At long last, I’ve finished editing this documentary! You can see it above or go to this Vimeo link where Yamantaka is uploaded.
Yamantaka, what an esoteric and complex practice. This candid view of a Tibetan Buddhist highest yoga tantra was filmed over the course of ten days at Namgyal Monastery in Dharamsala, India. You will see monks create an elaborate sand mandala, ritual cakes, and other sacred arts, offer prayers, chant, play ritual instruments, purify and meditate. On the last day, the sand mandala is swept into a vase and released into the world as a blessing for all. This is always the breathtaking but cringe-worthy part, for those of us who treasure and want to hold onto the beauty of a meticulously created mandala.
Ideally, I would have liked to complete and release this documentary last year, but I’ve learned that one simply cannot rush certain things. Especially when careful viewing and understanding of the footage is at stake. Add to this the required post-production magic of removing flickering segments, compensating for low lighting conditions, color adjustments, fixing sound challenges, and so forth, and you have an enduring, long workflow at hand.
Incidentally, many viewers have asked me about what is happening at around 42:14 in the Yamantaka video, where a young Caucasian man is in the Main Temple talking loudly and animatedly to a gathering of monks. This was a debate exam in session for students of the Institute of Buddhist Dialectics (which adjoins Namgyal Monastery), characterized by dramatic and distinctive hand clapping, body motions, and rhetoric. It was an event unrelated to Yamantaka, but which coincided with it.Tibetan Buddhists have a long and famed tradition of continuing the ancient Indian Buddhist practice of philosophical debate.
Ajanta Caves called “The Greatest Ancient Picture Gallery” by William Dalrymple
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A statue of the Buddha in one of the Ajanta Caves, India
Excerpt from “The Greatest Picture Gallery” Read this captivating article by the excellent writer and historian William Dalrymple here at The New York Review of Books.
“[I]n 1819, a British hunting party in the jungles of the Western Ghats had followed a tiger into a remote river valley and stumbled onto what was soon recognized as one of the great wonders of India: the painted caves of Ajanta. On the walls of a line of thirty-one caves dug into an amphitheater of solid rock lay the most beautiful and ancient paintings in Buddhist art, the oldest of which dated from the second century BC—an otherwise lost golden age of Indian painting. In time it became clear that Ajanta contained probably the greatest picture gallery to survive from the ancient world, and along with the frescoes of Pompeii, the fabulous murals of Livia’s Garden House outside Rome, and the encaustic wax portraits of the Egyptian Fayyum, Ajanta’s walls represented perhaps the most comprehensive depiction of civilized life to survive from antiquity.”
This article brought back wonderful memories of visiting Ajanta Caves during my 2013-2014 Fulbright research and travels!
Betwixt: New Animation and Experimental Film by Eva Lee
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Found adventures and forgotten homes, dreams of departures and arrivals. Yes, that is the description for “Betwixt,” my latest new animation and experimental film.
You want to see a sneak peek, you say? Why not! Click on the image below.
Still from “Betwixt,” new animation and experimental film by Fulbright artist Eva Lee
Inspired by research on Tibetan Buddhist mandalas in Indian Himalayas. Made possible in part by support from Fulbright Scholar Program.
The Quality of Our Time: What is “Normal?”
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While in India, I so appreciated the worldview that the individual is not an all-important master of the universe able to exert control over everything, an approach which I believe we in the West tend to adopt. The individual is instead one expression of vast lives that came before and vast lives that will come after. It is folly to think that there aren’t also vast circumstances at work in the human or natural environment which are beyond our control.
Contingency is therefore normal. Indians and Tibetans are very okay with last minute changes, unforeseen circumstances that present themselves and affect the course of your plans, without a great deal of anguish or sense of derailment or judgement, the way that we can be in America. I found this to be true day in and day out, on small and large matters.
Flexibility, openness to unplanned occurrences, is considered a positive adaptive quality. One can go with the flow, with what presents itself, be aware of new or better potential solutions or outcomes than the one originally imagined. Make different decisions along the way. Sometimes it was maddening for my travel plans to have to accept this reality, but I learned to relinquish.
Here in the U.S., I’m thinking now of how we race around everywhere, internally and externally. Everything is precisely scheduled, and we expect results accordingly. We make lists to efficiently cross off when and what tasks are done. We think to ourselves that all these things have to be done, and done quickly, or we won’t get to where we need to be–to be successful, to be happy, to have the American Dream. We may feel often impatient, pressured, anxious, exhausted. We barely have time to have a meal when we are not multi-tasking or distracted. We run off here and there to the next meeting, to the next after-school event, the next appointment, the next workout at the gym, etc., in ever more and more compressed, appointed uses of time. Because there are always other things we also have to do.
What do we have to do? And what for?
Maitreya Buddha at Dawn in Mulbek
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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.
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 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.
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!
Lahaul is known by Tibetan meditation practitioners and adepts as Garsha Khandroling, Land of the Dakinis. Dakinis are energetic female spiritual guides often depicted as blissful and fierce dancers.
Lahaul has an illustrious Drukpa Kagyu lineage of highly realized yogis and yoginis who do the Six Yogas of Naropa, esoteric methods bestowed by master to disciple in direct teachings. These are the meditators who go into seclusion in caves or simple dwellings for years or decades in order to realize spiritual liberation–that is to say, Buddha-nature through tantric wisdom and compassion practices.
As I mentioned in my last post, I have heard about some of the mind-over-matter feats that yogis demonstrate which confound conventional explanations, such as levitation, miraculous healing of the sick, making snow fall, taking bad karma upon oneself for the benefit of another. Another perplexing thing, upon death, the bodies of many advanced practitioners do not decay according to the normal time frame of most people. They are believed to be fully aware in the bardo state, the intermediate stage between death and rebirth.
Well, I’ve learned that while it’s difficult to wrap one’s rational mind around such reported phenomena, sitting on the I-don’t-know fence is a flexible and open-minded place to be. After all, outside of spiritual matters we can’t explain, for example, quantum entanglement or what Albert Einstein called “spooky action at a distance,” but it appears to happen!
The great yogi Shakya Shri
Garsha has attracted and hosted countless masters and disciples in pursuit of enlightenment for over 2000 years in unbroken continuity. Inspirations for pilgrims include the sacred abodes of Chakrasamvara at Drilbu Ri Mountain opposite Keylong; Avalokiteshvara at Phakba Temple in Triloknath; and Varjavahari at Markula Devi Temple in Udaipur.
Keylong, Lahaul’s largest village, has several important monasteries only a few kilometers away. These were flourishing Buddhist centers centuries ago, such as Kardang, Shashur and Tayul Monasteries. The oldest one, Gandhola (Guru Ghantal) dates to 1st century C.E. according to archeological evidence. I visited each of these places and to come will be posts featuring them.
View of Gandhola (Guru Ghantal) Monastery, way upper left, with Thupcholing Monastery below on the plateau. Those green-roofed structures are meditation huts for retreatants. Both sites overlook Tandi bridge where the mighty Chandra and Bagha Rivers join in what is considered by Buddhists and Hindus alike as a sacred union.
The delight to be found in Lahaul is that over time, masters have left legends, relics, shrines, stupas, sacred paintings, sculptures, and other spiritual encounters that dot the landscape awaiting discovery by travelers and seekers. The more you look, the more you will see, but it takes some uncovering. For example, what looks unimpressive on the outside may contain a treasure on the inside, such as Jabjes Monastery in Kardang Village. Or one has to do a bit of breathless hiking up a mountain to see some of these old monasteries, hidden meditation caves, and charnel grounds.
Jabjes Monastery located in Kardang Village was built around a legendary rock with the miraculous imprints of yogi Gyalwa Gotsangpa’s knees and genitalia, which formed in the stone as he passionately chased and tried to embrace a dakini who disappeared into it. The rock may be seen today inside the temple, Lahaul, India.
However, I’m told by locals that most visitors just pass through Lahaul, heading to the more tourist traveled and trekked sites in Ladakh or Spiti. What a pity!
More readily noticeable and understood by travelers is that Keylong stretches along the main trade route between the Rohtang and Baralacha passes above the Bhaga River. Besides being a thoroughfare between Ladakh, Kullu and Spiti regions, it is also the district headquarters of Lahaul and Spiti, with strategic military presence. In addition, above and below the village one sees lush farmlands growing barley, peas, potatoes, corn, cabbage, mustard greens, squash, and much more. Apples and other fruit orchards are plentiful. My local driver D told me that agriculture is the economic mainstay of Lahaul, and judging from some of the mansions built by some farming families, the wealth of this abundant agrarian heartland is evident. The food harvested is transported all over India. I would not have guessed that at an altitude of over 10,000 feet there would be such a cornucopia!
View of Keylong on hiking trail from Kardang Monastery to Keylong
D’s ancestral farmland is in the Manali area of Kullu Valley, but he lives and works in Keylong to service the tourist industry as an extension of the family business. Indeed, it’s all in the family. I’ve learned from Lahaulis and Spitians I met that relatives live and work together. This was always the tradition, and it largely continues today.
Another thing I learned was that unlike Tibetans, Lahaulis, Spitians and Ladakhis, while culturally and historically part of Tibet, are indigenous to their regions, and as such are not refugees in India but full citizens. In addition, they have their own language and customs. In fact, the Indian government recognizes them as ethnic “tribals,” who may therefore qualify for certain affirmative action positions or opportunities.
It isn’t only just the passerby tourist who may miss the treasure to be found in Lahaul. I realized that my driver, while he probably identifies himself as a Buddhist, is fairly uninformed about the great legacy of his roots. At one point in our travels, he asked me how much I knew about the Dalai Lama and Buddhism. I thought it was a prompt for me to in turn ask him what he knew and be enlightened by his local knowledge, but it was not a segue way to that at all! He told me he tried to find books on Buddhism in Hindi, but could not. It pained me to hear this–that someone looking for knowledge could not access it.
D said that Lahaulis are educated in Indian schools, are fluent in Hindi but not Tibetan, and frequently not English, either. I noticed this is especially true of the women, who largely live domestic lives caring for family and have little contact with others. English is spoken mainly to communicate with foreigners. Feeling affinity for Indian culture and language, many Lahaulis have assimilated to a large extent in recent generations. Most cannot read the readily available contemporary books in Tibetan on Tibetan Buddhism to fill in on the lack of local education on this topic. Books in English are plenty, but nor can they read these since the written language is “too deep” to understand. It was an exquisite and sad irony that I, a foreigner from the other side of the world, knew more about his spiritual roots than he did. That he, a resident in the incredible Garsha, a descendent of the local culture, could not find one book he could read to study Buddhism deeper!
Farm land and orchards above and below Keylong Village in the fertile valley of Bagha River, Lahaul
It’s a double whammy of cultural distance and spiritual loss. Without being able to study Buddhist philosophy and learn about its unique teachings on dependent origination, one runs the risk of meaningless ritual practice with no or limited realization of freedom from life’s delusions and sufferings.
What’s more, Tibetan Buddhists have a marvelous literary and scholarly tradition, founded on the translation and study of original source materials. Lotsawa Rinchen Zangpo’s translations of Buddhist scriptures from Sanskrit to Tibetan has not only preserved a written heritage now lost in India but produced a renaissance of tantric study and practice. This was during the late 10th to 11th centuries, a flourishing period referred to as the second great propagation of Buddhism. It is the Indo-Tibetan history I’ve been trailing through the sacred art of mandalas, monastery murals, and sculptures.
Garsha: Heartland of the Dakinis
In fact, a (French) Tibetan Buddhist nun, while living in Keylong, discovered the very same thing–that Lahaulis did not know much about the dharma history of their own land. Furthermore, part of why Lahaul’s Buddhist legacy is little known is due to a dearth of literature on it. So she wrote the book Garsha: Heartland of the Dakinis in 2011, published by the Garsha Young Drukpa Association. I have a copy in English, the language it was originally written in. Currently, it needs to be translated into Hindi for local readers.
It is a remarkable small book, jam-packed with a wealth of information about Garsha’s ancient history, the Drukpa lineage masters, dakinis, the founding of monasteries, anecdotes, local legends, descriptions of sacred sites, miracles, reliquaries, carved stones, and much more. It is probably the most, and perhaps only, comprehensive account of Lahaul’s history from the Buddhist perspective. Because it is written by a monastic with open access to living lineage teachers, and unpublished historic materials in Bhoti/Tibetan, the book is a treasure trove of knowledge.
I learned about the book and purchased it from Khandro Thrinlay la when I met her in Manali en route to Spiti (see earlier post here). She is a lama and direct descendent of the Drukpa Kagyu Shakya Shri lineage, with very close spiritual ties to Lahaul. My travel companion J was happy to find it available for sale later in Keylong because she wanted to buy it and donate copies to Tabo Monastery Library in Spiti and The Library of Tibetan Works and Archives in Dharamsala. Funny thing, though, she did not find it in a book store but at a small travel agency/internet cafe establishment run by a lovely Lahauli man keen on the book. You see what I mean? The more you look, the more you will find around here!
Sept 9, 2013 Spiti adventure continues…on to Lahaul, India
After a jaunty jiggly jeep ride of over 10 hours from Kaza back through the magnificent giant boulder rubble of Spiti Valley, Kunzum-la Pass (this time populated by yaks grazing and loafing!) and getting stuck fording a glacial melt waterfall that flooded the rocky road, we arrived in Keylong, Lahaul.
View of farmland in early morning Spiti Valley, en route to Keylong, LahaulSpiti Valley in the marbled early morning sun. As dry and desolate as Spiti may seem, there is always the play of light and colorful vistasApproaching the stupas of Kunzum la pass, the high point of the road at about 15000 ft altitude. This time there was a herd of yak grazing and resting. Glaciers can be seen within relatively close range.Kunzum la pass, where I circumambulated the stupas and got a close look at yaks gathered there. Glaciers can be seen at above left.Herd of yaks dotting Kunzum la pass, at about 15000 feet altitude, the highest point of the road through Spiti ValleyYak grazing, this one looks like he’s molting or has been shavedYaks grazing and resting at Kunzum la pass, seen en route from Spiti to LahaulTibetan Buddhist stupas at Kunzum la pass, monuments in honor of this high point of the road through Spiti ValleyAt this time of year in September, there are streams of glacial melt such as this one which frequently cross the road. They can be as small as trickles or as large as river flows, and it’s wise to travel as much as possible in the morning before the hot afternoon sun increases the flow of these waters that you have to cross with your vehicle.Huge boulder piles along the road from Kaza, Spiti, to Keylong, Lahaul. It’s difficult to judge the monumental scale from just a photo, but to give you an idea, this foreground rock is as tall as a person.Huge boulder piles along the road from Kaza, Spiti, to Keylong, Lahaul
Magnificent and desolate…
Our jeep on the road through the dry desert terrain of Spiti Valley, India
Once you experience the vast scale of the Himalayas, you can readily understand why the environment induces existential concerns and spiritual development. There’s nothing like realizing our small duration as human beings in the context of gigantic geological time and space, and beyond this, the grand cosmos to put human desires and expectations into a completely different focus.
A large Tibetan Buddhist stupa is dwarfed by the magnificent scale of the Himalayan mountains
Here is our jeep stuck on rocks while attempting to ford the rapidly flowing waterfall that flooded the road in the afternoon. We had patiently waited while the vehicle before us was stuck and finally managed to get out. In that 45 minutes or so, unfortunately, the water flow started increasing as the hot afternoon sun melted more glaciers! We got out eventually though with the help of others waiting to pass, including military men and a monk who moved earth and rubble, pushed and rocked the car, as our driver revved forward.
Our jeep stuck on rocks while attempting to ford the rapidly flowing waterfall that floods the road in the afternoon in Spiti Valley.The said rapidly flowing waterfall which created a river across the road, Spiti Valley, India
In contrast, as you approach and enter Lahaul Valley, high waterfalls are plenty but do not flood the roads. Lahaul is also a welcoming green landscape with grass, shrubbery, trees, and evergreens. The region is also well known for its delicious potatoes, as well as crops of barley, peas, cabbage, apple and other fruit orchards. Even here in high altitude, it is a heartland for growing food to be transported throughout India.
One sees many high waterfalls throughout the more verdant Lahaul Valley
With arrival in Keylong, Lahaul, in late afternoon we spent the rest of the day trying to get some logistics done. For my part, it was to get (yet another) SIM card that will get a cell signal here in the high Himalayas, and hopefully maintain a signal when I later travel to Ladakh further north. After the last week in Kaza, Spiti, without any cell phone coverage by my existing SIM card to communicate with family or arrange meetings or call for travel, etc., I decided to get another with a different carrier. Here in India, there is no single carrier that can provide national coverage, so one gets used to swapping out SIM cards and switching providers as the need arises when you travel from area to area. I have three SIMs now. The last one took so long to do—don’t ask the maddening details about how it took well over two hours to buy the SIM in one place and take it to another place to cut down. Around here you get used to relatively simple things taking an inordinate amount of time to accomplish, in this case, out of lack of coordination and know-how on merchants’ part. I’ve learned to smile a lot, shake my head, and say to myself, “It’s India…” Trust me, even Indians say this!
I never got to treat my very dry leather shoes as I had promised myself. They look like they’re going to crack from the dust-pounding they get in this high desert climate and unpaved roads. Nor did I get to download from the internet café the software plug-in I desperately need to manage my photographs. I couldn’t do it in Spiti because my download was too big for the internet café’s monthly ration of data permitted. Who knew an internet cafe would be rationed for data?! But, ok, lack of resources…I shook my head and smiled, it’s India.
But what India lacks, it definitely makes up for in its sublime experiences!
View of Keylong nestled in the Bhagha River Valley, Lahaul
Which brings me to Lahaul, also known by Buddhists as Garsha Khandroling, a region with a deep history of highly realized yogis. These are the practitioners who spend many years or decades in seclusion meditating in caves. You may have heard about adepts who can demonstrate astounding practices of mind over matter, such as levitate or dry wet sheets in the snow with heat generated from their bodies, confounding the scientists who studied this phenomena. Or you may have heard of Jetsunma Tenzin Palmo, the American Tibetan Buddhist nun and her Cave in the Snow. In any case, more on Garsha in the next post…
In the book The Forgotten Gods of Tibet: Early Buddhist Art in the Western Himalayas, published in 1997, authors Peter van Ham and Aglaja Stirn wrote about Tabo Monastery‘s Tsug Lhakhang: “Unfortunately many of the paintings, especially in the lower register, are badly damaged. In fact the northern wall has a large area where nothing except for the grey wall can be made out. Some of these gaps were painted over in recent times–enhancing the impression of the high artistic merit of the old paintings since these newer additions only show a mediocre level of execution.”
Perhaps this may be an example (see image below). Notice how the figure to the left of the central Buddha is stylistically so different from the one on the right. As a trained fine arts painter as well as decorative painter, I must agree with authors van Ham and Stirn.
Stylistic inconsistency in repainted figure on left, Tabo Monastery Tsug Lhakhang
This below example of stylistic continuity is what the above example should look like.
Stylistic consistency in these three figures, Tabo Monastery Tsug Lhakhang
Here is a view of a comparable original painting on the left and the one in question on the right. Stiff and simplistic in appearance, the repainted one bears little resemblance to the refined and delightfully detailed original.
An example of original painting on left and repainted version on right, Tabo Monastery Tsug Lhakhang
Here, above the doorway, is another example of repainting in the chevron border and the two figures underneath.
Repainted areas in Tabo Monastery Tsug Lhakhang
Presented above are only a couple of examples. In person onsite at Tabo’s Tsug Lhakhang, one finds upon scrutiny numerous incidences of such inpainting and overpainting. I fear that if this kind of “restoration” continues, over time, the temple’s extraordinary original murals will be obliterated rather than preserved. That would be an immeasurable loss for India, art history, and world posterity.
Experience the interior of Tabo Monastery’s Tsug Lhakhang by watching this video walk-through here.
Tabo Monastery is under the protection of the Archeological Survey of India, but it is unclear to me who is doing the painting.
The book Architectural Heritage: Ladakh by The Indian National Trust for Art and Cultural Heritage, published in 2003, says it is often the monastics who do not realize the need for proper conservation, being more concerned with the religious content of the murals and not the art historical significance.
“In the great temples, the execution of wall paintings is carried out by monks and scholars whose canonical knowledge is profound…Most wall paintings are done on perishable mud plaster, and as these begin to disintegrate, these are either removed to draw fresh paintings or retraced and retouched to maintain their vibrancy and freshness. This way it is sometimes painful to witness a ruthless operation in which centuries old paintings are lost along with the structure by eager lamas to construct new structure and, consequently, draw another set of wall paintings…As soon as the walls begin to crack, or paintings fade, they are at once repainted.”
While it appears that at times the goals of Tabo Monastery and Archeological Survey of India may be at cross-purposes with one another, there seems to be great effort for mutual respect. After all, Tabo is a functioning Tibetan Buddhist religious site. At the same time, it is a rare Indo-Tibetan historical site under ASI’s charge. The question is, how are these two establishments proceeding forward?
Repainting, however, is only one of the man-made challenges to the preservation of Indo-Tibetan murals. There are also issues involving structural changes to historical buildings (see this earlier post regarding repairs to the roof of Tabo’s Great Assembly Hall), vandalism, and the effects of tourism, to name some others. Then there are the natural challenges such as wet conditions caused by snow or rainfall, and movement caused by earthquakes.
Partial repair and rudimentary inpainting in the Thousand Buddhas inner wall of Tabo Monastery Tsug Lhakhang inner sanctum, Spiti, India
I heard that it’s possible ASI may have applied for UNESCO World Heritage status for Tabo Monastery. In terms of conservation and preservation, this would be wonderful if it were to come about! I understand that the Ajanta Caves in Southern India, which contain stunning, well-preserved, ancient Buddhist paintings as old as 2nd century B.C.E., is a World Heritage site.
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.
