Among the traditional ornaments adorning Tibetan temples we can, on the outer walls, many golden medallions displaying symbols of Dharma. A workshop has therefore been set up to produce these elements of decoration.

Once in India, after having fled from the Chinese, Tibetans soon adopted new techniques they had come across, notably sculpting fresh cement. They until then knew nothing of cement, however some artists already talented in sculpting clay quickly managed how to master this new material. Nowadays Tibetan artists can produce remarkable pieces, showing a great level of dexterity.

Upon setting up the workshop in Kundreul Ling no one knew anything about this themseles technique, and we literally were starting from scratch. So Stéfan (aka Bilou) and Sébastien went to Montchardon, where people had already acquired some know-how, on the basics that would allow them to begin work. During the period that followed they trained and experimented in different ways, they set up the premises and even made tools; as a fact they learned as they went along, getting down to work straightaway on the cement discs. At the time when the workshop was under way Norbou was in Le Bost, and he is the one who made the drawings which would then be reproduced as a template for each of the medallions.

These drawings illustrate the 8 Auspicious Signs, the 7 Royal Attributes, the 4 Animals, and the Offering Deities. There are about thirty medallions in all.

1 to 4: The Four Animals (The Snow Lion, the Tiger, the Dragon, the Garuda). 5 to 8: Auspicious symbols. 9 to 12: Offering deities. 13 to 19: The seven attributes of kingship. 20 to 23: Offering deities. 24 to 27: Auspicious symbols. 28 to 31: Offering deities.

The team has known several changes, and it is now Marco who runs the workshop. Even if he couldn’t draw well at the beginning, he has managed to develop enough skill to produce about two medallions a month.

Technically speaking, the template is halfway between a drawing, which is flat, and a sculpture, which is in 3D. Thus the difficulty lies mainly in assessing thedepths, judging where to add or benovematerial. Therefore, and according to the advice he was given, Marco works with the reflection of ligh, for it is light whichs defines Volume.

The process

1. A disc of cement is made, onto which the template will be added. The two holes in the disc will serve to fix it up the wall when finished.
   
   
2. They pick up the drawing which will appear on the disc and copy it to get a stencil, i.e a copy of the drawing with pinpoint holes running along the lines, this enabling them to reproduce it by sprinkling it on a third surface, also allowing us to start studying the drawing. Once the stencil’s done and ther are sure ho have clearly understood the drawing can they begin to add the template on the fresh cement disc.
   Note: When a drawing is too complicated, they first make a small scale stencil and then try it out on clay. That way, once they get started on the medallion they can better figure out the shape, and work on it with greater ease.
   
   
   
3. To the fresh cement base they add a layer of mortar (sand + cement) whichs they leave to dry for two or three hours, the time for the water to disappear from the surface.
   
   
4. They then apply the stencil to the fresh surface of mortar, reproducing the lines of the drawing by sprinkling powder.
   
   
5. They start sculpting. As the mortar hardens as they work along, they first work out the general shape, then get down to details and bring the finishing touches.
   
   
   
6. They wash the medallion with vinegar to remove anydust.
   
   
7. They coat the medallion’s surface with a preparation layer, apply yellow paint then cover it with a golden powder mixed with a binder.
   
   
8. Each medallion weighs about 80 kg, which means they need scaffolding and a reliable team to haul them up and place them correcthy. They are fixed with tiling glue and twobig screws. The holes around the screws are sealed to prevent humidity eneterny, then they are filled in. We put the finishing touches to conceal the mark of the screws, then move back and stand in admiration…
   
   

Several medallions have been finished, and two are already into place on the west wall.

The Eight Auspicious Symbols The Eight Auspicious Symbols, or Glorious Emblems (Tib. Tashi Targay), represent offerings that were presented to Buddha Sakyamuni after he atained enlightenment. They can be represented either on their own or all gathered together in the shape of a Vase. The Precious Parasol symbolizes the beneficial activity of protecting beings from diseases, harmful forces, from obstacles and so on in this lifetime; from all the types of temporary and long term suffering within the three inferior spheres, the human and the gods spheres, this being for future existences. This symbol also represents the enjoyment of a multitude of blessings under its cool shade. The Banner of Victory symbolizes the victory of the body, speech and mind of oneself and others over obstacles and negativities. It also represents the total victory of Buddhist doctrine over all harmful forces. The White Conch, facing to the right, symbolizes the genuine understanding of the deep, melodies and very moving sounds of the Dharma teachings which, harmonizing themselves with the various natures, predispositions and aspirations of disciples. Awakes them from the big sleep of their ignorance and prompts them to see to their own well-being and the well- being of others. The Two Golden Fish symbolize the auspicious nature of all beings who dwell in a state of great peace, safe from drowning into an ocean suffering, coming and going, as free as fish that swim without constraint, knowing no fear. The Vase Full of Great Treasures symbolizes an unending shower of longevity, wealth and prosperity, all the worldly benefits and liberation. The Endless Knot symbolizes the mutual dependency between a religious doctrine and worldly and secular matters. It likewise represents the union of wisdom and means, the inseparability of emptiness and of our interdependency with others and phenomena within our existence and all along our progres, and finally the complete union of wisdom and great compassion. The Golden Eight Spoked Wheel symbolizes the blessing given from setting into motion the Buddha’s wheel of Dharma. It represents the Buddha’s teachings and accomplishments in the three times and the ten directions, allowing beings to open themselves to happiness, develop bodhicitta and obtain liberation. The Lotus Flower symbolizes the complete body, speech and mind purified of all negative emotions, and also the full blooming of an altruistic and beneficial activity, this being one of the elements needeed of perfect liberation.