Upper Wutun Monastery, Qinghai, China

Upper Wutun Monastery, also known as Wutun Shangsi or Sengeyong Upper Monastery, is a revered Tibetan Buddhist site nestled in Wutun Village on the east bank of the Longwu River in Tongren County, Qinghai Province.

Founded in 1385 during the Ming Dynasty, it originally bore the name Toumao Monastery before becoming part of the Gelugpa (Yellow Hat) tradition under Longwu Monastery. Architecturally, its main hall—measuring approximately 30 by 20 meters—is a striking example of Tibetan design, housing sacred murals, sculptures, and vibrant frescoes that reflect centuries of devotion and artistry.

What sets Upper Wutun apart is its deep connection to Regong Art, a distinctive Tibetan artistic tradition that flourished in the Longwu River basin. The monastery is often referred to as a “Regong Art School,” having nurtured generations of master painters and sculptors. Its monks are not only spiritual practitioners but also highly skilled artists whose thangka paintings and statues are sought after across the Tibetan plateau. The interior murals, painted by local artists, are especially celebrated for their vivid colors, rhythmic lines, and spiritual symbolism.

Upper Wutun Monastery also plays a vital role in the region’s religious calendar. One of its most significant events is the Great Prayer Festival held during the first lunar month, featuring the mesmerizing Cham Dance—a ritual performance that blends sacred choreography with elaborate costumes and masks. Visitors to the monastery are often welcomed by monks who offer guided tours through its chapels and assembly halls, including a shrine dedicated to Maitreya (Shampa in the Amdo dialect). Despite its proximity to the larger Lower Wutun Monastery, Upper Wutun maintains a distinct identity rooted in its artistic legacy and spiritual heritage.

Large chorten in the square in front of the monastery gate
Standing prominently in the square before the gate of Upper Wutun Monastery is a massive modern chorten—a Tibetan Buddhist stupa—that serves as both a spiritual beacon and a visual landmark.

Unlike the cluster of eight chortens that mark the entrance to Lower Wutun Monastery, this singular structure at Upper Wutun commands attention with its scale and symbolic presence. It embodies the traditional architectural elements of Tibetan stupas: a square base representing the earth, a dome symbolizing water, and a spire that reaches skyward, signifying the path to enlightenment.
The chorten is not merely decorative; it plays a vital role in the monastery’s spiritual life. Pilgrims and monks circumambulate it clockwise in meditative reverence, often spinning prayer wheels embedded in its base or murmuring mantras. Its construction reflects the Gelugpa tradition’s emphasis on merit-making and purification, and it may house sacred relics, scriptures, or symbolic offerings within its core. The structure’s whitewashed exterior, often adorned with golden trim and prayer flags fluttering in the wind, creates a striking contrast against the rugged landscape of Tongren County.
Artistically, the chorten complements Upper Wutun’s reputation as a center of Regong art. Though the stupa itself is a modern addition, its design and ornamentation are deeply rooted in centuries-old Tibetan aesthetics. Local artisans—many trained within the monastery’s own art school—have likely contributed to its intricate carvings and painted details. As visitors approach the monastery, the chorten serves as a threshold between the secular world and the sacred space beyond, inviting reflection, reverence, and awe.

Entrance gate to the monastery
In Vajrayana Buddhism, the entrance gate to a monastery is far more than a physical threshold—it is a symbolic passage from the mundane world into the sacred realm of spiritual practice.

Architecturally, these gates often feature vibrant colors, protective deities, and auspicious symbols such as the Eight Auspicious Signs (Ashtamangala), each representing aspects of the Buddha’s teachings. The gate serves as a liminal space, where one ritually prepares to leave behind worldly distractions and enter a domain governed by Dharma. It is also a spiritual filter, believed to ward off negative energies and invite blessings, often flanked by guardian figures like Dharmapalas or wrathful deities who protect the teachings and practitioners within.
The entrance gate of Upper Wutun Monastery in Wutun, China, reflects these symbolic functions with striking clarity. Unlike the more elaborate gate of Lower Wutun Monastery, Upper Wutun’s gate is distinguished by its integration with Regong art—a local Tibetan tradition renowned for its vivid colors and intricate detail. The gate is often adorned with thangka-style murals and painted woodwork created by the monastery’s own artists, many of whom are trained in its internal art school. These visual elements are not merely decorative; they serve as spiritual teachings in themselves, depicting Buddhas, Bodhisattvas, and tantric symbols that guide the mind toward compassion, wisdom, and enlightenment.
Passing through the gate of Upper Wutun Monastery is considered an act of purification and intention-setting. Pilgrims may pause before entering to offer prostrations or prayers, acknowledging the sanctity of the space beyond. The gate’s design subtly encourages this reverence, with its elevated threshold and framing that draws the eye upward—toward the monastery’s main hall and the towering chorten in the square. In this way, the gate functions as both a literal and metaphorical beginning: a moment of transition where the spiritual journey is consciously embraced, and the teachings of Vajrayana Buddhism begin to unfold.

Aromatic wood-burning furnace
In Vajrayana Buddhism, the aromatic wood-burning furnace—often referred to as a sang-kang or incense burner—is a deeply symbolic fixture found outside many monasteries.

It serves as a vessel for offering fragrant smoke to the Buddhas, Bodhisattvas, and local spirits, creating a bridge between the human and spiritual realms. The act of burning juniper, sandalwood, or other sacred woods is a ritual of purification, believed to cleanse negative energies and prepare the mind for spiritual practice. The rising smoke is seen as a visual metaphor for prayers ascending to the heavens, and the scent itself is said to calm the mind and invoke divine presence.
At Upper Wutun Monastery in Wutun, China, the wood-burning furnace holds particular resonance. Positioned prominently near the entrance gate, it marks the transition from the secular world into sacred space. Monks and pilgrims alike pause to make offerings—often tossing aromatic twigs or powdered incense into the flames—before entering the monastery grounds. The furnace is not merely functional; it is often ornately decorated, reflecting the Regong artistic tradition for which Upper Wutun is renowned. Its carvings and painted motifs may include protective deities, auspicious symbols, or mantras, reinforcing its role as a spiritual sentinel.
The furnace at Upper Wutun also plays a role in communal rituals and festivals. During major ceremonies such as the Great Prayer Festival, it becomes a focal point for collective offerings, with clouds of incense enveloping the monastery in a fragrant haze. This shared act of devotion fosters a sense of unity among practitioners, linking individual intentions with the broader spiritual energy of the community. In this way, the aromatic wood-burning furnace is not just a ritual tool—it is a living symbol of purification, reverence, and the transformative power of sacred space.