Musical instruments of Tibet. Mabu (Tibetan) - musical instrument - history, photos, videos. Dongchen - big pipe

Sergey Gabbasov
History and classification of Tibetan folk musical instruments

The area of ​​settlement of ethnic Tibetans is much larger than the region of the Tibetan Plateau, which is traditionally associated with "classical" Tibet. The bearers of Tibetan culture, the peoples of the Sino-Tibetan and Tibeto-Burmese language groups also live in Nepal - the Kingdom of Lo-Mustang ( bLo ), and in the kingdom of Bhutan, and in Ladakh (northeastern India). Thus, a rather vast region of Central Asia is occupied by Tibetan culture. Tibetan culture itself is very homogeneous in all its distribution, having differences in language, material culture (clothing - its cut and ornamentation, type of dwelling and its architectural features), while having relative homogeneity in types of economic activities and traditional occupations, means of transportation , religion and its characteristics, mythology, folklore, music.

It is about music, more precisely about folk musical instruments, and will be discussed in this article.

Tibetan music has a clear division into folk music and religious (liturgical) music. Folk music has a much greater heterogeneity in the regions where Tibetan culture is spread; the manner of performance, the nature of musical works, melody, rhythm, and instrumentation are also different. Liturgical music is "fixed" by the canons of performance and is found in the form of the liturgical music of Tibetan Buddhism (Lamaism) outside the spread of Tibetan culture as such - in Mongolia, Buryatia, Tuva, Kalmykia.

Musical instruments are either imported or autochthonous. The imported instruments began to appear in the places where Tibetan culture was spreading with the beginning of contacts with other peoples, primarily with India and China (mainly on the basis of Buddhism). In this case, there are very few original Tibetan instruments.

Consider first the instruments of folk, non-religious music.

The most famous and widespread folk Tibetan instrument is the "drumyen" ( dramyen ), Tibetan lute. Distributed everywhere. The closest analogues are rubab, tar, setar of Central Asia and the Middle East.

The next instrument is the telin transverse flute ( khred gling ). Similar instruments are widespread in India and Nepal (bansuri), Central Asia (nai) and China.

Another instrument is a pair of timpani made of clay. The closest analogs are tablak in Central Asia, dholak in India.

These three musical instruments constitute the main, if not the only toolkit of Tibetan folk music. As you can see, rather meager.

Now let's look at liturgical musical instruments. There is much more variety here. Many of these instruments are nevertheless sometimes used in everyday life outside of religious ceremonies. An indication of the analogy leads only to a parallel with a similar instrument from another people, and an indication of the origin - to the fact that it is known that the instrument is not local.

- "Dongchen"(dung chen ) - a long metal (copper or copper-nickel) pipe with a socket at the end. In length from 1.5 to 6 meters, in addition to religious rites, it is used during folk holidays. In this case, it is not clear whether this is a rudiment of a pre-existing tradition of performing folk (not liturgical) music in Dunchens, or whether it is a new formation. The closest analogue is the Tajik "sornay" (a long metal pipe with a socket at the end). It is quite possible that the Dunchen is a direct descendant of the weed, considering that the Tibetan religion Bon took quite a lot from the Tagzig country, which included modern Tajikistan.

- "Radung"(ra dung) is a variety of dunchen with a wider mouth.

- "Nga"(rnga ), also " lag nga" ( lag rnga), " har nga"(khar rnga ) is a flat double-sided drum played with a special curved beater, usually tied to the ceiling or placed on a stand. Sometimes used during folk festivals.

- "Silnien"(sil snyen) - flat plates. When played, they are held vertically. Sometimes used during national holidays. Similar counterparts are in China.

- "Rolmo"(rol mo) or" boop"(sbu b ) - plates with bulges in the middle. Hold horizontally when playing. The analogs of the instrument are in Nepal, India, but the playing traditions differ significantly.

- "Zurna"(bsu rna ), or " gyalin"(rgya ling), a kind of oboe, according to musicological classification refers to the folk shalmey. The closest analogues are the zurna of Central Asia and the Middle East. It is believed (including by the Tibetans themselves) that this instrument" came "from Iran (which, in principle, as the name suggests - the Persian word "zurna") Although instruments of this class are also found in India, it is widely used in liturgical music (one of the main musical instruments of the ritual music of Tibetan Buddhism and Bon) and folk music (often accompanied by timpani) ...

- "Shang"(gzhang) - a flat bell, when played, it is clamped in the palm of the hand with its extension up and swayed from side to side so that the tongue tied with a rope to the center hits the edge. There are no analogues of this instrument, as well as the tradition of playing it.

- "Nga chen"(rnga" chen ) - a big drum, which is beaten during divine services, when the whole community gathers and sometimes this drum is beaten on the roof of the temple to summon monks.

- "Genpo"(mgon po ) - a small drum used for worship in temples dedicated to the protector deities (yidams).

-"G andi"- a long wooden board made of sandalwood. According to V. Suzukei, the length of the gandhi is about 2.5 m, the width is no more than 15 cm, the thickness is about 6 cm." When playing, the gandhi is taken on the left shoulder and supported by the left hand, the stick is in the right hand. " management of the daily life of the people. “Religious dogmatics, ritualism of Lamaism, the pantheon of deities, mythology and the pandemonium of evil spirits are aimed at propitiation, intimidation and suppression of which the ritual actions of most rituals are directed - in this entire complex system, musical instruments are also of no small importance, the sounds of which have ambiguous symbolism intertwined with the entire corps of gods, demons and evil spirits, summoned with the help I have music for ceremonial feast and suppression ”.

The following instruments are purely liturgical, but no longer of local origin, brought in.

- "Damaru"(da ma ru ) is a double-sided drum, shaped like an hourglass, with two balls on strings attached at the point of narrowing. When playing, the drum is held horizontally and rotated alternately in one direction or the other, making sure that the ball on the ropes hit the membranes. It is believed, including by the Tibetans themselves, that this instrument was brought from India, as well as

- "Canlin"(rkang gling ) - a pipe made of a human shin bone or metal (copper or copper-nickel alloy).

- "Kandung"(rkang dung ) - an instrument that differs from canlin in that it has a telescopic knee that increases its length. This instrument is a Tibetan modification of the introduced kanlin; a kind of hybrid with dunchen.

- "Dilbu"(drill bu ) - a bell with a handle, often in the form of a vajra. There are two styles of playing this bell - simple (swinging from side to side) and playing with a beat (a wooden beat is driven along the lower rim of the bell, making it vibrate and resonate). It is believed, including by the Tibetans themselves, that this instrument was brought from India.

- "Dunkar"(dung dkar) - a shell. It is of Indian origin, it is made either with a metal mouthpiece (for this it is crafted into metal and glued with sealing wax), or the natural form is left.

- "Ting Shang"(ting gzhang ) - small flat, slightly convex metal plates. Are of Indian origin (from the Indian instrument "karatala")

- "Gyal nga"(rgyal rnga)," har nga "(khar rnga ) - a gong used to strike the clock during monastic meetings. It is of Indian origin, where it performs the same function.

- "Karlin"(kar gling ) - a wind instrument of Chinese origin, used on holidays. It is played on the upper floors of the temple. The presence of musical instruments of Chinese origin is explained by long contacts with the Chinese Buddhist school, as well as

- "Bupag"(sbu phag ) is a pipe of Chinese origin and

- "Ratin"(draw ting ) is an instrument consisting of nine gongs played by two percussionists.

The fact that these instruments are exclusively liturgical proves once again that they are not autochthonous, since they were borrowed specifically for certain (also borrowed) rituals.

Some of these instruments are used very little (in the sense that their parts in the liturgy are very small), and on some, on the contrary, they play almost the entire liturgy. Some are generally used only in certain practices and cases, while each monastery and sect also has its own peculiarities of the instrumentation for each liturgy and the peculiarities of playing and making (and decorating) instruments.

If you try to make a list of primordial Tibetan musical instruments, you get the following picture:

- "rolmo" (rol mo) or "boop" (sbub),
- "dung chen",
- "ra dung" (ra dung),
- "nga" (rnga), "nga chen" (rnga "chen)," genpo "(mgon po),
- "Shang" (gzhang)
- "gandhi"

About the rest of the instruments, we can say that either it is known for sure that they were not originally Tibetan, or there is such an assumption.

It seems very interesting that this is all liturgical instruments, not folk. Apparently, this happened due to the fact that the canons "preserve" the liturgical instruments, while the folk instruments are not canonized and are subject to any foreign influences.

But this does not mean that the rest of the Tibetan instruments are borrowed. It is quite possible that they are simply common for the peoples of the Himalayas, India and China as for the peoples of one region of Asia. And the listed tools are inherent exclusively to Tibetans.

In this section you can buy oriental musical instruments, Tibetan pipes, Buddhist instruments, bells, jew's harps, unusual musical instruments.

Tibetan trumpets

Tibetan trumpets different in diameter and length. There are small and long pipes (up to 3 meters). Popular also Buddhist shells- an unusual musical instrument that emits a piercing and strong sound, richly decorated with chasing and stones. Buddhist shells also vary in size and length. except Tibetan pipes and shells also presented karatals, arc-shaped pipes, flutes, gongs and horns.

Ethnic drums

You can buy from us ethnic drums- unusual tools on the handle and in the frame. The drums are very beautifully made - decorated with paintings, frames and wooden parts of the drums are decorated with carvings. Ethnic drums vary in sound and diameter.

Buddhist drums damaru

In stock Buddhist drums for practitioners - damaru. Damaru also available in different sizes. Tambourines and gongs are also available.

Buddhist bells

Here you can buy buddhist bells with vajars. Buddhist bells different in size, sound and quality. You can also purchase a case for Tibetan bells.

Jew's harps

We also have a range of jew's harps, hokosov, ocarin, horns.

You can buy Tibetan jew's harp, Potkin's harp, jew's harp with three tongues and etc.

Hello dear readers - seekers of knowledge and truth!

Music plays an important role in Buddhism. It helps to create the desired desired mood, notify about the beginning of the ritual, maintain a meditative atmosphere in the temple.

Today's article will immerse you in the spirituality and music of Buddhist monasteries, because its topic is Buddhist musical instruments. You will get acquainted with their unusual names, find out where they come from, what is interesting, how they are played and in what rituals they are used.

Buddhist music

The sound of Buddhist instruments can be heard during practices, ceremonies, rituals, Buddhist holidays and the Tsam mystery. The peculiarity of this music is that it can be accompanied by about fifty instruments at the same time. In the general flow, the sounds of brass and percussion are especially guessed.

Most of them have Indian, Chinese and Tibetan roots. Many of those that hail from Tibet were previously made from human bones, skulls - this is how the ancient Tibetan religion Bon makes itself felt.

Then it was believed that the skull contains magic. The dead in Tibet are not buried, but left in the mountains, making a kind of offering to the birds so that the flesh does not go to waste, so the skull was easy to find. Now the instruments have become Buddhist and are made from alternative, more "humane" materials.

There are still very strange instruments. So, for example, in the wallschinese templeyou can hear the sound of a wooden stick knocking on a wooden fish. Thus, monks are gathered for a meal.

Main tools

Dongchen

It is a huge telescope-like tube. Its dimensions are really impressive: from 2-3 to 5 meters in length. It consists of three parts: one fits into the other. Dongchen is made from metal, mainly brass or copper.

When playing, two types of sounds are obtained: loud - male, similar to the cry of elephants, and soft - female. If you listen, you can catch the infrasound, which seems to unite the mundane and heavenly, light and dark. This effect is especially well achieved when the pipe is directed towards the mountain ranges and an echo is created.

Dongchen was invented in Tibet and was used when meeting the famous figure Atisha. Today it is played in some monasteries at dawn and at dusk before meditation practices, at the meeting of venerable lamas, before ceremonies, as well as in the Tsam mystery. Often, for better sound, two pipes are used at once.

Zurna

This instrument is better known as gyaling. It belongs to the category of wind reed. Outwardly it looks like a trumpet, flute or oboe. It is made of durable wood, which is then cut through eight holes: seven on the top and one on the bottom.

Only true virtuosos are capable of playing the gyaling, because when playing, you need to give out long sounds without drawing air. Coming from Iran, he was especially fond of in India, and then in Tibet. Today it is used during Buddhist holidays, processions, and ceremonial celebrations.

In other words, a drum. It is flat, manual, double-sided. Sounds from it are extracted with a special curved stick made of wood, at the end of which a vajra is often drawn. The drum itself can be decorated with an image of a lotus, attributes and symbols of Buddhism, as well as a tied silk ribbon.

Nga is used in various processions and ceremonies. It is also hung on the roof of the monastery to gather monks for meditation.

Dunkar

The seashell becomes the basis for this musical instrument. Actually, the name is translated from Tibetan - "white shell".

Its sound is similar to the sound made by a horn, but it is more melodic, vibrant. This property helps to use it in rituals, at the beginning of the practice of meditation, helps to relax and cleanse the room.

India is considered the homeland of the Dunkar. Modern options are made from a familiar shell with silver elements applied to it, including a tip for blowing air. Outside, it is adorned with jewelry and images with Buddhist motives.

Kangling

He also belongs to the category of wind instruments. Its main feature is that it was produced from the human tibia, but now it has been replaced by a metal like copper or an alloy containing nickel.

Initially, the shin bone was used as a musical instrument because it has two holes called horse nostrils. The sounds blown through them are surprisingly similar to the neighing of a horse. According to legend, with the help of such a tool, Buddhists can be carried away to the Sukhavati paradise.

Kangdung

This instrument becomes a longer modification of the kangling with dunchen elements. It is a copper pipe covered with gilding and wood carvings.

Kangdung can be called a cult instrument that helps to express respect in music to various deities, Buddhas. It is often played at the very beginning of general monastic rites.

Damaru

Damaru is a small drum played by hand. It is shaped like an hourglass. Damaru is hollow on the inside, its body is made of wood, and the top and bottom are covered with leather.

Previously, the damaru body was made from the upper parts of the skulls of a man and a woman - this was a reflection of the unity of the feminine and masculine principles, the personification of wisdom and mercy.

At the narrowest point, at the so-called waist, ropes with leather balls are tied. Damara is shaken and the balls hit the leather top and bottom - the sound of drumming is produced.

Nowadays, damaru come in a variety of sizes and shapes, and there is no need to talk about the variety of designs. The drums can be decorated with precious stones, silver, gilding, images of Buddhist symbols.

Dilbu

It is a small bell-shaped instrument with a handle that resembles a vajra. Now it is common in China, although it came there from Indian lands.

There are two variants of the Dilba game:

• normal - the bell is swung from side to side by hand, the tongue hits the metal, causing a ringing sound;
• by means of a special beater - a device made of wood, they circle the dilba around the bottom, as a result, vibrations appear that resonate with the surrounding space and cause a melody according to the principle of singing bowls.

Dilbu is considered the personification of the emptiness of all that exists and the wisdom of the feminine. The most frequent decoration of the instrument is the engraving of the main Buddhist mantra: "Om mani padme hum."

These are, perhaps, all the main musical instruments that are used in Buddhist practices. Perhaps you know some more - then share your knowledge in the comments, it will be interesting for us and the readers of the blog!

Conclusion

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Musical instruments

There are several musical instruments used in ritual ceremonies in Tibetan Buddhism. Among them: Ra-dang or Dang Chen, Nga, Nga Chen, Gyaling, Kangdung, Sil-Nyan.

A trumpet, a type of western flute, made from a very hard wood such as teak or rosewood with eight holes to play. It is usually adorned with seven metal gemstone rings. The pipe is blown so that the sound is not interrupted. During religious ceremonies, monks have to do this for half an hour without stopping.

Ra-dang or Dang Chen. Collapsible tube about 5-6 feet long. Usually, two of these instruments are used to create a harmonious sound. Has a loud and hoarse sound.

There are 2 types of Nga drums. The first (hand drum) is used during ritual processions. The drum has a long wooden handle decorated with 1 carving, at the end of which a vajra is depicted. Sometimes a silk scarf is tied on the handle as a symbol of reverence for the divine musical instrument.
Its diameter is over three feet. The drum hangs inside a wooden frame. The image of a lotus is also used as a decoration. The drum stick has a curved shape and is covered with fabric at the end for greater softness upon impact.
Kangdung. This trumpet is used to express reverence and admiration for peaceful deities. It is made of copper, decorated with wood carvings and gilding. At the beginning of each section of a large collective ritual, all musical instruments are loudly played in the monastery.

A tool used in rituals to worship peaceful deities. It consists of two metal cymbals that make a sound when hitting each other. When played, the cymbals are held vertically.

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Dongchen - big pipe

It was invented by Tibetan masters. When the Venerable Zhovo Atisha was invited to Tibet, in order to pay homage to the greatest Pandita, the resplendent prince Zhanchup Od arranged a musical performance, offering the sounds of a large trumpet. Nowadays, this tradition has not disappeared and the same ceremony is held at the receptions of highly educated Teachers. When dancing the Cham during the big holidays, a large trumpet is also used.

The size of the large pipe varies from 7 to 3 cubits in length. The narrow mouthpiece opening gradually widens towards the bell. It consists of three parts that fit neatly into each other. Copper and brass are used as materials for manufacturing. Therefore, its other name is Rakdun, literally translated from Tibetan cancer - brass, dun - pipe. The sounds emitted are divided into: loud - masculine and quiet - feminine.

Dongak

Dongak, this piece of monastic clothing was not used in India, but only in Tibet. Due to the high altitude, cold climate, Dongak served as a kind of sleeveless shirt. It looks like a skin from the head of an elephant, an elephant is considered a strong animal, therefore a monk wearing this clothing creates a precondition for gaining power in the future to cast off negative karma and increase virtue like the power of an elephant. The shoulder pads that replaced the sleeves are reminiscent of elephant ears. At the time of Landarma, when the Teaching was reduced to decay. Four monks were needed to conduct the ordination ceremony (Bhikkhus). But in Tibet there were only three. And they were forced to invite the fourth from China. And therefore, as a sign of respect, the shoulder pads are trimmed along the contour, with blue braid, for the same reason, the monastic clothes of Namjar and Lagoi are trimmed with blue threads. Also, there used to be a tradition to make a loop at the lower end of the braid, where the monks put their thumb so as not to wave their hands carelessly while walking.

Shamtap

Shamtap is the monk's lower garment. It is dressed only by novices - Shramaners and monks - Bhikkhus. As the Buddha Gautama preached: “Wear a shamtap with meaning and order!” All the details of this garment have a secret meaning, it consists of connected rectangular pieces of fabric, each of which symbolizes a specific commitment from the vow given by the monk. For example, Shramaners have 36 obligations, and Bhikkhus have 253, which is indicated by the number of rectangles on the shamtap. You don't have to take it off even while you sleep.

Zen.

A casual cape of red material, two cubits wide, five to ten cubits long, corresponding to the monk's height.

When, in front of the stupa, Buddha renounced life in the world, he threw off his mundane clothes and put on a monastic, which was presented to him by the inhabitants of heaven. And after that, his followers-disciples dressed in exactly the same clothes. Firstly, so that there is a distinction between monks and laymen, secondly, these clothes do not contradict the vows of the Bhikkhus. Thirdly, so that the monks would wear these clothes and not think about beauty.

Once in the old days, King Bimbisara met with a brahmana-gentile and mistakenly thinking that he was a Buddhist monk bowed to him. And therefore, after that, the Buddha, in order to distinguish between Tirtics and Buddhist monks-Bhikshu, introduced such clothes as "Namjar" and "Lagoi" from square scraps. Nowadays in northern Buddhism they are rarely worn in everyday life. They are used during the Sojong purification ritual. And also during the preaching or listening to the Teaching. Lagoi and Namjar are the same size but differ in color, one orange and the other yellow. The first is intended for all those who have taken monastic vows, the second only for monks who have taken full ordination to Bhikkhus.

Source - the book of monks from the monastery DREPUNG GOMAN SAMLO KANZEN

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