Perched atop the Red Hill in Lhasa at an altitude of 3,700 meters, the Potala
Palace is one of Tibet’s most iconic landmarks—a majestic fusion of spiritual
devotion and political history.
Originally built in the 7th century by King Songtsen Gampo, who introduced
Buddhism to Tibet, the palace was later expanded in the 17th century under the
Fifth Dalai Lama. It became the winter residence of the Dalai Lamas and the
epicenter of Tibetan governance, embodying the union of religious and
administrative authority. Its name, “Potala,” is derived from Mount Potalaka,
the mythical abode of Avalokiteshvara, the bodhisattva of compassion, further
deepening its spiritual resonance.
Architecturally, the Potala Palace is a marvel of Tibetan design, comprising
over 1,000 rooms, including chapels, meditation halls, and tombs of past Dalai
Lamas. The complex is divided into two main sections: the White Palace, which
housed the secular functions and living quarters, and the Red Palace,
dedicated to religious activities and spiritual scholarship. The stark
contrast between the serene white walls and the vibrant red upper structures
reflects the duality of peace and power. Intricate murals, gilded statues, and
sacred texts fill its interiors, narrating centuries of myth, devotion, and
cultural evolution.
Today, the Potala Palace stands not only as a UNESCO World Heritage Site but
also as a symbol of Tibetan identity and resilience. Though no longer a
residence for the Dalai Lama since the political upheavals of the mid-20th
century, it remains a pilgrimage site and a beacon of Tibetan Buddhism.
Visitors from around the world are drawn to its grandeur and the quiet
intensity of its sacred spaces, where history and mysticism converge in stone,
silence, and prayer.
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First glimpse of the Potala Palace
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Potala Palace seen from Potala Square
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Panorama of Potala Palace
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Queue to enter the Potala Palace
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The Potala Palace was inscribed to the UNESCO World Heritage List in
1994
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Potala Palace seen from southeast
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Guide Map in Shol Village of Potala Palace
«Brief Introduction to Shol Village - “Shol” is a Tibetan word referring
to the lower portion of the Potala Palace, particularly to the village
just below the castle itself. Shol Village refers to the general term of
all the buildings located below the Palace. It is in many respects the
main portion of the Potata Palace complex.
The Shol Village stretches roughly 317 meters from east to west, and 170
meters from north to south, covering an area of approximately 50,000
square meters. From 2002 to 2006, the central government invested a
massive amount of money to conserve and protect 22 ancient buildings
there, covering an area of about 33,470 square meters.
The main historical functions of those buildings and their affiliated
constructions were: 1) offices of local Tibetan government and
outbuildings, 2) residences of nobles, lay and monastic officials, 3)
dwellings of lower-rank employees, craftsmen and serfs, and
corresponding service facilities as well.
The Shol Village of the Potala Place is a Patriotism Education Base and
a Demonstration Base of a Comparison Learning Between New and Old Tibet
for young students in the region. It provides the chances for them
carrying out education on patriotism and relevant research. In light of
the functions and the protection and utilization value of the original
buildings, most parts of the ‘complex are open to the public in the
forms of four main kinds of exhibitions: display of original buildings
without making any changes; display of restored heritage; dynamic
display; and, themed exhibitions. In order to make the cultural relics
of the Potala Place come alive, an Exhibition Hall of Potala Palace
Treasures was especially set up. Through the displayed rare treasures,
tourists may feel the historical changes of the cultural relics, and at
the same time get acquainted with the intimate cultural exchanges
between Tibet and the Central Plains of China and the profound influence
they have exerted.»
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Potala Palace seen from Shol Village
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Going up the ramp that gives access to the palace
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Climbing to the Deyang Shar Courtyard
The Deyang Shar
Courtyard, located on the eastern side of the White Palace within the
Potala Palace complex, serves as a vital architectural and cultural
space in Lhasa, Tibet.
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This open courtyard is not merely a passageway—it’s a dynamic zone
where the grandeur of Tibetan architecture meets the pulse of
ceremonial life. Historically, Deyang Shar was the stage for vibrant
public performances such as Tibetan opera and Cham dances, deeply
rooted in Buddhist ritual and folklore. These events transformed the
courtyard into a living canvas of spiritual expression, blending art,
devotion, and communal celebration.
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Architecturally, Deyang Shar offers a striking contrast to the dense
interiors of the palace. Surrounded by towering white walls and
staircases that lead into the administrative and residential quarters
of the White Palace, the courtyard provides a moment of spatial
openness and visual relief. Its design reflects traditional Tibetan
principles of harmony between built space and natural light, allowing
the courtyard to function as both a gathering place and a
contemplative pause. The square also serves as a transitional zone,
guiding visitors from the external world into the more sacred and
restricted areas of the palace.
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Symbolically, Deyang Shar embodies the interweaving of secular and
sacred dimensions within Tibetan culture. It is a place where locals
and pilgrims alike engage with the palace not just as a monument, but
as a living site of cultural exchange. Whether hosting seasonal
festivals or offering a quiet space for reflection, the courtyard
continues to play a role in preserving the intangible heritage of
Tibet. In this way, Deyang Shar is more than stone and space—it is a
threshold between history and presence, ritual and rhythm, inviting
all who enter to witness the enduring spirit of the Potala Palace.
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Panorama of the White Palace
The White Palace, or
Potrang Karpo, forms the foundational heart of the Potala Palace
complex in Lhasa, Tibet.
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Commissioned by the Fifth Dalai Lama in 1645, its construction marked
the beginning of a new era of centralized Tibetan governance under the
Ganden Phodrang administration. Built in just three years by thousands
of workers on the steep slopes of Red Hill, the White Palace was a
monumental feat of architecture and coordination—completed without
formal blueprints and reportedly without a single injury. It served as
the secular residence of the Dalai Lamas, housing their living
quarters, offices, and administrative chambers, making it the
political nucleus of Tibet for centuries.
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Architecturally, the White Palace is a striking example of Tibetan
design, with its stark white facade symbolizing purity and peace. It
spans multiple levels and includes the Dalai Lama’s private
apartments, audience halls, and government offices. The palace’s
layout reflects a careful balance between functionality and symbolism:
wide corridors and interconnected rooms facilitate movement and
governance, while the color palette and spatial orientation align with
Buddhist cosmology and ritual practice. The palace also contains
storerooms, kitchens, and courtyards, all designed to support the
daily life and ceremonial duties of the Dalai Lama and his retinue.
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Though no longer inhabited by the Dalai Lama since his exile in 1959,
the White Palace remains a powerful symbol of Tibetan identity and
resilience. It continues to attract pilgrims and visitors who seek to
connect with the spiritual and historical legacy embedded in its
walls. As part of the larger Potala complex, now a UNESCO World
Heritage Site, the White Palace stands as a testament to the fusion of
sacred and secular power in Tibetan culture—a place where governance
was once inseparable from spiritual authority, and where architecture
itself became a vessel for cultural continuity.
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Virupaksa, the Heavenly King of the West
Virupaksa, the
Heavenly King of the West, is one of the Four Great Kings who guard the
cardinal directions in Buddhist cosmology.
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Known in Tibetan as Chen Mi Zang, he is traditionally associated with
protection, vigilance, and the safeguarding of the Dharma. His domain
is the western slope of Mount Meru, and he is often depicted with a
red complexion, symbolizing his fiery resolve and transformative
power. As the King of the Nagas—serpent-like beings linked to water
and hidden wisdom—Virupaksa carries a stupa and a snake as his primary
attributes, representing spiritual authority and the guardianship of
sacred knowledge.
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At the entrance to the Potala Palace in Lhasa, Virupaksa appears as
part of a mural ensemble featuring the Four Guardian Kings. These
figures are painted on the outer walls, just before one enters the
sacred interior, serving as threshold guardians who ward off negative
influences. Virupaksa’s image is rendered in bold colors and stylized
iconography, often with wide, penetrating eyes and a commanding
posture. His presence at the palace gate is not merely decorative—it
reflects the ancient belief that worldly deities must remain outside
the temple proper, guarding its perimeter and ensuring that only
purity and reverence cross the threshold.
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The mural of Virupaksa at the Potala is a powerful fusion of art and
metaphysical intent. It situates him within a visual mandala of
protection, where each king anchors a direction and a spiritual
quality. His red hue, serpent companion, and stupa evoke both the
elemental and the transcendent, reminding visitors that the path
inward—toward the palace and toward awakening—is shielded by forces
that are both fierce and benevolent. In this way, Virupaksa’s painting
is not just an image but a ritual boundary, a guardian of the liminal
space between the worldly and the sacred.
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Photographs by Gerd Eichmann and Annemarie, distributed under a CC-BY
4.0 and 2.0 licenses.
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Dhrtarastra, the Heavenly King of the East
Dhrtarastra, the
Heavenly King of the East, is one of the Four Guardian Kings who protect
the cardinal directions in Buddhist cosmology.
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His name means “Upholder of the Nation,” and he is traditionally
associated with music, harmony, and vigilance. As the protector of the
eastern quadrant of Mount Meru, he commands an army of celestial
musicians and is often depicted holding a lute—symbolizing the power
of sound to maintain cosmic order and dispel discord. In Tibetan
Buddhism, he is known as Yul khor srung, and his role extends beyond
mere defense: he embodies the principle of attentive guardianship,
ensuring that the Dharma flourishes in peace.
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At the entrance to the Potala Palace in Lhasa, Dhrtarastra is painted
alongside the other three Guardian Kings, forming a protective mandala
around the sacred space. His image is typically placed on the eastern
wall of the entryway, greeting visitors with a stern yet serene
expression. The painting is rich in color and symbolism: Dhrtarastra
is shown in full armor, holding his lute with poised authority,
surrounded by swirling motifs that evoke movement and sound. His gaze
is penetrating, designed to ward off spiritual impurities and remind
those entering the palace of the sanctity within. These murals are not
merely decorative—they serve as ritual boundaries, marking the
transition from the worldly to the sacred.
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The presence of Dhrtarastra at the Potala’s threshold reflects the
Tibetan understanding of space as spiritually charged and ritually
protected. His painting is a visual invocation of vigilance and
harmony, reminding pilgrims and visitors that the path to
enlightenment begins with awareness and discipline. In this way,
Dhrtarastra’s image is both guardian and guide—a figure who stands
watch over the eastern gate, ensuring that those who enter do so with
reverence, and that the teachings within remain undisturbed by chaos
or distraction.
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Photographs by Gerd Eichmann, Hiroki Ogawa and Annemarie, distributed
under a CC-BY 4.0, 3.0 and 2.0 licenses.
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Vaisravana, the Heavenly King of the North
Vaisravana, the
Heavenly King of the North, is one of the Four Guardian Kings who
protect the cardinal directions in Buddhist cosmology.
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Known in Tibetan as Namthose, he is revered as both a protector and a
benefactor, embodying the qualities of wealth, vigilance, and
righteous warfare. His origins trace back to the Hindu deity Kubera,
and in Buddhist tradition, he rules over the northern slope of Mount
Meru, commanding an army of yakshas—spirits associated with abundance
and protection. Vaisravana is often depicted wearing armor, holding a
banner of victory and a mongoose that spits jewels, symbolizing his
role as a guardian of prosperity and the Dharma.
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At the entrance to the Potala Palace in Lhasa, Vaisravana is painted
alongside the other three Guardian Kings, forming a protective mandala
around the sacred space. His image is typically placed on the northern
wall of the entryway, confronting visitors with a fierce yet regal
presence. The mural shows him in full battle attire, often with a
golden complexion, standing firm with his banner raised and his
mongoose in hand. The vivid colors and dynamic posture are designed to
evoke both awe and reassurance—he is a warrior who defends the
spiritual sanctity of the palace and repels malevolent forces. These
entrance paintings are not merely decorative; they serve as ritual
guardians, marking the threshold between the profane world and the
sacred interior.
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Symbolically, Vaisravana’s presence at the Potala’s gate reflects the
Tibetan understanding of space as spiritually charged and ritually
protected. His painting is a visual invocation of strength,
generosity, and unwavering vigilance. For pilgrims and visitors,
passing beneath his gaze is a moment of spiritual alignment—a reminder
that the journey inward requires both reverence and resolve. In this
way, Vaisravana’s image is not just a guardian of direction but a
guardian of intention, standing watch over the northern gate and the
deeper truths that lie within.
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Photograph by Gerd Eichmann, distributed under a CC-BY 4.0 license.
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Virudhaka, the Heavenly King of the South
Virudhaka, the
Southern Heavenly King, is one of the Four Guardian Kings who protect
the cardinal directions in Buddhist cosmology.
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His name means “Increase” or “Growth,” and he is traditionally
associated with the southern continent of Jambudvipa. As a fierce
protector of the Dharma, Virudhaka commands legions of kumbhanda
spirits—formidable beings who help maintain cosmic order and repel
spiritual threats. He is often depicted wielding a sword, symbolizing
his role in cutting through ignorance and defending the teachings of
the Buddha with decisive clarity.
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At the entrance to the Potala Palace in Lhasa, Virudhaka is painted
alongside the other three Guardian Kings, forming a sacred perimeter
around the palace’s threshold. His image typically occupies the
southern wall of the entryway, confronting visitors with a commanding
presence. In traditional Tibetan iconography, Virudhaka is shown with
a blue face, clad in armor, and holding his sword upright in a gesture
of vigilance. His eyes are wide and penetrating, and he is often
flanked by demonic attendants—figures with serpents, banners, or
dragons—who amplify his protective force. These murals are not merely
artistic; they serve as ritual guardians, ensuring that only those
with pure intentions may enter the sacred space.
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Symbolically, Virudhaka’s painting at the Potala entrance represents
the principle of spiritual growth through disciplined protection. His
sword is not just a weapon—it is a tool of transformation, severing
delusion and fostering inner clarity. As pilgrims and visitors pass
beneath his gaze, they are reminded that the path to enlightenment
requires both courage and discernment. In this way, Virudhaka’s image
is more than a guardian—it is a threshold figure, standing between the
mundane and the sacred, inviting all who enter to do so with reverence
and resolve.
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Photograph by Hiroki Ogawa, distributed under a CC-BY 3.0 license.
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Entrance door surmounted by seven white lions
In Vajrayana
Buddhism, the entrance door to a temple or monastery is far more than a
physical threshold—it is a symbolic gateway between the profane and the
sacred, the outer world and the inner path of awakening.
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Crossing this boundary marks the beginning of a spiritual journey,
where the practitioner leaves behind worldly distractions and enters a
space consecrated for transformation. The door itself is often richly
adorned with protective deities, auspicious symbols, and ritual
motifs, each serving to purify the mind and prepare the heart. It is a
liminal space, echoing the tantric principle that enlightenment arises
through the union of opposites—form and emptiness, method and wisdom.
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Above the entrance to the Potala Palace in Lhasa, Tibet, one finds a
striking motif: seven white lions surmounting the doorway. These lions
are not merely decorative—they are deeply symbolic guardians. In
Tibetan iconography, the snow lion represents fearlessness, purity,
and the boundless joy of the awakened mind. To place seven of them
above the entrance is to invoke a complete and radiant protection,
with the number seven often symbolizing wholeness and cosmic order.
These lions are said to roar with the sound of Dharma, dispelling
ignorance and announcing the presence of sacred truth. Their placement
above the door signals that the space within is guarded by the forces
of enlightened courage and clarity.
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Specifically at the Potala Palace, the seven white lions serve as a
visual proclamation of the palace’s dual nature: both a seat of
temporal power and a sanctuary of spiritual authority. They remind all
who enter that this is not merely a building, but a mandala in stone—a
place where the energies of compassion, wisdom, and protection
converge. The lions’ elevated position also reflects their celestial
role, watching over the palace from above like sentinels of the higher
realms. For pilgrims and visitors alike, passing beneath their gaze is
an act of reverence, a silent acknowledgment that one is stepping into
a space where the ordinary dissolves and the sacred begins.
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Photograph by Gerd Eichmann, distributed under a CC-BY 4.0 license.
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Palace corridors
- Photographs by LBM1948, distributed under a CC-BY 4.0 license.
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Closed palace doors
- Photographs by LBM1948, distributed under a CC-BY 4.0 license.
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Siddhartha Gautama performing the Dharmachakra mudra
Siddhartha Gautama, the historical Buddha, is often depicted
performing the Dharmachakra mudra, a hand gesture that symbolizes
the turning of the Wheel of Dharma—the moment he first taught the Four
Noble Truths and the Eightfold Path at Deer Park in Sarnath.
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This mudra is formed by joining the tips of the thumb and index finger
of both hands to create two circles, while the remaining fingers
extend outward. The gesture represents the continuous cycle of
teaching and realization, and it marks the beginning of the Buddha's
role as a spiritual guide. It is one of the most revered mudras in
Mahayana and Vajrayana iconography, signifying wisdom in action.
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Within the Potala Palace in Lhasa, Tibet, the Dharmachakra mudra
appears in several sacred murals and statues, most notably in the Red
Palace's chapels dedicated to the transmission of Buddhist teachings.
One prominent depiction shows the Buddha seated in the lotus position,
his hands raised before his heart in the Dharmachakra gesture,
surrounded by celestial beings and disciples. The artistry is rich in
gold and deep reds, with intricate detailing that reflects both the
cosmic significance of the mudra and the Tibetan reverence for the
moment of awakening through teaching. This image is not merely
decorative—it serves as a visual invocation of the Dharma itself,
inviting viewers into a contemplative relationship with the teachings.
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Symbolically, the Dharmachakra mudra in the Potala Palace embodies the
palace’s deeper spiritual mission: to be a center of wisdom,
transmission, and awakening. The gesture, placed at the heart of the
Buddha’s body, aligns with the tantric understanding of the heart as
the seat of compassion and insight. In the context of the Potala—a
structure that once housed the Dalai Lamas as both spiritual and
temporal leaders—the mudra reinforces the palace’s role as a living
mandala, where governance and enlightenment are intertwined. To
witness this depiction is to stand before the echo of the Buddha’s
first sermon, carried across centuries and carved into the very stones
of Tibet’s sacred mountain.
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Photograph by Andrew and Annemarie, distributed under a CC-BY 2.0
license.
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Former chambers of the Dalai Lama within the palace
The
former chambers of the Dalai Lama within the White Palace of the Potala
are among the most poignant spaces in Tibetan architecture.
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Once the living quarters of the spiritual and temporal leader of
Tibet, these rooms are now preserved in silence, their furnishings
intact but untouched. The chambers include the Dalai Lama’s bedroom,
study, and audience hall, each filled with relics of daily life and
ritual practice—books, thangkas, incense burners, and ceremonial
objects. Yet despite their ornate beauty, the atmosphere is marked by
absence. Since the 14th Dalai Lama fled to India in 1959 following the
Tibetan uprising, these rooms have remained unoccupied, frozen in time
as a testament to a leadership in exile.
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At the heart of these chambers lies the throne room, where a striking
symbol of absence quietly speaks volumes: an empty monastic robe
draped over the throne. This simple yet powerful gesture evokes the
presence of the Dalai Lama without his physical form, a visual
metaphor for his continued spiritual authority despite political
displacement. In Tibetan tradition, the throne is not merely a seat—it
is a sacred locus of lineage and transmission. The robe, placed with
reverence, transforms the throne into a symbol of continuity,
suggesting that the Dalai Lama’s teachings and compassion still
permeate the space, even if his body does not.
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This symbolic emptiness resonates deeply within the broader context of
Tibetan Buddhism and its understanding of impermanence and
non-attachment. The robe on the throne becomes a silent invocation of
memory, resilience, and hope—a reminder that the Dharma transcends
borders and that spiritual leadership is not confined to geography.
For pilgrims and visitors, the chambers offer more than historical
insight; they invite reflection on exile, devotion, and the enduring
presence of compassion in the face of absence. In the stillness of
these rooms, the Potala whispers the story of a people whose spiritual
heart continues to beat beyond its walls.
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Photograph by Luca Galuzzi, distributed under a CC-BY 2.5 license.
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Tibetan King Srongtsong Gampo and his wives, Princess Bhrikuti of
Nepal (viewer's left) and Princess Wencheng of China (viewer's
right)
Within the sacred halls of the Potala Palace in Lhasa, a deeply
symbolic triad of statues honors King Srongtsong Gampo and his two
legendary consorts—Princess Bhrikuti of Nepal and Princess Wencheng of
China.
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These three figures are enshrined together to commemorate the
spiritual and diplomatic foundations of Tibetan Buddhism. Srongtsong
Gampo, the 7th-century monarch credited with introducing Buddhism to
Tibet, sits at the center, regal and composed, embodying the union of
temporal power and spiritual awakening. His presence anchors the
tableau, representing the visionary ruler whose alliances and reforms
shaped Tibet’s religious destiny.
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To the viewer’s left stands Princess Bhrikuti, the Nepalese bride,
revered as an incarnation of Green Tara. She is depicted with serene
dignity, often holding a lotus or a scripture, symbolizing compassion
and the transmission of Buddhist teachings from Nepal. Bhrikuti is
credited with bringing sacred images and Newar artisans to Tibet,
influencing the development of Tibetan Buddhist art and architecture.
Her statue reflects the grace and wisdom she is believed to have
embodied, and her placement beside the king signifies her foundational
role in the spiritual transformation of the Tibetan court.
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On the viewer’s right is Princess Wencheng of the Tang dynasty,
honored as an emanation of White Tara. Her statue typically shows her
adorned in Chinese court attire, holding ritual implements or a
mirror, symbolizing clarity and cultural refinement. Wencheng’s
arrival in Tibet marked a historic alliance between China and Tibet,
and she is said to have brought Buddhist scriptures, sacred relics,
and astronomical knowledge. Together, the three statues form a visual
mandala of harmony—political, cultural, and spiritual—where the
convergence of Nepalese, Chinese, and Tibetan traditions is enshrined
in reverent stillness, echoing the legacy of a king whose reign
bridged worlds.
- Photograph by Ernst Stavro Blofeld, in the public domain.
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Red Palace
The Red Palace, or Potrang Marpo, forms
the spiritual core of the Potala Palace in Lhasa, Tibet.
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Rising above the White Palace, it was constructed in the 17th century
under the Fifth Dalai Lama to enshrine the sacred dimension of Tibetan
governance. Unlike the White Palace, which served secular and
administrative functions, the Red Palace is entirely devoted to
religious practice and commemoration. It houses the stupas—ornate
chorten structures—containing the embalmed remains of past Dalai
Lamas, each encased in gold and adorned with precious stones,
reflecting their revered status within Tibetan Buddhism.
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Architecturally, the Red Palace is a labyrinth of chapels, shrines,
and meditation halls, each rich with iconography and ritual
significance. Its walls are painted in deep crimson, symbolizing
power, transformation, and spiritual intensity. Inside, visitors
encounter thousands of murals depicting Buddhist cosmology, historical
events, and tantric deities, alongside statues of Buddhas,
bodhisattvas, and lineage masters. Among its most sacred spaces is the
Great West Hall, which contains the stupa of the Fifth Dalai Lama and
is considered one of the most elaborately decorated chambers in the
entire complex.
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Beyond its physical grandeur, the Red Palace serves as a living
mandala—a three-dimensional representation of the Buddhist universe.
It embodies the mind aspect of the Buddha in the palace’s symbolic
triad (body, speech, and mind), with its layout and ornamentation
designed to guide practitioners through stages of spiritual
realization. Even today, though the Dalai Lama no longer resides in
the Potala, the Red Palace remains a site of pilgrimage and devotion,
preserving the esoteric heart of Tibetan Buddhism and radiating the
legacy of centuries of spiritual leadership.
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Starting to descend towards the exit
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Lungmar Lake
The lake in the garden behind the Potala Palace
is called Lungmar Lake, also known as Longwang Lake or
Dzong Gya Lukhang in Tibetan.
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This serene body of water is part of the Lungmar Lake Park, a
tranquil retreat nestled just behind the palace, offering stunning
reflections of its white-and-red façade on the water’s surface.
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Historically, the lake and its surrounding garden were reserved for
the Dalai Lamas and select monks, serving as a private sanctuary for
meditation and ritual. The name Lukhang translates to “Temple
of the Naga Deity,” referencing the spiritual beings believed to dwell
in water, and the site includes a pavilion dedicated to these deities.
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Today, Lungmar Lake Park is open to the public and cherished by locals
and visitors alike. It’s a place where prayer flags flutter, willow
trees sway, and the spiritual heartbeat of Lhasa can be felt in every
ripple of the water.
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Panorama of Potala Palace seen from west
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Continuing down towards the exit
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Panorama of the north side of the Potala Palace
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Offerings of yak horns to the mountain spirit
In the Tibetan
worldview, mountains are not merely geological formations but living
presences—abodes of deities, spirits, and ancestral forces.
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This reverence predates Buddhism, rooted in the Bon tradition, and
continues through Tibetan Buddhism, where mountains are often linked
to specific protectors or manifestations of enlightened beings.
Pilgrims approach these peaks not as tourists but as supplicants,
recognizing the mountain’s intrinsic sanctity. The mountain is already
holy—its cliffs, ridges, and summits are charged with presence.
Rituals, prayers, and offerings are directed not to make the mountain
sacred, but to acknowledge and sustain its spiritual potency.
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Among the most striking of these offerings are yak horns, placed at
the foot of cliffs or along sacred paths. These horns are not
decorative—they are vows, tokens of devotion, and symbolic sacrifices.
The act of leaving a horn is a gesture of recognition: the pilgrim
acknowledges the mountain’s spirit and offers something of value in
return. This reinforces the sacredness of the site, not by adding to
it, but by echoing it. The mountain calls forth the offering; the
offering affirms the mountain. In this way, the landscape becomes a
living altar, sustained by the faith of those who walk its paths.
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Marpo Ri, the Red Mountain in Lhasa, is one such sacred site. Long
before the Potala Palace crowned its summit, the mountain was revered
as a seat of spiritual power, associated with Avalokitesvara and the
early kings of Tibet. Its sanctity is not derived from architecture
but from presence—from the mountain itself. At its base, pilgrims
leave yak horns near a rock face bearing the image of a Buddhist
figure. This act is not one of consecration but of recognition: the
mountain is already sacred. The horns, weathered and sun-bleached, are
quiet affirmations of devotion, anchoring the invisible in the
visible, and sustaining the holiness of Marpo Ri through the rhythm of
offering.
- Photographs by Gary Todd, in the public domain.
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