The National Museum of Bhutan is housed in the historic Ta Dzong, a
17th-century watchtower that once guarded the valley against invasions.
This conch-shaped fortress, built in 1649 by Paro’s first governor, Ponlop
Tenzin Drukdra, was repurposed in 1968 by King Jigme Dorji Wangchuck to become
the country’s premier cultural museum. Its unique circular
architecture—constructed entirely from stone and wood without nails—has
withstood centuries of natural disasters, including major earthquakes.
Inside Ta Dzong, the museum unfolds across multiple floors, each dedicated to
a different facet of Bhutanese heritage. Visitors can explore galleries
showcasing ancient weapons, royal regalia, religious relics, traditional
costumes, and even curious artifacts like a horse egg and a meteorite vajra
said to be used by Guru Rinpoche. The museum also features a Natural History
Gallery, which highlights Bhutan’s biodiversity, including preserved specimens
of the national animal—the takin—and the rare Bhutan Glory butterfly.
Beyond its exhibits, the museum plays a vital role in preserving Bhutan’s
spiritual and artistic legacy. It regularly hosts temporary exhibitions that
spotlight contemporary Bhutanese artists, bridging the gap between tradition
and modern expression. The Ta Dzong itself, with its panoramic views of the
Paro Valley and its underground passage rumored to connect to the Pa Chhu
River, adds an air of mystery and grandeur to the experience.
As a cultural custodian, the National Museum of Bhutan—firmly rooted in the Ta
Dzong—serves not only as a repository of the past but also as a beacon for
future generations. It embodies Bhutan’s commitment to safeguarding its
intangible heritage and offers visitors a profound glimpse into the kingdom’s
values, beliefs, and enduring identity.
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Entrance gate to Ta Dzong
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Walk from the gate to Ta Dzong
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Panorama of Ta Dzong and Paro
Ta Dzong, often referred to as
the watchtower of Paro, is a striking circular fortress that has stood
sentinel over the Paro Valley since its construction in 1649.
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Originally built by Ponlop Tenzin Drukdra to protect the nearby
Rinpung Dzong from invasions, Ta Dzong’s strategic location—perched
high above the valley—offered commanding views of the surrounding
terrain. Its conch-shell shape and robust stone-and-wood construction
(notably without nails) reflect Bhutanese architectural ingenuity and
spiritual symbolism, with the structure believed to embody protective
energy.
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The relationship between Ta Dzong and Paro is deeply intertwined, both
historically and culturally. As Paro evolved into a vital hub of
Bhutanese governance and spirituality, Ta Dzong transitioned from a
military outpost into a cultural beacon. In 1968, under the guidance
of King Jigme Dorji Wangchuck, Ta Dzong was repurposed as the National
Museum of Bhutan, transforming it into a repository of the kingdom’s
rich heritage. This shift marked a symbolic embrace of preservation
over defense, aligning with Paro’s growing role as a center of
education, tourism, and tradition.
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Today, Ta Dzong serves as a gateway into Bhutanese identity for both
locals and visitors. Its galleries house over 3,000 artifacts spanning
1,500 years—from ancient thangkas and bronze statues to rare stamps
and ritual objects. The museum’s proximity to Paro town makes it a
cornerstone of cultural tourism, and its panoramic views of the valley
below offer a literal and figurative perspective on Bhutan’s past and
present. The underground passage rumored to connect Ta Dzong to the Pa
Chhu River adds a layer of mystique to its legacy.
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In essence, Ta Dzong is more than just a monument—it’s a living
testament to Paro’s resilience and transformation. From guarding the
valley against foreign threats to safeguarding the nation’s soul
through art and history, Ta Dzong’s enduring presence reflects Paro’s
journey from fortress to cultural heartland. Its story is Bhutan’s
story, told in stone, silence, and the soft flutter of prayer flags
dancing in the mountain breeze.
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Staircase leading to the fourth floor of Ta Dzong
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Three-dimensional mandala on the fourth floor
The fourth
floor serves as a compelling gateway into the country’s ancient past and
spiritual heritage.
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Upon entering this level, visitors encounter a modest yet significant
collection of prehistoric artifacts—adzes, earthenware pots, and other
tools—unearthed from various regions of Bhutan. These items offer
tangible evidence of human habitation dating back to the Stone Age,
underscoring the deep historical roots of Bhutanese civilization and
its early engagement with the natural environment.
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Adjacent to these prehistoric relics are sacred objects from the 8th
century, marking the arrival of Buddhism in Bhutan. Ritual daggers,
ceremonial swords, and other religious implements reflect the
transformative influence of Buddhist teachings and practices on
Bhutanese culture. These artifacts not only highlight the spiritual
shift that occurred during this period but also demonstrate the
intricate craftsmanship and symbolic depth that characterize Bhutanese
religious art.
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Dominating the fourth floor is the Juthruel Zhithro Kilkhor, a
breathtaking three-dimensional mandala that embodies the tantric
cosmology of the Nyingma tradition. Based on the Guhegarbha Tantra,
this mandala represents the miraculous manifestations of peaceful and
wrathful deities. At its center is the yab-yum couple—Buddha Samanta
Bhadra and Badri—symbolizing the union of wisdom and method, a core
principle in Vajrayana Buddhism. Surrounding them are 42 peaceful
deities and 58 wrathful ones, all meticulously arranged within the
mandala’s sacred geometry, alongside dharma-protecting deities.
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The mandala’s physical presence within the museum transforms the space
into more than a gallery—it becomes a contemplative environment where
visitors can engage with Bhutan’s esoteric traditions. Its intricate
design and spiritual symbolism invite reflection on the nature of
consciousness, transformation, and the path to enlightenment. In this
way, the fourth floor of Ta Dzong not only preserves Bhutan’s material
history but also serves as a living testament to its enduring
spiritual legacy.
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Chapel of the Tree of Merit (Tshogzhing Lhakhang)
Located on
the sixth floor of the National Museum of Bhutan in Ta Dzong, the
Tshogzhing Lhakhang, also known as the Chapel of the Tree of Merit, is a
sacred space dedicated to spiritual reflection and worship.
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At its heart lies a remarkable three-dimensional tree mandala, a
symbolic representation of the four major schools of Vajrayana
Buddhism—Nyingma, Kagyu, Sakya, and Gelug. This mandala was crafted in
1968 by the renowned clay master Lopen Damcho and his apprentices, and
it serves as a visual and spiritual embodiment of Bhutan’s rich
tantric traditions.
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Each of the mandala’s four sides is associated with one of the
Vajrayana schools. The Nyingma tradition, the oldest school, is known
for its emphasis on mystical practices and hidden teachings. The Kagyu
school, often referred to as the “Black Hat” sect, focuses on
meditation and the transmission of teachings through lineage. The
Sakya tradition, blends scholarly study with tantric rituals. Finally,
the Gelug school, also known as the “Yellow Hat” sect, emphasizes
monastic discipline and philosophical rigor.
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Beyond the symbolic representation of the schools, each direction
within the mandala is populated with spiritual masters, tutelary
deities, and protective guardians, reinforcing the interconnectedness
of the Buddhist path. These figures are not merely decorative—they
serve as focal points for veneration and meditation, guiding
practitioners through the stages of spiritual development. The
mandala’s structure invites visitors to contemplate the unity and
diversity of Bhutanese Buddhism, as well as the cyclical nature of
enlightenment.
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The Tshogzhing Lhakhang is more than an exhibit—it is a living
sanctuary within the museum. Its placement at the top of Ta Dzong,
overlooking the Paro Valley, adds to its contemplative atmosphere.
Visitors often find themselves drawn into quiet reverence, surrounded
by the mandala’s intricate symbolism and the serene energy of the
space. In this way, the chapel bridges the realms of art, devotion,
and cultural preservation, offering a profound experience that
resonates with Bhutan’s spiritual heritage.
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Side of the Tshogzhing Lhakhang dedicated to the Gelug school
This side of the Tshegzhing Lhakhang is dedicated to the Gelug
school of Tibetan Buddhism—often referred to as the “Yellow Hat” sect.
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Founded in the 14th century by Je Tsongkhapa, the Gelug tradition is
the youngest of the four major schools, yet it rose to prominence
through its emphasis on monastic discipline, scholastic rigor, and a
systematic approach to both sutra and tantra. This quadrant
symbolically evokes clarity and intellectual illumination, aligning
with the Gelugpa’s commitment to reasoned analysis and ethical
conduct.
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This section of the mandala features depictions of Je Tsongkhapa
flanked by his two principal disciples, Khedrup Je and Gyaltsap Je,
whose teachings helped codify the school’s philosophical foundations.
Surrounding them are representations of the “Three Great
Monasteries”—Ganden, Sera, and Drepung—which serve as centers of
learning and spiritual practice. The iconography also includes
symbolic references to the Five Major Treatises studied in Gelug
institutions: Prajnaparamita, Madhyamaka, Vinaya, Abhidharma, and
Pramana. These elements reflect the school’s rigorous curriculum and
its emphasis on dialectical debate as a path to insight.
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This side also subtly conveys the Gelug tradition’s integration of
tantric practice within a framework of ethical discipline. Deities
such as Yamantaka and Guhyasamaja may be present, representing the
Highest Yoga Tantra practices central to the Gelug path. However,
these are framed within a context of vinaya observance and
philosophical inquiry, underscoring the school’s belief that tantric
realization must be grounded in moral integrity and intellectual
clarity. The presence of ritual implements and scholastic texts
reinforces this synthesis of method and wisdom.
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As part of the Tshogzhing Lhakhang’s mandala, this side complements
the other quadrants by offering a vision of spiritual progress rooted
in discipline and reason. Its inclusion within the National Museum of
Bhutan allows visitors to engage with the Gelug tradition not only as
a historical force but as a living embodiment of the union between
ethical conduct and profound insight. Through its structured symbolism
and contemplative atmosphere, the northern side invites reflection on
the transformative power of study, debate, and disciplined practice.
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Side of the Tshogzhing Lhakhang devoted to the Kagyu school
This side of the Tshogzhing Lhakhang is devoted to the Kagyu
school of Vajrayana Buddhism.
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Known as the “Black Hat” sect, the Kagyu tradition emphasizes
meditative practice and the oral transmission of teachings from master
to disciple. This lineage traces its origins to the Indian tantric
masters Tilopa and Naropa, and was brought to Tibet by Marpa the
Translator, whose student Milarepa became one of the most revered
yogis in Tibetan history. This side of the mandala reflects this
heritage through symbolic representations of the school’s foundational
figures and practices.
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Within this quadrant of the tree mandala, visitors encounter
depictions of key Kagyu masters such as Marpa, Milarepa, and Gampopa,
whose teachings form the backbone of the tradition. These figures are
surrounded by tutelary deities and protectors associated with the
Kagyu lineage, reinforcing the school’s emphasis on experiential
realization and spiritual guidance. The arrangement is not merely
decorative—it serves as a visual map of the Kagyu path, guiding
practitioners through the stages of meditation and insight that lead
to enlightenment.
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This side also subtly conveys the Kagyu school’s core teachings,
including Mahamudra and the Six Yogas of Naropa. These practices are
designed to help practitioners directly perceive the nature of mind
and transform their inner experience. The presence of these teachings
within the mandala underscores the Kagyu emphasis on personal
realization over scholastic study, and the importance of maintaining
an unbroken lineage of transmission to preserve the integrity of the
teachings.
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As part of the larger Tshogzhing Lhakhang, this side complements the
other directions by highlighting the diversity and unity of Bhutanese
Vajrayana Buddhism. Its placement within the National Museum of Bhutan
allows visitors to engage with the Kagyu tradition not only as a
historical phenomenon but as a living spiritual path. Through its
symbolic richness and contemplative atmosphere, this side invites
reflection on the transformative power of meditation and the enduring
legacy of the Kagyu lineage.
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Side of the Tshogzhing Lhakhang dedicated to the Sakya school
This side of the Tshogzhing Lhakhang is dedicated to the Sakya
school of Tibetan Buddhism—a tradition renowned for its synthesis of
rigorous scholasticism and profound tantric practice.
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This quadrant of the mandala reflects the Sakya emphasis on the “Path
and its Result” (Lamdre), a comprehensive system of meditation and
philosophical inquiry rooted in the Hevajra Tantra. The Sakya lineage,
founded in the 11th century by Khon Konchok Gyalpo, is distinguished
by its hereditary transmission through the Khon family and its
historical role in bridging spiritual and political authority,
particularly during its prominence under the Mongol Yuan dynasty.
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Symbolically, this side features representations of the Five Supreme
Masters of the Sakya tradition—Sachen Kunga Nyingpo, Sonam Tsemo,
Jetsun Dragpa Gyaltsen, Sakya Pandita, and Drogon Chogyal Phagpa—whose
teachings form the backbone of Sakya philosophy. These figures are
often depicted alongside deities such as Hevajra and Vajrayogini,
central to the school’s tantric rituals. The arrangement of these
icons within the mandala is not arbitrary; it mirrors the progression
of the Lamdre path, guiding practitioners from foundational
understanding to the realization of inseparability between samsara and
nirvana.
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This side also conveys the Sakya school’s commitment to intellectual
rigor. Texts and symbols associated with logic, epistemology, and the
study of sutras and tantras are integrated into the visual narrative,
reflecting the tradition’s deep engagement with Buddhist philosophy.
Commentaries by scholars like Sakya Pandita and Gorampa Sonam Senge
are foundational to this lineage, and their influence is subtly
embedded in the iconography and layout of the space.
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As part of the Tshogzhing Lhakhang’s mandala, this side complements
the other quadrants by offering a distinct lens into Bhutan’s
Vajrayana heritage. Its presence within the National Museum allows
visitors to appreciate the Sakya tradition not only as a historical
force but as a living embodiment of the union between wisdom and
method. Through its scholarly depth and tantric symbolism, this side
invites contemplation on the transformative power of disciplined study
and meditative insight.
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Side of the Tshogzhing Lhakhang devoted to the Nyingma school
This side of the Tshogzhing Lhakhang is devoted to the Nyingma
school—the oldest of the four major schools of Tibetan Buddhism.
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This quadrant of the mandala reflects the Nyingma tradition’s deep
roots in the early transmission of Vajrayana teachings to Tibet,
particularly those brought by Padmasambhava in the 8th century. Known
for its mystical orientation and esoteric practices, the Nyingma
school emphasizes the Great Perfection (Dzogchen), a direct path to
realizing the innate purity and luminosity of the mind. This alignment
symbolically evokes the dawn of spiritual awakening, mirroring the
school’s foundational role in Bhutanese Buddhist history.
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Within this section, visitors encounter representations of
Padmasambhava, also known as Guru Rinpoche, alongside other seminal
figures such as Vimalamitra and Yeshe Tsogyal. These icons are often
surrounded by symbolic motifs associated with Dzogchen teachings,
including the primordial Buddha Samantabhadra and the rainbow body—a
sign of ultimate realization. The layout is designed to evoke the Nine
Yanas, or vehicles, which structure the Nyingma path, culminating in
the highest tantric teachings. The presence of hidden treasure texts
(terma) and their revealers (tertons) is subtly woven
into the iconography, underscoring the school’s unique method of
preserving and renewing its teachings across generations.
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This side also reflects the Nyingma tradition’s openness to
non-monastic forms of practice. Unlike other schools, Nyingma includes
both celibate monks and lay tantric practitioners (ngakpas), a
diversity that is hinted at through depictions of ritual implements,
symbolic attire, and scenes of yogic meditation. The emphasis here is
less on institutional hierarchy and more on personal realization,
often guided by visionary experience and oral transmission. This
approach lends this quadrant a sense of fluidity and mystery, inviting
contemplation of the hidden dimensions of spiritual life.
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As part of the Tshogzhing Lhakhang’s mandala, this side complements
the other quadrants by offering a glimpse into the mystical heart of
Bhutanese Vajrayana. Its inclusion within the National Museum allows
visitors to engage with the Nyingma tradition not merely as a
historical artifact but as a living current of spiritual insight.
Through its evocative imagery and symbolic depth, this side encourages
reflection on the transformative power of inner vision and the
enduring legacy of the ancient teachings.
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Vessavana (Kubera), the heavenly king of the north
One of
the most striking representations of divine guardianship is the statue
of Vessavana—also known as Kubera—the heavenly king of the north.
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This figure is revered across Himalayan Buddhist traditions as a
protector of wealth and a guardian of the northern direction. The
statue captures Vessavana in a dynamic pose, astride a majestic white
lion, symbolizing courage, sovereignty, and the subjugation of
negative forces. The lion’s poised stance and expressive features lend
the sculpture a sense of motion and vigilance, reinforcing its role as
a sentinel of prosperity and spiritual order.
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In his right hand, Vessavana holds a staff crowned with an umbrella, a
traditional emblem of royal authority and spiritual protection. The
umbrella signifies his elevated status among the Four Heavenly Kings
and his role in shielding the Dharma from corruption and decline. His
left hand cradles a mongoose—an unusual but deeply symbolic companion.
In Buddhist iconography, the mongoose is known for its ability to
defeat snakes, representing the triumph over greed and deceit. The
mongoose in Vessavana’s grasp is depicted mid-action, spitting jewels
from its mouth, a vivid metaphor for generosity and the spontaneous
abundance that flows from virtuous living.
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The statue within the museum is crafted with meticulous attention to
detail, blending Bhutanese artistic sensibilities with pan-Himalayan
iconographic traditions. Its placement among other sacred artifacts
underscores its importance not only as a visual centerpiece but also
as a spiritual symbol. Visitors often pause before it, drawn by its
commanding presence and the rich layers of meaning embedded in its
form. The interplay of textures—from the lion’s mane to the folds of
Vessavana’s robes—demonstrates the skill of Bhutanese artisans and
their devotion to preserving sacred narratives through sculpture.
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More than a decorative object, the statue of Vessavana serves as a
reminder of Bhutan’s commitment to spiritual guardianship and cultural
continuity. It reflects the values of protection, generosity, and
moral clarity that underpin Bhutanese society. Within the museum’s
broader context, the statue stands as a beacon of the kingdom’s
spiritual heritage, inviting contemplation on the balance between
material wealth and ethical responsibility. Its enduring presence in
Ta Dzong affirms the museum’s role not only as a custodian of history
but as a living space for Bhutan’s sacred traditions.
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Bronze statue of Vajrasattva
The bronze statue of
Vajrasattva, a central figure in Vajrayana Buddhism, embodies the
profound concept of purification and spiritual renewal.
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Depicted with a vajra held at heart level in his right hand and a bell
resting on his lap in the left, Vajrasattva symbolizes the union of
method and wisdom—core principles in tantric practice. The vajra
represents indestructible truth and compassionate action, while the
bell signifies emptiness and transcendent wisdom. Together, they
reflect the inseparable nature of enlightened qualities. His serene
expression and meditative posture invite contemplation, offering
practitioners a visual anchor for inner transformation.
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Within the National Museum of Bhutan, housed in the historic Ta Dzong
above Paro, the statue of Vajrasattva holds particular reverence.
Though specific details about this individual piece are not widely
published, the museum's collection includes numerous sacred bronzes
that reflect Bhutan's deep spiritual lineage and artistic mastery. The
Vajrasattva statue is likely part of the museum's upper galleries,
where religious relics and tantric deities are displayed with care and
reverence. Its presence among these artifacts underscores its
importance in Bhutanese ritual life, especially in purification
ceremonies and esoteric teachings.
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Crafted with meticulous attention to proportion and detail, the statue
exemplifies the fusion of Tibetan and Bhutanese aesthetics. The folds
of Vajrasattva's robes, the subtle contours of his face, and the
delicate rendering of the lotus base all speak to the skill of the
artisans who shaped it. Bronze, as a medium, lends the figure a
timeless quality—its warm patina deepening over the years, echoing the
enduring relevance of Vajrasattva's teachings. The statue's placement
in the museum not only preserves its physical form but also enshrines
its spiritual significance for future generations.
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More than a static object, the Vajrasattva statue serves as a living
symbol of Bhutan's commitment to spiritual integrity and cultural
preservation. It invites visitors to engage with the deeper dimensions
of Buddhist practice, encouraging reflection on the nature of purity,
wisdom, and compassionate action. In the quiet halls of Ta Dzong,
surrounded by centuries of sacred art, Vajrasattva continues to
radiate the transformative power of the Dharma, bridging the ancient
and the present in a single, silent gesture.
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Green Tara in colored ceramic
Green Tara, known as the
"Mother of Liberation," is one of the most beloved deities in Himalayan
Buddhism. She embodies compassion in action and is invoked for
protection against fear and obstacles.
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Often depicted with her right leg extended and her left leg folded in
meditation, she is ever-ready to respond to the suffering of sentient
beings. Her right hand is held in the gesture of giving, while her
left holds the stem of a blue lotus, symbolizing purity and spiritual
awakening. Green Tara is considered a swift and benevolent savior, and
her mantra is widely recited across Bhutan, Tibet, and Nepal.
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Inside the National Museum of Bhutan, located in the historic Ta Dzong
above Paro, a particularly striking statue of Green Tara stands out
among the sacred artifacts. This colorful ceramic sculpture captures
her serene yet dynamic presence with vivid detail. Her robes are
painted in rich greens and golds, and her ornaments shimmer with
glazed accents that reflect the light filtering through the museum’s
stone walls. The statue’s expressive features—gentle eyes, a slight
smile, and graceful posture—convey both tranquility and readiness,
echoing her role as a protector and guide.
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The craftsmanship of the statue reflects Bhutanese artistic
traditions, blending spiritual symbolism with meticulous attention to
form and color. The double-lotus base on which she sits is adorned
with floral motifs, and the folds of her garments are rendered with
lifelike fluidity. The ceramic medium adds a unique texture and
vibrancy, distinguishing it from the more common bronze or gilt copper
representations found elsewhere. This particular piece is not only a
devotional object but also a testament to Bhutan’s evolving artistic
expression within its sacred heritage.
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Displayed in one of the museum’s upper galleries, the Green Tara
statue invites visitors into a contemplative space where art and
spirituality converge. It serves as a focal point for understanding
the role of female deities in Vajrayana Buddhism and the importance of
compassion as a guiding principle in Bhutanese culture. Through its
vivid colors and graceful form, the statue continues to inspire
reverence and reflection, embodying the timeless presence of Tara in
the heart of Bhutan.
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Bronze statue of Padmasambhava
Padmasambhava, also known as
Guru Rinpoche, is a revered figure in Himalayan Buddhism credited with
bringing Vajrayana Buddhism to Tibet and Bhutan in the 8th century. His
name means "Lotus Born," referencing his miraculous birth from a lotus
flower in the Dhanakosha Lake.
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Padmasambhava is considered a second Buddha in many traditions and is
known for subduing negative forces and establishing monastic
institutions. His teachings, especially the treasure texts or
"termas," continue to shape spiritual practice across the region.
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Inside the National Museum of Bhutan, a bronze statue of Padmasambhava
stands as a centerpiece of the museum’s spiritual collection. This
statue portrays him in his classic iconography: seated in royal
posture, wearing a lotus hat, and holding a vajra in his right hand
and a skull cup in his left. The statue’s surface gleams with a deep
patina, and its intricate detailing—such as the folds of his robes and
the ornaments adorning his body—reflects the skill of Bhutanese
metalworkers. The expression on his face is both serene and
commanding, embodying his role as a spiritual master and protector.
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The statue is housed in one of the museum’s upper galleries,
surrounded by thangka paintings and ritual objects that contextualize
his importance in Bhutanese religious life. Unlike the towering
outdoor statues found elsewhere in Bhutan, this bronze figure is more
intimate in scale, inviting close contemplation. Its presence in the
museum underscores Padmasambhava’s enduring influence on Bhutanese
identity and the preservation of Buddhist teachings.
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As part of the museum’s broader mission to safeguard Bhutan’s cultural
heritage, the statue of Padmasambhava serves not only as a devotional
object but also as a historical artifact. It connects visitors to the
spiritual lineage that shaped Bhutan’s monasteries, festivals, and
daily rituals. Through this bronze representation, the museum offers a
quiet yet powerful tribute to the figure who helped lay the foundation
for Bhutan’s unique spiritual landscape.
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Padmasambhava in colored ceramic
Padmasambhava’s iconography
is rich with symbolic objects that reflect his mastery over spiritual
forces and his role in spreading Vajrayana Buddhism.
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The vajra in his right hand represents indestructibility and the power
of enlightened wisdom. Often called the “diamond thunderbolt,” it is a
ritual implement used to cut through ignorance and illusion. In
Padmasambhava’s grasp, the vajra signifies his ability to subdue
negative energies and protect the Dharma. It is typically five- or
nine-pronged, with a central sphere symbolizing the unity of all
phenomena.
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In his left hand, Padmasambhava holds a skull cup, or kapala, which is
a tantric symbol of transformation. Traditionally made from a human
cranium, the kapala is filled with nectar or symbolic offerings and
represents the transmutation of base desires into spiritual insight.
It also reflects the impermanence of life and the cycle of death and
rebirth. The skull cup in Padmasambhava’s hand is often paired with
the trident, or khatvanga, which rests against his left shoulder. This
trident bears three skulls—symbolizing the past, present, and
future—and is topped with a flaming jewel, representing the
realization of ultimate truth.
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Inside the National Museum of Bhutan, a colorful ceramic statue of
Padmasambhava brings these symbols vividly to life. Unlike the more
common bronze representations, this statue is crafted with glazed
ceramic, allowing for a vibrant palette that highlights each sacred
object. The vajra gleams in metallic hues, the skull cup is rendered
with intricate bone-like textures, and the trident is adorned with
painted flames and jewel motifs. The statue’s robes are richly
decorated in reds, blues, and golds, and its facial expression is both
serene and commanding, capturing the dual nature of Padmasambhava as a
compassionate teacher and fierce protector.
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This ceramic statue is housed in one of the museum’s upper galleries,
surrounded by thangka paintings and ritual artifacts that
contextualize its spiritual significance. It serves not only as a
devotional image but also as a teaching tool, illustrating the
symbolic language of Vajrayana Buddhism. Through its vivid colors and
detailed craftsmanship, the statue invites viewers to contemplate the
deeper meanings behind Padmasambhava’s attributes and the
transformative power they represent in Bhutanese spiritual life.
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Vajrakilaya with vajra and scorpion
Vajrakilaya is a
wrathful deity in Vajrayana Buddhism, revered for his power to eliminate
obstacles and purify negative energies. He embodies the enlightened
activity of all Buddhas and is especially associated with the practice
of removing spiritual and worldly hindrances.
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His fierce appearance is not a symbol of malevolence but of
compassionate force—an intense expression of the determination to cut
through ignorance and ego. Vajrakilaya is often invoked in rituals
that require deep transformation and protection, particularly in the
Nyingma tradition of Tibetan Buddhism, which has strong roots in
Bhutan.
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Inside the National Museum of Bhutan, a thangka painting of
Vajrakilaya presents a vivid and complex portrayal of this formidable
deity. One of the most striking features in this depiction is the
replacement of his lower limbs with a phurba, or ritual dagger known
as a kyla. This symbolic weapon is used in tantric ceremonies to pin
down and destroy negative forces. The phurba’s three-sided blade
represents the cutting through of the three poisons—ignorance,
attachment, and aversion—and its presence as Vajrakilaya’s legs
underscores his unwavering stance against spiritual obstacles.
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In his right hand, Vajrakilaya wields a vajra, the diamond thunderbolt
that signifies indestructible wisdom and the power to overcome
illusion. In his left hand, he holds a scorpion, a rare and potent
symbol in tantric iconography. The scorpion represents hidden fears
and subconscious threats, and by grasping it, Vajrakilaya demonstrates
mastery over even the most insidious forms of suffering. These
attributes, combined with his wrathful expression and dynamic posture,
make the thangka a powerful visual tool for meditation and ritual
focus.
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The thangka is displayed among other sacred artworks in the museum’s
gallery dedicated to Vajrayana deities. Its intricate brushwork and
vibrant pigments reflect the skill of Bhutanese artists and the depth
of symbolic meaning embedded in Buddhist art. Through this depiction,
visitors gain insight into the transformative power of wrathful
compassion and the rich spiritual heritage that continues to shape
Bhutanese identity. The image of Vajrakilaya, with his phurba legs,
vajra, and scorpion, stands as a reminder that true liberation often
requires confronting and transmuting the darkest aspects of the self.
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Vajravarahi (Dorje Phagmo, meaning "Vajra Sow")
Vajravarahi,
known in Tibetan as Dorje Phagmo or "Vajra Sow," is a fierce and
transformative deity in Vajrayana Buddhism.
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She represents the dynamic energy of enlightened wisdom and is often
considered a wrathful manifestation of Vajrayogini. As the supreme
queen of all dakinis, Vajravarahi embodies the power to cut through
ignorance and ego, guiding practitioners toward spiritual liberation.
Her iconography is rich with symbolism, including the sow’s
head—typically depicted above her own or behind her ear—which
signifies her triumph over delusion and the animalistic tendencies of
the mind.
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Inside the National Museum of Bhutan, a thangka painting of
Vajravarahi presents her in a vivid and commanding form. She is shown
in a dancing posture, radiating fierce compassion and spiritual
intensity. Resting against her left shoulder is a khatvanga, a ritual
trident that plays a central role in her iconography. This trident
bears three skulls, each representing the past, present, and future—an
acknowledgment of the cyclical nature of existence and the
transcendence of time. At its apex is a flaming jewel, symbolizing the
realization of ultimate truth and the culmination of spiritual
insight.
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The thangka’s intricate brushwork and vibrant pigments reflect the
depth of Bhutanese artistry and the spiritual significance of
Vajravarahi’s presence. Her body is adorned with bone ornaments and
flowing silks, and her expression is both wrathful and serene—a
duality that underscores her role as a fierce liberator and
compassionate guide. The khatvanga, paired with her other ritual
implements, reinforces her mastery over the temporal world and her
ability to transform suffering into wisdom.
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Displayed among other sacred images in the museum’s Vajrayana gallery,
this thangka invites viewers into a contemplative space where art and
spirituality converge. Vajravarahi’s depiction serves not only as a
devotional image but also as a visual teaching, illustrating the
profound symbolism embedded in tantric practice. Through her fierce
grace and the powerful presence of the khatvanga, she stands as a
reminder that true awakening often requires confronting and
transmuting the deepest layers of the self.
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Tekar Drozangma (Tashi Tseringma or "Lady of Long Life")
Tekar Drozangma, also known as Tashi Tseringma or the "Lady of
Long Life," is a revered protector deity in Vajrayana Buddhism,
particularly within the Kagyu tradition.
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She is one of the Five Long-Lived Sisters—mountain goddesses who were
bound by Padmasambhava to serve the Dharma and its practitioners.
Among the five, Tekar Drozangma is especially noted for her vibrant
green body, symbolizing swift compassionate action and her deep
connection to nature and longevity. Her presence in Bhutanese
spiritual art reflects the enduring reverence for these deities and
their role in safeguarding the spiritual path.
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Inside the National Museum of Bhutan, a thangka depicting Tekar
Drozangma captures her distinctive iconography with vivid detail. She
is shown riding a majestic blue dragon, whose claws grasp
wish-fulfilling jewels—a symbol of prosperity, wisdom, and mastery
over hidden realms. In her right hand, she holds a bunch of durva
grass, a sacred plant associated with long life and the purification
of obscurations. Her left hand wields a serpent lasso, representing
control over the nagas—serpentine beings linked to water, wealth, and
esoteric knowledge. This combination of symbols underscores her power
to draw forth abundance and protect against unseen forces.
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The thangka’s composition places Tekar Drozangma in dynamic motion,
her dragon mount soaring through stylized clouds and landscapes. The
green hue of her body contrasts with the deep blues and fiery accents
of the dragon, creating a visual narrative of elemental harmony and
spiritual potency. Her expression is both fierce and benevolent,
reflecting the dual nature of wrathful compassion that characterizes
many Vajrayana protector deities. The surrounding motifs often include
offerings, mantras, and other members of the Tseringma sisterhood,
reinforcing her role within a broader spiritual lineage.
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As part of the museum’s Vajrayana gallery, this thangka serves not
only as a devotional image but also as a cultural artifact that
bridges Bhutan’s indigenous beliefs with its Buddhist heritage. Tekar
Drozangma’s depiction invites viewers to contemplate themes of
longevity, prosperity, and spiritual guardianship. Her enduring
presence in Bhutanese iconography speaks to the living tradition of
invoking protector deities for guidance, healing, and the removal of
obstacles on the path to enlightenment.
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Buffalo-headed Mahakala
The buffalo-headed Mahakala, often
conflated with Yamantaka or Vajrabhairava, is a formidable protector
deity in Vajrayana Buddhism, and his depiction in the National Museum of
Bhutan is a striking embodiment of wrathful compassion.
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This all-blue manifestation, though traditionally referred to as
“black,” uses deep blue tones to convey his boundless nature and
Dharmakaya essence—representing ultimate reality beyond form. His
buffalo head, with fierce eyes and flaring nostrils, evokes the raw
power needed to annihilate ignorance and ego, while also symbolizing
his dominion over death and transformation.
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In the thangka housed at the museum, Mahakala is shown wielding a
kartrika in his right hand—a ritual flaying knife used to sever
attachments and delusions. His left hand holds a kapala, or skullcup,
brimming with symbolic contents such as blood or hearts, representing
the transmutation of defilements into wisdom. These implements are not
merely terrifying; they are tools of liberation, wielded by a deity
whose wrath is directed solely at the obstacles that hinder
enlightenment. The trishula he carries, with its three prongs or
heads, reinforces his mastery over the three realms and the three
poisons—desire, hatred, and ignorance.
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The thangka’s composition is dynamic and intense. Mahakala dances atop
a prone human figure, a motif that signifies his triumph over ego and
the cyclical suffering of samsara. Flames of wisdom encircle him, and
his body is adorned with bone ornaments and a crown of skulls—each
element reinforcing his role as a fierce guardian of the Dharma. The
buffalo head, in particular, adds a primal force to his iconography,
distinguishing him from other wrathful deities and linking him to
Yamantaka’s mission of subjugating death itself.
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This depiction in Bhutan’s National Museum is more than artistic—it is
devotional and didactic. It invites viewers to confront the darker
aspects of their psyche and recognize that even wrath can be a vehicle
for compassion. Mahakala’s presence in Bhutanese ritual and
iconography underscores his importance not only as a spiritual
protector but also as a symbol of the transformative power of
enlightened awareness.
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Ritual Dagger (Phurba; Sanakrit: Kila)
«Discovered by Terton
Guru Chowang (1212-1270). Metal alloy.»
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Ceremonial vase (Bhumpa)
The Bhumpa is a sacred ritual
vessel used in ceremonies of purification, empowerment, and offering.
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Typically crafted from metals like copper, brass, or silver, the
Bhumpa resembles a pitcher with a spout and is often adorned with
intricate carvings of deities, mantras, or auspicious symbols. It
plays a central role in rituals such as bumwang (vase
empowerment), where holy water stored within is poured or sprinkled to
cleanse initiates of negative qualities and imbue them with
enlightened attributes.
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A striking feature of many Bhumpas is the peacock feather affixed to
the top via a decorative plate called khagyen. This feather is not
merely ornamental—it carries deep symbolic meaning. In Buddhist lore,
peacocks are believed to consume poisonous snakes without suffering
harm, a metaphor for the spiritual ability to transform inner poisons
like desire, anger, and ignorance into wisdom and compassion. Thus,
the feather atop the Bhumpa becomes a visual reminder of the
transformative power of spiritual practice.
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The Bhumpa on display at the National Museum of Bhutan is a fine
example of this sacred vessel’s cultural and spiritual significance.
Housed in the historic Ta Dzong building, the museum preserves over
3,000 artifacts spanning 1,500 years of Bhutanese heritage. While
specific details about the individual Bhumpa on display are limited,
it likely features the traditional Bhutanese craftsmanship—silver or
bronze construction, ornate carvings, and the signature peacock
feather—that reflects both the ritual function and artistic legacy of
the region.
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In Bhutanese homes and temples, Bhumpas are often kept filled with
water in shrine rooms, symbolizing the inexhaustible spiritual wealth
of the Buddha. During rituals, the water—called thruchu—is
blessed through visualization and mantra recitation, then used to
purify offerings or participants. Whether in private devotion or
public ceremony, the Bhumpa serves as a vessel of transformation,
linking the physical act of pouring water with the metaphysical
journey toward enlightenment.
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Vajra and bell set
The vajra and bell set—known respectively
as dorje and ghanta in Tibetan—is among the most profound
and ubiquitous ritual implements. These two objects are always used
together, symbolizing the inseparable union of wisdom and compassion,
the twin pillars of enlightenment.
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The vajra, held in the right hand, represents the masculine
principle—compassion, skillful means, and the indestructible nature of
reality. The bell, held in the left hand, embodies the feminine
principle—wisdom, emptiness, and the sound of the Dharma. Their
combined use during rituals and meditations reflects the
practitioner’s aspiration to embody both qualities in perfect harmony.
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The vajra itself is shaped like a scepter with symmetrical prongs that
curve inward, often five or nine in number. These prongs represent the
Five Wisdom Buddhas and the Five Perfections, while the central sphere
signifies the ultimate reality—the dharmata. The bell, meanwhile, is
adorned with intricate symbols including lotus petals, flames of
wisdom, and often the face of Prajnaparamita, the embodiment of
transcendent wisdom. When rung, the bell’s sound is said to proclaim
the emptiness of all phenomena, a sonic reminder of the impermanent
and interdependent nature of existence.
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At the National Museum of Bhutan, a beautifully preserved vajra and
bell set is part of the museum’s extensive collection of over 3,000
artifacts spanning 1,500 years of Bhutanese heritage. Though specific
details about this particular set are limited, it likely reflects
traditional Bhutanese craftsmanship—metalwork in bronze or silver,
with ornate carvings and symbolic motifs. Displayed within the
museum’s spiritual galleries, the set serves not only as a ritual
object but also as a cultural ambassador of Bhutan’s deep-rooted
Vajrayana traditions.
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Beyond its ceremonial use, the vajra and bell set is a living symbol
of Bhutan’s spiritual identity. Monks and practitioners use it in
empowerment rituals, deity visualizations, and tantric dances,
reinforcing the sacred bond between form and emptiness. In the museum
context, it invites visitors—Bhutanese and international alike—to
contemplate the deeper meanings behind these seemingly simple objects.
They are not just tools, but gateways to awakening, echoing the
timeless teachings of the Buddha in metal and sound.
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Milarepa on rhino horn (20th century)
«Carved on the rhino
horn are masters of Kagyu school: Jetsun Melarepa in the centre; his
root teacher, Marpa Lodroe on the top (head missing); his devoted
disciple, Rachung on the left and Namsey (skt. Vaishravana) on the
right. It was gifted to the museum by H.R Namgyal Wangchuck, the
minister of Home Affairs (1986).»
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Ritual dagger (Phurba)
«Phurpa is derived from deity
Vajrakilya and is the most powerful weapon to destroy forces creating
obstructions to those on spiritual path. The head represents deity
vajrakilya and the blade end is used for pinning down demonic forces at
work in order to purify ground to make it safe for everyone.»
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Buddha Shakyamuni
«This statue of Buddha Shakyamuni carved
on rhinoceros horn was purchased from Her Royal Highness Ashi Sonam
Choden Wangchuck in 1972. She was the fourth King’s representative in
the Ministry of Finance during his reign.»
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Vaisravana (20th century)
«Vaisravana holds a mongoose
dropping gems from its mouth to indicate his domain over the serpent
(Naga) world and rides a snow lion to indicate his position as the
guardian king of northern celestial point. The gem vases along the
pedestal are his other attribute as the wealth deity.»
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Kaple (20th century)
«Kaple is a bowl made from top of human
skull used for holding offering to wrathful deities during certain
rituals. The use of skull bowl as offering bowl originated from Tibet
when Buddhism was introduced in Bhutan after 8th century.»
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Kyla (Terphur, 8th century, Iron)
«This sacred kila is
believed to have had been crafted under the instruction of Guru Rinpoche
by Damchen Dorji Legpa in the 8th century. It was later discovered as a
thromter in 12th century by Ngadag Nyangrel Nyim Yoedzer (1124-1192).»
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Conch (20th century)
«Conch is a musical instrument used in
rituals and its resonance is one of the 32 major characteristic of
Buddha. The conch here is a left handed one with intricately crafted
silver lining adorning the wing.»
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Vajra (8th century, Meteoric metal)
«This nine-prong vajra
is believed to have had been used as weapon lo subdue malignant spirits
by Guru Rinpoche during the early spread of Buddhism in Tibet.»
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See Also
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