Oldal 290 [290]
TSERENTULGA TÜMENBAYAR
tion which is sor dsalakh (Tib. sor ‘phen),” religious ritual to eliminate the hardship
happened in the year and prevent the danger to come.
Besides accordion which belongs to the family of keyboard instruments, all others
from the four families? of musical instruments were used in the symphony as oboe,
horn trumpet, flute from woodwind instrument family, bell, vajra, double-faced hand
drum, large drum, gong (Mong. garangy-a) from percussion instrument type, and
horsehead fiddle (morin khuur), violin, large khuur and medium khuur from stringed
instrument type.
In this, the ancient tradition of religious service of Lamiin Gegeen was strictly
followed. It invites deities with large bugle, bell, double-faced hand drum, and large
drum, playing the melody for them with accompaniment of oboe and other instru¬
ments and seeing off with religious melody.
Inviting deities and spirits of ancestors with the aid of melody is the tradition
that dates back to the period of the Yuan Dynasty and is related to the change in
symbolic culture of the Mongols’ worship of heaven. That kind of change" was
made by Kublai Khan who inherited the state ideology "Under the might of eternal
heaven" from the Great Mongolian Empire disseminating Buddhism simultaneously
with Christianity and Islam in his Great Yuan Dynasty to make China the centre and
to unite many nations.
Yu. N. Roerich pointed out?" that Phagpa Lama (Tib.‘Phags pa Blo gros rgyal
mtshan), whose name remained in history, was the son of the younger brother of
Sakya Pandita and ... he was invited to the palace of Kublai Khan at the age 18 in
1253 and was entitled as his teacher. In 1258, Kublai Khan organized debate between
Buddhist monks and the representatives of Daoism at a religious meeting; Phagpa
Lama was the head of Buddhist monks. At that meeting he had strongly blamed the
representatives for burning the holy texts, and many times demanded to return the
monasteries and temples forcefully by taking them. Since that time, Kublai Khan
honestly protected Buddhism and granted the privilege within his empire. It is obvi¬
ous from his decrees and orders.
In a document in the 71“ volume of the Sutra of the Yuan Dynasty, there is de¬
tailed instruction in the section Music and dancing at the temple of the eldest (Mong.
® Ariyastiren, Ch. - Nyambuu, Kh.: Mongoliin dsan dsanshliin dund tol’. Süülenkhüü Children’s Print¬
ing House, State Printing Factory, Ulaanbaatar 1991, 153: Sor — ritual of Yellow sect of Buddhism
for remedy and it is religious rite for all the people including common folks and monks to eliminate
hardship happened in the year and to prevent from the danger to come. In Mongolian monasteries,
such ritual had been performed at the end of the year. This sor is different from the Qangyal types.
Among many sor types, Damdinchoijoo sor had been widespread. It is performed on 29" day of the
last month of winter. There is the triangular fire on the top of the sor, and the figure placed in trian¬
gular dish. After preparing the sor, there sets big fire and the sor is thrown into the fire, and then the
ceremony of shooting.
Yündenbat, S.: Lamiin gegeenii shawiin tüükh, 132.
#° Batsükh, O.: Khubilai khan. Ikh Yuan uls. Aldriin on daraalal 150 jil. Mönkhiin Üseg, Ulaanbaatar
2014, 219.
Aaw, khüt Rerih ba Mongol. International Association of Mongol Studies, Mongolian Roerich Society,
State Roerich Family Museum in St. Petersburg. Mönkhiin Üseg, Ulaanbaatar 2008, 114.
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