The three temples stand about fifty yards apart, but are not parallel to one another, although their general direction is east and west.[[102]] Each is oblong, and narrowed upwards, with the door at one end; the middle (and smallest) faces the west, the others the east: the doorways are all broad, low and deep, protected by a projecting carved portico. The walls are immensely thick, of well-masoned slaty stones; the outer surface of each slopes upwards and inwards, the inner is perpendicular. The roofs are low and thickly thatched, and project from eight to ten feet all round, to keep off the rain, being sometimes supported by long poles. There is a very low upper story, inhabited by the attendant monks and servants, accessible by a ladder at one end of the building. The main body of the temple is one large apartment, entered through a small transverse vestibule, the breadth of the temple, in which are tall cylindrical praying-machines. The carving round the doors is very beautiful, and they are gaudily painted and gilded. The northern temple is quite plain: the middle one is simply painted red, and encircled with a row of black heads, with goggle eyes and numerous teeth, on a white ground; it is said to have been originally dedicated to the evil spirits of the Lepcha creed. The southern, which contains the library, is the largest and best, and is of an irregular square shape. The inside walls and floors are plastered with clay, and painted with allegorical representations of Boodh, etc. From the vestibule the principal apartment is entered by broad folding-doors, studded with circular copper bosses, and turning on iron hinges. It is lighted by latticed windows, sometimes protected outside by a bamboo screen. Owing to the great thickness of the walls (three to four feet), a very feeble light is admitted. In the principal temple, called “Dugang,” six hexagonal wooden columns, narrowed above, with peculiar broad transverse capitals, exquisitely gilded and painted, support the cross-beams of the roof, which are likewise beautifully ornamented. Sometimes a curly-maned gilt lion is placed over a column, and it is always furnished with a black bushy tail: squares, diamonds, dragons, and groups of flowers, vermilion, green, gold, azure, and white, are dispersed with great artistic taste over all the beams; the heavier masses of colour being separated by fine white lines.
[102] Timkowski, in his travels through Mongolia (i. p. 193), says, “According to the rules of Tibetan architecture, temples should face the south:” this is certainly not the rule in Sikkim, nor, so far as I could learn, in Tibet either.
The altars and idols are placed at the opposite end; and two long parallel benches, like cathedral stalls, run down the centre of the building: on these the monks sit at prayer and contemplation, the head Lama occupying a stall (often of very tasteful design) near the altar.
The principal Boodh, or image, is placed behind the altar under a canopy, or behind a silk screen: lesser gods, and gaily dressed and painted effigies of sainted male or female persons are ranged on either side, or placed in niches around the apartment, sometimes with separate altars before them; whilst the walls are more or less covered with paintings of monks in prayer or contemplation. The principal Boodh (Sakya Sing) sits cross-legged, with the left heel up: his left-hand always rests on his thigh, and holds the padmi or lotus and jewel, which is often a mere cup; the right-hand is either raised, with the two forefingers up, or holds the dorje, or rests on the calf of the upturned leg. Sakya has generally curled hair, Lamas have mitres, females various head-dresses; most wear immense ear-rings, and some rosaries. All are placed on rude pediments, so painted as to convey the idea of their rising out of the petals of the pink, purple, or white lotus. None are in any way disagreeable; on the contrary most have a calm and pleasing expression, suggestive of contemplation.