Lhalung Monastery

Lhalung Monastery, also known as Lhalung Gonpa, is located in Lhalung Village, Zhari Township of Lhozhag County, Shannan City, Tibet Autonomous Region. Perched on an open river valley terrace at an altitude of 3,700 meters, it lies 310 kilometers from Lhasa and just 18 kilometers from the county seat of Lhozhag. With the Lhozhag Nuqu River flowing eastward in front and mountains rising behind, the monastery enjoys a serene setting surrounded by ancient trees and beautiful scenery.

The name Lhalung in Tibetan literally means “by the will of the gods.”

Historical Background

The origins of Lhalung Monastery can be traced back to the 7th century, when King Songtsen Gampo, after marrying Princess Wencheng of the Tang Dynasty, commissioned the construction of many Buddhist temples throughout Tibet. Lhalung Monastery was among them.

Between 836 and 846 CE, the monk Lhalung·Palgyi Dorje expanded the monastery. He later became known in Tibetan history for assassinating the last Tibetan king Langdarma at the end of the Tubo Dynasty, a dramatic event that contributed to a period of decline for the monastery. The sacred dance “Black Hat Offering the Divine Drink” performed in Tibetan cham rituals originated at Lhalung, commemorating this episode.

In 1155 CE, Düsum Khyenpa, the First Karmapa and founder of the Karma Kagyu School, formally rebuilt Lhalung Monastery, establishing it as an important Kagyu practice center in southern Tibet. During the 16th century it rose to become one of the principal Red Hat Karma Kagyu monasteries.

One of Tibet’s most celebrated historical works, “A Feast of the Wise”, was written here by the eminent Karma Kagyu scholar Pawo`Tsuglag Threngwa. Over the course of 18 years, he composed this monumental history, which was later woodblock-printed by artisans at Lhalung. The book brought enduring fame to both its author and the monastery, making Lhalung unique among Tibetan monasteries as the only one known primarily for a single literary masterpiece.

In the mid-16th century, Pawo·Tsuglag Threngwa further expanded the monastery, constructing the Shezhu Lhakhang and arranging its layout in the form of a mandala. Following his passing, the tulku (reincarnated lama) system was introduced at Lhalung.

In 1655, the Fifth Dalai Lama visited Lhalung Monastery to transmit teachings and converted it to the Gelug tradition, though elements of the Kagyu lineage were retained. Later, the monastery came under the stewardship of the reincarnation line of the great Nyingma treasure revealer Pema Lingpa, and its affiliation shifted again to the Nyingma School.

During the Cultural Revolution of the 1960s, several of the monastery’s chapels were damaged.

In 1985, the government funded the restoration of 12 important structures, including the main assembly hall and the protector deity chapel.

In 2009, the Tibet Autonomous Region Cultural Relics Bureau implemented another emergency conservation project, ensuring the preservation of Lhalung Monastery as both a living religious center and a significant site of Tibetan cultural heritage.

Architecture of Lhalung Monastery

Lhalung Monastery stands out for its distinctive blend of Tibetan and Han Chinese architectural traditions. Its main deities are Guru Padmasambhava and Shakyamuni Buddha, and the complex also houses the reliquary stupas of successive incarnations of the great treasure revealer Pema Lingpa.

The monastery is set within a large walled courtyard, irregular in shape yet faintly resembling the chinese character “Ya.” The enclosure measures about 120 meters east–west and 200 meters north–south. Its hollow two-story walls, 1.8 meters thick and 6.5 meters high, are crowned with rows of small stupas, giving the site a striking silhouette.

From its earliest history, Lhalung maintained contact with the imperial court in inland China, sending monks to present tribute. The main gate once displayed an imperial plaque bestowed during the Ming dynasty, while the monastery’s murals clearly reveal the influence of Chinese green-and-blue landscape painting.

The Main Assembly Hall

The central assembly hall is a three-story, flat-roofed structure in the classic Tibetan style. Inside the ground floor, twenty wooden pillars support elaborate bracket sets (dou-gong), each unique in design: some cross-shaped, others linear; some single-tiered, others built up in three expanding layers. Painted across the bracket wings are vivid images of Buddhas, lotus flowers, scrollwork, and auspicious patterns, with certain ends inscribed in golden Lantsa script.

The walls of the first floor are lined with brightly colored stone-carved murals. One large panel depicts the monastery’s lineage of eminent lamas—seated calmly in red robes, some wearing black hats with golden trim, others in the characteristic red hats of the Kagyu school. At the center, a prominent figure in a red robe and white patterned cloak may represent one of Lhalung’s most renowned tulkus. Unusually, this mural series focuses not on religious narratives but on the transmission of the monastery’s spiritual lineage, a feature that distinguishes Lhalung from other Tibetan monasteries.

A steep wooden staircase leads to the second floor, where murals again line the walls. Among them is a panoramic view of the monastery in its golden age, depicting its numerous shrines and meditation quarters in delicate tones that closely resemble Chinese landscape paintings. From here, visitors may climb to the gilded rooftop for sweeping views of the surrounding valley and villages.

Other Chapels

On the east side of the main hall stands the Shezhu Lhakhang, constructed with funding from the Bhutanese royal family. Serving as a place of study and pilgrimage for Bhutanese monks and merchants, it still attracts Bhutanese devotees each year. This four-pillared chapel enshrines Guru Padmasambhava and likely dates to the early 16th century, during the tenure of Pawo·Tsuglag Threngwa, when Lhalung temporarily came under Nyingma stewardship. Its walls are not painted but covered with stone carvings affixed directly to the surface, creating a striking three-dimensional mural effect. Among the carvings are skull motifs, as well as figures of Buddhas, bodhisattvas, lineage masters, and disciples, later colored in vivid paints.

To the west of the main hall lies the Avalokiteshvara Chapel, followed in sequence by the debating courtyard, protector deity shrine, other chapels, and the monks’ quarters.

Heritage Status

Recognized for its cultural and artistic value, Lhalung Monastery was designated a county-level protected cultural site in 1998. In 2007, it was elevated to the list of regional cultural relics protected by the Tibet Autonomous Region. On March 5, 2013, the State Council of China formally listed it as part of the seventh batch of National Key Cultural Relics Protection Units.

Cultural Relics

Imperial Edict

The monastery houses numerous cultural relics, among which the most precious is a Tibetan-language imperial edict issued during the reign of Emperor Qianlong of the Qing Dynasty. This edict explicitly states that the so-called “disputed areas” between present-day China and India, as well as China and Bhutan, belonged to China during the Qing period, affirming them as Chinese territory.

Mani Stone Carvings

The stone carvings at Lalung Monastery can generally be categorized into four types: scriptural inscriptions, human figures, decorative patterns, and symbolic motifs.

The carvings of Shezhu Lakhang (also known as Xuejiu Lakhang) are embedded on the eastern and western walls. They are believed to date from the same period as the building itself, approximately the Ming Dynasty ( AD 1368 – AD 1644).

Each carving measures about 30 x 40 cm and is neatly arranged in four rows, with a total of 99 pieces (four damaged).

The edges of each stone are molded into shrine-like reliefs, adorned with intricate motifs such as stupas, mountains, flowers, as well as animals like deer and sheep.

The main themes include depictions of Yab-Yum (male-female tantric deities such as Heruka Vajrakilaya), hybrid beings with human bodies and animal faces, all of which are associated with Nyingma tantric practices and representations of Guru Padmasambhava subduing demons, giving rise to various protector deities.

Along the walls of the main hall, some carvings are mounted on wooden frames while others are embedded into the walls. They serve both as architectural decoration and as objects of worship for pilgrims circumambulating the temple.

This collection comprises forty to fifty pieces, each generally about 40 x 50 cm. The slabs are thin, smooth, and uniform in both material and carving technique.

Some carvings are embedded in the northern wall of the main hall. According to monastery records, part of the northern section of the hall was dismantled during the Fifth Dalai Lama’s era, so these carvings could not predate that period.

The themes primarily feature portraits of sectarian patriarchs, accounting for over 90% of the total. Each portrait has a small Tibetan inscription in the upper corner, likely naming the figure, while their headgear indicates their sectarian affiliation.

• Bald heads: unidentified sects.
• Laymen, translators, or scholars with hair. Some wear the pandita hat, reserved for great scholars.
• Some wear winter hats lined with fox fur, typically used by high lamas or incarnate lamas, common in both Nyingma and Kagyu schools.
• The Karma Kagyu sect is characterized by the black hat. Dusum Khyenpa, the first Karmapa, was said to wear a black hat, hence the sect was called the Black Hat school. In fact, it was not until the second Karmapa, Karma Pakshi, that the Yuan emperor bestowed the black hat, formally establishing the Black Hat lineage.
• The Gelug sect is represented by yellow hats, tall in shape with long fringes.

The carvings thus reflect depictions of the Karma Kagyu, Nyingma, and Gelug sects — consistent with the sects historically associated with the monastery. Therefore, it is inferred that these carvings represent successive incarnations of the monastery’s lamas.

Cultural Value

Lalung Monastery has a long history and is an important center of Tibetan Buddhism. Over time it has been affiliated with the Karma Kagyu, Gelug, and now the Nyingma school, reflecting its deep religious and historical significance. It has exerted considerable influence in Tibetan history and preserves a rich collection of relics. Moreover, its architectural style is distinctive, blending Tibetan and Han Chinese elements, making it highly valuable for the study of Tibetan architectural art.

Monastic Education at Lhalung Monastery

At present, the monastery has no Khenpo (abbot) or Tulku (incarnate lama). There are 15 monks, most of whom come from Zhari Township. Among them, three are elder monks who take turns serving as the Gegu, responsible for maintaining monastic discipline. In addition, two chant masters lead daily scripture recitation and ritual activities.

To enhance the monks’ knowledge of Buddhist scriptures, in 2013 the monastery established an internal study class. Two chant masters, Dechen Longzhu and Pubu Tsering, take turns teaching, with a rotation every six months.

In the traditional Nyingma system of monastic education, when novices first enter the monastery, they are not divided into classes. All begin by learning the Tibetan alphabet, spelling, and basic sentence formation from their teacher. They are then called Gakaba, meaning “beginners.”

After one to two years, they memorize essential mantras and hymns used in various religious rituals. They then advance to the cultural class, where they study the “five minor sciences” — rhetoric, poetics, prosody, dramaturgy, and astrology — alongside introductory Buddhist teachings. The study period varies but generally lasts five to six years, during which they are considered “preparatory students.”

Around the age of twenty, after receiving novice (śrāmaṇera) ordination, they may enter the monastic college as auditors, known as Gechö. Only after taking full monk (bhikṣu) ordination are they formally admitted as students of the college. Once enrolled, they study both exoteric and esoteric Buddhist scriptures taught by their teachers. Their academic performance is assessed through examinations, and outstanding students may earn the title Rojangpa, equivalent to a doctoral degree.

Study in the monastic college typically lasts at least five years and may extend beyond ten. During this period, in addition to mastering their own coursework, students also serve as teaching assistants, guiding junior monks in their studies.

Upon successfully completing the curriculum and final examinations of the college, a monk becomes eligible to enter the Tantric Training Institute, which is equivalent to an esoteric college.

The course of study there lasts about six years: the first three years focus on initiation rituals, instructions, and guidance in spiritual practice, while the latter three years are devoted to solitary practice in retreat.

Those who achieve outstanding results in spiritual practice may be granted the title Drubpo Lama (“Accomplished Lama”), while those excelling in teaching others may be recognized as Drubpo Donlama (“Lama accomplished in instruction”).

Monks who complete both the scholastic college and the training institute with distinction are awarded the title of “Professor.”

Afterward, they may remain at the monastery to take disciples and teach, or they may be appointed as Khenpo in affiliated monasteries.

For further advancement, they may also travel to study under renowned masters and eminent lamas, thereby attaining greater accomplishments and honors.