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11. Visions, Prophecies and Leadership: Oral Accounts of the Life and Death of Terton Drukdra Dorji

Author:
Thinley Jamtsho, Dendup Chophel, and Sangay Thinley
Publication Date:
09-2014
Content Type:
Journal Article
Journal:
Journal of Bhutan Studies
Institution:
Centre for Bhutan & GNH Studies (CBS)
Abstract:
This section of the paper is based mainly on a review of literature of the subjects under consideration particularly with regard to three existing source materials which present firstly the general theory of Treasure tradition and the visionary masters and then a corroborative account of Terton Drukdra Dorji (gter ston ‘brug sgra rdo rje, the main subject of this paper) and his entanglement with the Bhutanese powers in existing texts. The first modern publication that we refer to is the Tibetan Treasure Literature 1 in which the author, Andreas Doctor firstly puts the ‘Treasure tradition’ (gter lugs) in the context of the Nyingma school of Tibetan Buddhism to which it belong. He writes, “This tradition propagates the reverence of religious material known as ‘Treasure’ (gter ma), blessed words and objects said to originate in the enlightened intent of the Buddhas and Boddhisattvas. Broadly, the Treasures belong to a tripartite system of scriptural and oral transmission defined by the Nyingma School as the ‘three great transmissions’ consisting of (a) the long lineage of Transmitted Precepts, (b) the short lineage of Treasure, and (c) the profound Pure Vision Teachings.2” He further mentions that “Central to this process is the figure of the Treasure revealer (gter ston) – the person who acts as a medium for the re-emergence of this inspired material into the human world. Accordingly, beginning in the eleventh century and continuing into the present, the Nyingma School identifies a large number of Treasure revealers and grants authoritative status to their discoveries” (p. 17). Generally, the Terton(s) are categorized under the following even though sometimes such classifications can be untenable or superfluous; three regional master incarnations (mchog gi sprul sku gsum), the five Kingly Terton-s (gter bston gyi rgyal po lngaI), the thirteen Lingpa(s) (gling pa 13), and the thousand Terthren(s) (gter phran stong).
Topic:
Religion, History, and Buddhism
Political Geography:
South Asia and Bhutan

12. Wangdü Chöling Dzong: The Masterpiece of Gongsar Jigme Namgyel

Author:
Gengop Karchung
Publication Date:
03-2013
Content Type:
Working Paper
Institution:
Centre for Bhutan & GNH Studies (CBS)
Abstract:
Due to political and spiritual significance, Dzongs hold a special place in the minds of the Bhutanese people. Unlike any other dzongs in Bhutan, Wangdü Chöling Dzong in Bumthang Shamkhar is quite unique due to factors like (1) the builder who was the father of Monarchy in Bhutan, (2) the accomplishment of victory over Jakar Dzongpön Tsöndrü Gyaltshen and (3) the place being used for Buddhist teachings by lama Je Jangchub Tsondrü. Constructed with elaborate Bhutanese architectural designs, it is said to have been built by Gongsar Jigme Namgyel himself in 1857, particulary the Utse. This paper attempts to figure out the significance and role of this well-known historical structure besides throwing some lights on establishment of the dzong and its renovation. It also tries to present other information related to this Dzong through available written and oral sources. Besides researching on written sources, interviews were conducted with Lam Jampel Dorje, Wangdü Chöling Lam, Agäy Rinzin Dorje, 84 (2010) and Agäy Sherub Wangdü, 76 (2010) who shared valuable information.
Topic:
Politics, Religion, Culture, and Architecture
Political Geography:
South Asia and Bhutan

13. The Old Man ‘Mitshering’ at Nyima Lung Monastery

Author:
Tenzin Jamtsho
Publication Date:
03-2013
Content Type:
Journal Article
Journal:
Journal of Bhutan Studies
Institution:
Centre for Bhutan & GNH Studies (CBS)
Abstract:
Special stage performers called atsaras wearing clownish masks are a common feature in religious festivals across the country. In their whimsical, and sometimes bawdy way, they serve various purposes like introducing dances, managing the performing arena, helping in crowd control and basically keeping the audience entertained through the long performances.1 However, a similar but easily distinguishable performer is the Mitshering which is seen in some monastic festivals of central Bhutan like Nyima Lung. The performer wears an easily identifiable mask that is completely different from the atsara. The mask clearly depicts a very old man with long white beard and a wrinkled face. He is adorned with a unique costume: he wears the dress of a monk and a mixed red and white scarf with fringes like those worn by the local leaders called Gup. The old man carries a staff in his hand, which helps him to stand upright.
Topic:
Religion, Culture, and Dance
Political Geography:
South Asia and Bhutan

14. A Zhabdrung Phunsum Tshogpa (zhabs drung phun sum tshogs pa) Thangka from the National Museum of Bhutan Collection∗

Author:
Ariana Maki
Publication Date:
10-2011
Content Type:
Journal Article
Journal:
Journal of Bhutan Studies
Institution:
Centre for Bhutan & GNH Studies (CBS)
Abstract:
Visions, and the ability to articulate them in an accessible fashion, play a crucial role in disseminating religious tradition, lineage and claims to legitimacy. Further, visions can and do stand as testimony to significant persons, entities and events. The visions of religious masters and treasure revealers give rise to new doctrines and practices, while a leader’s vision frequently provides the impetus for the development and implementation of institutions and ideals. And the visions of artists offer tangible forms to religious and philosophical concepts. The third king of Bhutan, Jigme Dorji Wangchuck (‘jigs med rdo rje dbang phyug, 1928-1972, r. 1952-1972), was a key visionary who redefined the path of his kingdom in many ways, by bringing Bhutan into the UN, abolishing labour taxes, and significantly overhauling the structure of the government. It was also his foresight that established the National Museum of Bhutan (‘brug rgyal yongs ‘grems ston khang; Figure 1). When the National Museum opened in 1968, only a few personal guests of the royal family and some government officials visited. Today, the number of museum guests surpasses 20,000 annually. Seven floors of galleries showcase Bhutanese visual culture from its earliest phases, and span archaeological finds, paintings, postage stamps, weaponry, bronze ware, traditional crafts, natural history specimens and religious treasures. The article intends to illustrate how iconography can frequently illuminate what lies behind a particular work of art, and as a result can increase our understanding of the time, place and context that gave rise to it. This painting, like so much of Bhutanese art functions in the religious and philosophical realms, and, due to the circumstances of its creation, carries with it strong political overtones as well. Beyond attesting to a lineage, some works illustrate how particular individuals saw themselves, or, how they wanted to be perceived.
Topic:
Government, Religion, Culture, Philosophy, and Museums
Political Geography:
South Asia and Bhutan

15. Meme Lama Sonam Zangpo’s Kurseong Years: A Note on Factors in the Foundation of a Modern Bhutanese Religious Community outside of Bhutan

Author:
Amy Holmes-Tagchungdarpa
Publication Date:
10-2011
Content Type:
Journal Article
Journal:
Journal of Bhutan Studies
Institution:
Centre for Bhutan & GNH Studies (CBS)
Abstract:
In Kurseong, a small Himalayan town in the Darjeeling district of North Bengal, India, a small stpa sits perched in a village a small trek away from the main road connecting Darjeeling with the plains. The stpa itself is simple – only about one metre in height and width - and resembles many others in the area. The fresh coat of red, blue and yellow paint on its edges though suggests that the local community at least continue to revere it, and the establishment of a new monastery just a few meters away confirms that the site is regarded as sanctified. However, the area is not associated with Guru Rinpoche, or any other major Tantric deity, or local protector. Instead, the sanctification of the site comes from the fact that it was home to a highly regarded religious master in the area: a Buddhist teacher and meditator known as Lopen Sonam Zangpo (Slop dpon Bsod nams bzang po, 1892-1984)1, the very same Sonam Zangpo who is known as Meme Lama (Me me bla ma) in Bhutan, and who is regarded as one of the most important religious figures of twentieth century Bhutanese history
Topic:
Religion, Community, and Buddhism
Political Geography:
South Asia and Bhutan

16. From Mount Tsari to the tsechu: Bhutan’s Sacred Song and Lute Dance

Author:
Elaine Dobson
Publication Date:
10-2011
Content Type:
Journal Article
Journal:
Journal of Bhutan Studies
Institution:
Centre for Bhutan & GNH Studies (CBS)
Abstract:
For a few days in October, in the Himalayan kingdom of Bhutan, the population of the tiny country increases two-fold as visitors from neighbouring countries in the sub-continent, and from across the world, gather to witness one of the great, annual, Buddhist, three-to-five day, religious, dance-drama festivals or tsechus. A tsechu1 celebrates the great deeds that were performed by the religious saint and teacher, Padmasambhava (also known as Guru Rinpoche2 or Ugyen Rinpoche). Tsechus are held on the tenth day of a lunar month. The exact month depends on the location. Every valley has its own tsechu, usually with some identifying traits. These festivals reinforce the social life of the community and offer opportunities for making or renewing friendships, having picnics and drinking, or trading. In Bhutan, villagers who have moved to the larger towns are expected to return for the festival and they will often sponsor a major part of it. Tsechus accrue status for the monasteries and villages that stage them, and spiritual merit for those who are their sponsors. The spectacular dances that form these tsechus are known as cham. The subjugation of evil and the purification and protection from demonic spirits are important themes in the tsechu and dances. These themes are usually interwoven with those that are morally instructive or didactic and those that proclaim the victory of Buddhism and the glory of Padmasambhava.
Topic:
Religion, Culture, Buddhism, and Dance
Political Geography:
South Asia and Bhutan