Gelug Pa Monasteries

Wache Stupa Grove, Located in Wache Township, Hongyuan County, Aba Tibetan and Qiang Prefecture, this place is a T-shaped intersection with an elevation of 3,480 meters. It is 60 kilometers south of the First Bend of the Yellow River, 42 kilometers north of Hongyuan County seat, approximately 40 kilometers south of the Jiuqu First Bend of the Yellow River, and 150 kilometers east of Chuanzhusi in Songpan County.

In the Tibetan language, “Wache Stupa Grove” means “big tent.” This site is home to Wache Stupa Grove, a place commemorating the 10^th Panchen Lama’s sutra recitations and prayers for blessings. The talin (stupa grove) features the largest cluster of white stupas in northwestern Sichuan, with 108 white stupas as its centerpiece. Surrounding the stupa forest is a vast expanse of continuous prayer flags, creating a truly magnificent sight.

According to traditional Tibetan geomancy, the Gaqu River flows from west to east around Wache Stupa Grove, naturally forming a crescent-shaped river bend. This is believed to endow the area with exceptional auspicious energy, making it a feng shui treasure land for gathering blessings and wealth.

This location also serves as a memorial site for the 10th Panchen Lama’s sutra recitations and prayers.

Overview of Wache Stupa Grove

Upon entering Wache Township in Hongyuan County, Sichuan Province, you are greeted by sprawling stupa forests and prayer flags. Local residents built the stupa forest and surrounding white stupas at the site where the 10th Panchen Lama delivered his teachings. The area is adorned with continuous prayer flags hung by devout Tibetans, presenting a breathtaking spectacle.

On both sides of the dirt road stretch vast fields of prayer flags, each tall flagpole resembling a giant umbrella canopy. Stepping into the prayer flag clusters, long strands of flags encircle a central towering pole, forming circular arrays. Each prayer flag formation looks like a colorful tent. Though faded over time, losing their original vibrancy, the scene remains awe-inspiring.

Within this 30-mu (approximately 2-hectare) area, there is an auditory sensation of “silence filled with whispers.” Multicolored prayer flags flutter and sway between the earth and the sky, reciting Buddhist scriptures with the wind, narrating them over and over. The soft murmurs carry the people’s prayers for blessings and disaster relief.

The 108 stupas here encapsulate the earthly struggles and ultimate fulfillment of Shakyamuni Buddha. They remind us that even the Buddha stumbled and faltered on his path to enlightenment, experiencing a life interwoven with light and shadow. A profound feeling of “seeing the heavens, seeing the Buddha, seeing all beings, and seeing oneself” arises naturally.

Moreover, to pray for peace and to liberate the souls of the departed, the faithful have erected numerous prayer flag tents (formed by layering prayer flags around a central wooden pole, resembling a tent). This is the largest cluster of prayer flag tents in the Tibetan regions of Sichuan Province.

The area also contains a wealth of stone-carved scriptures, including the Six-Word Mantra, Guru Rinpoche’s secret incantations, the Liberation Sutra, and the Hundred-Word Sutra, among others. There are over 30,000 inscribed stones, more than 100 stone scripture piles, 126 rooms storing small molded clay Buddha statues (tsatsa), 387 prayer flag tents, 312 stupas, and over 400 prayer wheels.

The 108 Stupas of Wache Stupa Grove

In 1982 and 1986, the 10th Panchen Lama visited Wache twice, imparting the esoteric teachings of Buddhist sutras and expounding the “Great Law of Virtuous Conduct.”

In 1982, during the 10th Panchen Lama’s inspection of Hongyuan County, devotees erected a towering throne symbolizing the Fearless Great Sovereign of Liberation, along with a sangha platform (a consecrated incense-burning altar) adorned with symbolic lines representing the four activities of pacification, increase, attraction, and subjugation. With utmost devotion and according to the highest traditional Tibetan etiquette, they welcomed the Panchen Lama on horseback, conducting rituals steeped in the solemnity and grandeur of Tibetan Buddhism.

Thereafter, to commemorate the Panchen Lama, the faithful constructed a memorial hall at the site. Initially, they placed a life-sized statue of the master on the throne where he had sat, enshrined it within a hall, and surrounded it with 64 stupas (eight times eight). Over the years, more stupas were added, their numbers steadily increasing, until the site became the largest stupa forest in the Tibetan regions of northwestern Sichuan.

In 1989, after the 10th Panchen Lama’s passing, the devotees of Wache built these 108 stupas at the location he had visited, as a tribute to this religious leader.

The significance of the number 108 has various interpretations.

One theory links it to Vairocana, mentioned in the Buddhist tantric text The Vajra Necklace Sutra, where Vairocana’s 108 manifestations are described. Vairocana, meaning “Great Sun Tathagata” in Sanskrit, is one of Shakyamuni Buddha’s titles. The light of reason and wisdom brought by the Great Sun Tathagata is eternal, dispelling all darkness and benefiting the world.

Another explanation relates to Buddhism’s classification of human afflictions into 108 types. To eliminate these afflictions, practitioners are prescribed to use a 108-bead mala, strike bells or drums 108 times, and recite sutras 108 times. By extension, building 108 stupas—akin to a superior mala composed of 108 beads—symbolizes the removal of these afflictions.

Types of Stupas

Buddhist architecture always carries a foundational intent. Grand narration is an inherent trait of Tibetan faith.

At the entrance to Wache Stupa Grove stands a pyramid-shaped main stupa, composed of numerous resplendent golden smaller stupas. These encompass the eight traditional styles of Tibetan Buddhist stupas, each representing a distinct phase of Shakyamuni Buddha’s life and his karmic connection to the Dharma.

1. Lotus Stupa: Commemorates Shakyamuni Buddha’s birth, when he could walk immediately upon touching the ground, with a lotus flower blooming beneath each step.
2. Bodhi Stupa: Honors Shakyamuni’s enlightenment at age 35, when he sat facing east under the Bodhi tree at the Vajra Seat in India, meditating intensely for seven days and nights until achieving Buddhahood.
3. Auspicious Stupa: Marks the 49 days after his enlightenment when Shakyamuni first taught the Dharma and turned the Wheel of the Law.
4. Descent-from-Heaven Stupa: Recalls Shakyamuni at age 41, descending to earth after preaching to his mother in the heavenly realm.
5. Miraculous Transformation Stupa: Commemorates Shakyamuni at age 57, subduing attacks from heretics and leading them to take refuge in the Buddha’s teachings.
6. Reconciliation Stupa: Celebrates Shakyamuni persuading monks who had formed a separate faction to reconcile and return to the Buddhist community.
7. Victory Stupa: Honors Shakyamuni’s agreement to extend his life by three months.
8. Nirvana Stupa: Memorializes Shakyamuni’s passing into Nirvana at age 80.

These eight stupa styles can be distinguished by their structures rising from square bases: some have three or four tiers, others feature lotus or leaf motifs, and they may be quadrilateral, octagonal, cylindrical, or stepped.

Prayer Flags

Prayer flags are a ubiquitous totem in Tibetan regions. They are pieces of cloth or hemp fabric inscribed with scriptures, then placed atop mountains, at road intersections, or along riverbanks. Their purpose is to harness the forces of nature to recite the scriptures, ensuring peace and auspiciousness.

The way prayer flags are set up varies across Tibetan areas. In Wache, Hongyuan, they are arranged to encircle a structure resembling a domed tent, and the vast expanse of the Wache prayer flag cluster is a rare sight even among Tibetan regions.

The prayer flags at Wache mostly take the form of “big tents.” Here, a variety of prayer flags from across the Tibetan lands converge.

In terms of content, they include scriptural mantras, pictorial designs, and blank ones without text. In terms of form, there are umbrella-shaped pagoda styles, banner styles, prayer flag trees, and pole styles. In terms of color, they feature blue, white, red, green, and yellow. In terms of production, they range from carved templates, inked designs, to printed versions—diverse and manifold.

Though weathered by sun, rain, wind, and dust, the prayer flags of Wache have lost their original luster, appearing faded or even tattered. Yet their spiritual essence remains undiminished, exuding a profound sense of historical vicissitude. Under the glow of the setting sun, they seem to whisper divine words that permeate the surroundings.

Prayer flags, hung horizontally or vertically depending on the terrain, flutter boldly in the wind. Adorned with straight lines, wavy patterns, and spiraling script, the flags are recited by the wind to the ears of the Buddha, who, in turn, guides us—adrift and bewildered—toward the origins and destinations of life.

The prayer flags of Wache form a belief system that is “scattered in form yet united in spirit.” They inspire the intangible soul to revere, defend, and uphold them. Through this outward expression, their inner realm becomes vast and boundless.

With an air of unshakable calm and transcendence, these prayer flags establish a symmetrical, steady, and enduring order in both mind and emotion, bringing people peace, relief, or inspiration.

Adjacent to the prayer flag cluster lies a field of white stupas and prayer wheels, where Tibetan locals often circumambulate the stupas and turn the wheels in devotion.

Dragkar Gonpa is a nunnery affiliated with the Gelug Pa of Tibetan Buddhism.

Located in Tongfoshan Village, Gexi Township, Dawu （also “Tawu” or “Daofu”） County, Garzê Tibetan Autonomous Prefecture, Sichuan Province, it is only 13 kilometers from the county seat of Dawu. Its advantageous geographical position is enhanced by access to roads and electricity, providing modern support for the temple’s daily operations and the nuns’spiritual practices.

Dragkar Gonpa is renowned for its large community of nuns, making it one of the largest nunneries in the Kham region and even across Tibetan areas. This highlights the significant role of women in the practice of Tibetan Buddhism.

As a Gelug institution, the gonpa upholds the tradition of this school, which emphasizes strict adherence to monastic discipline, a balanced focus on scriptural study, and meditation. The nuns diligently follow the Gelug teachings, engaging in intensive practice, studying scriptures, and undertaking long-term retreats to attain the wisdom of the Buddha’s teachings.

The Gelug school, founded by the great master Tsongkhapa, is known for its systematic doctrine and well-organized monastic community. As a representative of this lineage, Dragkar Jomo Gonpa provides a pure and peaceful environment for numerous female practitioners.

Built against the mountainside, the gonpa is surrounded by a tranquil landscape of rolling hills, blending harmoniously with the natural scenery. This reflects the traditional wisdom of Tibetan Buddhist temple site selection, offering practitioners a serene and peaceful setting for their spiritual pursuits.

This geographical environment not only creates ideal conditions for the nuns’ practice but also imbues the temple with an air of solemnity and mystery.

The gonpa’s overall architectural style is elegant and dignified, fully embodying the characteristics of the Gelug school of Tibetan Buddhism. It is equipped with facilities such as a scripture hall, meditation rooms, and dormitories for the nuns, providing comprehensive support for their practice and daily life.

The scale of the nunnery is striking, with a monastic community of 358 nuns—a rare size among nunneries in Kham.

These nuns adhere to strict monastic discipline, dedicating their daily lives to chanting scriptures, meditating, and studying Buddhist teachings, thereby preserving the Gelug lineage.

The gonpa serves not only as a spiritual home for the nuns but also as a source of spiritual solace for the local community.

During religious festivals or significant Dharma assemblies—such as the Tibetan New Year, Saga Dawa, and the Festival of Lights–the gonpa holds grand religious ceremonies. These events attract villagers from the surrounding areas to come and pay homage, participate in prayers, make offerings, and experience the solemnity and compassion of the Buddha’s teachings. This makes Dragkar Jomo Gonpa a vital link between the community and its faith.

The large number of nuns also reflects the deep devotion and commitment of Tibetan women in the Dawu region to Buddhist faith.

Thanks to the availability of roads and electricity, Dragkar Jomo Gonpa maintains its traditional religious atmosphere while incorporating the conveniences of modern life. This enhances the quality of life for the nuns and attracts more visitors to explore this unique nunnery.

As a religious landmark in Dawu County, Dragkar Jomo Gonpa showcases a distinctive charm through its adherence to Gelug teachings, its vast community of nuns, and its beautiful natural surroundings.

It stands not only as an important vessel of Tibetan Buddhist culture but also as a testament to the pursuit of liberation and wisdom by female practitioners on the eastern himalayan plateau.

Today, Dragkar Gonpa stands quietly atop Tongfoshan Mountain. As times evolve, it continues to uphold its Buddhist traditions while adapting to societal changes, guiding the faithful with compassion and wisdom, and spreading the teachings of the Buddha.

Nyintso Gonpa, also known as “Nyintso Tosam Dargyaling”, is a Gelug pa monastery of Tibetan Buddhism that located in Xianshui Town, Dawu (Tawu or Daofu) County.

It is one of the 13 Gelug Sect monasteries in Kham and was founded in 1662 AD (the first year of the Kangxi reign of the Qing Dynasty).

Legend

Legend has it that in ancient times, there was a large lake named Nyintso in the location of the county town, meaning “a sea with fish.” Nyintso is the Tibetan transliteration of Nyitsuo

Buildings

The monastery is built on a mountain with a water view and has a terraced layout, surrounded by the residents of Dawu. The architecture is centered on the main hall, forming a stepped building complex. There are four mountain gates, with over 500 halls, pavilions, and monk rooms.

The back hall of the main hall is a “biankong” composed of 21 11-meter-high pillars. In the center is a 10-meter-high Jizhi-benba Buddha statue, with Atisha and Tsongkhapa and his three disciples on both sides. Adjacent to the biankong is the middle hall, which can accommodate 2,000 monks reciting sutras on Tibetan carpets. The hall has exquisitely carved large niches, with a 2-meter-high Tsongkhapa Buddha statue in the center and twelve other statues on both sides. In addition, there is a stupa of the recently deceased Pema Lingpa.

Sutra and Butter flower

The main hall of Nyintso Gonpa houses hundreds of volumes of the Kangyur and Tengyur. The interior is painted and carved in the Tibetan style, with auspicious treasures, holy monks, and various thangkas. The hall is magnificent, with thousands of Buddhist artifacts made of gold, silver, and bronze. The butter lamps are always lit.

The butter sculptures and butter flowers of Nyintso Gonpa are extremely famous, not only depicting the life stories of Shakyamuni and the deeds of the founding fathers such as Tsongkhapa, but also interweaving Buddhist tales such as “Journey to the West.” They are renowned throughout the Tibetan region for their unique style and exquisite sculpting techniques, earning the title of “a unique wonder in Kham.”

Religious Events

Every year on the 15th day of the 1st Tibetan month, Nyintso Monastery holds grand Buddhist rituals in the square in front of the main hall, erecting tall and colorful tents displaying large butter sculptures. The butter sculptures and butter flowers of Nyintso Monastery are renowned for their exquisite craftsmanship, rich content, and delicate sculpting. Their themes include not only the life stories of Shakyamuni Buddha and the deeds of the founding fathers like Tsongkhapa, but also interweave Buddhist tales such as “Journey to the West,” as well as folk legends, historical stories, and more. While butter flowers in other places and temples are mostly focused on lines, patterns, and floral designs with very few human figures, the butter flowers of Nyintso Monastery are predominantly centered around human figures, supplemented by flora and fauna, and are particularly remarkable for their vivid and lifelike expressions.

The butter flower festival on the 15th day of the 1st Tibetan month, the Jangkak Great Prayer Festival from September 22nd to 29th in the Tibetan calendar, and the An-que Great Prayer Festival from October 21st to 25th in the Tibetan calendar are all very grand, with the butter flower festival being the most famous. The butter flowers made at Nyintso Monastery are exquisitely shaped and brightly colored, representing the finest craftsmanship in Tibetan art and are renowned in Kham.

Tagtsa Monastery, formally known as “Tagtsa Auspicious Virtuous Dharma Monastery,” is located in the northeastern part of Tagtsa Town, the capital of Zoigê County, Aba Tibetan and Qiang Autonomous Prefecture.

The monastery was founded in 1663 AD by the 1^st Tagtsa Rinpoche, Chökyi Molang Lhundrup, and belongs to the Gelug pa of Tibetan Buddhism.

Overview

The monks of Tagtsa Monastery strictly uphold monastic discipline and diligently practice various Buddhist teachings, earning the monastery the reputation of being a sacred site of Chakrasamvara.

Before 1958, the monastery had direct administrative authority over the Zoigê and Washa tribes and indirect authority over the Doma tribe.

Historically, it was under the jurisdiction of Tashilhunpo Monastery in Shigatse.

During the tenure of the 6th Tagtsa Rinpoche, Gesang Jigmey·Tenpé Gyaltsen, he attained a high level of spiritual realization, was known for his profound wisdom and analytical insight, and was well-versed in both Sutrayana and Tantrayana teachings. In 1956, he was granted the title of “Sharwa Chökyi” by Drepung Monastery in Lhasa.

Currently, the monastery operates three major Dratsangs (monastic colleges): the College of Dialectics (Shungten Academy), the Tantric College, and the Kalachakra College.

At present, the monastery has about 172 monks, including 50 Geshe scholars, and is home to two living Buddhas (tulkus).

The ancient buildings and cultural relics of the monastery are well preserved, and in 2004, it was designated as a Provincial-Level Key Cultural Heritage Protection Site by the Sichuan Provincial Government.

Architecture

The entire monastery is built along the mountainside, covering an area of 88,000 square meters, with a total building area of approximately 23,838 square meters.

The architectural style combines traditional Tibetan stone-wood structures with Han-style architectural elements such as beam-frame structures and gilded rooftops. This seamless integration of Tibetan and Han construction techniques and artistic styles results in a grand, uniquely designed monastery complex, characterized by its well-organized layout and distinct hierarchy of structures.

The main buildings include the assembly halls of the three major Dratsangs (monastic colleges), the Tagtsa Academy, the living quarters of the Tagtsa Rinpoches, the monastery’s Tibetan medical clinic, the Tsongkhapa Hall, the Guardian Deity Hall, the Vajrapani Protector Hall, the Kalachakra Stupa, the Bodhi Stupa, the Victory Stupa, the Demon-Subduing Stupa, as well as 86 meditation rooms for monks, a circumambulation hall with 900 large and small prayer wheels, a retirement home, a Dharma supply center, a dining hall, and the monastery administrative office building, all built in traditional Tibetan architectural style.

Tagtsa Academy

Tagtsa Academy is the only monastic academy of its kind in Kham. Located on the right front side of the monastery, it covers an area of 3,570 square meters and is a three-story building in traditional Tibetan architectural style.

Originally, it was a scripture hall within Tagtsa Monastery. Recognizing the limited educational resources among local nomadic and farming communities, as well as the uneven study opportunities for monks, the 7th Tagtsa Rinpoche, Garang Töpten·Rabshe Gyangtso, took five years to establish the first modern multifunctional monastery academy in Tibetan regions.

The academy was founded with the aim of promoting and preserving Tibetan culture and providing broader educational opportunities for the local population. This initiative has been warmly welcomed by Buddhist devotees.

The academy was opened to the public in 2006 and houses a collection of over 100,000 Tibetan and Chinese books. The Tibetan texts cover subjects such as religion, medicine, astronomy, calendrical sciences, and biographies.

The academy is divided into several functional areas: a library, an exhibition hall, a Grand Master Hall, a general administrative section, and a training center.

• The first floor houses the library, which includes a book storage hall, a reading room, and a lecture hall. The library holds over 100,000 books, including precious Buddhist scriptures in Tibetan and Chinese. The reading room accommodates nearly 100 people, while the lecture hall is equipped with modern educational tools such as computers and projectors for hosting academic lectures, seminars, and cultural training sessions.
• The second floor features the exhibition hall, which displays a variety of religious and cultural artifacts, including gold and bronze Buddha statues, wooden carvings, Bodhisattva images, tsa-tsas (small clay votive tablets), murals,thangkas, ritual instruments, as well as various musical instruments, handicrafts, and traditional household items.
• The third floor houses the Grand Master Hall, where over 100 statues of eminent Tibetan Buddhist masters and scholars who have significantly contributed to the preservation and dissemination of Tibetan culture and Buddhism are enshrined.

The main deity enshrined in the hall is Je Tsongkhapa, the founder of the Gelug pa of Tibetan Buddhism, along with his two main disciples, Gyaltshab Je and Khedrup Je.

Tagtsa Monastery’s Academy provides a valuable cultural and spiritual resource for local nomadic and farming communities while serving as an important platform for Tibetan cultural research and preservation.

On March 5, 2013, the State Council of the People’s Republic of China designated Tagtsa Monastery as a National Key Cultural Heritage Protection Site under the seventh batch of listed sites.

Collections

The monastery houses a vast collection of sacred statues, including numerous Buddha and Bodhisattva images. Among its most treasured relics are a Prajñāpāramitā Sutra written in golden ink, a Buddha statue over 3,000 years old, a high lama’s skull inscribed with Tibetan letters, and a stone stele imprinted with the handprint of the 6^th Tagtsa Rinpoche.

Dharma Assemblies

Tagtsa Monastery holds numerous religious festivals and ceremonies throughout the year.

The main annual Buddhist events include:

• The Great Prayer Festival (Mönlam Chenmo) in the first lunar month, which features rituals such as the Buddha Unfolding Ceremony (Thangka Display), butter sculpture exhibitions, scripture recitations, and a Maitreya procession.
• The Nyungne Retreat in the fourth lunar month, a fasting retreat in which all monks observe a sixteen-day period of strict fasting and intense Avalokiteshvara practice while reciting the Six-Syllable Mantra.
• The Debate Festival in the seventh lunar month, also known as the “Festival of Teachings.”
• The Lamp-Lighting Festival in the tenth lunar month.
• The Calamity-Averting Rituals and the Dance of the Dharma Kings in the twelfth lunar month.

Seventh-Month Debate Festival

The Seventh-Month Debate Festival at Tagtsa Monastery, held during the seventh month of the Tibetan calendar, is a traditional monastic debate period known in Tibetan as “Denbé Rozha”, meaning “Seventh-Month Grand Debate”.

This debate session coincides with the monks’ summer retreat (Yarne), creating a period that is both intense and contemplative.

The festival begins on the 7th day of the seventh month and concludes on the 15th day, with a dedication ceremony on the 16th.

The primary focus of this period is Buddhist debate, with daily debates occurring in the morning and afternoon. The topics cover Buddhist Logic (Pramāṇa), Perfection of Wisdom (Prajñāpāramitā), Madhyamaka (Middle Way), Abhidharma (Treasury of Knowledge), and Vinaya (Monastic Discipline). On the 15th day, the debates culminate with a special session known as the “Turning of the Wheel of Dharma.”

Debate Format

• The debate takes the form of a one-on-one debate in front of the entire assembly in the main prayer hall,
• Each debate is a one-on-one session, lasting for the time it takes to burn a single incense stick (approximately 30 minutes to 1 hour).
• Participants are selected through a rotational system within their classes.
• The final selection is made at the Dorma Mani Dharma Assembly at the end of the third lunar month, where the Chief Dharma Teacher and Geshe Supervisors announce the chosen participants.
• In the following months, the debate participants undergo a preparation period. Besides reciting the required texts, their practice primarily focuses on debate topics.
• Selected monks spend over three months preparing for the debates, though the actual debate lasts only about 40 minutes.

Debate Process

The formal debate ritual spans three days:

1. Day One: Flower Gathering – Participants, accompanied by family and friends, gather fresh flowers from the monastery grounds and surrounding grasslands.
2. Day Two: Offering & Prayers – The two debate participants present their offerings, including fresh flowers, khatas (ceremonial scarves), butter lamps, and other ritual items, at the main prayer hall and various shrine rooms.
3. Day Three: The Grand Debate – The debate takes place in the monastery’s main hall, with monks gathered in complete silence, attentively observing the two participants. Fresh flowers are scattered across the hall, symbolizing blessings and auspiciousness.

This debate serves as a rigorous examination, testing not only the depth of their knowledge but also their mental resilience under high-pressure conditions.

Once the debate concludes, classmates, friends, and family members present khatas to the participants as a gesture of congratulations and respect for their successful completion of the debate.

Brief History

Tagtsa Monastery has undergone development and expansion under the leadership of seven generations of reincarnated lamas (Tagtsa Rinpoches).

• 1663 CE – When first established, Tagtsa Monastery was merely a small meditation retreat, with only a dozen resident monks.
• 1829 CE – The Fourth Tagtsa Rinpoche, Losang Tenzin Gyatso, along with his brother Solang Tashi, relocated the monastery from the confluence of the Heihe (Black River) and Rhe River to its current site. They constructed the Main Assembly Hall, the Prajnaparamita Shrine, and established the Upper Tantric College.
• 1960s – The monastery suffered severe destruction.
• May 1981 – Restoration of Tagtsa Monastery began.
• 1984 onwards – Large-scale restoration projects were carried out, including the reconstruction of major shrine halls and the sculpting of over 2,000 Buddhist statues.
• July 2, 2006 – The Tagtsa Academy was completed and officially opened.
• 2009 – The Main Buddha Hall (Mahavira Hall) was reconstructed.

Sumge Mani is also known as “Songge Mani-Sutra City” or “Sumge Mani Stone Castle“

This is a large complex built entirely out of “mani stones” (stones inscribed with Buddhist sutras). Due to the vast openness of the surrounding grasslands, the stone-city does not appear grand or tall from a distance.

The location of the stone castle is called “Song” in the Tibetan language, hence the local people refer to it as “Songge Mani” (“Ge” is a particle without meaning).

The stone castle is oriented facing south, and the entire city is rectangular in shape. It is 73 meters long from east to west, and 47 meters wide from north to south. The outer walls are approximately 9 meters high, while the central stupa section reaches the highest point at 14.5 meters.

According to historical research, the stone castle is believed to have been built between the 11^th and 12^th centuries, covering an area of about 4,000 square meters. It is entirely constructed of mani stones with inscribed scriptures, without the use of any adhesives or supporting frameworks.

Location

Sumge Mani Stone Castle is located about 70 kilometers northeast of Shiqu (Sershul) County in Arizha Township.

It is situated on the western bank of the Luoqu River, a tributary of the Yalong River, between two mountains in a wide valley. It is built at the foot of a low hill, with the open grasslands in front and a gently sloping, rounded hill further away. The surrounding terrain offers both a sense of shelter and openness.

Architecture

The outer walls of the stone castle are lined with rows of densely packed niches that look like countless “windows.”

Most of these niches house finely carved and colorfully painted stone statues of Buddhas and deities. There are both bas-relief and line carvings, with exceptionally intricate techniques. The statues vary in type and appearance, each with unique expressions and postures.

Many of the stone carvings have weathered over time, with their colors fading, giving them an ancient look.

According to field surveys, there are 383 niches on the outer walls of the stone castle alone, including 204 on the front wall, 68 on the east wall, 62 on the west wall, and 49 on the back wall.

A small gate, located slightly to the west on the front side, provides access to the interior of the stone castle.

Inside, the stone castle is densely packed with piles of mani stones inscribed with various scriptures and images of Buddhas, leaving only narrow passageways for movement. These paths twist and turn between the high walls of mani stones, leading one left, right, up, and down, creating a labyrinth-like experience for those walking within.

On the eastern side of the castle, there is a stupa built from mani stones, standing about 5-6 meters tall.

The most mysterious part of the castle is a well-like structure made of five concentric stone circles, stacked on top of each other.

This well is located at the lowest point inside the castle, approximately level with the ground. It is said that this well marks the center of the castle and is considered the “heart” of the entire structure.

On top of the five stone circles lies a mani stone. When the mani stone is lifted, a well opening is revealed in the center of the stone circles.

According to local residents, the well is bottomless, and when one leans over and listens carefully, they can hear the sound of flowing river water, the sounds of temple horns and drums, or even the thunderous gallop of warhorses. Everyone hears something different.

When we leaned over and listened for a while, there was a clear sense of emptiness below, and a cool breeze rose gently from the well. From these observations, it seems that there is a large space beneath the well, possibly very deep.

Thus, the various sounds people hear inside the well may stem from a subjective illusion triggered by the sense of “emptiness.” This could explain why different individuals hear different sounds.

However, what is the purpose of this mysterious well? How was it formed? Is it related to the construction of the stone castle? Local people have no answers to these questions.

But based on the sense of emptiness felt in the well at the center of the castle, the labyrinth-like passageways, and the overall layout of the stone castle, it seems unlikely that this structure was randomly built. It is highly probable that there was some form of design and planning involved from the very beginning.

The interior of the stone castle is also filled with countless niches, all housing exquisitely carved stone statues of Buddhas in various forms and expressions.

Verification of the Construction Period

There are many theories about the construction period and origin of the Sumge Mani Stone Castle, with two particularly noteworthy ones:

The first theory is a widely circulated local legend in the Arizha Township area, where the stone castle is located. It suggests that during the time of King Gesar, his army engaged in a major battle with enemy tribes in this region. Many soldiers were killed in the battle, and in order to perform rituals to guide the spirits of the fallen, the soldiers built a mani stone mound here.

Over time, as local people came to commemorate King Gesar’s achievements, more and more people made pilgrimages to this site, gradually enlarging the mani mound until it eventually became the Sumge Mani Stone Castle.

Supporting this theory is the discovery of over 30 colorfully painted stone statues of King Gesar and his 30 generals in a niche at the center of the front of the stone castle. This seems to suggest a certain connection between the castle and King Gesar.

The Shiqu grassland was once one of King Gesar’s strongholds, and even today, many legends about King Gesar and the relics of his activities are still passed down in the Shiqu grassland area.

Many scholars in Gesar studies believe that King Gesar of the Ling Kingdom is based on the Ling family clan of the 11th-12th centuries, who lived in what is now Dege and Shiqu in Sichuan (the ancestors of the Tusi leaders in Dege). Scholars in Gesar studies regard Jisuyagekanduo in the Ashu Township of Dege County in Ganzi Prefecture, Sichuan, as the “hometown of King Gesar” (where a temple dedicated to King Gesar and various relics of his activities are found).

The Ashu grassland in Dege is adjacent to Shiqu, and the Zhaxika grassland in Shiqu was one of King Gesar’s early major activity areas.

King Gesar is believed to have been a descendant of the Ling family clan, around the 30^th generation, and he lived around the 11th-12th centuries, corresponding to the Song dynasty in central China.

If the origin of Sumge Mani Stone Castle is indeed as the local legend describes, then the stone castle would have been built nearly a thousand years ago.

The second theory comes from the staff at the local cultural heritage management department. A few years ago, Shiqu County’s cultural relics department excavated a 1.5-meter-deep trench near the base of the stone castle wall and discovered that the mani stones beneath were inscribed with Sanskrit scriptures.

Sanskrit was primarily popular during the Early Propagation period of Buddhism in Tibet, during the Tibetan Empire. After King Langdarma’s persecution of Buddhism in 842 CE, Buddhist practitioners migrated from Ü-Tsang to border regions like Kham. Around a century later, by the late 10th century, the Lower Road route of the propagation of Buddhism from Kham to Ü-Tsang began to flourish. At that time, the area along the banks of the Jinsha River, including counties like Shiqu, Dege, and Baiyu, became a core region for this propagation.

Many founding masters of the Kagyu and Nyingma schools of Tibetan Buddhism, such as Düsum Khyenpa (the founder of the Karma Kagyu), Rinchen Pal (founder of the Drikung Kagyu), Phagmo Drupa (founder of the Phagmo Kagyu), and Kadampa Desi (founder of Katok Monastery in the Nyingma tradition), all came from the area along the banks of the Jinsha River, including Shiqu, Dege, and Baiyu.

The discovery of Sanskrit inscriptions at the base of the stone castle walls, combined with the fact that Shiqu was located in the core region of the Lower Road propagation, suggests that the stone castle was likely built in the 11th-12th centuries. Notably, this period coincides with the time when the Ling family clan, the prototype of King Gesar, was active. This implies that the clues provided by both the Gesar legend and the Sanskrit inscriptions regarding the origin of Sumge Mani Stone Castle are roughly aligned.

Additionally, some weathered inscriptions with Bön symbols (Yungdrung) were also found near the base of the walls. This indicates that during the early construction of the stone castle, the Bön religion still held considerable influence in the area.

The Legend of the Sumge Mani Stone Castle

According to local residents, the Sumge Mani Stone Castle never grows taller—however tall it stands above ground, it is said to have an equal portion submerged underground.

This means that the visible part of the Sumge Mani Stone Castle is only half of it, while the other half is buried below the surface.

Although this claim has yet to be verified, some signs suggest it could be possible.

First, the groundwater level on the grasslands is generally high, and the soil is soft. Observations of the stone castle’s foundation indicate obvious signs of sinking. Local people say that every year, in the first month of the Tibetan lunar calendar, a red clay seeps out from the castle’s walls, which they consider auspicious and use for healing.

The seeping clay is likely a result of the pressure from the castle sinking, proving that the stone castle does indeed sink a little each year, especially during the winter months.

Secondly, the dampness and sense of emptiness felt from the well in the castle’s center indicate that the ground below is soft and moist. It’s easy to imagine that such a soft, moist foundation would have limited load-bearing capacity.

Therefore, it’s entirely plausible that the Sumge Mani Stone Castle is sinking because the mani stone construction has grown too tall, and the ground can no longer support the weight.

The Sumge Mani Stone Castle is a “living” castle. Since its creation, the construction has never stopped. Each year, countless new mani stones are added to the structure. Remarkably, even during the Cultural Revolution, the castle was untouched due to its remote location, and the building of mani stone mounds continued uninterrupted.

Mani Stone Carvings

Mani stone carving is a unique form of folk culture in Tibetan areas with ancient origins. It is closely linked to the early stone worship of Tibet’s ancestors and the Bön religion that existed before Buddhism was introduced.

Though mani stone carvings are now somewhat connected to monastic culture, they primarily belong to a system of folk belief, serving as a way for the Tibetan farmers and herders—who live in harsh environments—to express their faith more freely.

Especially in the vast grasslands where temples are scarce and distant, mani stone carvings have become a primary means for nomadic people to practice and express their beliefs.

Mani stone carving culture is highly developed in Shiqu (Sershul) County, as well as in the neighboring areas of Yushu in Qinghai, northern Chamdo in Tibet, and the broader nomadic regions of northern Tibet.

In particular, the mani stone carvings in the Chamdo and northern Tibetan regions are ancient, with some possibly dating back to the time of the Tibetan Empire. The size and scale of some of the mani stone mounds are immense.

The Sumge Mani Stone Castle is likely the only and largest stone scripture castle of its kind seen across the entire Tibetan plateau.

Stone Carving Culture

In terms of the variety and craftsmanship of the painted stone Buddha statues within the niches, Sumge Mani Stone Castle can be described as an art museum of stone carvings on the grasslands.

It not only features a unique structure, delicate layout, and grand scale, but also showcases exquisite carving techniques. The castle holds immense value for studying ethnic history, architecture, and Gesar culture.

Despite enduring for a thousand years, this stone scripture castle—entirely built from stone—still stands tall, embodying the unique charm of Tibetan culture.

Bage Mani Wall’s full name is “The Bage Mani Stone Scripture Wall” which resembles a city wall in appearance, standing approximately 3 meters high and 2 to 3 meters thick, with a total length of around 1,700 meters. From an aerial view, it looks like a Great Wall on the grasslands, grand and magnificent, ancient and solemn.

This stone scripture wall is located in Changshagongma Township, Shiqu (Sershul) County, Sichuan, about 50 kilometers from Shiqu’s county seat.

It was first built in 1640 AD by the 1^st Bage Lama, Sangden Phuntsok.

The 2^nd Bage Lama, Khenrab Dorje, not only expanded the stone scripture wall but also regularly held the Wheel-Turning Dharma Assembly there.

Subsequently, the 3^rd Bage Lama, Nime Chökyi Ongpo, and the 4^th Bage Lama, Gönkhyab Chönyi Dorje, also carried out multiple renovations and expansions of the wall.

The Bage Mani Stone Scripture Wall is regarded as a treasure trove of stone carving art. It features over 3,000 carved images of Buddhas and deities, along with Tibetan Buddhist scriptures such as the Kangyur, Tengyur, the Bhadrakalpika Sūtra, and the Sutra of Liberation. Additionally, there are countless mani stone slabs of various sizes.

This stone scripture wall is a cultural heritage site of the Kham Tibetan region with a long history and immense artistic value. Its carving techniques are exquisite and uniquely distinctive.

Introduction

The Tibetan people often create stone piles known as “mani piles” or “sacred piles” to pray for blessings and auspiciousness.

“Mani” is an abbreviation of the Sanskrit Buddhist scripture, the “Six-Syllable Mantra Sutra.” The six syllables represent the transcending of sentient beings across the six realms, dispelling six kinds of afflictions, practicing the six paramitas, attaining six forms of Buddha, and developing six kinds of wisdom, all of which are extraordinary merits.

Tibetan Buddhism views the Six-Syllable Mantra as the root of its scriptures, and it is also known as the “Six-Syllable Great Bright Mantra,” famously recited as “Om Mani Padme Hum.”

Originally, the mani piles were called “Manda,” meaning “Mandala,” and were made by stacking stones of various sizes, known in Tibetan as “Döben.”

Another type of mani pile features stones or stone slabs inscribed with images of Buddhas and the Six-Syllable Mantra, which is its most defining characteristic. The Six-Syllable Mantra, consisting of just six mystical characters, appears differently on each stone. Some stones are left in their natural state, while others are colored red, green, or yellow. These mani stones are then stacked into a long wall, known in Tibetan as “Mendang.”

Contents of the Mani Stone Carvings

On each stone of the Mani Wall, wise sayings of Buddhas and Bodhisattvas are engraved, along with scriptures such as the Vajrasattva Heart Mantra, portions of the Kangyur and Tengyur, the Sutra of Liberation, Tara Sutra, Longevity Sutra, and the Confession Prayer of the 35 Buddhas. These carvings embody the beautiful wish to bless all sentient beings and absolve sins.

In addition to scriptures, some Mani stones feature carvings of the Eye of Wisdom, deities, flowers, the sun, auspicious symbols, etc. Some stones are engraved with images of Buddhas or mythical creatures, with smooth lines and lively shapes, showcasing rich imagination. These carvings are the masterpieces of Tibetan folk artists.

On auspicious days, people gather near the Mani piles to perform Sang offerings (incense burning) and add stones to the piles. With sincere devotion, they touch their foreheads to the stones while silently reciting prayers. Over time, the Mani piles grow taller and taller.

Architectural Structure

Over hundreds of years, the Bage Mani Stone Scripture Wall was gradually built from individual stones engraved with scriptures and has a history spanning more than 300 years.

On both sides of the wall, multiple niches house colorfully painted Buddha statues called tsatsa. At regular intervals along the wall, spaces are enclosed by stone walls made from stacked Mani stones, resembling watchtowers on a city wall. At either end of the long wall, tall stupas stand, and in the middle section, 108 stupas are lined up in a long row, running parallel to the stone scripture wall. The Mani stones are laid flat and stacked, with only one or two lines of the scripture carvings visible on the sides of the stones, while the rest are embedded within the wall.

Prayer flags in five colors flutter in the wind atop the Bage Mani Stone Scripture Wall, and Buddha statues are enshrined in the niches along the wall. White stupas stand beside the Mani wall, while the nearby hillside is covered with prayer banners.

The Story of the Mani Wall

Bage Mani Stone Scripture Wall is divided into the “Wall of Good” and the “Wall of Evil,” each with its own story.

Legend has it that 300 years ago, a pair of lovers were forced to part due to the disparity between their wealth. The two decided to elope, but the young woman tragically drowned while crossing the Yalong River. Grief-stricken, the young man attempted to drown himself in the river but was saved by Bage Lama, who was practicing in the area, and was persuaded to take refuge in Buddhism. The young man gave the Lama the treasure left behind by the girl, and the Lama used these riches to commission craftsmen to build the “Wall of Good.”

The story of the “Wall of Evil” originates from a tale of betrayal. Two friends traveled together, but one plotted to kill the other for his wealth. Bage Lama intervened just in time, persuading the would-be murderer to abandon evil and embrace goodness. That man eventually became a devoted disciple of the Lama and reached spiritual enlightenment. He offered the ill-gotten wealth to the Lama, who used it to build the “Wall of Evil.”

The two walls are connected, and over time, more and more pilgrims visited, adding stones to extend the walls further and further.

The Bage Mani Stone Scripture Wall, this unique stone wall, bears the devout prayers and beautiful faith of Tibetan believers. It continues to stand on the vast grasslands of the Kham Tibetan region, radiating eternal religious glory and artistic charm through the ages.