This thesis delves into the intersection of Buddhism, medicine, and art through the lens of seventeenth-century Tibetan paintings known as the Blue Beryl series. These intricate artworks not only...Show moreThis thesis delves into the intersection of Buddhism, medicine, and art through the lens of seventeenth-century Tibetan paintings known as the Blue Beryl series. These intricate artworks not only serve as repositories of medical knowledge but also reflect the cultural, religious, and political values of their time. Central to these paintings is the representation of indigenous Tibetan perspectives on spirit-caused illnesses, which focus on the existence of elemental spirits deeply rooted in local beliefs and landscapes. The research aims to investigate the indigenous Tibetan beliefs surrounding spirit causation and illness as depicted in the Blue Beryl paintings, offering a deeper understanding of these often misconstrued spiritual entities. By closely analyzing the iconography within these artworks, the study seeks to unveil the presence and significance of non-Buddhist beliefs and practices within Tibetan psychiatry, shedding light on a less-explored aspect of Tibetan medicine and spirituality.Show less
How did the distinct cultural, ethnic, and linguistic groups, who originated from valleys separated by natural barriers, and their cultural traditions, become one 'homogenous' constitutional monarchy?
Lhamo, in the West called Tibetan Opera, is a form of total theatre combining dance, song, recitation, colorful costumes, and music, that traditionally is performed in the open air in Tibetan...Show moreLhamo, in the West called Tibetan Opera, is a form of total theatre combining dance, song, recitation, colorful costumes, and music, that traditionally is performed in the open air in Tibetan communities after harvest and at festive days. Within lhamo a number of conventions exist, one of which is the convention of percussion patterns. The musical accompaniment of lhamo is done by two musicians, one of whom plays a drum (rnga) and another who plays cymbals (rol mo). The drummer is the "master of ceremonies". By means of drum pattern variations, he indicates and controls which character(s) go on and off stage and when and how they move on stage. For that the drummer has a number of drum patterns at his disposal, that can be played singly or in various combinations and at various speeds. The cymbals player merely follows the dummer's lead. During my fieldwork in Boudhanath near Kathmandu with the Nepal Tibetan Lhamo Association (NTLA), I made an inventarisation of the lhamo drum patterns, which are described in this paper. The drum patterns are all recorded and come as appendix as sound files. Attention is given to organology of the instruments and lineage of drum pattern traditions. It appears that the traditional teaching method of oral transmission from teacher to student is not the only method used by NTLA. Often multiple instructors teach simultaneously. By teaching with multiple instructors, it is possible to learn a complete lhamo play in three or four rehearsals. A chapter is devoted to rhythm in Tibetan music. This is the first published inventarisation of lhamo patterns.Show less
