Though primarily a specialist in Himalayan architecture, Ron frequently documented other aspects of the built environment, including murals, sculptures, and ritual items. And truth be told, it would be difficult to convey the meaning and significance of these spaces without these interior components. For the practitioner–and often, scholar–what is found inside generates and communicates the site’s significance. But truth be told, many times visitors–again, practitioners and scholars alike–at a particular shrine go through rote movements and actions, and perhaps spend less time absorbing the full amount of information available to them.
The main image of the main shrine, such as the Shakyamuni Buddha shown below, generally are the recipients of ritual action; as they tend to be the largest figures in the space, prostrations are made before them, offerings are given to them and they are most often the figures to which prayers are directed. Yet when we study the murals behind Shakyamuni, we see that there is a predominance of deities primarily associated with the Gelug tradition of Himalayan Buddhism. This information then lets us know–without necessarily seeing the rest of the site or even, in this case, the shrine room as a whole–that this temple’s imagery indicates a strong Gelug presence and patronage at the time the shrine was created.
Mural compositions also reveal cycles of ritual practice, often including not only lineage masters but also retinue figures whose presence embodies a particular aspect of that practice. Specifically, the retinue figures provide additional support for a practitioner’s realization of the main figure(s) that are the ultimate goal of the ritual. Examples of these supporting figures can be identified in the below mural from Aloobari as those shown without a partner or consort and having animal heads. Visible directly above are higher level meditational deities, shown here with multiple arms, legs, and heads and embracing their consorts. Of course, while some of the imagery focuses on advanced and subtle practices; other portions of the composition address everyday needs and concerns of the practitioner. At Aloobari, we see in the lower left the image of the ‘5 Long Life Goddesses’ (Tshering Che Nga), also referred to as Tsheringma and her sisters. She and her cohort are propitiated almost exclusively for long life and healing. (For more on the Tshering Che Nga, follow this link to the topic on Himalayan Art Resources.)
Some compositions depict ritual practices in mandala form, wherein each component figure of a specific cycle is arranged in a geometric pattern as delineated by a textual or other authority, as seen in the composition below from Alchi Monastery:
The temple environment is not just paintings and sculptures, however. Ron’s slides also capture elaborate ritual elements and offerings that are key components of Himalayan Buddhist practices. Below is a large torma dedicated to the deity Palden Lhamo (Shri Devi) displayed on the shrine at Tashilhunpo in Tibet. The uppermost portion shows the figure of Palden Lhamo atop her horse, and below the break are the Seven Precious Substances and the Eight Auspicious Signs. (Follow the respective links for more information.) Torma can be crafted out of barley or other grains in more simple forms, like the cream-colored form on the far lower right of the slide, or more elaborate ones that are decorated with colored butter.
Additional sculptures are of deities who provide protection for a sacred space, for a particular lineage tradition, or for a local community. While some of these figures are associated only with a specific village, others, such as Dorje Legpa below, have had an affiliation with an entire tradition of Himalayan Buddhism. Dorje Legpa is a controversial figure/topic in modern Tibetan Buddhism for reasons that go beyond the scope of this blog, however, it is worth noticing the fringed material hanging over Dorje Legpa’s eyes. Many practitioners describe such a covering as being necessary to help keep the protector’s power intact; the mediating fringe keeps the deity from seeing anything offensive while also ensuring his intense gaze does not impact or harm people in the temple.
Personally, the image below is among my favorites out of the 1,000 that have been scanned so far. Slightly blurry and affected by hotspots from the camera flash, it isn’t one of the best photos from a technical perspective, but in it we can see the wall murals and their accompanying inscriptions that line the upper level of the shrine. We see thangkas (rolled paintings) of forms of Guru Rinpoche (Padmasambhava), the sculpture of Chenrezig (Avalokiteshvara) covered in khataks (white silk scarves) standing before offerings of incense, flowers and butter lamps, the ritual drums and texts laid out before the shrine, and the somewhat self-conscious smile of a resident monk. To me, this image encapsulates the richness of a temple environment, the grand scale of some of its imagery, its complexity, and the multilayered symbolisms and meanings present in the shrine, captured as it was in 1979 by a dedicated scholar of Himalayan visual culture.