Nestled on the southwest flank of the Potala Palace, Yaowangshan—also known as
Chakpori Hill—rises as a sacred sentinel of Lhasa’s spiritual and artistic
heritage.
The cliffside here is adorned with an astonishing array of over 5,000 Buddha
statues carved directly into the red rock face, spanning nearly 30 meters in
width and 15 meters in height. These carvings, some dating back to the 8th
century, depict deities such as the immovable King Kong Buddha and
Avalokiteshvara, their forms etched with reverence and precision. The sheer
density and scale of the carvings evoke a sense of awe, as if the mountain
itself were a living scripture of Tibetan devotion.
Beyond their aesthetic grandeur, the carvings carry deep cultural and ritual
significance. For centuries, families unable to afford a Thangka—a sacred
painted scroll—would instead purchase pigments to refresh the cliffside
Buddhas, believing this act held equal merit. This tradition continues today,
a quiet testament to the enduring accessibility of spiritual practice in
Tibetan culture. The site also includes meditation caves and prayer-flag-lined
trails, remnants of the once-thriving Chakpori Medical College founded in 1696
by the Fifth Dalai Lama. These elements weave together medicine, mysticism,
and memory, making Yaowangshan not just a visual marvel but a living archive
of Tibetan healing and belief.
Declared a National Cultural Heritage Site in 1996 and later recognized by
UNESCO for its contribution to traditional Tibetan medicine, Yaowangshan
remains a place of pilgrimage, reflection, and panoramic beauty. From its
summit, one can witness the Potala Palace bathed in golden light at sunrise—a
view that has inspired generations of pilgrims and poets alike. The carvings,
weathered yet luminous, stand as silent witnesses to centuries of devotion,
artistry, and resilience. In their presence, the boundary between stone and
spirit seems to dissolve, inviting each visitor into a deeper encounter with
Tibet’s soul.
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Oven for burning aromatic woods and mani stones
In the high
plateaus of Tibet, where wind carries prayers and mountains echo with
silence, one may encounter a curious and sacred structure: the outdoor
oven or hearth used for burning aromatic woods and offerings near mani
stone mounds.
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These ovens, often simple stone enclosures or metal braziers, serve as
ritual altars where juniper, rhododendron, and other fragrant woods
are burned to purify the space and invoke blessings. The rising smoke
is believed to carry prayers to the heavens, appease local spirits,
and create a bridge between the visible and invisible realms. The
scent itself becomes a language of devotion, permeating the air with
sacred intention.
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These ovens are frequently found near mani stone piles—intricate heaps
of carved stones inscribed with mantras such as
Om Mani Padme Hum. The juxtaposition of fire and stone reflects
a profound symbolic balance: transformation and permanence, movement
and stillness. Pilgrims may circle the mani stones clockwise, adding
their own carved stone or a tuft of wool, while the aromatic fire
burns nearby, sanctifying the act. In some traditions, the smoke is
also used to cleanse the body and mind before entering a temple or
beginning a spiritual journey. The oven thus becomes not merely a
physical tool, but a vessel of transition—between states of being,
between worlds.
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Rooted in both Bon and Buddhist practices, this ritual burning is a
continuation of ancient customs that honor the land, its spirits, and
the cyclical nature of life. The oven’s presence at crossroads,
mountain passes, or sacred lakes marks it as a liminal space—a
threshold where offerings are made, intentions are set, and the unseen
is acknowledged. In Tibetan culture, where every gesture is steeped in
meaning, the outdoor oven is a quiet yet potent symbol of reverence,
transformation, and connection. It invites not only the gods, but also
the traveler, to pause, breathe, and remember the sacredness of the
journey.
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Tsatsa (votive offering)
Tsatsa, or tsha-tsha, are
small votive tablets traditionally crafted in Tibetan Buddhism as acts
of devotion, merit-making, and remembrance.
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Molded from clay, loam, or sometimes mixed with sacred substances like
ground relics or ashes, these offerings often bear the relief of
Buddhas, deities, or sacred syllables. Their origins trace back to
Indian pilgrimage practices, but in Tibet, tsatsas evolved into deeply
symbolic objects placed in caves, shrines, or within the cores of
stupas. The act of creating tsatsas is accompanied by mantra
recitation, transforming the process into a meditative ritual that
links the artisan with the divine.
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In funerary contexts, tsatsas assume a particularly poignant role.
After a loved one passes, their ashes—or even the ashes of a burned
effigy representing them—may be mixed into the clay used to form these
votives. Often shaped as miniature stupas, these funeral tsatsas are
rarely fired, allowing inserted grains of barley or wheat to sprout,
symbolizing rebirth and the ceaseless cycle of transformation. They
are not typically kept in homes unless they contain the remains of a
revered teacher; instead, they are respectfully placed in sacred
sites, under ledges, or within stupa gates near monasteries. In this
way, the tsatsa becomes both a memorial and a spiritual bridge,
honoring the impermanence of life while affirming the continuity of
consciousness.
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More than mere tokens of grief, funeral tsatsas are instruments of
transcendence. They embody the Tibetan view that death is not an end
but a passage through the bardo—the intermediate state between
death and rebirth. Through the creation and placement of these
votives, loved ones participate in guiding the departed soul, offering
prayers and symbolic gestures that echo through the subtle realms.
Whether pressed by hand or shaped in communal rituals, tsatsas carry
the imprint of both devotion and transformation, standing as quiet
witnesses to the luminous, boundaryless nature of existence.
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Panorama of Yaowangshan Cliffside Carvings
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Pilgrims making prostrations before the Buddhas
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Panorama of colorful Buddhas carved into the cliffside
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Pilgrims making prostrations before the Buddhas
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Four-Headed Vairocana
Carved into the sacred cliffside of
Yaowangshan, overlooking the Potala Palace in Lhasa, the Four-Headed
Vairocana stands as a luminous embodiment of cosmic wisdom.
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Seated in the lotus position, this Buddha radiates serenity and
omniscience, his posture rooted in the vajra stance that symbolizes
unshakable enlightenment. Each of his four crowned heads faces a
cardinal direction, representing his dominion over all realms and his
capacity to illuminate the ignorance of every sentient being. The
crowns, delicately rendered in stone, evoke celestial regality, while
the symmetry of his seated form anchors the viewer in a sense of
timeless stillness.
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Held gently in his lap, Vairocana’s two hands cradle a golden
wheel—Dharmachakra—the wheel of Dharma, signifying the turning
of the cosmic law and the transmission of profound teachings. This
gesture, known as the Dharmachakra mudra, is not merely
symbolic; it is a visual mantra, a silent sermon etched into the
mountain itself. The wheel gleams in the imagination, even if the
stone has weathered, reminding pilgrims of the Buddha’s first teaching
at Sarnath and the perpetual unfolding of insight. In Tibetan
iconography, Vairocana is often placed at the center of mandalas, and
here, carved into the cliff, he becomes the axis mundi—the spiritual
center around which all paths revolve.
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The presence of this Four-Headed Vairocana at Yaowangshan is more than
artistic; it is initiatory. Pilgrims who gaze upon him are invited
into a contemplative encounter with the nature of reality itself. The
cliff becomes a living text, and Vairocana, with his panoramic gaze
and golden wheel, offers not just protection but revelation. In the
quietude of the mountain air, surrounded by thousands of other carved
Buddhas, this figure stands out as a beacon of the Vajrayana
path—where form and emptiness, gesture and silence, converge in the
luminous heart of awakening.
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Buddha Akshobhya
Carved into the sacred rock face of
Yaowangshan, the figure of Buddha Akshobhya emerges with quiet authority
and unwavering presence.
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Seated in the lotus position, his posture reflects the immovable
stability for which he is named—Akshobhya, the “Unshakable One.” His
right hand reaches down in the bhumisparsha mudra, the
earth-touching gesture that recalls the moment of enlightenment, when
the Buddha called the earth to witness his triumph over illusion and
temptation. This gesture, though often associated with Shakyamuni,
here takes on a deeper resonance, as Akshobhya embodies the clarity
and mirror-like wisdom of the eastern direction in the Five Buddha
Mandala.
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In his left hand, held gracefully before his chest, Akshobhya presents
a vertical vajra—an adamantine scepter that symbolizes indestructible
truth and the piercing power of insight. Unlike the more common
depictions where the vajra rests upon a lotus or is held at the hip,
this upright positioning at the heart center evokes a direct
transmission of enlightened energy. The vajra, in this context, is not
merely an emblem but a spiritual axis, linking heaven and earth, form
and emptiness. It marks Akshobhya as a guardian of the Vajra family,
whose qualities include clarity, discipline, and the transformation of
anger into wisdom.
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The Yaowangshan carving of Akshobhya is more than iconography—it is a
contemplative mirror for those who stand before it. Weathered by time
yet luminous in form, the figure invites pilgrims into a state of
inner stillness, where the solidity of the earth-touching gesture
meets the vertical ascent of the vajra. In this union of groundedness
and transcendence, Akshobhya offers a path of transformation: from
reactive emotion to radiant awareness. The cliff itself becomes a
mandala, and Akshobhya its eastern gatekeeper, reminding all who pass
that true awakening is both rooted and unshakably clear.
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Pilgrims making prostrations before the Buddhas
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Oven for burning fragrant wood in front of the Buddhas
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Mani Stone Pyramid
Nestled against the sacred cliffs of
Yaowangshan—Mount Medicine King—on the western flank of Lhasa’s Potala
Palace, the mani stone pyramid rises like a prayer sculpted in stone.
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This site, part of the revered Thousand Buddha Cliffside Sculpture, is
a living testament to centuries of Tibetan devotion. Pilgrims have
long carved and placed mani stones here, inscribed with the
six-syllable mantra *Om mani padme hum*, each one a whispered
invocation to compassion and spiritual awakening. The pyramid itself
is not a formal monument but a spontaneous, ever-growing offering,
shaped by countless hands and hearts over generations.
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The trail leading up to the Mani Tower is lined with these stones,
forming layered mounds and pyramidal stacks that echo the rhythm of
ritual and reverence. Monks and laypeople alike contribute to this
evolving structure, laying stones with care and intention. The act of
carving or placing a mani stone is considered a meritorious deed, a
way to accumulate spiritual virtue and connect with the sacred. The
pyramid becomes a collective mandala—an architecture of faith—where
each stone is both a prayer and a building block in the spiritual
landscape of Lhasa.
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Beyond its devotional significance, the mani stone pyramid at
Yaowangshan is a cultural palimpsest, reflecting the artistry and
resilience of Tibetan stone carvers. Some families have made this
their life’s work, chiseling mantras into stone from dawn to dusk,
generation after generation. The cliffside carvings and mani stones
together form a tapestry of Buddhist iconography and human longing,
etched into the red rock face like a dialogue between earth and
spirit. To stand before the pyramid is to witness a living archive of
Tibetan spirituality—silent, yet resounding with centuries of prayer.
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The Stone Carving Stupa of the Translated Words of the Buddha for
Bka'-'gyur (Tripitaka)
«Where, at the foot of Chakpon Hill, construction duration from
10th of the Sagadawa Festival in 1995 to 10th of the Saqadawa Festival
in 2009. The object of this narrative is simply to record Gyatse
Chogtrul Jampel Monlam or another name known as Togdan Dawa who built
the stupa is dedicated for world peace and all sentient beings live in
harmony. Blessed by His Eminence Shabdrung Ngag Wang Lozang Chokyi Nyima
Rinpoche of Taklung Kagyud lineage in 17th Raojung Year 15th Sagadawa in
Earth Ox year in Lhasa.»
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Climbing the Mani Stone Pyramid
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The Mani Stone Pyramid seen from the base
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Second Mani Stone Pyramid still unfinished
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Yaowangshan Cliffside Carvings seen from the top of the Mani Stone
Pyramid
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Lamp Hall
In Vajrayana Buddhism, the lamp hall—often nestled
beside sacred monuments or cliffside carvings—serves as a sanctuary of
light and intention.
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It is a place where butter lamps are offered in reverence, each flame
symbolizing the dispelling of ignorance and the illumination of
wisdom. The act of lighting a lamp is not merely ritualistic; it is a
gesture of clarity, compassion, and continuity. In the esoteric
traditions of Vajrayana, light is a subtle vehicle of transformation,
echoing the inner fire (tummo) and the luminous clarity of the
mind. The lamp hall thus becomes a bridge between the outer offering
and the inner awakening.
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At Yaowangshan, where the cliffside is adorned with thousands of
Buddha carvings, the lamp hall stands as a quiet counterpoint to the
grandeur of stone. Here, pilgrims enter with humility, placing lamps
in niches carved into the rock, their flickering light dancing across
ancient reliefs. The hall is often dim, infused with the scent of
melted butter and the murmurs of whispered mantras. In this intimate
space, the spiritual significance deepens: each lamp is a prayer for
healing, for guidance, for the liberation of all beings. The proximity
to the Medicine Buddha carvings reinforces the hall’s role as a locus
of restoration—not only of the body, but of the karmic and emotional
layers that obscure clarity.
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Symbolically, the lamp hall at Yaowangshan is a chamber of continuity.
It gathers the intentions of generations, each flame a thread in the
tapestry of Tibetan devotion. The light offered here is not
consumed—it is transformed, mirrored in the eyes of those who come
seeking solace or insight. In the Vajrayana view, such spaces are not
passive—they are alive with the energies of invocation and presence.
The lamp hall becomes a mandala of light, where the outer ritual
reflects the inner path, and where the simple act of lighting a flame
becomes a profound gesture of awakening.
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