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The Cham ritual of Padmasambhava in Tibetan Buddhism

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Item Type Article

Authors Baimacuo, Gelinla

Publisher Nordic Forum of Sino-Western Studies

Download date 27/09/2021 10:28:25

Link to Item http://hdl.handle.net/20.500.12424/4047977 TheChamritualofPadmasambhavainTibetanBuddhism

BAIMACUO,GELINLANGJIE

(SouthwestMinzuUniversity,Chengdu,SichuanProvince,P．R．China)

Abstract :ThispaperdiscussestheoriginsofChamorritualdanceinTibetanBuddhism,structure,andcomponentsofthe ChamritualofPamasambhava．ThefirstpartofthepaperexplainstheChamritualdedicatedtoPadmasambhavaandits threemainsections:theritualofmakingofferingsandreadingscriptures;theperformingoftheritualdances;andthe empowermentofPadmasambhava,knownas“LightoftheLotus”．Thesecondpartofthepapergivessomedetailsofthe PadmasambhavaCham,whichtakesplaceontheninthandtenthdaysoftheelevendayritual,withtheChamontheninth dayknownaskyaƳchamandthatonthefollowingdayasthedngosgzhi．ThePadmasabhavaChamhaseighteenpartsand oneofthesepartshasseventeensubＧsections,soalltogethertherearethirtyＧsevenpartsperformedonthetenthday．

KeyWords :Cham;Ritual;Padmasambhava;Tibetan;Buddhism

Author 白玛措 :BAIMASCUO (PadmaƳtsho )Ph．D．isaProfessoratthePhilosophyDepartmentofSouthwest Minzu UniversityinChengdu,China．HerareasofresearchandteachingincludeTibetanBuddhism,ritualstudies,genderissues, andTibetanmonasteries,andaswellastheeducationofBuddhistnunsin Tibetanareas．Thisarticleisbelongtothe projectof“TheinternationalimpactofTibetanBuddhism:acasestudiesofNingmaLineage”(supportedbytheStateof SocialSciences,２０１６—２０２２Ｇ１６BZJ０１４),andtheprojectof“ThemainphilosophicaltenetsofNingmal”(supportedbythe FundamentalResearchFundsfortheCentralUniversities,SouthwestMinzuUniversity,Grant２０２０PTJS０３００５)．Email: 格林郎杰 tshopadma＠hotmail．com;GELINLANGJIE (GelegNamgyal )MFA,isafacultyattheArtsDepartmentof SouthwestMinzuUniversityinChengdu,China．Hisareaofresearchandteachingisminorityartsandchoreography． Yihuanlunansiduan,Chengdu,Sichuan,China,６１００４１．Email:geleg１０１４＠１６３．com．

TheCham or danceritualdedicatedtotheIndian scholar Padmashambhavais performed nowadaysonthetenthdayofthesixth Tibetan monthinalmostallmonasteriesoftheNyingma school,andeveninsome monasteriesoftheSaskyaand BkaƳrgyudschools．Itcontinuesasa traditionalritual,butithaschangedascomparedtotheoriginalform,withadditionalsectionsadded toincorporatenewhistoricalmeanings． PadmasambhavawasanIndianBuddhistscholar,translatorandpractitionerintheeightcentury whowascentralinassimilatingBuddhismdeeplyintoTibetanculture．Asimportantashemayhave beenasahistoricalpersoninTibetanculture,hissignificanceisevengreaterinhisroleafterdeathas hewastransformedintoaspiritualfigureincarnatedinstatues,paintings,temples,rituals,andtexts asa second Buddha,anincarnation ofthe Bodhisattva ofcompassion,Avalokitesvara,and an emanationoftheBuddhaAmitabha．OneaspectofthiscultofPadmasambhavaisthesacredmasked dancesperformedinTibeteachyearinhishonor．

１８７国学与西学国际学刊第期年月２０ ,２０２１６

ThepaperisbasedonTibetanliteratureandonmyownfieldworkinKathoginEasternTibetduring theyearofthemonkey．Itanalyzestheoriginoftheritualdance,thestructureandsignificanceoftheritual dance,andincludesanillustrationoftheCham ritual．Iattempttoexplainthereason,appearanceand traditionofdevotiontoPadmasambhavathroughtheChamritualasitisconductedatpresent．

TheoriginoftheChamritual

th ThefullnameoftheChamritualofPadmasambhavais“TheMaskDanceonthe１０ Dayofthe FestivaloftheGuru”(Gurutshesbcuduschengyicham),sincethefestivalisheldfromthefirstto theeleventhdaysofthefifthorsixthlunarmonths,whiletheformalChamisperformedonthe tenth．Thus,whiletheritualculminatesonthetenth,itisinfactalengthyprocessovermanydays． Manypeoplefocusonjusttheformalpartofthedances,andoverlooktheoverallelevenＧday processwhichisessentialtofullyunderstandthenatureandfunctionofthispanＧTibetanritual． Therearethreetextsin particular which discusson which datesthedevotionalritualsfor 莲花遗教 Padmasambhavashouldbeperformed．OneisthePadmabkaƳthang ( ),agter maor 邬金林巴 “revealedtext”thatwasdiscoveredby Aurgyanglingpa ( ),agtertonor “treasure th revealer”inthe１４ century．ThesecondistheSlobdponchenpopadmaƳbyunggnaskyirnamthar 大阿阇黎莲花生传三信具足 pagsalbarbyedpaƳiyigeyidchesgsumldan (« Ű »),writtenby 多罗那他 th 三类金刚撅 Taranatha( )inthe１６ century．ThethirdisthePhurbariggsum ( ),a 金刚撅释疏汇 commentarywithinthePhur‘grel’bumnag ( ),saidtohavebeencomposedbythe 益西措嘉 th consortofPadmasambhava,YeＧshesＧtshoＧrgyal( ),in８ century．Itisalsodiscussedinthe 初十事业祈请纪念文 th TshesbchuƳimdzadbarjesdran ( )bythefamous１９ century Nyingma 局麦彭降阳朗杰加错 scholar,‘Ju mipham’jam byangsrnam rgyalrgya mtsho ( Ű )．Inthese accountswefindthatthebirthdayofPadmasambhavaissaidtobethe１０thdayofthesixthlunar month．ItisonthisdayeachyearthatNyingmamonasteriescelebrate“TheMaskDanceonthe１０th DayoftheFestivaloftheGuru”asawayofcommemoratingthebirthdayandinorderto make specialprayerstoPadmasambhava． ThesametextsgivePadmasambhavaƳsbirthyearasthewoodmonkeyyear,andasaresultthere isaparticularlyelaboratecelebrationthatoccurseverytwelveyearsintheyearofthemonkey,witha moreelaborateversioneverysixtyyears whenthe wood monkeyyearoccurs．Thecelebrationat KathogMonasteryin２００４tookplaceinawoodmonkeyyear,andsowasaspecialeventwitnessed onlyonceeverysixtyyears． Ingeneral,Chamisreferredtoin Tibetantextsasrdorje ’cham,or “VajraCham”,aphrase whichsignifiesitstantriccharacter．Itisaformofritualinvolvingmaskeddanceandisonlyfoundin TibetanBuddhism．Itscentralpartinvolves,ontheinnerorinvisiblelevel,acontemplativedancein whichthedancermakesspecificgesturesthatarereferredtoasrgyaphyagor “symbolicseals”, knowninSanskritasmudra,thatrepresentthepurebody,speechandmindofthedancerƳsyiddam ortutelarydeityinthetantrictraditions．Thedance,performedbymonks,isdescribedinthesetexts ashavingthegoalsoftransferringnegativeemotionsintothevirtueofpractice,andoftransferring sufferingandthecauseofsufferingintothecessationofsufferingandpathofDharma,suchthatthe

１８８ BAIMACUO,etal．:TheChamritualofPadmasambhavainTibetanBuddhism meritofhappinessandwisdomisincreased．Inparticular,thesetextsconsiderthatthesepractices revealtheunificationofsamsaraandnirvana,ortheunityofappearanceandemptiness． Externally,the gestures and movements made by the masked and costumed dancers are consideredtoberenderingthepurityoftheBuddhas,theBodhisattvas,andthetantricdeitiesinto visibleformthatcanbeperceivedbythelaypeoplewhogatheringreatnumberseachyeartowatch them．WecanthussaythattheChamritualdisplaysorillustratesthedeepmeaningoftheDharmaas understoodinTibetanBuddhism． ToexplainthenatureoftheChamritual,IconsultedatextentitledRdorjegar’chamgyicho 智慧妙音话金刚法舞仪规〔１〕 ga’igtamyeshesrolba’irgyanchesbyababzhugs(« ——— » or“The OrnamentofWisdom Sound:ExplainingtheRitualoftheVajraDance”,whichwaswrittenbythe 伏藏师降央华让 treasurefindergterstonƳJamdbyangdpalbzang( (—１５５４))．Accordingtothistext, thereareeightimportantelementsthatmakeuptheritual:selfＧnature,interpretation,classification, function,analogy,scripture,practiceandresult．Fromtheseeightelementswecanunderstandthe meaningoftheCham．〔２〕 Thefirstone,Ngobo meansranggzhinor“selfＧnature”,refersinthiscontexttothecentralmeaning orinherentnatureoftheritual．Accordingto myinterpretationofthetext,theChamisa methodto comprehendtheunificationofsamsaraandnirvanabecauseultimatelyallphenomenaappearpureintheir essenceonbothlevels;fromtheperspectiveofcompleteorhighestwisdom,theyareunconditionedand ultimate．Theritualdancepresentstheparticularperceptionofthetantrictradition:itunitestheworldlylife ofsamsarawiththerealityofnirvanatoshowthetruemeaningoftantricandtherealityofthePureLand, indicatingthatalllaypeoplecanacquirethecapacityofwisdom．〔３〕 Secondly,Ngestshig means’grelbshad,meaning“explanation”or“interpretation”,provides descriptionsofthedifferentposturesorrnam ’gyurgenerallyusedinTibetanformsofdance．The textlistsnineofthese,which,asin mostdanceliterature,arecategorizedas “theninesplendid postures”:charming,martial,kind,brave,calm,ugly,horrible,laughing,andferocious．Thetextalso dividesthemainposturesintheperformanceoftheChamintotwocategories:thegar,thepostureof thehands,andthe’cham,thepostureofthefeet．ItexplainsthatitwasforthisreasonthattheVajra ’Chamusedtobeknownasgar’cham,abbreviatedto’cham,orrdorje’cham． IntheChamformsofTibetandance,itisexplainedthattheposturesandgesturesofthedancers inadancethatisaboutaBuddhaorBodhisattvarepresentthebody,speechandmindofthatBuddha orBodhisattva．〔４〕 Thethirdelementoraspectisdbyed ba or “classification”,whichisadiscussion ofthe differenttypesofritualdance．Originally,there weretwotypes,BkaƳmaandgter ma．BkaƳma, literally“oraltransmission”,refers,intheNyingmatradition,toteachingsortraditionsfromprimary Buddhisttantrictextsthathavebeenpassedonbywordofmouth．ThisformofChamiscreatedon 圣妙幻网根本 thebasisoftantrictextssuchastheDpalldansgyu ’phruldrabartsaba’irgyud («

智者妙音话金刚法舞仪规史降央华让大〔１〕 TheOrnamentofWisdomSound:ExplainingtheRitualoftheVajraDance,« ——— » 师著白玉寺藏书以下相同 ,ByƳJamdbyangdpalbzang, ( )．〔２〕 TheOrnamentofWisdomSound:ExplainingtheRitualoftheVajraDance,Jamdbyangdpalbzang,p２８．〔３〕 TheOrnamentofWisdomSound:ExplainingtheRitualoftheVajraDance,ƳJamdbyangdpalbzang,p２８Ｇ２９．〔４〕 TheOrnamentofWisdomSound:ExplainingtheRitualoftheVajraDance,ƳJamdbyangdpalbzang,p２９．

１８９国学与西学国际学刊第期年月２０ ,２０２１６续圣妙幻网疏续 »),theDpalldansgyu ’phruldrabartsaba’ibshadrgyud(« »),the’Jigrten’das 世间解脱经甚要黑若嘎 mdo(« »)ortheHerurgyalpo (« »),whichweretransmittedbySkalldan 尕丹嘉波扎 rgyalpodza( )tofourmasterswhoweresaidtohavehadunderstandingof“illusory 幻网 emanation”(sgyu ’phrul )．Theyinturnestablishedrulesforthedancepracticesandpassed them onsuccessivelytotheseventeencenturytranslatorAorgyansmingrolglingdulotswaba 乌金梅卓林的达玛希日 dharmashrisras( (１６５４—１７１８))．ThattranslatorthencreatedtheKhrag ’ 愤怒尊黑鲁嘎根本金刚法舞 tungheruka’irtsabardorje’igar’chams( )or“theChamdanceof 愤 theVajrarootofthebloodＧdrinkingHeruka”,whichincludesthepracticeofdgrapo’iphrinlas( 怒事业 )or“theactivitiesofthewrathful”,awayofillustratingtheactionknownas “vanquishing 降服 anddefeating”(dgrabgegsbsgralba )．Thecuttingupoftheglinggaoreffigyfoundinmany currentversionsof Cham alsocomesfrom thistradition,and wasincludedin acontemporary performanceatKathog．AccordingtoothertantrictextssuchastheDpalsangsrgyasmnyamsbyor 等合佛月密心 (« »)andtheZlagsangtiglesogskyidgongspakunmkhyenrongzampachenpo(« 要之遍知大桥十六供养天女荟贡 »)establishedtheChamoftheRatobcudruggemchodgar( )．At Kathog,therearetheChamofGtumrngamofthedietyHeruka,theChamofTshogslasand ’Jam 〔５〕 dpalphyagrgyaszilgnonofcuttingtheglinggaarealsoperformed ．TheseversionsofChamcome fromtheBkaƳma,ororaltransmission． TheothertypeofChamiscreatedonthebasisofgtermaor“hiddentreasure”．Theritualofthe PadmasambhavaCham wascreatedby Guruchosdbang (１２１２—１２７３)andthendevelopedtwo 〔６〕 traditions:theZhwanagmaor“blackhat”versionandtheRtadkarmaor“whitehorse”version ． Theformerisanextendedversionofthe TshebcuyiCham which wasfirstperformedatthe monasteryofSne’ugdongrtsenearLhasaandthentransmittedtotheKhamarea,andspecificallyto themonasteryofDpalyulby Kun mkhyenChoskyi’‘byunggnas．TheRtadkarmatraditionis basedonacompressedversion which wasperformedforthefirsttimeatthe monasteryofThub bstanrdorjebrag,andthenbroughttoKathogbyMibskyodrdorje．〔７〕 Thefourthelement,dgoschedor“function” ,referstotheactionsperformedinthecourseofthe Cham．InhishistoryofCham,thetreasurefinderGterstonƳJamdbyangdpalbzangwrotethat“Allsentient beingshavethethreepuredoorsofthetruenatureofthemind(Tathāgatagarba),justassesameitselfhas oil．ThustheVajraChamunifiestheobject,themethod,andtheresultofpurification．”Accordingtothe explanationgiveninthetext,theobjectofpurificationistheimpureperson who “owns”attachmentto desire,andwhoholds“Iandmy”intheirhandswithclingingqualityoftheego(bdagƳdzen);thepathof purificationisthebody,speechandmindofthewisdomoftheyidam,andtheresultofpurificationisthe perfectaccumulationofpositivekarmaandwisdominthepresentmoment．Thus,appearancethevisualforms ofphenomenaandactionarethemudraoftheyidam;thesoundandwordsarethespeechoftheYidam． Accordingto ’Jam dbyangdpalbzang,intheVajraChamthefundamentalviewpointisthe meditative realizationthatsamsaraandnirvanaareone,whiletheactionisthemeditativerealizationthatthemudra,the soundandthepureviewbecomeone．

白玛措藏传佛教莲花生信仰研究〔５〕 Baimacuo ,AstudyonthedevotionalpracticeofPadmasambhavainTibetanBuddhism « », TibetanPublishingHouse:Beijing,２００７,p１５９,p１６７Ｇ１６８〔６〕 TheOrnamentofWisdomSound:ExplainingtheRitualoftheVajraDance,ƳJamdbyangdpalbzang,p２９．〔７〕 TheOrnamentofWisdomSound:ExplainingtheRitualoftheVajraDance,Jamdbyangdpalbzang,p３０Ｇ３１．

１９０ BAIMACUO,etal．:TheChamritualofPadmasambhavainTibetanBuddhism

〔８〕 Thefifthelementisdpeoranalogy ,anumberof whichareofferedtoexplaindifferent practiceswithintheCham．ThepostureassumedbytheYidamintheChamiscomparedtothatofa kingbeingwelcomedbythissubjects．WhenweseetheretinueoftheYidaminthedancesection knownastheor “danceoftheretinue”,thedancersaresaidtorepresentthe ’khorgyi’’chams attendantsofaking who movearoundhim “likethegracefultwinklingoflights”．Inthesection knownasthe“danceofthemessengers”,theperformersarelikesoldiersarrivingatthefrontwith fierceandangryemotions;intheofferingcham,theyarelikethedaughtersoftheYidam dancing withagracefulandslenderposture．Theothersaredescribedasbeinglikearoccirclinginthesky, lionsshakingtheirmanes,tigersroaringintheforest,andpowerfuleaglesspreadingtheirwings．The dancersƳchestsaredescribedassymbolizingthefourgreatcontinentsofeveryworld,theirwaistlines arelikespinningwheels,andtheirfeetaresupplelikecottonandleaves．〔９〕 Thesixthaspect,lungortext ,referstoexplanationsoftheVajraChamthatcanbefoundin textsfromtheBkaƳmatradition．Thethreetextscitedby‘JambdyangdpalbzangsaretheThabskyi zhagsbaƳirgyud,theDpalgsangbaƳisnyingboandtheYeshesrngamsglog．Theseareusedto demonstratethenatureofchamintheBkaƳmatexts． IntheThabskyizhagsbaƳirgyud,itissaidthatperformanceofthemudras,andtheassumption ofthebraveandfierceposturesshouldbeunderstoodasbeingthoseofaperson whoisliberated fromthethreerealms,whoiscertaintosucceedinpractice,andwhowillobtainenlightenmentasa Buddha．TheDpalgsangbaƳisnyingboiscitedassayingthatthewordsandsoundsusedintheritual aresimilartothoseofa wonderfuloffering,while;the mudrasandthephysicalposturesofthe performersarethesameastheachievementofthehighestandmostferociousYidam;thechantingis thesameasthesuccessfulachievementofthepracticeofDharma．AsfortheYeshesrngamsglog,it isquotedto,saythatallthemudrasandposturesinChamaretobeunderstoodasformsofliberation fromthethreerealms,andthatthedanceperformersshouldgivetheimpressionoffloatingfreein theskywithoutobstacles．TheactionsoftheCham,the“Dharmamudra”or“gestureofDharma”,are describedasthe bestform of practice ofliberation from thethree realms and ofachieving Buddhahoodandotherattainments,justaspoisoncanbeusedin medicinetodestroypoison．The ChamofPadmasambhavaisalsoapracticewhichfollowsthetheoryandtheteachingoftheBuddha, andwhichinitsmudras,posturesandsoundsshowthebody,speechandmindoftheYidam,andis thebestwaytopracticetheDharma． ’JamdbyangdpalbzangƳsdiscussionofpractice,theseventhelementwhichisdngosgzhilag 〔１０〕 len ,givesdetailsaboutthepracticalimplementationoftheCham,inparticularthoserelatingto theperformancespaceandtotheperformer．Thespaceusedforthedancemustbeflatandformal． Theperformeroractorshouldbeanadept,withperfectunderstanding,theviewoftheunificationof samsaraandnirvana,andwithknowledgeandactionthataredistinguishedfromthoseofanordinary person．Intheperformance,theadeptrevealsthemandalaoftheYidam,whichmeansheachievesthe purebody,speech,and mindofthetruenature mindofYidam．Performersaredividedintothree

〔８〕 TheOrnamentofWisdomSound:ExplainingtheRitualoftheVajraDance,ƳJamdbyangdpalbzang,p３１〔９〕 TheOrnamentofWisdomSound:ExplainingtheRitualoftheVajraDance,ƳJamdbyangdpalbzang,p３１Ｇ３２〔１０〕 TheOrnamentofWisdomSound:ExplainingtheRitualoftheVajraDance,ƳJamdbyangdpalbzang,p３２Ｇ３３．

１９１国学与西学国际学刊第期年月２０ ,２０２１６

〔１１〕 levelsofabilityandcapacity ．Thosewiththehighestcapacityhaveactionsandposturesaspureas thoseofaYidam;theyhavetheviewandconfidenceofthenatureoftheCham．Thosewhoareof middlingabilityhavegraspedthefactsrelatingtotheChamandhavepracticedandmeditatedonthe mudraoftheYidam,sothattheyareabletounderstandthethreedoorsandthenatureofsamsara andnirvana．Thoseofinferiorunderstandingand weakabilityusetheChamtogainprofit,which inevitablyresultsindamagetotherealmeaning,purposeandnatureoftheChamritual． Practicalinstructionsarealsogiveninthetextonthehowthedanceshouldbeperformed．Here, thestandardadviceaboutdanceisgiven,theheadshouldbeheldfirmly,thestepsshouldshowpeace andhappiness,andsoon．Therearethirteendemandsofaperformer,withthreeprincipalaspects: first,thepostureoftheupperbodyshouldbeuprightandunafraid,thewaistshouldspin,thefeet shouldbelithe,andthelegsandarmsshouldbefluid．Secondly,movementsofthearmstowardsthe inside,shouldavoidbeatingthechestwhilemotionsinanoutwarddirectionshouldshowstrength andcontrollikewieldingahorsewhip．Third,theperformanceoftheChamshouldfollowtheway definedbythemasterandtheperformersshouldnotdrawupontheirowninterpretations．〔１２〕 Thelastoftheeightelements,the’brasbuorresult ,expoundsuponthefruitoftheCham． ResultsaredividedintotwoＧthosethatcanbeprovenfrom tantrictextsandthosethatcanbe deducedfrom treasuretexts．Thosefrom thefirstcategory claim thateven a single posture embodyingthe wisdom ofYidamsintheCham performance willbringliberationfrom thethree realmsifcompletedasaformofoffering,andmanyformsofcommunalkarmaareeasytomatureand ripen．Bycompletingtheposturewecanremovesufferingfromourbodyandcanpurifytheimpure body,bringtheDharmakayabodytomaturity,andwecanachievetheVajrapaniresultintheinner energy,theBodhicittamind,inthecentralwisdomchannel．集经 InanothertextintheBkaƳmatradition,theMdodgongsƳdus( )itissaidthatrelianceonthe sixpostureswillfreesentientbeingsfromthesixtypesofbeing,whilerelianceonthesixsongsand literalwillliberateonefromthesixconsciousnesses,thesixsensesandsenseＧobjects．IntheLama 上师开许集经 dgongsƳdus( ),atextfromthetreasuretradition,itiswrittenthat“iftheposturesof theVajraChamareperformedaccordingtotheteachingoftheyogis,thenallwillreceivetheblessing 〔１３〕 oftheYidamandgathertheWisdom Dakinisinordertoincreasepowerandmerit．” Manyother treasuretexts,liketheLamdgongsƳdus,claimthattheVajraCham willimproveoneƳsgoodkarmain thisworld．ThemasterscreatedtheVajraChamtorevealandpracticethemeaningofDharmaaswell astopraytotheBuddha,theBodhisattvas,theYidams,the Wisdom Dakinisandtheprotectorsto blessandprotectsentientbeings,toachievegoodkarmicresultsandtoincreaseworldlymerit．初十莲师羌姆法 TheChamritualofPadmasambhava,theGurutshesbcuduschengyicham,( 会 )isanexampleofCham whichcanbeunderstoodintermsoftheseeightimportantelements．It hasbeencarriedonfromgenerationtogenerationandallowsusanopportunitytocarryoutresearch intothenatureofCham,andtheBkaƳmaandGtermatextsallowusaglimpseintotheoriginsof thisritual．

〔１１〕 TheOrnamentofWisdomSound:ExplainingtheRitualoftheVajraDance,ƳJamdbyangdpalbzang,p３２．〔１２〕 TheOrnamentofWisdomSound:ExplainingtheRitualoftheVajraDance,ƳJamdbyangdpalbzang,p３４．〔１３〕 TheOrnamentofWisdomSound:ExplainingtheRitualoftheVajraDance,ƳJamdbyangdpalbzang,p３４．

１９２ BAIMACUO,etal．:TheChamritualofPadmasambhavainTibetanBuddhism ThestructureofthePadmasambhavaChamritual

ThestructureoftheChamritualofPadmasambhva,theGurutshesbcufestival,involvestwo keystructuralelements:spaceandtime．Intermsofspace,theritualisconductedbothinsideand outsidethe mainhallofthetemple:the mainofferings,theconstructionofthe mandala,andthe readingoftextsareconductedinsidethe main hall,whiletheritualdanceandthe dbang or empowermentareconductedoutside．Intermsoftime,theritualisdividedunderfourphases:six daysfortheritualoffering,twodaysforthetextualreading,twodaysfortheactualCham,andone dayfortheempowerment．Thesespatialandtemporalaspectsunitetoconstitutetheform ofthe ritual．Withintheritualitself,therearethefourmaincomponents:thetshogsＧmchod (theritualof offering),readingthetextof Bla ma gsang ’dus,the Vajra Cham,andthe Padmasambhava empowermentknownasPadma’od’baror“thelightofthelotus”．１．Theofferingritual

TheprayerstoPadmasambhavaincludeprimarilyaspecialofferingritualnamedtshogsmchod, whichliterallymeans“theofferingofgroups”．Italsocalledtheguruchogaor“Gururitual”andis heldoverthefirstsixdays． Itsinnermeaningstemsfromitbeingaritualpracticebaseduponthethreebodiesorformsof theBuddha．Thethreebodiesneedtobeunderstoodfromtwoperspectives．Thefirstisbasedonthe general Mahayana principle ofthe BuddhaƳsthree bodiesＧusually called the Dharmakaya,the Sambhogakaya,andtheNirmanakaya,whichreferrespectivelytotheBuddhaƳsinnerrealizationof thenatureofreality,hissplendidmanifestationsinthepurelands,andhishistoricalemanationsin theworldinvariousformstoassistsentientbeings． Thesecondperspectiveisbasedontantricpractice,whichidentifiesthethreebodieswiththe threedoors(sgogsum)ofexistenceＧbody,speechandmind．Inonetreasuretext,Padmasambhavais 〔１４〕 describedassayingthatthesethreecanbecontemplatedthroughthethreetantricroots Ｇthe teacherorbla ma,thetutelarydeityorYidam,andthefemalespiritorDakini．Specificimagesor objectsthatrepresentedthesethreetantricrootsareplacedintheCham mandala,andofferingsare madetothem． DuringtheritualinKathog,twoimportantmandalaswereconstructed,oneintheassemblyhall ofthe monasteryandoneinthenearbybshadgrwaorinstituteattachedtothe monastery．The mandalasarenotpaintedbysandbutwerecreatedbytheplacementofvariousofferingitems,small mandalas,theimagesofthreeroots,andacanopyorparasol(gdugs)onthetopofthemandala．The mandalaisthreeＧdimensionalandmadeupoffoursquares,eachonesmallerthantheonebelow．Zhal zasorofferingsofsweets,biscuitsandfruitareplacedonthefirstandsecondsquares,andasman gdororofferingcake,andanarrangementofpurifiedwaterandbuttershapedintopetals,areplaced onthethirdlevel．ThethreeimagesrepresentingtheLama,theYidamandtheDakiniareplacedon thefourthlevel,andthemultiＧcoloredcanopyisplacedonthetop． Therearetwotraditionsforrepresentingthethreeroots,oneassociatedwiththemonasteryof RdorjebragandtheotherwithSmingrolgling;thepracticeatKathogbelongstotheformerkind,

三根本合修法〔１４〕 ThethreetantricrootsisthepracticeofRtswagsum ( )．

１９３国学与西学国际学刊第期年月２０ ,２０２１６ whileatDpalyul,themonksfollowtheSmingrolglingpractice．AtKathog,therepresentationwas intheformofasmallstupamadefrombarleyflouranddecoratedwithpetalsandclouddesignsmade frombutter．TheLamaisshownbyajewelonalotus,theYidambyavajraonalotus,andtheDakini byahalfＧvajraonaknifeshapedlikeahalfＧmoon．Inthemandala,thesymboloftheYidamisplaced inthemiddle,withtheLamatoonitsrightandtheDakinionitsleft．２．ReadingthescriptureofBlamagsang‘dus

Afterthesixdaysoftheofferingceremony,therearetwodaysforreadingthetextknownasthe Blamagsang’dusor“theSecretAssemblyofLamas”．AtKathog,monksstartedreadingatsevenin themorningandcontinueduntilsixeachnight．Ittakesthreehourstoreadthewholetextonce through．FollowingthethreeＧhourchantingofthescripture,theritualmaster(chogdpon)andritual masterassistant(chogdpongyonpa)takethevajra (rdorje),theritualdagger (phurba)anda smallblacktriangularclothforuseincuttingtheeffigy(glingga)．Theeffigyisdealtwithinakind 护摩 offireritual (homa, ),in whichtheexternalactofdestroyingitsignifiesusing wisdom to destroyoneƳsowninternalafflictionsanddemoniccurses,accordingtothetext．MonkswithwhomI spokeatKathogalsotoldmethattheglinggasymbolizesafflictions,evil,anddemons． Thetextclaimsthatifthebody,speech,and mindofapersoninvolvedintheprayersare completelypure,thenthecorrespondingactionsoftheceremonywillbepure,andallafflictionsand curseswillbeeliminated． AftercuttingtheLingＧkawiththevajra,thedaggerandaritualswordwithavajraonitshilt,thetwo monksofferthefoodtotheBuddha,theBodhisattvas,theYidamsandtheLama(Padmasambhava)．Then theygivethefoodanddrinktotheprotectoroftheworldandofthebeyond．AttheendoftheritualofBla magsang’dus,whichtakesplaceinthehall,aLamawhothatyearhasbeenawardedthestatusofKhanpo th recitesaspeechinpraiseofthegreat１９ centuryNyingmascholar,ƳJumiphamƳjamdbyangsrnamsrgyal rgamtsho．IwastoldthatthisisatraditionatKathog,withthespeechdeliveredeachyearbyanewly appointedKhanpoduringtheGurutshebcuritual．３．TheVajraChamofPadmasambhava

Aftertheseinitialeightdaysofritualpreparation,theChamofPadmasambhavaisperformed． TheChamlaststwodaysandtakesplace,ontheninthandtenthdaysoftheoverallritual． Thesesacred dances have beentraditionally performedin Nyingma monasteriessincethe thirteenthcentury．SinceitwasfirstcreatedbyGuruchosdbanginthethirteenthcentury,twomain performancestylesofthePadmasambhavaChamhaveevolved,aswenotedbefore,calledthe“black hat”(zhwanagma)andthe“whitehorse”(rtadkarma)forms,basedrespectivelyon,themonastic practicesatSmingrolglingandRdorjebrag．Thestyledescribedhereisthewhitehorseformfrom RdorjebragMonastery．AdetailedexplanationofthertadkarmaformoftheCham willbegiven laterinthepaper(seesectionpartⅢ)．４．TheempowermentofPadmasambhava

ThedbangorempowermentofPadmasambhavaisgivenonthelastdayoutsidethehall,inthe sameplacewheretheCham willbeperformedlater．ItfollowsatextknownastheGurupad ma ‘od’bardbangchen,orthe “Greatempowermentofthelightshiningfrom theLotus Guru”,a treasuretextrevealedbyRinƳdzinglunggsarsnyingpo (１６２５—１６９２),andisoneofmanytantric empowermentsthatcanbegivenaspartofritualsrelatingtoPadmasambhava．

１９４ BAIMACUO,etal．:TheChamritualofPadmasambhavainTibetanBuddhism

Theempowermentisrequired,accordingtothetext,forapractitionerwhowishestogoonto “creationstage”(skyesrim),ortothe “perfectionstage”(rdzogsrim)practices．Ifheorshehas meditatedonandvisualized Padmasambhavabefore,theempowerment willleadto ’brasbuor 〔１５〕 “results”,andtowhatarecalledthe“fourempowerments”, or,ifheorshehasnotyetdoneso, theywill“planttheseedofgoodaffinities”． Intermsof mostordinary Tibetans whocomeandreceivetheempowerment,theperceived benefitisrelatedtohisorherwishesandtotheirfuturerebirths,forwhichtheyseekprotectionand happinessfromPadmasambhavaandfromthesprulskuorreincarnatedLama;the“inner”oresoteric meaningsoftheempowermentareprobablynotknowntothelayfollowers． In２００４,therewereaboutfourthousand monksandbelieverswhoreceivedtheempowerment outsidetheassemblyhall．Aboutsixthousandotherpeoplestoodinlinealongthemountainroad leadingupthemountaintothemonastery．Eachyear,thesprulskuwhogivestheempowermentis assistedbyadifferentgroupofLamas(thetermherereferstothosemonkswhohavecompletedthe threeyearretreat,aswellasthosewhoarerecognizedassprulsku)．In２００４,theempowermentwas givenbyasprulskufrom Yunnan,whileagroupoffourmonkscarriedaboxcontainingartifactsleft byKathogsudurinpocheandacanopyorparasol．Othermonkscarriedabell(drilbu),texts,a smallstatueoftheBuddha,avajra,aphurbaandavessel(bumpa)．AftergivingtheEmpowerment inthemainareaoutsidetheassemblyhall,thegroupofLamasandmonkswentbycartotheendof thelinehalfwaydownthemountainandgavetheempowermenttothelaybelieversonebyone．This tookfivehours．Afterthat,thetenthousanddevoteesdisappearedandKathogmonasteryregainedits ordinaryairofcalmandtranquility．

TheBasicStructureoftheVajraChamofPadmasambhava

GenerallytherearetwoformsofthisCham:theskya ’chamandthedngosgzhi．Thefirstis performedwithoutmasksand withoutcostumes;thedngosgzhiistheformalperformanceofthe Cham,inwhichmasksandcostumesareworn．Themaskeddancelaststwodays,withtheskyaƳcham performedonthefirstdayandthedngosgzhionthesecondday．Muchoftheperformanceisthe sameoneachofthetwodays,butatKathog１６sectionswereshownonthefirstday,whichisseenas apreparationforthefullperformanceofthe３６sectionsonthesecondday．Theperformersonthe firstday,withoutmasksorcostumes,showgreatconcentrationandaseriousdemeanorinorderto demonstratethepurityofthe“threedoors”andtheappropriatestateofmindandspirit． TheChamofPadmasabhvahaseighteensections,withonesectionhavingeighteensubＧsections． Ratherthandescribeeachsection,IdividetheChamintofourkeyphasesinordertopointoutthe generalprinciplesofthedance．AswithmostformsofCham,therearefourmainpartsoftheliturgy: first,themarkingandcleansingoftheplaceandthemakingoftheoffering;secondly,theChamofthe

〔１５〕 ThefourEmpowermentsaretheEmpowermentofbody,speech,mind,andpreciousword．Therearedifferentfunctionsand benefitsforeachofthem,suchasskudbangtoachievetheabilityofinfluenceandaccomplishthereincarnationbody;gsangdbangto gainthecapacitytoexplaintheDharmaandthepowerofvanquishinganddefeating;tigdngangtoreceivethesmanngagofmindfrom Padmasambhava;andtshigdngangtoplanttheseedofachievementofBuddhahoodandthecomplete wisdom (the “wisdom of Dharmadatu”)throughthe“GreatPerfection”(rdzogspachenpo)prac

１９５国学与西学国际学刊第期年月２０ ,２０２１６ protectors;thirdly,thatofthetwoformsoftheYiＧdam;andfourthly,theCham oftheLama．The 〔１６〕 historicalandculturalsectionsandthesongsofthevillagerscanbecountedasafifthpart ．１．MarkingandcleansingthesiteoftheChamandmakingtheoffering

ReligiousdanceinTibetanBuddhismhasthefunctionofpurifyingtheworldlyrealm．Beforethe mainpartofthe Cham begins,inordertoinviteand welcomethe YiＧdams,the Lamaandthe protectorsintotheperformancearea,itisconsiderednecessarytopurifythatspaceandtogive offeringstothem．Theperformersusethe“mudraoftheYidams”,asetofgesturesandpostures,to dothissymbolically．Fourofthe１８sectionsofthePadmasambhavasectionbelongtothispartofthe 尸陀林 ceremony．Thefirstisthe Cham ofthe Funeral Grounds(dur khro ),whichfeatures performerswithskeletonmaskswhosymbolicallycleanseorpurifythespace．SecondistheChamof 饮甘露舞 theDrinkＧOfferingorLibation (gserskyems ),performedbyten monkswearinggolden 厥头骨碗 hatswithpeacockfeathersandholdingvajradaggers(phurba )andskullbowls(thodpa ) toofferthe“nectar”(bdudrtsi)theYidams．ThisisfollowedbytheChamofMarkingBoundaries 断魔除障 (mtshamsgcod ),whichis performed by fifteen monksrepresenting otherＧworldly 世间护法 protectors(‘jigrtenpa’isrungma ),wearingblackmaskswithdarkhairandskullsonthe crestofthe mask;these masksensurethatall wishes willbesatisfied,andsignifythatthese protectorsarefullofwisdom．Thepurposeofthispartistoremovealltheobstaclesfrom the performancespaceandtoexpelanydemonsfromtheareasoastoproperlywelcometheBuddha,the BodhisattvasandPadmasambhava．Theperformerswielddaggerstoshowtheirfierceandcourageous nature．BeforetheendofthisCham,afterthepurificationprocedurehasbeencompleted．othermonks markoutthedanceareabydrawingalineofflourontheground．Thefourthofthesesectionsis 狮子吼 called“theCham oftheLionƳsRoar”(senggesgrasgrog )．Itisperformedbyfourteen monkswearingthewrathfulmaskswithredhairornamentedwithwhiteskulls,whowielddaggers andvajras．ItrepresentstheuseoftheDharmatopurifythe mindsofpeopleandtoarousethe correctviewpoint．ThesefourChamsequencespurifythespaceanddelineateit,andatthesametime purifypeopleƳsmindsandclearuptheirunconventionalopinions．２．TheChamoftheProtectors

Theconceptof“protection”hasalonghistoryinBuddhism．Forexample,intheSutraofInfinite 无量寿经阿毗达磨具舍论 Life( )andtheAbhidharmakosaＧsastra ( ),protectionhastwomeanings: specifically,toshieldand maintainpositive waysofpracticeforparticularpractitionersand more generally,tosupportandendorsetheteachingsoftheBuddha． InTibetanreligion,thenotionof“protectors”underwentamajorexpansion,asawholenewset ofspiritualfigures wereclassifiedintotwokindsofprotectors:the worldly protectorsandthe transcendentprotectors．Thetranscendentprotectorsareunderstoodtobeliberatedfrom Samsara, andthusareseenaspossessinggreatcompassionandwisdom．Theworldlyprotectorsresidewithin theworldofsentientbeingsandamonglocalpeopleandplaces,andofferprotectionfortheirdaily 〔１７〕 lifeandreligiouspractice．

〔１６〕 PadmaƳtsho(Baimacuo),A StudyontheDevotionalPracticeofPadmasambhavain Tibetan Culture．TibetanPublishing House:Beijing,２００７．１４７Ｇ１９０〔１７〕 PadmaƳtsho(Baimacuo),TheStructureofGuruVcham RitualofKathog MonasteryintheKham Area,ChinaTibetology, CSSCI,Beijing,No．１,２０１４,１３８Ｇ１４４．

１９６ BAIMACUO,etal．:TheChamritualofPadmasambhavainTibetanBuddhism

InthePadmasambhavaCham,therearefivesectionsthateachdealwithoneorotherofthese 四护法 twoformsofprotection．ThefirstoneiscalledtheCham oftheFourDoors (sgobzhi ), referringtothefourprotectorsatthedoorofthemandala;thisrelatestotheworldlyprotectorsof theCham．Itisperformedbyfourmonkswhowearredmasksandcarryvajrasandskullbowls．They cometothesiteoftheChamandspinningquicklytothesoundsofhorn,drumsandthechantingof themonks,revealtheirpowertoprotecttheDharmaanditspractitioners． ThesecondofthesefivesectionsistheChamoftheTranscendentProtectors(‘jigrtenlas‘das 出世间护法 pa’isrung ma )．Theperformersinthis Cham havetwoaspects,calm andfierce, representingprotectorswhohavepassedbeyondthisworldandbeenliberatedfrom Samsara．This 骨骼护法 ChamincludeswithinittheChamofKengchenbcudrug( ),whichisperformedbytwelve monkswearingmaskswithwhiteskullsontheircrests,whoaredividedintotwogroupstodance． Thissequencehastwoprocedures:first,thetwelvemonkswalkaroundanedificemadeofwood,with threefloors,thatisplacedbesidetheperformanceareatosymbolizethebzangmdodpalriorpalace ofPadmasambhava．Thentheydanceinthemainarea,runningaroundtheperformancespace．Atthis pointintheCham,laymembersoftheaudiencelightfirecrackers,creating muchexcitementinthe crowd．激励护法 ThethirdoftheprotectorsectionistheChamofBskulpa( ),whichisperformedbyten monkswearinghatswithpeacockfeathers,coppermirrors,andcoloredstreamers．Theseindicatethat theirmindsarebrightandcandispeltheblindnessofthepeople,andthatprotectorsbelongtothe TranscendentProtectors,andusetheirwisdomtoconfrontdepravityandovercomeevil．Thepeacock featherssignifythecleansingofpoisonsandsymbolizepurityandcalm．救度护法 TheCham ofBsgralpa ( )isthenperformedbyeight monksinfiercered masks, indicatingthattheyareTranscendentProtectorswhosavehumanbeingsfromsuffering,bringthem tothepureplaceoftheBuddhaandtheBodhisattvas,opentheirmindstounconventionalideasand 拉麻 opinions,andenlightenthem withthetruth．ItisfollowedbytheCham ofLhag ma ( )or “residue”,aterm whichreferstotheconceptthatallthedeitiesofthefourdirectionssharethe 〔１８〕 remainingevilbody ．Itisperformedbytwo monksinwrathfulmasks,onered,theotherblue, whoseintricatemovementsrepresentthetwoemanationbodiesofeachofthe２８deitiesineachofthe fourdirections,atotalof１１２．AtKathogthetwodancerＧdeitiesofferedthenectarmadefromthe remainsofthebody,thatisconsideredevilbutwhich wasinprincipleoriginallypure,toallfour directions’deities．ThisChamcompletestheprotectionpartofthePadmasambhavaritual．３．TheChamoftheYidams 本尊 IntheTibetandictionary,theDungdkartshigmdzodchenmo(２００２),“Yidam”( )isdefined asthemaintutelarydeityormeditativedeityassignedtoanindividualpractitionerasthefocusof theircontemplativepracticeanddevotion．Thesecanbepeacefulorwrathfulmanifestationsofthe Buddha．Thefirstsyllablemeansmindorconsciousness(yid),whilethesecondmeanstomanageor administer(asindamskyong)ortorestrict(dam bsgrags)．ThustheYidamisunderstoodasnot simplyanexternaldeity,butasarevelationofinternalBuddahood．Sothe maskeddanceofthe Yidamiscentrallyaboutthepostureandsealsormudrasofthepurebody,speech,andmindofthe

〔１８〕 Theremainingevilbodymeanstheremainingbodyofeffigy(glingga)whichsymbolizesafflictionsandobstacles．

１９７国学与西学国际学刊第期年月２０ ,２０２１６

Buddha．There maybeadifferentviewfor mostlaypeople,forwhomtheChamisprincipallya performancein whichthedeitiesandprotectorsattendsymbolicallytothem personallythereand then,andatwhichtheactofwitnessingthemaskeddancesisbelievedtoclearupnegativekarmic effectsandtobringthem meritandsuccess． TheChamoftheYidams(Yidam ’cham)hastwomainsections,onewhichfeaturestheYidams themselves,inbothpeacefulandfierceforms,andonewhichfeaturestheretinueoftheYidams．In thePadmasambhavaCham,eachofthemhasfivesubＧsectionsorsubsidiaryChams． (１)TheCham ofYidams．Firstly,theCham oftheYidamsthemselves,whichstartswiththe 欣拔 ChamofDescentofBlessings (byin ’bebs )andshowstheYidamsintheirpeacefulaspect． Performedby１３monkＧdancerswearinghatswithimagesofthefiveBuddhas,thisChamsymbolizes thewiseBuddhacomingtogiveblessingsandtoeradicatethecauseofthesufferingthatafflictsall 忿怒尊 sentientbeings．ItisfollowedbytheChamofGtumrngam ( ),arepresentationoftheYidams inwrathfulform,performedbytwenty monkswhorepresentYidamsand weargold,redandblue masks．TheytakevajrasandskullbowlsandslowlyrevolvearoundthealtarＧstage．Thispartistaken 〔１９〕 fromthe Buddhisttext ,andreferstoanaccountofaferocious Yidam,led by Heruka who methodicallyconqueredevilinamajesticway．施身法舞 ThethirdofthesedancesistheCham ofTshogslas ( ),whichisperformedby１２ monkswearingfierceredmasksandholdingthevajraandskullbowls．Thisrepresentstheoffering oftheirownbodiestoshowcompassion,revealingthatapureandkindmindisthemostimportant elementinpractice,andhelpingtoarousethenotionofBodhicitta．DuringthisCham,aglinggaiscut upbyChamdpan,themainYidam．Thelastofthesefivedances,theChamof’Jamdpalphyagrgyas 文殊胜印法舞 zilgnon ( )or “Suppressedbythe Mudraof Manjushri”,isthenperformedby２９ monkswearinggoldenmasksandwieldingvajrasandskullbowls,representingtwentyＧnineYidams andprotectors,aswellastheBodhisattva Manjusriandhisconsorts,andtheFivedhyaniBuddhas andtheirconsorts,amongothers．Thisdanceincludes membersofthe Yidams’retinues wearing animalmasks．Theyaredescribedasusingafiercedemeanortoremoveevil,defendtheruleandthe truth,emanatinginmanyformstoprotecttheDharmaanditspractitioners． (２)TheChamoftheYidamsƳRetinue．Thesecondgroupofdancesinthissectionoftheritualisknown 眷属两旋 astheChamoftheYidams’‘khorba( )orretinue．ItincludestheChamofRlungƳtshubgnyis( 风 )or“twowhirlwinds”,whichisperformedbytwomonkswearingfiercemasks．Itsmeaningissimilarto 十八圈〔２０〕 thatoftheDgubskorgnyis ( ),buttheimageofthewhirlwindfurtherreinforcestheideaof upholdingjusticeanddispellingevilspiritsthroughitsabilitytorevolveandsweepawayallevil．Itis 鹿牛二者 followedbytheChamofShwagyaggnyis( )or“bothcowanddeer”isthenperformedbya performerwearingadeerƳsheadmaskandonewithabullƳsheadmasktosymbolizethepowerandforceof theretinueoftheYidams．InBon monasteriesthisChamisalsoperformed,butitshowsaprotectorof 〔２１〕 Tsan comingtotheworldlyprotectortoeducatepeoplenottokill．

〔１９〕 BuddhisttexistheBkaƳmatext,ororaltransmission,whichdiscussedinthepartIofthisarticle．〔２０〕 PadmaƳtsho(Baimacuo),A StudyontheDevotionalPracticeofPadmasambhavain TibetanCulture．TibetanPublishing House: Beijing,２００７．１６２．〔２１〕 Baimacuo,ThePresentationofBonChamRitualofSongpan,CollectedPapersofResearchonNationalReligiousStudies,Editedby Chengyuping,SichuanMinzuPublishingHouse,July２００３,７９Ｇ８６．

１９８ BAIMACUO,etal．:TheChamritualofPadmasambhavainTibetanBuddhism

４．TheChamoftheLama

ThewordLama,asinthephraseblala medpa,meansincomparable,theexcellentoneorthe supremeone．Generally,aLamadescribesalamstonmkhan,onewhocanleadthewaytotruth．In theritualofGurutshesbcu,thisincomparableguideisPadmasambhava,thefocalpointofthe ritual,asopposedtotheskyaƳchamsordancesperformedonthefirstdayƳoftheCham． InthePadmasambhavaCham,theChamoftheLamaiscomposedofeighteensubsidiarysections ordances．These can be divided into three parts:the Cham ofthe eight manifestations of Padmasambhava,theCham ofthefivedhyaniBuddhasandtheirconsorts,andtheChamthattells historyincludingdebatesandvillagersƳsongs． Thefirstofthese,the Cham ofthe eight manifestations of Padmasambhava,reflectsthe achievementsofPadmasambhavaandshowsthefunctionornatureofeachmanifestationthroughthe performerƳsappearanceandtheinstrumentsheholds．Forexample,theChamofGurunyimaƳodzer or“TheSunlightoftheGuru”isperformedbyonemonkwearingafiercemaskwithahatadorned withfiveskulls,holdingthekha Tam (trident)andabronze mirror．Itreferstoastoryabout Padmasambhava confronting some nonＧBuddhists who were in their way to sell alcohol: Padmasambhavablockedtheirwayanddranktheirfivehundredbucketsofalcoholinonesecond． Whentheyaskedhimtopaythem,saidherepliedthathewouldrepaythematsunset,butthen, assumingtheaspectofHerugga(hakrasamvara),hethenheldthesunstationaryforsevendaysand sevennightsinordertoconvincethenonＧBuddhistsconvert．Thedanceisintendedtorepresentthe compassionandwisdom oftheGuru,hisloveforsentientbeingsandhisdeterminationtoremove theirignoranceandtoaccomplishunselfishactions． AnotherofthesubsidiarydancesinthissequenceistheChamofGurusenggesgrasgrogs,the “manifestationoftheLionƳsRoaroftheLama”．Thisisperformedbytwoperformersholdingvajras andskullbowls．ItsymbolizesPadmasambhavaƳsability,likeaasthehowlinglion,toconvertnonＧ Buddhistsanddemonsandtoeducateandliberateallsentientbeingswhoarecaughtinthecycleof existence．TheChamoftheFiveDpalbo (Dakas)andDpalmo (Dakinis),theirconsortsshowsthe importanceofthepracticeofunderstandingtheroleofthefivedhyaniBuddhasandtheirconsorts,a practicewhichisseenashavingbeenpassedonbyPadmasambhavatohisstudentsforthemto inherit．Again,formostlayTibetanthemain meaningofthisChamserieswouldbethatitshows thatPadmasambhavahascometothatplaceandhasgivenblessingstothebelievers． ThiscompletesthefourmainsequencesofthePadmasambhavaChamＧthoseofcleansingand offering,oftheprotectors,ofthe Yidams,andofthe Lama．Withinthesefoursectionsthereare specificdances,eachofwhichhastobestudiedineachversionoftheritual．We mightfind,for example,thatthereisnoChamoftheLamaintheChamoftheYullhaorlocaldeities,butonewill alwaysfindtheChamofmarkingandcleansingtheperformancearea,theChamoftheProtectors, andtheChamoftheYidams．TheChamoftheLamaisuniquetocertainritualsandisperformedat certainmonasteriesandatcertaintimes．５．OtherSections:HistoricalandculturalsequencesoftheCham

Aswehaveseen,’JamdbyangdpalbzangmaintainedthattheChamisderivedfrom Buddhist sutrasandfromtreasuretexts．Butchangesincultureinmorerecenttimeshaveledtochangesinthe Cham,includingtheadditionofsomenewcontent,anincreaseintheimportanceoftheroleofhistory

１９９国学与西学国际学刊第期年月２０ ,２０２１６ andtheresultsofincreasedcontactbetweenHanChineseandTibetans．SonowthePadmasambhava Chamhasathirdorigin:thatoflocalhistoryandculture．ThiscanbeseeninfromtheChamofthe 辩经 Lamainthisversionoftheritual:itincludestheChamofChosrtsod ( )or“religiousdebate”, whichreferstotheparticularformofBuddhiststudyintheTibetanmonastictraditionandreflects 杂技清朝官 itsculturalsignificance．TheotherChamisRtsalrtse( )or“acrobatics”,andRgyadpon( 员表演 )or “Qing dynasticofficersshow”,whichreflectstheextentofculturalexchangeand interactioninlocalhistory．AnotherCham,called Tshogsgluor “groupsong”,includesavillager whosingsfolksongsinpraiseofPadmasambhavaandofthetenthdayofthefestival． AttheendofthePadmasambhavaCham,allthe monks,nunsand manyofthelaybelievers followagroupofmonkswhotakedifferentinstrumentstocompleteonecycleoftheBzangmdodpal 〔２２〕 ripalace．TheythenreturntotheperformanceareaandwalkasaNorbudga’‘khyil design,an auspicioussignthatrepresentsthefulfillmentofhappinessand wealth,as wellassymbolizing impermanenceandtransformation．TheentiredayＧlongChamfinisheswiththenorbudga’khyil amidthesoundoftheTibetanhornandtheblowingofconches．

Conclusion

ThePadmasambhavadanceritualcanbeseenintermsofitsreligiousfunctionorasasocial process．Asa beliefsystem,itisa processin which relationshipsareconstructed withinthe communityandwithinthereligion:theperformanceoftheritualcreatesarelationshipbetweenthe ritualand the believers;and between believers and Padmasambhava,the Buddha and the Boddhisattvas．Atthesametimenew relationsareformedbetweenlaypeopleandthe monastic community,withontheonehandlaypeopleachievingsatisfactionofsomesortasaresultofthe ritualandontheotherhand,withthemonasticcommunitytransformingthefunctionofreligion．All oftheserelationshipsareachievedthroughtheprocessofritualandwithinthebeliefsystem． TheseareaspectsofbeliefinPadmasambhavaareconveyedorachievedintheChamthrougha seriesofsigns,actionsandobjects．First,theritualofofferingandtheChamlinkPadmasambhavato thebelieversatthesametimeasachievingthetransmissionofmeaningandpower,intheBuddhist sense．TheCham andtheritualprocessstructureaprecisesystem ofbeliefandcommunication,a clearhierarchyfromtheritualpractitionerstoPadmasambhava,andthroughhimtotheBuddhaand theBodhisattvas,andthroughthemtothecommunityofTibetansorotherbelievers． TheritualpractitionersincludeareincarnatedLama,aKhenpoorabbot,aChogdponorritual master,andthemusicians,dancersandsoon．Theycrosstheboundarybetweenthesacredandthe secularworldsandaregiventhecapacityofcommunicationbetweenthesacredandthehuman． Ontheonehand,theritualproducessatisfactioninthe mindsofthebelieversasaresultof watchingandparticipatinginit,andbecauseitcreatesanopportunityforthem tosupportthe monasticcommunity．Actionssuch asthechanting ofthe mantra of Padmasambhava andthe performanceofprostrationstohimandtotheBuddhaortheBodhisattvasduringtheChamembody

〔２２〕 PadmaƳtsho(Baimacuo),A StudyontheDevotionalPracticeofPadmasambhavain Tibetan Culture．TibetanPublishing House:Beijing,２００７．１９０．

２００ BAIMACUO,etal．:TheChamritualofPadmasambhavainTibetanBuddhism thecommitmentofthedevotees,forwhomthewatchingoftheritualwillhelpremoveobstaclesfrom theirlives,andassistintheaccumulationofmeritandvirtuefortheirfuturelives,aswellasthe fulfillmentofaspirations．Ontheotherhand,theChamdemonstratesthemainideasinexotericand esotericBuddhistteaching,suchastheimportanceofdevelopingcompassion,eliminatingheretical thinkingandtransformingerroneousviewssoastoacquirecorrectunderstanding． The ritualconsists of a series of external signs and symbolic concepts that represent communicationbetweenhumansandthesupernatural,andbetweenthelaypeopleandthemonastic community．Thesesignsincludethetextthatarechanted,theitemsusedintheofferingceremony, theinstrumentsusedbythedancers,andritualactionssuchasprostration,mudra,theburningof incenseandcircumambulating．Thosesignsandritualactsallhavesymbolicmeaningswhichtransmit religiousmeaningsfromthemonasticcommunitytothelaypeople． Thisenhancement ofcommunications between the monastery and the neighboring villages createsanatmosphereofsocialunity,bringingtogetherreligionandsociety．Insomepartsofthe ritual,villagersalsotakepartalongsidethemonksintheperformanceＧthishappens,forexample,in theChamoftshogsgluor“groupsong”,inwhichavillagersingsasong,andthedisciplineＧmasterof themonasterygoesonbehalfofthemonasterytopresentabka’rtagstothevillager．IntheChamof theeightemanationsofPadmasabhama,villagersstandbehindPadmasambhavaholdingthebanner andatothertimestheylightfirecrackers．Inaddition,villagesnearthemonasterycontributetothe ritualbysupplyingtea,milk,yogurt,butterandherbstothemonksandnuns,andtheyvoluntarily workandcookinthekitchen,whichhasbecomeatraditionalcustom．Thisagainhelpsconstructa traditionalandorganicsenseofcommunitybetweenthemonasteryandlocalvillages．Thereforethe traditionoftheritualofGurutshecuachievesthefunctionofreligiousandsocialcommunication．

Bibliography: TibetanReferences: «zhizhemiaoyin—jingangfawuyiguishi»Jiangyanghuarangdashi,baiyu Monasterymaterial «Gatuosigururenbochejingangfawuquben»GatuoMonasterymaterial «Babangsigururenbochejingangfawuqubu»BabangMonasterymaterial «Lianhuayijiao»FuzangdashierjinlinbajuezangSichuanminzuchubanshe,４,１９８７ «Lianhuashengzhuan»:«Tongzhou»Nimaweise &«sanxinzhuan»Duoluonata,Sichuan minzu chubanshe,７,１９８９ «Ningmajiaofashi»,Cuorucilang,Minzuchubanshe,１９８９ ChineseReferences «Mizongzhuanji———mizonggailun»,Xiandaifojiaoxueshuyekan, Dachengwenhuachubanshe,Minguoliuhsiba «Ningmabenzun shengqijiaoshou:wuershuangyun minghuilunyao shi»,Jiachu renboche chuanshou,translatebydanzengshanhuifari,Miaoyinfoxueyeshu,１２,２０００

２０１国学与西学国际学刊第期年月２０ ,２０２１６

中文题目: 藏传佛教中的莲花生金刚法舞

作者:白玛措博士教授博士生导师西南民族大学哲学学院长期藏传佛教及文化的研究与教学注重典籍与现 , , , , . , 实的结合著有藏文化中的莲花生信仰研究在中国藏学宗教学研究及等刊物上发表论文数十篇 , « ». « »、« » A&HCI , 如藏传佛教在美国传播的田野考察当代藏族尼众新教育体系的调查研究等此论文属国家社科项目宁玛派国 :“ ”、“ ” . “ 际影响及趋势研究项目号以及西南民大少数民族基地课题宁玛派哲学性研究项目号 ”( １６BZ０１４) “ ” ( 四川成都一环路南四段号邮编邮箱格林郎杰艺术硕士２０２０PTJS０３００５). １６ , :６１００４１, :tshopadma＠hotmail．com; , , 西南民族大学艺术学院专任教师国家艺术基金项目获得者作品梦宣获得国家级省部级奖项出访交流 . , « Ű“ ”» 、 . ２０多个国家多次担任国事活动文艺演出的导演编导多次担任全国少数民族汇演全国少数民族运动会中央电视台 . 、 . 、、春节晚会的篇章导演编导四川成都一环路南四段号邮编邮箱、 . １６ , :６１００４１, :geleg１０１４＠１６３．com．

摘要:论文通过寺院文献与实地研究阐释了藏传佛教金刚法舞仪式的起源以及莲花生大师羌姆的结构与程式论 , . 文首先分析了羌姆法会为期十一天的整体结构荟供与诵经金刚法舞仪式莲花光灌顶其次论文分析了莲花生金 : 、、“ ” ; , 刚法舞程式的过程结构同时说明了嘉羌和果毅的意义以及三十七个程式的结构 , “ ” “ ” , .

关键词:金刚法舞仪式莲花生藏传佛教 ; ;

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