270 
L. A. Waddell — Description of Lhasa Cathedral. [No. 3, 
and on the altar 1 of the Lord is the noble Zan-Yags, 8 a Chinese name, 
(? who made) the four great kings (of the quarters) and two pillars, 
and on the door are the Yak-horns with which the reverend Mila (-ras- 
pa) worked miracles on the plains of Pal-mol-dpal-t’aq. 
“ There is an image of the omniscient son of Cuddhodana (i.e., of 
Prince Siddhartha, and it is now considered to be the greatest image not 
only in this temple, to which it gives its common name, namely “ Jo- 
wo K’aq ” or “ the temple of The Lord,” 3 but it receives more homage 
than any other image in Tibet). It is (a representation of the Prince) 
twelve years of age 4 and was made by the (divine) artist Yi^vakarma, 
from the ten kinds of gems gathered by Indra , the king of the gods. 
This (image) has done a great deal of good to both gods and the animal 
beings, and especially to those of ‘ Odi-yana (Udyana), known in 
Tibetan as ’P’ur-’gro, which (word) has now its corners broken into 
‘ U-rgyan.’ When this (image) was in the middle country of Magadha 6 
it was invited to China and carried there in a ship from India by the 
lucky power of the Chinese king. Afterwards when Srog-Msan-sgam- 
po sent his wise minister mG-ar to China to invite the Chinese princess 
i Kong-clio ; ’ and the Chinese were unwilling to give her to the Tibetans, 
mCar after much difficulty at last obtained her, while she, also unwilling 
to go, was only persuaded by mGar singing the praises of the king of 
Tibet, [here omitted] : but she besought her father saying : “ O father ! 
pray give me your tutelary god, Qakya Muni.” Her father gave it to 
her, and it was brought to Tibet. It was kept in Ra-mo-ch’e (temple), till 
the reign of King Maqi-sroq-maq-6^san, when there was a war between 
1 1 sPaq-Zchog. 
8 I This is the Chinese title of a Tibetan who made the 
images named above; this is not intended for Hiuen Tsiang the famous Chinese 
pilgrim and geographer, whose image appears to have been added subsequently to 
the date of the record here translated. Hiuen Tsiang, as noted by Rockhill ( loc. 
cit., p. 282), is known to the Tibetans as T’aq-Tseq Lama ( ) | 
or “ The Lama Tseq of the T’ang period. And his image is now in the Lhasa 
Cathedral.” “ On the front of the wall of the verandah (? of the Jowo-k’ag) is 
painted the master Yuan-chuang (= Hiuen Tsiang) of the T’ang period and three of 
his disciples searching from the sacred books.” — Rockhill’s translations from the 
Chinese, loc. cit., p. 263. Cf. also Koppen, (Die Lamaische Hier., p. 337 following 
Klaproth). 
3 The image is called Jo-wo Rin-po-ch’e or ‘ The precious Lord.’ 
4 It is said to be about four and a half feet high — that is to say the natural 
size, for a boy of his alleged age. 
6 1 dbUs-’gyur ma-ga-dha.’ But the Chinese history 
(Rockhill, loc. cit., p. 263), says “ it is said that it was cast by a Chinese from Tso- 
lang.” 
