Samye Monastery, nestled in the Yarlung Valley south of Lhasa, holds the
distinction of being the first Buddhist monastery established in Tibet.
Founded in the late 8th century during the reign of King Trisong Detsen, its
creation marked a transformative moment in Tibetan history. The Indian abbot
Śāntarakṣita initiated its construction around 763 CE, and the tantric master
Padmasambhava was later invited to subdue local spirits and ensure the
monastery’s spiritual integrity. By 779, the first Tibetan monks were ordained
at Samye, solidifying its role as the birthplace of Tibetan monastic Buddhism.
Architecturally, Samye is a marvel of symbolic design. Its layout is modeled
as a three-dimensional mandala representing the Buddhist cosmos, with the
central temple symbolizing Mount Meru and surrounding structures representing
the continents. The main temple features three stories, each built in a
distinct style—Indian, Chinese, and Tibetan—reflecting the international
breadth of the Tibetan Empire's spiritual and cultural influences. Inspired by
the Indian Odantapuri Monastery, Samye’s design embodies both aesthetic beauty
and metaphysical depth, creating a sacred space conducive to meditation and
ritual practice.
Beyond its architectural and historical significance, Samye Monastery became a
vibrant center for Buddhist learning and debate. It was the site of the famous
philosophical contest between Kamalaśīla, representing Indian gradualist
thought, and the Chinese master Mohoyen, who advocated sudden enlightenment.
This debate helped shape the trajectory of Tibetan Buddhism, favoring the
Indian scholastic tradition. Though damaged during the Cultural Revolution,
Samye was rebuilt after 1988 and continues to serve as a vital spiritual hub,
preserving centuries of Tibetan religious heritage.
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Panorama of the main entrance to the monastery
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Entering through the main gate
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Panorama of the courtyard after the entrance gate
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Panorama of the main courtyard seen from the entrance gate
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Panorama of the main courtyard seen from the meeting hall
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Two ovens for wood and aromatic herbs and three flagpoles
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Virupaksa, the Heavenly King of the West (left) and Virudhaka, the
Heavenly King of the South (right)
Virupaksa and Virudhaka are two of the Four Heavenly Kings,
fierce guardians who protect the Dharma and the cardinal directions in
Buddhist cosmology.
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Virupaksa, the King of the West, is known for his penetrating vision
and is often associated with serpents or dragons, symbolizing his
ability to perceive hidden threats. He watches over the western
continent and is linked to the element of water. Virudhaka, the King
of the South, wields a sword and is charged with defending the
southern realm. His sword represents the cutting away of ignorance and
the protection of sacred teachings. These kings are revered across
Buddhist cultures and are commonly placed at temple entrances to guard
the threshold between the mundane and the sacred.
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At Samye Monastery in Tibet—the first Buddhist monastery built in the
region—the Four Heavenly Kings stand as sentinels at the entrance
gate. Samye is designed as a mandala, a cosmic diagram, and the
placement of these guardians reflects their role in maintaining
spiritual order. Virudhaka and Virupaksa are positioned with
commanding presence: Virudhaka with his sword raised in defense, and
Virupaksa with his gaze scanning for subtle dangers. Their statues are
not merely symbolic; they are considered active protectors, invoked in
ritual and meditation to safeguard the monastery and its practitioners
from spiritual harm.
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The figures at Samye are rendered with dramatic expression and
intricate detail, combining Indian, Chinese, and Tibetan artistic
styles. Their armor, robes, and postures evoke both awe and reverence,
reminding visitors of the gravity of the space they are entering.
Pilgrims pass beneath their gaze as they cross into the sacred
precinct, a moment of transition marked by the presence of cosmic
guardians. In Tibetan ritual consciousness, these kings are not
distant mythic beings but living forces—embodied reminders that the
path of Dharma is protected, but also demands vigilance and purity of
intent.
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Dhrtarastra, the Heavenly King of the East (left) and Vaisravana, the
Heavenly King of the North (right)
Dhrtarastra and Vaisravana are the other two of the Four Heavenly
Kings, fierce guardians who protect the Dharma and the cardinal
directions in Buddhist cosmology.
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Dhrtarastra, the Heavenly King of the East, is the guardian of music
and harmony. He is often depicted holding a stringed instrument,
symbolizing his role in maintaining cosmic balance through sound. As
protector of the eastern realm, he commands a host of
gandharvas—celestial musicians—who serve the Dharma through their
melodies. His presence is serene yet vigilant, embodying the principle
that spiritual order is upheld not only by force but by resonance and
rhythm. Vaisravana, the Heavenly King of the North, is the most
prominent of the four kings. He is the guardian of wealth and
prosperity, often shown holding a banner of victory and a
jewel-spitting mongoose. As ruler of the northern realm and leader of
the yakshas, he is revered for his generosity and his unwavering
defense of the Dharma.
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At Samye Monastery in Tibet, Dhrtarastra and Vaisravana stand at the
entrance gate alongside their fellow kings, forming a sacred
quadrangle of protection. Dhrtarastra is positioned to the left as one
enters, his gaze calm and his instrument poised, reminding pilgrims
that the path of awakening begins with inner harmony. Vaisravana
stands to the right, his posture commanding and his symbols of
abundance radiating strength. These statues are not passive
guardians—they are embodiments of living forces, invoked in ritual and
meditation to shield the monastery from spiritual and worldly harm.
Their placement at the threshold marks the passage into a consecrated
space, where the Dharma is preserved and practiced under their
watchful eyes.
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The figures at Samye are rendered with vivid detail and expressive
power, blending Indian, Chinese, and Tibetan artistic influences.
Dhrtarastra’s robes flow with quiet elegance, while Vaisravana’s armor
gleams with regal authority. Their presence is both symbolic and
functional: they guard the gate, but they also remind visitors of the
qualities needed to enter—harmony, generosity, vigilance, and
devotion. In Tibetan ritual consciousness, these kings are not distant
deities but active protectors, woven into the daily life of the
monastery. Passing beneath their gaze is a moment of reverence, a
silent acknowledgment that the journey inward begins with the
guardians of the outer world.
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Panorama of the monastery's inner courtyard
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Panorama of wrathful protectors painted on the entrance wall
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Monks sitting against the walls
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Panorama of the cloister around the assembly hall with paintings and
prayer wheels
Prayer wheels in Vajrayana Buddhism are profound ritual
implements designed to embody and activate the power of mantra.
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Each wheel contains thousands—sometimes millions—of repetitions of
sacred texts, most commonly the mantra Om mani padme hum,
associated with Avalokiteshvara, the bodhisattva of compassion.
Spinning the wheel clockwise is considered equivalent to reciting all
the mantras within, generating vast merit, purifying karma, and
invoking blessings. The wheel itself becomes a living field of
practice, a physical manifestation of the Dharma in motion. It is said
that turning a prayer wheel once can be more beneficial than years of
solitary retreat, especially when done with sincere intention and
mindfulness.
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At Samye Monastery, the prayer wheels surrounding the assembly hall
form a sacred perimeter—a mandala of motion and mantra. As pilgrims
and monks walk clockwise around the hall, they spin each wheel in
rhythm, creating a continuous stream of prayer that encircles the
heart of the monastery. These wheels are often inscribed with golden
mantras and filled with printed scrolls of scripture, transforming the
act of walking into a meditative ritual. The placement of the wheels
around the assembly hall is deeply symbolic: they protect the sacred
space, amplify the prayers offered within, and invite all who pass to
participate in the flow of compassion and wisdom. In this way, the
architecture of Samye itself becomes a living practice.
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Spiritually, the prayer wheels at Samye serve as a bridge between the
visible and invisible realms. They allow even those who cannot read or
recite to engage with the teachings, democratizing access to spiritual
merit. The act of spinning is both simple and profound—it requires no
words, yet it carries the full weight of devotion. In the context of
Samye, where Buddhism first took root in Tibet, these wheels are more
than ritual tools; they are echoes of the original transmission,
turning still with the breath of centuries. Each rotation is a gesture
of continuity, a reminder that the Dharma is not static but alive,
moving, and accessible to all who walk the path.
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Padmasambhava's Heavenly Palace
This mural of
Padmasambhava's Heavenly Palace, known as the Lotus of Light (Pema O),
is a profound visual embodiment of Tibetan Buddhist cosmology,
especially within the Nyingma tradition.
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At its center stands Padmasambhava himself, seated in majestic
stillness within a multi-tiered palace that radiates divine
architecture. He appears in his form as Pema Jungne, the Lotus-Born,
surrounded by luminous dakinis and wisdom beings. The palace is not
merely symbolic—it is his pure field, a realm of awakened presence
where enlightened activity unfolds. This central image anchors the
entire composition, reminding viewers of Padmasambhava's role as the
tantric master who secured Buddhism's foundation in Tibet.
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Encircling the palace is a mandala of light, often rendered as a
rainbow ring or circular aura, signifying the purity and completeness
of this awakened realm. The palace itself rises from a lotus flower,
echoing Padmasambhava's miraculous birth from a lotus in Lake
Dhanakosha. Above and around the palace float clouds, mountains, and
celestial landscapes, situating the scene in a transcendent dimension
beyond ordinary perception. At the base of the mural, more earthly
elements may appear—such as depictions of Samye Monastery nestled in
the valley—bridging the heavenly vision with its historical
manifestation. This layering of realms reflects the tantric view that
sacred space is both visionary and grounded.
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Scattered throughout the mural are the Eight Manifestations of
Padmasambhava, each shown in distinct attire and posture, representing
his various activities: as monk, prince, yogi, wrathful subduer, and
more. These forms are often placed on clouds or within smaller
shrines, each radiating their own aura of power and compassion.
Surrounding them are celestial attendants—gods, lamas,
dakinis—offering homage and bearing ritual implements. King Trisong
Detsen, who invited Padmasambhava to Tibet, may also be depicted,
linking the visionary realm to historical lineage. The mural, hanging
within Samye itself, is not just art—it is a living map of Tibetan
Buddhist history, devotion, and cosmology, a gateway into the sacred
memory of the Dharma's arrival in Tibet.
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King Trisong Detsen
This scene, painted on the cloister wall
of Samye Monastery, likely depicts King Trisong Detsen, the royal
patron of Tibetan Buddhism and the founder of Samye itself.
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The very tall figure, distinguished by his stature, veiled robe, and
the ceremonial parasol held above him, is portrayed in a manner that
emphasizes his spiritual and historical importance. His uncovered
right shoulder and the gesture of giving (possibly the
varada mudra) suggest both humility and generosity—qualities
central to his role in establishing the Dharma in Tibet.
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The parasol above his head is a traditional symbol of
royalty and spiritual protection, often reserved for
enlightened beings or sovereigns who act as protectors of the Dharma.
The richly decorated robe and the reverent posture of his companions
reinforce his elevated status—not merely as a king, but as a
Dharmaraja, a ruler who upholds and spreads the teachings of
the Buddha. His gesture of giving may represent his offering of
patronage, land, and support for the construction of Samye Monastery,
as well as his symbolic offering of Tibet to the Dharma.
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This mural likely commemorates a pivotal moment in Tibetan Buddhist
history: the arrival of Padmasambhava, Shantarakshita,
and the founding of Samye in the 8th century. By depicting King
Trisong Detsen in such a prominent and spiritually resonant way, the
painting honors his role as the bridge between worldly power and
spiritual awakening. It is not just a historical scene—it is a visual
invocation of gratitude, lineage, and the sacred origins of Tibetan
Vajrayana Buddhism.
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Snowy mountain peaks with snow lions
In Vajrayana Buddhism,
snow-capped mountain peaks represent the purity, elevation, and
transcendence of awakened mind.
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These peaks are not merely geographical—they are symbolic summits of
realization, untouched by worldly defilements. Rising above the
clouds, they evoke the clarity and vastness of the Dharmakaya, the
ultimate truth body of the Buddha. In Tibetan art, such mountains
often serve as the backdrop for divine realms, thrones of deities, or
sacred events, anchoring the spiritual landscape in a vision of
pristine awareness. Their whiteness suggests not only purity but also
the luminous nature of emptiness—radiant, spacious, and free.
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Among these peaks, the snow lion appears as a guardian and embodiment
of fearless joy. With its cloud-white body and turquoise mane, the
snow lion is one of the Four Dignities in Tibetan symbolism,
representing vitality, purity, and the boundless energy of the
awakened state. Unlike earthly lions, the snow lion leaps effortlessly
across the highest mountains without touching the ground, symbolizing
liberation from samsara and the playful freedom of enlightened
activity. Its roar is said to express the sound of emptiness itself—a
sonic manifestation of ultimate truth. In thangka paintings and
murals, snow lions often flank thrones of Buddhas or bodhisattvas,
signaling both protection and the exalted nature of the teachings.
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At Samye Monastery, the cloister surrounding the assembly hall is
adorned with images of snow-capped peaks and snow lions, weaving
together the sacred geography of Tibet with the visionary cosmology of
Vajrayana. These paintings do more than decorate—they consecrate the
space, transforming the cloister into a mandala of protection and
inspiration. As monks and pilgrims walk the perimeter, they are
enveloped by symbols of elevation and joy, reminded that the path of
Dharma is both rigorous and radiant. The snow lions, poised on the
peaks, serve as silent companions, urging practitioners to leap beyond
limitation and embody the fearless purity of the awakened heart.
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Buddha flanked by two dragons
In Vajrayana Buddhism, the
image of Buddha flanked by two dragons is a powerful symbol of awakened
mastery over elemental and spiritual forces.
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Dragons in Tibetan tradition are not malevolent creatures but
celestial beings associated with clarity, protection, and the dynamic
energy of enlightened speech. When placed beside the Buddha, they
represent the fierce guardianship of the Dharma and the thunderous
proclamation of truth. Their presence amplifies the Buddha’s voice,
suggesting that his teachings reverberate across all realms—seen and
unseen—with unstoppable force. The dragons’ coiling forms and open
mouths evoke both awe and vitality, reminding practitioners that
enlightenment is not passive but radiant and active.
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In the cloister surrounding the assembly hall at Samye Monastery,
murals of the Buddha with dragons serve as visual mantras—silent yet
potent invocations of spiritual power. Samye, being the first
monastery in Tibet and a mandala of cosmic order, uses such imagery to
consecrate its space and guide the mind of the viewer. The dragons
here are often painted with vibrant colors and flowing forms, emerging
from clouds or flames, their bodies curving protectively around the
Buddha. This composition reflects the union of serenity and dynamism:
the Buddha seated in perfect stillness, while the dragons embody the
swirling energies of transformation and protection. Together, they
form a sacred triad—wisdom, speech, and elemental force—anchoring the
viewer in both reverence and empowerment.
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Spiritually, these dragons are linked to the element of water and the
sky, often associated with the naga spirits and the hidden treasures
of the Dharma. In Tibetan lore, Padmasambhava entrusted many teachings
to the nagas and elemental beings, to be revealed when the time was
right. The dragons flanking the Buddha may thus symbolize the
guardians of these hidden teachings, as well as the protectors of
sacred vows and transmissions. At Samye, their depiction is not merely
decorative—it is a living reminder that the Dharma is vast,
mysterious, and fiercely protected. The dragons do not threaten—they
awaken. They call the practitioner to rise, to listen, and to embody
the fearless clarity of the Buddha’s path.
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Dakinis on clouds with the Eight Elements of Offering
In
Vajrayana Buddhism, Dakinis—known as "sky-goers" or "sky-dancers"—are
embodiments of enlightened feminine energy, wisdom in motion, and
fearless transformation.
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When depicted on clouds, they symbolize their transcendence of earthly
limitations and their role as messengers between realms. Their
presence in sacred art is never passive; they are dynamic, radiant,
and often shown in dance or flight, expressing the spontaneous freedom
of awakened awareness. In murals, especially those surrounding sacred
spaces like Samye Monastery, Dakinis on clouds serve as guardians and
guides, inviting practitioners to rise above conceptual thought and
enter the mandala of direct experience.
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The Eight Elements of Offering—water for drinking, water for washing,
flowers, incense, light, perfume, food, and music—are traditional
offerings made to Buddhas and bodhisattvas, each representing a
refined aspect of devotion and purification. When Dakinis are shown
presenting these offerings, the scene becomes a living ritual. It is
not just symbolic—it is a visual enactment of the sacred exchange
between practitioner and deity. The Dakinis, floating on clouds, offer
these elements with grace and power, reminding viewers that offerings
are not mere objects but expressions of inner transformation. Each
element corresponds to a purification of one of the senses, and the
Dakinis embody the wisdom that transforms ordinary perception into
sacred awareness.
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At Samye Monastery, the cloister murals surrounding the assembly hall
are rich with these depictions. The Dakinis appear in vibrant colors,
often in flowing motion, bearing the Eight Offerings toward central
figures of enlightenment. Their placement in the cloister is deeply
intentional: as practitioners circumambulate the hall, they are
enveloped by this celestial procession, invited to participate in the
ritual through presence and intention. The Dakinis on clouds are not
distant mythic beings—they are living energies, reminders that the
path of Vajrayana is both grounded in devotion and lifted by wisdom.
Their offerings are not just for the Buddhas—they are for the
awakening of all who walk beneath their gaze.
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Buddha with Garuda hovering over his head
In Vajrayana
Buddhism, the image of Buddha with Garuda hovering above his head is a
potent symbol of transcendence, wisdom, and the fearless flight of
realization.
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Garuda, the mythical bird king, is traditionally known for his power
to subdue nagas and soar beyond the limitations of the earthly realm.
When depicted above the Buddha, Garuda represents the awakened mind’s
ability to rise above ignorance and duality. His wings, outstretched
in dynamic motion, evoke the expansive clarity of insight, while his
gaze pierces through illusion. In this context, Garuda is not merely a
guardian—he is the embodiment of Prajnaparamita, the perfection
of wisdom, hovering as the crown of realization above the Buddha’s
serene form.
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The murals in the cloister surrounding the assembly hall at Samye
Monastery often depict this sacred pairing, integrating Garuda into
the visual mandala of enlightenment. Samye, as the birthplace of
Tibetan Buddhism, uses such imagery to encode the deepest teachings
into its architecture. The Buddha seated in stillness beneath Garuda’s
flight suggests the union of grounded compassion and soaring wisdom.
Garuda’s presence above the Buddha is a visual metaphor for the
Dharma’s highest truth—wisdom that is both protective and liberating.
In these paintings, Garuda may be surrounded by clouds or flames,
emphasizing his celestial nature and his role as a bearer of the
Prajnaparamita teachings, which cut through conceptual grasping and
reveal the luminous emptiness of all phenomena.
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Spiritually, Garuda as Prajnaparamita signifies the fearless,
boundless nature of wisdom itself. Just as Garuda flies without
obstruction, true wisdom moves beyond the confines of thought,
identity, and form. In Vajrayana, Prajnaparamita is not only a
doctrine but a living force—often personified as a goddess, but here
symbolized through Garuda’s majestic flight. His placement above the
Buddha reflects the primacy of wisdom in the path to awakening. At
Samye, this imagery serves as a silent teaching: that the practitioner
must cultivate both the grounded presence of the Buddha and the
soaring insight of Garuda. Together, they form a complete path—rooted
in compassion, crowned by wisdom, and carried forward by the fearless
wings of realization.
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Descent of the Buddha from Tushita Heaven
The Descent of the
Buddha from Tushita Heaven, known as Lhabab Duchen, is one of the Twelve
Great Deeds of Shakyamuni Buddha and holds deep symbolic and spiritual
significance in Vajrayana Buddhism.
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It commemorates the moment when the Buddha, having ascended to the
celestial realm of Tushita to repay his mother's kindness by teaching
her the Dharma, returns to the human world to continue guiding
sentient beings. The myth portrays this descent as a deliberate act of
compassion and wisdom, bridging the divine and earthly realms. In
Vajrayana, this event is not only historical but archetypal—it
represents the Buddha's ongoing willingness to descend into samsara
for the benefit of all beings.
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The three staircases depicted in murals—central, right, and left—carry
rich symbolic meaning. The central stair, often golden or jewel-like,
is walked by the Buddha himself and signifies the pure path of
enlightenment. The accompanying stairs, walked by Brahma and Indra,
represent the monastic and secular paths respectively, both of which
are valid vehicles for Dharma when guided by wisdom and compassion.
These stairs are more than artistic elements; they are visual
teachings, showing that the Dharma is accessible from multiple
dimensions of life. The descent itself becomes a metaphor for the
transmission of teachings from the highest realms into the hearts of
ordinary beings.
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At Samye Monastery, the depiction of this scene in the cloister
surrounding the assembly hall serves as a spiritual anchor. Samye,
being the first monastery in Tibet and a center of Vajrayana
transmission, uses such murals to embody the living history of
Buddhism’s arrival and flourishing in the region. The image of the
Buddha descending from Tushita is a reminder of the sacred continuity
between heaven and earth, teacher and disciple, wisdom and compassion.
It celebrates the Buddha’s return not as a departure from the divine,
but as a reaffirmation of his vow to liberate all beings. For those
walking the cloister, the mural is both a story and a mirror—inviting
them to descend into their own lives with awakened purpose.
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The Offering of the Cups by the Four Guardian Kings
The
Offering of the Cups by the Four Guardian Kings is a deeply symbolic
moment in Vajrayana Buddhism, representing the celestial recognition of
the Buddha’s enlightenment and the beginning of his life as a renunciate
teacher.
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The Lokapalas—guardians of the four directions—descend from their
heavenly realms to offer alms bowls to the newly awakened Buddha,
acknowledging his spiritual supremacy. Their gesture is one of
reverence and cosmic support, affirming that the Buddha’s path is not
only human but universally honored. The fusion of the four cups into a
single patra symbolizes the unity of all directions, realms, and
beings under the Dharma.
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In the cloister murals of Samye Monastery, this scene is rendered with
vivid detail and elevated placement—often above the clouds—to
emphasize its divine nature. The richly dressed, kneeling figures with
mustaches and regal posture are unmistakably the Lokapalas, each
offering a bowl with solemn devotion. The Buddha, seated in serene
stillness, accepts their offerings with grace, his gesture of
receiving or blessing marking the moment when the sacred implements of
his teaching life are bestowed. These murals do more than
illustrate—they consecrate the space, reminding all who walk the
cloister of the Buddha’s renunciation, the cosmic affirmation of his
path, and the sacred origins of the monastic tradition.
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Spiritually, this offering scene at Samye serves as a bridge between
heaven and earth, myth and practice. It affirms that the Dharma is
upheld not only by human effort but by divine guardianship. The patra
becomes more than a bowl—it is a vessel of transmission, a symbol of
the Buddha’s vow to live simply and teach freely. For practitioners at
Samye, the mural is a living teaching: that the path of awakening is
supported by unseen forces, and that humility, unity, and reverence
are the foundations of spiritual life. The presence of the Lokapalas
in this act reminds us that protection and offering are sacred duties,
and that the Dharma is a gift received with gratitude and passed on
with devotion.
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Kirtimukha on the halo of Buddha's head
In Vajrayana
Buddhism, the presence of Kirtimukha on the halo of the Buddha’s head
carries profound symbolic weight.
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Kirtimukha, often depicted as a fierce, leonine face with wide eyes
and a gaping mouth, is not a demon but a guardian—an embodiment of the
devouring of ego and the protection of sacred space. Positioned above
the Buddha’s head, Kirtimukha represents the triumph of wisdom over
pride, and the transformation of wrathful energy into enlightened
awareness. His placement on the halo signifies that even the most
fearsome forces, when purified, become ornaments of awakening. He is
the fierce gatekeeper of the Dharma, watching over the path with
unwavering vigilance.
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In the cloister murals of Samye Monastery, where the Buddha is flanked
by two dragons and crowned by Kirtimukha, the composition becomes a
mandala of protection and proclamation. The dragons symbolize the
dynamic power of enlightened speech and the elemental forces that
uphold the Dharma. Kirtimukha, resting above the halo, completes the
triad by anchoring the scene in fearless wisdom. These images are not
merely decorative—they are ritual architecture, designed to transform
the cloister into a living field of practice. As pilgrims walk the
perimeter, they pass beneath these guardians, reminded that the path
to awakening requires both clarity and courage, and that the Dharma is
protected by forces both serene and fierce.
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Spiritually, Kirtimukha is linked to the purification of the upper
realms of perception—the crown, the mind, and the subtle energies that
flow through the practitioner. His presence above the Buddha’s head
suggests that the highest realization is guarded by the deepest
transformation. At Samye, this symbolism is especially potent: the
monastery itself was built to subdue obstructive forces and establish
the Dharma in Tibet. Kirtimukha’s fierce gaze and devouring mouth are
reminders that ego must be surrendered, and that the path is not
always gentle—but it is always liberating. In the sacred geometry of
Samye’s cloister, Kirtimukha stands as a sentinel of truth, a fierce
ornament of the awakened crown.
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The Offering of the Body
The Offering of the Body, as
depicted in the cloister murals of Samye Monastery, is one of the most
striking visual teachings in Vajrayana Buddhism.
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It portrays a Bodhisattva lying peacefully on the ground, his body
being devoured by tigers—symbols of suffering and hunger in the cycle
of samsara. This is not a scene of violence, but of supreme
compassion. The Bodhisattva willingly offers his body to save the
starving animals, embodying the perfection of generosity (Dana Paramita). In doing so, he relinquishes attachment to the physical form and
demonstrates the ultimate renunciation of ego, offering even his flesh
as a vehicle of liberation for others.
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The tigers in the scene are not villains—they are recipients of grace.
Their hunger represents the desperate needs of sentient beings trapped
in suffering. By feeding them, the Bodhisattva prevents further harm
and transforms a moment of potential violence into a sacred act of
compassion. This offering is not only physical but spiritual: it is a
vow to serve others without limit. In Vajrayana, such acts are seen as
expressions of enlightened intent, where even death becomes a
teaching. The Bodhisattva’s posture, calm and radiant, contrasts with
the ferocity of the tigers, highlighting the depth of his realization
and the purity of his sacrifice.
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Most powerful of all are the rainbow rays emanating from the
Bodhisattva’s body. These signify the
Body of Light (Jalu)—a sign that the practitioner has
transcended ordinary death and attained a state of pure awareness. In
Tibetan tradition, such radiance marks the dissolution of the physical
body into luminous energy, a phenomenon associated with great masters.
At Samye, this mural is more than a story—it is a spiritual mirror. It
teaches that true compassion is fearless, that generosity can extend
beyond life, and that the path of the Bodhisattva is one of boundless
offering. The rainbow light is not an ending—it is the beginning of
liberation.
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Buddha inside a mountain cave
The retreat in a mountain cave
is one of the most revered symbols in Vajrayana Buddhism, representing
the path of deep solitude, inner transformation, and direct communion
with the sacred.
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In Tibetan tradition, caves nestled in remote mountains are seen as
places where the veils of ordinary perception thin, allowing
practitioners to access profound states of realization. The Buddha
seated within such a cave evokes the archetype of the awakened one who
has withdrawn from worldly distractions to cultivate wisdom and
compassion. Whether it is Shakyamuni or a Long-Life Buddha like
Amitayus, the cave setting affirms the spiritual potency of retreat as
a gateway to enlightenment.
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In the cloister murals of Samye Monastery, this scene is rendered with
luminous clarity: the Buddha radiates light from within the cave, his
presence both serene and transcendent. The light signifies
Sambhogakaya—the blissful body of wisdom—and serves as a beacon for
those who seek the Dharma in silence and solitude. The kneeling yogi,
dressed in humble robes, offers food or ritual objects in a gesture of
deep devotion. This act is not merely symbolic—it reflects the living
relationship between the practitioner and the source of awakening. The
offering is an expression of merit, humility, and recognition that
even those who dwell in seclusion remain connected to the lineage of
enlightenment.
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Spiritually, this mural affirms that the Buddha is never absent from
the path of retreat. His radiant presence within the cave assures
practitioners that their solitude is not isolation but sacred
communion. The yogi’s offering reminds us that renunciation is not
rejection—it is a gift, a vow to serve the Dharma through inner
transformation. At Samye, where the foundations of Tibetan Buddhism
were laid, this image becomes a visual mantra: retreat is not escape,
but return; the cave is not darkness, but light; and the offering is
not loss, but the beginning of boundless realization.
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Buddha flanked by two Makaras and topped by two Dakinis and Garuda
In Vajrayana Buddhism, the image of the Buddha flanked by two
Makaras and surmounted by two Dakinis and Garuda is a richly layered
symbol of protection, transformation, and awakened energy.
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Makaras—mythical sea creatures often depicted with dragon-like or
crocodilian features—guard the thresholds of sacred space. They
represent the untamed forces of the unconscious and the transformative
power of the Dharma to subdue and redirect primal energies. When
placed beside the Buddha, they serve as fierce protectors of his
wisdom, ensuring that only those with sincere intent may approach the
teachings. Their presence affirms that enlightenment is not a passive
state but one guarded by the mastery of inner and outer forces.
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Above the Buddha, the two Dakinis embody the dynamic, feminine
principle of wisdom in motion. In Vajrayana, Dakinis are
sky-dancers—beings of pure awareness who cut through illusion and
ignite realization. Their placement above the Buddha signifies the
active transmission of insight, the living breath of the Dharma that
moves through space and time. Garuda, the great bird of myth, joins
them in the sky, symbolizing fearless clarity and the power to
overcome poisons—both literal and spiritual. As the embodiment of
Prajnaparamita, Garuda represents the perfection of wisdom, soaring
above duality and guarding the crown of enlightenment. Together, the
Dakinis and Garuda form a celestial triad that sanctifies the Buddha’s
presence and radiates his teachings outward.
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In the cloister murals of Samye Monastery, this composition becomes a
visual mandala of protection and transmission. The Buddha sits at the
center, serene and radiant, while the Makaras anchor the base and the
sky beings crown the scene. This arrangement reflects the full
spectrum of the Vajrayana path—from the depths of transformation to
the heights of realization. As practitioners walk the cloister, they
are enveloped by this sacred geometry, reminded that the Dharma is
guarded, gifted, and alive. The Makaras challenge the ego, the Dakinis
awaken the heart, and Garuda lifts the mind into fearless wisdom. It
is not just a painting—it is a living invocation of the forces that
protect and propel the journey to awakening.
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Buddha touching the earth and surrounded by five disciples
The image of the Buddha touching the earth—known as the
bhumisparsha mudra—is one of the most iconic and spiritually
charged gestures in Vajrayana Buddhism.
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It represents the moment of Shakyamuni Buddha's enlightenment under
the Bodhi tree, when he called upon the Earth Goddess to bear witness
to his awakening. This gesture is not merely symbolic; it affirms the
Buddha's triumph over Mara, the embodiment of illusion and ego, and
declares that his realization is grounded in truth, compassion, and
lifetimes of merit. The Earth Goddess responds by rising and
confirming his enlightenment, making the earth itself a witness to the
Dharma. In Vajrayana, this act is seen as the merging of the cosmic
and the terrestrial—the Buddha's realization is not abstract, but
rooted in the very fabric of existence.
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In the cloister murals of Samye Monastery, this scene is often
depicted with the Buddha seated in serene stillness, his right hand
reaching toward the ground, and his left resting in meditation.
Surrounding him are five disciples, representing the first recipients
of the Dharma and the beginning of the sangha. Their presence
emphasizes the transmission of wisdom from the awakened one to the
human realm. The number five also resonates with the five wisdoms and
the five Buddha families in Vajrayana cosmology, suggesting that this
moment of enlightenment radiates into all aspects of spiritual
understanding. The Earth-touching gesture, framed by these disciples,
becomes a visual mantra—a declaration that enlightenment is both
personal and universal, solitary and shared.
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Spiritually, this scene at Samye serves as a foundational teaching. It
reminds practitioners that the path to awakening is not a flight from
the world but a deep engagement with it. The Buddha does not ascend
into abstraction—he touches the earth, calls upon its witness, and
begins to teach. The disciples, seated in reverence, reflect the
importance of lineage, community, and the continuity of the Dharma.
For those walking the cloister, this mural is a moment of grounding:
it invites them to touch the earth with their own practice, to call
upon truth, and to remember that enlightenment is not distant—it is
here, now, and waiting to be witnessed.
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Mount Meru Mandala
In Vajrayana Buddhism, the Mount Meru
Mandala is not merely a cosmological diagram but a profound spiritual
map of the universe and the mind.
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Mount Meru, rising at the center, symbolizes the axis mundi—the
spiritual spine of existence—around which all realms revolve. It is
both the physical and metaphysical center, representing stability,
enlightenment, and the unshakable presence of awakened awareness. At
Samye Monastery, the Utse Hall embodies this sacred peak, anchoring
the mandala in architectural form and inviting practitioners to
contemplate the stillness at the heart of all phenomena.
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Surrounding Mount Meru are the Four Continents and their
subcontinents, depicted in the mandala as concentric arrangements of
land. These represent the diversity of sentient experience, the
multiplicity of karmic realms, and the vastness of samsara. At Samye,
the four large temples and eight smaller ones mirror this cosmic
geography, creating a ritual landscape where practitioners can
symbolically journey through the layers of perception and
purification. Each continent is a mirror of the mind’s projections,
and their placement around Meru suggests the path of return—from
dispersion to unity, from illusion to clarity.
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Encircling the entire mandala is the ring of the Cakravada Mountains,
the iron wall that marks the boundary of the known world. This
outermost circle, represented by Samye’s enclosing wall, serves as
both protection and threshold. It defines the sacred space, separating
the mundane from the mythic, and invites the practitioner to step into
a purified realm of contemplation. The mandala thus becomes a living
temple, a cosmic mirror, and a ritual ground where the practitioner
enacts the journey from multiplicity to the luminous center—from the
periphery of confusion to the summit of wisdom.
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Foundation of Samye Monastery
The painting of the Foundation
of Samye Monastery, found on one of its sacred walls, is a visual hymn
to the birth of Vajrayana Buddhism in Tibet.
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At its summit stands a dark Buddha—either Vajradhara, Samantabhadra,
or Vairocana—whose crossed arms cradle the vajra and bell, symbols of
method and wisdom. His elevated position signifies cosmic sovereignty,
the unseen but ever-present authority under which the drama of
spiritual transmission unfolds. This figure is not merely decorative;
he is the timeless source from which the lineage flows, the embodiment
of the dharmakaya watching over the historical and ritual moment
below.
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Beneath this deity rises the palace of enlightenment, the Utse Hall,
rendered as a multi-tiered structure that echoes the architectural
synthesis of Indian, Chinese, and Tibetan styles. This is not just a
building—it is Mount Meru, the axis of the world, the mandalic center
where heaven and earth meet. Its presence in the painting anchors the
scene in both mythic and geographic reality, reminding the viewer that
Samye is a terrestrial reflection of the cosmic order. The hall
becomes a vessel for transmission, a sanctified space where the
teachings of the Buddha are not only preserved but embodied in stone,
ritual, and lineage.
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At the heart of the painting lies the historical moment: King Trisong
Detsen seated in regal dignity, receiving the first ordained monks of
Tibet. Their approach marks the beginning of the Tibetan Sangha, the
formal rooting of the Dharma in Tibetan soil. The presence of female
figures or dakinis playing instruments signals divine celebration, the
unseen worlds rejoicing at the consecration of Samye. This is more
than a historical record—it is a spiritual proclamation. The painting
declares that under the gaze of the primordial Buddha, with royal
support and celestial blessing, the tantric path has found its home in
Tibet. Samye is not just a monastery; it is the womb of Tibetan
Vajrayana.
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The Great Debate of Samye
The painting of the Great Debate
of Samye, with the red Manjusri enthroned within a temple, is a luminous
tribute to the triumph of wisdom and discernment in Tibetan spiritual
history.
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Manjusri, the Bodhisattva of Wisdom, holds the sword of insight in his
right hand and the lotus bearing the book of transcendent knowledge in
his left—symbols that cut through delusion and illuminate the path of
reasoned understanding. His presence at the heart of the temple
signifies that the entire scene unfolds under the auspices of awakened
intellect, and that the Dharma established at Samye is rooted in
clarity, method, and deep contemplation.
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The figures surrounding Manjusri evoke the historical moment of the
Great Debate, where Indian master Kamalasila and Chinese master
Moheyan presented two divergent paths to enlightenment. Kamalasila’s
gradualist approach, grounded in ethical training, meditation, and
analytical wisdom, ultimately prevailed. This victory shaped the
trajectory of Tibetan Buddhism, aligning it with the Indian Mahayana
and Vajrayana traditions. In this context, Manjusri is not merely a
symbolic figure—he is the spiritual force behind the discernment that
chose depth over immediacy, integration over suddenness. His sword is
the blade that severed confusion, and his book is the text of the
Dharma that would flourish in Tibet.
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The mural itself is a ritual proclamation. By placing Manjusri within
the temple, the painting links the Bodhisattva directly to Samye’s
architectural and spiritual foundation. The temple becomes a mandala
of wisdom, and the surrounding figures—likely representing King
Trisong Detsen, Kamalasila, and the newly ordained monks—are
participants in a cosmic drama of transmission. The red hue of
Manjusri suggests fierce compassion and penetrating insight, qualities
essential to the tantric path. This visual narrative celebrates not
only a historical debate but the consecration of Tibet as a land where
wisdom reigns, where the Dharma is not merely received but deeply
understood.
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Mahasiddha Virupa
The depiction of Mahasiddha Virupa on the
wall of Samye Monastery is a vivid embodiment of tantric realization
that defies conventional norms.
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His sattva posture—one leg bent, the other extended—signals a relaxed
mastery, a yogi who has transcended rigid formality and entered the
spontaneous dance of awakened presence. The raised left arm and hand
resting on his forehead evoke the classic "melancholic Virupa" pose, a
gesture that suggests deep contemplation, visionary insight, or
perhaps the moment of pausing the sun itself. His semi-nude
appearance, long hair, and informal demeanor mark him unmistakably as
a siddha: one who has broken through the veils of illusion and lives
in direct communion with the ultimate.
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Virupa's spiritual significance lies in his radical embodiment of
wisdom beyond form. His most famous legend—halting the sun to extend a
tavern visit—may seem irreverent, but it is a profound metaphor for
mastery over time, karma, and worldly constraints. In tantric
symbolism, such acts are not mere miracles but expressions of non-dual
awareness, where the siddha bends reality to serve realization. His
presence in Samye, the cradle of Tibetan Vajrayana, affirms the
lineage’s roots in the wild, luminous terrain of Indian tantra. Virupa
is not just a historical figure; he is a living archetype of the yogi
who sees through appearances and acts from the ground of awakened
freedom.
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The mural at Samye thus serves as both homage and transmission. By
including Virupa among its sacred images, the monastery asserts its
connection to the 84 Mahasiddhas and the fierce, liberating wisdom
they represent. Padmasambhava himself, the founder of Samye, is a
Mahasiddha, and the inclusion of Virupa reinforces the tantric ethos:
realization is not confined to robes and rituals but can erupt in
taverns, mountains, and moments of radical insight. The painting
invites practitioners to contemplate not only Virupa’s form but his
formlessness—to see in his posture and gesture the possibility of
awakening that transcends all boundaries.
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Nagaraja: Sovereign of the Depths, Guardian of Hidden Wisdom
The Nagaraja depicted beside Dorje Legpa in the mural at Samye
Monastery is a majestic figure seated atop a richly adorned elephant,
surrounded by swirling waters and celestial clouds.
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His blue skin and regal posture evoke the vastness of the subterranean
and aquatic realms over which he reigns. As a serpent king, he
embodies the mysteries of the underworld, the currents of intuition,
and the guardianship of hidden treasures—both literal and spiritual.
His presence in the mural is not passive; it is a declaration of
elemental sovereignty and sacred stewardship.
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In Tibetan Buddhist cosmology, nagas are beings of great power and
sensitivity, often associated with the protection of sacred texts,
landscapes, and esoteric transmissions. The Nagaraja, as their ruler,
is invoked to maintain harmony between the human and elemental worlds.
His placement beside Dorje Legpa is significant: while Dorje Legpa
burns with wrathful fire, the Nagaraja flows with watery depth.
Together, they form a polarity of force—one eruptive, one
subterranean—each guarding the Dharma from different dimensions of
reality.
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The Nagaraja’s elephant mount adds another layer of symbolism. The
elephant, a creature of strength and memory, reinforces the Nagaraja’s
role as a protector of ancient wisdom and enduring lineage. In this
mural, the Nagaraja is not merely a mythic figure; he is a living
archetype of depth, protection, and elemental balance, standing
firm beside Dorje Legpa, whose fiery presence demands vigilance. Their
juxtaposition invites contemplation of the Dharma’s roots in both the
hidden and the revealed, the fluid and the fierce.
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Dorje Legpa: Wrathful Defender, Breaker of Illusion
Dorje
Legpa, the wrathful deity depicted beside the Nagaraja, is a force of
uncompromising protection and fierce compassion.
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His goat’s feet, flaming aura, and terrifying visage mark him as a
worldly protector bound by Padmasambhava to serve the Dharma. In his
right hand, he wields a septum-shaped weapon tipped with an axe—a tool
of karmic severance and spiritual clarity. In his left, he clutches
the fresh skin of a tiger, symbolizing his mastery over primal
aggression and untamed energies. Every element of his form speaks of
power, precision, and the refusal to tolerate deception.
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His proximity to the Nagaraja is no accident. Dorje Legpa stands as
the guardian of revealed teachings, especially the terma—hidden
treasures uncovered through visionary transmission. While the Nagaraja
protects the subterranean and elemental dimensions, Dorje Legpa
defends the sacred texts and practices that emerge from those depths.
His crowbar-like feet suggest that his very stance is an act of
breaking through illusion, tearing open the veils that obscure truth.
He is not a gentle guide but a fierce sentinel, ensuring that the
Dharma remains uncorrupted and potent.
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In the mural, Dorje Legpa’s flames contrast with the Nagaraja’s
waters, creating a dynamic tension between purification and
preservation. His presence beside the serpent king reinforces the
tantric principle that
wrath and wisdom are not opposites but allies. Dorje Legpa does
not merely protect; he transforms. He is the fire that cauterizes, the
axe that liberates, the skin that reminds us of what has been shed.
His role beside the Nagaraja is to ensure that what is hidden is not
only preserved but also fiercely defended when revealed.
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Together: Guardians of Threshold and Transmission
Together,
the Nagaraja and Dorje Legpa form a ritual dyad of profound symbolic
resonance.
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One rules the depths, the other the flames. One preserves, the other
purifies. Their juxtaposition in the mural at Samye Monastery is a
visual invocation of threshold guardianship—the sacred space
where elemental forces and tantric protectors converge to defend the
Dharma. They do not merely coexist; they co-create a perimeter of
spiritual integrity, ensuring that the teachings are both rooted and
radiant.
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Their combined presence speaks to the layered nature of Vajrayana
transmission. The Nagaraja holds the mysteries of the earth, the
waters, and the hidden teachings buried in time and space. Dorje Legpa
ensures that when those teachings surface, they are not diluted or
defiled. In ritual terms, they represent the
inner and outer guardians—the serpent king anchoring the
unseen, and the wrathful deity confronting the seen. Their energies
are complementary: one coils, one strikes; one listens, one roars.
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For practitioners, this pairing is a call to vigilance and reverence.
The path of awakening is not only about ascent—it is also about
descent into the depths of the psyche, the elements, and the ancestral
memory. The Nagaraja and Dorje Legpa remind us that
true realization requires both protection and confrontation,
both silence and fire. In their dance of water and flame, they guard
the gate to the sacred, ensuring that only those who walk with
integrity and courage may pass.
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Panorama of the southwest corner of the meeting hall
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Entering the chapel of the thousand-armed Avalokiteshvara
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Shakyamuni Buddha
The historical Buddha Siddhartha Gautama
gesture—known as the dhyana mudra—symbolizes deep meditation and
the moment of his enlightenment beneath the Bodhi tree.
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The presence of the black alms bowl is a direct reference to his life
as a renunciate, emphasizing simplicity, discipline, and the
transmission of the Dharma through lived example. Unlike celestial
Buddhas adorned with crowns and jewels, Shakyamuni is portrayed in
monastic robes, embodying the grounded, human path to awakening.
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The placement of Shakyamuni within the chapel of the Thousand-Armed
Avalokiteshvara at Samye Monastery is deeply meaningful.
Avalokiteshvara represents the vast, compassionate activity of all
Buddhas, while Shakyamuni is the root teacher—the one who first turned
the wheel of Dharma in our world. Surrounding him with the
six paramitas (generosity, discipline, patience, diligence,
concentration, and wisdom) reinforces his role as the exemplar of the
bodhisattva path. These paramitas are not just symbolic—they are the
living virtues that Avalokiteshvara enacts through his thousand arms,
and that Shakyamuni cultivated through his human journey. Their
juxtaposition in this sacred space reflects the union of method and
wisdom, action and stillness.
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At Samye, the first monastery of Tibet, this statue anchors the
lineage in its historical and ethical foundation. Padmasambhava may
have brought the tantric teachings, and Avalokiteshvara may embody
their compassionate reach, but Shakyamuni remains the silent
center—the one who walked the path, taught the Four Noble Truths, and
offered the alms bowl as a symbol of humility and clarity. His
presence in this chapel is a quiet reminder that all tantric
brilliance must rest upon the simplicity of insight, discipline, and
compassion. In the midst of celestial forms and visionary deities,
Shakyamuni sits unmoving, a golden thread connecting the human and the
transcendent.
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Buddha Vajradhara
Inside the chapel of the Thousand-Armed
Avalokiteshvara at Samye Monastery stands a radiant golden statue of
Buddha Vajradhara, known in Tibetan as Dorje Chang.
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Crowned and adorned with jewels, he holds the vajra in his right hand
and the bell (ghanta) in his left—symbols of method and wisdom,
compassion and insight. Vajradhara is revered as the Adi-Buddha, the
Primordial Buddha, especially within the Kagyu tradition, and is the
embodiment of the Dharmakaya—the ultimate, formless truth body of
enlightenment. His presence in this chapel is not incidental; it
reflects the deep doctrinal structure of Tibetan Buddhism, where
Vajradhara is the source from which all tantric teachings flow.
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The Thousand-Armed Avalokiteshvara, whose chapel houses this statue,
is the cosmic expression of compassion, reaching out to all beings in
every direction. Avalokiteshvara is considered a manifestation of the
compassionate energy of all Buddhas, and in Tibetan tradition, he is
the patron bodhisattva of the Tibetan people. Vajradhara, as the
origin of the Vajrayana path, is the one who transmits the teachings
that make Avalokiteshvara’s activity possible. Placing Vajradhara
within Avalokiteshvara’s chapel is a gesture of reverence to the
source—it honors the inseparable union of wisdom and compassion that
defines tantric practice. It also reflects the cosmological hierarchy:
Vajradhara as the Dharmakaya, Avalokiteshvara as the Sambhogakaya, and
the practitioner as the one who bridges these realms through devotion
and realization.
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This statue, then, is not just a representation—it is a doctrinal
anchor. It reminds all who enter that the path of compassion must be
rooted in ultimate wisdom, and that the vast activity of
Avalokiteshvara arises from the silent, luminous ground of Vajradhara.
In the sacred architecture of Samye, where Padmasambhava first
established the tantric lineage in Tibet, this placement is profoundly
intentional. It speaks to the continuity of transmission, the depth of
realization, and the living presence of the Vajrayana teachings.
Vajradhara’s stillness within Avalokiteshvara’s dynamic chapel is a
silent teaching: that all compassionate action must arise from the
unshakable ground of awakened truth.
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Panoramas of thousand-armed Avalokiteshvara
In one of the
chapels of Samye Monastery stands a magnificent statue of
Avalokiteshvara, the bodhisattva of compassion, depicted in his
thousand-armed form.
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This representation, known as Sahasrabhuja Avalokiteshvara, is among
the most awe-inspiring in Tibetan iconography. Each of the thousand
arms radiates outward like a mandala, symbolizing his boundless
ability to reach out and aid sentient beings in every direction. In
the palm of each hand is an eye, representing his all-seeing awareness
and his tireless vigilance over the suffering of the world. At the
center of the statue, Avalokiteshvara's serene face gazes forward,
often surrounded by eleven heads stacked in tiers, each expressing a
different aspect of his compassionate activity.
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The statue is not merely decorative—it is a living embodiment of the
bodhisattva's vow to liberate all beings. Pilgrims and monks approach
it with deep reverence, offering butter lamps, incense, and prayers.
The thousand arms are arranged in symmetrical arcs, some holding
ritual implements such as lotus flowers, prayer beads, or vases of
nectar, each symbolizing a method of compassionate intervention. The
central hands are often joined in prayer or extended in gestures of
blessing. The presence of this statue within Samye is especially
significant, as the monastery itself was founded to establish the
Dharma in Tibet, and Avalokiteshvara is considered the patron
bodhisattva of the Tibetan people.
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Surrounding the statue are murals and smaller figures that echo its
message—depictions of deities, protectors, and lineage masters who
uphold the compassionate mission. The chapel is filled with a quiet
radiance, enhanced by the flickering of lamps and the scent of
juniper. For practitioners, standing before the thousand-armed
Avalokiteshvara is not just an aesthetic experience but a moment of
spiritual alignment. It is a reminder that compassion is not
passive—it is vast, active, and infinitely resourceful. In the heart
of Samye, this statue serves as both guardian and guide, a towering
presence that invites all who enter to awaken the same boundless mercy
within themselves.
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Entering one of the side chapels
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Going up into Samye Monastery
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Old painting depicting Samye Monastery
Samye Monastery, the
first Buddhist monastery established in Tibet, is a masterful embodiment
of mandalic architecture—a sacred spatial arrangement that mirrors the
cosmic order.
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Conceived as a three-dimensional mandala, its layout is not merely
aesthetic but profoundly symbolic. At its heart stands the Utse Hall,
representing Mount Meru, the mythic axis of the universe in Buddhist
cosmology. Surrounding this central hall are four stupas placed at the
cardinal corners, each painted a distinct color—white, red, green, and
blue—corresponding to the four directions and the wisdom energies of
the Five Buddha Mandala. This spatial configuration transforms the
monastery into a living diagram of the enlightened cosmos, inviting
practitioners to enter not just a building, but a sacred geography of
awakening.
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The colored stupas are more than decorative—they are ritual anchors.
Each one embodies a specific aspect of enlightened mind and purifies a
particular defilement: white for the east and mirror-like wisdom, red
for the west and discriminating wisdom, green for the north and
all-accomplishing wisdom, and blue for the south and the wisdom of
emptiness. Together with the central Vairocana Buddha in the Utse
Hall, they form a complete mandala of transformation. Walking through
Samye is thus a spiritual pilgrimage through the mandala itself, where
every step is a movement through the purified dimensions of reality.
The architecture becomes a ritual path, guiding the practitioner from
the periphery of dualistic perception toward the non-dual center of
cosmic awareness.
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This mandalic design finds a resonant echo in Bodhgaya Monastery,
where the central Mahabodhi Tower—marking the site of Buddha’s
enlightenment—is flanked by four smaller towers at its corners. Though
not explicitly built as a mandala, Bodhgaya’s layout similarly
emphasizes a sacred center surrounded by directional guardians. Both
sites use spatial geometry to express spiritual truths: the central
tower or hall as the axis of awakening, and the surrounding structures
as manifestations of enlightened activity. Yet Samye’s design is more
overtly tantric, embedding the full symbolic language of Vajrayana
cosmology into its very stones. In both cases, architecture becomes a
vehicle of realization—a mandala not drawn on paper but inscribed into
the earth.
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Vairocana Buddha in the center of the Assembly Hall
In
Vajrayana Buddhism, Vairocana Buddha holds a position of profound
symbolic and spiritual centrality.
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He is not merely one among many Buddhas, but the embodiment of the
Dharmadhatu—the all-encompassing realm of truth and pure awareness. As
the Buddha of the center in the Five Buddha Mandala, Vairocana
represents the transformation of ignorance into wisdom, specifically
the wisdom of the Dharmadhatu, which perceives the unity of all
phenomena. His presence is often depicted in the Sambhogakaya
form—radiant, adorned with a crown and jewels—signifying the subtle,
blissful body of enlightenment accessible to advanced practitioners
through deep meditative realization.
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Samye Monastery in Tibet, the first Buddhist monastery established in
the region, was deliberately constructed as a three-dimensional
mandala, a sacred cosmogram that mirrors the structure of the
universe. At its heart stands the Utse Hall, symbolizing Mount Meru,
the mythic axis mundi of Buddhist cosmology. Within this hall, the
central figure is a majestic, crowned Buddha—clearly in the
Sambhogakaya form—whose iconography and placement confirm his identity
as Vairocana. This architectural and symbolic alignment is no
accident: Vairocana, as the cosmic Buddha, naturally occupies the
center of the mandala, radiating wisdom and purity to the four
cardinal directions and beyond.
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The spiritual significance of Vairocana in Samye is thus inseparable
from the monastery’s mandalic design. His central placement affirms
the principle that enlightenment is not peripheral but
foundational—that the awakened mind is the very axis of reality. For
practitioners, encountering Vairocana in this form is not merely a
visual experience but a ritual and contemplative invitation to
recognize the luminous nature of mind itself. The crown and jewels are
not ornaments of ego but emblems of perfected qualities, and the Utse
Hall becomes a living temple of transformation, where the practitioner
is drawn into the mandala’s center to awaken to the truth Vairocana
embodies.
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Panorama of the upper floor of the monastery
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Green stupa at the east corner
In the sacred mandala of
Samye Monastery, the green stupa in the eastern quadrant radiates the
transformative energy of enlightened action and compassionate
accomplishment.
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This stupa corresponds to the Buddha Amoghasiddhi, who embodies the
all-accomplishing wisdom—the spontaneous, fearless capacity to act in
harmony with the Dharma. The color green is traditionally associated
with growth, vitality, and unobstructed movement, making it a fitting
emblem for the eastern direction, which in many traditions signifies
new beginnings and the rising sun. Within the mandalic geometry of
Samye, the green stupa marks the gateway of emergence, where the
practitioner steps into the path of skillful means and awakened
activity.
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Spiritually, the green stupa invites reflection on the transformation
of jealousy and competitiveness into enlightened accomplishment. In
Vajrayana practice, defilements are not rejected but transmuted, and
the green stupa stands as a reminder that even the impulse to compare
or compete can be refined into the fearless clarity of Amoghasiddhi’s
wisdom. As one of the four directional stupas surrounding the central
Utse Hall—Mount Meru—the green stupa plays a vital role in balancing
the mandala’s energies. It anchors the eastern gate of the sacred
space, offering practitioners a point of entry into the mandala’s
living symbolism. To walk toward the green stupa is to move toward the
possibility of dynamic, compassionate action rooted in non-dual
awareness.
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Architecturally, the green stupa’s placement in Samye resonates with
the monastery’s overall design as a three-dimensional mandala—a cosmic
map inscribed in stone. Like the central Vairocana Buddha in the Utse
Hall, each stupa is not merely decorative but deeply intentional,
forming a ritual geography that guides the practitioner through stages
of purification and realization. The green stupa’s eastern position
complements the other colored stupas—red in the west, blue in the
north, white in the south—each representing a facet of the awakened
mind. Together, they form a mandala of transformation, where space
itself becomes a teacher. The green stupa, with its vibrant hue and
directional power, stands as a beacon of enlightened action, reminding
all who enter Samye that awakening is not passive—it is a fearless,
skillful dance with the world.
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White stupa at the south corner
In the mandalic design of
Samye Monastery, the white stupa in the southern quadrant holds profound
symbolic and spiritual significance.
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As one of the four color-coded stupas surrounding the central Utse
Hall—Mount Meru, the cosmic axis—the white stupa corresponds to the
south and is associated with Ratnasambhava Buddha. In Vajrayana
Buddhism, Ratnasambhava embodies the transformation of pride and
arrogance into the wisdom of equality, a luminous awareness that sees
all beings as fundamentally equal in their Buddha nature. The color
white evokes purity, spaciousness, and the radiant clarity of this
wisdom, making the southern stupa a beacon of humility and equanimity.
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Spiritually, the white stupa invites practitioners to confront and
transmute the subtle poisons of superiority and self-importance.
Ratnasambhava’s wisdom does not flatten difference but reveals the
sacred sameness beneath all appearances. As pilgrims move through
Samye’s mandala, the southern gate marked by the white stupa becomes a
threshold of purification—where pride dissolves into generosity, and
the practitioner is reminded that true spiritual wealth lies in
recognizing the dignity of all beings. The stupa’s form, ascending and
crowned, mirrors the journey from egoic elevation to the spacious
humility of enlightened mind.
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Within the greater mandala of Samye, the white stupa complements the
other directional stupas—red in the west, green in the east, blue in
the north—each representing a facet of awakened consciousness.
Together, they form a sacred geometry of transformation, with the
central Vairocana radiating pure awareness and the surrounding stupas
channeling that awareness into specific modes of wisdom. The white
stupa’s southern placement is deliberate, aligning with traditional
cosmological associations and reinforcing the monastery’s role as a
living map of the enlightened universe. As with Bodhgaya’s central
tower flanked by four smaller towers, Samye’s layout turns
architecture into ritual. The white stupa stands as a southern
guardian of equanimity, reminding all who enter that the path to
awakening begins with the recognition of shared essence.
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Red stupa at the west corner
In the mandalic layout of Samye
Monastery, the red stupa positioned in the western quadrant holds
profound symbolic and spiritual significance.
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As one of the four corner stupas surrounding the central Utse
Hall—representing Mount Meru—the red stupa corresponds to the western
direction and embodies the energy of Amitabha Buddha, the Buddha of
Infinite Light. In Vajrayana cosmology, this direction is associated
with the transformation of attachment and desire into the wisdom of
discernment. The color red itself evokes passion, vitality, and the
fire of transmutation, making the red stupa a potent emblem of
spiritual alchemy—where worldly craving is refined into luminous
clarity.
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Spiritually, the red stupa serves as a gateway to the western realm of
Sukhavati, Amitabha’s pure land, which is often visualized as a
paradise of radiant light and effortless practice. For practitioners
walking the grounds of Samye, approaching the red stupa is not merely
a physical act but a ritual movement toward the purification of desire
and the cultivation of discriminating wisdom. Its presence in the
mandala reinforces the tantric principle that every defilement
contains the seed of awakening, and that even the most intense
passions can be transmuted into enlightened qualities. The stupa’s
form—solid, ascending, crowned—mirrors the aspirational path of the
practitioner, rising from the base of samsaric confusion toward the
pinnacle of realization.
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Architecturally, the red stupa in Samye resonates with similar
symbolic layouts found in sacred Buddhist sites such as Bodhgaya
Monastery, where the central Mahabodhi Tower is flanked by four
smaller towers. Though Bodhgaya’s design is not explicitly mandalic,
it shares the principle of directional guardianship and sacred
symmetry. Samye’s red stupa, however, is part of a fully realized
mandala, where each quadrant is color-coded and spiritually charged.
In this context, the red stupa is not just a monument—it is a living
symbol of the western gate of transformation, a beacon of Amitabha’s
light, and a reminder that the path to enlightenment is not linear but
circular, radiant, and deeply embodied in space.
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Blue stupa at the north corner
In the mandalic architecture
of Samye Monastery, the dark blue stupa in the northern quadrant holds
deep symbolic resonance.
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As one of the four color-coded stupas encircling the central Utse
Hall—Mount Meru, the axis of the universe—the blue stupa corresponds
to the north and embodies the energy of Amoghasiddhi Buddha. In
Vajrayana cosmology, Amoghasiddhi represents the transformation of
envy and fear into the all-accomplishing wisdom, the enlightened
activity that arises spontaneously and effectively. The color blue
evokes vastness, depth, and the boundless sky—qualities that mirror
the expansive, fearless nature of this wisdom.
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Spiritually, the northern stupa serves as a beacon of action purified
by insight. It is associated with the karma family of Buddhas, whose
enlightened activity manifests in the world without obstruction. For
practitioners walking the grounds of Samye, the blue stupa invites
reflection on the nature of fear, hesitation, and competitiveness—not
as flaws to be rejected, but as energies to be transmuted into
fearless compassion and skillful means. Its placement in the north, a
direction traditionally linked with mystery and transformation,
reinforces its role as a gateway to dynamic realization. The stupa’s
form—ascending, stable, crowned—embodies the path from reactive
impulse to enlightened action.
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Within the greater mandala of Samye, the blue stupa complements the
other directional stupas, each representing a facet of the awakened
mind. Together, they form a sacred geometry of transformation, with
the central Vairocana radiating pure awareness and the surrounding
stupas channeling that awareness into specific modes of wisdom. The
blue stupa’s presence in the north is not arbitrary—it is a deliberate
placement within a living cosmogram, where space itself becomes a
teacher. As with the architectural echoes found in Bodhgaya Monastery,
where directional towers flank the central enlightenment site, Samye’s
layout turns geography into ritual. The blue stupa stands as a
northern guardian of fearless accomplishment, reminding all who pass
that enlightened action is not distant—it is the natural expression of
a purified heart.
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Leaving Samye Monastery with a small souvenir Garuda
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