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The original name of Tsetang monastery was “Gyetang Monastery”, also known as “Ganden Chokhorling”, or “Nedong Monastery”; it was given name of “Da’an Monastery (Da’an means “The Great Peace”)” by the Qing Dynasty (1616 AD – 1912 AD).

It was a monastery of the Phagdru Kagyu sect of Tibetan Buddhism and the main monastery of the Phagdru Kagyu in its late period; then it was later converted to be a Gelug Pa monastery.

Located in Nedong District, Shannan City, about 100 meters away from Shannan Cinema to the west, with Kampot Mountain to the east and the Brahmaputra River to the north.

Brief

The early main monastery of Phagdru Kagyu sect was Densatil Monastery.

In the year 1351 AD, the Tai Situ Yangchub Gyaltsan (1302 – 1364 AD, “Tai Situ” was a title conferred during the Yuan Dynasty with meaning “Grand Minister”, a leader of the Phagmo Drupa Regime in Tibet, which combined political and religious authority) built Tsetang monastery in present-day Tsetang Town. Tsetang monastery mainly taught the sutras of the Exoteric Buddhism and had a scripture hall, serving as a place for Phagdru Kagyu sect’s monks to study the sutras of the Exoteric Buddhism

On the other hand, the main monastery of Phagdru Kagyu sect, Densatil Monastery, focused specifically on practicing esoteric teachings. Later on, Phagdru Kagyu sect shifted its focus to the Exoteric Buddhism, leading to Tsetang monastery gradually replacing Densatil Monastery’s position.

The abbot of the monastery was appointed by the Phagdru family’s leadership. Alongside Densatil Monastery, it was known as the two major monasteries of the Phagdru Kagyu sect, teaching the sect’s doctrines. The reputation of the Tsetang Monastery surpassed that of Densatil Monastery, attracting many to study there. This monastery flourished for a time, and its abbot had close ties with the Drigung Kagyu sect.

However, due to the monastery’s opposition to the rule of Polhanas (original name Polana·Sonam Tobgya，1689 AD – 1747 AD) regime, it was suppressed and converted into a Gelug Pa, and being renamed Ganden Chokhorling

The existing monastery buildings were constructed in 1900 by Gyayang Dundru and others, a project that lasted 12 years.

Initially, Ganden Chokhorling housed 130 monks, later increasing to 145 monks.

During the Cultural Revolution in the 1960s, the monastery was destroyed.

By the late 1980s, the local authorities gradually implemented new religious policies, leading to the gradual restoration of the monastery

Architecture

The architecture of Tsetang monastery is traditional Tibetan style, featuring beautiful design and intricate carvings. The overall layout is square, with a length of 89.2 meters from east to west, a width of 90 meters from north to south, covering an area of 8090 square meters.

In the middle of the eastern and western walls, there are large gates, with the eastern gate being 5.9 meters wide.

The main hall is located in the northern part of the entire monastery, facing south. To the left of the main hall is a scripture hall, and to the right is a Lakhang, surrounded by monks’ quarters.

Above the main hall’s entrance, there used to hang a horizontal plaque presented by Emperor Qianlong in 1743 AD. The plaque bears the Chinese characters “Da’an Temple (meaning the Great Peace)” with smaller Tibetan characters on the side.

In front of the main hall gate of Tsetang monastery, there are front buildings with four pillars and rear buildings with two pillars, with the scripture hall inside.

The scripture hall is 42 meters wide, 36 meters deep, two stories high, with high side skylights, and the walls on all four sides are painted with murals.

Cloud patterns, dragon patterns, lotus flower patterns, petals, geometric shapes, and more are depicted on the columns and lintels inside the scripture hall.

Passing through the rear door of the main scripture hall leads to the Buddha hall.

In the middle of the Buddha hall, there is a row of four large columns arranged east to west, reaching two or more stories high, with decorative patterns formed by wooden carvings and paintings on the column heads.

Buddha images are painted around the Buddha hall, mainly on the north, west, and south walls, including:

On the north wall, there are four large Buddha statues wearing red sashes, with hands clasped in front of their chests, sitting cross-legged on lotus thrones with a halo behind them adorned with sun and moon motifs; above the four large Buddha images, there are three small Buddha images.

The west wall depicts two large Buddha statues and three small Buddha statues, with high topknots, exposed right shoulders, draped in robes, wearing red sashes, holding a green vase in their left hands, with their right hands pointing downwards towards the ground, sitting cross-legged on lotus thrones; there is a halo behind them with sun and moon motifs on the outer circle.

The south wall depicts only small Buddha statues, with three in the upper row and four in the lower row, all with halos, high topknots, exposed right shoulders, sitting cross-legged on lotus thrones with various hand gestures: some pointing downwards, some with hands clasped in front of their chests, and some with hands stacked on their laps.

Enshrinement

Originally, Tsetang monastery housed a thangka of Shakyamuni Buddha as the main enshrined object, and there is also a two-story tall spirit pagoda in the monastery, where the remains of “Polhanas” are enshrined

Collection

Tsetang monastery possesses a gilded saddle, which is said to be the saddle of “Polhanas.” The saddle is 26 centimeters high and 56 centimeters long, made of wood with gilded copper skin on the front and back, adorned with inset turquoise lotus flowers, dharma wheels, and other patterns. The saddle features a green velvet cushion and unique bottle-shaped flaps. The black velvet edges of the flaps were originally embellished with cloud patterns made of thousands of pearls, with a velvet peony pattern in the middle. The saddle has a distinctive design, exquisite decorations, and holds significant cultural and artistic value.

Located in the southern foothills of the mountain behind the Tsetang Town in Shannan City.

Tse Chokpa Monastery, formerly known as Tse Chokpa Dratsang, was built on the west side of Zongshan and was originally called “Bajia Gunba”.

Over six hundred years ago, the great master of Phagdru Kagyu, the Tai Situ Yangchub Gyaltsan (1302 – 1364 AD, “Tai Situ” was a title conferred during the Yuan Dynasty with meaning “Grand Minister”, a leader of the Phagmo Drupa Regime in Tibet, which combined political and religious authority), overthrew the local government of Sakya regime and established the Phagdru local government in Naidong region. In 1356 AD, the Tse Chokpa Monastery was founded and later converted to the Gelug Pa of Tibetan Buddhism.

Buildings

Tse Chokpa Monastery appears to be a five to six-story tall building from the outside, but in reality, the main front building consists of only three stories, aligned with the slope of the mountain at the back. Three additional stories of monk rooms are built on the flat slope, making it appear quite large.

The main hall is named “Tse Chokpa Main Hall”, with several stone steps in front of the hall leading to a front corridor with almost 6 meters in depth, and 45 meters in width. The walls of the front corridor of the main hall are painted with images of heavenly kings and the image of circle of life, all of those are seemed to be painted in the Qing Dynasty

The main hall consists of 40 pillars approximately over 1100 square meters, with a central courtyard with size of 36 square meters.

Inside the main hall

Inside the main hall, the left and right walls are painted with images of Shakyamuni Buddha preaching, while the southern wall depicts various guardian deities. Around the hall, there are approximately 1090 scripture cases placed on scripture racks.

Upon entering the rear hall’s corridor, on the left side stands a sculpture of Shakyamuni Buddha, on the right side stands a statue of the goddess Tara , and next to it is a statue of the Fifth Dalai Lama. In between the statues, there is a Buddha statue cabinet containing several small bronze Buddha statues and a sculpture of the first abbot of this monastery.

The rear hall is about 12 meters in deepth and 36 meters in width, houses the main statues of the Three Buddhas (namely the past Buddha-Dipamkar, present Buddha-Shakyamuni, and future Buddha-Maitreya); and on the two sides of the “Three Buddhas”, there are 8 great Bodhisattvas, namely Mañjuśrī, Samantabhadra, Avalokitasvara, Vajrapāṇi, Ākāśagarbha Bodhisattva, Kṣitigarbha, Maitreya, and Sarvanivāraṇa-Viṣkambhin. These eight statues are simple and dignified.

On the southern walls of the main hall, there is a single guardian deity statue on the left and right side.

In the rear left hall, there is a statue of the great master Tsongkhapa and his two disciples. On the left of Tsongkhapa’s statue is Gyaltsha Je, and on the right is Khedrup Je. Adjacent to these two statues are also statues of two Gadang pa lamas, with Atisa on the left. The left wall of the hall features statues of the Three Buddhas (Dipamkar, Shakyamuni, and Maitreya), while the right wall displays statues of Vajrasattva, Vajrapani, and Maha Sitatapatra (the Great White Umbrella Buddha, also known as “Dugnam” in Tibetan).

In the rear right hall, there is a temple dedicated to Dharma protectors, with two side halls on the east and west. It is said that the golden sutra scroll wrapped in a skin cover, which is housed in “Qiangbala Kang,” was brought from India by the 3rd Panchen Lama, Ensa Lobzang Dondrub (1505 AD – 1566 AD), making it very precious.

Cultural relics

Tse Chokpa Monastery houses many exquisite handicrafts, with the most famous being the “Silk Thangka of Shakyamuni” and the “Avalokiteshvara Thangka.” Among them, the “Silk Thangka of Shakyamuni” is said to have been personally embroidered by Princess Wencheng and is considered a treasure of the monastery

Silk Thangka of Shakyamuni”

The statue of Sakyamuni Buddha is 2.92 meters high and 1.72 meters wide. The Buddha image has a blue background with golden borders. Sakyamuni Buddha is depicted wearing a red kasaya, exposing his right shoulder, and adorned with the auspicious symbols of the Eight Treasures (the Dharma wheel, conch shell, parasol, victory banner, lotus flower, Treasure Vase, golden fish, and endless knot) on the kasaya. The skin color is depicted as golden, with a multicolored halo adorned with lotus flowers.
Sakyamuni Buddha is seated in the lotus position on a lotus throne, with his right hand touching the ground in the earth-touching mudra and his left hand in the meditation mudra. In the upper left corner of the painting is the sun, there is the three-legged golden crow in the center, and on the right, there is a moon with a rabbit pounding medicine under a cassia tree. At the top of the painting, there are two lines of Sanskrit. The entire thangka is meticulously woven, tightly structured, extraordinarily exquisite and magnificent, representing a masterpiece among silk images.

Avalokiteshvara Thangka

The “Guanyin （Avalokiteshvara ） Thangka” measures 79 centimeters in length and 23.5 centimeters in width. The main subject of the Thangka is a standing statue of Guanyin Bodhisattva, with a style influenced by Indian art, wearing a crown adorned with turquoise beads, a round face, earrings, and a necklace on the chest. The right arm hangs down while the left arm is bent in front of the chest, holding a single-stem lotus flower. Both arms are adorned with bracelets, and the figure wears shorts with a skirt tied around the waist, barefoot with ankle bracelets, standing on a lotus pedestal. At the bottom of the Thangka, there are two worshippers, one seated on the left, and the other standing with hands clasped in prayer. The back of the Thangka is inscribed with Tibetan scriptures. Based on the artistic style, the Thangka is estimated to be painted from the 9^th to 11^th century.

In addition, there is also a rare and precious “Eleven-faced Avalokiteshvara Bronze Statue”.

Eleven-faced Avalokiteshvara Bronze Statue

The statue is 35 cm tall, 18 cm wide, and 9 cm thick. The top of the head is damaged, with ten faces remaining: three on the bottom layer, one on the top layer representing a protective deity. The statue has eight arms: a pair of hands clasped in front of the chest, a pair hanging down to the knees with the left hand holding a treasure vase, and the remaining four arms bent upwards holding a lotus flower, a jewel, and other items.

The nose is high and straight, the lower lip protrudes, large earrings adorn the ears; the arms have bracelets, each hand has two sets of beads, and the palms have wheel spokes; the upper body is bare, the lower body wears a skirt, broad shoulders, slim waist, sitting in a lotus position on a triangular cushion. The entire design, especially the facial expressions and waist, exhibits clear Indian influences, with significant historical and artistic value.

Moreover, Tse Chokpa Monastery also houses a historical treasure called the “Polhanas Imperial Edict”. Currently held by the Cultural Relics Management Committee of Shannan City. The edict is written on a yellow satin scroll, measuring 3.8 meters inlength and 0.74 meters in width, with the top line in bold Sanskrit (not yet deciphered). The edict was issued by Polhanas·Sonam Dorje (1689 AD – 1747 AD) in the year 1730 AD on the 30^th of October to the Tse Chokpa Monastery. The edict specifies the monastery’s authority, the number of monks, slaves, estate boundaries, etc., signed by the Ganden Podrang government, with a small seal above and two large seals below, all in Mongolian script. The edict dates back 270 years.

Tradruk Monastery, also known as Tradruk Ttsug Lakhang, it is a Gelug pa monastery of Tibetan Buddhism

It is located at the southern foot of Gongri Mountain in Chang-zhu Town, Shannan City.

It was originally built around 650 AD under the supervision of the 33^th Tibetan King Songtsen Gampo, making it one of the first monasteries built during the Tubo Dynasty.

Initially, it consisted of only six pillars (each with an area of 25 square meters); Songtsen Gampo and Princess Wencheng once resided here.

In the 14^th century, during the Phagmo Drugpa Regime (12^th-17^th century), the Da-Si-Tu(meaning “Prime Minister”) – Yangchub Gyaltsan (1302 AD – 1364 AD) oversaw a large-scale expansion of the monastery, laying the foundation for its current size.

The 4^th Panchen Lama (1567 AD – 1662 AD) and the 7^th Dalai Lama (1708 AD – 1757 AD) both provided funds for extensive renovations of the monastery; it later evolved into a fully equipped monastery of the “Three Jewels” (Buddha, Dharma, Sangha).

Tradruk Monastery’s Legend

“Tradruk Monastery” in Tibetan means “Great Roc and Dragon”. According to the legend from the time of the Tibetan King Songtsen Gampo, the area was submerged under water inhabited by an evil dragon. Songtsen Gampo wanted to drain the water and build a monastery, so he employed the strategy of a “shaman”. He transformed into a Great Roc to subdue the evil dragon, drained the water in 7 days, and began laying the foundation for the construction of the monastery.

Another legend is that at Princess Wencheng’s arrival in Tibet, where she observed the celestial signs and examined the terrain. She discovered that the entire Tibetan landscape resembled a reclining demoness, which was unfavorable for the establishment of the Tibetan Kingdom. It was deemed necessary to build monasteries at the heart and four limbs of the demoness to control her. The location chosen for the construction of the Tradruk Monastery was exactly on the left arm of the demoness in order to effectively subdue her

Tradruk – Main Buildings

Tradruk Monastery covers an area of approximately 4600 square meters, divided into front and rear sections.

Opposite the main hall of Tradruk Monastery is a small hall named “Naiding Lakhang,” commonly referred to as “Naiding Shul” (first floor) and “Naiding Tang” (top floor).

The “Naiding Shul” is considered the oldest hall of Tradruk Monastery, measuring 10.2 meters in length from east to west and 7.3 meters in width from north to south, with six pillars inside. The back of the hall originally housed many Buddha statues, with the main statue being Songtsen Gampo.

The “Naiding Tang,” with the same dimensions as the “Naiding Shul,” houses the main statue of Padmasambhava.

This early building was originally constructed using “bema” grass, while the current structure is made of stone and wood.

Front Courtyard

The front area is a small courtyard, located right after entering the main gate of Tradruk Monastery; the small courtyard is 23.6 meters long and 16 meters wide, surrounded by a corridor with a monk’s room built on top.

On the north side of the courtyard is the “Sam-ah Podrang,” which was likely built after the 17th century by the Nyingma sect for the convenience of their monks to pay respects to the Dalai Lama who came to worship here. It includes facilities such as a tea room, woodshed, grain warehouse, dining area, and living quarters. In 1938, the central rooms on the ground floor was transformed into a three halls'”Tantric Lakhang.”

There is a secret passage underground in “Sam-ah Podrang,” which starts from a corner outside the southwest of “Sam-ah Podrang” and exits near the north end of the west wall inside the hall; the passage also contains two narrow storage rooms.

Rear yard- The Lakhang area

At the rear of the Tradruk Monastery lies the “Lakhang Courtyard,” centered around the “Assembly Hall,” which is referred to as “Lakhang – in Tibetan, meaning “Holy temple,” and is connected by a circumambulation corridor to various “Lakhangs”; this area is where the main buildings of the monastery are located.

The front of the “Lakang Courtyard” features a tall porch with two guardian deity statues on each side outside the porch; inside the porch, four Heavenly Kings are sculpted with two on each side standing apart on the left and right. The ends of the porch connect to the circumambulation corridor surrounding the entire main hall, known as the outer circumambulation corridor.

On the walls of the south, north, and west sides of the outer circumambulation corridor, there are murals depicting Buddhist legends and stories on the south and north walls, while the west wall features three images of the Fifth Dalai Lama, Güshi Khan, and Depa·Sanggye Gyatso. (“Depa” means chief or leader, and also means the chief of the Dalai Lama system). The murals here look like works from after the Qing Dynasty.

Inside the “Lakhang Courtyard,” the front central area features a courtyard, followed by the Assembly hall, surrounded by an inner corridor for circumambulation around the courtyard and Assembly Hall.

Around the inner circumambulation corridor, there are 12 different “Lakhangs” arranged in an orderly manner, forming a structured path for worshipping the Buddhas, similar to the layout of the Jokhang Temple.

The inner circumambulation corridor is supported by “single arch pillars” or “cross arch pillars,” with variations in the design of the pillars over time, reflecting different architectural periods.In the early period, the foundation stones under the arches were shaped like basins, engraved with lotus patterns, while in the later period, the foundation stones were left plain without any carvings.

Tradruk Monastery – 12 Lakhangs

The “Assembly Hall” is a unique two-story brick and wood structure with 64 wooden columns, measuring 45 meters east to west, 29 meters north to south, covering a total area of 1300 square meters. It serves as the main location for monks to chant scriptures and conduct important religious activities. The ground floor of the hall is shaped like a “convex” character, with a central courtyard inside that is not enclosed but rather open with beams and columns forming partitions, creating a semi-open, well-lit hall, contrasting with earlier architectural styles and suggesting later additions.

The main Buddha halls are located on the east side, consisting of three rooms; the walls on the west, south, and north sides are very thick, resembling “cave halls” due to the walls used to construct the Buddha halls.

Around the central corridor of the Assembly Hall, there are twelve Buddha Lakhangs including the Gandan Lakhang, Guardian Deity Hall, Shedrup Gyel Lakhang, Pagoda Hall, Dakin Lakhang, Chog Gyle Lakhang, Tsochen Lakhang, Tob Gyal Lakhang, Tripal Lakhang, De-she Lakhang, Wu Gyn Lakhang, and Tongcho Lakhang, each of those is dedicated to different deities, Buddhas, and Bodhisattvas.

Tsokchen Lakhang serves as the main hall located in the central rear, with “Chog Gyle Lakhang” on the left and “Tob Gyal Lakhang” on the right, all facing west. The three Lakhangs form a group, surrounded by a corridor.

The depth and width of Tsokchen Lakhang are both three rooms, with the main enshrined figures being the “Three Buddhas” (namely the past Buddha-Dipamkar, present Buddha-Shakyamuni, and future Buddha-Maitreya). These statues were crafted entirely in bronze unlike other monasteries where the statues are only covered in bronze, and making them exceptionally rare. The facial features of the bronze statues appear to have absorbed certain styles of mainland of China, with simple backlighting and headgear, yet the casting is finely detailed.

On both sides of the “Three Buddhas” bronze statue, there are total ten bronze-cast Bodhisattva statues, beautifully crafted.

Between the “Tsokchen Lakhang” and the “Assembly Hall,” there is a connecting corridor consisting of three sections and five rooms, with short columns in the middle. On the left and right door pillars in the middle, there are wooden carved guardian deity statues which are short and stout, with peculiar forms, resembling inland craftsmen (meaning “practicing esoteric arts, communicating with spirits, seeking enlightenment and liberation from the cycle of life and death”). These sculptures represent early artistic creations.

In the left and right rooms of the corridor, there are several smaller stupas built at different times, indicating successive additions.

The main statue in the “Chog Gyle Lakhang” is Songtsen Gampo, with Princess Tritsun statue on the left and Princess Wen Cheng statue on the right. Adjacent to the left side is a standing statue of Gar Tongtsen Yulsung, and in front of the right side is a standing statue of Thonmi Sambhota. Beside Sambhota, there are also Amitabha statue and other statues. The sculptures are quite ancient and vivid, especially the statues of the Tibetan queens, which are full and elegant, considered exquisite works of art.

There is only one pillar inside the “Tob Gyal Lakhang”. This Lakhang dedicated to the “Thousand-Armed Avalokiteshvara” statue, which is quite tall and is depicted with a thousand arms on its back, flanked by two attendant statues on each side, representing an early work.

The walls surrounding the interior of Tob Gyal Lakhang are adorned with murals, including one of “Zedan Lhas Buddha,” according to the legend that “Zedan Lhas Buddha” was to have helped Songtsen Gampo when he was young. Interestingly, in the southwest corner of the Lakhang stands a pillar-shaped earthen stove with a basin-shaped pottery vessel on top, believed to have been used by Princess Wencheng. In Tibetan, “Tob Gyal” means “thank you” or “gratitude.”

In the front porch of “Tsokchen Lakhang”, there are four small Lakhangs located at the ends on the left and right sides. On the right side, from back to front, there are “Dakin Lakhang” and “Zoden Lakang“, while on the left side, a pair named “Tripal Lakang” and “Deshe Lakang” are symmetrically arranged. Each of these four Lakangs is relatively small, with only one pillar (an area of approximately 25 square meters.)

The main statue in “Dakin Lakhang” is Shakyamuni Buddha with a peacock feather canopy on top. On the sides of Shakyamuni are statues of Hayagriva and a guardian deity.

In “Zoden Lakhang,” the main deity is an eleven-faced Avalokiteshvara, with patriarch statues on the sides and various forms of stupas painted on the walls.

The main statue in “Tripal Lakhang” is the Buddha of Longevity, with three Bodhisattva statues on the left and two guardian deity statues on the right.

“De-she Lakhang” features a clay statue of the Medicine Buddha, with a total of nine Buddha statues sculpted on the central and side walls.

Among these four “Lakhang”, “Dakin Lakhang” and “Triba Lakhang” seem to be original constructions, while the other two “Lakhangs” appear to be later additions in terms of architecture and statues.

Towards the middle of the north side of the main courtyard, there is another chapel called “Shedrup Gyel Lakhang.” This Lakhang has two sections, 3 rooms and houses a statue of an eleven-faced Avalokiteshvara, different from the usual depictions. On the left side of the Avalokiteshvara statue is a statue of Bodhisattva, and on the right is a statue of Padmasambhava. The walls of the Lakhangare adorned with images of Gelugpa lineage masters like Tsongkhapa, and his two disciples of Gyaltsha Je, and Khedrup Je.

Wu Gyn Lakhang, located in the middle section of the southern wall of the Lakhang courtyard; This Lakang was built by the first generation of “Reting Renpoche” and consists of two big halls, front and back. In the front hall, a statue of the Buddha of Longevity is placed in the middle of the right wall, with a protective deity statue on its right. In the back hall, there is a shrine in the center, housing a statue of Padmasambhava that is about one floor high. Behind the Buddha shrine, against the wall, there is a deity altar with a statue of Padmasambhava, as well as many other forms of Padmasambhava. On the front wall of the back room, there is a protective deity statue on each side.

On both sides of the main entrance of the Lakhang courtyard, there are two smaller Lakhangs built during the time of the Fifth Dalai Lama. To the right is the “Aba Lakhang“, and to the left is the “Tongcho Lakhang“

The “Aba Lakhang” consists of three halls, with the main statue of the Fifth Dalai Lama on the main floor. On the left side of the Fifth Dalai Lama’s statue, there are sculptures of Tsongkhapa and other Gelug Pa masters, while on the right side, there are sculptures of the Atisa and successive Dalai Lamas.

The main statue in the “Tongcho Lakhang” is Tsongkhapa, with sculptures of Gelug pa masters and successive Dalai Lamas on either side.

North of the “Aba Lakhang“, there is a small Lakhang called “Gon-khang” with a large statue of a fierce protector deity in black, with claw-like hands and feet; The statue is majestic in shape. In front of the walls, there are several layers of platforms displaying various protector deities, crafted exquisitely with an ancient and peculiar style, possibly early works contemporary to this building

Near the “De-she Lakhang“, there used to be stupas in the Sutopa style, with the northern stupa being the older one.

Additionally, in the southeast corner of the Lakhang courtyard, there is a “Padmasambhava Hall” with three sections and a west-facing entrance. Although this hall is a later addition, its well-preserved state has made it one of the popular places for worship in Tradruk monastery.

Second floor of the main hall

On the second floor of the main hall of Tradruk Monastery: surrounding the courtyard and the ceiling are large platform walkways. Around the walkways, several Buddha halls were built in the upper part of the original lower-level Buddha halls.

In the south, there are two Lakhang, with the “Protector Deity Lakhang” on the west side and the “Gandan Lakhang” on the east side.

The “Protector Deity Lakhang” is located right above the “Wu Gyn Lakhang,” with two sections and three rooms. Inside, between the last two pillars, there is a shrine with statues of protector deities. Behind the shrine, there is a narrow passage with a statue of Tsongkhapa. In front of the right wall, there is a scripture cabinet which originally housed over two hundred sutras. In the front part of this Lakhang, there are two-columned gallery rooms with murals on all three walls depicting various protector deities.

The “Gandan Lakhang” is located right above the “De-she Lakhang.” On both sides and the back wall of this Lakhang, there are altars with statues of protector deities. In the center of the back wall, there is a statue of Kalacakra Vajra, with two more double-bodied protector deity statues on the right side. On the altars in front of the walls on the left and right, there are single or double-bodied protector deity statues. The four-bodied protector deity statues are uniquely designed, with four different protector deities stacked within a Gajabawa-shaped vessel, a rare sight in protector deity statues. The “Gandan Lakhang” belongs to the esoteric sect, and the statues inside are mostly early works.

In the east section of the 2^nd floor of the main hall, above the “Tob Gyal Lakhang,” is the “Drup-tob Lakhang,” consisting of inner and outer chambers. The back and side walls of both chambers have Buddha shrines with eighty statues of Gelug pa masters, known as the “Eighty Mahasiddhas.” The outer chamber features the main statue of Padmasambhava, while the inner chamber features the main statue of Tsongkhapa. The statues are about a foot tall. The clay sculptures are coated with colored paints such as yellow, brown, and green, resembling glazed porcelain, a rare technique in sculpting. Adjacent to the “Drup-tob Lakhang” is the “Ga-gya Lakhang,” located directly above the “Chog Gyle Lakhang,” with three sections and three rooms, primarily housing a hundred clay statues of the Nyingma Pa’s main deity.

On the western side of the second floor of the main hall, in the center, it lies the Dalai Lama’s palace. To the north of the palace are two smaller houses, known as “Gye-yo Khang,” which are believed to be resting places for nobles. Inside, there are many copper utensils and tools. One particularly valuable item is a large copper basin from the Ming Dynasty, with the Xuande-reign mark of Ming dynasty（1426 AD – 1435 AD）. Unfortunately, it was lost during the Cultural Revolution in1960’s. However, the Cultural Relics Bureau of Shannan region has a similar copper basin collected during that time, matching the era, which is an original item from Tradruk monastery’s collection.

Tradruk Monastery’s Cultural Relics

Changzhu Monastery’s Treasures – Pearl Thangkas: This is a rare treasure in the world, a “Guanyin Bodhisattva Resting” image created using pearls strung together in lines. It was made during the Phagmo Drugpa Regime in Tibet (12th-17th century), funded by the queen of the then King Naidong. Originally a precious thangka offered to Zisuo Temple, it was later housed in the second-floor Buddha hall of Changzhu Monastery, becoming the treasure of the monastery. The thangka is 2 meters long, 1.2 meters wide, using 26 taels of pearls, 4.1 taels of coral (1997 pieces), 15.5 grams of gold, one diamond, two rubies, one sapphire, 0.55 taels of amethyst, and 0.91 taels of turquoise (185 pieces). The Guanyin image alone on the thangka is made up of 29,927 small pearls in various colors like red, yellow, green, black, and white, surrounded by clouds, flowers, birds, and petals.

Shakyamuni Thangka: Also known as the Shakyamuni Silk Thangka, it is said to be embroidered by Princess Wencheng herself. The silk Shakyamuni image is 2.92 meters high, 1.72 meters wide, with Shakyamuni wearing a red robe, exposed right shoulder, adorned with the Eight Auspicious Symbols (Dharma wheel, conch shell, white umbrella, victory banner, lotus flower, water jar, golden fish, and endless knot) on the robe; golden skin, blue topknot, surrounded by lotus flowers in the background, sitting in a lotus position.

The right hand is in the earth-touching mudra, the left hand in the meditation mudra. At the top left of the image is the sun, in the center is the three-legged golden crow, and on the right is the moon, with a jade rabbit pounding medicine under a cassia tree. There are two lines of Sanskrit at the top. The thangka is finely woven, tight, and extremely exquisite, a masterpiece of Ming Dynasty silk images.

Both the Shakyamuni Thangka and the Pearl Thangka are kept in the rearmost room on the second floor of the main hall.

Bronze Bell: Inside the doorway of Changzhu Monastery hangs a bronze bell with two circles of Tibetan inscriptions, similar in style to the bell of Sangye Temple. According to research, the bell was cast during the reign of King Trisong Detsen of the Tubo Dynasty (the 37th Tubo King, in power from 755 AD to 797 AD). The donor who provided funds for the bell’s casting is the same person as the donor of Sangye Temple’s bell, Boza Tri Gyalmotsen.

Tradruk Monastery – A Brief History

In 1961, it was listed as one of the first national key cultural relics protection units.

During the “Cultural Revolution” of the 1960s, Changzhu Monastery also faced great difficulties. Apart from a few buildings used as granaries and residences for monks that survived, the main hall and most of the Lhakhangs, prayer halls, and other buildings were left empty, and many other cultural relics were lost.

In 1981, after the local government implemented religious policies, the original monks of the monastery and local people started fundraising for its reconstruction.

In 1982, the main buildings were repaired and opened to the public.

The willow forest surrounding the temple is said to have been planted by Princess Wencheng herself.

The “Riwo Dechen Monastery” belongs to the Gelug Pa of Tibetan Buddhism. The mountain where it is located resembles an elephant, with the monastery positioned at the spot resembling the “neck of an elephant,” hence it is also known as the “Monastery built on the neck of an elephant.”

Situated on the western slope of the Qingwadazi Mountain behind the government of Qonggyai County, at an altitude of 3850 meters, it is close to the ruins of the Chingwa Taktse Palace and the tombs of Tibetan king.

Established in the 14^th century during the time of the 1^st Dalai Lama, it initially consisted of only one Buddha hall and around thirty houses.

It was expanded during the reigns of the 5^th, 7^th, and 8^th Dalai Lamas, evolving into a large complex with halls, monk quarters, and palaces. At its peak, it housed over five hundred monks.

Before 1949, out of over two thousand monasteries in all of Tibet, only six were authorized to appoint monks to serve as “Zizhong（a rank in the local Tibetan government）”, and the Riwo Dechen Monastery was one of them.

Establishment

There are two different accounts regarding the founder of this monastery. One is recorded in “Qing Shi” and “Biography of the First Panchen Lama” as “Khenchen Nyitri Tsenba Palsang,” while the other is documented in “New Red History” as “Dorje Tridenba.”

Historical records provide a more detailed description of the monastery’s construction by “Khenchen·Nyitri·Tsenba Palsang.” He was born in the region of Lhathog in Southern Tibet and was a disciple of the 1^st Panchen Lama, Khedrup Je (1385-1438). Due to his profound knowledge of the “Heart Sutra （Prajna Paramita Hrdaya）,” he was called “Nyitri,” which means “twenty thousand” in Tibetan, referring to his mastery of over twenty thousand characters of the “Heart Sutra （Prajna Paramita Hrdaya）”

In the late 14^th century, “Khenchen·Nyitri·Tsenba Palsang” was invited by Dorje Tseten and others from present-day Qonggyai County to jointly establish the Riwo Dechen Monastery in this area.

Initially, the monastery was built in imitation of Ganden Monastery, located below the “Taktse Castle.” It was quite small, consisting of only a four-pillar （1 pillar is about 25 square meters）Buddha hall with around fifty monks.

After the passing of Khenchen·Nyitri·Tsenba Palsang, the leadership of the monastery was passed on to his disciple Khenchen Wenlaba, who then became the first abbot of Riwo Dechen Monastery.

Development

The 2^nd Dalai Lama, Gedun Gyatso (1475 AD – 1542 AD), visited the Riwo Dechen Monastery multiple times to give teachings and would circumambulate the “Victorious Stupa” of the monastery every morning. During his time there, he personally sculpted a statue of the guardian deity Paldan Lhamo and wrote a Buddhist scripture called “Jaqü.” This scripture has been passed down to this day, and the monks of Riwo Dechen Monastery still recite it.

The 5^th Dalai Lama, Ngawang Lozang Gyatso (1617 AD – 1682 AD), was born halfway up the mountain in a place called “Deba shingkang” and served as a monk at the monastery in his youth. After assuming power over the Gadan Podrang Regime, he conducted a major expansion of the Riwo Dechen Monastery. He extended the existing silver stupa and guardian deity hall southwards to create a large assembly hall, supported by 70 pillars (12 long and 58 short), covering an area of 3956 square meters. The hall was divided into sections painted in red and white to distinguish them, which the original part was painted red, and the later part was painted white. Inside the hall, intricate Buddhist murals adorned the walls, and a finely crafted silk thangka depicting the 7^th Dalai Lama Kelzang Gyatso (1708 AD – 1757 AD), the Qing Emperor Qianlong, the founder of Riwo Dechen Monastery, and the monastery’s name was displayed. Unfortunately, this structure was demolished in 1962, with its treasures lost, leaving only ruins.

During his stay at the monastery, the Fifth Dalai Lama composed a few lines of poetry praising the monastery: “Like white rice and treasures piled in an ideal place, it is a sign of the flourishing of Gelug Pa of Tibetan Buddhism in Qonggyai. Riwo Dechen, built on the majestic neck of an elephant, may Riwo Dechen prosper forever!”

The father of the 7^th Dalai Lama, Sonam Dargya, built a Jampa Buddha Hall (Maitreya Hall). This hall had a total of 4 pillars and housed a copper statue of Jampa Buddha, towering over four stories, with a legend that the statue contained Tibetan mother lion milk in its abdomen. Additionally, the 7^th Dalai Lama’s father constructed an Eighteen Arhats Hall at the monastery, consisting of two stories with eight pillars, serving as the residence for high lamas on the upper floor and the Arhats hall on the lower floor. Apart from the Eighteen Arhats, the hall also enshrined a bronze statue of Tsongkhapa cast in mainland China. Adjacent to the Arhats Hall, the first regent of the Kashag regime, Nyima Gyantsen, built a palace for himself, which he later dedicated to the monastery as a Buddhist hall. Inside this hall, a bronze statue of the 7^th Dalai Lama was once worshipped. To commemorate his father, the 7^th Dalai Lama Kelsang Gyatso built the “Gunzo Lakhang”, a single-story hall with four pillars dedicated to the Tryadhva-buddhāḥ (Sakyamuni,Bhaiṣajya Guru, Amitābha).

During this period, in addition to the constructions by the 7^th Dalai Lama and his father, local residents also built Meri Lhakhang, Datsang Shegxia, and more. Meri Lhakhang had two pillars and housed Amitayus Buddha, Green Tara, the “Three Buddhas” (Gadgadasvara, Guanyin or Avalokiteshvara, Vajra), the 7^th Dalai Lama; The sedan chair of the 7^th Dalai Lama is enshrined in the “Datsang Shegxia”.

Riwo Dechen Monastery does not have a spirit stupa but contains a stupa housing the relic of the 5^th Dalai Lama’s big toe, approximately 4 meters high. The Jiujiu Stupa, standing at 2 meters high, is gilded and accompanied by a stupa hall supported by nine pillars.

During the reign of the 8^th Dalai Lama, Qambe Gyatso (1758-1804), winter and summer palaces were constructed at Riwo Dechen Monastery. The winter palace was located at the foot of the mountain, two stories high with 30 pillars on the ground floor, while the summer palace was situated on the mountain, designed in a terraced style with 18 pillars on the ground floor.

Main relic

The precious artifacts of the Riwo Dechen Monastery mainly include the butter lamp donated by the father of the 7^th Dalai Lama, Sonam Dargya, and was originally placed in the Jampa Buddha Hall.

This silver butter lamp, measuring 10.7 cm in height, 12.2 cm in diameter, and 9 cm in diameter at the base.

The lamp consists of a bowl on the top, a base on the bottom, and a handle in the midle. The lamp-bowl is 2.5 centimeters deep with a single decorative groove on the outside; the lamp base is circular with a trumpet-shaped opening, hollow inside, decorated with a string pattern, and 4 centimeters high, the lamp handle is diamond-shaped and 4 centimeters high. It is finely crafted and can be considered a fine piece of art.

Organization

The organizational structure of the Riwo Dechen Monastery is similar to other Gelug pa monasteries. Apart from the tribute collected by the monastery’s affiliated manors, all other economic resources of the monastery are allocated by the Kashag regime, with allocations made once every six years.

Before 1959, the Riwo Dechen Monastery housed sets of hand-copied manuscripts of “Ganggyur” and “Tangyur,” along with a large number of other Buddhist scriptures, as well as works on medicine, astronomy, and philosophy.

Prior to 1959, the Riwo Dechen Monastery had over 600 monks, overseeing three “Zhika (Manor),” namely Yelong Halongkang, Qiangma (now within the Xiasui Township of Jiuhe District), and Shensha (within the Fanshen Township of Jiuhe District). The monastery had subordinate temples such as Ruokang, Niangjiao, and Donggen.

The monastery was destroyed during the “Cultural Revolution” of the 1960s.

Although the original monastery buildings were completely destroyed, the monks of the original monastery, supported by the local people, constructed a new temple next to the original site in 1985, where they continued to carry out Buddhist activities.

In 2003, the monastery accommodated over 80 monks from other Gelug pa monasteries.

Building

The main hall’s walls are adorned with fascinating murals depicting the origins of the Tibetan people, portraying them as descendants of a union between a rakshasi woman and a divine monkey.

Unusually, the monastery’s main deities include statues of Atisa, Jampa Buddha (referred to as Maitreya Buddha or Future Buddha in Chiense Buddhism), and Tsongkhapa. This might be due to the fact that Tsongkhapa’s “Gelug pa” sect was developed based on the foundation of the “Kadampa” sect, which was with Atisa being the founder.

In the center of the hall, there is a portrait and robe of the 5^th Dalai Lama, known for his strikingly bright eyes possibly inherited from his mother, a virtuous woman from the Langkazi family, renowned as the “Nine-eyed bead in a cat’s eye stone.”

On the right side, there are statues of Shakyamuni Buddha, Tsongkhapa, and the Bhaisajya Guru. Additionally, there are portraits and photographs of several “Rinpoches” (living Buddhas).

Chingwa Taktse Palace

In ancient times, this place was called “Chingwa,” translated into Chinese as “Pibo” during the Tang Dynasty (“Taktse” means palace), without the place name of Qonggyai;

In Tibetan, “Qong” means “hanging,” and “gyai” means “prosperous,” eventually evolving into the place name “Qonggyai.” Below the Chingwa Taktse Mountain is the present-day county town of Qonggyai.

On the mountain peak beside the Riwo Dechen Monastery, a long ancient city wall winds up along a steep cliff, with the prominent ancient castle at the top being the renowned “Chingwa Taktse Palace.”

According to Tibetan historical records, the “Chingwa Taktse Palace” was built from the reign of the 9^th to the 11^th generations of the Tubo rulers, each palace having its own name, forming a palace fortress community, collectively known as the “Six Royal Palaces of Chingwa,” later generations still refer to it as the “Chingwa Taktse Castle.”

On the southern end of the Chingwa Taktse Mountain’s cliff, there are two ancient cliff carvings of unknown age, mainly consisting of figurative carvings and inscriptions.

There are a total of fifty-six figurative statues, all representing various Buddhas, bodhisattvas, and guardian deities of Tibetan Buddhism, ranging from three meters tall to less than twenty centimeters;

The inscriptions mostly consist of six-character mantras. The carvings have been eroded by weathering, with many now unclear and faded.

The Yalong tribe centered around the Qonggyai area, with the successive Tubo rulers residing in the fortresses here, making this place an ancient capital of the Tubo Kingdom in its early days.

The palace ruins and the ancient city wall ruins connecting several ancient forts still exist today. The forts are strategically located on high ground, making them easy to defend and difficult to attack, indicating their military significance in defense against enemies.

The eighth Tubo ruler accidentally cut off the celestial ladder, leaving his body on earth, and was buried in the “Chingwa Taktse Mountain,” becoming the first Tibetan royal tomb in history.

Subsequently, several Tibetan kings were also buried on this mountain. There is an oval-shaped tall burial mound on the ridge, traditionally believed to be that of Princess Jin Cheng of Tang Dynasty. Hence, “Chingwa Taktse” is also considered part of the “tombs of Tibetan King.”

Unfortunately, during the Cultural Revolution in the 1960s, both the Chingwa Taktse Palace and the Riwo Dechen Monastery were destroyed, although the Riwo Decehn Monastery has since been rebuilt,