The Soul and Substance of Bhutan’s Cultural Heritage The Soul and Substance of Bhutan’s Cultural Heritage The Proceedings of the Fifth Colloquium (English version) Volume I Second Edition 2009 National Museum of Bhutan Paro The National Museum of Bhutan, Paro www.nmb.druknet.bt The National Museum of Bhutan © First edition published 2001 Second edition 2009 National Library of Bhutan Cataloguing-in-Publication Data “The Soul and Substance of Bhutan’s Cultural Heritage” The Proceedings of the Fifth Colloquium Editors: 1. Dorji Tshering, Director General, DoC 2. Dr. Yonten Dargay, NLB 3. Khenpo Phunshok Tashi, Director, NMB 4. Singye Samdrup, Curator, NMB 5. Ariana Maki, NMB Funded by The Japan Foundation New Delhi Layout & design 1. Pema Choden, NMB 2. Sushma Lama, NMB Computerized by 1. Dorji Wangchuk, NMB 2. Kamal Pokwal, NMB 3. Sarawasti Gurung, NMB 4. Ugyen Tshomo, NMB ISBN 978-99936-622-1-0 Printed in Bhutan at Yoez Graphics, Thimphu FOREWORD It is with great pleasure that I have been requested to contribute my thoughts in preparing the foreword for The Soul and Substance of Bhutanese Culture - the second edition of the proceedings of the ifth colloquium - which has been published by the National Museum of Bhutan. In support of national endeavors to preserve and promote the unique cultural heritage of the country, over the last decade, the National Museum has organized ive colloquiums. The resultant proceedings, have incorporated a number of far ranging topics and issues, elucidating aspects of Bhutan’s living cultural heritage through investigation and analysis of history, social customs, religious rituals and more, while also laying the groundwork for future study. The Bhutanese landscape is dotted with numerous monasteries, temples, dzongs and various forms of chotens which all play a fundamental role in the spiritual well-being of the country. The Soul and Substance of Bhutanese Culture provides illumination on a number of these sacred sites through extensive documentation and study, provide insight on the founding or establishment of these locations, their importance to both religious and secular life, and their current status. The book also touches upon sacred mask dances of Bhutan, including the Drametse Nga Cham, which has received much international interest and acclaim. Many communities contribute to the fabric of Bhutanese life, and in this volume a study of one group, the remote Laya community who inhabits the extreme northern region of the country, is presented. Contributed by noted Bhutanese scholars, the articles are aimed at enhancing knowledge of the history and culture of Bhutan, especially with regard to the background history of sacred sites and mask dances which form the core of Bhutanese cultural heritage. The book is also intended for use as a reference for future scholars who would undertake additional research and scholarship related to Bhutan. All in all, it is our hope that this collection of important cultural information will be of beneit to those who are interested in the sacred Buddhist sites of Bhutan and the enduring cultural rituals. We also have high hopes that this publication will serve as a cultural repository and key reference for those anywhere who are keen to explore and learn more about some of the country’s holiest sites and unique events. The National Museum would like to extend its heartfelt thanks to the Royal Government and the Japan Foundation for sponsorship of the colloquium and their continued support in publishing the resultant papers and articles. My thanks to all the scholars and researchers who have exerted much effort to present their work here; their contributions have made both the colloquium itself and this publication a notable success. Khenpo Phuntsok Tashi Director National Museum of Bhutan Paro, 2009 CONTENTS SL# Article Page 1. A Brief History of Densa Sangchen Chokhor Lopon Rinzin Wangchuk 11 2. The Sacred Site of Bumthang Trakar Ugyen Dorje 81 3. Conservation of Our Architectural Heritage Nagtsho Dorji 89 4. Drametse Nga Cham : The Mask Dance of the Drums from Drametse Lopon Lungten Gyatso 97 5. Narration of the Sacred Place of Dzong Drakha in Paro Khenpo Phuntsok Tashi 111 6. Masked Dances of Bhutan Kelzang D. Yeshe 119 7. Signiicance of Historical Evidence in Architectural Heritage Study on Original Structures of Semtokha Dzong Junko Mukai 133 8. The Layap Community: An Existence Untouched by the Winds of Change Kunzang Tobgay 139 9. Conservation and Preservation of Manuscripts and Paper Dorji Wangchuk 159 10. Nangkar Dok (snang dkar bzlog) Nidrup Zangpo 171 11. The History of Taktshang Monastery Phende Legshed Wangchuk 191 12. Origin of Woodworking in Trashiyangtse Geshe Tenzin Wangchuk 215 13. Establishment of Thegchen Dodedrag Lopon Sangay Dorji 223 14. Culture, Soul and Substance: Some Personal Relections Lyonpo T. S. Powdyel 235 15. The Need and Importance of Conserving and 249 Preserving Tangible and Intangible Culture of Bhutan Dr. C. T. Dorji 16. Mani Dangrim: An Endangered Tangible Cultural Heritage Dorji Namgay 259 17. Notes on Contributors 267 A BRIEF HISTORY OF DENSA SANGCHEN CHOKHOR Lopon Rinzin Wangchuk Homage In the hub of the galaxy of the thousand liberators of the blessed eon, The fully blossomed wisdom of the liberator of the Kali Yuga beings, The illumination of the Sakya prince shining in the nights of the dark days of the Kali Yuga, and remembering the clearing of the darkness of the Kali Yuga, I prostrate myself! With great compassion and affection for all sentient beings, gazing at them ceaselessly and expert at instantly and innumerably emanating into different realms of the cosmic universe is Lokeshvara, and at his feet, I submit. From him whose [Lokeshvara] emanations emerge, beyond the expression of words and beyond the thoughts of arts, in the ten directions of the cosmic universe, the inest is Palden Drukpa Ngag Gei Wang. To his great ‘reincarnate-lineage’, I submit with reverence. Palden Drukpa Ngag Gei Wang, whose wisdom is at its zenith and whose compassion shines in two directions for the beings of Tibet and Bhutan, is exempliied by the two-way movement of the sun [the movement of the sun according to Buddhist cosmic metaphysics]. With the illumination of his four noble acts, he turned the land of medicinal herbs [Bhutan] into a Zogden [sort of puriied] realm. Remembering this, the author pays a faithful tribute. In the midst of Palden Drukpa Ngag Gei Wang’s drama of emanation performed in the land of medicinal herbs are the heavenly emanations of speech. To his successive speech emanations, the author pays homage. Compassionate for the pain-stricken beings of the three realms, the mentor, the Buddhas of the three times [past, present and future] emanating as and according to the variety of beings, indebted to you in the three ways, I pay homage. 12 Lopen Rinzin Wangchuk Self-effacing and committing Because of the absence of Yangchenma’s (goddess of verbal skills) blessing, my writing lacks the beautiful music of expression. And because my soul is void of Manjushri’s (lord of wisdom) blessing, I do not have a reasonable presentation. Yet, because of my faith to write about it and because of the instructions to write about it, I sit down to write about the densa (residence). Analogue of the speech incarnations’ name Choglay Je Sangchen Chokhorpa and Lama Kashogpa. Why were the speech incarnations called Choglay Their predecessor, Zhabdrung Rinpoche, had different names such as Dudjom Dorje, Ngawang Namgyal, Chokyi Gyalpo and Choglay Namgyal, as prescribed from different prophecies. Thus: From Gued a secret Tantric text, “Khor Wei Dued Nam Jom Pa Po. Dorje Lopon Dag Nid Chey.” From Tag Sham Gong Due Khog Uub, another secret Tantric text, “Nam Khai Nying Po Rang Yoed Druk Gei Tshen. Ngag Gei Ming Chen Lho Rong Chog Su Jung.” From Tshe Phug Teryig, “Re Wo Lang Chen Jing Drai Na Teng Na. Ke Bu Nam Gyel Zhey Jai Tshen Chen Jung.” From Kunkhyen Pema Karpo’s self-commentary on Thung Rab Chom Den Nying Jey Ma [a book by Kunkhyen Pema Karpo on his reincarnate-lineage] - “The coming of prince-abbot-reincarnate Ngawang Namgyal in the future is the second essence illuminator of the Dharma.” In this text the predecessor of Zhabdrung Ngawang Namgyal, Kunkhyen Pema Karpo clearly states the name and the kind of birth he would take in the future. Zhabdrung Ngawang Namgyal was born as the prince-abbot of Druk Ralung to princeabbot Tenpai Nyima and with the name Ngawang Namgyal. He also clariied his genuineness by speaking clearly of the past events of his life when he was very young. From Thung Rab Phunsum Tshogpa: “Noen Joen Gyel Wa Nam Gei Truel Pei Zhi. Ma Joen Gyel Wa Nam Kei Jung Khung Pa. Da Tai Cho Pa Dag Dang Aer A Brief History of Densa Sangchen Chokhor 13 Med Par. Choe Key Gyel Poi Zhab Pay Ten Jur Chig.” All these clarify the analogue of Zhabdrung Rinpoche’s different names. Moreover, from Thuchen Chokey Gyelpo’s Nga Chu Drug Ma [sixteen verse-lines written by Zhabdrung Rinpoche in selfpraise], he declares his name as Ngawang Choglay Namgyal: “Lug Nid Khor Lo Jur Wa Nga. Nga Ney Kuen Gey Chab Su Zang. Pal Den Druk Pei Ten Zin Nga. Nga Ney Druk Par Zue Nam Chom. Tsom Pei Yang Chen Drup Pa Nga. Nga Ney Leg Shed Jung Khung Tsuen. Tha Drel Ta Wei Dag Po Nga. Nga Ney Log Ta Khen Suen Jin. Tsoed Pei Thu Tob Dag Po Nga. Nga Duen Me Dar Goel Wa Su. Dued Pung Jom Pei Pa Wo Nga.Nga Nue Dog Pei Thu Chen Su. Ched Pei Ngag Gei Wang Chuk Nga. Nga Ney Rig Nay Kue La Khed. Gong May Lung Ten Truel Pa Nga. Nga Ney Dra Min Truel Pei Shed. Gang Chen Duel Wong Jig Ten Wang. Truel Pei Thrin Lay Cher Ging Pei. Ju Tshen Ned Yoed Pe Ma Kar. Da Ta Sa La Nid Pa Su. Chog Lay Nam Gyel Ngag Gei Wang. Dey Yang Ue Nang Yin Kha Say. Chog Tsham Nga Ro Chu Drug Tay. Chey Roel Doen Thuen Shed Pay Kor.Yue Dum Zhi Wa Chi Du Zhi. Dung Zhi Thrin Lay Ged Pa Dang. Kham Sum Wang Dued Nga Roi Dra. Ngoen Choed Rel Drei Khor Lo Kor. Tha Zhi Dag Lay Nam Gyel Dang. Thrin Lay Zhi Drup Ten Drel Du. Nga Wang Mai Sing Gyes Drey. Chog Due Kuen Tu Drag Jur Chig” Thus, from the appropriate names of Zhabdrung Rinpoche the name, Palden Drukpa Rinpoche Ngawang Choglay Namgyal, was approved by Thuchen Lama himself. And, his true life-disciple [the one who studied from him personally and not through the texts he wrote] Dorje Zinpa Zodpa Pekar named the reincarnation of Pal Drukpa Rinpoche, born at Daga Nyingdukha, Choglay Namgyal. From then, the speech reincarnations of Zhabdrung Rinpoche were known as Choglays and their reincarnations were known as Choglay Trulkus. Furthermore, most Bhutanese do not know that the Lama Choglay is the reincarnation of the Zhabdrung. In general, there is another version explaining the meaning of the title Zhabdrung. Two reincarnations of Kunkhyen Pema Karpo, 14 Lopen Rinzin Wangchuk prince-abbot Tenpai Nyima’s son Ngawang Namgyal and ChongGey Dep’s [Desi, ruler] illegitimate son Pagsam Wangpo, both came into existence and were not on good terms. Therefore, when princeabbot Ngawang Namgyal clearly stated accounts of his past lives, the other party [Drukpa Pharchogpa, Tibetan Drukpas or Jang-druks and their followers still continue in exile in India] started saying that he is the reincarnation of an attendant of Kunkhyen Pema Karpo, so he knows of the great one and called him Zhabdrung [attendant of a high lama]. From then, the name Zhabdrung got associated with prince-abbot Ngawang Namgyal’s name. Due to this, if anyone called out the name ‘Zhabdrung’ in the presence of the late His Holiness Je Khenpo Geshe Gedun Rinchen’s presence, he became angry, and this is known to all of his disciples. Sungtrul Choglay Namgyal was born in Daga Nyingdukha, ifty years after the demise of Zhabdrung Rinpoche. The government of Bhutan installed him as the reincarnation of Zhabdrung Rinpoche at Punakha without classifying him as the Sungtrul or Thugtrul. Later, about seventy years after the demise of Zhabdrung Rinpoche Thugtrul Jigme Dragpa was born. It seems as if, from then onwards the classiication of Sungtrul and Thugtrul started. Therefore, from the above, it is clear that the name Choglay is more appropriate than the name Zhabdrung, and the name Choglay is more laudable than the name Zhabdrung because the name ‘Choglay Namgyal’ is used as the sign of the Royal Government of Bhutan too. Therefore, calling him Choglay Trulku is more reverential than calling him Zhabdrung Trulku. Moreover, it is clear that the Choglay is the true emanation of Thuchen Chokyi Gyalpo from the prophecy of Palden Lhamo, told to terton Drukdra Dorje. Thus: “Druk Lho Trin Seb Nay Ked Chey Yang. Ta Jang gey Zer Gey Noen Nay Sem. Phar Mey Nue Thug Tay Rang Zhen Phung. Nag Thag Gey Ja Tsho Khil Wa Khong. Aa Tsa Ma Sem Chen Lay Key Shug. Shey Dey Lay Chob Pa Gang Du Yoed.” This verse prophesies for the future of His Holiness Choglay Namgyal’s patron. And continues thus: “Yong Lha Mey Kuen Gey Choed Pey Ten. Pel Me Pham Nga Gey Wang Chuk Lo. Chog Kuen Lay Nam Par Gyel Doed Na. Lay Dey La Ten Drel Zab Yang Ren.” As and according to the prophecy given by Palden Lhamo to install the irst reincarnation of Thuchen Chokyi Gyalpo, Ngawang Choglay Namgyal, on the throne and make Tendrel, Gongsa Mipham Wangpo had a dream A Brief History of Densa Sangchen Chokhor 15 indicating similar signs. So to make good Tendrel His Holiness was invited to Punakha again. However, how these did not work out are explained in the histories. Again from the above prophecy: “Druk Ten Sey Tho Yang Day Dug Nam. Nga Doed Pey Wang Moi Lag Tu Yoed. Lay Phuen Tsho Ten Drel Me Dig Na. Chab Sey Dey Phel Wa Me Tang Ray.” Said thus with promises so, I think, it would have been better if His Holiness was installed on the throne. The name ‘Zhabdrung’ did not come from any prophecy and our [Lho Druk] lamas have not used it as praise. And Thuchen Lama did not approve this name himself. It is clear from the letters he wrote to Zachey Chojey etc where he writes, written by Palden Drukpa Thuchen Dudjom Dorje. And also from the Nga Chu Drug Ma where he writes Choglay Namgyal Nagi Wang and written by Ngawang Mai Singye. Also, from the biography of Thuchen Chokyi Gyalpo, written by Tsang Khenchen, the name Zhabdrung never appears: so this name is not a name of praise. In general, names like Zhap, Zhaped, Zhabdrung, Zhabdring, Zhabchi, and Zhabdrang are terms used to call for attendants. Moreover, ‘Zhabdrung’ is a term used for reincarnations of the attendants to high lamas. Therefore, it is better to call him Thuchen Lama with the name Palden Drukpa Choglay Namgyal, Chab-Gon Lama, Chokyi Gyalpo, and Palden Drukpa Rinpoche than the Zhabdrung. Hence, calling him Choglay Trulku is greater praise than calling him Zhabdrung Trulku. Why the speech incarnations were called Je Sangchen Chokhorpa From 1765, when the second Sungtrul, His Holiness Choglay Sakya Tenzin established his densa at Sangchen Chokhor and started living here, the successive Choglay incarnations came to be known as Je Sangchen Chokhorpa. Why were the speech incarnations were called Lama Kashogpa From the time when His Holiness the third Choglay, Yeshe Gyaltshen, was offered the edict by the Chinese emperor Chi-Yang-Chi to graze freely whenever and wherever he visited Tibet and China, the Sungtrul came to be known as Lama Kashogpas- the lamas with the royal edict. 16 Lopen Rinzin Wangchuk Preamble Sangchen Chokhor, the densa, or residence, of successive speech reincarnations of Zhabdrung Ngawang Namgyal, has a long-standing association with both the politics and the religion of Bhutan. Hence, political and religious histories have often included something about it. The resulting narratives, however, were a mixture of both accurate and inaccurate presentations, so I felt I should edit these narratives and present a more accurate picture of the place. Moreover, at the command of Her Majesty the Queen, Ashi Sangay Choden Wangchuk, I wrote the book- Zhabdrung Sungtrul Rimjon Gey Densa Sangchen Chokhor Gey Ngoen Dang Da Tayi Ned Tang Joed Pa Yed Ga Padmoi Tshel Gey Doegar Zhoen-nu Gawei Roel Tshey- a comprehensive history of the densa and the successive speech incarnations who have resided there to give everyone an accurate narrative concerning the densa. In addition, on 26/2/05, the Director of the National Museum of Bhutan telephoned me, requesting I give a presentation on the occasion of a conference on ‘The Tangible and Intangible Culture of Bhutan’. Thus, on 3/3/05, in this forum organized for cultural awareness, I gave a brief presentation - a short history of the densa. A brief account of the successive reincarnations of Zhabdrung Rinpoche Arya Lokeshvara [Phaba Chenrezig] ↓ Gyalpo Rigdenpelkar ↓ Chogyal Songtsen Gampo ↓ Khenchen Zhiwatshog ↓ Penchen Narotagpa ↓ Choje Dakpo Lhaje ↓ Choje Tsangpa Gyare A Brief History of Densa Sangchen Chokhor 17 ↓ Nawa Dodul Sempa ↓ Gyalwa Kunga Penjore ↓ Jamyang Choke Dragpa ↓ Kunkhyen Pema Karpo ↓ Thuchen Ngawang Namgyal ↓ (Successive incarnations of Speech, Mind and Body of the Zhabdrung, of which speech is the earliest) ↓ Jetsun Choglay Namgyal, the irst speech reincarnation “The gorgeous tune of Thuchen Lama’s secret speech, Emanating into the heavenly body, The god triumphing ceaselessly over hindrances, I am paying a heartfelt homage, illed with compassion!” Birth On the 10th day of the third month of the Iron Rabbit year (1651), Zhabdrung Rinpoche renounced the world. However, for some controversial reasons, his death was kept a secret for the next ifty years until the reign of the 8th Druk Desi, Druk Rabgye. Therefore, except for some close attendants, most did not know of the Zhabdrung’s death. During the last part of this period, Kunga Gyaltshen, the yangsi (reincarnation) of Zhabdrung Ngawang Namgyal’s son, Dungse Jampey Dorje, entered the sacred chapel of Zhabdrung Rinpoche’s kudung (mortal remains) and requested with deep reverence for a yangsi to be born. Accordingly, the three yangsis of speech, mind and body of Zhabdrung Rinpoche came into existence, of which the earliest was the speech incarnation, or sungtrul. Zhabdrung Jetsun Ngawang Choglay Namgyal, was born with divine signs to Sherab Tenzin and Kunga Gyalmo at Daga Nyingdukha (present day Dagana) in the 12th Rabjung, corresponding to the Fire Dog Year, (1706) and was named Ngawang Gyaltshen. 18 Lopen Rinzin Wangchuk Revelation of past lives The young trulku, Jetsun Ngawang Choglay Namgyal, was raised well in the loving care of his parents. At a very young age, when he was barely able to speak, he proclaimed his divine status by declaring Sonam Pelki Bhuti as his mother, Tenpai Nyima as his father and Lhawang Lodro as his mentor. These three were Zhabdrung Ngawang Namgyal’s mother, father and mentor respectively. On one occasion, the young trulku revealed some events and scenes of his previous life thus: “All the other parts of Punakha Dzong have red line paintings except my habitation, and I have to climb only ive steps to enter my residence. There are two trunks in the room, both containing my clothes, which have been locked by Tenzin Drukgyal and the key has been hung on a nail. There is also a trunk which contains a saddle and is kept behind the door.” During these conversations, some of the people asked whether he had a horse, and the trulku replied, “Yes, the horse is kept in a stable by the river that lows near the dzong. There is a garden which has orange and some other species of trees near the stable. The ripened orange fruits are used for offerings during ritual ceremonies.” Such utterances reached the ears of the then ruler of Bhutan, th the 8 Druk Desi, Druk Rabgye. So he issued an edict to the Daga Ponlop to investigate the genuineness of the Trulku. Accordingly, the Daga Ponlop had the young boy under surveillance and, after many different examinations, found the proclamations to be accurate. Thus, after informing the then government about the genuineness of the story, the trulku was recognized as the reincarnation of Zhabdrung Rinpoche. When the boy attained the age of six, the happy Druk Desi sent oficials and received him at Wangdue Dzong with grand ceremonies and, at Wangdue Dzong, he was taught how to read and write under the tutelage of Geshe (equivalent to a doctorate) Ngawang Gyatsho - the nephew of the Druk Desi. While reading the fourth letter of the Chokey/Dzongkha language (i.e., nga, which means ‘I’ in English), the young boy pointed at his nose and said, “I am Ngawang Namgyal.” One day, the little boy happened to overhear the lopons (teachers) discussing about the declining decorum and discipline of the monastic order and commented thus, “Lopons, courteous codes of conduct I introduced seem to have become loose and weak now!” A Brief History of Densa Sangchen Chokhor 19 The lopons, on hearing this, requested him to restore the previous monastic discipline and moral code to its original once again. The trulku replied, “I have instructed many things, but it seems like they have not been listened to!” Thus, through such utterances, the young trulku revealed his past life and deeds. Invitation and installation in Pungthang [Punakha] On the 1st day of the tenth month the central monk body moved to their winter residence in Punakha Dzong and on the 1st day of the eleventh month, of the Earth Rabbit year (1712) the young trulku was installed in his predecessor’s residence, the Pungthang Dewa Chenpoi Phodrang [Punakha Dzong], with grand chibdrel (processions) and ceremonies. The clergy and senior government oficials, along with lay people, welcomed him with the traditional chibdrel ceremony at the choten (reliquary), which still stands today on the Mochu side near the end of the plain. The Desi received the trulku inside the dzong and invited him to sit on the lion throne in the temple as a mark of reverence and celebrated his arrival with the traditional Zhudrel Phuntsum Tsogpa ceremony and the offering of gifts. Enthronement The very next day, the Druk Desi, Ministers, the Je Khenpo (head abbot) and the four venerable Lopons, together with ecclesiastics of the Buddhist order, enthroned the six-year-old trulku as the irst speech reincarnation of Zhabdrung Ngawang Namgyal. The coronation/ enthronement was celebrated with great traditional pomp and the zhugdrel ceremony was accompanied by a recitation of the reincarnationlineage scriptures of Zhabdrung Rinpoche. All the subjects under the reign of the Druk Desi prostrated to the newly appointed Zhabdrung Sungtrul with deep respect and submission. This occasion was the irst enthronement of the Zhabdrung’s reincarnation at Pungthang Dewa Chenpoi Phodrang (Punakha Dzong). Until the enthronement of the irst speech incarnation, the death of the Zhabdrung had not been known to the outside world. It was during the enthronement of Jetsun Choglay Namgyal that the death of Zhabdrung Ngawang Namgyal formally became public. 20 Lopen Rinzin Wangchuk Education Thereafter, the young trulku resided alternately in the two residences-the summer home of Thimphu Dzong and the winter residence of Punakha Dzong-of the Great Palden Drukpa. He received teachings from various tutors, practiced meditation on Chagchen (the great Mahamudra, the essence of Vajrayana Buddhism) and learnt the three-leveled writings of Naropa, the writing on interdependence as received from the seven Buddhas by Choje Tsangpa Gyare. Furthermore, he received teachings on Palden Drukpai Chokhor (teachings of Drukpa Kagyu school) and the complete initiations of the Palden Drukpa. He also mastered the sutras and tantras. Later, he went to Cheri [the residence of his predecessor] and recited and meditated on Ralungi Dorje Jigje Lashey Guma and performed jenseg (burning offerings). Likewise, he learned poetry, phonology, thesaurus, orthography, astrology, culture, and skills such as painting and sculpture. On the ifteenth day of the irst month, Jetsun Choglay Namgyal, along with ive other monks, received ordination from his tutor Yeshe Ngudrup, assisted by Khenchen Zoba Thinley. He then went to Wangditse, and, from the same tutors he received the complete teachings of Buddhism translated into Classical Tibetan before returning to Cheri. There, he recited and practiced Ladrup and also meditated successfully on the secret tantra of Pal Yeshe Gonpo for a year. During this time he also composed a ritual text for the guardian deity of Cheri. Composition and lecturing for the beneit of others At the request of Desi Thripa, Jetsun Choglay Namgyal once again came to Punakha where he reiterated the dharma of the bodhisattvas, and further giving initiations to the Desi, the Je Khenpo Ngawang Lhundrup and the public. He also performed funeral rites for his late tutor, Yongzin Dubi Wangchuck. Then he returned to Cheri and, on behalf of his late tutor, undertook recital practices on meditation deities. Jetsun Choglay Namgyal also wrote the biography of Jamgon Choje and celebrated the successful completion of the book by composing a longevity prayer in the form of a beautiful poem. While moving from one residence to the other (summer and winter), the Desi Thri Rinpoche Gongsar A Brief History of Densa Sangchen Chokhor 21 Mipham Wangpo used to pay homage to the Zhabdrung Sungtrul. As a mark of respect, he walked from the Tabab Choten, a reliquary after which the public are not allowed to ride (except for the Druk Desi, the Zhabdrung and the Je Khenpo), while the trulku rode to the dzong’s gate. At Punakha, he wrote a volume of poetry as a biography of his tutor, Drupwang Yeshe Ngedup. The trulku also helped during the ordination of Jigme Norbu, the younger brother of Gongsar Mipham Wangpo. Arrival at Paro On the invitation of Rinchi Karbi Dhendup, the trulku visited Paro, via Gasa Trashi Thomo Dzong and Dor Lingshi. The people of Paro welcomed the Trulku with offerings of sang (burning of scented leaves) from all directions as a mark of reverence and respect for the trulku They sang and danced to welcome and express their great happiness. The monastic body of Paro Rinpung received the trulku with a traditional Serdrang procession. The Paro Ponlop (governor) also came to receive the trulku at the dzong gate. As a mark of their respect and loyalty, the monk body and the Ponlop insisted the trulku sit on the Lion Throne in the dzong; this was followed by the traditional ceremony of offering gold, silver and silk fabrics. The trulku gave sermons to the people of Paro and their leader, the Paro Ponlop, to sow in them the seeds of liberation - the Buddha Dharma. Offerings by the Indian and Tibetan kings Apart from several delegates carrying gifts and goodwill letters from the Tibetan king Sonam Tobgay, many kings from India came to visit the Trulku and offered gifts as a mark of respect on several occasions. Besides these worldly gifts, the Dharma king of Tibet offered hundreds of precious volumes of commentaries. The trulku reciprocated these offerings by sending letters of gratitude. This correspondence with the Tibetan king not only revealed the wisdom of the trulku but also disclosed how learned he was, thus enhancing the popularity of the trulku far and wide in Tibet. 22 Lopen Rinzin Wangchuk Meditation and other spiritual acts Although the trulku was mostly preoccupied with meditation and other religious pursuits, he also dedicated his time to composing volumes of text on those initiations and teachings received by him. Some of the important lines from the texts he composed were translated into Sanskrit and other languages. Moreover, he also painted hundreds of pictures of meditating deities along with other lamas for the text. Likewise, he composed guideline texts on initiation and guidebooks to visualize deities in order to promote the Drukpa Kagyu teachings. Merit accumulation and abandoning meat consumption The compassionate trulku, right from a very young age, abstained from eating any meat and his diet was strictly comprised of sweet vegetarian foods. He dedicated most of his time to reading and understanding the gist of several Buddhist philosophical texts and strictly practiced the dharma for the beneit of all sentient beings. He also recited the mantra of the meditation deities every day and concentrated on the realization of awareness and luminosity of the mind. Demise At the age of twenty-nine His Holiness suffered a disease similar to the one he had suffered in his childhood. When he was about to die, Lopon Pema Namgyal and Choje Ngawang Pekar humbly requested him to be reborn in the family of Ponlop Dhendup. Accordingly, he accepted their petition and passed away on the 21st day of the fourth month of the ire dragon year (1734) The second speech incarnation Choglay Sakya Tenzin “The only guardian of the beings of the land of medicinal herbs, Je Lama’s second successive speech incarnation, the Sakya son’s heart nectar, transmission and accomplishment, He who sustained it as it is, prostrations to you!” A Brief History of Densa Sangchen Chokhor 23 Birth On the 15th day of the third month of the wood rabbit year, Jetsun Choglay Namgyal’s reincarnation, Choglay Sakya Tenzin was born to Drukdra and his wife - the niece of Ponlop Dhendup - a noble family from Wangsisi, in accordance with the promise given to Lopon Pema Namgyal and Choje Ngawang Pekar just before H.H Jetsun Choglay Namgyal died. Recognition On the 17th day, the child was taken to Choje Ngawang Pekar, who named him Ngawang Penjore and gave him a talisman and a blessed substance. On the same day when the Choje was performing the rites of Legen Jaro Dongchen (one of Bhutan’s primary guardian deities), he thought that the boy born on the 15th day of the third month, corresponding to the day the Buddha turned the wheel of doctrine of the secret mantra, could be the reincarnation of Jetsun Choglay Namgyal. When this intuition was expressed to Lopon Pema Namgyal, he too had the same feeling about the young boy being the reincarnation of Jetsun Choglay Namgyal. Hence, they prayed to the three jewels (the Buddha, the sangha, and the dharma) for divination, in front of the shrine of the deities- especially Legen- and subsequently a divine sign of the young boy being the reincarnation of Jetsun Choglay Namgyal was revealed. The butter lamp offering divination was carried out and, again, the same sign was revealed. During the same period, there lived a person called Sheldrak Choje, who was highly trusted by both of them and other oficials too. He was requested to reconirm the young boy’s recognition. Upon being requested, he performed the rites of offering to the guardian deity, the recitation of the Yuddhavijaya Tantra and the rites of offering to the ten dakinis for a few days, which revealed the boy to be the true reincarnation of Jetsun Choglay Namgyal. From that time, all the people revered the boy, many presents and gifts were showered on the mother and she was asked to keep the story a secret till the appropriate time came. Choje Ngawang Pekar, out of deep faith, often observed the sleeping child and said that whatever other said about the reincarnation, it was his irm belief the boy was the true Zhabdrung 24 Lopen Rinzin Wangchuk and he cared for him more than a mother. When the young boy attained the age of three, Choje, in order to investigate and validate the reincarnation, told him, “Zhabdrung Choglay Namgyal was a highly revered lama but he is no more with us,” and when he acted as if he felt sad, the boy pointed to himself said, “I am Choglay Namgyal” several times and recognized some attendants of his predecessor and called them by their names. He also recognized the horseman of his predecessor when the horseman came to offer him butter as a gift. These are some of the many such disclosures made by the young boy about his past life. Education When the honorable Sherab Wangchuk, who was deeply dedicated to the Choje and the boy, ascended the throne of the Druk Desi, he invited the trulku and Choje to the central government. The Druk Desi and Je Khenpo Shakya Rinchen eulogized the young boy, and the trulku was allowed to stay in the dratshang (monastic center). Since Choje Ngawang Pekar cared for the Trulku very much, he tried to stay with the boy in the dratshang. However, as the Choje was very old, on the chief Abbot’s request the trulku’s care and upbringing were entrusted to the Head Abbot with the mutual understanding that the trulku would be given the same care and attention that the Choje would otherwise have given him. At the age of ten, when the trulku attained the age of a being a novice monk, he received ordination at the hereditary palace of Khen Thri, on the 15th day of the fourth month from Je Shakya Rinchen assisted by Choje Ngawang Pekar and was given the name Jamyang Sakya Tenzin. During that time the Head Abbot told Choje that he need not worry about the trulku, as he had dreamt of teaching the Hevajra Tantra to Jetsun Choglay Namgyal only a few days before-another divine sign to signify how much he cared for the trulku-and presented parting gifts to the Choje. The young trulku was learning mandala rituals, grammar and philosophy from Je Shakya Rinchen when a group of novice monks approached Je Shakya Rinchen, requesting full monastic ordination. Je Shakya Rinchen thought that the young trulku, who was now twenty, could also become a full monk. Therefore, the trulku, along with the other monks, with Je Shakya Rinchen as the Khenpo of ordination, A Brief History of Densa Sangchen Chokhor 25 assisted by Choje Ngawang Pekar, and in the presence of twentythree monks, received full ordination. After receiving ordination as a complete monk, the trulku continuously practiced higher trainings in discipline and spiritual practices in various stages of meditation, which resulted in the achievement of the three realizations- superior morality, superior concentration, and superior wisdom. The trulku also received teachings on the tantras and the sutras from Je Shakya Rinchen and other teachers who were well versed in Buddhism and philosophy. According to the commands given by Je Shakya Rinchen, the trulku wrote a biography [Dangsong Gaipai Luyang] of Choje Ngawang Pekar. Enthronement as Taktshang Drenpa The trulku was taking a break after completing the entire rites necessary after the demise of his teachers, one after the other. However, the Druk Desi appointed the trulku as the Drenpa of Taktshang according to the wishes of Je Thuwang Lam (Je Shakya Rinchen). After the installation, the trulku went back to the residence of Je Lama, Jagiphungpo, and packed his things. When the trulku, along with his attendants was about to leave for Taktshang, Tsethripa Gyalse Rinpoche, arrived to meet him at Jagiphongpo, exchanged words and saw him off. The trulku along with his attendants reached Paro Rinpung Dzong via Pumo Dechen Chokhor. There, Ponlop Pema Wangda received the trulku and his entourage with the traditional serdang ceremony and invited him to the Tandin Lhakhang, and offered varieties of Indian and Tibetan food. He also requested the trulku to spend a few nights at the Tandin Lhakhang. On one auspicious day, Ponlop Pema Wangda, with deep reverence, offered clothes, loads of ish, butter and cash in hundreds for His Holiness’ well-being. “Taktshang, the abode of Guru Padmasambhava is popular both in India and Tibet. Moreover, even a visit to this place would merit enlightenment- so it is an auspicious place to live. It is not only this. The Paro valley, itself, was a place chosen by His Holiness’ predecessors to disseminate the teachings of the Buddha and save ignorant beings- and because of the previous prayers- meeting you as an object of worship is fortunate,” said he in words of praise and requested the trulku to work for the beneit of all sentient beings. The monastic body of the Paro rabdey (monastic body) headed by 26 Lopen Rinzin Wangchuk the Lam Neten (head lama) also offered many gifts. The trulku was then escorted to the main gate by the Ponlop of Paro along with his attendants. Then the trulku rode on a horse decorated with a goldplated saddle. Surrounded by the attendants of the Paro Ponlop and his own attendants, His Holiness rode to Paro Drangjakha, the residence of the great Siddha Gyaltshen Pelzang, through Paro Tshongdue in a traditional serdrang procession. The public of Paro town came rushing to receive blessings and prostrated before him as a mark of respect and reverence. At Nemjo valley, His Holiness was received with offerings of tea and was presented with the newlyharvested rice. The trulku stayed for a few days at Drangjakha and according to the request made by his benefactors, His Holiness gave initiations of Buddha Amitayus (Buddha of Longevity) to the public of Paro. He then moved to the monastery of Yoselgang above Taktshang, the place prophesied by Guru Rinpoche that six dakinis and a siddha (master of spiritual accomplishment) would continuously inhabit, where he found an abode of many treasures of wealth and religious items. Upon his arrival there, he was received in the lhakhang (temple) with a traditional zhugdrel ceremony and once again the ceremony of Zhugdrel Phuntsum Tsogpa was organized in his chapel. Hereafter, the Choglay Shakya Tenzin resided at Yoselgang in the summer and Drangjakha in the winter, and during his stay in these two places he meditated on the supreme deity and made the representations of body, speech and mind as homage to his late masters. He also imparted profound teachings of Buddhism to his disciples for the well-being and beneit of all sentient beings, which led to a sense of religious awakening in the people of western Bhutan. Pilgrimage He performed many virtuous deeds or acts for the beneit of the residents of western Bhutan. Furthermore, he felt that the right time had come for him to visit eastern Bhutan and Tibet, and to let the people of these two places meet and hear his voice and teachings. He proceeded to Tibet via eastern Bhutan for the pilgrimage. The trulku blessed the people in the eastern region of Bhutan and Tibet through the paths of hearing, meeting, touching and thinking. A Brief History of Densa Sangchen Chokhor 27 Establishing monasteries for the beneit of sentient beings When Tha Drakpa became the Paro Ponlop, he offered many gifts to the trulku and became his benefactor. In the year 1765, and on the 3rd day of second month of the year of the Dog, when the trulku attained the age of thirty two, he visited a place to perform foundation rites - this place is where his ultimate ideal residence was to be built. In the same year, with labour and other resource contributions from his benefactor, Paro Ponlop Tha Drakpa, and other lay people of the region, the trulku successfully completed a three-storied monastery with an enclosure wall. The installation of the three jewels, or three kinds of relics, was completed within three years and a consecration ceremony was performed after the successful completion of each lhakhang. The inal consecration rites of Pal-Khorlo-dompa were performed at the beginning of the 8th month of the Ox year when the monastery was fully completed. The trulku gave initiation to all those people who attended the inal consecration ceremony. Performing rituals for the wellbeing of the country The trulku resided at his residence and was either engaged in giving instructions or teaching his pupils, or was practicing contemplation (samadhi). During that time, a misfortune befell the Bhutanese religious and secular authority. Trashichho Dzong, the then summer administrative and monastic center, was gutted by ire and a war against British India disrupted the peace and happiness of the country. The Druk Desi, the secular ruler of the country, requested His Holiness’ help and His Holiness accordingly performed the Phurpai Tordok in Taktshang. And later at his densa Sangchen Chokhor, he performed the Gonpoi Tordok for some time and restored the peace, stability and happiness of the country. Dwelling at the densa Since the trulku always had a mind to reside at his own densa, he resigned from the post of Taktshang Drenpa and lived until his death at Sangchen-Chokhor, imparting teachings and discourses for 28 Lopen Rinzin Wangchuk the beneit of all sentient beings. In this way, he also came to be known as Je Sangchen-Chokhorpa. Demise At the age of forty-one, His Holiness performed the TrelDra-Tsechu and gave initiations to the people. During the initiations, despite this tiring task, the trulku personally went around between the rows of people to bless all without any discrimination. At that time a woman called Namgyalmo from the noble family of Chang, realizing the tiring task involved, could not bear the trulku becoming very weary and pleaded that giving mig-wang (meaning initiation through realization) would be enough. The trulku looked at her and said, “Namgyalmo, will it be enough for you to have a view of the lhakhang only the following year?” This command was like a last testament for shortly afterwards the trulku showed signs of illness. Though the Desi and his followers prescribed medication and performed rites of healing, none helped. The Druk Desi was not satisied with the medication and rites of healing performed at Sangchen Chokhor. Therefore, he requested the trulku to come to Thimphu as the medication and ritual ceremonies could be done easily at Thimphu. Thus, the trulku went to Thimphu on the invitation of the Druk Desi. However, he did not stay at Trashichho Dzong according to the wishes of Druk Desi but instead went to Chokhortse Gonpa from where he could view the densa of Je Shakya Rinchen. While His Holiness was residing at Chokhortse, the Druk Desi, Tri Rinpoche Jigme Singye, head lamas of the regions, and the senior oficials came to visit him. Tri Rinpoche came three times to meet His Holiness and also gave solra (presents) to the attendants. Since His Holiness did not show signs of improvement, the Druk Desi commanded that, except for the doctors, no one be allowed to visit His Holiness. Although His Holiness recovered a little, the time of his beneicial tasks had come to an end. So, His Holiness renounced the world at the age of fortyone in the morning of the eighth day of the eighth month in the year 1774. A Brief History of Densa Sangchen Chokhor 29 The third speech incarnation, Choglay Yeshe Gyaltshen “The best knowledge, wisdom comparable to none, Triumphed over the valley of ignorance And attained the highest form and reached Buddhahood, Yet dwelling in Samsara, you must prostrate yourself!” Birth The third speech reincarnation of Zhabdrung Ngawang Namgyal, Choglay Yeshe Gyaltshen, was born in the Fire Monkey year (1775) at Wang Khasar Khar under Thimphu Dzongkhag. Recognition At a very young age he revealed his birth lineage [reincarnatelineage] and was then invited to the densa of his predecessor, Sangchen Chokhor, and was enthroned as the third speech reincarnation of Zhabdrung Rinpoche. Education He received the ordination of a novice monk and transmissions covering both empowerment and readings from the Je Khenpo Sherab Singye. Under the tutelage of Khen Rinpoche Jamyang Gyaltshen, he mastered grammar, poetry, science, and sutras and attained the title of Learned One. Moreover, he also received complete oral instruction on the teachings of the Drukpa Kagyu. At Sangchen Chokhor, he successfully underwent meditation training and achieved the two different paths - the generation stage and the completion (or perfection) stage. Spiritual master of Druk Desi His Holiness became the spiritual master of the twenty-irst Druk Desi, Druk Namgyal. 30 Lopen Rinzin Wangchuk Pilgrimage When he was twenty-one, he went to Lhasa and Samye on pilgrimage along with Thritrul Tshultrim Drakpa. There, they made signiicant offerings to the supreme relics and preached the wisdom of enlightenment to lay devotees and disciples before inally returning to Bhutan. Spiritual and temporal responsibilities Being the speech incarnation of the Zhabdrung Rinpoche and owing to his very good spiritual and temporal knowledge, he was appointed the twentieth Je Khenpo in 1807 on the request of the civil oficials and clergy members. In 1809, on the request of the government oficials and ministers, he was enthroned as the twentyeighth Druk Desi. He took over the responsibilities of both the spiritual and the temporal powers for almost three years and then resigned and resided at Sangchen Chokhor. Giving initiations to the kings of China and Tibet He often spent time giving his pupils teachings on mahamudra (chagja-chenpo) and ngondro (preliminary practice) along with teachings on Drukpa Kagyu at Sangchen Chokhor. During this time, due to the fame the successive speech incarnation of Zhabdrung gained, he was invited to China. Subsequently, he proceeded to China via Tibet. When he arrived in Tibet, the tutor of the Ninth Dalai Lama, the King of Tibet, Demo Thukton, requested His Holiness to give initiations for the wellbeing of the Ninth Dalai Lama, Lungtok Jamtsho, who was sick. During the initiation ceremonies, with his miraculous power, the trulku made the sound of a bell with his own voice and this was heard even at the palace of the Emperor of China. He said to the delegates from China who came to invite him that he did not have to go to China since he would be giving initiations to their Emperor together with the initiations that he was performing at Lhasa. The delegates did not believe him and continued to request he go to China. Thus the trulku went to China, along with the delegates who came to receive him and his own attendants. Upon their arrival in China, the delegates reported to the Emperor, who already knew of the miraculous incident, about which the trulku told them. The A Brief History of Densa Sangchen Chokhor 31 Emperor, Chi-Yang-Chi, along with all the royal family members and attendants gained irmer faith and devotion for His Holiness, honored him as their spiritual master and received many teachings, discourses, and initiations concerning Buddhism. Being honored by the kings of Tibet and China The kings of Tibet and China offered many precious gifts and pasture lands to His Holiness. Furthermore, they offered His Holiness edicts with royal seals stating that His Holiness should be provided with thirty free riding ponies along with free grazing land wherever he traveled in their territory. Thence, His Holiness and his reincarnations came to be known as Lama Kashokpa- the Lama with the Royal Edict. Return to Bhutan His Holiness returned to Bhutan from China with lots of gifts along with persimmon seeds. He then resided at Sangchen Chokhor, teaching disciples and undergoing meditation practice. Demise On the twenty-second day of the ninth month of the Iron Tiger year, 1830, His Holiness, only in his ifties, passed away at Densa Sangchen Chokhor. The fourth speech incarnation, Choglay Jigme Dorje “Free from the edges of the two realms, Having accomplished the inest unpolluted Tsangpi And reached the abode of Vajradhara, Yet clinging to the Samsara, I happily pay homage!” Birth The fourth speech reincarnation, His Holiness Choglay Jigme Dorje, was born in the Iron Rabbit year, corresponding to the year 1831 at Tang, Bumthang. 32 Lopen Rinzin Wangchuk Recognition According to oral transmissions, people say that the third Choglay, His Holiness Yeshe Gyaltshen, assured his disciples that he would be reborn through droung-jug (the practice or yoga of transferring one’s consciousness into another’s dead body). Hence, he went in search of a dead body where he could perform droungjug. He reached the village of Tang in Bumthang where he met a lady who came to fetch water and then followed her and saw a child who had just died. With his yogic powers, he miraculously transferred his consciousness into the body of the young child, and the boy came back to consciousness. The joyful parents started talking to their child, who in return and to the utter surprise of the parents, replied that he was Choglay Yeshe Gyaltshen and told them the detailed account of how he had entered into the body of the dead child through the yoga of droung-jug. The story reached the notice of the government within a short period. Accordingly the government investigated the authenticity of the story and it was found to be true. He was then invited to his previous residence and enthroned as the fourth Sungtrul of Zhabdrung Rinpoche. Education He was taught the practice of liberation under the tutelage of Je Khenpo Sherab Gyaltshen. However, due to the lack of merits of the people and sentient beings in the country, he did not live long. Demise He died at the age of twenty in the year of the Iron Dog (1850). The ifth speech incarnation, Choglay Yeshe Nguldrup “With the inest wisdom, thus seeing the essence of reality, Having achieved the best blessing, A Brief History of Densa Sangchen Chokhor 33 And with compassion and loving-kindness Beneiting enormously All sentient mother beings, I prostrate myself humbly!” Birth The ifth speech reincarnation of Zhabdrung Rinpoche, Choglay Yeshe Nguldrup, was born in the fourteenth Rabjung in the Iron Pig year corresponding to the year 1851 at Tang, Bumthang from the descendents of terton (treasure revealer) Pema Lingpa. Recognition He was born with many auspicious signs and, upon revealing the essentials of his past life; he was invited by the government to Densa Sangchen Chokhor and enthroned as the ifth Sungtrul of Zhabdrung Rinpoche. Education He received teachings under the tutelage of the Je Khenpo Yonten Gyaltshen, and Ngawang Dendhen. He studied verse lines and grammar, orthography, poetry, sutras, tantras, and philosophical texts. He also studied how to make the kyilkhor (or mandala, representation of the universe) in the Drukpa Kagyu tradition. He also practiced the Drukpa Kagyu aspiration to liberation and successfully accomplished it. Displaying miracles Enlightened beings (aryas) display their miraculous powers- a sign of their perfection in all ields of learning - for the beneit of all sentient beings. Sentient beings, on seeing and hearing about these miraculous deeds, then aspire to become like the enlightened beings. In this way, their miraculous acts become the catalyst in beings to accumulate the necessary knowledge to exhibit such performances. Thus, these displays lead to instilling the desire to practice the Buddhadharma in ignorant beings. Great yogins (accomplished masters) of the past have performed such incredible acts. For 34 Lopen Rinzin Wangchuk instance, the great Jetsun Milarepa entered a yak horn without either his body or the yak horn changing in size. The Jangphag displayed the vastness of the entire universe in his hair follicle, and numerous universes in an atom. Likewise, His Holiness too carved the image of Lokeshvara with full features on a piece of barley grain; a relic of perfection for the whole world to see. Moreover, there are many ‘speaking images’ (sungjonma) of Buddhas, bodhisattvas, deities, and lamas crafted by His Holiness in many parts of Bhutan and still visible to this day. It is also popularly said that once when His Holiness was visiting a house in Chang Tshelkha, a gaylgong (an evil spirit believed to harm people and animals; which is still believed and experienced in the illness develops because of the gaylgong’s wrath) ran away screaming from the ground loor. Maintenance of the tomb of Zhabdrung Rinpoche Due to instability in the country, the death of the Zhabdrung was kept a secret and a cofin constructed for preserving the kudung, or mortal remains, though no preservatives are used in the case of a kudung. A great Buddhist master often leaves his remains, in some cases the whole body, as objects of worship and merit generators. This is a sign of attainment of a higher level of mental perfection or a purer mentality. However, due to the passage of time, the cofin deteriorated and was dire need of repair. Although the Je Khenpo Shakya Rinchen and the Druk Desi Sherab Wangchuk, tried to repair the cofin they had to stop the renovation work, because coincidentally around the same time an epidemic broke out and the populace blamed it upon them, as a result of disturbing the cofin of the Zhabdrung. Following this, the mind reincarnation of the Zhabdrung, Jigme Norbu, and the Ponlop Haap attempted to repair the cofin. It is said that the Je Khenpo Yonten Gyaltshen, told them that they could not open the cofin and gave the reasons. This incident was followed by an earthquake and they had to stop work without even properly closing the cofin. The kudung was then left in the adhoc cofin, where insects or other interlopers could easily destroy it. The cofin remained in a state of deterioration for some time, as everyone feared even to shift the cofin, let alone secure it properly. A Brief History of Densa Sangchen Chokhor 35 In the same way as Kunkhyen Pema Karpo (one of His Holiness’ previous incarnations) maintained the image of Lokeshvara in Tibet, His Holiness Choglay Yeshe Nguldrup eventually renovated and maintained this precious relic of the country. It is because of his benevolent work that the mortal remains of the Zhabdrung kudung still remain intact and secure today. Temporal responsibilities As well as these great achievements, he also made extensive contributions to the temporal affairs of the country. The Ha Drung Ugyen Dorje submitted a proposal to enthrone Sir Ugyen Wangchuk as the irst hereditary King of Bhutan. This was intended to put an end to the ever-continuing internal problems and strife, and to bring long-term stability to the country under a single united leadership. Further, he proposed that the post of Desi be maintained to look after the internal affairs only, while the King would be responsible for both the internal and external affairs of the country. The proposal was then deliberated and discussed by the senior government oficials presided over by the then Desi, Choglay Yeshe Nguldrup, who accepted it bearing in mind the continuing internal problems due to the existence of many regional leaders instead of one united central authority under one leader. Headed by the Desi Choglay Yeshe Nguldrup, senior government oficials and clergy members decided to initiate a process for the establishment of a new and stronger temporal system under the leadership of a hereditary monarch. The inal resolution and decision of the meeting was sealed with both the Zhabdrung’s personal seal and the seal of the Druk Desi on the agreement, ratiied by Zhabdrung Sungtrul Choglay Yeshe Nguldrup, the then 57th Druk Desi, with the hope and aspiration for long-lasting peace and stability in the country. The agreement was also sealed with the personal seal of the Je Khenpo and the monastic community, Trongsa Ponlop, Zhung Dronyer, Dzongpons of Thimphu, Punakha, Paro and endorsed by all the red-scarf level oficials and representatives of the public from all over Bhutan, promising to serve the hereditary reign of Sir Ugyen Wangchuk with loyalty and dedication. Sir Ugyen Wangchuk was then enthroned as the irst hereditary king of Bhutan in 1907 at Punakha Dzong. The act of 36 Lopen Rinzin Wangchuk transforming the temporal system for the beneit of the country is one of the greatest achievements of His Holiness Choglay Yeshe Nguldrup. Never before in the history of the country did a Desi give up his powers for the long term beneit of the country! Spiritual acts The ifth Sungtrul His Holiness Choglay Yeshe Nguldrup made a signiicant contributions in the spiritual ield as well. His Holiness gave instructions and discourses on the profound teachings of the Drukpa Kagyu to the general public thirteen times-more than any of the Je Khenpos or the Zhabdrung’s speech and mind incarnations. Post of recognition In the year 1907, Sir Ugyen Wangchuk was enthroned as the irst hereditary monarch of Bhutan by Choglay Yeshe Nguldrup in accordance with the proposal made by Ha Drung Ugyen Dorje, with the aim of starting a more stable form of government and of restoring peace and prosperity in the country. The irst King Sir Ugyen Wangchuk, also appointed Ha Drung Ugyen Dorje as the Gongzim in 1911 and His Holiness Choglay Yeshe Nguldrup as the Je Khenpo in 1915 in recognition of their important contributions for the beneit of the country. Choglay Yeshe Nguldrup remained as the Je Khenpo for two years, totally engaged in work for the beneit of the country, people and all sentient beings. Demise Choglay Yeshe Nguldrup knew that his time to devote to others had come to an end and before his death he had accepted and prophesied that he would be reborn in the family of his niece Nidup Pelmo. He renounced the world on the twentieth day of the ifth month of the Bhutanese calendar, corresponding to the year 1918, in Trashichho Dzong leaving behind the four great legacies of performing miracles, renovating the Zhabdrung kudung, and spiritual and temporal acts that had not been undertaken by any previous Desis or the Zhabdrung’s speech and mind incarnations. A Brief History of Densa Sangchen Chokhor 37 The sixth speech incarnation, Choglay Jigme Tenzin “With morality void of terror and hope, And with total concentration, Attaining unparalleled wisdom, And becoming the icon of Dharma holders, I prostrate from the profundity of my heart!” Birth Enlightened beings keep their promises, and as such, His Holiness Choglay Yeshe Nguldrup kept his word. His Holiness was reborn to Ashi Dorji Wangmo, the cousin of the mind incarnation of Zhabdrung Jigme Dorje and Sangay Tenzin, son of Nidrup Palmo, the niece of Choglay Trulku Yeshe Nguldrup in the Earth Sheep year, 1919. To mark the rebirth of His Holiness, something spectacular or incredible happened. Nine consecutive layers of lowers blossomed from a single lowering plant at the Kunga Choling garden, His Holiness’ birthplace. Recognition When His Holiness Choglay Jigme Tenzin was barely able to walk, he always said that he wanted to go to Sangchen Chokhor. An attendant even had to pretend that he was taking him to Sangchen Chokhor. On one occasion, to the astonishment of the people, he showed the place where the zimpon (chamberlain) of his previous life was murdered and said woefully, “This is the place where my zimpon got killed.” The news spread all over the place and inally reached the ears of the king, Sir Ugyen Wangchuk. In order to investigate the truth, the king sent one of his attendants, Drupchung, who had also served the Fifth Choglay His Holiness Yeshe Nguldrup. Immediately, on seeing and meeting him, the boy recognized him and called him by his name and asked him about his horse. Drupchung was amazed and thus gained conidence and faith in the young boy. He returned to the palace and narrated the whole story. The king installed the young trulku at his previous densa, 38 Lopen Rinzin Wangchuk Sangchen Chokhor, for his early education. According to the command of the king, the trulku came to Sangchen Chokhor along with his entourage which included his parents. The Choglay, Jigme Tenzin, and his entourage were received with the traditional zhugdrel ceremony. At Sangchen Chokhor, the trulku received his early education under the tutelage of Khedrup (meaning learned) Kunga Gyaltshen who is popularly known as Tsham Goserp, a close disciple of the ifth Choglay, His Holiness Yeshe Nguldrup. When he attained the age of four, Jigme Dorje invited him to Trashichho Dzong and in the presence of the Je Khenpo, a representative of His Majesty the King, senior oficials of the government and the clergy, the young boy was shown all the belongings of his predecessor, His Holiness Choglay Yeshe Nguldrup. He recognized all his belongings without an error and thus Thugtrul Jigme Dorje enthroned him as the sixth Sungtrul of the Zhabdrung at the residence of the successive Zhabdrungs in the central temple at Trashichho Dzong and offered prayers for longevity. Education After his enthronement, he came back to Sangchen Chokhor. He learnt the kyil chog (mandala rite) of the Drukpa Kagyu order, and while doing so, he could memorize six pages in one sitting, with each page the length of an arrow, an act which revealed signs of remembering the trainings of his past life. He thoroughly learnt and could perform the rites of Lha Gyon Ten Dok at the very young age of around ten years old. Going into exile The death of Zhabdrung Thugtrul Jigme Dorje and the destruction of Sangchen Chokhor by ire forced Sungtrul Choglay Jigme Tenzin to move to Tibet. Sungtrul Choglay Jigme Tenzin, along with his followers, travelled to Jangtse in Tibet and lived there, eulogized by the government of Tibet. Later, Gongzim Sonam Tobgay invited His Holiness and his followers to Kalimpong in India. His Holiness the Sungtrul, along with his tutor Kunga Gyaltshen, parents and followers arrived in Kalimpong. Gongzim Sonam Tobgay received them and offered a A Brief History of Densa Sangchen Chokhor 39 palace for His Holiness and his tutor Kunga Gyaltshen and a house for the rest to live in. From Kalimpong, they travelled to Shelkar Drak near Takchu Gonpa. Takchu Gonpa, the birthplace of his tutor, is the foremost among the four gyonchens (holy places) in the Ha district. While at Shelkar Drak, His Holiness received teachings on the traditional sciences, the sutras, tantras and other Buddhist philosophical texts. The people of the region highly revered him and called him the Shelkar Drakgi Lamchung (young Lama of Shelkar Drak). The young Choglay’s ability to preside over the Bumdo (routine ritual ceremonies) at the monastery of Takchu Gonpa, despite his young age, generated great reverence from the people and is popularly narrated to this day. Meditation For meditation practices, His Holiness Choglay Jigme Tenzin chose the sacred Ha Juney Drak, which was blessed by Machig Labdron, one of the most popular and revered dakinis of the Vajrayana Buddhist tradition in Bhutan. His Holiness was accompanied by his tutor, Kunga Gyaltshen, and his younger brother, Ugyen Dorje as an attendant. He completed Losum Chosum (meditation for three years) and accomplished the two different paths (kirim and zogrim in classical Tibetan) along with the great Mahamudra and also perfected the Naro Chudru (the six virtuous practices of Naropa) and gained full realization. Realization for the beneit of others While residing at Juney Drak, the people of Sangbay Kha and Dungthasa invited His Holiness to their places. Despite the long and arduous journey, His Holiness visited the places and blessed the place and the people. He gave initiations of empowerment and teachings too. The people were privileged and happy to receive the initiations and teachings. He then moved to Denchukha, under Samtse Dzongkhag, and blessed the region and people who otherwise would not have had the opportunity to meet such a revered lama. He treated the sick and those affected or possessed by evil spirits through the paths of seeing, hearing, thinking, and feeling. During 40 Lopen Rinzin Wangchuk his stay in Ha, the people of Ha beneitted immensely in many ways from His Holiness’ presence in the region. Once again he had to leave for Kalimpong, Kapung and Pedung for the beneit of the people in those regions, traveling with his parents and attendants. In Kalimpong, he disseminated and promoted the teachings of Buddhism. While at Kalimpong, the young Choglay Jigme Tenzin also learned the English language and became luent both in English and Classical Tibetan languages, the latter being the main language used for teaching Buddhism in Bhutan. Pilgrimage His Holiness toured sacred places such as Bodh Gaya in India. At Bodh Gaya, under the Bodhi tree, His Holiness meditated on the awareness perception yoga (Sabsel-lhen-key-tingzing in Classical Tibetan) and realized the Mahamudra in a crystal-clear way. In other words, His Holiness gained full realization/enlightenment under the Bodhi tree. Return to Bhutan The second king, His Majesty Jigme Wangchuk thought of inviting the accomplished master to Bhutan, knowing that His Holiness would surely beneit the country and the people. Thus His Majesty invited His Holiness to Bhutan. His Holiness, Choglay Jigme Tenzin, along with his attendants returned to Bhutan via the southern border areas and reached Trongsa, the residence of the second king. Moreover, His Majesty the King also ordered the Paro Ponlop to return the belongings, such as land, etc., of His Holiness’ family. Demise On the return journey from India, His Holiness Choglay Jigme Tenzin, caught malaria. When His Holiness and his group reached the monastery of Chag Khar the illness became rather brutal. His Holiness was taken to the Taktse Lhakhang, located at a higher altitude, in the hopes for his recovery. However, because A Brief History of Densa Sangchen Chokhor 41 His Holiness’ teaching in this life had inished and the time for him to renounce the world had come, His Holiness fell into an eternal sleep at the age of thirty, on the irst day of the ifth month of the Bhutanese calendar (1949). History of Densa Sangchen Chokhor Analyzing the great site of the densa Paro is the key of the three great dulzhings. It is believed that great enlightened beings (bodhisattvas) choose suitable places for disseminating the Dharma and liberating beings; in classical Tibetan this is termed dulzhing, which roughly translates as ‘saving-realms’. It is comprised of the six great tshokhas (lakes) of Wangchang, Lamgo, Dolteng, Dolshar, Sharpa and Lungney. At Lamgo, the widest of the tshokhas, the Dharma King Songtsen Gampo had built a monastery and blessed it, as prophesied by the Buddha. Ugyen Rinpoche later blessed the place, concealing within many treasures of wealth and Dharma and proclaimed it many times to be a suitable place to practise the Dharma. The Zhabdrung and many other great lamas also visited and blessed the place. It is wide and open, with an ideal climate. Various lowers blossom in the spring, and paddy and fruits abound. Even the king of the gods, Jajin, would be tempted to live in a place with such an exquisite environment. Old hamlets and new settlements dot the place like stars in the sky. Faithful youths live in the peace and happiness of gods and humans. The elderly are wise and welcome the changes of time. And yet they devote their minds to virtuous deeds and amass merit to gain enlightenment. “Oh! A gathering of all pleasantness, a god’s abode, Inhabitants adore the Dharma, a puriied realm! Resting on the throne of doubt, what is it? Surely found, it is the medicinal vale of Paro!” In the center of a place where all the pleasant things abound, and on a mountain resembling a great heap of grains; where two rivers low from the right and left and meet in the front and turn towards the great site in reverence; adorned at the back by a mountain resembling a great meditator (gomchen) sitting cross-legged; amidst 42 Lopen Rinzin Wangchuk such great hamlets, on the mountain that resembles a blooming eight-petalled lotus, a place that is revered and where nature presents offerings naturally, there His Holiness Choglay Shakya Tenzin chose to build his densa; the place where His Holiness would practise the cultivation of his bodhichitta (the acts of an enlightened being). It is here, the densa of the worldly imitations of the great mentor Lokeshvara, the successive Zhabdrung Sungtruls, Pal Kunkhyen Druk Sangchen Chokhor is located. Thus it reads from His Holiness’ Sangkhor Karchag [roughly translated as Sangkhor contents]: “From the buds of the ive-hundred petalled lotus trunk, limitless compassion for beings escalating affection, The thunderbolt of wisdom taking human form distinguished by the features of the Buddha became King of Oddiyana, Persuaded by the offerings of Mandarava to perform the acts of the great eternal bliss, even if having left for Sinyul, the protector of beings who has hidden liberating treasures beneiting everyone, the lotus- born Buddha, born as and according to his prophecy is in fact the eternal wisdom lion, Dudjom Dorje, who triumphed over the beasts of ignorance and his province of the Southern Land of Medicinal Herbs [Bhutan] include the Thed valley along with Shar-ling, the Thimphu valley and Paro [is] the best; the land is wide and lat, so it’s the vale of boed. Forests of trees and abundant herbs, it’s the vale of woods. Just on seeing, it brings happiness so it’s the grand city of gods, It is ornamented with many fruit trees, so it’s the vale of humans, Everything of desire is concentrated here, so it’s the city of khachey, Beings here adore the Dharma, so it’s a puriied realm. The sparkling hamlets of this valley, like many stars down on earth, adorned with edible fruit trees, surrounded by dancing rivers and streams, without fear of hot summers and cold winters; people live in happiness always, spring showers lowers in plenty, and autumn, if seen by the king of gods, would be pleased to live [here]. A Brief History of Densa Sangchen Chokhor 43 Further, in the hub of the villages, is Tshongdue, [where] precious goods, clothes, silk and tea from Tibet, collections of everything from the north and Indian clothes and Indian delicacies from the eastwest, central and far-off delicacies and butter and meat, items from Thed for the people’s delight, the busy market, wish-fulilling gem-tree, in the center of such a valley, a hill, like a heap of mixed precious ornaments, [Paro is] the summit, considered the best of lands...” In addition, from the Karchag: According to Buddhism, any land for construction needs to be chosen carefully. The kind of land on which construction is done signiies the well-being of the inhabitants. The reasons are numerous and deeply rooted in the Vajrayana Buddhist texts and are beyond the scope of this presentation. The site chosen by His Holiness has the merits mentioned in the text – specifying sanctiied, holy land. The mountain, to the north, behind the site of the densa resembles a gomchen sitting cross-legged and embracing the ‘densa site’ on his lap. This signiies that the placement of the densa is holy and auspicious. The hills surrounding the site of the densa show signs of reverence with the following description: “Shar Tag Cha Lho Druk Ngoen Nub Ja Mar Jang Gey Rue Bel Nag Dang Sa Dab Ged Nam Khor Tsheb Ged Phub Da Log Rey Kuen Ta Shey Tag Ged Ying Su Ngoen Par Sel” Shar Tag Cha is the trail to the east of the densa site. It is also a sign showing that the site of the densa is good. Lho Druk Ngoen is the river to the south of the densa; also a good omen. Nub Ja Mar is the red land to the west of the densa and a further auspicious sign. The otter to the north- Jang Gey Rue Bel Nag- is also an indication of an ideal construction site. Together, its meaning is ‘These lucky signs signify different projections and if all these signs are found in the site of construction, it is a sign that good/noble people and descendants will lourish.’ 44 Lopen Rinzin Wangchuk Moreover, the site of the densa resembles a blossoming eight petalled lotus and the sky above it resembles the eight-marks (tshib) of a wheel (khorlo). And the hills nearby resemble the eight lucky signs. All these make the site of the densa very prestigious and holy. The text continues: “On all these hills surrounding the site of the densa are hermitages and Dharma institutions. The herders, Drokpas, along with their cattle and wild beasts, live in harmony. All these also make the location of the densa favorable. Added to the above, there are many sanctiied, holy places surrounding the site of the densa. Towards the east, there is the Marpa Lotsawa’s preaching place. In the southeast, there is Gyalwang Jey’s meditation hermitage, and there is also the Jampel Jatsho’s visualizing place. There is also the holy place where Thangtong Gyalpo visualized the omniscient one, lying in the air and establishing a holy rock nearby. Further down is Drak Karpo, Guru Rinpoche’s meditation place where we can clearly ind his body imprints. Towards the south, we ind Dzong Dragkha Ney where Guru Rinpoche meditated and where the egg-sized relic of the Buddha resides. Here is also an amazing stupa that is believed to rotate on its own. At the south base, towards the southwest, there is Drang Gey Gonpa, the place where the heart-relic of Gyaltshen Pelzang is preserved. And to the southwest, is Kyichu Lhakhang, an abode of relics and Dharma treasures. To the north, there is Taktshang Pelphug, a celestial abode of Dharma treasures and tsuklhakhangs, surrounded by many smaller sanctiied places. Towards the northeast is Rago and Chumphu the great ney of Guru Rinpoche, also a place where the Guru’s body imprints and hidden Dharma treasures are found. All these amazing places can be reached from the site of the densa in a day, a morning or half a morning. Further down the front base, there is the three-storied Dungtse stupa built by Thangtong Gyalpo, the Pelnang temple and the Namkha temple, etc., Moreover, there A Brief History of Densa Sangchen Chokhor 45 is also Rinpung Dzong, the seat of administration and storehouse of relics, loaded with Dharma treasures. Oh! Such a place visited by Guru Rinpoche and accomplished masters like Drupchen Pha Dampa, Jetsun Milarepa, and the like would even steal the charm of Bodh Gaya! At the summit of the mountain, behind the site of the densa, the bodhisattva, Jangsum Drakpa Jamtsho meditated and resided for a long time. The embodiment of the Buddha, Shakya Rinchen, visited the site and visualized it with his enlightened eyes and blessed it. At the northern side, behind the site of the densa, is the Drak Gyem, resembling the holy place of Tsari in Tibet. Je Zhong blessed it and it is popularly known as an abode of Demchog. He was highly accomplished and had miraculous powers. So I think it is true! Thus reads the karchag…” …And from above, the sanctity of the site of the densa can be even more clearly understood. Furthermore, the following song, roughly translated into English. discusses the location of the site of the densa: “The liberator Sakya Tenzin, Vajradhara, Gon Sangchen Chokhor, the Ogmin Buddha realm, Looking down from the Ogmin Buddha realm, The Paro valley sparkling brightly, The fort, heap of jewels, illuminating, The offering river gambolling, The herbal lowers blossoming brightly, The aromatic fruit trees scenting, The shining stars, moon and sun sparkling, The faithful air quivering, The offering grains brightly yellowing, The singing birds, chu ru ru-ing, The great secret Dharma wheel is, A naturally-offered object of worship.” Establishing the site of the densa in accordance with Vajrayana practice 46 Lopen Rinzin Wangchuk Thus, in 1975, corresponding to the 3rd day of the irst month of the Dog year, His Holiness Choglay Sakya Tenzin reached Sangchen Chokhor, the place that possesses all the qualities of an ideal gonpa as described above. Signiicant traditional foundational ceremonies (such as Tagon) were performed besides other ceremonies, like the installation of the mandala of Pal Khorlo Dompa. The surveying, taking over and puriication of the site were done according to the remedies prescribed in the secret Tantric texts. Then, His Holiness moved to Taktshang to perform tshechu (ritual ceremonies of the tenth day), and while returning to Drangye Gonpa, Gyalthang Drungpa volunteered to contribute timber for the construction and immediately recruited people to collect timber and construction commenced. Lam Neten Tenzin Namgyal of the Paro Rabdey offered a luncheon for the workers. The monastic community, together with the people, and the Paro Ponlop offered support for the construction of the densa. In the same year, a threestoried monastery supported by eight pillars and fenced by a wall was completed. All Dharma treasures and the relics of body, speech and mind incarnations were installed within three years. Thus reads the karchag (in translation): “On an auspicious day the foundations were laid. That day, the Lam Neten offered a heart-felt luncheon. Along with the three jewels (Buddha, Dharma, Sangha) and the protectors of the Dharma, spirits ruling the land danced with joy-creating, beautiful, auspicious clouds. The surveying, taking-over and puriication of the land was done in accordance with gue. In accordance with the Lama dompi naljor, the evil spirits were driven away and Khandroi phub was installed for protection. A lucky auspicious downpour took place and along with the eternal protectors of the Dharma, the Damchen who came along from Tibet were installed as protectors and were asked to ensure that everything was virtuously done. The public from the land were happy and everyone from A Brief History of Densa Sangchen Chokhor 47 different places contributed inancially and physically. The labor contribution ranged from 40 to 200 and there were food supplies, everyday, coming from different places. All these offerings, made from the heart, are blessings of the three jewels and a combination of the merits accumulated by self and others in our past. Many expert workers and the chief carpenter, Phuntsho, along with many other carpenters, gathered for work, and within eight months the three storied monastery along with other features were complete. That day, on seeing it as a cause of peace and prosperity for the future, the evil spirits tried to cause me harm. However, because of the blessings of the three jewels, they could not harm me and ran away in fear. Then, along with friends and disciples, I made and installed statues, paintings and named it Pel Druk Sang Chen Cho Key Khorlo.” The exquisite physical features of the densa are also extolled in the Karchag: “Oh! Is it god’s abode or Is it a magical creation? In reality, it’s Kunkhyen Druk, Sangchen Chokhor! The monastery is made elegant By the square snow-white mountain color, On seeing which come the red sun-set clouds, To hug. High up in the sky, The umbrella roof, With its pointed edges, The clear wooden khorlo thibgay, The sun, thinking it is the east mountain, Shines from the golden Gyaltshen, The lags, even if trying to divert them, The side bells sing, feeling strange, Hearing which, the young spring clouds, 48 Lopen Rinzin Wangchuk Come and compete with the side walls! Here, lat stones and, Green ground carpet all sides, Beautiful lower garden at the right, Surrounded by wide boundary walls, So enchanting, god’s blossom garden! So quiet and peaceful, a lonely hermitage, On hearing about it, lose your mind and, Seeing is bliss with such Calm dwelling, increases concentration!” The Kuten [body-treasures] in the Dukhang of the densa The Karchag describes: “In the northern side of the three-storied and eightpillared monastery, a pair of pillars - the length of the three stories - support an open hall, the Tsangkhang (a shrine). With preciously decorated jabyol (decorations found at the back of statues in monasteries in Bhutan) and a throne made out of different precious materials, sits Gyalwang Jampa’s (the future Buddha) two-storied statue as the main treasure. It is made of mendam (medicinal mud). The precious relics inside this statue include Yeshe Sempa, the dratsang’s one-foot Buddha statue made of gold and zinc, and Buddha relics given by Je Sakya Rinchen, His Holiness Choglay Namgyal’s precious items and choku relics, and many Dharmawisdom-texts. The statue is gold painted and features all the thirty-two Buddha body qualities. With its hand in the pose of preaching the Dharma, it sits in a position demonstrating he will come to the world as soon as the present Buddha’s era ends. On its right is the statue of kharsapani, and on the left is the statue of a circle of white Taras. The precious relics inside these statues are: Yeshe Sempa, Buddha statues made of Chinese li (precious metal), Tsepadme of liser (gold and li), and His A Brief History of Densa Sangchen Chokhor Holiness Choglay Namgyal’s precious items and choeku relics. Both are gold-painted and stand thirteen hand spans tall (roughly 2.5 meters). In front of the above are statues of Tsepadme and Ugyen Guru Rinpoche made of mendam, each the size of an eight-year-old child.” Further, “In front of the main statue of Jampa, on a lion throne Jabyol with gold and silver sculpture, decorated with turquoise, jeru, poshel and yu [various precious stones], is a live size statue of the Buddha plated with Zam bur ser [the purest kind of gold]. The tshutor [the ushnisha, or cranial protuberance] is made of Indranila [a precious stone, blue in color] and the eyebrows are made of turquoise. The Buddha statue displays all the thirtytwo heavenly features of the Buddha; covered in robes he is second to none! Before it, is a golden table made of cypress and painted with a painting of lion, and a bowl full of precious materials adorned with a pair of bendruya-made vases one on each side.” Regarding the wall paintings, the Karchag reads thus: “In the two storied Dukhang, on the right and left are paintings of Thub-wang-drong-kher-ma and Arya Namkhai Gyalpo, both standing, and the paintings are larger than normal life size. On both sides, above the paintings, are one thousand, one foot-sized Buddha paintings executed in gold. The bottom portion is covered in paintings of the sixteen arhats, Genyen, dharmapala (lords of the four directions), Nagarjuna, and Thogme. The sixteen arhats are painted along with their homes such as the thirty-three heavens, and their attendants. There are also paintings of the six ornaments of the world [six ancient Indian Buddhist scholars], Choje Gampopa [Dakpo Lhajay], Kunkhyen Jampel Jatsho, Lopon Pawo, and Jetsun Drakpa Jamtsho.” 49 50 Lopen Rinzin Wangchuk According to the Karchag, the wall paintings in the Tsangkhang are: “To the left is a painting of the Buddha, three stories tall and to its right and left are paintings of Jampeyang and Chana Dorje. On the right is a painting of Lokeshvara, three stories tall with paintings of Yegi Druma and Norbu Zin on the right and left. Behind the statues are three-foot paintings of Marmey Zey [a past Buddha] and Jampa [Maitreya] on the right and left, and a lifesize painting of Je Lozang Drakpa [Tsongkhapa] with hundreds of small Buddha paintings in between them.” Physical features of the gonkhang Suddenly the door opens into the gonkhang. The door is painted black and red at the neck and looks as if it’s bleeding. Above are paintings of skulls with brains oozing out. It is frightening like the city of the sinpo (evil, human-eating devils). Inside, in a dark room supported by two pillars, are paintings and symbols of both calm and frightening beasts and things found in a gonkhang. Body treasures inside the gonkhang The black door is painted with dry and wet skulls. There are paintings of the Gonpo and Lhamo’s ‘hereditary mentor sequence’ with Kunkhyen Pema Karpo in the form of Heruka in the middle. Around it are paintings of Thuchen Lama, Sonam Odzer, Choglay Namgyal, and Je Shakya Rinchen; all drawn in their tantric forms. In the middle of the two-pillared inner chamber, decorated with scarves and dangerous beasts is a fearful charnel-house. In it is a ierce life-size statue of Pal Gon Yeshe Gonpo with four hands adorned with jewels of gold, silver and precious things. In front of it is a similar statue of the Lay Gon, and on the right is Eka Zati with Dudsol Lhamo on the left, both taller than one foot in height. There are also one-span tall depictions of the four Rayteys, Gonpo Rigsum, and Maning. Also, there is a painting of Dudsol Lhamo on black canvas painted in gold with all the protector deities surrounding it, which was done and blessed by Kunkhyen Pema Karpo. A Brief History of Densa Sangchen Chokhor 51 Treasures in the gonkhang There are treasures like the Gonpoi Gue and Drup Yig volumes, and mind treasures like Lado, Wangzey and Tendo. There are also Palden Lhamo and Dey Ged Tendo, as developed by His Holiness, and Nang Men, Darna, Zedna, Druna, gold and silver, and other precious stones. A life-size tentor and chotor of Lay Gon and Lhamo Dege in full decoration, and a box with treasures like Shana, Nyingna, Thagna, Damze, Amirta are also present. Likewise, there is an elegant Yudenmai Dotor decorated with corals of precious stones, ngul [silver] thag, Sordup, etc. There is also the Gosung Damchen Gomong’s [Godu] statue with its fearful face in the form of a warlord, decorated with Sog Chag Nag Chu Sum and weapons. Qualities of the gonkhang as found in the Karchag: “If on hearing about it makes one frightened, on seeing, the hair on one’s body would stand on ends! Is this place a cold river-side cemetery or is it the city of Sinpos [human-eating devils]?” Features of the Lamai Lhakhang Above the eight-pillared ground-loor [Dukhang], is the Kagyu Lamai Lhakhang/Khangzang, supported by four red pillars decorated with precious paintings and things. There are graceful sculptures resembling wooden blocks, piled up, decorated with gold and silver sculptures. Golden dragons and lowers with lovely birds shine with beautiful colors. The properly arranged, red, wooden plank ceiling sits on beautifully shaped, blue, wooden blocks. There are striking verandas in all the four directions, giving ventilation, and doors opening into adjacent useful rooms. Statues The statue of Drukchen Pema Karpo sitting in a position of preaching is the main statue in this room. To its right is the statue of Zhabdrung Ngawang Namgyal sitting in the state of meditation 52 Lopen Rinzin Wangchuk with a slightly serious smile. The second and third statues, to the right of the main statue, are of Thuden Sonam Odzer and Ngawang Gyaltshen, respectively. On the left of the main statue is the statue of Je Shakya Rinchen sitting in a position of preaching, and to its left is the statue of His Holiness Choglay Namgyal. And, at the end of the row is the statue of Choje Ngawang Pekar. All statues are seated on thrones with tables in front, and adorned with Jabyul at the back. Above these statues, which are bigger in size, are statues of Vajradhara Yabyum, Tilopa, Gampopa and Gyalwang Je on the right side of the main statue. On the left, above the irst row of statues, are the statues of Naropa, Marpa, Milarepa, an Tsangpa Gyare. There are also statues of the nine Singyes, Namkhai Neljor, Chokyi Gyalpo, Nagi Wangchuk, Jamyang Choda, Lingchen Repa, Mipham Chogyal, Tenpai Nyima, a Heruka kyilkhor, Pekar Wang, and Lhawang Lodro and so on. All are about a foot tall and painted in gold with precious relics inside them. The statue rooms are decorated with beautiful precious paintings, sculptures and ornaments. The statues are showered with all the necessary ingredients of a holy lama. Speech treasures of the densa There are hundreds of volumes of the teachings of the Buddha, translated into classical Tibetan, cloth-bound, along with stores, and many Dharma printed texts. The eight heart relic stupas at Sangchen Chokhor From the eight heart-relic Buddha stupas, the Jangchub Chenpo and the Nampar Gyalmai stupas are about ten handspans tall. Inside the stupas, in the vase, there is a Buddha made of Chinese li and a gold Manjushri decorated with turquoise color, one hand-span tall, respectively. The other stupas are ive handspans tall and adorned with precious metals, stones and material. Inside them are statues of the Seven Paramount Buddhas’ made of mendam, paintings of Namgyal Lha Gu and Rigsum Gom. All these stupas are made of red and white Tibetan sandalwood, in the unique Kunkhyen Pema Karpo style. A Brief History of Densa Sangchen Chokhor 53 The Nampar Gyalmai stupa was built for His Holiness Je Shakya Rinchen, the Gomang stupa for His Holiness Ngawang Pekar and the Lhabab stupa for His Holiness Drup Wang Je. Inside these stupas are statues, relics and clothes of these enlightened masters respectively. The Jangchub Chenpo stupa was built as the memorial stupa of His Holiness Choglay Namgyal. Inside it are blessed, extraordinary items made by His Holiness, statues of His Holiness and Lokeshvara and relics. Consecration ceremony Consecration ceremonies were performed after the completion of each lhakhang (shrine). The inal consecration ceremony, in this case the ritual of Pal Khorlo Dompai Kilkhor, was performed in the irst half of the eighth month of the Ox year when the densa was completed. His Holiness Choglay Sacha Tenzin gave initiations to thousands of people gathered for the consecration ceremony. Rituals at Densa Sangchen Chokhor Starting the irst day of the irst month of the Bhutanese calender the recitation of the whole kanjur (Buddha’s teachings) starts. On the fourteenth, the three-day elaborate Gonpoi kichog (rituals of Mahakala) along with wang chog (blessing ritual) conclude, and on the ifteenth is Namgyal Tong Chog with Neten Chudru (rituals of the sixteen arhats) in the morning. And on the sixteenth morning is Jamgon Chod Ting composed by Je Shakya Rinchen and recitation of Ngon Togen. From the 10th to the 15th of the second month of the Bhutanese calender the rituals of Phurba and Gongdu are performed, each lasting for three days. Also, on the 16th there is a Gongdu Torwang (blessing) for the public. On one of the irst 15 days of the third month, the threeday Gonpoi Tendo is performed. Likewise, the Zhinchong Wangmoido Chog Sum Khug is performed for one day. And on the 15th of the fourth month, Neten Chudru is performed. In the ifth month, a day long Dorje Phurbai Drup Chog is conducted, and on the 4th of the sixth month, Jamgon Choje’s death 54 Lopen Rinzin Wangchuk anniversary is held; this includes the performing of the Lam Chodpa. On the 26th of the seventh month a ritual for the death anniversary of Yongzin Ngawang Pekar is held, which includes the performing of any one of the following rituals: Tshethro, Dragpo Marchen or Gongdu. And on the 9th the elaborate Nam Jom is performed. In the irst half of the eighth month, Tsepadme Gong Khugma, Lhachei Bumchei, Gonkhar Tagpei Dorje, Tshethro, Zhiwa Lhamang, Dragpo Phursham and Dragpo Marchen rituals are performed for one day each. And on the 13th of the ninth month Je Sakya Rinchen’s death anniversary is performed, and in the same month a three-day Pelkyi Dorje Kilchog and a day long Jigje are performed. During the second half of the tenth month a three-day Gonpoi Torchen with elaborations as prescribed in the sutra and tantra texts is performed. And in the twelfth month, Demchog Drugchuma and Chusuma rituals are conducted for one day each. Further, as well as the above annual rituals, brief ritual offerings for the Chamdrel composed by His Holiness are done everyday, and the usual 14th and 29th day elaborate rituals are also performed. Added to these, the ritual texts composed by Kunkhyen Pema Karpo are performed annually. Due to this, new texts like the Dukyi Khorlo, Jampel Tseda and the like were printed and texts of Gonpo Rigna for the Wang Chog rituals were also installed. The meaning of the name of the densa Sang Chen Cho Khor is a classical Tibetan term also found in Dzongkha. The word sang means secret, chen is great or enormous; cho is Dharma or [roughly] religion, and khor is wheel. Therefore in English, Sangchen Chokhor can mean ‘The Great Secret Dharma Wheel’ or ‘The Enormous Secret Dharma Wheel’ or ‘The Wheel of the Great Secret Thing’ or ‘The Enormous Secret Wheel of Everything’. What is the ‘secret thing’? It is, in a phrase, the Vajrayana practice. The Vajrayana practice is secret because of the many dificulties in understanding it and the serious risks involved [that are many and beyond the scope of this paper] if taught and practised like other forms of learning. All in all, the Vajrayana practice is secret because it is a practice that can lead one into the realms of eternal A Brief History of Densa Sangchen Chokhor 55 bliss, or pain, depending on the way one has understood the essence of it. To be a true Vajrayana practitioner, one needs to understand the essence of Buddhism, which is no easy task. The densa is a place where secret Buddhist practices and learnings are taught in many different ways. Instruction on internallyoriented practices - which are crucial for liberation -takes place there, as does explication of physical practices and ritual performances. Therefore, because this is a place where the ‘great secret thing’ is practised, the name Sangchen Chokhor is appropriate. The name of the place deines the meaning of the place, because a great secret-a secret that can lead one into eternal bliss-is being taught at this place and the act is exempliied as ‘turning the wheel’. Today, people call the place Sangchokhor or its even more abbreviated form, Sangkhor. Thangkas used during rituals at Sangchen Chokhor Dorje Jigje thangka; Gonpo-Rig-Nga-Wangchuk-Tso-Khor thangka; Gongdu-Tso-Khor thangka; two large thangkas of KangShag-Dam-Pa-Rig-Ja; nine thangkas of Dorje-Nam-Jom; Phur-BuiLha-Tshog thangka; Buddha and Neten Chudru thangka; Jam Kar thangka; and Nam-Gyel-Lha-Gui thangka, as well as others. Ritual implements used at the densa - Chag-Dam-Khandroi-U-Tho made by Kunkhyen Pema Karpo, decorated with silver, gold and turquoise Zhabdrung Rinpoche’s gold Chag-Dam-Tho-Pa, decorated with Pema Raka along with cover Jetsun Choglay Namgyal’s Chag-Dam-Tho-Pa, adorned with silver Zhabdrung Rinpoche’s silver-covered Zhel-Kar [cup] His Holiness’ everyday schedule for the beneit of self and others at the densa When the morning bell signals, His Holiness rises from YoselChokui-Dag-Nang to Dag-Nang-Ju-Lu. And then, after offerings and prostrations to the three jewels, His Holiness meditates on the Kerim 56 Lopen Rinzin Wangchuk and Zogrim non-dual and multiplies the merits generated with NgoMon (bodhisattva prayers and wishes). Elderly attendants/disciples have to perform hundred Nam-Gyal-Mai-Zungrings and hundred Tshey-Zungs, and the young ones have to perform hundred ChuTors and memorise and chant Choe-Choed. After morning tea, His Holiness gives discourse and explanation on sutras and tantras depending on the disciples’ abilities. In the afternoon, headed by monk Zopa Jamtsho, the disciples make Ku-Zungs, write books or do printing works; whichever is necessary. And in the evening, they have to do prayers. Moreover, depending on one’s ability, His Holiness helps disciples with meditation practices, giving explanations and supervising higher meditation practices. Source of amenities for annual rituals During the annual rituals mentioned above the necessary things have to come from various places in the form of offerings to His Holiness. Meat and butter come from Haa, buckwheat from Naja, rice from Paro, Thimphu and Punakha, baskets from Tshalung and Draydep, and kitchen utensils from Thimphu Tili. Added to these, offerings come from different regions in the east depending on what is available. Moreover, apart from offerings from within the country, offerings come from far-off places like India and Tibet too. All these offerings are turned into merit or virtue by His Holiness in different ways; one needs to understand the whole concept of Buddhism to understand them all. Prayers for the thriving of ‘learning and practising’ Buddhism by His Holiness The karchag reads, “Because of the summer powers of the virtuous three jewels, The clouds of learning and practising blur and, The great roaring of the secret omniscient dragon reach everywhere, And may the rains of peace and prosperity fall! Thus, the ocean of the Dharma wheel swells and The three merits illuminate and radiate beneit to others, A Brief History of Densa Sangchen Chokhor 57 With the possession of the nectar of liberation, May the lotus satisfy the being bees!” Medieval history of Sangchen Chokhor “Great at the inest secret, The bona ide Vajradhara, The successive speech incarnations, Managed accordingly and its rise and fall, Is printed as the preamble of its medieval history.” After the second Choglay Trulku His Holiness Shakya Tenzin established Densa Sangchen Chokhor in 1765, it became the densa of the successive Sungtruls until 1932; for almost 167 years it was managed by them. Endowed with precious relics and treasures offered by devotees and the Kings of China, Tibet and Hor (Mongolia), the monastery, considered a creditable place for offering and revered in the three realms, was burnt down to ashes after a quasi-intentional ire outbreak in 1932. Situation after 1932 The sacred monastery, blessed by the successive Sungtruls of Zhabdrung, was rebuilt under the initiation of Rinchen Zimpon Tandin along with the followers of Choglay Yeshe Nguldrup. Precious relics were also installed. There is an oral legend stating that once when the second king visited the place, he was impressed with the work of Zimpon Tandin. Unfortunately, another ire destroyed it in 1970. The Dzongpon during the time when the monastery caught ire, Doutrug, rebuilt a single storied monastery in its place from the monastery estate earnings. However, due to lack of funds there was nothing more than kitchen utensils. Moreover, even if it was a monastery where the Dzongpon was installed by the central monastic body and not even by the Rinpung Rabdey, from then onwards because there was not even a monk to take care of the monastery, the situation of the monastery reached its nadir. Recent history 58 Lopen Rinzin Wangchuk “The place praised by the eternal (dorje) speech embodiment of all the Buddhas, Ugyen Guru, its renovation and installing of the Buddhist institute, and how it rose…” Yab Dasho Ugyen Dorje - the nephew of the ifth Choglay Yeshe Nguldrup, younger brother of the sixth Choglay Jigme Tenzin and the father of Her Majesties the Queens, had plans to renovate Sangchen Chokhor Monastery and establish a Buddhist Institute. Therefore, he requested the late Je Khenpo, His Holiness Geshe Gedun Rinchen, the then principal of Phajoding Shedra, to depute one of his disciples as a teacher in the institute to be established. In the assembly, His Holiness Geshe Gedun Rinchen jokingly ordered me to be that teacher. Yab Dasho Ugyen Dorje heard a supernatural voice commanding him to rebuild the monastery on an occasion of annual offerings to the local deities. This event encouraged him to make the inal decision to rebuild the monastery. He initiated the rebuilding of the monastery in consultation with his younger brother, Lhenkey Gyaltshen. The two brothers initiated the reconstruction works in the 1980’s and completed a two-storied monastery in 1991, surrounded by a residential complex to accommodate about one hundred pupils of the shedra. They also installed precious Dharma relics and chodze, the necessary items, in the temple. Physical features of Sangchen Chokhor On the site detailed above, stands the beautiful two-storied monastery. The two-storied middle tower, or utse, is surrounded by drachas (rooms) on all four sides and can accommodate up to one hundred monks. Prayer wheels go round the middle tower, and there are paintings of Drubthob Gyepchu (eighty accomplished masters) behind the prayer wheels. Everything, outside and inside the structure, is beautifully painted. The beautifully built and decorated monastery is a glorious ornament of the Paro valley. The institute and monastery, Making the blessed pleased by Turning the wheel of a billion sutras and tantras Is this land’s beautifying ornament! A Brief History of Densa Sangchen Chokhor 59 Statues in the ground loor On the ground loor of the utse is a large statue of Guru Nangsi Zilnon, made in Nepal and inished after it reached Bhutan, made of gold zinc. It is one story tall and was donated by Their Majesties the Queens. It sits on a lion’s throne in a position of subduing all evils, with a slightly irritated face, facing south. Oh! From the Pema Yoe, Palace of Ngayab [land of devils/sinpos], To subdue demons and evils, And to uphold and bless the virtuous, Must have come right now, great mentor Ugyen! The auspicious relics inside it include many ancient treasures passed from generation to generation of Yab Ugyen Dorje’s family. Hence, when Yab Ugyen visited this place I personally heard him say, “My Guru is new from outside but old from within, and there is no Guru bigger than this made of gold-zinc in Bhutan. Because I could install all the precious treasures of my ancestors in here, my wishes have been realized!” He also said that the important works of installing the relics inside had been done by the present Je Khenpo. On the right and left of it are statues of Khandro Yeshe Tsogyal and Mandarava, each the size of a small child and standing. Behind, in the Gab Yol, are carved images of Gonpo Tsepadme and Trulpei Tsengye (eight manifestations of Guru Rinpoche), each a foot tall and made of mendam, or medicinal mud. To the right of the main statue of Guru Nangsi Zilnon is the statue of the future Buddha, Gyalwa Jampa. It is one-story tall and stands in such a position indicating that he will appear in the world as soon as the present Buddha’s era comes to an end. Toward the left of the main statue is the life-size statue of Phachog Chenrezig made of mendam, and to its left a statue of Palchen Dorje Zhenu yabyum. Paintings on the ground loor Outside the ground loor, towards the right side of the entrance door, the Wheel of Life is painted. This is to remind the monks remember the realities of life while entering and leaving 60 Lopen Rinzin Wangchuk the temple. Inside, to the right of the main body of the temple, is the painting of Dorje Phurbai Lhatshog yabyum in the center, surrounded by four sons, four gomongs and twelve phursungs, designed according to the directions of His Holiness Geshe Gedun Rinchen. It is said that there is no other Phurbai Lhatshog painting better than this one. At the other end, is the painting of Guru Rinpoche surrounded by his eight manifestations with Pho Gu and Mo Gu, lord-attendants found at the right and left, respectively. All these paintings are decorated with gold. At the lower end of the left side is a painting of all the ierce Gongdu Kangshag Lhatshog decorated with gold and silver. At the upper side, above the main body of the temple, is the painting of the four handed Yeshe Gonpo, Legon Jarog Dongchen, Palden Dudsol Lhamo, Chigchar, Ngonkha, Gyalchen Kuntu Zangpo, Genyen Dorje Dradul, Damchen Godu Nagpo Chagei Relchen, Nay Kei Dagpo Retshen Sampel Norbu, Nay Kei Dagmo Menmo Yangki Pelzom and attendants, for example, Pho Nga Nag Gei Du Po Cheall protector deities of the Palden Drukpa. Statues in the gonkhang To the left of the main body of the temple in the Dukhang is the den of the Pel Nagpo Chenpo Cham Drel - the gonkhang, or shrine for the protective deities. It bears the features and characteristics of a cemetery, and is intended to be very frightening. Inside is a largescale Pel Yeshe Gonpo along with his consort as the main statue. The statue of Yeshe Sempa Pel Khorlo Dompa, made and blessed by Zhabdrung Rinpoche, resides as the relic inside it. To its right is the statue of Lay Kei Gonpo and to the left is the statue of Dudsol Lhamo - both made of mendam and an arrow-length in height. And to its left is the statue of Damchen Shenpa Nagpo (Gomang), made of mendam. There is also a large-scale statue of Kurukulla (a ierce form of Tara) made of mendam, donated by Her Majesty the Queen Ashi Dorje Wangmo Wangchuk. Later, a life-size statue of Damchen Shenpa Nagpo, one of the main protector deities of the Palden Drukpa and the protector of the successive Choglays made of gold-zinc, along with a riding horse, was donated by His Majesty the King Jigme Singye Wangchuk. A Brief History of Densa Sangchen Chokhor 61 Dharma treasures in the gonkhang - Speech treasures like Gonpoi Gu and Drup Yig volumes Mind treasures, such as La Do and Wang Ze Tendo Zab Ku made out of ive different colors Palden Lhamoi Do, and Damchen Shenpa Nagpoi Tendo Nang Men, Dar Na, Zed Na, Dru Na, Ser Ngul (gold and silver), Yu, Ju Ru, Mu Tig [all three are precious stones] Life-size Tontor Different ornamented Chodtors of Lhamo Dagye Sha Na, Nying Na, Thag Na, Dam Ze Amrita etc in the treasure box Sog Chag Nag Chu Sum and armor Gatekeeper statues of Damchen Shenpa Mar Nag in the form of warlords. Statues in the Lamai Lhakhang The main statue in the Lamai Lhakhang is of Thuchen Dudjom Dorje (Zhabdrung Rinpoche), sitting in the position of meditation and holding an eternal life vase or vase of longevity (tsebum). On the right are statues of Choglay Namgyal, holding a precious vase; Choglay Jigme Dorje wearing a tendrel hat; and Choglay Yeshe Nguldrup in the position of preaching and holding a lotus. Towards the left of the main statue is the statue of Choglay Shakya Tenzin in meditation posture holding a Dharma text. To its left is Choglay Yeshe Gyaltshen, with a slightly angry face, indicating the subduing of evils. And further in the left corner is Choglay Jigme Tenzin, wearing a pezha. All statues are made of mendam, painted in gold and seated on thrones. Behind each statue is a Jab Yul, and in front of each one is a table. Inside all statues precious relics have been installed. Above the main statue is the statue of Vajradhara, and on its left and right are statues of Tilopa and Naropa. From the right of Tilopa are Marpa, Dagpo, Phadrug, the nine Singyes and Rigsum Namthrul. From the left of Naropa are Mila, Rechung, Lingrey, Choje Gyarepa, Khenchen Doring, Samgyel Khachey, Lochog, Namkhai Neljor, Kunga Peljor, Ngawang Chogyal, Jamyang Chodrag, Kunkhyen Pema Karpo, Mipham Chogyal, and Tenpai Nyima. Each 62 Lopen Rinzin Wangchuk statue is about a foot tall, painted in gold and has precious blessed relics inside it. All in all, it is a representation of all the great mentors of the Chagja Chenmo. Tsepadme Lhakhang In here the statue of Tsepadme sits as the main statue, lifesize and covered in gold. On its right is an arrow-length tall statue of Namgyalma adorned with silver and with a white, moon-like face. To the right of Namgyalma is the treasure-lord, Gyalchen Namtose. And to the left of the main statue is the statue of Dolkar Yezhin Khorlo (White Tara), the fuliller of every desire. To its left is the statue of Lhamen Gyalmo Trashi Tshering Chenga (ive sisters of long life), the executors of every want. Above these statues are many small statues of Tsepadme, a foot-tall statue of Milarepa and Lhamen Gyalmo Trashi Tsheringmai Tondo. All the statues are adorned with Jab Yul, thrones and silk clothes. Paintings in the Lamai Lhakhang and Tsepadme Lhakhang Outside the Lamai Lhakhang, before the entrance door, are paintings of Lopon Ludup and Phaba Lha, Lopon Thogme and Ignen, Lopon Chokyi Langpo and Palden Choeda, and Lopon Yonten Od and Sakya Od. These are paintings of the Six Ornaments and Two Excellent Ones, the foremost Indian Buddhist scholars. Lopon Ludup and Thogme are classiied as the ‘two excellent ones’ and the others constitute the ‘six ornaments’. There are also paintings of the lords of the four cardinal directions, the main non-human Dharma protectors. Above the entrance door is the painting of Nangtsho Reldi (ocean sword) signifying protection of the monastery from ire hazards. Inside, at the upper side of the assembly hall, is a painting of Buddha in gold, along with sixteen arhats and Dharma attendants and patrons. At the lower end is Buddha Vajradhara, Drupchen Tilopa and Naropa, the king of translators Marpa Chokyi Lodro and Gangchen Drupai Wangchuk Milarepa, The mentor of all Kagyupas Dagpo Sonam Rinchen and Deshe Phadrug Dorje Gyalpo, Lingchenrepa Pema Dorje and Palden Drukpa Tsangpa Gyare, and Kunkhyen Pema Karpo; in short, all past great mentors A Brief History of Densa Sangchen Chokhor 63 of the Kagyu lineage. On the left of and above the main body of the temple are paintings of the ive sisters of immortality, with Trashi Tsheringma as the main one surrounded by Khorthing Gey Zhel Zangma, Meyo Lang Zangma, Chopon Drin Zangma and Tekar Dro Zangma. On the upper side to the left of the main body of the temple is a painting of the ierce form of Tsepadme, surrounded by gods of the ive kinds, ten attendants, and four gomongs. This is one of the nine Kirim Lha Gus of the Kagyu order. And at the lower end can be seen Zhabdrung Phuntsum-Tshogpa and successive speech incarnations. Statues in the bedroom of the speech incarnations Here the main statue is of Lokeshvara- the one from whom the successive speech incarnations reincarnated. To its right is the statue of Sangwei Dagpo (Chana Dorje or Vajrapani) and to the left is the bodhisattava of wisdom, Manjushri. Statues in the Gyalkhang The statue of Jajin, holding a rope and sword while riding an elephant, is the main object. There are other, smaller statues of Sharchog Kui Gyalpo Monbu Puta (lord of the east), Lhochog Yonten Gei Gyalpo Nodjin Shingja Chen (lord of the south), Nubchog Sung Gei Gyalpo Dral Lhakechigbu (lord of the west), and Jangchog Thrinley Gei Gyalpo Pekar, lord of the north. Above these are tall statues of approximately a hand-span in height of Gyalwa Yoepadme, Guru Pema Jungney, and Gyalwa Shakya Rinchen, lanked by tentor and tendo. Statues in the Tsokhang In the center is a statue of the Buddha, made in Nepal, featuring all of his thirty-two transcendental qualities. On its right is the statue of Geshe Gedun Rinchen, made of mendam, while on the left are statues of the twenty-one Taras brought from Delhi and donated by Gup Lhenkey Gyaltshen. The main statue is about a foot tall and the rest are approximately one hand-span tall. 64 Lopen Rinzin Wangchuk Speech treasures - One hundred volumes of Kagyur (Buddha’s teachings) Two hundred and twenty volumes of Tenjur Serdi (commentary on the Buddha’s teachings) Twelve volumes of ‘texts on wisdom’; irst three pages written in gold and two pages imprinted with pictures of gods One highly blessed, gold-written volume A from the Bum (One hundred thousand wisdom texts) One volume gold, written Getongpa (eighty thousand wisdom texts), jointly written by China and Sogpo Mind treasures - One silver Namgyal Choten (stupa) with Namgyalma Lhatsog, made of silver, with relic/treasure inside One silver Choglay Yeshe Gyaltshen Kudung Choten with His Holiness’ tooth as a relic inside A silver Choglay Yeshe Nguldrup Kudung Choten with His Holiness’ hand-bone with an image of Chenrezig Kharsapani as a relic inside Silver Kudung Choten of Choglay Jigme Tenzin, painted in gold, donated by Yab Dasho Ugyen Dorje. Inside is a tooth, in the shape of a dungkar (conch), of His Holiness, from when His Holiness was eight years old, seated on a lotus made of silver and decorated with gold New shedra (Buddhist institute) at Sangchen Chokor On the 15th day of the second month of the Iron Sheep year, corresponding to 30th March 1991, according to the wishes of Yap Dasho Ugyen Dorje, the Royal Government opened the shedra at Sangchen Chokhor. It started with twenty-ive students and I was appointed the principal. I had received a kasho (edict) from His Holiness Geshe Gedun Rinchen commanding me to be the principal of the shedra while I was studying in north India. I thought that what his Holiness had told me many A Brief History of Densa Sangchen Chokhor 65 years ago at Phajoding was a prophecy and felt such deep reverence! Inauguration of the shedra His Holiness Geshe Gedun Rinchen arrived at Sangchen Chokhor to perform the consecration ceremonies on the 13th day of the fourth month of Iron Sheep year (1991). On the 14th day, His Holiness Geshe Gedun Rinchen, monks, Yab Dasho Ugyen Dorje and Dasho Zipon Wangchuk inaugurated the newly established shedra with a traditional zhugdrel ceremony. His Holiness gave a rationalization of the Gangi Lodro text (Praises of Manjushri), composed by His Holiness, to all the students of shedra in order to promote their wisdom. His Holiness explained the self-composed ritual texts of the guardian deities of the Drukpa Kagyu, and thus inaugurated the daily classes. Consecration ceremony His Holiness Geshe Gedun Rinchen, along with a hundred monks, performed the consecration ceremony on the fourteenth day, fourth month of the Iron Sheep year. On the ifteenth day, coinciding with the auspicious day of the Buddha’s Parinirvana, the consecration ceremony was concluded with a meditation on the main deity of Dorje Phurpa and so the monastery was consecrated. The day ended with auspicious blessings and signs. His Majesty’s visit and an honorary award to Yab Ugyen Dorje On the morning of 15th day of the fourth month of the Bhutanese calendar, on the inal consecration day, His Majesty the King Jigme Singye Wangchuk, Their Majesties the Queens, Their Royal Highnesses the Princes and Princesses arrived at Sangchen Chokhor. On arrival, the royal family was welcomed by Yab Dasho Ugyen Dorje and family, the four Lopons of the Zhung Dratsang, ministers, heads of civil and armed forces, and members of the public carrying auspicious offerings, and was greeted with the Chibdrel Phunsum Tsogpa Ceremony. On the ground outside the monastery, His Holiness offered the welcome scarf and welcomed the royal family into the dzong. 66 Lopen Rinzin Wangchuk First, on the ground outside the monastery, the offering of marchang to the Lamas, Yidams, Khandros, Yul Lhas and Zhi Dags was done. Then His Majesty and the royal family entered the monastery and offered prostrations. This was followed by the offerings of Tenzhug and Mendrel by His Holiness to His Majesty, and was preceded by the Zhugdrel Phuntsum Tsogpa ceremony. After a short break for tea and rest, His Majesty and the Royal family, His Holiness, the four Lopons, the Sangha and everybody participated in the Tashi Ngasol ceremony. Later, inside the monastery, His Majesty the King awarded Yab Dasho Ugyen Dorje the ‘red scarf ’ for his noble work in the restoration of the historical monument. And this was followed by the offering of Tashi Zege and Rinchen Na Dun by His Holiness to His Majesty the King. In front of the gathering of His Majesty and the royal family, His Holiness and dignitaries, the Phunsum Tshogpei Tsogtso was performed by Geshe Tshenyepa, thus inaugurating the metaphysical debate system at the monastery. A noon lunch was followed by a brief rest and then tea was served. Later in the day, His Majesty and the royal family left the densa, and the next day, on the 16th, His Holiness performed Jab Cho (rituals for the protector deities). On the 17th, His Holiness and the sangha, yab, yum and family also left Sangchen Chokhor after this grand occasion. Classes begin at Sangchen Chokhor After the consecration ceremony, for about a month important works, such as the appointment of Lopons, were undertaken. On the 4th day of the sixth month of the Bhutanese calendar and coinciding with the day the Buddha irst gave sermons, classes began. Even if Sangchen Chokhor had been burnt down many times, at this moment it became apparent that one unburned part remained, namely, the turning of the wheel of Dharma, which once again started, with the Thirty-Seven Acts of a Bodhisattva as the irst lesson. Periodical rituals at Sangchen Chokhor A Brief History of Densa Sangchen Chokhor 67 Periodical rituals are held at Densa Sangchen Chokhor and are done as speciied in the Tho Yig. Thangkas employed during rituals - - - - - - Thangka of Sangay Rabdun (seven paramount Buddhas) with Lhachen Tsangpa and Jajin and two disciples imprinted with lantsa (sacred script) from China or popularly known as the thangka Janama. A thongdrol (big thangka) of Ugyen Guru Rinpoche and his eight manifestations with Rigdag Yoepadme An embroidered thangka of Choglay Yeshe Nguldrup with silver lantsa scriptures on the hat An embroidered thangka of Demchog yabyum donated by Yab Dasho Ugyen Dorje An embroidered thangka of Chenrezig, Jampeyang, Chana Dorje, Zhabdrung and Guru donated by Yab Dasho Ugyen Dorje A one story tall embroidered thangka of Choglay Jigme Tenzin, surrounded by seven gods, donated by Yab and their Majesties A big thangka of Tsepadme donated by Gup Sonam Wangchuck A gold adorned thangka of Nampar Gyalma Lha Gu donated by Her Majesty the Queen Ashi Sangay Choden Wangchuck Zhabdrung Dangnag Mei Kilkhor thangka, goldpainted and donated by the Dratsang Lhuntshog Supplies for periodical rituals The supplies for the rituals are met from chozhings that generate about 3,000 dreys of rice, and chonor that gives about 140 sangs of butter annually, maintained by Their Holinesses the successive speech incarnations, and from the faithful people who give offerings. For the three days of Choglay Jigme Tenzin’s death 68 Lopen Rinzin Wangchuk anniversary, Yab Dasho Ugyen Dorje, Gup Sonam Wangchuck, Gup Lhenkey Gyaltshen, Aum Shelkar Choden and Aum Namgay Wangmo donated Nu. 280,000, and during the Kucho they sponsored the feasts and offerings and give money and clothes to the monks annually. Starting from 2003, yab, yum and family have sponsored about Nu. 300,000 annually on a rotational basis for the yearly forty ive day long Yarney rituals. Supplies for the students The teachers are given monthly salaries and topho (a food stipend), and students are given a monthly topho by the royal government. Prayer to spread and lourish the teachings of Buddha Moral and hear the ocean of sutras and tantras, With the perfect mentality, analyze what is heard over and over, Concentrate on the analyzed without a seconds distraction, With hearing, analyzing and concentration, may the Dharma hold! Steal the conidence of opponents with debate, Steal the magic of Yangchenma’s guitar with compositions, Steal the heart of listeners by lecturing, With debate, composition, and lecturing, May the Dharma rule! Knowing the ive sciences blossoms the mind, Compassion, affection and loving-kindness for right disciples grow, Beneits for beings under the stretch of the sky raise, With knowledge, compassion and beneits, May the Dharma spread! The billion great hereditary secret tantras and sutras, Possessors possessing all knowledge, successive mentors, Turn the bottomless extensive Dharma wheel and, Rule the resonance of ampliication for long! May I too be born in all lives to come at this densa, A Brief History of Densa Sangchen Chokhor 69 As the holder, ruler and spreader of the Dharma and, May the good triumph of helping all beings under the stretch of the blue, To reach heaven and enlightened-realms advance! Particularly, the holder of the densa, speech incarnations, Appear in succession without break and, The densa and the entire Drukpa institutes Flourish in all times and all places! The monastery pleasing Guru Ugyen, Identical to the Pema Od [lotus glow] palace, May you who built it along with family, live happy, At present, future and inally, attain the seat of Vajradhara! The great mothers of the Buddhas of the three eras, Who is none other than Jetsun Dema, Came to the blissful land of medicinal herbs in the forms of queens, May you live long! The Dharma king of the past, Superb at intentionally reincarnating, Fearless of whatsoever, and patient, Controlling with the lion-roar of the ‘ten virtuous regulations’ and Rich with every virtue, May you live long! Fearless, harmless and he whose knowledge is at its zenith, Toward the avenue of peace and prosperity, Lord of men, ruling with peace and prosperity, May you live long and your deeds lourish! 70 Lopen Rinzin Wangchuk A Brief History of Densa Sangchen Chokhor 71 72 Lopen Rinzin Wangchuk A Brief History of Densa Sangchen Chokhor 73 74 Lopen Rinzin Wangchuk THE SACRED SITE OF BUMTHANG TRAKAR Ugyen Dorje Introduction It is ideal that the National Museum of the Department of Culture is bringing out a compilation of research aimed at preserving our national heritage, resources that will be very beneicial to our future generation. I have based my article on the very sacred site of Prakar in the Chume Geog1 of Bumthang Dzongkhag. Few unearthed riddles such as its origin, prophecy, time and construction of a temple on the site are gleaned from very scanty sources, most of which are orally transmitted and preserved. Somewhere between 1950s and 1960s, Ashi Phuntsho Choden2, the queen of the second king of Bhutan, invited her court priest from Kham (Tibet) to Bumthang. He was no other than the second reincarnation of the great Tibetan Lama Rigzin Garab who had assumed the title of Chabje Ponlop Khapo upon reaching the pinnacle of the hierarchy of lamas. He was accompanied by the great treasure discoverer Terchen Jigdrel Yeshe Dorje. While the terchen was teaching Dzogpa Chenpoi Kacho in Bumthang, Guru Rinpoche appeared in his vision and prophesied him to ind the sacred site of Prakar, as it was very special for Bhutan. He instructed his followers to look for the site but after two weeks of extensive searching, they couldn’t spot it. They reported their unsuccessful mission to the lama, but the lama insisted that they continue to search more carefully within the vicinity. After two additional weeks of searching, they inally spotted a box-shaped rock covered with mosses and reported the inding to the lama. Lama recognized the holy site where they had discovered the rock was the prophesied one. Later in 1960s, as per the royal command, the late Home 1 Of the three main valleys of Bumthang, Chume is part of the valley that lies to the west of Chokor valley where Jakar Dzong is located. The upper part of the valley is called Gyatsa. 2 The irst Queen of the Second King of Bhutan Gongsar Jigme Wangchuck 76 Ugyen Dorje Minister Tamzhing Jagar constructed a temple on this site. A number of venerable lamas, including Dilgo Khyentse Rinpoche, Chabje Dorje Drubchen, Khenpo Jigme Phuntsho and Nyoshulkhen Rinpoche also visited the place and declared that the spot was genuinely sacred. Bumthang region The name Bumthang is particularly coined from a Bhutanese phrase describing the shape of the valley – bum being a vase and thang meaning plain. Chume got its name from Terton Nyadag Nyangrel Nyima Odzer (1124-1192). The terton built Chume temple at a foretold site, located on top of a lake, by using his supernatural power. Not long after, the lake burst out from the right side of the temple, so the place was called Chumig, which means ‘eye of the lake’. Nowadays the name has become altered and people call the place Chume. In Bhutan, there is a particular trend where the upper part of a village is referred to as to and the lower part referred to as mey. Many villages in the country have such names, for example, in Lhuntse we have Kurto and Kurmey, Hato and Hamey in Ha and Longto and Longmey in Wangdue Phodrang. Thus, there always existed a mey whenever there is a toe or vice versa, but as there is no Chuto as such in this particular valley in Bumthang, Chumig was the name given to the valley, which sounds more meaningful and accurate. Prakar is the same as pchakar in Dzongkha, raksha in Kurtob and silver langur in English. Sacred site of Bumthang Prakar The Buddha of three eras from the deeds of all Glory in the domain of the entire God, devil and human realms Ugyen Padma, the invincible one Sprinkles you with shreds of lowers Guru observes and utters Prophecy of one thousand treasure revealers Drukdag Dorje, the revered one The Sacred Site of Bumthang Trakar 77 You are showered with lowers, None but with his own gentle hands Kuntu Zangpo, in his wrathful form A manifestation of Ekajati, the protector of mantras The one footed wrathful yogini Vowed to protect Drukpa doctrine with the tide of a summer ocean. During the 8th century, a young prince from India was sent into exile to Sindhu in Pakistan. He fought a battle on behalf of Sindhu against the army of an enemy king called ‘Gyalpo Nawoche’ but his party lost to the enemy and ultimately he led from the place and took refuge in Bumthang. In Bhutan he was thus called Sindha Raja meaning the King of Sindhu. One day, he fell seriously ill and consulted all the astrologers in the kingdom. One by one, all of them offered the same remedy- to invite the highly learned master called Guru Padma Jungne, who was at the time meditating in a cave called Yanglesho.3 The great master was then invited into Bhutan in 746 CE, where he stayed for awhile. But not so long during his stay, a Tibetan king named Gyalpo Trisong Deutsen invited the master to Tibet. Knowing that the time of prophecy had arrived to construct Samye Monastery in Tibet, Guru at once agreed to the king’s request and departed for Tibet. Still, he is said to have later returned twice to Bhutan. During his stay in the country, Guru Rinpoche concealed treasures (treasure of doctrine, treasure of wealth, treasure of food, treasure of thought, treasure of substance etc.) in all the ive elements of nature (earth, water, ire, air and sky) and blessed wherever he set his feet on, establishing the basis for the continuation of Dharma practice as the only way to ensure continuity of peace and stability for all sentient beings in the future. Moreover, Guru also subdued terrorizing deities of various localities and consigned protective duties to them, dispatching some to guard the treasures with a strict instruction that they were to be revealed only to particular individuals on the predestined days. At the end of 8th century at the request of a Tibetan prince called Muthi Tsenpo, Guru Padma Jungne built a wooden airplane that carried the entire entourage (ive hundred 3 A sacred cave in Nepal where the Guru is believed to have practiced for many years. 78 Ugyen Dorje escorts) of Khyikha Ratho4 from Khenpa Jong to Tang Khyitsum in Bumthang. A brief description of this sacred place is as follows: the forest behind it encouraged lawlessness, making it extremely dangerous for a single person to walk along even in a broad daylight. In the foreground of the most sacred site of Prakar one inds the seat of Kunkhyen Longchen Rabjam called the Tharpaling monastery and the awe inspiring bath place of the generations of Kunkhyenpas. In the upper part of the forest is found the Trashicholing Palace of King Jigme Wangchuck and the monastery of Nyimalung. The lower section of the entire picture is occupied with the temple of Nyangzer, built on top of a lake by Terton Nyangrel Nyima Odzer. Village settlement and myriad of people ill the middle ground. The lower part of foreground has the sparkling river of Chume meandering along the loor of the broad valley of Gyetsa and Chume, joining the other rivers that low towards the Indian Ocean in the south. It is believed that Terton Drugdra Dorje already foretold that the spiritual continuity of our country would be determined by the revelation or discovery of the treasures from the sacred site of Chume in Bumthang. The following prophesies were made by him: Right in the middle of the sacred plain of Chume, Dwells a golden box and an amulet trove, Containing the treasure for protecting the lam of Druk, If it were revealed then all will be well, Helps sustain continuity of the doctrine (Buddhism) If not revealed, then the spread of the doctrine shall be contained With the Habshar Nagpo’s devious plan, The doctrine will then be diffused in the air, Dejecting all the eight good deeds as impurities, Accepting all the eight bad deeds as laws, Then the peace never will return. It is therefore a must to discover treasure from this sacred site in order to ensure spiritual continuity on this earth as emphasis 4 An evil prince born of an evil queen of King Trisong Deutsen of Tibet and who was later exiled to Khenpa Jong in the northeastern part of Bhutan by his own father the king. The Sacred Site of Bumthang Trakar 79 is placed more on the sacred stone at Prakar in Bumthang Chume. The spiritual and secular continuity of Druk, Might have attained its peak. Nonetheless its progress lies in the hands of Ekajati And had the prosperity and fate not conformed Secular progress shall be delayed. The above excerpt clearly expresses that the secular and the religious situation of our country, in the future, will be depending on the blessing of Ekajati (‘one braid [of hair]’), under whose blessing the fame of Bhutan might soar like the turquoise colored dragon, above the cover of the three realms of our universe. This would depend on the discovery of a treasure from the lake Tsho Dawa Khampa by one of the reincarnations of Terton Drugdra Dorje. Even now in Prakar, the sacred image of the treasure-box on a lump of rock drips ambrosia, signifying its value in the Buddhist world. Even in the scriptures related to such treasures, Guru Padma Jungne had used a very special mark, sun-moon symbol against the word Prakar, which is unlike other identiication marks, and usually used against the names of sacred treasures and their sites as a veriication of their genuineness. To identify this sacred rock a simple emblem is used. Ugyen Padma Jungney’s clairvoyant mind foresaw the future of Bhutan and consistently used this symbol in order to impress upon people the truth and validity of the teachings. The crossed vajra in the center signiies the permanence of the Buddhist doctrine; the glittering triple-gem on top of the vajra symbolizes harmony existing between the king, ministers and the people and the male and the female dragon on either sides of the vajra, is a name reference of the country as Druk Yul. The open jaws of the dragon is a symbol of a fame that Bhutan will achieve in the future; comparable to the roar of a dragon, while the image of dragons facing skyward and emitting lames from their mouth symbolize fortunes that Bhutanese will enjoy through economic development contributed by electricity generation without damaging the ecosystem, and the bordering ring around the images signiies the authority of the governing body in all these factors. Ugyen Guru Padma Jungne had left ine inscriptions, in his own handwriting, on the surface of the sacred rock of Prakar, representing ive 80 Ugyen Dorje key elements of knowledge (yonten nga) that remains visible today. According to another excerpt taken from the treasure document, Guru Rinpoche had made the following prophesies regarding the fourth King Jigme Singye Wangchuck. My boy open your heart and listen again In the hidden valley of the south, Adorned with medicinal plants, A boy will be born Who if enthroned, then for twelve years Doctrine will lourish devoid of any obstruction And peace will prevail among all beings. Guru Rinpoche spoke to Terton Drugdra Dorje to open his heart to receive his prophecies again. He foretold that in the hidden valley of the south, that is, in Thimphu, a boy will be born. He will be born smart with beautiful smiles. If he were enthroned as a leader, he would be like a lion, fearless but gracious; and ultimately, the doctrine of Buddhism would lourish and all his people and the animals would bath in the glory of peace under his rule. The author’s closing supplication: The altruist one predestined by Ugyen Padma, The magnanimous leader of men with the fame of a lion, Dedicates his action for the well being of all, Whose philosophy always for the gross national happiness, With the four pillars of precious gems, Good governance, prevention of unfair practices, Community development and cultural promotion, May these four pillars build into a magniicent house. Dedication of virtue With our dedication on virtues like a waxing moon, May we, our parents and all the animals, From the apex of the path to heaven, Look down into the huge primordially pure and deep gorge. The Sacred Site of Bumthang Trakar 81 Note on author According to the instruction from the National Museum of Paro, I, Lopon Ugyen Dorje (with knowledge of eighteen years extensive study in both internal and external wisdom) from Kurto, residing near the Wang Chu (river), which lows down to the Indian Ocean via Trashichho Dzong located in the capital of Bhutan that resembles Kapala (capital city) of Northern Shambhala, compiled this article in 2005. Sources −− −− −− −− −− Prophecy of Terton Drugdra Dorje Druk Selwai Dronme by Pema Tshewang Oral interviews My personal experience Research CONSERVATION OF OUR ARCHITECTURAL HERITAGE Nagtsho Dorji Architecture in Bhutan Bhutan is well known for its unique and beautiful architecture as well as its endeavors to keep it intact as part of our heritage. One of the reasons we have been able to achieve this could be due to the profuse use of intricate forms of architecture in our dzongs and temples, and the special value that these sites and structures carry for the Bhutanese. Over time, architectural heritage has played one of the key roles in deining our cultural identity. Although elements of Bhutanese architecture likely emerged through cross-cultural interactions with neighboring countries due to their shared religious methodologies, Bhutan subsequently developed its own unique form of architecture, taking into account topography, availability of local materials, climate and cultural values. In Bhutanese architecture, each constituent element has a symbolic meaning closely associated with the predominant culture and religion of Bhutan. Be it the boh or zhu or pem, each carries a cultural message as well as forming an integral structural member that holds the building together. Each architectural element has its own hierarchy in relation to other elements. For example, a chotse is always placed above a pem and not the other way round. If this hierarchy were not followed, the zow (patron) of this particular building would be highly criticized on their poor knowledge of constructing traditional Bhutanese architecture. Bhutanese architecture has evolved with the evolution of Bhutanese way of life and culture. Therefore, the traditional form of architecture that has developed over the years and that is now identiied with Bhutanese way of life is considered authentic and to a large extent unchangeable. Bhutanese architecture is quite distinct and found throughout the country. Generally in a given culture, there are variations from place to place or between regions. These could be results of 84 Nagtsho Dorji topographical conditions, local climate, availability of materials for construction, or the preferences of the individual zows involved in the construction. These types of variation in architecture had been less well known or practiced among the Bhutanese; as a result, the country generally has one type of architecture. Therefore, there is a strong urge in every individual involved in any kind of construction or renovation of major structures in Bhutan to try to enhance the overall beauty of its architecture. As mentioned earlier, there is little opportunity to bring about major changes in the placement of constituent elements. Hence, as and when an individual explores new avenues, often as a result of exposure through the ongoing process of modernization, contact with foreign modes of construction and with increasingly affordable housing, the Bhutanese have begun to in some ways redeine traditional construction styles by providing more intricate patterns and designs in our architecture. These changes are bringing about modiications to our traditional architecture and thus also to the aesthetics of the building. Such improvements and modiications are totally justiiable in case of new constructions. With modernization and emerging demands it is natural that changes and improvements need to be incorporated to satisfy the clients. But then should these changes also inluence our age-old heritage structures such as dzongs, lhakhangs or rural farmhouses? Conservation of our architectural heritage Bhutan has been commended by the outside world for its ability to preserve its cultural and traditional values in their authentic forms. Rightly so, the preservation of these values forms one of the four pillars through which the ultimate goal of Gross National Happiness is to be achieved. Consciously or unconsciously, we have always made an attempt to preserve our cultural heritage but with the advent of modernization, whether Bhutanese traditional architecture in its authentic form can withstand the onslaught of time is a point of concern. The tremendous efforts undertaken presently by the royal government and the people of Bhutan towards preserving our heritage structures such as dzongs (fortresses) and lhakhangs (temples) are very commendable. These efforts are not only driven by our genuine desire to conserve our invaluable cultural heritage but also Conservation of Our Architectural Heritage 85 by our faith in the religion and cultural values, which we cherish. The current situation in Bhutan is an ideal environment in which to preserve our architectural heritage in a systematic and concerted way. We have in His Majesty the King a true conservator personiied. The king has commanded and personally overseen the restoration of many of our important dzongs, lhakhangs and other historic structures. The royal government is providing inancial and other forms of support to the people in preserving our cultural heritage, particularly numerous traditional structures in need of repair. At the same time, as progress has brought increased prosperity to the country, Bhutanese people are coming forward to make personal contributions, both inancial and physical, towards this important area. All of these factors are having a tremendous impact in the preservation of our architectural heritage. But the bigger question is, are we moving in the right direction? There is no doubt that those involved in the renovation or restoration of traditional buildings is putting forth their best efforts toward promoting and preserving architectural traditions of the country. But do these efforts contribute towards conserving our architectural heritage? As mentioned earlier, we have started seeing our architecture as one entity throughout the country. Any variation has been lost due to lack of documentation or categorization. Perhaps this was not a matter of concern earlier, as there was no need to repair or renovate the traditional structures due to its good condition. But now with such a large number of traditional buildings in need of repair or restoration, the preservation of their original form in all its nuances has become an important concern. The current approach towards restoration or reconstruction is mainly through trying to enhance the intricate architectural elements of the building within the Bhutanese context. An authentic timber window would rather be regarded as a poor form of traditional architecture whereas replacement of these old traditional windows with more modernized timber window with lavish carvings and paintings are presently considered the best way to promote and preserve our diverse architecture. These modernized versions of traditional windows are seen as ideal for new constructions (religious as well as commercial buildings), and it also offers an avenue for creativity. But without knowing the full variations of Bhutanese architectural history or, as we just might call it, the ‘diversity of our 86 Nagtsho Dorji architecture’, is it ethically correct to accept this modiication as ‘conservation of our architectural heritage’? It is possible that this current approach could be one of the reasons why most of our important architectural structures do not qualify for inclusion on the world heritage list, as the structures are no longer close to their original forms. Bhutan is a unique country where besides the construction of a large number of modern buildings for commercial use in urban centers and villages, we have a large number of religious structures such as lhakhangs and chotens (reliquaries) being built all across the kingdom every year. In fact, Bhutan is possibly the only country in the world where very unique fortress-like structures known as dzongs are still being constructed. This type of new construction provides an opportunity for Bhutanese people to express their creativity, enhancing as well as glorifying Bhutanese architecture through their contributions. Therefore, it might be sensible for new changes in architecture to be focused more on new constructions while traditional structures are conserved in their most authentic forms possible. Every element of our traditional buildings bears witness to our glorious past, representing our history, culture and traditions. Irrespective of their present appearance, they need to be respected and protected in their original forms. One might argue that since our architecture is living, there is a need to change and update them to complement the modern day needs of their users. But if we study the new requirements that need to be integrated into these buildings, most can be easily integrated without having to signiicantly compromise the overall original integrity of the building or its function(s). Bhutan presently has the opportunity to set an example for conservation of living architectural heritage, through protection of the structure from damage due to age or other calamities, present day efforts such as renovation, restoration and reconstruction ought to be geared primarily towards total conservation, rather than beautiication. Traditional layered rooing versus jabzhi jamthog rooing The classic example of present day trend of works executed on the age-old traditional buildings is the incorporation of jabzhi Conservation of Our Architectural Heritage 87 style roofs. In earlier times, the layered rooing style was generally employed more often than the jabzhi style of rooing, which is why the layered roofs are found more often on our traditional buildings. The reasons for the predominance of the layered rooing style could include its effectiveness in protecting the building from the type of climates commonly prevailing throughout the country, functionality (as it provides space for activities such as storage, drying, etc.) and expediency of construction. The layered style of rooing complements design found in the remainder of the building, thus bringing about a sense of cohesion in our unique architecture. Until recently, the jabzhi style roof was seen only in few buildings, but now many renovation/restoration/reconstruction projects seek to replace layered roofs with jabzhi style rooing. The reason for this change varies, though from a religious point of view, a lhakhang ought to have a roof of zangdopelri with jabzhi style rooing. However, now that many Bhutanese people are economically better off, they wish to exercise the ability to install a sertog (a inial shaped like a golden umbrella, which requires a jabzhi style of roof), with the intention of their wanting the building to look like a lhakhang or dzong. Are these reasons logical or functionally justiiable? While this would largely depend on the individual person, what if we know that by incorporating such changes we might be risking the authenticity of our architecture? As such we hardly seem to construct the layered rooing style, and with rapid replacement of the layered rooing style with jabzhi, Bhutan may be close to losing one of its architectural identities. This type of replacement trend is also seen with other traditional architectural elements, a trend which could be of major concern if we do not address it now. This new wave of change coming about in our architecture would no longer adequately relect our history or our true cultural identity. Bhutan could end up with an overly extravagant architecture that would cease to carry on the particular cultural connotations of many types of structures. An ideal choice? In Bhutan, people’s interest and personal contributions towards preserving cultural heritage is generally good, partly because of our religious beliefs. Therefore, this type of situation should be perfect to for patrons to make the ideal choice for their projects. 88 Nagtsho Dorji Our architectural heritage, which stands as visual testimony to our history and culture, has provided the country with a distinct identity of which we can be proud. Therefore, we should work towards conserving these age-old architectural legacies in their original and authentic forms. In this way, we would pay tribute to our ancestors and through the process of conservation, we would develop more feasible methods of conserving our living architectural heritage. Side by side with the improvements brought about in new constructions, we could contribute towards enhancing the traditional Bhutanese architecture, thereby promoting the distinct cultural identity of Bhutan. My division, that of the Conservation of Architectural Heritage under the Department of Culture, Ministry of Home and Cultural Affairs, is the main agency in the country responsible for the conservation, restoration, maintenance and rehabilitation of architectural heritage in the country. We have always prioritized the conservation of our traditional architecture in its original and authentic forms. In process of undertaking conservation, we are faced with many challenges. Therefore, some of the concerns that have been raised throughout this paper have been presented with the hope that we can raise awareness among Bhutanese regarding the importance of conserving our architectural heritage. My personal belief is that if these concerns are not addressed now, eventually we will lose the signiicance of our heritage. DRAMETSE NGA CHAM: THE MASK DANCE OF THE DRUMS FROM DRAMETSE Lopon Lungten Gyatso Drametse and its geographic location Drametse is a small community under Mongar district in eastern Bhutan. It lies at an altitude of 2300 meters above sea level and is about 100 kilometers from Mongar town, the district headquarters. One has to drive along a feeder road for about twenty kilometers from the Trashigang-Mongar highway. It requires negotiation of thirty sharp uphill turns to reach the center of the village from the highway. Drametse is located at a vantage point providing panoramic views of many communities of the neighboring district of Trashigang such as Trashigang Dzong, Kanglung, Uzarong, Khiya Dangrong, Yonphula and Chakhar as well as the Drangme Chu.1 The Thegchog Ogyen Namdrol Choling Monastery is the glory of Drametse. It was founded by a highly accomplished ani (nun) called Choten Zangmo in the 16th century. She was the grand daughter of the famous religious master (Terton)2 Pema Lingpa (1450-1521). In fact the small temple initially constructed by Ani Choten Zangmo was in a place now known as Drupchu Gonpa, ‘the monastery of the miraculous spring’. It is about three miles above the Thegchog Ogyen Namdrol Choling monastery. The population of monks, nuns and lay practitioners gradually increased and the place soon became overcrowded. Therefore, Ani Choten Zangmo was compelled to shift her monastery to its present location. 1 Name of a river that runs from below Trashigang Dzong which is also known as Gongri. 2‘Treasure revealers’ are considered highly accomplished and predestined beings who discover religious texts, statues or objects after receiving a prophecy. Pema Lingpa is regarded as one of the ive great treasure revealers of the Nyingmapa religious school in the Himalayan world, along with Nyangrel Nyima Odzer (12th century), Guru Chowang (13th century), Dorje Lingpa (14-15th century) and Jamyang Khyentse Wangpo (19th century). 90 Lopen Lungten Gyatso According to the biography of the Sixth Dalai Lama, Tsangyang Gyatso (17th century), Ani Choten Zangmo is referred to as an incarnation of a celestial being (dakini), who strongly committed to the well-being of all sentient creatures on earth. From an early age, she devoted herself to Buddhist practices and resorted to a life of solitude in the caves of Bumthang region in central Bhutan. History and development of the dance The mask dance, popularly known as Drametse Ngacham, emanated from the teachings of the treasures revealed by the great master terton Pema Lingpa. Of the many masked dances found in Bhutan, the Drametse Ngacham is known to be native to Bhutan. Though Bhutan shares many religious and spiritual similarities with the neighboring Himalayan Buddhist world, the Drametse Ngacham is different from the other mask dances performed elsewhere. Ever since its advent in Drametse in the 16th century, the Drametse Ngacham has remained a unique Bhutanese cultural expression and relects more particularly the identity of the community of Drametse. In 1518, when Khedrup Kunga Gyaltshen3 was engaged in an intensive meditation retreat observing total control over his body, speech and mind, he saw a vision of three beautiful dakini dressed in silken gowns, and adorned with garlands of precious ornaments. They guided him to the abode of Guru Rinpoche. There, Khedrup Kunga Gyaltshen saw Guru Rinpoche seated on a throne. Guru Rinpoche said, “Son, I am glad that you are here”. Soon after, the celestial heroes and heroines appeared and they performed this dance. After the performance, Guru Rinpoche instructed Khedrup Kunga Gyaltshen to introduce this dance form in the human world for the beneit of sentient beings. When Khedrup Kunga Gyaltshen came out of his contemplative state, he realized that it was an auspicious experience. He carefully noted down choreography of the dance and then introduced it in Drametse to transmit the Tantric teachings of the Mahayana tradition through the sacred and esoteric movements of the deities. The dance is believed to have the power to establish peace, prosperity, tranquility and good fortune in the community. 3 He assisted Ani Choten Zangmo to establish both Drupchu Gonpa and Thegchog Ogyen Namdrol Choling Gonpa in Drametse. Drametse Nga Cham 91 So far, there is no trace of written records relating the visit of any religious igures in eastern Bhutan before Ratna Lingpa (15th century) and Pema Lingpa (16th century). Perhaps Buddhism did not have a irm footing in eastern Bhutan before their individual arrivals. From a religious perspective, it could be envisaged that introduction of Drametse Ngacham had a predestined reason for its establishment at that time, which would have been to proclaim the victory of the Tantric tradition of Mahayana Buddhism in the east. Indeed, according to Buddhist beliefs, the sound of the drum is a sign of victory and jubilation. History reveals that Drametse Ngacham was performed outside of Drametse for the irst time during the time of Zhabdrung Jigme Chogyal when he was invited to Talo monastery in western Bhutan. Then it was introduced in Trongsa in central Bhutan during the reign of the second king4, and then spread to Gangteng monastery in Paro, Ura in Bumthang and Trashichho Dzong5 in Thimphu.6 Drametse Ngacham was performed for the irst time in Trashichho Dzong during the visit of the Indian Prime Minister Pandit Jawaharlal Nehru in the year 1958. Today, Drametse Ngacham is included in all the Dzongkhag festivals and major community centers in the country. At present Drametse Ngacham is performed in two versions: The original Drametse Ngacham as undertaken in Drametse itself and the other as done in other monasteries and localities. The original version is always preceded by the dance of the two jesters or atsara which in the local dialect are called the Mila Gadpu. The other version does not need the jesters. Moreover, the other version has developed styles that differ in a number of sections from those in the original. The differences would have widened because there was no centrally controlled coordination in the transmission of this dance. They were performed in relative isolation in the respective places. Time and space were, therefore, instrumental in creating different interpretations. Social, symbolic and cultural functions 4 King Jigme Wangchuk (r. 1926-1952) 5 The Central Administrative Complex of the Royal Government of Bhutan which also houses the Secretariat of the King. 6 The capital city of the kingdom of Bhutan 92 Lopen Lungten Gyatso Drametse Ngacham is popular throughout Bhutan because of its religious and historical signiicance in addition to its strong and vivacious character. Firstly, this dance is a profound relection of the concept of the pure-lands as envisaged in the framework of Mahayana Buddhism. People in Bhutan in general and the community of Drametse in particular strongly believe that by watching this sacred dance, people can be liberated or avoid rebirths in the lower realms. Secondly, it is a dance with a meditative background and is beyond simply an ordinary performance limited to aesthetic and scenic values. Undeniably, the dance master, the deputy dance master and the ritual master have to visualize and invoke the heroes and heroines of the celestial world while performing the dance. The dancers have to keep their minds focused during the entire performance. This explains why all the dancers, including the ritual master (umdze) have to undergo a basic meditation course. The dancers are symbolic manifestations of the peaceful and wrathful deities, a concept central to the Tantric tradition of Mahayana Buddhism. According to Buddhism, evil forces are subdued in two ways: the milder ones are skillfully dealt with through peaceful means while the adamant and resolute ones are subdued by wrathful means. Special qualities required Special qualities are required to be a mask dancer. It is ideally recommended to have undergone a losum chogsum (three years and three months retreat). If this is not possible, the dancers have to undergo at least a ngondro course (preliminary practice). The dancers have to be physically strong and mentally sound. They must have a good physical appearance with an exceptional altruistic mind. Equally important is that the person has to have strong faith and belief in the spiritual power of a mask dancer. In addition, there are some rules and regulations to which the dancers have to strictly adhere; speciically, the dancers should not: 1. 2. Wear shoes or sandals Prattle (must limit discussions to important topics only) Drametse Nga Cham 3. 4. 5. 6. 7. 8. 9. 93 Wear rings Possess weapons Wear wristwatches Wear beads or garlands around their necks Merry making amongst themselves Consume alcoholic drinks Have any physical contact with women If a dancer fails to observe one or more of the above mentioned precepts, it is believed that misfortunes befall him. The dancer either loses grip on his drum or the drum stick, his ankles may get entangled with the costume fringes, or he may fall down without any good reason. Sometimes the dancer forgets to put on the entire costume. All these shortfalls and incidences are considered a misdemeanor for the performer. The disciplinarian, who is usually a senior practitioner, regulates, manages and administers the whole ceremony. The performers are traditionally lay practitioners who form an important religious category, particularly in eastern Bhutan. However, they wear monastic robes and observe monastic rules during the entire three day ceremony. The dancers have the unusual name of tsunma which literally means ‘celibate nuns’. In fact, the origin of this moniker stems from the history of Drametse monastery. During Ani Choten Zangmo’s time, only nuns resided in the Thegchog Ogyen Namdrol Choling monastery. But later on as the number of male lay practitioners increased, the nunnery had moved back to Drupchu Gonpa, the place above the monastery where the founder initially sat in meditation. During the festival, the lay practitioners dress themselves in monastic robes as a symbolic reminder of the long history of the nun tradition in the monastery, while the tradition of calling them by the female term of tsuenma continues. The Drametse Ngacham is performed with sixteen men each wearing a mask of different animal. Some of these animals are real while others are mythical. These masks are the representations of the wrathful and peaceful deities. They are: 1. Sengge (Snow lion) 94 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. Lopen Lungten Gyatso Chungmo (female Garuda, a mythical bird of prey) Jarog (Raven) Dru (Snake) Druk (Dragon) Ugpa (Owl) Yak (Yak) Tag (Tiger) Zig (Leopard) Phag (Pig) Phowomarke (Bat) Lug (Sheep) Khyi (Dog) Dom (Bear) Ra (Goat) Lang (Ox) The dancers must not only visualize themselves as the peaceful and wrathful deities but also aspire to cleanse the spectators of all their deilements. Therefore, the Drametse Ngacham involves intense processes of visualization and concentration during the course of the dance. The dance is performed in twenty-one different sections, each of which are distinguished by a speciic term, namely: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. Thoncham Saging Barging Namging Tagtshang Lamdro Tro Drulgo Phangril Pema Lingpai Lamdro Ugpa Lamdro Sangye Lingpai Lamdro Tsokey Dagye Dangpa Lochigpa Nyipa Phago Sumpa Chinang Zhipa Teg Teg7 7 Teg Teg is named after the sound produced by beating the wooden drum edge with Drametse Nga Cham 16. 17. 18. 19. 20. 21. 95 Ngapa Chigo Drugpa Domgo Dunpa Teg Teg Gyepa Chinang Taggo Dzul Cham Usually in most masked dances, the dance master leads the dance but in the case of the Drametse Ngacham, the deputy dance master initially leads the dance while the dance master emerges towards the end. The dance master plays a pair of cymbals, while the other dancers play small drums. They hold the drums in their right hands, striking them with a curved drumstick held in the left. The dance master, who holds the cymbals plays a vital role in controlling and guiding the rhythm and the sequence of the dance. Sometimes with the cymbal’s rhythm, he even corrects the mistakes by the ritual master if it happens that the latter is not as conversant with the various sections of the dance. Authenticity and lineage After Khedrup Kunga Gyaltshen, his son Ugyen Ngawang Delek took over the charge and passed onto his son Choje8 Kunzang Wangdue who had four sons. Of the four sons only Sangye Yeshe remained in Drametse and the others went to different regions. The tradition then passed from Sangye Yeshe to his descendant, Khalong Lama Kunzang Dorje and further to his son Khalong Lama Yeshe Rigzin who is still living. Tamzhing Choje Koncho Wangdue, believed to be the son of Khedrup Kunga Gyaltshen from his second wife, who married the daughter of Agay Sonam Dondub. Agay Sonam Dondub who is also known as Kuzho Drametsepa (or Lamai Zimpon) was a very prominent igure in the history of Drametse. He was the younger brother of Zhabdrung Jigme Norbu (1831-1861) and the father of Zhabdrung Jigme Chogyal (1862-1904), the Tango Trulku Kunga Dragpa and the the drumstick. In this section the dancers at few occasions beat the wooden drum edge instead of the leather surface. 8 Choje is a title given to the head of an important religious lineage. 96 Lopen Lungten Gyatso Gangteng Trulku Tenpai Nyinje.9 Agay Sonam Dondub played a very important role in maintaining the spiritual tradition as well as the political power of Drametse. Because of these great igures, Drametse gained the recognition of excellence in spiritual authority and the Drametse Ngacham received continued support and patronage. The Khalong lamas have been the key lineage holders of the teachings of Khedrup Kunga Gyaltshen in Drametse. Even today the Khalong Lama plays an important role in major rituals and ceremonies in Drametse though he is not the designated lama of Drametse. Up to Khalong Lama Kunzang Dorje in the 20th century, the Thegchok Namdrol Choling monastery was oficially under the control and supervision of the direct descendants of Khedrup Kunga Gyaltshen. After Khalong Lama Kunzang Dorje, a latshap10 was appointed for the irst time from outside the Khalong Lama lineage, to take care of the monastery. Subsequently, Vajraguru Lama, Pejelingpa, Kolai Lama and Sungtrul Rinpoche were appointed as the spiritual caretakers of the monastery. The appointment of the Latshap till Pejelingpa, was done by the spiritual community. However, from Kolai Lama onwards the Royal Government of Bhutan began to oficially appoint the abbot. The present chief abbot is Ven. Sungtrul Rinpoche (b.1968) who is the son of Dasho11 Thinley Namgyal.12 Venerable Sungtrul Rinpoche is both the lineage holder and the speech reincarnation of Terton Pema Lingpa. Therefore, Drametse Ngacham has received tremendous support and patronage from the chain of lineage holders of Drametse. It is believed that only the fortunate ones get the opportunity to learn 9 The Zhabdrung lineage was the most important in Bhutan and refers to the founder of the state of Bhutan in the 17th century. Head of the Drukpa school, the Zhabdrungs were also the heads of state until the advent of the monarchy in 1907. The Tango Trulku is a lineage of reincarnations from the important monastery of Tango in Western Bhutan. The Gangteng Trulku is a lineage of reincarnations coming from Pema Trinley, Pema Lingpa’s grandson, who established the important monastery of Gangteng in the Phobjika valley on the border between western and central Bhutan. 10 A substitute (from outside the Khalong Lam lineage) formally appointed by the community 11 Dasho is a title of knighted senior oficials and male members of the royal family. 12Dasho Thinley Namgyal (d.1979) was the younger brother of the late Queen Mother of Bhutan, Ashi Phuntsho Choden Wangchuck (d. 2003). Drametse Nga Cham 97 the art of Drametse Ngacham and perform it. They are considered to be the right people to receive the sacred the Tantric teachings. The dancers have the moral responsibility to uphold the Mahayana Buddhist perspective of recognizing all sentient beings on earth as one’s own parents and uphold compassion and bodhichitta (altruistic attitude). When they perform, the dancers represent the peaceful and wrathful deities and at the same time visualize our physical world as the pure lands and all the sentient beings as Buddhas and deities themselves. Visualization The visualization process is as dificult as the physical performance. It involves the visualization of both the outer world (the material world) as the pure land and the inner world (sentient beings), as the manifestation of the forty two peaceful deities and ifty two wrathful deities. While the peaceful deities are visualized as possessing peaceful gestures and positions, the wrathful deities express the ierce countenance and movements that those deities require to be effective. As the performers are working as embodiments of these various entities, the Drametse Ngacham is thus regarded as meditative art form. The dancers visualize the following simultaneously as they perform their dances: 1. 2. 3. 4. 5. 6. the dancing ground as a palace of divine coniguration and the dancers as the deities; the audience see in the dancers the manifestation of peaceful and wrathful deities; the whole world as the Buddha land, cleansed by the blessings of the Vajra Heruka13; all the beings become heroes and heroines of the pure lands; all beings purify themselves and expel all kinds of mishaps and hindrances just by pronouncing the name of the peaceful and wrathful deities; when the dance master utters the word ‘FEI’ (a sign of reminder), the dancers should visualize that each wrathful 13 This wrathful deity is a manifestation of the Buddha in Tantric Mahayana Buddhism to pacify the wild beings and spirits who do not come under control by peaceful means. 98 7. 8. 9. Lopen Lungten Gyatso deity manifests (as in a multiplying effect) endless numbers of wrathful deities. The whole world is illed with them and as a result dispel all the evil spirits and forces; the whole universe is illed with the deities bestowing lowers of auspiciousness and blessings, before they then slowly enter into all the sentient beings including the dancer himself and transform all ordinary beings into extraordinary deities. The beings and the deities become one; the whole world becomes illuminated by the radiance of the deities and as a result all the beings enter an enlightened state of mind; all visions are seen as the manifestation of deities, all sounds as divine speech beyond human grasp, and all conceptions as the great realization of the ultimate reality. Outstanding value as a masterpiece of creativity: Bhutanese believe that a person has to see Drametse Ngacham at least once in one’s life in order to recognize the deities in the Bardo (intermediate state) through present life acquaintance. For the Bhutanese, Drametse Ngacham is concerned with divinity and therefore, it continues to receive tremendous appreciation and support from the people. Further more, it is a ‘revealed treasure’. For the outside world, it is also a treasure because of its outstanding value of performing art and Tantric visualization. Drametse Ngacham is not just a physical dance for entertainment but rather a didactic way to impart the sacred teachings of the Buddha in the form of art. It has strong philosophical contents, relecting the Buddhist concepts of samsara (cyclical nature of life and death) and enlightenment. According to Buddhism, one must realize the Buddha nature that is predominantly present in every sentient being on earth through the visualization of the different peaceful and wrathful deities who are the manifestation of the ultimate reality. Since every aspect of us is intrinsically pure, the gesture and spirituality involved in the Ngacham is a method to re-connect ourselves to our own nature. The powerful deities are visualized as a method to undermine the pathetic projection of ourselves and of our universe as impermanent and lawed. Therefore, the physical world is visualized as the Buddha realm of magniicent glory and all beings are visualized as gods and goddesses embodying the Buddha qualities. Drametse Nga Cham 99 A constant spiritual contact is established with the audience through the visualization of the deities by the dancers. As a result a telepathic spiritual energy is received by the audience. This is the most meaningful purpose of watching Drametse Ngacham. Drametse Ngacham is a special creation characterized by the movements and gestures of the deities. It involves a high level of visualization of the physical world and the sentient beings as Buddha lands and gods and goddesses respectively. The delicate techniques employed during the performance of Drametse Ngacham requires a high level of skill. It takes years to adjust the body with the appropriate, measured movements and steps. The internal visualization, in fact, is more complex than the physical gesture. Therefore, it is a challenge for the performers to maintain a balance between their physical movement and internal concentration. Today Drametse Ngacham features as a very important cultural item for both ceremonies and entertainment; and it is one of the most important cultural expressions of Bhutan, truly identiied with the country. In recent times, this dance has been representing Bhutan in international forums in many countries including Japan, United States, Germany, France, India, Nepal, and elsewhere, where it has proven to be very popular. It was again performed at the ‘World Expo 2005’ in Aichi, Japan. Religious dances are a common feature of the Buddhist world in the Himalayas, but Drametse Ngacham stands out as unique to Bhutan. Khedrup Kunga Gyaltshen, the initial composer of this dance, was Bhutanese and did not propagate this dance in the rest of the Himalayan world nor did it spread beyond the border of Bhutan until recently as mentioned above. It has remained a performed expression of the spiritual traditions embedded in Bhutan, and because of its spiritual message, goes much beyond a simple performing art. Thus, it truly belongs to humankind’s intangible cultural heritage. Sustainability and possible risk of disappearance Though Drametse Ngacham has received attention and some actions to safeguard this dance for posterity, it still lacks suficient inancial support, cohesive policy and good cooperation among local and national institutions. Consequently, with television and other forms of entertainment creeping into the rural life, devotion to traditions are beginning to diminish. Modern and contemporary 100 Lopen Lungten Gyatso foreign music has largely inluenced the younger generation. This has made the youth weary of and less inclined towards traditional forms of entertainment, particularly the mask dances. Presently, the dance is performed by people who are enrolled as lay practitioners in the monastery. Most of the time, they are involved in their household works in addition to their normal practices. They gather during the festivals to perform the dance purely on voluntary basis as a mark of devotion, and do not receive any incentive for their services. Therefore, this voluntary service does not attract people, and as a result the number of lay practitioners is gradually declining. At this rate the tradition of performing the dance by the lay practitioners, the so called tsuenmas, is at risk of becoming endangered. The immediate risk to Drametse Ngacham, more than the loss of dedicated dancers, is the distortion of the art and its departure from the original forms. Being an intangible performance art, the form of Drametse Ngacham has undergone many changes based on individual interpretations. Its total disappearance is not likely, at least for a foreseeable period of time, but in the absence of a concerted effort to bring uniformity to the dance as performed in different parts of the country, and the lack of proper audiovisual documentation, the risk of distorting the transmission and performance is further very high. This is the greatest risk Drametse Ngacham is facing today. At the moment, only a brief rehearsal of about a week is available to the dancers before they perform the dance. Neophytes are being trained for few months, which is also far less adequate than it was usually required to achieve the reined level of this art. This dance being a very sacred one, its sanctity and people’s faith in it rely on its continuity and the proper execution of its original form. The sentiments of the people strongly suggest that this dance upholds enormous spiritual authority to establish both physical and mental prosperity through its blessings. Logic suggests and believes that the maintenance of the dance itself is the maintenance of its sanctity and subsequent blessings. The survival of Drametse Ngacham is imperative for the nation because of its sacredness and its indigenous nature. Therefore, its survival essentially means the maintenance of its sacred character through the preservation and conservation of its authenticity. Drametse Nga Cham 101 But in the absence of an adequate and systematic mechanism to train and honour the dancers, this art is certainly going to distance itself from its original choreography and sanctity. Less intensive, shorter training will lead to unprofessional performances, which will eventually distort the art and a sad end for this rich and unique tradition. Bibliography Books in English, Classical Tibetan (Chokey) and Dzongkha • Dasho Lam Sanga (Bla ma gsang sngags), ‘Brug tu ‘od gsal lha’i gdung rabs ‘parung tshul brjod pa smyos rabs gsal ba’i me long, Thimphu.1983. • Dasho Lam Sanga (Bla ma gsangs ngags), Thimphu lha mo’i sgrub mchod kyi rnam bshad, Thimphu, 2002. • Biography of Gyalwa Tshang Yang Gyatso, 6th Dalai Lama. • Champoen Chichap Dasho Nagphel, Dances of Bhutan and Its Origin, Government of Bhutan, Kalimpong, 1971 or 1972, pp.300. • Dasho Sri thel Dorje, dPal ldan ‘brug pa’i ‘cham gyi ‘byung khungs dang le’u bshad, Thimphu, 2000 pp. 126. (English version: Dasho Sithel Dorje, The Origin and Descriptions of Mask Dances of Bhutan, 2001). • Jamgon Kongtrul, Creation and Completion: Essential Points of Tantric Meditation, Translated, annotated, and introduced by Sarah Harding, 2002. • Kunzang Thinley, Drukpai Chamgyi Godoen Drelshed Dang Drametsei Ngacham gyi Migrim Dordue, Nyerkhoi Bumzang (The Descriptions of Bhutanese Dances and The Visualization Procedures of Drametse Ngacham), 2000. • Bhutan 2020: A Vision for Peace, Prosperity and Happiness, Planning Commission, Royal Government of Bhutan, 1999. • 9th Five year plan Document, Planning Commission, Royal Government of Bhutan, 2002. • Religious and Cultural Traditions of Bhutan: A Rare Exhibition. Department of Culture, India & The National Commission for Cultural Affairs, Bhutan, New DelhiThimphu, 2002. • Annual Report, Royal Government of Bhutan, Presented by 102 Lopen Lungten Gyatso the Hon’ble Prime Minister Lyonchen Jigme Y. Thinley, June 2004 Articles • • • Lopon Lungten Gyatso, “Dzongkha, the National Language of Bhutan”, International Seminar on Bhutan, Thimphu, 2003. Pommaret, Francoise (aka Tashi Wangmo), Paro Tshechu Booklet, Department of Tourism, Thimphu, 1983. Pommaret, Francoise, “La Danse des ‘Huit Catégories de Dieux et Démons’ au Bhoutan”, in K. Buffetrille & H. Diemberger (eds.), in Territory and Identity in Tibet and the Himalayas, Tibetan Studies in honour of Anne-Marie Blondeau, Proceedings of the 9th IATS, Brill, Leiden 2002, 159-178. NARRATION OF THE SACRED PLACE OF DZONG DRAKHA IN PARO Khenpo Phuntsok Tashi In the eighth century, Guru Padmasambhava visited Dzong Drakha in Paro and blessed it as a beyul, or hidden land. Dzong Drakha is located at the head of Bongde and Gyep Jag Nang villages on top of a rocky cliff overlooking the whole valley. Viewing up from the valley of Bongde, the cliff where Dzong Drakha stood at presents relects like a black mirror with a row of small white monasteries. At the end of the fourteenth century, Nenyingpa Lam Kazhi Rinchen Samten Pelzang saw in his vision that he had discovered a hidden treasure of Guru Rinpoche. According to the prophecy of dakinis, Drubthob (Siddha) Gonpo Dorje was born in a temple north of Tibet in a place called Tagtse, a place considered similar to Dzong Drakha in every aspect. Around 1429, while Drubthob Gonpo Dorje was traveling in search of that sacred place, he arrived at the right bank of the Paro Chu in Paro, where he came across a small village called Jiwa. After crossing a stream at Jiwa, he became lost and could not go any further. Suddenly, a vixen appeared in front of him to his surprise and directed him to the sacred place. As the vixen walked before him, he followed her, which is why this stream came to be known as Wa Chu (stream of the vixen). And now, the stream and even the village has came to be known as Woo Chu. A famous folk song of this place is also known as Woo Chupai Zhey. The song got its title as such because this song was irst sung by the inhabitants of that village. Drubthob Gyonpo Dorje went on and came to a small village located to the right of Woo Chu village. There he was greeted by a mute boy. To the surprise of everyone present there, the boy began to speak normally, informing his mother about the arrival of the Drubthob. The mother was so surprised that she herself was stunned into temporary silence. So this place came to be known as Gadrag Nang. The name of this place, over the years changed and 104 Khenpo Phuntsok Tashi today it is called Gyeb Jag Nang. One can still see at present the house of that mute boy. The place above the house where now stands a full grown cypress tree was actually where Drubthob Lhakhang was built. Drubthob Lhakhang was unfortunately destroyed completely in a landslide in 1968 and later on the inhabitants of this village built a new temple on the same site. The Tale of Choten Om Mani Ma and a Nanny Goat Climbing up the valley, Drubthob Gyonpo Dorje took a path to his right, leading to Dzong Drakha. At a small pond, he saw a nanny goat coming down towards him. As soon as the nanny goat rested on a huge lat stone, milk oozed out from her nipples and dropped on the stone. Taking this as an auspicious sign Drubthob inscribed “OM MANI PADME HUM” with his inger on this stone, which he was used as the nangten (inner object) of the small choten (stupa; reliquary) he built. He named it as Om Mani Ma Choten and it can be seen even today. According to oral tradition and mythology, it is believed that the great Guru lew to Dzong Drakha from Drakarpo and his food imprint can still be seen at the foot of Dzong Drakha. However, on his irst arrival, Drubthob Gyonpo Dorje only saw a thick forest cover around Dzong Drakha with two monkeys playing around. The main local guardian deity of Dzong Drakha is Damchen Dorje Legpa, who the Guru subdued and converted to serve as a protective deity of the doctrine. People pay homage to and honor the local deity in exchange for his protection. As Drubthob was riding on the nanny goat, he was received by Damchen Dorje Legpa, and as he is the main guardian deity of Dzong Drakha, it was considered a good omen for the Drubthob’s mission. Discovery of treasures and building of a choten Upon reaching his destination, Drubthob sat in meditation to bless the place. While so absorbed, he saw in his vision Guru Rinpoche giving him a glass dragger, one so powerful as to break off a part of the cliff, which fell in front of him. From that dagger, a glass choten equal to the length of an arrow and three precious teeth (ringsel) of the Buddha Yoesung emerged from it. While two of the teeth lew away immediately, Drubthob collected the remaining precious gifts-the remaining tooth and the glass choten- and gradually Narration of the Sacred Place of Dzong Drakha in Paro 105 descended down the cliff, arriving at Bongde village. In Bongde, while he was taking a rest in one of the houses, people of the village noticed the Drubthob’s bag moving. They requested Drubthob to reveal the things that he carried inside his bag. When the people saw the items inside the bag, they said that these were their wealth (bang) and the place came to be known as Bangde. But over the years the name got changed came to be known as Bongde. Upon the request of the people, Drubthob returned to Dzong Drakha carrying along with him the glass choten and the precious tooth relic and built a small choten on a rocky cliff resembling claws of a lion. Then the choten was handed over to the local deity Damchen Dorje Legpa and the descendents of noble family (choje) of Dzong Drakha. This family took oath of allegiance, promising they will never take meat in their life. Later, the local people saw the choten and took hold of it, naming it Choten Gulshey Karmo. A part of the cliff fell away and this can be seen even today in the gorge down below the temple of long life. The choten did not have proper rooing or walls and the people visiting it were illed with anxiety, believing one day the choten might ly off like the two teeth had earlier. There after, they provided a roof for the choten and constructed walls around it. It is believed that the sanctity of inner objects had declined because the intensity and frequency of its movements had reduced. However, when offerings of rice and cereals were made, the intensity of the shiver also increases, according to the caretaker of the choten. Longstanding oral traditions of the area claims that the Drubthob also attained enlightenment at this place. The reincarnations of the Drubthob Gonpo Dorje were the following: 1. 2. 3. 4. 5. 6. 7. Neten Jangchub Zangpo Lama Rabten Lama Phentog Lama Bachu Lama Pedma Lama Kadog and Lama Dargo Religious igures and noble families of Dzong Drakha Khenpo Phuntsok Tashi 106 It was prophesied that although Drubthob would not have any direct descendents, several reincarnations would be born who would build several religious institutes in the future. Religious patrons undertook constructions that helped spread its name and fame and later, eminent lamas and gomchen organized religious festivals (tshechu and bumde) in Dzong Drakha temple. Lamas and gomchen from here are considered faster and more eloquent in their reading of the Buddhist texts. Monks from other religious institutes in Paro failed while debating against these lamas and gomchen of Dzong Drakha. And there is a common saying “Do not compete with lamas and gomchen of Dzong Drakha”. Even presently, the people of the region proudly hold the legacy of these learned lamas and gomchen. The reincarnations of Drubthob Gyonpo Dorje were originally from a Dung family and their descendents came to be known as Dzong Dra Choje (noble family) thereafter. In Paro region, there are ive known noble families: 1. 2. 3. 4. 5. Tachog Choje Gongkar Choje Sha Radrag Go Choje Hungrel Choje Dzong Drag Choje After the arrival of Zhabdrung Ngawang Namgyal to Lho Mon Kha Zhi in 1616, the noble families were recognized, and amongst them the order of precedence and their comparative importance was set. In Bhutan, owing to the production of high quality religious igures and lamas, noble families were recognized but the system has not been fully relected in scholarly work. Thus, additional extensive research on the noble families of Paro is a rich area for future research, and is urgently needed. Dzong Drakha Choje is further subdivided into classes and all the people settled around Dzong Drakha at present number approximately seventeen households altogether. The huge stupa to the left of Choten Gulshey Karmo was built by one of the noble families of Dzong Drakha. Narration of the Sacred Place of Dzong Drakha in Paro 107 In the ifteenth century, Neten Jangchup Zangpo from Dzong Drakha Choje renovated the Choten Gulshey Karmo and built a new temple called the “Temple of the Guru”. This temple has a statue of Guru Tsokey Dorje as a central igure with two seated dakinis on either side of him, and further surrounded by eight manifestations of Guru, a grouping known as Guru Tsengye. This temple has its own guidebook called Ney Yig (guide to the sacred space). But owing to its age, the paper is torn in places and its letters are faded. In this paper, it is written that even a great Drubthob (Siddha) Thangtong Gyalpo is believed to have consecrated the Choten Gulshey Karmo. A little distance away from the Guru Temple stands the temple of three Buddhas (Dusum Sangay), built by Lama Phentho from Dzong Drag Choje. To the left of this temple is the temple of “long life Mahakali”, or in Dzongkha, Lha Mo Tshering Mai Lhakhang. Outside and just to the left side of this temple, stands another temple of the peaceful Buddha, or Sangye Mitrugpai Lhakhang built by Lama Rabten. Lama Rabten and Lama Phentho were brothers who divided the households of that village. In the past, the following were the four noble families of Dzong Drakha: 1. 2. 3. 4. Gyep Jag Nang Bongde Wo Chey Jiwa These four patrons conduct and organize the religious activities at Dzong Drag Gonpa. Tshechu of Dzong Drakha In general, all religious institutes and temples of the Paro valley organize and conduct annual tshechu and other religious festivals in order to pay homage to local deities. The most famous tshechu of Paro begins at Dzong Drakha Tshechu and also concludes with it, marking the beginning and end of the festival cycle. The Dzong Drakha Tshechu begins at the eighth day of second month Khenpo Phuntsok Tashi 108 of the Bhutanese calendar and concludes on the tenth day of the same month. A three-day tshechu, the grand celebration includes masked dances and other folk dances. Similarly, the well-known Paro Tshechu concludes on ifteenth day of the second month of the Bhutanese calendar with unfurling of the thongdrol (monumental applique) to the public, the sight of which is believed to liberate all beings who witness it. The tshechu concludes on sixteenth day at Dzong Drakha. Thus, in brief, Dzong Drakha Tshechu offers both the prelude and inale to Paro Tshechu. According to some of the oldest people from that village maintain that if one did not attend the Dzong Drakha Tshechu then attending the Paro Tshechu alone would be meaningless. Therefore, it is very important for one to attend Dzong Drakha Tshechu at least once in this life and get blessed by the Choten Gulshey Karmo. The retreat places of Tshering Chenga In Paro, there are ive retreat places associated with Tshering Chenga (the ive sisters of longevity). Mentsun Trashi Tsheringma is one of these ive sisters, and Tsheringmai Lhakhang in Dzong Drakha houses a statue of her. People believe that if one manages to visit all the ive temples without the notice of the caretaker of the Tshering Chenga Lhakhang, he or she will get an immediate blessing to fulill his or her wishes. The temple of “Long Life” (tshering) endows the blessing of longevity. Similarly, the Temple of Wealth confers the fruits of abundant wealth on the condition that a person has to visit this temple without informing the caretaker of the Tshering Chenga Lhakhang. The ive sacred places of Tshering Chenga are Dzong Drakha, Gangteng, Drangyekha, Tengchekha and Dob Ramnag. Different places are associated with different manifestations of Tshering Chenga, some of which are listed below: a) Dzong Drakha is dedicated to Mentsun Trashi Tsheringma riding on a white lion Narration of the Sacred Place of Dzong Drakha in Paro 109 b) Drangyekha is dedicated to Thingi Zhelzangma riding on a horse c) Gangteng is dedicated to Tsheringma Telkar Drozangma riding on a green dragon d) Tenchekha is dedicated to Tsheringma Miyo Longzangma riding on a female tigress e) Dob Ramnag is dedicated to Chopon Drizangma riding on a female reindeer The Paro valley is adorned by many religious monuments and also considered one of the rich Dzongkhags in the kingdom. Moreover, it is one of the entry points for foreigners entering Bhutan because Bhutan’s only airport is located in Paro. Paro is a foremost holy place because Guru Rinpoche is believed to have meditated there for three years, blessing the land and establishing Buddhism throughout the area. Besides, many great and eminent saints and treasure revealers paid their own visits to Paro, helping to spread and solidify Buddhism through the construction and consecration of many religious institutions and thirdly, the rich nature of the Paro valley provides numerous favorable retreat places. Moreover, the sacred place Taktshang (Tiger’s Nest) where Guru Rinpoche meditated, and the ancient temple of Kyichu are both located in the Paro valley, along with a myriad of other sacred sites, of which Dzong Drakha is but one of the lesser-known jewels. As Paro valley is often the irst scene that attracts the eyes of foreigners, while their hearts are lifted on arrival, let those of us who are blessed enough to live here also experience a similar lifting, which can come partly through better understanding of the various sacred places that permeate our land. 110 Khenpo Phuntsok Tashi MASKED DANCES OF BHUTAN Kelzang D. Yeshe Introduction Our noble ancestors and the forefathers introduced and established unique and distinguished traditions and cultural expressions for a unique nation. Among them are our particular mask dances, some of which are believed to have been initially introduced by Guru Padmasambhava in the eighth century after the propagation of Buddhism in the region. In the ifteenth century, Terton (treasure revealer) Pema Lingpa (1450-1521), who contributed towards enriching the cultural and spiritual life of the people of the area, introduced and composed mask dances including his famous mask dance called Peling Tercham. Later in 1616, Zhabdrung Ngawang Namgyal came to Bhutan and established a strong and distinct administrative system by introducing a dual system (chosi) which balanced the religious and temporal needs of the populace. He also introduced and composed several mask dances for the well-being of sentient beings. The dances have had a key role in spreading religion and uniting people through their performances at the dzongs. It is believed that mask dances were composed in order to best convey religious messages to ordinary people. To uphold our living culture and unbroken tradition, our successive monarchs have contributed a lot in strengthening cham (mask dances) in our country. Description of the mask dance Gestures and physical movements of the body parts is considered very important while performing mask dances. The movement of hands and legs should well accord with the rhythm provided by the accompanying cymbals. Kelzang D. Yeshey 112 The origin of mask dances and folk songs in Bhutan There is no speciic date regarding a speciic origin for mask dances and folk songs in Lho Jong Menjong (Bhutan). However, it is believed that folk songs may have come to Bhutan prior to the mask dances. It can be understood from the songs composed in praise of Jampa Lhakhang in Bumthang and Kyichu Lhakhang in Paro, the pair being popularly known as Thadul-Yangdul, and which were built by the irst king of Tibet, Songtsen Gampo. There is a song composed to acknowledge the king called Jaza Bola Medro. For instance, this song was composed after the construction of the one hundred and eight temples Thadul-Yangdul. Jaza (Queen) was invited to Tibet after that period, an event which the song accounts. Guru Rinpoche is credited with the introduction of some mask dances for the irst time in Bhutan in the eighth century. The four oral transmissions of secret mantra are as follows: 1. Comprehension of the meanings of the mask dance 2. To fulill the wishes of our secret lama by devoting ourselves to his power 3. Concentration while learning and displaying the mask dances, thinking of the abode of Guru Rinpoche and us as his true followers. 4. Manifestations of mask dancers in different apparel; for example, dress and implements such as dagger, drums and drumsticks, bell and so on… The relection of knowledge of noble lineage During the time of Buddha Kuntu Zangpo, the bond and relations between teacher and student (lama and lobma) was incredibly close. This is because what the lama, the root teacher, taught was directly and immediately instilled and understood by students. This is called Gyalwa Gongpai Gyudpa (rgyal wa dgongs pai brgyud pa). Mask Dances of Bhutan 113 The lineage of knowledge holders There was a time when students understood the true essence of Dharma by observing gestures of teachers. This is called Rigzin Dayi Judpa (rig ‘dzin bda’i brgyud pa). The lineage of students Gangzag Nyengkhungki Gyudpa (gang zag snyen khungs kyi brgyud pa) is where the students received blessings and initiations from teachers and learned from him, thereby propagating the teachings of the dharma. When three teachings of the Buddha are taught to humans some of the teachings are learned from gestures (mudra). Therefore, the mask dances of the Druk Yul are mainly performed by males through gestures. From the teachings of secret mantra, Guru composed twenty one steps. Those steps are as follows: 1. Zhiwa Dorje Yingi Cham (Dance performed by Khenpo bodhisattva during the construction of Samye monastery) 2. Phurpai Dung Cham (Dance performed with ritual dagger) 3. Mamoi Dhur Cham (Dance performed at the crematorium) 4. Jigtenpai Drag Cham (Worldly dance by laymen) 5. Modpa Drel Cham (Dance performed to avert curses) 6. Damchen Chig Cham (Dance to achieve nobility) 7. Chochong Shey Cham (Dance to subdue anti-Dharmic forces) 8. Zhiwai Dro Cham (Dance of peace) 9. Gyapai Tangtabkyi Cham (Dance of subjugation) 10. Wangi Ging Cham (Dance performed during blessings with drums and drum sticks in hand) 11. Dragpo Dhang Migi Cham (Dance performed to tame wrathful deities) 12. Zhesa Guthrugi Cham (Dance performed to subdue nine siblings) 13. Chusum Chogchengi Cham (Dance of thirteen directions) 14. Khorlo Drotshogki Cham (Dance of wheel of existence) 114 Kelzang D. Yeshey 15. Linga Drupchengi Cham (Dance of completion of consecration) 16. Zadudki Thang Cham (Dance performed to avert effects of poisonous deities) 17. Ludud Truldroki Cham (Dance of the subterranean world) 18. Pekar Janglui Cham (Dance performed to install the teachings of Pekar Jungney) 19. Hor Cham (Dance performed to commemorate the king of Zahor) 20. Zor Cham (Dance performed to celebrate victory; Zhabdrung Ngawang Namgyal performed this dance after defeating Tibetan invasion at the battle of densa Druk Choding in Paro) 21. Mag Cham (Dance performed to achieve victory in battle) The above mentioned dances are similar to the dances of the kingdom. This is because when the great Guru was meditating in Nepal in a place called Yanglesho, the king of Bumthang, Sindhu Raja, fell seriously ill after Shelging Karpo (the chief of the local deity of Bumthang) stole his “life essence”. His minister attendants searched intently for someone who could be able to cure the illness of the king to no avail until inally one of them remembered the tantric master Guru Rinpoche (Padmasambhava) and invited him to Bhutan. Guru Rinpoche undertook another trip to Bhutan in order to overcome the treachery of Khyikha Ratho (literally, ‘dog’s mouth-goat skull’) the son of the Tibetan King Trisong Deutsen and Margyen. Then Guru also arrived from Tibet in order to subdue and convert anti-Buddhist forces into the protectors of Dharma. Before his departure to his present dwelling, Guru also visited the densa (sacred place) of Singye Dzong in Kurto under Lhuntse districts and Taktshang (Tiger’s Nest) in Paro, where he gradually subdued demonic forces and converted them to guardian deities. For instance, Shelging Karpo, the aforementioned spirit who stole the life force of Sindhu Raja, was bound by one of Guru’s oaths to protect Buddhism. To do this, Guru Rinpoche emanated himself in his eight manifestations and performed a dance but could not succeed, leading him to try a more intensive approach. Guru then transformed himself into Ja Chung (the mythical Garuda), pounced Mask Dances of Bhutan 115 upon him, and ripped apart the spirit with his claws. Thus, pleading for mercy, Shelging Karpo was made a protector of Dharma. Guru was also invited to Tibet by the King Trisong Deutsen for help in the construction of Samye Monastery, since what was being built during the day was being dismantled and destroyed at night by demonic forces. The Guru performed the dance of the ritual dagger (Phurpai Dung Cham), pinning the obstacles and thus clearly the way for a successful completion of Samye monastery. Therefore, we believe that some masked dances arrived in Bhutan along with Guru Padmasambhava in the eighth century. However, some dances are believed to have arrived from Tibet via other means, such as the dance of Guru’s eight manifestations, Tungam Cham (dance to subdue the enemies of the doctrine) and Gendru Cham (dance of six ornaments). The dresses, masks, and steps are seen in forms altered from their original state, as many of our ancestors composed new steps and even changed dresses in order to shift them to a new, Bhutanese identity. In some cases, such signiicant alterations were made to the dances that their foreign origin is almost indiscernible. Some of the dances that emerged later within Bhutan are Peling Ging Sum (three dances of Pema Lingpa), Drametse Nga Cham (dance composed by Lam Kunga Gyaltshen after his visionary visit to the abode of Guru Rinpoche (Zangdopelri, or Copper Mountain Paradise) and Sumang Tsen Cham (dance of local deity) in Bumthang are some the dances composed by intellectuals and historical igures of the kingdom. Purposes and beneits of the mask dance Mask dances in Bhutan are classiied into two groups as follows: 1. Lha Dheyi Garcham (Dance of gods) usually performed by the monk body, and 2. Mi Dheyi Garcham (Dance of laity) performed by the laymen. These dances are composed and introduced primarily to manifest tutelary deities and their entourages for those who are enlightened enough to see them in reality. These dances are so powerful that if one attends festivals and witnesses the dance, it is believed that bad Kelzang D. Yeshey 116 karma is exorcised and the viewer is liberated by the sight. Owing to the power of the dances, one will naturally come to better understand cause and effect and proper behavior, and in this way the dances teach sentient beings to adopt good and neglect bad habits. Mask dances also help preserve and promote our unique culture and tradition by maintaining national identity. They contribute towards ensuring independence, security, peace and prosperity in the kingdom. It was also said in the written documents of Pema Lingpa that the mask dances are so powerful that one could be liberated and enlightened by performing dances. The formal introduction of masked dances during the course of tshechu events is still unknown, as it has not been addressed in surviving written documents. However, it is believed that the fourth Desi, Gyalse Tenzin Rabgye introduced the three-day tshechu in the capital city of Thimphu to coincide with the festival of Mahakali during the eighth month of the Bhutanese calendar. When Gyalse Tenzin Rabgye was enthroned as the fourth Desi in 1680, he introduced a comprehensive festival of Guru Rinpoche in the same month, a program which was later introduced in all other regions of the kingdom. The introduction and performance of mask dances in this particular month are timed to celebrate and honor the birth of the Guru, as well as pay tribute to his remarkable achievements and the myriad beneits he brought to the lives of sentient beings, the dances are organized and held in this month. Zhabdrung Ngawang Namgyal also endeavored to establish the dance of the eight major manifestations of Guru (dance of Guru Tsengye) in this month, going so far as to arrange the dresses, however the project was left incomplete. It was later brought to fruition by the fourth Desi and thus fulilled the wishes of Zhabdrung. A Bhutanese monk named Ugyen Tshering, studying at Lhalung in Tibet was sent to Lhodrak, where he undertook to study several mask dances, speciically: 1. Eight Manifestations of Guru 2. Tungam Cham Mask Dances of Bhutan 3. 4. 5. 6. 117 Rigma Chudru (Gyendru) Khandro Dhengai Cham (Dance of ive dakinis) Pamoi Nga Cham (Dance of heroines) Durthro Dhamoi Cham (Dance of the graveyard) He was successful in mastering the above dances, and returned to Bhutan fully armed with the knowledge and talent necessary to disseminate them. They were taught to reverend professors Ngawang Drukpa and Choje and even to the kudrung (discipline master of monk body); Tshewang Dorje was said to have had acquired the highest skills of mask dancing. Performances of the above were then introduced in 1687 on the tenth day of the eight month of the Bhutanese calendar. Later on, the devoted disciples of Buddhism helped to introduce dances in districts and different regions according to time and place and named it Boe Cham (Dance performed by laymen). Classiications and functions of mask dances Though there are several dances with different meaning in different regions can be categorized in the following three groups: 1. Trulpai Zumthrulgi Garcham (Magical manifestation dance) 2. Kater Dagnagi Garcham (Dance of treasure revealers) 3. Namthar Zhichol Garcham (Dances based on biography) Below, each of these three categories will be further explored. 1. Trulpai Zumthrulgi Garcham (Magical manifestation dance) This dance primarily emphasizes the gestures of dancers. They are of four types: a) b) c) d) Zhiwai Thrinley (Dance of peace and harmony) Gyapai Thrinley (Dance of generosity) Wanggi Thrinley (Dance of blessings) Dragpoi Thrinley (Dance of wrathfulness) Kelzang D. Yeshey 118 The above dances are classiied according to their associated gesticulations, and are all believed to have irst been performed by Guru Padmasambhava as he sought to subdue Shelging Karpo at Kurje in Bumthang in form of Jachung. Guru also performed Phupai Dungcham, the dance of ritual draggers in Tibet to sanctify the place for the construction of Samye Monastery 2. Kater Dagnangi Garcham (Dance of the treasure revealers) The dance was composed by tertons to discover hidden treasures in different places. After arrival at their place of concealment, it is believed that the revealers then can perform steps that precipitate the discovery of the concealed teachings; for example: i) ii) iii) Drametse Ngacham, Peling Gingsum and Tercham as composed by Terton Pema Lingpa. Dramyen Cham, was elucidated by Zhabdrung Ngawang Namgyal Lhamoi Dromcho, festival of Mahakali in Thimphu was constructed by Gyalse Kunga Gyaltshen. The different dances were composed by different lamas and spiritual masters, and are displayed to the public at particular times on auspicious days. 3. Namthar Zhichol Garcham (Dances based on biographies) This category of dance is different from the other two because they are practiced and performed according to the steps and rules delineated in the sacred biographies of our noble ancestors. For example: i) ii) iii) Pholey Moley Cham (Dance of charming ladies and gentlemen) was performed based on the biography of Chogyal Norzang (King) Shawa Shachi Cham (Dance of deer and hound) is performed based on the biography of Jetsun Milarepa who saved the life of a deer from a hunter (Gom Dorje) and his hound. Acho Phento (Dance of brother Phento) is displayed 119 Mask Dances of Bhutan to the public annually to purify them and encourage viewers to lead a peaceful life The dances are classiied into three categories. However, the source and the origin of all dances are secret mantra, passed down in particular lineages through successive generations. It was passed from Choku Kuntu Zangpo to Gyalwa Rignga, from him to Dorje Sempa, Heruka and inally to Rigsum Gonpo. The king Kelden later taught to three professors: a) Yo Gewai Jungney b) Tsang Rabsel c) Mar Shakyamuni They in turn passed them down to Guru Padmasambhava, Vimalamitra, Shrila Nyazu, Lotsawa Jnanakumara and thus spread their practice and performance to India, Nepal, Tibet and Bhutan. Later on, Terton Gyalpo Ngawang Lobzang Jatsho and Buton Choje helped propagate mask dances. Other purposes of masked dances It is also believed that by witnessing dances one could understand the cause and effects of deliberate actions and will also come to understand the natures of hell and heaven. The other purposes of mask dances say that one could be puriied from evil deeds and thus never face the torments of the hells if one concentrates and mindfully witnesses the dances. Characteristics or features of masked dances While performing mask dance one has to bear in mind and fulill the following conditions: 1) Eight conditions (Mood) −− Inner happiness should relect on face −− Smiles on faces −− Compassion Kelzang D. Yeshey 120 −− −− −− −− −− Wrathful appearance Conident like heroes Frightened faces Reddish vomiting faces Shy and submissive faces 2) Nine conditions −−Peaceful appearance −−Heroic appearance −−Optimistic looks −−Powerful faces −−Smiling faces −−Dauntless faces −−Compassionate looks −−Pride on faces −−Harmonious looks 3) Ten conditions −−Skills of upper part of body −−Skills of middle part of body −−Skills of speaking −−Complacency −−Fire catching body −−Beautiful gestures −−Lenient actions −−Strong calves −−Strong legs −−Heroic steps and actions Classiication of wrathful appearances When performing mask dances, the leader, a senior mask dancer known as champon, appears in front, leading several other dancers and later exits, leaving the second highest ranking person, the chamjug, indicating one god is capable of manifesting in different forms to serve sentient beings. Thus, in the prayers to Buddha Kuntu Zangpo, it reads: Mask Dances of Bhutan 121 “One god with ive wisdoms, as a result the ive Buddhas are born. The ive Buddhas’ immense wisdom, resulted in birth of forty-two Buddhas With their supernatural power, even manifested into sixty-two devils.” Origin of the colors of the masks Blue (Ngonmo) It is believed that the center of the world, where the allprevading Buddha Choying Yeshe and Nampar Nangze reside, is a blue colored realm. The masks of this color relect the pervasiveness of phenomena. White (Karpo) To the east (shar) where the reincarnation of Buddha Melong Yeshe and Dorje Sempa reside is a white colored realm. This color signiies qualities of peace and harmony. Yellow (Serpo) To the south (lho) where the reincarnations of Buddha Nyamnyi Yeshe and Rinchen Jungney exist, all is saturated with a yellow colored abode. The yellow masks represent generosity. Red (Marpo) To the west (nub) where the reincarnations of Buddha Sertog Yeshe and Nangwa Thaye dwell is a red colored realm. Masks of this color symbolize blessed appearances. Green (Jangkhu) To the north (jang), where the reincarnations of Buddha Kelzang D. Yeshey 122 Jadrup Yeshe and Donyon Druba reside, the environment is permeated with a green painted dwelling. This color is associated with wrathful appearance. Ultimate interest From the source of secret mantra Originated the fast spreading mask dance Powerful enough to subdue demonic forces The unique tradition and culture of knowledge-holders. The above stanza notes that the origin of mask dances is so broad that it is beyond my knowledge to conceive it and thus I may have failed to give detailed information on mask dance. Requisition and benediction The most comprehensive and detailed study on mask dances of Bhutan is beyond my capacity to know or present, however, I have collected information from written documents and accounts from local people, and relected these in this article, which is like one drop out of the vast ocean. While advancing with my works, I might have misinterpreted and jotted down wrong information. If so, I do beg your forgiveness and do bear with me. Hope this article would enrich your knowledge on mask dances and pray to lead you to abode of Guru Rinpoche. Supplication In the country of abundant medicinal plants, Established a unique culture by noble ancestors, Introduced mask dances as national identity I wrote it with my best capacity to know, Hope to beneit the future generations. Bibliography/References −−History of Mekhar Nangwa, 1994, Lopon Pemala, KMT Printing Press, Thimphu Mask Dances of Bhutan 123 −−Nyekhai Bumzang, 2000, Lopon Kunzang Thinlay, KMT Printing Press, Thimphu −−Origin and Description of Bhutanese Mask Dance, 2001, Dasho Sithel Dorji, KMT Printing Press, Thimphu. −−Lhoyi Chho Jung −−History of Mekhar Nangwa, Lopon Tshewang Pema Oral tradition −−Cham Lop (Dance Master) Tshongtu, Trongsa −−Dasho Shingkhar Lam, Thimphu −−Lop Changlong, RAPA (Royal Academy of Performing Arts) −−Lop Kunzang Dorji, Institute of Language and Cultural Studies (ILCS) Semtokha −−Dasho Sangay Dorji −−Dasho Lam Sangag 124 Kelzang D. Yeshey SIGNIFICANCE OF HISTORICAL EVIDENCE IN ARCHITECTURAL HERITAGE STUDY ON ORIGINAL STRUCTURES OF SEMTOKHA DZONG Junko Mukai 1. Objective: In this paper, I would like to take up a few analysis on the original structure of Semtokha Dzong is based on my preliminary study as a part of Semtokha Dzong Conservation Project, which is aimed to safeguard the dzong in its original state and to develop its function as a living and vibrant monastery. This study had been conducted mainly by observing surface structure prior to starting the works and therefore it is not conclusive. In process of undertaking the overall conservation work, further examination of the structure is expected. However, I believe that even to halfway expose the structure through this study may help to throw some light on the signiicant role of historical evidence as contained within the structure, which could endorse written or oral transmitted history, as well as reveal long-hidden value in the monuments. 2. Two phases of construction: It is commonly thought that construction of Semtokha Dzong was started in 1629 by Zhabdrung Ngawang Namgyal and later repaired by the 3rd Desi, Chogyal Minjur Tenpa in 1671. First, let’s focus on these two phases of work. Even from observation of the surface structure, it can be assumed that the repair under taken by Minjur Tenpa was of large scale and could have also brought major extension to the structure built by Zhabdrung Ngawang Namgyal. Now the question is to deine which part of the dzong could be the initial structure built by Zhabdrung Ngawang Namgyal. On observing the narrow basement loor [refer to Drawing 4: Crosssection] of the shakhor (surrounding buildings), we can see the wall facing the courtyard side is functioning as retaining wall to support Junko Mukai 126 the courtyard, and the wall facing outside has small openings, which were used for shooting through in the olden days. In the basement of southeast part of the shakhor as a semiindependent building, the stone wall A [refer to Drawing 3] could be assumed as an initial remnant constructed by Zhabdrung Ngawang Namgyal. This is because: − − Wall A is not related to the upper loor plan, and exists without major function except supporting timber frames. [Compare basement loor plan (Drawing 1) with upper loor plan (Drawing 2)] Wall A has small openings for shooting directing toward inside of shakhor. It indicates that this wall was outer wall at a certain period. Therefore we may conclude that the present outer wall B had been later constructed to enclose the initial wall A. Clear vertical joints of wall can be seen in both the east and west sides on the facade wall of the dzong. This is the joint between these two structures, which must have been constructed at different times. Same assumption can be applied to the southwest shakhor. Comparison of surfaces between these two stone walls, classiied as schist and gneiss that were very commonly used for construction especially in Bhutan, don’t seem to show enough difference to deine two different periods of construction. However, such difference of species, technique or weathering may not be expected considering the additional work had been conducted only about forty years after the initial construction. Considering relation to the upper loor plan, three sides of walls of the semi-independent structure must be initial construction. But if so, this structure become very narrow; the room width is only 3.2 m to 3.5 m inside. Otherwise, we must consider another possibility; the location of the wall C was 3. Smaller dzong: How about other parts of shakhor structure? Convincing clues are not yet found. At least retaining walls could be initial parts, since the construction of retaining wall is one of the toughest works Signiicance of Historical Evidence of Semtokha Dzong 127 for any dzong construction and Minjur Tenpa must have preferred using existing retaining walls for his extension works. By focusing on the location of initial outer wall, some possible models of Zhabdrung’s dzong may be pictured as follows, if supposing the outer wall did not project beyond the semiindependent structure’s outline as common layouts of dzongs: 1. 2. The present retaining wall was an outer rampart. There were no surrounding buildings. Initial outer wall was located in alignment with the semiindependent structure. In this case, the spaces between the retaining wall and the outer wall come to be approximately two meters in width and the basement loor can thus house only a narrow passage. Two models for the courtyard level loor considering typical room requirement of dzongs may be assumed: A: A row of rooms enclosed by stone wall or timber partition wall surrounded the utse (central tower). These rooms had to be narrow, since from a structural point of view the inner wall should be located on the retaining wall. B: An open corridor attached to a row of narrow rooms surrounded the utse, similar to the present layout. This layout is not possible unless the utse was originally smaller, which means the utse was reconstructed to be larger in the time of Minjur Tenpa’s extension, since a certain space between the utse and open corridor is required. Any further historical evidence, which may support or reject these layouts of initial structure, can be found only through architectural survey, carefully observing the existing structure. And supplementary studies as follows may help to realistically picture chronological changes to the dzong structure: − − Comparative study on surrounding structure of old dzongs including ones before Zhabdrung’s time Comprehensive research on all written as well as orally Junko Mukai 128 transmitted sources; to thoroughly extract descriptions connecting to construction and structure of the dzong from biographies of concerned lamas such as Zhabdrung Ngawang Namgyal and the 4th Desi Gyalse Tenzin Rabgye. This research is currently being carried out by monks of Semtokha monastic institute, who are housed in this dzong. Considering all the possibilities as described above, the initial structure constructed by Zhabdrung Ngawang Namgyal has to be quite smaller, although we cannot igure out the whole layout of initial dzong. This assumption of a smaller dzong could be well complemented with some written history of the dzong; it’s said that the initial dzong had been persistently attacked by the Five Groups of Lamas (Lam Khag Nga) even during its construction. Therefore it could make sense that the dzong structure built at that time was smaller and simpler than the present one, since priority must have been given to faster completion of works. 4. ฀ Other interesting remnants found on the basement loor: The remnants of a ka-bug style entrance hall In the eastern part of shakhor in the basement, two twelve sided kachen and a door frame have been abandoned. A hall where these remnants, a set of required elements for ka-bug style entrance, are located must have been a main entrance facing to the east instead of the present entrance facing to the south. Signs of wear and tear on the door frame timbers explain that this door had been used for a certain period. When and why this entrance was closed is not known, while a small opening kept between the two kachens was inally blocked quite recently as per some ex-students of Rigney School. A rabsey of Kunrey Lhakhang, which is located right above this previous entrance, was installed at same time of blocking this entrance, since additional stone wall for blocking supports this superstructure. ฀ Traditional toilet pit In the east and north parts of basement, there are two places where any openings cannot be found on either outer or inner stone Signiicance of Historical Evidence of Semtokha Dzong 129 walls. By removing loor planks of the upper loor, it unveiled that one of them was a traditional toilet pit with “water-lushing system”. The stone wall enclosing this space is well formed in pot shape [Photo 7], and rain-drainage from the courtyard is connected to this pot while its outlet is on the outer wall [Photo 8]. This indicates that traditional toilet inside dzongs were not only the well known dry-pit system but a water-lushing system as well. In fact, similar systems using rain water can be seen in other dzongs like those in Dagana and Paro. Considering the upper loor plan, this pit was shared by two toilets attached in different rooms. ฀ Traditional drainage system from courtyard Well-functioning drainage ditches can be seen both in the east and west part of the basement. The ditches are in steep slope from the courtyard to outlets on the outer wall. 5. Two types of dzongs as per political system: Before concluding, I would like to touch on how the study on various construction phases of the dzong played important roles in the history of the dzong itself, and in a larger picture, the history of the country. Based on history, two types of dzongs may be deined; tentatively named “fortress dzong” and “complex dzong”. Semtokha Dzong was one of the earliest dzongs built by Zhabdrung Ngawang Namgyal, however, its structure must be classiied as a fortress dzong, unlike other dzongs built by him and his followers. The reason could be clear; circumstances at the time of initial construction of this small dzong were still dominated by violent struggle and its prior function was based in warfare rather than in governance. Even when Chogyal Minjur Tenpa extended the dzong the structure seems to have been maintained to be primitive same as fortress because of strategic reason. The description in the biography of the 13th Desi Sherab Wangchuk saying that he sent rice to this dzong for emergency case may indicate the strategic characteristic of this dzong even in the mid-18th century. Thus, even to understand the change in political system of governance in Bhutan, the study on the structure of Semtokha Dzong is important, because the 130 Junko Mukai structure supports the history. 6. Signiicance of historical evidence and need for preservation of the original structure: A “fortress dzong” is a principal seat for a religious body but also carries a defensive function. This had been constructed to maintain its seat during power struggle among different sects since the 12th century. The structure is comparatively small; an utse and simple buildings surrounding it. On the other hand, a “complex dzong” was created so as to adjust to more complicated functions as part of the Chosi Nyiden system introduced by Zhabdrung Ngawang Namgyal. Especially major dzongs were continually extended upon and expanded to accommodate those additional functional demands. The Semtokha Dzong was one of the earliest dzongs built by Zhabdrung Ngawang Namgyal, however, its structure must be classiied as a fortress dzong, unlike other dzongs built by him and his followers. The reason could be clear; circumstances at the time of the initial construction of this small dzong was still one of violent struggle and its construction and function stemmed primarily from concerns over warfare rather than those of governance. To better understand its real historical signiicance and genuine value of the structure, we have to accumulate fragmented clues, socalled historical evidence, through persistent survey of any existing historical structures and try to weave those fragmented clues into whole history of the particular monument while contributing that knowledge as part of that held about Bhutanese architecture in general. In this context, each and every element of the structure is to be considered as irreplaceable evidence of history. Even a small piece of timber may help to deine chronological or regional changes and shifts in construction style, which could result in helping us to evaluate value of the monument. Moreover, we the present generation should not expect to discover every clue. Since what we can perceive is limited, we would not know even how invaluable information we may be losing, if we don’t preserve original elements of the structure. THE LAYAP COMMUNITY: AN EXISTENCE UNTOUCHED BY THE WINDS OF CHANGE Kunzang Tobgay Introduction Our country is known to outsiders by the rich culture and traditions we possess. The thirteen traditional crafts (zorig chusum), play a vital role in shaping Bhutanese cultural and traditional aspects of life. For instance, the domestic skills of weaving and dressing represent a living craft that have commanded awe and wonder over the centuries. Bhutanese weavers living within a wide range of agro-ecological conditions learned to use locally available ibers and dyes to create variety of fabrics. Nomadic herders in high altitude pastures use the coarse outer hair of the yaks to create various fabrics for different purposes. The weavers in the temperate sheep rearing regions have developed an amazing skills and techniques for woolen based crafts. At the lower sub-tropical regions, wild silk, cotton, and nettle ibers are used to produce textiles of exquisite artistry and durability. While there are commonalities in the techniques and patterning across the country, the regional and ethnic differences enhance the richness of the Bhutanese textile tradition. Though I initially intended to present the weaving culture in the Laya community, I was inspired to undertake my irst attempt at study and research by the rich traditions and customs that prevail in this small community apart from its textile tradition. The origin of the people, their lifestyles, diet patterns, settlements, some important unique festivals and their reaction to the approaches of modernity and development are some of the areas I explore. Though not a gifted writer, I hope to bring some part of their culture and traditions closer to the heart of our people. I hope my attempt to introduce these people’s culture and tradition will inspire and allow some more energetic researchers to do detail study that will beneit this community. 132 Kuenzang Tobgay Introduction to the place Laya is a small community which comprises of around seven villages. It is an administrative block under Gasa district supervision, considered to be one of the smallest and the most remote districts in the country. The place lies at around 3800 meters above sea level. Oficially it is four days walk from the road point, which is under the Punakha district jurisdiction. The Laya are thus able to maintain within their community their very unique traditions and distinctive costumes otherwise unattested to in the country. Laya had been a deserted village for many years. The transportation was limited to mules only, a journey of around eight days from the road point, and had made the place both dificult to reach and important for cultural researchers. We often had to cross wooden bridges and we were warned never to cross the bridges along with mules, as the weight would likely break the bridge. All the bridges are of same style and some of the wooden logs used were very old and seemed to be on the verge of collapse when we stepped on them. They replace the bridges every three years, and service is required from all households of Laya. The rough foot paths are another obstacle. It was the mules who led us and quite often we had to cross paths fully covered by overgrown bushes. The small path through caves and high cliffs reminded us constantly of potential danger. The inal day of the journey brings visitors close to the Himalayan mountain range. There we get irst sight of the Laya community. Their boundary starts with very old traditional gate, fully built with stone, mud and wood, with long bushes around. The structure is said to have been built after Zhabdrung visited their place in 17th century. When Bhutan faced Tibetan invasion after Zhabdrung’s visit, the people of Laya, the region through which Zhabdrung irst came through, made large stone structures that resemble sentinels. It is believed that in the night the people built ires around these stones so as to give the semblance of guards awaiting potential Tibetan invaders. So, the people of Laya feel secure and protected with these stones and the people keep erecting them. Until recently very few of their traditions had been known, though they claim to be the irst Bhutanese to be settled in the country. The construction of road from Punakha had reduced Small Community with Rich Culture and Traditions 133 the burden, especially as almost everything is imported in this community. The people have to carry all the necessary items from Punakha town, a trip that takes around a week. Horses, mules and yaks are their main means of transportation and every household have the maximum numbers of these animals. The people consider the people of Punakha, the neighboring district, as their main trading partners. Few people acknowledge any trade with Tibet for it is an illegal business. Origin of the place’s name Differing accounts surround the origin of the name Laya. Most people believe that is was long time back the name had been originated. At that time a great saint from Tibet sent a huge rock name Dho-Laya towards south that we can see from a distance today, resting on top of a mountain towards the north. The saint had sent it, praying that it would lie down where destiny leads. Dho- Laya means ‘lying stone’ and today it is believed that the stone was brought to their place by that same destiny. People consider this stone to be very sacred and they do undertake some ritual practices associated with it. Later the people abbreviated the name to Laya by dropping the ‘dho’ which means stone in Dzongkha. Origin of the people The people of this community consider themselves to be the irst Bhutanese to have settled in the country. The story says that when the irst Zhabdrung visited Bhutan in the 17th century, he came through this place, so we can assume that they had been in this place even before the visit of Zhabdrung. The people vividly remember their ancestors talking so much about the Zhabdrung. Their origins require further, more detailed study, but their traditions and the way they live share similarities with those of the Tibetan lifestyle. Their appearance also resembles that of the Tibetans. They are tall and fair. Intermarriage is still being practiced to a large extent. The ladies look after the day to day affairs of their houses and the men go out for other work. To look after the cattle is a combined effort of both husband and wife. The statement is further supported by the story related by one 134 Kuenzang Tobgay of a school teacher who had been there for many years. He shared his inding on the origination of the Layap people. According to him, the Layaps seem to be of Tibetan origin. Long ago, in a big village in Tibet there existed a system where annually the village outcast would be sent towards south with all the combined wealth collected from the village. The day would be marked with a big and elaborate celebration and the chosen person would be driven out of his village without any option. While some went to other parts of Tibet and settled there, but many came to the south. This account possibly explains some of the life habits of the people that we ind at Laya. The Layap are very rich, generally perceived to be a result of what they received when driven out of Tibet. Further, when asked about their dress, Layaps related a story about how their unique dress had once being very prominent in Tibet that will be discussed in detail. Life habitat In the past, the Layap constructed houses that were made up of stones and mud. They were single storied houses with a single door and a big ventilation hole. Today as the country develops, the Layap have started constructing very big houses like other parts of Bhutan. We hardly see people living in very old houses. They use same materials that are stone, wood and mud but in more reined ways than in generations past. It is very interesting to note that the houses are all concentrated. They employ a markedly different style of construction, with hardly any space between the two houses, which stems from their belief that it will protect the houses from ire. Tshokpa Tenzin shared us the reason for such settlement. In the past amongst them, there used to have existed jealously. If somebody prospered, one would set his house on ire out of jealously. So in order to curb that behavior, they began constructing houses adjoining one another as a rule. However, in today’s generation he says there is less of a need for it and the people have started constructing their houses as they wish. The Layap people grow wheat and buckwheat. They import large amount of rice from the neighboring districts that would be suficient for more than two to three years. Kapchi wheat lour is a very famous meal in Laya. They grow very few vegetables as they does not grow there because of the high altitude. The circumstances Small Community with Rich Culture and Traditions 135 force these people to depend upon animal’s product for all sorts of need. Yak products are used extensively. The Layap people practice migratory grazing, moving their cattle north during summer, where they will spend three to four months in the mountains. This is the right time to prepare them for the winter. It is only the ladies and the old people who stay back. The men would also be moving from place to place for trade. In winter the Layap move towards south to neighboring district Punakha because of the heavy snowfall in Laya. It will be only the oldest people who would be staying back since they cannot make the dificult journey, however, they would have all necessary items prepared. Settlement Laya lies at an altitude of around 3800 meters above sea level. Mo Chu (Female River) can be viewed throughout the journey to their territory. The irst houses are seen just before reaching the Laya community. We come across the Bhutanese Army and IMTRAT camps before we cross Wakayla Chu. At Kamji Gang Chu, we are much closer to Laya and just above this river lies two primary villages of Laya: Gaza Rawkta and Lungo. It is believed that when the great saint Zhabdrung irst visited Bhutan, he passed through this village. He asked the people of this village to allow him to spend the night, which they refused, forcing him to move further south. After crossing Kamji Gang Chu from this village, we come to the third village, Tongra. This is the most prosperous village of Laya. They say that they are very prosperous because of the blessings of Zhabdrung. Aum Zangmo, a lady in this village, was very proud to share that Zhabdrung stayed at the same house in which she stays at present. It was her ancestors who allowed this great saint to stay. We still can ind the well maintained silver pot they received from Zhabdrung as a gift of thanks. People visit this house for receiving blessings from this pot that is illed with water, which they consider holy. They served us a spoonful of water each from this pot. The same house has also few turquoise stones that they received from Zhabdrung as gift for helping him, which they call it Yu Lung Sum. Considered to be a treasure of Laya community, it is connected to a number of festivals that will be discussed in detail below. 136 Kuenzang Tobgay This rare stone is said to have come to Zhabdrung from the mouth of a snake. The story says that while Zhabdrung was coming to Bhutan that time, upon reaching a place called Tori Lam, a huge snake came out, blocking his way. With his miraculous powers, Zhabdrung brought down a heavy hailstorm that frightened the snake. As a sign of regret, the snake offered the Zhabdrung three rare stones that came out from its mouth. Today these stones are kept inside a small box and the people get blessings from it, making this village where they are kept important for the Layap community. Lipcha and Nello are other two villages one inds before reaching the Basic Health Unit (BHU) and the school. They have few shops where they get some necessary items though their cost is double that of the more accessible areas of Bhutan. Pazhi and Toko villages are situated on other side of the hill. Pazhi village is also known for having a miracle phurpa (ritual dagger) with Phajo Penjore, a famous resident. Statistics of Laya As of 2003, Laya has a population of 786, with 390 male and 396 female. As compared to year 2002, the birth rate had gone down because of the implementation of family planning practices. The death rate has also gone down as a result of improved medical facilities. For instance, the total death in the year 2002 in Laya was 11 but the total death in 2003 was only one. The people are increasingly aware of health and sanitation. When irst BHU was started in Laya, people hardly visited it for they preferred traditional methods of healing disease. Today the people visit BHU quite frequently. They also have started sending the serious patients to other referral hospitals. Nearly 80% of households have water supply. The number of houses with proper latrines has improved drastically. It was found out that 79% of the households have their own latrine, and 95% of the households have refuse disposal pits. Almost all households have separate animal sheds kept some distance from their houses. However, there is no house without smokeless stove, the use of which would further improve health and sanitation for the people. There had been expanded program on immunization so that no child without proper and timely vaccines. Some of the most common diseases found in Laya are skin diseases, diseases of Small Community with Rich Culture and Traditions 137 teeth and gum, diarrhea and dysentery, fractures and injuries, worm infestation and so on. Food habits and trade The people of this community grow only wheat and buckwheat. The cash crops they produce cannot sustain them throughout the entire year and as such they have to import signiicant amounts of other cash crops. It is their custom that people work very hard in the summer and they store as many rations for winter, when those that remain in their homes are snowbound for long stretches of time. It is very interesting to note that some wealthy households have the rice stored for more than twenty years. The more old stocks they have, they consider themselves to be more powerful in the community. Besides they grow few vegetables and most of the year and they survive primarily on animal products in addition to their grain stores. The people export animal products in large scale, and the selling of butter, cheese, meat and animal skin is a common trade. One person said that when they are in need of money they just have to slaughter a yak and it would earn a huge sum of money. Dried cheese is also sold in large scale. In the summer most people move their herds in the forest and they prepare themselves for winter trade, when they move down to Punakha. At this time they dry cheese and for its sale. Weaving in the Laya community It is dificult to learn the early weaving tradition in Laya, as it is not very overt, and an art dominated by women. Their weaves are simple, without any motifs, and the time required to inish a panel is less as compared to other weaves found elsewhere. Origin of their unique dress The dress worn by the people of Laya is easily distinguishable. They wear very simple dress made of wool, cotton and yak hair. It is only the women whose dress is consistently different than the rest of the nation, as men will generally wear gho like the people of other parts of the country, except during special occasions, when they will don their traditional clothes. The dress they wear is believed to have come to Bhutan 138 Kuenzang Tobgay during the time of Guru Rinpoche in 8th century, and originated from Tibet, although this style seems to no longer survive in Tibet. The story says that during Guru Rinpoche’s time at Samye, they had a very grand ceremony where evil forces were consumed and destroyed by placing them in ire. This was to appease the lu (nagas). As we have continued the practice of making human images out of lour and mud while performing certain rituals in Buddhism, the same has been done in Tibet. During the Samye rites, it was an image of a couple that was made, and the forces driven to the south. It is believed that destiny thus brought the female image to Laya, where they maintain the same traditions of dress as centuries ago. As mentioned earlier the traditional dress only occasionally worn by men arrived much later and that may be why it is not as predominant or culturally entrenched as that of the women. However, it is believed that the destiny had led the male image to settle in northeastern Bhutan, in the region called Merak-Sakten. It is then supposed that both members of the Samye couple ended up settling permanently in Bhutan, with the male giving rise to the population of Merak-Sakten and the female generating that of Laya. Of course, further study is necessary to investigate these aspects of Bhutanese history. Loom used for weaving Layap weavers are invariably female, and use a loom called zoom that looks very similar to the back strap loom found throughout the country. Usually they weave outside or on the ground loor of the house as they require adequate space to accommodate the loom. Similar materials are used as those seen with the back strap loom, but the length of the panel is quite long, often extending up to a few meters. Since they do not employ extremely elaborate motifs, the time consumed by weaving a panel is very short. If they weave continuously, a panel will generally take a maximum of one week. The Layap are not very keen to adopt other looms. They say that zoom is a back strap loom and it is of no use to weave on horizontal loom. Only few women who went out of Laya have seen other types of looms. Aum Dawa Pem, the wife of a gup (village headman) who served in Royal Bhutan Police, says she can weave on horizontal loom, but since they cannot use the products themselves nor can they sell them to others, she did not take interest to use it Small Community with Rich Culture and Traditions 139 and prefers her traditional Laya loom. Back strap looms, as much of the rest of the nation knows them, are also not used since the ladies only wear their traditional dress. Zoom also employ similar accessories as those associated with the back strap loom. Tam, which is used for beating down the yarn, is similar, however the tam they use has an iron edge so as to yield additional pressure upon the yarns they use. It is said that some of the tam are over a century old, which provides evidence of the high degree of the tam’s craftsmanship and the care with which they treat their tools. They also occasionally embed large patterns in their weaves. For this, they use woolu, ngee, and tsheu, which are all bamboo materials. Yarns The Layap use various types of yarns, all of which are made locally. They do not import synthetic yarns. As the climate dictates the weaving of very thick and durable textiles, they prefer to use the products of their own animals, who are also able to survive the harsh climate. Though the Layap make extensive use of wool, its prevalence is somewhat ironic since there are no sheep kept in the region. The wool that is imported, and it seems some comes from Tibet, though this was dificult to verify as people are reluctant to say that they import any goods Tibet because of the present political situation. One man did say that wool imported from Tibet is of high quality and very cheap. Few people said that they imported wool from Bumthang in the past, but because of the time consumed and the cost paid for transportation, many stopped as it was not cost effective. Moreover, wool from Bumthang is perceived to be of lower quality. It is believed that in the past, sheep were reared in Laya. However, the high mortality rate for the sheep may have been the result of local lora. The high altitude plant known as chalam shing is thought to have poisoned the sheep. After the loss of those locks, though their wool is necessary, sheep were not reared again in the area. A highly learned man from Lipcha village related a very interesting story in connection to the color of wool. He relayed the local folktale that in the distant past, there existed sheep of all colors, and as such there was no need for dyeing the wool as we do today. Kuenzang Tobgay 140 Though during the time of the Tibetan King Songtsen Gampo’s time, all the sheep, except for the black and white ones, were lost. This king had two consorts, one from China and one from Nepal. We call them Ja za and Boe za (Chinese and Nepali Queen). Queen Ja za is credited with introducing the back strap loom. However, it was Queen Boe za who was returning to Tibet with all the sheep. After many days, she reached a lake. As she was resting under a big tree, the sheep were grazing around her. Around midday when a tree branch fell down, disturbing some nearby rabbits, who then started jumping towards the grazing sheep. Startled and fearful, all the sheep began running into the lake. The queen stood up and caught only two; one black and the other white. The queen was incredibly frustrated with the events, saying: Shingchen mani drubzhi Kayn thoo gang lak kay ma chuu Nang gi shawa ruubchu Joon yaar chong men Jo ma chuu Dhen chang chi meen dhey ma chuu which means: Big tree Mani Drubzhi If you ever grow, don’t grow longer than ive inches And you, reindeer, If you ever move, let you always jump And when you stay, let you always be alone. Mani Drubzhi is the smallest tree that we see today in Laya, though it is believed this tree used to grow very tall and only later because of the Queen’s curse, the tree does not grow higher than 5 inches. Today we observe that the ten horned reindeer of the area do not walk properly, but rather jump. Whenever this reindeer moves, it does so alone because of the curse by the queen after the loss of her sheep. According to the story, thereafter the people started using dyes for getting varieties of colors, since they lost the sheep of other colors. Yak hair is used extensively in Laya. Most of their daily required textiles are made out of yak hair. Utilitarian textiles like sacks, ropes, bundri and tents are crafted from yak hair. These products are known for its durability. For instance, the tents made of yak hair can last over Small Community with Rich Culture and Traditions 141 100 years. This durability and quality translates into high expense also; one yak hair tent comes at the price of one yak. However, it was not possible for us to see a tent made of yak hair within Laya villages, as their use is limited to the forest, where they stay with their yak herds. Our short trip to a place called Nowo Thang gave us opportunity not only to see the tent, but to experience of staying inside it. The tent which we saw was constructed in the late 1950s. The man shared that it had belonged to his grandfather who passed away decade ago. Judging from its present condition, it can easily survive for another ifty to sixty years. These days, few people use tents made of yak hair. Most of the Layap instead use imported tents from India. Of the places we visited in Nowo Thang, we saw only one tent of yak hair. Dyes The history of dyeing is attributed to the time of Queen Boe za. As related earlier, when she lost all the colored sheep in the lake, she had to ind other means of coloring. At this point, she began to derive dyes of different colors from various plants. It is believed that it was Ashi Boe za who taught all the procedures of vegetable dyeing. The Layap seem to be less familiar with the concept of vegetable-derived dyes. Moreover, since they make extensive use of yak hair and wool, which unless white cannot be dyed, they rarely employ vegetable dyes. This is an area where their resources had been under utilized. Aum Dawa Pem who had been to other parts of the country while her husband served in the armed forces, said knows the concepts and mechanics of vegetable dyeing, and that even with limited plant life of the area, she can see some sources around Laya that could be used for dyeing. At present the Layaps uses chemical dyes to color the wool, which they get in powdered form. They buy them via India, where they are manufactured in the Kalimpong area, and retail for around thirty Indian rupees. The exact chemical contents are not known, and neither is the brand of the dyes disclosed. These dyes are very popular amongst the Layaps, and they are a consistent order from those who are heading down to Phuntsholing, a commercial center in southern Bhutan. Every household keeps a variety of these dyes, and they have developed names for each in their local dialect, some of which are listed below: Kuenzang Tobgay 142 Hro hro Yupe Tsha nak Seye - red - blue - black - dark red These are the dominating colors the Layap use to create their limited motifs, which are primarily designs of animals. Dyeing processes The dyeing process is similar to that found in the rest of the nation. The Layaps believe that outsiders or pregnant women of any nationality cannot witness the dyeing processes. It is said that outsiders steal away the colors. If the pregnant woman sees the dyeing process, they say the baby will resemble the color of dyes that his/ her mother saw while he/she was in her womb. In the community, both men and women participate in the dyeing process. One packet of imported dyes is enough to dye two kilograms of wool. Before dyeing, the wool is cleaned and washed. It is separated and worked on with a pair of brushes called nap. This is then made into crude balls which then go into a spinning wheel called chapang. Both men and women carry these balls where ever they go, along with a tool called yokpa, or drop spindle, and is utilized to spin the wool into successively iner yarn. Then it is rolled and ready for dyeing. Much like elsewhere in the country, the Layap use the liquid of the sour fruit known as chutshuk as an additive believed to ix the dyes. The fruits can be dried for use in the off-season. To the liquid of sour fruit chutshuk the packet of imported dyes is added. Around two kilograms of ine wool are added and then boiled for around an hour. Then the wool is taken out and placed in a wooden bowl. It is here the wool is smashed with the legs until it becomes soft enough that it can be woven. The wool is then taken out and dried in the sun, unlike elsewhere where shade is sought for the drying process. Layap dress The Layaps wear a very simple but unique dress. Both the male and female wears almost similar traditional dress, though as mentioned earlier, the men wear it far less frequently, instead preferring the gho. Small Community with Rich Culture and Traditions 143 Women decorate their dresses with many additional accessories and They import some parts of their dress from Tibet. For instance, hotra jalo, which is extensively used by Layap women, can be imported only from Tibet. Hothra jalo woolen kiras and its particular pattern are worn by all women and can be found in most households. Other types of Layap clothing tradition are elucidated below. Khenja Khenja, which means shirt in the local language of Tsanglakha, is the general term used for the shirt worn by both men and women. Though they share the term khenja when referring to both genders, the patterns and design vary according to the wearer. Women’s khenja look like a long overcoat made of hothra jalo. It is a single patterned coat which they wear outside of their zoom (described below), constructed of wool and designed to suit the climate and high altitude in which they live. The women may also use the men’s khenja in day to day life. Hothra jalo khenja is used only on occasion. These days, imported coats often appear in place of their khenja. Men’s khenja differs from those of the women. They do not at all use hothra jalo khenja and are conined to one style, which looks like a Tibetan shirt. They are made of wool and are all black without any patterns. However, they do decorate the inner lining, especially along the neck, though this style is used only on occasion. Their khenja have a side knot unlike others. Zoom Zoom is also woolen and worn by both men and women, though the style of wearing it differs. It is a long panel textile that can wrap around the body. It is said that one panel, which takes around a week a male or a female. Women usually wear it longer than the men, so much so that it can touch the ground. The men keep it above the knee. Most of the women also wrap their zoom with a piece of cloth. Both men and women use kera (woven belt) to hold the zoom. Khuti This is a raincoat used by the women. It is a multipurpose textile that can be used as a shawl, raincoat, mattress, and also a cushion. Wherever they go, the ubiquitous khuti follows. It is made of wool 144 Kuenzang Tobgay and yak hair. Black is the uniform color for the khuti. The people from Merak-Sakten use a similar type of textile, but in red. This similarity in garments is believed to be a further clue to a common ancestry, and it is said that the major difference between the people of Laya and of Merak-Sakten is limited to their respective tastes in color. Whereas the Merak-Sakten population usually prefers red, the Layaps are dedicated to black. Khamar Khamar is a scarf usually used by the gup. In Laya the men use it in some occasions. One of the occasions during which it is worn is called aowlay, which occurs in the eighth month of the Bhutanese calendar. The way this scarf is worn is unlike the way in which the commonly seen khabney is donned in most parts of Bhutan. Rather than an intricate or standardized arrangement of the fabric, Layap men wrap the khamar around their neck in whatever form they choose. It is said that this scarf was introduced by the Zhabdrung during his irst visit in the 17th century. The traditional dress men sometimes wear is also believed to have been introduced by Zhabdrung. It is further thought that he encouraged this dress in order to have uniformity throughout the Laya community. Since then, the men wear this dress, at least during the speciic times, such as that of aowlay. Apart from the above mentioned textiles, Layap incorporate other accessories to complement their dress. In the past there was widespread use of dralhams, footwear made of animal skin, though at present most are constituted of jachen (acrylic). Both genders have historically used either form, however, today it had been replaced by imported shoes. Even in school, only few students are seen wearing dralhams. People express that they prefer to use imported shoes because of their affordability, comfort and as a sign of modernity. A Layap woman wears a peculiar hat made of bamboo, topped with a wooden element, from which they hang other accessories. This display varies according to the wealth and status of its wearer. It is mandatory for the women to where this headgear wherever they go. When they receive high oficials and attend any sort of important functions, this hat is worn as a sign of respect, and replaces the rachu (shoulder scarf worn by women) seen elsewhere in Bhutan. The inner Small Community with Rich Culture and Traditions 145 lining of this hat is cotton textile. It is believed that this hat had been designed in Tibet long time ago, though its original design, purpose and time of importation is unknown and so far unattested. The women also display wonderfully crafted necklaces, often worn in multiple layers. Though not compulsory, almost every woman will wear the maximum number during special occasions, often with a gau (charm box or small shrine) also being worn. The number of accessories is considered proportional to the amount of wealth one has. One woman, a district dancer, said that whenever the Layaps attend any sort of festival or important event, they feel fully dressed only when proudly displaying of their gyaencha (accessories). Modern approach to development Modernization reached and encroached upon this village just few years back. Due to its small population and isolated environment, there is a very limited number of people working as civil servants. The modern education for them is not as entrenched as in other parts of the country. The government started a community school in the year 1997, though there is very limited number of students and the numbers of new enrollees in the school is very limited. The village headman often has to go and force parents to send their children to school. They also have a basic health unit (BHU), which is another major step towards improving of the welfare of the people. However, it seems that people hardly visit it for they still prefer traditional methods of healing disease. The region also has centers for forestry, agriculture and animal husbandry. Steps had been taken towards the improvement of the quality of seeds that they grow in their ields. The people with limited numbers of cattle were also given the gifts of cattle by His Majesty the King in recent years. Birth and marriage Birth in Laya is taken as an auspicious occasion, though not one that is marked by a large celebration. Births almost invariably take place in the home, with either a female family member or the husband present for the delivery. It is said that they would prefer baby boy, in reality, they do not differentiate much. 146 Kuenzang Tobgay As elsewhere in the country, for the irst three days of the baby’s life, only family members are allowed to visit the baby and the mother. After three days, both the mother and child are puriied by a holy man, who offers sung (burning the holy tree leaves). Other people are then free to come see the baby and mother after the successful conclusion of this offering. They come with butter, cheese, clothes for the baby and some further bring a white khadar (scarf), saying trashi delek which means good luck. They also offer the child small amount of money as a symbol of welcoming him or her into the world. Rituals are performed almost every month. For the infant’s name, the child is taken to the lama, a highly trained Buddhist master. Marriage is very common in Layap community, and is not conined within the village. They can marry somebody from outside Laya, though there are few occasions when the parents arrange marriage for their children. However, a marriage based on love is very common, and can be initiated by either the man or the woman. They can stay either in husband’s house or wife’s house, though it is usually the husband who goes to wife’s house as maap. However, they would prefer to settle in a place of their own. Important religious festivals Like all people, Layaps are fond of merry making. Every season includes some time for community celebration. The two Layap have two major occasions which Layaps celebrate are Auwlay and Bonko, and much time goes into preparation for the events. It is said that the Layaps have a royal decree which states that the populace, no matter where they work, are allowed to attend these festivals. So it is said that it is compulsory for all Layaps to attend these festivals. Compared to Bonko, which they celebrate in 15th day of fourth month of the Bhutanese calendar, Auwlay falls on the 15th Day of the eighth month. Auwlay is celebrated after they harvest wheat and buckwheat. The prevailing belief is that no one is allowed to touch their grain for consumption before this day. On this day every household harvests the irst grains and offers them to Zhabdrung. This offering marks the beginning of the celebrations. Just as in other parts of the country, there is a social hierarchy within and between different communities or villages. The three day Small Community with Rich Culture and Traditions 147 celebration of the festival Auwlay, is relective of this comparative social standing. Every year Auwlay is begun in Tongra village, which was the irst village visited by Zhabdrung on his way into Bhutan. Aum Zam’s house in Tongra village, where Zhabdrung used to stay while traveling in the past and where we also ind the silver pot and Yu Lung Sum gifted personally by Zhabdrung, is the irst house in which they celebrate. Every year festivities begin from this house. In a day, celebrants cover three villages: Tongra, Lupcha and Nello. The next day they start from Singye Thang and visit Pazhi and Toko. On the third day, the rest of the villages are included. The host houses have to offer food, wine and other edibles, believing that if they do not offer anything, whatever curse the visitors choose to inlict on them will come true. So all householders ensure that something suitable is able to be offered on that day. However, these visits only take place at night, and are only undertaken by males. It is during this occasion that they invariably don the khamar, as it is compulsory during this occasion. The women, singing, follow the men, but are adamant about covering their faces to avoid recognition. The khuti is used to cover their in this instance. Bonko is celebrated only for one day on 15th day of fourth month of the Bhutanese lunar calendar, which is also Lord Buddha’s Parinirvana (Due Chen Nga Zom). The difference between these two festivals is that at the end of Bonko the men play archery matches amongst the different villages. Entertainment The Layaps celebrate all the occasions as held through the rest of the country. Important occasions like blessed rainy day (Thri), meetings of nine evils (Ngenpo Ghu Zom), Ngelo and New Year are all major events. During these festivals the men play all sorts of games, primarily archery matches. The women sing and dance as well as watch the competitions. Intervillage matches often give rise to more interesting songs, with the women singing and dancing their support and praise for the players from their village. However, they have great respect for other team, also and as such seek to avoid making any gestures that could lead to misunderstandings. Since the archery is too advanced for children, they generally engage in other games like khuru, which is a form of darts played 148 Kuenzang Tobgay outdoors. Khuru is played with the help of small pieces of wood on which they ix a nail underneath, and attach either feathers or an arrow made of plastic on the top. They are also very fond of dego which is played by throwing two lat stones toward a target. Today, with the introduction of a community school in the community, the children get exposed to some of the international games such as football, volleyball and other games that are very popular in other schools. Perpetuation of Layap culture The rich traditions and culture of residents of the Laya region need to be studied further and thus increase our appreciation of its survival over generations. Our brief survey of their unique costumes and traditions reveal that many unique aspects that had been passed down from their ancestors had already been lost. It is disheartening to learn that today no Layap is able to give an exact account of the origins and development of their community dress. They vividly remember their ancestors sharing many stories about it, though nobody remembers the full story. However, many areas have to be appreciated. Their culture still lies comparatively intact, mostly due to their incredible dedication and respect for it, a characteristic on the wane through much of the rest of Bhutan, which is presently joining the rush towards modernity. The pace of development in this area is slow because of its location, and its people are proud to be self-suficient. The big concern was expressed by a teacher who had been there for the past four years. He said that the major problem he faces as a teacher is the student’s absenteeism. They have a tendency to feel that if they know how to read and write that is suficient, and they start leaving school. Sometimes, the parents come in request to take their children out of schools as they have to shift their herds to other places. Therefore, the lack of a full education has become trend. In the course of a given year, approximately one-quarter of students will withdraw by its conclusion. Presently, the people are beginning to inculcate the value of education, and numbers of dropouts are decreasing every year. It is currently a point of Layap pride that a number of young people are enrolled in and attending area high schools. The Laya region is known for its beauty, and its people are Small Community with Rich Culture and Traditions 149 very concerned about caring of their vegetation and environment, keeping as much as possible intact. Since people depend mostly upon their animals, in the past much of the other natural resources were exhausted. At present, much of the region falls under the Reserve Park, where people are taught the importance of conserving the rich forest in their community, which led to an immediate decrease in the misuse of forest. The practice of shifting cultivation had reduced to a minimum in just a few years. The real beauty of Laya is expressed through the kindnesses and generosity of its people. Though many are ‘uneducated’, there remains a large amount of information regarding their culture that we need to appreciate, consider and document for future generations. Once involved with the community of Layaps, one is no longer a stranger, regardless of your place of origin, and the degree of help Layaps render to visitors is very high. Their ability to exist in such a harsh climate is remarkable, not to mention that they procure and create all necessary items that sustain them over the course of the year. Layaps are proud of the richness they possess at this time in their community and the systems they have in place to perpetuate it. There still exists barter system where they exchange few animal products for some necessary items, while some trade with Tibet seems to occur, where a small number of items is there and from where they are able to receive electronic goods in return. It is surprising to see that almost every household has solar panels, both in their main homes and along with the tents pitched in the yak grazing areas; a few village residents have been able to buy generators. Layap heritage in all its aspects needs to be treasured for it represents a continuation of the lives lived by our ancestors long ago, that which has been lost in other parts of the country. Their survival through out the time unaffected by the wind of change, need to be studied further and document it for the beneit of the community and the ones who are interested to know about their culture. 150 Kuenzang Tobgay CONSERVATION AND PRESERVATION OF MANUSCRIPTS AND PAPER Dorji Wangchuk It is believed that Ts’ai Lun of China, who was the Minister of Public Works during Ho Ti’s regime in 105 CE, made utensils used by the court, made paper by using wood bark, jute iber, rags and macerated ish nets made from jute cord. Later, in 610 CE, paper was introduced in Japan by a Korean monk. The handmade paper making in Bhutan stems from its origin in the 8th century. It began as an ancient domestic activity, and is still in undertaken today in many areas of Bhutan. Deinitions of paper Noah Webster deines paper as is “a substance made in the form of thin sheets or leaves from rags straw, bark wood or other ibrous materials for various uses”, or as “an interlaced web of ibers formed by the action of felting from a water suspension which is dried and inished”. A sheet of paper consists chiely of vegetable ibers of different lengths and sizes twisted and inter-placed with each other and inally squeezed together to make a sheet or web with a suitable surface for writing. Paper is a felted sheet of ibers formed by introducing the water suspension of ibers onto a ine screen. The water drains through the screen leaving a wet sheet of paper which is dried and removed (B.L. Browning). Early writing materials before the invention of paper Mankind has devised many ways to ind material on which inscribe his marks. Early verbal languages consisted of tones and clicks and man must have felt a great need to illustrate what he 152 Dorji Wangchuk could not describe in words. It is to be assumed that the very earliest attempts of this kind were scratched in the sand or soft earth with the point of a stick. Later, smooth stones, metal, wood, clay tablets, papyrus, birch bark, palm leaves, parchment, leather or pieces of bone were likely used among the earliest means of communication. Written or spoken language is an ever evolving process, one which varies from culture to culture and place to place depending on the needs of the civilization at that time. The history of writing is in part a matter of the discovery and representation of these structural levels of spoken language in the attempt to construct an eficient, shared, and economical writing system capable of serving a range of socially valuable functions. Literacy is a matter of competence with a system of communication and with the specialized functions that written language serves in a particular society. Bone: The earliest examples of Chinese written script date to the late Shang period (ca. 1200 BCE). These are called oracle bone inscriptions. The inscriptions on these bones tell us that by 1200 BCE, Chinese writing was already highly developed, and that it was used for prognostication, likely among other functions. Bamboo: Dating to about 5th century BCE, writing on bamboo strips has survived into the present. Before writing the characters with a hard brush or a stick on the bamboo surface, the strips were prepared in advance and tied together with strings to form a roll. Stone: Stone is the most durable material, and as such ancient engravings of epitaphs, characters and letters have survived for millennia. In India, 4th BCE inscriptions in stone are intact. Clay tablets: The earliest inscription on brick dates to approximately 3000 BCE and can be found at Chaldeans in Babylon. While still wet, the clay was imprinted with wedge-shaped letters, called cuneiform Conservation and Preservation of Manuscript and Paper 153 from the Latin cuneus, or ‘wedge’ by a stylus. The clay was then was kiln ired or sun dried. Tablets were made of various shapes such as cone-shaped, drum-shaped or lat. Though the iring process imparted additional strength to the clay, the tablets were still subject to breakage. Wood: With surviving examples dating to the 9th century BCE, wood was often employed in writing. The slabs of wood were coated with wax, chalk or plaster. The writing was then executed by scratching the letters into the surface with a metal or bone stylus. Tree leaves: Since ancient times all over the world, leaves were used for writing purposes. Surviving examples as used by the Romans on olive tree leaves survive from the irst century CE. Palm leaves have been prevalent throughout south, southeast and central Asia. Tree bark: The barks of certain trees were also used in very early times. Latinate cultures made use of the inner bark of trees known as libber. Birch bark was used in ancient India for writing. Parchment and vellum: Parchment may have been used as early as 1500 BCE, made from the split skin of sheep or lambs. The grain, or wool side, of the skin is that which is converted into parchment. Vellum is usually a calf skin prepared through lengthy exposure to lime before being scraped with round knife rubbed smooth with pumice stone. In this process, the skin is not split into two layers as in the case of parchment. It is de-haired and de-leshed and treated with lime, giving vellus a much iner texture. Unlike leather, parchment and vellum are not tanned. 154 Dorji Wangchuk Papyrus: Papyrus is a plant with a high percentage of cellulose. Papyrus was widely used throughout Egypt as it was most readily available. Invention of paper: It is believed that the irst paper was made in China in about 105 CE using tree bark, old rags and ishnets. Before the invention of paper, for centuries Chinese had used wood, bamboo strips and silk for writing purposes. However, the Chinese kept to themselves the secret of the art of paper making for almost ive centuries. The techniques of paper making soon spread to Korea and Japan. It is believed that such techniques were brought to Japan from Korea by the Buddhist Monk Dokyo in 610 CE. Later the art of paper making spread to around the ancient and medieval world, roughly at the times listed below: Persia Spain France - 751 CE 1155 CE 1189 CE India Germany Italy - 13 -14 CE 1306 CE 1200 CE As time went on, most paper was made from cotton and linen rags or mixture of various ibers. But the production level was so low that it became dificult for paper makers to cope with the growing demand that predominated the 18th century. To meet it, paper manufacturers started selling the paper by weight. They added loading material to increase the weight and thus loading material was introduced in paper. Comparatively late, people came to know timber as a raw material for paper making. Differences between handmade and machine made papers: Handmade: Tears in the same way in all directions. Expansion upon wetting is the same in all directions Has natural shrinkage When a sheet is in water, it cockles in all directions. Conservation and Preservation of Manuscript and Paper 155 Machine made Tears more easily in one direction than in the cross direction. Expansion upon wetting is greater in the cross direction No natural shrinkage While loating a sheet of paper in water, it cockles in the direction which the machine originally made it a) Sizing Vegetable ibers have a quality of absorbing water easily, and if words are written in ink or printed on the paper they will run. Therefore, sizing becomes necessary to prevent running of ink. The term sizing covers a number of paper making operations for the purpose of making paper: a) Resistant to penetration by water or moisture, b) To prevent the spreading of writing ink on paper, c) To consolidate and harden the sheet. Sizing materials used include starch, glue, gelatin and rosin wax. b) Loading (illers) Fillers are mineral powders are added to paper to increase the weight since it was obvious that paper had to be sold by weight instead of by ream containing a certain number of sheets. China clay was found suitable to meet this requirement. However, such paper crumbled to pieces after a short time. c) Coating The purpose of coating, expressed in general terms is to cover the surface of the paper with a material which produces a desired property which is usually that of printability. d) Color: Coloring is improved by the use of loading, which are whiter than cellulose. Nature-given lora act as additional go-between ingredients, such as lowers and parts thereof, leaves, fern leaves 156 Dorji Wangchuk and fern moose, wood moose, walnut bark, beetle nuts tissue, maize leaves and food grains are used for making decorative design paper. Uses of paper Both handmade and machine made papers have a wide range of uses and purposes such as writing, making books, covering, wrapping, wall decorating, lamp shade, chart paper and post cards. Properties of paper 1. A) Physical properties Tensility The physical strength of paper is commonly measured by tensile stress. The stretch is the distance, which the paper will stretch before it breaks. Tensile failure occurs primarily because due to the failure of inter-iber bonds. B) Folding endurance Folding endurance tests mechanically produces double folds repeated at the same point of specimen strips, and subjects the strip to tension after each fold. The result is expressed in the number of folds before rupture at the crease. The test is especially important in papers which are subjected to folding, for example map papers, currency notes and book pages. C) Tearing strength It has been found that the alkaline cooked pulps have higher tear strength than acid cooked pulps. Fiber length and interiber bonding are both important factors in determining tearing strength. Longer ibers improves tear strength. 2. Deterioration of paper Deterioration is a complex phenomenon, which arises from the effect of several possible categories of causes: - Physical : light, heat, humidity and dust Chemical : acidity and pollutant gases Conservation and Preservation of Manuscript and Paper - 157 Biological: insect, fungi and rodents Accidental: handling, ire, lood, earthquake Human vandalism Effects of dust particles on paper materials; brown dust particles on the paper are known as foxing marks, which occur due to presence of iron salts in reaction with moisture from atmosphere. Factors: A) Environmental effects The environment in which the paper collections are stored, especially with extremes of temperature and/or humidity helps to accelerate deterioration of the paper. A hydrometer placed in the area would adequately monitor the humidity and temperature. Two big reasons for controlled temperature and relative humidity in libraries and archives are to retard natural aging of the collections and to prevent the growth of microorganisms, insects and other pests. B) Effects of light Ultraviolet rays cause direct breakdown of the cellulose bonds (photolysis). Therefore, it is advised to use UV ilters when displaying all art objects, including paper materials. Tungsten light is recommended. C) Insects Many insects feed on paper and are considered the worst threat to paper. When books are piled on top of each other, or stored near a wall, the back cover is eaten by book worms or other pests and cause the book to crumble into pieces. They often ind a foothold if the books or papers are kept in an environment where moisture can be introduced, further enabling the pests to access the objects. There are several kinds of book worms. Samples of insects which typically cause the most damage are silver ish, leaf worms, and termites. D) Biological 158 Dorji Wangchuk Biological growth such as fungi and bacteria contribute to the deterioration of paper. Heat, along with an adequate food source in the presence of moisture, provide the necessary conditions for the growth of insects and moulds. E) Effects of ink Many varieties of inks are available for writing, printing and marking purposes. Documents of ink damage are observed because when its content is overly acidic. Ideal qualities of ink 1. 2. 3. 4. 5. 6. It must yield permanent writing. It must low readily from the pen and penetrate well into the ibers of the paper without cutting or passing right through it. It must not gelatinize or become moldy in the container It must not have corrosive action on the pen or the instrument used for writing The ink must not be sticky and should dry up quickly. It must be resistant to daylight, air, water and alcohol. Prevention & conservation There are many variations and different levels of treatment, and the conservator may offer choices depending on several factors. These include the condition of the artifact, its future use, and aesthetic value. Treatment is always preceded by a careful examination of each object. Before beginning any work, the conservator must generate a written report outlining the procedures and treatment. Photographs must be taken before, during and after treatment. Magniication aids such as a binocular microscope are ideally used during the examination. Cleaning can be done in two ways: a) Dry cleaning with muslin cloth, hair brush or soft cloth. Supericial grime, dirt, and soot are removed with a soft brush or with non-abrasive material. Accretions, including insect specks and mold residues, are removed mechanically with an appropriate tool. A small vacuum aspirator is recommended for lifting mold. Use of Conservation and Preservation of Manuscript and Paper 159 cotton for dry cleaning is not recommended. b) Wet cleaning with distilled water or organic solvents such as acetone, ethyl alcohol, carbon tetrachloride with glycerin, xylene and toluene. Water washing is often beneicial to paper since it not only removes dirt and aids in stain reduction, but it can also wash out acidic compounds that have built up in the paper. Occasionally a carefully controlled amount of an alkaline material such as ammonium hydroxide is added to the water to raise the pH to about 8.0, this assists in the cleaning process. Before any curatorial treatment begins, a written summary of its condition, treatment proposal, statement of the purpose of the treatment should clearly be noted, and all stages of the process must be fully documented. c) Removal of backings If the object has a backing and which is destructive or inadequate, it should be removed. If it is not appropriate to treat with water bath, dry removal with mechanical backing is recommended. Use of steam or local application of moisture can assist the mechanical backing removal. Harmful materials such as commercial tapes or adhesives can be removed by water bath or by local application of moisture. d) Alkalinization (Deacidiication) Where possible, alkalinization is achieved by immersion in an aqueous solution of an alkaline substance such as magnesium bicarbonate or calcium hydroxide. If water soluble media are present, the artifact may be treated non-aqueous method with an alkaline salt dissolved in organic solvents. e) Mending and illing areas of paper loss Tears are carefully aligned, then repaired, usually on the reverse, with narrow strips of torn Japanese tissue. The strips are adhered with a permanent non-staining adhesive such as starch-based paste. Holes or paper losses may be illed individually with Japanese paper. Especially weak or brittle sheets may be reinforced by backing them with another sheet of paper or tissue. The backing should be somewhat lighter in weight than the original. Care must be taken to 160 Dorji Wangchuk conine retouching to the area of loss only. Proper storage Good quality storage and the capacity to monitor an object may substitute for treatment. The room where the collection is stored should not be in direct heat or subject to extreme changes in temperature or humidity. Enough space must be kept for air circulation. Acid-free storage materials are highly encouraged. A) B) Store artifacts in the dark as much as possible, and keep them away from direct sources of heat. Do not hang or store paper-based artifacts on or against a cold, outside wall as dampness from the wall may lead to mildew and eventual mold growth. C) Store in archival quality materials only, such as acid-free, lignanfree boxes, envelopes, folders, etc. D) Prevention of air stagnation/control of temperature and humidity. Undisturbed damp places of still air create ideal condition for the activity of insects. The most destructive to paper and book bindings are book-worms. Paper has always 8 - 10% humidity. Ambient temperature for paper is between 18Ú C to 24Ú C with relative humidity of 45 to 60%. Keep the temperature and RH levels of storage and display rooms as close to the ideal as possible and avoid any substantial luctuations over short periods of time. Good ventilation and air conditioning help stop such growth. E) When on display, keep artifacts out of direct or indirect sunlight. Many watercolors and most manuscript inks are very susceptible to light damage. These types of artifacts should be on display for as little time as possible. Sizing agents and pigment illers in the paper may darker or change color when exposed, even for short periods. Light levels should be kept to a maximum of 50 lux. It is also recommended that ultraviolet light-iltering material should be used over windows on luorescent light tubes and in display cases. F) Avoid handling paper artifacts as mush as possible. Dirt, oils, acids and moisture from hands cause a great deal of damage. Anyone handling artifacts for any reason should insure that their hands are always clean. White cotton gloves must also be worn. Avoid rolling and unrolling, folding and unfolding documents, maps, etc. as paper can Conservation and Preservation of Manuscript and Paper 161 become brittle over time. Pieces from edges can be lost and tears can easily develop with each manipulation. G) Insecticides To keep insects away, the following repellent can be used in an air tight chamber or can be kept in steel almirah: i) ii) iii) H) Repellents : Napthalene balls, thymol, camphor.. Insecticides: 2-3% Penta-Chlorophenol in alcohol. D.D.T. spray (now not advisable) If insects’ activities are detected in the storage or display areas or in frames, do not directly spray the artifact or frame with insecticide. You may remove mechanically or cover the artifacts with plastic sheeting and spray the loor instead. Fumigation The process of disinfection involving the use of an insecticide or fungicide in a gaseous form is called fumigation. It can be carried out by fumigating in air tight chamber or under vacuum. Some of common fumigants are: a) b) c) Hydrocyanic acid gas the use of which is very dangerous Carbon disulide plus carbon tetrachloride Thymol, camphor For immediate action, 1% thymol or 1% pentachlorophenol in alcohol can be sprayed, but care must be taken not to affect the color of the paper. 162 Dorji Wangchuk NANGKAR DOK (SNANG DKAR BZLOG) Nidrup Zangpo 1. Introduction Nangkar Dok (snang dkar bzlog) is a three-day tshechu observed by the small community of Chang Nangkar1 in Paro. It is an annual event observed by the community with little glitz and glamour. Behind its simplicity and rusticity though, a stream of meaning runs deep. For all that Nangkar Dok is a small religious festival, it is highly signiicant in its own right. Apart from its historical, religious, and spiritual importance, Nangkar Dok embodies a distinct Bhutanese culture by virtue of its uniqueness. It re-enacts a powerful scene from medieval Bhutan when wars meant more than victory and defeat. Although it is dificult to determine the precise details of the origin of Nangkar Dok, its birth is inextricably linked to the establishment of Nangkar Lhakhang and the light of a mask from Tibet to the temple. Therefore, despite the topic of my paper being Nangkar Dok, I have dwelt as much on the temple and the mask as on the tshechu. First, I have discussed the establishment of the temple and the light of the mask. Against the backdrop of the above discussions, I have discussed Nangkar Dok. A signiicant part of my paper is based on the oral accounts of the community people since there are virtually no written documents on the lhakhang or the tshechu. The oral accounts are though, more often than not, hard to come by and limited. The accounts which are garnered and gleaned from the recesses of fading memories of some elderly persons are very often less reliable and sometimes conlicting. But I have tried to sift the information through limited historical evidence that I could gather. 1 Chang Nangkar is a village a few minutes walk from National Institute of Education. It is under Wangchang Geog (wang chang rged ‘og), Paro Dzongkhag. The village comprises about 300 people making up twenty two households. The main occupation of the inhabitants is paddy cultivation. Nidrup Zangpo 164 I think that the oral accounts, by and large, paint a broad picture, albeit by no account complete. 2. Nangkar Lhakhang “A Bright Ray of Light” The origin of the name Phajo’s namthar (biography) gives the following account: “ [Then, Phajo Drugom Zhigpo] went to Paro Gomdrag (sgom brag).2 During half a month of his stay there, [he] had a hitherto unknown experience; [he] saw a bright ray of light strike the ridge below. Going there, reciting Tendrel Nyingpo (rten ‘brel snying po)3 in tribute to the good fortune, [he] erected a cairn for the lhakhang (temple). On the stone, [he] wrote the name of the lhakhang: Nangkar (snang dkar). [Then he] blessed the place for his descendents to rule.”4 There are three versions of the name of the lhakhang. The irst version of the name is Nangkar (snang dkar), the one Phajo Drugom Zhigpo himself is reputed to have given. I have used this version of the name in this paper. Since what Phajo Drugom Zhigpo saw from Gomdrag was a bright ray of light, the temple was named Nangkar which literally translates as ‘see or perceive white’. But, this could also be interpreted as ‘a good vision or experience’. The second version of the name is Namkar (gnam dkar). It is said that while meditating at Gomdrag, Phajo Drugom Zhigpo saw a bright ray of light rise from the present location of the temple and 2 It is a place about one and half hours uphill walk from National Institute of Education, Paro. It is commonly known as Gonja (dgon byag) or Gondra lo (dgon brag log). It is one of the four cliffs (brag bzhi) where Phajo Drugom Zhigpo was asked to meditate by Guru Rinpoche while he was meditating in the cave of Khandro Palphug (mkha’ ‘gro dpal phug) at Taktshang. The three other cliffs are Dorji Drag (rdo rje brag), Dechen Drag (bde chen brag) and Tshechu Drag (tshe chu brag). 3 It is a short cherished piece of Buddhist prayer of interdependence of the nature of things. It is mostly cited as consecratory, dedicatory, or valedictory prayer. 4 Rinchen, 1972: folio 188b. //de nas spa gro sgom brag tu zla phyed bzhugs dus sngar dang mi ‘dra ba’i ‘od gsal gyi nyams shar nas ‘od dkar po zhig ma gi ri snar zug pa der byon / rten ‘brel snying po bzlas te lha khang gi tho btsigs /rdol snang dkar bris te mtshan ma btab / phyis gdung rabs rnams kyis yul phyogs der dbang bsgyur ba’i rten ‘brel bsgrigs// Nangkar Dok (sNang dkar bzlog) 165 illuminate the sky. So the temple was called Namkar.5 which literally means ‘an illuminated sky’ or ‘as bright as the sky’. The third version of the name has it that the tip of the cave at Gomdrag in which Phajo Drugom Zhigpo meditated was or appeared white. The place below which was seen from the cave was, therefore, called Nakar (sna dkar).6 Though Na literally means nose, here it refers instead to the tip of the cave. Kar means white. Some historians have referred to the temple as Namkhe Lhakhang or Namkhey Lhakhang7. These versions are neither in use nor do they seem etymologically founded. Initially, the temple is said to have had only one story. The second story is believed to have been built by a lama called Jampel Sherab Gyaltshen. It was a few centuries later during the time of Zhabdrung Ngawang Namgyal, when the lama is said to have obtained formal approval from the Zhabdrung himself for the construction of the second story of the temple. But, some dismiss this account. They say that the temple is as it was irst built. This argument in principle is supported by the presence of a lake on the ground loor of the temple until the recent past. If the ground loor of the temple housed a lake, it is highly unlikely that it did not have the second story. Establishment From vision to prophecy to temple It all began when Guru Rinpoche instructed Phajo Drugom Zhigpo thus at Taktshang Monastery: “[I] entrust you four dzongs, four cliffs, and four great caves – twelve of my hermitages. I charge you to start the ‘victorious’ work of meditation at all of these places”.8 As has been mentioned, it is dificult to say in which year Phajo Drugom Zhigpo meditated at Gomdrag. This dificulty stems 5 Bhutanese historians have mostly used this version of the name. But the people of Chang rarely use this name. 6 Some people refute this version of the name. They say that it is the corrupted version of the name of a village originally called Neykhang (gnas khang). It is said that that village was called Neykhang because Lam Neynyingpa had once halted a night in the village. 7 See Pommaret, 1997: 185; CAPSD, 1994:36. 8 Rinchen, 1972: folio 187a. //khyod la rdzong bzhi/ brag bzhi/ phug chen bzhi ste nga yi sgrub gnas bcu gnyis sbyin gyis de rnams su sgrub pa’i rgyal mtshan tshugs shig// 166 Nidrup Zangpo from the fact that there is no one particular date of birth of Phajo Drugom Zhigpo agreed upon by historians.9 It is mainly because of the conlicting nature of his date of birth that the year of his coming to Bhutan is subject to a great variation.10 But, 1218 seems to be the most probable year of his coming to Bhutan.11 If we agree on this year as the date of Phajo Drugom Zhigpo’s arrival in Bhutan, we can deduce that he meditated at Gomdrag in the later part of 1218 or early 1219.12 But, a traditional practice observed at Nangkar Lhakhang strongly suggests that Phajo arrived at Gomdrag in the later part of 1218. From the 15th day through the 30th day of the tenth month of the Bhutanese calendar, for ifteen days, all activities in the temple – even the routine ones like offering of butter lamps and water – are suspended. Utmost tranquility is maintained in and around the temple. This period is observed as the meditation period of Phajo Drugom Zhigpo at Gomdrag. If this practice is anything to go by, the year of his meditation at Gomdrag was in 1218. Hence, it follows that the prophecy for Nangkar Lhakhang came in 1218. As has been mentioned, the origin of the temple lies in a luminous ray of light that Phajo Drugom Zhigpo saw at the place where Nangkar 9 1282- Dorji, C T, 1997: 8; 1184- Dargye, 2001: 62; 1179- Dorji, Sangay, 2004: 46; 1208Dargye and Sorensen, 2001: xi. In this paper I have used the third one because when Phajo came to Ralung in 1211, the year of the Iron Sheep (the year of Tshangpa Gyare’s death), he told Onrey Dharma Singye that he was 33 years old. Obviously, he would not have lied to his master. If he was 33 years old in 1211, he was born in 1179, the year of the Earth Horse.. 10 1220- Dorji, C T, 1997: 9; 1224- Dargye, 2001: 65; 1218- Dorji, Sangay, 2004: 46; 1219Sanga, Lam, 1982: 3-9, quoted in Dargye and Sorensen, 2001: XI. In this paper, I have used the third one. Phajo Drugom Zhigpo was 33 years old when he came to Ralung in 1211. He came to Bhutan seven years later at age 40. So the year was 1218. 11Dorji, Sangay (2004: 46) 12 According to his biography, after crossing into Bhutan, Phajo Drugom Zhigpo spent one month at Lingzhi Jago Dzong (bya rgod rdzong), 21 days at Drakey Gang (brag keys gangs), and went to Paro Taktshang. He stayed there for one month. From there, he went to Tsedong (rtsed sdong) and spent three months. Then, he spent one month at Dzongo (rdzong mgo), 15 days at Gauzadrag (dge’u rdza brag) and one month at Pumodrag (spus mo brag). From Pumodrag, now Thujedrag (thugs rje brag), he directly went to Gomdrag. Thus, Phajo Drugom Zhigpo came to Gomdrag 8 months and 5 days after his arrival in Bhutan. So one can assume that he meditated at Gomdrag in the very year of his arrival in Bhutan. One cannot say for sure though that the year was 1218 (the year of his arrival in Bhutan) because one does not know in which month of that year he had set off for Bhutan from Ralung. If he had set out for Bhutan in the beginning of 1218, he must have arrived at Gomdrag in the later part of that year. But if he had started his journey to Bhutan towards the later part of 1218, he must have reached Gomdrag in the early 1219. Nangkar Dok (sNang dkar bzlog) 167 Lhakhang stands today. Local oral version13 has it that no sooner did Phajo Drugom Zhigpo see the ray of light than he moved down to the spot and planted his walking stick in the ground. He said that if the walking stick grew well, it would mean that the place was an auspicious location for the construction of a temple. Miraculously, the walking stick grew well. We can still see the giant cypress tree which is believed to have grown from Phajo’s walking stick. Subsequently, the spot was symbolically marked for the construction of the temple by erecting a cairn. The written versions14 too mention marking the spot for the construction, but they do not make any mention of the walking stick being planted to gauge spiritual authenticity of the place. According to the biography of Phajo Drugom Zhigpo15, Phajo constantly experienced the vision of clear light day and night during his stay at Gomdrag. One night, he had a dream in which he saw white rays of light emanate from his heart and descend on the ridge below. Then, prophesying that in future, a temple called Nangkar would manifest itself there, he built a cairn at the spot. To consecrate the auspicious spot, he recited Tendrel Nyingpo many times. Although it was conirmed that the place offers a spiritually ideal spot for the construction of a temple, Phajo Drugom Zhigpo did not have enough time to build the temple. He had only ifteen days for meditation at Gomdrag. From Gomdrag, he moved towards Wang because he had to irst fulill a prophecy in Wang in order to materialize his wish to build a temple at Chang Nangkar. In Wang, Phajo Drugom Zhigpo begot a son from Achog (a chog)16 from Wang Chudo (chu mdo) in 1220. He was Dampa17, who was to build the temple of Chang Nangkar later. Dampa, however, could not go to Paro immediately to build the temple. In 1235, at the tender age of 15, his father summoned him to Tango. 13 For this paper, I have interviewed not less than a dozen persons. Among them are Lopon Dago Penjore, 60 years old farmer; Angay Pam Tsencho, 80 years old housewife; Kenyer Rinzin, 40 years old ex-monk; Ap Tshering, 50 years old gomchen; of Chang Nangkar. 14 Cf. note 4 15 DDC, 1999. 16 She was a dakini of lotus family. She was the elder sister of Sonam Paldon, who later became the consort of Phajo Drugom Zhigpo. 17 The eldest son of Phajo Drugom Zhigpo. He was also known as Dampa Sangye because he was the reincarnation of the great 11th and 12th century Indian saint, Pha Dampa Sangye (pha dam pa sang rgyas). He inherited Tango monastery. His descendants became the famous Drung Drung lineage. 168 Nidrup Zangpo Thus, Dampa too had to wait for his son Kunzang Dorji18 to grow up before he to go to Paro to fulill his father’s wish. In the meantime, the establishment of Nangkar Lhakhang was delayed by another generation. It is only after Kunzang Dorji had grown up that Dampa could excuse himself from Tango. Dampa appointed his son in his place at Tango and came to Paro. One could trace the year of Kunzang Dorji’s birth from the fact that he was born three years before the death of his grandfather Phajo Drugom Zhigpo. The year was 1244.19 But we do not know the age at which he replaced his father at Tango Monastery. If one knew this, one could trace the year in which Dampa went to Paro and, therefore, the year in which Nangkar Lhakhang was probably built. The only conjecture one is left to make is that Kunzang Dorji could not have been able to replace his father until he was at least ifteen years of age. So, in any case, Nangkar Lhakhang could not have been built before 1259. It possibly could have been constructed between 1259-1270.20 Some elderly community people say that the lhakhang is around 750 years old, which means that it was built around 1265. Therefore, the people’s oral account and my calculation validate each other. Some people attribute the establishment of the temple to Nyima, one of the ive sons of Phajo Drugom Zhigpo from Sonam Paldon.21 This is not probable because Nyima settled down in Thimphu and founded Changangkha Lhakhang and Changangkha zhelngo. Still other people hold the view that the lhakhang was built by Phajo Drugom Zhigpo himself, which is also arbitrary. It is not probable that he built it while he was at Gomdrag. He stayed there for only ifteen days, that too meditating. Later, he came back to Paro only once for a brief period. At the time, he stayed at Isuna. He did not return to Chang. 3. A refugee, warrior and ambassador from Tibet: 18 He was also known as Drog (nomad) Kunzang Dorji (‘brog kun bzang rdo rje) because his mother was a nomad called Budren (bu ‘dren) from Wang Dagala. 19 Cf. note 11. 20 In this light, local sources which say that the lhakhang must have been built in the 11th century is arbitrary and totally unfounded. 21 Commonly known as Wangza Sonam Paldon (wang bza’ bsod nams dpal sgron), she was the reincarnation of the great Tibetan yogini, Machig Labdron (ma cig lab sgron) (1031-1129). Nangkar Dok (sNang dkar bzlog) 169 The mask of Naropa The most sacred object in Chang Nangkar Lhakhang today is the mask of Pal Naropa (dpal na ro pa), said to have lown from Kham, Tibet. Nobody knows from which temple it arrived or exactly when it did so, however, what everyone agrees that the mask arrived from Tibet through its own powers of light. The people of Chang Nangkar are divided concerning the question of why the mask had lown to Bhutan. Some opine that it is an unhappy refugee; others assert that it was a great warrior who had come to help the people of Chang Nangkar win wars against the Tibetans. The mask is a refugee in the sense that it led Tibet to Bhutan for some reason. It was anything but happy in Tibet. It was not happy to be in the hands of the Tibetans. This is obvious because, when a battle broke out between the Tibetans and the people of Chang Nangkar over the ownership of the mask, the mask itself is said to have pleaded with the latter to invoke the help of Dharma Protectors like Palden Lhamo (dpal ldan lhamo) and Yeshe Gonpo (ye shes dgon po) if they wanted to retain it with them. Here, the mask plainly uttered its intention to stay with the Bhutanese and the fear of it being taken back to Tibet if the Tibetans won the battle. The mask is also said to have come to Chang Nangkar as a great warrior. Therefore, it is sometimes known as Magponpoi Bab (dmag dpon po’i ‘bab), though this interpretation needs further justiication. The village of Chang Nangkar was not embroiled in any military conlicts with any other region or country at the time the mask led Tibet to Bhutan, so there was no need for a great warrior to help them. It was not until the mask came into the community’s possession that the Tibetans waged a war against it. However, the mask is said to have helped the community of Chang Nangkar win the battle against the Tibetans. In this sense, we can say that although the mask had not come to Bhutan as a great warrior, it became one after it arrived here. There are still others who say that it was not only the mask that lew from Tibet. It, in fact, accompanied Pal Naropa himself who visited the village in person. The personal visit of Pal Naropa could not have been possible because he had died in 1100 CE, seventyeight years before the birth of Phajo Drugom Zhigpo. Moreover, Naropa, an Indian by birth, had never gone to Tibet. Nevertheless, 170 Nidrup Zangpo Pal Naropa could have visited the village in a manifestation. It is also said that the mask of Pal Naropa had lown to Chang Nangkar Lhakhang to acknowledge and commend the noble work done by Phajo Drugom Zhigpo and his descendants ‘who were Pal Naropa’s disciples’. In this sense, the mask is a goodwill ambassador from a teacher to his ardent followers. Though it is not clear when the mask of Pal Naropa lew to Bhutan, local sources say that it came while Phajo Drugom Zhigpo was meditating at Gomdrag. One day, Phajo is said to have seen something glowing in Pachu somewhere below the present day National Institute of Education. That glowing object, he discovered, was the mask of Pal Naropa. It had come with a phurpa (three-sided ritual dagger) and three pages of ritual text. The phurpa and the ritual text are said to be in Khangkhu Lhakhang (khang khu) which sits on the other side of Pachu opposite Chang Nangkar. This account of the discovery of the mask does not, though, dovetail with that of the origin of Khangkhu Lhakhang. The story of the origin of Khangkhu Lhakhang has it that the phurpa made of sandal wood and the ritual text lew from Kham, Tibet, when a temple there was destroyed by ire. It was after the light of these sacred relics to Bhutan that Khangkhu Lhakhang was built. The temple was originally called Khamphur Lhakhang (khams ‘phur lhakhang) since it was built to enshrine the relics which had lown from Kham. Khangkhu is a corrupt form of Khamphur. In the light of the above account, the attribution of the discovery of the mask to Phajo himself is less tenable. The origin of Khangkhu Lhakhang does not mention the light of the mask along with the phurpa and the ritual text. It is also untenable otherwise. Nowhere in the Bhutanese chronicles does this oral account ind a mention. If the above incident had happened during the time of Phajo Drugom Zhigpo himself, it certainly would have been found, if not a detailed account, at least a brief mention given its signiicance.22 While the above account narrates a chance encounter, another account of the discovery of the mask is associated, in a sense, with a prophecy. One day, ‘the lama’23 of Nangkar Lhakhang 22 The authorship of Phajo Drugom Zhigpo’s biography is attributed to his eldest son Dampa. Dampa is said to have written the biography in accordance with Phajo’s dictate. Therefore, it is improbable that Phajo or Dampa missed that important event if it had really happened. 23 We do not know who the lama was. The oral sources which say that the lama was Phajo Nangkar Dok (sNang dkar bzlog) 171 is said to have told the people that an important guest was due to arrive at the temple. When the community people followed the lama, they saw their guest waiting, facing the lhakhang on a throne-like rock near the lhakhang. Their guest was the mask, the mask of Pal Naropa. However, some people maintain that the mask is a sacred terma (gter ma), religious treasure, discovered from Pachu by Phajo Drugom Zhigpo. Still some others say that the mask was brought to the lhakhang by the tshomen (mtsho sman), mermaid, of the temple. It is said that the relationship among the community people began to be colored by the mask. The mask was the symbol of their collective good fortune and security. So the sense of fraternity was reinforced in the community. But, not long after, relations among the local people began to sour. A bitter dispute over the mask lared up. The mask did all it could to iron out the differences among the people, said to have gone from house to house seeking to restore calm, but failed. It was during one of such desperate house-to-house peacekeeping missions that it accidentally hit itself against the door post of a house and suffered a crack. As a result, the whole family of the house was wiped out. Since then, the house has lain in ruins. We can still see a part of wall at Thangkha (lower Chang Nangkar). However, an alternate version maintains the mask suffered its crack by knocking itself against a wall while trying to lee the village when the community sank into dispute. Still another account says that the lama of the lhakhang wore the mask and went from door to door to calm residents. He hoped that the sacred mask would help him restore peace in the community. But, unfortunately, the lama knocked the mask against the door of the house which is in ruin today and cracked it. The lama is said to have remarked intuitively that the accident was an ill omen. From that day, the family of that household ran afoul of the community and was subsequently ostracized. The mask too ‘discarded’ the family. As a result, the family fell on dificult times. Ultimately, they led the village to Gaselo in Wangdue Phodrang. Decades later, the descendants of the family sought to Drugom Zhigpo himself is untenable because the temple was not yet built during his time. Some maintain that the lama was one of Phajo’s descendants. If the lama was indeed a descendant of Phajo, he must be Dampa, the founder of the temple. There is no historical evidence of Dampa’s son Kunzang Dorje or grand son Damtrul Loden Gyalpo’s stay at the temple. From Damtrul Loden Gyalpo’s son Gyalchog started the famous lineage of Hungrel Drung Drung. According to the written account of the lineage of Hungrel Drung Drung, no one from the lineage settled down at Chang Nangkar Lhakhang. Therefore, one can deduce that if the lama was not Dampa, he could not be any of Phajo’s descendants. 172 Nidrup Zangpo make offerings in the lhakhang, but the mask was still unforgiving and refused to accept their offerings. This account, by far, is more tenable in a strictly practical sense. 4. Tibeto-Bhutanese battle After leeing Tibet, the mask of Pal Naropa blessed Bhutan. The people lived in prosperity and happiness. This deepened the Tibetan’s feeling of loss of their precious mask. This in turn made them envious and angry. They, therefore, could not mutely languish in inaction while their neighbor enjoyed happiness and prosperity due to the mask which was, in principle, theirs. Into Bhutan, they marched. They advanced into Paro valley. Through Tshongdue, they made for Chang Nangkar. But the Bhutanese stood their ground. Ultimately, when the two armies closed in on each other at Chang Nangkar Tshel,24 the Tibetan forces suffered a crushing defeat. The long hair of Tibetan troops is said to have cost them the battle when it became ensnared in the thorns of surrounding vegetation, making them easy prey for the Bhutanese warriors. Thus, the mask could be retained in Chang Nangkar, congruent with its own request to do so. Is it said that as the battle was underway, the mask encouraged the people of Chang Nangkar to invoke Palden Lhamo and Yeshe Gonpo for help to defeat the invaders, an action which is said to have reversed the tide of the battle. The jungle of Nangkar Tshel miraculously turned into traps for the Tibetans rendering them helpless. This incident made Tibetans utter that in Bhutan’s Nangkar Tara, there were thorns stronger then iron hooks. 5. Nangkar Dok Nangkar Dok is observed at Nangkar Lhakhang. It begins on the 28th day of the tenth month and ends on the 30th day of the tenth month of the Bhutanese calendar. It is a festival which wards off all forms of dangers and impediments. Dok (bzlog) literally means ‘dispel’ or ‘ward off ’. It is distinct from other festivals in 24 It is also known as Nangkar Tshelnang or Nangkar Tara. It is today the area between the airport and the village of Chang Nangkar. The stretch of land immediately next to the airport had been a jungle as recently as 1930’s. Nangkar Dok (sNang dkar bzlog) 173 Bhutan both in terms of the religious rituals conducted and mask dances performed. On one hand, Nangkar Dok is a tribute to the pantheon of protector deities and the founders of the temple for their unstinting support in the past. On the other hand, it is the community’s prayer to the protector deities and the founding lama for their continued, unfailing support in the future. Nangkar Dok is, by all accounts, the community’s yearly tryst with the divine. Nangkar Dok is preceded by ifteen days of complete suspension of all activities at the temple during which Phajo Drugom Zhigpo is believed to be starting a ifteen-day meditation. On the 15th day of the tenth month of the Bhutanese calendar, a person from each household of the community gathers at the temple with a bangchung (a small bowl-shaped basket) of rice each as ration for Phajo for the next ifteen days. It is ironic that while Phajo is said to be entering a ifteen-day meditation, the meditation concludes on the 13th day of the month. For the next thirteen days, the temple is a lonely island of peace and tranquility. Life resumes at the temple on the 28th day of the month when the community gathers at the temple to ‘see’ Phajo complete his meditation. It is from the evening of that day that Nangkar Dok starts. Religious rituals last throughout the night. There is no activity on the 29th day. The rituals resume at nightfall and continue till 3 or 4 am. At the crack of dawn on the 30th day, a lurry of activity begins as the community people pour in to prepare for the day. Today is the main day of Nangkar Dok. Origin Although we know that Nangkar Dok could have started during a Tibeto-Bhutanese battle, we cannot conirm the year, or even the century, in which it was started because we do not know when the battle was fought. Some people maintain that the tshechu was instituted by Phajo Drugom Zhigpo himself. The costumes worn by the mask dancers and the religious rituals conducted during the tshechu are thought to be based on those from to Phajo’s time. Today, except during the Changangkha Tshechu, no where else in the country do the people perform the mask dances or rituals that are same or similar to the ones performed during Nangkar Dok. But, we know that the battle which gave birth to the tshechu was 174 Nidrup Zangpo fought over nothing but the mask of Pal Naropa. The mask came to Chang Nangkar only after Dampa built the temple a couple of decades after the death of Phajo Drugom Zhigpo. In this light, this version of the genesis of Nangkar Dok is self-contradictory. Some people of the community argue that Nangkar Dok originated during the time of Zhabdrung Ngawang Namgyal when Paro became the theatre for several Tibeto-Bhutanese wars. This account too is, however, inconclusive. The mask dancers (pazap) at the tshechu do not resemble the ones at other festivals across the country. The pazap during Nangkar Dok are depicted as Tibetan warriors rather than the Bhutanese militiamen. More importantly, the pazap at Nangkar Dok are believed to have ‘come’ from Kham, Tibet, along with Phajo and are referred to as ‘Kham Nga’. I will discuss them in more detail later in the paper. Another argument against the above account of the origin of Nangkar Dok is that the nightly rituals performed during the tshechu are said to have originated from the religious tradition (the old form of Drukpa Kagyu) of Phajo Drugom Zhigpo. Thus, the origin of Nangkar Dok is shrouded in mystery. Every attempt to trace its origin deepens the mystery. The only way out is to trace the age of the mask of Pal Naropa through carbon dating. If the age of the mask is determined, many interesting facts would come to light. 6. The events of Nangkar Dok The nightly rituals The nightly rituals are an important part of Nangkar Dok. The community people take turns to sponsor the rituals. The rituals are conducted by a same group of gomchen (sgom chen) from around the Paro valley every year because the rituals, as people say, cannot be conducted by monks or other gomchen unless they have had a special training to do them. The rituals are an invocation to the protector deities like Palden Lhamo, Yeshe Gonpo, and Damchen Jamtsho25. The deities 25 Damchen Jamtsho literally means ‘a sea of guardian deities’. It is a generic term for all the guardian deities. So, Palden Lhamo and Yeshe Gonpo also fall in this group of deities. But during the tshechu, Damchen Jamtsho is depicted as a separate entity. In the context of the tshechu, Damchen Jamtsho could mean the assembly of guardian deities excluding Palden Lhamo and Yeshe Gonpo or Damchen Dorje Legpa, a guardian deity of Bhutan. Nangkar Dok (sNang dkar bzlog) 175 are invoked in the quiet of the night so that the enemies would not see through the clandestine Bhutanese way of warfare. The religious text recited in the cover of darkness is considered a potent antidote against any invaders. All the wrathful deities are called upon to unleash their destructive powers against the enemies. In religious parlance, it is called thu (mthu). The nightly rituals were irst started at the temple when the battle between Tibet and Bhutan broke out. Therefore, early in the morning of 29th day, the torma (ritual cake) was directed towards the north, in the direction of Tibet from where the enemies came. This was a low-key ceremony, but it is said to have had so powerful a destructive force that the Tibetans were driven back home helterskelter. The same practice is followed today, but the purpose has changed down the years. Today, it is observed as a traditional practice to acknowledge the deities for their protection and to ward off any social, cultural or political maladies that may befall the community. Much as the Bhutanese rejoiced over the victory, the Tibetans refused to concede defeat. Their spirit could not be put down. They steeled themselves to cross the border into Bhutan once again. This precipitated at Chang Nangkar another session of the nightly rituals. This was more elaborate and lethal. This is what we see today on the inal day of tshechu. Kham Nga out to the battleield Today, the rituals performed during the night of the 29th day of the month and the subsequent mask dances in the morning of the 30th day relect the events that took place at Nangkar Lhakhang when the defeated Tibetans posed a renewed military threat to the Bhutanese. Early in the morning that day, the temple is abuzz with preparation for the day’s events. The nightly rituals, which have been concluded at the crack of dawn, have gathered enough spiritual power to deal a mortal blow on the enemies. The day starts with the dance of Kham Nga (ive pazap). Kham Nga are representations of Bhutanese warriors. But their costumes are nothing typical of the Bhutanese pazap depicted in other tshechu across the kingdom. Instead of gho (Bhutanese national However, in my paper, I have treated Damchen Jamtsho as a separate entity as in Nangkar Dok. 176 Nidrup Zangpo dress for men), Kham Nga wear knee-length lowing skirt and longsleeved upper garment, costumes typical of other mask dances like Drametse Ngacham. Kham Nga wear masks which are sculptured in the likeness of the mask of Pal Naropa. On their heads, instead of typical Bhutanese chagmog (steel helmet), they wear yak tails. It is in the light of their atypical costumes that the community people believe that Kham Nga represent ‘ive Khampa warriors who had accompanied Phajo Drugom Zhigpo to Bhutan’. The yak tails on the dancers’ heads represent the long hair of the Tibetans, and the dark brown color of the masks represents the ‘dark skin’ of the Tibetans. On the higher symbolic plane though, Kham Nga represent ive elements of nature: earth, water, ire, iron, and wood.26 Each dancer symbolizes one of the above elements. They are identiied by the color of the lag they carry. The lead dancer carries a red lag symbolizing ire. The four other dancers carry blue, white, green, and yellow lags symbolizing water, iron, tree, and earth respectively. Kham Nga symbolize the ultimate power of ive elements of nature. The cumulative or individual power of ive elements of nature can inlict on the enemies any damage imaginable. But, conversely, Kham Nga also symbolize the ultimate antidote against all dangers of the ive elements of nature. The dance of Kham Nga is led by the dancer wearing the mask of Pal Naropa. The mask of Pal Naropa is said to have led the Bhutanese warriors during their battle with the Tibetans and it is depicted just so. The dance, which is performed to the accompaniment of cymbals, is short and fairly slow-paced. Each dancer carries a long sword dangling across his waist. One round of dance is performed by carrying their respective lags while another round is performed with their blazing swords in the hand. The dancers brandish the sword with vigor and gesture licking the blood of enemies from it.27 The dance does not involve complex steps. So, the gesture of licking the sword is starkly accentuated. The dance of Kham Nga can be performed by any man from the community. There is no rule even on who should wear the 26 In Buddhism, the ive elements of nature are usually earth, water, ire, air, and the sky. But, they are interpreted slightly differently at Chang Nangkar. 27 In olden days, it was generally believed that a warrior ighting with the sword must lick the blood of every enemy he had killed. This was believed to harden him and prevent him from swooning at the sight of bloodshed Nangkar Dok (sNang dkar bzlog) 177 sacred mask of Pal Naropa. The young men of the community are trained every year to replace the older dancers. After two rounds of dance by Kham Nga, the dance of three protector deities begins. The powerful trio behind the battle scene The dance of three protector deities – Palden Lhamo, Yeshe Gonpo, and Damchen Jamtsho – is very short. The dancers make a few swaying movements and stand still at one side of the courtyard. The dancers’ physical size and height are augmented by a bamboo frame worn inside an over-sized lowing brocade gown. They are, therefore, double the size of an ordinary human being and stand amazingly tall. With their huge ferocious masks on, the dancers look majestic, imposing, and awesome. The physical build of the dancers is exaggerated to bring out the superhuman attributes of the three deities. It brings home to the people that the deities are ‘above and beyond’ human beings. The dance of three deities, like other dances, is performed by lay people of the community. The sequence of dances is highly symbolic. The dance of Kham Nga is immediately followed by the dance of three protector deities to symbolize that the deities, who have been invoked, do not betray the people’s faith and conidence. They immediately ‘follow’ the warriors to battleield to preserve them from their enemies and to effect an easy victory. Victory is brought home After another round of short dance by Kham Nga in front of the three deities, all the mask dancers including the three protector deities enter the temple. When the dancers re-emerge, they come in a procession with a triangular torma in the front. From the courtyard, a column of people joins the procession. A chorus of yelps and yowls are let out with wild abandon. With Kham Nga in the vanguard, the column proceeds towards northerly direction. At some distance from the temple, three deities and Kham Nga stand separately facing north. While prayers are being chanted by the gomchen, Kham Nga make a spirited movement of their body and brandish their swords. The three deities, who stand side by side, make their usual slow swaying movement of the body. 178 Nidrup Zangpo After a few spiritually pregnant moments, the torma is thrown to the north to the deafening shout of the people and reverberating sound of trumpets and cymbals. This was how the Tibetan forces were squashed by the Bhutanese. Although the practice of directing the torma in the direction of Tibet is continued to this day, it has now became simply a re-enactment of the important scene from the past. Then, Kham Nga perform individual dance for a few minutes and let out a shout of victory. The next day, the community will check for the footprint that would magically appear beneath the torma on the shape of swastika drawn with rice. It is said that the footprints of any animal or bird would manifest themselves beneath the torma. But the equine footprint is considered a sign of good fortune for the community for the next one year because Phajo Drugom Zhigpo’s tutelary deity is Tandin (rta mgrin), the horse-headed one. Next, everybody returns to the temple in a solemn procession. Back at the temple, three deities take their place at one side of the courtyard facing Kham Nga. They are lanked by the community people. Now is thanksgiving session. The community people gather around the dancers and sing a soulful eulogy to their lama and the deities. The host who abides here is Drowai Gonpo28, Down on all whose blessings are showered. The chochong29 who abides here is Yeshe Gonpo, To all whose benevolence is bestowed. The male deity who abides here is Wangda Ponpo; May he auspiciously abide on and lourish. The female deity who abides here is Yuru Zoma30; May she abide on longer than the river31. May lives be stronger than the cliff, May lives be longer than the river.32 28 Phajo Drugom Zhigpo 29 Dharma protector 30 She is the tshomen (mermaid) of the lake upon which the temple was built. The lake is no more to be seen, but the tshomen is worshipped as the female deity of the temple. 31 I have translated the line literally. The expression, chu las ring (longer than the river) is very common in Bhutanese songs and literary writings. The metaphor here is the continuous low of the river, not the length of the river. 32 // gnas po bzhugs na ‘gro ba’i dgon po bzhugs/ byin rlabs kun la khyab pa’i dgon po yin/ chos skyong bzhugs na ye shes dgon po bzhugs/thugs brtse kun la khyap pa’i chos skyong yin/ pho lha bzhugs na dbang drag dpon po bzhugs/ pho lha dar zhing rgyas pa’i bkra shis shog/ mo lha bzhugs na g.yu rung ‘zoms ma bzhugs/ mo lha chu las ring ba’i bkra shis shog/ mi tshe brag las sra ba’i bkra shis shog/ mi Nangkar Dok (sNang dkar bzlog) 179 After that, there is a short dance by Kham Nga. In a gesture of sealing the fate of the enemies, they repeatedly thrust the air with their swords in mock fury. As the dancers prepare to get into the temple, there is a momentary fuss over three deities refusing to enter the temple. There are apparently no grounds for this unseemly behavior of the deities. It is to show that the people gratefully welcome them back to their esteemed place in the temple. The deities are inally ushered in by Kham Nga. This brings to an end one sequence of events of Nangkar Dok. Altogether, the events take a little more than an hour. Pholay and Molay for the reception of Pal Naropa After a break of an hour or so, the locale of the events shifts to the south, about 100 metres from the temple. The second sequence of events centers round the light of the mask of Pal Naropa from Kham. First, a baycham (Bod cham) sanctiies the ground for the arrival of the mask. Following this, the mask of Pal Naropa ‘lies’ to the sanctiied site. To symbolize the light of the mask, a little boy in brocade gown wears the sacred mask. In his right hand, he holds a wooden phallus and in his left hand, a drilbu (small ritual bell). He is carried astride on the shoulders of a man. As the man carries him towards the site in a brisk pace, the boy laps his arms in a gesture of lying. In the episode of the light of the mask, any one can play the part of it irrespective of age. But a little boy is preferred to a man in that the former is easier to carry aloft. The mask of Pal Naropa ‘stands’ on a rock at the site awaiting his hosts, Pholay Molay (pho legs mo legs). It is peculiar that Pholay and Molay during Nangkar Dok represent Phajo Drugom Zhigpo and Wangza Sonam Paldon.33 Although the masks and dress worn by them are similar to that of the Pholay and Molay in other tshechu across the country, theirs is less elaborate. They do not wear crowns on their heads. Molay wears very few pieces of jewelry while Pholay does not wear dar (cloth pieces) on his torso. This is indicative of the dress of a neljorpa (yogi) and neljorma (yogini), simple and bare. Another interesting aspect of Pholay Molay during Nangkar tshe chu las ring ba’i bkra shis shog// 33 In other tshechu across the country, the dance of Pholay and Molay depicts a romantic episode from the legend of Chogyal Norzang (a worldly king) and Lhamo Yithroma (a celestial princess). 180 Nidrup Zangpo Dok is that they are only two. Other tshechu have four dancers. The Pholay and Molay during Nangkar Dok, unlike others, is neither a dance in a practical sense nor an episode. They are simply a reenactment of the reception of the mask of Pal Naropa by Phajo Drugom Zhigpo and Wangza Sonam Paldon. As Polay and Molay amble towards the reception site, a queue of people joins them. Leading the procession is a group of lady laybay dancers. A igure of little importance who is conspicuously absent from the other events of the day, Atsara Karp (a tsa ra dkar po), too joins the procession. Atsara Karp (he is called so because his mask is white) represents Gangtsen (gangs btsan), the local deity of the mountain above Chang Nangkar. Atsara Karp is accused of sleeping with Molay. He has to pay a ‘huge sum of money’ as alimony to Pholay in front of the mask of Pal Naropa. This brief scene does not it in the whole sequence of events logically or otherwise. Nobody can give a credible reason for this. This scene could be symbolic of forging a better relationship between Phajo Drugom Zhigpo and Gangtsen by settling their differences. This could also symbolize that Gangtsen is subservient to the demands of Phajo. Following this, there is not much activity. While the lady dancers dance to celebrate the arrival of their honoured guest, the community people sit in groups and watch the dances. After several rounds of traditional dances, the mask is respectfully welcomed into the temple. The day’s events virtually end here. With the enemies vanquished, the deities appropriately honoured, and the mask ceremoniously enshrined in the temple, for the community, it is time to celebrate. And celebrate they do, both inside and outside of the temple by dancing and singing. 7. Conclusion My study on Nangkar Dok is only the tip of the iceberg. The study remains sketchy and inconclusive. But the little merit it carries is that it has raised a few searching questions which will form the basis for future scholarly research. I sincerely think that a history that is consigned to oblivion in the form of this little-known tshechu can still be retrieved. This would not only add a new dimension to our history and culture but also shed rich light on other aspects of the Bhutanese way of life. There are fascinating stories about Nangkar Lhakhang and the mask Nangkar Dok (sNang dkar bzlog) 181 of Pal Naropa which are beyond the scope of my paper. But, the stories are only with a few elderly persons whose memory is fading by the day and who themselves are fast ‘fading’. References 182 Nidrup Zangpo Dargye, Yonten & Sorenson, P.K. (translation) (2001). The Biography of Pha ‘Brug-gom Zhig-po: The Current of Compassion. The National Library of Bhutan, Thimphu. Dargye, Yonten (2001). History of the Drukpa Kagyu School in Bhutan. Yonten Dargye, Thimphu. Dorji, Sangay (2004). “A Brief Account of Hungrel Drung Drung” in The Spider and the Piglet. Karma Ura & Sonam Kinga (eds.). The Centre for Bhutan Studies, Thimphu, pp. 21-50. Dorji, C T. (1994). History of Bhutan Based on Buddhism. Sangay Xam, Thimphu. (1997). Blue Annals of Bhutan. Viskas Publishing House Pvt. Ltd, New Delhi. Nado, Lopon (1986). ‘Brug dkar po. Lopon Nado, Bumthang. Pommaret, Francoise (1997). “The Birth of a Nation” in Bhutan: Mountain Fortress of the Gods. Christian S. & Francoise P. (eds.). Serindia Publications, London, pp. 179-207. Rinchen, Je Gedun (1972). Lho ‘brug chos ‘byung. Thinley, Kunzang (2002). ‘Brug pa’i ‘cham gyi go don ‘grel bshad dang dgra med rtse’i rnga ‘cham gyi dmigs rim mdor bsdus. KMT Press, Thimphu. CAPSD, (1994). A History of Bhutan. Education Ministry, Thimphu. CAPSD. Local History Journal. Occasional Paper (vol. 4). Ministry of Education (unpublished). DDC, (1999). Pha jo ‘brug sgom zhig po’i rnam thar thugs rje’i chu rgyun: chos skad las rzong khar skad bsgyur. Thimphu. THE HISTORY OF TAKTSHANG MONASTERY Phende Legshe Wangchuk Origin and the meaning of the sacred place of Taktshang The Kingdom of the Sandalwood Valley is the second Copper-Colored Celestial Palace or the hidden holy land of the second Buddha, Guru Padmasambhava. Through the miraculous powers of the Buddhas and Bodhisattvas, the earth, rocks, hills, stones and all the mountains are manifested in the form of tutelary deities, peaceful and wrathful, revealing how the animated and sentient beings were subjugated and converted into the protector of the Dharma. The rare sacred place of the deities, The wealth and the supreme power of nagas, The accumulation of good merits in the past, The combinations of aforementioned goodness The second Buddha, Guru Padmasambhava, The southern valleys of Bedrui (Bhutan) For the well-being of the sentient beings The Mon Yul was sealed into Beyul (sbas-yul) Elements of the earth converted into sacred places. From the beyul of the southern valley, The thirteen renowned sacred places of Taktshang, Pelphug being the most sacred place of all, The image of the Guru Dorje Drolo was installed. The anti-Buddhist forces were subjugated The life essence of the demonic forces stolen The wealth, Dharma and treasure in abundance Added to the sacredness of the kingdom The cause of the demerit demons Taktshang desecrated by ire in several periods The prophecy of the Dharma propagation continued Renovations offered after the destructions. The second Buddha, Guru Padmasambhava visited Bhutan several times. He visited Lho Mon (Southern Land) for the irst time 184 Phende Legshed Wangchuk in the eighth century (ca. 746 CE). He meditated in different regions of the kingdom, systematically purifying, blessing, converting and sealing them into sacred places. Amongst many such sites in the kingdom, Pelphug (dpal phug) in Taktshang is considered to be the most sacred. The history of Taktshang encompassing its origin and meaning of the sacred place is written in brief on this title. According to the Biography of Guru Rinpoche (padma-thang-yig): My Adi Buddha Nangwa Thaye Can manifest in any form As clown, will come to the Mon Yul The description of the rock where Taktshang stands today From the prayer, gsol ‘debs le’u bdun pa, The shape of the copper-clad mountain (Zangdopelri) Deeps into the subterranean world of nagas Equals the realm of the dakini Touches the summit of the brahmanic realm Pay obeisance to the kings of the numerous realms. The elegant and amazing rock described in the above stanza is that under the foundation of Taktshang monastery. The site was named Taktshang owing to its several signiicances. Firstly, the feature of the rock where the monastery stands today resembles the abode of Guru Rinpoche. Secondly, there is a lake in front of the rock in which resides the king of the subterranean world (klu’i rgyal po). The tip of the rock looks like the head of the ritual dagger (phur pa). It is covered by thick bushes, which is believed to be the hair of the Guru Dorje Drolo, one of the eight major manifestations of Guru Padmasambhava. In the middle part of the rock lies Taktshang Monastery, where the dakinis were said to have received blessings, initiations and doctrine from the Guru Rinpoche. Description of Pelphug After Guru Rinpoche has departed from Mon Yul (Southern Land), Langchen Pelgyi Sengge returned to Taktshang monastery to meditate. He was one of the twenty ive favorite disciples (thugs kyi sras) of the Lopon Chenpo Pema Jungney (Padmasambhava). He was, for the propagation of the Buddhism, asked to meditate in the cave. He had undergone a prolonged meditation in the cave, where the cave later on came to be known as Pelphug (dpal phug) and today, The History of Taktsang Monastery 185 it is Taktshang Pelphug. The kudung choten of Langchen Pelgyi Sengge Langchen Pelgyi Sengge later visited Nepal, where he passed away. His kudung (dead body) was brought back secretly to Taktshang by his assistant Kudrung Damchen Dorje Legpa. It was ordered by Guru Rinpoche that his kudung should be hidden as a sacred treasure in Pelphug. On that spot was a stupa built in order to preserve the kudung. Later, the stupa, called Kudung Choten, was offered renovation and was improved and extended. The inner objects or sacred image was not installed in the stupa, because it is believed that Langchen Pelgyi Sengge visits this stupa on auspicious days (tshe bzang dus bzang). It is also said that all wishes are fulilled if offered in prayer at the stupa. The present stupa was built by Lam Rigzin on 12/3/04 on a special day. The sanctity of Taktshang was strengthened over the years by a number of saints who meditated in the cave. Birth of Guru Rinpoche From tantra, it reads thus, After the twelve years of my departure; The extra ordinary ruler of the world; From a lotus lower on the Dhanakosha lake; There will be born called Padma Jungney; Who will be greater than me? To spread Buddhism is my prophecy. As prophesied by the Lord Buddha, coinciding with the Wood Monkey year on the early morning of 10th day of the sixth month of the Bhutanese calendar, to the southwest of Oddiyana in the middle of Lake Dhanakosha, was born Guru Rinpoche on a lotus lower (me tog pad ma). The blind king Indrabodhi happened to be near the lake. Indrabodhi had been grief-stricken for not having produced an heir to succeed him to the throne. However, the king’s sight was regained the moment Guru emerged from the lotus lower. Guru was then invited by the king to his palace, where he was adopted as the king’s son. The advent of Guru Rinpoche in Bhutan 186 Phende Legshed Wangchuk The Indian king, Sindhu Raza (sin du ra dza) was one of the seven sons born to king Singala of Serkhya (present-day Kapilavastu in Uttar Pradesh). The king had lost one of the family feuds and was forced to go into exile. He, along with a retinue of some eighty people, including his four wives, found his way into Bhutan and took refuge in Bumthang, where he proclaimed himself the king and came to be known as Sindhu Gyap or Kunjom. He then built Chakhar Gomey (lchags mkhar sgo med, or iron castle without doors) in Bumthang Chokhor. However, his problems were far from over. The king Nauche (sna bo che, or Big Nose) from the east of India, followed him to Bumthang and fought a battle, where the force of Sindhu Raza was defeated. Further, Sindhu Raza’s son, Takla Mebar (stag la me ‘bar) was killed in the battle and the king was in despair. Sindhu Raza, much enraged, then ordered all the local temples and religious institutions to be desecrated and destroyed. He desecrated all the abodes of the local tutelary deity, Shelging Karpo, who was the chief of all the local deities (lha ‘dre) of the Bumthang region. Gradually, as an act of revenge, Shelging Karpo stole the ‘life essence’ (bla) of the grieved king. He felt seriously ill, bringing great misfortunes to the people of Bumthang. The king was so ill that there seemed no solution for his recovery. In search of someone who could help save the king, one of his oficials recalled hearing of a great tantric master named Lopon Chenpo Padma Jungney (Padmasambhava), who was then meditating in a place called Yanglesho in Nepal. Immediately, the king sent a mission to Nepal, along with gold dust and other gifts to invite the Lopon to Mon Yul. Then in the 8th century in 738 CE, Lopon Padma Jungney arrived in Bumthang and went to meditate on a rock called Dragmar Dorje Tsegpa (brag dmar rdo rje brtsegs pa) where Shelging Karpo was hiding. Lopon Chenpo meditated on this rock and through his spiritual power, left an imprint of his body in the rock; thus the place popularly came to be known as kurje (body print). Guru Rinpoche was compelled to play trick on Shelging Karpo, subduing him and binding him with an oath to protect Buddhism, thus the ‘life force’ of the gutted king was recovered. The cypress tree near the temple is believed to be grown from the Guru’s staff. Guru Rinpoche then decided to make peace The History of Taktsang Monastery 187 between the two kings, Sindhu Gyap and Nauche. He made an appointment to meet them at a place in the Khyeng region. On this spot, the two kings were made to take solemn oath that their respective troops would not create any cause of ighting in the future. The two kings were converted into devoted protectors of the Dharma and the place where the oath was taken came to be known as Nabji (mna’ sbyis, a place of oath-giving), thereby transforming Mon Yul into a beyul. The Guru’s return to Lho Jong For the well being of the people of Tibet and with the aim to have continued propagation of the Dharma, in 810 CE, corresponding to the Iron Tiger Year of the Bhutanese lunar calendar, Guru Rinpoche for the second time visited Bhutan, meditating in various places and hiding several treasures to be discovered later by the prophesied treasure revealers (tertons), such as Pema Lingpa and Karma Lingpa. The concealment of these teachings thereby converted almost all the places into sanctiied places. It was also believed that Guru Rinpoche had made a short visit to Bhutan during the reign of Muthri Tsenpo who succeeded his father Trisong Deutsen to the throne of Tibet. Guru was invited by him to ight over the treachery of his step brother Khyikha Ratho (dog’s mouth [with a] goat’s skull), who was planning to lead war against Tibet with the aim to destroy Samye Monastery. Guru, with the help of his supernatural and magical powers, succeeded in his plan to exile Khyikha Ratho. After a short while, Guru paid a brief visit to Sengge Dzong in Kurto Lhuntse and then to Taktshang in Paro. He was believed to have lown in the form of Dorje Drolo to Taktshang from Sengge Dzong riding on a laming tigress, hence the name Taktshang came into existence. Guru visited Sengge Samdruphug cave in Taktshang and in the form of wrathful Dorje Drolo, subdued all the harmful deities and evil spirits by stealing their hearts. Then Guru gave the initiation called Yogasum (the three teachings) and meditated in this cave for four long years during which he blessed Taktshang into for the well being of future generations, and converted it into a beyul. The treasure of the three yogas were hidden in a rock with images of the sun and moon 188 Phende Legshed Wangchuk called Nyidha Marmo, located outside the cave Sengge Samdruphug, which can still be seen today. The sacred nature of Taktshang Ney Taktshang, in fact is the main seat of Guru Rinpoche and later on was visited by Thuchen Chokyi Gyalpo Zhabdrung Ngawang Namgyal as earlier prophesied by the scripts of Guru. Zhabdrung Rinpoche during his meditation in Taktshang gave initiations of Rigzin Nyingpo (rig ’dzin snying po). It was also said that Milarepa (1040-1123) and Phajo Drugom Zhigpo (ca.1180-1252), the founder of the Drukpa Kagyu in Bhutan, meditated at Taktshang for six months in which he saw Guru Rinpoche in a vision, telling him that he would come to control much of what Guru had converted. Gyalwa Lhanangpa (1164-1224), the founder of the Lhapa Kagyu, and the famous monk, Rinchen Monlam, also meditated at Taktshang. In the 14th century, Taktshang was visited by the Indian Buddhist saint, Nagi Rinchen and in the 15th century, Drubthob Thangtong Gyalpo (1385-1464) is said to have discovered important hidden manuscript during his meditation at Taktshang. Later in the 16th century, terton Pema Lingpa discovered the religious texts of the Kunzang Yathig and Kagye Yangsang after prolonged meditation in Taktshang cave. Religious pilgrims to Taktshang throughout Bhutanese history include successive Je Khenpos including the late Geshe Gedun Rinchen, who was born in a cave near Taktshang. Omens that appeared in the meditation cave While the recitation of the Soldeb Barche Lamsel was in progress in order to celebrate the tshechu the next day, the sound of the religious items such as the trumpet and the clarinet was heard from below the Pelphug Lhakhang. At that moment, holy water was seen lowing from the rock in the cave and a rainbow of three different colors appeared around the meditation cave. Three vultures were seen lying over the cave and a ive colored scarf was noticed lying towards the cave. Such auspicious signs and omens had never been seen or heard before in the history of Taktshang. The people gathered there to observe the tshechu witnessed such good omens and recited Baza Guru from the bottom of their hearts. The cave resounded like the abode of Guru Rinpoche, and The History of Taktsang Monastery 189 the people were extremely pleased by the blessings they received from the cave and felt lucky to have such an occasion. It was also believed that when the Je Khenpo threw ritual cake (torma) of the protective deities, it was carried away by a raven which was an emanation of Yeshe Gonpo (Mahakala). Flowery rain drops were also seen disappearing into space instead of falling to the earth. Taktshang saw signiicant development as a monastic site during the 17th century when Zhabdrung Rinpoche took over its custody. The plan to build a lhakhang at Taktshang was originally that of Zhabdrung Rinpoche himself as it was at Taktshang during the Tibetan war of 1644-46, that he and his Tibetan Nyingmapa lama, Terton Rigzin Nyingpo, irst performed the ritual associated with the tshechu, which invoked Guru Padmasambhava and the protective deities to achieve victory over the invading armies. Gyalse Tenzin Rabgye, the 4th Desi, remembered participating in those events as a young monk in the Zhabdrung’s entourage and his later oversight of the building a lhakhang there was the fulillment of his master’s wish. It was during the course of one such tour of the Paro valley in 1692 that Gyalse Tenzin Rabgye traveled to Taktshang Pelphug. There, upon the cliff, he organized the celebration of the tshechu and commanded that the foundation be laid for a lhakhang dedicated to Guru Rinpoche, to be called Guru Tsengye Lhakhang (Temple of the Guru with Eight Forms). The construction work began in the tenth month of the Water Monkey year, and the two-storied lhakhang was completed by 1694. He had assigned his chief artisan, Dragpa Gyatsho, to supervise the construction of the lhakhang. Gyalse Tenzin Rabgye once again traveled to Taktshang in 1694 to perform the consecration ceremony upon the completion of the lhakhang. At that time, the tradition of the annual celebrations was established. The drubkhang is opened once a year, during the annual ceremony which is performed by seventy-one members of the dratshang (monk body) and presided over by the Tshenyi Lopon (Master of Dialectical Studies). The handing over of Taktshang Monastery to the Bhutanese The written script of the Guru Rinpoche read thus, ฀ Taktshang will lourish in the early period, 190 ฀ ฀ Phende Legshed Wangchuk Would also deteriorate later on And in the end will be protected by one. Corresponding to the Fire Dog year of the Bhutanese calendar, when Zhabdrung Rinpoche was ifty-three years old and while meditating in Rinpung, in his vision he saw the local deity of Taktshang called Drakey (brag skyes) come to him in the form of a black man, offering the Zhabdrung the site of Taktshang, saying that if he took it, Drakey would ensure that no one could ever steal it. Then in the morning, Zhabdrung told his entourage that a man would come to see him that day, and when he arrived, send him to the Zhabdrung straightaway. As it turned out to be, a poor man appeared, carrying a bundle of onions and was sent directly to Zhabdrung by the caretaker. He was then asked by Zhabdrung who he was, to which the poor man answered, saying that he was from Taktshang. Then Zhabdrung asked the poor man if he was going to take over Taktshang, to which the poor man agreed. The construction of Guru Tsengye Lhakhang Zhabdrung Rinpoche then planned to build the Guru Tsengye Lhakhang (temple of the eight forms of Guru Rinpoche), though it was Gyalse Tenzin Rabgye who carried out the construction work. Gyalse commanded his chief artisan, Lopon Dragpa Gyatsho, to supervise the activity. Lopon then started laying the foundation stone of the temple; however, what was done during the course of the day was being destroyed at night by demonic forces. To subdue them, Gyalse cut off a lock of his hair and, mixing it with mud and small stones, used the resultant blocks to lay the foundation. From that day on, nothing happened to the construction work and the process continued smoothly. The work of the two-storied monastic institute was started at the end of the Water Monkey year and was completed in Wood Dog year, almost taking a year. The images of the three Buddhas and religious scripts were installed as the inner objects of the temple and Lama Kudrung Sakya Tenzin was appointed to offer prayers and to run the temple. The History of Taktsang Monastery 191 The meaning of Guru Tsengye Lopon Chenpo Padma Jungney manifested in eight primary forms to serve sentient beings in the best possible ways, a group called Guru Tsengye. The manifestations undertake different activities and functions as follows: Tsokey Dorje: Padma Gyalpo: Padmasambhava: Dorje Drolo: Nyima Odzer: Sakya Sengge: Sengge Dradrog: Loden Chogse: Subdues the nine venomous evils. Preaching of good teachings. Give blessings to devoted disciples. Subdue the demonic forces. Preach the teaching called Sanga Nyingpo. Enlighten sentient beings. Tame the anti-dharmic forces (nonconformists to orthodox views). Preach the sutras and tantras. The origin of Shelkar Zar (shel dkar zar) The holy water lowing in the valley of Taktshang is called Shelkar Zar. The water is believed to be a creation of 100,000 celestial females (dakini), which they puriied through meditation. The source of the holy water is located below the institute, sprouting from the roots of Shugpo Shing, a holy tree that can be used as incense. Today, the water lows over the cave like prayer beads. The cave is so sacred that it bears the image of Guru seated on the seat (bzhugs khri) in which the mystic consort, Yeshe Tsogyal can be seen kneeling down in front of Guru, receiving his initiations and blessings. Further, the cave has an image of Guru giving his rosary beads to dakinis and thus the place popularly came to be known as Shelkar Zar (Rosary Flow). The meaning of Sengge Phug To the left of the Shelkar Zar is Sengge Phug. It is a small meditation cave where Guru’s mystic consort, Khandro Yeshe Tsogyal, meditated and is considered the most important sacred place. Later, Guru also meditated in this cave and then went to practice in Pelphug which also became a main seat of Guru. The cave has a self-arisen image of a stone lion (seng ge rdo) which faces the cave, 192 Phende Legshed Wangchuk which thus came to be called Sengge Phug. While the renovation works of the cave (drubphug) was in progress on 23 August 2003, ive vultures were seen to be lown away from below the Zangdopelri Lhakhang, after which the rain fell so heavily that renovation ceased for eight days. Khandro Pangchung/Tsogyal Pangchung The place where Guru imparted religious teachings to the dakinis came to be known as Khandro Pangchung, or alternately, Tsogyal Pangchung. The place has a beautiful meadow which can still be seen today. Today a small structure was built to offer thousand butter lamps. The deities (gnas bdag) The deity called Sengge Samdrub is the main guardian deity of Taktshang, and the primary site is the cave in which Khandro Yeshe Tsogyal and Guru Rinpoche undertook practice. Later, Zhabdrung Rinpoche also practiced there, both before and after his vision of a black man, a manifestation of Sengge Samdrub that appeared in the vision of the Zhabdrung Rinpoche and offered him Taktshang. When the 4th Desi, Gyalse Tenzin Rabgye was meditating in Taktshang, Sengge Samdrub appeared in the form of the human from the southern part of the country, and took an oath to be the protector of the Dharma in the cliff side complex. Another deity named Damchen Dorje Legpa is said to be the true reincarnation of Guru. When Guru was constructing Samye Monastery, Guru commanded Damchen Dorje Legpa to complete the construction of the Samye in one night, which, after successfully completed, the monastery was then offered to Guru the very next morning. Damchen Dorje Legpa was the one who brought the dead body (kudung) of Langchen Pelgyi Sengge from Nepal. The guardian continues to be paid tribute and prayers at present. The deity, Zhaw (zharw) is the remaining spirit of a man from Tibet who had been in the entourage of Sengge Samdrub. However, where there was war between Bhutan and Tibet, Zhaw was lifted and thrown over the cliff by Tibetan soldiers. Zhaw did not die but was rather was caught in the middle of the cliff and remained struck there with a fractured leg. Zhaw (meaning deity with fractured leg) is frequently propitiated by the people of Tsento in Paro valley. The History of Taktsang Monastery 193 The irst destruction by ire In 1951 corresponding to the 13th day of the irst month of the Bhutanese calendar, when the former Je Khenpo was meditating at Taktshang, it so happened that a lady from Tsento geog in Paro, lit a ire in the meadow, which continued burning uncontrolled for four days. The blaze gutted several temples, namely: ฀ ฀ ฀ ฀ ฀ ฀ ฀ Shama Lhakhang (gsha ma lha khang) Ugyen Tsemo (orgyan rtse mo) Zangdopelri (zangs mdog dpal ri) Pelphug Drolo Lhakhang (dpal phug gro lod lha khang) Namse Lhakhang (rnam sras lha khang) Tsepadme Lhakhang (tshe dpag med lha khang) Neypoi Lhakhang (gnas po’i lha khang) However, the images of the main guardian deity, Sengge Samdrub and his entourage and seven small bowls used for offering water were not damaged in the major ire destruction, and further, some temples were not destroyed by the ire, namely: Guru Tsengye Lhakhang Guru Sungjom Lhakhang Kilkhor Lhakhang Kunrey Konyer Zimchung. These structures have CGI sheet rooing sponsored by Ashi Tashi Pelmo from Khangkhu in Paro. They were also protected from the ire destruction by the three energetic men from the east: Ap Samten Dorje, Nyimchung Ngodrub, and Jampel Dorje. The four lhakhangs of Pelphug were established by the people of Tsento. They were commanded to do so by the second Druk Gyalpo Jigme Wangchuck, as they had denied participating in quelling the ire. This was indeed a punishment for their denial. Shama Lhakhang was built by the Dzongpon of Drukgyal Dzong, Jangsarbu and Zangdopelri Lhakhang were established by the lady responsible for the blaze. The Ugyen Tsemo Lhakhang was constructed by the Taktshang Lama, Khagop. Later in 1954, the late Gyalyum Phuntsho Choden asked the former Je Khenpo, Tenzin Dondrub and Phurpa Dorje to build three-storied temple by dismantling the smaller one. 194 Phende Legshed Wangchuk They successfully completed the construction of the temple desired by the Gyalyum and installed inner objects of the famous saints and sages. The second ire In 1998 on the 19th day of the fourth month of the Bhutanese calendar, a small lame of ire was seen to come out from the Guru Tsengye lhakhang near the caretaker’s house. The main seat of the Guru, Taktshang Pelphug, along with its sacred and inner objects were helplessly burnt in the blazing ire. On April 22, 1998, the fourth Druk Gyalpo, Jigme Singye Wangchuck, for the well being of the kingdom and its people, without care for his own life, undertook the brave action of entering the still-smoldering complex, seeking the Buddha who could speak (Guru Sungjom), accompanied by the former Tshenyi Lopon (Master of Dialectical Studies) Sangay Dorje. The object was at last found in the ashes, broken into several pieces. The pieces were then collected and taken as treasure, which can be seen today. Like wise several sacred objects were rediscovered from the ashes though some of the scroll paintings were completely burnt. It is said that when Dasho Wangchuk, the former Tshenyi Lopon Sangay Dorje and Neten Dorje from Paro decided to take Guru Sungjom to its original place. It so happened that when they reached to Shelkar Zar, the namchag (iron from the sky) fell on the tree (dungshing) behind the Ugyen Tsemo Lhakhang and the kitchen of the caretaker was thus destroyed. Within one hour, hail stones and heavy rain began, causing the Shelkar Zar stream to lood and render their crossing impossible. However, the Paro Dzongdag Dophug Tshering, Drangpon Chagdor, Tshenlop Sangay Dorje, Dasho Dzongpon Wangchuk and oficials from various departments one again went to take the object, but to their surprise there appeared black smoke in the sky, accompanied by heavy rains and storms. Even the cave itself shivered for a while. Then the object was returned to its previous place, Pelphug, and was locked by the Tshenyi Lopon, after which a prayer was offered to stop the rain and storm. After awhile, a rainbow appeared at the site of Shama Lhakhang which was considered to be a good sign by most of the people gathered who had observed the events of the day. Taktshang, within a span of three years, experienced namchag seven times, which the people took as a sign that the time had come The History of Taktsang Monastery 195 for them to renovate. The renovation of Taktshang Monastery According to a royal command from the fourth Druk Gyalpo, and led by Lyonpo Thinley Jamtsho, Ministry of Home and Cultural Affairs, Dasho Zopon Wangchuk and Phub Tshering, Paro Dzongda, jointly undertook to offer renovation the almost completely ruined monastery. They invited the 70th Je Khenpo Trulku Jigme Choeda and the Gyalse Tenzin Rabgye to conduct the sanctiication and consecration ceremonies. Then the fourth Druk Gyalpo commanded the formation of a committee under the able leadership of Lyonpo Thinley Jamtsho. The irst committee consisted of the following personnel: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. Lyonpo Thinley Gyatsho, Chairman, Ministry of Home and Cultural Affairs Lyonpo Yeshe Zimba, Member, Ministry of Finance Tshenyi Lopon Sangay Dorji, Member, Dratshang Lhentshog Dasho Dorje Tenzin, Member, Department of Roads Dasho Sangay Wangchuk, Member, Department of Culture Dasho Sherab Tenzin, Member, Dzongdag, Paro Dasho Tenso Lapon, Member Kuenley Gyaltshen, Member, Engineer Dorje Wangchuk, Member, Joint Director, DOC Damcho, Member, Accounts Oficer Gom Tshering, Member, Forestry Department The second committee was: 1. 2. 3. 4. 5. 6. 7. Lyonpo Thinley Gyatsho, Chairman, Ministry of Home and Cultural Affairs Lyonpo Wangdi Norbu, Member, Ministry of Finance Tshenyi Lopon Tandin Tshering, Member, Dratshang Lhentshog Dasho Tenso Lapon, Member Jigme Zangpo/ Lham Dorje, Member, Dzongdag, Paro Dasho Pelden Wangchuk, Member, Secretary, Ministry of Home and Cultural Affairs Dorji Wangchuk, Member, Joint Director, Ministry of Home 196 9. 10. 11. 12. Phende Legshed Wangchuk and Cultural Affairs Kinley Gyaltshen, Member, Engineer Damcho, Member, Account Oficer Gom Tshering, Member, Forestry Department Aum Dorji Yangki/ Nagtsho, Member, Ministry of Home and Cultural Affairs The achievements and results of the renovation Taktshang is located on a dangerous cliff at the head of the Paro valley; however, none were hurt nor were there any casualties while renovation was undertaken. This was believed that it was because of the good wishes of Guru. Including the newly built temple, there are ten temples in all. Toward the end of the eleventh month of the Bhutanese calendar in 2000, the renovation works were completed for the following temples: ฀ ฀ ฀ Kilkhor Lhakhang Guru Tsengye Lhakhang Drolo Lhakhang However, the Sungjom Lhakhang was completed only on 17 April 2001. On the completion of this temple, a rainbow appeared and lowery raindrops were seen, making it an auspicious day for all Bhutanese. It was also said, when the erection of the doors for Sungjom and Kilkhor Lhakhangs were completed, a ivecolored rainbow shone over the valley and disappeared in the mouth of the cave. The tree (bji shing) below the Tsepadme Lhakhang was surrounded by rainbow and thought it disappeared in a moment, it was witnessed by the mason Tenpai Gyaltshen and other workers. After two days of completion, the investigation was carried out in which the caves of meditating center had become shiny and on the 30th day of the Bhutanese calendar, the holy water sprouted from the rocks of the retreating center. th Description of the temples All the temples have the walls decorated with the wall paintings of the images of the Rigsum Gonpo. The lhakhangs located inside are the following: The History of Taktsang Monastery ฀ ฀ ฀ ฀ ฀ ฀ ฀ ฀ ฀ ฀ 197 Drubphug Ney (sgrub phug gnas) Guru Sungjonmai Lhakhang (guru gsung byon ma’i lha khang) Kunrey Lhakhang (sku ras lha khang) Choten Lhakhang (mchod rten lha khang) Guru Tsengye Lhakhang (guru mtsan brgyad lha khang) Drolo Lhakhang (gro lod lha khang) Namse Lhakhang (rnam sras lha khang) Tsepadme Lhakhang (tshe dpag med lha khang) Neypoi Lhakhang (gnas po’i lha khang) Marmi Dagsum Lhakhang (mar mi dags sum lha khang) The inner objects of the Drubphug (Meditation Center) The image of Guru Dorje Drolo was installed outside the neykhang and the walls are decorated with painted images of the Guru Tsengye and Dorje Drolo. Inside are images of Guru and Tsepadme (Buddha of Eternal Life). The drubney was the main meditation center of Jetsun Milarepa, Phajo Drugom Zhigpo, Padampa Sangay, Zhabdrung Rinpoche and Gyalse Tenzin Rabgye and thus carries great historical and religious signiicance. The Jag Rangjon (self-created rock/cliff) has the clay statue of Horsog Magpung Dog and Phurpa Yab Yum and, on the auspicious days, holy water is seen to low on the rocks. The Guru Sungjonmai Lhakhang The construction of the Guru Sungjonmai Lhakhang was completed on 27th April, 2001 and the image of the Guru Sungjonma with seven images of Buddha at the back. To either side are twenty ive images Buddha (rje ‘bangs nyer lnga). Like wise, to the right and left are images of the Guru Tsengye, Zhabdrung Rinpoche and Gyalse Tenzin Rabgye, and a statue of Yeshe Sempa. The walls have the paintings of the following: Gongdu Lhatshog, Guru Tsengye, Jebang Nyer Nga, Tsepadme Lhatshog and Phurpai Lhatshog. During the Phurpai Drubchen, the ritual dagger has to be taken from the Kilkhor Lhakhang. The origin of Guru Sungjonma The fourth Desi, Gyalse Tenzin Rabgye, according to the command of Zhabdrung Rinpoche, after the completion of the 198 Phende Legshed Wangchuk monastery, told the former Lopon Jamtsho to make a statue to similar to the statue of Guru Rinpoche. The Lopon then invited a professional sculptor from Nepal, who built three statues of Guru. These statues were distributed to different temples, of which one was kept at Taktshang. The salient features of the Guru Sungjonma While taking the Guru Sungjonma from Punakha to Pelphug in Taktshang, there appeared several auspicious signs. When the statue reached at the mouth of Taktshang Ney (stag tsang gnas sgo), they found it dificult for them to carry it for there is only a small footpath. Then they decided to break it and carry it is pieces. At that very moment, the statue spoke and said that they didn’t have to break it, because a man will come who will be able to carry it in one piece. That prophecy came true when the guardian deity Sengge Samdrub came disguised as a human being and at once carried the Guru statue away to Pelphug. The main statue in this lhakhang is a wrathful deity called Dragpoi Marchen (drag po’i dmar chen). The lhakhang also houses the lineages of the Tshenyi Lopon (Master of Dialectical Studies) and the place to offer the prayers for Dragmar. The Drolo Lhakhang (Temple of Dorje Drolo) In a three-storied temple, the statue of Dorje Drolo is installed at top loor, done under the supervision of Lam Sonam Zangpo. The second loor was previously a residence of the Tshenyi Lopons, however, after its renovation, Dasho Tenso Lopon appealed to His Majesty the fourth Druk Gyalpo, Jigme Singye Wangchuck to instead install ive big statues. Then he recruited two professional sculptors, Jowo and Karma, to complete the work. The work commenced on 1st April, 2002 and in 2003, the Drolo Lhakhang housed statues of Tsepadme, Guru Rinpoche, Gongdu, Guru Dorje Drolo and Phurba. In addition, its wall paintings depict Guru Dorje Drolo, Tsepadme, Gongdu, Phurba, and other protective deities. The Namse Lhakhang and the Tsepadme Lhakhang were not destroyed during the ire but were instead the victims of neglect and age. On 25th May, 2001, they were renovated and a temple called Tongcho Lhakhang was also established as a place of offering thousand butter lamps on auspicious days. The History of Taktsang Monastery 199 Namse Lhakhang (rnam sras lha khang) The temple is the house of the images of eight Namse and the walls display paintings of the following deities; Tshering Chenga, Damchen Dorje Legpa, Taktshang Sengge Samdrub, Namse and a set of the eight Namse, Ugyen Norlha and Zhingchong Wangmo. Tsepadme Lhakhang (Temple of the Buddha of Ininite Life) The temple has the statue of Tsepadme in the middle, to which the statue of the Namgyalma stands at the right and the Jetsun Dolma at the left. The walls are decorated with images of Tshelha Namsum and the thousand Buddhas. Neypoi Lhakhang (gnas po’i lha khang) The central statue is Sengge Samdrub, which is lanked by the images of seated Guru Rinpoche and Langchen Pelgyi Sengge. The walls have paintings of Langchen Pelgyi Sengge, Damchen Dorje Legpa and Sengge Samdrub. Marmi Dagsum Lhakhang (mar mi dags gsum lha khang) The main statues in this temple are Tonpa (Buddha), Dorje Sempa (rdo rje sems dpa’) and Guru Rinpoche. Wall paintings display images of the Guru and his entourage (guru gtso ‘khor gsum), Tonpa and students (ston pa bla slob gsum), Zhabdrung Rinpoche, the bodhisattva of compassion (spyan ras gzigs) and Dragpoi Marchen (drag po’i dmar chen). Choten Lhakhang (Stupa Temple) The temple has the temple where the kudung (dead body) of Langchen Pelgyi Sengge was safely preserved. It has also a treasure stone as discovered by Zhabdrung, as prophesied by Guru Rinpoche. Surrounding walls show images of the Zhabdrung Phunsum Tshogpa and Neten Chudru (Sixteen Arhats), and the religious script called Jangchub Tungshag (byang chub ltung bshags). The origin and meaning of the sacred places (Drub) ฀ Below the monastic institution is holy water (sgrub chu), which emerges from the rock surrounded by Pagsam Jonshing, as revealed by the fourth Desi, Gyalse Tenzin Rabgye, while he undertook meditation at Taktshang. 200 Phende Legshed Wangchuk ฀ The Shelkar Zar water is considered sacred, as it is said that one lakh of dakinis meditated in this spot to give rise to this water. ฀ The sacred stream of Langchen Pelgyi Sengge was created as drinking water for him while meditating at Taktshang. This holy water can still found in the Choten Lhakhang (mchod rten lha khang). The main religious objects of Taktshang (nang rten rtsa chen) 1. 2. 3. 4. 5. The Sungjonmai Lhakhang housing Guru Sungjonma The meditation center has images of Phurpai Kilkhor The meditation cave has Terphu Chewa (gter phu che ba) The Choten Lhakhang holds the kudung of Langchen Pelgyi Sengge. The meditation cave has a Tsebum Rangjon (self-created vase) Renovation management and organization committee The temples, wall paintings, inner objects and religious objects were constructed and installed by Dasho Tenso Lopon Wangchuk in 2004 in the twelfth month of the Bhutanese calendar. The following carpenters contributed during renovations: 1. 2. 3. 4. 5. Tshering, Seula, Punakha Rinchen, Tsela, Punakha Namgyak, Seula, Punakha Nagku, Gemkarmo, Punakha Tandin Wangchuk, Trashi Yangtse Masonry responsibilities were given to the following persons: 1. 2. 3. Tenpa Gyaltshen, Chukha Gom Tshering, Drukgyal, Paro Jomo Ngodrub, Samdrup Jongkhar Plastering work was entrusted to: 1. Phuntsho, Trashigang, The History of Taktsang Monastery 201 Sculptures were made by the following persons: 1. 2. 3. 4. Jowu, Neyphug, Paro, Karma, Paro Sangay, Paro Tshering Penjore, Paro Painting was undertaken by the following persons: 1. 2. 3. 4. Ugyen, Lhuntse Dorje, Wangdue Phodrang Phuntsho Wangdue, Yangla, Trashi Yangtse Gonpo Dorje, Paro The wood carving (pata) works were undertaken by: 1. Penpo Tshering, Paro. The engraving (troe ko) was assigned to the following people: 1. 2. Namgyal Dorje, Thimphu Kuenley Tshering, Thimphu Work Supervision Team: 1. 2. 3. Tobgay, Drukgyal, Paro Dorje, Tsento Chukha, Paro Ugyen Tshering, Tshelunang, Thimphu Following royal command, a monastic institute which could accommodate around ifteen monks was established to offer daily and monthly Sung Chog (gsung chog) and Sol Cho (gsol mchod). During the glorious reign of the fourth Desi, Gyalse Tenzin Rabgye, the Tshenyi Shedra (Institute for Dialectical Studies) had been established. The monks studying at the Tshenyi continue to go to Taktshang to make religious offerings to Gongdu, Tsepadme and Phurba. 202 Phende Legshed Wangchuk An explanation of sacred places found on the way to Taktshang • • • • • • • • • • • • • • • Facing the Nyangme Bridge in Shar Tsento is a three edged stone where the Drubthob (Siddha) Jinpa Gyaltshen (Gyalse Tenzin Rabgye’s elder brother) had hidden his robe as treasure. Under the Nyangme Lhakhang is a stone prayer wheel (T he treasure mouth of the nun called Mapalmo, or dge slong ma dpal mo). Above the motor able road is a stone urn. To the left of the vehicle road is a self created letter engraved on a stone. Above the Ramthangkha Lhakhang is a copper vessel. It is believed that if one is able to organize and conduct fasting ceremony, it is said that all sentient beings will be liberated from hell. It was indeed prophesied by Delog Karma Wangzin. In a place called Do Sinmo, where a demoness was pinned in the stone, we could see two footprints of Guru Rinpoche. The sinmo was subdued facing the Nyangme Lhakhang and in order to avert the harm of the sinmo, a wall was constructed on the stone, blocking the view of the Nyangme Lhakhang. Nearby are the intestines of the sinmo turned into stones which can still be seen today. Chagtshelgang, the place where the students of the Dialectical Studies move to Taktshang for twenty-one days, they prostrate facing the temple of Guru Sungjonma. Above Chagtshelgang is called Mendelgang. The place has ive stones piled, resembling the offering of Mendel. Chuzarlungpa is a place where a heart of demon and stoned dead body are found. It has sacred water as created by Padampa Sangay. Beside a place called Tareypang (rta ras spang), above the road is the cave where the 69th Je Khenpo Je Gedun Rinchen was born. In this cave is self created ritual dagger. In a place called Demig Gochag is the ‘Lock and Key’ to open the door of the sacred place of Taktshang. The door is made of iron. Also within Demig Gochag is religious scripture. Below Demig Gochag are a Tseyi Bumpa (life giving vase) and a foot print of Guru Rinpoche. The place has also a wish fulilling precious gem (nor bu). The foot prints of the Guru’s mystic consorts, Khandro Mandarava and Yeshe Tsogyal. A white conch (dungkar) The History of Taktsang Monastery • • • • • • • • • • • • • • • • • • • • • • • • • • 203 Above the bridge is a tortoise. One skull of demon One demon subduing arrow and an arrow brought by the Guru from Sinpoi Yul (land of demons). The secret part (baga) of Machig Labdron The secret part of (rdo rje) of Padampa Sangay The rear feather of peacock Pagsam Jonshing (tree of wealth) Guru Rinpoche’s robe A drum hidden as treasure A self created stone prayer wheel One inger span door of the sacred place The foot prints of Tachog Balang (rta mchog ba glang), the riding horse of Guru Namchag (iron from the sky) Wangmoi Reldri The sacred door of the three gods; Tsepadme, Gongdu and Phurba In Khandro Pangchung has a secret part (baga) of a khandro One dramnyen (Bhutanese guitar) One stoned dagger of the deity A place to test good and bad deeds A dagger of Jetsun Jampeyang (god of wisdom) At the rock of Shelkar has a knee print of a khandro Shelkar Zar has the sacred spring (grub chu) of khandromas A Namgyal Choten (stupa of victory) A dagger hidden as a treasure A staff of Guru Rinpoche A stone trumpet A dolow is a place where it is believed that a langur came during the Tsepadme Drubchen. Funding the renovation efforts The renovation of Taktshang was jointly organized and conducted by Taktshang Lam Rigzin and work supervisor Tobgay. During two years of working progress, they had to spend Nu.1.45 million to provide a tea session and a lunch every day. To accelerate the renovation, Dasho Rinpoche, Ugyen Dorje had contributed Nu. 1 million and some amount was also donated from the Ministry of 204 Phende Legshed Wangchuk Finance. The Royal Government of Bhutan had donated a colossal amount of money and the renovation was successfully completed. Benediction (mjug byang) The second Buddha, Orgyen Guru Rinpoche visited Lho Mon (Southern Land) and converted several places, of which the Taktshang monastery is considered one of the most important. The sacred place has acted as a guiding light for all sentient beings. With the aim to keep our sacred places intact, the National Museum of Bhutan commanded me to carry out research on the sacred history of Taktshang Monastery, and as such I have tried my best to present comprehensive information. To give quality and provide appropriate information and data on my subject, I have referred to several religious texts and interviewed numerous intellectuals to help me to accomplish my assigned task. Therefore, I will pray that people who read and understand and people who listen and comprehend will be sent to the heaven of Guru Rinpoche and meet him directly. The History of Taktsang Monastery 205 Interviewees 1. 2. 3. 4. 5. 6. Dasho Zopon Wangchuk (Tenso Lapon) Lama Rigzin, Taktshang Lama Lopon Sangay Dorje, the former Yangpoi Lopon Dorje, the renovation supervisor Gom Dorje, the painting master Lopon Karma, the sculpture master Textual sources 1. 2. 3. 4. 5. 6. 7. Biography of Gyalse Tenzin Rabgye Lhoyi Choejung Biography of Guru Rinpoche Lopon Sangay Nyipa Padma Jungney Kyi Namthar Yidkyi Munsel Druk Karpo (Druk Gyalkhab Kyi Chosid Neytang) The History of Dzongs of Bhutan Menjong Drugi Dzong Zhi Khagdang Lhakhang Goendeyi Tendang Ngoeched Kyi Lamsol Legshed. 206 Phende Legshed Wangchuk ORIGIN OF WOODWORKING IN TRASHIYANGTSE Geshe Tenzin Wangchuk The craft of woodworking in the Kingdom of Bhutan originated in Trashiyangtse during the 19th century. Lobzang, the craft master, started the work in a village called Benag. While he was expert in Zorig Chusum (thirteen crafts), he was particularly well known in woodworking. Lobzang, in his venture, made various kinds of phops, dapas, dem, damarus, dops, tsigus, peders, etc., using his unsurpassed creativity. Thus the woodworking tradition took root in this village. His son, Geshe Pema Dondub, was another person who, besides Zorig Chusum, excelled in woodworking. His creativity further added taste to woodwork tradition ensuring the continuity of the tradition. Lhamo Ngedrup, the son of Geshe Pema Dondub practiced woodworking and further promoted the tradition. In fact, he devoted his entire lifetime to woodworking. He passed down the tradition through his sons and grandsons, who devotedly maintained the continuity. As a son of Lhamo Ngedrup, Tenzin Jamtsho, drew inspiration from his family and mastered the woodworking from his young age. He contributed towards keeping the tradition vibrant. His son, Zepa Wangchuk, had an innate ability to learn, and further inspired by woodworking, he practiced the crafts from an early age. He continues to promote woodworking to this day. Thanks to this family, the woodworking tradition has continued for ive generations. Woodworking is now a popular tradition in the entire dzongkhag of Trashi Yangtse. Having realized the importance of woodworking, the Royal Government of Bhutan established the Rigney Institute in the dzongkhag and as such, the woodworking tradition continues to gain momentum. As time passes, the tradition has become a more common practice in western part of Bhutan as well, though not in a signiicantly established way. 208 Geshe Tenzin Wanghuk Types of wood utilized in woodworking Dasumpashing (maple) grows za good for making phops. Besides za, baw usually occurs on this tree. Its trunk can also be used for making various containers. Nyingulingshing or awashing: Usually both za and baw are found on this tree. Its trunk is not good for woodworking. Etometo (rhododendron) plants bore za and baw as well. Its trunk can also be used for other wood works. Lungmam tree also produces ine za, and it is popular for baw as well. Serkalingshing is a good source for ine za and average baw. Guliserp grows za as well as baw. However, this tree is rarely found in western part of Bhutan. Zershing: No za and baw grow on this tree. However, its trunk has good grains very similar to za and it is good for making containers. Containers from this tree cannot resist hot water. It is found in the high altitude where the ir tree grows. Gamashing (alder): Its trunk is good for making bowls as well as buckets. Containers made from its trunk can resist heat. But za and baw do not occur on this tree. Dungshing (ir tree): No za grows on this tree and only baw from this tree is used. Its trunk cannot be used because it has straight grains. Agurushing (aloewood): Both za and baw grow on this tree. But this tree does not crack when dried and its trunk can be used for other purposes. Zentrugshing: Neither za or baw grow on this tree. This wood, Origin of Woodworking in Trashiyangtse 209 when dried, does not crack so its trunk can be used. Kenpa (artemisia): There are black and white kenpas. But it has small stems that cannot be used in woodworking. But za and baw are found in kenpas. It is said that it has the power to purify poison in food. Tagpashing (birch tree): It is good source of both za and baw. It is said that za and baw from this tree is superb. Its trunk also has a wide range of uses. Woodworking tools The following four tools are required for the woodworking; the phowchag can be used for both hamtrub ‘rough shaping’ and zangtrub ‘ine shaping’. The phyijamchag is also used to both hamtrub and zangtrub, while the nangjamchag is employed with tangtrub only and zhapchag separates the work piece from the lathe. Other tools Koptsag or watam: a hollowing tool used to cut deep sections of the bowl Tew or tachung: Removes the work from secured lathe after completion Olo: Bar that turns Tinchag: Metal used to hold olo Maden: Metal that holds miring Miring: Metal that holds olo Kedam: Metal that tightens the olo Kangshing (treadle): A device powered by foot to operate lathe Kangthag: Leather strap or drethag Lagden: Board in front used to rest arms Lacha: Lacquer that secure the work Jamdar: Sharpening stone that comes from India Boedar: Sharpening stone that comes from Tibet Tari (axe) Used to cut tree/wood Sogley (saw) Used to cut wood Riti (ile): Used to create edges of tools Drilang: Used to extract from the main tree 210 Geshe Tenzin Wanghuk Urshing (roller): Used to smooth the surface made from oak trees, though some creepers are used these days. Tool making Flatten the metal and then sharpen the edges a bit by beating. Bend to form a U-shaped gouge. Sharpening Tools are sharpened using a ile to form the proper shape without affecting the blade. The blade is sharpened inely with jamdar or boedar. Inside of the U-shape is sharpened just like sharpening the knife. Usually left to right direction is followed while sharpening outside. Tsi or Arzak (varnish) Generally known as tsi ‘varnish’ in classical Tibetan it is called arzak. It is a kind of plant from which varnish is derived. When the fruit is dried, it scatters with even a soft touch. Arzak is grown in the wild but can also be grown in the ield during the spring like other crops. Because arzak seeds get scattered so easily when dry, they should be collected before they are dried. The seeds are then dried properly in the sun. After the seeds are completely dried, they have to be grounded into powder. But in order to protect the seeds from scattering, water is sprinkled over them to make them damp. Using mortar and pestle, pound them slowly until they become a powder. The process for pressing arzak is not different from pressing master oil. However, it can be pressed for oil without heating Application and lacquering Tsi is applied only in the sun. It does not stick on the surface if applied in the shade or darkness. It should be protected from wind because it dries out in the wind. Firstly, tsi is applied evenly in the interior half, and when it is dried another interior half is applied. Even applications and suficient quantities are required for a better inish. Next, the exterior Origin of Woodworking in Trashiyangtse 211 is applied and when fully dry, the another half is applied. If it is a phop, half will be held between your thumb and foreinger as cotton is used to apply the tsi. Mix 1/2 of shingmar with ¼ of se and bring it to a melting point. Apply this mixture evenly on the surface. When dried, rub the surface with a clean cloth until no trace of application is visible. Application is repeated over and over again in order to secure longer life. Lacquering on za Apply very thinly on surface with a soft touch. Apply daily at least for one week with a slight increase for a maximum of two weeks. Only zhose ‘milky oil’ is used on za and not tsirse ‘pressed oil’ or tsagse ‘iltered oil’. Varnishing baw and lang Se is mixed with butter and applied over the surface. If the container is of baw and lang, it is applied with increased doses and at least once day for one week to ten days. After, the application of se butter is rubbed in for a better inish. The wood grains appear naturally. Both tsagse and tsirse are ine for this type of work. Types of se Basically there are four types of se namely zho-se, tsi-se, tsag-se and za-se. Zho-se is obtained when the leaf is removed fresh from the branches. This is considered the best varnish and costs more. Tsi-se is made pressing seeds of seshing and semarshing in a tsim ‘bamboo container where in tsi is pressed’. Tsag-se is obtained from the bark of seshing when it is peeled off. Processing za-se In this process, the seshing and semar seeds are dried up in the sun. Then they are pressed inside the tsim directly without heating them using the same process as any other. 212 Geshe Tenzin Wanghuk Processing black se One half measure of se and one quarter measure of soot is mixed together and stirred as much as one can for a ine polish. Oil extraction This is a Japanese way of extracting oil. The bark is peeled off from the right side and let the water ooze out irst. The oil, which will be used later, is collected in a tin. After this, bark will be peeled off from the left side, changing directions to extract more oil. To extract oil from the seshing, only small portions of the bark is peeled off in bits. The oil which comes out from the tree is removed with a spoon and iltered it in cloth. Then it is dried in the sun and liquidized. It is dried, once again avoiding the wind. The oil is iltered again using a clean cloth and then put it in an air tight container. Application of tsirse Tsirse is mixed with tarpin and then melted. Then it is applied on the surface using a hair brush. The size of the brush is determined by the size of the container. No other materials are used other than a hair brush. Boiling the wood The za, baw and trunk get bent when dried in the sun. They are boiled until they are straightened. After taking out, they are left to dry completely in full shade. Use of tools The hand driven traditional technology performs better for cutting both outside and inside of the zap work piece to a perfect inish. The tool is held irmly with the right hand in front and the left hand at the back. The lathe from India turns only in one direction whereas Japanese lathes turn in both directions. Origin of Woodworking in Trashiyangtse 213 Wood turning This lathe turns only inwards and does not turn outwards as does the hand powered lathe. But Japanese lathes work both ways which gives as good a inish as the hand operated lathe. Hand operated lathes give better results, so it is vital to preserve the traditional practice. Innovations in woodworking This lathe we talked about is the traditional one used in former times. Quite recently, two brands of mechanized lathe are being imported and they are easier to handle compared to the old ones. However, in terms of aesthetic value these imported machines are less capable of maintaining the traditional beauty and standards. Phop making: A complex job Generally, there is great variety of woodwork including phops. But in particular, craftsmen have found phop-making in eastern Bhutan a complex job, as a result of the intricate shapes incorporated in their design. The other containers are shaped free hand without much dificulty. Use of sources About one hundred and ifty years ago, woodwork was practiced in Bhutan in rural villages of Trashi Yangtse Dzongkhag only. Although the woodworking tradition had passed down from one skilled craftsman to another in continuous generations, written records are scanty. Thus, the research is based only on information provided by Wangdue of Khoplakhar village, who worked lifelong in woodworking and Sonam Wangdue of Tongzhang, a graduate from the Rigney Institute, who is an experienced craftsman in the ield. It is hoped that this paper will be of some help in preserving and promoting the age-old woodwork traditions of Palden Drukpa in the years to come. 214 Geshe Tenzin Wanghuk ESTABLISHMENT OF THEGCHEN DODEDRAG Lopon Sangay Dorji Prologue and commitment in writing The enlightened one like the sun Illuminates by the glory of his mindfulness; The dharma in its richness like the moon Effects with its elixir of coolness; The sangha like the stars in the galaxy Shines with the never fading rays in abundance, And bowing down to the three gems in respect With the undiminished devotional thought and praise, Profoundly advocated-the teachings of the Buddha; Following the footprints of predecessors, The feet of Tshenden Lama - worshipping them with our heads, To the self though he is elevated from these worldly affairs, To the others shown to be living in the mire of the samsaraIs the only protector of this rubbish-laden last world of today; Belonging to the eminent Jetsun Yonten Thaye The mahayanian ridge called Dodedra, The dharma learning center towering like a palace in full glory By the full richness of light like the winter moon in her circular form Taking pleasure in the spread of kumuta lower’s petals. With these words of praise and gratitude for the eminent ones of the past begins the sacred historical document of the sacred site of Dodedrag using Kunda Zhedpai Dawa as the main source. Establishment of Dodedrag The 13th Je Khenpo of Bhutan, His Holiness Je Yonten Thaye, was serving as the head of the Metaphysics and Logic division in the central monastic body when he saw the paintings of Jomo Lodro Zangmo as a large statue of Dorje Yudronma, a dakini. He took this as an auspicious sign. Later, when he retired from his post 216 Lopen Sangay Dorji he resided at Jago Phungpo.1 The place did not appeal to him so he decided that he should soon move elsewhere. He was looking for a more peaceful and harmonious place, so during that time he prayed to Milarepa, a great saint of the Drukpa Kagyu lineage. One night he had a pleasant dream: Milarepa was lying towards a place on the other side of the valley. The saint asked the lama to follow him and led him to the present day Dodedrag. Accordingly, Lama Yonten moved to the sacred site and established his residence there in 1779. A striking site On a ridge easily mistaken to be made of carbuncles and corals; appearing and towering so high as if it can touch the blue sky above; where the clouds drift in laziness and bless the place with timely drizzles making it possible for life of all kinds to thrive on the earth below. It is comparable to the beauteous gardens of the gods in the heavens above. White like the Kumuta lower in her best colorful smile; the melody of the gorgeous stream with her eight healing capabilities heard non-stop; grasses relished in tranquil by the animals are left soft with their colors like that of the peacock’s blue neck; the surroundings are illed with variety of lowers breathtakingly nurtured as if woven into wreaths by the garland-makers. Welcoming the guests, lowers produce their fragrances as the bees and moths sing in their best melodies. The wild animals in attractive colors of hides; having to fear none are playful in tranquil ecstasy. This secluded place of harmony for the truth seekers is a place no different from that of the great province of Jajin (Indra)the King of Gods. The second Tsari For the ordinary people Dodedrag may seem to be a place with rocks and cliffs but for the learned few the place is a replica of Tsari Ney2, one of the most sacred pilgrimage sites, located in the 1 Literally known as vultures’ peak in Bhutan, it is presently known as Phajoding 2 One of the most sacred pilgrimage sites in southwestern Tibet known for the harshness it takes to undertake a journey. Establishment of Thegchen Dodedrag 217 southwest of Tibet. During his pilgrimage to Tsari, Je Yonten Thaye encountered with the main deity of the place, Zhingchong Wangmo, adorned with precious ornaments and attired as a bride.3 One of the lama’s attendants was carrying her and on the way, she insisted that she be kept at Dodedrag monastery where the lama resided, saying that she wished to stay there. Thus, the lama allowed her to remain and local residents believe it is a holy place. The present day Dodedrag, where she settled, is treated as equivalent to the one existing in Tibet. Moreover, in the irst loor of the temple there is a cliff which bears the impression of the dakini Dorje Phagmo. The lama also brought some sacred stones along with him from Tsari to Dodedrag and are kept as relics in the temple. Also found in the temple are the golden statues of Yab Yum (male –female protecting deities) and of Phagmo. Further down in the area, there are igures of a door, lock and key all similar to those at Tsari. Other signiicant impressions one might ind are the holy water vase (bumpa), a pair of auspicious golden ish, a dagger and the hidden treasures blessed with the power of continued descendants. The holy water from the vase would bless a person with long life, while the golden ish symbolize good luck and fortune. The dagger is the symbol of indestructibility. The sacred hidden treasures are believed to bless all barren persons with the gift of children. There is also a self embossed letter ‘Om Ah Hung’ on the rock and to the right side of Dodedrag, laying amongst the lowering trees and colorful leaves. On top of the cliff one can have a glimpse of throne like impressions and various animal footprints. There is a stupa which contains the ashes of Saint Pema Zangpo4 and also the cave where he meditated. To the left there is a secret meditation cave of Khandro Sonam Paldron and beside it on a rock are the various shapes of people and Garuda. These symbolically stand for the evil forces being subdued by the protective deity called Chungdo. Likewise, there are also other similarly extraordinary places and objects found in the ney (sacred place). 3 One of the female deities of Bhutan 4 The 27th Je Khenpo of the central monastic body in Bhutan Lopen Sangay Dorji 218 The holy water of Dodedrag When Lama Yonten Thaye returned from Tsari, he brought along with him a sacred stone, which was placed at the source of the holy water spring in Dodedrag. In order to ensure its safety, the disciple of the lama, Jamyang Gyaltshen, built a stupa of the precious relic Rangjung Kharsapani on top of the stone. Also there is a black stone which bears the mantra of Dorje Naljorma and is believed that whoever drinks this water is believed to be blessed with long life and will be puriied of all deilements. Therefore the water is considered as holy as the one found in Tsari. Thus, the person will become healthy and prosperous. Below this stupa is an entrance and an exit, both door-like stones. One who walks through these structures are considered puriied of all deilements. Once when Lama Pema Zangpo was offering prayers to Palden Lhamo, the female protective deity of Bhutan, the donkey of Palden Lhamo appeared before him and urinated. At that spot even today one can still sense the smell of the donkey’s urine. These and other sacred objects largely contribute to considering it as the second Tsari Ney. The origin of the name Dodedrag In the spot where one inds the main temple today, there was a huge rock which resembles the head of an elephant. Some parts of it were disintegrated and scattered. The new surface of the cliff that remained still bear the shapes of the texts of one of the Buddha’s teachings called Do (mdo). It is believed that these scriptures have been hidden there as treasures. When the time comes, a treasure discoverer will reveal them for the beneit of all sentient beings. Thus, the place has come to be known as Dodedrag (the cliff of mdo scriptures). Many great saints have meditated there and beneited. Even today if we put our ears to the cliff and listen, people believe we would hear the sounds of the teachings. However, there are only a few who are said to have experienced this. Architecture of the monastery Je Yonten Thaye irst built the temple in Earth Pig year Establishment of Thegchen Dodedrag 219 when he was ifty-six years old. The temple with its length 55’5”and 29’ high was then a two-storied mud house. It was built to serve as his residence cum temple. Later, the 18th Deb Jigme Sengge extended the building to its left with a two-storied building out of stone slabs; the size of the building was 15’ wide and 29’ high. But this affected the beauty of the temple as half of the temple was built using different materials. Therefore, Je Jamyang Gyaltshen built the two-storied building to its right in the same size with the dual purpose of making the temple as a whole to look good and also to offer a residence to Jubag Rinpoche.5 This way the three separate lhakhangs (temples) were constructed and formed the present day lhakhangs. Later the 20th Deb wanted to offer a golden pinnacle for the choten over the cliff but the lhakhangs were short of getting to that height. Thus, Je Jamyang Gyaltshen initiated the construction of another story over the previously existing one with a total length of 55’5” and 9’ high. Wood panels were used in building this new structure. The sacred contents of the lhakhangs In the past, the ground loor of the lhakhang (temple) with a small room was used for storing various items that are of limited use these days. As times have changed, these old items, irrespective of their usefulness, are considered precious antiques in our country and thus preserved. Therefore, the store room is now converted to a small exhibition room and the items are exhibited to the visitors from all walks of life. There is a large bowl obtained as treasure by a terton (treasure discoverer), considered to be an extraordinary item. It has ive holes in it but it is said that water neither leaks out of it nor spills over. This invaluable object has the capacity to detect an individual’s good and bad karma. For those who have committed deilements and are evil-minded the water lows from the holes while for those who have committed no deilement and are good at heart, the water does not leak out of the holes. There are also statues of Je Yonten Thaye and his disciples. Under the command of Je Jamyang Gyaltshen, a statue of Je Yonten Thaye was made using his own ashes. His Holiness being a very religious and an enlightened 5 The exact identity of Jubag Rinpoche remains unknown. Lopen Sangay Dorji 220 lama, and worshipping or seeking refuge in him is said to fulill one’s desires in both the present and future lives like the wish-fulilling tree. The statue of Je Jamyang Gyaltshen is built using his own ashes mixed with ine quality soil and medicinal herbs. The consecration of the statue was conducted by Zhabdrung Jigme Dragpa. During the consecration ceremony rainbows were formed in the sky, sweet aroma of incense spread in the air and many wonderful signs had appeared. At the death of Je Jamyang Gyaltshen some of his disciples wanted to take the mortal remains of the lama to Norbugang in Punakha but they were not sure it was acceptable. During that night the lama appeared in the dream of Zhabdrung Jigme Dragpa. In the dream, the lama was weeping. Upon asking the reasons for his sorrows he replied that his body was not going to be left at the place where his root lama resided. Thus, according to the wish of the lama, his mortal remains were preserved at Dodedrag as a sacred relic. While bringing the remains to Dodedrag, Zhabdrung Jigme Dragpa and a monk from Dodedrag had a dream of the lama attired in monk robes and wearing a hat and was heading towards the monastery. Therefore, people believe that the statue of the lama is very sacred and has the power of granting whatever wishes we make. In the middle loor of the lhakhang are the images of the Buddhas of three times (Dusum Sangye), namely the past, present and future, and to their left is the statue of Zhingchong Wangmo while Guru Rinpoche sits to their right. There are also statues of Namgyalma made out of silver and a golden statue of Chenrezig, the Buddha of ininite compassion. There is also a holy vase which belonged to Je Yonten Thaye. The top loor of the lhakhang has as its main relic a statue of Zhabdrung Khamsum Zilnon crafted by Je Jamyang Gyaltshen. To its right there is a gonkhang of the three protective deities and the shrine room of Zhingchong Wangmo. There is also a rock shaped like a serpent which bears the impression of the path made by the local guardian deity of that place. Objects crafted by Je Jamyang Gyaltshen After Je Yonten Thaye left for his heavenly abode, his Establishment of Thegchen Dodedrag 221 disciple Je Jamyang Gyaltshen painted pictures of eleven-headed Chenrezig (chugchi zhey), a mandala of Guru Rinpoche and other great saints with great detail. There are also statues of Kunkhyen Pema Karpo, Zhabdrung Ngawang Namgyal, Sonam Odzer, Ngawang Gyaltshen, and Ngawang Thinley; all of them great saints of the Drukpa Kagyu tradition of Buddhism. The lhakhang also contains a Nampar Gyalmo stupa made out of red sandalwood. Scriptures like the Kanjur and Geytongpa are kept here. Lhakhang renovations in 2004 Ever since its establishment, there had been no major renovation for 225 years. It had come to a stage of near collapse. The wooden structures were eaten by insects, rotten due to exposure to rain and moisture and the walls of the stone structure on the left had sunk into the ground. If the renovation were delayed, it could bring about enormous damage to the entire building. At this critical juncture the government granted funds, through the then Finance Minister Yeshe Zimba, to carry out renovation work on the lhakhangs. A committee of seven members from the monk body coordinated the effort. The work was carried out according to the plan and was completed within the given time of one year. The wall paintings were also preserved as per the wishes of His Majesty the Fourth King as carried out through the cultural commission. Lopon Kuenley, the present Dorje Lopon of the central monk body, performed the consecration ceremony. Also present during the ceremony were Her Majesty Ashi Dorje Wangmo Wangchuck, the Queen of Bhutan, and senior government oficials. The place, being one of the most venerated pilgrim sites, has maintained its sanctity by preserving the original structure of the lhakhangs built during the time of Je Yonten Thaye and his successors. Shape of the lhakhangs Some of the temples in Bhutan were built as early as the 7th century. Gyalpo Songtsen Gampo of Tibet built two lhakhangs: Kyichu in Paro and Jampa in Bumthang. In the 17th century, with the arrival of Zhabdrung Ngawang Namgyal from Tibet, dzongs, 222 Lopen Sangay Dorji monasteries and temples were built in the country. The temple of Dodedrag contains all the qualities of the dzongs and monasteries built during the time of Zhabdrung. Thus, the temple undoubtedly resembles a dzong in its design. Renovation Committee The renovation committee consisted of the following members: Bap Sangye Dorje, Principal of Dodedrag monastic school, Chairman Parop Sangye, Treasurer Trashi Dorje, people’s representative from Mongar, member Chimmi Rigzin from Trongsa, member Nyima from Dangchu, member Nado from Shar, member Chief carpenters: Chophel, Rinchen and Tenzin Mason: Gyaltshen from Rinchengang Sculptor: Chotog from Changjo The wooden carvings were hewn by the inest carver from Paro, Lopon Lhapchung. There are numerous igures and symbols carved on wood available in the temples. In the second loor of the lhakhang there is a igure of Guru Rinpoche, Rigsum Gonpo, the four dignities (tag, seng, chung and druk) and eight lucky signs (tashi tagye) all carved on the wood. The paintings were executed by Yangtsip Tandin Dorje with all characteristics of Bhutanese paintings. The paintings inside Zhabdrung Lhakhang and the gonkhang were undertaken by the skilled painter, Lopon Gombo Dorje. The old articles in the temples were repaired by Lopon Trashi and Pasang. Compliance with tradition In general dzongs, temples and monasteries in Bhutan are built from a religious perspective. The cliff, looking like an hollow open mouth of a serpent, emphasizes that all existing in the world is emptiness. The temples together look like texts of scriptures stacked one upon another. Another interpretation is that the cliff holds hidden treasures. The front part of the ground loor has four large windows symbolizing the four noble paths. The irst loor has Establishment of Thegchen Dodedrag 223 seven such windows indicating the seven ways of Buddhahood. The second loor has ten windows of this kind symbolizing the ten good qualities of the Buddha. The choten above the temples stands for the twenty one classes of knowledge realized by the Buddha. The golden roof also has great religious signiicance. Thus, the architectural style of the monastery represents the age old traditions and culture of the kingdom. Description of upper residence and the new lhakhang Je Yonten Thaye previously contemplated meditating in the temple that presently stands at the extreme left, but due to other preoccupations he could not fulill this aspiration. Nonetheless, the spot was blessed with frequent visits by the lama. He performed several important rituals there which endowed this place with special qualities. For the beneit of future generations, a statue of medicine Buddha was installed as a object of veneration. Later, a temple was built by his follower, the 18th Je Khenpo Jamyang Gyaltshen in the 17th century and named it ‘upper residence’. The temple in the middle of the upper and lower residences was built by the 27th Je Khenpo Pema Zangpo in 18th century. The main treasures in the new lhakhang are the three Buddhas of longevity, a statue of Zhabdrung Khamsum Zilnon and a golden statue of the Je himself. Beside the temple where Palden Lhamo’s steed urinated, there is a stupa of Namgyalma. Not far from the temple there is also a kudung choten containing the remains of Je Yonten Thaye and the murals on the stupa were painted by Je Jamyang Gyaltshen. Ceremonies and festivals Every month on the 14th and 29th days of the lunar calendar, an offering is made to the protective guardian deity Yeshe Gonpo. On 15 and 30th days to Dorje Yuden and on the irst day of the irst month to Tamdrin. There is also a complete recitation of Buddha’s Kanjur. On the 14th day scriptures are recited in memory of Zhabdrung Jigme Norbu and on 15th to invoke the Neten Chudru (Sixteen Arhats). On 16th day, they perform a long life ritual dedicated to Thinley Gyaltshen. 224 Lopen Sangay Dorji On the third day of the second month, Bum Trashi is recited and on the fourth and the ifth day rituals are performed dedicated to Lodro Gyaltshen and Yonten Gyaltshen. The sixth day is dedicated to Je Jamyang Gyaltshen and the ninth day to Namse, the god of wealth. On the tenth day of the second month is the tshechu festival with chanting of prayers to Chenrezig on the 15th day. In the third month prayers are chanted dedicated to Jamyang Gyaltshen and for three days on the tenth day rituals are performed dedicating to Zhabdrung Ngawang Namgyal. On the 20th and 21st Bum Trashi and Pema Zangpo are performed, while on the 24th prayers are recited dedicated to Palden Lhamo. In the fourth month, Bum Trashi is recited on the fourth day. On the 15th day prayers are performed to Namgyalmo and to Zhinchong Wangmo, followed the next day (16th) with prayers chanted in memory of Je Yonten Thaye. On 19th Bum Trashi is recited again and on 20th Gonpoi Tendo is performed. The 23rd day of the ifth month is the performance of Kayshe Drupku and on seventh day of the sixth month Bum Trashi is recited. On the eighth day Ngawang Norbu’s Drubchen is conducted and on the tenth day Trelda Tshechu is observed. On the ifteenth day Yonten Palzang Kucho is performed. On the 20th day Bum Trashi is recited and on 28th day Shacha Gyaltshen Kucho along with Jampey Dragpa Kucho6 is performed. From the 15th day of sixth month till the 30th day of the seventh month Yarney is performed for forty-ive days and on the 8th day of seventh month Namgyalmo Drocho is conducted. Jigme Chogyal Kucho is performed on the tenth day. On the 15th day rituals are performed to the protective deities and to the goddess of longevity (Tsheringma). On the 13th and 20th days, Jigme Wangchuck Kucho and Ngawang Chogyal Kucho are performed. On the 21st and 22nd days, Bum Trashi and Mipham Wangpo Kucho are performed. On 27th day Mitrugpa is conducted. Naljor Mitrugpa is performed on the 15th day of the eighth month and on the 30th day, Jigme Dragpa’s Kucho is performed. On 13th day of the ninth month Shakya Rinchen Kucho is observed. On the 21st day of the tenth month prayers are dedicated to Neten Chudru and for three days (13, 14 and 15th) Gongchog Yangok is 6 Kucho means ritual prayers dedicated to eminent lamas of the past Establishment of Thegchen Dodedrag 225 performed. Sherab Gyaltshen’s Kucho is performed on the 18th day and on the 3rd day of the eleventh month Tenzin Lhundrup Kucho is performed for one day. In winter on the 10th day Gundha Dringpo is also performed for one day and on the 29th day Lhamo Barcho is performed inside the new temple for one day. First monk body of Dodedrag From its initial founding by Je Yonten Thaye in 1779, the lhakhang was under the care of Geleg and the Dzongpon for 206 years. According to the wishes of Je Yonten Thaye and his followers, Je Tenzin Dondub, for the beneit of all the sentient beings and the country, initiated the establishment of a monastic school. This was done in consultation with His Majesty the Fourth Druk Gyalpo Jigme Singye Wangchuck. Thus in 1986, Khenpo Samten along with 30 monks established the irst shedra (monastic school) at Dodedrag. In the following year, His Majesty with Ashi Dorje Wangmo Wangchuck visited the monastery and commanded to provide proper facilities to the monks including proper residences for the monks and electricity for the monastery. The monastery today can boast of having all modern amenities. In 1998, during the tenure of Lopon Tandin Tshewang as the principal, the present (70th) Je Khenpo Trulku Jigme Choedra increased the number of monks in the monastery to one hundred and ive. These monks perform rituals every month besides their regular studies. 226 Lopen Sangay Dorji CULTURE, SOUL AND SUBSTANCE: SOME PERSONAL REFLECTIONS Lyonpo T.S. Powdyel Culture looks beyond machinery, culture hates hatred; Culture has one great passion - the passion for sweetness and light. Matthew Arnold Abstract This paper attempts to explain the relationship between the inner and outer life of culture. It then goes on to highlight some of the signiicant angles of view that shape cultural orientations. An attempt is then made to consider the different dimensions and scope of culture. It concludes by suggesting some possible areas of cultural education. Introduction Our universe is the result of a translation. It is the visible text of a grand, invisible super-text. The rationalist believes that the physical landscapes, seascapes and sky-scapes, with all their many life-forms, are the translations of the tension, play and replay of energies and forces of enormous power and proportion. The dance of these energies is then captured in numbers and formulae that attempt to make time and space a little more intelligible to the layman. The spiritualist sees the image and artistry of the divine in all phenomena, human and natural, and afirms the soul in the substance. The gods and goddesses, angels and spirits assume features and dimensions to convey the supernatural presences and powers and are duly housed in the abodes beitting their beings. Monasteries and temples, churches and mosques, with their distinctive architecture, then become the spiritualist’s translations of the seat of the divine. We conceive our life, our society and our world and invent a frame to stand before us so that we can see and feel certain that it is there. So, we can proclaim to others that this is our way of looking at life; at our gods 228 Lyonpo T. S. Powdyel and goddesses and other beings. So that this way becomes our way of viewing and explaining the universe. The unity and proportion achieved in a sonnet, the sense of harmony and balance evident in the shape of a dzong or skyscraper, the effect of beauty and elegance produced in a piece of sculpture, the expression of goodness and justice articulated through a painting are all the objectiications of minds which conceive visions and images that ind their fulilment in visual forms. Cultures and civilizations, mathematical and scientiic formulations, philosophical and religious articulations, artistic and ethical expressions are the visual emanations of insights and enlightenments that trace their origin to the grand studios of the human mind. We translate our conception of time into seconds and minutes, hours, days, weeks, months and years and produce clocks and calendars to quantify what is essentially intangible and unqualiiable. We feel good being able to put some control over the endless low of cosmic time. We mark the birth, growth and death of phenomena. We see people and trees growing old. We see ourselves growing old. We say we are these many years old. We need to perform this ritual at this time of our life. Being able to invent a way of marking and telling time must certainly be one of the greatest achievements of mankind. Measurability gives time its signiicance. That is why split seconds count in a race, in a decision, in an intervention. How different cultures view time is a different matter altogether. In Shangri-la (if there is one!) for example, time means forever. Demarcation and segmentation of the eternal space of the universe with the help of latitudes and longitudes, parallels and meridians, and giving them individual names and signiicance is the attempt of human beings to render intelligible what might otherwise be mute vastness. The human mind never tires of seeking logic and pattern to make the world more sensible. The invention of language as a means of communication is, perhaps, the most critical achievement of the homo-sapiens. Building material and physical creations and artefacts is a most powerful way of translating a people’s mind and imagination. It is, however, inluenced by factors of the physical and material domain. How many kinds of structure, for instance, may a community erect to signify a certain motive or convey a meaning? It is our ability to produce and use verbal and nonverbal language that sets us apart from all other creations and gives us untold power and Culture – Soul and Substance: Some Personal Relections 229 range. Our faculty and capacity to produce sounds and engage them to produce words and sentences to represent our thoughts and feelings give us our unique status as human beings. We verbalize our ideas, thoughts and dreams in spoken and written forms and communicate them to others with astounding variety and eficacy. We relate ourselves with the external world of people and phenomena and receive others’ messages and meaning. We use words to convey a certain tone, a certain message, and a certain intent. We use words to express our humanity, to articulate our philosophy, to proclaim our beliefs. We exploit the creativity and meta-linguistic power of human language to refer to the past, the present and the future and give life to our thoughts and emotions. Language is a tremendous facility to externalize the internal, make visible what would otherwise remain invisible in the deep recesses of the human mind. Not all of our complex and profound thoughts and needs can be expressed in words though. Some of our deep emotions and feelings can be more effectively communicated with the help of facial expressions, gestures, mannerisms and such other wordless means as may be called up. Nonverbal language is often more eloquent than the verbal in facilitating communication. In the sociopolitical sphere, the way national territories are mapped out, boundaries drawn, governments decided and cities laid out is a translation of another kind. The choice of colors to represent the nation, the design and dimensions of the national lag, the crest of government, the symbols and emblems are the uttering out of ideals and philosophies that afirm and assert a people’s beliefs of the state’s being and sovereignty. The divinity of god-head was invested in and symbolized by the majesty of the kings. Idols and memorials have long been translations of a human desire to eternalize love and admiration. The cultural domain constitutes the single most pervasive and powerful factor that touches the life of a community most intimately. Culture is the sum total of a community’s translation of its dreams and drives, its ideals and values, its attempts to give life and signiicance to presences that spring up in the mind and plead for expression. Culture is the intangible looking for tangibility. It is the soul seeking substance. We move back in time and meet Plato as he played with his conception of the ideal and the real as the acknowledgement and proclamation of the two basic dimensions of all phenomena – operating 230 Lyonpo T. S. Powdyel at the levels of being and becoming. The real is the manifestation of the ideal, the plane of being before a phenomenon becomes tangible and assumes a visible identity. Culture too has these two planes of existence – the essential and the substantial, ideal and real, in other words. The essential is autonomous, is independent. It can and does exist without the substantial. The substantial, on the other hand, cannot exist without the essential, or the real without the ideal. This is the critical difference. But the aspiration of the real is to reach and merge with the ideal. That happening, the distinction between the essential and the substantial disappears. It is then the perfect situation, much to be desired. But that rarely happens. And this too is of critical signiicance. The mind of a people, a community, a nation, wills a system into existence, gives it a shape and signiicance and develops a code to build faith and guide behavior among its members. The system is the translation of the desire of the community to express in visible form its deeply held beliefs and to invest in it the value of a point of reference for action. The rites and rituals, ceremonies and observances, superstition and magic, intent and behavior, codes and tools are all a representation of a culture’s inner being and urging. The arts, the dances, the songs and music, stories and folk-lore, custom and costume, literature and architecture are a mirroring of the inner workings and impulses of a community and culture. The logic of the giant mandalas on the walls can be traced back to the mind of a culture that conceives the universe as a function of mystic spirals of varied colors, each representing boundless energies, and movements, elements and directions of thousands of worlds that make the universe. The roof-high thangkas, the ever-gyrating prayer-wheels, and the tsa-tsas in the caves and tshechus in the dzongs tell tales whose meanings go beyond themselves. The painter, the sculptor, the weaver, the bard, the prophet capture the soul of a community and the sovereignty of a nation color by color, thread by thread, syllable by syllable, vision by vision and give them life and identity. That they may embrace and call it theirs. That others may see and recognize. Culture is the meeting point of the soul and substance of a community. It is the embodiment of the inner and outer life of a society. Some aspects of cultural orientation The fabric of culture is woven of its manifest reality and the Culture – Soul and Substance: Some Personal Relections 231 wider but latent reality. The inner reality of a culture guides its direction and destiny. Inevitably, a culture has to establish and sustain a frame of reference to express itself in relation to the bigger cosmos, notions of human life, ideas of nature, space and time, work and progress, necessity and choice, individual and community, questions of karma, among others. Let’s take up a few of them. I. The cosmos One view of the human-cosmos relationship is expressed by the statement: “The world is, therefore, I am”. The reverse view would be: “I am, therefore, the world is”. How do people in different cultures view their relationship with the external world? Is the human being a futile, dependent, sorry little creature in the big overwhelming, all-powerful, circumambient macrocosm? Or, is the human being a decisive, creative, self-reliant, pattern-imposing player seeking to fulil his dreams and aspirations and succeeding? Is the cosmos sensible, kind and reassuring? Is it exacting, deining and threatening? Are the human beings to the gods like butterlies to young boys – they kill us for sport? Or, do humans have the privilege of choice in the way they live their lives? Selection of a certain view of the cosmos determines the way people live their life and pattern their priorities and occupations. II. Human nature Notions of human nature are an important indicator of the way cultures view human beings. Are human beings basically good? Are they basically bad? Or, are they a mixture of both good and bad? Is human nature mutable or immutable? If human beings are basically evil, are they capable of changing and becoming good? Or, if they are basically good, can they change and become bad? The way human beings look at their nature has signiicant implications for the kind of society they build and on the quality of social relationships they develop and foster. III. Human-nature paradigm The way human beings relate to their natural environment is a signiicant determinant of their cultural orientation and values. Humans can live in total subjugation to nature and its many forces. They can exercise 232 Lyonpo T. S. Powdyel mastery over nature and exploit her to gratify their ego. Or, the human beings can live in harmony and cooperation with nature. Depending upon the way humans elect to view their relationship with their surroundings, practices and structures will be formed to guide belief and behavior, resulting in corresponding levels of conidence and security or lack of them. In Bhutan, for instance, the natural environment is believed to be the abode of the gods and goddesses, spirits and deities and divine presences. Every stream or brook, rock or tree, cave or valley, mountain or hill is home to supernatural beings. Living in awe of them and in cooperation with them is believed to bring their blessing and protection. Any attempt to violate their sanctity brings their wrath. Conservation and protection of the natural environment is declared to be one of the four cardinal pillars of the national goal of gross national happiness. IV. Sense of time Different cultures attach their own value and signiicance to time. Some are past-oriented and tradition-bound, others are future-oriented and forward-looking. Yet others are hooked to the present and situationgoverned. There are still other cultures which attempt to harmonize the best of the past and the promise of the future in the reality of the present. The way cultures choose to look upon and use time affects their readiness and capacity to organize resources and achieve results. In an age when time is money, punctuality may be the virtue not only of princes. But cultures still differ in the intelligence of mentioning time in the dinner invitation card, while others insist on being particular to a minute. Meetings hardly start at 11.23 am or 1531 hours. Time has to be in round igures! Yet some cultures do insist on respecting every single minute. V. Sense of space Different cultures and communities assign their own value and signiicance to space. The country’s location and landscape, its size and resources are critical factors that inluence decisions and priorities that communities and nations to make. Isolation, seclusion and smallness create an attitude and a way of life that would greatly differ from those in locations characterized by openness, expansiveness and security. Cultivation Culture – Soul and Substance: Some Personal Relections 233 of life-goals, survival skills, economic occupations, religious vocation and the system of social and political organization are largely determined by location. Sense of ease, security and trust or their absence is often displayed by milestones and boundaries that demarcate territories – personal, social, national. Level of intimacy and respect, formality and informality, openness and ‘closeness’ are marked by the amount of space one maintains between oneself and the other person or party. Use of space by a community as a utility item is also conditioned by its availability. Space becomes a premium in countries which are small and have a high population. The kind of structures that are built and the public and household properties which are put in place are also accordingly selected and owned. Big American refrigerators in small Japanese kitchens would be strange bedfellows indeed. VI. Social relations Cultures differ in the way they view the position of the members of the society. In some cultures, the orientation is collective – one for all and all for one. Here, every individual is a member of the community, belongs to and with the community. The individual derives his or her strength by virtue of his or her afiliation to an organization. The community is held to be bigger than and superior to the individual. One’s personal impulses need to be moderated in the interest of the community. The individual is beholden to the community as its member and the community is responsible to the individual to provide succor and security. The different members are dependent on each other. Successes and failures are collective. On the other hand, an individualistic orientation afirms the autonomy of the individual as a free agent. Here, the individual is a gogetter, an adventurer, a seafarer, an enterpriser. Success depends upon one’s own intelligence, initiative, and resourcefulness. Fortune favours the brave here. Personal merits and creativity and a readiness to venture out assure the individual of the fruits of one’s actions. One takes responsibility for one’s own success and failure. Competition, free enterprise and pragmatism are the spirit of individualism. Welfare societies and capitalistic models have their own characteristic orientations and corresponding emphases on production and consumption. 234 Lyonpo T. S. Powdyel VII. Life preoccupations and goals Hedonism proclaims: “Eat, drink and be merry, for tomorrow you may die”. The hedonist lives in the present and does not bother about the future. This is the life lived on the basis of the senses and matter. The materialist lives on the principle of production, accumulation and consumption. The major pre-occupation of the materialist is with commodities and physical objects that pander to and promote his ego. It is a life of the lesh. The spiritual orientation of a culture allows and supports its members to cultivate the iner aspects of life and achieve a sense of accomplishment that is not measured by the possession of physical quantities, but rather by a sense of well-being and goodness which only an engagement with the higher values can bring. The kind of pre-occupations a culture values mostly decides the kind of decisions it makes for itself and how it prioritizes its goals. VIII. Measures of success and development Erich Fromm (1979) advances the argument of the two modes of life: the having mode and the being mode. Some societies are largely characterized by the having mode, while others are marked by the being mode. Some may be able to ind a middle path! The having mode is characterized by a pre-occupation to possess as much as possible as a way of inding satisfaction. The being mode, on the other hand, believes in the iner Coleridgean pre-occupations based on goodness, tolerance, trust and loving kindness as way of inding happiness and satisfaction. The way a society or nation views success and development determines the way it plans its future and engages it energies and talents. For some cultures, success is translated in terms of material possessions, per capita income or gross domestic product. The UNDP’s Human Development Index adds level of education, access to health care, level of personal and religious freedom, among others, to measure development. Some societies look for and espouse alternative ways of assessing success and development. The Kingdom of Bhutan’s pursuit of gross national happiness as the goal of development is a chastening departure from the conventional model that upholds gross domestic product as a measure of success. Perhaps, Bhutan’s ultimate dream may be best described as the achievement of a situation where a monk is reading the scriptures while his food is being cooked by laser beams! Culture – Soul and Substance: Some Personal Relections 235 Culture: Some considerations of its scope As noted above, culture is the most unique creation as well as the measure of human beings. Many years ago, one of the greatest thinkers of the western world, St. Thomas Aquinas, said that the essential signiicance of culture lies in the fact that it is a characteristic of human life as such. Culture is to humans as light is to the sun. Culture is the character and characteristic of human beings. It is through culture and by culture that human beings express their true nature and humanness. Culture is the unique mode of human beings’ being human. The human being is the maker, the subject as well as the object of culture. Culture originates in and is objectiied by the human factor. The primordial and elementary factor in the realm and relevance of culture is the human being in all his or her varied dimensions – physical, intellectual, psychological, emotional, spiritual, occupational, social, political, artistic, economic - in their wholeness, if we will. On a broader plane, a nation expresses its life, its identity, and its personality through culture. Culture, in its amazing variety and richness, is the proclamation of a nation’s being, its soul and sovereignty. A nation, a society breathes and lives by culture. A fundamental and essential dimension of culture is sound morality and ethical imperative. What are the objective projections of the mind of a community or a nation? The quality of actions, the creations, the physical representations, and the artiices are no more or less than the quality of the minds which command and create. That is the reason that culture is not only positive and plain, but also normative and subtle. Culture has over the centuries assumed diverse connotations and levels of signiicance. One fundamental aspect has remained as a constant – that culture means reinement, civilization, good taste, demeanor, propriety, elegance and other positive values. We often describe a person as cultured meaning that he or she possesses and lives out some of the values mentioned above. The Greeks had the notion of a inely tempered nature to express the image of a cultured person, representing harmonious perfection, a perfection in which the characters of beauty and intelligence are both present, which unites “the two noblest of things” – “sweetness and light”, as in the language of Swift. For the Victorian Matthew Arnold, culture meant cultivation of sweetness and light. Culture had to do with contact with the best which 236 Lyonpo T. S. Powdyel has been thought and known in the world. His view of culture involved such characteristics as beauty, truth, and perfection. He obviously felt that if more and more people share and pursue the notions of beauty, truth and perfection, the world would be a better place to live in. The fundamental concern here is not merely to follow culture as a function of custom and curiosity, but to make it a social and moral passion for doing good and leaving the world better than one found it. It is pertinent to invoke the old Latin root of the word culture that is “cultura” meaning cultivation or tending. The Oxford English Dictionary provides a revealing meaning of culture as the training, development, and reinement of mind, tastes, and manners. In this sense, the moral, social and beneicent dimensions of culture come to the fore. American anthropologists, Alfred Kroeber and Clyde Kluckhohn (1952) provided several dimensions and an extended scope of culture when they categorized it variously as topical – culture consisting of a list of topics, or categories such as social organization, religion and economy; historical – culture as social heritage, or tradition, that is passed on to future generations; behavioral – culture as a shared phenomenon, a learned human behavior, or a way of life; normative – culture has to do with ideals, values or rules of living; functional – culture has to do with the way human beings solve problems of adapting to the environment or living together; mental – culture is a complex of ideas, or learned habits, that inhibit impulses and distinguish people from animals; structural – culture consists of patterns and interrelated ideas, symbols or behaviors; symbolic – culture is based on arbitrarily assigned meanings that are shared by a society. Culture operates on at least three levels of signiicance, namely what people think, what people do, and what material products they create. Culture is a shared, learned, symbolic, adaptive and integrated phenomenon; it is transmitted from one generation to another. Cultural education There is something supremely chastening, edifying and ennobling in the very notion of culture, as can be understood from the many dimensions in which culture manifests itself. Culture is uplifting and edifying because it is the crystallization and perfection of the consciousness of a people. It is deeply humbling because culture is built on the notion of afirmation and respect. Culture posits the centrality of the human being, Culture – Soul and Substance: Some Personal Relections 237 and the acknowledgement of this fact elevates a culture and gives it its meaning and life. Culture originates in the humanity of man and lives by celebrating and upholding that special humanity. The primary and essential responsibility of culture, therefore, is education, that is education in the broadest sense of the term. To educate is to humanize, to make a man or woman more fully human; it is to acknowledge the singular gifts and endowments of a person and advance them. A cultured person is supposed to see more, hear more and feel more; live out sweetness and light in his or her thought and action. In other words, culture assumes power and relevance in the furtherance of the quality of the inner and outer lives of a person. That is a hugely educative responsibility. Our cultural responsibilities, therefore, require that we are keenly mindful of the inner and outer dimensions of our own cultures, but at the same time being mindful of the sanctity and sensitivities of other cultures. One is likely to degenerate into an uncultured brute if one displays intolerance and insensitivity towards cultures other than one’s own. That is why cultures often become a divisive issue instead of becoming a unifying factor which they should and can be. What Seymour Fersh said is useful here: Within the next hour, 7,200 babies will be born. At the moment of their birth, the infants will be more like each other than they ever will be again. Their differences will grow because each of them is born into a different family and into a different culture – into a way of living that has developed in a particular place over a long period of time. From birth onward, each child is encouraged to be ethnocentric – to believe that his homeland, his people, his everything is not only different but also superior to that of other people. The elders teach that the ways in which we do things are the natural ways, the proper ways, and the moral ways. In other places, they – “barbarians” and “foreigners” – follow a strange way of life. Ours is the culture; theirs is a culture. (quoted in Understanding Intercultural Communication,1981:84) This is a lesson, par excellence, in ethnocentrism and, what, for want of a better expression, I would term as “competitive culturalism”. One of the major lessons to learn in cultural education is that there are no superior or inferior cultures, no better or worse cultures. Cultures are different and adequate to express the mind and life of a community or 238 Lyonpo T. S. Powdyel nation. Cultural awareness and sensitivity are, therefore, cardinal attributes to be consciously cultivated and valued. Thanks to globalization, electronic revolution, and improved communication, we are inexorably linked to one another, in spite of differences in nationality, culture and ethnicity. We cannot afford to be culturally uneducated and insensitive. Being aware of the inner and outer lives of a culture is a critical qualiication that enables an individual to relate properly and meaningfully with others and demonstrates good breeding. Larry Samovar et al (1981) suggest several ways to inculcate cultural awareness and inter-cultural sensitivity. They emphasise the critical importance of knowing oneself, for instance. So said the irst Secretary General of the United Nations Organization, Dag Hammerskjeold: The longest journey is the journey inward. Knowing oneself, one’s cultural values, the attitudes, opinions, biases and blinkers enables the individual to determine what we say as well as decipher what we hear others say. Know thyself, as the Delphic oracle said, applies nowhere else more aptly than to the ield of cultural education. Knowing oneself is to know too what kind of image one wants to present to others. It is the act of knowing and understanding the values and ideals that give birth to the latent and the manifest dimensions of a culture. An honourable, self-respecting and enlightened inside gives to a culture a public image that is at once ennobling and edifying. Knowing oneself is also important in knowing the others. A man or woman of culture is capable of acknowledging and accommodating the other person, the other community, the other society just as it would like to be acknowledged and accommodated. Certainly, a person who is not able to appreciate and understand other cultures is an extremely limited and a short-sighted individual. Second, the need to discover and promote similarities: The late President John F. Kennedy said: Let’s discover the similarities that unite us rather than belaboring the differences that divide us. Indeed, in spite of the obvious differences in style and show, deep inside all cultures share many common fundamental values and ideals that sustain and nourish them. A mother is a mother by whatever name we call her! The readiness to discover and appreciate the similarities in diverse cultures and learn from them is an act of faith and courage that marks a cultured person out. Unfortunately, we are often more ready to pick out Culture – Soul and Substance: Some Personal Relections 239 the dissimilarities and cause untold pain and bitterness not only to others but to ourselves as well. Our world is better or worse off for the level of our cultural tolerance and cultural intolerance. Third, taking time is crucial in cultural education. It is our common tendency to be selective in apportioning praise or blame respectively to ourselves and to others. Once we have made up our mind about a certain person, or community or system, no matter what they really are, we produce a conclusion what conirms our notion about them. If we have decided that so and so is to blame for the way things are, we already draw conclusions about the thoughts and actions of that person. Whatever else the person says will make not difference to our conclusions. Our perspective becomes the perspective and the other view is not allowed its share of the argument. Then, often, an equally or more valid side of the truth is sacriiced. We need to moderate our tendency to jump to conclusions, but cultivate patience to listen, to learn and to be fair. This is a crucial lesson in cultural education. Fourth, consideration of the physical and human setting is a critical part of cultural education. Very often, contexts and situations produce events and actions. It is, therefore, important to consider the cause before we draw conclusions about the effect. A human being is not always in control of the events surrounding him or her. That is why a certain action needs to be examined in the light of the circumstances that give rise to it. Custom and past practice, the physical setting and timing are factors that have a critical bearing on the kind of actions and events that take place. An inability or unwillingness to take cognizance of the physical and human situation could result in much avoidable misunderstanding and jaundiced conclusions. Fifth, developing empathy is another important lesson in cultural education. The size of a person’s world is the size of his or her heart, as the wise ones tell us. Very often, we build walls rather than bridges between ourselves and others. We, therefore, deny ourselves the opportunity to understand and empathise with others. It is necessary, in cultural education, to understand that there are differences in individual cultures as between individuals. Indeed, as noted above, different cultures are characterized by differences in the way they view the world, their own place in the scheme of things, in customs and manners. This acceptance is already a huge step in direction of cultural appreciation and sensitivity. A culturally awakened person should be able to put himself or herself in the other person’s shoes, in the other culture’s mores. In other words, it is important to develop empathic experience and live by it. Finally, of course, one has to be able return to and evaluate one’s own culture from a more enlightened perspective. Conclusion 240 Lyonpo T. S. Powdyel As can be seen from the modest attempt above, culture has several obvious and subtle dimensions and ine strands. We are more often than not apt to go by the obvious and the familiar and quite miss the more fundamental and vital aspect of culture and carry a rather limited view of it. A proper understanding of the essential nature and context of culture is a hugely enlightening and liberating experience. Much can be done to cultivate a cultured attitude and outlook. In the language of Goethe, men are inclined to content themselves with what is commonest; the spirit and the sense so easily grow dead to the impressions of the beautiful and perfect, that every one should study, by all methods, to nourish in his mind the faculty of feeling these things… For this reason, one ought every day at least, to hear a little song, read a good poem, see a ine picture, and, if it were possible, to speak a few reasonable words. References - - - Burch, William R. (1993). Landscape of Abstraction: Toward an Ecology of Art and Architecture. Yale University, New Haven. Fromm, E. (1979). To Have or To Be. ABACUS Sphere Books Ltd., India. Kroeber, A. & Kluckhohn, Clyde. (1952). Powdyel, T. S. (2004). Gross National Happiness: Foundations and Scope: A Layman’s Perspective. Gross National Happiness and Development. Center for Bhutan Studies, Bhutan. Powdyel, T. S. (1985- ) personal diaries. Samovar, Larry A., Porter, Richard E. (1981). Understanding Intercultural Communication. Wadsworth Publishing Company, Belmont, California. A Baseline Deinition of Culture: http://www.wsu.edu:8001/vcwsu/commons/topics/culture/ culture-deinition.html THE NEED AND IMPORTANCE OF CONSERVING AND PRESERVING TANGIBLE AND INTANGIBLE CULTURE OF BHUTAN Dr. C. T. Dorji I What is culture (lam-srol) Sociologists and anthropologists use ‘culture’ as a collective noun for the symbolic and learned, non-biological aspects of human society, including language, custom and convention, by which human behavior can be distinguished from that of other primates. Anthropology recognizes that human behavior is largely culturally and not genetically determined. This has given rise to debates about cultural diffusion and the uniqueness of cultures and cultural relativity. In anthropology and sociology, ‘culture’ denotes indifferently and manifestations of social life which are not merely concerned with the reproduction and sustenance of human beings. Thus customs, habits of association, religious observances, even speciic beliefs, may be spoken of as part of a culture. The ruling idea here is that there are activities, which embellish and color the process of survival, and give to it its distinctive local forms. Culture is often argued to have a role in the creation and conservation of a social order, and might even be susceptible to functional explanation. Alternatively, for the anthropological structuralism, it is to be understood irst as a complex of symbols, and only secondly in terms of any function that it may (perhaps as a consequence) perform. Outside that wide, and perhaps over-wide technical usage, the term ‘culture’ is usually reserved for habits, customs and attitudes that are speciic to leisure. In this usage it is common to distinguish ‘high’ from ‘low’ culture, the irst requiring educational attainments for its exercise and understanding, the second requiring no more than membership of society. To the irst belong all activities in which true aesthetics interest is exercised, and aesthetic values pursued; to the second belong dancing, entertainment, and sport, in which relaxation and social contact are the principal aims. The distinction 242 Dr. C. T. Dorji between the two is neither sharp nor obviously signiicant. Some regard the attempt to make it more precise as a form of elitism, on the supposition that the culture called ‘high’ will inevitably be put toward as preferable, despite the knowledge that it is inaccessible to the majority. The distinction between the high and low culture is nevertheless important to political thinking. Many governments regard themselves as under an obligation to support high culture (which, because of its limited appeal, may wither away in the absence of other forms of patronage), but usually have very little coordinated policy towards low culture. According to culture conservatism such support is necessary, since high culture, in forming the outlook of the educated class, will, through the inevitable dominance of that class, shape the expectations and customs of society. This reverses the classical doctrine, that culture is the product, and not the cause, of particular forms of society, politically signiicant only because of its legitimizing role. A culture can be said to be ‘common’ to a nation, class or social group where these are a shared familiarity with its products and practices, so that widespread reference and allusion is made to it, causing it to be a major determinant of the form and content of communication. II Bhutanese culture (’brug gi lam srol) In Bhutanese context, the concept of culture is not only used synonymously with ‘civilization’ but also as the repository of human excellence, artistic achievement and individual perfection. High and low culture is termed as tangible and intangible culture. Bhutanese terminology for culture is lamsol (lam srol), meaning following a path paved by our illustrious forefathers, religious and political leaders. Bhutanese Culture is regarded as one of the most ancient cultures deriving inspiration principally from the Buddhist doctrinal lore and the ethical concepts of the Buddha, the Dharma and the Sangha (triratna). As such, it is geared to the development of inner mind and outer behavior. It has two parts, i.e., spiritual (chos) and temporal (sril), which compliment each other. Initially, the main cultural centers were the monastic bodies (dratshang). Buddhism has The Importance of Tangible and Intangible Culture 243 played a very signiicant role in the cultural currents of Bhutan. For everything, arts and literature, social system, habits and customs is developed and clustered around the Buddhism. At the root of all socioeconomic and religio-cultural development in Bhutan, we notice all around us lies one branch of knowledge – Buddhism. Bhutan was isolated from the rest of the world for many centuries, which inevitably led to the development of her own culture, which can now be considered as a living culture. The main strength of Bhutan lies primarily in her rich cultural heritage. The socioeconomic characteristics are based on cultural heritage, which promote national discipline. The customs, religious practices, dances and habits of dress and food are something unique. The cultural heritage of Bhutan is evident today. Even the national policy on culture has emphasized the need to conserve and preserve age-old cultural heritage for the beneit of the younger generations as national immortal treasure. Bhutan accelerated its pace towards modernization keeping in view; at the same time its ancient culture and traditions intact. Culture is one of the four pillars of the socioeconomic development goals of Bhutan today. The advent of English medium instruction and modern education with increasing exposure of the nation’s youth to western inluence may lead to the erosion of the country’s rich and unique cultural heritage. Hence, great importance has been accorded to the revitalization and reinterpretation of values in the light of modern scientiic advancement. It is realized that improving quality of life and enhancing the overall happiness of the people can best be achieved by complementing economic growth with the promotion of traditional values. Main centers of Bhutanese culture are: - Department of Culture (MHCA) Institute of Language and Cultural Studies, Semtokha Trashi Yangtse Rigney Institute Handicrafts Development Centres Dzongs and Dratshangs 244 - Dr. C. T. Dorji Schools, Colleges and University Agriculture Department (MoA) Health Department (MoH) National Sports Association General centers of Bhutanese culture are: - Villages Towns Dzongkhags Departments Ministries The need and importance of culture may be summarized as follows: - Identity of sovereign and independence of a nation Inculcate patriotism in the citizens of a country Strengthen international relation Peace and tranquility III Tangible and intangible culture (dngos can dang dngos med lam srol) Broadly speaking, culture can be divided into two parts, i.e. tangible and intangible, which are very closely related to each other. Tangible culture (dngos can lam srol) is visible and touchable which concerns public services. Tangible culture covers all properties and structures including: - sculpture painting tailoring and embroidery blacksmithing goldsmithing silversmithing food and beverage weaving woodworking and carpentry paper making The Importance of Tangible and Intangible Culture - 245 stonemasonry slate carving casting work pottery making writing and calligraphy Biological deterioration is one of the major causes of destruction and loss of cultural properties and extensive studies have been done worldwide in the area of bio-deterioration. Tangible culture must be conserved with traditional as well as latest methods. Intangible culture (dngos med lam srol) is neither visible nor palpable but rather perceivable, audible and transitory, as they engage the public. It covers all the following: - dances (folk and masked dances) music (folk and religious) songs (classical and modern) ballads and elocution drama and play sports (traditional and modern) language and linguistics literature (oral version) legends stories (iction and non-iction) proverbs and sayings habits and customs tha-dam-tshig and lay-jum-day etiquette ceremonies festivals and tshechu anniversary and new year celebration social system marriage system birthday celebrations death ceremonies promotion ceremonies inauguration law and order 246 - Dr. C. T. Dorji medication and treatment worship, rituals and religious practices belief and faith astrology daily life thoe sam gom sum As a matter of fact, intangible culture is under a great threat and it must be preserved immediately for the beneit of future generations. It must be documented and recorded because as an oral tradition it will vanish when older, more knowledgeable people die. IV. Conservation and preservation It is imperative to conserve and preserve both tangible and intangible culture of Bhutan for the beneit of future generation. In this context, we should consider the following four areas: 1. Taking care of past glory 2. Institutional building and training of professionals and artists 3. Training of technical personnel 4. Public awareness and appreciation of cultural value 1. Taking care of past glory In order to conserve and preserve the past glory of tangible and intangible culture, it is necessary to initiate timely action to document and record our age-old traditions, otherwise tangible culture will be destroyed by bio-deterioration and intangible culture by mind degradation of its comparative cultural value and it will be lost forever. We must make use of the following modern mechanisms and equipment for conservation and preservation of our culture: - Computers Audio-visual recordings 2. Institution building and training of professionals and artists The Importance of Tangible and Intangible Culture 247 Establishing and strengthening of training institutions within the country is very important to impart training to young Bhutanese candidates to take up different ields as their professional career. Bhutan already has the following institutions: (i) (ii) (iii) (iv) Royal Academy of Performing Arts Institute of Language & Cultural Studies Arts and Crafts School Trashi Yangtse Rigney Institute It is important to initiate the following actions immediately: - conservation and restoration of historical monuments including dzongs, monasteries, temples and stupas conservation of wall paintings in the dzongs, monasteries and temples conservation of rare and traditional textiles and silk documentation of dances (folk and religious), dramas, plays and music (folk and religious) documentation of oral traditions and legends documentation of songs (classical and modern), ballads, dialogues and proverbs video ilming of arts and architecture video ilming of construction of traditional houses, monasteries and stupas In the case of tangible culture, study and practice of thirteen traditional crafts (bzo rig bcu gsum) is necessary. Just graduation may not be enough but one must continue with his/her profession and improve knowledge based upon not only one’s experience within the country but also trying to have exposure and interaction with the similar professions outside the country which are more based upon the latest development of science and technology. Here, it is necessary to take into consideration of such important factors like ecology, environment and sustainable development. In the case of intangible culture, young Bhutanese boys and girls – be they laity or monks and nuns – should learn the art of their profession to the best of their ability. Then they should practice, as the saying goes that “Practice makes perfect”. It is also 248 Dr. C. T. Dorji equally important to further develop the art. Try to create something new and something different based on his/her knowledge, training, practice and experience to fulill present day need. Try to leave behind something worth to be appreciated and followed by the future generation. Of course, there were many Bhutanese traditional writers in chokey beginning from the 17th century who left behind something in written forms which became valuable source of reference for the present day. Their contribution in the development of Bhutanese traditional literature cannot be measured but felt. There are a handful of Bhutanese writers in Dzongkha and English emerged towards the end of 20th century who also made their sincere attempts to give best contribution towards the development of modern Bhutanese literature. The concerned authorities must appreciate and encourage them so that many young Bhutanese will take interest in reading and writing as books are one of the immortal treasures of a nation. 3. Training of technical personnel It is essential to identify training institutions in other countries to train young Bhutanese professionals in the art and technique of handling sophisticated modern machinery and equipment, documentation, recording, shooting video ilms and maintaining them for generations to come as immortal national treasure. It is also necessary to train a good number of conservators in different areas like wood, textile, painting etc. Here, entry qualiication and basic training are not enough, one must keep abreast of the advancement of science and technology and undergo further refresher and higher courses and also participate in the seminars and conferences of relevant ields to update one’s knowledge. There are a few premier laboratories and institutions worldwide to conduct necessary research and training. The art of conservation and preservation of tangible culture is well taken care by these premier laboratories and institutions. Among them, mention should be made of the following laboratories and institutions: - National Research Laboratory for Conservation of Cultural Property (NRLC), Lucknow Tokyo National Research Institute for Cultural Properties, The Importance of Tangible and Intangible Culture - 249 (TNRCP), Tokyo National Museum Institute of History & Art, Conservation and Museology (NMIHACM), New Delhi In NRLC, the training course ranges from “Care and Maintenance of Art Objects: for 2-week duration. It also offers other courses on conservation of wall painting, textile, wood and other related subjects. Of course, seminars and workshops are also organized from time to time on related subjects. In NMIHACM, 2-year postgraduate courses on (a) history of art, (b) conservation and (c) museology is conducted in addition to Ph. D in all three disciplines. 4. Public awareness and appreciation of cultural values Finally, what is the use of conserving and preserving Bhutanese culture, if nobody appreciates the value of rich cultural heritage so conserved and preserved. Therefore, it is the prime responsibility of each Bhutanese to learn and appreciate the value of unique culture so previously conserved and preserved by our illustrious forefathers and great rulers. If nothing else, one must appreciate the arts and architecture and enjoy watching dances and songs. The following institutions have made their best contributions to preserve the culture: - Bhutan Broadcasting Service Kuensel Dzongkha Development Authority The BBS produces many programmes on culture with great dificulties involving huge amount of money spent from scarce resources of our government but young Bhutanese children do not watch them. Instead, they prefer watching other TV programs which defeats the whole purpose and efforts put by the government. It is necessary to learn the culture of other countries but following our own culture in very important. A famous connoisseur remarked that the culture begins in nature and it ends up in vulture – Nature, Culture and Vulture. While bio-deterioration is dangerous for the cultural property in case of tangible culture, something must be 250 Dr. C. T. Dorji done to avoid it before too late. In order to shape the future younger generations of Bhutan, it is necessary to inculcate habit in them to learn to appreciate the cultural value. In this regard, the study on “mind degradation of cultural value and its control” is very important. The reason being that in today’s world there is a hue and cry over the cultural value, moral value and value education for the children in the schools and higher institutions of learning geared to make the younger generation if today a better citizen tomorrow. All parents, policy makers, researchers and educationists are greatly concerned over this crucial issue. As bio-deterioration is one of the major causes of deterioration of cultural property so is the mind-degradation of cultural value. While extensive studies have been done worldwide in the area of bio-deterioration, no study has begun on mind-degradation of cultural value. Conservation and preservation of cultural property is important for the future generation but control of mind-degradation of cultural value is more important to appreciate the value of cultural heritage so conserved and preserved. Mind-degradation study is as important as that of bio-deterioration study. Therefore, there is an inevitable need to begin study on mind-degradation of cultural value side by side the conservation of cultural heritage for the beneit of future generation of Bhutan. MANI DANGRIM: AN ENDANGERED TANGIBLE CULTURAL HERITAGE Dorji Namgay Methodology I have explored both primary and secondary sources to write this paper on Mani Dangrim: An Endangered Cultural Heritage. Literature available was very scanty and I faced major dificulty due to lack of local written sources directly related to the topic. The only literature available was Gyalse Tenzin Rabgye’s biography (namthar), which was referred in detail. There too the mention about the mani is very brief. Primary sources are mainly ield visits, interviews and observation. I have collected some data informally through personal communication with monks and senior citizens within Paro, Thimphu and other places. The majority of the elderly people have no idea about the construction of such monuments in various valleys and places. The history of their construction has been lost with time. My ield visits and interview data were useful and have been used extensively in framing this paper. Field trips include visits to nearby places in Paro, Thimphu and the far east , but observations are done mainly on different manis located in various parts of our region. My personal relections and indings in the ield visits have been included. The pictures speak more in absence of written literature on the subject and I have included few pictures of the manis. More observation needs to be done on more manis in the various parts of the country. Introduction A choten (stupa in Sanskrit) is a ‘receptacle for offerings’. A stupa is a hemispherical or cylindrical mound or tower serving as a Buddhist shrine. Chotens are called in Bhutan thugtens and the choten (Dzongkha for stupa, literally meaning heap or mound), is the most prominent and ubiquitous symbol of Buddhism. In the Himalayan world, it symbolizes the mind of the Buddha and is sacred. As a sign of respect, a choten should always be circumambulated in a clockwise direction, which also gains merit for believers. 252 Dorji Namgay According to Buddhist tradition, the irst chotens were built in India and contained Buddha’s relics, which had been divided up after his passing away, mainly during the time of King Ashoka. They then became places of worship. In all regions of the Himalayas, thousands of chotens are still built by the faithful, who consider this a virtuous action. Chotens are built in memory of great religious igures, to obtain merit for a deceased person, or to subjugate demons. A choten is composed of ive parts which symbolize the ive elements: i) the base stands for the earth, ii) the dome for water, iii) thirteen parasols for ire, iv) the moon and sun for air, and v) the lame on the pinnacle for ether (a rareied element believed to ill the upper regions of space). The thirteen parasols (chusum khorlo) also symbolize the thirteen degrees that must be ascended in order to attain enlightenment. Chotens are generally compact, closed structures, but some are made in the form of gateways and others contain chapels (such as Dungtse Lhakhang in Paro valley and the Memorial Choten in Thimphu). There are three styles of chotens in Bhutan: the Nepalese style, Tibetan style and Bhutanese style. Mani dangrims fall in Bhutanese style. Building a choten involves a number of rituals and ceremonies. The most important is installing the ‘tree of life’ (a piece of tree inscribed with prayers) and placing statues, books or other precious objects in the interior of the structure, and inally, the consecration. To vandalize a choten is a blasphemous act. Buddhas care for sentient beings like wish-fulilling jewel trees and they remain in this world until and unless body, speech and mind deeds are performed for the welfare of all sentient beings. All Buddhas having power of liberating and having bodhicitta in their minds have thirty seven types of knowledge which is shown outside and manifested in the form of the choten (thugtens). Thugtens have power of giving merit to all beings and a glimpse of a thugden will wipe out all types of sins and lead the worshipper towards enlightenment. They remind you to enlightenment and lift you from day-to-day and immediate sufferings. Thugtens contain the triple gems, all three representations of body, speech and mind, and that is why chotens are among the best tools for practice. Mani walls are important monuments of medieval Bhutan and the center of Buddhist worship and my present study is conducted about their interesting architectural remnants of the past. Their Mani Dangrim: An Endangered Tangible Cultural Heritage 253 elegance of form and richness of spiritual expression has been an expression of aesthetic beauty that has survived various threats and extreme climatic conditions. A great proliferation of manis existed in all parts of Bhutan, with the beginning of most constructions undertaken around the 15th century during Terton Pema Lingpa’s time. However, the majority of the manis were constructed mainly during the 4th Druk Desi Tenzin Rabgye’s time (1638-96). This paper provides a glimpse of the endangered tangible monuments seen abandoned due to fast modernization and construction of modern motor roads. This study is particularly focused to Mani Dangrims found in Paro and Thimphu valleys, revealing an overall analysis of the characteristics. The case studies are conducted on the twenty different manis located in various places in two districts from which results some impact on the builders and how such manis play an important role both socially and culturally. The Mani Dangrim still continues as a center of Buddhist worship and is an important monument among the open air Buddhist monuments in the country. Description of the phases of development of mani walls and how they are venerated in accordance with their importance in each region are provided. The task of the present work is to examine important remains and mani wall monuments in the areas and to consider the signiicance of each mani and thus grasp the trend of the whole. The whole domain is vast and the time long. The mani dangrim has been a popular monument in Bhutan since Gyalse Tenzin Rabgye’s time where he ruled Bhutan as 4th temporal ruler (Desi) in the 17th century. He promulgated the establishment of mani dangrims in many parts of the country. These are popularly known as choten jewa. There was time that millions of chotens were constructed for the people thought to have been killed during the conlict with the Tibetans. The manis were adorned with carved sculptures of deities, generally the set of Avalokiteshvara, Manjushri and Vajrapani. Timbers were used as superstructure above kemar to enhance the architectural beauty. A good example of this is the mani wall of Jagar Thang in Paro which has most spectacular maturity of art. Marble-like stone slabs were used to engrave manis and were produced in large scale in the 17th century and vertically placed on the choten dangrim. This was the most lourishing period of such art in stone in the form of mani dangrim monuments. This paper attempts to put together the history of mani walls, the Mani Dangrim, that have survived for centuries. These 254 Dorji Namgay days such monuments are only rarely built. We can only see those ancient mani walls, which are in dilapidated condition, and many of them badly vandalized. My paper is a study on this particular type of monument, found scattered and almost abandoned by the community in many parts of our country. A classic type of mani wall was established only in Bhutan and nowhere else in the Himalayan region where Mahayana Buddhism lourishes. These monuments remain widespread till today for the devotees to worship. i. Historical origin of chotens (stupas) Historically the irst and foremost of chotens appeared during the eon of Ushnisha Buddha, one among the seven heroic Buddhas, and at time when the human life span was supposed to extend seventy thousand years. The choten was named Riwo Langchen and Jewo Dampa chotens. After that a stupa was built on the remains of Ushnisha Buddha’s bones at Namobuddha (Tagmo Lujin) in Nepal at the time when Buddha was practicing as bodhisattva and offered his body to a hungry tigress. Then great stupa (Jarung khashor) at Boudanath in Kathmandu, Nepal was constructed. During the eon of Buddha Shakyamuni, god Indra ordered master craftsman Bishwakarma to construct a stupa in the land of nagas, which was later brought to the human land. After that the god started construction of ive different stupas of Khorwajig, Serthub, Yodsung, Nyonpai and Shakyamuni chotens. Merchant Gewa Rabsey constructed Balokshayi choten and Khyemdag Duszing constructed choten at Patala city with Buddha’s hairs and nails in it as reliquary. As per Kongtrul Rinpoche’s Shejazo and Gudachojung, the light of Buddha urged Bishwakarma to construct in Kongkuna a “Palrekpa mepa choten”. Eight different types of chotens were constructed on various occasions during the lifetime of Buddha Shakyamuni and after his parinirvana. After the parinirvana of Buddha, emperor Ashoka constructed 84,000 stupas containing share of relics of king Ajatashatru of ancient kingdom of Magadha and spread the idea of construction of chotens in the world. ii. Development phase A chronological development of Mani Dangrim culture was Mani Dangrim: An Endangered Tangible Cultural Heritage 255 started as early as Pema Lingpa’s time in 15th century and it was taken up in large scale during the 4th Desi Gyalse Tenzin Rabgye’s time (1638-96). It was the historic period from which cultural sequence of such unique construction began. The manis are found in the eastern, western and northern parts of the country where a higher levels of material civilization had already developed, with all the main types of arts and crafts having evolved. The early manis in Bumthang and other places built during the time of Pema Lingpa looked quite different from the later ones. Mostly the manis reveal the miracles of both art and history of medieval Bhutan, which excelled in methods of architectural planning of such chotens, using techniques developed in Bhutan. The amazing fact about this is that the uniformity of life, art and culture made visible to us by mani dangrims was ingrained in the soul of the people and had immense effect in building up a civilization which became so deeply rooted in the soil as to leave its lasting inluence on the life and beliefs of the succeeding generations. Mani Dangrim culture lourished for many centuries and was left to ight with severe climatic conditions in the open places. Development of such art took place in a wider sense and it spread all over the country and was called as choten jewa by the local people. iii. Architectural styles and types Manis are a key component of the culture of our country, which is a blooming lower of divine fragrance or a ray of serene luster. There are thousands of such monuments scattered all over the country stretching from east to west located in a dificult terrain in the remote places. Style of the manis vary according to the size and location. The overall style of the mani has not changed much along the centuries, making it dificult to generate a precise history of Bhutanese manis because though many are undoubtedly old, they have been repainted and renovated multiple times throughout the centuries. Over time, Bhutanese style has become increasingly ornate, the use of local materials became more lavish and decorative landscape paintings composed after the Chinese manner have been employed. The mani walls of earlier times are shorter in length and height and other dimensions, and their shapes are more crude and rough in appearance, compared with more modern versions. The architectural style and materials used are similar throughout time 256 Dorji Namgay and the carved mani stones placed around in the center are smaller in size. Such early manis are mainly found in Bumthang valley, though others survive elsewhere in the country. The length of the manis differed from place to place and they have been constructed as per the economic condition of the community and the speciic location. Among twenty manis studied in the Paro and Thimphu valleys, each and every mani has different shapes and dimensions. Manis can be widely divided into few categories as per their architectural setting, the shape and material for building them. Very often the donor’s name is carved on mani walls which read something like “Om swati! Both gelong Ngawang Lhundrup and wealthy man Sangag Dargye jointly have consented and built six holy syllables for future beneit of the sentient beings. Sarva mangalam”. iv. Construction technique, layout and shape of mani walls Mani walls are constructed from locally available materials, mainly of stone, timber and mud as mortar. Raised on a slight plinth, a wall of two to three feet is constructed and carved mani slabs are placed on it in single or double lines on both sides. The stone slabs are painted red, forming a distinct red band along the entire middle portion of the mani dangrim. A timber superstructure is raised above with a wall height of one foot and on top of that rooing is done with lat stone slabs or slate. The center and two ends are raised higher than the other parts with a particular architectural design. The central portion traditionally has a pocket for enshrining three deities of Manjushri (left), Avalokiteshvara (center) and Vajrapani (right). The special place in the center is made of timber and the deities are placed on the wall with a space in front on which to leave offerings or place butter lamps. Carved mani slabs of circular shape are normally placed on the sides, and are highly decorated. Manis are carved using lentsa or ucan scripts with high calligraphic standard. Often, donor’s names are found carved on underneath the Om mani padme hung hri carved in a smaller size. The letters om mani are painted with signiicant colors like white, green, blue and yellow. The shapes of the mani walls are rectangular blending well with the landscape and they are located normally in front of a village, high ridge, highway or in the vicinity of a main temple or dzong, with most of them standing on lat surfaces. Circular shaped side manis with elaborate side decorations and carvings include lentsa script, and are executed in artistic style Mani Dangrim: An Endangered Tangible Cultural Heritage 257 with letter hri in the center. Namcu wangden symbols are placed on both sides of the central shrine. v. Development of mani walls across the country a) General outline of mani walls b) Big mani wall of Shaba c) Mani walls and related structures d) Mani wall art in Tenzin Rabgye period e) The relation of the mani walls in eastern and western regions f) Beneit of mani walls vi. Social values of Mani Dangrim a) Mani Dangrim and its Symbolic Roles b) Spiritual values of Mani Dangrim c) Mani Dangrim and economy d) Need for preservation and conservation of mani walls 258 Dorji Namgay NOTES ON CONTRIBUTORS LOPON RINZIN WANGCHUK is the former principal of Sangchokhor Shedra in Paro. He holds a Masters Degree in Buddhist Philosophy. One of the eminent scholars and Senior Lopons of the monastic body, he is one of the leading students of the late Geshe Gendun Rinchen, the 69th Je Khenpo of Bhutan. LOPON UGYEN DORJE received his Masters degree in Philosophy degree from North Bengal University and holds degrees in Buddhist Studies & Philosophy. He is currently working in the Ministry of Home and Cultural Affairs. MS. NAGTSHO DORJI is an Architect in DCHS, Thimphu. She holds a Bachelors degree in Architecture from the Hindustan College of Engineering , University of Madras. LOPON LUNGTEN GYATSO is a postgraduate in Buddhist Philosophy. He is the irst Bhutanese to obtain a postgraduate degree in Sanskrit literature. He has written a trilingual commentary on the Paradise of the Bodhisattva, a Dzongkha-English Dictionary, and a Sanskrit Dictionary. Currently Director of the Institute of Language and Cultural Studies at Semtokha, he is also a member of many government committees. KHENPO PHUNTSOK TASHI is the Director of National Museum of Bhutan, Paro. He holds a post-graduate degree in Buddhist Philosophy from Sanskrit University, Varanasi. He also obtained a Diploma in English for International Communication (DEIC) from City University, London. He studied Comparative Religion at Mar Ivanios College in Kerala. The author of books and scholarly articles, he speaks seven languages and has particular interest in Buddhist philosophy and culture and the natural environment MR. KELZANG D. YESHE is presently a lecturer at the National 260 Notes On Contributors Institute of Education (NIE) Paro. He received his Masters of Education degree in Australia and he has contributed scholarly articles on the education, history and culture of Bhutan. MS. JUNKO MUKAI is Senior JOCV Architect in DCHA, Thimphu. She holds a Bachelors of Science in Human Life Science, Department of Housing & Environmental Control, Faculty of Human Life Science from Osaka City University, Japan, and is also licensed as an architect by the government of Japan. MR. KUNZANG TOBGAY is a Research Oficer at the Textile Museum, Thimphu. He obtained his Bachelors degree with honors in Communications from Sherubtse College in Kanglung, Bhutan. MR. DORJI WANGCHUK is Director of the Folk Heritage Museum, Thimphu. The author of several articles on metal conservation, he is the irst Bhutanese to have received a diploma in conservation of artifacts from National Research Laboratory for Conservation of Cultural Properties (NRLC), in Lucknow, India and has undertaken additional studies in France. MR. NIDRUP ZANGPO was an Assistant Research Oficer in the Center for Educational Research and Development, Rinpung, Paro. Presently he is managing editor of Bhutan Observer. He obtained Bachelor of Art with honors in English from Sherubtse College, Trashigang. MR. PHENDE LEGSHED WANGCHUK is a Record Oficer in the Division of Cultural Property, Department of Culture. He holds a degree in Madhyamika Philosophy from the Buddhist Institute in India. He has authored number of scholarly articles in Dzongkha, participated in national seminars, and contributed to the development of Dzongkha language throughout the country. GESHE TENZIN WANGCHUK earned the title of Geshe of Rigpei Jungneling (M.A in Tantric Philosophy) from Mysore Nyingma Institute, south India. He is a leading Dzongkha scholar and is currently working as an editor at the Dzongkha Development Authority, Ministry of Education, Thimphu. Notes On Contributors 261 LOPON SANGAY DORJI is the principal of Dodedra Buddhist Institute. He holds a higher degree in Buddhist Studies, and has authored scholarly articles in both Chokay and Dzongkha, and is one of the leading scholars in the ield of Buddhism. LYONPO T. S. POWDYEL is presently serving as Education Minister. His post-graduate degree in English was earned at the North Eastern Hills University, Shillong, India. He is devoted to the education ield and formerly served as Vice Principal of Sherubtse College, Kanglung and as Director before joining politics. He is an essayist, poet and educator and his writings have been published in national and international journals DR. CHENCHO TSHERING DORJI was formerly chief researcher at the National Museum of Bhutan, Paro. He received his Ph.D. from the University of Magadh, India. He authored and compiled numerous books on Bhutanese history and culture, and is also a member of many international professional organizations. MR. DORJI NAMGAY is the Chief Curator of Royal Museum, Trongsa. He holds a Masters Degree in Museology from New Delhi and a diploma in Buddhist Studies from Magadh University. His research interests include artifacts housed at the National Museum artifacts and the preservation of ancient monuments of Bhutan.