Among the various Buddhist monasteries across the country, this Himalayan Buddhist monastery– the Tabo Monastery in the Spiti Valley- is the oldest operational one in India. This early medieval Buddhist site is nicknamed ‘The Ajanta of the Himalayas’ attributed to its rich collection of paintings and murals. It is essential to acquaint oneself with the various aspects of this monastery that form the core of the Tibetan Buddhist heritage of the Himalayas.
Before exploring Tabo Monastery’s rich tangible heritage, which constitutes its divinity, it is necessary to know its geographical location. The monastery is located in the Spiti Valley, an isolated valley with a population of 10,000. The monastery is located above the village that goes by the same name, Tabo, on the Spiti River’s left bank. Interestingly, the name ‘Spiti’, means ‘middle land’ as several mountain ranges encircle it (due to which the weather is arid and rocky). This isolated valley is not much known amongst the backpackers but the valley carries rich cultural and heritage value because of sites such as the Tabo Monastery. Curiously, the monastery is located at the bottom of the valley, unlike the other hilltop monasteries. This unique location of the monastery connecting Tibet and Kashmir to the rest of the country, at the crossroads, made it a distinguished center of learning and a congregation for scholars from Odisha, Bengal, Kashmir, Tibet, and Nepal. After acquiring an understanding of its geography and location, a dive into its history, architecture, and layout with paintings, sculptures, murals as well as frescoes that portray tales from the Buddhist pantheon, in addition, to scroll paintings or thankas would further our comprehension of the Tabo monastery tour.
(Source- Footloose Musings, Chorten (a Buddhist shrine) in the Tabo Monastery)
(Source- Wikimedia Commons, Distant view of the Tabo Monastery)
HISTORY AND ORIGIN OF THE AJANTA OF THE HIMALAYAS BUDDHIST TEMPLE IN TABO
This Himalayan Buddhist monastery was built in the year 996 CE by King Ye-she-o/Yesho-O who belonged to the Purang Guge Kingdom of Western Tibet. The boundaries of the kingdom stretch from Ladakh to Mustang, in Nepal currently. King Ye-she-o founded the kingdom and is credited with the second revival of Buddhism in Tibet, while his ancestor Langdarma persecuted the religion in Tibet. His capital was Tholing, located southwest of the Kailash Mountain. In 997 CE he built the Tholing Monastery there (a ‘daughter monastery’ of Tabo) as well as the Khochar Monastery (located south of Purang, which served as the original capital of the kingdom. It is located in the Tibet Autonomous Region in China). Due to such initiatives by the King, Tibetan Buddhism was revived and gradually spread in the Himalayan region. Legend has it that the King sent some 21 youngsters to learn the Tantras from the scholars of the Vikramshila University in Bihar, which was well known at that time as a great hub for learning Tantric practices. Unfortunately, 19 of the 21 youngsters died as they couldn’t tolerate the heat of the plains. The only two who survived were Rinchen Zangpo and Lhekpai Sherap.
(Source- Wikimedia Commons, Richen Zangpo and King Yesho-O)
The former went on to become a great traveler and a respected scholar who is credited with having translated many Sanskrit Buddhist works native to the subcontinent into Tibetan and visited many centers of Buddhism in Kashmir and Central India. He was, in fact, the preceptor of King Ye-she-o who helped him in his missionary tasks. So, the founding of this monastery is attributed to him. This monastery was visited by many Indian priests or pandits and the site was a centre for learning and translation which formed the core of the second spread of Tibetan Buddhism. The monastery was renovated by the royal priest Jangchub O’d, the grandnephew of King Ye-she-o, 46 years after its construction.
The monastery and the bridge across the Spiti River witnessed various historical processes and political turmoil. Tabo Kanjur is one of the sources of manuscripts that confirms this. The first of some violent confrontations took place before 1042 when a warning was contained in a reproachful inscription, against harming the monastic community. An inscription from the monasterial complex of 1837 refers to an attack on the assembly hall of the monastery. This attack is confirmed visually, with the damage still on some walls. With the arrival of colonial rule in the area in 1846, this area was peaceful until the reawakening of claims at the border posts due to the Indo-China border disputes in the 1950s.
In 1975, as the Kinnaur earthquake hit the area, the monastery’s original complex was severely ruined. After this devastating earthquake, the monasterial complex was subsequently restored with the addition of new sculptures. After this reconstruction of the present monasterial complex, His Holiness, the 14th Dalai Lama, paid a visit and commenced the process of rejuvenation and initiation, called the Kalachakra Festival in 1983, after the building of the Kalachakra Temple. The millennium of this monastery was celebrated in 1996 when His Holiness the 14th Dalai Lama paid a visit again to the monastery. In 2009, he was scheduled to inaugurate the auspicious symbol of the Kalachakra Stupa, following the blessings of Kalachakra, which he had performed in 1983.
(Source- Tabo Monastery.Org, Photo Credits to Annette Kleinbrod, Entry to the Monastery)
After acquiring an idea regarding the historical trajectory of this monastery, which is well-known among the historic monasteries in India, exploring Tabo with its monasterial complex and architectural details becomes captivating as well as engaging enough, honoring the rich legacy of Tibetan Buddhist heritage in the Himalayas.
MONASTERIAL COMPLEX AND LAYOUT
Tabo Monastery complex comprises nine temples, cave shrines, and four stupas. The whole structure has been built with solid walls, resembling a fort. These mud brick walls cover an area of 68,000 sq ft. These walls are 3 feet in thickness which is attributed for surviving till date despite centuries of natural disasters and depredations. The numerous intricate paintings, murals, frescoes, and stuccos that adorn the walls of these structures present the monastery architecture in the Himalayas (Tibetan style) and these features resemble the Ajanta Caves of Maharashtra.
(Source- Tabo Monastery.Org, Monastery Plan)
A virtual dive into some of its temples would be captivating and consist of vivid iconographical details imbued with Buddhist philosophy.
The ‘Temple of the Enlightened Gods’ (Tsu Lhakang) is also known as the ‘assembly hall’. This is the main temple which forms the core of the monasterial complex. This main temple has an entry hall followed by the assembly hall. At its western end is a recessed area with a shrine area with an ambulatory passage. A picture of King Yesho-O and his two sons Nagaraja and Devaraja adorn the entry hall. A new entry hall is packed with paintings dating to the late 19th century and 20th century. The central attraction of this temple is the main deity of Vajradhatu (the realm of total reality), the Vairochana, which is portrayed on a lotus.
(Source- Tabo Monastery.Org, Photo Credits to Eike Roswag- Klinge, Interior of the main temple)
the throne that is turning the wheel of law. There are also life-size images of the Vajradhatu Mandala (mandala refers to the devotional images from the Buddhist pantheon).
One of the temples of the complex of the Tabo Monastery was once covered with gold, as popularly believed and it is with no surprise that this temple is known as the ‘Golden Temple’ (Ser-khang). A 16th-century Ladakh king, Sengge Namgyal, renovated this temple. The ceilings and walls of this temple are covered with beautiful murals which date to the 16th century. The iconographic details of this temple are similar to the other temples in the complex. One such depiction is that of the Vajradhara, a manifested Buddha that represents the totality of all that Buddha taught.
Another large painting of Vairochana is encircled by eight Boddhisattvas and this is the ‘Mystic Mandala Temple’ (dKyil-kHor-khang), where the monks are initiated.
Another temple, the ‘Temple of Dromton’ (Brom-ston Lha khang), the second largest temple of the monasterial complex, is believed to have been founded by one of the chief disciples of the religious leader Atisha, Dromton. Murals depicting the eight Medicine Buddhas, datable to the 17th century, adorn the ‘Large Trom-ton Temple’. An attractive aspect of this temple is the life of the Shakyamuni Buddha painted narratively at the structure’s base. The front wall of this temple contains the figure of the Sakyamuni Buddha flanked by his two disciples, Sariputra and Maha Maugdalayana.
The ‘Small Trom-ton Temple’ boasts elegant paintings, with remnants of the carvings dating to the 13th or 14th century, as recognized from the entry door to the Buddhist temple.
(Source- Wikimedia Commons, Monasterial Complex)
The rich iconography and the philosophy behind the Tabo monastery paintings and murals further assist in our understanding of the significance of this Himalayan Buddhist monastery.
TABO MONASTERY MURALS AND PAINTINGS
When exploring Tabo Monastery, one cannot miss its beautiful frescoes and stunning stucco paintings. This signifies the spiritual bond that once existed between Indian and Tibetan cultures. In addition to these visually appealing treats, the monastery also boasts a collection of scroll paintings or thankas along with manuscripts and murals. While the older period paintings of the main temple at Tabo represented the 3 Tibetan Buddhist traditions- Sakyapa, Kadampa, and Nyingmapa, the later paintings represent the Gelugpa tradition of Tibetan Buddhism. These paintings and murals altogether are stunning examples of early Indo-Tibetan art with some Pala and Kashmiri influences as well.
When one looks at the main temple, the central figure is the Saravid Vairochana, which is the ‘transcendental all-knowing Buddha’, surrounded by 32 statues in a 3D mandala around him. This figure is the ‘Omnipresent One’ Saravid Vairochana, from which everything originates with further detachment, materialization and finally expressing dimness.
In the temple, 33 deities of the Vajradhatu Mandala are represented which are symbolic of the special moments during meditation. This mandala is expressive of the process of cosmic evolution whose background stages are known as reabsorption. This process into cosmic Buddhahood is attained eventually in 5 stages with the elimination of what ignorance causes, dimness. The regeneration is possible only when this virtue of intimate essence is attained.
(Source- Eva Lee Studio, The central figure of Saravid Vairochana)
(Source- Eva Lee Studio, Tantric Deities in the Vajradhatu Mandala arrangement)
Surrounding this significant statue of the monastery, are the Supreme Buddhas or the Dhyanibuddhas depicted in four colors – red, which is Amitabha, yellow which is Ratnasambhava, green which is Amoghasiddhi and blue that is Akshobya. These figures depict the first stage of materialization in both physical and psychological terms, which symbolizes the stages of cosmic evolution. Each figure has 4 Boddhisattvas surrounding him, symbolizing one of the 16 species of insubstantiality. When these are realized, the seeker of spirituality discovers that no subjective or objective perception- whether physical, sensual, or psychological- is representative of the absolute truth. It is believed that enlightenment or Nirvana can be obtained only when truth and insight enter into the cosmic laws in a negating manner, which makes it possible to leave the cycle of birth and rebirth.
(Source- Eva Lee Studio, Akshobya and Amitabha Statue)
The fivefoldness of the mandala comprises five levels- the Four Guardian Deities are depicted in grey, the dark brown figures are the Four Subsidiary Goddesses of the Outer Orbit, the light brown figures are the Four Subsidiary Goddesses of the Inner Orbit, the Four Supreme Buddhas in original colors and the 16 Boddhisattvas depicted in lighter colors and the white Vairochana.
The main temple’s lower walls depict the Buddhist legends of Prince Sudana, who acquired wisdom in 52 different regions and finally gained enlightenment. Another depiction on these walls is the legend of Prince Siddharta. The middle portion of these walls depicts the sculptures of the Vajradhatu Mandala, with various symbolic female deities associated with this concept of Tibetan Buddhism. The upper portion depicts the abodes of the Buddhas and the Boddhisattvas as well as representations of the Tantric deities and Bon goddesses. These depictions of the Buddhas and Boddhisattvas are most wonderfully depicted in the sanctum sanctorum of this temple, located at its eastern end. These paintings are excellently preserved and were originally executed in 1042.
(Source- Wikimedia Commons, Legend of the Prince Sudana)
The murals of the Golden Temple are at a height of 4 meters, where Chinese, Nepali, Kashmiri, and Indian influences can be observed. One can observe Indian influences with the Chinese influences in these paintings. The central figure on the right wall of this temple depicts the captivating Green Tara painting that holds a lotus in her left hand. This painting depicts the shading technique of the
(Source- Petervanham.com, Green Tara and Painting of White Saravid Vairochana)
grey-green color of her skin applied in practical life. Her body is in the shape of an hourglass which increases the width of her bosom revealed by her low-necked mythological-looking attire. Her crown is also a masterpiece of creative art.
The pretty Saravid Vairochana painting (as can be seen above) in the temple is white and four-headed. The heads are topped with beautiful threefold crowns with small childish figures in addition to lions and elephants. The figure is encircled by 36 deities including the four Supreme Boddhisattvas, which is associated with this deity.
Another visual treat is the painting of the Vajradhara (below), who is the Adibuddha or the Almighty God, for the later traditions of Tibetan Buddhism. He is the essential and the original Buddha who represents the manifestation of the highest degree of wisdom. His iconographical attributes are a thunderbolt and bell that are crossed before his chest which is expressive of the unification of the ‘absolute truth’ and ‘compassion for all beings’ to attain the highest wisdom. Since he is believed to be unshakeable as the sky, he is in blue. His throne is flanked by two elephants and behind this throne is a ‘halo-palace’ in red whose boundaries are marked by columns that are carried by small nude figures. Peacocks are seen to roam on the balconies. He is adorned with jewelry and a stylized five-folded crown. He is further shown by 84 Siddhas, who are the ascetics that analyze the experiences of the spiritual revelation they have of this manifestation of Adibuddha as the Supreme Truth.
(Source- Petervenham.com, Vajradhara’s painting)
It is of paramount importance to conserve the heritage of this Himalayan Buddhist monastery which has been instrumental in promoting the faith in the Himalayan region.
PRESERVATION, CONSERVATION & TABO MONASTERY TRAVEL GUIDE
One of the foremost steps towards preserving the heritage of the Spiti Valley, keeping with the time, is through the medium of modern education. The Serkong School was established by the monastery in 1999 suited for this purpose, as advised by His Holiness the 14th Dalai Lama. The school aims to enable to current generation of the Spiti Valley to shape their futures, based on the Tibetan culture, channeling its support to the children from underprivileged families. One of the crucial activities of this school is the education of the Bothi language, which is spoken in the Spiti Valley and Ladakh, along with music and dance.
Any historical treasure needs conservation efforts for posterity and such efforts have been made by the Archaeological Survey of India (ASI), under whom this site is a protected one, to conserve this Tibetan Buddhist sacred site. ASI had also proposed this monastery to be recognized as a UNESCO World Heritage Site for its sacred and spiritual importance in Tibetan Buddhism of the Himalayan region. The team of the ASI in 2002 also invested efforts to replace a huge beam of deodar that held the roof of the main hall with a beam of sal timber due to the inability to locate the deodar. Efforts are undertaken by the team to conserve the murals and paintings that were victims of water seepages.
Tabo Monastery is worth visiting for anyone and every citizen ought to visit this place to admire how this site is inextricably linked to the socio-economic and cultural fabric of the nation. Before anyone visits the monastery, a little travel guide mentioned below would help.
If one would like to visit this historic Himalayan Buddhist wonder, the closest airport is the Bhuntar Airport in Kullu which is well connected to cities like Mumbai and Delhi. From this airport, one can reach Kaza through a bus or a taxi and can in turn reach the monastery through the same modes of transport. If someone is planning to visit by train, then the nearest major station is the Kalka Railway Station, situated in Shimla. This route is accessible through major Indian cities and from Shimla, visitors again have an option of a taxi or a bus that would take them to the headquarters of the Kinnaur district, Reckong Peo, and subsequently to Kaza. From here, it takes only an hour’s drive to reach the monastery.
The ones who love road travel can visit this monastery which is accessible by road too, either through Kumzum Pass from Manali or via the Kinnaur Valley from Shimla. But the latter is not affordable to miss owing to the stunning views of the valley. These routes are operated only from June to October and not during winters and monsoons due to snowfall and rainfall respectively. The best time to visit this site is from May onwards till October when the tourist season starts. However, it is advised not to visit in the monsoon months such as August and after November when heavy snow gradually trickles into the landscape. The timings of this monastery are from 6 a.m. when the morning prayers begin till 7 pm but do visit before 5.30 pm as they shut completely after that.
For a truly memorable experience, it is advised to connect with the monks residing and praying there to acquire an insight into the history and antiquity of this monastery. In an age of rapid use of photography through cameras and mobile phones, the usage of these devices is not permitted inside the monastery. As environmentally-conscious citizens of the 21st century, it is important not to hamper the natural beauty of the region with careless habits of littering. It is crucial to note that temperatures could reduce below the freezing point in this region, due to which it is required to carry an extra layer of clothing such as woolen and windproof garments. In addition to all these tips, immersing oneself within the culture of the Tabo monastery and its festivals such as the Chham dance would offer an unforgettable cultural experience.
This monastery, the ‘Ajanta of the Himalayas’ is certainly an artistic wonder as well as a sacred place renowned for its spiritual heritage, symbolizing the rich tangible heritage of the faith of Tibetan Buddhism. An increased acknowledgment and awareness of this Himalayan Buddhist monastery is essential to cultivate a sense of profound admiration for the spectacular paintings and murals that accompany the many figures, that are deeply imbued with the principles associated with the faith. It is with this renewed sense of appreciation that one can commence as well as continue to preserve the tangible and intangible heritage of this region in the Himalayas, in addition to active social and spiritual involvement with the monks and the local community.
REFERENCES AND BIBLIOGRAPHY
Kapadia, Harish (1999). Spiti: Adventures in the Trans-Himalaya (2nd ed.). New Delhi: Indus Publishing Company.
Srivastava, P.; Ray, Y.; Phartiyal, B.; Sharma, A. (1 March 2013). “Late Pleistocene-Holocene morphosedimentary architecture, Spiti River, arid higher Himalaya”. International Journal of Earth Sciences. 102 (7): 1967–1984.
Deshpande, Aruna (2005). India: A Divine Destination. Crest Publishing House. pp. 466–467.
“HP to promote temple tourism”. Tribune News Service. 8 October 2000
“ASI replacing Tabo monastery’s beam”. Tribune. 9 September 2002
“Heritage status sought for Tabo monastery” Tribune News Service. 15 September 2003.
Kapadia (1999), p. 64.
Francke, August Hermann (1914). Antiquities of Indian Tibet (Public domain ed.). Asian Educational Services. pp. 82
https://www.petervanham.com/Pages/Tabo_Monastery.html
https://www.tabomonastery.org/index.php– Official Website of the Tabo Monastery
https://www.tititudorancea.com/z/tabo_monastery.htm
https://www.tripoto.com/spiti-valley/places-to-visit/tabo-monastery#:~:text=Tabo%20Monastery%20is%20not%20only,that%20resemble%20the%20Ajanta%20Caves.
https://www.thrillophilia.com/attractions/tabo-monastery
https://www.peepultree.world/livehistoryindia/story/monuments/the-ajanta-of-the-himalayas
IMAGE REFERENCES
https://www.evaleestudio.com/2013/11/02/tabo-monastery-vajradhatu-mandala-splendor/
https://commons.wikimedia.org/wiki/File:Tabo_Monastery_Comlex.jpg
https://commons.wikimedia.org/wiki/File:Tabo_monastery_and_surroundings_1.jpg
https://commons.wikimedia.org/wiki/File:Yeshe-%C3%96.jpg
https://footloosemusings.com/2017/09/28/enchanting-spiti-tabo-monastery-pin-valley/
https://commons.wikimedia.org/wiki/File:Sudana_and_the_perfumer_Tabo_Monastery.jpg
https://commons.wikimedia.org/wiki/File:Richen_Zangpo.jpg
