Opposite to the throne of the Dalai Lāma, on the right of the niche, is the chair of the Regent, which is less elevated than the thrones of the Avatāra Lāmas. Behind are the seats of the four ministers, which again are less elevated than those of the non-Avatāra Lāmas. At the west end of the niche is the high altar, which rises in numerous steps. On the upper steps are small images of deified saints, in massive gold or silver. On the lower ones, as on all Buddhist altars, are lamps, incense-holders, bowls for offerings, etc. On the highest elevation, behind silver and golden lattice-work, is the celebrated image of Gautama Buddha richly gilded. This image is said to have been constructed in Magadha during the lifetime of the Buddha. Others hold it to be self-produced; and another tradition ascribes its origin to the god Viṡva-karma, who, instructed by Indra, constructed it with equal parts of five metals and five precious stones. Besides this highest object of worship, the temple contains countless images and pictures of Buddhas and Bodhi-sattvas (such as Dīpaṃkara, Amitābha, Maitreya, the eleven-faced Avalokiteṡvara, Mañju-ṡrī, etc.), besides gods and goddesses[242], and historical personages, such as Tsong Khapa, who have benefited the Lāmistic church (among them being a statue of Hiouen Thsang), as well as relics, and gold and silver vessels, which are exhibited every year at the beginning of the third month.
Mr. Sarat Chandra Dās, who, in his ‘Narrative,’ records his visit to the great Lhāssa temple, informs us that when he was there, five thousand oil-burners were lighted in the court of the temple, and those before the principal image were all of gold. He found some of the subordinate chapels infested by mice, which are never touched, because supposed to be metamorphosed monks. He observed some Buddhists from Nepāl chanting Sanskṛit hymns, and others engaged in circumambulation, while the muttering of Om Maṇi padme Hūm ([p. 372]) was incessant.
Mr. Sarat Chandra Dās also describes a visit he paid to the famous shrine of Ramoćhe, before adverted to (see [p. 441]). I give his description in an abbreviated form:—
Our equipment was as usual a bundle of incense-sticks, clarified butter, and a few scarves. Our road turned westward by the side of a long Mandong (see [p. 380]). I left it to my right-hand side, seeing that to have kept it on my left would have been heretical. A few hundred paces brought us to the gate of the famous temple of Ramoćhe, erected by the wife of King Srong Tsan Gampo, the first Chinese princess who introduced Buddhism into Tibet. It is a lofty edifice, flat-roofed, and three stories high, surrounded by a stone wall, with a high and wide porch. About thirty monks were solemnly seated to perform a religious service, on two sides of a row of pillars which supported the roof. The image brought by the Nepālese princess, lay midway between the pillars. It was grand-looking; and, though its face was gilded, its antiquity was manifest. In the northern lobby of the temple was a vast collection of ancient relics, such as shields, spears, drums, arrows, sabres, long knives, trumpets, etc. In a room to the left of the entrance, enclosed by iron lattice-work, were a few images considered especially sacred. We were also shown a brass mirror, called Melong, said to be possessed of wonderful properties.
The history of the shrine, according to the same traveller, is this:—The princess being thoroughly versed in astrology, found that there was a spot close to the new-built city of Lhāssa which was connected with the lower regions of torment. On that plot of ground she erected the shrine of Ramoćhe, on the chief altar of which she placed the famous statue of Buddha, brought from China. In this way she hoped to intercept the passage (gati) of wicked people to a life in one of the hells (see [p. 121]). Whoever, at the time of death, was brought to this sanctuary, could only be born again in the worlds of either men or gods.
Finally we come to the temple at the second great Metropolis of Buddhism:—
Mr. Bogle (Markham’s Tibet, p. 100) describes the temple in the monastery at Tashi Lunpo as simply a long room or gallery containing thirteen gigantic figures made of copper gilt, all in a sedent attitude, with their legs folded under them. He found them all draped, with jewelled crowns and necklaces of coral, pearls, and other stones. The thrones on which they sat were also of copper gilt, and adorned with turquoises and cornelians. Behind them were a variety of conch-shells, set in silver, ostrich-eggs, cocoa-nuts, and other articles. At each end of the gallery was a large collection of books deposited in pigeon-holes. Mr. Bogle was present when the Tashi Lāma himself entered the temple, and, as he passed along, sprinkled rice upon the images. This was a kind of consecration-ceremony.
As an instance of the tolerant character of Buddhism and its readiness to accommodate itself to the indigenous creeds of the countries into which it was introduced, we may note, in conclusion, that in Japan may be seen Buddhist and Shinto temples side by side or even occasionally combined in one building. Buddhism in fact adopted Shintoism in Japan just as it adopted Shamanism in Tibet. It took the deities and demi-gods of Shintoism and turned them into Bodhi-sattvas[243].
The subject of Monasteries and Temples naturally leads us to that of images and image-worship; but this and the whole subject of ‘Sacred Objects’ must be reserved for the next two Lectures.