Reading the autobiography of Kachen Yeshe Don-drup gives one a ‘mystical’ thrill that cannot be explained in ordinary words. One is invariably ‘transported’ to destinations where the holy Mount Kailash and Mansarovar Lake exist. And yet, let me point out that having been an adventurer in my youth, I passed through or had come across some giant peaks such as Stok Kangri, the highest mountain peak among the Trans-Himalayan mountains in Ladakh (20,500 ft), Kangs Yahtzee, located at the end of the Markha Valley in Ladakh (20,000 ft). This peak would come into sight while on a Markha Valley trek. Similarly, the Nun-Kun peaks of which a bird’s eye view can be had when one flies from Leh to Srinagar or Jammu, or while travelling via Kargil to Zanskar Valley.

Yet another well-known pass I have been to is Bumla. I reached the top of the pass while on a visit to Tawang in Arunachal Pradesh some time ago. Bumla is considered one of the highest passes in Arunachal Pradesh at 15,200 ft., and is 37 kms above Tawang. The actual meaning of Bum-la I could not ascertain for sure, but I know that bum means one hundred thousand in Ladakhi or Tibetan and la means pass. What I surmise is that Bum-la refers to the chain of mountain passes, which can be seen to the extent of one’s visual end. And, my spirit of adventure led me to scale the highest mountain peaks of the Western Coast of the USA, such as Mount Rainier and Mount St. Helens, and similarly the Alpine Ranges in Europe. My connection with mountains is a natural phenomenon, especially because I was born in the lap of the high mountains of Ladakh.

While  working  in  the  J&K  Academy  of  Art,  Culture  and Languages, I came across several folk songs which tell about the glory of the mountains such as Khardung-la, just above the Leh town, which is home to one of the highest motorable roads and from where one can have a bird’s eye view of the Karakoram range of mountains as well of the Saser pass in Ladakh. All these mountain passes have stories to tell; but my focus was Ladakhi folk songs, especially those of Mount Kailash and the Mansarovar Lake, in the region where once the king of Ladakh had sovereignty.

The songs relating to these mountain peaks are, besides being fervent  homages  and  entreaties,  narrate  historical  and  religious significance, describe their locations and surroundings, they are commentaries on nearby Gonpas, Lamaseries, and caves. Out of many such folk songs I have been listening to, or even singing since my childhood, ‘Gonpa ser gi cha skibs’ remains my favourite.

The song goes like this: “The golden-coloured Gonpa, built over a hanging crag…” While trying to examine the substance of the song, it carried me to the vicinity of Mount Kailash where the Gonpa stood, visited by mountain birds dancing and perching on the nearby crag. The Gonpa is built in such a manner that it ensures an environment of tranquility. The following verse glorifies the grandeur of the glacier and the natural water of the lake that seems like offerings to the Buddha. It adds that in the vicinity exists a sandal log, which spreads fragrance, helping in prayers and contemplation. The text of the lyrics brings a kind of delight that overpowers the singer and the listeners.

In one of the songs, Gonpa ser gi cha skibs, (A Gonpa named ser gi cha skibs) describing a monastery near Mount Kailash) goes like this:

The golden Gonpa, built over a hanging crag is a not a man-made one, More beautiful than a human craft, may the Gonpa remain firm and stay gainful.

The glaciers lie on the right direction is like self-emerged offering made of barley flour Which is more beautiful than any man-made offering.

May the glaciers remain undissolved.

The Lake Mansarovar lies on the left direction, Natural water is offered (to the gods.) If the water of lake stays undiluted and pure, It is more beautiful than the offerings by men.

The sandal logs there just in front, assumed a self-sprung sapling.

If the self-sprung sandal tree stays growing it would look more beautiful than a planted tree.

Beloved, you are like a golden hat for me and I the girl like a silver pipe.

Beloved, if you feel I am not of any worth Let me take refuge in the Triple Gem.

Another song bears the Tibetan title Pre-tha-pu-ri. Pre-tha-puri or Tirthapuri village is located north of Mount Kailash on the bank of the Sutlej River. In the song, the village Mensar prominently figures saying that it is a joyful village. These twin villages namely Mensar and Trihapuri are presumably located within a radius of 60 to 75 km from Darchen, the entry point for Skora or the circumambulation of Mount Kailash.

Historically, the village Trithapuri is also very important because of the presence of a Gonpa called Gonchen Chonyi Zangpo of Dorje Drak, where Guru Padma Sambhava and his consort Yeshe Tsogyal had meditated in the 8th century. While reading the song or even listening to it, one can sense that it falls under the category of ‘travel song’, and it says that Mount Kailash is the external holy embodiment, while the inner embodiment of the land is the Shakyamuni Buddha.

The land being sacred for the Buddhists, the act of prostration to the Buddha, even from a distance, can earn merit.

The song goes like this:

Close to the joyful village exists a consecrated holy spot.

Close to the joyful village of Mensar

is located (Tib.) Pray-ta-puri village.

Mount Kailash is the external holy embodiment,

inner embodiment is the Buddha Shakyamuni.

Towards external holy embodiment,

perform Skora (circumambulation) taking the right-hand side.

To the inner embodiment Buddha Shakyamuni

the offeror prostrates from a distance to earn merit.

If Skora (circumambulation) is done taking the right-hand side,

it purifies the sins accumulated in the body.

Offerings of prostration from a distance,

assume repayment of the benevolences shown by parents.

The Kailash is located on the right,

the lake is blooming on the left.

Mount Kailash is located on the right,

and Mansarovar is blooming on the left.

The water level of the lake is swelling,

and the water level never goes down.

The water of Mansarovar is increasing,

instead of falling.

Hail the Kailash and the lake,

Staying in the middle of the lake,

Hail the Mountain and the lake,

Staying in the centre of the lake.

Here  is  yet  another  beautiful  song  that  gives  a  reflection  of Mount Kailash, signifying it as the center of the universe. Mount Kailash itself is known in Ladakhi or Tibetan as Gang Tise or Gang Rinpoche (Precious Snow Mountain), and is in Purang. From there originate the four sacred rivers which flow towards India: Senge Khabab, meaning “river originating from the lion’s mouth” waters the Indus Valley where once a vibrant civilization had flourished, known as the Indus Valley civilization, Tachok Khabab (Brahmaputra River) which is popularly addressed in Tibet as the Yarlung Tsangpo, Macha Khabab (Karnali) originating from a crag that looks like a peacock, and finally, Langchen Khabab (the Sutlej), or a river that originates from a crag shaped like an elephant. The composer of the song prays to the Buddha to bestow heaps of barley upon the residents of Purang and wishes that happiness and prosperity may prevail in the region.

Similarly, the Ti-se Shel-kar mChot-rten is a popular folk song sung in chorus in every socio-cultural gathering. It takes one back to the time of the Ladakhi royalty and, in a metaphorical way, the composer of the song wishes prosperity and happiness to prevail in the  twin  kingdoms  of  Ladakh  and  Purang,  and  wishes  that  the Dharmakaya-Amitabha eliminate darkness and ignorance from the residents of these lands.

So, here is the popular song, Ti-se Shelkar:

The stupa of white glass at Ti-se

is the centre of the universe.

Inside resides the holy objects

which eliminate the darkness of ignorance.

The Dharmakaya-Amitabha,

removes all darkness of ignorance.

The turquoise blue lake at Ti-se

is the abode of the Naga king.

The whole kingdom

is filled with a storehouse of grain.

All the valleys of the Purang kingdom

are bestowed with piles of barley.

The snowy land of Purang,

bestowed with piles of barley.

In the land of snow,

happiness and prosperity prevail.

The Buddhists of Ladakh believe that the gods and goddesses reside in the sky as well as on the physical planet. They also believe that beneath the earth or in the ocean, spirits or creatures popularly addressed  as  kLu  exist.  People  assume  that  if  these  spirits  are properly cared for and if we refrain from harming them, then they help sentient beings in their own ways. These creatures, according to Buddhist’s belief, take birth in the form of snakes, fish, lizards, and even in the form of mountain animals such as an ibex. It is believed that they take shelter in places such as holes, streams, including springs, as well as the ocean and high mountains. And, if someone disturbs them with bad intentions, then the price is punishment.

Therefore, in Ladakh, there exists a tradition of cautioning the people, particularly the younger ones, not to harm or kill fish or lizards and not to pollute the streams, water channels, or mountains as spirits reside  in  them.  Due  to  this  kind  of  conviction,  Buddhists  offer supplications to the masters of earth and to the Nagas (klu) known as sa-bdag- sgron-sgron, by hoisting prayer flags (tarchoks) and burning incense (sang-gsur) to the mountain gods while travelling on high mountain passes. Even in the present times, the sequel of these beliefs is manifest with the streams or water channels in Ladakh found comparatively clean and the Buddhist population abstaining from fishing or even hunting mountain animals.

In Ladakhi weddings, some marriage songs glorify the spirits of the underworld and heaven, including the Buddha and Bodhisattvas. A particularly popular marriage song, given below, is sung during the marriage proceedings, and is an invocation for a happy life to the newly-weds and a prayer for good fortune. In addition, the first offering of sanctified food is symbolically offered to the gods in heaven, the  king  of  the  underworld  (Ma-tos-Zilchan),  and  to  the  gods dwelling in the villages, so that the newly-wed couple can carry on a happy and prosperous life.

The popular offering-song at marriage celebrations is reproduced here:

Om, may all have good fortune,

all have good fortune and become prosperous.

The first offering of the celestial drink,

without adulteration, it may be offered,

to the gods sitting in the heaven,

offer to Indira, the king of the gods.

The first offering of the celestial drink,

without adulteration, it may be offered,

to the mother of a demon species.

The first offering of the celestial drink,

without adulteration, it may be offered to

the king of the underworld (Ma-tos Zil-chan) and his queen.

The first offering of the celestial drink,

may be offered to gods sitting on the roof of palaces,

or the gods dwelling in the villages

or wherever they found shelter to dwell.

The offering may even be given to those

who ride horses to help and give protection to the bride!

In Ladakhi society a number of similar types of folk-songs exist glorifying Mount Kailash and Mansarovar, and people of Ladakh till today sing these songs as their legacy. The tradition is an oral one and the songs, which are simple, easy to understand and memorize, have been handed down from one generation to the next. In today’s complex and rapidly changing times songs are proving a valuable resource to understand Ladakh’s amazing history, timeless culture, and adherence to the basic tenets of Buddhism.