Introduction:
The monastic complex at Alchi in Central Ladakh largely datable to 10th - 11th century A.D. lies in the scenic mountain valley of Indus. It is considered as the most important of all the monastic complexes masterminded by Rinchen-bzang-po (958-1055 A.D.) primarily because it has been left intact. This complex comprises a group of six buildings and its importance lies in the fact that it has the best preserved mural paintings in the area especially in two of its monuments viz. Du-khang (The assembly hall) and Sum-tsek (three tiered temple)
According to the inscriptions at Alchi , the Du-khang was built by Kalden Sherap and Sum-tsek by Tshultrim O, both followers of Rinchen-bzang-po , undoubtedly the most dominating religious personality in Ladakh of that time. Moreover the iconographic program followed at Du-khang reflects teaching of this great religious teacher and the complete layout almost parallel the one seen at Sumda which can be directly attributed to him.
While on the one hand the mural paintings on the monuments here are considered as hallmark of Buddhist painting in the area on the other they have multitude of stories to tell about the contemporary painting scenario in Kashmir valley. Unfortunately as Huntington
[i] ,Snellgrove
[ii] and P. Pal
[iii] unanimously observe there is hardly left any trace of Kashmiri painting of that time which can be directly compared to the ones at Alchi. Nevertheless there are enough historical, stylistic and epigraphical evidences which strengthen the contention and here onwards my hypothesis that Kashmir valley played a very important role in the the stylistic and iconographical development of the murals at Alchi and other temples/monasteries which fall on the route between Srinagar to Guge.
[i] Susan L. Huntington., ‘The Art of Ancient India’, NewYork ,1999 pp.385
[ii] David L. Snellgrove and Thaddeus Syrups, ‘The Cultural heritage of Ladakh’ Volt I- Central Ladakh, New Delhi, 1977 pp 8
[iii] Pratapaditya Pal., ‘Marvels of Buddhist Art’ Alchi- Ladakh, Paris, 1988 pp 19-20
The complete paper published in
Cultural Heritage of Kashmiri Pandits
Edited by S.S. Toshkhani and K. Warikoo, Pentagon Press, 2009, xxviii, 364 p, 26 black and white figs, ISBN : 81-8274-398-4
Contents: Preface.
1. Kashmiri Pandits and India’s cultural traditions/S.S. Toshkhani.
2. Kashmiri Pandits through history: from the early times to 1947/Tej N. Dhar.
3. Abhinvagupta and the Shaivite tradition of the Sarada Desa/Rajnish Mishra.
4. Social structure and cultural identity of Kashmiri Pandits/S.S. Toshkhani.
5. Religious rituals and ritual arts of Kashmiri Hindus/S.S. Toshkhani.
6. Kashmir’s Contribution to Sanskrit poetry and poetics/Ved Kumari Ghai.
7. Some Kashmiri Pandit historiographers/Mushtaq A. Kaw.
8. Shrines and pilgrimage places/K. Warikoo.
9. Amarnath—the Abode of the God of Immortality/K. Warikoo.
10. In search of roots/A.R. Nazki.
11. Shankaracharya and some Kashmiri Pandit traditions/Rashnik Kher.
12. Beginnings of Bhakti in Kashmir/S.S. Toshkhani.
13. Lal Ded and her spiritual journey/S.S. Toshkhani.
14. Political content in the Vaakhs of Lal Ded/R.L. Bhat.
15. The mystic and the romantic: Two Kashmiri women poets—Rupa Bhavani and Arnimal/Neerja Mattoo.
16. Paramanand: devotional raptures of Krishna Lila/S.S. Toshkhani.
17. Prakash Ramayana and other works on Ramayana Theme in Kashmiri/S.S. Toshkhani.
18. Krishnajoo Razdan—melodic expression of devotional ecstasy/S.S. Toshkhani.
19. Swami Lakshman Joo: the sage of Ishaber/Jankinath Kaul ‘Kamal’.
20. Kashmiri Pandits—originators of Pahari-Kangra School of Art/P.N. Kachru.
21. Kashmir’s contribution to the visual imagery at Alchi/Geetika Kaw Kher.
22. Deodar in a storm: Nadim and the Pantheon/Braj B. Kachru.
23. Kashmiri Pandits in journalism/M.L. Kak.
24. Kashmiri Pandits in retrospect and prospect/K. Warikoo.
As Bharti started sketching the portrait of Majboor Saab for the condolence meet organized by Praznath I was glued to a chair next to her. Unfortunately all I could provide her as a point of reference was a picture downloaded on my phone which I had transferred to hers..thanks to blue tooth.. Line drawing was all I had asked her to do as there was hardly any time.I sat there studying her every move, my eyes were eagerly following her pencil which glided so easily and deftly on the paper. Ah how tempted I felt to pick up a pencil myself…Seeing an artist at work is one of the greatest pleasures .and seeing the end product right after two hours is nothing short of a miracle. I could see the simple line drawing gradually dev
eloping into familiar features of the dear departed poet scholar …The moment I could identify the portrait I was elated and could not thank her enough for such a beautiful experience. Soon she started playing with light and shade which automatically lend character to the well executed portrait. In between she would sit back and study the image on her paper and then cast a look at the small image flashed on the screen of her cell phone…I just sat there chatting with her quite casually but all the time I couldn’t help wondering how Majboor Saab would have reacted to this work of art executed in complete spirit of enthusiasm and dedication.
