shang
The shang is a Tibetan ritual upturned flat handbell employed by Bonpos and shamans.
shang
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The shang is a Tibetan ritual upturned flat handbell employed by Bonpos and shamans.
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Use
Use
A shang consists of three principal parts: the flat bell part proper; the gankyil, which is the centre piece that holds the knocker; and the knocker or striker proper, which is often made of animal horn. The shang was believed to be useful in receiving information from the Eastern concept of aether, to induce trance or call spirits. The shang is often used in rites in conjunction with the phurba and namkha.
History and origins
History and origins
Traditionally believed to have originated in the ancient kingdom of Zhangzhung, the shang is considered one of the oldest ritual instruments still used in Tibetan spiritual practice. Zhangzhung was a culturally rich region that preceded the widespread influence of Buddhism in Tibet and is closely linked to the origins of Bön. According to Bön mythology, the shang was introduced by Tonpa Shenrab, the legendary founder of the Bön religion, as a sacred implement for healing, protection, and spiritual communication.
Design and components
Design and components
Shangs typically range in size from about 3 inches (7.5 cm) to over 20 inches (50 cm) in diameter. Each consists of three main parts: the flat circular bell disc; the gankyil, a triple-spiral-shaped metal fitting that sits at the center and serves as the handle mount; and the striker or knocker, traditionally made from animal horn or hardwood. The gankyil, or "wheel of joy," is a recurring symbol in both Bön and Tibetan Buddhist iconography, representing the interdependence of all phenomena. The bell itself is often forged from a consecrated alloy of sacred metals, combining bronze, copper, and other trace elements believed to enhance its spiritual efficacy. Many shangs are adorned with colorful cloths or symbolic beads tied to the handle, representing the five elements (earth, water, fire, air, and space).
Ritual function
Ritual function
In ritual use, the shang is employed to summon protective spirits, cleanse ritual spaces, and guide meditative or trance states. Its resonant tone is believed to dispel negative energies and harmonize the practitioner's environment. Practitioners may also use the shang during initiations, divination ceremonies, and healing rituals. The instrument is frequently used alongside other sacred ritual tools such as the phurba (ritual dagger) and namkha (woven cross symbolizing the elements and cosmos). In these contexts, the shang may act as a bridge between the physical and spiritual realms, aiding in communication with deities, elemental spirits, or ancestral forces.
Construction and consecration
Construction and consecration
Crafting a shang involves not only skilled metalwork but also ritual consecration. The process may include chanting, blessings, and specific invocations to endow the bell with spiritual potency. Some shangs, especially ancient ones, are treated as relics and housed in temples or used exclusively by high-ranking religious figures.
Description
Shang range in size from approximately three to 20 inches in diameter. They are traditionally believed to originate in Zhangzhung and are symbolically similar to the dril bu or ghanta. Shangs are traditionally consecrated.
Notes from the source article
Cited by Wikipedia
Notes from the source article
These works are cited by the source article, in its own numbering. They are recorded as its citations, not as sources VALÉORINE has verified.
- 1.Percival Price: Bell (i). 4. History. In: Grove Music Online, 2001
- 2.Curt Sachs: Geist und Werden der Musikinstrumente. (Berlin 1928) Nachdruck: Frits A. M. Knuf, Hilversum 1965, S. 148f
- 3.Ahmet Akkoç: The İnandık Vase: An Ancient Snapshot of Hittite Music. Indo-European Studies
- 4.Joachim Braun: Die Musikkultur Altisraels/Palästinas: Studien zu archäologischen, schriftlichen und vergleichenden Quellen. Vandenhoeck & Ruprecht, Göttingen 1999, S. 98
- 5.Curt Sachs, 1928, S. 149
- 6.Percival Price: Bell (i). 4. History. (i) East and South Asia. In: Grove Music Online, 2001
- 7.Rei. In: Grove Music Online, 25. Mai 2016
- 8.Alan R. Trasher: Zhong. In: Grove Music Online, 2001; ders.: Fanzhong. In: Grove Music Online, 28. Mai 2015
- 9.Giuseppe Tucci: The Tombs of the Tibetan Kings. Istituto Italiano per il Medio ed Estremo Oriente, Rom 1950, S. 69f
- 10.Mireille Helffer: Cong. In: Grove Music Online, 22. September 2015
- 11.Mireille Helffer, Wolfgang Hauptfleisch: Tibelt, Bhutan, Ladakh. II. Musiktraditionen der Klöster. 3. Instrumente und instrumentale Zwischenspiele. (1998) In: MGG Online, November 2016
- 12.Mireille Helffer, 1994, S. 230f
- 13.John Vincent Bellezza: gShen-rab Myi-bo. His life and times according to Tibet’s earliest literary sources. In: Revue d’Etudes Tibétaines, Nr. 19, Oktober 2010, S. 31–118, hier S. 84
- 14.Mireille Helffer, 1994, S. 215f
- 15.Vgl. Adelheid Mette: Beobachtungen zur Überlieferungsgeschichte einiger Lieder des Mi la ras pa’i mGur ’bum. In: Indo-Iranian Journal, Band 18, Nr. 3/4, November–Dezember 1976, S. 255–272
- 16.What is Yungdrung Bön? Yeru Bön Center
- 17.Kengo Konishi: Maintenance of the Bonpo Monastic Community in Contemporary Tibetan Society: With Special Reference to Performance of ‘Cham in Amdo Shar-khog. In: Memoirs of the Research Department of the Toyo Bunko, 2007, S. 177–203, hier S. 201
- 18.Mireille Helffer, 1994, S. 218–222
- 19.Chabpel Tseten Phuntsok, Thubten K. Rikey: The Deity Invocation Ritual and the Purification Rite of Incense Burning in Tibet. In: The Tibet Journal, Band 16, Nr. 3, Herbst 1991, S. 3–27, hier S. 9
- 20.Ricardo Canzio: Tibetan music. II. Monastic music. 1. Liturgical chant and music. (i) Bon. In: Grove Music Online, 2001
- 21.Mireille Helffer, 1994, S. 218
- 22.Mireille Helffer, 1994, S. 225–228
- 23.Mireille Helffer, 1994, S. 229
- 24.René de Nebesky-Wojkowitz, 1956, S. 400
- 25.Carla Gianotti: The Srin mo Demoness and Her Submission to the Buddhist Tibetan Dharma. Some Different Modes of Her Transformation. In: Giacomella Orofino, Silvio Vita (Hrsg.): Buddhist Asia 2. Papers from the Second Conference of Buddhist Studies Held in Naples in June 2004. Italian School of East Asian Studies, Kyoto 2010, S. 69–97, hier S. 73
- 26.René de Nebesky-Wojkowitz, 1956, S. 419, 422
- 27.Todd Gibson: Notes on the History of the Shamanic in Tibet and Inner Asia. In: Numen, Band 44, Nr. 1, Januar 1997, S. 39–59, hier S. 49f
- 28.René de Nebesky-Wojkowitz, 1956, S. 425, 427; John Vincent Belleza, 2018, S. 23
- 29.Per-Arne Berglie: Spirit-possession in Theory and Practice— Seances with Tibetan Spirit-mediums in Nepal. In: Scripta Instituti Donneriani Aboensis, Band 11, 1982, S. 151–166, hier S. 154–158
- 30.René de Nebesky-Wojkowitz, 1956, S. 4, 253, 312
- 31.Giacomella Orofino: A Note on Two Theogonic Myths Found in a Bon Magic Ritual. In: Hanna Havnevik, Charles Ramble (Hrsg.): From Bhakti to Bon. Festschrift for Per Kværne. (The Institute for Comparative Research in Human Culture, Serie B, Band CLV) Novus Press, Oslo 2015, S. 381–395, hier S. 384f
- 32.René de Nebesky-Wojkowitz, 1956, S. 315–317
- 33.Hildegard Diemberger, Charles Ramble: Tibetan vibratory connections. In: Terrain, Band 68, 2017, Abb. 3 (Vorderseite), Abb. 4 (Inschrift Rückseite)
- 34.Samten G. Karmay: A New Discovery of Ancient Bon Manuscripts from a Buddhist stūpa in Southern Tibet. In: East and West, Band 59, Nr. 1/4 (Bon: The Everlasting Religion of Tibet. Tibetan Studies in Honour of Professor David L. Snellgrove) Dezember 2009, S. 55–84, hier S. 79
- 35.Amy Heller: A Bon po Ritual Card of a Deity Holding a gshang Bell. In: Musique et Epopee en Haute Asie. Mélanges offerts à Mireille Helffer à l'occasion de son 90e anniversaire, sous la direction de Katia Buffetrille et Isabelle Henrion-Dourcy. 2017, S. 385–391, hier S. 389f
- 36.Dondrup Lhagyal: Bonpo family lineages in Central Tibet. In: Yasuhiko Nagano, Samten G. Karmay (Hrsg.): New Horizons in Bon Studies, Senri Ethnological Reports, Band 15. National Museum of Ethnology, Osaka 2000, S. 429–508, hier S. 429, 439
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