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This is a list of the most famous founding teachers of Tibetan and Himalayan Buddhism. It is not definitive and not complete. For example, although Shabdrung Ngagwang Namgyal (1594-1651) is credited with the founding of the state of Bhutan, he did not necessarily introduce the Drugpa Kagyu Tradition to the region of Bhutan. Pajo Drugom Zhigpo (1208-1276) introduced Drugpa Kagyu to the region of Bhutan in the 13th century. For Shalu Monastery, Buton Tamche Khyenpa Rinchen Drub (1290-1364) was certainly the most famous teacher but he did not found the monastery, that was done in 1040 by Chetsun Sherab Jungne. It is also important to understand that founders of monasteries are not always founders of traditions of Buddhism, such as with Chetsun. It is difficult to find images for a number of the early founders of the various traditions, lineages and monasteries such as Pajo, Chetsun Sherab Jungne and others.

The various works of art depicting Ling Gesar, and associated topics, can be divided into two mediums (painting and sculpture) and four general subjects solely based on the works that have been identified in museum and private collections thus far.


The Four Gesar Art Subjects:

[1] Gesar Life Story - Painting Set

[2] Gesar & the Thirty Warriors - Painting Set

[3] Gesar Norbu Dradul (painting or sculpture)

[4] Gesar Dorje Tsegyal (painting or sculpture)

The works documented are primarily from the time period prior to 1960. In the future, there will of course be many more paintings, sculpture and murals identified as the field of Himalayan and Tibetan art develops with time, interest and resources.

The subject of lineage is one of the most common topics and visual depictions in Tibetan and Himalayan art. The two most commonly portrayed lineage types, in both painting and sculpture, are Teaching & Initiation Lineages followed by Incarnation Lineages. The more famous the lineage the more often it will be found represented in works of art.

The subject of lineage is best approached through the Three Essential Lineage Topics:

1. Definition & Three Similar Words

2. Three General Types of Lineage

3. Three Buddhist Traditions & Lineages

Milarepa was the most famous poet saint of Tibet. He is today principally known for his singing, leading a yogi lifestyle and for being a student of Marpa Chokyi Lodro.

However, before finding Marpa, Milarepa had a number of well known teachers. From amongst the many students of Milarepa the most famous are Rechungpa, Gampopa and the mountain goddess Tseringma. Each of Milarepa's teachers and each of Milarepa's students had many other disciples and students. From many of those teachers and students arose numerous lineages of teachings.

Garwa Nagpo, Damchen (English: the Avowed Blacksmith), the principal attendant deity in the entourage of the Tibetan worldly protector Dorje Legpa. Garwa Nagpo can typically be found in art as a retinue figure in paintings of Dorje Legpa or as an independent figure in a painted composition with his own retinue of attendant figures.

Garwa Nagpo is generally found as a standard protector deity in the Karma Kagyu and Nyingma Traditions. Some Gelug monasteries and incarnate lama traditions (trulku) have also adopted Garwa Nagpo as their special protector deity.

Dorje Legpa and his retinue, including Damchen Garwa Nagpo, were originally believed to be subjugated in Tibet by Padmasambhava in the 8th century. They are avowed, oath-bound, protectors and perform the specific function of safeguarding the Nyingma Terma (treasure) tradition of Tibetan Buddhism.

General Description: Wrathful with one face and two hands, he is dark blue in colour, with three eyes, bared fangs and bright orange or brown hair flaming upward. The right hand holds aloft a vajra hammer and the left a blacksmith's bellows made of striped tiger skin. Adorned with a crown of five dry skulls and earrings he is lavishly attired in variously coloured full-length garments and felt boots. Riding atop a brown goat with two horns he is surrounded most often by grey or dark brown smoke along with licks of orange and yellow flame.

Damchen Garwa Nagpo can be accompanied by an assortment of retinue figures as described in the various ritual texts belonging to the different Nyingma Traditions of 'Revealed Treasure' (terma). Also, Garwa Nagpo is sometimes depicted with the accompanying figures of a black bear, fox, wild blue mule and a grey wolf. The animals function as servant-like messengers for the protector.

The Tsang Nyon Heruka page has been updated with the addition of a short biography.

Marpa Chokyi Lodro is credited with the founding of the Marpa Kagyu Tradition of Tibetan Buddhism. He had a number of well known teachers in Tibet, Nepal and India. The most famous teacher was the Indian siddha Naropa. From amongst the many students, Milarepa is the most well known. Each of Marpa's teachers and each of Marpa's students had many other disciple students. From each of these teachers and students arose numerous lineages of teachings. Some of the lineages of teachings remained within schools and traditions named after the many students while other lineages were absorbed into the Sakya, Jonang or Gelug Traditions.

The word lineage refers more accurately to a specific line of teachings, a specific transmission from a text or oral tradition, on a specific topic, such as Hevajra, Chakrasamvara or Guhyasamaja. For the Mahayan traditions there are the individual lineages of the Bodhisattva ordinations from the Madhyamakaand Yogachara. For the Hinayana Tradition there are the lineages of monastic ordination which can come from a number of different lineage traditions such as the Sarvastavadin from India. There are numerous Tibetan lineages of monastic ordination with the specific lineage of Shakyashri Bhadra being particularly well known.A school or tradition, such as the Kagyu School or Kagyu Tradition is a social and political construct. Schools and Traditions, two words often used inter- changeably, are larger repositories for the hundreds of individual lines of teachings, i.e. Tibetan Lineages.

An example of a lineage in the Marpa Kagyu Tradition would be the Ganges River Mahamudra taught by Naropa to Marpa. Another would be the Chakrasamvara instructions taught by the Pamting Brothers of Nepal to Marpa. It is always important to learn the differences early on between schools/traditions and specific teaching lineages.

A glossary of Gesar terms specifically related to the art has been added to the Gesar pages. Epic Literature Gesar is a very large subject with a huge vocabulary of specialized terms and unique names. Luckily for the student studying Ritual Gesar, and the many visual forms, the unique vocabulary is much less daunting and easier to manage.

Dorje Rabtenma, (English: the Vajra Stable One), a form of the protector goddess Shri Devi originating in the Nyingma Tradition of Tibetan Buddhism. Dorje Rabtenma is commonly found as the protector deity located in the bottom registers of paintings belonging to the schools originating with the Pagdru Kagyu of Pagmodrubpa. Subsequently, based on the numbers of images reproduced in paintings, the deity was predominantly practiced in the Shalupa and Tsarpa sub-schools of the Sakya Tradition.

A better quality and higher resolution image has been uploaded. This is perhaps one of the finest early examples of Newar painting from Kathmandu, Nepal. The image is also extrordianry because of the subject of Maharakta Ganapati an emanation of Avalokiteshvara. He is an elephant headed deity, red in colour, with twelve arms standing in a dancing posture with a giant blue rat underfoot. In the upper left corner is the mahasiddha Virupa. At the upper right side is Bhutadamara Vajrapani in the unique form associated with Maharakta Ganapati.

This Hevajra Mandala is a wonderful example of early 14th and 15th century painting. The iconography is crystal clear and every figure can be recognized, identified and understood from the point of view of the Hevajra and Panjarnata Tantras. Greyscale, numbered image and coloured schematics to follow.

Gesar Dorje Tsegyal (rdo rje tshe rgyal), Gesar Vajra King of Life, is the second most common form of Gesar to appear in art. He is typically depicted in king appearance with a peaceful countenance and clothing. The head is topped with a tall white hat, he wears heavy layered clothes of multi-colours along with felt boots. The right hand holds to the heart a wish-fulfilling jewel and the left extended to the side holds a bow and arrow. He is seated in a relaxed posture on a throne decorated with three flayed human skins.

Dorje Tsegyal can be depicted in painting or sculpture in this single form described above, or he can be accompanied by seven other figures. The full retinue as described by Mipam Jamyang Namgyal Gyamtso (1846-1912) includes the youth Dorje Legpa standing at the proper right side of Gesar and in a similar appearance. On the left side stands the female figure Dorje Yudronma. In front is the army general Migmar Chenpo along with the Four Great Secret Mothers appearing as beautiful young girls. In total, there are eight figures described in the full group of the Gesar Dorje Tsegyal retinue.

The original description of the form of Dorje Tsegyal, and possibly with retinue, is attributed to Lelung Zhepa'i Dorje (1697-1740). This is known from authoritative Tibetan informants and from the lists of collected writings of Lelung. Most of the Lelung writings on the subject of Gesar are not currently available. It is hoped they will be located in the near future.

There are two sculptural representations known in museum and private collections. Only one example is shown here. Others will undoubtedly be found. The metal images can vary in posture and hand attributes but in general follow the Dorje Tsegyal depiction and descriptions.

Gesar is generally classified as a protector deity in Tibetan Buddhism. He can also be employed for the four Tantric activities of peaceful, increase, powerful and wrathful. Different iconographic forms of Gesar are used, visualized, imagined, when performing these different activities.

This Vajravali Set of Mandala Paintings were created to commemorate the death of the 11th Ngor Khenpo Sanggye Sengge (1504-1569) [TBRC P2510], head of the Ngor sub-school of Sakya. They were commissioned by the 13th Ngor Khenpo Drangti Namkha Palzang (1532-1602) [TBRC P777]. The paintings were made after the death of Sanggye Sengge and even up to several years after. Therefore the date of the creation should properly be between 1569 and likely 1575 at the latest. The set of paintings, following a Newar style, is very late and shows how the Ngorpas of Ngor Ewam Monastery were still invested in the Newar artistic style at this time and even into the early 17th century.

The tradition of the Dalai Lamas claim over fifty previous incarnations prior to the 1st Dalai Lama. The individual characters can be organized into three distinct groups and are commonly reproduced in both painting and sculpture.

The [1] first group is from the list of individuals described in the text of the Kadam Legbam. The [2] second group are an assortment of miscellaneous Tibetan kings beginning from the early royal chronicles up to and including Tri Ralpachen. The [3] third group are those Tibetan teachers immediately following Dromton Gyalwa'i Jungne (1005-1064) up to the time of the designated 1st Dalai Lama, Gendun Drubpa (1391-1474). This last group includes famous teachers such as Sachen Kunga Nyingpo, Chogyal Pagpa, Terton Padma Wang and Nyangral Nyima Ozer.

An exploration of Himalayan Prayer Wheels. Over 200 photographic examples, with explanatory text drawn, from Bhutan, Nepal and Sikkim" by David K. Baker.

This online publication has almost everything you would ever want or need to know about Prayer Wheels - plus a huge range of photographs documenting the many types and styles. It is definitely worth looking at.

The category of Mahasiddha (Indian Adept) is a large subject in both Himalayan and Tibetan art as well as for the entire subject of Vajrayana Buddhism. There are two common lists of the Eighty-four Mahasiddhas and several less common compilations that appear both in literature and art. The two most common systems found in both art and literature are the Abhayadatta and the Vajrasana, both named after the authors of the lists.

The most important topic to understand first in the study of Indian Tantric siddhas is the definition of the term mahasiddha. Firstly, it is a term that designates a level of attainment within Vajrayana Buddhism. Secondly it refers, in Tibetan art, to a certain kind of appearance following after the model of a Heruka deity (Hevajra, Chakrasamvara, etc.) according to the 'Sarma' Traditions of Tibetan Buddhism. In the art of painting and sculpture those individuals designated with the attainment of the level of a mahasiddha can have one of three general forms or depictions, [1] monastic, [2] layperson, or [3] siddha appearance - modeled after a semi-wrathful or wrathful Tantric deity. Most mahasiddhas do not have siddha appearance.

Amongst all of these different sets and groups of siddhas only a small percentage of siddhas are consistently identifiable iconographically over time and outside of the context of the individual sets of eighty-four. There are also several lists and sets of Eight Great Mahasiddhas which are derived from the two common lists of the Eighty-four Mahasiddhas.

Although there are only a small number of siddhas that are identifiable consistently over time many more of the siddhas can be identified when appearing in sets of paintings or sculpture that depict the entire group of the Abhayadatta or Vajrasana figures. With painting sets it becomes even easier when there are inscriptions and labels accompanying each figure. It is even easier when paintings depicting multiple siddhas from a larger set of compositions are compared with other painting sets from the same chronological period or period relatively close in time, style or possibly region of the Himalayas or Tibet.

Easy to Identify Indian Mahasiddhas:

- Saraha, holding an arrow

- Shavaripa, holding a bow

- Virupa, the arm raised upward with a pointing finger

- Dombhi Heruka, riding a tiger

- Luipa, eating fish entrails

- Tilopa, holding a fish

- Damarupa, holding a double-sided drum

- Nagarjuna, with snakes hovering above the head

- Shantideva, a monk floating in the air

- Jalandhara, the leg raised above the head

- Shridhara, having a buffalo head

- Ghantapa, holding a vajra and bell, in a flying posture

- Krishnacharin, surrounded by drums and umbrellas

- Avadhutipa, with the right hand index finger pointed over the knee

- Vinapa, holding a lute

- Atisha, a monk with a stupa and round back to the right and left

- Possibly others....

Easy to Identify Tibetan Teachers:

Within the context of Tibetan teachers with easy to identify mahasiddha, mahasiddha-like, or yogi appearance there are the figures of:

- Shri Simha

- Padmasambhava

- Milarepa

- Tsongkhapa (in siddha form)

- Tangtong Gyalpo

- Tsang Nyon Heruka

- Do Khyentse Yeshe Dorje (siddha form)

- Jamyang Khyentse Wangpo (siddha form)

- Khyentse Chokyi Lodro (siddha form)

- Possibly others....

The form of the wrathful protector deity known as Brahmanarupa Mahakala is commonly mistaken for an India mahasiddha - in siddha appearance.

Dombhi Heruka is one of a small number of Indian Buddhist mahasiddhas that are consistently identifiable based on a standard iconographic form and a consistent artistic depiction. He is most often associated with his teacher Virupa and the Margapala (Lamdre) teachings based on the Hevajra and Chakrasamvara Tantras. Of the two principal students of Virupa, Kanha was taught the gradual method Margapala and Dombhi Heruka was instructed in the teachings of the sudden method Margapala.

There are numerous Tibetan incarnation lineages that claim Dombhi Heruka as a previous incarnation. The most famous of these are the Gelugpa Longdol Lama, the Karma Kagyu Tai Situpa and the Surmang Trungpa Tulku. Longdol Lama also includes Marpa Chokyi Lodro in his incarnation lineage which would also make Marpa a later incarnation of Dombhi Heruka. Tai Situ followers also claim that the Situpa is an incarnation of the Bodhisattva Maitreya and the Tibetan teacher Jonang Taranata, thus making Dombhi Heruka also an incarnation of Maitreya first and Jonang Taranata an additional later incarnation of Dombhi Heruka. The incarnation lineage of Jamyang Khyentse Wangpo also claims descent from Jonang Taranata subsequently making him, Khyentse, also an incarnation of Maitreya, Dombhi Heruka, Marpa Chokyi Lodro, Longdol Lama and Tai Situpa. The general belief within the tradition of Khyentse Wangpo however is that he is an emanation of the bodhisattva Manjushri with prior incarnations of Milarepa, Longchenpa, Jigme Lingpa and Thartse Namkha Chime to name a few.

From this brief analysis of the different traditions and their incarnation lineages it becomes clear to see that each has to be looked at individually and within its own Tibetan Tradition and unique logic system. The different schools generally operate individually and in isolation from the other traditions therefore the various claims and overlapping belief systems are of little consequence traditionally. However looked at with the benefit of distance and a knowledge of the various incarnation lineages the compounding of the duplicate and triplicate claims as a whole along with the interweaving and inclusion of numerous other bodhisattvas, deities, Indian and Tibetan teachers all over-lapping - the incarnation system becomes entirely fantastical.

Dombhi Heruka is commonly mistaken for another mahasiddha with a similar name but different appearance, Dombipa the washer-man, also from the set of Eighty-four Mahasiddhas. The mahasiddha form of Je Tsongkapa in his depiction as a siddha riding a tiger and carrying a sword in the upraised right hand is often mistaken for Dombhi Heruka of the Eighty-four Mahasiddhas.

Although originally belonging to the 'Sarma' New Traditions of Tibetan Buddhism beginning in the 11th century, later Nyingmapas adopted Dombhi Heruka into the new 'Terma' compilations of the life-story of Padmasambhava making both Dombhi Heruka and Virupa incarnations/emanations of Padmasambhava.

In the appearance of a mahasiddha figure, of which there are three types, having taken on the guise of a heruka deity, the third of the three types, with bone ornaments and a skull headdress, Dombhi Heruka typically holds a snake lasso in the upward raised right hand and a skullcup in the left embracing the consort. He rides a top a pregnant tigress accompanied by a low-caste consort. [See the Eleven Figurative Forms in Tibetan Buddhist Iconography].

Context: Groups, Sets & Subjects:

Dombhi Heruka is found depicted in art primarily associated with painting sets or single art works, or belonging to the following subjects listed below:

- Eighty-four Mahasiddhas (Abhayadatta)

- Eighty-four Mahasiddhas (Vajrasana)

- Margaphala Lineage (Lamdre)

- Rakta Yamari Lineage

- Mahamaya Lineage

- Bernagchen Mahakala Lineage

- Padmasambhava Incarnation (Life Story Narratives)

- Tai Situ Incarnation Lineage

- Longdol Lama Incarnation Lineage

- Surmang Trungpa Incarnation Lineage

- Hero [pa tu] from the Group of Thirty Warriors (Ling Gesar Epic)

- Others....

Pagmodrupa Dorje Gyalpo (1110-1170) was one of the three principal students of Gampopa, the founder of the Pagdru Kagyu School. Eight of his students went on to found eight further Kagyu schools; Drigung, Taglung, Drugpa, Yamzang, Tropu, Martsang, Yelpa and the Shugseb. These became known as the Eight Smaller Schools of the Kagyu Tradition.

What is not so commonly known about Pagmodrupa is that prior to meeting Gampopa he studied for 12 years with Sachen Kunga Nyingpo - one of the early founders of the Sakya Tradition. The younger brother of Pagmodrupa, Dampa Desheg, founded the Katog Monastery - counted as one of the six principal monasteries of the Nyingma Tradition.

King Appearance in Himalayan art is a specific type of figurative form. The principal characteristics are the face often with a stern look achieved by upturned eyebrows accompanied by a mustache and goatee. The clothing is heavy and layered with multiple colours, a cloth head covering or hat sometimes with a small jeweled crown, and lastly, boots on the feet.

There are four important subjects and distinctions to be made with regard to kings in Himalayan and Tibetan art.

[1] Kings with King Appearance

[2] Kings that don't have King Appearance

[3] Kings that belong to Sets

[4] Deities with King Appearance

Mandala, Deity Mandala: a circular diagram, highly technical and precise, representing an idealized Tantric Buddhist, Hindu or Bon Meditational Deity - surrounded by an idealized and symbolic universe, the container and contained, animate and inanimate.

Mandalas are painted on cloth, on the ceilings of temples, as murals, fashioned from metal, wood or stone, textiles and sometimes from coloured thread - also meticulously created from coloured sand.