| Vcham,a Tibetan transliteration,which is originally meaning dancing or roaming.The current analysis path mostly regards it as " the religious art of the trinity of chanting,music,and dance" or " a religious ritual dance",thus takes the performance form and artistic aesthetics of vcham for the research subject.However,this research attempts to bring vcham back to the category of "tantric practicing ritual ",and then to explore the structural relationship of this technological phenomenon by the transmissibility of experience and the relevance of thinking,including the relationship between the religious criterion and the practice field,the ritual content and the knowledge source,the body expression and its expression logic,the knowledge pattern and the cognitive dimension,and the narrative mechanism and the social tension.The dharma practicing and ritual performance of Bon’s vcham in Nyad-rong,largely influenced by the theory of bkav-gsar-bon-gyi-bstan-bad and the tradition of gter-ma,which is gradually taking shape a local pattern including the constructive ritual process,the pluralistic narrative logic and the mulriple knowledge system.This research,based on the method of knowledge sociology,aims to extends the analytic pespertive of the ritual ontology form the practicing paradigm,performance procedures,deity system and body expressions of Bon’s vcham,to the discussion of the relationship among the knowledge production,accumulated experience,social interaction,and capital flow,through the synchronic comparison of ritual process in Nyad-rong,Bragvgo,Rong-brag and Rdza-khog,to retrack its knowledge source.And the diachronic discussion of the dharma inheritance relationship among the three monasteries of Yeshes monastery and Dbal-khyung monastery in Nyag-rong,and Gzhi-ring monastery in Brag-vgo,to construct its knowledge form.It would be conducive to construct a multi-scenario,cross-regional,super-social integration of structural relationship and a mechanism circulation between ego and others.In the process of cognizing phenomenon and constructing meaning,the knowledge amalgamation in dharma practicing and the social interaction in ritual performance of Bon’s vcham,which has proven the theoretical envisagement that"Vcham,as a knowledge production based on the paradigm of body,provides the motive force of rationalization and the possibility of modernity in Tibetan frontier society",and has rethought the realistic approach of the coordinated development in Tibetan frontier society under the exchange interaction of spiritual capital and the mysticism tendency of religious life.This research consists of the exordium,the middle five chapters and the conclusion,which try to explain the theoretical conceptual and practical considerations.The exordium includes five parts including the topic selection,research summary,research content,research methods,and field introduction.It briefly presents the issues perspective and theoretical foundation of this research,and basic conditions of three monastery,and clarifies the research approach around the core concepts of body techniques,spatial hierarchy,social technology and-embodied practice.And then,based on the previous research results and current research trends,this chapter focuses on the limitations of the research orientation with "religious music and dance" as the main path,and the necessity of the relevance narrative explored by Bon’s vcham as the total prestation,which responds three theory of "techniques and technology"(Mauss,1903,1935/1947),"the whole is the part"(Sahlins,2009),and "embodied cognition"(Merleau-Ponty,1945),and discusses the practical significance of the knowledge transformation of Tibetan Buddhism and the possibility of modernization in Tibetan society concerned by Li An’zhaiThe middle five chapters specifically reveal the five types relationship of "field","process","technique","receprocity" and " interfusion and concordance ".The first Chapter "Field:The historical context and field generation of Bon’s vcham" briefly retrospects the knowledge source and the practice field of Bon’s vcham,analyzing the overall development process and its dissemination of Bon in Nyag-rong,which points out that the trend of Buddhism in the system reform of Gyung-drung Bon has affected the knowledge pattern and the text writing of Bon’s vcham in Nyag-rong to a certain extent,while the position formation of bkav-gsar-bon-gyi-bstan-bad in Nyad-rong and Rdza-khog has further shaped the knowledge system and the ritual construction of Bon’s vcham.In the local context,the rural space and its religious life of Nyad-rong present a blend tendency of Buddhism and Bon.The second chapter " Process:The ritual process and structure of Bon’s vcham "makes a detailed thick description to the knowledge system and the typical paradigm of Bon’s vcham.This chapter describes the ritual process of the two seasons of vcham(summer/winter)in Ye-shes monastery,which illuminates the origin of religion theory in the summer vcham,and the path of knowledge production and the rhetorical intention of ritual text symbolized by the deity system,relying on the analysis of the relationship constructing purpose and image writing process of dran-pa-yab-sras-gsum.In the comparison of three aspects of time,content and structure,this chapter reveals a ritual strategy adopted by Ye-shes monastery in dealing with the tension among different forms of knowledge and integrating the dual nature of religious groups,according to the relevance of performance tradition in winter vcham between its and Gzhi-ring monastery’s.The third chapter "Technique:The body expression and symbolic narrative of Bon’s vcham" gives a specific explanation on the knowledge presenting and the body technique of Bon’s vcham.This chapter expounds the representation mechanism between religious meanings and symbolic forms with handprints,gait,masks and moving track,simultaneously clarifies the practice scope and action paradigm below the premise that Bon’s vcham as a tantra ritual.As the medium of "practicing dhamma"and the carrier of "normative dhamma ",the purpose of the Sangha’s practice using yoga,retreat,and meditation is to achieve the unity of"dhamma" and "body".According to the standard of Bon doctrine and Tantra practicing method,the performers of vcham have realized the discipline of the "body" and the liberation of the"mind" through rational and restrained dancing,furthermore they would gain the enlightenment of returning pure and realizing emptiness,and achieve technical refinement and religious perfection under the integration of sensory perception and rational speculation.In the third section of this chapter,it continues discussing the practical process of the body technique and the meaning of perfect practice via "the solution and purify by ling-ga ".Around the ritual theme of "solution and salvation",destroying ling-ga retains the tradition of witchcraft and the knowledge of ritual,indicates the different weight between body-centered paradigm and spiritual realization in religious practice,and actualizes the unity of self-cultivation and others’ merits in public performances.The fourth chapter"Reciprocity:The relationship practice and capital flowing"makes a basic discussion on the knowledge network and social interaction of Bon’s vcham.This chapter clarifies the belief practice path and the relationship interaction mode of the three groups of experience subject including human and gods,monks and laities,and the secular themselves,presenting the difference sequence of ideal political order and the operation of real society,reflecting the bifurcation on the integration between "moral reconstruction on the emotional level" and " action cooperation on the cognitive level ".It,centering on the relationship of mChod-Yon maintained by regular performances and public gatherings,discusses the legitimacy of "supporting-giving" in local belief organization,and the possibility of realizing procedure justice when this behavior occurs in cross-regions.This chapter extends the previous three chapters on the ontology of Bon’s vcham to the relationship practice connected by religious motive,spiritual capital,and exchange interaction,aiming to illustrate that the symbolic narrative of "sacred" could be effectively introduced into the political scope of "secular"through a discussion of Bon’s vcham on the orderly and interconnected social field,so as to promote the construction of a pattern of interdependent coexistence and harmonious coexistence between monastery and village,monk and laity,local area and others’community.The fifth chapter " Interfusion and Concordance:the logic production and knowledge interaction in Bon’s vcham " concentratedly presents the integration of knowledge system and reciprocity of cognitive experience of Bon’s vcham.From three subsections of a drama,two dimensions,and three types,this chapter specifically explains the logic metaphor and the symbolic narrative of the "trend of interfusion and the desire for concordance " mentioned in the previous chapters in the practice of Bon’s vcham.Whether it is the expression of religious knowledge in artistic construction,the shaping of body technique by cognitive experience,or the appeal of political prestige to mythological archetypes,the dominance of historical memory by the power-thirsty class,which has implied the logic of intermixing and the ability of coordination when Bon’s vcham participates in the distribution of knowledge.This chapter attempts to interpret a rational mechanism experiment for the modernity construction of Tibetan border society within the interaction pattern of knowledge and the cognitive experience of fact in Nyad-rong,to expound and prove the structural conjuncture of "part and the whole".The conclusion puts an cooperative resonance mechanism of "The Social Fact,Total Prestation and Dynamism of Tibetan Frontier Society ",which summarizes the internal connection and total prestation of the five types of relationships of Bon’s vcham,and introspects the modernization path of Tibetan border society and the mysticism tendency of religious life in the rationalization process of knowledge.This chapter reaffirms the logical blending of knowledge production and the narrative complementarity of body expressions in Bon’s vcham on three aspects namly "as a practicing ritual","as a body technique",and "as a social time-space".From "the empirical dialogue of theory" to "the theoretical construction of experience ",this chapter still concludes the philosophical basis and application limits of the concept of"embodiment",and emphasizes the mechanism cycle of the "center-periphery" and the structure of conjuncture of the "part-whole" under the representation of Bon’s vcham.In the rotation of performance tradition and the reshaping of the identity of the religious group,Bon’s vcham has become a dance covering all manifestations of nature that coordinates the operation of the organization.It draws a vivid scene of an orderly,harmonious and prosperous life in Tibetan Frontier Society. |
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