View of Lamayuru Monastery on plateau at top, with Lamayuru Village below, Ladakh, India
Seeing Lamayuru Monastery today was a rich experience. The hilltop monastery complex is a delightful warren of small passageways that give way to open views. It includes the functional old, the relatively new, and then the crumbling ruins. Walking through it really imparts the feeling of a medieval village in its different stages of development and abandon.
Senge Lhakhang, ca. 11th century, the oldest temple at Yamayuru Monastery. Contains well-preserved and rare Indo-Tibetan clay sculptures of Vairocana, Dhyani (Supreme) Buddhas, and Vajradhatu mandalas, including Gonkhang with protector deities, Ladakh, India
It’s an intimate temple. Upon entering, one faces the splendid and well-preserved altar which by now, dear reader following this blog, you will recognize as belonging to the rare Indo-Tibetan 11th century period of sacred art.
As at Lhalung and Tabo Monasteries, the temple features Vairocana and the Dhyani (Supreme) BuddhasAmitabha, Akshobhya, Amoghasiddha, and Ratnasambhava. These are polychromed clay sculptures seated on lotus thrones inside stylized alcoves. Here at Lamayuru, Vairocana is also seated atop lions which is how the temple derives its name. Senge means lion in Tibetan. He is surrounded by animals, scrollwork, and surmounted by a prominent protective Garuda, the powerful Hindu mythical bird.
Experience the interior of Lamayuru Monastery’s Senge Lhakhang by watching this exclusive video walk-through here.
[vimeo 137311083 w=600 h=337]
Main altar, Senge Lhakhang, Lamayuru Monastery, Ladakh. Central figure is Vairocana, flanked by Dhyani Buddhas (clockwise from left) Aksobya (blue), Amitabha (red), Amoghasiddhi (green), and Ratnasambhava (yellow), surmounted at top by Garuda. Photo: Kishore ThukralIndo-Tibetan clay sculpture of Vairocana, Buddha of Wisdom, one of the Five Dhyani Buddhas, main altar Senge Lhakhang, Lamayuru Monastery, LadakhDetail of main altar with central Vairocana surrounded by animals and surmounted by Garuda, main altar Senge Lhakhang, Lamayuru Monastery, LadakhRatnasambhava, one of the Dhyani (Supreme) Buddhas, rare 11th century Indo-Tibetan clay sculpture, main altar Senge Lhakhang, Lamayuru Monastery, LadakhDetail of Vairocana Buddha and animals, rare 11th century Indo-Tibetan clay sculptures, main altar Senge Lhakhang, Lamayuru Monastery, LadakhDetail of Akshobya, one of the Dhyani (Supreme) Buddhas, 11th century Indo-Tibetan clay sculpture, main altar Senge Lhakhang, Lamayuru Monastery, LadakhAkshobya, one of the Dhyani (Supreme) Buddhas, 11th century Indo-Tibetan clay sculpture, main altar Senge Lhakhang, Lamayuru Monastery, LadakhAmoghasiddha, one of the Dhyani (Supreme) Buddhas, rare Indo-Tibetan clay sculpture, main altar Senge Lhakhang, Lamayuru Monastery, Ladakh. Photo: Kishore ThukralAmitabha, one of the Dhyani (Supreme) Buddhas, rare Indo-Tibetan clay sculpture, main altar Senge Lhakhang, Lamayuru Monastery, Ladakh. Photo: Kishore ThukralGaruda, Hindu mythical bird, main altar Senge Lhakhang, Lamayuru Monastery, LadakhThe lions or Senge, main altar Senge Lhakhang, Lamayuru Monastery, Ladakh
In stark contrast to the fine state of the sculptures, the wall murals are in a very deteriorated condition, faded and water-damaged. In fact, facing the altar, the whole right side wall is altogether undecipherable, almost completely devoid of the original imagery. Looks blackened and/or delaminated down to the mud bricks. It’s incredible that after over one thousand years of time, anything can remain at all, really. Time has really ravaged this wall. I wish it were different!
The left hand wall can still be glimpsed. If only some effective and accurate conservation could be done to preserve these historically significant, rare examples of Indo-Tibetan Buddhism and the Second Transmission of Buddhism from India to Tibet!
Vajradhatu Mandala, Indo-Tibetan wall painting, Senge Lhakhang, Lamayuru Monastery, Ladakh
While it’s difficult to see details of the above wall painting, it is certainly a Vajradhatu Mandala and as such, its structure is usually this:
At center is Vairocana with the 4 Dhyani Buddhas (Amitabha, Akshobhya, Ratnasambhava, Amoghasiddha) positioned around him in the cardinal directions, each encircled by 4 bodhisattvas. There are an additional 12 deities–4 guardians, 4 outer offering goddesses, and 4 inner offering goddesses. In all, the basic set of Vajradhatu mandala deities is 33 or 37. Vajrayana mandalas and the deities that reside within them are essentially symbols of the qualities of consciousness to develop on one’s spiritual path. They are mnemonic devices to aid a practitioner towards enlightenment.
Variations in Vajradhatu mandalas are seen in different monasteries with the addition of up to 60 other divinities–such as the 16 arhats or 12 pratyekabuddhas, among others. These are often depicted on the outer sections as additional circles or squares in the same mandala composition, or in altogether separate small mandalas.
It is important to note that such symbolic plenitude expresses manifestations of the same fundamental principles. Buddhism did inherit the Hindu understanding of many-paths-to-the-same-truth. These additional divinities also have their basis in written scripture or canonical commentaries.
Avalokiteshvara (Chenrezig), bodhisattva of compassion, Indo-Tibetan wall painting, Senge Lhakhang, Lamayuru Monastery, Ladakh
Adjoining the main temple room is a gonkhang, chapel dedicated to protector deities.
Protector deities, including Mahakala and Lhamo Palmo, Gonkhang, Senge Lhakhang, Lamayuru Monastery, Ladakh. Photo: Kishore ThukralView of Senge Lhakhang, with Indo-Tibetan sculptures and wall paintings, Lamayuru Monastery, LadakhConversing with Kagyu monk at entrance of Senge Lhakhang, Lamayuru Monastery, Ladakh. Photo: Kishore Thukral
Lamayuru grounds in this older section near the Senge Lhakhang is characterized by these passageways that are alternately nestled and enclosed, then open and expansive.
Walking through older parts of Lamayuru Monastery, Ladakh. Photo: Kishore ThukralWalking through older parts of Lamayuru Monastery, Ladakh. Photo: Kishore ThukralWalking through older parts of Lamayuru Monastery, Ladakh. Photo: Kishore ThukralWalking through ruins of of Lamayuru Monastery, Ladakh. Photo: Kishore Thukral
Among the stone ruins, amidst the Himalayan landscape, I tried to imagine the charming bygone era of great vitality during the reign of Western Tibet’s Guge kings Yeshe O’d and Changjup O’d whose vision reformed and ignited the spread of Vajrayana Buddhism from India to Tibet in the 10th to 12th centuries. How it must have been in this remote Himalayan landscape a thousand years ago, when these walls and buildings were new, its monastic and lay inhabitants filled with rejuvenated fervor and scholarship!
Walking through older parts of Lamayuru Monastery, Ladakh. Photo: Kishore ThukralView of Himalayan Village and valley from Lamayuru Monastery, Ladakh
My travel companion K and I left Keylong at 5:00 a.m. to head to Leh. The wonderful and inspired Lahauli adventure had come to an end, and it was now time for Ladakh!
It was a long drive of about 11-12 hours on the Manali-Leh Highway, with stops for photos, breakfast and lunch. Unbelievable rugged terrain that seems to endlessly unfurl its textural vistas as you drive along hour after hour. Empty, cold, semi-arid desert across vast mountain ranges.
Rugged terrain of Manali-Leh Highway, en route to Ladakh
Like the road trip from Spiti to Lahaul, the land is at once austere and captivating. Fortunately, unlike the jagged, unpaved highway from Spiti to Lahaul, this one was rather well-paved and maintained. Besides tourists, it’s well-used by the military guarding the Sino-Indian border, and there are checkpoints along the way where all vehicles must stop and register passing through.
En route, one passes places with quaint names like Zingzingbar and Lachulung-la, ascending ever higher. From our starting point at Keylong, it’s 3349 meters altitude going up to the high point of Tanglang-la of 5328 meters. I felt short of breath at times, but thank goodness I’m long over altitude adjustments (the first week in Spiti was vice-grip-like, headache-filled nights in addition to shortness of breath), though it is no joke to continue to take precautions and be aware of the dangers of high altitude sickness. People can die from it, and pretty quickly, too.
Roadside tent dhabas (eateries) and basic dormitory accommodations are set up for the summer season from about June to September, Manali-Leh Highway
There are no villages or towns the whole stretch of road from Keylong to Leh, only roadside stops for food or overnight stays. These are makeshift temporary seasonal tents that offer cots for travelers to sleep in and a basic menu of dishes such as paranthas, rice and dahl, chow mein. Breakfast was at one of these places.
Interior of a roadside dhaba (eatery) with cots for overnight stays, Manali-Leh Highway, Ladakh
Shortly after taking off on the road again after breakfast, we saw this. Can you spot the little guy in the below photo?
Manali-Leh Highway
Didn’t see him? Okay, then look here…
Marmot out in morning sun, Manali-Leh Highway, en route to Ladakh
Marmots were poking their heads out of rock crevices, or walking out in the open like this one, presumably searching for breakfast. Cute pudgy little things, they reminded me of our local American groundhogs.
Driver G was really nice, good conversationalist, great driver. He is a trekking guide and luxury tent campsite owner in Manali who conducts Himalayan adventure trips. He is also an old friend of K’s. K said G saved his life once on a mountaineering trip.
With his four wheel drive flatbed truck, he would deftly take uphill shortcuts connecting switchback roads, such as here at the Gata Loops, the part of the highway famed for its 21 hairpin turns.
The part of Manali-Leh Highway famed for its 21 hairpin turns on the road, en route to LadakhGate Loops on Manali-Leh Highway, en route to LadakhTurquoise water offset against the pinks of the mountain range and red-siena ground cover. Yes, it really looks like this on parts of the Manali-Leh Highway heading to Ladakh!
Kangla Jal trekking pass point and India Gate reminds me of out West in Zion or Bryce Canyons in the U.S.
Near Kangla Jal trekking pass, Manali-Leh Highway, en route to LadakhIndia Gate, near Kangla Jal trekking pass, Manali-Leh Highway, en route to Ladakh
Lunch was at another tent site, where people really make do with little water and toilets are open air. One gets good at finding large rocks to befriend!
Lunch en route to Ladakh on Manali-Leh Highway
Not long after leaving the lunch site, we came upon the plateau portion of the trip called Morey Plains. Instead of traveling through passageways and valleys, this section was a wide open flat expanse of land.
Morey Plains, Manali-Leh Highway, en route to LadakhBeginning of Morey Plains, Manali-Leh Highway, en route to LadakhJust straight road! Morey Plains, Manali-Leh Highway, en route to Ladakh
The Himalayan mountains along the way are diverse in colors and shapes. Some are more black like these below, and others more pink and warm flesh tones gradating into earth reds as you see more of as you get closer to Leh.
Natures sculpts some stunning shapes and presents here nuanced gray and black tones along the Manali-Leh HighwayThe Himalayas, as far as your eye can see…Large cars are just specks on the thready-looking roads
When we reached Tangla-la, the high point with an altitude of over 17,500 feet, it was marked by a large shrine and elaborate prayer flags. Other travelers stopped for a gander and to marvel that they, too, had made it to this point on the road to Leh. Inside the shrine there were Hindu and Buddhist deities.
Tanglang-la Pass with shrine and prayer flags, the highest point on the Manali-Leh Highway at 5328 meters (over 17500 feet), en route to Ladakh, IndiaShrine at Tanglang-la Pass, the highest point on the Manali-Leh Highway at 5328 meters (over 17500 feet)Hindu and Buddhist deities, inside shrine at Tanglang-la Pass, the highest point on the Manali-Leh Highway en route to Ladakh, India
How did people in ancient times manage traveling through this rough barren terrain? Actually many of them didn’t and perished along the way. I’m thinking of Rinchen Zangpo’s party of 21, whom King Yeshe O’d sent from Guge, Western Tibet, to India in the late 10th century, only 2 of whom made it back alive.
IS IT NOT? Khardung-la is the first highest pass in India.
As you get closer to the city of Leh on the highway, you begin to see stupas and chortens in the landscape. This little monastery is among the first signs of permanent dwellings as you come out of the hinterlands and approach civilization, still about two hours’ drive before reaching the outer monasteries of Leh, such as Stakna.
The scenic view of Stagna Monastery as you come out of the remoteness of the Manali-Leh Highway and reach outskirts of Leh, Ladakh, IndiaMuch of Leh looks like this combination of vast dry flatlands adjacent to mountains with villages nestled in the valleys.
Lahaul’s Trinity: Drilbu Ri, Phakpa, and Markul Devi
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September 17th Lahaul adventure continues…
The spiritual power of Lahaul, known as beloved Garsha Khandroling to Buddhists, lies in its sacred trinity of Drilbu Ri, Phakpa, and Markul Devi. These sites form the Three Vajras of right body, speech, and mind. The Three Vajra concept is akin to the Western religious concepts of righteous deed, word, and thought.
View of Chandrabhaga Valley en route to Triloknath, about one hour drive from Keylong, Lahaul
If you read my previous post, then you already know the experience at the summit of Drilbu Ri is sublime. This mountain is associated with Chakrasamvara, the enlightened body of Buddha. The other sites of the trinity are Phakpa Temple in Triloknath, associated with Avalokiteshvara and enlightened speech, and Markul Devi Temple in Udaipur, associated with Vajravarahi and enlightened mind. (By the way, this is Udaipur in the state of Himachal Pradesh, not the one in Rajasthan.)
After finishing the kora around Drilbu Ri, it seemed natural to visit the other two places, Triloknath and Udaipur, as a continuation of pilgrimage experience. Both are within an hour-and-a-half’s drive from Keylong, so that was my agenda for today! As with Dribu Ri, Hindus and Buddhists alike consider Phakpa and Markul Devi holy sites.
Phakpa temple of Triloknath, Lahaul, as seen from the entrance to its courtyardEntranceway to Phakba Temple, Triloknath, Lahaul. Visitors ring bells overhead.Inner courtyard of Phakpa. Not much can be seen of the original architecture at this ancient site. What exists now looks like contemporary vernacular. The building at left contains the inner sanctum and an interior circumambulatory
At Phakpa Temple, one can circumambulate the inner sanctum upon entering. The ample interior corridor contains Tibetan Buddhist mani prayer wheels one can spin for manifold blessings. Inside them are Avalokiteshvara’s six-syllabled mantra, Om Mani Padme Hum, the recitation of which is said to activate mental states conducive for peace and enlightenment.
The interior circumambulatory, Phakpa Temple, Triloknath, LahaulGilded architectural detail that looks Hindu-influenced, Phakpa Temple, Triloknath
The inner sanctum contains a white marble statue of Avalokiteshvara, bodhisattva of great compassion, believed to be a miraculous self-arisen object found by a shepherd and installed in Triloknath. The statue is revered by Hindus as Shiva.
White marble statue of Avalokiteshvara, Phakpa Temple, Triloknath, Lahaul, revered by Hindus as Lord Shiva. Photo: www.fpmt.org
Here is a view of it without ritual embellishments. This is a poster I photographed in the courtyard.
Avalokiteshvara statue at Phakpa Temple, Triloknath, Lahaul
The statue is a six-armed version of Avalokiteshvara. In Tibetan Buddhism, he is also popularly depicted with a thousand arms and eleven heads. This manifestation occurred when Amitabha Buddha, coming to the bodhisattva’s aid, split his head and arms so he could better hear, see, and help the suffering. The Dalai Lama is considered a human incarnation of Avalokiteshvara, or Chenrezig as he is known in Tibetan.
Nandi – the cow is a sacred animal to Hindus, representing life and the sustenance of life. This sculpture is located in the center of exterior courtyard at Phakpa Temple, Triloknath, Lahaul
After Triloknath, I headed to nearby Udaipur to see Markul Devi Temple.
View of Himalayan Mountains on the way from Triloknath to Udaipur, Lahaul
As was the case from Keylong to Triloknath, before long, we hit road construction again and were delayed because all traffic was halted. In this rugged terrain and climate, highways take a beating, and road maintenance and improvement is always happening. This one was a major operation, and not visible in the photo is a large crew of construction workers down the left side of the mountain where the dirt is being deposited.
Road construction en route to Triloknath, LahaulRoad construction en route to Udaipur, Lahaul
Often road workers are women with young children on their backs. Or sometimes the little ones keep themselves busy playing or sleeping on the construction site. I am not kidding! I have seen children sleeping hazardously close to the edge of a cliff, or running among machinery and equipment. So far, on my travels throughout Spiti and Lahaul, this is true everywhere. It is hard labor. Men and women break rocks by hand with hammers, dig mountainsides with pickaxes, haul dirt in baskets on their heads, and so forth. Driver D tells me most laborers are poor and come from Nepal, or are tribals from other states of India. As itinerant workers, they sleep in makeshift tents right there onsite for the season, until the cold weather comes and road work is halted.
Markula Devi Temple, Udaipur, Lahaul
If you have been on an extended trip to see Indo-Tibetan Buddhist sacred sites in Spiti and Lahaul, what is immediately apparent about Markul Devi Temple is that it does not look at all like what you’ve seen elsewhere. Most of the structures I’ve seen from the same period, 11th-12th centuries, have been white-washed or painted mud and stone structures with flat roofs of the same materials, some perhaps thatched. Markul Devi is instead made from wood and stone with a highly pitched wood-shingled gable roof.
Markul Devi Temple exterior is an example of 8th century Kashmiri architecture in Udaipur, Lahaul
The Indian government traces its architectural style back to 8th century Kashmir, though the current structure is a reproduction from 11th century onward. It is protected by Archeological Survey of India, considered the last building of its kind to exist.
Wood carving from interior of Markul Devi Temple, Udaipur, Lahaul. Photo: http://ignca.nic.in
The interior is also different from other Indo-Tibetan interiors I’ve seen. It is a stunning example of fine Indian woodwork. Massive and deeply carved single pieces of wood form nine elaborate ceiling panels. There are several ornate pillars and architraves, window panels, and the decorated facade of the inner sanctum. The fine carvings depict mainly Hindu subjects and figures, but there are also Buddhist references, such as the panel of Shakyamuni Buddha, and the scene with a three-headed Vishnu. The small shrine holding a silver statue of the Hindu goddess Kali is revered by Tibetans as Vajravarahi.
Shown at right is a detail of the wood carving possibly from the facade of the inner sanctum.
So there you have it…Lahaul’s trinity of Drilbu Ri (body), Phakpa (speech), and Markul Devi (mind)–revered by both Hindus and Buddhists. Implicit in their mutual respect for these places and their associated deities is their acceptance of each other’s pantheon. I admire this. An Indian acquaintance once said to me that he believes, ultimately, all gods are the same.
Sept 16th Drilbu Ri Mountain kora (circumambulation)
5 a.m. with flashlight in hand and some provisions in a backpack, I started out in the dark to meet my guide S at a spot on the Drilbu Ri trail marked by a large barren tree.
Beginning of trekking trail for Drilbu Ri kora (circumambulation) from Kardang Monastery, Lahaul. The destination is the top of the mountain near where those seven peaks appear at upper left.
I had spent the night at Kardang Monastery, and once again had the pleasure of the company of nuns. It’s remarkable how details of one’s life narrative can be dispensed with when there is just mutual warmth felt between people. We chatted with whatever English they had (and for my part, zero Tibetan) and with mutual hand gestures. They cooked thukpa noodles in a delicious vegetable soup. I hadn’t eaten much that day having worked through lunch shooting photos at Guru Ghantal, so I was happy to carb-up for the next day’s trek.
Lovely Kardang Monastery nuns making thukpa noodles for dinnerDrilbu Ri mountain as seen from across the Bhaga River, Lahaul
Drilbu Ri kora—my gosh, what can I say? Getting to the summit whooped me! At almost 15,000 feet (4400 meters) altitude, I was short of breath at the start, and then later gasping for breath every 10 to 15 paces of steep uphill climbing. We reached the top shortly before 10 a.m. My guide, bless him, was so patient, calm, and encouraging with the words, “Slowly, slowly…” which he repeated like a mantra, each time with a gentle head tilt, the infamous Indian bobble.
About two hours into trekking with guide S, Keylong is seen below (looks like thin line) on the opposite mountain across the valley.Ascent further up takes you into an area filled with a kind of red grassy plant that colors the mountain sideAs we climbed higher the mountain curved more and changed to rocky terrainFurther up, the mountain is steeper, more angled, and here is where we hit the snow line, snow visible on right
The last part was the steepest and most difficult. I marveled that I was still going on only half a Nutella sandwich, some pieces of chocolate, and two mango juices. Hardly nutritious, but then again, hunger becomes more of a concept, given the altitude and level of exertion.
Looking up towards the summit of Drilbu Ri Mountain, the top being where those prayer flags look like a dotted line. At this point more snow on the ground. Yes, it looks steep and then got even steeper!Still looking up at the summit, the ascent gets more vertical and narrower!Finally arrival at the summit of Drilbu Ri by scrambing through this narrow and angled pass
Well, it was worth being reduced to crying “uncle.” When we got to Drilbu Ri’s summit, it was indeed a living mandala as the locals promised. 360-degree panorama of magnificent glacial mountains that take your breath away–literally and figuratively! No wonder the Himalayas is called “the roof of the world.” As you stand stuck in awe, the amazing height and expanse somehow melds with your inner sense of worldy, or maybe otherwordly, home. Yes, you, small and insignificant in this vast geological time and space, still get to be part of it all.
View of Keylong down in Bhaga River Valley from the summit for Dribu Ri MountainView of Keylong down in Bhaga River Valley from the summit for Dribu Ri MountainUnbelievable immensity, view of the other side of the Drilbu Ri Mountain looking down towards Gondhala Village. This is where you begin the descent down, a lot less steep but looks deceptively smooth and “easy.”View of Keylong down in Bhaga River Valley from the summit of Dribu Ri Mountain, Lahaul. On right is a Buddhist shrine housed in a small yellow structure in which Lahauli pilgrims are lighting butter lamps and incense as offerings. Hidden under many kata offering scarves further to the right is also a small Hindu shrine dedicated to the sacred union of Shiva and Parvati.Butter lamps and other offerings in Buddhist shrine on top of Drilbu Ri Mountain, Lahaul. Hindus also consider this a sacred site and there is a separate shrine dedicated to the sacred union of Shiva and Parvati.
In fact, Drilbu Ri is sacred to Tibetan Buddhists as Chakrasamvara’s abode. It is important to understand here that none of the Buddhist tantric deities are believed to exist externally. Rather, they represent the ultimate and profound state of mind which sees that self and phenomena are empty of inherent existence. If this is an intriguing idea for you, then you may want to learn more about the distinctive Buddhist philosophy of dependent origination.
Chakrasambava is understood as a wrathful manifestation of Buddha for combating the compelling mental condition of perceiving things as concretely existing. Tantric yoga practices are essentially visualizations of the deity that enact illusion and dissolution of self through identifying with the deity’s Buddha-nature. With the initiation and guidance of a qualified teacher, the practitioner gains the benefit of seeing things as they really are—that is, illusory and empty of inherent existence. This is what’s called wisdom. Cultivating wisdom together with compassion form the complementary two wings for full flight to enlightenment.
Tibetan Buddhists believe that pilgrimage to sacred sites like Drilbu Ri is a great purification of self-centered concerns in order to adopt more expansive mental states that are conducive for wisdom. Overcoming hardships and challenges on a kora can act as a propeller on one’s spiritual path, especially if the site has been graced by the spiritual energies of realized practitioners. Masters such as Nagajuna, Ghantapa, Gotsangpa, Orgyenpa, Taktsang and Rangrik Repas have come to meditate on Drilbu Ri over the past millennia.
View of Keylong side of Drilbu Ri Mountain, looking towards the shrines and my guide S. It’s hard to imagine how people manage to string up these long expanses of prayer flags over the terrain!
Traditionally, Tibetans have traveled hundreds or even thousands of kilometers, often in full body prostration, to complete such pilgrimages. I understand that Drilbu Ri and Mount Kailash are two of the foremost sites for kora. It is said that the completion of such circumambulations bring manifold results, multiplying divine merit.
More expanses of prayer flags at the summit of Drilbu Ri Mountain. On the left side is the descent down to Gondhala and on the right side was the ascent up from Kardang Monastery/Keylong side, Lahaul
As for me, I came here to research Indo-Tibetan mandalas as a visual artist. Then found, as I was told, that Lahaul does not have so much in the way of drawn images of mandalas. Rather, the land itself is a mandala which one should experience physically. I’m glad I did.
Numerous stupas are found all along the top ridge of Drilbu Ri Mountain, like sentinels holding up prayer flags, LahaulExhilaration, okay, maybe augmented by some oxygen deprivation at the summit of Drilbu Ri Mountain, about 15,000 feet (4400 meters) altitude.
The weather was such a wonderful wide range all that day. Dawn began with some overcast clouds, which then gradually lifted later in the morning to give way to wholesome, crystal clear sunshine by late morning when we reached the top. After a picnic brunch of omelette sandwiches with Indian pickles which S brought with him, a light snowfall came to herald our time to pack up and start the hike down the other side of Drilbu Ri Mountain. The destination was Gondhala Village, where we would then get a bus or taxi back to Keylong.
Oh, and by the way, I thought making it to the top of Drilbu Ri meant the hard part was over. Not so. The return on the other side of the mountain was less steep, more graduated but MUCH longer distance. It was also colder and so windy at times that you literally had to resist being blown over a decline. I was so grateful S had brought me an extra jacket to wear.
Where the descent on the other side of Drilbu Ri Mountain begins, looking towards Gondhala Village, Lahaul. The clouds were surreal, at once looking like huge chunks but then moving like ethereal wisps across the mountains.
Descending was a different stamina test, for the knees and thighs instead of the breath.
The descent on the other side of Drilbu Ri Mountain begins, looking towards Gondhala Village, Lahaul
Later, I felt like my eyes were playing tricks on me because Gondhala never seemed to come any closer no matter how long and how far we walked! The village visually seemed like it stayed the same distance away.
The continued descent on the other side of Drilbu Ri Mountain begins, looking towards Gondhala Village, LahaulThumbs up for completion of Drilbu Ri kora by one experienced trekking guide, and one unsuspecting but game novice.
I finally did get exhausted and waved the white flag. S could see that I indeed had had enough, so instead he lead me to the closest point on the road, and then called trusty ol’ driver D (thank you! thank you!) to pick us up for the ride back to Keylong. I was never so happy before to see a road—wonderful, smooth, FLAT road!
At last, reaching the road on the other side of Drilbu Ri Mountain. Gondhala Village still seemed far around the bend!
Guru Ghantal (Gandhola) Monastery on Drilbu Ri mountain slope, oldest existing monastery in Lahaul
Today was Guru Ghantal. Magnificent! Also known as Gandhola, it is the oldest of the existing monasteries in Lahaul with archeological evidence dating to 1st century C.E. What a place of tremendous significance for its location, history of great masters and activities, and having an ancient charnel ground considered one of the eight sacred ones in the Buddhist world. It is said that the unparalleled 2nd century C.E. Buddhist scholar and meditation master Nagarjuna, founder of Madhyamaka (“Middle Way”) school of thought and considered one of the most important philosophers second only to the historical Buddha himself, spent time in retreat here.
Guru Ghantal on Drilbu Ri mountain slope on upper left, as seen from across Bhaga Valley. Thupcholing Monastery which administers Gandhola is below on the plateau. The green roofs are retreat huts for practitioners. Below is Tandi bridge which crosses the Bhaga River where it joins the Chandra River, Lahaul.
Driver D dropped me off, and after ensuring that the nearby Thupcholing Monastery monk who is associated with Guru Ghantal was going to take the hike up with me, he waited at the bottom rather than accompany us. It’s a pretty steep climb up overgrown paths and sandy trails. The young monk, of course, not only being young but not challenged by high altitude like I was, darted up and would wait patiently for me to catch up, meanwhile chatting about Sino-Indian relations and asking enthusiastically about Western thought. I thought to myself, a veritable 21st century monk right here before me!
On the hike up to Guru Ghantal Monastery with monk guide, Lahaul
Guru Ghantal’s namesake comes from another celebrated master named Drilbupa Guru Ghantapa. He hailed from Nalanda originally as a Brahmin prince who later became a Buddhist scholar monk, and then a yogi. He is revered for introducing a highest yoga tantra, Chakrasamvara, and for attaining full enlightenment by meditating on Drilbu Ri. This mountain also gained its name from him and has since been considered the sacred abode of the deity. Indeed there is little in Lahaul that does not owe its spiritual allegiance to Guru Ghantapa since the area is believed to be charged with the profoundness of his enlightenment and Chakrasamvara’s energy.
As for the monastery’s sacred location, it is not only situated on the slopes of Drilbu Ri, for centuries a pilgrimage site as important as Mount Kailash, it also overlooks the confluence of the mighty Bhaga and Chandra Rivers. Hindus and Buddhists alike consider this an auspicious, powerful junction physically and symbolically, a holy place to cremate the deceased and spread their ashes.
The sacred triangle formed by the confluence of Bhaga and Chandra Rivers, LahaulGandhola as it is today, with corrugated tin roof and in need of preservation, Lahaul. Photo: Kishore Thukral
Today, Guru Ghantal is largely empty and needs preservation. In its heyday over the past millennium, the complex of hermitage, meditation caves, and stupas garnered the presence of great Indian and Tibetan masters such as the ones mentioned, as well as Gyalwa Gotsangpa (whose imprints in stone I’ve written about here) and the Siddha Orgyenpa. When Indian Buddhism declined in about the 13th century, Tibetan Buddhism of the Drukpa lineage continued to flourish here, with Gandhola as the central monastery in Lahaul.
Ground floor of main temple, Gandhola, with statues of Avalokiteshvara, Guru Rinpoche, Lama Temphel, Lahaul
In the latter half of the 19th century, Drukpa spiritual leaders of Bhutan sent Lama Tashi Temphel to Gandhola to guide and teach Lahaulis. He was not only an accomplished lama but he was an artist and physician as well. This brought about a revitalization, because at his leadership, monasteries were restored, rituals improved, and temples beautified with paintings he himself did or trained others to do.
Second floor of Gandhola where there are adjoining monks quarters, the walls were likely painted with Buddhist imagery at one time but today are completely undecorated, LahaulAnother view of second floor, Gandhola Monastery, LahaulView of third floor from second floor looking up into ornate coffered ceiling, Gandhola Monastery, LahaulThe painted coffered ceiling with unusual mandalas, Gandhola Monastery, Lahaul. Photo: Kishore Thukral
According to the book Garsha (see this post for further info), all the sacred deities, mandalas, and Drukpa lineage holders at Guru Ghantal were painted by Lama Tashi Temphel circa 1870. He also painted images at Tayul around this time during its expansion. He built Thupcholing for novices, who would spend three years there before moving on to practice at Guru Ghantal or other monastery. All ancient statues that were originally at Gandhola now reside there.
Center of ceiling with what was likely Chakrasamvara mandala, Guru Ghantal Monastery, Lahaul
Upon reviewing recently with a geshe the photographs I took of the ceiling, he remarked that the mandalas were unusual. The center one, which is rather damaged, is very likely a Chakrasamvara mandala. He believes all smaller ones, though their designs are unconventional, are dakini mandalas.
Very likely a dakini mandala, unconventional design, Guru Ghantal Monastery, LahaulVery likely a dakini mandala, unconventional design, Guru Ghantal Monastery, Lahaul
The ceiling designs all appear to have been painted on paper and then installed. Although there are signs of water damage and disintegration, the overall state is quite intact and still vibrant. The detailed scrollwork is particularly fine and delightfully detailed.
Very likely a dakini mandala, unconventional design, Guru Ghantal Monastery, Lahaul. Of note in this one are the stupas at each of the four gateways which are not painted in conventional proportions.Very likely a dakini mandala, unconventional design, Guru Ghantal Monastery, Lahaul.The mantra Om Mani Padme Hum, ceiling of Guru Ghantal Monastery, Lahaul
On the beams appear lineage masters.
Guru Ghantapa, from ceiling of Guru Ghantal Monastery, LahaulDrukpa lineage masters on beams of ceiling, Guru Ghantal Monastery, Lahaul
On the walls of the third floor are paintings of deities on canvas.
Panorama of third floor wall paintings, Guru Ghantal Monastery, LahaulPossibly Guhyasamaja, wall painting, Guru Ghantal Monastery, LahaulYamantaka, wall painting, Gandhola Monastery, LahaulMarlug Hevajra. wall painting, Gandhola Monastery, LahaulChakrasamvara, wall painting, Gandhola Monastery, LahaulWall paintings on third floor of Guru Ghantal Monastery, LahaulWall paintings on third floor of Guru Ghantal Monastery, Lahaul
As it turned out, my driver should have come up to see Gandhola. I saw a special thing in the gonkhang (chapel usually dedicated to guardian deities) off the main hall of the temple which D was interested in and had never seen. It was dreadlocks of human hair that is supposed to be endowed with spiritual power.
Human hair hanging from beam of gonkhang, Guru Ghantal Monastery, Lahaual
According to legend, hundreds of years ago, a lama was sitting in retreat meditating in this prayer room when he was accosted by a spirit. He managed to grab the spirit by the hair, and hence, this is the miraculous proof of it. D said that encounters with the hair can impart energies, positive or negative, depending on whether your heart is good or not. Gee, does it make a difference that I thought it was yak hair at first? But indeed on closer examination, it looked like human hair, which effects a weird feeling to see such a fetish of unknown origin and purpose.
I heard an alternative suggestion. In the 12th century, revered scholar Sakya Pandita was famous for defeating masters of other religions in debates. In those days, religious debates were taken very seriously. The loser had to adopt the victor’s religion, and in the case of the loser adopting Buddhism, s/he must cut their hair. The loser’s hair therefore symbolized victory for Buddhist philosophy and debate. Perhaps it’s possible that the hair at Guru Ghantal is related to such a debate outcome.
Gonkhang, Guru Ghantal Monastery, Lahaul
The gonkang also contained a standing chest that had two protector deity masks hidden inside. These are typically used in Tibetan Buddhist chamdances. Lama Temphel is credited with improving the cham dances of Shashur Monastery. These ritual are usually created through visionary means. Danced by monks, they are said to be able to transmit profound Buddhist states to the beholder because they are meditative performances.
View of Lahaul Valley from Guru Ghantal (Gandhola) Monastery, where its sacred charnel grounds–one of the eight in the Buddhist world–are marked by an ancient stupa, Lahaul.Majestic view of Himalayan mountains on hiking trail to Guru Ghantal Monastery, LahaulOn trail heading back down to the main road from Guru Ghantal (Gandhola) Monastery, Lahaul
So today, with all the photography done at the monasteries I intended to visit in Lahaul–Shashur, Tayul, Kardang, and Guru Ghantal–I arranged to do the Drilbu Ri kora with a guide. Yes, I’m going to do it! The Thupcholing monk told me that climbing Drilbu Ri is no steeper than climbing up to Gandhola, just that it’s much longer, of course. What he said, together with the fact that I’ve now down mini-treks all around Keylong getting to monasteries and the one from Kardang back to town, emboldened me to go for it!
After all, in Garsha there is more to be found in the space and landscape than there is in paintings, so I was told correctly, and now I know. Even though the monastic sites here date at least to the 10th century if not before, there are no Indo-Tibetan murals to be seen here as there were in Spiti. I was advised along the way that Lahaul is to be experienced physically as a sacred location. All right, then, so what better way than to do the pilgrimage circumambulation of Drilbu Ri mountain, right?
Drilbu Ri Mountain seen from across Bhaga Valley, easily identifiable by its seven peaks and the notch just to the right, where trail to its summit proceeds
By now, it should come as no surprise that the grandeur of the view at every monastery is a given, but I promise you, nature still just smacks you dumb with awe like the nicest bully you’ve ever had the fortune to meet!
The magnificent scale of the Himalayan landscape, the distance as far as your eye can see but which your mind can’t fathom, the lighting! You can see the same view over and over, and yet at different times of day, it’s as if you’re facing a new expanse, a different space. And while you’re in a car traveling, the changing vantage points as you wend your way on hairpin turns and switchback roads just leaves you idiotic with glee as you inhale all the sights to full capacity.
Shashur Monastery, like Tayul, is just a few kilometers away from Keylong. That’s why it was doable to see both on the same day.
Shashur Monastery amidst its namesake of junipers, the needles of which lamas burn for purification, LahaulPanoramic view of Shashur Monastery, Lahaul
Shashur and its contemporary flourishing Tayul and Gemur monasteries were part of a 17th to 18th century height of new Drukpa centers of Zanskar, Ladakh, and Druk Yul state of Southeastern Tibet (what is now Bhutan, the Buddhist country with a gross national happiness index.) This period was a spiritual revival of Drukpa masters coming to Lahaul on pilgrimage, such as Dewa Gyatso, Taktsang Repa, who founded the great Hemis Monastery (Ladakh), Rangrik Repa, and Serzang Rinchen who built Tayul.
The monastery has three floors and as you enter the ground level temple, you find a shrine with numerous spiritual personages. Front and center is the great Mahasiddha Drubchen Dewa Gyatso, revered founder of Shashur in early 17th century. He was from Zanskar.
Shashur Monastery’s ground floor shrine, Lahaul. Yes, that’s me in the reflection, the statue doesn’t have legs like that!
Now there is this little holy statue of him that has a miraculous hat. It is said that monks on occasion come into the temple in the morning to find the guru’s hat mysteriously lying on the floor many feet away.
Statue of the revered founder Dewa Gyatso and his miraculous hat, Shashur Monastery, Lahaul
This is understood as a warning sign of trouble to come, issued out of the master’s compassionate spirit. Images of master Taktsang Repa have also been separated from his hat by virtue of this same phenomena. Similar miracles reported in Tibet were also taken as alerts to disasters such as famine, war, or epidemic.
Dubchen Nawang Tsering, disciple of Rangrik Repa (left rear in yellow), and Shabdrung Nawang Namgyal on right in pink. The contemporary framed photograph at right is the current Gyalwang Drukpa spiritual leader. Shashur Monastery, Lahaul
There is also Shabdrung Ngawang Namgyal (1594-1651), great lineage holder, 2nd incarnation of 4thGyalwang Drukpa, and founder of Druk Yul state in the 1640s. In the 1670s lamas of Shashur and Gandhola built relationships with this new Drukpa state which had enduring effects on Lahaul. To this day, there are deep spiritual ties between Garsha and Bhutan. Gandhola is still administered through Bhutanese lineage. It is Khandro Thrinlay, whom I met in Manali (see earlier post) who is presently looking after the preservation of Guru Ghantal. She holds the dual distinction of hailing from the Shakya Shri lineage as well as being the widow of the royal Bhutanese Drukpa spiritual leader, His Holiness the 9thShabdrung Ngawang Jigme.
Whew, so much discussion about lineage holders often leaves a Westerner cross-eyed with provenance, but one has to remember that in esoteric spiritual teachings, the guru-disciple relationship is key because it’s transmitted orally and personally. Genuine teachings must come from authentic masters who can trace their roots back to prior authentic masters. It’s the branches-stemming-from-the-trunk idea.
While the sculptures in the shrines are carefully tended to, the paintings on canvas in this temple are rather loosely tacked onto the walls. It appears that some have become sooty, probably from years of incense burning, and attempts to clean them have left a number of the paintings smudged.
Mural on canvas loosely tacked to wall, Shashur Monastery first floor temple, LahaulDetail of above wall mural with evidence of soot and attempt to clean leaving facial details marred, Shashur Monastery first floor temple, LahaulDetail of Avalokiteshvara, deity of compassion, from wall mural of Shashur Monastery, Lahaul. From stylistic similarities to an Avalokiteshvara painted at Guru Ghantal, this was possibly painted by Lama Tashi Temphel circa 1860, known to have painted at Shashur in addition to Gandhola.Avalokiteshvara, deity of compassion, from wall mural of Shashur Monastery, Lahaul. Possibly painted by Lama Tashi Temphel circa 1860.
On the second floor of Shashur is a larger shrine room with statue of Vajradhara, the primordial Buddha, and paintings of the 84 Indian Mahasiddhas, main mahasiddhas of the Drukpa lineage, and great gurus and yidams.
Center statue of Vajradhara, the Primordial Buddha, second floor temple of Shashur Monastery, LahaulPortion of 84 Mahasiddhas paintings, second floor temple of Shashur Monastery, LahaulDetail of 84 Mahasiddhas paintings, second floor temple of Shashur Monastery, LahaulDetail of 84 Mahasiddhas paintings, second floor temple of Shashur Monastery, LahaulThis is likely Padmasambhava (Guru Rinpoche) with consort in center surrounded by protector deities, wall painting on second floor temple of Shashur Monastery, Lahaul
With full respect for the content, I’m sad to say that as a visual artist I find the wall paintings in Shashur (as well as Tayul) aesthetically unremarkable. Well, as I was forewarned by a local, Lahaul is not really a place for incredible paintings or visual depictions of mandalas as it is for visceral yogic experience in the land and spiritual centers.
Much more interesting than the painted mahasiddhas on the second floor walls were the statues flanking Vajradhara. One was Chakrasamvara and consort Vajrayogini or Vajavahari, and the other identified as Red Chakrasamvara. Both were most unusual in style and completely unconventional in terms of proportion. They do not look like Tibetan renditions of the deities and their consorts.
Detail of Red Chakrasavara, an unusual statue for its exceptionally different style from most Tibetan sculpture, notably its lack of conventional proportion, Shashur Monastery, LahaulRed Chakrasamvara, an unusual statue for its exceptionally different style from most Tibetan sculpture, notably its lack of conventional proportion, Shashur Monastery, LahaulDetail of Chakrasamvara and consort Vajravahari, an unusual statue for its exceptionally different style from most Tibetan sculpture, notably its lack of conventional proportion, Shashur Monastery, LahaulChakrasamvara and consort Vajravahari, an unusual statue for its exceptionally different style from most Tibetan sculpture, notably its lack of conventional proportion, Shashur Monastery, Lahaul
Shashur’s third floor temple was built by Lama Sonam, a disciple of Shakya Shri, in the 20th century during a spiritual revival of the time. Its altar features a statue of Padmasambhava.
Central statue of Padmasambhava, third floor altar of Shashur Monastery, Lahaul
While it was not happening during my visit, it bears mentioning that Shashur is well-known for its annual sacred cham dance which occurs in June or July. Visitors come from all over to witness the three-day rituals that culminate in cham performance. As a ritual, it is not to be seen and received as entertainment but rather as spiritual elevations transmitted to the audience as movement and gesture. Here is one that was performed when I visited Key Monastery in Spiti.
Key Monastery monks demonstrate The Black Hat cham dance, with abbott presiding over the ceremonyView of Bhaga Valley, Lahaul, in the late afternoon sun driving back to Keylong from Shashur Monastery
Today was Shashur and Tayul Monasteries. Both are not far from Keylong, just several kilometers away. Tayul Monastery was founded in the 17th century, but like Kardang Monastery, little appears to remain from its original period. The current main temple was renovated in the 19th century. Probably the oldest objects to be seen are the ancient stupas one encounters en route, on the hike up to the site.
Ancient stupas on walking trail en route to Tayul Monastery, opposite Drilbu Ri Mountain, Lahaul
It must be reached on foot because there is no motorable road off the main road. The hike up is beautiful, of course, for its vistas. I was glad driver D accompanied me up because the trail is not so clear in some places. Locals do always advise having a guide. I still get winded doing the slightest incline up but hopefully each day will get better as I continue to acclimate to high altitude.
View across Bhaga Valley amid pine trees on trail to Tayul Monastery, Lahaul
Directly opposite is sacred Drilbu Ri mountain. You can always spot it by looking for those seven little peaks in a row that lead to a notched area where one treks up and over to reach the summit.
Drilbu Ri Mountain seen from across Bhaga Valley, easily identifiable by its seven peaks and the notch just to the right, where trail to its summit proceedsStatue possibly of founder and yogi Serzang Rinchen. Tayul Monastery,Lahaul
In fact, the story goes that Tayul, which means “chosen place,” was a location noticed by founder and Drukpa yogi Serzang Rinchen when he made his pilgrimage up Drilbu Ri. From across the Bhaga Valley, after a meritorious kora around the mountain, he saw the site and decided to build a hermitage there which became Tayul Monastery. Upon entering the main temple, one sees the 12 foot statue of Padmasambhava (Guru Rinpoche), revered as a great sage and living Buddha by Tibetans for introducing Buddhism to Tibet in the 8th century, displaying miraculous feats in taming local spirits in the process. Flanking him at the altar are statues of Dakini Singha Mukha, and the wrathful emanation of the guru.
Altar with Padmasambhava (Guru Rinpoche) in center, flanked by Dakini Singha Mukha and wrathful emanation of guruStatue of Singha Mukha, Tayul Monastery, LahaulWrathful emanation of Guru Rinpoche, Tayul Monastery, Lahaul
The original wall paintings from the 19th century by Lama Tashi Temphel, who stayed there and helped expand the monastery, are no longer extant. In its place are new paintings. Unfortunately, I found these contemporary-styled depictions rather stiff in execution, and less refined than older wall paintings I have seen to date in previous monasteries. Lama Temphel also made sacred images at Guru Ghantal Monastery, which happily can still be seen there. It had been suggested to me that Lahaul is not so much a place to find ancient Indo-Tibetan artwork, nor exquisite old wall paintings or mandalas even, as it is a place to be experienced physically as a land of yogi training, legend, and pilgrimage. So far, so true.
View of new wall paintings, Tayul Monastery, LahaulDetail of new wall paintings, Chakrasamvara in center with Guru Rinpoche above and surrounded by dakinis, Tayul Monastery, LahaulDetail of new wall paintings, featuring Drukpa lineage masters, Tayul Monastery, Lahaul
Tayul Monastery contains a complete Kangyur library and a large mani wheel that contains thousands of prayers. When spun, its blessings are activated and multiplies. According to its lamas, this wheel has been known to spin by itself on certain special occasions.
Kangyur library, and mani wheel known to rotate on its own on auspicious Buddhist days, Tayul Monastery, Lahaul
The British-born Tibetan Buddhist nun Tenzin Palmo was one of the first Westerners to encounter high Tibetan lamas in the early 1960s when she first arrived in India. She lived at Tayul for six years before retreating to a cave above it for twelve years. I read her biography Cave in the Snow like it was a suspense-thriller. I found her story and existential experiences riveting. It was a page-turner. Her retreat was abruptly interrupted by immigration authorities. Thus began her exit from solitary yogic practice to being a teacher in the world, a living example of Western and female accomplishment on the dharma path.
I always think that one beneficial outcome of the Tibet situation post-1959 is the creation of a diaspora which has lead to the spread of Buddhism in the Western world.
I saw Shashur Monastery the same day as Tayul. More to come!
I’ve been furiously writing here to get up-to-date, and even though I’m still working on September things seen and heard, I must now share that it’s Yamantaka time! I am currently documenting this highest yoga tantra performed annually at Namgyal Monastery here in Dharamsala.
Highest yoga tantra ritual, Yamantaka, begins pre-dawn at Namgyal Monastery, DharamsalaThe moon shines over Dharamsala Valley as Namgyal monks begin pre-dawn prayers for Yamantaka ritual. This highest yoga tantra occurs annually over the course of about ten days at Namgyal Monastery.
Yamantaka began four days ago before dawn’s light with earth ritual prayers to prepare the ground for this sacred art.
Offerings are made in the thekpu during earth ritual prayers to prepare the ground for the creating a sand mandala
Then came three days of intensive work for the monks to rasp colored sand through metal funnels to create intricate designs symbolizing the main deity and his retinue of associated deities within the palace. For more info on mandalas and tantric, see this earlier post.
Day one involves marking out the eight directions in white, and then monks draw the basic structure of the mandala in black ink before beginning with colored sand.The sand mandala begins with symbolic depiction of Yamantaka deity who resides in the center. A mandala is a two-dimensional representation of a thee-dimensional palace, used as an aide in tantric meditation practice.Day one of creating Yamantaka sand mandala continues, Namgyal Monastery, DharamsalaThe mandala after the first day’s completionDay two of creating sand mandala. This monk is scribing a floral design with a pencil into the background sand, after which he will create it on top in other different gradated colors.Day two of making Yamantaka sand mandala, Namgyal Monastery, Dharamsala. The four gateways to the palace can now clearly be seen outlined in black, flanked by black-and-white cornice design.Day two of making Yamantaka sand mandala. The gateways are further elaborated as the green background color is begun for the next section. The monks began early morning and will work well into the night to ensure progress and completion of the mandala within three days.Day three of making Yamantaka sand mandala, with completed gateways, banner designs, vases, and other symbols that are mnemonic devices for tantric meditation, Namgyal Monastery, DharamsalaWorking on the outer borders, day three of making Yamantaka sand mandala, Namgyal Monastery, DharamsalaThe sand is gradated on this outer border, day three of making Yamantaka sand mandala, Namgyal Monastery, DharamsalaWorking on the final outer border which represents the charnel grounds, day three of making Yamantaka sand mandala, Namgyal Monastery, Dharamsala
The sand mandala was just finished yesterday.
The completed Yamantaka sand mandala, Namgyal Monastery, Dharamsala
With the completion of the mandala, today was the generation stage of the ritual. The monks chanted while visualizing themselves arise as Yamantaka. Tomorrow begins three days of consecration, followed by fire puja, then dissolution of the mandala.
I love this bittersweet last part where the beautiful mandala is swept away. As George Harrison sang, all things must pass. It’s a lesson in the truth of impermanence and the wisdom of letting go. Some of the sand is given to visitors who come witness the event. Most of it is swept into a ritual vase that is then taken to a nearby body of water and poured into it. I think of it as sending good wishes and energy out into the world.
I look forward to seeing it again. It was a wonderful experience here three years ago. It will be a welcome deja vu.
Today was spent going to Poekar Monastery, known partly for where Apho Rinpoche had commissioned Bhutanese artists to create a giant Guru Rinpoche statue. One can say that the Bhutanese are present-day masters of sublime Buddhist art. Their style and techniques are favored by Tibetans. I have seen their work grace many contemporary monasteries.
Poeker Monastery on upper right (yes, that little cluster of white above the other little cluster of white which is the village below), Lahaul Valley
While Poekar was not originally on my radar for visiting, J had learned yesterday at a meeting in Manali with one of Apho Rinpoche’s sons, Jampal-la, that he was heading to Keylong for Tara puja (prayer), to be followed by Guru Rinpochepuja the day after. She immediately called to inform me that I should join them. That is to say, in her irrepressible and talented role of what Malcolm Gladwell calls a “connector,” she invited me to join them at her behest and on their behalf! Right, then, another unforeseen opportunity to observe and experience. So, I said OK, thank you!
Statue of Guru Rinpoche, Poekar Monastery, Lahaul. It doesn’t look that big at this angle but this is one-and-a-half stories high. Also known as Padmasambhava, he was the sage who introduced Tibet to Buddhism in the 8th century.
I planned to stay overnight (because J said it was fine to) and brought all my camera equipment and some clothing, all jammed in my wheeling suitcase. But when I got there with the driver, I couldn’t reach Jampal-la on his phone for details, and found while searching for the monastery that it was a good steep half hour hike up! So much for wheeling in my suitcase. It became clear that unless I hoisted my rather heavy suitcase up, the only other option was to go back to my Keylong hotel. Driver D, who had climbed up to the monastery with me to ensure that I was safely escorted, was kind enough to offer to go back down to the car to fetch it, but I didn’t feel good about him doing that!
Anyway, perhaps one day was enough. Maybe better to get to Shashur and Tayul, or Guru Ghantal the next day. These were planned destinations and I wanted to make sure I had enough time to document them. Jampal-la suggested also Phakpa Monastery in Triloknath, a sacred site of Avalokiteshvara, and Markula Devi Temple in Udaipur, sacred site of Vajrvahari.
The Tara puja was an annual event that Poekar Monastery’s American sponsor requests. The resident monks and nuns are yogi retreatants, as most are in Lahaul. Together, they conducted the prayers, chanting in refreshing cross-gender unison, something one doesn’t experience very much since monks and nuns are usually living separate monastic lives.
In fact, Tara as a tantric deity has contemporary feminist appeal. She is referred to in the Perfection of Wisdom (Prajnaparamita) sutra, a very key Mahayana text, and is considered the female form of Avalokiteshvara, the deity of infinite compassion. With these two strong combinations of wisdom and compassion, she embodies powerful aspects of the practitioner’s own Buddha-nature. She has 21 forms or emanations in all, each associated with certain colors and psycho-physical energies.
Green Tara surrounded by her other enamations
During Tara puja, we all sat cross-legged on the floor as is customary. I was flanked by two nuns who would hand me grains of rice to toss in the air at intervals during prayer. Jampal and his wife were guests of honor.
It was nice talking to them both in between prayer sessions. We talked about how the West seems to the East and vice versa. I shared my observations of what I thought was positive and negative about each social order, their apparent outlooks on life, and expectations of how things should be. Jampal-la and his wife shared theirs. I learned from him that, even though he comes from a line of great traditional solitary practitioners, his view is unexpectedly open to contemporary and Western exposure, and it is this:
Begin on the secular level with teachings about how to simply be a good, moral person before getting to the more esoteric and higher teachings. Let individuals develop and choose whether they want to be Buddhist or not. Then if they do, higher teachings can always come later. He has helped to sponsor a group of young girls by sending them to school and working on exactly this approach. In this way, he is aligned with the Dalai Lama’s initiative on secular ethics.
What’s more, their teen is in the U.S. now attending university through the generosity of a sponsor. They feel strongly that young Tibetans should experience what the West has to offer, and then decide for themselves whether to follow that life or come back to the East. Otherwise, they will always feel doubt or curiosity that the (democratic/ materialist/capitalist/etc.) grass is greener on the other side. Eye-opening to chance the risks of the world, coming from a family and lineage legacy of hermitic existence.
The day passed so seamlessly from breakfast to morning prayers, to lunch and afternoon conversation, with such friendliness exuding from everyone at Poekar.
Poekar Monastery nuns, Lahaul
Sadly, when I learned that the next prayer session would continue in a different temple an hour’s ascent further up the mountain (surprise once again) I decided it was too late in the day, and time for me to travel back. Upon hearing this, the nuns and monks, who by now were spread willy-nilly on the hillside climbing up, began to wave and smile and utter lovely goodbyes. They repeatedly implored me to stay over. Truly, their sincerity warmed me so much, I found myself walking away hand clasped to heart.
Poekar Monastery monks, LahaulView of Lahaul Valley from Poekar Monastery village
Ah, a great night’s sleep at Kardang Monastery, dreaming of sweet friendships. Then a rainbow appeared during morning sunshowers and breakfast with Ani-la! I mean, gee, how much more welcomed can one feel?
Rainbow over Lahaul Valley during morning sunshowers, Kardang Monastery
Later I went to talk with Lama Paljor-la, and found him in his house with his two Russian disciples. They politely excused themselves so I could speak with him. We shared a truly warm conversation about spiritual outlook and concerns.
It turns out that one of his disciples was in great pain from kidney stones, so Lama Paljor-la rushed out to drive him to Keylong. I was supposed to ride in with them (having had second thoughts about walking back by myself) but due to the emergency, I reverted to my original plan of returning on foot.
Looking towards Keylong from Kardang Monastery courtyard, Lahaul
This poor fellow’s unfortunate circumstance became my fortunate one.
View up the Bhaga River Valley from on trail from Kardang Monastery to Keylong, Lahaul
It was lovely. I only saw one person on the long trail back. I had a most wonderful time alone.
View of Lahaul Valley on trail from Kardang Monastery to Keylong, Lahaul
At one point, I filmed the rushing waters of the Bhaga River, sat on a big rock catching my breath (gasping was more like it!) and suddenly felt…um, absolutely content.
Crossing the footbridge over the Bhaga River on the trail from Kardang Monastery to Keylong, Lahaul
Looking around me at the grand nature, feeling physically and mentally comfortable, at that moment, everything was so fine.
Contentment on the trail to Keylong from Kardang Monastery, Lahaul
It is said that Garsha can have that effect. I guess it was my day to experience it.
Along the trail to Keylong from Kardang Monastery, Lahaul ValleyEmerging into lower Keylong village from the cliffside trail back from Kardang Monastery, Lahaul
Yesterday, J and I came to Kardang Monastery to meet resident yogi and monastery head Lama Paljor-la. After learning about my project, he generously shared stories with us about the murals, objects, and photos in the main temple. J knows quite a lot about the Drukpa Lineage so they both had much to discuss.
Kardang Monastery as seen from across the Bhaga River, Lahaul
Kardang today is perhaps the best known monastery in Keylong owing to its association with the Shakya Shri Drukpa Lineage. Lineage is of terrific importance in Tibetan Buddhism because tantra is a living spiritual tradition transmitted orally in teachings from master to disciple. In this way, there is a connection from generation to generation which can be traced back to the Buddha himself.
Drubwang Shakya Shri (1983-1919) was an exceptional yogi who started out as a cook in a Drukpa monastery in Tibet. His lineage is unique because, through deep, whole-hearted practice, it is said he received his enlightenment directly from Vajradhara, the primordial Buddha. He was widely recognized as an incredible adept by other masters, including His Holiness the 14thDalai Lama. With pure connections going back only a few generations, Shakya Shri lineage is known for its effective master-to-disciple teachings which guide practitioners swiftly along the Buddhist spiritual path. Shakya Shri mastered Mahamudra in the Drukpa Kagyu tradition, and also Dzogchen through the Nyingma lineage. He was later known for being involved with the Ri-me (non-sectarian) movement.
It was Shakya Shri’s disciple Jetsun Norbu Rinpoche, who returned to Lahaul from Tibet after his master had passed away. As holder of his teachings, and in particular of the Six Yogas of Naropa and Mahamudra, he soon attracted 2000 followers from all over the Western Himalayas. Though his hermitage was thriving, he preferred to live in a cave above Kardang Monastery. In time, Kardang became known as a yogic training center.
Cave dwelling above Kardang Monastery, possibly like one that Norbu Rinpoche lived in
As I mentioned in an earlier post, you may have heard of Tibetan Buddhist practitioners who can do unusual physical things. It was some of Shakya Shri’s lineage yogis whom Harvard scientists studied in the 1980s doing tummo practice, in which they can raise the temperature of parts of their body by as much as 17 degrees! One study involved the yogis scantily clothed spending a Himalayan winter’s night outdoors on a rocky ledge at 15000 feet altitude where temperatures reached freezing. The yogis demonstrated they could remain warm and slept through the night without incident. I think most of us would have suffered hypothermia! It occurs to me that Lama Paljor-la could have been one of these yogis.
Kardang Monastery is believed to have been founded about 800 years ago, but nothing seems to remain of its original temple. The current main temple was first built by Norbu Rinpoche in the 1930s, but was rebuilt several years ago by Lama Paljor-la, a disciple of lineage holder and former monastery head Apho Rinpoche. I have had the pleasure of meeting three of Apho Rinpoche’s children in Manali en route to Spiti and coming back from Lahaul: lineage holder Sey Rinpoche, his brother Jampal who is also a recognized reincarnate but prefers to live a quiet life with his family, and Khandro Thrinlay whom I wrote about previously here.
Kardong Monastery, Lahaul
Kardang Monastery is situated directly opposite Keylong on the other side of Bhaga River. See this 360 degree video view below.
[vimeo 145002351 w=600 h=331]
When one enters the main temple, one sees a mixture of old and new murals on the walls. The older ones, possibly no older than the 1930s, were painted originally on canvas so they were removed and reinstalled. They collage the walls alongside newly painted scenes.
Interior of main temple at Kardang Monastery, Lahaul, with lama performing Mahakala prayers
At the altar are Buddha Shakyamuni statue on the middle, Vajradhara on the left and Padmasambhava on the right (also known as Guru Rinpoche, who introduced Buddhism to Tibet in the 8th century).
Vajrdhara on left, Buddha Shakyamuni in center, Padmasambhava on right, altar at Kardang Monastery, LahaulInterior view of Kardang Monastery where older and newer paintings collage the walls, LahaulOlder and newer paintings collage the walls of Kardang Monastery, LahaulInterior view of main temple, Kardang Monastery, LahaulDetail of an older painting depicting a scene from the Life of Buddha, Kardang Monastery, LahaulDetail of an older painting depicting Chenrezig, Kardang Monastery, LahaulDetail of an older painting depicting Padmasambhava with consort, surrounded by protector deities Kardang Monastery, Lahaul
The monastery has a large library which includes the complete Kangyur, given to Norbu Rinpoche by the king of Bhutan, and the complete collection of the Wisdom Words of His Holiness the 4th Gyalwang Drukpa, the spiritual leader of the Drukpa Lineage.
Kardang Monastery has an extensive library of Kangyur scripture and other complete texts. Also seen here are sculptures and relics of lineage mastersGegen Rinpoche on left, His Holiness the 12th (current) Gyalwang Drukpa on right, on altar of Kardang Monastery, LahaulA newly painted guru-yoga mandala on the ceiling, Kardang Monastery, Lahaul
Above the main temple is a room that had belonged to Apho Rinpoche. On the walls are paintings depicting Milarepa’s story that were originally painted on canvas and reinstalled in this new temple.
Apho Rinpoche’s former room above main temple, Kardang MonasteryScenes from Life of Milarepa, older wall paintings from Apho Rinpoche’s former room above main temple Kardang Monastery. Above right are newer paintings.Detail from Life of Milarepa, wall paintings, Kardang Monastery
I’m spending the night here tonight in one of the monastery guest rooms. There’s an Ani-la (nun) who has kindly cooked for me, but mostly Kandang’s community of eight monks and seven nuns are lone retreatants living in simple huts and cooking for themselves.
Detail from Life of Milarepa wall paintings, Kardang Monastery, Lahaul
J left this morning, and took the bus back to Manali. It was wonderful traveling with her, and I’ll miss her company to share travel discoveries with. Yes, so I’ll be here for several days on my own devices, until my next travel companion K arrives and we drive together to Ladakh. On my list of things to do here are to see Shashur and Tayul Monasteries.
View of Keylong from the courtyard of Kardang Monastery on the other side of the Bhaga River, Lahaul
Tomorrow I plan to walk back to Keylong via trail and footbridge across Bhaga River. I hope the paths are clearly visible and I don’t get lost! There’s no taxi to be had here unless I call for one from Keylong. And as Khandro-la’s assistant had told me, Lahaul does not have so much in the way of Indo-Tibetan mandalas, but is rather itself considered a Chakrasamvara mandala manifest, one should experience it on foot. Even though we are at over 11,000 feet altitude, it seems not too hard to go downhill and not terribly far to walk perhaps 5-8 kilometers, so I think I should follow this advice and experience Garsha. After all, I am over the worst of altitude adjustments. I had vice-grip headaches at night which made it hard to sleep, but the head pain progressively improved, and by the end of the first week, went away. So while I’m a bit short of breath sometimes exerting uphill, it’s not a hardship.
This story has proven staying power on my mind. I was going to write about Kardang Monastery, the first site I visited in Lahaul, but I have been thinking about this other content, so must share it here, now.
What if you were in a situation where you had to choose between your freedom from prison, or bringing a great spiritual teacher to your country to enlighten its citizens? Yeshe O’d, the 11th century Buddhist King of Guge in Western Tibet was faced with this choice.
During his lifetime (967-1040 C.E.), he had inherited a kingdom in a confused and degenerate era of Buddhism, a condition that followed its religious repression by previous King Langdarma (863-906 C.E.) To counter dissolute Buddhist practices and ideas, Yeshe O’d aimed to restore pure teachings in a variety of educational and development initiatives.
He sent young scholars to India to study Sanskrit, the original language of Buddhist scriptures. He imported and had faithfully translated Sanskrit sutras, tantras, and commentaries into Tibetan. He built monasteries all over his vast kingdom, and brought a team of inspired artists from Kashmir, where Buddhism had long flourished, to help illustrate the fundamentals of tantric practice. If you have been following this blog, you know then that this involved depictions of the deity Vairocana, the Dhyanibuddhas (Five Buddha families) and their associated cycle of deities in a Vajradhatu mandala order of art and architecture. It resulted in a distinctive period of Indo-Tibetan sacred art which can still be seen today in late 10th and 11th century sites such as Tabo and Lhalung monasteries in Spiti; Alchi, Lamayuru, Mangyu, and Sumda Chun monasteries in Ladakh. Finally, Yeshe O’d also searched for and invited a great Indian master to teach in Tibet.
Of the twenty-one individuals he sent to India to study Sanskrit, only two survived to return from the arduous journey to inform him of the great master Atisha.
One of these students later became The Great Translator Rinchen Zangpo who, through his scholarly excellence and dharma dedication together with the king’s support, helped effect what is known as the Second Great Transmission of Buddhism from India to Tibet. It spanned the late 10th to 12th centuries C.E.
Upon learning of Atisha, Yeshe O’d proceeded to commission a second party armed with gold offerings to request the master to come to Tibet. Of the nine people sent, only one survived, but he was unable to persuade the scholar to leave the learned monastic university center of Vikramashila where he was teaching Indian disciples.
Undeterred, and collecting more gold to offer, the king decided to go personally in a third expedition to meet Atisha. However, along the way he was captured by a rival King of Garlog near Nepal who imprisoned him for ransom. With the intention of deterring the spread of Buddhism, this king demanded Yeshe O’d’s weight in gold for his release, or that he give up his mission to go to India.
By now, many years had passed since the first initiative of sending students to India to study Sanskrit, and Yeshe O’d was an older man. When his nephew Changchub O’d arrived with a large sum of gold collected from throughout Western Tibet, it was not the full Guge king’s body weight. It is said that the gold remaining still required was equal to his head. So the Garlog ruler refused to release his hostage.
Changchub O’d then met with his uncle, who was chained in his dark prison cell, vowing to redouble his efforts to get more gold for his release. Yeshe O’d, however, then instructed him to offer the gold thus far collected instead to Atisha. He said, “I have died countless times in previous lives, but I am sure I have never before sacrificed myself for the Buddha’s Dharma. Now I am very happy to do so. Whomever you send to India, please have him tell Atisha that I have given my life for the welfare of my subjects and the Dharma so that he could be brought to Tibet. Although I have not had the fortune to meet him this lifetime, I have fervent hopes that I can in the future.” In great grief, Changjub O’d agreed to follow his wishes.
And so, Yeshe O’d died in prison for the sake of benefiting others. This story sticks with me for its selflessness and model example of bodhicitta, great generosity. Buddhist history has proven its profundity.
Atisha, upon hearing the circumstances, felt moved by enormous compassion, and he then finally did come to Tibet at the age of 53, sometime in the first half of the 11th century C.E. Along the way, he wrote his masterpiece Lamp for the Path to Enlightenment, a short text in 67 verses which lays out the entire Buddhist path in terms of the three vehicles: Hinayana, Mahayana, and Vajrayana, and became the model for later texts in Stages of the Path.
He remained in Tibet for the rest of his life where he successfully taught and propagated pure teachings that amounted to an illustrious reform within the Second Great Transmission of Buddhism to Tibet. And much to his gratitude, Atisha even showed the very learned Lotsawa Rinchen Zangpo, who was by now aged in his 80s, how to properly practice tantra. Atisha is further credited for laying the groundwork for Je Tsongkhapa’s 14th century seminal teachings.
Marmots were poking their heads out of rock crevices, or walking out in the open like this one, presumably searching for breakfast. Cute pudgy little things, they reminded me of our local American groundhogs.
