Tharpa Choling Monastery, Kalimpong, West Bengal

Perched atop Tirpai Hill in Kalimpong, West Bengal, Tharpa Choling Monastery is a serene sanctuary of Tibetan Buddhism that dates back to 1912.

It was founded by Domo Geshe Rinpoche Ngawang Kalsang, a revered lama who came to India for pilgrimage and medicinal plant collection. At the request of Tibetan merchants and Bhutanese dignitaries residing, he established the monastery, which belongs to the Gelugpa sect—also known as the "Yellow Hat" school of Tibetan Buddhism.

The monastery is not only a spiritual retreat but also a vibrant center of learning and cultural preservation. It houses a rich collection of ancient scriptures, thangka paintings, and Buddhist artifacts, and includes a library and museum that showcase the depth of Tibetan heritage. Over the years, it has welcomed monks from across the Himalayan region—including Tibet, Mongolia, Ladakh, and Arunachal Pradesh—creating a diverse and inclusive monastic community. Today, it continues to offer education in Buddhist philosophy, Tibetan language, and meditation practices.

Architecturally, Tharpa Choling Monastery is a blend of Tibetan, Indian, and Burmese styles, with colorful frescoes and ornate prayer halls that exude tranquility. Several shrines within the compound are dedicated to protector deities such as Nechung Choegyal and Jowo Ching Karwa, and there's even a temple for the Naga spirit believed to reside nearby. The monastery’s botanical garden, used for cultivating medicinal plants, adds another layer of spiritual and ecological significance to the site.

Beyond its spiritual role, the monastery has played a key part’s cultural landscape. It offers meditation retreats, Sunday classes in Tibetan language and Buddhism, and hosts community events that foster dialogue and understanding. Whether you're a spiritual seeker or a curious traveler, Tharpa Choling Monastery invites you to slow down, reflect, and immerse yourself in the peaceful rhythms of Himalayan life.

Sign pointing to the monastery entrance

Entrance gate In Vajrayana Buddhism, the entrance gate to a monastery is far more than a physical threshold—it’s a symbolic passage from the mundane world into a sacred realm. Architecturally, it often mirrors the structure of a mandala, representing the universe and the path to enlightenment. The gate may be adorned with auspicious symbols such as the Dharmachakra (Wheel of Dharma), vajra (thunderbolt), and victory banners, each signifying spiritual power, wisdom, and triumph over ignorance. Passing through the gate is a ritual act of purification, a moment to leave behind worldly distractions and prepare oneself for spiritual practice. In Tibetan tradition, the gate also serves as a protective boundary, warding off negative energies and spirits. It’s common to find guardian deities or fierce protector figures depicted near or on the gate, reminding visitors of the sanctity within and the need for reverence. The four cardinal directions are often represented, echoing the “Four Gates” concept found in Buddhist cosmology, which symbolize access to the four immeasurable qualities: loving-kindness, compassion, joy, and equanimity. This reinforces the idea that entering the monastery is not just a physical act but a spiritual commitment. At Tharpa Choling Monastery, the entrance gate carries these traditional meanings while also reflecting the unique history of the site. Founded in 1912 by Domo Geshe Rinpoche Ngawang Kalsang, the monastery’s gate marks the beginning of a journey into the Gelugpa lineage’s teachings. The gate is modest yet deeply symbolic, often flanked by prayer wheels and colorful flags that flutter with mantras carried by the wind. Visitors are greeted not just by architecture but by an atmosphere of quiet reverence, signaling the transition into a space of learning, meditation, and cultural preservation. Spiritually, the gate at Tharpa Choling is a threshold to transformation. Locals and pilgrims alike pause before entering, some offering prostrations or spinning the prayer wheels as a gesture of devotion. The gate’s placement atop Tirpai Hill adds to its symbolism—ascending toward it mirrors the inner ascent toward clarity and enlightenment. In this way, the entrance becomes a metaphor for the entire spiritual path: a crossing from confusion to insight, from noise to stillness, and from self-centeredness to compassion.

Map of the monastery Tharpa Choling Monastery is a spiritual complex that houses a rich tapestry of sacred buildings, each with its own unique purpose and history. The main monastery itself, founded in 1912 by Domo Geshe Rinpoche Ngawang Kalsang, serves as the heart of the compound. It includes the central prayer hall, monk’s dormitories, and the residence of the Rinpoche. The architecture blends Tibetan, Indian, and Burmese styles, and the monastery continues to be a hub for meditation, rituals, and Buddhist teachings. Just beside the main entrance is the Mani Lhagang, a prayer wheel chamber originally constructed by Lama Ngawang Kalsang. It was later moved to a separate room during renovations. This space also houses the Shangmo Dorje Bhuti Shrine, dedicated to a once-demonic spirit tamed by Sakya Gongma Rinpoche. Shangmo, bound by oath to protect the monastery, now resides in this shrine and is believed to guard the ration store and sacred grounds. Behind the main hall lies the Lha-Ten, a trio of protector deity temples. The first two structures are dedicated to Nechung Choegyal and Tashi Woebar, while the white temple at the back honors Jowo Ching Karwa. Nearby is the Lu-Khang, the Naga Temple, believed to be the abode of a female Naga spirit. A Trishul marks its entrance, and the temple is treated with reverence due to its spiritual sensitivity. The Ge-sar Lhagang, also known as the Chinese Temple, was relocated to the monastery grounds after landslides threatened its original site. Monthly prayers are held here to propitiate the deity Gesar, and the temple was once famous for Tao-Chen, a Chinese divination practice. Completing the complex is the Museum and Library, known as the Domo Labrang Library-Cum-Museum, which preserves rare scriptures, thangka paintings, and relics of Tibetan Buddhism. The school, established in 1956, provides monastic and modern education to young monks and local children. It offers instruction in Tibetan language, Buddhist philosophy, and secular subjects, with dedicated teachers and visiting scholars. Together, these buildings form a vibrant ecosystem of spiritual practice, cultural preservation, and community engagement.

Panorama of the rear of the monastery (left) and the rear of the large prayer wheel building (right)

Great prayer wheel building (Mani Lhagang) In Vajrayana Buddhism, the Mani Lhagang, or prayer wheel chamber, is a deeply symbolic structure that embodies the union of physical action and spiritual intention. The prayer wheel itself is inscribed with the mantra Om Mani Padme Hum, which invokes the blessings of Avalokiteshvara, the bodhisattva of compassion. Spinning the wheel is believed to generate the same spiritual merit as orally reciting the mantra thousands of times, making it a powerful tool for purifying karma, accumulating merit, and cultivating mindfulness. The building that houses the wheel becomes a sacred space where body, speech, and mind align in meditative practice. Architecturally, the Mani Lhagang is often placed near the entrance of a monastery, symbolizing the transition from the outer world into the inner sanctum of spiritual awakening. Its presence invites devotees to begin their journey with an act of devotion, setting the tone for deeper engagement with the Dharma. The rhythmic turning of the wheel, accompanied by silent or vocal mantra recitation, creates a meditative atmosphere that permeates the entire monastery. In this way, the building is not just a container for the wheel—it becomes a generator of spiritual energy, radiating compassion and wisdom outward. At Tharpa Choling Monastery, the Mani Lhagang holds particular historical and spiritual significance. Originally constructed by Lama Ngawang Kalsang, the prayer wheel was placed beside the main hall entrance and later moved to a dedicated chamber during renovations. This relocation reflects the monastery’s reverence for the wheel and its role in daily practice. The chamber also houses the shrine of Shangmo Dorje Bhuti, a once-malevolent spirit who was tamed and bound by oath to protect the monastery. Her presence alongside the prayer wheel adds a layer of protective symbolism, reinforcing the Mani Lhagang as a space of both purification and guardianship. Spiritually, the Mani Lhagang at Tharpa Choling is a living embodiment of the Dharma in motion. Locals and pilgrims spin the wheel with heartfelt intention, believing that each rotation sends waves of compassion into the world. The chamber’s quiet sanctity offers a refuge for reflection, healing, and connection to the lineage of Tibetan Buddhism. In a monastery rich with protector shrines, deity temples, and sacred gardens, the Mani Lhagang stands out as a beacon of accessible practice—where even a single turn of the wheel can become a profound act of devotion.

Tharpa Choling Monastery Domo Labrang Library Cum Museum The Domo Labrang Library Cum Museum at Tharpa Choling Monastery is a center for the preservation and celebration of Tibetan Buddhist heritage. Nestled within the serene monastic complex, this institution serves as both a scholarly archive and a cultural showcase. It was inaugurated to honor the legacy of Domo Geshe Rinpoche Ngawang Kalsang, the monastery’s founder, and to provide a space where ancient wisdom and modern inquiry meet. The library and museum are open daily, welcoming monks, researchers, and visitors alike into a world of sacred texts, rare artifacts, and immersive learning. The library houses a rich collection of ancient manuscripts, commentaries, and philosophical treatises from the Gelugpa tradition. It offers modern research facilities and digital archives, making it a valuable resource for scholars and spiritual seekers. Tibetan language classes and Buddhist philosophy workshops are regularly held here, fostering a deeper understanding of Dharma among locals and visitors. The library’s mission is not only to preserve texts but to cultivate a living tradition of study and contemplation. Adjacent to the library, the museum displays a curated selection of sacred relics, ritual objects, and traditional art that narrate the spiritual journey of Tibetan Buddhism. From intricately carved statues to ceremonial robes and thangka paintings, each item tells a story of devotion and lineage. The museum also hosts exhibitions and cultural events, including public teachings and community gatherings, reinforcing the monastery’s role as a hub of spiritual and cultural exchange. Together, the Domo Labrang Library Cum Museum embodies the monastery’s commitment to education, preservation, and spiritual practice. Facing the Himalayan landscape and the village of Kalimpong, it stands as a beacon of peace and wisdom. Whether you're a pilgrim, a student, or a curious traveler, this space invites you to explore the depth and beauty of Tibetan Buddhist tradition in a setting that is both contemplative and welcoming.

Access ramp to the temple of King Gesar The ramp leading to the Gesar temple at Tharpa Choling Monastery is more than a physical ascent—it’s a symbolic journey through Tibetan Buddhist iconography and inner transformation. As visitors approach the temple dedicated to King Gesar, the legendary warrior-hero of Tibetan lore, they encounter three distinct reliefs carved into the ramp’s surface, each offering a visual teaching that prepares the mind for spiritual engagement. The first relief depicts the Potala Palace, the historic seat of the Dalai Lamas in Lhasa. This image serves as a powerful emblem of Tibetan sovereignty, spiritual authority, and the continuity of the Dharma. Its placement at the beginning of the ramp evokes reverence and sets the tone for the sacred space ahead. The intricate detailing of the palace’s tiers and towers mirrors the architectural grandeur of the actual structure, reminding visitors of the lineage and legacy that King Gesar himself is said to protect. Midway along the ramp, the second relief illustrates the nine stages of mental development, a progressive path outlined in Buddhist meditation texts. These stages chart the practitioner’s journey from distracted attention to single-pointed concentration, culminating in mental pliancy and equanimity. The relief may feature symbolic animals—such as the elephant, monkey, and rabbit—each representing aspects of the mind, as they ascend a winding path. This visual metaphor encourages introspection and reminds pilgrims that taming the mind is essential before entering the temple of a warrior-saint. The final relief portrays the four harmonious friends—a bird, rabbit, monkey, and elephant—stacked atop one another in a gesture of cooperation and mutual respect. This beloved parable teaches the value of interdependence, humility, and ethical living. Positioned closest to the temple entrance, it suggests that harmony among beings is the foundation of spiritual strength. As visitors reach the top of the ramp, these teachings converge, preparing them to meet the spirit of Gesar not just as a mythic figure, but as a symbol of enlightened action rooted in wisdom and compassion.

Potala Palace in relief The Potala Palace, depicted in high relief at Tharpa Choling Monastery, serves as a powerful emblem of Tibetan spiritual and political heritage. This sculptural representation captures the grandeur of the actual palace in Lhasa, which was once the winter residence of the Dalai Lamas and remains one of the most iconic structures in Tibetan Buddhism. The relief is prominently featured along the ramp leading to the Gesar temple, inviting visitors to reflect on the lineage and authority of the Dharma as they ascend toward the sacred space. Architecturally, the Potala Palace is a fusion of fortress, temple, and residence, built atop Marpo Ri (Red Hill) at an altitude of 3,700 meters. Its white and red sections—the White Palace for administrative functions and the Red Palace for religious rituals—are echoed in the relief’s layered carvings. The depiction at Tharpa Choling emphasizes the palace’s tiered structure, with its cascading windows, golden roofs, and central spire, all rendered with meticulous detail to evoke reverence and awe. Symbolically, the Potala relief functions as more than a visual homage. It represents the spiritual seat of Avalokiteśvara, the bodhisattva of compassion, whom the Dalai Lamas are considered emanations of. By placing this image along the path to King Gesar’s temple, the monastery creates a narrative arc that links the mythic warrior-king with the compassionate ruler, suggesting that true leadership arises from wisdom and spiritual insight. In the context of Tharpa Choling Monastery, this relief also serves as a pedagogical tool. It anchors the viewer in the historical and doctrinal continuity of Tibetan Buddhism, reminding pilgrims of the sacred geography of Lhasa and the enduring presence of the Dharma. As part of a trio of reliefs—including the nine stages of mental development and the four harmonious friends—it contributes to a layered experience of ascent, both physical and contemplative. If you'd like, I can describe the other reliefs in more detail or explore how they relate to Gesar's symbolism.

Nine stages of mental development in relief The nine stages of mental development, depicted in relief at Tharpa Choling Monastery, illustrate the progressive path of concentration known in Tibetan Buddhism as the journey toward shamatha or calm abiding. This visual teaching is carved along the ramp leading to the Gesar temple and serves as a meditative guide for practitioners ascending both physically and spiritually. The relief is inspired by traditional thangka paintings and features symbolic figures such as the monk, elephant, monkey, and rabbit—each representing aspects of the mind and its distractions. At the beginning of the path, the monkey leads the elephant, symbolizing a mind dominated by distraction and sensory craving. The monk, holding a rope and hook—representing mindfulness and introspective awareness—follows behind, struggling to gain control. As the stages progress, the monk gradually moves ahead, the animals begin to lighten in color, and the rabbit, representing subtle dullness, appears and then disappears. These changes reflect increasing mastery over mental agitation and lethargy. By the middle stages, the monk has taken the lead, and the elephant and monkey begin to follow more obediently. The rope and hook are still present, indicating that effort is still required to maintain focus. As the practitioner advances, the monkey falls behind, the rabbit vanishes, and the elephant becomes fully white—symbolizing a mind that is calm, clear, and stable. The monk eventually discards the rope and hook, signifying that concentration has become effortless. In the final stage, the monk sits in meditation while the elephant rests peacefully nearby. This represents placement with equanimity, where the mind can remain focused without strain for extended periods. The relief at Tharpa Choling Monastery not only beautifies the approach to the Gesar temple but also offers a profound teaching: that taming the mind is a gradual process requiring patience, discipline, and insight. It transforms the ramp into a contemplative path, guiding pilgrims toward inner stillness before they enter the sacred space.

Four harmonious friends in relief The four harmonious friends, depicted in relief at Tharpa Choling Monastery, represent one of the most beloved parables in Buddhist tradition. This visual motif—often showing a bird perched atop a rabbit, which stands on a monkey, balanced on an elephant—symbolizes cooperation, respect for seniority, and the interdependence of beings. At Tharpa Choling, the relief is carved along the ramp leading to the Gesar temple, offering pilgrims a gentle reminder of ethical living and communal harmony as they ascend toward the sacred space. The story behind the image tells of four animals who lived near a fruit-bearing tree and began to argue over who had the earliest claim to its bounty. Through their discussion, they discovered that the bird had planted the seed, the rabbit had seen the sprout, the monkey had nurtured the sapling, and the elephant had watched it grow into a tree. Recognizing the bird’s seniority, the others deferred respectfully, and from that moment on, they worked together in harmony—each contributing their unique strengths to share the fruits. In the relief at Tharpa Choling, the animals are rendered with expressive detail, capturing both the whimsy and the moral depth of the tale. The elephant’s sturdy form anchors the composition, while the monkey’s playful posture, the rabbit’s gentle gaze, and the bird’s poised wings convey a sense of balance and unity. The placement of this relief near the temple entrance suggests that harmony among beings is a prerequisite for entering sacred space—a teaching that resonates with both monastic life and lay practice. Beyond its aesthetic charm, the relief serves as a didactic tool, especially for younger monks and visitors. It encapsulates core Buddhist values such as humility, gratitude, and mutual respect. In the context of Tharpa Choling Monastery, where diverse communities and traditions converge, the image of the four harmonious friends becomes a quiet but powerful emblem of peaceful coexistence. If you'd like, I can explore how this parable is used in other monasteries or how it relates to King Gesar’s teachings.

Golden statue of Buddha flanked by eight chortens contemplating Kalimpong Nestled on Tirpai Hill in Kalimpong, a remarkable alignment unfolds: a golden statue of Buddha sits at the center, flanked symmetrically by eight chortens—four on each side. Each chorten is architecturally distinct and symbolically rich, representing a different stage in the life of Buddha Shakyamuni. Facing the village below, this sacred arrangement forms a contemplative tableau that bridges spiritual teachings with the landscape’s natural serenity. On the left side, the four chortens evoke the early stages of the Buddha’s journey. The first may symbolize his birth in Lumbini, often depicted with lotus motifs and gentle curves. The second could represent his renunciation, marked by a simpler, more austere design. The third might embody his years of ascetic practice, perhaps with flame-like finials or minimal ornamentation. The fourth chorten may signify the moment of enlightenment, often adorned with a parasol or jewel-like spire to reflect the radiance of awakening. On the right side, the remaining four chortens trace the Buddha’s later life. One may depict the first turning of the Wheel of Dharma, with prayer wheels or mandala carvings. Another could represent his teachings to disciples, featuring tiered umbrellas or intricate reliefs. The third might symbolize his descent from Tushita Heaven, with celestial motifs or stair-like tiers. The final chorten likely honors his Parinirvana, with a dome that suggests stillness and release, echoing the peace of final liberation. Together, the statue and chortens form a living mandala, guiding visitors through the Buddha’s path from birth to transcendence. The golden statue anchors the ensemble, radiating compassion and wisdom toward Kalimpong. This alignment is not only a visual homage but also a spiritual map—inviting reflection, reverence, and inner pilgrimage. It’s a place where architecture becomes teaching, and where the hillside whispers the Dharma to all who pass.

Panorama of the main courtyard of the monastery In Vajrayana Buddhism, the main courtyard of a monastery is a sacred space that serves as both a physical and metaphysical center. It is often the first open area encountered after passing through the entrance gate, symbolizing the transition from the outer world into the heart of spiritual practice. Courtyards are traditionally used for communal rituals, teachings, and ceremonies, and their openness reflects the Buddhist ideal of spacious awareness—free from obstruction, distraction, or ego. The courtyard becomes a mandala in motion, where monks and devotees enact the Dharma through movement, prayer, and interaction. Symbolically, the courtyard represents the ground of realization, where the teachings of the Buddha are not just studied but embodied. It is where novices receive instruction, where elders offer blessings, and where the sangha gathers in unity. The four directions of the courtyard often correspond to the cardinal points of a mandala, reinforcing the idea that enlightenment is accessible from any path when approached with sincerity. The courtyard’s emptiness is not a void but a canvas—inviting the practitioner to fill it with intention, presence, and devotion. At Tharpa Choling Monastery, the main courtyard holds particular spiritual resonance. Nestled atop Tirpai Hill, the courtyard opens to sweeping views of the Himalayas, which themselves evoke the vastness and clarity of awakened mind. The courtyard is flanked by key structures—the main prayer hall, the Mani Lhagang, and protector deity shrines—creating a sacred geometry that guides the flow of energy and practice. During festivals and public teachings, the courtyard transforms into a vibrant arena of chanting, prostrations, and ritual dance, embodying the dynamic spirit of Vajrayana. Spiritually, the courtyard at Tharpa Choling is a living threshold—a place where pilgrims pause to center themselves, where monks gather in silent contemplation, and where the lineage of Domo Geshe Rinpoche continues to pulse through daily practice. It is not merely a space between buildings, but a space between worlds: between the seen and unseen, the spoken and unspoken, the self and the awakened state. In this way, the courtyard becomes a mirror of the practitioner’s own journey—open, grounded, and full of possibility.

Facade of the monastery The facade of Tharpa Choling Monastery is a striking embodiment of Tibetan architectural aesthetics, spiritual symbolism, and historical depth. Perched atop Tirpai Hill, the monastery’s exterior greets visitors with a quiet grandeur that reflects its Gelugpa lineage. The building’s front is typically adorned with vibrant prayer flags fluttering in the Himalayan breeze, each carrying mantras meant to bless the surrounding environment. The entrance gate, modest yet dignified, marks the threshold between the secular world and the sacred space within, inviting pilgrims and visitors into a realm of contemplation and devotion. The facade features traditional Tibetan motifs—such as the Eight Auspicious Symbols (Ashtamangala)—painted or carved into the walls and pillars. These include the lotus, conch shell, and parasol, each representing aspects of spiritual awakening and protection. The walls are often painted in earthy reds, ochres, and whites, with intricate borders and cornices that echo the stylistic elements found in monasteries across the Himalayan belt. Above the main doorway, one might find the Dharmachakra flanked by two deer, symbolizing the Buddha’s first sermon at Sarnath and the harmony of teachings. Windows and balconies on the upper levels are framed with ornate woodwork, showcasing the craftsmanship of local artisans. These elements not only add visual richness but also serve practical purposes—allowing light into the prayer halls and offering views of the surrounding hills. The roofline is typically tiered and crowned with golden finials or small stupas, which signify enlightenment and the protective presence of the Dharma. During festivals, the facade is further embellished with ceremonial banners and floral offerings, transforming it into a vibrant canvas of devotion. Spiritually, the facade of Tharpa Choling Monastery acts as a visual mandala, guiding the observer inward toward the teachings and practices housed within. It’s not just an architectural front—it’s a symbolic gateway to the lineage of Domo Geshe Rinpoche and the living tradition of Tibetan Buddhism. Whether viewed from afar or approached on foot, the facade communicates a message of peace, resilience, and sacred purpose, standing as a beacon for those seeking refuge in the Dharma.

Mural illustrating the rules of monastic life in the portico The mural adorning the portico of Tharpa Choling Monastery is more than a decorative feature—it’s a visual manifesto of monastic discipline and spiritual commitment. Painted with vibrant mineral pigments in the traditional Tibetan style, the mural illustrates key aspects of the Vinaya, the ancient Buddhist code of conduct that governs the ethical and communal life of monks. Scenes depict daily rituals, acts of compassion, and moments of introspection, offering a narrative of how monastic life unfolds in harmony with the Dharma. Each figure, gesture, and symbol is carefully chosen to reflect the values of restraint, mindfulness, and service. What makes this mural particularly significant is its grounding in the regulations laid down by the 13th Dalai Lama, who played a pivotal role in standardizing monastic discipline across Tibetan Buddhist institutions. His reforms emphasized adherence to the Vinaya while adapting its application to the evolving needs of the Tibetan community in exile and abroad. At Tharpa Choling, these regulations are not just theoretical—they are lived daily by the monks, and the mural serves as a constant reminder of their vows. It’s a pedagogical tool as much as a spiritual one, guiding novices and reinforcing the commitment of senior monks. The mural’s placement on the portico is symbolic in itself. As the threshold between the outer world and the sacred interior of the monastery, the portico becomes a space of transition and reflection. Visitors and monks alike pass beneath these painted teachings, metaphorically stepping into a life governed by ethical clarity and spiritual purpose. The imagery includes depictions of the Four Parajikas (major transgressions), the Patimokkha rules, and scenes of communal harmony—each reinforcing the importance of discipline as the foundation of liberation. In the context of Tharpa Choling Monastery, this mural is a living testament to its Gelugpa lineage and its enduring connection to the Dalai Lama’s vision. It bridges tradition and modernity, reminding all who enter that the path to enlightenment begins with the simple yet profound act of ethical living. The mural doesn’t just decorate—it educates, inspires, and sanctifies the space it inhabits.

Astrological and divination chart On the porch of many Vajrayana Buddhist monasteries—including Tharpa Choling Monastery—one often finds a painted or carved astrological and divination chart, a symbolic map of cosmic forces that guide both worldly and spiritual life. These charts are rooted in Tibetan astrology, a system that blends Indian, Chinese, and indigenous Bon traditions, and are used to determine auspicious dates, interpret karmic patterns, and diagnose spiritual or medical imbalances. The chart typically includes the Nine Mewas (magic squares), Eight Parkhas (trigrams), and the twelve animal signs, each representing elemental energies and directional forces that influence human behavior and fate. At Tharpa Choling, the chart is more than decorative—it’s a living tool of divination and protection. Painted near the entrance or porch, it serves as a cosmic compass, aligning the monastery with the rhythms of the universe. Monks and visitors consult it to understand the energetic climate of the day, especially before performing rituals or making important decisions. The chart may also include planetary deities, elemental symbols, and lunar mansions, all of which are used to calculate horoscopes and determine the timing of ceremonies. Its presence on the porch reflects the monastery’s commitment to harmonizing spiritual practice with the cycles of time and nature. Symbolically, the chart acts as a threshold guardian, filtering energies that enter the sacred space. It’s believed that by aligning oneself with the chart’s wisdom—through prayer, mantra recitation, or mindful observation—one can purify negative karma and enhance spiritual clarity. The chart also serves as a teaching tool, helping novices understand the interplay between karma, elements, and cosmic forces. In this way, it bridges the esoteric and the everyday, making profound spiritual insights accessible to all who pass through the monastery’s gates. At Tharpa Choling, the chart’s placement on the porch is especially meaningful. It’s the first thing many pilgrims see, inviting them to pause and reflect before entering. Whether one is seeking healing, guidance, or simply a deeper connection to the Dharma, the chart offers a moment of orientation—a reminder that the universe is not random, but deeply interconnected, and that each step taken within the monastery is part of a larger cosmic dance.

Wheel of Life on the portico In Vajrayana Buddhist Buddhism, the Wheel of Life (Bhavacakra) is a profound visual teaching tool often displayed on the porch or entrance wall of monasteries. This intricate mural encapsulates the entire Buddhist worldview, illustrating the cycle of samsara—birth, death, and rebirth—driven by karma and the three poisons: ignorance (pig), attachment (rooster), and aversion (snake). These animals form the hub of the wheel, symbolizing the root causes of suffering. Surrounding them are concentric layers depicting the six realms of existence—gods, demi-gods, humans, animals, hungry ghosts, and hell beings—each realm representing a state of consciousness shaped by past actions. The outermost ring of the wheel portrays the Twelve Links of Dependent Origination, a sequence of symbolic images that explain how suffering arises and perpetuates. These links begin with ignorance and end with aging and death, forming a closed loop that reinforces the cycle of rebirth. The entire wheel is held in the grasp of Yama, the Lord of Death, signifying impermanence and the inevitability of change. Above the wheel, a depiction of the Buddha points toward the moon, symbolizing liberation and the possibility of escaping samsara through the path of Dharma. At Tharpa Choling Monastery, the Wheel of Life occupies a prominent place on the porch, greeting visitors with its vivid colors and layered symbolism. Painted in traditional Tibetan style, it serves as both a spiritual reminder and an educational tool. Monks and laypeople alike pause before it to reflect on the nature of existence and the consequences of their actions. The mural is often accompanied by explanatory texts or oral teachings, making it accessible even to those unfamiliar with Buddhist philosophy. Its placement at the threshold of the monastery underscores its role as a gateway to insight, inviting all who enter to contemplate the deeper truths of life. Spiritually, the Wheel of Life at Tharpa Choling is a mirror of the mind, revealing the patterns that bind beings to suffering and offering a path toward freedom. It’s not merely a static image but a dynamic meditation on cause and effect, ethics, and transformation. For pilgrims and practitioners, it’s a visual sermon—one that speaks across language and literacy, reminding them that every moment holds the potential for awakening.

Nine Stages of Samatha in the portico In many Vajrayana Buddhist monasteries, the Samatha and Vipassana meditation painting on the portico serves as a vivid roadmap to mental clarity and spiritual insight. This thangka-style mural typically illustrates the Nine Stages of Samatha, the calming of the mind, followed by the deepening awareness of Vipassana, or insight meditation. The painting often features a monk guiding an elephant—symbolizing the mind—along a winding path. Initially, the elephant is black and unruly, led by a mischievous monkey representing distraction. As the monk progresses, the elephant gradually turns white, signifying increasing mental stability and purity. The monkey fades away, and eventually the monk rides the fully tamed elephant, soaring toward enlightenment. Each stage in the painting is marked by symbolic elements: flames representing effort, a rabbit symbolizing subtle mental dullness, and various obstacles like sensory temptations and distractions. These visual metaphors are not just artistic flourishes—they're teaching tools. The mural helps practitioners internalize the challenges and triumphs of meditation, reminding them that the path to equanimity is gradual and requires perseverance. The final stages often depict the monk flying across a rainbow, wielding the sword of wisdom, a powerful image of transcendence and insight. At Tharpa Choling Monastery, the Samatha and Vipassana mural holds special significance. Painted in traditional mineral pigments and gold leaf, it graces the portico with both beauty and purpose. Locals and pilgrims pause before it to reflect on their own spiritual journey, often receiving oral teachings from senior monks who use the mural as a visual aid. The monastery’s Gelugpa lineage emphasizes disciplined meditation, and this painting embodies that ethos—serving as a daily reminder of the transformative power of focused awareness and clear seeing. Spiritually, the mural is a threshold of intention. Positioned at the entrance, it invites all who enter to leave behind mental agitation and step into a space of calm and insight. It’s not just a decoration—it’s a living sermon in color and form, guiding the viewer from distraction to awakening. In a place like Tharpa Choling, where tradition and practice intertwine, this painting becomes a silent teacher, always present, always pointing toward the path.

Sage of Long-Life In Vajrayana Buddhist monasteries, the Sage of Long-Life is a revered figure often depicted in murals or thangka paintings on the portico, greeting visitors with a message of vitality, wisdom, and spiritual continuity. This sage-like figure is typically portrayed as an elderly man with a white beard and a serene expression, holding a longevity vase in one hand and a peach in the other—symbols of health and immortality. The image is not merely decorative; it embodies the aspiration for a long life dedicated to Dharma practice and compassionate service. The Sage is surrounded by six iconographic elements that complete his symbolic landscape: the rock of long life, water of long life, tree of long life, birds of long life, antelope of long life, and the man of long life himself. Each element represents a facet of natural harmony and spiritual resilience. For example, the juniper tree offers shade and healing energy, while the flowing water signifies purity and renewal. These symbols are believed to create a protective aura around the monastery, inviting blessings and warding off illness and misfortune. At Tharpa Choling Monastery, the Sage of Long-Life mural holds special significance. Painted in traditional mineral pigments, it graces the portico with quiet dignity. Locals and pilgrims often pause before it to offer prayers or reflect on the deeper meaning of longevity—not just as an extension of years, but as a life enriched by spiritual purpose. The mural is sometimes accompanied by depictions of Amitayus, the Buddha of Boundless Life, reinforcing the connection between the Sage and the broader pantheon of long-life deities. Spiritually, the Sage of Long-Life serves as a guardian of time and intention. His presence on the portico marks the beginning of a sacred journey into the monastery, reminding all who enter that the true measure of life is not its length, but its depth. In a place like Tharpa Choling, where healing, meditation, and cultural preservation converge, the Sage stands as a timeless symbol of the wisdom that comes with age and the grace that flows from a life well-lived.

Vaisravana, the Heavenly King of the North In Vajrayana Buddhism, Vaisravana, the Heavenly King of the North, is one of the Four Great Kings who guard the cardinal directions of the world. Known in Tibetan as Namthose, he is the protector of the northern realm and the leader of the yakshas—spiritual beings associated with wealth and guardianship. Vaisravana is often depicted as a regal warrior clad in golden armor, holding a parasol or umbrella symbolizing sovereignty, and sometimes a mongoose that spits jewels, representing generosity triumphing over greed. His fierce yet benevolent presence is meant to ward off negative forces and safeguard the Dharma. The image of Vaisravana is commonly found on the portico of Vajrayana monasteries, where he serves as a spiritual sentinel. Positioned at the entrance, his mural or statue acts as a guardian of the sacred space within, reminding visitors to enter with reverence and purity of intention. His association with wealth and protection makes him a popular figure among both monastics and lay practitioners, who invoke his blessings for prosperity, health, and spiritual fortitude. The portico placement is symbolic—it marks the threshold between the mundane world and the sanctified realm of Dharma practice. At Tharpa Choling Monastery, Vaisravana’s presence on the portico carries deep spiritual and historical resonance. Painted in vivid mineral pigments, his image greets pilgrims and monks as they ascend Tirpai Hill to the monastery. The mural is often accompanied by traditional iconography: the jewel-spitting mongoose, the royal umbrella, and the snow lion mount, all set against a backdrop of Himalayan motifs. Locals believe that his protective energy permeates the monastery grounds, shielding it from misfortune and enhancing the efficacy of rituals performed within. Spiritually, Vaisravana at Tharpa Choling is more than a guardian—he is a symbol of ethical stewardship and enlightened leadership. His role as protector of the Vinaya teachings aligns with the monastery’s strict adherence to the monastic code laid down by the 13th Dalai Lama. For practitioners, his image is a daily reminder to cultivate generosity, discipline, and courage. In a monastery rich with murals, shrines, and sacred gardens, Vaisravana stands as a timeless figure of strength and spiritual vigilance.

Dhrtarastra, the Heavenly King of the East In Vajrayana Buddhism, Dhrtarastra, the Heavenly King of the East, is one of the Four Great Kings who guard the cardinal directions of the world. Known as the protector of the eastern realm, he is the leader of the gandharvas—celestial musicians—and is often depicted holding a lute or stringed instrument. This musical symbol represents harmony, spiritual resonance, and the power of sound to transform consciousness. Dhrtarastra is also associated with wind and communication, and his presence at the monastery entrance is believed to foster peace, discipline, and the proper transmission of the Dharma. The image of Dhrtarastra is commonly found on the portico of Vajrayana monasteries, where he serves as a guardian of the sacred space. His mural or statue is typically placed facing east, symbolizing the dawn of spiritual awakening and the beginning of the practitioner's journey. He is portrayed as a regal figure in armor, sometimes white in color, with a calm yet commanding expression. His role is not only to protect the monastery from negative influences but also to uphold the moral and ethical order within the sangha. His presence reminds visitors and monks alike to enter with mindfulness and respect. At Tharpa Choling Monastery, Dhrtarastra’s depiction on the portico carries deep symbolic weight. Painted in traditional mineral pigments, his image greets all who ascend Tirpai Hill to the monastery. The mural is often accompanied by iconographic elements such as the rock, tree, and birds of long life, reinforcing his role as a guardian of vitality and spiritual continuity. Locals believe that his protective energy helps maintain the monastery’s discipline, which is based on the Vinaya and the regulations laid down by the 13th Dalai Lama. His presence is not just ornamental—it is a spiritual sentinel that sanctifies the threshold. Spiritually, Dhrtarastra at Tharpa Choling represents the harmony between inner discipline and outer protection. His association with music and order makes him a unique figure among the Four Kings, embodying the idea that true guardianship arises from balance and clarity. For pilgrims and practitioners, his image is a daily reminder to cultivate inner harmony, ethical conduct, and reverence for the Dharma. In a monastery rich with murals, shrines, and sacred teachings, Dhrtarastra stands as a timeless figure of serenity and strength.

Virupaksa, the Heavenly King of the West In Vajrayana Buddhism, Virupaksa, the Heavenly King of the West, is one of the Four Great Kings who guard the cardinal directions of the world. His name translates to “Wide-Eyed” or “All-Seeing,” symbolizing his clairvoyance and ability to perceive the karmic patterns of sentient beings. He is the guardian of the western realm and the leader of the nagas—serpent-like beings associated with water, wisdom, and hidden knowledge. Often depicted with red skin and a fierce expression, Virupaksa holds a snake or dragon in one hand and a jewel or stupa in the other, representing transformation and spiritual clarity. The image of Virupaksa is commonly found on the portico of Vajrayana monasteries, where he serves as a spiritual sentinel. His presence at the entrance is not merely decorative—it marks the boundary between the mundane world and the sacred space within. As the guardian of the west, he is associated with autumn and the element of water, both of which signify introspection and the deepening of spiritual insight. His gaze is said to be so powerful that it can harm beings, so he often averts his eyes toward a stupa or jewel to avoid causing harm, embodying the principle of compassionate restraint. At Tharpa Choling Monastery, Virupaksa’s mural graces the portico with vivid mineral pigments and traditional Tibetan iconography. Positioned alongside the other Heavenly Kings, his image is a daily reminder of vigilance, protection, and the transformative power of wisdom. Locals believe his energy helps safeguard the monastery’s teachings and rituals, especially those aligned with the Gelugpa lineage’s emphasis on ethical discipline and meditative clarity. His association with the nagas also resonates with the nearby Lu-Khang and Naga Temple, reinforcing the monastery’s spiritual connection to elemental forces and guardian spirits. Spiritually, Virupaksa at Tharpa Choling represents the watchful eye of Dharma, ever alert to the subtle shifts in intention and action. His presence invites practitioners to reflect on their own inner clarity and to approach the teachings with sincerity and humility. In a monastery rich with murals, protector shrines, and sacred gardens, Virupaksa stands as a timeless figure of insight and guardianship—one who sees beyond appearances and guides seekers toward deeper understanding.

Virudhaka, the Heavenly King of the South In Vajrayana Buddhism, Virudhaka, the Heavenly King of the South, is one of the Four Great Kings who guard the cardinal directions of the world. His name means “Noble Birth” or “Growth,” symbolizing spiritual development and the expansion of virtue. He is the leader of the kumbhandas, fierce beings who dwell in the desire realms, and is often depicted wielding a sword to ward off evil and uphold the Dharma. His touch is said to be harmful to beings, so the sword serves both as a weapon and a barrier, reinforcing his role as a fierce protector. Virudhaka is typically portrayed in full armor, with a stern expression and a commanding posture. His image is found on the portico of many Vajrayana monasteries, where he stands as a sentinel guarding the southern direction. The placement is symbolic—he watches over the realm of introspection and transformation, associated with the element of fire and the season of summer. His presence at the entrance reminds visitors to enter with mindfulness and moral clarity, as he is believed to protect the monastery from spiritual disruption and negative influences. At Tharpa Choling Monastery, Virudhaka’s mural is painted in vivid mineral pigments, flanked by traditional Tibetan motifs and elemental symbols. Locals believe his energy helps maintain the monastery’s discipline, which is rooted in the Vinaya and the regulations laid down by the 13th Dalai Lama. His image complements those of the other Heavenly Kings—Vaishravana, Dhrtarastra, and Virupaksa—creating a sacred perimeter that sanctifies the space and reinforces the monastery’s spiritual integrity. Spiritually, Virudhaka represents the power of ethical growth and protective vigilance. His fierce gaze and sword of wisdom are not just deterrents to evil—they are reminders of the inner strength required to walk the path of Dharma. In a monastery like Tharpa Choling, where tradition and practice are deeply interwoven, Virudhaka’s presence is a daily call to cultivate virtue, courage, and unwavering commitment to spiritual truth.

Six lions and an eagle on the portico above the door to the assembly hall Standing sentinel above the entrance to the temple at Tharpa Choling Monastery is a dramatic ensemble of seven statues, each imbued with symbolic and spiritual significance. At the center of this arrangement is a striking white garuda, a mythical bird revered in both Hindu and Buddhist traditions as a protector and destroyer of obstacles. This garuda is no ordinary depiction—it features a blue beak and horns, lending it a fierce and otherworldly presence. Above its head floats a white crescent moon crowned by a red sun, a celestial pairing that symbolizes the union of wisdom and compassion, and the balance of feminine and masculine energies in Vajrayana cosmology. Flanking the garuda on either side are three roaring white lions, their mouths open in eternal proclamation of the Dharma. These lions are not merely decorative—they represent fearlessness, strength, and the voice of enlightened truth. In Tibetan iconography, the snow lion is a guardian of sacred teachings and a symbol of the Buddha’s fearless speech. Their symmetrical placement—three on the left and three on the right—creates a visual mandala of protection and power, reinforcing the sanctity of the temple entrance and the spiritual gravity of the space within. The entire portico ensemble serves as a threshold guardian, marking the transition from the mundane world into the sacred realm of Dharma practice. The garuda, with its piercing gaze and celestial crown, is believed to ward off negative energies and spiritual obstacles, while the lions amplify the protective aura with their roaring presence. Together, they form a symbolic triad of sky, earth, and voice, harmonizing the elemental forces that guide practitioners on the path to enlightenment. At Tharpa Choling, this sculptural tableau is more than architectural ornamentation—it is a living sermon in stone, inviting all who pass beneath it to reflect on their own inner strength, clarity, and commitment to the spiritual path. Whether viewed as mythic guardians or embodiments of awakened qualities, these seven statues stand as timeless sentinels of the monastery’s Gelugpa lineage and its enduring mission to preserve and transmit the teachings of Tibetan Buddhism.

Garuda flanked by two dragons on the portico above the door to the assembly hall Towering above the seven guardian statues on the portico of Tharpa Choling Monastery is a high relief of Garuda, flanked by two gilded dragons in a celestial tableau of protection and power. This sculptural ensemble crowns the temple entrance with mythic intensity. At its center, Garuda—the legendary bird-man of Buddhist and Hindu lore—is depicted in full flight, his wings outstretched and his gaze fierce. He clutches a serpent in both hands and his beak, a symbolic act of subjugation over the naga forces, which traditionally represent hidden knowledge, danger, and karmic entanglement. Garuda’s form here is especially striking: his body is white, but his beak and horns are painted blue, adding a supernatural edge to his already formidable presence. Above his head floats a white crescent moon topped by a red sun, a pairing that evokes the union of wisdom and compassion, and the tantric balance of feminine and masculine energies. This celestial crown also echoes the iconography found in Tibetan thangka paintings, where Garuda is often portrayed as a guardian of the Dharma and a destroyer of spiritual obstacles. On either side of Garuda, the two dragons—gilded and regal—coil upward in dynamic poses, their mouths open in offering. Each dragon presents a jewel, a gesture of reverence and cosmic exchange. In Tibetan symbolism, dragons are protectors of esoteric teachings and elemental forces, and their act of offering jewels to Garuda signifies the surrender of worldly power to spiritual mastery. The interplay between Garuda and the dragons creates a visual mandala of sky and earth, movement and stillness, conquest and devotion. This high relief is not merely decorative—it’s a spiritual proclamation. Positioned above the entrance, it marks the threshold between the mundane and the sacred, reminding all who enter that the path of Dharma requires courage, clarity, and the taming of inner serpents. In the context of Tharpa Choling’s Gelugpa lineage, which emphasizes disciplined study and ethical conduct, this sculptural ensemble becomes a silent sermon in stone—one that speaks of vigilance, transformation, and the soaring potential of the awakened mind.

Mongolian man firmly grasping a chain that restrains a roaring tiger The mural of a man holding a tiger with a strong chain is a striking and enigmatic image found at the entrance of certain Vajrayana Buddhist monasteries and traditional Tibetan homes, including the porch of Tharpa Choling Monastery. This figure is often depicted as a Mongolian man dressed in traditional attire, firmly grasping a chain that restrains a roaring tiger. The tiger’s fierce expression and gaping jaws contrast with the calm, composed demeanor of the man, creating a visual tension that invites contemplation. The mural is not merely decorative—it carries layers of symbolic meaning rooted in Tibetan Buddhist cosmology and cultural history. One interpretation suggests that the man and the tiger represent the Three Lords of the World—Manjushri (wisdom), Avalokiteshvara (compassion), and Vajrapani (power)—with the tiger symbolizing untamed energy or primal instincts. The act of restraining the tiger with a chain signifies the subjugation of the ego and the transformation of raw power into enlightened action. In this reading, the mural becomes a metaphor for the spiritual path: the practitioner must confront and tame their inner wildness to cultivate wisdom and compassion. The mural’s placement at the entrance reinforces its role as a threshold guardian, reminding all who enter to leave behind aggression and heed the call of discipline and mindfulness. At Tharpa Choling Monastery, the mural takes on additional significance due to its Gelugpa lineage and historical ties to Mongolian and Tibetan traditions. Painted in bold mineral pigments, the image is both arresting and instructive. It may also reflect the monastery’s emphasis on ethical conduct and spiritual training, as laid down by the 13th Dalai Lama in accordance with the Vinaya. The tiger, often associated with protector deities and wrathful energies, is here rendered docile under the control of human will—suggesting that even the most fearsome forces can be harnessed through Dharma practice. Culturally, this mural bridges the sacred and the everyday. In Tibetan homes, similar images are believed to ward off evil spirits and misfortune, serving as talismans of protection. At Tharpa Choling, the mural’s presence on the porch transforms the space into a living sermon in color and form, inviting reflection on the balance between strength and serenity. Whether viewed as a mythic allegory or a spiritual teaching, the man and the chained tiger stand as timeless symbols of the inner journey toward mastery and liberation.

Elephant handler with an elephant goad in hand, walking ahead of a jewel-laden elephant The mural of the elephant handler (mahout) with an elephant goad (ankus) in hand, walking ahead of a jewel-laden elephant, is a powerful visual motif found at the entrance of many Vajrayana Buddhist monasteries and traditional Tibetan homes—including the porch of Tharpa Choling Monastery. This image is rich in symbolism, portraying the relationship between disciplined guidance and majestic power. The mahout, often depicted in traditional attire, holds the ankus, a ceremonial goad used to direct the elephant. Far from being a tool of cruelty, the ankus in Buddhist iconography represents introspective control and mindful leadership, echoing the metaphor of taming the mind through meditation. The elephant itself, adorned with ornate jewels and ceremonial trappings, symbolizes spiritual wealth, strength, and the grandeur of the Dharma. In Tibetan culture, elephants are revered for their wisdom and memory, and their presence in such murals evokes the idea of carrying the treasures of enlightenment. The jewels are not merely decorative—they represent the Seven Precious Possessions of a Chakravartin (universal monarch), including the precious wheel, jewel, and minister, which are metaphors for the qualities of a realized being. The elephant’s slow, deliberate gait mirrors the steady progress of the practitioner on the path to awakening. At Tharpa Choling Monastery, this mural is painted in bold mineral pigments and traditional Tibetan style, greeting visitors with a tableau of discipline leading majesty. The mahout’s posture—calm, focused, and forward-moving—suggests the importance of ethical conduct and mental clarity in guiding the powerful forces of the mind. The elephant, though massive and richly adorned, follows with trust and grace, reinforcing the idea that true mastery lies not in domination, but in harmonious guidance. This mural complements the monastery’s emphasis on the Vinaya and the teachings of the 13th Dalai Lama, who stressed the importance of disciplined monastic life. Spiritually, the mural serves as a threshold allegory. Positioned at the entrance, it invites all who enter to reflect on their own inner mahout—the part of themselves tasked with guiding their thoughts, emotions, and actions. The image is not just a cultural artifact; it’s a living sermon in color and form, reminding practitioners that the path to enlightenment requires both strength and subtlety, grandeur and humility. In the quiet dignity of the mahout and the regal bearing of the elephant, one finds a visual meditation on the journey toward awakening.

Monastery assembly hall In Vajrayana Buddhist monasteries, the assembly hall, or dukhang, is the beating heart of communal spiritual life. It’s where monks gather for daily prayers, rituals, teachings, and ceremonies that reinforce the monastic code and deepen their connection to the Dharma. Architecturally, the hall is often the largest and most elaborately adorned space in the monastery, featuring thangka paintings, statues of Buddhas and bodhisattvas, and altars for offerings. The layout is designed to facilitate both individual meditation and collective chanting, creating a powerful resonance that amplifies the spiritual energy of the space. Symbolically, the assembly hall represents the mandala of enlightened community, where the sangha comes together in harmony. It’s a place where the teachings of the Buddha are not only recited but embodied through ritual and discipline. The hall often contains a central shrine with images of Shakyamuni Buddha, Avalokiteshvara, Manjushri, and other deities, each representing aspects of wisdom, compassion, and power. The presence of these figures transforms the hall into a sacred realm—a microcosm of the enlightened universe where practitioners enact the path to liberation. At Tharpa Choling Monastery, the assembly hall holds particular historical and spiritual significance. Constructed in 1912 by Domo Geshe Rinpoche Ngawang Kalsang, it was one of the original buildings on the monastery’s seven-acre site. The hall is flanked by key structures such as the Mani Lhagang, the Lha-Ten protector shrines, and the Naga Temple, forming a sacred geometry that channels spiritual energy throughout the compound. The murals, statues, and ritual implements within the hall reflect the Gelugpa lineage’s emphasis on scholastic rigor and ethical discipline, as laid down by the 13th Dalai Lama in accordance with the Vinaya. Spiritually, the assembly hall at Tharpa Choling is a living vessel of lineage and devotion. It’s where monks memorize texts, perform pujas, and receive teachings from senior lamas and visiting scholars. During festivals and public ceremonies, the hall becomes a vibrant arena of chanting, prostrations, and ritual dance, drawing pilgrims and locals into its sacred rhythm. In a monastery that blends Tibetan, Mongolian, and Himalayan traditions, the assembly hall stands as a timeless space of unity—where the Dharma is not just studied, but lived. Photographs by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Southeast wall of the assembly hall The southeast wall of the assembly hall at Tharpa Choling Monastery is adorned with a vivid array of sacred paintings that reflect the depth and complexity of Vajrayana Buddhist practice. Dominating the wall is a majestic depiction of Je Tsongkhapa, the founder of the Gelugpa school, seated in meditative posture with a radiant halo and lotus throne. His right hand holds the sword of wisdom aloft, while his left cradles the Prajnaparamita Sutra—a visual embodiment of penetrating insight and scholarly rigor. Surrounding him are lineage masters and celestial figures, forming a refuge field that invites practitioners to connect with the living stream of enlightened transmission. To Tsongkhapa’s side, the wall features a powerful image of Yamantaka with consort, the wrathful manifestation of Manjusri. Yamantaka is portrayed with multiple heads, arms, and legs, locked in union with his consort in a dynamic tantric embrace. This depiction symbolizes the annihilation of death and ignorance through the union of wisdom and method. The painting is rich in iconographic detail—flames of transformation encircle the deities, while offerings and symbolic implements fill the foreground. It serves as a visual meditation on the fierce compassion required to overcome the deepest obstacles on the path. Nearby, the wall also showcases Kalachakra with consort, a deity associated with time, cosmic cycles, and advanced tantric practice. Kalachakra is depicted in intricate form, surrounded by mandalic geometry and elemental symbols. His union with the consort represents the integration of inner and outer realities, and the transcendence of duality. This painting is particularly significant in the Gelugpa tradition, where Kalachakra initiations are considered among the most profound. The vibrant colors and layered symbolism invite deep contemplation and ritual engagement. In addition to these central figures, the southeast wall includes other sacred images—protector deities, bodhisattvas, and symbolic landscapes that complete the spiritual narrative. Each painting is executed in traditional mineral pigments, with gold accents and precise brushwork that reflect the monastery’s commitment to preserving Tibetan artistic heritage. Together, these murals transform the wall into a living mandala, guiding practitioners through the stages of the Vajrayana path—from devotion and study to transformation and realization. Photographs by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Death of Buddha (Nirvana, left), Buddha Shakyamuni with two disciples (center left), Vairocana Buddha with fourteen emanations (center left), Shakyamuni Buddha during his descent from heaven (center right) and Buddha Shakyamuni calling the earth to witness (right) This mural painting in the assembly hall of Tharpa Choling Monastery is a vivid and spiritually charged visual narrative that encapsulates key moments from the life and teachings of the Buddha. Spanning the length of the hall, the artwork is arranged in a left-to-right sequence, guiding the viewer through a contemplative journey of enlightenment, transcendence, and cosmic presence. Each panel is rendered with intricate detail and symbolic richness, reflecting the Gelugpa tradition’s emphasis on both philosophical depth and artistic devotion. On the far left, the mural begins with the Parinirvana of Buddha Shakyamuni, depicting his serene passing beneath the sal trees. Surrounded by grieving disciples and celestial beings, this scene emphasizes the Buddha’s final liberation from samsara. The calm expression on his face and the golden aura around his reclining form convey the peace of ultimate release, while the mournful yet reverent atmosphere invites reflection on impermanence and compassion. Moving inward, the next panel shows Buddha Shakyamuni seated with two disciples, likely Sariputra and Maudgalyayana, symbolizing the transmission of the Dharma. Adjacent to this is the majestic image of Vairocana Buddha, the cosmic Buddha of the Dharmadhatu, surrounded by fourteen emanations. This section bridges the historical Buddha with the transcendental realm, suggesting that enlightenment is both personal and universal. Vairocana’s presence, often depicted in white with a lotus throne, represents purity and the all-encompassing nature of wisdom. Toward the right, the mural illustrates Shakyamuni’s descent from Tushita Heaven, where he had gone to teach his mother. Flanked by divine attendants and descending a triple staircase of gold, silver, and crystal, this scene celebrates the Buddha’s boundless compassion. Finally, on the far right, the mural culminates in the iconic moment of Shakyamuni calling the earth to witness his enlightenment under the Bodhi tree. With his right hand touching the ground and Mara’s forces retreating, this image radiates triumph, clarity, and spiritual awakening. Photograph by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Assembly hall altar In Vajrayana Buddhist monasteries, the altar in the assembly hall is the spiritual nucleus of the entire compound. It serves as a sacred focal point where offerings are made, prayers are recited, and rituals are performed to invoke the blessings of enlightened beings. The altar typically features statues or images of Buddhas, bodhisattvas, lineage masters, and protector deities, each representing specific aspects of wisdom, compassion, and spiritual power. Offerings such as butter lamps, incense, flowers, and tormas (ritual cakes) are arranged with precision, symbolizing the practitioner's devotion and the aspiration to purify obscurations and accumulate merit. Symbolically, the altar is a mandala of awakening, a visual representation of the enlightened universe. Its placement at the front of the assembly hall ensures that all ritual activity is oriented toward the sacred, reinforcing the practitioner's inner alignment with the Dharma. The altar also acts as a mirror of the mind—its clarity, order, and beauty reflect the qualities that practitioners seek to cultivate within themselves. During ceremonies, the altar becomes a conduit for blessings, as monks chant mantras and perform mudras that activate the spiritual presence of the deities represented there. At Tharpa Choling Monastery, the altar holds particular significance due to its Gelugpa lineage and historical ties to Domo Geshe Rinpoche Ngawang Kalsang. The central shrine features statues of Shakyamuni Buddha, Avalokiteshvara, Manjushri, and Vajrapani, embodying the Three Lords of the World—wisdom, compassion, and power. These figures are flanked by lineage masters and protector deities, including Nechung Choegyal and Jowo Ching Karwa, whose shrines are located elsewhere in the monastery but whose spiritual presence is invoked at the altar. The arrangement reflects the monastery’s commitment to ethical discipline, scholastic rigor, and tantric practice. Spiritually, the altar at Tharpa Choling is a living embodiment of the monastery’s vows and lineage. It is where monks begin and end their day, where teachings are received, and where the community gathers in collective devotion. The altar’s presence sanctifies the assembly hall, transforming it from a physical space into a sacred realm of transformation. For pilgrims and practitioners, standing before the altar is a moment of connection—to the teachings, to the lineage, and to the awakened potential within themselves. Photograph by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Throne with the picture of the 14th Dalai Lama At the heart of the altar in the assembly hall of Tharpa Choling Monastery stands a richly adorned throne bearing the picture of His Holiness the 14th Dalai Lama, a focal point of reverence and spiritual continuity. This throne is not merely a seat—it is a symbolic pedestal that honors the living embodiment of compassion, wisdom, and leadership within the Gelugpa lineage. The photograph of the Dalai Lama, often framed in gold and surrounded by silk brocade, radiates a quiet dignity, reminding all who enter the hall of the monastery’s deep connection to the spiritual authority of Tibetan Buddhism. The throne itself is elevated and intricately carved, often featuring motifs such as lotus petals, snow lions, and the Eight Auspicious Symbols. These elements are not decorative alone—they represent the purity, protection, and enlightened qualities that the Dalai Lama embodies. Butter lamps flicker at its base, and offerings of flowers, incense, and tormas are placed before it daily, creating a living altar of devotion. The throne’s central placement signifies the Dalai Lama’s role as both spiritual guide and guardian of the monastic discipline, especially as Tharpa Choling follows the Vinaya regulations laid down by the 13th Dalai Lama. Spiritually, the throne with the Dalai Lama’s image serves as a bridge between the monastery and the broader Tibetan Buddhist world. It anchors the teachings and rituals performed in the assembly hall, reminding monks and lay practitioners alike that their efforts are part of a lineage that spans centuries and continues to evolve. During teachings, initiations, and public ceremonies, the throne becomes a symbolic seat of transmission, where the blessings of the lineage are invoked and received. For the monks of Tharpa Choling, the throne is also a daily source of inspiration and accountability. It calls them to uphold the values of compassion, ethical conduct, and scholarly rigor that the Dalai Lama exemplifies. In a monastery rich with murals, protector shrines, and sacred relics, this throne stands as a quiet yet powerful testament to the living presence of the Dharma and the enduring guidance of its most revered teacher. Photograph by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Maitreya Buddha, the coming Buddha The figure of Maitreya Buddha—the Buddha of the future—is often enshrined on the altar as a symbol of hope, renewal, and the continuity of the Dharma. Maitreya is prophesied to appear in a future age when the teachings of Shakyamuni Buddha have faded, and humanity is ready to receive the Dharma anew. His presence on the altar serves as a reminder that enlightenment is not a relic of the past but a living promise for the future. Depicted seated or standing, Maitreya often holds a vase of immortality and wears princely robes, signifying his bodhisattva status and readiness to descend from Tushita Heaven when the time is ripe. Symbolically, Maitreya represents loving-kindness and spiritual evolution. His image is placed alongside other Buddhas and bodhisattvas to complete the mandala of enlightened qualities within the assembly hall. In many monasteries, he is positioned to the left of Shakyamuni Buddha, balancing the altar with Manjushri or Avalokiteshvara on the opposite side. This triadic arrangement reflects the integration of wisdom, compassion, and future promise—the three pillars of Vajrayana practice. The altar becomes a visual sermon, guiding practitioners toward the path of ethical living and inner transformation. At Tharpa Choling Monastery, Maitreya Buddha occupies a revered position on the left side of the main altar in the assembly hall. His statue is crafted in traditional Tibetan style, with serene features and a gentle smile that radiates benevolence. The figure is flanked by butter lamps and offerings, and often garlanded during special pujas. His presence is especially meaningful in this Gelugpa monastery, which emphasizes disciplined study and ethical conduct. Maitreya’s image reinforces the monastery’s commitment to preserving the Dharma and preparing future generations for its renewal. Spiritually, Maitreya at Tharpa Choling is a beacon of continuity and aspiration. Monks and lay visitors alike offer prayers before his statue, seeking blessings for longevity, clarity, and the strength to uphold the teachings. His placement on the altar is not just ceremonial—it’s a daily invocation of the future Buddha’s qualities, reminding all who enter the hall that the journey of awakening is timeless, and that the seeds of enlightenment are already within reach. Photograph by Amitabha Gupta, distributed under a CC-BY 4.0 license.

First Dromo Geshe Rinpoche (left), four-armed Avalokiteshvara (center bottom), Vajrayogini (center top) On the altar of Tharpa Choling Monastery, a revered trio of statues stands as a testament to lineage, compassion, and transformative wisdom. The statue of Dromo Geshe Rinpoche Ngawang Kalsang, the founder of the monastery, whose life and teachings continue to shape its spiritual ethos. Depicted in traditional monastic robes with a serene and penetrating gaze, his image anchors the altar in historical continuity. His presence is not merely commemorative—it embodies the living transmission of the Gelugpa lineage and the disciplined practice he established in 1912. To the right bottom side of the founder stands the four-armed Avalokiteshvara, the bodhisattva of infinite compassion. Each of his four arms holds a symbolic object: a lotus, a rosary, a water pot, and a wish-fulfilling jewel. His gentle expression and flowing robes radiate benevolence, reminding practitioners of the central role compassion plays in Vajrayana Buddhism. Avalokiteshvara’s inclusion in the altar ensemble reflects the monastery’s commitment to cultivating loving-kindness and serving the wider community through spiritual practice and outreach. On the right top side is the statue of Vajrayogini, the fierce and radiant embodiment of wisdom and transformation. She is portrayed in dynamic posture, often with flames surrounding her, symbolizing the burning away of ignorance and ego. Vajrayogini’s presence on the altar is especially significant in tantric practice, where she represents the union of bliss and emptiness—the very heart of Vajrayana realization. Her inclusion alongside Avalokiteshvara and Dromo Geshe Rinpoche creates a powerful triad of lineage, compassion, and enlightened action. Together, these three statues form a sacred mandala of aspiration and realization. They guide practitioners through the stages of the path—from devotion to the teacher, through the cultivation of compassion, to the fearless embrace of wisdom. In the quiet sanctity of Tharpa Choling’s assembly hall, this altar becomes more than a place of worship—it is a living map of the spiritual journey. Photograph by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Set of statues "Three brothers" (center) The trio known as the "Three Brothers" stands as a radiant embodiment of the core virtues of Vajrayana Buddhism. These three Bodhisattvas—Manjusri, Avalokitesvara (Chenrezig), and Vajrapani—represent the enlightened qualities of wisdom, compassion, and spiritual power, respectively. Their statues are arranged in harmonious balance, often with Manjusri at the center, flanked by Avalokitesvara and Vajrapani, forming a visual mandala that guides practitioners toward the integrated path of awakening. Manjusri, the Bodhisattva of Wisdom, is typically depicted holding a flaming sword in his right hand, symbolizing the cutting of ignorance, and a lotus supporting the Prajnaparamita Sutra in his left. His youthful appearance and serene gaze reflect the clarity and insight that arise from deep understanding. To his side, Avalokitesvara, the Bodhisattva of Compassion, appears in his four-armed form, holding a lotus, a water pot, a rosary, and a wish-fulfilling jewel. His gentle expression and open posture invite all beings into the embrace of boundless empathy. Completing the triad is Vajrapani, the Bodhisattva of Power, often portrayed in a dynamic, wrathful stance, wielding a vajra (thunderbolt) to dispel obstacles and protect the Dharma. His muscular form and fierce demeanor contrast with the serenity of his companions, emphasizing the transformative force of enlightened activity. Together, these three figures are not merely symbolic—they are living archetypes that practitioners invoke in meditation and ritual to cultivate the full spectrum of enlightened qualities. At Tharpa Choling, the "Three Brothers" are more than statues—they are spiritual companions on the path. Their presence on the altar reinforces the monastery’s Gelugpa lineage, which emphasizes the union of study, ethical discipline, and tantric practice. For monks and pilgrims alike, standing before these figures is a moment of deep connection—a reminder that wisdom must be tempered by compassion, and that both must be empowered by fearless action. Photograph by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Kashyapa Buddha, the previous Buddha Kashyapa Buddha—the Buddha of the past—is often enshrined on the altar to honor the continuity of enlightened beings across cosmic time. He is considered the third Buddha of the present bhadrakalpa (Fortunate Aeon), preceding Shakyamuni Buddha and followed by Maitreya. His presence on the altar symbolizes the lineage of awakening, reminding practitioners that the Dharma has been preserved and transmitted through countless ages. Kashyapa is typically depicted in serene meditation posture, with simple robes and a tranquil expression, reflecting the austere and disciplined nature of his path. Symbolically, Kashyapa represents steadfastness, renunciation, and the enduring power of truth. His life story, as preserved in Buddhist texts, tells of a sage who attained enlightenment under a banyan tree and taught the Dharma to vast assemblies of monks and nuns. His teachings emphasized ethical conduct and inner purification, laying the groundwork for the appearance of Shakyamuni Buddha. On the altar, his image is often paired with those of Shakyamuni and Maitreya, forming a triad that spans past, present, and future—an embodiment of the timeless nature of the Dharma. At Tharpa Choling Monastery, Kashyapa Buddha is enshrined on the right side of the main altar in the assembly hall. His statue is crafted in traditional Tibetan style, with subtle detailing that conveys both dignity and humility. Flanked by butter lamps and ritual offerings, the figure of Kashyapa serves as a spiritual anchor for the monastery’s Gelugpa lineage, which emphasizes disciplined study and ethical living. His placement opposite Maitreya Buddha creates a visual and symbolic balance—between the wisdom of the past and the promise of future awakening. Spiritually, Kashyapa’s presence at Tharpa Choling is a reminder of the enduring flame of enlightenment. Monks and pilgrims offer prayers before his statue, seeking guidance in their own journey of renunciation and insight. His image reinforces the monastery’s commitment to the Vinaya and the teachings of the 13th Dalai Lama, grounding its rituals and practices in a lineage that spans aeons. In a hall filled with chanting, thangka paintings, and sacred relics, Kashyapa Buddha stands as a quiet testament to the power of perseverance and the timeless truth of the Dharma. Photograph by Amitabha Gupta, distributed under a CC-BY 4.0 license.

Leaving Tharpa Choling Monastery

See Also

• Tharpa Choling Monastery Domo Labrang Library Cum Museum
• Lhaten Temple
• King Gesar Temple
• Nine Stages of Mental Development

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Source

• Tharpa Choling Monastery - Wikipedia

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Location