It was said that those who have seen the “Kangyur” manuscripts would receive the blessings of seven lifetimes1. This led to a sudden surge in visitors to National Palace Museum in Taipei during a special exhibition of this designated National Treasure.2 The queue stretched for over 2 hours by believers at the two halls that will rotate different volumes of the 108-volume set, resulted in an official response to a no-photography and no-videography arrangement for the second rotation to speed up the visit. If you do not want to join the queue, you can see the manuscripts in the Southern Branch instead, which one volume is on permanent display in the “Imprints of Buddha” exhibition.
National Treasure 國寶
Kangxi Manuscript “Kangyur” in Tibetan Script 藏文《龍藏經》內府泥金寫本
Gold ink on indigo paper; Wood planks with gold, pigment and gems | Qing Dynasty (1644-1911), completed 1669 | Page size: 33×87.5 cm | National Palace Museum collection. 磁青紙、泥金；木板、金、彩繪，鑲嵌寶石｜清康熙8年（1669）｜每張經葉蹤33公分 橫87.5公分｜國立故宮博物院藏
In the 6th year of the Kangxi reign (1667), under the benevolent directive of the Grand Empress Dowager Xiaozhuang (1613-1688) and the newly enthroned Kangxi Emperor (r. 1661-1722), who had just assumed personal rule, the Qing court initiated an ambitious Buddhist cultural undertaking: the production of a deluxe gold-inked manuscript of the Kangyur (bka’ ’gyur) in Tibetan script.
This monumental project, widely known as the “Tibetan Dragon Canon” (Longzangjing 龍藏經), required enormous financial resources and mobilised numerous master artisans and eminent monks. Completed over the course of two years, it was conceived as a devotional act to pray for the enduring stability of the imperial realm and the flourishing of imperial virtue, while also serving to consolidate the political and religious alliance between the Manchu and Mongol elites.3
Kangyur (Tib. bKa’ ‘gyur), literally”the translation of the Buddha’s words”, is a Tibetan Buddhist canon that consists of tantras, sütras and monastic codes. The 108-volume collection is divided into six parts: Tantra (Esoteric Teachings), Prajnaparamita (Perfection of Wisdom), Ratnakūta (Heaps of Jewels), Avatamsaka (Flower Garland), mDo sde (Miscellaneous Sutras), and Vinaya (Monastic Discipline). The 108 volumes are numbered using a combination of 30 traditional Tibetan alphabets and four vowels.
The scriptures are inscribed in gold ink on leaves of indigo paper. Larger fonts are used for tables of contents and sutra titles, but smaller fonts are used for the main tests, with each leaf containing eight lines of 60 letters. Each page has two small holes in the middle in the fashion of palm-leaf manuscripts, and is framed with foliage patterns, and volume and page numbers are written on the front left-hand side.
Each volume is protected with four layers of wrappers (list from the inner fabric to the outer fabric): plain yellow wrapping silk, yellow wadded wrapping cloth, triple-layered yellow wrapping satin woven with flower patterns, and yellow wadded wrapping quilt.4 This magnificent 8K video by NPM shows how the manuscripts are wrapped.
The triple-layered yellow wrapping satin, made of three layers of silk fabrics with attached seven-toned wadded bundling strap, is the most luxurious one among all. When staff at the NPM were sorting out the binding for the Dragon Canon, they discovered that the yellow satin covering the scriptures was made of three pieces of yellow satin sewn together, with seven dragon patterns embroidered in the interlayer. This ‘Gold-Embroidered Yellow Satin’, also known as Zhuanghua satin, was originally sewn between the ‘yellow satin with flower patterns’ and the ‘plain yellow wrapping silk’.
The Zhuanghua satin boasts a striking coiled dragon design. It has four colorful strands of beard and facial hair jutting out and its neck winds above its head, creating spaces that are teardrop shaped. Protruding white horns run down the spine, the base of which is linked to its lush eyebrows. Also, light embroidery outlines the dragon’s cheeks.
The strap is 25.8m long and is made of five-coloured cotton threads and comes with a gilt-bronze carved openwork dragon buckle. It is used to bind the outer covers and the wrapped manuscripts like how we used to tie our books together with a book strap.
Each volume consists of around 300-500 leaves, and the sides of the stacked-up leaves are decorated with hand-drawn gold ink Eight Auspicious Symbols and wish-fulfilling jewels (cintimani) and marked with the division name and volume number in Manchu and Tibetan scripts.5 On the back of the inner upper protective panel, there is a painting of three auspicious figures seated on eight-petaled lotus thrones, symbolising the highest teachings of the Kalachakra Tantra of Tibetan Buddhism, “rnam bcu dbang ldan“, transliterated as Nangju Wangdan 「囊究旺丹」, meaning “Tenfold Sovereignty6.” The border around the painting features a gold-painted dragon design.
The Symbolic Meaning of the Images on the Protective Panels of the Dragon Canon
The inner front and back protective cover planks are decorated with seven polychrome painted Buddhist miniatures and inlaid with jewellery, covered by protective curtains embroidered in five colours—red, blue, green, white, and yellow – stitched alongside or embellished with traditional symbols like the Eight Auspicious Symbols to ward off negative energies and honour the sacred text.
藏文《龍藏經》內護經板之綠地經簾 「八吉祥」
Eight auspicious objects, symbolising good fortune in Buddhist beliefs, are repeatedly depicted in Buddhist scriptures, such as five-coloured sutra curtains and the sides of sutra leaves. These eight objects are called the「八吉祥」 “Eight Auspicious Symbols,” and each has its own specific meaning. (From left to right) The Precious Umbrella (寶傘) eliminates the five poisons of all beings. The Golden Fish (金魚) dispels ignorance while granting wisdom. The Vase of Treasure (寶瓶) filled with all kinds of nectar satisfies the wishes of all living creatures. The Lotus Flower (妙蓮) purifies all beings and shows them the way of the Buddha. The Right-coiled White Conch Shell (右旋白螺) sounds the Buddha’s teachings all over the world. The Endless Auspiciousness Knot (吉样結) symbolises the infinite wisdom of Buddha. The Victory Banner (勝利幢) proclaims triumph over evil and the wrong path. The Dharma Wheel (法輪) symbolises the eternal cycle of Buddha’s teachings.
Below the curtain of the upper protective panel in each volume of the Dragon Canon is a black flat panel with three lines of veneration in gold lettering. The first line is in Ranjana script Sanskrit, the second line is in Sanskrit transliteration, and the third line is in Tibetan. The first two lines mean “Namo Buddhaya, Namo Dharmaya, Namo Sanghaya,” and the last line means “Salute the Triple Gems.” The entire meaning is to pay homage and take refuge in the Buddha, Dharma, and Sangha, collectively known as the Triple Gems (三寶) in Buddhism. This refuge prayer should be chanted before reading the scriptures, as it helps to focus the mind. To the left and right of the veneration text is a niche, each painted with an image of a Buddha, Bodhisattva, or other deity. 7
The lower panel is largely similar in structure to the upper panel, except that the inner bottom has five niches, each depicting an image. Each set contains 7 statues, totaling 756 statues in 108 sets. Each statue is marked with its own title. The Manchu title is located in the rectangular red square on the left below the statue, while the Tibetan title is located on the right below. Both titles are written in gold-painted regular script.
There are front and back outer cover wooden planks in each volume lacquered in red and drew with gold ink. On the outer side of these planks are written the famous six syllable mantra “om mani padme hum” in the middle section and finely decorated with floral and other mantras such as Red Avalokiteśvara’s mantra. On the reverse side of these planks, they are inscribed with the Salutation to the Tripie Gems as well as the 50 Sanskrit alphabets and mantras all transliterated in Tibetan. On the left and right sides of each plank are engraved with the wish-fulfilling jewels (cintămani) and demon mask (kiirtimukha) pattern.8
“Kangyur” in Manchu Script Imperial Vermilion Ink Edition (1790) 《清文全藏經》清乾隆55年（1790）內府朱印刊本
This is not the only set of “Dragon Canon” manuscripts produced during the Qing dynasty. There’s the Chinese edition produced in 1733 by Emperor Yongzheng (completed by his son, Qianlong in 1738) based on the Yongle edition9, and the other edition in Manchu scripts commissioned by Emperor Qianlong in 1790.
National Treasure 國寶
“Kangyur” in Manchu Script Imperial Vermilion Ink Edition (1790) 《清文全藏經》清乾隆55年（1790）內府朱印刊本
Wood with gold, pigment and brocade; Vermilion ink on paper｜Qing dynasty (1644-1911), completed in 1790 ｜National Palace Museum collection. 木板、金、彩繪、織錦；紙、朱砂｜清乾隆55年（1790）｜國立故宮博物院藏
“Kangyur” (Tib. bka” gyur), literially “the translation of the Buddha’s words”, is Buddhist canon that consists of tantras, sutras and monastic codes. By 1772, the Kangyur had already been translated into Chinese, Tibetan, and Mongolian. Only a Manchu version was lacking, which was why Emperor Qianlong put Icang skya Rol pai do rje 三世章嘉活佛 (1716-1786) in charge of the translation project. The translation was based on the Chinese version and used the Mongolian Kangyur as a reference source. The translation project took 18 years and was finally completed in 1790. Engraving and printing were finished four years later.
This set of Manchu Kangyur, in 108 cases, was printed in vermilion ink. Only 12 copies of the first edition were made and they were stored in various locations. Today, only two copies remain: one copy is in the Hall of sa gsum ha khang in the Potala Palace, Lhasa, and the other is preserved partly in the National Palace Museum in Taipei (32 cases) and partly in the Palace Museum in Beijing (76 cases).10
In August 2024, all 108 volumes of the Tibetan manuscripts were registered as National Treasures of the Republic of China. They were also exhibited in the permanent exhibition “The Imprints of Buddha: The Beauty of Asian Buddhist Art in the Collection of the National Palace Museum” at the Southern Branch of the National Palace Museum.
All photos taken by author at National Palace Museum Southern Branch, Chiayi, Taiwan (Jul 2026), unless other noted.
About Chinese National Treasure Series
中華國寶系列 Chinese National Treasure series feature specific artefacts and relics from museums all around the world that are historically significant to be considered a National Treasure. The series covers the 5,000 years of Chinese civilisation from Neolithic periods before the Xia dynasty (c. 2070-1600 BC) to modern day.
Footnotes :
- In Tibetan Buddhism, sacred texts like the Kangyur—the collection of the translated words of the Buddha in roughly 108 volumes—are treated as living, generative agents of profound merit. While specific phrases about receiving “blessings of seven lifetimes” usually tie to individual practices, recitation, or rare bodily relics trained over seven consecutive rebirths, touching, sponsoring, or listening to the Kangyur is believed to purify karma and secure fortunate spiritual fruition across multiple future existences. ↩︎
- The special exhibition, “Tibetan Dragon Canon: A Symphony of Imperial Power, Belief, and Art in a Golden Age”《龍藏經》：皇權・信仰・藝術的盛世交響, was held at Taipei’s National Palace Museum from 9 May – 8 Nov 2026. https://theme.npm.edu.tw/TibetanDragonCanon/ ↩︎
- https://theme.npm.edu.tw/TibetanDragonCanon/en, accessed 3 Aug 2026 ↩︎
- 黃素絹經衣 Plain yellow wrapping silk
黃棉布經衣 Yellow wadded wrapping cloth
黃絹織花祫經衣 Triple-layered yellow wrapping satin woven with tower patterns
黃棉被經衣 Yellow wadded wrapping quilt ↩︎ - Museum information, accessed Jul 2026
清康熙朝藏文《龍藏經》：泥金寫經
《龍藏經》內容屬藏文《甘珠爾》（bKa”gyur），其意思是「佛語之譯」，也就釋迦牟尼佛所說的「經」與「律」的藏文譯本的總集，分「秘密」、「般若」、「寶積」、「華嚴」、『諸經」、「戒律」六大部，共108函，以傳統藏文30字母配上韻母a、i、u、e的變化順序來編號。
經文以正反兩面泥金書寫於深藍色的磁青箋上。以捲草紋為邊框；目錄、經名葉字體較大，內文則每葉8行，每行60個字母。每葉正面邊框左側書寫函號及葉碼。每函約300餘~500葉不等。依序疊放後，四個側邊分別以泥金手繪八吉祥、噴燄摩尼寶、以及以滿、藏文二體書寫部類及函號。 ↩︎ - 「十相自在」（rnam bcu dbang ldan，音譯「囊究旺丹」）指大乘佛教十地菩薩所證的「十自在」，分別是：壽自在、心自在、資具自在、業自在、受生自在、願自在、解自在、神力自在、法自在、智自在。
The term “Tenfold Sovereignty” refers to the ten forms of mastery attained by bodhisattvas on the ten stages (daśabhūmi) of the Mahāyāna path: mastery over lifespan, mind, requisites, karma, rebirth, vows, liberation, spiritual powers, the Dharma, and wisdom. https://theme.npm.edu.tw/TibetanDragonCanon/en/page-5#main ↩︎ - 內護經板 Inner Cover Planks
上、下各一塊，均以五層不同底色的經簾保護（詳見、前方展櫃）。內上護經板中央以梵、燕文刻寫「價證供、頂播注、頂禮僧」以及「禮敬三寶」，兩側銅邊金佛龜內各彩繪一尊像，並以滿、藏文二體書寫尊名，全經板共鐵嵌各種大小球寶75顆。內下護經板五佛龕彩繪各種護法，亦以滿、藏文二體書寫尊名，共纕嵌各種珠寶58顆。另外，經板之藍底邊盤左上角標有函號。 ↩︎ - 上、下各一塊，木胎紅漆描金。板面中央以梵文書寫「晻嘛呢叭彌吽」（om ma ni pad me hum）六字明咒，四週圍繞紅觀音等咒語；反面分別為藏文轉寫「頂禮佛、頂禮法、頂禮僧」、梵文五十字母、以及五方佛以及四佛母之咒；兩側刻摩尼寶珠以及莊嚴獸面。 ↩︎
- 《乾隆大藏經》，又名《乾隆藏》、龍藏、清藏，清朝官版大藏經。清雍正十一年（1733），於北京賢良寺設立藏經館，由和碩莊親王允祿、和碩和親王弘晝及賢良寺住持超盛等主持，雍正十三年（1735）開雕，乾隆三年（1738）竣工，雕成經版79,036塊。全藏724函，千字文編次天字至機字，1,669部，7,168卷。
其版式和《永樂北藏》一致，分為三藏、西土聖賢撰集和此土著述。三藏和西土聖賢撰集485函，千字文編次天字至漆字，內容完全和《永樂北藏》相同；此土著述239函，千字文編次由書字至機字，是由《永樂北藏》的此土著述和續藏合併刪減，又補充以雍正和乾隆年間奉旨入藏的經書而成。刷印100部，頒賜京內外各寺入藏。1935年又印過22部。經版原存宮內武英殿，後移藏於柏林寺，至今尚存。https://zh.wikipedia.org/wiki/乾隆大藏經, accessed 3 Aug 2026 ↩︎ - 《清文全藏經》清乾隆55年（1790）內府朱印刊本
Kangyur in Manchu Script Imperial Vermilion Ink Edition, Qing dynasty (1644-1911), dated 1790
全名《御製清文繙譯全藏經》，「清文」即「滿文」，為清朝的官方文字。依滿文標題為《滿文翻譯大甘珠爾經》。「甘珠爾」（bka’’gyur）一詞來自藏文，意為「佛語之譯」，為釋迦牟尼佛所說的「經」、「律」二部之總集。
乾隆三十七年（1772），乾隆皇帝鑑於漢、藏、蒙三族文字之《大藏經》皆已刊行，獨闕滿文，乃敦請三世章嘉活佛（1716-1786）主持，於內務府譯經處開「清字經館」。以漢文藏經為本，比對蒙文《甘珠爾》，加以繙譯編修，歷時18年譯畢（1790），再4年雕印完竣（1794），共108函，採雙面朱印，初刷共印12套，分藏各處，現僅存兩套：一套存拉薩布達拉宮的三界殿；另一套則分藏兩岸故宮：本院藏32函，北京故宮藏其餘76函。 ↩︎
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