14嘉雍群培西藏死亡艺术文档格式.docx

1、關鍵詞：藏傳佛教 生死輪回 因果報應 中陰救度 現實人類的恐懼莫過於死亡，而藏族人對死亡的認識與眾不同，他們所舉行的死亡儀式，仿佛是在舉行一種特殊的藝術休習，並認為死亡不是生命的終點，要進入中陰，是新生的開始，是生命中最尊貴和最光榮的時刻。人們從小就開始接受死亡的教育和修行，在死亡儀式的整個過程中，藝術創作與實踐與佛教思想完美結合，西藏度亡經將其稱為“死亡的藝術”。藏傳佛教對死亡的修習藏傳佛教的教育是從因果報應，生死輪回，諸行無常，有漏皆苦開始的，因此，藏族人對來世和死亡的重視往往超過了對誕生和現實的重視，追求生命的解脫為一生最高的理想。早期在西藏沒有人去慶祝生日，而對死亡的重視和教育是從生開

2、始，孩子在嬰兒時期，就由母親背著朝佛轉經，並教唱六字真言歌“俺嘛呢叭咪哄”。藏傳佛教認為，六字真言是一切佛教教義的根本和精髓，能破除六種煩惱，修六種般若行，獲得六種佛身，生出六種智慧。在藏區真言調很豐富，有長調也有短調，不同的地方或不同的供養唱不同的曲調。藏傳佛教的“空”、“苦”思想，成為真言曲調的基本風格，因此，真言調的旋律以五聲小調式為主，其中羽調式用的最多，色彩暗淡。人生多難，為了避免以外的死亡和劫難，父母又要教你頌唱金剛上師咒：“俺阿洪班雜咕嚕叭嘛悉地哄”據說這十二個字母帶著佛陀說法十二部的整個加持，十二部教法能使人解脫“十二因緣”，脫離六道輪回，當你高唱它時，所聞者皆獲巨大利益和功德

3、。之外，還要教你皈依經和皈依曲，即皈依上師、皈依佛、皈依法和皈依僧。 這些誦唱的咒語歌，旋律平穩、柔和、情切，仿佛聆聽上師的告誡，瞻仰大悲的尊容，滋生心性的智慧。臨終中陰中的心性顯露在藏區，對臨終的人要舉行一系列煩瑣的宗教活動，首先要祈請四方神靈給予加持、護佑，所以在一些宗教活動和祭祀的地方，經常聽到祈請上師的長調，用優美的詞藻，悅耳的歌生去感化和達通神靈，祈求他們給危難者力量和勇氣，擺脫病魔的纏繞，不受邪魔的拖曳。暗淡、柔和的旋律中透露出一絲迷茫、彷徨。祈禱後進入禪定狀態，為了臨終者不因死亡而恐懼，上師開始輕輕的，有節奏的敲打臨終者，設法使意念遷移，從鎖骨敲到頭頂，用情切、柔和、慈祥的語調念

4、唱。上師繼續敲打，聲音逐漸放慢，放弱，不斷重複，直到臨終者拋開生命進入實相之境。最終得到上師的指導，放下恐懼的心，用平靜、自然、喜悅的心情迎接死亡的到來，把死當成迎接新生必須經過的短暫的幻影，是很重要的，是進入涅磐或往生善趣的重要環節。法性中陰的明光境界由於業力的牽引，大多數人不能頓入根本明光，就要進入法性中陰的明光境界，這時枕前上師開始為亡者念唱遷識法，指導亡靈走上往生的旅程。遷識法的念唱方式各地略有不同，但大致可分為三種形式：（一）念誦段以韻白的形式進行，節奏富於變化，變化中又講究韻律的統一。（二）部分段落具有較強的旋律性，旋律流暢，具有吟唱調的特點。（三）在一定時間的平穩念唱後，突然擊掌

5、高唱。這種一靜一乍有規律地多次反復，據稱是為了不讓亡者的心識依附於肉體，而不肯離去，因此以擊掌高唱催促之。家人還要為臨終者請寺院念誦“救度大法”。屍體停放3天，期間晝夜不停地請喇嘛誦經，家人在院中煨桑供奉眾神靈，高唱六字真言歌。天葬天葬，把藏傳佛教的宇宙觀、人生觀和捨身精神體現的最為透徹，最為徹底，既顯露出原始遺留的野蠻喪習，又蘊涵著無比虔誠的信仰和殊勝的睿智。天葬，是亡者最後的施捨，也是最後的奉獻,整個儀式過程充滿了音樂。例如，僧侶們念唱一段度亡經後，解釋生命緣起和因果輪回，這樣，對死亡的恐懼就會減輕。如果靈魂在中因的最初狀態能夠意識到明光這個中間階段，他的靈魂就能解脫。天葬師用長刀把屍體剝

6、離分解，眾鷹守候在四周，最初有一隻體積最大的領頭鷹搖搖擺擺上前啄食，之後，其餘的鷹蜂擁而上，不一會兒就把肉吃得一乾二淨，只剩一堆骨頭，天葬師們用錘把骨架、顱骨等砸碎，拌上糍粑，扔給鷹，直到吃盡。投生中陰的再生意識到投生中陰，亡者意生身具有一切知覺作用，渴望得到肉身，重返色界，遺族以各種方式進行祈禱供養，來配合亡者，如：磕頭、轉經和誦唱明言磕頭，轉經和誦唱咒言是一項殊勝的供養，是要終身修持，對亡者而言，此時的修持更為及時、迫切，是對亡者最大的幫助和支持。此時的六字真言長調，由於遺族失去情人的悲痛，顯得倍感淒涼，在空曠的原野、山谷回蕩，像是在哭訴，又像是在懺悔。放飛風馬、懸掛經幡和進行煨桑為了避免

7、再掉入無明的悲劇和輪回痛苦的生死中，遺族要放飛風馬、懸掛經幡和煨桑，這是與靈界溝通的重要方式，在煨桑的同時一遍遍地高唱迎請眾神靈長調。 寺院樂舞的救度法 藏傳佛教所有的教派和寺院每年都要舉行盛大的法會，法會中樂舞的表演是密宗儀式中很重要的一部分，目的是為了淨壇祈福，施展佛威，降伏惡魔（阻礙佛法的外敵和困難），摧毀敵人（摧毀煩惱業障），使眾生從無明解脫出來。其中還有一個目的，那就是對死亡的教育和對亡魂的救度。如桑耶寺表演的樂舞中就有這樣的：1、多處達波，即屍陀林樂舞，多處達波原為西藏苯教一厲神，後被蓮花生收為佛教神靈中的底層護法神和指點迷津引入善道的精靈，令其守護天葬台。有些書上說他是天葬的執行

8、者。有4人表演，身穿繪有嶙嶙骨架的服，頭戴骷髏面具，在大鼓大鈸樂曲中狂舞，表示對那些危害佛法的惡魔將嚴厲懲治，對因無明而妄念遮蔽的“罪惡之心”，轉生為光明無礙的佛心。2、冬阿，即超度者樂舞，13人表演，頭戴大黑帽，身穿黑色大袍，腰圍鑲有人眼、口的圍裙，揮舞著邊達（綴有穗邊的人頭骨）和刀，踏著鼓點起舞，意把多處達波解送來的惡魔用利刀肢解，把靈魂送上天堂，表現出佛教的遷識法，讓靈魂拋開肉體，進入中陰境相，也意為擺脫無明的蔽障，進入法心的世界。3、措鈴，措鈴原是喇嘛桑堆巴的僕人，在這裏化身為餓鬼、遊魂，由20人表演，頭戴兇惡的面具，身穿紅依，吞食被冬阿肢解的碎食，意亡者為餓鬼作最後的施捨，宣揚佛教施

9、捨的精神，鼓勵人們用天葬作最後的施捨，以表達慈悲、慧智的佛心。樂舞伴奏樂器有銅欽（大號），鈸鈸、嘉令（藏式大嗩呐）風鈴（人股骨號，也稱鬼叫號）、海螺、鈴鋒、手鼓等樂器，演出氣勢恢弘、莊嚴、色彩濃厚，具有很強的震懾作用。人們懼怕死亡，回避死亡，但沒有一個人可以逃脫死亡，藏傳佛教的教義正是圍繞死亡的認識、教育和亡靈的救度進行，在抽象、深奧的教義基礎上，用具象的語言、事例和藝術手法，潛移默化地感化和教育眾生。佛教認為對死亡的教育是要揭開死亡的神秘，把生與死的真理告訴有情眾生，這是佛心最偉大的體現，是智慧和慈悲的顯現，讓人們從死亡的恐懼中看到光明，看到希望。這種光明、希望、若即若離，似隱似現，仿佛唾手

10、可得，似乎又遠在天邊，只有“見空性，發悲心”，才能透過死亡真正得到快樂。參考書目：1、西藏度亡經連華生著 徐進夫譯 宗教文化出版社 1995出版2、西藏生死之書（美）索甲仁波切著 鄭振煌譯 中國社會科學出版 1999年出版3、藏傳佛教才讓著 民族出版社 1999年出版4、藏族原始宗教周錫銀 望潮著 四川人民出版社 1999年出版5、喇嘛廟佛的世界李冀成 四川人民出版社 1986年出版Tibetan art of deathJiayong Qunpei Translated by YangQiongAbstract: Buddhism has been integrated with the l

11、ocal culture, eventually forming a unique variant of Buddhism with a strong Tibetan flavor, since its introduction into Tibet in the 7th century. Now, Tibetan Buddhism has permeated all aspects of Tibetan peoples lives, becoming an essential part of Tibetan culture as well as the Tibetans principal

12、faith. A typical reflection of this can be found Tibetans death rituals. At the same time, Tibetan Buddhism has employed all possible artistic means and forms to disseminate its doctrines. The music used extensively in death rituals is especially profound, demonstrating its harmony and perfect ident

13、ification with Buddhism ideology.Key words: Tibetan Buddhism, cycle of birth and death, natural law of cause and effect, help in Bardo, realitiesGenerally speaking, death is the most profound one among human fears; however, Tibetans have a unique attitude toward it. Starting with their preparation （

14、or education） for death, including the bardosof dying, realities, and rebirth, the whole process is full of inspiration and creativity as if it were a unique artistic discipline. Tibetans believe that a human being consists of both a soul and a body- the body serving only to carry the immortal soul.

15、 Once the body dies, the soul will leave it and go into the state of realities. According to their karma a consciousness in bardo, the dead obtain either rebirth or nirvana. Therefore, the moment o death is not the end of life, but rather the glorious and supreme beginning of a new one. Tibetans beg

16、in their education and practices regarding death from childhood. Throughout the whole process of the death rituals, music gives full expression to the idea of the immortal soul and rebirth by perfectly merging with Buddhist doctrine and rituals. In the Tibetan Book of the Dead , music itself is call

17、ed the art of death.Buddhist practices for deathEducation in Tibetan Buddhism is based on the following concepts: the natural law of cause and effect, the cycle of birth and death , impermanence, and the view that all contaminated things are miserable. As a result, Tibetans generally attach more imp

18、ortance to death and the next life than to birth and this life. To be free from this life is their highest idealin earlier days, lamas and laymen in Tibet did not celebrate their birthdays. In contrast, much attention was paid to education concerning death, which started the moment a person was born

19、. For this reason, there are no birthday songs in Tibetan folk culcure. However, music, dance, sculptures and drawings on the theme of death can be found everywhere. Among them, music （including dances set to music）, as a significant part of Buddhist doctrine and art, is extraordinarily rich. It can

20、 be concluded that understanding and use of music in Buddhist traditions is highly developed.Buddhism holds that the universal mantra （Mani Padme Hum） is the foundation and essence of all Buddhist creeds. It helps people remove ignorance and gain wisdom. Before Tibetans can walk on their own, their

21、mothers frequently carry them on their backs while worshipping Buddha and performing circumambulation, so from that time they begin to learn the chant of the universal mantra.The form of the universal mantra chant varies widely. It includes long melodies and short melodies. Different melodies are em

22、ployed for different occasions, temples or monasteries, and during different sacrificial rituals. In Tibetan language, the chant of the universal mantra is called Padem dbyangs （ Padem refers to classical scriptures or mantra, and dbyangs is music）, which includes the mantra song, the conversion son

23、g, the song for invoking Buddha, and the tribute song. To express the Buddhist theories, the melodies of Padem dbyangs are pleasantly low and full of sympathy, mainly by employing five-tone scales of the minor mode （among them the Yu tone is used most frequently）. When we hear them, we feel as if we

24、 were listening to our masters teachings, or looking at our masters respectful faces above us, wisdom naturally occurring to our mind.Beside the Padem dbyangs, Tibetan parents also teach their children the vajra guru mantra, namely OM AH HUM VAJRA GURU PADMA SIDDHI HUM . Besides the vajra guru mantr

25、a, there are four conversion sutras and conversion tunes, namely, those of taking refuge in master, being converted to Buddha, taking refuge in dharma, and taking refuge in lamas.These three tunes are the most basic and must be learned, memorized and repeatedly recited. In the eyes of Buddhists, the

26、se tunes are not music （or folk songs） in the general sense, for they cannot be recited or sung at all times or places. Instead, they chanted or sung only with a peaceful, sympathetic and concentrated mind in special situations and on specific occasions, for they are an essential part of Buddhist do

27、ctrines, and have the nature to awaken compassion and wisdom in people. All the mantras, tunes and songs mentioned above constitute a part of the fundamental education of Tibetan, by which they transform their attitude toward death and eventually gain complete freedom.Songs for the Bardo DyingBardo

28、means the transition period between a persons death and his rebirth, which lasts 49days, every 7days of which a number of master are invited to chant the next of the dead. Texts and melodies vary each time.In Tibetan areas, a series of diverse and complicated religious rituals are performed for dyin

29、g. The first of them is to invoke deities from the four directions to bless and guard the dying. At religious rituals and places for offering sacrifice, the songs of prayer masters are frequently heard as follows:When the dying is going to the end of his life and his spirit is passing away, a bedsid

30、e master will be invited to help him or her spend the last moment and enter the bardo smoothly.To help the dying transfer his or her consciousness, the master will tap the dying gently and rhythmically from the clavicle to the top of the head, and in peaceful, kind, and sympathetic tones. The master

31、 will continue his tapping, gradually slowing down and lowering his voice while he repeats these words. He will not stop until the dying finally departs his life and enters reality.Songs for the Bardo of RealitiesThe bardo of realities is the so-called the bardo of luminosity, in which the image of

32、Yama, who is in charge of truth and justice, will appear, bringing light for this bardo and laying bare all the good and bad deeds of the deceased before his death.To help the dead follow the masters instructions and eventually enter the marvelous Pure Land of Dewachen, it is necessary to guide their steps on a journey of the rebirth by means o