To trace the origins of Tibetan bowls or "singing bowls," one must initially delve into the history of bowls in general, disregarding the term "singing." The bowl was never designed to "sing" as it does today. The adjective "singing" appears to be a "spontaneous nomination" dating back to the 1960s. However, bowls have existed for millennia across world civilizations, with their earliest uses dating back to ancient religions and even to the Stone Age and prehistory.
The historical Buddha Shakyamuni, who lived 2,500 years ago, is often depicted in Thangka paintings holding a bowl, much like the monks who used it to receive alms from villagers. Tibetan Buddhist deities are also often portrayed holding bowls, while Hindu goddesses also hold cups and bowls in various postures to signify their divine status.
Bowls, along with vases and other containers, have been used for a wide range of spiritual and religious purposes in temples, monasteries, and churches, while also serving as kitchen utensils inside homes. Whether used in animist rituals or to receive offerings on monastery altars, bowls have existed worldwide.
Today, bowls remain an integral part of daily life in the traditional culinary cultures of South and East Asia. In the Indian state of Assam and Nepalese culture, the tradition of offering bowls, plates, pots, and metal vessels to young brides continues. These metal objects are considered wealth and can be sold or exchanged for money in times of need.
Understanding the history of bowls in the Nepalese context requires recognizing the expertise of Nepalese artisans in crafting quality alloys. Over the centuries, Nepal and Tibet maintained strong economic ties, notably through the expertise of Kathmandu's artisans in producing quality alloys. Nepal minted Tibetan coins at the Taksar Karyalaya foundry in the Kathmandu Valley until the mid-19th century, using pure silver supplied by Tibetans. The master Nepalese artisans mixed the right amount to maintain the weight and shape of the coins, exporting them to Tibet. In return, the Nepalese took their profits from the remaining silver. Artistic, cultural, and commercial ties continued with the southern part of the valley. Hiring metallurgists from as far as West Bengal and Assam indicates the existence of such exchanges throughout the centuries.
Origin of the "Singing Bowl"
The Kathmandu Valley is the birthplace of the singing bowl. Until all these bowls arrived in Nepal, they were not called "Tibetan bowls" or "singing bowls." All bowls in Nepal and elsewhere would have received their name "singing bowl" in the heart of Kathmandu at Basantapur Durbar Square from a young vendor named Jit Bahadhur Shahi. He coined the term spontaneously because he didn't know what to say about these bowls when asked what they were. However, he knew they sounded good, and everyone seemed to enjoy their vibration. So, he collected all the old bowls, polished them to bring them back to life.
What is a "Tibetan" Bowl?
Traditionally, bowls' functions in monasteries were limited to offering food and wine to deities or in kitchens and domestic spaces for consuming meals and soup. In fact, the Tibetan bowl is just a popular alternative name for the singing bowl. Since the bowls sold in Kathmandu in the 1970s mainly came from Tibet, they probably acquired such names. However, it is claimed that these bowls were imported into Tibet from medieval periods during the peak of Nepal-Tibet trade. During the Tibetan refugee crisis in the mid-1950s, when Tibetans began flowing into the Kathmandu Valley, they brought with them easily transportable items.
Singing Bowl and Musicology and Therapy
Alloy bowls from Tibetan homes and monasteries were sold to local Nepalese merchants at good prices. When Western tourists started arriving in the Himalayas and landed in Kathmandu, they found these objects amusing and began buying them.
It is noteworthy that in the therapy method using sound bowls, its foundational principles, ideas, and philosophy are based on the Newari musical heritage. Alloy manufacturers and decorators are also Newari artisans. Some foundries receive specialized advice from Nepalese and foreign sound healers wishing to experiment with different metal combinations to achieve the best tones. But generally, in Nepal, it is the Newars who have contributed to its production and valuation from a musical, spiritual, and therapeutic perspective.