The Treasury of Lives

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 Geluk (dge lugs) tradition follows the teachings of the fifteenth-century scholar monk Tsongkhapa Lobzang Drakpa. Like the Kadam tradition which the Geluk absorbed and supplanted, the Geluk place an emphasis on monastic discipline and scholarship, central to which is the their understanding and explication of the Mādhyamaka Prāsaṅgika philosophical position. They also maintain a strong, if somewhat less public, tradition of tantric transmission, scholarship, and practice. Followers of the Geluk tradition practice an extensive system of Lamrim and Lojong, both of which have their origins with Atisha and the Kadampa tradition. The Geluk also maintain a lineage of Mahāmudrā teachings. The primary tantric teachings studied and practiced in the Geluk are the tantric cycles of Yamāntaka, Cakrasaṃvara, and Guhyasamāja. The Kālacakra Tantra is also commonly practiced among many Geluk practitioners, as is the tantra of Vajrayoginī. The Geluk tradition became the dominant religious order in Tibet in the seventeenth century when the Fifth Dalai Lama, with the aid of the recently converted Mongols, orchestrated a defeat of the Kagyu king of Tsang and set himself up as political leader of Tibet. Since that time the Dalai Lamas' seat of government, the Ganden Podrang, has been the nominal seat of political power in Tibet, even if for most of the last four hundred years real power shifted among a number of players.

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 Orgyen Nyendrub (o rgyan bsnyan sgrub) is a tantric tradition that was included by Jamgon Kongtrul in his “Eight Chariots of the Practice Lineage” doxography, but which never developed a distinct institutional identity. It is also known as the Dorje Sumgyi Nyendrub (rdo rje gsum gyi bsnyen grub). Kongtrul credited its origin to the thirteenth century when Orgyenpa Rinchen Pel, a disciple of the Drukpa Kagyu Lama Gotsangpa Gonpo Dorje and of the Second Karmapa, Karma Pakshi. Orgyenpa traveled twice to India, first in the north to Oḍḍiyāna, Kashmir and Ladakh, and then later to Vajrāsana. He passed on his teaching to disciples in the Drukpa and Karma Kagyu tradition.

The Rechung Nyengyu is a lineage of the Kagyu tradition that is traced to Rechungpa's "Aural Transmissions" (snyan rgyud), which he received from Milarepa. Rechungpa also received teachings from Tipupa in India. The lineage draws heavily from the Cakrasaṃvara Tantra and includes liturgies, ritual manuals and tantric commentaries. Tsangyong Heruka, the fifteenth century "Mad Yogin," famous for his biography of Milarepa, codified Rechungpa's teachings, along with those of Gampopa and Ngendzong Repa.

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 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 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.

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.

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

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.

A Sakya lineage painting.

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 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.

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.

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. 

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. 

The Demoness of Tibet is a close copy of a well-known image located in the Tibet Museum in Lhasa. The landscape of Tibet is shown as the mythical demoness of Tibetan legend. Important Buddhist temples and monasteries are located across her body, spanning from the Ngari region in the west to Kham in the east. 

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. 

Yuthok Dorje Yudon, second from right, with her relatives, ca. 1937, was a member of two prominent Lhasa families, the Surkhangs and the Yuthoks. 

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. 

A photo of Yuthok Dorje Yudon, a member of the Surkhang family who married into the Yuthoks, in 1988, taken by Christine Cox. 

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.

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

The Three Sisters were Indian deities brought into the Tibetan pantheon initially in the eleventh century by the Sakya translator Bari Lotsawa Rinchen Drak and later through treasure revelation.

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 19th century painting depicts the central figure of Do Khyentse Yeshe Dorje with previous Nyingma masters 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.

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

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. 

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.

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

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.