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Buddhist chanting of Ladakh: recitation of sacred Buddhist texts in the trans-Himalayan Ladakh region, Jammu and Kashmir, India
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Manage No, Sortation, Country, Writer ,Date, Copyright Manage No EE00000101 Country India ICH Domain Oral traditions and representations Performing Arts Social practices, rituals, festive events Address Kargil and Leh Districts, Ladakh region, State of Jammu and Kashmir, India
| Description | Sacred texts representing the spirit, philosophy and teachings of the Buddha are chanted by the monks (Lamas) in the monasteries and villages of the Ladakh region. Buddhism in Ladakh has two sects: Mahayana - that follows the Sutra (treatise) tradition, based on the teachings of Budhha delivered in the form of public discourse; and Vajrayana - that follows a highly esoteric tradition based on the principles espoused by the Tantra practices. There are four major sects of Buddhism in Ladakh namely Nyngma, Kagyud, Shakya and Geluk. Each of these sects has several forms of chanting practised on diverse occasions as annual festivals; agrarian, life cycle healing rituals; for general well being, and to attain Buddhahood. Vajrayana Buddhism stresses the visualisation and recitation of Mantra through the practice of chanting. The chanting of Mantras is an integral part of Buddhist life in Ladakh. Buddhist Chanting is primarily practised in a group, by the monks. It is practised everyday in the monastic assembly hall as a prayer to the deities for world peace, and for personal growth of the practitioner. The villagers also patronise this tradition; they invite the monks to their homes for chanting on various occasions, such as family functions and important days in the agrarian calendar. In fact, on any given day, sounds of chanting can be heard in the villages all over Ladakh. It is a part of Ladakh’s daily life and cultural heritage. Monasteries work as the repository of knowledge and tradition, and as a channel for continuation and preservation of chanting. Buddhist chanting is highly evolved and stylised. The young monks are trained under strict and rigorous supervision of senior monks. Chanting texts are recited frequently till they are committed to memory. Thus chanting as a tradition is passed on from generation to generation as an oral practice and knowledge. The senior monks train young acolytes in the correct use of hand gestures ('mudra') that is an integral part of most chanting traditions. Bells, hand drums, flutes and the trumpets are usually used as accompaniments during chanting. They lend musicality and rhythm to the chanting. The four sects of Vajrayana Buddhism have their own different styles of chanting. Chanting styles can vary from one monastery to another, even if they belong to the same sect. In some sects, chanting is also accompanied with dance ('cham'), which is practised in the monastic courtyard. The Cham chantings of Hemis and Phyang, though they belong to the same sect of Kargyudpa, have entirely different chanting styles. The seven forms of chanting included in the dossier represent the diversity of the tradition practised in the Ladakh region. 1. Shargangrima - It is one of the most popular chanting of Gelukpa Sect. This is a eulogy recited by the Lamas as well as by the lay people in honour of Je Tzongkhapa who founded the Gelukpa sect in the 14th and 15th century. In Sargangrima, the chanters address Je Tzongkhapa as the second Budhha and celebrate him as the Son of the eastern province. 2. Nashthan Phyagzod -This chant uses musical instruments and 'mudras' (hand gestures) during chanting. It is a prayer for the 16 disciples or Arhats of the Budhha. Nashthan Phyagzod is chanted by the Lamas for all sects. The Arhats are the direct successors of the Buddha, the bearers of His teachings. The chant is a prayer to the Arhats to stay eternally on the earth for the sake of Dharma. At the end of each stanza, the chanters play drums, blow on a long flute and beat cymbals, providing a musical rhythm to the chanting. The monks symbolically offer music, dance, incense, flowers, lamps and food through 'mudras.' 3. Kunrig – This chant stresses on the internal visualisations by monks through repetitive chanting and 'mudras.' 4. Rigmachutuk – This chanting is performed by monks who dance in the courtyard of the monastery, wearing copper masks, silk robes and special shoes. It is based on two tantric texts. Rigmachutuk are the 16 fairy maidens or 'dakinis' who escort the titular Guru Padmasambhava in his Dharma missions. It is also performed during the funeral procession of senior monks. 5. Guru Mantra - This Mantra is recited by all followers of Mahayana tradition in Ladakh. This text is seen engraved on stones and metals and inscribed in flags and clothes all over this region. It is believed that this Mantra purifies the human beings of their sins. 6. Chod - It is a secret practice that is usually performed in the cemeteries. Chod requires great concentration and high meditative qualities. In this, the performer visualises that his consciousness has separated from his body, and has transformed into a deity. 7. Guhyasamaj Tantra – This chanting includes 'mudras' through which the monks emulate different missions of the Buddha. These chanting rites are performed all over Ladakh in various monasteries and villages. The nomination contains audio-visual documentation of performances conducted in strict adherence to scriptural guidelines, and under the guidance by the chief Lamas in the following monasteries. Thiksay Monastery Spituk Monastery Matho Monastery Hemis Monastery Phyang Monastery |
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| Social and cultural significance | The Buddhist Chanting of Ladakh is a heritage that has been carried through generations by monks living in the monasteries. They have preserved the sacred texts for chanting in the libraries in the monastery. Sacred texts represent the spirit, philosophy and teachings of the Buddha. The chanting is practised on diverse occasions as annual festivals; agrarian, life cycle healing rituals; for general wellbeing, and to attain Buddhahood. The villagers also invite the monks to their homes for chanting on various occasions, such as family functions and important days in the agrarian calendar. In fact, on any given day, sounds of chanting can be heard in the villages all over Ladakh. It is a part of Ladakh’s daily life and cultural heritage. The Buddhist chanting of Ladakh is a reflection of the community's lifestyle and its spiritual and cultural heritage. The core message of the chanting is welfare of humanity and restoration of peace at large. To the individual practioner it is an aid to meditation and tool for self-development. |
| Transmission method | Many believe that ancient Ladakh was culturally richer than it is today. Presently Buddhist Ladakh is struggling to reinterpret the whole edifice of its Buddhist culture that evolved over 2000 years of Buddhism in Ladakh. Visionary leadership of Ladakh had foreseen the cultural apathy of today. About 50 years ago several steps were taken to preserve this unique cultural identity. Central Institute of Buddhist Studies, Leh was established in 1959 under the leadership of late Kushok Bakula Rinpoche. Study of Buddhist language, literature, history and philosophy were made compulsory subjects. Buddhist chanting was alsomade compulsory for the students residing in the hostels. This institute is now fully financed by the Ministry of Culture, Government of India, which has opened 50 branch feeder schools known as 'Gonpa schools' all over Ladakh. Although the institute provides syllabi, teachers and other facilities, the monasteries also come forward to assist these schools. They appoint senior Lamas as religious instructors who primarily teach chanting rituals inside the monasteries. They train acolytes in the basic performance styles and forms and thus this practice has been carried forward through oral transmission. Currently the monks teach chanting in 'gonpa' schools that are run in collaboration with the Central Institute of Buddhist Studies (CIBS) the monasteries. The young monks are trained under strict and rigorous supervision of senior monks. Chanting texts are recited frequently till they are committed to memory. Thus chanting as a tradition is passed on from generations to generations as an oral practice and knowledge. The senior monks train young acolytes in the correct use of hand gestures ('mudra') that is an integral part of most chanting traditions. In Ladakh, monasteries have been the repositories of Buddhist art, literature, philosophy, metaphysic, and oral tradition. Each Lama is a master of Buddhist chanting. Each monastery has an assembly hall called 'dukhang' where the chanting is carried out. the congregation hall is the central focus of all the monasteries in Ladakh. Famous monasteries like Hemis, Thiksey and others have a spacious hall which can accommodate between 30 to 40 Lamas at a time. Most of these monasteries conduct three sessions of chanting – morning, midday and evening. These chantings are sponsored by families from towns and villages who come to the monasteries with tea and food items. The patrons request for specific types of chants. The villagers also patronise by inviting the monks to their homes for chanting on various occasions, such as family functions and important days in the agrarian calendar. Currently the youth of Ladakh seem to find the vocation of monkhood rather old fashioned, and are opting for new jobs ushered in by modernity. The continuity of monastic traditions including the chanting are crucial for preservation of Ladakhi Culture and its spiritual heritage. Ladakh is a remote place in India and because of its extreme weather it remains cut off from the rest of the world for a substantial period of time every year. People generally are not aware about the cultural practices and beliefs of this region. |
| Community | The monks living in various monasteries or 'gonpas' in Ladakh and the people of the Ladakh region who practice the Mahayana and the Vajrayana form of Buddhism practise this art. |
| Type of UNESCO List | Representative List of the Intangible Cultural Heritage of Humanity |
| Incribed year in UNESCO List | 2012 |