The image is life-size and exquisitely modelled, and represents a handsome young prince. The crown on its head is said to be the gift of Tsong-khapa, the great reformer. The Kunyer said that the image represented the Buddha when at the age of twelve; hence the princely apparel in which he is clothed and the dissimilarity of the image to those seen elsewhere.[10] On the four sides of it were gilt pillars with dragons twined around them, supporting a canopy. On one side of the image of the Buddha is that of Maitreya, and on the other that of Dipankara Buddha.[11] Behind this, again, is the image of the Buddha Gang-chan wogyal, and to the right and left of the latter those of the twelve chief disciples of the Buddha.
We were also shown the image of the great reformer, Tsong-khapa, near which is the famous rock, called Amolonkha, discovered by Tsong-khapa.[12] On this rock is placed the bell with a gem in the handle, supposed to have been used by Maudgalyayana, the chief disciple of the Buddha.
After the image of the Buddha, the most celebrated statue in this temple is that of Avalokiteswara with the eleven faces (Shen-re-zig chu-chig dzal). It is said that once King Srong-btsan gambo heard a voice saying that if he made a full-sized image of Shenrezig, all his wishes would be granted him; so he constructed this one, in the composition of which there entered a branch of the sacred Bo tree, some soil of an island in the great ocean, some sand from the River Nairanjana,[13] some gosirsha sandalwood, some soil from the eight sacred places of India, and many other rare and valuable substances. All these were first powdered, then, having been moistened with the milk of a red cow and a goat, made into a paste and moulded into a statue. To give it additional sanctity, the king had a sandalwood image of the god brought from Ceylon put inside of it.
This statue is also known as the “five self-created” (nya rang chyung); for the Nepalese sculptor who made it said that it had sprung into shape rather than had been moulded by him, and it is [[153]]further said that the souls of King Srong-btsan gambo and his consorts were absorbed in it. It occupies the northern chapel in the temple, and is surrounded by the images of a number of gods and goddesses.
In the outer courtyard of the temple is a row of statues, among which is that of King Srong-btsan gambo and various saints and Pundits. On the porch of the Tsang-khang are images of the Buddhas of the past, present, and future. Innumerable other highly interesting images and votive offerings were shown us, among which I will mention a hundred and eight lamps made out of stone under Tsong-khapa’s directions.
Among the other objects of interest shown us was a stone slab (Padma pung-pa) which King Srong-btsan gambo and his wives were wont to use as a seat when taking their baths, and a life-size statue of Tsong-khapa surrounded by images of gods, saints, and worthies. In the room where these statues are seen, and which is closed by a wire lattice, is also a famous image of the god Chyag-na dorje (Vajrapani). When the iconoclast King Langdarma[14] began persecuting Buddhism, he ordered this image to be destroyed. A valet tied a rope around its neck to drag it from the temple, but he suddenly became insane, and died vomiting blood, and the image was left undisturbed.
In the outer court, or khyamra,[15] is the image of the god Tovo Metsig-pa,[16] by whose power the invading armies of China were routed in the war which immediately followed the death of King Srong-btsan gambo. Near it are statues of the king and his two consorts, and some huge yak-horns, of which the following anecdote is told to inquisitive pilgrims by the temple servants (kunyer). Ra-chung-pa, a disciple of the great saint Milarapa,[17] had been to India, and had [[154]]there studied under the most learned masters all the mysteries of the faith, and had returned to Tibet filled with pride over his knowledge. Travelling to Lhasa with his master, they reached the middle of the desert called Palmoi-paltang, when Milarapa, who knew of the conceit of his disciple and wished to teach him a lesson, ordered him to fetch him a pair of yak horns lying near by. But Ra-chung-pa said to himself, “The master wants everything he sees. Sometimes he is as fretful as an old dog, at others as full of childish fancies as an old man in his dotage. Of what possible use can the horns be to him; he can neither use them for food, drink, nor clothing?” Then he asked the sage what he proposed doing with them. “Though it is not possible to say what may occur,” replied Milarapa, “they will certainly be of use some time or other;” and he picked them up himself and carried them along.
POTALA
The residence of the Dalai Lama at LHASA