As we wandered the streets of Lo Manthang, we kept passing a tall red building, solid and windowless. There were rectangular holes cut into the lower part of the walls and I put my eye to them but felt only cold blackness. I turned the torch on on my phone and shone it through the hole, but its feeble light was no match for that darkness.

There was one thing I was determined to see in Lo Manthang, and that was the enormous statue of the Buddha that Michel Peissel had come across in his explorations, and I suspected that this dark building was where it sat.

Jit arranged for us to see the three monasteries of Lo Manthang. We first visited the Chode monastery where the monastic school is located and heard eighty-three small monks reciting their scriptures. Next to the monastery was a chorten that contains the body of a powerful lama. It also contains a relic from an abbott who had died twelve years before and the guide told us that when he died, snow fell in Kathmandu for the first time in sixty-two years.

Another guide, Tashi, carrying a large torch, led us along the streets and into a courtyard. We climbed some steps to the walkway above and he unlocked the padlock on a heavy, carved wooden door. The sound echoed as in a large cavern and we stepped into the gloom. As my eyes adjusted, there opposite, rising up out of the gloom below, was the great, golden statue of the Maitreya, the Buddha who is to come, at once benevolent and forbidding. For 600 years, since the founding of Lo Monthang, it had sat there. On the altar against the railing before it, as well as butter lamps and bowls of water, were offerings of rice, money, biscuits, a juice popper, and a cylinder of Pringles chips. A woman stood, fervently intoning prayers.

Leaning over the railing, I peered down into the lower floor where the base of the statue sat. Beyond the base, impenetrable darkness.

I asked Tashi what was in the floor above and he told me it was a Mahakala room and therefore dangerous to enter. Mahakala is the fierce protector god.

Tashi then took us to the Tubchen monastery. We entered what I can only describe as a vast cathedral. Great pillars, thirty-five of them, the width of whole tree trunks held up the roof, almost eight metres high, the floor space 28 by 18 metres. The brackets atop the pillars were intricately carved and around the edge of the skylight recess were snow lions, mythical creatures of the Himalayas symbolising fearlessness and unconditional, youthful joy.

Tashi was one of a group of artists working with Italian experts to restore the Jampa and Tubchen monasteries. In both, the paintings had deteriorated from age, soot from the butter lamps and incense, and water leaking from the ceilings. The walls had been cleaned and, in some places, resurfaced and new paint added. In some places, whole new paintings were being added to replace those completely lost.

Thousands of dollars of foreign money is being spent on the restoration, but younger Lobas are leaving and those with money invest it abroad. In a place that has no health facility beyond a health post staffed by the equivalent of a paramedic, there is tension about the money being spent on the restorations. While some people feel it is important to maintain their heritage and culture, others feel it is the foreigners who really want it. There is speculation that the palace will not be restored before the Raja is too old to return and that it may become a museum.

Will Lo Manthang eventually become just one great, remote museum for foreigners to visit?