lí
lili
N A - C H U N G C H O S - K Y O N G 249
being taught to blow a sixteen-foot trumpet, but the
sound was one which added the last note of mystery to
the scene. Fifty yards further, we arrive opposite the
main entrance on the right.
I am not sure that this temple is not, the Cathedral
always apart, the most interesting thing in Tibet. It
is small, entirely complete in itself, finished ad unguem,
daintily clean, and had evidently received more money
and attention than any other gompa on our road. The
well-wooded ascending track of the valley beside which
it is built continues upwards after it has debouched
into the courtyard, which here, as everywhere, divides the
main gateways of the temple from the usual row of
cloistered frescoes opposite. The • scene here is of
unusual beauty and interest; it is very seldom in Tibet
that the contrast of luxuriant foliage and vivid temple
colour is obtained, but I would ask the reader to look
with some care at the photogravure which will be found
opposite page 256. It is, of course, but a part of the
picture, but he may be able to construct, with some
pleasure to himself, the colour harmony which distinguishes
the Na-chung Chos-kyong. Green there is in
the background, green of more shades than a camera
can detect, and the deep, claret brown of the temple
buildings is handsomely accentuated above by golden
roofs, and harmonises well below with the plain grey
ochre of the courtyard stones, and the interminable
strings of gauzy fluttering prayer-flags of every tint
between the two- To his left are the vivid colours of
an appalling fresco of flayed human bodies, skulls full
of blood and in general those gory heaps of human
vitals which seem peculiarly attractive to the pious
Tibetan mind. On his right the flight of steps will