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Also known as “Gongkar Monastery” and “Dorje Dan Monastery“, which means Vajra Monastery,

Gonggar Chode is located in Gangdui Township, Gongga County, Shannan City. It is 18 kilometers away from Gongga County and by the highway from Gonggar Airport to Lhasa city.

In 1464 AD, the monastery was founded by “Tubten·Gonggar Namgyal” and belonged to the Sakya Pa of Tibetan Buddhism.

This monastery is the ancestral monastery of the Gonggar sect, a esoteric（tantric） branch of the Sakya Pa, and currently the only practice site of this sect;

The Founder

Gongkar Chode was founded by the Sakya Pa master known as “Tubten·Gonggar Namgyal (1432 AD – 1496 AD)” who was regarded as the incarnation of the great master “Padmasambhava“.

“Tubten·Gonggar Namgyal” was born into the “Tumi” family in the “Ten” region (present-day Nyemo County, Lhasa City), and hence revered as “Tubten”.

His father, “Gyewa Sherab”, was said to be a descendant of the Tibetan minister and creator of Tibetan script, “Thonmi Sambhodra”.

As a child, “Gonggar Namgyal” displayed exceptional intelligence, mastering Tibetan reading and writing at a young age.

Due to his proficiency in reciting the five major “Dharanis” from a young age, he was given the name “Draan Gyebu”.

At the age of 13, he became an attendant of the Nedong King “Drakpa Chongne” as his mother wished, and at 15, he was appointed as the “Tsongben (chief)” of “Gongkar Tsong” and married to raise a family.

However, at the age of 18, he chose to become a monk. He received novice ordination from Gye Jangba Linba (Master Cizhou), full ordination from “Sonam Namgyal”, and studied under eminent monks like Tsongba·Sonam Sambu.

Subsequently, he studied sutras and tantras under Indian and Tibetan Buddhist masters such as “Dratoba·Sonam Sambu”, “Pandita Nag Renchen”, and “Shalu·Yeshe Gyantsen”, gradually becoming a highly knowledgeable Sakya pa master proficient in both exoteric and esoteric teachings, the great and minor of the “Five Science”.

At the age of 30, he vowed to build Gongkar Chode. After years of hard work, the monastery was finally completed, as well as establishing a comprehensive educational system and ritual practices within the monastery.

The Venerable “Tubten·Gonggar Namgyal” passed away at the age of 65 in Gongkar Chode

Layout

Gongkar Chode was built according to “Mandala.”

The layout consists of the main hall in the center, Gong Sangtse to the north, Renchenn Gang to the east, Gong Tang to the south, and Drepung to the west; in addition to these main buildings, there are also some smaller auxiliary buildings.

According to the “Gongkar Chode Annals”:

The main hall of the monastery is shaped like a cross Vajra mandala, surrounded by protruding small halls on all sides. There are four pillars in the rear hall which the main statue of Sakyamuni Buddha is enshrined, additionally, there are statues of the eight great disciples, and the two protectors of Indra and Shri Vajramahabhairava.

After the completion of Gongkar Chode, the monastery has always been the most important place for the propagation of the Sakya pa’s Tantric teachings in the U-Tsang region.

According to the “Record of U-Tsang’s Sacred Sites,” Gongkar Chode was exquisitely built. In the clean incense room behind the main hall, there is the skull of Panchen Gayadara, inside which there is an extremely exquisite portrait of Sakyamuni.”

Within the monastery, there are forty-five types of practice methods such as “external practices(Things Tantra)” (emphasizing the external phenomena of the three karma of body, speech, and mind), “conduct practices(Action Tantra)” (emphasizing the external body, speech, and the internal mind in the yoga samadhi practice), “yoga practices (Yoga Tantra)” (focusing on internal mind meditation practices), and “supreme yoga practices (Supreme Yoga Tantra)” (engaging in the most superior meditation practices of internal yoga, such as the practices of union of wisdom and emptiness, and the great samadhi practices).

During the time of the 5^th Dalai Lama, due to the continuous decrease in monks at the monastery, the area of the main hall was reduced, leading to the formation of some auxiliary halls on both sides.

At the beginning of this century, Gongkar Chode underwent its final large-scale renovation.

Existing Architectures

The monastery’s existing buildings consist of the main hall and a two-story building on the north side of the main hall, namely Gong Sangtse, while the rest of the subsidiary buildings have been destroyed. The current buildings are all original structures from the time of the monastery’s construction, and their architectural style is largely consistent with the records in the “Gongkar Chode Annals”

The overall architecture is Tibetan-style earthen and stone construction, with flat roofs and thick walls. Inside the buildings, elements such as beams, columns, brackets, and lintels are mostly constructed using wood.

The main Hall is two stories high and has a square floor plan. In front of the main Hall is a square, with mulberry burning platforms on both sides. There are two prominent pillars in front of the main Hall’s entrance, and the four heavenly kings are painted on the left and right door walls.

The main Hall faces west and consists of the scripture hall, Buddha hall, subsidiary halls, and a circumambulation corridor. It measures 65 meters long from east to west, 55.5 meters wide from north to south, with an additional Kitchen attached to the southwest corner.

Inside the main Hall, there are a total of 49 columns, each adorned with thangkas, allowing for thousands of monks to chant simultaneously.

The four walls of the main Hall are adorned with colorful and exquisitely painted murals depicting the “Life of Sakyamuni(Buddha Jataka),” created during the Ming（AD 1368 – AD 1644） and Qing（AD 1636 or AD 1644 – AD 1912） dynasties.

To the left of the entrance of the main Hall is the Dharma Protectors’ Hall, with statues of Dharma protectors at the entrance and main deities such as Yamantaka and Paldan Lhamo inside.

To the right of the main Hall is a small Buddha hall, where the statues have been destroyed, and miscellaneous items are stored. However, some parts of the “Life of Buddha (Buddha Jataka)” murals are preserved, showcasing a distinct style from the main hall murals influenced by the Palcho monastery and the Guge painting style, suggesting an earlier origin than the main hall murals.

In the central 1st level of the main Hall, the Buddha hall enshrines Shakyamuni Buddha, with the Jampa Buddha hall on the left, all statues that are housing in this halls are very tall

There is a concave circumambulation corridor adorned with Buddhist scripture stories behind the buddha hall of the main Hall that dating back to before the Qing dynasty. However, due to dampness in the corridor, most of the murals have peeled off and deteriorated.

There are murals of approximately 2 meters high depicting the “Sakya Five Forefathers” on the walls to the left and right in front of the Buddha hall, vividly highlighting the characteristics of Sakya sect monasteries.

In front of the Buddha hall,there are rectangular skylights for natural lighting, with murals on the inner walls depicting the Sakya Five Forefathers, Tsongkhapa and his two disciples, and the Maitreya Buddha in a Han-style painting, vividly showcasing the influence of the Gelug pa on the monastery’s murals.

The Legend and Evolution

Legend has it that one day, “Gonggar Namgyal” was reading the “Vajra Sutra” on the roof of the Gongga Tsong’s office and a few pages of scriptures were blown by the wind to the site where the Gongkar Chode is located today. A crow preserved these pages of scripture.

Seeing this extraordinary phenomenon, he believed it was a sign from the Bodhisattva and decided to build a monastery there. In 1464 AD, he constructed the Gongkar Chode here, and began to promote several teachings of the “Four Tantric Classics.”

Since its establishment, the Gongkar Chode has gradually developed a comprehensive system of study and practice, exerting significant influence in the regions of U-Tsang. Particularly popular in the Tibetan region are the monastery’s “Tantric Rituals” and “Vajra Dance,” such as the annual “45 Tantric Mandala rituals” and the “Cham Dance”, among various distinctive Buddhist activities.

The monastery also houses precious Buddhist relics, including the skull of the great practitioner Gayadare, Buddha statues and stupas blessed by the great translator Atisha, Tangka paintings from the Yuan and Ming dynasties, as well as numerous statues of eminent monks and masters from Tibet and India.

However, due to the changes in the world, the original Tantric rituals, Cham performances, and especially the ancient Tantric scriptures from various Tibetan Buddhism sects, the Buddhist scriptures personally written by “Gonggar Namgyal”, and many other scriptures used in daily monastery activities suffered unprecedented destruction.

During the Cultural Revolution in the 1960s, the monastery, being used as a warehouse, remained well-preserved with minimal losses. Most of the main buildings were intact, with many murals still preserved.

Since 1984, through the arduous efforts of several elderly lamas in the monastery, Gongkar Chode has been restored and renovated. The monastery’s study and practice systems, along with daily Buddhist activities, have gradually returned to normal.

In the early 21^st century, there are about 60 monks in Gongkar Chode

The Mural Art

Within the monastery halls, there are a large number of murals painted by the Tibetan artist Master “Gonggar·Khyentse Chenmo” five hundred years ago.

These murals, belonging to the “Khyentse” painting style, are not only abundant and well-preserved but also hold high Buddhist artistic value, playing a significant role in the history of Tibetan Buddhist art.

Although it is not certain if these murals were indeed created by the renowned “Khyentse Chenmo” due to lack of material evidence, it is acceptable to consider them as representative of the “Khyentse” painting style in the current context.

The murals existing in the current Gongkar Chode can be roughly categorized into three themes: Patriarch, deity and protector

These murals are divided into four parts, described as follows:

Part One: Murals on the exterior walls of the Buddha hall.

On the south walls of the Buddha hall, there are depictions of eminent Sakya Pa monks. The three figures on the left side are “Lobon·Sonam Gyanri”, “Sachen·Kunga Nyingpo”, and “Jetsun·Drakpa Gyatso”; The three figures on the right side are “Drogong·Chokye Paba”, “Sakya pandita·Kunga Gyaltsan”, and “Dangba·Sonam Gyantsen”.

The west, north, and east walls depict a complete story of Buddha’s life(Buddha Jataka).

The story is arranged in a clockwise direction, beginning with scenes of Prince Siddhartha’s family before his birth, showing a grand procession with luxurious chariots and attendants, depicting a royal atmosphere. It then progresses to Siddhartha’s birth and youth, including scenes of him archery and enjoying music and dance. Some scenes are blurred, with Indian-style dancers playing musical instruments below, captivating the viewers. The story continues with the Midnight Escape, where the Prince quietly leaves the city on a white horse accompanied by a servant, and then shows him meditating in the forest, resisting temptation from two demonesses. The narrative then shifts to Siddhartha receiving milk rice from a shepherd, leading to his enlightenment under the Bodhi tree, followed by his teaching and guiding of beings after attaining Buddhahood. The story concludes with the Parinirvana of the Buddha, peacefully passing away under the Sala tree surrounded by grieving disciples.

These murals exhibit a bold style, with free and clear compositions, vigorous brushwork, and vivid depictions of facial expressions and movements. Unfortunately, due to intentional damage, most of the colors have faded, leaving only faint traces. From the remaining parts, the predominant colors are green backgrounds, red clothing and buildings, and yellowish skin tones, with additional earthy hues in decorations. The overall decorative style is simple and elegant. These murals date back to the same period as the construction of the monastery

Part Two: Original Hall Mural

This section of murals is located on the west wall of the east side hall and the west wall of the west side hall of the main hall, depicting stories of the Buddha’s life

These stories are distributed among some main images. The main image is 1 meter wide, 1.8 meters high, and 2.5 meters apart. They are all images of Sakyamuni. They have headlights, backlights, and lotus seats, all of which are in a seated posture of sitting cross-legged. These scenes of the stories of the life of the Buddha are the essence of the murals in Gongkar Chode.

The murals show the painter’s great interest in these subjects, thus fully embodying the superb artistic ingenuity.

Story 1: There was a rich man who did all kinds of evil during his lifetime. He unleashed his dogs to bite monks who begged for help. In later life, he fell into the animal realm and turned into a yak-like monster. He was slaughtered by herdsmen with knives and spears, and was also killed by tigers, lions, poisonous snakes, scorpions, etc. The bite is excruciating; there is a picture of the Buddha preaching on it, and there are many monks and laypeople surrounding it listening carefully and understanding the principle of cause and effect. It is worth noting that this story scene is also seen in the sutra hall murals painted in the later period. However, in comparison, the former depicts a more secular life, and the style is more like a genre painting. Unlike the latter, which is more conceptual and Illustration.

Story 2: A businessman was robbed on the way. He committed suicide under a tree and was rescued by the Buddha. Later, the man was so grateful that he converted to Buddhism. Before the death of the Buddha, he came to the Buddha and knelt down to listen to the Buddha’s teachings. The picture shows the touching image of the Buddha teaching people tirelessly before his death. In addition, great attention is paid to the consistency of facial features of the characters in the picture. In addition, the pictures are full of life-like details, such as scenes of folk bands, eminent monks giving sermons, and rituals, as well as the personalities of monks, nobles, common people, beggars and other people from all walks of life.

These story scenes are set amid decorative buildings, trees, flowers, and valleys, with clear and free compositions, either upwards or downwards, left or right, all determined by the overall density. The figures and overall style exhibit a refined elegance reminiscent of traditional Chinese paintings. The story scenes are outlined in black or red lines, with skin tones mostly in earthy yellow, garments in red, and backgrounds in green. These murals are from the main hall before the fifth Dalai Lama’s small hall, which is contemporary with the time when the monastery was built.

Part Three: The murals in the main Hall.

The subject matter is the same as that of the original main Hall murals, which are all stories from the biography of Buddha and the story of the Buddha’s life, but they have different characteristics in terms of artistic techniques.

These story scenes are also centered on several main statues. The main statues are 1.1 meters high, 1 meter wide, and 1.2 meters apart. They are smaller and denser than the main statues of the original main Hall. On each side of the entrance are two heavenly kings. The last image in the prayer corridor on the east wall is the statue of the fifth Dalai Lama, and the rest are all portraits of Sakyamuni.

These main images all have a headlight, a backlight, and all in a posture of sitting cross-legged. Their skin color is earthy yellow, their clothes are red, the backlight part is blue, and there is an orange-red flame around them. The handprints are different. The characters in the story scenes are outlined with red and black lines, the monks are all dressed in red, the lay people are mostly dressed in blue, the buildings are mostly in red, and the tops of the buildings are painted in gold. The composition of the picture has a stylized trend, and is all decorated with green background colors to form mountain lines in a triangular composition, which play the role of dividing the picture. The brushwork is rigorous and meticulous, the colors are rich and luxurious,the plot description tends to be conceptual and diagrammatic, the naturalistic style and the color of secular life gradually become lighter, and the decorative style appears complicated and gorgeous.

Part Four: Esoteric Hall Mural.

This hall is located on the north side of the second floor of the main hall. It is a square hall with dimensions of 8.9 meters in length and width. The walls of the hall are adorned with murals starting from 0.5 meters above the ground, with a 0.15-meter-wide Sanskrit decorative border serving as the baseline, and murals extending from the baseline to the ceiling, with a width of 2.6 meters. Additionally, there are windows of 1 meter and 1.2 meters on this wall, and one window each of 0.7 meters and 1.4 meters on the east and west walls.

Tshongdu Dratsang, also known as “Tshongdu Monastery” or “Tshongdu Tsogpa,” is one of the four major Tsogpa in Tibet, the other three are Tse Tsogpa in Nedong County, Tsanggang Tügang Tsogpa in Shigatse, Gyangling Tsogpa in Zhanang County.

It belonged to Kadam Pa of Tibetan Buddhism when it was funded, then after it converted to the Sakya sect in the mid-13^th century.

The monastery is situated on the southern bank of the Yarlung Tsangpo River, surrounded by lush greenery and beautiful scenery. Located in Tshongdu Village, east of the county seat of Dranang (Zhanang) County,

The Founder

Tshongdu Dratsang was founded by the renowned Indian Buddhist scholar “Kache Panchen·Sakya Sribhadra” (AD 1127–AD1225 AD).

“Kache Panchen” means “the great pandita of Kashmir (Pandita equivalent to a Buddhist philosophical doctorate).”

“Kache Panchen·Sakya Sribhadra” was born in present-day Kashmir. He was the last abbot of the Nalanda Monastery in India and a prominent Buddhist scholar.

At the age of 10, he mastered the “Five Sciences,” and at 23, he became a monk, Since then, he traveled extensively in eastern India to promote Buddhism, possessing profound knowledge of esoteric teachings.

In 1204 AD, at nearly 80 years old, “Kache Panchen·Sakya Sribhadra” was invited by the “Lotsawa·Yampa Pal, AD 1173 – AD 1219, the great translator)” to Tibet to propagate the Dharma. He nurtured many prominent figures in the Tibetan Buddhist community across Tibet.

The monastic discipline he brought from India belonged to the “Sarvasti-vada” (one of the Buddhist sects), holding a significant position in Tibetan Buddhist history.

The temple structure

The architecture of the old buildign of Tshongdu Dratsang is grand, however, the new one is much smaller than the old one in scale, consisting of a three-story courtyard-style building. The central area features a courtyard with the main hall and monks’ quarters built around it. The main hall is located on the second floor, while a separate small hall on the third floor serves as the Buddha hall.

The Main Hall

Surrounding the main hall is a two-story monk’s dormitory.

The main entrance is on the second floor, accessed via a wooden staircase leading to the corridor of the main hall, which is supported by four large square pillars.

The corridor’s murals depict the Four Heavenly Kings, the Six Paths of Reincarnation Diagram, the Ideal World, and a four-faced and two-armed statue of Guanyin.

The main hall is 15 meters in depth and 6 meters in width. Inside, there is a gilded bronze statue of Sakyamuni Buddha as the main deity. To the west, a gilded bronze statue of Avalokiteshvara with a thousand arms and eyes is enshrined, while to the east, a statue of the goddess Tara is worshipped.

In a Buddha niche on the west side, statues of the renowned figures “Kon·Gongcho Gyalpo (AD 1034 – AD 1102)” and his disciples from the Sakya sect are enshrined.

The walls of the main hall are adorned with murals depicting the founder of the Sakya Pa, “‘Dromi·Sakya Yeshe (AD 994 – AD 1078)”, along with images of successive abbots and the third abbot of the Sakya Pa, Dragpa Gyaltsen (AD 1147 – AD1216), as well as various protective deities.

On the north wall of the courtyard, murals depict Vajrapani Bodhisattva.

The west wall features depictions of Sakyamuni Buddha, Vajradhara, Sarasvatī, and Manjusri.

The east wall showcases eight different images of Padmasambhava.

Buddhist hall

The third floor of the main hall is an independent small building used as a Buddhist shrine.

The murals inside the Buddha hall are well-preserved, depicting a thousand Buddha statues throughout the hall. The statues are outlined with a single line, standing at 0.17 meters tall, with circular halo and back light, high topknots, wearing draped robes on the right side, and the right hand touching the ground in a gesture, seated in a lotus position.

On the lower parts of the left and right walls inside the Buddha hall, there are four Bodhisattva statues on each side, namely the “Eight Great Disciples”: Manjushri, Vajrapani, Avalokiteshvara, Ksitigarbha, Dribpa Namsel, Akasagarbha, Maitreya, Samantabhadra, all depicted standing with various forms. The statues are 0.35 meters tall, with oval halos and back lights, tall crowns, adorned with precious silk-bound hair, draped shoulders; bare upper body with tight-fitting diagonal pants, holding a lotus flower in the left hand, and the right hand hanging down with palm facing outward; adorned with earrings, necklaces, bracelets, armlets, waistbands, and flowing robes hanging from the shoulders, giving a sense of movement; standing barefoot on a lotus pedestal.

The Buddhist hall houses Tryadhva-buddhah clay statues and two sandalwood-carved small pagodas.

Brief History

Tshongdu Dratsang, built around the year 1200 AD,

Underwent a major renovation in the 19th century by a person named “Deba Benden”, who repainted the murals and constructed a new monk’s quarters to the south of the main hall.

After 1959, it was requisitioned and converted into a granary.

During the Cultural Revolution in the 1960s, the monastery suffered damage.

In 1981, reconstruction planning began following the implementation of a new religious policies.

Today, after the granary was relocated and the white paint and slogans on the walls were wiped away, the religious-themed murals reemerged, with very few remaining structures of the monastery.

In 1998, it was designated as a county-level cultural heritage site.