Blog

Nechung Monastery, also known as “Nechung Dorje Drayangling”, was initially a Nyingma Pa monastery of Tibetan Buddhism but later converted to the Gelug Pa.

It is a subordinate monastery of Drepung Monastery and serves as the residence of Nechung Oracle.

Located in the western suburbs of Lhasa, it is approximately 1 kilometer away from Drepung Monastery.

The name “Ne” of “Nechung” means “place” and “chung” means “small”. Therefore, “Nechung Monastery” refers to the “small place” below Drepung Monastery.

The monastery venerates “Pehar“, a three-headed, six-armed deity, who is the main deity of the Gelug Pa as a worldly protector deity. Monks in the monastery serve as Nechung Oracle, allowing Pehar to possess them and deliver prophecies.

Legend of “Pehar” – building the monastery

Nechung Monastery, built in the 7^th century, is where the largest worldly protector deity of Tibetan Buddhism, Pehar, resides as the representative deity of the protector deity “Nechung Tablama“.

There are various versions in Tibetan literature regarding the origins of the monastery:

The 1^st one states that Pehar, originally a local deity in “Uzangna”, later moved to the “Badehao Temple” in “Yugu”, becoming the guardian deity of the “Hor” tribe. Upon the completion of Samye Monastery, Padmasambhava, on the advice of the mountain god “Nyenchen,” invited “Pehar” from Hor to become the protector deity of Samye Monastery, residing on Mount Pekar.

It is said that after spending 700 years at Samye Monastery, Pehar moved to the Gungtang Monastery of the Kagyu Pa on the south bank of the Lhasa River. During his time at Gungtang Monastery, a conflict arose between Pehar and the abbot of the monastery Lama Shang·Dzunzhui Drakpa who instructed the painters not to paint Pehar’s portrait on the monastery murals when the monastery was being rebuilt. Pehar was very angry about this, so he changed his appearance to be a young worker who helped the painters work, and was deeply loved by the painters.

When the mural was almost completed, the painter asked the young worker what he wanted. The young worker asked the painter to draw a monkey holding burning incense anywhere on the mural. Late at night, Pehar transformed into the monkey in the mural and burned the monastery to the ground with the burning incense. Lama Shang·Dzunzhui Drakpa was very angry about this and designed to capture Pehar with a cross-reticulated spiritual weapon, put it in a wooden box and throw it into Gyichu (Lhasa River).

When the wooden box flowed and passed Drepung Monastery along the river, it was fished out by a lama. The lama was very curious and opened the lid of the box to take a look. Pehar took advantage of this and turned into a white dove and flew to a nearby birch tree and disappeared. Later generations built a monastery around the tree and called it “Nechung Monastery”.

Since then, Pehar has continuously proven his presence at Nechung Monastery, with his representative deity being Nechung Tablama. This deity was later appointed by the 5^th Dalai Lama, Ngawang Lobsang Gyatso (1617 AD – 1682 AD), as the oracle deity of the Kashag Regime.

The 2^nd one states that the 5th Dalai Lama saw the wooden box in which Pehar was imprisoned floating on the Lhasa River near Drepung Monastery. He instructed a Khenpo from Drepung Monastery to retrieve the box and told him not to open it. However, out of curiosity, on the way to bring the wooden box back to Drepung monastery, the Khenpo opened a small slit in the box, and at that moment, a dove flew out and perched on an ancient tree. The Dalai Lama reprimanded the Khenpo and ordered the construction of a monastery around the tree, naming it Nechung Monastery.

The 3^rd one states that Pehar was moved to Drepung Monastery to fulfill a promise he made to Tsongkhapa’s great disciple Jamyang Choje Tashi (1379 AD–1449 AD) during the construction of Drepung Monastery. It is said that this protector deity had vowed to protect Drepung monastery, leading to the construction of Nechung Monastery.

The 4^th one states that it was not Pehar himself but his emanation, the “Dorje”, who moved from Samye Monastery to Gungtang Monastery in Lhasa. “Dorje” aspired to become an important and prominent protector deity of Gungtang Monastery for a long time. To prove it, he appeared various illusions in front of the monks of Gungtang Monastery. Though, the monks the monks disliked this troublesome protector and called him an “evil ghost”. Finally, the monks used the evil method to force him into a wooden box and threw him into the Lhasa River. The wooden box was fished out of the river by a lama and carried to Drepung Monastery. After opening the box, the “Dorje” escaped from the box and flew to an ancient tree and disappeared. Later, a monastery was built around the tree and was called “Nechung Monastery”. Soon, Pehar appeared in “Nechung Monastery”.

Yet, the 5^th one involves a resident of Cai-gong-tang who was placed in a wooden box like a dead person and thrown into the Lhasa River. The box was retrieved by monks from Drepung Monastery, and upon opening it, a flame shot out and vanished into a nearby ancient tree, and the person in the wooden box regained consciousness and was taken to Drepung Monastery. Later, a monastery was built around the tree and called “Nechung Monastery”, and this individual later became the first representative deity (Nechung Tablama) of Nechung Monastery.

According to Tibetan historical texts, Pehar is also known as the “Great Warrior God Nechung,” the leader of the demonic deities. Followers of Bon religion refer to him as the “Protector Deity of Zhang Zhung Kingdom.” Descriptions of Pehar in Tibetan literature depict him as having three heads and six arms, each with a white, sky-blue, or red face. His three right hands hold iron hooks, arrows and sword; His three left hands hold Knife, bow and staff; He wears a white silk coat and a waist made of human skin and tiger skin. He wears a rattan hat similar to a straw hat. He rides a white lion and is pulled by a “Menpu Bucha”. The god of companionship is Atquma, jackdaws is his envoys.”

Monastery Layout

The current layout of Nechung Monastery is just a small square courtyard with the east gate open.

The entire architectural layout is rectangular, with the front courtyard occupying about one-third of the total area, and the ancient hall occupying two-thirds.

The front and east side of the monastery are monks’ residences, monks enter and exit through the east gate, with a small stone lion on each side of the gate

Upon entering the east gate, you will find the front courtyard, covering an area of about 50 square meters. The courtyard is paved with bluestones, with a Han-style stele without words standing in the center, flanked by incense burners.

At the south gate of the front courtyard is a small door that remains closed all year round. It is said that the “Vajra Power God (Dorje Shugden)” has been waiting at the south gate for the day he becomes the main Dharma protector. At that time, Pehar will become the transcendental protector and ascend to the heaven, and Dorje Shugden will succeed Pehar as the main worldly protector

According to historical records, the Vajra Power God is often referred to as the “God of War” or “Lord of Fate,” evolving from the soul of a senior monk named “Sonam Drakpa” from Drepung monastery during the reign of the Fifth Dalai Lama.

About 20 meters northwest of the west gate of the front courtyard, there are three stone shrines: the central shrine enshrines White Pehar, the shrine on the west side enshrines Vajra Power God, and the shrine on the east side enshrines Tseumar protecor which also known as the “Red Yaksha Dharma Protector”. Among them, the shrines in the center and on the west side are white, while the shrine on the east side is red.

To prevent evil forces from entering the monastery, the ceiling of the west gate is covered with iron arrowheads, and in the past, many wild animal skulls were hung here.

Architecture

In front of the main entrance of Nechung Monastery, there are two stone lions in Han-style. Steps lead up to a double row of eight-pillared corridor.

The walls on both sides of the main entrance are painted with statues of Pehar and Dorje Shuten respectively. Upon entering the main hall through the main gate, the main hall is divided into several passageways by three rows of large pillars. The middle passageway is lined with cushions and scripture tables for the monks to chant sutras.

There are several auxiliary halls surrounding the main hall, the most famous of which is the Pehar Hall located in the northwest corner of the main hall. In the hall, there is an ancient tree where Pehar transformed into a white dove, but now only a section of the tree trunk wrapped in Hada can be seen.

To the left of the sacred tree, there is a shrine of Pehar in warrior attire, and to the left of the shrine is a statue of the great master Padmasambhava.

The most sacred place in Nechung Monastery is due north of the main hall, known as the “Hall of Nechung Dharma King,” where a silver-carved seat is placed. On the seat,there are the robes and helmet worn by the Nechung shaman during the descent of the deity, and the shaman’s boots are placed in front of the sea

The Dharma Protector Temple is at the northeast corner of the main hall, which houses the statues of Dema Sogyemu (another incarnation of Palden Lhamo) and Nyima Shunu

According to historical records, at the beginning of the 20^th century, Nechung Monastery was very prosperous. The monastery had a special warehouse for storing treasures; luxurious decorations, and a surrounding forest reserve where leopards and other wild animals were kept. There were 101 monks in the monastery, from whom Nechung Dharma King selected his successor after he stepped down. The entire monastery is exquisite, compact, solemn, and dignified, with its red walls blending into the blue sky, green trees and gray-brown rocks.

Mural

The mural art of Nechung Monastery is another classic masterpiece of ancient classical Tibetan mural art, in addition to the murals of the Guge Kingdom and the Palcho monastery.

From the perspective of style, the murals of Nechung Monastery are a concentrated embodiment of the artistic style of an era. They differ from the murals of the Potala Palace, Jokhang Temple, and other temples in terms of depicting subjects, composition, use of color, and character styling.

Painted on the walls of the main hall and corridors, these murals date back to the mid-17^th century.

The murals in the monastery mainly depict Pehar and his incarnations with accompanying deities, as well as scenes of sentient beings being punished in hell for their evil deeds in previous lives.

The content of the paintings is relatively independent, lacking the narrative scenes commonly found in traditional Tibetan murals.

Due to the absence of narratives, there is minimal background decoration, with a large proportion of the painting dedicated to the figures, resulting in a full composition.

The backgrounds often use cool colors, gold, black purple, creating a rich and brilliant tone. The painting technique alternates between single-line flat painting and shading, using slightly darker colors close to the main subject to outline forms.

In terms of styling, influenced by Han Chinese art, Indian art, and Mongolian nomadic art, the murals of Nechung Monastery perfectly depict the characteristics of various deities. For example, the warriors depicted in helmets, armor, wielding weapons, and riding horses first appeared in Tibetan art sculptures in the 13th century, reaching perfection in the 17^th to 18^th centuries, with a clear influence of the Central Asian Mongolian nomadic art style.

On the other hand, tantric images are influenced by Indian art styles, while influences from Han Chinese art and neighboring countries like Nepal and Kashmir are prominently displayed in the portrayal of secular figures and ornaments. The attire of figures in the early Qing Dynasty period （（1636 AD or 1644 AD – 1912）, as well as the Loong motifs from Han Chinese patterns. These are examples of the precious mural art heritage of Tibet.

Tsantang Lakhang, also known as “Tsantang Yuyi Lakhang“, “Yuyi Lakhang” or “Tsantang Temple,” is a early Buddhist temple built during the period of Tubo Kingdom, with an elevation of 3576 meters.

The term “Tsantang” means the flat land where the king stayed, and it is said that the first Tibetan king, “Nyatri Tsenpo” of Spu Gyal clan arrived at this place from the southwest direction of “Lari Gangtok Mountain.”

The original roof of Tsantang Lakhang was made of turquoise-like glazed tiles, surrounded by lush green grass, hence its name “Yuyi Lakhang,” meaning “a turquoise-like Buddhist temple.”

Located approximately 1.5 kilometers southwest of Nedong district in Shannan City, it stands opposite to Tradruk Monastery and is one of the famous “Three Buddhist Temples” in the Yarlung River valley.

About 500 meters west of Tsantang Lakhang, at the foot of the mountain, there is a tall pagoda called “Tsekung Pagoda” or “Tsaku Pangba,” with a square tower base and a circular top and spire, believed to be the Clothing Mound of Tibetan King Songtsen Gampo.

Architecture

Tsantang Lakhang is relatively small in scale, consisting mainly of a main hall, a small scripture hall, and three connecting corridors, surrounded by a wall. The dimensions of the Lakang are 44 meters east to west, 24.5 meters north to south, 1 meter thick, and 3 meters high.

Upon entering, there is a small courtyard, with the main hall in the center. The main hall has two floors, with a wide three-bay scripture hall in front, flanked by two small side halls. This section of the architecture is considered later additions in terms of style.

The rear hall of the scripture hall serves as the entrance to the main hall, with a width of three bays. The upper part of the door is painted with the Tryadhva-buddhah, while the left side depicts Drom Tonpa, Atisa, and the three figures of Tsongkhapa,Gyaltsab Je, and Khadrub Je. On the right side, there are images of Padmasambhava, Trisong Detsen, and a Bodhisattva. The right wall of the scripture hall depicts historical legends of Tibet, the left wall shows a mural of the future world defeating demons, and the front wall features Yamaraja and Dharmapāla.

Inside the main hall, eight pillars are evenly arranged in front of the eaves, each consisting of two columns standing side by side. The base stones are carved like lotus petals.

Though not spacious, the main hall’s architectural structure differs from typical main halls. It has no columns inside. Instead, at the upper corners, “beveled beams” are placed along the walls, supporting “false beveled beams,” which in turn support “crossbeams,” on which the ceiling is laid. Apart from a central painting of intertwined circles representing victory, the other eight sides depict lotus flowers.

The main hall houses statues of the Tryadhva-buddhah and eight great bodhisattvas. At the corners in front of the hall, there are statues of guardian deities, with the backlit areas of all statues gilded with copper, except for the central Shakyamuni

Buddha statue, which has a winged lion biting a leaf above its backlit area. The other bodhisattvas have flame-shaped backlit areas. The central statues and guardian deity images in the backlit areas are the most exquisite.

On the rear wall behind the Tryadhva-buddhah statues, more images of the Tryadhva-buddhah are painted, while the side walls depict thousands of buddhas. The statues in the main hall are solid and simple, reflecting the early Ming Dynasty artistic style.

Outside the main hall is a left-turning corridor, with walls adorned with Vajrayana Buddha images. The exterior walls display a thousand buddhas holding alms bowls. Beyond the corridor, there is an outer corridor, where the left wall features an image of the venerable Subhūti with white hair.

Brief

According to the records of “Naidong County Annals” and “Naidong County Cultural Relics Annals”, Tsantang Lhakang was built by the consort of “Songtsen Gampo”, “Angchung Bek who also known as Mugang Yungpal, (she is the one after the Nepalese Princess and Princess Wencheng)”.

Some other documents, such as “Situgujizhi”, record that Tsantang Lhakang was built by the consort of “Murug Tsenpo (763 AD – 804 AD)” , the “Ngangchu Yangtshul Gyamug during the Tubo period, with a history of more than a thousand years.

In the 1950s, Tsantang Lhakang underwent a large-scale renovation.

In 1962, Tsantang Lhakang was listed as a district-level cultural relic protection unit by the Tibet Autonomous Region government.

Unfortunately, it was destroyed during the subsequent ten-year “Cultural Revolution”.

In the early 1980s, the local government implemented a new religious policy, and the local villagers began to prepare for the reconstruction of the temple.

In 1988, Tsantang Lhakang began to be rebuilt, and the architectural style and size were basically restored to their original appearance.

Tsantang Lhakang was originally a sub-temple of Ganden Chokhor Ling Monastery, so the butter lamp master here was appointed by Ganden Chokhor Ling.

Today, Tsantang Lhakang holds a prayer ceremony on the tenth day of the first month of the Tibetan calendar, during which monks from Ganden Chokhor Ling Monastery participate.

Value

Tsantang Lakhang is one of the early Buddhist temples built during the period of Tubo kingdom. Its historical significance is undeniable. The temple was constructed in a style completely different from the local Tibetan architecture, showcasing the exceptional craftsmanship of Tibetan artisans with its glazed walls and hip-and-gable roof. It holds special importance for studying the history of Tibetan-Chinese relations and Tibetan architecture.

Weilin Temple, also known as “Tshal·Weilin Temple“, is located in Cai Er Village, on the south bank of the Lhasa River, about 10 kilometers away from the Central District of Lhasa City

The temple is said to have been built during the reign of King Songtsen Gampo, and the main shrined deity is the Buddha statue of “Vairocana“, on the right side of this Buddha statue is the statue of Avalokitasvara, and on the left side is the statue of White Tara cast by the fourth concubine of Songtsen Gampo, “Rugyongsag`Gyamutsun”, that is, the princess of “Minyag (a Tibetan tribe Kangding)”.

There is a cypress tree in front of the temple, which was planted by the Tibetan minister Lu Tongtsan (also known as “Gar·Tongtsan Yulsung “) for the purpose of procreating his descendants and prospering Buddhism.

In 1168 (or 1159) AD, “Tshal ba Kagyu”, a branch of the “Kagyu Pa“, was founded by “Shang·Dzunzhui Drakpa” in this temple;

Origin of name

The “Tshal” in the name of the temple means “forest garden”; it is said that Tibetan King Songtsen Gampo, ministers and common people each planted a cypress tree here, forming a large forest, which grew lush, and gradually turned into a forest garden for leisure, so the place was named “Tshal”;

“Weilin” in the name of the temple means “middle”; because the temple is located in the “Gye-shod” area in the core area of “Bu Ru (today’s Lhasa River Basin)” in ancient Tibet, and the “Gye-shod” area was divided into two areas: “Upper Gye-shod” and “Lower Gye-shod“; Weilin Temple is located exactly in the center of these two places.

Therefore, the temple was named “Tshal·Weilin Temple” based on its location, which means “the temple located in the middle of the Tshal (forest garden)”, and is referred to as “Weilin Temple” for short.

Brief

Weilin Temple suffered significant damage during the “Cultural Revolution” that occurred in the 1960’s;

After the early 1980s, the local government implemented new religious policies and the temple began preparations for reconstruction.

In 1987, it was restored with donations from local religious believers.

In 2013, it was listed as a district-level cultural relic protection unit in the Tibet Autonomous Region.

Construction scale

Before 1959, the construction scale of Weilin Temple was recorded as follows according to the monk “Jangpa Trile” who had lived in this temple for a long time:

The specific overview is as follows: the temple has four kitchens, two storage rooms, thirteen public halls, as well as granaries and musical instrument rooms, etc. In addition, there are 65 monks’ dormitories and three toilets in the East, South and West of the temple.

The main building of Weilin Temple had three floors and a courtyard.

The first floor is the Maitreya Hall, the Vaisravana Hall, and the twenty-pillar-sized main Hall. There are two storage rooms on both sides of the gate of the main hall;

The second floor contains the “Mask” storage room, storage room, and two monks’ dormitories; there is also a hall, seven rooms where the temple deacons live, eight office accommodations, four granaries, and two storage rooms. 6 warehouses and a large kitchen (with two stoves).

The third floor is the “Wei·Sunnling Hall”, with two monks’ dormitories on both sides of the hall; there are also the Kangyur hall, the Dharma Protector hall, and three bedrooms for the person in charge of the halls

In addition, the walls around the temple are very high and there are four gates. Outside of the temple, there was a large garden and two small gardens full of lush woods and green lawns. Especially during the maintenance of the temple, new forest gardens were planted separately.

Architecture

The main hall

The main hall of Weilin Temple houses a two-story high statue of Maitreya Buddha sculpted by “Trichen · Gendun Phuntso”. There are 80 statues of Indian accomplished masters, which is approximately 60 cm high, and made of bronze and gold-plated. All the 80 statues are adorned with brocade and satin. These statues were brought to Weilin Temple from another location when it suffered damage from the Jungar army, and they are not to be moved except during the exchange of incense lamps, because there are seals stamped on the outside of these statues,

On the pillars to the east and south of the inner hall of the main hall, there are hung “pillar flags” inlaid with “five precious stones” and war deity masks, as well as a cloth-wrapped, pearl-inlaid mask of the goddess “Dorje Yudronma.”

In the center of the main hall, there are golden bronze statues of Tsongkhapa, Gyaltshab Je, Khechog Je, the Venerable Gendun Drubpa, the Panchen Lama Losang Chokyi Gyaltsen, and the Great Compassionate Dharma King “Shakya Yeshe.”

To the right of the main hall, there are statues of the Three Longevity Buddhas (Amitayus, Ushnisha Vijaya, White Tara), Master Monlam Dorje, and Tongwa Dongdan. All of the statues are with height of one-person-tall

To the left of the main Hall, there is a statue of the Venerable Dawa Tundru Bendan (recernation of “Potoba”) made of five kinds of herbal mud material by Bengade, with unique features such as a face that remains free of dust and a slight warmth in the chest. Particularly, on the 8th, 15th, and 30th days of the Tibetan calendar, various miraculous phenomena manifest on the face of this statue.

To the left of Dawa Tundru Bendan statue, there is a statue of Shakyamuni Buddha made of gold, placed on a “six-creatures seat.” There is a curtain behind Sakyamuni statue and a golden bowl in the bottom of Sakyamuni statue

In front of the statue of Shakyamuni Buddha, there is a bronze Bhaiajyaguru altar with many gold-plated bronze Buddha statues inside. When Tsongkhapa consecrated these statues, miraculous events such as the movement and radiance of the Three Longevity Buddhas occurred, along with auspicious signs like a rain of saffron from the sky.

To the left of the statue of Shakyamuni Buddha, there are statues of Avalokitesvara and White Tara.

On the far right of these statues is a one-person-tall statue of the accomplished master Thangdong Gyalpo made of iron. When Thangdong Gyalpo was managed to build an iron bridge over the Lhasa River, Weilin Temple was the main site for iron smelting and workers. To express gratitude to Weilin temple and protect the local people from evils, a statue of Thangdong Gyalpo was erected. Over time, worshipping this statue before important events became a local tradition.

In this hall also houses a statue of Amitayus Buddha sculpted by “Polhanai.” This gold-plated copper statue is adorned with various pearls and gemstones, with a walnut-sized diamond on the forehead that emits light even in the absence of butter lamp illumination at night.

Around the main hall, there are statues of the Tryadhva-buddhah made of gold, sixteen Arhats, layman Dharmatala, and the Four Heavenly Kings, all measuring about 40-50 cm in height.

Protector Hall

Within this hall, there are statues of Tami Sanggye Gyantsen, Palchen Galo, Shang Dzunzhui Drakpa, and a naturally formed Khorlo Dechok Buddha, each with height about 1.5 meters. The four-armed Avalokiteshvara statue enshrined here was crafted based on a prophecy from the Dakini (Kha droma). Later, Tshal-ba Triben (The chief of Tshal-ba) Bengade (the son of Renchen Gyantsen, also known as Gadebai) reconstructed the four-armed Avalokiteshvara statue using a mixture of five precious stones and herbal clay as an act of repentance, adorning it with decorations and copper mirrors, all made of pure gold. Atop the statue’s head is a rare gemstone embedded with a fossilized bird egg. In essence, this Avalokiteshvara statue, towering over a floor height, possesses extraordinary blessings. Prayers made to this statue are believed to be swiftly fulfilled, with immeasurable merits. Once, during the destruction of temples by the Jungar army in Tibet, the Avalokiteshvara statue shed tears and caused internal conflicts within the army, resulting in over five hundred casualties and their subsequent retreat. Since then, local officials and high-ranking monks have revered this Avalokiteshvara statue, enhancing the prestige of the Weilin Temple.

Ordinarily, devotees are prohibited from gilding within the tear-streaked area of the Avalokiteshvara statue’s face. Apart from the annual “Butter Lamp Festival” and religious events like “Tshal ba Gudo,” the covering fabric on the statue’s face is not to be removed. Locally, there is a belief that those who pray before the Avalokiteshvara statue at the Weilin Temple while pursuing knowledge are likely to achieve outstanding academic success.

Vaisravana Hall

Inside this hall, there are three statues made of bronze, each of those is with height of nearly 2 meters, depicting the master Atisha, and his disciples of Drom Gyalwa Yungna on the right, and on the left, E Leba Sherab; the creator of these statues remains unknown.

In this hall, there is a statue of Vaisravana sculpted by the Sakya Yeshe, towering at a considerable height, made of herbal clay; a statue of Vajrapani Buddha wielding a vajra with height of 60cm, which was made of iron by the accomplished Thangdong Gyalpo; a statue of Aksobhya Buddha gifted by the revered master of Sera monastery, made of bronze, standing at the height of 75 cm; a statue of Hayagriva (the horse-headed deity) that made of bronze and with height of nearly 1.5 meters.

Wei·Sunlight Hall

Inside this hall, there is a statue of Manjusri Bodhisattva made of golden bronze, a statue of Tsongkhapa made of gold bronze, a statue of Yama Dharmapala made of herbal clay, all of which are with height of nearly 2 m1.5 ers

In the sunny window of this hall, precious statues of the Three Great Tibetan Kings(Songtsen Gampo, Trisong Detsen, Tritsu Detsen), Shang·Dzunzhui Drakpa, and Dawa Tundru Bendan are enshrined, all of which are made of golden bronze and with height of 60 cm. Additionally, there is a four-armed Mahakala statue made of crystal; a statue of Dorje Drakden made of red sandalwood, measuring the length of 60 cm; a statue of Mahabrahma made of ivory; a Tara statue made of jade, with height of 20 cm.

This Buddha hall also houses a complete set of Tsongkhapa’s robes, tea sets, scripture storage boxes, and other precious items.

Thangkar

Inside this temple, various thangkars are stored with amount of over one thousand different types. These tangkas are made of materials such as gold, silver, turquoise, coral, cat’s eye stones, and various pigments.

There is a large Tangkar of the main deity Yamantaka painted by the great translator Ralo Dorje Drak; it is exquisitely detailed and exceptionally valuable. Another thangkar depicts the Buddha figure Maha Sita Patra holding a wisdom sword, also exquisitely painted and highly precious. There is also a thangkar depicting the master Shang·Dzunzhui Drakpa and the deity Cakrasamvara, as well as a four-armed Mahakala thangkar, which was brought from Mongolia by the Tsangba Dongku, painted with gold juice. Additionally, there is a thangkar of the protector deity Palden Lhamo, painted with the nosebleed of the Fifth Dalai Lama, and twenty-three pieces of 16 Arhat thangkars bestowed by the venerable Sakya Yeshe.

Among these thangkars, the thangkar of the protector deity Palden Lhamo can only be worshipped publicly on the 15th day of the 10th month in the Tibetan calendar; worship at other times is prohibited because it bears the seal of the 5th Dalai Lama and the official seal of the local regime. To open this thangkar to the public during the designated time, a monk official and a lay official from Ganden Podrang Regime must first go to the temple, after which worship is permitted.

Legend of the Temple Converted to Gelug Pa

Legend of the Temple Converted to Gelug Pa

The Jamchen Chojey (means “Great Compassion Dharma King” ), “Sakya Yeshe,” underwent ordination and precepts at the Weilin Temple, studying various scriptures under many teachers and becoming a scholar.

He also practiced in seclusion at the Weilin Temple for a long time, where he built a scripture hall housing statues of Vaisravana, and others.

At that time, the master Tsongkhapa (1357 AD – 1419 AD) traveled from Dome (Now, Qinghai province) to “U region (now, Lhasa)”, passing through Drigung before reaching “Tshal.”

Master Tsongkhapa received teachings on the “Gyuzhi(means 4 medical classics)” from the master Tshal ba.

Subsequently, Master Tsongkhapa traveled to areas like shigatse, Shannan, Qushui, and Duilong before arriving at the Weilin Temple, where he studied and debated for years.

During his time at Weilin Temple, Master Tsongkhapa studied the “Tsai Ba·Kangyur”, teaching the Prajnaparamita Sutra, the Madhyamaka, the Abhisamayalamkara, and other scriptures to the monks led by Sakya YesheYeshi.

He also conferred empowerments on practices like the Unsurpassed Secret Mantra, the Blissful Way, the Mahavajra, the Adamantine Holder of the Vajra, and the Nine Deities of Joyful Vajra.

He then completed the classic work “An Exposition of the ‘Advice on Practice and the Truths’ in Tsongkhapa’s Golden Rosary” in the “Hall of Manifestation of Light” at Weilin Temple, where he studied and explored texts like the “Tsai Ba·Kangyur,” understanding the profound meanings like sunlight dispelling darkness. Hence, he named this hall “Wei·Nyma Lhakang (meaning — the Sunlight Hall in the center)”.

Additionally, Master Tsongkhapa prayed for the Gelug pa to flourish far and wide, and converted the temple to the Gelug pa.

Tshal Ba Monastery, also known as “Yang Gong monastery“, is now a Gelug pa monastery of Tibetan Buddhism.

It was built by Shang·Dzunzhui Drakpa in AD 1175, and together with Gungtang Monastery are collectively known as “Tshal Gungtang Monastery“.

Both monasteries were once the main monasteries of Tshal-ba Kagyu Sect，one of the four major branches of Tabu Kagyu tradition, a main branch of Kagyu pa.

This two monasteries face each other from north to south, with a distance of only about 700 meters in a straight line.

It is located in Caigongtang Township, east of Lhasa city, on the south bank of the Lhasa River, 10 kilometers away from the central district of Lhasa City.

The residents of Cai-gong-tang Township are also referred to as “Tshal Ba.”

Gungtang Monastery is located in Caigongtang Township, east of Lhasa and south of Lhasa River, about 11 kilometers from downtown Lhasa.

In 1187, Shang·Dzunzhui Drakpa (the founder of Tshalpa Kagyu) built Gungtang Monastery with the help of his disciples. After that, Gungtang Monastery became the ruling center of “Tshalpa 10 thousand households”. It is also one of the two main monasteries of the original Tshalpa Kagyu (one of the four major branches of Dagpo Kagyu) of Tibetan Buddhism, the other one is called “Tshalpa Monastery”.

During the reign of the Fifth Dalai (Ngawang Lozang Gyatso, 1617 AD – 1682 AD), the monastery’s faith changed from the single “Tshalpa Kagyu” to a sect that combined “Gelug Pa” and “Tshalpa Kagyu tradition”.

At the end of the Yuan Dynasty, Gungtang Monastery was changed to a subordinate monastery of Sangpu Monastery. Later, when the Gelug Sect rose, Gungtang Monastery converted to the Gelug Sect, and the Tshalpa Kagyu Sect was discontinued.

Brief

In 1546 AD, a major fire broke out in Gungtang Monastery, and destroying most of the buildings, with only the Maitreya Hall, the stupa of Shang·Dzunzhui Drakpa, and the gilded White Tara statue surviving the blaze.

After three years of preparation, the reconstruction of Gungtang Monastery began in 1549 AD on its original site,

Unfortunately, Gungtang Monastery was destroyed during the “Cultural Revolution” in the 1960s.

In the early 1980s, the local government implemented a new religious policy and began minor repairs to the monastery in 1988 on its original foundations.

In 2005, substantial repairs were carried out on Gungtang Monastery through fundraising efforts involving the local government and the community.

Buildings

Gungtang Monastery, facing south, is a two-story Tibetan courtyard-style structure built with square stones. The roof is adorned with golden tiles and precious prayer flags.

The monastery complex consists of a surrounding wall, assembly hall, monks’ quarters, living quarters for the Living Buddha, and pagoda, covering an area of 10,261 square meters.

The first floor features a gatehouse, assembly hall, 5 Buddha halls, and 2 guardian halls.

The gatehouse is 8.2 meters long east to west, 4.8 meters wide north to south, with 4 pillars, a 2.5-meter high and 2.8-meter wide main entrance, and seven wooden-carved reclining lions on the lintel.

The assembly hall covers an area of 322.24 square meters, measuring 21.1 meters in length and 15.2 meters in width. It has 2 long pillars, 24 short pillars, and is a two-story building.

The first floor houses Buddha halls and guardian halls, adorned with murals of Shakyamuni Buddha, the Dalai Lama, and Tsongkhapa and his disciples. Originally, a bronze statue of Shakyamuni Buddha was enshrined here. To the north, there is a hall, and to the east, west, and south, there are 2 Buddha halls each.

The second floor includes the Shakyamuni Buddha hall, the Tara Buddha hall, the Dalai Lama’s bedroom, and the bedrooms of past Living Buddhas.

The Buddha Hall that located to the north covers an area of 181.46 square meters with a length of 21.1 meters and a width of 8.6 meters. It features 4 tall pillars and 8 short pillars, housing a 7.5-meter-high statue of Sakyamuni Buddha. Additionally, on the south side, there are gilded bronze statues of Amitābha, White Tara, and Tsuktor Namgyelma.

another Buddha Hall that is on the south side of the east measures 5.4 meters in length and 3.25 meters in width, supported by 8 pillars. Originally, it housed clay statues of Tathāgata Buddha, Avalokitasvara Bodhisattva, 16 Arhats, Khorlo Dechok, and Guhyasamaja vajra. On the south side of the west of this hall, there is a single-room Protector Hall measuring 12.3 meters in length and 10 meters in width, featuring clay statues of 4-armed Mahakala, Parvati, and Paldan Lhamo.

The Buddha Hall on the north side of the east covers an area of 161.16 square meters (16 meters in length and 10.1 meters in width) supported by 20 pillars. Inside, there were gilded bronze stupas of Shang·Dzunzhui Drakpa, statues of Atisa, White Tara, Drom Tonpa, Dampa Sangye, Milarapa, and a clay model of a snowy mountain cave. On the east side of the south of this hall, there is a Protector Hall measuring 4.3 meters in length and 3.3 meters in width, housing clay statues of Vaisravana and other deities.

The Buddha Hall on the north side of the west covers an area of 56.55 square meters, with a length of 6.5 meters and a width of 8.7 meters. It originally housed gilded bronze statues of Shang·Dzunzhui Drakpa and his disciples, the 7th Dalai Lama Kelzang Gyatso, Marpa, Milarapa, and other Kagyu lineage masters and translators.

The Buddha Hall on the south side of the west covers an area of 124.85 square meters, with a length of 12.34 meters and a width of 10.15 meters, and there are 4 pillars in this hall. Inside, there are gilded bronze statues of Amitābha, Sakyamuni Buddha, Bhaiṣajyaguru, Gadgadasvara, as well as a silver stupa of Suqu Nyezangtzen and numerous scriptures and scripture racks.

To the north of Gungtang Monastery, there were originally thirteen large pagodas made of earth and stone, which are said to have been built by Shang·Dzunzhui Drakpa. However，there is only one left now, which is a place of worship for local believers.

Gungtang Monastery also has four ancillary buildings: Shengar Dratsang, located about 100 meters southeast of the monastery; Quchi Temple, located about 50 meters southwest of the monastery; Shenpu Fort Hall, located 400 meters west of the monastery and there is Chokorling temple about 40 meters west of the monastery. These buildings were built in the late time and had little impact.

In 2013, Gungtang Monastery was designated as a cultural heritage protection unit in Tibet.

Meiduo Choba Festival

Every year on the 15th day of the 4th month of the Tibetan calendar, Gungtang Monastery holds the “Meiduo Choba (Flower Offering Festival)”. The monks and followers of Tsongzan Lakhang in Cijiaolin Village will invite the Tsongzan deity into a car, receiving worship and blessings from the followers along the way until reaching Gungtang Monastery to meet Gungtang Lamo and stay with the goddess overnight. On the 16th day of the 4th month of the Tibetan calendar, they will carry the Tsongzan deity back to Cijiaoling Village for a Lingka celebration, and finally return him to Tsongzan Lakhang, waiting for the next year’s event. During the Meiduo Choba festival, there will be Qiangmu performances (spiritual dances), Tibetan opera performances, etc., to please the gods and the people.

In 2013, Ngawang Tentsen, the lama in charge of Gungtang Monastery, mentioned that this event was originally intended to please the gods but is now misunderstood by the common people as a worldly affection between gods.

The “Meiduo Choba” of Gungtang Monastery, the “Gyen-A Choba” (Butter Lamp Offering Festival) on the 15th day of the 1st month of the Tibetan calendar at Jokhang Temple in Lhasa, the “Kuyo Choba(Cuckoo Offering Festival)” on the 15th day of the 4th month of the Tibetan calendar at Reting Monastery, and the “Dode Choba (Sutra Offering Festival)” held on the 15th day of the 6th month of the Tibetan calendar at Samye Monastery, collectively known as the Four Great Offerings of U-Tsang.

Tshechokling Monastery, meaning “Temple of Longevity” in Tibetan, is a Tibetan Buddhist monastery and one of the four major “Ling” in Lhasa.

The main structures include the Dukhang Hall and the Lhakhang (Renpoche residence). There are two ancient cypress trees in front of the monastery, which is believed to have been planted when the monastery was built. The lush surrounding forests create a tranquil and serene environment.

Brief

It is located about 7 kilometers south of Lhasa City, across the Lhasa River from the city. Tshechokling Village is named after this monastery

Lhasa has natural “eight auspicious symbols,” such as “Parasol” and “Conch shell” behind Sera Monastery, and the mountain facing the Lhasa Bridge in the east of Lhasa City is called “Treasure Vase Mountain” (also “Benpo Ri” in Tibetan). Tshechokling Monastery is located west of this “Treasure Vase Mountain,” surrounded by mountains and clear springs, with extremely beautiful scenery.

The “mother” monastery of Tshechokling Monastery is the “Tashi Samdanling monastery” in the “Gyedzong” area of southern Tibet, and Tshechokling Monastery completely follows the teaching and heritage of its “mother monastery”. “Kachen·Yeshe Gyaltsen” himself completed his studies at the Tashilhunpo Monastery in Shigatse, and Tshechokling Monastery may be considered as the outpost of Tashilhunpo Monastery in Lhasa region.

After the establishment of Tshechokling Monastery which was is staffed by a total of 100 monks by local regime. However, the Tshechokling Living Buddha lineage has never been involved in the administration of local affairs (regency), so its economic and institutional power is not as strong as the other three major Lings (the other 3 monasteries)

According to the “Summary of Tibetan Affairs in the Qing Dynasty,” the Tshechokling Living Buddha once acted as the regent of Tibet, but he was not officially appointed. Although he did not have the qualification of regent, he still held a certain position and influence in the religious and political aspects of Tibet. In 1745 AD, the Junggar Khanate – Jungar Danchi Ling admired the monastery and sent people to bring wealth to Tibet for its expansion. At that time, the Tibetan king “Polonai” was wary of this and politely declined.

Establishment

There are two versions regarding the establishment of this monastery. One claims that the eminent monk “Ren Gabu” founded it, and later it was expanded by the tutor of the 8th Dalai Lama (Qambê Gyaco), “Kachen·Yeshe Gyaltsen.” Another version states that the 8th Dalai Lama built it for his tutor “Kachen·Yeshe Gyaltsen.” The two versions are outlined as follows:

(1) Tshechokling was initially a meditation cave. In the early 16th century, the venerable monk Ren Gabu meditated in this cave, had a profound realization, and was highly respected, leading to the construction of the monastery named “Drib Tshechokling .” In 1781 AD, the Qing Emperor Qianlong granted power to the 8th Dalai Lama. The following year, the 8th Dalai Lama’s tutor, Kachen Yeshe Gyaltsen, repaired and expanded the monastery using over 22,100 taels of silver, with Yeshe Gyaltsen contributing 7% of the total funds, approximately over 1,500 taels of silver. This monastery served as a place for praying and chanting for the longevity of the Dalai Lama.

(2) The full name of the monastery is “Tshechokling Tashi Tashi Samdanling”. It was built in 1790 AD by the eighth Dalai Lama for his sutra teacher, Garchen·Yeshe Gyaltsen. At that time, Gachen·Yeshe Gyaltsen did not have a permanent residence in Lhasa, and his residence in Shigatse, the Gyedzong Samdanling Monastery, was occupied by the invading Gorkha army. “Gachen·Yeshe Gyaltsen” was old and the heavy responsibility of praying and chanting for the Qing Emperor, so the eighth Dalai Lama specially built this monastery for his use. In order to build the monastery, the Kashag regime of Tibet invested more than 20,000 taels of silver, Gachen himself contributed more than 1,500 taels of silver, and many believers also made donations.

The monastery is located in the “Drib” (means “shadow place”, that is, a place where the sun cannot shine) south of the Lhasa River and is surrounded by mountains on three sides. Therefore, after the monastery was built, it was called “Drib Tshechokling”, or it is still used the old name “Drib”, and people living here are called “Drib-ba”.

At the beginning of the 21st century, the monastery was being rebuilt and there are dozens of resident monks. In addition to the statues of Buddha, Bodhisattvas usually enshrined in Gelug pa of Tibetan Buddhism, the reconstructed main hall also houses the statues of the eighth Dalai Lama and his Buddhist teacher, Garchen·Yeshe Gyaltsen

Architecture and Collection

Tshechokling Monastery, facing south, covers an area of approximately 7,000 square meters, with the main buildings being the scripture hall and the Buddha hall. The scripture hall features a cloister and 32 pillars, a kitchen with 4 pillars, 68 monk rooms, and intricate carvings on the beams and pillars inside. The walls are adorned with murals.

The scope of the Buddhist hall is not large, and the center is dedicated to the mighty and benevolent Buddha — Sakyamuni Buddha. The statue depicts Shakyamuni with a conch-shaped topknot, bare chest, draped in a hanging outer robe, exuding a solemn and majestic presence. Adorned in gold, the Buddha sits upright on a lotus throne, displaying a dignified and grand demeanor. With a slight smile at the corner of his mouth, radiating kindness and grace, the Buddha sits gracefully on the lotus throne. The intricate and magnificent statue is embedded with precious jewels such as turquoise, coral, and amber.

Tshechokling Monastery originally housed the Natang version of the Tripitaka of Kangyur. “Kangyur” is a transliteration from Tibetan, meaning “Words of the Buddha,” also known as the “Canonical Texts,” which are translations of the Sakyamuni’s original teachings. The cover is a snowy blue color with golden lettering, displaying exquisite decorations. Additionally, the monasterye also houses finely carved dharma seats, writings of eminent figures like Tsongkhapa, life-size bronze statues of Tsongkhapa, and 33 auspicious thangkas

Tshechokling Ladrang

Garchen·Yeshe Gyaltsen was the first living Buddha of Tshechokling, and a total of five living Buddhas of Tshechokling have been recognized. Tshechokling Ladrang was also established accordingly. The Gashag Regime of Tibet once granted 6 agricultural manors, including Langru Village, which is now part of Najin Township, Chengguan District, Lhasa City, as well as several pastoral areas including a local pastoral area called “Drib”, as its manors.

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.