of this world to the visualised diety. This
sacrice may move the diety to help all sentient
beings in their search for peace.
C. DEDICATION
A meaningful deed, in this specic case the
performance of a sacred ritual, is dedicated
to the benet of the whole world.
Sir Jigmee Kaleon, in his interview, explained,
These rituals are performed for invocation of
gods and deities, they are worshipped and
special offerings are made to them.
In the worship of a Buddhist divinity, Author
L.A. Wadell has mentioned seven stages:
1. The invocation : Calling to the feast
or sacrice
2. Inviting the diety to be seated
3. Presentation of offerings, sacred
cake, rice, water, owers, incense,
lamps, music, mandala offerings
4. Hymns in praise
5. Repitition of the special mantras
6. Prayers for benets
7. Benediction
Mention of black art, sorcery and magic as
rituals can also be found in Tibetan Buddhism.
Rituals like exorcism, chasing away evil spirits,
healing is highly practised in tantric ways.
Author Daniel A. Scheidegger in his book
Opuscula Tibetana called the liturgy in Tibetan
Buddhism extremely complex but reduced the
Tibetan Ritual Practices
In addition to meditation, Vajrayana school
incorporates a variety of rituals and practices,
which were inspired or inuenced by the
religious cultures Buddhism encountered. These
rituals are intended to aid in the journey to
enlightenment and bring blessings on oneself
and others.
Rituals form an integral part of Tibetan
Buddhism. Many special rituals are carried
out to appease the deities; to bring rainfall
and good harvest; to avoid destructive storms,
disease and death; to control demons and evil
spirits and lastly to overpower the passions of
the mind and ego.
Tibetan rituals can be categorised under three
types,
Meditation
Worship and inward transformation
Special rituals aiming at the elimination
of evil forces, healing purposes and so on
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Tibetan rituals consist of many tantric practices
that consist of
Repetition of special ritual phrases or
mantras
Use of an extensive vocabulary of
visual aids like cosmic mandala
diagrams which is used as a path to
spiritual enlightenment
Use of numerous Yoga techniques
Importance of a teacher (guru)-
disciple (shishya) relationship
(parampara)
Use of specialised rituals rooted in the
Vajrayana cosmology and beliefs
Use of ritual objects such as the
vajra and bell (ghanta), hand-drum
(damru), and many other symbolic
tools and musical instruments
Bardo
In Tibetan Buddhism, Bardo, refers to the state
between death and the next birth. Practices
followed in Bardo offer a path to the soul of
the dead person for the next birth. It goes on
for around 49 days.
Cho
Cho or Chd is a special type of mysticism that can be
called a blend of the Indian Buddhism Bonpo of Tibet.
Chd literally means "cutting through" and therefore
also known as "Cutting Through the Ego". It comprises
of specic meditation methods and a tantric ritual. It
cuts through hindrances and obscuration, sometimes
called 'demons' or 'gods'. Examples of demons are
ignorance, anger and, in particular, the dualism of
perceiving the self as inherently meaningful, contrary
to the Buddhist doctrine of no-self.
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purpose. One can experience a soothing calm
silence or a relaxing rhythm of chanting. Also,
the use of musical instruments during prayers
create a mesmerizing atmosphere which
pleases the mind.
As a monk learns the Buddhist scriptures and the
something so transient, listening to music serves
to assist them in letting go of both desire and
the individual sense of self.
In Tibetan Buddhist monasteries, music and
sound are an integral part of both lay and
monastic practice and serve a functional religious
Sound, Music and their
Importance
Music can lure you away into a trance or even
put you in ecstasy. Music can be visionary as
well.
- Ritual Instruments: The Tools of The
Trade
Sound has a spiritual purpose, an elder in
the family had said while explaining about the
importance of word Aum during meditation.
Undoubtly, sound adds an undeniable, unique
aural element to the religious sites. It can be
very well witnessed in Tibetan monasteries.
In Buddhism, one is not supposed to keep
attachments with materiaistic things as nothing
is permanent. Music, also, keeps shifting
continuously with time and space and so it is
said to teach performers and listeners about the
ever changing world. Sean Williams in Sacred
Sound: Experiencing music in World Religions
has said, Since they (monks) cannot possess
2.5
Tibetan Buddhism and Related Sounds
Fig 2.32 Monks Chanting
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into silence, producing an emotional impact
on the meditating mind. Buddhist philosophy is
associated with nothingness and this sudden
absence of sound creates a void which can
depict nothingness. This may also help the
monk to experience (in a microcosmic or
simulated way) state of void which is also
associated with state of enlightenment.
Prayer Wheels: Indication of
generated merit
At all the Buddhist Monasteries, one will nd
rows of prayer wheels, golden or brass barrels
at some places or wooden at other, in varied
sizes. People can be seen rotating them as they
enter or leave the monasteries, saying mantras.
These prayer wheels are meant to be spun in
clockwise direction; one rotation generates
merits for the one who rotates it. There are
inscribed with the mantra, Om Mani Padme
Hum
1
.
Lama Tshering said, If you rotate the prayer
wheel once, it is equivalent to saying the mantra
profane] is breached and contact is made with
the Transcendent.
Chanting is a commonly accepted spiritual
practise. I attended many sessions of individual
and group chanting. The rhythmic rise and
low of the chanting sounds and the sudden
silences occuring in intervals has a serene effect
on one who chants and also on the one who
hears it. It may take one away from the normal
consciousness to a state of trance.
Tibetan monks practise a way of chanting
where they can manipulate their voice and
produce different pitches and bass. This practise
is also known as overtone singing. A lot of
concentration and practice is required to reach
a level of good overtone singing which helps
to gain a more focused state of mind. Also,
the different tempos and the bass, produces a
deepening effect that elevates the mind from
the surrounding noises.
Sound is also used as the religious tool. For
instance, loud, long sessions of chanting in the
Tibetan monastic tradition can suddenly turn
text, he memorizes them in a particular rhythm
and also keeping in mind the instruments to be
used in which section of the text. Thus, musical
chanting helps in memorizing the text and the
use of instruments.
Sounds in Tibets monasteries are meant to serve
one or more of the following religious ends:
indicate the generation of merit, symbolize
Tibetan Buddhist cosmology, to dissolve the
practitioners sense of self, and be used as an
offering.
Chanting Mantras : As
a symbolism of Buddhist
cosmology and as a religious
tool
As a symbol for Tibetan Buddhist Cosmology,
for sound it is said, By singing certain mantras,
prayers, or recitations, or by playing certain
instruments together or alone a monk can
establish a conduit by which, temporarily,
the line between the two realms [sacred and
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once. You do bad things in life, saying this
mantra reduces the count of them and does
good for you.
As people spin these rows of prayer wheels,
their rotation produces a distinct sound, which
changes as per the material used. One in the
vicinity of monastery and hearing this sound
can gure out the source of the sound. As
prayer wheels are spun with a good purpose,
it wont be wrong to say that the sound of these
prayer wheels signies generating merits.
Fig 2.34
Different kinds of
Prayer wheels in
different monasteries
Fig 2.33 Prayer
wheel in Alchi
Mo n a s t e r y,
Ladakh
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Sound to dissolve the
Practitioner's Sense of Self
When praying in mass, a Buddhist monk can, at
least temporarily, dissolve his notions of self and
become part of a large musical, religious group.
As he hears his own voice getting merged in the
voices of many, he focuses more on the united
sound of the group. Group chanting in unison
makes the self get absorbed into the community.
Idea of dissolving the sense of self is well
explained by Geoffrey Hill in his paper Music
and Sound in Tibetan Buddhism: A Collection
of Field Recordings, The sounds heard in the
practice of Buddhism are not simply noise,
but actually serve a spiritual purpose for
the practitioner. Music and instruments can
symbolize the nature of the universe as it is
understood in the Buddhist tradition, they can
be used as an offering to the Buddhas or other
deities, and can be used to illuminate one of
Buddhism's core principles: the idea of no-self.
Also, there are number of prayer wheels, which
were distinct from others, in their huge sizes
and they were connected to bells. One full
rotation, would strike the bell. The sound of
bell can be held as the representation of the
effect of the prayer wheel.
Prayers and Instruments:
Indication of Generation of
Merit
Monks can be seen offering prayers to the
gods and deities in the monasteries. A few
musical instruments accompany their recitation
of mantras. When asked about the purpose
of musical instruments in the prayer, the most
common answer was for the invocation of
gods. They call upon the gods for help, wish
fulllments, for blessings etc.
It is believed that the prayers and the music
in the rituals performed by the monks in the
monasteries invoke the blessings of wisdom
and compassion. And so the sounds of these
prayers and ritualistic instruments indicate merit.
Chant ing and Musical
Instruments: As a Ritual Offering
In Tibetan Buddhism, ve offerings are made to
the gods, one for each sense. For the sense of
sound, music can take the form of an offering,
much like offerings of food, liquor, or juniper
which are so common at Tibetan Buddhist
monasteries. In Tibet, almost all recitations
of scripture and prayers can be thought of as
a kind of offering. It can be said, Music in
ceremonies as an offering to please the ears
of the deity; it is like inviting a guest to your
home and offering the best you have.
Fig 2.35 Cymbals as an offering for sound
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with drums give rhythmic variety. The melodic
element is provided by a kind of shawm called
gyaling, a powerful double-reed instrument not
unlike a bagpipe chanter. At a few occasions,
a type of ute hollowed out of a human
thigh-bone, called kangling, is played and it
contributes a note of indeterminate pitch to the
general symphony.
The size of the instruments, their range, as
well as their symbolic nature, determine their
employment for specic purposes. For instance,
big brasses are used for open air performances
because of their very powerful tone.
As mentioned earlier, Tibetan rituals are mainly
classied under three categories, Meditations,
Worshipping, and Special types rituals such as
exorcism etc. The nature and purpose of each
ritual determines the corresponding music,
chanting and kind of musical instruments to
be used.
Music and musical instruments also play an
important role in the sacred dance called
chham. Monks are trained to perform wearing
masks on the beats of these musical instruments.
and the soft, restrained unison chanting. Tibetan
liturgical music is rich in fascinating sonorities,
where unsuspected echoes can be percieved,
and it is said to create wonder. Tibetan sound
masters enjoy the reputation of having used the
human voice to achieve a rare and profound
skill demanding years of practice.
There are many musical instruments, wind and
percussion, that lend an important support to
these prayers. The combination of chanting
and the musical instruments produce an effect
that is well expressed as, The overall effect is
one of passing from time to the timeless, from
melody to sounds-in-one and from sounds to
silence. It is the tonal expression for travelling
beyond the world of names and forms to the
formless, which Buddhists hold to be the nature
of the ultimate reality.
Each monastery has a well trained group
of monks who play various instruments. A
monastic band requires a pair of long, straight
brass instruments, called radung, to provide a
foundation tone in the form of sustained bass
drones, while cymbals of two sizes together
Monastic and Ritual
Musical Instruments
When Buddhism went to Tibet and adopted
many of Tibets old ritual practices, it gave place
to the native music as well. The earlier Bon
music was used as an accompaniment to ritual
chanting, a means to communicate with the
supernatural forces. The rituals were techniques
of invoking good spirits and exorcising evil
ones.
Further intruments were added, inspired by
old Indian and Chinese traditions, like Tibetan
clarinet
nds its association with both Indian and
Chinese musical instruments. These instruments
were incorporated in the ritual practices to
support the ritual music and chanting.
Music plays an important role in the religious
life of Tibetan people. Author Daniel A.
Scheidegger in his book Opuscula Tibetana
has said, Monastery music alternates between
the loud orchestral style with the complex texture
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The wind instruments are always played in a
pair and tuned in the same pitch. The number
of percussionists is not xed, but rather depends
on how many players are available. The full
orchestra has a centre of eight or twelve
instruments (consisting exclusively of wind and
percussion)
Each sect in Tibetan Buddhism adapted music
that suited its teachings and disctinctions. That is
why, the musical practices of the various orders
of Tibetan Buddhism show differences, though
they do have general similarities. Number of
instruments or the tunes in a ritual may differ
but the set of instruments remain the same.
Also, the purpose of music and use of musical
instruments throughtout the sects remains the
same.
In a few pieces, they themselves play a small
hand drum while dancing.
According to accoustical properties, Tibetan
ritual orchestra is divided into three groups:
1. Aerophones
The family of wind instruments. They have a
resonance body made of wood, metal, clay
or bone. Pitch depends on ngerings and lip
pressure, both of which determine the length
of a sound wave.
2. Membranophones
The family of drums belong to this group. An
animal skin is stretched on the closed resonance
body, which consiste of wood, metal, clay, bone
etc. Sound is produced by hitting the skin or
membrane with any kind of stick.
3. Idiophones
The family of bells and cymbals. They dont
have an attached resonance body. The sound
is directly produced by hitting or shaking the
instrument.
Monasteries play an important role in the
monastic music with their distinctive aural
qualities. Their structure enhances the
acoustics in their own way, thus making
the sound of instruments and the chanting
unique.
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WIND PERCUSSION
Conch Shell Bell
Clarinet Drum
Telescopic Horn Cymbals
Bone Trumpet Tambourine
Gong
Fig 2.36 Mood Board for Musical Instruments
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by the great sky god Indra as Buddhas
teachings are as pure as the sound of the conch
shell. Early Buddhists adopted it as an emblem
of the supremacy of the Buddhas teachings.
Here, the conch symbolizes his fearlessness in
proclaiming the truth of dharma and his call
to awaken and work for the benet of others.
Conch Shell
The conch shell is an ancient Indian attribute of
the heroic gods, whose mighty conch shell horns
announced their courage and victories in war.
Throughout History and mythological stories,
mention of conch shell is found in fascinating
ways; be it Lord Vishnus re emanating shankh,
named Panchjanya, possessing control over
the ve classes of beings or Arjuns conch
Devdatta, literally meaning God Given, whose
triumphant blast struck terror in enemy. As a
battle horn the conch is akin to the modern
bugle, as an emblem of power, authority and
sovereignity.
It is played in Hindu temples in prayers, as an
auspicious sign. Its sacred blast is believed to
banish evil spirits, avert natural disasters and
scare away harmful creatures. Its sound is also
believed to be pleasing to Nagas, the spirits
who inuence many phenomena, especially
weather. It is used to call Kuber, the god of
wealth.
The legend is, conch was presented to Buddha
Conch Shell
Tibetan: Dung-Kar
Sanskrit: Shankh
Sound texture: Deep and Resonant
Category: Wind
Fig 2.37 Conch Shells
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Conch shell in the monasteries are highly
ornamented. They are decorated by gold, silver,
gems or stones. Tip is sawed or sanded off or
the mouth is sometimes silver plated.
Conch shell is one of the Eight auspicious
symbols of the Buddhist tradition, and means of
Pure mind. The white conch is usually depicted
vertically, with a silk ribbon threaded through its
lower extremity. As a hand held attribute, it is
held in the left hand of the deities symbolising
wisdom.
It is also used as a signal or a call at some
places, like as a warning for the approaching
hail storm. It is used for distribution of lustral
water to partcipants in the certain rites and
rituals. Its sound reminds faithful of their daily
duties. It is used before ceremonies to summon
the monks into the prayer hall or to signal the
beginning of a teaching session.
It is the rst instrument that is taught to the monks
in the monasteries. It is used as an offering for
the invocation of gods, alongwith many other
instruments.
Fig 2.38 As an auspicious symbol
Fig 2.39 Monk playing conch during prayer
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Fig 2.40 Decorations on Conch Shells
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Eight auspicious symbols
The eight auspicious symbols
of Buddhism are the most well
known group of Buddhist
tradition. These eight symbols
of good fortune represent
the offerings presented by
the great Vedic gods to
Shakyamuni Buddha upon his
attainment of enlightenment.
a. white parasol
b. white conch shell
c. a treasure vase
d. a victorious banner
e. a golden wheel
f. a pair of golden shes
g. an endless knot
h. a lotus
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tune is played, however it is not necessary
that both the players play in unison, slight
irregularities are said to perfume the melody.
For different deities, tunes of Gyaling differs.
Also for different sects, different tunes are
played.
Gyaling often nds its origins in India. It is
similar to the Indian musical instrument Shehnai,
which is played on auspicious occasions. At
some places it is also mentioned that it has
its origins in China. Gya means China and
ling means ute. Lama Tshering said, I too
question sometimes if Gyaling is from India or
China.
Gyaling has a variable pitched tuning and
is very difcult to master and hence a monk
spends a lot of time in perfecting it. It requires
breathing in from nose and breathing out from
mouth, and so circular breathing(breathing
power) is required and it needs to be well
developed. It is always played in a pair to
avoid discontinuity while the
Clarinet
Clarinet or Gya-ling, is present in almost all
Buddhist ceremonies, except exorcism. It gives
peaceful tunes and hence is used for peaceful
deities, as an offering or for their invocation. It
is also used for welcoming the great rinpoche
or lama.
Clarinet
Tibetan: Gyaling
Hindi: Shehnai
Sound texture: High notes of melody
Category: Wind
Fig 2.41 Monks playing Gya-ling
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Gyalings are made of wood, mostly teak or
black rosewood. Mouth-piece has a bamboo
or wooden membrane and is ornamented with
gold or silver and embeded with stones. The
ornamented mouth piece is often compared with
a honey-comb calling gyalings sound as sweet
as honey. Several (mostly 7 and sometimes 8)
metal rings are around the wooden shaft are
present; seven holes for seven different pitches
and one hole for the thumb on the other side.
The bell shaped end of the trumpet is also
highly decorated with gilded copper or coral
or gem stones.
Slight differences are found in the gyalings of
Kagyu sect.
Fig 2.42 Monk displaying Gyaling at Rumtek
Monastery
Fig 2.43 A pair of Gyaling
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festivals from the roof of their temple overlooking
the village below the mountain on which the
monastery is usually situated. This is precisely
an invitation to the deities and guardian spirits
to attend and partake of the ritual performance
and feast. At the same time, the people living
Telescopic Horn
Radung or Telescopic horn is played in the
rituals or prayers for invocation of wrathful
deities. It is also sometimes used for announcing
the start of ceremony, for instance in Karmapa
Temple, in Dharamsala, monks were informed
about the starting of Mahakaal puja by playing
the Radung. It is also used to inaugurate public
festivities. Lama Tshering of Arithang Monastery
mentioned, to guide the spirits of dead people
to heaven, Radung is used.
Sir Jigmee explained, Radung is an instrument
used for wrathful deities, hence it is not used
in all the ceremonies. Wrathful deities are not
worshipped everytime, they have their own
time and prayer. We dont use radung in daily
morning and evening prayer. It is played in a
funeral but not in a marriage.
Author Lobsang Ph. Lhalungpa in his paper
Tibetan Music: Sacred and Secular has
mentioned about radung, As a means to
communicate with higher forces, four monk-
musicians play these horns on the eve of
Telescopic Horn
Tibetan: Radung or Dung-chen
Sound texture: Low pitched sound
Category: Wind
Fig 2.44 Monks playing Radung during
Mahakaal Puja
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ends are usually physically supported by the
shoulders of a pair of monks who walk in front
of the musicians.
below or around, far or near, also consider
this as an invitation to attend the festival. The
combination of brasses and shawms with their
differing tonal range and pitch lls the air with
music and produces on the mind an almost
magical effect.
Like Gyaling, the Radung requires circular
breathing and it is very difcult to master.
Radung, too, is always played in pair, to keep
the sound continuous.
Radung is constructed out of repousse metal,
mainly brass. It is lined with wood in places. It is
often too decorated, silver or golden decoration
at the end and embedded with stones and
gems. It is made of three tapering sections,
tted one into other. Radungs are around 15
feet long.
When played in a stationary position, they
require wooden frames for support or monks
sit on the oor and play it, with the oor as
the support.
When they are played in procession, their
Fig 2.45 Telescopic horn, three section, here
retracted
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Fig 2.46 Telescopic horn,
stretched
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ceremonies. It is held as the attribute of erce
deities and used for the ceremonies connected
with them.
While used for Chod practice, it is paired with
bell and hand damaru.In these practice, reason
for its use is to summon the spirits to the feast.
As observed in Arithang monastery, it is given
three blasts, on a pleasant descending note, to
attract their attention and invite them.
Bone Trumpet
Bone trumpet carries important mystical
properties as a sonorous symbol of mortality
and impermanence.
- Lobsang Ph. Lhalungpa in Tibetan
Music: Sacred and Secular
Bone trumpet or Kangling, is played in the
rituals or prayers for invocation of wrathful
deities. It is used to welcome wrathful deities
and also to chase away evil spirits. Its sound
is believed to be capable of subduing gods
and demons. It is especially played in exorcism
as well. It seems to have emerged in Tibet
for the performance of esoteric rites, in the
footsteps of great tantric masters, such as saint
Padmasambhava.
The words Kang and ling mean bone and
ute respectively and so the literal meaning
of kangling is the ute of bone.
Like Gyaling or Radung, it is also always played
in pair, except when it is played for Chod
practices. Like Radung, it is not played in all the
Bone Trumpet
Tibetan: Kangling
Sound texture: Softer and Higher
Category: Wind
Fig 2.47 A pair of Kangling
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These days, it is not permitted by law to keep
human bone trumpets. These kanglings are
mainly found with tantric saints.
In monasteries a kangling from beaten brass
is found. It is highly decorated, often with a
makara (crocodile) head near the horn end. Its
mouthpiece is either rounded like the thighbone
trumpet or has a circular lipped mouthpiece.
is used for kangling. The girl has to be a kanya,
a virgin girl, 11- 12 years old. Her bone is
of the right size and produces the required
pitch. Other bones dont give the exact pitch.
Traditionally the bones were obtained from
Brahmins, and especially a sixteen year old
brahmin girl.
Bones for Kangling are collected from the
cremation ground. There are again rules about
what kind of the bones should be used. A
bone from a corpse of a person who died from
leprosy or starvation is not suitable, as they
dont produce the right pitch that is required. If
there are black spots on the bone, it implies the
person died of leprosy. Human being who died
of starvation has very light bones and there is
no marrow inside the bone. The kangling bone
is white, heavy and shimmering. The bone
is straight and you can see the sky looking
through it. On beating the mouth with one hand
it produces a hollow and brief sustain.
Kangling is believed to have its origins from
old Indian tantric practices performed by
followers of Lord Shiva or those who called
themselves Aghori. In another context, bones
for instruments were used in the old religion
Bon pa.
Human thigh bone or a similar animal bone
is used for kang-lings. At some places the use
of tiger bone is also mentioned. It is covered
with skin or ornamented with various metal
settings and bound with wire. The bones were
sometimes polished and articially crafted.
According to Sir Jigmee, the female shin bone
Fig 2.48 Traditional Bone trumpet
Fig 2.49 Copper Kangling used in Cho Practice
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Bell (And Thunderbolt)
Drilbu or Hand bell, is used together with Dorje
or Thunderbolt in all the rituals. Drilbu is the
only musical instrument which is indispensable
to perform a ritual. Other instruments are
important but they dont have the symbolic
signicance of Dorje or Drilbu. The purpose of
using a bell in all the rituals is either for calling
peaceful deities or for accumulating merits.
There is a designation of lamas while playing
the instruments. All the monks can not use Drilbu
and Dorje. Going to Drilbu and Dorje takes
a lot of time and only the head lama, the one
who leads, can play the Drilbu.
Using Dorje and Drilbu together is the union of
the male and the female shakti (energies). Ritual
hand bell represents the feminine principal of
the Perfection of Wisdom. Dorje and Drilbu
form an invisible pair of Method and Wisdom,
respectively. Research Consultant Tashi Tenzing
said, The sound of the bell represents emptiness.
In order to realise emptiness, one needs to know
wisdom and method. The bell is always held
Bell
Tibetan: Drilbu
Sanskrit: Ghanti
Sound texture: Metallic resonant
Category: Percussion
Fig 2.50 Two Kinds of Bell Used in Vajrayana
in the left wisdom hand. Positive energy is
supposed to be attracted by the rhythmic sound
of bell.
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Decorations on the bell
The handle of the drilbu is in the form of the
goddess Dharma, "Supreme Wisdom", with a
half dorje on top. The body of the bell has the
following decoration:
Shoulder: eight Tibetan syllables,
each in a petal of an eight
petaled lotus
Below shoulder: 16 horizontal
dorjes above eight masks
connected with draped
garlands, with a single vertical dorje
between each mask
Base: 45 vertical dorjes
Inside dome: the Tibetan mantra
Om Ah Hum and an eight-petaled
lotus
Clapper: attached by a thong and
strikes the lower edge of the bell
Tibetan bells are traditionally casted from
bronze or bell metal by a technique called
sand-casting.
The hand bell traces its origin back to Hinduism
where Ghanti is used in all the Hindu temples
while offering a prayer to Hindu gods and
goddesses.
Types of bell
Mainly two types of bells are used mostly
(g. 2.50); crown of the handle with ve
prongs or with nine prongs. Five prongs (four
peripheral ones plus the central spike) represent
the ve teachings of Buddha and is used for
Mahamudra
2
practices, while the nine prongs
(eight plus one) represent the nine yanas
3
of
Buddhism and is used in Nyingma school.
Sound of bell
Its sound describes emptiness or Sunyata as
if the sound arises from silence and dissolves
back into silence. Sunyata, litereally meaning,
emptiness or void, represents realisation of
not-self.
Fig 2.51 Monk playing the bell
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Thunderbolt
Tibetan: Dorje
Sanskrit: Vajra
Dorje is not a musical instrument but a Tantric weapon and is a must
with Drilbu. It possesses great power and is used to move positive and
negative energies.
It also symbolises the male principle of method or skilful means. It is held
in the right method hand. Bell and Thunderbolt, together, symbolize
perfect union of wisdom or emptiness and method or skilful means, with
the bell representing emptiness and the vajra, form. The ve prongs
of vajra represent the ve male perfections of generosity, morality,
patience, perseverance, and concentration. The open mouth of the bell
represents the sixth female perfection of wisdom. It also symbolizes
the indestructible power of the dietys vajra-wrath, which is capable of
destroying all negativities and illusions.
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Drum
The drum keeps you awake; the drum helps
you to nd a way.
-Book: Ritual Instruments: The Tools of
the Trade
Drum or Nga, is used in all the rituals or
ceremonies. Sometimes one or sometimes many
are played together. The main purpose of the
drum is to support the recitation of prayers.
Nga is also believed to steady the practitioners
psycho-physical energy and so it is used for
meditation purposes as well. An experienced
monk can beat the drum in rhythm with his
breathing or the beats of his heart.
Different kinds of drums are in usage (picture
on the next page). Big drums are played only in
special rituals; one such ritual is, at the end of
every year, a drum ritual performed to subdue
the evil spirits of the old year.
All kind of drums are not tuned to a specic
pitch, they have a rythmical function and are
not melodious.
Drum
Tibetan: Nga
Sanskrit: Dundhubh
Sound texture: Bass
Category: Percussion
Fig 2.52 Drums being played for Mahakal pooja
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The material used for the skin is mostly animal
skin of deer, ox or bull for big drums or goat or
sheep for the smaller drums. A wooden frame
for support and a wooden curved stick is used
for beating the drum.
In Tibetan Buddhism, drums nd their origin
from the old religion Bon. It is believed to be
an old must-have instrument for all shamans.
In a monastic ritual, drums are
played by the lowest rank of
monks. It is taught to young monks
(6 to 7 years of age) in order to
accustom them to the rhythms of
the recitation. This is believed to
be a very effective way to become
familiar with the basics of ritual, as
the whole liturgy is composed as
per the beats.
The drum is mostly played together
with the cymbals and has to
strictly follow the rhythm of the
cymbals. The beats are steady with
accelerandos cominng in at the
end of certain rythmic formulas.
According to the importance of
the ritual, or according to the time
available to perform it, the nga is
beaten slowly or quickly.
Fig 2.53 Various forms of Nga
Fig 2.54 Old drum of Shamans
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Nga Chen
Most commonly known as big double-sided
drum, nga chen hangs on a wooden frame and
is xed on three places. The skin of wild yak is
supposed to be the best for this instrument. The
ornaments always symbolise peaceful aspects
of the deities. This Nga can be of a size of a
human being.
Lag Nga
The lag nga is a drum with handle of about
20 cm diameter. Is is also known as hanging
hand drum. The skin can be of goat or a sheep.
The ornaments represent peaceful aspects of
deities. Its wooden pedestal base supports
it from below, whilst a metal ring tied to an
overhead roofbeam supports its top. It is beaten
with a wooden sickle-shaped drumstick, tted
with a leather or cloth ball at the end.
The few types of drums I came across:
Fig 2.55 Nga Chen Fig 2.56 Lag Nga
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Ceremonial drum
There is another type of Lag Nga, which is
known as ceremonial drum and is mostly used
in procession. It is a smaller portable version
of the above drum. It has a long decorated
wooden handle tipped with a vajra, a silk
scarf often hangs from its top. It is beaten with
a curved stick which is also often decorated
with silk ribbons.
Fig 2.57 Ceremonial Drum
Fig 2.58 Drum being used for meditation
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Cymbals
Cymbals are used as an offering for gods and
deities and for their invocation. It is played by
the priest who begins the ceremonies; the tempo
of the prayer is led by the strikes of cymbals.
Two cymbals form a pair, representing male
and female aspect, the cymbal representing
male aspect is in right hand and the female
aspect is in the left. Sir Jigmee said, The two
cymbals symbolise Shiva and Shakti.
Cymbals are used as the sensory(sound) offering
to the gods and are depicted as two golden
cymbals arranged symmetrically, draped silk
ribbon looped between their central handles.
Cymbals
Tibetan: Rim
Sanskrit: Kartala
Sound texture: High Pitched clashing
sound
Category: Percussion
Fig 2.59 Cymbals being played for Mahakaal
Pooja
Fig 2.60 Arrangement of
Cymbals used as sound offering
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Rolrim
The Rolrim or Rolmo, is used for the invocation
of wrathful aspect of Bodhisattva. It is a round
cymbal, the dome covering almost half of the
diameter of 20 to 50 cm. It has a deep or a
bit aggressive sound. It is held horizontally and
struck vertically.
There are two types of rims used in the monastic
rituals.
Selyrim
Selyrim or Silnyen is used for the invocation of
the peaceful aspect of the bodhisattva. It is a
at cymbal with almost none depth. Its sound
is peaceful as compared to the other type of
rim. It is held vertically and struck horizontally,
as can be seen in the picture below. A large
silnyen is approximately 40 cm in diameter.
The number of strikes (tempo or rhythmic
formula) and manner of striking them differs
according to sects of Buddhism. However, the
way of holding them in all the sects is the same
as mentioned above. The left hand has to be
very relaxed despite the heavy weight of big
cymbals. The right hand barely touches the
instruments, so as not to dampen the resonance.
Both cymbals of a pair have approximately the
same pitch. The small frequency differences
produce a lasting resonating sound pattern.
According to most playing styles, the left hand
plays the active part in producing a sound. The
cymbals are struck quickly on two edges, rst
the right and then the left, by moving the left
hand; Then as the two cymbals strike, it causes
a large surface to resonate.
The space between the two cymbals varies
according to different traditions. When striking
the cymbals, about one third of the other cymbal
shoud be visible.
The slightly lower tuned cymbal is held with the
right hand, symbolising the male aspect, i.e.
Fig 2.61 Selyrim
Fig 2.62 Rolrim
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method. The other one represents the female
aspect i.e. wisdom.
The high overtones produced by this instrument
are most fascinating. The sound of these high
pitches completely lls the assemble hall and
gives a special avour to this music.
The material used for cymbals is made of an
alloy, known as Panchdhaatu, consisting of
gold, silver, zinc, copper and bronze. Different
gradation of these metals determines the quality
of the sound. A higher percentage of gold and
silver smoothens the sound.
Fig 2.63 Cymbals and Drums
arranged during Mahakaal Puja
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Tambourine
Damaru or Nachung is indispensable to perform
certain tantric rituals. It is used only by the head
monk. They mark intervals in recitation, draw
the attention, with other instruments, of the gods
being invoked and induced a suitable state of
mind in the exorcist during the recitation of
his spells.
Damaru is paired with Kang-ling and Bell for
the cho practices. They are always held in the
right method hand.
Two types of damarus are in use, kapalika
damru, that is made out of human skull and
wooden damru.
The Tantric or Kapalika Damaru, an attribute
of wrathful Buddhist deities, is made of the
craniums of fteen or sixteen year old Brahmin
boy and girl, as they are of the right size for
making a damaru. Often the left side of the
damaru is found slightly smaller, as it is of the
pubescent girl.
Tambourine
Tibetan: Nachung
Sanskrit: Damaru
Sound texture: Rattling sound
Category: Percussion
Fig 2.64 Tambourine or Damaru, The two types in use
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male or method hand of both male and female
deities or tantric practitioners. Its function is to
invoke all of the Buddhas and Bodhisattvas,
inspiring them with supreme joy. The male
damaru proclaims the sound of great bliss,
and it is frequrntly paired with the bell held
in the left female hand, which proclaims the
sound of emptiness.
Skull damaru is not a common insrument in use.
It has been banned by the law. Wooden damru
Use of male and female skulls symbolises the
unione of male and female energies. Robert
Beer in his book The handbook of Tibetan
Buddhist Symbols has said, When rattled,
the two faces of the damaru, as co-joined
adolescent male and female skulls sounding
together, sexually symbolizes the union of
method and wisdom as relative and absolute
bodhichitta.
Small damarus, made out of monkey skulls, in
the place of human skulls, are also obtainable.
The damaru is believed to be inherited from
India. Its origin dates back to the early Harappan
civilization, where it appears as a pictogram
in the ancient Indus valley script. According
to Hindu mythology, damaru is the right hand
attribute of Lord Shiva, who vibrantly sounds
the damaru to create the male rhythm, which
underlies the female melodic structure as the
fabric of universe (Tala and Raga in Sanskrit).
Here is an excerpt from Robert Beers book
The handbook of Tibetan Buddhist Symbols:
Damaru is always held and played in the right,
Fig 2.65 Kapalika Damaru
Fig 2.66 Wooden Damaru
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the skins, when they are cut, soaked in water
and dried as they ought to have a similar pitch.
Some damarus are tensioned by a long zigzag
cord threaded between the drumskins, so that its
pitch may be raised by squeezing the lattice of
strings at its waist (similar to the Indian musical
instrument Tabla).
The two drumheads of the Nachung represent
the union of appearance and emptiness, its
two strikers represent the union of method and
wisdom and its ve coloured silk tail represents
the Five Buddhas.
A decorative brocade hangs from the central
waist of the damru, which can be of ve-
coloured silk ribbons. When not in use, this
long tail is coiled around the drums waist and
the damaru is stored in a drum-shaped padded
cloth case.
is the most established type of damaru in use.
The wooden Buddhist Damaru, is fashioned
in the form of two hollow hemispheres, joined
at their domed apexes. Its diameter is around
four inches. Leather or cloth is used to cover the
two hemispheres. Special care is taken for both
Fig 2.67 Monk playing Damaru
Fig 2.68 Damaru kept in case when not in use
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impermanence, which summons all the spirits
to the great feast of the practitioners own
body, as happens in the cho rite.
Fig 2.69 Big Damaru
A large wooden damaru of approx. eight to
sixteen inch diameter is mostly used for cho
practices alongwith the kangling and the bell.
This damaru is said to proclaim the sound of
Fig 2.70 Big Damaru used in Cho
Practices alongwith Kangling and
Bell
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Fig 2.71 Various
examples of Damarus
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Gong
Gong or Khar-nga doesnt have a melodious
purpose. It is played outside a prayer hall. It
signals the beginning of a monastic assembly.
It is used to inform monks to assemble for a
purpose. It is played in different sequences or
rhythms to signal different reasons for gathering.
For instance, at Tsechokling Monastery, beating
it three times at an interval of 5 seconds, signals
getteing assembled for meals. At Arithang
Monastery, continuous striking for a minute or
so signals evening prayer.
It is made up of an alloy mixture of gold, silver,
zinc, iron and bronze (similar to panchdhaatu
used for Rims). It is beaten with a wooden stick,
padded with a cloth at an end.
A khar-nga player has to recite silently a mantra
while playing it. The duration of a piece varies
from a minute to several minutes.
Gong
Tibetan: Khar-Nga
Sanskrit: Khanda
Sound texture: Metallic resonant
Category: Percussion
Fig 2.72 Gong or Khar Nga
Fig 2.73 Gong at Tsechokling Monastery
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Some facts
For a monk to play an instrument, a sequence is
followed. There are ranks of monks according
to which they can play an instrument. While
playing in a monastery, the instrument that is
assigned to the monk depends on that rank.
Like, damru and ghanti, only head lamas can
play. Drum can be played by a novice monk
too. Also, for novice monks to start learning the
musical Instruments, theres a sequence that is
followed as per their ranks.
In adjacent gure, musical instruments are
arranged as per the sequence in which they
are learnt.
Principal Lama Khenpo Tshering explained,
for a proper ritual, minimum of eight monks
are needed.
Head Lama for Drilbu-Dorje
One for cymbals
Two monks for gyaling
Two for radung or kangling
One for drum
One or two for conch shell
Fig 2.74 Sequence in which instruments are learnt
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Cymbals and drum, can be played by more
number of players depending on how many
monks are available.
While attending prayers in the monasteries, a
certain pattern was observed in their seating
arrangement as well. When asked about it, it
was again as per which instrument is being
played and the rank of the monk who is playing
it. Few mentioned about having xed places
for a particular instrument. For example, only
head Lama can play bell or damru and his
place is xed near the Buddhas idol. Also he
is seated at a higher seat as compared to the
other lamas. Lamas who were playing drums
sat in the extreme end.

Given is the picture of seating arrangement
as observed in the Arithang monastery. It
changed partially from monastery to monastery
and sect to sect.
Fig 2.75 Seating arrangement
observed in Arithang Monastery
1. Sanskrit mantra associated with Bodhisattva
Avlokiteshvara
2. Practice involving hand gestures
3. Divisions of various schools of Buddhism
I N S I G H T S
3
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prayed to and served. Tibetan Buddhism has
a long list of gods, goddesses and dieties
and different rituals dedicated to them. I got
the chance to attend a Mahakaali pooja in
one of the temples. It goes on for 3 to 4 days
and all day long. Hundreds of monks were
present and were continuously chanting and
playing different musical instruments to please
the goddess. Prayer was for the invocation of
the protector guardian. Though the chantings
and the environment created was totally
mesmerising, the picture was far away from
the picture of Buddha sitting under the bodhi
tree and meditating.
On performing a search on google engine with
keywords Buddhist Rituals, it gives over 30
lakhs results on the different rituals and practices
followed in Buddhism. As far as its meditation
and practices supporting meditation, it is still
understandable. But rituals like offerings made
for gods, goddesses or dieties is something that
doesnt agree with the philosophy of Buddha
that has been mentioned in many books.
and legendary attributes. And the religion
extended its range and inuence, and enjoyed
princely patronage and ease, it became more
metaphysical and ritualistic.
-Excerpt from Buddhism of Tibet or
Lamaism

Buddha denied the existence of creator god
or any such supernatural force. He argued,
nobody has seen god, people only speak about
it. Nobody has proved that god exists and
has created the world. He even questioned
the religions saying religions based on God
is based on speculation and thus not worth
having. It only creates superstition.
All the places it spread it took part of faith and
practices already present and thus Buddhism got
diluted. The present Buddhism has given place
to many gods and dieties., which are faithfully
3.1
Findings
The world is ever changing and in which
nothing is permanent.

- Gautam Buddha
And so did change Buddhism. Over the years,
it has given place to many rituals, practices,
gods and new beliefs. While learning more
about the musical instruments, I learnt about
the new additions in Buddhism too. I nd it
necessary to mention about these changes and
additions here, as musical instruments too are
a part of it.
Buddhism is said to be more of philosophy
than a religion. The teachings of Buddha is the
guidance to nd the path of truth and liberate
from ignorance. Buddha was a human being
who attained enlightenment and claimed all
human beings are potential Buddhas. But in
the present time, at many places, he is treated
as a god. In many texts he is addressed as
Bhagwan Buddha.
Buddha, as the central gure of the system,
soon became invested with the supernatural
Buddhism is based on personal experience.
As such it is rational and not speculative.

-Buddha and his Teachings
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All rites and ceremonies so greatly
emphasized in vedas play no part in
Buddhism.

-Buddha and his Teachings
Buddhists are not idol worshippers, but they do
sometimes keep the images of Buddha to pay
their respects. Mention of worshipping Buddhas
images or idols is found a few centuries later
of Buddhas death. Below is an excerpt from
Buddhism of Tibet or Lamaism:
The worship of Buddha's own image
seems to date from this period, the rst century
of our era, and about four or ve centuries
after Buddha's death ; and it was followed by
a variety of polytheistic forms, the creation of
which was probably facilitated by the Grecian
Art inuences then prevalent in Northern India.
Different forms of Buddha's image, originally
intended to represent different epochs in his life,
were afterwards idealized into various Celestial
Buddhas, from whom the human Buddhas were
held to be derived as material reexes.
When I asked in the family about the idols
at home and the prayers offered, I was told,
keeping images or idols started as a tool for
concentration. Later on, it moved on to a habit
and to offering prayers.

Cho is a famous ritual in Tibetan Buddhism
that deals with tantric practices, exorcism, and
bardo. All these rituals dont nd any place in
the primitive Buddhism but are widely followed
as per the effect of Bon-pa, the native religion
of Tibet.
Bardo, talks about a better life after death
and thus a series of ritualistic practices are
followed to guide the soul of a dead person
to a better life. Buddha denies the existence
of soul as it is not seen by anyone or proved
in anyway. It is believed that as a body dies,
the soul takes rebirth in form of another human
body. As mentioned earlier, Buddhas idea
of rebirth was enitirely different. He believed
in the regeneration of matter and not in the
rebirth of the soul. This belief of Buddha is in
agreement with science that energy is never
lost but changes form.
Reincarnation of great lamas nds a lot of
mention in Tibetan Buddhism, which is similar
to the concept of rebirth and thus, contradict
the teachings of Buddha.
There is no denial that all the rituals followed
must be having a certain reason behind it. But
the question is if the reasons are parallel to
the main teachings of Buddha? Many of the
novice monks I interviewed, only knew the
broader picture. When asked why the use of
musical instruments, their answers were, wo
to bade lama ne bola hai ( it has been told
by the higher lama) or keetabo mein likha
hai (its been written in the books). Such type
of blind faith is questionable. As mentioned
earliear in section 3.2, Buddha himself asks
his students to question his teachings and not to
accept anything he says without understanding.
Buddha has talked about Sankhya System, i.e
proof needed to establish the truth. Many of
the therioes I was told about, there were no
valid reasons behind them.
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All the monasteries I visited had differently
decorated, all kinds of statues of Buddha and
the other Bodhisattvas and the gods they follow.
Highly ornamented statues and at some places
of gold was a common scene. At many places
huge and tall statues are built and they are
major attraction for tourists. I couldnt help but
think whether this is what all this has become,
Tourist Attraction. Also, there is a huge market
of these statues for people who like to buy it.
All this seems highly commercialized.
According to the Buddha, existence is a dynamic
process; as part of which, all sentient beings,
including humans, are caught up in an innite
cycle of birth, growth, decay and death. This
process is symbolically depicted in Buddhist
art by a wheel - the Wheel of Life.
This wheel explains how rebirth into next life
is based on the behaviour in past lives. In
the centre of the wheel, pig, snake and cock
is seen, representing, greed, lust and hatred
respectively. Outer six sections shows the six
states of existence. All living beings are born
in one of the six states, mentioned below:
a. Beings in hell: The lowest and worst
realm, wracked by torture and
characterized by aggression.
b. Hungry Ghosts: The realm of hungry
spirits; characterized by great craving
and eternal starvation.
c. Animals: The realm of animals and
livestock, characterized by stupidity and
servitude.
d. Asura: The realm of anger,
jealousy, and constant war. The
asura are demigods, semi-blessed
beings. They are powerful, erce
and quarrelsome; like humans, they
are partly good and partly evil.
e. Humans: The human realm;
beings who are both good and evil.
Enlightenment is within their grasp,
yet most are blinded and consumed
by their desires.
f. Deva: The realm of heavenly beings
lled with pleasure. The deva hold
godlike powers; some reign over
celestial kingdoms; most live in delightful
happiness and splendor. They live for
countless ages, but even the deva
belong to the world of suffering, for
their powers blind them to the world
of suffering and ll them with pride
and thus even the deva grow old and
die.
Above description, if taken symbolically, makes
some sense and can be accepted. But believing
that beings are born as ghosts or deva or
demigods, based on the past life actions, is
something that is without proof and proper
explaination.
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Fig 3.1 Wheel of life depicted
in Tibetan Buddhist Art is shown
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explained, Ye sab bajana utna zaruri nahi
hai. prarthna karna zyada zaruri hai. (playing
all these instruments is not important. Praying
is more important.)
Lobsang Ph. Lhalungpa in his paper Tibetan
Music: Sacred and Secular has mentioned
Truth can be discovered through traversing
many paths; music denitely is one such avenue
in the life of Tibetan initiates. But it is always a
means to an end, not an end in itself.
All these rituals, beliefs, offerings and musical
instruments can be called accessories to the
philosphy of Buddhism. These arent utmost
necessity but an addition to help in achieving
the nal path. Buddhist way of life, is a simple,
plain and reasonable. It shoudnt be confused
with traditions or different ways of practice.
These are just different covers of the book, while
book of good actions and pure mind remains
the same. The ultimate goal of Buddhism is
realization of enlightenment, whichever the
way is.
In Dhammapada, Buddha has spoken about
compassion towards all living beings, that all
are capable of feeling sufferings and so all be
treated equally. In Gangtok, I got the chance to
have a discussion with the owner of the hotel I
was staying in. He was explaining about how
misdeeds can affect us in next births and that
we can born as animals, which is considered
a spiritual setback. In the wheel of life, state of
animal is held synonym to the state of stupidity
and servitude. Are we putting animals on a
lower level?
There is a strong belief in making offerings
to Buddha and the other gods and dieties.
Flowers, food, oil for lamps and many other
things are offered as a sign of respect and to
please them. A monk explained, When a
guest comes to your house, you make all the
arrangements to make him comfortable. Similar
way, it is done to please the gods. There isnt
any limit to the things that are presented. In a
few famous monasteries, there were hundreds
of litres of oil offered to light the lamps. At some
places, packets of snacks like Kukure were also
sighted. In a few rituals, alcohol is offered to the
Gods. When asked, reason given was, Tibet
is a cold place and milk as an offering is not
possible. Hence, alcohol is offered.
Playing musical instruments is also called an
offering. It is considered as a way of welcome
while invoking the gods. When asked how
the use of these instruments started, the most
common answer was it has been going on for
years. When asked, why different instruments
for different dieties, connection to the kind of
sound they produced was made. A senior
monk pointing to the importance of different
musical instruments said, saanp been bajane
se hi aayega, shankh ya drum bajane se nahi,
vaise hi devi devtaon ke liye vibhinn prakaar
ke yantra hain. kisi ke liye radung, kisi ke liye
kangling (snake responds to been, the snake
charmer instrument, and not to conch shell
or drum. Same way for different gods and
dieties, instrument is different). Question that
raised was, who decided which instrument
is suitable for which god? May be it is the
texture of sounds produced, but again, what
if a wrathful diety is interested in the sound of
gyaling rather than radung? An other monk
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Revised Objective
Device a means that would initiate a thought
process in the user to know more about Buddhism
and its philosophy. An installation that would
use musical instruments as a medium to create
awareness amongst people about the current
Buddhist practices and plant a thought to carry
out the comparison between primitive Buddhism
and Tibetan Buddhism.
3.2
Revised Project Brief
Changed Approach
As I compared the primitive Buddhism and
its current state, the question raised was how
to portray the gist of the entire analysis in
simple terms. Now, the focus was more on the
philosophy of Buddhism as compared to the
musical instruments. Use and signicance of
musical instruments became an additional part
instead being the main focus of the project.
Sir Jigmee once mentioned in one of the talks
at his place, All these instruments, rituals,
they are part of daily life of a monk. What
is more important is the dedication he has
towards achieving what is required. In the
end, what holds signicance is my capability
of meditating my way towards liberation.
This statement then became the centre idea
of this project. I decided on using the musical
instruments as a metaphor or a medium to
depict the accessorization of Buddhism. Now,
the idea was to create an interest for the viewer
to know more about Buddhism and realize
himself/herself the logical reasoning behind
various practices and facts present.
EXPLORATIONS
PROTOTYPING
4
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4.1
Explorations
While visualising an output for the research
and analysis that I had done, I could visualise
a means that would initiate a thought process
amongst people to ponder upon the present
scenario of Buddhism and to start rethinking
with a fresh perspective; Something to logically
see and compare the things and faiths present
around us; But again, something that is not
hurting the feelings or faith of an individual.
To depict this, a few explorations were thought
of; that would put the facts in front of the
audience and rest will be left to the audience
to make a meaning out of it.
Expl orat i on 1 :
Interactive website in
the form of comic strip
Initial exploration for interactive website was
to design a comic strip setup involving a
conversation between Gautama Buddha and
Guru Padmasambhava discussing Buddhism,
Guru Padmasambhava giving Buddha the
updates since he died and Buddha questioning
Guru Padmasambhava about the new things he
is encountering. Idea behind this exploration
was, user will get an idea about the changes
or progress that has happened over the years.
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instrument is displayed on the page, either
in the form of text or a small video. Once the
user deselects the instrument, instrument from
the monks hands is gone and the monk still
keeps walking without any interruption.

A few more basic interactions were thought of
in order to give more information on Buddhism
if the user seems interested in knowing further,
giving glimpses of the research that I had
carried out.
journey on the path of truth or enlightenment.
A list of musical instruments is also present
on the screen, depicting the changes or the
accessories that have come into picture over
the years.
Once a user selects an instrument from the list
of different instruments, that instrument is seen
in monks hands. Monk plays it, and its sound
can be heard. Also, information about that
Expl orat i on 2 :
Interactive website in
the form of animation
An other interaction was sketched with a gure
of monk and a series of instruments . In this,
the monk is walking continuously, depicting
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might question about the need of it, and thus
initiate a chain reaction of thoughts leading
to the changes happened over the period of
so many years.
Expl orat i on 3 :
Installation with Mirror
This installation was on the similar lines. A user
can see himself in the mirror with backdrop
of a path, symbolizing the path to the goal of
Buddhism. As the user picks up an instrument,
he can get the information on that instrument
on the top of the mirror, again, as a video or
text. But in the reection, the instrument cant
be seen, only the user on the path, raising a
question in users head about the instrument.

Thought behind this exploration was, if the
user starts questioning about the instrument, he
Key idea for the above two explorations
was that the musical instruments are just the
accessories, not a necessity for meditating
or towards the path of enlightenment.
They, being present or not, dont affect the
journey on the path but the determination
to nd the goal does.
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the user is just following the already drawn
lines. Its depicting how in the present state,
the teachings are just followed without being
questioned.
Expl orat i on 4 :
Installation with Tracing
as Interaction
Idea for the next exploration was of an
installation. An installation that can be kept in a
museum or a similar space. The user interactions
that were thought of for this installation
were tracing and erasing the outlines of the
instruments on a canvas. Below are the images
explaining the idea.
Following are the reasons that were in mind
while coming up with these interactions:
Tracing can be dened as an act of bringing
something forward or making something
clear that lies underneath. Similarly, tracing
here brings the sound and the information
in front. Erasing is connected with removing
that information. Also, tracing the outlines of
already drawn instruments, can also show, that
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Moving on with Tracing
Installation
First two explorations, interactive website and
the installation involving mirror were found to be
too simplistic and more for school educational
videos. Third exploration of installation having
tracing and erasing interactions provided a
greater degree of interaction and more for
the person who interfaces with it to do. A few
more layers were then thought of adding to it
to give it more depth.
Further Renements
A canvas having the outlines of instruments
was the rst thing that I started with. One
canvas having ten musical instruments and
considering enough drawable area for each
instrument, pointed to a big size of canvas. This
problem was sorted with deciding on number of
canvases, one for each instrument and setting
up a space for keeping them.
A few spaces were sketched for housing the
canvases. User could travel from one end to
another while he is coming across different
instruments, depicting a path with different
stops. Different angles for the position of
canvases were also tried, as I wanted to see
which angle will be more convenient for the
user.
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Fig 4.1 Space 1 with three
different angles for canvas
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Fig 4.2 Space 2 with canvases
on wall
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Fig 4.3 Space 3 with two
angles for canvas
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Having sand and chakpur as the medium to
trace puts a limit to the angle of the canvas.
Canvas needs to be horizontal for the sand not
to fall off. Also, for using a chakpur, one needs
to rst get familiar with the tool which is not an
easy task and takes time. And therefore, this
option was ruled out.
Adding Details
To provide the user with more things to do,
interactions like tapping and blowing were
added. Tapping corresponding to the family
of percussion instruments and blowing to the
family of wind instruments. These interactions
could start the display of information about the
instruments in form of text or video.
Information in form of text could get boring and
user may loose interest and so videos for each
and every instrument were decided. Again,
question arised, how much sound I can put in
the videos. Since, tracing is starting the sound
2. Black Ink and Paint Brush
Black ink is something that has been used
for centuries for writing the tibetan Buddhist
scriptures. One can also nd its mention dating
back to the invent of tibetan script.
Equipments for Tracing
When deciding on the equipments being used
for tracing, I was looking for something that
I could connect to Tibet; something related to
tibetan Buddhist culture. The two options that
came forward were
1. Sand and Chakpur
Chakpur is a metal used for sand paintings,
especially for making sand mandalas in the
monasteries by monks.
Fig 4.5 Black Ink used for
tibetan script
Fig 4.4 Chakpur being used
for sand mandala
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of the instrument, sound in the video will end up
adding confusion. Also, as the video will start,
the focus will be shifted to the visuals, taking
the focus from the sound of the instrument. One
more possibility could be, user may directly shift
to visual, not giving much time to the audio
of the instruments. I wanted the user to spend
more time with the sounds and so the idea of
visual information was dropped.
One more problem that came ahead was,
more number of interactions to perform, like
tapping and blowing, may result in confusion
for the user. To keep it simple for the user, only
one set of interactions(Tracing and Erasing)
was nalised.
As these basic things were sorted out and a
form started emerging, the process moved onto
prototyping.
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Fig 4.6 Brainstorming
sheet for artefacts forms
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4.2
Prototyping
Keeping the interactions of tracing and erasing
in mind, a method needed to be devised which
will respond as required when tracing is
complete or erasing is done; A circuit which will
get completed with the completion of tracing,
and break with the erasing.
Different possible options that could be used
for the purpose of completing the circuit were
listed down; Their positive and negative points
were weighed. Circuit scribe, a pen that that
uses conductive silver ink, was the best option
but was not available. An LDR circuit seemed
the next best option.
Fig 4.7 Options for
completing the circuit
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Prototype 1
After weighing the options, the rst prototype
started with a simple LDR circuit. The outlines
of the instruments were tted with a few LDRs.
As the tracing was done using a black paint,
light was getting obstructed and the value od
LDRs gave variation and thus triggering the
sound of the instrument traced.
Adjacent gure is the circuit diagram that was
followed for connecting the LDR to the arduino
to get the readings.
Fig 4.8 Circuit diagram
for LDR
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Fig 4.9a Setup of canvas
having LDR circuit
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Fig 4.9b Placement of
LDR
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2. Value of LDR was uctuating even with
the shadow of the user.
3. There was a possibility of broken lines
drawn by the user, which may or may not cover
the LDR and thus, result in incompletion of the
circuit.
Problems faced
1. Value of LDR was uctuating with the day
light and the light in the room. Everytime the
value changed, changes in the code needed
to be made for proper calibration.
Below is the sequence of images in that shows
the working of the rst prototype.
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Prototype 2
To avoid the problems of an LDR, Hall Effect
sensor was used. Brush or pen was tted with
a magnet that would activate the sensor and
thus giving the required output. Only thing that
needed to be kept in the mind were, no other
source of magnet was present.
As the idea evolved, method of tracing changed
too. In order to hide hall effect sensor, idea of
keeping a stencil of the instrument (instead of
outlines underneath) came into picture. It had
the advantage of, getting the exact lines of
instrument from the user and thus, making sure
that the circuit is complete. It looked aesthitically
pleasing too. It also provided a chance of a
take away for the user in the form of a paper
with the drawing of the istrument drawn by
the user.
Images on the next page shows the sequence
of the working of this prototype.
Fig 4.10 Circuit diagram
for Hall Effect Sensor
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Problems Faced
So many sounds together created a confusion.
Also a person could relate to any sound and
so nding a common base was not possible.
2. Finding the bigger picture
A set of text, mainly the teachings of Buddha.
When seen with a concave lens ( makes things
look smaller, Opposite of magnifying glass), a
text would appear that would guide the user
to look inside self.
Problems Faced
Since all the layers of the box contained
sounds, having so much text at the end, seemed
disconnected.
Box as an artefact
Selecting and going ahead with the box had its
reason. The process of opening the box, layer
by layer and looking inside was compared with
the process of searching answers at each level
of life, going deeper and then nally nding
the answers inside self.
Bottom of the box
As the user opens each layer and reaches the
bottom of the box, he/she should encounter
something that leaves enough impact to plant
a thought. Therefore, the element at the bottom
of the box needed to be strong.
Options considered
1. Listening to the inner voice
A way that would emphasize on listening to
the inner voice. For this, a list of many sounds
were found, and the user needed to nd the
sound to which he could connect the most like
sound of breathing.
Moving on to artefact
While guring out different designs for the
installation setup, a senior professor suggested
the idea of portability. So the idea of artefact
came into existence. An artefact, which can
be carried anywhere and the sounds can be
heard whenever a person wants to. The best
form that complimented this was a book.
Book as an artefact
A book that can be owned by the user, user
can carry and listen to it as per his needs; a
book that can be used as a tool for meditation
too. The book sounded like a personalised
object. Since, the idea behind the project was
to create awareness and make people think of
the present state of Buddhism, a personalised
object was not serving the purpose. Also, it
helping in meditation purpose, made it like an
addition in the already existing list of meditation
tools. Keeping these reasons in mind, idea of
book was discarded. The next form that made
sense was a box.
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Fig 4.11 Example of the text for nding
the bigger picture
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Different Designs for the
box
A few explorations were done for the box to
think of the different ways it can be opened.
Interactions for the two most suited designs are
shown in the pictures here.
Way out
Since all the layers of the box contained
sounds, having sound at the bottom of the
box, instead of text, seemed apt. So a way
had to be devised that would focus on listening
to the inner voice. Having many sounds and
connecting to one created confusion and so
I decided upon keeping one sound to which
everyone could relate, that is the sound of
the breathing. Also, since its one of the most
calm and peaceful sound, when starting with
meditation, we usually start with focusing on
our breathing. After an orchestra of monastic
musical instruments through the layers of the
box, suddenly dropping to the calmness of
breathing, posed a contradiction or conict
that suited the theme of the box.
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Fig 4.12 Box Type 1
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Fig 4.13 Box Type 2
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You cant live in a shell forever, He said.
Open up and seek the truth.
Should I follow, and trace the prints you
left? I asked.
Should I follow the path paved by you? I
asked again.
Know well, what leads you forward and what
holds you back, and choose the path that leads
to wisdom. He answered.
Peace comes from within. Do not seek it
without.
These lines are written considering four musical
instruments for the nal sketch of the box shown
on the next page. When more number of
instruments, more lines can be added up.
instructions to the user for him/her to know
how the box works. I had to nd a way, which
will connect the box and the tracing equipment
and also guides the user about the working of
the box.
Way out
Not having a set of instructions like Open the
Box, Trace the outlines made it a bit difcult
to understand the box, but also, having such
direct instructions seemed inappropriate as I
wanted the user to think as he/she was working
with the box, instead of blindly following the
instructions. To sort this out, a narrative was
prepared which will give a cue about what
needs to be done and not tell it straight away.
The narrative was made, keeping in mind the
teachings of Buddha and the inspiration was
taken from the Buddhist text. The lines of this
narrative was put in each layer of the box,
guiding the user.
Following are the lines of the narrative, one
on each layer.
Working of the box
As the user opens the cover of the box, he/
she can hear the sound of chanting. Each layer
of the box has stencil of a musical instrument.
When user traces that musical instrument, sound
of that instrument gets added in the chanting.
That layer is complete and the user moves on
to the next layer with a different instrument.
After each layer is complete, sound of all the
instruments are added in the chanting. As
the nal layer is opened, all the sounds of
instruments and chanting stop, and only the
sound of breathing can be heard.
Problems faced
If a box is kept in front, its out of curiosity that
I will open uo the box. If a canvas is kept in
front of me with a paint brush, it is an instinct to
draw on it, but if it is kept inside the box, how
will a user know its purpose? Stencil inside the
box, seemed a bit disconnected and without
having instructions, it was difcult to understand
the purpose of it. I did not want to give direct
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Final sketch of the box can be seen below. The
colour pallette chosen for the box is as per the
colours of the robes of monks.
Image on the next page shows the scale of
the box.
Final box is under construction as per the
sketches and the scale shown in the following
images.
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Fig 4.14 Scale of the Box
CONCLUSION
5
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5.1
FUTURE SCOPE
The artefact is open to interpretation and doesnt
have a denite conclusion. It is an attempt to
initiate a thought process amongst people. May
be later, after receiving various interpretations
from users, a denite output can be mapped.
Different forms can be given to the artefact which
can make it more interactive and interesting.
The concept of the artefact can be developed
into an installation, which can be put up in a
space, covering more area and more aspects
on Buddhism. Such artefact or installation can
also be developed for various other religions,
keeping their values in mind.
Future scope of this project will be able to
display it in public areas where people can
get to know about basic aspects of Buddhism
in a simple way. It should be able to create an
interest in people that they would like to know
more about Buddha and his teachings.
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Abiding faith does not depend on borrowed
concepts. Rather, it is the magnetic force of a
bone-deep, lived understanding, one that draws
us to realize our ideals, walk our talk, and act
in accord with what we know to be true.
- Sharon Salzberg, Faith: Trusting Your
Own Deepest Experience
When I questioned myself, whether I believe in
god, I found myself not reaching to an answer.
From childhood I have been told to pray and be
good, as someones watching over me and my
actions, and then I get to know about the debate
over Gods existence and logical reasoning
behind it, it was natural to get shaken up. Not
that I am a religious person or a spiritual one,
but everyone does leave a few things to God.
For my mind to be at peace, I had to draw a
conclusion, which I did as per my understanding.
All these rituals, religious tools, mention about
different gods and their powers are the ways
to keep us on track, and be good. It is a belief
from which we draw strength, when we are
in need. It is not that some super power force
will make things right for us, but a faith that
in time, we will get strength to handle things
in a better way or we will be able to handle
situations much better. At the end of the day, it
is our instinct, our conscience that decides our
actions and this is a learning that I will carry
forth from this project.
5.2
EXPERIENCE AND LEARNING
When I started with this project, it was the
curiosity about sounds and the musical
instruments that drew me towards this subject.
As I come to the end of this project, it is not
just the effect of different sounds and musical
instruments I have, but a better insight about
having faith. This project inspired me to
understand the basic teachings of Buddha in
a better way.
As I spent more time reading and making
meanings out of the innumerable text present on
this topic, I couldnt help getting more confused
about it. I started questioning my own faith, my
beliefs; I started asking questions like How and
Why for the various rituals those are followed.
And, it very much started from my own family.
I asked questions for which elders in the family
had no answers to or had answers to which
I couldnt relate. The more I read I realized
many simple things which can be presented
to us in so many complex ways. For example,
people can present hundreds of rules or ways
for one to behave, whereas just telling one to
have right thoughts and right understanding is
enough, as these things decide ones actions.
A N N E X U R E
6
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Fig. 2.38 http://www.nationsonline.org/
oneworld/Chinese_Customs/8_buddhist_
symbols.htm
Fig. 2.39 http://www.vanishingtattoo.
com/tattoos_designs_symbols_conch_shell_
buddhist.htm
Fig. 2.40 www.thepiazza.org.uk
Fig. 2.48 h t t p : / / c d n 3 . v o l u s i o n .
com/ymaxg.l fnas/v/vspfi l es/phot os/
kangling32ew-2.jpg?1347512977
Fig. 2.71 Beer, Robert. Encyclopedia of
Tibetan symbols and motifs
Fig. 3.1 www.mountainsoftravelphotos.
com
Fig. 4.4 myron.smugmug.com
Fig. 4.5 http://www.absolutechinatours.
com/china-travel/China-Scholar-Study.html

Fig. 2.22 http://www.tibetology.net/
staff/3contract.html
Fig. 2.24 http://shelf3d.com/i/Buddhism
Fig. 2.26 http://www.freetibet.org/about/
introduction-to-tibet
Fig. 2.27 http://lightworkers.org/wisdom/
julie-miller/186036/ancient-tibetan-bonpo-
shamanism
www.thephora.net
Fig. 2.29 http://tibetanshanga.wordpress.
com/2010/09/05/his-holiness-the-17th-
karmapa-ogyen-trinley-dorje/
Fig. 2.30 http://speradisole.wordpress.
com/2011/07/04/il-dalai-lama-e-gli-uomini-
delloccidente/
Fig. 2.32 article.wn.com
Fig. 2.35 Beer, Robert. Encyclopedia of
Tibetan symbols and motifs
IMAGES
All images are taken by me unless otherwise
specied here.
Fig. 1.1 Story of India, Documentary by
Michael wood
Fig. 2.3 http://en.wikipedia.org/wiki/
Namgyal_Monastery
ht t p: //www. ket t i k. com/
travel/Asia/India/Himachal/Dharamsala/
photos/413
http://www.tibetoday.com/
Tibetans-pray-for-%20late-Arunachal-CM-
Tibetan-govt-and-parliament-mourn.htm
http://ashok-maurya.blogspot.
in/2010/12/trip-to-vaishnodevi-dalhousie-
and_11.html
Fig. 2.17 http://ickrhivemind.net/Tags/
chandazik/Interesting
http://www.klanc.cz/blog/
cestovani?item=165
ht t p: //www. pbase. com/
image/127161378
Fig. 2.18 http://travel-in-home.blogspot.
in/2010_04_01_archive.html
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Dhundup, Tsering. A Beginners Guide to the
Bon Religion, A Collection of Studies on Bon.
N.D
Beck, Guy L. Sacred Sound:
Experiencing Music in World Religions.
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University Press, 2006

Kvaerne , Per . The Bon Religion - An Introduction,
A Collection of Studies on Bon. N.D
N.A, Ritual instruments : The Tools of the Trade,
N.D
Docmentaries
The Story Of India, Directed by Jeremy Jeffs,
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Yogis Of Tibet, Directed by Phil and Jo Borack,
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Samuel, Geoffrey. Tantric Revisionings: New
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Murthy, Krishna K. Sculptures of Vajrayana
Buddhism. Classics India Publications, 1989
Beer, Robert. Encyclopedia of Tibetan Symbols
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Bell, Charles. Religion of Tibet. Motilal
Banarsidass (2nd edition),1995
Hope, Jane. Introducing Buddha: A Graphic
Guide. Faber, 2008
Beer, Robert. The Handbook of Tibetan Buddhist
Symbols. Serindia Publications, Inc., 2003
Clearwaters, Deborah, Robert W. Clark, Sacred
Arts of Tibet. 2001
BIBLIOGRAPHY
Books
Powers, John. A concise introduction to Tibetan
Buddhism. Snow Lion, 2008
Waddell, L. A. Buddhism of Tibet or Lamaism.
London : W.H. Allen & Co., 1895
Bapat, P. Y. 2500 years of Buddhism. The
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Sinha, Nirmal C. An Introduction to the History
and Religion of Tibet. Himalindia Publications,
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Ambedkar, B. R. Buddha and his dhamma.
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National Music Museum
http://orgs.usd.edu/nmm/Tibet/TibetNepal.
html
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http://larkinam.com/Tibet.html
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org/tibet.html
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http://www.namgyalmonastery.org/the-
rituals/ritual-instruments/
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en/archives/study/comparison_buddhist_
traditions/tibetan_traditions/bon_tibetan_
buddhism.html
http://www.buddhanet.net/
http://www.tnm.jp/modules/r_free_page/
index.php?id=689&lang=en
Zla-ba-tshe-ria, Precious Deposits: Historical
Relics of Tibet, China, Volume 5, Morning
Glory, 2000
Weblinks
Buddhist culture and art
http://en.wikipedia.org/wiki/Buddhist_
culture_and_art
Tibetan horn
http://en.wikipedia.org/wiki/Tibetan_horn
Music of Tibet
http://en.wikipedia.org/wiki/Music_of_Tibet

Music and Buddhism
http://www.blia.org/english/publications/
booklet/pages/38.htm
Tibetan Musical Instruments
http://www.tibetinfor.com.cn/tibetzt-en/xzyq/
doc/0101.htm
Tibetan musical instruments
h t t p : / / e n . wi k i p e d i a . o r g / wi k i /
Category:Tibetan_musical_instruments
Papers
Hill, Geoffrey. Music and Sound in Tibetan
Buddhism: A Collection of Field Recordings,
2012
Heather , Simon. The Spiritual Signicance of
Music, 2008
Berzin, Alexander. Bon and Tibetan Buddhism,
Amsterdam, Holland, 2001
Banerjee, A.C. Bon- The primitive religion of
Tibet, Gangtok,1981
Articles
Lhalungpa, Lobsang Ph. Tibetan Music: Sacred
and Secular, Studies in Comparative Religion,
Vol. 3, No. 2. World Wisdom, Inc.,1969

Dorje Ngakpa Rig'dzin. Ultimate Gesture,
Sacred Hoop, Issue 7, 1994
Yan Zhongyi, Cheng'an Jiang, Wenlei Zheng,
165
Diploma Project|Buddhism Through Sounds
BASIC CONCEPTS OF "TIBETAN"
BUDDHISM, http://library.brown.edu/cds/
BuddhistTempleArt/buddhism.html
BBC Religions, http://www.bbc.co.uk/
religion/religions/buddhism/subdivisions/
tibetan_1.shtml
ht t p: //www. abuddhi s t l i br ar y. com/
Buddhism/A%20-%20Tibetan%20Buddhism/
Subjects/Tantra/Introductory%20essays/
Deities/Deities.htm
h t t p: //bu ddh i s m. abou t . c om/od/
basicbuddhistteachings/a/philosophy.htm
http://www.buddhanet.net/e-learning/
qanda03.htm
http://www.thedhamma.com/whos_who.htm
http://www.urbandharma.org/udharma3/
budgod.html
Snehal Somkuwar
somkuwarsnehal@gmail.com|www.snehalsomkuwar.com

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