Kumbum Monastery, Lushaer, Qinghai, China

Kumbum Monastery, also known as Ta'er Monastery, is a revered Tibetan Buddhist site located in Lushaer Town near Xining, in Qinghai Province, China.

Founded in 1583, it was built to commemorate the birthplace of Je Tsongkhapa, the founder of the Gelug school of Tibetan Buddhism—also known as the Yellow Hat sect. According to legend, a sandalwood tree sprouted at the spot where Tsongkhapa’s afterbirth was buried, with leaves bearing miraculous images of the Buddha. This “Tree of Great Merit” became the spiritual nucleus around which the monastery was established.

Architecturally, Kumbum Monastery is a stunning fusion of Han Chinese and Tibetan styles, sprawling across more than 140 hectares with thousands of courtyards and temple structures. It is one of the six greatest Gelug monasteries in China and has long served as a center for religious education, hosting Dalai Lamas and Panchen Lamas for important ceremonies. The monastery is especially famous for its “Three Arts”: butter sculptures, intricate murals, and barbola (embroidered appliqué), which showcase the rich artistic traditions of Tibetan Buddhism.

Beyond its religious significance, Kumbum Monastery is a major cultural and historical landmark, drawing pilgrims and tourists alike. Visitors are captivated not only by its spiritual ambiance but also by its vibrant festivals, scholarly texts, and the serene mountain landscape that surrounds it. Often referred to as “the Second Lumbini Garden,” it remains a vital hub for Tibetan culture in northwest China and enjoys high prestige throughout Asia.

Map of Kumbum Monastery

Panorama of the large square in front of Zhongshan Gate
The Zhongshan Gate is the grand entrance to Kumbum Monastery, also known as Ta'er Monastery.

This gate serves as the formal threshold into one of the most important Gelugpa Tibetan Buddhist monasteries in the country. Architecturally, it reflects a harmonious blend of Han Chinese and Tibetan styles, with its imposing structure, colorful ornamentation, and intricate woodwork symbolizing both spiritual reverence and imperial influence. The gate’s name, “Zhongshan,” is a tribute to Sun Yat-sen (Sun Zhongshan), the founding father of modern China, reflecting the monastery’s historical interactions with broader Chinese political and cultural currents.
As visitors pass through the Zhongshan Gate, they enter a sprawling complex that houses hundreds of halls, courtyards, and sacred spaces. The gate itself is not merely a physical entryway but a symbolic passage from the secular world into a realm of spiritual contemplation and Buddhist practice. Traditionally, monks and pilgrims would pause at the gate to perform prostrations or offer prayers before stepping into the sacred grounds. Its location and prominence make it a focal point during religious festivals and ceremonial processions, often adorned with prayer flags and incense offerings that heighten its spiritual ambiance.
Beyond its religious significance, the Zhongshan Gate stands as a testament to the monastery’s resilience and evolution through centuries of change. It has witnessed the rise and fall of dynasties, the spread of Tibetan Buddhism across China, and the enduring legacy of Je Tsongkhapa, whose birthplace lies within the monastery’s grounds. Today, the gate remains a powerful symbol of cultural fusion and spiritual devotion, welcoming both devout pilgrims and curious travelers into the heart of Tibetan Buddhist tradition in northwest China.

Panorama of the square after Zhongshan Gate
Dhammapala Hall (left), Monastery Management Committee (center) and The Eight Pagodas of Buddha Sakyamuni (right).

The Eight Pagodas of Buddha Sakyamuni

The Eight Pagodas of Buddha Sakyamuni
The Eight Pagodas of Buddha Sakyamuni are among the most iconic and spiritually significant structures within the temple complex.

These white pagodas were constructed to commemorate the eight major events in the life of Buddha Sakyamuni—from his birth and enlightenment to his first sermon and eventual Nirvana. Each pagoda represents a distinct milestone, serving as a visual and symbolic narrative of the Buddha’s journey toward spiritual awakening. Their presence reinforces the monastery’s role as a center of devotion and Buddhist education in the Gelug tradition.
Architecturally, the pagodas are crafted from brick and adorned with intricate designs featuring floral and cloud motifs, reflecting both Tibetan and Han Chinese artistic influences. Their symmetrical arrangement and serene white facades create a tranquil atmosphere that invites reflection and reverence. These pagodas are not only religious monuments but also artistic masterpieces, harmonizing with the surrounding courtyards and halls to form a cohesive spiritual landscape. During festivals and ceremonial observances, the pagodas become focal points for prayer, offerings, and ritual circumambulation.
Beyond their aesthetic and symbolic value, the Eight Pagodas serve as a bridge between historical legacy and contemporary practice. They embody the teachings of Sakyamuni Buddha and offer pilgrims a tangible connection to his life and message. For visitors and devotees alike, these pagodas are more than architectural features—they are sacred markers of enlightenment, compassion, and the enduring influence of Buddhist philosophy in the heart of Qinghai Province. Their continued preservation underscores Kumbum Monastery’s status as a living monument to Tibetan Buddhism’s rich heritage.

Panorama of the Eight Pagodas of Buddha Sakyamuni

Dhammapala Hall

Going around Dhammapala Hall to enter it

«Dhammapala Hall - The Dhammapala Hall, also named the Small Golden Tiled Hall, was built in 1692.

The Tibetan scriptures in front of the Dhammapala Hall are called "Victory Building", which means the permanent victory of Dharma.

The paintings on the four sides of the wall are one of the murals of "The Three Famous Art of the Kumbum Monastery". The content is the scene of protecting the Dharma and protecting the living beings.

In the main hall, the niches are enshrined in the statues of "body, language, meaning, career, merit".

There is a white horse sample to the right of the Hall, which was the mount of the 9th Panchen Lama from Tibet while specimens such as tigers and bears to the left. There are also Dhammapala trappings worshiped on both sides.

The second floor worships the statues of the Masters of the Lotus, and the third floor worships the statues of the Tsongkhapa and his disciples.»

Passing from the first courtyard to the second courtyard of Dhammapala Hall

Physical weapons, but above all spiritual ones, at the entrance to the second courtyard

Panorama of the second courtyard of Dhammapala Hall seen from south to north

Panorama of the second courtyard of Dhammapala Hall seen from southwest to northeast

Panorama of the second courtyard of Dhammapala Hall seen from northeast to southwest
The Dhammapala Hall is one of the key spiritual and architectural highlights within this revered Tibetan Buddhist complex.

As its name suggests, the hall is dedicated to the Dhammapalas—wrathful protector deities in Vajrayana Buddhism who safeguard the Dharma and its practitioners. These deities, often depicted with fierce expressions and dynamic postures, serve not as malevolent beings but as compassionate guardians who remove obstacles to enlightenment. The hall itself is designed to evoke both awe and reverence, with vivid murals, statues, and ritual implements that reflect the intense energy of these protectors.
Architecturally, the Dhammapala Hall blends Tibetan and Han Chinese styles, consistent with the overall aesthetic of Kumbum Monastery. Inside, visitors encounter a richly adorned interior featuring thangka paintings, butter sculptures, and statues of key protector deities such as Mahakala and Yamantaka. These figures are often surrounded by offerings and ritual items, including incense burners and prayer wheels, which are used during ceremonies to invoke the deities’ blessings. The hall is not just a visual spectacle—it’s a living space of ritual practice, where monks perform protective rites and devotees seek spiritual strength and guidance.
Beyond its religious function, the Dhammapala Hall plays a vital role in preserving the esoteric traditions of Tibetan Buddhism. It serves as a teaching space for advanced tantric practices and is often the site of initiations and empowerments led by senior lamas. For pilgrims and visitors, the hall offers a glimpse into the deeper layers of Buddhist cosmology and the dynamic interplay between compassion and wrath in spiritual protection. In the broader context of Kumbum Monastery, the Dhammapala Hall stands as a powerful reminder of the monastery’s commitment to both scholarship and spiritual defense.

Panorama of the second courtyard of Dhammapala Hall seen from east to west

Stuffed animals around the entire first floor of the second courtyard of Dhammapala Hall
The second courtyard of the Dhammapala Hall at Kumbum Monastery presents a striking and unusual display: a collection of stuffed animals that encircle the entire first floor.

These specimens, ranging from domestic creatures to fierce wild beasts, serve not merely as curiosities but as symbolic guardians and ritual emblems within the Tibetan Buddhist tradition. Most notably, to the right of the Hall stands a preserved white horse—revered as the mount of the 9th Panchen Lama of Tibet. This particular specimen holds deep historical and spiritual significance, representing both the Lama’s journey and the enduring connection between sacred figures and their animal companions.
On the left side of the courtyard, visitors encounter a more feral ensemble: stuffed tigers, bears, and other powerful creatures. These animals are not randomly chosen; they embody the wrathful energy and protective force associated with the Dhammapalas—fierce deities who defend the Dharma from spiritual threats. Their presence reinforces the hall’s role as a sanctuary of esoteric practice and divine protection. The juxtaposition of the noble horse and the wild beasts creates a visual narrative of balance—between wisdom and power, serenity and ferocity—mirroring the dual nature of the Dhammapalas themselves.
Flanking both sides of the courtyard are ritual trappings and offerings dedicated to these protector deities. These include ornate saddles, bridles, and ceremonial cloths, often embroidered with sacred symbols and mantras. Devotees offer incense, butter lamps, and prayer flags, transforming the space into a living altar of reverence and spiritual engagement. The combination of taxidermy, ritual objects, and architectural grandeur makes this courtyard a uniquely immersive experience—one that bridges the tangible and the transcendent, inviting visitors to contemplate the protective forces that guard the path to enlightenment.

Portico of Dhammapala Hall

Painting of Heavenly Mansion surrounded by the Eight Auspicious Symbols
Inside the Dhammapala Hall, one of the most arresting and symbolically rich artworks is the painting of the Heavenly Mansion.

At its center stands the mansion itself—not the abode of immortal Buddhas, but the celestial residence of blessed mortal gods. This distinction is crucial in Tibetan Buddhist cosmology, where such divine beings occupy a realm of elevated existence yet remain within the cycle of samsara. The mansion is rendered with ornate detail, its architecture radiating opulence and spiritual authority, anchoring the composition in a realm that is both sacred and impermanent.
Flanking the Heavenly Mansion are the Eight Auspicious Symbols of Tibetan Buddhism, arranged symmetrically—four on each side. These include the parasol, golden fish, treasure vase, and lotus on one side, and the conch shell, endless knot, victory banner, and Dharma wheel on the other. Each symbol carries profound meaning: protection, abundance, purity, and the spread of Dharma, respectively. Their placement around the mansion suggests divine favor and spiritual completeness, reinforcing the sanctity of the space while also inviting contemplation of the deeper teachings they represent.
Yet the painting’s serenity is sharply contrasted by the macabre imagery suspended above. Hanging like ritual trophies on a symbolic clothesline are three freshly severed human heads, two tiger skins, a white lion skin, and a stretched human skin—gruesome yet potent symbols of wrathful compassion and karmic purification. These elements reflect the fierce energy of the Dhammapalas, whose role is to destroy ignorance and protect the Dharma. At the base of the painting, wild animals—perhaps tigers, wolves, or bears—add to the primal intensity, grounding the celestial vision in the raw forces of nature. The entire composition is a vivid tapestry of transcendence and terror, devotion and destruction, embodying the complex spiritual landscape of Vajrayana Buddhism.

Painting of Mahakala riding a black horse
In the Dhammapala Hall of Kumbum Monastery, the painting of Mahakala riding a black horse stands as a fierce embodiment of protective wrath and spiritual power.

Mahakala, a principal Dharmapala in Tibetan Buddhism, is portrayed in dynamic motion atop his dark steed, charging through a fiery landscape that symbolizes the destruction of ignorance and the purification of obstacles. His expression is intense, eyes wide and mouth agape, radiating the uncompromising force of enlightened compassion. The black horse beneath him is not merely a mount—it represents unstoppable momentum and the swift execution of karmic justice.
In his right hand, Mahakala brandishes the Kartika, a crescent-shaped ritual knife used to sever attachments and cut through delusion. This blade is a potent symbol of transformation, wielded not in malice but in service of liberation. In his left hand, he holds the Kapala, or skull cup, traditionally filled with offerings such as blood, brains, or nectar—each representing the transmutation of base desires into spiritual insight. Together, these two implements form a powerful iconographic pairing: destruction and renewal, wrath and wisdom, all held in balance by the deity’s unwavering purpose.
These elements are not gratuitous—they are deeply symbolic, reflecting the deity’s role in confronting the darkest aspects of the psyche and transforming them into tools for awakening. Within the sacred space of the Dhammapala Hall, this painting serves not only as a visual spectacle but as a spiritual invocation, calling forth Mahakala’s protective energy to guard the monastery and guide practitioners on their path to enlightenment.

Piles of dried skulls depicted on the curtain at the entrance to the main hall
At the entrance to the main hall of the Dhammapala Hall in Kumbum Monastery, Xining, visitors are confronted with a haunting and powerful visual: a curtain adorned with painted piles of dried skulls.

This macabre motif is not intended to shock but to symbolize the impermanence of life and the fierce protection offered by the wrathful deities enshrined within. In Tibetan Buddhist iconography, skulls often represent the transmutation of death into spiritual awakening, a reminder that liberation requires confronting mortality and ego. The curtain acts as a threshold—both literal and symbolic—between the mundane world and the sacred space of tantric practice.
The skulls are rendered in stylized heaps, their hollow eyes and grinning jaws forming a rhythmic pattern across the fabric. These are not random decorations but deliberate representations of karmic purification and the destruction of ignorance. In the context of the Dhammapala Hall, which is dedicated to protector deities like Mahakala and Yamantaka, the skull imagery reinforces the hall’s role as a sanctuary of spiritual defense. The curtain serves as a visual invocation of these deities’ power to annihilate obstacles and safeguard the Dharma, preparing the visitor to enter a space charged with ritual intensity and esoteric symbolism.
Beyond their symbolic weight, the skulls contribute to the hall’s immersive atmosphere, aligning with other fierce elements such as severed heads, ritual weapons, and animal skins found throughout the monastery. The curtain’s imagery is not static—it interacts with the viewer’s psyche, prompting reflection on the nature of suffering, transformation, and the path to enlightenment. In this way, the piles of dried skulls are not merely artistic flourishes but integral components of the monastery’s spiritual architecture, guiding practitioners toward deeper awareness through confrontation with the raw truths of existence.

Painting of a Skull Chalice on an altar
In the Dhammapala Hall, one of the most arresting and symbolically charged paintings features a Skull Chalice, or Kapala, prominently displayed at the center of an altar scene.

The Kapala, a ritual vessel fashioned from a human cranium, is filled with three butter cones—known as torma—which rise like miniature mountains, their peaks sculpted with precision and reverence. These torma are offerings, representing the transformation of base desires into enlightened intention. The chalice itself rests atop three severed heads, each rendered with expressive detail, symbolizing the conquest of ego, ignorance, and attachment through tantric practice.
Flanking the altar are figures of devotees, their postures solemn and prayerful, alongside an eclectic array of animals—both domesticated and wild. This juxtaposition of human and beast reflects the interconnectedness of all sentient beings within the Buddhist cosmology, and the protective reach of the wrathful deities invoked in the hall. The animals, possibly including dogs, yaks, tigers, or bears, are not merely decorative but serve as spiritual symbols, embodying strength, loyalty, and primal energy. Their presence reinforces the sacred atmosphere of the painting, where ritual, nature, and devotion converge in a vivid tableau.
Suspended above the scene, as if strung along a ritual clothesline, are two freshly severed human heads, the flayed skins of three animals, and a stretched human skin. These gruesome elements are not intended to horrify but to confront the viewer with the raw truths of impermanence and karmic consequence. In Vajrayana iconography, such imagery is deeply symbolic—representing the stripping away of illusion and the fierce compassion of protector deities who destroy obstacles to enlightenment. The painting as a whole is a masterwork of spiritual intensity, inviting contemplation of mortality, transformation, and the sacred power that resides in the heart of wrathful devotion.

Painting of Tsi'u Marpo
In the Dhammapala Hall, the painting of Tsi'u Marpo stands out as a vivid portrayal of wrathful protection and spiritual authority.

Tsi'u Marpo, a fierce Tibetan Buddhist guardian deity, is depicted with an angry red complexion—his face contorted in a scowl that radiates divine fury. This crimson hue symbolizes his fiery nature and his role as a relentless defender of the Dharma. Mounted atop a powerful horse, he charges forward through a stormy, flame-filled backdrop, embodying the unstoppable force of karmic retribution and spiritual vigilance.
In his right hand, Tsi'u Marpo brandishes a long spear, its tip gleaming with lethal intent. This weapon signifies his ability to pierce through delusion and destroy obstacles on the path to enlightenment. In his left hand, he grips a lasso—an instrument used to bind and subdue malevolent forces or wandering spirits. The combination of spear and lasso reflects his dual capacity to confront and contain threats, both external and internal. At the center of his chest, a round golden shield glows with symbolic power, representing protection, resilience, and the sanctity of the teachings he guards. The shield’s placement over his heart suggests that his wrath is rooted in compassion and devotion to the Dharma.
The painting is not merely decorative—it serves as a spiritual invocation, calling forth the deity’s protective energy during rituals and meditative practices. Within the sacred space of the Dhammapala Hall, this image of Tsi'u Marpo becomes a living icon of divine wrath, reminding practitioners of the fierce compassion required to overcome ignorance and safeguard the path to liberation.

Entrance door to the main hall

Kalachakra Pagoda

Kalachakra Pagoda
The Kalachakra Pagoda stands as a striking symbol of Vajrayana Buddhist cosmology and esoteric teachings.

Located opposite the Dhammapala Hall, this pagoda is dedicated to the Kalachakra Tantra—a profound system of meditation and philosophy that explores the nature of time, cycles, and inner transformation. Its presence within the monastery underscores the Gelug school's commitment to preserving and transmitting advanced tantric practices, which are often reserved for initiated practitioners. Architecturally, the pagoda blends Tibetan and Han Chinese styles, reflecting the cultural fusion that characterizes Kumbum Monastery itself.
Kumbum Monastery, also known as Ta’er Temple, is one of the six great Gelugpa institutions and the birthplace of Je Tsongkhapa, the founder of the Gelug school. The Kalachakra Pagoda is part of a larger sacred landscape that includes halls, stupas, and shrines commemorating Tsongkhapa’s life and teachings. Its location opposite Dhammapala Hall—a space dedicated to fierce protector deities—creates a symbolic dialogue between the wrathful and peaceful aspects of Buddhist practice. While Dhammapala Hall invokes the power of guardianship and spiritual defense, the Kalachakra Pagoda invites contemplation of cosmic order and personal enlightenment through intricate mandalas and sacred geometry.
Visitors to the Kalachakra Pagoda often remark on its serene yet mysterious aura. The structure is adorned with detailed carvings and iconography that depict the Kalachakra deity and the intricate wheel of time. Pilgrims and tourists alike are drawn to its spiritual gravity, often pausing to circumambulate the pagoda in quiet reverence. Though less publicized than other landmarks within Kumbum Monastery, the Kalachakra Pagoda plays a vital role in the monastery’s spiritual ecosystem—serving as a gateway to deeper understanding for those who seek the inner teachings of Tibetan Buddhism.

Amitayus Hall

Entrance to Amitayus Hall

«The Amitayus Hall was initiated in 1717 with the aim to pray for the longevity of the 7th Dalai Lama. After the the consecration ceremony, an unusual bonsai tree sprouted right here, which flowers are full of fragrant, so the Hall is also known as "Hua Sier".Covering an area of 472 square meters, the Hall is a small-sized palace-—type building with cornices, brackets as well as colored drawings. Moreover, the glazed roof tiles are brilliant, while the bounding walls and gate towers are decorated with Hezhou brick carvings.

The Hall houses the statues of Sakyamuni,- the founder of Buddhism, his two followers Kasyapa and Ananda, Maitreya and Samantabhadra, the Maitreya Bodhisattva on the Qingshi mount, the Samantabhadra on the White Elephant mount, as well as Sixteen Arhats and Four Guardians. The three small Buddha statues in front of them are the Buddhas in the past "burning Buddhas", now the Buddha "Sakyamuni Buddha", the future Buddha "Mai Le Buddha"; the left and right sides are the statue of the Buddha and the white mother. In the small hall on the right side of the Hall, a statue of the local mountain god Liu Qi dressed in a Hanfu, a black silk hat, anda waistband official belt was enshrined. The stone that was erected in the courtyard is the sacred stone by which the mother of Lama Tsongkhapa took a rest.»

Panorama of the inner courtyard of Amitayus Hall
Amitayus Hall is a sacred space dedicated to Amitayus, the Buddha of Infinite Life—a manifestation of Amitabha associated with longevity, merit, and wisdom.

This hall plays a vital role in the spiritual life of the monastery, serving as a place for rituals and prayers aimed at extending life and cultivating inner peace. The presence of Amitayus Hall reflects the Gelug school's emphasis on both scholastic rigor and devotional practice, offering monks and pilgrims a serene environment for contemplation and connection with the divine.
Architecturally, Amitayus Hall exemplifies the harmonious blend of Tibetan and Han Chinese styles that characterizes Kumbum Monastery. The hall is adorned with vibrant murals, intricate wood carvings, and statues that depict Amitayus seated in meditative posture, often holding a vessel of the nectar of immortality. These artistic elements are part of the monastery’s famed “Three Arts”—butter sculptures, barbola (embossed embroidery), and murals—which elevate the hall beyond a mere place of worship into a gallery of sacred craftsmanship. The hall’s design encourages a meditative atmosphere, with soft lighting and incense enhancing the sensory experience.
Amitayus Hall is not only a spiritual refuge but also a cultural touchstone within the sprawling complex of Kumbum Monastery. Visitors often stop here to offer prayers for health and longevity, making it a popular destination during festivals and ceremonial observances. Its location within the monastery underscores the interconnectedness of life, wisdom, and compassion—core tenets of Mahayana Buddhism. Whether one is a devout practitioner or a curious traveler, stepping into Amitayus Hall offers a moment of quiet reflection and a glimpse into the rich spiritual heritage of Tibetan Buddhism in Qinghai Province.

Sacred tree with offerings in the inner courtyard of Amitayus Hall

Gautama Buddha Hall

Walking to Gautama Buddha Hall

Panorama of Gautama Buddha Hall

«The Gautama Buddha Hall was built in 1604 by the first general of the Kumbum Monastery Root Lama Esai Gyatso.

A Statue of seven-year-old Maitreya Buddha is worshiped in the middle while on both sides the two disciples of the Buddha, Kaye and Ananda are worshiped.

The right side of the Buddha is the Tsongkhapa master and his disciples, and the Buddha on the left is the statue of the Sakyamuni.

From the right to the left, the Buddha in front of the hall is the figure of Sakyamuni, the Tsongkhapa, the Maitreya Bodhisattva, and the Goddess of Mercy.

The Buddhas on both sides are some Tibetan eminent monks as Eight Great Bodhisattvas, the 7th Dalai Lama, and the 4th Panchen Lama.»

Entering the Gautama Buddha Hall
The Gautama Buddha Hall is a central sanctuary dedicated to Shakyamuni Buddha, the historical founder of Buddhism.

As one of the most revered spaces within the monastery, this hall serves as a focal point for devotional practice, meditation, and ceremonial offerings. The statue of Gautama Buddha housed within is typically depicted in serene meditation posture, symbolizing enlightenment and the path to liberation. The hall’s spiritual gravity draws both monks and pilgrims, who come to pay homage and seek blessings in the presence of the Enlightened One.
Architecturally, the Gautama Buddha Hall reflects the harmonious fusion of Tibetan and Han Chinese design elements that define Kumbum Monastery. Its ornate façade, richly painted murals, and intricately carved pillars showcase the monastery’s famed “Three Arts”—butter sculptures, barbola, and murals. Inside, the atmosphere is hushed and contemplative, with flickering butter lamps casting a warm glow on the golden statue of the Buddha. The hall’s layout is designed to facilitate ritual movement, allowing practitioners to circumambulate the sacred image in a clockwise direction, a gesture of reverence and spiritual alignment.
Beyond its aesthetic and devotional significance, the Gautama Buddha Hall plays a vital role in the monastery’s educational and ceremonial life. It is often the site of major Buddhist festivals, teachings, and initiations, reinforcing the Gelug school’s emphasis on both scholarship and spiritual discipline. For visitors, stepping into the hall offers a moment of quiet reflection and a direct encounter with the living tradition of Tibetan Buddhism. Whether one is a seasoned practitioner or a curious traveler, the Gautama Buddha Hall stands as a timeless testament to the enduring wisdom of the Buddha and the vibrant cultural tapestry of Kumbum Monastery.

Blossoms from Arrows
The painting on the outer wall of the Gautama Buddha Hall is a vivid visual allegory of the Buddha’s enlightenment under the Bodhi tree.

At its center, the Buddha sits in serene meditation within a radiant blue circle, symbolizing the state of enlightenment—pure awareness, unshaken by external forces. The blue circle represents not only spiritual clarity but also the protective boundary of awakened consciousness. It is a sacred space where delusion and suffering cannot penetrate, a visual metaphor for the mind that has transcended fear, desire, and distraction.
Surrounding this circle are fierce, chaotic figures—representations of Mara, the tempter and embodiment of inner and outer obstacles. Mara’s army traditionally symbolizes the psychological forces that seek to derail spiritual progress: fear, craving, doubt, and aggression. In this painting, they hurl darts and weapons toward the meditating Buddha, attempting to disturb his concentration and prevent his awakening. Yet, as these projectiles cross the threshold of the blue circle, they transform into delicate flowers. This transformation is deeply symbolic: it illustrates the power of enlightened awareness to transmute negativity into beauty and wisdom. What was once a threat becomes a blessing when met with equanimity and insight.
The small flowers blooming on the inner edge of the circle are not merely decorative—they are the visual culmination of this spiritual alchemy. They suggest that every challenge, every attack, when met with mindfulness and compassion, can become a source of growth and grace. This painting, nestled into the sacred architecture of Kumbum Monastery, serves as a powerful teaching in visual form. It reminds practitioners and visitors alike that the path to enlightenment is not free of conflict, but that true awakening lies in the ability to transform adversity into peace. In essence, it’s a portrait of victory—not through force, but through inner stillness.

Bloom of Wisdom
This painting on the outer wall of the Gautama Buddha Hall at Kumbum Monastery presents a serene and elevated vision of the Buddha’s enlightenment, framed not by conflict but by virtue.

At its center, the Buddha sits in deep meditation within a blue circle, now encircled by a wide gold border. The blue symbolizes the boundless clarity of awakened mind, while the gold border suggests the sanctity and incorruptible nature of enlightenment. Unlike the previous depiction of Mara’s assault, this composition radiates harmony, with the six paramitas—transcendent perfections—arrayed around the circle like guiding stars. Their presence signals that the path to awakening is not merely defensive but actively cultivated through virtuous action.
Each of the six paramitas—generosity, morality, patience, diligence, meditation, and wisdom—is represented outside the circle, as symbolic figures. Their placement beyond the golden boundary implies that these virtues are the outer expressions of the inner realization the Buddha embodies. They are not threats to his meditation but reflections of it, forming a mandala of ethical and spiritual development. The painting thus shifts the narrative from overcoming adversity to embodying excellence. It teaches that enlightenment is not only the cessation of suffering but the flowering of perfected qualities that benefit all beings.
The juxtaposition of this painting with the earlier Mara scene creates a powerful visual progression: from the transformation of negativity to the cultivation of virtue. Where the first painting dramatizes the internal battle against delusion, this one celebrates the fruits of victory—the paramitas as living principles that radiate from the enlightened mind. For viewers and practitioners, it offers a contemplative mirror: the blue circle invites inward stillness, the gold border affirms the sacredness of that state, and the paramitas remind us that true awakening is expressed through compassionate action in the world. It’s a visual sermon in silence, urging us not only to seek peace but to become its embodiment.

Living Radiance
This final painting on the exterior wall of the Gautama Buddha Hall at Kumbum Monastery marks a profound shift in visual narrative—from containment to radiance.

The absence of the blue and gold circle, once a protective and symbolic boundary, signals that the Buddha’s enlightenment is no longer confined but fully integrated with the world. In its place, rainbow rays emanate from the meditating Buddha, representing the limitless spectrum of awakened consciousness. These rays are not just decorative—they symbolize the Buddha’s teachings spreading in all directions, transcending boundaries and reaching every corner of existence.
Within these radiant beams sit 14 small Buddhas, each in meditation, suggesting the multiplicity of awakened beings and the transmission of enlightenment across time and space. They may represent the lineage of Buddhas or the idea that enlightenment is not a singular event but a shared potential accessible to all. Their placement within the rainbow rays implies that they are born from the light of the original Buddha’s realization—echoes of his wisdom manifesting in different forms. This visual multiplication of Buddhas reinforces the Mahayana ideal of universal awakening, where each being has the capacity to become a Buddha and contribute to the liberation of others.
Outside the rays, the scenes of ordinary life—people working, walking, engaging in daily tasks—ground the painting in the human experience. Unlike the earlier depictions of Mara or the paramitas, these figures are not symbolic forces but real, relatable lives. Their inclusion suggests that enlightenment is not separate from the world but deeply embedded within it. The painting invites viewers to see the sacred in the mundane, to recognize that the Buddha’s light touches all aspects of life. It’s a visual teaching that the path of awakening doesn’t end in isolation—it radiates outward, illuminating everyday existence with compassion, clarity, and presence.

Grand Golden Tiled Hall

Grand Golden Tiled Hall
The Grand Golden Tiled Hall is the architectural and spiritual heart of one of Tibetan Buddhism’s most revered institutions.

Gleaming with its signature golden tiles and framed by green walls, the hall stands on the very site believed to be the birthplace of Tsongkhapa, the founder of the Gelug school. According to legend, a sandalwood tree sprouted from the ground where his umbilical cord fell, and the hall was later built to honor this miraculous event. Its radiant roof and intricate design reflect both Tibetan and Han Chinese influences, embodying the monastery’s unique cultural synthesis.
This hall is not merely a visual marvel—it is a sacred destination for thousands of pilgrims who journey from across Qinghai, Tibet, and beyond. Day after day, one can witness long lines of devotees prostrating themselves before the Grand Golden Tiled Hall, often performing full-body prostrations in deep reverence. These acts of devotion are not casual gestures but expressions of profound spiritual commitment, humility, and the aspiration to purify karma. The sheer number of pilgrims, especially during major religious festivals, transforms the courtyard into a living tapestry of faith, echoing centuries of Buddhist tradition.
Inside the hall, the atmosphere is hushed and reverent, with monks chanting sutras and the scent of incense lingering in the air. The interior houses sacred relics and statues, including representations of Tsongkhapa and other important figures in the Gelug lineage. For many visitors, entering the hall is a deeply emotional experience—a moment of connection with the divine and with the legacy of Tibetan Buddhism. The Grand Golden Tiled Hall is not just a monument; it is a living sanctuary where architecture, legend, and devotion converge in luminous harmony.

Maitreya Buddha Hall

Maitreya Buddha Hall
The Maitreya Buddha Hall is a striking and spiritually significant structure dedicated to Maitreya, the future Buddha who is prophesied to appear when the teachings of Gautama Buddha have faded.

This hall is one of the prominent buildings within the vast monastic complex and reflects the Gelug school’s reverence for both present and future manifestations of enlightenment. Architecturally, it blends Tibetan and Chinese styles, with ornate carvings, vivid murals, and a towering statue of Maitreya seated in regal posture, symbolizing his readiness to descend into the world when the time is ripe.
Curiously, the signage above the entrance reveals a fascinating linguistic and cultural layering: while the Tibetan and Chinese inscriptions clearly identify the building as the “Maitreya Buddha Hall,” the English translation reads “Tsong Khapa Temple.” This discrepancy hints at the deep connection between Kumbum Monastery and Je Tsongkhapa, the founder of the Gelug school, who was born nearby. It’s possible that the English name reflects the hall’s broader symbolic association with Tsongkhapa’s legacy, even if its primary icon is Maitreya. This dual naming invites reflection on how sacred spaces can carry multiple layers of meaning depending on cultural lens and historical context.
Inside the hall, the atmosphere is reverent and majestic. Pilgrims and visitors often pause in awe before the immense statue of Maitreya, offering prayers and butter lamps in hopes of future blessings and rebirth in his presence. The hall also serves as a place for teachings and ceremonies, reinforcing the Gelug tradition’s emphasis on both scholarship and devotion. Whether one approaches it as the Maitreya Buddha Hall or the Tsong Khapa Temple, the space radiates a sense of timelessness—bridging past, present, and future in the heart of one of Tibetan Buddhism’s most important monasteries.

Maitreya Buddha inside the Maitreya Buddha Hall
Inside the Maitreya Buddha Hall stands a magnificent golden statue of Maitreya Buddha, the future Buddha who is prophesied to appear when the teachings of Gautama Buddha have faded from the world.

Towering in serene majesty, the statue is a focal point of devotion and reverence, drawing pilgrims and visitors into a space of quiet reflection and hope. Adorned with intricate detailing and seated in a posture of regal composure, Maitreya radiates compassion and promise, embodying the aspiration for a future era of enlightenment and peace.
What makes this statue particularly striking is the gesture Maitreya performs: the Dharmachakra Mudra, or “gesture of turning the wheel of Dharma.” This mudra is formed by joining the tips of the thumbs and index fingers of both hands to create two circles, while the remaining fingers extend outward. The hands are held in front of the chest, symbolizing the heart-centered transmission of wisdom. This gesture represents the moment the Buddha first taught the Dharma after his enlightenment—setting in motion the wheel of spiritual truth. In the context of Maitreya, it signifies the future turning of the Dharma wheel once again, when he descends to renew the teachings and guide beings toward liberation.
The use of the Dharmachakra Mudra in this statue is deeply symbolic. It not only connects Maitreya to the historical Buddha’s legacy but also emphasizes the continuity and renewal of spiritual wisdom across time. The statue’s golden sheen, combined with the mudra’s profound meaning, creates an atmosphere of timelessness and sacred anticipation. For devotees, standing before this image is more than an aesthetic experience—it is a moment of alignment with the cosmic rhythm of awakening, a reminder that the Dharma is eternal and will always find its way back into the world through compassion and insight.

The Three Great Bodhisattvas Temple

The Three Great Bodhisattvas Temple
The Three Great Bodhisattvas Temple is a revered sanctuary that honors three of Mahayana Buddhism’s most iconic and compassionate figures: Avalokiteshvara, Manjushri, and Vajrapani.

This temple serves as a spiritual triad, representing the core qualities of enlightened beings—compassion, wisdom, and power. Nestled within the sprawling monastic complex of Kumbum, the temple is a place of deep devotion, where pilgrims and monks alike gather to reflect on the path to awakening and the virtues embodied by these Bodhisattvas.
Avalokiteshvara, the Bodhisattva of Infinite Compassion, is often depicted with multiple arms and eyes, symbolizing his ability to see and respond to the suffering of all sentient beings. His presence in the temple reminds practitioners of the importance of empathy and selfless service. Manjushri, the Bodhisattva of Wisdom, is typically shown wielding a flaming sword that cuts through ignorance and illusion. His inclusion emphasizes the role of insight and discernment in the spiritual journey. Vajrapani, the Bodhisattva of Power and Protection, appears in a more wrathful form, embodying the fierce energy needed to overcome obstacles and safeguard the Dharma. Together, these three figures form a balanced triad of enlightened qualities.
The temple’s architecture and iconography reflect the Gelug school’s rich artistic heritage, with vibrant murals, intricate statues, and offerings that bring the Bodhisattvas’ presence to life. Visitors often light butter lamps and chant mantras in front of each figure, seeking blessings for clarity, courage, and compassion. The Three Great Bodhisattvas Temple is not just a place of worship—it’s a living embodiment of the Mahayana ideal, where the aspiration to benefit all beings is expressed through devotion, art, and spiritual practice. It stands as a luminous reminder that enlightenment is not a solitary pursuit but a collective path guided by wisdom, love, and strength.

Third Dalai Lama Stupa Hall

Panorama of the Third Dalai Lama Stupa Hall

Third Dalai Lama Stupa Hall

«The Third Dalai Lama Stupa Hall is a two-story hipped- gable roof building with glazed tiles. It was built in 1590 in memory of Sonam Gyatso, the Third Dalai Lama, who had played an important role in the foundation of the Kumbum Monastery. Some major Buddhist activities in the temple were once held in this hall.

In the Hall, a silver—gilt wooden Stupa of the Third Dalai Lama is worshiped. A thousand of gold-gilt rose—copper Sakyamuni statues are enshrined in the niches around the Hall. The Hall is also used as the dressing room for religious dancing rites. The yard in front of the Hall is one of the four major schools.»

Entering the Third Dalai Lama Stupa Hall
The Third Dalai Lama Stupa Hall is a revered structure that commemorates Sonam Gyatso, the Third Dalai Lama and a pivotal figure in the expansion of Tibetan Buddhism.

This hall houses a stupa—a sacred reliquary monument—dedicated to his memory and spiritual legacy. Architecturally, the hall reflects the rich fusion of Tibetan and Chinese styles that characterizes Kumbum Monastery, with ornate carvings, vibrant murals, and a solemn atmosphere that invites reflection. Pilgrims often visit this hall to pay homage, recognizing the Third Dalai Lama’s role in shaping the Gelug school’s influence beyond Tibet.
Sonam Gyatso, born in 1543, was the first to officially bear the title “Dalai Lama,” which was conferred upon him by the Mongol ruler Altan Khan. Although he was the third in the reincarnation lineage, the title retroactively applied to his predecessors, establishing the Dalai Lama institution as a central spiritual authority in Tibetan Buddhism. His diplomatic and religious outreach to Mongolia helped spread the Gelug tradition across Central Asia, forging a lasting bond between Tibetan lamas and Mongol leaders. This expansion laid the groundwork for the Dalai Lama’s future role as both a spiritual and political figure in Tibetan society.
The Third Dalai Lama Stupa Hall stands as a testament to Sonam Gyatso’s enduring legacy. Within its walls, the stupa serves not only as a reliquary but also as a symbol of enlightened leadership and transnational spiritual influence. Visitors often light butter lamps and offer prayers, seeking blessings and inspiration from his life. The hall’s presence within Kumbum Monastery—one of the six great Gelug institutions and the birthplace of Tsongkhapa—reinforces the continuity of wisdom and compassion across generations. It is a place where history, devotion, and aspiration converge in quiet reverence.

Prayer wheels on both sides of the path
Prayer wheels, known as mani wheels in Tibetan Buddhism, are sacred instruments designed to embody and amplify the power of mantra recitation.

Traditionally inscribed with the mantra “Om Mani Padme Hum,” these cylindrical wheels are spun clockwise, mirroring the movement of the sun and the flow of Tibetan script. Each rotation is believed to release the spiritual energy of thousands—even millions—of prayers into the world, offering blessings, purifying negative karma, and accumulating merit for the practitioner. The act of spinning a prayer wheel is not just mechanical—it is a meditative ritual that aligns body, speech, and mind with the Dharma, the teachings of the Buddha.
At Kumbum Monastery in Xining, China, prayer wheels are an integral part of the spiritual landscape. Rows of large, golden wheels line the walkways, inviting pilgrims and visitors to engage in this sacred practice as they circumambulate the monastery’s halls. The rhythmic sound of spinning wheels, combined with the murmured recitation of mantras, creates an atmosphere of devotion and tranquility. These wheels are often filled with tightly rolled scrolls containing sacred texts, and their presence reflects the monastery’s deep commitment to preserving Tibetan Buddhist traditions. For many, the prayer wheels at Kumbum are not only tools of personal transformation but also communal vessels of compassion, radiating blessings to all beings.
Symbolically, prayer wheels represent the turning of the Dharma wheel—Dharmachakra—the Buddha’s first act of teaching after enlightenment. This connection underscores the idea that each spin is a continuation of that original transmission of wisdom. At Kumbum, where the spiritual legacy of Tsongkhapa, the founder of the Gelug school, is deeply honored, the prayer wheels serve as a bridge between past and present, between inner intention and outer action. They remind practitioners that enlightenment is not a distant goal but a living process, one that unfolds with each mindful gesture, each whispered mantra, and each turn of the wheel.

Kalachakra Scripture Hall

Entering Kalachakra Scripture Hall

Climbing onto the roof

Incense terrace
In Vajrayana Buddhist architecture, especially within Tibetan traditions, it is common to find an open space on the roof of a temple designated for ritual offerings—most notably the burning of incense.

This elevated area, often referred to as a sangkhang or incense terrace, serves as a bridge between the earthly and celestial realms. The incense burner placed here, sometimes called a sangbum, is used in sang rituals, where aromatic substances are burned to purify the environment, honor deities, and invite auspicious energies. The open-air design allows the fragrant smoke to rise freely into the sky, symbolizing the ascent of prayers and the dissolution of obstacles.
The Kalachakra Scripture Hall features such a rooftop incense space, which plays a vital role in the monastery’s ritual life. The Kalachakra tradition, rooted in esoteric Vajrayana teachings, emphasizes cosmic cycles and inner transformation, and the rooftop incense rituals align with these themes by creating a sacred atmosphere for spiritual practice. The incense burner atop this hall is often used during specific ceremonies, such as purification rites or offerings to protector deities, and its placement above the hall signifies the transcendence of worldly distractions through the power of sacred scripture and ritual.
This rooftop space is not only functional but deeply symbolic. It reflects the Vajrayana view that enlightenment is achieved through the integration of body, speech, and mind—here represented by the physical act of offering, the spoken mantras accompanying the ritual, and the meditative intention behind it. Pilgrims and monks at Kumbum Monastery often ascend to this rooftop area during special observances, contributing to the monastery’s vibrant spiritual rhythm. The incense burner atop the Kalachakra Scripture Hall thus becomes more than a vessel—it is a conduit for transformation, linking the teachings of time and tantra with the living breath of devotion.