Pemayangtse Monastery, Sikkim

Perched at an elevation of 2,085 meters in the serene hills of West Sikkim, Pemayangtse Monastery is one of the oldest and most revered Buddhist monasteries in the region.

Founded in the 17th century by Lama Lhatsun Chempo, it was later expanded in 1705 under the reign of Chogyal Chakdor Namgyal. The name "Pemayangtse" translates to Perfect Sublime Lotus, symbolizing spiritual purity and enlightenment. The monastery belongs to the Nyingma sect of Tibetan Buddhism and was originally established for "ta-tshang" monks—those of pure lineage, celibate, and physically sound.

Architecturally, the monastery is a three-storied structure adorned with vibrant murals, intricate woodwork, and statues of revered saints and Rinpoches. One of its most captivating features is the Sangdogpalri, a wooden model of Guru Padmasambhava’s heavenly abode, created over five years by Dungzin Rimpoche. The main prayer hall houses a striking statue of Padmasambhava in his wrathful form, Dorje Bhurpa Vjarakila, depicted with multiple heads and arms. Despite suffering damage from earthquakes in 1913 and 1960, the monastery has been lovingly restored and continues to be a spiritual and artistic treasure.

Pemayangtse plays a central role in Sikkim’s religious life. It was historically entrusted with the sacred duty of anointing the Chogyals—the monarchs of Sikkim—with holy water. The monastery also leads the annual Cham dance festival, held in February, where monks don elaborate costumes and masks to perform ritual dances that symbolize the triumph of good over evil. This event draws pilgrims and visitors from across the region, offering a glimpse into the rich cultural tapestry of Tibetan Buddhism.

Surrounded by lush forests and offering panoramic views of Mount Kanchenjunga, Pemayangtse is not just a spiritual haven but also a gateway to Sikkim’s natural beauty. It’s located near the town of Pelling and serves as a starting point for treks to Dzongri and Goecha La. Nearby attractions include the Rabdentse ruins, Khecheopalri Lake, and other historic monasteries, making it a cornerstone of Sikkim’s pilgrimage circuit.

Stupa of Enlightenment at the entrance to the monastery Standing quietly at the entrance to Pemayangtse Monastery, the Stupa of Enlightenment serves as a symbolic and spiritual threshold into one of Sikkim’s most sacred spaces. This stupa embodies the essence of Buddhist philosophy—representing the enlightened mind of the Buddha and the path to awakening. Its presence marks the beginning of a journey inward, inviting pilgrims and visitors to leave behind worldly distractions and enter a realm of contemplation and devotion. Architecturally, the stupa follows traditional Tibetan design principles, with a dome-shaped structure mounted on a square base and crowned by a spire. Each element of the stupa corresponds to a stage in the path to enlightenment—from the square base symbolizing earth and stability, to the spire representing the wisdom that pierces illusion. Often adorned with prayer flags fluttering in the mountain breeze, the stupa radiates a quiet energy that complements the monastery’s serene surroundings. It’s not just a monument—it’s a mandala in three dimensions, guiding the mind toward clarity and compassion. Historically, stupas like this one are built to enshrine sacred relics or commemorate significant teachings. While specific details about the relics within the Pemayangtse stupa are scarce, its placement at the entrance suggests its role as a guardian of the sacred space beyond. It’s also a site for circumambulation—a meditative practice where devotees walk clockwise around the stupa, reciting mantras and prayers. This ritual is believed to purify karma and generate merit, making the stupa a living part of the monastery’s spiritual rhythm. In the broader context of Pemayangtse’s legacy, the Stupa of Enlightenment is a quiet but powerful symbol. It anchors the monastery’s teachings in physical form and offers a moment of pause before entering the richly adorned prayer halls and sacred chambers within. Whether you’re a devout practitioner or a curious traveler, standing before the stupa is a gentle reminder that enlightenment begins with intention—and sometimes, with a single step forward.

Entrance gate to the monastery In Vajrayana Buddhist monasteries—particularly those nestled in the Himalayan landscapes of Sikkim—the entrance gate is far more than a physical threshold. It marks the transition from the mundane world into a sacred realm, symbolizing the beginning of a spiritual journey. This gate often stands at the base of a winding path that ascends toward the monastery, echoing the metaphor of rising from ignorance to enlightenment. Passing through it is akin to stepping into a mandala, where each movement forward is a ritual act of purification and intention. The gate itself is typically adorned with protective symbols, such as the eight auspicious signs (Ashtamangala), guardian deities, and mantras inscribed in Tibetan script. These elements serve both spiritual and psychological functions: they ward off negative energies and remind the visitor of the sacredness of the space they are about to enter. In Vajrayana tradition, the gate may also represent the Four Immeasurables—loving-kindness, compassion, empathetic joy, and equanimity—qualities that practitioners aspire to cultivate as they progress along the path. Spiritually, the entrance gate is often seen as a portal of transformation. It’s not uncommon for devotees to pause here, offer prayers, or perform prostrations before continuing up the path. This act of reverence is a way of aligning one’s inner state with the sanctity of the monastery. In some cases, the gate is flanked by prayer wheels or small stupas, reinforcing the idea that even the approach to the monastery is part of the spiritual practice. The journey upward becomes a meditative ascent, each step a movement toward clarity and awakening. In Sikkim, where Vajrayana Buddhism is deeply woven into the cultural fabric, these gates also reflect local artistry and devotion. Carved woodwork, vibrant colors, and mythological motifs blend Tibetan iconography with Himalayan aesthetics. The gate thus becomes a living symbol of the Dharma, inviting not just monks but lay pilgrims and curious travelers to engage with the teachings. It’s a quiet but powerful reminder that enlightenment begins not at the summit, but at the very first step.

Ritual oven Outside Vajrayana Buddhist monasteries in Sikkim, the ritual oven for burning incense and fragrant woods—often a simple stone or metal structure—is a deeply symbolic fixture that serves as a bridge between the earthly and the divine. Known locally as a sangbum or sangphu, this oven is used to perform sang offerings, where aromatic substances like juniper, rhododendron leaves, sandalwood, and other sacred herbs are burned. The rising smoke is believed to carry prayers, intentions, and offerings to the higher realms, purifying the environment and invoking blessings from deities and local spirits. Spiritually, the act of burning incense in these ovens is a form of smoke offering, which is central to Vajrayana ritual practice. It represents the transformation of material elements into subtle energies, aligning with the tantric principle of turning ordinary acts into sacred gestures. The fragrant smoke is said to appease protector deities, cleanse karmic impurities, and harmonize the energies of the land. Monks and lay practitioners often perform this ritual at dawn, setting the tone for a day of mindfulness and spiritual clarity. Symbolically, the oven itself is a microcosmic altar, reflecting the five elements—earth, water, fire, air, and space—that constitute both the universe and the human body. The fire within it is not just a physical flame but a representation of wisdom and transformation, burning away ignorance and obstacles. The materials used are chosen with care, each carrying specific energetic properties: juniper for purification, rhododendron for protection, and sandalwood for peace and clarity. The ritual is often accompanied by chanting, bell ringing, and the recitation of mantras, creating a multisensory offering that engages body, speech, and mind. In the context of Sikkim’s rich spiritual landscape, these incense ovens are more than ceremonial tools—they are living symbols of devotion and ecological reverence. Positioned at the entrance or within the monastery grounds, they invite both locals and pilgrims to participate in a shared act of sanctification. The ritual not only honors the sacred space but also reinforces the interconnectedness of all beings, reminding practitioners that enlightenment is not a distant goal but a fragrant offering made in the present moment.

Jonpa Legso The expression “Jonpa Legso” is a warm and respectful greeting commonly heard at the entrance of Vajrayana Buddhist monasteries in Sikkim. Rooted in Tibetan linguistic tradition, it loosely translates to “Welcome, please come in” or “May your arrival be auspicious.” It’s not just a casual salutation—it carries spiritual weight, acknowledging the sacredness of the space and the intention of the visitor. When spoken by monks or lay practitioners, it’s a gesture of hospitality infused with reverence, inviting the guest to enter with mindfulness and humility. Symbolically, “Jonpa Legso” reflects the Bodhisattva ideal of compassion and openness. In Vajrayana Buddhism, every interaction is an opportunity to cultivate merit and awaken awareness. By greeting someone with this phrase, the speaker is extending not just kindness but a subtle reminder that the monastery is a place of transformation. The words act as a verbal threshold, much like the physical gate or stupa that marks the entrance—signaling the shift from the profane to the sacred. Spiritually, the phrase also resonates with the concept of interconnectedness. In Sikkim’s monastic culture, where Tibetan Buddhism blends with indigenous traditions, language is a carrier of blessings. “Jonpa Legso” is often accompanied by a slight bow or the joining of palms in the anjali mudra, reinforcing the idea that every visitor is a fellow seeker on the path. It’s a moment of shared intention, where both host and guest acknowledge the sanctity of the encounter. In practice, hearing “Jonpa Legso” as you approach a monastery—perhaps with prayer flags fluttering overhead and incense drifting from a nearby sangphu—sets the tone for the experience ahead. It’s a gentle nudge to leave behind worldly distractions and enter with a heart open to wisdom. Whether you’re a pilgrim, a tourist, or a curious wanderer, the phrase is a spiritual handshake, welcoming you into a space where silence speaks and every step is sacred.

Rear of the monastery and parking lot

Pedtse Monks Cooperative Shop

Large prayer mill The large prayer mill is a striking and sacred feature that embodies the rhythmic devotion of Tibetan Buddhist practice. Towering in size and richly adorned, this prayer wheel is inscribed with the mantra Om Mani Padme Hum—the invocation of Avalokiteshvara, the bodhisattva of compassion. As devotees spin the wheel clockwise, they symbolically send out waves of compassion and blessings into the world, believing that each rotation is equivalent to reciting thousands of prayers. Crafted from metal and mounted on a sturdy wooden frame, the prayer mill is often painted in vibrant reds, golds, and blues, echoing the traditional palette of Himalayan Buddhist art. The outer surface may be embossed with sacred symbols, lotus motifs, and protective deities, while the interior is packed with tightly rolled scrolls of mantras and sacred texts. This internal reservoir of prayers transforms the wheel into a living repository of spiritual energy, activated with each turn by the faithful. The location of the prayer mill—near the entrance or within the portico of the monastery—makes it accessible to both monks and pilgrims. Its presence invites a moment of mindfulness before entering the sacred halls, offering a tactile and meditative ritual that connects body, speech, and mind. The act of spinning the wheel is often accompanied by murmured prayers, the ringing of bells, and the fluttering of prayer flags, creating a multisensory atmosphere of reverence. At Pemayangtse, one of the oldest and most revered Nyingma monasteries in Sikkim, the prayer mill is more than a devotional tool—it’s a symbol of continuity. It links generations of practitioners who have come to this mountain sanctuary seeking wisdom and peace. Whether turned by a child, a monk, or a weary traveler, the wheel keeps spinning, echoing the timeless rhythm of the Dharma.

Another ritual oven next to the monastery

Monastery window

Panorama of the monastery facade The facade of Pemayangtse Monastery is a vivid tapestry of spiritual symbolism and Himalayan artistry. Rising from the lush slopes near Pelling, the monastery’s exterior immediately commands attention with its three-tiered structure, painted in deep reds, ochres, and golds—colors traditionally associated with protection, wisdom, and enlightenment in Tibetan Buddhism. The building’s orientation and elevation are deliberate, offering panoramic views of Mount Kanchenjunga, which itself is considered sacred. This visual alignment reinforces the monastery’s role as a spiritual beacon nestled in nature’s grandeur. The entrance is framed by elaborately carved wooden doors and windows, adorned with motifs of lotus flowers, dragons, and auspicious symbols like the endless knot and conch shell. These designs aren’t merely decorative—they serve as spiritual guardians, warding off negative energies and inviting blessings. Above the doorway, painted lintels often depict deities or protective figures, setting a reverent tone for those entering the sacred space. The facade also features prayer wheels embedded into the walls, allowing visitors to engage in devotional practice even before stepping inside. One of the most striking elements is the vibrant murals that stretch across the outer walls. These paintings depict scenes from Buddhist cosmology, including the life of Guru Padmasambhava and the wrathful deities that symbolize the destruction of ignorance. Despite the wear of time and weather, the murals retain their intensity, thanks to careful restoration efforts following earthquakes in 1913 and 1960. The facade thus becomes a living canvas—telling stories, offering teachings, and preserving centuries of devotion. Surrounding the monastery are well-tended gardens and stone pathways, which soften the visual impact of the structure and create a meditative atmosphere. The contrast between the ornate facade and the natural serenity of the landscape reflects the Vajrayana principle of integrating form and emptiness. As visitors approach, the facade doesn’t just welcome them—it prepares them, visually and energetically, for the transformative experience that awaits within.

Ceremonial flagpole at the center of the main courtyard Standing at the heart of the main courtyard of Pemayangtse Monastery, the ceremonial flagpole is a striking embodiment of Vajrayana Buddhist symbolism and sacred geometry. Its base—a fully opened lotus—represents purity and spiritual awakening, rising unsullied from the mud of worldly existence. This lotus is not merely decorative; it anchors the entire structure in the principle that enlightenment can bloom even amid suffering. The flagpole itself becomes a vertical axis, a sushumna of sorts, connecting earth to sky, samsara to nirvana. Above the lotus sits a cube, each of its four faces adorned with the four directional animals: the Garuda (north), Dragon (east), Tiger (south), and Snow Lion (west). These creatures are not just mythological—they symbolize qualities essential to the spiritual path: wisdom, power, confidence, and fearlessness. Their placement on the cube reflects the stabilizing force of the cardinal directions, grounding the flagpole in cosmic balance. The cube itself is a mandala in miniature, a sacred map of the universe rendered in three dimensions. From the top of the cube emerges a half-open lotus, suggesting the unfolding of deeper spiritual insight. It’s a transitional form—neither fully closed nor fully bloomed—hinting at the dynamic nature of awakening. At its center, a half-vajra grips the wooden pole, signifying indestructible truth and the union of method and wisdom. The vajra, often associated with thunder and clarity, acts as a spiritual clamp, holding the axis of the flagpole with unwavering resolve. The tall white flag that hangs from the pole is inscribed with mantras, its surface occasionally punctuated by small red excrescences—possibly symbolic flames or drops of sacred energy. White, in this context, represents the clarity of mind and the aspiration for peace. As the wind catches the flag, the mantras are believed to be carried across the landscape, blessing all beings in their path. This flagpole is not merely a decorative centerpiece—it’s a vertical prayer, a living sculpture of devotion that harmonizes earth, spirit, and sky.

Two lions guardians of the monastery Guarding the entrance to Pemayangtse Monastery, the two white lions with green manes and tails are more than ornamental sentinels—they are potent symbols of protection, purity, and spiritual strength. Each lion sits atop a lotus flower, a motif deeply rooted in Buddhist iconography that represents the blossoming of enlightenment from the murky waters of samsara. Their symmetrical placement—one on the right and one on the left—creates a visual and energetic balance, framing the monastery’s facade like a sacred gateway. The lions’ posture is deliberate and symbolic. The lion on the right rests its right paw on a red sphere, while the lion on the left mirrors this with its left paw. These spheres are often interpreted as jewels of wisdom or power, signifying the guardians’ dominion over spiritual truth. Their wide-open red eyes and bared teeth convey a fierce vigilance, warding off negative energies and spiritual distractions. The prominent breasts, a feature sometimes seen in Tibetan guardian figures, may symbolize nurturing strength—a fusion of ferocity and compassion that reflects the dual nature of enlightened beings. In Vajrayana Buddhism, lions are associated with Guru Padmasambhava, who is said to have tamed wild spirits and established the Dharma in the Himalayas. These guardian lions echo that legacy, standing as embodiments of the fearless proclamation of truth. Their green manes and tails add a layer of elemental symbolism—green often represents air or wind, suggesting movement, breath, and the transmission of blessings. The vivid coloration also reflects the Himalayan aesthetic, where spiritual symbols are rendered with bold, expressive detail. Together, these lions serve as threshold guardians, inviting visitors to enter with reverence and clarity. They are not merely decorative—they are sculptural prayers, frozen in form yet alive with meaning. As one steps between them, there’s a subtle shift in awareness, a reminder that the path ahead is sacred, and that protection and wisdom are always close at hand.

Protective lion on the corner of the monastery Clinging to the four corners of the first floor of Pemayangtse Monastery, the white lions with green manes and tails are among its most visually arresting and symbolically charged architectural features. Suspended upside down, their bellies pressed against the building and their front paws anchored on stylized white mountain peaks, these lions appear to defy gravity—evoking both myth and mystery. Their posture is reminiscent of gargoyles, not in function but in form, as they seem to guard the monastery from unseen forces with fierce expressions and wide, red eyes. In Vajrayana Buddhist iconography, lions are powerful protectors and symbols of fearlessness and the Dharma’s proclamation. Their placement on the monastery’s corners suggests a spiritual perimeter—each lion watching over a cardinal direction, ensuring that the sacred space remains energetically sealed and protected. The green manes and tails add elemental symbolism, often associated with wind or air, reinforcing the idea that these guardians are not bound by earthly constraints but operate in the subtle realms of energy and intention. The lions’ aggressive facial expressions—with bared teeth and prominent eyes—are not meant to intimidate visitors but to ward off malevolent spirits and distractions. Their upside-down orientation may seem unusual, but it serves a deeper purpose: it challenges conventional perception and invites contemplation of the non-dual nature of reality. In tantric symbolism, inversion often represents the reversal of ignorance and the awakening of higher awareness. These lions, then, are not just decorative—they are sculptural koans, asking the viewer to look beyond appearances. Set against the backdrop of Pemayangtse’s richly painted facade and mountainous surroundings, the lions become part of a larger mandala—each one a living symbol of vigilance, transformation, and cosmic balance. Their placement on mountain-like pedestals further connects them to the Himalayan landscape, grounding their celestial role in the physical world. Whether seen as protectors, provocateurs, or playful enigmas, these lions embody the monastery’s fusion of art, myth, and spiritual purpose.

The facade features three entrance doors On either side of the main door is a small shrine. The left-hand shrine is dedicated to Vajravarahi, and the right-hand shrine is dedicated to Tara. The architectural arrangement of a central temple dedicated to Padmasambhava, flanked by side shrines to Tara on the left and Vajravarahi on the right, reflects a profound spiritual symbolism rooted in Vajrayana Buddhism. Padmasambhava, also known as Guru Rinpoche, is revered as the second Buddha and the founder of the Nyingma tradition. His central placement signifies his role as the heart of the monastery’s spiritual lineage—a source of wisdom, transformation, and tantric power. The temple serves as a sanctum of his teachings and blessings, anchoring the sacred space in his enlightened presence. To Padmasambhava’s left stands the shrine of Tara, the embodiment of compassion and swift protection. Her position symbolizes the nurturing, maternal aspect of enlightened activity. Tara is often invoked for guidance through fear and obstacles, and her proximity to Padmasambhava suggests the inseparable nature of wisdom and compassion in the path to liberation. Her shrine offers devotees a space to connect with the gentle, responsive energy that complements Padmasambhava’s transformative force. On the right side is the shrine of Vajravarahi, a fierce and dynamic manifestation of feminine energy. She represents the power of transformation through direct engagement with desire and delusion. Vajravarahi’s presence balances Tara’s serenity with her own wrathful grace, emphasizing the tantric principle that enlightenment can be achieved through the transmutation of even the most intense emotions. Her shrine stands as a gateway to deeper esoteric practices, often reserved for advanced initiates. Together, this triadic arrangement forms a mandala-like configuration, with Padmasambhava at the center as the axis of realization, flanked by two powerful female deities who embody the dual forces of compassion and transformation. It’s a living representation of the Vajrayana path—where wisdom, compassion, and skillful means converge to guide practitioners toward awakening. The layout invites not just reverence, but active contemplation of the dynamic interplay between these energies within one’s own spiritual journey.

Gateway to the Shrine of Vajravarahi Tucked discreetly on the left side of Pemayangtse Monastery, the small shrine dedicated to Vajravarahi (Dorje Phagmo in Tibetan) pulses with tantric intensity and sacred mystery. Vajravarahi is a fierce yet liberating manifestation of the feminine divine in Vajrayana Buddhism—often depicted with a sow’s head emerging from her own, symbolizing the cutting through of ignorance. Though modest in size, the shrine holds immense spiritual weight, serving as a focal point for advanced tantric practice and inner transformation. The statue housed within this shrine is believed to have been a gift from Terton Terdag Lingpa of Tibet to Chogyal Gyurmed Namgyal upon his marriage to the terton’s daughter. This lineage connection imbues the shrine with historical and spiritual significance, linking Pemayangtse to the powerful Mindroling tradition of Tibetan Buddhism. Vajravarahi’s image is typically portrayed in dynamic posture, dancing atop corpses that represent conquered delusions, her expression fierce yet compassionate. She embodies the union of wisdom and method, the very heart of Vajrayana realization. Ritually, the shrine is a site for secret offerings and meditative visualization, often reserved for initiated practitioners. Vajravarahi is invoked in practices aimed at transforming desire and attachment into enlightened awareness. Her presence complements the monastery’s broader spiritual landscape, which includes wrathful deities and celestial palaces, offering a more intimate and esoteric gateway into the tantric path. Butter lamps, incense, and symbolic offerings are placed before her, creating a charged atmosphere of devotion and reverence. In contrast to the serene Tara shrine on the opposite side, Vajravarahi’s shrine radiates a more raw and transformative energy. It reminds visitors that enlightenment is not only about peace and compassion but also about confronting and transmuting the shadow aspects of the self. For those attuned to her symbolism, the shrine is a portal into the depths of Vajrayana practice—a place where the fierce grace of the feminine divine dances through fire, wisdom, and liberation.

Gateway to the Shrine of Tara Nestled quietly on the right side of Pemayangtse Monastery, the small shrine dedicated to Goddess Tara offers a gentle yet powerful presence within the sacred complex. Tara, known as the Mother of Liberation, is one of the most beloved deities in Vajrayana Buddhism, embodying compassion, protection, and swift assistance to those in need. Her shrine at Pemayangtse is modest in scale but rich in spiritual resonance, serving as a space for personal devotion and quiet reflection amid the grandeur of the main monastery. The shrine, often referred to as Dolma Lhagang, features a statue of Tara seated in her classic posture—one leg extended, ready to rise and help sentient beings, and the other folded in meditative repose. She is typically depicted with a serene expression, her right hand in the gesture of giving and her left holding a lotus, symbolizing purity and enlightenment. The walls of the shrine may be adorned with thangka paintings and offerings of butter lamps, incense, and flowers, creating an atmosphere of warmth and reverence. Spiritually, Tara is invoked for protection against fear, illness, and obstacles on the path to awakening. Her mantra, Om Tare Tuttare Ture Soha, is often chanted by monks and visitors alike, filling the air with vibrations of healing and grace. The shrine provides a more intimate setting than the main prayer hall, allowing devotees to engage in personal rituals, prayers, and meditative practices. It’s a place where the vast teachings of Vajrayana Buddhism are distilled into the tender act of calling upon the divine feminine. In the broader context of Pemayangtse’s spiritual landscape, the Tara shrine complements the monastery’s emphasis on transformation and compassion. While the main temple celebrates the cosmic power of Guru Padmasambhava and wrathful deities, the Tara shrine offers a counterbalance—a sanctuary of gentleness and maternal care. It reminds visitors that enlightenment is not only fierce and transcendent but also nurturing and immediate, available to anyone who seeks it with sincerity.

Vajrapani on the left side of the portico The wall painting of Vajrapani on the left side of the portico at Pemayangtse Monastery is a commanding visual that greets visitors with a surge of spiritual intensity. Depicted with a wrathful expression, Vajrapani embodies the fierce compassion of enlightened beings who protect the Dharma. His blue body, a hallmark of his iconography, symbolizes the vastness of space and the transmutation of anger into wisdom. The painting captures his dynamic posture and penetrating gaze, designed to ward off negative forces and signal the sanctity of the space beyond. In his right hand, Vajrapani holds a vajra, the thunderbolt scepter that represents indestructible truth and spiritual power. This weapon is raised in a gesture of readiness, emphasizing his role as the protector of the Buddha’s teachings. His left hand forms the karana mudra, a powerful gesture used to dispel evil and banish obstacles. The mudra—formed by extending the index and little fingers while folding the others—is a visual mantra of defiance against ignorance and spiritual adversity. The painting is rich in symbolic detail. Vajrapani is often surrounded by flames, which represent the burning away of delusion and the transformative energy of enlightened wrath. His hair may be shown as wild and flame-like, and his ornaments—skulls, serpents, and bone jewelry—serve as reminders of impermanence and the fierce compassion that underlies his terrifying form. The background may include swirling clouds or celestial motifs, placing Vajrapani in a cosmic context that transcends the earthly realm. Pemayangtse Monastery, a cornerstone of the Nyingma tradition in Sikkim, uses such imagery not only for aesthetic impact but as a spiritual threshold. Vajrapani’s presence at the portico signals that the space within is sacred and protected. For devotees and visitors alike, the painting serves as a powerful reminder that the path to enlightenment is guarded by forces both fierce and benevolent—ready to confront ignorance with thunderous compassion.

Unusual depiction of Dorje Shugden on the right side of the portico The figure painted on the right side of the portico bear striking resemblance to depictions of Dorje Shugden, especially in the way it combines wrathful iconography with ritual implements. The staff topped with a skull and the chain with a half-vajra and ring are not standard across all wrathful deities, but they do appear in certain representations of Shugden, particularly those emphasizing his role as a protector and enforcer of Dharma. Historically, Dorje Shugden is a controversial figure within Tibetan Buddhism. He is considered by some traditions—especially within the Gelug school—as a powerful protector deity, while others, including many in the Nyingma lineage to which Pemayangtse belongs, have been more cautious or even critical of his veneration. That makes his presence at a Nyingma monastery like Pemayangtse quite unusual, and possibly indicative of local syncretism or lineage-specific interpretations. Interestingly, early accounts by scholars such as Laurence Waddell mention a wrathful figure named Gyalpo Shugden at Pemayangtse, described as a demon seated on a white elephant, believed to be the spirit of a deposed lama who became a fierce protector. This lends historical weight to the idea that Shugden—or a figure closely resembling him—has long been part of Pemayangtse’s iconographic landscape, even if not officially enshrined in its doctrinal core. So while it’s not definitively confirmed, the location, posture, and implements of the figure strongly suggest it could be a localized or esoteric depiction of Dorje Shugden, possibly interpreted through the lens of Nyingma tantric symbolism. It’s a fascinating example of how Himalayan monasteries often blend orthodoxy with regional spiritual nuance.

Sage of Long Life in the shade of a peach tree On the portico of Pemayangtse Monastery, a serene and evocative depiction of the Sage of Long-Life unfolds like a visual prayer. Seated in quiet dignity, the Sage holds a mala in his right hand, symbolizing meditative discipline and the counting of mantras, while his staff in the left hand suggests spiritual authority and the journey of wisdom. His presence radiates tranquility, surrounded by a peaceful assembly of animals—perhaps deer, birds, or mythical creatures—each representing harmony with nature and the compassionate reach of enlightened beings. Behind the Sage, a peach tree heavy with fruit rises as a potent symbol of longevity, abundance, and spiritual nourishment. In East Asian and Himalayan traditions, peaches are often associated with immortality and divine favor. The tree’s lushness reinforces the Sage’s role as a guardian of life’s vitality, while its placement behind him suggests that longevity is both a gift and a legacy. The scene is not static—it breathes with gentle movement, as a waterfall and stream flow to his right, representing the passage of time, purification, and the continuity of wisdom. Adding a layer of narrative intimacy, a young man stands in the stream preparing tea, a gesture that blends ritual with hospitality. Tea, in Buddhist culture, is more than refreshment—it’s a symbol of mindfulness, offering, and the warmth of shared presence. At the Sage’s feet, two other young men gather peaches in wicker baskets, suggesting the transmission of blessings and the cyclical nature of spiritual teachings. These figures embody discipleship, service, and the joy of harvesting the fruits of wisdom under the guidance of a realized master. Altogether, this portico tableau is not merely decorative—it’s a living allegory of enlightened aging, where nature, ritual, and community converge around the figure of the Sage. It invites visitors to contemplate the deeper meanings of longevity—not as mere survival, but as a life steeped in purpose, generosity, and spiritual grace. The scene whispers a gentle truth: that the path to long life is paved with compassion, simplicity, and the quiet tending of sacred relationships. Bottom photograph by Amitabha Gupta, distributed under a CC-BY 4.0 license.

The Four Harmonious Friends The wall painting of The Four Harmonious Friends in the portico of Pemayangtse Monastery is a charming and deeply symbolic tableau that greets visitors with a message of unity, respect, and interdependence. This beloved Buddhist motif features four animals—a bird, a rabbit, a monkey, and an elephant—stacked one atop the other in a whimsical yet meaningful arrangement. In this particular depiction, the elephant is completely white, a detail that adds a layer of purity and spiritual significance to the composition. White elephants are considered auspicious in many Asian traditions, often associated with wisdom, strength, and sacredness. The story behind the image is drawn from a Jataka tale, in which the animals debate who is oldest based on their memories of a fruit tree. The bird claims to have planted the seed, the rabbit watered it, the monkey fertilized it, and the elephant protected it. Recognizing the bird as the eldest, they agree to live in harmony, each contributing their unique strengths. The painting captures this spirit of cooperation, with the white elephant forming the base—symbolizing groundedness and support—while the other animals ascend in order of age and contribution. Artistically, the mural is rendered in vibrant colors and flowing lines, typical of Tibetan Buddhist art. The animals are depicted with expressive faces and gentle postures, radiating warmth and camaraderie. The white elephant stands out not only for its color but also for its serene demeanor, anchoring the composition with a sense of calm majesty. Surrounding elements may include a fruit-laden tree, stylized clouds, and floral motifs, all reinforcing the themes of abundance and harmony. At Pemayangtse Monastery, this painting serves as more than decoration—it’s a visual teaching. Positioned at the portico, it reminds all who enter of the values upheld within: mutual respect, peaceful coexistence, and reverence for wisdom. The image of the four friends, especially with the white elephant at its foundation, becomes a gentle guardian of the sacred space, inviting reflection and inspiring a sense of shared purpose.

Three unfriendly creatures living friendly The rather degraded painting of 'Three unfriendly creatures living friendly' in the portico of Pemayangtse Monastery is a curious and symbolic piece of Buddhist folk wisdom. Though time has dulled its colors and softened its outlines, the image still conveys a powerful allegory of harmony and transformation. The painting typically depicts a snake, a frog, and a bird—creatures that are natural enemies—coexisting peacefully in a shared space. Their unlikely companionship serves as a visual parable for overcoming conflict through mutual respect and spiritual insight. In the Pemayangtse version, the degradation of the mural adds a layer of poignancy. The snake may be coiled gently beside the frog, while the bird perches above them, all rendered in faded strokes and weathered pigment. The original vibrancy of the scene—once animated with earthy greens, ochres, and blues—has been muted by years of exposure to the elements. Yet the composition remains legible enough to evoke its intended message: that even beings with opposing instincts can live in harmony when guided by higher principles. Symbolically, the painting reflects the Buddhist ideal of interdependence and transformation. The painting suggests that animosity is not fixed, and that even the most incompatible beings can find common ground. In a monastic setting like Pemayangtse, this image serves as a gentle reminder to practitioners and visitors alike that spiritual practice involves not only personal growth but also the cultivation of peace in relationships—whether with others or within oneself. Positioned in the portico, the mural acts as a threshold teaching—an invitation to leave behind discord and enter a space of contemplation and unity. Though degraded, it continues to resonate with quiet wisdom, offering a moment of reflection before stepping into the sacred interior of the monastery. Its presence underscores Pemayangtse’s role not just as a center of ritual and learning, but as a sanctuary for the deeper truths that guide harmonious living. Photograph by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Much-degraded Wheel of Life painting on the porch The much-degraded Wheel of Life painting on the porch of Pemayangtse Monastery is a haunting echo of one of Buddhism’s most profound visual teachings. Though time has eroded its vivid colors and fine details, the mural still conveys the cyclical nature of existence—samsara—with a quiet, enduring power. At its center, the faded image of a pig, snake, and rooster may still be discernible, symbolizing ignorance, hatred, and desire—the three poisons that keep beings trapped in the cycle of rebirth. Surrounding this core are the six realms of existence: gods, demi-gods, humans, animals, hungry ghosts, and hell beings. In its prime, each realm would have been depicted with intricate scenes of suffering and aspiration, offering a visual meditation on karma and the consequences of one’s actions. Now, with much of the pigment flaked away and outlines softened by weather and time, the realms blur into one another, reinforcing the Buddhist notion of impermanence. The once-clear figures of celestial beings and tormented souls are now ghostly impressions, inviting viewers to contemplate the fragility of life and the urgency of spiritual practice. The outer ring of the wheel, which traditionally illustrates the twelve links of dependent origination, is likely the most degraded. These links explain how ignorance leads to suffering through a chain of causation—from birth to death. Even in its faded state, the wheel’s structure remains intact, held in the grasp of Yama, the Lord of Death, whose skeletal form looms over the composition. His presence, though diminished, still serves as a reminder that all conditioned existence is subject to decay. At Pemayangtse Monastery, this mural is more than a relic—it’s a spiritual artifact that continues to teach through its silence and wear. Its weathered surface speaks to centuries of devotion, monastic life, and the passage of countless pilgrims. Though the painting may no longer dazzle with color, it resonates with a deeper truth: that liberation lies not in clinging to form, but in understanding its transience. Photograph by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Much-degraded painting of Virupaksa, the King of the West The much-degraded painting of Virupaksa, the King of the West, in the porch, stands as a weathered sentinel of Buddhist cosmology. Though time and the elements have worn away much of its original vibrancy, the image still retains a commanding presence. Virupaksa is one of the Four Guardian Kings who protect the cardinal directions of the universe, and his placement in the western quadrant of the monastery’s entrance reflects his traditional role as a protector of the Dharma from that direction. Even in its faded state, the painting conveys a sense of vigilance and spiritual authority. Virupaksa is typically depicted with a fierce expression, adorned in regal armor and holding a serpent or a stupa, depending on regional iconography. In the Pemayangtse portrayal, the outlines of his form are still discernible—his posture upright, his gaze intense, and his garments once richly detailed with motifs of clouds and flames. The degradation of the painting, with flaking pigments and softened contours, adds a layer of poignancy, reminding viewers of impermanence—a central tenet of Buddhist philosophy. Despite its condition, the painting continues to serve a symbolic function. Positioned at the threshold of the monastery, it marks the transition from the mundane world to the sacred interior. Virupaksa’s presence, even in faded form, is a spiritual checkpoint—an embodiment of protection and cosmic order. His image, though diminished, still resonates with the energy of guardianship and the enduring power of Buddhist ritual art. Pemayangtse Monastery, being one of the oldest Nyingma institutions in Sikkim, houses many such sacred artworks that have weathered centuries. The painting of Virupaksa, in its current state, invites reflection not only on the deity’s role but also on the passage of time and the resilience of faith. It stands as a quiet testament to the monastery’s historical depth and the enduring legacy of its spiritual guardians.

Much-degraded painting of Virudhaka, the King of the South The much-degraded painting of Virudhaka, the King of the South, in the porch of Pemayangtse Monastery, is a weathered yet evocative remnant of the monastery’s protective iconography. As one of the Four Guardian Kings who safeguard the cardinal directions of the Buddhist cosmos, Virudhaka’s presence at the southern threshold of the monastery is both symbolic and spiritual. Though the painting has suffered from time, climate, and perhaps neglect, its faded outlines still convey the authority and vigilance of this celestial protector. Traditionally, Virudhaka is depicted with a blue or green complexion, clad in regal armor and wielding a sword, which represents his power to subdue ignorance and uphold the Dharma. In the Pemayangtse mural, the sword may still be faintly visible, raised in a gesture of readiness. His posture is upright and commanding, and though the finer details of his face and attire have eroded, the overall composition retains a sense of strength and cosmic order. The degradation—peeling pigments, softened contours, and discoloration—adds a haunting beauty, reminding viewers of impermanence, a core Buddhist teaching. Despite its condition, the painting continues to serve a vital ritual function. Positioned at the monastery’s entrance, Virudhaka’s image marks the transition from the mundane world to the sacred interior. His role is not merely decorative; he is a spiritual sentinel, warding off negative energies and ensuring that only those with sincere intent pass through. Even in its diminished state, the mural resonates with the protective energy it was meant to embody. Pemayangtse Monastery, a revered seat of the Nyingma tradition, is known for its rich tapestry of sacred art and architecture. The painting of Virudhaka, though worn, is part of a larger ensemble of guardian deities that frame the monastery’s spiritual threshold. It stands as a quiet testament to centuries of devotion, artistic expression, and the enduring power of Buddhist symbolism—even when the colors fade and the lines blur. Photograph by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Much-degraded painting of Dhrtarastra, the King of the East The much-degraded painting of Dhrtarastra, the King of the East, in the porch of Pemayangtse Monastery, stands as a faded yet potent symbol of Buddhist guardianship. As one of the Four Guardian Kings who protect the cardinal directions of the universe, Dhrtarastra’s placement at the eastern threshold of the monastery reflects his traditional role as a spiritual sentinel. Though the passage of time has worn away much of the mural’s original vibrancy, the figure’s posture and presence still convey a sense of watchful authority and cosmic order. Dhrtarastra is typically depicted with a white or pale complexion, clad in ornate armor and holding a lute or stringed instrument, which symbolizes his connection to harmony and the celestial Gandharvas—heavenly musicians whom he commands. In the Pemayangtse mural, the outlines of this instrument may still be faintly visible, though the finer details of his attire and facial features have largely eroded. His stance remains upright and regal, and even in its degraded state, the painting evokes the protective energy he embodies. The mural’s deterioration—flaking pigments, blurred contours, and discoloration—adds a layer of quiet poignancy. It serves as a visual reminder of impermanence, a central tenet of Buddhist philosophy. Yet despite its condition, the painting continues to fulfill its symbolic function. Positioned at the monastery’s entrance, Dhrtarastra’s image marks the transition from the mundane world to the sacred interior, offering spiritual protection to all who pass through. Pemayangtse Monastery, a revered seat of the Nyingma tradition, houses many such sacred artworks that have weathered centuries of devotion and Himalayan climate. The painting of Dhrtarastra, though diminished, remains a testament to the enduring power of Buddhist iconography. It invites reflection not only on the deity’s role but also on the resilience of faith and the quiet dignity of spiritual guardianship. Photograph by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Side door in the monastery portico Photograph by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Chinese Prosperity Sign on the portico ceiling The Chinese Prosperity Sign, often represented by the character 福 (fu), meaning “blessing” or “good fortune,” is a widely recognized symbol in East Asian cultures. It’s traditionally displayed during festivals, especially Lunar New Year, and is believed to attract wealth, happiness, and longevity. In Chinese architecture, this symbol may appear in stylized calligraphy, decorative motifs, or embedded within more elaborate auspicious patterns. Its presence on religious or sacred buildings often reflects a syncretic blend of cultural influences, where spiritual and worldly blessings are invoked together. At Pemayangtse Monastery, while the dominant iconography is rooted in Tibetan Buddhist tradition, there are subtle architectural and decorative elements that echo broader Asian aesthetics—including motifs that resemble Chinese Prosperity Signs. On the roof of the porch, one might find stylized floral patterns, cloud scrolls, and geometric designs that bear resemblance to Chinese auspicious symbols. These may not be direct representations of the fu character, but they carry similar connotations of abundance, harmony, and protection. Their inclusion reflects the monastery’s openness to artistic cross-pollination across Himalayan and East Asian traditions. Symbolically, the placement of prosperity motifs on the roofline of the porch serves a protective and welcoming function. The roof is the crown of the structure, and adorning it with signs of fortune ensures that blessings rain down upon all who enter. In Buddhist architecture, such symbols are often paired with the Eight Auspicious Symbols or guardian figures, creating a layered spiritual threshold. The prosperity motifs act as visual mantras, silently invoking well-being for the monastery and its visitors. Though Pemayangtse is firmly rooted in the Nyingma lineage of Tibetan Buddhism, its decorative vocabulary includes elements that resonate with broader Asian spiritual aesthetics. The presence of prosperity signs—whether explicitly Chinese or interpreted through a Himalayan lens—underscores the monastery’s role as a sanctuary of both spiritual wealth and cultural richness. These symbols, weathered by time yet still potent, continue to bless the sacred space with their quiet elegance. Photograph by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Main door The main door that leads from the portico to the assembly hall is far more than a physical threshold—it is a symbolic gateway between the mundane and the sacred. Richly decorated with traditional Tibetan motifs, auspicious symbols, and protective deities, the door serves as a visual and spiritual cue that one is entering a consecrated space. In Vajrayana Buddhism, such architectural transitions are deeply intentional, guiding the practitioner from outer distractions toward inner stillness and devotion. The door’s ornamentation often includes the Eight Auspicious Symbols—such as the lotus, conch shell, and endless knot—which collectively invoke blessings of purity, wisdom, and interconnectedness. These symbols are not merely decorative; they act as spiritual guardians, ensuring that only those with sincere intent pass through. The vibrant colors and intricate carvings reflect the monastery’s lineage and its commitment to preserving the sacred teachings of Padmasambhava and the Nyingma tradition. Spiritually, the act of passing through this door is akin to entering a mandala—a sacred space where the practitioner is enveloped in the energies of the Dharma. The assembly hall beyond is where rituals, prayers, and teachings unfold, and the door marks the beginning of that journey. It’s a moment of transition, where one leaves behind worldly concerns and steps into a realm of contemplation and transformation. In the context of Pemayangtse Monastery, which is perched high in the Himalayas and steeped in centuries of spiritual practice, this door becomes a silent teacher. It reminds visitors and monks alike that enlightenment begins with intention, and that every step—starting with the one through this threshold—is part of a sacred path. Its presence is both protective and inviting, a beautifully carved invitation to awaken. Photograph by flowcomm, distributed under a CC-BY 20 license.

Detail of the upper beam of the door jamb Above the upper beam of the main doorway leading from the portico to the assembly hall, a triad of Buddha figures is prominently displayed, with Avalokiteshvara occupying the central position. This arrangement is not merely decorative—it carries deep spiritual and symbolic significance. Avalokiteshvara, the Bodhisattva of Compassion, is revered across Mahayana and Vajrayana traditions as the embodiment of boundless mercy. His central placement above the threshold suggests that compassion is the guiding principle for all who enter the sacred space of the assembly hall. Flanking Avalokiteshvara are two other Buddhas or Bodhisattvas, often interpreted as Manjushri and Vajrapani, though local iconography may vary. Manjushri, typically shown on the left, represents transcendent wisdom, wielding a flaming sword to cut through ignorance. Vajrapani, on the right, embodies spiritual power and protection, often depicted holding a vajra. Together, this triad forms a powerful spiritual constellation—wisdom, compassion, and strength—qualities essential to the path of enlightenment in Vajrayana Buddhism. Artistically, the figures are rendered in vibrant hues and stylized forms consistent with Tibetan Buddhist aesthetics. Avalokiteshvara may be shown with multiple arms or eyes, symbolizing his ability to perceive and respond to the suffering of all beings. The figures are often framed by lotus motifs, clouds, and flames, reinforcing their divine nature and cosmic presence. Their placement above the doorway also serves a protective function, warding off negative energies and sanctifying the entrance to the monastery’s most sacred chamber. In the context of Pemayangtse Monastery—a cornerstone of the Nyingma tradition—the presence of these three figures above the main doorway is a visual invocation. They remind practitioners and visitors alike that the journey into the assembly hall is not just physical but spiritual. One enters under the gaze of compassion, wisdom, and power, stepping into a space where the Dharma is not only taught but lived. Photographs by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Assembly hall The assembly hall at Pemayangtse Monastery is the spiritual heart of one of the oldest and most revered Nyingma institutions in the region. Known as the Dukhang or Lhakhang, this hall is where monks gather for daily prayers, rituals, and teachings. The space is infused with a sense of solemnity and devotion, its walls adorned with vibrant murals depicting deities, mandalas, and scenes from the life of Padmasambhava. The atmosphere is thick with incense and the low hum of chanting, creating a sensory immersion into the rhythms of Vajrayana practice. At the center of the hall stands a commanding statue of Padmasambhava, also known as Guru Rinpoche, in his wrathful form as Dorje Dragmar or Vajrakila. Flanked by other effigies and sacred thangkas, this central figure anchors the room in tantric energy and spiritual authority. The altar is richly decorated with offerings—butter lamps, bowls of water, and ritual implements—each placed with precision and reverence. The monks, dressed in maroon robes and red hats, sit in rows during ceremonies, their synchronized chants echoing through the wooden beams of the three-story structure. The upper levels of the assembly hall house sacred texts, including the Kangyur and Tengyur, meticulously shelved and preserved. These scriptures contain the words of the Buddha and commentaries by Indian and Tibetan masters, forming the intellectual backbone of the monastery’s teachings. There are also smaller shrine rooms dedicated to protector deities and manifestations of Guru Rinpoche, including the eight manifestations known as the Guru Tsen Gye. These spaces are used for more esoteric practices and seasonal rituals, such as the Pang Lhasol and Cham dances. Architecturally, the hall reflects traditional Tibetan design, with intricately painted doors and windows, and a roofline adorned with auspicious symbols. Despite its age and exposure to the Himalayan climate, the assembly hall has been carefully maintained and restored over the centuries. It remains a living space of devotion, learning, and community—a place where the ancient teachings of the Nyingma lineage continue to resonate with clarity and purpose. Photographs by Anjan Kumar Kundu, distributed under a CC-BY 4.0 license.

Big drum In Vajrayana Buddhist monasteries, the big drum—often called the nga in Tibetan—is a central ritual instrument used to anchor the rhythm of prayers and ceremonies. Towering in size and mounted on a wooden frame, it is typically played with a padded mallet, producing a deep, resonant sound that fills the assembly hall. The drum’s beat is not merely musical; it is a sonic invocation that calls deities, purifies the space, and synchronizes the minds of practitioners. Its rhythmic pulse accompanies chanting, guiding monks through intricate liturgies and meditative states. The drum’s body is usually crafted from wood and covered with tightly stretched animal hide, often painted with auspicious symbols such as the Eight Auspicious Signs or protective deities. The outer surface may be adorned with vibrant colors—reds, golds, and blues—reflecting the sacred energy it channels. In many monasteries, the drum is positioned near the altar or central shrine, signifying its importance in ritual practice. Its sound is believed to dispel negative energies and awaken beings from spiritual slumber, making it a vital tool in ceremonies like Cham dances, empowerment rituals, and daily pujas. At Pemayangtse Monastery, the big drum holds a particularly revered place within the assembly hall. As one of the oldest and most prestigious Nyingma institutions in the region, Pemayangtse maintains a rich tradition of ritual music. The drum here is used during major festivals such as Guru Dragmar Cham, where its thunderous beat accompanies masked dances and tantric invocations. Its presence in the hall is both commanding and sacred, echoing through the wooden beams and painted walls, weaving sound into the spiritual fabric of the monastery. Photograph by Anjan Kumar Kundu, distributed under a CC-BY 4.0 license.

Guru Dragmar (left), Vajrakilaya (center) and Buddha Shakyamuni (right) The trio of statues—Guru Dragmar, Vajrakilaya, and Buddha Shakyamuni—positioned to the right of the central figure of Padmasambhava, forms a potent constellation of spiritual symbolism. Their placement is not arbitrary; it reflects a carefully curated mandala of enlightened energies, each representing a distinct facet of the Vajrayana path. Together, they embody the dynamic interplay of wrathful compassion, obstacle-clearing power, and foundational wisdom. Guru Dragmar, the “Red Wrathful Guru,” is a fierce manifestation of Padmasambhava himself. His presence signifies the transformative force of enlightened wrath—compassion that does not hesitate to confront and subdue negativity. Standing near Padmasambhava, Guru Dragmar reinforces the idea that liberation sometimes requires fierce intervention, especially when confronting inner demons and spiritual resistance. His red hue and wrathful iconography serve as a reminder that compassion can take many forms, including the thunderous energy needed to break through delusion. Beside him stands Vajrakilaya, another wrathful emanation of Padmasambhava, known for wielding the phurba dagger to pierce through spiritual obstacles. Vajrakilaya represents the tantric principle of purification—cutting through ego, ignorance, and karmic entanglements with precision and force. His inclusion in this triad emphasizes the monastery’s commitment to deep esoteric practice, where transformation is achieved not through avoidance but through direct engagement with the shadow aspects of the mind. Completing the trio is Buddha Shakyamuni, the historical Buddha and the originator of the Dharma. His serene presence balances the wrathful energies of Guru Dragmar and Vajrakilaya, grounding the ensemble in the foundational teachings of wisdom, ethics, and meditative discipline. Positioned alongside these tantric deities, Shakyamuni serves as a reminder that the Vajrayana path is built upon the bedrock of the Buddha’s original insight. Together, the three statues form a spiritual arc—from foundational wisdom to transformative wrath—guiding practitioners through the full spectrum of awakening. Photographs by Anjan Kumar Kundu, distributed under a CC-BY 4.0 license.

Guru Dragmar, the Red Wrathful Guru The statue of Guru Dragmar, the “Red Wrathful Guru,” in the assembly hall is a formidable embodiment of tantric power and enlightened wrath. Guru Dragmar is a wrathful manifestation of Padmasambhava, revered in the Nyingma tradition as the master who subdued demonic forces and established Buddhism in Tibet. His red hue symbolizes fierce compassion and the transmutation of intense emotions into wisdom. Standing at the heart of the monastery’s spiritual space, the statue commands attention with its dynamic posture, flaming hair, and penetrating gaze. Guru Dragmar is typically depicted with a vajra in one hand and a scorpion or phurba (ritual dagger) in the other, signifying his ability to pierce through ignorance and subdue harmful energies. His crown of five skulls represents mastery over the five poisons—anger, desire, ignorance, pride, and jealousy—while his garland of severed heads and tiger-skin loincloth evoke the fearless nature of his practice. The statue’s lower body may be fused with a kila, a three-bladed peg emerging from the mouth of a makara (mythical sea creature), anchoring him in the realm of wrathful deities who protect the Dharma. The placement of Guru Dragmar in the assembly hall is deeply symbolic. This hall is where monks gather for rituals, teachings, and meditative practices, and the presence of this wrathful form of Padmasambhava serves as a spiritual guardian and energizer. His image is not meant to frighten but to awaken—reminding practitioners of the fierce determination required to overcome inner obstacles. During annual festivals like the Guru Dragmar Cham, masked dances reenact his mythic battles, invoking his blessings for protection, longevity, and spiritual clarity. Pemayangtse Monastery, as a cornerstone of the Nyingma lineage in Sikkim, preserves this statue with reverence. It’s not just an artistic marvel but a living symbol of the tantric path, where wrath and compassion are not opposites but allies. The statue of Guru Dragmar stands as a testament to the transformative power of Vajrayana Buddhism—where even the most fearsome forms are expressions of boundless love and liberation.

Padmasambhava in the form of Vajrakilaya The statue of Padmasambhava in the form of Vajrakilaya in the assembly hall is a powerful representation of tantric wrath and enlightened activity. Vajrakilaya, or Dorje Phurba, is one of Padmasambhava’s most formidable manifestations, embodying the forceful removal of spiritual obstacles. This form is especially revered in the Nyingma tradition, where wrathful deities are seen not as terrifying figures, but as compassionate protectors who use fierce methods to liberate beings from delusion. The statue typically depicts Padmasambhava with multiple heads, arms, and legs, each holding ritual implements such as the phurba (ritual dagger), vajra, and skull cup. These symbolize his mastery over the three realms and his ability to pierce through ignorance, ego, and negativity. His expression is intense, with bulging eyes and bared fangs, framed by a crown of skulls and a mane of flame-like hair. The phurba itself—often emerging from a makara’s mouth—anchors the statue in the earth, signifying the grounding of wrathful energy in enlightened purpose. Surrounding the statue are offerings and ritual items, including butter lamps, tormas (sacred cakes), and thangkas depicting Vajrakilaya’s mandala. The atmosphere in the assembly hall is charged with reverence, especially during ceremonies like the Guru Dragmar Cham, where the statue becomes the focal point of tantric invocations and protective rites. Monks chant Vajrakilaya’s mantra to invoke his blessings and clear obstacles from the path of practice, reinforcing the statue’s role as both a spiritual tool and a guardian. At Pemayangtse Monastery, this statue is more than an artistic marvel—it is a living embodiment of the Vajrayana path. It reminds practitioners that transformation often requires confronting inner demons with fierce clarity. Vajrakilaya’s presence in the heart of the monastery reflects the lineage’s commitment to deep, esoteric practice and the belief that wrathful compassion is sometimes the most direct route to liberation.

Buddha Shakyamuni flanked by his two principal disciples The statue of Buddha Shakyamuni flanked by his two principal disciples—Sariputra and Maudgalyayana—stands as a serene and dignified centerpiece. This triad is a classic representation in Buddhist iconography, symbolizing the transmission of the Dharma and the foundational structure of the monastic community. Shakyamuni, seated in the lotus posture, is depicted in a state of meditative calm, his right hand touching the earth in the bhūmisparSa mudra, invoking the moment of his enlightenment under the Bodhi tree. To his right stands Sariputra, known for his profound wisdom and analytical insight. His figure is typically portrayed with a gentle, contemplative expression, holding a monk’s staff or alms bowl. On the left is Maudgalyayana, famed for his mastery of supernatural powers and deep compassion. He is often shown with a slightly more dynamic posture, reflecting his role in protecting and guiding beings across realms. Together, these disciples represent the twin pillars of wisdom and skillful means, essential to the path of liberation. The statue ensemble is rendered in traditional Tibetan style, with rich gilding and finely detailed robes that ripple with symbolic motifs. The figures are placed on lotus bases, signifying purity and spiritual awakening. Behind them, the wall may be adorned with thangkas or murals depicting scenes from the Buddha’s life, reinforcing the narrative of enlightenment and teaching. The quiet dignity of the trio invites reflection and reverence, anchoring the spiritual atmosphere of the assembly hall. At Pemayangtse, a monastery deeply rooted in the Nyingma tradition, this statue serves not only as an object of veneration but as a visual teaching. It reminds practitioners of the historical Buddha’s journey and the enduring relevance of his teachings. The presence of Sariputra and Maudgalyayana underscores the importance of community and mentorship in the spiritual path, making the statue a living symbol of the Dharma’s transmission across time. Photographs by Anjan Kumar Kundu, distributed under a CC-BY 4.0 license.

Statue of Padmasambhava on the main altar of the assembly hall Padmasambhava, also known as Guru Rinpoche, is one of the most revered figures in Tibetan Buddhism and especially central to the Nyingma school, the oldest of the four major schools of Tibetan Buddhism. Believed to have arrived in Tibet during the 8th century at the invitation of King Trisong Detsen, Padmasambhava played a pivotal role in establishing Buddhism in the region. His mastery of tantric practices and ability to subdue hostile forces—both spiritual and political—earned him the title of the “Second Buddha.” He is credited with founding the first monastery in Tibet, Samye, and transmitting esoteric teachings that became the foundation of the Nyingma lineage. The Nyingma school holds Padmasambhava as its spiritual fountainhead. His teachings, especially those on Dzogchen (the Great Perfection), emphasize the innate purity and luminous nature of the mind. Padmasambhava also initiated the tradition of terma, or hidden treasure teachings, which were concealed to be revealed by future masters when the time was ripe. These termas have allowed the Nyingma tradition to remain vibrant and adaptive across centuries. His twenty-five principal disciples, including Yeshe Tsogyal, helped preserve and transmit his teachings, ensuring their continuity through both monastic and lay lineages. In Sikkim, Padmasambhava’s legacy is especially profound. He is believed to have visited the region and blessed it as a sacred land, making it a spiritual sanctuary for Vajrayana practice. Sites like Pemayangtse Monastery and the monumental statue of Guru Rinpoche at Samdruptse Hill in Namchi stand as testaments to his enduring influence. These places are not only pilgrimage destinations but also centers of ritual, meditation, and cultural identity for the people of Sikkim. His presence is woven into the spiritual landscape, and his image—often in wrathful or peaceful forms—adorns temples, murals, and thangkas throughout the region. Padmasambhava’s importance lies not only in his historical role but in his mythic and symbolic resonance. He represents the union of wisdom and method, the fearless engagement with obstacles, and the compassionate guidance of beings toward liberation. In the Nyingma tradition and in Sikkimese spiritual life, he is not a distant figure of the past but a living presence—invoked in prayers, embodied in rituals, and revered as the guardian of the Dharma’s deepest truths. Photographs by Anjan Kumar Kundu, distributed under a CC-BY 4.0 license.

Avalokiteshvara, the Bodhisattva of Compassion The statue of Avalokiteshvara, the Bodhisattva of Compassion, positioned on the left side of the main Padmasambhava statue in the assembly hall, carries deep symbolic resonance within the Vajrayana Buddhist tradition. Avalokiteshvara, known in Tibetan as Chenrezig, embodies the infinite mercy and loving-kindness of all Buddhas. His placement to the left of Padmasambhava—who represents tantric mastery and transformative power—suggests a harmonious balance between fierce wisdom and gentle compassion, two forces essential to the path of enlightenment. In Buddhist iconography, the left side is traditionally associated with the feminine principle, receptivity, and intuitive wisdom. Avalokiteshvara’s presence in this position complements Padmasambhava’s dynamic energy with a soothing counterbalance. It also reflects the Mahayana ideal of the Bodhisattva who delays personal liberation to assist all sentient beings. His many arms and serene expression, often accompanied by a lotus or prayer beads, visually reinforce his role as the protector and comforter of those in suffering. This spatial arrangement within the assembly hall is not merely aesthetic—it functions as a mandala of enlightened qualities. Padmasambhava at the center anchors the hall in tantric potency, while Avalokiteshvara on the left and wrathful deities like Vajrakilaya or Guru Dragmar on the right create a triadic field of compassion, purification, and transformation. Devotees entering the hall are thus enveloped in a sacred geometry that mirrors the inner journey: from suffering to clarity, from fear to love. At Pemayangtse Monastery, one of the oldest Nyingma institutions in Sikkim, such iconographic precision reflects centuries of spiritual refinement. The Avalokiteshvara statue is not just a figure of devotion—it’s a living symbol of the monastery’s commitment to the compassionate transmission of the Dharma. His gaze, gentle yet unwavering, invites practitioners to cultivate empathy as the foundation of wisdom. Photograph by Anjan Kumar Kundu, distributed under a CC-BY 4.0 license.

Vajravidharana, the semi-wrathful form of Vajrapani The painting of Vajravidharana, the semi-wrathful form of Vajrapani, on the wall of Pemayangtse Monastery is a striking visual embodiment of purification and spiritual power. Vajravidharana, known in Tibetan as Dorje Nampar Jompa, is a tantric deity associated with cleansing rituals and the removal of spiritual impurities. His depiction at Pemayangtse is both fierce and composed—an expression of wrath tempered by wisdom. The mural captures this duality through his intense gaze, dynamic posture, and the symbolic implements he holds, all rendered in bold strokes and vivid pigments that have weathered the Himalayan climate over time. In this painting, Vajravidharana is shown with a blue body, symbolizing the transmutation of anger into clarity and the vastness of awakened mind. His right hand holds a five-pointed vajra, representing indestructible truth and the power to cut through delusion. His left hand is raised in a wrathful gesture, often holding a whip or noose, used to bind and subdue negative forces. Flames may surround his figure, signifying the burning away of karmic defilements. Despite his semi-wrathful appearance, his energy is deeply compassionate—aimed at liberating beings from suffering through purification. The mural’s placement within the monastery is significant. Vajravidharana is one of the Five Cleansing Deities, and his presence on the wall serves as a visual invocation of spiritual hygiene. Monks and visitors alike may pause before the image to reflect on their own inner obstacles, invoking the deity’s power to cleanse body, speech, and mind. The painting functions not only as art but as a ritual tool, woven into the daily rhythms of Pemayangtse’s spiritual life. Though the painting may show signs of age—faded colors, softened contours—it continues to radiate a potent spiritual presence. It stands as a testament to the monastery’s deep engagement with Vajrayana iconography and its commitment to preserving the transformative teachings of Padmasambhava and the Nyingma lineage. Vajravidharana’s image reminds all who enter that purification is not a passive process, but a fierce and compassionate act of awakening. Photograph by Prof Ranga Sai, distributed under a CC-BY 4.0 license.

Citipati, the guardian deities of charnel grounds The painting of Citipati, the guardian deities of charnel grounds, on the wall of Pemayangtse Monastery is a vivid and haunting portrayal of impermanence and spiritual transformation. Depicted as two dancing skeletons—one male and one female—the Citipati are shown in ecstatic motion, their limbs intertwined in a ritual pose that defies death with joy. The male figure wears a tiger-skin loincloth, symbolizing fierce protection and primal energy, while the female dons a leopard-skin garment, representing intuitive power and wild wisdom. Their skeletal forms are not macabre but celebratory, reminding viewers that death is not an end but a gateway to awakening. This mural is rendered in the Ngor style, a refined branch of the Sakya school of Tibetan art known for its precise linework, jewel-toned palette, and balanced composition. The Citipati are surrounded by a halo of flames, signifying the burning away of ignorance and the purifying force of awareness. Their crowns of skulls and bone ornaments reinforce their role as Dharmapalas, or protectors of the Dharma, especially in the context of tantric practices that embrace the raw truths of existence. Despite the skeletal imagery, the painting radiates vitality and spiritual potency. Symbolically, the Citipati are said to have been ascetics who were murdered while meditating in a charnel ground. Their transformation into wrathful deities reflects the Vajrayana principle that even violent death can be transmuted into enlightened activity. As guardians of cemeteries and cremation grounds, they subdue malevolent spirits and thieves, and their dance is a ritual reenactment of the eternal cycle of death and rebirth. Their presence on the monastery wall serves as a stark yet compassionate reminder of life’s transience and the urgency of spiritual practice. At Pemayangtse, this painting is more than a visual curiosity—it’s a threshold teaching. Positioned near the entrance or within the portico, it invites practitioners to confront mortality with courage and clarity. The Citipati’s joyous dance in the face of death challenges viewers to embrace impermanence not with fear, but with reverence. Their skeletal smiles and rhythmic movement echo through the monastery’s sacred halls, whispering that liberation lies not in clinging to life, but in dancing with its inevitable end. Photograph by Prof Ranga Sai, distributed under a CC-BY 4.0 license.

Buddha Shakyamuni with his two disciples surrounded by the Tripitaka books on the first floor of the monastery On the first floor of Pemayangtse Monastery, the altar dedicated to Shakyamuni Buddha is a serene and scholarly sanctuary that honors both the historical Buddha and the transmission of his teachings. Seated in the center is Shakyamuni, depicted in the classic bhumisparsa mudra—his right hand touching the earth to witness his enlightenment. His figure radiates calm authority, framed by a lotus throne and a backdrop of stylized flames or clouds, symbolizing his transcendence over worldly suffering. Flanking him are his two principal disciples: Sariputra, known for his penetrating wisdom, and Maudgalyayana, famed for his mastery of supernatural powers. Their presence reinforces the Buddha’s role not only as a spiritual guide but also as a teacher whose insights were preserved and expanded by devoted followers. The disciples are typically shown in humble postures, holding alms bowls and staffs, dressed in monastic robes that contrast with the Buddha’s more elaborate attire—emphasizing their roles as seekers and transmitters of the Dharma. Surrounding this triad are shelves or cabinets housing the Tripitaka, the threefold collection of Buddhist scriptures: the Vinaya (monastic discipline), the Sutra (teachings of the Buddha), and the Abhidharma (philosophical analysis). These texts are often wrapped in silk and stored in ornate wooden cases, reflecting their sacred status. Their placement around the altar transforms the space into a living library of enlightenment, where the physical presence of the Buddha is complemented by the intellectual and ethical framework of his teachings. This altar is not merely a devotional site—it’s a pedagogical mandala, inviting contemplation of the Buddha’s life, his teachings, and the lineage of wisdom that followed. In the quietude of the first floor, monks and visitors alike engage with this space as both a shrine and a classroom, where reverence and inquiry meet. The arrangement speaks to Pemayangtse’s role as a guardian of the Nyingma tradition, where the Dharma is preserved not only in ritual but in study and reflection. Photograph by Anjan Kumar Kundu, distributed under a CC-BY 4.0 license.

3D mandala on the second floor of the monastery On the second floor of Pemayangtse Monastery stands a breathtaking three-dimensional mandala known as Zangdokpalri, or the “Celestial Palace of Padmasambhava.” This intricate wooden structure is a visual representation of the pure land of Guru Rinpoche, crafted with extraordinary detail and spiritual intent. Rising in seven tiers, the mandala embodies the sacred architecture of Vajrayana cosmology, where each level corresponds to a realm of realization and divine presence. It’s not just a sculpture—it’s a meditative universe in miniature, inviting viewers to contemplate the path to enlightenment. The mandala was carved by Dungzin Rinpoche, a master artist and monk of Pemayangtse, who devoted nearly five years to its creation. Using a single piece of wood, he sculpted an entire celestial palace populated with deities, guardians, and symbolic motifs. Each figure and chamber within the mandala is placed with precision, reflecting the esoteric teachings of the Nyingma tradition. The structure is painted in vibrant hues—gold, crimson, turquoise—bringing to life the mythic vision of Padmasambhava’s paradise. Though photography is prohibited, the mandala’s presence leaves a lasting impression on all who witness it. Symbolically, Zangdokpalri serves as a spiritual map. It guides practitioners through the stages of tantric realization, from outer ritual to inner transformation. The mandala’s vertical ascent mirrors the journey from samsara to nirvana, with Padmasambhava enthroned at the summit as the embodiment of enlightened activity. Surrounding him are wrathful and peaceful deities, each representing aspects of the awakened mind. The entire structure functions as a three-dimensional thangka, offering teachings not through text but through form, color, and spatial harmony. Within the quietude of Pemayangtse’s upper chamber, the mandala radiates a sense of timeless devotion. It’s a testament to the monastery’s artistic legacy and its commitment to preserving the deepest layers of Vajrayana practice. For monks and pilgrims alike, Zangdokpalri is more than an object—it’s a portal to the sacred, a reminder that enlightenment is not a distant ideal but a living reality, carved into the very heart of the monastery. Photograph by Anjan Kumar Kundu, distributed under a CC-BY 4.0 license.

Front view of the Celestial Palace of Padmasambhava The Celestial Palace of Padmasambhava, known as Zangdokpalri or the Glorious Copper-Colored Mountain, is a visionary pure land described in Vajrayana Buddhism as the enlightened abode of Guru Rinpoche after his departure from the earthly realm. It is not merely a mythic paradise but a multidimensional mandala of realization, embodying the full spectrum of tantric wisdom. According to terma teachings, Padmasambhava resides there in his perfected form as a vidyadhara of spontaneous presence, surrounded by a retinue of enlightened beings, dakinis, and protectors. The palace itself is said to be located in Ngayab Ling, a hidden realm beyond ordinary perception, accessible only through deep meditative insight or karmic purity. Architecturally, Zangdokpalri is described as an eight-sided gem resting atop a thousand-petaled lotus, with four gates and eight pillars, each direction constructed from precious materials—crystal in the east, lapis lazuli in the south, ruby in the west, and sapphire in the north. These elements symbolize the integration of the five wisdoms and the purification of the five aggregates. The palace is tiered into three levels, corresponding to the trikaya: the Dharmakaya realm of Buddha Amitayus, the Sambhogakaya realm of Avalokiteshvara, and the Nirmanakaya realm of Padmasambhava himself. This vertical structure mirrors the ascent from ordinary consciousness to full enlightenment. Spiritually, Zangdokpalri is a mandala of awakened activity, where Padmasambhava continues to emanate teachings, blessings, and guidance to practitioners across time and space. It is said that those who cultivate deep devotion and practice Guru Yoga may receive visions of this realm or even be reborn there. The palace is not just a destination—it is a symbolic blueprint for transforming one’s own mind into a pure land. Every chamber, deity, and ornament within it reflects aspects of the enlightened mind, offering practitioners a visual and contemplative path toward liberation. In Himalayan Buddhist culture, Zangdokpalri is often recreated in three-dimensional mandalas, such as the one at Pemayangtse Monastery, or depicted in thangka paintings and ritual texts. These representations serve as portals to the sacred, allowing practitioners to engage with the pure land through visualization, pilgrimage, and ritual. The Celestial Palace of Padmasambhava thus stands as a radiant testament to the Vajrayana view: that enlightenment is not a distant ideal, but a living reality, accessible through devotion, practice, and the fearless embrace of the tantric path. Photograph by Anjan Kumar Kundu, distributed under a CC-BY 4.0 license.

Diagram showing the symbolic meaning of each element of the manual ritual bell (drilbu) In Vajrayana Buddhism, the drilbu, or ritual hand bell, is a profound symbol of wisdom and the feminine principle. It is always paired with the vajra (dorje), which represents compassion and the masculine principle. Together, they embody the inseparable union of wisdom and method—essential for attaining enlightenment. Every component of the drilbu is rich with layered meaning, forming a mandala-like representation of the enlightened mind. The hollow body of the bell signifies the emptiness from which all phenomena arise. This emptiness is not a void but a fertile space of potential, echoing the teachings of Prajnaparamita, the Great Mother of Wisdom. The clapper inside represents sound—specifically, the sound of emptiness and the voice of the Buddha teaching the Dharma. When the bell rings, it is said to dissolve dualistic perception and awaken the practitioner to the nature of reality. Around the rim of the bell is the vajra fence, an indestructible circle of protection. This fence often includes two levels: an upper ring of pearls or conch rosaries symbolizing enlightened consciousness, and a lower ring of flames representing the five primordial wisdoms. Above this, the lotus petals and eight vajras may appear, representing the Eight Bodhisattvas and the eight charnel grounds—reminders of impermanence and transformation. The long-life vase at the base of the handle symbolizes the nectar of accomplishment and spiritual longevity. At the top of the handle is the face of Prajnaparamita, adorned with five wisdom jewels that represent the Five Dhyani Buddhas: Akshobhya, Amitabha, Amoghasiddhi, Vairochana, and Ratnasambhava. Her bound hair signifies the binding of all views into non-duality. The entire bell, from base to crown, is a microcosm of the enlightened universe—a tool not only for ritual but for awakening. When held in the left hand and rung during practice, the drilbu becomes a sonic gateway to the realization of emptiness and the wisdom that liberates.

Leaving Pemayangtse Monastery

See Also

• Rammam Checkpost
• The Elgin Mount Pandim Hotel
• Tashiding Monastery

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Source

• Pemayangtse Monastery - Wikipedia

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Location