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Kongmar Monastery also known as “Khangmar Monastery”, its full name is “Doma Khangmar Gedan Samdrubling.” The monastery was built around the year 1400 AD and originally belonged to the Kagyu Pa. In 1662, it converted to the Gelug Pa.
The monastery is located in Si-e Village, about 2 kilometers from Luhuo county, accessible by road and with electricity.
In 1985, it was approved for opening by the People’s Government of Garze County
Cogri Monastery, also known as Kasa Monastery, is one of the larger Gelugpa monasteries in Luhuo County. Its full name is “Cogri Gaden Shadrub Phelgyaling”
It was founded in 775 AD by Cogri · Loyi Jiangcun, one of the seven great Sanskrit-Tibetan translators of the Tubo Dynasty. Originally belonging to the Nyingma sect, it was later converted to the Gelugpa in 1650 AD (the 7th year of the Qing Dynasty’s Shunzhi Emperor). It is one of the thirteen major Yellow Hat sect monasteries in the Kham region.
Located to the west of Luhuo County town, near the border with Garze County, the monastery is situated in Dupa Village, at an altitude of 3441 meters. The majority of the followers are engaged in agriculture for their livelihood.
In the past, Cogri Monastery had over 800 monks, but currently, there are 266 monks residing in four kang cun (Dratsang). The monastery covers an area of over 15,000 square meters. The orderly and tightly arranged double-story wooden houses indicate its size. The spacious platform within the monastery is used for hosting debates, prayers, exorcisms, and other major religious events, accommodating tens of thousands of people.
Every year, during the 1st month of the Tibetan calendar, the monastery holds the grand prayer ceremony “Molam-Chenpo”, during which devotees from all directions come to pray to the deities and listen to scriptures. The scene is grand, and the musical instruments of the monastery produce magnificent music.
The main hall is the place where all the monks gather to recite scriptures and practice rituals. In the center is a large gilded statue of Tsongkhapa, the founder of the Gelugpa sect. On the right are various protector deities, and on the left are the stupas of the monastery’s past masters and living Buddhas. The colorful murals on the walls are rich in content.
Visitors can also see the Maitreya Hall by entering through the side door. The 10-meter-high statue of Maitreya, also known as the Jampa Buddha, is a significant figure in Tibetan Buddhism. According to Buddhist legend, Maitreya was originally born into a Brahmin family in India and later became a disciple of Sakyamuni, eventually inheriting the position of the future Buddha. The left side of the main hall houses the auspicious hall, where scriptures are recited throughout the year, while the kitchen and guest room are located on the right. Behind the monks’ quarters, there is a courtyard where young lamas study scriptures and Buddhist doctrines. The scripture hall is filled with shelves holding Buddhist scriptures.
The Han Temple, also known as “Degongbo“, was built in 1274 AD and has a history of more than 700 years, making it the oldest ancient building in the current Garze County.
“The establishment of the Han Temple may be related to the establishment of the ‘Left Wing Mongol and Han Army Wanhu Prefecture’ by the Yuan Dynasty in this area (Garze county).” The “Daru Huachi” (garrison commander) under the Wanhu Prefecture was responsible for leading the Mongol and Han armies. They certainly held great respect and reverence for the “God of War” Mahakala, so they built the Han Temple to worship him.
In the inner part of the main hall of the temple, there are over a thousand gold-threaded paintings of the Mahakala (Great Black One) deity on the Yuan Dynasty walls. “The technique is exquisite and is a typical work of the Yuan Dynasty. New murals have been painted on the walls, and some of the old murals have been damaged.” The main deity enshrined in the temple is also a statue of Mahakala.
Named the Maha (Ga) La Temple after the Mahakala deity, it is the only well-preserved Yuan Dynasty Mahakala temple in China. During the Mongol and Yuan periods, Mahakala was worshipped as the “God of War,” and many stories of Mahakala’s manifestations have been passed down.
During the Yuan Dynasty, over 100 Mahakala temples were built in Dadu (present-day Beijing) and throughout the country, but none remain. “The Han Temple in Garze County is the only preserved Yuan Dynasty Mahakala temple, making it extremely precious.” According to existing documentary records, the merit holder of the temple should be “Zhenjin (1243-1285),” the son of Kublai Khan.
Regardless of the scale and location of Chinese Buddhist temples, their architectural layout follows a certain pattern: a square plan, organized along a north-south axis of Shanmen Hall, Hall of the Heavenly Kings, Main Buddha Hall, Hall for the Principal Bodhisattva of the Temple, Dharma Hall, and Scripture Hall, presenting a symmetrical, stable, and rigorous composition. Along this central axis, the buildings are interconnected and form a harmonious unity.
The entire Han Temple faces south. Legend has it that the 3rd living Buddha of the temple was a Han Chinese, and during his tenure, he made modifications to the architectural style, adding a round roof similar to the Temple of Heaven in Beijing, albeit with some changes.
After several expansions over hundreds of years, the temple now covers an area of 3875 square meters, with a building area of 1350 square meters, spanning three stories and constructed with timber and earth. There is a large courtyard in front of the main hall.
The ground floor includes a front porch, scripture hall, and the Hall of the Guardians, while the main hall is grand in scale, serving as the primary hall of the Han Temple and the largest hall in the temple. It is supported by 102 square columns, with 63 bays and 54 columns in the scripture hall. On the 4th and 3rd columns from the left and right in the scripture hall, there are 4 characters ” peace in the world in Chinese” inscribed, which were granted by Emperor Qianlong in the Qing Dynasty after the completion of the expansion of the Hall of the Guardians. These four long columns support skylights, allowing ample natural light into the interior.
In front of the main hall, there is a broad platform, and the roof beams of the hall are majestic. The interior of the hall features a variety of bracket systems, representing a traditional wooden structure with Chinese characteristics. The structure of the main hall is very ingenious. In the center of the hall, there are five golden statues of Tathagata Buddha, collectively known as the Five Buddhas, which are original works from the Jin Dynasty (1135 AD – 1234 AD).
Surrounding the main hall are prayer corridors, with a total of 396 prayer wheels on the right side. The front porch, main scripture hall, and Hall of the Guardians, which form a Tibetan-style flat-roofed building, combine to create an integrated structure. The Hall of the Guardians at the back is constructed of wood, with a Han-style gray tiled roof and a Tibetan-style gilded roof ridge adorned with ritual instruments such as lotus flowers, treasure vases, bells, and Dharma implements. When illuminated by sunlight, these ornaments shine brilliantly and radiantly.
The eaves of the hall are supported by Han-style bracket systems, with colorful flying eaves and corner eaves shaped like mythical beasts, displaying lifelike forms, exquisite craftsmanship, and rigorous structure. It integrates both Tibetan and Han architectural styles, representing a masterpiece of the cleverness and wisdom of craftsmen from both Tibetan and Han ethnic groups.
To the east of the main hall is the site of the Manjushri Pavilion, and to the west is the Samantabhadra Pavilion, built in the 1154 AD (the 2nd year of the Zhen Yuan of Jin Dynasty).
The murals in the Han Temple are not the typical bright and colorful ones but are painted in a style known as “bai miao” (white outlines). The walls are painted in a sky-blue color, with intricate white lines creating a continuous visual display. In the areas where sunlight shines on the walls, the sky-blue color fades, leaving a stark white appearance.
The temple houses a large number of sculptures, thangkas (scroll paintings), hanging scrolls, armor, weapons, clothing, and precious artifacts, all of which have extremely high artistic and research value.
Xisuo Tibetan Village is located at the intersection of National Highway 317 from Chengdu to Barkam and Provincial Highway 210 from Zhuokeji to Xiaojin, about 8 kilometers from the town of Barkam. It is situated at an altitude of around 2660 meters and is separated from Zhuokeji Guan-zhai by a stream called Nazu Gully.
During the historical period of local chieftains, Xisuo Village was known as “Gan-qiang-ba” in Zhuokeji, which means “street of Zhuokeji.” At that time, the residents were mostly the Koba (messenger) of the Zhuokeji chieftain, as well as merchants and folk craftsmen. After 1950, this area was designated as a group within Xisuo Village, and the current residents are mostly descendants of the original messengers, merchants, and folk craftsmen of the chieftain.
The chieftain of Xisuo was one of the famous 18 chieftains of Jiarong in western Sichuan. At the end of the Qing Dynasty (1616 AD – 1912 AD), due to the chieftain “Si-bi-deng-nian” being involved in the “Gelug Pa Religion” and having no heirs, in 1912, the son of the Wenchuan Wasa chieftain “Suo-guan-ying,” succeeded to the position.
The official village gate faces southwest, and the residential buildings are shaped like watchtowers, also known as “diaolou”. The windows on each floor are smaller on the outside and larger on the inside, with intricately designed window frames featuring carving, painting, and colorful techniques, reflecting strong Tibetan ethnic characteristics.
The walls surrounding the houses are built with pieces of stone and bound together with yellow clay. The walls are as thick as 1 meter and are constructed using the method of inward incline and outward straight, with craftsmen relying solely on their experience to build the stone walls neatly, with sharp edges and a narrow top and wide base. The entire wall is under compressive stress and serves as the main load-bearing structure of the building. In addition, the mutual support and convergence of the internal wooden structure beams make the entire building have a smaller footprint at the base, a larger footprint at the top, a strong internal center of gravity, and high stability.
At the highest point, the corners of the watchtower form sharp angles, creating a sense of grandeur. The edges of the highest stone walls are thickened to avoid a flat appearance, enhancing the three-dimensional feel. The roof is divided into two parts, with the front half being flat, surrounded by low walls on three sides, while the back half forms a sloping mountain shape, covered with stone slabs or tiles.
The entire Tibetan village is comprised of three-story stone buildings, with the ground floor used for raising livestock, the second floor for the kitchen and living quarters, and the third floor for the scripture hall and guest rooms. This type of watchtower not only provides warmth in winter and coolness in summer but also represents the traditional architectural style of the Jiarong ancestors, who “built rooms with stones.” The entire village is neatly arranged, with a sense of order and a layout that looks like a well-fortified ancient castle when viewed from a distance.
When viewed from a distance, one will be amazed to find that Xisuo Tibetan Village bears a striking resemblance to the “Huayi” pattern in the Tibetan Eight Auspicious Symbols (resembling the “Endless Knot,” representing the heart of Shakyamuni Buddha).
The distinct, angular stone buildings, combined with the surrounding steep mountains and cliffs, create a natural environment that is harmoniously integrated. The pathways paved with bluestones lead into the village, connecting each household tightly together. The vibrant totems, red tiles, and fluttering prayer flags add a touch of mystery to this place.
The climate here belongs to the plateau continental monsoon climate, with distinct dry and rainy seasons. The four seasons are not clearly defined, and most areas do not experience summer. There is abundant sunshine, significant temperature differences, and frequent strong winds during the dry season. The average annual temperature is 8-9°C, with an annual rainfall of around 753 millimeters and over 1500 hours of sunshine. The frost-free period lasts for approximately 120 days.
Zhuokeji, meaning “supreme” in Tibetan, was the former residence of the Zhuokeji chieftain. The Zhuokeji chieftain was granted the position after the first “Battle of Da-xiao-Jin-chuan” in the year of 1748 AD (13th year of the Qianlong reign of the Qing Dynasty). In the year of 1749 AD (14th year of Qianlong reign of the Qing Dynasty), the chieftain was given an official seal for the “Chang-guan Office.” The town has a total area of 298 square kilometers, consisting of three villages: Chami, Xisu, and Nazu.
The Zhuokeji chieftain’s residence is located at an altitude of 2700 meters, adjacent to National Highway 317, at the high ground where the Soma River and Xi-suo River meet. It is also the intersection of the roads from Barkam to Chengdu and from Barkam to Xiao-jin, 8 kilometers from the county town and 354 kilometers from Chengdu.
The chieftain’s residence, also known as the chieftain’s office or mansion, served as the official office of the chieftain and the living place for the chieftain and his family. It was the political center within the chieftain’s jurisdiction and a symbol of the chieftain’s power and status.
The Zhuokeji chieftain was first appointed in the 23rd year of the Yuan Dynasty (1286 AD), with Si-ta-beng as the first chieftain. In the 15th year of the Qing Dynasty’s Qianlong reign (1750 AD), due to meritorious service in the Battle of Dajinchuan, the chieftain’s position was elevated to the Chang-guan Office. The chieftaincy lasted for 665 years and was succeeded by 17 generations.
The existing chieftain’s residence was initially built in 1918, destroyed by a fire in 1936, and rebuilt at the original site by the 16th chieftain, Suo-guan-ying, in 1938.
The Zoukexi Chieftain’s Residence was built in the Qing Dynasty (1616 AD – 1912 AD), with the buildings facing northeast to southwest, comprising four enclosed courtyard buildings in the east, west, south, and north. The floors all feature Han-style corridors, with Han-style floral windows and Jiarong-tibetan-style window decorations on the outside of the corridors.
The entire official residence covers an area of 1500 square meters, with a layout mimicking the structure of a Han-style courtyard. The main building in the north has a pseudo-six-story structure, while the east and west wing rooms are five stories high, with a courtyard in the middle. In total, there are 63 large and small rooms and exhibition halls.
The architectural scale is enormous, grand, and exquisitely constructed, incorporating the ancient architectural style of the Jiarong Tibetan stone towers. It features a bracketed structure without using a single nail or rivet, showcasing superb architectural artistry.
Within the official residence, the Jiarong cultural exhibition area is mainly concentrated in some buildings on the first and fourth floors, divided into 12 exhibition halls including a kitchen, prayer flag room, Sheji room, Yin Ting room, brewing room, and clothing room.
The second floor is mainly a red cultural exhibition hall, with a total of 11 exhibition rooms. The third floor mainly showcases the chieftain culture.
Some rooms on the fifth and fourth floors serve as a religious cultural exhibition hall, featuring eight exhibition rooms including a scripture hall, Red Temple, Yellow Temple, Longevity Temple, Lion-faced Kungkong Temple, fasting room, and monk’s residence.
Kangmar Monastery, also known as “Kangmao Monastery,” meaning “Red Wall Monastery.” It belongs to the Gelug sect of Tibetan Buddhism.
It is located in Rangkou Village in Shua-jing-si Town of Hongyuan County on the Chengdu-Aba Highway 347km. The original location was in Lao-kang-mao Village of Kang-le Township, but it was relocated to Sa-mu-long Village in Rangkou Township due to a fire.
Kangmao Monastery was founded in 1398 AD and is one of the 108 monasteries established by the disciple of Tsongkhapa, “Chagou·Awang Dragba.”
Initially, it was established as the ”Solid land” of Jia-de-ge Monastery and later moved to Shua-jing-si as the Longevity temple of the Suomo Tusi. It was reorganized by Zanla “Wenbu Gongque Nanjia” and, after consulting with the Luhuo Living Buddha “Gongque Yixi Bajue,” the monastery’s management system was established in the form of the Suomo Tusi’s governance, and the monastery was named “Kangmar Auspicious Perfect Land.”
Soon after, the monastery was dissolved due to invasion by Mongol troops. Following the wishes of the Suomo Tusi “Shiyin Gyantsan” and the master “Jiamuyang,” “Qiongcha Xianzhe · Gendeng Dragba” moved the monastery to Zhongla Yuriba, which was given by the Suomo Tusi in 1723 AD. The monastery was named ” Gyadu Gegon Tsetanling.”
The successive Jiamuyang Living Buddhas paid great attention to the monastery and included it as one of the branch monasteries of Labrang Monastery. In 1935, the monastery was destroyed by fire due to various reasons, and the scriptures, Buddha statues, and stupas, as well as all the belongings and ritual objects, were turned to ashes. At that time, the “Qiongcha Renpoche” was young, but with the great care of the Zanla Living Buddha “Gasang Danzen Gyatso,” the monastery was relocated to Do-sa-mu-long Gully in Rangkou, Hongyuan County, and gradually supported and reorganized, leading to its prosperity.
The monastery is presided over by the Qiongcha Renpoche, and Qiongcha, Zanla, and Huaxiu are the three major reincarnation systems of the monastery.
The religious followers include people from the upper, middle, and lower Rangkou, as well as the people of Karla. The Rangkou tribe is said to have a history of over a thousand years, dating back to the time of Songtsen Gampo, when a small part of the military stationed here was sent from the “Rangkou Tribe,” one of the three tribes of Ali.
Throughout its long history, Kangmao Monastery has experienced numerous ups and downs, but has always adhered to the rules of the Gelug sect. The original monastery, “Jia’erde Longevity Monastery,” according to historical records, suffered from military disasters multiple times in history. At one point, the monks had no fixed place of residence and lived in some red houses in the Sutra Hall. In Tibetan, “Kangmao” means “red wall,” and the monastery was named Kangmao Monastery because the monks were active in these red houses. This name has been used to this day.
There are currently 43 monks and 7 monastery administrators.
The name “Datzang monastery” in Tibetan means “complete faith,” and in Chinese it carries the meaning of “merit.” Its full name is “Ganden Datsang Lhündrup Ling,” which means “the Land of Accomplishment of the Joyous Doctrine.” It is a Gelugpa monastery. The term “Ganden” means “joyous” and is the transliteration of the Tibetan name for the pure land of Maitreya Buddha, also conveying the meaning of the Gelug Pa.
Datzang monastery was built by the eminent monk Tsako·Ngawang Drakpa in 1414 AD, covering an area of over 200 acres. It received support and patronage from the local 18 chieftains, becoming the authoritative center for Gelug Pa in the northwest of Sichuan. It is frequently mentioned in the biographies of Tsongkhapa, the “Political and Religious History of Amdo,” and historical records from the Ming and Qing dynasties. The monastery is also depicted in a mural titled “Important Tibetan Monasteries” in the Potala Palace in Lhasa.
There are various explanations for the naming of Datzang monastery in both historical and oral traditions. One explanation is that Tsongkhapa named it ” Datzang” to signify “complete faith,” (In recorded literature, Tsongkhapa sometimes refers to Ngawang Drakpa as “ Datzang·Ngawang Drakpa“). Another explanation suggests that Tsako·Ngawang Drakpa named the monastery “Datzang” as the final of the 108 temples he vowed to build, signifying “complete fulfillment.” There is also a belief that Tsongkhapa slightly modified the original name given by Tsako·Ngawang Drakpa, changing the meaning from “complete fulfillment” to “complete faith,” while keeping the pronunciation as “Datzang.” Due to its long history and scale, Datzang monastery has been revered as the “2nd Dratsang” (meaning the second Buddhist college), second only to the ancestral monastery of the Gelugpa, the Ganden Monastery.
Datzang monastery is located at an altitude of 3530 meters, directly north of the town of Barkam, belonging to the Chun Kou village of Datzang Township. It is situated on the west side, 54 kilometers from the Lin-chang road, which runs from Da-lang-zu Gully to Sha-er-zong Township. It is approximately 500 kilometers from Chengdu.
Dazang Monastery is located on the slope of Qukeer Mountain, with the monastery complex built on the hillside and descending along the mountain ridge. Qukeer Mountain means “eternal wheel of dharma.” Ga-er-zu Snow Mountain stands behind it. To the west lies the Gen-da-er Snow Mountain. The nearby peaks seem to encircle the mountain where Datsang Monastery is located, forming a natural arrangement resembling the thirteen Vajra citadels.
Qukeer Mountain where Datsang Monastery is situated is at an altitude of over 3500 meters, and its shape resembles that of an elephant. The monastery is built on the neck of the elephant. From the center of the monastery, one can see a peak in each of the four directions – east, south, west, and north – known as the guardians of the four directions.
To the south of Qukeer Mountain lies the Qukeer Village, inhabited by generations of people who serve the monastery. The village is surrounded by fertile farmland producing crops such as barley, peas, and potatoes. To the north of Qukeer Mountain, there are steep pine forests and shrubs. On the opposite side, at the foot of the Gen-da-er Mountain, are the villages of Duerba and Kalgeng, both historically associated with Datsang Monastery. Flowing at the foot of the southern and northern slopes of Qukeer Mountain are lively, meandering streams, resembling silver ribbons hanging from the ears of Qukeer. According to local villagers, below the snow line of the Gajue and Gen-da-er mountains, there is an abundance of caterpillar fungus, fritillary bulbs, musk, and rhubarb. The forests also harbor a variety of nationally protected animals such as musk deer, roe deer, and golden monkeys.
Datzang monastery has developed into hundreds of buildings over the years, resembling a small city. At its peak, the temple housed over eight hundred monks, but in historical records, it is generally recorded as five hundred, taking inspiration from the five hundred arhats in Buddhist history.
When Datzang monastery was completed in 1414 AD, it included several halls and eight monk dormitories, including the Sutra Hall, the Dharmapala Hall, and a four-story building where Ngawang Drakpa resided. Of these three buildings, the Dharmapala Hall still retains its original state, with Ming Dynasty murals preserved in good condition.
Before the 1950s, Datzang monastery had 3 Maitreya Halls, Tsongkhapa Hall, Sutra Hall, and the Dharmapala Hall, as well as the Qi-zhu Tower and the Kankang Tower, where the two abbots resided. Each hall housed numerous sacred objects and precious scriptures, with the Maitreya Hall containing a statue of the future Buddha several meters high.
Even the ordinary monk dormitories each had a complete set of the Kangyur and Tengyur, the two parts of the Tibetan Buddhist canon, with murals on the walls and ceilings depicting the life stories of the Buddha and the ancestral masters.
The roof of the main hall is covered with gilded copper tiles, given by the Emperor of China. There is also a retreat house on the mountain behind the monastery for monks to meditate. In front of the monastery, there is a thirty-meter-high pagoda containing numerous precious sacred objects.
The Sutra Hall was destroyed in the late 1950s and was rebuilt from 1993 to 1997. The new hall was built next to the original residence of Ngawang Drakpa. There is a two-story reception hall in front of the Sutra Hall. The reconstruction, which began in 1993, was supported by disciples of the abbot “Qi-zhu Rinpoche” from various countries, with some disciples from Singapore leading the construction efforts. The rebuilt Sutra Hall is much larger than before, with the addition of the Maitreya Hall with a 13-meter-high Maitreya statue, the Tsongkhapa Hall with an 8-meter-high Tsongkhapa statue, and the Avalokiteshvara Hall with a 5-meter-high, thousand-arms and thousand-eyes statue of Avalokiteshvara, as well as large monk dormitories, a Vairocana Hall, a layperson accommodation building, a retreat room, a large monk dining hall, and the abbot’s residence. The rebuilt Datzang monastery also includes a magnificent debating courtyard.
The Qizhu Tower of Datzang monastery is a grand building located at the highest point of the monastery complex, behind the main hall. It is painted golden yellow, along with the outer walls of the famous Dharmapala Hall, while the other buildings in the monastery are painted white. The Qizhu Tower enshrines a protector, a manifestation of the Mahakala protector, which is the wrathful manifestation of the compassion of Avalokiteshvara. In the late 1950s, the Datzang monastery was destroyed, and the Qizhu Tower did not survive. After several years of reconstruction starting in 1993, the monastery and the Qizhu Tower have been mostly restored and are now larger than before.
To the right of Datzang monastery, there is a small stone tablet with the image of Avalokiteshvara, commemorating the visit of the 6th Dalai Lama. The 6th Dalai Lama led a legendary life, often disguising himself as an ordinary monk or even a beggar, wandering through Tibet and even reportedly visiting Mount Wutai in China. In his autobiography, he mentioned visiting Datzang monastery and praised the scale of the monastery and the diligence of the monks in their studies.
During his time at Datzang monastery, the revered figure secretly practiced in the Dharmapala Hall, unknown to others. On one occasion, he was recognized by an old monk who had previously met him in Lhasa. The revered figure instructed the old monk to keep his presence a secret, but the old monk insisted on leaving a memorial of his visit to Datzang monastery. The revered figure then said, “After I leave, you should erect a stone tablet of Avalokiteshvara at the place where we met. Whoever sees the tablet will be as if they have seen me!” The old monk then erected the stone tablet, which is still standing today, and Tibetans pay their respects to it when circumambulating the monastery. Additionally, the revered figure wrote some words on the outer wall of the Dharmapala Hall, which were preserved by taking photos of the original inscriptions before the wall was removed during recent renovations.
Awang Zhaba Master was born in the mid-14th century in the Gyarong region and was initially a follower of the indigenous Tibetan religion, Bön. Due to his intelligence and learning abilities, he gained fame at a young age. Around 1381 AD, he went to central Tibet to study Buddhism, receiving ordination and studying various aspects of Buddhist teachings, including the Vinaya, Prajñāpāramitā, Abhidharma, Madhyamaka, and Vinaya, as well as receiving empowerments and practicing various esoteric teachings. He was given the title “Khenchen,” meaning “Great Abbot,” by Tsongkhapa.
In a notable incident, Ngawang Drakpa displayed his miraculous powers by passing through a closed door to join a group of monks reciting scriptures in a temple in Lhasa. In the early 15th century, he made significant contributions to the development of the Gelug pa. He played a major role in two of Tsongkhapa’s major undertakings – the establishment of Ganden Monastery and the founding of the Great Prayer Festival in Lhasa. (Since 1409, an annual event has been held, gathering tens of thousands of monks and tens of thousands of laypeople to pray together, with a grand scene). Ngawang Drakpa was one of the main responsible persons for this event.
In 1409 AD, Tsongkhapa and his disciple Ngawang Drakpa practiced a strict fasting retreat (Nyung-lay) in front of the Avalokiteshvara statue at the Jokhang Temple in Lhasa, known as the “Five Statues of the Heavenly Made Avalokiteshvara.” Tsongkhapa instructed Ngawang Drakpa to observe his dreams during this time. That night, Ngawang Drakpa dreamt of a pair of white conch shells descending from the sky, merging into one and falling into his arms. He instinctively blew into it towards the east, and the sound of the conch resonated throughout the entire east.
The next day, Ngawang Drakpa described the dream to Tsongkhapa, who replied, “This is an auspicious omen, prophesying that your Dharma propagation will take place in your hometown – the eastern part of Tibet. Furthermore, your Dharma activities will be extensive and will benefit many local beings! Dreaming of blowing the conch indicates that you will propagate the Dharma; blowing it towards the east signifies that you should propagate the Dharma in the eastern part of Tibet; and the loud sound of the conch predicts that your Dharma activities will be extensive and successful.” At this point, Ngawang Drakpa’s Dharma propagation conditions had matured, so he bid farewell to his teacher and returned to his hometown.
In the oral history of Tibet, when Zongkapa bid farewell to Ngawang Drakpa, he gave his own prayer beads to him. Ngawang Drakpa then made a great vow: “For every bead on this prayer beads, I will build a temple to repay the kindness of my teacher!” Although this story is not found in official history, it is widely circulated.
After leaving Zongkapa, Ngawang Drakpa first went to the area of the present-day Ta’er Monastery in Qinghai. This monastery is the birthplace of Zongkapa, but Ta’er Monastery was not yet established at the time. Then, Ngawang Drakpa extensively spread the teachings of Zongkapa in his hometown, first establishing a place called “Andou Monastery” (also known as “Yage Monastery,” meaning “the first monastery,” according to oral tradition, this monastery was the first of the 108 temples established by Ngawang Drakpa), and then built build another 107 monasteries
Datsang Monastery has close ties with the Sera Monastery, Lower Tantric College in Lhasa, as monks from Datsang Monastery who leave to study higher Buddhist teachings in Lhasa often become students at Sera Monastery.
The Labrang Monastery, on the other hand, has had a close relationship with Datsang Monastery since protecting it from the influence of the Bon religion at a certain time in history. The two abbots, “Gongtang Rinpoche” and “Jamyang Rinpoche,” both served as abbots of Datsang Monastery.
Therefore, Datsang Monastery is part of the Sera Monastery system in terms of Buddhist education, but also has close ties with Labrang Monastery due to the protection and care it received. In terms of history, Datsang Monastery was established before both Sera Monastery and Labrang Monastery. At its peak, Datsang Monastery itself had several subordinate monasteries.
Although the monks of Datsang Monastery have traditionally gone to Sera Monastery to study advanced Buddhist courses, Datsang Monastery itself has its own comprehensive system of Buddhist education, including the five major subjects of Madhyamaka, Prajnaparamita, Abhidharma, Vinaya, and precepts, as well as a complete system of esoteric practice, focusing on the three highest levels of esoteric practice: Mahamudra, Chakrasamvara, and Vajrayogini.
The diligent and scholarly nature of the monks of Datsang Monastery has long been well-known, and throughout history, many monks from Datsang Monastery have achieved the highest degree of Ge-she at the three major monasteries in Lhasa, including Sera Monastery.
In the 1930s, Dazang Monastery had approximately three hundred resident monks.
By the late 1950s, all the monks were expelled, and the monastery was completely destroyed, with its halls, scriptures, and Buddha statues being completely ruined.
From 1993 to 1997, Datsang Monastery was rebuilt.
Dazang Monastery still preserves an ivory seal presented by Emperor Qianlong of Qing Dynasty, brocade fabrics offered by Qianlong, imperial robes, and scattered pieces of the Five Buddha Crowns (there were as many as fifty sets at the time), along with numerous imperial edicts and decrees, as well as a bronze gong presented by a Ming Dynasty general. This bronze gong is a treasure of Datsang Monastery, renowned for its exceptionally loud and melodious sound.
During the Ming (1368 AD – 1644 AD) and Qing (1616 AD – 1912 AD) dynasties, the monastery was highly respected by successive emperors and the imperial court, receiving long-term offerings from them, including Buddhist relics, seals, gold, treasures, fabrics, and daily necessities for the monks.
After the passing of Ngawang Drakpa, a natural Tibetan character “ཨོ” was found on the skull bone, which is now retrieved and enshrined within Datsang Monastery.
Tsangna Monastery, where “Tsangna” means “place of retreat for meditation” in Tibetan, was originally built around the 1340s and belongs to the Nyingma sect of Tibetan Buddhism. It is under the jurisdiction of the Katok Monastery in Baiyu County.
Located on Tsangna Mountain in Yingbolo Village, at an altitude of 3504 meters, the existing buildings were mostly restored and rebuilt on the original site after the 1980s.
The monastery complex, with its alternating red and white colors, is magnificent and imposing, and every detail seems to be carefully crafted, exuding solemnity and dignity, evoking awe and reverence.
The 1st is the true relic of the Buddha Shakyamuni.
The 2nd is the footprint stone of the great master Jigme Lingpa from eight hundred years ago.
The 3rd is the precious scripture of the Buddhist College, a handwritten manuscript by the venerable master Tubton Chokyi Drakpa Rinpoche, which is an explanatory text of the practice of the Great Blissful Mother Yeshe Tsogyal.
Tsangna Monastery is located 900 meters above the Suomo River Valley. From the observation platform on the mountaintop, one can overlook the town of Ma’erkang nestled in the mountain valley, with the Suomo River flowing through the city.
Tsangna Monastery was destroyed during the Cultural Revolution and a new modern-style temple was built nearby in 2004. The new monastery consists of a six-story main building, four monk dormitory buildings, a temple guesthouse, and a reception room for visitors. The monastery is situated in an open and beautiful environment with snow-capped mountains, alpine meadows, and pristine forests.
The 1st floor of the main building is the Great Scripture Hall, the 2nd floor is the Preaching Hall, the 3rd floor is the Scripture House, the 4th floor is the Multimedia Classroom, the 5th floor is the Golden Buddha Hall, and the 6th floor is the Exhibition Hall, with a golden roof on top.
The construction of the main hall was huge, with a steel-concrete structure and all walls made of granite. The main entrance to the Scripture Hall is four huge dragon pillars with empty carvings. There are four huge Four Heavenly Kings murals, and there are four 20-meter-high Han white jade square pillars inside the Scripture Hall, with exquisite carvings. All the wooden decorative materials inside the Scripture Hall are made of rosewood, and the lighting fixtures are imported from Italy. The eight golden Buddhas inside the Scripture Hall come from Nepal, and the roof is covered with gold, shining brilliantly from afar.
In front of the main hall, several tall pillars are carved with loongs that seem to be turning the river and sea upside down. The hollow-carved dragon embodies the superb skills of the carver. Under the cushion of the pillar, there are still traditional Tibetan lions squatting, calmly and fiercely like guardian beasts, silently guarding the peace and tranquility of the monastery.
The solemn gate of the main hall is painted with the pattern of the Seven Treasures and Eight Precious Objects in Tibetan Buddhism. The main hall, which covers more than a thousand square meters and can accommodate more than three thousand people, is filled with exquisite thangkas. The dome of the main hall is painted with a colorful Mandala.
Tsangna Monastery Small Scripture Hall is located in the southwest corner of the monastery and is a typical Tibetan Buddhist temple building. It is a two-story stone-wood structure with a multi-eave gable roof and a zigzag-shaped wooden frame. The exterior walls are made of stone, with a larger base and a smaller top, and the inner walls are straight. There are 20 steps of hanging walkways.
The layout is rectangular, facing east, with a vestibule, a scripture hall, and a main hall. It is 23.4 meters wide and 26.5 meters deep, covering an area of 620 square meters. The beams, columns, and brackets are painted with bright colors. The Small Scripture Hall on the northwest corner of the second floor houses a large number of precious cultural relics, including dozens of Buddha statues and murals from Nepal.
A Buddha niche is a niche-shaped pavilion designed to enshrine Buddha statues. They are often decorated with loongs and can be single or multi-layered, or even extended horizontally to form a continuous wall. They are mainly made of wood and decorated with lotus flowers, auspicious dragons, and other Buddhist patterns, with relief carvings or inlaid with mother-of-pearl, colored stones, ivory, and bones.
The styles of Tibetan and Han niches differ slightly. Tibetan niches are mainly painted, with dragons, heavenly maidens, and guardian figures as the main themes.
The second floor of the old temple of Tsangna Monastery houses a collection of Tibetan-style old Buddha niches, which were collected, restored, and preserved by “Gama Rinpoche” during the reconstruction of Tsangna Monastery. Some of them are more than 400 years old, with different styles, shapes, and decorative techniques.
The basic structure of these niches is divided into three parts. The lower part is the niche cabinet, with drawers on top and a frame layout below.
Some drawers and cabinets are solid and cannot be opened, purely for decorative purposes, with decorative patterns on the feet. The niche cabinets are slightly deeper than the upper niches, with protruding tabletops for placing water bowls or oil lamps.
The upper niches generally have door-shaped frames, two or three layers, with lotus petal patterns, swastika patterns, or diamond patterns. The niche face generally has a three-part layout, with the middle niche for Buddha statues and the two sides for bookcases, or a three-part niche, with the middle slightly wider, double doors, and different-sized niches inside.
The niche frame is decorated with shaped frame panels. Some niches are open-style, with different Buddha niches arranged in different positions and levels.
The top of the niche is generally decorated with a double Loong arching over a Mani pearl, symbolizing the protection of Buddha’s teachings. The Loongs are decorated with carved and painted colors or gold powder. Niches can be arranged independently or in a continuous wall style.
In the 1340s, the knowledgeable monk “Xijie Jiangcan” from the Katok Monastery returned to Gyarong. He constructed a simple retreat on the Yampaling Mountain (now renamed as Tsangna Mountain) and practiced there for many years. As more disciples came to study under him, a temple named Lama Temple was built, later renamed as Tsangna Monastery.
The monastery has been home to two great masters in its history: Kaden Triba, the first living Buddha of MarKang Temple, Losang Donggen Lundrub, and Kaden Shyal · Zhetan Denzal.
The present glory of Tsangna Monastery is attributed to the wisdom of the living Buddha “Yanban” within the monastery. With innate wisdom and admirable determination, Tsangna Monastery was able to gather a large amount of donations in just a few years, allowing for the reconstruction of the original monastery.
It is a monastery that combines traditional and modern elements. The living Buddha’s extensive travels abroad have led to the performance of worldly wonders in this remote mountainous area, where the prosperity of Han, Tibetan, and even European and American cultures are dedicated to the deities by devout craftsmen.
