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Discovering the earthy hues and complex features of the historic Bhutanese fortress-monasteries.
When I visited Bhutan, it took two days of exploration and a dozen curious questions to understand what dzongs are and how they differ from other monasteries. The first dzong I visited was the Tashichho Dzong in Thimphu. Its architectural grandeur left me in awe. The structure had huge whitewashed walls with a bright red border on the top. And thus arose my first question to Tek, my Bhutanese guide—Why are these monastery walls so high? In response, Tek elucidated that these structures were more than just monasteries or retreats for monks. The dzongs held a profound historical significance dating back to times preceding the 17th century.
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The massive dzongs were originally built as fortresses to protect the community from Tibetan attacks. These heavily fortified structures are usually hard to reach, embodying the very essence of the term "dzong", which means "fortress" in a literal context. They are strategically located near river confluences or atop a hill.
As I stepped inside the towering walls of the Tashichho Dzong, the open courtyard welcomed me. The doors and windows had intricate woodwork, and the walls were decorated with native thangka paintings and the passages were adorned with ornate golden prayer bells and ornately carved wooden railings. It was all new to me. I had never seen such a sight before and stood silently. Tek said, "Wait till we reach the Punakha Dzong." Before reaching Punakha, I spotted another hilltop dzong in Thimphu called Simtokha Dzong. I watched it from afar and compared its tower with the 1 Ngultrum Bhutanese currency note. I noticed how the lofty walls of this beautiful dzong rose from the sloping hills. Hitting the road for Punakha, Tek slipped in an interesting fact about the dzongs. These architectural marvels encompass concealed underground storage space for grains, dairy, and animal products that were collected as tax back then, and likely acted as a crucial resource during times of adversity.
Upon reaching the Punakha Dzong, we crossed the wooden bridge built over the confluence of the Phochhu and Mochu rivers. I smiled at Tek as I couldn't fathom the magnificence of the grand complex in front of me. I gazed at the entrance and wondered how a Bhutanese dzong could give any modern-day skyscraper a run for its money. Some 15 stone steps and a high wooden staircase later, I entered The Palace of Great Bliss. Inside, two thangka-painted passages hung on the sides that depicted the cultural stories of Bhutan. The passage led us to an open courtyard that was surrounded by wooden pillars, golden doors, ornate windows, and a flight of stairs leading to a meditation hall. Even after surviving seven fire tragedies and Tibetan invasion attempts, Punakha Dzong was meticulously restored to its original grandeur. The magic of this traditional architecture of Bhutan is that there are no blueprints, and no nails or iron bars were used during its construction. An L-shaped wooden scale called a lo-pon was used by carpenters to direct the entire construction. This scale was kept inside the attic as a relic, after the building was completed.
As I inspected the intricate detailing of the interiors of the dzongs, I noticed the use of earthy colours and materials like wood, stone, and rammed earth. As it is also a school for Buddhism, the monks moved about inside the complex, maintaining their calm, and wore deep red robes. I wondered if the colour of the robes was chosen to match the dzongs or whether the dzongs were painted to match the essence of the monks. Either way, both reflected the serenity that matched the harmony of this Himalayan kingdom.
On another evening, I visited the Paro Dzong. This dzong is located on the banks of the Paro Chhu River and is closest to Bhutan's only international airport. This dzong doesn't have many courtyards, but the distinctive towering white walls, wooden carvings and guarded golden entrances resemble a classic Bhutanese dzong. My guide, Tek, mentioned that there are several other important dzongs, such as Trongsa, Lhuntse, Wangdue Phodrang, Jakar and Gasa.
All the dzongs in Bhutan house monastic residences and government offices. They are now centres of spiritual, religious and administrative activities, and the huge courtyards are also venues for Tshechu festivals. Despite the challenges posed by modernisation and development, I was extremely impressed by the Bhutanese government's efforts into preserving these architectural gems as paramount heritage sites. Hopefully, the dzongs will continue to testify their legacy and inspire admiration in travellers, like me, who are constantly searching for authentic cultural and traditional marvels.
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