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Nom, objet et usage : le bol qing ponctuant la psalmodie bouddhique

Abstract : In China at the intersection of musical instruments and the accessories of Buddhist, later Taoist ritual, several material objects are found, including the "bowl" (qing), a bell struck on the outside. No study as so far been devoted to it. Its history illustrates the cultural changes which confronted Asia in the first millenium. Reputed of Buddhist origin, therefore Indian, for the Chinese, it is known in the West as a “Tibetan bowl” and used by "New Age" musicians who use it to produce continuous etheral sounds by means of friction. The reality is much more complex. The name, Chinese in origin, means “the stone which resonates”, and it has been known for over three millenia in the form on an actual phonolith. The object itself has its origins in the bowls of Indian mendicant monks. Though absent from iconographical sources up to the 17th century, archeology has produced an artifact dated to 851, bearing a text, a sūtra, engraved in 1403 at the earliest. The “Book of Music” (Yueshu) of Chen Yuan provides the first definition of it in 1101. Ethnographic evidence shows it to have been played by monks in those temples where it served to signal to the ogds that offerings were being made and to punctuate the recitations and the chanting, marking the end of sections (phrases, srophes). It is the very origin of this practice, strictly Chinese, which I address here
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Contributor : François Picard Connect in order to contact the contributor
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François Picard. Nom, objet et usage : le bol qing ponctuant la psalmodie bouddhique. Colloque international en archéologie musicale, ICTM Study Group on Music-Archæology, Oct 1990, Saint-Germain-en-Laye, France. pp.381-388. ⟨halshs-01426558⟩



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