The series encompasses a text known as the Perfection of Wisdom in One Hundred Thousand Lines. It is recognized as the most extensive rendition of the Perfection of Wisdom teachings. Its primary focus is on the concept of Emptiness. The text is presented across 16 volumes in the traditional loose-leaf 'poti' format, inscribed in uchen script with black ink on cream-colored paper handmade in Bhutan. The initial pages of few volumes are written in gold ink on dark paper, underscoring the text's sacred significance. Additionally, each page is adorned with two circular motifs known as "chos mig," symbolizing the 'eye of the scripture,' placed centrally as a focal point of spiritual reflection. This collection is prominently displayed on the traditional bookshelves within the temple. It is meticulously protected, wrapped in multiple layers of cloth, and shielded by two wooden boards securely fastened with a belt.
Extent: 16 volumes of manuscripts.
Condition of original material: All the volumes have endured considerable damage from worms, and the majority of the top and bottom pages torn.
Author(s)/Creator(s): The origins of this material remain shrouded in mystery due to the absence of written records, yet local lore venerates it as a treasured legacy left by Sangda, the esteemed founder of the temple. According to oral tradition, Sangda is credited with endowing the temple with three sacred treasures: a statue of Pema Lingpa, sixteen volumes of the Perfection of Wisdom in One Hundred Thousand Lines, and a stupa—symbolizing the Buddha’s body, speech, and mind, respectively. The condition of the manuscript collection supports the belief in its ancient origins, suggesting that its creation coincides with the establishment of the temple. Despite conservation efforts, most of the texts show significant worm damage, underscoring their age and fragility. Notably, the collection includes a meticulous description of crafting wooden shields designed to safeguard the manuscripts. A remark in the final volume about restoration work by an unidentified individual adds another layer of intrigue, implying that conservation efforts may have occurred in a much earlier period, further enriching the collection’s enigmatic history. An alternative narrative emerges from the Diamond Cutter Sutra, produced using woodblocks carved at the temple. Its colophon attributes the temple’s founding to a descendant of Drakpa Gyelpo, one of Pema Lingpa’s sons. The colophon states: “The woodblock is carved at Dechencholing Temple to ensure the flourishing of Pema Lingpa’s teachings and the longevity of Drogon Yabsey, the descendant of Drakpa Gyelpo, who was, in turn, an incarnation of Sangda.” In this context, the reference to “Sangda” likely signifies Vajrapāni, the deity embodying the Buddha’s power, rather than Pema Lingpa’s son. This interpretation adds depth to the temple’s spiritual and historical narrative, blending divine symbolism with its tangible legacy.
Scribe(s): Oral histories recount that Sangda founded a nunnery in close proximity to the Dechencholing Temple. Between this temple and the nunnery, there existed a meditation center, locally referred to as Drubkhang. It is said that under Sangda's supervision, nuns from the nunnery took great care in transcribing the original manuscript of the Perfection of Wisdom in One Hundred Thousand Lines. However, a note in the concluding volume indicates that the manuscript had significantly deteriorated over time. In response to this, a monk named Thinley ('phrin las) assumed responsibility for its restoration. During the restoration effort, Lopen Wangdra (dbang drag) and astrologer Ngawang (ngag dbang) were designated as the project's scribes.
