Introduction
The oldest Buddhist temple in Lijiang is said to be Dabaojigong temple, with its fabulous wall murals located in the former capital of Baisha ancient town has been documented to some extent in terms of its artworks in particular, by the art curator and Tibetologist, Karl Debreczeny (see previous bibliography in Part 1). One of the five remaining Karma Kagyu monasteries, such as this one Tashi Chophel Ling (called Yufeng Si 玉峰寺 in Chinese) is mentioned by Debreczeny (2013) mainly in relation to the 8th Kenting Tai Situ Penchen’s visits there and his artworks ( See Situ Penchen’s Artistic Legacy (JIATS, no. 7 (August 2013) and not so much the temple itself.
The first Tibetan Buddhist monastery said to have been established in Yunnan province, was by the 2nd Karmapa, Karma Pakshi (1204-1283) in the Dechen Tibetan region. The first built in close proximity to Lijiang was called Dzebo Dargyeling in Yongning in 1353 (Debreczeny 2009). It is said that Tibetan Buddhism did not really enter into the Lijiang region until later during the Ming dynasty, in particular by the Karma Kagyu. As was stated in the previous article, the Mu King Wang (r. 1580-1596) expressed his wish to commission a woodblock of the Tibetan Kangyur in 1582, a monumental task that was completed during the reign of his grandson Mu Zeng (r.1598-1624).
The monastery is said to have been originally founded there around 1700 (see more on that below). Unlike the majority of online ‘travel/tourist’ articles about this ‘scarlet sect’ small Buddhist temple on the outskirts of Lijiang, mine aims to give more detail on the historical background of the temple in terms of its Tibetan Buddhist Karma Kagyu roots, my personal visit there and photos of the temple statues and thangkas, the original art on the wooden exterior said to be by the 10th Karmapa, Choying Dorje, and a 500 year old Camellia tree said to have been planted (or at least blessed) by the 8th Karmapa, Mikyo Dorje (the first Karmapa said to have visited Jang when he was a boy).
One of the most memorable and emotional moments of the visit there for me was seeing some original artworks on the wooden panels outside the temple, which the monk told me were said to be painted by 10th Karmapa, Choying Dorje himself. When I saw them my heart leapt in devotion at what seemed very much to be the highly original style of Choying Dorje. Before I went on the pilgrimage, I had decided that if I could at least some original artworks up close by the 10th Karmapa, and ideally touch them with my hands, my purpose was accomplished. So seeing these works on the wooden panels, without any museum glass or security, seemed like a dream come true and blessing from the guru himself.
I reached up to touch the wood and the paint, as if to touch the guru’s hands and suddenly a huge wave of emotion released in me and I started sobbing uncontrollably in front of the monk and was unable to stop the flood of tears and outpouring of emotion. I am not an art historian or expert (and it was not possible for me to ascertain if they were indeed by 10th Karmapa), nonetheless being in the temple touching the wood and flaking paint, there was an energy there which was unmistakably real and present. At this point, I felt as if I had accomplished one of the main purposes of the trip and even (dramatic as it might sound) of my lifetime.
Another highlight was the 500 year-old Camellia tree (not in full bloom at that time), the monk told me had been planted by the 8th Karmapa (or at least blessed by him) when he visited there as a ten year old boy. I was unable to touch the tree but was close enough to it, and did several circuits and aspirations around it. For more detail and photos of the temple, the art and trees, see below.
I dedicate the merit of this research as an act of preservation of the Karmapa’s and Karma Kagyu monasteries in Jang, and to the flourishing of the Karmapa’s activities and long-life.
Music? The Short Vajradhara Prayer chanted by the 17th Karmapa on his gorgeous album the Lion’s Roar-Great Compassion (2007) , and Lamb by Gorecki for the sheer emotion of being in that place and moment, “If I could die this very moment, I wouldn’t fear….”
Written and compiled by Adele Tomlin, 22nd July 2024.
Getting There: Location in the hills
The temple is in quite a remote location in the hills outside the quieter old Baisha town north of Lijiang Old Town, and is accessible via taxi (about half an hour’s drive and 5 GBP one way). There is a public bus number 6 that goes directly there but I could not find the bus stop where the bus left from at all, despite asking several people in Chinese with translator app. They did not seem to know either!
When the taxi dropped me off, there was no one else around other than an old Chinese woman persistently selling some incense. There were zero tourists and I was the only lone white female foreigner. I tentatively walked up the hill alone to the main entrance, not knowing what would be there or where I was going.
The Tashi Chophel Ling Temple: Origin around 1700 and rebuilt around the time of Tai Situ’s last visit
In his research on 8th Tai Situ Penchen, Karl Debreczeny (2013: 232) briefly refers to the history of this monastery originally built in the early 18th Century:
“The history of this temple and its wall paintings are not clear. According to Rock, there were no memorial steles in evidence when he visited in the early twentieth century. Local Chinese sources generally agree that Trashi Chömpel Ling was founded sometime in the Kangxi (康熙, r. 1662-1722) period, about 1700 – the year of Situ’s birth. One modern account states that in 1681, the Tenth Karmapa’s patron, the king of Lijiang Mu Yi, invited two lamas from Tibet, Duzhi (都知, Dorjé) and Dingri (丁日), who began construction of the monastery.
Like many temples in the area, Trashi Chömpel Ling was subsequently badly damaged or destroyed in the intermittent warfare that rocked northern Yunnan; it was rebuilt during the Qianlong (乾隆, r. 1736-1795) period. A building permit (jian si zhizhao 建寺執照) dated the twenty-first year of Qianlong (1756) suggests that major reconstruction of Yufeng si began three years before Situ’s last visit to Lijiang in 1759 and was likely still going on when he arrived. This 1756 permit names a local Tibetan Buddhist monk, the lama Ming Julu (明菊魯), originally from Lijiang’s main Karma Kagyü monastery, Fuguo si (福國寺, Okmin Ling), as overseeing the construction project.
Over time, nine structures were built at Trashi Chömpel Ling, three of which are extant: one main assembly hallཐ and upper and lower monks’ residences, where the paintings under discussion are located.༸
Here are some photos I took of the main shrine room and the courtyards and stunning trees there.
Statues, artworks and photos of the historical Karmapas, Tai Situpas and Drungpo Rinpoche
Inside the small temple, were lovely artworks, thangkas, statues and photos of various incarnations of the Karmapas and Tai Situpa. Unlike the other Karma Kagyu monasteries I visited in the Lijiang region afterwards, I did not see a photo of the 17th Karmapa, Ogyen Trinley Dorje. However, the monk had asked me who I was and I told him I used to live in India and that 17th Karmapa was my root lama for many years. He asked me if that was Ogyen Trinley Dorje, and I replied of course, to which he smiled and said ‘so you’re student of the Karmapa’ and proceeded to show me around the temple. Also, there were photos in the temple of the same living Karma Kagyu teacher, Drungpo Rinpoche, that I saw in the other Karma Kagyu monasteries where the 17th Karmapa photo was openly displayed (ore on Drungpo Rinpoche in future posts).
Original artworks on temple exterior wooden panels by 10th Karmapa, Choying Dorje
One of the most memorable and emotional moments of the visit there for me was seeing some original artworks on the wooden panels outside the temple, which the monk told me were said to be painted by 10th Karmapa, Choying Dorje himself. When I saw them my heart leapt in devotion at what seemed very much to be the highly original style of Choying Dorje. Before I went on the pilgrimage, I had decided that if I could at least some original artworks up close by the 10th Karmapa, and ideally touch them with my hands, my purpose was accomplished. So seeing these works on the wooden panels, without any museum glass or security, seemed like a dream come true and blessing from the guru himself.
I reached up to touch the wood and the paint, as if to touch the guru’s hands and suddenly a huge wave of emotion released in me and I started sobbing uncontrollably in front of the monk and was unable to stop the flood of tears and outpouring of emotion. I am not an art historian or expert (and it was not possible for me to ascertain if they were indeed by 10th Karmapa), nonetheless being in the temple touching the wood and flaking paint, there was an energy there which was unmistakably real and present. At this point, I felt as if I had accomplished one of the main purposes of the trip and even (dramatic as it might sound) of my lifetime.
Here are some photos I took of these stunning (and original) artworks, the bird images above the main figures were stunning and displayed some of the Naxi linguistic style in them of the imagery used of birds in their hieroglyphic script. In addition, Debreczeny (2003) has noted that the 10th Karmapa’s love of birds is evidences also by his being considered the author of a ‘widely known text The Buddha’s Law Among the Birds (Bya Chos Rinchen Trengwa) a charming text in which the basic tenets of Buddhist law are explained in terms of birds.
The 500 year old Camellia Tree, said to have been planted by 8th Karmapa, Mikyo Dorje
Next place after the temple was a walk uphill to the 500 year old Camellia tree. Even though it was a sunny day and mid-morning, I was still the only person visiting.
One of the most visited and stunning parts of the temple, for Buddhists and non-Buddhists alike, is its 500 year old 10,000 blossoms camellia. It is said that this tree was planted between 1465 and 1487 during the Ming Dynasty before the temple was built. The monk told me that it was a tree planted and blessed by the 8th Karmapa, Mikyo Dorje (and was certainly visited by him when he came to the area as a boy). So the tree is more than 500 years old. Its blossoming period lasts more than 100 days a year, and produces more than 20,000 flowers in 20 groups, each group over 1,000 flowers. One blossom is about 17cm in diameter.
The best time to experience the ravishing views of Yufeng Temple is in late spring and early summer, because the famous camellia tree is in full blossom during the period. It is said to be a combination of two different breeds of camellia. They were engrafted in one tree and now have grown into a huge tree with the crown shading the whole courtyard. In the eyes of the Naxi, Camellia is the symbol of true love. Naxi young lovers that want to die for their love in Yunshanpin of Jade Dragons snow Mountain will come to Yufeng Temple to take a look at the great Camellia. This tree is believed to have a magical power to persuade the young lovers to cherish their lives and enjoy happy life in real world.
I arrived in the rainy season so no blooms for me! However, it was still magical to see in the sunlight and I did three kora of it. Here are my photos. I also share a photo someone else took of the tree in full bloom. Another day another trip for me perhaps! There were two Chinese guards watching the tree and courtyard as I did kora, they seemed friendly enough, I smiled and said Hello in Chinese and they smiled and greeted me back. Here are some photos I took of the tree and the surrounding area:
