Another very popular activity of the Bhutanese is the Dharchar-ni' hoisting of prayer flags with scripts printed on them. That is why beautiful places, mountains, hilltops, treetops, cliff tops, riverside are festooned with multi-coloured prayer flags. In general, prayer flags are hoisted for the benefit of sentient beings, both living and dead, to boost one’s positive energy or luck and to help liberate the souls of our loved ones. There are huge flags called lhadar in front of dzongs, each with a gyetshen (victory banner) on top. There are also flags without scripts printed on them, such as a small white flag called darchung on the rooftop of one’s house and lhadar near one’s house that has just the print of four legendary animals on it. A lhadar with the printed images of the four legendary animals (tiger, snow lion, garuda, and dragon) is also hoisted in front of temples and dzongs. The darchung on rooftops are placed during the annual religious rituals performed by the household, and hoisted in honour of the deities that the household worships. The lhadar showing the images of the four legendary animals is a sign that the temple and dzong contains scriptures like the Three Pitakas (sutra, vinaya and abhidharma). If the temples have sertog (golden pinnacles) on the roof, the victory banner pinnacle is permitted at the tip of the lhadar. The prayer flags come in five different colours: blue, white, red, green, and yellow. The colour of the flag is determined based on the individual’s birth sign represented by the five elements of the twelve year cycle — white for metal, yellow for earth, red for fire, green for wood, and blue for water. The plain flags representing all the five colours hoisted on both sides of the path or road and around houses, or temples or pitched tents, signify important functions, celebrations of happy occasions and reception of dignitaries. They do not have any religious significance. In order to install flagpoles, tall and straight young trees are selected, preferably from coniferous trees that are sometimes called lhashing (tree of the higher beings). Where lhashing is not available, other trees may be substituted, provided they are straight and meet the required height. After felling of the selected tree, bark, branches and knots are completely removed. Sherab reldri(wisdom sword) and khorlo (wheel) made of wood are affixed at the tip of the pole. The base of the reldri is shaped as crescent moon and sun and painted likewise, while the sword is painted bluish in the middle and reddish on the side to represent the sharp blade that destroys ignorance. A curved red line goes upward in the middle of the reldri to signify fire to boost the power of the blade. Lotus petals are painted on the part immediately below the moon to signify the purity of the base of the wisdom sword. In rural villages where these elaborate preparations are not possible, the leafy tops of the branches are used as substitute for reldri and khorlo. The reldri represents Manjushri, the wisdom deity; while the flag represents Avalokiteshvara, the deity of compassion; and the pole represents Vajrapani, the deity of power. Once a flagpole has been selected, it is considered unvirtuous for humans to walk over it, and therefore it should be kept with its tip on a higher ground. The texts and images are printed on cotton cloth from xylographs available in temples and monasteries and with certain private individuals. In the old days, ink was prepared from soot mixed with water and very old singchang (juice of fermented grains) to give the required thickness and strength. The ink is spread over the printing block and the cotton cloth is stretched over the block, and rubbed over gently using a broad leaf. The print will appear on the cotton cloth. The manual printing is repeated until the desired length is achieved. The printed cloth is then attached to the pole with strands of bamboo, leaving a gap of 30 cm below the khorlo and about a metre above the ground. Mantras are printed left to right across the width of the cloth and generally, while attaching the long strip of cloth to the flagpole, it is positioned so that the edge where the mantra begins flutters freely in the air, and the edge where the mantra ends is fixed down the length of the pole. The flags commonly carry mantras of Avalokiteshvara (mani), Guru Padmasambhava (vajra guru), Manjushri, Vajrapani, Tara, Vajrasattva, Buddha Amitayus, Lungta (windhorse) and Gyetshen tsemoi pung-gyen (victory banner sutra). Finally, the flagpole is firmly fixed in the ground and then a consecration ceremony is held. In most cases, high ridges and hilltops are considered ideal locations for prayer flags, because these sites provide plenty of the wind that is needed to flutter the mantra. Besides, hilltops give panoramic view of all the places below, and hence help to reach out the blessings of the prayers to all sentient beings.

National Intangible Cultural Heritage, Republic of Korea Iri Hyangje Julpungnyu is a piece of instrumental music handed down in Iksan, Jeollabuk-do, depicting the scene of Shakyamuni preaching of the Lotus Sutra, at Vulture Peak, Gijjhakuta Hill. It has a cousin centered around daepungnyu (wind instruments), which differs from julpungnyu in terms of tone and instrumental composition. Iri Hyangje Julpungnyu, which originated in Iksan in 1958, is played on eight instruments (geomungo (six-stringed zither), gayageum (twelve-stringed zither), yanggeum (dulcimer), piri (flute), daegeum (bamboo flute), haegeum (two-stringed fiddle), danso (vertical notched flute), and janggo (hourglass-shaped drums). It is composed of 15 separate pieces of music.

National Intangible Cultural Heritage, Republic of Korea Gurye Hyangje Julpungnyu refers to a piece of instrumental music depicting the scene of Shakyamuni preaching the Lotus Sutra handed down in Gurye, Jeollanam-do at Vulture Peak, Gijjhakuta Hill. There are two versions of this music, one centered around daepungnyu (wind instruments) and the other around julpungnyu (string instruments). The way julpungnyu is played differs a little between those handed down in Seoul and those handed down in the provinces. The latter are named Hyangje Julpungnyu (julpungnyu of provinces). Originally, this was a piece of vocal music, but it changed to an instrumental and developed into a voluminous suite by adding other instrumental music pieces. It became a leading concerto in the country toward the late Joseon Period (1392 – 1910). It is presumed that it was divided into daepungnyu and julpungnyu in the mid-Joseon Period. Julpungnyu developed as a quiet piece chiefly played indoors. The separation between julpungnyu played in Seoul and those played in the provinces appears to have been made toward the late Joseon Period. Instruments used for julpungnyu are geomungo (six-stringed zither), gayageum (twelve-stringed zither), yanggeum (dulcimer), sepiri (bamboo reed flute), daegeum (bamboo flute), danso (vertical notched flute), and janggo (hourglass-shaped drums). As a quiet piece of music played indoors, julpungnyu is centered around string instruments such as geomungo, gayageum, and yanggeum, with wind instruments making as small a sound as possible. The piece takes about 70 minutes to perform.

Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity The Yeongsanjae is performed to help all beings and spirits enter into the world of truth, by worshipping and admiring the Buddha, Buddha’s law and monks. It is the highest and biggest ritual utilized by Korean Buddhists to represent the world of Buddha here and now and is based on the philosophy of the Lotus Sutra. It is also a means for meditation and training. The order of a Yeongsanjae performance is as follows: 1. Reception Ritual (siryeon): The purpose here is to receive all the saints and spirits of heaven and earth with the guidance of the Soul-Guiding Bodhisattva so that the ritual can be performed in a holy way. 2. Spirit Reception (daeryeong): The masters of the ritual are the spirits, dead and alive, i.e., all people. Dead spirits are invited to the ritual, while those present at the ritual are told why it is being performed and given the directions they should follow, based on the Buddha’s Law. Families of the deceased dedicate food and liquor as an expression of their love and respect for the dead. 3. Cleansing of the Dirt (gwanyok): This is the ritual to cleanse the three karmas of the spirits that have accepted invitation so as to facilitate the achievement of serenity. 4. Donation of Money (Jojeon Jeoman): “Jojeon” means money that can be used in the nether world, and “jeoman” means to endow money with value. The necessity of money is to awaken us to the fact that our life is maintained by material blessings from the outside. 5. Tea Donation (Sinjung Jakbeop): A tea ceremony is dedicated to all the saintly spirits invited with the hope that the ritual will be performed well. 6. Reception of Buddha (Gwaebul Iun): Sakyamuni Buddha, the master of the ritual and who will preach on the Lotus Sutra, and all the Buddhas and Bodhisattvas are received according to the Law of Buddhism. 7. Dedication of Rice Meal (Sangdan Gwongong): With the Buddhas and Bodhisattvas invited, a rice meal is dedicated. In this ritual, wishes are made that, with the merciful help of the Buddhas and Bodhisattvas, all beings will obtain happiness and that the light of truth lit by Buddha will shine over the world of suffering. 8. Sermon (Beopmun): A monk in place of Buddha reconfirms the purpose of the ceremony, presenting concrete ways to realize that purpose. The monk delivers a sermon in which the audience is invited to the door of truth. 9. Meal Ritual (Sikdang Jakbeop): This ritual meal is intended not for the Buddhas and Bodhisattvas, but for the monks attending the ceremony. However, symbolically, it is for all beings in this universe, and through this service a foundation is laid for becoming a Buddha. 10. Blessing Ritual (Jungdan Gwongong): All of the saintly beings attending the ritual are asked to help ensure a good performance of the ritual. It also asks for blessings on all those present at the ritual. 11. Meal for the Dead Ritual (Sisik): Since the attendees are fortunate to be listening to the words of Buddha and since all rejoice that the dead have all gone to heaven, a happy rather than sorrowful ritual is performed for the departed to celebrate and congratulate themselves on going to heaven. 12. Farewell Ritual (Bongsong & Sodae Baesong): At the opening of the ritual, all beings were politely received with chants, so likewise, they should be given a proper farewell. The farewell is the final step in affecting the deceased’s final destination. Since Yeongsanjae was designated an Important Intangible Cultural Heritage by the state in 1973, it has been under national protection. In 1987, when the Yeongsanjae Preservation Association was officially established, it started to perform activities to ensure its transmission. The Yeongsanjae has been transmitted by the Taego Order, a Korean Buddhist order. Based at Bongwonsa Temple, the Taego Order maintains the tradition of Buddhist rituals and as such, most of the transmitters are monks of the Taego Order. Currently, Monk Kim In-sik (Buddhist name: Guhae) is the primary Yeongsanjae expert in terms of Buddhist music, following the ranks of Jigwang, Byeokeung, Songam, and Ileung. Assisting Kim are Ma Myeong-chan, Lee Su-gil, Oh Chan-yeong, Lee Byeong-u, Lee Jo-won and Han Hui-ja, who are all trainers in Buddhist music and dance or making the ornamental paper flowers for the ritual. A total of 240 transmitters are leading the Yeongsanjae Preservation Association. Until 2006, Bongwonsa Temple held a Yeongsanjae ritual for the public on the fifth day of the fifth lunar month. In order to encourage more people to participate in the ritual, it is now held on Memorial Day, a national holiday which falls on June 6.

South Korea 2009