Simtokha Dzong is Bhutan’s oldest fortress-monastery and a profound symbol of
the country’s spiritual and political heritage.
Built in 1629 by Zhabdrung Ngawang Namgyal—the unifier of Bhutan—it was the
first dzong to combine both monastic and administrative functions, setting the
architectural and cultural precedent for future dzongs across the kingdom.
Officially named Sangak Zabdhon Phodrang, or “Palace of the Profound Meaning
of Secret Mantras,” the dzong was strategically placed to guard the Thimphu
valley and the eastern approach to Dochula Pass.
Legend has it that the site was chosen to imprison a demoness who had been
terrorizing travelers. Zhabdrung subdued her and built the dzong over the rock
where she vanished, hence the name Simtokha—derived from
simmo (demoness) and do (stone). The fortress has withstood
multiple attacks, including a dramatic battle in 1630 when invading Tibetan
forces briefly captured it before a fire collapsed the roof, killing the
invaders. Despite these trials, Simtokha Dzong has remained intact and
continues to serve as a spiritual and cultural stronghold.
Inside, the dzong houses some of Bhutan’s oldest and most exquisite murals,
depicting Buddhist deities, saints, and cosmic mandalas. The main chapel
features a large statue of Sakyamuni Buddha flanked by eight bodhisattvas,
while other chapels honor protector deities like Mahakala and Pelden Lhamo.
The walls are adorned with embroidered thangkas and over 300 slate carvings of
saints and philosophers, making the dzong a living museum of Bhutanese sacred
art.
Today, Simtokha Dzong is home to one of Bhutan’s premier institutes for
Dzongkha language and culture studies, continuing its legacy as a center of
learning and spiritual practice. It also serves as a venue for official
ceremonies and has even hosted international diplomatic events, including a
meeting between Bhutan’s Prime Minister and India’s Prime Minister in 2019.
With its rich history, architectural elegance, and spiritual gravitas,
Simtokha Dzong remains a cornerstone of Bhutanese identity.
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Ritual oven
The ritual oven for burning incense and aromatic
woods—often found outside temples and monasteries—is a sacred vessel for
purification, offering, and transformation.
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Known as sangbum in Bhutanese tradition, these ovens are
typically constructed from stone or metal and are used to burn
juniper, pine, sandalwood, and other fragrant substances. The rising
smoke is believed to carry prayers and offerings to the divine, acting
as a bridge between the earthly and spiritual realms. It also serves
to cleanse the surrounding environment of negative energies, creating
a sanctified space for worship and meditation.
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At Simtokha Dzong, the ritual oven holds particular symbolic weight.
As the oldest dzong in Bhutan, Simtokha is steeped in spiritual
lore—built atop a site where Zhabdrung Ngawang Namgyal is said to have
subdued a demoness. The oven here is not merely functional; it is a
spiritual sentinel, marking the boundary between the mundane world and
the sacred interior of the dzong. Monks and visitors alike pause at
the oven to make offerings of incense, engaging in a moment of
mindfulness and reverence before entering the temple. The act of
burning incense becomes a ritual of intention—cleansing the mind,
invoking blessings, and aligning oneself with the dharma.
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The aromatic woods used in these offerings are chosen not only for
their fragrance but for their symbolic properties. Juniper, for
instance, is associated with protection and clarity, while sandalwood
is revered for its calming and meditative qualities. The ritual oven
thus becomes a crucible of transformation, where raw elements are
transmuted into sacred smoke—a metaphor for spiritual awakening. The
scent permeates the air, enveloping the dzong in a sensory reminder of
impermanence and devotion.
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In Bhutanese culture, the ritual oven also reflects the
interconnectedness of nature and spirituality. The materials burned
are gathered respectfully from the land, and the smoke is offered to
local deities, spirits, and protectors. At Simtokha Dzong, this
practice reinforces the dzong’s role as a guardian of both spiritual
and cultural heritage. The oven stands as a quiet but powerful symbol
of Bhutan’s living tradition—where every breath of incense is a
prayer, and every wisp of smoke a gesture of harmony between the seen
and unseen worlds.
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Large prayer wheel
Large prayer wheels—known as
mani dungkhor—are profound spiritual instruments that embody the
principle of spreading compassion and wisdom through motion.
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Each wheel contains thousands of scrolls inscribed with sacred
mantras, most commonly “Om Mani Padme Hum,” the mantra of
Avalokitesvara, the Bodhisattva of Compassion. Spinning the wheel
clockwise is believed to release these prayers into the universe,
multiplying their spiritual potency and generating merit for the
practitioner. This act is considered equivalent to orally reciting the
mantras, making it a powerful tool for purification, meditation, and
the accumulation of positive karma.
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Symbolically, the prayer wheel represents the Wheel of Dharma—the
Buddha’s teachings in motion—and the cycle of samsara, or rebirth. Its
rotation signifies the continuous flow of spiritual energy and the
practitioner’s journey toward enlightenment. The physical act of
spinning also cultivates mindfulness, as devotees focus their
intentions and prayers with each turn. In Bhutanese culture, these
wheels are not just ritual objects but living expressions of faith,
often placed in monasteries, temples, and along pilgrimage paths to
encourage communal spiritual practice.
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At Simtokha Dzong, Bhutan’s oldest fortress-monastery, the presence of
large prayer wheels carries exceptional significance. Located in the
courtyard, these wheels are flanked by over 300 finely carved slate
tablets depicting saints and deities. Their placement at the heart of
the dzong underscores their role in anchoring the spiritual energy of
the site. Devotees and monks spin them as part of daily rituals,
reinforcing the dzong’s dual function as a center of governance and
sacred learning. The rhythmic turning of the wheels echoes the dzong’s
founding purpose: to subdue negative forces and protect the valley
through spiritual strength.
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Moreover, the prayer wheels at Simtokha Dzong serve as a bridge
between past and present. Built in 1629 by Zhabdrung Ngawang Namgyal,
the dzong was designed to imprison a demoness within the rock beneath
it—a myth reflected in its name, Simtokha (“sim” meaning demoness,
“do” meaning stone). The wheels, in this context, act as spiritual
sentinels, continuously radiating blessings and safeguarding the
sanctity of the site. Their enduring presence invites both pilgrims
and visitors to participate in Bhutan’s living tradition of Vajrayana
practice, where devotion is not only spoken but spun into the very
air.
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Vajrapani slat with votive offering (tsatsa) below
Tsatsa
are small, sacred clay votive offerings that embody the practitioner’s
devotion and aspiration for enlightenment.
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Typically molded in the shape of stupas, deities, or sacred symbols,
tsatsa are created as acts of merit-making, purification, and
spiritual dedication. Their production is often part of a meditative
ritual, where the practitioner recites mantras while pressing clay
into intricately carved molds. Once dried or fired, these miniature
sculptures are placed in sacred sites—such as caves, mountain shrines,
or temple courtyards—as offerings to the Buddhas and bodhisattvas.
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The symbolic power of tsatsa lies in their representation of
the Dharma in physical form. Each one is a microcosm of the
enlightened mind, a tangible reminder of impermanence, and a seed of
awakening. In Vajrayana practice, creating tsatsa is also a
method of purifying negative karma and dedicating merit to all
sentient beings. Some practitioners make hundreds or even thousands of
tsatsa as part of long-term retreats or to commemorate loved
ones. The repetition of this act becomes a spiritual discipline,
reinforcing qualities like patience, mindfulness, and compassion.
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At Simtokha Dzong in Thimphu, tsatsa are scattered around the
exterior walls and nestled into crevices along the circumambulation
path. Their presence adds a layer of quiet sanctity to the
fortress-monastery, transforming its stone façade into a living altar.
These tsatsa are often placed by pilgrims and monks who walk
the path while spinning prayer wheels and reciting mantras. The
juxtaposition of these humble clay offerings with the dzong’s towering
architecture reflects the Vajrayana ideal: that enlightenment is
accessible through both grand ritual and simple, heartfelt devotion.
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The tsatsa at Simtokha Dzong also serve as spiritual echoes of
the site’s founding myth. Built atop a rock said to imprison a
demoness, the dzong is a place of subjugated negativity and
consecrated power. The tsatsa scattered around its base act as
spiritual reinforcements—tiny guardians of intention and purity. Each
one contributes to the sanctification of the space, creating a field
of merit that envelops the dzong and its visitors in blessings. In
this way, the tsatsa are not just offerings—they are part of
the dzong’s living spiritual architecture.
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Panorama of the main courtyard
The main courtyard of a
temple or monastery is far more than an architectural feature—it is a
transitional space between the mundane and the sacred.
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Symbolically, it represents the threshold where worldly distractions
are left behind and the practitioner prepares to enter a realm of
spiritual contemplation. The courtyard is often designed to reflect
harmony and balance, with its open sky above serving as a metaphor for
the vastness of the awakened mind. It is a place where the energies of
the temple are grounded and where the community gathers in shared
reverence.
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At Simtokha Dzong, Bhutan’s oldest fortress-monastery, the courtyard
in front of the central temple is a deeply spiritual and communal
space. It is framed by the dzong’s imposing whitewashed walls and
adorned with prayer wheels, which devotees spin as they walk clockwise
around the perimeter, releasing mantras into the universe. The
courtyard is also the site of ritual dances and public ceremonies,
especially during annual tshechu festivals. These masked dances,
performed by monks, are not mere performances—they are sacred
enactments of mythological and spiritual narratives meant to purify
the space and bless the observers.
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Beyond festivals, the courtyard serves as a daily gathering place for
monks and laypeople alike. Monks may engage in debates on Buddhist
philosophy, a traditional practice that sharpens understanding and
deepens insight. Visitors often pause here to reflect, meditate, or
simply absorb the tranquil atmosphere. The open space allows for
communal prayers, offerings, and even informal teachings, making it a
living extension of the temple’s spiritual mission.
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In essence, the courtyard at Simtokha Dzong is a microcosm of
Vajrayana practice—a place where movement, ritual, and contemplation
converge. It invites both introspection and connection, embodying the
Buddhist ideal that enlightenment is not only a solitary pursuit but
also a shared journey. As one steps across its stone floor, the
courtyard becomes a silent teacher, reminding all who enter of the
sacredness in gathering, in ritual, and in the simple act of presence.
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Main facade
The main facade of Simtokha Dzong is a striking
embodiment of Bhutanese fortress architecture, blending spiritual
symbolism with defensive design.
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Built in 1629 by Zhabdrung Ngawang Namgyal, the facade faces south and
serves as the dzong’s only formal entrance, a feature that enhances
its fortress-like character. The exterior walls are massive and
whitewashed with traditional lime plaster, giving the structure a
solemn, monolithic presence. These walls are punctuated by intricately
carved wooden windows and balconies, showcasing Bhutanese artisanship
through floral motifs, mythical creatures, and geometric patterns.
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Above the entrance, the facade rises toward the utse, or
central tower, which symbolizes Mount Meru—the mythical center of the
Buddhist universe. This tower is three stories high and flanked by
prayer wheels and slate carvings of saints and philosophers,
reinforcing the dzong’s spiritual purpose. The entrance itself is
adorned with murals of the Four Guardian Kings, each protecting one of
the cardinal directions. These vivid depictions serve both a
protective and didactic function, reminding visitors of the spiritual
guardianship that envelops the dzong.
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The facade’s design reflects the dual nature of Simtokha Dzong as both
a religious and administrative center. Its austere symmetry and
fortified layout speak to its historical role in defending the Thimphu
Valley, while the ornate woodwork and sacred iconography highlight its
monastic significance. The balance between these elements is a
hallmark of Bhutanese dzong architecture, where beauty and function
coexist in service of both state and spirit.
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Recent renovations have preserved the facade’s original character
while reinforcing its structural integrity. Japanese conservationists
have helped restore the murals and woodwork, ensuring that the dzong
remains a living monument to Bhutan’s cultural resilience. As visitors
approach the entrance, they are greeted not just by stone and timber,
but by centuries of history etched into every surface—a gateway into
Bhutan’s spiritual and political heart.
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Entrance door
The entrance to a dzong in Bhutan is far more
than a physical threshold—it is a symbolic passage from the secular
world into a sacred realm.
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Traditionally, dzongs serve dual roles as administrative centers and
monastic institutions, and their entrances reflect this duality.
Architecturally, the entrance is often fortified and austere,
signifying protection and authority. Spiritually, it is adorned with
murals of guardian deities, prayer wheels, and auspicious symbols that
cleanse and prepare the visitor for the sanctity within. Passing
through the entrance is akin to a ritual act, where one leaves behind
worldly distractions and enters a space governed by dharma and
discipline.
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In the case of Simtokha Dzong, the entrance carries even deeper
spiritual resonance. Built in 1629 by Zhabdrung Ngawang Namgyal, it
was the first dzong to integrate both religious and administrative
functions. According to legend, the dzong was constructed atop a site
haunted by a demoness who troubled travelers. Zhabdrung subdued her
and imprisoned her spirit beneath the foundation, giving the dzong its
name—Simtokha, meaning “Atop a Demon”. Thus, the entrance is not just
a gateway but a spiritual seal, marking the triumph of sacred order
over chaos. Visitors symbolically step over the subdued demon,
entering a realm of protection and enlightenment.
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The entrance to Simtokha Dzong is also a portal to Bhutanese identity
and resilience. It features murals of the Four Guardian Kings, each
representing a cardinal direction and embodying virtues such as
wisdom, compassion, and strength. These figures are not merely
decorative—they serve as spiritual sentinels, warding off negative
energies and reminding visitors of the moral compass that guides
Bhutanese life. The prayer wheels flanking the entrance invite
pilgrims and guests to engage in merit-making even before stepping
inside, reinforcing the dzong’s role as a living spiritual center.
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Moreover, the entrance sets the tone for the dzong’s interior, which
houses ancient murals, sacred relics, and the Institute for Language
and Culture Studies. It is a place where monks chant, students learn,
and traditions are preserved. The entrance, therefore, is not just the
beginning of a building—it is the beginning of a journey into Bhutan’s
spiritual and cultural soul. Crossing it is an act of reverence, a
step into a space where history, myth, and devotion converge.
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Panorama of the temple facade
The facade of the central
temple within Simtokha Dzong exemplifies the refined artistry and
spiritual symbolism of traditional Bhutanese architecture.
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Rooted in the 17th-century design principles established by Zhabdrung
Ngawang Namgyal, the temple’s exterior is a harmonious blend of
defensive solidity and sacred ornamentation. The structure is framed
by thick stone walls whitewashed with lime, which lend it a timeless,
monolithic presence. Yet, this austerity is softened by the intricate
woodwork that adorns the windows, balconies, and cornices—each carved
with motifs of lotus flowers, dragons, and clouds that evoke Buddhist
cosmology.
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At the heart of the temple facade is the utse, or central tower, which
rises above the surrounding courtyard like a spiritual axis. This
tower is symbolic of Mount Meru, the mythical center of the universe
in Buddhist belief, and its verticality draws the eye upward in a
gesture of transcendence. The facade is punctuated by elaborately
painted murals and frescoes, many of which depict deities,
bodhisattvas, and protective guardians. These visual elements are not
merely decorative—they serve as didactic tools, guiding the viewer
through layers of spiritual meaning and historical narrative.
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The architectural style also reflects the dual function of the dzong
as both a monastic and administrative center. The symmetry and balance
of the temple facade mirror the Buddhist ideals of harmony and order,
while the robust construction speaks to its role in safeguarding the
spiritual and cultural heritage of Bhutan. The use of natural
materials—stone, timber, and earth pigments—reinforces the connection
between the built environment and the surrounding landscape, a
hallmark of Bhutanese design philosophy.
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Recent conservation efforts have ensured that the temple facade
retains its original character while benefiting from structural
reinforcement. Japanese restoration teams have helped preserve the
delicate murals and wood carvings, allowing the temple to remain a
living monument. As visitors approach the central temple within
Simtokha Dzong, they are greeted by a facade that is not only
architecturally impressive but spiritually resonant—a gateway into
Bhutan’s sacred traditions and artistic legacy.
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Temple portico
The entrance portico of a Vajrayana Buddhist
temple or monastery is a threshold between the profane and the sacred—a
liminal space where worldly distractions are symbolically left behind.
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Architecturally, it often features richly painted murals, guardian
deities, and sacred symbols that serve both protective and didactic
functions. Spiritually, the portico is a place of purification and
orientation, preparing the visitor to enter a realm governed by
dharma. It is common to find depictions of the Four Heavenly Kings,
who guard the cardinal directions and embody virtues such as
discipline, compassion, and vigilance. Their presence at the entrance
signals that the temple is under divine protection and that the path
ahead is one of spiritual responsibility.
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At Simtokha Dzong, the temple portico at the center of the dzong is
especially resonant. As Bhutan’s oldest dzong, Simtokha carries layers
of historical and spiritual significance, and its central temple is
the heart of its sacred architecture. The portico here is adorned with
vivid murals of the Four Heavenly Kings, each wielding symbolic
weapons and standing in fierce poses. These figures are not merely
decorative—they are spiritual sentinels who ward off negative energies
and remind visitors of the moral compass required to enter the sacred
space. Their gaze is both protective and penetrating, inviting
introspection and reverence.
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Another powerful element of the portico is the Wheel of Life
(Bhavachakra), often painted or carved prominently near the entrance.
This symbolic diagram illustrates the cycle of samsara—the endless
round of birth, death, and rebirth—and the causes of suffering. At
Simtokha Dzong, the Wheel of Life is rendered with striking detail,
showing the six realms of existence, the twelve links of dependent
origination, and the central hub of ignorance, desire, and aversion.
Its placement at the entrance is intentional: it serves as a spiritual
mirror, prompting visitors to reflect on their own karmic
entanglements and the possibility of liberation through the teachings
housed within.
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Together, the Four Heavenly Kings and the Wheel of Life transform the
portico into a spiritual gateway—not just a passage into a building,
but a passage into deeper awareness. At Simtokha Dzong, this threshold
is steeped in centuries of devotion, myth, and ritual. It invites
every visitor, whether monk or pilgrim, to pause, purify, and
prepare—to step not just into a temple, but into a sacred journey.
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Photographs by Bernard Gagnon, distributed under a CC-BY 4.0 license.
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Garuda at the southwest corner of the temple
At the
southwest corner of the temple facade at the heart of Simtokha Dzong,
one encounters the fierce and majestic figure of Garuda, the mythical
bird-like being revered across Himalayan and South Asian spiritual
traditions.
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In Vajrayana Buddhism, Garuda symbolizes wisdom, protection, and the
power to overcome ignorance and poison—both literal and metaphorical.
His placement on the temple’s outer facade is deeply intentional:
Garuda stands as a guardian of the sacred space, his wings
outstretched and gaze piercing, ready to repel malevolent forces and
safeguard the teachings housed within.
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Garuda’s presence in this corner also reflects Bhutanese architectural
symbolism, where directional guardians are often positioned to balance
elemental energies. The southwest is traditionally associated with
transformation and dissolution, making Garuda—who consumes serpents
and flies between realms—a fitting sentinel. His image is typically
rendered with intricate wood carvings or painted reliefs, showcasing
Bhutanese artisanship and spiritual reverence. Visitors often pause
before him, sensing both his protective aura and his invitation to
rise above worldly entanglements.
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In contrast, the southeast corner of the same temple facade features a
white snow lion, another powerful symbol in Vajrayana iconography. The
snow lion represents fearlessness, joy, and the boundless energy of
the awakened mind. Its white body and turquoise mane evoke purity and
the vastness of the Himalayan landscape, while its stance—often
depicted mid-leap—suggests dynamic movement and spiritual exuberance.
Positioned opposite Garuda, the lion balances the facade’s energy,
embodying the courage needed to enter the temple and engage with its
teachings.
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Together, Garuda and the white lion form a symbolic gateway into the
temple’s sacred interior. They are not merely decorative figures but
spiritual archetypes that guide, protect, and inspire. Their placement
at Simtokha Dzong—a site built to subdue a demoness and establish
Bhutan’s first integrated religious-administrative center—reinforces
the dzong’s role as a fortress of both governance and enlightenment.
As one steps between these two guardians, the journey inward becomes
not just physical, but profoundly spiritual.
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Circumambulatory path around the temple
In Vajrayana
Buddhism, circumambulation—the act of walking clockwise around a sacred
structure—is a deeply symbolic ritual known as pradakshina.
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It represents the practitioner's journey toward enlightenment,
mirroring the path of the sun and aligning with the natural order of
the cosmos. As one walks, the body, speech, and mind are engaged in
devotion: the feet move in reverence, the lips recite mantras, and the
mind focuses on compassion and wisdom. This physical movement becomes
a meditative act, dissolving ego and reinforcing the
interconnectedness of all beings.
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At Simtokha Dzong, Bhutan’s oldest surviving fortress-monastery, the
circumambulation path around the central temple is especially potent.
The lower level of the dzong’s exterior is lined with prayer wheels,
each inscribed with sacred mantras. As devotees spin these wheels
while walking the path, they symbolically release prayers into the
universe, multiplying their merit and purifying karmic obscurations.
The rhythmic clacking of the wheels and the gentle hum of mantras
create a sonic landscape that envelops the practitioner in sacred
energy, transforming the act of walking into a spiritual pilgrimage.
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Adding to the sanctity of this path is the presence of 300 intricately
carved slate sculptures depicting saints and philosophers. These
figures serve as silent teachers, each embodying a facet of Buddhist
wisdom—from fierce compassion to serene detachment. As one passes
these carvings, there’s a sense of walking in the company of
enlightened beings, drawing inspiration from their lives and
teachings. The visual richness of these sculptures invites
contemplation, making the circumambulation not just a devotional act
but also a moment of philosophical reflection.
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Together, the prayer wheels and slate carvings turn the
circumambulation path at Simtokha Dzong into a living mandala—a sacred
space where movement, sound, and symbolism converge. It’s a ritual
that transcends time, linking the practitioner with centuries of
spiritual tradition and the enduring presence of the dharma. In this
way, the path becomes both a literal and metaphorical journey inward,
guiding one toward the heart of awakening.
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Exit out of Simtokha Dzong
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