In the Forbidden Land/Chapter XLIV


 * The interior of a serai&mdash;Vermin&mdash;Fish, local jewellery, and pottery for sale&mdash;Favourite shapes and patterns&mdash;How pottery is made.

OUR abode was a one-storeyed house built of stones and mud with a flat roof. There were two rooms, the first lighted by the door, the second and larger having a square aperture in the ceiling for the triple purpose of ventilation, lighting and outlet for the smoke of the fire, which burnt directly underneath in the centre of the room. The beams and rafters supporting the roof had been brought over from the other side of the Himahlyas, as no wood is to be found in Western Tibet.

This serai was in charge of a young, half-demented lama, who was most profuse in salutations, and who remained open-mouthed, gazing at us for a considerable time. He was polite and attentive in helping to dry our things in the morning, and, whenever we asked for anything, he ran out of the serai in frantic fits of merriment, always bringing in what we required.

The heavy storm during the night had flooded our room, and there was only one corner slightly drier than the rest of the floor, where we all slept huddled together. These serais have no claim to cleanliness, and on this occasion all the minor animal life that inhabited the floor had, with a view to avoiding the water, retreated to the higher portion of the room, which we also had selected, so that one more trial was added to all our other miseries, for we were half devoured by a variety of "insects." This, indeed, was a dreadful pest, and one from which we suffered indescribable agonies, not only on this occasion but whenever we halted near Tibetan camps. When we rose in the morning the room was full of Tibetan men, women and children, who seemed very good-natured and friendly.

"Tanga chick!" (a silver coin equivalent to half a rupee) cried an old woman, who stuck a dried fish under my nose, professing volubly that it had been caught in Mansarowar, and that it would make its possessor the happiest of mortals. Others unrolled, from pieces of red cloth, jewellery in the form of brooches, rings, and earrings of brass or silver inlaid with malachite.

"Gurmoh sum!" (three rupees), "Diu, diu, diu" ("Yes yes, yes"), "Karuga ni!" (two two-anna pieces), "Gientcheke!" (a four-anna piece), and so on, all talking at the same time, in their anxiety to dispose of their goods.

The jewellery was of local manufacture, and in some cases the pieces of malachite were firmly set, but usually a kind of paste is used for holding the stones, and consequently, pretty as the jewels are, they soon break.

The earrings are usually better made than the brooches, but the most interesting of all, because simpler and more characteristic, are the flat silver charms, such as the one I give in the illustration, ornamented with a primitive design. This particular one, which is now in my possession is of great antiquity, the edges being much worn down. It has the lotus pattern in the centre and leaf ornamentations filled in with lines radiating from a parent stem. Concentric circles occupy the inner square, which also contains circular dots in sets of threes and contiguous semicircles. Triangles filled in with parallel lines are a favourite form of ornamentation in Tibetan work, and, perhaps, most popular of all in the mind of the Tibetan artist is the square or the lozenge outline, with a special inclination towards purely geometrical patterns, a tradition probably inherited from their Mongol ancestors.

The most interesting objects to me at Tucker were the specimens of pottery made by the natives, which is manufactured from clay of fine quality, although it is not properly beaten previous to being worked into vases, jugs, &c. Moulds are used to fashion the bases of the larger vessels and the inner part is shaped by the hand; a rough turning-machine simplifies the finishing of the upper part of the vase, leaving it comparatively smooth. Two handles with rough line ornamentations are added to the larger vessels, but one suffices for the jars with longer neck and small aperture.

The two patterns reproduced in the illustration are those more commonly adopted; the colour is a light greyish terra-cotta, left fairly smooth and unvarnished. They are well burnt, in primitive furnaces, the Lamas showing much skill in the manufacture of these vessels, which find a ready market among the pilgrims to the sacred lake. The tools used in fashioning the vessels are extremely simple; a piece of flat stone, and two or three wands of wood, beyond which the Tucker potter does not really require more than his fingers and his nails to accomplish his work.