The most significance and opening mask dance of Joenla Ugyen Gatshel Lakhang, Radhi, Tashigang Dzongkhag is Phag cham (ཕག་འཆམ) or the Boar Dance. It is said that Phag cham was composed in the 15th century by Terton Rigzin Pema Lingpa was looking for a suitable place to build a monastery. It is said that, Terton Rigdzin Pema Lingpa had a vision, where Yidam Dorji Phagmo (ཡི་དམ་རྡོ་རྗེ་ཕག་མོ) or Vajravarahi, the board headed deity performed the dance and told him that he should learn this dance and perform it during the consecration ceremony of the temple. Pema Lingpa remembered the steps of the dance even after he woke up from the visionary dream. He wrote down the steps and made his followers learn the dance. To mark this auspicious occasion, Terton Rigdzin Pema Lingpa introduced the Boar Dance as the first one in the series of mask dances performed during the consecration ceremony of the monastery.
This sacred dance later came to be known as Phagcham. The foundation of the Tamzhing lhakhang is also said to have been dug by a boar, which is why the Phala Choepa festival was named. It is said that the pig borrowed deep into the soil and unearthed for the construction of temple.
(Bardo cham) the intermediate mask dance significance
Bardo Dance is one of the most popular of the Kater Datang Cham or 'Pure Visionary Dance of Treasure Revealers'. Called the Bardo Raksha Mangcham or the 'The Group Dance of Intermediate Sate', this performance was originally revealed by Terton Karma Lingpa in the 14th century based on his treasure text known as karling zhitro. The Bardo is the state where the departed spirit exists with mental body (yid-lue) for a period of forty-nine days following death and before the next rebirth according to the Bardo Zhitro, a text written by Terma Karma Lingpa.
According to Vajrayana tradition, there are five kinds of liberation ls such as seeing the sacred dance or movement, hearing the sacred chanting, wearing the prayer cord, touching the sacred objects, amd taste of the sacred relics. this work by Karma Lingpa illustrates the first of these types of liberation. This is a very complex and intricate dance that takes more than two hours to perform. The performers sit in two rows as they dance one at a time, allowing them much needed rest. An Ox-headed dancer leads the right hand row while the stag-headed dancer leads the left.
The significance of this dance is to remind people to be mindful in their actions during day-to-day life, as each choice has karmic effects. These effects will accumulate throughout life and then determine the nature of the next rebirth. The Bardo Cham illustrates the impermanence that surrounds all beings, and the ever-present reality of death. Specifically, it illustrates what happens during the Intermediate State, and how the deceased spirit undergoes judgment as the result of actions during life.
During the course of the dance, the Lord of Death, an emanation of Avalokiteshvara/Chenrigzee, arrives, carrying a karmic mirror in his hand. He is accompanied by two other figures: a White God on the right side and a Black Demon on the left. The Lord of Death,( Shinje Choki Gyalpo) enters the ground from the dance chamber and an orchestra of long and short trumpets, drums and bells lead the procession. The White God and Black Demon represent the virtuous and non-virtuous, both mind and actions. The White God, Lha Karpo, tries to support the deceased so that they are taken to the pure land, but the Black Demon (Dre Nagpo tries to interfere, encouraging the Lord of Death to banish the evil-doer.
Twenty-eight dancers comprise the full retinue, all of whom wear masks depicting different animal faces. Except for the fearful and aggressive Black Demon and the Lord of Death, all the masks have peaceful expressions. As the deceased encounter these animal faced beings in the Bardo, the beasts attempt to disrupt their journey on to the next rebirth. This dance explains and demonstrates how the animal faced guardian deities in the Bardo State judge of the deceased's evil and virtuous deeds.
The lord of the death wears a res mask crowned with five skulls and with two long hanging bannera dangling from the ears. Black demon wears a terrifying black mask along with a black suit, with wild black hair and string of bells that cross his chest. The sounds frighten sinful persons when be moves during the fast paced and aggressive dance he performs. The white god wears a peaceful white facemask clean clothes, and carries crystal beads in his hand.
Twenty-four dancers wear knee-length yellow silks with ornate patterns and each dancer has their own different mask. The dance master wears the red Ox-headed mask and represents the emanation of Manjushri, the embodiment of wisdom. He plays a very crucial role, serving as the main mediator between the Lord of Death and other deities. He is the first dancer who enters the compound. There are three additional attendant dancers—the Monkey-headed, Snake-headed, and Hog- headed —who play an important role in the search for the sinful and virtuous man. The Monkey-headed dancer carries the scale to weigh the white and black pebbles that represent the good and evil deeds done by the deceased.
The Snake-headed dancer carries a mirror to reflect the karma of deceased, and the Hog-headed dancer carries a counting board to keep the tally that will determine the dead person's fate. There are also two human characters. One is a sinful man wearing black clothes and a black mask, while the other, the virtuous man, has a white mask and white costume. The sinful man is called Nyelbum and virtuous man Khimdag Pelkid. It is said that Nyelbum belongs to a low level family, having an evil mind and many children in his lifetime, whereas Khimdag Pelkid is pious man that comes from a noble family.
The afterlife is presented much like a court proceeding, beginning from the opening of the case to the final verdict. Viewers watch the process of judgment played out before the Lord of Death. First, the sinful man
is brought forth to be judged. During this procedure, the Ox-headed dancer reports to the Lord of Death about the sinful man and his deeds during life.
Following a thorough examination, he is sent to the lower realm represented by a strip of black cloth. Before he is sent to the lower realm, the Lord of Death reminds him that it is because of his own negative karma that he is being sent to the lower realm, where his negative karma can be purified after suffering as retribution for his acts. Much like a criminal he is free after his term is over. As the virtuous man is judged and found to have undertaken acts of positive karma, following his judgment, he is sent to the pure land with goddesses, carrying a white strip of cloth.
In this dance scene, twenty-four different animal-headed masks are employed: the Ox- headed (Raksha lango), hog, garuda, lion, Raven, bear, hind, hound, elephant, lake ox, domestic ox, yeti, gorila, goat, sheep, deer, hoopoe, dragon, crocodile, bat, red garuda, monkey, snake, and stag. They are arranged as in the photo.
Jaga Tarshi, widely known as Jaga Darshi (Flagpole) because of his height (7 Feet 2 inches) is known for being the fastest and most famous messenger in Bhutan. He was capable of covering a distance of over 200 km in a single day with just a pair of ‘tebtem’ or cowhide sandals in those days.
Hailing from Wang Debsi, nine kilometers from Thimphu, Jaga Tarshi was a descendent of Pila Goenpa Wangyel of the brothers, Pala and Pila fame. Pala and Pila were “nyagoe” or strongmen known for their size, strength and bravery. They served various Zhabdrung reincarnates and Penlops as warriors and bodyguards in the late 18th and early 19th century.
At the age of 20, Jagar Tarshi was taken to Bumthang to serve the Second King, His Majesty Jigme Wangchuk by Gongzim Sonam Tobgay Dorji. He served as a Zhinghap and among his many duties he was an attendant and personal bodyguard to the Second King.
His other important job was to deliver the Kings personal message from Bumthang to Thimphu and Paro in a single day. His journey would start at the crack of dawn when he would be handed the confidential Kasho. He would take various shortcuts such as crossing over the Hele La pass to Thimphu from Wangdue. He would reach Tashichhodzong just before the main gates of the Dzong were shut for the night.
Jagar Darshi continued his service in the Third King's court and in 1950 was taken to serve as the Dzongsap for Thimphu. He, however begged out of his duty since he had very limited reading and writing ability. He was then sent to Phuentsholing as a ‘Lapon’ or supervisor on the first vehicle road being built from India to Bhutan. Infact, the man who wielded the first hoe into the ground at the Phuentsholing gate to start the Thimphu-Phuentsholing highway was Jagar Tarshi.
An anecdote Jagar Darshi recounted in his later years about his favorite duties was to accompany the King on his many horseback journeys. The King loved horses and had them brought in from places as far away as Kham in eastern Tibet. Dashi’s job was to boost or lower the King from horseback and walk alongside the riding King at all times. While navigating narrow trails on steep cliff sides he held the King and guided the horse through the tough terrain, a job his height and strength allowed him to do with ease.
Another interesting story was that, along with a few friends he initiated and built the first school in Thimphu at Desyphakha where the present day Banquet Hall is located. His son Rinchen Tshering, was enrolled there amongst the first batch of students. The students were taught in Hindi and some English and later, after grade 4, they were sent to India to continue their studies.
Most of the Chhazhumis including Jagar Dashi who have exchanged their swords for prayer beads were not only the last of their generation but the end of an era.
Perfect TMX TMT pays tribute to such outstanding figures in history who have contributed indelibly and uniquely to the noble cause of nation building.
**For more information please feel free to visit Bhutan Postal Museum.
Nyala Duem legend- Bhutanese version of ‘Maleficent’ losing its allure
Not very long ago, the day in a Bhutanese home would usually end with children gathered around a fire listening to stories from the elderly. But this tradition is already disappearing along with folklore that kept children interested and occupied. One such lore is the legend of the maleficent demoness, the Nyala Duem, that lived along the Wangdue-Trongsa highway.
As dusk settles, people would rush home fearing the Nyala Duem in the past. It is believed that the demoness lived in the concave mountain, among the dark forest, opposite the Chendibji River taking lives and bringing sickness to the locals and travellers alike.
According to verbal narratives passed down from generations, the demoness would sometimes transform herself into a monk, other times into an attractive woman and occasionally into a man wearing a conical hat.
Among many accounts of the Duem, the most popular is how Garp Lunghi Khorlo lost his soul to her. Elders say that the fastest messenger in the olden days, known as Garp Lunghi Khorlo or the ‘wheels of the wind’ wished the Duem to take his life while crossing the Nyalaluem as he was very tired. He later saw a beautiful woman washing the entrails of an ox in a stream. Ox was his birth sign.
Eighty-three-year-old Rigyem from Nyala Drangla Goenpa says the stories about the demoness was very much alive during her childhood days.
“There wasn’t any paved road here when I was a child. And due to fear of the Nyala Deum, no travellers from Wangdue to Trongsa would dare to halt a night besides designated places like Nubding, Chendibji and Tangsibji. They would not stay anywhere between these places,” she said.
The maleficent demoness was believed to be subdued by Drubthob Druzhida in the 17th century when she tried to harm the saint. It is said that the demoness turned herself into a huge serpent and entered the Nyala Lhakhang. However, the saint prevailed and turned her into one of the protecting local deities. The Phub or dagger used in subduing her is still preserved in the Lhakhang.
“When Drubzhida was subduing the Nyla Duem, the Deum confessed to the saint that she was pregnant with a son. She requested the saint to raise her son. The son was named Norlha Peza Drugay, and until today, he is worshipped as our main local deity here,” said Angay Rigyem.
Some elders in the village also say they would be reminded of the demoness right upon sighting the Jarong Khashor Choeten at Chendebji in Tangsibji Gewog during their childhood days but not anymore. They say developmental works along the sites are eventually impacting the folklore to disappear.
“Moreover, there is no one to narrate the story. And then there are no listeners as well. So this is how the folklore is vanishing,” said Padey, from Tshangkha in Trongsa.
“We just heard a little from here and there. We don’t exactly know the details, and that’s one of the reasons why it is not popular among the youth now,” added Gyembo Dorji, from Tangsibji Gewog.
They fear there won’t be anyone to narrate these rich folklores in the future.
However, they can put to rest this fear, since some ten monks undergoing Buddhist studies in Nyala Lhakhang are conducting research to document and write a book on it.
“The one or two who knows about the story does not have a concrete base. So it’s high time we research and preserve the story,” said Chimmi Nidup, from the Nyala Ugyen Dargay Choeling Lobdra in Tangsibji Gewog.
The legend of Nyala Duem will live thanks to this undertaking by the monks but there are many folklores that are slowly losing their place in Bhutanese history.
MARCHANG (An important offering in every occasion)
Marchang, an alcohol offering, combines chang with mar (alcohol with butter). Typically, this offering moarks the beginning of an auspicious event, signifies a significant occasion, or welcomes an esteemed guest.
The alcohol, mixed with fermented grains, is placed in a traditional vessel called thro and served with a wooden ladle. Adorned with three butter decorations or their equivalents, the container is used for collective prayer during the offering.
The prayer, composed by Drukpa Kagyu master Pema Karpo, initiates with chanting, transforming ordinary alcohol into transcendental nectar through the powerful syllables of ཨོྃ་ཨཱ་ཧཱུྃ (Om, Ah, Hung).
During the marchang ceremony, the five spiritual nectars are initially offered to root and lineage gurus or teachers.
Subsequently, these nectars are presented to deities across the four tantric systems: kriya, charya, yoga, and anuttarayoga.
Following this, offerings extend to influential male and female spiritual partners, dharma protectors, and guardian deities led by Mahakala.
The culmination involves offering to all sentient beings, including those residing in the specific house or area, symbolizing the representation of spiritual nectars in the form of marchang alcohol.
Om Ah Hum! O All excellent, noble, sublime, root and lineage gurus, who are supreme ones [entitled] to the first portion, the lords of all the [Buddha] families, the principal of all mandalas and the embodiment of the non-dual wisdom of body, speech, and mind of the Buddhas of three times! Please enjoy the offering of the five nectars.
O All assemblies of yidam deities of mandalas which are associated with action tantra, conduct tantra, yoga tantra and unsurpassable yoga tantra! Please enjoy the offering of the five nectars.
O All heroes and dakinis of three power spots and the cardinal and territorial gaurdian-dakinis in the eight great charnel grounds! Please enjoy the offering of the five nectars.
O Glorious Mahakala, the king of blood-drinkers, the dralha god of the yogis, the healer of the three poisons, the great guardian of holy institutions and mandalas, the one renowned as Raven, your retinue, subjects, and all other guardians of sacred dharma! Please enjoy the offering of the five nectars.
Further, O Eight classes of gods and spirits including those who reside in this land and all the sentient beings included in the six realms and four modes of birth! Please enjoy the offering of the five nectars.
The ruin of Zhongar Dzong is a familiar sight on the Thimphu-Trashigang highway between Lingmithang and Thidangbi village in Mongar. The ruin of this magnificent monument opposite the highway still imposes its presence even a few centuries after it was abandoned. In the absence of any written record, a story about the dzong and history surrounding it can be reconstructed only through oral sources which are also scanty. The local people believe that Gyalpo Karpodhung invited its chief architect Bala from Paro. Evidence of his journey to Zhongar can be found in several places between Ura and Zhongar.
On reaching Saleng, Bala made a visual survey of the place. He reportedly saw a white stone bowl on a small hill and decided to build a new dzong on it. He named it Zhongkar (gzhong dkar), meaning white bowl (gzhong=bowl, dkar=white). But down the centuries, the place came to be known as Zhongar. Another source claims that when Bala neared Lingmithang, he had a vision of a hill marked by a natural rock similar to a gzhong, a wooden bowl used as an eating utensil. The Utse of the Dzong is still intact
Fearing that the new dzong might intrude into his territory; the tsen of Golongdrak sent two junior tsen to kill Bala before reaching the place. The two tsen hid in the jungle and waited for Bala. But Bala never came. They instead saw a 'wooden-cross' moving along the road. It was later found out that the 'wooden-cross' was Bala's lopen (carpenter's measuring scale). Even today it is believed that a carpenter should always carry his lopen to avoid any harm.
After arriving in Zhongar, Bala surprisingly disappeared for seven days. Later he was found in Jangdhung where he had made a model of his new dzong from artemesia stems. Bala built the dzong based on this model. It was said that there were no rough edges in the structure and not a single rock that was out of place. The Dzong consisted of four main structures:
• Dratuel Dzong (dgra btul rdzong) to the east
• Chhudzong Tsenkhar (chu rdzong btsan khar) to the south
• Bjachung Ta Dzong (bya chung ta rdzong) to the west
• Dhumrey Sipki Dzong (ldum ras rtsig pa kyi rdzong) to the north
The Dzong's courtyard was so long that it was used as an archery range. But the king began to worry that Bala might build another dzong of greater wonder. So on the eve of Bala's journey back to Paro, the king cut off his right hand during chelchang (departure drink) arranged at Zhugthri. The legend of the Dzong In agonizing pain Bala prayed that the king must also die in pain, and that when he (Bala) was dead, he should be born as a demon (bdud) of the Dzong and surrounding lands. Local people believe that Bala was born as a giant snake which still guards the ruin of the Dzong. Later a snake started killing the king's horses. One version narrates that it was the Golongdrak tsen which killed one horse every night. The king then invited the Peseling Trulku Tenpai Gyaltshen from Bumthang to perform a religious ceremony. The trulku stopped above Saleng and started to blow his conch, the sound of which was said to have cured one of the king's dying horses.
The trulku entered into a retreat in the citadel of Golongdrak tsen with instruction that he should not be disturbed for seven days. But the king grew suspicious of the trulku's intent and lost faith. On the sixth day he sent his chamberlain (gdzimdpon) to spy on the trulku. The chamberlain saw a gigantic snake prostrating before the trulku. The trulku came out after the seventh day to inform that the tsen had not been completely subdued because of the king's distrust of him and the chamberlain's disturbance. The king offered a hundred cows and pasturelands around Yundhiridrang in repentance. Even today, Peseling Trulku owns the same pasturelands. The trulku then consecrated the Dzong and Kurizampa. Prominent dzongpons
The Dzong's nangten were offered by Lama Sherab Jungney of Khengkhar, while Lama Sangay Zangpo of Kilikhar made the altar. Though the two lamas never met, statues fitted exactly into the altar. The kanjur was copied in Fire-Male-Dog-Year of 11th rabjung (sexagenary cycle) in 1646 when Ngawang Penjor was the Dzongpon. It took 108 clerks about six months to copy it. Ngedup Penjor was the master of letters or alphabets (yigdpon), while Ngawang Pekar supervised overall work.
During the rivalry between Gyalpo Karpodhung and Gyalpo Tongden of Tongfu, the former sought Trongsa Penlop's assistance. The forces of Trongsa Penlop defeated the Tongfu Gyalpo and surprisingly took control of the Zhongar Dzong and other kingdoms. It was at that time that people of neighbouring Ngatshang and Themnagbi villages migrated, fearing the new ruler, to Pema Ked (padma bkod)- a legendary hidden land (sbas yul) in south-east Tibet. Some prominent Zhongar dzongpons after Gyalpo Karpodhung were Chaskarpa, Kologpa, Naamedla (Hap Shaw), Jampel from Dungsam, Darpoen Choki Gyeltshen, Ten Samdrup, Ngawang Penjor, Dorji Penjor, Kinzang Wangdi and Lopen Tashi. Damaged by fire and earthquake
Centuries later the Dzong was damaged by a disastrous fire. Later it was destroyed by a supernatural earthquake lasting for seven days. The number seven has been considered significant in the dzong's history. First, its builder Bala took seven days to make the dzong's model out of artemesia stems. Second, Peseling Trulku meditated for seven days to subdue the Golongdrak tsen, and finally an earthquake that destroyed it lasted for seven days.
The earthquake was a blessing in disguise since most people favoured abandoning the place which was believed to be infested with demons and malaria. the zingarp sent by Trongsa Penlop to assess the damage was bribed to report falsely that the Dzong cannot be repaired. Thereafter, it was abandoned, and its functions shifted to present Mongar. Fearing the snake, to local people the place is shrouded in fear. Stories of the presence of certain malevolent spirits and a gigantic snake guarding a treasure of gold and silver are only whispered. To most of us, the ruin is not even worth taking notice. Beyond a pile of stones and mud, it echoes past life to connect us to the future. Embedded inside is a life frozen in time, a wealth of history that can be still recounted orally by those who also heard it from their grandparents.
FIGS: NOT FRUIT, Did You Know?
A fig is not just an ordinary fruit, in fact, it's not even a fruit.
Strictly speaking, figs are inverted flowers.
Figs don’t bloom in the same way as other fruit trees like almonds or cherries.
Figs have a very curious history.
First of all, they're technically not a fruit, but an infruity (a set of fruits).
And secondly, they need a slaughtered wasp to breed, an insect that dies inside the fig.
In a nutshell, figs are a kind of inverted flowers that bloom inside this large, dark, red-hued bud we know as figs.
Each flower produces a single nut and a single seed called an "aquarium".
The fig is made up of several branches, which give it this characteristic crunchy texture.
Therefore, when we eat one fig, we are eating hundreds of fruits.
But the most amazing thing, it’s the special pollination process that fig flowers need to reproduce.
They can’t depend on whether, the wind or the bees bring pollen as other fruits, so they need a species known as the fig wasps.
These insects transport their genetic material and allow it to reproduce.
For their part, wasps couldn’t live without figs, as they deposit their larvae inside the fruit.
This relationship is known as symbiosis or mutualism.
Currently, the vast majority of producers of this fruit no longer need the work of wasps.
Most fig varieties for human consumption are part non-genetic.
This means they always bear fruit in the absence of a pollinator.
Rollpa, Bhutan’s first board game is now out in the market. The game played with two to four players is based on the nine domains of Gross National Happiness or GNH making it an authentic Bhutanese game. The game dubbed as ‘A GNH Game” was developed by a Bhutanese entrepreneur. It is a recreational game, which acts as a medium to promote the conversation about GNH and the importance of wellbeing in life.
Players start the game by arranging the nine domains of GNH namely the living standards, education, health, environment, psychological well-being, community vitality, time-use, good governance and culture in front of them.
They then take turns rolling a die and picking a card each. Each card gives an option for a player to earn merits.
However, you cannot win if you get an indulgence or abstinence card, which are represented by monkey and elephant cards respectively.
The game is won by earning merits for each nine domains.
“What makes the game very fun and engaging to play is that it is a pretty unique product and it is Bhutanese through and through because while we are playing the game, not only is it educational it is also very fun. When we talk about how it is a Bhutanese game, unlike other games that I have played before, this game does not have one winner and this game does not have losers. Everyone can win something,” said Sonam Pem Tshoki, a Rollpa player.
The game explores the possibility of using board game mechanics to talk about the fundamentals of GNH development philosophy.
It has been developed over four years by a game enthusiast called Namdrul who is now planning to bring it out into the international market as well.
Currently, it is sold at the CSI Market in Thimphu at around 2000 ngultrum per box.
“On part of the GNH values, it mainly teaches you about the nine domains. We do learn about GNH in schools, however we learn more through the game such as how psychological wellbeing contributes to GNH values,” said Sangay Thinley, another Rollpa player.
The game shows the challenges of achieving balance in life. This aspect of the game can be incorporated in real life teaching players that happiness is a balancing act.
This is how a typical Bhutan Fun and Fair (Mela in Bhutanese) looks. This 2023 picture gallery from Phuntsholing Kaja Throm is one of the best neat Mela setups on the open 3rd top floor ground which has crowded geather Games like Dart heating individual highest point related to world Olympic Game. Photos of various products stalls and food stall setups can also be seen inside. Mela’s list of rides, setup, and product stalls is all in the one-page article here.
We need to know the meaning of Tara’s mantra, OM TARE TUTTARE TURE SOHA, when we recite it. OM TARE means “She is the One who swiftly comes to help.” TUTTARE means “She is the One who dispels all my fear.” And TURE means “She is the One who fulfils all my wishes.” One needs to be fully aware of the meaning of the three aspects of her mantra and be confident that she has the ability to really help; otherwise one would resemble a bird merely twittering in the treetop while reciting her mantra.
Without the syllables OM at the beginning and SOHA at the end, her mantra consists of three Sanskrit words that describe her Buddha activities.
TARE stands for her Tibetan name Myur-ma dPha’-mo and means “She is the swift heroine.” Myur-ma means ”swift,” i.e., she doesn’t hesitate and helps living beings who supplicate her very fast. dPha’-mo is the femine gender for the term “hero,” which means to say that she is extremely determined and courageous to help those who pray to her.
TUTTARE is the Sanskrit term for her Tibetan name ‘Jigs-pa Sel-ma and means “She is the One who dispels fear.” She has the ability to dispel any fear that we have, and we do constantly live our lives driven by fear of one kind or another. For example, wealthy people live in fear of robbers and thieves and poor people fear not being able to find a job. After a couple gives birth to an offspring, they fear that their baby will get into trouble. There are so many kinds of fear that are obstacles, for instance, fear of not accomplishing a goal or of not being able to finish a job. This has nothing to do with the work itself, rather it is fear that is created in one’s own mind. Problems are created by hopes and fears that everyone has. For example, if one is given medicine when one is sick, one has fears and doubts that it will help. Whether ones fear is strong or weak, it is very helpful to supplicate Arya Tara, because she is able to dispel and eradicate any fear that one may have.
TURE is the Sanskrit term in her mantra for her Tibetan name ‘Död-kün-sbyin-pa’i-Drolma and means “She is the Liberator who fulfills all wishes.” We all have wishes and experience obstacles while trying to achieve our aims. Therefore, if we supplicate Arya Tara and ask her to help us overcome our obstacles, then our wishes will be fulfilled. So, she is the One who grants all wishes.
--- Venerable Chöje Lama Phuntsok
calligraphy by 17th Gyalwa Karmapa Ogyen Trinley Dorje
Archery was adopted as the National game of Bhutan in 1971 when Bhutan got the membership of United Nations. Though this game was played before adopting as national sport, it relatively gained popularity among Bhutanese gents. The length between two target is approximately around 145 meters, with 3 feet tall and 11 inches wide wooden target. It was mainley played during religious and local festival (like new years , nyilo and lomba ) but now it's most popular game during weekend of every archery ranges is filled with noise of joy and songs and draws lots of witnesser.
There is two types of bow
1. Bamboo made
2. Compound made
The picture shows Bamboo made bow and team of Joenla village under Tashigang Dzongkhag
