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Download Download 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 ,２０２１ ６ 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 ,２０２１ ６ 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(
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