Krunal Patel_Undergraduate Research Thesis - Interior Design_CEPT University_2019 by Krunal Patel

Di v i ne De p i c ti o n An inquiry into the geometrical proportions of Buddhist monastery murals of nyingma-pa sect of Sikkim

Krunal Patel guided by

Prashant Pradhan

Undergraduate Interior Design Thesis Faculty of Design, CEPT University 2019

Declaration: This work contains no material which has been accepted for the award of any other Degree or Diploma in any University or other institutions and to the best of my knowledge does not contain any material previously published or written by another person except where due reference has been made in the text. I consent to this copy of thesis, when in the library of CEPT Library, being available on loan and photocopying.

Student Name & Code No: Date: Krunal Patel | UI1113

April 26, 2019.

Signature of student:

Content :

Acknowledgment

1.0

Proposal

2.0

Monastery Arts & Crafts

2.1 Monasteries of Sikkim

2.2 Monastery Arts & Crafts

3.0

Murals: Religious Iconography ......................... 19

3.1 Buddha, Bodhisattva & deities

3.2 Auspicious symbols & motifs

3.3 Geometric patterns

4.0

Murals: Theory of Iconometry

4.1 Proportioning system

4.2 Sketching composition

........................................... IV

......................................................... 02 ................................. 07

........................ 33

4.3 Methods & materials

5.0

Case studies

................................................... 45

5.1 Sangchen “Pemayangtse” Monastery

......................

.................

...................................

5.2 “Enchey” Sangag Rabtenling Monastery

5.3 Namtse “Ngadag” Monastery

6.0

Conclusion

...................................................... 121

Bibliography

................................................... 129

Glossary of terms

............................................ 135

III

Acknowledgment

I would like to express my sincere gratitude to my guide Prashant Pradhan, for

steering me in the right direction in every step of the research and giving his valuable feedback whenever I needed it.

I would like to thank the Ecclesiastical affairs department of Sikkim for providing

me with the necessary permission to sketch and take photographs of monastery interiors, which is highly impermissible act and would have not been possible without them to present it here. I would also like to thank researchers at Namgyal Institute of Tibetology, Gangtok for giving me insights on religion and access to the library. Thanks, Hishay Bhutia for initial discussions and people at PPA for making my stay in Gangtok more wonderful.

I would especially like to thank Prof. Krishna Shashtri, Kireet Patel, Snehal

Nagarsheth, Amal Shah, Rajesh Sagara, Jay Thakkar, Rishav Jain at Faculty of Design, CEPT University for laying the foundation of my academics. Krishna Das and Chandraben for assisting all administrative needs.

I will take this opportunity to thank all amazing personnel at Perkins+Will,

New York to lay the foundation for my professional journey and shape my thoughts.

I would like to thank Shivani Patel for being my support system throughout

these years. Thanks to entire 2013 and 2014 batch for making these academic years worth remembering. Thanks to all juniors, seniors, closed and distant friends for being there.

Finally, I must express my profound gratitude to my parents, Sapna and Ankit

for believing in me and their constant encouragement and support in every step. Thank you.

Krunal Patel.

Abstract:

Monastery murals have been used as a tool to

communicate religious narratives. A mural is a key and one of the important role in interiors of the prayer hall, placed in a prime location within the monastery. Over centuries, the Buddhist monasteries of Sikkim have transformed from a religious hub to an institutional domain, undergoing series of transformations1. Previously done research shows that monastic design had undergone transformations in three stages2; although the characteristics of monastery interiors remain the same. The relevance of murals in monastic design lies in strict proportioning systems which are being performed since the origination of monasteries and its ability to adapt and mold itself through a visual composition of prime characters with respect to architecture and the said narrative. The research aims at identifying three cases belonging to the same sub-sect of Buddhism and potential monasteries each from one century to analyze further into their mural style and characteristics. This study across three different centuries from three different geographical locations is analyzed through key governing parameters like the underlying geometrical proportioning system of the mural, composition and its narrative. It makes us understand the shift it has undergone and perpetuity of monastery interiors through continuous relevance of murals in the evolution of Sikkimese monastic design.

Key words: Monasteries, Prayer hall, Murals, Proportions, Narratives, Sikkim

1 Exploring spatial character of the prayer hall with respect to evolution of monastic design in Sikkim from 1650 onwards (Samani,E. 2017) 2 Historical evolution of the Sikkimese monastery,Bulletin of Tibetology (Chopel, 2011)

Research Questions: •How is the mural proportioned in order to accommodate the narrative in monasteries ? • What thematic content is considered before selecting the location of the mural?

Hypothesis: There is an inter-relationship that exist between the painting and the surface it is drawn upon. This relationship exists on the basis of geometry, proportions, it’s location and narratives. Although monastery evolved from religious hub to institutional domain, monastery murals being an essential part of monastery interiors remains the same.

Scope & Limitation: The study primarily focuses on analyzing the Buddhist art form in relation to built form through proportions, location and it’s Narratives. It is confined particularly on surface-based paintings (thangka) and monastery murals/wall paintings within monastery prayer hall and threshold spaces. Since Tibetan Buddhist monasteries are spread across a very vast region within India, Tibet, Nepal and Bhutan; one specific region has been chosen for the detailed study- Sikkim, India. Within Sikkim there are 4 schools of thought/ subsects of Buddhism which are being followed, this study will only focus on Nyingma-pa sect of Buddhist monasteries of the region.

1. 0 Propo s a l

Methodology: •Initial research would involve gaining knowledge about Buddhism, location, presence and complexity of wall paintings and narrative representation in religion, through reference books, by authors like Robert Beer and Jackson D. This would also involve referring data through documents, theses and online data that helps to identify the area of research to do further study. •The research will be a comparative study of two to three monastery murals and built-forms based on geographical location, chronology, size, the complexity of wall paintings through scholar’s suggestions and accessibility to collect the data. •Site visit to Sikkim would involve analyzing these proportions in murals and its formation in monasteries. This data will be recorded through on-site approximate measure drawings, hand sketches, and photographs taken in ideal conditions. Monastery visit would involve several interviews with lamas and monks to gain insight about religious importance and will be recorded on in form of questionnaires. A site visit would involve visiting different thangka art schools to gain knowledge about materials, methods and process of painting murals from practicing monks and local artists. •The proportioning systems of the paintings would be studied and understood first through color, form, dimensions, composition and dividing systems. The content of the mural would be studied through themes, narratives and understanding character iconography; this analysis will be applied on the larger surface of the wall to analyze the inter-relationship between murals and space.

â&#x20AC;˘The study of geometry and proportions between wall paintings and monastery built-forms will be studied in the form of interior-architectural drawings like plans, sections, elevations and sketches through interpretive and qualitative aspects. â&#x20AC;˘An intermediate step could be, analyzing the proportioning system of Thangka paintings to develop a detailed proportioning system. Using a similar proportioning system, another similar system can be developed in order to analyze the inter-relationship between the walls and the spaces created by enclosing them. â&#x20AC;˘These would be the tools to study and analyze the inter-relationship to achieve a larger perspective of the underlying metaphorical connection between built space & wall paintings.

Significance and Implication of research: The research shed light on the relevance and significant continuity of wall murals in relation to its placement in monastery interiors, and its implication through the lens of proportions. The methodology used in this research can be useful to carry forward the research pan Indo-Tibetan region to see if these findings can be related throughout the Nyingma-pa monasteries. The research discuss the proportions of the murals, that become a base for the further study between murals and the wall, and a new set of proportioning system can be developed in order to study inter proportionate relationship.

1. 0 Propo s a l

2. Monaster y ar ts & crafts

Overview

Sikkim is the second smallest and least populated

state situated at the north-eastern Himalayan region of India sharing the border with Tibet on North and North-east side, Nepal on east side and Bhutan on west side. Sikkim has a sub-tropical and alpine climate offering occasional rainfall throughout the year which is famous for being the host for Kanchendzonga. Buddhism is the second largest practiced, yet most prominent religion in the state of Sikkim. Prior to becoming the part of India in 1975, Mahayana Buddhism was the state religion of Sikkim under The Chogyal dynasty.

2.1 Monasteries of Sikkim

During mid 17th century an esteemed Tibetan Lama

Rinpoche Lha-Tsum Chem-po along with Lama Kartok Kuntu Zangpo and Rigd-sin Ngadagzempa Chenpo Phuntshog Rigzin, introduced Lamaism in this celestial Himalayan region of Sikkim. Amid large number of sects and sub-sects in Lamaism, only Nyingma-pa (Primitive and unreformed style of Lamaism) and Kargyu-pa (represented by Karmapa) sect gained prominence in Sikkim. Both the sects have numerous gompas and lhakhangs throughout the length and breadth of Sikkim. The Dubdi monastery built around 1642 was the first known monastery of Sikkim. There are more than hundred gompas or monasteries of different sect present in Sikkim now (figure 5). Some of them are centuries old while some others are recently built.1

The influence of Tibetan culture, is prominent

in the architectural styles and religious practices, of the

1 2001)

Bulletin of Tibetology, Issue 02 (Chaoudhary, K. B., & Chaoudhary, M.,

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monasteries of Sikkim and other neighboring states. The influence was a result of migration from neighboring countries like Tibet, Bhutan and Nepal. It is said that Buddhist monks used to isolate themselves in an extremely quiet place, far from village or town, in caves or hilltops, in a Figure 1: Enchey Monastery

thick forest, in order to meditate and practice religion. This might be the reason, the place is known as, “a Gompa or a solitary place”. Today, almost all the old monasteries are situated on a quiet isolation, or on a hilltop is an evidence of this religious practice. Tibetan Buddhism have four different sub-school of thoughts i) Nyingma-pa ii)Sakya-pa iii)Kargyu-pa and iv)Gelug-pa. Nyingma-pa is oldest sect of Buddhism and have most monasteries in Sikkim. Nyingmapa sect have distinct lineage and follows the path of Guru Rinpoche/Padmasambhava.

Figure 2: Do-drul Chorten

Monastic architecture of Sikkim shows an expression

of Mahayana Buddhist culture, having four major types of religious structures : The Monasteries or Gompa, Manilhakhang, Lhakhang (temple) and Memorials e.g. the chorten. Each structure serves a different function and purpose. The monastery or gompa is a building or complex of buildings that caters to accommodate larger community, as a primary religious center. It has a main prayer hall with most elaborate and decorative interiors, usually placed in Figure 3: Rani ManiLhakhang

prime location within complex. A Manilhakhang is a submonastery with an independent unit, sometimes associated within the monastery building. It is a place for nuns or lady devotees to offer their prayers. A lhakhang with a literal translation, ‘The house of god’, is a temple with usually a single storey structure smaller than Manilhakhang. The Chorten is like a commemorative or a memorial stupa containing relics and offerings. Hence it is a non usable space usually situated on the left side of the monastery, facing the east, following the cardinal beliefs.

Figure 4: Lhakhang at Ngadag

Nyingma-pa sect Monasteries of Sikkim:

N O R T H

MANGAN

W E S T GEZING

GANGTOK

S O U T H

E A S T

NAMCHI

Figure 5: Diagram showing Nyingma-pa sect Buddhist monasteries on map of Sikkim

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North Sikkim :

East Sikkim :

• Phensong gompa • Tsunthang gompa • Tholung gompa • Labrang gompa • Tingbung gompa • Lachung gompa • Ringyim gompa • Lingthem gompa

• Kathong Dorjeden gompa • Enchey Sangag Rabtenling gompa • Lingkoed gompa • Simig gompa • Phing Matsang gompa • Tsuklakhang gompa (Royal Chapel) • Samdong Mintokgang gompa • Amba Mamring gompa

• Lachen gompa • Sontam Tensung gompa • Singchit Ngadak gompa • Ship gompa • Kabi gompa • Hee Gyathang gompa • Malam gompa • Taring gompa • Tsawang Choling gompa • Naga gompa • Shagyong gompa • Barphog gompa • Silem Phagyal gompa • Thangu gompa • Gor gompa

• Chhoedten gompa • Raloong gompa • Rakdong gompa • Guru Kubum Sangchoe gompa • Bakcham gompa • Taktse Ani gompa • Gonjang gompa • Sichey Dechen Choling Tamang gompa • Dolepchen Buddha Sanskrit gompa • Singtam gompa • Burtuk Tamu gompa • Samshing Lamzang Choling gompa • Bongyong Ani gompa

West Sikkim :

• Doling gompa • Yangang gompa • Mangbro gompa • Linge Phagyal gompa • Namthang gompa • Malli gompa

• Dubdi gompa • Sanga Choling gompa • Sangchen Pemayangtse gompa • Tashiding gompa • Silnon gompa • Rinchenpung gompa • Melli Aching gompa • Khachoedpalri gompa • Lhuntse gompa • Chakung gompa • Nubling gompa • Aden Walung gompa • Hungri gompa • Okhery gompa • Tashi Sambaling Tamang gompa • Rinchen Choling Tamu gompa • Dodak Tamu gompa

South Sikkim :

• Namtse Ngadag gompa

• Wok Pabang gompa • Parbing gompa • Bumtar gompa • Ahley gompa • Burmiok Norbugang gompa • Sorok Dechen Woser gompa • Ahley gompa • Rabong Tshechu gompa • Kewzing gompa • Yangang Chanchub Tamu gompa • Suiram Risung Tamu gompa • Gagyong gompa

Source. Ecclesiastical Affairs Department of Sikkim, Government of Sikkim, India.

2.2 Monasteries Arts & Crafts Monasteries of both Nyingma-pa and Kargyu-pa sect of Sikkim show exquisite work of arts and crafts. Monks of each monastery are trained, and are masters of some particular form of arts and crafts. The resident monks or lamas, are artisans/artists by birth, or achieve excellence through the highest degree of practice in art schools or training under senior monks of the monastery. Monasteries show meticulous works of art through i)Torma (butter sculpture), ii) Mandalas, iii)Thangka or Mural paintings and carved wooden artifacts. Besides, monks also practice ceremonial iv) paper mache masks for religious festivals and celebration.

2.2.a Torma

Tormas are sculptures made of offerings for deities

and demons, and can be seen in all Mahayana Buddhist monasteries across Sikkim. â&#x20AC;&#x153;Generally the tormas are offered to propitiate the malevolent spirits, who are believed to exorcise evil influence on human life and mind. Apart from appeasing the enraged demons, they are also used to usher in the blessings of peaceful guardian deities and goddesses.â&#x20AC;?1 Before being allowed to work on torma sculpture, monks need to study and learn the process, as described in the 17th century Tibetan religious book. Every Torma differs in size, shape, color and medium, it used to make, depending on the requirements and importance of Pooja or celebration. Tormas can be sculpted in various

1 Bulletin of Tibetology, Issue 02, pg19 (Chaoudhary, K. B., & Chaoudhary, M., 2001)

Figure 6: Torma

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materials like, i) vegetable oil or butter, ii) tsampa- roasted barley or rice flour, and iii) clay and paper pulp, and these mediums determine the lifespan of these sculptures, ranging from a few days to several years.

2.2.b Mandala

In tantric Buddhism, Mandalas are an integral part

of rituals, where none of the rituals in the monastery are complete without a Mandala. Mandalas are the meticulous and intricate work of Buddhist art, and are believed to be the medium of transmitting positive vibes and energy in Figure 7: Making of Mandala

the surrounding world, also known as â&#x20AC;&#x2DC;magic circleâ&#x20AC;&#x2122;. It has a basic geometry with a square and a circle, representing the Universe, where the deities, demons and god are supposed to reside/rest, and answer the call and prayers of a worshiper. It requires patience, devotion and vast knowledge for a talented lama artist to make a perfect mandala. Mandala making can only be drawn by a group of monks, under the senior lama artist.

Figure 8: Finished Mandala

The Mandala has basic features of a circle in a square, with several layers of bands, representing deities in the center, demons, fire, earth, vajra, lotus, etcetera, which guides the size of the Mandala. To make a Mandala, first it is sketched on the surface with charcoal, pencil, or any erasable material. Then it gets colored with different mineral pigments, dried vegetable powders, sand, and beans with the particular

Figure 9: Removing Mandala

type of funnels. After drawing and coloring, the artist adorns the mandala, with precious and semi-precious stones like ruby, coral, turquoise etc. The process of making a perfect Mandala takes up to several days to a few weeks. Once a puja/ceremony got over the lama destroy the Mandala and use that powder for occasional holy purposes. The most classical mandala is represented in the Kalachakra puja. 14

Figure 10: Thangka paintings hanging in Pemayangtse monastery

2.2.c Thangka

Thangkas paintings are well-made workmanship

items, done on silk cloth. They can be found in monasteries and houses of Buddhist followers depicting god, goddesses, guardian deities and stories from Buddha’s life or avatars. It is believed that, around 1000 years ago, in Tibet, Thangkas prospered as a culmination of Nepal, Bhutan, Chinese and Indian Buddhist traditions. The creations of Thangka is still done on a smaller scale. Thangkas are as important as any idols and worshiped to bring blessing and happiness in Buddhist culture. A Thangka can be done by a monk, or lay artist (known as “Laripa” in Sikkimese and Nepali) and commissioned by lay-followers for basic three reasons: (1) to remove sickness or troubles, (2) death in the family and (3) the need for an image in connection with a particular

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religious practice.2 Monks also make thangka paintings for a special occasion in the monastery, and for the education purpose, especially for junior monks to concentrate during meditation. The craftsmen are dispersed everywhere throughout the 4 regions of Sikkim, also Nepal and Tibet. Thangka paintings can be found in the prayer hall of monasteries, depicting deities and sacred texts.

2.2.d Wall Paintings

The vibrant illustrations done on all walls of

monasteries ease the caliginous sombre, of the dimly lit chamber, breaking the monotonousness of nature to a large extent, as soon as you enter the prayer hall of a monastery. These wall paintings are done on interior walls, decoration and motifs on frames of windows and doors, mandalas on the ceiling are a common feature found across all Buddhist

2 Tibetan Thangka Paintings Methods & Material, pg9 (Jackson, D. P., & Jackson, J. A., 1984.)

Figure 11: Wall Paintings at Ngadag monastery, Namchi, Sikkim.

monasteries. These awe-inspiring work of art found in the walls of the prayer hall are prominent and important part of monastery interiors. The Jataka stories and many fables related to Buddha, gods, goddess, yakshas, guardian deities and monks are found to adorns the walls of the monastery prayer hall. The great 16 saint avatars, when Buddha Sakyamuni was entrusted, are quite often depicted on the walls. These murals are not just a depiction of religious practice and images of god, but a fine example of monastery and regionâ&#x20AC;&#x2122;s arts and crafts. They are the result of excellent manifestation and dedication of Laripa, and are as valuable as the statues, or any thangkas and scroll paintings. The paintings of the disciples of Buddha and Guru Padmasambhava, meditating saints and the illustrated stories of Buddhism, create a serene atmosphere of reverence, and evoke a calmness in the mind of the beholder.

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3. Murals: Religious Iconography

Overview

Looking at murals on the wall of Tibetan Buddhist

monastery one can get overwhelmed by the depiction of meticulously detailed narratives of Buddha, Bodhisattva and deities with various expressions of angriness, meditative, peaceful filled with vibrant colors. These characters being the central figures of the mural are accommodated with auspicious symbols, religious motifs and landscape elements. This narrative depiction of gods and goddess defers from the religious path it follows in Buddhism. Each character has a distinct meaning behind the symbolism. Nyingma-pa sect monastery follows the path of the founder of the sect Guru Padmasambhava or Guru Rinpoche and usually portray stories around him. These characters somewhere remain the universal for the Nyingma-pa sect and one can find traces of it in all same sect monasteries. Here are brief introduction to the key figures which are important in religious belief and also highly manifested in monastery murals.

3.1 Buddha, Bodhisattva and deities

In Tibetan Vrajrayana Buddhism, a Buddha means

an individual who has attained full enlightenment and with a true heart lies in the fundamental essence with infinite potential who has provided the basis of dharma teaching. A Bodhisattva means an individual who was able to reach nirvana (enlightenment) but delayed by compassion for suffering beings and has committed to Buddhist practice. There are several levels of a bodhisattva in Tibetan Buddhism based on their enlightenment and achievements.

3. 0 M ur a l s: R e l i g i o u s Ic o n o g ra p h y

Figure 12: Posture

Figure 13: Statue of Buddha

Figure 14: Buddha Sakyamuni

Buddha Sakyamuni (शाक्यमुिन)

A historical Buddha who is commonly known as

‘Gautama Buddha’ or ‘Siddhartha’ or Buddha Sakyamuni is primary figure in religion and considered to be a founder of the religion between 4th to 6th century. Buddha sakyamuni is represented in a meditative posture with a blue haired head surrounded with enlightened aura, scarcely ornamented and scantily dressed. He is depicted always in Dhayanasana (meditative posture) and begging bowl in left hand represents the monk-hood and right hand on ground. This mudra is known as Bhoomisparsha.

Buddha Maitreya (मैत्रेय)

Regarded

future

Buddha

Buddhist

Eschatology, Buddha Maitreya is also known as Ajita in some literature. Buddha maitreya will appear in future and the 5th Kala(age) Buddha according to the 5 stages of the world in Buddhism. Where as Buddha sakyamuni is regarded Figure 15: Statue of Buddha Maitreya at Nubra valley, Ladakh, India.

as fourth and present age Buddha. Buddha Maitreya is recognizable with crown on his head and his posture of 22

seating with his both feet on ground- representation of the posture where one can quickly rise up and stand. In some case his posture is also shown in standing position.

Figure 17: Posture

Figure 16: Guru Padmasambhava

Figure 18: Statue of Padmasambhava

Guru Padmasambhava (पद्मसंभव)

Guru Padmasambhava with a literal meaning ‘Lotus

born’ also referred as ‘Guru Rinpoche’ is a historical figure in Tibetan Buddhism and a founder of the oldest Tibetan Buddhist school of Nyingma-pa sect. He nevertheless is a great important figure in other Buddhist school too. Guru Padmasambhava is pictured as wrathful and smiling face with mustache and beard. He wears a Nyingma-pa hat with upturn flaps and with spring on top. In his right hand he holds a vajra and his left hand holds a skull cap filled with blood, with a trident resting in his left arm with flaming tip.

Five wisdom Buddhas 1. Buddha Amitabha (अमिताभ)

Buddha Amitabha or Amitayus is one of the divine

figure of the five wisdom/Dhyani(meditating) Buddhas 23

Figure 19: Buddha Amitabha

3. 0 M ur a l s: R e l i g i o u s Ic o n o g ra p h y

in Vrajrayana Buddhism. Buddha Amitabha is also known as the Buddha of infinite life and light. Buddha amitabha is considered as an enlightened mind of discriminating wisdom and break the delusion of desire and lust. Amitabha is a red bodied which represent the element of fire, seated in Dhyana (meditation) position in simple monk’s clothes with an enlightenment aura circle behind his head.

Figure 20: Buddha Vairocana

2. Buddha Vairocana (वैरोचन)

Buddha Vairocana is a primordial and considered

in center of the five wisdom Buddhas, who has embodied the concept of sunyata (emptiness/शून्यता). He is imagined as a white bodied Buddha seating in Dharmachakra gesture, turning a wheel of Dharma(teaching). He is associated with the element of space. Buddha Vairocana is consort of and ofter associated with White Tara.

3. Buddha Akshobhya (अक्षोभ्य)

Buddha Akshobhya is a decent of Adi-buddha(first

Buddha) who is situated in East and represent the consciousness of reality. He is seated in meditative posture Figure 21: Buddha Akshobhya

of Bhoomisparsha position with his right hand touches the ground. Buddha Akshobhya is a embodiment of knowledge of mirror, which is associated with ocean reflecting the sunlight off the surface. Hence, this Buddha is represented in blue-black color body.

4. Buddha Amogasiddhi(अमोघसिद्िध)

Buddha

associated

with

fearlessness

and

destruction of poison of envy. His consort is green Tara (female deity). Buddha Amogasiddhi is a Buddha of north direction. He, like his shakti/consort is green color bodied and associated with element of air or wind. He is seated in meditative posture with right hand giving blessing while left Figure 22: Buddha Amogasiddhi

hand is resting on his legs. 24

5. Buddha Ratnasambhava (रत्नसंभवा)

Ratnasambhava with literal meaning of ‘jewel-born’

is Buddha focusing on wisdom of equality and equanimity and attempting to destroy greed and pride. Buddha Ratnasambhava has yellow body color in simple clothing without crown with enlightenment aura circle in back. He is seated in varada(bestowing) position with his right hand in giving mudra facing outwards. He is associated with element of earth and is a Buddha situated in south direction.

Figure 23: Buddha Ratnasambhava

Mahakala (महाकाल)

Mahakala is guardian deity also known as defender

of law. Mahakala have 75 different manifestation but can be recognize by his wrathful representation. He usually represented in standing position with a vajra thunderbolt in his right hand and blood filled skull cap in his left hand. Sometime he is also represented with 4 or 6 hands, with back right hand holding a sword and left back hand with a trident. He is a blue color bodied with three eyes on his head

Figure 24: Mahakala

and wears a skull crown that symbolizes the transformation of mental poisons.

Avaloketeshwara (अवलोकेतेश्वर)

Guru Avaloketeshwara or Chenrezig (Tibetan) or

Padmapani is Bodhisattva who has exemplified compassion and is a patron monk of Tibetan Buddhism. Avaloketeshwara is manifested with 108 different avatars. He usually represented this form in a standing position with 1000 arms with a eye of compassion in each palm of the hand and 11 heads with top being a head of Buddha Amitabha. It is believed in Tibetan Buddhism that Tara- female Bodhisattva is Avaloketeshwara’s progeny of compassion.

Figure 25: Avaloketeshwara

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Tara (तारा)

Tara or Dolma (Tibetan) is a Bodhisattva considered

as a female Buddha in Vrajrayana Buddhism and the great protector of major eight dangers of life: delusion, anger, desire, pride, greed, wrong opinions, jealousy and doubt.

Figure 26: White Tara

Figure 27: Green Tara

There are five avatars/ variations of Tara : White, green, blue, red and yellow, and they are belied to be the consort of respective five wisdom Buddhas. These variation defers by the leg placement in seating position. White Tara is represented in meditating posture and Green Tara’s right leg position is widen and rests on lotus flower.

Manjushri (मंजूश्री)

Manjushri is a male bodhisattva of wisdom and

literature who holds great number of students and followers, who pray him for the gift of knowledge and wisdom. He is recognizable with sword in his right hand with a flaming sword tip, that represents the wisdom and cut down the ties of ignorance. He is always shown with book/manuscript Figure 28: Manjushri

by his side along with lotus flower or sometimes in his left hand, represents the attainment of knowledge and wisdom. 26

Palden Lhamo ( पालडेन ल्हामो)

Palden lhamo known as glorious goddess is a only

female guardian deity within eight dharmapala (defenders of law) in vrajrayana Buddhism. She is considered as a angry manifestation of Tara. She is pictures as blue-black color bodied riding on a mule with flames around her. She holds a trident in right hand a child’s skull filled with blood on her left hand. Gelug-pa sect followers worship Palden lhamo and she is believed to be a protector of Dalai lama lineage.

Figure 29: Palden Lhamo

Vrajrapani (वज्रपानी)

Vrajrapani is one of the wrathful dharmapala and a

bodhisattva of power. He is one of the three protector deities who is pictured with Buddha along side AvaloketeshwaraBodhisattva of compassion and Manjushri- Bodhisattva of wisdom. Vrajrapani with a literal Sanskrit translation means Vajra(thunderbolt) in hands. He is represented with a vajra in his right hand and lasso in his left hand with a blue-black wrathful body who wears a tiger skin.

3.2 Auspicious symbols & motifs Eight auspicious symbols

According to Buddhist religion there are eight

auspicious symbols that are a gift to Buddha Sakyamuni from gods after he attained enlightenment. These symbols are : a treasure vase, a parasol, a pair of golden fishes, a lotus, a conch shell, a victory banner, a golden wheel and an endless knot. Brahma, the god of gods was the first one to give Buddha a golden wheel, and requesting him to turn a thousand spoke wheel of dharma teaching. These symbols are originated in Indian religious iconography as a 27

Figure 30: Vrajrapani

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Ashthamangala which were similar to Buddhist symbols and were presented in precious occasion such as coronation of king and royal events. One can also finds trace of these symbols in Jain religion and south Indian cultural beliefs.

1. A treasure vase

The treasure vase or golden vase or vase of infinite

treasures is based on traditional clay water pot or kumbha in Indian tradition. The vase represent the prosperity and longevity of life, with an underlying idea of the supreme godâ&#x20AC;&#x2DC;s offering that whatever one take out of it the vase, it will always remains the full. It is a flat base vase with narrow neck with a rim and a flaming jewel on top, which has round body. The Tibetan iconography typically represent Figure 31: Treasure vase

the vase with motifs of lotus petals and highly ornamented and shown with a scarf around it. This symbol is commonly placed at the altars and passes where their presence attracts harmony and wealth.

2. A victory banner

A victory banner of Dhvaja(Sanskrit) is a flag, meaning

banner or ensign originated from Indian warfare military to adorn the chariot of great warrior. In Tibetan vrajrayana Buddhism the victory banner became an attribute of many deities, guardian deities (especially for the guardian deity of the north direction : Vaishravana). The victory banner is believed to be placed on the great Mt. Meru summit for Figure 32: Victory banner

the victory of Buddha over the universe and obtuseness of mind. The Tibetan Buddhist construct the victory banner in cylindrical wooden form, which is vertically draped with silk and capped with precious jewels. The victory banner made out of beaten copper are usually place on the top of monastery and four corners of monastery campus to symbolize the Buddha the victory in religious teaching.

3. A white conch shell

A precious white conch shell was described in

Indian epics as emblem of warrior and god is akin to a bugle. Conch is a main emblem of Indian god Vishnu named Panchjanya, which means having a dominance over five classes of human and other being. The white conch shell was adopted in Buddhism as symbol of sovereignty and which annunciate the truth of the dharma. The conch

Figure 33: White Conch shell

is represented as a curving line on Buddhaâ&#x20AC;&#x2122;s throat as one on the major sign of Buddhaâ&#x20AC;&#x2122;s body: his resonant and deep voice. The white conch is also displayed as auspicious marks in religious iconography while representing the sole, limbs, palms, breast or forehead of a divine being.

4. A parasol

In Indian tradition, a parasol is a symbol of royalty

and protection. It was used by royals in ancient time to protect oneself from the blazing heat from the sun, white in Buddhist religious iconography its symbolizes the protection from the heat of evil spirits, sufferings, illness, hurdles and harmful beings and forces. A typical parasol structure consist of a wooden central pole with lotus or

Figure 34: Parasol

flaming jewel in bottom and with multicolored striped silk shed and precious jewel on top.

5. A lotus

In Buddhist religion a lotus which came and grows

in its beautiful from the muddy waters is a symbol of purity, divinity, resiliency and renunciation. The lotus is described in many religious text and can be seen with many Buddhas and divine deities as an offering. Eight, ten or twelve petals closed, half blossomed or fully blossomed lotus is very known symbol with in Vrajrayana Buddhism. A lotus is also known as Padma (Sanskrit) in Buddhist culture. Figure 35: Blossomed Lotus

3. 0 M ur a l s: R e l i g i o u s Ic o n o g ra p h y

6. The golden fishes

The golden fishes represents the freedom and

happiness, as they are completely free in the water. The pair of male and female fishes symbolize the fertility and myriad as they can reproduce their offspring very rapidly. In Buddhist religion this golden fishes teaches follower that one should not fear of drowning in the negativity if they Figure 36: A pair of golden fishes

practice dharma and teaching of Buddha. In iconography representation the pair of fishes are always shown with their nose touching with each other.

7. Golden wheel

The golden wheel of Dharma or Dharmachakra was

the first gift from the god Brahma to Buddha sakyamuni after his enlightenment. “Dharmachakra in Tibetan means ‘the wheel of transformation’ or ‘the wheel of law’. The hub of the wheel symbolizes moral discipline, the eight spokes symbolize analytical insight, and the rim, meditative concentration. The eight spokes point to the eight directions and symbolize the Buddha’s Noble Eightfold Path of the Figure 37: Golden wheel

righteous beings, which comprises right understanding, thought, speech, action, livelihood, effort, mindfulness and concentration.”1

8. Endless knot

The endless knot is an entangled loop which has no

beginning or an end, that symbolizes the eternal teaching of Buddha’s compassion and wisdom. It represents the power of interaction, effect and cause through the learning of religious teaching. The knot has many variations in representation styles and also incorporated in architecture and adorns the monastery campus.

Figure 38: Endless knot

1 1999.)

The encyclopedia of Tibetan Symbols and Motifs, pg186 (Beer, R.

Dorje / Vajra

The vajra is a sort of club with a ribbed round head.

The ribs may meet in a spherical top, or they might be independent and end in sharp indicates with pierce. The vajra is the weapon of the Indra who is considered as Indian Vedic rain and thunder-god, and is utilized emblematically by the dharma rituals of Buddhism. Vajra is the weapon of Guru Padmasambhava and can be seen be many other deities in Buddhism, symbolizes union of powers like

Figure 39: drawing of Dorje/vajra

compassion and wisdom.

Seven offering bowls

Offering bowls are offered to deities everyday in

monastery altars. These bowls are made of copper, silver and sometime gold inlay in real scale. These offering bowls can also be seen in murals below deityâ&#x20AC;&#x2122;s seat especially Buddhas and lineage trees where each bowl represent seven different offerings to the god/goddess. These illustrated bowls also have ornamentation of jewels and garlands drawn upon them.

3.3 Geometric pattern Variety of the geometric border, patterns are commonly depicted as ornamentation in both Tibetan and Chinese workmanship. A considerable lot of these designs are derived from the swastika, key, bunch, wave and parchment /scroll patterns of Tibetan arts and crafts. Like the swastika, the geometric key, bunch, wave and scroll that happen in a large number of these illustrations are common to numerous religion and societies. The endless or perpetual knot, for 31

Figure 40: various offering bowls

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example, shows up in various Celtic knot design, especially in composition and especially in boarder surrounding thangka scroll paintings. The majority of the geometric patterns are designed on two fundamental matrices of intersecting squares cut up by diagonals, and symmetrical triangles shaping composite hexagons. The majority of these plans either make endless possibilities of repeating patterns, or interminable linear pattern. A large number of these geometrical repeating patterns are very hard to free hand-draw. Artist uses various stencils of existing patterns to re-drawn several time in one mural.

Figure 41: Few examples of geometrical patterns (illustrated by Robert Beer)

4. Murals: Theory of Iconometry

4.1 Proportioning system

Measurements and proportions (thig tshad) of each

God/Goddess, developed by Buddhist iconometry and artistic practice were needed to be understood by the artists. A number of different deities are there in the pantheon of Tibetan Buddhism. The proportions, configurations and characteristics of all these deities, are rarely remembered. As per the division of pantheon, an artist should be aware of the classification of the main iconometry. Moreover, the application of this knowledge was necessary. To understand the basic, by any novice, one will have to copy examples of Buddhas and bodhisattvas, which form the major portion of the initial phase, of their training. Firstly, a student has to prepare an exact grid of positioned line, within which, he has to draw a sacred figure. With the repetition of practice with the grid, a student is able to draw a figure without making unnecessary grid lines. Once the iconometric class has identified his clarity, he could apply this knowledge, by analogy, to unfamiliar deities, after mastering the basic proportions.

Deities of the pantheon are divided into less than

a dozen iconometric theories, by Tibetan authorities. But, there is no evidence of an exact number of these. â&#x20AC;&#x153;Bu-ston Rin-chen-grub(1290-1364) and the Eighth Karma-pa Mibskyod-rdo-rje (1507-1554) are said to have propounded systems, containing eleven main classes. Whereas, the number of basic classes, are reduced by Phreng-kha-ba (16th century) and more recently by Mi-pham-rgya-mtsho (1846-1912).â&#x20AC;?1 A further brief system of iconometry has described here, which is being practiced widely in the state

1 Tibetan Thangka Paintings Methods & Material (First ed.). London: Serindia Publication. Jackson, D. P., & Jackson, J. A. (1984).

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of Sikkim, the north-eastern states, Nepal and Tibet. It is said that this system has derived from the practice of great 15th-century artists, which consist of six main classes of proportions.

4.1.a Units of measurements

The study of iconometry presupposes to begin with

12 Sor = 1 cha-chen

a knowledge of the terms, for units of measure. As Jackson D.P. and Jackson J.A. (1984) described in their book, and by learnings from local artists, research here tries to explain the unit systems, widely accepted in “Laripa”/Artist community of Sikkim. All Tibetan writers used the some specialized terminology on iconometry. To summarize, there are two types of units for measure: Small units are being called Sor

“Cha Chung” and big units are called “Cha Chen”. Usually,

Cha-chen = big unit/face unit Cha-chung = small unit Figure 42: Measure units

there are twelve small units to each large units, except one. Just as feet and inches, these units have the same Relation. But unlike inches and feet, they have no absolute value. To indicate the proportional value relationship, within the sacred image, they can be used for paintings, which are hundred feet tall to smaller ones, that are, of the size of a grain. There were a number of substitutes available for two main units of measures which created complexity within. Almost all of the terms are anthropometric in origin. As per characteristics of individuals, the larger unit (cha-chen)

1 cha-chen

was called as “Face measure” or “face”, “Span”(meaning the distance from the end of extended thumb to the tip of middle finger) and the smaller unit (Cha-chung) which was commonly referred to as a “finger width”( sor-mo, or if abbreviated, sor). In addition, sometimes cubit had been Figure 43: Proportional units

used as a unit or proportion, in Buddhist iconometry. Its distance was from the elbow, to the knuckles of the closed fist (Equal to two large units). 36

4.1.b Proportional divisions The major influential treaties written on proportions by Tibetans, were in the 15th century. Although the work itself has not been accessible in recent years, it was one of the main sources for two short passages on iconometry, by the 18th-century scholar and painter, Zhu-chen Tshul-khrims-rinchen. Description of the six major proportional classes (thig chen) of Smag-thang-pa are included in these passages. • Buddha = 125 sor (~10 cha-chen with 12 sor each) • Bodhisattvas = 120 sor (=10 cha-chen with 12 sor each) • Goddess = 108 sor (=9 Cha-chen) • Tall wrathful deities = 96 sor (=8 cha-chen) • short wrathful deities = 72 sor (6 cha-chen, some text describe 5 cha-chen) • Human & disciples = 84 sor (standing figure) The height of the figure equals to the arm span in first three classes, where measurement of upper body is equals to lower half body. But in the case of the wrathful figures and humans, such balanced proportions are not present to the same extent.

Buddha This first major category enclosed the essential proportions of Buddhas, whether or not manifest within the world as “emanation-bodies” (nirmalakaya) like Sakyamuni, or within the pure realms as “enjoyment-bodies” (sambhogakaya), like Vairocana and the alternative Tathagata of the figure. Sometimes the ultimate realization or “Dharma-body” (dharmakaya) of Buddha, was additionally aforementioned to be diagrammatic in paintings, as an example -in the form 37

4. 0 M ur a l s : T h e o ry o f Ic o n o m e try

of Samantabhadra in some Rnying-ma-pa cycles. The same old illustration of the dharmakaya, however, was the stupa. As mentioned before, the latter was thought-about to be the “mind-support” or “mind-receptacle” of the Buddhas, as against the “speech-support” (the scriptures containing the enlightened word), and also the “body-support” (primarily physical depictions of enlightened beings in painted or graven form). Vertical measures Horizontal measures: one side Spine to armpit 121/2 Armpit to elbow 20 Elbow join 1 Forearm 16 Wrist 1 hand 12 =621/2

Head protuberance Top of skull to hair line Hair line to tip of nose Tip of nose to chin Neck Chest Stomach Lover abdomen Hips Thighs Knees Calves Feet

4 41/2 4 4 41/2 4 121/2 121/2 121/2 4 25 4 25 41/2

Bodhisattvas The fundamental individuals from the below average were bodhisattvas who had tranquil appearances, such as Manjushri and Avaloketeshwara. The proportions of this class, were actually equivalent to those of the Nirmalakaya Buddhas, then again, actually 1 sor was subtracted from each large unit of measure. The absolute tallness and arm range of such figures was thus 10 large measures of 12 sor each, or 120 sor. Vertical measures Horizontal measures: one side Chest upper arm forearm hand One side

12 20 16 12 =60 sor

head protuberance top of skull to hair line face neck chest stomach lower abdomen hips thighs knees calves feet

4 4 12 4 12 12 12 4 24 4 24 4

Goddess Inside the third fundamental class, were incorporated the acclaimed serene goddesses, for example, Tara, Sarasvati, also semi-fierce yogis, for example, Vajravarahi, and the consorts of various male yidams. As indicated by certain sources, peaceful male gods of the mundane sphere, such as Indra also belong to the same class. The extents of these gods and goddesses are like those found in the initial two classes, however with a couple of essential subtractions, that convey the all-out body length to 9 vast units of 12 sor each, or 108 sor total. Vertical measures Horizontal measures: one side Chest 10 upper arm 18 forearm 14 hand 12 =54 sor

top of skull to hair line face neck chest stomach lower abdomen hips thighs knees calves feet

3 12 3 12 12 12 4 22 3 22 3

Tall wrathful deities This fourth principle class, incorporates the furious bodhisattva Vajrapali, and different figures, belonging to Yaka or Yama class. The class estimates 8 cha-chen in arm and height span, although due to their dignified and aggressive posture, the length of the vertical axis from the feet to the hairline is just 6 cha-chen.

Horizontal measures: one side

Vertical measures

Chest 12 upperarm 12 forearm 12 hand 12 =48 sor

Hair 10 Face 12 Neck 4 Torso 36 Knees 4 Calves 12 Feet 4 Seat 12

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Short wrathful deities This class really comprises of two, somewhat extraordinary sub-classes. The first of these sub-classes can have a height of either 5 or 6 cha-chen, depending upon, whether one incorporates or avoids such areas as the lower abdomen and hair.

Horizontal measures: one side Chest 12 upper arm 6 forearm 12 hand 12 = 42sor

Vertical measures Hair Face Neck Chest Stomach Thighs Calves Feet

12 12 4 12 12 8 8 4

Human and disciples This class is comprised of Sravakas (the early human pupils of the Buddha Sakyamuni and the devotees of the Sravakayana), Pratyekabuddhas, and normal people. A tantric analysis said that conventional people should quantify ~3 cubits in height (=7 cha-chen, 84 sor). To summarize, humans are portrayed in a smaller skeleton, versus Buddha is represented with comprehensive stature, and hence it gives justification to the division of all proportion classes of Buddhist iconography.

Horizontal measures: one side Chest 10 upper arm 14 forearm 12 hand 12 =48 sor

Vertical measures Face Neck Torso Hip Thighs Knees Calves Feet

12 3 27 4 15 4 15 4

4.2 Sketching composition

This section describes the artist, bestowing his

plan to the readied thangka ground. This activity included a few stages, the first was to set out the primary lines of introduction. The most imperative was the central vertical line from eight lines of orientation, for this would be the center point of the artwork on the wall, around which the artist would draw the remainder of the composition. As mentioned, the vertical hub typically denoted the center point of the main character, and it was in connection to this line, the various figures were likewise positioned in painting.

Figure 44: finding points

The correct foundation of the vertical and horizontal, was likewise important from a religious perspective of painting. The mural is an expression to show religious belief through art and craftsmanship, their characters must be impeccably situated in connection to the central axis. These initial steps are very crucial, in order to make it correct in its religious value of the subsequent work of art. A mistake in this stage, can affect the accuracy of the entire painting.

Eight orientation lines

Figure 45: diagonal lines

Before starting the sketch, the quick undertaking

was to decide a accurate vertical axis. This was trailed by the foundation of a horizontal opposite to it, and four external lines for characterizing the edges of the rectangular painting zone. Thus, at this stage total eight noteworthy lines: two diagonals, one vertical, one horizontal and the four external border are made by the artist.

In a complex thangka, the craftsman starts the

drawing, following rules that are at this point commonplace. He initially decides the territory, that the principal figure, 41

Figure 46: vertical & horizontal points

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together with its body radiance and seat, would involve in the foreground. This figure, normally set between the drawing region precisely focused on the vertical axis. The accurate position of the center figure, with respect to the horizontal, in any case, was not fixed. It could set, a higher or lower contingent, upon different components in the general drawing. On account of the least complex thangkas, the central figure was the main figure, and to characterize its zone, the artist was required to draw the figure, with the goal, that it filled the majority of the frontal area. Thangkas with more than one figure commonly required, as we have Figure 47: vertical & horizontal lines

seen, the distribution of more prominent or little zones to the different figures relying upon the pecking order of importance, inside that specific grouping of characters.

Artists initially fill up their drawing surface by

illustration bigger or little ovals, where the gods were to be drawn. By depicting a bigger oval in the middle, straddling the vertical axis, he set up the zone of the principal figure, including its seat and glow, or encompassing flares. At that point, to fill in the remainder of the parts to the bestpreferred standpoint, he draws little ovals for the lesser figures encompassing the principal god. He constantly masterminded the divinities of the â&#x20AC;&#x153;entourage,â&#x20AC;? in a Figure 48: base drawing with ovals

symmetrical structure fixated on the principal character. Lastly, after the spots of the considerable number of gods has been built up, he demonstrates the skyline, and the general design of the scene, with a couple of brief lines in the background.

Figure 49: final outlines

4.3 Methods & materials

Monastery murals are done earlier was built of

stones walls, plastered with lime and sand. This painting process is done in distinct stages: • Sanding and plastering- preparing the wall, • Making of colors, • Sketching out the figures and elements on the wall, • Outlining major detail, • Color filling the figures, • Color filing of deity’s face • Final outlines. Initial stages of preparing walls and colors are usually done by the junior or student laripa (artists). after the wall has been prepared and ready for the drawing, the master artist comes, and sketches out the main figure, detailing it with charcoal or pencil firstly, with the help of a proportional base of grid lines. For sketching, charcoal or pencils are always preferable, because they can be easily erased, if mistakes happen while drawing. Background elements and other fill up details are done by junior artists.2 Colors for wall paintings were earlier extracted from the mineral powders or organic dyes, and were used with natural glue binder to apply on walls. But as traditional artists are open for adopting new techniques and chemical/ artificial colors, are easily available in markets, current artists have started using oil, acrylic and synthetic pigments for the wall mural. The eyes of all primary deities are colored

2 Tibetan Thangka Paintings Methods & Material (First ed.). London: Serindia Publication. Jackson, D. P., & Jackson, J. A. (1984).

Figure 50: sequence of painting eyes

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with natural material, and by this approach, they believed that it remained the sanctity of the mural.

4.3.a Colors

The mixing of colors also had a theoretical side in

Tibetan art and several of their theories believed in certain White Black Blue

primary colors. Currently, there are eight colors, that are considered by artists across Sikkim and other colors can be derived from mixing of these colors. Earlier, the colors like white were extracted from calcium carbonate/limestone, black was extracted from soot and black ashes, blue was

Green

produced from lapiz lazuli and indigo, leaves and tree

Yellow

and yellow & orange were extracted from ochre and minium

abstracts were the main source of green, red from vermilion crystals. Gold leaves or gold dust powder is mixed with

Orange

binding glue and yellow to color the ornaments of deities.

Gold

Red Figure 51: Mural color palette

It is common that in a large mural project the master

artist completes the sketch and leave the filling basic colors, for his assistant artist or students. To imply the correct colors to the given sketch, artists use an abbreviated system of signs (usually number), to indicate the colors.

5. Case studies

Case study selection :

History of Buddhist monastery mural paintings has

been predominant form of religious expression since the inception of the religion and one can find the trace of it from Tibet to Nepal to the first monastery built in Sikkim in 15th century. Since the study here cover the larger spectrum of only one Buddhist sub-sect: Nyingma-pa school, the choice of cases are selected from the different scale of monastery, different time periods and different region through out Sikkim. The choice is also guided by the fact that these cases are considered most prominent in terms of its scale, unique mural style and art works, iconography and characters and importance in its religious beliefs.

Case 1

Pemayangtse Monastery

Pelling, West Sikkim 1705 AD

N O R T H

Case 2

Enchey Monastery

Gangtok, East Sikkim

1909 AD MANGAN

W E S T

GANGTOK

Case 3

Ngadag Monastery

GEZING

S O U T H

Namchi, South Sikkim 2007 AD NAMCHI

E A S T

5. 0 C a s e - s tu d i e s

Case 1 Pemayangtse Monastery Pelling, West Sikkim 1705 AD

Name “Sangchen Pemayangtse Gompa” means

“most

sacred

lotus

summit

monastery” is one of six most important monastery belongs to nyingma-pa sect of Sikkim due to its religious and royal importance. Initially a small gompa was formed in 1647 and the structure which is seen today was built in 1705 AD. Monastery showcases

the

few

exquisite

oldest

remaining Tibetan style murals done in natural dyes.

Case 2 Enchey Monastery Gangtok, East Sikkim 1909 AD

Enchey sangag rabtenling monastery hold religious beliefs of local community and it belongs to nyingma-pa sect of vrajrayana Buddhism situated 2.5km north-east of Gangtok on a hill. Its is said to believed that around 200 years ago a small gompa was setup by Druptob karpo lama. The current structure of the enchey monastery was built between 1909-10 by the Sikyong Tulku at the same location as earlier.

Case 3 Ngadag Monastery Namchi, South Sikkim 2007 AD

Ngadag monastery belongs to the first set of Buddhist monasteries built by locals and community under first Chogyal. Old monastery was heavily damaged by 1989 earth quake, a new monastery was built in same vicinity of the old monastery in 2007. New monastery structure has central double volume prayer hall showcases newly done intricate and ornamented works of murals done on walls and ceilings. 48

Case 1

Pemayangtse Monaster y Sangchen Pemayangtse Monastery Pelling, West Sikkim 1705 A.D.

P ema ya ngt s e Mona s t er y : 1705 AD

Overview

Pemayangtse monastery is one of six major monasteries of Nyingma-pa sect built

in 18th century located near Pelling in west Sikkim. Pemayangtse monastery is considered the most sacred monastery amongst Nyingma-pa and was established in 1647 AD, the monastery as seen today was built in 1705 AD. Pemayangtse complex houses main monastery, lhakhang, lama school, office, kitchen and residence for over 300 enrolled lamas. Monastery is an example of late shrine type two storey monastery with central prayer hall showcases the oldest standing meticulously done wall painting. Wall paintings at Pemayangtse are painted in early Tibetan style on plastered stone wall with natural pigments and have survived from last 300 years. The wall murals is in valedictory condition where plasters from the most walls are chipping off and in some part the layers of mural are clearly visible. At first sight it gets difficult to recognize elements and subjects of the mural but at close inspection one can find the intricate composition of stylized narrative of Buddha, Bodhisattvas, deities, lineage trees and religious symbols.

Figure 52: Architectural details of Pemayangtse monastery

Figure 53: Seating for lamas along the Altar

Figure 54: Murals on the prayer-hall walls

Figure 55: Murals on the prayer hall walls

Figure 56: Murals on the threshold walls

5. 0 C a s e - s tu d i e s

5. 7.

1. 5.

Figure 57: site plan of Pemayangtse Monastery

1. Main Monastery

5. Kitchen

3. Chorten (stupa)

7. Office

2. Lhakhang (chapel) 6. Class room 4. School

8. Residence for lamas

Figure 58: Isometric sketch of Pemayangtse Monastery

P ema ya ngt s e Mona s t er y : 1705 AD

Characteristics of Monastery Pemayangtse

monastery

has asymmetrical plan with prayer hall being a center of Front Elevation

the building. Upon entering vestibule creates a buffer zone between prayer hall and outside area.

Secondary

activities

are placed on both sides of monastery and hence central â&#x20AC;&#x153;Lâ&#x20AC;? shape space is assigned as prayer hall. where upper floor is used as lhakhang and roof attic is currently act as museum space

1 2

entry

Ground floor Plan (not to scale)

The monastery has two storey

where centuries old monastery artifact are displayed.

Monastery got under several preservation process after it got

affected in major earthquake in 1912 and 1960, in which the effort was trying to retain and

Back Elevation

strengthen structural system.

1. Entrance threshold

2. Small sanctuary (dokhon) 3. Small sanctuary (dokhon) 4. Prayer hall (dokhon) 5. Stairs room 6. Store

Figure 59: Plan and elevations of Pemayangtse Monastery

5. 0 C a s e - s tu d i e s Seatings for Monks Tables for offerings and reading Statues of deities

Guru Padmasambhava Buddha Amitabha Goddess Tara Mahakala

Movement of monks Movement of devotees

Figure 60: Diagram showing movement and layout of the Prayer-hall

The Pemayangtse monastery prayer hall is a

asymmetrical built-form with grid of 9 columns in center. The movement within monastery is dictated by the interior layout and furniture placements. Seating is kept in all linear axises along the column and wall facing the main altar. These furniture restrict the flow of movements and only allows devotees to move in certain ways with in monastery. Higher lama seating is placed near the altar and junior and student lama seating placed respectively further. The main worshiping statue of Guru Padmasambhava is placed along the central doorâ&#x20AC;&#x2122;s axis, although it is not a center of prayer hall and hence keep the central path clear for devotees and it guide them to move on the sides where devotees offer their prayers to other deities and murals and leaves from the central door. The altar is located on opposite wall 54

P ema ya ngt s e Mona s t er y : 1705 AD

facing south and murals are painted on all remaining wall: elevation A, B, C, D and E of the prayer hall and threshold walls: elevation F, G and H. Interior murals are not clearly visible due to its deteriorating conditions where paints are faded and some parts of plaster is chipping off making difficult to see the composition of the mural and colors are exfoliating from the surface. Murals are distinctive in its early Tibetan style done in natural mineral dyes. The are for wall painting is defined by the linear bands running on top and bottom. The murals are very intricate and detailed showing various lineage trees of deities. These creates a narrative of miniature and very compact subject

Figure 61: Pictures showing deterioration of wall murals

painting groups. These composition is not fairly readable but it can categorized by its grouping style. Its interesting to note that due to its early Tibetan style influence, mural subjectâ&#x20AC;&#x2122;s anatomy is unbalanced where hands and legs are unusually bigger in compare to the body. Figure 62: exfoliating layers of natural pigment color

ele

ele ele

ele

Figure 63: Interior isometric sketch showing location of Murals at Pemayangtse Monastery

ele

5. 0 C a s e - s tu d i e s

Typical wall characteristics Pemayangtse mural wall is comprised of basic 4 linear band running across the wall. The topmost band is represented in kirtimukha pattern in green and red color decorated with repeated series of jewels and garlands. Bottom band is comprised of two bands, where most bottom band is painted in red natural dye color. The small band above red color is divided into three sub division painted in green red and blue color with central repeated pattern of Vajra/Dorje along with jewels and flowers. The central band framed between two bands of decorated patterns becomes the canvas for the Mural. Wall painting are done in natural pigments extracted from the plants, minerals and other natural resources.

Figure 64: repetitive dorje pattern (bottom band) Figure 65: repetitive pattern (top band)

Mural done in natural dyes

Bottom red color band

Bottom pattern band

Top Banner Plaster finished pattern Stone wall

Figure 66: Typical wall partitioning at Pemayangtse Monastery

P ema ya ngt s e Mona s t er y : 1705 AD

The eastern wall/ Elevation A showcases the mural of cardinal Buddha of Pemayangtse Monastery and founder of Buddhism â&#x20AC;&#x2DC;Buddha Sakyamuniâ&#x20AC;&#x2122; near the altar. Various lineage trees including Guru Padmasambhava, Avaloketeshwara and others in very distinctively and intricate interwoven composition with primary color palette . Colors of the wall are faded in some parts and inner layers are clearly visible.

b a

Figure 67: Diagram showing subject and placement of the Elevation A : Interior wall mural

Figure 68: Interior elevation A : collage showing mural paintings

Foreground characters

Background elements

Figure 69: diagram showing anchoring figures and background elements of Elevation A wall

5. 0 C a s e - s tu d i e s

Vajrakila

belong

Panel F : subject

yidam

Image

category of wrathful deities. He is portrayed here with is consort in yap-yum position is blue color body. The figure is surrounded by the flames that

enhance

expression.

the

wrathful

The

figureâ&#x20AC;&#x2122;s

anatomy is unlike where the hands and legs are bigger than usual- depict the early Tibetan drawing style.

Vajrakila Yap-Yum

Narrative details

12 12

12 Wrathful Yap

4 12 96 12

Wrathful Yum

12 4 12

Blood filled skull cap

4 12 72

Figure 70: Underlying proportion of Panel F : Vajrakila

Bell and Vajra

P ema ya ngt s e Mona s t er y : 1705 AD

Image

Panel A : subject

Buddha Sakyamuni or Gautama is considered as founder of the Buddhist religion. The figure is painted on the wall near the main altar. Buddha sakyamuni is portrayed in “bhoomisparsha” meditative position and his calm expression is manifest the significance of the character. The figure is holding begging bowl in his lap representing monk-hood.

Buddha Sakyamuni

Narrative details

8 12

4 12 Calm expression

12 Begging bowl

8 4 4 8

“Bhoomisparsha” position

4 4 52 Figure 71: Underlying proportion of Panel A : Buddha Sakyamuni (seated pose)

5. 0 C a s e - s tu d i e s

Guru

Rinpoche

Panel D : subject

Guru

Image

Padmasambhava is considered to

founder

the

Nyingma-pa sect of Buddhism and portrayed with a wrathful expression with enlightenment aura circle in back. His figure is

illustrated

with

intricate

details with holding Vajra in his right hand and skull cap in his left hand while trident with a flaming tip is resting on his

Guru Padmasambhava/ Guru Rinpoche

shoulder.

Narrative details 8

8 12 fierce expression

12 4 72

12 vajra

12 4 8

flaming trident

4 4 52

Figure 72: Underlying proportion of Panel D : Guru Padmasambhava (seated pose)

skull cap

P ema ya ngt s e Mona s t er y : 1705 AD

Elevation D & E are corner left walls in prayer hall. Elevation D showcases Heruka: the deities of eight transmitted precept. Elevation E manifest the story of “Zamba lha” and “Throchen dhut tse khilwa” (panel i), “Namthoe se” and “Norgyum ma”( panel j). These panels are comparatively less damaged and one can easily recognized the composition of figurative elements.

Figure 73: Diagram showing subject and placement of the Elevation D & E : Interior wall mural

Figure 74: Interior elevation D & E : collage showing mural paintings

Figure 75: color swatches of Elevation D & E wall

5. 0 C a s e - s tu d i e s

Image

Panel H : subject

Heruka is wrathful deity and wisdom king. He is portrayed here in Yap-yum position with red color body and his consort in blue color. The character composition is enhanced by the outer flames surrounding the figure and it reinforce its wrathful expression.

Heruka Yap-Yum

Narrative details

12 8

Head detail

4 12 4 12

wrathful Yum

12 12 4 12

wrathful Yap

4 12 72 Figure 76: Underlying proportion of Panel H : Heruka

P ema ya ngt s e Mona s t er y : 1705 AD

Image

Panel i : subject

Vidarana

wrathful

deity

emanated by Vajrapani. He is showcase with green color bodied character surrounded by the flames. He is holding four sided vajra on his right hand and victory bell on his left hand.

Vidarana Yap-Yum

Narrative details

12 12

Fierce expression

12 12

4 sided Vajra

8 4 12 4

Golden bell

12 52

Figure 77: Underlying proportion of Panel I : Vidarana

5. 0 C a s e - s tu d i e s

The western wall/ Elevation B is highly damaged wall of the monastery with major portion of the mural is chipped off and it gets difficult to read the narrative of the mural. On a close inspection one can find the subjects of (from left) Gud-rak yap-yup, monk lineage tree of pemayangtse, and Buddha amitabha and vajrabhairava is painted near the altar.

l k

n m

Figure 78: Diagram showing subject and placement of the Elevation B : Interior wall mural

Figure 79: Interior elevation B : collage showing mural paintings

Foreground characters

Background elements

Figure 80: diagram showing foreground characters and background elements of Elevation B wall

P ema ya ngt s e Mona s t er y : 1705 AD

Vajrabhairava

one

Panel K : subject

Image

protector of wisdom Buddha (wisdom king) and wrathful manifestation

Buddha

Amitabha and showed here in tantric yap-yup position in red color body with his consort in blue color. His expression and iconography of his fierce and

wrathful

representation

is enhanced by the flames around him.

Vajrabhairava Yap-Yum

Narrative details 12

12 4

wrathful Yap

12 wrathful Yum

12 4 12

vajra & skull cap

4 12 72 Figure 81: Underlying proportion of Panel K : Vajrabhairava

dagger

5. 0 C a s e - s tu d i e s

The southern wall/Elevation C is interior side of main door wall and less damaged wall of the monastery. Panel shows intricate composition of the murals like son and the great disciple of The Buddha: Rahula, and protector deities like â&#x20AC;&#x153;zog nga kyetbu dhamchenâ&#x20AC;?. The layers of color paints are visible in some parts and dried natural pigments colors can be examined. Blue color used in the monastery was extracted from indigo and it is identifiable from physical inspection.

Figure 82: Diagram showing subject and placement of the Elevation C : Interior wall mural

Figure 83: Interior elevation C : collage showing mural paintings

Foreground characters

Background elements

Figure 84: diagram showing foreground characters and background elements of Elevation C wall

P ema ya ngt s e Mona s t er y : 1705 AD

Image

Panel P : subject

Rahula

considered

atrocious and fierce protector deity

the

Nyingma-pa

school. He is manifested with nine heads and big rage face on his belly. His wrathful physique is manifested with multiple angry eyes on his body and he is holding bow and arrow in his hand. This panel is started exfoliating the layers of colors and can be seen through crack Rahula

of the panel. 12

Narrative details

12 6 6 3 12

wrathful expression

12 3 96

Figure details

12 3 12

Hand gesture

12 3 Hand gesture

Figure 85: Underlying proportion of Panel P : Rahula

5. 0 C a s e - s tu d i e s

Elevation G & H are exterior- threshold side walls which are affected and exfoliating most due to direct sun contact. This panel shows a single figure composition with highly detail drapery and ornaments of Guardian protector deities of cardinal directions. Panel 1 shows “Virudhaka”, the guardian deity of south direction with sword in his right hand. Panel 2 shows “Virupaksha”, the guardian deity of West direction with stupa on his right hand and snake in his left hand.

Figure 86: Diagram showing subject and placement of the Elevation G & H : Interior wall mural

Figure 87: Interior elevation G & H : collage showing mural paintings

Figure 88: color swatches of Elevation G & H wall

P ema ya ngt s e Mona s t er y : 1705 AD

Elevation F is exterior main entrance hall of prayer hall and divided into 2 parts because of central door. This elevation showcase Buddhist fables and religious tale of “The four good companion of human” narrated on panel u,v and w. Panel x shows the principle monk who had build Pemayangtse monastery and on extreme right “Samsara”The wheel of life is depicted in primary color palette.

v u

y w

Figure 89: Diagram showing subject and placement of the Elevation F : Interior wall mural

Figure 90: Interior elevation F : collage showing mural paintings

Foreground characters

Background elements

Figure 91: diagram showing foreground characters and background elements of Elevation F wall

5. 0 C a s e - s tu d i e s

Elevation I & J are exterior- threshold side walls which are exfoliated most like other threshold walls. This panel has single character composition of the protector guardian deities. Panel 3 showcases “dhritrastra”- the guardian of East direction with string instrument in his hand. Panel 4 has “Vaisaravana”- the protector of north direction with holding Victory banner in his hands.

Figure 92: Diagram showing subject and placement of the Elevation I & J : Interior wall mural

Figure 93: Interior elevation I & J : collage showing mural paintings

Figure 94: color swatches of Elevation I & J wall

Inferences

Narrative hierarchy: The mural shows complex narrative through hierarchy in scale and position of the protagonist

and

subsidiary

characters in symmetry of pyramid or radial composition.

Figure 95: diagram showing Geometrical composition of the mural

Symbols & motifs: The use of geometrical patterns and symbols are noticeable at Pemayangtse monastery murals. The celling of the main prayer hall has painted with Chinese motifs in natural blue dyes. The furnitures are also been painted with auspicious symbols like blossomed lotus, vase, endless knots and golden wheel to decorate. The wooden carving backdrop of main altar also shows the

Figure 96: Patterns on the ceiling

extensive use of motifs and patterns.

Wall system: The

typical

pemayangtse

wall have

at four

basic division. Where upper band comes at beam level. And lower band comprised of two sub division comes at 3and half feet from ground which comes above devoteeâ&#x20AC;&#x2122;s navel level. Mural canvas is framed by two decorative bands on both sides.

Figure 97: diagram showing divisions of the mural wall

I nf erenc e s

Protagonist characters: Pemayangtse

monastery

showcases the narratives of its cardinal Buddha Sakyamuni and guru rinpoche including bodhisattvas deities.

and

These

other

characters

are placed in center of each panel

accompanied

secondary figures.

protagonist of Panel i Figure 98: diagram showing Protagonist character of the narrative

Background characters & landscape elements: The background has very complex variety of elements depicted in very elaborated manner. Due to the deterioration its not easily noticeable to separate the background elements but in close inspection one can find landscape elements like mountain ranges, clouds, water and other symbols used as background. Figure 99: Background characters

Spatial orientation of murals: Murals are placed with religious placement and direction in mind and narrative are located keeping orientation in mind. Cardinal deities of Pemayangtse monastery Buddha Sakyamuni is portrayed on the wall near the main altar. Guardian deities of four directions are placed in threshold that gives metaphorical connection to the place being protected by their presence. Figure 100: diagram showing placement of guardian deities

Color palette: Use of natural dyes and mineral pigments gives very distinct monotonous appearance to the mural. By examining the exfoliating layer of colors one can see like blue natural dyes were extracted from indigo and colors like orange from Figure 101: Common color swatches

minium crystals and yellow from turmeric mixture. 72

Case 2

Enchey Monaster y

Enchey Sangag Rabtenling Monastery Gangtok, East Sikkim 1909 A.D.

Enchey Mona s t er y : 1909 AD

Overview

Enchey monastery is 20th century monastery located in Gangtok and built in

1909 AD which roots date backs 200 years ago. Enchey monastery complex houses main monastery temple, a pavilion, monastery office, newly built temple and a residence for around 90 monks enrolled in Enchey monastery belonging to Nyingma-pa sect. The monastery structure is symmetrical where walls are built in stone masonry and structural supports are done in wood with stucco covered with diligent mural paintings. The Murals were painting in Tibetan style and colors look vibrant due to restoration process in 2006 where mural have got a new layer of paint and because of that the murals have survived. The monastery murals exhibits number of Buddha, Bodhisattva, deities and religious symbols with intricate and interwoven compositions of characters with highly stylized elements.

Figure 102: Architectural details of Enchey Monastery

Figure 103: Wooden carving as backdrop of statues

Figure 104: Murals on the prayer-hall walls

Figure 105: Murals on the threshold walls

Figure 106: Murals on the prayer-hall walls

5. 0 C a s e - s tu d i e s

2 N

2 4 2

1. Monastery

2. Residence 3. Office

4. Chorten

5. Pump house

6. Incense burner (butter lamp offering)

7. Main gate 8. Pavilion

9. New temple block 10. Tea stall

Figure 107: Site plan of Enchey Monastery

Figure 108: Isometric sketch of Enchey Monastery

Enchey Mona s t er y : 1909 AD

Characteristics of Enchey Enchey monastery has distinctive architectural

characteristics

with a symmetrical plan with rectangular volume in center with

small

four

sections Front Elevation

connected on sides, where central volume is double height and serves as a assembly or prayer hall. The

architecture

style

enchey monastery is inspired by the Chinese style, principal of Beijing school of Gyan

Rychunga of â&#x20AC;&#x2DC;Five crest or

structure

constructed

different levels. Monastery got under restoration after

Sikkim

stone masonry with roof at four

process

entry

Ground floor Plan (not to scale)

pinnaclesâ&#x20AC;&#x2122;. The main gompa

got

affected in major earthquake in 2006, in which the stone

2 5 6 7

Back Elevation

masonry was reinforced.

1. Entrance threshold 2. Prayer Hall

3. Room of Duchi (caretaker lama) 4. Idol making room 5. Stairs veranda

6. Store for religious books

7. Store for additional tables and seats

Figure 109: Plan and elevations of Enchey Monastery

5. 0 C a s e - s tu d i e s Seatings for Monks Tables for offerings and reading Statues of deities

Guru Padmasambhava Buddha Amitabha Avaloketeshwara Vrajrapani

Movement of monks Movement of devotees

Figure 110: Diagram showing movement and layout of the Prayer-hall

The Enchey monastery is a symmetrical built form

plan with four columns in central prayer hall. The movement in prayer hall is defined by the interior layout and the placement of furnitures. Keeping the central door as main entry, furnitures are placed in an aisle facing each other that act as a guiding path. Furniture are arranged along the central columns directs and restricts the movement, and leads to the altar where main statues of the gods and goddess are kept. Entering from the central door visitor can have panoramic view of the mural on all three walls from the central aisle. The torma offering table and the table for seven offering bowl and scarf offering are placed in the center before the altar due to its ritualistic importances, acts as barrier and guides the movement to aisle on other both sides where devotees offer their prayer to murals of deities and leaves from the respective aisle door.

Enchey Mona s t er y : 1909 AD

Upon entering the monastery, murals are visible from on the walls of the threshold where it covers and the central door wall and upper parts of the side walls. The altar is placed on the opposite wall facing south direction in prayer hall and other three walls: elevation A, elevation B and elevation C (interior of the door wall) are covered with vibrant murals depicting stories of Buddha, Bodhisattvas, masters and lineages are done in acrylic paint, defined the characters of the monastery. The composition created between linear top and bottom band with different patterns creates a canvas for the wall murals. The composition of the foreground subject and background elements in wall paintings are distinct and fairly readable. The murals are not painted as one single subject but as series of visual narratives that can be categorized by their individual grouping style.

ele

.F .D

ele

Figure 111: Interior isometric sketch showing location of Murals at Enchey Monastery

5. 0 C a s e - s tu d i e s

Typical wall characteristics Typical wall at Enchey monastery is composed of basic three division which include red color oil painted band at bottom with 3 feet height with 2 linear band of blue and yellow color at top edge. The top band is imitation of the traditional silk banner, which is represented with two equidistant green and red color pattern. Central division contains murals and placed between 2 pattern band and it gets highlighted with 25 mm wooden framing.

600 mm

Mural

25 mm wooden frame

280 mm

Bottom Band Figure 113: Top banner detail

Figure 112: Mural framing detail

Wooden framing around mural

Mural

Bottom band

Top Banner pattern

Plaster finished Stone wall

Figure 114: Diagram showing typical wall characteristics at Enchey Monastery

Enchey Mona s t er y : 1909 AD

The eastern wall/ Elevation A showcases the mural of cardinal Buddha of Enchey Monastery Buddha amitabha and the founder of the nyingma-pa school Guru Padmasambhava in a considerable size making both as primary characters of the wall with intricate detailing. While other bodhisattvas and 16 forms/ avatars placed in center is in smaller scale making them secondary and tertiary characters of the composition. Overall color scheme of the wall falls under tints and shades of primary colors palette.

Figure 115: Diagram showing subject and placement of the Elevation A : Interior wall mural

Figure 116: Interior elevation A : collage showing mural paintings

Figure 117: Anchoring characters of Elevation A

Figure 118: background elements of Elevation A

5. 0 C a s e - s tu d i e s

Guru

Padmasambhava

Panel Q : subject

Image

considered to be a founder of the Nyingma-pa school and portrayed with a wrathful expression with enlightenment aura circle in back. His figure is

illustrated

with

intricate

details with holding Vajra in his right hand and skull cap in his left hand while trident with a flaming tip is resting on his shoulder.

Guru Padmasambhava/ Guru Rinpoche

Narrative details 8

8 12 fierce expression

12 4 72

12 vajra

12 4 8

flaming trident

4 4 52

Figure 119: Underlying proportion of Panel S : Guru Padmasambhava (seated pose)

skull cap

Enchey Mona s t er y : 1909 AD

Panel N : subject

Image

Buddha Amitabha considered as wisdom Buddha is a cardinal and main worshiped Buddha of

Enchey

monastery

and

hence placed on the wall near altar in considerable size. He is manifested in meditative position with red color bodied and skull cap in his hands. His clothes and aura circle is done in golden paint gives more importances

Buddha Amitabha

within

entire

panel. 8

Narrative details

12 4

calm expression

12 meditative posture

8 4 4

meditative posture

8 4 4 52

Figure 120: Underlying proportion of Panel N : Buddha Amitabha

5. 0 C a s e - s tu d i e s

The western wall/ Elevation B intricately grouped narratives of Bodhisattvas of Vajrabhairava and Avaloketeshwara. Both primary figures are showcase in larger scale, making them primary characters compare to other secondary and tertiary figures of the same wall. Mountains and other landscape elements are added as fill up characters with vertical gradient shading for the background of the wall painting.

Figure 121: Diagram showing subject and placement of the Elevation B : Interior wall mural

Figure 122: Interior elevation B : collage showing mural paintings

Figure 123: color swatches of Elevation B wall

Enchey Mona s t er y : 1909 AD

Image

Panel R : subject

The wall

western is

interior

dominated

Avaloketeshwara. portrayed

wrathful

representation

Buddha

amitabha

seen

and

along

with his consort. The figure is represented with red colored body exemplifies the wrathful expression

with

small

and

intricate details in his head gear and jewelery.

Avaloketeshwara Yap-Yum

2 4

Narrative details

8 12

4 12 wrathful Yap

4 12 wrathful Yum

76 12

4 8

skull cap

4 4 52

Vajra

Figure 124: Underlying proportion of Panel R : Avaloketeshwara

5. 0 C a s e - s tu d i e s

Panel S : subject

Vajrabhairava one of wisdom king

(protector

Buddha)

and

manifestation

Image

wisdom wrathful

Buddha

Amitabha is showed here in tantric yap-yup position in red color body with his consort in blue color. His expression and iconography of his fierce and

wrathful

representation

is enhanced by the flames around him.

Vajrabhairava Yap-Yum

Narrative details

12 12

wrathful Yap

4 12

wrathful Yum

12 4 vajra & skull cap

12 4 12 72

Figure 125: Underlying proportion of Panel S : Vajrabhairava

dagger

Enchey Mona s t er y : 1909 AD

Elevation C showcases goddess Tara and Padmasambhava as primary figures and Chogyal lineage tree who helped in constructing monastery are also portrayed as secondary figures (panel j). This wall also have auspicious symbols like wheel of life (panel m) drawn and be seen as tertiary figure of the wall mural. This wall is balanced in composition of the placements of character hierarchy and well adapts the existing architectural features.

i iâ&#x20AC;&#x2122;

l k

iâ&#x20AC;&#x2122;

m Figure 126: Diagram showing subject and placement of the Elevation C : Interior wall mural

Figure 127: Interior elevation C : collage showing mural paintings

Anchoring characters

Figure 128: Anchoring characters of Elevation A

Background elements

Figure 129: Background elements of Elevation A

5. 0 C a s e - s tu d i e s

Image

Panel K : subject

Goddess Tara is considered as protector of eight endangers of life and placed on the opening door wall. She is pictured in green color physique with giving position. Her avatar is more evident with her leg position more widen and her right leg resting on lotus.

Tara Devi

6 2

Narrative details

8 3 12

green Tara

3 12

12 ornamented crown

4 8 4 4 offering posture

48 Figure 130: Underlying proportion of Panel K : Tara Devi

Enchey Mona s t er y : 1909 AD

Panel i : subject

This panel is dominated by

Image

the story of Guru Rinpoche/ Padmasambhava different

and

avatars.

his Guru

Padmasambhava is drawn here in giving position with Vajra on his right hand and skull cap in his left hand and flaming tip trident resting on his shoulder.

Guru Padmasambhava/ Guru Rinpoche

2 4

Narrative details

Calm expression

4 12 68 12

Skull cap

4 8 vajra

4 8 8 84 Figure 131: Underlying proportion of Panel i : Guru Padmasambhava

flaming trident

5. 0 C a s e - s tu d i e s

Elevation E & F showcases the remaining two cardinal guardian deities of West- Virupaksa and South- Virudhaka on side walls on the threshold. Virupaksha is a serpent deities and hence depicted with his symbol of snake and Virudhaka is depicted with sword in his hands.

Figure 132: Diagram showing subject and placement of the Elevation E & F : Exterior threshold wall mural

Figure 133: Exterior threshold elevation E & F : collage showing mural paintings

Figure 134: color swatches of Elevation E & F wall

Enchey Mona s t er y : 1909 AD

Upon entering the monastery the threshold /Elevation D is illustrated the guardian deities of the cardinal directions of East- Dhratarastra and North-Vaisravana are placed as primary figure in the center, while Samsara or wheel of life is placed on the side of the wall. These representation of the guardian deities on exterior wall symbolizes that the monastery is protected under their watch.

Figure 135: Diagram showing subject and placement of the Elevation D : Threshold wall mural

Figure 136: Exterior elevation D : collage showing mural paintings

Figure 137: color swatches of Elevation D wall

5. 0 C a s e - s tu d i e s

Inferences

Narrative hierarchy: The mural shows a fairly complex composition that falls under basic symmetrical layout of key characters. The secondary figures are intertwined with central primary figures which is showed in larger scale within the mural. Secondary figures are subsequently in a smaller scale and accompanied by tertiary figures and background elements. Figure 138: diagram showing mural composition

Symbols & motifs: The auspicious symbols like conch shell, victory banner, lotus and endless knot were used as subject of the mural and placed at a various intervals with in murals. The symbols Figure 139: Symbols on furnitures

like offering bowls are used as tertiary elements along with protagonist. The use of motifs and symbols are also used as patterns to decorate furniture like offering table, reading desks and seatings. Windows and doors are also decorated with the symbols and garland motifs.

Figure 140: Symbols in mural

Wall system: The wall at Enchey is subdivided into four different portions. The band is placed at a level where it covers the perpendicular beam datum. Lower bands is red colored patch that reach upto three feet in height. Upper lower band is comprised of 3 colored linear lines. These two pattern band creates frame for the central mural.

Figure 141: diagram showing Divisions of the mural wall

I nf erenc e s

Protagonist characters: The underlying proportions are being strictly followed throughout

all

figures

in the murals of Enchey. This

regulating

systems

can

seen

the

primary characters of the composition where they are scale accordingly. Figure 142: diagram showing protagonist figure of the narrative

Background characters & landscape elements: The background is largely consist of landscape elements like sky, water, mountain rage and rocky surfaces. These elements are mostly done in greenish blue color scheme, makes it supplementary to the anchoring characters and more subtle within entire composition. Figure 143: Background elements

Spatial orientation of murals: Cardinal deities of Enchey Buddha Amitabha and Guru Padmasambhava are located on the east wall near the main altar, gives symbolic importances. Vajrabhairava and avaloketeshwara are sacred deities of west direction and hence placed on the western wall of the monastery. The guardian deities are placed on the threshold of the monastery along with folklores and Samsara-wheel of life, which enhance oneâ&#x20AC;&#x2122;s spiritual experience as they enters into religious institution.

Figure 144: diagram showing location of Buddha Amitabha

Color palette: The wall paintings shows vibrant range of colors in anchoring characters where background is done in very subtle colors. This contrast in colors makes it more appealing to the eye of beholder. This color palette follows the guideline set by religious scriptures to a some extent. Figure 145: Color swatches of Enchey

Case 3

Ngadag Monaster y

Namtse Ngadag Monastery Namchi, South Sikkim 2007 A.D.

N ga da g Mona s t er y : 2007 AD

Overview

Ngadag Monastery originally is a 17th century monastery located in south of Sikkim.

Old monastery was heavily damaged in earthquake and hence new monastery was built with in 2007 in same premise. Monastery complex is divided into two levels where lower floors are used as residence and classrooms for resident monks and upper level houses main monastery. Ngadag monastery is enclosed type monastery and has relatively very large spatial volumes because of its RCC construction. Monastery prayer hall is a double volumes space and walls are comparatively large with almost seven meters of clear height. Monastery showcases very vibrant and intricate wall paintings of Buddha, lineage trees, yama and yaksha with gold leafing relief work gives appealing aesthetics. Foreground subjects and background elements are clearly visible with elaborative interwoven composition.

Figure 146: Pemayangtse monastery complex

Figure 147: Old monastery

Figure 148: Seating for lamas along the Altar

Figure 149: Murals on the prayer-hall walls

Figure 150: Murals on the prayer hall walls

Figure 151: Murals on the threshold walls

5. 0 C a s e - s tu d i e s

5 5 7

8 7

1. Monastery

2. Old monastery

3. Administrative office 4. Chorten (stupa)

5. Residence for lamas

6. Lhakhang temple

7. School

8. Pavilion

9. Main entry gate Figure 152: Site plan : Ngadag monastery

Figure 153: Isometric sketch of Ngadag Monastery

N ga da g Mona s t er y : 2007 AD

Characteristics of Ngadag Ngadag is considerable size monastery with large volumes achieved

through

RCC

structures. Monastery is three Front Elevation

storey structure with two level pinnacle roof. Monastery is built in symmetrical form with threshold in front and secondary space on both side. Main prayer hall is double hight altar on opposite wall facing cardinal direction of South-East.

1 2 3

entry

Ground floor Plan (not to scale)

volume with cement carving

Back Elevation

1. Entrance threshold 2. Staircase room

3. Small sanctuary (dokhon) 4. Prayer hall (dokhon) 5. Back pavilion

Figure 154: Plan and elevations of Pemayangtse Monastery

5. 0 C a s e - s tu d i e s Seatings for Monks Tables for offerings and reading Statues of deities

Guru Padmasambhava Buddha Amitabha Avaloketeshwara Vrajrapani

Movement of monks Movement of devotees

Figure 155: Diagram showing movement and layout of the Prayer-hall

The threshold at Ngadag monastery act as

intermediary space and through its central door devotees enters the monastery. Prayer hall interior layout is symmetrical and furniture is placed along its six structural column grid. Furniture arrangements along the central axis define the primary circulation path towards altar. Seating for hight lamas are kept near the altar and junior and student lama seats are placed respectively. Torma offering table is place at the end the central path creates a barrier between altar and devoteeâ&#x20AC;&#x2122;s movement. After offering their prayers to idols of altar, the large spatial volume of monastery allows visitor to observe the beautiful wall paintings done on the walls of the monastery.

100

N ga da g Mona s t er y : 2007 AD

ele

.D ele

.A .F

ele

Figure 156: Interior isometric sketch showing location of Murals at Ngadag Monastery

101

ele

ele .J

ele

5. 0 C a s e - s tu d i e s

Typical wall characteristics Typical wall at Ngadag monastery is 22 feet in height and comprised of 4 linear divisional bands which includes three and half feet wooden paneling at the bottom with linear band on top comprised of three colors with dorje pattern. Top most band is divided into two equidistant bands of green and red with pattern of banner, wrathful deity, jewels and garlands. Central mural band gets almost 14 feet of clear height and its newly painted in acrylic colors with chalk powder emboss relief work give third dimensional effects to the mural.

Figure 157: Lower band detail Figure 158: Upper band detail

Vertical wooden paneling at bottom band

Mural painted in acrylic colors

Bottom band pattern

Top Banner pattern

Plaster finished concrete wall

Figure 159: Typical wall characteristic at Ngadag monastery

102

N ga da g Mona s t er y : 2007 AD

Elevation A is the largest wall of the monastery which displays various lineage trees including Guru Padmasambhava/ Guru Rinpoche, Vajrabhairava, lineage tree of celibate monks of ngadag monastery and avaloketeshwara. With sparse composition background elements are clearly visible through its use of vibrant colors and emboss work.

Figure 160: Diagram showing subject and placement of the Elevation A : Interior wall mural

Figure 161: Interior elevation A : collage showing mural paintings

Figure 162: Anchoring characters of Elevation A

103

Figure 163: background elements of Elevation A

5. 0 C a s e - s tu d i e s

Image

Panel F : subject This

panel

painting

showcase

the

Bodhisattva

compassion Avaloketeshwara on right corner, near the central door. The figure is seated on lotus throne with golden aura circle surrounding him. He is white color bodied Bodhisattva in meditative position with lotus on his left hand. Avaloketeshwara

Narrative details 12 4 Calm expression

4 76

Hand gesture

4 8

Head-gear detail

4 4 52 Figure 164: Underlying proportion of Panel F : Avaloketeshwara

104

N ga da g Mona s t er y : 2007 AD

Elevation B is also largest wall in monastery which showcases the complex composition of interwoven characters. Entire wall is dominated by the wrathful deities with one lineage tree on left side and Buddha Maitreya on top right corner. It displays Heruka in dominating scale placed at the center of the wall surrounded with different wrathful avatars/form in well composed manner.

Figure 165: Diagram showing subject and placement of the Elevation B : Interior wall mural

Figure 166: Interior elevation B : collage showing mural paintings

Figure 167: Anchoring characters of Elevation B

105

Figure 168: background elements of Elevation B

5. 0 C a s e - s tu d i e s

Image

Panel M : subject Heruka is wrathful deity and wisdom king. He is portrayed here in Yap-yum position with red color body and his consort in blue color in dominating scale within the panel. The character composition is enhanced by the outer flames surrounding the figure and it reinforce its wrathful expression.

Heruka Yap-Yum

Narrative details

12 8

Wrathful Yap

4 12 4 12

Wrathful yum

12 12 4

Skull cap

12 4 12

Thousand arms

72 Figure 169: Underlying proportion of Panel M : Heruka

106

N ga da g Mona s t er y : 2007 AD

Elevation C wall is located on right side near the main altar showcases the various worshiping deities of nyingmapa sect. The panel is dominated by the painting of Guru Padmasambhava in highly ornamented details and also placed in significant scale. The background elements of the wall are noticeable and ornate. Mountain range height in background is high in this composition compare to other walls of the monastery.

Figure 170: Diagram showing subject and placement of the Elevation C : Interior wall mural

Figure 171: Interior elevation C : collage showing mural paintings

Figure 172: Anchoring characters of Elevation C

107

Figure 173: background elements of Elevation C

5. 0 C a s e - s tu d i e s

Panel i : subject

This panel is dominated by

Image

the story of Guru Rinpoche/ Padmasambhava

and

surrounded by his disciples. Guru

Padmasambhava

drawn here in giving position with Vajra on his right hand and skull cap in his left hand and flaming tip trident resting on his shoulder. The panel is located next to main altar gives the hierarchical importance.

Guru Padmasambhava/ Guru Rinpoche

Narrative details

8 12

Calm expression

4 12 68 12

Skull cap

4 8 4

vajra

8 8 84 flaming trident Figure 174: Underlying proportion of Panel i : Guru Padmasambhava

108

N ga da g Mona s t er y : 2007 AD

Elevation D is located on left side of the prayer hall near the main altar. The wall is noticeable with composition of Buddha Sakyamuni on top left and cardinal god of Ngadag monastery Buddha Amitabha bottom right corner. Mountain range at background of the composition declined where the Buddha sakyamuni is situated. This gives more significance to the primary characters of the wall.

Figure 175: Diagram showing subject and placement of the Elevation D : Interior wall mural

Figure 176: Interior elevation D : collage showing mural paintings

Figure 177: Anchoring characters of Elevation D

109

Figure 178: background elements of Elevation D

5. 0 C a s e - s tu d i e s

Panel P : subject

This panel is dominated by

Image

the painting of the founder of the religion Gautama Buddha or Buddha Sakyamuni. He is seen in meditative position in Bhoomisparsha hand gesture with one finger touching the ground. The panel is ornate with gold emboss work and detailed drapery work. Gautama Buddha/ Buddha Sakyamuni

2 4

Narrative details

4 12

Calm expression

8 4

Begging bowl

4 8 4 4

Bhoomisparsha position

Figure 179: Underlying proportion of Panel P : Buddha Sakyamuni

110

N ga da g Mona s t er y : 2007 AD

Panel R : subject

Image

This panel also showcase the cardinal god of the monastery Buddha

Amitabha

left

corner, near the main altar. The figure is portrayed sitting on the high chair. It is also representation of the furniture style being followed in the religion.

Buddha Amitabha

Narrative details

12 4 12 Calm expression

Begging bowl

4 4 8 4

Meditative position

4 52 Figure 180: Underlying proportion of Panel R : Buddha Amitabha

111

5. 0 C a s e - s tu d i e s

Elevation E & F are small walls near the main door and it is highlighted with central dominating figures. Panel R showcases yap-yum of Vajrabhairava lineage tree with sparse composition. Panel S is dominated by central character of Vajrakila and different avatars of the wrathful deities. Background elements like mountain range comes in middle of the wall.

Figure 181: Diagram showing subject and placement of the Elevation E & F : Interior wall mural

Figure 182: Interior elevation E & F : collage showing mural paintings

Figure 183: Anchoring characters of Elevation E & F

Figure 184: background elements of Elevation E & F

112

N ga da g Mona s t er y : 2007 AD

Image

Panel T : subject

Vajrakila

belong

yidam

category of wrathful deities. He is portrayed here with is consort in yap-yum position is blue color body. The figure is well composed with flames surrounding

the

characters

and use of vibrant colors and emboss gold work enhance the work within the wall.

Vajrakila Yap-yum

Narrative details

12 12

Fierce expressions

12 4 12 Consort- yum detail

12 12 4

Vajra & skull cap

12 4 12

Dagger

72 Figure 185: Underlying proportion of Panel T : Vajrakila

113

5. 0 C a s e - s tu d i e s

Elevation G & H is located next to elevation E & F near the main door. This walls are composed with multiple interwoven small characters. Panel T is composed of more than 100 characters with in two pivotal figures. Panel U and V have two dominating figure and other figure are composed around it.

v u w

Figure 186: Diagram showing subject and placement of the Elevation G & H : Interior wall mural

Figure 187: Interior elevation G & H : collage showing mural paintings

Figure 188: Anchoring characters of Elevation G & H

Figure 189: background elements of Elevation G & H

114

N ga da g Mona s t er y : 2007 AD

Elevation I is interior elevation of the main door wall. This wall is composed of various protector deities and yidams. Protector god of nyingma-pa sect Rahula is portrayed in considerable scale within wall on right side. Chogyal tree of Sikkim is also portrayed here on left side with representation of the fort surrounding them.

z x

Figure 190: Diagram showing subject and placement of the Elevation I : Interior wall mural

Figure 191: Interior elevation I : collage showing mural paintings

Figure 192: Anchoring characters of Elevation I

115

Figure 193: background elements of Elevation I

5. 0 C a s e - s tu d i e s

This of

panel the

shows

protector

Panel 2 : subject

painting deity

Image

nyingma-pa sect - Rahula. He is manifested with 9 heads and wrathful face on his belly with green color snake body. The deity is portrayed with his weapon of bow and arrow. His expression of rage is enhanced by the multiple eyes and flames around the figures.

Protector Rahula

12 6

Narrative details

6 3 12

Fierce expression

12 3 96

Wrathful face on belly

12 3

Bow and Arrow

12 3 60 Figure 194: Underlying proportion of Panel 2 : Rahula

Head manifestation

116

N ga da g Mona s t er y : 2007 AD

Elevation J is exterior threshold wall manifested with guardian deities of four cardinal directions. Upper portion of the panel is dominated with larger characters of the deities and lower portion of the wall is composed with several servant and disciples holding offerings with them.

Figure 195: Diagram showing subject and placement of the Elevation J : Interior wall mural

Figure 196: Interior elevation J : collage showing mural paintings

Figure 197: Anchoring characters of Elevation J

117

Figure 198: background elements of Elevation J

5. 0 C a s e - s tu d i e s

Elevation K & L are exterior threshold side walls with comparatively smaller canvas size due to doors. This walls showcases protector deities and other symbols like â&#x20AC;&#x153;samsaraâ&#x20AC;?- the wheel of life and death. Overall composition the walls are sparse with less ornate background elements.

10 8

Figure 199: Diagram showing subject and placement of the Elevation K & L : Interior wall mural

Figure 200: Interior elevation K & L : collage showing mural paintings

Figure 201: Anchoring characters of Elevation K & L

Figure 202: background elements of Elevation K & L

118

Inferences

Spatial orientation of murals: The ritualistic value was shared with murals due to its placement on the monastery walls which changed the experience related with religious activities. The guardian deities for example are placed on the threshold of the monastery, symbolically represents the spiritual idea of the place being protected by the deities. Key characters like Buddha Sakyamuni, Buddha Amitabha and Guru Padmasambhava are located on the walls near the main altar, gives symbolic importances. Figure 203: diagram showing location of guardian deity mural

Wall system: The typical wall at Ngadag is composed of basic four divisions. enhance

This and

division creates

central canvas for the mural. This elevated mural surface could be a result of religious belief that â&#x20AC;&#x153;god should be placed above navel levelâ&#x20AC;? or because of the placement of monk seating that usually Figure 204: diagram showing divisions of mural wall at Ngadag

are placed along the wall.

Symbols & motifs: The use of symbols and motif as form of pattern and subject of mural is quite perceivable. Symbols like Golden wheel, endless knot or blossomed lotus are incorporated with in mural or carved out in cement on facade as relief work. Symbols like Dorje is used along with geometrical pattern in a linear wall band. The exquisite mandalas are drawn in all square panels formed by beam grid in the ceiling. 119

Figure 205: Use of motif and symbols

I nf erenc e s

Narrative hierarchy: The figures are placed in very intricate and interwoven composition. This composition of characters always follows the fundamental eight line grids in symmetrical manner where the primary figure is always placed in center of the wall with significant scale and secondary figures are placed around it with smaller scale. Tertiary figures are the smallest subjects of the wall painting and placed on periphery. Figure 206: mural composition

Protagonist figures: The

murals

portrays

cardinal gods and goddess of

Ngadag

monastery

in prime location within murals

significant

scale.

Other

characters

shown

smaller

scale

surrounding the protagonist gives importances to the character. Figure 207: Protagonist character of the narrative

Background characters & landscape elements: The landscape being the fill up element of the mural is comparatively less ornamented here. The background is consist of rocky mountain landscape, tertiary elements like offering bowls and symbols. The level of mountain range varies and goes up or down sporadically depending upon the location of the key figures. Figure 208: Background elements in mural

Color palette: The Ngadag monastery wall paintings are done in acrylic colors and have shades & hues of primary thangka color palette. These mural are more ornamented and gets three dimensional effect through relief work in gold. Figure 209: Emboss work and color swatches of Ngadag

120

6. Conclusion

Conclus ion

Conclusion:

Indian murals provided artistic peculiarity that

stretch from the pre-civilization era to the present day. In different parts of India, the mural has revolutionized over the years, serving various purposes and becoming a popular form of storytelling. There is a desire to communicate and express these meanings visually, which can be seen through arts and crafts in these religious places. Art is a medium to experience the aesthetic dimension of the religion.

The monasteries of Sikkim belonging to nyingma-pa

sect, evolved and went through series of modification since the introduction of lamaism in the Sikkim. The characteristic of prayer hall interior of monastery is established by the many parameters that have inferences from traditional, cultural, and vernacular practices governed by religious guidelines. Murals being one of the important part of prayer hall interior, provides its religious identity and covers a larger area of the monastery interiors.

â&#x20AC;&#x153;Religion is an everlasting dialogue between humanity and god. Art is its soliloquy.â&#x20AC;? -Franz Werfel

In earlier times, the practice of aniconism, prohibited

any visual representation or depiction of god. This existed in many religions, to separate and remove confusion in portrayal of the divine, and the ordinary individual. Even today, Islam prohibits the depiction of Allah in a human form. The divine appearance of Buddha, in earlier forms, did not appear in a human form. It was represented through symbols, and hence the iconography is used as reverence in Buddhism. There was a constant need and urge to visually represent, and interpret the identity of divine god, for oneself to connect. To maintain this classification and 123

6. 0 C oncl u s i o n

hierarchy, there needs to be some ordinance in place, hence the proportions were developed in Buddhist paintings. The elaborate proportioning system helped to maintain the classification of gods and divinities in a place. Murals are expressed as an integral part of the religious artwork and they follow these strict proportional guidelines. These guidelines are mandatory, and help the artist to achieve its orientation character. These guidelines, being followed by the artist since the inception, gained its importance over a period of time, with its religious backing as all religious activities in monastery are placed around it.

The parameters that governs the orientation

characters of the monastery murals are the proportioning systems, wall division, placement and hierarchy of narratives.

Wall division

The wall has been divided into different segments

based upon practical and religious beliefs. The wall has four Sub-divisions. The central band consisting of the mural forms majority of the wall. Two bands are placed below the mural and the upper band is usually placed at a beam level. Religious beliefs suggest that the deity should be placed

Pemayangtse monastery

Enchey monastery

Ngadag monastery

Figure 210: Diagrams showing mural wall division in all monasteries

above a worshiper’s navel level. The furniture layout of the prayer hall’s interior is arranged in a way, where the monk’s seating is usually placed along the wall, hence the mural is never been painted directly from ground bottom. It is placed at a height where it doesn’t interrupt the view of the 124

Conclus ion

mural in order for the prayer activities to be done smoothly. This approach of such a wall division, is evident in all three monasteries.

Spatial placement of narratives

The nyingma-pa sect has a set of cardinal deities

being worshiped, where each god or deity has his/her own placement in sacred direction as mentioned in religious text. These beliefs are often associated with architecture location of the monastery. Guardian deities of four directions are always placed on the threshold of the monastery, which metaphorically indicate the idea of the holy place being protected by their revering deities. The importance of

Pemayangtse monastery

Enchey monastery

Figure 211: Diagrams showing location of guardian deities in all monasteries

the narratives are based on their location from the main altar, where primary figures are kept near the main altar, and less important or extraneous figures are kept at further distant from the altar. For instance, the chief Buddha of the monastery (Buddha Amitabha and Guru Padmasambhava) are always portrayed at prime location next to the main altar.

Symbols and motifs

The use of patterns in interior manifestation like

wall articulation, in murals or on furniture are derived form the religious beliefs. Each symbols carries its own religious 125

Ngadag monastery

6. 0 C oncl u s i o n

meaning. They are not just placeholders for beautification but individually holds firm religious and cultural values with them. Each motifs and symbols are part of complex spectrum, that forms and shaped as patterns, which are used in murals. Through itâ&#x20AC;&#x2122;s individual identity, symbols provides a sense of belonging to the religion and becomes a part of narrative experience of the place.

Visual composition

The walls of all three monasteries, showcase the

complex and interwoven composition of the narratives. These complexities of composition, are achieved through scale, character arrangement and its symmetrical balance. The protagonist characters are always placed in center

Pemayangtse monastery

Enchey monastery

Ngadag monastery

Figure 212: Diagrams showing Geometrical composition in murals

with significantly bigger scale. The secondary characters are placed over the periphery of the central protagonist, and tertiary figures are portrayed in a smaller scale. The background usually consists of landscape elements. The artist only gets freedom to create and express his identity, through landscape elements which are not dictated by the any systems. These placements of figure, are done in eight orientation lines in symmetrical composition. Each figure being an entity in itself, it gives flexibility to compose these in any spatial condition. These composition method also helps to adapt any architectural site condition. 126

Conclus ion

2 4

8 12

12 4

4 12

Ngadag monastery

Pemayangtse monastery

Figure 213: cross comparison show same proportions in Buddha Sakyamuni murals

2 4

12 68

Ngadag monastery

8 84

Enchey monastery

Figure 214: cross comparison shows proportions in Guru Padmasambhava murals

127

6. 0 C oncl u s i o n

Proportioning system

There is an elaborated system of proportions, that

has been categorized into basic six segments, to depict the vast number of deities present in Buddhist religious domain. These proportioning systems, are being followed in smallest paintings, to scroll thangka paintings to monastery murals, helping to maintain its essential character. Here study shows that, murals of all three monasteries follows same proportioning systems and iconography. Hence the characteristic features of

all murals remains the same.

These proportions being followed in every iconography representation of all Buddhist deities, are backed by strong religious beliefs, makes it a sacred Geometry. This interconnectedness of proportions in all forms, creates an sense of attachment, and holds strong spirituality for worshiper, connecting him/her to the everyday lifestyle and religious practices of Buddhism.

These parameters in totality, represent the

identity of Buddhist art, changing or modifying beyond a certain point would weaken its essential quality. Due to the absence of these kind of elaborate, regulating guidelines in other religious artworks, one can see a great difference and variation in portrayal of same subject. These guidelines in Buddhism, helped artisans to perform and preserve its religious identity, and hence the characteristics of murals, remain same in monasteries across the time-line and region. Despite the evolution in monastic design, the murals forming an essential part of the monastery interior, remain same, and hence characteristics of monastery interiors remained persistent.

128

Bibliography

Bibliogr a phy

Bibliography: Published works: A. (1998). Buddhist Masters of Enchantment: The Lives and Legends of the Mahasiddhas (2nd ed.) (K. Dowman Trans. & R. Beer, ill.). Inner Traditions. Balikci, A. (2008). Lamas, shamans, and ancestors: Village religion in Sikkim. Leiden: Brill. Beer, R. (1999). The encyclopedia of Tibetan symbols and motifs. Boston: Shambala. Chaoudhary, K. B., & Chaoudhary, M. (2001). Bulletin of Tibetology (pp. 18-32, Issue brief No. 2). Gangtok, Sikkim: Namgyal Institute of Tibetology. Chen, D., & William, H. (2012). Tibetan murals. Beijing: China Intercontinental Press. Chopel, G. (2011, January 5). Historic evolution of the Sikkimese monastery. Bulletin of Tibetology, pp. 57-64. Retrieved March 10, 2019, from http://himalaya.socanth.cam.ac.uk/ collections/journals/bot/pdf/bot_2011_01_05.pdf Fisher, R. E. (1997). Art of Tibet. S.l.: S.n. Jackson, D. P., & Jackson, J. A. (1984). Tibetan Thangka Paintings Methods & Material (First ed.). Boulder, Colorado: Shambhala. Krist, G., (HG.). (2016). Nako : Research and conservation in the western Himalayas. BÖHLAU VERLAG WIEN KÖLN WEIMAR. Moormann, E. D. (2011). Divine Interiors. Amsterdam University Press. Pagel, U., Cüppers, C., & Kuijp, L. V. (2012). Handbook of Tibetan Iconometry. Brill.

Unpublished works: Rodrigues, K., & Shastri, K. (guide) (2011). Spatial narratives wall murals as a space making element in Goan interiors (Unpublished undergraduate’s thesis). Faculty of design, CEPT University. 131

Bi b l i og r a p h y

N., & Nagarsheth, S. (guide) (2017). From space to canvas : A study of shifts in Kerala murals (Unpublished undergraduate’s thesis). Faculty of design, CEPT University. Samani, E. M., & Pradhan, P. (guide) (2017). Exploring spatial character of the prayer hall with respect to evolution of monastic design in Sikkim from 1650 onwards (Unpublished master’s thesis). Master’s in Interior Architecture & Design, CEPT University. Xu, P. (2004, March 1). The Mandala as a Cosmic Model: Integrating Temple Architecture within the Tibetan Buddhist Landscape [Scholarly project]. In University of Colorado Boulder. Retrieved from https://experts.colorado.edu/display/pubid_145035

Online sources: Definition of Sikkim Monasteries. (2012). Retrieved January 27, 2019, from http://www. sikkimeccl.gov.in/Info/MonasteriesDef.aspx Kumar, N. (2002, February). Color Symbolism In Buddhist Art. Retrieved March 6, 2019, from https://www.exoticindiaart.com/article/colors/ The Tibetan Book of Proportions. (2018, April 26). Retrieved January 10, 2019, from https:// publicdomainreview.org/collections/tibetan-book-of-proportions/

All photographs, drawings, sketches and diagrams are done by Author otherwise credit given in list of figure section.

132

Bibliogr a phy

List of figures: Figure 1 (n.d.). Retrieved February 20, 2019, from http://www.sikkimstdc.com/GeneralPages/Details/ Enchey-Monastery/23/ Figure 2 (n.d.). Retrieved February 20, 2019, from https://www.picswe.com/pics/chorten- gangtok-06.html Figure 3 (n.d.). Retrieved February 22, 2019, from http://www.sikkimeccl.gov.in/History/Manilakhangs/ East/GangtokManilakhang.aspx Figure 7

Brashier, K. (2004, November 13). Four Monks near completion. Retrieved February 22, 2019, from https://www.flickr.com/photos/clodpool/1447925/in/album-36960/

Figure 8

(n.d.). Retrieved March 15, 2019, from https://lt.wikipedia.org/wiki/SmÄ&#x2014;lio_mandala

Figure 9

(n.d.). Retrieved March 15, 2019, from https://www.picswe.com/pics/buddhist-sandmandala-ritual-e8.html taken at Rubin Museum of art

Figure 12

(n.d.). Retrieved March 15, 2019, from https://valmayyoung.wordpress.com/india9/

Figure 14 Shakyamuni. (n.d.). Retrieved March 15, 2019, from https://www.picswe.com/pics/tibetan shakyamuni-5c.html Figure 15 (n.d.). Retrieved March 15, 2019, from https://www.stateexpressindia.com/blog/treat-your mind-and-soul-with-visit-to-the-buddhist-monasteries-of-india Figure 19 (2015, May 11). Retrieved March 16, 2019, from http://viewonbuddhism.org/5_dhyani_ buddhas.html Figure 20 (2015, May 11). Retrieved March 16, 2019, from http://viewonbuddhism.org/5_dhyani_ buddhas.html Figure 21 (2015, May 11). Retrieved March 16, 2019, from http://viewonbuddhism.org/5_dhyani_ buddhas.html Figure 22 (2015, May 11). Retrieved March 16, 2019, from http://viewonbuddhism.org/5_dhyani_ buddhas.html Figure 23 (2015, May 11). Retrieved March 16, 2019, from http://viewonbuddhism.org/5_dhyani_ buddhas.html Figure 24 (n.d.). Retrieved March 17, 2019, from https://kidskunst.info/linked/tibetan-buddhist-and newari-tantric-art-the-robert-beer-7469626574616e.htm Figure 25 (n.d.). Retrieved March 18, 2019, from https://hablemosdemitologias.com/c-mitologiabudista/rinpoche/ Figure 26 (2012, October 12). Retrieved March 20, 2019, from https://www.flickr.com/photos/ plukrijp/10926244706/in/faves-165606155@N07/ Figure 27

133

(n.d.). Retrieved March 20, 2019, from http://meditateinauckland.org/events/green-tara-

Bi b l i og r a p h y prayers-16/ Figure 28 (2019, January 25). Retrieved March 21, 2019, from http://www.phubdorjiwang.com/2019/01/ the-praise-to-manjusri-glorious-wisdoms.html Figure 29 (n.d.). Retrieved March 23, 2019, from https://www.gesar-travel.com/10-most-important buddhas-deities/?lang=en&print=print Figure 30 (2018, April 23). Retrieved March 22, 2019, from https://www.tumblr.com/search/bodhisattva vajrapani Figure 31

Beer, R. (1999). The eight auspicious symbols [Painting]. In The encyclopedia of Tibetan symbols and motifs (pp. 171-204). Boston: Shambhala.

Figure 32

Beer, R. (1999). The eight auspicious symbols [Painting]. In The encyclopedia of Tibetan symbols and motifs (pp. 171-204). Boston: Shambhala.

Figure 33

Beer, R. (1999). The eight auspicious symbols [Painting]. In The encyclopedia of Tibetan symbols and motifs (pp. 171-204). Boston: Shambhala.

Figure 34

Beer, R. (1999). The eight auspicious symbols [Painting]. In The encyclopedia of Tibetan symbols and motifs (pp. 171-204). Boston: Shambhala.

Figure 35

Beer, R. (1999). The eight auspicious symbols [Painting]. In The encyclopedia of Tibetan symbols and motifs (pp. 171-204). Boston: Shambhala.

Figure 36

Beer, R. (1999). The eight auspicious symbols [Painting]. In The encyclopedia of Tibetan symbols and motifs (pp. 171-204). Boston: Shambhala.

Figure 37

Beer, R. (1999). The eight auspicious symbols [Painting]. In The encyclopedia of Tibetan symbols and motifs (pp. 171-204). Boston: Shambhala.

Figure 38

Beer, R. (1999). The eight auspicious symbols [Painting]. In The encyclopedia of Tibetan symbols and motifs (pp. 171-204). Boston: Shambhala.

Figure 39

Beer, R. (1999). The various forms of the vajra [Painting]. In The encyclopedia of Tibetan symbols and motifs (pp. 237). Boston: Shambhala.

Figure 40

Beer, R. (1999). Alms bowls, offering bowls and vases [Painting]. In The encyclopedia of Tibetan symbols and motifs (pp. 207). Boston: Shambhala.

Figure 41

Beer, R. (1999). Geometric Borders, Patterns, Designs, and Motifs. [Painting]. In The encyclopedia of Tibetan symbols and motifs (pp. 343-374). Boston: Shambhala.

Figure 50

W. (1984). Sequence of painting eyes according to Wangdrak. [Painting]. In Tibetan Thangka Paintings Methods & Material (First ed., p. 140). Boulder, Colorado: Shambhala.

134

Glos s a r y of Ter ms

Glossary of terms: Asana

a poster adopted in yoga

Ashthamangala a suite of eight auspicious symbols Bhoomisparsha earth touching position or gesture Cha-chen

a big units in proportioning system

Cha-chun

a smaller units in proportioning system

Chenrezig

name of Avaloketeshwara

Chogyal king or religious king; former monarch of Sikkim and Ladakh Chorten

stupa; a Buddhist shrine, typically a saint’s tomb or a monument to the Buddha

Dharmachakra all religion related behavior; also a weapon described in Buddhism Dhavja

a flag

Dhayana

meditation; a stage of yoga

Duchi

Head lama of the monastery

Dzongu

a place of Lepchas, the primitive tribe of north-Sikkim

Gautama

name of the first Buddha or Buddha Sakyamuni

Jataka

various stories from the previous life of Buddha

Kala

a time period or frame; age

Kumbha

a vase

Lama

a Tibetan or Mongolian Buddhist monk

Laripa

an artist; who practiced the thangka or Buddhist religious art works

Lhakhang “House of Gods”, usually a single storey religious structure (temple) situated within monastery complex Mandala

135

a circular diagram showing cosmological universe in Hindu and Buddhist symbolism

G l os s a r y o f Te rm s

ManiLhakhang sub-monastery structure, a temple for nuns or lady devotees Mudra

symbolic hand gesture; typically in Hinduism and Buddhism

Nirvana

final goal or stage of life to attain enlightenment

Rinpoche

founder of nyingma-pa school

Samsara

a circle of life and death bound to materialistic world

Shakti

a female principle of divine energy

Siddhartha

name of the first Buddha before enlightenment

Sor

an unit of measurement; abbreviation for â&#x20AC;&#x153;Sor-moâ&#x20AC;?

Sunyata

a state of emptiness

Thangka religious scroll painting done on a cotton or silk cloth Thig-chen six categories of proportions Thig tshad system of measurement and proportions Torma Butter sculpture offering for deities Trishula

trident; a weapon described in Hinduism and Buddhism

Vajra

thunderbolt

Vedic

related to Vedas

Yap-Yum

father-mother; representation of male deity in sexual embrace with his female consort

Yidam

a historical figure in Buddhism, a power animal

136

Glos s a r y of Ter ms

Glossary of terms:

137

G l os s a r y o f Te rm s

138

Appendix

Review: 1

22nd January, 2019.

Discussion points: • More aspect could be included along with proportions • Research should focus more on spatial aspect and less towards arts • Criteria for selecting monasteries for case studies • Probable conclusion

Reflection: The research was bend towards mural’s influence in continue relevance of monastic interiors. The case studies were chosen pan region and time frame to get a larger picture to analyze, its impact. (Case studies were done in January 26 to February 17)

Review: 2

19nd February, 2019.

Discussion points: • Title should be more specific and focused on research • Discussed methodology for case studies

- Content + Narratives

- Iconography, symbols & characters

- Proportion, Visual analysis

- Division of wall

- Controlling Parameters • Refer previously done thesis done of mural for methodology • Include local terminology

Reflection: Structured the methodology for the case study which focuses on point mentioned above. Each painting were sketched for the proportional and visual analysis. Terminologies were included in-text and few are also mentioned in glossary of terms.

139

A p p end i x

Review: 3

19nd March, 2019.

Discussion points: • Focus on surface aspect and not on spatial relationship of proportions • Discussion on the progress of thesis • Detailed conclusion • Use of Pantone shade for color description

Reflection: Conclusion includes aspect discussion in reviews in which how parameters that governs the characters of the mural and its relevance on murals. Pantones are used for color depiction in case study analysis.

140

..-. .. -.