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nunghwa |
2007-04-13 01:29:46, Hit : 6161
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Origin of Buddhist Dance |
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Origin of Buddhist Dance
Nung-Hwa Kim
Buddhism, in general, prohibits songs and dances according to śīla (戒 rules) and vinaya(律 disciplines). However, the religious significance and educational functions are well explained in many sutras. In principle, the Buddha prohibited songs and dances. If practicing monks are into the secular pleasures, they are apt to forget the original purpose of practice. That's the reason why the Buddha has a negative view of songs and dances. However, the Buddha also expresses a positive view of songs and dances. If ordinary people perform songs and dances for the ritual service with their heart, it will help to the path to the Buddhahood. The origin of the Buddhist dance is derived from joy and elation that was caused by deep faith. Accordingly, the dance in Buddhism is a performing expression of religious faith. So it can be developed into ritual dance that could enhance our faith.
There are many theories in the origin of Buddhist dance, i.e, the theory of Indian dance, the theory of Indian offering, the assembly at Grdhrakuta Mountain (靈山會上) theory, the five studies of India (五明 pañca-vidyā) theory, and esoteric Buddhism (密敎) theory. In South Indian temples, dances were always performed in worship services and we find offering dances depicted the sculptures of Buddhist temples. Also we can suppose that Hindu worship rituals and offering services gradually developed into an artistic Buddhist dance.
In the assembly at Grdhrakuta Mountain theory, after hearing the sermon of the Buddha, the rejoicing masses and Gadgadasvara (妙音菩薩 Wonderful sound Bodhisattva) praised the Buddha by offering flowers and incense and playing songs and dances. This elated scene seemed to have been sublimated (sublimed) in art. As Buddhist dance has been transmitted mainly through Yeongsan-jae (靈山齋 Grdhrakuta mountain ceremony; the seven times seven days of funeral services; the forty-ninth day), the Grdhrakuta Mountain theory is very plausible.
It can be said that the Buddhist dance, Bara-chum (Cymbals Dance) is based on the five studies of India (五明 pañca-vidyā) theory because the term such as śabda (聲明, grammar and composition),hetu (因明, logic) and adhyātma (內明, philosophy) are mentioned directly in Bara-chum (Cymbals Dance). Next, esoteric Buddhism theory has greatly influenced Buddhist dance, as we can see Bara-chum (Cymbals Dance) mostly consists of dhāraṇī and mantra. For example, when Omnam Dharma-making of Nabi-chum (Butterfly Dance) is performed, chattering is done with mantras. However, when and where this kind of Dharma-making performance was made and transmitted is unknown. The fact that this kin! d of performance has been transmitted by word of mouth from teacher to student. So we need more study about this lineage transmission.
The development of Buddhist dance can be traced back to the historical fact that dancers were trained in Indian temples and we can find sculptures of dancers in temples. In addition to those, through the body language of Kadacali and the mudra used in Yeongsan-jae (靈山齋), we can see the character of Buddhist dance. In China, in such painting as 'The Chart of eavenly Instrument (天宮伎樂圖), pictures of bodhisattvas playing instruments and dancing might have influenced Nabi-chum (Butterfly Dance). In Tibet, we can find the traits of Buddhist dance in the propagation dramas which encourage good and deflect evil.
Traditionally, in Korea, Korean Buddhist dance started with Wonhyo's educational Muae-mu (No hindrance dance) in the Silla (新羅) period and then developed into Yeongsan-jae (靈山齋 Grdhrakuta mountain ceremony) in the Joseon (朝鮮) period.
However, when and where this kind of Dharma-making performance was made and transmitted is unknown. The fact that this kind of performance has been transmitted by word of mouth from teacher to student. So we need more specific study about this lineage transmission
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