Difference between revisions of "The Protector House Itself"
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<poem> | <poem> | ||
| − | The Trode Khansar tsen khang itself is a two story structure. Previously, there was also a third story that housed the Dorje Shugden oracle, but it was removed during the Cultural Revolution (TOL, 196). The first story is slightly below ground level and is not used for religious purposes. On the south side, stairs lead up to the front entrance which is enclosed in a portico. This portico’s walls are painted with the four directional protectors (''rgyal chen sde bzhi'') as is typical with most temples and monasteries. | + | The Trode Khansar [[tsen khang]] itself is a two story {{Wiki|structure}}. Previously, there was also a third story that housed the [[Dorje Shugden]] {{Wiki|oracle}}, but it was removed during the {{Wiki|Cultural Revolution}} (TOL, 196). The first story is slightly below ground level and is not used for [[religious]] purposes. On the [[south]] side, stairs lead up to the front entrance which is enclosed in a portico. This portico’s walls are painted with the four [[directional protectors]] (''[[rgyal chen sde bzhi]]'') as is typical with most [[temples]] and [[monasteries]]. |
| − | The front entrance leads directly into the main eight-pillar hall of the building and is approximately 10 meters wide. On the east and west sides of the main hall are residential rooms for monks. Behind the main hall, protruding from the north side of the building is a room (lcog)23 used for rituals by the resident monks. This room has a skylight and black colored walls with paintings of various protectors. On the north side of the room are statues of statues of Je Tsongkhapa, founder of the Gelug sect, and his principal students Gyaltsab Je and Khedrup Je. | + | The front entrance leads directly into the main eight-pillar hall of the building and is approximately 10 meters wide. On the [[east]] and [[west]] sides of the main hall are residential rooms for [[monks]]. Behind the main hall, protruding from the [[north]] side of the building is a room (lcog)23 used for [[rituals]] by the resident [[monks]]. This room has a skylight and black colored walls with paintings of various [[protectors]]. On the [[north]] side of the room are [[statues]] of [[statues]] of [[Je Tsongkhapa]], founder of the [[Gelug sect]], and his [[principal]] students [[Gyaltsab Je]] and [[Khedrup Je]]. |
| − | The murals of the main hall are of important historical significance. In relation to Dorje Shugden are murals of his Jataka ('''khrung rabs'') or previous life stories. This includes a mural featuring his lives as previous masters: | + | The murals of the main hall are of important historical significance. In [[relation]] to [[Dorje Shugden]] are murals of his [[Jataka]] ('''khrung rabs'') or previous [[life]] stories. This includes a mural featuring his [[lives]] as previous [[masters]]: |
| − | Manjushri during the life of Buddha, | + | [[Manjushri]] during the [[life]] of [[Buddha]], |
| − | Birwawa as one of the Mahasiddhas in medieval India, | + | Birwawa as one of the [[Mahasiddhas]] in {{Wiki|medieval}} [[India]], |
| − | Khache Panchen Shakya Shri as a Kashmiri scholar who traveled to Tibet and disseminated some important lineages, | + | [[Khache Panchen]] [[Shakya Shri]] as a [[Kashmiri scholar]] who traveled to [[Tibet]] and disseminated some important [[lineages]], |
| − | Sakya Pandita and Buton as early Tibetan translators and scholars, | + | [[Sakya Pandita]] and Buton as early [[Tibetan]] [[translators]] and [[scholars]], |
| − | Panchen Sonam Dragpa, Sonam Yeshe Wangpo, Ngawang Sonam Geleg Pelzang and Tulku Dragpa Gyaltsen as a series of masters of the Gelug tradition founded in the 14th century. | + | [[Panchen Sonam Dragpa]], [[Sonam Yeshe Wangpo]], [[Ngawang]] Sonam Geleg Pelzang and [[Tulku Dragpa Gyaltsen]] as a series of [[masters]] of the [[Gelug tradition]] founded in the 14th century. |
[[File:Trode_Khangsar_temple01.jpg|thumb|250px|]] | [[File:Trode_Khangsar_temple01.jpg|thumb|250px|]] | ||
| − | The Temples of Lhasa also has photographs of murals of Manjushri as Jampel Mawa'i Senge (TOL, 198) and Avalokiteshvara as Yellow Amoghapasa 24 (TOL, 194). Other murals feature important stories of how Dorje Shugden was urged to become a protector in the presence of Je Tsongkhapa as his student, Dulzin Dragpa Gyaltsen. In particular, Je Tsongkhapa is surrounded by other monks and depicts the protector Nechung arriving riding a snow lion holding a bow and arrow. Nechung in the form of a boy interrupted the teachings three times when Dulzin Dragpa Gyaltsen told him to stop. Dulzin Dragpa Gyaltsen is then depicted standing up, at which point he promises Nechung to protect Je Tsongkhapa’s tradition in the future. Next, Je Tsongkhapa is depicted as being delighted and offers Dulzin Dragpa Gyaltsen a skull cup filled with nectar.25 | + | The [[Temples]] of [[Lhasa]] also has photographs of murals of [[Manjushri]] as [[Jampel]] Mawa'i [[Senge]] (TOL, 198) and [[Avalokiteshvara]] as [[Yellow]] [[Amoghapasa]] 24 (TOL, 194). Other murals feature important stories of how [[Dorje Shugden]] was urged to become a [[protector]] in the presence of [[Je Tsongkhapa]] as his [[student]], Dulzin [[Dragpa Gyaltsen]]. In particular, [[Je Tsongkhapa]] is surrounded by other [[monks]] and depicts the [[protector]] Nechung arriving riding a [[snow lion]] [[holding]] a [[bow and arrow]]. Nechung in the [[form]] of a boy interrupted the teachings three times when Dulzin [[Dragpa Gyaltsen]] told him to stop. Dulzin [[Dragpa Gyaltsen]] is then depicted [[standing]] up, at which point he promises Nechung to {{Wiki|protect}} [[Je Tsongkhapa’s]] [[tradition]] in the {{Wiki|future}}. Next, [[Je Tsongkhapa]] is depicted as [[being]] [[delighted]] and offers Dulzin [[Dragpa Gyaltsen]] a [[skull cup]] filled with nectar.25 |
| − | There are several known manifestations of Dorje Shugden, such as him riding a black horse which is popular in the Sakya tradition. The form of him riding a snow lion and holding a sword is the most popular in the Gelug tradition, starting in probably the 19th century. One interesting difference in the iconography of several of the statues and paintings of Dorje Shugden in Trode Khangsar is that he is holding a club instead of a sword. The significance of this particular iconographic detail is due to the manifestation the Fifth Dalai Lama witnessed, which is envident in the praise and confession written by him: | + | There are several known [[manifestations]] of [[Dorje Shugden]], such as him riding a [[black horse]] which is popular in the [[Sakya tradition]]. The [[form]] of him riding a [[snow lion]] and [[holding]] a sword is the most popular in the [[Gelug tradition]], starting in probably the 19th century. One [[interesting]] difference in the [[iconography]] of several of the [[statues]] and paintings of [[Dorje Shugden]] in [[Trode Khangsar]] is that he is [[holding]] a club instead of a sword. The significance of this particular iconographic detail is due to the [[manifestation]] the [[Fifth Dalai Lama]] witnessed, which is envident in the praise and {{Wiki|confession}} written by him: |
| − | Robes of a monk, crown adorned with rhinoceros leather hat, | + | [[Robes]] of a [[monk]], {{Wiki|crown}} adorned with [[rhinoceros]] leather hat, |
| − | Right hand holds ornate club, left holds a human heart, | + | [[Right]] hand holds ornate club, left holds a [[human]] [[heart]], |
| − | Riding various mounts such as nagas and garudas, | + | Riding various mounts such as [[nagas]] and [[garudas]], |
| − | Who subdues the mamo’s of the charnel grounds, praise to you! | + | Who subdues the mamo’s of the [[charnel grounds]], praise to you! |
| − | 23 The word ''lcog'' refers to the shape of a building, which is square but the walls slightly taper inward going toward the ceiling. This shape of the room is typically used for protectors and has come to be used interchangeably as the protector room. | + | 23 The [[word]] ''lcog'' refers to the shape of a building, which is square but the walls slightly taper inward going toward the ceiling. This shape of the room is typically used for [[protectors]] and has come to be used interchangeably as the [[protector]] room. |
| − | 24 There is a tradition of Yellow Amoghapasa coming from Kashmir Pandit Shakya Shri (kha che paN chen), a previous life of Tulku Dragpa Gyaltsen, which is probably why this mural is present. | + | 24 There is a [[tradition]] of [[Yellow]] [[Amoghapasa]] coming from [[Kashmir]] [[Pandit]] [[Shakya Shri]] (kha che paN [[chen]]), a previous [[life]] of [[Tulku Dragpa Gyaltsen]], which is probably why this mural is {{Wiki|present}}. |
| − | 25 Source: 2/2008 interview with anonymous person who stayed at the neighboring Trijang Labrang in the 1940s before the Chinese invasion. | + | 25 Source: 2/2008 interview with anonymous [[person]] who stayed at the neighboring [[Trijang]] [[Labrang]] in the 1940s before the [[Wikipedia:Battle of Chamdo|Chinese invasion]]. |
</poem> | </poem> | ||
{{R}} | {{R}} | ||
Latest revision as of 18:55, 9 January 2016
The Trode Khansar tsen khang itself is a two story structure. Previously, there was also a third story that housed the Dorje Shugden oracle, but it was removed during the Cultural Revolution (TOL, 196). The first story is slightly below ground level and is not used for religious purposes. On the south side, stairs lead up to the front entrance which is enclosed in a portico. This portico’s walls are painted with the four directional protectors (rgyal chen sde bzhi) as is typical with most temples and monasteries.
The front entrance leads directly into the main eight-pillar hall of the building and is approximately 10 meters wide. On the east and west sides of the main hall are residential rooms for monks. Behind the main hall, protruding from the north side of the building is a room (lcog)23 used for rituals by the resident monks. This room has a skylight and black colored walls with paintings of various protectors. On the north side of the room are statues of statues of Je Tsongkhapa, founder of the Gelug sect, and his principal students Gyaltsab Je and Khedrup Je.
The murals of the main hall are of important historical significance. In relation to Dorje Shugden are murals of his Jataka ('khrung rabs) or previous life stories. This includes a mural featuring his lives as previous masters:
Manjushri during the life of Buddha,
Birwawa as one of the Mahasiddhas in medieval India,
Khache Panchen Shakya Shri as a Kashmiri scholar who traveled to Tibet and disseminated some important lineages,
Sakya Pandita and Buton as early Tibetan translators and scholars,
Panchen Sonam Dragpa, Sonam Yeshe Wangpo, Ngawang Sonam Geleg Pelzang and Tulku Dragpa Gyaltsen as a series of masters of the Gelug tradition founded in the 14th century.
The Temples of Lhasa also has photographs of murals of Manjushri as Jampel Mawa'i Senge (TOL, 198) and Avalokiteshvara as Yellow Amoghapasa 24 (TOL, 194). Other murals feature important stories of how Dorje Shugden was urged to become a protector in the presence of Je Tsongkhapa as his student, Dulzin Dragpa Gyaltsen. In particular, Je Tsongkhapa is surrounded by other monks and depicts the protector Nechung arriving riding a snow lion holding a bow and arrow. Nechung in the form of a boy interrupted the teachings three times when Dulzin Dragpa Gyaltsen told him to stop. Dulzin Dragpa Gyaltsen is then depicted standing up, at which point he promises Nechung to protect Je Tsongkhapa’s tradition in the future. Next, Je Tsongkhapa is depicted as being delighted and offers Dulzin Dragpa Gyaltsen a skull cup filled with nectar.25
There are several known manifestations of Dorje Shugden, such as him riding a black horse which is popular in the Sakya tradition. The form of him riding a snow lion and holding a sword is the most popular in the Gelug tradition, starting in probably the 19th century. One interesting difference in the iconography of several of the statues and paintings of Dorje Shugden in Trode Khangsar is that he is holding a club instead of a sword. The significance of this particular iconographic detail is due to the manifestation the Fifth Dalai Lama witnessed, which is envident in the praise and confession written by him:
Robes of a monk, crown adorned with rhinoceros leather hat,
Right hand holds ornate club, left holds a human heart,
Riding various mounts such as nagas and garudas,
Who subdues the mamo’s of the charnel grounds, praise to you!
23 The word lcog refers to the shape of a building, which is square but the walls slightly taper inward going toward the ceiling. This shape of the room is typically used for protectors and has come to be used interchangeably as the protector room.
24 There is a tradition of Yellow Amoghapasa coming from Kashmir Pandit Shakya Shri (kha che paN chen), a previous life of Tulku Dragpa Gyaltsen, which is probably why this mural is present.
25 Source: 2/2008 interview with anonymous person who stayed at the neighboring Trijang Labrang in the 1940s before the Chinese invasion.
