..续本文上一页ctrines. The music used extensively in death rituals is especially profound, demonstrating its harmony and perfect identification with Buddhism ideology.
Key words: Tibetan Buddhism, cycle of birth and death, natural law of cause and effect, help in Bardo, realities
Generally speaking, death is the most profound one among human fears; however, Tibetans have a unique attitude toward it. Starting with their preparation (or education) for death, including the bardos[5]of dying, realities, and rebirth, the whole process is full of inspiration and creativity as if it were a unique artistic discipline. Tibetans believe that a human being consists of both a soul and a body--- the body serving only to carry the immortal soul. Once the body dies, the soul will leave it and go into the state of realities. According to their karma a consciousness in bardo, the dead obtain either rebirth or nirvana. Therefore, the moment o death is not the end of life, but rather the glorious and supreme beginning of a new one. Tibetans begin their education and practices regarding death from childhood. Throughout the whole process of the death rituals, music gives full expression to the idea of the immortal soul and rebirth by perfectly merging with Buddhist doctrine and rituals. In the Tibetan Book of the Dead [6], music itself is called “the art of death”.
Buddhist practices for death
Education in Tibetan Buddhism is based on the following concepts: the natural law of cause and effect[7], the cycle of birth and death [8], impermanence, and the view that all contaminated things are miserable. As a result, Tibetans generally attach more importance to death and the next life than to birth and this life. To be free from this life is their highest ideal—in earlier days, lamas and laymen in Tibet did not celebrate their birthdays. In contrast, much attention was paid to education concerning death, which started the moment a person was born. For this reason, there are no birthday songs in Tibetan folk culcure. However, music, dance, sculptures and drawings on the theme of death can be found everywhere. Among them, music (including dances set to music), as a significant part of Buddhist doctrine and art, is extraordinarily rich. It can be concluded that understanding and use of music in Buddhist traditions is highly developed.
Buddhism holds that the universal mantra (Mani Padme Hum) is the foundation and essence of all Buddhist creeds. It helps people remove ignorance and gain wisdom. Before Tibetans can walk on their own, their mothers frequently carry them on their backs while worshipping Buddha and performing circumambulation, so from that time they begin to learn the chant of the universal mantra.
The form of the universal mantra chant varies widely. It includes long melodies and short melodies. Different melodies are employed for different occasions, temples or monasteries, and during different sacrificial rituals. In Tibetan language, the chant of the universal mantra is called Padem dbyangs ( Padem refers to classical scriptures or mantra, and dbyangs is music), which includes the mantra song, the conversion song, the song for invoking Buddha, and the tribute song.
To express the Buddhist theories, the melodies of Padem dbyangs are pleasantly low and full of sympathy, mainly by employing five-tone scales of the minor mode (among them the Yu tone is used most frequently). When we hear them, we feel as if we were listening to our masters” teachings, or looking at our masters” respectful faces above us, wisdom naturally occurring to our mind.
Beside the Padem dbyangs, Tibetan parents also teach their children the vajra guru mantra, namely OM AH HUM VAJRA GURU PADMA SIDDHI HUM .
Besides the vajra guru mantra, there are four conversion sutras …
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