Buddha Shakyamuni and the five Dhyani Buddhas
The face of the gong depicts Buddha Shakyamuni amidst the five Dhyani Buddhas. The engraving is complemented by traditional auspicious symbols, including the knot of infinity and the dorje. Fine line work, detailed circles and symmetric borders bring the motifs to life, so the instrument also acts as a strong visual element in the room. From the first glance, you can sense that this is more than a percussion piece — it is a ritual object that lifts the atmosphere of the space.
Sound — deep fundamental tone with slowly unfolding overtones
The gong has a flat striking surface and produces a deep fundamental tone followed by a burst of rich overtones. Near the upturned rim, the tone becomes noticeably lighter, which gives pleasant variation during play. With its little 'crash', long sustain and grand resonant sound, the piece feels both impressive and accessible.
Material and craftsmanship
The gong is traditionally made from a high-quality bronze alloy of copper and tin, expertly forged to create a full, rounded sound. The deep, upturned rim is not only striking visually but also shapes the tonal character. With every strike, you can feel how the material and the form work together.
Mallets and playing options
The gong is played with a mallet lined with felt or leather, and your choice of tool defines the sound. A soft mallet produces a deep, resonant, slowly unfolding tone; a hard mallet delivers a sharp, fast-rising sound that cuts through space and fades quickly; a rubber beater gives a compact, defined sound with fewer overtones, ideal for specific musical accents. The same gong can therefore express very different moods — you can adapt the tone to a meditation, a concert or a ritual setting.
Where it works best
We recommend this piece for concert halls, sound therapy rooms and meditative spaces, where both the deep, slowly unfolding sound and the engraved decoration can come into their own. A stand and a mallet are required and must be sourced separately.