Were is the rAt.........????






My cat....... looking for the rAt

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The Taag Lhakhang

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 There is a small one-storied lhakhang about 200 meters from the Thangbi Lhakhang. The author could not authenticate the name of the lhakhang but the locals call it as Taag Lhakhang. It is not known whether Taag refers to the horse or the tiger (In Dzognkha). The lhakhang was built by Lam Ngopa, a great Tibetan master in 14th century. When Lam Ngogpa reached the top of the hill above the village, he threw a dumpling-shaped rock to check his prophecy. Descending down to the valley, Lam Ngogpa found the rock at the present location. Taking it as a good omen, Lam Ngogpa built the small temple.  Lam Ngogpa is said to have established a lhakhang in Dhur, about 9kms from Kujey and Lamlung, another Lhakhang in Tang. Both the temples are in Bumthang. Lam Ngogpa was one of the closest disciple of Lam Marpa. Lam Ngogpa is also reflected in Milarepa's namthar as the latter's friend who studied under the same master.  Lam Ngogpa's Kudung chorten The lhakhang houses the Buddhas of Three
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Luck and the Kharam Shing

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 Luck is what we think we deserve to have every time but it is otherwise. People seek interference of seen and unseen forces in hope to have the tinniest fraction of luck. Luck, in laymen term can be defined as absence of bad things happening. according to Chophel (2018),  Kharam means ‘together,’ reflective of the event’s communal nature. It is believed to have evolved from a Bön ritual, and includes a particular wooden structure marked by a phallus. The lucky phallus (Image:Google) In Bhutan, there is a special way to drive away evil and bring luck; having a kharam shing around. It is a phallus craved from wood. The size and the wrathfulness can vary from place to place. Sometimes it is painted on the walls of the homes. The idea may be taboo for the west but it serves a purpose here. According to Kinga. (2005, p.157), kharam shing offsets evil influences and empowers people. It is a common sight to see traditional houses decorated with the kharam . The culture is more evident in
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Pemi Tshewang Tashi’s obedience in the context of Hierarchal and social Fabric of the Bhutanese Society.

Pemi Tshewang Tashi’s obedience in the context of Hierarchical and social Fabric of the Bhutanese Society. During the medieval era in Bhutan, different regions were ruled by lords called Penlops and zongpons. The three penlops were of Tongsa, Daga and Paro and the three Zongpons were of Thimphu, Wangdi and Punakha. They were roughly equal in ranks yet all yearned to become the Tongsa penlop for it was very coveted unlike other lords. Jakar Zongpon Choje Pem Tenzin bargained with Tongsa penlop Choje Dunkar Gyeltshen and central government to upgrade his rank from Zongpon to Penlop. The Tongsa Penlop sought the help of Wangdi Zongpon Andruk Nim who sent his chamberlain Pemi Tshewang Tashi and troop to Tongsa. Although he died, he gave birth to one of the best ballads in our country.The birth of the ballad is reflected in The ballad of Pemi Tshewang Tashi; A wind Borne Feather. Dasho Karma Ura’s The Ballad of Pemi Tshewang Tashi: The Wind Borne Feather is one of the fi
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