In this chapter Stevenson sketches a history of art in Reb gong since it first gained national attention in 1978. Major themes in the article are the Chinese interest in China’s ethnic minorities, and the relationship between Tibetan artists and federal policies on art. He mentions that while “Regong Art” is extremely popular among Chinese collectors, it is difficult to define, including at the very least thang ka (including painted, embroidered and appliqué varieties), statues and ornamental panels (199 ).
In order to give a background to his study of contemporary art in Reb gong, he then summarizes what different sources say about the earliest history of the artistic tradition in Reb gong. To discuss this, he draws on oral tradition and the Mdo smad chos byung , and then presents the research of Shen Xueyan , which includes Shen’s chronology and model of art in Reb gong. Following this, he writes at length (still citing Shen ) about the “Golden Age” of Reb gong art, from the nineteenth to mid twentieth centuries. In particular, he focuses on the artists: they often began as teenage novice monks in Reb gong’s monasteries, and often chose between receiving full ordination or leaving the monastery to become a professional artist (203-204 ).
Stevenson then presents a section on Reb gong art after 1949, composed of short biographies of several local artists and detailing the ways that they were influenced by the events of the mid twentieth century. Following this is a section on how the artistic community has changed since 1978, in terms of both the artists’ lives and the themes of the art. This includes a discussion of the themes of art and an examination of the “New Painting” movement and the “Great Thangka”, focusing on political themes (213-214 ).
In general, this chapter begins with a historical sketch but deals mostly with the interpretation of art and artists in Reb gong and Dkar mdzes since 1978. Bibliographic references for earlier art history in Reb gong focus on Shen’s works and oral traditions.
References:
Amdo Tibetans in Transition: Society and Culture in the Post-Mao Era
Art and Life in A mdo Reb gong since 1978
Qinghai fangzi gognzuo ziliao
Place Reference:
Reb gong County
Offerings
At the beginning of the ritual, each household brings offerings to the village courtyard where the ritual starts and proceeds from. Tsampa (roasted barley flour), fruits (grapes and apples), breads (all homemade), liquor (barley or rice) and cookies are offered. There are flowers among the offerings as decorations.
Making Offerings
When the offering has proceeded to its half-way point, the ritual participants come to the altar with Glung rta (wind horses) and wine to make offerings. After they have made their offerings, they go back to their line and continue circumambulating the courtyard.
Women's Dance
While the Lha ba (trance medium) speaks to the male participants, the young village women circumambulate in a slow, systematic step wearing heavy decorations and Tibetan robes.
Foreign Visitors
I was surprised to see so many foreigners during the Klu rol ritual. I was told that some of them are temporary travelers, and that some had lived there for years. During the ritual process, photographers wandered around everywhere without a hint of concern about possibly inconveniencing the participants or villagers. Their cameras kept clicking and no one asked permission.
Foreign Visitors
I was surprised to see so many foreigners during the ritual. I was told that some of them are temporary travelers, and that some had lived there for years. During the ritual process, photographers wandered around everywhere without a hint of worry about possibly inconveniencing the participants or villagers. Their cameras kept clicking and no one asked permission.
Drums
Two old men dance with their drums.
Drum
An old man dances with his drum in the Klu rol ritual.
Piercing
All new participants in the Klu rol ritual have to have their cheeks pierced.
Piercing
All new participants in the Klu rol ritual have to have their cheeks pierced.
Foreign Visitors
I was surprised to see so many foreigners during the ritual.
Piercing
All new male participants in the Klu rol ritual have to have their cheeks pierced.
Foreign Visitors
I was surprised to see so many foreigners during the ritual. I was told that some of them are temporary travelers, and that some had lived there for years. During the ritual process, photographers wandered around everywhere without a hint of worry about possibly inconveniencing the participants or villagers. Their cameras kept clicking and no one asked permission.
Two Pierced Boys
The two boys in these photos are new participants in the ritual. They have to have their cheeks despite their young age. It looks painful but the participants display little sign of discomfort.
Making an Offering
When the offering has proceeded to its half-way point, the ritual participants come to the altar with glung rta (wind horses) and liquor to make offerings. After they have made their offerings, they go back to their line and continue circumambulating the courtyard.
Women Dancing in a Line
While the Lha ba speaks to the male participants, the young village women circumambulate in a slow, systematic step wearing heavy decorations and Tibetan robes.
Possessed Lha ba
After the offering is completed, the participants come close to the Lha ba (trance medium), who sits in front of an image which is covered by offered Kha btags (strips of white cloth). He speaks to the participants in a poetic way. I was told that the Lha ba in these images has never been to school and is unable to read or write. There are terrifying stories about the Lha ba. When he is possessed by the local mountain god, he recites what has happened in the previous year and the sins that villagers have committed.
Possessed Lha ba
After the offering is completed, the participants come close to the Lha ba (trance medium), who sits in front of an image which is covered by offered Kha btags (strips of white cloth). He speaks to the participants in a poetic way. I was told that the Lha ba in these images has never been to school and is unable to read or write. There are terrifying stories about the Lha ba. When he is possessed by the local mountain god, he recites what has happened in the previous year and the sins that villagers have committed. Often he is able to name specific people and pinpoints what their sin is.
Women's Dance
While the Lha ba speaks to the male participants, the young village women circumambulate in a slow, systematic step wearing heavy decorations and Tibetan robes.
Women's Dance (back)
While the Lha ba speaks to the male participants, the young village women circumambulate in a slow, systematic step wearing heavy decorations and Tibetan robes.
Offering in Process
The Lha ba (trance medium) makes his offerings just after ritual participants have finished their offerings. He was speaking during the offering process but I didn't hear what was said.
Foreign Visitors
I was surprised to see so many foreigners during the ritual. I was told that some of them are temporary travelers, and that some had lived there for years. During the ritual process, photographers wander around everywhere without a hint of concern about possibly inconveniencing the participants or villagers. Their cameras kept clicking and no one asked permission.
Foreign Visitor
I was surprised to see so many foreigners during the ritual. I was told that some of them are temporary travelers, and that some had lived there for years. During the ritual process, photographers wander around everywhere without a hint of concern about possibly inconveniencing the participants or villagers. Their cameras kept clicking and no one asked permission.
Food Preparation
Five households in the village invite all the villagers to share a meal which is prepared particularly for this ritual. The feast is served before the ritual begins. Because between fifty to seventy people come to eat, all the village women come to help prepare, bringing bowls and cooking tools with them. Big pots of soup with noodles and meat are served.
Dressing
After the meal the village men go back to their homes to get ready for the ritual. All ritual participants are required to wear a Tibetan robe and Tibetan long-sleeved shirts. These clothes were traditionally everyday wear, but people don’t wear them very often nowadays. The socks that they wear for the ritual are special in that they are homemade and are very different from the ones people wear in daily life.
Offerings
At the beginning of the Klu rol ritual each household brings offerings to the village courtyard where the ritual starts and proceeds from. Tsampa (roasted barley flour), fruits (grapes and apples), breads (all homemade), liquor (barley or rice) and cookies are offered. Flowers are placed among the offerings as decoration.
Circumambulation
The ritual begins with men circumambulating the courtyard. They walk in a systematical gait as a man beats a drum. This constant beat provides the rhythm to keep their steps together. While the men walk, the Lhaba (trance medium) prepares. The entire village attends this part of the ritual. Women with their children sit nearby and watch.
Circumambulation
The ritual begins with men circumambulating the courtyard.
Foreign Visitors
During the ritual process, photographers wander around everywhere without a hint of concern about possibly inconveniencing the participants or villagers. Their cameras kept clicking and no one asked permission.
Foreign Visitors
I was surprised to see so many foreigners during the ritual. I was told that some of them are temporary travelers, and that some had lived there for years. During the ritual process, photographers wander around everywhere without a hint of concern about possibly inconveniencing the participants or villagers. Their cameras kept clicking and no one asked permission.
Thar (2008) on Reb gong County
Thar has a large amount of information on Reb gong generally (rather than in reference to a specific Bonpo sites) in his article “Bonpo Tantrics in Kokonor Area.” In particular, he gives a detailed breakdown of the general kinds of rituals performed annually by the Bonpo gsas khang in the Reb gong (Tongren) County area, including the names of different rituals, their general length, number of participants, date, a brief description and general importance (543-544 ).
In this chapter Costello focuses on the economics behind recent changes in Tibetan-language education and cultural products (such as newspapers, books, operas, etc.) in the Reb gong area. The majority of her information comes from her fieldwork in Reb gong, including both interviews and surveys. She only cites one source, the Qinghai Tongji Nianjian from 1998 .
The 'Descent of Blessings': Ecstasy and Revival among the Tibetan Bon Communities of Reb gong
Abstract:
Byin 'bebs 'the descent of blessings' is an ecstatic state and expression of faith among the Bon community in Reb gong County, Rma lho Tibetan Autonomous Prefecture, Qinghai Province, China, associated with the biannual Chos thog chen mo ritual. After 1958, the descent of blessings was not seen again until 1999. Bon adherants believe that blessings will descend if they are in the presence of a sufficiently powerful deity or bla ma and if their faith is strong enough. The ecstatic state is evident in dramatic changes in facial expressions, crying, laughing, dancing, jumping, the making of ritual gestures, and spontaneous uttering of prayers. This article introduces the Bon community of Reb gong, examines the descent of blessings in its ritual context, presents the phenomenon's recent history, and provides first-person accounts from those who have experienced the descent of blessings.
descent-blessings-ecstasy-and-revival-among-tibetan-bon-communities-reb-gong.pdf
- 'descent of blessings'
- Bon
- Reb gong
- religious ecstacy
- religious revival
- ritual dance
