The Treasury of Lives

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 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 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 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.

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

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.

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.

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.

An early statue of the twelfth century adept Padampa Sanggye

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

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.

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.

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.

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. 

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

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. 

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.  

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.

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 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. 

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. 

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.

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

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 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. 

Tibetan resistance fighters at Kalsang Phug HQ in 1966.

Officials at Hastings House in Calcutta, 1910.

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. 

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

Dudjom Rinpoche with lamas in Kalimpong,