Samdrub Darjay Choling Monastery, Darjeeling, West Bengal

Nestled in the serene hills of Sonada in Darjeeling, West Bengal, Samdrub Darjay Choling Monastery stands as the international seat of the Shangpa Kagyu lineage of Tibetan Buddhism. It was founded in 1966 by His Eminence Dorje Chang Kabje Kalu Rinpoche, a revered master known for his deep spiritual realization and tireless efforts to spread the Dharma across the globe. Originally established on the site of a former Geluk monastery, it became Kalu Rinpoche’s primary residence and a hub for spiritual retreat and practice.

The monastery belongs to the Shangpa Kagyu school, a unique and historically rich lineage within Vajrayana Buddhism. Unlike other institutionalized schools, the Shangpa tradition is known for its intimate master-to-disciple transmission and its origins with two enlightened female masters, Niguma and Sukhasiddhi, in 10th-century India. The teachings were passed to the Tibetan yogi Khyungpo Naljor, who established the lineage that would later be revitalized and preserved by Kalu Rinpoche in the 20th century. The Shangpa Kagyu lineage emphasizes yogic practices, meditation, and spiritual realization over institutional hierarchy.

Within the monastery lies a profound spiritual treasure: the preserved body of Kalu Rinpoche, known as a Kardung, which remains uncorrupted since his passing in 1989. This sacred relic is a powerful symbol of his enlightened state and continues to inspire practitioners. The monastery also houses sacred art, statues, and groves that reflect the depth of Buddhist culture and spiritual symbolism. It serves as a retreat center where practitioners engage in intensive meditation and receive teachings that aim to liberate the mind from illusion and ego.

Samdrub Darjay Choling is more than a physical structure—it’s a living embodiment of the Shangpa tradition’s authenticity and vitality. It continues to be a place of pilgrimage, learning, and transformation, drawing seekers from around the world who wish to connect with a lineage that has remained pure and unbroken for centuries. Its importance lies not only in its historical and spiritual legacy but in its ongoing role as a beacon of enlightened practice in the modern world.

Watching the arrival of visitors
From the top of the building, the monks watch the arrival of visitors.

Panorama of the west facade of the monastery

Ritual incense burner
In Vajrayana Buddhist tradition, a kiln-like structure known as a Sangbum or Sangchö burner is often found beside monasteries, especially in Himalayan regions. These are ritual incense burners—typically stone or metal vessels designed to hold aromatic woods, herbs, and resins.

The practice of burning these substances, called Sangchö (cleansing smoke offering), is deeply rooted in Tibetan culture and is performed to purify the environment, honor local spirits, and make offerings to mountain deities and protectors.
The ritual involves placing sacred substances such as juniper, sandalwood, agarwood, and medicinal herbs into the burner, which is then lit to produce fragrant smoke. This smoke is believed to carry the essence of the offering to the unseen realms, pleasing deities and dispelling negative energies. The kiln is often positioned to face a mountain or open sky, symbolizing the vastness of the offering and its reach to celestial beings. Monks, nuns, and lay practitioners may chant mantras or prayers during the offering, invoking blessings and protection for the monastery and surrounding community.
Spiritually, the Sangchö offering is a form of liberation through smell, one of the five sensory offerings in Vajrayana ritual. It’s associated with the goddess Dhupa (Tibetan: Dukpöma), who embodies the sense of smell and is often depicted holding an incense burner. The aromatic smoke is said to purify karmic obscurations, calm the mind, and create a conducive atmosphere for meditation and spiritual practice. It also serves as a gesture of generosity, one of the six perfections (paramitas) in Mahayana and Vajrayana Buddhism, reinforcing the practitioner’s commitment to altruism and spiritual discipline.
Beyond its ritual function, the kiln and its offerings reflect a profound ecological and spiritual harmony. Mountains are considered sacred in Tibetan cosmology—abodes of enlightened beings and powerful spirits. By making offerings to the mountain through the kiln, practitioners acknowledge their interdependence with nature, express reverence for the land, and seek to maintain balance between the physical and spiritual worlds. It’s a beautiful fusion of devotion, environmental awareness, and mystical symbolism that continues to shape the daily rhythms of Vajrayana monastic life.

Panorama of the central courtyard
In Vajrayana Buddhist monasteries, the central courtyard—often referred to as the chamra in Tibetan—is far more than an architectural feature; it is a sacred stage where the spiritual and communal life of the monastery unfolds.

Positioned directly in front of the main temple or shrine hall, this open space serves as a ritual arena, a gathering place, and a symbolic mandala where the boundaries between the mundane and the transcendent blur. Its design is intentional, often aligned with natural features like mountains or rivers to harness auspicious energies, and it is consecrated to support the transformative practices that take place within it.
One of the most iconic activities held in these courtyards is the Cham dance, a masked ritual performance that embodies the teachings of Vajrayana Buddhism. These dances are not mere spectacles—they are moving meditations and visualizations of enlightened deities, performed by monks in elaborate costumes and ferocious masks. The dances are choreographed according to ancient manuals (chams yig) and are often held during annual festivals like Tshechu in Bhutan or Dosmoche in Ladakh. As the dancers enact cosmic dramas of purification, protection, and realization, the courtyard becomes a living mandala, a sacred space where viewers are believed to receive blessings simply by witnessing the performance.
Beyond ritual dance, the courtyard is a communal heart of the monastery. It hosts teachings, public empowerments (wang), and seasonal ceremonies that bring together monks, lay practitioners, and pilgrims. During these events, the courtyard facilitates interaction between the monastic and lay communities, reinforcing bonds of faith and shared spiritual purpose. Its open design allows for tiered viewing platforms and natural acoustics, making it ideal for large gatherings and ceremonial processions.
Spiritually, the courtyard represents the threshold between samsara and nirvana. It is where practitioners symbolically enter the sacred realm—whether through dance, mantra, or ritual—and begin the journey inward toward realization. Just as a mandala guides the meditator through layers of purification and insight, the courtyard guides the community through collective transformation. It is a space where symbolism becomes embodied, where architecture, environment, and ritual converge to awaken the mind and open the heart.

Panorama of the main temple or shrine hall (left) and the great prayer wheel (right)

Great prayer wheel
In Vajrayana Buddhist monasteries, great prayer wheels—often towering structures adorned with sacred inscriptions—serve as both architectural marvels and spiritual engines.

These cylindrical wheels are typically constructed from metal, wood, or stone, and are filled with tightly wound scrolls bearing millions—even billions—of mantras, most commonly Om Mani Padme Hum, the mantra of Avalokiteshvara, the bodhisattva of compassion.
The wheel is mounted on a central spindle and designed to rotate clockwise, symbolizing the movement of the sun and the turning of the Dharma.
Some of the largest examples, like the Guinness-certified wheel at Samten Hills in Vietnam, are made of copper and inlaid with gold, weighing hundreds of tons.
The act of spinning these wheels is believed to generate immense spiritual merit, equivalent to reciting all the mantras contained within. This makes them especially powerful tools for purification and accumulation of positive karma.
When operated by multiple people, the communal turning becomes a shared ritual of devotion, reinforcing the Buddhist ideal of collective liberation. It also allows for the rotation of massive wheels that would be impossible for a single person to move, transforming the act into a physical metaphor for interdependence and unity. In some monasteries, rows of prayer wheels are installed so that pilgrims can walk alongside them, spinning each one in succession as part of a circumambulatory practice.
These spaces often host rituals, festivals, and meditative gatherings. During special occasions, monks and laypeople may chant mantras, light butter lamps, and perform circumambulations around the wheel, invoking blessings for themselves and all sentient beings. Some monasteries even organize “turn-a-thons,” where the wheel is spun continuously for days by rotating groups of practitioners, each contributing their energy and intention to the collective merit. The wheel may also be consecrated with relics, sacred texts, and offerings, further enhancing its spiritual potency.
Spiritually, the great prayer wheel is a living embodiment of the Dharma. It represents the union of body, speech, and mind—the physical act of turning, the sacred sound of the mantra, and the focused intention of the practitioner.
Its presence transforms the monastery into a dynamic field of blessings, radiating compassion and wisdom into the surrounding environment. Whether touched by wind, water, or human hands, the wheel becomes a conduit for awakening, reminding all who encounter it that enlightenment is not a distant goal, but a path walked together, one mindful rotation at a time.

Main entrance to the temple
In Vajrayana Buddhist architecture, the main entrance to temples or monastery assembly halls is a carefully orchestrated threshold between the mundane and the sacred.

Typically, this entrance is reached by ascending a flight of stairs, culminating in a porch or portico that precedes the doorway. This elevated approach is not merely practical—it’s symbolic. The act of climbing upward represents the aspirant’s spiritual ascent, a physical enactment of rising above worldly concerns to enter a space of higher consciousness.
The porch itself serves as a liminal zone, a place to pause, purify, and prepare before stepping into the sanctum where ritual and realization unfold.
Above this entrance, one often finds a sculpture of a Dharma wheel flanked by two gazelles, a motif deeply rooted in Buddhist iconography. This emblem commemorates the Buddha’s first sermon at Deer Park in Sarnath, where he “turned the wheel of Dharma” and set the teachings in motion. The gazelles—one male and one female—symbolize the receptive and joyful nature of beings who hear and internalize the Dharma. Their attentive gaze toward the wheel reflects the ideal attitude of practitioners: alert, open-hearted, and ready to be transformed by wisdom. This symbol is not just decorative—it’s a declaration that the teachings live within, and that the temple is a vessel for their transmission.
Spiritually, the wheel and gazelles serve as a visual invocation of the Eightfold Path, with the wheel’s eight spokes representing the eight aspects of right living. Positioned above the entrance, they act as guardians and guides, reminding all who enter that the journey inward is one of ethical discipline, meditative focus, and profound insight. The wheel itself is often rendered in gold or bright colors, radiating the light of truth, while the gazelles embody gentleness and grace—qualities that practitioners are encouraged to cultivate. Together, they form a mandala of aspiration, anchoring the temple’s purpose in the Dharma’s liberating power.
This architectural and symbolic ensemble transforms the entrance into a spiritual gateway. It’s not just a passage into a building—it’s an initiation into a sacred worldview. The stairs elevate the body, the porch calms the mind, and the wheel with gazelles stirs the heart. In this way, the temple’s threshold becomes a ritual in itself, aligning the visitor’s outer movement with an inner shift toward awakening.

Virudhaka, the King of the South
King Virudhaka is one of the Four Heavenly Kings (Caturmaharaja), depicted as a fierce guardian on the portico at the main entrance of temples and assembly halls. He is the King of the South, known in Sanskrit as Virudhaka, meaning “he who causes to grow” or “increase.” His Tibetan name, Pak Kyepo, translates to “Noble Birth.” He is often portrayed in full armor, wielding a raised sword, and standing with a commanding presence—sometimes trampling a demon underfoot to symbolize his dominion over evil forces.

Virudhaka’s role is to protect the Dharma and the southern direction of the world. He leads the Kumbhandas, a class of fierce spirits or demons, and is said to reside on the southern slopes of Mount Sumeru, the cosmic mountain at the center of Buddhist cosmology. His sword is not merely a weapon—it represents wisdom that cuts through ignorance, and his vigilant stance reflects his commitment to safeguarding spiritual growth and moral integrity. In Chinese temples, he is known as Zēngzhǎng Tianwáng, the “Growth King,” emphasizing his power to help sentient beings develop compassion and virtue.
Symbolically, Virudhaka embodies the principle of spiritual expansion and transformation. His blue or green color, depending on the tradition, is associated with vitality and rejuvenation. The sword he brandishes is often adorned with plant motifs, reinforcing his connection to growth and renewal. His fierce gaze and wrathful demeanor are not signs of malice but of protective compassion—a reminder that spiritual progress sometimes requires confronting and overcoming inner and outer obstacles.
Spiritually, Virudhaka’s presence at the temple entrance serves as a guardian threshold, purifying those who enter and reminding them of the seriousness of their spiritual journey. He is invoked in rituals and visualizations to foster courage, clarity, and commitment to the Dharma. His image is a call to action: to grow in wisdom, to cut through delusion, and to protect the sacred teachings with unwavering resolve. In this way, Virudhaka is not just a mythic figure but a living archetype of the transformative power of disciplined spiritual practice.

Dhrtarastra, the King of the East
King Dhrtarastra is one of the Four Heavenly Kings (Caturmaharaja), depicted as a formidable guardian on the portico of the main entrance to temples and assembly halls. He is the King of the East, known in Sanskrit as Dhrtarastra, meaning “Upholder of the Nation” or “Protector of the Realm.” His Tibetan name, Yul’khor Sung, translates to “Defender of the Area.” Dhrtarastra is typically shown in full armor, often holding a pipa (a Chinese lute), symbolizing his dominion over harmony and music. He leads the Gandharvas, celestial musicians, and is said to reside on the eastern slope of Mount Sumeru, the cosmic mountain at the center of Buddhist cosmology.

His role is both protective and nurturing. As guardian of the eastern direction, Dhrtarastra is entrusted with maintaining order and balance, ensuring that the Dharma flourishes without obstruction. The lute he carries is not merely ornamental—it represents the power of sound and vibration to purify and uplift. In some traditions, he is also associated with the wind element, which complements his musical symbolism. His presence at the temple entrance serves as a spiritual filter, warding off disruptive energies and inviting in harmony and clarity. In East Asian iconography, he may appear with a fierce expression, trampling a demon, emphasizing his role as a protector against ignorance and chaos.
Symbolically, Dhrtarastra embodies equilibrium, vigilance, and moral authority. His white or green coloration (depending on regional tradition) reflects purity and renewal. The Gandharvas under his command are not just musicians—they are spiritual beings who use sound to transmit the Dharma and dispel negativity. Dhrtarastra’s vigilant gaze and musical instrument remind practitioners that spiritual practice requires both discipline and grace, and that the Dharma can be expressed through beauty as well as strength. His presence reinforces the idea that entering the temple is not just a physical act, but a transition into sacred space, where one must be attuned to higher principles.
Spiritually, Dhrtarastra’s significance lies in his role as a guardian of transformation. He stands at the threshold of the temple, where the outer world meets the inner path. His image invites practitioners to leave behind distractions and enter with intention, aligning body, speech, and mind with the Dharma. In tantric visualizations and mandalas, he often appears at the eastern gate, forming part of the protective ring that encircles the sacred center. His presence is a reminder that spiritual growth is safeguarded by cosmic forces, and that harmony—both inner and outer—is essential for awakening.

Vaisravana, the King of the North
King Vaisravana—also known as Namthose in Tibetan—is the guardian of the northern direction and one of the Four Heavenly Kings (Caturmaharaja). He is typically depicted on the main entrance porch of temples and assembly halls, clad in golden armor, wielding a parasol or banner of victory, and often accompanied by a mongoose spitting jewels, a symbol of generosity triumphing over greeds. His fierce expression and regal bearing mark him as both a protector of the Dharma and a deity of wealth, embodying vigilance, abundance, and spiritual guardianship.

Vaisravana leads the yaksas, nature spirits known for their strength and association with prosperity. He resides on the northern slope of Mount Sumeru, the cosmic axis in Buddhist cosmology, and is said to have sworn an oath before Shakyamuni Buddha to protect the Dharma and its practitioners. In Tibetan Buddhism, he is often invoked during rituals to remove obstacles, grant blessings, and ensure the success of spiritual endeavors. His presence at the temple entrance is not merely symbolic—it is a spiritual safeguard, purifying the space and preparing visitors to enter with reverence and clarity.
Symbolically, Vaisravana represents renunciation and ethical discipline, one of the three principal aspects of the path in Lamrim teachings. His association with wealth is not limited to material riches but extends to spiritual prosperity, such as merit, wisdom, and compassion. The mongoose he holds is the enemy of the snake—a metaphor for greed—and its jewel-spitting mouth signifies the liberation of generosity. His parasol or banner denotes sovereignty over samsaric forces, reinforcing his role as a cosmic protector who defends the Dharma from corruption and decay.
Spiritually, Vaisravana’s significance lies in his dual nature as both worldly guardian and enlightened benefactor. Though often categorized as a worldly protector, his role in Vajrayana practice is profound: he is a manifestation of the Dharma’s protective power, a reminder that spiritual growth requires both inner discipline and outer support. His image at the monastery’s threshold is a call to enter the sacred space with intention, leaving behind distractions and aligning oneself with the path of awakening.

Virupaksa, the King of the West
King Virupaksa—known in Tibetan as Chen Mi Zang—is the guardian of the western direction and one of the revered Four Heavenly Kings (Caturmaharaja). His name translates to “Wide Eyes” or “All-Seeing,” reflecting his penetrating vision and unwavering vigilance. He is often depicted in full armor, with a fierce expression and a serpent or stupa in hand, symbolizing his dominion over the Nagas, the serpent spirits of water and wisdom. Positioned on the portico of the main entrance, his presence marks the threshold between the outer world and the sacred interior, serving as a spiritual sentinel who wards off deception and invites clarity.

Virupaksa’s role is to protect the Dharma and oversee the western quadrant of Mount Sumeru, the cosmic axis in Buddhist cosmology. He leads the Nagas, who are not only elemental beings but also guardians of hidden teachings and esoteric knowledge. His association with serpents and water links him to transformation, intuition, and the flow of spiritual energy. In some iconography, he gazes at a stupa rather than directly at beings, as his glance is said to be so powerful it could harm those unprepared for its intensity. This gesture underscores his compassionate restraint and his commitment to guiding beings without overwhelming them.
Symbolically, Virupaksa represents insight, discernment, and the ability to perceive beyond illusion. His wide eyes are metaphors for spiritual awareness—seeing not just appearances but the deeper truths beneath them. In mandala visualizations, he guards the western gate, ensuring that only those with sincere intent and purified minds may enter the sacred space. His red or brown coloration, depending on tradition, evokes the fire of transformation and the grounding force of wisdom. He is invoked in rituals to dispel confusion, protect against spiritual threats, and foster the clarity needed for deep meditative practice.
Spiritually, Virupaksa’s significance lies in his embodiment of watchful wisdom and protective compassion. He reminds practitioners that the path to enlightenment requires not only inner discipline but also the courage to confront and dissolve illusions. His presence at the monastery’s entrance is a call to awaken—to see clearly, act mindfully, and enter the Dharma realm with reverence and resolve. In this way, Virupaksa is not just a guardian but a guide, urging all who pass beneath his gaze to walk the path with eyes wide open.

Sage of Long-Life
Paintings of the Sage of Long-Life on the porticos of Vajrayana Buddhist temples are rich visual allegories that blend spiritual aspiration with symbolic storytelling.

These images typically portray an elderly sage seated in a serene natural setting, surrounded by animals, flowing water, and lush vegetation. The figure is often depicted with a white beard and a gentle expression, holding a longevity vase and a thousand-year peach, both potent symbols of vitality and spiritual abundance. This sage is not merely a folkloric figure—he embodies the ideal of a life lived in harmony with the Dharma, nature, and the rhythms of the universe.
The composition of these paintings is built around six iconographic elements, each representing an aspect of long life: the rock, tree, water, man, birds, and antelope of longevity. The rock symbolizes stability and endurance; the tree (often a juniper) represents growth and shelter; the water flows with purity and renewal. The birds and antelope reflect gentleness, vitality, and the peaceful coexistence of all beings under the sage’s spiritual influence. These elements are not randomly chosen—they form a mandala-like arrangement that invites contemplation of the interconnectedness of life and the blessings of spiritual practice.
Spiritually, the Sage of Long-Life serves as a guardian of the threshold—a figure who blesses those entering the temple and reminds them of the deeper purpose of their journey. His presence suggests that longevity is not merely physical but also spiritual endurance: the capacity to remain steadfast on the path of awakening. The flowing water behind him, said to possess eight special qualities, is a metaphor for the Dharma itself—cleansing, nourishing, and ceaselessly moving. The animals drawn to him are not just companions but recipients of his teachings, illustrating the Buddhist ideal of compassion extended to all sentient beings.
These images also reflect Vajrayana’s embrace of symbolic richness and experiential wisdom. Unlike more austere depictions in other Buddhist traditions, Vajrayana art often uses vivid, naturalistic scenes to convey esoteric truths. The Sage of Long-Life is a visual sermon: he teaches without words, inviting viewers to reflect on the qualities that lead to a long, meaningful life—generosity, serenity, and spiritual insight. His image is both a blessing and a challenge: to live not just longer, but deeper.

The Four Harmonious Friends
One of the most beloved and symbolically rich images found on the porticos of Vajrayana Buddhist temples is the depiction of “The Four Harmonious Friends”—an elephant, monkey, hare, and bird stacked atop one another. This charming tableau is more than decorative; it’s a visual parable drawn from a Jataka tale, representing cooperation, respect, and interdependence.

Each animal symbolizes a different quality: the elephant stands for strength and stability, the monkey for agility and cleverness, the hare for speed and alertness, and the bird for vision and communication. Together, they embody the idea that harmony arises when beings of different natures work together respectfully.
The story behind this image tells of four animals who discover a fruit tree and, rather than quarrel over its bounty, determine who first saw it. The bird, who dropped the seed, is deemed the eldest, followed by the hare who saw the sapling, the monkey who saw it grow, and the elephant who saw it bearing fruit. They then agree to honor the bird as the eldest and cooperate to enjoy the tree’s gifts. This tale teaches the Buddhist principle of honoring seniority and wisdom, and the importance of humility and collaboration. It’s a gentle reminder that spiritual progress is not a solo endeavor—it flourishes in community.
Symbolically, the vertical stacking of the animals also reflects the layers of consciousness and spiritual development. The elephant, grounded and powerful, represents the foundational strength of ethical conduct. The monkey, perched above, reflects the restless mind that must be tamed. The hare, quick and perceptive, symbolizes intuitive insight, and the bird at the top signifies the awakened mind—light, free, and far-seeing. Their cooperation suggests that enlightenment is achieved not by suppressing these aspects, but by integrating them harmoniously.
Spiritually, this image serves as a threshold guardian on temple porticos, inviting practitioners to enter with a mindset of mutual respect and shared purpose. It’s a visual sermon on the value of sangha—the spiritual community—and a call to cultivate qualities that support collective awakening. In a tradition that often emphasizes solitary meditation and esoteric practice, the Four Harmonious Friends offer a warm, accessible teaching: that wisdom, compassion, and joy are best nurtured together.

Wheel of life
Paintings of the Wheel of Life, or Bhavacakra, on the porticos of Vajrayana Buddhist temples are profound visual teachings that encapsulate the essence of samsara—the endless cycle of birth, death, and rebirth. These intricate mandala-like diagrams are traditionally placed at temple entrances to offer a spiritual lesson to all who pass by, whether monastic or layperson.

The image is held in the grasp of Yama, the Lord of Death, symbolizing impermanence and the inevitability of change.
At the very center of the wheel are three animals—a pig, a snake, and a rooster—representing the three poisons: ignorance, hatred, and desire. These are the root causes of suffering and the forces that keep beings trapped in cyclic existence.
Surrounding the hub is a ring depicting karma, with one half showing beings ascending to higher realms through virtuous actions, and the other half showing descent into suffering due to negative deeds.
The next layer illustrates the six realms of existence: gods, demi-gods, humans, animals, hungry ghosts, and hell beings. Each realm reflects a different mode of suffering and delusion, from the blissful distraction of the god realm to the torment of the hell realm. These realms are not just cosmological—they mirror psychological states and patterns of behavior that practitioners are encouraged to recognize and transcend.
The outermost ring portrays the twelve links of dependent origination, a chain of causality that explains how ignorance leads to suffering and rebirth. These links include symbolic scenes such as a blind person (ignorance), a potter (volitional action), and a woman giving birth (birth), culminating in aging and death. This layer reveals the subtle mechanics of samsara and invites contemplation on how each moment of experience arises from conditions and leads to further entanglement unless interrupted by insight.
Spiritually, the Wheel of Life is a mirror of the mind. It teaches that liberation is possible—not by escaping the world, but by transforming one’s understanding of it. Often, the Buddha is depicted outside the wheel, pointing to the moon, which symbolizes nirvana—the cessation of suffering and the realization of ultimate truth. This gesture is a gentle but powerful reminder: no matter where one stands on the wheel, the path to awakening is always within reach.

Detail of the two rings of the three poisons and karma
At the heart of the Wheel of Life (Bhavacakra)—a vivid mandala of existence painted on Vajrayana temple porticos—lies the ring of the three poisons, a symbolic hub that drives the entire cycle of samsara. This innermost circle features three animals: a pig, a snake, and a bird (often a rooster). Each represents a fundamental affliction: the pig stands for ignorance or delusion, the snake for hatred or aversion, and the bird for attachment or desire. These creatures are often shown biting each other’s tails, illustrating how these poisons feed into one another in a self-perpetuating loop. Spiritually, this ring teaches that suffering begins not in the external world but in the mind’s distorted perceptions. It’s a call to introspection: to recognize and uproot these poisons through wisdom, compassion, and mindfulness.

Encircling this hub is the ring of karma, depicted as two semicircles—one light, one dark. The light half shows beings ascending toward higher realms, symbolizing the fruits of virtuous actions rooted in generosity, love, and clarity. The dark half shows beings descending into lower realms, representing the consequences of unwholesome actions driven by the three poisons. This duality reflects the law of cause and effect: that every thought, word, and deed plants a seed that ripens into future experience. The figures in this ring are often shown being led by celestial or demonic guides, emphasizing that karma is not random—it’s shaped by intention and consciousness.
Together, these two rings form the engine of cyclic existence. The three poisons generate karma, and karma propels beings into the six realms of rebirth. In Vajrayana Buddhism, this imagery is not just philosophical—it’s deeply practical. It invites practitioners to transform their minds through tantric methods that transmute poison into wisdom. For example, desire can become the fuel for compassion; anger can be refined into mirror-like clarity. The Wheel doesn’t condemn—it educates, offering a visual map of liberation.
Placed at the temple threshold, these rings serve as a spiritual mirror. Before stepping into the sacred space, one is invited to reflect: What drives my actions? Am I perpetuating suffering or cultivating awakening? The Buddha, often depicted outside the wheel pointing to the moon, reminds us that freedom is possible. The rings of poison and karma are not prisons—they’re teachings. And with awareness, they become the very path out of samsara.

Vairocana Buddha
Vairocana, the Primordial Buddha of Vajrayana Buddhism. Vairocana is not a historical figure like Gautama Buddha, but rather a cosmic embodiment of pure, all-encompassing awareness—the Dharmakaya, or truth body. He sits at the center of many tantric mandalas and is revered as the source from which all Buddhas emanate.

In this painting, the large outer circle represents his universal body, encompassing all phenomena, while the smaller inner circle with the seated Buddha symbolizes the individual realization of enlightenment within that vast field of awareness.
The six pillars—two red, two green, and two blue—radiating from the inner circle to the periphery are highly symbolic. They may correspond to the six paramitas (perfections) practiced on the bodhisattva path: generosity, discipline, patience, diligence, concentration, and wisdom. Alternatively, they could represent the six realms of cyclic existence—gods, demi-gods, humans, animals, hungry ghosts, and hell beings—each one a domain of experience that Vairocana’s wisdom pervades and transforms. The use of color is deliberate: red often symbolizes compassion, green reflects balance and action, and blue denotes clarity and depth—all qualities of enlightened mind.
Spiritually, this image functions as a mandala of integration. The concentric circles invite the viewer to journey inward, toward the center of consciousness, while the radiating pillars suggest the outward flow of enlightened activity into the world. Vairocana’s presence teaches that duality is an illusion—that the practitioner and the cosmos are not separate, but reflections of the same luminous awareness. This is a core tenet of Vajrayana: that enlightenment is not somewhere else, but is the very nature of mind when freed from obscuration.
Such paintings are often used in tantric visualization practices, where the meditator imagines themselves as Vairocana, seated at the center of the mandala, radiating wisdom and compassion. The image is not just symbolic—it’s experiential, designed to awaken the practitioner to their own Buddha-nature.

Meeting hall
Inside the meeting hall of Vajrayana Buddhist monasteries—often called the dukhang—monks gather for a wide range of spiritual activities that form the heartbeat of monastic life. These include daily prayers, chanting of sutras and mantras, ritual offerings, meditation sessions, and ceremonial initiations.

The benches arranged perpendicular to the altar allow monks to face each other during recitations, reinforcing the communal nature of practice while maintaining reverence toward the central Buddha image.
The hall is also used for teachings by senior lamas, debates on Buddhist philosophy, and seasonal rituals such as the Gutor purification ceremonies before Tibetan New Year.
Symbolically, the meeting hall represents the mandala of awakened mind—a sacred space where samsara and nirvana intersect.
The altar at the front, crowned by the main Buddha image (often Shakyamuni or Vairocana), anchors the room in the presence of enlightenment.
Surrounding this central figure are thangka paintings, statues, and murals depicting bodhisattvas, wrathful deities, lineage masters, and protector spirits. These figures are not merely decorative; they embody specific enlightened qualities—compassion, wisdom, fearlessness—and serve as visual aids for tantric visualization practices. Their placement within the hall mirrors the structure of a mandala, guiding practitioners inward toward realization.
Each figure depicted carries layered symbolic meaning. For instance, wrathful deities like Mahakala or Vajrakilaya, with fierce expressions and flaming auras, symbolize the transformation of negative emotions into wisdom. Peaceful bodhisattvas such as Avalokiteshvara or Tara radiate serenity and compassion, reminding monks of their vow to liberate all beings. Lineage masters like Padmasambhava or Tsongkhapa are often shown in teaching postures, linking the present community to centuries of transmission. Even the colors—deep reds, golds, blues—are chosen for their spiritual resonance, representing elements, directions, and states of consciousness.
Spiritually, the meeting hall is a threshold between the mundane and the sacred. It is where monks cultivate merit, purify karma, and deepen their connection to the Dharma. The images and rituals performed within its walls are designed to awaken the practitioner’s inner Buddha-nature. As such, the hall is not just a physical space—it is a living mandala, a mirror of the enlightened mind, and a sanctuary where the path to awakening is enacted day after day.

Larger chairs or thrones
The larger chairs or thrones positioned near the altar are reserved for spiritual masters, such as abbots, lineage holders, or visiting high lamas.

These thrones are not merely elevated seats—they are ritual objects imbued with deep symbolic meaning. Their placement near the central Buddha image signifies the master’s role as a living conduit of the Dharma, bridging the timeless wisdom of the Buddha with the present-day monastic community. The throne’s proximity to the altar also reflects the master’s spiritual authority and his responsibility to uphold and transmit the teachings with clarity and compassion.
The design of these thrones often incorporates iconographic elements that mirror the structure of a mandala. They may be adorned with motifs such as lions (symbolizing fearlessness), lotuses (purity), and the Vishvavajra or double vajra (representing stability and the indestructible nature of truth). The throne’s elevated height is not about hierarchy in a worldly sense—it represents the elevation of wisdom over ignorance, and the master’s attainment of insight through years of disciplined practice. In some traditions, the throne is considered a seat of realization, and its use is restricted to those who have received specific empowerments or transmissions.
Spiritually, the throne serves as a focal point of reverence and aspiration for the monks. When a master sits upon it to give teachings, initiations, or blessings, the throne becomes a symbolic gateway—a place where the sacred and the mundane meet. Monks seated on the benches perpendicular to the altar are not just listening to words; they are receiving the lineage’s living energy, passed down through generations. The throne thus embodies the continuity of the Dharma, reminding practitioners that enlightenment is not a distant myth but a living possibility.
For the monastic community, the presence of the throne reinforces the principle of devotion and transmission. It invites humility, focus, and a deepening of the student-teacher relationship, which is central to Vajrayana practice. The throne is not just a seat—it is a symbol of the path itself, encouraging monks to cultivate the qualities that will one day allow them to sit there not in status, but in awakened presence.

Throne with the statue of Kalu Rinpoche
The throne with the statue of Kalu Rinpoche in the assembly hall of Samdrub Darjay Choling Monastery is a deeply revered focal point that embodies the spiritual heart of the monastery.

Positioned near the main Buddha image and aligned with the monks’ benches, it serves as a powerful reminder of Kalu Rinpoche’s enduring presence as the founder and guiding master of the Shangpa Kagyu lineage.
For the monks, this statue is not merely commemorative—it is a living symbol of lineage and transmission, evoking the master’s wisdom, compassion, and unwavering dedication to the Dharma.
Kalu Rinpoche’s life was marked by profound realization, decades of retreat, and tireless teaching across cultures and continents. His statue seated on a throne reflects his role as a guru who bridges the timeless teachings of the Buddha with the lived experience of his disciples. The throne itself, often adorned with traditional motifs like lions, lotuses, and the double vajra, elevates the master’s image both physically and symbolically—signifying the strength, purity, and indestructibility of his enlightened activity. Its placement near the altar reinforces the inseparability of the guru and the Buddha in Vajrayana practice.
Spiritually, the statue functions as a source of blessing and inspiration. Monks may offer prostrations, light butter lamps, or recite prayers before it, seeking guidance and connection to the lineage. The presence of the master in this form affirms the Vajrayana principle that the guru is the gateway to realization, and that devotion to the teacher is a direct path to awakening. The statue’s serene expression and meditative posture invite practitioners to embody the same qualities in their own lives—clarity, humility, and fearless compassion.
For the monastic community, this throne and statue are not just historical tributes—they are living mandalas of aspiration. They remind the monks daily of their spiritual inheritance and the possibility of actualizing the teachings through disciplined practice. In moments of doubt or fatigue, the gaze of Kalu Rinpoche offers silent encouragement, anchoring the monastery in its purpose and illuminating the path forward.

Portrait of the 17th Gyalwang Karmapa
The framed portrait of Ogyen Trinley Dorje, placed on a throne opposite the statue of Kalu Rinpoche in the assembly hall of Samdrub Darjay Choling Monastery, holds deep symbolic and spiritual significance.

Ogyen Trinley Dorje is recognized as the 17th Gyalwang Karmapa, the head of the Karma Kagyu lineage, which is closely connected to the Shangpa Kagyu tradition upheld by Kalu Rinpoche.
His portrait on a throne signifies his role as a spiritual protector and guiding presence for the monastery, even in physical absence. The throne itself is a gesture of reverence, acknowledging his status as a living embodiment of enlightened activity and lineage continuity.
For the monks, this portrait is not merely a representation—it is a living link to the broader Kagyu tradition. The throne elevates the image to the level of ritual presence, allowing practitioners to offer prostrations, prayers, and devotion as if the Karmapa were seated there in person. It reinforces the Vajrayana understanding that the guru is inseparable from the Buddha, and that devotion to the teacher is a direct path to realization. The symmetry between the thrones of Kalu Rinpoche and Ogyen Trinley Dorje reflects the harmonious relationship between the Shangpa and Karma Kagyu lineages, both of which emphasize deep meditative practice and transmission through realized masters.
Spiritually, the portrait serves as a beacon of aspiration and unity. Ogyen Trinley Dorje is known for his emphasis on environmental responsibility, interfaith dialogue, and modern expressions of Dharma, making his presence especially meaningful to younger monks and international practitioners. His image on the throne invites reflection on the evolving nature of Tibetan Buddhism and the importance of maintaining lineage integrity while engaging with the contemporary world. It also affirms the monastery’s connection to the Rimé (non-sectarian) movement, which values inclusivity and respect across traditions.
In this way, the throne and portrait are not static symbols—they are living mandalas of devotion and lineage. They remind the monastic community of their place within a vast spiritual heritage and encourage them to embody the qualities of wisdom, compassion, and fearless engagement that both Kalu Rinpoche and Ogyen Trinley Dorje represent.

Portrait of the 14th Dalai Lama
The empty side throne with a framed portrait of the 14th Dalai Lama, His Holiness Tenzin Gyatso, in the assembly hall of Samdrub Darjay Choling Monastery carries profound symbolic and spiritual weight.

Though the monastery belongs to the Shangpa Kagyu tradition, which is distinct from the Gelug school traditionally associated with the Dalai Lama, the throne honors His Holiness as a unifying figure in Tibetan Buddhism and a global symbol of compassion, wisdom, and peace.
Placing his portrait on a throne elevates his presence to that of a spiritual protector and revered teacher, even in his physical absence.
For the monks, this gesture reflects the Rimé (non-sectarian) spirit that Kalu Rinpoche himself championed. The throne is not about institutional allegiance—it’s about recognizing the Dalai Lama’s role as a living embodiment of the Bodhisattva ideal, someone who tirelessly works for the benefit of all sentient beings. His teachings on ethics, interdependence, and universal responsibility resonate across traditions, and his image in the hall serves as a daily reminder of those values. It also affirms the monastery’s openness to the broader Tibetan Buddhist world and its respect for figures who transcend sectarian boundaries.
Symbolically, the empty throne suggests potential and presence—a space held for enlightened activity, for the voice of wisdom, and for the lineage of compassionate leadership. The portrait becomes a focal point of aspiration, inviting monks to cultivate the same qualities of humility, courage, and loving-kindness that His Holiness exemplifies. It’s common for practitioners to offer prostrations or prayers before the throne, not as an act of worship, but as a gesture of connection to the living Dharma.
Spiritually, this throne and portrait form part of the mandala of the assembly hall, complementing the thrones of Kalu Rinpoche and Ogyen Trinley Dorje. Together, they represent a triad of lineage, realization, and compassionate leadership. The Dalai Lama’s image reminds the monastic community that the path of awakening is not confined to retreat or ritual—it is lived through service, dialogue, and fearless kindness.

Display case dedicated to Bokar Rinpoche
The display case on the left in the assembly hall of Samdrub Darjay Choling Monastery is dedicated to Bokar Rinpoche, the heart disciple of Kalu Rinpoche and a revered master in the Karma Kagyu and Shangpa Kagyu traditions.

Bokar Rinpoche played a pivotal role in continuing Kalu Rinpoche’s legacy, especially in guiding students through the three-year retreat program and preserving the Rime (non-sectarian) spirit of Tibetan Buddhism.
His teachings emphasized clarity, compassion, and meditative depth, and he was known for his gentle demeanor and profound realization.
The display case honors his contributions to the monastery and the broader Dharma community, serving as a source of inspiration for monks and visitors alike.

Display case dedicated to Kalu Rinpoche
The display case dedicated to Kalu Rinpoche in the assembly hall of Samdrub Darjay Choling Monastery is far more than a memorial—it is a living shrine to the legacy of one of the most revered masters of the Shangpa Kagyu lineage.

Positioned prominently to the right of the main altar, the case contains relics, ritual objects, photographs, and texts associated with Kalu Rinpoche’s life and teachings. These items are curated with deep reverence, offering monks and visitors a tangible connection to the master’s enlightened activity and compassionate presence. The case serves as a spiritual anchor, reminding all who enter the hall of the lineage’s depth and the transformative power of sincere practice.
Kalu Rinpoche (1905–1989) was a pivotal figure in the transmission of Vajrayana Buddhism to the West and a master of both the Shangpa and Karma Kagyu traditions. His life was marked by decades of solitary retreat, profound realization, and tireless teaching. The display case often includes a kardung, a preserved representation of his body after passing into paranirvana, which is said to have shown no signs of decay—a sign of his spiritual attainment. For the monks, this is not merely a historical artifact but a symbol of the fruition of the path they themselves are walking. It inspires devotion, discipline, and a sense of continuity with the lineage.
Spiritually, the case functions as a gateway to blessing and reflection. Monks may pause before it to offer prostrations, recite prayers, or simply absorb the presence of the master through the sacred objects within. It reinforces the Vajrayana principle that the guru is inseparable from the Buddha, the Dharma, and the Sangha. In this way, the case is not just a tribute—it is a living transmission, radiating the qualities of wisdom, compassion, and fearlessness that Kalu Rinpoche embodied.
For the monastery as a whole, the display case is a pillar of identity and aspiration. It affirms Samdrub Darjay Choling’s role as the international seat of the Shangpa Kagyu lineage and honors the master who established its retreat center and spiritual foundation. The case invites all who enter the hall—monks, lay practitioners, and pilgrims alike—to reflect on the possibility of awakening and the power of lineage to guide that journey.

Preserved body of Kalu Rinpoche
The preservation of Kalu Rinpoche’s body at Samdrub Darjay Choling Monastery follows a sacred Tibetan Buddhist tradition known as kardung, in which the body of a realized master is preserved as a relic of spiritual attainment.

After Kalu Rinpoche passed into parinirvana in 1989, his body reportedly showed no signs of decay, a phenomenon considered a sign of profound realization and mastery over the physical elements. This inspired the monastery to enshrine his body in a display case, allowing devotees to continue receiving blessings through his presence.
The process of kardung preservation typically involves ritual purification, wrapping the body in sacred cloth, and applying protective substances such as herbal compounds, oils, or consecrated powders. These steps are performed by senior monks or lineage holders, often under the guidance of tantric texts and oral instructions. The body is then placed in a sealed reliquary or glass case, which is ritually consecrated and maintained as a site of pilgrimage and devotion. In Kalu Rinpoche’s case, the preservation was carried out with exceptional care, reflecting his status as a lineage master of both the Shangpa and Karma Kagyu traditions.
Spiritually, the preserved body is not viewed as a mere physical remnant—it is considered a living source of blessing and inspiration. Monks and visitors offer prostrations, prayers, and butter lamps before the display, connecting with the master’s enlightened qualities. The kardung serves as a focal point of lineage transmission, reminding practitioners of the possibility of realization through sincere practice and devotion.

Panorama of the altar
The altar is the spiritual and visual centerpiece—a sacred tableau that embodies the heart of the Dharma.

At its center stands the main Buddha image, often Shakyamuni Buddha in the bhumisparsha mudra, symbolizing his enlightenment and the moment he called the Earth to witness his awakening. This golden figure radiates serenity and wisdom, anchoring the space in the presence of the enlightened mind. For the monks seated in rows perpendicular to the altar, this image is a daily reminder of their own potential for awakening and the lineage of realization they are part of.
Flanking the central Buddha are accessory images that vary by tradition and occasion. These may include bodhisattvas like Avalokiteshvara and Manjushri, lineage masters such as Padmasambhava or Tsongkhapa, and wrathful deities like Vajrakilaya or Mahakala.
Each figure represents a specific enlightened quality—compassion, wisdom, protection, or transformative power—and their arrangement forms a mandala of presence, guiding the practitioner’s mind through layers of symbolic meaning. These images are not passive decorations; they are visual supports for tantric visualization, helping monks internalize the qualities they aspire to embody.
Among the most intriguing offerings on the altar are butter sculptures, known as tormas. These are intricately shaped from colored butter and barley flour, often depicting deities, animals, or abstract forms. Tormas serve both as ritual offerings and as symbolic representations of impermanence and devotion. Their ephemeral nature—melting or being ritually dismantled—reinforces the Buddhist teaching that all conditioned phenomena are transient. Creating tormas is itself a meditative act, requiring precision, concentration, and reverence, and their presence on the altar adds a layer of tactile artistry to the spiritual environment.
Spiritually, the altar is a living mandala, a mirror of the awakened mind and a gateway to deeper realization. It is where monks make offerings, recite prayers, and perform rituals that connect them to the lineage of enlightened beings. The images and objects on the altar are not just symbols—they are energetic presences, invoked and honored through ritual. For the monastic community, the altar is both a sanctuary and a compass, orienting their practice toward the ultimate goal of liberation.

Chenrezig (Avalokiteshvara)
The statue of Chenrezig (Avalokiteshvara) on the altar of Samdrub Darjay Choling Monastery embodies the heart of Vajrayana Buddhism’s compassionate vision.

Chenrezig is revered as the Bodhisattva of Infinite Compassion, the one who hears the cries of all sentient beings and vows never to rest until every being is liberated from suffering. His presence at the altar is not just symbolic—it’s a living invocation of mercy, mindfulness, and the boundless potential of the awakened heart. For the monks, this statue is a daily reminder of their own vow to cultivate compassion and serve others on the path to enlightenment.
The jewel held between Chenrezig’s two hands at chest height is the cintamani, or wish-fulfilling jewel. It represents the enlightened mind’s ability to fulfill the deepest spiritual aspirations of beings. Positioned at the heart, it signifies that true fulfillment arises from compassion and wisdom—not from worldly gain. This jewel is also a symbol of the Bodhisattva’s commitment to respond to suffering with generosity and clarity, offering the Dharma as the ultimate gift.
In his left hand, Chenrezig holds a lotus flower, which blooms unstained from the mud. This symbolizes purity and spiritual awakening, showing that enlightened qualities can arise even in the midst of samsaric confusion. The lotus also reflects the Bodhisattva’s ability to remain in the world without being tainted by it—engaged, yet free.
In his right hand, he holds a mala (prayer beads), used for mantra recitation. This represents continuous meditative awareness, the rhythm of compassion expressed through the repetition of sacred syllables like Om Mani Padme Hum, Chenrezig’s mantra.
Together, these symbols form a triad of enlightened activity: the jewel of intention, the lotus of purity, and the mala of practice. For the monastic community, this statue is not just an object of devotion—it’s a visual teaching, a mirror of the qualities they strive to embody. It invites practitioners to hold compassion at the center of their being, to remain pure in action, and to engage in steady, heartfelt practice.

Shakyamuni Buddha touching the earth
In the assembly hall of a Vajrayana Buddhist monastery, the golden image of Shakyamuni Buddha touching the earth—depicted in the bhumisparsha mudra—holds profound spiritual and symbolic importance.

This gesture, with the Buddha’s right hand reaching toward the ground, commemorates the moment of his enlightenment under the Bodhi tree, when he called the Earth to witness his triumph over Mara, the embodiment of delusion and temptation.
The golden hue of the statue reflects the Buddha’s radiant wisdom and purity, while the gesture itself anchors the image in a specific historical and cosmic event: the awakening of Siddhartha Gautama into Buddhahood.
For the monks who gather daily in the assembly hall, this image is far more than a decorative centerpiece—it is a living symbol of the path they walk. Facing the Buddha as they chant, meditate, and receive teachings, they are reminded of the unwavering resolve and clarity required to overcome inner obstacles.
The Earth-touching gesture affirms that enlightenment is not a distant ideal but a grounded reality, accessible through disciplined practice and deep insight. It also reinforces the Vajrayana emphasis on direct experience and the transformation of ordinary perception into sacred awareness.
The image’s placement at the center of the altar reflects its role as the axis of the mandala, the spiritual center around which all ritual and activity revolve.
Surrounding thangkas, statues, and offerings form a sacred geometry that mirrors the enlightened mind.
In this context, Shakyamuni Buddha is not only the historical teacher but also the embodiment of the Dharmakaya—the truth body that pervades all phenomena. His golden form radiates the qualities of compassion, wisdom, and fearlessness, guiding practitioners toward their own realization.
Spiritually, the statue serves as a threshold guardian and a mirror. As monks enter the hall, they symbolically cross from the mundane world into the sacred space of awakening. The Buddha’s serene gaze and grounded gesture invite them to touch the Earth of their own being—to bear witness to their intentions, struggles, and aspirations. In this way, the image becomes a silent teacher, reminding all who sit before it that the path to liberation begins with presence, courage, and the willingness to face truth directly.

Shariputra and Maudgalyayana
Flanking the central statue of Shakyamuni Buddha on the altar of Samdrub Darjay Choling Monastery are two revered figures: Shariputra and Maudgalyayana, his foremost disciples.

These two monks are traditionally depicted standing or seated on either side of the Buddha, symbolizing the transmission of the Dharma and the living presence of the Sangha. Their placement reflects their intimate connection to the Buddha and their foundational role in the early Buddhist community. For the monks of the monastery, these statues are not just historical representations—they are embodiments of wisdom and spiritual power, anchoring the altar in the lived reality of the Buddha’s teachings.
Shariputra, often shown on the Buddha’s right, is celebrated as the disciple with the greatest wisdom. He was known for his penetrating insight into the nature of reality and his ability to explain complex teachings with clarity and precision. In many sutras, the Buddha entrusts Shariputra with the exposition of profound doctrines, including emptiness and dependent origination. His presence on the altar reminds practitioners of the importance of analytical understanding and discernment on the path to liberation. For monks engaged in study and debate, Shariputra is a model of intellectual rigor and spiritual depth.
On the Buddha’s left is Maudgalyayana, renowned for his mastery of supernatural powers and his deep compassion. He is said to have developed abilities such as clairvoyance, telepathy, and the ability to travel across realms—all through meditative concentration. Maudgalyayana’s most famous act was rescuing his mother from the realm of hungry ghosts, a story that inspired the Ullambana Festival and teachings on filial piety. His statue evokes the mystical dimension of practice, reminding monks that realization is not only intellectual but also experiential and transformative.
Together, Shariputra and Maudgalyayana represent the two wings of the Dharma: wisdom and method. Their presence beside the Buddha forms a triad that reflects the Three Jewels—Buddha, Dharma, and Sangha. For the monastic community, these statues are daily companions in practice, offering inspiration, protection, and a living connection to the earliest generation of enlightened beings.