Shenlha Okar

[2] He is counted among the "Four Transcendent Lords" (Wylie: bde bar gshegs pa) along with Satrig Ersang (Sherab Chamma), Sangpo Bumtri, and Tonpa Shenrab Miwoche.

[9] Shenlha Okar is depicted with a white body "like the essence of crystal," holding a hook in his right hand (and sometimes a lasso in his left), and seated in a throne supported by elephants.

Shiwa Okar featured in a work composed by the influential Tibetan Buddhist lama Chögyam Trungpa, particularly a long verse epic composed in Tibet called The Golden Dot: The Epic of the Lha, the Annals of the Kingdom of Shambhala, and in terma he revealed beginning in 1976.

In Trungpa Rinpoche's epic these were directed by a ninth lha called Shiwa Okar ... a sort of absolute principle behind creation and the nature of reality.

[11]Kornman notes that one of the "striking things" about the text is that it refers not to Indic sources but to the "creation myths found in the royal chronicles and in the Epic of Gesar of Ling" and "evoke the cosmology of native Tibetan religion, not Buddhism.

"[12] His Shambhala terma feature Shiwa Okar as an iṣṭhadevatā (Wylie: yi dam) "meditational deity", with a tantric retinue of drala and werma (Wylie: wer ma)[13] Trungpa Rinpoche's work has antecedents in the edition of the Gesar epic prepared by Jamgon Ju Mipham Gyatso and ritual practices he composed in conjunction with that work.

In a "History of Shambhala" composed by Chogyam Trungpa, Shiwa Okar is described as follows: [T]he very best lha of warriors, Peaceful White Light.

He wore great silver armor, Shielding from a Thousand Thunderbolts, fastened together with lacing of divine white silk.