Long History
The Alchi Choskhor and the surrounding village have been central to my research from an early stage. I first visited the village in Lower Ladakh in 1990, where I met both Rob Linrothe and Jaroslav Poncar. During this first research trip, I also lost all my photographs when my camera malfunctioned. Both the meetings and the camera's failure have defined my research. The former established long-lasting friendships and collaborations, and the latter led to my investment in photographic documentation, on which much of my research is based.
While I continued to visit Alchi regularly, my research on its monuments always depended on the generosity of Jaroslav Poncar and Roger Goepper. First, they provided me with the documentation needed to study the Buddha’s life as depicted in detail on Maitreya’s dhoti in the Alchi Sumtsek. Later, they encouraged me to continue working on the monuments of the Alchi Choskhor to complement the Sumtsek publication.
In 1998, I began collaborating with Holger Neuwirth, which resulted in a much more refined understanding of the complex's development. This cooperation also produced plans for the complex that document the condition of 2003.
But advancing scholarship on the site has been a major challenge. In particular, the Dukhang maṇḍalas needed to be explained using sources likely available at the time. Only by drawing on the Tibetan root texts, the translated Indian commentaries, the religious milieu evident in the Alchi inscriptions, and the murals themselves was it possible to gain a closer understanding of the Alchi depictions. But there is still plenty of work to do.
Dating Alchi
A lot of ink has been spilt concerning the date of the Alchi monuments. One would think that the discovery of new information from the inscription in the Palden Drepung Chörten would bring this discussion to a conclusion. Written by Tsültrim Ö, this text not only fully supports Goepper’s attribution of the Sumtsek to the early 13th century but also corroborates his connection to Drigungpa (1143–1217).
One wonders why the dating of Alchi has been such an issue in scholarship. Local resistance to Goepper’s date is more readily understood, as it may be taken to imply that Alchi was once a Drigung school monument. The Drigung school still has a powerful presence in the region, but Likir Monastery, to which Alchi belongs, adheres to the Géluk (དགེ་ལུགས་) tradition.
I now maintain that crediting early monuments from the pre-Géluk period, including Alchi, to the great translator Rinchen Zangpo (958–1055) was and is a clever way to claim a Géluk heritage for them, as the Géluk school regards itself as his continuation. This understanding is already evident in the Red Temple, or Dukhang Dzamlinggyen, in Tholing, where a triad centred on Rinchen Zangpo to the left of the niche is balanced by a triad with Tsongkhapa (1357–1419), the founder of the Géluk school, at its centre.
Alchi was founded by the Dro (འབྲོ་) family, who also held the abbotship. Thus, although Tsültrim Ö declared his devotion to Drigungpa and may even have built the Sumtsek in his memory, this does not mean the monastery ever became a Drigung monastery. To establish that, further evidence is required.
Related Publications
- Luczanits, Christian, and Jaroslav Poncar, eds. Alchi, Ladakh’s Hidden Buddhist Sanctuary. Chicago: Serindia, 2023.
- Luczanits, Christian. “Alchi at the Threshold of a New Era in Tibetan Buddhist Art. Monumental Manjushri with Mahasiddha-Adorned Robe, Alchi Sumtsek, Ladakh, India, ca. 1220.” In Himalayan Art in 108 Objects, edited by Karl Debreczeny, and Elena Pakhoutova, no. 35, 164-167. New York: Scala, 2023.
- Luczanits, Christian. “From Tabo to Alchi: Revisiting Early Western Himalayan Art.” Orientations 51, no. 5 (2020): 36-47.
- “Alchi Sumtseg Reconsidered.” In Recent Research on Ladakh 2007, edited by John Bray and Nawang Tsering Shakspo. Leh, Ladakh: J&K Academy for Art, Culture & Languages – International Association for Ladakh Studies, 2007: 61–72.
- “Alchi and the Drigungpa School of Tibetan Buddhism: the Teacher Depiction in the Small Chörten at Alchi.” In Mei shou wan nian – Long Life Without End. Festschrift in Honor of Roger Goepper, edited by Jeong-hee Lee-Kalisch, Antje Papist-Matsuo, and Willibald Veit. Frankfurt am Main: Peter Lang, 2006: 181–96.
- “The Early Buddhist Heritage of Ladakh Reconsidered.” In Ladakhi Histories. Local and Regional Perspectives, edited by John Bray, 9. Leiden: Brill, 2005: 65–96.
- “Art-Historical Aspects of Dating Tibetan Art.” In Dating Tibetan Art. Essays on the Possibilities and Impossibilities of Chronology from the Lempertz Symposium, Cologne, edited by Ingrid Kreide-Damani. Contributions to Tibetan Studies, 3. Wiesbaden: Ludwig Reichert Verlag, 2003: 25–57.
Errata: The figure captions mix up the three Cakrasaṃvara thangkas with Figs. 7–9 mislabelled: the caption of Fig. 7 actually refers to the image published as Fig. 9; the caption of Fig. 8 refers to Fig. 7; and the caption of Fig. 9 references Fig. 8.
- “Siddhas, Hierarchs, and Lineages: Three Examples for Dating Tibetan Art.” In Mirror of the Buddha, Early Portraits from Tibet, edited by David Paul Jackson. New York: Rubin Museum of Art, 2011: 170–203, 214.
- “The Life of the Buddha in the Sumtsek.” Orientations 30, no. 1 (1999): 30–39.