Drakkar Taso Monastery: A Sacred Cliffside Sanctuary at 4,200 Meters
Rising dramatically above the dry basin of Longdak Lake, Drakkar Taso Monastery (Tibetan: བྲག་དཀར་རྟ་སོ་དབུ་མ་རྫོང) is one of the most spiritually powerful sites in the Gyirong region of Shigatse. Located along the ancient route between Dzongga and Gyirong, this revered monastery sits at an altitude of 4,200 meters, surrounded by towering cliffs and vast Himalayan silence.
Founded in 1160 by Lhatsun Renzin Namgyal, a descendant of the Ngari royal lineage, Drakga Taso is closely associated with Milarepa (1040–1123), the great yogi of the Kagyu tradition. According to tradition, Milarepa meditated here for nine intense years, attaining profound realization. The monastery was later established to honor his spiritual achievements at this sacred site.
Drakkar Taso: Milarepa’s Sacred Meditation Cave
Drakkar Taso, also known in full as Drakkar Taso Umdzong, is one of the most important sacred sites associated with Jetsun Milarepa, Tibet’s most revered yogi and poet-saint. This remote meditation site is celebrated as a place where Milarepa practiced extreme asceticism and ultimately attained full enlightenment.
The name Drakkar Taso originates from a distinctive white rock shaped like a horse’s tooth (ta so in Tibetan). Although this natural feature no longer survives, the name continues to define the spiritual identity of the site. Behind Drakkar Taso lies another sacred location known as Drakmar Khyunglung, which remains preserved today.
Milarepa’s Return to His Birthplace
Carrying only a skull Bowl and clay vessel given by his guru Marpa the Translator, along with a woolen mat from his late mother, Milarepa first returned to his birthplace at Kyangatsa. This homecoming stirred intense feelings of impermanence, sorrow, and renunciation, strengthening his resolve to pursue solitary meditation. Soon after, he traveled onward to Drakkar Taso, choosing this isolated site as a place of long-term retreat.
Three Years of Retreat at Drakkar Taso
At Drakkar Taso, Milarepa entered a strict retreat lasting three years, surviving on only six loads of tsampa. Later, he briefly descended to nearby villages to accept alms, but quickly realized that even this was unnecessary for his practice.
This period marked a turning point, as Milarepa began to rely entirely on solitude, discipline, and unwavering devotion to meditation.
The Milarepa Cave and Six Years of Nettles
Around the 11th century, Milarepa moved to what is now revered as the Milarepa Meditation Cave at Drakkar Taso. Observing its warm sunlight, sheltered position, and expansive views, he recognized it as an ideal environment for intensive practice.
Here, Milarepa meditated for six years, sustaining himself solely on nettles. This extreme asceticism famously turned his body green, becoming one of the most enduring images in Tibetan Buddhist tradition.
His experience is captured in a verse attributed to him:
“At Drakkar Taso and Drakmar Khyunglung,
I trusted six small sacks of provisions.
For eighteen years, I lived on nettles alone.
To the yogi who perfected ascetic practice, I pray.”
Spiritual Attainment at Drakkar Taso
At this sacred mountain retreat, several realizations arose at once. Milarepa’s guru’s instructions fully unfolded within him. His life, though materially simple, became inwardly complete and harmonious. His physical body, once weakened by hardship, recovered naturally.
Through this rapid ripening of practice, Milarepa is said to have completed the two accumulations, purified the two obscurations, overcome the four demons, and at Drakkar Taso, attained full enlightenment.
“I Did Not Mistake Where to Meditate”
Later, Milarepa openly declared the correctness of his spiritual path:
“At first, I did not mistake where to place my trust—
I relied on the feet of my master Marpa.
In the middle, I did not mistake what to encounter—
I met the Six Yogas of Naropa.
In the end, I did not mistake where to meditate—
I meditated on the mountain of Drakkar Taso.”
In accordance with these words, he remained at this sacred site for nine more years, deepening his realization and guiding disciples.
Signs and Sacred Legacy of the Cave
When Milarepa eventually prepared to descend from the mountain, his clay cooking pot broke, symbolizing the end of his solitary retreat. Even today, green nettles are said to grow near the cave, regarded as a living sign of his presence and practice.
After leaving Drakkar Taso, Milarepa taught tantric instructions widely, and his reputation spread throughout Tibet. His foremost disciple, Gampopa (Dagpo Lhaje), later came to meet him at this sacred place, further cementing Drakkar Taso’s importance in the Kagyu lineage.
A Sacred Site in the Kagyu Lineage
Although Drakga Taso Monastery was originally linked to the Nyingma school, it later embraced the Kagyu teachings, reflecting the strong influence of Milarepa and his lineage. Over the centuries, the monastery became a major meditation center, once supporting more than 100 monks and guided by twelve successive Khenpos (abbots).
The sacredness of this site attracted many renowned Tibetan masters, including Lingrepa, Tsangpa Gyare, Gyalwa Gotsangpa, Orgyenpa, Dorje Dzinpa, Yakru Paldrak, Tsangnyön Heruka, and others. It is also said that the Third Karmapa, Rangjung Dorje, visited this place at the age of three, leaving footprints that are still venerated today.
Architectural Harmony with the Mountain Landscape
Covering approximately 8,400 square meters, Drakga Taso Monastery blends naturally into its rugged surroundings. Built mainly from stone and wood, the structures follow the contours of the cliff, creating a seamless dialogue between architecture and nature.
The monastery complex stretches from west to east and includes important structures such as:
- Lhatsun Renzin Namgyal Lhakang
- Labrang
- Drakpuk (meditation cave)
- Dukang Chenmo (Great Assembly Hall)
- Kangyur Lhakang
- Umtse and auxiliary buildings
Despite damage from historical events, many core structures remain, preserving the monastery’s spiritual and artistic legacy.
A Living Pilgrimage Destination
Every year, pilgrims arrive from Gyirong County, the Kham region, and Nepal, drawn by the monastery’s spiritual reputation and connection to Milarepa. The site consists of old and new sections, separated by about 300 meters.
The older section centers on Milarepa’s meditation cave and monks’ living quarters, while the newer area contains the scripture hall, Shedzong Hall, Assembly Hall, and Labrang. These surviving buildings continue to serve as places of devotion, meditation, and pilgrimage.
Lhatsun Renzin Namgyal Lhakang: The Earliest Shrine of Drakkar Taso Monastery
Lhatsun Renzin Namgyal Lhakang is the oldest and most historically significant structure within Drakkar Taso Monastery. Built toward the late 12th century, this sacred shrine was founded by Lhatsun Renzin Namgyal, a descendant of the ancient Ngari King dynasty. As the spiritual heart of the monastery, the Lhakang reflects the early architectural style and artistic traditions of Tibetan Buddhism in the Gyirong region.
Architectural Layout and Spatial Design
Facing north, the Lhakang is a traditional wood-and-stone Tibetan structure designed to harmonize with its mountainous surroundings. A stone staircase leads visitors into a small open courtyard, which opens onto a compact porch measuring approximately 16 square meters. To the west of the porch lie monks’ living quarters of similar size, emphasizing simplicity and functionality.
Despite its modest scale, the building carries deep symbolic meaning and showcases refined craftsmanship from the early monastic period.
Murals and Symbolic Imagery
The eastern, western, and northern walls of the porch are decorated with well-preserved murals rich in symbolic imagery. These paintings feature:
- Dragons, tigers, lions, and elephants
- Garuda birds and snow mountains
- Auspicious clouds, the sun and moon
- Flowing floral patterns
Together, these elements represent protection, wisdom, power, and harmony between nature and the spiritual world. Inside the monks’ quarters, the walls are adorned with the Eight Auspicious Treasures of Buddhism. These sacred symbols express blessings, enlightenment, and the path toward liberation.
Labrang: Residence and Auxiliary Structures
Located at the center of Drakkar Taso Monastery, the Labrang once served as the residence of Lhatsun Renzin Namgyal. This two-story Tibetan-style building features a flat roof and is constructed from stone and wood, reflecting classic monastic architecture.
On the western end of the lower floor is a protector deity hall, where striking murals depict Chana Dorje (Vajrapani) alongside powerful symbolic figures such as dogs, leopards, inverted human heads, and other tantric elements. These images reflect the monastery’s ritual traditions and its role in protector deity practices.
Zimchung Yarwoe: The Revered Living Quarters
Zimchung Yarwoe, the personal living space of Lhatsun Renzin Namgyal, faces south and covers about 10 square meters. Though small, it holds immense spiritual importance.
The north wall enshrines a statue of Lhatsun Renzin Namgyal, with Marpa the Translator, Milarepa, and a gilded statue of Manjushri placed to the left. On the right stands a shrine cabinet containing ritual offerings and a gilded Tara statue.
The walls are richly decorated with murals:
- West wall: Sakyamuni Buddha, Chana Dorje, Dorje Chang, Chenrezig, Strongpa Yang, and Nampa Nangzey
- South wall: Amitayus and Shakyamuni Buddha
- East wall: Multi-armed protector deities such as Ekajati
The exterior walls display the Four Great Vajras and the Wheel of Fortune, reinforcing themes of stability, protection, and cosmic order.
Niwoe: The Abbot’s Residence
South of Simchung Yarwoe lies Niwoe, the traditional residence of the monastery’s abbot. Covering approximately 10 square meters, this space is modest yet symbolically rich.
The interior walls are decorated with the Eight Auspicious Treasures, echoing the spiritual motifs found throughout Drakkar Taso Monastery. A narrow open courtyard on the western side serves as a cooling and resting area, adapting the building to the high-altitude environment.
To the east of Niwoe stands Chuga Shar, another abbot’s residence with a slightly triangular layout, reflecting adaptive architectural planning within the limited cliffside terrain.
Gonkhang and Men-Tsee-Kang
The Gonkhang, or Protector Deity Hall, lies northeast of Simchung Yarwoe. Its interior is painted against a dark background, with fierce protector deities outlined in red and white, surrounded by skulls and ritual objects made of human bone imagery.
North of Zimchung Yarwoe stands the Men-tsee-Kang, a square building that once functioned as the monastery’s Tibetan medicine workshop, reflecting the integration of healing practices into monastic life.
Drakpuk Che: Milarepa’s Meditation Cave
One of the most sacred features of Drakga Taso Monastery is Drakpuk Che, the meditation cave of Milarepa. The cave uses the natural cliff as its northern wall, while the southern wall is built from stone. A narrow entrance leads into a surprisingly spacious interior, measuring approximately 2 meters long and up to 3 meters high.
Inside, the northern altar enshrines statues of Mila Nishar, Mila Chushe. Adjacent to the cave is a scripture printing room covering around 16 square meters, highlighting the site’s role in preserving Buddhist teachings.
Murals of “The Life of Milarepa”
The earliest murals in the cave depict The Life of Milarepa in extraordinary detail. These paintings narrate his journey from birth in Zelong, through his study of sorcery, meeting Marpa, building the nine-story tower, enduring years of ascetic practice, and ultimately achieving enlightenment.
The murals follow a continuous narrative structure, arranged in a flowing “W” pattern across the rock surface. Natural elements such as mountains, rivers, trees, and clouds connect each scene. Dominated by cool tones of blue, green, and white, the artwork uses flat painting and subtle shading, resulting in expressive figures and a strong sense of realism.
Later murals on the south wall feature Milarepa, Marpa, Eight Kagyu lineage masters, and protector deity Dorje Pakmo, rendered in richer colors and more decorative styles.
Dukang Chenmo: The Great Assembly Hall
At the southern edge of the complex stands Dukang Chenmo, the Great Assembly Hall. Once a two-story structure supported by 16 columns, much of it has collapsed, leaving slate walls rising over 10 meters high.
The ground floor, covering 63 square meters, originally served as the main Buddha hall. Though many statues no longer exist, traces of murals remain, depicting protector deities, Kagyu lineage figures, Amitayus, Dolma, and symbolic motifs such as the Eight Auspicious Treasures. These remnants continue to reflect the hall’s former religious grandeur and ceremonial importance.