The Commemorative Stupas at Gdan sa mthil – A Preliminary Study

Amendments The Commemorative Stupas at Gdan sa mthil – A Preliminary Study page 251 There the suggestion is made that the Dpal ldan Lha mo statue in the museum of Emory University is possibly identical with a form of Dpal ldan Dpal ldan Lha mo named Gcer bu bong zhon ma shan pa nag mo. Based on recent research, one might suggest that she represents another form of Dpal ldan Lha mo known as Dpal ldan Lha mo Dbu bcu bdun ma. page 252 The reference given for the Jambhala statue seen in Figure 16 is incorrect. The correct reference is: After Mossgreen Auctions 2007: lot 153. Mossgreen Auctions 2007. The Estate of Raymond Mitchell, The Collection of Julian Sterling, Sydney, 26 & 27 February 2007. South Yarra, Vic.: Mossgreen Auctions page 255 fig. 18: Legs ldan nag po, Central Tibet, 14th century, gilt copper, H. 60 cm; Pritzker Collection. The orientation of the image is incorrect. It needs to be flipped horizontally. For a reproduction with the correct orientation, see Olaf Czaja 2013. Medieval Rule in Tibet: The Rlangs Clan and the Political and Religious History of the Ruling House of Phag mo gru pa. With a Study of the Monastic Art of Gdan sa mthil. Wien: Verlag der Österreichischen Akademie der Wissenschaften, p. 690, pl. 163. Olaf Czaja and Adriana Proser (eds.) 2014. Golden Visions of Densatil: A Tibetan Buddhist Monastery. New York: Asia Society Museum, p. 109, fig. 14.04. 

BEITRÄGE ZUR ZENTRALASIENFORSCHUNG begründet von R. O. Meisezahl † und Dieter Schuh herausgegeben von Peter Schwieger Band 20 TIBETAN ART AND ARCHITECTURE IN CONTEXT PIATS 2006: Tibetan Studies: Proceedings of the Eleventh Seminar of the International Association for Tibetan Studies, Königswinter 2006. EDITED BY Erberto Lo Bue and Christian Luczanits 2010 IITBS International Institute for Tibetan and Buddhist Studies GmbH GEFÖRDERT MIT MITTELN DER GERDA HENKEL STIFTUNG ISBN 978-3-88280-089-0 Alle Rechte vorbehalten. Ohne ausdrückliche Genehmigung des Verlages ist es nicht gestattet, das Buch oder Teile daraus fotomechanisch oder auf andere Weise zu vervielfältigen. © (IITBS) International Institute for Tibetan and Buddhist Studies GmbH, Halle (Saale) TABLE OF CONTENTS Foreword ERBERTO LO BUE & CHRISTIAN LUCZANITS . . . . . . . . . . . . . vii The Historical Architecture of the Trandruk Temple in the Yar lung Valley of Tibet REINHARD HERDICK . . . . . . . . . . . . . . . . . . . . . . . . 1 Considerations on the Development of the Representation of the Buddha’s Life in Early Tibetan Thangkas EVA ALLINGER . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Preliminary Remarks on the Donor Inscriptions and Iconography of an 11th-century Mchod rten at Tholing AMY HELLER. . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Courtly Cavaliers, Mounted Heroes and Pehar: New Issues in the Iconography and Iconology of Protector Deities in Early Western Himalayan Art HRISTIANE PAPA-KALANTARI . . . . . . . . . . . . . . . . . . . 75 C Cp"Gctn{"Ycnn"Rckpvkpi"qh"c"Djck焔cl{ciwtw"Ocpfcnc"kp" Western Tibet HELMUT F. NEUMANN & HEIDI A. NEUMANN . . . . . . . . . . . 121 Inscriptions and Captions in the Gu ru Lha khang at Nako, Kinnaur KURT TROPPER . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Visual Evidence for 'Bri gung Activity at Nako, Kinnaur MELISSA R. KERIN . . . . . . . . . . . . . . . . . . . . . . . . 175 The Commemorative Stupas at Densathil a Preliminary Study OLAF CZAJA . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 Mandalas of Mandalas: The Iconography of a Stupa of Many Auspicious Doors for Phag mo gru pa CHRISTIAN LUCZANITS. . . . . . . . . . . . . . . . . . . . . . . 281 v Three Tibeto-Chinese Mandala Paintings of Around 1442 URSULA TOYKA-FUONG . . . . . . . . . . . . . . . . . . . . . . 311 Reconstructing Sakya: Written Sources, Photographic Archives and Fieldwork FEDERICA VENTURI . . . . . . . . . . . . . . . . . . . . . . . . 335 The Tcodjcnc"Owtcnu"kp"vjg"Mnw"mjcpi and Their Historical Context. A Preliminary Report ERBERTO LO BUE . . . . . . . . . . . . . . . . . . . . . . . . . 353 The Dbu yab pho brang in the Nor bu gling ga and Its Connection with the Murals of the Klu khang Behind the Potala JAKOB WINKLER . . . . . . . . . . . . . . . . . . . . . . . . . 375 An Unusual Highlight in Trade in Tibetan Art: A 20th-century Thangka of Shangs pad, Protector of the Dge ldan byams pa gling Monastery at Chamdo in the Province of Dagyab in Kham, Eastern Tibet INGRID KREIDE-DAMANI . . . . . . . . . . . . . . . . . . . . . 393 vi THE COMMEMORATIVE STUPAS AT DENSATHIL A PRELIMINARY STUDY OLAF CZAJA This article deals with the bkra shis sgo mang stupas of the monastery of Densathil (Gdan sa mthil), which once was owned by the Rlangs Phag mo gru pa clan.1 It will be argued here that, for understanding those Densathil stupas, the bkra shis sgo mang."yjkej"ycu"dwknv"hqt"Rjci"oq"itw"rc"Tfq"tlg" rgyal po (1110–1170) and of which its iconographic programme is preserved in form of a dkar chag, is of crucial importance. Analysing photographs taken by Francesco P. Mele on an expedition by Giuseppe Tucci and fragments from 1 Kv"ku"ockpn{"dcugf"qp"vjg"tgugctej"eqpfwevgf"hqt"o{"fqevqtcn"vjguku"愛Ogfkgxcn"Twng" in Tibet: The Rlangs Clan and the Political and Religious History of the Ruling House of Phag mo gru pa.” which was submitted in 2006 at Leipzig University, Institut für Indologie und Zentralasienwissenschaften. Its publication is under preparation. For a rtgnkokpct{"uwtxg{."ugg"E¦clc"42290"Vjg"rctv"eqpegtpkpi"vjg"eqpugetcvkqp"egtgoqp{" comprises recent research, as do some parts of the last paragraph. I am very grateful to Christian Luczanits and Erberto Lo Bue, who kindly invited me to write this article, adding to the contributions of their panel found in this volume. The paper was initially intended to be presented at this conference but for some unexpected reasons my participation did not realise and the paper could not be delivered in Bonn. I am indebted to Peter Schwieger, who generously granted permission that this paper could be included in this volume. Furthermore, my gratitude must be expressed to those individuals and institutions that helped me to obtain photographs and granted me permission to reproduce them in this article: Martin Brauen (Völkerkundemuseum Zürich), Stella Calvert-Smith (Christie’s), Leiko Coyle (Leiko Coyle Asian Art), Stacey Gannon-Wright (Michael C. Carlos Museum), Cory Grace (Freer Gallery of Art and Arthur M. Sackler Gallery), Amy Heller (Nyon), Suzy Lebasi (Prahan, Melbourne), Thomas Pritzker (Chicago), Ulrich von Schroeder (Weesen) and Piper Wynn Severance (Los Angeles County Museum). Moreover, many thanks again go to Christian Luczanits, who generously sent me the hand-out of his presentation given at Bonn, which I unfortunately missed. Furthermore I am also grateful to Per K. Sørensen for allowing me to make use of his forthcoming publication Rare Tibetan Texts. 197 Qnch"E¦clc the destroyed bkra shis sgo mang stupas one might be allowed to attempt to 唖tgeqpuvtwev娃"vjqug"qwvuvcpfkpi"ocuvgtrkgegu"qh"Vkdgvcp"ctv0 At the beginning a few remarks on the artistic phenomenon of the bkra shis sgo mang structure will be given. This is followed by a brief discussion of how many bkra shis sgo mang were once housed at Densathil. Then the basic outline of the iconographic programme will be sketched out with some references to the bkra shis sgo mang seen on the photos by Mele. Additionally, the interior structure of the bkra shis sgo mang stupa for Phag mo gru pa will be presented in detail, hoping that it might broaden and deepen our understanding of the peculiarities of this art work. With regard to the surviving pieces of art, a further focus will be directed on the iconographic evaluation of a selection of fragments which probably are from this very monastery and which came most likely from the sixth tier of a bkra shis sgo mang. These oqtg"唖vgejpkecn娃"curgevu"ujcnn."gxgpvwcnn{."dg"dtqwijv"kpvq"c"ykfgt"eqpvgzv"ykvj" its historical dimension and its religious, political and social aspects in the last part of this paper. Finally, several problems will be outlined to be addressed in future research. THE BKRA SHIS SGO MANG OF DENSATHIL The sculptural art of Densathil has long been known to a Western audience. Giuseppe Tucci, who travelled to Densathil in 1948 together with his photographer Francesco P. Mele, left behind an enthusiastic account of his visit.2 Fortunately, Mele grasped that opportunity for taking photographs, 愛Kp"vjg"egpvtcn"vgorng娃u"qrgp"rqtej"tqug"jwig"ejqtvgpu"jqnfkpi"vjg"tgockpu"qh"vjg" abbots and princes of that lineage, whose two branches held the secular and spiritual throne through many generations. They were huge gilt-bronze monuments carried out by Nepalese craftsmen, perhaps with the help of the very skilled local workmen: the Tsetang princes must have gathered the pick of the available architects, and sculptors and their successors did their level best to achieve the same standard. Here could be uggp"vjg"享zkv{"qh"cp"ctv"vjcv"ygpv"vjtqwij"vjg"egpvwtkgu"ykvjqwv"wpfgtiqkpi"cp{"uk¦gcdng"ejcpig."dwv"hqt"vjg"nguu"ceewtcvg"享pkuj"cpf"vjg"itgcvgt"jctrkpi"qp"okpqt"fgvcknu"qh" vjg"oqtg"tgegpv"vkog0"Vjqug"ejqtvgpu"ygtg"tkijvn{"vgtogf"Mwodwou."k0g0"唖vjg"jwpftgf" thousand statues’, as the architectural lines of those buildings were smothered with a wealth of carvings and reliefs that knew no limits. The whole Olympus of Mahayana seemed to have assembled on those monuments. As I cast the light of my torch on the ejqtvgpu."vjg"ugxgtcn"享iwtgu"urtcpi"kpvq"nkhg."inkvvgtkpi"ykvj"iqnf"qwvnkpgf"cpf"ugv"qhh" by darker hues and deep shadows. On each of the four sides of the plinth, the shapes of the protectors of the cardinal points were carved, to mark out the sacred area and 2 198 The Commemorative Stupas at Densathil which, as it later turned out, became a documentary treasure of a lost past. The commemorative stupas, which can be seen in his photos, housed in the main hall of Densathil, were erected for the deceased abbots of this monastery (see the Figures). While several historical sources exist which allow to outline the succession of those dignitaries, regrettably little information is found on vjg"ctvkuvke"ygcnvj"qh"vjku"oqpcuvgt{."cpf"gurgekcnn{"qp"vjg"唖Ocp{"Icvgu"qh" Auspiciousness’ (bkra shis sgo mang), as these commemorative structures are called.3 During the Cultural Revolution this sanctuary was destroyed and nothing was left but the walls.4 In the next decades fragments of the bkra shis sgo mang found their way out of Tibet. They came to be greatly admired by connoisseurs of Tibetan art, private collectors and museums. The tradition of erecting bkra shis sgo mang stupas for the abbots of Densathil dates back to the death of the ti{cn"dc"tkp"rq"ejg Grags pa brtson 'grus (1203–1267). When he passed away, such a structure was built to commemorate that event. However, it looks as if this construction had a precursor in the bkra shis sgo mang"dwknv"hqt"Rjci"oq"itw"rc"Tfq"tlg"ti{cn" po (1110–1170), who had established a religious community at Phag mo gru, hence his appellation as Phag mo gru pa, and who is traditionally counted as ward off the evil powers. Their hard, rugged images, like of mail-clad warriors, sharply contrasted with the buoyancy of some female deities gambolling festoon-like around the upper part of the oldest chortens. A huge gilt Buddha smiled impassively against the middle of the wall. As I could make out from the inscription on the plinth, the statue was commissioned by King Changchub Gyantsen (Byang c'ub rgyal mts'an). The inscription also carried the names of the artists and purported that the statue had been carved according to the models of Nepalese art. On the Buddha’s either side were statues of Champa and Chenrezig. On the several altars facing the chortens were heaped statues of the most different size and ages. Some were Indian, but most of them were Nepalese. … In a neighbouring temple I could see two more chortens containing the mortal remains of Drongon Pagmotru.” (Tucci 1956: 127f). 3 For a brief discussion of this designation and a list of the relics at Densathil, see E¦clc"42290"Vjg"ucog"urctukv{"qh"ytkvvgp"fqewogpvu"gzkuvu"ykvj"tgictf"vq"vjg"ytkvings of religious dignitaries of the Rlangs Phag mo gru pa. 4 This, admittedly, is an assumption based on the fate that numberless religious setvngogpvu"jcf"vq"hceg0"Jqygxgt."享gnfyqtm"yqwnf"dg"pgeguuct{"vq"eqp享to"vjku"cpf"vq" gather information on how exactly it happened. For the present study, this point can, however, be neglected, because it does not touch the character of this art historical discussion. 199 Qnch"E¦clc vjg"享tuv"cddqv"qh"Fgpucvjkn."vjg"oqpcuvgt{"yjkej"fgxgnqrgf"htqo"vjku"tgnkikqwu" community. This bkra shis sgo mang was designed and commissioned by one of his pupils, 'Jig rten mgon po (1143–1217). Uqqp"chvgt"vjg"fgcvj"qh"Tfq"tlg"ti{cn"rq."c"hwpgtcn"ycu"eqpfwevgf"cpf" a stupa (a dmtc"ujku")qf")dct stupa without a bkra shis sgo mang structure) was erected for his remains. Rivalries among his numerous disciples became ejctcevgtkuvke"qh"vjg"nkhg"cv"Rjci"oq"itw"cpf")Lki"tvgp"oiqp"rq"jcf"vq"京gg0" Jg"hqwpfgf"jku"qyp"tgnkikqwu"ugvvngogpv"egpvtgf"cv")Dtk"iwpi0"Wpfgt"jku"享to" leadership, the Bka' brgyud pa school known as the 'Bri gung pa steadily develqrgf"kpvq"c"oclqt"rnc{gt"kp"rqnkvkeu"qh"vjcv"fc{0"Fwtkpi"vjg"享tuv"fgecfgu."chvgt" vjg"rcuukpi"cyc{"qh"Tfq"tlg"ti{cn"rq."vjg"hwvwtg"qh"vjg"tgnkikqwu"eqoowpkv{" at Phag mo gru remained uncertain. It was only in 1198 that a big council was held, on which main pupils of Phag mo gru pa such as 'Jig rten mgon po, Stag lung pa Bkra shis dpal (1142–1209/10) and others gathered. It was decided to build a monastery around the famous grass-hut of Phag mo gru pa.5 Afterwards, some time before 1202, 'Jig rten mgon po made the plan to erect a bkra shis sgo mang for his beloved teacher. He received its arrangement of 享iwtgu"kp"c"xkukqp."kv"ku"uckf0"Vjku"rtqitcoog"eqwnf"dg"gzrgevgf"vq"eqpvckp" established iconographic and artistic concepts, but due to the visionary way they were received, new modes seem possible, too. Therefore it could be that certain deities and their arrangement bear iconographic features which are not met with in textual sources. For the realization of this prestigious undertaking of building a bkra shis sgo mang."c"Pgyct"ctvkuv"pcogf"Oc穎kdjcftc"ycu"kpxkvgf"vq")Dtk"iwpi" between 1198 and 1202, most probably in the latter year. When the erection of the bkra shis sgo mang ycu"享pkujgf."kp"cdqwv"342:."vjg"uvwrc"*vjg"bkra shis )qf")dct) of Phag mo gru pa was brought from Densathil. It was welcomed with a ceremony and placed on top of the bkra shis sgo mang. This transfer caused much controversy among the religious dignitaries at that time, as they hgnv"vjcv")Lki"tvgp"oiqp"rq"ycu"iqkpi"vq"唖fguvtq{娃"Fgpucvjkn"d{"dtkpikpi"kvu"oquv" xgpgtcvgf"qdlgev"vq"jku"qyp"nqecvkqp"qh")Dtk"iwpi0"Dgecwug"qh"vjcv.")Lki"tvgp" mgon po had to return the stupa. The bkra shis sgo mang, however, remained at 'Bri gung and a new stupa was erected for it and put on its top. 5 Hqt"fgvcknu."ugg"E¦clc"4228."E¦clc"42290 200 The Commemorative Stupas at Densathil Fig. 1: View on the interior of the main hall of Densathil; photo by Rkgvtq"H0"Ogng."3;6:="chvgt"xqp"Uejtqgfgt"4223<"xqn0"4."享i0"ZXKь70 Hqtvwpcvgn{."yg"ctg"ygnn"kphqtogf"qp"vjg"crrgctcpeg"qh"vjku"享tuv"bkra shis sgo mang"eqpuvtwevgf"hqt"vjg"ncvg"Tfq"tlg"ti{cn"rq0"Kp"c"dkar chag written by Shes rab 'byung gnas (1187–1241), the entire sculptural programme is given and discussed in detail, being based on an outline of its tiers and directions. Different versions of this text, an extended and a short one, were prepared. Furthermore, a text (available in two editions) is important, which deals with vjg"tgnkeu"cpf"kvgou"kpugtvgf"yjgp"vjg"享pcn"eqpugetcvkqp"egtgoqp{"qh"vjg"bkra shis sgo mang was conducted.6 The titles of those texts were slightly mixed up, but, after consulting its contents, a correct evaluation can be done easily. The extended version is found in both the Collected Writings of 'Jig rten mgon po and the Collected Writings of Shes rab 'byung gnas, see KCh-I, KCh-III. The short version is found only in the former work, KChII. The dkar chag listing the religious items of the consecration ceremony is also published in both the Collected Writings, KCh-A, KCh-B. Luczanits 2006 holds the opinion that the dkar chag is ascribed to 'Jig rten mgon po, ibid. 1. Given his observation that the stupa in terms of its shape and symbolism is not described, but the deities only, one has to conclude that this statement is based on the 6 201 Qnch"E¦clc The general outline of this bkra shis sgo mang and its relation to those of Densathil will be discussed here, but, before turning to it, a detailed overview of the number of the commemorative structures once existing at the monastery of Densathil should be inserted because of its art historical ukipk享ecpeg0 THE NUMBER OF BKRA SHIS SGO MANG Pcvwtcnn{."kv"ku"qh"wvoquv"korqtvcpeg"hqt"cp{"cvvgorv"vq"唖tgeqpuvtwev娃"vjg" destroyed bkra shis sgo mang to know how many of these structure there were once at Densathil. The opinion can frequently be found that there were eighteen big stupas (which usually is understood by scholars in the sense of bkra shis sgo mang).7 To a high degree responsible for this notion is Sarat Chandra Das, who had visited Densathil and reported: 愛Cv"vjg"xknncig"qh"Lqpi"yg"dgicp"vjg"cuegpv"qh"vjg"uvggr"jknn"qp"yjqug" summit is the old lamasery of Densa-til, the principal building nestled cokfuv"htqypkpi"etciu."qp"yjkej"itqy"jgtg"cpf"vjgtg"c"hgy"享tu"cpf" lwpkrgt"vtggu0"Kp"vjg"cflcegpv"enkhhu"ygtg"pwogtqwu"ecxgu"hqt"tgenwugu0" This temple differs somewhat from all other buildings of this kind I have seen in Tibet, the plan of it approaching rather that of a modern building in Bengal. I notice here eighteen beautiful silver and copper chorten."vjg"享pguv"urgekogpu"qh"uwej"ogvcn"yqtm"K"jcxg"uggp0"Ukz" tablets of gold, each six feet long and six inches broad, hung from the ceiling, besides six piles of similar but smaller tablets in a corner. Of all the monasteries in Tibet, this is perhaps the richest in religious treasures, and the Government of Lhasa takes particular care of it. Coqpi"vjg"ewtkqwu"qdlgevu"rncegf"dghqtg"vjg"kocigu"qh"vjg"iqfu"kp" short version only (KCh-II). Certainly, one has to broaden one’s textual base by including the extended versions as well, namely KCh-I and KCh-III, and additionally KCh-A and KCh-B. By this it becomes evident that its author is Shes rab 'byung gnas (see cnuq"vjg"dkqitcrjkgu"qh"vjg"ncvvgt."eh0"E¦clc"4228"hqt"fgvcknu"cpf"tghgtgpegu+0"Oqtgqxgt." numerous details on the symbolic aspects of the bkra shis sgo mang and its actual shape are found in the extended versions as well as in the KCh-A and KCh-B. 7 See for instance Stoddard 2002, who speaks of eighteen big stupas in Densathil, ibid. 443. While in this statement she does not clearly distinguish between stupa and bkra shis sgo mang, her following discussion leaves no doubt that in her opinion eighteen bkra shis sgo mang stand in Densathil. Her assumption is based on the reports of Das and Tucci, the pictures of Mele and some unnamed Tibetan literature. 202 The Commemorative Stupas at Densathil Fig. 2: A bkra shis sgo mang stupa in Densathil, lower section; photo by Pietro F. Mele, 1948; Völkerkundemuseum Zürich. vjg"rtkpekrcn"vgorng."K"ucy"uqog"dqynu"享nngf"ykvj"xctkqwu"mkpfu"qh" seed and some fossils, among which some grains of barley. The next fc{"yg"tguwogf"qwt"lqwtpg{0"Vjg"tqcf"cv"享tuv"ngf"vjtqwij"c"hqtguv" said to have sprung from the hairs of Je Phagmodu, the founder of the Densa-til lamasery.”8 Pqvcdn{."Fcu"urgcmu"qh"愛gkijvggp"dgcwvkhwn"uknxgt"cpf"eqrrgt"chorten” (which leaves open whether or not all those stupas were bkra shis sgo mang). It was already observed by W.W. Rockhill, who edited this published report, that the 享iwtg"qh"gkijvggp"ycu"cnuq"dcugf"qp"vjg"Fuconkpi"{gujgu [)F¦co"inkpi"ti{cu" bshad].9 He knew that Das had translated parts of that geographical treatise and published it in 1887. In it the number of eighteen chorten is given. Kv"ku"fkh享ewnv"vq"lwfig"jqy"owej"Fcu"ycu"kp京wgpegf"d{"vjku"mpqynedge and whether or not he made a full investigation when he was in Densathil. The well-known geographical work, the )F¦co"inkpi"ti{cu"dujcf, which was written by Smin grol No man han, contains a short description of 8 9 Das 1988: 226f. The italics are by Das. Das 1988: 227, n. *. 203 Qnch"E¦clc the monastery of Densathil. The bless-bestowing statue of Phag mo gru pa is named, as well as eighteen silver reliquaries (fpiwn"ifwpi) commissioned during the reign of the eighteen successive abbots (gdan rabs).10 Again one should note that this Tibetan author does not speak of eighteen bkra shis sgo mang. Tucci could have shed light on the matter, because he visited Densathil in 1948, but unfortunately he does not address this question in his account. In Tibetan literature, several personalities are reported to have visited Densathil. Their accounts are often very sketchy, naming only a few religious items. An exception is represented, however, by the reports written by the Mc鵜"vjqi"Uk"vw"Ejqu"m{k"ti{c"ovujq"*3::2ь3;4513;47+"cpf."nguu"fgvckngf"dwv" still important, by the uk"vw"rc穎"ejgp Chos kyi 'byung gnas (1699/1700–1774).11 The former gives a very concise overview on the artistic and religious wealth of Densathil, and also includes a few observations on the bkra shis sgo mang without providing their actual number. This lack of information is compensated by the report made by the uk"vw"rc穎"ejgp, who clearly states that eight bkra shis sgo mang"ygtg"cv"vjg"itqwpf/京qqt."dgkpi"vjg"tgnkswctkgu"*ifwpi" rten) of the succession of"ur{cp"upic0"Vjku"ku"eqp享togf"d{"c"oqtg"tgegpv" traveller, namely Kha stag 'dzam yag, who speaks of eight golden stupas (gser sdong brgyad).12 Furthermore, it may be added that this number also corresponds to the list of abbots until the decline of the Rlangs Phag mo gru pa ruling house after 1434. This resulted, for example, in the taking over of the abbotship by the ¦jxc"foct"dc incarnation line and the considerable limitation of the economical scope of this family, which no longer had the power or the money to commission such structures. Textual research allows us to attribute the commemorative structures (bkra shis sgo mang) to the following abbots (ur{cp" snga) of Densathil: Wylie 1962: 32, 90. It can be doubted that all those reliquaries were made of silver. It is important to notice that his description is not based on own investigations, but qp"jgct/uc{."cu"ecp"dg"kphgttgf"htqo"jku"eqpenwfkpi"tgoctm"愛旭"ecvvng"dgkpi"rgppgf"wr" in such things as the ivuwi/nci/mjcpi, so I have heard it said.” ibid. 91. This account qp"Fgpucvjkn"ngf"Y{nkg"vq"vjg"qrkpkqp"vjcv"愛旭"vjgug"vqodu"ctg"3:"eqrrgt."qt"dtqp¦g." mchod-rten gilded with silver.” ibid. 171, n. 517. This, however, can be ruled out. 11 NY [178/15–185/2], ADSTPCh [84/2–87/1]. 12 Mjc"uvci")f¦co"{ci 1997: 95. 10 204 The Commemorative Stupas at Densathil 1. ti{cn"dc"tkp"rq"ejg Grags pa brtson 'grus (1203–1267);13 2. dew"ip{ku"rc"Tkp"ejgp"tfq"tlg"*343:ь34:2+=14 3. vujgu"d¦jk"tp{kpi"oc"rc Grags pa rgyal mtshan (1293–1360);15 4. dew"ip{ku"iuct"oc Grags pa shes rab (1310–1370);16 5. vujgu"d¦jk"iuct"oc Grags pa byang chub (1356–1386);17 Vjg"享tuv"bkra shis sgo mang, which was erected at the monastery of Densathil, was part of the commemoration service for the late ti{cn"dc"tkp"rq"ejg"Grags pa brtson 'grus (1203–1267). It was commissioned by the dew"ip{ku"rc"Tkp"ejgp"tfq"tlg"*343:ь 1280), who succeeded him on the throne of Densathil, Roerich 1988: 581, DThMP [122/21]. In the Ti{c"dqf"{ki"vujcpi."kv"ku"uvcvgf"vjcv"Tkp"ejgp"tfq"tlg"*343:ь34:2+" built a golden [bkra shis] sgo mang as inner support (nang rten) for the rgyal ba rin rq"ejg. According to this source, it is the earliest [bkra shis] sgo mang of Densathil, GBYTsh [541/10–12]. Both the rc穎"ejgp"Duqf"pcou"itciu"rc"cpf"vjg"Mc鵜"vjqi"Uk"vw" Chos kyi rgya mtsho record a bkra shis sgo mang for ti{cn"dc"tkp"rq"ejg"Grags pa brtson 'grus, Tucci 1971: 204f., NY [182/4]. The later personality furthermore notes that it took twelve years to complete it. 14 When the dew"ip{ku"rc"Tkp"ejgp"tfq"tlg"rcuugf"cyc{."c"]bkra shis] sgo mang was built for him under the supervision of one of his pupils named Spu rtogs, DThMP ]344145̲."ID[Vuj"]763134ь36̲0"Chvgt"vjg"fgcvj"qh"Tkp"ejgp"tfq"tlg."vjg"ugcv"qh"Fgpucthil was then successively occupied by Grags pa ye shes (1240–1288, tenure 1281–1288) and Grags pa rin chen (1250–1310, tenure 1289–1310). In my opinion, bkra shis sgo mang were not commissioned for them. There are no Tibetan documents which record such an erection. Furthermore, as outlined above, the total number of eight for the bkra shis sgo mang naturally restricts the number of candidates, especially so if such structures built for other abbots are known (see below). Additionally, one should recall vjg"tgrqtv"ikxgp"d{"vjg"Mc鵜"vjqi"Uk"vw"Ejqu"m{k"ti{c"ovujq."yjq"urgcmu"qh"c"ifwpi" rten each for both these personalities being placed on the eastern side of the main hall (ivuwi"nci"mjcpi+"cpf"京cpmkpi"vjg"vtkcf"qh"vjg"ifwpi"tvgp for 'Jig rten mgon po, Phag mo gru pa and Grags pa 'byung gnas to the right and left respectively. This suggests that two stupas enshrined their remains, but were not bkra shis sgo mang. 15 In 1311, shortly after the death of Grags pa rin chen, the vujgu"d¦jk"tp{kpi"oc"dc Grags pa rgyal mtshan (1293–1360) was installed as the new ur{cp"upic. During his exceedingly long tenure, the Phag mo gru pa became the new hegemonial power in Tibet. When he passed away, the Si tu Byang chub rgyal mtshan (1302/03–1364) let build a bkra shis sgo mang for his elder half-brother, TS I [325/16], TS II [234/6], TS III [729/5], see also HRChB [379/18], MBOT [47B6]. 16 His successor the dew"ip{ku"iuct"oc"dc"Grags pa shes rab (1310–1370) held the abbot’s chair until his death. While the erection of a bkra shis sgo mang is not recorded cu"rctv"qh"jku"eqoogoqtcvkqp"ugtxkeg."vjg"Mc鵜"vjqi"Uk"vw"Ejqu"m{k"ti{c"ovujq"pcogu" it explicitly, NY [183/7]. 17 The new ur{cp" upic became the vujgu" d¦jk" iuct" oc Grags pa byang chub 13 205 Qnch"E¦clc 6. gnam gang gsar ba Dpal ldan bzang po (1383–1407);18 7. either deq"dti{cf"rc"Bsod nams grags pa (1359–1408) or nyer brgyad rc"Bsod nams bzang po (1380–1416);19 8. Lha gzigs ras pa alias p{gt"ip{ku"tkp"rq"ejg"Bsod nams rgyal mtshan (1386–1434).20 (1356–1386). When he passed away, his younger relatives the deq"dti{cf"rc"Bsod nams grags pa (1359–1408) and Grags pa rgyal mtshan (1374–1432) among others let erect a bkra shis sgo mang, as it is stated in the biography of Grags pa byang chub written by Tsong kha pa, TJ [182/20]. 18 Grags pa byang chub was followed by Bsod nams grags pa (1359–1408). The latter stepped down in favour of the gnam gang gsar ba Dpal ldan bzang po (1383–1407), yjq"qeewrkgf"vjg"cddqv娃u"vjtqpg"htqo"3627"vq"36290"Vjg"Mc鵜"vjqi"Uk"vw"Ejqu"m{k"ti{c" mtsho names his bkra shis sgo mang, NY [183/4]. 19 In 1408 Bsod nams grags pa died and the nyer brgyad ba Bsod nams bzang po (1380–1417) became the new ur{cp"upic"of Densathil. Until now no sources came to light, which might clarify for which of both these personalities a bkra shis sgo mang was built. It is known that the Phag mo gru pa ruler Grags pa rgyal mtshan (1374–1432) was involved in the commission of three bkra shis sgo mang, HRChB [388/5], MBOT [49B3]. As mentioned above, Tsong kha pa writes in his biography on Grags pa byang chub (1356–1386) that Grags pa rgyal mtshan erected a bkra shis sgo mang for him. Surely, the second of those three has to be the one for Dpal ldan bzang po (1383–1407), while the third must be for Bsod nams grags pa or Bsod nams bzang po. In the biography of Stag lung pa Bkra shis dpal brtsegs (1359–1424), it is recorded that jg"ycu"kpxkvgf"vq"cvvgpf"vjg"ocipk享egpv"hwpgtcn"egtgoqpkgu"cv"Fgpucvjkn"hqt"vjg"ncvg" Bsod nams bzang po, TLChB [384/10]. The funeral was conducted by Bsod nams rgyal mtshan. In the Njq"tqpi"ejqu")d{wpi he is said to have built a [bkra shis] sgo mang whose number of deities was outstanding, HRChB [401/10]. (In the Uvci"nwpi"ejqu" )d{wpi"no mention is made of a bkra shis sgo mang or any mchod rten.) Perhaps one has to regard this funeral and the erection of the bkra shis sgo mang as interlinked and hence identify this stupa as the reliquary for Bsod nams bzang po. Even though Gzhon nu dpal, too, notes in his Fgd"vjgt"upiqp"rq that Bsod nams rgyal mtshan built a bkra shis sgo mang with deities more than any other previous structure (and rtqxkfgu"gxgp"c"fcvg."pcogn{"cv"vjg"cig"qh"hqtv{/享xg."k0g0"3653+."jg"fqgu"pqv"rqkpv"qwv" for whom it was constructed, Roerich 1988: 594, DThNgP [699/10]. 20 Vjg"Mc鵜"vjqi"Uk"vw"Ejqu"m{k"ti{c"ovujq"tgeqtfu"c"bkra shis sgo mang for one Lha gzigs ras pa, NY [183/5]. He writes that the sgo mang of the ur{cp"upic Lha gzigs ras pa has 3962 deities and a gilded copper parasol (of) the mandala of Dus 'khor. Wphqtvwpcvgn{."vjg"crrgnncvkqp"qh"vjg"唖eqvvqp/encf"*{qikp+"qh"vjg"Njc"i¦kiu"*encp+娃"ku" not met with in the biographies of members of this clan. Based on his pupils, one might think that ip{ku"oejqf"rc"Grags pa rin chen (1250–1310) was called in this yc{."dwv"kv"ku"xgt{"wpnkmgn{."dgecwug"vjg"Mc鵜"vjqi"Uk"vw"Ejqu"m{k"ti{c"ovujq"pcogu" this personality by his common epitheton ip{ku"oejqf"rc"and also his nick-name, 206 The Commemorative Stupas at Densathil With exception of the seventh in this list, all others can be documented in historical writings. This means that these huge commemorative stupas were executed between the second half of the 13th"egpvwt{"cpf"vjg"享tuv"jcnh"qh"vjg" 15th century, a period of roughly 170 years. Such a chronological frame limits the number of fragments which may be considered as formerly being part of any Densathil stupa; an 18th century páictálc"享iwtg."hqt"gzcorng."ku"jctfn{" imaginable as coming from a Densathil bkra shis sgo mang. Moreover, since bkra shis sgo mang are eight, the suggestion is allowed that the number of uv{nkuvke"itqwru."vqq."ku"gkijv"*kh"qpg"citggu"vq"vjg"xkgy"vjcv"vjg"享iwtgu"qh"qpg" bkra shis sgo mang were fashioned with more or less similar stylistic features). Logically, it is very unlikely that fragments such as panels with offering goddesses from Densathil, represent twenty stylistic groups for example. THE OUTLINE The mention of panels depicting offering goddesses leads to the question of how the bkra shis sgo mang structure might have looked like, which shall be roughly described in this paragraph. namely Gser thog pa. (Additionally, one might remark that a ifwpi"tvgp is recorded for him without a bkra shis sgo mang.) Another candidate could be Grags pa byang chub (1356–1386), but eventually this assumption can be ruled out, because Sangs rgyas rgya mtsho provides in his Fic)"nfcp"ejqu")d{wpi"xck鰯et{c"ugt"rq"a solution for this problem. Concerning the foundation of Mon mkhar phyugs dgon, he remarks that it was established by a pupil of Tsong kha pa: the one who has three names, namely the ur{cp"upic"Bsod nams rgyal mtshan, Lha gzigs ras pa alias the p{gt"ip{ku"tkp"rq"ejg, GDChB [224/3]. Reviewing the biography of Bsod nams rgyal mtshan, the appellation of njc"i¦kiu"tcu"rc was indeed applicable to him, because, in 1405, after he had asked his beloved teacher unqd"frqp Shes rab don pa for the Ivwo"oq"¦jci"dfwp"oc"and the Ejqu"ftwi"ik"mjtkf, he spent the coming years clad in cotton only. Furthermore, one should note that in the Fgd"vjgt"upiqp"rq the Phag mo gru pa ruler Grags pa 'byung gnas (1414–1444/45) is credited to have commissioned a huge stupa of silver, having the design of a bkra shis sgo mang, at Densathil: fg"pcu"ok)k"fdcpi"rq"itciu" rc")d{wpi"ipcu"m{ku"˜"Ifcp"uc)k"oejqf"mjcpi"fw)cpi"fpiwn"i{k"oejqf"tvgp"ejgp"dc" dmtc"ujku"uiq"ocpi"m{k"tpco"rc"ecp"eki"d¦jgpiu DThNgP [699/16], Roerich 1988: 594. Perhaps it was this very statement which led to the view of eighteen stupas made of silver. Based on genealogical and chronological considerations, one has to identify this structure with the bkra shis sgo mang for Bsod nams rgyal mtshan. 207 Qnch"E¦clc In general, a bkra shis sgo mang was made of a variety of precious substances.21 Also the inner structure (pcpi"ik"mjqi"rc) is said to be made of precious substances. The panels of the intersection (bar), the space between the interior and the sculptural part, were similar (mnyam) and proportionate ()vujco rc). The measurements were perfect. The outer part (rj{k) consisted of the beautiful dwellings of the palace. The bkra shis sgo mang measured 享hv{/vjtgg"qt"享hv{/享xg"urcpu"*mtho) in extent22 and thirty-three or seventy spans (mtho) in height.23 Basically, the entire structure stood on a big so-called xcltc-ground (tfq"tlg)k"uc"i¦jk"ejgp"rq). That is found on one of Mele’s photos as being symbolized by a motif consisting of alternating xcltc"cpf"lgygnu" (Fig. 5, bottom right corner). As it can be seen on his picture, that part could be wugf"hqt"rncekpi"dqynu"cpf"ucetk享ekcn"ecmgu0"Qp"vjku"itqwpf."c"jwig"nqvwu"uvgo" ycu"eqpuvtwevgf0"Kv"hqtogf"c"ugcv"jcxkpi"vyq"jwpftgf"cpf"享hv{/ukz"rgvcnu024 In the centre of this huge lotus stem the six-tiered structure was positioned, on which the deities resided. The description given by Shes rab 'byung gnas makes it clear that the whole structure was regarded as an organic whole. He writes that the petals of the huge lotus spread in all directions covering everything. It was adorned with the fully ripened bunches of leaves and fruits. In vjg"唖yjktnu娃"*)mj{kn) of the twigs, branching everywhere, crowds of Buddhas and Bodhisattvas resided. On the outer side there were pillars (ka ba) made of offering goddesses and a lotus, a pure vessel (dwo"rc"d¦cpi"rq) and the 享xg"mkpfu"qh"ykuj/hwn享nnkpi"vtggu"*frci"duco"i{k"ujkpi). Even further outside were mtqfjctálc (mjtq"dq)k"ti{cn"rq), who are aggressive, angry and guard vjg"icvgu."vjgp"hqnnqygf"d{"yjcv"ku"ecnngf"愛Fkxkpg"Uqp."Uqctkpi"kp"vjg"Um{" (njc"rjtwi"pco"omjc")nfkpi), an arrangement of offerings to the Bodhisattva See the dkar chag for details on them. Vjgtg"ku"uqog"fkucitggogpv"kp"vjg"uqwtegu"qp"vjku"rqkpv."享hv{/vjtgg"MEj/KK"]6714̲." 享hv{/享xg"MEj/K"]33415̲."MEj/KKK"]62416̲0 23 Again the sources disagree on this point, thirty-three KCh-II [45/2], seventy KCh-I [112/4], KCh-III [402/4]. 24 This is recorded in the extended versions only, KCh-I [149/2], KCh-III [461/4]. It is not explicitly stated whether or not it was a double-petalled arrangement. The high number might suggest that it was. For the rough sketch, Figs 1 and 2, it is assumed that it is. 21 22 208 The Commemorative Stupas at Densathil I A II Tier 1. Tier 2. Tier 3. Tier 4. III Tier 5. B Tier 6. Fig. 3: Front elevation of a bkra shis sgo mang stupa (A+B), the six tiers of a bkra shis sgo mang structure and the three main sections qh"eqpugetcvkqp"*KьKKK+="ftcykpi"d{"Qnch"E¦clc"*pqv"vq"uecng+0 209 Qnch"E¦clc Samantabhadra which is like a cluster A C B of clouds” (d{cpi"ejwd"ugou"frc)"mwp" vw"d¦cpi"rq"oejqf"rc)k"urtkp"rjwpi" F D iku"oejqf"rc).25 E It might be worthwhile to have a look at a sketch based on the dkar chag and on Mele’s photos (Figs 1 and 2). The inner structure (nang gi khog A rc) is situated at the centre of it, not B 26 visible from the outside (Fig. 4,A). C The panels of the intersection (bar) D probably represent the architectural E structure (Fig. 4,B), while the beautiF ful places of the palace (Fig. 4,C) cortgurqpf"vq"yjcv"yg"ecnn"vjg"唖rcpgnu娃0 This is followed by pillars which are hqtogf"d{"vyq"享iwtgu"uvcpfkpi"dcem" to back (Fig. 2,D). Mele’s photographs and some Fig. 4: Outline of the horizontal construction of a bkra shis sgo mang; surviving fragments of those caryatidftcykpi"d{"Qnch"E¦clc"*pqv"vq"uecng+0 nkmg"享iwtgu"ujqy"vjcv"vjg{"ygtg"ocfg" qh"rcktu"qh"hqwt/ctogf"享iwtgu"itcekqwun{"uvcpfkpi"kp"vtkdjc瑛ic posture (Fig. 5). Supporting a capital, both stand back-to-back and, therefore, only one 享iwtg"ecp"dg"xkgygf"d{"cp"qpnqqmgt0"Dqvj"ctg"uvcpfkpi"qp"c"nqvwu"eqokpi" hqtvj"htqo"c"uq/ecnngf"唖rwtg"xguugn"qh"dki"vtgcuwtgu娃."rncegf"qp"c"tgevcpiwnct" pedestal. According to the dkar chag."vjg"hqwt/ctogf"uvcpfkpi"享iwtgu"cv"vjg" front are female Bodhisattvas (d{cpi"ejwd"ugou"frc)"oc). They are said to be Rgyal ba las rnam par rgyal ba [ma] and Dgra las rnam par rgyal ba [ma], respectively. Which one stands at which side is not indicated. The dkar chag uvcvgu"vjcv"vjg{"jcxg"qpg"hceg"cpf"hqwt"jcpfu0"Kp"vjg"享tuv"rckt"qh"vjgkt"jcpfu." they hold a rdo rje and a small vessel (ril ba brid ka ra). The other pair of jcpfu"nkhvu"wr"dki"lgygn"nqvwugu0"Kp"eqpvtcuv"vq"vjku."vjg"享iwtgu"cv"vjg"dcem" Hqt"c"fkuewuukqp"qh"vjku"vgto."ugg"E¦clc"42280 The other text written by Shes rab 'byung gnas which informs on the religious items kpugtvgf"fwtkpi"vjg"享pcn"eqpugetcvkqp"egtgoqp{"yknn"dg"ikxgp"kp"vjg"pgzv"ugevkqp0 25 26 210 The Commemorative Stupas at Densathil are said to be offering goddesses (oejqf"rc)k"njc"oq) holding garlands of lgygnu"*tkp"rq"ejg)k"rjtgpi"dc). They look towards the bkra shis sgo mang and therefore cannot be seen. On the outermost corner there were semicircular columns, which are ecnngf"唖Fkxkpg"Uqp."Uqctkpi"kp"vjg"Um{."yjq"ngv"vjg"dki"tckp"hcnn"htqo"vjg"enwuvgtu" of clouds of offerings to Samantabhadra’ (njc)k"dw"pco"omjc")nfkpi"mwp"vw" d¦cpi"rq"oejqf"rc)k"urtkp"rjwpi"ik"ejct"ejgp"rq"tcd"vw")dgdu"rct"d{gf"rc; Fig. 4,F). They can be seen on some of the photographs of Mele (Figs 5–7). Between those columns and the corner of the panels there were free-standing 享iwtgu."yjkej"ctg"ceeqtfkpin{"nkuvgf"d{"Ujgu"tcd")d{wpi"ipcu"cpf"ctg"rctvn{" visible on the Densathil bkra shis sgo mang stupas (Figs 4-E, 5, 6, 8). The six-tiered structure, on which the deities resided, was positioned at the centre of a huge lotus. The uppermost part of this structure was adorned d{"c"eqtqnnc"qh"享hv{"rgvcnu"qh"vyq"mkpfu"qh"nqvwugu"cpf"dcpf"qh"rgctnu027 The uvwrc"hqt"Tfq"tlg"ti{cn"rq"ycu"rncegf"qp"vqr"qh"vjcv0"Vjg"rjqvqu"htqo"Fgpsathil show that the stupa containing the remains of the deceased abbot was wrapped in cloth (Figs 6, 6a-3, 8). It also seems that it may have been adorned by what appears to be an ornament symbolising sun and moon. Interestingly, vjg"Mc鵜"vjqi"Uk"vw"tgeqtfu."yjgp"fguetkdkpi"vjku"rctv"qh"vjg"bkra shis sgo mang called by him the reliquary shrine (ifwpi"mjcpi), that it had images of the sun and moon cast in gold. It could well be that he meant a part of the Kp"dqvj"gzvgpfgf"xgtukqpu"Ujgu"tcd")d{wpi"ipcu"ikxgu"vjg"唖nctig"dnwg"nqvwu娃"*wvrc" nc"ti{cu"rc+"cpf"vjg"唖dki"iqnfgp"nqvwu娃"*iugt"i{k"rcfoc"ejgp"rq), KCh-I [113/3], KCh-III [404/1]. This possibly suggests that it was a double-petalled brim. The pictures of Mele show that for the bkra shis sgo mang at Densathil (at least those he documented) a double-petalled brim was not chosen (pls 4, 5). In the short version of the dkar chag it is stated that it was a seat of blue lotuses (wvrc"nc), bands of pearls (ow"vki"ik"rjtgpi"dc) and lotuses (rcfoc+."MEj/KK"]6719̲0"Vjg"pwodgt"qh"享hv{" seems to me to be a mistake (the number is given in KCh-I [113/3], KCh-III [404/2]). The outline suggests that at each of the twenty points (in a wider sense corners) one nqvwu"rgvcn"eqwnf"jcxg"dggp"享zgf."cu"kv"ku"cnuq"uggp"qp"qpg"qh"Ogng娃u"rjqvqu"*rnu"6."7+0" This results in only thirty petals left for covering the brim of twenty panels. Thus, in average, mere 1.5 petals are supposed to decorate the brim of a panel, which appears to me very unlikely, unless one assumes that those petals were of extraordinary size and proportions (and admittedly must have looked rather oversized in comparison to vjg"fgkvkgu+"qt"vjg"rcpgnu"*cpf"jgpeg"vjg"享tuv"bkra shis sgo mang in total) was rather uocnn0"Kh"vjg"pwodgt"qh"享hv{"ku"eqttgev."kv"rquukdn{"rqkpvgf"qwv"vjcv"vjg"jgkijv"ygtg" only thirty-three instead of seventy spans (mtho). 27 211 Qnch"E¦clc pinnacle, but it could also be that he thought of embellishments, placed on the uppermost tier.28 Moreover, Shes rab 'byung gnas noted that directly behind the stupa there was a curtain (rgyab yol), which can be also observed on Mele’s pictures (Figs 6, 6a-2). With respect to the bkra shis sgo mang"hqt"Tfq"tlg"ti{cn"rq." c"urgekcn"fgrkevkqp"ecnngf"唖Cwurkekqwupguu"*yjkej+"Kuuwgu"Nkijv娃"*tvgp")dtgn")qf" dmtco"rc) was made on both sides of the curtain. On the right side there was a marvellous image of Phag mo gru pa, representing the Buddhas of the Past uwej"cu"Mtcmweejcpftc"*)Mjqt"dc")lki+"cpf"qvjgtu0"Qp"vjg"nghv"ukfg"vjgtg"ycu" an image of him made from a variety of substances, representing the Buddha of the Future. The photos taken by Mele do not allow to determine whether the curtain behind the stupa of the bkra shis sgo mang at Densathil had any artistic embellishments. The description in the dkar chag continues stating vjcv"qp"vqr"qh"vjku"ewtvckp."jgpeg"vjg"唖jgcf娃"*fdw) of the reliquary (ifwpi" rten+."vjgtg"ycu"c"iqnfgp"rctcuqn"mpqyp"cu"唖yjktnkpi"xktvwg娃"*fig"dc")mj{kn" ba). It measured forty-eight spans (mtho) in extent.29 It had several layers of fringes and trimming, which Shes rab 'byung gnas mentions in detail. In the egpvtg"qh"vjg"rctcuqn."c"ocpfcnc"qh"ukzv{/vyq"fgkvkgu"fgxqvgf"vq"Ecmtcuc泳xctc" ('Khor lo bde mchog) in his aspect with four faces and twelve hands together with his Tantric consort was placed.30 The erection of parasols towering over the entire commemorative stupa ycu"tgoctmgf"wrqp"d{"vjg"Mc鵜"vjqi"Uk"vw."yjgp"jg"xkukvgf"Fgpucvjkn0"Vjwu." he notes a parasol (fdw"ifwiu) of gilded copper (iugt"¦cpiu) depicting the pkpg/fgkv{"ocpfcnc"qh"Jgxcltc"*fi{gu"tfqt"njc"fiw) for the bkra shis sgo mang commissioned for the ti{cn"dc"tkp"rq"ejg Grags pa brtson 'grus, one depicting vjg"享xg/fgkv{"ocpfcnc"qh"*Ecmtc+uc泳xctc"*bde mchog lha lnga) for Dpal ldan d¦cpi"rq."qpg"fgrkevkpi"vjg"ocpfcnc"qh"Máncecmtc"*Fwu")mjqt+"hqt"Njc"i¦kiu" ras pa and a parasol of a sixty-two-deity Bde mchog mandala for the late Grags pa shes rab.31 On Mele’s photos, such parasols can be seen with fringes and NY [182/20]. Two versions agree on this measure, KCh-I [114/6], KCh-III [406/3], while in the third (KCh-II) it is not mentioned because this part of the description is completely omitted. 30 The name of 'Khor lo bde mchog is not explicitly mentioned by Shes rab 'byung gnas, but its assumption seems reasonable from the context and his detailed description. 31 NY [183/2 f.]. 28 29 212 The Commemorative Stupas at Densathil Fig. 5: A bkra shis sgo mang stupa in Densathil, lower section, in the bottom right corner the rdo rje ground is visible; photo by Pietro F. Mele, 1948; Völkerkundemuseum Zürich. Fig. 5a: Iconographic key of Fig. 5: 15 – Mi bskyod pa, 16 - Mi bskyod pa, 17 – Ujám{c"vjwd"rc."3:"/"Ok"dum{qf"rc."3;"/"Ok"dum{qf"rc."42"ь"c"itqwr"qh"qhhgtkpi" iqffguugu"*x0n0v0t0<"Tfq"tlg"i¦wiu"oc."Tfq"tlg"tq"oc."Tfq"tlg"tgi"d{c"oc."Tfq"tlg" ejqu"oc+."43"ь"c"itqwr"qh"qhhgtkpi"iqffguuguu"*Tfq"tlg"rk"xcpi"oc."Tfq"tlg"inkpi"dw" oc."Tfq"tlg"tf¦c"tpic"oc."Tfq"tlg"tf¦c"tpic"ejgp"rq"oc+."44"ь"Tk"mjtqf"oc"nq"oc" ecp.")Qf"¦gt"ecp."Fwi"ugn"oc."45"/"c"itqwr"qh"qhhgtkpi"iqffguuguu"*Tfq"tlg"d¦jgf" oc."Tfq"tlg"uigi"oc."Tfq"tlg"inw"oc."Tfq"tlg"ict"oc+."46"/"c"itqwr"qh"qhhgtkpi" iqffguuguu"*Tfq"tlg"og"vqi"oc."Tfq"tlg"dfwi"urqu"oc."Tfq"tlg"upcpi"iucn"oc."Tfq" tlg"ftk"ejcd"oc+."47"ьNjc"oq"Fwf"uqn"oc."48"ь"Mj{cd")lwi."49"ь"Mnw)k"ti{cn"rq" Dung skyong, 28 – Klu'i rgyal po Mtha' yas, 29 – Rnam thos sras, 30 – Ye shes gyi mgon po Bya rog ma, 31 – Lha mo Srog sgrub ma, 32 – Sa'i lha mo, A – Spyan mi bzang, B –Yul 'khor bsrung, C – 'Phags skyes po (?), D – Rnam thos sras (?). 213 Qnch"E¦clc trimming (Figs 6, 6a-1). Faintly visible, but recognisable in their outline there are also the mandalas mentioned by textual sources (Fig. 7). Having given this rough overview, I would like to turn to the six tiers.32 Each stupa containing mortal remains was surrounded by a given number of holy teachers and saints who were of special importance for the Bka' brgyud pa tradition. In the dkar chag of the bkra shis sgo mang"hqt"Tfq"tlg"ti{cn" rq."itqwru"qh"ugxgp"享iwtgu"*uqogvkogu"ykvj"cvvgpfcpvu+"ygtg"gcej"ukvwcvgf" at the southern, western and northern side.33 The middle of this assembly was qeewrkgf"d{"Xcltcfjátc"*Frcn"tfq"tlg")ejcpi+0"Vjcv"crrnkgf"cnuq"vq"vjg"gcuvgtp" ukfg."dwv"vjg"vqvcn"pwodgt"qh"享iwtgu"ycu"nguu."cpf"pqvcdn{"vjtgg"uvcvwgu"qh" Xcltc{qikp%"*Tfq"tlg"tpcn")d{qt"oc+"ygtg"uvcpfkpi"vjgtg0"Vjg"rjqvq"qh"Ogng" ujqy"kpfggf"Tfq"tlg"tpcn")d{qt"oc"uvcpfkpi"kp"c"nqhv{"rqukvkqp"*Hki0"9+0"Vjcv" ycu"cnuq"pqvgf"d{"Mc鵜"vjqi"Uk"vw0"Kp"eqpvtcuv"vq"vjg"pwodgt"qh"享iwtgu"ikxgp" in the dkar chag, the photo shows that at the uppermost level of this bkra shis sgo mang more teachers and monks were placed than previously on the bkra shis sgo mang for Phag mo gru pa (Figs 7, 9). The second tier below the uppermost level was reserved for several deities of highest religious and doctrinal rank.34"Vjg"gcuvgtp"ukfg."qp"cnn"享xg" rcpgnu."fgrkevgf"vjg"ocpfcnc"qh"Iwj{cucoálc"*Iucpi"dc")fwu"rc+"eqpukuvkpi"qh" seventy-two deities (Figs 6, 6a, nos 5-9).35 On the central panel there was Zhe ufcpi"tfq"tlg"*jcxkpi"vjtgg"hcegu"cpf"ukz"jcpfu."cpf"dgkpi"kpugrctcdng"htqo" jku"eqpuqtv"Tgi"d{c"tfq"tlg"oc+0"Vjg"qvjgt"Dwffjcu"qh"vjku"tgnkikqwu"e{eng."cnn" having the same number of faces and hands as the main deity, Zhe sdang rdo tlg."pcogn{"Tpco"rct"upcpi"of¦cf."Tkp"ejgp")d{wpi"nfcp."Upcpi"dc"ovjc)" yas/'Od dpag tu med pa and Don yod grub pa, resided on the lateral panels ykvj"vjgkt"tgurgevkxg"eqpuqtvu0"Ykvj"tgictf"vq"cnn"享xg."kv"ku"uvcvgf"vjcv"vjg{"ctg" uwttqwpfgf"d{"qhhgtkpi"iqffguugu"uwej"cu"I¦wiu"tfq"tlg"oc."Dqfjkucvvxcu"nkmg" D{cpi"ejwd"ugou"frc)"Rj{ci"pc"tfq"tlg."krodha/fgkvkgu"nkmg"Iujkp"tlg"iujgf" po and masters of the family (tkiu"m{k"dfci"rq) like Bcom ldan 'das Mi bskyod KCh-I [118/6 f.], KCh-II [46/1 f.], KCh-III [413/2 f.]. Ugg"hqt"fgvcknu."E¦clc"4228."E¦clc"4229."Nwe¦cpkvu"42280 34 In the following, the eastern side only will be described in full, because this is the part that is seen on the photos of Mele, as will be argued in this paragraph. 35 Eh0"cnuq"E¦clc"4228."Nwe¦cpkvu"42280 32 33 214 The Commemorative Stupas at Densathil Fig. 6: A bkra shis sgo mang stupa in Densathil, upper section; photo by Pietro F. Mele, 1948; Völkerkundemuseum Zürich. Fig. 6a: Iconographic key of Fig. 6: 1 – parasol, 2 – curtain, 3 – stupa, 4 – 享iwtgu"qh"vjg"wrrgtoquv"vkgt."7"ь"Tkp"ejgp")d{wpi"nfcp."8"ь"Tpco"rct"upcpi" of¦cf"*qh"vjg"Iucpi"dc")fwu"rc+."9"ь"¥jg"ufcpi"tfq"tlg"*qh"vjg"Iucpi"dc")fwu" pa), 8 – Snang ba mtha' yas (of the Gsang ba 'dus pa), 9 – Don yod grub pa *qh"vjg"Iucpi"dc")fwu"rc+."32"ь"Tkp"ejgp")d{wpi"nfcp"*qh"vjg"Tfq"tlg"fd{kpiu+." 33"ь"Ok"dum{qf"rc"*qh"vjg"Tfq"tlg"fd{kpiu+."34"ь"Tpco"rct"upcpi"of¦cf" *qh"vjg"Tfq"tlg"fd{kpiu+."35"Upcpi"dc"ovjc)"{cu"*qh"vjg"Tfq"tlg"fd{kpiu+." 36"/"Fqp"{qf"itwd"rc"*qh"vjg"Tfq"tlg"fd{kpiu+."37"ь"Ok"dum{qf"rc."38"/"Ok" dum{qf"rc."39"ь"Ujám{c"vjwd"rc."3:"/"Ok"dum{qf"rc."3;"/"Ok"dum{qf"rc0 215 Qnch"E¦clc pa.36"Kv"ku"pqvgyqtvj{"vjcv"vjg"Mc鵜"vjqi"Uk"vw"ytkvgu"kp"jku"qxgtcnn"fguetkrvkqp" of a bkra shis sgo mang that the second tier is devoted to Gsang ba 'dus pa.37 If this mandalic arrangement applies to a bkra shis sgo mang photographed d{"Ogng."qpg"eqwnf"ocmg"c"rtqxkukqpcn"kfgpvk享ecvkqp"*Hki0"8."8c.7ь;+0"Jqyever, as it can be easily recognised, the details to be seen do not allow for an exact statement on this.38 Another picture taken by Mele shows another bkra *3+"¥jg"ufcpi"tfq"tlg"vqigvjgt"ykvj"[wo"Tgi"d{c"tfq"tlg"oc."uwttqwpfgf"d{"*vjg" Khro bo of above) Gtsug tor 'khor lo sgyur ba, (the Khro bo of below) Gnod mdzes and the four families of De bzhin gshegs pa. To his right is (2) Rnam par snang mdzad uwttqwpfgf"d{"Njc"oq"Ucpiu"ti{cu"ur{cp"oc."Oejqf"rc)k"njc"oq"I¦wiu"tfq"tlg"oc." Byang chub sems dpa' Byams pa, Byang chub sems dpa' Sa'i snying po, Khro bo'i rgyal rq"Iujkp"tlg"iujgf"cpf"Mjtq"dq"Ok"i0{q"dc0"Vq"jku"tkijv"ku"*5+"Tkp"ejgp")d{wpi"nfcp" uwttqwpfgf"d{"Njc"oq"Oc"oc"mk."Oejqf"rc)k"njc"oq"Uitc"tfq"tlg"oc."D{cpi"ejwd"ugou" frc)"Rj{ci"pc"tfq"tlg."D{cpi"ejwd"ugou"frc)"Pco"omjc)k"up{kpi"rq."Mjtq"dq)k"ti{cn" po Gzhan kyis mi thub pa and Khro bo 'Dod pa'i rgyal po. To the left of Zhe sdang tfq"tlg"ycu"*6+"Upcpi"dc"ovjc)"{cu"uwttqwpfgf"d{"Njc"oq"Iqu"fmct"oq."Oejqf"rc)k" njc"oq"Ftk"tfq"tlg"oc."D{cpi"ejwd"ugou"frc)")Lki"tvgp"fdcpi"rq."D{cpi"ejwd"ugou" dpa' 'Jam dbyangs, Khro bo'i rgyal po Rta mgrin and Khro bo Dbyug po sngon po. To his left was (5) Don yod grub pa surrounded by Lha mo Sgrol ma, Mchod pa'i lha oq"Tq"tfq"tlg"oc."D{cpi"ejwd"ugou"frc)"Uitkd"rc"tpco"ugn."D{cpi"ejwd"ugou"frc)" Kun tu bzang po, Khro bo'i rgyal po Bdud rtsi 'khyil pa and Khro bo Stobs po che. One should note that the extended version of the dkar chag"urgcmu"qh"愛uwttqwpfgf" by (bskor+挨"yjgp"fguetkdkpi"vjg"cttcpigogpv"ocfg"dgvyggp"vjg"ockp"享iwtg"cpf"vjg" gpvqwtcig0"Vjku"cnuq"kpenwfgu"vjg"eqpuqtvu0"Qpn{"ykvj"tgictf"vq"¥jg"ufcpi"tfq"tlg."kv" is said that his consort is inseparable from him ({wo"tgi"d{c"tfq"tlg"oc"fcpi"ip{ku" uw"ogf"rc). Therefore it could be that the other Buddhas and their respective consorts were not in a {cd"{wo"rqukvkqp0"Cp"cttcpigogpv"qh"cnn"vjqug"ukz"uwttqwpfkpi"享iwtgu" (in bas-relief as the photos of Mele suggest) with a single Buddha statue in front of them is also imaginable. 37 This means that, beside the visual evidence (of fragments and Mele’s photos), the ytkvvgp"ceeqwpv"qh"vjg"Mc鵜"vjqi"Uk"vw"uwrrqtvu"vjg"j{rqvjguku"vjcv"cv"ngcuv"vjg"gcuvgtp" side of a (the?) bkra shis sgo mang"cv"Fgpucvjkn"citggu"ykvj"vjg"享iwtcn"rtqitcoog" of the bkra shis sgo mang for Phag mo gru pa. 38 One can only say that a many-armed, sitting deity is visible, which most likely has no consort. In the case that it is indeed a depiction of the Gsang ba 'dus pa mandala this could possibly be explained by the fact (also to be observed in other instances, ugg"dgnqy+"vjcv"c"oqfk享ecvkqp"ycu"fqpg"ykvj"tgictf"vq"vjg"享iwtcn"rtqitcoog0"Qpg" okijv"dg"tkijv"vq"gzrgev"ejcpigu"cpf"cfcrvcvkqpu."yjkej"yqwnf"tg京gev"vjg"vjgp"ewtrent notion and proclivities in the dogmatic sphere. Moreover, it appears to be very wpnkmgn{"vjcv"vjg"rtqitcoog"qh"vjg"享tuv"bkra shis sgo mang"ycu"lwuv"ogejcpkecnn{" reproduced and a simple sculptural (and iconographic) copy was made. 36 216 The Commemorative Stupas at Densathil Fig. 7: A bkra shis sgo mang stupa in Densathil, upper section; photo by Pietro F. Mele, 1948; Völkerkundemuseum Zürich. shis sgo mang at Densathil (Figs 6 and 7). Again, a convincing and satisfying kfgpvk享ecvkqp"jcu"{gv"vq"dg"cejkgxgf0"Tgxkgykpi"cnn"tgnkikqwu"e{engu"fgrkevgf"cv" this level, it may be suggested that it was directed to the southern side, but this causes some iconographic problems that can be hardly ignored. Until a full survey of this matter is accomplished, one might (extremely tentatively) propose that the investigation could be interesting whether or not this part showed the eastern side and hence a particular tradition (and presentation) of the Gsang ba 'dus pa mandala. Still on the eastern side of the bkra shis sgo mang"hqt"Tfq"tlg"ti{cn"rq." dwv"qp"vjg"vjktf"vkgt"vjgtg"ycu"c"fgrkevkqp"qh"vjg"Xcltcfjávw"*rdo rje dbyings) mandala (Pl. 4a, no.10–14).39 Shes rab 'byung gnas writes that in the central panel abides Rnam par snang mdzad with faces in all directions (mwp"vw"¦jcn) and the hand gesture of supreme enlightenment (d{cpi"ejwd"oejqi"ik"rj{ci" rgya can+0"Oqtgqxgt."jg"ku"dgcwvk享gf"d{"vjg"hqwt"qtpcogpvu"yjkej"ctg"hcoqwu" in the world ()lki"tvgp"pc"itciu"rc"dti{cp"d¦jk). He is accompanied by four 39 Eh0"cnuq"E¦clc"4228."Nwe¦cpkvu"42280 217 Qnch"E¦clc hgocng"享iwtgu"ukvvkpi"kp"c"唖jkffgp"ocppgt娃"*udcu"rc)k"vujwn"fw"d¦jwiu"rc)40 and eight surrounding offering goddesses (oejqf"rc)k"njc"oq).41 Next to him, to his left and right, there are the other Buddhas who belong to the mandala qh"Tfq"tlg"fd{kpiu0"Qp"vjg"rcpgnu"vq"vjg"tkijv"ukfg"qh"Tpco"rct"upcpi"of¦cf" there were Rin chen 'byung ldan and Mi bskyod pa, while to the left Snang ba mtha' yas and Don yod grub pa resided, each of them surrounded by eight attendants.42 Probably this part can be seen on some of Mele’s photos (Figs 5, 6). Sadly, the main deity of the central panel on Fig. 6 is hidden by a ceremonial scarf and therefore cannot be seen. It is, however, possible to observe that eight minor deities in bas-relief are lined up in two vertical rows, each framed by scrolls.43"Oqtgqxgt."kv"nqqmu"cu"kh"uqog"okpqt"享iwtgu"ctg"rncegf"fktgevn{" behind the back of Rnam par snang mdzad. These are possibly the four deities said to stay in a hidden manner. Another photograph allows another glimpse of the deity, which very likely is Rnam par snang mdzad (Fig. 5, centre of 40 Namely, (1) Rigs kyi yum Sangs rgyas can ma, (2) Lha mo Ma ma ki, (3) Lha mo Gos dkar mo and (4) Dam tshig Sgrol ma. Luczanits (2006: 4) gives the interesting uwiiguvkqp"vjcv"vjqug"享iwtgu"ctg"tgrtgugpvgf"kp"c"eqpegcngf"ocppgt"*udcu"rc)k"vujwn" fw), which can be taken as signifying their representation as symbols. 41 Vjgug"ctg"*3+"Njc"oq"Tfq"tlg"uigi"oc."*4+"*Njc"oq"Tfq"tlg+"rjtgpi"dc"oc."*5+" *Njc"oq"Tfq"tlg+"inw"oc."*6+"*Njc"oq"Tfq"tlg+"ict"oc."*7+"*Njc"oq"Tfq"tlg+"og"vqi" oc."*8+"*Njc"oq"Tfq"tlg+"dfwi"urqu"oc."*9+"*Njc"oq"Tfq"tlg+"upcpi"iucn"oc"cpf"*:+" *Njc"oq"Tfq"tlg+"ftk"ejcd"oc0 42 Vjg"gkijv"享iwtgu"hqtokpi"vjg"tgvkpwg"qh"*3+"Ok"dum{qf"rc"ctg"D{cpi"ejwd"ugou" frc)"Tfq"tlg"ugou"frc)."Tfq"tlg"ti{cn"rq."Tfq"tlg"ejciu"rc."Tfq"tlg"ngiu"rc."D{cpi"ejwd" sems dpa' Byams pa, Mthong ba don yod, Ngan song kun 'dren and Mya ngan dang owp"rc"vjcou"ecf"tcd"vw")lqou"rc)k"dnq"itqu0"Vjg"gpvqwtcig"qh"*4+"Tkp"ejgp")d{wpi" nfcp"eqortkugf"qh"D{cpi"ejwd"ugou"frc)"Tfq"tlg"tkp"ejgp."Tfq"tlg"i¦k"dtlkf."Tfq"tlg" ti{cn"ovujcp."Tfq"tlg"d¦jcf"rc."D{cpi"ejwd"ugou"frc)"Urqu"m{k"incpi"rq."Frc)"dct" 'gro ba, Nam mkha' mdzod and Ye shes tog. The attendants of (3) Snang ba mtha' {cu"ctg"D{cpi"ejwd"ugou"frc)"Tfq"tlg"ejqu."Tfq"tlg"tpqp"rq."Tfq"tlg"ti{wf"]ti{w̲" rc."Tfq"tlg"uotc"dc."D{cpi"ejwd"ugou"frc)")Qf"frci"ogf."¥nc"dc"ecp"m{k")qf."D¦cpi" skyong and Dra ba can gyi 'od. The (4) Buddha Don yod grub pa is surrounded by D{cpi"ejwd"ugou"frc)"Tfq"tlg"ncu."Tfq"tlg"utwpi"dc."Tfq"tlg"ipqf"ud{kp."Tfq"tlg"¦jk" dc."D{cpi"ejwd"ugou"frc)"Tfq"tlg"up{kpi"rq."Udqiu"rc"tvugiu"rc."Dnq"itqu"ok"¦cf"rc" cpf"Mwp"vw"d¦cpi"rq0"Vjwu."vjg"Tfq"tlg"fd{kpiu"ocpfcnc"qwvnkpgf"jgtg"gpeqorcuugu" forty-nine deities. 43 The deities at the bottom of these rows are not fully visible, their heads only can be seen. 218 The Commemorative Stupas at Densathil Fig. 8: Detail of Fig. 5 showing part of the 4th and 5th tier with pillars and semi-circular columns. the uppermost tier). Apparently, the hand gesture of highest enlightenment with its characteristic display can be discerned. Both panels to the left of the main deity, which according to the dkar chag are occupied by Snang ba mtha' {cu"cpf"Fqp"{qf"itwd"rc."ujqy"享iwtgu"yjkej"qpg"ecp"tgictf"cu"ukvvkpi"Dwfdhas (Fig. 6). It seems as if the left one displays the abhaya gesture with his tkijv"jcpf."yjkng"vjg"nghv"tguvu"qp"jku"ncr0"Vjg"tkijv"jcpf"qh"vjg"享iwtg."yjkej" supposedly represents Snang ba mtha' yas, can be seen only vaguely. It looks as if it rests on his lap. The two remaining panels do not add much to this. A Buddha statue is probably situated to the right. Some of the surrounding 享iwtgu"ctg"xkukdng."godquugf"kp"dcu/tgnkgh0"Dcugf"qp"vjku"rtgnkokpct{"gxcnwcvkqp."vjg"cuuworvkqp"ku"lwuvk享gf"vjcv"rtqdcdn{"vjku"rctv"*cpf"vkgt+"qh"vjg"bkra shis sgo mang"rjqvqitcrjgf"d{"Ogng"ujqyu"vjg"ocpfcnc"qh"Tfq"tlg"fd{kpiu." a feature which originally derives from the iconographic concept of the bkra shis sgo mang"eqookuukqpgf"hqt"Tfq"tlg"ti{cn"rq0" This can be similarly stated for the next tier, of which a part is clearly visible on Mele’s photos (Figs 5, 5a, nos 15–19 and 6). This level is dominated d{"fkhhgtgpv"hqtou"qh"vjg"Dwffjc"Tám{cowpk"cpf"jku"gpvqwtcig"cpf"eqpugquently is called Buddha tier. The centre of the eastern side is occupied by Ujám{c"vjwd"rc0"Jg"ku"cfqtpgf"ykvj"cnn"oclqt"octmu"*mtshan) and minor marks (frg"d{cpi). Two attendants each stand to his left and right side.44 44 On his right side there are Byang chub sems dpa' Byams pa, who holds a small roundish vessel (tkn"dc"ur{k"dnwiu+"qh"lgygnu"qp"vqr"qh"c"mnw"ujkpi, and Khro bo chen po Gzhan gyi mi thub pa, who grasps a wheel (and) a rdo rje or according to another xgtukqp"vjg"cvvtkdwvgu"qh"Rj{ci"pc"tfq"tlg"*rj{ci"pc"tfq"tlgu"ovujcp"rc"dupcou"rc). The attendants of the left side are Byang chub sems dpa' Kun tu bzang po holding 219 Qnch"E¦clc Equal to all central Buddhas, regardless of their respective direction, is the ornamentation of the throne. Shes rab 'byung gnas says that it consists of the four kinds of ornaments (ti{cp"upc"d¦jk), such as an elephant and so on. Oqtgqxgt."kv"ku"fgeqtcvgf"ykvj"c"yqpfgthwn"eqxgt"ykvj"dtcpejgu."ngcxgu."京qygtu"cpf"htwkvu"qh"xctkqwu"lgygnu"eqokpi"htqo"c"vcnn"ykuj/hwn享nnkpi"vtgg"*frci" duco"i{k"ujkpi"ejgp"rq), which grows within a pure vessel of big treasures (ivgt"ejgp"rq)k"dwo"d¦cpi"rq). Qp"vjg"nghv"cpf"tkijv"rcpgnu"vjgtg"ctg"享iwtgu"qh"Ok"dum{qf"rc."yjq" is addressed as Buddha of the Pure Era (Bskal ba bzang po'i sangs rgyas). He is said to display the hand gesture of touching the earth and is supplemented (kha bskangs) by mind symbols (?, vjwiu"rj{ci"ovujcp). The last information does not make it fully clear to me which kind of depiction is meant. Turning to Mele’s photos, one can easily recognise the tier of Buddhas as described by Shes rab 'byung gnas in his dkar chag (Figs 5, 6). A Buddha statue showing the earth-touching gesture and having at least two attendants, as is proposed for the eastern direction, is visible. A highly decorated throne can be hardly seen. Numerous Buddhas en miniature, executed in bas-relief, are distributed over the back of this panel as well as the other ones. While for the tiers discussed above many questions still remain unsettled and many more additional data are necessary to answer them, the parallel between the dkar chag and the Densathil stupas is obvious for this part of the structure. This is also recognizable for the next and last tier. This tier, following the Buddha tier, derives its name from the group of offering goddesses which are repeatedly depicted at this level, forming its characterizing element (Figs 5 and 5a,20–24).45 It can be shown that, based on the dkar chag, the panels a small house (mjcpi"dw+"qh"lgygnu"cpf"Mjtq"dq"Mjcou"iuwo"ncu"tpco"rct"ti{cn" grasping a bow and an arrow. With regard to the entire tier of Buddhas, Shes rab 'byung gnas notes that the attendkpi"享iwtgu"uvc{"kp"c"rctvkewnct"oqfg<"vjg"gkijv"D{cpi"ejwd"ugou"frc)"nqqm"cu"kh"vjg{" are admonishing (the Buddha) to turn the wheel of dharma/give teachings as soon as the mind (of enlightenment) is generated (sems bskyed) and the eight Khro bo stay as if they guard the vessel of big treasures (ivgt"ejgp"rq)k"dwo). 45 Vjgug"ukzvggp"qhhgtkpi"iqffguugu"ctg"rncegf"vqigvjgt"kp"hqwt"itqwru0"Vjg"享tuv"itqwr" consisted of Pi vang ma, Gling bu ma, Rdza rnga ma and Rdza rnga chen po ma; the second group: Gzugs ma, Ro ma, Reg bya ma and Chos ma; the third group: Bzhed ma, Sgeg ma, Glu ma and Gar ma, and the fourth group: Me tog ma, Bdug spos ma, Snang gsal ma and Dri chab ma. 220 The Commemorative Stupas at Densathil uggp"qp"Ogng娃u"rjqvqu"ecp"dg"kfgpvk享gf" and a variety of fragments be related to this iconographic programme and partly also to a bkra shis sgo mang.46 Beside the four panels on the right and left side, on which those offering goddesses were standing, three deities occupied the central panel, namely Ri khrod lo ma can (middle), Lha mo 'Od Fig. 9: Detail of Fig. 6 showing part zer can (right) and Lha mo Dug sel ma of the bla ma of the uppermost tier. 47 (left; Fig. 8). They can be discerned very vaguely on some of Mele’s photographs. They obviously have several arms, but their attributes are not visible. It looks as if the deity to the far left could indeed be Dug sel ma, because she holds a sword with one of her right hands, while one of her left hands grasps a bow. Many forms of Dug sel ma exist, having a variety of heads and arms combinations. The form possessing three faces and six hands indeed carries a sword in one of her right hands and a bow in one of her left ones.48 Hqt"c"hwnn"fkuewuukqp."ugg"E¦clc"42280"Eh0"cnuq"E¦clc"42290 All are said to have three faces and six hands. Furthermore, it is stated that the head qh"Njc"oq")Qf"¦gt"ecp"ku"qtpcogpvgf"d{"vjg"享xg"mkpfu"qh"hcoknkgu"qh"jinas (rgyal ba tkiu"tpco"rc"npic), while Lha mo Dug sel ma's head is adorned by the master of the family (tkiu"m{k"dfci"rq). 48 Bhattacharyya (1987: 192) gives a uáfjcpc of this deity. Here the right and left heads are blue and white. Her three left hands show the vctlcp%owftá with noose, a blue lotus and a bow. One should note that, obviously Bhattacharyya translated xk焔crw焔rc" cu"dnwg"nqvwu."yjkej"ku"rquukdng0"Cpqvjgt"eqttgev"tgpfgtkpi"yqwnf"dg"rqkuqpqwu"京qygt." as Padma dkar po translated it. Furthermore, Bhattacharyya describes her as resting on the expanded hood of the serpent, translating urj%vcrjc穎áoc穎鰯cncUktc鵜uvjá栄. Therefore, he understood this term as being or being born on the head (being) the expanded hood of a serpent. But, most likely, a translation should be preferred that the expanded hood of a serpent is (imminently) hanging over her head. Moreover, he says that she is resplendent with the auspicious marks of a virgin (for mwoát%ncm焔c穎qllxcná栄). Here the description of Padma dkar po possibly could be improved by rendering his youthful maiden as virgin (mwoát%), if one is inclined to interpret the term mwoát%"in this way. A yellow Dug sel ma with three faces and six arms is found in the uáfjcpc listed by Padma dkar po, GPThGTsh [159/4]. According to them, her three faces are golden, golden-bluish (ser sngo) and white. They are adorned with the heads of seven snakes. Her three right hands carry a sword, a rdo rje and an arrow. Her left arms hold a snare 46 47 221 Qnch"E¦clc The photos taken by Mele suggest that the structures seen on them and as outlined in the dkar chag are nearly similar that one is inclined to take them for to such a identical, even though the photos arguably document at least four different bkra shis sgo mang.49 Vjg" ncuv" vkgt." vjg" ukzvj." eqttgurqpfu" vq" vjg" 唖tqwpfgf" rqqn娃" *nfwo" tf¦kpi), which has a variety of sculptures of dharma protectors. They will be introduced later by discussing a number of fragments in comparison to the statements given by Shes rab 'byung gnas in his inventory. It will become evident that his dkar chag is indispensable for understanding the bkra shis sgo mang of Densathil. However, before turning to this point, one should outline the interior structure of the bkra shis sgo mang in order to complete the paragraph, because not only it illustrates and underlines the importance and intriguing nature of this bkra shis sgo mang, but also provides an additional way of understanding Tibetan art, which usually is missing in art-historical considerations, although they are in fact indispensable. THE INNER STRUCTURE As noted above, Shes rab 'byung gnas did not simply write an inventory listing the deities of the bkra shis sgo mang, but also record of the religious items inserted in the bkra shis sgo mang during the consecration ceremony. This text published in two almost identical editions reports the consecration for the bkra shis sgo mang after the dmtc"ujku")qf")dct, the stupa of Phag mo gru pa, was returned to Densathil and a new stupa was constructed at 'Bri gung and put on top of the bkra shis sgo mang as a replacement. During the consecration ceremony, the entire bkra shis sgo mang (the structure occupied by these numerous deities) and the stupa were regarded as c"ukping"gpvkv{."jgpeg"vjg"kpugtvkqp"qt"唖gueqtvkpi娃"qh"tgnkeu"eqpegtpgf"cnn"rctvu050 fkurnc{kpi"vjg"vjtgcvgpkpi"iguvwtg."vjg"京qygt"qh"ikhv"*fwi"ik"og"vqi) and a bow. She ygctu"c"ictogpv"dgcwvk享gf"d{"upcmgu"cpf"ku"cfqtpgf"ykvj"lgygnngt{0"Ujg"fkurnc{u"vjg" marks of a youthful maiden (i¦jqp"pw)k"ovujcp"p{kf"ecp). Her head is embellished by Mi bskyod pa. She sits in a playful position (tqn"rc)k"uvcdu"m{ku"d¦jwiu). Cf, also other uáfjcpc"listing the same attributes, Fwi"ugn"oc)k"uitwd"vjcdu and")Rjciu"rc" fwi"ugn"oc)k"uitwd"vjcdu. 49 Hqt"fgvcknu."ugg"E¦clc"42280 50 A brief table of contents on the relevant points is given at the end of this paper so that the next paragraphs can be followed easily. For the rough sketch of the entire bkra 222 The Commemorative Stupas at Densathil Factually, it was divided into three main sections (Fig. 3, I–III). Starting with the most sacred, it began with the highest part of the stupa for Phag mo gru pa, namely the wheels (cakra, )mjqt"nq) including the pinnacle (mgvw, tog).51 Therefore, for the part from above up to the wheel of the reliquary (ifwpi rten+."qpg"oclqt"rctv"qh"vjg"eqpugetcvkqp"egtgoqp{"ycu"eqpfwevgf0"Vjg" inner structure was built in a mode that is in its main aspects characteristic for the other parts. A divine palace (i¦jcn"{cu"mjcpi+"qh"fkhhgtgpv"lgygnu"ycu" constructed. Then pure resin of the sal tree (fw"tw"umc"d¦cpi"rq)52 was spread shis sgo mang, the stupa (ifwpi"tvgp), whose actual appearance is unknown today, is cuuwogf"vq"jcxg"nqqmgf"nkmg"qpg"qh"vjg"uvwrc"v{rg"mpqyp"cu"Ocjárctkpktxá穎c"uvwrc" (o{cpi")fcu"oejqf"tvgp) or Bka' gdams pa stupa (dmc)"ifcou"oejqf"tvgp). On some early thangka partly having a Bka' brgyud provenience, a stupa bearing such features can be seen, Kossak & Singer 1998: no.3, 18, 20, 23c and 27. For three-dimensional gzcorngu."ugg"Jcvv"3;:2"cpf"Guugp"("Vjkpiq"3;:;<"pq0"Kь3:."Kь3;0"Vjg"Mc鵜"vjqi"Uk" tu states in his account that the dmtc"ujku")qf")dct for Phag mo gru pa was a Bka' gdams stupa (dmc)"ifcou"ifwpi"tvgp) with sun and moon images casted in gold and a parasol of gilded copper (iugt"¦cpiu) with a thirty-two deities mandala of Gsang 'dus ok"dum{qf"tfq"tlg."P["]3:319̲0"Qp"vjg"jkuvqt{"qh"vjku"rctcuqn."ugg"E¦clc"42280" 51 In general Shes rab 'byung gnas gives the outlines from top to bottom and from inner to outer and then back, thus following an order that is based on the sacred value of the things he describes. 52 It seems that Du ru ka (or Du ru skya, Tu ru ska) also called Durushka is a special kind of a resin used for incense (urqu+"mpqyp"cu"唖yjkvg"rÔ娃"*urqu"fmct), which in some botanical works is seen as the resin of the sal tree (Ujqtgc"tqdwuvc Gaertn.). The oqfgtp"cwvjqt"Fic)"dc)k"tfq"tlg"*3;;:<"35;+"tgictfu"kv"cu"cpqvjgt"pcog"hqt"vjg"唖yjkvg" pö’ (urqu"fmct). He proposes that the designation Du ru ka derives from a name of a country, namely Tur ki (Turkey). Hence one should understand this particular type cu"kpegpug"eqokpi"htqo"vjku"tgikqp0"Kp"jku"qrkpkqp."kv"ku"cp"kphgtkqt"v{rg"qh"唖yjkvg"rÔ娃" (urqu"fmct"focp+0"Vjg"kfgpvk享ecvkqp"qh"Fw"tw"mc"*,Vwtwujmc+"ykvj"vjg"Vwtmu"ku"cnuq" fqpg"d{"xcp"fgt"Mwklr"3;;6<"8330 It is probable that he followed in this the famous work on materia medica composed by De'u dmar Bstan 'dzin phun tshogs, which was one of his main sources. De'u foct"Duvcp")f¦kp"rjwp"vujqiu"uvcvgu"vjcv"qpg"qh"vjg"fgukipcvkqpu"hqt"唖yjkvg"rÔ娃"*urqu" dkar) is Tu ruska, ShGShPh [231/4]. He remarks that this name originates from Kla mnq"cpf"Uqi"rq0"Vjgtghqtg."kv"ku"cnuq"ecnngf"唖Uqi"rÔ娃"*uqi"urqu), a name that it shares with Si hla, but should not be confused. There are two types. The white one, which comes from the upper/western regions (stod) is like the teeth of horses and called 唖yjkvg"rÔ娃"*urqu"fmct). This is of good quality. The other one, which is a bad quality, comes from Kla klo and Mon and is of dark brown (uowi"pci) colour, hence called 唖dtqypkuj"rÔ娃"*urqu"uowi). 223 Qnch"E¦clc qxgt"唖nkmg"c"xgt{"vjkem"jkfg"qh"cp"gngrjcpv娃053 Inside there was a structure shaped like a kind of divine palace (i¦jcn"{cu"mjcpi), which was made of pure ¦ko" khim (¦ko"mjko"d¦cpi"rq, i.e. native copper)54, which is linked to the rule of vjg"Vcpiwv"*Ok"p{ci+"mkpi"¥nc"ti{cu0"Kp"vjku"fkxkpg"rcnceg"vjg"唖uwrrqtvu娃"*rten) were placed together with seats, parasols, clothes and offerings.55 The foremost qh"vjg"唖uwrrqtvu娃"*rten) which found their place there was a statue of Phag mo gru pa, standing on a sun disc (p{k"oc)k"fm{kn")mjqt). Then, in the middle of a three-storeyed palace (rjq"dtcpi) of leaded brass (f¦ko"iko), there were: Based on the latter author, one might therefore be inclined to regard Du ru ka as 唖yjkvg"rÔ娃"*urqu"fmct+0"Jqygxgt."qpg"ujqwnf"pqvg"vjcv"vjku"kfgpvk享ecvkqp"ku"pqv"vjg" explicitly formulated one in the medical work, as one might expect. Blo gros rgyal rq"*3729ь379;A+"lwuv"tgoctmu"vjcv"urqu"fmct, which comes from the upper/western regions (stod), must be of the white type like horse teeth (rta so ma), while the dark/ black (pci"rq+"v{rg."yjkej"eqogu"htqo"Mnq"{wn."ku"wp享vvkpi"hqt"ogfkekpcn"rwtrqugu." MPZhL II [294/6]. Similarly, Skyem pa Tshe dbang says the same on urqu"fmct, but pqvgu"vjcv"vjg"qvjgt"v{rg"ku"pcogf"唖fctm"rÔ娃"*urqu"pci+"qt"唖Uqwvjgtp"rÔ娃"*njq"urqu), MRVujD"K"]5;:145̲0"Cffkvkqpcnn{."qpg"okijv"dtkg京{"pqvg"vjcv"coqpi"Vkdgvcp"fqevqtu" vjgtg"ycu"uqog"eqpvtqxgtu{"qp"vjg"gzcev"kfgpvk享ecvkqp"qh"urqu"fmct (whether or not it is identical with Gu gul), see VNgP [276/18], MPGG [98/9]. The name of Du ru ka (and its alternative spellings) is not given with regard to urqu"fmct. It (fw"tw"umc1urqu"fmct+"ku"uckf"vq"dg"wugf"vtcfkvkqpcnn{"hqt"tgoqxkpi"唖{gnnqy"京wkf娃"*ejw" ser) and drying out. Based on this, it could be that this resin was also used because of its dehydrating properties. It seems worth investigating whether or not this substance is a means of preventing rust of any kind. (However, see also for the problematic issue of establishing medical use of Tibetan materia medica based on one sort of writvgp"uqwtegu"uwej"cu"dqvcpkecn"yqtmu"qpn{."E¦clc"*hqtvjeqokpi+."Medicinal Plants in Vkdgvcp"Dqvcpkecn"Vtgcvkugu"cpf"Ogfkekpcn"Yqtmu, article is under preparation.) 53 The Tibetan formulation fw"twujmc"d¦cpi"rq"incpi"ik"mq"dc"ovjwi"ujqu"vuco"fw" d{wiu"rc, which similarly is to be found in other paragraphs, allows for this interpretation only, because of the particale tsam and the use of the terminative case instead of vjg"fcvkxg1nqecvkxg"ecug."kh"kpfggf"cp"qdlgev"yqwnf"dg"ogcpv0"Pcvwtcnn{."kv"pgxgtvjgnguu" implies that such a hide was intended to be formed out of fragrant substances in this case. For the actual use of animal hide, see Hatt 1980: 209. 54 Lo Bue (1991: 41-44) had already discussed the complex nature of this term and its cnvgtpcvkxg"urgnnkpiu0"Jg"eqpenwfgu"vjcv"唖rwtg娃"qt"唖rtgekqwu娃"¦k"mj{ko corresponds to pcvkxg"eqrrgt."yjkng"唖ctvk享ekcn娃"¦k"mj{ko"ku"lwuv"c"mkpf"qh"ngcfgf"dtcuu0 55 Please note that for this overview numerous details are not given, such as the sophisticated mode of wrapping up in various clothes, offerings of a variety of medicinal substances and so on. For a complete list see both dkar chag0"Vjg"qdlgevu"kpugtvgf"kp" a Bka' gdams style stupa is described in Hatt (1980). 224 The Commemorative Stupas at Densathil 穐" an arrangement of the so-called seven Sta mgo ma, relics of the Buddha symbolising the seven successions (tcdu"dfwp) of the Buddhas (bde d¦jkp"iujgiu"rc) or the seven lineage bla ma; 穐" bones of Mar pa Chos kyi blo gros (1002/1012–1097); 穐" bones and white hair of Sgam po pa Bsod nams rin chen (1079–1153); 穐" black hair of Phag mo gru pa; 穐" as main item (gtso bo), the teeth of Phag mo gru pa; 穐" a hundred thousands names (ovujcp")dwo) of the lineage bla ma56 and 穐" fjátc穎% like the I¦wpiu"ejgp"d¦jk"and so on.57 Vjg"xcewkvkgu"ygtg"享nngf"ykvj"rqyfgt"qh"rtgekqwu"uwduvcpegu"nkmg"iqnf."uknxgt." beryl and so on, fragrant substances like sandalwood (tsan dan), gorshisha (gor shi sha+"cpf"唖jgctv"qh"upcmgu娃"*udtwn"i{k"up{kpi"rq)58 and so on, pure medicine like camphor (ic"rwt), saffron (iwt"iwo) and so on, and auspicious supports (dmtc"ujku"rc)k"tvgp), like wood and leaves and fruits of the bodhi tree (byang ejwd"m{k"ujkpi).59 While this concerns the space close to the jctokmá and the garbha of the stupa for Phag mo gru pa, Shes rab 'byung gnas gives two particular rqkpvu"hqt"yjkej"c"urgekcn"eqpugetcvkqp"ycu"rgthqtogf0"Vjg"享tuv"qh"vjgo"ku" the pinnacle (mgvw, tog; Fig. 3). Similarly to the arrangement given before, the uvtwevwtg"yjgtg"vjg"kvgou"ygtg"rncegf"ycu"ocfg"qh"c"xctkgv{"qh"lgygnu."kpegpug" paste (urqu) and a three-storeyed palace (rjq"dtcpi) of leaded brass (f¦jck" kshim). The order of the items was as follows: 穐" thirteen relics (ring bsrel) of the Buddha (Bde bzhin gshegs pa) symbolising the Buddhas of the Ten Directions and of the Three Times (rj{qiu"dew"fwu"iuwo"i{k"ucpiu"ti{cu); 穐" bone relics (ifwpi) of Mar pa; 56 In a treatise by the Sa skya pa scholar Grags pa rgyal mtshan (114-1216) devoted to the depositing of relics and fjátc穎%, this author explicitly states that one should 愛ytkvg"vjg"pcogu"qh"vjg"eqorngvgn{"rgthgev"]ogodgtu̲"qh"qpg娃u"qyp"nkpgcig挨."Dgpvqt" 1995: 256. 57 On the use and meaning of fjátc穎% see, for instance, Bentor 1995. 58 Both are types of white sandalwood. 59 Ukoknct"享nnkpiu"ctg"hqwpf"hqt"gxgt{"rctv"fguetkdgf"jgtg0"Vjku"ku"ekvgf"qpn{"cu"cp" example. 225 Qnch"E¦clc 穐" bone relics (ifwpi) of Sgam po pa; 穐" bone relics (ifwpi) and hair of Phag mo gru pa’s head; 穐" as main relic (gtso bo), teeth of Sgam po pa; 穐" 100,000 names (ovujcp")dwo) of the lineage bla ma and 穐" fjátc穎% of the pinnacle (tog). It is remarkable that, while for the other parts of the bkra shis sgo mang several kinds of relics of those religious dignitaries could be chosen, for the pinnacle, the highest point of the stupa symbolising the enlightenment, mostly bone relics (ifwpi) were taken.60"Cu"ku"mpqyp."vjg"ucog"vgto"ogcpu"唖rcvgtpcn" nkpgcig娃"cpf"唖cpeguvt{0娃"Wpfqwdvgfn{."vjku"ku"cnuq"qh"ukipk享ecpeg"jgtg0"Kp"o{" opinion, seen together with their vertical arrangement—here bone relics, but kp"qvjgt"ecugu"cnuq"享iwtgu"kp"vjcpimcu."hqt"kpuvcpegэkv"wpfgtnkpgu"vjg"nkpgcig" cpf"jgpeg"vjg"唖urktkvwcn娃"cpeguvt{0 The wheels ()mjqt"nq) also had a special importance and consequently were consecrated separately. Again in an arrangement like before, several items were placed into the three storeyed divine palace (i¦jcn"{cu"mjcpi) made of leaded brass (f¦ko"iko; Fig. 3, I). Given here its condensed list, these were: 穐" ten times hundred relics (ring bsrel) of Buddhas (dfg"d¦jkp"iujgiu" rc) symbolising the Buddhas of the Pure Era (dumcn"rc"d¦cpi"rq)k" sangs rgyas); 穐" eight thousand leaves of the bodhi tree (d{cpi"ejwd"m{k"ujkpi); 穐" many fruits of the bodhi tree and garments of the Buddha (sangs ti{cu"deqo"nfcp")fcu); 穐" a stupa (mchod rten) of earth from the eight great pilgrimage sites (ipcu"ejgp"rq"dti{cf); 穐" some parasols; 穐" the white bone (ifwpi"ofqi"fmct"rq) of Mar pa; 穐" a statue of Mi la ras pa (1052–1135) with his teeth in its heart;61 穐" the 鰯áoctw of Mi la ras pa; 穐" the white bone (ifwpi"fmct"rq) of Sgam po pa; Martin (1994: 274) had already pointed out that the meaning of the term ifwpi is qhvgp"gzvgpfgf"vq"唖tgockpu娃0"Kp"vjku"rctvkewnct"eqpvgzv."jqygxgt."K"dgnkgxg"vjcv"vjg"wug" of this term denotes bone, because the very detailed inventory chart on the inserted items was also written to address the issue which items exactly. 61 It was made of wood said to have been touched by Mi la ras pa. The statue depicted him riding on a lion and wearing a cotton garment. 60 226 The Commemorative Stupas at Densathil 穐" the drinking bowl (iuqn"¦jcn) of Sgam po pa; 穐" hair of the head, pieces of cloth and shoelaces (?, ejciu"uitqiu"]uitqi̲) of Sgam po pa; 穐" bones, hair, garments, blood (umw"ovujcn) and dirt of the feet (¦jcdu" dreg) of Phag mo gru pa; 穐" the six ornaments (ti{cp"ftwi) of Phag mo gru pa; 穐" a bell (ftkn"dw) of Phag mo gru pa, and, as its counterpart, a rdo rje; 穐" ocp{"dqpgu"cpf"dqpg"cujgu"qh"CvkUc"*f0"3276+= 穐" vjg"vkigt"ugcv"qh"CvkUc= 穐" the 鰯áoctw"qh"CvkUc"ocfg"qh"vjg"dqpgu"qh"cp"gngrjcpv= 穐" writings by Phag mo gru pa like the Ict"i{k"p{cou"fiw"and texts like the Mtshan brjod;62 穐" words of the Buddha (dmc)) like the Iugt"i{k")rjciu"rc"dufwu"rc and the Mtshan brjod; and 穐" fjátc穎% of the wheels ()mjqt"nq) like the Utqi"ujkpi"tvgp"rc. Then Shes rab 'byung gnas continues with the following items: 穐" c"享nngf"ftkpmkpi"dqyn"qh")Lki"tvgp"oiqp"rq= 穐" c"享nngf"rncvg"*qh")Lki"tvgp"oiqp"rq+="cpf 穐" the golden wheel of dharma with a thousand spokes. The second main part of religious items concerned the dome (garbha, dwo" rc), which was divided in an upper and lower part, and included also the lotus (seat; Fig. 3, II). Once more one encounters the threefold structure: outside there was a divine palace (i¦jcn"{cu"mjcpi+"qh"xctkqwu"lgygnu."vjg"kpvgtogfkcvg" space was taken by a paste of pure resin of the sal tree (fw"tw"umc"d¦cpi"rq) thick like the hide of an elephant and the innermost part was a palace (rjq" brang) of clothes (pc"d¦c)), an idea of 'Jig rten mgon po’s as Shes rab 'byung ipcu"tgoctmu0"Vjku"enqvj."mpqyp"cu"唖Cfcocpvkpg"Dtqecfg娃"*¦cd"ejgp"tfq"tlg" ma), was coloured and came from Khyi/Byi than. Regarding the space between the jctokmá (bre) and the lotus (rcfoc), Shes rab 'byung gnas records that within the inner side there was a sandalwood (tsan dan) (trunk) that had turned supreme (oejqi"vw"i{wt), which is his The texts were written in gold. Its book covers (glegs shing) came from Khyi than and were made from crystal (shel). It had images (umw) of the lineage bla ma (dti{wf" rc)k"dnc"oc) and one hundred thirteen image of Buddhas and Bodhisattvas made from gold which came from Khyi than. The clothes and the ropes of the books (glegs thag) were made of leaded brass (f¦jck"mujko). 62 227 Qnch"E¦clc description of the fact that it was the central pole ({c焔鴛k, srog shing). Outside it had a ring (?, umqt"dw), which was covered with leaded brass (f¦jck"mujko). Ropes (dewf"vjci) of brocade (¦cd"ejgp) and a type of silk (dar chen) were neatly bound on this in the four directions. Inside the jctokmá (bre), on the corners where the faces (gdong) of the jctokmá were, several statues were placed like: 穐" a statue of Phag mo gru pa known as the Sku lugs ma;63 穐" c"uvcvwg"qh"Omjc)")itq"oc."vjg"唖jkij"curktcvkqp娃"*vjwiu"fco) of Naropa (1012–1100);64 穐" c"uvcvwg"qh"Rjci"oq"itw"rc."vjg"唖jkij"curktcvkqp娃"*vjwiu"fco) of the dnc"oc"ejgp"rq; 穐" an Indian (rgya gar ma+"uvcvwg"qh")Lco"rc)k"tfq"tlg=65 穐" an Indian (rgya gar ma) statue of Thub pa chen po; 穐" Spyan ras gzigs and and other statues as well, together with the fjátc穎% of the jctokmá (bre) and other items. Below it, in the even middle (fdwu"ftcpi"rq), which connects the jctokmá (bre) and the upper part of the dome (dwo"uvqf+."vjtgg"ockp"qdlgevu"ygtg" placed: 1. vjg" 唖jkij" curktcvkqp娃" *vjwiu" fco), the precious reliquary (ifwpi" rten); 2. vjg"唖jkij"curktcvkqp娃"*vjwiu"fco) of the unqd"frqp Rtsi lung pa, given to 'Jig rten mgon po; and It was commissioned by the bla ma Me nyag Sgom ring also known as rtogs ldan Me nyag Sgom ring. He was a close disciple of Phag mo gru pa (usually counted coqpi"vjg"itqwr"qh"vjg"唖hqwt"enqug"uqpu娃"*p{g"dc)k"utcu"d¦jk+"qt"vjg"唖hqwt"uqpu"qh" instructions’ (ifcou"rc)k"dw"d¦jk), see for instance DThMP [122/9], GBYTsh [533/1], HRChB [321/6]). After Phag mo gru pa had died, he went to Gzho/Gzhu stod where he founded a monastery at 'Bri khung, which later became part of the settlement established by 'Jig rten mgon po. For a biographical sketch, see HRChB [340/11], Roerich 1988: 566. 64 For the interpretation of the term vjwiu"fco as high aspiration rather than tutelary deity I follow Martin (2001: 147ff). I am grateful to Erberto Lo Bue who pointed this article out to me. 65 Shes rab 'byung gnas notes that it was to this deity to whom prayers were directed, yjgp"cwurkekqwu"tkvgu"ygtg"ocfg"vq"ocmg"vjg"Vcpiwv"mkpifqo"rtqurgt0"Xcp"fgt"Mwklr" (1994: 610) in his review of the Vyq"Dkqitcrjkgu"qh"Tcm{cujtkdjcftc by David P. Lcemuqp"dtkg京{"fkuewuugu"vjg")Dtk"iwpi/Vcpiwv"eqppgevkqp0 63 228 The Commemorative Stupas at Densathil 3. Ocjádqfjk"*uvcvwg+"ocfg"htqo"vjg"dqfjk"vtgg0 Vjg"享tuv."c"tgnkswct{"*ifwpi"tvgp) respectfully addressed and venerated as a 唖jkij"curktcvkqp娃"*vjwiu"fco) was made of a variety of precious substances and measured a full cubit (mjtw"icpi"oc) in size. Its interior was structured in a mode which was already observed for other parts, namely a layer of fragrance (dri) like resin of the sal tree (fw"tw"mc) and so on and then, as its innermost part, a three-storeyed palace (rjq"dtcpi) made of leaded brass (f¦jck"mujko). Inside of it there were various relics, which, given in the order of Shes rab )d{wpi"ipcu."eqpukuvgf."kp"vjg"享tuv"rnceg."qh"ugxgtcn"tgnkeu"u{odqnkukpi"vjg" pinnacle (tog) and the wheel ()mjqt"nq) with countless Buddhas and Bodhisattvas, namely: 穐" many relics of the Buddha (fg"d¦jkp"iujgiu"rc) from Sta mgo; 穐" many relics of teeth (tshems) from Sog; 穐" many relics from Tsha rong; 穐" many relics of teeth from 'Jang; 穐" many relics of teeth from Sha ping; 穐" many relics of teeth from 'Dan; and 穐" many relics of the Buddha (sangs rgyas) from Sing ga. It seems reasonable to assume that this group of relics (and Buddhas) correurqpfu"vq"vjg"cttcpigogpv"ecnngf"vjg"唖Ugxgp"Uvc"oiq"oc娃."yjkej"ycu"cntgcf{" noted at the beginning and was said to represent relics of the Buddha symbolising the sevenfold successions (tcdu"dfwp) of the Buddhas (dfg"d¦jkp"iujgiu" rc) or the seven lineage bla ma. Beside that, Shes rab 'byung gnas records: 穐" many other relics of the Buddha (sangs rgyas); 穐" many relics of the noble Sthavira ('Phags pa Dgra bcom pa); 穐" bones, hair of the head, nails of hands and feet, and pieces of cloth of Sgam po pa; and 穐" hair of the head, nails of hands and feet, cloth, blood, dirt of the feet cpf"唖nkvvng"uvqpgu"qh"vjg"hggv娃"*¦jcdu"tfg)w)66 of Phag mo gru pa. Vjgp"jg"pcogu"vjg"ockp"qdlgev"*gtso bo) of the upper part of the dome (dwo" stod), which one has to imagine inside this precious reliquary (ifwpi"tvgp) and which was put up in the following way: below there was a marvellous 66 Its exact meaning is currently unknown to me. Perhaps one might understand it as stones touched by his feet. 229 Qnch"E¦clc crystal vessel (shel gyi snod) said to be from the treasury of the king of China cpf"享nngf"ykvj"htcitcpv"uwduvcpegu"*ftk"d¦cpi"rq). On its surface there was a hat (fdw"¦jw) of 'Jig rten mgon po. Inside it there was a palace (rjq"dtcpi) housing a tiny silver image (fpiwn"umw). That palace (rjq"dtcpi) was actually a reliquary box (ic)w) of silver. Its front side (ya khebs) had a top (tog can+."yjkej"ycu"cfqtpgf"ykvj"cnn"唖dqpg"qtpcogpvu"qh"vjg"yjggn娃"*)mjqt"nq)k" ifwpi"ti{cp), while its rear side (ma khebs+"ycu"dgcwvk享gf"ykvj"c"rcvvgtp"qh" garlands of pearls (ow"vki"ik"ftxc"dc"fcpi"ftxc"dc"rj{gf"rc). Its inner sides (nang logs) were well perfumed with fragrance (ftk"d¦cpi"rq). Its interior ycu"享nngf"ykvj< 穐" the big skull (fdw)k"ifwpi"ejgp"rq) of Phag mo gru pa; 穐" four teeth (tshems) of Phag mo gru pa; 穐" the big increasing bone ()rjgn"ifwpi"ejgp"rq) of Phag mo gru pa;67 穐" all imprints, hair of the head, nails of hands and feet, garments, blood, heart and dirt of the feet of Phag mo gru pa; and 穐" fjátc穎% of the stupa (mchod rten). Vjg"ugeqpf"qdlgev"rncegf"kp"vjg"gxgp"okffng"*fdwu"ftcpi"rq), which connects the jctokmá (bre) and the upper part of the dome (dwo"uvqf+."ycu"c"唖jkij" aspiration’ (vjwiu"fco) of the unqd"frqp Rtsi lung pa, given to 'Jig rten mgon po. It was a reliquary (ifwpi"tvgp) having sun and moon and measuring more than a cubit (mjtw+"kp"gzvgpv0"Kv"ycu"vjg"eqpvckpgt"hqt"ocp{"唖uwrrqtvu娃"*rten) of previous lineages (dti{wf"rc"iqpi"oc), such as relics of the Buddhas (de d¦jkp"iujgiu"rc) and so on and, in particular, for: 穐" hair of the head, nails of hands and feet, bones and blood of Sgam po pa; 穐" hair of the head, nails of hands and feet and blood of Phag mo gru pa; and 穐" more than two thirds of all bones of Phag mo gru pa.68 Octvkp"*3;;6<"49:+"fgcnu"kp"fgvckn"ykvj"唖kpetgcukpi"dqpg娃"tgnkeu0 The unqd"frqp Rtsi/Rtse lung ba was a close disciple of Phag mo gru pa and qeecukqpcnn{"ku"eqwpvgf"coqpi"vjg"唖hqwt"dgnqxgf"uqpu娃"*vjwiu"m{k"utcu"d¦jk; Roerich 1988: 563). He was a native of 'Dan ma in Mdo khams, but later went to Dbus to study there. When Phag mo gru pa did not accept the invitations to come to Khams, Rtsi lung ba occupied the throne (chos khri) there. He founded a monastery in 'On, wherefrom he also obtained his name Rtsi lung ba or Rtse lung ba. He became one of the main teachers of 'Jig rten mgon po and took the duty of a unqd"frqp when the 67 68 230 The Commemorative Stupas at Densathil For this consecration the stupa was lavishly adorned and then inserted. Vjg"vjktf."vjg"Ocjádqfjk"uvcvwg"ocfg"htqo"yqqf"qh"vjg"dqfjk"vtgg." was an image (umw"deci) of the Buddha (deqo"nfcp")fcu), which measured one cubit (mjtw+"cpf"jcf"eqog"htqo"Dqfjic{á"*Tfq"tlg"ifcp+0 The space between the upper part of the dome and the lotus (rcfoc) was occupied by different items arranged according to the four directions. Its plan was as follows: 穐" east: the walking-stick (rj{ci"omjct"udc"iwi) of Phag mo gru pa; 穐" south: a skull cup (rj{ci"mc"nk) of Naropa given by the latter to Mar pa; 穐" west: Sutra books like the Ucoáfjktálc (Vkpi"pig")f¦kp"i{k"ti{cn" rq); 穐" north: the Collected Works of Phag mo gru pa and the names of the Buddhas (fg"d¦jkp"iujgiu"rc) In the space between them there were: 穐" mendicant’s staff (rj{ci"ovujcp"iukn"d{gf+"CvkUc娃u= 穐" a mask (umw")dci) of Sgam po pa; 穐" the painted imprints (¦jcdu"tlgu"dmqf"rc"dtku"rc) of Sgam po pa; and 穐" a painted image (dtku"umw) of Phag mo gru pa. In the lower part of the dome (dwo"uocf), a pair of woollen boots (chags ]rj{ci̲"¦qp+"qh"Rjci"oq"itw"rc"ycu"rncegf."yjkej"ycu"vjg"ockp"qdlgev"qh" this part. Moreover, it contained: 穐" a silver vessel (dwo"rc);69 latter received the full ordination. He is said to have erected a umw")dwo"ejgp"oq for Phag mo gru pa, see for instance HRChB [328/4], Roerich 1988: 565, and the various biographies on 'Jig rten mgon po. With regard to this stupa, Shes rab 'byung gnas writes in this dkar chag that after the death of Phag mo gru pa when all pupils gathered for distributing the relics equally, the unqd"frqp Rtsi lung ba managed to lay hands on a big part of it much to the distress of other pupils. He, moreover, then asked those other pupils whether they themselves were going to build a stupa or whether they would place their share into his stupa, which they agreed to. It eventually contained so many relics. It looks as if 'Jig rten mgon po walked in the footsteps of his teacher by having a strong desire for gathering as many relics as possible. 69 It was inserted, because it seemed that the tip of the lower end (rting) of the walking stick (rj{ci"omjct) was on the verge of touching the lotus. Therefore this vessel 231 Qnch"E¦clc 穐" 穐" 穐" 穐" fjátc穎% of the upper dome (dwo"uvqf); fjátc穎% of the lower dome (dwo"uocf); fjátc穎% of the lotus (rcfoc); vjg"唖jkij"curktcvkqp娃"*vjwiu"fco) Ucpiu"ti{cu"op{co"ud{qt"vjwiu" rtsis can;70 and 穐" Tantra and Sutra books. Ykvj"vjcv"vjg"ugeqpf"oclqt"rctv"ycu"eqorngvgf0"Vjg"vjktf"rctv"eqpegtpgf"vjg" space spanning from the three garlands (rjtgpi) of lotus (rcfoc), xcltc (rdo rje) and blue lotus (wvrcnc) to the seven tiers (bang rim) where the deities reside, reaching up to the xcltc ground (tfq"tlg)k"uc"i¦jk; Fig. 3, III).71 As Shes rab 'byung gnas notes, an inner structure was executed which had pillars (ka ba) made of sandalwood and in the same number in exactly the same manner as the outer structures of pillars which had deities (njc)k"mc"dc). In the very centre there was a sandalwood pillar which had turned supreme (oejqi"vw" i{wt) and made its central axis inside (nang byas). The pillars outside were covered with leaded brass (f¦jck" mujko) and the part of pillars called in Vkdgvcp"唖rknnct/dqy娃"*mc"¦jw"]i¦jw̲) were arranged crosswise (rgya gram). They had beam seats (gdan) which were decorated with various textiles and clothes.72 The central pillar was adorned with various eulogies/decorations (?, duvqf"rc) and diadems (eqf"rcp) of silk ribbons or scarves (fct"fr{cpiu). The ycu"享nngf"ykvj"ogfkekpg"cpf"vjg"nqygt"gpf"ecog"vq"uvqr0" 70 Most likely this Sangs rgyas mnyam sbyor refers to a text which probably is the Dwffjcucoc{qicvcpvtc, as the Uctxcdwffjcucoc{qicvcpvtc is usually called in short. Different textual versions of it exist. If that is the case, the reason for its choice it remains unknown to me for the time being. 71 KCh-A [96/1], KCh-B [376/2 f.]. Naturally, it is surprising that Shes rab 'byung gnas speaks of seven tiers, even though it is clear that, in his dkar chag which gives vjg"享iwtcn"rtqitcoog."jg"pcogu"ukz"qpn{0"Rquukdn{."vjku"jcrrgpgf"d{"cp"qxgtukijv." but it also could be that it was meant in general. Perhaps the seven tiers of the interior structures corresponded to the four upper tiers (without the uppermost), the big lotus wreath, the sixth tier (of the dkar chag"qp"vjg"享iwtgu+"cpf"vjg"xcltc ground, which was possibly elevated, as can be seen on a photo of one bkra shis sgo mang stupa at Densathil (Fig. 1). 72 For instance, they had clothes (gos) with patterns (ri mo can) of lions, elephants and so on. In the dkar chag"vjg{"ctg"fguetkdgf"cu"唖rknnctu"qh"旭娃."uwej"cu"rknnctu"qh"enqvju." but it is not explicitly said that they were a decoration. It could be that they were truly made of cloth, but in this paper the view is preferred that those textiles had decorative purposes only and hence those beams seats were designated accordingly. 232 The Commemorative Stupas at Densathil foundation (i¦jk) of this structure situated beneath the xcltc ground (tfq"tlg)k" uc"i¦jk) was also made of sandalwood. It was decorated with a xcltc cross (rdo rje rgya gram+"cpf"vjg"egpvtcn"rknnct"ycu"kpugtvgf"cpf"享zgf"kp"kvu"pcxgn0 Within this interior structure stood a divine palace (i¦jcn"{cu"mjcpi), which was quadrangular and was made of precious substances. It had a plan ykvj"vygpv{"ujqtv"ukfgu."yjkej"eqttgurqpfu"vq"vjg"fgukip"qh"vjg"唖qwvgt娃"bkra shis sgo mang. It was executed as a seven-storeyed palace (rjq"dtcpi). After a thick paste (ovjwi"utcd) of pure sal tree resin (fw"tw"mc"d¦cpi"rq) and 唖htcitcpv"kpegpug"tgukp娃"*A."ftk"urqu) was rubbed as thick as the hide of an elephant, the palace (rjq"dtcpi+"ycu"eqxgtgf"ykvj"ngcfgf"dtcuu"jcxkpi"唖htwkvu娃" (f¦jck"mujko")dtcu"dw"ecp), not leaving any gap (¦jw"nwd). Inside it the items were arranged across a space of three tiers. A particular part of a garment of 'Jig rten mgon po became its base (pcpi"¦jcdu), which was covered with several layers of a variety of textiles. On this a manync{gtgf"ugcv"ycu"rwv."qp"yjkej"vjg"唖uwrrqtvu娃"*rten) were placed. Vjg{"uvctvgf"ykvj"c"urgekcnn{"xgpgtcvgf"qdlgev"*唖jkij"curktcvkqp娃"/"vjwiu" dam) of 'Jig rten mgon po, namely the well-designed footprints (¦jcdu"tlgu" dmqf"rc"ecp) of Phag mo gru pa, which were commissioned in gold. Being clad (or wrapped) in valuable garments and clothes, they formed the base for c"uvcvwg"qh"Lq"dq"Vjwiu"tlg"ejgp"rq."yjkej"ycu"eqpugetcvgf"qpg"jwpftgf"cpf" eight times by Phag mo gru pa. It possessed a special blessing for removing any disease. After it was lavishly adorned, it was endowed with the seat of Pctqrc."pcogn{"vjg"jkfg"qh"M宴焔穎cuát%"*k0g0"c"vgcejgt娃u"pcogA1c"urqvvgf"cpvglope?). Moreover, this interior room contained: 穐" the drinking cup (rj{ci"um{qiu), which Tilopa (988–1069) gave to Naropa;73 穐" the drinking cup (rj{ci"um{qiu) of the unqd"frqp Sangs rgyas ye shes;74 穐" all essential instructions (ifcou"pici"up{kpi"rqt"i{wt) of Phag mo gru pa; 穐" writings (rj{ci"{ki) of 'Jig rten mgon po, his Fiqpiu"rc"gxc泳, i.e. Fiqpiu"rc"ieki"rq; and Gold was poured into it, and it had an image of Sgrol ma (tlg"dvuwp"oc"d¦jgpiu" rc). 74 It had a seven-deity mandala of Sgrol ma (tlg"dvuwp"njc"dfwp"i{k"fm{kn")mjqt). 73 233 Qnch"E¦clc 穐" the Fjq"jc"oiwt")dwo of the lineage bla ma. These as well as numerous other texts formed the section of handwritings (rj{ci"{ki"d¦jwiu"vujcf), which was complemented by a section of personal books (rj{ci"frg"d¦jwiu"vujcf) such as: 穐" letters (rj{ci"{ki) of Phag mo gru pa; 穐" the Nco")dtcu"qh"Lq"njc"tlg"oc=" 穐" the Nco"dumqt of the unqd"frqp Rgyal po; and 穐" the Tlg"dvuwp"oc omjc)"ur{qf"oc and so on. Moreover, the Nco")dtcu"frg"of¦qf"oc, the Frcn"dfg"oejqi and many more, such as the writings (rj{ci"{ki) of 'Jig rten mgon po containing the conversations (iuwpi"itqu) of Phag mo gru pa written down in small notes (¦kp"dtku) and the complete writings (rj{ci"{ki) of 'Jig rten mgon po. Naturally, the arrangement partly reminds of the items found in Phag mo gru pa’s grass-hut in the monastery of Densathil. Then, a multitude of further relics and statues were in it, namely: 穐" vjg"dqpgu"qh"Rjci"oq"itw"rc娃u"umwnn."qp"yjkej"cp"kocig"qh"Vátá" appeared; 穐" vjtgg" Ocjádqfjk" uvcvwgu" ocfg" qh" yqqf" htqo" dqfjk" vtgg" kp" Dqfjic{á=" 穐" a statue (umw+"qh"Rjci"oq"itw"rc."vjg"唖jkij"curktcvkqp娃"*vjwiu"fco) of 'Jig rten mgon po; 穐" the Indian deity (rgya gar gyi lha+"CoqijcráUc"ygctkpi"c"yqpfgthwn" crown (eqf"rcp); 穐" 'Phags ma Sgrol ma wearing a wonderful crown (eqf"rcp); 穐" Khro bo Mi g.yo ba kneeling down and having canine teeth of gold; 穐" a silver statue (umw) of Thub pa chen po; 穐" 'Jig rten dbang phyug made from wood of the bodhi tree and having a crown (eqf"rcp); 穐" a golden 'Jig rten dbang phyug wearing a wonderful crown (cod rcp); 穐" c"uknxgt"Lq"dq"Vjwiu"tlg"ejgp"rq"jcxkpi"c"etqyp"*eqf"rcp); 穐" Deqo"nfcp")fcu"Tfq"tlg"ugou"frc)"jcxkpi"c"etqyp"*eqf"rcp); 穐" a statue of Byams mgon; 234 The Commemorative Stupas at Densathil 穐" c" eqrrgt" Vátá" ykvj" vyq" hcegu" *tlg" dvuwp" oc" ¦jcn" ip{ku" oc), the 唖jkij" curktcvkqp娃" *vjwiu" fco) of the opic)" dfci Maitripa (b. 10th century);75 穐" Djg"tc"rc."vjg"唖jkij"curktcvkqp娃"*vjwiu"fco) of Naropa; 穐" c"iqnfgp"Fct"i{k"njc"dvuwp"oc"Tlg"dvuwp"oc="cpf 穐" a woven thangka (dvciu"umw+"htqo"Ejkpc"fgrkevkpi"vyq"oc穎鰯cncu" (fm{kn")mjqt"ip{ku). Hkpcnn{."cv"vjg"dqvvqo"vjgtg"ygtg"Ocjámánc"*Pci"rq"ejgp"rq+."kp"vjg"fgukip" (bkod+"qh"Páncpfá76."Ic穎crcvk"*Vujqiu"dfci+."Lcodjcnc"cpf"qvjgt"fgkvkgu0" This was further supplemented by items, which were: 穐" a rdo rje and bell of Naropa; 穐" an iron rdo rje"qh"Dtco"¦g"Tkp"ejgp"tfq"tlg=77 穐" a rdo rje of Srong btsan sgam po; 穐" a lead rdo rje"qh"CvkUc= 穐" the Brahmin thread (vujcpiu"umwf) of Dpal chen Rga lo Gzhon nu dpal (1110/14–1198/1202); and 穐" a 鰯áoctw of Dpal chen Rga lo brought from India. Then, on the right side of this interior room, a collection of eulogies on authentic words (dmc)) and treatises (bstan bcos), which were commissioned in gold and in which (the Buddha) had perfectly expounded the primary characteristics, was placed together with garments and offerings.78 Ockvtkráfc."yjq"ku"qeecukqpcnn{"cfftguugf"ykvj"vjg"grkvjgv"opic)"dfci, was instrumental in the transmission of the ocjáowftá system and others teachings, which gained utmost importance for the Bka' brgyud pa schools (Roerich 1988: 725, 841f., Tatz 1987: 695ff). He is said to have practised meditation upon Sgrol ma (Tatz 1987: 695, 699ff). 76 For the view of the eminent Tibetan scholar Padma dkar po on statues which posukdn{"ecog"htqo"vjg"tgikqp"qh"Páncpfá."ugg"Nq"Dwg"3;;9<"4660 77 Vjg"dtcjokp"Tcvpcxcltc"ycu"qpg"qh"icvg"mggrgt"rc穎鰯kvc"cv"XkmtcocU%nc"*Tqgtkej" 1988: 206, 229). He is of importance with regard to the Madhyamaka system (ibid. 565h+0"C"rgtuqpcnkv{"qh"vjg"pcog"Tcvpcxcltc"ku"cnuq"mpqyp"cu"c"vgcejgt"qh"ocjáowftá (ibid. 869). 78 Rtqdcdn{."vjg"rjtcug"愛yjkej"*Dwffjc+"jcf"rgthgevn{"gzrqwpfgf"vjg"rtkoct{"ejctacteristics” (ovujcp"p{kf"rjc"tqn"vw"rj{kp"rc"rct"iuwpiu"rc, KCh-A [100/5], KCh-B [383/4]) also points out to a discussion held in works of 'Jig rten mgon po belonging to the Fiqpiu"rc"ieki"rc discourse, but research is required to clarify this. 75 235 Qnch"E¦clc Opposite, on the left side, there was a collection of eulogies (duvqf"rc), commissioned in gold, of Tantras (ti{wf) and treatises (bstan bcos) of secret mantras (gsang sngags) together with garments and offerings, and the Tantras (ti{wf+"qh"vjg"唖jkij"curktcvkqp娃"*vjwiu"fco+"Tfq"tlg"omjc)")itq"vqigvjgt"ykvj" a variety of garments and offerings. Outside of this sanctum, placed in front of the pillars (of the inner structure described here) there were various eight-petalled lotuses. On their uwthceg"vjgtg"ygtg"唖qtkikpu"qh"vjg"ncy娃"*dharmodaya, ejqu")d{wpi), which were piled on top of each other (nyis brtsegs) and had auspicious emblems (?, rten )dtgn"ecp).79 Finally, many precious substances were added, which completed vjku"rctv"qh"vjg"唖kppgt娃"bkra shis sgo mang.80 Qpg"ecp"dwv"urgewncvg"cdqwv"qh"yjcv"ku"ogcpv"d{"唖qtkikpu"qh"vjg"ncy娃0"Rquukdn{"vjg{" were the usual triangular depictions, but it could also be that they were real texts. This seems especially plausible in view of the fact that all remaining items, which Shes rab 'byung gnas lists, are such. It consisted of Tantra and Sutra texts (for details see there). Their number must have been substantial. Shes rab 'byung gnas writes that there were more than three thousand. Additionally, there were also Indian rqvk books with the words of Buddha (dmc)). It is not absolutely clear from his description whether those were placed also on the lotuses or simply placed in the space between the pillars and outside the divine palace (i¦jcn"{cu"mjcpi). 80 Furthermore, Shes rab 'byung gnas records also details on the consecration of the uewnrvwtgu"yjkej"ygtg"rncegf"qt"享zgf"qp"vjg"bkra shis sgo mang, or, in his own words: 愛*Eqpegtpkpi+"vjg"ogcuwtg"*yjkej+"ycu"享vvkpi"vq"dkpf"vjg"fkxkpg"hggv"qh"vjg"vkgtu"qh" fgkvkgu"tgukfkpi"qp"vjg"qwvukfg"qh"*vjg"kppgt"uvtwevwtg+"旭"愛fg)k"rj{k"tqn"fw"d¦jwiu"rc)k" njc)k"dcpi"tko"tpcou"m{k"njc"¦jcdu"ufqo"fw"p{cp"vujcf"tpcou, KCh-A [102/4], KCh-B [386/2]. Threefold palaces (rjq"dtcpi) were made of precious substances (rin rq"ejg) and brocade (¦cd"ejgp), which were, although not explicitly said but one can assume it, put in the seat of those deities. Inside those palaces were several relics, such as the bones of Mar pa put into brocade (¦cd"ejgp), or the bones of Sgam po pa put into brocade (¦cd"ejgp), measureless fjátc穎% written on silk (dar chen) with perfumed ink/saffron (ftk"d¦cpi"rq) and so on (see there for more details.) In particular, he notes several statues, which possibly were part of the bkra shis sgo mang or should be imagined as separate from it. In a statue of (umw) of Phag mo gru pa, which had the letter ka in the seam (sne mo) of its petticoat (umw"ujco), one tooth (mtshems+"qh"Rjci"oq"itw"rc"kpugtvgf"kp"ngcfgf"dtcuu"jcxkpi"唖htwkvu娃"*f¦jck"mujko" )dtcu"dw"ecp) was placed. In another statue of him, having the letter kha, a tooth (mtshems+"yjkej"ycu"kpugtvgf"kpvq"ngcfgf"dtcuu"jcxkpi"唖htwkvu娃"*f¦jck"mujko")dtcu"dw" can) was placed. Then in a third, bearing the letter nga, a golden rdo rje that has one relic (ring bsrel) in its centre (lte ba) and which was inserted in leaded brass having 唖htwkvu娃"*f¦jck"mujko")dtcu"dw"ecp) was placed. Similarly, statues of Sgam po pa, Lho dtci"rc"*k0g0"Oct"rc+."Lq"dq"ejgp"rq"*k0g0"CvkUc+"cpf"Rcfocucodjcxc"ctg"ogpvkqpgf." 79 236 The Commemorative Stupas at Densathil The inventory of the religious items deposited during the consecration ceremony is indeed a unique source, which provides a rare insight into vjg"kpvgtkqt"uvtwevwtg"cpf"vjg"tkvwcnn{"rgthqtogf"唖xkxk享ecvkqp娃"*rab gnas) of the entire commemorative stupa. It informs us about a dimension inseparably connected with the erection of the bkra shis sgo mang and its religious ukipk享ecpeg0"Dwv"dghqtg"fgnkxgtkpi"c"hgy"eqpukfgtcvkqpu"qp"vjku."vjku"qwvnkpg" of the iconographic programme should be concluded by examining the sixth tier through the iconographic analysis of art pieces which have survived the destruction of the monastery of Densathil. FRAGMENTS A number of fragments exists, which seem to be related to the sculptural art of Densathil. Some of them are now in museums and private collections or appear from time to time on the art market. Even though one can recognise several of them as possibly and, in some cases, very probably coming from different tiers of the bkra shis sgo mang of Densathil, the relevant discussion in this paper will focus on the sixth tier, formed by the guardians of the teachings (chos utwpi; Figs 5, 10).81 Shes rab 'byung gnas writes on this part of the bkra shis sgo mang"vjcv"qpg"享pfu"c"lha mo and mgon, two ipqf"ud{kp"i{k"ti{cn"rq and two mnw)k"ti{cn"rq"in each cardinal direction. This results in a total number of vygpv{/hqwt"享iwtgu"qt"ukz"cv"gcej"ukfg0"Vjku"ku"cp"cttcpigogpv"cnuq"qdugtxcdng" on the photographs and inferable from the surviving fragments. A part of bkra shis sgo mang documented by Mele shows some of them (Figs 5 and 5a, nos 25–32). Easily noticeable are the impressive páictálc"of which several pieces (with and without frieze) are preserved in Western collections. which received some consecrating items (the teeth (mtshems) of Sgam po pa himself, vjg"gkijv/hcegf"cpf"ukzvggp/jcpfgf"Jgxcltc."vjg"octxgnnqwu"ukz"qtpcogpvu"qh"vjg"Lq"dq" *k0g0"CvkUc+"jkougnh"cpf"uwrrqtv"*rten) of Padmasambhava himself), and he concludes his description by admitting that he is not able here to tell them all. 81 Hqt"qvjgt"htciogpvu"yjkej"ctg"keqpqitcrjkecnn{"tgncvgf"vq"vjg"享iwtcn"rtqitcoog" ugg"E¦clc"4228."E¦clc"42290"Rngcug"pqvg"vjcv"vjg"rtgugpv"uvwf{"dgctu"c"rtgnkokpct{" character. Some issues will be addressed which still remain to be solved and which require an in-depth study in iconographical matters that will be done in future. For the part of the dkar chag regarding this part of the bkra shis sgo mang, cf. KCh-I [149/2 f.], KCh-II [65/5 f.], KCh-III [461/5 f.]. 237 Qnch"E¦clc Following the dkar chag, one learns that these páictálc"were repeated at every transition point which marked the iconographic assembly of a cardinal direction. Its total number therefore is eight. The group of these páictálc, employed for the iconographic programme of the bkra shis sgo mang, however, is nine. Thus one mnw)k"ti{cn"rq does not occupy the rank of a main deity qp"vjg"唖tqwpfgf"rqqn0娃82 Shes rab 'byung gnas describes them as lifting up a lgygnngf"ictncpf"qh"nqvwu."ykvj"itgcvguv"gcug."ykvjqwv"cp{"ghhqtv."kp"vjg"oqfg" of athletes (gyad), while their faces are slightly turned towards the observer. This is a feature indeed to be seen on the photos and a characteristic of the uwtxkxkpi"htciogpvu"*Hkiu"33"cpf"34+0"Dgkpi"dgcwvk享gf"d{"cnn"mkpfu"qh"qtpcments, by the order of 'Jig rten mgon po, their heads were adorned with nine okpqt"rgceghwn"jgcfu"yjkej"dqtg"c"etguv"lgygn"*ivuwi"vqt"ik"pqt"dw).83 Their countenance had the appearance of big fully darkened clouds, of heads of dragons roaring loud with thunder and ornamented by streams of lightning (mnqi"ik"rjtgpi"dc) coming out of their mouths. In general, they are said to tgockp"kp"vjg"oqfg"qh"ngvvkpi"fqyp"ujqygtu"qh"xctkqwu"mkpfu"qh"lgygnu"cpf" removing all obstacles. EAST Right to one of the páictálc was Rnam thos sras (Figs 5, 10, no. 2), who is clearly visible on pictures taken by Mele (Fig. 12). Shes rab 'byung gnas writes that he has one face and two hands, but does not mention his attributes, which probably were those to be discerned on the photos, namely a mongoose in his left hand and an banner in his right. He is sitting on a snow lion. On the This group of nine mnw)k"ti{cn"rq"ejgp"rq includes (1) Mtha' yas, (2) Rigs ldan, (3) Dung skyong, (4) Padma, (5) Padma chen po, (6) 'Jog po, (7) Stobs kyi rgyu, (8) Ma dros pa and (9) Nor rgyas. With the exception of Rigs ldan, all of them are the main deity for one time, surrounded by the remaining members of that group. For example, Klu'i rgyal po chen po Mtha' yas is surrounded by eight mnw"ejgp"rq, namely Rigs ldan, Dung skyong, Padma, Padma chen po, 'Jog po, Stobs kyi rgyu, Ma dros pa and Nor rgyas. On the fragments of mnw)k"ti{cn"rq still possessing a plaque, the number of minor deities is eight. 83 The mnw)k"ti{cn"rq, which have been passed on to us, show a varying number of minor heads. Only a thorough investigation kp"ukvw could proof whether the number varied for different bkra shis sgo mang, or whether some of them possibly are demolished, thus causing a lesser number of minor heads. 82 238 The Commemorative Stupas at Densathil 17 16 13 14 18 15 9 24 8 23 7 22 10 19 20 11 21 12 6 3 2 1 4 5 Fig. 10: Rncp"qh"vjg"Ukzvj"Vkgt"*pqv"vq"uecng+="ftcykpi"d{"Qnch"E¦clc0" The deities on this tier are: East: 1 – Ye shes kyi mgo po Bya rog ma, 2 – Rnam thos sras, 3 – Klu'i rgyal po chen po Mtha' yas, 4 – Lha mo Srog sgrub ma, 5 – Sa'i lha mo Brtan ma, 6 – Klu'i rgyal po chen po padma chen po; South: 7 – Mgon po Gtsug tor rten, 8 – 'Brog gnas, 9 – Klu'i rgyal po chen po Padma, 10 – Lha mo Fwf"uq"oc."33"ь"Ftcpi"utqpi"ejgp"rq"Mj{cd")lwi."34"ь"Mnw)k"ti{cn"rq"ejgp"rq" Dung skyong; West: 13 – Legs ldan nag po, 14 – Tshogs kyi bdag po chen po, 15 – Klu'i rgyal po chen po 'Jog po, 16 – Lha mo Gcer bu bong zhon ma, 17 – Mgon po 'Dzam bha la, 18 – Klu'i rgyal po chen po Stobs kyi rgyu; North: 19 – Dpal Mgon rq"Oejqi"utgf."42"ь"Nlqp"rq."43"/"Mnw)k"ti{cn"rq"ejgp"rq"Pqt"ti{cu."44"ь"Njc"oq" Dbu bcu bdun ma, 23 – A pa ra tsi ta, 24 – Klu'i rgyal po chen po Ma dros pa. Fig. 11: Detail of Figure 3 showing two mnw)k"ti{cn"rq. bkra shis sgo mang"hqt"Tfq"tlg"ti{cn"rq."jg"ycu"ceeqorcpkgf"d{"pkpg"okpqt" 享iwtgu"yjkej"hqtogf"jku"gpvqwtcig084 To his left there was, according to the dkar chag, the deity Ye shes kyi mgon po dpal Bya rog ma (Fig. 4, no. 1).85"Vjg"唖Vgp"Pqdng"Iwctfkcpu"qh" the Directions’ ()rjciu"rc"rj{qiu"um{qpi"dc) are his retinue.86 Not much is said about his outer appearance except that he has one face and four hands. No fragment of Ye shes gyi mgon po Bya rog ma is known to me presently. C"rctv"qh"vjku"享iwtg"ecp"dg"uggp"qp"vjg"tkijv"gfig"kp"vjg"rjqvqitcrj"d{"Ogng" These were (1) Gnod sbyin Gang ba bzang po, (2) Nor bu bzang po, (3) 'Dzam bha la, (4) Rta bdag Ku be ra, (5) Yang dag shes, (6) 'Brog gnas, (7) Lnga rtsen, (8) Sred spod and (9) Rgyal ba khyu mchog. 85 His designation differs slightly: {g"ujgu"m{k"oiqp"rq"frcn"d{c"tqi"okpi"oc KCh-II [66/6], {g"ujgu"m{k"oiqp"rq"frcn"d{c"tqi"okpi"ecp KCh-I [150/3]. 86 Vjgug"ctg<"*3+"Dti{c"d{kp."*4+"Og"njc."*5+"Iujkp"tlg."*6+"Utkp"rq."*7+"Ejw"njc."*8+" Rlung lha, (7) Gnod sbyin, (8) Dbang ldan, (9) Sa bdag and (10) Skar ma'i rgyal po. 84 239 Qnch"E¦clc Fig. 12: A bkra shis sgo mang stupa in Densathil, detail of the sixth tier; rjqvq"d{"Rkgvtq"H0"Ogng."3;6:="chvgt"xqp"Uejtqfgt"4223<"xqn0"4."享i0"ZXKь320 (Fig. 12), while on another of his photos allows for the discerning of a rdo rje (Fig. 2). Luckily, a thangka with the footprints of 'Jig rten mgon po (1143-1217) 87 exists. In the lower register of this painting, several worldly protectors are fgrkevgf0"Coqpi"vjgo."qpg"享pfu"c"hqwt/ctogf"ukvvkpi"fgkv{"kfgpvk享gf"d{"c" Tibetan inscription as Bya rog ma.88"Mnkodwti/Ucnvgt"*4223<"73+"kfgpvk享gu"vjku" 享iwtg"cu"vjg"hqwt/ctogf"Ocjámánc"qt"Mámáu{á"Mctoc"Ocjámánc."kp"Vkdgvcp" Bya rog ma alias Las mgon bya rog gdong can. Thus, she favours the view vjcv"kv"ku"vjg"etqy/hcegf"Ocjámánc"c"xkgy"cnuq"ujctgf"d{"Nwe¦cpkvu"*4228<"8+0" Surprisingly, although an important part of her article is devoted to the discussion of this thangka, she does not inquire in the reason why the crow-faced Klimburg-Salter 2001: 48ff. It also can be looked at: www.himalayanart.org item: no. 65205. It belongs to the Collection of the Rubin Museum of Art, (acc. #C2003.7.1), 60.33 x 60.66 cm (23.75 x 23.88 in), Ground Mineral Pigment on Cotton. 88 Mnkodwti/Ucnvgt"4223<"享i0"30"Kv"ku"vjg"fgkv{"vq"vjg"hct"nghv"qh"vjg"vjcpimc0"Kv"jcu" hqwt"ctou<"wrrgt"rckt<"tkijv<"uyqtf."nghv<"vtkfgpv."nqygt"rckt<"tkijv<"mpkhg"hqt"京ciikpi" skins knife, left: skull cup. 87 240 The Commemorative Stupas at Densathil Ocjámánc"kp"hcev"fqgu"pqv"jcxg"vjg"hceg"qh"c"etqy"*qt"ukoknct"hgcvwtgu+."yjkng" Luczanits notes this inconsistency.89 It seems promising to me to turn to iconographic material handed down in the Bka' brgyud pa schools for undertaking research in order to clarify this issue. Indeed, there one encounters the deity Dpal mgon po bya rog ming can, yjq"ycu"qh"uqog"korqtvcpeg"hqt"vjku"tgnkikqwu"uejqqn0"Vjku"hqto"qh"Ocjámánc" is described as having four arms. The lower pair of the hands holds a knife for 京ciikpi"umkpu"*tkijv+"cpf"c"umwnn"ewr"*nghv+0"Ykvj"vjg"tkijv"jcpf"qh"vjg"qvjgt" pair of arms, he brandishes a sword, while his left grasped a mjc鴛xá瑛ic. The last attribute is sometimes replaced by a simple trident. It is clear in these sources that Bya rog does not"ogcp"vjcv"vjku"Ocjámánc"jcu"c"etqy"hceg"*gdong can), but is only his name (ming can).90 His body complexion varies from He regards the depiction on the thangka as the common four-armed form of Ocjámánc."kdkf0 90 See the text entitled Tfq"tlg"pci"rq"d{c"tqi"ecp and the Tantra Frcn"oiqp"rq" d{c"tqi"okpi"ecp"i{k"ti{wf"mjtci"ovujq"mjqn"oc"up{kpi")d{kp"iuqf"d{gf"urw"itk" nvc"dc)k"ti{wf. It seems that the latter Tantra was particularly popular at that time. In the colophon, the statement can be found that it was translated by two Indian rc穎鰯kvc."Tfq"tlg"ifcp"rc"cpf"C"djc"{c"mc"tc."cpf"vjg"Vkdgvcp"vtcpuncvqt"Vuc"ok"Ucpiu" rgyas grags pa who revised (¦jwu) and edited (ivcp"nc"rjcd"rc) it. Its transmission line was: the Tsa mi nq"vuá"dc, the Dpal Rgva lo, the bla ma A seng, the bla ma Sogs pa, the bla ma 'Dar, the tkp"rq"ejg"Phag mo gru pa. It is noted that another tradition following the translation by the bla ma Stengs pa nq"vuá"dc also exists. Thus there is kpfggf"rtqqh"vjcv"Rjci"oq"itw"rc"Tfq"tlg"ti{cn"rq"*3332ь3392+"ngctpv"vjku"Vcpvtc."cpf" the conclusion suggests itself that he also taught it to his disciples. A uáfjcpc"qh"vjku"Ocjámánc"yjkej"ku"uckf"vq"jcxg"dggp"eqorqugf"d{"vjg"unqd"frqp" 'Phags pa klu sgrub bears both the Tibetan and the Sanskrit titles: Ujtk"mc"yw"(?) wa (?) oc"já"má"nc"vuc"vwt"djw"f¦c"uc"fjc"pc"oc"[Tt%mámápáocecvwtdjelcocjámáncu áfjcpc] ; bod skad: Frcn"pci"rq"ejgp"rq"d{c"tqi"ecp"rj{ci"d¦jk"rc)k"uitwd"vjcdu. Vjgtghqtg"qpg"okijv"tgcf"vjg"Ucpumtkv"gswkxcngpv"cu"Mámápáoc0"Eh0"DTOE/C"]4;913̲." [298/3 f.], BRMC-B [9/2 f.], BRMC-C [555/3], [557/3 f.], BRMC-D [765/4 f.], BRMC-E [812/2 f.], BRMC-F [381/2], [387/1 f.]. The above data (and its depiction on the bkra shis sgo mang and thangka) suggest that this deity had some importance and should not be neglected when dealing with the art of Bka' brgyud pa provenience. Indeed, it can not only be found with respect vq"Tfq"tlg"ti{cn"rq"*cpf"xgt{"rtqdcdng"vq"vjg"vgcejkpiu"cu"jcpfgf"fqyp"coqpi"vjg" religious dignitaries of the Rlangs Phag mo gru pa) and the 'Bri gung Bka' brgyud rc"dwv"cnuq"ycu1ku."hqt"gzcorng."uqog"ukipk享ecpeg"hqt"vjg"nkvwtikgu"qh"vjg"Vujcn"rc" Bka' brgyud pa and 'Brug pa Bka' brgyud pa. A teaching dedicated to this very deity, entitled Oiqp"rq"rj{k"uitwd"m{k"ivqt"ejqi"tlgu"ipcpi"fcpi"decu"vujcn"nwiu"dfwf"ncu" 89 241 Qnch"E¦clc black to dark azure. A thangka of the 13th"egpvwt{"fgrkevkpi"cp"wpkfgpvk享gf" jkgtctej"jcu"c"享iwtg."vjcv"rtqdcdn{"ecp"dg"tgictfgf"cu"vjg"Ocjámánc"D{c"tqi" ming can (and hence Ye shes gyi mgon po Bya rog ma).91 The fact that this very deity was venerated also in later centuries is documented by two thangkas from the Essen collection, now in Basel.92 Vq"vjg"tkijv"qh"vjg"唖yjktn娃"ycu"vjg"tkfkpi"享iwtg"qh"Njc"oq"Utqi"uitwd" ma (Fig. 10, no. 4). Unfortunately, a form of Dpal ldan Lha mo bearing this appellation seems to be unknown in the material published so far.93 With ti{cn"dc)k"tw"ovujqp which is based on works of the same title by Chos kyi mgo po (1501–1582) and by Ngag dbang bzang po (1546–1615), is preserved in the religious cycles of the 'Brug pa Bka' brgyud pa. The transmission line given there is (1) Rgyal ba Tfq"tlg")ejcpi"ejgp"rq."*4+"Tfq"tlg"tpcn")d{qt"oc."*5+"Unqd"frqp")Rjciu"rc"Mnw"uitwd." *6+"Tfq"tlg"ftkn"dw"rc."*7+"C"dc"fjww"vk"rc."*8+"Ejqu"m{k"tfq"tlg."*9+"D{cpi"ejwd"d¦cpi" rq."*:+"Tfq"tlg"ifcp"rc."*;+"C"djc"{c"mcc"tc."*32+"Vuc"ok"Ucpiu"ti{cu"itciu"rc."*33+" Dpal chen Rga lo, (12) Bla ma Zhang rin po che, 'Gro ba'i mgon po Gtsang pa Rgya ras and ends with personalities such as Kun gzigs chos kyi snang ba (1768–1822), Um{cdu"tlg"[g"ujgu"uitwd"rc"*39:3ь3:67+."Pigu"fqp"ejqu"m{k"ti{c"ovujq"*3:13;th century), Bshad sgrub chos kyi nyin byed (18/19th century) and Mi pham bstan pa nyi oc"*3:6;ь3;29+."DTOE/I"]8313"h0̲0"Vjku"hqto"qh"Ocjámánc"pcogf"Frcn"{g"ujgu"m{k" mgon po chen po Bya rog gi ming can, who is described together with his consort ({wo), has one face (no crow face) and four hands, in which he holds a heart-shaped bai ta fruit and a skull-cup (lower pair of hands) and a sword and a trident (upper pair), BRMC-G [52/4 f.]. Cffkvkqpcnn{."kv"ujqwnf"dg"pqvgf"vjcv"pcvwtcnn{"vjg"hqto"qh"Ocjámánc"jcxkpi"c"etqy1 raven face was also important among all Bka' brgyud pa schools. A particular tradition qh"c"tgnkikqwu"e{eng"qh"Ocjámánc"yjkej"ycu"mpqyp"cu"vjg"vjgn"nwiu is occasionally mentioned in the biographical accounts of some 'Brug pa Bka' brgyud pa masters. Probably, the designation of vjgn"nwiu"ecp"dg"wpfgtuvqqf"ogcpkpi"vjg"唖vtcfkvkqp"qh"Ifcp" sa thel/mthil.’ A vjgn"nwiu"hqt"vjg"tcxgp/hcegf"Ocjámánc"*Ncu"oiqp"D{c"tqi"ifqpi+"ku" recorded in the text Ncu"oiqp"d{c"tqi"ifqpi"ik"tlgu"pcpi"¦jkpi"dew)k"ujc"nc"tqn"rc)k" tong skad, which was transmitted by Rtsva mi nq"vuá"dc"and Rga lo, fg"nvct"tvuxc"ok" fcpi"tic"nq"pcu"rjci"itw"nc"dti{wf"rc)k"vjgn"nwiu"ivucpi"oc"uqt"d¦jci"dmqf"LG 84/6 ]9d18̲0"Vjku"tcxgp/hcegf"Ocjámánc"ku."jqygxgt."pqv"hqwpf"qp"vjg"bkra shis sgo mang stupas in as far as textual evidence and surviving fragments are concerned. 91 Ugg"vjg"ukvvkpi"享iwtg"qh"vjg"nqyguv"tgikuvgt"vq"vjg"nghv"kp"Mquucm"("Ukpigt"*3;;:<" no. 17). Therefore the rdo rje, which is visible on Fig. 2, when zoomed in, to the nghv"qh"Tt%fgx%"cpf"cdqxg"vjg"dcu/tgnkgh"kp"vjg"egpvtg."rtqdcdn{"ku"vjg"wrrgt"vkr"qh"c" mjc鴛xá瑛ic. 92 Essen & Thingo 1989: vol. 1: no. 131, vol. 2: no. 336, 385. 93 Chandra (1987: no. 900) has one Lha mo Srog sgrub lcags phur ma rang byung ti{cn"oq."dwv"vjku"ku"cpqvjgt"hqto"*ugg"vjg"hqnnqykpi0+"Eh0"cnuq"fg"Pgdgum{/Yqlmqykv¦" 242 The Commemorative Stupas at Densathil respect to its designation, this aspect of the deity undoubtedly is not a popular one. The information provided by Shes rab 'byung gnas in his dkar chag is not very detailed. He says that she has one face and four hands. Her retinue is made up by eight )mjqt"njc"oq"jqnfkpi"c"mpkhg"hqt"京ciikpi"umkpu"cpf"c" skull (gri thod), being of the same kind, and by Klu mo Chu srin gdong is named as the ninth. The photos taken by Mele document that, at this very side of the bkra shis sgo mang, a female deity can be seen, who might very well be a form of Dpal ldan Lha mo (Figs 2 and 5). She is riding on a mule/ horse, has four hands, the upper right of which is brandishing a sword, while her lower right hand is carrying a khram shing94, and her lower left hand, resting on her left knee, is grasping a unknown utensil (the attribute of her upper left is not discernible.) None of the minor deities can be seen, except a faintly visible Klu mo Chu srin gdong. No fragment compatible with this form is known to me. Close to her, on her left side, was Sa'i lha mo Brtan ma (Fig. 10, no. 5). Vjku"唖Gctvj"Iqffguu娃"jcu"qpg"hceg"cpf"vyq"jcpfu0"Rctv"qh"jgt"ecp"dg"uggp"kp" one of Mele’s photographs (Fig. 5). One can see her face, but nothing else can be inferred from this picture. Thus no statement on her attributes or posture, whether she is standing or sitting, can be given. She possibly has to be imagined sitting and holding a vessel in one hand, while her other hand shows a ritual gesture.95"Dgkpi"vjg"uqxgtgkip"qh"cnn"lgygn"vtgcuwtgu."cu"vjg"dkar chag rwvu"kv."vjg"uq/ecnngf"唖Gkijv"Vtgcuwtg"Iqffguugu娃"*gter gyi lha mo brgyad) and vjg"rqrwnct"itqwr"qh"vjg"唖Hkxg"Ukuvgtu"qh"Nqpi"Nkhg娃"*tshe ring mched lnga) make up her entourage.96 1993: 31f. 94 Qp"vjku"qdlgev."ugg"hqt"kpuvcpeg"fg"Pgdgum{/Yqlmqykv¦"3;;5<"39"gve0 95 Fg"Pgdgum{/Yqlmqykv¦"*3;;5<"486+"ogpvkqpu"vjcv"ujg"wuwcnn{"ku"qh"{gnnqy"eqoplexion and holds a vessel in front of her heart (he refers to the Xck鰯et{c"fmct"rq). Ujg"ku"fgrkevgf"kp"vjg"uq/ecnngf"唖Vjtgg"Jwpftgf"Keqpu娃."Qnuejcm"("Ycpi{cn"3;99<"39;." no. 279. Cf. also Lokesh Chandra 1987: no. 397 (displaying the turning of the wheel gesture by her right hand and holding a vessel in her left) and no. 2482 (bestowing iguvwtg"d{"jgt"tkijv"jcpf."c"xguugn"kp"jgt"nghv+0"Oqtgqxgt."ujg"ku"rquukdn{"kfgpvk享gf"qp" one of the murals of the Mgon khang at Shalu, according to Ricca & Fournier 1996: 346. I have not seen a photography of this mural. 96 The eight gter gyi lha mo are (1, 2) Bum pa and Bum pa chen po, (3, 4) Dung and Dung chen po, (5, 6) Padma and Padma chen po and (7, 8) Rin po che and Rin po che ejgp"rq0"Vjg"kpfkxkfwcn"享iwtgu"qh"vjg"tgockpkpi"itqwr"qh"iqffguugu"ctg"*3+"Lq"oq"Njc" 243 Qnch"E¦clc SOUTH Together with both páictálc, Mtha’ yas and Padma chen po, to the left and tkijv"qh"vjku"itqwr"qh"hqwt"唖Iwctfkcpu"qh"vjg"Hckvj娃."vjg"gcuvgtp"ukfg"ku"eqorngvg" (Fig. 10, nos 3, 6). Moving clockwise (to the left of Mele’s photo, Figs 5 and 3, no. 11), one will see the páictálc"Fwpi"um{qpi."vjgp"hqnnqygf"d{"Mj{cd")lwi." who, as Shes rab 'byung gnas remarks, lets rain fall on the entire inhabited world ()f¦co"dw)k"inkpi) during the rainy season and lets ripen the harvest of the people. He has nine faces and four hands. His head is adorned with the kocig"qh"Deqo"nfcp")fcu"Rj{ci"pc"tfq"tlg0"Vjg"唖Gkijv"Rncpgvu娃"*i¦c)"ejgp"rq" brgyad+."cnuq"pcogf"vjg"唖Gkijv"Itgcv"Uggtu娃"*ftcpi"utqpi"ejgp"rq"dti{cf), surround him.97"Vjgtg"ctg"ugxgtcn"uewnrvwtgu"qh"Mj{cd")lwi."yjkej"uggo"vq" be related to the bkra shis sgo mang of Densathil.98 One of them still has the frieze with the retinue (Fig. 13). Its minor deities most probably represent the eight planets as noted in the dkar chag."dwv"c"fg享pkvg"kfgpvk享ecvkqp"ku"fkh享ewnv" to give without the inspiring iconographic source. Vjg"nqygt"rctv"qh"Mj{cd")lwi"ku"vjg"eqknkpi"vckn"qh"c"upcmg0"Jku"pkpg" heads are grouped in triads one on top of the other. The uppermost triad includes the head of a raven in its centre. As mentioned above, this is topped d{"c"uocnn"享iwtg"ujqykpi"Rj{ci"pc"tfq"tlg0"Cndgkv"vjg"cvvtkdwvgu"qh"jku"hqwt" hands are missing, it might be rightly inferred from the arms’ posture that he held bow and arrow. His lower right hand grasped a victory-banner adorned with a makara head on its top. The loop on which this rested is still visible. With his lower left hand, he grasped a snake shaped like a snare. Enqug"vq"vjg"享iwtg"qh"Mj{cd")lwi"ycu"c"uvcvwg"qh"Njc"oq"Fwf"uqn"oc" (Fig. 3, no. 10). She is said to have one face and four hands. The minor deities surrounding her were ten )mjqt"njc"oq"jqnfkpi"c"mpkhg"hqt"京ciikpi"umkpu"cpf" a skull-cup (gri thod) and being of the same kind. According to de NebeskyYqlmqykv¦."Njc"oq"Fwf"uqn"oc."oqtg"eqooqpn{"mpqyp"cu")Fqf"mjcou" sman Bkra shis tshe ring ma, (2) Mthing gi zhal bzang ma, (3) Mi g.yo glo bzang ma, (4) Gtad dkar 'gro bzang ma and (5) Gcod pan mgrin bzangs ma. 97 They are: (1) Nyi ma, (2) Zla ba, (3) Sa skyes, (4) Lag pa [Lhag pa], (5) Bla ma, (6) Rc"dc"ucpiu."*9+"P{k"oc)k"dw"cpf"*:+"Fw"dc")lwi"tkpi0"Pqvcdn{."vjg"vqvcn"pwodgt"qh" vjg"ockp"享iwtg"rnwu"gpvqwtcig"*ivuq")mjqt) is given as ten in all versions of the dkar chag0"Qpg"rtqdcdn{"jcu"vq"kpenwfg"Rj{ci"pc"tfq"tlg0" 98 Kpvgtguvkpin{."vjg{"cnn"jcxg"c"uocnn"gh享i{"qh"Rj{ci"pc"tfq"tlg"qp"vqr"qh"vjgkt"jgcfu." c"hgcvwtg"xgt{"wpwuwcn"hqt"vjg"eqooqp"fgrkevkqpu"qh"Mj{cd")lwi0 244 The Commemorative Stupas at Densathil Fig. 13: Mj{cd")lwi."Egpvtcn"Vkdgv."37th century, gilt copper, H. 54.61 cm; Los Angeles County Museum of Art, acc.# AC.1999.48.1, gift of 1999 Collectors Committee. dbang phyug ma, has one face and four hands, in which she carries a knife hqt"京ciikpi"umkpu"*wrrgt"tkijv+."c"umwnn/ewr"*nqygt"tkijv+."c"ygcrqp"ecnngf" 唖shagti’ (upper left) and a trident (lower left).99 Among the fragments which most likely can be related to the sculptures of Densathil there are three statues (each with an attached frieze) showing a form of Dpal ldan Lha mo (Figs 14, 99 fg"Pgdgum{/Yqlmqykv¦"3;;5<"460 245 Qnch"E¦clc 17 and 19). Lha mo Dbu bcu bdun ma can be easily ruled out as representing Lha mo Dud sol ma (on whom see below). Therefore two fragments are left, both of which have similarities and dissimilarities with the description presented in the dkar chag. When comparing all other fragments, the number of the entourage frequently seems to diverge from the inventory, while the characteristic features of the main deity, such as the number of arms and their attributes, remain the same. Taking this general observation into account, the vgpvcvkxg"kfgpvk享ecvkqp"qh"qpg"htciogpv."pqycfc{u"kp"rtkxcvg"eqnngevkqp."ecp" be approached (Fig. 14).100 In each of her upper hands, she brandishes a sword, a feature which still needs to be traced in a written iconographic source. Her lower right hand holds a skull. This very detail obviously dismisses the notion that she is Lha mo Srog sgrub ma, who is said to have four arms and, according to Mele’s photographic evidence, has a sword (in her upper right hand) and a knotted stick (in her lower right). The attribute of the lower left hand of Lha mo Dud sol ma is missing. She is surrounded by ten minor deities, who sit kp"itqwru"qh"享xg"vq"jgt"nghv"cpf"tkijv"qp"vjg"htkg¦g0"Vjku"uggou"vq"citgg"ykvj" Shes rab 'byung gnas’s text. He gives the same number of surrounding deities cpf"ytkvgu"vjcv"vjg{"ctg"cnn"vjg"ucog."jqnfkpi"c"umwnn"cpf"c"mpkhg"hqt"京ciikpi" skins, which indeed is how they are represented on the frieze: all are sitting qp"c"nqvwu."jcxkpi"c"umwnn/ewr"*nghv+"cpf"c"mpkhg"hqt"京ciikpi"umkpu"*tkijv+."cpf" the same ornaments. As already said above, this lha mo"jcu"c"Ocjámánc"cu"eqwpvgtrctv" qp"vjg"qrrqukvg"ukfg"qh"vjg"唖yjktn0娃"Hqt"vjg"uqwvjgtp"fktgevkqp."vjg"dkar chag pcogu"vjg"享iwtg"qh"Oiqp"rq"Ivuwi"vqt"tvgp"*Hki0"32."pq0"9+0"Ceeqtfkpi"vq" this textual source, he has one face and two hands. An iconographical text describing this deity still has to be found. His designation may refer to the protuberance (ivuwi"vqt) on top of his head. However, this assumption has still to be ascertained, and the examination of the surviving fragment could probably help to answer this question (Fig. 15).101"Vjg"hqto"qh"Ocjámánc"uggp" on this fragment appears to be Mgon po Gri gug can, but analysing the composition of his retinue it is evident that he is more probably the Mgon po Gtsug tor rten described in the dkar chag. There he is recorded to be surrounded It is also published in Heller (1999: no. 83). It is also published in Christies. Kpfkcp"cpf"Uqwvjgcuv"Cukcp"Ctv. New York, March 2001: lot 82. 100 101 246 The Commemorative Stupas at Densathil Fig. 14: Dpal ldan Lha mo, Central Tibet, 14th century, gilt copper, H. 50 cm; private collection; photo by Hughes Dubois, Paris. by the leaders of the eight kinds of gods and demons (lha srin sde brgyad), namely (1) the ruler of the gods (njc)k"fdcpi"rq) – Brgya byin, (2) the ruler of the cuwtcu (njc"oc"{kp"i{k"fdcpi"rq) – Thags bzang ris, (3) the king of the mk泳pátc (ok")co"ek)k"ti{cn"rq+"ь"Nlqp"rq."*6+"vjg"mkpi"qh"vjg"fgoqpu"*srin rq"i{k"ti{cn"rq) – Lang ka mgrin bcu, (5) the king of the icpfjctxc (ftk"¦c)k" ti{cn"rq) – Zur phud lnga pa, (6) the king of those soaring in the sky (i.e. birds; pco"omjc)"nfkpi"ik"ti{cn"rq) – Gser mig 'khyil pa, (7) the king of the 247 Qnch"E¦clc páic (mnw)k"ti{cn) – Rgya mtsho, and (8) the king of the {cm焔c (gnod sbyin i{k"ti{cn"rq) – 'Brog gnas.102 Ugxgtcn"qh"vjgo"ecp"dg"kfgpvk享gf"qp"vjg"htciogpv0"Egtvckpn{."vjg"okpqt" fgkv{"tgeqipk¦gf"cv"享tuv"incpeg"ku"vjg"mkpi"qh"dktfu."yjq"ku"ecnngf"唖tqnnkpi" iqnfgp"g{gu娃0"Jg"ku"cnuq"fgrkevgf"kp"vjg"knnwuvtcvkqpu"vq"vjg"uq/ecnngf"唖Vjtgg" Hundred Icons’.103 Regarding the other deities, it is less easy to determine who exactly they are. Below the mj{wpi, possibly is the king of the mnw, who can dg"tgeqipk¦gf"htqo"ugxgtcn"nkvvng"upcmgu"qp"jku"jgcf0"Uvknn"cpqvjgt"享iwtg"jqnfu" c"nwvg"kp"kvu"jcpfu0"Kv"okijv"dg"Nlqp"rq."kh"qpg"vcmgu"kpvq"ceeqwpv"vjg"qvjgt" paragraph in the dkar chag, in which this king of the mk泳pátc is described. Oquv"nkmgn{"Nlqp"rq"fkf"pqv"cnyc{u"jcxg"c"jqtug/jgcf."dwv"ycu"fgrkevgf"ykvj" a human face too (see below). On the other hand, in this case (without the iconographical source), it cannot be excluded that he is Brgya byin, who is usually depicted playing a lute.104 Possibly, 'Brog gnas, the king of the {cm焔c (ipqf"ud{kp"i{k"ti{cn"rq), seizes a mongoose, which is a common feature of several forms of the {cm焔c ruler.105"Rgtjcru."vjg"uocnn"qdlgev"kp"vjg"nghv"jcpf" qh"qpg"ukvvkpi"享iwtg"ku"uwej"c"oqpiqqug0"Kp"ujqtv."kv"uggou"lwuvk享gf"hqt"vjg" moment to assume that the list of minor deities is as given in the dkar chag fguetkdgu"vjg"fgkvkgu"uwttqwpfkpi"vjg"Ocjámánc"qh"vjg"htciogpv0106 Fg"Pgdgum{/Yqlmqykv¦"*3;;5<"476+."yjgp"fkuewuukpi"vjg"uwdfkxkukqpu"qh"vjg"Ftgiu" pa sde brgyad, lists the members of the so-called outer division (rj{k"{k"ufg"dti{cf). It should be repeated here in full, because it closely resembles the entourage of Dpal Mgon po Gtsug tor rten as given in the dkar chag. It is as follows: Lha'i dbang po Dti{c"d{kp."Mnw)k"fdcpi"rq."Njc"okp"fdcpi"rq"Vjciu"d¦cpi*u+."Ok")co"ek"Nlqp"tvc"oiq." Ipqf"ud{kp"Icpi"dc"d¦cpi"rq."Omjc)"nfkpi"Iugt"oki")mj{kn"dc."Ejqu"um{qpi"Ocjámánc" and Dri za Zur phud lnga pa. The name of the lord of the mnw (mnw)k"fdcpi"rq) is not given. In comparison to the dkar chag, certain dissimilarities can be observed. The name of the mnw leader is mentioned in the dkar chag. The chos skyong Ocjámánc"ku" not found, but the king of the demons (utkp"rq"i{k"ti{cn"rq) Lang ka mgrin bcu. 103 Chandra 1987: no. 2389, Olschak & Wangyal 1977: no. 186. Cf. also Willson & Dtcwgp"*4222<"pq0"44;ь453+"yjq"ikxg"vjtgg"Mj{wpi"rq"cnkcu"Ictw鰯c"qh"fkhhgtgpv" colours. According to the statement found there, the yellow Khyung is of the Bka' gdams pa tradition (mj{wpi"ugt"dmc)"ifcou"nwiu), ibid. no. 231. For more details, cf. fg"Pgdgum{/Yqlmqykv¦"3;;5<"478h0" 104 For instance, Dagyab 1991: 100. 105 See for instance Bhattacharyya 1987: 380. 106 Kv"uvctvu"ykvj"vjg"uocnn"享iwtg"cv"vjg"nqygt"nghv"eqtpgt"qh"vjg"htciogpv"*vq"vjg"tkijv" ukfg"qh"Ocjámánc"dgnqy"jku"tkijv"cto"cpf"cdqxg"jku"tkijv"mpgg+<"vjku"ku"cuuwokpin{" 102 248 The Commemorative Stupas at Densathil Fig. 15: Mgon po Gtsug tor rten(?), Central Tibet, 14th/15th century, gilt copper, H. 55.8 cm; private collection. Brgya byin. Then it continues clockwise with Thags bzang ris. This is followed on the qrrqukvg"ukfg"*vq"vjg"nghv"qh"Ocjámánc+"ykvj"vjg"wrrgtoquv"享iwtg."Nlqp"rq0"Vq"jku"nghv" (slightly below him) sits Lang ka mgrin bcu. Directly below him resides Zur phud lnga pa. To his right spreads Gser mig 'khyil pa his wings. Downwards the king of the mnw, Ti{c"ovujq."ku"rncegf."yjkng"vjg"享iwtg"qh")Dtqi"ipcu"ku"ukvwcvgf"dgnqy"qh"jko0 249 Qnch"E¦clc As mentioned above, Shes rab 'byung gnas states that at each side there were two Gnod sbyin gyi rgyal po. The second on the southern side, beside Ftcpi"utqpi"ejgp"rq"Mj{cd")lwi."ku"vjg"Ipqf"ud{kp"ejgp"rq")Dtqi"ipcu."hqwpf" to the left of Mgon po Gtsug tor rten (Fig. 10, no. 8). He is described as having rqygt"qxgt"vtgcuwtgu"qh"lgygnu"cpf"dgkpi"kpvkokfcvkpi0107 He has two hands and one face. His head is adorned with the image of Bcom ldan 'das Bstan pa'i bdag po. His entourage is made up by eight minor deities who have an animal head each.108"Qpeg"oqtg"qpg"ku"hcegf"ykvj"vjg"rtqdngo"qh"jqy"vjku"享iwtg"okijv" have looked like originally. Based on current notions, any inference about its identity cannot be conclusive. Undoubtedly, a fragment with its frieze still attached would be of invaluable help. To the best of my knowledge, such a piece has not been published yet, or might have not survived at all. Following this circumambulation of the lowest level of the bkra shis sgo mang."qpg"享pfu"vyq"páictálc"hqtokpi"vjg"lwpevkqp"dgvyggp"vjg"itqwru" of deities of the southern and the western side, namely páictálc Padma and Stobs kyi rgyu (Fig. 10, no. 9, 18). WEST Again the transition point between the assemblies is taken up by two páictálc, namely Klu'i rgyal po chen po Padma and Klu'i rgyal po chen po Stobs kyi rgyu, thus leading to the western part of the bkra shis sgo mang0"Vjg"享tuv" 享iwtg"gpeqwpvgtgf"qp"vjku"enqemykug"ektewocodwncvkqp"ku"Oiqp"rq")F¦co" djc"nc."yjq"ku"uckf"vq"ngv"jgcx{"ujqygtu"qh"lgygnu"hcnn"qp"cnn"ugpvkgpv"dgkpiu" (Fig. 10, no. 17). He has one face and two hands. Eight minor deities called the eight gnod sbyin or )mjqt")F¦co"djc"nc, in appearance identical or similar vq"vjg"ockp"享iwtg")F¦co"djc"nc"jkougnh."ceeqorcp{"jko0109"Vjg"享tuv"rctv"qh" jku"pcog."Oiqp"rq."okijv"uwiiguv"vjcv"jg"ku"uggp"cu"c"hqto"qh"Ocjámánc."dwv" The Tibetan phrase is )lkiu")lkiu"nvc"dw. It is unknown to me whether one should vcmg"kv"nkvgtcnn{"qt"kv"ku"c"fgukipcvkqp"hqt"c"rctvkewnct"享iwtg0 108 These eight are (1) Rgyun gcad Glang po che'i gzugs, (2) Shes pa'i sgron ma Spre'u yi mgo can, (3) Sred spong Ra'i mgo can, (4) Yang dag Klu'i mgo can, (5) Gang ba bzang po Rta'i mgo can, (6) Nor bu bzang po Lug gi mgo can, (7) Lnga rtsen Phyugs m{k"oiq"ecp"cpf"*:+"Nlqp"rq"Tvc)k"oiq"ecp0 109 They are (1) Nor bu bzang po, (2) Gang ba bzang po, (3) Gter 'dzin, (4) Rnam thos sras, (5) Phur bu'i phreng ba, (6) Lkog ma 'khyil pa, (7) Sbyor ba'i dbang po and (8) Spyod pa'i dbang po. 107 250 The Commemorative Stupas at Densathil obviously this is not the case, because, as explicitly stated in the dkar chag, in every direction at this level of the bkra shis sgo mang, one Dpal ldan Lha mo and one oiqp"rq were placed, each at both sides of the whirl ()mj{kn) of vjg"唖tqwpfgf"rqqn娃"*nfwo"tf¦kpiu+."yjkej"ykvj"tgictf"vq"Ocjámánc"ku"cntgcf{" qeewrkgf"d{"Ngiu"nfcp"pci"rq0"Vjgtghqtg"vjg"vgto"唖ngcfgt娃"*pávjc,"oiqp"rq) in this context must be understood as a general appellation only. Thus the ygnn/mpqyp"享iwtg"qh"Lcodjcnc"ku"ogcpv"jgtg0"Htqo"vjg"vgzvwcn"fguetkrvkqp" it is not sure how he was depicted, but it can be assumed that he held in his hands a citrus (right) and a mongoose (left), because a fragment of this deity bears such attributes (Fig. 16).110 The overall treatment of this sculpture makes it very likely that this fragment comes from Densathil. Next to Mgon po 'Dzam bha la there was a form of Dpal ldan Lha oq"pcogf"Frcn"Njc"oq"Iegt"dw"dqpi"¦jqp"oc"ujcp"rc"pci"oq."唖Vjg"Inqrious Goddess, The Naked One, The One who Rides on a Mule, The Black Butcher’, who, according to the dkar chag, has one face and two hands. She ku"uwttqwpfgf"d{"vjg"唖Swggpu"qh"vjg"Hqwt"Ugcuqpu娃"*fwu"rc)k"ti{cn"oq"d¦jk) and accompanied by Klu mo Chu srin gdong (Fig. 10, no. 16).111 Perhaps she is identical with a fragment of Dpal ldan Lha mo in the museum of Emory University (Fig. 17) showing her riding on a mule.112 The attributes in her two hands are lost. Only the handle of a sword (?) has remained. Her headgear is severely damaged. She is surrounded by seventeen companions. Four of them are in a sitting posture without any vehicle, while the rest of this entourage ukvu"qp"owngu0"Cnn"享iwtgu"jcxg"vyq"ctou0"Yjkng"kv"uggou"vjcv"gcej"qh"vjgo" jqnfu"c"mpkhg"hqt"京ciikpi"umkpu"cpf"c"umwnn/ewr."qpg"tkfkpi"享iwtg"dtcpfkujgu" a sword in her right hand; the attribute of her left hand is not discernible. Vq"jgt"tkijv."qrrqukvg"vjg"ugrctcvkqp"qh"vjg"唖yjktn娃"*)mj{kn) of the 唖tqwpfkuj"rqqn娃"*nfwo"tf¦kpiu) stands Legs ldan nag po (Fig. 10, no. 13) about whom only little information is given by Shes rab 'byung gnas. He states that I am very grateful to Suzy Lebasi for making me aware of this piece and even, generously, sending me a scanned picture of it. 111 These are: (1) Dbyar gyi rgyal mo Ri ma ti, (2) Dgun gyi rgyal mo, (3) Ston gyi gyal mo and (4) Dpyid kyi rgyal mo. 112 Beside the overall appearance, it can be recognized from certain details, like the gct/tkpiu"cfqtpgf"ykvj"c"nkqp"cpf"c"upcmg."vjcv"vjku"享iwtg"ku"Frcn"nfcp"Njc"oq0"Kv"ku" also published in Sotheby’s 1997. Kpfkcp"cpf"Uqwvjgcuv"Cukcp"Ctv. New York. March 20, 1997. lot 116. 110 251 Qnch"E¦clc vjku" 享iwtg" jcu" qpg" hceg." vyq" jcpfu" and is surrounded by eight )mjqt"njc)k" fitc"njc"ejgp"rq having one face and four hands. A fragment in the Pritzker collection may possibly represent vjku" curgev" qh" Ocjámánc" *Hki0" 3:+0113 The same number of minor deities is found on the frieze, but their appearance differs, since they have only two hands instead of the four mentioned in the dkar chag0"C"享tuv"uwtxg{."yjkej" needs to be substantiated in future especially by including Bka' brgyud pa ocvgtkcn."qh"c"Ocjámánc"dgctkpi"vjku" very name shows that Legs ldan nag po can be iconographically depicted in various ways. Belonging to the retinue of the four-handed Ye shes mgon po in Fig. 16: Jambhala, Central Tibet, gilt the tradition of the Rva nq"vuá"dc, he is copper; after Zhang Ying gv0cn0 2001: 20. said to possess a club made of sandalwood and to hold an iron bowl.114 The same attributes can be found when he is a follower of Mgon po Am gho ra.115 Uvknn"cpqvjgt"hqto."pcogn{"Oiqp"rq"¥cpiu"itk"ecp"kp"vjg"vtcfkvkqp"qh"Nlcpi." might have the appellation of Dpal Legs ldan nang po chen po. In that aspect, cu"jku"pcog"kpfkecvgu."jg"jcu"c"mpkhg"hqt"京ciikpi"umkpu"cpf"c"umwnn/ewr"cu"jku" attributes.116 Furthermore, as Mgon po Ber nag zangs gri can, he grasps a knife hqt"京ciikpi"umkpu"cpf"c"umwnn/ewr"cpf"ygctu"c"nqpi"ictogpv"qh"dncem"uknm0117 By this, the iconographical references certainly are far from being exhausted. Additionally, it might be helpful to turn to relevant pieces of art of vjcv"vkog0"Kp"vjg"nqygt"tgikuvgt"qh"ugxgtcn"vjcpimcu."qpg"gpeqwpvgtu"c"享iwtg" 113 114 115 116 117 It is also published in Heller 1999: no. 84. Fg"Pgdgum{/Yqlmqykv¦"3;;5<"680 Ibid. 53. Ibid. 55. Ibid. 56. 252 The Commemorative Stupas at Densathil Fig. 17: Dpal ldan Lha mo, Central Tibet, 15th century, copper(?), H. 54 cm; Emory University, 2001.19.1, Ester R. Portnow Collection of Asian Art, a Gift of the Nathan Rubin-Ida Ladd Family Foundation. yjkej"rtguwocdn{"ku"c"hqto"qh"Ocjámánc0"Kv"ecp"dg"uggp"cv"vjg"dqvvqo"qh"c" Xcltcxátáj%"vjcpimc"*fcvgf"vq"vjg"34th"egpvwt{+0"Vjku"Ocjámánc"ku"uvcpfkpi." slightly stepping to his right side. In his raised right hand, he holds a huge 253 Qnch"E¦clc club. With his left hand, he takes hold of a vessel (an alms-bowl?). His black coat is trimmed with blue hems and fastened by a golden girdle.118 A form gxgp"enqugt"vq"vjg"Ocjámánc"qh"vjg"Rtkv¦mgt"eqnngevkqpu"ecp"dg"hqwpf"kp"vjg" lower register of the thangka portraying an abbot and dated to the middle of the 14th century.119 There the deity has a club in both his hands and wears a garment, not dissimilar from that depicted on the fragment. He is stepping to his left side. Perhaps the assumption might not be entirely incorrect that, in both ecugu."c"hqto"qh"Ocjámánc"ycu"ogcpv"vq"dg"fgrkevgf."qt"gxgp"Ngiu"nfcp"pci" po. It could be initial evidence for the existence of a ritual cycle of Dpal ldan nag po, describing him as bearing a club only, having no further attributes, as is the case in the fragment discussed here, but undoubtedly hard proof, especially since textual evidence is still necessary for maintaining such an assumption.120 On the basis of these sketchy considerations, the fragment in the Pritzmgt"eqnngevkqpu"oc{"vgpvcvkxgn{"kfgpvk享gf"cu"Frcn"Ngiu"nfcp"pci"rq."nqecvgf"vq" vjg"tkijv"qh"vjg"唖yjktn娃"kp"vjg"yguvgtp"fktgevkqp0"K"uvknn"yqwnf"vcmg"vjg"qrrqtvwnity to stress once more that the deities’ textual description in the dkar chag and their factual appearance on all eight bkra shis sgo mang need not necessarily be congruent in every detail, and that new formulations should be expected for this artistic structures executed over a period of about 170 years. Mquucm"("Ukpigt"3;;:<"pq0"420"Dwv"vjku"享iwtg"eqwnf"cnuq"dg"Oiqp"rq"Dgt"pci"*ugg" also Essen & Thingo 1989: vol. 1, 208). I would like to maintain here that Legs ldan nag po seems to be related to Mgon po Beng (or Bing). In the iconographical source qp"Oiqp"rq"Dgpi"fmc)"oc"ekvgf"d{"fg"Pgdgum{/Yqlmqykv¦"*3;;5<"74+."kv"ku"uvcvgf"vjcv" this very Chos srung ma also is called Leg ldan nag po Srid med kyi bu. He is said to have a huge club of sandalwood and an iron-vessel. 119 Kossak & Singer 1998: no. 30. 120 Reference should be made to the collection of uáfjcpc entitled Uitwd"vjcdu")fqf" )lq"cwvjqtgf"d{"Ivgt"dfci"inkpi"rc")I{wt"ogf"tfq"tlg"*3868ь3936+0"Kp"vjku."vjg"fgkv{" Oiqp"rq"Ngiu"nfcp"pci"rq"ku"kpxqmgf."jcxkpi"c"mpkhg"hqt"京ciikpi"umkpu"*itk"iwi) in jku"tkijv"jcpf"cpf"c"umwnn"ewr"kp"jku"nghv0"C"ocipk享egpv"uvchh"ocfg"qh"ucpfcnyqqf"ku" leaning against his right arm-pit. With his bent right leg, he is making a step to the tkijv"ukfg0"Jg"ku"cfqtpgf"ykvj"c"etqyp"jcxkpi"享xg"umwnnu0"Jg"jcu"c"nqpi"ictogpv."qxgt" which a coat is put, made of black silk (ber nag). On his feet, he wears boots (Dagyab 1991: 170f). Cf. also Chandra 1987: no. 212. 118 254 The Commemorative Stupas at Densathil Fig. 18: Legs ldan nag po, Central Tibet, 14th century, gilt copper, H. 60 cm; Pritzker Collection. On the right side of Legs ldan nag po is Tshogs kyi bdag po chen po *Hki0"32."pq0"36+0"Jg"ku"uckf"vq"dg"ceeqorcpkgf"d{"gkijv"okpqt"享iwtgu."yjq" are like he himself and therefore also have one face and four hands. As in the other cases, his description in the dkar chag misses out the attributes of vjg"ockp"享iwtg."vjwu"ocmkpi"kv"fkh享ewnv"vq"rtqxkfg"c"fg享pkvg"uvcvgogpv"qp" kvu"qwvgt"crrgctcpeg0"Kv"ku"ygnn/mpqyp"vjcv"ugxgtcn"hqtou"qh"Ic穎crcvk"*tshogs 255 Qnch"E¦clc m{k"dfci"rq) possess four hands.121"Hqt"vjg"oqogpv."c"享tuv"kortguukqp"ecp" be obtained by relying on thangkas of that time and similar religious background. A form of Tshogs kyi bdag po drawn on the footprint thangka for 'Jig rten mgon po (1143–1217) holds an axe in his upper right hand, a turnip kp"jku"nqygt"tkijv"jcpf."c"vtkfgpv"kp"jku"wrrgt"nghv"jcpf"cpf"c"rncvg"享nngf"ykvj" sweets in the lower left one.122 Another presentation shows this deity with a white complexion, sitting in a relaxed posture. He holds a turnip in his lower right hand and a rosary in his upper right. An axe is found in his upper left cpf"c"xguugn"享nngf"ykvj"uyggvu"kp"jku"nqygt"qpg0123"C"享iwtg"qh"Vujqiu"m{k"dfci" po with these attributes is also found on a thangka of the Medicine Buddha dated to the 12th"egpvwt{0"Jgtg"vjg"czg"ku"fgrkevgf"kp"vjg"hqto"qh"c"京qygt0124 However, he can also be depicted with an axe in the upper right hand, while jku"nqygt"tkijv"jqnfu"c"xguugn"享nngf"ykvj"uyggvu."vjg"nqygt"nghv"c"vwtpkr"cpf" the upper left a rosary.125 This one available thus might constitute one of the possible looks of Tshogs kyi bdag po. NORTH Close to Tshogs kyi bdag po, on his right side, there was Klu'i rgyal po 'Jog po, followed by Ma dros pa, another king of the mnw (Fig. 10, no. 15, 24). Being now on the northern side of the bkra shis sgo mang."vjg"享tuv"享iwtg"yjkej"c" devotee or visitor might have seen was A pa ra tsi ta, who in the dkar chag ku"uv{ngf"cu"vjg"唖itgcv"mkpi"qh"vjg"{cm焔c’ (ipqf"ud{kp"i{k"ti{cn"rq"ejgp"rq; Fig. 10, no. 23). To my knowledge, a fragment of this deity has not yet come to light. In the textual source, he is described as having one face and two jcpfu"jqnfkpi"c"xguugn"qh"lgygnu"*tkp"rq"ejg)k"dwo) and as being surrounded by thirteen retainers.126 It is known from other iconographical sources that his That is why one unfortunately has to wait until, one day, a fragment turns up. Oqtgqxgt."c"uvwf{"qp"vjg"nkvwti{"qh"Ic穎crcvk"ykvjkp"vjg"Dmc)"dti{wf"rc"uejqqnu"pggfu" to be done. 122 Mnkodwti/Ucnvgt"4223<"享i0"30"Vjku"fguetkrvkqp"ku"cnuq"ikxgp"d{"Djcvvcejct{{c"*3;;9<" 365). 123 Pal 2003: no. 132. 124 Pal 2003: no. 124. 125 Pal 2003: no. 120. 126 His entourage consists of the eight gnod sbyin ma (also called rjwi"ipqf"ud{kp" mo) who are (1) Gnod sbyin ma Phug gnas ma, (2) Mi'i dpa' mo, (3) Gzhon nu ma 121 256 The Commemorative Stupas at Densathil attributes can also be an iron hook (right hand) and a treasure vessel (gter gyi dwo"rc, left). Furthermore, his complexion is white like a snowy mountain, and he wears a white dress.127 Examining some early Tibetan paintings one can gain an impression of how A pa ra tsi ta was possibly depicted on the bkra shis sgo mang"hqt"Tfq"tlg"ti{cn"rq"cpf"kp"vjg"Fgpucvjkn"uvwrcu0128 Based on those depictions, it seems that this deity was known in at least two forms, both of which apparently were quite popular. A pa ra tsi ta was drawn standing or sitting, with or without upper garment. One form found on those early paintings comes very close to the sketchy description of the dkar chag. In that case he sits wearing a white or red garment and holding a vessel in his hands in front of him.129"Rgtjcru"jg"okijv"dg"kfgpvk享gf"ykvj"vjg"C"rc"tc"vuk"vc"nkuvgf" in the dkar chag."yjgtg"jg"ku"uckf"vq"itcur"c"xguugn"享nngf"ykvj"lgygnu"*tkp"rq" ejg)k"dwo) with both hands. Pgzv"vq"C"rc"tc"vuk"vc"cpf"fktgevn{"dgukfg"vjg"唖yjktn娃"*)mj{kn) of the 唖tqwpfkuj"rqqn娃"*nfwo"tf¦kpiu) of the northern direction there was Lha mo 'Jig rten rnam par grags pa, (4) Mna' ma Gnod sbyin ma, (5) Yid du 'ong ma, (6) Lha mdzes ma, (7) Nam gru ma and (8) Mun nag chen po na gnas pa. Furthermore, the four sring mo belong to the followers of A pa ra tsi ta , i.e. (1) Rgyal ma, (2) Rnam rct"ti{cn"oc."*5+"Umtc"ecp"oc"cpf"*6+"Umtc"oc"vjct"d{gf"oc0"Cu"vjktvggpvj"享iwtg" Rtsi'i lha mo Grub pa'i blo gros ma is listed. 127 fg"Pgdgum{/Yqlmqykv¦"3;;5<":20 128 Kossak & Singer 1998: 80, no. 13. According to both authors, this might be the work of a pupil of Phag mo gru pa, and possibly Phag mo gru pa himself is depicted qp"vjku"vjcpimc0"Kp"o{"qrkpkqp."vjg"wpkfgpvk享gf"fgkv{"cv"vjg"tkijv"gpf"qh"vjg"nqygt" tgikuvgt"fgrkevu"C"rc"tc"vuk"vc0"Cpqvjgt"vjcpimc"qh"Cecnc"jcu"cp"wpkfgpvk享gf"fgkv{." which, most likely, also is A pa ra tsi ta. He is sitting, has both the attributes and a yjkvg"ictogpv."kdkf0"324."pq0"440"C"ukoknct"享iwtg."dwv"ykvjqwv"wrrgt"ictogpv."ecp"dg" seen on a Ratnasambhava thangka in the Pritzker collections (lower register, second from the left). Fortunately, the deities of the lower register have Tibetan inscriptions. Both authors read {cm焔c Dhanada, but I cannot agree to this. Based on the published picture only, the description should be read as A pa ra tsi ta, ibid. 104, no. 23. Lokesh 1987 gives the depiction of a standing A pa ra tsi ta with the well-known attributes, dwv"ykvjqwv"wrrgt"ictogpv."vqq."kdkf0"pq0":590"C"uvcpfkpi"享iwtg"ykvj"c"yjkvg"ictogpv." holding a vessel in both his hands, can be seen at the bottom of the thangka depicting the 2nd and 3rd Stag lung abbots, Rhie & Thurman 1999: no. 102. 129 Kp"cnn"ecugu."vjku"fgkv{"ku"pqv"kfgpvk享gf0"Kv"eqpegtpu"vjg"vjcpimc"qh"vjg"5tf"cddqv" qh"Uvci"nwpi."Ucpiu"ti{cu"[ctlÔpA"*Mquucm"("Ukpigt"3;;:<";6."pq0"3;+."c"vjcpimc"qh" Coqijcukffjk"*kdkf0"333."pq0"47+."cpf"c"vjcpimc"qh"vjg"Fcpekpi"Ic穎crcvk"*kdkf0"395." pq0"6;="jgtg"qp"vjg"nghv"ukfg"dgnqy"Xkterc+0" 257 Qnch"E¦clc Fig. 19: Dpal ldan Lha mo Dbu bcu bdun ma, Central Tibet, 15th century, gilt copper, H. 57.2 cm, W. 57.5 cm; Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C., purchase Friends of Asian Arts in honor of the 10th Anniversary of the Arthur M. Sackler Gallery, S1997.27. Dbu bcu bdun ma (Fig. 10, no. 22).130 Being an apparently rare form of Lha oq"uq"hct"pqv"kfgpvk享gf"keqpqitcrjkecnn{"qp"vjg"dcuku"qh"c"vgzvwcn"uqwteg."qpg" pgxgtvjgnguu"ecp"uvcvg"vjcv"vjku"享iwtg"ku"fqewogpvgf"kp"c"htciogpv"jgnf"d{"vjg" Smithsonian Freer Gallery of Art and Arthur M. Sackler Gallery, Washington *Hki0"3;+0"Jgt"pcog"唖Vjg"Qpg"ykvj"Ugxgpvggp"Jgcfu娃"*fdw"dew"dfwp"oc) refers Her full appellation in the dkar chag is Srungs ma chen mo Dpal ldan ma Dbu bcu bdun ma. 130 258 The Commemorative Stupas at Densathil to en miniature heads found on her main head.131 The dkar chag describes her as sitting on a mule, brandishing a sword with her right hand and grasping a mongoose with her left. Those features are common in the iconography of Frcn"nfcp"Njc"oq"Tgocv%"dwv."vq"vjg"dguv"qh"o{"mpqyngfig."c"hqto"cu"Njc" mo Dbu bcu bdun ma is unknown. Furthermore, according to the dkar chag written by Shes rab 'byung gnas, her retinue is made up by seventeen minor deities: the four dug)k"njc"oq sisters (dug)k"njc"oq"oejgf"d¦jk), the twelve dqf"mjcou"um{qpi"dc)k"dtvcp"oc and Klu mo Chu srin gdong.132"Vjg"唖Páikp% with a Makara-Face’ can be perceived easily to the lower left, in front of the owng0"Jqygxgt."vjg"tgockpkpi"okpqt"fgkvkgu"uvknn"cyckv"gzcev"kfgpvk享ecvkqp." because a textual source of that time and with a Bka' brgyud pa background still has to be traced. Moreover, it should be noted that the total number of vjg"ceeqorcp{kpi"享iwtgu"hqwpf"kp"vjg"htciogpv"ku"nctigt"vjcp"vjg"qpg"kp"vjg" dkar chag.133 The different vehicles made up by different kinds of animals further indicate that the twelve brtan ma form part of the retinue of this Dpal ldan Lha mo, but an accurate description could be reached only, after a textual source had been found.134 131 Thus four rows of four minor heads are sculptured. Together with her main face/ jgcf."vjku"ocmgu"c"vqvcn"qh"ugxgpvggp0"Hqt"c"fgrkevkqp"qh"vjqug"okpqt"jgcfu."ugg"E¦clc" 2006, 2007. 132 The group of four dug)k"njc"oq"ctg<"*3+"Tfq"tlg"{c"ud{kp."*4+"Tfq"tlg"dug"ud{kp." *5+"Tfq"tlg"ufg"ud{kp"cpf"*6+"Tfq"tlg"rj{ci"ud{kp0"Vjg"vygnxg"brtan ma guarding the Vkdgvcp"tgcno"ctg"pcogf"*3+"Tfq"tlg"i0{w"dwp"oc."*4+"Tfq"tlg"i0{c)"oc"um{qpi."*5+"Tfq" tlg"frcn"i{k"{wo."*6+"Tfq"tlg"dqf"mjcou"um{qpi."*7+"Tfq"tlg")mjqt")dwo"oc."*8+"Tfq" tlg"fd{ct"oq"ukn."*9+"Tfq"tlg"uk"ng"oc."*:+"Tfq"tlg"nc"tq"uocp."*;+"Tfq"tlg"{k"ig"tk."*32+" Tfq"tlg"iq"vk"ujc."*33+"Tfq"tlg"mwp"itciu"oc"cpf"*34+"Tfq"tlg"vkpi"pig")f¦kp"oc0 133 Because of this, as stressed above, one is well advised not to rely on the dkar chag qpn{"hqt"唖tgeqpuvtwevkpi娃"vjg"uewnrvwtcn"gpugodng"qh"vjg"uvwrcu"qh"Fgpucvjkn0 134 It also might be a promising undertaking to produce a comparative study of the twelve dtvcp1duvcp"oc, the four dug)k"njc"oq and their representation in order to enable a clear and highly probable statement about them. For example, de NebeskyYqlmqykv¦"*3;;5<"492h+"qhhgtu"vjg"hqnnqykpi"fguetkrvkqp<"Uc"dfci"ejgp"oq"Tfq"tlg" ya byin (colour of the body: dark blue; attributes: hook and magic dagger; vehicle: vwtswqkug/ftciqp+."Tfq"tlg"fg"d{kp"ejgp"oq"*{gnnqy="iqnfgp"upctg"cpf"c"rqtewrkpg=" fox-coloured makara+."Tfq"tlg"dug"d{kp"ejgp"oq"*fctm/tgf="ktqp"ejckp"cpf"ocike" fciigt="ngqrctf+"cpf"Tfq"tlg"rj{ci"d{kp"ejgp"oq"*fctm/itggp="dgnn"cpf"rjwt"dw; dnwg"ycvgt/jqtug+0"Qp"vjg"vygnxg"Dtvcp1Duvcp"oc."fg"Pgdgum{/Yqlmqykv¦"*3;;5+" cpf"Nqfgp"Ujgtcd"Fci{cd"*3;;3+"rtqxkfg"kphqtocvkqp."fg"Pgdgum{/Yqlmqykv¦"3;;5<" 3:3hh0.<"474hh0"Dgkpi"c"uwdlgev"qh"pgctn{"kpgzjcwuvkdng"xctkcvkqp"cpf"kocikpcvkqp."kv"ku" 259 Qnch"E¦clc Qrrqukvg"jgt."vjgtghqtg"vq"vjg"tkijv"qh"vjg"唖yjktn娃"*)mj{kn+"qh"vjg"唖tqwpfish pool’ (nfwo"tf¦kpiu) of the northern side, there was Dpal Mgon po Mchog sred, who in the dkar chag is addressed as Dam pa chos skyong ba'i srungs ma chen po (Fig. 10, no. 19). He is described as having one face and two hands. Ugxgp"fkhhgtgpv"mkpfu"qh"Ocjámánc"ctg"ceeqorcp{kpi"jko0135 So far I have not come across an iconographical text dealing with him and thus allowing for a more detailed knowledge about his iconography. To the right side of Mgon po Mchog sred, and again not visible in Mele’s photos, there is the great king of the mk泳pátc (ok")co"ek)k"ti{cn"rq" chen+"ecnngf"Nlqp"rq"*Hki0"32."pq0"42+0"Jg"ku"uckf"vq"jcxg"qpg"hceg"cpf"vyq" hands playing the many-stringed lute known as rk"ycpi. He is surrounded by seventeen deities.136"C"htciogpv"qh"vjku"xgt{"享iwtg"hqtvwpcvgn{"uwtxkxgf" and shows him playing his instrument (Fig. 20). Notably, the number of minor deities making up his retinue is eighteen. More art-historical research, including a comparative study of the relevant texts, is necessary for their exact kfgpvk享ecvkqp0"Vjg"itqwr"qh"vjg"享iwtgu"qp"vjg"pqtvjgtp"ukfg"ku"eqorngvgf"d{" the Klu'i rgyal chen po Nor rgyas (Fig. 10, no. 21). not surprising to notice that the minor deities of the fragment reveal some distinct features not found in the lists given by both authors. For example, some of the depicted minor deities of the fragment seize a small corpse, a feature that can be also observed for one accompanying deity of Dpal ldan Lha mo shown on a thangka, Rhie & Thurocp"3;;;<"pq0"39:0"Vjqug"eqtrugu"rtqdcdn{"u{odqnkug"vjg"唖uqwn娃"qt"唖nkhg/rtkpekrng娃"*bla), cu"kv"ecp"dg"hqwpf"qp"ogfkecn"vjcpimc."eh0"Og{gt."Fqtlg"("Rct享qpqxkvej"3;;4<"rn0"84." uppermost register. 135 These are (1) Mgon po Rta mangs, (2) Srin po rgyal po Lang ka mgrin bcu (3) Gsung gi ngo bo Rta mgrin gyi rgyud bskul sbo mgon, (4) Sras Legs ldan nag po, (5) Gur mgon, (6) Zhing skyong Mgon po Tra pa la and (7) Byin rlabs kyi mgon po. 136 This entourage consists of 'Khor sras mdzes pa, Btsun mo Mdangs ldan ma, Bu mo Yid 'phrog ma, 'Byung po'i Rgyal po Dge ba and the group of the thirteen mountain gods (tlg)k")iwt"njc"ejgp"rq), namely (1) Gnyan chen po thang lha, (2) Yar lha sham po, (3) Dwags la sgam po, (4) 'Od lde gung rgyal, (5) Gnyags lha byar ma, (6) Mchims lha than tsho, (7) Skyi lha sbyar ma, (8) Skyog chen ldong bra, (9) Rma chen pom/ sbom 'bra, (10) 'Byam/'Dzam po klu brag, (11) Lha btsun mu n/le, (12) Ming gi tha ma ra and (13) Brten pa gnyis. It seems that the last name confused the scribe, who ytqvg"vjcv"vjg"ockp"享iwtg"cpf"kvu"gpvqwtcig"cnvqigvjgt"ocmg"pkpgvggp."gxgp"vjqwij" the enumeration of the minor deities does not differ from the other version of the dkar chag, KCh II: 19. 260 The Commemorative Stupas at Densathil Fig. 20: Nlqp"rq."Egpvtcn"Vkdgv."37th century, gilt copper, H. 60 cm, W. 43 cm; Leiko Coyle Asian Art. This short overview of the deities on the ground level of the bkra shis sgo mang, based on the inventory prepared by Shes rab 'byung gnas and known fragments possibly related to Densathil, show that the attempt of 唖tgeqpuvtwevkpi娃"vjg"yjqng"qh"vjg"tgnkikqwu"uvtwevwtgu"qh"vjku"hqwpfcvkqp"eqwnf" be even more fruitful. 261 Qnch"E¦clc MEANING, CONTEXT AND PERSPECTIVES Few further aspects related to the bkra shis sgo mang stupa will be discussed in this paragraph. It will be argued that its erection was also politically deterokpgf."yjkej"ku"tg京gevgf"kp"vjg"keqpqitcrjke"rtqitcoog"cu"ygnn"cu"kp"vjg" structural layout. Beside being a commemorative structure, it constituted an integral part of the monastic life of the respective communities. Moreover, the characteristics of a stupa viewed as a mandala and as Mt. Meru also apply to the bkra shis sgo mang stupa. It was those views which sometimes were taken up and re-formulated, as can be seen in the poems by Tsong kha pa and, later, Bsod nams rgya mtsho. Since, by referring to those literary examples presented in some detail in the following, a discussion of the meaning and context of the bkra shis sgo mang undoubtedly is not exhausted, a few considerations have to be added at the end, which shall be addressed by future research. When 'Jig rten mgon po received the outline and the iconographic programme of the bkra shis sgo mang for Phag mo gru pa in a vision, he probably also had in mind how it should be realised. In my opinion, it was not a coincidence that the bkra shis sgo mang was executed at 'Bri gung, and not at Densathil. Surely, it could be that 'Jig rten mgon po had initially planned that this structure should be transferred to the seat of his teacher, but that seems unlikely, because its transport would not be an easy task. More ukipk享ecpvn{."cnn"jku"rqnkvkecn"rncpu"cpf"cevkqpu"uvtqpin{"uwiiguv"vjcv"jg"ycu" determined to establish himself as the true and one heir of the Bka' brgyud pa school. The transfer of the stupa (the dmtc"ujku")qf")dct) went hand in hand ykvj"vjg"vcmkpi"qh"ocp{"qvjgt"tgnkikqwu"qdlgevu."hqtgoquv"coqpi"vjgo"xgt{" precious books, to Sgam po monastery. While that part of the plan seems to have been accomplished easily, he must have been surprised by the strong reactions caused by it. We do not know exactly what happened, but are informed about the outcome, namely the return of the dmtc"ujku")qf")dct of Phag mo gru pa to Densathil, where it remained throughout the following centuries, and for which a bkra shis sgo mang never was built. Probably, a compromise was reached, since a very close attendant of 'Jig rten mgon po’s was selected vq"dgeqog"vjg"pgy"cddqv"*cpf"cevwcnn{"vjg"享tuv"rtqrgt"qpg"chvgt"Rjci"oq"itw" pa) of Densathil. That was Grags pa 'byung gnas (1175–1256), who belonged to the Rlangs clan as Phag mo gru pa did. Thus Densathil became, in a way, 262 The Commemorative Stupas at Densathil a dependency of 'Bri gung. It was only much later that, in a gradual process, it gained its independency. After the dmtc"ujku")qf")dct of Phag mo gru pa was returned, a new stupa was erected for the bkra shis sgo mang structure as a replacement. The inventory of the relics and substances placed in it during the consecration concerns this very stupa and its bkra shis sgo mang. The iconographic programme written down by Shes rab 'byung gnas places, on the uppermost tier surrounding the stupa, several personalities who were important for the Bka' brgyud pa movement and especially for 'Jig rten mgon po. This is also tg京gevgf"d{"vjg"kppgt"uvtwevwtg0"Pqvcdn{."tgnkeu"qh"bla ma were prominently put in the spires or wheel and even in the pinnacle, thus in the uppermost part of the reliquary. 'Jig rten mgon po evidently did not share the doubts of others on depositing relics of teachers at this very place, as echoed, for example, in Sa skya pa Grags pa rgyal mtshan’s treatise.137 Furthermore, reviewing which tgnkeu"ygtg"ejqugp."qpg"享pfu"c"fkuvkpevkxg"xgtvkecn"唖vtcpuokuukqp"nkpg娃"qh"urktitual authority and legitimacy, which inlcudes Mar pa, Sgam po pa, Mi la ras rc."Rjci"oq"itw"rc"cpf."享pcnn{.")Lki"tvgp"oiqp"rq0138 It is indeed remarkable that items of the latter were included.139 They partly form the base, or seen Jg"ytkvgu<"愛Gxgp"vjqwij"]uqog̲"uc{"vjcv"tgnkeu"qh"ncocu"cdkfg"kp"vjg"jctokmá, I consider that it accords with the dharma if they abide as high as possible, since [the lamas] are the essence of all Buddhas. If there are [also] relics of the Tathagata, combine the [relics of the lamas] together with [the relics of the Tathagata] without [an distinction of] superior and inferior, adorn with grain, incense, and precious substances and insert to abide.” Bentor 1995: 256. In my opinion, the advice that no distinction should be made is to be understood in the sense that these can be put together, but still the actual process of insertion of those items sticks to the order of rank. 138 Oqtgqxgt."kv"ku"kpvgtguvkpi"vq"pqvg"vjg"korqtvcpv"tgnkeu"qh"CvkUc0"Qdxkqwun{."vjg"Dmc)" gdams pa tradition was held in high esteem among the Bka' brgyud pa of that time. 139 Here the view is assumed that 'Jig rten mgon po still was alive when the bkra shis sgo mang was consecrated. Both the dkar chag of Shes rab 'byung gnas are undated. In their beginnings, when all the events regarding the bkra shis sgo mang are retold, he mentions a ceremony of partaking for the dmtc"ujku")qf")dct of Phag mo gru pa, which was presided over by 'Jig rten mgon po. It is therefore obvious that he was alive at that time. Probably, shortly afterwards the erection of the replacement stupa must have taken place. Moreover, it should be noted that the inserted religious items do not include relics (ring bsrel) or bones (ifwpi) of 'Jig rten mgon po (one may note that ring bsrel can be also produced by the living persons too, and not only by the dead (see Martin 1994: 285). In fact, the inserted things belonging to him were a drinking bowl, a plate, a hat, a part of a garment, writings and statues, which were 137 263 Qnch"E¦clc from the opposite direction, the end, thus demonstrating that 'Jig rten mgon po was the true successor. Taking into consideration his worldly activities too, it becomes clear that the bkra shis sgo mang stupa not only represents an iconographic programme enhanced by an interior sacred ordering, but also a political one. Indeed, one might even argue that, in this particlar context, ctv"tg京gevgf"rqnkvkeu"kp"c"tkvwcn."urcekcn"uvtwevwtg0"Kv"ycu"vjg"xgt{"ucog"nkpg" of spiritual authority and legitimacy which, as a visionary politician, 'Jig rten mgon po undoubtedly meant represent also in political terms. Apart from Densathil, the seat of Phag mo gru pa, he managed to get hold of Sgam po, the seat of Sgam po pa.140 In later times, Shes rab 'byung gnas became abbot of Gro bo lung, the famous seat of Mar pa Chos kyi blo gros.141 in his possession. It can be inferred from this that he had not yet passed away at the time of the consecration. It seems certain to me that, in case of his death, more relics kpenwfkpi"dnqqf."pcknu."jckt"cpf."ukipk享ecpvn{"jgtg."dqpg"tgnkeu"yqwnf"jcxg"dggp"rctv" of the listed items. 140 In about 1192 'Jig rten mgon po, together with numerous disciples, went to Ngam shod and engaged in renovation work at Bsam yas. Afterwards he proceeded to Sgam po. There he was welcomed by the Dwags po )fwn")f¦kp (1134–1218), who not only asked for religious teachings, but is said to have offered the see of Sgam po to this 'Bri gung pa hierarch. Probably, at about that time, plans of building a large new temple at Sgam po were taking shape. A council made the decision to erect a temple with sixteen columns, but the Dwags po )fwn")f¦kp"favoured an even more impressive structure made of forty columns. For this he received considerable funds provided by 'Jig rten mgon po, who had returned to 'Bri gung. Within the short time of three years, the new temple was completed. It is thus evident that 'Jig rten mgon po dedicated himself to the support of the Sgam po monastery in order to increase the 'Bri gung rc"kp京wgpeg0"Vjku"ku"cnuq"tg京gevgf"kp"vjg"ujqtv"dkqitcrjkecn"pqvg"qh"vjg"Fyciu"rq")fwn" )f¦kp given in the Njq"tqpi"ejqu")d{wpi, HRChB [425/9]. There it is stated that the Dwags po )fwn")f¦kp bowed down before 'Jig rten mgon po and even gave the see into his hands. This is the reason, the author of the Njq"tqpi"ejqu")d{wpi remarks, why until today the see of Sgam po has to be appointed by the 'Bri gung pa. Later, not far from Sgam po, in the area of Zangs lung, 'Jig rten mgon po meditated for three months. From the peak of Sgam po gar, he clearly saw the holy site (gnas) of Tsa ri and had a vision of an assembly of countless deities of the secret mantra (gsang sngags kyi lha tshogs): he saw the palace (rjq"dtcpi) of Bde mchog on top of the G.yu mtsho and, on the crystal mountain (shel gyi ri), an arrangement of 2.800 deities in form of a sgo mang. This vision was the starting point for the bkra shis sgo mang qh"Rjci"oq"itw"rc"Tfq"tlg"ti{cn"rq0" 141 Shes rab 'byung gnas (1187–1241), who was also known as the ur{cp"upic 'Bri gung 264 The Commemorative Stupas at Densathil gling pa, was one of the main pupils of 'Jig rten mgon po (Roerich 1988: 604ff., KhPGT [828/19], BGDR [99/5], HRChB [421/19]) and especially his biography entitled Ur{cp" upic"uitc")dtk"iwpi"inkpi"rc)k"tpco"vjct"up{cp"rc)k")dtwi"written by Rin chen phun tshogs (1509–1557), NyPBG I, NyPBG II. He was expected to follow his teacher on the throne of 'Bri gung, but Shes rab 'byung gnas did not accept this offer, because his main interest was meditation, it is said. Shes rab 'byung gnas was born in Sga stod in Khams and belonged, like 'Jig rten mgon po (1143–1217), to the Skyu ra clan. In fact, he was the son of a sister of 'Jig rten mgon po (snag dbon). He was of exceptional intelligence and well-liked by 'Jig rten mgon po. When in 1217 'Jig rten mgon po passed away, the funeral ceremony and all rituals as well as the commission of art works as commemoration service was done under his supervision. Afterwards he stayed for one year at Gnam mtsho lake, a meditation place, which was favoured by many 'Bri gung personalities throughout centuries. Then he fgekfgf"vq"rtqeggf"vq"Ov0"Mckncuj."*hqt"c"hwnn"fkuewuukqp"qh"vjg")Dtk"iwpi"kp京wgpeg"cv" this famous locality, with valuable details on the role of Shes rab 'byung gnas, especially with regard to the Ya rtse/Khasa kingdom, cf. Vitali 1996). Therefore in 1219, vcmkpi"vjg"pqtvjgtp"tqwvg."jg"ugv"qhh0"Fwtkpi"jku"lqwtpg{."jg"ecog"kpvq"eqpvcev"ykvj" important local noblemen. When he together with his servants stayed at Spu rangs, he met members of the ruling house of Ya rtse/Khasa, who later became his patrons. Vjku"eqppgevkqp"dgecog"xgt{"ukipk享ecpv"hqt"Fgpucvjkn"cnuq0"Ncvgt"jg"vtcxgnngf"vq"Ict" log, which, according to Vitali (1996: 348), in this context refers to territory settled by Muslims at the border to Guge, to meet high secular dignitaries of the Gar log and of the Sog po. According to his biographies, he received huge offerings from them. He spent the next seven years in the region around Mt. Kailash, mainly in meditation. In 1225, he returned to 'Bri gung. However, he only spent the summer there and uqqp."kp"cwvwop"qh"vjcv"{gct."jg"ugv"qhh"vq"Njq"dtci0"Fwtkpi"jku"lqwtpg{"jg"uvqrrgf" cv"Duco"{cu."yjgtg"jg"ogv"Uc"um{c"Rc穎鰯kvc"Mwp"fic)"ti{cn"ovujcp"*33:4ь3473+0"Kv"ku" well-known that this Sa skya scholar disagreed in several doctrinal points with the 'Bri gung pa. Beside this, certainly a kind of tension regarding the sanctuary of Bsam yas also existed; both sides were watching each other regarding this important religious site. Then, in 1226, Shes rab 'byung gnas arrived at Mkhar chu. At that time, he sent numerous presents to his home monastery of 'Bri gung including 335 religious books cpf"uwej"jkijn{"xgpgtcvgf"qdlgevu"nkmg"vjg"rgtuqpcn"dgnn"qh"Pctqrc"*3234ь3322+0"Qpg" might note that this is a feature, which can be observed for several pupils of 'Jig rten mgon po. It was one of the reasons why 'Bri gung later was counted among the wealthiest monasteries in Central Tibet. After he spent the winter and the next summer in Mkhar chu, he accepted an invitation to come to Gro bo lung, which is also in Lho brag and a famous seat of Mar pa Chos kyi blo gros (1002/1012–1097). This prestigious monastery was offered to him, and this time he accepted the gift. In the time following, he stayed in the region of Lho brag, engaged in writing commentaries on the famous dgongs gcig doctrine of 'Jig rten mgon po. Even though he constantly received invitations, he could not accept all of them. He was in close contact with 'Bri gung, whose representatives 265 Qnch"E¦clc This political dimension remains an important aspect in the interpretation of the monuments analysed in this paper. Another intention was, as Shes rab 'byung gnas puts it, to create an auspicious base (tvgp")dtgn) so that meritorious behaviour (dge sbyor) would rise in the mind continuum (ti{wf" la skye) by praying to the sgo mang, powerful ritual actions (ftci"rq)k"ncu) yqwnf"dg"ceeqornkujgf"d{"rtc{kpi"vq"vjg"rtqvgevqtu"qh"vjg"唖tqwpfgf"rqpf娃" (nfwo"tf¦kpiu+"iwctfkpi"vjg"tgnkikqp"cpf."享pcnn{."vjg"mnw"would cause rain, mj{cd")lwi would cause hail and the wealth deities are giving wealth.142 Thus, it was also considered as a means to bring a new quality to the spiritual and material life of the monastery. The bkra shis sgo mang"uvwrc"ycu"pqv"lwuv"eqpukfgtgf"c"eqoogoqrative stupa. Indeed, a look at the ground plan of the bkra shis sgo mang suggests that it was the combination or synthesis of a stupa with a bkra shis sgo mang structure not only as a bkra shis sgo mang stupa, but even as a mandala (Fig. 4). One can recognise the circles of rdo rje and lotuses, while one may imagine the circle of light ()qf"umqt) which usually forms the outer circle.143 In the middle of these circles lies the divine palace (xkocpc, i¦jcn" yas khang), erected on a xcltc cross (xkUxcxcltc, rdo rje rgya gram), which is also architecturally and ritually implemented, as shown above. The gates of the divine palace are in the centre of each cardinal direction corresponding to the middle section of each tier of the bkra shis sgo mang structure, cu"gorjcuk¦gf"d{"vjg"享iwtcn"qwvnkpg0"Vjg"fkhhgtgpv"vkgtu"qt"uvgru"uggp"htqo" above represent stages of a path (sa lam), which concurs with the successive teachings sculpturally as represented by images and symbols. The highest level and the centre of this mandalic layout is occupied by the stupa of Phag mo gru pa. One can assume that it symbolises the highest spiritual attainment. An examination of some thangkas, which seem to be related to the design visited him. At one occasion he went for a short while to 'Bri gung, making a short stop at Densathil. In the last years of his life, he even became abbot of the Sgam po monastery. He continued to give substantial gifts to his home monastery, while at the same time he received valuable presents from his patrons, such as the ruler of the Ya rtse/Khasa kingdom. 142 KCh-A [78/1], KCh-B [349/4]. 143 As suggested by Erberto Lo Bue, perhaps this imagined circle of light corresponds vq"vjg"京cogu"kp"vjg"fkvej."gockn"eqoowpkecvkqp."3302:042290" 266 The Commemorative Stupas at Densathil of the bkra shis sgo mang, supports this hypothesis.144 The centre of those paintings is occupied by a monk sitting under a rainbow, thus arguably having cvvckpgf"hwnn"gpnkijvgpogpv."qt"Ecmtcuc泳xctc."vjg"jkijguv"guqvgtke"fgkv{"qh" the Bka' brgyud pa tradition. Moreover, some elements of the iconographic programme and design of the bkra shis sgo mang seem to have been taken up also in those thangkas. Additionally, one might also refer to the inner structure inserted during the consecration ceremony. As told there, the centre of the sandalwood base was decorated with a double xcltc, a feature also to be observed on the thangkas. Cu"ku"ygnn/mpqyp."c"uvwrc"享pcnn{"oc{"cnuq"tgrtgugpv"vjg"equoke"oqwptain Mt. Meru. This notion also concerns the bkra shis sgo mang of Densathil. Mt. Meru, the supreme mountain (ri rab+."yjkej"oc{"dg"cnuq"ecnngf"vjg"唖Dwnm{" Qpg娃"qt"唖Ocuu娃"*njwp"rq), was the model which Tsong kha pa had in mind when he wrote his biographical praise (rtogs brjod) of the vujg"d¦jk"iuct"oc" ba Grags pa byang chub (1356–1386), the late Densathil abbot, who occupied the abbot’s throne from 1371 to 1386. Tsong kha pa’s work bearing the title 唖Vjg"Ocuu"qh"Dnguukpi"Rqgvt{娃"*Up{cp"fpiciu"d{kp"tncdu"m{k"njwp"rq), is a sophisticated composition which skilfully alludes in some of its metaphors to the bkra shis sgo mang built for his beloved and deeply venerated teacher, whose erection is explicitly mentioned at the end of the poem. Accordingly, he calls the four paragraphs or chapters of his work, which he wrote at Densathil, tiers (bang rim). The metaphor of Mt. Meru used by him for the body of Grags pa byang chub reads in his words as follows: A body of beauty like a pile of molten gold, hands tender like twigs (and) leaves of sandalwood, c"hceg"itqykpi"nkmg"vjg"oqqp"qh"vjg"享hvggpvj"*fc{+ among many sentient beings (he is) tall like Mt. Meru145 … And he notes on the accomplishments of his teacher: Cu"vjg"jgcxgpn{"ictogpv"ku"享nngf"wr"ykvj"nkijvpkpiu. *jku+"dgjcxkqwt."qwvukfg."ycu"dgcwvk享gf"d{"nkdgtcvkqp0" As Mt. Meru is bound by the belts of sun (and) moon, Ugg"E¦clc"4229"hqt"uqog"fgvcknu0"Hqt"uqog"vjcpimcu"ugg"hqt"kpuvcpeg"Mquucm"(" Ukpigt"3;;:<"rnu"44."52="Mnkodwti/Ucnvgt"4226<"享iu"3."4="Rcn"4225<"享i0"3540 145 iugt"d¦jwp"dtvugiu"rc"lk"d¦jkp"of¦gu"rc)k"umw"˜"vucp"fcp"{cn")fcd"nvc"dwt"op{gp" rc)k"rj{ci"˜"deq"npic)k"¦nc"dc"d¦jkp"fw"ti{cu"rc)k"¦jcn"˜")itq"ocpi"fdwu"pc"njwp"rq" nvc"dwt"ovjq … TJ [150/8]. 144 267 Qnch"E¦clc Fig. 21: View of a bkra shis sgo mang stupa from cdqxg="ftcykpi"d{"Qnch"E¦clc"*pqv"vq"uecng+0 (his) mind, inside, was orderly arranged by both stages.146 Having given a detailed account of the funeral of the late abbot at the end of his composition, he does not fail to praise the bkra shis sgo mang: Being surrounded by statues (which are) beautiful in all ways qp"cnn"vkgtu"qh"vjg"ukfgu"享nnkpi"cnn"fktgevkqpu." which are of sparkling lustre of a clear brilliance, these dmtc"ujku")qf")dct (and) bkra shis sgo mang 146 omjc)"iqu"inqi"ik"rjtgpi"dcu"ivcou"rc"nvct"˜"rj{k"{k"mwp"ur{qf"uq"uqt"vjct"rcu" of¦gu"˜"njwp"rq"p{k"¦nc)k"umg"tciu"dekpiu"rc"d¦jkp"˜"pcpi"ik"vjwiu"pk"tko"ip{ku"¦cd" mos bstar … TJ [164/21]. 268 The Commemorative Stupas at Densathil are, in their breath-taking sight, like the jina"*k0g0"Tám{cowpk+." are, in their moving (of) big waves (of) blessing, like the ocean, are, in their natural brilliance, like the lord of mountains (i.e. Mt. Meru), as if the doers were piling up one beauty on another, like stirring up the bees by a lotus grove and the hares by white light and the mind by a beautiful appearance, these grasp the sentient beings’ hearts.147 Vjwu."唖vcnn"cu"Ov0"Ogtw娃."vjg"bkra shis sgo mang, alias Grags pa byang chub, towers above those monks and pilgrims, who still migrate in this samsaric world, when doing circumambulation around this stupa or while doing their daily business. The waves of blessing, however, can be found brilliantly cpf"cvvtcevkxgn{"kp"vjqug"唖ocp{"icvgu"qh"cwurkekqwupguu娃"qt."cv"cp"guqvgtke"ngxgn." in the mandala, which it represents as a basic layout, to be ultimately equated to the Buddha’ body. In this network of meanings, the stupa serves as a kind qh"rkxqvcn"rqkpv0"Cu"c"唖uwrrqtv"qh"qhhgtkpiu娃"*mchod rten+"kv"ku."lwuv"nkmg"vjg" bkra shis sgo mang."htgswgpvn{"cfftguugf"cu"唖qhhgtkpi"vtwpm娃"qt"唖qhhgtkpi"vtgg娃" (mchod sdong), a term which is often encountered in its ritual meaning, but also as a metaphor for praise extolled for a monk, as may be found in biographies of Bka' brgyud pa personalities, for example. Given its dogmatic, liturgical, poetical, literary and political connotations, it seems that a bkra shis sgo mang should be viewed in such context. Tsong kha pa, who composed a bkra shis sgo mang in verses, may be regarded as being fully aware of the nature of his original and, at the same vkog."ugnh/eqp享fgpv"qhhgtkpi"vq"vjg"hwpgtcn"qh"c"vgcejgt"yjq"dgnqpigf"vq"vjg" mighty Rlangs Phag mo gru pa clan. When he outlines the childhood of Grags pa byang chub, he does not fail to give a short genealogical account of the family background of his clan. As is well-known, in the time to follow, the i¦k"dtlkf"tcd"iucn"i¦k")qf")mj{wi"rc"{k"˜"rj{qiu"mwp")igpiu"rc)k"rj{qiu"m{k"dcpi" tko"mwp"˜"mwp"pcu"of¦gu"umw"mwp"i{ku"dumqt"dc"{k"˜"dmtc"ujku")qf")dct"dmtc"ujku" uiq"ocpiu")fk"˜"ovjqpi"dc)k"{kf"tcd")rjtqi"nc"ti{cn"dc"d¦jkp"˜"d{kp"tncdu"tncdu"ejgp" i0{q"nc"ti{c"ovujq"d¦jkp"˜"njwp"itwd"frcn"i{ku"dtlkf"nc"tk"fdcpi"d¦jkp"˜"d{gf"rqu" of¦gu"of¦gu"ieki"vw"ditkiu"rc"d¦jkp"˜"rcf"vujcn"i{ku"dwpi"dc"fcpi"˜")qf"fmct"i{ku" tk"dqpi"fcpi"˜"uokp"ngiu"i¦wiu"nc"{kf"utwdu"d¦jkp"˜")fku"pk")itq"dc)k"{kf"tpcou")f¦kp … TJ [183/18]. 147 269 Qnch"E¦clc Rlangs Phag mo gru pa and some of the governor families which depended upon them became strong supporters of the new spiritual movement initiated by Tsong kha pa.148 The Dge lugs pa religious order which developed out of it was still interested in the continuation and strengthening of its ties with the Rlangs Phag mo gru pa. During the 16th"egpvwt{."kv"uweeguuhwnn{"ickpgf"itgcvgt"kp京wence on the Phag mo gru pa court at Sne'u gdong rtse. Some aspects of this process shall be introduced here in some detail, because it demonstrates impressively how close art and politics have always been, shedding some light on the bkra shi sgo mang from another angle. The 3rd Dalai lama Bsod nams rgya mtsho (1543–1588), strongly supported by his ambitious uncle, Kun bzang rtse pa Chos kyi dbang phyug, an korqtvcpv"qh享ekcn"cv"vjg"Rjci"oq"itw"rc"eqwtv."dgecog"vjg"Korgtkcn"Rtgegrvqt" (ti shri) of the Phag mo gru pa ruler, the gong ma sde srid Ngag dbang bkra shis grags pa rgyal mtshan (1488–1563/64).149 On the 10th of the 1st month in 1559, Bsod nams rgya mtsho and his 'Bras spungs councillors visited the sde srid at the monastery of Rtsed thang and the administrative seat of Sne'u gdong rtse. Then they went back to 'Bras spungs, but soon returned and were welcomed by his uncle Kun bzang rtse pa. On that occasion, the sde srid Ngag dbang bkra shis rgyal mtshan presented his ti shri with the private quarters known as Ye/Yid bzang rtse, which indeed were highly prestigious. The famous 'Gos Gzhon nu dpal (1392–1481) stayed there during the rule of Grags pa rgyal mtshan (which accounts for one of his epithets Yid bzang rtse pa). Most likely, this present was given on the suggestion of his uncle, who attended him at that time.150 Hqt"vjku"tgncvkqpujkr."ugg"E¦clc"42280 Naturally at that time Bsod nams rgya mtsho was not the third Dalai lama, a designation which only much later was retrospectively applied upon him. During his nkhg/vkog."jg"ycu"lwuv"ecnngf"vjg")Dtcu"urwpiu"kpectpcvkqp"*urtwn"umw), as it can be seen in Bka' brgyud pa sources. For a detailed discussion of those events and references, ugg"E¦clc"42280 150 Moreover, his uncle told him that, one night, before the arrival of Bsod nams rgya mtsho, he had an auspicious dream (which once more underlined the claim of the 'Bras spungs party to be in full harmony with the Phag mo gru pa rule and to secure their welfare and in a wider sense their hope of partaking in the legitimisation of power). Kun bzang rtse pa Chos kyi dbang phyug told him that, in this dream, he came to Ye bzang rtse. There was a statue of Spyan ras gzigs, to its right side was a statue of 148 149 270 The Commemorative Stupas at Densathil Afterwards the 3rd"Fcnck"ncoc"dtkg京{"xkukvgf"Ejqu")mjqt"ti{cn."dghqtg" he again returned to Rtsed thang for the New Year celebrations of 1560. Bsod pcou"ti{c"ovujq"urgpv"vjg"享tuv"jcnh"qh"vjku"{gct"cv"Tvugf"vjcpi."dghqtg"jg" travelled to Chos 'khor rgyal in summer. There he had a vision of a Mkha' )itq"oc."yjq"cfxkugf"vq"jko"vq"ocmg"cwurkekqwu"qdlgevu"*tvgp")dtgn), which would guarantee that the power of the sde srid and his grandsons would not be transferred to others. Apparently, the 'Bras spungs authorities were very concerned about the stability of the Phag mo gru pa rule. In particular, they naturally feared that the Karma Bka' brgyud and, to a lesser degree, the 'Brug rc"Dmc)"dti{wf"okijv"kpetgcug"vjgkt"kp京wgpeg0"Cffkvkqpcnn{."c"ugeqpf"eqwr" d’état to oust the reigning sde srid was still possible, and nothing could guarantee that the Rin spungs pa, for example, would not articulate their power more clearly.151 It is obvious that the leaders of 'Bras spungs were interested kp"igvvkpi"c"享to"itkr"qp"vjg"urjgtg"qh"tgnkikqwu"rqygt"yjkej"qvjgtykug"ycu" naturally exerted by the various Bka' brgyud pa orders and closely with the Phag mo gru pa rule. The thangka with the prominently presiding eleven-headed Spyan ras gzigs/Bsod nams rgya mtsho has already been mentioned. The attempt to introduce the 'Bras spungs incarnate in the form of Spyan ras gzigs in rituals which should secure the welfare of the Phag mo gru pa rule was now undertaken again, but in a completely different mode. Mgon po Tshe dpag med and (to its left) a statue of Padmasambhava and three more kocigu."yjkej"jg"eqwnf"pqv"kfgpvkh{0"Kp"htqpv"qh"vjgo"ycu"c"ocipk享egpv"qhhgtkpi"qh" various substances. It indeed is a great wonder that, although those supports (rten) fkf"pqv"gzkuv"dgecwug"qh"vjg"享ijvkpi"*ufg"i¦ct), the glory of the"frqp"uc"ufg"utkf"was not exhausted. Now, however, these supports do exist. Then, after the uncle had this dream, Bsod nams rgya mtsho arrived, Kun bzang rtse pa continued. The eleven-headed Spyan ras gzigs is none other than Bsod nams rgya mtsho, he declared. That on his right side was a statue of Tshe dpag med, indeed is in agreement with a biography (rnam thar) of Padmasambhava, where exactly this sitting postures and composition are mentioned. There can be no doubt that Bsod nams rgya mtsho is Spyan ras gzigs. Later Kun bzang rtse pa Chos kyi dbang phyug commissioned one thangka depicting this very composition. The dream of the uncle of Bsod nams rgya mtsho clearly shows that fractions of the Phag mo gru pa court, especially around Kun bzang rtse pa Chos kyi dbang phyug, were willing to throw in their lot with the Dge lugs pa and, more particularly, with Bsod nams rgya mtsho’s party. 151 Qp"vjku"eqwr"f娃Çvcv."ugg"E¦clc"42280" 271 Qnch"E¦clc Pqy."kv"ycu"fgekfgf"vjcv"vjqug"cwurkekqwu"qdlgevu"*tvgp")dtgn), which were to strengthen the power of the Phag mo gru pa ruling house and which were to be arranged by Bsod nams rgya mtsho, should be offerings and praise (mchod bstod+"vq"kocigu"qh"Rjci"oq"itw"rc"Tfq"tlg"ti{cn"rq0"Vjgtg"gzkuvgf" c"hcoqwu"itqwr"qh"ugxgp"dnguugf"uvcvwgu"qh"Rjci"oq"itw"rc"Tfq"tlg"ti{cn"rq" which was considered suitable (and indeed was to its high religious value) and which the 'Bras spungs party gradually brought into their possession.152 Bsod nams rgya mtsho commissioned garments, hats and cushions for them and made offerings in front of them. In this connection, a short composition by Bsod nams rgya mtsho in praise of Phag mo gru pa is of particular interest. Kv"ku"gpvkvngf"唖Vjg"Ocuu"qh"Dnguukpi娃"qt."kp"hwnn<"Rjci"oq"itw"rc"tfq"tlg"ti{cn" rq)k"duvqf"rc"d{kp"tncdu"m{k"njwp"rq. It is obvious that the author borrowed the title from the work of Tsong kha pa, who also wrote a eulogy (duvqf"rc) on Grags pa byang chub beside his other work.153 Here again one encounters the metaphor of Mt. Meru for the person who is praised: I bow down to that glorious lord of masses fully surrounded by the assemblies of the four continents (of) pupils, jcxkpi"享to"vkgtu"qh"mpqyngfig"cpf"ykufqo. in the middle of the ocean, the lord of the páic, (of) the wise and accomplished ones (who) follow religion.154 Vjg"享tuv"qh"vjgo."vjg{"qdvckpgf"htqo"vjg"ufg"rc"tf¦qpi"frqp of 'Ol kha rtse. The tgockpkpi."yjkej"eqpukuvgf"qh"享xg"uvcvwgu"mpqyp"cu"umw")ftc"tkp"rq"ejg itxc"uc"oc" and d{k"¦c"oc, later came in his possession. Then the"ufg"rc"of Ke ru presented him another statue called umw")ftc tkp"rq"ejg ur{kn"dfwp"oc (which was part of a pair; its counterpart is not named). Therefore, Bsod nams rgya mtsho now had seven images kp"vqvcn"qh"Rjci"oq"itw"rc"Tfq"tlg"ti{cn"rq0 153 Moreover, both are biographies in words of praise. Tsong kha pa’s composition is, however, much more skilfully employing a poetical language. Furthermore, it is noteworthy to mention that, in this eulogy, some teachers of Phag oq"itw"rc"Tfq"tlg"ti{cn"rq"ctg"ukpingf"qwv"cpf."pqvcdn{"vjqug"ykvj"c"uwrrqugfn{" strong Bka' gdams pa background are highlighted. This probably was the view of the 'Bras spungs teachers and, hence, of Bsod nams rgya mtsho, namely to attach great korqtvcpeg"vq"vjg"Dmc)"ifcou"rc"kp京wgpeg"qp"vjku"rgtuqp"kp"qtfgt"vq"dqnuvgt"vjgkt"qyp" position in the religious self-understanding of the Phag mo gru pa ruling house. 154 duvcp")f¦kp"omjcu"itwd"mnw"fdcpi"ti{c"ovujq)k"fdwu"˜"opiqp"rct"tvqiu"rc)k"dcpi" tko"ovjqp"rq"ecp"˜"ifwn"d{c"inkpi"d¦jk)k"vujqiu"m{ku"{qpiu"dumqt"dc)k"˜"frcn"nfcp"njwp" rq)k"fdcpi"rq"fg"nc")fwf … PhMGP-TP [64/3]. 152 272 The Commemorative Stupas at Densathil Reviewing these events, beginning with 'Jig rten mgon po and ending with Bsod nams rgya mtsho, it might be stated that the bkra shis sgo mang conception is found in a variety of formulations, apparently sharing the fact vjcv"vjg{"ctg"tgncvgf"vq"vjg"eqorngz"u{odqnkuo"qh"vjg"uvwrc0"Dgkpi"pqv"lwuv" an artistic, but above all a religious expression deeply rooted in the dharma, it was also employed to articulate political plans and aspirations. Such kind of connotations contributed to the very perception of those commemorative stupas. They all, 'Jig rten mgon po, Tsong kha pa and Bsod nams rgya mtsho, participated in and contributed to the symbolic presence of a highly venerated bla ma0"Vjg"kortguukxg"唖ocp{"icvgu"qh"cwurkekqwupguu"*bkra shis sgo mang) stupas’ were part of the religious identity of the Rlangs Phag mo gru pa, which was indispensable for their self-understanding. They provided a focal point of authority which materialised in the commemorative stupas with their iconographic programmes showing that the late abbots of Densathil were in every respect the true successors of Phag mo gru pa. Moreover, they were considered sometimes as being suitable and auspicious doors to enter the politico-religious sphere of the Rlangs Lha gzigs Phag mo gru pa ruling house kp"vjg"jqrg"qh"kp京wgpekpi"kv"kp"qpg娃u"qyp"hcxqwt0"Uwej"唖vtcpuokuukqp"nkpgu"qh" inspiration’ show that the bkra shis sgo mang became an integral part of the Tibetan world (in religion, politics and art) and never were mere repositories of the remains of high bla ma. Naturally, the discussion above does not exhaust the symbolic meaning of the bkra shis sgo mang stupas and their artistic formulation. There are numerous other issues to be addressed in future. In my opinion, more research, which has to be based on the dkar chag, Mele’s photos and the fragments, should deal at least the following points: - further aspects of the general layout,155 /"keqpqitcrjke"kfgpvk享ecvkqp"dcugf"qp"vgzvu"cpf"htciogpvu.156 and For example, it has to be discussed in as far the vertical structure is also arranged following the different Tantra classes (and which changes it possibly underwent throughout the centuries). Undoubtedly, such a scheme was probably employed, but jqy"kv"ycu"dcugf"qp"vjg"rctvkewnct"Dmc)"dti{wf"rc"encuuk享ecvkqp"qh"Vcpvtc"vgcejkpiu" is currently unknown. 156 The attempt of tracing textual sources of iconography has to be made in order to crrtqcej"vq"vjg"qtkikpcn"nc{qwv"qh"vjg"享iwtgu"cpf"vjgkt"keqpqitcrjke"crrgctcpeg"cu" near as possible and to avoid superimposing an iconographic design of a later date. At 155 273 Qnch"E¦clc - a stylistic analysis.157 Kv"ku"engct"vjcv"vjg"cvvgorv"vq"唖tgeqpuvtwev娃"vjg"bkra shis sgo mang stupas of Densathil will add much to our knowledge on Tibetan art, as long cu"kv"ku"dcugf"pqv"lwuv"qp"eqorctcvkxg"uv{nkuvke"cpcn{uku."dwv"cnuq"qp"cp"kpvgtdisciplinary approach founded on textual research and taking into acount the iconographic, historical and political aspects necessary to interpret and understand such complex commemorative structures. the same time, one must not neglect changes, additions and transformations which ygtg"ctiwcdn{"ocfg"kp"vjg"rtqeguu"qh"eqookuukqpkpi"vjgug"uvwrcu."yjkej"享pcnn{"ngf" vq"qdxkqwu"cnvgtcvkqpu"qh"vjgkt"享iwtcn"rtqitcoog."cpf"yjkej"yknn"egtvckpn{"dg"hqwpf" documented in the fragments. To the best of my knowledge, 'Jig rten mgon po unfortunately did not leave behind a list of the teachings he received (be it in form of a Thob yig or a Gsan yig). One therefore has to reconstruct the particular form of the respective deities (together with their accompanying entourage) by employing all the textual sources containing relevant data on this topic, foremost among them Thob yig or Gsan yig of all Bka' brgyud pa schools and partly also non-Bka' brgyud pa schools transmissions, such as those from the Sa skya pa for example (see for example the Thob yig of Ngor chen Kun dga' bzang po, in which mention is made of teachings transmitted by Phag mo itw"rc"Tfq"tlg"ti{cn"rq+0"Kv"uggou"tgcuqpcdng"vq"cuuwog"vjcv"vjg"vgcejkpiu"tgegkxgf" cpf"vcwijv"d{"Tfq"tlg"ti{cn"rq"cnuq"ygtg"mpqyp"vq")Lki"tvgp"oiqp"rq"cpf"vjwu"jcxg" possibly formed the ground for the pictorial presentation on the stupas. How important such an approach is, was shown above in the case of Bya rog ming can ma. Needless to say, this should be done when examining paintings and murals as well. 157 As argued above, the exact number of the bkra shis sgo mang at Densathil is eight. Therefore, about eight (or less) groups of fragments sharing stylistic features can be expected. For an evaluation of them (including their precise dating), reference to Newar and Khasa art pieces seems to be fruitful as well. 274 The Commemorative Stupas at Densathil APPENDIX: TABLE CEREMONY OF THE MAIN SECTIONS OF THE CONSECRATION 1. First Part: Up to the Wheels (cakra, )mjqt"nq) 1.1. Main Part 1.2. Inside the Pinnacle (mgvw, tog) 1.3. Inside the Wheels (cakra, )mjqt"nq) 2. Second Part: Upper and Lower Dome (dwo"uvqf"uocf), below the jctokmá (bre) together with the Lotus (rcfoc) 2.1. Main Part 2.2. Between the jctokmá (bre) and the Lotus (rcfoc) 2.2.1. Inside the Corners (¦wt) of the Faces (gdong) of the jctokmá (bre) 2.2.2. Inside the Even Middle (fdwu"ftcpi"rq) Connecting the jctokmá (bre) and Upper Dome (dwo"uvqf) 2.2.3. From the upper part (bstod) of the Dome (dwo) to the Lotus (rcfoc) 2.2.3.1. Eastern Direction (Front Side) of the Interior of the Dome (dwo) 2.2.3.2. Southern Direction (Front Side) of the Interior of the Dome (dwo) 2.2.3.3. Western Direction (Front Side) of the Interior of the Dome (dwo) 2.2.3.4. Northern Direction (Front Side) of the Interior of the Dome (dwo) 2.2.4. Inside the Lower Dome (dwo"uocf) 3. Third Part: From the Three Wreaths (rjtgpi) of Lotus (rcfoc), xcltc (rdo rje) and Blue Lotus (wvrcnc) up to the Seven Tiers Where the Deities Reside Which Reaches the xcltc Ground (tfq"tlg)k"uc"i¦jk) 3.1. Main Part 3.1.1. The Palace 3.1.1.1. Interior of the Palace 3.1.1.2. On the Right Side (In the Palace) 3.1.1.3. On the Left Side (In the Palace) 3.2. In Front of the Pillars (Outside the Palace) 275 Qnch"E¦clc BIBLIOGRAPHY PRIMARY SOURCES: CFUVREj" Uk"vw"rc穎"ejgp"Ejqu"m{k")d{wpi"ipcu0"Vc)k"uk"vwt")dqf"rc"mctoc"duvcp"rc)k" p{kp"d{gf"m{k"tcpi"vujwn"ftcpiu"rqt"dtlqf"rc"ftk"dtcn"ujgn"i{k"og"nqpi0"In L. Chandra (ed.) 1986. Vjg"Cwvqdkqitcrj{"cpf"Fkctkgu"qh"Uk/vw"Rcp/ejgp. New Delhi: International Academy of Indian Culture. 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