Surajkund mela

The Mela is organised under the aegis of the Suraj Kund

Mela Authority. This comprises of the Department of
Tourism Ministry of Tourism and Culture, Governement of
India in collaboration with Haryana Tourism, Development
Commissioner for Handlooms, Commissioner
Development (Handicrafts).

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 Crafts and textiles from the North East
A special exhibition organized by the national handicrafts and
handlooms museum (crafts museum) and crafts council of India.
This included crafts like Scroll Paintings from West Bengal, iron
work from Chattisgarh, Kali Ghat from West Bengal, Jute Craft
from Andhra Pradesh, Tribal Textiles from Assam, Kullu Shawl
from Himachal Pradesh, Terracotta from Madhya Pradesh,
Chitrakathi Performers from Maharashtra.

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 Crafts mela organized by Dastkaar in IGNCA next to Mati Ghar.

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 A pottery display organized by Delhi Blue Pottery Trust.
Various designer and contemporary pottery was on display
along with a live demonstration by a potter from Jammu.

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 Script

Scripting for the documentary film on Lahul

Smruti in Himachal Pradesh. ing
 Script

ing
Kulu - while ascending to the Rohtang Pass which divides Kulu from Lahul:
We documented a typical Kulu house, near Nagur town, on the way to the Rohtang
pass. A wood-carved Ganesh temple has been recently completed. The exterior
of the temple contains carved scenes of the Ramayana, mythological stories, floral
motifs and local history, including war scenes. The temple is yet to be sanctified,
and the idol is not yet installed. The original temple, which presently houses the
idol, is located on a lower slope, and probably dates back to medieval times. A
grand and elaborate sacrificial ceremony will be conducted to mark the
sanctification of the temple, and the idol installation. A string of sacrificial
ceremonies were also held at various stages of the construction - at the first wood
cutting ceremony, at completing the basic structure and so on.
Rohtang Pass – source of the Beas River:
At the source of the Beas, on the Rohtang Pass (Ht4101 m or 13400 ft) is a small
concrete igloo shaped structure. Behind the igloo is the actual source of the river,
a spring emerging from a rock, which flows through a channel into a man-made
tank or kunda inside the igloo. A small shrine inside the igloo is attended by a
pujari, appointed by the Kulu Sanskriti Vikas Mandal, of which Mr Tshering Dorje
is the chief office holder. The shrine holds a portrait of Ved Vyas. The local belief
is that Ved Vyas compiled the Mahabharata and other Puranas while he was here.
The shrine also holds a portrait of Bharat mata. An annual mela is held every year
at Guru Purnima in the month of Ashaadh (July-August). The KSVM works for
the maintenance and upkeep of the area – and has recently constructed a shed for
the chowkidar and a platform for the igloo.
Lahul:
Soon after the descent into Lahul, Mr Tshering Dorje pointed out several interesting features:
Within sight were two snow peaks juxtaposed in an M-shape (a scene painted by Nicholas
Roerich, the legendary Russian artist associated with Himachal Pradesh, whose home in Kulu
district has been made into a museum). The peak to the right is known as Gyepang-la, and is
said to be the seat of Raja Gyepang Shad (see above). The second peak is considered the seat of
his brother, and is called Jamulu-la. We were also shown green patches scattered on the
brownish hillsides, which indicate the location of Gaddi (a pastoral nomadic tribe) camp sites.
The Gaddis call their habitat which spans several districts of Himachal Pradesh, Gadheran.
For them the mountain (Dhauladhar range of Kangra) is their mother. A typical bride song of a
Gaddi goes like this:

Oh Mother Dhauladhar
Bend a little
Oh Bend a little

On this side lies my mother in law's place

On the other side lies my father's place
Bend yourself a little
Bend a little
Oh bend a little

Raja Gyepang:
Lahul is largely peopled by one time nomadic pastoralists, who turned into settled
agriculturists after the arrival of a figure - Raja Gyepang Shad - who is said to have come
from Tibet. Gyephang Devata 'of sissu, the sovereign deity of lahul is regarded as the
younger brother of Jamula Devata which is related with the Buddhist esoteric cult of
Jambhala. Raja Gyepang brought seeds to the valley and is credited with turning the people
into settled agriculturists.
Raja Gyepang is now worshiped as a deity - a local protected deity - though it is interesting that in
the temple dedicated to him (there is only one temple in Shashan-Shishu village, and a few
shrines) there is no murti or idol. The temple is an older structure which has been recently
modernized and renovated. The inner shrine is empty and embellished by silver figures of animals
said to be associated with the Raja. They include prominently, the horse and mountain sheep
(Bhiddu). Present by the side are also a staff topped by a circular disc called suraj pak, a sword,
and a whisk with a silver holder. The shrine is covered with scarves and chaadars, offered by
devotees for wish fulfillment. The priest comes from a hereditary family of priests, and is the only
one allowed to touch the shrine. The land surrounding the temple and other patches of land in
Lahul (some with small shrines) are for the use of Raja Gyepang. The former is used to generate
temple funds and the latter act as 'resting places' for Raja Gyepang during his travels.
One of these journeys – the annual procession – is solemnly celebrated in the autumn (August-
September). A number of horse figures carried by several men accompany the raja. There seems
to be no actual representation or figure of Raja Gyepang. A number of rituals and ceremonies take
place, including the appearance of a Shaman, Tashi in white robes and white hat. The priest of the
Shishur-Shashan temple is also present. The Raja visits the Triloknath temple as well as the
Markula Devi temple, the Rohtang pass, and other points within his 'kingdom', for ceremonial
stops.
Fountain Slab /Memorial Slab

An interesting feature pointed out by Tshering Dorje was of the Fountain Rocks. There are apparently
two situated in the village. We were able to see one next to the potato fields. The fountain stones are
carved slabs of grey granite of about knee height, which are placed over the sources of springs. The
stones are usually symbolically decorated with carvings of nagavandha or nagabali - intertwined
serpents, a horizontal belt of srivatsya symbols, auspicious and signifying the presence of Goddess
Lakshmi (they symbolize the feet of Lakshmi), on either side of donor portraits are a pair of sixteen-
petalled lotuses. On the top corners are two pairs of birds – probably peacocks. Other fountain stones
have a variety of decorations, including various gods and goddesses and other motifs. These fountain
slabs, which seem to be brahmanical, are said to be for ancestral worship. The water connection is
important for the purpose of rituals connected with the worship; lambs are sacrificed to show the path
from the heavens to earth and uncooked rice is place before the slab. This practice still continues
before some of the fountain rocks, but many lie neglected and disrespected.
 Willow Tree

Groves of willow trees grow liberally all over Lahul. The lower branches and leaves are used as
fodder for domestic cattle, while in winter the dried leaves and branches are also used for fuel. The
houses have spaces under the eaves which are used to store this fuel which helps to tide over the bleak
winter.

Potato Field

Harvesting of potatoes was going on full swing while we were traveling through Lahul. Women harvest
the potatoes, filling up gunny sacks for onward transportation. (Other produce of Lahul include apples,
peas, cabbage etc.) The fields are either dug up by men and boys or ploughed by men using the
magnificent dzo, a cross between the Yak and the cow. The collection of potatoes is mostly done by
women.

Dzo

Dzo is a male hybrid of a yak and a domesticated cow. A female offspring is known as a dzomo or
zhom. As they are a product of the hybrid genetic phenomenon of heterosis, they are larger and
stronger than cattle or yaks. Their purpose in Central Asian agriculture is very much analogous to that
of the mule in the West, being used for heavy hauling and plowing.

In Nepal, yak/cow hybrids are bred using yak bulls on domestic cows or, less often, domestic bulls on
yak cows. The female hybrids are fertile, the male ones are sterile. A dzomo crossed with either a
domestic bull or yak bull results in an ortoom (three-quarter-bred) and an ortoom crossed with a
domestic bull or yak bull results in a usanguzee (one-eighth-bred). As a result, many supposedly pure
yak or pure cattle probably carry a dash of each other's genetic material, respectively.'
Down in the valley of the Chandrabhaga brisk potato farming goes on; ploughing is done by pairs of
Dzos, driven by men. Generally, only men handle the plough.
 Dhuni Chands house (traditional dwellings)

Shri Dhuni Chand Thakur, also known as Chhimed Shicho, a village elder, was interviewed at
length by us. (Interview on film) He is a social worker and one time politician and is the District
Congress President. He is also president of the Himalayan Buddhist Society, Manali. Basically he is
an agriculturist. His father was in business and they own 90 bighas of land (of which 50% is
cultivable). They live in a 15-16 room traditional dwelling made of mud and stone. Within are
spacious bedrooms, sitting rooms, traditional and modern kitchens, a modern bathroom, and most
interestingly, a richly endowed puja or meditation room with Buddha icons, old tankhas, and
manuscripts.

The figures in the pujaghar are Vajrasattva, gaush with photographs of Lama. The next figure is a local
Lama and God of knowledge in Buddhist pantheon Manjusri. The offering bowls are filled with water.
Confluence of Chandra Bhaga River: A little further up the road we come to the confluence of
the Chandra and Bhaga rivers, emerging as the Chandrabhaga or Chenab. The place is considered
holy, the Hardwar of Lahul. Cremations and immersion of ashes take place here.

Buddha Rock carving: Just beyond the Gondhla fort, at the side of the road, is a larger than life size
rock carving (more like a deep etching) of the Maitreya Buddha, holding a rosary and a kamundal a (water
container) with two side figures, Vajrapani and Padmapani bodhisattvas.

Gondhla Fort:

House of the Thakur of Gondhla, called the Gondhla castle or fort, attracts a large number of
tourists.

The castle is an example of the indigenous timber bonded stone style of the Western
Himalayas consisting of alternate courses of stone and wooden beams and cemented
together with wet clay. This seven storey high edifice is topped by a wooden verandah which
runs round the upper storey.
Shashur Monastery

Three kilometers from Keylong, is Shasur monastery – Shasur means Forest of juniper or blue pine. The
Juniper tree is considered auspicious. The local name is Devi dar, and represents an aspect of ancient tree
or yakshi worship.
th
The monastery was built in the 17 Century AD, by Lama Deva Gyatso of Zanskar, who was a
representative of the king of Bhutan, Nawang Namgyal. He lived here till his mahaparinirvana. When he
was cremated, his heart remained unburnt, and turned into a black image of Gyatso himself. This is now
inaccessible and is believed to be kept in a box inside the main Buddha image. The monastery has recently
been totally renovated with funding from Germany, and much of the traditional material has been
replaced, unfortunately, by concrete. There is a mountain nearby known as Goshal which is believed to
be the home of a siddha (one who is accomplished), named Ghantapa, who inhabited a cave in the
mountain. Ghantapa dates to the 9th/10th century AD. Ghantapa is mentioned in the earliest Bengali
literature, the Charyapad, of the 9th Cedntury AD.

The monastery is on the summit of a hill with a steep flight of steps leading up to it. It is also approachable
by road. It has three floors. The floor containing the main sanctum is decorated with paintings with
themes of Buddhist mythology and pantheons of divine figures. There is a library and prayer/discussion
room and living rooms for the lamas. The library has a small collection of manuscripts, wrapped in red
cloth and kept within traditional plaques of wood. In the library are two stucco figures of Vajra Sattva
trampling on a human figure with Vajra Dhatishwari in his lap. These are the two main deities of the
Vajrayana Buddhist sect. Between these two pairs is a figure of Buddha in bhumisparsha mudra (hand
pointing to the earth). The library, which is on the third floor, is of wood unlike other renovated areas of
the monastery.

The lama in charge was once a government servant. He became a lama after retirement, a not uncommon
practice in the area
Keylong Village

Keylong is at a height of 3160 m and is the district headquarters of Lahul and Spiti. It is on the right bank
of the Chenab. There are several monasteries in and around Keylong.

Buddha rock carvings in keylong: In Keylong, by a walking path in a residential area, are two
neglected relief carvings of the Buddha. In front of one of the granite carvings is a pile of stone tiles, half
concealing a votive figure, which might be of Buddhist significance – with arms crossed at the elbows
and holding up what seem to be two bunches of flowers. The taller rock carving, about six feet high, of
which the front and one side are exposed to view, is of Bhaisajya guru or Bhaishajya Buddha holding a
Bowl in one hand. The figures on both rocks wear the three pointed crown earlier described, and both
have a figure of a donor on the side of the slab. Above the donor figure on the taller slab there is another
bodhisattva Padmapani surmounted by a short indecipherable inscription.

The traditional houses are built of mud of various qualities, and both the architecture and the material are
conducive to the retention of warmth and are suited to the harsh weather conditions. As in other parts of
the Tibetan highlands, however, these are now being replaced with modern structures with sloping roofs
of tin and concrete, said to be inspired by the Moravian missionaries.

Juniper Tree in Keylong: At a higher level of the town, there is a gnarled and old juniper tree which is
considered sacred. This is also known as banashree – local name lalchang.

Fountain slab depicting Shiva: On the way to Udaipur and Tirlokpuri, we stop at a village where we
see another fountain stone semi buried in the ground, featuring a shivalinga juxtaposed by worshippers,
floral motifs and a donor figure. These stone slabs also have the figure of the shiva ganas.

Triloknath Temple: The temple of Triloknath, in Trilokipura, is representative of the Kashmir style of
architecture during the period of Lalitadityamukta Pidha, who was a contemporary of Harshavardhana,
(8th Century AD). Originally, it is presumed that it was a Shaiva temple, which was converted into a
Buddhist temple by Guru Padmasambhava (12th Century AD).
In the temple courtyard is a small concrete canopy with a lingam and a nandi bull, facing the entrance as
in most Shaiva temples. Above the entrance is written Om namaha shivaya (but this is obviously freshly
written). The temple has all the features of a classical shikhara type of structure. The tower is crowned
with the characteristic amalaka or coping stone.

The main idol in the sanctum is in marble (possibly imported from Rajasthan) and has a close affinity
with the lamaistic representatives of Avalokitesvara which means it dates from around the 12th Century
AD. It has six arms and is in the lalitasana posture. The priest in charge is a Buddhist lama. However,
popular Hindu bhajans are being broadcast at a very high volume. The garbaaagriha has intricate door
jambs with various shakhas (nagashakha, patra shakhas, and two figures – one of Ganga and the other of
Yamuna – on either side) the lintel (lalatbimba) has three main figures, which cannot be identified. Two
pillars set at a narrow distance from the jamb (with floral motifs) provide a mini parikrama, where
devotees circle the pillars by squeezing between them and the jamb.

Massive renovation seems to have been done and the corridor surrounding the main shrine is lined with
new marble and rows of prayer wheels, depicting the lamaistic 'Om mani padme hum' – 'the jewel in the
lotus'.
It was most probably a panchayatan temple complex which contained four small shrines in the four
corners. These four subshrines are installed for connected family idols (parivara devata). Only one of
these subshrines remains with a headless statue ornamented with a vyjayanthamala, an indication of
brahmanical iconography.
The fountain slab in Triloknath temple complex: In a courtyard beyond the front ground of the
temple there are two more fountain stones, in a very dilapidated, neglected and abused condition (broken
glass and dirt lying around them). The first depicts the figures of Shiva and Parvati, with kartikeya and
Ganesha on either side. The second stone is decorated with floral and serpentine designs, with two big
lotuses embossed on either side. They are presumed to be of the 14-15th centuries AD.

Fountain slab on way to markula devi temple : On the way to the Markula Devi temple we pass
two more fountain stones with similar depictions, inside the jungle, close to the Mayar nala. Springs
emerge from the holes at the base of these slabs, and there are diyas and other offerings by them
indicating they are still venerated.
Markula Devi Temple: The Markula Devi temple is probably the main tourist attraction in Lahul. It
dates back to Ajay Verman's reign in Kashmir (9th Century AD). It is constructed of timber with bonded
stone and typical wooden pyramidal roof. The exterior is ordinary, but the interior is intricately decorated
with fine wood carvings. The centre of the ceiling has a large circular lotus decoration (nabhichhanda).
In one panel, the enlightenment of the Buddha and the assault of Mara are shown in high relief, and the
Buddha figure is in bhumisparsha mudra. The niches of the door jambs show carved door guards
(dwarapalas) with terrifying attributes, depicted in an indigenous style. The main door jamb is intricately
carved, with scenes of the Ramayana and covered with soot, a result of burnt offerings over the ages.
Within the sanctum, the silver idol of Mahishasura Mardini is installed on a high platform, dressed in red
garments, and ornamented with garlands and jewellery.

Unfortunately, the temple, though centrally protrected by the Archaeological Survey of India, ASI, is in a
very precarious condition. About three years earlier it was carelessly shored up with beams which are of
the wrong length, sometimes compensated by crudely slapped on cement bases, or bricks. Some walls,
inside and outside, have been roughly plastered with cement. The beams are tilting dangerously, and are
out of alignment with the structure, which seems to be in a very unstable condition. The high priest
showed us bills for the beams which are yet to be paid. The priest claims there is no response from the ASI
to the appeals made by him. A collapsed portion in the floor also shows the deteriorating condition of the
temple.

Return to Rohtang pass: At the Rohtang Pass on our return journey, we are able to relate to a small
structure, the resting place of Raja Gyepang on his marvelously evocative autumnal journey. We pose for
a photo by it, with the snow pouring down on us, within sight of the igloo which marks the source of the
Beas.