Kalachakra will take place in Ladakh, India, near the city of Leh starting tomorrow July 3 – July 14. I wish I could be there this year, but alas, I will be here at home in the U.S. And on this, the eve of the event, I’m thinking about when I attended the Kalachakra Event for World Peace in Washington, D.C. held in July of 2011.
At that time, I had returned from my first trip to India where I happened to meet one of the organizers of this event. It was not long before he recruited me to help with video content for the large screens at Verizon Center, where the ritual was hosted.
I helped design and produce material for projection onto the arena screens. Content included Kalachakra prayers, and video presentations of photographs which were shown in between ritual sessions during breaks. These were essentially images of Tibetan subjects by noted photographers such as Don Farber, Tenzin Choejor, Abhishek Madhukar, and many others.
In the process of creating the video material, I had the wonderful experience of working closely with an American Tibetan Buddhist nun named Ani Tenzin Lhamo-la. Her guidance was invaluable. I could not have made these videos for Kalachakra without her. What’s more, her friendship, moxie, and insight as a psychotherapist and monastic have been memorable and enduring.
The Dalai Lama with monastics on stage at Kalachakra Event for World Peace, Verizon Center, Washington, D.C., July, 2011. Photo: Tenzin Choejor/OHHDL
I felt most honored to have produced a video chronology of the Dalai Lama’s life in celebration of his 76th birthday, which occurred on the first day of Kalachakra, July 6, 2011.
While I am not at liberty to post the video because it was created exclusively for the birthday occasion, I am so pleased to have had the opportunity to work with archived images of His Holiness. Joining that day to help celebrate the Dalai Lama’s birthday were Mahatma Gandhi’s grandson, Arun, and Martin Luther King Jr.’s son, Martin. It was a historic appearance together.
Kalachakra Event for World Peace, Washington, D.C., July, 2011
I recently suddenly thought of the Dalai Lama sitting in the middle of the thekpu, the ritual platform on which the elaborate Kalachakra sand mandala is created. He does this on the first day of consecrating the ground where the sacred artform is performed, and again when the mandala is about to be dissolved.
I realized that for me, he is the real life version of the deity that resides in the middle of the mandala. Which is to say, I realized in my heart that he is a living example of compassion and wisdom united.
For all its elaborate ritual and complex symbolism, this is the basic goal of tantra—the union of compassion and wisdom. Wisdom of the ultimate nature of mind and reality. The mandala is the guide, the mnemonic image to aide a practitioner towards such enlightenment.
At the end of this ten-day-long event, the sand mandala was swept into a ritual vase to be taken to a nearby body of water and released after chanting and prayers were performed.
Pouring the sand mandala into the water is a way to release blessings out into the world. I was so happy to be part of the small group attending this final ritual act of Kalachakra.
Backstage with Andrew Lazarow and his indispensable assistance, preparing a playlist.Inside the media control room during Kalachakra Event for World Peace 2011A cherished moment of receiving a blessing from the Dalai Lama. Photo: Tenzin Choejor
I send warm thoughts to all those who are now engaged in making Kalachakra happen in Ladakh, India! I hope it is blissful and awakening.
Lastly, I wish a hearty Happy Birthday to the Dalai Lama. Your Holiness, I will be thinking of you this weekend on the 6th!
I’ve gone about it all backwards. Backwards in time, in pursuit of mandalas. It all started when I heard that a sand mandala was going to be made at Namgyal Monastery in Dharamsala, India, in 2010. So I went there, and found out that it was a Yamantaka mandala, part of a ten-day-long highest yoga tantra ritual which occurs annually at the Dalai Lama‘s personal monastery. My previous post here describes what little I knew then as I observed and documented the creation and dissolution of it. The resultant film and photographs can be seen here.
When I came back to the U.S., it was as if a floodgate had opened. I needed to learn more. No, not just more, but all I could about Tibetan mandalas–about their variety, their purpose, their history, the meditation practices they engendered, and so forth. What did it all really mean? What modern significance did it have?
My bookshelves began to fill up with writings about tantra and Buddhist philosophy, written by the first Tibetan teachers to venture into the Western world, post-1959 exodus from Tibet. Titles by the Dalai Lama, Chogyam Trungpa Rinpoche, Lama Thubten Yeshe, Dilgo Khentse Rinpoche, as a few examples, abounded. I also read works by contemporary lamas like Dzogchen Ponlop Rinpoche, Pema Choedron, Tsoknyi Rinpoche, Tenzin Palmo. Tibetan scholars and historians David Snellgrove, Robert Thurman, Deborah Klimburg-Salter, Martin Brauen, and others figured in there, too.
All this, in addition to my previous discoveries of well-respected meditation teachers from other Buddhist traditions–Sharon Salzberg, Joseph Goldstein, Jack Kornfeld, B. Allan Wallace. I followed the writing of neuroscientists and clinicians, too, who studied or used meditation in their work. They were also involved with fascinating Mind & Life Institute research or conferences–Richard Davidson, Jon Kabat-Zinn, Paul Ekman, Daniel Goleman.
It was a mindfulness-neuro-tantric-philoso-fest that poured forth!
Meanwhile, in 2011, the ritual experiences continued. I attended the Dalai Lama’s Kalachakra event for World Peace in Washington D.C., and witnessed the Kalachakra Mandala.
In 2012, I was at the Dalai Lama’s talk at Western Connecticut State University at which time I encountered a Compassion Mandala.
At both events, I had the wonderful opportunity of befriending and working with monks, nuns, plus other Buddhist practitioners and followers.
It was a steady flow. The waters at the floodgates just did not tire out. Answers came, and new questions arose.
Thus, on the heels of this, last year in 2013 I arrived back to India to experience and research rare Indo-Tibetan mandalas in Himalayan monasteries of Spiti, Lahaul, and Ladakh. How might they have evolved into Tibetan forms that we know today? What was this Indo-Tibetan 10th to 12th century period called the Second Great Transmission of Buddhism from India to Tibet? What did the sacred art look like? What did it mean?
At the end of my travels through the Himalayan high altitudes, I then thought, let’s reel back in time some more. What came before the Indo-Tibetan era?
The answer was, Indian Buddhism, which could be seen at Ajanta and Ellora Caves where there are remains of elaborate 2nd to 8th century C.E. wall paintings, sculptures, and architecture. Such purely Indian Buddhist art is still preserved at these South Indian sites in the state of Maharashtra.
Finally, what might have come even before this in India? I mean in B.C.E. times. When I searched further, it seems that the Buddhist art historical record stops here. According to historians, not much still exists before the 1st century C.E. Little is known in India archeologically prior to this time.
So what’s it all about? Why would an artist go for all this? New artwork from my Fulbright experience does beckon me in the studio.
I guess I’m just driven by the big questions about mind and reality, which Buddhist philosophy seems to address best. And moreover, that largely works within a Western scientific paradigm. It doesn’t hurt, either, that an affable spiritual leader like the Dalai Lama continues to inspire and exemplify how one can be intellectually sharp, existentially awake, and compassionately engaged in the world. Despite being a keeper of complex Tibetan rituals and esoteric tantric teachings, he can still keep it simple and distill wisdom down to these words: “There is no need for temples, no need for complicated philosophies. My brain and my heart are my temples. My philosophy is kindness.”
Transitions Back to the U.S.
Posted
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.
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.
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
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!
Tabo Monastery: Himalayan Setting and Meditation Caves
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Sept 6th, Tabo Village, the Spiti adventure continues…
Tabo Village, where Tabo Monastery is nestled in Spiti Valley unlike other Buddhist monasteries that were built as fortress-like compounds on hilltops
Well, here we are in Tabo! The famed Tabo Monastery is known as the oldest continually functioning Tibetan Buddhist monastery, the art of which the Dalai Lama said “delightfully expresses the vigor of the transmission of Buddhism from India to Tibet and the dynamic mingling of cultures.” Established in 996 C.E. by the Buddhist king of Guge in Western Tibet, Yeshe O’d, and the The Great Translator Rinchen Zangpo, it flourished in a golden epoch of Indo-Tibetan collaboration in spreading Buddhist culture.
Tabo Monastery complex behind stone walls in Tabo Village, Spiti Valley, India
Tabo’s existing sacred artwork and architecture have unique historical significance, not only for the aesthetic evidence of such cultural exchange, but also for its rarity. Due to the enormous destruction during the Chinese Cultural Revolution, where over 6000 monasteries and their artworks were destroyed between 1959-61, practically none of the early examples of Buddhist culture have survived in Tibet. Consequently, the monasteries of the Western Himalayan border areas of Spiti, Lahaul, and Ladakh, once part of Tibet, is of great importance for its legacy of early Tibetan Buddhist culture, and in particular, its connection with India.
Street view of entrance to Tabo Choskhor,Spiti, with the museum and library in building on rightUpon entering Tabo Monastery complex, the first building one sees is Tsug Lhakhang, the grand main assembly hallThe Tsug Lhakhang, Tabo Monastery, Spiti
Of the monasteries I’ll visit, Tabo, Alchi, Mangyu, Lamayuru, and Lhalung strike me as being of special importance. These have exceptional murals, unusual in cross-cultural style and depiction, executed in astounding refinement, with ornate clay sculptures that are cantilevered off the walls in Vajradhatu mandala arrangement of sacred space (more on this in the next post!) This type of work is specific to the area and is not found in any other Buddhist temples in the world. These monasteries also date back to that fertile period of Buddhist philosophical exchange and revitalization from India to Tibet beginning in the 10th century during The Great Translator Rinchen Zangpo’s time.
Documenting the extant artwork and architecture of these sites is essential because they are remarkable, and extreme Himalayan winters and potential earthquakes, such as the one that occurred in 1975, continue to threaten their survival. Proper conservation and restoration is critical for art history and posterity. Of immediate concern is the effects of climate change and increased rainfall in the normally more arid Spiti that has damaged Tabo’s murals and architecture. This 2010 article entitled “A Monastery’s Fading Colours,” published in The Indian Express, is about the challenging circumstances facing the monastery’s care under the maintenance of the Archeological Survey of India (ASI). The Times of India recently questioned the national organization’s general efficacy in its article, “92 ASI-protected Monuments Missing.”
Rear view of Tsug Lhakhang with workers currently repairing the mud exterior. Its back walls are as thick as 2.5 meters!Workers currently repairing the mud exterior of Tabo Monastery, Spiti
I find myself wishing these monasteries were designated UNESCO World Heritage sites, such as the early Buddhist Ajanta Caves are in India, or considered World Monuments. Perhaps this would bring more international attention and expertise to help hasten the appropriate preservation and protection against man-made as well as environmental challenges.
Fortunately, I was able to arrive in Tabo with all my equipment fully charged because the electrical power was mostly on during my previous night in Kaza, Spiti. But unfortunately, I was unable to photograph due to administrative details still to iron out. Perhaps by tomorrow, after the special 6:00 a.m. morning prayers for the recently deceased and venerated abbot of Tabo which will be performed as part the traditional 49 days’ observance. Despite not being able to photograph, the monk in charge of the monastery kindly showed me most of the temples in the complex.
What is so immediately striking is the contrast between the simple exterior architecture of mud brick and the resplendent interiors. Wow, the ornate interiors leave you speechless, what treasures of Indo-Tibetan art, history, and philosophy! Especially the dramatic, dark, moody, pensive main assembly hall (Tsug Lha-khang); the older Dromton Temple (Brom-ston Lha-khang), founded by the main disciple of the great teacher and adept Atisha; Initiation Temple (dKyil-kHor-khang), where monks are initiated; BodhisattvaMaitreya Temple (Byams-Pa Chen-po Lha-khang), with a 20 foot high painted mural of the future Buddha Maitreya; and the Golden Temple (gSer-khang).
View of Tabo Monastery complex showing Dromton Temple on far right and Bodhisattva Maitreya Temple left of it, Spiti, India
Oh, news flash! For incredible floor plans of these temples, including elevations, sections, 3D models, photo montages, and more, see this excellent website of an Austrian research team at Graz University of Technology that has been studying the architectural heritage of the Western Himalayas.
And did I mention caves? Yes, caves on a steep cliff above Tabo Monastery and village where, according to archeological evidence, monks had lived and practiced meditation since the 11th century. Now it is an ASI protected site. Most caves are open spaces showing evidence of ancient occupation–sooty interior walls and carved out niches, etc., as well as perhaps picnic use by modern visitors. But while exploring with my flashlight, I peered into an opening of a small closed door of a dark cave only to find a blanched seated figure looking back at me! Startled and flustered, realizing this was a real person and not a phantom, I muttered a quick, deepest apology, and left in a hurry! Well, I guess today there are still some practitioners who retreat to these caves. Whether this was a tourist trying it out, or a yogi, I have no idea.
Path to numerous caves above Tabo Monastery and village, Spiti, IndiaOne of numerous caves carved into the cliffs above Tabo Monastery, used by monks from the 11th century on, SpitiView of Tabo Monastery from inside a cave, Spiti
Have a virtual walk-through here of the insides of some of these caves:
View of the inside of the above Tabo cave, SpitiView of Tabo caves located on a steep cliffside above Tabo Monastery, SpitiView of Tabo Village from cave sites, Spiti, India
Ok, I hope I have a headache-less night’s sleep tonight. Day four at high altitude and I’m still adjusting, but Tabo is at about 10,000 feet high, 2000 feet lower than Kaza, so it should be better. Need to get up early to make it to 6am puja!
View of Key Monastery from across the Spiti River Valley
A second try today to document the ancient interiors of Key Monastery, whose abbot had in the 11th century been none other than The Great Translator Rinchen Zangpo himself, proved to be a challenge. However, in a nice turn of events, we discovered upon arrival that a special demonstration of sacred dances was in progress. The occasion was the visit of an important official from Shimla.
Entrance to Key Monastery, Spiti
The main interior courtyard was filled with visitors and administrators, with the monastery abbot presiding over the ceremony, as junior and senior monks looked on.
Key Monastery monks demonstrate the Black Hat chamdance, with abbott presiding over the ceremony as young ones watch
Young monks attending a ritual dance demonstration performed by more senior monks
A word about the architecture of Key…Built on a hilltop with a fortress appearance, this reflects typical Western Himalayan monastic architecture after circa 12th century, influenced by the development of invaders.
Key Monastery built atop a hill, characteristic of the later period of post-12th century Buddhist architectural development
Earlier period structures such as late 10th century nearby Tabo Monastery and Alchi Monastery (in Ladakh) are located in the valley on flat open land, integrated with their villages. Invaders were oftentimes rival Buddhist sects supported by the might of the Mongolian military, such as the Sakya sect who headed Key Monastery in the 14th century, and the Gelugpa sect who headed it in the 17th century. The latter came to dominate the majority of monasteries in Spiti.
In fact, most of us don’t associate monastics with marauding, but post-12th century onwards, the region saw inter-sectarian clashes, conquering by bloodshed, innumerable invasions by Chinese and Mongolian forces, shifting power structures, and political unrest throughout the Western Himalayas. Thus, that illustrious period of refined Indo-Tibetan art and architecture under the guidance of Lotsawa Rinchen Zangpo and the collaboration of Kashmiri artists eventually came to an end.
View of Spiti en route to Key Monastery, with a village nestled in its valleyVast and dynamic view of Spiti River Valley
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.
