Diplomat and political scientist Thierry Mathou introduces an endangered tradition of portable wooden shrines, commissioned by Bhutanese kings and used by wandering bards for instruction and worship. These shrines resemble Buddhist stupas in Tibet, but tales tell how the first one was built according to meditative dream-visions by Bhutan’s national founder, Zhabdrung Ngawang Namgyel. Today the tradition is being revived.
The Copper-Colored Mountain (Zangdok Pelri) is said to be the dwelling place or mandala-palace of the legendary Vajrayana master Padmasambhava. This mountain-palace is depicted in many thangkas and constructed as temples and portable shrines used by manipa itinerant storytellers.
Hinduism and Buddhism both hold that actions (Skt. karma) have inevitable results which may take a shorter or longer time to occur. Mental, verbal, and physical actions all have positive or negative consequences and are considered karma. Depending on conditions, karma can manifest results either in this or future lives. Karma directly relates to the idea of reincarnation, and positive karma can also create religious merit and lead to a better rebirth, while negative actions, or karma, result in worse experiences in the present and future lives. Buddhists strive to achieve enlightenment to escape this cycle of karmic action and consequence.
In Hinduism and Buddhism, mantras are short syllables or phrases that are thought to have power. Mantras may be chanted by devotees as part of daily practice, or pronounced during rituals to invoke the deity’s power. In tantric Hinduism and Vajrayana Buddhism, practitioners perform meditative deity-yoga by first visualizing “root” or “seed” syllables, and then generating the yidam deities out of these mantras during the process known as visualization.
Stupas are monuments that initially contained cremated remains of Buddha Shakyamuni or important monks, his disciples, and subsequently other material and symbolic relics associated with the Buddha’s body, teaching, and enlightened mind. As representations of the Buddha’s presence in the world, stupas with their contents—texts, relics, tsatsas—continue to be important objects of Buddhist worship in their diverse forms of domed structures, multistoried pagodas, and portable sculptures. The original form of stupas was an earthen dome-shaped mound containing the remains in reliquary vessels or urns deposited within the innermost core. The dome would often be successively enlarged and surrounded by a path for a walk around in a clockwise direction and veneration (circumambulation)
In Tibetan Buddhism, a tsatsa is a small sculpture created by pressing clay into a mold. Tsatsas can depict deities, stupas, auspicious signs, and more. Some tsatsas have medicinal plants, or the cremated ashes of loved ones mixed into the clay and taken to various sacred sites to generate merit for their better rebirth. In Newar context, a grain of rice is added. Tsatsas are created to generate religious merit and are often consecrated and then placed within stupas, or made by pilgrims and devotees and left at sacred sites. Tibetans have been creating tsatsas since around the eleventh century, and tsatsa making remains a common practice among lay devotees today.
Manipas, or manips, are wandering storytellers who performed at pilgrimage sites during religious festivals all over Himalayan regions. In Bhutan, a manipa (as they are known in Bhutan) is a lay priest who recites mantras and other Buddhist texts, and gives popular teachings using miniature portable shrines called Tashi Gomang (The Auspicious Many Doors), and narrative hanging scroll paintings (thangka) as working images to focus their presentations. Very few manipas are active today in Bhutan, but nuns in Tibetan communities of Nepal revived and continue the manipa tradition, which has declined in other areas.
This miniature portable shrine is one of the rare examples of tashi gomang to be seen outside Bhutan (fig. 1), where until the mid-1980s this type of three-dimensional mandala was displayed during religious festivals or weekly markets as an instrument of worship (fig. 2).
An Indigenous Bhutanese Tradition with Tibetan Connections
In the tradition, the term tashi gomang—literally meaning “many auspicious doors”—designates the third of the eight types of stupas that present the most important events in the life of the Buddha. Also known as the “one hundred thousand images” (kumbum), it commemorates the Buddha’s first discourse in Sarnath. It is characterized by a distinctive design: a square structure featuring a three-dimensional mandala with many tiers and multilayered niches crowded with deities. The most significant examples can be found in Tibet, such as the Gyantse Kumbum. Some are relevant to the religious history of Bhutan, as shown by the stupa built in on the of the founder of the Drukpa , the dominant Buddhist tradition in Bhutan, which probably inspired Zhabdrung Ngawang Namgyel (1594–1651) (fig. 3), the Tibetan Buddhist master who unified Bhutan as a nation-state and who is credited with the fatherhood of the tashi gomang tradition in the country. Also relevant to the Bhutanese tradition is the Chung Riwoche Kumbum near , Tibet, constructed by Tangtong Gyelpo (1385–1464), a Buddhist master who had a prominent role in the development of this type of stupa and is highly revered in Bhutan.
Fig. 3.
Zhabdrung Ngawang Namgyel (1594–1651); Bhutan; early 18th century; ground mineral pigment on cotton; 28½ × 20¾ in. (72.4 × 52.7 cm); Rubin Museum of Art; Gift of Shelley and Donald Rubin; C2006.66.248 (HAR 360)
Tashi gomang stupas are rather rare in Bhutan, where the term designates portable shrines whose design is based on that of the eponymous stupa. These multitiered shrines feature dozens of small doors that open to reveal hundreds of painted images and niches containing statues of deities. They were once carried around by wandering bards, the , to confer the Buddhist teachings on the masses at public gatherings, especially in remote rural areas. Sometimes designated by other names, depending on the region in the Tibetan world, manips—literally, “those who chant prayers”—have roamed the countryside for centuries (fig. 4), but it is only in Bhutan that they carry portable shrines. Although accounts have attested to the presence of this tradition in ancient times in Tibet, it has been gradually replaced by the use of , as wood is particularly scarce there, while it flourished in Bhutan, where it is considered an indigenous tradition and a component of the local Drukpa Kagyu legacy.
In the absence of known ancient written records, oral sources provide an alternative literature about the origin of the tashi gomang tradition in Bhutan. Its introduction is attributed to the First Zhabdrung and is related to the building of Punakha Dzong, the second-oldest -fortress in Bhutan, which is considered the mother of all dzongs because it was built under his command around 1637 to house the precious relics he brought from Ralung. Also involved was a master carpenter known as Zow Balep, often presented as the of the divine craftsman Vishvakarma, a Hindu , believed to be the presiding god of all architects and craftsmen, who is also venerated by Buddhists, especially in Bhutan, where master builders feel associated with his tradition.
According to the most popular story, the Zhabdrung had started to build Punakha Dzong to fulfill a prediction made in the eighth century by the great Buddhist Indian master Padmasambhava, when several magical events happened. While protecting deities helped him to get wood and stones in large quantities, evil forces would demolish at night the structures built during the daytime. While the Zhabdrung was meditating to find a solution, a (sky dancer) appeared to him and told him that using a tashi gomang was the solution to subdue these forces. He immediately summoned Zow Balep and had him sleep beside him (fig. 5). Through his spiritual powers he brought him into his dreams. On the second night he entrusted protecting deities to take the dreaming consciousness of Zow Balep to Ralung Monastery. On the third night he visited Zangdok Pelri, the Palace of Padmasambhava, in order to see the architectural designs of the site. On the morning of the fourth day, the Zhabdrung asked Zow Balep to recount his dream. Based on his descriptions, the Zhabdrung asked the master carpenter to build a replica of the tashi gomang stupa he saw in Ralung in a miniature version. Zow Balep first made a prototype from a radish. As the Zhabdrung was satisfied with his skill, he told Zow Balep to carve it in wood. When the structure of the tashi gomang was built, the Zhabdrung added his touch. As he was capable of instantly carving Buddhist figures with his thumb, he imprinted several of them on clay molds (), which were then installed in the miniature shrine. The following day, he summoned painters to decorate the wooden structure. Blacksmiths were also asked to make . A dorje was put inside as its major sacred relic. The Zhabdrung personally presided over the of the shrine, which was installed in the utse (tower) of Punakha Dzong. Upon completion of the tashi gomang, the building of the dzong resumed swiftly. Based on this experience, the Zhabdrung thought that tashi gomangs could be used as instruments for preaching the teachings of Buddha to the masses. Therefore, he and his successors are believed to have commissioned the making of several other miniature portable shrines.
Fig. 5.
Detail of a tashi gomang, with Zow Balep sitting at the foot of the Zhabdrung; Tashichhodzong, Thimphu, Bhutan; 17th century; wood; photograph by Thierry Mathou
Structure and Symbolism
A tashi gomang is a involving a complex symbolism. It usually measures between twenty and twenty-four inches in height (fifty and sixty centimeters) and about twelve inches in width (thirty centimeters), and has a maximum of 108 doors. Since the demise of the Zhabdrung political system in 1907, only the king has the power to commission a tashi gomang. When not in use, the shrine is stored in a wood transportation box that is often painted and decorated with brass ornaments. It is wrapped in several layers of five-colored brocade. Only the manip can unfold the shrine (fig. 6).
Fig. 6.
Gomchen carrying a tashi gomang; Sinphu Gompa, Trongsa, Bhutan; 2016; photograph by Thierry Mathou
He first pulls out its four corners, which causes the tashi gomang to open into the shape of a (fig. 7). The shrine is then mounted on top of its box and can be rotated clockwise. With the help of a special stick, the manip opens the doors to expose the deities inhabiting the niches and chants the appropriate prayers. He usually raises his left hand to his ear in the classical attitude of divine inspiration, turning his prayer wheel with the other. According to popular belief, the tashi gomang is an amalgamation of sacred holy sites (ne), brought together by Buddha for the benefit of the people. Looking at a tashi gomang is believed to be equivalent to seeing all the ne.
There are four types of tashi gomangs (fig. 8). Each corresponds to a particular realm in the Buddhist cosmogony. The most popular is the Zangdok Pelri type. The roof of the tashi gomang is usually mounted with an ornamental pinnacle. When the shrine is displayed, a lotus flower appears on its top. When pulled with a thread, a figurine pops up in the center of the flower. It often represents Padmasambhava himself (fig. 9). Although tashi gomangs are all hardwood, nail-less objects, some are metal plated. They all include a central axis, but their structures may differ. In some cases, a chapel has been carved at the base to house deities. The number of folding panels, doors, clay images, statues, and paintings also varies. The pantheon represented in each type of tashi gomang is diverse. Ornamental features such as turquoise and coral beads, painted auspicious symbols, and engraved also constitute elements of differentiation.
Fig. 8
Four types of tashi gomang; Thimphu, Bhutan; 2016; photograph by Thierry Mathou
Fig. 9
Detail of top of a tashi gomang, with Padmasambhava figurine popping up from a lotus flower; Thimphu, Bhutan; 19th century; silver; photograph by Thierry Mathou
Reviving a Vanishing Tradition
The tradition of manips carrying tashi gomangs throughout the country to display them has declined. Until recently, there were only two surviving professional manips, and the number of tashi gomangs remaining in Bhutan, where they were kept in secluded places, was unknown. A project was initiated in 2015 to record, conserve, and revive the tradition. Thirty-five tashi gomangs were found and brought to Thimphu for restoration and a temporary exhibition. Four young gomchens (lay priests) have been trained as manips. Now designated as national treasures, tashi gomangs are sometimes used by the monastic body to perform rituals on exceptional occasions. Although the display of a tashi gomang has become a rarity, it is still considered highly auspicious to have the opportunity to see one. Making one involves no less than nine of the thirteen traditional arts and crafts of Bhutan (fig. 10). A new tashi gomang was manufactured in 2015 at the command of the king, signaling the state’s intention of reviving the tradition.
Origin narratives concerning the manip tradition, usually called buchen (great sons), refer to the great Tangtong Gyelpo, who is considered the founding father of the wandering bards.
3
Tashi Tsering, “Preliminary Notes on the Origin of the Blama Nipa Storytellers and Their Fate in Exile Today,” in Disciples of a Crazy Saint: The Buchen of Spiti, ed. Patrick Sutherland and Tashi Tsering, Exhibition catalog (Oxford: Pitt Rivers Museum, 2011), 79–107.
4
Marceline De Montmollin, “BKra Shis Sgo Mang of Bhutan: On a Specific Tradition of Shrines and Its Prolongation in the Museum of Ethnography in Neuchâtel,” in Tibetan Studies: Proceedings of the Fifth Seminar of the International Association for Tibetan Studies, Narita 1989, ed. Ihara Shoren and Yamaguchi Zuiho, vol. 2 (Narita: Naritasan Shinshoji, 1992), 606.
5
The Zhabdrung was the head of a theocratic state, wielding both religious and secular power, at least theoretically.
6
Yoshiro Imaeda and Drukpa Doffu, “Bhûtan No Tashi Goman/Tashigomang of Bhutan,” in Exhibition Brochure for Asian Concepts of the Cosmos (Tokyo: Laforet Museum, 1982).
7
Thierry Mathou, “The Tashi Gomang Project: Preserving a National Treasure of Bhutan,” in Tashi Gomang: A National Treasure of Bhutan, ed. Ashi Kedang Choden T. Wangchuck, Exhibition catalog (Thimphu: Royal Textile Academy, 2016).
Further Reading
Aris, Michael. 1979. Bhutan: The Early History of a Himalayan Kingdom. Warminster: Aris and Phillips.
Phuntsho, Karma. 2013. The History of Bhutan. London and Noida: Random House.
Wangchuck, Ashi Kesang Choden T., ed. 2016. Tashi Gomang: A National Treasure of Bhutan. With contributions by Thierry Mathou, Tshering Tashi, and Lam Kezang Chhoephel. Exhibition catalog. Thimphu: Royal Textile Academy.
The Copper-Colored Mountain (Zangdok Pelri) is said to be the dwelling place or mandala-palace of the legendary Vajrayana master Padmasambhava. This mountain-palace is depicted in many thangkas and constructed as temples and portable shrines used by manipa itinerant storytellers.
Hinduism and Buddhism both hold that actions (Skt. karma) have inevitable results which may take a shorter or longer time to occur. Mental, verbal, and physical actions all have positive or negative consequences and are considered karma. Depending on conditions, karma can manifest results either in this or future lives. Karma directly relates to the idea of reincarnation, and positive karma can also create religious merit and lead to a better rebirth, while negative actions, or karma, result in worse experiences in the present and future lives. Buddhists strive to achieve enlightenment to escape this cycle of karmic action and consequence.
In Hinduism and Buddhism, mantras are short syllables or phrases that are thought to have power. Mantras may be chanted by devotees as part of daily practice, or pronounced during rituals to invoke the deity’s power. In tantric Hinduism and Vajrayana Buddhism, practitioners perform meditative deity-yoga by first visualizing “root” or “seed” syllables, and then generating the yidam deities out of these mantras during the process known as visualization.
Stupas are monuments that initially contained cremated remains of Buddha Shakyamuni or important monks, his disciples, and subsequently other material and symbolic relics associated with the Buddha’s body, teaching, and enlightened mind. As representations of the Buddha’s presence in the world, stupas with their contents—texts, relics, tsatsas—continue to be important objects of Buddhist worship in their diverse forms of domed structures, multistoried pagodas, and portable sculptures. The original form of stupas was an earthen dome-shaped mound containing the remains in reliquary vessels or urns deposited within the innermost core. The dome would often be successively enlarged and surrounded by a path for a walk around in a clockwise direction and veneration (circumambulation)
In Tibetan Buddhism, a tsatsa is a small sculpture created by pressing clay into a mold. Tsatsas can depict deities, stupas, auspicious signs, and more. Some tsatsas have medicinal plants, or the cremated ashes of loved ones mixed into the clay and taken to various sacred sites to generate merit for their better rebirth. In Newar context, a grain of rice is added. Tsatsas are created to generate religious merit and are often consecrated and then placed within stupas, or made by pilgrims and devotees and left at sacred sites. Tibetans have been creating tsatsas since around the eleventh century, and tsatsa making remains a common practice among lay devotees today.
Manipas, or manips, are wandering storytellers who performed at pilgrimage sites during religious festivals all over Himalayan regions. In Bhutan, a manipa (as they are known in Bhutan) is a lay priest who recites mantras and other Buddhist texts, and gives popular teachings using miniature portable shrines called Tashi Gomang (The Auspicious Many Doors), and narrative hanging scroll paintings (thangka) as working images to focus their presentations. Very few manipas are active today in Bhutan, but nuns in Tibetan communities of Nepal revived and continue the manipa tradition, which has declined in other areas.
Stay connected. Sign up for the Rubin Museum’s monthly newsletter to receive updates about upcoming exhibitions, programs, digital features, and more.
