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Jakhyung Monastery, also known as “Xia-qiong Temple”, is referred to in Tibetan as Jakhyung Theg Chen Yontan Dargyaling, meaning “Land of the Great Compassion and Merit of Jakhyung.”

The monastery was established in 1349 AD and is one of the oldest surviving monasteries in Qinghai (previously Amdo). It is situated on a cliff in the southern part of Chapu Township in Hualong Hui Autonomous County, about 95 kilometers from the provincial capital, Xining.

“Jakhyung” means “Great Roc” in Tibetan, and the name is derived from the shape of the mountain where the monastery is located, resembling a great bird poised to take flight.

The mountain rises majestically along the northern bank of the Yellow River, overlooking the winding twists of the Yellow River and offering views of countless mountains and valleys.

To the east, west, and north, the peaks are interwoven, while the south features steep cliffs that are remarkably sheer and perilous.

From the southern perspective looking north, Jakhyung Monastery is positioned precisely on the right shoulder of the “Great Roc.”

Brief

Jakhyung Monastery was originally a Kadampa sect monastery of Tibetan Buddhism but later became affiliated with the Gelug sect, adopting the curriculum from Sera Monastery and becoming part of its system.

The monastery’s founder was “Chujie Dunzhu Renqin” (1305–1385 AD), also known as “Chujie Dorje Rinpoche,” who hailed from the Xiabulang area in present-day Tongren County. He studied at Tibet’s Nyethang and Nathang Monasteries and later became the abbot of Lintao Monastery. He went on to establish Xiabulang Monastery in Tongren, Angla Sekang in Jianzha, and Jakhyung Monastery.

Jakhyung Monastery is renowned because Tsongkhapa, the founder of the Gelug (Yellow Hat) Pa of Tibetan Buddhism, studied there in 1363 AD and took monastic vows. Hence, it is considered the birthplace of the Gelug tradition.

Historically, the monastery was famous for its strict discipline and for producing many distinguished monks. The first group of scholars from the monastery became tutors to the 7^th and 8^th Dalai Lamas, the 9^th Panchen Lama, and the 3^rd Changkya Rinpoche.

Notable figures include the tutor of the 7^th Dalai Lama, “Awang Chöden” (1677–1751 AD); the tutor of the 8^th Dalai Lama, “Awang Chö” (1707–1778 AD); and the tutors of the 9^th and 10th Dalai Lamas, “Awang Nenzha,” as well as “Jinpa Gyatso,” the 46^th Ganden Tripa (Head of the Gelug pa), all of whom were high monks from Jakhyung Monastery.

During the Qing Dynasty (1636–1912 AD), Jakhyung Monastery had over 3,000 monks and 25 lama residences (Ladrang).

The monastery originally had 27 large and small building complexes covering over 200,000 square meters, with more than 2,260 rooms, including 26 wooden towers. The most famous lama residences were “Deyang Tsang,” “Jiansi Tsang” (also known as “Weishi Tsang”), “Khenpo Tsang,” and “Shamar Tsang,” which formed the monastery’s four major tulku (reincarnated lama) systems.

There are also historical relics such as the “Manjushri Meditation Cave” and the “Maitreya Gazing at the River” statue. Sacred items housed at the monastery include the “Lokeshvara Statue” said to contain relics and the remains of Atiśa, an ancient sandalwood pagoda containing relics of Shakyamuni Buddha, Gushri Khan’s sword, Tsongkhapa’s gilded bronze statue, and the Kangyur scriptures written in gold ink.

Most notably, the stupa hall of the monastery’s founder, “Dunzhu Renqin” Rinpoche, is particularly magnificent.

Architecture and Collections

Jakhyung Monastery now covers a total area of 270,000 square meters. Throughout history, the 3^rd, 7^th, and 13^th Dalai Lamas donated thousands of taels of gold to embellish the monastery’s halls, making the temple even more splendid and radiant.

Since its founding, Jakhyung Monastery has successively built eleven halls, including the Manjushri Hall, Maitreya Hall, Golden Roof Hall, Atiśa Hall, Vajra Buddha Hall, Zhiza Buddha Hall, Incense Offering Hall, Kṣitigarbha Bodhisattva Hall, Maitreya Overlooking the River Hall, Mountain Buddha Hall, and Protector Deity Hall. These structures form an ancient architectural complex that blends Chinese and Tibetan artistic styles. The overall layout is solemn and majestic, with a grand and awe-inspiring presence.

Some of the early buildings of the monastery include the Kangkang Qingmo (Great Protector Hall) and the Lhakang Qingmo (Great Buddha Hall).

The main existing structures are the Great Assembly Hall, the Mahavira Hall, the Manjushri Hall, and the Great Stupa Hall. Additionally, the monastery houses several academic institutions, such as the Sutra School, Tantra School, Kalachakra School, Vairochana Manifestation School, and Medicine School.

The Great Assembly Hall is imposing, with three grand double doors that evoke a sense of sanctity.

Within the Great Stupa Hall, the relics of Dunzhu Renqin continue to emit their sacred light, attracting Buddhist followers from home and abroad for worship.

The monastery currently holds more than a thousand Buddhist scriptures, with precious editions such as the Kangyur, Tengyur, and the collected works of Tsongkhapa.

Monastic Structure

In October 1772, the 3^rd Chöpzang Rinpoche, “Awang·Thubten Wangchuk” (1725–1796 AD), became the 39^th abbot of Jakhyung Monastery. He donated over 4,000 taels of silver to construct the monastery’s main assembly hall, which features 128 large pillars. From that time on, successive Chöpzang Rinpoches became the monastery’s spiritual leaders.

According to the History of Religion and Politics in Amdo, Jakhyung Monastery oversaw more than 20 subordinate monasteries, while the Jakhyung Monastery Chronicle states there were 25. These monasteries were mainly located in the western part of Hualong County.

By the late 1940s, some of these monasteries had ceased to exist, with 18 typically recognized as the number of affiliated monasteries, divided into upper and lower sections. Monasteries in the Zhiza and Chafu regions were part of the upper section, while those further south to Yishizha Monastery were part of the lower section.

The “Xiangride Panchen Residence” was originally granted to Jakhyung Monastery by the 6^th Panchen Lama. However, due to its distant location, the monastery later returned the residence to the Panchen Lama.

Jakhyung Monastery originally had one large assembly hall, which served as the Exoteric Buddhist School. There were also two other colleges: the Gyupa Dratsang (Esoteric School) and the Manba Dratsang (Kalachakra and Medicine School).

The Exoteric School was directly managed by the abbot, while the chief position of the Gyupa Dratsang was called “Gyupa Benlo,” and the head of the Manba Dratsang was known as the “Manba Lama.”

The Manba Lama was selected from among the scripture teachers (known as “Wongtse”). When the Gyupa Benlo became the abbot, the Manba Lama could then assume the role of Gyupa Benlo.

The abbot represented the four major tulku lineages of Deyang, Jiangsi, Khenpo, and Shamar, who collectively oversaw all the monastery’s affairs. Four chief administrators worked under them:

1. Wenpo – Deputized for the abbot in their absence, managing all matters.
2. Sengguan – Responsible for recruiting new monks and overseeing the monks’ adherence to religious rules.
3. Sengkang – Managed the affiliated monasteries and their respective reincarnated lamas.
4. Gekan – Supervised teaching activities and ensured that monks were diligent in their studies.

Below the four chief administrators were two “Gyasok” assistants, who helped with daily matters such as serving tea. There were also 18 “Yuba,” of whom two managed the monastery’s warehouses, while the remaining 16 assisted each administrator and handled disputes among the monks.

Beneath the “Yuba” were several “Ju-huan” (similar to group leaders), each overseeing around 10 households of monks. In the 1950s, there were 16 Ju-huan.

Brief History

In 1385 AD, after the death of Dunzhu Renqin, his body was placed in a brick stupa at the monastery, and a stupa hall was built.

In 1583 AD, on his way to Inner Mongolia to attend the funeral of Altan Khan, the 3rd Dalai Lama, Sonam Gyatso, stopped at Jakhyung Monastery and donated gold to transform the stupa into a gilded copper stupa.

In 1623 AD, the abbot of the monastery, Jampa Lingpa·Dampa Renqin, established the Exoteric School.

In the early 18th century, the 7th Dalai Lama, Kelsang Gyatso, donated gold to cover the stupa hall with a golden roof. Additionally, the Manjushri Hall, where Dunzhu Renqin and Tsongkhapa once resided and practiced, was also notable.

In 1747 AD, Manrenba·Awang Tashi, a high monk from the Lower Tantric College in Lhasa, established the Esoteric School.

In 1788 AD, Emperor Qianlong of the Qing Dynasty bestowed upon Jakhyung Monastery a plaque inscribed in Chinese, Tibetan, Mongolian, and Manchu, naming it “Fajing Temple” with the golden characters for “Land of Mahayana Flourishment.” The emperor also allocated funds for the monastery’s upkeep annually.

In 1797 AD, the 3rd Sinar Rinpoche, Chökyi Drakpa (1734–1802), founded the Medicine School, which was later converted into the Kalachakra School in 1802 AD.

In 1958, according to a census on September 5, the monastery had 887 monks, 4,131 rooms, 93 horses, 53 mules, 319 cows, 280 sheep, 186 acres of irrigated land, and 1,622 acres of dry land. The monastery included one large assembly hall, two small assembly halls, 11 Buddha halls, 61 public monk quarters (Jiwa houses), one large kitchen, and a total of 488 structures.

After 1958, the monastery was preserved as a religious site, but most of its buildings were destroyed or dismantled.

In 1963, the monastery still had 121 monks, but by November of that year, the number had decreased to 94. The monastery at that time had 1,106 rooms, 32 cattle, 12 donkeys, 28 goats, 23 pigs, and 200 acres of land. The monastery was closed later that year, and the monks were sent back to their hometowns. Those who were homeless were placed in different production teams within the Chafu Commune.

In 1980, the monastery was approved for reopening, and under the leadership of “Sharidong Rinpoche” and “Chöpzang Rinpoche,” it was gradually restored to its former dignity and splendor.

Drala Luphu Monastery, also known as “zhala lupu si” or “Luphu Rock Monastery,” is built in a rock-cave style and represents an early form of chaitya caves. This is a Gelug pa monastery of Tibetan Buddhism

The cave is located over 20 meters above ground, facing east, directly opposite Jokhang Temple in a distance of nearly 1.2 kilometers.

Legend has it that the cliff above the cave was a place where Princess Wencheng used to pray while longing for her homeland.

Overview

The mountain opposite Potala Palace is Yaowang Mountain, and Drala Luphu Monastery is situated at the base of this mountain, near the Potala Palace side.

From the large white stupa between Beijing East Road, Potala Palace, and Yaowang Mountain, there is a small path. Following this path for about 200 meters leads to the monastery. Along the way, you will pass by the Tangtong Gyelpo Temple and a workshop where artisans carve Buddha statues and mani stones.

“Luphu” means “Cave of the Dragon Clan.” “Drala Luphu” can also be translated as “Lupu Rock Monastery” or “Dragon Rock Monastery.”

Despite enduring over a thousand years of changes and multiple restorations, this unique rock-cave monastery in Lhasa remains well-preserved.

The monastery was one of the five temples built in the 7^th century by Tibetan King Songtsen Gampo for his five consorts (Drala Luphu was built for his Moya consort; the other four temples are Jokhang Temple, Ramoche Monastery, Pabongka Ritro, and Drak Yerpa (Zhayeba) Monastery). It is located within a rock cave and is also said to be a place where Songtsen Gampo and his Chinese and Nepalese princess consorts meditated in seclusion.

Structure

There are two temple buildings here: one yellow and one white. The traditional practice is to first visit the yellow building and then the white one, following the clockwise circumambulation.

These “temples” are essentially walls covering the entrances to mountain caves. Upon entering, you are immediately inside the caves.

The yellow building houses a stone cave with a statue of the Nepalese princess. There is a fissure in the stone wall that connects to the adjacent white building.

Legend has it that when Songtsen Gampo was meditating in the white cave, he would summon his attendants by knocking on the stone, and the sound would travel through the fissure to the yellow building where his attendants would hear and respond. Adjacent to the cave and below the building are halls containing statues of lineage masters and Buddhas made in the early 21st century.

The white building also features a small stone cave. Originally, there was only a stone wall with a naturally occurring Buddha statue partially visible. Songtsen Gampo exchanged an equal amount of salt to hire workers to carve a passage behind the natural statue, creating the current layout with a central pillar surrounded by a passage. The stone walls are adorned with numerous relief carvings of Buddha statues dating from the Tibetan Empire to the Qing Dynasty.

The central pillar features the primary deity, the half-exposed Shakyamuni Buddha statue. Surrounding it are statues of Avalokiteshvara and Maitreya on the outer sides, and the Buddha’s disciples Shariputra and Maudgalyayana on the inner sides.

According to many elderly monks, this Shakyamuni statue emerges further from the stone wall each year.

It is said that during the “degenerate age,” when beings lack the merit to see the life-sized Buddha statue in Jokhang Temple, this natural stone Buddha in Dragla Luphu will replace it, allowing future generations to still accumulate merit by seeing and venerating the sacred image.

The day the stone Buddha statue fully emerges will coincide with the sinking of the life-sized Buddha statue in Jokhang Temple.

Khejok Rinpoche, who lived in Lhasa as a child, noted that the stone Buddha’s ears were not fully exposed at that time. When he revisited in 1997, he observed that the statue had indeed emerged more than before.

In addition to offering prostrations, khatas, and donations, visitors can also have prayer papers inscribed with golden ink.

There is a lamp house under the entrance stairs for lighting butter lamps.

The Stone Cave

Facing east, the cave is opposite the west-facing Jokhang Temple. It was excavated during the reign of Songtsen Gampo in the early Tang Dynasty, initiated by his consort Queen Muya.

It is said that craftsmen were paid with scarce salt for their work, receiving one measure of salt for each measure of rock removed.

The cave is carved into the mountain, with an irregular rectangular floor plan. The entrance is 2.56 meters high, 4.45-5.45 meters wide, and 5.5 meters deep, covering about 27 square meters.

Inside, there is a central pillar with a narrow circumambulatory path around it, measuring 0.75-1.3 meters wide, allowing only one person to pass at a time.

The cave contains 71 statues, mostly stone carvings except for two clay statues, distributed on the four sides of the central pillar and the north, south, and west walls of the cave.

The statues depict two main themes: Shakyamuni Buddha, the Buddhas of the three times, disciples, bodhisattvas, and wrathful deities; and significant figures in Tibetan history.

The sculptures are in the “Great Indian” style, finely carved with vivid and lifelike features, well-preserved decorations, and clear, flowing lines of clothing.

The north wall features statues of Songtsen Gampo, Princess Wencheng, Princess Bhrikuti, and prominent ministers Thonmi Sambhota and Gar Tongtsen.

The cave is dimly lit, relying on butter lamps for illumination.

Although small and containing only 71 statues, the cave’s unique iconography and style distinguish it from other Chinese cave temples, showcasing strong regional and ethnic characteristics.

For example, the eighth and ninth statues on the north wall are unique to this cave. The eighth statue depicts Princess Wencheng, who is deified as an incarnation of Tara by Tibetans. Positioned to the right of Songtsen Gampo, the 0.55-meter-tall statue features a high chignon, earrings, and bracelets, wearing a narrow-sleeved blouse and a long skirt, with her left hand resting on her chest and her right hand lowered, leaning against Songtsen Gampo’s right knee.

Tangtong Gyelpo Temple is a Gelug Pa monastery of Tibetan Buddhism.

It is located at the foot of Yaowang (Medicine King) Mountain , next to Dralha Luphu Monastery.

To reach this Temple, departing from Beijing East Road, and the large white stupa in front Potala Palace, it is less than 200 meters away from the Potala Palace.

Overview

This small temple at the foot of Yaowang Mountain was not originally built to honor Tangtong Gyelpo. It was established by Tangtong Gyelpo himself and originally dedicated to Amitayus and the Three Protectors (Avalokitesvara, Manjusri and Vajrapani).

Later, the temple began to house a statue of Tangtong Gyelpo. It is now managed by a few nuns.

Tangtong Gyelpo is depicted as an elderly man with long white hair and a joyful expression.

The central statue in the temple represents this image of Tangtong Gyelpo. A similar statue can also be seen on the southeast corner of the Red Hill, where the Potala Palace is located, visible to passersby on Beijing Road.

Tangtong Gyelpo was an architect, engineer, blacksmith, and doctor for the Phagmo drupa regime, as well as a monk of the Kagyu Pa of Tibetan Buddhism and the founder of Tibetan opera.

He believed that monks should actively engage in the world to alleviate suffering and thus traveled extensively, constructing dozens of iron bridges and over a hundred monasteries across Tibet.

He is revered as the “Iron Bridge Lama” (“Chakzam Trülku” in Tibetan).

Tangtong Gyelpo

Tangtong Gyelpo (1385 AD – 1464 AD) was a contemporary of Tsongkhapa.

He was born in Ngamring in Western Tibet, originally named Tsögye Dagtsen. Coming from a poor family, he later became a monk, receiving the novice name Tsöndrü Zangpo. Initially a follower of the Nyingma tradition, he later joined the Shamb Kagyu (a branch of the Kagyu tradition).

A learned and thoughtful scholar, he studied both exoteric and esoteric Buddhist teachings and became a respected scholar, earning the name “Tangtong Gyelpo”, meaning “King of the Open Plains.”

In the early 15^th century, with the help of local leaders and officials, Tangtong Gyelpo raised funds and constructed the Chushul Iron Chain Bridge in 1430 AD.

He also formed a performing troupe known as the “Seven Sisters of Bena” to raise money for bridge construction through performances. Over the years, he organized the building of 58 iron chain bridges across various regions.

Unfortunately, most of these bridges were destroyed due to wars in Tibet, particularly during the early 18^th century when the Dzungar Mongols invaded.

In the mid-15^th century, Tangtong Gyelpo also played a crucial role in transitioning Cham dances to Tibetan opera. He combined elements of Buddhist scriptures, folk tales, and mythological stories into a performance art form known as “Lama Mani.” This form of storytelling involved displaying scroll paintings and narrating the stories depicted.

Lama Mani

This is a Tibetan storytelling genre popular in Lhasa, Shigatse, and Shannan. “Lama” means monk, and “Mani” means chanting. However, “Lama Mani” as an art form involves more than just chanting. Performers use a stick to point at the scroll paintings while narrating the story. Traditional stories include Tibetan historical tales such as “Princess Wencheng” and “Langsa Girl.”

Tangtong Gyelpo also incorporated other Tibetan song and dance forms, emphasizing character portrayal, leading to the development of the “Blue Mask Tibetan Opera,” the precursor to modern Tibetan opera. Thus, he is honored as the founding father of Tibetan opera. Many Tibetan opera performers refer to themselves as “Descendants of Tangtong” (Tangtong Boru in Tibetan).

In his hometown of Ngamring, as well as in Lhatse and Sagya, people still practice a traditional ceremony to honor Tangtong Gyelpo. They rub oil and wool on iron chains to preserve the bridges he built. Many temples in Tibet also have images or statues of Tangtong Gyelpo, depicted as a kindly old man with white hair and a peaceful expression, holding an iron chain.

Ramoche Monastery, also known as “Gyata Ramoche Tsu Lakhang,” it is referred to as the “Upper Tantric College,” called “Gyütö Dratsang” in Tibetan, meaning “School of Tantric Teachings.” It is named the “Upper Tantric College” because it is located in the upper part of Lhasa.

Ramoche Monastery is one of the highest institutions for Tantric studies within the Gelug school of Tibetan Buddhism.

The abbot of the Upper Tantric College also serves as the head of Ramoche Monastery.

Ramoche Monastery is located in the northeastern part of Lhasa, about 500 meters north of Barkhor Street and approximately 1 kilometer from Jokhang Temple.

According to the “Tibetan-Chinese Dictionary,” the Upper Tantric College uses Ramoche Monastery as its premises. The Upper Tantric College is situated within Ramoche Monastery.

According to the “Tibetan-Chinese Dictionary,” the Upper Tantric College uses Ramoche Monastery as its premises. The Upper Tantric College is situated within Ramoche Monastery.

Brief History

Ramoche Monastery is closely associated with the marriage of Princess Wencheng to Songtsen Gampo.

In 634 AD, the King of Nepal married his daughter, Princess Bhrikuti, to Songtsen Gampo. When Princess Bhrikuti arrived in Tibet, she brought Mahayana Buddhist scriptures, various exquisite crafts, and craftsmen with her.

In 641 AD, the Tang emperor sent Princess Wencheng to Tibet with a Shakyamuni Buddha statue, treasures, gold and jade bookshelves, 360 volumes of scriptures, and various gold and jade ornaments as part of her dowry. She also brought 300 types of divination classics, tokens for identifying good and evil, and 60 types of construction and craft books. The Shakyamuni statue was transported by cart, and treasures, silks, clothing, and daily necessities were carried by a large convoy of mules and horses.

After Songtsen Gampo’s death, Ramoche Monastery fell into neglect as Bon religion gained prominence.

During the reign of King Mangsong Mangtsen (650–676 AD), fearing that the Tang dynasty would send troops to retrieve the Shakyamuni statue, the statue was moved from Ramoche Monastery and hidden in a secret chamber in Jokhang Temple’s southern wing. Monks residing at Ramoche Monastery were expelled.

King Tride Tsuktsen (704–755 AD) married Princess Jincheng from the Tang dynasty in 710 AD, further promoting Chinese Buddhism in Tibet. Princess Jincheng reinstated the Buddha statue originally brought by Princess Wencheng to Jokhang Temple and placed the Shakyamuni statue brought by Princess Bhrikuti in Ramoche Monastery, managed by Chinese monks.

During Langdarma’s reign (mid-9th century), he persecuted Buddhism, forcing monks to return to lay life. Many were killed, scriptures were buried, burned, or thrown into rivers, and temples, including Ramoche and Jokhang, were destroyed.

Following slave uprisings from 869–877 AD, the Tibetan Empire collapsed, leading to regional fragmentation and prolonged warfare. Buddhism suffered greatly, with only a few monks secretly practicing in their homes, and Ramoche Monastery was significantly damaged.

Buddhism experienced a revival in the 1040s with the arrival of Indian monk Atisa, who translated scriptures and taught in Tibet, leading to the restoration of Ramoche Monastery. There is limited historical information about the monastery during this period.

Under the Yuan (1271–1368 AD), Ming (1368–1644 AD), and Qing (1616–1912 AD) dynasties, central government support for Buddhism led to the resurgence and extensive renovation of Ramoche Monastery.

In 1419 AD, the same year Tsongkhapa passed away, Jé Gungpa Döndrup was born in Nainang, western Tibet. He took novice vows at Nartang Monastery, studying logic with Jé Gönpa Döndrup and later continuing his studies at Drepung Monastery under Khenpo Bailo and Tsongkhapa’s tantric successor, Jé Sherab Sengge. He entered the Lower Tantric College to study tantra.

In 1464 AD, due to disagreements with the Lower Tantric College’s abbot, he and six disciples moved to the Seva Long Cave (now in Maizhokunggar County) to practice and teach tantra.

In 1465 AD, he relocated to Jampaling Monastery.

While teaching tantra, he wrote biographies of Tsongkhapa and Jé Sherab Sengge and organized an annual assembly of monks.

Around ten years later, after the Lower Tantric College abbot’s promotion, he was invited to serve as abbot but chose to stay at Jampaling Monastery to continue teaching.

In 1485 AD, he prayed by the Lhasa River to stop flooding, which subsequently subsided. For his efforts, he was awarded the decree and Ramoche Monastery by the Phagdru ruler, marking the establishment of the Upper Tantric College. The monastery was renamed as the base for tantric teachings.

In February 1487 AD, Gungpa Döndrup passed away at age 68. According to his wishes, his heart, tongue, and skull were preserved, with his heart and tongue placed in a new golden Buddha statue at Ramoche Monastery and his skull at Lhatsé Gönsar Monastery in Drigung. Tantra practice paused after his death but resumed at Ramoche Monastery in 1488.

In 1711 AD, King Lhazang Khan recognized the Upper Tantric College as the main Gelugpa tantric institution and issued a decree permanently allocating Ramoche Monastery, its Buddha statue, and property to the college.

In 1962, it was designated a key cultural relic protection site.

During the Cultural Revolution in the 1960s, Ramoche Monastery suffered severe destruction. Buildings were demolished, statues and relics looted, monks expelled, and it was repurposed as a warehouse.

In 1981, with the implementation of new religious policies, the Upper Tantric College received government funds and public donations to begin restoring Ramoche Monastery.

In 1986, further large-scale renovations were carried out, giving the monastery a new appearance.

In the 2000s, Ramoche Monastery had over 60 monks studying Tantric teachings.

Legend

In 641 AD, Princess Wencheng from the Tang Dynasty married Tibetan King Songtsen Gampo. When she traveled from Chang’an (present-day Xi’an) to Tibet, she brought with her a life-sized statue of the 12-year-old Shakyamuni Buddha. The statue was transported to Lhasa by two strongmen, Jiajia and Lujia, using a wooden cart.

Upon reaching the current location of Ramoche Monastery, the cart carrying the Buddha statue became stuck in the sand. They had to set up pillars around it and cover it with white silk for worship.

Princess Wencheng, who was knowledgeable and a devout Buddhist, calculated that this spot was the site of the Dragon Palace. She decided to place the Shakyamuni Buddha statue there and build a temple around it, believing this would subdue the dragon spirits and bring prosperity to the nation.

To construct Ramoche Monastery, Princess Wencheng summoned many skilled craftsmen from the central plains of China. They built a grand, multi-story temple in the style of Chinese architecture, combined with Tibetan features.

The entire construction of Ramoche Monastery was completed within a year. King Songtsen Gampo then hosted a grand ceremony to consecrate the temple, which was a magnificent and splendid event.

Architecture

Historical records indicate that Ramoche Monastery has been destroyed by fire several times, and the original structure no longer exists. Most of the current buildings are later reconstructions, with only the ground floor of the main hall remaining from the early period. The carvings on the 10 pillars in the hall still faintly reflect the style of the Tubo dynasty.

Ramoche Monastery faces east and its front section is a courtyard with a gatehouse, followed by the main hall and surrounding prayer corridors. The total area is about 4,000 square meters.

The main hall consists of three parts: the sutra hall, the Buddha hall, and the main hall. Surrounding it are corridors with painted images of Amitabha Buddha and various legends.

Gatehouse

The gatehouse is three stories high.

The ground floor of the gatehouse is a spacious “mingkuo” (prayer corridor) with ten large, 16-sided pillars (diameter 0.8 meters). Each pillar is adorned with three copper hoops engraved with flower petals, intricate floral designs, and motifs of treasures and the “Six-Syllable Mantra.” The brackets of the front four rows of pillars are carved with patterns of waves and dragons.

The walls of the prayer corridor are also decorated with murals of Amitabha, White Tara, the Four Heavenly Kings, the Wheel of Life, and the Pure Land.

The second and third floors of the gatehouse contain monks’ quarters and sutra rooms.

Passing through the gatehouse leads to the prayer corridor surrounding the main hall. The south, west, and north sides originally had wooden prayer wheels and murals of Amitabha and White Tara.

Main Hall

The main hall of Ramoche Monastery is three stories high. The ground floor is divided into the entrance hall, sutra hall, and Buddha hall.

Ground Floor of the Main Hall
The entrance hall has small rooms on either side. The right room stores ritual instruments, and the left room contains an altar with a statue made of pomegranate branches called “Kong pu zin ston ma.” The central area has four large round pillars, each flanked by carvings of “strongmen” in supportive poses. The pillar capitals are decorated with lions, cloud patterns, and vases. Some capitals have carvings of symbolic lions and human figures. The doors feature cymbal-shaped knobs with dragon designs, and the crossbeams are inscribed with the “Six-Syllable Mantra” in Sanskrit. These carvings are simple yet dignified, reflecting early architectural styles. The entrance hall also houses clay statues of the Four Heavenly Kings.

Behind the entrance hall is the sutra hall, which covers about 330 square meters with 30 pillars, each with a stone base, accommodating around 500 people for religious ceremonies. Four central pillars extend to the second floor, supporting a high skylight. These pillars are 6.2 meters tall with a diameter of 0.46 meters, while the remaining 26 pillars are 2.8 meters tall with a diameter of 0.48 meters. The capitals are decorated with cloud patterns, jewels, and lotus designs. The beams originally had carvings of 28 reclining lions, with 27 still remaining, featuring four- or eight-petaled lotus decorations. The walls were once covered with murals of Shakyamuni and other deities. The west side of the sutra hall contains statues of Sāriputta and Moggallāna, as well as a bronze statue of Vajradhara and a clay statue of Jé Gungpa Döndrup.

The rear part of the main hall is the Buddha hall, with two columns and no stone bases. It measures 4.35 meters long and 5.4 meters wide, covering an area of 23.5 square meters. The columns are wrapped in hemp rope and coated with a layer of mud for protection, possibly against decay and fire. The upper parts of the columns are uncoated, revealing well-preserved hemp ropes despite some decay in the wooden columns. The capitals have simple lotus designs, with minimal decoration on the brackets, reflecting early architectural features. The walls of the Buddha hall are blackened by smoke, with faint line drawings of seated figures, such as “meditation mudra,” “earth-touching mudra,” and “fearlessness mudra” Buddhas. The entrance has an iron grate, and the walls are built with large and small stones, giving a neat appearance. The rear of the hall originally housed the statue of Jé Gungpa Döndrup and later the statue of Vajradhara. The rear and sides of the Buddha hall are surrounded by narrow, high corridors typical of early Tibetan architecture.

Second Floor of the Main Hall
The front part contains monks’ quarters, with the abbot’s residence in the central inner rooms. The middle part is the skylight of the sutra hall, and behind it is the main Buddha hall with six pillars and open spaces, containing statues of Sangye Lhuwang Japu, the Sixteen Arhats, and scriptures. There is another hall with eight pillars, housing statues of the Medicine Buddha and the Kangyur scriptures, with more statues of Tara and other deities on the north side.

Third Floor of the Main Hall
The front section is the residence for the Dalai Lama, consisting of six rooms. The rear part is the golden roof hall, covering about 54.5 square meters with two rows of eight pillars, small windows on the sides, and a narrow surrounding corridor enclosed by wooden railings.

Golden Roof of the Main Hall
The golden roof is in the Chinese hipped-gable style, supported by dougong brackets. The roof ends are adorned with karma fish heads, giving a dazzling, majestic appearance visible from all parts of Lhasa.

Artifacts

Ramoche Monastery houses many cultural relics, including a life-sized statue of the eight-year-old Shakyamuni and numerous other Buddha statues and thangkas.

Other valuable artifacts include:

• A bronze Bodhisattva statue, 2 meters tall, with the Bodhisattva itself measuring 1.32 meters high. The statue wears a jeweled crown and ornaments, draped in a sash, and sits in a lotus position on a square base. The base is 0.68 meters high and inscribed with “Respectfully made in the year of Gengyin of Qianlong of the Great Qing.”
• A bronze statue of Padmasambhava, 1.55 meters tall, with a 0.03-meter-high and 0.14-meter-wide base. The statue depicts Padmasambhava in robes, holding ritual objects, and seated in a lotus position.
• A bronze statue of a lady, 1.33 meters tall, seated on a semicircular base 0.17 meters high. She holds a porcelain vase adorned with flowers, wears a short top and a long skirt, and is draped in a sash down to her feet.

Personnel Structure and Setup

Ramoche Monastery (Upper Tantric College) is designated to have 500 monks, organized into five Khangtsens (monastic colleges). However, the actual number of monks can vary from 200 to 1,000.

The administrative structure includes:

• One Khenpo, who oversees all administrative and religious affairs of the monastery.
• One Lama Umze, responsible for leading religious activities and guiding monks in tantric practices.
• One Gegyur, who ensures the adherence to monastic rules and regulations.
• Six Tsangtsos, who manage the monastery’s estates and provide for the monks’ needs.

Apart from Tsangtsos, the positions of Khenpo, Lama Umze, and Gegyur must be filled by scholars who have obtained the Geshe Lharampa degree from the three major monasteries in Lhasa.

Monks

To join Ramoche Monastery (Upper Tantric College), monks must have completed studies at one of the three major Gelug monasteries in Lhasa.

Although Drepung and Sera Monasteries also have tantric colleges, these are considered lower-level, while the Upper Tantric College is advanced.

The Upper Tantric College is organizationally parallel to Ganden Monastery.

There are two sources of monks for the Upper Tantric College:

1. Monks who have obtained the Geshe degree from the three major monasteries, known as “Tsorampa.”
2. Monks who hold monastic status from the three major monasteries or a few other monasteries, known as “Gyirampa.”

Both groups are collectively referred to as “Lama Jüpa” (Masters of Tantric Monastery), but only Tsorampa are considered fully qualified Lama Jüpa.

The Upper Tantric College is known for its strict discipline. Both Tsorampa and Gyirampa receive equal treatment, including those with the status of reincarnated lamas.

The monks practice austerity and itinerancy, characterized by strict and harsh living conditions:

• Monks go barefoot for midnight prayers.
• During scripture recitations, each monk digs a pit under a tree, sits on stones within the pit, and remains outdoors regardless of weather conditions.
• They follow the rule of not eating after noon.
• At night, they sleep collectively in the main hall.

For their itinerant practice, monks travel to designated locations annually, practicing specific rituals continuously. During these journeys, they travel in groups, carrying their own luggage, except for the Khenpo who may ride a horse. All others walk, regardless of weather conditions.

The itinerant practice period is one year for Tsorampa and nine years for Gyirampa. Destinations range from nearby locations like Potala Palace, Jokhang Temple, Drepung, Sera, and Ganden Monasteries, to places over 100 kilometers away.

The Upper Tantric College primarily studies the three major Tantric deities: Guhyasamaja, Chakrasamvara, and Yamantaka, along with other minor deities and protectors. These deities often have fierce appearances, distinguishing tantric practices from general Buddhism. The rituals, mantras, initiations, mandalas, and ceremonies are numerous and mysterious.

The Upper Tantric College is a lifelong learning institution. Monks can leave at any time or stay for life. Tsorampa monks with the Geshe Lharampa degree can rise to administrative positions within the college, leading to the highest ranks.

The administrative structure of the Upper Tantric College is similar to other monasteries, but higher positions (from Gegyur and above) must be filled by monks with the Geshe Lharampa degree. After completing their term, monks may be promoted to higher roles based on seniority, eventually reaching the position of Khenpo. A Khenpo serves for three years and is then called “Khensur” (retired Khenpo).

Khensurs from the Upper Tantric College may be promoted to positions at Ganden Monastery, eventually becoming “Ganden Tripa” (holder of the Ganden throne), the spiritual leader of the Gelug school and the successor of Je Tsongkhapa. This prestigious role is held for seven years. After their term, they are called “Trisur” (retired Ganden Tripa) and may become candidates for leading the Tibetan government in place of the Dalai Lama.

Kwon Ti Lakhang, also known as “Guandi Temple” or “Gesar Lakhang,” is a Gelug Pa temple of Tibetan Buddhism.

Due to the resemblance between the image of Guandi and the ancient Tibetan hero “King Gesar” from the Tibetan epic, locals refer to it as “Gesar Palace” or “Gesar Lakhang.”

In 1792 AD, during the Qing Dynasty, General Fuk’anggan funded the construction of this Guandi Temple. It is currently the largest and best-preserved Guandi Temple in the Tibet Autonomous Region.

Kwon Ti (Guandi)

Guan Yu (circa 162-220 AD) was a renowned general of Shu-Han kingdom (221 AD – 263 AD) during the Three Kingdoms period (220 AD – 280 AD).

Posthumously revered by the people, he was deified over successive dynasties and worshipped as the “Saint of War” or “Guandi” in Chinese.

In Buddhism, he is known as the “Guardian Bodhisattva” and is respectfully called “Guan Gong.” He is revered as the “Saint of War,” alongside Confucius, the “Saint of Culture.”

The deification of Guan Yu as “Guandi” in Chinese Taoism has no direct connection with the Tibetan Buddhism

Overview

The Guandi Temple is situated about one kilometer southwest of the Potala Palace on Mopanshan hill in Lhasa, facing south. Originally called Bamarir Mountain, it was renamed Mopanshan by the Qing officials stationed in Tibet because its shape resembled a millstone. In 1791 AD, the Gurkha army invaded Tibet. The following year, Qing General Fuk’anggan led Qing forces into Tibet and expelled the Gurkhas with the cooperation of local troops. After the victory, Fuk’anggan oversaw the construction of the Guandi Temple on Mopanshan and erected a stele commemorating their victory. The Qianlong Emperor personally inscribed a plaque for the temple.

The main structures of the temple include the mountain gate, courtyard, monk quarters, main hall, Janyang Lakhang (known as the “Manjushri Hall” in Chinese), and side rooms. The main hall houses statues of Guan Yu, Zhuge Liang, and Guan Ping, while the Janyang Lakhang enshrines Manjushri Bodhisattva.

Due to years of neglect, the temple fell into disrepair. Restoration began in 2007, led by the Lhasa Cultural Relics Bureau and other organizations.

On March 23, 2007, a groundbreaking ceremony for the restoration project was held in Lhasa. Chinese communities from around the world donated statues of Guandi and other items to the temple. The restoration included comprehensive repairs and environmental improvements to the mountain gate, courtyard, main hall, steles, plaques, wall paintings, parking lot, and driveways.

On May 22, 2007, the Lhasa Guandi Temple was designated as a Cultural Relic Protection Unit of the Tibet Autonomous Region.

In December 2007, the Lhasa Municipal Government erected a monument at the temple entrance, officially naming it the “Lhasa Guandi Lakhang” Cultural Relic Protection Unit. The temple is managed by monks from Kundeling Monastery.

Mopanshan Stele

The Mopanshan Guandi Temple Stele, located just inside the temple gate, was erected in 1793 AD. The stele is 3.04 meters tall, 1.18 meters wide, and 0.29 meters thick. The top features a bas-relief of two dragons playing with a pearl, with the inscription “Eternal Glory” in seal script. The rectangular base of the stele is 1.35 meters long. The front of the stele is decorated with cloud patterns, and the main text is in regular script.

Architecture

The Mopanshan Guandi Temple is a Han-style building covering 800 square meters. It faces south and is built on a hill. Visitors enter through a long stone staircase on the south side into a square courtyard. On the east and west sides of the courtyard are two-story buildings: the lower level serves as monk quarters, and the upper level is used for guest reception and office space.

From the north side of the courtyard, a flight of 12 steps leads to the main hall, which measures 12.5 meters wide by 9.7 meters deep and has six columns. The hall features a beam structure inside and Tibetan-style stone walls outside, with red clay ridge ornaments and red glazed roof tiles, creating an impressive appearance. The hall enshrines a statue of Guan Gong, depicted with a red face, holding a large blade, and riding a red horse.

Originally, over 50 plaques with gold inscriptions praising Guan Gong were hung in the hall, of which 13 remain. Most were erected by Qing officials and soldiers stationed in Tibet, with powerful calligraphy and engraving techniques of both positive and negative relief, possessing historical and artistic value.

Behind the main hall is the Janyang Lakhang, meaning “Manjushri Hall.” Its architectural style is similar to the main hall, with large tiles, cylindrical tiles, and flat tiles used for the roof. The eaves feature tile ends with cloud patterns and the character for “longevity” in seal script. The cylindrical tiles are decorated with cloud and spiral patterns, while the flat tiles feature floral designs. Small holes in the tiles allow them to be fixed with nails.

Inside the hall are clay statues of Manjushri Bodhisattva, Padmasambhava, several protectors of Tibetan Buddhism, and a thousand-armed Avalokitesvara. It is said that there were originally two large bells hanging above the main gate and two clay horses on either side of the courtyard. A bronze bell, cast in 1793 AD by Fuk’anggan and Qing soldiers, was once located on the east side of the main hall but is now housed in the Tibet Museum.

Kundeling Monastery, also known as “Danshe Chokorling,” means “All Peaceful.”

It is located on the southern side of Mopanshan, southwest of the Potala Palace in Lhasa, and is adjacent to the Guandi Temple (Kwon Ti Lakhang). The street where Kundeling Monastery is located is named after the monastery.

Kundeling Monastery is a Gelug Pa monastery of Tibetan Buddhism and one of Lhasa’s “Four Great Lings.” Inside the assembly hall, thangkas of Yamantaka, Chakrasamvara, and Guhyasamaja are displayed.

The monastery is very quiet, and the nearby traffic on Beijing Middle Road and Deji Road does not disturb its tranquility, making it feel like a secluded paradise.

Overview

After its establishment, Kundeling Monastery became the second “Ling” following Tengye Ling Monastery. It was later expanded by successive Tatsag Rinpoches, gradually becoming a larger monastery.

Its mother monastery is Pasho Gonpa, located in Tongka Township of Pasho County. Pasho Gonpa was founded in 1473 and is one of the four major monasteries in Chamdo.

The Fifth Dalai Lama granted the Sixth Tatsag Rinpoche the properties of Pasho Gonpa and its subordinate monasteries, along with over 800 households of nearby farmers and herders, plus an additional 2730 households of serfs already bestowed upon him. Consequently, Pasho Gonpa became the private residence and administrative center of Tatsag Rinpoche.

Kundeling Monastery, founded by the Eighth Tatsag Rinpoche, became a subsidiary of Pasho Gonpa.

Moreover, because the Eighth Tatsag Rinpoche studied at Gomang Dratsang （College） of Drepung Monastery, Kundeling Monastery is also affiliated with Gomang College.

In terms of religious traditions, Pasho Gonpa primarily focuses on the exoteric teachings, while Kundeling Monastery emphasizes the esoteric teachings

Economically, the head of Kundeling Monastery’s administration is called the “Jasa” (Governor), while Pasho Gonpa’s head is known as “Changzha Qingmo.”

Tatsag Rinpoche, also referred to as “Jilong Hotogtu” (an honorary title for high-ranking noble monks), is one of the most influential reincarnation lineages in Tibet. He holds significant religious authority and has wielded considerable political influence in Tibet since the Sixth Tatsag Rinpoche.

In 1792, after quelling the Gorkha invasion, General Fuk’anggan, a prominent Qing Dynasty general, supervised the revision of the “Twenty-Nine Regulations for the Better Governance of Tibet,” also known as “The Newly Revised Twenty-Nine Articles of the Tibet Regulations.” Article 18 of these regulations stipulated: “In the future, the selection of abbots and reincarnated lamas for major monasteries will be decided jointly by the Dalai Lama, the Qing Imperial Commissioner, and Jilong Hotogtu, with certificates bearing the seals of all three parties.”

Brief History

In 1791 AD, the Gorkha army invaded Tibet. The following year, the Qing government dispatched General Fuk’anggan with a large army to Tibet, defeating the Gorkha forces. At that time, the 8th Tatsag Rinpoche, in collaboration with the 8th Dalai Lama, fully supported the Qing government’s troops sent to Tibet, achieving victory against the Gorkha invasion. After returning to Lhasa, General Fuk’anggan donated war spoils and “7000 taels of silver for the Emperor’s charitable use.” Tatsag Rinpoche was responsible for the construction of the Manjusri Monastery on Mopan Mountain, the Guandi Temple of the War God from the Han region, and Kundeling monastery at the foot of the mountain. These temples later became the private residences of the Regent Tatsag Rinpoche of Tibet.

In 1792 AD, to commemorate the joint efforts of the Manchu, Mongol, Han, and Tibetan peoples in repelling the Gorkha invasion, the Regent Tatsag Rinpoche (1760-1810) initiated the construction of this temple.

By 1794 AD, the construction of the temple was completed. Additionally, a Guandi Temple(Kwon Ti Lakhang) was built next to Kundeling, housing important cultural relics such as the stele erected at that time and plaques bestowed by Emperor Qianlong of Qing Dynasty. Both structures were designed in the Han architectural style.

In 1796 AD, Emperor Jiaqing of the Qing dynasty granted the temple the title “Dubstsang Yong’an Temple,” and it was designated to host 50 monks.

In 1956, Tatsag Rinpoche ordered the construction of a White Tara Hall and its connected buildings next to the monastery. The White Tara statue in this hall was the tallest in Tibet at that time.

By 1959, the number of monks of Kundeling monastery had grown to 134.

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

After the 1980s, with the implementation of new religious policies, the White Tara Hall and its connected buildings were restored.

Every year during the Tibetan New Year, Kundeling monastery creates and enshrines the “Great Vajradhara Mandala,” conducting a seven-day ritual. This tradition continues to this day.

Architecture

The main building of Kundeling monastery stands four stories tall, with stone walls and a top decorated with vermilion-painted Bema grass. The roof features glittering gilded vases, banners, and pennants.

At the center of the main building is a large assembly hall, measuring approximately 15 to 20 meters in width and 50 to 75 meters in length. It has four central columns, each nearly three stories high, supporting a large skylight.

At the back of the assembly hall is the Buddha hall, where the central room has four columns and houses a statue of Tsongkhapa. On either side, there are two-columned protector deity halls with various guardian deity statues.

After the death of Yeshe Lobsang Tenpai Gonpo (1760 AD – 1810 AD), the Buddha hall dedicated to Tsongkhapa was converted into a reliquary hall, housing three stupas.

The reliquary of the 8^th Tatsag Rinpoche is wrapped in pure gold and adorned with many precious gems, while the reliquaries of the 9^th and 10^th Tatsag Rinpoches are covered in silver and decorated with gold niches and various jewels.

In the middle of the assembly hall, there is a throne for the 8^th Tatsag Rinpoche, as well as gilded bronze statues of Tsongkhapa and his disciples, and a silver statue of Tatsag Yeshe Lobsang Tenpai Gonpo. The top floor bedrooms of the assembly hall display plaques and treasures bestowed by Qing emperors.

In front of Kundeling monastery, there was a pavilion with a stele covered in glazed tiles, standing 3.4 meters high. The stele, inscribed in both Tibetan and Chinese, detailed the repulsion of the Gorkha invasion and the construction of Kundeling

Plaques bestowed by Qing emperors and resident officials were displayed above the gateways, doors, and halls of Kundeling

The stele and pavilion are gone. The rebuilt Kundeling monastery is less than one-tenth of its original size. The main buildings now include:

White Tara Hall

The first hall, where visitors come to make divinations, is dedicated to the White Tara. Tibetan Buddhism recognizes about thirty Taras, believed to be manifestations of Avalokiteshvara’s tears, with White Tara and Green Tara being the most famous. Tibetans often consider Princess Wencheng, wife of Songtsen Gampo, to be a manifestation of White Tara, while Princess Bhrikuti Devi, who married Songtsen Gampo four years before Princess Wencheng, are seen as Green Tara manifestations. Both Taras are believed to rescue people from suffering, so many monasteries enshrine them. The White Tara statue in Kundeling Monastery is the largest in Tibet, about four meters tall, and was sculpted from red clay in 1986. Many Tibetan women make divinations before this benevolent statue, which is considered a protector of women, similar to the Chinese goddess of childbirth

Main Hall

Located next to the White Tara Hall, this is the primary hall of the rebuilt Kundeling

Thangtong Gyalpo’s Retreat

A path next to the Main Hall leads to Thangtong Gyalpo’s retreat in the mountainside.

Additionally, on the way from Kundeling monastey to the Guandi Temple, at the intersection of Deji Middle Road and Beijing Middle Road, there is a large rock at the foot of the mountain. It is said that Princess Wencheng once rested here. Tibetans often rub their backs, thighs, calves, and knees against the rock, believing it can cure rheumatism and arthritis. The rock has been polished smooth and shiny from years of contact.

Kundeling Ladrang

After the 8th Tatsag Rinpoche entered the political arena, Kundeling Ladrang became a significant political and religious group, rivaling Tengye Ling Ladrang and Tsemon Ling Ladrang in influence. Its power remained stable in the complex upper-level political struggles. Under the influence of successive Tatsag Rinpoches, Kundeling Ladrang’s influence gradually spread throughout Tibet. Since the time of the 8th Tatsag Rinpoche, the Basum region in Kham has never had a government-appointed commissioner, but instead, Kundeling Ladrang appointed a strong official to manage the political and religious affairs, acting with the authority of a commissioner. Basum Ladrang was established there.

Kundeling Ladrang’s administrative structure was more extensive and had more staff than the other three Ladrangs. Kundeling Ladrang was the primary office, with Basum Ladrang as the secondary office. The full representative of the Ladrang was the Tatsag Rinpoche. Under him, a Zasak appointed by the Qing government managed administrative affairs. Basum Ladrang was managed by a senior official appointed by the Tatsag Rinpoche and the Kundeling Zasak. The Zasak position was filled by one of two monks recommended by the Tatsag Rinpoche and approved by the Dalai Lama. If the Tatsag Rinpoche was too young or unable to serve, the Zasak would act on his behalf. Below the Zasak, there were ten Dejiang Ang and fifty-eight Shadui Ba, responsible for managing the administrative and financial affairs of the Ladrang. Kundeling Ladrang’s butter, meat, and other pastoral products were mainly provided by Basum Ladrang, while grain was sourced from Ü-Tsang. The saying “Who can match Tsurphu Monastery in wealth, and who can match Kundeling Monastery in grain reserves” reflects Kundeling Monastery’s abundance of grain.

Kundeling Dratsang

Kundeling Dratsang was responsible for the monastery’s religious activities and regulations, supervised directly by Kundeling Ladrang. It had one Lobpon, one Gegui, two Umze, and one Changzha Qingmo, all appointed by the Kundeling Ladrang and approved by the Tatsag Rinpoche. During the regency of the 8th Tatsag Rinpoche, the Qing Emperor Qianlong specified the number of monks at fifty. By 1959, the number had increased to 134. Despite Gongdelin Ladrang’s wealth, each monk’s annual stipend was only 15 Tibetan Gram (1 Tibetan gram equals 28kg) measures of grain, half of what monks in Tsemonling Monastery received, while the leaders of the Dratsang and Ladrang officials received over 30 Tibetan Gram. Kundeling monks, like those of other “Lings,” did not need to participate in the annual Monlam Great Prayer Festival.