When Buddhism first reached Tibet in the 7th and 8th centuries, it brought with it a rich musical tradition from Northern India. This musical tradition was closely tied to early Buddhist and Hindu Tantrism sought to infuse music with worship. This Tibetan bell exemplifies that relationship. Since music is important to Buddhism, lamaseries or monasteries sometimes served as schools of music where monks received advanced training in vocal and instrumental technique (Vandor 1974:108). The religious significance of the bell is especially apparent in its design; one need only look at the handle, which depicts the goddess Indra surrounded by thunderbolts (FMNH nd). According to the Tibet display at the Chicago Museum of Field History, the thunderbolt, or darje, is a sign of compassion, the trait devout Tibetans value above all others (FMNH nd). The base of the bell contains an ornate, repetitive pattern suitable for god/goddess worship and also denotes a sense of status/nobility. A clapper is attached on the inside of the bell. The religious purpose of the bell is also seen in its shape, which is similar to that of a mandala, which is a geometrical figure representing the nature of the world (Vandor 1974:145). It is likely that this bell is a dril bu (or a smaller replica of the dril bu), a bell of Indian origin which played a very important role in Lamaist musical rituals (Vahi 1992:51). According to Peeter Vahi, a dril bu is a "bronze, brass, or silver bell that is cast as one piece with its handle....When played, the bell is always held in the left hand. When the bell is shaken, the clapper inside creates a high piercing sound that symbolizes ultimate transcendental wisdom" (Vahi 1992:51). In a Wheaton College essay, Jean Sensanbaugh describes the playing technique more fully: "The bell is held in the left hand with the opening pointed toward the body, the thumb being pressed against the handle and the fingers being laid around the body of the bell; at the same time the lama holds the thunderbolt in his right" (Sensanbaugh nd:4 5). Tibetan Buddhist music is extremely complex and therefore requires a high level of skill. (Vandor 1074:108). It was performed both inside and outside the monastery by Buddhist Lamas. As Vandor writes, Inside it accompanies religious ceremonies, particularly in prayer halls, and sometimes, for certain rites in the courtyard. It is played as a signal for lamas to begin their meditation in their cells or to make offerings to certain divinities....Outside of the monastery it is performed in private homes for births, marriages, deaths, and for other special occasions, or because someone wished to receive 'merit' as to obtain better reincarnation. It is also played in processions, or to welcome eminent visitors. [Vandor 1974:109] This particular type of dril bu appears to be very common, as the Chicago Field Museum of History has a large display of very similar bells in their Tibet display. Although the largest of these bells was up to 25cm tall, smaller ones were more abundant, perhaps because they are easier to use and create. A depiction of the goddess Indra was a traditional design for dril bus of this period.

Brass or bronze

AJ2: Historical Tibet

Asia China Sphere

Tibetan Buddhist Culture

Tibet

534: Musical Instruments, 778: Sacred Objects and Places

Field Museum of Natural History, N.D. Tibet Exhibit. (Sept. 18, 2006) Sensanbaugh, Jean. N.D. Research on the Religious Objects in the Collection of the Wheaton College Anthropology Department. Paper prepared for the Wheaton College Anthropology Department, Wheaton College

Vahi, Peter 1992 Buddhist Music of Mongolia. Leonardo Music Journal 2(1): 49 53 Vandor, Ivan 1974 Cymbals and Trumpets from the Roof of the World. Music Educators Journal 61(1): 106 109, 145 46.