Project Report for Dara Shikhoh Fellowship 2018
The three-week long residency as a part of the Fellowship programme at Leh, provided an
opportunity to foreground an academic enquiry about the variations in different lineages of
Tantric Buddhism through iconological analysis of the murals in around twelve monasteries
around Leh; thereby attempting to find connections of different schools of Tantrayana and
Mahayana Buddhism migrating from Nalanda, Vikramshila and Odantapuri in eastern India
to Ladakh, the crossroads of civilizations.
Also, as a practising artist, I was occupying the artist’s studio at LAMO (Ladakh Arts and Media
Organization) a collaborator for this year’s residency programme, putting up an exhibition of
some of my recent paintings inspired by esoteric aspects of Indian philosophy, particularly
Tantric Buddhism. A site-specific mural of a rainbow mandala with Dhyani Buddha Aksobhya,
accompanying a self-translated doha of Tantric Buddhist master Kanhupa from ArdhaMagadhi to Bengali, was executed on the top of a doorway to a small private shrine within
the studio room of the 17th century renovated house below the Leh palace.
Documentation and Archival work
The documentation required extensive prior study of the history of Buddhism in Ladakh,
especially those in a radius of 75 kilometres around Leh, shortlisting them on the basis of
extant surviving old murals (Table 1), furthering to the scrutiny of styles and traditional
schools of Buddhist painting from Bengal under the Palas, Nepal, Tibet, Kashmir, Bhutan,
Central Asia and Ladakh itself.
After a couple of days of stay at Leh visiting the Palace, the Central Asian Museum and
orientation at LAMO, I started off the documentation with three of the farthest and most
ancient mural sites on NH1: Saspol, Alchi and Mangyu.
The first, a meditative cave complex called Saspol, derived from Sanskrit phrase Shasya
phalam eti1, refers to the fertile village right after the Sangam and hosts around 5 painted
caves, of which but one, the murals are seriously damaged. The site may have belonged to
the Pre-Buddhist Dards, appropriated by Rinchen Zangpo probably in the eleventh century
being occupied later by the Kadampa sect of Atisha and subsequently the Gelugpa school of
Tsongkhapa. The most elaborately painted cave has murals of Sakaymuni, Hevajra, Samvara,
Guyhasamaja, Kalachakra, Yamantaka Vajra Bhairava, mandalas of Sadakshari Avalokitsevara,
Vairocana and Manjusri, 84 Mahasiddhas, Vajrasattva, Vajravarahi, Green and White Tara,
Simhananda Avalokitesvara and Vadiraj Manjusri, Ekadashamukha Avalokitesvara, Mahakala
and the Kalachakra. Iconographical analysis suggests that the caves were taken over by the
Gelugpas following the fourteenth century who introduced the image of their founder
1
Tsering Sonam, Ajanta of Ladakh: Gon-Nila-Phuk Meditation Caves, Saspol; Indraprastha Press, New Delhi,
2013
Tsongkhapa. Stylistically, the murals in the first cave hint the work of a Pala - Tibetan School
while the rest of the Caves betray more of Central Asian/Kashmiri draughtsmanship.
Quite a lot of academic scholarship has gone into the study of murals at Alchi; the Sumtsek
or the three storied temple, being exclusively covered, wall to wall by Roger Goepper with
photography by Jaroxlav Poncar2 and a comparative stylistic analysis of different temples
within the Alchi complex by Pratapaditya Pal, photography by Lionel Fournier 3. Currently
there are strict prohibition rules on photography and banned access to the upper storeys of
the Sumtsek. Pal points out three styles running at Alchi- the Dukhang (prayer hall), the
Sumtsek by artists from Kashmir and Zanskar in what he calls Style I, the Lhakhang Soma (New
Temple) in Pala-Tibetan style originating in Bengal and Bihar (Style II) and the Lhotsawa
Lhakhang (translator’s temple) in an eclectic fusion of the two styles (Style III). Such a
formalistic study becomes significant for establishing typologies in mural styles for the
enlisted monasteries. While the oral legends claim Rinchen Zangpo to be the founder,
inscriptional evidence speaks from the early twelfth century onwards speak of Drikungpa,
Kadampa and much later Gelugpa sects.
Mangyu Vairocana Temple shares the same antiquity as Alchi and its establishment by
Rinchen Zangpo, testified by the Vairocana mandalas in the main shrine belongs to the class
of Yogatantra, followed by the Tibetan translator. These murals have been re-touched and repainted very crudely, while in the chortens housing the colossal statues of Avalokitesvara and
Manjusri, in the same style as Alchi with the ornamented dhoti, murals of mandalas have
been considerably damaged by rainwater trickling down the walls.
The next three sites to be covered- Thiksey, Shey and Stakna fall on the Manali highway.
Thiksey, modelled after the Potala palace at Lhasa houses newly painted murals in the
Dukhang, while original murals from the 16 th century survive only in the inner shrine,
representing the Skang rdzas (Skang: To Fill, rdzas: Subtance) or the offerings presented to
the protectors- Mahakala and the 13 black animals. 4 The inner offerings- blood, bones, flesh,
organs: eyes, ears, tongue, nose and heart metaphorically suggest the sublimation of senses
in Buddhist meditation through apparently grotesque and wrathful imagery.
The Shey monastery, built within the palace complex, in 1655 on the instructions of Deldan
Namgyal in memory of his father Sennge Namgyal, stands out for the lavish use of gold and
the finesse in decorative embellishment and the portraiture. A particular fragment in the
upper storey showing Shambhunath Lama, the third incarnation of the founder of Hemis
monastery) excels in its quality of draughtsmanship and intricacy of gold-work.
Representations of the Buddhist pantheon, the sixteen Arhats, the mahasiddhas and the
translators are found in the upper storey where as the lower shrine has murals of the Dhyani
Buddhas and other divinities.
Roger Goepper; Photography by Jaroxlav Poncar, Alchi- Ladakh’s Hidden Buddhist Sanctuary: The Sumtsek;
Serindia Publications, London, October 1996
3 Pratapaditya Pal; Photography by Lionel Fournier; Marvels of Buddhist Art: Alchi-Ladakh; Ravi Kumar
Publications; Hongkong; 1988
4 Charles Genoud, translation by Tom Tillemans, Photography by Takas Inoue; Buddhist Wall Painting of
Ladakh; Edition Olizane; 1981
2
Stakna, the residing monastery of the Stakna Tulku, a high monk in Tibetan Buddhist schools
has been majorly restoed and garishly repainted in distemper paints while original paintings
from the seventeenth century survive only in the inner shrine and the adjacent shrine
dedicated to Vajravarahi and Avalokitsevara. The smaller sculpture of Avalokitesvara is
believed to have been brought from Kamakhya, Assam. Vajradhara presides over the
pantheon of divinities in the murals, while translators Marpa and Milarepa of the Kagyu are
considered really important. The Upper Drukpa lineage which Stakna belongs to was
established by Bhutanese saint, Chosje Jamyang Palkar, in the 16 th century. The present Tulku,
an eight-year old, born in the state of Himachal Pradesh had a number of disciples to visit him
in the afternoon as I had a lengthy discussion with one of the monks, who tried his best giving
me iconographic insights and contacts of scholars who have earlier worked on murals and
thangkas of Ladakh. One such scholar is Sanjib Kumar Das, by whom I also found a catalogue
of thangkas in the Thiksey monastery.5
The third day of field work comprised of the monastic complex at Phyang of the Drikungpa
order and that at Spituk of the Gelugpa order, initially belonging to the Kadampa order. Since
I got over with documentation of these sites by afternoon, I travelled to the royal palace at
Stok. While the royal family stays in a part of the palace, the rest is converted to a museum.
Thangkas from early to mid -16th century in display are brilliant in their skill and conception.
The main shrine of the Phyang Drikungpa Gonpa has painted representations of Kalachakra,
Samvara and Guhyasamaja, the five Dhyani Buddhas, Drukpa founder Ling Repa Pema Dorje,
Drigungpa founder Jigten Gonpo, Skyoba Rinpoche, Padmasambhava, Dipankar Srijnana,
Amiatyus, the Medicine Buddha, Manjusri, Avalokitesvara, Vajrapani, Vajradini and
Vajravarahi mandala (with Rupini, Lama Khandoraha and Dakini), Mahakala and the
Kalachakra. 6 The resident lama told me that the inscription in the wall mentions the names
of artists from Ladakh who painted the murals in the 17 th century.
The Spituk complex has temples at multiple levels- the later temples and the Dukhang contain
recently painted walls; the main shrine contains murals of considerable antiquity. The main
shrine contains idols of fierce protector gods and goddesses: Sri Devi, Chamundi, Dharmaraja,
Vajra Bhairava, Begtse, Vaishravana, White Cintamani, Six-armed Mahakala and Upasika. The
wall right opposite to the icons is of utmost importance to my study. Stylistically, this wall is
very different from the adjacent one as its curvilinearity and tribhanga figurations of Sri-Devi
on a horse, Six-armed Mahakalas, Ganapati, Brahma, Kali, Trailokya Vijaya, other Dharini
goddesses, and now effaced images of the tantric gods in yab-yum in the upper frieze are
telling of a hand very similar to palm-leaf manuscripts from Varendra-bhumi. Colours are not
vivid and contrasting at all like later murals, line is the key element in the work of this artist
or school, where its sinuousness and dexterity form the skeletal structure or spine of artistic
visualization. This style appears to be close to the Lhakhang Soma at Alchi which Pratapaditya
Pal terms as style II, but the linear quality seems to be far superior. Spituk known as the
5
Sanjib Kumar Das; Tara- An Exhibition of Rare Buddhist Thangkas; Central Institute of Buddhist Studies; Leh;
2013
6 Prem Singh Jina, Some Monasteries of Drikungpa order in Central Ladakh; Sri Satguru Publication; India Books
Centre; Delhi; 1999
exemplary one before being officially established as a Gelugpa centre in the 14th century was
once a Kadampa site, the order of Atisha Dipankara Srijnana from Bengal, with which this
particular artist or school can possibly be linked to.
Likir and Basgo on the NH1 again, were the next couple of sites to be documented. Likir,
originally a Kadampa site from the eleventh century was later taken over by the Gelugpas.
The present structure and the murals are recent renovations in bright emulsion paints;
however, the museum is of supreme importance housing thangkas and other ritual objects
from the 14th and the 15th centuries onwards. A committee of Monks presides over the
museum where photography is strictly prohibited while a second committee is in charge of
the Alchi complex.
Basgo is one of the most interesting centres of artistic activity in Leh. The castle built by the
Namgyal rulers in the 16th century originally had a mosque commemorating Gyal Khatun, the
Muslim princess from Baltistan married to the royal family of Ladakh, which however was
converted to a Maitreya shrine later. Old murals survive both in the upper and lower shrinesVajradhara being at the pinnacle of the pantheon of a wide range of divinities, protector gods
and monks. Of particular interest are the painted wooden styles with interlocking geometric
pattern, presumably from the hands of Central Asian Islamic artists. The hexagon pattern
which I could see only at Basgo in both the shrines leads to the hypothesis that artists from
Central Asia, perhaps Baltistan worked on the ceilings; the patterns have a central motif with
the bija mantra or the root syllable in Sanskrit making the case all the more intriguing. The
afternoon prayer with chanting and music performed by a teenager monk in the lower shrine
was quite an experience, after being slightly demotivated by the grumpiness of an older monk
in the upper shrine.
The last two of the enlisted monasteries: and Takthok are on the Manali highway; Hemis being
the first to be documented. The huge complex would have a large number of shrines and
chortens but only few are accessible to the public. Established in the 17th century under
Sengge Namgyal, the main temple of this Drukpa Order gompa has elaborate murals - on the
rear wall: Sri-Devi, two-armed Mahakala, Yamantaka, Kalachakra, Chakrasamvara, Hevajra
and Hayagriva; on the left wall: Amitabha, Vajrasattva, Aksobhya, Manjusri, Amitabha and the
highest monks of the Upper Drukpa lineage; on the right wall: Aksobhya with tantric masters,
Padmasambhava with Vajradhara and other disciples. The Lhakhang temple has a huge
sculpture of Padmasambhava which evokes awe; as does the Mahakala temple above.
The museum in the complex however was the highlight for me housing the art of Kashmir,
Nepal and Tibet from as early as the seventh century CE. Gilt-copper images of Standing
Buddha, Seated Preaching Buddha, Bodhisattva Avalokitsevara date from the seventh to the
twelfth centuries CE from Kashmir, helping to provide a typology of figurative representative,
that can be applied to the study of murals at Alchi and elsewhere, where Kashmiri artists have
played a significant role. Clay and wood statuette of Acala from 13 th century Western Tibet,
gilt copper image from 15th century West Tibet, small stone sculpture of Hevajra from 13 th14th century Tibet all direct at a different school which Pratapaditya Pal calls the Pala-Tibetan
style or Style II at Alchi. Images of a peaceful manifestation of Vajrasattva and Hevajra Lotus
Mandala dating from the 12th century, North-Eastern India can be said to be a precursor of
this style- the small statuettes for personal worship, often the image of the idam along with
palm leaf manuscripts of the Sutras and the Tantras were all what the monks could carry with
them as they fled from Nalanda and Vikramshila on the onslaught of Bakhtiyar Khiliji’s
invasion and massacre and the subsequent oppression by the Brahmanical Sena rulers. The
museum has strict photography restrictions; however, the collection is seminal for
understanding the workings of different pictorial styles of representation in the Buddhist art
of Ladakh.
Takthok gompa, in the village of Sakti is certainly the oldest existing architectural gompa
structure, the old temple jutting out from a cave built on the top of a hill- the cave where
Guru Padmasambhava himself meditated back in the 8 th century. The paintings in the old
temple seemed to have undergone some renovation in recent years, however the
iconography is exceptionally old, marking its peculiarity as the oldest and the only Nyingmapa
gompa in Ladakh. The head lama at Takthok was a warm and kind middle aged monk from
Nepal who explained to me some of the Nyingmapa beliefs and practices, their idam being
Bodhisattva Samantabhadra with Ekajati as his spiritual consort in yab-yum. The new temple
below houses statues of Santarakshita, Padmasambhava and the Trisong Detsen, the Tibetan
King who had invited Padmasambhava, built by artists from Nepal recently. Nyingmapa
iconography has a large number of wrathful Bon deities subordinated under Buddhism by
Guru Padmasambhava, who had achieved supreme miraculous powers by meditating in the
yab-yum position.
Exhibition of Works at LAMO
The body of works in display at LAMO, draws inspiration from Tantric Buddhist art and its
textual sources from across the Indian Sub-continent, Tibet, China, Japan and South-East Asia,
focusing particularly on the concept of female divinities in Tantrayana; and hence the show
was titled As Tara Flows.
Besides the paintings, in display were illustrated books of Tantric Buddhist dohas and caryas,
translated by the artist himself, from Magadhi Apabhramsa to modern Bengali, keeping intact
the rhyme and the rhythm of the compositions. Painted above the doorway to a small
Buddhist shrine, where an old Buddhist lady regularly recites her prayers within LAMO, is a
mural of a mandala with seven colours of the visible spectrum and Dhyani Buddha Aksobhya
on the top, as an illustration to a translated doha of Kanhupada, one of the eighty-four
mahasiddhas.
Future Plans to Consolidate the On-going Research
To consolidate on this research and painting activity, I would like to go back to Ladakh for
about a month after I complete my post-graduation in May 2019. I am yet to document some
significant murals at Sumda, gompas in Nubra Valley, Lamayuru and Wanla; moreover, I would
like to extend the research up to Spiti Valley at monasteries like Tabo, also believed to be
founded by Rinchen Zangpo, the Tibetan translator from the 11 th century. I have also
understood the importance of learning the classical Tibetan s cript for reading inscriptions and
labels for iconography.
Meanwhile for my Master’s Dissertation thesis I would dedicate an Appendix Chapter
dedicated to the murals in some of the monasteries in Ladakh which I would argue to be in a
Pala-Tibetan style, after Pratapaditya Pal. The style as I observed can be seen at Saspol Cave
1, Soma Lhakhang at Alchi and one wall in the main shrine at Spituk and possibly is connected
to the Kadampa lineage of Atisha from Bengal, coming to Ladakh between the twelfth and
the fourteenth centuries CE.
As a part of the painting activity, I would be working on an illustrated historical fiction on
Buddhism in Leh as a result of various migrations. The paintings in the book would draw
influence from the documented murals, thangkas, sculptures and other ritual objects.
Besides, I would be working on some iconic paintings of female divinities drawing from
ancient textual sources; a couple of these works would be in the format of thangkas, the basic
drawing of which have been done by a traditional thangka painter from Nepal, Manoj Moktan,
who owns a shop in the old town of Leh. The exhibition of these paintings can possibly happen
at LAMO itself as an extension of this collaboration with the support of Dara Shikhoh
Fellowship Programme.
Bibliography
1. Alaka Chattopadhyay; Life and Works of Dipamkara Srijnana in relation to the history
and Religion of Tibet; Firma K.L. Mukhopadhyay; Kolkata; 1967
2. Charles Genoud, translation by Tom Tillemans, Photography by Takas Inoue;
Buddhist Wall Painting of Ladakh; Edition Olizane; 1981
3. Christian Luczanitz, The Early Buddhist Heritage of Ladakh Reconsidered; in Ladakhi
Histories: Local and Regional Perspectives, edited by John Bray; Brill publications;
London; 2005
4. Christian Luczanitz and Holger Neuwirth; The Development of Alchi Complex: An
Interdisciplinary approach, in Heritage conservation and Research in India- 60 years of
Indo-Austrian collaboration edited by Kathrin Schmidt in National Museum; New
Delhi; 2009
5. Mallar Ghosh; Development of Buddhist Iconography in Eastern India: A Study of Taras,
Prajnas of Five Tathagatas and Bhrukuti; Munshiram Manoharlal Publication Private
Ltd.; 1980; Delhi
6. Martijn van Beek, Beyond Identity Fetishism: Communal Conflict in Ladakh and Limits
of Autonomy; Cultural Anthropology Vol. 15 no.4; November 2000; pp-525-569
7. Martijn van Beek, Dangerous Liasions: Hindu Nationalism and Buddhist Radicalism in
Ladakh in Religious Radicalism and Security in South Asia, editors- Satu Limaye, Mohan
Malik, Robert A. Wirsing; Asia-Pacific Center for Security Studies; Honolulu; 2004; pp
193-218
8. John Bray, Old Religions, New Identities and Conflicting Values in Ladakh in Ladakh
Studies, Vol 30, December 2013; International Association for Ladakh Studies;
Mumbai; 2013
9. Pratapaditya Pal; Photography by Lionel Fournier; Marvels of Buddhist Art: AlchiLadakh; Ravi Kumar Publications; Hongkong; 1988
10. Prem Singh Jina, Some Monasteries of Drikungpa order in Central Ladakh; Sri Satguru
Publication; India Books Centre; Delhi; 1999
11. Prem Singh Jina and Ven Konchok Namgyal, Phyang Monastery of Ladakh; Central
Institute of Buddhist Studie, Leh and Indus Publishing Company New Delhi; 1995
12. Roger Goepper; Photography by Jaroxlav Poncar, Alchi- Ladakh’s Hidden Buddhist
Sanctuary: The Sumtsek; Serindia Publications, London, October 1996
13. Sanjib Kumar Das; Tara- An Exhibition of Rare Buddhist Thangkas; Central Institute of
Buddhist Studies; Leh; 2013
14. Tsering Sonam, Ajanta of Ladakh: Gon-Nila-Phuk Meditation Caves, Saspol;
Indraprastha Press, New Delhi, 2013
Acknowledgements
Firstly, I would like to thank Dr Jyotsna Singh, the founder of the Dara Shikhoh Centre for the
Arts, whose humility and grace enlivens the Foundation and its activities. I would like to thank
Anish Gawande, the director of the Fellowship Programme and Dr Monisha Ahmad, the
founder and director of LAMO for the collaboration which enabled the fellows to research
more efficiently. I would like to mention my gratitude to the following list of people, without
whose support the Fellowship Residency would not be as enriching an experience:
i.
ii.
iii.
iv.
v.
vi.
vii.
viii.
ix.
x.
Mr Tashi Morup from LAMO who on the very first day of orientation introduced me
to people in the town who could help me in traveling and research, gave me the artist
studio to work in and took keen interest in my academic research.
Mr Skarma from Trance Tara Travels who guided me with enlisting the monasteries
and advising me to travel on a scooter to all the sites. Skarma despite his profession,
has an excellent knowledge about Tantric Buddhist Art and iconography and informal
discussions with him were really helpful after I would come back from visiting the sites.
Mohammad Deen Khan, the in-charge of the Central Asian Museum for talking to me
at length about various cultural and religious aspects of Ladakh.
Dr Sheikh Abdul Ghani, a senior historian in Ladakh who kindly read his article on the
Buddhist art in Ladakhi gompas written in Urdu and had a discussion.
The Library at Central Institute of Buddhist Studies for granting me the access to go
through their large collection of books on Buddhist Art and Philosophy.
All the artists, performers and presenters part of the Bird Festival from the 4th to the
8th of September at LAMO.
Mr Sonam Angchok, working as a sound and video artist at LAMO for helping me edit
an audio track from the recording at different gompas.
Karmic Journeys for renting me a scooter on daily basis at a discounted rate.
Jiggyas Guest House and Kunga hotel for their amiable hospitality and service.
Dr Jayaram Poduval, HOD Department of Art History and Aesthetics, MSU Baroda to
kindly grant me 25 day leave for attending the Residency to further my research in the
middle of a semester.
i
Table I:
Days for
Archival
work
Name of
Monastery
Distance Lineage/
from Leh Monastic
and region Order
Foundation Of art,
and History iconography
and aesthetics
Day 1
Saspol Caves
70 km
from Leh
Originally
Drikungpa,
now under
Gelugpa
13th-15th
century. In
the most
elaborately
painted
cave, the
images of Je
Tsongkhapa
and Atisha
are later
alterations.
5 Painted
Caves, of
interest are
murals of
Hevajra,
Samvara and
Guhyasamaja
Alchi Monastery
65 km
west of
Leh
Established
under
Drikungpa
sect, now
under
Gelugpa
sect
Established
by Rinchen
Zangpo
(958-1055
CE)
Dukhangmurals of
Sumtseg,
Soma Lhakang
and Lhotsawa
Lhakhang
temples,
Manjushri
Temple
supervision
of Likir
Mangyu temple
complex
70 km
from Leh
(15 km
from
Alchi)
Under Likir One of the
and Matho earliest
monasteries structures
in Ladakh
dating to
late 12thearly 13 th
centuries,
oral
histories
about
Lotsawa
Rinchen
Zangpo and
the images
at Alchi,
Mangyu
and Sumda
Murals in
Sakyamuni
and Vairocana
temples and
smaller
chortens
Monumental
statues of
Avalokitesvara
and Manjusri.
Day 2
Thiksey
Monastery
19 km
Gelugpa
east of Leh
Established
by Je
Tsongkhapa
in the 16th
century CE;
Jangsheb
Sherab
Zangpo
Statue of
Maitreya
Buddha,
Tara Temple21 images of
Tara,
Lamokhang
Temple,
Mural of
Mahakala
(Early Morning
Prayer)
Shey Monastery
15 km east Drukpa
of Leh
Established
in 1655, the
palace and
fort built by
King Deldan
Namgyal
Giant statue of
Sakyamuni
Buddha, mural
of 16 arhats, an
exquisite mural
of Lama
Shambhunatha,
the third reincarnation of
the founder of
Hemis
(On the way to
Thiksey Gompa)
Shey as the
summer
capital of
Ladakh
Library in the
lower floor
with
manuscripts
and murals
Two tantric
adjacent
shrines
Stakna
Monastery
21-25 km
from Leh
Drukpa
Established
by
Bhutanese
saint,
Chosje
Jamyang
Palkar, in
the
16th century
Painted
assembly hall,
Sculptures and
Murals of
Buddhist
divinities
Day 3
Day 4
Phyang
Monastery
15-16 km
west of
Leh
Drikungpa
Established
in the 16th
century by
Jamyang
Namgyal or
Tashi
Namgyal
Spituk
Monastery
8 km from
Leh
Founded as
Kadampa
now
Gelugpa sect
Founded by
Od-de in the
11th
century, the
elder
brother of
Lha Lama
Changchub
Od
Stok Palace and
Museum
12 km
from Leh
Drukpa
Shrine
Late 17th
century by
Namgyal
rulers
35 thangkas
from 15001550 CE
Basgo
Monastery
And Castle
40 km
from Leh
on
Srinagar
Highway
Drukpa
Established
in 1680
under
Namgyal
rulers
Chamba
Temple,
Serzang
Temple and
Chamchung
Temple
Oral
histories
about the
battle of
Basgo
Likir Monastery
63 km
west of
Leh
Gelugpa
(Earlier
Kadampa)
Established
in 1065 by
Lama
Dwang
Chojse
under the
fifth king of
LadakhLhachen
Gyalpo
Shrine has
murals of
Hevajra,
Cakrasamvara
and
Guhyasamaja;
with 5 dhyani
Buddhas
Giant statue of
Kali (which is
unveiled during
the annual
Spitok festival)
(originally
built as a
mosque later
dedicated to
Maitreya);
21
manifestations
of White Tara
Collection of
thangkas in the
museum from
the fifteenth
century
Day 5
Hemis
Monastery
45 km to
Drukpa
the southeast of Leh
Established
by Sengge
Namgyal in
1672 CE
Legends of
mastersTilopa and
Naropa
Takthok
Monastery
i
46 km east Nyingma
of Leh
Established
in the 15th
century
under the
reign
of Tshewang
Namgyal
Copper-gilded
statue of Lord
Buddha,
Large Statue of
Guru Rinpoche,
Museum
within the
premises
particularly the
thangkas
Ancient murals
in the old
temple and
repainted
murals in
New Temple
Maps of Monasteries on the Jammu-Srinagar Highway (NH1) and on the Manali Highway (NH3)
Monasteries on NH1
Monasteries on NH3