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…
Tabo Monastery Tsug Lhakhang, with meditation caves in the cliffs beyond, Spiti, India
Six-o’clock morning puja for the recently deceased beloved abbot at Tabo Monastery was quite beautiful. I wasn’t fully awake for it, and drifted through listening to each monk use his voice artfully to express himself through prayer. Very nice. I found out later from a lama that while they all learn the basic rhythm, it is up to each individual monk to say the prayer as he wishes. In other words, they all chant the same prayer, but some go out and come in on certain parts, using their voices to inflect sound, create variety, meld, or syncopate, etc.
Afterwards I was able to do some documenting at Tabo today! Limited time, however, permitted only doing the interior of the Tsug Lhakhang, the Great Assembly Hall. I was thrilled because it was the most significant temple in terms of its Vajradhatu mandala arrangement and my research project.
Experience the interior of Tabo Monastery’s Tsug Lhakhang or Main Assembly Hall by watching this video walk-through.
Entering the Great Assembly Hall from its antechamber, Tabo Monastery
Wow, what a place! Dark and dramatic, with rays of light coming in through small ceiling windows, shining brilliantly on the main altar and then fading out towards the periphery of the assembly hall. I was stunned by the large number of statues and paintings to feast my eyes on! In a space that envelopes you in semi-darkness, it took some time to realize that just about every inch of wall and ceiling had been richly decorated.
With over a thousand years of continuous use as a meditation hall, I soaked in the sense of countless generations of monks who have spent their days here in peaceful meditation. I tried to fathom the devotion that Tabo’s Tsug Lhakhang has seen and sheltered. The overall impression is that of quiet yet teeming spiritual beauty.
Founded in 996 C.E. by the Guge (Western Tibet) king Yeshe O’d, the temple and statues are viewed clockwise in a Buddhist kora or circumambulation.
According to scholars, Kashmiri artists were responsible for the refined style of the statues and paintings. At the time, Buddhism had flourished in Kashmir and the region’s art was aesthetically sophisticated in expression and detail. Most of the art was executed circa 1042 C.E. during the renovation of the interior by Jangchub O’d, Yeshe O’d’s grand nephew.
The main altar features a gilded Vairocana. What a sight this tantric deity is with its larger-than-life four bodies, seated back to back, its serene faces looking out in the four cardinal directions. Distinctly Indian features include Indo-style trousers, painted red palms, procession carriage structure, and naga/garuda mount at top.
There are 32 multi-colored, graceful clay sculptures of Vairocana’s associated deities that line the assembly hall walls in Vajradhatu mandala order. Each is seated on a lotus pedestal, and cantilevers out of an attached sculpted halo background. Situated above eye-level, the figures look kindly and seem to lean towards you. Surrounding these deities on the wall are elaborate, colorful fresco paintings—scenes of Prince Sudhana’s pilgrimage and Buddha’s life on the lower frieze area; buddhas, bodhisattvas, other tantric deities and Bon goddesses in the upper area.
Clay statues of tantric deities in Vajradhatu mandala arrangement, Tabo MonasterySudhana’s pilgrimage on lower frieze, Tabo Monastery Tsug Lhakhang. Much of it is too deteriorated to see clearly.Guardian deity at far left, painted buddhas and bodhisattvas on upper areas of Tabo Monastery Tsug LhakhangVairocana statue, main altar, Tabo Monastery Tsug Lhakhang, Spiti, India Distinctly Indian features include Indo-style trousers, painted red palms, procession carriage structure, and naga/garuda mount at top.View of gilded Vairocana statue from inner sanctum, Tabo Monastery Tsug Lhakhang, Spiti, IndiaDetail of gold Vairocana, Tabo Monastery Great Assembly Hall altar, Spiti, India
Tabo’s Main Assembly Hall, and in fact, the whole monastic complex was originally built according to a mandala concept as set forth by the Sarva-tathāgata-tattva-samgraha Tantra, practically a literal translation of it which distinguished this monastery. To the practitioner, therefore, Tabo’s interior and exterior order symbolized his sacred inner and outer realities. (More on this topic in previous post But Wait, A Bit About Mandalas.)
“The main temple, Tsug Lhakhang, was at the center of the whole complex. The center of the temple was also the center of the compound along the east-west axis, having its major statue, Saravid Vairocana, placed in the central spot [now moved to the altar] not only of its surrounding 32 statues but also of the whole complex….Later additions have diluted the concept, but temples from Tabo’s heyday, together with stupas or chorten, form a simple but clearly visible mandala in the architectural layout-plan.” (The Forgotten Gods of Tibet: Early Buddhist Art in the Western Himalayas by Peter van Ham and Aglaja Stirn. See also this book for excellent descriptions and further details on Tabo’s iconography)
Vajradhatu mandala arrangement of Vairocana and 32 associated deities, Tabo Monastery, Spiti, India.
Above is the floor plan of the Main Assembly Hall showing the Vajradhatu mandala arrangement of the Five Buddha Families: Vairocana, Amitabha, Amoghasiddhi, Akshobya, and Ratnasambhava, with their associated deities. These represent aspects of Buddha-nature that guide a practitioner to attain enlightenment according to the lower yoga tantras. Tibetan Buddhists today generally practice highest yoga tantra or Annutarayoga.
Side view of Vairocana statue, main altar, Tabo Monastery, Spiti, India. The statue is built in the tradition of an Indian procession carriage, used for carrying the god around the temple or outside for blessing.
For photography and viewing, I came prepared with flashlights. Thank goodness they were fully charged, and that our current guesthouse has power! We would not have been able to see most of these dark interiors without them.
Vajrahasa statue, part of the Gem family of Ratnasambhava, Tabo Monastery
What a challenge it’s been to ensure my equipment is all charged and ready to go. Sadly, I am told by locals that Spiti in general lacks electricity because the Indian government is remiss in providing good infrastructure to all its citizens, and particularly to those communities that are remote, less populated, and lack political clout. As you can imagine this makes Spiti’s growing tourism especially difficult when hotel and restaurant owners, cyber cafes, etc., must routinely apologize to their clientele for not being able to meet their needs due to lack of power. I got creative with calculating how long my cell phone, laptop and camera equipment would last before finding the next feasible charging place.
Vajrakarma statue, part of the Action family of Amoghasiddhi Tabo Monastery Tsug LhakhangVajrayaksa statue, part of the Action family of Amogasiddhi Tabo Monastery Tsug LhakhangAkshobya statue, Vajra family Tabo Monastery Tsug Lhakhang
Behind the main altar is a small inner sanctum or cella that contains a 13th century statue of Amitabha in an elevated niche, flanked by two crowned statues of bodhisattvas, Padmapani on the left and Mahashtamaprapta on the right. Above him are figures identified as Apsaras or minor gods in the act of homage, and painted on his left and right are female attendants.
Amitabha statue, inner sanctum, Tabo Monastery Tsug Lhakhang Stylistically different from the statues in the main hall, it looks like a later addition or replacement.Padmapani statue, inner sanctum, Tabo Monastery Tsug Lhakhang. Visible on the left are some of the Thousand Buddhas that are painted on the circumambulatory inner walls.Vajrapasa statue guarding entrance to inner sanctum, Tabo Monastery Tsug Lhakhang
A narrow corridor for circumambulation surrounds Amitabha. Its inner walls are richly painted from floor to ceiling with Thousand Buddhas, manifestations of the enlightened one in splendid iteration of the five colors, different robes, lotus pedestals, and haloes.
Buddhas in a Thousand Buddha depiction on inner sanctum circumambulatory walls, Tabo Monastery
On the outer walls are magnificent bodhisattvas and Supreme Buddhas (Tathagatas). These are my favorites! I really appreciate the mastery of these paintings in the inner sanctum. The below bodhisattva is an example of one of sixteen that symbolize aspects of Buddhahood stemming from Vairocana.
Bodhisattva, from outer circumambulatory wall of Tabo Monastery Tsug Lhakhang
The bodhisattva figures literally took my breath away when I saw them revealed by my flashlight! Every brushstroke showed ease, delicacy and variety in execution. The highly inventive and detailed jewelry, as well as the fabric patterns, was a pleasure to discover. In addition, these paintings are well-preserved and dated 1042 C.E. when the temple was renovated. In other words, they appear as they were first created, untouched by other painters or conservators since then. What an incredible indication of the original quality of work that existed!
These inner sanctum figures look different from the ones on the upper register of the Tsug Lhakhang in that they are far more elaborate and refined. Additionally, Indo-Tibetan paintings show a freedom of composition not found in later Tibetan artworks where proportions and poses are more defined by convention.
The Supreme Buddhas were also delightfully painted, exhibiting a similar level of refinement and delicacy but painted at a much larger scale, about life-size.
Supreme Buddha dressed in unusual pleated robe, painted on outer wall of circumambulatory, Tabo Monastery Tsug Lhakhang inner sanctum
I particularly like the sense of ease yet energy that this below Buddha expresses. His face and gaze are sublime, his hands in graceful repose. But his unusual robe depicts rhythm and movement in the undulating sleeves and neckline detail. Coupled with the artist’s use of primary colors and radiating spirals in the halo, the overall effect of this painting is vibrant immediacy.
Supreme Buddha on outer wall, inner sanctum of Tabo Monastery Tsug LhakhangDetail of Supreme Buddha on outer wall, inner sanctum of Tabo Monastery Tsug Lhakhang
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!
Spelling is a flexible art in India. One often finds multiple spellings for names, places, and in signs. Take Key Monastery, for instance. It is also known as Kye, Kee, and Ki Monastery. It’s all good, take your pick! I’ve even had one monk spell his own name twice for me because sometimes he goes by Tanzin and sometimes Tenzin.
For a stickler about spelling like I am, this is an interesting lesson in imprecision. Especially if you’re asking for directions to a certain street or hotel, and you find that it’s spelled differently by different people, and you can’t help but wonder if you’re talking about the same place. Well, it’s okay, you’ll just do what you have to do, which is, you’ll find out!
It seems to me there’s a kind of accepted uncertainty principle here. It even extends to what people say. If, for example, you ask someone for directions, and he doesn’t know where the place is, he will not say he doesn’t know. He will give you information about where it is. Yes, that’s right, he will tell you something about what he does not know. My Western mind with its penchant for exactness doesn’t get it at all, but let me take a stab and guess: This fellow might think to himself, it may not be right, but it may be approximately right, so it will help.
I have noticed that when my Indian friends need directions, they will ask numerous people the same thing. One time, I was driving with a friend and we were looking for a particular site. He stopped to ask probably half a dozen people within only a half mile’s distance, a kind of cross-reference overkill. A precision begotten by statistical probability. The wider you cast your bets, the better your chances are to get the (flexible and imprecise) jackpot. At least, I think it’s something like that…
It seems to me that here in India, it’s implicitly understood that circumstances, and the world, and the universe, are not exact. And more importantly, we are not masters of these spheres, we are just part of the process. Everything is relative, everything changes, everything has the potential for uncertainty at any time. It is readily, deeply accepted and tolerated that things might or might not work out.
One Indian friend quipped, “I.S.T.–Indian Stretchable Time,” (instead of Indian Standard Time) when he told me a story about his friend who was supposed to come pick him up in a remote area by car, but arrived three days later than expected! Okay, so maybe that example is an extreme one, but the moral of the story is not that the friend let him down, but that he came despite the fact that he had deterring factors that prevented him from coming on time!
Oh, the power has just come back here at the hotel, praise be! So I’m quickly plugging everything in to charge. Spiti has been largely without electricity for the past eight months! And it is being doled out to different areas at the moment, so no power here until about 8 or 8:30pm, supposedly anyway, because the past two nights here have been powerless. I can’t understand the reason why exactly. I mean eight months is a long time to have a vital civic repair apparently unattended to, or not tangibly improved. Not sure if it’s because of devastating natural disaster or simply government mishandling and bad infrastructure. Maybe both. I do know that the next state, Utterakand, has suffered devastating floods and landslides recently, so it’s perhaps spillover?
Today was a bit hard to get kickstarted since I had another headache-filled sleep last night—altitude adjustments still. It’s Day 3 at about 12,000 feet high. Hope tonight will be better. I woke up disoriented, not knowing the time because my iPhone was out of power, head splitting. But we ended up going to Key Monastery after I spent the morning charging at a nearby café. The owner is getting power from the petrol station’s generator across the street. Thank goodness for their help! Otherwise, I literally would not be able to continue my work without charged batteries for my camera, or power to backup files onto laptop!
View of Spiti Valley en route to Key Monastery, India
Key Monastery’s current spiritual leader is Lochen Tulku, the 19th reincarnation of Losatwa Rinchen Zangpo, the Great Translator wand former abbott who was so instrumental in this area for revitalizing Buddhism, translating all the original Sanskrit sutras, and building new monasteries in the 10th-11th centuries.
It turned out to be difficult to get permission to photograph the older murals here, despite my having a Spitian connection to a high level administrative monk. The concession is I can photograph the new assembly hall, which is nice but not so interesting for my Indo-Tibetan mural and mandala project. Nonetheless, the day spent at the monastery was pleasant. The monks were kind and invited us to tea, showed us the older temples, and merely asked that we not photograph. J’s local Spitian friend has offered to do some further investigation on my behalf, and we will see if possibly in a couple of days, there may be an opportunity to shoot the older murals.
View of Key Monastery’s new main temple and assembly hall, Spiti
Dhangkar Monastery is seen on the ridge in the upper right. It consists of multi-storeyed buildings perched together, containing five different devotional halls.
September 4th
Our first day out to photograph was at Dhangkhar and Lhalung Monasteries. Both places granted permission because of local and monastic support. I was on my first documenting journey, and how positive an experience it was!
Entering Dhangkar Monastery’s Lha O-pa Gompa.Dhangkar Monastery clings to its rocky outcrops. Shown here is the level in which the Dukhang and Lhakang Gongma may be accessed.
I’ll let the images speak for themselves, but it bears saying that Dhangkar was an original home of the ruling Spitian kings over a thousand years ago, built on a ridge and rock outcrop as a fortress. It clings to the mountain with its whitewashed buildings and traditional thatched roofs. Some buildings seem to be built one on top of the other.
Dhangkar Monastery narrow passageways
The interiors are navigated by narrow stairs (more like ladders, they’re so steep) and often low-ceilinged passageways. And when you scramble higher and higher, some stairs lead to the rooftops where you climb some more, on gravelly footpaths next to sheer cliff drops, in order to get into other adjacent buildings. Whenever you step outside, you are stunned by the incredible panorama of Spiti Valley in its splendor before you, dotted by the verdant, partitioned farmlands below, and the rigor of the sun casting impressive shadows across the mountain ridges.
View of Spiti Valley from rooftop of Lha O-pa Gompa, Dhangkar Monastery
Inside the Dukhang, which was the former assembly hall for monks before the new one was built a few years ago, sits a life-sized statue of Vajradhara, the “Diamond Being” who sees the ultimate nature of reality. One who does so is said to have wisdom, or right view.
In the lower level Kanjur Lhakang (library containing Buddhist scriptures) are three wooden figures: Lama Chodrag, Shakyamuni, the historical Buddha, and Maitreya, the future Buddha. On the walls are faded and sooty murals, which one can barely see. It’s easy to understand from these murals alone why in 2006 Dhangkar Monastery was named by World Monuments Fund as one of the 100 most endangered sites in the world.
Kanjur Lhakang library of Buddhist scriptures, Dhangkar Monastery, Spiti, India
In the uppermost building of Lha O-pa Gompa is Lhakang Gongma, which has the most to see in terms of murals. Its central back wall dominates with Shakyamuni, Je Tsongkhapa (the reformer and Gelugpa founder of the 14th century), and Lama Chodrag.
View of murals on the back central wall of Lhakang Gongma, Dhangkar Monastery, Spiti
The adjacent walls depict various manifestations of Buddha. I was struck in general by how varied the paintings are in terms of color, style, and deterioration. It’s clear evidence of selective repainting over the centuries. In the back central wall, for example, Shakyamuni is obviously brighter and more saturated in color than the other two figures. According to Peter van Ham’s book, The Forgotten Gods of Tibet: Early Buddhist Art of the Western Himalayas, only a few of the paintings have been left untouched. The rest stylistically suggest a date of around 17th century.
Buddha murals, Lhakang Gongma, Dhankar Monastery, SpitiBuddha murals showing evidence of repainting over the centuries, Lhakang Gongma, Dhangkar Monastery
Of note in the murals is the frieze below the main figures, which largely depicts the life of Prince Siddartha, who became the historical Buddha, Shakyamuni. Tabo Monastery has a similar frieze in its Tsug Lhakang, the main assembly hall. Much of it is faded but the below two images are readily identifiable as the life of Siddartha at the palace of Kapilavastu, and the death of Buddha.
Life of Prince Siddartha at the palace of Kapilavastu, painted frieze at Lhakang Gongma, Dhangkar MonasteryDeath and cremation of Buddha, painted frieze at Lhakang Gongma, Dhangkar Monastery
We were told by locals that Dhangkar is older than the famous Tabo Monastery because, as the ancient home of indigenous kings, it contained a private temple from before the time of The Great Translator Rinchen Zangpo, pre-dating 10th century. Indeed, at the very top of the Dhangkar citadel are the remains of the palace, which you climb up to through a sleepy and steep quaint village that looks like it has maintained its same way of life for millenia.
Later in the day, we went to Lhalung Monastery. I really loved this small temple pictured below.
Lhalung Monastery’s Serkhang or Golden Hall, Spiti
Lhalung Monastery, believed to be founded by The Great Translator Rinchen Zangpo, late 10th century C.E., was quite impressive. You enter through a narrow passageway to get to its Serkhang, which means literally House of Gold, but more often referred to as Golden Hall. Attached to its walls are sculptures of deities and other Buddhist personages. Three-dimensional figures in relief against the interior architecture of Buddhist temples are a distinctive feature of Indo-Tibetan artistry in Spiti and Ladakh areas. Similar ones are found at Tabo, Alchi, and Mangyu Monasteries.
Experience the rare and beautiful interior of Lhalung Monastery’s Serkhang by seeing a walk-through videohere.
Entrance to Lhalung Monastery’s Serkhang or Golden Hall
Once inside, the splendor of the ornately gilded and polychromed clay figures strikes you. The sculptures fill the temple practically from floor to ceiling. There are over 51 figures mounted on the walls or placed in the temple, arranged in mandala formations on each wall. Geshe-la said that these types of cantilevered relief sculptures are specific to the Trans-Himalayan region and are not found in Buddhist temples anywhere else.
On the central wall is Shakyamuni in the middle, flanked by two elaborate groups of five figures, each dominated by a deity–identified as Dharmadhatu Vagishvara, a complex form of Manjushri on the left, and Vajrasattva on the right. These figures are set in architectural alcoves, while the others are contained within lotus motif scrollwork, accented by decorative animals and dancers.
Maitreya, Guru Rinpoche, and Rinchen Zangpo (partly visible on right behind the column) form a trinity in the Serkhang altar of Lhalung Monastery, Spiti
Visible below is the right wall with sculptures arranged in a Prajnaparamita mandala, with Vairocana in the center surrounded by four Dyanibuddhas or Buddha-families: Ratnasambbhava, Akshobhya, Amoghasiddhi, and Amitabha, and their female attendants.
Rinchen Zangpo statue among a pantheon of sculpted deities, Serkhang (Golden Hall), Lhalung Monastery
On the left wall (photo below) is a Vajradhatu mandala arrangement around the three-faced and eight-armed Saravid Vairocana. Around him are the 16 deities in his cycle, including once again the Buddha families of Ratnasambhava, Akshobya, Amitabha, and Amoghasiddhi.
Left wall with Vajradhatu Mandala, Serkhang of Lhalung Monastery, Spiti
So now, that’s a lot of deities in one small temple! Their plethora really conveys not only aesthetic richness but also the complexity of Tibetan Buddhist tantric practice. What do all these deities represent in these mandala arrangements? Put simply, mandalas are visual guides for a practitioner in their meditation. They are aids in the realization of the true nature of mind and reality. As an oral and esoteric tradition, one needs a lineage teacher. Experiential understanding of this leads to liberation from conditioned existence–that is to say, leads to enlightenment or nirvana. Here is a succinct description of what the Five Buddha Families represent.
Geshe-la had said that the temples in these areas really demonstrate only the lower three tantras, not highest yoga tantra, which is mainly what Tibetan Buddhists practice today. The lower three are more concerned with purification, whereas the fourth level is actualizing self and deity, and therefore, enacting profound experience and understanding of emptiness. In The Great Translator Rinchen Zangpo’s time, late 10th century, focusing on the three lower tantras was a way to go back to roots and revitalize/reform tantric practice in Tibet which had grown distorted. This was partly the reason for the enormous interest in the original texts and their teachings, translating them from Sanskrit to Tibetan.
Lastly, the coffered ceilings were painted with delightful and folk-looking decorative motifs. Now I know what scholars mean when they speculate that these must reflect 10th century Kashmiri–influenced textiles.
Coffered ceiling of Serkhang, Lhalung Monastery, decorated with Kashmiri-influenced patterns that scholars believe reflect 10th century textile designs.
My home corner in Dharamsala, with Namgyal Monastery entrance at right.
September 1st
J and I started off for Manali 6am from Dharamsala, watching the sun rise along the way. At a certain altitude, the sun in full array, we saw a veritable Roerich painting before our eyes. It was snow-peaked mountains appearing to float above a thick, solid, fluffy white cloud bank. I always thought the man took artistic license with his imagery, but sure enough, the chiseled facets cast by morning light on the Himalayas were in orange and purple-gray displays, the base of the mountains nestled in airy clouds. The scene looked like a fairytale setting.
My first encounter with Nicholas Roerich-like scenery. I always thought the painter used artistic license to enhance colors and compositions of his Himalayan scenes, but they in fact look this dreamy and stunning
The main road where Rohtang pass is looks by our standards like a single lane dirt road. There is no railing at the irregular precipitous edge, and passing the slow trucks that ply the road means a lot of honking on the driver’s part and then a wing and a prayer to get back in lane without encountering oncoming traffic. Might makes right on Indian roads so trucks have the de facto right of way. Somehow it all works out, amazing.
I got a bit carsick from the descent, switchbacks all the way, the driver taking them maybe a bit faster, with blind passing, than my stomach could take. The diesel fumes and road dust was killing me. The smell of diesel alone is enough to nauseate me. Fortunately, there was AC which I asked for halfway through. We arrived around 1pm, with pitstop for breakfast at cheesy hotel bar/dining hall (J said she’d have to work on the driver to get him to choose better stops). Well, anyway, the aloo parathas (potato-filled flatbreads) were tasty and it was good to use the bathroom. Otherwise, it’s a roadside affair of finding a large rock or bush to go behind when nature calls!
We stayed at a place called Leela Huts after finding that J’s fave old Johnson’s Lodge, with English-styled cottage accommodations, was under renovation and closed. Leela Huts has a hilarious website: www.leelahuts.com. The sentence that had us in tears with laughter was, “Leela Huts swear sheer solitude to that tired man who has retired to the valley for a bracing vacation, away from the irksome crowd.” Now there’s some florid Indian English for you! But anyway, it was a well-kept, walled off little oasis with two and three-bedroom houses with full kitchen and baths. We opted for just the hut with single large room.
We hightailed it to Manali because Khandro Thrinlay-la was in town for the afternoon before needing to leave for her next teaching engagement, and she invited J and I to come for a visit. OK, so here is one bit of convoluted family history. Her older brother is Sey Rinpoche, their father a great Drukpa Kagyu practitioner named Apho Rinpoche, who descended from the great grandfather Shakya Shri, who began this special lineage of masters in the Six Yogas of Naropa, a Milarepa tradition. These are the accomplished meditators who retreat for three years, three months, and three days to practice the secret tummo and other methods which develop, I am told, levitation skills and various abilities that defy convention. You would never know who was a great practitioner usually because they can look like any humble villager, and they never reveal their abilities normally.
Khandro-la’s Bhutanese-style temple, Manali
Sey Rinpoche was supposed to be in Manali upon our arrival to meet with us, and make arrangements for access to monasteries in Lahoul where the family hails from, but we found he had left for Pangi where he is building a new retreat center. Instead, his sister Khandro-la (www.khachodling.org) was at home briefly, a lovely Bhutanese-styled house with colorful painted motifs on the crown and windows. She received us in her prayer room where she was doing prayers for safe travels, since it is the astrological snake year, and by Tibetan beliefs an obstacle year for those born in snake years. I thought snake year was auspicious for snakes, but this must be the Chinese thinking. We discovered we all three are snakes.
Khandro-la has an international following which includes a lot of Australians, and women. She has a feminist approach, and is educated in the U.S., with MA in psychology, completed by the advice of none other than His Holiness the Dalai Lama. I find her interesting and contemporary. After learning about my Fulbright project, she asked me to photograph the murals at Gandhola, which turns out to be Guru Ghantal where I had planned to visit and document. She said it’s the oldest temple in Lahaul and she is interested in preserving its heritage properly.
We went back late in the afternoon to see Khandro-la’s assistant, and her younger brother who runs Druk Expeditions. He gave suggestions on places to visit in Lahaul, and so did Khandro-la’s assistant. It turns out that there is not so much to see in the way of murals of mandalas in Lahaul, but rather, Lahauli temples and area are structured spatially like a mandala. The suggestion was to go for a kora (a clockwise circumambulation around a sacred location) of Drilbu Ri Mountain, a holy site of the tantric deity Chakrasambhava, near where Guru Ghantal is, and experience the mandala physically, but to hire a guide so as not to get lost, and also to help carry things. Sounds like a nice idea, but we’ll see how I adjust to high altitude by then! I have so far been suffering from night headaches (like having a vice grip around my head!) and shortness of breath, bit of loss of appetite.
Often the road in Spiti is nothing more than rocky terrain in which one must ford a glacial stream.
Next morning 5am we were off to Spiti. Aaah, at last the journey to high Himalayas truly begins! Our driver was a nice man, very good careful driver, and not as aggressive as some others. He drove a Toyota Qualis which J remarked didn’t look like the most comfortable car, but it was a tanker, and boy, I was happy about that. You wouldn’t believe how parts of the road were like fording small rivers and waterfalls, with large rocks and vertiginous drops! These are areas where glacial melts can wash out the road by afternoon. After a couple of particularly nerve-wracking spots, we cheered our driver for his skillful driving! J said many a car or truck has been caught stuck in these. One has to be on the road early enough to pass these before the water starts rushing down in the warmest part of day.
Kunzum la with herd of yaks, altitude of about 15,000 feet
I took a lot of photos en route, what spectacular vistas! We had also many pit stops at big rocks where we could hide and relieve ourselves by the side of the road. Kunzum-la was quite windy. It’s a high point at about 15,000 ft altitude, and marked by three stupas and small shrines to the Dalai Lama and Karmapa and other lamas. J and I made incense offering here as a Geshe-la (title of a learned Tibetan Buddhist scholar akin to a PhD) suggested was an auspicious thing to do en route. I was feeling the shortness of breath by now, and when the wind blew the incense into my face, the odor caused me to feel nauseous. However, I totally loved seeing the wildly billowing and plentiful, layered, colored prayer flags blowing in the wind. We ended up not picnicking at the Nechung stupa as originally planned because J thought it was too windy and cold. She was mindful not to be exposed too much in case of causing illness. We instead ate in a large, flat valley, which was also windy, but at least less so.
Tibetan prayer flags and stupas mark Kunzum la passExhilarated and a bit short of breath at Kunzum la pass, altitude approximately 15,000 feet
The Spiti Valley is grand beyond belief! While passing Kullu Valley earlier was stunning, too, for its lush steep landscape, cascading, tall waterfalls that put Yosemite National Park ones in the kids’ playground, grazing sheep and goats, impossibly tall and regal pine trees, Spiti land looks like gigantic rock and sand slides of barren beauty, with a wide river valley that equally shocks one with its scale. The river rushes in what looks like silver rivulets wending its way within the valley from the road high above, but any of its strands would dwarf a normal inland river. J said this is what is characteristic about Spiti, and at every switchback turn on the road, another great Roerich-like view is to be had. If I had stopped the car every time I wanted to take a photograph, we never would have arrived in time. Manali to Kaza was about a 10-12 hour jaunty, bumpy car ride.
En route to Kaza, Spiti, a high altitude desert landscapeMagnificent rock structures, nature’s sculptures, en route to Dhangkar Monastery, SpitiSpiti Valley heading towards Dhangkar Monastery. The grandeur of scale is stunning!Himalayan scale is overwhelming. What looks here like squiggly bits of green is actually massive farmland. En route to Dhangkar MonasteryEn route to Dhangkar Monastery. Spiti Valley in any lighting is stunning.
If the weather in the Himalayas in summer is anything like the weather in Yosemite National Park in spring, then I think I’ll be all right with what to wear for trekking to monasteries. What hiking it’s been here in California with sun, vistas, rainbows, waterfalls, and snow! Exhilarating.
Mirror Lake, Yosemite National Park
Of course, altitude figures as a large difference. The scale of even the highest of Yosemite’s mountains pales in comparison to the Himalayas. Yet a taste of such grandeur truly makes me look forward to being present in Spiti, Lahaul, and Ladakh. Below is a view of Yosemite Falls, one of the world’s tallest waterfalls.
Yosemite Falls, one of the world’s tallest waterfalls, Yosemite National Park
Himalayas / hi-MAAL-yah
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Learn something new every day. The correct pronunciation for Himalaya is “hi-MAAL-yah.”
Mountains and the Indus River Valley as seen from Alchi Monastery circumambulatory, Himalayas.
I look forward to going there later this year to conduct research as an artist, made possible by a Fulbright-Nehru Scholar award. Excited and honored! Truly grateful for this opportunity! I will be researching murals of Indo-Tibetan monasteries in Lahaul, Spiti, and Ladakh districts, with a focus on mandalas as a blueprint for understanding the nature of mind and reality.
So while my departure is still months away, I’ve already begun traveling in my mind as I await further details from Fulbright.
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.
