1908-Shifa Hussain- Electives (1).pdf

1908-Shifa Hussain- Electives (1).pdf

• 1.
  INTANGIBLE CULTURAL HERITAGE:BUDDHIST CHANTING OF LADAKH THE BUDDHIST PRIESTS (LAMAS) OF LADAKH RESIDE IN THE MONASTERIES (GOMPAS) DISTRIBUTED OVER THE COLD AND ARID TRANS-HIMALYAN REGIONS OF INDIA AND CHINA.IN THESE MONASTERIES THEY PRACTICE CHANTING RITUALS/RECITATIONS SACRED BUDDHIST TEXTS.CHANTINGS ARE COMMUNAL AND ARE PERFORMED IN HALLS, COURTYARDS OR PRIVATE HOUSES. THE SPIRITUAL MANTRAS ARE MEANT TO WRATH OFF EVIL SPIRITS, PURIFY THE MIND, AND ESTABLISH MORALITY AND PEACE AMONGST THE PEOPLE AND THEIR ENVIRONMENT. THE RITUALS ARE ASSOCIATED WITH SIGNIFICANT SPIRITUAL, LITERARY, HISTORIC,GEOGRAPHIC, RELIGIOUS, CULTURAL,SOCIAL, FUNCTIONAL,AESTHETIC,ARTISTIC,ARCHITECTURAL,ECONOMIC AND UNIVERSAL VALUE. MONKS PERFORMING CHANTS SEVERAL INSTRUMENTS ARE USED IN COMPLETING THE RITUAL RELIGIOUS: THE CHANTINGS ARE EXPRESSIONS OF THE PHILOSOPHIES AND TEACHINGS OF BUDDHA. BUDDHA’S DISCIPLES AND HIS VARIOUS FORMS ARE ALSO WORSHIPPED TO INVOKE THEIR BLESSINGS. THE FOLLOWERS OF BUDDHISM (MAHAYANA AND VAJRAYANA) ARE FURTHER CLASSIFIED INTO FOUR SECTS. EACH SECT HAS ITS OWN SET OF RITUALS. RED HATS NYNGMA SECT YELLOW HATS MATHO MONASTERY, LADAKH NAME-SHIFA HUSSAIN ROLL NO-1908 CLASS-SEMESTER 6 SUBJECT-URBAN CONSERVATION GELUP SECT KAGYUD SECT SAKYA SECT BUDDHIST MANUSCRIPTS EDUCATIONAL/LITERARY: 1)THESE RITUALS ARE PRACTISED DAILY.SENIOR PRACTITIONERS RIGOUSLY TRAIN FOLLOWERS TO PERFORM THE RITUALS CORRECTLY WHICH REQUIRES SEVERAL YEARS OF VOICE MODULATION AND MEMORIZATION. 2)THE TEXTS USED ARE THE BUDDHIST TRIPITAKAS WRITTEN IN PALI/SANKSRIT AND ARE EXCLUSIVELY TAUGHT BY THE MONKS AS SACRED KNOWLEDGE. YOUNG MONKS DURING SERMONS MONKS BLOWING THE GYALING FLUTE DURING A CHANT IN SPITUK MONASTERY
• 2.
  NAME-SHIFA HUSSAIN ROLL NO-1908 CLASS-SEMESTER6 SUBJECT-URBAN CONSERVATION CONTEXT: -THE BUDDHIST PRACTICE WAS INSCRIBED IN THE UNESCO LIST OF INTANGIBLE CULTURAL HERITAGE IN 2012 AND HAS GAINED NATIONAL IMPORTANCE. -THE MODERN GENERATION IS INTERESTED IN MAINTAINING CONTIUITY IN TERMS OF HERITAGE AND DEVISING PROGRESSIVE AND RESOURCEFUL APPROACHES FOR THE COEXISTENCE OF THE OLD AND NEW. -IT IS NECESSARY TO ANALYSE SUCH CONSERVATION PRACTICES AND THEIR IMPACT IN ACHIEVING THE RESTORATION OF THE COMMUNITY. -THE CONSERVATION OF THE PRACTICE IS BENEFICIAL FOR THE BALANCE OF THE ENVIRONMENT. SCROLL PAINTING DEPICTING VAIRCONA FORM OF BUDDHA, MATHO MONASTERY ARTISTIC AND CULTURAL: 1)THE CHANTS ARE A FORM OF ORCHESTRATED MUSICAL DRAMA. IT MAKES USE OF SEVERAL KINDS OF MUSICAL INSTRUMENTS,VOCAL RANGES, NARRATIVES AND SYMBOLISM. 2)THE MONASTERIES HAVE RICHLY ASSEMBLED INTERIORS WITH VARIOUS TYPES OF PAINTINGS ON WALLS, FURNITURE AND SCROLLS. THE SCROLL PAINTINGS (THANGKPA) ARE PARTICULARLY RECOGNIZED. 3) SCULPTURES AND IDOLS- CLAY PAINTED SCULPTURES AND IDOLS ARE USED AS EMBODIMENTS OF HOLY SPIRITS. 4)THE MONKS DRESS IN PLAIN IDENTICAL COSTUMES BASED ON THEIR SECT. FOR SPECIAL CERMONIES THEY MAY DRESS UP IN SILK ROBES, COPPER MASKS AND SPECIAL SHOES. 5)POSTURES-THE PRACTIITONERS SIT UPRIGHT IN A PADMASANA POSTURE AND MAY USE SEVERAL HAND GESTURES (MUDRAS) IN THE CEREMONY. MONKS DURING THE RIGMACHUTUK CHANTING IN HEMIS MONASTERY HEMIS MONASTERY- THE STRUCTURES EXIST WITHIN THE LANDSCAPE OR IN CLOSE PROXIMITY TO IT CARVED FURNITURE, LAYAMURU TEMPLE
• 3.
  THE PROCESS ANDTHE TANGIBLES MAIN RITUAL:SHARGANGRIMA CHANTING SECT:GELUK SECT SIGNIFICANCE: EULOGY DEDICATED TO THE FOUNDER,JE TSONGKHAPA,WHO IS WORSHIPPED AS A SECOND BUDDHA. THE PRACTICE: THE MONKS ASSEMBLE IN A HALL WHERE THEY SIT IN ROWS AND RECITE VERSES. THE RECITAL IS CARRIED OUT IN UNISON IN A SPIRITUAL DISCIPLINE. THE CHANTING SETTLES THE MIND TO ENTER MEDITATION. NAME-SHIFA HUSSAIN ROLL NO-1908 CLASS-SEMESTER 6 SUBJECT-URBAN CONSERVATION -THE MONASTERY COMPLEX IS LOCATED ON A HILL SLOPE AND THE BUILDINGS ARE ARRANGED IN ASCENDING ORDER OF IMPORTANCE. -THE BUILDINGS ARE PAINTED YELLOW AND RED TO SYMBOLIZE THE MONASTIC ORDER AND INDICATE THEIR FUNCTION. THE MONASTERY: THIKSEY MONASTERY THE INTERIORS OF A HALL WHERE MONKS ASSEMBLE TO PRAY. THE MONASTERY COURTYARD THE MONASTERY COMPLEX WALL PAINTINGS: MAITREYA BUDDHA STATUE: TOURISM: -THE THIKSEY MONASTERY IS OPEN FOR TOURISTS BETWEEN 6AM-6PM -THE ENTRY FEE IS AROUND RS.30 -TOURISTS CAN VISIT THE TEMPLES INSIDE THE MAIN COMPLEX WHICH INCLUDE:MAIN PRAYER HALL MAHAKALA TEMPLE,PALDEN LHAMO TEMPL,MAITREYA TEMPLE,TARA TEMPLE,GOLD AND SILVER STUPA TEMPLE AND THE MUSEUM. THE WALLS OF THE TEMPLES AND PASSAGES ARE INTRICATELY PAINTED WITH DIFFERENT THEMES AROUND THE PHILOSOPHIES OF LIFE AND BUDDHA’S TEACHINGS. FRESCOES OF THE THIKSEY RINPOCHE LINEAGE BHAVACAKRA SOUTH FAÇADE OF THE RINPOCHE QUARTERS -THE WALL AT THE ENTRANCE TO THE MAIN PRAYER HALL HAS A PAINTING OF THE BHAVACAKRA/WHEEL OF LIFE. -THE PURPOSE OF THE DEPICTION IS TO REMIND THE PEOPLE THAT EARTHLY TIES NEED TO BE OVERCOME IN ORDER TO ATTAIN NIRVANA. -THE MAITREYA (FUTURE) BUDDHA STATUE IS 15 M TALL. -IT WAS MADE BY ARTISTS FROM THE CENTRAL INSTITUTE OF BUDDHIST STUDIES AND TOOK FOUR YEARS TO BUILD. -IT IS BUILT IN CLAY, GOLD PAINT AND COPPER. -BUDDHA IS SHOWN SITTING IN A LOTUS POSITION AND SMILING. -HIS HEAD IS COVERED IN A BEAUTIFULLY DECORATED CROWN AND HE IS DRESSED IN A BLUE ANGAVSTARAM WITH PRECIOUS STONES. -HE IS DEPICTED BLESSING THE PEOPLE WHO WORSHIP HIM. MURAL PAINTNGS IN A PASSAGE WALL PAINTING OF JE TSONGKHAPA
• 4.
  SPITUK MONASTERY RITUAL:NASTHAN PHYAGDZOD SECT:GELUKSECT SIGNIFICANCE: PRAYERS FOR THE 16 DISCIPLES OF BUDDHA. THE PRACTICE: THE CHANTING IS MORE LIVELY AND TAKES PLACE IN A HALL. EACH NEW STANZA IS ACCOMPANIED WITH THE USE OF BELLS, GYALING FLUTES,DRUMS AND CYMBALS.THE CHANTING IS DONE IN A RHYTHYMIC SEQUENCE. MONKS ALSO GO FROM HOUSE TO HOUSE UPON INVITATION TO PURIFY THOSE SPACES. NAME-SHIFA HUSSAIN ROLL NO-1908 CLASS-SEMESTER 6 SUBJECT-URBAN CONSERVATION INSIDE SPITUK MONASTERY DRUM USED DURING THE RITUAL MATHO MONASTERY PHYANG MONASTERY MONKS PERFORMING THE CHOD RITUAL INTERIORS OF PHYANG MONASTERY RITUAL: KUNRIG CHNATING SECT:GELUK AND SHAKYA SECT SIGNIFICANCE: CONNECTING SELF TO THE UNIVERSE. THE PRACTICE: THE PRACTICE INVOLVES THE USE OF VARIOUS HAND GESTURES (MUDRAS) AND CREATING A RHYTHYM BY SNAPPING. THE MONKS VISUALISE THEMSELVES TO BE CELESTIAL BEINGS SURROUNDED BY OTHER BODHISATTVAS AROUND THEM. RITUAL:CHOD CHANTING SECT:- SIGNIFICANCE: PRIVATE CHANTING PERFORMED IN CEMETERIES TO SEPARATE THE SOUL OF THE DEAD FROM THEIR BODY. THE PRACTICE: THE RITUAL INVOLVES THE USE OF BELLS AND HAND DRUMS. IT IS PERFORMED BY SELECTED MONKS AND REUIWRE SGREAT CONCENTRATION.
• 5.
  THREATS: NAME-SHIFA HUSSAIN ROLL NO-1908 CLASS-SEMESTER6 SUBJECT-URBAN CONSERVATION EXTERNAL 1.TOURISM- THE FOOTFALL IN LADAKH HAS INCREASED EXPONENTIALLY SINCE 1974. -THE NOISE AND DISTURBANCES FROM VEHICLES HAS CHANGED THE TRANQUIL NATURE OF THE LANDSCAPE. -THE SPIRITUAL SPACES NOW HAVE A PRICE ATTACHED TO THEM IN THE FORM OF ENTRY FEES WHICH IS MAKING THEM RUDIMENTARY. THE NEGATIVE IMPACTS OF INCREASED TOURISM INCLUDE: -DEPLETION OF SCARCE RESOURCES LIKE WATER. -POLLUTION CAUSED DUE TO MOTOR VEHICLES. -DISPOSAL OF NON-DEGRADABLE WASTE ON SITE -INCREASED DEPENDENCY OF THE ECONOMY ON TOURISM, WITH THE PROFITS BEING USED FOR EXPANDING THE TOURIST SECTOR. -VANDALISM OF HERITAGE PROPERTY -THEFT OF RELIGIOUS OFFERING AND ITEMS FROM MONASTERIES/TEMPLES. 2.MODERNIZATION- -A SHIFT TOWARDS MODERN REQUIREMENTS HAS LED TO NEGLECT TOWARDS HERITAGE STRUCTURES AS THEY ARE NOW SEEN AS OLD-FASHIONED. -OLDER MATERIALS LIKE MUD,PLASTER,WOOD AND BRICK ARE NO LONGER USED FOR CONSTRUCTION WHICH IS DETRIMENTAL TO THE ENVIRONMENT. -REPLACEMENT OF TRADITIONAL MATERIALS HAS LEAD TO REDUCED ANTIQUITY AND ESSENCE OF THE SPACE. EG.USING METAL TRUNKS INSTEAD OF WOODEN TRUNKS TO STORE SCROLLS ACCELERATE THEIR DETERORIATION PROCESS. 4.CLIMATE CHANGE- -MELTING OF GLACIERS IN THE PAST HAVE RESULTED IN FLOODS, MUDSLIDES AND WASHING AWAY OF BUILDINGS. IN AUAGUST 2010, HEAVY RAINFALL CAUSED WIDESPREAD DAMAGE. - THE MELTING OF GLACIERS IN THE HIMALYAN AND KARAKORAM RANGES IN THE FUTURE POSE A THREAT TO THE STRUCTURES. 3.NATURAL WEATHERING/DECAY- --EXCESSIVE RAINFALL LEADS TO WATER SEEPAGE INSIDE STRUCTURES AND CAUSES DAMAGE TO THE STRUCTURE AND THE OBJECTS INSIDE.TRADTIONAL MATERIALS ARE SUSCEPTIBLE TO LIQUID INFILTRATION. -TIMBER ROOFS DEVELOP CRACKS DUE TO THERMAL DIFFERENCES. STRUCTURAL DAMAGE IN CHAM CHUNG TEMPLE DUE TO WATER SEEPAGE TOURISTS GATHRED IN MATHO MONASTERY DURING THE ANNUAL FESTIVAL WALL PAINTINGS IN THIKSEY MONASTERY AFFECTED DUE TO NATURAL ELEMENTS VEHICLES PARKED OUTSIDE MATHO MONASTERY
• 6.
  NAME-SHIFA HUSSAIN ROLL NO-1908 CLASS-SEMESTER6 SUBJECT-URBAN CONSERVATION INTERNAL 1.ORTHODOX BELIEFS- -THE LOCALS ARE APPREHENSIVE OF OUTSIDERS ENTERING THE SACRED SPACES. THIS MAKES PRACTICING CONSERVATION MEASURES DIFFICULT. THE HEMIR AND LIKIR MONASTERIES HAVE REFUSED THE AUTHORITIES FROM UNDERTAKING CONSERVATION OR DOCUMENTATION. -INVOLVING INEXPERIENCED MASONS IN THE CONSERVATION PROCESS DAMAGES THE STRUCTURES. -NEW STRUCTURES ARE CONSIDERED LESS SACRED DUE TO THEIR TECHNIQUE OF CONSTRUCTION AND BECAUSE OLDER STRUCTURE ARE SAID TO HAVE COLLECTED MORE BLESSINGS. THEREFORE, ONLY PARTICULAR STRUCTURES ARE CONSIDERED FOR CONSERVATION. -THE HERITAGE VALUE OF PAINTINGS,OBJECTS AND TEXTS ARE GIVEN LESS IMPORTANCE COMPARED TO ITS SPIRITUAL VALUE WHICH REDUCES ITS NECESSITY FOR CONSERVATION IF THEY ARE BROKEN,TORN,DAMAGED,LOST,ETC. 2.RELIGIOUS PRACTICES- - BURNING OF OIL LAMPS AND INCENSE DURING THE PRAYERS LEADS TO COLLECTION OF SOOT ON THE WALLS, ARTIFACTS AND PAINTINGS. -THE PLACEMENT OF TORMAS (OFFERINGS MADE FROM FLOUR AND BUTTER) ATTRACT PESTS AND MICROORGANISMS WHICH AFFECT THE OBJECTS PLACED AROUND THEM. 5.SOCIO-ECONOMIC- -CHANGES IN THE LIVING STANDARDS OF THE PEOPLE IN THE SURROUNDING AREAS WILL LEAD TO LESSER PEOPLE ADOPTING A MONASTERY LIFESTYLE. -THE SHIFT OF THE SELF-RELIANT RURAL ECONOMY OF LADAKH TOWARDS A TOURISM BASED ECONOMY MEANS THAT ONLY TOURISM IS THE BASIS FOR CONSERVATION INSTEAD OF THE VALUE OF THE STRUCTURE. -THE MONASTERIES ARE CURRENTLY FUNDED BY NGOS AND BY THE OFFERINGS OF VISITORS. -LESSER INVESTORS IN THE CONSERVATION OF THESE STRUCTURES MAY LEAD TO THEIR DECLINE. BURNING OF LAMPS LEAVES SOOT ON WALLS TORMA OFFERINGS PLACED NEXT TO A DIETY IN LAMAYURU TEMPLE NOVICE MONKS,LAYAMURU TEMPLE MONKS GATHERED FOR A CEREMONY, LAYAMURU TEMPLE
• 7.
  NAME-SHIFA HUSSAIN ROLL NO-1908 CLASS-SEMESTER6 SUBJECT-URBAN CONSERVATION INTERVENTIONS: CONSERVATION IDEOLOGY- CHANGING IDEAS- -THE VALUE ASSESSMENT OF STRUCTURES DEFINE THEIR IMPORTANCE AS LIVING CULTURAL HERITAGE AND CONSERVATION IS BASED ON THEIR FUNCTION INSTEAD OF THEIR MATERIALS. THE VALUE BASED APPROACH REQUIRES COMMUNITY DECISIONS. -AWARENESS IS BEING GENERATED AMONGST LOCAL COMMUNITIES TO PERCIEVE THE GLOBAL IMPORTANCE OF THESE SPACES. ROLE OF THE PEOPLE- ORGANIZATIONS AND GROUPS- NATIONAL AND INTERNATIONAL ORGANIZATIONSAND GROUPS APPROACH INDIVIDUAL MONASTERIES TO INITATIATE PROJECTS WITH FUNDING FROM EXTERNAL SOURCES.THE LOCAL STAKEHOLDERS AN MONKS ALSO NEED TO DECIDE THESE INITITATIVES WHICH ARE EXECUTED BY CONSERVATIONISTS, ARCHITECTS AND HERITAGE PRACTIITONERS. LEAVING OUT THE LOCALS FROM THE DECISION PROCESS LEADS TO CONFLICTS. INITIATIVES AND STRATEGIES- 1)IGNCA (INDHIRA GANDHI NATIONAL CENTRE FOR ARTS)- - THE IGNCA,UNDER THE MINISTRY OF CULTURE IS ACTIVELY INVOLVED IN THE HERITAGE CONSERVATION OF BUDDHIST SITES. THE MEASURES UNDERTAKEN BY THEM INCLUDE SETTING UP OF A LABORATORY FOR THANGKA AND MANUSCRIPT MATERIALS TO PRESERVE THE TRADITIONS OF WALL AND MURAL PAINTING. - 10 THANGKAS FROM SABOO AND DIKSIT MONASTERY WERE RESTORED. - LOCALS WERE TRAINED IN THE CRAFT. - SIGNED A MOU WITH THE CENTRAL INSTITUE OF BUDDHIST STUDIES FOR EXPLORATION AND RESEARCH. - CONSERVATIONS WORKS WERE COMPLETED IN KARSHA MONASTERY, MAITREYA TEMPLE,GONKHANG THIKSEY MONASTERIES. 2)ASI (ARCHAELOGICAL SURVEY OF INDIA)- - RESTORATION OF THE OLD MONASTERIES IN LADAKH, INCLUDING THE THIKSEY MONASTERY, IS BEING CARRIED OUT BY THE ARCHAELOGICAL SURVEY OF INDIA, AT THE REQUEST OF THE CONCEREND MONASTERY ADMINISTRATION. - THE ASI REGULARLY ATTENDS THE CONSERVATION WORK OF MURAL PAINTINGS AND FOLK PAINTINGS IN THE CONSERVATION WORK OF THE ASI, DUE TO WHICH THEY ARE IN GOOD PRESERVATION. IMPLICATIONS- -LONGER LIFESPANS OF STRUCTURES. -MORE STRUCTURES NOT REQUIRED. -RECREATION OF PAST ATMOSPHERES AND PURSUATION OF INTANGIBLE PRACTICES. -INCREASED AWARENESS AND INTEREST AMONGST PEOPLE. -LOSS OF A SENSE OF ANTIQUITY -REDUCED ORIGINALITY. -DEPENDENCY ON THE AUTHORITIES FOR RE-RESTORATION. -BREAKING INTO THE SACRED SPACE LEADING TO STANDARDIZATION. -CONFLICT WITH THE LOCALS/MONKS OVER THE EXTENT OF CONSERVATION. INTERVENTION INTO THE SPIRITUAL SPACES CAN BE BENEFICIAL ONLY IF CARRIED OUT WITH MULTIPLE ASPECTS TAKEN INTO CONSIDERATION. THE PARTICIPATION AND OPINIONS OF THE PEOPLE CAN HELP ORIENT THESE VIEWS MEANINGFULLY. st