The Beyers are well-respected good quality microphones, but I personally consider them not my first choice for what you are doing. They excel more in isolating what they are pointed towards, rather than being more open and ambient as called for here, and I find their frequency response not quite what I prefer, with less sensitivity in the upper harmonics region than I'd like. But that simply reflects my personal preferences. I'm sure great recordings of your bowls and gongs could be made with them using an appropriate technique.
I still recommend playing around with a few different configurations using omnidirectional mics. You might rent or borrow a couple pairs or buy some inexpensive lavalier omnis to see if they will do what you want. Some brands in that category commonly used around here are Naiant, Church, AT853, etc. Given our earlier discussion on mic setups, and your feedback on the sound you got (or didn't rather) when mic'in from above, I'd like to try four omnis on short stands, arrayed around you in an evenly spaced semi-circle, sort of forming an arc running through the center of the array of bowls, so no one bowl is too far from a mic. I'd put them on short stands between a foot or two high, not much higher than the bowls. Basically the same as PZM placement (and as mentioned, miniature lavalier omnis will function as boundary mics like PZMs when placed directly against, or very near, a hard, flat surface like the floor), but just high enough above the bows so that each sees all adjacent bowls and doesn't just highlight the few bowls immediately surrounding it as it would if placed at floor level. I've done that by taping tiny omnis to welding rod which can be bent into shape, but regular short stands will work well. With four omnis evenly spaced and relatively close to the bowls, you'll get plenty of signal level from the bowls, which will help keep the noise floor from both the mics (tiny lavs will not be as quiet as your LD Rodes) and from the room manageable, and should better balance the level of the bowls with respect to the gongs.
I'd go ahead and also record using the built-in X/Y mics in front facing towards you as well. That gives you six channels to work with, in a small kit which is no larger than what you have now using the big Rodes.
Afterwards mix them as you like, and use parallel compression to bring up the lower level detail of the quiet parts until those portions are loud enough to be in proper balance with the loudest parts, yet not so much that the background noises and acoustic noise floor of the room become problematic. The detail polishing effect of parallel compression can be addictive, so temper your desire for wanting more with a realist take at the same time.