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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.

“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.