A Comprehensive Survey of Rock Art in Upper Tibet, Volume 1: Eastern Byang Thang

Cover Title Page Copyright page Contents Page List of Figures Figure 31. Locations of rock art in S1_L1 Figure 1. Gnam mtsho from the southeast side of the lake. Photograph was taken in the early morning during placid weather. Figure 2. A typical family of herders (’brog pa) on the Eastern Byang thang. This family belongs to the A pha hor tribe of Gnam mtsho. Photograph taken in the autumn of 1994. Figure 3. A view of Nam mkha’i do looking west from Ra ma do. The archaeological site is at the foot of the escarpment in the middle of the photograph. Figure 4. The cave of G.yang phug on the headland of Nam mkha’i do, Gnam mtsho, with debris of ancient structures in front. Figure 5. G.yang phug. Note the remains of its massive façade. Figure 6. The second largest cave at G.yang phug and outlying structural remains. Figure 7. The ruined mud brick chorten next to the second largest cave at G.yang phug. The religious identity of this monument is unclear. Figure 8. A substantial masonry structure at the base of Nam mkha’i do near G.yang phug. This construction may once have been part of a residential complex. Figure 9. The middle tumulus (foreground) and north tumulus at G.yang phug. Figure 10. The north side of Bra gu rta ra as viewed from the lower reaches of the ridge. Figure 11. Bra gu rta ra as seen from the west. Figure 12. Bra gu rta ra as seen from the east. Figure 13. The long north wall and west wall (background) of the large enclosure at Bra gu rta ra. Figure 14. An internal structure on the northeast side of the enclosure at Bra gu rta ra. Figure 15. The southwest portion of the large enclosure at Bra gu rta ra. The massive construction of the outer walls can be seen. Figure 16. The southeast corner of the large enclosure of Bra gu rta. The prayer-flag mast at the site is visible on the upper right side of the image. Figure 17. The central partition wall dividing the large enclosure into southern and northern halves. The south wall of the enclosure can be seen in the background and on the upper left of the photograph there are traces of other internal structures. Figure 18. The footings of two structures lying outside of the northeast side of the large enclosure at Bra gu rta ra. Figure 19. The wedge-shaped headland of Bkra-shis do (middle) as seen from an outlier of the Gnyan chen thang lha range. The smaller Bkra shis do chung formation is on the left and the Bkra shis do chen formation is on the right. In the background is the Figure 20. Bkra shis do as viewed from the tip of the headland of Do ring, on the opposite side of Gnam mtsho. Bkra shis do chen is the large formation on the left side of the photograph, while Bkra shis do chung is on the right. Figure 21. The view from the Bkra shis do bathing head. Beyond Gnam mtsho, the highest mountain seen in the snowy Transhimalayan range is Gnyan chen thang lha proper. Figure 22. One of the archaic cave shelters on the south side of Bkra shis do chung (S2) in the vicinity of S2_L12 to S2_L14. Note the remains of the façade at the bottom of the photograph and the masonry platform of unknown function on the right side of Figure 23. The remains of another cave shelter between S2_L12 and S2_L14 of Bkra shis do chung. This habitation was set more than 1 m below the surrounding ground level. Both an internal wall and part of the front wall of the ancient residence are visible Figure 24. Another view of the front wall of the multi-roomed cliff shelter in Figure 23. Set deeply below the surrounding terrain, this wall appears to have been part of an anteroom adjoining the overhang at the base of the escarpment that formed the rea Figure 25. Now reduced to piles of rubble, a substantial residential structure built against the base of the formation appears to have once stood at the pictured location. This structure is situated between S2_L12 and S2_L14 of Bkra shis do chung. Figure 26. Although very little remains intact, these structural traces near the Bkra shis do chung feature called Sman bla pho brang suggest that a significant cave shelter once stood at this location. Figure 27. The red ochre pit mine at Bkra shis do chen (reddish patch in the middle of the photograph). Figure 28. The interior of the red ochre mine (gter kha) at Bkra shis do chen. Figure 29. The two pyramidal nooks and rib of limestone rock dividing them (S1_L1 to S1_L3). These matching parietal structures at Bkra shis do chen are full of red ochre pictographs. Figure 30. The West Pyramidal Nook (S1_L1). The image has been digitally enhanced to increase the definition of the individual pictographs. Figure 32. The margin between the pyramidal nooks (S1_L2). Figure 33. Pyramidal Nook East (S1_L3). The image has been digitally enhanced to increase the definition of the individual pictographs. Figure 34. Locations of rock art in S1_L3. Figure 35. Sangs rgyas yar byon phug (S1_L4). Figure 36. The cleft southeast of Sangs rgyas yar byon phug (S1-L5). Figure 37. The twin caves (S1_L6 and S1_L7). Figure 38. Twin Cave West (S1_L6). Figure 39. Locations of rock art in S1_L7. Figure 40. S1_L7_C8 (left), S1_L7_C9 (centre left) and a Tibetan letter A written in an archaic script (centre right). Figure 41. An unnamed recess in the Bkra shis do chen formation (S1_L8). Figure 42. The outcrop containing Brag phying gur phug (S1_L9 to S1_L11) as seen from the east. Figure 43. Brag phying gur phug West (S1_L9) on the right side of the image and Brag phying gur phug East (S1_L11) on the left side, with S1_L10 in the centre. Figure 44. Brag phying gur phug West (S1_L9). The image has been digitally enhanced to increase the definition of the individual pictographs. Figure 45. Locations of rock art on the right wall of S1_L9. Figure 46. Locations of rock art on the left wall of S1_L9. Figure 47. Composition S1_L9_C41 (upper left), S1_L9_C42, S1 (upper middle), S1_L9_C43 (lower middle), and surrounding enigmatic figures. Figure 48. The central rib of Brag phying gur phug (S1_L10). This narrow band of limestone rock partitions the two chambers of Brag phying gur phug. In this digitally enhanced image, compositions S1_L10_C1 to S1_L10_C10 are visible. Although these pictogr Figure 49. Ideogram-like characters situated below S1_L10_C8c. The pigment qualities, technique of application, and wear characteristics of the figures match the proximate birds and vegetation of S1_L10. They therefore appear to belong to the same cultura Figure 50. The left wall of S1_L9 (right), S1_L10 (middle right) and right wall of S1_L11 (left). Figure 51. Locations of rock art in S1_L11. Figure 52. The outer right wall of S1_L11. The image has been digitally enhanced to increase the definition of the individual pictographs. Figure 53. The inner left wall of S1_L11. Figure 54. The stand of dwarf willow concealing S1_L12. Figure 55. The rock art in the rear of S1_L12. Figure 56. An outer section of S1_L12. S1_L12_C7 is visible near the top of the photograph on the middle-left side. Across the entire image, red ochre blotches, as well as linear pictographs belonging to the Late Historic period, can be seen. Figure 57. Twin Niche West (S1_L13). Figure 58. Locations of rock art in S1_L13. Figure 59. Twin Niche East (S1_L14). Figure 60. The view east from Brag dkar. The snowy Gnyan chen thang lha range in the background includes the lofty and sacred peaks of Bsam gtan khang bzang and Lha rgod snying khrom. Figure 61. Locations of rock art on Brag dkar Escarpment (S1_L15). Figure 62. The panel hosting subjects S1_L15_C3 (far right, in the central part of the image) to S1_L15_C14 (far left, in the lower part of the image). The anthropomorph on the upper left side of the image is S1_L15_C11. S1_L15_C4 and S1_L15_C5 can be see Figure 63. There is a set of much smaller figures next to and superimposed on S1_L17_C3b that may also be symbolic in nature or representative of a system of writing (NIS). The figures have a maximum height of 2.5 cm. They are comparable with unidentified Figure 64. Compositions S1_L17_C11 (bottom), S1_L17_C15 (lower left), S1_L17_C16 (middle right), S1_L17_C17 (upper middle) and S1_L17_C18 (upper left). This image has been digitally enhanced to increase the clarity of the pictographs. Figure 65. Compositions S1_L17_C21 (lower right), S1_L17_C22 (upper right), S1_L17_C23 (upper left) and S1_L17_C24 (upper far left side of image) are visible in the photo. This image has been digitally enhanced to increase the clarity of the pictographs. Figure 66. Compositions S1_L17_C25 (upper right side), S1_L17_C26 (middle), S1_L17_C27 (right and centre), S1_L17_C28 (lower right), and S1_L17_C26 (lower left). The image has been digitally enhanced to increase the definition of the pictographs. Figure 67. Compositions S1_L18_C2 to S1_L18_C5. The image has been enhanced to make the pictographs more visible. Figure 68. The syllables Om and ma in conjunct form inscribed below S1_L18_C7. Figure 69. The Tibetan letter A, which is provisionally attributed to the S1_L18 locus. Vestigial period. This inscription is not recorded in Bellezza 2020b. Figure 70. The panel containing the eight inventoried compositions of S1_L19. S1_L19_C1, the only well-defined subject, a wild yak, is seen in the middle of the top of the image. The image has been digitally enhanced to increase the clarity of the pictogr Figure 71. Panel containing compositions S1_L21_C5 to S1_L21_C11. The image has been digitally enhanced to increase the clarity of the pictographs. Figure 72. A portion of the cliff face in S1_L22. The image has been digitally enhanced to increase the clarity of the pictographs. Figure 73. The various compositions of S1_L24. The most prominent of these is S1_L24_C1, on the lower right side of the photograph. The image has been digitally enhanced to increase the clarity of the pictographs. Figure 74. The main chamber of the Klu khang (S1_L26). Figure 75. Klu khang, Ancillary Chamber 1 (S1_L27). Figure 76. Klu khang, Ancillary Chamber 2 (S1_L28). Figure 77. Locations of the rock art on the middle rear wall of S1_L28. Figure 78. The left wall of S1_L28. Compositions S1_L28_C19 and S1_L28_C20 are found on the lower right corner of the image. S1_L28_C18 is situated on the upper right side of the image. Compositions S1_L28_C21 to S1_L28_C28 fill much of the remaining port Figure 79. Locations of rock art on the left wall of S1_L28. Figure 80. Klu khang, Ancillary Chamber 3 (S1_L29). Figure 81. The left wall of the Klu khang, Ancillary Chamber 3. Subjects S1_L29_C1 to S1_L29_C18 are contained in the image with the exception of S1_L29_C6. The image has been digitally enhanced for the clarity of the rock art. Figure 82. Locations of rock art on the upper left wall of S1_L29. Figure 83. Klu khang, Ancillary Chamber 4 (S1_L30). Figure 84. Locations of rock art on the left wall of S1_L30 which contains a group of thematically interrelated pictographs and Tibetan inscriptions. The pictographs primarily consist of anthropomorphs and horses that have non-Buddhist ritual, doctrinal a Figure 85. The rock art of S1_L35. The image has been digitally enhanced to increase the clarity of the pictographs. On the upper right side of the photograph a dbu can inscription that reads A or Om is visible. Figure 86. The twin rock pinnacles named Sgo srung khro bo khro mo stand guard at the start of the pilgrim circuit around Bkra shis do chung (S2). According to the local sacred geographic tradition, Khro bo khro mo is a group of three male and three femal Figure 87. Zhabs drung lha khang, Bkra shis do chung. Photograph taken in 2010. Figure 88. Circa 2010, a motorable road was cut around Bkra shis do chung. From subsequent observations made by the author it can be stated that this road has had a deleterious cultural and ecological impact on Bkra shis do chung. Pictured is the road on Figure 89. The exterior of one of the cave residences that was being built in S2_L1 in 2012. It is situated near a cave called Klu gdong phug (Face of the Serpent Spirit Cave). Figure 90. The interior of the same cave residence in S2_L1. A ma ṇi mantra written in red ochre and other red ochre applications can be discerned. The photograph was taken in 2012. Figure 91. Folios written in Kalika (Mongolian) recovered from Rgwa lo gser bum by local religious custodians. Figure 92. Locations of some of the rock art at ’Jams dbyangs phug (S2_L11). Figure 93. The locations of rock art in S2_L12 are encompassed by this image. Figure 94. The two free-standing pinnacles near the centre of the image are known as Bde mchog yab yum (S2_L15). Envisioned as representing the tantric god Bde mchog in ecstatic embrace, these pinnacles are one of the most prominent sacred geographic site Figure 95. The cliff face of S2_L17. The image has been digitally enhanced to bring out the various inscriptions. Figure 96. Rlung ra phug (S2_L19). Figure 97. The right wall of Rlung ra phug (S2_L19). Visible in the image are S2_19_C1 (far left side), S2_L19_C2 (lower middle), S2_L19_C3 (middle right), S2_L19_C4 (upper right), and S2_L19_C5 (lower right). Figure 98. The cave of S2_L20. Figure 99. Pad sdong phug (S2_L23). Figure 100. The contending religious symbols and mantras of Dung dkar rang byon (S2_L24). The final letters of the two inscriptions illustrated in the lower half of the photograph are cut. The image has been digitally enhanced to increase the clarity of t Figure 101. Big Khyung Cave (S2_L25). All but the panels of pictographs on the outer left wall of the left part of this overhang in the escarpment are visible in this image. There is a very large horned eagle pictograph (S2_L25_C1a) on the central rib of Figure 102. Locations of rock art in S2_L25. Figure 103. The horned eagle (S2_L25_C1a) and Phyag na rdo rje (S2_L25_C1b) pictographs that dominate the central rib of the cave. They have a combined height of 125 cm. Some of the surrounding subjects are also visible in the photograph. The image has be Figure 104. Compositions S2_L25_C5 (dominates upper and centre portion of the image), S2_L25_C6 (lower middle), S2_L25_C7 (partially visible, lower left corner), and S2_L25_C8 (spread across upper and central parts of the image). Figure 105. Composition S2_L26_C10 and an accompanying Tibetan dbu med (headless letters) inscription. The image has been digitally enhanced to make its contents more apprehensible. Figure 106. The locations or rock art on a large panel on the right wall of S2_L26. Figure 107. The western extremity of Bkra shis do chung around Srin po’i ro do rgyag sa (S2_L30). Figure 108. Bon kyi phug (S2_L31). Figure 109. Mna’ bshags phug (S2_L32). Figure 110. Locations of some of the rock art in S2_L33. Figure 111. Sgrol ma phug (S2_L34). Figure 112. This large pile of stones is called Sdig pa’i khur bo bab sa rdo phug (Stone Heap of the Landing Place of the Load of Sins). This pile was created by pilgrims carrying stones from Sdig bshags phug (Confession of Sins cave), which is on the opp Figure 113. Locations of rock art in the outer section of the left wall of S2_L34. Figure 114. The right section of the rear wall of the cave. S2_L34_C1 is in the middle part of the far-right side of the photograph, S2_L34_C2 to S2_L34_C5 are on the lower right side, S2_L34_C9 to S2_L34_C11 are on the upper middle-right side, while S2_L Figure 115. Locations of rock art in the central section of the rear wall of S2_L34. Figure 116. A portion of the rock art of the central and left sections of the rear wall of S2_L34. Figure 117. Locations of rock art on the left section of the rear wall of S2_L34. Figure 118. A non-Buddhist swastika and inscription in a rock shelter on Do ring. Figure 119. The ruined rock shelter that contains the inscription and rock art at Do ring. Figure 120. Rta mchog ngang pa do (S3) as seen from the east. Figure 121. Rta mchog ngang pa do (S3) as viewed from the north. Figure 122. An old dwarf juniper tree (Juniperus pingii var. wilsonii) clinging to the Rta mchog ngang pa do formation. These junipers grow in highly sheltered spots around the headland. The largest trunks are around 30 cm in diameter, representing severa Figure 123. The sacred mountain Gnyan chen thang lha as seen from Rta mchog ngang pa do. This tallest mountain in the Transhimalayan range of the Eastern Byang thang is situated on the opposite (south) side of Gnam mtsho. In Tibetan mythology and religion Figure 124. The two conical formations at Rta mchog ngang pa do which are said to be the ears of the horse (middle of the image). The ancient building complex is on the summit of the northwest (right) ear. Figure 125. The building complex on the summit of the northwest horse’s ear, as seen from the base of the formation. In the middle of the summit there is the lower structure and on the left side of the summit there is the smaller upper structure. Figure 126. The entrance to the shaft with a stone staircase can be seen at the base of the two halves of the formation. An open passageway is located below the gap that divides the two parts of the formation. The lower or main summit structure is visible Figure 127. The building complex atop the horse’s ear, with the vast expanse of Gnam mtsho surrounding it on three sides. This photograph was taken from the heights of the backbone of the headland. The L-shaped main structure is on the middle-right side o Figure 128. The horse’s ear lower/main structure, a complex of small buildings or rooms as viewed from the east. Figure 129. The horse’s ear lower structure as seen from the north side. Figure 130. The lower tier and corridor or passageway (just below the standing wall on the upper left side) of the horse’s ear lower structure. Figure 131. The upper tier of the horse’s ear lower structure as viewed from above or to the south. Figure 132. The upper structure on the horse’s ear at Rta mchog ngang pa do. Figure 133. The vestiges of an ancient cave shelter on the rocky spine of the headland opposite the horse’s ears formations. Impacted rubble heaped up to around 3 m in height barricade the mouth of a small cave. Massively built wall fragments (70 cm thick Figure 134. Another ancient cave shelter at Rta mchog ngang pa do. Flanking the mouth of this shallow but tall cave are the remains of a heavily built façade (70 cm thick) that has been reduced to 1.5 m or less in height. This forward structure appears to Figure 135. S3_L1. Note the remains of the masonry façade and the built niche in the rear of the cave. Figure 136. S3_L2. The larger grey stones in the foreground appear to have formed outer structures (including a façade) around the overhang in the cliff face, which can clearly be seen in the middle of the image. The smaller reddish stones in the backgrou Figure 137. The rock art panel of S3_L2_C1. Figure 138. Innominate (S3_L5). The locus consists of the two caves and the rock bulwark between them. Figure 139. S3_L7 with its massive front wall, which is 11 m long, 70 cm thick, and as much as 1.5 m in height. Inside this wall there are two internal partitions now reduced to 1.7 m and 2 m in length. Figure 140. A highly worn non-Buddhist inscription in S3_L7. The image has been digitally enhanced for visibility. Figure 141. The limestone escarpments with rock art sites S4 (foreground) and S5 (far left). Figure 142. S4. S4_L1 is at the foot of the formation in the middle of the image, while L2 and L3 are out of view on the left side of the formation (side facing directly onto Gnam mtsho). Figure 143. The panel of red ochre and black pigment pictographs in L4_S1. The image has been digitally enhanced to make the rock art more visible. In the middle of the image is S4_L1_C1. S4_L2_C2 to S4_L1_C7 are arrayed above S4_L1_C1. Figure 144. This swastika was painted in a cave between S4 and S5 (30.837955 N / 90.649667 E). Figure 145. S5 is the escarpment on the right side of the photograph (the rock art is in a cave out of view). S7 can be seen on the far-left side of the image. The large hill to the right of S7 is Khyi rgan gag pa do (Old Dog Barking Headland), one of the Figure 146. S3 is the long headland extending to the far-right side of the photograph. S5 is the smaller escarpment in the middle of the image. Figure 147. The sub-rectangular stone enclosure situated east of S6. Figure 148. The escarpment of S6. S6_L1 is a recess situated next to the cave on the far-right side of the formation. S6_L2 is the cave on the left side of a slit in the formation between it and S6_L1. S6_L1. S6_L3 is the cave to the right of the two smal Figure 149. S6_L3 (shallow cave on the right). Figure 150. The locations of rock art in one section of S6_L4. Figure 151. Shown here is a group of pictographs on the left side of the rear wall (right side of image) and the inner section of the left wall (left side of image) of S6_L4. The image has been digitally enhanced to accentuate the visual clarity of the pi Figure 152. The outer left wall of S6_L4, with a portion of the rear wall (far right). The image has been digitally enhanced to increase the clarity of the rock art. Figure 153. Locations of rock art on the outer left wall of S6_L4. Figure 154. The red ochre pictographs on the left wall of S6_L5 except for S6_L5_C1. The image has been digitally enhanced to accentuate the clarity of the pictographs. Figure 155. The locations of rock art in S6_L5 up to S6_L5_C31 . Figure 156. A large selection of pictographs on the inner left wall of S6_L5. S6_L5_C9 is situated near the top left side of the photograph, while S6_L5_C10 is at the top of the image on the middle right side. S6_L5_C13 is in the upper left corner, S6_L5_ Figure 157. Lug do (S7) is on the left side of the photograph and Ra mo do (S8) on the right. Figure 158. The restricted access on the east side of the archaic residential installation at Lug do can be seen in the foreground. In the background the natural rampway hosting the residential site is visible (the diagonal line on the lower part of the f Figure 159. The highly dissolute structural remains along the natural stone rampway at Lug do. Figure 160. The structural vestiges of the lowermost cliff shelter on the rampway. Figure 161. The structural traces of the lower-middle cliff shelter on the rampway. Figure 162. The structural traces of the upper-middle cliff shelter on the rampway. Figure 163. The structural traces of the uppermost cliff shelters on the rampway. Figure 164. The stone and adobe residential complex in the west portion of the south side of Lug do. On the right side of the photograph there are ritual structures and residential structures in the middle and on the left side. Figure 165. Another view of the old residential and ritual complex in the west portion of the south side of Lug do. Figure 166. S7_L1. Note the remains of the ancient façade wall that enclosed the mouth of the cave. Figure 167. S7_L2. The three partly intact flaming jewels symbols and other religious pictographs painted on this rock panel are visible in the photograph. The image has been digitally enhanced to visually accentuate the rock art. Figure 168. Locations of some of the rock art in S7_L2. Figure 169. The interior of a recess a few metres west of the main rock panel. S7_L2_C10 to S7_L2_C12 appear on the upper-right side of the photograph, while S7_L2_C13 to S7_L2_C15 are on the lower-left side. All around these compositions are pictographs Figure 170. S7_L3. This small cave has two mouths that access two interconnected chambers. Figure 171. S2_L4. Note the remains of the wall enclosing the base of the overhang. Figure 172. S2_L5 is the recess in the middle of the image. Figure 173. S7_L6. The rock art is in the middle of the rear of this natural cave shelter. Figure 174. Ra ma do (S8) as seen from the east. Figure 175. Ra ma do (S8) is on the right side (west) and Lug do on the left side (east) of the photograph. Figure 176. A small, walled enclosure on the east side of Ra ma do. Such structures in Upper Tibet are often associated with burial and/or funerary rituals. Figure 177. S8_L1. The cave with the rock art is on the right side of the formation, the far-eastern end of the south side of the Ra mo do headland. Figure 178. Locations of rock art in S8_L1. Figure 179. S8_L2_C2. Non-Buddhist swastika and mantric inscription. The image has been digitally enhanced for visual clarity. Figure 180. Tibetan red ochre inscription in S8_L5. The image has been digitally enhanced for ease of readability. Figure 181. The formation of Stong shong phug (S9) in the background. In the foreground is a tourist facility constructed c. 2011. Photograph taken in 2012. Figure 182. The three pinnacles of Rigs gsum mgon po (named after the three primary bodhisattvas), a little west of Stong shong phug, a famous local landmark. Figure 183. S9_L2. Figure 184. Stong shong phug proper (S9_L3) before redevelopment by the Chinese. What appear to be faint traces of the original masonry façade and the piles of re-stacked stones can be seen. Photograph taken in 2008. Figure 185. The passageway in the roof of Stong shong phug. Figure 186. One of the ancient stone enclosures in the vicinity of Stong shong phug. Photograph taken in 1997. It is not known whether this structure has survived the redevelopment of the site. Figure 187. Stong shong phug after redevelopment. Photograph taken in 2012. Figure 188. View out from the rear of Stong shong phug. Photograph taken in 2012. Figure 189. S9_L3. The central panel (2 m × 90 cm) is suspended c. 2 m above the floor of the cave (upper half of the photograph). The image has been digitally enhanced to increase the clarity of the pictographs. Figure 190. Locations of rock art on and around the central panel of S9_L3. Figure 191. The island of Se mo do (S10) as seen from Rigs lnga do (S11) to the north. Figure 192. One of the cairns on the summit of Se mo do looking out to the west. There are extensive ritual structures on the summit, with the Buddhists exploiting pre-existing cairns for their own purposes. Figure 193. A large stone plaque with a carving in relief of the wrathful tutelary deity known as Khro bo bdud rtsis ’khyil ba that belongs to the Rnying ma sect. It is found among the ritual structures planted on the summit of the headland. Figure 194. S10_L1. Figure 195. The surrounding structures and cave mouth of S10_L2. Figure 196. The exterior structures in front of S10_L3. Figure 197. The rock art of S10_L3. Figure 198. Rgwa lo phug. The heavily built foundations belonging to Phase I at Se mo are visible in the foreground. The much thinner walls enclosing the cave in the escarpment seen in the background belong to Phase II construction. Figure 199. S10_L5. Figure 200. Rigs lnga do from the south. This photograph was taken on the island of Se mo do. Figure 201. It is pinnacles such as those pictured for which Rigs lnga do is named. The image shows the southeast side of the formation. Figure 202. S11_L1. Figure 203. S11_L3. Figure 204. S11_L4. Note the rocky dispersion in front of the mouth of the cave that appears to be structural remains. Figure 205. S11_L5 is situated at the bottom of the far left side of the formation. Figure 206. The headland of Lce do as seen from the south. The cave hosting nearly all the rock art at the site is found at the base of the large rock outcrop on the farright side of the photograph. Figure 207. Lce do (S12). The cave with almost all the rock art is situated at the base of the formation in the middle of the photograph (the smaller of the two triangular shaded areas). Figure 208. The interior of the cave pullulating with rock art at Lce do (S12). Discarded protection cords (srung mdud), prayer flags (rlung rta), and offering scarves (kha btags) hung in the cave are visible on the right side of the photograph. These mod Figure 209. The pictographs on the right outer side of Lce do. The image has been digitally enhanced to increase the definition of the individual pictographs. Figure 210. Locations of pictographs on the right outer side of Lce do (S12). Figure 211. Locations of many pictographs on the central rear and left walls of Lce do (S12). Figure 212. The rear wall of Lce do. Parts of the right wall and left wall of the cave are also visible on the upper right side and upper left side of the photograph. The image has been digitally enhanced to increase the definition of the individual picto Figure 213. Composition S12_C143 (hunters on foot and two yaks is in the middle of the photograph). Subject S12_C143j is not visible in the image. The composition is bracketed by the twin horsemen of S12_C142 (right side of photograph) and those of S12_C1 Figure 214. Locations of some pictographs on the left wall of Lce do (S12). Figure 215. A red ochre swastika oriented in a counter-clockwise direction situated just east of Locus 4, on a headland called Gyer ru mtsho do (31.025 N / 89.54.0 E / 4680 m – 4740 m), in the Spo che region. Gyer ru mtsho do is part of the shoreline of B Figure 216. The sacred Mount Spo che from the west as seen from the summit of the headland known as Gyer ru mtsho do. Figure 217. The headland of Gyer ru mtsho do (small dark formation in the middle of the photograph). Figure 218. Glang chen phug, Gyer ru mtsho do. As can be seen in the image, the cave is divided into two parts. The right half functioned as a kitchen and fuel storage area and the left (with large window) was used for religious practice and sleeping. The Figure 219. The ancient cave shelter of Locus 1 on the north side of Gyer ru mtsho do. Note the remains of the masonry walls that once sealed the cave. Figure 220. The crumbling masonry walls and escarpment with cave of Locus 2, Gyer ru mtsho do. Figure 221. The rock shelters of Locus 4, Gyer ru mtsho do. Note the manner in which wall traces continue up the natural ramp of stone on the left side of the structure. Figure 222. The walled cave and anterior structures of Locus 5, Gyer ru mtsho do. Figure 223. The interior of the cave at Locus 5. Note Focusing on the eastern part of the region, this is the first in a series of five volumes that comprehensively document rock art in Upper Tibet. It examines a panoply of graphic evidence found on stone surfaces, supplying an unprecedented view of the long-term development of culture and religion on a large swathe of the Tibetan Plateau. The pictographs (rock paintings) and petroglyphs (rock carvings), host sites, and descriptions and analyses presented are the direct result of intensive fieldwork conducted by the author in Upper Tibet between 1995 and 2016. Information on rock art production techniques, subject identification, thematic class, mode of presentation, physical condition, estimated age, and relative location are supplied for each piece of rock art. In addition to the datasets, the book offers rock art site descriptions and assesses the cultural, religious and artistic development of these locations. John Vincent Bellezza PhD is a specialist in the archaeology and cultural history of the highest reaches of the Tibetan Plateau. Author of 12 previous books and many academic articles on these subjects, he spent altogether eight years in Tibet engaged in fieldwork between 1984 and 2019. During the course of his explorations, he became the first westerner to visit the sources of the four major rivers arising in western Tibet and is perhaps the only person to reach most of the islands in the big lakes of the Tibetan tablelands. Upper Tibet,rock art,petroglyphs,cave art,survey,catalogue