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 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 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 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 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.

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.

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.

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

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

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

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.

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.

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

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. 

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 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. 

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. 

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.

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. 

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. 

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 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. 

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

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. 

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.

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

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,