References:
- http://tibetanaltar.blogspot.com/2009/06/new-face-for-guru-rinpoche.html
- http://tibetanaltar.blogspot.com/2009/06/whats-story-samye.html
- http://www.rigpawiki.org/index.php?title=Looks_Like_Me
- http://www.rigpawiki.org/index.php?title=Gyalyum_Kunzang_Dechen_Tsomo_Namgyal
- http://tibetanaltar.blogspot.com/2009/06/offering-clothes-to-guru-rinpoche.html
- http://tibetanaltar.blogspot.com/2009/06/ngadrama-same-as-me-statue-can-be_24.html
For years, it amused my father to keep a little sign on his desk: "Every story has three sides -- yours, mine, and the facts." As I piece together the story of Ngadrama -- the famous "Same As Me" statue of Guru Rinpoche, I am frequently reminded of that sign -- and of the little sing-song saying, "I know not what the truth may be, only what was told to me."
Apparently, HRH the Queen Mother of Sikkim, Gyalyum Kunzang Dechen Tsomo Namgyal, was gifted with an Agfa camera -- and we don't know if this was a 35mm Agfa or a roll-to-roll Agfa (I will explain why this is important in a moment) -- and, in 1935, while visiting relatives, used this camera to take a photograph of the famous Guru Ngadrama statue at Samye.
Apparently, HRH the Queen Mother of Sikkim, Gyalyum Kunzang Dechen Tsomo Namgyal, was gifted with an Agfa camera -- and we don't know if this was a 35mm Agfa or a roll-to-roll Agfa (I will explain why this is important in a moment) -- and, in 1935, while visiting relatives, used this camera to take a photograph of the famous Guru Ngadrama statue at Samye.
From 1935 to the early 1950s, nobody gives this photograph much thought. It is treasured, and one or two prints are made, but no great sense of significance attaches.
Then, in 1955, Jamyang Khyentse Chokyi Lodro comes to reside at the Palace Monastery in Gangtok, Sikkim, sees the photograph, and develops the custom of giving copies to his favorite students. In 1958, not long before his death, he gives one such copy to Tarthang Rinpoche, and in 1968, Tarthang Rinpoche gives one such copy to me. You can always tell these from later copies, such as those below, by the presence of the sphere, and by the way the photo is cropped. Also, there is no khatvanga in the original photo.
This photograph has always been important to me for several reasons, most of which are of a personal nature, and don't warrant much discussion. That the statue it represents was destroyed during the Cultural Revolution -- during my lifetime -- has always been a source of sorrow to me. In the back of my mind is the rather crazy notion that I should have done something to prevent its destruction. Funny how we get ideas like that.
Since learning of its destruction -- and I have heard several, wildly differing accounts of this sad event -- I have been thinking of ways to restore the statue to Samye: a task not as easy as it sounds. The greatest obstacle -- in a whole list of obstacles -- has been the above photograph: it is the only one of its type, and nobody seems to know what has happened to the negative.
If we had just two photographs, taken at different angles -- even a hair apart -- technology could help. Alas, it seems we have only this one photograph.
So, this has been a project I have been toying with for over 40 years -- not every day, mind you -- but in fits and starts. For some reason, I was moved to begin musing about this in public the other day -- here on the blog -- and finally, I was able to strike a resonant chord.
I am very excited to tell you that we now have the tools, the talent, and the technology available, and this project is really underway. Friends of mine have assembled a team of experts, in several related fields, who are now working to bring the Guru Ngadrama statue back to life.
As it happens, you can help (and no... calm down... this isn't about money).
One of the several approaches we are using is to produce an image which, if photographed as the original, would give us an image identical with the original photograph -- using planes, or "slices," by which we can extrapolate hidden dimensions. Thus, we need to know precisely what sort of Agfa camera was used, so we can go buy one on the collector's market and use it for our tests.
Another critical element of information is to discover if any other photographs exist -- and we are scouring the world for these. Are you close to the British Library? Would you mind popping 'round and searching their photographic collections? Are you close to the German National Archives? Did your grandfather visit Tibet and take photographs? Are you in China, and well connected? Are you a world-class art historian? A Tibetologist?
You get the idea.
The beauty of the Internet is that it inculcates a collaborative environment at light speed. If you can help with this project by supplying elements of information, please know that your efforts will be most worthwhile.
Then, in 1955, Jamyang Khyentse Chokyi Lodro comes to reside at the Palace Monastery in Gangtok, Sikkim, sees the photograph, and develops the custom of giving copies to his favorite students. In 1958, not long before his death, he gives one such copy to Tarthang Rinpoche, and in 1968, Tarthang Rinpoche gives one such copy to me. You can always tell these from later copies, such as those below, by the presence of the sphere, and by the way the photo is cropped. Also, there is no khatvanga in the original photo.
This photograph has always been important to me for several reasons, most of which are of a personal nature, and don't warrant much discussion. That the statue it represents was destroyed during the Cultural Revolution -- during my lifetime -- has always been a source of sorrow to me. In the back of my mind is the rather crazy notion that I should have done something to prevent its destruction. Funny how we get ideas like that.
Since learning of its destruction -- and I have heard several, wildly differing accounts of this sad event -- I have been thinking of ways to restore the statue to Samye: a task not as easy as it sounds. The greatest obstacle -- in a whole list of obstacles -- has been the above photograph: it is the only one of its type, and nobody seems to know what has happened to the negative.
If we had just two photographs, taken at different angles -- even a hair apart -- technology could help. Alas, it seems we have only this one photograph.
So, this has been a project I have been toying with for over 40 years -- not every day, mind you -- but in fits and starts. For some reason, I was moved to begin musing about this in public the other day -- here on the blog -- and finally, I was able to strike a resonant chord.
I am very excited to tell you that we now have the tools, the talent, and the technology available, and this project is really underway. Friends of mine have assembled a team of experts, in several related fields, who are now working to bring the Guru Ngadrama statue back to life.
As it happens, you can help (and no... calm down... this isn't about money).
One of the several approaches we are using is to produce an image which, if photographed as the original, would give us an image identical with the original photograph -- using planes, or "slices," by which we can extrapolate hidden dimensions. Thus, we need to know precisely what sort of Agfa camera was used, so we can go buy one on the collector's market and use it for our tests.
Another critical element of information is to discover if any other photographs exist -- and we are scouring the world for these. Are you close to the British Library? Would you mind popping 'round and searching their photographic collections? Are you close to the German National Archives? Did your grandfather visit Tibet and take photographs? Are you in China, and well connected? Are you a world-class art historian? A Tibetologist?
You get the idea.
The beauty of the Internet is that it inculcates a collaborative environment at light speed. If you can help with this project by supplying elements of information, please know that your efforts will be most worthwhile.
2 reader comments:
Two things of note:
1. My teacher, just before he recently passed away, kept mentioning repeatedly how he would like to make images of Padmasambhava exactly like the Ngadrama. Clearly, something is afoot.
2. Samye Ling is currently under the control of the Sakyapas. I don't know how long this has been the case, but if prior to 1959, they may have photos of the interior and possibly the Ngadrama. Worth investigating if anyone has connections to the Sakyapa.
That is actually true. You see photos of Dilgo Khyentse and Sakya Trizin on all the shrines.
Well, we are certainly throwing energy at this project... and at this point, all it really takes is one more photo of the statue from a different angle. The engineers who are on this are just incredible.
I want to say that I really respect the talented sculptors and so forth who have tried to do things like this in the past, but lets face it -- nobody can hold a candle to Hollywood when it comes to edge-of-envelope light and magic.
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