Tharpa Choling Monastery Domo Labrang Library Cum Museum, Kalimpong, West Bengal

Tharpa Choling Monastery Domo Labrang Library Cum Museum is a revered spiritual and cultural institution nestled in Kalimpong, West Bengal, India.

Established in 1912 by Domo Geshe Rinpoche Ngawang Kalsang, the monastery belongs to the Gelugpa tradition of Tibetan Buddhism. Perched on a hilltop with sweeping views of the Himalayas, it has long served as a sanctuary for meditation, prayer, and scholarly pursuit. The monastery’s architecture reflects traditional Tibetan styles, featuring vibrant murals, intricate carvings, and statues of the Buddha that evoke a deep sense of reverence and tranquility.

The Domo Labrang Library and Museum, inaugurated as part of the monastery’s expansion, plays a vital role in preserving and promoting Tibetan Buddhist heritage. The library houses a rich collection of ancient texts, manuscripts, and scholarly works, offering resources for monks, researchers, and spiritual seekers. Meanwhile, the museum showcases rare artifacts, sacred relics, and traditional Buddhist art, providing visitors with a deeper understanding of the region’s spiritual and cultural history. These facilities are not only educational but also serve as a bridge between generations, ensuring that the teachings and traditions of Tibetan Buddhism remain accessible and vibrant.

Beyond its spiritual and academic offerings, the monastery is deeply engaged with the local and global community. It hosts regular programs such as Tibetan language classes, meditation workshops, and cultural seminars. These initiatives foster learning and dialogue, attracting scholars, tourists, and practitioners from around the world. The monastery also maintains a monastic school, which provides both traditional and modern education to young monks, furthering its mission of holistic spiritual development.

Tharpa Choling Monastery has also played a significant role in the political and religious landscape of Tibetan Buddhism. It has been under the supervision of the Central Tibetan Administration and the Dalai Lama’s office, especially during periods when the reincarnation of its founder was being identified. The monastery’s decision to ban the worship of Dorje Shugden, in alignment with directives from the Dalai Lama, reflects its commitment to spiritual integrity and unity within the Tibetan Buddhist community. Today, it stands as a beacon of peace, learning, and cultural preservation, welcoming all who seek insight and serenity.

Entrance to the museum

Single room of the museum

Photographs by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Bed used by three successive reincarnations of Dromo Geshe Rinpoche
The bed used by three successive reincarnations of Dromo Geshe Rinpoche, now displayed at the Tharpa Choling Monastery Domo Labrang Library Cum Museum, is a deeply revered artifact that embodies the continuity of spiritual lineage and devotion within Tibetan Buddhism.

This modest yet symbolically rich piece of furniture served as the resting place for three incarnations of the esteemed lama, beginning with Domo Geshe Rinpoche Ngawang Kalsang, the founder of the monastery. Each reincarnation, recognized through traditional Tibetan methods involving divination and signs, continued the legacy of spiritual leadership and scholarship, and the bed became a quiet witness to their lives and teachings.
Crafted in traditional Tibetan style, the bed is made of sturdy wood and adorned with subtle carvings that reflect the aesthetic sensibilities of the region. Though not ostentatious, its historical and spiritual significance elevates it beyond its physical form. The museum has preserved it with great care, ensuring that visitors can appreciate its role in the daily lives of the Rinpoches. It is often surrounded by offerings and ceremonial items, reinforcing its sacred status and inviting reflection on the lives of those who used it.
The presence of this bed in the museum serves as a tangible link between past and present, allowing devotees and scholars alike to connect with the lineage of Dromo Geshe Rinpoches. It is not merely a relic but a symbol of continuity, humility, and the enduring values of Tibetan monastic life. Visitors often report a sense of calm and reverence when viewing it, as if the spiritual energy of its former occupants still lingers in the air.
In a broader sense, the bed underscores the importance of preserving everyday objects that carry profound spiritual meaning. While grand statues and ornate thangkas often dominate Buddhist art collections, this simple bed reminds us that the essence of spiritual practice lies in the lived experiences of those who embody it. Its inclusion in the museum reflects the monastery’s commitment to honoring its history not just through texts and teachings, but through the quiet presence of objects that shaped the lives of its revered leaders.
Photograph by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Gold ink written Gyetongpa pustak of Gyalwa Yonten Gyatsoi's period (1589-1616)
The Gold ink written Gyetongpa pustak from the period of Gyalwa Yonten Gyatso (1589–1616) is one of the most treasured artifacts housed at the Tharpa Choling Monastery Domo Labrang Library Cum Museum.

This rare manuscript, believed to have been created during the reign of the 4th Dalai Lama, exemplifies the exquisite craftsmanship and spiritual devotion of Tibetan Buddhist scribes. Written in gold ink on black paper, the pustak (or sacred book) is a visual and spiritual marvel, reflecting the reverence with which Buddhist teachings were preserved and transmitted.
The Gyetongpa, which translates to “One Thousand Verses,” is a significant text in Mahayana Buddhism, often associated with the Prajnaparamita literature that explores the nature of emptiness and wisdom. The use of gold ink was not merely decorative—it symbolized the sacredness of the teachings and the merit of those who commissioned or copied the text. Each page is meticulously inscribed with elegant Tibetan script, framed by ornate borders and sometimes accompanied by miniature illustrations of deities or auspicious symbols.
This manuscript’s presence in the museum underscores the monastery’s commitment to preserving the spiritual and cultural heritage of Tibetan Buddhism. Visitors are often struck by the sheer beauty and historical weight of the Gyetongpa pustak, which serves as a bridge to a time when spiritual practice and artistic expression were deeply intertwined. It is displayed in a climate-controlled case to protect its delicate materials, and interpretive panels provide context about its origins, content, and significance.
Beyond its aesthetic and historical value, the Gyetongpa pustak invites reflection on the devotion and discipline of the monastic scholars who created and studied such texts. It stands as a testament to the enduring legacy of Gyalwa Yonten Gyatso’s era, a period marked by both political complexity and spiritual flourishing. For scholars, practitioners, and curious visitors alike, this manuscript offers a rare glimpse into the golden age of Tibetan Buddhist literature and the profound care with which its wisdom was preserved.
Photographs by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Abacus (top) and printing block (bottom)
The ancient Tibetan book printing blocks on display are remarkable artifacts that illuminate the enduring legacy of Tibetan woodblock printing.

These blocks, carved meticulously by hand, were traditionally used to reproduce sacred texts, commentaries, and philosophical treatises central to Tibetan Buddhism. Each block represents not only a technological achievement but also a devotional act, as the process of carving was often accompanied by prayers and rituals to imbue the work with spiritual merit.
Crafted from seasoned wood—typically from trees like walnut or birch—the blocks feature reverse-script carvings in elegant Tibetan calligraphy. The precision required to carve each syllable without error speaks to the skill and discipline of the artisans, many of whom were monks trained in both scripture and craftsmanship. Some blocks also include intricate illustrations of deities, mandalas, or auspicious symbols, adding a visual dimension to the texts and enhancing their spiritual resonance. These images were often carved by master artists, whose work blended religious iconography with regional artistic styles.
The museum’s collection includes blocks dating back several centuries, offering insight into the evolution of Tibetan printing practices. Visitors can observe the wear and patina on the wood, evidence of repeated use in the production of texts for monasteries and lay practitioners alike. Interpretive displays explain the printing process, which involved inking the blocks and pressing handmade paper onto them—a labor-intensive method that nonetheless allowed for relatively rapid dissemination of teachings compared to hand-copying manuscripts.
By preserving and showcasing these printing blocks, the Tharpa Choling Monastery affirms its role as a guardian of Tibetan cultural heritage. The blocks are more than historical curiosities; they are enduring symbols of the monastic commitment to education, preservation, and spiritual transmission. Their presence in the museum invites reflection on the intersection of faith, art, and technology, and underscores the importance of safeguarding such traditions for future generations.
Photograph by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Copper wine offering bowl (left), copper stupa (center left), copper urn (center right) and copper ink pot (right)

Photograph by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Golden statuette of Gautama Buddha calling the earth to witness (center)

Photograph by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Gold gilded copper statues
Narthang made gold gilded copper statue of Ji Lobsang Dakpa (left), Gold gilded copper Narthang made statue of Khedrup Ji (center) and Narthang made Vijaya's gold gilded copper statue (right).

Photograph by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Carved wooden book cover

Photograph by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Bronze and clay figurines (top) and tsatsa (bottom)
The display of tsatsa and their molds offers a fascinating glimpse into the devotional practices and artistic traditions of Tibetan Buddhism.

Tsatsa are small votive tablets or figurines, typically made from clay, that depict sacred symbols, deities, or stupas. These objects are created as offerings, often by pilgrims or monks, and are placed on altars, in caves, or around sacred sites to accumulate merit and express spiritual devotion.
The molds used to produce these tsatsa are themselves intricate and varied, reflecting the diversity of iconography within Tibetan Buddhism. Most molds are made of metal, though some are crafted from clay or wood reinforced with resin. They range in size from just a few centimeters to larger, more elaborate forms, and often feature detailed carvings of deities such as Avalokiteshvara, Vajrasattva, or Padmasambhava. The museum’s collection includes both antique and contemporary molds, showcasing the evolution of this sacred art form over time.
Visitors to the museum can observe how these molds were used to press clay into devotional shapes, sometimes in large batches for ceremonial use. The process requires precision and care, as the resulting tsatsa are not merely decorative—they are imbued with spiritual significance. Some molds are accompanied by finished tsatsa, allowing viewers to appreciate the transformation from raw material to sacred object. This pairing of mold and artifact provides insight into the ritualistic and meditative aspects of Buddhist craftsmanship.
The inclusion of tsatsa and their molds in the museum underscores the monastery’s dedication to preserving both the tangible and intangible heritage of Tibetan Buddhism. These humble yet powerful objects speak to the personal devotion of practitioners and the communal spirit of monastic life. By showcasing them, the museum invites reflection on the ways in which art, ritual, and faith converge in the everyday expressions of spiritual practice.
Photograph by Amitabha Gupta, distributed under a CC-BY 4.0 license.