Kagyu Pa Monasteries

Bantsang Gonpa, also known as Nedong Bantsang Monastery, is a Tibetan Buddhist monastery with a profound historical and religious heritage. Its full Tibetan name is Thubtan Sherabshadru Phelgyaling. Established around the year 1350 AD, the monastery belongs to the Kagyu school and was once one of the important monasteries of the Phagdru Kagyu tradition.

Located in Zêtang Town, Nedong District, in the Shannan (Lhoka) Prefecture of the Tibet Autonomous Region, Bantsang Gonpa sits on the slopes of the right side of Zêtang Mountain. Nestled within the breathtaking landscapes of southern Tibet, it stands as a testament to the resilience and revival of Tibetan culture and spirituality.

Historical Evolution and Sectarian Lineage

The establishment of Bantsang Gonpa dates back to the mid-14th century when it belonged to the important branch of the Kagyu school known as Phagdru Kagyu. Derived from the larger Kagyu tradition of Tibetan Buddhism, the Phagdru Kagyu school held a significant place in Tibetan history, ruling Tibet for more than two centuries during the late Yuan and early Ming dynasties. During this period, Bantsang Gonpa underwent continuous expansion, eventually developing into a monastic complex consisting of thirteen chapels, serving as a major center for religious practice and pilgrimage for local devotees.

As history unfolded, Bantsang Gonpa later became affiliated with Kuntsang Tse, under which it remained an important monastery. At its peak, the monastery housed approximately seventy monks and enshrined a vast collection of precious gold, silver, and bronze Buddha statues. Among its most revered relics was the stupa of the seventh reincarnation of Yarje Orgyen Lingpa. Yarje Orgyen Lingpa was a highly influential figure in Tibetan Buddhist history, and his reincarnation lineage and spiritual attainments solidified Bantsang Gonpa’s status as a key religious center for Buddhist followers in southern Tibet.

However, the monastery’s history has not been without hardships. The Cultural Revolution of the 1960s dealt a devastating blow to this ancient temple. During this period of turmoil, nearly all of its structures were destroyed—the thirteen chapels were reduced to rubble, and most of its treasured gold, silver, and bronze Buddhist statues, along with other sacred artifacts, were either damaged or looted. The revered stupa of Yarje Orgyen Lingpa was also lost to the destruction. This catastrophe not only obliterated the material foundation of the monastery but also severed its religious continuity, scattering its monks and leaving the monastery abandoned. Once a glorious religious sanctuary, Bantsang Gonpa was reduced to ruins.

Reconstruction and Revival

In the 1980s, with the adjustment of national religious policies, Bantsang Gonpa was given the opportunity for rebirth. Reconstruction efforts gradually took shape, supported by the local government’s renewed religious policies. Former monks of the monastery took the initiative to organize and lead the rebuilding process. This endeavor was immensely challenging, as they faced severe shortages of resources. However, with unwavering faith and dedication to their traditions, they overcame numerous obstacles, raising funds under difficult conditions and painstakingly restoring the destroyed chapels and monastic structures.

After years of effort, Bantsang Gonpa gradually regained some of its former splendor. Although it has not been possible to fully restore its original scale or recover its lost relics, the rebuilt monastery has once again become home to returning monks, and the sound of Buddhist chants resonates once more. Today, it serves as a vital center for Kagyu practitioners in the region, preserving its ancient religious traditions and standing as a symbol of cultural and spiritual revival in southern Tibet.

Geographical Setting and Cultural Significance

Zêtang Town, where Bantsang Gonpa is located, is regarded as one of the cradles of Tibetan culture and is among the oldest towns in Tibet. Not only is it a cultural and historical center of the Yarlung Tsangpo River civilization, but it also played a pivotal role in the early history and religious development of the Tibetan people. Nestled against the mountains, the monastery is surrounded by a serene and solemn environment, providing an ideal atmosphere for monastic practice.

The history of Bantsang Gonpa not only embodies the religious traditions of the Phagdru Kagyu school but also bears witness to several key historical transitions in Tibet. Its revival represents more than just a resurgence of religious belief—it is also a part of Tibet’s broader cultural renaissance, allowing this once-glorious monastery to once again serve as a spiritual sanctuary for devoted followers.

Throughout history, the fate of Bantsang Gonpa reflects the turbulent journey of Tibetan Buddhism in modern times. More than just an important Kagyu establishment, it is a vital part of Tibetan religious and cultural heritage, symbolizing the Tibetan people’s steadfast faith and commitment to preserving their traditions.

Although the monastery’s reconstruction has not fully restored its former material grandeur, its spiritual essence endures. During religious festivals, devotees from far and wide gather here to offer incense, listen to scriptures, and reconnect with their faith, making the monastery a renewed bridge between people and their spiritual beliefs.

Today, as society evolves and religious faith experiences a revival, Bantsang Gonpa stands resilient on the slopes of Zêtang Mountain, having risen from past hardships to regain its vitality. Once again, it serves as a sacred site for spiritual practice and pilgrimage, showcasing the profound religious and cultural legacy of Tibet to the world.

Ngacho Monastery, also known as “Nedong Gonpa,” “Acho Dratsang,” “Ngacho Dratsang,” or “Tsetang Gonpa,”

It is located in Tsetang Town, Nedong District, Shannan City, Tibet Autonomous Region, on the southern bank of the Yarlung Tsangpo River, atop Tsetang Mountain.

It was founded in 1351 AD by the Pakmodrupa Kagyu master, Situ Yangchu Gyaltshan. The monastery belongs to the (Pakdru) Kagyu school of Tibetan Buddhism and includes a monastic college (shedra) where monks study exoteric Buddhist scriptures. It served as the late-period main monastery of the Pakdru Kagyu tradition.

Introduction

The early main monastery of the Pakdru Kagyu school was Dansatil Monastery.

In 1351 AD, Yangchu Gyaltshan established Ngacho Monastery, primarily focusing on teaching Exoteric Buddhist scriptures. The monastery’s abbot was appointed by the head of the Pakdru ruling group. Together with Densatil Monastery, it was one of the two major monasteries of the Pakdru Kagyu school, both transmitting the teachings of the tradition. However, Densatil Monastery specialized in the practice of tantric Buddhism (esoteric teachings).

Later, the Pakmodrupa school shifted its focus toward exoteric Buddhism, leading to Ngacho Monastery gradually surpassing Dansatil Monastery in prominence. As its reputation grew, it attracted a large number of monks seeking Buddhist teachings, reaching a period of great prosperity. Before the rise of the Gelug school, Ngacho Monastery was one of the most renowned monasteries in Tibet.

Great Situ (Taisitu)

The title “Great Situ” was originally an official position in ancient China, first appearing during the Western Zhou Dynasty (circa 1046 BCE–771 BCE), responsible for managing taxation affairs. The title was later adopted by the Yuan Dynasty and conferred upon the spiritual lineage holders of the Drukpa Kagyu school of Tibetan Buddhism. Over time, “Great Situ” became a recognized line of reincarnated masters (tulkus) within the Kagyu tradition. According to legend, the Situ Rinpoche is an emanation of Maitreya Bodhisattva, with his main monastery being Palpung Monastery.

Dechen Chokhor Monastery is a historic Tibetan Buddhist monastery of the Drukpa Kagyu school, located in Gonggar County, southern Tibet. It was founded in the late 16^th century (around 1590 AD) by the First Dechen Yongdzin·Ngawang Zangpo, and has a history spanning over four centuries.

This monastery holds profound religious significance and is closely intertwined with the historical transformations of the Gonggar region, witnessing the rise and fall of Tibetan local Phagmodrupa regime.

Location – a Strategic and Historical Site

The monastery is situated in a unique geographical location, originally serving as the seat of “Gonggar Dzong.”

Gonggar Dzong was first established in the late Yuan (1271-1368 AD) and early Ming dynasties (1368-1644 AD) as a crucial stronghold during the rule of the Phagmodrupa regime of the Kagyu school.

Perched on a hillside, Dechen Chokhor Monastery enjoys a strategically advantageous position, making it easy to defend and difficult to attack, embodying the characteristics of a military stronghold.

In the 17^th century, after the Third Dalai Lama came to power, the administrative center of Gonggar Dzong was moved from the site of Dechen Chokhor Monastery to the mountaintop of Gonggar Xuecun. However, the monastery continued to function as an important religious center for the Drukpa Kagyu tradition.

The old Gonggar Dzong fortress was a classic military structure, with its main building rising five stories high. The upper section consisted of a watchtower, while the lower section featured hidden fortifications. The outer walls were lined with gun ports and arrow slits for defense, and secret tunnels within the building led directly to the river for water access.

Established in the mid-14^th century, this fortress remained the highest governing institution of Gonggar until its dissolution in 1959.

Its Role in Tibetan Political History

According to A Brief History of the Tibetans, by the mid-16^th century, internal power struggles within the Phagmodrupa regime led to the formation of two political centers, controlled by two brothers—one in Gonggar and the other in Densatil Monastery. As a result, Dechen Chokhor Monastery became an important symbol of political influence in the Gonggar region.

Through this historical context, Dechen Chokhor Monastery has borne witness to the shifts in Tibetan local governance while preserving a wealth of valuable cultural relics.

Cultural and Historical Artifacts

According to elderly monks of the monastery, as late as the early 1990s, Dechen Chokhor Monastery still housed precious artifacts bestowed by Ming emperors upon the Phagmodrupa royal family. These included a gilded saddle and the ceremonial sword of King Naiche, underscoring the monastery’s historical prominence and reflecting the intricate relationship between the central imperial government and Tibet’s local rulers.

The Impact of Modern Political Changes

After 1959, the Gonggar Dzong government was abolished, and the newly established Gonggar County initially set up its administrative center in Gonggar Xuecun before relocating to Jixiong in April 1962.

During the Cultural Revolution, the fortress structures of the former Gonggar Dzong were destroyed, leaving only ruins that now stand as silent witnesses to Gonggar’s history.

A Living Religious and Cultural Heritage

Despite the passage of time and historical upheavals, Dechen Chokhor Monastery continues to preserve its unique religious atmosphere and historical significance.

As an important monastery of the Drukpa Kagyu school, it remains not only a center of faith for Buddhist practitioners but also a cultural heritage site that reflects the political transformations of Tibet’s local governance.

Gyala Jokong — The Legend and Glory of a Millennium-Old Monastery, which also spelled as “Gyalak Jekong“

In a small village three kilometers northwest of Garze County, located in Garze Tibetan Autonomous Prefecture, Sichuan Province, stands a historic Buddhist hall—Gyala Jokong. Its name translates to “Gyalak Shakyamuni Buddha Hall,” enshrining an ancient Buddha statue that has stood for over a thousand years, earning it the title of the “Jokhang Temple of the Kham region.” This monastery holds profound religious significance and is closely linked to the flourishing of the Tibetan Empire, as well as the harmonious relations between the Tang Dynasty and the Tubo Dynasty.

Gyala Jokong Origins

There are different accounts of Gyala Jokong’s origins.

Its history can be traced back to the 7^th century, during the time of the Tibetan King Songtsen Gampo’s marriage alliance with Princess Wencheng of the Tang Dynasty. As the princess traveled to Lhasa, she briefly rested in Garze. At that moment, the twelve-year-old life-sized Shakyamuni statue she carried suddenly became unusually heavy and immovable. Seeing this as a divine sign, she oversaw the construction of a temple on-site and commissioned artisans to craft an identical statue modeled after the Jowo Buddha—the life-sized twelve-year-old Shakyamuni statue she had brought with her. This newly sculpted statue was enshrined here to stabilize the land’s energy and bring peace, giving rise to what is now known as the Gyala Jokong Buddhist Hall.

It is believed that this statue carries the same spiritual power as the Jowo Buddha, bestowing infinite blessings upon devotees. The site soon became a significant pilgrimage destination for the people of Kham. However, the statue was not initially housed in a temple but was instead buried underground, only to be rediscovered centuries later.

In the year 760 AD, the great translator Vairotsana was in retreat at the Chodrak Cave south of Garze. While meditating, he saw a beam of golden light rising from the Gyala Plain.

Following the light, he excavated the site and uncovered the long-hidden statue from the era of Songtsen Gampo—an image identical to the Jowo Buddha in Jokhang Temple.

Recognizing its immense spiritual significance, Vairotsana consecrated the statue and oversaw the construction of a temple to house it, establishing the foundation of Gyalak Jekong.

As one of the “Seven Test Disciples” of Tibetan Buddhism and the foremost of the 108 great translators, Vairotsana, known as “Great Luminosity,” not only restored the statue to its rightful place but also imbued the monastery with an eternal spiritual legacy.

The Kagyu Tradition and Historical Changes

Beyond its connection to Princess Wencheng, Gyala Jokong is also deeply intertwined with the Kagyu school of Tibetan Buddhism. The scriptures inscribed on the Mani stones outside the monastery confirm its Kagyu lineage.

In 1125 AD, the First Karmapa, Düsum Khyenpa, took ordination here and entered retreat at the Vajra Seat of Gyala for three years, transforming the monastery into a vital center for the Kagyu tradition. Since then, Gyala Jokong has been revered as the “Vajra Seat of Gyala.”

However, history has not always been kind. Over the centuries, the monastery faced decline due to regional conflicts and warfare. Fortunately, the sacred relics—such as the stupa, the Shakyamuni statue, the Thousand-Armed Avalokiteshvara, and the protector deities—were preserved. Surrounding the site are 108 small stupas, each said to enshrine a prayer bead from Vairotsana, adding an air of mystery and reverence to the monastery.

Gyala Jokong Restoration and Revival

In modern times, Gyala Jokong has undergone multiple restorations.

In 1926, the Fourth Dordo Tulku, Jampa Rinchen, led a major renovation and held a grand consecration ceremony.

In 1984, the 10^th Panchen Lama personally visited and bestowed his blessings upon the monastery.

In 2010, Kongsar Shanggen Rinpoche initiated another restoration, breathing new life into the millennium-old sacred site. To this day, the Shakyamuni statue left by Princess Wencheng is enshrined in the main hall. Adjacent to the temple stands a statue of Kongsar Shanggen Rinpoche, who once served as the Han Chinese abbot of Garze. He passed away two years ago and, following Tibetan Buddhist customs, receives daily offerings.

A Sacred Site Today

Stepping into Gyala Jokong, even before passing through its entrance, one can feel the weight of history. The temple offers self-service butter lamps, and visitors can freely make offerings to the acrylic Buddha statues. I once saw three young monks reverently lighting butter lamps and burning incense—their solemn devotion was deeply moving.

Inside the main hall, Ming Dynasty (1368 – 1644 AD) murals and wooden panel paintings depict the spiritual journey of Milarepa, a central figure in the Kagyu lineage, attesting to the monastery’s profound cultural heritage.

Recent archaeological studies have shed further light on Gyala Jokong’s past. A fragment of an ancient rammed-earth wall nearby is believed to be the remains of a historic fortress, supporting the theory that this area was once a crucial station along the ancient Tang-Tubo (Tibet) trade route. The remnants of hot springs and way-stations suggest that this place was not only a center of religious activity but also a key hub for commerce and travel.

For 1,388 years, Gyala Jokong has stood as a testament to history, faith, and cultural convergence. It tells a story of harmony between Tubo Dynasty (Tibet) and the Tang Dynasty, a bridge between Tibetan and Han traditions. More than just a pilgrimage site, it is a luminous jewel in the river of time.

Regardless of how legend and history intertwine, this sacred hall continues to radiate an indescribable spiritual brilliance, waiting for every destined visitor to come and pay homage.

Western Rigsum Lakhang is also known as “Nurisong Gonpou Monastery,” it is a monastery of Drigung Kagyu of Kagyu Pa of Tibetan Buddhism

Brief

In Lhasa, there were originally eight monasteries of the “Three Gonpo”, with Jokhang Temple as the center, forming a mandala layout.

Among them, the monasteries of “Three Gonpo” in the east, south, west, and north were founded by Songtsen Gampo,

while the monasteries of “Three Gonpo” in the southeast, northeast, southwest, and northwest were later additions.

In the 1990s, the monasteries of “Three Gonpo” in the south, west, and north among the eight were reconstructed.

The original stone carvings of Northern Rigsum Lhakhang in its east hall are now enshrined in a small hall at the foot of the mountain east of the Potala Palace.

Gonpo

Gonpo, also known as “Natha“, in Tibetan Buddhism, means “protector” or “guardian.” The term originates from Hinduism.

Protectors referred to as Gonpo or Natha include various bodhisattvas, wrathful deities, Khrag Thung, celestial beings, and Vajrapani after attaining enlightenment; “Mahakala” is often addressed to as “Gonpo”.

In Tibetan Buddhism, Avalokiteshvara, Manjushri, and Vajrapani are collectively known as the “Three Gonpo (Protectors)” or the “Three Lords of the Snowy Mountain,” representing wisdom, compassion, and power.

“Gonpo” is also used as a term of respect for enlightened practitioners in Tibetan Buddhism, and it is a common Tibetan name.

People believe that powerful “Gonpo (protector)” can offer protection and assistance to followers, reducing their hardships and aiding in their spiritual practice.

Location

Located at No. 20 Lugu Road, Lhasa City. This monastery is situated at the intersection of Lugu First alley and Barkhor South Street, with its entrance facing west and marked by a prayer wheels.

From the Jokhang Temple Square, head west to the end where it meets Tengye Ling Road, turn left, walk along Tengye Ling Road until turning right onto Lugu Road towards the market. On the left side of the road, a large signboard reads “Nurisong Gonpo.” Enter through the small door under the signboard, where residential buildings are found inside the courtyard, with Nurisong Gonpo located in the small house on the right.

Architecture

Western Rigsum Lakhang is a branch monastery of Yangrigang Monastery in Maizhokunggar County, Lhasa.

The scale of Western Rigsum Lakhang is very small, with the main hall being even smaller.

Inside the hall, there are enshrined statues of Tsongkhapa, Amitayus Buddha, the Three Bodhisattvas (Avalokiteshvara, Manjushri, Vajrapani), and a stupa, among others.

In addition to the Buddha statues, a photo is also displayed in the main hall, depicting the father of Danzeng Duoji, the living Buddha of Yangrigang Monastery, who was once the Agong Lama of Drigung monastery

Upstairs in the main hall, there is a small side hall with a statue of a Lama, representing the founder of the Drigung Kagyu Pa, Jigten Songgon Renchenpal (1143 AD – 1217 AD).

Built in 1777 AD, Milariba Pagoda was constructed by the master “Losang Daggye” in memory of the founder of the Kagyu Pa of Tibetan Buddhism, “Milariba,” following his master’s orders. The pagoda has nine floors, is over 40 meters high, and has a total construction area of 4,028 square meters.

Brief

The pagoda has a unique architectural style, reflecting the characteristic of “no stone or wood visible on the inside or outside” in its design. It combines the castle-style architecture of the Tibetan with the tower-style architecture of Buddhist pagodas.

Inside the pagoda, there are many art treasures such as Tangka paintings, murals, embroidery, and butter sculptures. Many scroll paintings depict the life of Milariba and his diligent cultivation. The original pagoda was destroyed during the Cultural Revolution. The current pagoda was rebuilt in 1988 according to the original style and took four years to complete.

Construction

The 1^st floor

The 1^st floor is dedicated to Qiangba Buddha, also known as the future Buddha – Maitreya Buddha. The Buddha is divided into three periods: past (Dipamkara), present (Shakyamuni), and future (Maitreya).

According to Buddhist scriptures, it is prophesied that after the Nirvana of Shakyamuni Buddha, in 13,000,000 years, Maitreya Buddha will replace the position of the Buddha and propagate the Dharma to the human beings.

To the left of Qiangba Buddha is the Bodhisattva Manjusri, also known as the deity of wisdom, or the Bodhisattva of Wonderful Sound. To the right is the Bodhisattva Vajrapani, the deity who eliminates all evil in the world.

The individuals to the left of Bodhisattva Manjusri are all significant contributors to Tibetan culture and Tibetan Buddhism.

Among of those, the third figure is “Tangdong Gyebo,” a monk of the Kagyu sect and the founder of Tibetan opera. Legend has it that he invited the seven sisters of the Baina family to form a singing and dancing troupe to raise funds to build over a hundred iron bridges. Therefore, he is also known as the “Iron Bridge Living Buddha,” and Tibetan opera performers consider him the founder of Tibetan opera.

The sculpture to the right of “Vajrapani Bodhisattva” are significant figures in Tibetan history. The first is the famous 33^rd generation Tibetan king Songtsen Gampo, with his queens, Princess Wencheng and Princess Bhrikuti of Nepal, both devout Buddhists who devoted their lives to the spread of Buddhism in Tibet.

The third figure is Chisong Detsan King, who supported the creation of the first Buddhist monastery in Tibet, the Samye Monastery. Finally, there is Tumi Sangbutsa, Songtsen Gampo’s minister, who created the Tibetan script by studying languages and scripts in India at the behest of Songtsen Gampo. After returning to Tibet, he created the Tibetan phonetic script based on Sanskrit, which has been in use for over 1,300 years.

The 2^nd floor

The 2^nd floor is dedicated to the Dalai Lama and the Panchen Lama. In the center is Tsongkhapa, the founder of the Gelug sect (Yellow Hat) of Tibetan Buddhism. Tsongkhapa was born in 1357 AD in the area where the Ta’er monastery in Huangzhong, Qinghai, is now located. At the age of 3, he received lay vows from the 4^th living Buddha of the black hat lineage “Karma·Rab Dorje” of Karma Kagyu Sect. At 7 years old, he joined the Xaqiong Monastery in Qinghai, where he studied under the founder of the Xaqiong Monastery, a great monk of the Kadampa sect named “Dundru Renchen”. When he was sixteen, he went to central and western Tibet to study Buddhism and earned the title of “Geshe”. At the age of thirty, he initiated religious reforms, advocating the use of yellow robes, wrote extensively, and established the theoretical basis of the Gelug Pa. In 1409 AD, with the help of local nobles, he founded the Ganden Monastery and became its first Ganden Tripa (abbot), officially establishing the Gelug Pa. After his passing in 25^th of the 10^th month 1419 AD (Tibetan calendar), his disciples built the Drepung, Sera, and Tashilhunpo Monasteries in Lhasa, Shigatse, and Ta’er (kumbum) monastery in Qinghai, Labrang monastery in Xiahe respectively. These monasteries, along with the Ganden Monastery, are known as the six great Gelug pa monasteries in Tibet.

To the left of the Tsongkhapa statue is his chief disciple, Gyal Tsabje. Before his passing, Tsongkhapa passed on his robes and position to Gyal Tsabje. After Tsongkhapa’s passing, Gyal Tsabje succeeded as the 2^nd Ganden Tripa (abbot). In 1430, Gyal Tsabje passed the position to Khe Drupje, who became the 3^rd Ganden Tripa. The statue of Khe Drupje is to the right of Tsongkhapa, and these three are known as the “Three Great Masters and Disciples.” Khe Drupje was later recognized as the first Panchen Lama by later generations.

To the left of Tsongkhapa is Gendun Drub, who was later recognized as the 1^st Dalai Lama by later generations. The third figure to the left of Tsongkhapa is the 5^th Dalai Lama, Ngawang Lobsang Gyatso, who established the Gelug Pa’s dominant position in Tibet during his reign. By the time of the 7^th Dalai Lama, the Gelug Pa had officially established a system of combined religious and political rule in Tibet.

Straight in the 1^st place on the left, the statue is Atisha, a prominent Indian Buddhist monk who was invited to Tibet in the Northern Song Dynasty (1042 AD) to propagate Buddhism. He played a significant role in the revival of Buddhism in Tibet and is considered the founder of the Kadam Pa lineage.

In the lower left corner of Atisha is the actual founder of the Kadam Pa, Dsong Dunba, who arrived in Reting in 1056 AD at the invitation of the local leader of Danmxiong in northern Tibet and presided over the creation of Reting Monastery, marking the formal establishment of the Kadam Pa.

On the right side of Atisha are his proud disciples, Bodowa, Jing ewa and Pu jiongwa, known as the three great masters of the Kadam Pa, who helped to promote and develop the Kadam Pa. When the Kadam Pa developed into the 14^th century, Tsongkhapa founded the Gelug sect based on its teachings. Therefore, later generations also referred the Gelug Pa as the New Kadam Pa.

On the right in the first row, there are the five founding masters of the Sakya Pa. The Sakya Pa was founded in the Northern Song Dynasty (960 AD – 1127 AD), with Sakya County in Tibet as its fundamental site, and it promoted Buddhism through two modes of inheritance: lineage and Dharma.

The first on the right is the Sakya 4^th Founding Master, “Bantida·Gonga Gyasen”, who in 1253 AD led his nephew, the 5^th Founding Master – Basipa, to meet with the Mongolian prince Koden in Liangzhou and reached an agreement on behalf of the local forces in Tibet with the Mongolian royal family. From then on, Tibet surrendered to the Yuan Dynasty and officially accepted the central government’s jurisdiction. After Kublai Khan unified the China, he appointed the 5^th Founding Master “Basipa” as the national teacher, who held great power over both religion and politics in Tibet and established the Sakya regime.

To the left of ” Bantida·Gonga Gyasen ” is the important figure of the Sakya Pa, “Chana Dorje”, who was the younger brother of the Yuan Dynasty national teacher “Basipa”. Kublai Khan once appointed him as the King of Bailan and married a princess to him.

The central figure on the right is the founder of Labrang Monastery, the 1^st Jamyang Zhepa, who was from Ganjia town in Xiahe County. He became a monk at the age of 13 and went to Tibet to study Buddhism at the age of 21. He studied in Lhasa for 40 years, was proficient in classical texts, and had a great reputation, being known as the “2^nd master after Tsongkhapa”. In 1709 AD, (the 48^th year of the reign of Kangxi emperor of Qing Dynasty), Jamyang Zhepa accepted the invitation of Prince Chakhan dandzin of the Mongolian tribe in southern Qinghai and returned to his hometown to begin building Labrang Monastery. Here, there are also more than 500 volumes of the Tibetan Buddhist canon, including the Danjur and the Kangyur.

The 3^rd floor

The central figure on the third level is the founder of the Nyingma Pa, Guru Padmasambhava. To his right is Chisong Detsan, the 37^th Tibetan king, who organized the construction of Samye Monastery and to his left is one of the founders of Samye Monastery, Shantarakshita.

Nyingma Pa is the oldest sect of Tibetan Buddhism. In 754 AD, after Princess Jin Cheng’s son Chisong Detsan came to power, he implemented a series of major reforms that promoted the economic and cultural prosperity of the Tubo Dynasty, leading it to its peak. Chisong Detsan also invited renowned Buddhist scholars from India and Kashmir to Tibet to promote Buddhism. Under Chisong Detsan’s leadership, the Indian master Padmasambhava presided over the construction of the first Tibetan Buddhist monastery, Samye Monastery, with Shantarakshita overseeing the specifics. From then on, the Tibetan people had dedicated monks, known as lamas, separate from the production.

The 4th floor

On the southern right side of the 4^th level, there are murals of the 21 Taras. “Tara” in Tibetan Buddhism is equivalent to Guanyin in Chinese Buddhism, and the most common are White Tara and Green Tara.

On the left side, there are murals of the 16 Arhats. This level mainly venerates the masters of the Vajrayana, including Avalokiteshvara Bodhisattva, Manjushri Bodhisattva, and Vajrapani Bodhisattva.

Tibetan Buddhism is divided into the Exoteric Buddhism and Esoteric Buddhism. The Exoteric Buddhism practices Buddhism openly, while the Esoteric Buddhism has specific regulations for practices, offerings, and rituals and does not allow arbitrary actions.

The 5^th floor

The central figure in the 5^th level is the master Marpa, the founder of the Kagyu Pa of Tibetan Buddhism. He had a diverse education and never became a monk, instead, he taught disciples while engaging in trade and farming.

To his left is Milarepa, one of Marpa’s four main disciples. Milarepa was born into wealth, but at the age of 7, his father passed away, and his uncle seized the family’s wealth, driving Milarepa and his mother out. Seeking revenge, his mother sold their remaining possessions and sent him to learn sorcery from a Bon religion teacher. Years later, he used a hailstorm sorcery to kill 35 people from his enemy’s family. Overwhelmed with remorse, he sought the tutelage of Marpa, a great master of the Kagyu Pa, to learn Buddhism. The mural depicts Milarepa in a cave, engaging in meditation and teaching through song.

To Marpa’s right is his disciple, Tab Rabgye, who furthered the teachings of the Kagyu Pa and established the Dakpo Kagyu lineage.

Because Milarepa wore white clothes while teaching, so the Kagyu sect is also known as the White Sect. Over the centuries, various sub-sects of the Kagyu sect emerged, including the Four Major and Eight Minor lineages. The system of recognizing living Buddhas in Tibetan Buddhism was originally established by the Kagyu sect’s Black Hat lineage, and has been widely adopted by other major sects of Tibetan Buddhism.

The four scroll paintings on the southern wall of the 5^th and 6^th levels depict the story of Milarepa’s meditation practice.

The 6^th floor

The 6^th level features a Vajrayana Buddha image, with the central figure being Mahakala, also known as the Great Black One, derived from the Hindu deity Shiva. Offering rituals to Mahakala are believed to enhance power and ensure success in various endeavors. Due to this belief, the Sakya sect’s leader, Pasipa, presented a Mahakala statue to Kublai Khan, making it one of the idols worshipped during the Yuan Dynasty.

The 7^th floor

The central figure enshrined on the 7^th level is a Vajrapani Bodhisattva. Vajrapani typically holds a vajra in the right hand and a vajra bell in the left, symbolizing unwavering determination and wisdom to destroy all evil. In Vajrayana Buddhism, this is considered an image that emerged when Shakyamuni Buddha taught esoteric teachings.

The 8^th floor

The 8^th level enshrines five “Tathagatas,” which are Buddhas with different bodies of truth. “Tathagata” is an epithet for Buddha, and there are also thirty-five other Buddhas, including Shakyamuni.

The 9^th floor

The 9^th level is purely symbolic. The raised structure on the roof represents a mandala, a recreation of the place where Shakyamuni Buddha gave esoteric teachings to the public.

Summary

The Buddha statues enshrined from the 3^rd to the 8^th level are all carved from sandalwood and juniper.

On both sides of each floor, there are a total of 1025 statues of Milarepa, each measuring one cubit in height, and 20 statues of Shakyamuni, also one cubit in height. Additionally, there are statues of the founding patriarchs of various sects of Tibetan Buddhism, including the Nyingma, Sakya, Kagyu, Gelug, and Kadam sects. There are also numerous main deity statues of the four divisions of Vajrayana Buddhism, such as Vajrakilaya, as well as 215 statues of Dharma protectors and wealth deities. In total, there are 1272 Buddha statues within the entire pagoda complex. Surrounding the courtyard of the pagoda are 130 copper prayer wheels and a main gate and a white stupa.

Like all Tibetan Buddhist monasteries, the top of the 9^th level pagoda houses a Dharma-chakra, also known as the “Two Deer Listening to the Dharma,” symbolizing the story of Shakyamuni Buddha giving his first sermon in the Deer Park, signifying the eternal turning of the Dharma wheel and the continuity of the Buddha’s teachings.

Milariba’s Exhortation Dance for Goodness

The monks of Milariba Pagoda hold various religious activities every year, strictly adhering to the form of religious dance passed down from the Thashilunbu Monastery. The dance is solemn and grand, depicting images of animals, ghosts, gods, good, evil, and humans. The costumes and masks are unique, and the sound of the drums and gongs is stirring.

Milariba’s “Exhortation Dance for Goodness” is the main religious activity of Milariba Pagoda. The performance tells the story of Milariba persuading the hunter “Gongbo Dorje” and is a form of religious drama that combines performance and preaching. The plot is relatively simple and interesting, and it is the largest gathering activity during the July religious puja.

The religious drama of this “dance” is said to have been compiled by the Gongtangcang Living Buddha of Labrang Monastery and consists of five sections. The first four sections have little to do with Milariba persuading “Gongbo Dorje”, and the main story is performed in the 5^th section. The plot is based on the story of Milariba in “The Life and Songs of Milariba” and is a special method of preaching to encourage people to believe in Buddhism, believe in cause and effect, and not commit sins such as killing.

At the beginning of the performance of the “Exhortation Dance for Goodness,” the protagonist Milariba carries a scripture on his back, holds a Zen stick, and wears a white robe with a red border. He sits on a chair after arriving at the scene. Then two deer enter the stage and dance, and after the dance, they crouch in front of Milariba’s seat. Two hunting dogs follow and arrive at the scene. Seeing that the two deer being chased are motionless, they sit on the left and right sides of the two deer. The actor playing Milariba stands up, looks for the dogs and deer, and drums while preaching with a clear and melodious tone. The main idea is to persuade the deer not to be afraid because death is inevitable until they are liberated, and to persuade the hunting dogs not to have killing thoughts because the cycle of cause and effect will ultimately lead to suffering. After the preaching, the deer and dogs dance in turn and then crouch on the left and right sides of Milariba. At this time, a tall and strong hunter with a red mask, braided hair, a coral headband, a water otter fur coat, and Tibetan boots enters the scene and jumps into the crowd on the left side while talking to himself in a rough and humorous tone. After the hunter arrives, he looks for the two deer and runs to Milariba to search. Seeing that the hunting dogs and deer are tame and motionless, he shoots arrows at them, but not only does he miss, but the arrows bounce back. He is very surprised and realizes that Milariba is extraordinary. He returns to the front to observe. Milariba stands up and explains the Buddhist doctrine of impermanence in detail. The hunter then has a great realization and converts to Milariba, and the deer and dogs are overjoyed and dance together. The preaching conference ends successfully.