INTANGIBLE CULTURAL HERITAGE: BUDDHIST CHANTING OF LADAKH
THE BUDDHIST PRIESTS (LAMAS) OF LADAKH RESIDE IN THE MONASTERIES (GOMPAS) DISTRIBUTED OVER THE COLD AND ARID TRANS-HIMALYAN REGIONS OF INDIA AND CHINA.IN THESE MONASTERIES THEY PRACTICE CHANTING RITUALS/RECITATIONS SACRED BUDDHIST TEXTS.CHANTINGS ARE COMMUNAL AND ARE PERFORMED IN HALLS, COURTYARDS OR PRIVATE HOUSES.
THE SPIRITUAL MANTRAS ARE MEANT TO WRATH OFF EVIL SPIRITS, PURIFY THE MIND, AND ESTABLISH MORALITY AND PEACE AMONGST THE PEOPLE AND THEIR ENVIRONMENT.
THE RITUALS ARE ASSOCIATED WITH SIGNIFICANT SPIRITUAL, LITERARY, HISTORIC,GEOGRAPHIC, RELIGIOUS, CULTURAL,SOCIAL, FUNCTIONAL,AESTHETIC,ARTISTIC,ARCHITECTURAL,ECONOMIC AND UNIVERSAL VALUE.
RELIGIOUS:
THE CHANTINGS ARE EXPRESSIONS OF THE PHILOSOPHIES AND TEACHINGS OF BUDDHA. BUDDHA’S DISCIPLES AND HIS VARIOUS FORMS ARE ALSO WORSHIPPED TO INVOKE THEIR BLESSINGS.
THE FOLLOWERS OF BUDDHISM (MAHAYANA AND VAJRAYANA) ARE FURTHER CLASSIFIED INTO FOUR SECTS. EACH SECT HAS ITS OWN SET OF RITUALS.
EDUCATIONAL/LITERARY:
1)THESE RITUALS ARE PRACTISED DAILY.SENIOR PRACTITIONERS RIGOUSLY TRAIN FOLLOWERS TO PERFORM THE RITUALS CORRECTLY WHICH REQUIRES SEVERAL YEARS OF VOICE MODULATION AND MEMORIZATION.
2)THE TEXTS USED ARE THE BUDDHIST TRIPITAKAS WRITTEN IN PALI/SANKSRIT AND ARE EXCLUSIVELY TAUGHT BY THE MONKS AS SACRED KNOWLEDGE.
MONKS PERFORMING CHANTS
SEVERAL INSTRUMENTS ARE USED IN COMPLETING THE RITUAL
ARTISTIC AND CULTURAL:
1)THE CHANTS ARE A FORM OF ORCHESTRATED MUSICAL DRAMA. IT MAKES USE OF SEVERAL KINDS OF MUSICAL INSTRUMENTS,VOCAL RANGES, NARRATIVES AND SYMBOLISM.
2)THE MONASTERIES HAVE RICHLY ASSEMBLED INTERIORS WITH VARIOUS TYPES OF PAINTINGS ON WALLS, FURNITURE AND SCROLLS. THE SCROLL PAINTINGS (THANGKPA) ARE PARTICULARLY RECOGNIZED.
3) SCULPTURES AND IDOLS- CLAY PAINTED SCULPTURES AND IDOLS ARE USED AS EMBODIMENTS OF HOLY SPIRITS.
4)THE MONKS DRESS IN PLAIN IDENTICAL COSTUMES BASED ON THEIR SECT. FOR SPECIAL CERMONIES THEY MAY DRESS UP IN SILK ROBES, COPPER MASKS AND SPECIAL SHOES.
5)POSTURES-THE PRACTIITONERS SIT UPRIGHT IN A PADMASANA POSTURE AND MAY USE SEVERAL HAND GESTURES (MUDRAS) IN THE CEREMONY.
SCROLL PAINTING DEPICTING VAIRCONA FORM OF BUDDHA, MATHO MONASTERY
CONTEXT:
-THE BUDDHIST PRACTICE WAS INSCRIBED IN THE UNESCO LIST OF INTANGIBLE CULTURAL HERITAGE IN 2012 AND HAS GAINED NATIONAL IMPORTANCE.
-THE MODERN GENERATION IS INTERESTED IN MAINTAINING CONTIUITY IN TERMS OF HERITAGE AND DEVISING PROGRESSIVE AND RESOURCEFUL APPROACHES FOR THE COEXISTENCE OF THE OLD AND NEW.
-IT IS NECESSARY TO ANALYSE SUCH CONSERVATION PRACTICES AND THEIR IMPACT IN ACHIEVING THE RESTORATION OF THE COMMUNITY.
-THE CONSERVATION OF THE PRACTICE IS BENEFICIAL FOR THE BALANCE OF THE ENVIRONMENT.
NAME-SHIFA HUSSAIN
ROLL NO-1908
CLASS-SEMESTER 6
SUBJECT-URBAN
THIKSEY MONASTERY
MAIN RITUAL:SHARGANGRIMA CHANTING SECT:GELUK SECT
SIGNIFICANCE: EULOGY DEDICATED TO THE FOUNDER,JE TSONGKHAPA,WHO IS WORSHIPPED AS A SECOND BUDDHA.
THE PRACTICE: THE MONKS ASSEMBLE IN A HALL WHERE THEY SIT IN ROWS AND RECITE VERSES. THE RECITAL IS CARRIED OUT IN UNISON IN A SPIRITUAL DISCIPLINE. THE CHANTING SETTLES THE MIND TO ENTER MEDITATION.
THE MONASTERY:
-THE MONASTERY COMPLEX IS LOCATED ON A HILL SLOPE AND THE BUILDINGS ARE ARRANGED IN ASCENDING ORDER OF IMPORTANCE.
-THE BUILDINGS ARE PAINTED YELLOW AND RED TO SYMBOLIZE THE MONASTIC ORDER AND INDICATE THEIR FUNCTION.
WALL PAINTINGS:
THE WALLS OF THE TEMPLES AND PASSAGES ARE INTRICATELY PAINTED WITH DIFFERENT THEMES AROUND THE PHILOSOPHIES OF LIFE AND BUDDHA’S TEACHINGS.
-THE WALL AT THE ENTRANCE TO THE MAIN PRAYER HALL HAS A PAINTING OF THE BHAVACAKRA/WHEEL OF LIFE. -THE PURPOSE OF THE DEPICTION IS TO REMIND THE PEOPLE THAT EARTHLY TIES NEED TO BE OVERCOME IN ORDER TO ATTAIN NIRVANA.
MAITREYA BUDDHA STATUE:
TOURISM:
-THE MAITREYA (FUTURE) BUDDHA STATUE IS 15 M TALL.
-IT WAS MADE BY ARTISTS FROM THE CENTRAL INSTITUTE OF BUDDHIST STUDIES AND TOOK FOUR YEARS TO BUILD.
-IT IS BUILT IN CLAY, GOLD PAINT AND COPPER.
-BUDDHA IS SHOWN SITTING IN A LOTUS POSITION AND SMILING.
-HIS HEAD IS COVERED IN A BEAUTIFULLY DECORATED CROWN AND HE IS DRESSED IN A BLUE
ANGAVSTARAM WITH PRECIOUS STONES.
-HE IS DEPICTED BLESSING THE PEOPLE WHO WORSHIP HIM.
-THE THIKSEY MONASTERY IS OPEN FOR TOURISTS BETWEEN 6AM-6PM
-THE ENTRY FEE IS AROUND RS.30
-TOURISTS CAN VISIT THE TEMPLES INSIDE THE MAIN COMPLEX WHICH INCLUDE:MAIN PRAYER HALL
MAHAKALA TEMPLE,PALDEN LHAMO TEMPL,MAITREYA TEMPLE,TARA TEMPLE,GOLD AND SILVER STUPA TEMPLE AND THE MUSEUM.
SPITUK MONASTERY
RITUAL:NASTHAN PHYAGDZOD
SECT:GELUK SECT
SIGNIFICANCE: PRAYERS FOR THE 16 DISCIPLES OF BUDDHA.
THE PRACTICE: THE CHANTING IS MORE LIVELY AND TAKES PLACE IN A HALL. EACH NEW STANZA IS ACCOMPANIED WITH THE USE OF BELLS, GYALING FLUTES,DRUMS AND CYMBALS.THE CHANTING IS DONE IN A RHYTHYMIC SEQUENCE. MONKS ALSO GO FROM HOUSE TO HOUSE UPON INVITATION TO PURIFY THOSE SPACES.
MATHO MONASTERY
RITUAL: KUNRIG CHNATING
SECT:GELUK AND SHAKYA SECT
SIGNIFICANCE: CONNECTING SELF TO THE UNIVERSE.
THE PRACTICE: THE PRACTICE INVOLVES THE USE OF VARIOUS HAND GESTURES (MUDRAS) AND CREATING A RHYTHYM BY SNAPPING.
THE MONKS VISUALISE THEMSELVES TO BE CELESTIAL BEINGS SURROUNDED BY OTHER BODHISATTVAS AROUND THEM.
PHYANG MONASTERY
RITUAL:CHOD CHANTING
SECT:-
SIGNIFICANCE: PRIVATE CHANTING PERFORMED IN CEMETERIES TO SEPARATE THE SOUL OF THE DEAD FROM THEIR BODY.
THE PRACTICE: THE RITUAL INVOLVES THE USE OF BELLS AND HAND DRUMS. IT IS PERFORMED BY SELECTED MONKS AND REUIWRE SGREAT CONCENTRATION.
NAME-SHIFA HUSSAIN ROLL NO-1908 CLASS-SEMESTER
THREATS:
EXTERNAL
1.TOURISM- THE FOOTFALL IN LADAKH HAS INCREASED EXPONENTIALLY SINCE 1974.
THE NEGATIVE IMPACTS OF INCREASED TOURISM INCLUDE:
-DEPLETION OF SCARCE RESOURCES LIKE WATER.
-POLLUTION CAUSED DUE TO MOTOR VEHICLES.
-DISPOSAL OF NON-DEGRADABLE WASTE ON SITE
-INCREASED DEPENDENCY OF THE ECONOMY ON TOURISM, WITH THE PROFITS BEING USED FOR EXPANDING THE TOURIST SECTOR.
-VANDALISM OF HERITAGE PROPERTY
-THEFT OF RELIGIOUS OFFERING AND ITEMS FROM MONASTERIES/TEMPLES.
-THE NOISE AND DISTURBANCES FROM VEHICLES HAS CHANGED THE TRANQUIL NATURE OF THE LANDSCAPE. -THE SPIRITUAL SPACES NOW HAVE A PRICE ATTACHED TO THEM IN THE FORM OF ENTRY FEES WHICH IS MAKING THEM RUDIMENTARY.
2.MODERNIZATION-
-A SHIFT TOWARDS MODERN REQUIREMENTS HAS LED TO NEGLECT TOWARDS HERITAGE STRUCTURES AS THEY ARE NOW SEEN AS OLD-FASHIONED.
-OLDER MATERIALS LIKE MUD,PLASTER,WOOD AND BRICK ARE NO LONGER USED FOR CONSTRUCTION WHICH IS DETRIMENTAL TO THE ENVIRONMENT.
-REPLACEMENT OF TRADITIONAL MATERIALS HAS LEAD TO REDUCED ANTIQUITY AND ESSENCE OF THE SPACE. EG.USING METAL TRUNKS INSTEAD OF WOODEN TRUNKS TO STORE SCROLLS ACCELERATE THEIR DETERORIATION PROCESS.
3.NATURAL WEATHERING/DECAY-
--EXCESSIVE RAINFALL LEADS TO WATER SEEPAGE INSIDE STRUCTURES AND CAUSES DAMAGE TO THE STRUCTURE AND THE OBJECTS INSIDE.TRADTIONAL MATERIALS ARE SUSCEPTIBLE TO LIQUID INFILTRATION.
-TIMBER ROOFS DEVELOP CRACKS DUE TO THERMAL DIFFERENCES.
4.CLIMATE CHANGE-
-MELTING OF GLACIERS IN THE PAST HAVE RESULTED IN FLOODS, MUDSLIDES AND WASHING AWAY OF BUILDINGS. IN AUAGUST 2010, HEAVY RAINFALL CAUSED WIDESPREAD DAMAGE.
- THE MELTING OF GLACIERS IN THE HIMALYAN AND KARAKORAM RANGES IN THE FUTURE POSE A THREAT TO THE STRUCTURES.
5.SOCIO-ECONOMIC-
-CHANGES IN THE LIVING STANDARDS OF THE PEOPLE IN THE SURROUNDING AREAS WILL LEAD TO LESSER PEOPLE ADOPTING A MONASTERY LIFESTYLE.
-THE SHIFT OF THE SELF-RELIANT RURAL ECONOMY OF LADAKH TOWARDS A TOURISM BASED ECONOMY MEANS THAT ONLY TOURISM IS THE BASIS FOR CONSERVATION INSTEAD OF THE VALUE OF THE STRUCTURE.
-THE MONASTERIES ARE CURRENTLY FUNDED BY NGOS AND BY THE OFFERINGS OF VISITORS. -LESSER INVESTORS IN THE CONSERVATION OF THESE STRUCTURES MAY LEAD TO THEIR DECLINE.
INTERNAL
1.ORTHODOX BELIEFS-
-THE LOCALS ARE APPREHENSIVE OF OUTSIDERS ENTERING THE SACRED SPACES. THIS MAKES PRACTICING CONSERVATION MEASURES DIFFICULT. THE HEMIR AND LIKIR MONASTERIES HAVE REFUSED THE AUTHORITIES FROM UNDERTAKING CONSERVATION OR DOCUMENTATION.
-INVOLVING INEXPERIENCED MASONS IN THE CONSERVATION PROCESS DAMAGES THE STRUCTURES.
-NEW STRUCTURES ARE CONSIDERED LESS SACRED DUE TO THEIR TECHNIQUE OF CONSTRUCTION AND BECAUSE OLDER STRUCTURE ARE SAID TO HAVE COLLECTED MORE BLESSINGS. THEREFORE, ONLY PARTICULAR STRUCTURES ARE CONSIDERED FOR CONSERVATION.
-THE HERITAGE VALUE OF PAINTINGS,OBJECTS AND TEXTS ARE GIVEN LESS IMPORTANCE COMPARED TO ITS SPIRITUAL VALUE WHICH REDUCES ITS NECESSITY FOR CONSERVATION IF THEY ARE BROKEN,TORN,DAMAGED,LOST,ETC.
2.RELIGIOUS PRACTICES-
- BURNING OF OIL LAMPS AND INCENSE DURING THE PRAYERS LEADS TO COLLECTION OF SOOT ON THE WALLS, ARTIFACTS AND PAINTINGS.
-THE PLACEMENT OF TORMAS (OFFERINGS MADE FROM FLOUR AND BUTTER) ATTRACT PESTS AND MICROORGANISMS WHICH AFFECT THE OBJECTS PLACED AROUND THEM.
