Special features of the 29^th Kagyu International Monlam: at the Monlam Pavilion

 

A new location

Because of the rising temperature in Bihar at this time of year, the 29^th Kagyu Monlam was moved from the Mahabodhi stupa grounds to the Monlam Pavilion forcing a rapid creative adaptation of previous arrangements .

The main body of the pavilion is basically a domed bamboo construction, supported by bamboo columns , with an outer covering of bright blue pvc. The arch over the Monlam Stage is a steel construction. The interior is swathed in blue and white cloth and decorated with rosettes. The sides are open though there is an awning which protects against the sun. The seating areas, delineated by a green felt covering, have a section of comfortable armchairs for high rinpoches during performances and some ceremonies, cushions and mattresses in the areas designated for monks, nuns and VIPs, and  plastic chairs at the back for those who are elderly or disabled. The walkways and central aisle are covered in red felt.  In addition there are designated areas on the lefthand side for the translators, technical support, webcast crew, and Kagyu Monlam publicity team who write the reports on all events.

The overall impression inside the pavilion is one of light airiness and coolness, enhanced by the slight blue tinge cast by the blue cloth and blue pvc outer covering.

It can seat 8000 people comfortably, 10 000 if necessary.

 

The backdrop to the Monlam stage

Last year’s niche for the golden Buddha image has been replaced by an amazing backdrop of Ghang Rinpoche, the Tibetan name for Mt Kailash, revered alike by Tibetans and Hindus; by Tibetans as Mt Meru, the navel of the world, and by Hindus as the abode of the god Shiva. 

Painted by Dr Dawa, a skilled illustrator as well as Tibetan doctor, formerly director of the Tibetan Medical-astrological  Institute in Dharamsala, the mountain rises like a stronghold out of grassy green meadows, drawing the eye upward to a blue sky with wisps of white cloud. The mountain itself is cloaked in fresh snow, and careful use of shadow creates an impression of solidity and three-dimensionality.

 

The altars

There are two altars, to left and right of the life-like images of the First Karmapa Dusum Khyenpa and the Sixteenth Karmapa Rigpe Dorje. Each altar has three tiers. The top tiers each hold four torma, capped with golden parasols (See separate feature article).  The middle and lower tiers display traditional Korean offerings:  cylindrical arrangements of nuts, sweets and dried fruit, and pyramids of fresh fruit.

In front of the Buddha image, there is a third altar for the daily offerings of light and water.

Two additional altars were added for the long life offering ceremonies for H.E. Tai Situ Rinpoche and H.E. Gyaltsap Rinpoche, to hold eight special tormas created for that occasion. (See separate feature.)

 

The flower arrangements

Spectacular bouquets of large red and yellow roses and huge white chrysanthemums line either side of the central staircase on the Monlam stage. Specially prepared by a group of Taiwanese women, the bouquets are based on an original flower arrangement created by the Gyalwang Karmapa himself.  His Holiness has been a frequent visitor to their backstage work-area, not just watching but enthusiastically joining in with the flower arranging whilst chatting away with them in Chinese.  The flowers themselves, though mainly artificial, are of the highest quality and convincingly lifelike. Arrangements of fresh flowers decorate the tables of His Holiness, Jamgon Kongtrul Rinpoche and Gyaltsap Rinpoche.

The base of the stage is cloaked by pots of foliage plants – also artificial.

 

The appliqué thangka exhibition 

A unique feature of this year’s Losar commemoration was the unfurling of a huge brocade, appliqué thangka  of Shakyamuni Buddha. The master tailor who made the thangka, Tenzin Gyaltsen, mounted an exhibition of appliqué thangkas at the Monlam Pavilion, for viewing during the Monlam.

Tenzin Gyaltsen was the last student to complete his training under Namsay-chenmo Gyalten Namgyal. Gyalten Namgyal himself was the last master in an unbroken line dating back to the time of the Great Fifth Dalai Lama, who established the Zojungkhang [Arts and Crafts Centre] in Lhasa, Tibet, in order to revive and preserve traditional Tibetan Arts and Crafts. The late Gyalten Namgyal was master tailor to both the Thirteenth and Fourteenth Dalai Lamas.

The thangkas on display include ones of Shakyamuni Buddha, Medicine Buddha, Green Tara, Four-armed Chenrezig, White Tara and a unique red and black thangka of Guru Rinpoche. This thangka illustrates the innovative aspect of Tenzin Gyaltsen’s work.

“There had not been much development or variation in the appliqué thangka tradition,” he explained. “Red and black thangkas already existed in the painted thangka tradition, but there was a gap in the appliqué thangka tradition. To fill that gap I struggled for twenty-five years and eventually succeeded in making various kinds of appliqué thangka of high quality.”

When signing the visitor’s book, His Holiness wrote,

“I strongly appreciate how the Tibetan art of appliqué thangka has not declined but has been preserved; this is a great achievement”

 

Report by Jo Gibson, photos taken by Karma Lekcho, Filip Wolak, Liao Guo Ming, Palten Nyima