Miracle at Lotus Lake and the Secret Caves of Rewalsar
Posted
October 21, 2013
Now that I’m back in Dharamsala, with eyes fresh from seeing 10th-12th century Indo-Tibetan mandalas in monasteries of Spiti, Lahaul, and Ladakh, I made local trips through these lower Himalayas to see contemporary Tibetan monasteries.
Rewalsar, also known as Tso Pema (Lotus Lake) to Tibetans, Himachal Pradesh, India. The monumental golden statue of Padmasambhava (Guru Rinpoche) atop Zigar Orgyen Choekorling Monastery can be seen upper right on the hillside Photo: bharatdiscovery.org
First stop was Rewalsar, or Tso Pema (Lotus Lake) as Tibetans call it. It is the site of a legendary miracle by Padmasambhava. Also known as Guru Rinpoche, this Indian sage brought Buddhism to Tibet in the 8th century, and is said to have subdued the people and the local blood-thirsty spirits through demonstrations of his magical powers as an adept practitioner. Padmasambhava is especially revered by the Tibetan Buddhist Nyingma school who regard him as the Second Buddha, the First Buddha being Shakyamuni.
The legend of the lake is that Guru Rinpoche was teaching Princess Mandarava tantra in local secret caves, and she became his consort. Her father the King of Zahor was greatly displeased and attempted to burn them both in the valley below. But Guru Rinpoche turned the pyre into water, and the fire became a lake. Thus, Lotus Lake miraculously came into being and is revered by Tibetan Buddhists.
View of Tso Pema/Lotus Lake near the famed Guru Rinpoche secret caves up the hills, Rewalsar
Incidentally, it is also revered by Hindus, who regard the area as Hanuman’s land. Punjabis, as well, because Padmasambhava is one of their ten holy teachers.
After driving up to the hills above Tso Pema, one must go on foot up to the caves. Most of the way is fairly well paved and with stairs.
Pathway up to secret caves of Guru Rinpoche, Rewalsar
It is a pleasant scramble through some rocky but grassy areas, hung with plenty of Tibetan prayer flags.
Tibetan prayer flags on the continued pathway up to Rewalsar caves
At the top, there is a nunnery with small temples, a cafe for visitors, and dotting the hillside are numerous modest stone huts and cave entrances currently in use by nuns and other retreatants.
Retreat huts and caves used today by nuns and retreatants, Rewalsar, IndiaEntrances to meditation caves currently in use, Rewalsar. I like how this is one is called “Cave No. 4,” very practical.Retreat hut, Rewalsar, India
The landscape is punctuated by crags and boulders.
More abundant Tibetan prayer flags on the hillside of Rewalsar caves
When we finally came upon the secret cave of Guru Rinpoche, the entrance was this steep decline down, which today has cement steps, a doorway, and lighting. I tried to imagine it as the dark natural crack it must have been originally, getting darker as you descended into the cave.
Entrance to Guru Rinpoche’s meditation caves, Rewalsar, India
The stairway leads to a small antechamber which then leads to this section of the cave underground.
Guru Rinpoche meditation cave, Rewalsar
I tried to imagine this cave in Guru Rinpoche’s day, without the flooring, ritual objects and electricity. It must have been a mysterious womb-like place to practice meditation, to contemplate existence in pitch blackness, to truly face nothingness in the subterranean absence of stimuli.
Panorama of Guru Rinpoche meditation cave, RewalsarAltar inside Guru Rinpoche meditation cave, Rewalsar
In another cave is this large statue of Guru Rinpoche, built into a nook where above his head is a natural opening revealing daylight.
Statue of Guru Rinpoche (Padmasambhava), Rewalsar cavesA monk says prayers before a statue of Guru Rinpoche (Padmasambhava), Rewalsar caves
Just beyond this section is a smaller connected cave dedicated to his consort, Princess Mandarava.
Statue of Princess Mandarava in cave dedicated to Guru Rinpoche’s consort, Rewalsar caveCave of Princess Mandarava, looking back out towards larger section containing statue of Guru Rinpoche, Rewalsar cave
It is said that pilgrimage to sacred sites where realized masters practiced meditation, such as these caves, imparts blessings to its visitors.
Rewalsar is also considered an auspicious place to be on retreat. The two Chodpractitioners (chodpas) I met in Dharmasala (whom I wrote a bit about here) are currently on a few months’ retreat here.
They invited me to visit with them in their cabin near the caves. So I had planned to be in town when they were on a brief break from their hermitage. I learned that there are two short times of the month, according to the Tibetan lunar calendar, that retreatants may come out of isolation to tend to things outside.
These chodpas are lay tantric practitioners not only working towards enlightenment through Chod rituals (serious esoteric stuff, as one Zen practitioner friend of mine commented, “These guys are hardcore!”) but they are also shamanic healers. As traveling mendicants, they may be invited by community members to conduct prayers for the deceased, the living, and those believed to be wandering spirits.
Panorama of Rewalsar area from chodpa retreat cabin, with Tso Pema (Lotus Lake) visible in distanceInterior of chodpa’s retreat hut, RewalsarChod ritual objects made out of flour and water
Pictured above is the one-room cabin of a chodpa. On the long table against the back wall are ritual offerings made from colored flour and water.
During my visit, it so happened that the chodpas recently conducted healing prayers for a child I was acquainted with who suffered from a neurological brain disorder. They showed me some of the ritual objects created and used for this purpose.
I heard separately later that this child, who was located hours away from Rewalsar, demonstrated some unusual and extended calm behavior the day after the Chod treatment. Coincidence? Maybe. Go figure. Nothing in modern science can currently explain such phenomena as Chod healing.
Chod ritual objects made out of flour and water
Over a thousand years later, with the thriving nunnery, occupied caves, retreat huts and monasteries of Rewalsar, it certainly seems to me that Guru Rinpoche’s legacy is alive and well here.
My next post is about Rewalsar’s Zigar Monastery in which I first encounter contemporary sacred arts a lot like their Indo-Tibetan predecessors of 11th century Spiti and Ladakh. What’s more, I then met the master artist responsible and learned some insightful things about his art process! Stay tuned…
I find myself steeped in good memories of McLeod Ganj, Dharamsala, where I lived and continued research for over two months after I finished traveling through Spiti, Lahaul, and Ladakh.
Early morning at Temple Square, near Dalai Lama’s Namgyal Monastery, McLeod Ganj, Dharamsala, IndiaJogibara Road in monsoon season, McLeod Ganj, Dharamsala, India
Home of His Holiness the 14th Dalai Lama, Namgyal Monastery, the Tibetan government-in-exile, and a Tibetan and Indian community, this former British hill station in the foothills of the Himalayas attracts visitors from far and wide. They come to attend teachings, events, study, volunteer, get involved. There are a large number of Western expats living here, too.
I descended from the high altitudes and arrived in McLeod Ganj (approx. 6000 feet altitude) end of September. It was surprisingly still monsoon season, which is usually over by mid-month. But 2013 was a particularly long and relentless monsoon. Everyone agreed. It lasted well into October, and I was drenched many times mistakenly thinking I could quickly go from point A to point B and not get too wet.
The area is one of the wettest in the state of Himachal Pradesh, with up to 120 inches of rain from July to mid-September. 120 inches! In six weeks. That’s 20 inches a week, almost 3 inches a day! You gird yourself for constant moisture, fog, mold, and mildew. Hanging laundry takes close to two days to dry. Resident friends warned me to safeguard all my electronics by putting them in a closet with hot lamps shining on them. It’s practically a whiteout at times, dangerous for driving because you can’t see beyond 10 or 12 feet in front of you on mountainous hairpin turns.
Downpours pelt you like sheets of water performing a sports arena wave (you know, where sports fans get up from their seats and raise their arms overhead in succession). No really, you can actually see this phenomena of denser sheets of rain cascading across less dense ones over the valleys and on the streets. An umbrella is futile. I used one anyway out of stubborn habit, and I was almost always ruefully muttering to myself when I arrived some place with clothing stuck to me like I had put them on straight out of a washing machine with a broken spin cycle. I finally learned that when a Dharamsala monsoon rain starts, you WILL be drenched unless you duck for cover. I started carrying a poncho. And there is a reason why locals wear flip flops and brave the wet streets open-toed. It’s because normal shoes become spongy, perpetually dank and musty.
And then, one day, it’s over! The clouds and mist clear up. The horizon expands and Dharamsala, or Dasa as it is fondly called for short, looks like this.
Post-monsoon season, sunshine galore in Dharamsala
Glorious and crisp, far as your eye can see. Warm and sunny.
View of McLeod Ganj near Namgyal Monastery, Dharamsala, IndiaView of McLeod Ganj from Ashoka Restaurant rooftop, Dharamsala, IndiaView of McLeod Ganj, near Namgyal Monastery
The street vendors no longer have to cover their wares from rain and mud with tarp.
Upper Temple Road, McLeod Ganj, Dharamsala, India
People enjoy outdoor dining and cafes again.
Cafe row on Temple Road, McLeod Ganj, Dharamsala, India
This was my usual walk on Temple Road back to where I was staying, near Namgyal Monastery.
Lower Temple Road, heading towards Namgyal Monastery, McLeod Ganj, Dharamsala, IndiaNamgyal Monastery visible here through the trees. The upper yellow buildings are open to the public where the main temples are located. Lower white buildings are monks quarters and other private areas.
Stores that I became acquainted with along the way.
A typical fruit and vegetable stand, McLeod Ganj, Dharamsala, India
I was a regular at this stationary store. Go figure, I just never had enough pens or pads or envelopes, or superglue. I bought paper clasps here which served as clothespins or toothpaste tube holders, or food clips. Travel makes me look at objects more resourcefully.
Local stationary supply store on Temple Road, McLeod Ganj, Dharamsala, India
This shop always caught my eye with its colorful display.
Clothing store with Western fashions and trekking gear, Temple Road, McLeod Ganj, Dharamsala
At left, the location of a trusty ATM machine! Very important. I was grateful that it always worked, which is not always the case elsewhere in India.
Continuation of Temple Road heading towards the main chowk or square, McLeod Ganj, Dharamsala, India
This is the raucous main square of McLeod Ganj, where several main roads converge. Where buses, taxis, and tourists depart and arrive. Where there is sure to be traffic jams throughout the day caused by congestion, narrow roads, crossing people animals.
The raucous main chowk or square, always a busy meeting place, McLeod Ganj
During my time in Dasa, I had the fortune of attending no less than three of the Dalai Lama’s teachings at Namgyal Monastery, including a Mind & Life conference, which I wrote about here. I also had the honor of audience with local rinpoches, geshes, monks and administrators, as well as observing and documenting the annual Yamantaka highest yoga tantra ritual.
Panorama of entrance to Namgyal Monastery, McLeod GanjAssembly for Yamantaka morning ritual, Namgyal Monastery, McLeod Ganj
Lunch hour outdoor performances during Tibetan Film Festival 2013, held at Tibetan Institute of Performing Arts (TIPA), McLeod Ganj
Plus, a number of music-poetry-art fusion events staged by local artists. Poetry would be read during live musical performances, while a painter begins and completes a painting on canvas in one evening.
Music-poetry-art fusion event, Dharamsala, India
There was a revolving door of gatherings, which I’m grateful to Dasa friends for inviting me to. Diwali celebrations, dinners, movie nights, artist meetings, music jams, salons, fundraisers. Truly warm, good times.
A welcome daily visitor
When not out and about, I was in my apartment, which incidentally came with a kitty. She showed up on my terrace one day.
I must say she was a welcome visitor. Although she left a lot of nose smears looking in through my newly cleaned window, she did accompany me many days as I sat indoors editing footage, photo-correcting, researching, and writing.
Evidence of looking in on me a few too many times
Which reminds me of a story I heard about the Dalai Lama, who once had two cats as pets. After they spent their last days with him in his palace, he decided he would not have pets anymore–too much attachment!
Yes, indeed, I was sad to leave this little one, but happy to learn that she actually belonged to my neighbor.
On my last day in Dharamsala, I left a bag of cat food at their doorstep, then went for a final koraaround the monastery complex on this fine, scintillating morning.
Panorama of Namgyal Monastery circumambulatory, McLeod Ganj, DharamsalaPanorama of Namgyal Monastery circumambulatory, McLeod Ganj
I’ve gone about it all backwards. Backwards in time, in pursuit of mandalas. It all started when I heard that a sand mandala was going to be made at Namgyal Monastery in Dharamsala, India, in 2010. So I went there, and found out that it was a Yamantaka mandala, part of a ten-day-long highest yoga tantra ritual which occurs annually at the Dalai Lama‘s personal monastery. My previous post here describes what little I knew then as I observed and documented the creation and dissolution of it. The resultant film and photographs can be seen here.
When I came back to the U.S., it was as if a floodgate had opened. I needed to learn more. No, not just more, but all I could about Tibetan mandalas–about their variety, their purpose, their history, the meditation practices they engendered, and so forth. What did it all really mean? What modern significance did it have?
My bookshelves began to fill up with writings about tantra and Buddhist philosophy, written by the first Tibetan teachers to venture into the Western world, post-1959 exodus from Tibet. Titles by the Dalai Lama, Chogyam Trungpa Rinpoche, Lama Thubten Yeshe, Dilgo Khentse Rinpoche, as a few examples, abounded. I also read works by contemporary lamas like Dzogchen Ponlop Rinpoche, Pema Choedron, Tsoknyi Rinpoche, Tenzin Palmo. Tibetan scholars and historians David Snellgrove, Robert Thurman, Deborah Klimburg-Salter, Martin Brauen, and others figured in there, too.
All this, in addition to my previous discoveries of well-respected meditation teachers from other Buddhist traditions–Sharon Salzberg, Joseph Goldstein, Jack Kornfeld, B. Allan Wallace. I followed the writing of neuroscientists and clinicians, too, who studied or used meditation in their work. They were also involved with fascinating Mind & Life Institute research or conferences–Richard Davidson, Jon Kabat-Zinn, Paul Ekman, Daniel Goleman.
It was a mindfulness-neuro-tantric-philoso-fest that poured forth!
Meanwhile, in 2011, the ritual experiences continued. I attended the Dalai Lama’s Kalachakra event for World Peace in Washington D.C., and witnessed the Kalachakra Mandala.
In 2012, I was at the Dalai Lama’s talk at Western Connecticut State University at which time I encountered a Compassion Mandala.
At both events, I had the wonderful opportunity of befriending and working with monks, nuns, plus other Buddhist practitioners and followers.
It was a steady flow. The waters at the floodgates just did not tire out. Answers came, and new questions arose.
Thus, on the heels of this, last year in 2013 I arrived back to India to experience and research rare Indo-Tibetan mandalas in Himalayan monasteries of Spiti, Lahaul, and Ladakh. How might they have evolved into Tibetan forms that we know today? What was this Indo-Tibetan 10th to 12th century period called the Second Great Transmission of Buddhism from India to Tibet? What did the sacred art look like? What did it mean?
At the end of my travels through the Himalayan high altitudes, I then thought, let’s reel back in time some more. What came before the Indo-Tibetan era?
The answer was, Indian Buddhism, which could be seen at Ajanta and Ellora Caves where there are remains of elaborate 2nd to 8th century C.E. wall paintings, sculptures, and architecture. Such purely Indian Buddhist art is still preserved at these South Indian sites in the state of Maharashtra.
Finally, what might have come even before this in India? I mean in B.C.E. times. When I searched further, it seems that the Buddhist art historical record stops here. According to historians, not much still exists before the 1st century C.E. Little is known in India archeologically prior to this time.
So what’s it all about? Why would an artist go for all this? New artwork from my Fulbright experience does beckon me in the studio.
I guess I’m just driven by the big questions about mind and reality, which Buddhist philosophy seems to address best. And moreover, that largely works within a Western scientific paradigm. It doesn’t hurt, either, that an affable spiritual leader like the Dalai Lama continues to inspire and exemplify how one can be intellectually sharp, existentially awake, and compassionately engaged in the world. Despite being a keeper of complex Tibetan rituals and esoteric tantric teachings, he can still keep it simple and distill wisdom down to these words: “There is no need for temples, no need for complicated philosophies. My brain and my heart are my temples. My philosophy is kindness.”
Wow! The Kailash Temple of Ellora Caves, Plus Indra Sabha, Nudity, and the Dalai Lama
Posted
December 12-13, 2013
The Kailash Temple (Cave 16) is arguably the most famous one of all 34 caves at Ellora Caves. My previous post was about the marvelous Buddhist ones, but wow, this Hindu site is remarkable!
Base of the main temple, Ellora Cave 16
Built in the 8th century by the Rashtrakuta king Krishna I, 756-783 C.E., it is the most advanced excavation. An enormous Brahmanical complex, its most unrivaled feature is the free standing main temple in the center.
Did you read that right? Yes, you did! This “cave” has an open courtyard with a free-standing centerpiece, which entailed an ambitious, massive vertical excavation of incalculable tons of rock by approximately, I read, 17,000 laborers over the course of about 100 years. Vertical means that the structure was created by carving from top to bottom to realize this multi-level Dravidian-styled temple. What a feat! This magnificent cave is probably the largest excavation in the world measuring 276 feet long x 154 feet wide x 107 feet high.
What’s more, the complex is surrounded on three sides by colonnaded walkways three stories high with extensive overhang. There are huge carved panels there and alcoves with enormous sculptures of Brahman deities.
Panoramic view of Kailash Temple from the colonnaded walkway, Ellora Cave 16, HinduView of colonnade walkway near back of Kailash Temple. Visible at right is the extended overhang.View down the length of colonnaded walkway, Ellora Cave 16, Hindu
Kailash Temple, as its name suggests, is intended to recall the sacred Mount Kailash. This Himalayan mountain is an abode of Lord Shiva, and Ellora Cave 16 is dedicated to him.
Kailash is incidentally located in Tibet, and is one of holiest of the holy mountains for both Hindus and Buddhists alike. A pilgrimage there and circumambulating its base earns one great spiritual merit.
Left: Mount Kailash north face. Right: Mount Kailash south face, Tibet. Kailash Temple, as its name suggests, is intended to recall the sacred Mount Kailash. This Himalayan mountain is an abode of Lord Shiva, and Ellora Cave 16 is dedicated to him.
In my earlier Fulbright travels, I went to three other places in the Lahaul region of the Indian Himalayas that were also revered by both Hindus and Buddhists–Drilbu Ri Mountain, which I climbed to reach its 15,000 foot summit, Phakba, and Markul Devi Temple. I really admire that there has been a long history of mutual respect and shared reverence between these two indigenous major religions in India.
In addition to the expansive colonnaded walkways, within the courtyard of Ellora Cave 16 there are two other main structures. As is traditional in Shiva temples, the first is the Nandi Temple at the entrance. I actually missed seeing the sacred bull within in because I was mesmerized by the rest of the “cave” and just kept walking on!
The entrance and two-storied Nandi Mantapa or pavilion, Ellora Cave 16, HinduSide santuary within the courtyard near entrance of Ellora Cave 16. To its right is the beginning of the arcade that surrounds three sides of the complexUpon entering through the Nandi paviion, you are greeted by Gajalakshmi, the goddess Lakshmi surrounded by elephants on a lotus pond, Ellora Cave 16
The second structure is the main Kailash temple. Its base is carved with graceful life-sized elephants, lions, and mythological figures.
Graceful elephants standing at attention appear to uphold the base of Kailash Temple, Ellora Cave 16, HinduVisitors circumambulate the main temple, Ellora Cave 16, HinduWalking up to main temple, Ellora Cave 16. Traces of a formerly painted ceiling are visible.Entrance to main temple, Ellora Cave 16. Traces of painted facade can be seen on pilaster and elsewhere.
Upon entering, I feasted my eyes on the impressive intricacy of its interior. The central hall was richly carved. Everything, from its niches, pilasters, deities, figures, columns, etc., are ornamented. Most of the deities at the left of the entrance are Shaivaite (followers of Shiva) while on the right hand side the deities are Vaishnavaites (followers of Vishnu).
Interior of main temple looking towards the inner sanctum, Ellora Cave 16, HinduDetail of carved column, main temple, Ellora Cave 16, Hindu
The inner sanctum contains a large lingam, representative of Lord Shiva. Devotees leave offerings of flowers, money, candles and other objects.
Lastly, there is a significant sculpture at Ellora Cave 16 of Ravana, principle antagonist in the Hindu epic Ramayana, attempting to lift the abode of Lord Shiva, Mount Kailash, with all his might. It’s an unusual and expressive composition.
The Jain group of caves number 30-34, and they were the last to be excavated, circa 800-100 C.E. I was struck by Cave 32, also known as Indra Sabha, because it’s similar to Cave 16. It also features a central free-standing temple inside a courtyard, as well as Dravidian gate, and monolithic elephant sculpture by the entrance . Though smaller in scale, there are details of this cave that surpass its predecessor.
Ellora Cave 32, Jain temple, India
For example, the carved details and the unique designs of the columns on the second floor of the main temple truly outdo even the ornately decorated columns of Kailash Temple. They are massive in size and are carved in high relief. Some look like urns with draped garlands.
Ellora Cave 32, Jain temple, second floor, looking towards inner sanctumDetail of column, Ellora Cave 32, Jain temple, second floorDetail of column, Ellora Cave 32, Jain temple, second floor, India
Indra Sabha is actually a collection of shrines dedicated to the revered Mahavira, the 23rd tirthankara.
Inner sanctum with Mahavira statue, Ellora Cave 32, second floor, India
Mahavira (ca. 540-468 B.C.E.) was a contemporary of Buddha. The two had remarkably similar experiences and teachings. Like Buddha, Mahavira was born into a royal family. At the age of 30, he left his home in pursuit of spiritual awakening. Through ascetic practices for over twelve years, he achieved enlightenment. He traveled all over India for another 30 years to teach his philosophy, based on ahimsa (causing no injury through one’s deeds, words, or thoughts–which corresponds to Buddhist notions of body, speech, and mind); satya (absolute truth, like Buddhist right view); asteya (not stealing, or as Buddhists phrase it, not taking what is not freely given); brahmacharya (spiritual study, practice, and abstinence, similar to Buddhist monastic vows); and aparigraha (non-grasping or non-possessiveness, which forms part of the Buddhist idea of non-attachment and egolessness.) Mahavira attained nirvana after his physical death at the age of 72.
Mahavira, Ellora Cave 32
Jain depictions of Mahavira are also remarkably similar in appearance to Buddhist images of Buddha. With one key difference: Jain deities of the Digambara sect are nude.
When I saw Mahavira in an inner sanctum, I must admit that I was a bit surprised by the anatomical accuracy of his nudity. (The sacred art tells it like it is!)
But it’s not only Jain deities. The yogis, too. It reminded me of an anecdote the Dalai Lama told, and it goes something like this:
Once, at a ceremony in India, he found himself seated next to a Jain yogi who was stark naked. The Dalai Lama, shocked, had looked him up and down. “He just showed—everything! All of his things were right there!” He couldn’t help but keep looking at the yogi, but not because of his “thing.” Because he was so impressed with the intensity and forthrightness of this man’s practice! And so, the Dalai Lama got down on his knees and touched his forehead to the yogi’s knee as a sign of respect for him and his dedication to contemplative practice.
Gomateshwara, Ellora Cave 32
Pictured above is the revered Gomateshwara, also known as Bahubali.
Detail of Gomateshwara, Ellora Cave 32
Below is the 23rd tirthankara,Parsvanatha, with his characteristic snake hood.
Parsvanatha, the 23rd tirthankara of Jainism, side wall, Ellora Cave 32Parsvanatha, the 23rd tirthankara of Jainism, with his characteristic snake hood, side wall, Ellora Cave 32, Jain temple
Mahavira is usually flanked by his attendant deities, Indra on an elephant and Ambika on a lion. I found these two carvings especially well done.
Indra riding on an elephant, Ellora Cave 32, Jain temple, India
Ambika riding on a lion, Ellora Cave 32, Jain temple, India
So there you have it…Ellora Caves–what a revelation in artistic and architectural excavation!
Ellora Caves: Buddhist, Hindu, and Jain Coexistence
Posted
December 12-13, 2013
After seeing Ajanta Caves–which were amazing and beyond my imagination of what carved and decorated ancient Buddhist caves would look like–I visited Ellora Caves, which stunned me further because of the elaborate artistic and architectural feats!
Panorama view of Ellora Caves, founded 600-100 C.E., near Aurangabad, IndiaEllora Cave 32, featuring a free-standing temple in center courtyard
Founded after Ajanta from about 600 to 1000 C.E., this complex of 34 caves has some breathtaking sanctuaries of unbelievably grand scale, and free-standing temples. Yes, that’s right, freely standing buildings that were carved out of once solid rock cliff!
Besides the monolithic bravado, the Ellora complex, about 106 kilometers away from Ajanta, is also unique because it consists of Buddhist, Hindu, and Jain caves. The approximately two kilometer stretch of Deccan Traps in which these caves are excavated side by side testify to the peaceful ancient coexistence of these three major Indian religions.
The first twelve caves are Buddhist and appear to be the oldest, dating circa 600 to 800 C.E. They comprise monasteries and one chaityaor temple. The Hindu ones are Caves 13 to 29, perhaps the best known being Cave 16, the Kailash Temple. These were built between 600 to 900 C.E. The Jain group of caves are 30 to 34, and were the last to be excavated, circa 800 to 1000 C.E.
Ellora Cave 11 facade, Buddhist monastery, ca. 600-800 C.E.
Buddhist Caves 11 and 12 went to the next level—literally. Compared to their Ajanta predecessors, these three-storied monasteries are impressive, surpassing the Ajanta two-storied excavations in terms of number of floors and scale. What struck me immediately about both cave facades were their architectural simplicity. They looked modern to me, and I was surprised by what it called to mind. The austere repetition of columns and openings, the lack of carved adornment, and the same feeling of monumentality as one walks up to their courtyards strangely reminded me of the experience I had seeing Italian EUR architecture, in particular the Palazzo della Civilta Italiana, built in Rome between 1938 and 1943.
The space and time of day I was there also created very much the still and surreal feeling of Giorgio de Chirico’s paintings.
Ellora Cave 11 facade, Buddhist monastery, ca. 8th century C.E.Delights of the Poet, Giorgio de Chirico, 1913, oil on canvasFacade of Ellora Cave 12. Photo: Indiaing.zening.info
The plain facades of Caves 11 and 12 give no hint of the richly carved sculptures within. I had assumed from the exterior that the interiors would be simple, probably cells for a large number of devotees. From my modern mentality, the buildings looked like they were ancient boarding rooms with shared veranda on each floor.
Ellora Cave 11 veranda
Little did I know that the rooms on each floor of Cave 11, the first one I saw, would house sanctums.
Stairway at end of second floor veranda leading to lower level, Ellora Cave 11
Each one would be a variation of the below sanctum. They were so plentiful that I can’t remember how many I saw. Typically, the central figure was a massive Buddha, flanked symmetrically by large-scaled Avalokiteshvara and Vajrapani, life-sized standing bodhisattvas, seated small buddhas, and flying divine figures.
Massive Buddha statue flanked by Vajrapani, bodhisattvas, seated small buddhas, and flying figures in sanctum of Ellora Cave 11Massive Buddha statue flanked by Avalokiteshvara, bodhisattvas, seated small buddhas, and flying figures on opposite side of Ellora Cave 11 sanctumStanding life-sized statues of bodhisattvas, sanctum of Ellora Cave 11Standing life-sized statues of bodhisattvas on opposite side, sanctum of Ellora Cave 11Courtyard of Ellora Cave 11 curiously marked by intersecting small channels which I can only surmise were chiseled out for drainage.
Cave 12 dates to circa 8th century C.E., and is known as “Teen Tal” because of its three floors. The first and second floors have a pillared halls, antechambers and sanctums with cells. The third floor, while similar in plan has extensive sculptures along the perimeters of a great colonnaded hall.
View along right front wall with figure of seated Buddha at end of side wall, Ellora Cave 12 third floor
The front wall has Buddhas seated on double lotuses with foliage and umbrellas projecting overhead.
View along left front wall with figure of seated Buddha at end of side wall, Ellora Cave 12 third floorDetail of seated Buddhas in meditation pose, front wall of Ellora Cave 12 third floorView of front and side walls, Ellora Cave 12 third floor
Visible above on the left is Buddha seated on a lion throne with fly-whisk attendants.
Pictured below is the antechamber, which has large sculptures of Padmapani and Vajrapani flanking the sanctum entrance and twelve goddesses seated on lotus thrones. There is evidence that these were once painted.
In fact, based on the preceding Ajanta practices, I assume that most of the carvings in the Ellora caves were also plastered and painted. So when you look at these images, imagine that the columns, statues, and other architectural elements were adorned with colors and designs, painted faces, and other details. What rich interiors!
Antechamber, with front wall of seated buddhas visible on right, entrance to sanctum has modern protective screen door which helps to reduce bat nesting, Ellora Cave 12 third floorLooking down towards right side wall, Ellora Cave 12 third floorView of one of the many Buddhas seated on lion thrones, side walls of Ellora Cave 12 third floorView of one of the many Buddhas seated on lion thrones, side walls of Ellora Cave 12 third floor
If you find the scale of this Buddhist cave impressive, how about Cave 5? It measures 53.28 x 36.63 meters, or 175 feet deep x 120 feet wide.
Panorama view of Cave 5, Buddhist monastery, Ellora, IndiaPanorama view of Cave 5 looking back towards the valley, Buddhist monastery, Ellora, IndiaInner sanctum with seated Buddha, Ellora Cave 5
Cave 10 is a really lovely chaitya, similar to the apsidal plans of Ajanta Caves 19 and 26, but its facade is more ornate, featuring a wraparound pillared veranda and side porticos that lead to chambers.
Facade of Ellora Cave 10Panoramic view of Ellora Cave 10 facadePanoramic view of Ellora Cave 10 facade from second levelColossal statue of seated Buddha on a lion throne flanked by Padmapani and Vajrapani, Ellora Cave 10Detail of colossal statue of seated Buddha on a lion throne flanked by Padmapani and Vajrapani, Ellora Cave 1Back wall of Ellora Cave 10Detail of Gallery on back wall of Ellora Cave 10
These are the highlights of the Buddhist caves at Ellora. I hope that, like me, you will now never think of the word “cave” the same again! Instead of conjuring up only oddly shaped, naturally formed, sooty rock shelters, the word will hereon also bring to mind colonnaded halls, monumental sculptures, carved friezes, painted barrel vaulted ceilings and other graceful elements of the ancient excavated architecture of India.
Next up will be the best of Ellora’s Hindu and Jain caves!
When I first heard about the paintings of Ajanta Caves, I had an updated version of Lascaux on my mind. You know, natural shelters in rock, which have rough and organic interior surfaces painted with images of, well, in this case, Buddhist motifs. Even though I had later seen some photos online, nothing, I tell you, nothing prepared me for experiencing the mind-boggling architectural sophistication that is Ajanta. Hewn out of the solid volcanic rock of the Deccan Plateau in South India, these 30 caves consist of verandas, courtyards, ambulatories, colonnaded walkways, apses, antechambers, shrine rooms, sanctums, stupas, and so forth. Many are two stories or more.
Ajanta Cave 19 facade, with courtyard, porch, arched window, adjacent shrine rooms. Near Aurangabad, India
The caves are unbelievable feats of engineering, excavated in one piece from top to bottom. All of the elements named above, including statuary and shrines, bar-reliefs, every detail from pillars to doorjambs and window frames, are carved from single, solid rock! No kidding, they are purely constructed by the removal of material. From an artist’s point of view, this is dealing with negative space as much as positive space. Think of what’s not there in order to see what is there.
Panoramic view of Ajanta Cave 26, IndiaApse and barrel vaulted ceiling, carved details on frieze, columns, capitals, and stupa. Ajanta Cave 19, India
Now add to this the fact that in many of the caves, every surface, nook and cranny, was carefully plastered and sanded to a smooth sheen, then exquisitely painted with refined colors to depict scenes of Buddha’s life, Jataka tales, bodhisattvas, entourages, and decorative patterns.
A testimony of skill and artistry, and considered to be the beginning of classical Indian art, no wonder Ajanta Caves is a UNESCO World Heritage site.
Detail of scenes from Life of Buddha, wall paintings, Ajanta Cave 1Birds-eye view, model of Ajanta Caves, Waghora stream
All this is nestled in a peaceful wending river valley with flowering trees. It must have been quite a place of devotion for the monastic community who lived here intermittently between the 2nd century B.C.E. to 5th or 6th century C.E.
Today, access is by road midway along the cliff, but in its day, one can imagine the serene seclusion of the site, accessed only by stairways leading from the valley floor up to the caves.
Entrance to Ajanta Caves, a UNESCO World Heritage site located in a horse-shoe shaped river valley, circa 2nd century B.C.E to 5th century C.E. Buddhist caves, near Aurangabad, IndiaAjanta Caves, a UNESCO World Heritage site located in a horse-shoe shaped river valley, circa 2nd century B.C.E to 5th century C.E. Buddhist caves, near Aurangabad, India
Of the thirty caves, five are chaityasor temples housing a stupa. These are Caves 9, 10, 19, 26, and 29, with Caves 9 and 10 being the oldest, dating to 2nd century B.C.E.
Ajanta Cave 10, the oldest chaitya or temple, 2nd century B.C.E. After centuries of abandonment, in 1819, British officer John Smith noticed its arch in the overgrown landscape while out on a hunting expedition. This led to the discovery of Ajanta Caves.
According to inscriptions, this Cave 10 was excavated with the sponsorship of Vasisthiputra Katahadi, Kanahaka of Bhada, and monk Dharmadeva. The paintings on the pillars, ceiling, and walls, rare extant examples of ancient Indian painting, were created by various devotees. Traces of Buddhist themes, designs, and Jataka Tales survive, but little remains of the chaitya’s full glory. This temple originally had a wooden interior, probably a reproduction of the interiors of freestanding wooden structures of its time. The stupa is the largest one at Ajanta.
Detail of painted ceiling at Ajanta Cave 10, the oldest chaityaDetail of painted column at Ajanta Cave 10, the oldest chaitya
Beside the chaityas, the other caves are viharas, which were monasteries with a central colonnaded gathering hall facing an inner sanctum, flanked by rows of small simple cells that were monks’ quarters. These caves were created at a later date. By scholar Walter Spink’s account, they were excavated predominantly during the Vakataka Dynasty, under King Harishena’s rule, circa 475-500. Other scholars, however, believe the viharas were built over a much longer time span than 25 years.
This later period of 5th to 6th century architecture is marked by elaborate detail, such as seen in Caves 1 and 2 (images to follow below). My favorite is Cave 26.
Panorama of Ajanta Cave 26 exterior
Cave 26 is similar to the above Cave 19, but far more richly carved and decorated. It is also larger. This chaitya consists of a central hall with colonnaded walkway or side aisles and beautifully carved walls. An inscription dated 450-525 C.E. attributes the founding of it to a monk named Buddhabhadra.
Panorama of Ajanta Cave 26 interior, chaitya with colonnaded walkway in which one can circumambulate the stupa, IndiaAjanta Cave 26 carved stupa with seated BuddhaDetail of carved stupa with seated Buddha on a lion throne, Ajanta Cave 26
I really love this graceful sculpture of Buddha in parinirvana, carved into the side wall of Cave 26.
Panorama of Buddha in parinirvana, carved on left side wall of Ajanta Cave 26View of Buddha in parinirvana along left side wall of Ajanta Cave 26
Upon entry into the left aisle, one encounters it. Here is another view of it looking back towards the entrance. Also carved here is Mara’s assault on Buddha.
Left side wall of Ajanta Cave 26, Buddha in parinirvana is seen next to the side entrance
The below right side aisle is also amply carved.
View of right side wall, Ajanta Cave 26Looking back on main entrance, Ajanta Cave 26
Cave 1 shown below is famous for its extensive and refined paintings which date circa 6th-7th centuries. Literally every inch of its interior was originally painted. The structure consists of a large gathering hall with fourteen cells on the sides, a vestibule, and inner sanctum with antechamber. Its ceiling is a massive expanse for a hypostylar hall of this type, and it is ornately decorated with colorful flora, fauna, figures, and geometric designs. As mentioned earlier, the wall paintings depict Buddha’s life, Jataka tales, bodhisattvas, and royal entourages.
Panorama of Ajanta Cave 1 facadePanorama of Ajanta Cave 1, famed for its extensive and refined paintings, including an enormous painted ceilingView of Ajanta Cave 1 looking towards the inner sanctum from its central entranceView of Buddha statue in preaching pose located in inner sanctum with antechamber, Ajanta Cave 1.
The below detail shows Buddha in his preaching mudra (hand gesture). While the carved deer facing each other on the base of the throne does not show the typical frontal view of an 8-spoked wheel of dharma (teachings) between them, this is likely a reference to Buddha’s first sermon at Sarnath, also known as the First Turning of the Wheel.
Detail of Buddha statue in inner sanctum, Ajanta Cave 1
Here is the famous Ajanta painting of Vajrapani, a bodhisattvawho represents Buddha’s power. He is usually one of the three protectors pictured on temples or monasteries. The other two are Manjushri, bodhisattva of transcendent wisdom, and Padmapani also known as Avalokiteshvara, bodhisattva of compassion.
Famed painting of Vajrapani to the right of inner sanctum antechamber, Ajanta Cave 1
Vajrapani’s elaborate headdress reminds me of the ones I saw on bodhisattvas in Tabo Monastery’s inner sanctum shown here in a previous post. Ajanta predates Tabo by about 300-400 years.
Detail of Vajrapani whose name means “holder of the thunderbolt or diamond wisdom,” Ajanta Cave 1
And here is the other renowned image, Padmapani, the bodhisattva of compassion who is featured on the other side of the inner sanctum at Cave 1.
Famed painting of Padmapani whose name means “holder of the lotus,” located to left of inner sanctum antechamber, Ajanta Cave 1Detail of Padmapani whose name means “holder of the lotus,”Ajanta Cave 1Scenes from Life of Buddha, wall painting, Ajanta Cave 1Detail of scenes from Life of Buddha, wall paintings, Ajanta Cave 1
Really richly painted, one can only imagine how vibrant and clear all the images were over 1400 years ago when they were freshly made! And what an impact they must have made on those living here in quiet seclusion contemplating the teachings so beautifully and abundantly expressed.
Panorama view of wall painting, Ajanta Cave 1Carved capitals with animals and figures, also visible is painted ceiling, Ajanta Cave 1Detail of deer on carved capital, Ajanta Cave 1. Traces of smooth plaster can be seen. It once covered all surfaces because this was the prepared ground on which all painting was done .
I really appreciate that the artists dedicated themselves to creating fine work everywhere. The vast ceiling of Cave 1 is painstakingly executed with the same level of refinement and delicacy found in the wall paintings. Despite being rather high, and considering that most viewers would not be able to discern the details in low lighting, the artists did not slacken their skills.
Detail of painted ceiling with flora, fauna, figures, and geometric designs, Ajanta Cave 1
I like the grace of this delightful small ceiling panel. It probably only measures 5 x 8 inches at most. Everything from its lyrical design to colors and brushwork, its play on symmetry, form, line, composition, contrast, is so well done. And this is just one example of excellence from an entire ceiling that covers easily an estimated 70 x 70 feet, 1400 square feet in total area! That is a lot of space to paint on this level.
Detail of painted ceiling panel with animals, Ajanta Cave 1
I also found it interesting that similar to the ceilings of later 10th century Indo-Tibetan monasteries, the imagery is non-religious. At Lhalung Monastery, for example, where I visited and wrote about here, the coffered ceiling of its Golden Temple is entirely painted in geometric designs. Perhaps artists followed a precedent set here at Ajanta.
Detail of painted ceiling with flora, fauna, figures, and geometric designs, Ajanta Cave 1
Ajanta Cave 2 is the other one well-known for its well-preserved murals. I’ll only show a few details here to give an idea of it. Truly, one has to go to Ajanta in person to experience the eye-popping ancient wonder of it!
Panorama view of Ajanta Cave 2Painted ceiling, Ajanta Cave 2Detail of ceiling painting, Ajanta Cave 2Inner sanctum and antechamber with unusually carved asymmetric capitals, Ajanta Cave 2Detail of inner sanctum and antechamber, Ajanta Cave 2Detail of unusually carved, asymmetric capital on this inner sanctum antechamber column, Ajanta Cave 2
The Vakataka Dynasty, Buddhist devotees who predominantly sponsored the creation of the Ajanta Caves, overlapped with the great Gupta Empire. According to UNESCO World Heritage website, the “decoration attained at this time an unequalled splendor…the statuary is numerous…the wall painting, profuse and sensitive, constitutes, no doubt, the most striking artistic achievement of Ajanta. Under the impulse of the Gupta dynasty, Indian art in effect reached its apogee…The refined lightness of the decoration, the balance of the compositions, the marvelous beauty of the feminine figures place the paintings of Ajanta among the major achievements of the Gupta and post-Gupta style and confer on them the ranking of a masterpiece of universal pictorial art.”
I’ve highlighted some of the best caves at Ajanta, though many were left unfinished. It is said by scholar Walter Spink that this was due to the political interruption and unrest that followed when Vakataka King Harisena suddenly died in 500 C.E.
View from entrance of the incomplete Ajanta Cave 24. Its floor was not yet leveled out before abandonment.
What followed was relatively quick and permanent abandonment of Ajanta Caves not long afterwards. When social and political conditions favored once again the sponsorship and excavation of devotional caves, new ones were created at Ellora about 106 kilometers away. Yes, I went there, too! Coming soon will be incredible photos from this site!
The unfinished Cave 24 was fascinating to see because it gave insight on how the caves were excavated. This is a view looking down what would have been the left side aisle of the vihara. The columns are only partway hewn and the depth of the floor is still to be determined, whereas the ceiling appears smooth and complete. This is strong evidence that building a cave at Ajanta was indeed done from top to bottom.
View from what would be the left side aisle of the incomplete Ajanta Cave 24
Talk about positive and negative space! It’s so plain to see here what has to still be taken away in order to “build” the remaining architecture. The columns and their capitals are in process here, as is the floor of the main hall.
View of right side columns in process of excavation at the incomplete Ajanta Cave 24
Chisels marks can clearly be seen on this column in-the-making.
Detail of right side column in process of excavation at the incomplete Ajanta Cave 24. Its capital and final shape are yet to be defined and chisel marks are clearly seen.
When you think about this being the early state of Ajanta caves before they are completed into their finely carved and painted glory, it’s humbling. So much ancient skill and artistry, so much vision and dedication!
Gee, I’ve so far recounted only the September travels through Spiti, Lahaul, and Ladakh. There’s also October, November, and December to cover. Keeping this travelogue about my Fulbright experiences is taking longer than I anticipated! Editing photos (lots) and video (much) take time. So does research and writing.
And guess what? Now I have completed my Fulbright in India! Yes, that’s right, I’m back in the U.S.! It’s unbelievable how time flew by. I arrived just before Christmas holidays to rejoin family and friends, and rang in 2014 at home.
But, dear reader, there is much more to come. This blog is not over yet. After I finished traveling through the Himalayan high altitudes, I went to the lower altitude areas of Dharamsala, Bir, and Rewalsar (Tso Pema) to see the artwork of contemporary monasteries.
Plus, I also went to see the Buddhist carvings and frescoes of Ajanta, Ellora, and Aurangabad Caves in Southern India. These date from 2nd century B.C.E. to 8th century C.E., preceding the Indo-Tibetan period that I have been concentrating on in the Spiti, Lahaul, and Ladakh areas. After researching the sacred artwork of 10th century monasteries such as Tabo, Lamayuru, Lhalung, Mangyu, and Alchi, I felt compelled to see what came before.
Ajanta coming up next! Here is a sneak peak. I promise you’ll never think of the word “cave” the same way again!
Ajanta Caves, a UNESCO World Heritage site located in a horse-shoe shaped river valley, approximately 30 elaborately carved and painted rock-cut caves dating circa 2nd century B.C.E to 480 or 650 C.E. Buddhist caves, near Aurangabad, IndiaAjanta Cave 26, a chaityahall with stupa, colonnade walkway, and carved relief sculptures. Seen on left wall is Buddha in his parinirvanapose, India
And what about Alchi? Famous Alchi Monastery, which contains some of the most beautiful and beguiling Buddhist art and iconography from the Indo-Tibetan world.
Indeed, I did visit Alchi, said to be founded by the legendary Great Translator Rinchen Zangpo (958-1055 C.E.) However, I was unable to get permission to study its interiors more closely and document. Despite having some strong letters of support, time and other circumstances conspired against the process when I arrived with only a small window of opportunity to work. After all, it takes time to sort these things out. One Indian friend of mine quipped, “I.S.T.,” which he said stands for Indian Stretchable Time as opposed to Indian Standard Time.
So, I will here share what I have–mostly vignettes of Alchi, some exterior photographs, along with interior images from others who have studied and accessed Alchi.
Like Tabo Monastery, Alchi Monastery’s complex is located in a river valley, integrated with its village. This is typical of earlier phase Himalayan monastic architecture, versus the later phase post 12th century, in which monasteries were fortified and built up on a hill.
Located about 67 kilometers west of Leh in Ladakh region, at 10,500 feet altitude, Alchi contains six temples as well as three painted gateway stupas.
Gateway stupa, an unusual feature of Alchi Monastery, Ladakh, India
The three oldest temples are the Assembly Hall or Dukhang, also known as the Vairocana Temple; the Sumtsek, named for its recognizable three-storied building; and the Manjushri Temple. These buildings are dated from approximately mid-12th to early 13th century. In addition, there are other chörtenand temples built during the 13th and 14th century. Many of these are visible along the circumambulatory surrounding the complex.
Site map of Alchi Monastery complex, Ladakh, India
As you can see from the above site map and aerial photos, the temples are built close together, basically along a single axis, with other structures surrounding them in proximity. Narrow views are generally all one can photograph because it is difficult to get enough distance onsite.
More gateway stupas with a view of Sumtsek Temple in rear, Alchi Monastery, Ladakh, India
As it turns out, I was only able to visit the Sumtsek and the Vairocana Temple. The other temples and spaces were closed to the general public that morning.
Facade of Sumtsek Temple, Alchi Monastery, Ladakh, India
The Sumtsek facade is distinguished by its carved wooden porch.
Another view of Sumtsek Temple, named for its three stories, Alchi Monastery, Ladakh, IndiaDetail of Sumtsek carved wood facade, Alchi Monastery, Ladakh, India. Photo: Kishore ThukralDetail of Sumtsek facade with view of second story terrace roof, Alchi Monastery, Ladakh, IndiaDetail of Sumtsek carved wooden facade, Alchi Monastery, Ladakh, India
As with most other temples of this time period, one must bend down in order to enter through the small, short doorway. When you are inside the ground floor of the Sumtsek, you see three monumental sculptures in niches. They are Maitreya, Avalokiteshvara and Manjushri. See images here created by the team of researchers at Graz University.
They stand so tall at about 14 1/2 feet high in the interior architecture that their heads, in fact, reach the second floor and seem to look out at the viewer from their niches. Shown in the above link is the head of Manjushri on the second floor of the Sumtsek. A beautifully painted and richly adorned Tara stands above him, flanked by two mandalas.
I wish that I had been able to access the second floor to see this in person! Only the ground floor was open to the general public.
Judging from these photos, the upper levels had numerous mandalas, the subject of my research. One cannot see these well from the ground level given the limited sight lines .
What a pity! I was there, but could not quite get there! So close and yet so far…
This third level cupola with its mandalas would have been so golden to see.
I had to settle instead for seeing most of Alchi’s Sumtsek paintings in reproduction two months later in photographer Aditya Arya’s studios. I had the occasion to meet with him in New Delhi to discuss his project photographing “every inch” of Alchi’s interiors.
Alchi’s iconography is truly delightful to scrutinize, with its delicate drawings and imaginative compositions. I recommend you visit Arya’s website here to see some images.
I also recommend the book “Alchi: The Living Heritage of Ladakh,” a catalogue published on the occasion of The National Museum’s exhibition of Arya’s Alchi photographs in New Delhi. In it are extensive photographs and details of Alchi paintings.
I must say, however, that what I saw in his documentation of the first floor of the Sumtsek, which he photographed about five years ago, did not match a lot of what I saw onsite. As a trained painter in fine arts as well as decorative arts, I can say without doubt that alot of the apparently recent restoration work at Alchi does not do the original artwork justice. These areas are painted in a different hand and style. There is cause for concern about such results. Like I discussed in this post on Mangyu Monastery and this one on Tabo Monastery, similarly, I fear that Alchi paintings will slowly disappear by virtue of ill-conceived “restoration.”
According to the Smithsonian Magazine article Glimpses of the Lost World of Alchi,written in 2010, the concern about conserving Alchi’s murals and buildings is not new. In 1990, German art historian Roger Goepper, photographer Jaroslav Poncar and art conservators from Cologne, Germany, launched the Save Alchi Project. Some work was done, but it ended two years later due to what Goepper referred to as “growing confusion over administrative responsibility.” Or, some say, between religious and national interests.
According to the article, although “tourists now far outnumber worshipers, Alchi is still a living temple under religious control of the nearby Likir Monastery…Monks from Likir serve as Alchi’s caretakers, collecting entrance fees and enforcing a prohibition on photography inside the temples…At the same time, responsibility for preserving Alchi as a historic site rests with the [Indian] government’s Archaeological Survey of India (ASI). Relations between the ASI and the Likir monks have long been fraught. The monks are wary of government intrusion into religious matters; the ASI worries the monks will undertake restorations that damage the Alchi murals. The result is a stalemate that has thwarted conservation efforts.” Since the publication of this article, I hope the stalemate is in the process of being sorted out.
I can happily report that the wall paintings of the Vairocana Temple, which included massive mandalas, were breathtaking and well-preserved. They appeared untouched by questionable conservation efforts. OR, better yet, they are a testimony to conservation well done! I hope so.
Panorama of Vairocana Temple and its courtyard. At far right is the doorway to the courtyard of Manjushri and Lotsava temples, Alchi Monastery, Ladakh, India
Unfortunately, I do not have images to share here of the exquisite interior of the Vairocana Temple.
Side view of Vairocana Temple with its mountainous surroundings, Alchi Monastery, Ladakh, India
But I have a better idea. Consider getting an airline ticket to fly here and see Alchi for yourself. It’s best to experience the Himalayas in person anyway!
Truly, it’s ineffable. There are no words or images that can convey the exhilaration and revelation of being in the grandeur of the Himalayas.
View of Alchi Monastery circumambulatory with prayer flags by the Indus River in early morning light, Ladakh.Himalayan mountains and the Indus River Valley as seen from Alchi Monastery circumambulatory. A border area, Ladakh has high military presence, such as this military compound in the distance.
Rock cut Buddha in Mulbek, Ladakh, India. A bit difficult to see in the shade. Portions of it are visible above the monastery
September 22, 2013
This was a quick side trip to see the gigantic rock cut Maitreya Buddha in Mulbek, Ladakh. Some believe it was carved as early as 1st century C.E. Other scholars believe it was created as late as 8th century.
The mountainsides at Mulbek Monastery, which surrounds the base of the Buddha, were still in shadow when we first got there. My friend K and I planned travel so that we would arrive just before the sun rose.
Sure enough, before long, the rays of the sun peaked out over the mountains, and suddenly bathed the carved rock with raking, glowing light. The Buddha popped out in relief!
Rock cut Buddha in Mulbek, Ladakh, IndiaA large mani prayer wheel silhouetted against the breaking dawn and late moon, Mulbek, Ladakh, IndiaDawn breaks over Mulbek rock cut statue of Maitreya Buddha, Ladakh, India
Originally the carved Buddha did not have a monastery at its base. This was built in the 1970s. While it is a lovely little building, it’s a shame that it obscures the full view of this beautiful rock cut sculpture.
Rock cut Buddha, Mulbek, Ladakh, India
But once inside the monastery, one can look up to behold this majestic sight.
Rock cut Buddha, Mulbek, Ladakh, IndiaDetail of rock cut Buddha, Mulbek, Ladakh, India
Back outside, I found that the fullest view you could get was from across the highway, up on the terrace of a dhaba or eatery.
Rock cut Buddha amid Tibetan prayer flags, Mulbek, Ladakh, India
Or from down the road a distance away on its other side.
Rock cut Buddha, Mulbek, Ladakh, India
En route back towards Alchi Monastery where we were headed for the day, we passed by this high point of over 12,000 feet altitude on the Leh-Srinagar highway in Ladakh.
Namikala high point, over 12,000 feet altitude, on the Leh-Srinagar highway, Ladakh
The semi-arid incredible landscape of Ladakh never ceased to surprise and exhilarate me. As far as your eye can see, the horizon just produces one mountain after another. It inspires respect for nature, and for the people who have lived here in this challenging land for millenia.
Panorama of Namikala high point, over 12,000 feet altitude, on the Leh-Srinagar highway, Ladakh
A common sight on the roads in late September are Gaddis, members of a tribe living mainly in the states of Himachal Pradesh and Jammu/Kashmir, herding their goats and sheep back down to the lower altitudes. I learned that at the beginning of the summer season in roughly around June, herders bring their flock up to graze. They remain in the high mountains for the summer season and return to lower altitudes before the snow arrives. Snow comes typically around early October.
Herds of goat traveling back down to the lower altitudes are a common sight in late September in the Himalayas.Herds of goat traveling on the roads back down to the lower altitudes are a common sight in late September in the Himalayas.
Panorama of Mangyu Monastery. At center are Chenrezig and Vairocana temples, flanked by Chamba Lhakhangs. Local workers take a break from repairing the stonework, Ladakh, India.
Mangyu Monastery’s side temples, also known as Chamba Lhakhangs, are practically hidden right out in the open. With unassuming, in fact rather miniscule, entrances such as this barely 3-foot-high doorway,
Approximately 3-foot-tall doorway entrance to Chamba Lhakang, Mangyu Monastery, Ladakh, India
one does not expect to see this grandeur within!
Four-armed Maitreya Buddha, Mangyu Monastery Chamba Lhakang, Ladakh, India
Upon entering, a monumental Maitreya Buddha greets you. You see this four-armed future Buddha once you straighten up to standing position and your eyes adjust to the darkened space. Because it’s so small inside (the temple is perhaps only 6 x 8 feet), you are all the more impacted by the scale of the two-story statue.
Detail of four-armed Maitreya Buddha, Mangyu Monastery Chamba Lhakang, Ladakh, India
Like the clay sculptures of Mangyu Monastery’s Vairocana Temple, it is painted and gilded in Indo-Tibetan fashion, with characteristic Indian-influenced red palms.
The walls are covered with small buddhas. Unfortunately they are mostly faded with time, and missing their details.
Wall paintings of small buddhas, Chamba Lhakhang, Mangyu Monastery, Ladakh, IndiaLooking back towards entrance, visible on right is doorway of Nambarnangze or Vairocana Temple, Mangyu Monastery
The other Chamba Lhakhang, which flanks the left side of the Chenrezig Temple, has a larger doorway, but one must still stoop over to get in.
Chamba Lhakhang, Mangyu Monastery, Ladakh, India
When you enter, you encounter a monumental two-armed Maitreya inside.
Chamba Lhakhang, Mangyu Monastery, Ladakh, India
This temple is a bit more spacious, with larger walls for paintings. Behind Maitreya are some delightful extant examples of Indo-Tibetan period work.
Chenrezig, or Avalokiteshvara, god of compassion, wall painting in Chamba Lhakhang of Mangyu Monastery, Ladakh, IndiaDetail of Chenrezig, or Avalokiteshvara, god of compassion, wall painting in Chamba Lhakhang of Mangyu Monastery, Ladakh, IndiaDetail of wall paintings behind Maitreya statue of Chamba Lhakhang, Mangyu Monastery
However, sadly, most of the rare paintings in this temple are in sore need of proper conservation and restoration. As you can see below, this Vajradhatu mandala is largely faded. There are cracks and other structural damage.
View of faded and delaminated Vajadhatu mandala wall painting, Chamba Lhakhang, Mangyu MonasteryDetail of faded and delaminated Vajadhatu mandala wall painting, with Vairocana pictured in center, Chamba Lhakhang, Mangyu Monastery
The mandala on the opposite wall fares a bit better but is also in need of proper care.
Detail of mandala wall painting, Chamba Lhakhang, Mangyu Monastery
I value these art historical examples of our collective past. Paintings are vital visual expressions of the beliefs, ideals, and aesthetics of human culture. One of the findings of my research as a Fulbright artist is that these remaining examples of 10th-12th century Indo-Tibetan murals are truly rare. They hardly exist anywhere else in the world outside of Spiti, Lahaul, and Ladakh areas in the Indian Himalayas, and they are fast disappearing. It is not only time and the ravages of harsh high altitude winters, but also recent climate change has introduced more rain and water damage to these areas. Then there are the man-made challenges, such as ill-conceived restoration efforts which I wrote about in a previous post on Mangyu Monastery here, Tabo Monastery here, and Alchi Monastery here.
In an ideal world, the best efforts and partnership of contemporary monastics and conservators can lead to the preservation of the beautiful and unique legacy of the great Second Transmission of Buddhism from India to Tibet. I hope this can be the case moving forward. And if you, dear reader, are a conservator or someone who can make a difference, I hope you are inspired to do so!
View of Mangyu Village, Ladakh, India. To get there, one drives through narrow valley gorges. The village remains hidden until you drive practically right up to it.
Like Lamayuru Monastery’s Indo-Tibetan Senge Lhakhang, Mangyu Monastery’s Vairocana temple is also a small intimate place. Classic, pre-13th century, early period architecture, the site is nestled in and integrated with a village as opposed to fortified and atop on a hill from the community.
Beginning of Mangyu Village, Ladakh, India
I believe that up till fairly recently, let’s say last twenty years, there was no motorable road up to Mangyu Village, which means it was largely isolated and unknown by travelers. We parked a little below the village and walked up to the monastery, passing by small grocery stores that had countertop service for a simple meal of packaged and flavored maggi noodles (what we call ramen noodles in the U.S.) I was starving and grateful to be served one! When traveling around these more remote parts, one never knows where and what the next meal may be. This village had no restaurants or dhabas, nor did I see guesthouses. This is lovely because it indicates that tourism hasn’t bloomed here. Mangyu is pristine for this reason.
Panorama of Mangyu Monastery with Chenrezig Lhakhang on left, Nambarnangze (Vairocana temple) on right, together flanked by Chamba Lhakhangs of Maitreya and Jambeyang sculptures, Ladakh. Workers are making repairs under the auspices of INTACH, the Indian National Trust for Art and Cultural Heritage.
Tourism is a challenge to local and modest communities here in the Himalayas. While it brings income, it also brings ecological stress. And ecological stress is no small thing to cope with when the land is semi-arid and mountainous, the people mostly poor, the government ill-equipped to provide adequate infrastructure. The need for food and water sources, sewage, sanitation, and modern transportation to serve tourists often ravage the natural beauty here.
Especially if it brings non-biodegradable garbage like plastic. It’s very upsetting to see packaging or other plastic objects thrown over the side of a Himalayan mountain or floating through the streams, stuck in rocks. Indeed, the Himalayan areas I’ve traveled to have dumps located on the mountain side. You can often see them along the road while driving on the highways. It will be a sudden burst of packaging color en masse among the earthy rocks and otherwise scenic beauty. It’s either this or shopkeepers and townsfolk simply burn the garbage. Yes, they burn it, open-air, in front of their shops or homes, frequently plastic and all.
Plastic bottles and those plastic carton drink containers, potato chip and candy wrappers are the most noticeable litter in the streets. I sadly think, these things will never degrade into anything that can be absorbed properly here. Nor anywhere on Earth for that matter, but since we are here on the topic of the Himalayas, my point is that tourism causes environmental strain and damage. I always ask for boiled water at hotels to cut down on the plastic, and carry a thermos with me. Of course, on some occasions, I can’t avoid it and will guiltily buy water in a plastic bottle.
But my visit to Mangyu Monastery was not one of these occasions, I’m happy to report!
Entrance to Nambarnangze (Vairocana temple), ca. 11th century Indo-Tibetan early monastic architecture, Mangyu Monastery, Ladakh. Photo: Kishore Thukral
In the 11th century Indo-Tibetan tradition of The Great Translator Rinchen Zangpo, this altar in Nambarnangze once again features Vairocana in the center, surrounded by the Dhyani Buddhas, offering goddesses, animals, and ornate scrollwork, topped by a garuda. See floor plan here.
Experience the interior of this rare, medieval Vairocana temple by seeing a walk-through video here.
View of Nambarnangze interior, with Indo-Tibetan clay sculptures and wall paintings. The altar is now unfortunately encased by glass making it difficult to see the fine craftsmanship of Kashmiri artists, ca. early 11th century, LadakhIndo-Tibetan clay sculptures of Vairocana and Dhyani Buddhas of altar, Nambarnangze, Mangyu Monastery, Ladakh. Now unfortunately encased by glass, making it difficult to see the fine craftsmanship of Kashmiri artists, ca. early 11th century, Photo: Kishore Thukral
For further info on Vajradhatu Mandala structure upon which early monasteries of this period were based, see this post on Lamayuru Monastery’s Senge Lhakhang and this one on the celebrated Tabo Monastery’s Tsug Lhakhang.
Detail of Vairocana Buddha sculpture, ca. 11th century, altar of Nambarnangze, Mangyu Monastery, LadakhDetail of ornate scrollwork, animals and offering goddesses, rare 11th century Indo-Tibeta clay sculptures, altar of Nambarnangze, Mangyu Monastery, Ladakh, IndiaDetail of Vairocana Buddha, with ornate scrollwork, animals and offering goddesses, rare 11th century Indo-Tibetan clay sculptures, altar of Nambarnangze, Mangyu Monastery, LadakhDetail of Amoghasiddha, a Dhyani (Supreme) Buddha, rare 11th century Indo-Tibetan clay sculpture, altar of Nambarnangze, Mangyu Monastery, Ladakh. Photo: Kishore Thukral
The small Vairocana temple is symmetrically painted on its left and right side walls with one large central Vajradhatu mandala each, flanked by smaller mandalas of related divinities or protectors. On the right side wall, the paintings look like well-conserved oe well-preserved original Indo-Tibetan.
Interior of Nambarnangze, Mangyu Monastery, with ca. 11th century Indo-Tibetan sculptures and wall paintings, Ladakh. Visible on right is Vajradhatu Mandala.Detail from Vajradhatu mandala, Indo-Tibetan ca. 11th century right side wall painting, Nambarnangze (Vairocana temple) of Mangyu Monastery, Ladakh, IndiaDetail from Vajradhatu mandala, Indo-Tibetan ca. 11th century right side wall painting, Nambarnangze (Vairocana temple) of Mangyu Monastery, Ladakh, IndiaInterior view of Nambarnangze, right side wall adjoining entrance wall, Mangyu Monastery, with ca. 11th century Indo-Tibetan wall paintings, Ladakh
On this entrance wall, however, most everything has been repainted. Peter van Ham in his book Heavenly Himalayas: The Murals of Mangyu and other Discoveries in Ladakh, published recently in 2010, gives a very different description of the state of the protector deity painting above the door.
The entrance wall of Nambarnangze, Mangyu Monastery, Ladakh. Wall paintings here are mostly repainted over ca.11th century originals.
He writes, “The entrance…is protected by a wrathful blue deity, painted above the door. Only the right half of the painting has been preserved, the rest has been washed away by water leakage through the roof…As two peculiarities the protector is adorned with beautiful shawls displaying typical Ladakhi tie-dye patterns and in his right hand he holds a knife with an interesting blade of Indo-Iranian shape, the tip of which is equipped with a vajra-like structure.”
Repainted Mahakala above entrance door of Vairocana Temple, Mangyu Monastery, Ladakh.
The discrepancy between van Ham’s description and the above photo shows that this Mahakala was certainly repainted in the last few years. As we can see, absent are the shawls with Ladakhi patterns. This evidence, along with mismatched colors and less refined execution, leaves me shocked and deeply saddened over the handling of Mangyu Monastery preservation.
While the colors in this repainted mandala on the left of this entrance wall are more in keeping with extant original murals, the execution looks nothing at all like the sophisticated, skillful, and expressive handling of Indo-Tibetan artists.
Interior view of Nambarnangze, Mangyu Monastery, with Indo-Tibetan wall paintings, LadakhDetail of repainted mandala on left side of entrance wall, Nambarnangze, Mangyu Monastery, LadakhDetail of repainted mandala on left side of entrance wall, Mangyu Monastery, Ladakh. Stylistically different, this was probably repainted in recent years.Detail of repainted mandala, Nambarnangze, Mangyu Monastery, Ladakh. Stylistically different and lacking in refinement, this is strong evidence of repainting over original Indo-Tibetan art.
The same is true for the left side wall. What van Ham describes of the 11.5 foot diameter mandala that dominates this wall does not match what currently exists. This must also be a recently repainted mandala.
View of Vajradhatu mandala on left side wall, adjacent to a variety of wall paintings that post-date the Indo-Tibetan period, another example of repainting that threatens the survival and art-historical importance of the originalsView of Vajradhatu mandala, also repainted, Nambarnangze, Mangyu Monastery, Ladakh. Photo: Kishore Thukral
When this is what an example of original quality and style looks like (click on second image on the bottom) the quality and style of this repainted example pales in comparison.
Detail of repainted Vajradhatu mandala, Nambarnangze, Mangyu Monastery, Ladakh. Once again, stylistic and quality differences indicate repainting over Indo-Tibetan originals.
This small Buddha mandala is on the left of the altar wall. It contains some original and repainted areas.
Buddha mandala, Nambarnangze, Mangyu Monastery, Ladakh. Stylistic and quality differences indicate repainting over Indo-Tibetan originals. Photo: Kishore Thukral
Here is a side-by-side view of what appears to be an original Indo-Tibetan Buddha in center next to a contemporary repainted one.
Detail of Buddha mandala, Nambarnangze, Mangyu Monastery, Ladakh. The central Buddha looks original, but at lower left, stylistic and quality differences indicate repainting over Indo-Tibetan originals.
The historian David Snellgrove wrote in Indo-Tibetan Buddhism: Indian Buddhists and their Tibetan Successors, “The absence of all Buddhist wall-painting in India apart from the Ajanta Caves represents an enormous loss for the history of Indian art. Some deductions can be made from fragmentary remains in Central Asia and especially from the earliest surviving Tibetan murals from about A.D. 1000 onward, and from miniature paintings on Pala manuscripts of about that date.”
While Mangyu may still be pristine from a tourist/environmental point of view, it is less so from an art-historical one. Like I fear for Tabo, Alchi, and other remaining monasteries that have Indo-Tibetan significance, these beautiful, rare wall paintings are disappearing not only through age and exposure to natural elements, but also through the unexpected hands of man. The resultant replacement paintings, lacking in comparable quality, style, etc., are functionally erasing historical records. The originals are thus disappearing over time due to lack of proper conservation and restoration.
View of Himalayan valley from stairs to main temple just before entering courtyard, Lamayuru Monastery, Ladakh
To continue where I left off in my last post, I found Lamayuru Monastery really charming. Not only did the architectural spaces seem personal and intimate, but the experience of them was diverse and unexpected. One temple to the next seemed different in character and time.
The Dukhang, or main temple, is hidden behind a stairway façade, the doors of which open to reveal a fully enclosed courtyard, open only to the sky above. From here there is access to temples located on higher levels.
Courtyard of Dukhang, main temple, Lamayuru Monastery, Ladakh. Intimacy within the grandeur of the Himalayas just right outside the entry doors.Entrance to Dukhang, main temple, Lamayuru Monasetery, Ladakh
The Dukhang’s interior has an enclosed two-story atrium surrounded by colonnade. It was dramatically lit from skylights above, the main source of lighting in this semi-dark hall.
Interior of Dukhang, main temple, Lamayuru Monastery, Ladakh
Lining the walls are a library of scriptures and a rich collection of statuary honoring the Kagyu lineage, including such luminaries as the masters Tilopa, Naropa, Marpa, and Milarepa.
Interior of Dukhang, main temple, Lamayuru Monastery, Ladakh
Along this same wall, K and I did a collective gasp when our monk guide opened a small door to reveal a cave where the amazing Naropa had meditated in the 11th century. Visiting caves that have been graced by enlightened masters is not merely a curiosity. It is considered a blessing. Lay persons and adepts alike seek these places to meditate in the presence of greatness achieved.
Now incorporated into the temple, Naropa’s cave must have been at one time a separate and secret retreat. He is the mahasiddha who developed the yogi practice known as the Six Yogas of Naropa, which has been in continual use by practitioners since he introduced it. This is predominantly the method yogis at Kardang Monastery, for example, utilize in attaining their feats of mind over matter. To learn more, see this earlier post.
Cave where Indian master Naropa meditated in 11th century, Lamayuru Monastery, LadakhStatues placed in small cave where Indian master Naropa (in back) meditated in 11th century, Lamayuru Monastery, Ladakh. In front on left is most likely Taktsang Repa and on right Milarepa
This next small temple off the same courtyard as the main temple is dedicated to reliquaries.
Temple with reliquaries, Lamayuru Monastery, LadakhDetail of reliquaries with colorful tormas, ritual offerings made out of butter and flour, Lamayuru Monastery, LadakhA collection of statues also in this temple, Lamayuru Monastery, LadakhThe mahasiddha Marpa, always depicted with wide staring eyes, Lamayuru Monastery, LadakhVajradhara, the Primordial Buddha, Lamayuru Monastery, Ladakh
Marpa was a famously tough master with his disciple Milarepa, whom he refused to teach when the latter came repeatedly to seek his guidance. Instead he asked Milarepa thrice to single-handedly construct him a building–then tear it down! That is to say, he made the hapless disciple build something, then destroy it, on three different occasions. In a sense, Milarepa needed such profound purification for his prior spiteful and mass-murderous deeds.
Milarepa, disciple of Marpa, usually depicted with hand to ear engaged in a special yogi practice. He is the famously angry and spiteful practitioner who was able to transcend his evil deeds through dedicated asceticism and meditation in cave retreat. He is said to have had calluses on his rear from his years of unrelenting practice!Mural in same temple depicting protector deities and royal warriors, Lamayuru Monastery, LadakhMural depicitng protector deities at center and lineage masters at right, Lamayuru Monastery, LadakhDetail of female protector Tsering-ma riding a snow lion. Wall painting, Lamayuru Monastery, Ladakh. I like the graceful movement of this figure, and judging from the more Chinese influence in style, the murals in this temple post-date Indo-Tibetan period.
Next up was seeing the Avalokiteshvara temple, where my breath was taken away again by the exquisite sculpture there.
Entrance to Avalokiteshvara temple, Lamayuru Monastery, LadakhInterior of Avalokiteshvara temple, Lamayuru Monastery, Ladakh
I really loved this temple for its beautiful Avalokiteshvara statue, bodhisattva of compassion, also known as Chenrezig–thousand-armed and eleven-headed, all the better to see, hear, and lend a helping hand to the suffering. It was located in an inner sanctum behind the altar.
While the wall paintings in the Avalokiteshvara temple probably date from a later period judging from stylistic differences, it is possible that this statue dates to the earlier Indo-Tibetan period. Purely conjecture, but I was comparing the similarities in the face of Avalokiteshvara with this Vairocana from Sumda Chun, a remote and largely untouched monastery from the 11th century. These statues have more formal affinity with each other than do the Avalokiteshvara with the painting of one from the same Lamayuru temple.
On left is Vairocana sculpture from 11th century Sumda Chun Monastery, on right is Avalokiteshvara. The facial features have strong similarities in style and execution, as compared to the below painting of Avalokiteshvara from the same Lamayuru templePainting of thousand-armed Avalokiteshvara in its dedicated temple, Lamayuru Monastery, Ladakh. Bearing more Chinese influence in style, the face is softer and rounder, less typical of Kashmiri-influenced art of Indo-Tibetan period
It looks to me that this painting shows more Chinese influence, which would indicate it was created later than Indo-Tibetan period, probably post-13th century.
I heard a story that the goddess Tara emanated from Avalokiteshvara when, upon realizing the magnitude of the samsaric condition for all sentient beings, he shed tears. One tear became White Tara, and the other Green Tara.
Green Tara, surrounded by her 21 emanations which are mostly peaceful versions but some are wrathful forms. Contemporary sculpture, Namgyal Monastery, Dharamsala
Today, Tara retreats are one of the more common kriya tantras taught. She has contemporary feminist appeal as a female buddha. She is also an empowering figure in being regarded as Mother of All Buddhas. Additionally, as a bodhisattva who, seeing the gender bias of the male-dominated precinct of enlightenment in Buddhist religious order, vows to be reborn life after life in order to attain enlightenment in female form. I am reminded of what I have read about Jetsunma Tenzin Palmo, the British-born Tibetan Buddhist nun who spent twelve years in solitary meditation in a cave in Lahaul above Tayul Monastery, and who experienced such gender-bias in monastic orders.
Offerings, Avalokiteshvara temple, Lamayuru Monastery, Ladakh. The large center chalice is a butter lamp.Interior of Avalokiteshvara temple with old woman who had just finished her full body prostrations here Lamayuru Monastery, LadakhInterior of Avalokiteshvara temple looking back towards entrance, Lamayuru Monastery, Ladakh
View of Dukhang courtyard from second level, Lamayuru Monastery, LadakhKagyu monk making tormas, ritual butter cake offerings, in the kitchen on second floor above Dukhang courtyard, Lamayuru Monastery, Ladakh
Lamayuru Monastery–what an experience, and it’s grown fonder in my memory…
