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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.

Tengye Ling Monastery, one of Lhasa’s “Four Great Ling” monasteries, is a subsidiary of Samye Monastery and belongs to the Gelug pa of Tibetan Buddhism.

In 1757, the 6^th Demo Rinpoche , Awang Jampel Delek Gyatso, began the construction of Tengye Ling Monastery.

Upon completion, the 6^th Demo Rinpoche named it “Ganden Samdrup Ngagpai Ling,” and Emperor Qianlong of the Qing Dynasty bestowed upon it the name “Guangfa Temple.” Its Tibetan abbreviation is “Tengye Ling,” thus it became commonly known as “Tengye Ling Monastery.”

The Tibetan term “Tengye” means “flourishing Buddhism.” After the monastery was built, the locals started calling the area “Tengye Ling.” The name of the current “Tengye Ling Community” is also derived from the monastery’s name.

Located in Tengye Ling Alley on Tibetan Medicine Hospital Road, the monastery can be found inside a two-story building behind an iron gate near the “Guang-ming Store” intersection. There are small stalls selling sang branches, khatas, and liquor at the gate. The place appears more like an ordinary residence than a monastery.

Introduction

In 1757, the 7^th Dalai Lama, Kelzang Gyatso, passed away at the Potala Palace. In April, Emperor Qianlong issued an imperial decree appointing the 6^th Demo Rinpoche, Awang Jampel Delek Gyatso as the Regent of Tibet.

This practice of appointing a high-ranking lama from the three major monasteries as regent began after the Dalai Lama’s death, until a new reincarnation was found or until the young Dalai Lama reached the legal age of regency (18 years old). This became a standard procedure thereafter.

The construction of Tengye Ling Monastery began the same year and was completed the following year.

When visiting Tengye Ling Monastery, in addition to offering khatas and butter, one can also bring barley wine or liquor.

Due to its affiliation with Samye Monastery, many devotees who cannot travel the long distance to Samye Monastery choose to worship here.

The original site of the monastery was public housing for the Tibetan local government, called “Lama Khangsa.” Before that, it was known as “Qingu Nang.” “Qingu” means “Mongolian yurt,” and “Nang” means “inside,” thus the name means “inside the Mongolian yurt.”

Initially, this place was a grassy field where Mongolian soldiers set up yurts, hence the name. To this day, there is still an alley in the Tengye Ling community called Qingu Alley (formerly “Qingu Nang”).

Brief History

The main monastery of successive Demo Rinpoches is Demo Monastery, located in the Kongpo region. Tengye Ling Monastery served as the residence of the Demo Rinpoches in Lhasa.

Tengye Ling Monastery is the oldest and largest of the Four Great Ling monasteries in Lhasa.

In the past, almost all properties in the Tengye Ling area, except for a few owned by nobles, belonged to Tengye Ling Monastery. This included extensive temple buildings, the Demo Rinpoche’s palace, monk quarters, yak and horse stables, and more.

Historically, Tengye Ling Monastery was also a subsidiary of both Samye Monastery and Drepung Monastery, and it had close ties with Sakya Monastery.

The monastery once boasted grand architectural structures and housed a statue of Yamantaka, identical in size to the one in the Vajrayana College of Drepung Monastery.

After the 6^th Demo Rinpoche, the 7^th and 8^th Demo Rinpoches also served as Regents of Tibet, leading to unprecedented development and prosperity of Tengye Ling’s Dratsang (monastic college) and Lakhang (chapel).

However, the monastery suffered two significant plunders due to complex power struggles in Tibet. The 9^th Demo Rinpoche was implicated in the “demon shoe incident,” allegedly plotting against the 13^th Dalai Lama, and the 10^th Demo Rinpoche’s steward, Jangchub Jampel, allied with Sichuan soldiers against the Ganden Phodrang government. These events severely weakened Tengye Ling Monastery.

By the time of the democratic reforms in Tibet, Tengye Ling Monastery was essentially defunct.

The remaining three-story Tengye Ling Monastery was divided after it lost its influence. The ground floor was allocated to Drepung Monastery’s Lhozong Dratsang (the Demo Rinpoche’s residence at Drepung), while the second and third floors were given to Samye Monastery for management.

During the Cultural Revolution, Tengye Ling Monastery was looted and damaged.

In 1980, with the implementation of new religious policies, the reconstruction of Tengye Ling Monastery began.

Architecture

Tengye Ling Monastery faces south and covers an area of 1,270 square meters, with a width of 46 meters and a depth of over 27 meters.

The ground floor is the main part of the building, constructed with precise and rigorous standards.

The building is divided into east and west sections. The eastern section houses the assembly hall at the front, nearly square in shape, with an area of 240 square meters, comprising five bays in both width and depth.

Behind the assembly hall are three adjacent Lakangs (chapels). The central Lakhang is larger, with dimensions of 6.8 meters by 5.4 meters and four columns; the two side Lakangs are smaller, each with dimensions of 4 meters in width and two columns.

Each Lakhang opens to the assembly hall with double doors, separated by two walls with a 1.8-meter-wide corridor in between, a rare feature.

The entrance to the assembly hall has a foyer, measuring 3.6 meters by 2.3 meters, with two columns, reflecting late architectural features.

Since 1948, the eastern section has been managed by the Ganden Phodrang government and allocated to Drepung Monastery’s Ganden Khangtsen. During the Great Prayer Festival, monks from Ganden Khangtsen reside there. They also used to enshrine a guardian deity statue, which no longer exists.

The western section’s front part is the assembly hall, with an area of 250 square meters, comprising ten bays in width and four in depth. The rear part consists of irregularly arranged storage rooms. This section was once managed by Sakya Monastery and used as a printing house. Later, it was handed over to Samye Monastery, which annually sends six people to pray to the guardian deity.

The top floor of the western section houses a guardian deity shrine, measuring 10.1 meters in width and 15 meters in depth. The front part of the shrine serves as an assembly hall with four columns, connected by a central latticed door.

The walls of the Lakangs were originally covered with murals depicting religious themes, which were exceptionally exquisite.

Tsiu Marpo

Due to the connection between the First Demo Rinpoche and the protector Tsiu Marpo, this deity (the main protector of Samye Monastery) also became the main protector deity of Tengye Ling Monastery.

Today, the central hall of Tengye Ling Monastery enshrines Tsiu Marpo.

In the morning, there is always a long line of devotees in front of the Tsiu Marpo statue. Worshippers hand over offerings of alcohol to a monk in front of the Tsiu Marpo statue, who then makes the offering on their behalf.

On a long table set a bit further in front of the Tsiu Marpo statue, there are also vessels for offering alcohol, allowing devotees to make their own offerings.

Additionally, the hall of Tengye Ling Monastery houses statues of the Primordial Buddha with a blue body, Padmasambhava, Longchenpa, Jigme Lingpa, and Trisong Detsen, among others.

The statue of Samantabhadra in union, with its unique blue and white color scheme and modern design, is a must-see for all visitors.

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.

Its full name is “Shidey Amitayus Monastery of Immortal Bliss“

The Tibetan name “Tsepak Lakhang” means “Palace of the Buddha of Longevity,” with the main deity being Amitabha Buddha, the Buddha of Infinite Life, who presides over the Western Pure Land.

It is located at 29 Xiaozhaosi Road in Lhasa, is a Gelug pa monastery of Tibetan Buddhism

Historically, this monastery was managed by Zhide Dratsang

Introduction

Tsepak Lakhang is adjacent to the Ramoche Temple, just south of the temple gate,

In front of Tsepak Lakhang, there is a incense burner, often enveloped in fragrant smoke.

At the entrance of the monastery, there is the “Tsepak Lakhang Butter Lamp Shop.”

Inside the courtyard of Tsepak Lakhang, immediately to the left upon entering, there is a semi-underground room containing numerous perpetually burning butter lamps.

Tsepak Lakhang has only one shrine hall, dedicated to Amitabha Buddha. People come here mainly to pray for peace, longevity, and health.

The walls of the shrine hall are lined with prayer wheels, with 16 on each wall.

It is said that this statue of Amitabha Buddha is the most efficacious in Lhasa and is also the largest Amitabha Buddha statue in the city.

Circumambulation

Despite its small size, this monastery is bustling with activity, with a constant stream of people circumambulating. Devotees pray, make offerings, and prostrate themselves before beginning the circumambulation, known locally as “Langre.”

Local Tibetans refer to the circumambulation here as “Langre.” It must be done in a clockwise direction, following the path around the shrine hall. The number of circuits should match the age of the devotee to ensure the practice’s effectiveness in bringing peace and longevity.

Another method is to circumambulate according to one’s capacity, such as three or seven circuits, to pray for health, peace, and longevity.

Every day, a steady stream of people circumambulates the “Langre.”

There is also a place in the side hall where butter lamps can be lit, and the rows of butter lamps present a spectacular sight.

Zhide Dratsang, also known as “Shide Dratsang” or by its full name “Zhide Ganden Samtan Ling,” is not a monastery but a dratsang (monastic college).

Initially, it belonged to the Nyingma Pa of Tibetan Buddhism, but later it was converted to the Gelug Pa. During the Qing Dynasty, Emperor Daoguang (Reign from 1820 to 1850 AD) bestowed the name “Ningxi Temple” upon it.

Location

Zhide Dratsang is located about 500 meters southwest of the Ramoche Temple, in the third alley of Tsemoling Lane, on the north side of Beijing East Road. There are several tailors at the entrance of the alley. Walking north along the alley, you will first reach Tsemon Ling Monastery, and a bit further west, you will find Zhide Dratsang.

Currently, Zhide Dratsang is situated in a Tibetan residential courtyard. It has not been restored and remains a ruin.

Introduction

Zhide Dratsang is one of the four earliest Buddha halls in Lhasa, founded in the early 9^th century during the Tubo Dynasty.

According to the “Annals of the Kings of Tibet,” Zhide Dratsang was one of the many Lakhang (Buddha halls) built around Jokhang Temple, originally called “Gawa Lakhang,” which was relatively small in scale.

The “Biography of the Seventh Dalai Lama, Kelzang Gyatso: The Wish-Fulfilling Jewel” records that Zhide Dratsang was built by King Tritsu Detsan (AD 802 – AD 838).

In the 9^th century, Langdarma’s persecution of Buddhism led to varying degrees of destruction of many monasteries, including Jokhang Temple, Ramoche Temple, Samye Monastery, and Zhide Dratsang.

According to the “Golden Chronicles,” in the early 15^th century, with the support of the Tsangpa Desi of the Sakya Regime, Zhide Dratsang was expanded on its original site. It evolved from a Lakhang into a dratsang, with the number of monks increasing to over 20, and a fixed support system was established.

Later, the Seventh Dalai Lama, Kelzang Gyatso (AD 1708 – AD 1757), presided over another expansion. Zhide Dratsang then converted to the Gelug sect and became a subsidiary temple of Reting Monastery, serving as the residence of the Reting Rinpoches.

Subsequently, the Third Reting Rinpoche, Ngawang Yeshe Tsultrim Gyatsan, oversaw the renovation and expansion of Zhide Dratsang and obtained the imperial name “Ningxi Temple” from the Qing court.

In 1947, due to the “Fifth Reting Rinpoche Incident,” Zhide Dratsang was destroyed.

Reconstruction began in 1949, and by 1960, Zhide Temple housed 300 to 400 monks.

After 1960, the temple was destroyed again.

From 1965 to 1984, the temple was used as a military camp, and walls were built around it.

After the army left in 1984, civilians gradually moved in.

In 2011, Zhide Dratsang was included in the restoration plan under the key cultural relics protection project of the Tibet Autonomous Region.

In 2013, Zhide Dratsang was listed as part of the seventh batch of National Key Cultural Relics Protection Units.

Architecture

The main structures of Zhide Dratsang include the scripture hall, Buddha halls, monks’ quarters, and monks’ kitchen.

At the center of the Dratsang is a square courtyard. The rear part contains the Buddha halls and scripture hall, while the other three sides of the courtyard house the monks’ quarters and kitchen.

The scripture hall is about 42 meters deep and 54 meters wide, with 48 columns. There is a skylight in the middle that extends to the second floor, and the walls are adorned with colorful paintings.

Behind the scripture hall are three Buddha halls in a row. The central hall is the main hall, flanked by two side halls. The three halls are interconnected and supported by a total of 12 columns. Originally, these halls contained clay sculptures and painted murals.

In front of the main entrance of the scripture hall is a veranda. There are small rooms on either side of the veranda, accessible by stone steps leading to the second floor.

Zhide Dratsang has over 100 monks’ quarters, all in the traditional Tibetan style with flat roofs and two stories.

An auxiliary building is located on the west side of the main hall. The northern half is a later-built toilet, while the southern half serves as the kitchen. Upstairs, near the eastern side, is an open area surrounded by low walls, measuring four columns in size, used for storing firewood and yak dung for fuel.

There was originally a stone well in the northwest part of the courtyard that provided drinking water for the entire Dratsang . Nowadays, residents of the courtyard draw water from a faucet in the middle of the courtyard and use a communal toilet on the west side of the courtyard.

To the north of Zhide Dratsang was an independent area that no longer exists. This area had entrances on the east, west, and south sides of the main building. Since 1937, it served as the residence and working area for the Reting Rinpoche who served as the regent and his key monks. This area had at least two cooks and covered an area of 16 columns.

The Reting Rinpoche’s own quarters were in the north wing of the main hall, behind the Lakhang (scripture hall). Originally, it had five stories, with the Rinpoche occupying the third, fourth, and fifth floors. Each floor covered an area of 16 columns.

There was also a toilet at the western end of the building.

The southern part of the main hall had a basement used for storage, and the upper floors were used for meetings and entertaining guests. A similar layout can be seen in the main hall of the Norbulingka

The main scripture hall of Zhide Temple is called “Ji-Ji Lakhang.” Like the side Lakhangs, it is supported by four columns and once housed three statues, though the details are no longer known.

The western side hall enshrines the Jampa Buddha (Maitreya), and the eastern side hall enshrines the Ji-Abissem Buddha. Both side halls contain scriptures stored on bookshelves against the east and west walls. Stairs are located at both the eastern and western ends of the building.

The scripture hall has three entrances. The main entrance is on the south side, with a smaller entrance on the southern end of the west wall for logistics, chores, and kitchen staff. There is also a discreet small door at the northern end of the west wall, leading to a narrow courtyard that used to house important monks and attendants.