DESCRIPTION

This chorten stands solidly on a circular base composed of adouble lotus blossom design sandwiched between two rings of raised roundpearl shapes.  The pearls below the blossoms are relatively largerthan those in the row above the blossoms.

The mound of the chorten, rising above the base, is a sturdyand pregnant cylindrical form. It tapers inward as the eye moves up towardsthe middle of the mound, where two raised bands, spaced approximately oneinch apart, divide the cylinder.  Above these bands, the sides ofthe mound rise vertically, sloping inwards at the top to a rounded profile.Here, the circularity of the lower portion gives way to an angular, squaredoff transition that leads to a most striking feature: sixteen columns,each composed of a lotus blossom base, a single lotus blossom body, anda wide teardrop finial. The turrets rise from the corners and edges ofthe squared transition section.

At this point, the circularity returns. Rising from the area at thecenter of the turrets is an inverted, truncated cone, the surface of whichis detailed with raised oval shapes and another ring of small pearl shapes.This cone leads to the next section, thirteen disks that gradually decreasein radius to form an overall shape that is another truncated cone, onethat draws the eye towards the uppermost sections of the object.

At the top of this cone rests an umbrella shape, from the edge of whichhang a series of connected pendants. These pendants flare slightly at thetips as if they are caught in the wind while the umbrella is twirled aboutin a circle.  Some of these tips have broken off.  The strikingumbrella covers the chorten above which it rises, sheltering andprotecting both the piece itself and the relics it once likely contained. A final string of small pearl shapes runs along the edge of the umbrellaabove the pendants. The top of the umbrella is decorated in relief withovals similar to those described in the preceding paragraph.

The crowning section of the chorten rises dramatically from thedomed top of the umbrella shape. At its center is an intricate lotus blossom,from the bottom of which sprout two sinuous leaves, symmetrically situatedon opposite sides of the blossom.  A crescent shape, turned on itsside to open upwards and holding a prostrate segmented cylinder in itscurve, rests atop the blossom. The circular sun emblem usually containedin the crescent moon is perhaps missing in this piece.

Covering the copper alloy object is a glossy black pigment that lendsto the piece a dramatic disposition fitting for a ritual implement thatwould have held a prominent place in a Buddhist altar. The chortenis hollow so that when in use, it could be filled with consecrated objectsand remains, as described above.
 

WHAT IS A CHORTEN?

In its original form, the chorten was a monumental stone or mudbrick structure.  These hemispherical burial mounds entombed the remainsof holy men and could also mark the sites of important events in the livesof these figures (Seckel 103). The oldest ofthese structures are preserved in India, where they are called stupas. This burial tradition was transported throughout Asia and was adaptedin Tibet in the form of the chorten, and in China, Korea, and Japanin the form of the pagoda,a word more familiar to most western ears. Over time, these mounds evolved into stylized buildings with symbolic meaning,such as the massiveKumbumchorten at the center of the ancient town of Gyantse in Tibet.Portable votive versions of the buildings, such as this example, emergedas a means of incorporating the sacred structure into Buddhist altars.In Tibet, these hollow votives are generally made of metal, though woodand butter are also used (Fisher 78). Butter is used by artists to construct many types of ritual objects. The perishability of this sculpting material conveys a symbolism basedon the illusory nature of all things, even those that are considered tobe most sacred.

Chorten are considered holy on two levels. First, the objectsthemselves are intrinsically sacred because they are said to representthe Dharma,the body, speech, and mind of the Buddha(Trungpa 24). As a representation of the Dharma,the chorten reminds those who encounter it to focus on their pathto enlightenment.  Even the way in which the eye of the viewer orworshipper of the chorten tend to travel from it's base to its dramaticcrescent at its top reflects the transition to an enlightened state. Because of the chorten's original role as a massive grave markerfor holy men who had themselves achieved enlightenment, the votive versionsare closely associated with the concept of the attainment of nirvana (Seckel103).  In addition to their inherent value, chorten areholy because they house sacred artifacts, such as relics and remains ofholy men, and tsa-tsas (small plaques depicting deities, bodhisattvas,and other sacred images; see Fisher 95-96).Both monumental and votivechorten are venerated by circumambulation,a form of worship in which Buddhists walk around the object being celebrated. The act of circumambulation is often accompanied by the chanting of mantras(prayers) and the burning of incense.

Structurally, chorten generally follow a set form, composed offive main parts: a base (the bumpa), a domed cylinder, thirteenround disks, a lotus umbrella, and a crescent moon holding a sun. Thesesections represent the five elements: earth, water, fire, wind, and space,respectively. The thirteen round discs are also said to symbolize the stepstowards enlightenment, encompassing TheEightfold Path, TheFour Noble Truths, and enlightenmentitself (Trungpa 24).

Amanda Jane Bennett

BIBLIOGRAPHY

Carr, Scott.  Home page. 22 April 2001 <http://www.geocities.com/TheTropics/7503/gyangtsek.html>.

Fisher, Robert E. Art of Tibet. New York, New York: Thames and Hudsom,Inc. 1997.

Govinda, Lama Anagarika. Psycho-Cosmic Symbolism of the Buddhist Stupa.
    Emeryville, CA: Dharma Publishing. 1976.

Seckel, Dietrich. The Art of Buddhism. New York: Crown Publishers, Inc.1964.

Tricycle Magazine: The Buddhist Review <http://www.tricycle.com>.

Trungpa, Chogyam. Visual Dharma: The Buddhist Art of Tibet. Berkeley:Shambhala.
    1975.