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 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 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.

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.

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.

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.

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

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.

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. 

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. 

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.

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.  

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.

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. 

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

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. 

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. 

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.

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 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.

Officials at Hastings House in Calcutta, 1910.

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

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.

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.