Exhibition Hall, Paro, Bhutan

Next to the iconic Ta Dzong, which houses the Bhutan National Museum, the Temporary Exhibition Building—often referred to as the Exhibition Hall—serves as a vibrant extension of Bhutan’s cultural storytelling.

This modern structure was established to accommodate exhibitions while the historic museum underwent restoration following earthquake damage. Though modest in scale, the building offers a rich and immersive experience, showcasing Bhutan’s living traditions and natural heritage.

One of the standout features of the Exhibition Hall is its captivating gallery of traditional Bhutanese dance masks. These masks, used in sacred cham dances performed during religious festivals, are not only artistic marvels but also deeply symbolic representations of deities, animals, and mythical beings. Each mask is intricately crafted, often from wood and painted in vivid colors, reflecting Bhutan’s spiritual depth and craftsmanship. Visitors can learn about the ritual significance of these dances and the role they play in Bhutanese Buddhist practice.

On the ground floor, the Natural History Gallery—established in 2012 with support from DANIDA—offers a fascinating glimpse into Bhutan’s biodiversity. The gallery features preserved specimens of native wildlife, including the elusive snow leopard, various species of deer, crocodiles, and an impressive array of birds and butterflies. A highlight is the Takin (Budorcas taxicolor), Bhutan’s national animal, known for its unique appearance and mythical origin. Equally enchanting is the ‘Bhutan Glory’ (Bhutanitis lidderdalii), a rare and striking butterfly species endemic to the region, with its velvety black wings adorned by crimson and yellow markings that shimmer in the light.

Completing the experience, the ground floor also houses a charming souvenir shop that offers authentic Bhutanese handicrafts. From handwoven textiles and prayer flags to carved wooden items and locally made jewelry, the shop provides visitors with a chance to take home a piece of Bhutan’s cultural essence. Whether you're drawn by the artistry of the masks or the wonders of Bhutan’s natural world, the Exhibition Hall is a must-visit complement to the National Museum’s main galleries.

Panorama of the Temporary Exhibition Building

Entering the Exhibition Hall «Her Royal Highness Ashi Sonam Dechan Wangchuck graciously inaugurated the Exhibition Hall dedicated to the Coronation of the 5th King and Centenary Celebration of the Bhutanese Monarchy on the 1st of the 9th Lunar month corresponding to the 29th of October 2008, built under the Government of India Funding.»

Demonstrating the Dharma: Masks of Bhutanese Sacred Religious Dance «Knowledge is crucial to advance on the Buddhist path. Fortunately, generations of accomplished masters have instituted and developed Cham, or, sacred religious dance to help people to better understand the teaching of Buddhist Dharma. As Chams are performed only occasionally, the National Museum of Bhutan has organized this permanent exhibition highlighting the masks from twelve major cham. It is the express intent of this display to educate and inform the public about the deeper significance of the dances, which form a major component of Bhutanese cultural heritage. The twelve dances show the range of Cham in Bhutan, drawing from different geographic regions, exhibiting diverse functions and unique origins. Some dances, like Peling Gingsum and Dramitse Ngacham, are only found in Bhutan and are performed nowhere else in the world. Many of these dances are centuries old, Karma Lingpa’s (b.1326) visions of the bardo and the Gongue Tum Ngam of Sangey Lingpa (1340-1396) were each introduced in the 14th century, the Peling Gingsum and the Ging and Tsholing dances were established in the 16th century by the treasure revealer Pema Lingpa (1450-1521), roughly contemporaneous with the Drum Dance of Dramitse in the 16th century. There are twenty-one distinctive types of dances in Bhutan, all under three general categories, First, Pure Vision Dances refers to those programs revealed to Buddhist masters through direct transmission, often via a visionary or dream experience in the realm of a Buddha or Deity. Second, Biography-Based Dances draw upon episodes from the lives of religious teachers that illustrate important moments and teach valuable lessons, The third categories of Subduing Dances demonstrate how the power of Buddhist teachings can tame obstacles and evil forces. In summary, these dances present to the viewer lessons on proper behaviour and Buddhist practice, demonstrate the power available to dedicated disciple, share key historical moments, and educate the viewer about how to successfully navigate life in this realm, and what to expect beyond it. each of these dances carries deep Buddhist significance and meaning and encourage actions that enrich the lives of other sentient beings, which is a main form of Buddhist practice.» The exhibition Demonstrating The Dharma: Masks of Bhutanese Sacred Religious Dance, housed in the Temporary Exhibition Building beside the National Museum of Bhutan, is a profound tribute to the spiritual and cultural legacy of Cham. These sacred dances, traditionally performed during religious festivals, are not merely theatrical spectacles—they are ritual enactments of Buddhist teachings, designed to guide practitioners and observers alike toward deeper understanding of the Dharma. The exhibition’s permanent display of masks from twelve major Cham dances offers visitors a rare opportunity to engage with the symbolic language of Bhutanese spirituality. Each mask in the collection is a masterpiece of Bhutanese craftsmanship, carved and painted to embody the essence of deities, wrathful protectors, enlightened beings, and mythical creatures. The exhibition is organized to reflect the diversity of Cham traditions across Bhutan’s regions, with dances like Peling Gingsum and Dramitse Ngacham—unique to Bhutan—highlighting the country’s rich spiritual imagination. These dances, some dating back to the 14th and 16th centuries, are rooted in visionary experiences and treasure teachings (terma) revealed by masters such as Karma Lingpa and Pema Lingpa. The masks serve as visual anchors for these narratives, allowing viewers to trace the lineage and meaning of each performance. The exhibition also categorizes the dances into three overarching types: Pure Vision Dances, which originate from mystical revelations; Biography-Based Dances, which dramatize episodes from the lives of revered teachers; and Subduing Dances, which depict the triumph of Buddhist wisdom over ignorance and malevolent forces. This framework helps visitors appreciate the multifaceted role of Cham—not only as spiritual instruction but also as moral guidance and communal storytelling. Interpretive panels and multimedia elements further enrich the experience, offering context on the dances’ origins, symbolism, and ritual function. Ultimately, Demonstrating The Dharma is more than an art exhibit—it’s a contemplative space where the viewer is invited to reflect on the values of compassion, discipline, and spiritual awakening. The masks, though static, evoke the dynamic energy of the dances they represent, reminding us that Buddhist practice is not confined to texts and temples but is also expressed through movement, sound, and visual form. For anyone seeking insight into Bhutan’s spiritual heart, this exhibition is a luminous gateway.

Masks of The Pholay Molay «Primarily a dance to entertain, this performance is based on an Indian myth, meant to portray the love and jealousy that exists between couples no matter what their social class. All human beings, from king to beggar to guru, have the power of emotions to contend with. This dance also shows that love can bring happiness to the heart of any being but it will eventually give rise to jealousy among couples, friends and neighbours. The cast for the Dance of Noblemen (Pholay) and Ladies (Molay) features two princes, two princesses, an old man, woman and a clown (Atsara), the dance was adapted from the biography of a legendary king named Norzang. This lengthy dance demonstrates the passions associated with love, attachment, infighting and jealousy, as wells as the inevitably disastrous results. It encourages the abandonment of negative motivations and the cultivation of faithfulness to each other, both in the home and in the community. Otherwise, only disaster will result.» The Pholay Molay dance, also known as the Dance of the Noblemen and Ladies, is a theatrical mask performance rooted in Bhutanese folklore and adapted from the biography of King Norzang. It’s a dramatic and often humorous portrayal of romantic entanglements, jealousy, and reconciliation. The dance features a cast of characters including two noblemen (Pholay), two noblewomen (Molay), an old man and woman, and the ever-mischievous Atsara—the red-faced clown who injects satire and bawdy humor into the narrative. The story unfolds as the noblemen leave for war, entrusting their fiancees to the care of the elderly couple. During their absence, the women are seduced by the Atsaras, leading to a scandalous fallout upon the noblemen’s return. The masks used in this dance are central to its storytelling. Each character is represented by a distinct mask, crafted using traditional Bhutanese techniques such as babzo, the art of mask carving. The Moley masks, for instance, are typically made from papier-mache or wood, painted in soft tones to reflect feminine grace, while the Pholay masks are more angular and regal. The Atsara masks are unmistakable—bright red with exaggerated features like a hooked nose and wide grin, symbolizing mischief and irreverence. These masks not only help distinguish the characters but also amplify their emotional expressions, making the performance both visually engaging and symbolically rich. In the Exhibition Hall next to the National Museum of Bhutan, visitors can view a curated selection of these masks, including those used in Pholay Molay. The display offers insight into the craftsmanship behind each piece, with some masks dating back decades and attributed to renowned artisans like Dwha Tshering of Thimphu. The masks are exhibited alongside interpretive panels that explain the dance’s narrative arc and its moral teachings—namely, the dangers of unchecked desire and the importance of loyalty and emotional restraint. The exhibition emphasizes how these performances, though entertaining, serve as cautionary tales embedded in Bhutanese cultural values.

Masks of The Five Sisters Of Longevity «The Five Sisters of Long Life, the Tshering Che Nga, live high in the snowy mountain peaks. These goddesses are often propitiated in the hopes of extending one’s lifespan, extra time during which one can better serve the Buddhist teachings. The ‘Deity of Long Life and Glory’ (Mentsun Tashi Tsheringma) is white-faced and has the power to grant longevity and enrich the life of her local population, while the second sister, the blue-faced ‘Deity of Clairvoyance’ (Thingi Zhalzangma) is responsible for enhancing the wisdom and insight of the people and other living beings in her territory. Another sister, the ‘Deity of Earth and Environment’ (Miyo Longzangma) has a yellow face and grants protection from floods and landslides if she is well propitiated by the local people, and if they refrain from disturbing her territory. The red-faced ‘Deity of Precious Articles’ (Chodpen Drinzangma) ensures an abundance of household items for those people who make offering prayers to her and are respectful of her natural environment. The ‘Deity of Cattle and Domestic Animals’ (Telkar Drozangma) is green coloured and responsible for over seeing domestic animals.» The Dance of the Five Sisters of Long Life, or Tshering Che Nga, is a sacred cham performed during Bhutanese religious festivals to invoke blessings of longevity, wisdom, prosperity, and environmental harmony. Each sister represents a divine force tied to a specific domain of life, and their appearance in the dance is both symbolic and theatrical. The script typically begins with the sisters descending from their celestial mountain abodes to bless the earth and its inhabitants. Their movements are graceful and deliberate, often accompanied by ritual music and chants that reinforce their spiritual roles. The dance is not just a performance—it’s a ritual offering and a form of supplication to these protective deities. The characters are portrayed by masked dancers, each embodying one of the five sisters. Tashi Tsheringma, the leader, wears a white mask and rides a snow lion, symbolizing purity and vitality. Thingi Zhalzangma, the blue-faced deity of clairvoyance, carries a mirror and a divine banner, representing insight and spiritual clarity. Miyo Longzangma, yellow-faced and grounded, holds a bowl of nourishing food and a mongoose, symbolizing abundance and protection. Chodpen Drinzangma, red-faced, is adorned with a treasure chest and a wish-fulfilling jewel, while Telkar Drozangma, green-faced, wields a snake lasso and a bundle of grass, signifying her dominion over livestock and swift action. The masks used in this dance are crafted with meticulous attention to iconographic detail. Traditionally made from papier-mache or carved wood, they are painted in vivid hues corresponding to each sister’s elemental domain. The masks are not merely decorative—they are imbued with symbolic power and are considered sacred objects. Their exaggerated features, such as wide eyes and ornate crowns, help convey the divine nature of the sisters and allow the audience to immediately recognize each character’s role. The dancers often wear matching robes and carry ritual implements that further distinguish their identities. In the Exhibition Hall adjacent to the National Museum of Bhutan, several of these masks are on display, offering visitors a rare glimpse into the spiritual artistry of Bhutanese cham traditions. The masks are presented with interpretive panels that explain their mythological origins and ritual significance. Notably, the mask of Tashi Tsheringma is a centerpiece, with its serene white face and intricate gold detailing. The exhibition also includes masks of the other sisters, each showcasing the craftsmanship of Bhutanese artisans and the enduring reverence for these mountain goddesses. This collection not only preserves the cultural heritage of the dance but also invites reflection on the values of harmony, protection, and spiritual devotion that the Five Sisters embody.

Set of twelve masks Top row: Gongdue Tung-ngam and Drilbuma. Second row: Lagna Dorge, Tandrin Wangchen and Ratna Thodthren. Third row: Chagchungma, Sangye Pawo, Guru Padmabazra and Michod Dorji. Bottom row: Karma Thodthreng, Chagdroma and Trodha Thodthren The mask exhibition presents a captivating ensemble of sacred masks, including Gongdue Tung-ngam, Drilbuma, Lagna Dorge, Tandrin Wangchen, Ratna Thodthren, Chagchungma, Sangye Pawo, Guru Padmabazra, Michod Dorji, Karma Thodthreng, Chagdroma, and Trodha Thodthren. Displayed together, these masks form a cohesive narrative that reflects Bhutan’s deep-rooted spiritual traditions and the rich symbolism of Tantric Buddhism. Their collective presence in a single exhibition space invites viewers to explore not only their individual identities but also the shared cultural and ritualistic threads that bind them. Each mask represents a distinct deity, enlightened being, or wrathful protector, often featured in the Cham dances performed during Bhutan’s Tshechu festivals. These dances are not mere performances but sacred rituals believed to purify the soul and ward off evil. The masks’ exaggerated features—such as bulging eyes, fierce expressions, and ornate headdresses—are designed to embody divine power and spiritual authority. Despite their differences in form and mythological origin, the masks share common artistic techniques, including the use of carved wood, vibrant mineral pigments, and symbolic motifs like flames, skulls, and lotus petals. What makes this exhibition particularly compelling is the curatorial decision to group these masks together. By doing so, the museum emphasizes their interconnectedness within Bhutanese cosmology. For instance, Guru Padmabazra (a manifestation of Padmasambhava) anchors the set with his central role in introducing Buddhism to Bhutan, while figures like Sangye Pawo and Tandrin Wangchen represent aspects of enlightened activity and wrathful compassion. The juxtaposition of peaceful and wrathful deities within the same space mirrors the duality inherent in Vajrayana teachings—where enlightenment is achieved through both serenity and fierce determination. Ultimately, the exhibition offers more than a visual feast; it’s a spiritual journey through Bhutan’s sacred landscape. Visitors are encouraged to contemplate the masks not just as artifacts, but as living embodiments of Bhutanese faith and identity. Their collective display underscores the unity of purpose behind Bhutan’s ritual traditions: to protect, to purify, and to awaken.

Masks of Guru Tshengye «In the 8th century, Guru Rinpoche, or the Precious teacher, brought the Buddhist teachings to the Himalayan regions. The Guru is credited with accomplishing significant feats, including thwarting demons, overcoming obstacles, converting beings both human and non-human to the Dharma. Tradition maintains that Guru Rinpoche visited Bhutan numerous times, during each of which he furthered the spread of Buddhism in the region. Some forces proved more difficult to subdue, and in such circumstances, the great Guru Rinpoche was able to materialize in a form specific to that situation. The Guru Tshengye Cham, or Dance of the Eight Manifestations of Guru Rinpoche, commemorates eight primary manifestations of the master, and the accomplishments that resulted, Through these forms, Guru Rinpoche was able to convert negative entities into protective forces, and establish the Himalayas as fertile grounds on which Buddhism would flourish.» Guru Rinpoche, also known as Padmasambhava, is revered across the Himalayan Buddhist world as the “Second Buddha.” His eight manifestations—Guru Tsokye Dorje, Guru Shakya Senge, Guru Nyima Ozer, Guru Padmasambhava, Guru Loden Chokse, Guru Pema Gyalpo, Guru Senge Dradrok, and Guru Dorje Drolo—represent distinct aspects of his enlightened activity. Each form emerged in response to specific challenges, whether subduing hostile spirits, teaching esoteric wisdom, or establishing monastic institutions. These manifestations are not separate beings but expressions of Guru Rinpoche’s boundless compassion and skillful means. The Guru Tshengye Cham, or Dance of the Eight Manifestations, is a sacred ritual performed during Bhutanese religious festivals known as tshechus. The dance dramatizes Guru Rinpoche’s spiritual triumphs, with each manifestation entering in procession and performing a unique dance before joining the central figure of Padmasambhava. The choreography is precise and deeply symbolic, intended not only to entertain but to bless the audience, purify negative karma, and invoke spiritual protection. The dance culminates in a public blessing, where devotees receive sacred threads and offerings from the dancers embodying the Guru’s forms. Integral to the dance are the elaborate masks worn by the performers. These masks, crafted from papier-mache and richly painted, embody the distinct personalities and powers of each manifestation. For example, Dorje Drolo’s mask is fearsome and red, adorned with skulls to signify his wrathful energy used to subdue demons, while Tsokye Dorje’s peaceful blue mask reflects his serene, lake-born origin. These masks are not mere props—they are sacred objects, often consecrated and stored in monastery chambers throughout the year. The National Museum of Bhutan houses a remarkable collection of these ritual masks, offering visitors a rare glimpse into the spiritual and artistic heritage of Bhutan. Among them is the mask of Guru Dorje Drolo, dating to the 19th century, which exemplifies the fierce beauty and craftsmanship of cham dance regalia. Displayed alongside thangkas and ceremonial costumes, these masks serve as both cultural artifacts and living symbols of Guru Rinpoche’s enduring presence in Bhutanese life. Their preservation in the museum ensures that the legacy of the Guru Tshengye Cham continues to inspire and educate future generations.

Acharya masks In Bhutanese religious festivals, particularly the vibrant tshechus, the character known as Acharya—more commonly referred to as Atsara—plays a multifaceted and essential role. Derived from the Sanskrit word Acharya, meaning “holy teacher,” Atsaras are not merely jesters but spiritual figures modeled after the 84 Mahasiddhas, enlightened beings who transcended worldly attachments. Their exaggerated antics, bawdy humor, and eccentric costumes are deliberate expressions of detachment from shame and inhibition, meant to challenge social norms and provoke reflection. Beneath the comic exterior lies a profound spiritual message: enlightenment can be found even in the most unconventional forms. Atsaras participate in nearly every major cham (masked dance) during tshechus, including the Atsara Ngon Cham, which dramatizes the resurrection of the legendary hunter Sharop Gyem Dorji. Their presence is both ceremonial and practical—they assist dancers with costumes, correct missteps, and interpret the symbolic meaning of the dances for lay audiences. Atsaras also serve as crowd guides and masters of ceremony, ensuring the smooth flow of events. On a deeper level, they embody spiritual protection and enlightenment, using humor and irreverence to subdue negative energies and awaken insight. The masks worn by Atsaras are among the most iconic in Bhutanese culture. Typically crafted from wood or papier-mache, they feature a bright red hue, a hawkish nose, and a permanent grin—symbols of burning passion and transcendence. Some masks include exaggerated features like a wooden phallus or balloon, representing fertility, wisdom, and the power to absorb disease. These masks are not merely theatrical; they are consecrated ritual objects imbued with spiritual significance. Each mask corresponds to protective deities of the region, such as Dorji Da-tse or Yeshey Gonpo, and is treated with reverence throughout the year. At the National Museum of Bhutan, the Exhibition Hall showcases a remarkable collection of Atsara masks, offering visitors a rare glimpse into the sacred and satirical heart of Bhutanese ritual life. These masks, some dating back to the 19th century, are displayed alongside thangkas and ceremonial costumes, contextualizing their role within the broader tapestry of Vajrayana Buddhist practice. The museum’s curation highlights the Atsara’s enduring legacy—not just as entertainers, but as spiritual provocateurs whose laughter carries the echoes of ancient wisdom.

Masks of Stag and Houds «The dance of the Stag and Hound (Shawa Shachi Chham) was described in the biography of Jetsun Milarepa (1052-1135), a master who saved the life of a deer from a hunter and a hound. The stag had sought shelter inside the same cave in an attempt to escape from his death. Moments later, when the hunter named Gonpo Dorje, and his hounds arrived at the cave in search of the stag, Milarepa said to them in a song, ‘there is plenty time for hunting and taking the life of others, but no one knows of one’s own death. Who knows; your death may happen before this poor animal is dead,' Milarepa thus was seeking to reach his ignorant hunter about impermanence. This drama-dance is performed in the hopes of cultivating compassion and love for animals, demonstrating that even the minds of cruel men such as the hunter may be turned towards the Dharma. This particular dance depicts deeply transformative power of compassion can tame wild animals and convert even the cruelest of beings. This dance illustrates the need to cultivate compassion and love for all sentient beings in order to have a successful rebirth and possible enlightenment.» The Dance of the Stag and Hound, or Shawa Shachi Chham, is a semi-operatic cham performed during Bhutanese tshechus, dramatizing the spiritual awakening of the hunter Gonpo Dorje through the compassion of the yogi Milarepa. The narrative unfolds in two chapters: the first introduces the hunter, his servant Phento, and their hounds, blending humor and ritual parody; the second reveals the stag’s desperate flight and Milarepa’s intervention. Through song and spiritual presence, Milarepa pacifies the hounds and stag, ultimately converting the hunter to the Dharma. The dance is both theatrical and devotional, conveying Buddhist teachings on impermanence, non-violence, and the redemptive power of compassion. The characters are vividly brought to life through elaborate masks and costumes. The hunter, referred to as Acho, wears a striking white mask with noble features, paired with ceremonial attire and a longbow. His servant Phento dons a dark mask and layered robes, often engaging in comic antics. The hounds are portrayed by agile dancers in red dog masks, their costumes adorned with silken sashes to mimic canine movement. The stag’s mask is particularly majestic—crafted with long antlers and delicate detailing to evoke both vulnerability and grace. Milarepa’s mask is serene and pale, symbolizing purity and spiritual authority, often accompanied by a hand drum and white robes. These masks are not merely theatrical props; they are sacred ritual objects, consecrated and preserved with reverence. At the National Museum of Bhutan, the Exhibition Hall features a curated collection of masks from this dance, offering a rare glimpse into Bhutan’s spiritual and artistic heritage. Among the highlights are antique stag and hound masks, some dating back to the 19th century, showcasing intricate craftsmanship in papier-mache and wood. Their expressive features—wide eyes, snarling mouths, and textured fur—capture the emotional intensity of the performance and its moral themes.

Eight Dri-Ging masks The character of Dri-Ging, also known as the Sword Ging, plays a pivotal role in Bhutanese sacred dance traditions, particularly within the Peling Gingsum—a trilogy of cham dances attributed to the 15th-century treasure revealer Pema Lingpa. These dances are performed during major religious festivals and are deeply rooted in Vajrayana Buddhist ritual. Dri-Ging appears in the second of the three ging dances, wielding a sword (dri) and a skull cup (bumpa) to symbolize the wrathful compassion used to subdue and liberate malevolent forces. His movements are fierce and deliberate, enacting the ritual slaying of ignorance and ego, which are considered the root of suffering. The Dri-Ging dance is highly symbolic and structured in three phases: the slaying of evil, the dismemberment of its symbolic body, and the liberation of its consciousness. The dancers, often bare-chested and wearing leopard-patterned trousers and multicolored silk sashes, embody wrathful deities. Their masks are particularly striking—crafted to represent fierce expressions with bulging eyes, snarling mouths, and flaming eyebrows. These masks are not merely theatrical; they are consecrated ritual objects believed to channel divine energy during the performance. At the National Museum of Bhutan, the Exhibition Hall houses a remarkable collection of Dri-Ging masks, offering visitors a rare glimpse into the spiritual and artistic heritage of Bhutan. These masks, some dating back to the 19th century, are carved from wood or molded from papier-mache, then painted in vivid hues of red, black, and gold. The craftsmanship reflects both the aesthetic and spiritual dimensions of Bhutanese mask-making, with each mask designed to evoke the power and presence of the wrathful ging deities. Their preservation in the museum underscores their cultural significance and ensures their continued reverence beyond the dance ground.

Eight Nga-Ging masks The Nga-Ging is one of the three sacred emanations in the Peling Gingsum dance cycle, revealed by the 15th-century Bhutanese treasure discoverer Pema Lingpa. While Jug-Ging wields a stick and Dri-Ging a sword, Nga-Ging carries a drum (nga), which he uses to drive away obstructing spirits and guide them toward liberation. His dance is a powerful ritual act of purification and release, performed during Tsechu festivals to honor Guru Rinpoche (Padmasambhava) and to cleanse the environment of spiritual impurities. The rhythmic beating of the drum is not merely musical—it symbolizes the heartbeat of compassion and the pulse of awakened awareness. In the choreography, Nga-Ging appears after the divination and confrontation stages of the Gingsum cycle. His role is to subdue and liberate the nyulema—malevolent forces that hinder spiritual progress. Unlike the aggressive sword-wielding Dri-Ging, Nga-Ging embodies a more benevolent force, using sound and movement to transform negativity. His dance is both wrathful and peaceful, alternating between vigorous leaps and meditative gestures, reflecting the dual nature of enlightened activity. The drum he carries is often a large cylindrical bang nga or a flat hand-held lag nga, played with a curved stick. The masks worn by Nga-Ging dancers are among the most expressive in Bhutanese ritual art. Typically carved from wood or molded from papier-mache, they depict fierce animal or deity faces with exaggerated features—bulging eyes, snarling mouths, and vibrant colors. These masks are not just theatrical props; they are spiritual instruments designed to invoke protective energies and to terrify obstructing spirits into submission. Each mask is imbued with symbolic meaning, often representing aspects of wrathful deities who act compassionately by destroying ignorance and ego. At the National Museum of Bhutan, the Exhibition Hall showcases a stunning collection of original Nga-Ging masks. These artifacts, some dating back over a century, are preserved with reverence and displayed alongside interpretive panels that explain their ritual significance. Visitors can observe the intricate craftsmanship—layered pigments, gilded details, and stylized motifs—that make each mask a unique embodiment of Bhutanese spiritual aesthetics. Standing before these masks, one feels the pulse of the Nga-Ging dance echoing through time, a reminder of Bhutan’s living heritage and its profound fusion of art, ritual, and inner transformation.

Eight Sa-Ging masks The Sa-Ging is a lesser-known but spiritually potent character within the sacred cham traditions of Bhutan, particularly in the extended lineage of dances associated with the Peling Gingsum cycle revealed by Pema Lingpa. While not always performed as a standalone figure, Sa-Ging is understood to represent the elemental force of earth (sa), and is invoked in ritual contexts where grounding, stability, and purification are required. His presence in the dance is symbolic of the stabilizing power of the earth element in the face of spiritual turbulence, and his movements are deliberate, weighty, and centered—contrasting with the more agile and wrathful gestures of other ging characters. In performances where Sa-Ging appears, he often participates in the preliminary or transitional phases of the cham, helping to prepare the ritual space and anchor the energies being summoned. His function is both protective and integrative: he grounds the ritual in the physical realm, ensuring that the spiritual forces invoked do not overwhelm the participants or the environment. Sa-Ging may also assist in the symbolic subjugation of nyulema—roaming spirits or inner afflictions—by embodying the strength and patience required to transform negativity into wisdom. His dance is less confrontational than that of Dri-Ging or Nga-Ging, but no less essential in the overall spiritual choreography. The masks worn by Sa-Ging dancers are distinct in their earthy symbolism. Typically crafted from wood or papier-mache, they feature subdued tones—ochre, brown, and muted greens—and expressions that evoke calm authority rather than wrath. The facial features may include a broad forehead, steady eyes, and a closed mouth, symbolizing introspection and restraint. Some masks incorporate motifs of mountains or soil patterns, reinforcing the connection to the earth element. These masks are consecrated objects, believed to channel the grounding energy of the deity they represent, and are treated with reverence throughout the year. At the National Museum of Bhutan, the Exhibition Hall includes a rare collection of Sa-Ging masks, offering visitors a glimpse into this stabilizing force within Bhutanese ritual arts. Though less flamboyant than the masks of wrathful deities, the Sa-Ging masks are notable for their craftsmanship and symbolic depth. Displayed alongside interpretive panels and ritual regalia, they invite reflection on the importance of balance and rootedness in spiritual practice. Their presence in the museum underscores Bhutan’s holistic approach to sacred dance, where even the quietest character plays a vital role in the cosmic drama of transformation.

Eight Nam-Ging masks Nam-Ging is a powerful and spiritually charged character in Bhutanese cham dances, particularly those rooted in the visionary traditions of Terton Pema Lingpa. He is considered a wrathful manifestation of the Ging, embodying fierce compassion and divine protection. Unlike the more benevolent Ging dancers who represent internal spiritual forces, Nam-Ging appears in dances that require the subjugation of deeply entrenched evil. His role is to chase away malevolent spirits and purify the space, often using ritual implements like drums and weapons to symbolically destroy negativity. Nam-Ging typically appears in dances such as the Ging-Tsholing and other Peling cham performances, where he plays a pivotal role in the spiritual drama. His movements are vigorous and commanding, designed to evoke both fear and reverence. The dance is not just a spectacle—it’s a ritual act of cleansing, meant to restore harmony and balance in the community. Nam-Ging’s presence signals the climax of the purification process, where internal and external forces unite to dispel darkness and invite blessings. The masks of Nam-Ging, displayed in the Exhibition Hall of the National Museum of Bhutan, are striking examples of Bhutanese sacred artistry. These masks are typically characterized by fierce expressions—bulging eyes, snarling mouths, and prominent fangs—crafted to reflect his wrathful nature. Some masks feature small flags or ritual symbols atop the crown, signifying his divine authority. The craftsmanship is meticulous, with vivid colors and exaggerated features that serve both aesthetic and spiritual purposes. These masks are not merely decorative; they are consecrated objects used to channel Nam-Ging’s energy during ritual performances. Visitors to the museum can appreciate the masks not only for their visual impact but also for their cultural and spiritual significance. Each mask tells a story of Bhutan’s deep-rooted belief in the transformative power of ritual dance. Nam-Ging’s masks, in particular, stand as guardians of tradition, reminding viewers of the ongoing struggle between good and evil—and the sacred duty to maintain balance through devotion, art, and ceremony.

Eight Tsholing masks Tsholing is a formidable figure in Bhutanese cham dances, representing external spiritual forces tasked with subduing evil and restoring harmony. Unlike the Ging, who embody internal spiritual energies, Tsholing characters are wrathful tutelary deities—guardians who confront and neutralize malevolent entities that threaten the balance of the world. Their appearance in dances is dramatic and intense, often marking the beginning of a ritual purification process. These dances are not mere performances; they are sacred acts of spiritual warfare, rooted in the visionary teachings of Terton Pema Lingpa. Tsholing dancers typically participate in the Ging-Tsholing cham and other Peling traditions, where they precede the Ging in the ritual sequence. Their movements are deliberate and commanding, designed to trap and destroy evil spirits. They wield ritual banners and wear long silk robes that flow with their gestures, enhancing the visual impact of their presence. The dance culminates in the symbolic destruction of negativity, paving the way for the Ging to bless the space and its inhabitants. This duality—wrathful subjugation followed by benevolent purification—is central to the spiritual narrative of the cham. The masks of Tsholing, many of which are preserved in the Exhibition Hall of the National Museum of Bhutan, are striking in their design and symbolism. These masks are crafted to evoke fear and reverence, with exaggerated features such as bulging eyes, snarling mouths, and sharp fangs. Unlike other wrathful deities, Tsholing masks do not bear the tiara of skulls; instead, their power is conveyed through their fierce expressions and bold colors. Each mask is a sacred object, consecrated for ritual use and imbued with the energy of the deity it represents. Visitors to the museum can witness these masks up close, gaining insight into Bhutan’s rich spiritual heritage and the artistry that supports it. The masks are not only cultural artifacts but living symbols of Bhutanese belief in the transformative power of ritual. Through the Tsholing dances and their fearsome masks, Bhutanese communities reaffirm their commitment to spiritual protection, collective harmony, and the enduring legacy of their sacred traditions.

Masks of Ging and Tsholing «Life seems to be full of obstacles, hindrances and difficulties. The Ging-Tsholing Dance helps to clear our paths of problems, for each individual and for society at large. Ging represent the positive, internal spiritual forces, frequently depicted as Buddhist deities. These forces can be male heroes, called daka, or female heroines, called khandroma. Tsholings, on the other hand, are external forces, depicted as male and female tutelary deities. Their dance is performed to subdue evil forces and cultivate peace throughout the land. The Buddhist saint Terton Pema Lingpa (1450-1521) experienced a vision of the divine paradise of Guru Rinpoche, and in this paradise the Ging and Tsholing dances were being performed. Later, Pema Lingpa systematized the dances and introduced them to the people.» The Ging-Tsholing Dance is one of Bhutan’s most sacred cham dances, deeply rooted in Vajrayana Buddhist tradition and spiritual symbolism. It was systematized by the revered saint Terton Pema Lingpa after his vision of Guru Rinpoche’s paradise, where these dances were performed as divine rituals. The dance is not merely theatrical—it’s a spiritual purification, meant to clear obstacles from the path of individuals and society. Ging dancers represent internal spiritual forces, often appearing as daka or khandroma, while Tsholing dancers embody wrathful tutelary deities who confront and subdue external evils. Performed during festivals like the Paro Tshechu, the dance unfolds in dramatic stages. Tsholing dancers appear first, wearing long silk robes and terrifying masks that reflect their fierce nature. These masks are designed to evoke fear and awe, symbolizing the power needed to vanquish malevolent forces. The dancers wield ritual banners used to summon and trap evil spirits, which are then symbolically destroyed. Ging dancers follow, dressed in tiger-striped garments and leopard-patterned trousers, with masks featuring fangs and small flags atop their crowns. They carry drums and beat them rhythmically, blessing the crowd and chasing away impurities. The masks themselves, many of which are preserved in the Exhibition Hall of the National Museum of Bhutan, are masterpieces of Bhutanese artistry. Tsholing masks are wrathful but distinct from other wrathful deities—they lack the tiara of skulls and instead emphasize exaggerated facial features to convey ferocity. Ging masks, on the other hand, are more animated, with wide eyes and snarling mouths, often topped with symbolic flags. These masks are not just decorative—they are sacred tools, imbued with spiritual significance and used to channel divine energies during the dance. Visitors to the National Museum can witness these masks up close, appreciating their intricate craftsmanship and the cultural depth they represent. Each mask tells a story, not only of the character it portrays but of Bhutan’s enduring belief in the power of ritual to transform and heal. The Ging-Tsholing Dance, with its vibrant costumes, thunderous drums, and symbolic gestures, remains a living tradition that continues to inspire reverence and reflection in the face of life’s many challenges.

Masks of the Drum Dance from Dramitse «This unique Bhutanese sacred dance was introduced at Drametse in the 16th century by Khedrup Kunga Wangpo, who witnessed its performance in two pure visions. In these visions he visited the celestial Copper Mountain Palace (Dz. Zangtopelri) of Guru Rinpoche, where the dance was revealed to him. Later, he taught the steps he witnessed to the people of Drametse. All sixteen masks in the Drametse Nga Chham are peaceful in countenance, led by a dancer wearing a lion mask. The other animals each represent one of the twelve animal signs of the Bhutanese lunar calendar. Through the course of the performance, peaceful movements are alternated with wrathful ones. It is believed that simply seeing the Drum Dance of Drametse is enough to purge all negative karma and lead the viewer to enlightenment. This dance is not seen anywhere else in the world, and thus in 2005, UNESCO proclaimed the Drametse Nga Chham as an Intangible Cultural Heritage of Humanity.» The Drum Dance from Dramitse, or Drametse Nga Chham, is one of Bhutan’s most sacred and visually arresting ritual performances. Rooted in a visionary experience of Khedrup Kunga Wangpo in the 16th century, the dance was revealed to him in the celestial realm of Zangtopelri, the Copper Mountain Palace of Guru Rinpoche. Upon returning to the earthly realm, he transmitted the dance to the people of Drametse, where it has since become a cornerstone of Bhutanese spiritual culture. Performed twice annually at the Drametse festival, the dance honors Padmasambhava and is believed to bestow blessings, dispel obstacles, and purify negative karma simply through its witnessing. The choreography of the Drametse Nga Chham is a dynamic interplay between serenity and ferocity. Sixteen masked dancers, accompanied by ten musicians, enact a spiritual drama that alternates between peaceful and wrathful deific expressions. The lion-headed dancer leads the procession, followed by performers wearing masks of animals both real and mythical—each corresponding to the twelve signs of the Bhutanese lunar calendar. The dance begins with slow, meditative movements representing peaceful deities, then shifts into vigorous, acrobatic sequences symbolizing wrathful forces subduing evil. The rhythmic beating of drums, especially the bang nga and lag nga, underscores the ritual’s transformative power. The masks used in this dance are masterpieces of Bhutanese craftsmanship. Carved from wood or molded from papier-mache, they are painted in vibrant hues and adorned with symbolic motifs. Each mask is designed to embody the essence of the animal it represents—be it the snow lion, garuda, raven, or tiger—while also channeling the spiritual energy of the deities they invoke. The lion mask, in particular, is regal and commanding, with flowing mane details and piercing eyes that reflect its role as the leader of the dance. These masks are not merely decorative; they are consecrated ritual objects, believed to hold protective and purifying powers. At the National Museum of Bhutan, the Exhibition Hall features a stunning collection of these sacred masks. Visitors can view original lion and animal masks used in past performances, some dating back to the 19th century.

Four Lords of Cemetery masks The Lord of the Cemetery, known in Tibetan Buddhism as Citipati or Shri Shmashana Adhipati, is a striking figure who embodies the impermanence of life and the transformative power of death. Often depicted as a pair of dancing skeletons—one male and one female—Citipati is a wrathful protector deity associated with charnel grounds, where bodies are ritually disposed. In Bhutanese ritual dances, especially during Cham festivals, the Lord of the Cemetery appears in performances that dramatize the cycle of life, death, and rebirth. These dances are not morbid spectacles but profound spiritual teachings, reminding practitioners to confront their fear of death and embrace the transient nature of existence. The Citipati’s dance is typically performed in monastery cemeteries during summer and winter festivals. Monks wearing skeletal masks and costumes enact a ritual known as the Dance of the Skeletons, which symbolizes the eternal dance of death and the liberation from worldly attachments. Their movements are wild yet precise, often accompanied by long horns and drums, creating an atmosphere that is both eerie and deeply meditative. The dance serves as a spiritual mirror, urging viewers to reflect on their own mortality and the futility of clinging to material life. The masks worn by the Lord of the Cemetery are among the most visually arresting in Bhutanese ritual art. Crafted from wood or papier-mache, they feature grinning skulls with exaggerated features—bulging eyes, prominent cheekbones, and sometimes a third eye of wisdom. These masks are adorned with crowns of five skulls, symbolizing the conquest of the five poisons: ignorance, attachment, aversion, pride, and jealousy. Some versions include skeletal motifs or flames of awareness painted around the head, reinforcing their role as fierce yet compassionate guardians of spiritual truth. At the National Museum of Bhutan, the Exhibition Hall houses a remarkable collection of Citipati masks. These artifacts, some dating back to the 19th century, are preserved as sacred cultural treasures. Visitors can observe the intricate craftsmanship and symbolic detailing that make each mask a unique embodiment of Bhutanese spiritual philosophy. Displayed alongside interpretive panels, the masks offer insight into how Bhutanese culture uses art and ritual to explore profound themes like death, transformation, and liberation. Standing before them, one feels the pulse of the cemetery dance—a vivid reminder that even in death, there is wisdom, movement, and grace.

Stick Dance masks (Jug-Ging) «Dragon-face represents arrogance. Lion-face represents haughtiness. Stag-face represents miserliness. Rat-face represents cunningness. Ox-face represents restraining. Sheep-face represents stupidity. Garuda-face represents stubbornness. Dog-face represents malice. Partridge-face represents clinging. Snake-face represents hatred. Horse-face represents agitation. Deer-face represents grasping. Monkey-face represents shrewdness. Tiger-face represents conceit. Pig-face represents ignorance. Rabbit-face represents rumination.» The Stick Dance (Jug-Ging) is a sacred ritual from Bhutan that opens the trilogy of dances known as Peling Gingsum, revealed by the revered Buddhist master Pema Lingpa in the 15th century. Performed during religious festivals like Tsechu, this dance is not merely theatrical—it’s a spiritual investigation. Dancers wield painted sticks as tools of divination, searching for nyulema, or roaming spirits that obstruct the path to enlightenment. The choreography unfolds in three stages: divination, pursuit, and realization. The climax arrives when the lead dancer turns the stick inward, pointing to their own heart, symbolizing the profound Buddhist insight that the true source of suffering lies within. The dancers wear striking animal-headed masks, each embodying a specific mental affliction. These masks are not just decorative—they are pedagogical tools. For example, the dragon-face represents arrogance, the pig-face ignorance, and the snake-face hatred. The dancers’ bare chests and leopard-patterned trousers add to the raw, elemental energy of the performance, while the cymbals played by the umdze (ritual leader) guide the rhythm and intensity of the movements. The masks’ exaggerated features and vivid colors are designed to evoke visceral reactions, helping the audience confront the darker aspects of their own psyche. At the National Museum of Bhutan, the Exhibition Hall houses a remarkable collection of these original masks. Some date back to the 19th century and are preserved as sacred cultural relics. Crafted from wood or papier-mache and painted in bold hues, the masks are displayed with reverence, each accompanied by interpretive panels explaining its symbolic meaning. Visitors can see the full spectrum of emotional and spiritual symbolism encoded in the dance—from the cunning rat-face to the grasping deer-face—offering a rare glimpse into Bhutan’s unique fusion of art, spirituality, and moral instruction. This exhibition doesn’t just showcase artifacts—it invites introspection. Standing before the masks, one is reminded that these are not merely representations of mythical beings, but mirrors of the human condition. The Jug-Ging dance, and the masks that animate it, serve as a living tradition that continues to guide Bhutanese communities in their spiritual journey, encouraging both performers and spectators to recognize and transform their inner demons.

Four stag-face masks In the sacred Stick Dance (Jug-Ging) of Bhutan, the stag-face mask plays a symbolic role in the ritual drama of spiritual purification. As part of the Peling Gingsum trilogy attributed to Pema Lingpa, the Jug-Ging dance is a dynamic performance where dancers wield sticks to divine the presence of nyulema—malevolent spirits that obstruct the Dharma. Each dancer wears an animal-headed mask that embodies a specific mental affliction, and the stag-face mask is a vivid representation of miserliness. This affliction is seen as a spiritual obstacle, reflecting a mind that clings to material possessions and resists generosity, which is a core virtue in Buddhist practice. The stag-face mask is typically carved from wood or molded from papier-mache, painted in earthy tones with antlers that curve upward in stylized elegance. Its expression is often solemn or slightly contorted, suggesting the inner tension of a miserly mind. During the dance, the wearer of the stag mask moves with cautious, restrained gestures—symbolizing the reluctance to give or share. These movements contrast with the more aggressive or expansive gestures of other masks, reinforcing the stag’s role as a metaphor for spiritual stagnation caused by attachment to wealth and self-interest. At the National Museum of Bhutan, the Exhibition Hall features a remarkable collection of original masks used in ritual dances, including several stag-face masks. These artifacts are preserved with reverence and displayed alongside interpretive panels that explain their symbolic meanings. Visitors can observe the craftsmanship—layered pigments, intricate carvings, and the subtle detailing that gives each mask its unique character. The stag-face masks, in particular, are highlighted for their role in teaching moral lessons through performance, inviting reflection on the dangers of hoarding and the spiritual liberation found in generosity. Standing before these masks, one is reminded that the Jug-Ging dance is not merely a spectacle but a living sermon. The stag-face, with its quiet intensity, urges viewers to examine their own tendencies toward miserliness and to embrace the Buddhist path of compassion and detachment. In this way, the mask becomes more than an object—it becomes a mirror, reflecting the inner work required to overcome one’s spiritual obstacles.

Judgment of the Dead masks Raksha Mangcham, or the Dance of the Judgment of the Dead, is one of Bhutan’s most dramatic and didactic cham dances. Rooted in the teachings of the Bardo Thodroel (Tibetan Book of the Dead), it portrays the soul’s journey through the intermediate state after death, where karmic deeds are weighed and judgment is passed. The dance unfolds like a spiritual courtroom drama, with vivid characters representing forces of virtue, sin, and divine justice. It’s performed during major religious festivals such as the Thimphu Tshechu, offering both entertainment and moral instruction to the audience. At the heart of the dance is Shinje Chogyal, the Lord of Death, who presides over the judgment. His mask is a commanding red visage with bulging eyes and a fierce expression, symbolizing his role as the impartial arbiter of karma. He holds a mirror that reflects the deeds of the deceased, and his presence is both terrifying and awe-inspiring. Accompanying him are the White Deity (Lha Karpo), who advocates for the soul’s good deeds, and the Black Demon (De Nakchung), who emphasizes its sins. Their masks are stark contrasts—Lha Karpo’s is serene and pale, while De Nakchung’s is dark and menacing, often with exaggerated features to evoke dread. The Rakshas, animal-headed helpers of Shinje Chogyal, add a surreal and symbolic layer to the dance. Each wears a mask representing a different creature—ox, wild hog, lion, mythical bird, serpent, and more—each with its own ritual function. For example, the khyung-headed bird wields a sword to cut through ignorance, while the lion-headed helper uses a lasso to represent love. These masks, preserved in the Exhibition Hall of the National Museum of Bhutan, are masterpieces of sacred craftsmanship. They are richly painted, intricately carved, and imbued with spiritual symbolism, serving not only as performance tools but as embodiments of Buddhist teachings. Visitors to the museum can witness these masks up close, gaining insight into Bhutan’s unique fusion of art, spirituality, and storytelling. The masks of Raksha Mangcham are not merely relics—they are living expressions of Bhutanese cosmology and moral philosophy. Through their fierce beauty and ritual power, they remind us that every action has consequence, and that the path to liberation lies in recognizing and transforming our karmic legacy.

Masks of the Lord of Death (center), the White Deity (left) and the Black Deity (right) of the Judgment of the Dead Raksha Mangcham, or the Dance of the Judgment of the Dead, is a vivid spiritual drama that enacts the posthumous trial of a soul, based on the Bardo Thodroel (Tibetan Book of the Dead). At the center of this cosmic tribunal stands Shinje Chogyal, the Lord of Death, whose role is to weigh the karmic deeds of the deceased. His mask, displayed in the Exhibition Hall of the National Museum of Bhutan, is a commanding presence: a large red head symbolizing divine authority and wrathful impartiality. The prominent eyes reflect his penetrating gaze into the soul’s truth, while the third eye on his forehead signifies transcendent wisdom. The five skulls atop his crown represent the transformation of the five poisons—ignorance, desire, anger, pride, and jealousy—into wisdom. His open, flaming mouth and fiery eyebrows evoke the purifying fire of judgment, burning away illusion and deceit. Flanking Shinje Chogyal are the White Deity (Lha Karpo) and the Black Deity (De Nakchung), who argue for the soul’s virtue and sin, respectively. The White Deity mask is smaller than that of the Lord of Death, emphasizing his role as a humble advocate of goodness. Its white color symbolizes purity and compassion. The closed, smiling mouth conveys serenity and benevolence, while the attentive eyes—neither exuberant nor aggressive—suggest quiet vigilance. The absence of a third eye marks his earthly perspective, and the thin eyebrows soften his expression. Most striking is the crown of leaves and flowers, a symbol of renewal, peace, and the blossoming of virtue. In contrast, the Black Deity mask is also smaller than Shinje Chogyal’s, but far more menacing. Its black color embodies ignorance, fear, and karmic burden. The third eye on the forehead mirrors the Lord of Death’s, but here it represents destructive insight—seeing the soul’s flaws with ruthless clarity. The five white skulls atop the head echo the Lord’s crown but are rendered in stark contrast, suggesting the raw, untransformed nature of the poisons. The prominent eyes glare with accusation, and the open mouth with sharp canines evokes the devouring force of guilt. The fiery eyebrows intensify the mask’s wrathful energy, underscoring the urgency of karmic reckoning. Together, these three masks form a triad of cosmic justice, each embodying a facet of the soul’s journey through death and rebirth. Their presence in the National Museum offers not just artistic marvel but a profound meditation on morality, consequence, and the spiritual architecture of Bhutanese belief. They are not merely relics—they are mirrors of the human condition, carved in wood and painted with the colors of eternity.

Masks of Ox, Garuda, Lion, Goat, Raven, Jackal and Doe of the Judgment of the Dead «Ox-face represents restraining. Garuda-face represents stubbornness. Lion-face represents haughtiness. Goat-face represents shrewdness. Raven-face represents craving. Jackal-face represents hypocrisy. Doe-face represents miserliness.» In the Dance of the Judgment of the Dead—Raksha Mangcham—each animal-headed character plays a symbolic role in the karmic drama that unfolds in the afterlife. These figures, known as Rakshas, are minions of Shinje Chogyal, the Lord of Death, and assist in the judgment of souls by embodying specific human vices. Their exaggerated movements and fearsome masks serve not only to entertain but to instruct, reminding the audience of the moral pitfalls that hinder spiritual progress. Each Raksha represents a particular flaw that can weigh down a soul in the bardo, the intermediate state between death and rebirth. The Ox-faced Raksha, symbolizing restraint, is often depicted with a broad, stoic mask featuring large horns and a heavy brow. Its presence suggests the burden of suppressed impulses and the karmic weight of unexpressed desires. The Garuda-faced Raksha, representing stubbornness, wears a mask with a fierce beak and wide wings, evoking the mythical bird’s defiance and rigidity. The Lion-faced Raksha, embodying haughtiness, dons a regal mask with a flowing mane and proud expression, warning against arrogance and inflated self-worth. The Goat-faced Raksha, symbolizing shrewdness, features a narrow, cunning expression with sharp eyes and twisted horns. It reflects the dangers of manipulative intelligence used for selfish gain. The Raven-faced Raksha, representing desire, is adorned with glossy black feathers and a piercing gaze, capturing the insatiable hunger that leads souls astray. The Jackal-faced Raksha, embodying hypocrisy, wears a sly, two-faced mask with a grin that conceals deceit. Its role in the dance is to expose duplicity and moral inconsistency. Finally, the Doe-faced Raksha, symbolizing miserliness, is portrayed with a gentle yet guarded expression—soft eyes, delicate ears, and a closed mouth. Its mask is often smaller and less aggressive, yet its message is potent: the withholding of generosity and compassion can be just as spiritually corrosive as overt sin. Displayed in the National Museum, these masks offer visitors a rare glimpse into Bhutan’s ritual artistry and moral philosophy. They are not merely relics of performance but enduring reminders of the ethical choices that shape our karmic destiny.

Masks of Monkey, Tiger and Dog of the Judgment of the Dead «Monkey-face represents cunningness. Tiger-face represents conceit. Dog-face represents malice.» In the Dance of the Judgment of the Dead—Raksha Mangcham—each animal-headed character embodies a specific human vice that obstructs spiritual liberation. These symbolic figures assist the Lord of Death, Shinje Chogyal, in evaluating the karmic weight of souls in the bardo, the intermediate state between death and rebirth. The Monkey-faced Raksha, representing cunning, is a lively and mischievous figure whose antics reflect the deceptive intelligence that manipulates truth for personal gain. In the dance, this character often moves with quick, darting gestures, mimicking the slyness and unpredictability of a mind that thrives on trickery. The Tiger-faced Raksha, symbolizing conceit, is a commanding presence in the performance. Its mask is typically painted in bold stripes with a fierce snarl and piercing eyes, evoking the pride and self-importance that blinds one to humility. The Tiger Raksha’s movements are deliberate and regal, reinforcing its inflated sense of superiority. This character warns the audience of the spiritual consequences of arrogance and the illusion of dominance. The Dog-faced Raksha, embodying malice, is one of the more unsettling figures in the dance. Its mask often features bared teeth, a furrowed brow, and a snarling expression, capturing the essence of hostility and vindictiveness. In the performance, the Dog Raksha may stalk or lunge, portraying the aggressive impulses that lead to harm and karmic imbalance. The mask preserved in the Exhibition Hall is carved with intense detail, its snarling mouth and sharp contours designed to provoke reflection on the corrosive nature of hatred. Together, these three Rakshas—Monkey, Tiger, and Dog—form a triad of psychological traps that the dance seeks to expose. Their masks, displayed’s National Museum, are not merely theatrical props but sacred tools of moral instruction. Each one invites viewers to confront their own tendencies toward cunning, conceit, and malice, and to consider the path of transformation that leads beyond them. The artistry of the masks, with their vivid symbolism and expressive design, ensures that the lessons of the Raksha Mangcham endure far beyond the festival grounds.

Masks of Yeti, Pig, Sheep and Dragon of the Judgment of the Dead «Yeti-face represents mental sloth. Pig-face represents ignorance. Sheep-face represents stupidity. Dragon-face represents haughtiness.» In the vivid and symbolic Bhutanese ritual known as the Dance of the Judgment of the Dead—or Raksha Marcham—animal-faced characters play crucial allegorical roles in dramatizing the moral reckoning of souls after death. Among these, the Yeti-faced, Pig-faced, Sheep-faced, and Dragon-faced figures embody specific human vices that obstruct spiritual progress. These characters, portrayed by dancers in elaborate masks and costumes, serve as cautionary archetypes, each representing a distinct flaw: Yeti-faced symbolizes mental sloth, Pig-faced stands for ignorance, Sheep-faced denotes stupidity, and Dragon-faced embodies haughtiness. Their exaggerated movements and grotesque visages are designed to provoke reflection and moral awareness among spectators. The Yeti-faced Raksha, with its shaggy, wild appearance, evokes the torpor of a mind dulled by laziness and distraction. In the dance, this character lumbers about, often appearing disengaged or slow to react, illustrating how mental sloth can lead one astray from the path of enlightenment. The Pig-faced Raksha, with its snout and earthy demeanor, represents ignorance—particularly the kind that stems from willful avoidance of truth. This character’s actions in the dance are often chaotic or misdirected, underscoring the dangers of living without wisdom or discernment. The Sheep-faced Raksha, gentle but vacant-eyed, portrays stupidity—not merely a lack of intelligence, but a failure to question, to learn, or to act with clarity. The Dragon-face Raksha, regal and imposing, struts with arrogance, its haughtiness serving as a warning against pride and spiritual vanity. These masks are not only theatrical tools but sacred objects, and several original examples are preserved and displayed in the Exhibition Hall of the National Museum of Bhutan. Crafted with meticulous detail, the masks reflect Bhutanese artistry and religious symbolism. The Yeti-face mask is often made with coarse materials to emphasize its wildness, while the Pig-face mask features exaggerated nostrils and tusks to highlight its base nature. The Sheep-face mask is typically soft and rounded, evoking docility, and the Dragon-face mask gleams with ornate embellishments, signifying its inflated self-importance. Visitors to the museum can observe these masks up close, gaining insight into the spiritual teachings embedded in Bhutanese culture. Together, these four characters form a moral tableau within the dance, reminding audiences of the inner demons that must be confronted and overcome. Their presence in both performance and museum display bridges the realms of ritual and reflection, offering a timeless lesson in self-awareness. The Dance of the Judgment of the Dead is not merely entertainment—it is a living sermon, and these masks are its most eloquent messengers.

Masks of Leopard and Bear of the Judgment of the Dead «Leopard-face represents jealousy. Bear-face represents agitation.» In the Dance of the Judgment of the Dead—a powerful Bhutanese ritual known as Raksha Marcham—Leopard-faced and Bear-faced are two of the animal-headed characters that embody specific human vices. These figures are not merely theatrical; they are spiritual symbols meant to provoke introspection and moral reckoning. The Leopard-faced represents jealousy, a corrosive emotion that distorts perception and breeds resentment. The Bear-faced, on the other hand, stands for agitation, the restless energy that disrupts inner peace and clouds judgment. Their roles in the dance are to dramatize how these flaws can weigh down the soul during its posthumous trial. The Leopard-faced Raksha is typically portrayed with sleek, feline movements, darting and circling with a watchful intensity. This behavior mirrors the nature of jealousy—always alert, always comparing, always dissatisfied. In the dance, the Leopard-faced may stalk other characters or mimic their actions, symbolizing the envious mind that covets what others possess. The Bear-faced Raksha, in contrast, is more erratic and forceful. Its movements are heavy, abrupt, and unpredictable, reflecting the inner turmoil of agitation. This character often disrupts the rhythm of the dance, illustrating how a disturbed mind can derail spiritual clarity and harmony. The masks of these characters, preserved in the Exhibition Hall of the National Museum of Bhutan, are masterworks of Bhutanese craftsmanship and religious symbolism. The Leopard-face mask is sleek and angular, often painted with piercing eyes and spotted patterns that evoke stealth and suspicion. Its design emphasizes alertness and cunning—traits associated with jealousy. The Bear-faced mask is broader and more imposing, with exaggerated brows and a gaping mouth that conveys emotional volatility. Its rough texture and bold colors reflect the raw, unsettled nature of agitation. These masks are carved from wood using traditional babzo techniques and are considered sacred objects, not merely decorative artifacts. Together, the Leopard-faced and the Bear-faced contribute to the moral tableau of the Raksha Marcham, reminding viewers of the emotional burdens that must be confronted and released. Their presence in both the dance and the museum serves as a bridge between performance and contemplation, offering a vivid lesson in the spiritual consequences of unchecked emotion. Observing these masks up close allows visitors to appreciate not only their artistic beauty but also the profound teachings they embody.

Masks of Stag, Snake, Partridge, Ox, Rat, and Owl of the Judgment of the Dead «Stag-face represents miserliness. Snake-face represents hatred, Partridge-face represents clinging. Ox-face represents restraining. Rat-face represents cunningness. Owl-face represents laziness.» In the Dance of the Judgment of the Dead—or Raksha Marcham—each animal-faced character embodies a specific human vice, dramatizing the moral and spiritual reckoning that awaits every soul. Among these, Stag-faced, Snake-faced, Partridge-faced, Ox-faced, Rat-faced, and Owl-faced play distinct roles in illustrating the consequences of miserliness, hatred, clinging, restraining, cunningness, and laziness, respectively. Their exaggerated gestures and symbolic masks serve as vivid reminders of the inner obstacles that hinder enlightenment and virtue. The Stag-faced Raksha, with its proud antlers and alert stance, represents miserliness—the refusal to share or give, even when generosity is called for. In the dance, this character often hoards symbolic offerings or avoids interaction, portraying the spiritual stagnation caused by greed. The Snake-faced Raksha, sinuous and sharp-eyed, embodies hatred, slithering through the performance with aggressive, venomous movements that reflect the destructive power of animosity. The Partridge-faced Raksha, small and fluttery, symbolizes clinging—the desperate attachment to worldly desires or relationships. Its erratic, grasping motions in the dance highlight the suffering that arises from refusal to let go. The Ox-faced Raksha, broad and slow-moving, represents restraining—not in the sense of discipline, but as a stifling force that blocks growth and expression. This character’s heavy, deliberate steps suggest the burden of excessive control or rigidity. The Rat-faced Raksha, quick and darting, portrays cunningness, often sneaking between other dancers or mimicking their actions to deceive. The Owl-face Raksha, with its wide, vacant eyes and slow, swiveling head, stands for laziness, moving sluggishly and disengaging from the rhythm of the dance to show how inertia dulls the spirit. The masks of these characters, displayed in the Exhibition Hall of the National Museum of Bhutan, are crafted with remarkable detail and spiritual intent. The Stag-face mask features elegant antlers and a stern expression, emphasizing pride and possessiveness. Snake-face is sleek and coiled, often painted with sharp fangs and piercing eyes to evoke menace. Partridge-face is delicate, with soft feathers and a nervous gaze, while Ox-face is robust and square-jawed, carved to suggest immobility. Rat-face is narrow and twitchy, with exaggerated whiskers and a sly grin, and Owl-face is round and solemn, its drooping eyelids and muted tones capturing the essence of lethargy. These masks are not only artistic treasures but moral mirrors, inviting viewers to reflect on their own inner tendencies. Together, these six characters deepen the moral complexity of the Raksha Marcham, transforming the dance into a living allegory of human frailty. Their presence in both performance and museum display bridges the sacred and the contemplative, offering timeless lessons in self-awareness and transformation. Observing these masks up close allows visitors to appreciate the fusion of Bhutanese artistry and spiritual philosophy that defines this extraordinary tradition.

Giant mask of Mahakala The giant mask of Mahakala displayed in the Exhibition Hall of the National Museum of Bhutan is a commanding presence—both artistically and spiritually. Mahakala, revered as a fierce protector of the Dharma in Vajrayana Buddhism, is depicted in this mask with intense wrathful features that are meant not to instill fear in devotees, but to subdue ignorance and negative forces. The mask’s piercing eyes, gaping mouth with fangs, and crown of five skulls are emblematic of his role as a Dharmapala, transforming the five kleshas into enlightened wisdom. The third eye on his forehead symbolizes his transcendent awareness and ability to perceive ultimate reality. This particular mask is rendered in vivid red, a color that in Tibetan iconography represents active compassion, fierce energy, and spiritual authority. The red hue is not merely aesthetic—it conveys Mahakala’s blazing intensity in burning away obstacles and delusions. Intricate carvings and patterns, including serpentine motifs, adorn the mask, representing untamed mental forces that must be transformed on the path to enlightenment. Though static, the mask implies dynamic motion, as if Mahakala is perpetually poised to defend the sacred teachings. The mask’s sheer scale and craftsmanship make it a centerpiece of the museum’s collection. Visitors are drawn to its visceral power and symbolic depth, which reflect Bhutan’s deep-rooted spiritual traditions. Displayed within the historic Ta Dzong structure, the mask is part of a broader exhibition that explores Bhutanese ritual arts and protective deities. It serves not only as a cultural artifact but also as a spiritual reminder of impermanence, transformation, and the fierce compassion required to overcome suffering. In Bhutanese homes and temples, smaller versions of Mahakala masks are often hung to ward off evil and attract protective energies. But the giant mask’s museum elevates this tradition to monumental scale, inviting contemplation of Mahakala’s timeless role in guiding practitioners through the challenges of spiritual awakening. It’s a vivid embodiment of the balance between wrath and wisdom, destruction and renewal—a guardian not just of teachings, but of the inner journey itself.

Drupthop Thangtong Gyalpo statue Clay and mineral pigment. «The statue of Drupthop Thangtong Gyalpo was gifted to the national museum of Bhutan on 2th august 2021. It was previously installed at the Tshongdue Lhakhang located at the centre of Paro town. Drupthop Thangtong Gyalpo was one of the prominent Buddhist masters of 14 century accredited for building iron link-chain bridges across rivers in Bhutan and popularly known as Drupthob Chagzo.» Drupthop Thangtong Gyalpo, also known as Lama Chagzampa or the “Iron Bridge Lama,” was a visionary Buddhist master of the 14th century whose legacy spans engineering, artistry, and spiritual innovation. Born in 1385 in Tibet, he is revered not only for his profound spiritual teachings but also for his pioneering work in civil engineering. Thangtong Gyalpo is credited with constructing over fifty iron chain suspension bridges across Bhutan and Tibet, revolutionizing travel and pilgrimage routes in the Himalayas. His bridges, forged from locally sourced iron and built using techniques he developed himself, were marvels of their time and remain symbols of ingenuity and compassion. Beyond his engineering feats, Thangtong Gyalpo was a polymath—blacksmith, architect, physician, and founder of Tibetan opera. His eccentric personality and unconventional methods earned him the nickname “madman of the empty land,” yet his contributions to Bhutanese culture and infrastructure are enduring. One of his most iconic creations is the iron bridge near Tachog Lhakhang, which he built to facilitate access to the temple he founded after receiving a vision while meditating by the Paro River. His life’s work was driven by a desire to ease the hardships of spiritual seekers and to connect communities across treacherous terrain. A clay and pigment statue of Drupthop Thangtong Gyalpo now resides in the Exhibition Hall of the National Museum of Bhutan, gifted to the museum on August 2, 2021. Previously housed at Tshongdue Lhakhang in the heart of Paro town, the statue is a striking representation of the master’s enduring presence. Crafted with reverence and detail, the statue captures his robust figure, often depicted with flowing white hair, a beard, and a chain link in hand—symbolizing his bridge-building legacy. The use of natural pigments and clay reflects traditional Bhutanese sculptural techniques, imbuing the piece with both historical authenticity and spiritual resonance. Visitors to the museum can view this statue as part of a broader narrative of Bhutan’s cultural and spiritual heritage. It stands not only as a tribute to Thangtong Gyalpo’s multifaceted genius but also as a reminder of the harmony between faith and functionality. His life exemplifies how spiritual vision can manifest in tangible, transformative ways—bridging not just rivers, but the gap between the sacred and the everyday.

Panorama of the model with the relief of Bhutan Bhutan’s geographical relief is a dramatic tapestry of towering mountains, deep valleys, and swift rivers that shape both its natural beauty and cultural identity. Nestled in the eastern Himalayas, the country’s terrain rises sharply from the subtropical plains in the south to snow-capped peaks in the north, some exceeding 7,000 meters. This rugged topography has historically isolated communities, fostering distinct regional cultures and preserving Bhutan’s rich biodiversity. The landscape is also deeply spiritual, with many peaks and rivers considered sacred in Bhutanese Buddhism. The central and northern regions are dominated by alpine and temperate zones, where glacial valleys and forested ridges define the terrain. These areas are sparsely populated, with settlements often perched on hillsides or nestled in valleys. In contrast, the southern belt features lush, subtropical forests and fertile lowlands, which support agriculture and more densely populated towns. Bhutan’s rivers, fed by Himalayan snowmelt, carve through the landscape, creating dramatic gorges and providing vital water resources for hydropower—one of the country’s main economic drivers. To help visitors visualize this complex terrain, the National Museum of Bhutan features a detailed three-dimensional relief model of the country. Displayed in the Exhibition Hall, this model offers a tactile and visual representation of Bhutan’s topography, highlighting its mountainous spine and the intricate network of valleys and rivers. Crafted with precision, the model uses elevation contours and color gradients to distinguish between high-altitude zones and lowland areas, making it an educational centerpiece for understanding Bhutan’s geography. The relief model not only serves as a geographic tool but also as a cultural artifact, reflecting the intimate relationship between Bhutanese people and their land. It invites viewers to appreciate how geography has shaped Bhutan’s history, from the location of ancient dzongs and monasteries to the development of trade routes and modern infrastructure. For many visitors, the model becomes a gateway to exploring Bhutan’s physical and spiritual landscape—where mountains are more than mere elevations, but guardians of tradition and symbols of national identity.

Model of the Taktsang Monastery «The Taktshang monastery was built on the spot where Guru Rinpoche was believed to have visited in the form of Dorji Droloe riding upon a tigress's back, subdued the local malignant deity and meditated for four months. The cave where Guru Rinpoche meditated is called Taktshang Pelphug considered as the main seat of Guru Rinpoche. Dedicated to Guru Rinpoche the first temple called Guru Tshengyed Lhakhang (the temple of the Eight Manifestation of Guru) was built in 1694 by the fourth Regent Desi Tenzin Rabgye upon the instruction of Zhabdrung Ngawang Namoyel.» The model of Taktsang Monastery displayed in the Exhibition Hall of the National Museum of Bhutan is a miniature marvel that captures the spiritual grandeur and architectural daring of one of Bhutan’s most iconic sacred sites. Perched dramatically on a cliffside in the upper Paro Valley, the actual monastery—often called the “Tiger’s Nest”—was built on the spot where Guru Rinpoche, also known as Padmasambhava, is believed to have arrived in the wrathful form of Dorji Droloe, riding a tigress. According to legend, he subdued a local malignant deity and meditated in the cave now known as Taktsang Pelphug for four months, sanctifying the site as his spiritual seat. The model in the museum meticulously replicates the monastery’s precarious placement and layered structure, offering visitors a rare opportunity to appreciate its complexity without undertaking the steep trek to the actual site. It features the Guru Tshengyed Lhakhang—the temple of the Eight Manifestations of Guru Rinpoche—built in 1694 by the fourth Regent Desi Tenzin Rabgye under the guidance of Zhabdrung Ngawang Namoyel. This temple is the heart of the monastery complex and is represented in the model with ornate detailing, including miniature prayer flags, tiered roofs, and the cliff contours that cradle the sacred buildings. Crafted with precision and reverence, the model serves as both an educational tool and a devotional object. It allows museum-goers to trace the spiritual geography of Bhutan, where myth and landscape intertwine. The model’s inclusion in the Exhibition Hall underscores the cultural and religious significance of Taktsang, not just as a pilgrimage site but as a symbol of Bhutanese identity and resilience. It also highlights the architectural ingenuity required to build such a structure in one of the most inaccessible locations imaginable. For many visitors, the model becomes a portal into Bhutan’s mystical past, evoking the transformative journey of Guru Rinpoche and the enduring legacy of Vajrayana Buddhism. It stands as a tribute to the fusion of myth, meditation, and monument—a reminder that sacred spaces are not only built but also imagined, remembered, and revered.

Panorama of Ta Dzong and Paro seen from the Exhibition Hall

Leaving Ta Dzong

See Also

• National Museum of Bhutan
• Paro Taktsang
• Taktsang Lion Cave

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Source

• National Museum of Bhutan - Wikipedia

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Location