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.
Illustration—MIDDLE TEMPLE.
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.
Illustration—ALTAR AND IMAGES.
Central figure Akshobya, the first of the Pancha Boodha.
The great or south temple contained a side altar of very elegant shape, placed before an image encircled by a glory. Flowers, juniper, peacock's feathers, pastiles, and rows of brass cups of water were the chief ornaments of the altars, besides the instruments I have elsewhere enumerated. In this temple was the library, containing several hundred books, in pigeon-holes, placed in recesses.* [For a particular account of the images and decorations of these temples, sea Dr. Campbell's paper in "Bengal Asiatic Society's Trans.," May, 1849. The principal object of veneration amongst the Ningma or red sect of Boodhists in Sikkim and Bhotan is Gorucknath, who is always represented sitting cross-legged, holding the dorje in one hand, which is raised; whilst the left rests in the lap and holds a cup with a jewel in it. The left arm supports a trident, whose staff pierces three sculls (a symbol of Shiva), a rosary hangs round his neck, and he wears a red mitre with a lunar crescent and sun in front.]
Illustration—PLAN OF THE SOUTH TEMPLE. A. entrance; B. four praying cylinders; C. altar, with seven brass cups of water; D. four columns; E. and F. images; G. library.
The effect on entering these cold and gloomy temples is very impressive; the Dugang in particular is exquisitely ornamented and painted, and the vista from the vestibule to the principal idol, of carved and coloured pillars and beams, is very picturesque. Within, the general arrangement of the colours and gilding is felt to be harmonious and pleasing, especially from the introduction of slender white streaks between the contrasting masses of colour, as adopted in the Great Exhibition building of 1851. It is also well worthy of remark that the brightest colours are often used in broad masses, and when so, are always arranged chromatically, in the sequence of the rainbow's hues, and are hence never displeasing to the eye. The hues, though bright, are subdued by the imperfect light: the countenances of the images are all calm, and their expression solemn. Whichever way you turn, the eye is met by some beautiful specimen of colouring or carving, or some object of veneration. The effect is much heightened by the incense of juniper and sweet-smelling herbs which the priests burn on entering, by their grave and decorous conduct, and by the feeling of respect that is demanded by a religion which theoretically inculcates and adores virtue in the abstract, and those only amongst men who practise virtue. To the idol itself the Boodhist attaches no real importance; it is an object of reverence, not of worship, and no virtue or attribute belong to it per se; it is a symbol of the creed, and the adoration is paid to the holy man whom it represents.
Beyond the temples are the chaits and mendongs, scattered without much order; and I counted nearly twenty-five chaits of the same form,* [In Sikkim the form of the cube alone is always strictly preserved; that of the pyramid and hemisphere being often much modified. The cube stands on a flight of usually three steps, and is surmounted by a low pyramid of five steps; on this is placed a swelling, urn-shaped body, which represents the hemisphere, and is surmounted by another cube. On the latter is a slender, round or angled spire (represented by a pyramid in Burma), crowned with a crescent and disc, or sun, in moon. Generally, the whole is of stone, with the exception of the spire, which is of wood, painted red.] between eight and thirty feet high. The largest is consecrated to the memory of the Rajah's eldest son, who, however, is not buried here. A group of these structures is, as I have often remarked, extremely picturesque, and those at Tassiding, from their number, variety, and size, their commanding and romantic position, and their being interspersed with weeping cypresses, are particularly so.
The Tassiding temples and convents were founded upwards of 300 years ago, by the Lamas who accompanied the first Rajah to Sikkim; and they have been continuously served by Lamas of great sanctity, many of whom have been educated at Lhassa. They were formerly very wealthy, but during the Nepal war they were plundered of all their treasures, their silver gongs and bells, their best idols, dorjes, and manis, and stripped of their ornaments; since which time Pemiongchi has been more popular. In proof of their antiquity, it was pointed out that most of the symbols and decorations were those of pure Lama Boodhism, as practised in Tibet.
Although the elevation is but 4,840 feet, the weather was cold and raw, with rain at noon, followed by thunder and lightning. These electrical disturbances are frequent about midsummer and midwinter, prevailing over many parts of India.