国立情報学研究所 - ディジタル・シルクロード・プロジェクト
『東洋文庫所蔵』貴重書デジタルアーカイブ

Lamayuru rock. There we were shown a hall which reminded me strongly of Rin-chen-
bzang-po's temples, especially the stucco images on the walls, which were of a style similar
to those at Tabo. The entrance is towards the east. The principal image is that of 'aJam-
dhyangs (Mañju-ghōsha). On his right we find the blue Tārā, and on his left, the yellow
Tārā. The figure above the blue Tārā is said to represent Thse-dpag-med (Amitāyus), but
the identity of the figure above the yellow Tārā cannot now be established. Garuda is
placed above the whole group of images. Below it is a stone pedestal showing well
carved relievos of elephants and lions. The frescoes in this hall are far gone and most of
them can no longer be identified. I noticed a picture of a divinity with very many arms,
and another fresco apparently representing the 'Wheel of Life' (Srid-pai-'akhor-lo) show-
ing in its better preserved parts the torments of hell, and the gods fighting the Asuras.
The lama who had taken us to this temple, said that, according to an inscription in the
bCu-gcig-zhal temple at Wanla, the following four temples date from one and the same
time, called the bKā-gdams-pa time: (1) the Seng-ge-sgang temple of Lamayuru, (2) the
bCu-gcig-zhal temple at Wanla, (3) the ruined temple of Chigtan, (4) the Lha-beu-rtse-
lha-khang temple at Khanji. As regards the bKā-gdams-pa time, this expression seems
to indicate the times of the great teacher 'aBrom-ston, the founder of the bKā-gdams-pa
sect, who lived in the 11th century. This statement is quite in agreement with the
general appearance of the Seng-ge-sgang temple. I had sent a man to the famous
bCu-gcig-zhal temple of Wanla to copy any ancient inscriptions, he could discover
in it. He evidently did not find that of the bKa-gdams-pa times mentioned by
the lama, for what he brought me, was one of the Muhammadan period, as is
evident from the occurrence of Moslem names in it. In a side chapel of the Seng-ge-
sgang temple, there are three large images of terrible appearance, similar to those which
we found in the mGon-khang at Leh. A female figure riding on a mule, is called
dPal-ldan-lha-mo (Śrī Devī); and a male figure seated on a man, mGon-po (Mahā-
kāla). The two remaining figures I cannot define, although the name of one of them
was said to be Abchi.

Below the monastery of Lamayuru there is an ancient shrine which appears to be
the old Bon-po temple. The roof is almost gone, and for this reason the frescoes on the
walls have suffered badly. The door was also in the wall towards the east. All the
divinities painted on the walls of this hall are of Buddhist type; but their complexion is
either blue or black, and their dress is red. These pictures seem to represent Nāgas,
similar to those we saw at Ubshi and Alchi. Those ancient gates with four doors, and
this mysterious temple at Lamayuru are apparently all of Bon-po origin; but they were
erected in the days when the Bon-po religion was largely influenced by Buddhism and
Hinduism. Although a good number of pictures of Buddha-shaped figures have been
preserved in this ruined temple, I could not discover a single one with a white, yellow,
or red complexion. But there were several female figures of very unusual shape whose
complexion was white. They appeared to wear ear-flaps, like the modern Ladakhi
women, and were depicted on the walls as well as on the ceiling. On the latter were
represented well designed rows of female musicians, alternately white and grey.

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