Alchi Monastery: The Last Living Atelier Of Kashmir In The Himalaya
( Avtar Mota outside Rubin Museum, New York )
( Inside the Washington Museum ) ( Inside the Louvre Museum, Paris ) ( Inside the MET Museum, New York)
(Alchi Monastery, with the three-storied Sumtsek in the centre, Ladakh, India, photograph by C Luczanits, 1994)
The cultural geography of the Kashmir Valley extending from Verinag in the south to the Kishanganga in the north, including territories presently falling in Pakistan-occupied Kashmir, presents extensive stratified archaeological evidence of a monumental Hindu Buddhist artistic school of immeasurable extent. The material corpus comprises partly erect temple walls in ashlar masonry, articulated foundations and adhishthanas, fragments of stone icons in chloritic schist, broken amalaka and fluted pillars, terracotta tiles with stamped divine and gana images, votive mini stupas, isolated lingas, Buddha padas and much more. The portable corpus has been displaced. While the greater part of metal artefacts, Kashmiri bronzes of the eighth to twelfth centuries renowned for their cold gold work and copper inlay, have entered museums the world over, a substantial and representative number of stone and metal artefacts remain housed in the Sri Pratap Singh Museum, Srinagar, recovered from temple ruins, riverine and agricultural contexts.
Textual Attestation
The textual attestation of this artistic efflorescence is contemporary. Kalhana's Rajatarangini circa eleven forty eight to eleven fifty and the Nilamata Purana sixth to eighth century record a living monumental presence through temples, mathas and chaityas. The Nilamata explicitly enjoins chitra karma, painting and mural decoration, as an integral part of every utsava and religious ritual, indicating the ubiquity of pictorial art. Both texts attest to colossal metallic images of the Buddha at Srinagara and to temples of vast wealth and artistic programme as an empirical reality of that time, not as memory.
The textual record of systematic large-scale destruction of that very corpus appears in chronicles both Sanskrit and Persian. These sources concordantly describe, under the reign of Sultan Sikandar Butshikan thirteen eighty nine to fourteen thirteen and his successors, the destruction of major temples that also served as artistic centres in the valley with the concomitant destruction of frescoes, painted ceilings and walls, stone icons and other artefacts.
Rebirth And Transformation
The Mughal period did witness a rebirth but not of religious manuscript painting in its indigenous sense, rather a transformation into an imperial atelier style. When Akbar and Jahangir annexed Kashmir, they imported Persian masters and reorganised local painters into karkhana workshops reproducing Shahnama, Diwan and other manuscripts. Kashmiri artists, skilled in fine line and natural pigment, adapted Persian arabesque to Himalayan flora, creating a delicate synthesis that flourished on paper rather than temple walls. This was continuity through adaptation, not revival of sacred iconography.
Conversely, the Dogra period under Ranbir Singh, followed by Pratap Singh, saw a conscious rebirth of religious paintings in both the Jammu and Kashmir divisions of the State. The Dogra period saw the rebirth of Pahari and Kashmiri paintings to produce Bhagavad Gita, Ramayana, Mahabharata, Bhagavata Purana, Gita Govinda illustrations, Shaiva Agama scrolls, temple frescoes and portable pata images for shrines. This art returned deities to visual culture after centuries of aniconic dominance, yet it was revivalist and court-directed, lacking the philosophical rigour of ancient Agamic workshops, thus remaining devotional illustration rather than metaphysical embodiment and failing to restore the lost scientific canon of iconometry.
Termination In Situ And Transfer To The Himalaya
After the fourteenth century, the Kashmiri school did not decline technically or aesthetically. It was terminated in situ. Its works were physically annihilated across the Valley from Verinag to Baramulla and beyond, while its living atelier tradition of chitrakaras and rupakaras was transferred. Displaced Kashmiri masters are epigraphically and stylistically documented as active in Guge, Ladakh and Central Tibet in the eleventh to thirteenth centuries. It is precisely because it lay beyond the reach of later iconoclastic campaigns that the Kashmiri idiom survives intact in the Sumtsek at Alchi in its circa twelfth-to-thirteenth-century colossus of Avalokiteshvara with its Pala-derived painted dhoti as the most authentic surviving museum of Kashmiri art. What remains in the Valley today are ruins and spoliated plinths. What remains of the art itself survives in Ladakh, in Tibet, and in museum collections ex situ.
The Sumtsek At Alchi
(
Green Tara inside Alchi monastery)
The Sumtsek temple at Alchi monastery on the Indus preserves the most complete ensemble of Buddhist wall painting to survive from the eleventh and early twelfth century in the western Himalaya. Among its many deities, the image identified as Green Tara, also venerated as Syama Tara and in some ritual contexts as Prajnaparamita, stands apart for its exquisite modelling and for the clarity of its stylistic ancestry. The monastery lies in a fertile reach that was historically a corridor between Kashmir and the kingdom of Guge. Its murals are not Tibetan in invention but are the work of Kashmiri masters who travelled east when Kashmir was at the summit of its artistic and scholastic power centred on Sharada Peeth. For this reason Alchi has become the principal archive for an art whose original centres in the valley itself have been destroyed. The architecture, three-storied and timber-framed, the doorway with rearing leogryphs and intricate wood carving, the colossal clay Bodhisattvas whose dhotis carry miniature court scenes, all point to a school whose grammar is Kashmiri rather than central Tibetan.
The colour schemes of Alchi are also Kashmiri in origin, and this is equally significant. The murals of Alchi, especially in the Sumtsek and Dukhang, do not employ the flat primary palette that characterises later Tibetan painting in Ladakh. Instead, they reveal a sophisticated Kashmiri palette, soft lapis blues, subtle ochres, malachite greens and warm earth reds, applied with delicate shading and tonal gradation to create volume and depth. This modelling, known as chiaroscuro, together with the graceful line and naturalistic drapery, reflects the aesthetic of Kashmiri Buddhist art that was deeply influenced by late Gandhara and classical Indian painting. The artists brought not only their woodcraft but their entire system of colour preparation, mineral pigments and mural technique.
Alchi Monastery preserves in both timber and pigment the last great flowering of Kashmiri Buddhist art, untouched by later Tibetan repainting.
The Second Diffusion
Tradition attributes the foundation of Alchi to Rinchen Zangpo, remembered as Lochen or Lotsawa Chenpo, the Great Translator, active between nine five eight and one zero five five. He was one of twenty-one scholars dispatched by the lama king Yeshe O of Guge to revive Buddhism in the trans Himalayan world. He trained in Kashmir, then a great centre of Sanskrit learning, logic and Vajrayana practice, and chronicles credit him with establishing one hundred and eight monasteries and numerous chortens from Ladakh to Spiti and Kinnaur. Recent fieldwork indicates that Alchi in its earliest surviving phase is slightly later than his lifetime, probably late eleventh to early twelfth century, and an inscription links the Dukhang to Kalden Sherab, a monk from Sumda who studied at Nyarma. Yet the artistic continuity is secure. Zangpo institutionalised the practice of engaging Kashmiri painters, sculptors and woodcarvers for the new foundations, and Alchi together with Mangyu and Sumda forms a single stylistic group. Until close examination by scholars such as Goepper, Luczanits and Linrothe, these monuments were linked directly to the second diffusion, but material evidence now shows a mature Kashmiri workshop operating in Ladakh a century after Zangpo, preserving classical forms that were already codified in the valley.
(A goddess in Tabo Monastery, Spiti, Himachal Pradesh. Kashmiri influence is visible in this painting done in the 11th century. Photo Source: Jaroslav Poncar )
Bronze Kinship
(
Bronze Tara from Kashmir )
The technical link between the Alchi Tara and Kashmir can be demonstrated with precision by comparison with the corpus of Kashmiri bronzes of the same period. During the eleventh and twelfth centuries, patrons of Guge commissioned portable images in copper alloy from Kashmiri ateliers. Many of those images were later carried to central Tibet for use in monasteries. When monasteries were abandoned or looted, many entered the art market and are now in major collections, including the Metropolitan Museum of Art in New York, the Los Angeles County Museum of Art, the Norton Simon Museum, the British Museum, the Victoria and Albert Museum and many more museums in Europe and the United States. The standing Tara of circa twelfth century in the Metropolitan Museum, the seated Tara with silver inlay of Pala period in the same collection, and the female deity identified as Tara or Vasudhara in Los Angeles share the Alchi morphology. They are cast by lost-wax casting in a copper alloy with high tin content, often with cold gilding and with silver inlay for eyes and sacred thread, with beaded borders and with textile folds incised as pseudo-concentric arcs descending from the neck, a diagnostic Kashmiri trait. The Alchi painter imitates those metal traits in pigment, using gold leaf for jewellery, white for pearls and a sharp black line for the incised folds. In essence, the wall painting is a bronze translated into mineral colour.
(
11th century, Kashmir, Tara, brass with silver-inlaid eyes, photo on Fondation Alain Bordier, at the Tibet Museum in Gruyères, Switzerland.)
(Standing Tara in bronze 1oth or 11th century ,Kashmir .Photo source:sothebys.com/en/buy/auction/2020/ A copper-alloy-figure with-silver-inlay ) ( 8th century, Kashmir (or later), Tara, brass, at the Royal Ontario Museum, Canada.)
The Ajanta Lineage
(Bodhisattva Padmapani (detail), Cave 1, wall paintings in Caves at Ajanta, India, c. 200 B.C.E.–650 C.E.)
Material analysis of wall paintings of Alchi and many Buddhist monasteries of the western Himalaya confirms a Kashmiri provenance and a direct link to the Indian wall painting tradition. The palette is dominated by lapis lazuli blue from Badakhshan, vermilion red, malachite green, orpiment yellow and shell white, with lavish use of gold. These pigments retain exceptional saturation after nine centuries because of the arid desert climate and because the ground is a carefully prepared mud plaster tempered with vegetal fibre and polished. The modelling follows the Ajanta method of vartana, gradual lightening and deepening of tone to create volume rather than linear hatching. The blue-green of the Tara, which photographs as green in some lights due to oxidation of copper-based green mixed with lapis, is built up in multiple transparent washes over a white base, a Kashmiri technique for luminous depth. The sequence follows the Vishnudharmottara Purana: rekha for outline in reddish brown, varna for flat colour, vartana for shading, then a final black outline. This is not the flat wash of later Tibetan thangkas but the illusionistic modelling of classical Indian painting that was most fully theorised in Kashmir during the time of Abhinavagupta. Scholars have singled out the Alchi Green Tara as a masterpiece of this shading, where the cheek and throat are rounded by imperceptible transitions.
(
Wall paintings in Ajanta caves) (Ajanta cave mural )
Woven Figures
The depiction of woven figures is another Kashmiri hallmark and provides decisive technical evidence. The dhotis, upper cloths and haloes are not free invention but accurate records of loom-woven textiles that travelled through Kashmir from Central Asia, Persia and Indian centres. The nimbus shows diamond diaper and lozenge patterns, the lower garment shows patola-like double ikat checks, the borders show pearl roundels enclosing geese or rosettes, a Sasanian motif transmitted via Sogdian samite silk. These patterns are executed with a grid and a fine brush, exactly as prescribed for chitra pata. The painter records the beaded belt with looped swags, the translucent muslin that clings to the thigh and reveals its form, the knotted sash, all of which are carved in identical form on Kashmiri bronzes. In the same shrine, the dhoti of Avalokiteshvara carries painted vignettes of a Kashmiri king out hunting with falcons and a dancing girl before a palace, described as the only surviving visual record of the culture and architecture of ancient Kashmir. For textile history, this is invaluable because the actual silks of Kashmir of this period have not survived. The precision of the weaving patterns, including counts of warp and weft suggested by dots, indicates that the painters had pattern books of textiles.
(Portrait of a goddess in Tholing Monastery, Tibet. Kashmiri influence is starkly visible in the painting.)
The Colossal Bodhisattva
(The four-metre colossal clay image of Avalokiteshvara in Alchi Monastery )
The four-metre colossal clay image of Avalokiteshvara, the Bodhisattva of Infinite Compassion, standing in the ground floor niche of the Sumtsek, the famous three-storied temple of Alchi Monastery in Ladakh, built around the twelve twenties under Guge royal patronage and executed by Kashmiri artists. The statue is modelled in clay over a wooden armature and painted white with bright vermilion palms and soles, four armed with the upper hands in abhaya mudra and holding a lotus, and its dhoti is not real textile but a highly elaborate painted garment depicting sacred places and royal palaces in the late Indian Pala style, with the same tradition that once animated Ajanta, Nalanda and other Indian Mahaviharas and which survived at Alchi because of its remote location. Inside the Sumtsek it is one of three colossal Bodhisattvas flanking the taller central Maitreya, with Manjushri on the other side, each identified in inscriptions as the receptacles of body, speech and mind and as embodiments of the Buddha Sambhogakaya, Dharmakaya and Nirmanakaya, and all rising from the ground floor through open galleries so that their crowned heads can be venerated from the first and second floors, while the marigold garland in the photograph is a contemporary devotional offering laid over the eight century old painted surface.
From Ellora To Kashmir
(Standing stone Tara in Ellora caves no 6)
In Ellora Cave Six, a sixth to seventh century Buddhist vihara, Tara appears in stone as one of the earliest independent goddess figures in western India, standing beside the shrine door alongside Bhrkuti, Mahamayuri, Avalokiteshvara and Maitreya, and most importantly in the Ashtamahabhaya litany panel where for the first time she is shown saving devotees from the eight great dangers, a role previously reserved for Avalokiteshvara, marking the beginning of her worship as the female saviour who later evolves into the refined silver eyed bronzes of Kashmir. In Cave Six, Tara is still in simple early form, standing in tribhanga, holding a lotus, with a gentle face, much less ornate than later Kashmiri bronze. She is called Mahamayuri or Saraswati by local guides because the boundaries between Hindu Saraswati and Buddhist Tara were fluid. Kashmiri bronze is the portable, refined, tantric evolution of that Ellora Cave Six stone goddess.
Chitrasutra And Pramana
In respect of Alchi Tara, the face and bosom are drawn according to Chitrasutra, chapters thirty-five to forty-three of the Vishnudharmottara Purana, which codifies pramana or iconometry. The face is of chaturtha tala proportion, circular and broad at the forehead, with eyebrows shaped like a bow, chapakara, unjoined and tapering. The eyes are patola patra, lotus-petal shaped, elongated and half-closed in contemplation, ardha mukulita, with the farther eye protruding slightly beyond the facial line, a pan-Indian convention preserved in Kashmir and in Jain manuscripts of western India. The nose is tila phulla, like a sesame flower, narrow at the bridge and fuller at the nostril. The lips are bimba, like ripe fruit, with a well-defined vermilion border. The chin shows a small dimple, darimi. The urna on the forehead and the elongated earlobes are inlaid in white with a black pupil. The bosom follows the prescription pina unnata payodhara for goddesses: high, firm and close-set breasts, modelled with soft grey-blue shading under the curve and a single dark point for the nipple, as described in Manasara and Shilparatna. The torso shows kshina madhya, a slender waist; the posture shows tribhanga even while seated, with subtle bends at the neck, waist and knee, in lalitasana with one leg pendant. The navel is deep with a spiral; the belly shows three subtle folds, vali traya. All these measurements correspond to angula units and are identical to bronze proportions, proving adherence to a shared workshop manual.
Tara In Thangkas
In Buddhist Thangkas, Green Tara or Syama Tara embodies active compassion, swift to protect from fear. She sits in Lalitasana upon a lotus, right leg extended in readiness, body luminous green signifying wind and accomplished action. Her right hand, in varada mudra, grants boons; her left hand, at her heart, holds a blue utpala blooming by the ear, a symbol of enlightened speech. Crowned and jewelled, youthful and serene, she radiates fearless grace. Unlike White Tara, who grants longevity, Green Tara dispels eight great terrors. Her mantra Om Tare Tuttare Ture Soha invokes instant aid, making her a beloved saviour goddess across Himalayan Buddhism.
(Photo source, Göttinnen Mandalas, Wandmalerei in einem Himalaya-Kloster, Roger Goepper )
The source for the above Thangka is an eleventh-century mural in the Sumtsek Temple at Alchi Monastery in Ladakh in the western Indian Himalaya, on the left wall of the left niche on the ground floor.
Woodwork in Alchi Monastery
The woodwork of Alchi Monastery is a definitive example of Kashmiri craftsmanship transplanted to Ladakh, and its survival is of immense art historical value. Historical accounts record that artists and wood carvers were summoned from Kashmir, which at that time remained a flourishing centre of Buddhist art before its cultural transformation.
This origin is evident in the carvings themselves. The massive pine door frames, the elaborately carved pillars of the Dukhang and the ornate facades of the Sumtsek reveal a vocabulary distinct from Tibetan tradition. One finds delicate lotus scrolls, graceful volutes, intricate fretwork and refined floral medallions executed with a subtlety and plasticity characteristic of Kashmiri temple art.
Later Ladakhi monasteries adopt a bolder and more formal Tibetan idiom. Alchi alone preserves the older, more lyrical Kashmiri sensibility in wood, making it an irreplaceable archive of a tradition now lost in its own homeland.
Hindu Deities in Alchi Monastery: Identification and Kashmiri Origin
The presence of Hindu deities in Alchi Monastery, Ladakh, is well documented and represents one of the most important features of the complex, which is dated to the late tenth to eleventh century.
Deities Identified
Published documentation by David Snellgrove, Roger Goepper and Pratapaditya Pal identifies the following Hindu deities in the murals and wood carvings of the Dukhang, Sumtsek and Manjushri Temple.
1. Uma Maheshvara: Shiva with his consort Parvati seated on Nandi the bull. This is one of the most celebrated panels in the Sumtsek and is rendered with precise Shaiva iconography.
2. Shiva as Mahakala / Bhairava: In fierce form as a Dharmapala, protector of the Dharma. This form corresponds to the Shaiva Bhairava of Kashmir.
3. Indra, the king of the Devas, depicted on his mount Airavata, the white elephant, as a lokapala.
4. Brahma: Four-faced deity, shown among the assembly of worldly protectors.
5. Ganesha: Elephant-headed deity, included as Vinayaka, remover of obstacles, a figure already adopted in Buddhist tantric texts.
6. Surya and Chandra: Personifications of the Sun and Moon, seen in cosmological friezes and mandala borders.
Origin and Context:
These deities did not originate in central Tibet or later Ladakh. Their iconography came from Kashmir. In the eleventh century, Kashmir was a centre where Shaiva Hinduism and Vajrayana Buddhism were practised simultaneously and shared the same workshops of bronze casters, painters and wood carvers. The same Kashmiri artists invited by Rinchen Zangpo to build Alchi had previously worked on Hindu temples at Avantipur and Martand in Kashmir. Art historical comparison shows that the crown types, jewellery, sacred thread or Yajnopavita, and modelling of the deities at Alchi match Kashmiri Hindu bronzes dated to the ninth to eleventh century, preserved today in the Shri Pratap Singh Museum, Srinagar, and other collections, rather than Pala or central Tibetan models. In Vajrayana Buddhism, these figures were not worshipped as external Hindu gods. They were incorporated as lokapalas and dharmapalas, worldly protectors who had taken an oath to protect the Buddha Dharma. Manuscript colophons at Tabo and Alchi and Sanskrit texts such as the Sadhana-mala contain dhyana verses for these same protector deities, confirming their integration into Buddhist practice in Kashmir before their transfer to Ladakh.
Thus, the Hindu deities at Alchi are authentic evidence of the transfer of a shared Shaiva-Buddhist artistic tradition from Kashmir to Ladakh in the eleventh century.
Double Revelation Of Nineteen Fifty Nine
The strong Kashmir link was doubly revealed in modern times when Buddhists fleeing Tibet brought their sacred idols and paintings to India with the Dalai Lama in nineteen fifty nine and in the years that followed. Monks from Guge, Toling, Tabo and central Tibetan monasteries that had been patronised by Kashmiri artists carried with them gilt copper alloy images that had been worshipped for eight centuries. When these images were unpacked in Dharamshala, in Kinnaur, in Spiti and in the new monasteries in Karnataka and later catalogued by scholars and by museums, their kinship to Alchi became immediately apparent. The refugees brought bronze Taras, Prajnaparamitas and Avalokiteshvaras whose faces, bosoms, textile folds and beaded belts were identical to the Alchi murals. Until then, Western scholarship had classified many of those bronzes loosely as Western Tibetan or Pala. Seen alongside Alchi, still in situ and still in worship, their Kashmiri origin became undeniable. The Los Angeles and Metropolitan Museum pieces that had been labelled as Tibetan were reattributed to Kashmir and Himachal. In this way, the exodus, tragic as it was, provided a second archive. Alchi preserved the wall, the refugees preserved the portable shrine, and together they allowed a reconstruction of a school that had been lost in its homeland.
Alchi Manuscripts
The manuscripts associated with Alchi are also linked to the Kashmiri tradition of learning. The eleventh century was the age of the great Lotsawas, the translators. Rinchen Zangpo, the founder of Alchi, himself studied in Kashmir for many years under Kashmiri pandits and brought back Sanskrit Buddhist manuscripts written in Sharada script, the script of Kashmir.
At Alchi, the early library contained Sanskrit sutras on Prajnaparamita and Tantric texts that were not yet translated into Tibetan. The language of these manuscripts was Sanskrit, which was taught and preserved by Kashmiri masters who served as teachers to Tibetan monks.
Kashmiri Acharyas such as Shradhakaravarman and others lived and taught at Tholing and Alchi, instructing in Sanskrit grammar, logic and Buddhist philosophy. Thus the manuscripts at Alchi are not merely religious objects but evidence of a direct pedagogical lineage where Kashmir was the teacher and Ladakh the disciple, before the Tibetan canon was fully standardised.
Commonality of Construction Material
Alchi Choskhor is an extraordinary example of
Western Himalayan architecture in which earth, stone and timber were brought
together with remarkable technical sophistication. Their massive walls employ
stone, earthen masonry, mud mortar and carefully prepared clay plaster, while
timber provides essential structural support in columns, beams, brackets,
lintels, ceilings and roof systems. Fine clay plaster also created the smooth
surfaces upon which Alchi’s famous paintings were executed. This combination of
earth, stone and wood belongs to the indigenous architectural tradition of
Ladakh and the Western Himalaya. Traditional Ladakhi construction employed sun-dried mud bricks, locally prepared mud mortar, timber beams and fine clay
plaster. A particular fine clay known as markalak has been used to prepare
surfaces for temple paintings. These relatively humble materials were
transformed into one of the most sophisticated sacred environments of medieval
Himalayan Buddhism. The thick earthen walls provided mass and insulation,
timber gave structural flexibility and architectural articulation, and clay
plaster provided the luminous ground for paintings of exceptional refinement.
Upon these Ladakhi materials, craftsmen created an artistic world whose
paintings, sculptures and carved architectural details preserve particularly
strong connections with the traditions of medieval Kashmir. The survival of Alchi for more than eight
centuries is itself testimony to the sophistication of this building
technology. What outwardly appears to be a modest architecture of earth and
wood became the vessel for one of the greatest surviving achievements of
Himalayan and Kashmiri-related Buddhist art.
Alchi's architecture was not technologically
isolated from the neighbouring cultural world of Kashmir. Both regions
possessed long traditions of combining timber with stone, brick, mud mortar and
clay plaster. In Kashmir, abundant deodar encouraged an especially rich
tradition of timber construction, while in Ladakh poplar and juniper were
employed alongside earth and stone. The materials were therefore not identical
in botanical terms, but the underlying architectural principle was strikingly
comparable: timber supplied structural cohesion and sophisticated carpentry,
while earth and masonry provided mass, insulation and surfaces for decoration.
Place In Himalayan Art History
In synthesis, the Green Tara of the Sumtsek is technically a Kashmiri bronze executed as a wall painting, a document of loom-woven textiles, and a measured icon built according to Chitrasutra. Its alloy and gilding are translated into lapis and gold leaf, its textile patterns are copied from samite silks on the loom, its face and bosom are drawn by tala measurement and vartana shading, and its jewellery and drapery are identical to portable images now in New York, Los Angeles and London. The painting anchors the entire group of eleventh and twelfth century western Himalayan bronzes to a fixed architectural context. It proves that Kashmiri ateliers operated as complete workshops capable of bronze, clay, wood and wall, that they carried pattern books of textiles and of iconometry, and that they maintained Ajanta-like modelling long after that site had ceased. For Ladakh it marks the moment when Kashmir supplied not only religion but the very language of beauty that would shape Tibetan art for centuries. For India it shows that the great tradition of Sharada Peeth survived not in the valley but on the Indus, and that its full meaning was recovered only when two survivals, the walls of Alchi and the idols saved by Tibetan monks in exile, were seen side by side.
Preservation
Alchi remains a living monastery and a protected monument of the Archaeological Survey of India. Its mud plaster is fragile, its pigments are vulnerable to humidity and to flash photography, and its timber is at risk from insect attack. Yet the dry desert climate that has preserved it for nine hundred years continues to protect it. Future study must include non-invasive pigment analysis, three-dimensional scanning of the clay sculptures to compare tala measurements with bronzes, and documentation of textile patterns for the history of weaving. The story of the Green Tara reminds us that Kashmir was once a centre of Buddhist art whose influence reached to Alchi and beyond, that its craftsmen were masters of both metal and mineral colour, and that the memory of that school was preserved twice, once by a remote Himalayan village that never ceased worship and once by monks who carried their gods across the Himalaya to India in nineteen fifty nine.
(Avtar Mota)
