The Treasury of Lives

The Nyingma (rnying ma) - literally the "ancient" - is considered the oldest tradition of Tibetan Buddhism, although when the disparate institutions and strands of transmission were first conceived as belonging to a singular and coherent entity is not clear. According to legend, the Nyingma teachings were brought to Tibet in the eighth century by Padmasambhava, a tantric ritual specialist invited to Tibet to subjugate native deities that were obstructing the dissemination of Buddhism. Padmasambhava and other Indian masters such as Vimalamitra, and select Tibetan translators such as Vairocana, propagated the tradition's primary teaching, Dzogchen, a tantric system that has also been adopted to varying degree by other traditions. The Indic scriptures that were translated in the eighth and ninth centuries and the teachings by the masters of that era have come to be known as the "Kama," or spoken word tradition. Since at least the twelfth century Nyingma teachers known as terton, or "treasure revealers" have produced new scriptures said to have been concealed by Padmasambhava or others for the benefit of future eras. The Nyingma maintains both lay and monastic traditions, with six mother monasteries: Dorje Drak and Mindroling in central Tibet, and Katok, Pelyul, Dzogchen and Zhechen in Kham.

The Kadam (bka’ dam) tradition was the first of the so-called New Schools of Tibetan Buddhism, traditions that arose during the Second Propagation of Buddhism in Tibet in the tenth century. The Kadam tradition began with Dromton Gyelwai Jungne, a disciple of the Bengali teacher Atiśa Dīpaṃkara, who had been invited to Tibet by the kings of Purang in western Tibet to revitalize monastic Buddhism there. Dromton founded the monastery of Reting and propagated the Lamrim and Lojong teachings, which lay out a complete path to Buddhahood and means of training the mind, respectively. The Kadam teachers were known for their monastic discipline, a character that was adopted by the Geluk tradition that supplanted it in the fourteenth century, adopting its teaching and absorbing its monasteries.

The Sakya (sa skya) tradition was founded by Khon Konchok Gyelpo in 1073, a date marked by his founding of Sakya temple in the Sakya valley in Tsang. Konchok Gyelpo’s son Sachen Kunga Nyingpo combined his Khon family’s lineage of Yangdak and Vajrakīla, which his ancestor Khon Lui Wangpo received during the Imperial era, with new teachings. These include the Sakya Lojong teachings of the Zhenpa Zhidrel (zhan pa bzhi bral), obtained in a vision of Manjuśrī, and the Lamdre teachings that are based on the Hevajra tantra. The Sakya Lamdre teachings were transmitted by the Indian Mahāsiddha Virupa via a long line of teachers to the Tibetan yogin Zhangton Chobar, who transmitted them to Sachen. Sachen also received Cakrasaṃvara, Vajrabhairava, the Vajrayoginī of Nāropa, and Pañjaranātha Mahākāla from Mel Lotsāwa Lodro Drakpa. Sachen’s two sons, Sonam Tsemo and Drakpa Gyeltsen were the next to lead the temple. Drakpa Gyeltsen’s nephew, Sakya Paṇḍita Kunga Gyeltsen, one of the greatest scholars of his day, was the fourth in the lineage. The fifth was Sakya Paṇḍita’s nephew, Pakpa Lodro Gyeltsen, who traveled with his uncle when the Mongolian leader Godem Khan summoned him. In 1253 Pakpa met Qubilai Khan, who three years later conquered China and initiated the Yuan Dynasty. Borrowing from Tangut-Kagyu alliance of the previous century, Qubilai and Pakpa entered into a relationship of “patron and priest,” with Pakpa being made guoshi, or Imperial Preceptor. With Mongolian support, the Sakya Khon family ruled Tibet until the rise of the Pakmodru Dynasty in the middle of the fourteenth century. Three branches of the Sakya tradition are the Ngor (ngor), founded by Ngorchen Kunga Zangpo and based at Ngor Evam Choden monastery, and Tsar (tshar), established by Tsarchen Losel Gyatso and based at Dar Drangmoche. The Ngor tradition became influential in the dissemination of the Sakya tantric teachings, and the Tsarpa in the esoteric transmission known as the Lobshe, which contrasts to the more widely taught Tsokshe, both being teaching traditions of Lamdre. A third branch is the Dzongpa, which is based at Gongkar Chode in Gyangtse. There are several independent institutions that share Sakya doctrinal tradition, including Jonang (jo nang), Bodong (bo dong), and Bulug / Zhalu (bu lugs / zhwa lu), and which are frequently considered part of the Sakya tradition.

The Marpa Kagyu tradition originated in the eleventh century with the Tibetan translator Marpa Chokyi Lodro, who studied in India with Nāropa. Marpa’s disciple Milarepa famously attained enlightenment in the caves of southern Tibet after renouncing a life of violent revenge; his disciple Gampopa merged the lay siddha practice of his master with the Kadampa monasticism and scholarship that he had previously studied. Gampopa founded the first Kagyu monastery, Daklha Gampo in southern Tibet. Following Gampopa the tradition split into multiple autonomous subsects known as the four primary (Barom, Pakdru, Karma, and Tselpa), and eight secondary traditions (Drigung, Drukpa, Martsang, Shukseb, Taklung, Tropu, Yabzang, and Yelpa Kagyu), established by disciles of Pakmodrupa. The Drukpa Kagyu is further divided into Upper, Middle, and Lower. In addition to the above system, the Ngok (rngog) lineage begun by Ngok Choku Dorje, a disciple of Marpa, was a distinct Marpa Kagyu tradition that existed independently for several centuries. Also often considered an independent tradition was the Aural Lineage of Rechungpa, initiated by the disciples of  Milarepa’s disciple Rechung Dorje Drakpa. The Barawa Kagyu tradition is considered a sub-branch of the Yanggon Kagyu, itself an offshoot of the Upper Drukpa. All Marpa Kagyu traditions claim allegiance to the tantric teachings of the Indian Mahāsiddha tradition, primarily that of Nāropa, in the form of the Six Yogas of Nāropa and the doctrine of Mahāmudrā. The Kagyu were also heavily involved in the transmission of the Cakrasaṃvara, Hevajra, among other tantras of the Second Propagation era.

Alongside the transmission lineage of Marpa is that of Khyungpo Neljor, who received Mahāmudrā teachings in India from Niguma, who may have been Nāropa's sister, and who accordingly taught the Six Yogas of Niguma. He established the monastery Zhangzhung Dorjeden in Tsang and initiated the Shangpa Kagyu tradition.

The Barom branch of the Kagyu tradition was established by Barompa Darma Wangchuk, a disciple of Gampopa. The name is based on the monastery Darma Wangchuk established in Kham in 1160, Barom Riwoche. Among the recent illustrious members of the tradition were Tulku Urgyen Rinpoche.

The Tselpa Kagyu tradition, one of the four major lineages of the Kagyu tradition, was founded in the twelfth century by Zhang Yudrakpa, also known as Lama Zhang. The seat was at Tsel Guntang, north of Lhasa.  Important figures include Dungtso Repa Sherap Gyeltsen who revealed teachings of Gampopa. The tradition was absorbed by the Geluk school in the fifteenth century and its monasteries were converted. 

The Karma Kagyu tradition originated with Dusum Khyenpa, a disciple of Gampopa, who was posthumously given the title of First Karmapa. The seat of the tradition was initially Karma Gon in Kham, and then Tolung Tsurpu near Lhasa. The Karma Kagyu tradition has since its beginning maintained close ties to the Nyingma tradition. In addition to the Karmapa incarnations, other major lines associated with the Karma Kagyu include the Zhamarpa, Situ, and Kongtrul lines.

The Pakdru Kagyu refers to the tradition based at Densatil Monastery, the seat of Pakmodrupa Dorje Gyelpo, which he established in 1158. A student of Sachen Kunga Nyingpo, Pakmodrupa combined elements of Sakya tradition into the teachings he received from Gampopa. Pakmodrupa's disciples established what are customarily listed as the eight secondary Kagyu traditions: Drigung, Drukpa, Martsang, Shukseb, Taklung, Tropu, Yabzang, and Yelpa Kagyu. Following the collapse of the Yuan-Sakya period in the late fourteenth century, the Lang family that controlled Densatil ruled Tibet for roughly a hundred years, a period known as the Pakmodru Dynasty. However, at the time the Lang family patronized multiple traditions, including the Geluk, and should not be thought of as advocates of Pakmo Kagyu.

The Jonang (jo nang) tradition was founded by Dolpopa Sherab Gyeltsen, who ascended to the throne of Jonang Monastery in 1326. Trained in the Sakya tradition, Dolpopa’s controversial teachings, especially his emphasis on the view known as Zhentong (gzhan stong) or emptiness of other, and the institutional independence of Jonang monastery, established the Jonang tradition apart as an independent tradition, although many members of the Sakya tradition continue to consider Jonang to be a subsect of that tradition. Dolpopa, like his predecessors at Jonang, particularly emphasized the teachings of the Kālacakra Tantra and its completion-stage practices known as the six-branch yoga, while also transmitting many other systems of Vajrayāna and Mahāyāna Buddhism. Following the death of the great Jonang scholar Tāranātha, the Jonang tradition was suppressed in the seventeenth century by the Fifth Dalai Lama; its monasteries were converted to the Geluk tradition and the teachings banned. The tradition has survived in the Dzamtang region of Amdo.

The religious traditions of Tibet include both Bon, the indigenous tradition, and the myriad Buddhist teaching lineages and institutions. Several schema have been developed over the centuries to classify these. Bon has been divided (not always without condemnation) into "Black Bon" and "White Bon," as well as "Old and New Bon," the latter of which refers to the Bon treasure tradition. Probably most widely known of the Buddhist categories is the group of four traditions: Nyingma, Sakya, Kagyu, and Gelug, although this ignores many independent teaching lineages and independent monastic institutions. A more inclusive system is the "eight chariots of practice lineage" (sgrub brgyud shing rta chen po brgyad): Nyingma, Kadam, Marpa Kagyu, Shangpa Kagyu, Lamdre/Sakya, Shije and Cho, Kalacakra, and Orgyen Nyendrub, with Kadam representing the later Gelug tradition as well. Chinese attempts at understanding Tibetan religion resulted in the "colored-hat" groupings – "yellow hat" being the Gelug, "red hat" referring to Nyingma, Kagyu, and Sakya. The later two are occasionally referred to as "black hat" and "gray hat" respectively.

Users to this site can browse according to "primary" and "secondary" tradition affiliation. For example, the Fifth Dalai Lama's primary affiliation is Gelug, although he was also active in the Bon and the Nyingma, and had relations through birth with the Drukpa Kagyu, and so will appear in browse results for lamas of those tradition when the "secondary" affiliation option is active.

The Zhije (zhi byed) and Chod (gcod) lineages weave in and out of almost all institutionally independent traditions of Tibetan Buddhism, although they themselves never became the established dominant tenet system of any monastery. The Zhije lineage in Tibet originated with the Indian master Padampa Sanggye, who is said to have visited Tibet five times. He had a number of disciples in the Tingri area of Tibet, to whom he taught his method of pacifying suffering. Padampa Sanggye also taught a method for cutting through demonic obstruction to his relative Kyoton Sonam Lama, who transmitted it to Machik Labdron. Her lineage of Chod, which she passed down to her children, came to be known as “Mother Chod” in contrast to the lineage stemming from Padampa Sanggye, which is known as “Father Chod.” Additional Chod developed, including one stemming from treasure revelations (“Treasure Chod”), the Gyeltang Chod, stemming from Machik Labdron’s disciple Gyeltang Samten Ozer, and the Zurmang Chod, transmitted by Rangjung Zhabla Ngawa.

The Drukpa Kagyu tradition was founded in the twelfth century by Tsangpa Gyare, a disciple of Lingrepa, himself a student of Pakmodrupa. The tradition draws its name from a vision Tsangpa Gyare had of nine dragons – druk in Tibetan. The principal seat is at Ralung, in Tibet, the seat of the Gyelwang Drukchen, head of the Tibetan branch of the tradition, which is made up of the Upper, Middle, and Lower Druk, following the transmission lines of three of Tsangpa Gyare's disciple: Gotsangpa, Wonre Darma Senggye, and Lorepa, respectively. The tradition split again in the late sixteenth century when there were two rival candidates for the reincarnation of the Fourth Drukchen, Pema Karpo. Paksam Wangpo, the candidate favored by the King of Tsang, became the Fifth Drukchen, and his rival, Zhabdrung Ngawang Namgyel went south and created the modern state of Bhutan. His incarnations, the Drukpa Zhabdrung, head the Bhutanese tradition, with their appointed regents occupying the office of the Je Khenpo.

The Drigung Kagyu tradition was initiated by Jikten Gonpo, a disciple of Pakmodrupa, upon the establishment of Drigung Til Monastery in 1179. One of the largest and most influential Kagyu sub-traditions, it briefly vied with the Sakya for control of Tibet during the thirteenth century. Originally led by the Kyura clan, since the seventeenth century it has been headed by the Drigung Chungtsang and Drigung Chetsang incarnation lines. The tradition is particularly strong in Ladakh.

The Tropu Kagyu tradition, one of the eight minor Kagyu lineages, was founded by Gyeltsa Rinchen Gonpo, a disciple of Pakmodrupa, in the twelfth century. Rinchen Gonpo founded Tropu monastery, which became the seat of the tradition. The acclaimed translator Tropu Lotsāwa Jampa Pel, Rinchen Gonpo's nephew, would eventually establish the Tropu Kagyu as a distinct lineage.

The Taklung Kagyu tradition was established by Taklungtangpa Tashi Pel, a disciple of Pakmodrupa Dorje Gyelpo, who founded Taklung Monastery in 1180. In 1276 Sanggye Won, who was forced from the abbacy of Taklung Monastery, went to Kham and established Riwoche, which became a second seat of the tradition.Beginning in the fifteenth century, Taklung Kagyu began to be strongly influenced by Nyingma teachings.

The Shukseb Kagyu, one of the eight sub-branches of the Kagyu tradition, was founded by Gyergom Tsultrim Sengge, a student of Pakmodrupa Dorje Gyelpo. The Shukseb lineage is named after Shukseb Monastery, which Gyergom founded in 1181. Its teachings were based on the do ha cycles trasmitted to Tibet that originated with Indian masters including Tilopa and Naropa.

The Yabzang Kagyu, one of the eight minor Kagyu lineages, was founded in the twelfth century by Pakmodrupa's disciple Zarawa Kelden Yeshe Sengge, whose student Yabzang Choje Chokyi Monlam systematized the teachings of Zarawa to form the basis of the tradition. Yabzang and Zara were important Yabzang Kagyu monasteries. Neither monasteries flourished for very long, and the Yabzang Kagyu teachings were absorbed into other traditions.

The Yelpa Kagyu tradition was established by Yelpa Yeshe Tsek, a disciple of Pakmodrupa. It thus counts as on of the "minor branches" in that it stems from the students of Pakmodrupa rather than Gampopa. Yeshe Tsek established multiple monasteries, chief among them being Shar Yelpuk in 1171, which served as the seat of the tradition. A characteristic of the Yelpa Kagyu is the inclusion of the Gesar of Ling and Huṃkāra traditions. 

The Martsang Kagyu was established when Marpa Sherab Yeshe, a disciple of Pakmodrupa, founded Sho Monastery in 1167, in Markham, Kham. Sherab Yeshe's disciple Drogon Rinchen founded a monastery named Tsomdo, and together the two monasteries serve as the headquarters of the tradition, which is led by the Gangri Karma incarnations. Both monasteries were destroyed by the Mongol invasions of the seventeenth and eighteenth century, and were rebuilt each time.

The Shangpa Kagyu (shangs pa bka’ brgyud) tradition was initiated in the eleventh century by Khyungpo Neljor, who received the Mahāmudrā teachings in India from Niguma, whose brother was Nāropa, the prognitor of the Marpa Kagyu. He established the monastery of Zhangzhong Dorjeden in the Shang valley in Tsang. A single line of transmission, said to have been initiated by the Buddha Vajradhara and taught first to Niguma, and which passed from Khyungpo Neljor through Mokchokpa, Wonton Kyergangwa Chokyi Sengge, Nyenton Rigung Chokyi Sherab, and Sanggye Tonpa Tsondru Senge, was known as the transmission of the seven precious Shangpa. In the thirteenth century Sanggye Tonpa passed the lineage on to multiple disciples and the Shangpa teachings were written down. The Shangpa lineages were largely absorbed into the institutional organizations of the Marpa Kagyu, Geluk, Sakya and Jonang, although it was partially revived in the nineteenth century by Jamgon Kongtrul; his two personal hermitages, Tsadra Rinchen Drak and Dzongsho Deshek Dupa are both Shangpa Kagyu institutions. The Shangpa teachings are known as the Five Golden Doctrines, which include the Nigu Chodruk, a grouping similar to the Nāro Chodruk of the Marpa Kagyu.

The Ra tradition (ra lugs) of Vajrabhairava came to Tibet in the eleventh century through the translation and propagation of Ra Lotsāwa Dorje Drakpa. It was never was established in an independent institutional tradition, but instead, after a period of some contest and competition, permeated all Sarma, or new, translation traditions.

There are two lineage of the Kālacakra, the Ra lineage (rva lugs) and the Dro lineage (bro lugs). The Dro lineage was established in Tibet by a Kashmiri disciple of Nalendrapa named Paṇḍita Somanatha, who traveled to Tibet in 1027, and his translator Dro Lotsāwa Sherab Drak, from which it takes its name. The Ra lineage was brought to Tibet by another Kashmiri disciple of Nalendrapa named Samantaśrībhadra, and translated by Ra Lotsāwa Chorab. These two lineages were absorbed by the dominant religious traditions of Tibet, particularly the Sakya and Geluk, but their transmission can not be said to be tied to any one of those traditions, and some historical figures are best understood as Kālacakra masters above any other affiliation they might have enjoyed.

The Lamdre teachings are said to have originated with teachings given to the Indian siddha Virūpa by the deity Nairātmyā. They was transmitted in Tibet by the eleventh century translator Drokmi Lotsawa Śākya Yeshe, who received them from the Indian paṇḍita Gayādhara. Although the Lamdre has primarily been transmitted in the Sakya and its related tradition such as the Jonang, there have been masters in the lineage transmission that cannot be said to have belonged to any particular religious tradition.

The Barawa Kagyu ('ba' ra ba bka' brgyud) was established in the fourteenth century by Gyeltsen Pelzang from Baradrak in Shang. Gyeltsen Pelzang also founded the first monastic complex of this tradition there, Dondrubding Monastery, which served as the seat of his incarnation line, the Barawa Tulku. The Barawa tradition emerged from the Yanggon Kagyu, founded by Yanggonpa Gyeltsen Pel. The latter is in turn a sub-branch of the Upper Druk. As early as the fourteenth century, the Barawa Kagyu spread to Bhutan. Later monasteries were established at different places in Tibet but mainly along the Himalayan slopes and in Sikkim. The most important centers in Tibet were Dondrubding Monastery in Baradrak, Drapu Choling Monastery in Kyirong, and Kagyu Gonsar Monastery in the Chumbi Valley, none of which have survived into the modern era, although the tradition continues in exile communities. The core teachings include, among others, the Mountain Dharma Trilogy (ri chos skor gsum) by Yanggonpa Gyeltsen Pel and the Exegesis of Buddhism (thar par 'jug pa'i gru bo zab don chos kyi gter mdzod), an encyclopedia of Buddhist scholasticism by Barawa Gyeltsen Pelzang.

Ehrhard, Franz-Karl. 2009. "The Lineage of the 'Ba'-ra-ba bKa'-brgyud-pa School as Depicted on a Thangka and in Golden Rosary Texts." Münchner Beiträge zur Völkerkunde 13, 179–209.

Erschbamer, Marlene. 2017. The 'Ba'-ra-ba bKa'-brgyud-pa: Historical and Contemporary Studies. Vienna: WSTB.

A painting of Tsongkapa, founder of the Geluk tradition, with the two principal students, Gyaltsab on the left and Khedrub on the right.

Panjarnata Mahakala is the protector of the Hevajra cycle of Tantras. The iconography and rituals are found in the 18th chapter of the Vajra Panjara (canopy, or pavilion) Tantra, an exclusive 'explanatory tantra' to Hevajra itself. It is dated to the late fourteenth or early fifteenth century.

Mahakala surrounded by the stylized flames of pristine awareness and emanating forth from the licks of flame are messengers in the shapes of various animals, black crows, black dogs, wolves, black men and women.

An unusual Kagyu lineage -- possibly the Shri Sahaja Hevajra -- painting, which includes one of the earliest known image of a Karmapa.

A painting of Sachen Kunga Nyingpo.

Ngorchen Kunga Zangpo, the founder of the Ngor Branch of the Sakya tradition.

Ngorchen Kunga Zangpo at the left and his successor Muchen Sempa Chenpo Konchok Gyaltsen sitting on the right, surrounded by lineage teachers.

Buddhashri surrounded by the lineage teachers of the Yogachara tradition of Buddhist philosophy. He was the principal teacher of Ngorchen Kunga Zangpo, the founder of the Ngor branch of the Sakya tradition.

An ivory statue of Lhachok Sengge. The inscription on the base of the statue reads "rgyal ba lha mchog seng ge."

Damarupa and Avadhutipa, two Indian Siddhas. On the left is the siddha Damarupa holding upraised in his right hand a damaru drum and a skullcup in the left. On the viewer's right is Avadhutipa holding a skullcup to the heart with the left hand and pointing downwards with the right hand.

Sanggye Sengge, the eleventh throne holder of Ngor Ewam Monastery.

Two men, Kunkhyen and Jamyang Chokyi Gyalpo. This painting is from a set of compositions that appears based on similar paintings identified as a Sakya Lamdre Lineage set. The secondary lineage that starts at the top left and proceeds down the right and left registers is possibly the Prajnaparamita Lineage beginning with Shakyamuni Buddha.

Sanggye Sengge, the eleventh throne holder of Ngor Ewam Monastery is the main figure in this work, created between 1550 and 1560. It is in the Menri style with Beri elements.

A portrait of Sachen Kunga Nyingpo in the classic Beri style. Based on stylistic comparison, it is likely from the fourteenth or fifteenth century.

Drakpa Gyaltsen and Sakya Pandita, uncle and nephew, teacher and student surrounded by the lineage Kings of Shambhala. This composition belongs to a larger set of paintings depicting the Lamdre Lineage of the Sakya Tradition of Tibetan Buddhism in a two figure per composition configuration.

Shangton Chobar with Sachen Kunga Nyingpo on the middle left, Sonam Tsemo on the right.

A Sakya lineage painting.

Tsongkhapa, founder of the Geluk tradition, with the two principal students, Gyaltsab on the left and Khedrubje on the right.

An important early Kagyu painting, possibly the earliest known depiction of the First Karmapa. The lineage depicted is likely the Shri Saraha Hevajra that passed into Tibet through Zhang Yudrakpa.

A thirteenth-century portrait of the Second Karmapa, Karma Pakshi.

A portrait of Taklung Tangpa Tashi Pel with the basic Kagyu lineage, dating to the thirteenth century.

The footprints of an early Karmapa, probably the first, Dusum Khyenpa, together with a portrait and the eight auspicious symbols.

Drakpa Gyeltsen and Sakya Pandita, uncle and nephew, teacher and student surrounded by the lineage Kings of Shambhala. This composition belongs to a larger set of paintings depicting the Lamdre Lineage of the Sakya Tradition in a two figure per composition configuration.

Chakrasamvara, Sahaja Heruka, with the footprints of Drigungpa Rinchen Pel.

Pakmodrupa Dorje Gyelpo. One of the three principal students of Gampopa and teacher to many patriarchs of Kagyu sub-traditions.

An early statue of the twelfth century adept Padampa Sanggye

Sakya Lotsawa Jampai Dorje, the twenty-third Sakya Tridzin.

Karma Kagyu Field of Accumulation painting with the Fifteenth Karmapa, Kakyab Dorje, as the last lineage holder at the time of the compositions creation.

A very early -- possibly the earliest known -- portrait of Tsongkhapa narrating his life story.

A magnificent eighteenth century painting depicting Gampopa with a number of early Drukpa Kagyu masters, including early abbots of Ralung Monastery and several of the "Nine Incomparable Lions."

The Seventh Dalai Lama, Kelzang Gyatso, along with a selection of the previous incarnations according to the Kadam Lekbam.

Pakmodrupa Dorje Gyelpo, one of the three principal students of Gampopa.

The style of this painting is known as tshal thang, a red background with fine gold lines forming the shapes of the subject deities. Only the eyes are filled with white and black pigments.

An early image of Padmasambhava with Nyangrel Nyima Ozer and masters of various traditions, including Padampa Sanggye.

This eighteenth century painting of Namkha Pelzang, the twelfth abbot of Ralung Monastery, belongs to a set of Ralung patriarchs. Two other paintings belonging to the set can be seen on Himalayan Art Resources.

This 16th century painting depicts two founding patriarchs of the Karma Kagyu school, Gampopa Sonam Rinchen and Dusum Khyenpa, later known as the First Karmapa.

Wangdu Nyinpo was the Twenty-ninth Sakya Tridzin. This painting gives visual representation to his previous incarnations, which include Padmasambhava, and some of his disciples.

This sixteenth century painting shows the Drigung founder, Jikten Gonpo, with two men who stood at the beginning of the two main incarnation lines at monastery, the Drigung Chetsang and the Drigung Chungtsang.

Nineteenth century portrait of the Bon master Drenpa Namkha surrounded by deities and lineage masters.

Nineteenth century painting of the Drukpa Kagyu lineage of Bhutan.

Eighteenth century thangka of Drukpa Kagyu and Kagyu lineage masters.

This nineteenth century painting of Milarepa is possibly a copy of an original from Pelpung Monastery. A representative of the Situ style, it exemplifies the types of paintings commissioned by Situ Panchen and his circle. 

An eighteenth century painting of the Indian master Śākyaśrībhadra.

The Tibetan Trade Delegation to the US and the UK stand outside 10 Downing Street with Prime Minister Clement Atlee. The photo shows, from left to right, Khenchung Tubten Tsepel Taikhang (younger brother of Shakabpa), Finance Minister Wangchuk Deden Shakabpa, Yampel Pangdatsang, Prime Minister Clement Atlee, Surkhang Lhawang Topgyal and Kaludharma Ratna (interpreter). An Advanced Political History of Tibet misidentifies Surkhang Lhawang Topgyal as his father Dzasa Surkhang Surpa Wangchen Tseten, but in fact it was Surkhang Lhawang Topgyal who was part of the trade delegation as its interpreter. 

This eighteenth century painting features Padmasambhava surrounded by his consorts Yeshe Tsogyel and Mandarava. Below are Śāntarakṣita  and Trisong Detsen. 

Prolific treasure revealers Namtrul Jigme Phuntsok and Khandro Tāre Lhamo are pictured beside Khenpo Jigme Puntsok, who gave them teachings and also authorized them as treasure revealers. 

A nineteenth century painting featuring the First Dorje Drak Rigdzin, Rigdzin Godemchen Ngodrub Gyeltsen, a Nyingma treasure revealer who discovered the Jangter, or Northern Treasures. 

An eighteenth century painting of Puchungwa Zhonnu Gyeltsen with Rinchen Zangpo.

This late eighteenth or early twentieth century Drigung Kagyu painting of Padmasambhava and the Drigung Kagyu refuge field is associated with a terma tradition of Rinchen Puntsok. Drigung Monastery is pictured along the bottom of the painting along with Terdrom on the left edge. A nearby treasure site is shown adjacent to Terdrom.

Surkhang Wangchen Tseten and his first wife Lhagyari Tseten Chodzom, circa 1926. 

Lhagyari Namgyel Gyatso, the Seventeenth Ruler of Eyul and the head of the aristocratic Lhagyari family, in his later years in exile in India.

A wedding picture of Lhagyari Namgyel Gyatso, the Seventeenth Ruler of Eyul, with his second wife Puntsok Drolkar, in India. In 1985. 

Surkhang Wangchen Gelek, who became a Kalon of the Tibetan government at the age of 33. 

Surkhang Wangchen Gelek is pictured with His Holiness the Fourteenth Dalai Lama to the right. This is clearly at some sort of ceremonial event in Lhasa. 

Yuthok Tashi Dhondup with Kunpel, a favorite of the Thirteenth Dalai Lama, with the Dalai Lama's Baby Austin with the license plate "Tibet 2." The photo was taken in 1933 in front of the British mission at Dekyilingka in Lhasa. 

Yuthok Tashi Dhondup and Taring Jigme, generals in the Tibetan army, circa 1931. Yuthok was Depon or general of the Drongdrak garrison at the time.

A cast bronz sculpture of the 15th-16th century Ngor master Lowo Khenchen Sonam Lhundrub

This painting shows major sites of Lhasa including the Jokhang, Potala Palace and Lukhang. The monasteries of Sera, Drepung, and Sangpu Neutok are also pictured. It is possible that the image depicts activities during Losar festivities.

An eighteenth century painting of The Fifth Dalai Lama pictured with major scenes from his life. 

This drawing shows Lhasa before 1950 from an elevated perspective. The highly detailed representation shows many major monasteries and landmarks of Lhasa.

Rinchen Sadutshang, a fifth rank official at the Tibetan foreign ministry, with his colleague Takla Phuntsok Tashi, a brother in law of the Fourteenth Dalai Lama, in front of the Potala in 1952. Sadutshang would later become a Kalon in India in 1978 and would become the Representative at the Bureau of the Dalai Lama in Delhi, his last post before retirement. 

Lo Gendun Sadutshang with Khampas he had gathered as armed guards to escort the young Fourteenth Dalai Lama, who had just assumed full political power, from the capital Lhasa to Yatung by the border for safety, in December 1951. 

Tibetan government officials Rinchen Sadutshang, Tsipon Wangchuk Deden Shakabpa and Gyalo Thondup, the Dalai Lama's older brother in front of the United Nations in September 1959. The delegation made three such trips to the UN, in the falls of 1959, 1960 and 1961, to seek support for Tibet.  

To the left, Khedrupje is depicted while thinking of his great teacher, Tsongkhapa, who appears above him on a cloud. On the middle right, Khedrubje is making an offering to Tsongkhapa. On the lower right, Khedrubje is seated while editing a manuscript.

A unique image made with ink shows Buddhist masters from multiple traditions. The style is considered unusual and has been associated with the Tenth Karmapa.

An eighteenth century scuplture of Milarepa from Tibet, carved of stone.

A nineteenth century painting from Tibet of the Eighth Tatsak with prominent Geluk figures. 

Surkhang Wangchen Gelek with wife Dekyi Lhaze and daughter in Lhasa city with the Potala Palace in the background. The photo was taken by Heinrich Harrer. 

An 18th century painting of Rigdzin Kunzang Sherab, the founder of Pelyul monastery, surrounded by deities and Nyingma masters.

The central figure of Shakyamuni Buddha is shown with Tsongkhapa and primary disciples in the upper left corner. Below are protector deities.

This nineteenth century painting depicts Machik Labdron with tantric deities and mahasiddhas. 

This 18th century painting depicts Padmasambhava as a monk surrounded by several disciples and Jigme Lingpa above his head.

The central figure of Mahakala is depicted with historical figures including Nāgārjuna and Ga Lotsāwa, as well as masters of the Drukpa Kagyu lineage.

A group of Tibetan army officers with Tsarong Dasang Damdul seated in the center. The photo was likely taken in Lhasa. Tsarong, a commoner who rose to become Commander-in-Chief, created the first modern Tibetan army. 

Taring Rinchen Dolma with her mother-in-law Rani Taring and her sister-in-law Kalden Wangmo. Raja Taring, Tsodrak Namgyal, of Sikkim, fled to Tibet in 1892 when the British Army entered Gangtok. He remained in Tibet, living at Taring estate near Gyantse, and later abdicating the Sikkim throne. His sons entered Tibetan government service. 

The important translator Go Khukpa Lhetse is the central figure of this 19th century painting, with Atiśa depicted above. 

This eighteenth-century painting depicts Śākyamuni Buddha with primordial buddha Vajradhara, bodhisattvas Maitreya and Mañjuśrī, and multiple Geluk masters. 

This 19th Century painting from Bhutan shows Pema Karpo surrounded by deities and Buddhist masters Marpa, Milarepa, and Marpa. The primordial buddha Vajradhara is pictured above the central figure. 

A fifteenth century painting of Sachen Kunga Nyingpo, the Third Sakya Trizin and son of Khon Konchok Gyelpo.

Avalokiteśvara Jinasagara is depicted at center with meditation deities immediately surrounding: Hayagrīva (left), Guhyajñāna (right), Siddharajni (center top), Mahākāla (center bottom). On the uppermost level is Milarepa on the left, Marpa in the center, and Gampopa on the right. 

A nineteenth century painting of Padmasambhava as Pema Jungne depicts his disciple Sokpo Pelgyi Yeshe in the lower left corner. 

This Nyingma painting of Padmasambhava as Sengge Dradok shows Yeshe Tsogyel in the lower right corner.

19th century painting of Jatson Nyingpo from eastern Tibet depicts the prolific treasure revealer wearing monks robes.

19th Century painting of Machig Labdron as a wisdom dakini.

Mid-20th century painting of Machik Labdron and the Chod refuge field displaying teachers and deities. 

This 20th century painting depicts Padmasambhava in wrathful form as Guru Dragpo, in the treasure tradition of Padmasambhava biographer Nyangrel Nyima Ozer.

Namkhai Nyingpo, one of the twenty-five disciples of Padmasambhava, is depicted with long-life ritual implements. Other details of this nineteenth century painting from Kham suggest a elements from Jamgon Kongtrul's story of Namkhai Nyingpo and Dorje Tso. 

Ivory sculpture of Avalokiteśvara is attributed to the Tenth Karmapa, Choying Dorje (b.1604 - d.1674), and is dated to 1647-1648 or 1658.

The protector deity Pehar Gyelpo is depicted with three Geluk masters above. 

Jnanatapa is the central figure in this 14th century painting from Tibet. The Eight Mahasiddhas are depicted along with lineage figures from Taklung and Riwoche Monasteries. 

This eighteenth century painting of a Bodhisattva depicts Atiśa and Kadam founder Dromton on the top (left and right). Tara and Jambala are pictured along the bottom. Dromton is considered an emanation of Padmapani Avalokiteśvara, who is the central figure in this image according to some sources. However, the presence of a sword and book suggests that the central figure is Mañjuśrī.

This painting of Atiśa is from the early to mid twelfth century and features extensive inscriptions on the reverse side. 

This prayer card dating to around the year 1000 is from Toling in Western Tibet. It depicts Śākyamuni Buddha in a preaching posture. 

This undated photograph (collection of Samphe Lhalungpa) shows Jigme Rigden Lhalungpa, Lobsang Phuntsok Lhalungpa, Sogyal Rinpoche, Diki Lhalungpa, E. Gene Smith and Harold Talbott. 

This letter from the Tibetan Government in Exile documents Lobsang Phuntsok Lhalungpa's role in cultural preservation activities of the early exile government. 

A letter certifying Lobsang Phunstok Lhalungpa's employment and exemplary service as a teacher at St. Joseph's College in Darjeeling.

A receipt dated September 9, 1965 documenting the dispersal of funds to the Sakya Trizin and the Sakya Settlement at Dehra Dun, by Lobsang P. Lhalungpa on behalf of the Tibet Society of United Kingdom.

A receipt dated from1965 documenting the dispersal of funds to the Tibet Bonpo Foundation by Lobsang P. Lhalungpa on behalf of the Tibet Society of United Kingdom. The Tibet Bonpo Foundation was registered at the Lhalungpa residence in Delhi.

This 18th century painting of Vajrakila depicts Sakya masters on either side of Vajrasattva.

Gyelrong Choktse Gyelpo, Tseten Zhabdrung and Meu Gyalpo photographed at the White Stupa in Beijing. 

Tibetan resistance fighters at Kalsang Phug HQ in 1966.

Officials at Hastings House in Calcutta, 1910.

Panchen Lama and Bakula Rinpoche photograped in Kathmandu, Nepal, 1986.

Dasang Damdul Tsarong and his wife Pema Dolkar during Losar, 1937.

Members of the Royal Family of Derge led by Dorje Sengge

This twentieth century painting of the Sixteenth Karmapa depicts Shakyamuni Buddha in the upper register and Kagyu masters below. 

Lobzang Chokyi Gyeltsen, the first person to hold the title of Paṇchen Lama, is pictured in this eighteenth century painting, with Maitreya to the right enveloped in a rainbow. The upper left depicts Cakrasaṃvara and to the right is Paṇchen Lama's teacher Khedrub Sanggye Yeshe. The lower left shows Vaiśravaṇa, with Begtse Chen to the right.

An unidentified person, Tseten Zhabdrung, Sungrab Gyatso (left to right)

Lama Gyurdrak and LP Lhalungpa photographed with Canadian High Commisioner James George and family, Delhi, late 1960's. 

Nineteenth century (likely made after 1829) painting from Drumpa Monastery in southern Tibet near the border of Bhutan depicts the Mountain Dharma Trilogy transmission of Yanggonpa. The painting portrays Kagyu masters including lineages of the Barawa subsect of the Drukpa Kagyu. Annotations and analysis courtesy of Dr. Marlene Erschbamer.

Avalokiteśvara with one thousand hands and eleven faces in the nyungne tradition of Gelongma Pelmo with Geluk lineage teachers of Tashilhunpo Monastery. 

Rubin Museum of Art, acc.# F1997.1.6

1962 Tibetan Primer written by Lobsang Phuntsok Lhalungpa on behalf of the Fourteenth Dalai Lama in collaboration with Khendrung Tubten Norzang, Dzeme Rinpoche, Dudjom Rinpoche, Thartse Khen Rinpoche, Rato Kyongla Rinpoche, and published by Kundeling Woser Gyeltsen.

Dudjom Rinpoche with lamas in Kalimpong, 

Rahula, wrathful protector of the the treasure tradition, is depicted with various masters in a nineteenth century painting from Kham.