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The perforated jade disk called ts'ang pi is still used as the symbol of the deity Heaven (T'ien) in the temple of that divinity at Peking. By a regulation of Emperor K'ien-lung, the proper dimensions of this ceremonial disk were rigidly established; the diameter of the disk proper was set at 6.1 inches, and its thickness at 7/10 of an inch; the perforation was to have a diameter of 4/10 of an inch. While the quality of the jade to be employed is not especially determined, the name ts'ang implies jade of a bluish shade. The veined type of stone is regarded as peculiarly adapted for this purpose.
We are apt to regard Tibet as the land least accessible to modern influence of any kind, and that least in touch with any aspect of European civilization. It seems, therefore, not a little strange that at the chief altar of the Royal Chapel in the Dalai Lama's palace on Potala Hill, Lhasa, the elaborate tse-boum (incense vase or vessel), used by the Buddhist priests in their services, is a product of modern Parisian art, having been made in Paris about ten years ago. The vessel proper, which is carved from several exceptionally large pieces of coral, rests upon a flat, silver-gilt base, ornamented with two dragons, and is crowned with an oval framework of lapis lazuli leaves; upon this framework is a coral statuette of Amitabha, the "Lord of Boundless Light," revered as the emanation of Adi-Buddha, supported by a lotus flower of white chalcedony. At the apex of the leafy oval rests a representation in white chalcedony of a crescent moon, above is a sun in yellow stone from which springs a coral flame, symbolizing the radiance of wisdom (nada). Although the Dalai Lama was anxious to avail himself of the aid of French art for the embellishment of his altar, he took due precautions that the religious character of the vessel should be properly conceived and maintained, and therefore sent one of his high-priests to Europe to choose the artists best fitted for the execution of the vessel, and this priest took the pains to make a special trip to Leghorn in order to select the coral appropriate for the sacred utensil. As will be noted, this material, so greatly prized by the Tibetans, is that most prominent in this temple incense-vase. The dragons attached to the silver-gilt platter have been placed there to honor the Chinese, and are so affixed that they can be removed when no Chinese representatives are present at the ceremonies. In the older tse-boum, to take the place of which this Paris product was executed, the red-tinted ivory was used where coral appears in the newer vessel. The employment of this color is due to the fact that it is the sacred color of Amitabha.
Within the sacred precincts of the temple of Cho Kang, in Tibet, is a splendid, life-size image of the Buddha formed of solid gold. The priests teach that it is of supernatural origin, and ascribe its execution to the creative energy of Visvakarma, a personification of the formative energy in the cosmos. The gold in this image is, however, not absolutely pure, but is alloyed with silver, copper, zinc and iron, the choice of these four metal alloys being dictated by the significance of the five metals in union as symbols of the world. The precious-stone adornment of this wonderful idol consists of magnificent diamonds, rubies, emeralds and indranila or Indian sapphires. Pearl, turquoise and coral necklaces are twined around the figure's neck and crossed over its breast; on its head rests a golden coronet with a setting of turquoises, and rising from the rim of this coronet are five upright leaves within each of which is a small golden image of the Buddha; from one of these hangs as a pendant a remarkably fine, large and flawless piece of turquoise, measuring six inches in length and four inches in width. All these splendors lavished upon the image of the great apostle of the simple life show but a poor comprehension of the deep meanings and tendencies of his early career.
Treating of the religious associations of turquoise among the Tibetans, Dr. Berthold Laufer writes:
Turquoises, usually in connection with gold, belong to the most ancient propitiatory offerings to the gods and demons; in the enumeration, gold always precedes turquois as the more valuable gift. They also figure among the presents bestowed on saints and Lamas by kings and wealthy laymen. The thrones on which kings and Lamas take their place are usually described as adorned with gold and turquoises, and they wear cloaks ornamented with these stones. It may be inferred from traditions and epic stories that in ancient times arrowheads were made not only of common flint, but also occasionally of turquois to which a high value was attached. A powerful saint, by touching the bow and arrow of a blacksmith, transforms the bow into gold, and the arrowhead into turquois. |
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Precious Stones Guide Vol 8
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