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Start Over Object class Aerophones (wind instruments) Collector Theos C. Bernard
Hearst Museum object titled Flute, accession number 9-22121, described as Wooden flute with 5 finger holes. White crosshatch patterns on center of body; mouth piece has a flattened triangular tip.
Hearst Museum object titled Gyaling oboe, accession number 9-22059a-c, described as This is a "gyaling" or Tibetan oboe. It has a split reed that fits at the very top. The reed is fragile and often changed during heavy use. There is no reed present here. The gyaling is played only in pairs. There is only one in this collection. "Gyaling" means "royal oboe". It is played to indicate that something very grand is taking place, or someone very important is arriving. When a king or a great Lama is entering an assembly, a pair of gyalings will be played. It is fingered like a wooden flute or a recorder. There is always a lead player (first gyaling) and an accompanying player (second gyaling). The second gyaling must watch the fingers of the first gyaling and play exactly what he plays. The fraction of a second delay makes for a rich echoing sound.This is a very plain gyaling, with little ornamentation. The gyalings of more prosperous temples are inset with turquoise and coral, and richly decorated in gilded brass flourishes.
Hearst Museum object titled Horn, accession number 9-22082, described as These (T-143 and T-144) are a matched set of Tibetan long horns (gDung Chen). They are played for ceremonial occasions at Tibetan monasteries, typically accompanied by large bronze cymbals (See: T-206 & T-207) and bass drums (not in collection). They are over ten feet long when extended.See: Photo T-143-a, T-143-b and T-143-c
Hearst Museum object titled Horn, accession number 9-22083, described as These (T-143 and T-144) are a matched set of Tibetan long horns (gDung Chen). They are played for ceremonial occasions at Tibetan monasteries, typically accompanied by large bronze cymbals (See: T-206 & T-207) and bass drums (not in collection). They are over ten feet long when extended.
Hearst Museum object titled Makara trumpet, accession number 9-22058, described as This is a short trumpet used for sacred Buddhist music in rituals. It is similar to the thigh bone trumpet (see: T-26, T-27). Though its sound is similar to the thigh bone trumpet, the makara trumpet is associated with worshipping gods more than summoning demons. The thigh bone trumpet is fashioned from a human thigh bone. It is used extensively in the "Chod" ritual. It functions, when blown in the ritual context by a qualified yogin, to summon demons in particular, and all living beings in general, to a great feast. The use of human bone is necessary as the yogin is ritually transforming his own flesh and blood into offerings suitable for the various classes of living beings. On the other hand, the makara trumpet (the head of the trumpet is in the form of a makara, a wise but formidable sea monster) is used in regular musical offerings to Gods and Lamas. This trumpet is made from copper, with decorative bronze bands and a bronze mouthpiece. It has a beautiful bronze makara head with turquoise eyes.
Hearst Museum object titled Thighbone trumpet, accession number 9-21860, described as Trumpet fashioned from a human thigh bone; thighbone is wrapped at top and bottom with leather, and a leather thong is attached as a handle.
Hearst Museum object titled Thighbone trumpet, accession number 9-22054, described as This is a ritual trumpet fashioned from a human thigh bone. It has a metal mouth piece made of silver andcopper. It is wrapped at the bottom with skin, perhaps human skin or leather. It is used extensively in the popular "Chod" ritual. It functions, when blown in the ritual context by a qualified yogin, to summon all living beings, including every manner of ghost and goblin, to a great feast. In the Chod ritual, the thighbone trumpet is blown at the beginning and occasionally during the procedure, and the yogin then puts it down and serves up the feast while chanting melodiously and play the large hand drum (Chod damaru) with his right hand and the ghanta bell with his left. The use of human bone is necessary as the yogin is ritually transforming his own flesh and blood into offerings suitable for the various classes of living beings. See: T-26, T-27, T-195
Hearst Museum object titled Thighbone trumpet, accession number 9-22052, described as This is a ritual trumpet fashioned from a human thigh bone. It is wrapped at the bottom with skin, perhaps human skin or leather. It is used extensively in the popular "Chod" ritual. It functions, when blown in the ritual context by a qualified yogin, to summon all living beings, including every manner of ghost and goblin, to a great feast. In the Chod ritual, the thighbone trumpet is blown at the beginning and occasionally during the procedure, and the yogin then puts it down and serves up the feast while chanting melodiously and play the large hand drum (Chod damaru) with his right hand and the ghanta bell with his left. The use of human bone is necessary as the yogin is ritually transforming his own flesh and blood into offerings suitable for the various classes of living beings. See: T-26, T-27, T-195
Hearst Museum object titled Thighbone trumpet, accession number 9-21861, described as Thighbone trumpet, fitted with brass at the mouthpiece and bell, and ornamented with turquoise and coral insets. This is a ritual trumpet fashioned from a human thigh bone.

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