Version: May 3, 2014
Translated by Dan Martin in ca. 1985
On the 13th day of the 2nd Tibetan month of the Earth Sheep year (1919), we arrived at Samye, the holy temple which was the seat of Abbot Śāntarakṣita, Teacher Padmasambhava and Dharma King Trisongdetsen.
First of all, there is the main central temple building called Utse Rigsum (Dbu-rtse Rigs Gsum), 'Roofs of Three Types'. The lower part has a Chinese type, the middle an Indian type, and the upper an Indian or Khotanese type roof. In each of these 3 parts there are actually 2 floors. If one counts the spire and rooftop pavilion, the number of floors total 8, but there are 10 ceiling levels (?).
In the front part of the main central building are the assembly hall and monastic college. In the door to the right is a temple. In the door to the left is a Gonkhang, (Mgon-khang, 'protectors chamber') with a facade (?sngo shubs) seeming to protrude from the building. At its side are both a monastic pavilion (rab-byung-ba'i lcog) and a low building which surrounds it [the main central building?] from the south to the northwest. At the doors of the temple begins the circumambulation path with its string of Māṇi Wheels. The path is paved with flat stones. On the four sides are four protrusions, and the circumambulation path skirts these in the south, north and west.
The general outward plan of Samye follows the arrangement of the cosmos according to Abhidharma tradition with Mt. Meru surrounded by the 4 continents and [8] minor continents. It is said that the inner plan is like a maṇḍala of Secret Mantra, the esoteric Mahāyāna.
When the Utse was destroyed by fire, the government restored it. This was accomplished by the Regents Demo and Kundeling working together with the government official Shetra, but there are said to be some stylistic deviations from the original. The central images of Śākyamuni and His disciples survived the fire, but the many other images were newly built. In the center is an upholstered throne rising a little less than a full span, over 4 spans from side to side, above which there is a svāstika design made of red and white sandalwood. There is copper and gold on the pillars. Here there is a shrine (khang-bzang) made of gold covered wood inside which are the 'six ornaments' (Nāgārjuna, Āryadeva, Vasubandhu, Asaṅga, Dignāga and Candrakīrti) with a curtain behind.
To speak of the central image of Buddha Śākyamuni, it was cut from a stone from Samye Hepori (Has-po-ri). It is a very beautiful image, 4 spans high, of the Great Enlightenment, covered with various fine silks, clay mixed with herbs, and gold dust in the amount of 18 'bre. It wears a crown and necklace of beaten and polished gold. From above the throne on which it is seated there is a place where it is possible to circumambulate, and there on the left-hand face of a pillar is the skull of Abbot Bodhisattva Śāntarakṣita which was once brought here from Thangpoche (in Yarlung Valley). Later on the 13th Dalai Lama Thubten Gyatso, and there is no contradiction in this, brought it from Tsethang accompanied by many good signs including a rainbow. To the right-hand side is also a hand-span sized turquoise image of Buddha called Thubpa Trongkyerma (Thub-pa Grong-khyer-ma, 'City Sage') offered to Prince Mutig Tsadpo from the spoils of conquest at the contemplative college of the Bhata Hor. Each of these relics has its own shrine. To the left of center is a golden copper 'representation' (sku-gsob) of Tsechui Orgyan ('Padmasambhava of the Tenth Day'). In front of the main image are 4 rows of silver ingots weighing one 'stone', with 7 in each row. There is also a maṇḍal a span wide with hoops made of silver and gold and the Seven Precious [emblems of the universal monarch--the wheel, jewel, queen, minister, elephant, horse and general] are a full cubit tall. There are 8 butterlamps made of gold and so forth.
There are images of the 8 bodhisattvas, four standing to the right and 4 to the left of the main image. They are 3 spans high wearing silk brocaded with lotus designs. Although their clothes are Chinese-style, their faces are Tibetan. There are two wrathful deities King and Kang. In the upper space behind these images are 2 clay images of Buddha. In a recess in the wall are the Kanjur volumes of collected scriptures written in gold letters. On the overhead beams are small turquoises, golden clouds, dragons and so forth, fulfilling all 13 of the criteria for fine craftsmanship (?). There are maṇḍalas affixed to the ceiling, and six kinds of cloth temple hangings. For paintings, there are Tankas of Kilaya, Samvara, Hevajra, Bhairava and others. There is, as well, a throne reserved for His Holiness the Dalai Lama.
On the inner and outer walls lining the innermost circumambulation route are paintings of scenes from the sūtras, the 10 deeds of the Buddha being among them. Then there is a well ornamented image, the size of a large man, of Padmasambhava. This blessing-bestowing image is damaged by fire, but is said to have been erected by the Emperor. It is called 'Dud Pung Zilnon, 'Conqueror of the Delusionary Powers'. Further to the right is a unique and very elegantly executed embroidery-work tanka of Great Abbot Śāntarakṣita which is like a painting of the Mensar (Sman-gsar) School, but with the workmanship of the famous artist from Lhokha named Epa (E-ba). On the left is a human-sized clay image of the Dharma King Trisongdetsen, while on the right is a very beautiful one of the Tibetan monk and translator Vairocana; also on the left is one of Songtsengampo.
Then there are two doors to the Barkor Khang, the Intermediate Circumambulation Passageway, the right-hand being the entrance and the left-hand the exit. To the right of these doors are Panchen Vimalamitra, Yudra Nyingpo, Kamalaśīla, Dharma King Mutritsenpo, King Ralpachen, Bodong Chogle Namgyal, and Thangtong Gyelpo. On the left side, in murals or inset into the walls, are Atißa with his 2 disciples, Drom and Ngog; Tsongkhapa with his 2 main disciples; the Fifth Dalai Lama and the Seventh, Kelsang Gyatso; the Kargyudpa masters Marpa, Milarepa and Gampopa; the 5 founding fathers of the Sakya -- Kunga Nyingpo, Sonam Tsemo, Drakpa Gyentsen, Sakya Pandita, and Phagspa; and Lama Sonam Gyatso as well, all made of clay mixed with herbs, about human-sized. There are fine volumes of the Kanjur and Tanjur and quite a few golden and painted drums. The decorative designs are very well done.
On the outside, facing the facade (?), at the end of the pavement is the confession place (? gshag skor) of the fully ordained monks. Here, as well, is a monk house in the upper part as well as a prayer wheel room in the lower part. On the outside, along the circumambulation passage, are very finely done murals. On each side are 21 columns with eight small prayer wheels between each set of pillars (?). Above the right and left doors are the 4 Great Protector Kings.
In the right door of the Assembly Hall, in the 'Treasury House of the Great Saint Mahakaruna' ('Phags Mchog Thugs-rje Gter-mdzod Khang), there was a flat relief of the thousand-armed thousand-eyed Avalokiteśvara in royal form said to have been sculpted by Nub Namkha Nyingpo, but under the former Regent Demo it was replaced by a clay image.
In the left door, the Gur Zhal Gonkhang (Gur Zhal Mgon-khang) is a very tall image of 'Vajra Tent Lord' (Rdo-rje Gur Mgon). There are some accompanying images such as one of his goddess Ekajati holding a pot. There are many Avalokiteśvara images.
Outdoors, in the pavement of the east door, the serpent-spirit (nāga) Maldro Zichan (Mal-gro Gzi-can) is said to dwell in the stone marked with a lotus design.
After going through the hidden right door of the Assembly Hall, there are the '1,000 images of Orgyan' (Padmasambhava). There are more than 600 thumb-sized ones in golden copper, and one wonders if the remainder are yet to be made. The main image here is the Atrong (A-krong) Guru, an image of Padmasambhava. A few other golden copper, Nepalese lima (bronzes) and Zahor limas may also be seen.
In the southern treasury is is an image of Jambhala called Mugdzin Dodgu Kyilwa (Rmug-'dzin 'Dod-dgu 'Khyil-ba), another called "Wealth God of Eight Horse Owners', images of the 3 long-life deities (Amitāyus, White Tārā and Vijaya), Yellow Jambhala, Vasundhara and Songtsengampo, all human-sized clay images.
In Pelchen Rangjon Phuntsok Köpa (Dpal-chen Rang-byon Phun-tshogs Bkod-pa) are paintings of each of the 8 forms of Guru Padmasambhava, and clay statues of the three laymen founding fathers of the Sakyapa (Kunga Nyingpo, Sonam Tsemo and Drakpa Gyentsen), of Vijaya and of Vajrapani.
On the back side, in the Dorje Chörab (Rdo-rje Chos-rab) Temple, are human-sized clay images of Vajrasattva, Kyungpo Neljor (11th century founder of Shangpa Kargyudpa) Bodong Jigdral, and 6-armed Mahākāla.
In the Dechen Chödzö Sungrab (Bde-chen Chos-mdzod Gsung-rabs) Temple are almost human-sized clay images of Amitabha, Luwang Gyelpo (Klu-dbang-rgyal-po) and Amoghasiddhi. There is also a set of the Kanjur.
In the Rigsum Jinlab Tugje Köpa (Rigs-gsum Byin-rlabs Thugs-rje Bkod-pa) are almost human-sized images of the Lords of Three Types (Mahakaruna, Vajrapani and Manjusri), and of the Karmic Deathlord (Las Gshin).
In the north is the 'Temple which Combines the Blessings of Abbot, Teacher and Dharma King' (Mkhan Slob Chos-rgyal Byin 'Dus). There are human-sized images of the Abbot Santiraksita, Teacher Padmasambhava, and Dharma King Trisongdetsen, as well as one of Emperor Mutritsenpo. On the north side of this temple is the northern treasury called Drayang Peljor Kyilwa (Sgra-dbyangs Dpal-'byor 'Khyil-ba). There are human-sized clay images of the Simhanada form of Avalokiteśvara, of Manjusri, of Marici and Vaisravana.
The Tensum Mingyur Takten (Rten-gsum Mi-'gyur Rtag-brtan) Temple has human-sized clay images of the Three Long-life Deities (Amitāyus, White Tārā and Vijaya). In the second storey are the following items: The Guru Padmasambhava in his meditating Buddha form in which he appears like Amitāyus. To its right is a silver chorten reliquary for the Zur Incarnate at Chimphu (Mchims-phu), the height of a man. On the left is a reliquary an arrow in height made of alternating silver and gold. There is a golden copper image of the past Buddha Dipamkara the size of a large man, and an equal sized one of the future Buddha Maitreya. There are human-sized clay images of the Abbot, Teacher and Dharma King. There are images made of clay mixed with medicinal herbs of the 10 bodhisattvas of the 10 Levels and two wrathful doorkeepers in a special Chinese style.
In the eastern court of the second storey is the Gyalten Yongdzok Nay Chu Khang (Rgyal-bstan Yongs-rdzogs Gnas Bcu Khang). Here is a fine set of the 16 Arhats together with Hoshang and the Protector Kings made of clay mixed with herbs in human size. There are paintings on the wall of the prayer wheel room. Going through the secret door there is, protruding on the south side, the Desheg Pawo Rabdun (Bde-gshegs Dpa'-bo Rabs-bdun) Temple. Here are images of the 'seven generations' (rabs bdun) of Buddhas a little larger than arrows in height.
In the western court is the Rinchen Yongdrub Lima (Rin-chen Yongs-grub Li-ma) Temple. Here, behind a metal grillwork, are reliquary chortens of Kadampa masters ranging in size from a full cubit to thumb-size, also, a full cubit high lima bronze image of the Lord of Sages Śākyamuni, and similar ones of Orgyan Padmasambhava, and others ranging in size from a full cubit to thumb-size. These were among the 500 ancient images of Samye which were not burned in fires.
In the northern court is the 'Temple of Medicine to Cure Diseases of the Five Poisons' (Dug Lnga'i Nad Sel Sman). Here are 7 human-sized clay statues of the 7 generations of Buddhas.
After going around the 2nd storey, one will see clearly visible in the eastern court a long stairway. By climbing the stairs, one comes out on a balcony (bya 'dab). There in the upper part are some remains of the Emperor's 'Heart-warming Room' where Vairocana hid. Inside this are images of Vairocana and the Emperor. If one continues climbing to the upper storey, there is in the center an image of Buddha Vairocana where there is room to accommodate 4 people. One has come to the uppermost level. Here are 41 human-sized images including the 8 close disciples of Buddha, the 24 Bodhisattvas of the 10 directions, and 8 doorkeepers. The many drawings and decorations here include the endless knot (? dpal-tse) and Vajradhatu.
On the beams above the 4 doors, the surrounding rooms and so forth are letters in Lantsa script. The sandalwood pillars are 'trees of life' (srog-shing). The rooftop pavilion is ablaze with light. Its gold, awnings and pinnacle are extremely fine, and there are many figures amid the gold spires with lions on the 4 corners. The balconies and so on are truly awe inspiring.
Behind the door on the east side and to the right is a small room with a seal affixed to it reserved for the Victor of Lhasa (H.H. the Dalai Lama). To the left is a Gonkhang of the deity King Shingjachen (Shing-bya-can). There is also a 21 Tara temple with Tara images of human size and well proportioned. As for paintings, there are in these rooms just mentioned paintings of lineages described in the biography of Padmasambhava called Padma Bka'-thang. On the east side, near the Dalai Lama's apartment are beautiful paintings of His Holiness.
There are many other items listed for the upper part of the Utse. There is a painting, signed by one "monk of Samye" of an 'acrostic wheel' (kun-'khor, a form of traditional concrete poetry that may be read in different directions) containing the eight names of Padmasambhava and composed by Jamgon Kongtrul Rinpoche. There are even to be seen some unfortunate and juvenile attempts at stone carving proudly signed by one "old man of Gyarong" by the name of Tendrak (Bstan-grags).
Along the outer circumambulation paths around the three parts of the central temple are many paintings including scenes from the Bardo teachings of Karmalingpa, the Confession Sūtra, the 10 deeds of the Buddha, the Kalpalata (composed in 1052 A.D. by the Kashmiri poet Ksemendra), the Katang (text excavated by Orgyan Lingpa), all the Tibetan translators and Indian Pundits; lamas of all tenets without regard for sect, including Kadampa, Sakyapa, Kargyudpa, and Nyingmapa; most of the hundred and more Treasure Revealers (Tertons); the 80 disciples of Tsongkhapa, and the various reincarnations of the Dalai Lama.
Leaving the Utse temple, one comes to the large White Chorten erected by Shudbu Pelseng (Shud-bu Dpal-seng). A latticework of creeping plants around the lion-throne base creates an illusion of windows. It is about 7 storeys high with 4 lions, a golden copper 'victory banner' at the top. Facing inward along the circumambulation path are images of Buddha, Arhats and attendants; of Lamas, various fine stone carvings and some ancient lima bronzes.
To the east is the Temple of Sixteen Arhats (Gnas Bcu, short for Gnas-brtan Bcu-drug). It contains human-sized images made of clay mixed with herbs of Buddhas, the 16 Arhats and attendants. There are stone images and a Jamchub Chorten as well. Here are two things said to represent hoof-prints of Guru Rinpoche Padmasambhava's horse.
In the Upper Yaksha Sun (Yaksha Gong Nyi-ma) Temple there is a statue, more than a span in height, of the Buddha Sūryagarbha ('Solar Matrix'). There are human-sized images of 4 bodhisattvas. There are 2 wrathful deities. There is a wooden model of Samye's central building, the Utse, which it is said was the prototype for the temple as it was originally. There is one set of Kanjur volumes. There are very well made masks used in the monastic dances for the 10th day [of the lunar fortnights, dedicated to Padmasambhava], sūtra offerings [held at Samye on the 15th of the 5th Tibetan month], and Kilaya.
To the west is the Lower Yaksha Moon (Yaksha 'Og Zla-ba) Temple. The main icon here is an image of Buddha Candragarbha over a full span in height. There are here also 4 Bodhisattvas and 2 wrathful deities. There are also finely worked masks for the festivals of the 10th day and sūtra worship.
The dark blue-green chorten built by Dorje Trulchung (Rdo-rje Sprul-chung) is about 5 storeys high. It has a fine pinnacle of turquoise. The lion throne is graced with 16 shrines, and on the 4 sides are 4 protruding structures. These protruding structures cover critical points on the earth's surface (sa nad, =sa gnad?), together with each of the outer steps. On the south side are 3 shrines--Ratnasambhava cast in lima bronze, Amitabha with 2 attendants, and Medicine Buddha. Of the 3 shrines on the west side, one is of Tara in human-size. Another has images of Kamalaśīla, Yeshe Wangpo, and Zhang Lhazang. The 3rd has images of Maitreya, Manjusri and Avalokiteśvara. On the north side are 3 shrines--one of the great Master Śāntarakṣita , one of a seated Dipamkara Buddha, and the other of Aksobhya. On the east side there is one shrine with a seated Amitāyus, one of Vairocana flanked by 2 Bodhisattvas, and one of Vajrasattva. The main icons here are amazing, anciently casted lima bronzes of human size.
Inset in the chorten above the lion throne base are, on the south side, Ratnasambhava; on the west, Tathagata Vairocana; on the north, Vijaya; on the east, an image of Śākyamuni. These are large and equally proportioned figures which, together with their shrines, about a full span high, given an overall aesthetic impression of wonder and awe. It is said that scorpions appear along the circumambulation route around this chorten.
In the 'campfire dormitory' (sgar-me khang-tsan) is a good bronze and copper oven. There is a large tree here. If one goes upstairs, there is a temple to the left, while on the right is a Gonkhang. In the temple is a human-sized image of Amṛtakuṇḍalin, who gives long life, with all his attendants. There is a clay image of Ngari Rigdzin Ligden Dorje (Mnga'-ris Rig-'dzin Legs-ldan Rdo-rje). There are images of the Lords of Three Types in human size, an image of Hayagriva and Vārāhī in 'parent' (yab-yum) form, and of the yakshas known as '8 horse owners', well crafted statues over an arrow high. In the Gonkhang are 5 images, Avalokiteśvara and so forth.
In the outer circle of temples there are the 4 'continents' (gling) and the 8 'minor continents' (gling-phran) as well as other temples between them.
In the upper of the 3 eastern 'continent' temples, the Namdak Trimkhang Ling (Rnam-dag Khrims-khang Gling), the main image is a clay one of Great Enlightenment, made in ancient times. Just before reaching this image there are, to the right and left, four images of standing Bodhisattvas about human-sized. There is a most splendid statue of Great Master Santiraksita, a very beautiful one of Great Translator Vairocana, as well as 2 wrathful door protectors about human-sized. There are also, of like size, images of the Great Mother Prajnaparamita in Dharmakaya form and of White Tara. There is a copy of the Kanjur.
Northwest from here is a Dzogchen (Rdzogs-chen) Temple erected by Allknowing Jigme Lingpa. There are more than human-sized images of fine workmanship and full of blessings of the Teacher Padmasambhava and his attendants. There are human-sized images of the Teacher in Indian style and also of the master Śāntarakṣita and Dharma King Trisongdetsen such that one wonders how they could have been made. There are also finely made human-sized images of Garab Dorje, Manjusrimitra, Srisimha, Vimalamitra, Jnanasutra and Longchenpa.
The central of the 3 'continents' in the east is the Jampel Ling ('Jam-dpal Gling). In the second storey is the main image of the Jnanasattva form of Manjusri, a magnificently casted lima bronze of human size. There are images of the Abbot, Teacher and Dharma King triad, of Translator Ngog, of 4 Bodhisattvas in human size, and of the 2 wrathful deities King and Kang. In the upper storey above is a well painted mural depicting the Buddhafield of Great Bliss. There is a Kanjur. There are icons of clay and human-sized of Manjusri in his 'Lion of Speech' form, the Fifth and Seventh Dalai Lamas, Tsongkhapa and the Great Throneholder of Reting (Rwa-sgreng). In the lower storey is a large and fine image of Kalacakra.
In the lower of the 3 continents in the east, the Da Jar Tsang Mang Ling (Brda Sbyar Tshang Mang Gling), the main icon is Jowo Śākyamuni. There are human-sized clay images of 4 Bodhisattvas, 2 wrathful deities, yellow form of Jambhala, and, most remarkably, a black form of Jambhala which looks as if it had just been dipped in melted butter. There is a partial manuscript of the Kanjur, and murals of the seven generations of Buddhas.
Built because of a prophecy he received about how Tibet would be kept in peace, the Tibetan ruler Demo's Ngotsar Chen Ling (Ngo-mtshar Chen Gling) has as its main image one of Teacher Śākyamuni, very finely made of golden copper approximately a span in height. There are his 2 supreme disciples Maudgalyayana and Śāriputra, his father Suddhodana, his mother Maya, his 8 closest disciples, and 2 wrathful deities, as well as Indra and Brahma, all of them correctly made clay images of human size.
The upper of the 3 continents in the south is Duddul Ngagpa Ling (Bdud-'dul Sngags-pa Gling). Here one may find a Great Sage Śākyamuni, a Sarvavid Vairocana and an Aksobhya, all a little less than a storey in height; 4 human-sized and anciently made Bodhisattvas, the Victors of Five Types (the 5 Tathāgatas of the maṇḍala), 'Desire King' ('Dod-rgyal), Ganapati (Ganesh) with elephant trunk, Lion Face (Simhavaktra) and Sarvavati (Rigs-byed-ma), all clay images of human size. There is a complete set of the Kanjur.
The centralmost of the 3 continents in the south is Aryapalo Ling (Arya-pa-lo'i Gling). It has a golden rooftop pavilion and a temple which includes an assembly hall. In the middle of the latter is an image of Great Compassion Avalokiteśvara in the form called 'Giving Rest to the Mental Activity' (Sems-nyid Ngal-gso) which was modelled after the Dharma King Trisongdetsen himself. It is extremely splendid with its golden head ornaments. Because it resembles an image of the same deity at Lhasa which is one of the ancient images erected by King Trisongdetsen, and is similar to images of the Emperor himself and his associates, it is extremely sacred. There is a tantric image of Hayagriva with 3 faces and 6 arms, of which it is often said that it was made to look like the minister Tara Lugong (Rta-ra Glu-gong) in accordance with the wishes of the government officials. There is also the story that the face of the almost human-sized Green Tara image was made to resemble that of the Queen Margyen (Dmar-rgyan). There are very well done images of Holy Lokeśvara, Avalokiteśvara with 4 hands and 11 heads, Marici and others made of clay mixed with herbs with golden copper head ornaments. There is a Jangchub Chorten known to contain the entire heart of Dharma King Trisongdetsen. Its ornaments are made of gold, and it is about the height of one arrow. On the right side is Kagye Trokhar (Bka'-brgyad Khro-mkhar) made of clay mixed with herbs. Although it remains in good condition, its emblems and so forth are very worn and stained. There is also a comparable tantric Hayagriva, and both of these two images were erected in the 18th century by Lelung Zhepae Dorje (Sle-lung Bzhad Rdor). There are 7 three-dimensional maṇḍalas. There is a Hayagriva of arrow height. There is a more than arrow-high golden copper image of Nangsi Zilnon (Snang-srid Zil-gnon) built by Rigdzin Jigme LIngpa ('Jigs-med-gling-pa) upon the death of his mother. One may see an Amitāyus and a Seventh Dalai Lama made of clay. Further to the right, inside a cavern are images of clay mixed with herbs of Great Compassion in 'Giving Rest to the Mental Activity' form and of the Lords of Three Types, as well as what may represent fragments of 100,000 verse Prajnaparamita volumes made in fulfillment of the wishes of the Dharma Kings (Trisongdetsen and others). On the left-hand side is a grotto with an image of Great Compassion in the form 'Lion Roar' with golden copper crown, behind which there are minerals said to be beneficial against leprosy. Here there are also images made of clay mixed with herbs of the 8 forms of Guru Padmasambhava about arrow-height, of the 4 Bodhisattvas, and of White Tara.
The lower of the 3 continents in the east is Tragyur Gyagar Ling (Sgra-bsgyur Rgya-gar Gling). It has 2 storeys, in the lower of which there is a Śākyamuni made of lima bronze, about human-sized, with splendid golden copper crown. Then there are fine old images made of clay mixed with herbs including 4 Bodhisattvas and 2 wrathful deities. Between storeys, images of Kamalaśīla and Phadampa Sangye are to be found. In the lower center of the upper storey there is a human-sized Śākyamuni. Then to the right are eleven labelled images of Indian Pundits, while on the left are eleven labelled images of Tibetan translators, all of them about human size, finely modelled in clay. In front of the temple are delightful paintings of 2 green apricot trees, 2 clumps of bamboo, flowers and so forth.
Here there is a building enclosing a large prayer wheel which contains 100,000,000 Māṇi mantras, erected by the Lama of Lhatse (Lha-rtse) in Khams province named Rishul Yonten Pelzang (Ri-shul Yon-tan-dpal-bzang). There are recently painted murals inside and out.
In the upper of the 3 continents in the west, called Lungten Betsa Ling (Lung-bstan Bai-tsa Gling), there is a more than human-sized image of Vairocana made of clay mixed with herbs. To its right and left are human-sized images of Dipamkara and Maitreya. There are the 8 forms of Guru Padmasambhava more than arrow height. There are as well images of Tara and Vasundhara, all well executed in clay mixed with herbs.
Nearby is the Red Chorten, decorated with 1,000 lotuses, built by Zhang Gyatsa Lhenam (Zhang Rgya-tsha Lhas-rnam). It has 4 iron cables supporting it on its 4 sides.
Then there is the Pel Yonten (Dpal Yon-tan) Chorten erected by the Tibetan ruler Demo. In the rounded part of this chorten, there are 4 arches inside of which there are seated 4 Sarvavid Vairocana images with 4 consorts modelled in clay.
The central of the 3 continents in the west is Ganden Champa Ling (Dga'-ldan Byams-pa Gling). The main image is a Maitreya a full storey high with golden copper crown. There are standing images of 4 bodhisattvas, 2 wrathful deities, a Nangsi Zilnon (Snang-srid Zil-gnon) which appears to be recent. There are arrow-high images of the Emperors Songtsengampo, Trisongdetsen and Ralpachen. There is a lima bronze of Śākyamuni on the 'Diamond Seat' (at Bodhgaya), almost a full span high and one of Maitreya made of golden copper, seated on a chair, of arrow-height. Outside in a grotto is the Vaisravana Gonkhang (Rnam-sras Mgon-khang). On the left-hand side is a Gonkhang of Mahākāla'Holding a Chopper' (Mgon-po Gri-gug-can) where there are 1,000 pressed images of Teacher Padmasambhava, each a hand-span high.
The lower of the 3 continents in the west is Miyo Samten Ling (Mi-g.yo Bsam-gtan Gling). Here there is a human-sized stone image of Vairocana with golden copper crown. There are the 'Four Types' (Buddhas of 4 cardinal directions of the maṇḍala), 4 male Bodhisattvas, 4 female Bodhisattvas and 2 wrathful deities made of clay mixed with herbs. In the outer courtyard are 1,000 very finely carved stone Buddhas, each about a cubit high.
Nearby is the Mipham Chödzin Ling (Mi-pham Chos-'dzin Gling) erected by the Tibetan ruler Demo Rinpoche Ngawang Jampel Delek Gyatso (Ngag-dbang-'jam-dpal-bde-legs-rgya-mtsho).[1] Here the main image is of Maitreya, a storey high, with many fine ornaments of precious stones and golden copper. There may be seen a 'parents' (yab-yum) image, 4 male Bodhisattvas, and 4 female Bodhisattvas made of clay. There is a maṇḍal, and many other offering objects besides.
Also here are 3 prayer wheels with 100,000,000 Māṇis in each, erected by Demo Rinpoche. These correspond to the Dharma, Sambhoga, and Nirmana Bodies, the walls around each being painted accordingly.
The upper of the 3 continents in the north is Rinchen Natsok Ling (Rin-chen Sna-tshogs Gling). The main images are of the Buddhas of past, present and future, not quite a storey high. There are clay images of Bodhisattvas, 4 on each side. There is a lima bronze, about human-sized, of Śākyamuni at the 'Diamond Seat'. Also to be seen are images of the 3 Dharma Kings--Songtsengampo, Trisongdetsen, and Ralpachen.
Here is the Black Chorten erected by Ngam Tara Lugong (Ngam Rta-ra Glu-khang). It is decorated with smaller reliquary chortens. Four iron support cables are on the 4 sides. The parasol and finial are made of golden copper.
The main image in the central of the 3 continents in the north, Changchub Semkye Ling (Byang-chub Sems Bskyed Gling), is a storey high Buddha image seated upon a stalked lotus, symbol of transcending the swamp of desire. There is a lima bronze Śākyamuni about human-sized. On the facing side is a storey high Maitreya. There are clay images, arrayed in inner and outer circles, of the 37 deities of the Sarvavid Vairocana maṇḍala, seated on lotus thrones. There are statues, more than arrow-height, of Śāntarakṣita , Padmasambhava and Trisongdetsen. There are also splendid images of Atisa with his main disciples, and of the 2 door protectors King and Kang. There are several offering objects here.
The lower of the three continents in the north, Pekar Kordzö Ling (Dpe-dkar Dkor-mdzod Gling), has two storeys. The main image in the upper chamber is a representation of the Dharma King Trisongdetsen. Around its neck is a necklace which belonged to the Dharma King himself. It is known as 'The World Put on Loan' ('Dzam-gling G.yas Bzhag). Here is also a quiver named 'rainbow' with 7 notched arrows that belonged to Great Teacher Padmasambhava. It has a golden seal that belonged to Great Teacher Padmasambhava. It has a golden seal attached. One may also notice a small maroon cloth mask, corals, and a local deity of Kongpo region called Kongtsun Demo (Kong-btsun De-mo) together with ornaments representing the 5 Buddha Bodies. There are thread-crosses serving as icons [generally disposed of after their ritual use], knives, spears, prayer flags and animal skins, beside which there are many remarkable things to be encountered. The great outer verandah is made up of about 30 chambers. The great outer verandah of the ground floor has on its right side a recess within which is a storey-high image of the Buddha Anandasri (Dga'-ba'i-dpal). On the back side of this image are the best of the existing Indian manuscripts. There are 4 male and 4 female Bodhisattvas. There is an image made of clay mixed with herbs of the Precious Teacher Padmasambhava. On the left-hand side, in front of the chamber sealed with a government seal, there are seven or eight 'breath arrows' of various sizes, nooses, stretched hides of yaks and monks and other things to be seen. It is said that if one sniffs at the cracks in the Breath House [where the 'breaths' of various local spirits are kept, the sealed room just mentioned] there is a scent of juniper. These last mentioned things are built into the outer wall of Samye. On top of the wall are more than a thousand chortens of a little more than an arrow in height.
Outside the circular wall of Samye to the south is a temple built by a wife of Trisongdetsen, either Tsepangza (Tshe-spang-bza') or Margyanma (Dmar-rgyan-ma). It is called Khamsum Sangkhang Ling (Khams-gsum Zangs-khang Gling), and is in design similar to the Utse of Samye. In its stonework and carpentry, it has been said to surpass the Utse; there are turquoises, corals and other precious stones and metals inset in the columns and beams, ornamental borders made of silver and gold and many such things. The lower of the 3 storeys has as its chief inner icon a storey-high image of Jowo Śākyamuni in the form of Great Enlightenment. There are 8 standing images of the Buddha's main disciples and 2 wrathful door protectors. The actual material of these images is clay, but they have very many insets of precious substances. On the second storey the chief icon is a storey-high image of the Buddha called 'Lotus Beyond Passion' (Ma-chags Padma-can) seated on a lotus with a stalk. There are 4 male Bodhisattvas, 4 female Bodhisattvas, and the door protectors King and Kang, all made of clay mixed with herbs and inset with ornaments of gold and copper. At the heart of a nearly human-sized portrait image of the treasure revealer (gter-ston) Trapa Ngonshechan (Grwa-pa Mngon-shes) one may view, through a glass pane, an image of Amitāyus which came from his tooth. On the inner and outer sides of the circumambulation passage are particularly remarkable paintings of the hundred peaceful and wrathful deities, examples of ancient Newari artistry. In the uppermost storey the chief icon is one of Vairocana Buddha on a throne held up by 4 human figures. One finds represented here the deities of the complete maṇḍala of the Vajra Realm (Rdor-dbyings), as well as male and female Bodhisattvas and 2 wrathful deities. One will note some quite impressive inset ornaments and so forth. In the Gonkhang and on both sides of the lower circumambulation passage are some ancient Newari murals illustrating the Katang (Bka'-thang). On the roof, the eaves and rain gutters remain undamaged over time.
Also outside the Samye wall, but to the west, is the Gegye Lima Ling (Dge-rgyas Li-ma Gling), a one-storey temple built by Trisongdetsen's wife of the Dro ('Bro) clan, Jangchubma (Byang-chub-ma). The main icon is one of Śākyamuni made of lima bronze about half again larger than human size and decorated to perfection. The 8 chief disciples are represented by standing images made of reddish lima bronze a little smaller than human size. The 2 wrathful deities are especially notable, being made of 'eastern lima' (shar li) bronze. To the right and left of the outer gateway are 2 arrow-high lima bronzes of Medicine Buddha and Dipamkara. To the right of the door are old paintings of the maṇḍalas of the Kagye Deshek Düpa (Bka'-brgyad Bder-'dus), while to the left are maṇḍalas of the Kagye Sangwa Yongdzok (Bka'-brgyad Gsang Rdzogs: these two cycles were rediscovered, respectively, by Nyang-ral and Guru Chöwang). The circumambulation passage, the eaves and rain-gutters and so forth are perfectly preserved.
To the north of the Samye wall is a two-storey temple erected by Queen Phogyangza (Pho-gyang-bza') called Utsel Serkhang Ling (Dbu-tshal Gser-khang Gling). On the lower level, in the room with 4 pillars, the main image is an Aksobhya a storey high. This is the one which was magically projected by Pundit Vimalamitra in order to raise the confidence of the king and royal court. To the right of this image is one of Ratnasambhava and, to the left, one of Amitabha, both storey-high and made of clay. The golden copper inset ornaments of their crowns and other jewelry are especially remarkable. Behind these 3 images are 2 mural images, about human-sized, of Vajrasattva and Amoghasiddhi. Also in attendance are images of the 8 chief disciples and the 2 wrathful deities King and Kang, larger than human-size and made of clay mixed with herbs. There is a white lima bronze of Śākyamuni of arrow height. There are 3 Kadampa-style chortens of approximately arrow height. The door is made of wood from the medicinal tree Dagor Zhosha (Gla-gor Zho-sha, =Zla-gor Zho-sha). It is decorated with little golden birds [said to have sung when the door was opened] and very fine inset ornamentation. In the lower surrounding court there are 16 pillars. On the inner and outer walls along the circumambulation route are to be seen murals with scenes from the sūtras. The mural paintings of the 12 deeds of the Buddha are in bas-relief, while the sūtra scenes are two-dimensional paintings. These are ancient Newari paintings with no trace of modern styles.
In the upper storey of this same temple there is a storey-high lima bronze of Śākyamuni that was brought here from the monastic school for spiritual practice at Jangchub Ling (Byang-chub Gling). Then there are the 2 supreme disciples, a Śākyamuni in 'City' form (cf. the Thubpa Trongkyerma mentioned earlier) of about arrow height, and made of red and white sandalwood. There is a story that the begging bowl held in the hands of this image is one actually used by Śāriputra, and that the orange cloth fringe of the canopy and the monastic robes are made from the robes of Śāriputra, but this seems doubtful. Several different notables have refuted this story, and their testimony should suffice. It has been explained that the perfect arrangement of Sarvavid Vairocana and the 4 Type Lords [of the 4 directions of the maṇḍala] with their consorts had been here in the past, but that the other images were placed here by Demo Rinpoche. Inside and outside the walls of the prayer wheel temple are paintings from the sūtras and of the 8 offering goddesses, as well as illustrations from the Katang (Bka'-thang). There are eaves and rain-gutters, while the rainspout on the eastern side is in the shape of the makara sea monster. From its mouth comes holy water (khrus chu) which descends into a stone basin on the back of a stone turtle below. This is the place where Orgyan Lingpa withdrew the Scrolls of Gods and Spirits (Lha 'Dre'i Bka'-thang) from concealment. Although this seems such a delightful place with its junipers, pines and Chinese willows, the facing park appears to have suffered somewhat from the passage of time.
To the southeast of Samye, the Emperor Meyagtsom (Mes-ag-tshom) built the Kachu (Ka-chu) Temple. On the west side there is a lake, and on its banks one may find the springs that feed the lake, an arrangement of icons, and some groves of trees, all surrounded by a wall.
Recently the Tibetan King Demo newly erected 4 temples in the 4 cardinal directions around Samye as well as 4 chortens in the intermediate directions. These remain in excellent condition.
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A note on the original text: This was originally translated many years ago on the basis of a typescript that had no indication of where it was taken from. I admit I did a fairly rough job of it, and tried to make it a little more presentable just today before posting it (I see now that the diacritic marks need more work). Only in recent years I found out that the typescript was in fact drawn from a work published back in 1972: An Account of a Pilgrimage to Central Tibet during the Years 1918 to 1920, being the Text of Gangs ljongs dbus gtsang gnas bskor lam yig nor bu zla shel gyi se mo do by Kah-thog Si-tu Chos-kyi-rgya-mtsho, photographically reproduced from the original Tibetan xylograph by Khams-sprul Don-brgyud-nyi-ma, The Sungrab Nyamso Gyunphel Parkhang, Tibetan Craft Community, Tashijong, Palampur, H.P. (India), 1972. The account of the Situ Rinpoche's visit to Samye is found in this work at pp. 187-209. You might also be able to view it at the Tibetan Buddhism Resource Centre, at this URL: http://www.tbrc.org/#!rid=W9668. This work has been subject of a master's thesis by one Tshe-ring, entitled "Kathog Situ Chokyi Gyatso's (1880-1925) Pilgrimage in the Myang Area, Tsang," master's thesis, University of Oslo (Oslo 2001), in 153 pages; although I haven't seen it, it evidently only translates part of the work (and not the part on Samye, it would appear).
Another thing I might mention: This was once posted at the Virginia website now called The Tibetan and Himalayan Library, but it got lost at some point. So here it is again, in a somewhat different form.
Note: Despite hopes of making a complete list, I fear it falls far short of that.
Batchelor, Stephen, The Tibet Guide, Wisdom Publications (London 1987). Chapter (pp. 233-244) tells about the history and present condition of Samye.
Buckley, Michael, and Robert Strauss, Tibet: A Travel Survival Kit, Lonely Planet (Berkeley 1986). On pp. 150-153 of this tourist guide is information on Samye, including, on p. 152, a "Samye Temple Plan."
Buffetrille, Katia, La restauration du Monestére de bsam-yas: un example de continuité dans la relation chaplain-donateur au Tibet? Journal Asiatique, vol. 277 (1989), pp. 363-412. Patron-priest relations. Mchod-yon.
Buffetrille, Katia, Questions soulevées par la restauration de bSam yas, Tibetan Studies: Proceedings of the 5th Seminar of the International Association for Tibetan Studies, Narita 1989, Naritasan Shinshoji (Narita 1992), pp. 377-386.
Chayet, Anne, Contribution aux recherches sur les états successifs du monastére de Bsam-yas. IN: F. Meyer, ed., Tibet civilization et société, Éditions de la fondation Singer-Polignac (Paris 1990), pp. 109-119.
Chayet, Anne, Le monastère de bSam yas: sources architecturales, Arts Asiatiques, vol. 43 (1988), pp. 19-29. Bsam-yas.
Dowman, Keith, The Power-Places of Central Tibet, Routledge & Kegan Paul (London 1988). Chapter 14 (pp. 216-235) has much information on the present state of Samye and surrounding area.
Dunham, Mikel, Samye: A Pilgrimage to the Birthplace of Tibetan Buddhism, Jodere Group (San Diego 2004). This is primarily a picture book, with not very much text.
Lde'u, Mkhas-pa, Mkhas-pa Lde'us Mdzad-pa'i Rgya bod-kyi Chos-'byung Rgyas-pa, Bod-ljongs Mi-dmangs Dpe-skrun-khang 1987). This remarkable history of Indian and Tibetan Buddhism was written in the late 13th century, but based on several early historical sources not now available. There is a fairly detailed description of Samye on pp. 349-355. This is an especially valuable source for determining which elements of the Samye complex are truly ancient.
Memet, Sebastien, Le monastère de bSam-yas. Essai de restitution, Arts Asiatiques, vol. 43 (1988). Samye.
O-rgyan-gling-pa (Excavator), Bka'-thang Sde Lnga. There are innumerable editions of this work, excavated in the mid-14th century. Chapter 11 (called "Rgyal-po'i Thugs-dam Ji-ltar Bzhengs-pa") of the second of the 5 major divisions (i.e., the Rgyal-po Bka'i Thang-yig) is about the plan of Samye.
Tucci, Giuseppe, The Symbolism of the Temple of Bsam-yas, East &West, vol. 6 (1955/6), pp. 279-281. Also in the author's Opera Minora.
Ye-shes-dbang-phyug, Ser Smad Dge-bshes, "Dpal Bsam-yas Mi-'gyur Lhun-gyis Grub-pa'i Gtsug-lag-khang-gi Lo-rgyus Mdor-bsdus Bkod-pa," contained in: Bod-ljongs Nang Bstan vol. 1 (1986), pp 17-23. This article, published in an annual periodical of "The Tibetan Branch of the Chinese Buddhist Association," has a good description of Samye as it once was, and although it mentions restoration work currently in progress, it gives no idea of the extent of destruction during the last few decades, or even that any destruction took place.
AT99/5 (running no. 1014): Dpal bsam yas mi 'gyur lhun gyi grub pa'i dkar chag dang bkur sti byas pa'i phan yon dang ldan dga' ba bskyed byed, by Gar gyi dbang phyug rtsal (from gsung 'bum of Zhig po gling pa), in 33 xylographic folios, in collection of Nepal National Archives, filmed in 1992.
[1]He reigned as Regent (Rgyal-tshab) from 1757-1777, and died in 1777.