Lhasa - Tibet - page 96

WALK LIKE A TIBETAN: LHASA'S PILGRIM CIRCUITS
For Tibetan pilgrims the principal points of orientation in Lhasa are the city's three koras
(pilgrimage circuits): the Nangkhor, Barkhor and Lingkhor. For the visitor, all the koras are
well worth following, especially during festivals like Saga Dawa, when the distinction
between tourist and pilgrim can become very fine indeed. The following routes hold the
keys to the soul of the city. Remember always to proceed clockwise.
Nangkhor - this kora encircles the inner precincts of the Jokhang.
Barkhor - the most famous of Lhasa's pilgrimage circuits traces the outskirts of the
Jokhang and is probably the best introduction to the old town for newcomers.
Lingkhor - this devotional route traditionally encompassed the entirety of the old city.
Nowadays the Lingkhor includes a great deal of the modern city but it is still used by pil-
grims. You can join the 8km-long circuit anywhere.
Potala Kora (Tsekhor) - another popular kora encircles the Potala, passing by an almost
continuous circuit of prayer wheels, chörtens (stupas), rock paintings and the Lukhang
Temple.
Other koras - there are also excellent koras at Drepung, Ganden and Sera Monasteries.
History
Estimated dates for the Jokhang's founding range from 639 to 647 AD. Construction was
initiated by King Songtsen Gampo to house an image of Mikyöba (Akshobhya) brought to
Tibet as part of the dowry of his Nepali wife Princess Bhrikuti. The Ramoche Temple was
constructed at the same time to house another Buddha image, the Jowo Sakyamuni,
brought to Tibet by his Chinese wife Princess Wencheng. It is thought that after the death
of Songtsen Gampo, Jowo Sakyamuni was moved from Ramoche for its protection and
hidden in the Jokhang by Princess Wencheng. The image has remained in the Jokhang ever
since (Jokhang, or Jowokhang, means 'chapel of the Jowo'), and it is the most revered
Buddha image in all of Tibet.
Over the centuries, the Jokhang has undergone many renovations, but the basic layout is
ancient and differs from that of many other Tibetan religious structures. One crucial differ-
ence is the building's east-west orientation, said to face towards Nepal to honour Princess
Bhrikuti. A few interior carved pillars and entrance arches remain from the original 7th-
century work of Newari artisans and architects brought from the Kathmandu Valley in Ne-
pal to work on the construction.