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| Le Gandi: Un Simandre Tibétain d'Origine Indienne=The Gandi: A Tibetan Simandre of Indian Origin | ||
| 作者 | Helffer, Mireille (著) |
|---|---|
| 出處題名 | Yearbook for Traditional Music |
| 卷期 | v.15 |
| 出版日期 | 1983 |
| 頁次 | 112 - 125 |
| 出版者 | Cambridge University Press |
| 出版者網址 | http://www.journals.cambridge.org |
| 出版地 | New York, NY, US [紐約, 紐約州, 美國] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 英文=English; 法文=French |
| 附註項 | The Subtitle of the Journal: East Asian Musics. |
| 摘要 | In the oldest writings concerning Indian buddhism, mention is made of an instrument, the gandi, which was used to call monks (and hermits) to assembly. Given that Buddhism has practically disappeared from India many centuries ago and that, to my knowledge, no Indian iconographic evidence of the gandi exists, orientalists and historians of Buddhism supposed that the gandi was either a drum, a bell or a gong. Today it is possible to rectify this approximative identification. Observations carried in several religious communities in India and Nepal during the last fifteen years have shown an instrument called gandi or ganti, used in most Tibetan monasteries to convoke monks to various collective activities. Besides, it has turned out that numerous written sources concerning Tibetan Buddhism underline the importance of the gandi. In the "Gandi sutra", it is the Buddha himself who in a reply to a benefactor, king Prasenajit, explains the steps to be followed in the construction of the gandi: These concern: • the type of wood to be used. • the size of the instrument. • the form and size of the block of wood serving as a beater. • the consecration of the instrument. • the occasions for its use. • the spiritual benefits accruing to the use of the gandi. Certain texts, more recent, complete the information obtained from the "Gandi sutra" and show, without any doubt, that the old gandi, just as the modern version of the instrument, is from the organological point of view a phonoxyle, that is a sounding wood-block. Its shape is that of a small beam of variable length and rectangular section, indented in its central part. This shape shows a striking similarity with that of certain wooden simandres (from Greek semanterion = signal), used in Greek monasteries of the Orthodox faith. Finally, whereas some texts insist on the occasion and modes of use of the gandi, a Bon-po ritual text furnishes even a graphic representation of a sequence of a hundred and eight strokes in connection with a poem of a hundred and eight verses, each stroke on the gandi corresponding to the enunciation of a verse of the poem. The description of the instrument made by the musicologist Ivan Vandor as well as my own observations and the recordings that I have made in a 'Brug-pa bka'-brgyud-pa monastery in Darjeeling in 1979 prove that the prescriptions of the canonical writings are still followed nowadays and that the Tibetan clergy, faithful to a tradition received from India, continue to build and use the gandi according to the established rules. |
| 目次 | I. Les sources tibétaines relatives au gandi 113 II. Le jeu du gandi 115 II.1. Les prescriptions des textes 115 II. 2. La pratique actuelle. 118 NOTES 121 BIBLIOGRAPHIE 123 ABSTRACT 124 |
| ISSN | 07401558 (P); 23043857 (E) |
| DOI | 10.2307/768645 |
| 點閱次數 | 1 |
| 建檔日期 | 2024.10.21 |
| 更新日期 | 2024.11.07 |
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