A damaru (Devanagari : डडडड) or damru is a small two-headed drum, used in Hinduism and Tibetan Buddhism . [1] Contents [hide ] 1 Description 2 In Hinduism 3 In Tibetan Buddhism o 3.1 Skull Damaru o 3.2 The Chod Damaru 4 See also 5 References 6 Further reading 7 External links [edit ] Description The drum is typically made of wood , with leather drum heads at both ends; the damaru might also be made entirely out of human skulls. The resonator is made of brass.The height of the damru is 6 inches and weight varies from 250-330 gm. [2] Its height ranges from a few inches to a little over one foot. It is played single handedly. The strikers are typically beads fastened to the ends of leather cords around the waist of the damaru. Knots in the leather can also be used as strikers. As the player waves the drum using a twisting wrist motion, the strikers beat on the drumhead. [edit ] In Hinduism The damaru is very common throughout the Indian subcontinent . [1] The damaru is known as a power drum, and when played, it is believed to generate spiritual energy. It is associated with the Hindu deity Shiva . It is believed that Sanskrit language was recognized by the drumbeats of the damaru (see Shiva Sutra for
Transcript
A damaru (Devanagari: डमरु) or damru is a small two-headed drum, used in Hinduism and Tibetan Buddhism.[1]
Contents
[hide]
1 Description 2 In Hinduism 3 In Tibetan Buddhism
o 3.1 Skull Damaru o 3.2 The Chod Damaru
4 See also 5 References 6 Further reading 7 External links
[edit] Description
The drum is typically made of wood, with leather drum heads at both ends; the damaru might also be made entirely out of human skulls. The resonator is made of brass.The height of the damru is 6 inches and weight varies from 250-330 gm.[2] Its height ranges from a few inches to a little over one foot. It is played single handedly. The strikers are typically beads fastened to the ends of leather cords around the waist of the damaru. Knots in the leather can also be used as strikers. As the player waves the drum using a twisting wrist motion, the strikers beat on the drumhead.
[edit] In Hinduism
The damaru is very common throughout the Indian subcontinent.[1] The damaru is known as a power drum, and when played, it is believed to generate spiritual energy. It is associated with the Hindu deity Shiva. It is believed that Sanskrit language was recognized by the drumbeats of the damaru (see Shiva Sutra for the sounds), and His performance of the cosmic dance of tandava. The damaru is used by itinerant musicians of all stripes, due to its small portable size.
In the shape of the damaru, the triangular upward representation also symbolizes male procreativity (the Lingam), and the downward representation symbolizes the female procreativity (the Yoni). Symbolically, the creation of the world begins when the lingam and yoni meet at the mid-point of the damaru, and the destruction takes place when they separate from each other.
[edit] In Tibetan Buddhism
In the Tibetan Buddhist tradition, the damaru is part of a collection of sacred implements and musical instrument was adopted from the tantric practices of ancient India. These reached the Land of Snows from the 8th to 12th century, persisting in Tibet as the practice of Vajrayana flourished there, even as it vanished in the subcontinent of India.
[edit] Skull Damaru
The skull (thöpa) damaru is made from a male and female skull bone or calvarium, cut well above the area of the ear, and joined at their apex. Inside, male and female mantras are appropriately inscribed in gold. The skins are traditionally cured by burying them with copper and other mineral salts, and special herbal formulas for about two weeks. These are then stretched and applied to the two sides, giving the skins their familiar blue or green mottled appearance. A collar of simple brocade, or copper or silver, has a hand-hold, and is the site of attachemnt of the beaters, whose knit cover represents two eyeballs. The skulls are also carefully chosen for their attributes and source. After the Tibetan diaspora in 1960, they began to be manufactured in India and Nepal, with a continued degradation of quality. Today, India is no longer a source, and their creation and export from Nepal are banned, because of the acquiring of human bone through illegal practices. One still does find occasionally those with painted skins and without the proper mantras or other characteristics.
The symbolism and energetic properties of the drums is extensive. These human skull damaru or chang te'u are used in a wide range of Vajrayana ritual, as a standard right hand accompaniment to the bell, held in the left hand. Usually used to together as an accent or punctuation during various tantric practices, the drum can also keep time during entire passages. For the solo practitioner, it is an essential tool, while in larger assemblies, only the presiding Rinpoches and
chant master use them, in concert with the long horns (radung), short horns (jalung), large cymbols (silnyne and rolmo) and large temple drums (nga).
[edit] The Chod Damaru
The practice of Chod (pronounced Chö),[3] is a uniquely Tibetan development, that arose in the 10th century from the revelations of the most famous female saint of Tibet, MaChik Labdron. This spiritual practice spread widely, and became popular in all lineages of Tibetan Buddhism, except the Sakya. Today it has translated to Western Buddhist practices and there even exists a school in the West, solely devoted to this spiritual technique. The practice encompasses the full spectrum of Vajrayana philosophy and principles. However, it focuses on the dual pillars of Skillful means (deep compassion for the suffering of others) and Wisdom (understanding the true spiritual nature of oneself and all phenomena).
With no known antecedent, the Chod drum[4] is traditionally made of acacia wood (seng deng), though a variety of beautiful woods are acceptable, as long as the tree is not toxic and does not possess thorns or other negative attributes. Made as a one-piece, double-sided (two-headed) bell shape, size varies from 8" to 10" in diameter. Usually with only a thin verneer of varnish, so that the grain of the wood shows, they come the common red (marpo), black (nakpo) or rare yellow (serpo) type of acacia, and are very occasionally painted with skulls, the eight charnel grounds, or other symbols. The waist or belt is traditionally made of leather, though often brocades are used. There are various configurations of gold mantras written inside each drum interior, and skins are of the variety mentioned above, and called "trin-pak" or cloud skins. The damaru is completed by a long sash or tail, which requires small jingle bells or yerka to be attached, as well as a metal mirror (melong), strips of predatory animals, and human hair. There are other elements of their production which also remain a guarded secret of the few craftsmen who retain this art. Again, the symbolism and meaning of the various parts is extensive, and thus all these elements crucial to their ultimate purpose and function.
The pitch of the drum varies, and the tone may vary depending on conditions of dampness, temperature and so on. Played slowly, and methodically, the droning of the damaru accompanies the haunting melodies and chants of the Chod ritual, as of which are accompaniments for the inner meditations and visualizations that are at the heart of this spiritual practice.
The above applies to the ideal manufacture of the damaru, and as still described in the definitive modern work, the "Mindroling Handbook of Vajrayana Implements." Those manufactured in India and Nepal are made of indeterminate and cheap woods, with painted skins, often no interior mantras, and altogether deviating from the many other essentials, as presrcibed in technical literature such as the Mindroling Handbook. Such copies are now widespread and in use by Eastern monastics and Western students. Fortunately these are now available again, through one or two sources of manufacture in Bhutan, where Vajrayana has remained the state religion during the whole period of the Chinese occupation of Tibet. With new generations of devoted and trained Western practitioners, the future of the practice of Chod and of properly made damaru looks bright. It may yet fulfil the promise of the symbolism of the drum itself: The proclamation of Dharma and the sound of compassion reverberating through limitless space.
[edit] See also
Skull (symbolism)
The Damaru
The Chöd Damaru (Chöda) is the central instrument of Chöd. It is a sacred Vajrayana implement that—if made correctly—has extraordinary properties:
It is the dwelling place of the divine feminine, the Dakini; It is itself synonymous with the enlightened forms of
Prajnaparamita, Vajrayogini and Troma.
The damaru is the sound of Sunyata or complete openness, a bridge that connects us to the essential source, the basis of being that is beyond name and form.
It is also a unique channel for the profound blessings and power of the lineage and a portal for the mystical forces that protect the dharma.
The damaru is thus the sound of the dharma itself and a proclamation of the fearlessness of the solitary yogin or yogini.
All this being so, an important and deep relationship comes to exist between the Chöd practitioner their Chöd drum.
Every part of the drum has both symbolic meaning and energetic function (such details to be published in my forthcoming Tibetan Chö: Cutting Through to Freedom from Snow Lion). This being the case, there are many requirements and essential components to its manufacture and use.
Until recently, the art of making these according to the exacting Vajrayana specifications seemed almost extinct, but on a recent trip to Bhutan I discovered that the ancient art of damaru fabrication is still vibrantly alive! Now, we are offering completely authentic and accurately-made Chöd damarus in the West for the first time.
Our fabricator is a Bhutanese Chöd and Troma practitioner himself, who upholds the highest standards of workmanship and respect for sacred implements. These Chöda will last a lifetime as a fitting vessel for taming our own mind and that of suffering sentient beings. As sacred works of art, they can be passed on with pride to future generations of practitioners!
Wood
The drum shell is made of finest hand picked SengDeng wood (Acacia spp.) or Rosewood (Pterocarpus santalinus), according to tradition, free of defects, cracks, etc., with exquisite finish.
Proper dimensions of the Chöd damaru are maintained, showing a 2:1 ratio of diameter, depth and the opening between the two sides or bells of the damaru.
They are finished so that the wood grain shows, whether of the “gold” style (SengDeng) or “black style” (Rosewood).
Skin
In accord with terma, skins are buried with minerals salts (copper) and herbs for a month. Do not lose tone or become warped and damaged.If they become looser from moisture at any time, merely coming into a dry area restores the original tone. The living skins should be gently rubbed with a small amount of lanolin on a regular basis. (Note: the inner skins are marked by the highly secret “35 Dakini Blood,” as prescribed in the authoritative Mindroling Manual of Vajrayana Implements (2003).
Mantra
The interior of the drum has a red pigment ground, upon which are hand-drawn gold mantras and seed syllables, as prescribed by traditional texts and terma. These include mantras of the Prajnaparamita, Dudjom Vajrayogini, Troma and so on. Commercial damarus either have no mantras or have cheap photocopied paper mantras glued in
Conch and Iron Rings
A white conch shell ring encircles the strap of the collar, having symbolic significance and providing an essential support for the base of the hand holding the strap. A metal ring (iron, steel or copper) connects the strap tot he the chöpen banner.
Band and Hand Strap
We use a broad strap, either of genuine silk brocade, or leather—old style. The handle is thick, making it easy to grasp and comfortable for
long playing. The suede texture of the leather helps prevent chaffing or blistering, familiar problems during long Chöd
Cases
The case, or “shoop,” is not just for carrying the damaru. Our cases are sturdy with wider straps, tight fit and a moisture-protective red wool lining throughout. The case also has a removable DamaruWorks crest.
KANGLINGS
The human thigh bone trumpet or kangling is an essential implement of Chöd, and has many meanings and subtle functions for the
practitioner. Most Westerners, however, are not aware that if one does not have a human bone kangling, one can effectively use their own curled hand to blow through! Additionally, both wood and certain horn kanglings are acceptable and correct methods of practice.As stated in the definitive Mindroling Manual of VajrayanaImplements and Dharma Objects (Nyagur Nyingma College, 2003):
Formerly in Tibet, at some monastic centers at various periods, the traditions of sounding the thighbone horn, wood kangling and deer kangling were renowned.”
The creation of our specially hand-crafted wooden (Tib: shing) kanglings has surpassed all expectation! They are exquisite and unique, from the fine finish and vibrant sound, to the sturdy brocade case.
Features
Made of Sengdeng (Acacia), the same dense and resonant wood used to make the traditional Chöd damaru.
The sound is brilliantly clear and easier to play than the bone kangling.
The mouthpiece is made of hand molded brass, scribed with three types of decaying heads—fresh, rotting and dried skull, representing the three kayas, as in a katvanga.
The skin around the head is made of goat and white in color. It has the same energetic and tsa-lung effects as a bone damaru,
and carries your own energetic signature of wind through your hand bones.
They contain internal beeswax coating, just like a bone damaru, as a moisture barrier and to make the sound more resonant.
A stiff high-quality case is included, nothing like the flimsy, cheap cases available in Nepal and India.
Advantages
The advantages of a wood kangling include the following:
There is no problem whatsoever with transport or visibility in public as with human bone.
Bone kanglings are almost never from a known origin and often not from reliable sources. For example, kangling are not to be used from diseased individuals or who died from contagion, those who died from an accident, heretics, non-Buddhists or samaya breakers, etc.
They are less wrathful and gentler in action, since they carry only your own life energy-signature.The price is comparatively reasonable and affordable.
They are not subject to cracks or damage, as with fragile bone. Wood also retains one’s “ngödrup” or siddhi, the accumulated
positive energy of practice. They are a work of art that can last a lifetime and be passed on
as a sacred legacy to future practitioners.
As with all wood carvings, each has slightly different grain and wood texture. Each of these, hand-crafted by our Bhutanese artisan who is a serious Chöd and Troma practitioner, takes time to create. Thus they are available in limited supply and not always “in stock.”
The process of obtaining the kapala (scull cups) and human thigh bone Kangling trumpet proceeds in a complex and time-consuming process. First, the head and the thigh bone of the corpse are extracted and then being immersed carefully in a select marshy land area for over 3 to 6 months.
It is then exhumed, ensuring that all fleshy portions are completely separated. Any of the local lay monks (ngakpas) can perform the art of separating the skull (Thopa or Kapala) from the head portion and sizing down the thigh bones for kangling. It is then cooked and boiled thoroughly for several days until all the fat content has been removed. Then the final involces cleansing, using sacred, blessed water (amrita or dutsi) and then polishing with baked river sand. This painstaking procedure preserves the original color and all the internal architecture of the kapala skull cup.
Often the brownish dot marks visible inside the cups are not associated with any kind of artificial coloring. During the process of polishing and cleansing the interior portions of the cup, original saffron herb and several blessed amrita liquids are used to cleanse the cup and to determine that the internal portions of the cup are thoroughly cleansed.
The yellowish color inside and outside the scull cup is applied with saffron color to protect humid weather and fungus, which can be cleaned by warm water and any type of mild soap, should one wish to maintain the original color of the cup.
Grading the Kapala Skull Cup
Beneath the outer portion of the cup, one, two or three tiny holes are visible to determine the grading of the scull cups. There are three different categories or grades of skull cups. Scull cups with three holes are graded as One (Doombur Chigpa), two holes are graded as Two (Doombur Ngeepa) and one hole are graded as Three (Doombur Sumpa).
Kapala and Kangling Prices
The 1st grade Dumbur Chilpa Kapala is priced at USD 900.00. The 2nd grade “Dumbur Nyipa Kapala is priced at USD 700.00
and The 3rd grade Dumbur Sumpa” is priced at USD 600.00. A pair (two) of male or female Kangling thigh bone trumpet is
priced at USD 600.00.
The Traditional Skullcup
Apart from these physical issues, these sacred items, prepared according to very specific tantric methods and terma instructions, have a unique energy and a powerful impact on the substances that they contain: Even food eaten from a skullcup with the right characteristics is imprinted with remarkable qualities.
Painting the skullcup with hardware store paint is hardly a traditional method. Thus in order to help preserve the health of our precious
resource of Rinpoches, lamas and dharma students, and to safeguard the vibrant effect of these tantric tools, I devised the following method, based on the old ways.
Safety First
If your teacher or lama, East or West, has a skullcup, use this essential method to safeguard their health and that of their students! Old paint does not have to be removed—which in any case is usually impossible due to the porousness nature of bone. Just use this method directly over the previous surface.
Ingredients
All the following are readily available in stores or online. I have listed the source of organic materials (my preference) below.
Add about 2 tablespoons of beet powder to 3-4 tablespoons of oil. While the beet powder can be added directly to hot wax, for best results, the beet powder and oil should be mixed and gently heated together. This dissolves fairly rapidly.
If you use too much oil, the final wax is too soft. If you add no oil, the wax will be extremely hard and difficult to ever remove.
Wax Preparation
Meanwhile, in another pot, melt beeswax at low heat, not allowing it to steam or simmer. A fist-sized piece is usually adequate (depending on the size of the fist and the skull!).
The beeswax needs to be chopped into smaller pieces before cooking. This requires a heated or very sharp knife to shave pieces off. Beeswax is extraordinarily hard!
Use plastic under your entire work area, and try not to spill any on the stove. Cleaning hardened beeswax is not fun!
Add the oil to the hot wax and start painting the inside of the skullcup. A natural bristle brush works well. Start with a thin overall layer, then gradually build up, putting several layers on. It hardens quickly, so this is no problem. Keep the wax on low heat so that it does not harden while you are working. When through, check and touch up any patchy areas. Also make sure the rim or edge has a nice coating as well.
Clean Up
When all is done, immediately put your brushes in hot water, though they will never again be “clean.” The pot is best cleaned by mild heating and scraping.
If you have any hot wax left, you can always run it through your kangling, using a hot coat hanger to ensure a clear channel from end to end.
After each use, make sure the thöpa is cloth dried and left in the air to dry for several hours. Of course, it should never be left empty, but contain flowers, jewels or other offerings.
If used for eating, these rules apply strongly. Rather than immersing in water, clean with a damp cloth and air dry. Use natural essential oils for added cleanliness, if needed.
May this method benefit and preserve the precious dharma and its practitioners in these perilous and dangerous times!.
is the pendant of the damaru, a victory banner, proclaiming the vanquishing of the four maras and the prison of samsaric mind. Consisting of a triangular header and a tail, they ornament the simplicity and power of the drum. The drum is the sound of Emptiness, the pendant is the splendor of its manifestation into the world, into the five Buddha Families, five skandhas and five elements. Especially, they are an expression of the Five Dakini (Khandroma) families, the elegance and power of the feminine Wisdom energy, freely dancing in space (Tib: Khandro means “she who travels in the sky [of mind]).
Instead of the polyester brocade and small panels that are used today, we have had classic-stye chöpen fabricated, that reflect the long and meaningful traditions of Chöd. These are 100% Benares silk, with nine full length panels going in a sequence from blue (space-sky), white (water-clouds), red (fire-sun), green (air-vegetation) and yellow (earth-mountain) at the center, and then repeating the same pattern to the back. These move beautifully and elegantly and are a fitting proclamation for the activity of Chöd.
The tail of the damaru is completed by certain essential ornaments. These include:
1. Mirror or melong. 2. Yerka or small jingle bells. 3. Tiger and leopard skins strips.3. 4. Semiprecious gems:
turquoise, amber and dzi bead. 5. Human hair (which you will have to acquire yourself!).
Melong
The mirror adorns the center of the chöpen, traditionally silver, but brass is acceptable, due to the higher price of silver. This melong is both the expression of pure, stainless dharmakaya mind and the indivisibility of luminosity and emptiness.
The yerka or small bells call the dakinis and are the sound of their joyous laughter. There presence is an essential part of the damaru’s sound. Sadly, this became one of the missing ingredients in the translation of Chöd from old Tibet to India and Nepal and then to the West. This tradition must be revived by today’s dedicated practitioners.
Animal Skins
Tiger and leopard skins magnetize and overcome the wild passion of oneself and others and attract beings of the 6 realms. We use the finest “faux furs” available today, which carry the animal energy, while respecting the lives of these magnificent beings.
Stones
Dzi, turquoise or amber stones. placed on the handle, attract the three kinds of non-human spirits (above, upon, and below the ground respectively).
The domra is absolutely unique to the practice of Chöd—and once you understand its tantric significance, you may decide it is also absolutely essential! Both head and facial ornament, it was brought to Tibet by the great master of Shijé, Padampa Sangye. The origin of its odd name (Tibetan dom = bear) may stem from its truly “bear-like” appearance.
Construction
Its construction is straight-forward: There is a short visor (not unlike one a poker player or sunbather might wear) jutting out 4 to 6 inches from the forehead. This is made of black felt with a black or red underside, from hang vertical black strings. About 6 inches in length, these are traditionally made of yak hair, though nowadays cotton, silk or polycotton strings have taken their place.
This allows the practitioner to see clearly through this screen, but his/her eyes are obstructed to the outside viewer.
The domra is in standard use by certain lineages of Chöd practitioners, and seldom if ever used by others. It remains popular among Nyingtig practitioners, as well as followers of the lineage of Padampa Sangye—such as the renowned Lama Wangdu Rinpoche. And it is more likely to be seen on solo practitioners and wandering yogis than in group practice that occurs in the larger monastic assemblies.
A definitive Tibetan compendium on various dharma objects “The Implements and Dharma Materials of the Insurpassible Vajrayana” (Nyagur Nyingma College, 2003). briefly describes the background meaning and symbolism of a wide variety of dharma clothes, musical instruments and ritual objects. It has this to say about the symbolism of the “Chöd Yogi’s Hat”:“The absence of the lateral folds is a sign that there is no attachment to samsara. The upper part being unblemished by any ornament means one is free from the husk of self-grasping, and will see one’s original face as the fundamental nature itself. The forehead ornamentation of hair arranged in strings is a symbol that one gathers the yoginis and is never separate from them. Thus unruly hordes of the eight classes of demons are not able to trample us.”
Tantric Function
The purpose of this unusual apparatus is unusual: to shield the timid and frightened spirits from the brilliance of the practitioner’s powerful gaze. The energy streaming from the eyes of an individual who has
some Chöd experience or realization can indeed be overwhelming and overpowering for lower spirits, even though they are themselves noxious and frightening harm-doers. It is thus out of compassion that one wears the tomra, to allow all lower guests to partake of the red feast.
It can also be worn during any peaceful torma offering (such as a kartor), where one does not wish to appear threatening to local spirits. Additionally it is sometimes used during certain phases of sur (smoke offerings for the dead) where, once again, one wishes to shield the bardo beings from the yogin’s powerful gaze.
However the deeper energetic and shamanic purpose of Vajrayana Implements is not generally discussed in traditional texts. Such information stays within the line of oral transmission, or is left for the discovery of the practitioner during meditative states. Thus the domra is far more than an outer shield; It is also a magnifier of inner vision. Using the domra, one becomes attuned to the presence of the “outer demons,” and as the ongoing Chöd ritual and meditation deepen, to one’s inner demons as well. Possibly this is due to the insulation from the outer world that one feels when using such a “mask.” But clearly more is at work here. In fact the domra is a remarkable piece of sacred science that provides direct seeing into deeper realms and dimensions, the kind of vision that greatly helps the compassionate work of the Chöpa.
Shamo
The Dorje- Shamo (Vajra Hat) is particularly linked to the Chöd tradition through the Third Karmapa. The most important early codifier of the Chöd tradition, his collection of texts, the Rinpoche Tsogley Trengwa o r Precious Rosary, have been fully assimilated by all Nyingma Chöd traditions. Thus his hat is also in widespread use by virtually all Nyingtig and other Nyingmapa chöpas. It is made of brocade silk, with a two color pattern, somewhat similar to the common practice hat worn by Kagyu and Nyingma lamas in general. But it is distinguished by having no flaps, but instead a stiff lower collar in a lotus pattern. It
is thus somewhat similar to the Rechungpa hat, with its fur collar, a hat that is also traditionally shown on the head of Tönyon Samdrup, MaChik’s son. Usually the upper and lower sections are dark blue with red trim, as illustrated here. For a less-wrathful approach, the reverse colors can be used. Dudjom practitioners of the Troma cycle wear a similar-shaped hat, the crow (karak) shamo, with its characteristic upper bird shape. This is also seen in various other wrathful rituals, such as Zor, for averting negative conditions.
The Tiger Seat
Animal Skins
Animal skins, whether sheep, yak or carnivorous beast, have been used for survival from the elements, comfort, convenience and status since humans could hunt or domesticate animals. They were a ready source of material for creating clothing, dwellings and furnishings. Skins and furs form a natural mat or rudimentary carpet, and have been used in this way from prehistory up to our present technological age. Thus the use of skins as a meditation seat also goes back to earliest times. However, they acquired quite a new purpose, meaning and symbology in the context of Vajrayana. Indeed, wild animal hides formed an intrinsic part of the tantric lifestyle and accoutrements of the wandering yogis and yoginis of ancient India. Dorje Trollo, the wrathful emanation of Padmasambhava, rides a tiger as his consort
and Dombi Heruka, the great mahasiddhi, is also depicted in this iconic form. In fact a number of the legendary 84 Mahasiddhis are typically portrayed seated on animal skins, including Virupa and Bhayani (depicted on the left). The migration of the Secret Mantra Path to Tibet also brought numerous tantric implements, instruments and specialized forms of dress, and the animal skin seat was readily adopted. Milarepa, like many other great saints of India and Tibet, is traditionally shown sitting on a deer or antelope pelt, and even Sakya Pandita (shown below) is shown in yogic pose on a tiger skin—and wielding a bone kangling!
The Woven Rug
Rugs in Tibet were numerous and essential parts of nomadic, village and monastic lifestyles. They were portable, warm, and also became a sign of status and wealth. With tribal Central Asian, Indian, Chinese influences and especially Buddhist influences, a unique Tibetan style of carpet developed. Meditation rugs, woven from yak wool, might typically have patterns of dorjes, auspicious symbols or other dharmic themes. But for the yogi, and particularly the chöpa, the wild animal pelt was the preferable seat.
All the traditional texts that list the chöpas tools of the trade mention the damaru, bell, kangling and tent, followed closely by the tiger seat,
“with its claws intact.” Tiger pelts would have been fairly plentiful and available, their natural range spreading from India and Nepal to China. Hunters or villagers eliminated animals that encroached on their territory, while the large cats still had vast uninhabited regions in which to roam free. Then, as now, in spite of the Buddhist respect for all life, hunting and meat-eating was an intrinsic part of Tibetan culture. The dwindling tiger population worldwide, and a very favorable change in human consciousness, has made the killing of these magnificent animals abhorrent to the modern mind. It is not clear when the transition to the woven wool tiger took place, but certainly the two traditions existed simultaneously, and today the tiger carpet has happily taken the place of an actual tiger pelt.
The Meaning of the Tiger Rug
The wandering Chöd practitioner or ngakpa (mantric practitioner) cared little for status or comfort, yet the tiger skin was an important possession. The tiger represents our basic passions and desires, and taking our place on such a seat proclaims our victory over the lha and dré, the gods and demons of the illusory world of experience and cyclic rebirth. The skin of these carnivorous beasts, who naturally and freely kill rather defenseless creatures, is also endowed with very special energies. On an outer level, the tiger gives us strength and the courage and fortitude to overcome all obstacles and behave with fearlessness. On an inner level, the wrathful, violent vibration, the karma of the desire to kill and the actual deeds performed, provide special fuel for the yogi’s inner meditative experience. In Chöd it is the transformation of these energies, rather than their avoidance, that is the path. The yogi or yogini steps directly into these difficult energies
and is forced to develop compassion and confront their own demons. On the innermost level, they help the meditator to cut through hope and fear. This is the same reason that one of the ideal type of kanglings is from the body of someone who died in battle, or through mutual slaying, and why tiger and leopard strips are used on the tail of the damaru.
Tent of 6th Dalai Lama
The Modern Rug
The modern tiger rug comes in a number of varieties, but the one directly related to the chöpas practice are the “cut-out rugs,” which mimic the shape and look of a real tiger skin. These are all hand made on the Tibetan loom, not mass-produced, so each is a work of art, craft and tradition, fabricated from yak wool, usually at 100 knots per inch. Both natural and chemical dyes are integrated, depending on availability and ease of use. Still, like any craft, the work varies significantly. The woven tiger rug links us to our past tradition, and to the transformative and challenging energy of the real tiger skin. Yet somehow, this simple carpet is more than a cartoon replica, or a compassionate substitute. Somehow they have retained a vibrant link to its living brethren.
One should use this tiger rug or “tak gyi den” as one’s main meditation seat at home, and as a portable meditation cushion for every circumstance or event to enhance one’s practice.
There is a wide range of quality, and since they are hand made, no two rugs are exactly the same. Like all our yogic material, these are not shipped in bulk, but hand-picked. The ones that have the best weave, expression, “personality” and aliveness are adopted for their new home in the West. These rugs can be found on the internet in a few places, but we will send you a photo of your potential rug and make sure it is the one you want. On my “tiger hunting” trips, I go through as many as are available, seeking those with the energetic qualities that make them fitting as a daily meditation companion and acquiring those with that seem vibrant, humorous, and absolutely alive. Like the damaru, these are effervescent and full of life force, creating sacred space and sacred view. A good tiger rug attracts many invisible helpers, dakinis and protectors. Our practice is more enjoyable, and our meditation stronger and more luminous.
1. ^ a b Damru Devshoppe.com2. ̂ Skull drum (damaru) on exhibit at the National Music Museum3. ̂ "School of Tibetan Healing Chod. The world's only comprehensive training in the various
