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…
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
Posted
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
This is not an official U.S. Department of State website. The views and information presented here are solely those of the artist, and do not represent the Fulbright Program, the Department of State, or any other entity.
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.
