An Ambidexter Lama Sculptor carving an Inscription on the Face of a Rock
The Tibetans are not artistic by nature. Their art is of the most rudimentary kind. A few earthen pots, graceful enough in shape, but of no extraordinary beauty, are manufactured by them, and some brass and iron vessels are made in the cities. Also, of course, in a population of several millions there have been a few individuals who have attempted more ambitious works of art, such as paintings (mostly of religious subjects) and sculptures, but although in the paintings the colouring is bright, and much care is devoted to [[183]]details, anatomical accuracy and proportion are always lacking in the figures, and not even a shade of perspective is to be noticed in their landscapes. In certain conventional decorative ways, however, the Tibetans are quite masters, as, for instance, in the gigantic religious inscriptions one frequently finds all over the country upon dangerous vertical cliffs. One of the coloured plates given in this book represents a young Lama—the Lamas can always be distinguished in Tibet by their clean-shaven heads—inscribing the words “Om mani padme hum” upon the face of a rock. The work is carried on at a great height, the artist being suspended in a rope sling. Lamas with any special talent in this direction are kept in monasteries and sent all over the country to adorn the barren landscape, especially on high caravan routes, with these sacred characters. Perhaps, when Tibet has been fully opened to foreign civilisation, these talents will find a more remunerative occupation in substituting for the sacred words advertisements of fancy soaps and hair restorers.
These sculptors, and, in fact, most of the cleverer Tibetans, are practically ambidexter, being able to use either hand, especially in works which require no great delicacy of touch. As can [[184]]be seen in the illustration, the young Lama is using the hammer with his left hand.
The cloth made by Tibetans is of great strength, especially fabrics of yak hair, but seldom of a handsome design. Very irregular designs are occasionally attempted, but usually the Tibetan woman is wise enough never to depart from the striped pattern. Tibetan fabrics are generally woven too narrow for any practical use in European countries. [[185]]
CHAPTER XVII
Perhaps some of the experiences we had on our trip across country may interest the reader. Instead of returning by Tinker we proceeded in a north-westerly direction, employing an old man—a most peculiar fellow, so wrinkled that he seemed almost mummified—who said he knew the way across the intricate ranges. When we had nearly reached the summit of the range, we came in for a very bad storm, a regular blizzard, and it delayed us for some hours. My guide, as is usual with guides, lost his head, and, what was worse, also his way. We could not remain where we were, and we could not see where we were going.
I took matters into my own hands, and, by compass, tried to find my way to where I supposed the place was; but we experienced great difficulty in getting along, owing to the snow being driven with great force into our faces and obscuring the [[186]]view a few yards away from us. I found the pass right enough, the blizzard abating for a few moments, and we sank in soft snow up to our knees, which made marching very heavy. We descended a few hundred feet and found ourselves in a sort of gully, which necessitated making another ascent to a higher and more difficult pass before we could descend into the valley where the sources of the Ganges are to be found.
A Weird Old Man of N.W. Nepal