The Treasury of Lives

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 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.

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.

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.

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

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.

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. 

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

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

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.

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.

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

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

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. 

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

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. 

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

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

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. 

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,