Description

Jangchup Peling Gonpa, locally known as Drengzhi or Bongzam Lhakhang, stands at 2156 m above sea level and is located in Drengzhing village, 12 km from Trongsa town. This village is accessible via a 5 km rough road past Bjeezam Primary School. It is then a ten minute walk from this road to the temple, which is surrounded by a few households.

The place where the temple stands today once had a tshamkhang (hermitage), and later it was enlarged to a lhakhang. Although its exact contruction date is unknown, the tshamkhang was built by Lam Neten Matrog (real name unknown) about 300 years ago.

History

Jangchup Peling Gonpa was first known as Bongzam Lhakhang, for the name of the place where the lhakhang stands today. It later became known as Drengzhing Lhakhang, named after the village. According to local tradition, Lam Matrog, who was then Lam Neten (head abbot) of Trongsa, visited the place and constructed a tshamkhang about 300 years ago. When Lam Matrog passed away (date unknown), the villagers built a two-storey temple on the place where this hermitage stood.

In 2012, the government gave 700,000 ngultrum for the renovation of the lhakhang, with most of the money used for wall paintings. Painters and carpenters were hired for the work, and local villagers also helped without any payment. The Gangtey Trulku consecrated the temple on 27th November, 2014, upon completion of the renovations.

The lhakhang has been looked after by Sinphu Lama Dendhup and his forefathers.

Architecture and Artwork

Jangchup Peling Gonpa is a two-storey temple built in the traditional Bhutanese style. There is a Drolma (Tara) lhakhang on the first storey, established by Ashi Phuntsho Chogron Wangchuck (1911–2003), the senior queen of the 2nd king. The altar has Drolma (Tara) as the main statue, and beside her are the Twenty-one Taras. On the right wall of the lhakhang is a wall painting of the Thirty Five Confession Buddhas, and on the left wall is a painting of the Twenty-one Taras. On the left side of the altar there is also a wall painting of Avalokitesvara with One Thousand Hands and Eyes (Chagtongchentong).

The caretaker’s room and storerooms are separate from the Drolma Lhakhang. A stair beside the door leads to a 2nd storey and the main lhakhang, but a newly added extension between the two storeys serves as the lama’s residence. At the top of the stairs are two rooms, with one used for the preparation of torma (ritual cakes); the other is the temple’s main chapel.

Above the door of the lhakhang is a wall painting of the Three Buddhas of Three Times (Duesum Sangay Marmey Dzed Dipamkara: Buddha of past; Sakyamuni Buddha of present; and Jowo Jampa Màitrey: Buddha of future).

On the left side of the entrance, there is a goenkhang (chapel for the protective deities) with a wall painting of Palden Lhamo, which is covered with a blue silk cloth. Beside it there are paintings of Dungkar Pezang, the village deity (Yuelha); Drakpa Dorji, the birth deity (Kyelha); Norbu Zangpo, the local deity of the place; and other deities. The wall paintings are all covered with a cloth.

On the left side of the room is the altar and the main statue of Avalokitesvara with One Thousand Hands and Eyes (Chagtongchentong), donated by the First King, Ugyen Wangchuck (1862–1926). There are also statues of Buddha Shakyamuni, Guru Rinpoche and his two consorts. A statue of Buddha Amitayus (Tshepame), donated by a lay practitioner named Sangdha, and a statue of Avalokitesvara (Chenrezig) are also present on the altar.

On the left side wall of the altar are wall paintings of the Zhabdrung and Kagyu lineage holders. Next to the Zhabdrung are paintings of the Eight Manifestations of Guru Rinpoche and the Buddha Amitabha (Oepame) in his paradise of Sukhavati (Dewacen, Blissful Pure Land).

On right sidewall of the altar and beside the entrance are wall paintings of Kangtshog Lhatshog, Dorji Lingpa and his lineage holders. Opposite to the altar is the seat of the abbot. On the right side of this seat are wall painting of Rigsum Goenpo (the Protectors of Three Families: Chenrezig (Avalokitesvara); Jampelyang (Manjusri); and Chana Dorji (Vajrapani). Beside them is a wall painting of a red Avalokitesvara (Chenrezig Gyalwa Gyatsho).

To the left side of the seat are paintings of the Tshelha Nam Sum (Three Deities of Longevity: Tshepame (Amitayus); Drolkar (White Tara); and Tsuktor Namgyalma (Ushnisha Vijaya); as well as paintings of Pema Lingpa and Kunkhyen Longchen Rabjam.

A set of the Buddhist canon is also placed on both sides of the altar. This was donated about 15 years ago by villager Khenpo Sonam Tobgay, who currently resides in Bumthang.

There are also sets of the collected works of the great Tertoens, Dorje Lingpa (1346–1405) and Pema Lingpa (1450–1521); an old set of Buddhist scriptures containing one hundred thousand verses, which was completed during the time of the second king, Jigme Wangchuck; and a Gyetonpa (Prajnaparamita in eight thousands verses).

Beside the lhakhang stand two large prayer wheels built by the villagers. On the other side of the lhakhang, there is a drupchu (holy water), which is said to have been there when Lam Matrog visited. A man named Sandha from Tangsibji told the caretaker and villagers that the drupchu was blessed by Guru Rinpoche, and they should take care of it. This was told in accordance with what he had heard from the choechong (protector). People take stone baths there, and it is said to heal stomach, back, and knee pain, along with various diseases.

The golden pinnacle that sits atop the lhakhang was donated by Dasho Nagphey, a former national master of dances (champoen chichab), and his relatives.

The temple had minor damage to its walls during the 2011 earthquake. The wall below the lhakhang has required frequent reconstruction, as it has been damaged time and again.

Social and Cultural Functions

The community takes care of Jangchup Peling temple. They practice the Dorji Lingpa tradition of Nyingmapa because of Lam Dendhup and his forefathers, who practiced Dor Ling. Dorji Lingpa is said to have visited Sinphu, and Lam Dendhup is the abbot of Sinphu.

• 6th–9th days of the 1st month of the Bhutanese calendar (every 2nd year): Mapemai Nyungne, “fasting and prayer”; on alternating years the Kangyur is recited for five to seven days instead; both are organized by the community
• 10th day of the 2nd month: Ritual organized by the community
• 10th day of the 5th month: Ritual sponsored by 8 households
• 4th day of the 6th month, coinciding with the 1st Sermon of Lord Buddha: Ritual sponsored by 8 households
• 10th day of the 6th month: Lhaphud, a Bon ritual performed to clear away obstacles and please the local deities
• 8th–10th days of the 7th month: Ritual organized by the community
• 22nd day of the 9th month: Ritual sponsored by 8 households
• 23rd–26th days of the 11th month: Nyungne Jowo Gyamtsho, “fasting and prayer,” organized by the community
• 10th day of the 12th month: Community ritual

Informant

Tshering Phuntsho, 64 yrs old, caretaker

Researcher

Singye Wangchuk, Asst. Lecturer, Institute of Language and Culture Studies, 2015

History

No authentic texts have been found thus far regarding the origin of the Korphu religious festival, but according to Chakhar Lam Dorji, Korphu Drup was introduced with the Peling religious dance by Pema Lingpa and Trulku Chogden Gonpo in the 16th century, using Bumthang’s Jampa Lhakhang and Nabji Drup as models. There is one distinction, however. During Korphu Drup, religious dances of the Peling tradition are performed, whereas at Nabji Drup religious dances of the Dorling tradition are performed.

Because Korphu Drup is in a remote location, various original practices could not be preserved. There was one man, however, who donated his paddy fields for Korphu Drup, and reintroduced the old practices by extending the number of ritual days and bringing back the traditional religious dances. Lama Phuntshok (exact dates unknown, but likely late 20th century) indeed devoted his life to the conservation and improvement of Korphu Drup and religion in the village.

Some seniors report that Korphu Drup had already been extended before Lama Phuntshok’s time, however, as in the past there had been a day long Drup during which some Peling religious dances were performed. It is possible that Lama Phuntshok mainly facilitated the preservation and expansion of Korphu Drup and that it was introduced by Pema Lingpa and Trulku Chogden Gonpo in the 16th century.

Lama Phuntshok’s achievements were made possible by the fact that he was from the Tamshing Choeje family from Bumthang and was therefore a descendent of Pema Lingpa. It was thus his responsibility to preserve the spiritual performances of the Peling lineage. For many years he travelled from Bumthang to Korphu in order to supervise and lead the Drup ceremony.

It is mainly lay practitioners (gomchen) who perform the ritual and celebrate the Drup from the 15th–19th days of the 11th month of the Bhutanese calendar. Villagers believe that by the grace of the local deities, this ceremony will allay disasters and epidemics in their village and indeed in all of Bhutan. Moreover, the village will be blessed with abundant wealth and bountiful crops, and there will be peace and harmony in the country.

Festivals that resemble Korphu Drup are celebrated all over central and eastern Bhutan in different forms and under different names. However, only in Jampa Lhakhang, Nabji, and Korphu Lhakhangs are they celebrated under the name of Drup.

Preparation for the Drup

On the 13th and 14th days of the 11th month, the head of community collects the following items from the villagers to facilitate the Drup (hese amounts are not fixed, however; they vary according to the expenditure of the Drup.):

• 6 bje of rice from 25 taxpayer households; 5 bje from 50 taxpayer households (A bje is a bre in Choekey. The quantity is not standardized, but instead varies according to the area, valley, etc. 1 bje is roughly equal to ½ kg.)
• 3 pieces of cheese; 1 sang of butter; 8 eggs; ¼ bje of chili and salt; 3 bje of zow (འཛརཝ); and 2 bottles of local beverage from both taxpayer and non-taxpayer households
• 1000 Nu from all households for the ritual performers’ stipends, plus expenditure for the purchase of 7 bottles of oil

The caretaker prepares the religious cakes and makes required arrangements in the temple for the Drup.

Drup Festival

First Day

At around 5:30 am, two ritual performers wake up the village and head lama (a monk appointed by the Trongsa monk-body) by blowing the oboes (jaling) from the temple. Women then sing a religious wake-up song, standing close to the concerned lama’s residence. In 2015, the Petsheling Trulku Kunzang Gyamtsho was invited by the villagers to come from Bumthang and serve as head lama.

At around 7:30 or 8 am, all the masked dancers and female dancers take the head lama in a chipdrel (traditional procession) from his residence to the main temple of Lhundup Chodarling. During this chipdrel, dancers sing a song similar to “Alepe,” which is common all over Bhutan, but here it is a song called “Shomo Alemo” (ཤོག་མོ་ཨ་ལེ་མོ་), and it has a deep metaphorical meaning. This tradition was pioneered by Lama Phuntsok in the 20th century, and it has continued to this day. When the lama, all the dancers, and the sponsors of the Drup are gathered in the temple, the cooks serve them tea and sweetened rice (dresil འབྲས་སིལ), followed by an offering of libation to the protective deity (Marchang མར་ཆང་) and an auspicious ceremony called Zhugdral Phunsum Tsokpa.

Then lama gives advice and guidance to the concerned dancers to abide by the rules and regulations, avoid misconduct, and take responsibility for themselves until the completion of the Drup; the dancers are asked to drink “oath water” to bind this promise. During the time of Lama Phuntsok, all the male and female dancers had to sleep in the temple rooms, and a warden was appointed to look after them in order to avoid misconduct. If anyone failed to abide by the rules, he or she was liable for being punished with a stick; this rule has now vanished, as no one sleeps in the temple.

After the lama’s speech and ceremonies, lay practitioners begin the ritual, followed by an interval around 9:30 am.

Rehearsal of Masked Dances (འཆམ་རྒྱུགས་)

At about 10 am the day begins with masked dance rehearsals, starting with the Yamantaka dance (Shinje Cham གཤིན་རྗེའི་འཆམ) and several others. Lunch breaks the day.

Ritual of Setting Boundary (སྒྲུབ་ཀྱི་ཐོ་བསྡམ་)

The ritual resumes at about 2:30 pm, when the dancers prepare five large and five smaller flags in blue, white, yellow, red, and green. All households bring approximately 10 kg of firewood, which is used for a firepit and other purposes.

There is an interval around 3:30 when all the villagers are summoned to join the “ritual of boundary.” The villagers believe that if they join this ritual, they will be blessed and free from all obstacles for one year. Even today, cow herders bring their ropes and hang them on the temple’s window, ensuring that their cows will be safe in the jungle until the end of the festival. To this day no mishap has occurred to their cows.

After gathering all the villagers, dancers greet the head lama with a procession in front of the temple. The lama performs the ritual of making a boundary with an offering of ritual cakes and beverage in each of the four directions and the centre. He then hoists the five large and smaller flags in each of these five directions, representing the five Great Kings who protect the ritual performers, sponsors, and participants from all obstacles.

Ritual of Exorcism (སྲི་མནན་)

Exorcism is performed with an aim to suppress all kinds of evil by symbolically placing the evils into a triangular hole with the support of divine and local deities. At around 4:30 pm the ritual of exorcism begins, and an effigy of evil (ལིང་ག་), which has been packed in coarse hair, is placed in front of the head lama. He then gives a command three times to the evils to gather there, followed by the loud playing of religious instruments while four wrathful dancers and the carriers of the five wrathful banners (རུ་དར་) jump and run three times around the effigy of evil. The five wrathful banners are then hoisted in five directions, after which a senior and junior warrior perform the be (རྦད་བཤད་རྐྱབ་མི་) and come to the effigy of evil. The senior warrior chants a warrior song, while the junior dances to his words. After finishing this song, the effigy of evil is dragged toward the triangle hole, and the head lama puts the effigy into the hole in accordance with ritual performance.

Dance of Victory (ལེགས་གསོལ་)

Subsequently, the senior warrior leads the dance of victory with all the male dancers, accompanied by a special song used for this dance. They start the dance slowly and end with jumping and running.

Offering Beverage for the Victory of War (དམག་ཆང་)

The beverage is offered to divine and local deities for their help in the victory of the war against evils.

Dance of Ging (གིང་འཆམ་)

First, two gings (celestial beings from Guru Rinpoche’s paradise) perform a dance, and when they complete it two other gings perform the dance. There is a break for dinner around 5:30 pm.

Wrathful Fire Offering Rites (དྲག་པོའི་སྦྱིན་སྲེག་)

Prior to 7 pm, the dancers had dug a pyramid shaped firepit and laid firewood on top for the fire offering rites. At 7 pm, all the villagers gather in front of the temple and the firepit. The head lama adorns the tantric black-hat dress (ཞྭ་ནག་སྔགས་འཆང་གི་ཆས) and begins the wrathful fire offering rites. In this ritual, a variety of religious items are burned, representing the offering to the fire deity.

Simultaneously, some dancers boil tree-butter (ཤིང་མར་) in an iron pan. When this ritual is almost complete, a large drawn effigy of evil is burned in a blazing fire, which comes from the boiled tree-butter into which the head lama has poured the local liquor three times. The villagers rejoice and show their satisfaction when they see the burning of the effigy of evil.

The head lama then devotes (ngowa བསྔོ་བ་) the meritorious deeds of sponsoring the festival for the benefit of all sentient beings and the well-being of sponsors. This ritual is concluded with a dance called lhagcham (ལྷག་འཆམ་), performed by the person who was dressed as a monk and helped to burn religious items during the fire offering rites.

Ritual of Fire Blessing (མེ་དབང་)

Earlier on dancers had built a gate in front of the temple with dried logs and leaves for the fire-blessing ritual. Around 8:10 pm this fire blessing begins with four ging dancers (གིང་འཆམ་བཞི་) dancing out with blazing torches. After their dance they set fire to the gate, and when the fire is blazing the villagers pass through three times to receive the fire blessing. The villagers believe that harmful evils cannot enter into this gate due to the blazing fire, and indeed the evils run away.

Ritual to Remove Obstacles (བགེགས་བསྐྲད་)

At approximately 9 pm, the head lama, wearing a tantric black-hat dress (ཞྭ་ནག་སྔགས་འཆང་གི་ཆས), starts a ritual of removing obstacles. Four ging dancers holding a kind of broom (ཟྭོ་ཆ་) and a carrier of a specific ritual cake (gegtor) go to every house in the village and sweep away obstacles with the broom by touching the householder and everything in the house. The head lama then walks to every house in a procession throwing pieces of holy stones inside the houses to clean away the obstacles.

After that, the villagers rush for drink offerings (changshel ཆང་བཤལ་ “going to each house of village for drinks”) at every house. They divide into three groups: seniors, adults, and teenagers. The main householder stays in the house to serve drinks to people.

Dance of Victory (ལེགས་གསོལ་) and Offering Beverages for the Victory of War (དམག་ཆང་)

When they finish the ritual of expelling the obstacles, a dance of victory and offering of a beverage for the victory of war is performed as before in front of the temple. Then the dance of four gings is performed followed by the dance of warrior (རྦད་བཤད་) around at 1:00 am.

Dance of “Liberating the Evil’s Soul” (བསྒྲལ་འཆམ་)

Twelve dancers wearing wrathful masks and brocade dresses perform this dance of liberation. It is aimed at eliminating the evil’s soul and liberating it from this lower realm to a higher realm.

Tercham (གཏེར་འཆམ་)

At around 2 am, the tercham (“discovered dance”) is performed by naked dancers. They wrap only their faces and keep a eye hole for sight. The light around the temple is switched off, so that only the light of the wood fire at the centre remains. The villagers receive the blessing of tercham by bending under the dancers’ male organ. With this, the first day’s event concludes around 3 am.

History and Purpose of Tercham

According to Chakhar Lam Dorji from Bumthang, at Nabji village in the 8th century Guru Rinpoche mediated between King Sindha ( also known as King Sindhu Raja) and King Nawoche of India. When the Guru was ready to go back to India, he instructed King Sindha’s four daughters to construct a temple at Nabji. The daughters went to Nabji and tried to erect the temple, but at night evils would destroy their work. It was taking a very long time to finish the temple, so the daughters prayed to Guru Rinpoche for his help with the construction.

The local deities, who were located inside the cave on the right side of Nabji Lhakhang and were followers of Guru Rinpoche, helped distract the evils by dancing naked at night. Finally Nabji Lhakhang was completed, and from that event the tercham came into existence in Bhutan for the first time. It did disappear in the course of time, but fortunately in the 14th century Terton Dorji Lingpa visited Bhutan and introduced the Drup in Jampa and Nabji Lhakhangs, thus reintroducing the tercham.

According to Chakhar Lam Dorji, the Korphu tercham originated in Nabji, and since the tercham is blessed by Guru Rinpoche, the purpose of receiving this blessing is to attain freedom from all harm, obstacles, and disease.

Second Day

At around 4 am, two ritual performers wake up the village and the head lama by blowing oboes (jaling) from the temple. Women then sing a religious wake up song, standing close to the lama’s residence.

At around 5:30 am all the masked dancers and female dancers take the head lama from his residence to the main temple of Lhundup Chodarling in a chipdrel (procession). The ritual runs to 6:30, followed by a break.

At around 7 am, all the villagers gather at the temple for the long-life blessing (ཚེ་དབང་) given by the head lama. The purpose of receiving the long-life blessing is to pray to the deity Tshepame (Amitayus) to eliminate the obstacles that disturb life, give them a long life, and protect them from sudden death.

From approximately 11 am masked dances are performed by gomchens to drive away bad spirits and bless both the people and the location. The dances of the second day include:

• Shinje Cham (shin rje cham) – Yamantaka Dance
• Peling Chagtsel: A unique dance special to Korphu Lhakhang – 8 masks for this dance were crafted by Pema Lingpa, so they are considered sacred
• Drametse Nga Cham (dgra med rtse rngacham) – Drum Dance of Drametse
• ZhanaNga Cham (zhwa nag rngacham) – Black Hat Dance with drums
• Nyulema Cham (nyu li ma cham) – Malevolent Spirit Dance
• Pholay Molay (pho legs mo legs) – Dance of Noble Men and Charming Ladies

At around 8 pm, the Dance of Liberating the Evil’s Soul (བསྒྲལ་འཆམ་) is performed, followed by the same naked tercham (གཏེར་འཆམ་) as on the first evening.

Third Day

The morning session follows the same order as the second day up to the long-life blessing. The following masked dances are performed from around 10 am:

• Phagcham (phag cham) – Dance of Vajravarahi
• Migoe Cham (mi rgod cham) – Dance of the Snowman (Yeti)
• Juging (rgyug ging cham) – Stick Dance
• Durdag (dur bdag) – Dance of the Lords of the Cremation
• Driging (gri ging cham) – Sword Dance
• Ngaging (rnga ging) – Drum Dance
• Ging Tshogling Cham (ging tshogs gling cham) – Dance of the Wrathful Deities and the Ging

Ritual of Burning Torma (གཏོར་རྒྱབ)

At around 5 pm, the ceremony of throwing ritual cakes (torma) into the fire begins. According to ritual, three types of torma are made in a pyramid shape and painted yellow, red, and blue. They represent the Lama, the Yidam (tutelary deity), and the Khando (female wisdom), respectively.

The torma are carried out to the ground where the firewood was arranged, and the head lama throws them all in the fire, after which he returns to the temple courtyard. This ritual is performed to get rid of the evils and as prevention against war in Bhutan by outside invaders.

The Dance of Victory is performed, followed by the Dance of Warriors and the offering of beverages to please the divine and local deities. At around 8 pm, the Dance of Liberating the Evil’s Soul (བསྒྲལ་འཆམ་) is performed, followed by the same naked tercham (གཏེར་འཆམ་) as on the previous two evenings.

Fourth Day

The morning session follows the same order as the previous two days up to the long-life blessing. From around 10 am, masked dances are performed as follows:

• Shazam Cham (sha zam cham) – Stag Dance
• Raksha Langgo Cham (raksha glang mgo cham) – Dance of the Animal-headed Attendants
• Raksha Mangcham (raksha dmang cham) – Dance of the Judgment and the Intermediate State (བར་དོ་)

Fifth Day

The festival concludes with the display of a thongdrol (banner) of Pema Lingpa; a Dance of Dralha Pangtoe (dgra lha spang stod); a mock ritual by the jesters; a ritual of dismantling the boundary which was set at the start of the festival; and in the end a ritual of prosperous prayer by all performers and villagers.

Informants

Venerable Petsheling Trulku Kunzang Tenzin Gyamtsho
Ap Tandin, ex-gup and most senior villager
Ap Nyima Phuntso
Ap Pema Tashi, caretaker of Korphu Lhakhang
Umze Chimi Dorji
Ap Zeko, ex-gup
Tenzin, lead masked dancer
Dorji, Mangmi
Gonpo Dorji, Tshokpa

References

Dorji Gyeltshen. (2011). sKor phug sgrub kyi lo rgyus gser gyi thig spa’i yang snying. “Essence Drops of Gold. An account of Korphu Consecration.” Thimphu: The Center for Bhutan Studies.

Researcher and Photographer

Tenzin Dorji, Lecturer, Institute of Language and Culture Studies, 2015

Description

Lhundup Chodarling Lhakhang is located in Korphu village, approximately a one hour drive from Riwo Tala on the Trongsa–Zhemgang Highway. The road from Riwo Tala to Korphu is a feeder road that climbs up from the Mangdechu river bridge. This road passes Nimzhong village, and then Nabji village comes into view on a plateau below, with Korphu village on a hillock. A cluster of village houses surrounds the modest, two-storey, traditional style temple.

According to oral sources, the village’s name is derived from a cave called “Gorphug” in the local language, where the treasure discoverer Pema Lingpa (1450–1521) took shelter while a storm with hailstones was raging. Gor means “stone” and phug means “cave,” but the village is commonly called Korphu.

History

According to Lam Dorji from Chakhar in Bumthang, Trulku Chogden Gonpo (1497–1543), incarnation of the treasure discoverer Dorji Lingpa (1346–1405), visited Nabji Lhakhang in the early 16th century and offered statues of Guru Rinpoche and Dorji Lingpa. He made an effort to promulgate the religious teachings of the Dorji Lingpa tradition of the Nyingmapa religious school.

While Trulku Chogden Gonpo was at Nabji, an epidemic of smallpox spread over Tharpaling and Tashiling villages, and many villagers died. Trulku Chogden Gonpo could not bear to see this misery and invited his root guru Pema Lingpa there to cure the disease. Pema Lingpa came to Nabji and cured the smallpox by performing tantric ritual practices. Later, he established a smithy at Tashiling in Nabji, where he produced a variety of metal objects. Nowadays, this location is called Garpang (མགར་སྤང་), and medium-sized stones upon which Pema Lingpa created his metal work still remain there.

Pema Lingpa wished to have a residence in the jungle at the site of Korphu village. He first visited Aumkora (ཨམ་བསྐོར་ར), where he tried to find a water source. About 40 minutes below Aumkora, he found the Menchu Gang (སྨན་ཆུ་སྒང་ “medicinal water”), which he hoped to use as a source to bring water up to Aumkora. In Menchu Gang he constructed three stone steps down to the water source and built a tub, which is still visible now, for bathing in the medicinal water. Pema Lingpa felt discouraged by the amount of work needed to construct steps from the water source to Aumkora, however, so he eventually abandoned the idea of building his residence there.

Pema Lingpa later met Pema Dorji, a hunter from Nabji village, and asked him to point out the source of the area’s drinking water. Pema Dorji refused, stating his worry that Pema Lingpa would disturb his hunting. Pema Lingpa repeatedly asked the same favour, but the hunter repeatedly refused. Finally, Pema Lingpa presented his riding horse to the hunter as a gift, and in return the hunter pointed out the water source at Umchu Gang (ཨུམ་ཆུ་སྒང་), now called Ta Umchu (རྟ་ཨུམ་ཆུ་ “horse pond”) in commemoration of the gift. Ta Umchu is a 10 minute walk from Korphu village.

According to senior villager Ap Zeko, who has served as the village headman for nine years, until 1976 Ta Umchu remained the village’s main water source. However, after the local administration (aided by government funds) supplied water in the village, the old source was abandoned. In 2013, again with aid from the government, the local administration finally built a safety roof and fence around the pond.

After finding the drinking water, Pema Lingpa shifted up to the location where his residence was built. According to Chakhar Lama Dorji, he first built a small two-storey residence and retreat center. Many disciples, gomchen, and ani (lay practitioners and nuns), from various regions gathered there for his profound teaching, oral transmission, and guidance, but they later intermarried and had children. The temple’s position is therefore unique, in that it is surrounded by houses that were once small retreat centers.

The story goes that Pema Dorji, the hunter, used to set traps around Umchu Gang for animals that came to drink, but one day Pema Lingpa destroyed the traps. The next day, the hunter went to see Pema Lingpa, and he shouted angrily using harsh words, “You poor beggar gomchen! Why did you do this to me? My entire family and I have depended upon this occupation for a long time. I cannot accept your evil deeds!” Upon receiving this upbraiding, Pema Lingpa provoked a hailstorm with heavy rain and forceful winds to subdue the hunter, while he magically transformed himself into a bee and hid in a small cave. When the hunter could not find safety from the storm, he saw the magical emanation of Pema Lingpa in the cave. Immediately he regretted his bad deeds and after begging forgiveness became Pema Lingpa’s disciple. From then on the village was called Gorphug (“stone cave”), although it later became commonly known as Korphu.

According to Mangmi Dorji, there are now 75 houses in Korphu, but relatively few permanent residents, as many live away from home as civil servants or students.

Architecture and Artwork

The temple is a two-storey Bhutanese structure with wood, stones, and mortar at the base. According to senior villager Nyima Phuntsho, the temple was renovated and extended in 1966. The main temple occupies the largest space on the top floor, with a small guestroom on the side reserved for visiting lamas. The ground floor has a large room for communal gatherings. The two floors are connected by a traditional Bhutanese outdoor wooden staircase.

The altar inside the temple is well decorated. The main relic of the temple is the sacred scripture of Transcendental Wisdom in 8000 Stanzas (བརྒྱད་སྟོང་པ་), which is said to have been written in golden ink by Pema Lingpa. There is also a small box containing a statue of Pema Lingpa, which is believed to have been presented either by the 8th Karmapa Mikyod Dorji or the 7th Karmapa Chodrak Gyatso, who knew Pema Lingpa.

The other relics are two of Pema Lingpa’s hats, called ugyen pezha (ཨོ་རྒྱན་པད་ཞྭ་) and tendrel uzha (རྟེན་འབྲེལ་དབུ་ཞྭ་); a heavy coat worn during rituals (dagam ཟླ་གམ་ ); the hat of Ani Choeten Zangmo, the grand-daughter of Pema Lingpa; the girdle (སྐུ་བཅིངས་) of Pema Lingpa; and two types of bells crafted by Pema Lingpa. There are statues of Guru Rinpoche; Buddha Shakyamuni; Avalokiteshvara (Chenrezig); the famous Thangtong Gyalpo (Chagzampa1361–1485); and the legendary King Gesar of Ling. The temple of the protective deities (Gonkhang) is attached to the main temple, and a small closet on the right side contains various old Buddhist scriptures. On the left side the walls are covered with paintings of the Eight Emanations of Guru Rinpoche and Pema Lingpa, and on the right are paintings of several lamas and protectors.

Social and Cultural Functions

The temple belongs to the local community and was traditionally looked after in rotation by a caretaker from the village.

The Petsheling Trulku from Bumthang has a close relation to the villagers, who consider him their “root lama,” but it is not exactly clear when this relationship began. The present and 5th Petsheling Trulku Kunzang Tenzin Gyamtsho (b. 1960) travels from Bumthang to preside over the annual festival of Drup.

The temple hosts the following events:

• 7th–9th days of the 1st month of the Bhutanese calendar: Fasting prayer (nyungney)
• 10th day of the 1st month: Tsechu
• 15th day of the 1st month: Lama Phuntsho Kuchoe, death commemoration of Lama Phuntsho, who was a cousin of His Majesty the Second King and a great contributor to the development and preservation of Korphu Drup; he provided the facilities and led the Drup for more than 20 years.
• 10th day of the 2nd month: Nyipai tsechu (prayer)
• 8th day of the 3rd month: Akhu Duedulla’s offering ceremony to a local deity (originating from Bon, like the Lhabon festival of Tsangkha, but years ago this was changed to a Buddhist ritual practice)
• 10th day of the 5th month: Tsechu
• 10th day of the 6th month: Tsechu
• 7th–10th days of the 7th month: Mani
• 7th–10th days of the 8th month: Tangla Choedpa; for 1½ days, lay practitioners recite the Kangyur (words of Buddha), and on the evening of the second day, villagers perform the ritual of Gekte, which eliminates evil spirits from the houses. On the third morning, a Tsokhor is performed by the villagers, in which they make rounds of the village carrying the Kangyur on their backs. After lunch there is a tsechu (prayer) ritual.
• 15th–18th days of the 11th month: Korphu Drup, the village’s most important festival

Informants

Venerable Petsheling Trulku Kunzang Tenzin Gyamtsho
Ap Tandin, senior-most villager, ex-gup
Ap Nyima Phuntsho
Ap Pema Tashi, caretaker of Korphu Lhakhang
Umze Chimi Dorji
Ap Zeko, ex-gup

References

Dorji Gyeltshen. (2011). sKor phug sgrub kyi lo rgyus gser gyi thigs pa’i yang snying “Essence Drops of Gold. An account of Korphu Consecration.” Thimphu: The Center for Bhutan Studies, p. 114.
Kuenzang Dorji (ed.). (2014). gnas yig kun phen lam ston “The guide book for holy places in Zhemgang and Trongsa Dzongkhag.” Volume 7. Thimphu: Home and Culture Ministry, pp. 201-204.

Researcher and Photographer

Tenzin Dorji, Lecturer, Institute of Language and Culture Studies, 2015

Description
Mendre Togchhung Lhakhang (temple) in Dzongthang village is an approximately two hour drive from Trongsa. The village is entrenched on the slopes of a mountain at the end of a mountain range beyond Trongsa hospital, past Kharshong Community School and Gagar village. It is accessible off the Thimphu–Trongsa highway via a feeder road that leads to the Trongsa hospital.

The lhakhang is a two-storey structure built of mud and stone, narrowing from the base to the top. It is perched on a site resembling a hillock, providing a strategic view of the fields and river bank beneath, with a picturesque sight of the mountain ridges, forests, and villages that one passes through enroute. The lhakhang indeed has a commanding presence, as it lies right below the village and is the first building to greet passersby.

History

The famous Prince Drime Kuenden (known as a previous life of the historical Buddha in the Vessantara Jataka) is said to have been exiled from India by his father around 1500 BCE for what was likely an altruistic act. He was sent to a place called Durihasang, which is assumed to be located in Bhutan; the locals refer to the place as “Kemkem rig.” The prince was accompanied by his consort and children and is believed to have travelled through the mountains and valleys where Dzongthang village lies. It is also believed that while they were in the village the prince’s consort, Mendre Zam, initiated construction of the temple, and that the temple was named after her.

Many places below and above Dzongthang village are also said to be named after certain episodes in the princely couple’s travels through the region. For example, Chenrey, the name of a place located south of Dzongthang, may have some relation to the honorific term for eye, “chen” in Dzongkha and Choeke. People hold that the place was named after an incident in which the prince sacrificed his eyes to a blind man, whom he had met on a journey. There is a related story about a place called Gurthang Pang, located north of Dzongthang. People believe that the prince and his family had pitched their tent in that location. Gur is the Bhutanese term for tent, and thang pang is a flat place. Some call the temple Dzongthang Lhakhang, however, following the location name.

The temple’s foundation was initially laid in an area some meters above the present location in the middle of the surrounding fields, on plain ground undisturbed by human activity. Oral tradition has it that the initial location had a lake underneath it and a mermaid (water deity) residing in it. It is believed that when the temple was moved to the present location, the mermaid and the lake moved with it. The reasons for constructing the temple are unknown owing to the lack of preservation of once orally transferred knowledge.

Although thus far there is no concrete evidence to prove the temple’s existence as early as 1500 BCE, certain recently discovered artifacts show that it may have existed before or around the early 18th century. During recent renovations, workers discovered silver coins with the year 713 imprinted on them. These coins are distinct from those commonly used at that time (da yangchen, chimi tsim, beta kaap and cheythay were in common use). They also uncovered thumb-sized mukus (mud statues) of Guru Nangsi Zilnon (a form of Guru Rinpoche subduing the enemies) in the structure’s four pillars, adding to its sanctity. Informants say that each statue was specifically designated for a particular direction and that the direction to which a particular statue belonged was carved on the boxes in which each was found.

Architecture and Artwork

The temple is a two-storey building narrowing slightly from the base to the top. It is a tall structure, quite distinct from the village buildings, both in design and location, being perched on an elevated hillock on the slopes. The lhakhang has a three meter wide area around it for circumambulation and a small kitchen next to it. The buildings appear new and bright due to the ongoing renovation work.

The first floor of the structure serves as the main temple, which is connected to the ground by a traditionally built wooden ladder. On the left of the entrance door is the gonkhang or chapel – a small room allocated solely for the local protective deities, Ap Gaypo and Aum Lham. Women are not allowed to enter this room.

Outside this chapel is the place for the altar, but no altar exists right now, since the previous altar has been removed to make room for a new one. Hence, all statues are placed on a mantle. There are statues of Chana Dorji (Vajrapani); Chenrezig (Avalokiteshvara); Jowo (Ornated Buddha); Tempa Shacha ( Historical Buddha); Chukchi Zhey (Avalokiteshvara with eleven heads); Guru Rinpoche with his two consorts by his sides; and Zambalha (Vaisravana, deity of wealth). Some religious texts, such as the Kanjur and Tenjur, are also stacked nearby.

The wall facing the entrance door is said to have housed paintings of peaceful deities, and the wall to the right of the entrance had paintings of wrathful deities, but these no longer exist. However, numerous thangkas (banners) adorn the room, hanging around the wall opposite the altar location.

The ground floor is used for multiple purposes: as a place to sit and chant mantras; to eat; perform dances; and as a dormitory when the lhakhang conducts rituals that stretch longer than a day.

Renovations involving dismantling of the entire structure were begun in the 10th month of the Bhutanese calendar in 2012, and the work is now nearing completion. The government provided Nu. 1,500,000, but this has been insufficient to complete the remaining work. Although there have been contributions from the public, these amounts are relatively small and are used for providing lunches to the laborers.

Earlier renovations saw the extension of the temple’s width in the ’80s and construction of a small extended room for the lama 6–8 years afterward. An official, Ramjam Golay, is said to have provided tools and monetary support, while the community provided labour for the temple’s widening, while the extension was the sole undertaking of the villagers.

Social and Cultural Functions

The temple is the only religious haven for the people of Dzongthang. The village witnesses numerous religious rituals in the lhakhang throughout the year, with at minimum one ritual every month.

A three day ritual, Dangpai Nyungne (snyung gnas), is performed in the 1st month of the Bhutanese calendar. Devotees gather, fast, and chant “mani” in the presence of a lam (abbot). The prayers chanted in the first two days are for the benefit of the individual devotees, while those chanted in the final day are believed to benefit the community as a whole. An offering to the local deities is also made on that final ritual day.

A ritual with the same purpose, Chunyipai Nyungne (snyung gnas), is also observed in the 12th month of the Bhutanese calendar.

Tendha tsechu (festival) is conducted in the 5th month of the Bhutanese calendar. It is a single day festival for Guru Rinpoche initiated about 10 years ago by the present Gangtey Trulku, relating to a similar festival conducted in Tibet with great fervor and reverence.

Lue Dhim, a three day ritual, is performed from the 10th–13th days of the 7th month. This ritual is specifically observed to give thanks to the local deities, as the fields have started yielding their crops, and also to seek protection from potential harm from wild animals and the forces of nature.

Other rituals are all one day events conducted on the usual auspicious dates as per the Bhutanese calendar, such as the 10th and 15th of the month.

All rituals and festivals are conducted by the community, which also bears the expenses. Sponsorship of Nyungne and Lue Dhim is a social obligation that comes in rotation, while sponsorship is sought for the other festivals. For the purpose of getting sponsors, two people, called the “Ley Tsey,” are selected from the village every year; they go around the village asking for sponsorship for the festivals and rituals.

In the past, the lhakhang did not have a lama, neither of its own nor appointed by the government. Six or seven years ago, however, the Gangtey Trulku initiated the appointment of a lama, whose tenure was dependent on the decision from Gangtey monastery in Wangdue district. A monthly salary is provided by the Gangtey Trulku, and a certain amount is also paid by the Trongsa Dratshang.

A caretaker, whose tenure is also not fixed, is chosen by the community villagers. They contribute rice and cereals to the caretaker in a gesture of payment for the services he renders to the community. The caretaker may be removed from service if his or her conduct is deemed unscrupulous.

Informant

Sonam, caretaker, Dzongthang village

Reference

Karma Phuntsho. (2013.) The History of Bhutan. Noida London: Vintage books, Random House India.

Researcher and Photographer

Choney Dorji, Asst. Lecturer, Institute of Language and Culture Studies, 2015

Description

Nabji Lhakhang’s name comes from nἁboed (མནའ་འབོད), which means “taking an oath.” Long ago in this location King Sindha and King Nawoche took an oath of non-violence against each other in the presence of the great Indian guru, Padmasambhava (Guru Rinpoche). Beside the entrance of the temple, there is a huge cypress tree believed to be the walking stick of Guru Padmasambhava.

The temple is located at 2156 m in Nabji village, Korphu gewog, 110–115 kms by road from Trongsa town, and another half hour walk up from Nabji Primary School. The temple is in the middle of a field, surrounded by a wall.

History

According to traditional history, in the mid­-8th century lived an Indian king named Sindha, alias Kunjom, who was exiled by his father, King Singgala, and subsequently became the king of Bumthang. There was another King from India named Nawoche who hated king Sindha and vice versa. During a battle King Sindha’s son, Taglha Mebar, was killed by King Nawoche.

After his son’s death , King Sindha stopped all sacrificial offerings to the protective deities and ordered all holy places to be covered with excrement. Thereupon, Shelging Karpo, the mightiest of gods and demons, stole the “life power” of King Sindha. Padmasambhava was then invited to cure the king, and he helped the king to regain his life power.

Padmasambhava also had a good relation with King Nawoche, so he was able to call both kings to the border of India and Mon where the present temple lies. A monolith was erected there with the handprints of both kings and the Guru. There are some marks on the edges of the monolith that are said to be from swords used for witness marking by the kings’ retinues.

Later, the dakinis Khando Tashi Kheyuden, alias Machig Bumdan or Lhacham Bumden Tshomo; Lhacham Oden Tshomo; Lhacham Tredan Tshomo; and Lhacham Gyaldan Tshomo decided to build a temple in this location, as it was a sacred place of Guru Padmasambhava. They would build the temple in the daytime, and in the evening demons and spirit foes would destroy it. This happened many times, frustrating the dakinis, so they prayed for Guru Padmasambhava to help them. Though the Guru was not present at that moment, they visualized him by facing toward the cliff, which was said to contain many sacred treasures. Guru helped by performing a sacred dance (tercham) in which he displayed many different forms, such as half human and half animal. While the demons and spirits were distracted by the displays, the dakinis completed the temple.

A detailed story of this colourful history can be found in the book Life of King Sindha and The Clear Mirror of Predictions, compiled and edited by Yonten Dargye, National Library and Archives of Bhutan.

In the 13th century Terton Dorje Lingpa (1346–1405) consecrated the temple. In the 19th century a man named Tashi Wangdi from Bumthang came to Nabji as a guest, and later he extended the temple to what we see today. No major damage has happened to this day.

Architecture and Artwork

Nabji Lhakhang is a one-storey temple built in the traditional Bhutanese style and surrounded by a wall. Upon entry, there is a corridor with a few prayer wheels and a room separate from the temple chapels, which is used as a storeroom during festivals and at times for the preparation of ritual cakes.

On the front wall of the temple are wall paintings of Dorje Lingpa, Pema Lingpa, and their lineage holders, as well as Thangtong Gyalpo (Chagzampa 1385–1464) and Green Tara, painted by a man named Lhalung Choki Wangchuk from Tibet.

On the right side of the entrance stand statues of the Four Guardian Kings attached to the outer wall of the inner chapel: two kings on each wall, with the entrance to the inner chapel situated in the middle.

On the left-side wall of the chapel are wall paintings of the Eight Manifestations of Guru Rinpoche; Zhabdrung Ngawang Namgyel; the great Kagyu saints Marpa and Milarepa; and the Three Long Life Deities, which were painted by a man named Tawdola, from Padamsambhava temple, which is half a km away from Tamshing Lhakhang in Bumthang. The paintings are said to be 60–70 years old. On the right side corner lies the main relic of the temple, the monolith, with the handprints of King Sindha, King Nawoche, and Guru Rinpoche.

In the inner chapel, there is a statue of Guru Rinpoche, said to have been made by Trulku Chogden Gonpo (1497–1557). On Guru Rinpoche’s left side stand statues of Chenrezig (Avalokiteshvara); Chagtong Chentong (Avalokiteshvara with one thousands eyes and arms); Chana Dorje (Vajrapani); Future Buddha Jowo Jampa; and a statue of Terton Dorje Lingpa, which is said to have been made by Trulku Chogden Gonpo himself.

On right side of Guru Rinpoche, there are statues of Zhabdrung Ngawang Namgyel; the god of wealth Zambalha; and Buddha Sakyamuni. On the right side corner of the inner chapel stands a statue of Menmo, the local water deity. On the left side corner of this chapel is a box containing the “souls” of the local protective deities, and beside this are statues of these deities: Pekar Gyalpo, the main protective deity of the community; the Black Mountains deity Jowo Durshing; the protective deity of Kurtoe Terdag Zorarakye; and Muktsen, protective deity of the Mangde region.

Near the entrance is a tree that is believed to be the walking stick of Guru Rinpoche. Toward the right edge of the temple near the windows sits a plain rock with the footprints of Dorje Lingpa and his horse. Beside the temple on the right side there is a stone attached to the wall that bears the fingerprints of Khandro Tashi Kheyuden.

The field that surrounds the temple is kept as a choezhi (field offered for religious people). The villagers of Upper and Lower Nabji cultivate the paddies annually in rotation. Beside the temple are two rocks: the upper represents the sacred Body of the Dakinis, and the lower represents the sacred Speech of the Dakinis. The monolith inside the temple represents the sacred Mind of the Dakinis. The speech sacred rock has some graffiti on it, believed to be the Khandro Dayig (symbolic script of Dakini).

Social and Cultural Functions

Currently, the community takes care of the temple. The Chakhar Lama from Bumthang and his descendants have been performing the annual drup, or grand religious ceremony, at the temple in the same manner as it is performed at Jampa Lhakhang in Bumthang. Lam Chimi Rigzin is the current abbot taking care of the temple. The community practices the Drukpa Kagyu and DorLing traditions and performs the following ceremonies:

• 13th–15th days of the 1st month of the Bhutanese calendar: Nyungne (fasting and prayers), sponsored by the community; if there are many sponsors, they will read the Kanjur (Buddhist canon)
• 8th–10th days of the 2nd month, coinciding with the day on which Guru Rinpoche first visited the place: Young boys and girls go around the village collecting alms, and on the 10th the temple abbot performs the ritual Baza Guru.
• 10th day of the 5th month: Trenda tsechu, a prayer of supplication sponsored by the villagers
• 4th day of the 6th month, coinciding with the 1st Sermon of Lord Buddha: Ritual sponsored by 8 households
• 10th day of the 6th month: Lhaphud, a Bon ritual performed to clear away obstacles and please the local deities
• 10th day of the 7th month: Soeldep Lensum, sponsored by the villagers
• 22nd day of the 9th month: Ritual coinciding with Descending Day of Lord Buddha, sponsored by the villagers
• 22nd day of the 9th month: Ritual sponsored by 8 households
• 15th–20th days of the 11th month: Annual Drup, grand religious ceremony, sponsored by the villagers in rotation
• 10th day of the 12th month: Community ritual
• 8th, 10th, 15th, 25th and 30th days of every month (auspicious days): Rituals performed in a small group, sponsored by the villagers

Informant

Lam Chimi Rigzin, 43 years old, current abbot of the temple

Reference

Yonten Dargye. (2009). Life of King Sindha [Chakhar Gyalpo] and The Clear Mirror of Predictions. Thimphu: National Library and Archives of Bhutan.

Researcher

Singye Wangchuk, Asst. Lecturer, Institute of Language and Culture Studies, 2015

Description

Nimzhong Lhakhang is located in Nimzhong village, approximately a half hour drive from Riwo Tala on the Trongsa–Zhemgang Highway. The feeder road to Nimzhong climbs up from the Mangdechu river bridge. The modest, two-storey Nimzhong temple is a traditional building surrounded by village houses. Although Nimzhong is its common name, its religious name is Tashi Choling, given by Lopen Kunzang Gyurmed.

According to oral sources, the name for the village is derived from a particular paddy field called Nimzhong, about a 30 minute walk away. There once stood a village around the field, but local villagers migrated in the past, and they now call the newer village Nimzhong. The name, in fact, was originally Pung Leng, which means “place of gathering.” Nimzhong means “tub of sun,” relating to the local perception that the paddy field looked like a huge bathtub filled with sunlight when the morning rays of sun concentrated on it.

History

According to caretaker Yeshi Ngudup, the founders of the temple were village lama Lopen Kunzang Gyurmed and head of the local community, Rinchen Nyophela. In response to the lack of a place to worship or perform rituals, they worked to bring a spiritual environment to the village. They founded the one-storey temple in 1925, and after three years all the statues and wall paintings were brought in with funding and labour from the villagers. At that time there were only 14 households in Nimzhong village, but as there are now 77, everybody is pleased to have this temple to fulfill their religious needs.

Gomchen Pema Tshering, son of Lopen Kunzang Gyurmed, renovated the original lhakhang in 1972, extending it into a two-storey structure in keeping with traditional Bhutanese temple design. In 2005, the local community replaced the roof and the wooden floor inside the temple.

Architecture and Artwork

The two-storey temple is made of wood, stone, and mortar in the traditional Bhutanese style. The main altar on the top floor is elaborately decorated. The main statues there are the Kuntu Zangpo (Samtabhadra Choeku); Chenrezi (Avalokishvara Longku); Guru Rinpoche (Trulku); the Eight Emanations of Guru Rinpoche; and Chagtong Chentong (Avaloketishavara in his form of one thousand arms and eyes).

The old version of the sacred scriptures of Buddha’s words is kept in a place of deep respect just below the ceiling, while a new version is kept in a cupboard on the left side of the altar. A statue of the local deity, Drakpo Lhagyal, is also located on that side. The walls are covered with paintings of the Buddha Shakyamuni; Vajrasattava (Dorji Sempa); the Eight Emanations of Guru Rinpoche; and the local deity. These were repainted by Pema Tshering in 1978.

Social and Cultural Functions

The temple, which belongs to the local villagers, adheres to the Nyingma religious tradition. of Dorji Lingpa (1346–1405). It is traditionally looked after in rotation by a caretaker from the village.

After the completion of the temple, locals began yearly performances of a ritual ceremony called Drup. The ceremony would last for three days, during which various masked dances of the Dorji Lingpa tradition were performed. This practice was eventually discontinued, but a few old masks remain in the temple from those days. In 2008, after more than seventy years, the Drup was reprised on the same day as the Guru Rinpoche (10th day of the 2nd month of the Bhutanese calendar), but it is not as elaborate as it had been in the past.

The temple hosts the following events:

• 8th–10th days of the 2nd month of the Bhutanese calendar: Tsechu and Lhakhang Drup (ཚེས་བཅུ་དང་ལྷ་ཁང་སྒྲུབ་). On the first day, villagers make a round of the village carrying a holy scripture on their backs. On the second, lay practitioners (gomchen) prepare torma, religious cakes, in the morning, and after lunch they perform a ritual. On the final day, villagers respectfully invite the local deity, Drakpo Lhagyal, to come to the temple from his residence, which is located on the bank of the Mangdechu river. Villagers then perform masked dances of the Dorji Lingpa tradition.
• 10th day of the 8th month: Tsechu: Villagers invite the local deity to the temple for offerings and pray to him to guard them from obstacles and natural calamities.
• 25th day of the 12th month: Gonpoi Kangso (ritual to Gonpo/Mahakala)

Informants

Sangey Khando, reincarnation of Lopen Kunzang Gyurmed
Ap Adola, senior villager, Nimzhong village
Yeshi Ngodup, caretaker of Nimzhong Gonpa for more than 12 years, Nimzhong village, 2014

Researcher

Tenzin Dorji, Lecturer, Institute of Language and Culture Studies, 2015

Photographer

Yannick Jooris

Description

Tashi Choling Lhakhang is located just below the Trongsa–Thimphu highway in Tashiling village in the Tangsibji gewog of Trongsa dzongkhag. Tashiling is approximately 23 km, about a half-hour drive, from Trongsa town. The temple is a two-storey traditional building surrounded by the homes of villagers and monks.

According to Tashi Pelzang, head of Tashi Choling Lhakhang, the religious name of the temple was given by Polo Khen Rinpoche and was derived from the village’s name, Tashiling. Tashi Pelzang reports that the name “Potala” as reported by a Kuensel article covering the temple is an error due to miscommunication.

History

Tashi Pelzang explains that in 1965 the great Nyingma practitioner Polo Khen Rinpoche Thupten Kuenga Gyaltshen (1896–1970) came to Bumthang from India for a pilgrimage. During his return travels to India, he gave blessings to the villagers of Taktse in Dragteng gewog. When he looked from Taktse toward Tashiling village, he saw both good and bad signs. A good sign was that the hills on top of Tashiling village appeared as though curtained by white silk. Other auspicious signs were that the nearby valley, between the hills of Tsheringma drupchu and Tangsibji school, appeared as an arrow penetrating into water and also like the shape of two fish rising up from the water. As well, the centre of Tashiling village resembled a religious conch. On the other hand, there were bad signs indicating that spirits and fearful demons gathered there and harmed villagers.

Polo Khen Rinpoche suggested to Lama Ganapati, choirmaster (umdze) of the Trongsa monk body, that he establish a temple with a door facing south and statues of Chagtong Chentong (Avaloketishavara in his form of one thousand arms and eyes) in the center, Palchen Dorji Shonu (Vajrakila) on the right side, and a statue of Horsok Magdok (a wrathful form of Guru Rinpoche who repels enemies) on the left. The main purpose of building the lhakhang was to expel the evil spirits dwelling there, prevent a war in southern Bhutan, and bring peace to the country.

For 30 years, due to a lack of funds and laborers, Lama Ganapati could not fulfill the prophecy, so he finally appealed to His Holiness the 70th Je Khenpo, whereupon His Holiness appealed to His Majesty the Fourth King. His Majesty was pleased to accept this proposal, and in April of 2002 His Holiness the Je Khenpo and Lama Tshering Wangdue, head of the central monk body (Dratsang Lhentshog), coordinated its establishment with donations from the central monk body and generous sponsors.

Training Center of Fine Arts

Upon receiving a request from the Trongsa monk body, His Majesty instructed the monks to test out a Training Center of Fine Arts, where monks could learn such arts as religious calligraphy, carving, sculpture, and sewing. In 2006, with a few selected monks, the Trongsa monk body started the training center in the Tsennyi Lhakhang inside Trongsa dzong. In 2009, pleased to see the progress and results, His Majesty gave instructions to continue the Training Center of Fine Arts as a permanent institution.

The Trongsa monk body then established a permanent center with 40 monks from Trongsa dzong, but the committee found it difficult to conduct the classes within the dzong. It was not until 2010 when they found an ideal location in Tashi Choling Lhakhang, and they appealed to His Majesty for approval. His Majesty happily approved it, and the monk body began construction of the monks’ residences around the lhakhang.

On 8 May 2011, upon completion of the construction, His Holiness the Je Khenpo inaugurated both the temple and “Gerab Zorig Pelkhang,” the Training Center of Fine Arts for monks.

Earlier, there had been only a practical course in fine arts and regular course of monastic study, but His Holiness introduced two new modules: mandala drawing and theory of Buddhist religious fine arts, replacing the regular monastic school study in 2014.

According to the head lama, the school plans to introduce two new subjects: English language and Lhendup, “patchwork thangka.” The training course’s duration is six years, with a Bachelor of Fine Arts (BFA) conferred upon completion. The first batch completed the course on 15 March 2014.

Eligibility for school admission requires either a class ten certificate or a completed basic course in a monastic school. However, there is an opportunity for those who have a keen interest but do not hold a certificate; a recommendation letter from the student’s teacher defining his interest and ability will be considered. The school started with 40 monks from the Trongsa dzong but the training center is now open to monks from all 20 dzongkhags. An opportunity for monks from private monastic schools was also recently advertised, but no one from these schools has yet registered. Currently, there are 48 monk students, six teachers, and one supervisor, with all expenditures borne by the central monk body (Dratsang Lhentshog).

Architecture and Artwork

The temple is a two-storey Bhutanese style house, with wood, stone, and mortar at the main base of the building. The two floors are connected by a traditional Bhutanese wooden staircase on the outside.

On the ground floor chapel, the main statue is an 8.23 m high Chagtong Chentong (Avaloketishavara in his form of one thousand arms and eyes) with Palchen Dorji Shonu (Vajrakila) on the right side and Horsok Magdok (a wrathful form of Guru Rinpoche who repels enemies) on the left. A statue of Polo Khen Rinpoche Thupten Kuenga Gyaltshen also stands on the right side.

The walls of the ground floor chapel are covered with paintings of Zhabdrung Phuensum Tsokpa’s lineage; the Eight Emanations of Guru Rinpoche are depicted on the right side; and Neten Chudruk (the Sixteen Arhats, disciples of the Buddha) and Polo Khen Rinpoche are on the left.

The main chapel occupies the biggest space on the top floor, but no statues are there as of yet.
The walls of the top floor are covered with paintings of the 35 Buddhas of Confession on the right and the lineage of the Kagyu Lamas and protectors on the left. On the top floor stands the chapel of the protective deities (gonkhang) to the side of the main chapel.

Social and Cultural Functions

The temple belongs to His Majesty, as offered by His Holiness the 70th Je Khenpo. It is cared for by a monk student, who acts as caretaker for a one year period.

Tashi Choling Lhakhang hosts the following events:

• 10th–15th days of the 1st month of the Bhutanese calendar: Recitation of Mani (Mani Dungdub), sponsored by Tangsibji gewog
• 22nd–30th days of the 1st month: Fasting prayer (Nyungney) sponsored by locals
• 10th day of the 3rd month: Zhabdrung Kuchoe (commemoration of Zhabdrung’s death), mainly sponsored by the lhakhang, but aided by locals
• 4th day of the 6th month: Tsechu, mainly sponsored by the lhakhang, but aided by locals
• 22nd day of the 9th month: Prayers on the Descending Day of Lord Buddha (Lhabab Duchen) are performed with Polo Khen Rinpoche’s Kuchoe (commemoration of Polo Khen Rinpoche’s death) , mainly sponsored by the lhakhang, but aided by locals
• Every morning and evening: Monks perform prayers, with the caretaker performing the prayer to Chenrezig on the ground floor, and a monk whose title is Kangjup performing the offering of prayers for protectors in the Gonkhang on the top floor

Informant

Lama Tashi Pelzang, head of Tashi Choling Lhakhang and Training Center of Fine Arts

Reference

Chencho Wangdue. (14 Jan 2015). bKra shis chos gling lha khang am Potala lha khang gi rgyab khungs (The history of Tashiling Lhakhang or Potala Lhakhang). Kuensel (Dzongkha ed.), p 4.

Researcher

Tenzin Dorji, Lecturer, Institute of Language and Culture Studies, 2015

Photographer

Jigme Wangdi, Asst. Lecturer, Institute of Language and Culture Studies, 2015

Description

Terdrag Lhakhang is located approximately 3 hours by foot from Namthir village, which is 55 km from Trongsa town and approximately 4 km above the Trongsa–Gelephu highway. The monastery’s locale is called Phola Pang, referring to the pasture (pang) of the local deity (Phola).

The monastery’s name is spelled either “Terdrag” or “Terbrag,” with both names carrying the same meaning: ter means “religious treasure” and drag or brag means “rock.” The minor difference in the two spellings is simply due to localized pronunciations. The compounded word “Terdrag” (or Terbrag) stands for a rock with the shape of the sexual organ (bhaga) of the female deity Dorji Phagmo (Vajravarahi) and the site where Lama Ngawang Dundup discovered a religious treasure (ter). The lama’s dates and the monastery’s date of construction are unknown thus far.

History

There seems to be no textual record regarding the origin of Terdrag Lhakhang, but oral history still exists among senior villagers. According to Lam Tashi Wangdue, who currently serves as the lama for Namthir, Dangdung, and Bayling villages, a lama named Ngawang Dondup built Terdrag temple as per his vision. Originally from the Punakha monk body, he went to Tibet after being appointed the Gangri Lama, also called Gangri Dozin (head of the Drukpa monasteries of Mt Kailash). Historically, beginning in the 17th century, Bhutan owned monasteries in Mt Kailash (Gang Tise) in western Tibet, to which they sent a lama, the Gangri lam, from Punakha dzong. This practice lasted until 1959, when China invaded the area.

Lama Ngawang Dondup served his duty in western Tibet for some time, and he apparently came back to Bhutan with so much gold that people called him “Lama Ser,” which means “lama with gold.” He must have accrued this wealth before 1930, however, as from that date the Bhutanese government appointed a layman and not a monk as Gangri Dozin.

Lama Ngawang Dondup eventually came to the Langthel area and built Terdrag monastery at Phola Pang. There, as per his vision, he discovered an egg-shaped stone treasure on the top of the rock just below the monastery, and he placed this treasure in the temple. From then on the rock was called “terdrag” and the monastery became known as Terdrag Lhakhang. The lama is said to have had many disciples who were educated in the fine arts, but no names are available.

On the left side of the lhakhang, there are two holy springs, discovered by Lama Ngawang, Dondup, that flow only from the 5th to the 8th months of the Bhutanese calendar. The upper is considered as the male holy spring, and the lower is the female. Just below the springs there is a large stone with a hole in it where the horse of Lama Ngawang Dondup used to be tied.

Architecture and Artwork

The one-storey temple is built using traditional Bhutanese architectural forms with simple woodwork and stone. The courtyard is enclosed by a stone fence. There were once retreat houses around the main temple belonging to the lama’s disciples, but they have been destroyed.

The lhakhang’s main statue is the Buddha, accompanied by statues of Avalokitesvara (Chenrezig); Future Buddha Maitreyanath (Jampa Gonpo); and Lhamo Zhingchong Wangmo (a form of Palden Lhamo). Three statues were once stolen from the temple; unfortunately, that of Guru Rinpoche was never retrieved.

Social and Cultural Functions

The temple officially belongs to the community of Namthir village, but for more than three generations it has been looked after by a private family; it is now deemed to be a private lhakhang. The caretaker used to do the Lhamo ritual in the temple, but rituals are no longer performed, as no one lives there. Fasting and prayer celebrations (nyungney) were also once held in the 7th month of the Bhutanese calendar, but this practice has also ended.

Informants

Lama Tashi Wangdue, spiritual head of the religious establishment (gomde) in Bayling, Langthel
Ap Chokey, caretaker of Terdrag Gonpa for more than 50 years, Namthir village, 2014

References

Bray, J. (Summer 2012). Ladakhi and Bhutanese Enclaves in Tibet. Journal of Bhutan Studies, 26, 1–20.
Penjore, D. (2014). Forgotten Bhutanese Territories in Tibet. Retrieved from http://dorjipenjore.blogspot.com/2014/04/forgotten-bhutanese-territories-in-tibet.html.

Researcher & Photographer

Tenzin Dorji, Lecturer, Institute of Language and Culture Studies, 2014

Description

Drangla Lhakhang Nyingpa, locally known as Drangla Gonpa, is a privately owned temple approximately 45 km from Trongsa town. The feeder road leading up to the Gonpa breaks off the Trongsa–Wangdue Highway 38 km from Trongsa town. The road leading toward the temple is a farm road that climbs up to an elevation of 3000m (9836′).

About a hundred meters from Drangla Lhakhang Nyingpa sits another temple called Drangla Samtencholing Gonpa. Thick forest and scattered pastures surround the temples.

History

The date of the temple’s establishment is unknown. The current caretakers are the 5th generation of the same family to be looking after the temple. According to our source, the history of the temple was lost with the death of the current caretakers’ parents, who were the previous caretakers, and there are no written documents regarding the temple’s establishment. However, since the temple follows the Dorling Nyingmapa tradition, it is possible that the temple was established during the time of Terton Dorji Lingpa (1346-1405) or during that of his spiritual son, Chogden Gonpo, also a disciple of Terton Pema Lingpa (1450-1521), both of whom were active in the region.

The temple had been a one-storey house until 2001, when a renovation took place and a two-storey building was constructed.

In the past there were about 13 households in the area, but these families since moved near the national highway, leaving behind their land near the gonpa. People living in the area are solely dependent on cattle for livelihood and there are only two families left near the gonpa.

Architecture and Artwork

The gonpa is a two-storey square Bhutanese house, with a small courtyard in front and two meter high stone walls surrounding the temple. The temple itself is located on the top floor of the house. The ground floor and the room adjacent to the temple are used by the family taking care of the temple, and they also have a small kitchen attached to the west of the temple. The temple occupies a fairly small space in the house. The main altar houses statues of the Buddha Shakyamuni, Phurpa (Palchen Dorji Shonu (a tantric deity representing one of Guru Rinpoche’s teachings), and Guru Rinpoche. A gonkhang (temple of protective deities) sits to the right of the altar.

The old painted murals were removed during the renovation in 2001 and then put back upon completion of the building work. Wall paintings of Guru Rinpoche, Dorji Chang (Vajradhara), Zhabdrung Ngawang Namgyel, Tshering Namdruk, Menlha (Buddha of Medicine) and Phurpa (Palchen Dorji Shonu) can be seen today. Near the entrance of the temple stands a new prayer wheel.

Social and Cultural Functions

The temple follows the Dorji Lingpa Nyingmapa tradition of Buddhism and performs three important rituals per year:

• 10th day of the 1st month of the Bhutanese calendar: Tshokhor (ritual feast)
• 10th–15th days of the 6th month: Summer ritual (Jachoe)
• 10th–11th days of the 12th month: Winter ritual (Lochoe)

Informant

Aum Tshering Choden, caretaker, Drangla Lhakhang Nyingpa

Researcher

Jigme Wangdi, Asst. Lecturer, Institute of Language and Culture Studies, 2014

Description
Mendre Togchhung Lhakhang (temple) in Dzongthang village is an approximately two hour drive from Trongsa. The village is entrenched on the slopes of a mountain at the end of a mountain range beyond Trongsa hospital, past Kharshong Community School and Gagar village. It is accessible off the Thimphu–Trongsa highway via a feeder road that leads to the Trongsa hospital.

The lhakhang is a two-storey structure built of mud and stone, narrowing from the base to the top. It is perched on a site resembling a hillock, providing a strategic view of the fields and river bank beneath, with a picturesque sight of the mountain ridges, forests, and villages that one passes through enroute. The lhakhang indeed has a commanding presence, as it lies right below the village and is the first building to greet passersby.

History

The famous Prince Drime Kuenden (known as a previous life of the historical Buddha in the Vessantara Jataka) is said to have been exiled from India by his father around 1500 BCE for what was likely an altruistic act. He was sent to a place called Durihasang, which is assumed to be located in Bhutan; the locals refer to the place as “Kemkem rig.” The prince was accompanied by his consort and children and is believed to have travelled through the mountains and valleys where Dzongthang village lies. It is also believed that while they were in the village the prince’s consort, Mendre Zam, initiated construction of the temple, and that the temple was named after her.

Many places below and above Dzongthang village are also said to be named after certain episodes in the princely couple’s travels through the region. For example, Chenrey, the name of a place located south of Dzongthang, may have some relation to the honorific term for eye, “chen” in Dzongkha and Choeke. People hold that the place was named after an incident in which the prince sacrificed his eyes to a blind man, whom he had met on a journey. There is a related story about a place called Gurthang Pang, located north of Dzongthang. People believe that the prince and his family had pitched their tent in that location. Gur is the Bhutanese term for tent, and thang pang is a flat place. Some call the temple Dzongthang Lhakhang, however, following the location name.

The temple’s foundation was initially laid in an area some meters above the present location in the middle of the surrounding fields, on plain ground undisturbed by human activity. Oral tradition has it that the initial location had a lake underneath it and a mermaid (water deity) residing in it. It is believed that when the temple was moved to the present location, the mermaid and the lake moved with it. The reasons for constructing the temple are unknown owing to the lack of preservation of once orally transferred knowledge.

Although thus far there is no concrete evidence to prove the temple’s existence as early as 1500 BCE, certain recently discovered artifacts show that it may have existed before or around the early 18th century. During recent renovations, workers discovered silver coins with the year 713 imprinted on them. These coins are distinct from those commonly used at that time (da yangchen, chimi tsim, beta kaap and cheythay were in common use). They also uncovered thumb-sized mukus (mud statues) of Guru Nangsi Zilnon (a form of Guru Rinpoche subduing the enemies) in the structure’s four pillars, adding to its sanctity. Informants say that each statue was specifically designated for a particular direction and that the direction to which a particular statue belonged was carved on the boxes in which each was found.

Architecture and Artwork

The temple is a two-storey building narrowing slightly from the base to the top. It is a tall structure, quite distinct from the village buildings, both in design and location, being perched on an elevated hillock on the slopes. The lhakhang has a three meter wide area around it for circumambulation and a small kitchen next to it. The buildings appear new and bright due to the ongoing renovation work.

The first floor of the structure serves as the main temple, which is connected to the ground by a traditionally built wooden ladder. On the left of the entrance door is the gonkhang or chapel – a small room allocated solely for the local protective deities, Ap Gaypo and Aum Lham. Women are not allowed to enter this room.

Outside this chapel is the place for the altar, but no altar exists right now, since the previous altar has been removed to make room for a new one. Hence, all statues are placed on a mantle. There are statues of Chana Dorji (Vajrapani); Chenrezig (Avalokiteshvara); Jowo (Ornated Buddha); Tempa Shacha ( Historical Buddha); Chukchi Zhey (Avalokiteshvara with eleven heads); Guru Rinpoche with his two consorts by his sides; and Zambalha (Vaisravana, deity of wealth). Some religious texts, such as the Kanjur and Tenjur, are also stacked nearby.

The wall facing the entrance door is said to have housed paintings of peaceful deities, and the wall to the right of the entrance had paintings of wrathful deities, but these no longer exist. However, numerous thangkas (banners) adorn the room, hanging around the wall opposite the altar location.

The ground floor is used for multiple purposes: as a place to sit and chant mantras; to eat; perform dances; and as a dormitory when the lhakhang conducts rituals that stretch longer than a day.

Renovations involving dismantling of the entire structure were begun in the 10th month of the Bhutanese calendar in 2012, and the work is now nearing completion. The government provided Nu. 1,500,000, but this has been insufficient to complete the remaining work. Although there have been contributions from the public, these amounts are relatively small and are used for providing lunches to the laborers.

Earlier renovations saw the extension of the temple’s width in the ’80s and construction of a small extended room for the lama 6–8 years afterward. An official, Ramjam Golay, is said to have provided tools and monetary support, while the community provided labour for the temple’s widening, while the extension was the sole undertaking of the villagers.

Social and Cultural Functions

The temple is the only religious haven for the people of Dzongthang. The village witnesses numerous religious rituals in the lhakhang throughout the year, with at minimum one ritual every month.

A three day ritual, Dangpai Nyungne (snyung gnas), is performed in the 1st month of the Bhutanese calendar. Devotees gather, fast, and chant “mani” in the presence of a lam (abbot). The prayers chanted in the first two days are for the benefit of the individual devotees, while those chanted in the final day are believed to benefit the community as a whole. An offering to the local deities is also made on that final ritual day.

A ritual with the same purpose, Chunyipai Nyungne (snyung gnas), is also observed in the 12th month of the Bhutanese calendar.

Tendha tsechu (festival) is conducted in the 5th month of the Bhutanese calendar. It is a single day festival for Guru Rinpoche initiated about 10 years ago by the present Gangtey Trulku, relating to a similar festival conducted in Tibet with great fervor and reverence.

Lue Dhim, a three day ritual, is performed from the 10th–13th days of the 7th month. This ritual is specifically observed to give thanks to the local deities, as the fields have started yielding their crops, and also to seek protection from potential harm from wild animals and the forces of nature.

Other rituals are all one day events conducted on the usual auspicious dates as per the Bhutanese calendar, such as the 10th and 15th of the month.

All rituals and festivals are conducted by the community, which also bears the expenses. Sponsorship of Nyungne and Lue Dhim is a social obligation that comes in rotation, while sponsorship is sought for the other festivals. For the purpose of getting sponsors, two people, called the “Ley Tsey,” are selected from the village every year; they go around the village asking for sponsorship for the festivals and rituals.

In the past, the lhakhang did not have a lama, neither of its own nor appointed by the government. Six or seven years ago, however, the Gangtey Trulku initiated the appointment of a lama, whose tenure was dependent on the decision from Gangtey monastery in Wangdue district. A monthly salary is provided by the Gangtey Trulku, and a certain amount is also paid by the Trongsa Dratshang.

A caretaker, whose tenure is also not fixed, is chosen by the community villagers. They contribute rice and cereals to the caretaker in a gesture of payment for the services he renders to the community. The caretaker may be removed from service if his or her conduct is deemed unscrupulous.

Informant

Sonam, caretaker, Dzongthang village

Reference

Karma Phuntsho. (2013.) The History of Bhutan. Noida London: Vintage books, Random House India.

Researcher and Photographer

Choney Dorji, Asst. Lecturer, Institute of Language and Culture Studies, 2015

Description

Trongsa is one of the dzongkhags (districts) in central Bhutan located along the Thimphu-Tashigang highway. It is about eight hour drive by car, eastward from Thimphu. Trongsa proper is patterned with shops sprouting above and below the highway. The tiny town functions as a juncture to divide the highway, directing travelers north and east towards Bumthang and Trashigang, and south towards Zhemgang and Gelephu. Right below the township, on a spur, is a massive, spectacular structure, the Trongsa Dzong. The dzong sits on the slopes of the spur attracting all attention to itself. The structure can be seen from as far as Tshangkha, a village right across the ravine below, before reaching Trongsa.

History

Lama Ngagi Wangchuk (1517-54), a Tibetan Drukpa lama, who was the great-grandfather of the Zhabdrung Ngawang Namgyel (1594-1651), is believed to have travelled through the region in 1541, and while meditating in some area here, spotted a light flickering at the tip of a spur and heard sounds made by horses belonging to Palden Lhamo, the female protective deity. This point is where the dzong stands today. It is also believed that when the lama, out of curiosity, went to check out the place saw Palden Lhamo’s “soul-lake” (la tsho) and footprints of the horses. Considering this to be an auspicious sign, the lama built a small temple here, after two years, in 1543. Some say that a Tsamkhang, a “meditation place” was built. According to the informant, this temple today serves as the Gonkhang (temple of the protective deities) in the dzong.

After the arrival of Zhabdrung Ngawang Namgyal to Bhutan in 1616 and the start of his process of unification of the country soon after, the Zhabdrung felt the need for an administrative centre. The strategic location of the temple resulted in selection of the place for the construction of the dzong. Hence, in 1647, Minjur Tenpa, then the Trongsa Penlop and the future 3^rd Desi, constructed the dzong in the same spot where the temple was erected by lama Ngagi Wangchuk following instructions from the Zhabdrung; however, Pommaret claims that the dzong was first established by the Zhabdrung himself, followed by an expansion of it in 1652 by Minjur Tenpa (1990). The dzong was then called Choekoe Rabtentse dzong. The dzong was again expanded by the 4^th Desi Tenzin Rabgye towards the end of the17^th century and an additional temple of Chenrezig (Avalokiteshvara) was constructed in 1715 by the Penlop Druk Dendrup. Considerable repair works and renovations have been carried out since then – these are detailed in the following sections.

Today the dzong serves both as the administrative and monastic centre for the district. The Dzongda is the head of the district administration while the Lam Neten is the head of the monk-body (dratshang), which has 450 registered monks; however only about 200 monks actually reside in the dzong, the rest are scattered in affiliate monastic schools, temples and monasteries. The Trongsa monastic community was established by Trongsa Penlop Zhidar in 1765.

Architecture and Artwork

The dzong is a massive, overpowering five-storey structure sitting on the slopes of the spur that dips into the Mangde river. Its enormous size, traditional design and location make it distinctive from the other houses, as is the case with any other dzongs. The entire structure can be divided into four units or parts, each having numerous temples and offices. Above the dzong and the town stands the Ta dzong, which served as a watch tower in the past, but today it functions as a museum that stores the history and artifacts of the country and its leaders.

The topmost floor, generally, houses the various temples (lhakhangs); the fourth is used as lhakhangs for the lamas (abbots); and the third storey, which was earlier used as store, is now vacant. In the second storey, one will find the two Gonkhangs – one each for the male protective deity, Yeshe Gonpo and the female protective deity, Palden Lhamo; and the ground floor is also vacant. In one of the units is located the offices used for administrative purposes.

There are 25 temples (lhakhangs) in the dzong; and the most important ones, according to the informant, are the Demchog (Cakrasamvara) lhakhang, the Chenrezig (Avalokiteshvara) lhakhang and the Mithruk (Akshobya) lhakhang.

Demchog lhakhang (Cakrasamvara) was built in memory of Lama Changchub Tsondru (1817-1856), the lama who predicted to Trongsa Penlop Jigme Namgyel – the First King Ugyen Wangchuck’s father – the benefits of constructing a temple having the statues of 60 deities facing east. The paintings of Sangdue lhatshog (all the deities of the Guyasamaja cycle) adorn its walls. The temple of Chenrezig (Avalokiteshvara) bears its importance because, it is believed that, during auspicious days such as the 10^th and 15^th day of the months, the sky above it used to be filled with rainbow. The temple has the paintings of Chenrezig. The Mithruk (Akshobya) lhakhang, associated with the dead, is the temple that was first built by lama Ngagi Wangchuk before the dzong came into existence. It is believed that the soul of the dead comes to this temple, and that some strange signs are shown in this temple the night before hearing of the death of a person. Paintings of 1000 Mithruk can be found in this temple.

Other temples such as Tshepame lhakhang, Jambay lhakhang and Gaypa lhakhang can be found among many others. Each temple has statues and paintings corresponding to the lama or deity it is dedicated to. Statues of Guru Tsengye (Eight manifestations of Guru Padmasambhava) and Neyden Chugdru (16 Arhats) made of rhino horns are some important relics of the dzong.

Since its foundation, the dzong had undergone numerous repair and expansion works. The Chenrezig lhakhang was an additional temple constructed in 1715 by Penlop Druk Dendup, which was followed by a complete revamping of the entire structure, including the construction of another additional temple, the Jampa (Maitreya) lhakhang in 1771. Repair works, especially after the earthquake of 1897, have been done repeatedly during the reign of the 1^st King Ugyen Wangchuck. The Chenrezig lhakhang was renovated under the reign of the 2^nd King Jigme Wangchuck in 1927. Extensive restoration work took place in 1999 with financial and technical assistance from Austria, and was re-consecrated in 2004.

Social and Cultural functions

The dzong presently is the seat of religious and administrative functions for the district. Numerous religious rituals are conducted in the dzong throughout the year in accordance to the Bhutanese calendar, out of which some important ones are highlighted here.

The Sangdrup Tshepame Bumde, a 7-day ritual offering prayers to Amitayus, is conducted from the 9^th till the 15^th day of the 8^th month of the Bhutanese calendar. Wang (blessing) on the 15^th is also given to the devotees. This ritual is performed for the longevity of the people and the leaders of the country.

A ritual called Gonpo Jatshargi Sungchoe is performed in the Gonkhang from the 4^th till the 10^th of the 9^th month. This ritual is conducted for peace in the country and long life of its leaders. From the 13^th to the 15^th, Gonpoi Wangchukgi Sachok is performed, which is followed by Bumpa Tashi on the 23^rd. Finally from 24^th of the 9th month to the 4^th of the 10^th month, Gonpoi Wangchoe, a ritual to appease the manifestation of the male protective deity, Yeshe Gonpo is also performed.

After appeasing the deities, a Domchoe consisting of mask dances about the manifestations of Yeshe Gonpo with about 5 performers happens in the 10^th month during the 5^th, 6^th and 7^thday. This is followed by Zor Chham on the 8^th; here the mask dances performed during the Domchoe are exhibited more elaborately with additional performers (about 21 performers). On the 9^thday, the closing ritual, Duetsenshani – in which tormas (ritual cakes made mostly of flour and butter as offerings) are thrown in the river – is carried out.

A 3-day ritual, Dolma Mandrel Zhipai Sungchok, to offer prayers to Dolma (Tara) is performed on the 12^th, 13th and 14^thday of the 10^th month. Right after this, on the 15^th, Lhadak Sungchoe, a ritual to offer prayers to the local deities can be witnessed – people come and offer prayer flags to the deities.

Gonpo Torjab, a ritual of offering of tormas to the male protective deity is conducted from the 23^rd to 29^th day of the 10^th month. Prayers are offered, again, for the wellbeing of the country, its people and leaders. The tormas are offered on the last day of the ritual.

The Trongsa tsechu is then observed in the 11^th month, from the 9^th till the 11^th of the month with numerous mask dances.

A ritual of offering to the Thirteen Gods, Dechok Lhachusumgi Sungchoe, happens from the 4^th till the 10^th of the 12^th month. In the same month, a ritual similar to Gonpoi Wangchoe that happens in the 10^th month called the Lhamo Domchoe is performed during the 13^th, 14^th and 15^th day. This ritual is performed to appease the female deity, Palden Lhamo, and is followed by rituals similar to the ones that follow Gonpoi Wangchoe until the end. The long series of rituals stretches till the 9^th of the 1^st month.

In the 1^st month, from the 10^th to the 14^thday, the dratshang (monk body) is engaged Kanjur Daktshar – recitation of the Kanjur. On the 15^th, the Neten Chudruk ritual is conducted in the morning, which is followed by Sorjong in the afternoon. This is a ritual in which monks who have broken their vows are given the opportunity to repent.

A ritual, Mikthruk Bumde, dedicated to the deity which presides over death, is performed at the Mithruk lhakhang from the 12^th to 19^th of the 2^nd month. This is followed, once again, by a ritual called Gonpoi Toendoe, to appease the male protective deity, Yeshe Gonpo, from the 24^th till 29^th day.

The Zhabdrung Kuchoe is observed on the 10^th day of the 3^rd month. Prayers and offerings are made to mark the death of Zhabdrung Ngawang Namgyal.

In the 4^th month from the 8^th to 14^th day, Lhamo Bumdoe, a ritual to appease the female protective deity, Palden Lhamo, is conducted, which is presided by the Lam Neten. Simultaneously, Jigje doe is conducted at Jigje lhakhang, which is presided by the Umze, the choir master.

The dratshang funds all the rituals conducted in the dzong throughout the year. However, if people wish the dratshang to perform any ritual, the individuals have to bear the expenses for the ritual. The monks who bear certain responsibilities in the dratshang move to Kurje, Bumthang from the 1^st of the 5^th month and stay there until the end of the 7^th month. Earlier the entire monk body used to move to Jakar dzong in summer and stay there as Jakar dzong did not have its own monastic body.

The functioning of the dratshang is looked over by the Lam Neten; however, responsibilities are delegated among the monks with different ranks. The making of torma is taken care of by the Choepon (master of offerings), the gathering of people and associated tasks are handled by Kudrung (master of discipline), and the Umze is responsible for the timely conduct of the rituals. The Lam Neten, Choepon, Kudrung, and Umze are paid some amount every month by the dratshang for their services. The tenure of the Lam Neten, the Umze, and the Choepey is 3 years, except for Kudrung which is vacated annually.

Informant
Kuenlay Penjor, Acting/Officiating (Lamtshab) Lam Neten, Trongsa Dzong.

References
Pommaret, F. (1990, 2014). Bhutan. Hong-Kong: Odyssey Guidebook.
Trongsa Dzongkhag. Retrieved from www.bhutan.gov.bt/government/dzongkhags.php, December 2015.

Researcher
Choney Dorji, Asst. Lecturer, ILCS, Royal University of Bhutan. 2015

Description

At the altitude of 2600 meters, Wangdu Choling is located 1 km to the north-east of Jakar dzong slightly above the Chamkhar chu (river) and on its right bank, at a place formerly known as Samkhar. It is composed of a main complex, a temple outside and prayer- wheels.

Although the lay-out of the main complex is inspired by the Dzong (fortress), the structure is less imposing and the number of large windows make the palace a more pleasant place to live

A stone paved courtyard is enclosed on all sides by two-storey high buildings forming a rectangle (shagkhor). In the middle of the courtyard stands the main tower (Utse) – four storey high. The windows, although very narrow at the bottom of the buildings, encompass the whole upper floors, forming wall-like windows called rabsel. There were three entrance gates: one in the west, one in the north, and one in the south.

The main tower housed temples on the upper floors and apartment on the middle floors while the bottom floors were used for storing grains and armoury. Important guests, especially lamas, could also be hosted in one of the rooms of the main tower.

In the shagkhor, the ground floor was used as storage rooms, brewery, weaving rooms, and close servants’ rooms while the upper floor with its large windows had reception areas and living quarters.

One of the features of the palace is the landings or waiting-rooms which could accommodate servants and entourage. The royal family always had helpers in attendance whom they could call and who also acted as ushers for visitors. Each apartment in the Shagkhor had a bedroom, a sitting room, a small waiting room, a small store, a bathroom, and a toilet. The 2nd King’s apartment was on the southeastern corner.

The Lingkana temple is part of the Wangdu Choling palace complex.
It is a beautiful building looking like a large house 100 meters away on the North side of the palace. The temple’s foundation date is not clear. Maybe at the time of Jigme Namgyel but most probably at the time of Ugyen Wangchuck.

The Water prayer-wheels (Chukhor Mani)

There are five Chukhor Mani to the east of
the Lingkhana temple. Though the first one, closest to the palace is said to be as old as the palace, the four others were built by Ashi Choki and Dasho Ugyen Wangdi in 1964-1965.

The Lingapang Archery Range (Bajo)

On the west of the palace, the great fair of Wangdu Choling used to be held during the time of the 2nd King but the space was meant for the archery, that the 2nd king used to relish for days.

History

WangduCholingmeansthe“religiousplacewherethepowerisgathered”.Itisafittingnametocommemorate a victory (Wangdu) and the religious part of the name (Choling) was given to Jigme Namgyel by his lama Changchub Tsöngru (1817-1856) when he taught a religious discourse there.

To celebrate his victory in 1857-1858 against Tshondru Gyeltshen for the post of governor of Trongsa, Jigme Namgyel built the Wangdu Choling dzong in 1858 in the plain of Samkhar below Jakar Dzong, where he had settled camp.

In 1862, Jigme Namgyel‘s wife, Pema Choki, gave birth to their second child who was called Ugyen Wangchuck who would become the 1st King. When the Duar War concluded, Jigme Namgyal retired in 1866, passing on the seat of Trongsa Penlop to Dungkar Gyaltshen, his elder brother. During his brief retirement until 1869, he spent his life at Wangdu Choling with his family. The central tower (utse) is the work of Jigme Namgyel but extensions were added by his son Ugyen Wangchuck, the first king of Bhutan (1862-1926).

When Jigme Namgyel’s son Ugyen Wangchuck, succeeded him as the Penlop (governor) of Trongsa, he entrusted the family estate of Wangdu Choling and all its wealth to his sister Yeshe Chodron.

Although it had stood as private residence of the Trongsa Penlop Jigme Namgyel, it became Royal Palace when Ugyen Wangchuck was proclaimed the first monarch of Bhutan in 1907. Since then, both first and 2nd King used Wangdu Choling Palace as their residence.

After the death of his mother in 1884, Ugyen Wangchuck gave the Wangdu Choling dzong and its other valuable assets to his sister Yeshe Chodron and her husband. An oral story in Bumthang says that the shagkhor (enclosure of living quarters) of Wangdu Choling was built by Ashi Yeshe Chodron and not by Jigme Namgyel. Rather than residing at Wangdu Choling Ugyen Wangchuck preferred to live at Kunzang Choling Gonpa above Lamey Gonpa, and Thinlay Rabten just above Jampa Lhakhang.

Wangdu Choling in fact belonged to the king’s sister Yeshe Chodron but it came to be a royal palace at the time of the 2nd King via his 2nd marriage by a twist of history.

Ashi Yeshe Chodron suggested that her nephew King Jigme Wangchuck also marry her other grand daughter Ashi Pema Dechen, the younger sister of Queen Phuntsho Chodron, and offered them the Wangdu Choling Dzong, the family estate which Ashi Pema Dechen was to inherit from Ashi Yeshe Chodron. In 1932, the King married Ashi Pema Dechen, and took over the Wangdu Choling Dzong and established his royal court there.

The 2nd King Jigme Wangchuck planned to reconstruct Wangdu Choling Dzong in 1950-1951 but some how only the large windows were reconstructed.

After the funeral rite of his father at Kurje in 1952, the 3rd King Jigme Dorji Wangchuck moved his base from Bumthang Wangdu Choling to Paro Ugyen Pelri palace and then to Thimphu Dechencholing.

Ashi Pema Dechen the Younger Queen Mother decided to stay back on her property and lived there with her son prince Namgyal Wangchuk and three princesses Ashi Choki, Ashi Deki and Ashi Pema, who were the subsequent and ultimate dwellers and estate holder of the Dzong.

Restoration projects are now slated with a first phase concerning the whole structure.

Architectural style / school and related art works

The stone work and the wood work on the palace are magnificent. The contrast between the white-washed walls and the intricate and painted woodwork of the upper floors demonstrates a great sense of aesthetic. The pitched roofs give to the structure an impression of lightness which is a hallmark of Bhutanese architecture. In the central tower of the main complex, there are the temple of local and protective deities (gonkhang) and the fortune temple (yangkhang).

The Gonkhang has beautiful images of the Buddha, the Zhabdrung and Guru Rinpoche. The main local deity is Dralha Pungu (“Nine warrior brothers”). The paintings are blackened but represent the Eights manifestations of Guru Rinpoche and Pema Lingpa (1450-1521), the ancestor of the royal family.

The Yangkhang has images of Tsheringma (deities of Long Life) and Namsey (deity of Wealth).

The Shagkhor’s apartments are painted and decorated with exquisite religious or lucky motives. Most of the paintings date from the second half of the 20th century.

The inner northern and western gates are decorated with fine paintings of the Four Guardians, the Old Man of Long Life and mythical animals.

The Lingkhana temple is surrounded by a row of prayer-wheels and behind them, there are beautiful engraved slates. Downstairs, occupying a room, stands a large prayer-wheel.

The images in the Guru Lhakhang upstairs comprise Khenlop Chosum (Guru Rinpoche, King Trisong Detsen, and Khenpo Boddhisattva). The other statues include the deities of Long Life (Tshe-lha Namsum). It also houses a Kanjur, the words of the Buddha in 108 volumes. On the east wall, there is a Zandopelri (Guru’s paradise) with lamas of the Nyingma school: Lonchen Rabjam, Pema Lingpa, Dorje Lingpa, Jigme Lingpa. On the west wall are paintings of the Drukpa Kagyu lineage with the Zhabdrung Ngawang Namgyal in the middle.

Social cultural function

The palace complex, besides being the summer seat of the 2nd King and therefore the centre of administration, had many more functions. There was a weaving centre for the royal family, stores for prized possessions, stables, a trade market in summer when a fair was held on the flat archery range, and a place for rituals for the neighbouring Samkhar community.

In 2001, a monk was appointed as superior (kangjup) in Wangdu Choling from Trongsa monastic body as people living near by expressed their interest in having monks for the benefit of their community and there was none since the Royal Government of Bhutan (RGOB) had taken over the palace. Therefore, under the initiative of Kangjup Jampel Dorji, a school with 15 novice monks were established on 13th April 2004 and is under the Trongsa monastic community. First headed by Lam Jampel Dorji until 2012, the head is now Lam Sonam Wangchuk.

The monastic school was upgraded with 30 monks and has 4th standard, after which they have to continue their education at Trongsa dzong monastic institution.

However, even before the establishment of the school and appointment of the superior, there was a resident caretaker looked after by the royal family for daily offerings and conduct rituals in Wangdu Choling temples and the Lingkhana temples. He used to come from the monasteries of Tharpaling or Nyimalung in the Chhume valley of Bumthang.

Besides religious ceremonies performed for the nearby community of Samkhar up on request and the daily rituals, the Lingkhana temple hosts yearly a seven day ritual called Sindog Khorlo from the 21st day of the 9th month and lasting a month for the protection of the king and the country. The monks perform daily rituals in the temple but the temple does not have a temple for protective deities (gonkhang). The gonkhang is in Wangdu Choling central tower.

References
Gengop Karchung. (2013). “Wangdu Choling dzong: the masterpiece of Gongsar Jigma Namgyel”, JBS vol. 28, 73-89.
Pommaret, Francoise. (2015). “Men have titles, women have property. Note on the history of Wangdu Choling, Bumthang, Bhutan” in H. Havnevik & Ch. Ramble (eds.) From Bhakti to Bon. Festschrift for Per Kvaerne.Oslo, 395-408.

Researcher
Dr. Francoise Pommaret, Adjunct Professor, ILCS, RUB, 2011

Description

The two-storey Trong temple is located in the neighborhood of Zhemgang town, overlooking the magnificent Zhemgang dzong. It is situated at an elevation of 1955m above sea level. It overlooks the heritage village of Trong. The temple is a traditional Bhutanese stone house with an enclosed flagstone courtyard.

History

There is no written record regarding the establishment of the temple, it was probably built in the early part of the 20^th century According to oral sources, Dzongsup (guard) Karma initiated the construction of the temple and the villagers contributed labour in building a one-storey temple since there was no temple in the locality to conduct religious or other social functions. In 1980, the village headman and the people renovated and extended the temple to the present day two-storey building.

In the right hand corner of the temple is the goenkhang (altar of the protective deities) and the main deity is Palden Lhamo Remati (Shri Devi).

The oral tradition here seems to mix two stories involving two Lama Zhang.

One story has it that the deity had followed Lama Zhang Dorje Drakpa (a 12th c Tibetan lama).  Palden Lhamo Remati was believed to be the Kasung (protector) of Lama Zhang. After Lama Zhang’s departure to Tibet the deity Palden Lhamo was displeased because no one made daily offerings and rituals to appease her, so she wreaked havoc in the village. The people could not bear the wrath of the deity and they supposedly threw the statue and the deity’s belongings at the source of the Mangdechu river.

The other story is that there was a Lama Zhang in the early 18th century in Bhutan who gave his name to Zhemgang. He was killed by the villagers on the order of the Desi Druk Rabgay and the name Trong means killed.

Legend says that a statue had appeared mysteriously in Bji village under Nubi Gewog in Trongsa, and this statue was believed to be the deity Palden Lhamo. The people in Bji village had similar disturbances and misfortunes, hence they also threw the statue into the Mangdechu river. It is said that a man from Bertang/Berti in Zhemgang district, found the statue on the bank of the Mangdechu river and he took the statue home. The legend says that he also faced similar obstacles and calamities, and the village elders advised him to take the statue to Tagma Gonpa.

As per oral sources, a century later the statue was brought to Trong temple from Tagma Gonpa. At that time late Chatral Sangye Dorje Rinpoche (1913-2016) was residing in Zhemgang, and one day the Rinpoche in a clairvoyant insight told the caretaker that a guest would arrive at sunrise the next day, and that the caretaker should keep tea ready to welcome him.

Early morning the next day, Chatral Rinpoche informed the caretaker that the guest has arrived, and the caretaker saw the Rinpoche pick something from the window and place it in the altar. Later, Chatral Rinpoche revealed that it was Palden Lhamo Remati, Lama Zhang’s Kasung. The Rimpoche told the people to take good care of the relic as it would protect the village from natural disasters, diseases, and misfortunes. This precious relic was never shown to the public.

Architecture and Artwork

Trong lhakhang is a two-storey building in traditional Bhutanese architecture enclosed by a 2m high wall. At the entrance hallway are a few prayer wheels and a small store room. The main altar is on the first floor.

In the main hall, set against the wall is an ancient altar. The main statue inside the altar is Guru Nangsi Zilnon (semi-wrathful Padmasambhava) with his two consorts Yeshey Tshogyal and Mandarava. On Guru Rinpoche’s right are the statues of Sangay Tenpa (Sakyamuni Buddha) and the first Zhabdrung (17th c.). On the left of Guru Rinpoche are statues of Tshepamey (Amitayus, the Buddha of long life), and Chukchizhay (11-faced Avalokiteshvara). The room adjacent to the temple has numerous small statues of Buddha and Chenrezig (Avalokiteshvara), offered in honour of the deceased by their family members.

The temple walls are adorned with beautiful murals of Gongdu Lhatshog (wrathful form of Gongdu Heruka cycle) on the left, and on the right-side wall are paintings of Guru Tshengay (the 8 manifestations of Guru Rinpoche), Tshela Namsum (Three Deities of longevity), and a statue of Lama Zhang. The paintings of Nep (host/local deity) Kyebu Lungtsen and Nep Dorji Rabten are also there on the wall.

Social and Cultural Functions

Trong lhakhang is the center of religious, social, and cultural functions in the Zhemgang town. The new born babies are brought to the temple for blessings. The villagers seek the protection of Palden Lhamo Remati in difficult times, or when people have some projects to accomplish. The caretaker makes daily soelkha (ritual offerings) to Palden Lhamo and the local deities.

A religious committee coordinates the collection of cash donation or in kind from the community to organize the ritual offerings and other social functions. The gomchens (lay-practitioners) and gelongs (monks) perform the rituals. The following rituals are conducted in the temple throughout the year:

• From the 13^th-15^th day of the 1^st month of the Bhutanese calendar, there is a Nyungney (fasting and prayers).
• On the 10^th day of the 3^rd month of the Bhutanese calendar, people offer ritual on the Zhabdrung Kuchoe (the death anniversary of the Zhabdrung)
• In the 4^th month of the Bhutanese calendar, Zhingdrup (sukhavati, ritual for well-being) is organized
• On the 18^th day of the 5^th month of the Bhutanese calendar, a ritual offering called Palden Lhamo’s Tshogbum (100,000 offerings to Palden Lhamo) is conducted
• On the 4^th day of the 6^th month of the Bhutanese calendar, a ritual offering is organized on Drukpa Tshe Zhi, (the first sermon of Lord Buddha).
• From the 13^th-15^th day of the 7^th month of the Bhutanese calendar, Nyungney (fasting and prayers) is organized.
• From the 15^th– 22^nd day of the 9^th month of the Bhutanese calendar, there is a recitation of the Kanjur.
• On the 18^th day of the 10^th month of the Bhutanese calendar, again Palden Lhamo’s Tshogbum (100,000 offerings to Palden Lhamo) is conducted.

Informant

Lopen Chompala, 49, caretaker, Trong Temple.

Researcher

Tshering Yangki, Asst. Lecturer, College of Language and Culture Studies, Taktse, Trongsa, Royal University of Bhutan, 2017.

Description

Jatshabi is a private lhakhang, owned by Lopen Phuntsho and his family. It is located at Jatshabi, consisting of just one household under Shingkhar gewog. It is connected by a feeder road and takes approximately 4.5-hour drive from Zhemgang main town. From the road end, the temple is 1.5-hour walk through the beautiful valley of Yombung and Jatshabi.

History

The date of the establishment of the temple is unknown. According to oral sources, a Buddhist practitioner named lama Kelzang had built the temple, and that the temple is more than a century old. Not long ago, Yombung lama from the Yombung temple near Shingkhar village renovated the lhakhang, and he expanded the temple to create space to conduct rituals and other religious events. The wall paintings in the temple were also restored at the same time. Unfortunately, the owner does not remember the exact year of the renovation. He says that the renovation was probably done more than 20 years ago, which approximates to the late 1990s.

Initially, the temple and the living quarters were adjoined. Later, the owner of the lhakhang constructed a house with the help of his father in-law. The family, now, lives in the house that is set apart from the main temple.

Architecture and Artwork

The lhakhang is a two-storey traditional building made of wood and stones. The religious objects in the temple are statues of Buddha, Guru Rinpoche, and Zhabdrung Ngawang Namgyal. The lhakhang has beautiful wall paintings of Guru Tshengay (eight manifestations of Guru Rinpoche), Oepamey (Buddha Amitabha), Gyalwa Rig Nga (the Five Buddhas of Wisdom), the Zhabdrung, and Chukchizhay (11-faced Avalokitesvara).

The guardian deity of Jatshabi temple is Palden Lhamo (Shri Devi/Mahakali). In times of sickness, or any problems that the villagers face, they always seek the protection of the guardian deity.

Social and Cultural Functions
The temple is the centre of the community’s social and cultural activities. The owner hosts a number of religious activities every year.

The biggest event is the Lhabab Duechen (the descending day of Lord Buddha), which falls on the 22^nd day of the 9^th month of the Bhutanese calendar. The people from nearby villages sponsor this event, and the lay practitioners from the village perform the ritual.

On other days, the owner is responsible for the daily rituals and offerings.

Informant

Lopen Phuntsho, 64, owner, Jatshabi

Researcher

Chencho Tshering, Associate Lecturer, College of Language and Culture Studies, Taktse, Trongsa, Royal University of Bhutan, 2017.

Description

The Yombung lhakhang is a traditional two-storey building, owned by Lopen Jimba and his family. Lopen Jimba inherited the temple from his family. It is situated on the way to Jatshabi lhakhang, at a place called Yombung, and there are only two households in Yombung under Shingkhar gewog. It is approximately 4.5-hour drive on a feeder road from the main Zhemgang town, and the temple is further 10 minutes walk from the present Shingkhar gewog office.

History

The exact date of the construction is unknown, but according to lopen Jimba, who is 99 years old, said that the temple is more than 150 years since its initial construction. The informant said that a man called Chador and his siblings Karma and Pelden built Yombung Lhakhang. Chador was both a carpenter and an astrologer in the village.

Initially, the temple was a private property and the family used to conduct daily rituals and other religious functions at the temple. Later, the family converted the temple into a community lhakhang to benefit the village community. Sadly, there was some disagreement amongst the village community (2014-15), hence the temple was again handed over to the owner.  A new community temple called Pising Zowa Chador lhakhang was built, and all the religious and social events are now held in the new temple. The new temple is approximately 5 minutes’ walk from Yombung lhakhang.

Architecture and Artwork

The religious objects in the temple are statues of Guru Rinpoche, Chukchizhay (11-faced Avalokiteshvara) and Zhabdrung Ngawang Namgyal. The temple is adorned with wall paintings of Guru Tshengay (eight manifestations of Guru Rinpoche) and the lineage of Zhabdrung Ngawang Namgyal. The guardian deity that the family worships is Gonpo Maning (Mahakala). The family offers daily soelkha (ritual) to the guardian deity for protection.

Social and Cultural Functions

When the temple served as a community lhakhang, a five-day festival was conducted from the 11^th to the 15^th of the 10^th month of the Bhutanese calendar.

At present, the temple organizes Nyungney (prayers and fasting) besides the daily rituals.

The village community participates in one important religious activity called Choekhor at the temple. The villagers carry the sacred Buddhist scriptures and walk through the village to bless the place, bless the people, and bless the village with a good harvest. The villagers assemble for this occasion with deep faith and commitment. This Choekhor is held twice a year: either on the 3^rd or the 4^th month, and on the 6^th month of the Bhutanese calendar. Though the temple is a private property, it is still a place of worship for the community.

Informant

Lopen Jimba, 99, owner, Yombung

Researcher

Chencho Tshering, Associate Lecturer, College of Language and Culture Studies, Taktse, Trongsa, Royal University of Bhutan, 2017.

Description

Trong village is situated at an elevation of 1955m above sea level.  The village is adjacent to Zhemgang main town, and it is built on a hill that overlooks the majestic Zhemgang Dzong. The village has a cluster of 27 households, and a cobblestone footpath runs through the village horizontally. Each house is a two-storey traditional stone structure with wooden windows and shutters. The whole area of the village spans over 2.3 acres and the population in the village is approximately 111 people.

History

The actual origin of the name Trong remains unknown. According to oral sources, a master from Kheng Gongphu, Lama Zhang founded the Zhemgang Dzong in the late 17^th century. He is believed to have been assassinated there, and therefore the place came to be known as Trong (an honorific term for assassination). Another supposition is that Trong is a corrupted version of khrong, which means a village in Khengkha (the local language).

The oral sources say that Trong settlement has existed for more than a century, and thus holds historical significance. It is even believed to predate the Zhemgang dzong.

Architecture

The village sits on a hilltop and is a testimony of remarkable Bhutanese architecture and masonry skills. Each house is uniquely crafted out of stones, wood and mud. According to oral sources, the master builders of Trong village were not skilled in constructing mud rammed houses, but they showed their expertise in carving stones to build houses. The evidence of their masonry skills is there in the distinctive architecture of the houses in Trong village.

Another striking feature of the houses in Trong village is its resistance to earthquakes despite having been built on rocks without proper foundations.  It is said that the foundations do not exceed 30cm (Chugang – forearm length), and the elders attribute this to lack of tools in olden days. The trees and grasses in the village are believed to be the stabilizing factor of the village.

Significance

The houses in Trong village have retained their original traditional architecture, but many are in dilapidated states. Some concrete structures have come up over the years, and these modern buildings are a threat to the village’s unique identity. The village elders recollect that shingles were used for roofing and now CGI sheets have replaced them.

In September 2014, His Majesty the Fifth King visited Trongsa dzongkhag and also Trong village. On his visit, the king inspected the houses in the village and was amazed by the remarkable masonry skills of the builders. The king commanded that the Dzongkhag administration preserve Trong as a heritage village to retain its traditional beauty.

The 27 households were granted land in the vicinity of Zhemgang municipality by His Majesty in September 2016, so that the villagers are not deprived of modern amenities and economic development. The Zhemgang dzongkhag has plans to promote eco-tourism to preserve Trong as a traditional Bhutanese village

The village’s unique masonry skills and stability have even attracted researchers from Japan to study its distinctive architecture and the landscape of Trong village in Zhemgang district.

Informants

Japha Dorji, 52, former mangmi

Tashi Choden, 34, Thromde representative

Researcher

Tshering Yangki, Asst. Lecturer, College of Language and Culture Studies, Taktse, Trongsa, Royal University of Bhutan, 2017.

Description

Baza Guru Dungkhor lhakhang is located at a distance of 10 minutes’ drive from the heart of Zhemgang town. The temple is located on a slope, overlooking the panoramic view of the Zhemgang settlement.

The temple is a one-storey traditional Bhutanese house with many small prayer wheels (dungkhor) embedded into the exterior wall of the main temple. A flagstone path goes around the temple for people to spin the prayer wheels and circumambulate the temple. Temporary dwellings are built a few meters away from the temple, and the nuns from nearby villages live in those dwellings.

History

According to oral sources, this temple is believed to be the first Baza Guru Dungkhor in Bhutan, and it was built around 1960s, after the Chinese occupation of Tibet. When China invaded Tibet in 1959, many high lamas fled Tibet and they passed through Zhemgang district. The caretaker Angay Tandin, 89 years old, said that the temple was constructed by Longchoe from Kheng Buli as per the prophecy of the three high lamas namely Chatrel Sangay Dorji (1913-2015), Polo Khenpo Dorje (1896- 1970) and Dudjom Rinpoche (1904-1987). It is believed that when the three Rinpoches reached the present site of the Baza Guru Dungkhor temple, they declared that a Baza Guru Dungkhor (large prayer-wheel with Guru rinpoche’s mantra) should be built in the future to bless the people of Zhemgang. Therefore, the people of Kherig Namsum (three divisions of Kheng: Upper, middle and lower) jointly built the temple for the wellbeing of the people of Zhemgang and the sentient beings. Aum Kencho Wangmo from Pemaling village in Zhemgang gifted an acre of land to build the temple.

Architecture and Artwork

The main relic of the temple is the big prayer-wheel with Baza Guru mantra. The Baza Guru mantra was handwritten by Chatrel Sangay Dorji himself, hence the temple is known as Baza Guru Dungkhor lhakhang. It was consecrated by Chatrel Sangay Dorji and Polo Khenpo Dorje. In the corner is a small shrine with a statue of Guru Rinpoche. The painting on the wall is that of Guru Rinpoche, but the colors have faded. The then people’s representative of Zhemgang, Dasho Sangay coordinated the construction of the temple.

Social and Cultural Functions

The temple does not conduct many rituals, or other social functions. The temple organizes monthly rituals on Yarngo, which is the 10^th day of the Bhutanese month, and on Marngo, 15^th day of the Bhutanese month. The temple is registered under the Dratshang Lhentshog (monk body) of Zhemgang dzongkhag and therefore, the caretaker is appointed by the dratshang on rotation.

Informants

Jafag Dorji, villager

Angay Tandin, caretaker

Researcher

Dawa Zangmo, Asst. Lecturer, College of Language and Culture Studies, Taktse, Trongsa, Royal University of Bhutan, 2017.

Description

Tagma village is located on the Zhemgang-Gelephu highway, on a hill top facing the Jowo-Durshing mountains (the Black Mountains). It is exactly 56 kilometers south of Zhemgang Dzong.

Legend has it that the village got its name from a female tigress (Tag-mo) that frequented the hill, killing inhabitants and domestic animals. An Assamese saint was said to have visited the village and tamed the tigress by feeding her with milk.

According to oral sources, when the kudung (bodily remains) of the saint, Terton Pema Lingpa (1450-1521) was brought from Tamzhing in Bumthang, much commotion had ensued while bringing the bodily remains, and on the way many people claimed to have seen a tigress giving birth to a cub. So, the place was referred to as Tagma, and overtime the place came to be known as Tagmala. Recently, the 11th Peling Sungtrul Rinpoche (the Speech incarnation of Pema Lingpa) renamed the place as Samten Tharpa Choling.

History

The oral sources say that the temple was first established in the 16^th century. The location of the temple is above a cliff that looks like the head of an elephant. Guru Rinpoche prophesied that there would be peace and security in the country if the bodily remains of Terton Pema Lingpa were kept near the projection that resembles an elephant’s head. Years later, the present temple was built on the same spot.

There are different oral and written sources that conflict about Pema Lingpa’s Kudung. According to oral sources, the third Desi Choegyel Minjur Tenpa (mid 17th century) had tried to take the bodily remains of Pema Lingpa from Tamzhing, Bumthang to Punakha Dzong (which was the capital then). But Tamzhing Choje Kencho Tenzin (hereditary religious head and a descendant of Pema Lingpa) had secretly switched the bodily remains of Thugsey Dawa Gyeltshen (Pema Lingpa’s son) with that of Pema Lingpa. And then the Tamzhing Choje brought Pema Lingma’s remains to Tagma Gonpa. Presently, the kudung (the bodily remains) in Punakha Dzong is believed to be that of Thugsey Dawa Gyeltshen, and not of Pema Lingpa’s. Another side of the narrative is that Pema Lingpa had visited the present location and may have prophesied that his bodily remains should be brought to the present Tagma Gonpa.

In fact the written sources state that Pema Lingpa had built the Tagma Gonpa. He dedicated the temple to the protective deity Palden Lhamo, so that the villagers of Tagma and the nearby areas are protected from wild animals like tigers and elephants that roamed the forest of Tagma.

One oral source says that the kudung was kept in Tagma Gonpa for two centuries, until the Tamzhing Choje Kencho Tenzin and Trongsa Penlop Ugyen Phuntsho (mid-19th century) removed the Kudung from Tagma Gonpa and installed the kudung in Yungdrungcholing Palace, Lanthel gewog, Trongsa district. Another oral source contends that it was Dasho Phuntsho Wangdi’s son, Lama Pepung Khyentse who took the bodily relics out of Tagma Gonpa around 1970 to Yungdrungcholing Palace. Despite different narratives, the kudung of Pema Lingpa is still housed at Yungdrungcholing Palace today.

The Tagma Dung’s descendants used to be the caretaker, but in 2014 the community offered the temple to the 11^th Peling Sungtrul Rinpoche.

Architecture and Artwork

The two-storey temple that faces the gigantic Black Mountains is surrounded by a courtyard. On the ground floor, there are prayer wheels with a small shrine in the corner. On the upper floor, the kudung of Pema Lingpa was once kept along with statues of Chenrezig (Avalokiteshvara), Guru Rinpoche, Tara (Jestun Drolma), Chana Dorji (Vajrapani), and a statue of Pema Lingpa. In 1977, Lama Thredru Nima painted the murals inside the temple, and the Tagma Dung organized and sponsored the paintings.

Social and Cultural Functions

Besides the morning and evening offerings, appeasement rituals to the protective deities are performed daily.

On the 3^rd day of the 1^st month of the Bhutanese calendar, the death anniversary of Pema Lingpa is observed.

On the 10^th day of the 3^rd month of the Bhutanese calendar, rituals are performed on the Zhabdrung Kuchoe, the death anniversary of Zhabdrung Ngawang Namgyel.

At present, there are 15 gomchens (lay practitioners), four monks and a lama (head of the monk) who look after the temple.

Informants

Lam Tsheltrim Tenzin, 41, Tagma

Kuenzang Wangmo, Tshogpa, Tagma

References

Choney, D. (2016). YungdrungCholing Palace. Bhutan Cultural Atlas. Thimphu:Kuensel

Corporation Ltd. (www.bhutanculturalatlas.org).

Tagma Gonpa (n.d). Retrieved from http://www.zhemgang.gov.bt/wp-   content/uploads/2004/10/Tagma-Goenpa-pdf.

Researcher

Dawa Zangmo, Asst. Lecturer, College of Language and Culture Studies, Taktse, Trongsa, Royal University of Bhutan, 2017.

Description  

Tagma Eulpa lhakhang or Tagma temple is in Tagma village, Trong gewog, Zhemgang district. It is a 10-minute drive from Tingtibi town, approximately 65 kms from Zhemgang main town.  A 500-meter feeder road wends its way off the Zhemgang-Gelephu highway to the temple. It is located on a hilltop facing the Jowo Durshing mountain range. The name Tagma refers to tag (tiger) ma (female) that roamed the valley and preyed on domestic animals.

History

The oral sources say that the Tagma temple was founded by the Tagma Dung; unfortunately, there are no written documents regarding the establishment and the actual founder of the temple. According to Lham Dorji, the Tagma Dung originated from Ura Dung Nagpo, the lord of Ura village under Bumthang district (dung refers to the patrilineal noble families, used as a title of an adult male noble household). Ura Dung Nagpo was believed to have descended from the sky to fulfill the wishes of the people of Bumthang, and later his clans spread to several parts of central Bhutan. Another theory that Lham Dorji presents is that the Tagma Dung is a descendant of Lhasey Tsangma, a son of the Tibetan King Thrisong Deutsen (755-804, who took refuge in Bhutan), and he is believed to be the origin of many noble families of the eastern and central parts of Bhutan.

Dorji (an 80-year-old man), the present caretaker of the temple says that Tagma Dung’s family used to live in a traditional three-storey house. The ground floor was used as a store and the main altar was on the first floor.  Many religious activities and offerings to the guardian deity Palden Lhamo (Shri Devi /Mahakali, the Female Dharma Protector) were conducted on the first floor. The second floor was used as the family’s living space and for other social gatherings. Dorji believes that since the altar was on the first floor, whenever the family had gatherings on the second floor, the movement made the filth and dust to fall through the cracks of the wooden floor, defiling the altar of Palden Lhamo. As a result, it is believed that the Tagma Dung’s family members fell sick and faced obstacles for many years.

According to oral sources, a lama had come from Chodrak Gonpa in Bumthang to collect grains from the people of Tagma (as was the practice in those days), and he met Dung Yeshi, a descendent of the Tagma Dung. Dung Yeshi sought divination from the lama to understand why there was much misfortune in his household, and the lama told the family that they have defiled the deity Palden Lhamo. So, the lama advised Dung Yeshi to relocate Palden Lhamo’s shrine to an appropriate place, and thus Dung Yeshi is believed to have moved the temple to its present location.

Earlier, the people of Tagma used the place (the current location of the temple) to slaughter cattle and other domestic animals for consumption. The lama told the people of Tagma to construct a temple on the very place for the well-being of the people and all the sentient beings. Dung Yeshi and his family contributed the fund and the people of Tagma helped with the construction of the temple. After the temple was completed the deity Palden Lhamo was moved to the Tagma lhakhang. At present the temple belongs to the Tagma community, and is not a private property of the Tagma Dung.

Architecture and Artwork

The two-storey temple is built in traditional Bhutanese architecture with mud, stones, and wood. The ground floor of the temple is used as a store and the first floor is used as the main altar.

The Tagma Eulpa lhakhang is sacred because of the deity Palden Lhamo. The main relic in the temple is a wall painting of Palden Lhamo (Shri Devi / Mahakali, the Female Dharma Protector) in the goenkhang (altar of the protective deities) of the temple.

In the main hall, a statue of Guru Rinpoche is in the middle (donated by Tshering Dorji of Tagma Village) flanked by the statues of Zhabdrung Ngawang Namgyel and Buddha Shakyamuni on the right, Jampelyang (Manjushri, the deity of Wisdom) and other small statues are on the left of Guru Rinpoche (donated by the Tagma villagers).

Beautiful paintings of Guru Rinpoche and his two consorts Khandro Yeshe Tsogyel and Khando Mandarava, and Buddha Shakyamuni are on the walls in the temple. A painting of the four Guardians (cardinal directions): Eul-Khor-sung (East Dhritarashtra), Chen-Mig-Zang (West Virupahsha), Nam-Thoe-Sey (North Vaishravana), and Pha-Kay-Po (South Virudhaka) adorn the entrance of the temple

Social and Cultural Functions

Currently, the Tagma temple hosts three major events yearly. A Zhingdrup is conducted on the 17th day of the 1st month of the Bhutanese calendar. The ritual is presided over by the Tang Rinpoche, Choney Rangdrol (originally from Kham, Tibet).

A Tshechu or one-day ritual offering is held on the 15^th day of the 5^th month of the Bhutanese calendar.

On the 15^th day of the 10^th month of the Bhutanese calendar, the temple hosts a one-day prayer Tshechu. Gomchen (lay practitioners) and gelongs (monks) conduct rituals for the well-being of the community. Whenever there are social functions and ritual ceremonies, the Tagma and Tingtibi people collect donation and grains to conduct the rituals and other social gatherings. The village community congregate and pray to gain merit, to cleanse defilements, and pray for the well-being of the community.

Informant

Dorji, caretaker, Tagma

References

Dorji, L. (2005).  The historical anecdotes of Kheng nobilities. Journal of Bhutan Studies, 13, 31-59.

Tshewang, L. P. (2008). Druk gi gyelrab (History of Bhutan). Thimphu: KMT. 

Researcher  

Sangay Thinley, Lecturer, College of Language and Culture Studies, Taktse, Trongsa, Royal University of Bhutan, 2017.

Description

Dhangkhar lhakhang is 7km south of the Zhemgang Dzong and can be reached by a farm road. The temple is located on the right side of Dhangkhar village. The farm road leads to Dhangkhar temple first and ends at the village.

Dhangkhar lhakhang is a two-storey traditional Bhutanese house built right beside the farm road. The lhakhang is enclosed within an old wall. There is an old cypress tree in front of the temple, and a stone next to the temple that contains the footprint of Guru Rinpoche. And on the left side of the temple at the entrance is a big prayer wheel.

History

The date of the construction and the founder of the temple are unknown, but the local sources say that it was the seat of Pema Lingpa (1450-1521) who visited and blessed many places in Zhemgang. The community still practices the Peling tradition of Buddhism (Peling Choelug).

According to oral sources, the village was named Dhangkhar (dhang means clear, khar means clear/immaculate in the Kheng language) because the early morning sun rays from the Rewotala peak fall on the village, hence the name.

Dhangkhar lhakhang is one of the oldest temples under Trong gewog. It is believed that in the mid 8^th century, Guru Rinpoche is said to have visited Dhangkhar on this return from Ugyen Drak in Nabji after settling the dispute between the kings, Nawoche and Sindhu Raja. He left his footprint on the stone which is on the right side of the temple.

The oral source said that earlier the temple was below the farm road and it was a one-storey temple. In the 1980s the temple was shifted to the present location upon the advice of Kunzang Thinley, the former Lam Neten of Zhemgang because there was not enough space for religious and other social functions. The whole community was involved in the dismantling and in the reconstruction of the new temple. Ap Sangay says that the temple was rebuilt around 1982.

Architecture and Artwork

Dhangkhar lhakhang is a two-storey temple built in the traditional Bhutanese style and it is surrounded by a wall. The main altar is on the first floor and the ground floor is used as a storeroom during the funeral rites. There is a separate room attached to the right side of the temple and this room is used as a kitchen and also as a torkhang (room for preparation of ritual cakes) during religious festivals.

The sacred objects in the temple are a statue of Guru Nangsi Zilngon in the centre, a statue of the Zhabdrung Ngawang Namgyal (1592-1651) on the right side, and the historical Buddha (Shakyamuni) on the left side. The Guru Nangsi Zilngon’s statue was already there in the old temple, but the other two statues were added after the temple was shifted to its present location.  Inside the temple there are no wall paintings, and the temple is more like a traditional Bhutanese house.

Social and Cultural Functions

Ap Sangay is the current caretaker of the temple and he has been for over 50 years. He takes care of the daily offerings and the community takes care of other big rituals and offerings. The rituals are conducted by the gomchens (lay-practitioners) of Dangkhar village. The community practices Peling tradition and performs the following activities.

• From the 13th – 15th day of the 1^st month of the Bhutanese calendar, Nyungney (fasting retreat and prayers) is sponsored by the community.
• From the 8^th – 10^th day of the 4^th month of the Bhutanese calendar, Kanjur (Buddhist Canon) recitation is conducted.
• From the 8^th – 10^th day of the 7^th month of the Bhutanese calendar, Nyungney (fasting retreat and prayers) is sponsored by the community.
• From the 13th – 15^th day of the 7^th month of the Bhutanese calendar, Baza Guru Dungdrup/ Mani Dungdrup recitation is organized.

Informant

Ap Sangay 70, Caretaker, Dhangkhar Lhakhang

Researcher

Pema Youden, Asst. Lecturer, College of Language and Culture Studies, Taktse, Trongsa, Royal University of Bhutan, 2017.