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“Trashi Choling” means “Glorious Dharma Place” or “Auspicious Dharma Place,” and Ritro means “a small temple in the wilderness.” This temple is affiliated with Sera Monastery and is a Gelug pa monastery of Tibetan Buddhism

It is located to the northeast of Pabonka, in the northern outskirts of Lhasa, built against a steep rock cliff. From the high mountain where Tashi Choling Ritro is situated, one can overlook Pabongka Ritro, and see the Potala Palace in a few kilometers

Introduction

Trashi Choling Ritro is situated in the mountains northwest of Sera Monastery, about 3 kilometers away. It takes about 1 to 1.5 hours to walk from Sera Monastery to Trashi Choling Ritro.

The construction date is unknown. Some scholars believe it may have been built by Songtsen Gampo, the Tibetan emperor, in the 7^th century.

Other scholars suggest that Trashi Choling Ritro was used by Lazang Khan to house monks from his private Buddhist college during the winter months.

Historical records indicate that monks from Lazang Khan’s Buddhist college would gather in northern Tibet during summer and then move to the north of Lhasa for winter. Trashi Choling Ritro might have been their winter residence.

In 1705 AD, shortly after Lazang Khan took control of Tibet, he found Sera Monastery’s assembly hall too small to accommodate all the monks for religious ceremonies.

Lazang Khan proposed building a new assembly hall for Sera Monastery on the condition that the old hall be given to him for his private Buddhist college.

After reaching an agreement with the monks of Sera Monastery, this proposal was implemented.

In 1717 AD, after Lazang Khan’s death, his Buddhist college became the Tantric College of Sera Monastery, which continues to thrive to this day.

Although Lazang Khan’s college eventually moved to Sera Monastery, they did not abandon their old winter residence at Trashi Choling Ritro.

When Lazang Khan’s college became the Tantric College, the ownership of Trashi Choling Ritro transferred to the Tantric College of Sera Monastery.

In the early 20^th century, Pabongka Rinpoche meditated in nearby caves, establishing a connection with Trashi Choling Ritro.

Later, as Pabongka Rinpoche’s fame grew, the Tantric College suggested giving Trashi Choling Ritro to him as a personal retreat. In exchange, Pabongka Rinpoche agreed to officially join the Tantric College, enhancing its reputation.

Since then, Pabongka Rinpoche had two affiliated colleges within Sera Monastery: the Tantric College and the Buddhist College.

It is said that Pabongka Rinpoche lived in Trashi Choling Ritro in summer and in his private residence in Sera Monastery during winter.

Under Pabongka Rinpoche’s management, Trashi Choling Ritro underwent extensive repairs and expansion. Possibly due to his influence, the Protector Deity Dorje Shugden’s hall was large and built at the highest point of the complex.

During this construction, Pabongka Rinpoche, through Gendun Chompel’s introduction, found monk painter Amdo Jampa from Gomang Dratsang (colleg) of Drepung Monastery to paint murals for Trashi Choling Ritro.

Amdo Jampa painted the life of Sakyamuni Buddha, portraits of Gelugpa masters, and many exoteric and esoteric paintings.

Finally, Amdo Jampa also painted a portrait of Pabongka Rinpoche, his first portrait painting in Lhasa.

In 1959, Trashi Choling Ritro suffered significant damage, and for over 30 years, it was completely neglected, nearing total destruction.

In the early 1990s, a student of Pabongka Rinpoche started raising funds to restore Trashi Choling Ritro.

By the early 21^st century, two senior monks remained to manage the ritro, assisted by nuns from the nearby Takten Hermitage.

Architecture

Trashi Choling Ritro’s buildings are constructed on the mountain.

The lowest parts, including the monks’ quarters and the main hall, still exist but are much smaller than before 1959.

The upper parts, such as Pabongka Rinpoche’s residence and the Dorje Shugden hall, are currently ruins and have not been rebuilt.

Now, all statues in the ritro are newly made, except for an old statue of Chakrasamvara found on the northwest altar, which might not originally belong to this ritro

The main altar of the ritro has three large statues of Tsongkhapa and his two disciples in the center. To the left of these are two smaller Buddha statues.

To the right of Tsongkhapa’s statue are life-sized figures, including Kyabje Trichang Rinpoche, Pabongka Rinpoche, and Jetsun Lama Ngawang Namdrol (the ritro’s founder). Further to the right along the eastern wall are the relic stupas of these three individuals.

“Chubzang” means “good water”, and “Ritro” means “small mountain temple” in Tibetan. The reason for its name is that the temple’s water source comes from a clear mountain spring.

It is located in a valley in the northern suburbs of Sera Ütse of Lhasa, about 2 kilometers from Sera Monastery. It is a Gelug sect nunnery of Tibetan Buddhism.

Founded in AD 1696, the monastery’s two main halls include one for large gatherings and the study of Buddhist scriptures, and another that enshrines a natural stone Buddha statue revealed by the Fifth Dalai Lama as a terma. This statue has been the temple’s treasured artifact since its establishment. Many images of Tsongkhapa are painted on the large rocks beside the temple.

Introduction

Chubzang Ritro is located on the northwest side of Sera Monastery. From the monastery, it takes about an hour’s walk along the foothills to reach it.

Initially, Chubzang Ritro was established as a monastery for monks. Due to the frequent teachings by high lamas, it attracted some nuns who came to study.

At that time, there were no schools in Lhasa for women to receive an education, so many families sent their daughters to study here. Tibetan monastery courses also included subjects such as architecture, art, and medicine.

Over time, more and more nuns from Lhasa and nearby areas came to study at the monastery, gradually making it a nunnery.

There were conflicts between the monks and nuns, but after mediation by the high lamas, the monks and nuns were assigned separate areas for their activities. The nuns were allowed to study and practice in the surrounding area.

In the 20th century, the monastery became a famous site in Lhasa for public teachings. Being invited to teach there was considered a great honor for high lamas.

Prominent lamas such as Pabongka Rinpoche, Kyabje Trijang Rinpoche, Gyalrong Sharpa Rinpoche from Sera Monastery, and Demo Rinpoche from Tengye Ling Monastery have all given teachings there.

In 1921, Pabongka Rinpoche delivered the teachings on “The Stages of the Path to Enlightenment (Lamrim Teachings) ” at Chubzang Ritro, attracting over ten thousand monks, nuns, and ordinary people from across Lhasa. The lecture notes were later compiled into “The Liberation in the Palm of Your Hand,” which has since been translated into multiple languages and remains a key text for Gelug Pa followers in English-speaking countries and China.

In the early 1980s, with the implementation of new religious policies, Chubzang Ritro received support from the local government to begin reconstruction.

By 1984, after the reconstruction, Chubzang Ritro had gradually transformed into a fully nunnery.

By the year 2000, the monastery had about 100 resident nuns.

Pabongka Ritro, also known as “Pabonggang Ritro,” is located halfway up the Wudu Ri Mountain (means “Treasure Umbrella Mountain”) in Nyangre Township, Lhasa. It is a Gelug Pa monastery of Tibetan Buddhism

The name “Pabongka” in Tibetan means “Palace on a Giant Rock,” initially referring to two massive rocks resembling turtles, with the main building of Pabongka standing atop the “turtle shells.”

During the reign of King Songtsen Gampo in the Tibetan Empire (629-650 AD), a nine-story fortress-like palace (Maru Palace) was constructed under his supervision, which became a significant political and Buddhist center during the Tibetan Empire and is also recognized as the birthplace of Tibetan writing.

Brief

The palace was built with bricks and stones, with copper poured into the seams, and secured with four iron chains around it.

After the construction of the fortress, King Songtsen Gampo studied Tibetan language and grammar here under the tutelage of Thonmi Sambhota, making Pabongka a key site for political and religious activities.

During the reign of Trisong Detsen (from 755 to 797AD), the “Seven Trial People” lived here, further establishing Pabongka as an important Buddhist site. At the end of the Tibetan Empire, Pabongka suffered severe damage, and the fortress was destroyed.

In the 11^th century, renowned monks Pang Do-wa and Za Do-wa rebuilt a two-story monastery on the ruins, practicing Buddhism and naming it Pabongka Monastery.

Later in the 11^th century, Kadampa monk Geshe Zaga-wa renovated it, constructing a two-story temple and establishing a monastic community.

When Sakya Pandita Kunga Gyaltsen traveled to Liangzhou at the invitation of Köden, he visited and gave teachings here.

Tsongkhapa, the founder of the Gelug school, once meditated in a nearby cave called the Mahayana Cave, which is about 2 meters high and 10 square meters in area, and it still exists today.

Tsongkhapa’s disciples built the Chotok Lakhang, Songkha Lakhang, and 108 stupas to the west of the Mahayana Cave.

During the rule of the Fifth Dalai Lama, Pabongka was repaired and expanded again. Since then, after receiving their first monastic vows and attaining the Geshe degree, successive Dalai Lamas have held celebration ceremonies here.

In the 1960s, during the Cultural Revolution, Pabongka was destroyed.

In the 1980s, with the implementation of new religious policies by the local government, the monastery was rebuilt.

The Four “Gangs” of Lhasa

In Tibetan, “gang” means highland. Historically, there are four “gangs” in Lhasa: Pabonggang, Jibunggang, Thiebunggang, and Sapogang (transliterated from Tibetan).

• Pabonggang means “palace on a large rock.”
• Jibunggang means “place where the statue of Master Tsongkhapa is enshrined.”
• Thiebunggang means “place where ash is piled.”
• The meaning of Sapogang is unclear.

Among these, the name Sapogang has gradually faded from common usage. The remaining three gangs have developed with the economic boom: Pabonggang has become a famous tourist attraction, while Jibunggang and Thiebunggang have evolved into densely populated residential areas.

Brief History

Pabongka Ritro is located to the left of Sera Monastery, in front of Chubzang Ritro, to the right of Gari Monastery, and backed by Trashi Chöling Ritro

Trashi Chöling Ritro is northeast of Princess Wencheng’s Pavilion at Pabongka.

Originally, Pabongka was one of five spiritual sites built by Songtsen Gampo for his five queens (the other four being Jokhang, Ramoche, Dragla Luphu Monastery, and Drak Yerpa Monastery). Princess Wencheng lived at Pabongka and identified it as the northern Black Tortoise position of Lhasa according to Feng Shui principles.

Later, minister Thonmi Sambhota developed the Tibetan script at Pabongka.

In the 8^th century, during the reign of King Trisong Detsen, the first seven Tibetan monks known as the “Seven Enlightened Ones of Samye,” Padmasambhava, Shantarakshita, and Trisong Detsen himself, all practiced at Pabongka once.

During the Kadampa period, Pabongka, which had fallen into disuse, was revived by the Kadampa founder.

At its peak, Pabongka housed over 7,000 monks studying Buddhist teachings.

Later, the monastery came under the administration of Sera Monastery.

Since the Qing Dynasty, each Dalai Lama has visited Pabongka to worship and receive ordination, and after attaining the Geshe degree, they held celebration ceremonies here.

The abbot of the monastery is traditionally appointed by the Tibetan Ganden Phodrang regime

The renowned Pabongka Rinpoche (1878 AD – 1941 AD) was named after this monastery and is revered as a great master. Many current Han and Tibetan Buddhist masters are his direct disciples or their successors.

Architecture

Pabongka Ritro stands on a massive rock that rises nearly 20 meters above the ground, with a top area of 300 square meters. The surrounding area consists of cliffs, with stone steps built into the northern cliff for access. Looking up from the monastery’s entrance to the rear mountain, the shape resembles the treasure parasol, one of the Eight Auspicious Symbols in Tibetan Buddhism. The monastery complex includes the Retreat Hall, Palace of Victory, and Princess Wencheng Pavilion. The Palace of Victory is on the left and the Retreat Hall on the right.

The main gate faces north, with the south side semicircular and the north side square. During the Cultural Revolution, much of the structure was demolished, leaving only the foundation walls. The ground floor originally had nine rooms of various shapes. It is believed that the second and third floors housed the Nyima Jiaoji Ban Kang and the Gong Kang halls, containing statues of Shakyamuni Buddha sculpted by Butön Rinchen Drup, sixteen Arhats created by Kadampa monks, a statue of Hayagriva, a copper statue of Inthon Rinpoche, and several stupas.

The western side of the massive rock features a cave known as “Cejur Lakhang” (Ten Day Hall), with a partially constructed stone wall, door, and windows. Inside, there is a self-manifested relief of the deity Palden Lhamo on the stone wall, known for its spiritual presence. The original hall contained statues of Padmasambhava, Trisong Detsen, Khenchen Bodhisattva (Shantarakshita), and the throne of Songtsen Gampo, which are no longer present. An octagonal lotus stone lamp and some carved scriptures from this hall hold significant research value.

Rigsum Gonpo Temple (Retreat Hall)

At the southern slope of the rock lies the Rigsum Gonpo Temple, also a key part of Pabongka. Historically damaged, it was rebuilt in the 1980s with community funding, and the statues and murals are recent creations. However, the ancient reliefs of the three protectors (Manjushri from the Buddha family, Vajrapani from the Vajra family, and Avalokiteshvara from the Lotus family) and the first inscription of the “Six Syllable Mantra” by Thonmi Sambhota survived.

The mantra inscription, located on the right wall outside the porch, is a blue stone slab with gold letters, 1.22 meters long and 0.66 meters wide, featuring six large Tibetan characters in relief. This is believed to be the first use of Tibetan script, created after Thonmi Sambhota returned from studying in India and demonstrated the script by writing the mantra on the wall under Songtsen Gampo’s order. Some say it was written by Songtsen Gampo himself after learning the script, and the inscription was later carved based on his writing.

The temple houses naturally formed statues of the three protectors, believed to have appeared during Songtsen Gampo’s time and later enhanced by Nepalese craftsmen. These statues are distinctly different from modern styles:

• Avalokiteshvara: Wearing a jeweled crown, with a high chignon and a small Shakyamuni image on the top, four arms (two in prayer position and two extended), bare upper body, with a draped scarf.
• Manjushri: Similar to Avalokiteshvara but with arms crossed in front holding a single-stem lotus.
• Vajrapani: More unique, with a high chignon entwined with two snakes, three glaring eyes, protruding fangs, nearly naked, a scarf draped over the shoulders, left arm holding a vajra up high, right arm in front, described in scriptures as having the power to dispel ignorance and aid in achieving enlightenment.

To the right of the main altar (left side for the worshippers) stands a statue of Avalokiteshvara with a thousand hands. It is said to have been growing taller, now touching the top of the altar, indicating its spiritual presence.

On the left wall outside the temple is a vividly colored large eye, believed to be one of the three eyes of Hevajra, naturally appearing on the mountain near Sera Monastery.

Cejur Lakhang (Ten Day Hall)

Behind the Retreat Hall, circling the rock to the left, is a small cave known as the Ten Day Hall, named after Trisong Detsen, Padmasambhava, and Shantarakshita meditated here for ten days.

The cave contains sacred statues, including one of Padmasambhava, and features a naturally formed relief of the goddess Palden Lhamo on the wall.

Pabonka Potrang (Palace of Victory)

Continuing upward from the Ten Day Hall leads to the Palace of Victory. Initially built by Songtsen Gampo as a nine-story structure with iron-infused foundations and iron chains for earthquake protection, it was named “Red Mountain Palace” (Gongga Maru).

Destroyed over time, it was rebuilt by the Kadampa masters into the present Palace of Victory. A stone near the entrance steps bears natural inscriptions of the mantra “Om Ah Hum.”

The palace houses statues of the Buddha, lineage masters, tantric deities, and protectors, including a naturally formed statue of Tara. The uppermost rooms contain ancient statues not open to the public.

Jasa Potrang (Princess Wencheng Pavilion)

Opposite the Palace of Victory is the yellow Princess Wencheng Pavilion, where Princess Wencheng once resided. Originally two stories with four doors facing east, the structure has been renovated in recent times. It now serves as a shrine, with a peach tree planted by Princess Wencheng still growing nearby.

Behind the pavilion is a large turtle-shaped rock, identified by Princess Wencheng as the northern玄龟 position of Lhasa. Nearby hills feature stone inscriptions of the six-syllable mantra and the Pabongka sky burial site.

Additional Ruins

On the eastern side of the rock are two more ruins:

• Tsongkhapa Lakhang: Once housed a statue of Tsongkhapa.
• Khato Lakhang: The statue it housed has been destroyed.

Scattered on the surrounding slopes are caves believed to have been used for meditation by figures like Songtsen Gampo, Princess Wencheng, Princess Jincheng, and Nagarjuna (a 2^nd-century Indian philosopher and founder of the Madhyamaka school of Mahayana Buddhism, whose teachings influenced the Gelug school of Tibetan Buddhism).

Gari Monastery, also known as “Garu Gonpa,” is a Gelug pa nunnery of Tibetan Buddhism. It is situated behind the 5^th village of Niangre Township in Lhasa, near the top of a high mountain. The name “Gari” in Tibetan means “Dakini Dance Site.” This nunnery has a history spanning nearly a thousand years.

Located on steep, serene slopes, Gari Monastery enjoys a peaceful environment. Its proximity to the more famous Pabongka Ritro (Giant Rock Palace), known as “the most beautiful peach blossom monastery in Lhasa,” often leaves Gari Monastery less visited and quieter.

Brief

Gari Monastery is situated at an altitude of over 4,700 meters, approximately 9 kilometers from the Potala Palace in Lhasa. Originally built in 1113, it was initially part of the rare “Chod” tradition.

Around 1792, Gari Monastery converted to the Gelugpa tradition. Like many other monasteries, it suffered damage during the Cultural Revolution in the 1960s. Reconstruction began in 1985 following the implementation of new religious policies in the 1980s.

By 2004, the monastery housed 97 nuns, with ages ranging from over 60 to 18 years old.

By 2012, it had developed complete facilities, including a water room, bathhouse, garbage pit, vegetable greenhouse, and library. The nuns, called “Jomo,” cultivate a courtyard filled with various beautiful flowers, distinguishing Gari Monastery from other temples.

2 important figures

Pang·Tangpa Sang Gyal

Pang·Tangpa Sang Gyal was an Indian Buddhist Mahasiddha who visited Tibet five times. He is reputed to have taught Buddhism in Tibet and discussed the Dharma with Milarepa. Pang·Tangpa Sang Gyal is the founder of the “Shijay” and “Chöd” lineages. His teachings were divided into “Pudruk” and “Madruk”; “Pudruk” was transmitted by Mangjor Zhonu, while “Madruk” was transmitted by Machig Labdrön.

Khenchen Gyatso Trinle

The first Zari Khenchen Gyatso Trinle, during his tenure as abbot of Pabongka, established a teacher-student relationship with Gari Monastery, leading to its conversion to the Gelugpa tradition. Before this, Gari Monastery adhered to the “Shijay” tradition.

Meru Nyingpa is also known as “The Old Meru Monastery.” The term “Meru” in Tibetan literally means “red,” hence it is also called the “Red Buddha Hall.” “Nyingpa” means ancient, which distinguishes it from the “New Meru Monastery.”

Meru Nyingpa Monastery is located to the east of Jokhang Temple, separated by only a wall, and it is surrounded by the circular Barkhor Kora.

Meru Nyingpa Monastery was built during the reign of Tibetan King Tritsu Detsan (802-838 AD) and originally belonged to the Nyingma Pa of Tibetan Buddhism. Later, it was converted to Gelug Pa

There are two “Meru Monasteries” in Lhasa, known as “The New Meru Monastery” and “The Old Meru Monastery.”

The “New Meru Monastery,” also called “Meru Monastery,” “Meru Gonsar,” or “Meru Dratsang,”

According to some writings by the Dharmar king of Nechung Monastery that Meru Nyingpa is the sacred site where Thonmi Sambhota created the Tibetan script and also served as his library.

Today, many rooms in Meru Nyingpa Monastery are rented out to local-residents. Most of the inhabitants run small stalls selling offering supplies, making the area busier compared to other monastery

Currently, Meru Nyingpa is a mixed courtyard combining monastery and residential areas, featuring the unique Tibetan characteristic of monks and laypeople living together in the monastery courtyard.

Brief history

According to the “Annals of the Kings of Tibet,” during the reign of Tritsu Detsan (Ralpachen, Reigned from AD 815 to AD 836), there was a strong promotion and development of Buddhism, and many Buddhist temples were built. The then monk minister (Great Abbot) Nyang Tingngezin Sangpo started constructing six Buddha halls around Jokhang Temple in 817 AD, with “Meru” in the east, which is now Meru Nyingpa Monastery.

In 838 AD, Tritsu Detsan was assassinated. After his brother Langdarma ascended to the throne, he initiated a campaign to suppress Buddhism, leading to significant destruction of Meru Nyingpa.

During the Tibetan Buddhist revival period, Meru Nyingpa was restored.

In the 16^th century, during the time of the Third Dalai Lama, Meru Nyingpa was converted into Gelug Pa.

In the 17^th century, the Fifth Dalai Lama expanded Meru Nyingpa, designating it as the protector deity temple for Nechung Monastery. During the annual Great Prayer Festival, monks from Nechung Monastery would gather here for ceremonies.

Simultaneously, due to the limited space available for development around Meru Nyingpa, Nechung Monastery’ Dharmar king oversaw the construction of a new monastery named “Meru Monastery” approximately 200 meters southeast of Ramoche Temple.

Henceforth, the “Meru Monastery” east of Jokhang Temple became known as “Meru Nyingpa Monastery” (the Old Meru Monastery) to distinguish it from the newly built “Meru Monastery.”

In the early 20^th century, under the supervision of the Thirteenth Dalai Lama, Thubten Gyatso (AD 1876–AD 1933), Meru Nyingpa underwent extensive renovations and expansions, resulting in its present scale. The entrance was moved from the south to the north,adjacent to the Jokhang Temple, exclusively for Sera Monastery monks to enter Jokhang Temple during the Great Prayer Festival.

During the Cultural Revolution in the 1960s, the monastery was damaged and forced to close. Many of its rooms were turned into stables, and the monks’ quarters became public housing, with many local residents moving in. Most statues, scriptures, and other items in the monastery were lost, and the murals on the walls were painted over. Fortunately, the main structures of Meru Nyingpa were not severely damaged.

After 1985, monks returned to Meru Nyingpa, and the monastery reopened to the public, once again offering religious services to devotees. The monks restored the main scripture hall and retouched the remaining murals, allowing them to be seen again.

In 1990, Meru Nyingpa underwent a comprehensive professional renovation.

Monastery Management

By the early 21^st century, Meru Nyingpa was jointly managed by Nechung Monastery, Gongkar Chöde Monastery, and Meru Monastery.

Meru Nyingpa has a government-issued monastery permit that states: “(Shannan Prefecture) Gonggar County Chöde Monastery affiliated Meru Nyingpa Protector Deity Temple, address: No. 9, Sera Dago Alley, east of Jokhang Temple, Lhasa City. Person in charge: Langzhen.”

The older Zambala Chapel on the west side is managed by Meru Monastery.

The second-floor Buddha hall of the Zambala Chapel is maintained by Gongkar Chöde Monastery (Sakya tradition).

The monks’ quarters surrounding the monastery have mostly been converted to civilian use, housing many local Tibetans. These residents sell items like mulberry branches, butter, and barley wine, making today’s Meru Nyingpa a unique blend of a monastery and a residential courtyard.

Structure and Architecture

Meru Nyingpa Monastery is oriented north to south. Currently, it consists only of the main hall and two side halls, all of which were rebuilt during the time of the 13th Dalai Lama (Thubten Gyatso, AD 1876 – AD 1933). The central part of the monks’ quarters on the west side and the Zambala Chapel on the east side still preserve the early layout.

The monastery measures 52.2 meters in length from east to west and 39.4 meters in width from north to south, covering an area of 2056.68 square meters.

At the center of the back is a three-story Buddha hall, which is the main building of the monastery, surrounded by two-story monks’ quarters and a courtyard on three sides.

The monks’ quarters, which are two stories high, surround the Buddha hall on its sides and front. In front of the monks’ quarters, there is a bright corridor, creating a clear, well-structured, and tightly integrated layout.

Main Hall Porch

The original main gate of the monastery was on the south side, leading through the center of the southern monks’ quarters into the courtyard. Later, it was relocated to the north side, exiting through a narrow courtyard formed by the main hall and the side rooms.

The main hall has a nearly square floor plan, covering an area of 606.3 square meters (25.8 meters in length from east to west and 23.5 meters in width from north to south).

At the center, a stone staircase protrudes, topped by a wooden porch that serves as the entrance to the main hall.

The porch is primarily composed of four large pillars and the beams resting on them, with intricately carved components and tight construction. The massive pillars have a cross-sectional shape of sixteen sides, representing one of the forms of mandalas described in Buddhist scriptures.

The capitals and bases of the pillars are adorned with carvings of lotus flowers and pendant ornaments. The pillar bodies are decorated with copper bands, which both beautify and reinforce the pillars. These large pillars are often constructed by adding rectangular side pieces to a central square timber.

The “brackets” on the pillars serve a decorative function. In traditional Tibetan architecture, these brackets have two layers: the lower, shorter, and thicker layer called “tumu,” which is simply decorated; and the upper, longer layer called “gongmu,” which has varied and rich contours, often featuring motifs of clouds and petals.

In addition to their varied contours, the surfaces of the brackets are carved with various patterns and painted in multiple colors, creating a splendid and magnificent effect.

Main Hall

The ground floor of the main hall consists of the scripture hall and Buddha hall, with storage rooms on either side.

Passing through the porch, one enters a slightly dim 16 pillar space – a scripture hall with a depth of 11.3 meters and a width of 11 meters. The central four pillars are elevated to support a high skylight, providing light from the courtyard on the second floor. This is where the lamas chant scriptures and perform Buddhist rituals.

The walls of the scripture hall are covered with murals depicting Vajrayana themes, painted on a black background with yellow single-line outlines. The mural lines are smooth, but they are of relatively recent date.

At the rear of the scripture hall, about one meter above the floor, is the Buddha hall. The front door of the Buddha hall consists of five intricately decorated screens. The central part is a Buddha hall. The right side room is a storage room, and opposite it on the left side is a ladder.

The central section is the main Buddha hall, enshrining a Vajrasattva statue crafted under the guidance of the Fifth Dalai Lama (Ngawang Lobsang Gyatso). This is the core of the entire monastery, connected to the scripture hall by a few steps, emphasizing the devotion of Buddhists to the Buddha through its elevated position.

A stone staircase to the right of the porch leads to the courtyard on the second floor of the main hall. This courtyard is U-shaped and connects to two-column rooms above the porch on the south side. From the entrance of the main hall, one can see the intricately designed corner floor-to-ceiling windows. This sunny area is where the abbot of the monastery receives guests.

In the courtyards on the east and west sides, there are Tibetan-style wooden ladders leading up to the third-floor platform and the Buddha hall, which stands at the highest point of the entire monastery.

Due to numerous renovations and expansions, the early appearance of Meru Nyingpa is difficult to determine. Generally speaking, the current layout follows the pattern of small to medium-sized Gelug Pa monasteries popular in the early 19^th century.

Zambala Buddha Hall

The earliest structure within Meru Nyingpa Monastery is the “Zambala Lakhang” (Zambala Small Scripture Hall). “Lakhang” means Buddha hall or temple, and it enshrines deities or bodhisattvas of lower rank compared to the main Buddha hall.

The Zambala Lakhang is akin to a local wealth deity temple, and it is said that in the early years, people would retreat here for solitary meditation on wealth deity practices.

The Zambala Buddha Hall is located in the center of the monks’ quarters on the west side of the main hall, oriented west to east. It covers an area of 54 square meters (7.5 meters long and 7.2 meters wide) and consists of three parts: a front courtyard, a circumambulation path, and the Buddha hall.

The Zambala Buddha Hall is a low structure with a narrow corridor and poor lighting.

The Buddha hall itself is small, with a width of 2.5 meters and a depth of less than 3 meters. In the center, there is a small shrine housing a statue of Zambala. The left, right, and back sides have a circumambulation path about a meter wide, with walls adorned with murals of a thousand Shakyamuni Buddhas on a red background outlined in black.

In front of the Buddha hall and the circumambulation path, there is a front courtyard (forecourt) nearly 8 meters wide. The porch at the front of the courtyard was added later. The corridors on the three wings of the courtyard were originally monks’ quarters but have been converted into communal rooms. The few remaining lamas have moved to the monks’ quarters on the second floor of the main hall.

The central walls of the Buddha hall are mainly rammed earth walls with a surface layer of straw-mixed mud and white lime about 2 centimeters thick, on which murals were once painted (now lost).

The pillars of the Buddha hall are made of thick materials, with beams often processed into square or rectangular cross-sections, and the rafters are also quite thick.

According to Tibetan historical records, during the grand prayer festival in the time of the Fifth Dalai Lama, the Zambala Buddha Hall served as the assembly hall for the monks of Nechung Monastery. At that time, the monastery hosted 114 monks. During regular religious festivals, the monastery typically gathered 34 monks, while daily prayers were attended by only 4 monks.

Murals

The monastery is small in size but contains many exquisite murals, most of which were painted during the expansion of the monastery under the 13th Dalai Lama.

The murals are magnificent and intricate, with dazzling colors and meticulous brushwork. They are painted on a black background, primarily outlined in yellow single lines.

The themes of the murals have a strong Vajrayana influence, focusing on Nyingma deities such as Nyenchen Tanglha and his retinue, the Five-Headed Nechung Protector Deity and his retinue, the Twelve Tenma Goddesses, and the Lord of the Charnel Grounds.

Among these, the series of murals depicting the Five-Headed Nechung Protector Deity and his retinue are particularly rare.

The murals exhibit styles influenced by Han Chinese, Nepalese, and Indian art traditions.

Three Harmonious Beasts

At the top of Meru Nyingpa, there are three Harmonious Beasts

These three harmonious beasts are:

The Garuda-Lion, also called the Eight-legged Lion, is a hybrid of the Garuda (golden-winged bird) and a lion. It has the body, four claws, mane, and tail of a lion, and the head and wings of a Garuda. There is an additional claw on each knee, which is usually not depicted. The Garuda governs the sky, the lion governs the earth, and the Garuda-Lion is considered the union of heaven and earth.

The Otter-Fish, also called the Fur Fish, is a hybrid of a fish and an otter. It has the head, gills, and tail of a fish, and the body of an otter covered in brown or black fur.

The Makara-Conch, also called the Sea Monster Conch, is a hybrid of a Makara and a conch shell. The Makara has a head with scales, horns, fangs, a mane, and an upturned nose. It extends its head and two legs from the mouth of the conch shell. Sometimes the Makara’s coiled tail extends from the top of the shell.

Originally, otters eat fish, the Garuda is the lion’s natural enemy, and sea monsters eat conch shells. However, the Three Harmonious Beasts are the offspring of these legendary natural enemies.

In Tibetan culture and Buddhism, these three creatures are used as symbols of auspiciousness. Their significance lies in resolving hatred through tolerance to achieve harmony, hence they are also called symbols of reconciliation.

Their images are relatively rare, occasionally seen on prayer flags (Wind-horse flag), auspicious patterns, Tibetan wooden furniture, or images related to astrology. Some people also paint these images on the walls of their house as decorations.

Penma Walls and Ornaments

The architectural art of Tibetan Buddhist monasteries is not only reflected in their layout but also deeply ingrained in decorative elements such as Penma walls and roof embellishments.

At the entrance of the monastery, one can see the distinctive Tibetan red Penma walls adorned with golden roof decorations.

Penma walls are constructed using willow branches and are sometimes referred to as willow walls. They have a velvety texture and are exclusively used in monasteries that possess the Three Jewels of Buddhism (the Buddha, the Dharma, and the Sangha), or in residences and estates belonging to religious figures such as the Dalai Lama or the Panchen Lama. They have become a symbol of architectural prestige.

The origin of Penma walls is sometimes attributed to early thorny barriers placed atop walls to deter thieves from climbing over. Even today, remnants of this can be observed atop walls of residential buildings.

Depending on the architectural significance, Penma walls are constructed in multiple layers, with higher-grade structures such as the Potala Palace having three to four layers.

At Meru Nyingpa, the Penma walls are divided into two layers, separated by a thin stone cornice. The walls are adorned with copper-gilded “bienchen,” a type of religious ornament commonly featuring auspicious symbols like the Eight Auspicious Symbols, the Seven Jewels, images of celestial guardians, and deer listening to the teachings.

On the northern Penma wall of Meru Nyingpa, one can also see skull-shaped “bienchen,” a fierce motif commonly used in the protector deity temples of monasteries.

Prayer flagpoles and treasure vases are also important architectural ornaments. At Meru Nyingpa, prayer flagpoles are mainly located at the four corners of the main hall, and a treasure vase is placed atop the highest point of the Buddha hall. Against the backdrop of the blue sky, the treasure vase shines brightly, and the prayer flagpoles seem to point directly towards the heavens, imbued with an upward momentum akin to ascending smoke.

Meru Monastery is also known as “Meru Gonsar” and “Meru Dratsang,”

In AD 1751, construction of this monastery began. It is a Gelug pa monastery of Tibetan Buddhism

It is located at No. 11, Beijing Middle Road, Lhasa. Just a door apart, the serene atmosphere of Meru Monastery contrasts sharply with the bustling and lively Beijing East Road.

Today, it occupies only a small portion of the original Meru Monastery buildings, with the rest being used by the Tibetan Buddhist Association’s printing house.

In Lhasa’s urban area, there are a total of two Meru Monasteries, known respectively as “The New Meru Monastery” and “The Old Meru Monastery.”

“The Old one,” also known as “Meru Nyingpa,” is located to the east of Jokhang Temple, separated only by a wall.

Brief History

In 1654, after the death of Gushri Khan in Lhasa, the Fifth Dalai Lama began constructing the new Meru Monastery in 1751 AD to perform rituals for his soul.

In 1790, the Seventh Dalai Lama and Tibetan King Polhanai bestowed the properties of Nangdze Deri Yoten Shika, Nangdze Nyixiu, Langri Gongma, and Samdru Kongsar to the Monastery.

It is located approximately 200 meters southeast of the Ramoche Monastery.

The predecessor of the present-day Meru Monastery was Meru Nyingpa, located behind the Jokhang Temple, also known as the old Meru Monastery.

Due to the limited space around Meru Nyingpa for expansion, during the Thirteenth Dalai Lama’s time, the Dharmar King of Nechung Monastery, Shakya Yabei, presided to expand the monastery

Thus, the original one came to be known as “Meru Nyingpa,” meaning “Old Meru,” in contrast to the “new one.”

After the construction of Meru Monastery, initially, Meru Nyingpa was the main monastery and Meru Monastery was its branch.

After Meru Monastery was expanded, it became the main monastery, and Meru Nyingpa became its branch.

After 1959, it was used by the Tibetan Autonomous Region Drama Troupe. Later, the drama troupe built new premises elsewhere and moved out of the monastery.

Besides the drama troupe, the Tibet Grain Bureau also occupied the monastery for a time.

After the “Tibetan Drama Troupe” and “Tibet Grain Bureau” successively moved out, the monastery was fully taken over by the Tibet Buddhist Association.

In 1980, the Tibet Buddhist Association relocated the Tibet Printing House from the Lower Tantric College (Gyümé Dratsang) to this monastery.

The Tibet Printing House, established in the 1980s, remained the only Buddhist scripture printing house in Tibet into the early 21st century. The printing blocks were carved in Nimu before being transported to the printing house for scripture printing.

The Tibet Printing House uses ancient engraving printing techniques and houses 128,000 rectangular woodblocks of 320 Tibetan Buddhist texts. The Lhasa edition of the Tibetan Buddhist canon “Tanjur” is printed here.

Subsequently, Meru Monastery gradually recovered. However, the main hall of the past now belongs to the printing house (mainly used for storing the woodblocks for scripture printing), while the current main hall of Meru Monastery is the former protector deity hall.

Architecture

Meru Monastery faces south, with a length of 102 meters from north to south, a width of 85 meters in the front and 97 meters in the back from east to west, covering an area of 8,925 square meters, and comprising over 300 rooms.

The monastery’s architecture rises from front to back. In the past, the front part of the monastery housed the monks’ quarters, while the back part contained the main hall (now occupied by the printing house).

The monastery is a typical Tibetan courtyard style, but upon entering the main gate, one can see a tall Chinese-style building running north-south in the center of the courtyard.

This Chinese-style building was originally a theater used by the Tibetan Autonomous Region Drama Troupe in the 1950s and 1960s. It later became the printing area for the Tibet Buddhist Association’s printing house.

Walking to the left of the courtyard, past an incense burner and a row of prayer wheels, you will find the current main hall of Meru Monastery.

The first floor of the main hall has a large assembly hall in the front half and a Buddha hall in the back half.

The assembly hall spans 54 meters in width and 42 meters in depth. The Buddha hall consists of three rooms, with the central Buddha hall being nearly square, measuring 11 meters in length and 10 meters in width, covering an area of 110 square meters. The side Buddha halls are smaller.

The monks’ quarters are located on the east, south, and west sides of the monastery, each with three stories. The first floor is 3.5 meters high, the second floor is 2.4 meters high, and the third floor is 2.7 meters high.

The layout of the western monks’ quarters is the most distinctive, with two rows of north-south oriented quarters at the front and back, separated by a narrow courtyard, and a row of north-south oriented quarters on the east side.

The area north of the incense burner belongs to Meru Monastery and is managed by it. The rest of the courtyard belongs to the Tibet Buddhist Association and houses the workers and families of the printing house.

Exiting through a side door on the west side of the current main hall leads to the monks’ quarters and dining hall of Meru Monastery.

Walking to the right side of the courtyard leads to the Tibet Buddhist Association’s printing house.

The wall next to the main entrance of the printing house is decorated with Buddhist-themed murals.

Rabsal Tsankhang is a Gelug Pa monastery of Tibetan Buddhism

It was built during the reign of Songtsen Gampo, and Princess Wencheng once resided here.

Location

Rabsal Tsankhang is located in Rabsal Alley One, to the south of Jokhang Temple and Barkhor South Street, near Ani Tsamkhung Nunney.

From the Southern Rigsum Lakhang in the south, head east along Linkuo South Alley. The first intersection is the Lhasa Small Mosque, and the second intersection is Rabsal Alley 2^nd. Turn into Rabsal Alley 2^nd, and the first alley on the left leads to Rabsal Tsankhang.

If coming from Makye Ame and Ganden Tratsang, the first alley on the left is Rabsal Alley One (opposite Store No. 6 on Barkhor South Street). Walk to the end of Rabsal Alley One, and the first yellow house on the left is Rabsal Tsankhang.

Introduction

During the time of the Twelfth Dalai Lama, this temple was managed by the Mey College of Sera Monastery.

Like Trapchi Lhamo Monastery, Rabsal Tsankhang is dedicated to the deity Trapchi and is a place for seeking wealth.

Rabsal Tsankhang is one of the subsidiary temples of Sera Monastery. It is not very large.

The outer walls of Rabsal Tsankhang are yellow, and upon entering, there is a very steep staircase.

The courtyard of Rabsal Tsankhang is surrounded by an iron fence. The first floor is residential, and the second floor houses the main shrine.

Tsan and Tsankhang

The term “Tsankhang” refer to places where “Tsan” is worshipped.

“Tsan” refers to a fierce deity. In reality, most “Tsan” beings, like humans, are sentient beings in the cycle of samsara, with many originally being fierce ghosts who were later tamed or subdued by eminent Buddhist monks, becoming fierce worldly protectors of the Buddhism Dharma.

“Tsan” is not a Buddha, Bodhisattva, or transcendent protector like Palden Lhamo or Mahakala, therefore not objects of refuge for Buddhists.

Buddhists do not take refuge in or pay homage to worldly protectors; they only make appropriate offerings and pray for mundane wishes.

In the old city of Lhasa, there are numerous Tsankhangs, with the so-called “Four Great Tsankhangs” surrounding the Jokhang Temple, located in the east, west, south, and north directions respectively:

• Khama sha Tsankhang in the east (the residence of the One-eyed Tsan),
• Rabsal Tsankhang in the south,
• Tsiu Marpo Hall in Tengye Ling Monastery in the west,
• Darpoling Tsankhang in the north.

These four Tsankhang are all three-story buildings managed by Gelugpa-affiliated monasteries and have historical connections with the protector halls of Samye Monastery.

Offerings

In the main hall of Rabsal Tsankhang, the primary deities worshipped are the three statues of Tsongkhapa and his disciples, Padmasambhava, Palden Lhamo, and Trapchi Lhamo, along with other Gelug sect founders.

Because the temple is managed by the Mey College of Sera monastery, the left side of the main hall features the deity Chatri Kyentse, the one-eyed guardian of Karma Sha Tsankhang. On the right side is Tawo, the unique protector of Mey College of Sera monastery. The central figure is the main deity here, Thubten Wangchuk.

Thubten Wangchuk is also known as “Rulzhang,” which roughly translates to “god in the water.”

On the far left of the central altar is a stone considered to be the soul stone of Thubten Wangchuk, kept in the temple. According to legend, this stone was unearthed by Songtsen Gampo from Lake Wotang when he was filling the lake to build Jokhang Temple.

Tibetans believe that mountains, lakes, and all things can host souls, making the person with their soul stored in something else extraordinarily powerful. In the Epic of King Gesar, many enemies are invincible because their souls are stored in other objects, which must be destroyed to defeat them.

To the right of this stone is another slab with the footprint of Songtsen Gampo.

This small temple actually houses several local guardian deities of Lhasa. On the right side of the main hall are the three most famous guardian deities of Lhasa.

Starting from the left is Nyonya Gyachen. His ancestral home is in the Jinda family temple, Jinda Monastery, in Gyalse Village, Nyanre Township. Originally a monk, he fell in love with a girl and secularized. He was killed by the monks of this temple and became a deity, later designated as a guardian deity.

In the center is Palden Lhamo, a personal bodyguard of a monk and also a guardian of Lhasa city. She is one of the main protectors of the Gelug sect, with her three daughters residing near Jokhang Temple.

On the right is Trapchi Lhamo, a maid brought by Princess Wencheng from the mainland. She was poisoned and had her feet cut off. She drove the poison to her face, turning it black, and replaced her feet with chicken feet. She later became the protector deity Trapchi Lhamo.

The temple is filled with the scent of alcohol, as it is believed that the wealth deity Trapchi Lhamo loves to drink. Thus, devotees bring offerings of alcohol, khata scarves, and tsampa (roasted barley flour) when worshipping.

Also known as “Gyümé Dratsang” in Tibetan, Gyümé Dratsang is a tantric college of the Gelug Pa of Tibetan Buddhism. It is one of the highest institutes of tantric studies within the Gelug tradition.

Located on Beijing Middle Road in Lhasa, it borders the Meru Monastery to the east and covers an area of approximately 2,100 square meters.

Brief

Gyümé Dratsang was founded in 1433 AD by Tsongkhapa’s seventh great disciple, Jeydzun·Sherab Sengge.

The college suffered severe damage during the Cultural Revolution in the 1960s.

In 1980, following the implementation of new religious policies, the local government allocated funds for its restoration.

By the 2000s, Gyümé Dratsang had more than 50 monks engaged in tantric studies.

Features

The main hall enshrines a large statue of Je Tsongkhapa, and the meditation hall is adorned with numerous conch shells. The side hall houses many statues of Tara.

On the candelabrum in the side hall is a butter lamp with a cap resembling a hat supported by an iron rod. The flame’s heat causes the cap, called “Chema” by the attending monks, to rotate continuously without the rod moving.

The temple also features a thangka painting called “Drolma Songjin,” whose eyes seem to follow the observer no matter the viewing angle.

On the second floor of the shrine, many painted jars called “Pengbu” are stored, sealed with colorful cloth.

These jars are painted with two different patterns: one representing the heavens and the other the seabed. Inside the jars is soil from regions such as Shigatse and Shannan. Tibetan people often request “Pengbu” from Gyümé Dratsang when building houses and bury them at the top of new homes to symbolize auspiciousness and peace.

Many monks leave Gyümé Dratsang, as the monastery allows for flexible admission and departure, resulting in fluctuating numbers of monks.

Although Gyümé Dratsang is nominally part of Ganden Monastery’s tantric college, it functions independently. It stands on an equal footing with Ganden Monastery and is a higher-ranking institution than the tantric colleges of Drepung and Sera monasteries. Monks from the three major monasteries must complete their studies in Exoteric Buddhism before entering Gyümé Dratsang for tantric studies.

Architecture

Gyümé Dratsang’s main buildings include the assembly hall, Buddha hall, debate courtyard, and scripture printing room. Among these, the main hall stands out in terms of both scale and artistic value.

Main Hall

Located at the center of Gyümé Dratsang, the main hall faces south and is a four-story building with over 70 rooms.

First Floor of the Main Hall:

• Assembly Hall: The southern part of the first floor is the large assembly hall, covering an area of 882 square meters with 48 columns. The central four columns extend to the second and third floors, supporting a high skylight. The assembly hall can accommodate over 500 monks for chanting. The walls are adorned with murals depicting stories of the Gelug school. The eastern room of the assembly hall contains 12 columns and houses three clay statues of Buddha. Six large murals of protector deities are painted on either side of the main door.
• Buddha Hall: The northern part is the Buddha hall, occupying 415 square meters with a western wing. It enshrines clay statues of Tsongkhapa and his three disciples, about 10 meters tall. The left and right sides of the Buddha hall are dedicated to protector deities.

Second Floor of the Main Hall:

• The second floor has a “冂”-shaped layout. The northern hall enshrines clay statues of Amitayus and Avalokiteshvara. Other rooms are monk quarters.

Third Floor of the Main Hall:

• This floor also serves as monk quarters.

Fourth Floor of the Main Hall:

• This smaller floor, supported by a single column, is the Dalai Lama’s residence.

Debate Courtyard:

• To the west of the main hall, there’s an open debate courtyard surrounded by a corridor, with a southern passage leading to the scripture printing room.

Scripture Printing Room:

• Located south of the debate courtyard.

Gates:

• The main gate is 43 meters directly in front of the main hall, while the second gate is 40 meters in front. Both gates have flanking monk quarters, now reconstructed.

Scale and Management

The number of monks in Gyümé Dratsang is limited to 500, divided into five khamtsen (monastic divisions).

Administrative Positions:

• Khenpo (Abbot): 1 Khempo, with a three-year term.
• Lama “Ongtse” (Head Lama): 1 Head Lama, also with a three-year term.
• Chagdzo (Administrator): 4 Chagdzo, with four-year terms.
• Geckö (Disciplinarian): 1 Geckö, with a one-year term.

All these positions used to require approval from the Dalai Lama or the Regent for appointment.

Admission Requirements and Studies

To be admitted to Gyümé Dratsang, monks must have completed studies in one of the three major Gelug monasteries in Lhasa. Although Drepung and Sera monasteries also have tantric colleges, these are considered lower-level stages, while Gyümé Dratsang represents an advanced stage.

Gyümé Dratsang has an organizational structure parallel to Ganden Monastery.

Curriculum:

• The primary studies include Guhyasamāja, Cakrasaṃvara, Yamantaka, and other tantric and protector practices. These deities, often depicted with animal heads or in yab-yum (father-mother) forms, distinguish tantric practices from general Buddhist practices.

Practices:

• The studies involve extensive use of mantras, initiations, mandalas, and rituals.

Gyümé Dratsang does not have a fixed study duration, allowing monks to leave or remain for life. However, monks with the “Lharampa” degree (equivalent to a doctorate in Buddhist studies) can be promoted to administrative positions within the dratsang based on seniority, marking the pinnacle of monastic advancement.

Study and Promotion Process

The organizational structure of Gyümé Dratsang is similar to that of other dratsangs. However, key positions from the Geckö (disciplinarian) upward must be filled by Lharampa degree holders.

Promotion Pathway:

1. Geckö: Upon completing the term, monks are promoted based on seniority.
2. Lama Umdze (chant leader): After serving as Geckö, monks are promoted to Umdze based on seniority.
3. Khenpo (abbot): Following their term as Umdze, monks can be promoted to Khenpo based on seniority.
4. Khenpo Su: After serving a three-year term, Khenpos retire and are known as “Khenpo Su.”
5. Jangtse Chöje or Shartse Chöje: Retired Khenpos can be promoted to these positions based on seniority. These titles translate to “Dharma Lord of the Northern Peak” and “Dharma Lord of the Eastern Peak,” respectively, and are associated with Ganden Monastery’s two major dratsangs.
6. Ganden Tripa: The Jangtse and Shartse Chöje take turns filling this role, becoming the throne holder of Ganden, inheriting the lineage of Tsongkhapa, the founder of the Gelug school.
7. Reincarnate Lamas: After serving as Ganden Tripa, monks can be recognized as reincarnate lamas, allowing them to be reborn as tulkus.

Ganden Tripa: This position is held for seven years, after which the monk becomes “Trisur,” a retired Ganden Tripa. Both serving and retired Ganden Tripas are eligible to be candidates for acting as regents in the absence of the Dalai Lama, overseeing the administration of Tibet.

Monastic Discipline

Gyümé Dratsang is known for its strict monastic discipline.

All monks, including reincarnate lamas, receive equal treatment in terms of living conditions. Monks engage in practices characteristic of ascetics and itinerant monks, leading austere lives under stringent regulations:

Ascetic Practices:

• Daily Schedule: Monks attend four sessions daily, beginning at 2 AM, barefoot regardless of the weather.
• Study Practices: Each monk digs a pit under a tree, lines it with stones, and sits there to study regardless of the weather.
• Fasting: Monks observe the practice of not eating after noon.
• Sleeping Arrangements: Monks sleep collectively in the main hall at night.
• Pilgrimages: Monks travel annually to designated locations, practicing 21 different rituals. These journeys involve marching in formation, carrying their own belongings, with only the Khenpo allowed to ride a horse, regardless of weather conditions.