Focus on Sakya Monastery,

The journey begins with a closer look at the Sakya Monastery, located in Sakya Town. The complex is historically divided into the Northern Monastery and the Southern Monastery.

• Northern Monastery: Built first, dating back to the Northern Song Dynasty (c. 10th-11th century). Today, only ruins and rebuilt temples remain at this site.
• Southern Monastery: The religious and administrative center gradually shifted here after the 14th century. The magnificent ancient architecture that visitors primarily tour today belongs to the Southern Monastery complex.

The oldest structure within the Southern Monastery complex is the Great Buddha Hall (大佛殿).

Sakya Monastery: A Journey Through Tibetan Heritage

Sakya Monastery, the ancestral seat of the Sakya School (Flowered School), is a treasure trove of Tibetan Buddhist art and history. Beyond its status as a 1st Batch National Key Cultural Relics Protection Unit, it holds numerous priceless artifacts, spectacular murals, and sacred scriptures—most famously, the massive collection of Buddhist texts and the highly prized Yuan Dynasty Mandala frescoes (which are rarely seen by the public).

Priceless Artifacts: The Kangyur Connection

Among the most significant artifacts historically associated with Sakya Monastery is the Kangyur Sutra from the Yongle Era of the Ming Dynasty.

Featured Artifact: The Kangyur (Tibetan Buddhist Canon) published in the 8th year of the Yongle reign (1410 CE) is historically significant as the first-ever woodblock-printed edition of the Tibetan Tripitaka. This edition was originally housed at Sakya Monastery before being transferred to the Potala Palace.

Entering the Fortress-Monastery

The architecture of the Sakya Southern Monastery resembles a fortified castle, protected by inner and outer walls.

• Outer Wall (The Sheep-Horse Wall): Known as the Yangma Cheng, this outermost wall has two gates on the eastern side.
• Inner Wall: The inner perimeter has only a single gate situated centrally on the eastern side, serving as the main entrance.

Due to its remote location, Sakya Monastery sees far fewer non-pilgrim tourists compared to the major monasteries in Lhasa, making the atmosphere profoundly quiet and sacred, often filled mainly with Tibetan pilgrims performing their devotions.

The Lakhang Chenmo (Great Assembly Hall)

The main complex for visitors is the Lhakhang Chenmo , the Great Assembly Hall, renowned for its imposing structure and hidden treasures.

The Historic Staircase

The staircase leading to the second floor is steep and narrow. A famous stone block carved with the Six-Syllable Mantra is visible near the base of the stairs. It was here that a group of monks was observed rapidly ascending the steep steps with unique, almost jumping steps—a fascinating sight, perhaps a religious custom, a form of exercise, or simply youthful exuberance.

The Sacred Entrance Portal

The entrance corridor of the Lhakhang Chenmo is rich with symbolism.

• Door Curtains: The typically stark black hanging curtain is adorned with red and green tassels. The green symbolizes “purity and peace,” while the red signifies the “majesty and exorcising power of the Dharma protectors.”
• Gate Barrier: The metallic mesh gate curtain is not mere decoration; it is a “symbol of the boundary (Jie Jie)” defining the sacred space. It is believed to be guarded by Dharma protectors, capable of blocking distractions and misfortune from entering the hall.
• Door Design: The wooden door panels, reinforced with metal edging that deliberately does not reach the top, carry a religious meaning: the “unsealed top” symbolizes that the sacred blessing and power are unrestricted and can ascend upwards, unconstrained by the enclosure.

Guardian Deities (Dharma Protectors)

The entrance portico is flanked by fierce statues of Guardian Vajras (护法金刚) and vivid murals of the Four Heavenly Kings (四大天王 / Guardians of the World).

The murals depict the Four Heavenly Kings (usually in an angry aspect, wearing armor and trampling on evil spirits):

• Vaisravana (多闻天王, North): Yellow face, holding a precious banner (the best-preserved mural).
• Virudhaka (增长天王, South): Blue face, holding a sword.
• Dhritarashtra (持国天王, East): White face, holding a lute (Pipa).
• Virupaksha (广目天王, West): Red face, holding a serpent/noose.

Also visible in the portico murals are Four-Faced Brahma (四面梵天), the Hindu god of creation adopted into Buddhism as the “God of Wisdom,” and the Singing Goddess (歌咏天女), one of the Sixteen Offering Goddesses.

The Great Scripture Hall (Lhakhang Chenmo)

Passing through the entrance portico leads to the inner courtyard and the main entrance of the Great Scripture Hall (大经堂). The exterior wall displays murals of Dharma protectors, including the impressive Six-Armed Mahakala (六臂怙主).

Inside the Great Hall (where photography is generally prohibited), four pillars are especially famous:

• “Tiger Load Pillar” (猛虎载): Said to have been carried by a fierce tiger.
• “Wild Yak Pull Pillar” (野牛牵): Allegedly dragged to the site by a wild yak.
• “Kublai Khan Pillar” (忽必烈柱): Said to be a gift from the Mongol Emperor.
• “Black Blood Pillar” (墨血柱): Legend says this pillar bled black blood when it was felled by the sea god.

The Ocean of Wisdom, The Mountain of Scriptures

The true awe of the Great Hall comes from the sheer density of its contents. The hall is lined with shelf after shelf, stacked high with countless volumes of scriptures.

The most stunning feature is accessed via a small, dimly lit door behind one of the major shrines. This door leads into a sacred corridor called the “Ocean of Wisdom, Mountain of Scriptures” (慧海经山).

• This corridor runs behind the main statues and acts as a massive archival space.
• The entire space is floor-to-ceiling with meticulously stacked, ancient Buddhist texts.
• Walking through this narrow passageway is like being inside an ancient library, surrounded by centuries of devout scholarship—an experience that is absolutely unique to Sakya Monastery and should not be missed.

Other Halls and The Search for the Mandala

After exiting the Great Hall, several other important chapels (Lhakhang) on the ground floor offer further treasures, though time is often limited.

1. Ouying Rinchen Lhakhang (欧东仁增拉康)

Also known as the “Founder’s Hall,” this is the second most important shrine in the monastery, housing numerous scriptures and $11$ reliquary stupas. A side room, Lhakhang Gyang contains six tall stupas and precious murals.

• Founder Statue: Features the statue of the Sakya School founder, Khöntön Könchok Gyalpo. The elaborate robes and the Great Garuda/Naga Queen background reflect the dignity of the Sakya Patriarchs.
• Historic Murals: The walls, especially in Lhakhang Gyang, hold exquisite and distinctive old murals. The largest and most famous depicts the historic meeting between Sakya Pandita and the Mongol Prince Godan Khan (阔端), surrounded by vibrant Mandala frescoes—a truly magnificent sight that is a highlight of Tibetan history.

[Image taken from the doorway of Lhakhang Gyang, showing important stupas and the historic mural]

2. Phurpa Lhakhang

Located on the south side of the courtyard, this hall is dedicated to the Vajrakilaya (Phurpa) Mandala, a special combination of three Vajrakilaya deities unique to the Sakya School (Sepu, Yangda, and Chile Phurpa).

• Rituals: The annual “Phurpa Festival” is held here in the seventh month of the Tibetan calendar.
• Artifacts: The hall contains Yuan Dynasty murals. However, the central Mandala was not on display at the time of the visit, having been put away for storage.

Climbing to the Upper Floors

Driven by a desire to find the famous Yuan Dynasty Mandala Hall, the next stop is the upper floor.

Guardian and Guru Halls

A very narrow entrance on the upper northwest side leads to a series of chambers: a Dharma Protector Hall and further up, the Guru’s Hall (Lama Lhakhang).

• Lama Lhakhang: This chamber is dedicated to the lineage gurus and contains eight statues, including a gilded copper Shakyamuni Buddha and key Sakya figures like Ngagchang Kunga Rinchen.
• Murals: The walls are covered in spectacular, brightly colored murals depicting the Pure Land, dancing celestial maidens (Goddesses of Delight), Sakya Dharma Kings, and auspicious beasts.

Unsolved Mystery: The Mandala Hall

Despite diligent searching and inquiries, the location of the main Yuan Dynasty Mandala Hall remained elusive. It is speculated that it may have been closed to visitors, or the entrance might have been a subtle doorway missed in the dark stairwells or side galleries.

Palden Lhakhang

The final stop was the Palden Lhakhang, also known as the Phagpa Lhakhang, where the great Sakya master Chögyal Phagpa is said to have passed away. The current structure was largely rebuilt in the late 20th century.

Due to the limited winter opening hours, the visit was cut short, leaving many unvisited treasures and halls, including the Treasury Hall (which requires an additional fee) and the suspected Mandala Hall.

Next Destination: Tashilhunpo Monastery

Despite the regrets, the overall experience confirmed the indelible status of Sakya Monastery as a must-see destination.

The journey continues to the next irreplaceable site, the equally crucial Tashilhunpo Monastery in Shigatse. As another 1st Batch NKCRPU site, Tashilhunpo Monastery—meaning “Mountain of Glory”—is the traditional seat of the Panchen Lamas and a magnificent architectural complex built against the hillside within Shigatse city limits.

Tashilhunpo Monastery: The Glory of the Panchen Lamas

Tashilhunpo Monastery, meaning “Mountain of Glory” in Tibetan, is located within Shigatse city and is one of the four great monasteries of the Gelug (Yellow Hat) School. Its architecture is distinctively majestic, built layer upon layer against the hillside. This site is another 1st Batch National Key Cultural Relics Protection Unit and the traditional seat of the Panchen Lamas.

The period of the 7th Panchen Lama (1782–1853) marked a significant era in the monastery’s history, spanning the late 18th to mid-19th centuries.

Historical Note: The monastery’s profound historical connection to imperial China is underscored by artifacts such as the calligraphy personally inscribed by the Tongzhi Emperor, a rare piece now held in the Tibet Museum (likely a replica, as the original is uncertain).

Due to the changing winter opening hours—with most halls closing at noon and reopening at 3 PM—the group scheduled its visit for the late afternoon, ensuring they could explore until sunset and closing time.

Arrival and Local Vibe

Before entering the monastery gates, a stroll through the nearby streets provided a glimpse into the local life and the bustling Tibetan market atmosphere.

The monks, easily identifiable in their robes, often use the outer road to avoid the market hustle.

Architecture and Grandeur

The Exterior View

Looking at the highest structures from left to right, they represent the most important halls: the Maitreya Chapel (Chamchen Lhakhang), the 10th Panchen Lama’s Stupa Hall, the 4th Panchen Lama’s Stupa Hall, the Tashinamgyal Hall (the combined stupa of the 5th–9th Panchen Lamas), and the Kalsang Lhakhang (Tangka Display Wall).

The monastery is vast and maze-like, with recommended routes (the red line on the guide map), but numerous small paths, corners, and staircases allow for shortcuts and exploration, though safety is paramount. The exterior walls predominantly house monks’ residences (Dormitories), characterized by uniform architectural style and color.

[Image showing the uniform style and color of the monastic buildings]

The Sacred Trees

On the sloped path leading toward the Maitreya Chapel, several trees are protected by signboards and supports. These are sacred, ancient trees known as “Buddleja alternifolia” (互叶醉鱼草), with lifespans exceeding 400 years.

• Unique Feature: Although classified botanically as an herbaceous plant, here they grow into gnarled, ancient trees. Their branches are often described as being “half withered, half alive,” symbolizing the cycle of life and death, and are revered for their spirituality.
• Cultural Use: The name is derived from a mild toxin in the leaves that “intoxicates” fish. More importantly, their soft branches were historically wrapped with cotton to be used as wicks for butter lamps, earning them the nickname “Lamp Wick Trees” (灯芯树)—an essential tool for offerings.

Visitors often reach out to touch these trees, connecting with four centuries of history and devotion.

The Stupas and Kora

Above the trees are three white stupas, serving as a focal point for circumambulation (Kora).

II. The Great Chapels

1. Chamchen Lhakhang (Maitreya Chapel / 强巴佛殿)

This is the tallest building in the complex, spanning five stories.

• The Statue: It houses a colossal copper statue of Maitreya Buddha (Jampa/Strongba Fo), standing nearly 30 meters high. Construction required over 230,000 catties of copper, 6,700 ounces of gold, and countless precious gems, including 32 diamonds embedded in the brow.
• Entrance Ritual: A copper bell hangs in the entrance porch. Visitors traditionally ring the bell an odd number of times when entering and exiting to signal their presence.
• Murals: The Four Heavenly Kings depicted in the entrance portico here are in a visibly different style and posture compared to those at Sakya Monastery.

2. The Panchen Lama Stupa Halls

The journey continues past the main hall to the sacred memorial stupas.

The 10th Panchen Lama’s Stupa Hall (十世班禅灵塔殿)

• Reliquary Stupa: Standing 11.55 meters high, this stupa was built using 614 kilograms of gold and over 20,000 jewels. It enshrines the actual remains (Dharma body) of the 10th Panchen Lama. (Photography inside required a fee of 125 RMB).
• Mural Detail: In the porch, a guiding hand symbol is used to point directions. This is the respectful gesture used in Tibetan Buddhism, as pointing with a single finger is considered impolite, especially toward religious objects or statues.

The 4th Panchen Lama’s Stupa Hall (四世班禅灵塔殿)

• Historical Significance: As the monastery was personally overseen by the 4th Panchen Lama (Lobsang Chökyi Gyaltsen), his stupa hall is considered the most important and the highest in grade.
• Preservation: The original stupa of the 4th Panchen Lama survived the destruction during the Cultural Revolution because it was reportedly painted with revolutionary slogans.

Tashinamgyal Hall (扎什南捷殿): The United Stupa

This hall contains the combined memorial stupa for the 5th through 9th Panchen Lamas.

• Reconstruction: All their original stupas were destroyed during periods of turmoil. In the 1980s, the remains of the five lamas were gathered, placed in five sandalwood caskets, and enshrined together in this newly built collective stupa, which also contains a copper statue of the 9th Panchen Lama.

III. Monastic Life and Cultural Symbols

Evening Rituals

As the afternoon waned, the monks began their evening chores, transforming the courtyard into a lively scene.

• Torma Preparation: Monks were busy kneading Tsampa (糌粑) into elaborate ritual offerings called Torma (食子), used for prayer and sacrifice. Tsampa is a traditional Tibetan staple made from roasted barley flour mixed with butter tea and other ingredients.
• Dharma Practice: A loud, profound, and sustained sound from a ritual horn (法号) signaled an important moment. Monks in yellow robes and hats began congregating toward the Tsokchen Hall for their evening recitations.

Common Tibetan Buddhist Symbolism

Throughout the monastery, common decorative motifs convey profound Buddhist philosophy:

• The Eight Auspicious Symbols (吉祥八宝图): Composed of the Parasol, Golden Fish, Treasure Vase, Lotus, Conch Shell, Endless Knot, Victory Banner, and Dharma Wheel, symbolizing protection, liberation, complete virtue, and the spread of the Dharma.
• The Four Harmonious Friends (和气四瑞图): A layered image of an elephant, a monkey, a rabbit, and a partridge, derived from a Jataka tale that preaches respect for elders, mutual assistance, and harmony among all living beings.
• The Wheel of Life (六道轮回图): A common diagram illustrating the cycle of existence (Samsara), with a pigeon, snake, and pig at the center representing the three poisons (greed, hatred, and ignorance).
• Fusion Art: Murals depicting Fu Lu Shou (福禄寿三星)—the Chinese gods of Fortune, Prosperity, and Longevity—rendered in Tibetan painting style and colors, serve as a beautiful testament to the cultural exchange between Tibetan and Han traditions.

IV. Tsokchen Hall (Assembly Hall)

The most ancient and historically valuable structure in the entire complex is the Tsokchen Hall (措钦大殿), located on the lower level.

• Layout: It includes a large assembly hall in the front (with the Panchen Lama’s throne), and several smaller chapels in the back dedicated to Shakyamuni Buddha, Maitreya, and Tara.
• Art History: The hall is a repository of masterpieces from the Mentang and Mensar schools of Tibetan painting, including murals painted in 1458 by Menla Dhondup (founder of the Mentang school). Though smoke damage and later repainting make the originals hard to distinguish, their historical value is immense.

Ⅴ. Exploring the Monastic College (Dratsang)

Before the sun set, a search led to the Gyikhang Dratsang (吉康查仓), one of Tashilhunpo’s four major monastic colleges, dedicated primarily to the study of the Sutras (Exoteric Buddhism).

• Architecture: The courtyard features stunning frescoes with shallow relief protected by mesh, primarily depicting countless Thousand Buddhas (千佛像). The repeating motifs, rich colors, and detailed craftsmanship make them visually superb.

As the light faded, the monastery sounded its final calls, and the yellow-robed monks returned to their solemn duties, providing a rich, vibrant contrast to the ancient stone walls.

Tashilhunpo Monastery, with its immense scale, refined architecture, and profound religious activity, offered a vastly different yet equally moving experience compared to the fortified quiet of Sakya Monastery.

The journey now turns to the next essential stop: Palkhor Monastery in Gyantse, home to the celebrated Kumbum (Ten Thousand Buddhas Stupa).

Palkhor Monastery: The Unity of the Schools

Based on the experiences at Sakya and Tashilhunpo, the strategic decision was made to focus the limited time at Palkhor Monastery (白居寺) on its two most important and famous structures: the Tsokchen Hall (大殿) and the Kumbum (Ten Thousand Buddha Stupa), strategically forgoing the three more distant Dratsang (monastic colleges).

Palkhor Monastery is a truly unique complex because it houses three major schools of Tibetan Buddhism—Sakya, Zhalu (Sharpa), and Gelug—coexisting within its walls, representing an extraordinary historical achievement of monastic unity.

I. The Tsokchen Hall (Assembly Hall)

The main complex opens with the Tsokchen Hall and the Kumbum standing side-by-side, forming the monastery’s visual and spiritual heart.

[Image showing the Tsokchen Hall and the Ten Thousand Buddha Stupa]

The Entry Porch and Guardians

The entrance portico of the Tsokchen Hall features the usual array of fierce protectors.

• Guardian Statues: Statues of the Four Heavenly Kings (四大天王) guard the entrance.
• Mural Art: Two particularly old and valuable murals are protected by glass panels. One, centered on a sword surrounded by birds and flowers, is likely the “Sword of Wisdom” (智慧之剑) wielded by Manjushri Bodhisattva, symbolizing the cutting of ignorance. The other is a clearly identifiable Wheel of Life (六道轮回图).

Side Chapels: Protectors and Longevity

Flanking the main hall entrance are two important side chapels:

• The Protector Chapel (护法神殿): This hall, filled with the sounds of drums, is a hub of active worship. Its walls feature vibrant, richly detailed murals of Dharma protectors, with some darker patches hinting at older, original layers beneath later restorations.
• The Longevity Chapel (长寿殿): Located opposite, this hall is dedicated to the Buddha of Infinite Life. During the visit, a monk was observed performing the gentle ritual of blessing the faithful by touching their head (摸顶赐福).

The Great Assembly Hall (Ground Floor)

Inside the main Tsokchen Hall, the atmosphere is ancient and dimly lit, making detailed viewing challenging.

• Wall Art: The hall’s walls are covered in elaborate murals, many dating back centuries. The intricate patterns on the monastic robes (Kashaya) of the figures likely employ special techniques like relief powder application or gilded outlining to create a raised, textured effect.
• Sectarian Influence: The presence of different style statues in the Pure Land Altars (净土坛) on the east and west sides of the hall suggests the architectural influence of the various co-existing schools within Palkhor Monastery.

Upper Floor and Frustrated Photography

The second floor is celebrated for its ancient artistry, particularly the Chapel of the Sixteen Arhats and its exquisite Mandala frescoes, including a $1427$ Mandala, one of the oldest in Tibet.

However, access to the true treasures was hampered by a strict monk who monitored visitors to prevent unauthorized photography, stiffly refusing requests even for paid permission.

• Missing Treasures: The oldest known Mandala and the Arhat statues remained inaccessible.
• Mural Art: Despite the restriction, the murals in the second-floor corridor remained visible and impressive.

II. The Ten Thousand Buddha Stupa (Kumbum)

Between the Tsokchen Hall and the main gate stands the Kumbum (十万佛塔), or “Stupa of One Hundred Thousand Buddhas that Liberate Upon Sight.” This architectural masterpiece is the monastery’s most distinctive feature.

• Structure: The Stupa is a nine-story, multi-doored structure featuring 108 gates and 77 chapels (佛殿). It is characterized by its four sides and eight angles, creating a unique sense of rhythm and structure.
• The Name: The name “Ten Thousand Buddhas” is derived from the countless statues and painted figures housed within its chambers, totaling over one hundred thousand depictions of the Buddha.

Climbing the Kumbum

Ascending the Stupa is done via a clockwise circumambulation route. The stairways are often narrow and sometimes concealed, requiring travelers to be mindful of others and persistent in their search for the next level.

• Physical Challenge: Navigating the tight spaces and the low doorways of each chapel, combined with the high altitude, is physically taxing, requiring frequent breaks.

Interior Art and Chambers

Every floor and chapel is a gallery of religious art:

• Rare Frescoes: The walls are covered with invaluable murals, including the White Parasol Goddess (白伞盖佛母), attributed to the renowned master Tarpa and his disciples, and the Goddess of Increasing Prosperity (增禄佛母), attributed to the master Sherab Gyatso.
• Restoration Evidence: Some murals clearly show signs of repair, where newer patches meet older sections, revealing the constant work required to preserve these centuries-old treasures.
• Vivid Sculptures: The statues and painted figures within the chapels are noted for their lifelike expressions and posture.

The Fifth Floor and the Mandalas

The fifth floor is particularly significant, containing four major chapels corresponding to the four cardinal directions (East, South, West, North Boundless Palaces).

• Mandala Murals: These chambers house large statues and exquisite Mandala frescoes, providing the best opportunity during the entire trip to photograph high-quality Mandala art.

The Summit View

After completing the circuit, a short, strenuous climb up a small path behind the Stupa leads to a vantage point.

• The Third Eye: From this height, the “Eye of Shiva” (湿婆神的慧眼), painted on the tower’s sacred bottle section, becomes clearly visible.
• Panoramic Reward: Though the climb is breathless, the panoramic view of the Kumbum and the distant Dzong Hill Fortress (宗山古堡) makes the effort profoundly rewarding.

The Palkhor Monastery, with its harmonious co-existence of multiple schools and the sheer artistic volume of the Kumbum, offered a perfect finale to the monastic tour, capping off the experiences at Sakya and Tashilhunpo.

Palkhor Monastery: The Unity of the Schools

(Final stop in the Monastic Tour: Gyantse)

Drawing lessons from the vastness of Sakya and Tashilhunpo, the strategic decision was made to concentrate the limited time at Palkhor Monastery (白居寺) on its two core highlights: the Tsokchen Hall (大殿) and the Kumbum (Ten Thousand Buddha Stupa), deliberately foregoing the three more distant Dratsang (monastic colleges) to ensure a high-quality experience.

I. Tsokchen Hall (Assembly Hall)

The main path immediately leads past a long row of prayer wheels, opening onto the central plaza where the Assembly Hall stands beside the magnificent Stupa.

Entrance and Sacred Murals

The hall’s portico is guarded by the imposing statues of the Four Heavenly Kings (四大天王) and rich murals of Dharma protectors.

• Protected Frescoes: Inside the portico, two ancient and precious murals are preserved behind glass.
  • One, featuring a sword surrounded by auspicious birds and flowers, is likely the “Sword of Wisdom” of Manjushri Bodhisattva, symbolizing the severing of defilements and the attainment of enlightenment (推测).
  • The second is a clear depiction of the Wheel of Life (六道轮回图).

Side Chapels: Protectors and Blessings

Before entering the main hall, two small but important side chapels are situated left and right:

• Protector Chapel (护法神殿): Active worship occurs here, accompanied by the sound of drums. Its ancient walls show layering, with the darkest areas possibly containing the oldest, most original paint.
• Longevity Chapel (长寿殿): Dedicated to the Buddha of Infinite Life, it contains what appears to be a high lama’s reliquary stupa and wall paintings. A gentle ritual was witnessed here as a monk performed the “head-touching blessing” (摸顶赐福) for the faithful.

[Image inside the Longevity Chapel]

Inside the Great Assembly Hall

The main hall on the ground floor is poorly lit, making the ancient murals hard to see.

• Wall Art Details: The highly decorative patterns on the robes (Kashaya) of the figures likely utilize specialized techniques like gilding (描金) or relief outlining (沥粉), creating a textured, three-dimensional effect.
• Sectarian Influence: The presence of different style statues in the Pure Land Altars (净土坛) on the east and west sides highlights Palkhor’s unique characteristic as a place where different schools (Sakya, Gelug) converged.

[Image showing the detail of patterns on a painted robe]

The Second Floor Challenge

The second floor is home to exceptional treasures, including the Chapel of the Sixteen Arhats and the historically significant $1427$ Mandala, believed to be one of the oldest preserved Mandalas in Tibet.

However, a resident monk, possibly protective due to overzealous photographers, closely followed visitors, sternly preventing any photography, even when payment was offered. The ancient Mandalas and Arhat statues remained unseen by the camera lens.

II. The Kumbum (Ten Thousand Buddha Stupa)

Between the Tsokchen Hall and the entrance lies the unparalleled Kumbum (十万佛塔), also known as the “Stupa of A Hundred Thousand Buddhas that Liberate Upon Sight.”

• Structure: This architectural marvel is a nine-story, octagonal structure with 108 gates and 77 chapels. The five lower tiered sections are clearly visible from the outside.
• The Name: It houses over one hundred thousand statues and painted figures of Buddhas, earning its iconic name.

[Image showing the rhythmic architectural layers of the Stupa]

Ascending the Sacred Tower

Visitors ascend the Stupa in a strict clockwise direction, visiting the chambers on each level.

• Navigation: The stairwells connecting the floors are often narrow and sometimes deliberately concealed.
• Physical Demand: The cumulative effect of climbing at high altitude and continuously stooping to enter the low doorways of the countless chapels leads to inevitable fatigue, requiring regular breaks.

Artistry within the Chambers

Each of the $77$ chapels is a repository of artistic wealth, featuring distinct styles:

• Notable Murals: Frescoes of the White Parasol Goddess (白伞盖佛母), attributed to the master Tarpa, and the Goddess of Increasing Prosperity (增禄佛母), attributed to Sherab Gyatso, are among the renowned works found inside.
• Restoration Evidence: Some murals clearly show areas where restoration work (re-painting) has been done, with patches where new plaster meets the older original surface.

[Image showing a repaired mural section]

The Mandalas of the Fifth Floor

The ascent culminates at the fifth floor, which holds four chapels dedicated to the Four Boundless Palaces (东、南、西、北无量宫殿).

• Treasure Trove: These four halls feature large statues and exceptionally well-preserved Mandala frescoes. This was the moment to finally capture quality photographs of this profound art form.

View from the Pinnacle

Behind the Stupa, a final, steep climb up a small hill rewards the weary traveler with the best views.

• The Eye of Wisdom: From this height, one can clearly see the Eye of Shiva (湿婆神的慧眼) painted on the Stupa’s tower bottle.
• The Vista: Despite the breathless exertion of climbing high in the plateau air, the reward of seeing the magnificent Kumbum and the distant Dzong Hill Fortress (宗山古堡) makes the effort profoundly worthwhile.

Final Reflection:

Compared to Sakya Monastery, which offered historical depth and a sense of ancient enclosure, and Tashilhunpo Monastery, which provided scale and vibrant monastic activity, Palkhor Monastery offered a unique blend of artistry and religious harmony. The experience, though strategically curtailed, affirmed that this site, with its magnificent Kumbum, is truly unmissable.