Sakya Pa Monasteries

Khordo Gonpa, located in Niumai Village, Keluodong Township, Dege County, Garzê Tibetan Autonomous Prefecture, Sichuan Province, is a historically significant Sakya pa monastery of Tibetan Buddhism.

Founded in the year 1255 AD, the monastery has stood for over seven centuries, accumulating profound cultural heritage and religious traditions, making it an important Buddhist sanctuary in the Dege region.

Geographically, Khordo Gonpa is situated approximately 23 kilometers from Dege County, with convenient transportation access. It is located near National Highway 317 and has access to electricity, providing modern support for the monastery’s daily operations and pilgrims’ visits. These modern connections allow the ancient monastery to maintain a degree of interaction with the outside world.

The establishment of Khordo Gonpa dates back to the mid-13th century, a period of flourishing development for various Tibetan Buddhist schools.

As a monastery of the Sakya tradition, it upholds the school’s emphasis on the study of scriptures, esoteric practices, and the unique hereditary transmission of its teachings.

The Sakya school is well known for its distinct “Path and Fruit” teachings and vibrant, multicolored thangka paintings. As a representative of this lineage, Khordo Gonpa has endured the passage of time while preserving its religious and cultural distinctiveness.

Although historical records do not explicitly name the monastery’s founder, it is likely that Khordo Gonpa was established by a highly learned Buddhist master or a noble figure, with the primary intention of providing a space for local practitioners to cultivate their faith and to spread the teachings of the Sakya school.

Nestled in the natural surroundings of Niumai Village, the monastery is embraced by rolling mountains and picturesque landscapes. This location, harmonizing with nature, aligns with the Tibetan Buddhist tradition of integrating monastic sites within the environment.

Beyond its role as a religious center, the monastery serves as a spiritual refuge for the local Tibetan community.

During major religious festivals and ceremonies, devotees from surrounding villages gather at the monastery to participate in chanting, circumambulation, and other sacred rituals. This has made Khordo Gonpa a bridge between the community and their faith. The accessibility of roads and electricity has further allowed the monastery to blend traditional practices with certain modern conveniences, facilitating greater interaction with the outside world.

As a monastery founded in the 13^th century, Khordo Gonpa has witnessed the historical transformations and cultural evolution of the Dege region. It stands not only as a vital institution for preserving the Sakya teachings but also as a testament to Tibetan architectural artistry and Buddhist philosophy.

Having endured over 700 years of trials and change, Khordo Gonpa remains a steadfast guardian of faith and culture in this land.

Today, whether for pilgrims seeking blessings or travelers exploring the history of Tibetan Buddhism, Khordo Gonpa continues to radiate an air of solemnity and serenity. Its timeless presence stands as a cultural treasure of Dege County, offering a glimpse into the enduring spiritual legacy of the region

Also known as “Gongkar Monastery” and “Dorje Dan Monastery“, which means Vajra Monastery,

Gonggar Chode is located in Gangdui Township, Gongga County, Shannan City. It is 18 kilometers away from Gongga County and by the highway from Gonggar Airport to Lhasa city.

In 1464 AD, the monastery was founded by “Tubten·Gonggar Namgyal” and belonged to the Sakya Pa of Tibetan Buddhism.

This monastery is the ancestral monastery of the Gonggar sect, a esoteric（tantric） branch of the Sakya Pa, and currently the only practice site of this sect;

The Founder

Gongkar Chode was founded by the Sakya Pa master known as “Tubten·Gonggar Namgyal (1432 AD – 1496 AD)” who was regarded as the incarnation of the great master “Padmasambhava“.

“Tubten·Gonggar Namgyal” was born into the “Tumi” family in the “Ten” region (present-day Nyemo County, Lhasa City), and hence revered as “Tubten”.

His father, “Gyewa Sherab”, was said to be a descendant of the Tibetan minister and creator of Tibetan script, “Thonmi Sambhodra”.

As a child, “Gonggar Namgyal” displayed exceptional intelligence, mastering Tibetan reading and writing at a young age.

Due to his proficiency in reciting the five major “Dharanis” from a young age, he was given the name “Draan Gyebu”.

At the age of 13, he became an attendant of the Nedong King “Drakpa Chongne” as his mother wished, and at 15, he was appointed as the “Tsongben (chief)” of “Gongkar Tsong” and married to raise a family.

However, at the age of 18, he chose to become a monk. He received novice ordination from Gye Jangba Linba (Master Cizhou), full ordination from “Sonam Namgyal”, and studied under eminent monks like Tsongba·Sonam Sambu.

Subsequently, he studied sutras and tantras under Indian and Tibetan Buddhist masters such as “Dratoba·Sonam Sambu”, “Pandita Nag Renchen”, and “Shalu·Yeshe Gyantsen”, gradually becoming a highly knowledgeable Sakya pa master proficient in both exoteric and esoteric teachings, the great and minor of the “Five Science”.

At the age of 30, he vowed to build Gongkar Chode. After years of hard work, the monastery was finally completed, as well as establishing a comprehensive educational system and ritual practices within the monastery.

The Venerable “Tubten·Gonggar Namgyal” passed away at the age of 65 in Gongkar Chode

Layout

Gongkar Chode was built according to “Mandala.”

The layout consists of the main hall in the center, Gong Sangtse to the north, Renchenn Gang to the east, Gong Tang to the south, and Drepung to the west; in addition to these main buildings, there are also some smaller auxiliary buildings.

According to the “Gongkar Chode Annals”:

The main hall of the monastery is shaped like a cross Vajra mandala, surrounded by protruding small halls on all sides. There are four pillars in the rear hall which the main statue of Sakyamuni Buddha is enshrined, additionally, there are statues of the eight great disciples, and the two protectors of Indra and Shri Vajramahabhairava.

After the completion of Gongkar Chode, the monastery has always been the most important place for the propagation of the Sakya pa’s Tantric teachings in the U-Tsang region.

According to the “Record of U-Tsang’s Sacred Sites,” Gongkar Chode was exquisitely built. In the clean incense room behind the main hall, there is the skull of Panchen Gayadara, inside which there is an extremely exquisite portrait of Sakyamuni.”

Within the monastery, there are forty-five types of practice methods such as “external practices(Things Tantra)” (emphasizing the external phenomena of the three karma of body, speech, and mind), “conduct practices(Action Tantra)” (emphasizing the external body, speech, and the internal mind in the yoga samadhi practice), “yoga practices (Yoga Tantra)” (focusing on internal mind meditation practices), and “supreme yoga practices (Supreme Yoga Tantra)” (engaging in the most superior meditation practices of internal yoga, such as the practices of union of wisdom and emptiness, and the great samadhi practices).

During the time of the 5^th Dalai Lama, due to the continuous decrease in monks at the monastery, the area of the main hall was reduced, leading to the formation of some auxiliary halls on both sides.

At the beginning of this century, Gongkar Chode underwent its final large-scale renovation.

Existing Architectures

The monastery’s existing buildings consist of the main hall and a two-story building on the north side of the main hall, namely Gong Sangtse, while the rest of the subsidiary buildings have been destroyed. The current buildings are all original structures from the time of the monastery’s construction, and their architectural style is largely consistent with the records in the “Gongkar Chode Annals”

The overall architecture is Tibetan-style earthen and stone construction, with flat roofs and thick walls. Inside the buildings, elements such as beams, columns, brackets, and lintels are mostly constructed using wood.

The main Hall is two stories high and has a square floor plan. In front of the main Hall is a square, with mulberry burning platforms on both sides. There are two prominent pillars in front of the main Hall’s entrance, and the four heavenly kings are painted on the left and right door walls.

The main Hall faces west and consists of the scripture hall, Buddha hall, subsidiary halls, and a circumambulation corridor. It measures 65 meters long from east to west, 55.5 meters wide from north to south, with an additional Kitchen attached to the southwest corner.

Inside the main Hall, there are a total of 49 columns, each adorned with thangkas, allowing for thousands of monks to chant simultaneously.

The four walls of the main Hall are adorned with colorful and exquisitely painted murals depicting the “Life of Sakyamuni(Buddha Jataka),” created during the Ming（AD 1368 – AD 1644） and Qing（AD 1636 or AD 1644 – AD 1912） dynasties.

To the left of the entrance of the main Hall is the Dharma Protectors’ Hall, with statues of Dharma protectors at the entrance and main deities such as Yamantaka and Paldan Lhamo inside.

To the right of the main Hall is a small Buddha hall, where the statues have been destroyed, and miscellaneous items are stored. However, some parts of the “Life of Buddha (Buddha Jataka)” murals are preserved, showcasing a distinct style from the main hall murals influenced by the Palcho monastery and the Guge painting style, suggesting an earlier origin than the main hall murals.

In the central 1st level of the main Hall, the Buddha hall enshrines Shakyamuni Buddha, with the Jampa Buddha hall on the left, all statues that are housing in this halls are very tall

There is a concave circumambulation corridor adorned with Buddhist scripture stories behind the buddha hall of the main Hall that dating back to before the Qing dynasty. However, due to dampness in the corridor, most of the murals have peeled off and deteriorated.

There are murals of approximately 2 meters high depicting the “Sakya Five Forefathers” on the walls to the left and right in front of the Buddha hall, vividly highlighting the characteristics of Sakya sect monasteries.

In front of the Buddha hall,there are rectangular skylights for natural lighting, with murals on the inner walls depicting the Sakya Five Forefathers, Tsongkhapa and his two disciples, and the Maitreya Buddha in a Han-style painting, vividly showcasing the influence of the Gelug pa on the monastery’s murals.

The Legend and Evolution

Legend has it that one day, “Gonggar Namgyal” was reading the “Vajra Sutra” on the roof of the Gongga Tsong’s office and a few pages of scriptures were blown by the wind to the site where the Gongkar Chode is located today. A crow preserved these pages of scripture.

Seeing this extraordinary phenomenon, he believed it was a sign from the Bodhisattva and decided to build a monastery there. In 1464 AD, he constructed the Gongkar Chode here, and began to promote several teachings of the “Four Tantric Classics.”

Since its establishment, the Gongkar Chode has gradually developed a comprehensive system of study and practice, exerting significant influence in the regions of U-Tsang. Particularly popular in the Tibetan region are the monastery’s “Tantric Rituals” and “Vajra Dance,” such as the annual “45 Tantric Mandala rituals” and the “Cham Dance”, among various distinctive Buddhist activities.

The monastery also houses precious Buddhist relics, including the skull of the great practitioner Gayadare, Buddha statues and stupas blessed by the great translator Atisha, Tangka paintings from the Yuan and Ming dynasties, as well as numerous statues of eminent monks and masters from Tibet and India.

However, due to the changes in the world, the original Tantric rituals, Cham performances, and especially the ancient Tantric scriptures from various Tibetan Buddhism sects, the Buddhist scriptures personally written by “Gonggar Namgyal”, and many other scriptures used in daily monastery activities suffered unprecedented destruction.

During the Cultural Revolution in the 1960s, the monastery, being used as a warehouse, remained well-preserved with minimal losses. Most of the main buildings were intact, with many murals still preserved.

Since 1984, through the arduous efforts of several elderly lamas in the monastery, Gongkar Chode has been restored and renovated. The monastery’s study and practice systems, along with daily Buddhist activities, have gradually returned to normal.

In the early 21^st century, there are about 60 monks in Gongkar Chode

The Mural Art

Within the monastery halls, there are a large number of murals painted by the Tibetan artist Master “Gonggar·Khyentse Chenmo” five hundred years ago.

These murals, belonging to the “Khyentse” painting style, are not only abundant and well-preserved but also hold high Buddhist artistic value, playing a significant role in the history of Tibetan Buddhist art.

Although it is not certain if these murals were indeed created by the renowned “Khyentse Chenmo” due to lack of material evidence, it is acceptable to consider them as representative of the “Khyentse” painting style in the current context.

The murals existing in the current Gongkar Chode can be roughly categorized into three themes: Patriarch, deity and protector

These murals are divided into four parts, described as follows:

Part One: Murals on the exterior walls of the Buddha hall.

On the south walls of the Buddha hall, there are depictions of eminent Sakya Pa monks. The three figures on the left side are “Lobon·Sonam Gyanri”, “Sachen·Kunga Nyingpo”, and “Jetsun·Drakpa Gyatso”; The three figures on the right side are “Drogong·Chokye Paba”, “Sakya pandita·Kunga Gyaltsan”, and “Dangba·Sonam Gyantsen”.

The west, north, and east walls depict a complete story of Buddha’s life(Buddha Jataka).

The story is arranged in a clockwise direction, beginning with scenes of Prince Siddhartha’s family before his birth, showing a grand procession with luxurious chariots and attendants, depicting a royal atmosphere. It then progresses to Siddhartha’s birth and youth, including scenes of him archery and enjoying music and dance. Some scenes are blurred, with Indian-style dancers playing musical instruments below, captivating the viewers. The story continues with the Midnight Escape, where the Prince quietly leaves the city on a white horse accompanied by a servant, and then shows him meditating in the forest, resisting temptation from two demonesses. The narrative then shifts to Siddhartha receiving milk rice from a shepherd, leading to his enlightenment under the Bodhi tree, followed by his teaching and guiding of beings after attaining Buddhahood. The story concludes with the Parinirvana of the Buddha, peacefully passing away under the Sala tree surrounded by grieving disciples.

These murals exhibit a bold style, with free and clear compositions, vigorous brushwork, and vivid depictions of facial expressions and movements. Unfortunately, due to intentional damage, most of the colors have faded, leaving only faint traces. From the remaining parts, the predominant colors are green backgrounds, red clothing and buildings, and yellowish skin tones, with additional earthy hues in decorations. The overall decorative style is simple and elegant. These murals date back to the same period as the construction of the monastery

Part Two: Original Hall Mural

This section of murals is located on the west wall of the east side hall and the west wall of the west side hall of the main hall, depicting stories of the Buddha’s life

These stories are distributed among some main images. The main image is 1 meter wide, 1.8 meters high, and 2.5 meters apart. They are all images of Sakyamuni. They have headlights, backlights, and lotus seats, all of which are in a seated posture of sitting cross-legged. These scenes of the stories of the life of the Buddha are the essence of the murals in Gongkar Chode.

The murals show the painter’s great interest in these subjects, thus fully embodying the superb artistic ingenuity.

Story 1: There was a rich man who did all kinds of evil during his lifetime. He unleashed his dogs to bite monks who begged for help. In later life, he fell into the animal realm and turned into a yak-like monster. He was slaughtered by herdsmen with knives and spears, and was also killed by tigers, lions, poisonous snakes, scorpions, etc. The bite is excruciating; there is a picture of the Buddha preaching on it, and there are many monks and laypeople surrounding it listening carefully and understanding the principle of cause and effect. It is worth noting that this story scene is also seen in the sutra hall murals painted in the later period. However, in comparison, the former depicts a more secular life, and the style is more like a genre painting. Unlike the latter, which is more conceptual and Illustration.

Story 2: A businessman was robbed on the way. He committed suicide under a tree and was rescued by the Buddha. Later, the man was so grateful that he converted to Buddhism. Before the death of the Buddha, he came to the Buddha and knelt down to listen to the Buddha’s teachings. The picture shows the touching image of the Buddha teaching people tirelessly before his death. In addition, great attention is paid to the consistency of facial features of the characters in the picture. In addition, the pictures are full of life-like details, such as scenes of folk bands, eminent monks giving sermons, and rituals, as well as the personalities of monks, nobles, common people, beggars and other people from all walks of life.

These story scenes are set amid decorative buildings, trees, flowers, and valleys, with clear and free compositions, either upwards or downwards, left or right, all determined by the overall density. The figures and overall style exhibit a refined elegance reminiscent of traditional Chinese paintings. The story scenes are outlined in black or red lines, with skin tones mostly in earthy yellow, garments in red, and backgrounds in green. These murals are from the main hall before the fifth Dalai Lama’s small hall, which is contemporary with the time when the monastery was built.

Part Three: The murals in the main Hall.

The subject matter is the same as that of the original main Hall murals, which are all stories from the biography of Buddha and the story of the Buddha’s life, but they have different characteristics in terms of artistic techniques.

These story scenes are also centered on several main statues. The main statues are 1.1 meters high, 1 meter wide, and 1.2 meters apart. They are smaller and denser than the main statues of the original main Hall. On each side of the entrance are two heavenly kings. The last image in the prayer corridor on the east wall is the statue of the fifth Dalai Lama, and the rest are all portraits of Sakyamuni.

These main images all have a headlight, a backlight, and all in a posture of sitting cross-legged. Their skin color is earthy yellow, their clothes are red, the backlight part is blue, and there is an orange-red flame around them. The handprints are different. The characters in the story scenes are outlined with red and black lines, the monks are all dressed in red, the lay people are mostly dressed in blue, the buildings are mostly in red, and the tops of the buildings are painted in gold. The composition of the picture has a stylized trend, and is all decorated with green background colors to form mountain lines in a triangular composition, which play the role of dividing the picture. The brushwork is rigorous and meticulous, the colors are rich and luxurious,the plot description tends to be conceptual and diagrammatic, the naturalistic style and the color of secular life gradually become lighter, and the decorative style appears complicated and gorgeous.

Part Four: Esoteric Hall Mural.

This hall is located on the north side of the second floor of the main hall. It is a square hall with dimensions of 8.9 meters in length and width. The walls of the hall are adorned with murals starting from 0.5 meters above the ground, with a 0.15-meter-wide Sanskrit decorative border serving as the baseline, and murals extending from the baseline to the ceiling, with a width of 2.6 meters. Additionally, there are windows of 1 meter and 1.2 meters on this wall, and one window each of 0.7 meters and 1.4 meters on the east and west walls.

Tshongdu Dratsang, also known as “Tshongdu Monastery” or “Tshongdu Tsogpa,” is one of the four major Tsogpa in Tibet, the other three are Tse Tsogpa in Nedong County, Tsanggang Tügang Tsogpa in Shigatse, Gyangling Tsogpa in Zhanang County.

It belonged to Kadam Pa of Tibetan Buddhism when it was funded, then after it converted to the Sakya sect in the mid-13^th century.

The monastery is situated on the southern bank of the Yarlung Tsangpo River, surrounded by lush greenery and beautiful scenery. Located in Tshongdu Village, east of the county seat of Dranang (Zhanang) County,

The Founder

Tshongdu Dratsang was founded by the renowned Indian Buddhist scholar “Kache Panchen·Sakya Sribhadra” (AD 1127–AD1225 AD).

“Kache Panchen” means “the great pandita of Kashmir (Pandita equivalent to a Buddhist philosophical doctorate).”

“Kache Panchen·Sakya Sribhadra” was born in present-day Kashmir. He was the last abbot of the Nalanda Monastery in India and a prominent Buddhist scholar.

At the age of 10, he mastered the “Five Sciences,” and at 23, he became a monk, Since then, he traveled extensively in eastern India to promote Buddhism, possessing profound knowledge of esoteric teachings.

In 1204 AD, at nearly 80 years old, “Kache Panchen·Sakya Sribhadra” was invited by the “Lotsawa·Yampa Pal, AD 1173 – AD 1219, the great translator)” to Tibet to propagate the Dharma. He nurtured many prominent figures in the Tibetan Buddhist community across Tibet.

The monastic discipline he brought from India belonged to the “Sarvasti-vada” (one of the Buddhist sects), holding a significant position in Tibetan Buddhist history.

The temple structure

The architecture of the old buildign of Tshongdu Dratsang is grand, however, the new one is much smaller than the old one in scale, consisting of a three-story courtyard-style building. The central area features a courtyard with the main hall and monks’ quarters built around it. The main hall is located on the second floor, while a separate small hall on the third floor serves as the Buddha hall.

The Main Hall

Surrounding the main hall is a two-story monk’s dormitory.

The main entrance is on the second floor, accessed via a wooden staircase leading to the corridor of the main hall, which is supported by four large square pillars.

The corridor’s murals depict the Four Heavenly Kings, the Six Paths of Reincarnation Diagram, the Ideal World, and a four-faced and two-armed statue of Guanyin.

The main hall is 15 meters in depth and 6 meters in width. Inside, there is a gilded bronze statue of Sakyamuni Buddha as the main deity. To the west, a gilded bronze statue of Avalokiteshvara with a thousand arms and eyes is enshrined, while to the east, a statue of the goddess Tara is worshipped.

In a Buddha niche on the west side, statues of the renowned figures “Kon·Gongcho Gyalpo (AD 1034 – AD 1102)” and his disciples from the Sakya sect are enshrined.

The walls of the main hall are adorned with murals depicting the founder of the Sakya Pa, “‘Dromi·Sakya Yeshe (AD 994 – AD 1078)”, along with images of successive abbots and the third abbot of the Sakya Pa, Dragpa Gyaltsen (AD 1147 – AD1216), as well as various protective deities.

On the north wall of the courtyard, murals depict Vajrapani Bodhisattva.

The west wall features depictions of Sakyamuni Buddha, Vajradhara, Sarasvatī, and Manjusri.

The east wall showcases eight different images of Padmasambhava.

Buddhist hall

The third floor of the main hall is an independent small building used as a Buddhist shrine.

The murals inside the Buddha hall are well-preserved, depicting a thousand Buddha statues throughout the hall. The statues are outlined with a single line, standing at 0.17 meters tall, with circular halo and back light, high topknots, wearing draped robes on the right side, and the right hand touching the ground in a gesture, seated in a lotus position.

On the lower parts of the left and right walls inside the Buddha hall, there are four Bodhisattva statues on each side, namely the “Eight Great Disciples”: Manjushri, Vajrapani, Avalokiteshvara, Ksitigarbha, Dribpa Namsel, Akasagarbha, Maitreya, Samantabhadra, all depicted standing with various forms. The statues are 0.35 meters tall, with oval halos and back lights, tall crowns, adorned with precious silk-bound hair, draped shoulders; bare upper body with tight-fitting diagonal pants, holding a lotus flower in the left hand, and the right hand hanging down with palm facing outward; adorned with earrings, necklaces, bracelets, armlets, waistbands, and flowing robes hanging from the shoulders, giving a sense of movement; standing barefoot on a lotus pedestal.

The Buddhist hall houses Tryadhva-buddhah clay statues and two sandalwood-carved small pagodas.

Brief History

Tshongdu Dratsang, built around the year 1200 AD,

Underwent a major renovation in the 19th century by a person named “Deba Benden”, who repainted the murals and constructed a new monk’s quarters to the south of the main hall.

After 1959, it was requisitioned and converted into a granary.

During the Cultural Revolution in the 1960s, the monastery suffered damage.

In 1981, reconstruction planning began following the implementation of a new religious policies.

Today, after the granary was relocated and the white paint and slogans on the walls were wiped away, the religious-themed murals reemerged, with very few remaining structures of the monastery.

In 1998, it was designated as a county-level cultural heritage site.

Ragya Monastery, also known as “Yulong Ragya Monastery,” was initially constructed in 1767 AD and is an important site for the Sakya sect, one of the four major schools of Tibetan Buddhism. It is a unique place for the transmission and practice of the pure and exceptional teachings of the Sakya, Jonang, and Chakrasamvara lineages.

Brief

Located in Mani Village, Mangang Township, the monastery is 115 kilometers from Dege County, 875 kilometers from Chengdu,

The Sakya Dharma King, Awang Gonggar Lodru, bestowed a white conch and a golden canopy as the precious treasures of the monastery, naming it “Deqing Kashuolin” (meaning: Great Blissful Vajra Temple) and the scripture hall as “Si-song-ge-li Yongdui” (meaning: Gathering All Virtues of the Three Realms).

During its heyday, the monastery had nearly a thousand monks, with five major Buddha halls and over three hundred monk quarters. It housed rare hidden treasures and statues of Shakyamuni Buddha, Vajrasattva, Tara, Manjushri, Avalokiteshvara, Vajrapani, and various Dharma protectors.

Currently, the monastery has 300 monks, including 6 Vajra Masters, 3 living Buddhas, and 2 Khenpos. The position of abbot was initially held by the renowned Sakya Dharma King Dakin Pungtso Podrang Rinpoche. After the Dharma King went abroad, the responsibility was taken over by the Vajrasattva Master Gengden Yapei Living Buddha. Following his passing, the highly respected Gonsa Tuden Rinpoche assumed the role of abbot.

History

During the “Cultural Revolution” in the 1960s, like many other monasteries in Tibet, Ragya Monastery was severely impacted, with its teachings and practices destroyed, and its scriptures, statues, and stupas demolished, leaving the scripture hall and monk quarters in ruins.

After the re-implementation of religious policies in 1979, the incarnation of the great achiever Tangdon Gyibo, Sakya Gyaca Gengden Yapei Rinpoche, took on the heavy responsibility of reviving the teachings and restored the main scripture hall. Regardless of religious sect, Gengden Yapei Rinpoche held empowerment ceremonies, transmissions, and teachings for lamas and living Buddhas from all directions, focusing on the practice of Vajrayana and conferring empowerments such as Mahakala, Vajrakilaya, Hevajra, Pema Rigdzin, and other deities.

In 1998, the abbot of Eri Monastery, Loden Jangchub Nyima, and two other Rinpoches visited Ragya Monastery, presenting a golden statue of Echung Gungga Sangpo Rinpoche, as well as several newly cast Nepalese copper alloy statues of Vajrakila, Vajrayogini, and Hevajra. Additionally, the Pewar Renpoche visited Ragya Monastery several times, bestowing profound teachings on the Sakya lineage’s foundational text “Liberation in the Palm of Your Hand” and the seven-fold transmission to all Sakya lamas, including living Buddhas and Khenpos in Kham, accumulating immeasurable merit through teachings and practice.

On October 10^th, 1999, the reincarnation of Gengden Yapei Rinpoche, the principal of the monastery, Sakya Gyaca Awang Kudru Gengden Danbi Gyaantsan, held a grand enthronement ceremony at Ragya Monastery.

Gonchen, which means “grand” in Tibetan, was originally a Nyingma monastery. It was converted to the Sakya Pa and expanded by the 7^th generation ruler of Derge, Laqing·Xiangba Pungtso, and renamed “Lhundrubteng Gonpa,” commonly known as “Gonchen Monastery,” meaning “great temple.”

Brief

The main hall, scripture hall, and scripture hall of Gonchen Monastery cover an area of 8,460 square meters. Located at the eastern end of the Wenhua Street , at the entrance of Opulong Gully, next to Dege Printing House.

History

In the year 1448 AD, a renowned monk of the Shangba Kagyu of Tibetan Buddhism – Tangdong Gyebo together with the 36^th generation of “Bota · Thashi Senggen” established the scripture hall located at “Si-gen-Long” and named “Thanggyal Lhakhang”

During the late Ming and early Qing dynasties, the 6^th generation ruler of Derge, Gama Basong, spared great effort and resources to build Gonchen Monastery. It was not until the reign of the 7^th ruler of Dege, Xiangba Pungtso, and the 8^th ruler, Genga Pungtso, that the construction of Gonchen Monastery was basically completed.

During 1723 AD – 1736 AD (the Yongzheng period of the Qing Dynasty), the 12^th generation ruler of Derge, Dengba Tserin, invested decades in constructing the magnificent Derge Printing House on the west side of the main hall of Gonchen Monastery, which was then handed over to the monks of Gonchen Monastery for management. This formed a large complex of buildings along the O-qu River, including the main temple, monks’ quarters, printing house, and Thanggyal Lhakhang, covering hundreds of acres.

Like many other monasteries, Gonchen Monastery suffered significant damage during the Cultural Revolution of the 1960s, with only the Printing House and Thanggyal Lhakhang surviving.

After 1981, Thanggyal Lhakhang was approved to be reopened, and the monks of Gonchen Monastery resumed religious activities in the well-preserved Thanggyal Lhakhang.

In 1986, a new main hall for Gonchen Monastery was rebuilt at a location personally chosen by the 10^th Panchen Lama.

In March 1988, the grand and magnificent new main hall of Gonchen Monastery, covering an area of approximately 30 acres, was completed.

Political and Religious Relationship

Since 1448 AD, Gonchen Monastery has served as the ancestral temple of the Derge ruler family, and in political and religious matters, it is directly controlled by the Derge rulers, playing a crucial supporting role in the political and religious rule of the Derge family.

As the family temple of the Derge rulers, according to the family rules, Gonchen Monastery does not have a living Buddha. The leadership of the monastery is hereditary within the Derge Tusi family. The eldest son of the ruler becomes the head of Gonchen Monastery and holds religious authority, while the second son inherits the position of ruler and holds political power. If there is only one son, he inherits the position of ruler and concurrently becomes the head of Gonchen Monastery.

The monastery’s administrative body, the “Genben” (also known as “Banjiu”), consists of one Genben, one Geku, two Khenpos, and one East and West Lama (during the Republic of China, a Jangtsun Lama was also appointed above the East and West Lamas).

The “Genben office” is chaired by the ruler as the highest decision-maker, and the daily affairs of the office are presided over by the Genben. It is responsible for convening meetings, making decisions on major religious and political matters, and recommending candidates for the promotion of monks in the printing house and for various positions in the monastery to the ruler.

It seeks to control and influence Gonchen Monastery to serve the purpose of political rule by controlling and using other sects’ temples within its jurisdiction.

Organization

During the reign of the 12^th ruler, Dengba Tseren, Gonchen Monastery was honored as the family temple and continued to be supported, allowing the monastery to enjoy the highest privileges in land, commerce, usury, weapons, and politics.

There are also seven branch monasteries, namely: Gongya Monastery, Galun Monastery, Yinnan Monastery, Zama Monastery, Menza Monastery, Keluo Monastery, and Rendeng Monastery in Jiangda County, Tibet. Additionally, there are dozens of semi-autonomous branch monasteries in places such as Baiyu County, Sershul County, and Jiangda County.

Religious Art

Gonchen Monastery holds multiple Puja dance every year, which have a long history and play a crucial role in the music, dance, and storytelling arts of the Derge. Influenced by the founder of Tibetan opera, Tangdong Gyebo, the Derge Tibetan opera, represented by the Monastery, formally took shape in the late Ming and early Qing dynasties. Through continuous evolution and development, the traditional Tibetan opera performed at this Monastery in the 1^st half of the 7^th month of the Tibetan calendar every year has become a typical representative of the unique style and characteristics of Derge Tibetan opera.

The traditional Tibetan opera at Gonchen Monastery is mostly based on the “Jataka tales”, characterized by simplicity, ruggedness, and the incorporation of singing, dancing, chanting, and dialogue. There are specific rules for the costumes, masks, appearance, dance postures, movements, props, performance timing, entrances and exits, music, intonation, and singing styles. Towards the end of the Qing Dynasty (1616 AD – 1912 AD), Khenpo Sangden Lhodru of Gonchen Monastery first adapted “Sha-re-ba” and “Norbu Wangzi,” forming the long-term performances of five traditional Tibetan opera plays: “Sha-reba,” “Norbu Wangzi,” “Kemai Gengdeng,” “Liu Changmai,” and “Jiaqiang.”

From the early Qing Dynasty to the Republican era, this Monastery attracted a large number of domestic and foreign religious scholars, promoting the development of Tibetan art, music, Tibetan opera, sculpture, woodcuts, architecture, printing, and Tibetan medicine. It played an important and undeniable role in promoting the development of Tibetan culture in the Derge region and shaping the stylistic characteristics of religious culture in the area.

During the Qing Dynasty, the great lama and scholar Lode Wangbo, as well as Khenpo Sangden Lhozha, left many writings for the monastery. The lama, also known as Trichen Renchen, made significant contributions to the carving and proofreading of the “Danjue” edition.

Ewam Monastery, also known as “Ewam Choden Monastery”, with full name “Ngor Ewam Choden Monastery”; “Ngor” is the name of “Ngor branch” of Sakya sect of Tibetan Buddhism

Brief

Ngorchen Gongga Sangpo (1382-1456) was the founder of the Ngor branch of the Sakya sect of Tibetan Buddhism and the creator of Ewam Choden Monastery.

Ewam Choden Monastery has five scripture halls and is home to over one hundred resident eminent monks.

Pewar Monastery, also known as “Baiya Monastery” in Chinese Pinying, is located in Dege County, Garze Prefecture, about 90 kilometers away from Dege County. It is accessible by road.

Breif

It was founded in 1225 AD by Paldan·Yangchub Lingpa, one of the thirteen disciples of Rigung·Jigtensum whom was the founder of the Drigung Kagyu Sect. The period when Paldan·Yangchub Lingpa was the abbot was the most prosperous time of Pewar Monastery in its history, which according to the records of Pewar Monastery, the total number of monks and workers at that time exceeded tens of thousands.

However, about a hundred years after the establishment of Pewar Monastery, due to the changes of Drigung Kagyu itself, and following the conflict between Sakya pa, it became a Sakya tradition monastery at the end of the 12^th century and the beginning of the 13^th century. After that, by 1959, there were only more than 100 monks remaining, and now there are about more than 50.

Introduction

The “Lakhang” hall is the oldest hall in Pewar Monastery, which was built during the Drigung Kagyu era, and it has a history of about 700 years. The “Lakhang” hall is a big assemblly hall with 30 pillars, in addition to the Spirit-pagodas, there are many precious Buddha statues and sutra pagodas in it

The “Lase” hall (meaning “New hall”) was built by Dege Tusi (meaning “chieftain”) — Tenpa Tseren, whom raised the funds. It has a history of nearly 300 years and has the scale of 36 pillars, which is even 6 pillars more than The “Lakhang” hall. This was a huge and difficult project in Dege which was poor in materials at the time.

In addition, there are five new and old Dharma shrines

Around 1958, most of the monastery itself and the Buddhist statues and pagodas enshrined in it were destroyed, and the “Lase” hall was preserved because it was used as public housing by the local villages

During the Cultural Revolution in 1966, Pewar Rinpoche properly collected more than 700 pieces of precious Buddha statues, sutra towers, and offering vessels, which were worth hundreds of millions of yuan.

In 1983, after the implementation of the religious policy in Dege County, with the joint efforts of the eminent monk headed by Pewar Rinpoche and the local religious people, and with the help of foreign friends ( by Kham Aid Foundation, the Pewar Monastery Mural Preservation Project ), the damaged “Lase” hall’s wall, assemblly hall, canteens, many temples of Dharma shrines, meditation institutes and other buildings, as well as many Buddha statues, spiritual pagodas and so on.

It is now working on rebuilding the old “Lakhang” hall, 25 lecture halls, canteens, butler rooms, As well as ten monks’ houses, it is hoped that Pewar Monastery will be given a new look.

Mural

In the long-term development of traditional Tibetan paintings, many styles and schools of various styles and inheritance systems have been formed. Among them, there are three major painting schools that still exist and are the most influential: that is,

–the “Miantang” painting school, which was founded by the master of painting Manla·Dengzhu Gyatso in the 15th century;
–the “Chentse Chenmo” painting school, which was founded by Chentse Chenmo in Shannan Area of Tibet;
–the “Karma Gartse”painting school, which was founded by Nanka·Tashi Rinpoche in the 16th century

The Thangka murals in Pewar Monastery are the most complete and exquisite Karma Gartse paintings in Garze Tibetan area.

The murals preserved from the Yuan Dynasty to the present have become cultural treasures.

A lot of gold were used in each thangka, the face of the Buddha painting is painted with gold, and the clothing lines are all outlined with gold, and the technique is delicate, which embodies the extremely high artistic value.

Annual practice and worship

In addition to renovating the new and old main halls, lecture halls and meditation halls of the temple, Pewar Monastery also held various practice and worship in the same way as before.

In the meditation center, there are monks who practice in retreat for three years and three months.

In addition, various regular pujas and worship rituals have been added as below listed

In January, the “Cause And Effect” Inheritance Guru Pujia, the Red Guanyin Ten-day Amrita-dra-chompa Pujia

In April, the Tathagata Puja·In May, Pujia for the auspicious bodhisattva and the rituals for the prosperity of prayer teachings

In June, Pujia for Summer retreat

In September, tthe “Cause And Effect” Inheritance Guru Pujia

In December, the Great Vajrayana Pujia

Shalu monastery was be built by noble families of the Tsangpa during Tibet’s great revival of Buddhism, and was an important center of the Sakya Pa. It is known as a center of scholarly learning and psychic training for hundreds of years and its mural paintings were considered to be the most ancient and beautiful in Tibet.

Brief

The protection of Shalu was a project that was listed under the 11^th Five Years Plan (2006 – 2010). It was thought to be one of the biggest heritage renovation projects in Tibet that involves reinforcement of its buildings, maintenance of sewage treatment facilities and improvement of fire and flood control systems”.

Shalu is about 30 kilometers south of Shigatse , was founded in 1040 AD by Chetsun Sherab Jungnay, and being extended in the early 14^th century, by Kunzang Drakpa Gyaltsen. Shalu is one of the rare religious sites in Tibet that luckily avoiding the demolishing during the Cultural Revolution. The main Serkhang Temple was rebuilt in the middle of 1980 of 20^th century, its interiors still remain exactly as what it was built. The history of the assembly hall dated back to the 11^th century, which was rare and precious examples of Pala art. Unfortunately, some of the murals in the ground floor chapels are partly damaged due to the lack of knowledge of preserving this old arts;

Shalu was destroyed by an earthquake in 1329 AD, and was rebuilt in 1333 AD by local noble families and the last Khagan of the Mongol Empire Toghon Temür. The new buildings were dominated by Mongolian styles, however, the artisans are from Tibet and Nepal that results the style of Shalu is one mixture of Mongol, Tibet, and Nepal.

At the time of the monastery’s rebuilding 1330, Buton Rinpoche (1290 AD -1364 AD) was the host of the monastery, whom was a remarkable scholar and writer of the Sakya Pa and is Tibet’s most celebrated historian. He brought the the fundamental texts of Buddhism “Kanjur” & “Tenjur” to Shalu, in the meantime he supervised the creation of nearly 500 tantric mandalas, some of which are still be seen if the monk allows you to enter the sacred chapel. Buton Rinpoche cataloged the Buddhism texts. He also wrote the History of Buddhism in India and Tibet there, which many Tibetan scholars use in their study today. After his death the monastery became an important center of Tibetan Buddhism studiy and Buddhist learning for centuries.

How to get to there

By Bus

From Shigarste bus station, one bus evey 40 minutes to one hours; rate: RMB 5 per person

By Chartered vehicle

Approximately RMB 100.00-150.00 round trip