Bhutan - Lindsay Brown [59]
The stairways to the upper floor and attic are ladders made by carving steps into a whole tree trunk. If you find yourself climbing one of these ladders, reach around behind the right edge and you may find a groove cut there to serve as a handrail.
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The word dzong is of Tibetan origin and translates as ‘fortress’. The dzong system is believed to have been introduced into Bhutan in 1153 by Gyelwa Lhanangpa, a monk from Dresung in Tibet.
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After a house is built, the all-important decoration begins. Wooden surfaces are painted with various designs, each with a special significance. Swastikas, floral patterns representing the lotus, cloud whirls and the tashi tagye (eight auspicious symbols) are the most common (Click here). Beside the front door are larger paintings, often of mythical animals such as the garuda, or large red phalluses. The phallus is not a fertility symbol; it is associated with the Lama Drukpa Kunley (Click here) and believed to ward off evil. A prayer flag called a goendhar is erected on the centre of the roof of all Buddhist homes.
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DZONGS
Bhutan’s dzongs are perhaps the most visibly striking architectural aspect of the kingdom. They are outstanding examples of grand design and construction. These huge, white citadels dominate the major towns and serve as the administrative headquarters of all 20 dzongkhags (districts) and the focus of secular and religious authority in each. As well as the large, active district dzongs, there are a few dzongs that have been destroyed or abandoned, or are now used for other purposes, such as Simtokha Dzong, south of Thimphu, and Dobji Dzong, south of Chhuzom. Not all dzongs are ancient monuments; for example, a new dzong was built in Trashi Yangtse in eastern Bhutan in 1997.
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According to tradition, no woman can be in a dzong between sunset and sunrise. This tradition has only been broken once, when the former Indian prime minister, Indira Gandhi, stayed in Trashi Chhoe Dzong, in Thimphu, after receiving special permission from the Je Khenpo.
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Many dzongs had a ta dzong (watchtower), which was either part of the building, as in Jakar Dzong, or a separate structure, as in Paro and Trongsa Dzongs. This structure was also used as an ammunition store and dungeon. Many dzongs were accessed by cantilever bridges as an additional protective measure. Most dzongs have inward-sloping walls, an architectural feature known as battered walls, which can fool the eye and make the building look imposing and larger than its actual dimensions. They usually have only one massive door, which leads into a small passage that makes two right-angle turns before it enters the main courtyard. This is a design feature to keep invaders from storming the dzong.
During the time of Zhabdrung Ngawang Namgyal (1594–1651), the dzongs served their primary function as fortresses well and each was the stronghold of a penlop (regional governor). Many of the feuds and battles for control during the 17th to 20th centuries were waged by penlops whose troops attacked neighbouring dzongs. The key to success in these battles was to capture the dzong of the opposing penlop, thereby gaining control of that district.
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GUARDIANS OF THE FOUR DIRECTIONS
Paintings or statues of the guardians, or kings, of the four directions appear on the gorikha (veranda) to guard the entrance to most lhakhangs. The guardians have an origin in ancient Mongolian tradition, and each one holds a different object. They are warriors who guard the world against demons and earthly threats.
Chenmizang, the red king of the west, holds a chorten and a snake, and is the lord of the nagas (serpents).
Yulkhorsung, the white king of the east, plays the lute and is the lord of celestial musicians.
Namthose, the gold king of the north, holds a mongoose and a banner of victory.