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| Bell and Vajra. From the British Museum © The Trustees of the British Museum |
"The world is sound. Immediately the question arises: What kind of sound?"
— Berendt, p. 19.
Just after the Buddha Śākyamuni attained Enlightenment
on the Vajra Seat (Vajrāsana) beneath the Awakening Tree, He was hesitant to
speak, certain that He would not be understood. He was even thinking to live out the rest
of His days in a lonely forest retreat. The gods Brahma, famous for his
melodious speech, and Indra, famous for his power, came to convince Him that it
would be worth the effort to begin teaching His insights in the form of the
Dharma. The Wheel is one common symbol of the Dharma, since the Buddha is said
to have ‘set the Wheel of the Dharma in motion.’ As a symbol of the same thing,
Indra presented to the Enlightened One a Conch shell.
The sūtras, when they describe the Buddha’s first acts of teaching, prefer sound metaphors (or couldn’t we in fact call them auditory symbols?) that emphasize a pealing or booming quality, sounds that are clearly identifiable and sustained and that carry for a long distance. Such metaphors as the Conch, the Large Drum, Melodious Brahma Voice, the Cymbal, the Lion’s Roar and the cry of the Kalapinka Bird are common in many sūtras.[1] Less common is the Thunder, and later on we even find the cry of the Cuckoo Bird as a symbol of Buddha Word. These sounds are unified by their startling quality, communicating not only the Buddha’s act of vocalization as a kind of ‘wakeup call’ to greater awareness, but also the revolutionary nature of His revelation which, in His time, seemed to be coming right out of the blue... In a time when Indian religious teachers were emphasizing the ultimacy of the Self or Atman, His revelation announced to the world that there is no such thing. In other words, these metaphors (they were never simply metaphors) served as symbols not only of the quality of the Buddha’s voice, but of the content of His message, with deep sounds to correspond to His depth of insight. But there is still one further step to the symbolism that might be a little difficult to follow. It is nevertheless essential for a fuller understanding of these symbols. Since the Buddha’s expression of the Dharma tells us the way things are, the ‘things,’ i.e., the elements of apparent existence as Buddhistically conceived, are also called dharmas.[2] Hence, our sonorous symbols of Buddha Word are, besides being identified with the Buddhist scriptures which preserve His Word, equally identified with the world of phenomena.
The Bell as such (Ghaṇṭa in Sanskrit and Dril-bu in
Tibetan[3]) is not listed among these metaphors of Dharma in the
Mahāyāna Sūtras we have consulted.
Bells, in the plural, appear there rather as a meritorious offering which came
to form a permanent fixture of the Buddhist reliquaries called Stūpas. These
bells, probably rather small ones equipped with cloth hangings attached to
their clappers that made them ring when the wind blew, were evidently hung in
strings attached to Stūpas.
Even without being explicitly identified with the Dharmas (scriptural or phenomenal) in the Mahāyāna sūtras as far as we know at present,[4] the brief explanations of the symbolisms of the Bell in its entirety and in its parts all identify the Bell as the Transcendent Insight Sūtra, as well as the Voidness of all phenomena which is the main message of that Sūtra. The head of Transcendent Insight even looks out at us from the center of the Bell’s handle.[5] Tsong-kha-pa, in his most famous work on the stages of the tantric Path, directly states, “The Bell’s sound symbolizes the proclamation of the masses of Dharma.”[6]
Even without being explicitly identified with the Dharmas (scriptural or phenomenal) in the Mahāyāna sūtras as far as we know at present,[4] the brief explanations of the symbolisms of the Bell in its entirety and in its parts all identify the Bell as the Transcendent Insight Sūtra, as well as the Voidness of all phenomena which is the main message of that Sūtra. The head of Transcendent Insight even looks out at us from the center of the Bell’s handle.[5] Tsong-kha-pa, in his most famous work on the stages of the tantric Path, directly states, “The Bell’s sound symbolizes the proclamation of the masses of Dharma.”[6]
And
Dragpa Gyeltsen says on the symbolism of the Bell in its entirety: “Its
empty interior means Voidness, the main point of the Transcendent Insight [Sūtra]. The center [of the Bell] is the reality of Full
Knowledge of awareness. Its sound indicates Voidness.”
Following closely Dragpa Gyeltsen’s brief explanations of the individual parts
of the Bell, we start with the handle. The handle is composed of (in descending
order) [1] a half-Vajra, [2] a Lotus (or Crown?), [3] a face, and [4] a vase of plenty. Although less common, some Bell handles incorporate
a ring, below the face, which seems not to have any special symbolism, but
serves the utilitarian purpose of a thumb-ring to keep a better grasp.[7] This ring I think to be more common in Newar Buddhist
examples. About the half-Vajra,
Dragpa Gyeltsen says,
“As for the Vajra, its use as a decorative covering is
a symbol of Insight being ornamented by Method.”[8]
Like the prongs of the complete Vajra, the prongs of
the half-Vajra are also supposed to be supported by a lunar disk resting on a
Lotus, although the Lotus is not always clearly distinguishable in every
example, frequently looking more like a crown for the face below.[9] The face is one element which is clearly present in
nearly every example of the Tibetan Bell (if they have any designs on them at
all) and, in nearly every explanation known to us,[10] this face is identified as the face of Insight or
Transcendent Insight, sometimes simply as the Mother (Yum), while some
authorities call it the face of Dharma[11] (I would say the latter is, given our earlier discussion,
entirely apt, even if not directly supported in our particular Tibetan-language
sources).
 |
| For an enlargement of the "thumbnail," look here. © The Trustees of the British Museum |
Here is Dragpa
Gyeltsen’s explanation of the face:
“Above [the vase] is a face of Transcendent Insight
that indicates Dharma Body [and] Voidness.”
Dharma Body, usually understood to belong to the
doctrinal category of Three Bodies of the Buddha, is also interpretable in some
contexts as ‘the corpus of [Buddhist] teachings,’ while Voidness is the
quintessential message of the Transcendent Insight Sūtra. The face looks somewhat different in different
examples. Usually it has a meditative expression, and very often a look of
amusement, and what we are tempted to call a ‘knowing smile,’ such as the
Buddha often has in the Transcendent Insight sūtras when
He knows what His questioners really have in mind when they ask their
questions, or when He knows what the future will bring for them. She faces east, the direction of the rising sun (increasing light), and so in direct
alighnment with the seed-syllable of Tārā, TAṂ,
in the eight-petalled lotus below.
 |
| A Full Pot from Amaravati, 2nd century CE © The Trustees of the British Museum |
Beneath the face is a vase or pot, which Dragpa Gyeltsen calls “an elixir pot,
as a symbol of the origination [or emergence] of all [magical and spiritual]
attainments.” The attainments or siddhis may mean either ‘common’ magical powers or the ‘Supreme Siddhi’ which
is just another way of saying Complete Enlightenment. Elixir often stands as a
metaphor for the siddhis. The
Indian artistic motive of the Full Pot, the Pūrṇa Ghaṭa (or Pūrṇa Kumbha), is
generally a symbol of wealth and abundance, but to follow Dragpa Gyeltsen, we would have to say
that when it occurs on the handle of the Bell, it must refer to a wealth of
spiritual attainment much more than secular riches.[12] The vase is not always clearly distinguishable on
every Bell. Like the Makara faces on the Vajra’s prongs, the vase has often
become artistically distorted or reinterpreted to the point that it is no
longer clearly recognizable as such. At times it is simply absent, or replaced
by the ring. Since it has been persuasively argued[13] that the ‘inverted pot’ found near the tops of Indian
pillars (including the famous Aśokan pillars) represents the pouring down of
the heavenly waters, with all the crystal clear agrarian connotations of
abundance and fertility that this entails, the upright overflowing pot has a
similar symbolic meaning, if for the opposite reasons — it is not emptying out
from above, but has been filled from above.
Proceeding down from the handle to the lower part of
the Bell which is the Bell proper (Tāranātha calls it the belly of the Bell), we will divide it into two main parts,
the dome and the slope: [1] the dome
at the top of the Bell encircling the point where the handle is attached
(Tibetan texts on occasion refer to this part as the shoulder) and [2] the slope, or the external surface of the Bell which slopes
down from the ‘dome’ to the ‘lip.’ The surface of the dome is always decorated
with an eight-petalled lotus flower design.[14] Within each of the eight petals is a ‘seed syllable,’
a Sanskrit letter represented in Tibetan transcription, each letter with a
circle above it representing the Sanskrit anusvāra (in English transcriptions, represented as ‘ṃ’
usually pronounced like the ‘ng’ in ‘sung’). The tops of the letters are
pointing outward, away from the point where the handle is attached.[15] These eight syllables are the ‘seeds’ of eight female
Buddhas, which might be used as a basis for fully generating their forms in
contemplative visualizations. These eight Buddhas are, to give their names
according to their meanings in English (but the feminine grammatical endings
are not translated here) with their seed syllables: Buddha Eye—laṃ; Mother Mine—maṃ; White Robe—paṃ;
Commitment Saviour—taṃ;[16] Flowing Wealth—vaṃ, here represented in Tibetan as baṃ; Encourager—cuṃ, here represented in Tibetan as tsuṃ; Furrowed Brow—bhriṃ; Vajra Rosary—maṃ, repeated.[17] The presence of these female Buddhas on an instrument
identified as being feminine in gender is significant.
Moving down to the slope of the Bell, we encounter
first a circular band of horizontal Vajras. At the bottom of the slope,
circling the outer part of the ‘lip,’ is still another circular band of Vajras
that stand vertically. Both of these are protective circles; the upper band of
Vajras is called the Vajra Rosary, while the lower one is called the Vajra Wall
in the Tibetan texts. Between these two bands is the greater portion of the surface
area of the slope, and it is here that we find interesting differences in the
designs which allow us to categorize various types of Bells.
To end for now with a few of the interesting details... The following typology of Bells is provided on the basis of an eighteenth-century Tibetan text,[18] since Dragpa Gyeltsen doesn’t mention the designs on this part of the Bell.[19]
To end for now with a few of the interesting details... The following typology of Bells is provided on the basis of an eighteenth-century Tibetan text,[18] since Dragpa Gyeltsen doesn’t mention the designs on this part of the Bell.[19]
There are six types of Bells. The first, called the
Hero Bell, may have either five- or nine-pointed Vajra,[20] while the remaining five, named for the five Buddha
Families, always have five points; hence we have the Tathāgata Family Bell, the
Vajra Family Bell, the Jewel Family Bell, the Lotus Family Bell, and the Deed
(or Sword) Family Bell. It is not entirely clear which presently-available type
of Bell the Hero Bell might be intended to designate.[21] The most commonly encountered type of Bell has eight
different symbols depicted around the central part of the slope.[22] These eight symbols include the emblems of the five
Buddha Families, although the symbols are not always distinct enough to identify
them with certainty, and there appears to be a certain amount of variation. The
Tathāgata Family has as its heraldic emblem the Wheel of the Law, and so the
Tathāgata Family Bell has a number of Wheels arrayed around the upper side of
the slope. The Vajra Family Bell has Vajras, the Jewel Family Bell has Jewels,
the Lotus Family Bell has Lotuses, and the Deed Family Bell has Swords.
[1] For examples of all of these, see
the life of the Buddha as told in the Lalitavistara Sūtra, Chapter 26 entitled
“Turning the Wheel of the Dharma.”
[2] The lack of initial capital on
the word dharma
when used for the constituents (or qualities) of apparent existence is a
Buddhological convention used when translating Buddhist texts into western
languages. The original languages — Tibetan, Sanskrit, Pāli etc. — have nothing
comparable to capital letters, and so the observance of this convention has
nothing to do with Buddhist conventions. For believing Buddhists, the
distinction between Buddha Word[s] and constituent[s] of apparent existence is
an unnecessary one.
[3] Although this might create some
confusion, the Bell is often called in the texts Dorjé Drilbu
(Rdo-rje-dril-bu), or Vajra Bell, since the Bell possesses a Vajra at its top.
There are some places in the texts where the conjunctive syllable may be
dropped (often for reasons of meter), and “Rdo-rje-dril-bu” may have to be read
as meaning Vajra and Bell. Furthermore, Rdo-rje-dril-bu may appear in an abbreviated form
as Rdor-dril. The ritual Bell of the Bon religion is quite different from that
used in the other Tibetan schools. It is a very shallow, and might look more
like a cymbal, except that it is equipped with a clapper. For a study of this
Bon Bell called, in Tibetan, gshang, see Helffer (1981). It is evidently of Persian or
Turkish origin. Mention of this instrument is not limited to Bon texts of the
tantric types, but is also found, together with the drum, as a metaphor for the
proclamation of the Golden Light Radiant Jewel (Gser-’od Nor-bu ’Od-’bar) Sūtra, and it is explicitly called one
of the ‘symbols of the Word’ (bka’ rtags, the other symbols being the drum, conch and
something called slang, possibly a metal bowl used as a ‘gong’ or some other cymbal-like
instrument) in the apparently eleventh-century biography of Lord Shenrab, the Condensed
Scripture (Mdo-’dus), to give two examples. It occurs
in Bon religious art as an attribute of deities both peaceful and wrathful.
That Bonpo teachers might nevertheless make use in rituals of the usual
Buddhist Vajra and Bell is proven by photographs in Tucci (1989: 182, and text
on p. 184), although this would seem to be a characteristic of New Bon (Bon
Gsar). One further interesting use of the Bell ought to be mentioned. Certain
groups of non-Buddhist peoples in northern Assam, people who gained their
livelihoods through hunting and gathering, employed the Bell in a secular way,
as a form of ‘currency’ which they used in bartering. The Tibetans who
originally supplied them with the Bells would remove the handles before using
them to purchase goods from the Assamese. Evidently, Bells devoid of their
half-Vajra-tipped handles were no longer viewed as sacred objects.
[4] We can be fairly certain of what
we are saying here on the absence of Bells-as-symbols-of-Dharma, since we were
able to consult the texts of the Transcendent Insight and a number of other important
Mahāyāna sūtras
in electronic versions prepared by the Asian Classics Input Project. This makes it possible to
locate quickly every occurrence of a word in the text of the sūtra (of course one still must take
care to consider the possibility of wrong or unusual spellings and
typographical errors as well as synonyms, epithets, etc., which computers have
not been trained to ‘catch’). These days, we also have the Vienna site, subject of this Tibeto-logic blog page. I haven’t had time to look into the several hundred occurrences of the word Dril-bu in the Kanjur texts, but my impression is that in nearly all cases they are the strings or networks (dra-ba) of bells used to decorate stūpas. The word dril-bu is frequently used together with g.yer-ka in the sūtra contexts. A quite typical phrase is gser-gyi dril-bu g.yer-ka'i dra-ba. There is often a mention of how they make their sounds when the wind blows, which does tend to make us think of wind chimes more than bells. In any case the material on bells in the Tibetan canon overall is so great that I hope some ambitious person will take up the challenge of studying it all. I haven’t.
[5] For the symbolism of the Bell and
its parts, we are fortunate to have a set of excellent contributions by
Mireille Helffer (1982, 1985a, 1985b), and our discussion is in some degree
based on them, but with our emphasis given to the Tibetan-language work by Dragpa Gyeltsen.
[6] Tsong-kha-pa (n.d.: 564).
[7] According to Rong-tha (n.d. 79),
the ring is placed here on no other authority than the craft tradition itself
(meaning it isn’t justifiable from scriptural and commentarial works).
Kun-grol-grags-pa (1974: 533) says that the hole (bug-pa) is not taught in any
transmission lineage (brgyud, but I think he intends rgyud, ‘tantra’). One example of a
remarkable Ming Dynasty Bell (a Chinese inscription in its interior identifies
it as belonging to the reign of Yongle) which includes a ring in its handle has
been published (Precious Deposits 2000: III 224-5), but it seems that the handle could have
been added to the Bell at a later date. Many Bells with rings seem to be of
Nepalese origin. Even much more rarely, Phurpas may have rings attached (a
purportedly 12th-century example from the Dali Kingdom of presentday Yunnan
Province was offered for sale in Rossi & Rossi 2002), and probably with a
similar motive, to keep the implement from flying out of the hands during
ritual usage.
[8] Feminist thinkers may find it
cause for delight or dismay that here Dragpa Gyeltsen makes Father Method
subservient (‘ornamental’) to the face of Mother Insight. She wears the Vajra
of Voidness as Her crown, since Voidness is Her ultimate insight.
[9] The face is often described in
the non-Tibetan-language literature as being ‘crowned,’ but among our Tibetan
texts only Rong-tha (n.d. 78) states this explicitly. Ignoring the texts, and
basing ourselves entirely on visual aspects, it often does look as if there is
a crown, but a crown ought to have five ‘lobes’ for the five Buddha Families.
On the example in hand, there are eight ‘lobes’ entirely encircling the handle.
Therefore we prefer to interpret these ‘lobes’ as being rather lotus petals
intended to ‘support’ the Vajra prongs (as in the symbolism of the Vajra
discussed above) rather than to ‘crown’ the face.
[10] Except for a late Dge-lugs-pa
text, which says that when the Bells are distinguished by Buddha Families (see
below), the face should be the face of the main Buddha of the family to which
the Bell belongs (Helffer 1985b: 58). Tāranātha (1983a) suggests that a
wrathful Bell ought to have a face with wrathful appearance. Stag-tshang (n.d.
32) refers to the Face as that of the ‘Blessed Lady’ (Bcom-ldan-’das-ma) or, in
another place, that of ‘Transcendent Insight’ (Sher-phyin).
Dpal-sprul (1994: 187), writing in the nineteenth century, says “The bell bears
the image of a face which, according to the outer tantras, is that of
Vairochana and, in the view of higher tantras, is Vajradhatvishvari.” (Most
surprising here is the possibility of identifying the face as Vairocana’s,
Vairocana being a Buddha with male form.)
[11] Olsen (1950: 35), for example,
says, “the head of the goddess Dharma or Prajna, ‘Supreme Wisdom’.” One
scriptural source, the Sampuṭa Tantra (Derge Kanjur, vol. 79 [ga],
fol. 289 recto),
is quite explicit about the face at the center being that of ‘Goddess
Prajñāpāramitā’ (Lha-mo Shes-rab Pha-rol-phyin), further specifying that it
should, in its shape, be beautiful and endowed with qualities. This text also
describes a lotus as being above the face, with no mention of a crown. This
scriptural evidence strengthens the impression that the globular part at the
center of of the Vajra is meant to correspond to the face at the center of the Bell.
[12] On the Indian symbolism of the
Full Pot, see Gairola (1954), Rosu (1961), Agrawala (1965: 10-11, 43-46),
Coomaraswamy (1971, pt. 2: 61-64), and especially Bhattacharya (2000). Smith
(1989) gives evidence for its antiquity in Buddhist architecture in which it is
associated with pillars. See as well Harvey (1991: 74-76), where an argument is
made for a Buddhist interpretation which would emphasize the ‘fullness’ of the
Buddha’s Teachings, the Dharma, which fits nicely with the other symbolic
motives found on the Bell. The lotuses or Bodhi tree sometimes depicted growing
from the pot would then be a symbol of spiritual growth nourished by the
resources of the Buddha’s Teachings. The reference to an ‘elixir pot’ reminds
us of the Indian cosmogonical story of the churning of the Milk Ocean that resulted in, among other things, the production of the divine sustenance or
‘elixir,’ a drink of immortality, which was placed in a pot. Pots filled with
water, with leaves and other decorations decorating their mouths, have been,
and still are, used during deconsecration/reconsecration rituals, as temporary
abodes for the deities when images or stūpas are being repaired. I would
further suggest that all the elements of the Bell handle above the Full Pot
ought to be conceived as emerging out of it.
[13] Vajracharya (1999: 53-64).
[14] See Ronge (1980), where the
process of bell-making is described in some detail. The decorations on the
‘dome’ are directly transferred to the mold from the ‘blank’ prototype Bell
that is used to form the mold, but the decorations on the ‘slope’ have to be
subsequently stamped onto the inside of the mold. This explains why the
decorations on the ‘slope’ are often less distinct than the decorations on the
‘dome.’ We ought to emphasize that the names ‘slope’ and ‘dome’ do not come
from our Tibetan-language sources, while the term ‘lip’ is in fact used by
them.
[15] The ‘garland of letters’ is very
deeply rooted in Indian religious history, and we will not attempt to trace its
history here. One finds it in the Cakrasamvara tantric system’s visualization
of the ‘seat’ of the deity. Here the vowels (for ‘insight’) circle counterclockwise
twice and transform into the lunar disk, while the consonants (for ‘method’)
circle clockwise twice and transform into the solar disk. The seat being the
‘site’ of the enlightened being that is seated on it, the letters, in this case
the Sanskrit letters transcribed into Tibetan, are both the seeds of the sacred
scriptures and the initial definition of the sacred space. (See, for example,
Beyer 1973: 112.) Quite similar, even with its differences, is the rite that
forms a part of Catholic church consecration rituals called the abecedarium, in which two lines of the Latin
and Greek alphabets (the alphabets of the two sacred languages used in
traditional [pre-Vatican II] Catholic scriptures and sacred chants) are
inscribed from corner to opposite corner forming an ‘X’-shaped cross. These
alphabets are “the beginnings and basics of sacred doctrine... and the
beginnings of the Word of God” (Repsher 1998: 82; see also Bowen 1941: 475).
Given the obviously different arrangements of the letters in circles and crosses,
nevertheless the similar in their usages of ‘seed’ letters of scripture to
define sacred spaces is impressive.
[16] The syllable taṃ is symbolically oriented toward
the east, and the Face in the middle of the handle is also supposed to be
oriented in the same direction. Stag-tshang (n.d. 33) calls this an ‘Inner
Bell.’ He also describes as an ‘Outer Bell’ one that has a ring below the Face
as well as the seed syllable or emblem of Buddha Eye in the east. The
arrangement of seed syllables in Kun-grol-grags-pa (1974: 531-532) is quite
different.
[17] The lists of eight female Buddhas
are not always the same. Especially the last four frequently vary from our
list, which is derived from Dragpa
Gyeltsen’s work. We have not attempted to sort out the reasons for this
variation. The ‘seed syllables’ of these Buddhas are formed simply by taking
the first letters of their names (in their original Sanskrit form) and adding anusvāra.
[18] This work by Kun-grol-grags-pa,
an eighteenth-century Bon-po teacher in Eastern Tibet, is discussed in Helffer
(1985), and we have based our explanation on this.
[19] Although this cannot be
accomplished here, it will be interesting in the future to consider how the
designs on this part of the Bell might have developed over time. It is a
possibility that Dragpa Gyeltsen
doesn’t mention these design elements because they were not commonly in use in
his time. One Tibetan text suggests that earlier Bells might have been less
decorated. See Khams-ston (1990: 256), where it says that there exist
unornamented bronze Bells in Tibet which were made by Indian craftspersons.
These are said to be Bells especially meant to be used in dance performances,
and are sometimes called ‘old Tibetan’ (Bod rnying) Bells. I have seen a set of
relatively unornamented Vajra and Bell offered for sale in Kathmandu at a
tremendous cost (300,000 Nepalese rupees, to be exact; perhaps 3,000 US dollars), a price justified by
the dealer since, according to her belief, the set had been imported to Tibet
from India in the eleventh century. The Bell was unornamented except for the
half-Vajra at the top and a few highly-worn decorative bands around the
‘slope.’ Buyers beware, however, especially since nowadays many if not most
Bells are manufactured to have a worn appearance, and so the indistinctness of
the decorative elements (which may also result from the method of casting, as mentioned in an earlier note) is
not in itself necessarily a proof of antiquity.
[20] According to Kun-grol-grags-pa
(1974: 530), “Nowadays [most common are the] five-pointed Vajra used in
peaceful and extending [ritual actions] and the nine-pointed Vajra used in
influencing and overpowering [ritual actions].” Evidently Bells topped by
Vajras of like number of points would share the same ritual usage.
[21] The problem is discussed in some
detail in the works of Helffer listed below. According to Rong-tha, as well as
Dkon-mchog-bstan-’dzin, it has the two Vajra bands as the only decoration on
its slope. It lacks the emblems as well as the pearl strings (to be described
presently). Sangs-rgyas-rdo-rje (1995: 13) distinguishes three types of Bells.
The first is the Vajradhāra Bell (nine-pointed only), the second the Hero Bell
(five- or nine-pointed), and the third the Particular Family Bell (five-pointed
only). The last one includes the five different Bells belonging to the five
Buddha Families. He defines the Hero Bell (on p. 17) as a five- or nine-pointed
Bell which has the Vajra Rosary, but in which the latticework of pearl strings
is replaced by insets of precious substances (gold, silver or gems).
[22] According to
Dkon-mchog-bstan-’dzin (1994: 314), this type of Bell with eight different
emblems is called the Vajra Being Full Knowledge Bell (Rdor-sems Ye-shes-kyi
Dril-bu).
§ § §
Literary works
V.W. AGRAWALA
Studies in Indian
Art, Vishwavidyalaya Prakashan (Varanasi
1965).
Joachim-Ernst BERENDT
Nada Brahma, the World is Sound:
Music and the Landscape of Consciousness,
tr. by Helmut Bredigkeit, East-West Publications (London 1983). This book may make you think about
sound like you never did before. Each chapter ends with footnotes to recorded
music.
Stephan BEYER
The Cult of Tārā:
Magic and Ritual in Tibet, University of
California Press (Berkeley 1973).
Gouriswar BHATTACHARYA
The Enigmatic Pot,
contained in: Maurizio Taddei and Giuseppe De Marco, eds., South Asian
Archaeology 1997, Serie Orientale Roma no.
90, Istituto Italiano per l’Africa e l’Oriente (Rome 2000), vol. 3, pp.
1342-1365. For a list of this author's publications in PDF, try this link.
Lee BOWEN
The Tropology of
Medieval Dedication Rites, Speculum,
vol. 16, no. 4 (October 1941), pp. 469-479. Available at JSTOR through
subscribing institutions.
Ananda K. COOMARASWAMY
Yakṣas, Part I and Part II, Munshiram Manoharlal (New Delhi
1971).
DKON-MCHOG-BSTAN-’DZIN
Bzo-gnas Skra
Rtse’i Chu-thigs [‘The Arts: A Drop at the
Tip of the Brush Hairs’] Krung-go’i Bod-kyi Shes-rig Dpe-skrun-khang (Beijing
1994). A modern textbook on Tibetan art history and techniques, ‘Drop of Liquid
on the Tip of the [Brush-]hairs.’
DPAL-SPRUL O-RGYAN-’JIGS-MED-CHOS-KYI-DBANG-PO
The Words of My
Perfect Teacher: Kunzang Lama’i
Shelung, translated by the Padmakara
Translation Group, Harper Collins (San Francisco 1994).
DRAGPA GYELTSEN
See
Grags-pa-rgyal-mtshan.
C.K. GAIROLA
Évolution du pūrṇa
ghaṭa (vase d’abondance) dans l’Inde et
l’Inde extérieure, Arts Asiatiques,
vol. 1 (1954), pp. 209-226.
GRAGS-PA-RGYAL-MTSHAN
Rdo-rje Dril-bu
dang Bgrang-phreng-gi De-kho-na-nyid [‘The
True Reality of Vajra, Bell and Rosary’], contained in: Sa-skya-pa’i
Bka’-’bum, Toyo Bunko (Tokyo 1968), vol. 3,
pp. 271-2-4 through 272-3-6.
Peter HARVEY
Venerated Objects
and Symbols of Early Buddhism, contained in: Karel Werner, ed., Symbols in
Art and Religion, Motilal Banarsidass
(Delhi 1991), pp. 68-102.
Mirielle HELFFER
— Notes à propos
d’une clochette gshang: Tibet et régions
de culture tibétaine, Objets et mondes, vol. 21, no. 3 (Autumn 1981), pp. 129-134.
— Du texte à la
muséographie: données concernant la clochette tibétaine dril-bu, Revue de musicologie, vol. 68, no. 1/2 (1982) 248-269.
— A Typology of the
Tibetan Bell, contained in: B.N. Aziz & M.Kapstein, eds., Soundings in
Tibetan Civilization, Manohar (N.Delhi
1985a), pp. 37-41. This is an abstract of the longer study in French in Arts
Asiatiques (see below).
— Essai pour une
typologie de la cloche tibétaine dril-bu,
Arts Asiatiques 40 (1985b) 53-67.
KHAMS-STON
Rgya Bod-kyi
Nor-rdzas-kyi Ris Brtags-shing Dpyad-pa’i Dpyad Don Yid-kyi ’Dod-’jo, contained in: Bzo-rig Nyer-mkho Bdams
Bsgrigs (Gangs-can Rig Mdzod series no.
14), Bod-ljongs Bod-yig Dpe-rnying Dpe-skrun-khang (Lhasa 1990), pp. 229-262. A
treatise on how to recognize highly valued objects in Tibetan material culture,
probably composed in the fifteenth century.
KUN-GROL-GRAGS-PA (b. 1700)
Gsang-sngags Theg-pa Chen-po’i
Bsten-par Bya-ba’i Dam-rdzas Ji-ltar ’Chang-ba’i Rnam-bshad Rnal-’byor Rol-pa’i
Dga’-ston (‘Feast
of the Playacting Yogis: An Explanation on How to Hold the Commitment
Substances for Use in the Great Vehicle of Secret Mantra’), contained in:
Mkha’-’gro Bde-chen-dbang-mo, et al., Yum-chen Kye-ma-’od-mtsho’i Zab Gsang
Gcod-kyi Gdams-pa Las Phran dang bcas-pa’i Gsung-pod, Tshering Wangyal, TBMC (Dolanji
1974), pp. 515-599.
Eleanor OLSEN
Catalogue of
the Tibetan Collection and Other Lamaist Articles in the Newark Museum: Volume
II, The Newark Museum (Newark 1950, reprint
1973).
PRECIOUS DEPOSITS
Precious
Deposits: Historical Relics of Tibet, China,
Morning Glory Publishers (Beijing 2000), in five volumes.
Brian REPSHER
The Rite of
Church Dedication in the Early Medieval Era,
The Edwin Mellen Press (Lewiston 1998).
RONG-THA
Rong-tha
Blo-bzang-dam-chos-rgya-mtsho (1863-1917), Thig-gi Lag-len Du-ma Gsal-bar
Bshad-pa Bzo-rig Mdzes-pa’i Kha-rgyan. An
85-folio treatise on Buddhist sacred arts, purchased in Lhasa in 1996. The
printing blocks for this edition were originally kept at Rgyud-smad
Grwa-tshang, the Lower Tantra College in Lhasa.
Veronica RONGE and N.G. RONGE
Casting Tibetan
Bells, contained in: Michael Aris and Aung San Suu Kyi, eds., Tibetan Studies
in Honour of Hugh Richardson, Aris and Phillips, Ltd. (Warminster 1980), pp. 269-276.
Anna Maria ROSSI and Fabio ROSSI
Beyond Lhasa:
Sculpture and Painting from East and West Tibet (exhibition catalogue), Anna Maria & Fabio Rossi Publications
(London 2002).
A. ROSU
Pūrṇaghata et le
symbolisme du lotus dans l’Inde, Arts Asiatique, vol. 8, no. 3 (1961), pp. 163-194.
Mkhas-dbang SANGS-RGYAS-RDO-RJE
Responses to
Various Polemical Writings, Sherab Gyaltsen
Lama & Acharya Shedup Tenzin (Rewalsar 1985).
R. Morton SMITH
Pots without Pans,
contained in: Devendra Handa and Ashvini Agrawal, Ratna-Chandrikā: Panorama
of Oriental Studies [Shri R.C. Agrawala Festschrift], Harman Publishing House (New Delhi 1989), pp. 59-64.
Rten Gsum
Bzhugs-gnas dang bcas-pa’i Bsgrub-tshul Rgyas-par Bshad-pa Dpal-’byor
Rgya-mtsho. Microfilm of a 54-folio
manuscript in the possession of Gyaltsen (Swayambhunath, Nepal) courtesy of the
Nepalese National Archives (reel no. E574/29; running no. E15094). A treatise
on Buddhist sacred arts composed in 1459.
TSONG-KHA-PA
Tsong-kha-pa
Blo-bzang-grags-pa (1357-1419), Rgyal-ba Khyab-bdag Rdo-rje-’chang Chen-po’i
Lam-gyis Rim-pa Gsang-ba Kun-gyi Gnad Rnam-par Phye-ba (=Sngags-rim Chen-mo; =Rje’i Gsung-’bum Ga-pa), Tibetan Cultural Printing Press (Dharamsala n.d.).
A very famous treatise on Buddhist tantra in general by Tsong-kha-pa, credited
with founding the Dge-lugs-pa School.
Giuseppe TUCCI
Sadhus et
brigands du Kailash: Mon voyage au Tibet occidental, Editions R. Chabaud (Paris 1989).
Gautama V. VAJRACHARYA
Symbolism of Ashokan
Pillars: A Reappraisal in the Light of Textual and Visual Evidence, Marg (Mumbai), vol. 51, no. 2 (Dec. 1999), pp. 53-78.
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