Electricity comes to Alchi (10,340 feet) from 8 – 11 p.m. from the generator in the neighboring village of Saspol, which is about a mile away. Supper is served at the Alchi Resort when the power comes on. The supply of electricity can be uneven, with periods of low power when the lights stay on but dim. The power went off completely for what seemed like several minutes while we were drinking tea after the first of the amazing meals prepared especially for us by the warm and friendly owners and staff of the hotel.
We sat in darkness so deep that I could see nothing at all. I haven’t experienced cocooning darkness in years and was kind of disappointed when Carol and Martin flipped on their LED flashlights. I would not have wanted to attempt walking back to our cottage without the light, but I enjoyed it for the few seconds it lasted.
The relative lack of electricity in Alchi doesn’t diminish the experience of this magical place for the traveler in any way. I don’t know much about what the local people think about it, but some of them do have generators. The proprietor of the Alchi Resort also spoke expectantly about the electricity that will be coming from a hydropower plant that is visible from Alchi.
This plant will use the water of the Indus River to generate electricity. I don’t know when it is scheduled to come online, but work was steady on it while we were in Alchi. Generation of electric power raises some of the starkest questions about the effect of development on the natural world, and this project is no exception.
A little bit more inconvenient for travelers is the lack of phone service from the village. Clearly, the phone generally works because the gift shop has signs proclaiming that shoppers can pay with any credit or debit card. Judy asked if she could use her card, but she could not because the phone service was out. This was not a big deal because we used an ATM in Delhi before we left for Ladakh, and we have plenty of cash. The phone problem affected reconfirmation of our ride back to Leh, however. On Sunday Martin found someone with a cell phone that was working to call the hotel in Leh to touch base that the driver would be coming Monday morning. (He was, and he did arrive before 7 a.m.)
All this about Alchi’s connection to the conveniences of contemporary life really misses the point of the visit to the village, however, which is the monastery and the other temples and chortens around the area. We started both of our full days in Alchi with early visits to the monastery to beat the tourists coming from Leh (about a three-hour drive).
The first day we stayed in the temples until lunchtime (with a brief interruption from one other Western tourist who wanted to zip through). The second day, the lama who is in charge of dealing with the keys to the temples (and the tourists) was just coming out of the first temple with a group of Indian tourists. When he saw us, he panicked a bit because he had not yet had breakfast, or even tea. He looked desperate, and we agreed to come back in about half an hour. (In the meantime, we got started on a wonderful walk around Alchi and ended up coming back to the monastery well after lunch. The lama was in a better mood then and even asked what had become of us in the morning.)
The monastery was founded and built in the 12th century. The painting in the temples and prayer rooms is in the Kashmiri style and is so amazing that it is difficult to find words to describe the experience of being in these sacred spaces. The walls are like carpets with thousands of repeated images of buddhas and boddhisatvas along with some portraits of historical figures, including secular figures making pilgrimage to worship the Buddha.
By design, the only light source in the temples is a skylight. The lamas have brought a little bit of artificial light to the rooms, but they are quite dark and to look closely at the paintings, one needs a flashlight. This increases the feeling of focus on particular images, which adds a meditative feel to our visits. Although the paintings, statues and other objects in the sacred rooms are beautiful, their value is in their role in sacred practice. Aesthetic considerations are secondary, and photography is not allowed.
The statues of buddhas and boddhisatvas burst out of the buildings that attempt to contain them to remind us that they cannot be contained. The paintings are both overwhelming in size and detail so they simultaneously create the desire to step away in awe and the urge to move toward the paintings to become immersed in the details.
This is the true power of Alchi.