The Treasury of Lives

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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 Bodong (bo dong) tradition has a long and complicated history. The seat of what would become the institutionally independent Bodong lineage was the monastery Bodong E, which was founded in 1049 by Geshe Mudrapa Chenpo. What teachings were current there is difficult to know, save that in the twelfth century Kodrakpa Sonam Gyeltsen invited the Nepali yogin Vibhūticandra to Tibet and received from him a new transmission of the six-branch practice of the Kālacakra. Kodrakpa also propagated a lineage of Lamdre which was later subsumed into the Sakya tradition by Sonam Gyeltsen and Ngorchen Kunga Zangpo. Its greatest representative was Bodong Paṇchen Chokle Namgyel, with whom the unique Bodong Tradition is commonly said to have begun. It is important to avoid confusing Bodong Panchen with Jonang Chokle Namgyel, a teacher of Tsongkhapa and proponent of the Zhentong view.

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 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 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 Tropu Kagyu tradition, one of the eight minor Kagyu lineages, was founded by Gyeltsa Rinchen Gonpo, a disciple of Pakmodrupa, in the twelfth century. Rinchen Gonpo founded Tropu monastery, which became the seat of the tradition. The acclaimed translator Tropu Lotsāwa Jampa Pel, Rinchen Gonpo's nephew, would eventually establish the Tropu Kagyu as a distinct lineage.

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

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."

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.

Shangton Chobar with Sachen Kunga Nyingpo on the middle left, Sonam Tsemo on the right.

Tsongkhapa, founder of the Geluk tradition, with the two principal students, Gyaltsab on the left and Khedrubje on the right.

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.

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.

Pakmodrupa Dorje Gyelpo, one of the three principal students of Gampopa.

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.

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.

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. 

An exceptional painting of the Third Nenang Pawo surrounded by hierarchs of the Karma Kagyu and other traditions. The size of the hand and footprints suggest that they are stylized rather than actual prints.
 

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.

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. 

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.  

 

This nineteenth century painting depicts Machik Labdron with tantric deities and mahasiddhas. 

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. 

 

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 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. 

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.

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. 

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 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 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.

This sixteenth-century thangka of Avalokiteśvara depicts the teaching lineage named for Tsembupa known as 'tshem bu lugs', one of the five great systems of Avalokiteśvara practice in Tibet. This system is well preserved in Geluk and Sakya traditions.

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. 

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,