Tibetan singing bowls were created in a variety of sizes and shapes depending on sonic need. Although the origins of the bowls remain unclear it is surmised that they have been in use in the Himalayan region for over 3000 years and made their way to Tibet about 1000
years ago with the advent of Buddhism to that area of the world. It is thought that the ancient shamans known as the Bon were the primary users of these instruments in Tibet.
For the beginner and even the more experienced player it can be difficult to ascertain what
would be a good bowl to choose out of the multitudes in circulation. It is definitely easier to
come to a good decision if you have listened to many bowls in person as a reference point.
The issue of how to choose the best bowl is resolved by the careful playing of the bowls or by
having a trusted source with whom you can discuss your needs and who can locate the right
bowl for your purposes.
It is questionable if anyone can really judge with any accuracy the age of a specific bowl so
we choose to indicate that in our best estimation we think this bowl is old or very old, or newer
with implied ages as an estimate only.
As far as elemental construction the singing bowls are bronze (approximately 80% copper &
20% tin) and in truth the mention of five, seven or twelve metals are exaggerations that have
about zero basis in fact. The basic truth regarding the bowls is that the bowls are made made
exactly like most other high quality metal percussion instruments i.e, cymbals and bells, which
are made of bronze as well. There may be other trace elements such as silver or gold but this
is rarer and can only be determined accurately with a spectrometer.
What needs to be noted is that the artisan who created the bowl and their knowledge and skill
are responsible for producing the best sonic qualities by correctly smelting, forming and
hammering with the correct sonic design, these being the most important factors in creating a
great sounding bowl.
With that said we have a wonderful range of bowls collected over 30 years, and we personally
hand pick the highest sound quality bowls found in Nepal for our store.
We grade the bowls by condition and sonic quality as well as rarity. And we come from three
generations of professional musicians and are well versed with spiritual bowl sounds and
have an experienced musical ear. This is necessary to discern the subtle sonic differences
between every bowl.
My perspective on the bowls is one of a professional musician, and I am perhaps the first
person in the West who is a fully trained percussionist that has become deeply involved in this
meditative bowl perspective, and importantly as well, one that actually has access to ancient
museum quality bowls. The bowls that people dream of and hear about, but rarely seen.
I have personally taught music in the public school system through university levels, and also
professionally played percussion on and off the road for over fifty years. I have released five