Reconstructing the “Tsodü Chenmo” Painting Set Commissioned by Ame Zhap: Literary Evidence and Extant Paintings

After visiting the exhibition “Beyond Time: The History, Culture and Art of Sakya Monastery” at the Palace Museum in Beijing (February–May 2026), I began reading a volume of the collected writings of Ame Zhap Ngawang Künga Sönam (A mes zhabs Ngag dbang kun dga’ bsod nams, 1597–1659), the 27th throne-holder of Sakya (Sa skya). The volume contains detailed descriptions of Ame Zhap’s commissions for paintings, sculptures, and murals, records of temple renovations, and extensive lists of the sacred fillings he deposited in his sculptural works. Among these fillings were numerous sculptures and paintings dating back centuries, some of which he identifies and describes in detail, including entire sets of paintings. It quickly became clear to me that Ame Zhap’s writings are an invaluable source not only for the religious history of Tibetan Buddhism, particularly that of the Sakya school, but also for art history. His writings further reveal that Ame Zhap was himself a major patron of religious art, who, according to his biography, employed no fewer than five painters simultaneously for his commissions.¹

While reading that volume, I came across a catalogue of a set of paintings Ame Zhap had commissioned, the Sangs rgyas kyi bstan pa spyi dang bye brag dpal ldan sa skya pa’i lta grub la bka’ drin che ba’i skyes mchog dam pa rnams kyi bris sku gtso bsdus chen mo’i dkar chag yid bzhin rin po che’i ’phreng mdzes.² The descriptions of two paintings in that catalogue reminded me of two paintings I had seen at the Sakya exhibition in Beijing, two very large Khyenluk-style (mKhyen lugs) paintings depicting as main figures Virūpa and Tekchen Chöje Künga Tashi (Theg chen Chos rje Kun dga’ bkra shis, 1349–1425). Having since studied the catalogue in detail, I am now convinced that these two paintings do indeed belong to that set. I have introduced the set as part of an earlier post and have reproduced the relevant introductory sections here. The present post is mainly meant to give an overview of the entire set, specifying the main and minor figures depicted in each painting. This is admittedly for somewhat selfish reasons, as I am preparing a conference paper on the set and will need a more detailed account for the proceedings, so this post doubles as groundwork for that.

From Ame Zhap’s description, we learn that the main figures of the set’s individual paintings were Buddhist masters who, in India and Tibet, were very beneficial for the teachings of the Buddha in general and for the teachings of the Sakyapa in particular. As minor figures, he explains that he had depicted the lineage masters of the most important types of teachings—such as empowerments (dbang), guiding instructions (khrid), and esoteric instructions (man ngag)—out of the vast amount of teachings contained within the sūtras, tantras, and esoteric instructions, which he himself had received from his own principal teachers. Moreover, among the minor figures he also included depictions of buddhas, bodhisattvas, tutelary deities, peaceful and wrathful deities, protectors, and wealth deities.

In addition, Ame Zhap had depicted the same four minor figures in each painting: his grandfather and his three principal teachers:

• Ngakchang Chökyi Gyelpo Ngakwang Künga Rinchen (sNgags ’chang Chos kyi rgyal po Ngag dbang kun dga’ rin chen, 1517–1584), Ame Zhap’s grandfather and 23rd throne holder of Sakya
• Jamyang Sönam Wangpo (’Jam dbyangs bSod nams dbang po, 1559–1621), Ame Zhap’s uncle and 24th throne holder of Sakya
• Nagkchang Drakpa Lodrö (sNgags ’chang Grags pa blo gros, 1563–1617), Ame Zhap’s father and 25th throne holder of Sakya
• Müchen Sanggye Gyeltsen (Mus chen Sangs rgyas rgyal mtshan, 1542–1618), his principal teacher

Ame Zhap named the set “Tsodü Chenmo” (gTso bsdus chen mo), meaning possibly something like “The Great Set Consolidating the Principal Teachers.”

In his description, Ame Zhap specifies that his commission comprised thirty-five paintings with the size of one storey (thog tshad) and that it was consecrated in the first half of the sixth month (chu stod zla ba) of 1633, his thirty-seventh (i.e., thirty six) year. However, the colophon dates the catalogue describing the set to the twenty-seventh day of the fifth month (snron gyi zla ba) of that year, which would predate the consecration.³ Nevertheless, Ame Zhap’s biography also states that the consecration was performed in the sixth month (chu stod zla ba) of 1633, adding that a group of thirty monks, including Ame Zhap, performed the consecration, based on Hevajra. The biography also states that work on the set began around 1629, when Ame Zhap was thirty-three (i.e., thirty-two) years old and was completed in 1633, when he was thirty-seven (i.e., thirty-six).⁴

Ame Zhap also provides various purposes for commissioning the set:

• to fulfil the intentions of his late principal teachers and lineage masters who have entered the dharmadhātu
• to fulfil the intentions of his late mother, Sönam Gyelmo (bSod nams rgyal mo, 1567–1613)
• for the flourishing and longevity of the Buddha’s teachings in general and of the Sakya school and its family line in particular
• to set all beings on the path of liberation⁵

The middle section of the catalogue is the most important for identifying individual paintings of the set. Here, Ame Zhap provides a list of all thirty-five paintings, identifying the master he had depicted as the main figure in each one, as well as some of the surrounding minor figures and the lineages they represent. He also specifies the spatial position of each painting within the set and notes whether it should be hung to the proper right or left of the central painting (gtso thang). He concludes this section with a summary of the number of figures depicted in the entire set, including buddhas (around 89), tutelary deities (22), long-life deities (just over 39), bodhisattvas (12), protectors (around 15), wealth deities (7 classes or kinds), and lineage masters (1151). Ame Zhap then describes how the paintings were mounted, including the brocade frame, the bottom wooden rod with knobs, the top wooden slat, and the cover cloth, as well as the materials used in their making. As shown below, the description of the brocade frame is another important element in identifying individual paintings of the set.

Identifying Two Paintings of the Set

Let us now first examine the two paintings before considering Ame Zhap’s description of them. The first painting depicts Virūpa as the main figure in full profile within a landscape setting, with hands forming the teaching gesture (dharmacakramudrā) while gazing to his proper left (Figs. 1–3).

Surrounding his principal image are six additional representations of Virūpa as minor figures that correspond to his six forms practiced in the Sakya tradition (Fig. 4).⁶ One appears in the upper proper right corner of the composition, partially concealed by a mountain slope, where Virūpa is depicted as the Dharma Expounder (chos ’chad pa), mirroring the iconography of the central figure. The remaining five forms are arranged beneath the main figure along the lower register of the painting. From the viewer’s left to right, these are: the Image Splitter (lha rten dgas pa), the Subduer of Non-Buddhist Deities (mu stegs kyi lha mnan pa), the Reverser of the Gaṅgā (ganggā bzlog pa), the Ransomer of the Sun (nyi ma gteng par ’dzud pa), and the Gold Transformer (gser ’gyur).

Other minor figures include the Buddhas of the Three Times in the top centre, depictions of Buddha Śākyamuni in each of the top left and right corners, and Uṣṇīṣavijayā below the Buddhas of the Three Times. Moreover, four Sakya lamas are depicted, three as layman and one as a monk, who might possibly be identified as the four masters mentioned above that Ame Zhap had depicted in each painting. In addition, a smaller Sakya layman is depicted right next to the minor figure of Virūpa as the Dharma Expounder, who might possibly be identified as Sachen Künga Nyingpo (Sa chen Kun dga’ snying po, 1092–1158).

The second painting depicts Tekchen Chöje Künga Tashi (Theg chen Chos rje Kun dga’ bkra shis, 1349–1425), sitting on a throne against a landscape setting with his two hands crossed at the heart holding a vajra and a bell (Figs. 5–7). He is shown in partial profile positioned to the right of the central axis and facing to his proper left. Tekchen Chöje is depicted wearing the special red-coloured hat with trimmed petals and a double vajra at the forefront that had been gifted to him by the Yongle Emperor.⁷ To the proper left of Tekchen Chöje are two minor figures in Chinese attire who appear to depict Ming officials making an offering.

The lineage masters depicted in the upper half of the painting represent a lineage of Pañjaranātha Mahākāla, who is also depicted at the bottom right of the painting, as seen from the viewer’s perspective. The lineage begins with Vajradhara in the centre of the top row and continues by alternating to his proper right and left with Ḍākinīvajrapañjara, Vararuci, Sukhavajra, and Śraddhākaravarman.

There are also three Sakya masters depicted in the bottom row: one monk and two laymen. Another Sakya layman master appears above the Ming officials and is depicted slightly larger than the other lineage masters. Could these four masters be the ones that Ame Zhap mentions as having been depicted in each painting?

According to Ame Zhap’s description, in the Tsodü Chenmo set, the painting of Virūpa is number 6 and hung third from the right, as viewed from the perspective of the central painting depicting Vajradhara as its main figure. Ame Zhap briefly describes it as follows: “The third on the right of the Tsodü is the Lord of Yogins [i.e., Virūpa], surrounded by Virūpa’s six physical appearances and other [minor figures].”⁸

The painting of Tekchen Chöje is number 16 of the set and hung eighth from the right. Ame Zhap describes it as follows: “The eighth on the right of the Tsodü is Tekchen Rinpoche, surrounded by the lineage masters of the empowerment, ritual permission, guiding instruction, and esoteric instruction of the Glorious Vajramahākāla Pañjaranātha and other [minor figures].”⁹

Both descriptions align with the actual paintings. The depiction of Tekchen Chöje shown in partial profile, positioned to the right of the central axis and gazing to his left, corresponds with the position of his painting in the set, which is to be hung to the proper right of the central painting. Although Virūpa is positioned on the central axis and facing straight ahead, the fact that he is gazing to his proper left may be related to the fact that his painting is also hung to the proper right of the central painting.

The Brocade Mounting

Both paintings are still mounted in their original brocade frames, as can be seen when comparing them with the description given by Ame Zhap. According to it, the brocade mounting (gong gsham) is made of fine Tibetan fabric in tones of sapphire blue, golden yellow, and ruby red. The fabric is entirely adorned with gold embroidered designs. These intricate designs include the maṇi mantra of Avalokiteśvara in Lantsa (Rañjanā) script, coiling dragons, lotus stalks, and the eight auspicious symbols. Moreover, the brocade has a threefold rainbow design.

As Figs. 8–10 of Virūpa’s painting demonstrate, the gold embroidered designs are visible on the brocade mounting. The mantra of Avalokiteśvara in Lantsa (Rañjanā) script appears twice, once at the top and once at the bottom centre (Fig. 8). Coiling dragons adorn the lower part (Fig. 9), lotuses and the eight auspicious symbols decorate the left and right outer blue borders (Fig. 10), and lotuses adorn the yellow and red borders of the brocade’s threefold rainbow design.

Further Paintings of the Set

I was able to identify a further four paintings from the set: two that have been published (though not identified as part of the set; Figs. 11–12), and two that remain unpublished for the time being. Ame Zhap’s descriptions of all four paintings are consistent with their actual appearance. These four paintings are:

• the first and central painting of the set depicting Vajradhara
• the twenty-ninth painting of the set depicting Ngakchang Chökyi Gyelpo Ngakwang Künga Rinchen (sNgags ’chang Chos kyi rgyal po Ngag dbang kun dga’ rin chen, 1517–1584) (Fig. 11)
• the thirty-third painting of the set depicting Nagkchang Drakpa Lodrö (sNgags ’chang Grags pa blo gros, 1563–1617)
• the thirty-fifth and final painting of the set depicting the patron, Ame Zhap (Fig. 12)

Overview of the Set

The following list reconstructs the entire set, identifying the main and minor figures of each painting and clarifying their spatial arrangement in relation to the central painting (gtso thang), which depicts Vajradhara. In reconstructing the set, I will provide translations of Ame Zhap’s descriptions of each painting. A similar list with slightly shorter descriptions of each painting can also be found in Ame Zhap’s biography by Jampa Samten Gyatso (Byams pa bSam gtan rgya mtsho). However, while Ame Zhap proceeds progressively from the central painting, alternating in his description between the paintings to the proper right and left of the central painting, Jampa Samten Gyatso first describes all the paintings to the proper right of the central painting, then those to the proper left.¹⁰

1. Vajradhara
   At first, the central painting of the Tsodü Chenmo is Vajradhara, surrounded by the Buddhas of the Three Times, the three [masters] Ngakchang [Künga Rinchen], the spiritual father, and [his two] spiritual sons [i.e., Jamyang Sönam Wangpo and Nagkchang Drakpa Lodrö], Gyelba Müpa Chenpo, Avalokiteśvara, Maitreya, and other [minor figures].
2. Buddha Śākyamuni
   The first on the right of the Tsodü Chenmo is the Leader of the Teaching [i.e., Buddha Śākyamuni], surround by the Sixteen Elders, the Four Great Kings, and other [minor figures].
3. Amitābha
   The first on the left of the Tsodü Chenmo is Amitābha in the Pure Land of Sukhāvatī, surrounded by the Eight Close Sons and other [minor figures].
4. Nāgārjuna
   The second on the right of the Tsodü is Ārya Nāgārjuna, surrounded by the Six Ornaments and Two Supreme Ones and other [minor figures].
5. Padmasambhava
   The second on the left of the Tsodü is Ācārya Padmasambhava, surrounded by the Eight Manifestations of the Guru and other [minor figures].
6. Virūpa (Figs. 1–3)
   The third on the right of the Tsodü is the Lord of Yogins [i.e., Virūpa], surrounded by Virūpa’s six physical appearances and other [minor figures].
7. Atiśa (982–1054)
   The third on the left of the Tsodü is Jowo Je [i.e., Atiśa], surrounded by the Four Deities of the Kadam, Khenpo Bodhisattva [i.e., Śāntarakṣita], the Seven Persons on the Probe, and other [minor figures].
8. Khön Könchok Gyelpo (’Khon dKon mchog rgyal po, 1034–1102)
   The fourth on the right of the Tsodü is Khön Könchok Gyelpo, surrounded by Lha Totori, the Three Ancestral Dharma Kings, Khön Pelpoche, Tönmi Sambhoṭa, King Tri Relpachen, and other [minor figures].
9. Sachen Künga Nyingpo (Sa chen Kun dga’ snying po, 1092–1158)
   The fourth on the left of the Tsodü is Je Sachen, surrounded by our Sa skya pa hierarchs internal lineage of the causal empowerment of the Instructional Tradition of Hevajra and other [minor figures].
10. Loppön Sönam Tsemo (Slob dpon bSod nams rtse mo, 1142–1182)
    The fifth on the right of the Tsodü is Loppön Sönam Tsemo, surrounded by the lineage masters of the Oral Instructions [i.e., the Lamdre] and other [minor figures].
11. Jetsün Drakpa Gyeltsen (rJe btsun Grags pa rgyal mtshan, 1147–1216)
    The fifth on the left of the Tsodü is Jetsün Rinpoche, surrounded by the lineage masters of the Three Saṃvara Traditions of Lūhipāda, Kṛṣṇacārin, and Ghaṇṭāpāda, and other [minor figures].
12. Sakya Paṇḍita Künga Gyeltsen (Sa skya Paṇḍita Kun dga’ rgyal mtshan, 1182–1251)
    The sixth on the right of the Tsodü is Je Sapaṇ, surrounded by the lineage masters of generating bodhicitta according to the Madhyamaka tradition and other [minor figures].
13. Chögyel Pakpa Lodrö Gyeltsen (Chos rgyal ’Phags pa Blo gros rgyal mtshan, 1235–1280)
    The sixth on the left of the Tsodü is Pakpa Rinpoche, surrounded by the lineage masters of the empowerment of Guhyasamāja Akṣobhyavajra and other [minor figures].
14. Daknyi Chenpo Zangpo Pel (bDag nyid chen po bZang po dpal, 1262–1324)
    The seventh on the right of the Tsodü is Daknyi Chenpo, surrounded by the lineage masters of the genealogy of the Düchö Lama Palace and other [minor figures].
15. Lama Dampa Sönam Gyeltsen (Bla ma dam pa bSod nams rgyal mtshan, 1312–1375)
    The seventh on the left of the Tsodü is Penden Lama Dampa Sönam Gyeltsen, surrounded by the lineage masters of the empowerment of Sarvavid Vairocana in the Sakya tradition and other [minor figures].
16. Tekchen Chöje Künga Tashi (Theg chen Chos rje Kun dga’ bkra shis, 1349–1425) (Figs. 5–7)
    The eighth on the right of the Tsodü is Tekchen Rinpoche, surrounded by the lineage masters of the empowerment, ritual permission, guiding instruction, and esoteric instruction of Glorious Vajramahākāla Pañjaranātha and other [minor figures].
17. Yaktön Sanggye Pel (g.Yag ston Sangs rgyas dpal, 1348–1414)
    The eighth on the left of the Tsodü is Khenchen Yakpa Sanggye Pelwa, surrounded by the lineage masters of the Sakyapa’s mind training Parting From the Four Clingings and other [minor figures].
18. Ngorchen Künga Zangpo (Ngor chen Kun dga’ bzang po, 1382–1456)
    The ninth on the right of the Tsodü is Dorje Chang Künga Zangpo, surrounded by the lineage masters of the exposition of the Tantra Trilogy of Hevajra and other [minor figures].
19. Rongtön Sheja Künrik (Rong ston Shes bya kun rig, 1367–1449)
    The ninth on the left of the Tsodü is Rongtön Sheja Künrik, surrounded by the lineage masters of the most profound Seven-Day Longevity Practice and other [minor figures].
20. Müchen Könchok Gyeltsen (Mus chen dKon mchog rgyal mtshan, 1388–1469)
    The tenth on the right of the Tsodü is Müchen Sempa Chenpo Könchok Gyeltsen, surrounded by the lineage masters of the Dharma cycle of Guhyasamāja Akṣobhyavajra, including the Guiding Instruction for the Five Stages, and other [minor figures].
21. Dakchen Gyagarwa Sherab Gyeltsen (bDag chen rGya gar ba Shes rab rgyal mtshan, 1436–1494)
    The tenth on the left of the Tsodü is Dakchen Gyagarwa, surrounded by the lineage masters of the empowerment of Guru Drakmar and other [minor figures].
22. Dakchen Lodrö Gyeltsen (bDag chen Blo gros rgyal mtshan, 1444–1495)
    The eleventh on the right of the Tsodü is Dakchen Dorje Chang Lodrö Gyeltsen, surrounded by the lineage masters of the empowerment, guiding instruction, and Dharma cycle of Raktayamāri and other [minor figures].
23. Gorampa Sönam Sengge (Go rams pa bSod nams seng ge, 1429–1489)
    The eleventh on the left of the Tsodü is Künkhyen Sönam Sengge, surrounded by the lineage masters of the empowerment of Guhyasamāja Mañjuvajra and other [minor figures].
24. Gongkar Dorje Denpa Künga Namgyel (Gong dkar rDo rje gdan pa Kun dga’ rnam rgyal, 1432–1496)
    The twelfth on the right of the Tsodü is Dorje Denpa Chenpo Künga Namgyel, surrounded by the lineage masters of the empowerment of Bhairava in the Sakya tradition and other [minor figures].
25. Lowo Khenchen Sönam Lhündrup (Glo bo mKhan chen bSod nams lhun grub, 1456–1532)
    The twelfth on the left of the Tsodü is Lowo Khenchen Sönam Lhündrup, surrounded by the lineage masters of the empowerment, guiding instruction, and Dharma cycle of Bhairava in the Ra tradition and other [minor figures].
26. Sanggye Rinchen (Sangs rgyas rin chen, 1453–1524)
    The thirteenth on the right of the Tsodü is Jamyang Sanggye Rinchen, surrounded by the lineage masters of the maṇḍalas of the Vajrāvalī, together with those of the Kriyāsamuccaya, and other [minor figures].
27. Sakya Lotsāwa Künga Sönam (Sa skya Lo tsā ba Kun dga’ bsod nams, 1485–1533)
    The thirteenth on the left of the Tsodü is Salo Thamche Khyenpa, surrounded by the lineage masters of the empowerment, guiding instruction, and Dharma cycle of Glorious Kālacakra and other [minor figures].
28. Könchok Lhündrup (dKon mchog lhun grub, 1497–1557)
    The fourteenth on the right of the Tsodü is Könchok Lhündrup, the Lord of Scholars, surrounded by the lineage masters of the condensed family of Vajrapañjara and of Saṃpuṭa Vajradhātu, and other [minor figures].
29. Ngakchang Chökyi Gyelpo Ngakwang Künga Rinchen (sNgags ’chang Chos kyi rgyal po Ngag dbang kun dga’ rin chen, 1517–1584) (Fig. 11)
    The fourteenth on the left of the Tsodü is Ngakchang Chenpo, the excellent illuminator of the [Buddha’s] teaching in the degenerate age, surrounded by the lineage masters of the empowerment and path of Vajrakīla, and other [minor figures].
30. Tsarchen Losel Gyatso (Tshar chen Blo gsal rgya mtsho, 1502–1566)
    The fifteenth on the right of the Tsodü is Tsarchen Chökyi Gyelpo, surrounded by the lineage masters of the guiding instruction and Dharma cycle of Mahāyāna Mind Training, and other [minor figures].
31. Chennga Jamyang Könchok Gyatso (sPyan snga ’Jam dbyangs dKon mchog rgya mtsho, 1510–1586)
    The fifteenth on the left of the Tsodü is Chennga Jamyang Könchok Gyatso, surrounded by the lineage masters of the empowerment of the twelve maṇḍalas of the Sarvadurgatipariśodhanatantra and other [minor figures].
32. Jamyang Sönam Wangpo (’Jam dbyangs bSod nams dbang po, 1559–1621)
    The sixteenth on the right of the Tsodü is Jamyang Sönam Wangpo, the Wheel-Wielder of Adepts, surrounded by the lineage masters of the empowerment of Glorious Yangdak Heruka and other [minor figures].
33. Nagkchang Drakpa Lodrö (sNgags ’chang Grags pa blo gros, 1563–1617)
    The sixteenth on the left of the Tsodü is Nagkchang Drakpa Lodrö, [my] father, the lord, the hidden Buddha, surrounded by the lineage masters of the complete profound Dharma cycle of the ritual permission, guiding instruction, and esoteric instruction of Glorious Four-faced Mahākāla, and other [minor figures].
34. Müchen Sanggye Gyeltsen (Mus chen Sangs rgyas rgyal mtshan, 1542–1618)
    The seventeenth on the right of the Tsodü is Müpa Chenpo Sanggye Gyeltsen, the All-Pervading Lord, the Protector of the Wheel, the Victorious One, surrounded by the lineage masters of the blessing, guiding instruction, and Dharma cycle of Vajrayoginī, and other [minor figures].
35. Ame Zhap Ngawang Künga Sönam (A mes zhabs Ngag dbang kun dga’ bsod nams, 1597–1659) (Fig. 12)
    The seventeenth on the left of the Tsodü is the patron, surrounded by the lineage masters of the Nine-deity Amitāyus empowerment in the Mahāsiddha Jitāri tradition and other [minor figures].

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Endnotes

1. See Byams pa bSam gtan rgya mtsho, rTogs pa brjod pa (p. 403.1–2). ↩︎
2. See A mes zhaps Ngag dbang kun dga’ bsod nams, A mes zhabs bka’ ’bum (dPal sa skya pa chen po sngags ’chang bla ma thams cad mkhyen pa ngag dbang kun dga’ bsod nams kyi gsung ’bum) (vol. 27 (sha), pp. 138.5–149.3). ↩︎
3. See A mes zhaps Ngag dbang kun dga’ bsod nams, gTso bsdus chen mo’i dkar chag (pp. 139.6–140.1, 148.3–149.1). ↩︎
4. See Byams pa bSam gtan rgya mtsho, rTogs pa brjod pa (pp. 576.6–577.2). ↩︎
5. See A mes zhaps Ngag dbang kun dga’ bsod nams, gTso bsdus chen mo’i dkar chag (pp. 140.1–141.2). ↩︎
6. On the depiction of Virūpa, see Jackson 2016: 139–140. ↩︎
7. See Fermer et al. 2024: 193. ↩︎
8. See A mes zhaps Ngag dbang kun dga’ bsod nams, gTso bsdus chen mo’i dkar chag (p. 142.3). ↩︎
9. See A mes zhaps Ngag dbang kun dga’ bsod nams, gTso bsdus chen mo’i dkar chag (p. 143.2–3). ↩︎
10. See Byams pa bSam gtan rgya mtsho, rTogs pa brjod pa (pp. 577.2–579.4). ↩︎

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Bibliography

Works in Tibetan
’Jad pa dPal ldan tshe ring. Krung go’i bod brgyud nang bstan gyi sku ’dra snying bsdus rab gsal me long. lHa sa: Bod ljongs mi dmangs dpe skrung khang, 2025. In Chinese and Tibetan.

Byams pa bSam gtan rgya mtsho (fl. 17th century). rTogs pa brjod pa = dPal sa skya pa sngags ’chang bla ma thams cad mkhyen pa chen po ngag dbang kun dga’ bsod nams grags pa rgyal mtshan dpal bzang po’i rtogs pa brjod pa ngo mtshar yon tan rin po che ’dus pa’i rgya mtsho. In A mes zhaps Ngag dbang kun dga’ bsod nams, A mes zhabs bka’ ’bum, vol. 28 (sa), pp. 127–708.

A mes zhaps Ngag dbang kun dga’ bsod nams (1597–1659). gTso bsdus chen mo’i dkar chag = Sangs rgyas kyi bstan pa spyi dang bye brag dpal ldan sa skya pa’i lta grub la bka’ drin che ba’i skyes mchog dam pa rnams kyi bris sku gtso bsdus chen mo’i dkar chag yid bzhin rin po che’i ’phreng mdzes. In A mes zhaps Ngag dbang kun dga’ bsod nams, A mes zhabs bka’ ’bum, vol. 27 (sha), pp. 138.5–149.3.

A mes zhaps Ngag dbang kun dga’ bsod nams (1597–1659). A mes zhabs bka’ ’bum = dPal sa skya pa chen po sngags ’chang bla ma thams cad mkhyen pa ngag dbang kun dga’ bsod nams kyi gsung ’bum. 29 vols. Kathmandu: Sa skya rgyal yongs gsung rab slob gnyer khang, 2000.

Works in European Languages
Fermer, Mathias et al. 2024. The Gongkar Lamdre: Masters in Khyenluk Style. Dehradun: Gongkar Choede.

HAR = “Himalayan Art Resources.” https://www.himalayanart.org.

Jackson, David P. 2016. A Revolutionary Artist of Tibet: Khyentse Chenmo of Gongkar. New York, NY: Rubin Museum of Art.