Material: Alloy, cast, molded, hand-polished

Dimensions: Approx. 4.8 cm long x 3 cm wide

Description: Tsa-tsa (or tsa-tsa, tsa-tsa image) is a small offering in Tibetan Buddhism, typically a small relief or three-dimensional Buddha, Bodhisattva, stupa, or mantra symbol made of clay, mud, or other materials. They are usually molded and are often small plaques or conical stupas, ranging in size from 1.5 cm to 30 cm. Tsa-tsa are not only works of art but also tools for spiritual practice and symbols, widely used in Tibetan Buddhism.

The following will describe in detail their origin, usage, and influence in Buddhism and among Tibetans.

Origin and History

The origin of tsa-tsa can be traced back to ancient India as an offering for Buddhist pilgrims. Centuries ago, Indian Buddhists created similar small clay tablets or offering plaques in holy sites such as Bodh Gaya (where the Buddha attained enlightenment). These were souvenirs brought back by pilgrims to express their reverence for the Buddha. These early forms may have been influenced by the Middle East, even dating back to the Mohenjo-daro seal culture of 2500 BCE, where deities were pressed using molds. These clay tablets served as portable symbols of faith, easily carried by devotees across mountains and rivers.

Tsa-tsa were introduced to Tibet with Buddhism in the 7th century, associated with the introduction of stupas by Songtsen Gampo of the Tubo Dynasty. During this period, Indian Buddhist monks brought this tradition to Tibet, where it gradually integrated with local culture. However, tsa-tsa production was interrupted during the persecution of Buddhism by King Langdarma in the 9th century, almost disappearing for nearly 140 years. In the late 10th century, Atisha arrived in Tibet, reviving and promoting this tradition as a core practice of spiritual cultivation. Atisha's influence made tsatsas an important element of Tibetan Buddhism, with mold designs incorporating Indian Pala, Kashmiri, and Nepalese elements, gradually becoming localized.

From the 14th to the 17th centuries, tsatsa art developed regional characteristics throughout Tibet. For example, the Guge style in the Ngari region, influenced by India, featured vivid shapes and rich decorations. During the Qing Dynasty (mid-17th century), with the support of the dynasty, tsatsa art reached its peak, incorporating Chinese elements and standardizing designs. Tsatsas were not limited to Tibet but spread to Nepal, Bhutan, Mongolia, and Qinghai in China. In Nepal, small, white or gold stupa-shaped tsatsas are common; in Bhutan, rice grains are added to symbolize the impermanence of life. In modern times, tsatsas continue to be made in Lhasa and other places, and even in the West, resin or plaster molds are used to adapt to contemporary needs.

Usage

The making and use of tsatsas is part of Tibetan Buddhist practice, emphasizing intention and blessings. Here are the detailed steps and methods:

1. **Production Process**:

- **Mold Selection**: Use a metal, wood, stone, or copper mold, engraved with a reversed image, such as Shakyamuni Buddha, Avalokiteshvara, Mahakala, or a mandala. The mold can be single-sided (relief) or double-sided (three-dimensional).

- **Material Preparation**: Primarily clay is used, with clay collected from sacred sites being best. Sometimes sacred objects are mixed in, such as the blood of a guru, medicinal herbs, ashes, or grains (barley or wheat, symbolizing the cycle of life). Resin or plaster can also be used in modern times.

- **Pressure and Blessing**: Press the clay into the mold while chanting mantras such as "OM AH HUM," infusing it with wishes. After demolding, air-dry or sun-dry, then fire to harden. Finally, it can be colored (gold represents longevity, red represents wrathful deities) and blessed by a lama or offered personally.

- **Special Types**: Such as "Water Tsa," a sacred image that instantly forms and dissolves when the surface of a river or lake is lightly tapped with a tool, used to liberate beings in the water. In funerals, cone-shaped stupa-shaped tsa are made from the deceased's ashes mixed with clay, filled with grain, and placed at the temple entrance or in sacred sites.

2. **Placement and Application**:

- **Placement**: Placed inside stupas as filling to enhance their sacredness; or placed in caves, temple altars, prayer wheel niches, homes, or sacred mountains and lakes. As an amulet, it can be placed in a portable box (Ghau) or in a car.

- **Occasions**: Used for birthdays, memorial services, visits by lamas, etc. Its creation is often accompanied by burning juniper branches, lighting butter lamps, and prayers to infuse blessings. During the 49-day Bardo period following the funeral, ash tsa are used to help the deceased's rebirth.

- **Daily Practices**: Believers may touch the forehead of a tsa-tsa for blessings, or ingest some of the tsa-tsa (medicinal tsa-tsa) for healing. Making large quantities of tsa-tsa (e.g., tens of thousands) is a preliminary purification ritual in Vajrayana practice.

Influence in Buddhism and Tibetan Culture

In Tibetan Buddhism, tsa-tsa are considered the physical manifestation of the Three Jewels (Buddha, Dharma, Sangha), tangible prayers and offerings. Making tsa-tsa is believed to accumulate merit, purify negative karma, remove obstacles, and bring protection, longevity, and peace to practitioners. It symbolizes impermanence and transcendence, especially in funerals, helping the deceased achieve a favorable rebirth in the intermediate state (bardo), embodying the altruistic spirit of Buddhism—self-benefit is benefiting others. Tsa-tsa placed inside stupas amplify the stupa's blessings, becoming a vessel for the Buddha's consciousness, bringing liberation to all beings.

In the hearts of Tibetans, tsa-tsa are not only religious objects, but also cultural heritage and symbols of devotion. They are seen as carriers of infinite spirituality, embodying Tibetan wisdom and the spirit of dedication. Tibetans believe that tsa-tsa possesses powerful blessings, capable of warding off evil, healing, ensuring safety, and even providing liberation upon sight. For example, water tsa-tsa is believed to bless all those downstream who come into contact with the water and all sentient beings. Precious tsa-tsa (such as those mixed with the ashes of a guru) are often kept as family heirlooms or distributed by high-ranking monks to their disciples, becoming a spiritual connection. The process of making tsa-tsa is itself a form of spiritual practice, emphasizing pure intention and bringing positive energy to individuals, families, and communities. In Tibetan society, tsa-tsa is an integral part of daily faith, strengthening community cohesion and dependence on Buddhism, with far-reaching influence that has even spread to Southeast Asia, such as Thailand and Myanmar, where it is widely popular as amulets. In short, tsa-tsa is not only art but also a bridge to liberation, holding a sacred place in the hearts of Tibetans.