Tucked into the forested hills of East Sikkim, the Old Rumtek Monastery,
formally known as Karma Thubten Chokhorling, is a quiet yet historically rich
sanctuary of Tibetan Buddhism.
Founded in 1734 by the fourth Chogyal of Sikkim, Gyurmed Namgyal, it
originally served as the principal seat of the Karma Kagyu lineage in the
region. Before the construction of the newer Rumtek Dharma Chakra Centre in
the 1960s, the 16th Gyalwa Karmapa, Rangjung Rigpe Dorje, resided here after
fleeing Tibet in 1959. Though modest in scale compared to its successor, the
Old Rumtek Monastery remains a vital spiritual landmark, echoing centuries of
devotion and resilience.
Architecturally, the monastery reflects traditional Tibetan gompa design, with
sloping roofs, intricately carved wooden cornices, and a central prayer hall
adorned with murals and thangkas. While the original structure was dismantled
and rebuilt with government support, the new building retains the aesthetic
and spiritual essence of its predecessor. The atmosphere is serene and
contemplative, offering panoramic views of the surrounding valleys and a sense
of timelessness that draws both pilgrims and curious travelers. The site is
less frequented than the newer monastery, making it an ideal spot for quiet
reflection and immersion in Sikkim’s Buddhist heritage.
One of the most captivating aspects of the Old Rumtek Monastery is its role in
seasonal religious festivals, particularly the Lama dances performed on the
28th and 29th days of the tenth Tibetan month, just before Losoong, the
Sikkimese New Year. These masked dances, rich in symbolism and ritual, are
believed to dispel negative energies and usher in auspicious beginnings. The
monastery also serves as a gathering place for local devotees during these
events, reinforcing its role as a living center of community and spiritual
practice.
Despite its quieter presence, the Old Rumtek Monastery is a cultural
cornerstone that bridges Sikkim’s past and present. It stands as a testament
to the enduring legacy of the Karma Kagyu tradition and the spiritual
foresight of the Karmapas who chose this hilltop as a place of refuge and
renewal. For those seeking a deeper understanding of Tibetan Buddhism in
Sikkim, a visit to this humble yet powerful site offers a glimpse into the
soul of Himalayan spirituality.
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Main gate of the monastery
In Vajrayana Buddhism, the main
gate of a monastery is far more than a physical entryway—it serves as a
symbolic threshold between the mundane world and the sacred realm of
spiritual practice.
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Architecturally, it often reflects intricate iconography and
protective deities, such as Dharmapalas or wrathful guardians, whose
fierce expressions are meant to ward off negative energies and
distractions. Passing through the gate is an act of purification and
intention-setting, reminding practitioners to leave behind worldly
attachments and enter with reverence, mindfulness, and a commitment to
awakening. The gate thus marks the beginning of a transformative
journey, both physically and spiritually.
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At Old Rumtek Monastery in Sikkim, this symbolism is deeply embedded
in its history and design. Founded in 1734 by the fourth Chogyal
Gyurmed Namgyal, the monastery—formally known as Karma Thubten
Chokhorling—was the original seat of the Karmapa in Sikkim before the
construction of the newer Dharma Chakra Centre nearby. The main gate
of Old Rumtek is modest compared to its modern counterpart, yet it
carries immense historical and spiritual weight. It stands as a quiet
sentinel to centuries of lineage teachings, ritual dances, and
meditative practice. For devotees, entering through this gate is akin
to stepping into a living mandala—a sacred space where the teachings
of the Karma Kagyu lineage continue to resonate.
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The gate also plays a role in ceremonial life. During festivals such
as Losoong, the Sikkimese New Year, monks perform ritual dances and
processions that begin at or pass through the main gate, reinforcing
its role as a portal of transition and renewal. These events are not
merely performative—they are deeply rooted in Vajrayana principles of
transformation, where movement, sound, and sacred space converge to
awaken deeper states of awareness. The gate, in this context, becomes
a stage for spiritual drama, where the outer world meets the inner
path.
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In essence, the main gate of Old Rumtek Monastery is a quiet guardian
of tradition, a marker of sacred geography, and a spiritual
invitation. It reminds visitors and practitioners alike that the
journey inward begins with a conscious crossing—one that honors the
past, embraces the present, and opens to the possibility of
enlightenment.
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Rear of the monastery seen from the northwest
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Panorama of the main courtyard
The main courtyard is a
central and sacred space that serves both practical and symbolic
functions.
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Surrounded by monastic buildings and the main shrine, the courtyard is
paved with stone and open to the sky, offering a tranquil setting for
communal gatherings, spiritual rituals, and daily monastic life. It
acts as a transitional zone between the outer world and the inner
sanctum, where monks and visitors alike pause, reflect, and prepare to
enter deeper into the monastery’s spiritual atmosphere.
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One of the most striking features of the courtyard is its role during
ceremonial events. It becomes a vibrant stage for ritual dances known
as Cham, especially during festivals like Tse-Chu and Kagyat. These
masked dances, performed by monks in elaborate costumes, are not mere
performances—they are meditative enactments of Buddhist teachings,
designed to purify negative energies and invoke blessings. The
courtyard’s open space allows for large audiences to gather, creating
a shared experience of devotion and cultural celebration.
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Beyond festivals, the courtyard is a hub of daily activity. Monks
often engage in debate sessions here, a traditional method of
sharpening philosophical understanding through lively, structured
argument. These debates are accompanied by dramatic hand gestures and
rhythmic clapping, adding a dynamic energy to the otherwise serene
environment. Visitors may also witness monks practicing chants,
preparing offerings, or simply moving between their quarters and the
shrine, all of which contribute to the courtyard’s living rhythm.
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In essence, the courtyard of Old Rumtek Monastery is more than an
architectural feature—it is a spiritual crossroads. It bridges the
sacred and the communal, the ceremonial and the contemplative. Whether
echoing with the sounds of ritual music or silent under the gaze of
meditating monks, it remains a vital heart of the monastery’s
spiritual and cultural life.
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Facade of the monastery
The facade is a quiet testament to
centuries of spiritual devotion and Himalayan craftsmanship.
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Unlike the more elaborate and modern Dharma Chakra Centre nearby, Old
Rumtek’s exterior retains a humble elegance that reflects its origins
in the 18th century. Built in 1734 by the fourth Chogyal Gyurmed
Namgyal, the monastery’s facade features traditional Tibetan
architectural elements—sloping roofs with intricately carved wooden
cornices, painted window frames, and symbolic motifs that speak to the
Karma Kagyu lineage it represents.
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One of the most striking aspects of the facade is its use of color and
iconography. Bright reds, yellows, and blues dominate the palette,
each carrying symbolic meaning in Vajrayana Buddhism. The entrance is
often adorned with protective deities and auspicious symbols such as
the Dharma Wheel and the Endless Knot, which serve both decorative and
spiritual purposes. These elements are not merely ornamental—they are
visual teachings, reminders of the path to enlightenment and the
protective forces that guard it.
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Despite its modest scale, the facade plays a vital role during
ceremonial occasions. During festivals like Losoong, monks perform
ritual dances and processions that begin at the entrance, transforming
the facade into a sacred threshold. The structure becomes animated
with movement, music, and devotion, reinforcing its role as a gateway
between the outer world and the inner sanctum of spiritual practice.
Its weathered surfaces and quiet dignity evoke a sense of
timelessness, grounding the monastery in both history and living
tradition.
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In essence, the facade of Old Rumtek Monastery is more than an
architectural front—it is a spiritual face. It greets pilgrims and
practitioners with a silent invitation to pause, reflect, and enter
with reverence. Through its colors, carvings, and ceremonial role, it
continues to embody the essence of Vajrayana Buddhism: transformation,
protection, and the enduring pursuit of wisdom.
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Kalachakra symbol on the facade of the monastery
The
Kalachakra Mandala, depicted twice on the facade of Old Rumtek Monastery
in Sikkim, is one of the most profound and visually intricate symbols in
Vajrayana Buddhism.
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Its name, derived from Sanskrit, means “Wheel of Time,” and it
encapsulates the cyclical nature of existence—birth, death, and
rebirth—along with the interplay of cosmic and personal
transformation. The mandala itself is a geometric representation of a
five-tiered palace, each level symbolizing aspects of the self: body,
speech, mind, consciousness, and bliss. At its center sits the deity
Kalachakra, often in union with his consort Vishvamata, embodying the
harmony of wisdom and compassion.
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On the facade of Old Rumtek Monastery, the Kalachakra Mandala serves
not only as an artistic embellishment but as a spiritual beacon. Its
placement is deliberate: positioned at the threshold of the sacred
space, it acts as a visual initiation for those entering the
monastery. The dual depictions reinforce the protective and
transformative power of the symbol, guarding the entrance while
inviting practitioners to contemplate the deeper truths of time and
existence. The mandalas are often rendered in vibrant colors—reds,
blues, yellows, and blacks—each corresponding to elemental forces and
aspects of enlightened awareness.
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The Kalachakra Mandala also plays a ceremonial role at Rumtek. During
major rituals and initiations, such as the Kalachakra empowerment, the
symbol becomes a focal point for meditation and visualization.
Practitioners use it as a map to navigate the inner journey toward
enlightenment, visualizing themselves entering the mandala and
progressing through its layers. This practice is said to purify the
mind and body, aligning the practitioner with the cosmic rhythms and
ultimately leading to liberation from the cycles of samsara.
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In essence, the Kalachakra Mandala on Old Rumtek’s facade is more than
a decorative motif—it is a gateway to timeless wisdom. It bridges the
outer architecture with the inner path, reminding all who pass beneath
it that the monastery is not just a physical refuge but a sacred
vessel for transformation. Its presence affirms Rumtek’s role as a
guardian of the Karma Kagyu lineage and a living repository of
Vajrayana teachings.
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Entrance door to the portico surmounted by the Dharma Wheel and two
gazelles
The door to the portico is a striking architectural and symbolic
feature that encapsulates the essence of Vajrayana Buddhist philosophy.
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Topped by the Dharma Wheel flanked by two gazelles, this motif is one
of the most revered emblems in Buddhist iconography. The Dharma Wheel,
or Dharmachakra, represents the Buddha’s first sermon at Deer Park in
Sarnath, where he set the wheel of Dharma in motion. The gazelles
symbolize the peaceful audience of that sermon and the natural harmony
that arises from the teachings. Together, they serve as a visual
reminder of the path to enlightenment and the compassionate
transmission of wisdom.
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Positioned above the door to the portico, this symbol marks a
spiritual threshold. As visitors and practitioners pass beneath it,
they are metaphorically stepping into the realm of Dharma—a space
where worldly concerns are set aside in favor of contemplation,
learning, and devotion. The portico itself leads to the inner sanctum
of the monastery, and the gateway acts as a guardian and guide,
inviting all who enter to do so with reverence and clarity of purpose.
The placement of the Dharma Wheel and gazelles above this entrance
reinforces the idea that the teachings are both a refuge and a
compass.
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Architecturally, the door is modest yet elegant, in keeping with the
overall aesthetic of Old Rumtek Monastery. Carved wooden beams,
painted in traditional hues of red, gold, and blue, frame the
entrance, while the Dharma Wheel and gazelles are often rendered in
relief or sculpture, depending on the restoration phase. Despite its
simplicity, the gateway exudes a quiet grandeur, reflecting the
monastery’s historical significance as the original seat of the
Karmapa in Sikkim and a center of the Karma Kagyu lineage.
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In essence, this door is more than a passage—it is a symbolic
invitation to awaken. It reminds all who approach that the journey
inward begins with a conscious crossing, guided by the teachings of
the Buddha and the lineage masters who have walked the path before.
The Dharma Wheel and gazelles are not just decorative—they are
spiritual signposts, pointing toward the timeless truths that lie
within.
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Mahakala Bernagchen (blue) and Shri Devi (red)
Mahakala
Bernagchen and Shri Devi are the two principal wrathful protectors of
the Karma Kagyu lineage, and their fierce visages on the portico of Old
Rumtek Monastery in Sikkim serve as spiritual guardians of the sacred
space.
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These deities are not malevolent but embody enlightened wrath—a
compassionate force that destroys ignorance and obstacles on the path
to awakening. Their presence at the monastery’s threshold is both
symbolic and functional, reminding practitioners that the journey
inward requires courage, clarity, and protection from inner and outer
hindrances.
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Mahakala Bernagchen, known as the “Black Cloak Mahakala,” is the
personal protector of the Karmapas and the Karma Kagyu tradition. He
is typically depicted with a dark blue or black body, one face, and
two arms, holding a flaying knife and a skull cup filled with
blood—symbols of cutting through delusion and ego. His flaming hair,
crown of skulls, and garland of severed heads reflect his power to
annihilate negative forces. Bernagchen’s wrathful appearance is not
meant to frighten but to awaken; he embodies fierce compassion that
clears the path for spiritual progress.
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Shri Devi, often depicted in red, complements Mahakala as a female
protector deity. In her form as Rangjung Gyalmo, she rides a mule and
holds ritual implements such as a vajra peg and skull cup. She is
considered the principal iconographic figure in depictions where she
embraces Mahakala Bernagchen, symbolizing the union of wisdom and
method. Shri Devi’s role is deeply rooted in the Nyingma “Revealed
Treasure” tradition but was adopted into the Karma Kagyu lineage by
the 2nd Karmapa, Karma Pakshi. Her fierce demeanor represents the
protective and transformative aspects of feminine energy in Vajrayana
Buddhism.
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Dhrtarastra, the Heavenly King of the East
Dhrtarastra, the
Heavenly King of the East, is one of the Four Guardian Kings in Buddhist
cosmology, known for his role as the protector of the eastern direction
and the leader of the Gandharvas—celestial musicians who embody harmony
and spiritual resonance.
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He is typically depicted in white, holding a stringed instrument such
as a lute, symbolizing the use of music to uphold the Dharma and
maintain cosmic balance. His presence in Buddhist temples is not
merely decorative; it represents vigilance, protection, and the
safeguarding of spiritual teachings from disruptive forces.
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At Old Rumtek Monastery in Sikkim, Dhrtarastra is featured prominently
on the porch, alongside the other Guardian Kings. His placement here
is deeply symbolic: the porch serves as a transitional space between
the outer world and the sacred interior of the monastery, and
Dhrtarastra’s image reinforces the idea that those who enter must do
so with purity of intention and respect for the Dharma. His serene yet
commanding presence acts as a spiritual sentinel, reminding visitors
that the path of awakening requires both inner harmony and outer
discipline.
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The iconography of Dhrtarastra at Rumtek often includes traditional
Tibetan artistic elements—flowing robes, a helmet or crown, and the
signature lute. These details are rendered in vibrant colors and
intricate carvings, consistent with the monastery’s overall aesthetic.
Though less wrathful than other protector deities, his role is no less
vital; he embodies the peaceful strength that guards the Dharma
through wisdom and sound. His musical symbolism also resonates with
the Karma Kagyu lineage’s emphasis on meditative practices and ritual
performance.
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In essence, Dhrtarastra’s presence on the porch of Old Rumtek
Monastery is a quiet but powerful affirmation of spiritual
guardianship. He stands not only as a figure of myth but as a living
symbol of the monastery’s commitment to preserving the teachings of
the Buddha. Through his watchful gaze and harmonious energy, he
invites all who pass beneath him to enter the sacred space with
mindfulness, humility, and a heart attuned to the rhythm of the
Dharma.
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Vaisravana, the Heavenly King of the North
Vaisravana, the
Heavenly King of the North, is one of the Four Guardian Kings in
Buddhist cosmology and holds a prominent place in both myth and monastic
architecture.
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Known as the protector of the northern direction, Vaisravana is also
revered as the leader of the yakshas—nature spirits associated with
wealth and protection. He is often depicted as a regal warrior clad in
golden armor, holding a parasol or a jewel-spitting mongoose, symbols
of sovereignty and generosity. His presence signifies vigilance,
prosperity, and the safeguarding of the Dharma against spiritual and
worldly threats.
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At Old Rumtek Monastery in Sikkim, Vaisravana is featured on the porch
alongside the other Guardian Kings, forming a protective ring around
the sacred space. His image is typically positioned to the north, in
alignment with his cosmic role. The porch serves as a transitional
zone between the outer world and the monastery’s spiritual interior,
and Vaisravana’s depiction reinforces the sanctity of this threshold.
Visitors passing beneath his gaze are symbolically entering a realm
guarded by divine forces, where the teachings of the Karma Kagyu
lineage are preserved and practiced.
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The iconography of Vaisravana at Rumtek is rich with symbolic detail.
He may be shown seated on a snow lion, a mount that represents
fearlessness and majesty, while holding a banner or a stupa—objects
that signify his role as a protector of the Dharma. His stern
expression and commanding posture are not meant to intimidate but to
inspire reverence and mindfulness. The artistry reflects traditional
Tibetan styles, with vibrant colors and intricate carvings that bring
his mythic presence to life.
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In essence, Vaisravana’s presence on the porch of Old Rumtek Monastery
is a powerful reminder of the spiritual guardianship that envelops the
site. He embodies the fusion of protection and prosperity, standing
watch over the monastery and its practitioners. His image invites all
who enter to do so with clarity, discipline, and a heart attuned to
the deeper rhythms of the Dharma.
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Virudhaka, the Heavenly King of the South
Virudhaka, the
Heavenly King of the South, is one of the Four Guardian Kings in
Buddhist cosmology and plays a vital role in protecting the Dharma.
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His name, which means "growth" or "increase," reflects his vow to
promote the flourishing of virtuous qualities and spiritual
development among sentient beings. As the leader of the
kumbhandas—fierce, dwarf-like spirits—Virudhaka is often depicted
wielding a sword, symbolizing his power to cut through ignorance and
defend the teachings of the Buddha. His blue or dark-hued armor and
wrathful expression convey his readiness to confront and subdue
negative forces.
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At the porch of Old Rumtek Monastery in Sikkim, Virudhaka is enshrined
alongside the other Guardian Kings, forming a protective circle around
the sacred space. His image is typically placed facing south, in
alignment with his directional guardianship. This placement is not
merely symbolic—it serves as a spiritual safeguard for the monastery,
ensuring that those who enter do so with sincerity and respect. The
porch, acting as a liminal space between the outer world and the inner
sanctum, becomes a zone of purification under the watchful gaze of
Virudhaka and his fellow protectors.
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The iconography of Virudhaka at Rumtek often includes traditional
Tibetan artistic elements: flowing robes, a fierce countenance, and a
sword held firmly in hand. He may be shown trampling a demon or
standing atop symbolic creatures, reinforcing his role as a subjugator
of evil. These visual cues are designed to inspire reverence and
mindfulness in practitioners, reminding them that the path to
enlightenment requires both inner discipline and outer vigilance. His
presence is a call to cultivate strength, clarity, and unwavering
commitment to the Dharma.
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Virupaksa, the Heavenly King of the West
Virupaksa, the
Heavenly King of the West, is one of the Four Guardian Kings in Buddhist
cosmology and serves as the protector of the western direction.
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His name translates to "Wide-Eyed" or "He Who Sees All," reflecting
his divine ability to perceive both the outer world and the inner
workings of karma. As the leader of the naga spirits—serpent-like
beings associated with water and wisdom—Virupaksa embodies vigilance,
insight, and the power to dispel ignorance. He is often depicted
holding a snake or red cord, symbolizing transformation and
adaptability, and sometimes a jewel representing spiritual wealth and
clarity.
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At the porch of Old Rumtek Monastery in Sikkim, Virupaksa is enshrined
alongside the other Three Guardian Kings, forming a protective ring
around the sacred space. His image is typically placed facing west, in
alignment with his cosmic role. This positioning is not merely
decorative—it serves as a spiritual safeguard, ensuring that those who
enter the monastery do so with sincerity and mindfulness. The porch,
acting as a liminal space between the outer world and the inner
sanctum, becomes a zone of purification under Virupaksa’s watchful
gaze.
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The iconography of Virupaksa at Rumtek is rich with symbolic detail.
He may be shown with wide, penetrating eyes, a fierce expression, and
adorned in regal armor. His posture is commanding, often holding a
serpent or a stupa, and sometimes standing atop symbolic creatures
that represent subjugated negative forces. These visual elements are
designed to inspire reverence and introspection, reminding
practitioners that the path to enlightenment requires both inner
clarity and outer protection. His presence is a call to cultivate
wisdom and remain steadfast in the face of spiritual challenges.
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In essence, Virupaksa’s presence at Old Rumtek Monastery is a powerful
affirmation of spiritual guardianship. He stands as a sentinel of
insight and transformation, guarding the Dharma and guiding
practitioners toward deeper understanding. As visitors pass beneath
his gaze on the porch, they are invited to enter the monastery not
just physically, but with a heart attuned to the profound journey of
awakening.
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Five white lion statues perched above the entrance to the temple
The five white lion statues perched above the entrance to the
temple are powerful symbols of protection, purity, and spiritual
authority.
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In Tibetan Buddhist iconography, lions—especially snow lions—are
considered celestial animals that embody fearless joy and the strength
of the Dharma. Their white color signifies purity and the enlightened
mind, while their elevated placement above the portico marks them as
guardians of the sacred space within. These statues are not merely
decorative; they serve as sentinels that watch over the monastery and
those who enter it.
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Each lion is typically sculpted in a dynamic pose, often with one paw
raised or mouth open in a silent roar, conveying both vigilance and
vitality. Their expressions are fierce yet noble, designed to ward off
negative energies and spiritual distractions. Positioned above the
main entrance, they create a visual and symbolic threshold—reminding
visitors that they are crossing into a realm of spiritual practice and
inner transformation. The number five may also carry significance,
echoing the five Buddha families or the five elements central to
Vajrayana cosmology.
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The lions’ placement on the portico ties them directly to the
architectural and ritual life of the monastery. During festivals and
ceremonial processions, the portico becomes a stage for sacred
movement and sound, and the lions preside over these events as silent
witnesses. Their elevated position allows them to "see" all who
approach, reinforcing their role as protectors of the Dharma and the
lineage teachings housed within the temple. They are part of a larger
visual language that includes wrathful deities, auspicious symbols,
and guardian kings—all working together to sanctify the space.
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In essence, the five white lions of Old Rumtek Monastery are more than
sculptural adornments—they are embodiments of spiritual guardianship
and enlightened presence. Their fierce grace and symbolic resonance
invite practitioners to enter with courage, clarity, and reverence. As
one passes beneath their gaze, there is a subtle but profound
reminder: the path of awakening is protected, but it also demands
fearless commitment.
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Leaving Old Rumtek Monastery
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