The Bhutanese Leading the way.
By Thukten Tenzin
The journey from Thimphu to Trashiyangtse was both tiring and rewarding. Moving from the busy capital to a place known for its unique culture, nature, and history was an amazing experience. Trashiyangtse, also called the “Peak of Prosperity,” is famous for its traditional arts, especially its well-known stupa and wooden bowl making, showcasing the skilled craftsmanship of the area. The region also includes part of the Bumdeling Wildlife Sanctuary, which is important for its variety of plants and animals. This sanctuary is especially known for protecting the black-necked crane, highlighting the area’s environmental importance.
The great stupa of Dhud Rong, commonly known as Choeten Kora, presents a heartbreaking and inspiring sight. Situated near the Kholong river, it offers a paramount view that captures the essence of tranquility and spiritual depth. This magnificent structure, steeped in legends of sacrifice and devotion, stands as a testament to the enduring spirit and cultural heritage of Bhutan. Visitors are moved by serene presence and the profound stories embedded making it a pivotal destination for those seeking connection and reflection in the beautiful landscape of Eastern Bhutan.
The site chosen for Choeten Kora holds a prominent place in local folklore, it is believed to be a fearsome location and notorious as the dwelling of a harmful demon that inflicted sufferings on the people. The residents of Yangtse sought the help of Lama Ngawang Loday, the Chief Abbot of Rigsum Gompa, to find a solution to subjugate this noxious demon. In response, Lama Ngawang Loday proposed constructing a replica of the Boudhanath Stupa from Nepal. This endeavor was intended not only to honor his late Uncle, Lama Jangchhub Gyeltshen, but also to suppress the malicious force and safeguard the community.
To begin with the task, Lama Ngawang Loday, along with Lama Zangpo from Tawang, Arunachal Pradesh, embarked on a pilgrimage to Boudhanath. During their visit, they crafted a model of the stupa quickly from a radish, with the intent to replicate its design back in their respective regions. Determined to construct similar stupas, they returned home with the model. Consequently, Lama Zangpo built one in the Pangchanang valley in Tawang, presently known as Gorzam Choeten. Meanwhile, Lama Ngawang Loday constructed in the Trashi Yangtse and named as Duerong Choeten, known as Choeten Kora.
However, by the time Lama Ngawang Loday and Lama Zangpo returned home, the radish model had shrunk, distorting its shape. This unexpected change led to several architectural modifications to the stupas, most notably in the design of the galleries at Choeten Kora in Trashi Yangtse. These alterations highlight the practical challenges they faced, and they illustrate a unique blend of original inspiration from the Jarung Khashor Stupa in Nepal. The replica, initiated in 1740, was completed within 12 years. Devotees from Trashi Yangtse, Trashigang, Kurtoe, Zhong-gar, and Dungsam contributed their services voluntarily. Additionally, the people of Dhakpa La-Wog Tsho-sum from Mon Tawang provided significant support during the construction.
During the second visit, His Holiness Je Yonten Thaye (1771–1775) performed the consecration of Choeten Kora, offering the mandala of Dechhog Paochigpa and bestowing blessings upon the people of the valley. Following the completion of the stupa, the malevolent demon that had previously plagued the community was effectively subdued and expelled. Consequently, the residents have since experienced a sustained period of peace and harmony.
The apex of Choeten Kora was initially crafted from a massive stone. Subsequently, Lama Shacha Gyalpo, originally from Seola Goenpa in Punakha and regarded as the most erudite and affluent among the Rigsum Lamas, replaced the stone with a gilded cupola. Legend holds that the workers, unable to devise a method for lowering the original stone pinnacle, were at an impasse. In response, Lama Shacha Gyalpo conducted prayers throughout the day, and it is believed that the stone miraculously descended by itself during the night. This stone still rests beside the choeten. Pilgrims and devotees who circumambulate the choeten make it a point to also circle the pinnacle, honoring its historical and spiritual significance.
According to another local legend, during the construction of the Choeten Kora, when the work reached the dome, an eight-year-old girl believed to be an angel from Tawang volunteered to be entombed within the dome. This event is commemorated annually; the 15th day of the first month of the lunar calendar is known as Dakpe Kora, a day for circumambulation by the Dakpa people from Tawang, and the 30th day is referred to as Drukpe Kora, involving circumambulation by the Bhutanese. These festivals draw hundreds of devotees from both near and far. Participants believe that making prostrations and praying with a pure mind during these festivals will help them realize their aspirations in life.
The stupa Choeten Kora features eyes facing in different directions. While three of these eyes look similar, the one facing the cliff has a distinct, terrifying expression. This particular look symbolizes protection and alertness, believed to keep away evil spirits, especially in spiritually important and risky areas like cliffs. This unique gaze not only demonstrates Buddha’s all-seeing and protective nature but also serves as a spiritual protector. Locally, it might also recall historical or mythical battles, reminding people to remain vigilant about their moral and ethical responsibilities. This distinctive feature sets Choeten Kora apart, showcasing its special blend of Buddhist symbolism with the local culture and environment.
Embedded with rich historical and mythical narratives, Choeten Kora serves as a vital spiritual center that connects the community with its cultural heritage and religious traditions. It continues to be a place of reflection and celebration, drawing visitors who seek both spiritual solace and a deeper understanding of Bhutan’s rich cultural tapestry.
The writer is a former History Teacher and currently an Examinations and Assessment Officer with BCSEA
