Tambours de bronze et circumambulations cérémonielles: Notes à partir d'un rituel kantou (original) (raw)
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Mandala et rituel de confession à Dunhuang
Bulletin de l'Ecole française d'Extrême-Orient, 1998
This is a study of several Dunhuang manuscripts connected with mandalas. A link is established between several sketches of unfinished mandalas and an apocryphal Tantra called Jingangjun jing &ЖШШ , which is an imitation of the famous Jingangding jing ййШМ, a Chinese translation of the Vajrašekhara-sutra, or Diamond Pointed Sutra, supposed to be the basis of the one of the two great mandalas in the Chinese-Japanese tradition, the Vajradhâtu-mandala. The Dunhuang apocryphal Tantra also claims to have been translated into Chinese by Amoghavajra (VIIIe s.), the translator of the Jingangding jing. The Tantras (P. 3913 in the Paris collection, S. 2144 V° in the London collection and dong 74 in Beijing collection) and sketches of mandalas (P. 2012 in the Paris collection) seem to belong to the same ritualistic tradition. The sketches fit well with some of the descriptions of mandalas in the Tantra and the Tantra supplies ritual procedure for drawing the mandalas. Ritualized confession is the basis of these mandalas. Preliminary rites, such as jingdi (purify ritual place), jingjie (purify ritual enclosure), jiejie (delimit ritual enclosure), chanhui (confession), and primordial elements (dhàtu) like feng (wind), shui (water), kong (space), are now the names of Bodhisattvas. The four immeasurable thoughts, dad (great benevolent), dabei (great compassion), daxi (great joy), dashe (great equanimity), also become divine protectors, or Vajrasattvas. These new Bodhisattvas and Vajrasattvas are assigned a place in the mandalas. These Dunhuang mandalas are akin to the mandalas known from Indian, Tibetan and Chinese canonical sources, but with specific modifications. They belong to a local tantric tradition, different from the ones known from India and Tibet and from Japan, which borrowed it from China.
Mandala et rituel de confession � Dunhuang
1998
This is a study of several Dunhuang manuscripts connected with mandalas. A link is established between several sketches of unfinished mandalas and an apocryphal Tantra called Jingangjun jing &ЖШШ , which is an imitation of the famous Jingangding jing ййШМ, a Chinese translation of the Vajrašekhara-sutra, or Diamond Pointed Sutra, supposed to be the basis of the one of the two great mandalas in the Chinese- Japanese tradition, the Vajradhâtu-mandala. The Dunhuang apocryphal Tantra also claims to have been translated into Chinese by Amoghavajra (VIIIe s.), the translator of the Jingangding jing. The Tantras (P. 3913 in the Paris collection, S. 2144 V° in the London collection and dong 74 in Beijing collection) and sketches of mandalas (P. 2012 in the Paris collection) seem to belong to the same ritualistic tradition. The sketches fit well with some of the descriptions of mandalas in the Tantra and the Tantra supplies ritual procedure for drawing the mandalas. Ritualized confession is the basis of these mandalas. Preliminary rites, such as jingdi (purify ritual place), jingjie (purify ritual enclosure), jiejie (delimit ritual enclosure), chanhui (confession), and primordial elements (dhàtu) like feng (wind), shui (water), kong (space), are now the names of Bodhisattvas. The four immeasurable thoughts, dad (great benevolent), dabei (great compassion), daxi (great joy), dashe (great equanimity), also become divine protectors, or Vajrasattvas. These new Bodhisattvas and Vajrasattvas are assigned a place in the mandalas. These Dunhuang mandalas are akin to the mandalas known from Indian, Tibetan and Chinese canonical sources, but with specific modifications. They belong to a local tantric tradition, different from the ones known from India and Tibet and from Japan, which borrowed it from China.
Reconstitution de l'histoire et de la symbolique d'un culte rendu, chez les Lobi du Burkina Faso, au plus grand des protecteurs de la chasse dont l'origine remonte à des temps fort anciens. Ses adeptes forment une sorte de secte initiatique aux multiples fonctions, se distinguant par l'aspect et de l'autel élevé à cette entité nommée Bãbá, et de son attribut identitaire : un superbe pectoral en ivoire de forme stylisée autant que recherchée, qui constitue le témoignage irrécusable du triomphe sur le plus vigoureux des animaux : l'éléphant.
Musique et morphologie rituelle chez les Toraja d'Indonésie (2004)
Music and Ritual Morphology Among the Toraja of Indonesia. — The music of the Toraja (Sulawesi, Indonesia) is exclusively performed for religious ceremonies. Major ceremonies are arranged on a ritual scale with a dynamics described through the words of important songs: the reversal, equilibrium, gradual order and cycle are the four principles underlying the relation between the “Setting” and “Rising Sun” (funeral and fertility) rites. The music associated with this ritual scale divides into two major groupings of repertoires performed for ancestors, divinities and the living. Certain of these musical forms are brought together under a polysemous root, bali, which figures in a variety of words with their associated concepts. Exploring this term by studying sound forms, performances and the texts of songs brings to light a precise system of differences and likeness that refers to various sorts of dualism. It also brings to light a logic of reciprocity and inversion that helps explain the relations between certain ceremonies.