Alchi : Living Cultural Heritage of Ladakh 9788190818100

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©Central Institute of Budd h ist studies and Likir Monastery, Leh-Ladakh, 2009 All rights reserved. No part of this publication may be reproduced or transmitted, in any form or by any means, electronic or mechanical, including photocopying, recording or any information storage and a retrieval system, without prior written permission of the copyright

owners. This catalogue is published on the occasion of the exhibition 'Alchi: The Living Heritage of Ladakh' to celebrate the Goden Jubilee year of CIBS, Leh-Ladakh. The exhition at National Museum, Janpath, New Delhi -5th Jam to 22nd Feb., 2009.

Direction and Management

: Dr. R.R.S.Chauhan

Author

: Dr. NawangTsering

Curators of the Exhibition

:

Co-ordination(C.I.B.S.)

AdityaArya : TseringMutup

Display

:

Funds provided by

: Ministry of Culture, Government of India, under the aegis of Golden jubilee

Dr.B.K.Sahayand

K.K.S.DeoriandsandeepJain

Celebrations of Central Institute of Buddhist Studies, Leh-Ladakh

lsBN: 978-81-908181-0-0 Price: Rs. 2,500/-

Cover

ShyamaTara,llthcenturyA.D.,Sumtsek,Alchi

Inside Cover

Alchi Complex

Backcover

Ceilingdetails,llthcenturyA.D.,Sumtsek,Alchi

Published by

: CentrallnstituteofBuddhiststudies, Leh-Ladakh-194101

Printed by

: S. Narayanandsons, B-88,Okhla lndustrialArea, Phase-I, NewDelhi-110020

www.snarayansons.com

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Committee of Honour H.H. Dalai Lama

Skyabje jangtse Sras Rinpoche H.E.Nagaris Rinpoche

Mrs. Ambika Soni Dr. Karan Singh

Dr. Kapila Vatsyayan

Mr. |awhar Sircar Dr. B.M. Pande

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R. Banerjee

Layout Artist

Sarovarshende Assistant Curator, Exhibition Cell |.C.Grover

Assistant Curator, Pre-history S.C.Jaswal

Assistant Chemist K.K.S.Deori

Curator, Display

Sandep lain Artist Renu Nawani Hindi Officer

Surendra Thakur Administrativeofficer V. T. Pi'`ai

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Photography Aditya Arya

Designer Anoop Sharma Joyita Banerjee Design Asst.

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THE DALAI LAMA

MESSAGH Wben we think of Ladakhi and Tibetan culture, we generally mean-Buddhist culture. This is because of the profound and pervasive effect that Buddhism, with its powerful central message of compassion, has had on the region's way of life. Buddhism provided the -inspiration for art and literature and the widespread establishment of monasteries and nunneries that, as the major source of education and spiritual practice, also became repositories of art and culture. Himalayan civilisation has a lo-ng history marked by creative and neighbourly interaction` Our cultural traditions, which have assimilated many influences, form a distinct part of the world's precious common heritage. Our vast artistic and architectural heritage testifies to the importance given to the arts in our way oflife,whichiritum§ervetoconveyourvaluestotherestofhumanity-. A thousand y6ars ago, the Briddhist tradition that flourished inlndia was carried across the Himalayas into Tibet. A key player in this movement was the greattranslatorRinchenZangpo.WeTibetansreverehimstillforhistranslation of a -great number of Indian texts, many of whicb continue to be widely read today, but also for his establishing many temples and monasteries;-reputedly 108altogether.Toconstructanddecoratethesebuildingsherecruitedartistsand craftsmen from Buddhist Kashmir. Today, few of these temples remain, but within the boundaries of modem India one or two rare monasteries such as Alchi Chos-khorsurvive.

Alchi preserves many works of art that we Buddhists regard as sacred. The statues and paintings represent aspects of enlightenment. All of them are a source of inspiration. We say that for a Buddhist practitioner their function is to support faith, because they encourage the aspiration to acquire the ideal qualitiestheimagesrepresent.Everyculturehasdistinguishingcharacteristics. For Ladakhis, Tibetans and other people of the Himalayan region, the emphasis hasformanycenturiesbeenondevelopingandupholdingsuchinnerqualitiesas

gentleness,love,compassion,wisdomandastablemind,whichweregardasthe mostimportanttreasuresahumanbeingcancollectinhisorherlifetime.Thisis truewealth,benefitingothers,andourselvesintheshortandlongterm.

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T€ fen-1 io 1 15 lvllNISTER OFTOUFllsIVI & CULTURE

GOVERNMENT OF INDIA

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NEW DELHI-110115

2 2 DEr,. 2oo8

MESSAGE I am glad that the Central Institute of Buddhist Studies, Leh is bringing out a book on Alchi murals under the title "Alchi-the Living Heritage of Ladakh" as a commemorative volume on the occasion of Golden Jubilee Celebration of the Institute. Alchi fresco paintings have become a center of attractionamongthescholars,researchersandtouristsinrecenttimes.Alchiis the last specimen of the miniature art which developed between second to eleventh century AD when Mahayana/Vaj rayana form of Buddhism was on its

peak in north-west of India and Kashmir. Alchi murals is notjust a monument, it is a living experience. It is a matter of pride for Ladakh, as custodian of these art objects since its creation in loth -llth century AD, to present them to the art lovers.

I am happy to note that Central Institute of Buddhist Studies has been successful in preserving the rich cultural heritage of this region through academic activities, research projects, translations, organizing seminars, symposia, restoration of manuscripts, publication of rare Buddhist texts and collectionofbooks. I convey my good wishes for publication of the book entitled "Alchi the Living Heritage of Ladakh" and for success of the Photo Exhibition and variousshowsbeingorganizedtocelebratetheGoldenJubileeofthelnstitute.

[Ambika Soni]

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et|} `eTdurt?xe Jol .so|Ts Tt2u[8!Jo J[et|| uloJj pe||!qs 9q |ouut?o eseui }tzt|l suost2eJ e|dunls et|i Joj `surnesnur et|i |o Aut2 u! |t}uIBTJo uT poAt3Tds!p eq iouueo t|o!t|AA `t3Tpu| |o so[}!nb!}ue

put2 s|t}tlue 9q| uT semseeJ} ue |t?eJ8 9|quJeunuu[ eJt? 9Jet|| `JeAeiIAOH .suo!}IqIHxe eset|| 8u!iueseJd u! unesnM |t?uo!it2N et|i t|iTAI sputzq peu[or os|e eAeq s|tmpTAIpuI `seur[} ttz `putz suo|it}z!ut28]o [t3Jni|no put2 sunnesnur Jet|}o `sJt2eA eq| JeAo .eurp o} 9ul|i uroJ| sotlJoq| }tleJojjIP tlo suo!i[q[t|xe [t!oI8oToet}t|ole pug }Je |tz!oeds 8u[p|oq ueeq st2q umesnN [t}uoT|t}N et||

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i±ife±!± z2i±Lmj± i2+gall `i±}hi±a !2i hibiai+I+ 12igii± 'cbiaa±jigh

CHAIRPERSON, IIC-ASIA PROJECT

ftyhavwhyayan

INDIA INTERNATIONAL CENTRE

MEMBER OF PARLIAMENT

NEW DELHI 110003

(RAJYA SABHA)

PHONE: 24641457, FAX: 24627751

40, MAX MUELLER MARG

Email: [email protected]

Fiwh wh

[email protected]

Foreword It gives me great pleasure to write these few words as a Foreword for Dr. Nawang Tsering'smonographon`TheAlchi:TheLivingHeritageofLadakh',beingbrought

out on the occasion of the Golden Jubilee Celebration of the Central Institute of

BudhistStudies,Leh,LadakhwithanexhibitionontheAlchiMuralsattheNational

Museum, New Delhi. I have had the pleasure of knowing Dr. Nawang Tsering for manydecades,havewatchedhisgrowthfromayounglecturertobeingtheprincipal of the Central Institute of Buddhist Studies, Leh. My own association with this region,asalsospeciallythelnstitute,goesbacktomanydecades.Formeitwasvery

gratifying to know that the Principal of the Institute has addressed himself to an outstanding and unique complex subject, today internationally acknowledged as

Alchivihar. TibetanArthasengagedtheattentionofscholarsfromdifferentpartsoftheworld. The scholars who have worked on the monasteries of Ladakh as also Lahaul and Spiti have focussed attention on the extraordinary creativity of the artistic expression. In this connection, naturally one recalls the name of Professor Tucci,

who drew world attention to Tibetan Art, although he did not specifically speak of the monasteries of Lahaul or for that matter Alchi. David Snellgrove wrote a monograph, which continues to be discussed in scholarly circles, on the monasteries of Lahaul as also the sections dealing with Alchi. The two German

authors (Roger Goepper and Jaroslav Poncar) wrote a monograph in German, speciallyontheSumtsek.ThiswasfollowedbytheworkofpratapadityaPalinhis impressivevolumeentitled`AlchiMurals'.

Welcome as all this writing has been, informative, educative and analytical, from thepointofarthistorians,thepresentvolumedistinguishesitselfbecauseitcomes

from the pen of a Ladakhi, who is a scholar adept in the textual literature and who breathesandlivesthecultureofLadakhinitsdiversityanddistinctiveness.

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`IJsnfut}IN Put; t!Jt!IIAse"o|t2AV Aq opts J9q}Ie tlo peHut3u `|t|8!et| u! }eej i I `9J}u90 9t|| u! t3AeJt!t}N ses!Jt2 Hes|urns u| .sulJoljo P|JOAA |tmsTA slt|}jo Je|ot}Jt2t|o oTioe[oe oS[t3 St}Ol|ST|en|!J`SnoTBT|eJ`|t}0!Uout20et|nt}Hon]}slepuoAA9qinqiouutzo`seunlijo9|dnoo

e 8u!opjo emst}e|d et|i pt}q eAt3q I st} `elet|} peAt!ts put? Iqo|v Pe}TSTA stzq oqAA euoAUV •A|"2eq 8u!Ht}}-t||t2eJq u[ pesseldxe sgTSJeue eA!}tzelo }set|oTI et|| jo 9ulos jo TeAAef

t2 sT `suTt2}unour put2 sHooJ 9q} ulolj I9[i uodn Jell Su!pueose `"t?pt2ijo seT]eist3uour euloseAAt2 eq} eHITtln `punoJ8 |jos uo }T!nq `eJn|our}S Tt2m}Oe}!t|OJt2 }Sepour et|} `Tt|0|V •t3s!|VSnourt}jeH}St2uIAOuH`t3Jt2Hut3dTG

t}ut}uf[JS Put3 tzAt3qqult!st}ulpt2d jo SlTSTA et|} jo }Ot3durT et|} uo!|ueur o| SSOTpeeN

•t3|[t|sult2JHIA ptlt} t}ptlt}|€N uloJ| SHuour put} sJe|ot|os uo!8eJ J[et|| o} 8uTJq o| }eq[L

jo ]eAIod |t}o!}T|od eq} ulolj uolsensJod pe|t}edeJ et|} uloJj e|quJt?desu| sI AJo|S!H STq|,

•Poet|seAAq|ues`JIurt|st}xo|od8ut3zuet|ouTHjo|[s[Aeq}o}8u!Pee|`|eqT|. u[ s|ueurdoTeAep |eo!Jo|STq et|| Aq pe}oejjtz A|snoeut}||nur!s os|t} st2jIA t|o!t|iIA `elni[no

put} Aloislt| |t2|oeds AJeA t2 pt3q t|Ht2pt!| tt}t|t pez|tl8ooeJ A|}ueToljjns |ou ST }I |nq `JTurqsex Put3 nulult2f jo e|t2}S 9q|jo |eoJt2d Put} Ut3d |qnop oU SI qHt}Pt!| .J|ulT|St3X|O uo[8eJ et|} put} t|Ht}pt2ijo uoT8eJ et|l ueeiIA}eq 9n8o[t}[p eATiTsod putz eAIii2e]:o AleA gt|}

AqpoAIo||oj`ieq[|.puet|H€pe|ueoAA|9qfuniueoq]o[et|}uTsdTt|suo[}e|elxe|durooet|}

o} et|SHltlt}xjo eul[| et|} o} Hot3q 8uTo8 `c|v Am|ueo Puooes eq} uloJj |soulTt; `"t2pt}| |o AJo}sTq 9!|sT|Jt} 9t|} peuI||no A||Ou!O®ns }nq Aue[Jq st2u 8uTJes|. 8ut3iIAt3N .JG

Dr. Nawang Tsering's text, brief and concise, is extremely meaningful because he has been able to compress in a few pages the history, the cultural dialogue as also the

uniqueness of some of the iconographic forms of these murals. The monograph has, been written as an introduction to the exhibition, which will be presented at the

National Museum and subsequently in the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya in Mumbai. I have no doubt that both the monograph and the exhibitionwillbeenthusiasticallyreceivedbyallthosewhoreadthetextandseethe exhibition.

4¢ rife,t Kapilavatsyayan 27.12.2008

XIV

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|ueur}Jedea AJe|eJ3es ]u!o| pug Hal `s8 D wog ]o ueunJ!el|) }uasaJd a lit `euJe^^oi !J iis pug Liei `(sg I)) sa!pnis ]s! ii ppn8 ]o a]n|!isu I ieJ}ua) ]o `(wog) }uauraseuew ]o pJeo8 `ueiuJ!eu) JeuJJo] al|| pug lLlnasnw |euo!}eN `|EJauao Jot.aJ!a `eJLis!w.).ti !JL|S o} Pe]qepu! ale aM •suo!}nq!iiuo] pue

|Joddns pe}u!}sun J!@ii} JoiMoipuox .^etl pug JEUJnx ^!!ues .Ja `}|!Jaw a.sa.ueJ] Luepew `uep|ed ue}sdnui .^et| o} eJe eM `|n|MueL|} ^`|enb] •}xe] al|] Su!]!pe Jo] apued .w.8 .Ja pug anso|e}e) eLi| o| pJOMaJoi 3u!Mo^oJd-]iisnoLi] e su!i!JM Jo] uEAeAs}e^ E|!deN .Ja o} |n]a}eJ8 ale aM •eujiueJSoJds!ii}]ossa.)ns

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^`uo aiq!ssod epeu ale uo!sJa^ pa8p!Jqe s]! pug pug ansoiE]E] awl se ||aM se „iixpepei ]o age)!JeH Su!^!i aiij. :!i|Jiv„ uo!]!q!l|xa S!l|| •e! pui u! suJJo] paiesa!Je^ Lpn uJ u! sSu!iu!ed iua!Jue io suauJ!.ads

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sJa^oi )Je diei| pinoM !ipiv uo an8oie}e] s!l|] ]l|S!|

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s!LueH eii] ]e Jaus!aJo] e ]o |!s!^ aii] io fuois e Su!Jeau Jaue eu tl.m]s s|eJnw !iiJiv 8u!|uaun)op puE! Su!}uasaJd ]o eap! al|] `os|v •e!pu| ]o fuo}s!ii |s!L|ppng ei|| |noqe 8u! u!ei. uaaq e^eii sue!Jois! u auos se `e!pui unoi] paJEeddes!p Ja^au

lus!uppn8 |el|} aseJ ai|} sau!}sn! „"epei ]o asp)!JeH Su!^!| el|) :!uJ|v„ a|)!| awl Japun s|eJnw !i|.|v uo uo!)!q!iixa s!i|)]o )Jadse Jai|)ouv •„uoPSu!N }!uJeH eu].„ Se uMouM ^iep!MMou si uolsaJ s!ii] e.uaii

pug `"Bpei ]o puei uaJJeq ise^Ja^o peaids sa8e]!ujeLi }uaja]]!p }e paurlo]iad Su!aq uaas aq ii!is ueJ sa3!}.EJd ESo^io Luio] Jai|]o se iiaM Se eueuJOJ!e^eiiew ]o eueiipes aii| .l|xpepe| u! uo!|!peJ| Su!^!| se uaes ale `J!uJiisex u! pas!].eJd uaaq pew u.!i|M sa.!AIas ieni!J pup Su!qeu •sain}din.s `sSu!]u!ed ]s!Lippng `siunasnu ]uaJa]]!p u! ^iuo pa^eids!p aas aM i|.!L|M s}d!J.snueun pug s|3e]!|Je ue!Sv |BJ}ue) 6M!|un

•se!Jn}u3J ii][ I oi iii6io }Je eJeii pueg|o uo!|!peJ} |eJn}3e|! u.Je eures eiii oi 8uo|aq iiJ!iiM `! ii.iv]o AJa}seuow ieaJs al|} uJope !Jl|sn !uEw

pue e^ai}!ew `eJe^L|sa"o|^v]o saseuJ! ]uE!S aaJiii ai|i ."epe| ]o eeJe |!SJeM ]o a.eds J!e uado eiii u! ii8!u Su!puE]s eJe ]aa] 9€ o} o€ ]o el|ppn8 e^aJ|!ew ]n.-M.oJ]o saJnsu |esso|oJ uazop e]|eH .e!pui u! ase) aii] lou s! s!ii] `Ja^aMOH i ue}s!ueus]v u! uaupeds }se| eii} eq ^Bu

euppng ueA!uJeg |esso|oJ |eu]. .fuoueu Jno u! paipia ^ip!^!^ ii!is s! eiippn8 ue^!iueg ]o uo!|."|sep eLii .]aq!j. pue i!iuiisex uJOJ] s})ei!iJe }s!uppng ]o spaJpunii ssessod ^ia]eun]Jo] iMepei ]o sa!Ja}seuow 8u!|s!xa aLi]. .se^eiBu!H eii] u! siJe pug aspaiMouxp ts!iippn8 ]o suo!SaJ u!eiu oM} au} `]aq!]. u! paia]]ns ]! stl.eq}es eii} pug J!iuiisex uroJ] a.ueJeeddes!p s}! JauE ua^a aiaL|} A|pa}dnija|u!un senu!]uo. uJs!uppng

a.u!s Ja^a `pue uMepe| pauJeaJ lus!l|ppnq `pue| }s!uppn8 eii| seM J!uJuseN uauM saiu!i iua!.ue ui .peiEaJ. Aisnouas!pu! pug paiJodiu!

L|}oq `s}.e]!|Je pue s|Je |S!uppng ]o se!Joi!sodaJ se ii3M se Su!uJEa| }s!l|ppn8 ]o se!Jen|)uBs uaeq e^eii "epei ]o sa!Ja]seuow au].

JJVIJtld

of Culture, Government of India, for extending their sincere support in presenting this Exhibition and Dr. R.R.S.Chauhan, the Director,

(Exhibition and public Relations) National Museum, New Delhi, for making all out efforts in this regard.

We are thankful to Dr. B.K.Sahay, Curator of the Exhibition for his active role and help in co-ordinating the entire programme and

shapingtheExhibitionandshriTseringMutup,Administrativeofficer(CIBS)forhisvaluableefforts.AdityaAryadeservesourspecialthanks

for the brilliant photography of Alchi Murals duly supported by Mr. Suresh. Our heartfelt and special thanks go to Anoop Sharma for

designingthe catalogue and entire communication package patiently and cheerfullywith the help ofMSJoyita Banerjee.

Dr.NawangTsering

II^X

eue^euew Pug epe^eJaii| al|} usnoJL|| pa^|o^a Lus!uppng ]o luJq s!ii]. .|uauJua]i|S!iuasu!u!e}}e lo] poiiieu pioq e s! }i .e^!|)adsJed Mau e]o Su!puE)slepun eu} u! ^Io|s!ii |s!iippng u! uO!|nio^3J e }noqe }l|SnoJq seu e!Pu| u! eJ|ueL .u!S!JO Ja)E| ]o aq o) }! Jep!Su03 SJau|O a|!uM `||asu!u

!unue^Mel|s el|ppng ]o euJ!} eii} eJu!s |uaiua^ou snonu!}uoJ e s! uJs!Lippng .!J|ueiio eJ!].eJd aii] ieu} a^a!iaq aLuos .]) AJn}uaJ i"iaM} awl pug u]ua^as al|| uaaM]aq Mous ]o Pue| aii}]o |!oS ai!}Jai aii] o}u! pa}uEidsuei} seM }ie si! pue eiiuei is!uppng aiii .e!pui u! Su!}eu!S!Jo

•ius!Lippng ue}eq!i se uMouq s! `uo!SaJ |eJn]inJ ue}aq!j. ei!}ua eii] u! |ueu!uopaJd aiuo.aq sell u.!L|M `eJ}ue| }s!iippn8 ai|i

•se^t3|eu!Hal|}]oseeJesu!Jnoqiis!@uaiiipueieq!|.o]us!i|ppn8]ouJo].!J}ue|eu|pa.npoJ}u!

all `sMous ]o puei aiii]o fuo}s!i| iEJn}in. aiiiio a.inos aii} o| pa|Je^uoJ iuau}]o ^ueur ai!i|M .sJeMo||o] uo8 aii]io spu!ur au] uo }Jedu! |eaJS e pBLi e.ueleedde .!}se!eur s!H .ui!e] uog aiii]o sJeMoiio] ai|| paz!|eJouep sJaMod ||n..o asuauriu! s!Li ui!M E^EI|quJEselupEd mno •SJ®MO||O] uog au} L|]!M leap o] e!pu| LuoJ] e^euquJeseuJPEd

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au} ue}B]Japun pew s|JedJe}unoJ ueieq!i J!ai|} iii!M uo!]eJoqe||o. u! s-efueii.e ue!pui asaiii .fun]uaJ iiius!a ai|i u! puSuEs aii} paJnpoJ}u! pue iaq!]. u! ^Je}seuoun }sJu eii} }|!nq `|aq!i ]o Su!M sno!d puo.as al|] `ues|aa Suos!Jux `e^euquJeseulped `E}!l|sMEJeluel|s efuel|JV ]o uo!s!AIadns ei|}Jepun .sB^eiBu!H aLi} pup }aq!L o) pa|eJS!un s)!pued ue!pu| ]o Jaqunnu e `e!Pu| u! us!uppng |o |u8!|!M| au}Su!Jna •suo!8aJue^eiEiu!H-sueJ)all)

u! pup }aq!]. u! pa.!i.eid Su!aq ii!]s eJe .J|e `ASoioJ}se `J!Seu MJeiq `a|.eJ!u ai|| `ei.eJo aii| a" saJ!])EJd uo8 au] ]o aluos .Je^oJesuBw al|l

pug i|se|!pM al|| punoJe seaJe uJOJ] ®Jn8!] fut!pu®Sai e `qeJaus o^!w equo}s o} pe.eJ| ueaq sell ii|!Bi uog aiii .odue9 ues]Suos S" ue|aq!]. aii}io uS!aJ aL|}Su!Inp ]] fun|ue. i||ua^es eii} u! |aq!i o] aiue. us!l|ppng eJo]aq ®^!|.e seM uo!S!iaJ uo8 ei|| sB uMouxp l||!e} a^!|eu v •])fun}ua.imiaM}au}^q}aq!|spJeMo|peuJn]sa]e}sueAe|eur!HSu!Jnoqu8!auau}`|s!uppngaqo]paseaJJ!ul|sex ual|M `Ja^®MOH .J!Lulisex |s!iippn8 u! pa}eaJJ pug apeu seM }ei|} Su!Li]Aie^e pe^!e.ei "epei `J!iuiiseN oi snon8!iuoJ 8u!ag .eiippnq

!unue^Mel|s pug eAaJ|!ew `eJe^uS!}etlo|e^v]o Senieis pooMiBpues se ||aM se sazuoJq i|.ns ssessod ii!is iMEpei u! sa!Jeiseuou May v .]JB eJei|pue9 all) o) Suoi3q ^au} loll) Su!Moiis saJn|ea] .!)S!Ja|JeJEiiJ a^!)Ju!)s!p al|| aJB ^B|u! JaddoJ PeJ u)!M I)nou J!au) pup Ja^|!S I)!M p!e|u!

Se^a J!al|| l|}!M S-eAI}es!l|po8 pug el|ppn8 au|]o sen|p|s ezuoJq |n]!|neeq aiii .]) sa!Jn}uaJ i|]i|S!a pup u}ue^as eLii se ^iiee se ^q sE^eielu!H uJa}saM eii| pue npJeis `J!uJiiseN `]eMs `e|!xe|]o suo!SaJ ali| u! Je|ndod auJe.aq euqei!uJv pug eueuJOJ!B^el|ew ]o }|n. e `uoos .e!pu| }saM-u|Jou pap!^!pun ]o Je|m ®ii| `!iipoqeJpui Su!q o| iLiaLi] paisnJ}ua au pug eJeupueo ]o uo!SeJ ai|| u! !uedeJ!e^ pJoi ^q peJa^o.s!p aJaM s]xe| eJ|ue].|s!l|ppng|o Jaqlunu v .J!iuiiseN pue eJeupueD]o }Je al|}]o }ueuJdo|a^ep pug ii|MOJ8]o po!J©d aLi| osiE seMii .e!pui u! uJs!iippn8

]o fuo]s!l| awl u! po!Jad |ni}u®^® ue seM AJn|ue. puo.es eu] u! uJs!uppng euEAeL|ew ]o ®s!J eii] pue eun!JeseN ]o Su!iuo) ei|i •"BPBi ]o sBaie ies!a pue iiai `i!8JeM u!

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•J!lul|sex B n Lulue|]o e}e|s eii} o| paw.e|}e e! pu| ]o ]Jed e auEJaq iiqepei `zty6 I u! e!pu| io

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uS!aJo] Jo] pauado seM uo!8ai s!ii} a.u!s Je^] .}sed aL|| u! sJaiia^eJi uJaisaM ^q ,}aq!| uE!pu| e|}|!|. se peq!J.sap ueaq sew "epei

L|quepe| u! eJel|!^ !lp|v

forms of Buddhism. In Tibetan terminology, tantra is called .rgyud' continuity. It is a continuous process of knowledge and compassion as in

Theravada and Mahayana. The basic four doctrines, the 'four great seals', suffering, impermanence. egolessness and nirvana are never forgotten. These themes run through Theravada and Mahayana up to vajrayana and this is called 'rgyud' continuity. On the Theravada level of doctrine, the practitioner emphasizes the control of the senses, and at Mahayana level, the control of the mind through understanding

the teachings ofTripitaka-s, as well as prajnaparamita Mahayana sutras. Tantra is the culmination of the previous vehicles, the expression of celebration of freedom from all physical and mental fetters. The monotonous discipline of the Theravada and the perpetual waiting for aeons of Mahayana to attain the final goal, the attainment of Buddhahood do not find favour with the tantric Mahasiddha-s. Tantra is the

short cut path. At any point, any moment in a person.s lifetime, they may get a breakthrough to what he or she has been seeking through courage, commitment and unconditional surrender to one.s own teacher. Every human being, according to Buddhism is possessed of the Buddha nature, the 'tathagatagarbha.. This Buddha nature has to be sought within oneself. Tilopa and Naropa in India and Marpa and Mila

RaspainTibetarethefewexampleswhohaveattainedenlightenmentwithinone'slifetime. Tantra is sacred. It is also extremely secret and only meant for select practitioners of the highest mental and spiritual aptitude. Tantra cannot be understood by reading texts or listening to lectures. It has its own

philosophy. Tantric practices are carried out under the

strict guidance of a teacher. Esoteric transmission is handed down through teacherto students and person to person. On the level of such realization, no distinction is made between samsara and nirvana. Indeed in Buddhism glory of a nation or community is not measured by wealth or military power but its art and culture. One

important aspect in understanding tantra is its visual art captured on thangkaIThanka or thangka) paintings, fresco-paintings and sculptures displayed in the monasteries. The ubiquitous presence of esoteric representation of male and female forms are the creative process of the Bodhichitta. The monasteries in regions influenced by Lamaism are full of esoteric symbolism. The religious art that

developed is the result of interaction between Indian and Tibetan pandits, yogis, travellers, pilgrims, academicians and even traders.

ExecutionoftheseexquisitevisualartformsbelongstothethirdphaseofBuddhismknownasvajrayanaBuddhisin. The monasteries in areas under Tibetan cultural influence have played an important role in the art and spiritual growth of

Mahayana and Vajrayana Buddhism. These monasteries have not only been centres of learning of Buddhist philosophy, history, literature

and language, but were also sanctuaries of Buddhist paintings, sculptures, etc. The study of the five major Buddhist sciences -language (shabda-vidya), logic (hetu-vidya), metaphysics (adhyatmik-vidya), art (shilpa-vidya) and medicine (chikitsa vidya) became courses of

study in these monasteries. The monasteries of Ladakh were founded and flourished between the eleventh and the nineteenth centuries when this region enjoyed status of an independent kingdom. All successive kings of Ladakh during their respective period of rule extended support to the

monasteries thereby earning the title of dharmaraja. With the collapse independent status in the second quarter of the nineteenth century,

sources of material support to these monasteries ceased. Patches of land which were donated by the kings to monasteries failed to meet even the meagre requirements of these monasteries. The number of Lamas in these once flourishing centres started dwindling and no cultural and artistic development worth its name was undertaken. In the absence of spiritual and academic activities, a few learned Lamas after receiving higher education in Tibet, preferred to stay on in Tibet, never to return to their homeland. But the cataclysmic events in Tibet

in 1 959 broughtthem backto their impoverished native land.

These events also resulted in the closure of all routes between Tibet and Indian Himalayas which caused one of the greatest challengesforthepeopleonthelndiansideoftheHima`ayasforpreservingBuddhistcultureandtraditionforwhichtheygottheirstrength

from Tibet, the land of snows. The cultural ties between Ladakh and Tibet can be traced to the 13th century when Ladakh sent young Lamas

to Tibet for higher studies. Sudden snapping of these ties put Ladakh and other pockets of Buddhist Himalayas at crossroads. The higher

education system in the monasteries of Ladakh had decayed to the extent that the lama's role was no better than that of the custodian of monastic museums. Fortunate`y, around the dawn of lndia's Independence, one enlightened man in the person of ven. Kushok Bakula Rinpoche appeared as a spiritual and political leader of Ladakh at a time when Ladakh was bleeding spiritually. The Rinpoche conceived

XIX

odsuez ueu.u!ti seM iaq!]. uJatseM o| e!pui unoJ] aJn}in. pue |Je |s!iippn8 Su!¥e} ]o ssaJOJd aL|i u! aJns!i snou!iuni Jai|]ouE ia^

od8uezuaiiJu!ti •„Bueu!!Js -eMued!a ai!^u! pup epupieN

pug ei!i|slueJM!^ o] }! puas pea|su! `MJn| eu| o} p|o8 aii| e^!S }.uop `Mou ueu plo ue uJe |„ `p!Es po sai|s] `pa|.aiioJ pEu au p|oS]o ]no iuosueJ

au| Aed o| Su!JedaJd seM S" aLi] |eii| pJeaii po saL|s] ueuM .|uauuos!Jdur! s.tlJn]. eii} uJOJ] aiJun s!u io aseaieJ eii} aie!iosau o} paiism `8u!tl Su!im awl `Meudeu s!H .uJosueJ asnu E papueuJep oiiM stlJn]. aLi|]o ^uJe awl ^q peuos!Jdu! pup peJn]deJ SEM po saus] `suS!edue.

uo!].a||o. pio8 s!i| 8u!Jna .p|oS }.aiio. oi uS!edue. o| ue8aq po saiis] `eusw Aq uo!}t2}!^u! ]o eJueida3.e eii| eJnsua oi .sJa]seur is!i|ppn8 isaieaJs aii} 8uoue seMJeLi!^ ei!iisueJ¥!^]o eueu!!JS Jetlued!o .!JBSN u! euJBup awl uaursueJ]S o| e!pu| uroJ] uoPSu!q s!u o| S|!pued a]!^u!

o} pap!.ep all :J!unusBM o} s|!dnd Su!pu3s pug sa!Je}seuou ]o uo!}."}suo. au} Jo] }o8 au |el|| s|eJnt!| s!u uo |saJ lou p!p po seLis] •SauJ!| Ja|e| u! SBM iixpepei }el|M

eM!i `funiuaJ ii|ua^a|a aL|} u! seJ|ua. |s!i|ppng euJe)eq SueJnd pue esno .punoJS |eu aiii uo ii!nq aleM s3!Ja]seuour padBus p|epueu asaL|} `sJei|]o axp!|un .SueJnd u! AJa|seuou l|}BUJeu)ol|x se ||eM se Jeu!g u! eJeu!^ e|!useueJ¥!^]o |apou au}Jaue uopsu!xp au||o |E]!deJ au] `asno u! fua}spuou Su!ioiii }i!nq po saL|s] `ai!L|Mueaw .?ia `ssauprJ!s u!e}unou `a]eiu!iJ esJa^pe `uo!}sneiixa oi anp paL|s!Jed slai|io ei|] e|!LiM

pe^!MnsoMi^iuoin8.EuJel|paii|Apn|SoiJ!uuseNo}sAoq8uno^euo-^}uaM}|ueseH.e!pu|uoJ]|usnoJqpeuJau}e]aJO]S!uuJ!uMuopsu!y s!u u! MET aii} eJo)saJ o] pe^ioseJ aH .qJe8 sno!8!i®J u! 5Jaip! ii)!M pa|sa]u! seM uJopSu!M aii} )ei|} pu!] a) peiLJeuse )ia] aH .se|.eJ!un pup

sol)elo `^JeJJos]o se.!}.eld ^q

pe)eid3J aq o} puno-SM.eq eiii oi pa]esaiaJ seM e]!i ]o ^}!Jnd pug ^]!.!idu!s]o Su!ii.eel s.eiippng .ei|ppn8

pJoi aii} ]o s8u!ii]ea| pJepue]s ai|} iuoj] je] eJeM aJaiii iuaie^aJd se.!}.eJd eiuJei|p ]o pu!M eu]. .Addeiiun fua^ lu!u apEu urop8" s!u u!

eluJEl|p aLi}]o e]e|S eui .ur!u Jo] peaue ^e"Se}8u!|unep e aJu!s Su!"uou au| Jo] u8noua lou seM}uou ]o Mo^ au} S"ej. .s"uou aue3aq pug Jai|]e] J!ai|}]o sde}s eii| paMoiio] osie suos oM| s!H .Muou e]o Mo^¥oo] e8eur! peJ.es au]]o ]uoJ] u! 8u!|aeutl pue el|ppn8 pJo| ]o an|e|s aii] o|Su!oS ^q ue|qoJd s!u) pa^|os po saiis] .u|eaJ s!u u! a|qei!e^e lou aJaM ueu pe!]!ienb uJn5 inq `uo!}Bu!pJo 8u!u!e}qo Jo] sMuou Jo!uas ino] e|!s!nbaJaJd se saJ!nbeJ ])npuo. pue epo. ]s!uppng al|} `Ja^aMOH .Muou is!L|ppng e auJo.aq o} pa}ueM eH .iu!u pJo]]e pinoJ uopSu!y iieius eLii suo]iuo. ^ipiioM ai}}!i Ja^eieL|M pug iaMod `^i!ure] s!ii dn e^es oslo po saiis] `n]sB^ei!dt2M ]o auoJi|i ai|] pug `uos E `a]!M s!u

]o uo!]e!JunuaJ s.euppng pJoi ]o ^Jo|s a]!i awl Aq peJ!dsui .8u!tl sno!d e seM euriep-Sut!i 8u!M ]o MaL|dau pueJ8-}eaJg ai|| `po saus] •einJ .!}seu^p aut!s aii]Japun pau!unaJ u!e8e Ja^au uJ!iiM `}aq!jjo uopSu!pr paieJsa}u!s!p s!u}]o }no paAIe. aJeM

8ueJnd pup asng `l|xpepei ]o saJu!^oJd au]. .dn euJe. se|e}s iE!Ju!^oJd Ja||euJs |eJa^as `^}!JOLi}ne ieJiue. e io a.u9sqe aii] u! pup pasdeiio3

aJ!duaue}aq!ipioaLij..iaq!].|eJ|ue.u!3sd!iJaie}oipa3e|us!uppng]o].npuo.]oepo.e^eu!^eui`sJeaM}ue^esJo].s]s!uppngpe}masJad uo!8!ieJ uog ]o JaMoiio] e `EUJJep-Suei :Jaiiie]-pueJS s!H .]) ^in|ue. i||o[ ^iJea u! }aq!j. uJa]seM u! iuopsu!M }uapuadapu! ue paiis!|qe}sa OUM uoseiu!N-Asp-P!¥S 8u!¥ ue}aq!| awl ]o uos |e^oJ a SEM oi|M aJu!Jd e ^q palm seM aJu!^oJd u.e] .}eq!j. uJa]saM u! Je^oJesuEw-i|sE|!Ex

iunow paJJes al|} ]o ^]!u!.!^ al|] u! unss-Jol|xp-!Je8N ]o se.u!^oJd aaJu} eu]]o euo seM "epe| `sa!Jn|ue. ii|ua| pup u}u!u punoJv

¥uow |e^ot| e|o uo!ss!w al|| •o8e uin!uuai|!u a iiprepei u! ain}in. }s!iippng sno!Joi8

]o ^uou!|se| e ale !lp|v ]o s|eJnu eii]. .6ooz lpJew pup fuenue| uaaM|eq (lunasnw se|eM io eJu!Jd ^|JaunJo]) !t!qlunw `e^e|eLieJSut!S n|SB^ !eJeL|ew !!e^!l|S !|edeJ]euL|) PUB !u|ea MeN `lunasnw |euo!}eN eii| ]e !iiJiv]o s|eJnu uo uo!|!q!i|xe ue u]!M suo!}eJqaia) aa|!qn!

uapios ii}os s}! su!8aq a}n|!]sui aLi]. .aJni|n) }s!L|ppng ]o Ja^oi pug ue!Jo}s!u |eeJ8 ©u| `]|asu!u nJL|aN |e|JeiieMe| |!pued ]0 pueu Su!d|au

aii| uo!|uaiu o] ss!ur iouue. 6ooz u! aai!qn! uapios s|! e]eJqe|eJ o} 8u!oS s! u.!L|M a]n}!]sui ai|]. .e!pui ]o }uaunuJa^oo `eJn}|n)]o ^J}s!u!w au}

luoJ]P!e|e!.ueu!]L||!MsunJMoul|.!uM6S6T]OJea^|en}ue^a|eu]u!Pal|S!|qe|saseM`ue|`Se!pn}S]S!uppn8]oa|n}!}Su||eJ|ue)au|. •epuE|eN }ue!.ue pue sa!|!sJa^!un

•!}sEuou ]eeJS ue}eq!|. ]o uJai}Ed aL|} Jeue ^iidosoi!iid is!Lippng ]o toou)s papuno] pup "epei u! a]n]!]sui J!iuapEJE ue Su!i|s!iqE]sa

(Rinchen-bzang-po: 958-1055). He was one of the most prominent personalities who made great contribution in the second movement of Buddhism in Tibet and was the chief architect of lamaist renaissance in Tibet. A new movement known as the .New Translation School' had

started with him in the eleventh century in western Tibet. Rinchen Zangpo visited Kashmir thrice and during his seventeen years. stay there, he learned a`l branches of Buddhist knowledge at the feet of the Kashmiri Pandits. His biographer writes that Rinchen Zangpo on his last

departure from Kashmir, brought a large number of Buddhist texts as well as thirty-two Kashmiri artists. He is believed to have constructed

one hundred and eight temples across the three provinces of Guge, Purang and Maryul-Ladakh. Among these temples, the best known are Tholing in purang, Khojarnath in Guge and Nyerma in Ladakh. Since there is no mention in the historical biography of the two better known

temples in modern times, Tabo and Alchi, it suggests that these were of lesser importance.

Nevertheless, the architectural and

iconographical patterns of Tabo and Alchi bear resemblance with those of other major temples of his time. Rinchen Zangpo received

teachings on yoga-tantra which came to Tibet in the eighth century. This was known as the yoga-tantra of `ower Tibet i.e. Kham area. He

learnt yoga-tantra during his visit to Kashmir and this came to be known as yoga-tantra of western Tibet. In yoga-tantra, we find the

conceptionofFiveBuddhaFamilyofwhomvairochanaistheBuddhaofcenter.TheothersareAkshobhyaoftheeast,Ratnasambhavaofthe south, Amitabha of the west and the Amoghasiddhi of the north. The Mahavairochana cult was the distinctive characterization favoured by Rinchen-Zangpo and the mandala of this cult is ubiquitous across the Ngaris Provinces. The mandalas of Alchi are based on the tenth

century text byAcharya Anandagarbha (kun-dga' snging-bo). The name of the text isTattva lokakari (de kho-na nyid snang-bar byed-pa), the illumination of absolute reality, translated into the Tibetan language by Rinchen Zangpo himself. With Rinchen Zangpo not only the cult of Vairochana-sadhana had come to Ngiaris but also its iconography and the sculpture of Kashmir. Prof. Tucci says, ..Rinchen Zangpo.s name

willberememberedforeverconnectedwithoneofthemostimportantperiodsinthehistoryofTibetarts".

Alchi choskhor: The sacred Enclave Alchiisasleepyhamletatadistanceofseventykilometres(44miles)fromLehtowntowardssrinagarinthewest.Crossingabridge over the Indus, a link road leads to the south from the Leh-Srinagar highway. Driving yet another six kilometers (3.7 miles) from the bridge

over Indus river, one reaches the eastern end of Alchi village where lies the whitewashed, mud-brick unassuming Buddhist monastery known as Alchi Chos-khor 'sacred enclave'. Historically, Alchi is the first monastery built by Rinchen Zangpo around the first mil`ennium in

Ladakh. This monastery is known for its superb murals and wood-work. Every inch of wall surface of this monastery is occupied by benign

images of the Buddha-s, Bodhisattva-s, tantric gods, goddesses, flying apsara-s, gandharva-s, and royal scenes. While monasteries of a Later period are built on the hill-top, Alchi, likeTabo in spiti (in Himachal pradesh) and Nyerma in Ladakh have been built on flat ground in the

shape of mandala. Unlike multi-storeyed, palatial looking structures elsewhere, Alchi complex is devoid of the scale and grandeur of the present monasteries of Ladakh. Enclosed by mud-brick walls, Alchi complex looks so simple that it is hardly distinguishable from the

ordinary houses of Alchi village. Because of its external unassuming appearance, Alchi escaped attention of invaders from neighboring

regions who desecrated and plundered monasteries that were located on the Leh-Srinagar trade route. The complex looks so insignificant

to the ordinary eye that even the locals do not feel it necessary to undertake essential repair works. Alchi has also been saved due to long neglect,lackofownershipandabandonmentforcenturies. Alchi complex has six shrines known as the Dukhang, Sumtsek, Lhakhang Soma, Manjushri Lhakhang; Lotsava Lhakhang and

Kanjur Lhakhang. It is certain that these six temples were built at different times considering the different motifs and colours used on the murals. AII available materials show that the paintings of this complex are not `ater than the sixteenth century. Chronological`y, miniature

scenes of the Dukhang and Sumtsek are earlier than the murals in the other shrines. Dukhang (assembly hall) and Sumtsek (three-tiered

temple) belong to the same school of art while the paintings in the other four temples are works of another group of artists. The portraits, images, their costumes, royal scenes and the ornamentation of the DUKhang and Sumtsek are predominantly in the style of the north-west Kashmir and the Gandhara school. These small images captured on the walls are a few inches in length and breadth which still appear fresh

despite being almost one thousand years old. The murals in the other shrines belong to Tibetan and Nepali art of the Pala period. Even the

woodworkoftheentrancegatesofDukhangandsumtsekarestrikinglydifferentincomparisonwiththoseinothershrines.

XX

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u! peJa^o3s!paJ uaaq a^ei| oi p!es eJaM sixei eJ]ue} aiii `]) Ainiua. i|]Li8!a Jo ii]ua^as au] punoJe euE^J!u!Jedeuew s!ii Jane sJeaA puesnol|]

e i@^o .s8u!ipeei J!Jeiosa aii] a^!a.eJ oi pajt2deid Aia]enbepe lou eJaM aJua!pne eiii ]o sa!]in.e] ieiuaur eiii asnE.aq `^.aiJas u! pa!Jnq `pa^JaseJd Jo |aJJas |de" Je^eMou aJaM s8u!ipeei eJ]ue} au]. .sesseu ^q aJueida.Je M.!nb u!es pad|au ii.!iiM esen8uei }ueu!uropeJd ei|} `!|ed Su!sn ^q .)!iqnd. sSu!ii.ea] s!u apeun eLippng eii| |eu| s^es uo!}!peJ} eJ|ns au]. .Bueii.oJ!e^euew Jo eJeupeJ!E^ paluEu El|Ppn8 .!luso. e s! ei| ]nq `(nsieiid uJepoiu) eue!ueJ!N Je^!J aui]o Mueq aL|} uo |uauua}iis!iue p®u!ei]e pei| ol|M !unue^tlt2iis euppng ie.!Jo}S!u al|} lou S! eH ..}a `9ipJ!8 `ai8uEq `8u!J-Ja8u!] `e.e".eu `Su!J-JEa `uMOJJ `auJn}soJ "!s u.!i e Su!iBaM `inapueJS ie!Jadu! ue u! pauJope s! BLippna .!J}uEi

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aii} 8u!Jnp Su!is-ou]. pue oqE]. L|}!M Jeii}eso| peieaJJ seM !ii3iv^iu!Bile. pue `|qnop puo^aq s! !i|Jiv]o Aiidei8ouo.! io ^}!nb!]ue ei|i

sacred visual arts started and flourished during the first millennium and it has uninterruptedly continued in the monasteries of Ladakh

although in varied forms and colours. Anothertransformation that was taking place both in Gandhara and at Mathura in the first or second century CE was the creation of

anthropomorphic forms of gods and goddesses paving the way for Vajrayana Buddhist to embrace polytheism, the doctrine of multip`e cosmic Buddha-s, Bodhisattva-s, celestial bodies, guardian deities and female figures. Simultaneously, there was the development of doctrinal interpretation of the Buddhological idea of the stupa and nirvana, which represents the withdrawal of Buddha's activities afterthe

master entered into Mahaparinirvana. The stupa which had been a symbol of the cessation of Buddha's activities was replaced by the mandala, which represents Buddha's activites in the samsara. The would-be Buddha-s, the Bodhisattva-s , intentionally postponed their

entrance into nirvana with a vowthat until all sentient beings are liberated from samsara, he would not enter into nirvana. Subsequently, his

multiple manifestations were created in the form of the Bodhisattva-s Avalokiteshvara, Manjushri, Maitreya, Samantabhadra, Sarvavid Mahavairochana, and the Alchi wall surfaces are filled with these Budd ha-s and future Budd ha-s.

Style ofAlchi Murals TheAlchimurals,especiallytheminiatures,whichfortunatelyaresti\Iintactarethesurvivingspecimensofnorth-westlndianartof

the first millennium which later spread to the whole of Centra\ Asia. Today, this style of art does not exist either at its original place in the north-west India or CentralAsia, which can be compared with Alchi. Prof. Snellgrove writes: "Some of the miniatures atAlchi are the most remarkable which have survived anywhere in the Tibetan speaking world". Considering its quality as well as its antiquity, it is significant

that local lay devotees believe that the artistic styles of Alchi, Mangyu and Sumdha monasteries in Ladal(h had been created not by human

hands but by gods within the space of one night. Indeed, the style of the murals, especially the miniature scenes, is superior to the contem porary in urals atTabo in H imachal pradesh and Tholing in western Tibet.

Among the cluster of white-washed, mud-brick and humble houses which spread over vast area, two of the adjoining shrines, the

Sumtsek tssum-brtzegs), a three-storeyed building, and the Dukhang congregation hall are considered to be contemporary and the paintings have been executed in same artistic style, while the murals in other temples belong to the later style of the sixteenth and

seventeenth century CE. The co`ours used both at Sumtsek and Dukhang are stone-colours, and that is why the images painted on stuccoes still glow. The art of making stone-colours a`ong with the ancient school of art tradition were discontinued in Ladakh after the creation of

Sumtsekand the Dukhang, because, bythe twelth and thirteenth centuries, the north-west of India ceased to be a Buddhist land anymore. Fortunately, the monastic community of the sangha in Ladakh has preserved its sadhana, the religiosity of services (upachara) and the meditation (dhyana) aspect of Mahavairochana. The Mahavairochana Tantra sadhana is still continuing since the eleventh century and Alch i represents this living heritage of Ladakh .

Iconographically, the Sumtsek, the three-storeyed shrine as well as the Dukhang, the congregation hall, are the repository of high

quality murals. Stepping into the courtyards of both these halls, one immediately comes across the fa€ade of the main entrance, the low door-ways that are very de`icately carved. It is an example of fine woodwork of Kashmiri style which is not found at any other Buddhist

monastery in Ladakh. Although the carved figures of the Five Tathagata-s at the Dukhang are distinctly identifiable, a few wood carvings on

the columns which support the lion capital at the entrance have worn-out beyond recognition. Of the two prominent shrines, the first is the

three storeyed building, the Sumtsek, which is indeed a heap of jewels from the artistic point of view. Entering the low door-way, one encounters a poorly lit square hall about seven meters (22 feet) in area. The space of the entire floor is mainly occupied by a large stupa in

the middle, while three colossal stucco statues of Bodhisattva-s stand in the niches. These are Avalokiteshvara on the left, Maitreya in the middle and Manjushri on the right hand side of this temple. Maitreya in the middle is the tallest and measures 5.18 metres (17 feet) in

height and his head could be seen from the upper storey of Sumtsek. Nearby inscription written in the archaic poetic style of Tibetan

languagewascomposedbyamonkTagpa'Od(grags-pa.Od).Itinformsthatthesumtsekwascommissionedbyaholyman,Tsultimod(Tsul-

shrims'Od), who was a pious and a wealthy man. The inscription further notes that these three giant Bodhisattva figures at sumtsek have

IIIXX

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eiepuew euBUJOJ!e^ •!l|.|V]0^Pe|S!u}]OA]neeqeu]a.ueuuapeeuJauJa^o¥JOM||oJJS

pue sa^a padeiis-puouie pug ®Je] dJei|s Jaw pueAi!ep aieuJa] a]!Jno^e] }sou aii} s! ails .esnoiq eu} LuoJi }no Su!isJnq isoLu|e ale s}seaJq Su!iiaMs Jew pue |J!tls pue asnoiq aniq }nJ ^i}einJeunu! ue u! peiJ s! eus .LIE ]o tlJOM 9}!s!nbxa ue s! all.!u eJe^iisa|!Moie^v u! eJe]. uaaJ9

eu] ^iie!Jadsa `salns!] a|euJa] aLii .aiA]s ]Je ue!sv |eJ}ua] ei|]]o a.uanuu! eii| |s©Ssns ^iJEep sJap|noi|s J!ai|i oi uMop Su!Sueu J!eu pequo. ^iasooi Li]!M SassaJp-peau Su!iBaM s}ueis!sse s!Li pue Su!xp papieaq aiii .se!Jaiseuou is!uppng u! pau!Seiu! aq ue^a iouue. seua)s Jein.as u.ns `!l|.|v Su!JJea .SpueLi J!al|| u! p|ol| saJnsu e|eu aii} iiJ!uM `s}e|qo8 o|u! peJnod Su!aq s! p!nb!i eiou pug au!M u! asinpu! sJa!uno)

pup se|qou `suaanb `sSu!M awl .saua)s }anbuEq peiiE.-os aLi} ale Sueu)ina se iiaM se"es|uJns }e iiioq saua.s pe^JasaJd }saq eL|i •.}e `esJoii `aiqou `]ueiideia

`uaanb au] `(l|.Jeuou iesJa^!un) E!eJ !|Je^eJMeu. aii} ]o (s|eMe! ua^as) eu]eJe}des }! u!l|]!M ees ueJ auo `euqe}!uJv pe|ees eii} Moiaq }sn! saza!J] ui .}iE is!L|ppng jo iooLiJs Jauio hue u! uMou)iun s! ieui ioseJed e]o adeiis ei|i u! MJOM ||oJ.s auu s! se^i}es!l|ppog eLi}]o Speeu

ai|} Ja^o .)|a `seieM `suo!| Su!ddeiJe^o `sJaiunu `uaiuMoq paiunou u]!M sape)oiq u! paus!sap ^isno!Jnxni `suMoi] pa]u!od i|]!M pauJope

puno] ale siaued eu| u! saJnsu ieJ]ueJ aL|} `s8a| passoJ3 iii!M pe}eas pug saqoJ s.Muou u! pei. eie ^]!ap s!ii]]o saJnie!u!ur io spaJpunu

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e }sassns sau®.s asaiii .sJap!J-asioi| pug siaMa! ip!J ii]!M pe}t2io.ap s]uaiuJes pue sueqin] m!s Su!JeaM `Su!isEe] eiE se.u!Jd aiii pug s8u!M al|| .J}a `nuus!^ `eiisauB9 `euJel|eJ8 `e^!iis spo8 npu!H ]uau!luoJd sno!Je^ Su!dd!i|sJOM u! pa8BSue ale M.eq aiii uo J!eu pa|}ouM i]t!M

s]sa!Jd `sdo|-]ooJ aiii uo siuap!J} ii}!M seidua] `saidno. ie^oJ pa]pas ui!M sa.t!ied ieJe^as ]o sauaJs eJE eJaLi]. .auJaii| uJJo]!un e a^eu lou op

PUE xeiduo. ale aniEis s!i|i]o aqoJ JeMoi aii| uo pa]J!dap seua.s .eJe^i|sa]!Mo|e^v e^}}es!l|Pog al|| s! ^eMJooP eu]]o pueu-Hal eul uo aJns!] }ue!S pJ!1|) euL .A)lap ieJ}u3J all) sE gu!p!seJd uaas s! e^i|qol|sw eJo]aJaii} pup `^i!uJe] eJ!e^ l|}!M pe|e!.osse os|e s! e^aJ|!ew `e^iiqoiisw

eM!| .Mes|urns ]o a}es a.ueJ|ua el||]o ||BM al|} o| dn Spue]xa i|J!uM e^uqoLisprv eniq ]o spaJpunu aas ue) auo `aii.!u s!uiio aJe|Jns ||eM all) punoJe `u!esv .UMOJJ ai|i ]o aipp!u aii| u! pa|eas eueu3oJ!e^ peJnoioJ azuoJq au} l||!M e]eseii}e]. a^!] ai|i ii}!M peppn|s UMOJJ e s! tlas}luns

io^aJo}sJaddnal|]u!ssaJp-peaus.e^aJ|!ew..|e`euE^J!u!JedeuEws!u`euJeupau]]o|aauMau]|oSu!uJn|`|uauua]u8!|ua`uo!}e!.unuaJS!u `!u!qiuni it! i|}i!q s.Ja]seuJ ai|i }3!dap AaLi} `siepunoJ ]o suezop u! }es .euppng !ununt!^Mt!us]o eur!|a]!| au| u! a.e|d uaMe| pew ]eul (S!^uS-nJq

ed-pezpur) siua^a Jo!t2u a^ieM] ai|}io uo!]J!dap ai|} s! (a]es a.ueJ]ua au} o| a}!soddo) eu.!u e|pp!un au| u! SaqoJ s.e^aJ1!ew au] Ja^o •sJnoioJaid!}inuu!!Iiisn!uew]osaseun!aJn}E!u!u

]o spalpunii ii}!M paiu!ed ale ai|J!u ai|]]o siieM }u@]e!pe aii|. .suo!}!sod pug saJnisod }ueje]]!p u! siau}JBd aieue] pug said!]s!p ]o ^ueduo.

aii| u! pa]pas ale `ai^}s pleoq-Janbaipu! ]as `seseu! ®saii]. .uJs!uppng Eue^el!e^ pug euE^eLipw ]o sSu!eq paua]iis!iua aii] `s-eiipp!seiieur Jno]-Aiiis!a aii] io si!EJuod all) eJe `aiiJ!u pueii-]iis!J aLi} u! !Jiisn!uew B^}]es!iipog aiii ]o iualuJ88 JeMoi eui Jo aqoJ al|} uo •sains!].!unso.se

iiaM se seue.s it!J!Jo}s!u aid!]inu ]o pa^el|Jod ale se8eiu! ieui s}uauJJ88 JaMoi a^!iJedseJ J!@Li| uo s! }! `pue u.Ete !iol|p e JeaM s-e^])es!iipog Su!pue}s asaii|. .sa!Ja]seuoun eLi} u! san]e]s Jau]o ^ue aM!iun dn ]s!BM au} uioi]

aieq s! ^poq J!aLi] ]o uo!iiod Jaddn aiii .sujaiquia

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•^poq-eunJELia aii}]o ii]nJ| a|n|osqE au} `euppng aul|o^Poq

eui u!e|]e ^ia]eu!}in sJeuo!}!}.eJd aLi] `uls!l|ppn8 eueAeJ!e^ Jo eue^Euew u! ue|S^S e^EM al|}]o se.!|.eJd au] 8u!Mo||o] Ag .(nHS-Sou. `e^t!M EUJJei|p) ^poq ainiosqe awl pug (nMs-s8uois `e^eM-esoiiques) ^poq pa!|!Jo|S eu| `(nMs-s8nz8 `EAetl-eueuJ!u) ^poq uJJo] eLi} :se^eM aaJu}

au]]o sa!poq pa|eu!iue|uo.un awl Su!u!eue ^qaJeiii `(ssnu|) pu!ur aiii pug (Sunss) ii.aeds `(s8nzs) Apoq ie.!sAiid eii} rty!Jnd oi ]i!nq uaaq

spiritual guideline for the practitioners who use it as an aid to obtain the body of the Buddha. At Alchi, mandalas of Mahavairochana are

predominantlydepictedonthewallsurfaceofalltheshrines. The Tibetan term for mandala is .dKyil.-khor', dKyil means 'centre. and 'khor. means fringe. There is a coordination, which

constant`y works between the centre and the periphery. It is, of course, a continual activity of the Buddha-s in a samsara, a re`ationship between phenomenal world and tantric consciousness, an altruistic and compassionate mind. Nevertheless, practices of such

visualizations are not permitted except to the adepts who have already received transmission (abhisheka) of empowerment from a guru. For untrained persons, a mandala is an object of worship, a paradise in which the devotees aspire to be reborn. Sukhavati paradise of Amitabha Buddha, Abhiratri of Akshobhya and Tushita Heaven of Maitreya are some of the prominent paradises which the devotees

preferably seek. Although mandala-s are depicted in various patterns and designs, most of mandala-s at A`chi are portrayed in four-sided

shrinewithelaboratefourportalsandfourguardiandeitiessittingoutsideoftheinnerandouterenclosuresofvairochanamandala-s. Tantric liturgies describe four classes of tantra.

Kriyatantra describes rules and details of ingredients for ritual ceremonies.

Charyatantra describes rules for ritual performances as well as visualization process striking a balance between images portrayed inside mandala-s and the images created in one's mind. The mandala-s at Alchi frescoes based on Yogatantra are the third. On the level of Yogatantra practices, the deities rise in the mind of the yogi on experiential level. It is a state of feeling when the practitioner identities

himself or herself with the deity he or she visualizes. The first two, Kriya (tartar) and Charyatantra are termed as meditation with characteristics (mtsad-rna-clang-bcas-bai bsgom) and the third Yogatantra deals with a visualization known as visualization without characteristic (mtsad-rna med pa'i bsgom). The mandala ofAlchi is known asvairochana

(rnam-pa snang-mdzad). This multicoloured

mandalaofvairochanapredominantlyappearedonthewal`surfaceofupperstoreyofsumtsekaswellasattheDukhans,thecongregation hall.Yetthereareinstances,albeitfew,whereotherdeitiesofTathagatafamilyarefoundpresidingwhilevairochanaisseatedontheside. InvajrayanaBuddhism,theTathagataBuddha-sarec`assifiedintofivedifferentkinds.TheyaretheBuddhakind.Vajrakind,Ratna

kind, Lotus kind, and Karma kind. The Five Tathagata or Buddha, according to Durgatiparishodhana Tantra are i) Vairochana (resplendent) usually found seated in the middle of mandala, ii) Ak5hobhya (imperturbable) is the Buddha of the east, iii) Amitabha (boundless light) is

the Buddha of the west, iv) Ratnasambhava ¢ewel-born) is the Buddha of the south, v) and Amoghasiddhi (complete accomplishment action) is the Buddha of the north. These Five Buddha families are symbolized byvajra, padma, ratna, karma andBuddha. They are called

families because they are the extension of one and the same family, the emanations of Vairochana Buddha. According to Durgatiparishodhana Tantra, Lord Vairochana is the glorified form of the historical Buddha Shakyamuni who was born, walked, attained

enlightenment and entered into Mahaparinirvana. These Five Tathagata Family Buddha-s are to be understood as a special moment of meditationwhichthepractitionergeneratesduringhisorhervisualizationsession. Lord Vairochana, who occupies the central position in the manda`a of Vairochana is associated with delusion as its neurotic

aspect.Thisneuroticaspectistransmutedintothewisdomofexpansiveness.Similarly,angerisassociatedwithAkshobhyaasitsnegative aspect and this is transmuted into mirror-like wisdom of Akshobhya. Amitabha is associated with passion and gets transmuted into compassion. Ratnasambhava is arrogance

as its neurotic aspect of expression and is transmitted into wisdom of equality. Amohgasiddhi

withjealousyasitsnegativeaspectgetstransmutedintoenlightenmentorwisdomaspectofaccomplishingaction. Vairochana Mandala has thirty-seven gods (including the central figure) in which are the five Buddha-s, four consorts, sixteen

Bodhisattva-s, four inner offering deities, four outer offering deities, four guardians. These deities symbolize some of the most abstract ideasofvajrayanaBuddhism.AllthesedifferentfiguresaretheemanationofthecentralLord,theMahavairochana. TheseFiveBuddhafamiliesarefurtherrecognizablebytheircoLours,positions,vehicles,directionsandgestures(mudra-s).These

four Buddha-s are the four attributions of Buddha vairochana who is enthroned in the centre of the mandala. They have no separate entities but are based on one principle manifested in five different aspects. Lord Vairochana has four faces symbolizing his presence in all four directionssimultaneous`y.Thecolourwhitesymbolizespristineluminousnatureofhismind.Akshobhya,theBuddhaofeast,isbluewhich

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This exhibition is dedicated to the Creator of Alchi Complex Rinchen Zangpo (958-1055) was one of the most prominent personalities

who made great contribution in the second movement of Buddhism in Tibet and was the chief architect of lamaist renaissance in tibet. Rinchen

Zangpo visited Kashmir thrice and during his seventeen years. stay there,

he learned all branches of Buddhist knowledge at the feet of the Kashmiri Pandits. His biographer writes that Rinchen Zangpo on his last departure

from Kashmir, brought a large number of Buddhist texts as well as thirtytwo Kashmiri artists. He is believed to have constructed one hundred and

eight temples across the three provinces of Guge, Purang and MaryulLadakh. Among these temples, the best known are Tholing in Purang, Khojarnath in Guge and Nyerma in Ladakh.

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^poq ueuinu e Su!iduei} uMoiis s! pue `iap|nol|S }l|S!J Sill L|8noJul

8u!deeJ3 eMEus ii}!M `pasuEi

eJeq s! aH .Hal el|} u! dn. ||nMs e pup puei| }iis!i s!i| u! e]!uq e spioii

aH .do} au] uo uoou ]ua)sai. ii}!M si`n"s x!s u}!M pauMoi3 s! J!pii Lis!ppaJ S!H .a¥eus

e pup speaii ueuJnii paJa^3S ]o Su!is!suo. pupiips e spl| pue `u!Ms i3S!] siieeM all `Apoq iisquEMp

`Jno|oJ an|q ]o .!l|.|v }e a|duai

¥as}luns ]o Joou punoJS ]o a|es a.uejiiue aiii a^oqE pa^eJiJod punoi s! all `saidua| |s!l|ppn8 Eue^Eiipw io sa!JaisEuou aii} lie a¥!i .fuen}.ues au] pup

eu!i).op }s!uppng io Jot.a|oJd e seM ei| eiauM eJBI|!^el|PW

epueiEN oi pa.eJi aq ue) A|!nb!}ue s!H .ius!Lippng eue^eiiew u!

sa!}!ap ue!piens ]uau!uoid ]sou ai|] Suoiup euo s! eietlel|EW PJo|

Shridevi, the fierce goddess, is painted in the Mahakala panel at the entrance gate of Sumtsek. Riding on the back of a mule,

naked with swelling breasts, she holds in both hands staff with

human heads and walks in the

cremation ground among the scattered limbs of chopped human bodies. She wears a crown of six human skulls with

crescent moon on top of his erect and knotted hair. This grey complexioned deity is found in

the company of four goddesses of seasons who are riding respectively on the back of a bull,

deer, horse, etc. They are the four

goddesses of spring, summer, autumn and winter (dus-bzhilha).

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ieJ!dfu e `suo!| 8u!dde|Je^o u}!M

paipJOJap s! ssaJp JaH .sa!poq ueiunii io sqiu!i pala^as eiii )sp!iLiE sep!i Oslo I)eLuaa .pEai|

s.!ieuJati Ja^o ioseied a 8u!pioi| s! aiiazt!S a s3p!i oiiM uap!pu

v .din ||ntls e pug `eJ!E^ siuaiquje Jell SP|ou aus .|auEd e|eMEL|ew

au} u! pa)u!ed puno] s! eseui! Jail `Jno|o. u! ani8 .a|nuJ 8 uo sap!J

pup sJaLiiea| M.o.Cad ]o tleoi.

|n]!|neaq e sJeeM ssappo8 s!iii

At the base of Mahakala, one notices a triangular shape of an image rimmed with fire, va/.in and skullcups. Flanked by a sun and a moon disc, a blue coloured pyramidal shape seen in the middle of a triangle looks like a male organ. The inner red area is womb-shaped (bhaga). It is a womb in which

the embryo of a Buddha is developed into the wisdom of Buddhahood. This triangular image is flanked by the goddess Shridevi and Remati along with other female companions riding on different animals.

•^poq s!ii punoie siin"s ueu.nil

|eJa^as ]o pue|Jes e Su!IeaM oslo s! pue u!tls Jas!i e sJpaM aH .J!x!ia l|)!M pa||u s! dnJ ||nMs s!Li `JnoioJ

u! aniq ^tls .a|dua] ¥as]uns io ^]!ep ue!piens u!eu eii] s! aH •i!e} pug peaii s,atleus a ^q pa!i s!

luJe asouM e|eMel|ew pepue|Je8 aMeus sMOLis eua3s ai||.

Four female goddesses accompanying Remati in the

Mahakala panel are identified as

four season goddesses (dus-bzhi lha). They ride on different animals holding skull cups in

their hands. Four are the queen of

rainy, summer, autumn and

winter seasons respectively.

Unlike other goddesses, these

four female goddesses have benign form who ride in

cremation ground of severed human limbs scattered all over

the place.

•eJe^iisa}!tlo|B^v]o|ua.sap ien}!i!ds eii| `s-pl|ppng el|qp}!uJv aJn}e!u!iu ]o spaJpunii paJ!}ou

aq ueJ aiiJ!u aLi] ]o s||eM ]o sep!S all) uo .])a `si3p!i-asloii `s}sa!Jd

`saidua] `sa.Bled `sassappo8

`spof io seua.s ain]e!u!u jo suazop L|]!M pa||!] s! |uaurJe8 jaMoi s!ii ai!LiM eJeq S! AP0q S!1|

]o uo!]Jod Jaddn ei|]. .fue||aMa!

pup uMoiJ su!IeaM s! pup sluJle Jno] sew au `uo!xaiduoJ ai!iiM]o Pug u8!l| (u Z.€[)

saj}aur ino] .aid ura} )ias}uJns

]o looii punoJS ai|} uo sell.!u aaJiii aiii io auo u!ii)!M 8u!pue]s

s! `uo!sseduo.]o POS au]

`eJe^l|sa"o|e^v ]o aJn}d|nJS au].

The scene is from the lower garment of Avalokiteshvara where the kings, accompanied by his courtiers and the army are going for hunting. The king is wearing a crown and a parasol over his head is held by a soldier. All riders are bearded and have haloes behind their head indicating their royal

character. The soldiers on the ground are holding various arms and armaments spears, shields, bows, arrows, etc. Such hunting scenes on the walls of

monasteries are normally not executed.

.I

•sJea^ puesnoiii auo }Sou|e Jaul2 ua^a Su!Pe] ]o suS!s Mows lou Op sinoio. ai|] }Eiii eiqetlipuJaJ s! }| .uo!it2sJa^uo.

u! aidno. ip^oi pue Su!Li.eaJd `Su!)e)!paur ap!saJ se!|!ap

ii.!iiM u! sales eiqnop uado

u]!M se|dua] `sa.Bled pa^ajo]s

iBJa^as ]o as!idiuo. asaiii •saJn}e!u!u pa]u!ed ]o spaipunit

aJ!]ou p|no3 euo eJe^usa}!>|o|e^V

]o }uaiuies JaMo| aul uo •is!eM aii} o} uMop aJeq uM01|S

s! ^poq Jaddn s,eJe^l|sa}!}o|e^v `s]uauJeuJo Me] e io] Ida.x]

The four playing hares are shown just below the belt of Avalokiteshvara's dhofi. and is typical of Alchi paintings. The orange and grey coloured hares' long ears are joined in the middle which remind of the four friendly animals, the bird, the hare, the monkey and the elephant sitting one over the other in order of evolution in age. Their union shows co-operation and harmonious life. These playing hares are within roundels tied by va/.ra lines.

|j

•pie^use}!tlo|e^V Jo ^Poq a,Il ]0 uO!lJ0d iaMoi aJ!}ua aii| Su!Je^o3 seua.s

aJn}e!u!u sno!Je^ ale 8ei ai|} ]o ap!s iaLii!a uo .Spuei| J!ei|] u!

s8u!ja#o Su!p`oii ale iiv .pio] a ]o u-o}]oq aLi} }e eLippng Su!pueis e

spieMo] uMop Su!p!is sassappos -!ouas aiii `s-a/osdD sa]!}ou

auo `]uaunes ieMoi io pio] iEJ}uaJ aii] uo eJe^l|Sa}eM0|e^V

io s8ai ai|} uaaM}e8

Above the hunting scene on the dhof/. of Avalokiteshvara is depicted a Shaiva shrine with

pointed towers over the roof with trident (fr/.shuo on it. Inside the temple, in the middle is a `inga

covered with cloth bearing floral

design. At the double door on the

right of the temple is shown a priest with his long hair and a i/./ak engaged in pu/.a. Shaiva

elements in a Buddhist sanctuary

suggest co-existence of Shaivaism and Buddhism in

Kashmir. Figures of semi-clad

apsara-s holding garland in their

hands float above the roof of the temple. Also depicted are heads of horse-riders with halo behind

their heads.

S,

•sgu!je]]o jo ^eJ} sp|ol| Jel|}o el|} e|!uM s}edum} Suo| Su!Mo|q luau]

]o oM} `seJnsu a|eu euJos ]! Mo|aq pue iisu Su!uu!Ms pa.!]ou aq ue. puod au} ui .e|dua} e^!ei|s]o aue.s |e!}Jed e s! }i|S!J aii} uo .^eJo]s Jaddn all) ap!su! eje]. eue^i|s Su!put!]s E saJ!iou auo aiaiiM jaMoi pa^ajois!iinu e s! Hal aLii uo .iooi paiu!od Li}!M aiduai e ap!su! Su!ii!s s! eseu aiii `sa¥pus ]o speeu 8u!i!o. ^q pal.aioJd s! peaLi siLi pug spueii aid!iinu sell aH .siJosuoJ oMi s!ii iii!M Suoie pa}eas uaas s! Su!tl o6oIV ayeus iieii E pue uEiunii ]iEii v

A bust of unidentified goddess with crown is seen inside a wooden frame with pointed roof. Near the gate is a couple visiting the goddess and above

them floating apsc!ra-s gliding down towards the goddess. On the right is a standing Shyama Tara inside the shrine of open double door. A yellow

robed monk is shown going to the Tara temple. Roaming monkeys, trees and mountain scenes can also be seen.

16

ZT

•i|ioi. e}!iiM u! aieiua] E ]iis!i aii}

uo pup tluou paqoJ Mo||a^ S! Hal LLio]iog .eJt!i]o Jaii}Ei iEni!J!ds eL|} `!iipp!seiisouJv ELippng aL|} s! aH .eLupii aii}]o sau!`

pai!o. }sp!iue Su!i]!s piippng

uaaJS }JEp e saJ!iou auo Js!p uns aL|] a^oqv .Su!p|ol| s! al|s |el|}

sujeiquia Jail eie Mooq pug sn}oi an|8 .SaJn)sag }ueJe]]!p u! spupLi

x!s sell eiis .!ii.|v]o ssappos paJope lsouJ awl s! al|s ..s!p uns

uo paieas eJei eue^uS pa|u!ed s! eje^iisai!yoie^v]o all.!u pupii Hal ]o ||EM aiii uo ieJnuj s!ii] ui

This shows details of richly dressed bejewelled Shyama Tara. Her three-pointed crown is a special motif of Alchi murals. Her thick hair tied behind her

head is decorated with beautiful coiled lines, and swelling breast and almond shaped eyes enhance her feminine beauty and is known as the 'Lady of Alchi'.

6t

•!i|pp!sEii8ouv ii}!M pa}e!)osse s^eM`e s! pug (sseusseiiea]) eipnu-e^eiiqe sE uMouy s! aJn}Ses S!L|| •dei aii} uo Jell)oue pug pueii }i|S!J s!u sas!eJ pug pa8Sai SSoJ3 p6]eas s! aH .Jno|o. punoJ8M)eq pal uo Mo||aA |o sau!i iioJ.s ]sp!uJE EJE]. Eurt!Aiis io Peau

eu] Ja^o pal.!dap s! eH .uo!xa|duo. uaaJS MJEp u! `as!pEJpd uJauuou ]o ei|ppng aii} `!i|pp!seLi8ouJv pl|ppng pa]eas a)!iou ue. euo )s!p u.t!iq eLi| uo

This mural of standing Buddha Shakyamuni is painted on the left of Tara in Avalokiteshvara niche.

Palm outwards, he is making

gesture of blessing. He wears a svlasf/.ka designed robe known as

kashaya which is the prerogative of a full-fledged monk of a

songha. He has double halo, orange and yellow. Behind him is

a dome-shaped structure which is a common architectural motif at Alchi.

'EJel |o peal| el|] Ja^o pa.!|ou aq uE) au!| Pe|!o) v .s|Jpad ]o sSu!i ]o SJe^e| pup asnoiq }iis!i Su!JEaM S! ei|S .SJa.uep iii!M pa}u!Ed

S|epunoJ |eJa^es i|}!M pa}eJOJap

s! seau" eii} oi uMop s8upii

ip!iiM iMei|s suoi v .aJnisas

(a/owqo) ssausseiJea] pup (opal/OA) Su!Mo}Saq u}ieaM u! ale suj|ed paw.|aJ|S}no JeLi]o `JaMou

an|q p pup ^JEsoJ e p|oL| su|ed jaddn oM] Jail a|!l|M .eJ}ua.

aiii u! eie]. uaajs paiees io ap!s Jaul!e uo peyueii se8eur! eie].

Su!pue}s Jno] ai|| io auo s! al|s

She is one of the four standing

Taras placed on the left side of the main icon seated six armed

Shyama Tara and stands inside a square frame holding blue lotus in her hands, wearing long

ornate shawl. The central icon

wears tight blue jacket ornamented with cornered roundels of overlapping

elephants, a motif special to Alchi style of art. Her knotted hair is tied behind her head which

looks beautiful with coiled lines

and lightened with garland of white flowers. Her earrings, necklace and pearls strings enhance her feminine beauty.

€Z

'JO!JJeM

aii] pue iueiide`e `ueenb `iaeuM `Ja)s!u!ur `asJoii `ue8 all) ale

siaMe! ua^as aii]. .(oujzijojdos.) siaMa! ua^as pa.!}Ou aq ue. `aza!i] e u! `euoJii} aii}

Moia8.aqoi s,Muou u! ei|qe}!iuv

I

]o sein}e!u!ui ]o speipuni| aJe uJ!u punolv .sotioyoA

s!ii se stl.o.Bed a^!] uo pa.eid lees sn\O\ uO (Oupnul-.IupOLUDs|

I

ain}sa8 a^!ipi!pau u! s]!s pup sa)eMJau `|Jpad `uMOJ] `app)oJq sieeM aH .Jell)ei ien}!i!ds

S!u Sll!aq eie^iisa)!"oie^v iii!M

pe)e!.osse s! euqe]!luv pal au].

In this partial view of the throne of Amitabha one can notice on the corner of a portal a dwarf ridding on the back of a vya/a, the mythical bird. The

painted throne, supported by animals, bird and a dwarf, elephant at the base is mounted by a lion, vya/a, dwarf, mckanti, lion head on top of the throne.

SZ

•ouwJovp aii} Su!uais!i sMuou paqoJ

Moiia^ pug sasseppos `spo8 aii} eJE SMOJ u! pa]ees .euoJii| a io suJJoi pa]eJsa|u! Jai|}o eii} eJp s.a/oM `uo!| `]ueuda|] :euqe}!luv ue| s|JeMP a|!uM `s]3durnJ] Suoi Su!Moiq eie s.oL/ovyotu ]o MJEq aLii uo sJap!J oM]. .dot ei|} uo pJ!q pasu!M e Li|!M peeu s!u Je^o soJoeyotw a)i!i-e"eus uaaJS oMi ap!s Jaiii!a

uo a.!]ou uE. auo .aJns!] iei}ua. ai|} io ap!s Jaiii!a uo ii.ee oM) s,e^}}es!iipog paiuJe-Jno] ^q petlueu s! aH .siueiidaie eLi| uo pe}unour sJaiiJJe ^q pe}eJo.ep s! ape.oJq s!Li ajaH .o|eu i|}!M uJape!p pa]uaLUBUJo sJeaM pug auoJiii MJOJead |ensn s!u uo S]!S aH .el|qE}!Luvjo uo!SJa^ Jaii]oup |a^ s! s!u].

This sambAogakeya tslorified) form of Amitabha preaches the law in his western paradise (sukhavaf/). He is seated on the sun disc bordered by red and blue coloured bands, wears three pointed crown and strings of pearl necklaces. There are flying decorative ribbons on either side of his shoulders and his blue upper garment is painted with horse riders on square roundels, a typical characteristic of Alchi art style.

•eJe^iisa]!tlote^v |o ./jowp eul uo pa^eJ|Jod s! aua.s s!iii .A}!^!isai |e^oJ u! |JEd 8u!¥E] aJp oL|M

saJn8u aieLua] pup aieu ajiou ale s!Li) a^oqv .ioseJed |n|!]neaq P SPuEu Jaii}o J!aLi] u! pioii pug

s}adunJ| 8u!Moiq aJp uau Suno^ oM| `|0SeJed awl a^oqv .spueL| Pap|0] l|}!M uaas s! ^pEi aiqou e pug s^ei} uo SSu!Ja#o ii}!M au!JLis

au} Su!Ja}ua s! ¥uou v .puod

ieinsue].aJ aii} u! Su!uu!Ms ale uS!] `au!Jl|s el|| Moieq pup e^oqe ioseipd E Li}!M|ooJ pe|u!od e sell au!JLis aLii .au!jLis all) ap!su!

QDJpnur-D¥uofuodDi!D^)uoi.`i.sod sn}oi u! pe|ees Punoi S! OUM eJe].

eue^l|s au} s})!dap Sue)s s!ii].

A two-storeyed palace with wide open windows. Inside the upper

storey the king and queen are engaged in conversation. Both

are clad in decorated garments. Inside the lower storey the prince

and the princess are witnessing a

show that is taking place at the palace court. All the players are participating enthusiastically.

6Z

•J!LULisex }ua!)up u! AuouJei|

sno!S!iai pa^o!ua s}s!l|ppn8

Pup S-E^!el|s u}oq ]el|i Su!]sassns

]ooJ aidua] ai|] Ja^o sJaMoi] Su!JaMoi|s aJE oM} Jai|io ai|} ai!iiM

pueiJes Suoi e spioii aipp!ur aiii u! auo uaeJ8 au]. .sJnoio. paJ pue

uaaJS `Moiia^ u! aJp sassappos au]. .Ja^oJ |eJou E u! paddeiM s! DGw.r/-E^!Lis ii3!iiM u! ap!su!

`(O/nvs./Jj) )uap!J} l|}!M ]ool aidua)

e^!uS e sp-eMo} uMop 8u!^i] ele s-owosdo ieia^es .eJt!^iisa}!Mo|e^v Moiaq isn! s! Sue.s s!i|].

The standing Buddha is shown in

between the legs of Avalokiteshvara. The Buddha is

making the gesture of bestowing boon with his outstretched right palm. Above the roof of this shrine are two floating

goddesses and on the left, at the door of the shrine, a Shaiva

priest with knotted hair is entering with folded hands.

'PJeoq -ianbaii. u!ii}!M peus!sap suo!i

Su!dde|Ja^o i|i!M pa||u s! }ualJJJes

asoiiM ia!uno. s!i| s! su!tl eii| SMO||o| ol|M aJnsu Ja||EUJS

v .suo!| pue s]uel|da|a uo Su!p!J ilMoiis ale ueuj Suno^ aJpnbs ai|} u!ii]!M :uiai}ed paJanbal|. u)!M 1|10|) M)!l|} t! Su!JpaM s! 8u!tl eii].

•sieii ie.!uoJ iensnun Su!ieaM

ale ^aLii .pieMio] 8u!ii.Jem uMoiis s! spuei| u! M3!|s iil!M

iuepua]}E s!ii Pup Su!X PapJeeq V

Standing Maitreya sculpture in

the rear niche of Sumtsek is

about 5.18 metres (17 feet) high,

the tallest of the three stucco images. On the left wall, are red

and white stucco images of

tathagatas and some smaller

stucco flying apsara at the level of his shoulder. His head is seen

from the upper storey of the temple. On the right are hundreds of miniature

Akshobhya in monk robes. The

central image has four arms, and

wears a crown and ornaments, like necklaces, ear-rings, bracelets, finger-rings, etc. His

lower garment is filled with

images in about fifty roundels

depicting various episodes of Buddha Shakyamuni. Each

roundel is connected with vo/.raLike lines while empty space is

filled with three or four hare joining their long ears joined together, which is a typical characteristic of Alchi paintings.

€€

•aJ}ua. aii] u! Jau|a8o] payu!| eJe sJea Suoi asol|M seJeu sa.!iou auo auoz S!u] io sJauJo) Jnoi ui .spuEu pap|o] iii!M iiu!q A|ou aii} Su!ssau]!M

ale sJai|}o ai!iiM a.u!Jd ali} io u|J!q Su!.unouue i|.uo) au} Su!Mo|q ale Jaiiiou al|} ]o ep!S Jaui!a uo s-oJoS.do oMi .Aqeq eu} Su!^!aJaJ ale sp!eu J3u pue aaJ) e"oiisv]o lpueJq e Su!piou s! `Jau}ouJ-uaanb al|| `!^aa eAeueuew .a^oJS !u!quJni }8 el|]Jpl|pp!s a.u!Jd ]o l||J!q Su!Moiis }ualuJes JeMo| s,e^aJ}!ew

Mahamaya Devi and Shuddhodana, the father, holding the prince in his hands at his palace in the city of Kapilavastu. The parents are consulting an

astrologer seeking prophecy about the prince Siddhartha. The prince is being received by the astrologer with his hands.

S€

•uEu Suno^ e se ^Ja^EJq s!Li sa^oJd ei|)Jei|pp!S .Su!u!eJ| S,euueupp!s ]o ||!Ms el|] 8u!J!uPE uMol|S

aJe sJaMoo|uo |eJa^as .asJol| uo a.u!Jd eu| sMo||o| se}eur^e|d s!l| ]o euo .n|se^E|!deN }e Su!p!J.esJoii u! 8u!u!eJ| saosJapun ueu 8uno^ e se t!L|iJeL|pp!s

The young Siddhartha has left the royal palace, leaving behind his father Shuddhodana, his wife Yashodhara and his son Rahula, and has reached the

place called mchod-rfen Mm-dagdr/ng where he cut his hair to lead a life of homelessness. While a heavenly being receives his cut hair, more deva-s approach the sfupa to receive a share of the princes' hair.

4€

•uaiuoM p ^q paJa]]o pool aii} }.a!aj pug Su!|sE] anu!iuo] pinoLis all }eii} pa}sassns uo!uEduo) S!u `Su!Je#o al|} s}daJJp el||Jel|pp!s a|!l|M .el|}Jei|pp!S o} "!u ]o |Moq a Su!Ja]]o s! `ueuJOM e `e}e!ns .a.ueuad s!u 8u!Jnp uo!ueduo. s!u`(}ue.!pu3iu)

./ys..// pa}e!.Eiua ue s! Hal s!Li uo .e^eo-l|pog ]e |uauuaiLis!iua pau!e]|e all aJo]eq SJee^ x!S Jqu aJueuad ]uaMJapun el||Jeupp!S 8uno^ au

Sitting at the feet of his teacher young Siddhartha is learning scripture from his guru. Holding manuscript (text) in his hand, the prince of Kapilavastu

seems to be engaged in discussions with the guru over the explanations of some philosophical points.

6€

•suo!ueduro3 e^!i s!u o} i|.eaJd o} uesaq pug (ii]euJes) euE}|ed!l|s!tl pe||e. e.e|d ai|} Pau.eaJ euppng awl `|uauua|l|S!|ua Su!u!E||E Jauv

Akshobhya Buddha is blue-coloured but at Sumtsek he is given golden colour as well. He is shown as rv/.rmanakaya Buddha without ornaments. He is

however depicted in earth touching (bhum/.-spar5ha) gesture and has elephant as a vehicle. In the rectangular Akshobhya panel are a number of holy images divided horizontally into four rows, pu/.a equipments on the top, standing yellow-robed monks, orange-robed monks, and the prostrating

figures of monks.

•uau Suno^ Su!.uep au!u ale eza!J] ai|i ui .spuel| J!al|} u! su!EiiJ Ja^i!s L|]!M s-e/oswh 8u!Ai]

sa.!}oil auo auoJl|] au} @^Cqv

•(owsJods-./tunyq) Su!uJnol uuee ]o ein}se8 u! s}ueiidaia uo paieas painoio] aniq aJe s-eiippna e^uqol|SW .^Ja||aMa! pup uMoji. }nou|!M aqoJ Mo||a^ SJpaM aJnsu e^l|qousw |eJ]uaJ aL|L .JO0u

punois tlas}iuns io eie8 a]ueii]ua aLi] se iieM Se an}t!)s e^aJ]!ew al|}

Pu!ueq `|eM al|| uo pa]J!dap ale suo!}e]sa]!ueuJ paieas puesnoii}

euo s!Li pup eiippng e^l|qousw

ln the frieze of Akshobhya Buddha are the nine male dancers. One is dancing with a drum. In Vairochana-manda/a, Song ®eefa) and nr/.fya (dance) are

the ingredients of offerings and have been deified as Vajragita and Vajrnritya as one of the deities of vairochana-manda/a. Above it, one notices Akshobhya throne and a green Bodhisattva sitting for ceremonial session.

€7

•saienbs pajanbeu. u! siuaurJt!S JaMoi s!u uo pal)!dap aii2 s-ELipp!seL|ew Jno]-^]uS!]

•sain]sas iuaje]]!p u! uMous ale siuJle Jno] s!H .Mes}luns

]o jooi] punois ei|} uo a^o.ie pueu )iis!i ai|} u! s! !iiisn!uew

sain}din.s }ue!8 aaJu) au} ]o auo

This four metres (13 feet) high Manjushri stands on the right side niche on the ground floor of

Sumtsek. Like the other two colossal sculptures, Manjushri is wearing jewellery and crown. On

the lower garment one notices portraits of eighty.five Mahasiddha-s or enlightened beings. All of them are enclosed

in separate chequer-patterned boards. Normally there are eighty Mahasiddha-s but on this

panel there are eighty.five, both male and female figures.

57

'Inoio. ^als u! }L|8!I

au| uo auo luo}}oq au} pup pal }i|8!jq u! ]iis!j Jaddn `uaaJS daap u! s! auo aipp!iu ai|]. .inoio. pug

ain)sod ]uaia]]!p u! s! uJeii} ]o ii.e] .uMOJ8 s! J!eu J!au} pue u!MS

Ja8!] uo Su!t}!s aJe ^eu]. .suJa]}ed

pieoq ianbeii. iniinoio. ]o |aued e}eJedes e u!i|}!M pasopua s-el|pp!sel|ew aJeq aaJi|} sa)!}ou euo `ejn}din.s !Jusn!ut!w

]o }uaiuie8 jeMo| aii} uO

lt is difficult to identify each Mahasiddha by name on this painted garment. Both the Mahasiddha and his consort are shown in nude position. It is

interesting to note that with each Mahasiddha is shown a fruit laden tree.

•e!|euJaudeJed

e!nd euJOS Jo Sa|qe|ea u|!M Pa||u S^EJ] ale ei|pp!SeLiEw Su!.uep au}]o ep!s Jaiii!a uO .Su!)uep s! pug uJo] .I)oxe u! s! Ei|pp!sei|Bw lis!ppaJ S!l||

This scene shows four bare

Mahas/.ddha-s in female form. Each of them is enclosed in

square of different colours. On the lower garments of Manjushri,

eighty.four Mahas/.ddha.s have been depicted whose names are difficult to identify. They are

seated on antelope or tiger skins and are seen performing different

activities such as ecstatic

postures and accompanying acolytes while some are seen in the front engaging in performing fan fr/.c rituals with human skull

cup and thigh bone. All have

haloes.

6fy

•se^e|eu!H al|| ]o }S!l|Ppn8 aii} pug ]aq!]. u! edoJeN ]o eso^ s!L|] a.!iJEJd ^`ie!.eds ujs!i|ppng

ue!iaq!i]o iJas pnASJeN al|]. .(GnJp-sowJ oJ-ow) PdoJEN ]0 s}ueuleuio x!s sE uMOu¥ edoJeN ]o Su!Li.eel pa)npoJ}u! edoJew Ja}e| .J!Lul|seN u! iu!Li

}au a^eii o] p!es odsupz uauJu!t]

pue edJew L||o8 .sSu!u.eat DLi]ut)i pa^!a.aJ au uJouM

iuoJ] edo|!j. )au pug epupieN ]o

]oqoqe uo seM aH .a)eds JasJpi uJ!Li Su!^!S ^i}ueu!uroid uMOLis

Sl. DdoJDN l.]OuP uO SDuPP!S

aLii Suourv .odoroIV pauJeu

otypp./SDVDw pauo!xaiduo. 1|s!ppaJ e se.!]ou auo `aJn}din.s !Jusn!uew ]0 Sga| aL|| LlaaM|a8

The most famous Mahas/.ddha-s are Tilopa, Naropa, Minapad, |allandara, etc. This greenish complexioned Mahas/.ddha is in an unusual posture. He is

shown in an aggressive pose, perhaps engaging in hot argument.

T5

•sa!uoiuaJa) a./nd u! pasn s})a!qo ien]!i ]o iaqujnu p ale saJn8!i asaii| punoJv .sajn}sa8 ]uaia]]!p Su!"Eu ale pug u!Ms Jes!} uo 8u!]]pnbs

ale ^au]. .sseJppEau punoJ |ensnun 8u!JeaM ale w .|aued e^L|qol|sxpv pauo!xaiduo. Mo||a^ el|} |o Hal aiii uo aza!Ji aii] u! s-ot/pp./sot/ow x!s ale aJaiii

A queen seated cross.legged is dressed in blue under garment

over a long sleeved reddish dress. She is wearing gold necklace and holds a conch in her right hand while her left hand

is raised up to her breast. The

sfupa-shaped wooden frame is

set in the background of mountains and cloud. This lady is

flanked by a young man on her right and yellow-robed monk on the left. All seem to be sitting for

some religious ceremony. The

intermediate space around these

images is filled with pu/.a material.

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•Puel| s!l| u! pJ!q E 8u!p`oi| uEur

E s! }iis!J iuo}ioq aLii uo 'uo!}!sod

pa}iexa s!ii ale.!pu! o|eu aii} se iieM se aLuej] uepooM aii]. •ieL|iou s!i| `ueenb e s! Hal s!l| uo aiq!s!^ ^iie!}Jpd .)uauJES yJEiq

8uoi pug iu8!] Su!JeaM passai -ssoi. Su!}]!s s! aieur Suno^ v

This yellow-robed monk has a halo and is sitting for some ceremony. He is wearing ochre shaded conical cap with wide border. Number of pu/.a paraphernalia like conch shells, flowers, stack of books, fruit in a tray, etc. are laid in front.

SS

''aallM Pup

l|.UOJ `Seu `]ou} sse|pua `|oseJed `sn}o| `asE^ `i|s!i e io sioqur^s

sno!)!dsne |l|S!e aJp aseq aii} )e az3!Ji all) ui ,.zJJpnov O^t)VqD

u! s! pug iseaiq aL|i o)dn pas!EJ s!

pueii iLis!i jeMoi aii] pug ¥ooq a pue pJOMs a Su!piol| S! !JI|Sn!uew

ieliua) ai|]. .euoll|} !Jiisn.Iuew ]o ap!s iai|}!e uo s-z}wos`dz7 Su!}eoij

jno] sa.!iou auo aLuei] ai|| ap!S|no .|EUJ!ue ]e] e uo 8u!p!I

iiaiis i|3uoJ Su!Moiq ale oiiM sa!]!ep oM] ^q PaMueu S! JeMO}

padeiis-odnjs iBi}ua] .iEnsnun s! auoJLi] aii] ]o uo!uod Jaddn

eLi]. .(soLipnuy) sajmsas iuaja#!p u! ale PUE sJnoio. ]ueJa]]!p

a^u u! !Jl|sn!uew aJn}eu!u

]o spaipuni| ^q papunoijns auo]i|] uo!i e uo pa}eas s! !iL|Sn!uew Moi|e^ paiuJe-Jno]

A decorative scene is painted above the head of central figure of Manjushri. Against the background of coiled lines, one can notice youngmen blowing conch on either side of a frame. They are riding unidentified creatures whose heads are joined forming a structure of A/.rf/.mukha, a lion-head. Double

string of pearl rings are emerging from the lion's mouth.

ZS

•spueii ieii]O s!Li u! s`Oqu^s aiou Li}!M

Jau}a3o| s|oqu^s |ensn s!ii ale ]eiii tlooq e pug pioMs e spioii eH .iuops!M ]o POS aLii o} s8u!Ja]]o u)!M pa`|u sAeJ} 8u!p`ou aJe

^aii]. .peai| s!ii Ja^o |eo|] sSu!aq |e!|sa`a. au!u!iuai iEJa^as .Mas]Luns al|l |0 J00|]

punoi8 aiii uo a^o.|p s,EJE^usal!Mo|E^V u! pa]eas s! !Jusn!uEw Mo||aA ]l|S!| S!u| .]00J s}! uo aiJEuu!d ii]!M au!Jiis au}io ^eMJO0p

au} u! s|!s siuJe ua} iii!M !Ji|Sn!ut!w

On the right hand wall of Sumtsek are about one thousand miniatures of Manjushri. They are painted in five colours and show different hand gestures. Manjushri with four arms is shown seated on two white lions placed on lotus flowers. This panel of Manjushri is presided over by a large yellowcoloured Manjushri.

65

•s8u!J uap|oS ii}!M .s!p punoJ8yJeq iis!niq e u! }as S! ^poq s!Li pug PEau S!l|

pu!iiaq oipii in]!}neaq e sell 3H •i! uO tlooq e ii}!M i3Moi] sn}Oi e

spioLi auo iaMoi eii| pue (aJn]sa8

sseussailea]) owpnu+-a/owqo u! }seaJq s!u o} pas!eJ s! pueu Jaddn

ua| s!H .aJn}sas 8u!ipeaid u! dei s!ii uo s! euo iaMoi aii} `pJOMs spioL| Luie jeddn }iis!i s!H .sLUJe

ino] sell eH .suo!]eisa]!ueiu s!u ]o seJn]e!u!uJ puesnoii]

e je^o sep!saJd !Ji|sn!uEw uap|o8 paii|8!iiis!i| ^iiny!)neaq aiii

Central icon is a four-armed golden Manjushri with his emblems of a sword and a book. He is preaching dharma to large assembly of gods,

goddesses, monks and nagas. On the left, one notices nagas, monks and celestial beings listening to the dharma. On the right, are a number of figures facing towards Manjushri which include Hindu deities like Shiva, Brahma, etc., all adoring the central deity. An inscription in Tibetan on the

left is seen which tells the name of a monk named Tsulkhrim Od as the founder of Sumtsek temple. Also seen are monks in a row in this panel.

60

T9

•oiEii eii) u! pup ^i!ap iel}ua)

awl punoJe auop tlJOM p`oS ]o uo!snioJd aii} s! }saJe}u! |e!.ads io .iadu"i Suoi e 8u!Moiq sJep!J ]JeMp peuo!xeiduoJ-ai!LiM saJ!]ou auo auoJii| ieJ}ua) ]o ap!s iaL|]!a uo .Jia iJPMp `s.-a/oM `uo!| `}uei|daia ue ^q paiJoddns s! auoJLi} au]. .Su!}saJa}u! |sour el|] s! !JI|sn!uew |o auoJui a^!}eJOJap aii} `|eued s!l|] ui ..}e `sue]/iauJnq asua.u! ii}!M s-oJos.do 8u!^i] eie ^i!ap ieiiua. aLii Moiaq pue a^oqv .tlooq e pue pJOMs |ensn awl Su!p|ou s! !Jl|sn!uew pauJJe-Jno]

Above the triangular frame a head of Manjushri is to be seen on the upper storey. This standing Tara with multiple

hands wears richly ornamented

dress. The cult of Tara was propagated by Dipankara Atisha in the Himalayas and Tibet in

eleventh century by composing

hyms. She is a saviouress, who

saves people from eight dangers

of fire, water, elephant, tiger,

snake, ghost, thieves and false imprisonment. The seat of the

deity is supported by row of seven jewels in the frieze.

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•^poq S!u ]0 e|pp!u eu} u! Su!|S!M| ale u|ed al|| Liiog .ap!s uai JedoJd aii} uo sn]oi aniq e uo pa.Bid uMoiis s! ¥ooq E pug sa.e".au ppaq |eJo. pup as!onbJn} sJEaM aH .Mas|iuns ]o Joo|] punoJ8 ]o Su!|!aJ aL|| Jeau pa|u!ed S! aH .uo!| e io M.eq au} uo s|!s !Jl|sn!uew e^}|es!l|pog |n|!|neaq S!l||

This scene shows four

Maha5t.ddha-s in different activities. The red complexioned

Maha5/.ddha in the middle is preaching his pupil. The yellow

female MaAas/.ddha is squatting on antelope skin, while the

Mahas/.ddha on the bottom right is dancing ecstatically. All these

Mahasiddha-s are shown .in unconventional form since they

are transcendent beings who are not restricted by mundane ethics.

All of them have haloes illustrating that they are enlightened beings.

59

'Jnolo, Pug

sajn]sas }uaJa]i!p u! s-ei|ppng ]o MOJ s! a.uejiiua aLii ]o `ieM aii}

]o ap!s Jaii}!] .s|elu!ue iueJa]]!p

io ¥.eq aii} uo 8u!p!J aJE oo} oiiM aseJno|ue S!u ]o SJaquJauJ

^q papunoJJns s! aH .punoJS ieiauni aii} u! e.Old Su!Me}

s! ieii} ien}!I e -e^o sap!saJd

ssa` pue spueu a|d!||nu l|l!M ^}!ap pepeei|.!}inu. S!L|| .OuoWoA

s!ii se iinq i|}!M e}e]upuJe^ aniq E

s! a}E8 aJueJ}ua el|| a^Oqv .J00||

]sJ!] ¥as}uins ]o e}es e.ueJ|u]

Three painted textile pattern with three different designs divided by three strips of floral designs. The first rectangular strip on the left near the ce"ng has minutely painted animals with long neck and raised tail. Next strip has four cornered roundels with blue dot pattern. On the right side rectangular

strip, are galloping animals like horse, vya/a-s, lions, bull, etc., in different hues. All the three rectangular strips are enclosed by three different bands

of rose, red, and yellow colours.

/9

•ss3PPOS all] ^q

uo!i.a}old paJmas a^eLi pug eiie]. Aq paiaMsue 8u!eq s! }sanbal

J!aii]. .siasuep asaiii iuo]i

ueiii )Ja}old o} ^}!ap `eliua) all) o} Su!ieadde ale pue si!iad ieiiio

pup sieiu!ue |uaJa#!p ^q pe}.e|}e Su!aq ale eidoad asaii]. .sains!i ||pLus |o Jaqiunu e ale `ssa.no!^es

aii} `elei]o ase"! al|} punoJv

69

•uo!}.aiojd io] ssappof al|| SpJeMo| Su!uunJ pup el!]

Aq patlJE}ie Su!aq ueul iaiiioue

s}.!dep uo!uod iaMoi .eJe|]o

e.el8 ai|} ^q peJnJas uaes s! (eas Auio}s eii} Su!z!ioqu^s) ein}eai) apr!|-uoseip pappaii iuBi|daia

uE ^q patl)e}te ueu e `}Jed iaddn

al|} uo .SsaussaiJEai ]o aJn)sag

aii} u! uses s! uiEd pal s,ejei

These men protected by the goddess Tara from dangers, feel secure and out of gratitude are paying homage to the goddess Tara, the Ashtabhaya Tara.

•ele^usal!Mo|e^V

|o e)e] a]!uM PauMOJJ uaas aq ue. .auiei] uapooM Jpinsue!]] aiii ui .Jnoio3 pue sajn}sod ]uaJaj;!p u! s-ELippn8 Jnoi sep!s a^oqe

pug s-o]aJd ale aJal|| .uo!}!Puo. J!}aLi]ed u! ajns!i pa}e!3euia

ue s! saJ!}ou auo ^|!ap el|] Mo|e8 •^iesoJ pug iiaus IPuO. P|Ol|

oiiM sassappos oM} ^q Pe}uB|] s! eH .sluaiquJa }uaia]]!p Su!pioii

s! pueii Lpea `tlas}iuns ]o ^eJo]S iaddn u! uaas s! eJE^l|Sa}!M0|e^V

ei!iiM io speaii pug spuel| e|d!}|nw

Gold coated face of Maitreya sculpture seen in the upper storey of Sumtsek. Within the pyramidal frame are five seated Tathagata-s, with Vairochana in the middle. Vairochana is

associated with Maitreya as his spiritual father. The five

Tathagata forms are gold coated and wear blue coloured lower garment. One notices eight rose

petals over the pointed structure of crowns of all the Tathagata.s representing eight spokes in the

wheel of dharmachakra. On the right corner is the stucco figure of

a floating apsara.

.¥,eq all) }E pa!i s! J!el| JaH .fuesoJ 8u!P|ou

s! pug iMei|s paiep!oiqiua pue ]eM3e! aniq ]Li8!i

SJeeM aiis .¥as}uns ]o ^aJo]S ieddn aii} u! eJe^ltsa}!Mo|e^V

]0 ll|8!J au] o} s! ssappos s!Li].

Standing Bodhisattva Avalokiteshvara having multiple

heads and arms, known also as Ekadashamukha Avalokiteshvara

and is one of the most popular deity in Mahayana Buddhism.

The eleven pairs of arms hold

different objects. She wears embroidered long shawl and colourful rosary which runs

through neckto legs.

S4

•siBii!d JE`n8ue!i)

oM} ^q pauoddns s! pug saza!ii `eje^as u! sa!}!ap pug sMuolu ]o SMOJ ap!s iaiii!a uo pug eiippng

!unue^tleiis Su!LpeaJd S! `M.eq S!l| uO .S-B}E8ELiie|jo sain8!] a^!] ii}!M p!eiu! UMOJ. e sieaM

aH .tlas}luns |o ^aJo]s J3ddn

eu} u! ueas s! sanie}s o..n]s |esso|oJ aaJl|] |o }sa||e] al|} `aln}d|n.s eAaJ|!ew ]o Peal| auJ.

The crown over the head of Maitreya sculpture as seen on the upper floor of Sumtsek. There are five Tathagata images on the crown, their upper bodies are coated while lower painted is sky blue colour. In the centre of the crown is Vairochana Buddha, the spiritual descent of Maitreya, flanked by two

floating apsara-s.

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•!unue^Mel|S el|Ppn8 aLi] Ia^o s-ioseied 8u!P|ou

ejB s-a/osdo oMj. .pnq asoi pug ||aus-l|.uo. plow oiiM sessappu8 ale `PeaLi au] e^oqe `oipLi aLi] ]o

ep!s Jai|}!a uo .saJnisag iuaJa]]!p u! ale pug saqor aniq 8u!JpaM aJE ^aii]. .s-Eiippng aJn}e!u!u

]o sains!] ua^as eJE o|Eu Ja}no awl u!i|}!M .sJEis uapios iii!M pa}}op aqoJ pal Su!JEaM s! pue(DUD}iD^Did-DJHDI!.DouJOuPD

aJn|sa8 gu!i|JpaJd u! s! aH •¥asiiuns ]o ^aJo]s Jaddn aLi} u!

e^eii!ew io auiei] jBinsue!i] all) a^oqe }sn! !unuB^Meus el|Ppn8

io ain8u pauo!xeiduo. piof v

Upper storey of Sumtsek has six

mandala-s of which Vairochana manda/a is prominently

presented. Five Tathagata Buddha-s as well as four

goddesses are the nine important divinities. All these

nine figures are found enclosed within the inner square and each

square of residence of deities is

divided by elongated gilt va/.in.s with knobs. In the outer set, one

notices sixteen Bodhisattva-s,

four sets of inner and outer offering divinities. Four

guardians are placed in four corners of the outermost circle making in all thirty-seven

divinities in the manda/a of Vairochana.

6Z

•s-ZJJ./oA uepios paipguoie ^q Paus!ngu!]S!P S! ^Poq asoiiM Se!)lap

Jo!eu iauui auiu Suoue a.eid e sew ails .Jap|nol|s ]o ap!s Jaii]!a uo iMeiis pug )i"s aniq Su!ieeM s! pug `e}3d snioi paJnoio3 Moqu!eJ u!ii]!M paiEas s! al|S .ei|qe}!uJv ap!Seq Pa.e|d S^eM|e S! ol|M euppng el|qe|!uJv ]o }Josuo. p `!u!Se^eJnpuEd S! `O/opuoul Eueu.oJ!e^|o ai)J!J Jauu! al|} u!i|]!M pa|eas

Vajraraga is one of sixteen Bodhisattva-s in the manda/a of Vairochana. She is placed in the third of four set of vo/.rt7 family and is red in colour. She is holding bow and arrow. She is sitting cross-legged on the lotus seat and is wearing blue skirt with bluish halo enclosed by rainbow like circular shape

in bright reddish background.

•^poq Jell JO ,I,0]loq

o] doi uJOJi Su!uu" uoqq!J MOJJeu ii|!M u!tls en|q sJeaM aus .)s!p |o punoJ8y.eq l|s!ppaJ aii} u|!M uJa}ted Jein)Jp ai!|.Moqu!eJ u! paso|.ua punqu S! al|S .peau Jew punoJe o|eu Sew al|S Pessa|-SSoJ. 8u!1}!S .PuEu Hal u! ||aq Pug pueu |l|S!J u! oJ./z}A Sp|ou aus `Jno|o. u! e}!uM .^|!ure] t}+/oM u! Pa)P|d

s! Bus .our/ovy pue `otupod `OujoJ `OJ./o^ sE uMou¥ s! Jno] ]o |as 1|)12] .s-e^i]es!iipog uaa}x!S ]o S}es Jnq au}]o }no }as }sJ!| al|| o| sSuoiaq e^]]esEJ!E^

On the rear wall of Maitreya head, one notices five Tathagata-s in human form, in Buddhist terminology n/.rvana-kaya. Two Buddha-s are seen in monk's

robe promulgating the law to the large assembly of gods, demi-gods, humans, ghosts, water spirits, etc. On the left hand is the Buddha Amoghasiddhi

in preaching gesture and on the right is the Buddha Amitabha in gesture of fearlessness (abhaya-mudm). Both are seated on the lotus seat and above Amoghasiddhis head, two female divinities are holding offering in a tray while above the head of Amitabha is three-tiered parasol in flower blossom

shape. All around the wan surface are number of deities, monks, gods, demi-gods, nagas, etc.

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•souowoA sai)!iie^ pue (s-ziJpnu/) aJn)Sag |euo!}!pBJ} J!aLii pau!e}u!eu lou a^eu ^aul

}eiii s! a]uaJai]!p ^iuo au]. .ajn]sas ssaussaiJea] Jo orft)vqo u! s! !unue^"eLis e|pp!u aLi] `aJn}sas 8u!ipeeJd u! ale ]uS!J aii] pug Hal aii} a|!l|M pup sie)ad Sn]o| uo pa}Eas ale w .e^uqol|sw pup (euppng !unueAMel|s)/EueipoJ!e^ `e^eL|quJeseu|eti aJp }iis!J o} ue| uJOJ| `aqoJ s,tluouJ u! ||e `s-eiippng aaJi|} el|j.

The tall Bodhisattva stands on

the lotus seat and served as a companion to Prajnaparamita, the central deity. He holds rosary

and the right palm is stretched

out in a gesture of bestowing a boon. His knotted hairwith unusual high crown is set in the

background of red halo. He wears

finely designed lower garment and a long garland and coloured

shawl are hung from shoulder lo

bare legs.

•puelJe8

e se iiaM se iMeiis pa}eJo.ap E 8u!JeaM s! el| !l|.`V |e Sa!}!ep

JeL||o io |sou atl!i .s|oqu^s `ensn s!ii `(a/odjn) iaMoi] sn}oi aniq

a ua| al|| u! pue ^Jesoj e Su!pioii s! eL| pueu }Lig!J s!ii ui .peaiiaJoi

s!u uo uMOLis s! siiead ii]!M

pa|EJo.ap aJlni]"|s pa]u!od iiet V .UMOJ. e ]o pea}su! SsaJppeeu ¥.Eiq iis!u E 8u!ieaM s! pue i`e} S! eH .tlas}iuns ]o ^aJo)s iaddn

}si!] eiii u! e}!ueiEdeu!eid uo.!

iEJiua. aiii io ap!S )uS!J pup Pal eL|] uo pueis oiiM s.e^i}ps!iipog oM} ei|} }o auo S! EJe^use}!}o|e^V

On the rear wall of Maitreya, in

the upper storey of Sumtsek we find goddess Prajnaparamita,

who represents mother of transcendental wisdom. She has

six arms flanked by two standing Bodhisattva-s as her companion.

She has elaborate halo rimmed with floral black, orange, blue and red colours. She wears three-

pointed crown, rich jewellery, tight reddish jacket, pearl ring

and shawl. Her two hands are joined at the breast in preaching

gesture (dharmachakrapravartanamudrt7J. Other hands hold books, swords, etc. which are usually

associated with goddess Tara.

86

•oJ./oA uepios e ^q peJepJoq s! ^poq JaH .pEaiiaJoi au} Je^o uMeJp seu!i ^q pale.!pu! s! UMOJ. pa|u!od

a^u Jaw pug |`al|s lpuo) e PUB Sn|o| a}!l|M sp`ou al|s .euqe}!uJV el|Ppng Sa.!|ou auo puel| Hal Jaw uo PUB el|qe|!uJv ap!saq pa.e|d s! aus `BL|Ppn8

euqe|!uJv io ]JoSuo) e 8u!e8 .a/opuou/ el|| ]o aiJJ!. Jauu! au!u o| sSuo|aq aus .euEu.oJ!e^]o t7/opuotu aii| u! sa!|!u!^!p Z€ eiii io auo s! !u!sBMnpued

Shakyamuni Buddha in monk

robe is in a gesture known as

Dharmachakrapravartana-mudra flanked by his two chief discip`es,

Shariputra and Maudgalyayana.

Above the Buddha figure is a

rectangular frame with inscription written in Tibetan

language which eulogises

various paradises of Akshobhya Buddha, Amitabha Buddha, etc.

On either side of the throne, one

notices two white deities, on the left side a bird and on the right

elephant perhaps approaching to listen to the preaching of the

dharma. On the left we again find emaciated ascetic, monks and two dancers. Inside the frieze is

wheel and the deer recalling the

Buddha's first sermon at Sarnath.

68

"./On uepl08 palesuo|a ^q paso|Jua S! ^poq s!H .sn}o| eu} uo pa.Old auoJii] uo!| uo pa|eas eLippng ]o ep!s Jai|]!a uo ieou suoqq!i in]Jno`o. pup aJn}ses Su!LiJeaid u! s! aH .suo!].aJ!p |eu!pJt!. Jno] u! a)ueseJd ipuJa]a s,eiippn8 aii| iuasaJdeJ spBau Jnoi s!H .a)opuour-euEii.oJ!e^ eLii u! uo.I iei}uaJ eii} s! Quell)oJ!e^

Ratnasambhava is the Buddha of the north in Vairochana-manda/a. Of yellow complexion, he sits on horse throne placed on colourful lotus patels and

is in varada-mt/din, the gesture of bestowing boons. His right palm is outwards and the left is on his lap. He wears a crown from where long ribbon and

are hanging up to his arms. On the left side of the Buddha is a small guardian figure on the portal of the Vairochana-manda/a.

T6

•`eued aii} io ouoL/oj aii} iu-oi iiJ!iiM soJo¥ou/ pedEuS

•a"eusl|s!niquo8u!puaJesaln8uueujnui|elusoM)1aii}oue}a^.sue|Su!^eMs!puespJ!qie.!iii^upa!]!iuap!unueuosap!i`]ieMp`o/owh`uo!i`iueiidaia

^q pa}Joddns euoJii| eu| uo pa}eas .|s!ue ai|| ]o uo!]eu!Seiu! a|!|Ja] al|| gu!}sasgns ^qeJai|} sa.pm3au |Jead io sJa^e| pup Jap|nol|s s,el|p" eu| o} uMoP MouS|JeJSPaJanbau.al|]PuepEaus!u]oep!sJaiit!euouoqq!J8u!Mouaui.suS!sap|n]!|ne8qsno!Je^i||!MpaieJo.ap^iip!Js!^poqs!u|ouo!iiodJaddn

aL|i .aJ!iie pal daap u! s! ei|qei!iuv dE. pa|u!od-aaJu| e ^q pauMOJ) .s-eiippng io suo!sJa^ ei|qei!uJv|o Jaqiunu a8Je| a.!iou ue] auo !uJ|v]o s||eM au] uo

Seated on a lion, this white complexioned Manjushri is located to the left hand near the ceiling of the ground floor in a niche. He wears a three-pointed

crown and is holding a blue lotus and a book. On the four corners of the central figure are the Buddha-s. Red in complexion, they are seated on peacock

throne and are in meditation (samadh/).

9:

€6

'auoJIII

Jail Moiaq uaas ale SaJn8u pe|. Moiia^ OML .uo!)ei!paur

pug ssausseiieey ]o sain]sas Su!tlpu pug `stlooq Su!pioi| aJB

Hal al|} uo spuei| elij. .Ai!soJaua8 ]o eJn}sa8 eii] u! spieM]no

piaii s! u|ed JaMo| au} pug `ejn}ses 8u!Li.eeid E u! isEaJq

au| uo pa)e|d s! auo a|pp!u aii} `pueii Jeddn awl u! #eis e Su!pioi| s! ails ep!s |l|S!J al|| uo spuEu

aii| ui .saJn]ses ]ueJa]i!p 8u!yEu paujje.x!s s! EJt!i .pEaii uo!i e s! uS!sap pai!o. eii] a^oqe PUE

aiueJ] paipJo)ap ^iip!J e ap!su! PauoJu]u3 s! al|S .eJe]. io eins!] in]!inpaq aLi] s! puel|-Hal eu] uO

This scene is portrayed on the outermost ring of the Vagishvara-

manda/a in the Dukhang on the left hand side of the hall. There

are five emaciated figures making different hard gestures. They are the holy men known as

r/.sh/.s who have undertaken the six-year penance along with the

Buddha. This manda/a is

enclosed by va/.res.

»

56

•fu!ap au| ]o peai|aJoi aii}

punoie ^eJap ]o suS!s eJe aJal|| `^`a}eun)io]un .ainisa8 Su!i|.eajd u! ale Spueu oM| JaH .aseq aii] ]e suo!i oM} aii} io ii}noiu

ei|] iuoJ] 8u!Sieue s! aJE".au |Jead v .auoJu} uo!| al|| o| iepinoLis Jell iuoii sum e.e"Jau

`Jead 8uoi a pue siuJe pup ¥.au Jail punoJe siaMa! `iatl]E! iLis!i Lis!ppaJ a SJeeM aL|S .J00u

}SJu aL|| ]0 ||eM M)eq aii} u! auoii|]

uo!i uo pe]eas s! suiie x!s pug seAa aaJiii i|i!M e}!ueJedeu!eJd painoio. a}!uM S!uJ.

This offering goddess, seated on the lotus flower, holds in her hands a tray filled with offerings. Her figure is taken from the Manjushri-manda/a outer

square where there are fifty.two offering goddesses in different gestures and colours. She has three flowers as crown instead of a three-pointed diadem.

46

•o/pnuw-./jsnuwDUDu./se uMoutl aJn|sod u! uaas s! pue speaii inoi sell ains!] iejiua. awl .sJa]JEnb Jno] u! a/opuouw jo ap!s}no e)e|d J!aL|} pub iensn SB Sassappos Jle]no au]. .e|3J!) au}]o gu!J puo]as aii| u! ale S-eAI}es!iipog luJo| a|euJej uea]x!s `Joop aii} ]e sue!pipn8 inoi eiii `sJeuJo)

Jnoi aLii }e aJe sasseppos 8u!Ja#o Jauu! Jney ai|]. .so/./oM uapios ^q pa}eJEdas aJenbs au} u! a|.J!. Jeuu! ei|} 3p!su! sa.e|d J!aii) ^dn))o !i!E^euJew ueaJIS al|} pue !J!E^EunJel|a pal ei|| `!J!e^eu}et| Mo||3^ au} `!J!e^eoues a}!l|M al|} suo!ueduro. J!aii} pug s-eiippn8 a|eue] a^!] ]o }as s!u]. .!u!J!e^euJJey

s! !i|pp!seLisouJv pug !u!J!e^euneua paiie3 s! eiiqe}!u]v `!u!i!e^Bu}Ea sE p^EL|queseuiEti `!u!I!e^el!e^ se e^iiqoiisw `!u!j!e^ peuleu s! euei|.Oj!e^ •saueu au!u!uiai aunsse sujjoi aieLua] u! s.e}e8eiiiej. e^!] 3ii]. .ujqu u! au!u!iuey ale D/opuouj einii3ued u! sa!}!u!^!p aL|} `iulqu u! eii!in.seuJ ale

s.a)opuotu niBLipei!e^io }sou u! sa!|!u!^!p eu] a|!iiM .eueipoJ!e^]o a/opuow -e|nL|.uEd el|} s! Mas|uJns |o A3Jo]S ]SJ!| Jaddn al|} ]o ||eM Puei| Hal al|| uo

The Feminine Buddha Vajravajrini shown seated on a lotus is the manifestation of the central figure of vajrini. She is the eastern Buddha and is blue in

colour. She has elephant as her vahana and is in the usual earth-touching gesture (bhum/.sparsha) as is the case with all the Buddha-s in the east. Set against background of reddish disc, her feminine figure is enclosed by three rings of white, blue and red. Below her is yet another small guardian

goddess, Vajrankushi, who is seated in the eastern gate of the manda/a. She is holding a hook.

9,

66

•SJep|nous Jaw Jleau 8u!|eou ale PUB Peau Jew luoJ] urn Suoqq!J a|qnop Suo| .peau Jeu Pu!l|aq o|El| l|}!M `a`^}S !lp|v]o .!}s!Je]JeJel|)

a `uMOJ. paiu!od-aaji|} a Su!ieaM s! ails .(oJpmu-opoJt}M) iiiipaM 8u!Mo}saq ]o eJn]sas al|] Su!tlEu S! pug Jno|o) u! Mo||aA s! ails .u|nos au]]o S-el|ppn8

||e ]o ouovDA |ensn aii} `auoJl|| asJou p uo si!S ails .A|!ue] euppng a^u io )es el|| u! !u!J!E^ uo.! |eJ}ua. all) ]o uo!]eisai!ueu puo)es el|] s! !u!J!E^pu}etl

ln clockwise direction in the compartment of the nine goddesses, the third is Dharmavajrini, the emanation of vajrini, the central deity. She has a

peacock as her vahana as is usual of all the western Buddha-s. She is in red colour and is in meditation gesture (sonadh/.-mt/dra) with both hands on her lap. Like other goddesses in this compartment, she is wearing three-pointed crown and greenish double ribbons are floating on both sides of her body.

loo

Ot

'uMOJ,

pa]u!od-aaliii e 8u!jeeM s! eiippng au!u!uia] i|s!ueeis s!ii]. .}seelq Jail ]o |e^e| ei|} }e pleM]no u|ed Jell Lit!M (a/pin/-a/ovqo) aln]sa8 sse|ieey u! pasod uMoiis s! aLis .opnJo9 e ]o leas iensn Jail ]o pea|su! eJnsu papeaii.ueLuni| e ]o sSu!M ai|] uo auoJl|} al|} uo 8u!|}!s el|ppn8 uJal|}Jou al|} s! !u!J!e^euJPN

This is a majestic wooden carved column with beam in ground floor ceiling at Sumtsek. Painted textiles have been shown with floral motif on the ceiling

alongwith colourful strips and variant forms in red, white, blue, etc. On the left corner behind the column are white overlapping lions, near its (eft

yellow-lined red background, rose design on blue strip, on the front square chequer design, and rows of horses, bulls, lions, etc. These look like real

printed textiles rather than painted.

10:

COT

•aqoJ s,¥uour u! eiiqe}!uJv]o spBai| oM} sa.!iou auo Moieg .sieMe! ua^es ]o ]jed paiEJsaiu! eii} eiie iaeLiM pug uaanb e `eiqou e asioLi sno!JaJd aiii `sa8eu! aaJu] asaii} puv .s|eMa! ua^as io SMOJ aJp aJau) `auoJu} !Ji|sn!uew ]o aza!J| al|| u|

This is yet another finely drawn painting on the ceiling of ground floor of Sumtsek. The middle

scene with roundels is particularly beautiful. Within double pearled rings, one notices

four riders with bows and arrows.

They are riding on horses and elephants. Their garments, blue

jackets, in red disc enhance the intensity of the painting. Even the full blossomed flowers on either

side of the roundels are found in

different colours and shapes.

SOT

•sani| sno!Je^ u! sSu!}u!ed pau8!sap |eJou|o spupq ^q pap!^!p uaaq a^eu s]!)ou ai!)xa| pa]u!ed Je|nsue}.aJ al|} ||v .sau!` e}!|-Dy./jst}As l||!M pa)u!pd

iueaq awl Su!}Joddns uuinio. uapooM paAIEJ e^!ssaJdu! ue saJ!}ou euo •aidue| tlas}uJns ]o Joou punoJS |o Su!i!aJ jo Ma!^ iieJa^o sa^!8 aua.s s!u].

^\,A

h¥.I.±r].LB.±!.I.L

This scene on the ceiling of first floor of Sumtsek looks like a real textile design while these are painted textile patterns on wooden planks. In this scene bluish horse riders with arrow and bow are painted against reddish background. In the ground, we notice some wild attacking lion-like animals. Both

the riders and their horse are stout and aggressive.

'06

Zot

•siapunol paJauJo3 Jnoi ^q pesoi.ue spueii J!au| u! sp|a!l|S pue

SpJOMS 8u!piou ale w .Jnoio. ^aJS }u8!i u! sJo!JJeM eieuai ]o suezop pa]u!ed aJe spueq Moiia^ pue e8ueJo `paJ ^q peJapJoq aiueJ] Jein8ue}.ai s!ii) ui

Female dancers in five compartments, each having two female dancers. They are wearing long sleeved garment. While other female figures on the ceiling have their hair tied on back, female figures here are shown having loose floating hair.

60,

•Speau J!aL|] PunoJe Pa!| eJE l|J!uM siMeus pue SiieMS |SeeJq J!aL|| `apnu isouJiv .seuaJS Jai|lo u! a)i!|un Su!y.EiiE

ueLi] JaiiieJ sJa.uEp a)|!i aJour Moo| ^elii .sp|a!Lis pup spJOMs ui!M sJo!JJeM a|eiua] aJou e.!|ou aM `aua.s iis!ppaJ pup us!}!uM ]o punoJS)peq aii] ui

In this scene, are shown fat running deer, Coil lines around their figures intensify the speed of running. They are placed within pearl roundels set in and

encircled by two white rings.

•qeJeus ut!p|eys `uelu

^|0u |e.O| E ^q pauo!ss!iuuo] seM }! ieLii sa]eis 8upiitlna ap!su! uo!}d!i.su! aiii .a./nd

Su!uio]Jad ouro) e st! |`aM se a^o.ie eii} u! eueuJOJ!B^]o egeiu!

o.)n|s papi!S e a.!}ou pino. auo loop uado aii} iisnoii|i .as!peJE!d eueii.oi!e^ alit oiu! }nq iieii ^ieu!pJo up o}u! Su!Je}ua lou seM

au leiii li|Snoii] aii} u}!M 8ue"na o}u! Ja|ua sJot!s!^ aii] pue a)Dpuou/ ]o edELis eiii u! epeuJ

seM ]ias}! sue"na eLi] ]0 e]es uapooM PaAli2J au]. .uo!]e}!PeLu

pue Ja^eJd Jo] eiau e|qiuasse stluour au]. .aidua} ]s!i|ppng ^ue u! a.Eid |ueiJodu! }sou aii} s!

(||Bu uo!|e8aJSuo3) Sue"na aiii

This circular mando/a of the Durgatiparishodhana tradition is painted on the left hand side of the doorway. The white central preaching figure seen has four heads and two arms. Immediately next to him are the eight mai.or Buddha.s, in their usual colours, seated in regular directions inside the second

ring of the circle. In the third ring, including the central figure, are the sixteen Bodhisattva-s enclosed by a va/.ra wall. Outside the Va/.ra wall are four

more offering goddesses at each corner of the manda/a. In the second enclosing square are the blue Akshobhya is on the east, the yellow Ratnasambhava in the south, the red Amitabha in the west, and the green Amoghasiddhi in the north. The four guardian deities occupy their usual

seats at the portal gates of the manda/a. All the divinities are holding swords.

fl"7l

€tt

•suaiqula iensn all) Li)!M Su!i)!s se!}!ap a^!)Ja)oJd iensn eii) eJe eJau}

suo!|.3J!p Jno] ai|} u! e}es pall.Je el|| |o aipp!u au} u| .siuEpua}]e fue!p!Sqns i|)!M Puo.as ®1|} pue s-e^||es!l|pog ua^as-A)J!l|| au!|noJ au] u]!M paii!]

}sJ!] aiii `saJenbs Su!so|.ua aiou oM] ale aJaiii `aJEnbs Jauu! eu} ap!sa8 .suo!}JaJ!p ieu!pJe) Jno] eLi| u! sassappos Jo s.E^]|Es!iipo8 fue!p!sqns Jno] sou a)opuotu s!ii} ]o fu!u!^!p Jo!eu au!u ipea iEL|] s! uo!]e!Je^ ]ue]Jodur! Jeii}ouv .suiJe |i|8!e pue speaL| Jno| sell oLiM E^uqoiisxpv uJOJi uo!]e!Je^ e Ja}uno.ue

aM `S-euppn8 a^!] ]o }as e SuouJe `se.B] Jnoi `suJJe oM} 8u!^eii eueii.OJ!e^ e}!iiM e S! eJnsu |eJ|ua. au]. .J]a `pJe^L|saupw `pJpui `eLuiieJg :SpoS npu!H pue s}!i!ds `spoS ^ie!p!sqns ]o iequJnu E ale aJai|} `sa!}!u!^!p ua^as-^}J!ii) ai|} sap!sa8 .uJio] AJSue u! ale a/opuotu-n}eiipeJ!E^ aii} io sa!}!u!^!p aii] aJaH

The Akshobhya Buddha has four heads and eight arms and is seen making an angry gesture in the panel of vajradhatu-manda/a. Akshobhya presides over other four Buddha.s of the family of five. Here in the Akshobhya circle there is a change of position of deities. The Buddha Amoghasiddhi occupies

a seat in the west which is the usual seat of Amitabha who is found seated in the north, the usual seat of Amoghasiddhi. All are in standing position.

11,

STT

•OuovoM |euo!}!peJ} s!u Se sasJou oM| sew e^eiiquJEseu]eti .do] eii} uo teas uia}seM all)Sa!dn..oEuel|JOJ!E!^3)!uMai|L.aJauuoJ!|eJiua)eii)s!aH.s-t2iippng`euo!)JaJ!pJno]3i|lle^osap!saJde^eiiqiuE!seu)eaMo||a^e`|aui2ds!i|)u|

ln another Vairochana-manda/a, Amitabha is found in benign form and in meditation gesture (Samadh/.-mudra). Here he is shown in angry form. His

colour is not deep red but light red and is wearing a long shawl. He also has the traditional vahana of peacock as his throne.

Ilo

ry lJ I I

•(ssaussaiJee]) tJJpnu/-a/owqo al|} u! s! aH .eupul!^ s!u sB ]JeMp pasu!M E SEW au opn/DG]o pea|su! ]ei|} S! a.u3Je]]!p au]. .L||Jou ali} u! Sdaax Pug Jno|o) ueeJS |ensn s!i| u! !upp!Seiisouv |aued s!ii} ui

ln this manda/a each of nine major figures has a subsidiary set of four Bodhisattva-s or goddesses. Lochana, the goddess of the south-east, is the consort of Akshobhya, the Buddha of the east. All the four subsidiary figures are in blue as the presiding figure.

118

6tt

•Spueu J!ai|} u! JOJJ!u Su!p|oLi ale pue Mo`|eA aJe e|3J!) al|| u! saJng!] aiii iiv .JauiJed Jaii LuoJ] iuaJaji!p

s! oJpntu al|} |nq Jno|oJ u! Moiia^ S! aus e^euqiueseu|etl euppng au} etl!i .e^euqiuesEu|ea ]o uosuoJ al|| s! |saM.L|]nos aiii io ssappo8 aiii `!ypuJpw

Panduravasini, the north-western goddess is a consort of the Buddha of the west. Like the red Amitabha Buddha, Panduravasini also has a reddish complexion. She is also surrounded by four more subsidiary figures in corresponding colours and gesture different from the main figure in the circle.

TZT

•sioqu^s sno!)!dsne }iis!a aii} u! }oupr ssa|pua el|| o] Je|!uJ!s aJp uJ!LiM s}3a!qo aJEmbs iieuJs ale sol)Jp Jo!eur eu!u al|} ||e }o s|u!od a]e!paiuJaiu! aLi] iv .aJn8u u!Eu aii}

`eJe]. o} paJeduo) se ]uaia#!p eie seJnisa8 pueii J!aii]. .sJno`o. auJps aii] u! saJnsu eJou Jno] ^q papunoJJns s! eus .a.ueis a^!ssaJSSE ue u! Su!pueis uaas s! oo| aus `Jeuued Jaw em .l|}Jou eu}]o eiippn8 eL|} `!Lipp!seu8ouv uaaJS au}]o |Josuo. aii} s! pue a/opwotu ei|i ]o )see-uuou awl oi paiEes s! EJpi.

The Manjudhatu Vagishvara-manda/a is yet another kind of vairochana manda/a. Vairochana is shown here as Vagishvara. This manda/a is painted on the left hand side of the Dukhang, next to the Vajradhatu-manda/a. The central Buddha figure has four heads, eight arms and is holding different emblems including a sword that is distinctive of Manjushri or Vagishvara. In the immediate circle are eight offering goddesses holding lotus flowers. All

the figures including the central one, are white in colour and seated on lion. The four direction Buddha-s are Akshobhya who is in the east, Ratnasambhava in the south, Amitabha in the west and Amoghasiddha in north. All the Buddha-s are holding symbols and have their distinctive

wahanas. On the four corners of the manda/a are the four consorts together with the four Buddha-s. Thus this manda/a of vagishvara has in all seventeen major Buddha manifestations. Within the four compartments are four smaller divinities by Akshobhya, Ratnasambhava, Amitabha and Amoghasiddhi. In the enclosing inner and outer squares are fifty-two divinities. The four guardians are occupying their seat in their respective

directions in the middle of the portal.

mi

€Zt

•eiisnMueJ!B^ ue!pJens aniq ai|} s! )sea aii} u! e}es ie]jod aiii ui .Moiaq eueii.oJ!e^ pue !upp!seiisoiuv s! ]i|S!J a^oqe o} pue Moiaq e^eiiqujeseuietl L|]!M el|qE}!uJv s! a^oqe Hal 3iil o]. .s-el|ppn8 Jno] Jell)o aii} Ja^o sap!saJd e^iiqol|sw `|aued s!ii] ui .a]e8 uJeisE!a aii} ]o fu!ap ue!p-en8 aLii s!

iu!u Moles .ouovoA s!u `}uEL|de|a uo pa}ees S! Pug SuJJle }l|S!a pug sppau Jno| sew aH .an|q ]o Jno|o. |ensn S!L| Sdaatl `}see el|| |0 el|ppn8 eu| `E^l|qousw

In this section, Vagishvara-Ratnasambhava presides over four major Buddha-s. On the upper section are Akshobhya and Vairochana and in the lower

section, Amitabha and Amoghasiddhi. Protective deity, the yellow Vajrapasha, is also seen on the north arched gate.

I:a

SZ|

•eioLidsei!e^ ue!pJen8 a^!].a]oJd pal aiii s! a}ES paw.JB au}]o e|PP!ur al|} u! peau s!u a^oqv .S-euppn8 Jo!eur Jno] iaii}o ai|} ^q papunoJJns s! all uo!}.as s!l|| u| .ouot/IA s!u se tl)o.gad ii}!M Jnoio. pal |euo!|!pEJ| s!u u! S! aH .SiuJe }ii8!e pug speau Jno] 8u!^eu uMoiis S! euqe]!iuv .uO!iJaJ!p ieu!pJPJ uJla|saM al|] u! Pa)eas uaas S! eu n]eiipeJ!e^ aii] io so/opuouJ ||e etl!| Pug }SaM aii} u! leas s!ii sell pL|qEi!Luv eJe^l|s!Se^ eui

The dark green Amoghasiddhi, the northern Buddha, presides over the other four figures of the major Buddha-s. He has four heads and eight arms and is holding emblems in all his hands. In this section are four other major Buddha-s.

Vajraghanta.

Near him at the arched gate is a guardian deity named the blue

ZZT

•el|ppn8 !unune^Meus ]o eJa |uasaJd ]o pua au] ]e SMo||o] u.!l|M eJa Meu au} u! a|" P|noM e^eJ]!ew .el|ppn8 aJln|n] eL|| `JossaJJns s!u se iu!ii Su!.unouuE E^aJ]!ew uo UMOJJ Su!JJa]uo) s! !unurt!^tlei|s eiippn8 aJeH .ue^eeH e|!Lisni |B a.e|d Su!yEi s! iossa))ns E 8u!soouJ jo apos!da s!u].

This white complexioned

standing female attendant is found painted on the left side of Avlokiteshvara rising from the

ground floor of Sumtsek. Like the right hand side female attendant, she is holding a rosary and a long

designed shawl is hanging from

her head to leg.

6Z,

•^poq Jell PunoJe •s!p in]Jno|o) e pue o|eu e Sew el|s `aJEnbs au} u!l||!M sa!}!ap auo.^u!i Jal|}o aL|} aM!i .Spueu Jaw u! sJaMoi] Sn]o| an|q sp|ou pug UMOJ. pa]u!od-aeJu} e

sieaM sseppo8 Su!ia]]o ue eienbs Ja]no aii} ui .saJt!nbs au!u u! ale pue SUJJE Jno] pug speau Jno] a^eu S-e}esel|]e| a^u el|] ||v .a/OPuour-!Jusn!uew au|.

ln the outer square of vajradhatu-manda/a, there are sixty subsidiary figures of both Hindu and Buddhist gods,

goddesses, sprites etc. It is only in this mando/c} that several goddesses offer severed human heads to the central deity Vairochana. This goddess holds in her left hand a severed human head and offers it to divinities, the five Tathagata-s and the four goddesses who sit within the nine circles.

130

€t

•ouovoA i!ai|l SP

sM.oJpad uo Su!}]!s i|)oq uMous ale }Josuo. s!u pup e^a"!iJeM pepeeii.x!s .suo!ueduro3 fue!p!sqns se uoaii]uEd npu!H aii}]o spoS io JaquJnu asjei ale

aiaiii a/opwour s!ii} u! sa!i!ep ua^as-^u!u] |ensn aLi] sap!sag .se!}!ap ]o JaqLunu }sasJei aii} Sell 8ue"na al|i io pueii ua| eu} uo a/opuotu-n]eiipeJ!e^ au].

On the extreme left to the entrance below the large

Vairochana-manda/a, stem of a lotus flower is shown springing

up from a large lake. In the middle of a coiled branch, Buddha Amitabha is sitting in

meditation, his hands on his lap

and eyes closed. The red Amitabha is frequently seen in

the meditating posture (somadh/..

mudra). On the left are three geese sitting on a flower.

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'D'DPuOuJ

-p!^eMEs asJei ai|} Mo`aq ]sn! atle` e8Jpi 8 u! siE}ad sn}oi aiii uo asaas aJou ale iiis!J aii] oi .tod-peas snio` aii} uo MOJ E u! Su!}i!s aJB asaas aaJiii

Entering the doorway on the left are rows of yellow-robed monlts wearing conical caps. The monk in the centre is considered to be the donor monk Skal ldan She-rab. Below it is an inscription in Tibetan or Bhoti alphabets. This was written by one Grugs-ldan 'Od. This inscription tells nothing about the

date or the name of the painters. However, one can find the name of dge.slong skal-ldan Od who commissioned the Dukhang, the assembly hall. Below the inscription are rows of ladies who are holding trays filled with offerings to the monks. All are wearing black headdress and are clad in long red and

yellow coats.

134

S€,

'a'!PO,OJJ alll `st}L/o¥oow eM!| e¥eus |o M.eq aL|}

uo pa}unoui sue!.!snui ie!isaia) L|]!M auoJu} pa}eJo3ap ^|]ue8a|a

uE osie s! aJal|]. .eule| awl

io eiqE} ei|i uo ale sa!uoiuaia. a./nd u! pasn si.a!qo |eJa^as •|en}!J euEUJOJ!E^ aiii iuoJ]

}xai e Su!peai tluour E pug odnjs e s! asaiii io ]uoJ] u| .a`qe] ai|i uo pa^Bids!p sSu!Ja]io aJp sasEu! asau||o Jno] u| .!l|pp!seii8ouv s! Moiaq pue pL|qei!iuv s! iii8!i aii] o]. .pAL|qol|sW

Moiaq pue e^ei|quesBu|et|

]o an|e}s ^ei. e S! a^oqv

•s-ei|ppng Jnoi]o suo!}e]sai!ueuj

u!eu Jeii}o aJp ap!s |l|S!J pup ue| s!ii Liioq uo .aJE]Jns iiEM ai|i uo

sD/opuDw aLi] ]o sa8eu! ieJ}ua. aiii oi JEi!Lu!s Speau Jno] Sell

puel|.oJ!e^ ^e|. s!u]. .eueipoJ!e^ ]o an}e)s ^eiJ pap|!S ei|}

s! 8uE"na aii} io a`pp!u eu} ui

On the left hand wall next to doorway wall is the Vajradhatu.

monda/a with a large number of divinities belonging to the Buddhist and Hindu pantheons. In the inner nine squares is the

major manifestation of the Va`.radhatu divinities. In the

enclosing two squares, in the

first is the set of four Bodhisattva-s in corresponding

colours. In the second square, are several Hindu divinities,

Ganesha, Brahma, lndra,

Karttikeya, etc. Ganesha is riding

on a white elephant rather than rat which is his usual vahana.

136

Z€t

•oujjoua ui. asE8ua s^eMie oLiM `uau ^ioii ]o

apoqe `|uaiuuoJ!^ua ueap `stlead L|g!ii ]o puEi se iMEppi sas!8oina

]| .lMepe| ]o eaJe |!8JEx ie ^aiie^

"ns u! e^eJ|!ew |o aJn|dims }n. ¥)0-iue!s eLi] u! pal.auaJ S! lp!l|M uO!}d!J3Su! u! BZuE]S

e sell osie ]i .ei!| iai|S!ii u!pi]e

o} ie!]uesse ale i|.!LiM ou./oJd pup

oumDw `Djj.i..irypo8 a" sau!J}.op }S!l|Ppn8 Jo!eu aL|} oi sJa]aJ pug

sSu!aq ]ue!}ues lie io ssau!ddeii au] Jo| ]! P|!nq P!P aH .Po uJ!}|ns|

uEun ^ioii euo ^q pauo!ss!iuiuo)

SEM aJn]J"is aii} pup ,siaMa! ]o deaii, e s! aidurai aL|} ]el|| suJJoiu! }i .a.v fun}ua] Li}[ I-L|}o[

e)j!. io }d!i]s ut!}aq!L J!BLPJe al|| u! ua}]!JM s! uo!id!i.su! aii].

This scene shows two palace guards holding two differently decorated shields. In the corner are several pots of wine. Such secular scenes are not seen

on wall surface of any other monastery except Alchi Dhukhang, the prayer and assembly hall.

6€,

•JaMoi] snioi e uo 8u!]i!s fu!ap Jau|oue S! ]i|S!J al|} o| .uoour ]uaJsaJJ al|} u|!M pa]u!Jdu! J@Mo|] Sp|ou au Pueu Hal aL|} u| .o|eu e sew pue UMOJ) e Su!JeaM s! aH .ueMS eu| `ouo"oA s!l| ^q pa!]!}uap! s! aH .eiulieJ8 `^}!ap npu!H Jei|}oue }aA s! JeMo|] sn}o| uo 8u!}i!s

He is of light reddish complexion and wears deep

blue dress decorated with four corner roundels in

which are horse-riders with bows and arrows. Either side are double-dyed ribbons and pearl

rings on the breast and shoulders and show the

Buddha in Sambhogckaya form.

T7T

•p!| a sE dn. au!M e u]!M Joo|] aii} uo pa.e|d au!M]o }od a8Jt!i a s! uJai|} uaaM]a8 .pueii uai s!Li u! dn) Jai|}oue ii}!M uaanb

s!u Sasso} a|!iiM Pueu ]l|S!J s!u u! dn. esJei e Su!piou s! pug deJ punoJ e sJEaM S" au]. .Jai|}o ii.ea Su!sso] uaanb aiii pug Su!tl au} sMoi|s eua.s s!Li].

This scene shows the head of a king. He is being protected by a number of guards holding axes, spears, swords and shields. Their hair is tied with long

ribbons. This scene is also portrayed on the doorway of the Dukhang.

142

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•s3jn}ses pueii pue sJnoio. asJa^!p u! s-Eiippng ]0 MOJ e ^q paMuei] s! e`eMeiiew .seJns!i ueiunu 3uos aJt! uaaMiaq ui .spJ!q pug sieiu!ue sno!Je^ eJe aJn8!] u!eu al|]]o |L|S!J pug uai Jaddn aii} uo .einur uo sap!J osie OUM `EiEyEiiew ]o iuJo] Jei|}oue |e^ Su!]uasaJdaJ `^i!ap sno!.oJa] p s! }iis!J uJo}}oq eii| uo .a|nu e uo sap!J pug yl3o|. M.o3ead E sJpaM OUM (our./rft/a a./J-apJ) !}EUJati ssappos au) s! Hal uJo||oa .uooun }ua.saJJ e s! J!pu }JaJa s!u J6^o Pug s||ntls a^!] ]o UMOJ. B sJEaM aH .dnJ ||nMs pug a]!utl e io sioqur^s iensn aii} sou eH .punoJS ieJauni io aua.s al|| Ja^o sap!seJd all ,iuJo] 8u!4!JJa| io .!u.|v io ue!pJens u!eun au} s! Sueu)|na ]o ^eMJoop al|I Je^o e|etleuew aL|].

A close view of Mahakala painted

over the doorway of the Dukhang. He has three eyes and protruding fangs. Over his upright reddish hair is a crescent moon with halo. He holds skull

cup and wears severed human

heads.

S7,

•ssappo8 ai|} o} s8u!Ja]]o Su!}eur S! `Sal|lo|. !"EPEi ieuo!}!pei}

gu!iEaM `JauJo. ua| al|l uo pJ!l|} al|| pug |oseJed e spioL|

Jau]ouE `sseppos eu| sail.Eoidde upuJ e `Jeu pu!l|a8 .odsuez uaL|)u!tl io ue!pJpns a}!Jno^e]

al|} SeM eus ."Epei u! Aepo} ua^a sanu!}uo. ]inJ JaH .!L|yepei

u! ou!^i|d a!I-oqJ paiiBJ osie s! sJai|}ea] tl.o.Cad ]o MEo|J Jell i|i!M oun!^iid a!ioo ssappos aLi].

To the right of Mahakala on the top corner is the princely figure of

a young horse.rider with an arrow in his hand. He is dressed

in brocade decorated with lions in medallions. His loose hair and

two ribbons hang down to his shoulders. Below him is a soldier

with decorated shield accompanying the prince. The

presence of severed human limbs, crows, jackals, etc.

suggest that the event is take place at a cremation ground.

Z7,

•a]!u" E pug pie!iis

e Su!pioii uaas s! Ja!pios 8uno^

e iuaLii a^oqe pug uo!}esJa^uo.

u! paseslle ale a|dno. e `peaii s!ii ia^o .ioJJ!ur e Su!pioLi s! POS

peuJJB-Jno] au} aJal| |nq s|oqu^s |ensn s!ii dn) iin}s pug e]!u¥ e pue ai.!l|a^ |pnsn s!u s! a|nuJ

v .se!uJaua s!i| Su!seii. ]! se asod e Su!M!J)s s! up!pJpns a^!ssaJSse

s!iii .punoJ8 uo!]euej. ei|} u! a.eid Su!¥E| suo!|)e io A]a!JE^ E sMoiis ^eMJooP eiii Ja^o iaued e|eMel|ew al|j.

This banquet scene is portrayed on the left hand side of Dukhang doorway. The bearded king is flanked by two figures, the queen on the right and his minister on the left. He holds an axe, the symbol of royalty, and is wearing brocade decorated with lions in the medallions. His loose hair hangs down to

his neck along with a colourful band. The queen on the left, dressed in a thin yellowish transparent dress, is seen offering a cup of wine while a princely

young man drinks wine from a cup. This king cannot be Eshe Od, the patron of Rinchen Zangpo, the founder of the temples in western Tibet and Ladakh. He was a pious kingwho renounced the world and became a Buddhist monk. No information is available about this scene in the inscriptions in Dukhang.

148

67,

•Su!}Ed!J!iJed ale sia!uno. ]o JaquJnu a8JEi a aJauM eua.s ianbueq e s! |! ]Eiii 8u!}sassns

punois aii} uo peaJds eip siod au!M ieje^as .spia!iis pa}EJo3ap pue sJeads a^eu spJen8 e)EiEd asau} ii)og .ietleu au!M aii| iiJieM spJens a.eied oM} `}i|8!J aLi] uo .eidno. ip^oJ aii] o} au!M aJoun Su!Ja]]o pug }od p u! au!M Su!JEdaJd eJe s]ue]s!sse s,8u!M 31|] `ua| au} uo auaJs Su!¥u!Jp eu} Mo|a8

This scene illustrates yet another king wearing a differently

designed costume. He wears yellowish dress decorated with tiny figures of peacocks and floral motif. He holds an axe and has a

parasol over his head that has a halo. At the upper corners palace guards are holding shield in their

hands.

150

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•|.a!oJd s!u} u! uo!}nq!Jiuo)

s!u espa|MouprJe pue an|e^^i}eaJS eM .^i!JeJouoii tlJOM ie!JoieJn. el|} Su!pn|)u! uo!i!q!uxe eL|| Su!deiis u! ^|asuaiiiiu! pa]nq!iiuoJ sell aH

.s}i|S!| ]o asn |euJ!u!Lu ul!M }JV }S!uppn8 |o SMJOM

iua.!j!useu pug Su!ieu!.se] aLii peJn)dp] pue !ii.iv o} ^iJeinJ!}Jed sE^E|eu!H ]eaJ9 al|} o} sd!J} |eJa^as MooiJepun ^isu!qE]su!ed

aH

.eJ!dur] E|dn9 awl-E!pu| `e.!sse|) jo a8v uap|oo aL|]. pug

sE!ai ]o sansoieie) uo!i!q!iix] Ja!iJee ®ii] u! uaas aq ueJ ^LideJSo|oi|d s!u ]o J!Seun aii]. .ase}!Jeu |EJn}in. au| Su!}ueiunJop ]o ja]ioddns

|uapJe ue uaaq suo| sew JaudeJSo|oud pauMoueJ e `e^Jve^|!pv

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•].t| !Jus o| ^|Je|n.!}Jed u! s}.adsaJ ||e u! siJo]]a }no |ie pug }ioddns ||ni J!eii| Jo] `E!pui ]o .IAoo `aJn]in] ]o Aj}s!u!w pug !Liiaa MaN

`unasnw iEuo!]eN]o uo!}nq!J]uo. al|| plo.aJ o}a" os|12 pinoM aM

.z

•aiq!ssod uaaq a^eu lou pinoM uo!]!q!Lixa

S!u} u.!uM }nol||!M `}J0ddns pa|Jeaiia|oiiM pui2 iuasuo. s!u 8u!^!S

^|8u!||!M Joj `elue| !e|ea al|| .H.H ]o Jel|}oJq Ja8uno^ aiii `aii?odu!ti

S!JedeN.].H ^q papeau ^J|seuow l!xp!| al|| o) pa}qepu!^||peJs ale aM

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ABHISHEK PODDAF3