Lower Wutun Monastery, Qinghai, China

Lower Wutun Monastery, also known as Ganden Phuntsok Choling, is a Tibetan Buddhist monastery nestled in Wutun Village on the east bank of the Longwu River in Tongren County, Qinghai Province.

It forms one half of the Wutun Monastery complex, distinct from its sibling, Upper Wutun Monastery, and is part of the Gelugpa tradition of Tibetan Buddhism. The monastery traces its roots back to the Tibetan Empire and was significantly expanded during the Ming Dynasty. By the mid-20th century, it featured a Great Assembly Hall, Maitreya Hall, Guardian Hall, tea rooms, and over 200 monk quarters.

What truly sets Lower Wutun apart is its deep connection to Regong art, a vibrant and intricate style of Tibetan Buddhist art that originated in the Longwu River basin. The monastery is considered a cradle of artistic talent, having cultivated generations of master painters and sculptors. Today, it remains a living museum of Regong art, with frescoes, appliqué, colorful wall paintings, and statues that are celebrated for their vivid detail and rhythmic elegance. Many of the finest artworks found in Tibetan regions were created by artists trained within its walls.

Visitors to Lower Wutun Monastery are greeted by a row of pristine white stupas and a sea of fluttering prayer flags, setting a serene and sacred tone. The monastery’s art school continues to thrive, with monks actively producing thangkas and other devotional pieces that can be viewed and purchased on-site. Despite its modest size compared to other monastic institutions, Lower Wutun Monastery holds immense cultural and spiritual significance, both as a religious center and as a guardian of one of Tibet’s most cherished artistic traditions.

Victory pole and fragrant wood-burning furnace
Before the gate of Lower Wutun Monastery in Tongren, Qinghai, two sacred fixtures greet visitors: the victory pole and the fragrant wood-burning furnace.

The victory pole, often adorned with colorful prayer flags, stands as a vertical axis connecting earth to sky—a symbolic gesture of spiritual aspiration and triumph over ignorance. In Tibetan Buddhist tradition, such poles are known as darchor, and their fluttering flags carry mantras and prayers into the wind, believed to spread blessings and compassion across the land. The pole’s presence at the monastery’s entrance marks the threshold between the mundane world and the sacred space within, reminding all who enter of the spiritual journey ahead.
Beside it, the fragrant wood-burning furnace serves both ritualistic and symbolic purposes. Monks and pilgrims alike offer juniper branches, sandalwood, and other sacred woods into its flames, releasing aromatic smoke that purifies the environment and invokes the presence of protective deities. This act of burning incense is deeply rooted in Tibetan Buddhist practice, symbolizing the transformation of material offerings into spiritual merit. The rising smoke is seen as a bridge between the physical and spiritual realms, carrying prayers upward and creating a sanctified atmosphere for meditation and devotion.
Together, the victory pole and incense furnace form a powerful spiritual gateway. They embody the monastery’s role not just as a center of learning and art, but as a living sanctuary of Tibetan Buddhist ritual. Their placement before the gate is no accident—it’s a deliberate invitation to pause, reflect, and align oneself with the sacred energies of the site. As visitors pass through, they are enveloped in the scent of devotion and the visual rhythm of prayer flags, stepping into a space where art, faith, and tradition converge in harmony.

Panorama of the Triple Buddha Pavilion
This striking structure features three large golden Buddha statues standing atop its roof, each facing a different cardinal direction—symbolizing the Buddha’s omnipresence and the universality of his teachings.

Though distinct in orientation, the three figures are unified beneath a single ornate umbrella, which represents the protective canopy of Dharma that shelters all beings.
This pavilion serves as a visual and spiritual threshold, marking the transition from the outer world into the sacred precincts of the monastery. The three Buddhas are often interpreted as embodying past, present, and future—Shakyamuni (the historical Buddha), Amitabha (the Buddha of Infinite Light), and Maitreya (the future Buddha of loving-kindness). Their elevated placement above the pavilion roof reinforces their transcendence, while their directional gaze suggests the spreading of compassion and wisdom across all realms.
As part of the Regong artistic tradition, the pavilion is richly decorated with symbolic motifs and vibrant colors, harmonizing with the monastery’s broader aesthetic. It’s not just an architectural flourish—it’s a spiritual beacon. Pilgrims often pause here to offer prayers before entering the monastery, acknowledging the presence of the Buddhas and aligning themselves with the path of awakening.

Row of eight white stupas
Standing like sentinels of serenity, the row of eight white stupas before the gate of Lower Wutun Monastery in Tongren, China, holds profound symbolic and spiritual significance.

In Tibetan Buddhism, stupas—known as chörten in Tibetan—are sacred structures that represent the enlightened mind of the Buddha. Their architectural form itself is symbolic: the square base signifies earth, the dome represents water, the spire stands for fire, the umbrella embodies air, and the pinnacle evokes space. The number eight is no coincidence—it echoes the Eightfold Path, the core of Buddhist practice that leads to liberation from suffering.
These stupas serve as more than architectural beauty; they are spiritual beacons. Pilgrims and monks circumambulate them in clockwise motion, a meditative act believed to accumulate merit and purify karma. Each stupa may contain sacred relics, scriptures, or offerings, transforming them into vessels of spiritual energy. Their pristine white color symbolizes purity and the aspiration toward enlightenment, while their placement at the monastery’s entrance marks a transition from the worldly to the sacred—a threshold where visitors are invited to leave behind distractions and enter a space of devotion and reflection.
Together, the eight stupas form a protective and sanctifying perimeter, harmonizing the energies of the site and invoking blessings for all who pass through. Their presence reinforces the monastery’s role not only as a center of Regong art and learning, but also as a living embodiment of Tibetan Buddhist cosmology. As the wind stirs the prayer flags nearby and incense smoke rises from the furnace, the stupas stand quietly, reminding all who enter of the path toward wisdom, compassion, and inner peace.

Entrance gate
The entrance gate to Lower Wutun Monastery in Tongren, China, is far more than a physical threshold—it is a symbolic portal between the secular world and the sacred realm of Tibetan Buddhist practice.

As visitors approach, they are greeted by a striking sign that reads Senashong Gaden Phuntsok Choeling, the monastery’s formal Tibetan name. This name, which loosely translates to “A Joyful Garden of Abundant Dharma,” encapsulates the spiritual mission of the monastery: to cultivate wisdom, compassion, and artistic devotion in a harmonious setting. The gate itself, often adorned with traditional motifs and vibrant colors, serves as a visual invocation of protection and auspiciousness, inviting all who enter to leave behind worldly distractions and step into a space of contemplation and reverence.
The name Senashong refers to the local village and lineage, grounding the monastery in its cultural and geographic roots. By inscribing this name on the gate, the monastery affirms its identity not only as a religious institution but also as a guardian of Regong heritage and community tradition. The inclusion of Gaden Phuntsok Choeling links the monastery to the Gelugpa school of Tibetan Buddhism, founded by Je Tsongkhapa, and evokes the ideals of clarity, discipline, and spiritual abundance. This naming is not merely decorative—it is a declaration of purpose, a spiritual signature that resonates with centuries of devotion and artistic excellence.
Passing through the gate is a ritual in itself. It marks the beginning of a journey inward, both physically and spiritually. The gate’s placement, flanked by white stupas and the fragrant incense furnace, creates a layered experience of purification, aspiration, and transformation. Visitors often pause before entering, offering prayers or simply absorbing the atmosphere. In this way, the entrance gate becomes a liminal space—a moment of transition where the outer world fades and the inner path begins. It is a silent teacher, reminding all who cross its threshold that the pursuit of enlightenment begins with intention, humility, and respect.

Main Hall

Facade of the main hall

Entering the main hall portico

Main hall portico
The portico of the main hall in a Tibetan Buddhist monastery is far more than an architectural feature—it is a symbolic gateway between the outer world and the sacred interior where spiritual practice unfolds.

Traditionally adorned with vibrant murals, guardian deities, and auspicious symbols, the portico serves as a transitional space that prepares the mind for reverence and introspection. It is here that visitors pause, bow, and mentally shift from the distractions of daily life to the focused awareness required for entering a place of worship. The portico’s design often incorporates the *Ashtamangala*, or Eight Auspicious Symbols, each representing a facet of the Buddha’s teachings—from the lotus of purity to the victory banner of enlightenment.
Spiritually, the portico functions as a protective threshold. The fierce imagery of wrathful deities painted or carved into its beams is not meant to intimidate but to guard the sanctity of the temple and ward off negative energies. These figures symbolize the transformative power of compassion and wisdom when applied with clarity and strength. The portico also reflects the Buddhist concept of *interdependence*, as its structure and symbolism unite the physical and metaphysical realms. It is a place where the practitioner begins the journey inward, both literally and spiritually, aligning body, speech, and mind before stepping into the heart of the Dharma.
In Tibetan monastic tradition, the portico is often the first encounter with the monastery’s artistic and spiritual identity. It sets the tone for what lies beyond: a world of ritual, meditation, and sacred teachings. The colors, patterns, and iconography are not random—they are intentional expressions of cosmic order and spiritual aspiration. As such, the portico is not merely a passageway but a ceremonial space in its own right, inviting all who enter to engage with the profound truths of Tibetan Buddhism. It reminds the visitor that enlightenment begins with a single step—taken mindfully, with reverence, and in harmony with the sacred.

Wheel of Life
The Wheel of Life, or Bhavachakra, is one of the most profound visual teachings in Tibetan Buddhism, often depicted on the portico of a monastery’s main hall to confront visitors with the nature of existence before they enter the sacred space.

It illustrates samsara—the endless cycle of birth, death, and rebirth—through a series of concentric circles that represent the realms of existence, the causes of suffering, and the path to liberation. At its core are the three poisons: ignorance (pig), attachment (bird), and aversion (snake), which drive the wheel’s rotation. Surrounding them are the six realms of rebirth, each reflecting different karmic outcomes, and the outer rim shows the twelve links of dependent origination, mapping the chain of causality that binds beings to suffering.
At Lower Wutun Monastery in Tongren, the Wheel of Life is rendered with exceptional artistry, reflecting the monastery’s deep connection to Regong art. Painted with rhythmic lines and vivid colors, the mural is not merely decorative—it is a spiritual mirror. Positioned on the portico, it serves as a threshold teaching, inviting reflection before one steps into the temple. The fierce figure of Yama, the Lord of Death, clutching the wheel, reminds practitioners of impermanence and the urgency of spiritual practice. This placement is intentional: it urges visitors to confront the reality of suffering and the consequences of their actions, preparing their minds for the Dharma teachings within.
Spiritually, the Wheel of Life at Lower Wutun Monastery embodies the monastery’s mission to awaken wisdom through art. It is a visual sermon, accessible to all regardless of literacy or background, and it encapsulates the essence of Buddhist philosophy in a single, dynamic image. By placing it at the entrance, the monastery transforms the act of arrival into a moment of introspection. Visitors are not simply entering a building—they are crossing into a space where the illusions of samsara are laid bare, and the path to liberation begins. In this way, the Wheel of Life becomes both a guardian and a guide, anchoring the monastery’s spiritual atmosphere in timeless truth.

Machen Pomra
Machen Pomra, also known as Amnye Machen, is the revered mountain deity of the Amdo region in Qinghai Province, and his depiction riding a blue horse in the portico of the main hall at Lower Wutun Monastery carries deep symbolic and spiritual resonance.

In Tibetan Buddhist tradition, the blue horse is not merely a steed—it represents swiftness, strength, and the ability to traverse realms, both physical and spiritual. The color blue itself is associated with the sky and space, symbolizing vastness, clarity, and the boundless nature of enlightened awareness. By riding a blue horse, Machen Pomra is portrayed as a dynamic protector, capable of swiftly responding to the needs of devotees and guarding the sacred teachings housed within the monastery.
This depiction also marks a significant shift from the Bon tradition, where Machen Pomra rides a white lion—an emblem of primal power and untamed nature. In the Buddhist context, the blue or white horse reflects a more refined, disciplined energy, aligning the deity with the values of compassion, wisdom, and spiritual guardianship. At Lower Wutun Monastery, known for its exquisite Regong art, Machen Pomra’s image is rendered with vivid detail, often surrounded by swirling clouds and radiant light, emphasizing his celestial stature. His presence on the portico is not incidental; it signals the monastery’s connection to the sacred geography of Amdo and its role as a spiritual outpost under the watchful gaze of the mountain god.
Spiritually, Machen Pomra’s placement at the entrance of the main hall serves as a powerful invocation of protection and blessing. He is both a guardian of the Dharma and a bridge between the natural world and the enlightened realm. For pilgrims and practitioners, encountering his image is a moment of grounding—an acknowledgment of the sacred landscape from which the monastery draws its strength. His blue horse gallops not just across mountains, but through the hearts of those who seek refuge and inspiration. In this way, Machen Pomra becomes a living symbol of the fusion between local devotion and universal Buddhist ideals, anchoring Lower Wutun Monastery in both place and purpose.

Virupaksa, the Heavenly King of the West (left) and Vaisravana, the Heavenly King of the North (right)
Virupaksa, the Heavenly King of the West, and Vaisravana, the Heavenly King of the North, are two of the Four Great Heavenly Kings (Lokapalas) who guard the cardinal directions in Buddhist cosmology.

Positioned on the portico of the main hall in Tibetan Buddhist monasteries—including Lower Wutun Monastery in Tongren, China—these figures serve as fierce protectors of the Dharma. Virupaksa, often depicted holding a serpent or a stupa, symbolizes inner vision and vigilance. His role is to oversee the nagas (serpent spirits) and ensure that spiritual insight is not clouded by illusion. Vaisravana, meanwhile, is the guardian of wealth and prosperity, often shown with a banner of victory and a mongoose that spits jewels. He commands the yakshas and is revered for his ability to dispel greed and cultivate generosity.
At Lower Wutun Monastery, these two kings are not merely symbolic—they are deeply integrated into the spiritual architecture of the site. Their placement on the portico is deliberate, forming part of a protective mandala that shields the sacred interior from negative forces. The monastery, renowned for its Regong art, renders these deities with vivid detail and expressive power. Virupaksa’s penetrating gaze and Vaisravana’s commanding posture are designed to evoke both awe and reassurance. They remind practitioners that the path to enlightenment requires both inner clarity and outer discipline, and that the Dharma is safeguarded by forces both seen and unseen.
Spiritually, encountering these kings at the threshold of the main hall is a moment of reckoning. Visitors are invited to reflect on their own intentions: Are they entering with sincerity, humility, and a readiness to transform? The presence of Virupaksa and Vaisravana reinforces the monastery’s role as a sanctuary of wisdom and a fortress of ethical strength. Their guardianship is not passive—it is active, dynamic, and deeply woven into the fabric of Tibetan Buddhist ritual. At Lower Wutun Monastery, these figures stand as sentinels of the sacred, guiding all who enter toward a deeper engagement with the Dharma and a more courageous embrace of the spiritual path.

Virudhaka, the Heavenly King of the South (left) and Dhrtarastra, the Heavenly King of the East (right)
Virudhaka, the Heavenly King of the South, and Dhrtarastra, the Heavenly King of the East, are two of the Four Great Heavenly Kings (Lokapalas) who guard the cardinal directions in Buddhist cosmology.

Their presence on the portico of a Tibetan Buddhist monastery—especially at Lower Wutun Monastery in Tongren—serves as a spiritual safeguard and a symbolic reminder of the forces that protect the Dharma. Virudhaka, often depicted wielding a sword, represents the power of disciplined action and the purification of negative karma. He is the commander of the kumbhanda spirits and embodies the fierce resolve needed to cut through delusion and cultivate ethical conduct.
Dhrtarastra, the guardian of the East, is typically portrayed holding a lute or stringed instrument, symbolizing harmony and vigilance. He leads the gandharvas, celestial musicians, and his role is to protect the teachings through the cultivation of inner balance and attentiveness. At Lower Wutun Monastery, these deities are rendered with striking detail in the Regong artistic style, their expressions and postures designed to evoke both reverence and introspection. Their placement at the portico is intentional: they stand as sentinels at the threshold of the sacred, ensuring that only those with sincere intent and spiritual readiness enter the inner sanctum.
Spiritually, encountering Virudhaka and Dhrtarastra at the entrance is a moment of alignment. They remind practitioners that the path to enlightenment is not passive—it requires courage, discipline, and harmony. Their contrasting symbols—a sword and a lute—reflect the dual nature of the spiritual journey: the need to confront inner obstacles with strength, and the importance of cultivating peace and clarity. At Lower Wutun Monastery, their presence reinforces the monastery’s role as a place of transformation, where art, ritual, and devotion converge under the watchful gaze of these timeless guardians.

Door with handle from the entrance to the main hall

Panorama of the main hall

Eight Offering Goddesses
The Eight Offering Goddesses, known in Sanskrit as Aṣṭa Devī and in Tibetan as Chöpé Lhamo Gyé, are revered figures in Mahayana and Vajrayana Buddhist traditions.

Each goddess embodies a specific sensory or aesthetic offering—such as beauty, song, dance, garlands, flowers, incense, light, and perfume—presented to the Buddhas and Bodhisattvas as acts of devotion and spiritual refinement. These deities are often paired as consorts to the Eight Great Bodhisattvas, symbolizing the union of wisdom and skillful means. Their presence in ritual mandalas and temple iconography serves to invoke auspiciousness, dispel obstacles, and cultivate inner purity.
a vibrant center of Tibetan Buddhist art and practice—the Eight Offering Goddesses are prominently displayed just inside the entrance, welcoming visitors with a cascade of color and symbolism. These figures are rendered in traditional thangka style or sculptural relief, each adorned with attributes that reflect her specific offering: the Goddess of Song may hold a lute, while the Goddess of Light radiates with a lamp or flame. Their placement at the threshold of the monastery is no accident; it marks the transition from the mundane world into a sacred space, where the senses are elevated and the mind is prepared for contemplation.
The goddesses at Wutun are not merely decorative—they are deeply woven into the spiritual fabric of the monastery. Local practitioners and visiting pilgrims often pause before them to offer prayers or circumambulate, acknowledging the blessings these deities bestow. Their presence also reflects the monastery’s rich artistic heritage, as Wutun is renowned for its fusion of Tibetan and Chinese styles, particularly in its murals and iconography. In this way, the Eight Offering Goddesses serve both as spiritual guides and as embodiments of the monastery’s commitment to beauty, devotion, and the transformative power of art.

Benches where monks practice in the main hall
Inside the main hall of Lower Wutun Monastery in Qinghai, China, the benches where monks practice are arranged with quiet precision, reflecting both the discipline and the spiritual focus of monastic life.

These benches are long, low wooden platforms, often covered with simple cushions or folded cloths, where monks sit cross-legged during prayers, chanting, and meditation. Their placement follows a traditional layout, forming rows that face the central altar or statue, allowing each monk to maintain visual and energetic alignment with the sacred focal point of the hall.
The benches themselves are modest in design, yet they carry deep symbolic weight. They represent stability, humility, and the continuity of practice across generations. During daily rituals, monks sit in silence or recite scriptures in unison, their voices rising and falling in rhythmic harmony. The benches become vessels of devotion, absorbing the energy of countless hours of spiritual effort. In major ceremonies, the hall fills with the sound of ritual instruments and chanting, and the benches anchor the monks in their roles as conduits of compassion and wisdom.
At Lower Wutun, renowned for its Regong art and spiritual heritage, even the benches reflect the monastery's blend of aesthetic and sacred purpose. Some may be adorned with subtle carvings or painted motifs, echoing the vibrant murals and thangkas that surround them. Yet their primary function remains unchanged: to support the body so the mind may awaken. In this way, the benches are not merely furniture—they are silent witnesses to the unfolding of inner transformation, day after day, prayer after prayer.

Thangkas on the side walls of the main hall
In Vajra Buddhism—also known as Vajrayana or Tantric Buddhism—thangkas serve as sacred visual tools that embody profound symbolic and spiritual significance.

These intricate scroll paintings depict enlightened beings, mandalas, wrathful deities, and scenes from Buddhist cosmology, each rendered with precise iconography and vibrant detail. Far more than decorative art, thangkas are considered manifestations of divine presence, used to guide practitioners in meditation, ritual, and visualization. They act as portals to the enlightened realm, allowing the viewer to connect with the qualities of the depicted deity and internalize those virtues on the path to awakening.
Spiritually, thangkas are central to Vajrayana practice because they support the transformative techniques unique to this tradition. In tantric rituals, practitioners visualize themselves as the deity shown in the thangka, dissolving the boundaries between self and enlightened form. This process, known as deity yoga, is a cornerstone of Vajra Buddhism, and thangkas provide the visual clarity needed to engage deeply with these meditations. Whether depicting peaceful figures like Tara or wrathful protectors like Vajrapani, each thangka carries specific energies—compassion, wisdom, power—that help dissolve ignorance and cultivate spiritual realization.
Thangkas also play a vital role in ceremonial life. During empowerments, pujas, and festivals, they are unfurled and displayed as offerings to the deities and as blessings to the community. Their presence sanctifies the space, and their imagery becomes a focal point for collective prayer and devotion. In monasteries such as Lower Wutun, thangkas are not only revered as spiritual instruments but also as expressions of artistic lineage, crafted by master painters in the Regong tradition. Through their beauty and symbolism, thangkas bridge the material and the transcendent, embodying the Vajrayana ideal that enlightenment is not distant—it is vividly present, waiting to be realized through disciplined practice and sacred vision.

Main altar of the main hall

Tridimensional mandala
Inside the main hall, visitors encounter a breathtaking three-dimensional mandala—an intricate architectural and sculptural representation of the Buddhist cosmos.

Unlike flat painted mandalas, this immersive structure rises in tiers, often resembling a miniature palace or celestial city, with multiple levels symbolizing the stages of enlightenment. At its center sits a principal deity, typically a Buddha or high Bodhisattva, surrounded by concentric layers of divine figures, guardians, and symbolic elements. This spatial arrangement mirrors the sacred geometry found in traditional mandalas, guiding practitioners from the outer world of illusion toward the enlightened core.
Crafted by master artisans of the Regong tradition—an artistic lineage native to the region—the mandala at Wutun is a fusion of sculpture, painting, and architectural detail. Richly colored and meticulously detailed, it incorporates gold leaf, mineral pigments, and carved wood to evoke both grandeur and spiritual precision. Each figure and ornament within the mandala is placed with ritual intent, reflecting deep cosmological and tantric symbolism. The mandala serves not only as a visual feast but also as a meditative tool, allowing monks and pilgrims to contemplate the path to awakening through its layered symbolism and sacred proportions.
This three-dimensional mandala is more than an object of devotion—it’s a living embodiment of Wutun Monastery’s role as a cradle of Tibetan Buddhist art. The monastery is renowned for producing generations of skilled artists whose work adorns temples across the Tibetan plateau. Within the main hall, the mandala stands as a centerpiece of spiritual and artistic achievement, drawing visitors into a contemplative experience that bridges the material and the transcendent. It encapsulates the monastery’s ethos: that beauty, craftsmanship, and devotion are inseparable on the path to enlightenment.

Avalokitesvara
Inside the main hall of Lower Wutun Monastery in Qinghai, China, the statue of Avalokitesvara stands as a radiant embodiment of universal compassion.

Known in Tibetan as Chenrezig, Avalokitesvara is revered across Mahayana and Vajrayana traditions as the bodhisattva who hears the cries of all sentient beings and responds with boundless mercy. The statue's golden surface reflects not only artistic mastery but also the spiritual luminosity of awakened compassion. With a lotus stem held in the left hand and a vertical eye on the forehead, the figure symbolizes purity, insight, and the ability to perceive suffering beyond ordinary perception.
The crown atop Avalokitesvara's head signifies his royal status within the spiritual realm, often adorned with miniature images of Amitabha Buddha, his spiritual progenitor. The third eye on the forehead represents transcendent wisdom, allowing him to see the truth behind appearances. The lotus he holds is a classic symbol of spiritual emergence—rising unstained from the mud of samsara. These elements together form a visual mandala of compassion in action, inviting practitioners to cultivate empathy, patience, and the aspiration to relieve suffering wherever it arises.
At Lower Wutun Monastery, renowned for its Regong art tradition, this statue is more than a devotional object—it is a living presence within the sacred architecture. Surrounded by murals and thangkas painted by generations of artist-monks, Avalokitesvara anchors the spiritual energy of the hall. Pilgrims and monks alike offer prostrations, prayers, and butter lamps before the statue, seeking blessings and guidance. In this context, Avalokitesvara is not distant or abstract, but intimately present—a reminder that compassion is both the path and the goal of spiritual life.

Multicolored Garuda
The Multicolored Garuda statue inside the main hall of Lower Wutun Monastery is a vivid embodiment of tantric symbolism and spiritual power.

Garuda, a mythical bird-like being revered in both Hindu and Buddhist traditions, is often portrayed as a fierce protector and destroyer of obstacles—especially those posed by serpent spirits (nagas). In this particular statue, the dark blue head of the Garuda signifies deep wisdom and the vastness of awakened mind, while the green wings evoke the element of air and the swift, liberating movement of enlightened activity. The red body, arms, and legs pulse with vitality and wrathful compassion, channeling the energy needed to subdue ignorance and ego.
The white belly of the Garuda offers a striking contrast, symbolizing purity and the untainted nature of ultimate truth. Draped in a tiger-skin loincloth, the Garuda wears the mark of a tantric adept—one who has conquered primal instincts and transformed them into spiritual strength. Its two lower claws rest upon a queen serpent, whose hands are clasped in reverent submission, representing the subjugation of lower energies and the harmonization of chaos into order. Meanwhile, the Garuda’s grasp of a green serpent with both hands and its beak illustrates its dominion over the elemental and psychic realms, a reminder of the deity’s role in protecting sacred teachings and practitioners from unseen forces.
Crowning the Garuda’s forehead is a third eye, the symbol of transcendent vision and insight beyond duality. Above its head, a radiant jewel nestled between two horns signifies the wish-fulfilling nature of enlightened mind, while the fiery nimbus behind its head blazes with transformative power. Together, these elements form a mandala of fierce grace and spiritual mastery. At Lower Wutun Monastery—renowned for its Regong art and tantric iconography—this statue is not merely decorative but a living symbol of protection, awakening, and the dynamic interplay between wisdom and wrath. It invites viewers to confront their inner serpents and rise, like the Garuda, into the boundless sky of liberation.

Figurines of the eight auspicious symbols
Inside the main hall of Lower Wutun Monastery in Qinghai, China, the figurines of the Eight Auspicious Symbols—known in Sanskrit as Ashtamangala—serve as powerful emblems of Buddhist philosophy and spiritual aspiration.

Each symbol represents a distinct quality of enlightenment and the path toward liberation. These include the parasol (protection), the golden fish (freedom), the conch shell (proclamation of the Dharma), the lotus flower (purity), the banner of victory (triumph over ignorance), the vase of treasure (spiritual abundance), the wheel of Dharma (the Buddha's teachings), and the endless knot (interconnectedness). Arranged with ritual precision, the figurines are not merely decorative—they are visual prayers, inviting practitioners to contemplate the qualities they embody.
Crafted in the Regong art tradition, these figurines are rich in color, detail, and symbolic geometry. Their placement within the main hall is deliberate, often surrounding central statues or altars to create a mandala-like field of blessings. The lotus may be sculpted with delicate petals rising from a muddy base, symbolizing spiritual emergence, while the wheel of Dharma might be adorned with eight spokes, echoing the Noble Eightfold Path. The parasol, often gilded and ornate, evokes divine protection from suffering and defilement. Together, these symbols form a sacred landscape that supports meditation, ritual, and the cultivation of inner virtues.
Spiritually, the Eight Auspicious Symbols act as reminders of the Buddha's presence and the transformative power of the Dharma. Their physical manifestation in figurine form at Lower Wutun Monastery reflects the monastery's deep commitment to preserving and transmitting Tibetan Buddhist teachings through art. Pilgrims and monks alike engage with these symbols during ceremonies, offerings, and personal reflection. In this way, the figurines are not passive objects but active participants in the spiritual life of the monastery—bridging the material and the transcendent, and guiding all who enter toward wisdom, compassion, and awakening.

Avalokitesvara Hall

Entering Avalokitesvara Hall
The Avalokitesvara Hall, stands as a spiritual centerpiece within one of the most revered sites of Tibetan Buddhism in the region.

Dedicated to Avalokitesvara—the bodhisattva of universal compassion—the hall is a sanctuary of devotion, art, and meditative practice. Upon entering, visitors are greeted by an atmosphere of solemnity and grace, with incense lingering in the air and soft light illuminating the richly adorned interior. The central statue of Avalokitesvara, often depicted with multiple arms and a serene expression, radiates a sense of boundless mercy and presence.
Architecturally, the hall reflects the Regong artistic tradition for which Wutun Monastery is famous. Murals and thangkas line the walls, depicting scenes from Avalokitesvara's many manifestations and his tireless efforts to relieve suffering. The craftsmanship is meticulous, with vibrant mineral pigments and gold detailing that bring the iconography to life. The layout of the hall is designed to support ritual movement and collective chanting, with rows of benches for monks and designated spaces for offerings and prostrations. Every element—from the carved pillars to the ceiling mandalas—serves both aesthetic and spiritual functions.
Spiritually, the Avalokitesvara Hall is a place of refuge and transformation. Monks gather here daily to recite mantras, perform rituals, and engage in deity yoga, visualizing themselves as Avalokitesvara to cultivate compassion and wisdom. Pilgrims come to seek blessings, offer butter lamps, and connect with the bodhisattva's energy. The hall is not just a physical structure—it is a living embodiment of the monastery's mission to awaken the heart and serve all beings. In the quiet presence of Avalokitesvara, visitors are reminded that compassion is not a distant ideal, but a force that can be practiced and embodied in every moment.

Mount Meru Mandala at the portico
The Mount Meru Mandala, as depicted on the portico of the Avalokitesvara Hall at Lower Wutun Monastery, serves as a cosmic diagram of the Buddhist universe.

At its center stands Mount Meru, the mythic axis mundi around which all realms revolve. This sacred mountain is surrounded by four great continents—Jambudipa, Uttarakuru, Purvavideha, and Aparagodaniya—each representing different karmic conditions and states of existence. The mandala is not merely a map; it is a symbolic gateway into the structure of samsara and the path toward liberation. Its placement at the entrance to the Avalokitesvara Hall invites visitors to contemplate their place in the cosmos before stepping into the sanctuary of compassion.
Artistically, the mandala reflects the Regong tradition, with vivid mineral pigments and intricate geometric precision. The use of blue-and-green landscapes to depict the continents blends Tibetan iconography with Chinese stylistic elements, creating a visual harmony that mirrors the spiritual unity of all beings. The inclusion of celestial bodies, elemental rings, and protective deities around the perimeter reinforces the idea that the universe is both vast and intimately interconnected. The portico setting allows sunlight to animate the mandala throughout the day, casting shifting shadows that echo the impermanence and dynamism of the world it represents.
Spiritually, the Mount Meru Mandala functions as a meditative tool and a ritual threshold. It reminds practitioners that the journey to enlightenment begins with understanding the nature of reality—its cycles, illusions, and potential for awakening. By passing beneath this cosmic image, monks and pilgrims symbolically move from the outer realms of confusion into the inner sanctum of Avalokitesvara's compassion. The mandala thus serves as both a map and a mirror, guiding the viewer inward while reflecting the vastness of the enlightened mind. At Lower Wutun Monastery, it stands as a testament to the fusion of art, devotion, and cosmological insight.

Cosmos According to Kalachakra Tantra
The Cosmos According to Kalachakra Tantra, as depicted in the painting on the portico of the Avalokitesvara Hall at Lower Wutun Monastery, is a profound visualization of time, space, and spiritual transformation.

Unlike conventional cosmological diagrams, the Kalachakra cosmos integrates outer, inner, and alternative dimensions—representing the physical universe, the subtle body, and the enlightened mandala simultaneously. At its center is Mount Meru, surrounded by concentric rings of continents, celestial bodies, and elemental zones, all governed by cycles of time and karma. This layered structure reflects the tantric principle that the macrocosm and microcosm mirror each other, and that liberation arises through harmonizing both.
The painting itself is a masterpiece of Regong artistry, executed with meticulous geometry and vibrant mineral pigments. It features not only the traditional four continents—such as Jambudipa—but also the twelve zodiac signs, planetary deities, and symbolic palaces of enlightened beings. These elements are arranged in a mandala-like format, inviting viewers to contemplate the interdependence of cosmic forces and inner awareness. The portico location is significant: as one passes beneath this cosmic map, they symbolically transition from the conditioned world into the sanctuary of Avalokitesvara's compassion. The painting thus serves as both a threshold and a teaching, guiding the mind toward integration and clarity.
Spiritually, the Kalachakra cosmos is not static—it is a living system of transformation. Practitioners use its imagery to engage in advanced meditations, aligning breath, energy channels, and awareness with the cycles of the universe. The painting at Lower Wutun Monastery embodies this dynamic vision, offering pilgrims and monks a visual anchor for inner practice. It reminds all who enter that time is not an enemy but a vehicle for awakening, and that the vastness of the cosmos is reflected within the subtle architecture of the mind. In this way, the Kalachakra painting becomes a mandala of possibility, where the path to enlightenment unfolds through the dance of space, time, and compassion.

Panorama of the interior of Avalokitesvara Hall

Maitreya Hall

Entering Maitreya Hall

Maitreya Buddha
Maitreya Buddha, the future Buddha of loving-kindness and universal salvation, is honored in the Maitreya Hall.

This hall is dedicated to the prophecy that Maitreya will descend to earth when the teachings of Shakyamuni have faded, bringing a new era of enlightenment. The statue of Maitreya inside the hall is typically depicted seated in a Western-style posture, with feet resting on the ground, symbolizing his readiness to rise and teach. His serene expression and gentle presence offer a sense of hope and renewal to all who enter.
The hall itself reflects the Regong artistic tradition, with vivid murals and thangkas illustrating scenes from Maitreya's celestial realm and his eventual descent to earth. The statue is often adorned with offerings of butter lamps, silk scarves, and flowers, placed by monks and pilgrims seeking blessings for the future. Surrounding the central figure, one may find smaller depictions of bodhisattvas and protective deities, reinforcing Maitreya's role as a spiritual guardian and beacon of compassion. The architecture and iconography of the hall are designed to inspire reflection on the cyclical nature of time and the promise of spiritual rebirth.
Spiritually, Maitreya Hall serves as a place of aspiration and devotion. Visitors come not only to pay homage but also to contemplate their own path toward kindness, patience, and wisdom—qualities that Maitreya embodies. In the context of Lower Wutun Monastery, where art and practice are deeply intertwined, the presence of Maitreya reinforces the monastery's mission to preserve and transmit the values of Tibetan Buddhism. The hall stands as a reminder that enlightenment is not only a historical event but a living possibility, waiting to be realized in the hearts of future generations.

Six Paramitas
Inside Maitreya Hall, the statue of Maitreya Buddha is surrounded by symbolic representations of the six paramitas—transcendent virtues that guide Mahayana practitioners toward enlightenment.

These paramitas include generosity, discipline, patience, diligence, meditation, and wisdom. Each is personified by attendant figures or visual motifs arranged around Maitreya, reinforcing his role as the future Buddha who will embody and teach these qualities in a new age of Dharma. Their presence in the hall is not merely decorative; they serve as reminders of the inner qualities that must be cultivated on the bodhisattva path.
The arrangement of these paramitas around Maitreya is both artistic and spiritual. Figures representing generosity may hold offerings or treasure vases, while those symbolizing discipline and patience often appear in composed, meditative postures. The paramita of diligence is shown through dynamic movement or ritual implements, and wisdom is often depicted with books or flaming jewels. These figures are rendered in the Regong style, with vivid colors and intricate detailing that reflect the fusion of Tibetan and Chinese artistic traditions. Their placement around Maitreya creates a mandala of virtue, inviting practitioners to reflect on their own spiritual development.
At the top of this sacred composition is the Garuda, a powerful mythic bird that symbolizes fearlessness and the ability to overcome obstacles. With wings outstretched and gaze fixed forward, the Garuda crowns the paramita assembly like a guardian of the path. In tantric symbolism, Garuda is known for subduing serpent energies and clearing the way for spiritual progress. Its position above Maitreya and the paramitas suggests that the journey toward enlightenment requires not only inner virtue but also the courage to confront and transcend adversity. In this way, the Garuda serves as both protector and inspiration, soaring above the hall as a beacon of strength and liberation.