TEMPAT WISATA PENTING

Dochula Pass is a beautiful mountain pass located between Thimphu and Punakha in Bhutan. It offers a breathtaking blend of natural beauty and rich cultural heritage.

The Dochula Pass is a historical landmark built to honor the bravery and sacrifices of the fourth king and the soldiers who perished during the battle against Assamese insurgents in 2003.

It particularly marks the victory of King Jigme Singye Wangchuck who dislodged the rebels from their camps (there were 30 camps) in Bhutanese territory from where they raided the Indian territory of Assam. After the war, the King went back to Thimphu on 28 December 2003.

This iconic landmark in Bhutan stands at an altitude of 3,100 meters and boasts panoramic views of the snow-capped mountains, including the majestic Gangkar Puensum.

Whether you're a nature lover, history enthusiast, or spiritual seeker, Dochula Pass promises an unforgettable experience. Discover the reasons why this serene haven should be on your Bhutan itinerary.

1. 108 Memorial Chortens At Dochula Pass

Ashi Dorji Wangmo Wangchuck, the eldest Queen Mother of Bhutan, built 108 memorial chortens known as “Druk Wangyal Chortens” at Dochula Pass in honor of the fourth king, His Majesty King Jigme Singye Wangchuck. The chortens were built adjacent to the country's first Royal Botanical Park.

A chorten, also known as a stupa, is a sacred structure in Buddhism that represents the Buddha's enlightened mind. It often contains relics, offerings, and sacred texts. The chortens serve as a place for prayer and meditation, making it a must-visit for those seeking a spiritual and cultural journey.

The 108 chortens at Dochula Pass are arranged in three layers, with the first layer comprising forty-five chortens, the second with thirty-six, and the topmost layer having twenty-seven, encircling the main chorten.

These chortens were constructed following specific religious rituals. As they reached a height of 1 meter, a pit was dug at the center for symbolic offerings.

As the chortens grew taller, clay images of Buddhist gods were added. The "vital stage" involved erecting the sokshing, a sacred juniper pole wrapped in silk and adorned with religious artifacts, on an auspicious day.

The 108 chortens at Dochula Pass are not only a marvel of architecture but also hold deep spiritual significance. Visitors can experience the peaceful ambiance and stunning views while reflecting on Bhutan's rich cultural heritage.

2. Breathtaking Nature Views From The Mountain Pass

If you are going to Punakha (the old capital) from the current capital of Bhutan, Thimphu, you'll definitely pass through this area. The pass was part of an ancient trail between Thimphu and Punakha, such as the Dochu La Nature Trail.

It has long served as a perfect rest stop for travelers to stretch their legs, take in the breathtaking views, and enjoy the peaceful ambiance. Surely, the Dochula Pass is one of the main highlights of your trip.

You can never take a bad photo at the stunning Dochula Pass. In fact, if you are lucky, you can even see the Himalayan range in full view on a clear day from the mountain pass. Gangkar Puensem, at 7,158 meters (23, 484 ft), the tallest unclimbed mountain in the world, can be seen from Dochula Pass.

 

 

 

 

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3. The Sacred Forest And Prayer Flags

The slopes around Dochula Pass are adorned with cypress trees and colorful prayer flags, which hold deep religious significance for Buddhists.

These flags, in five colors representing natural forces—blue (sky), white (clouds), red (fire), green (water), and yellow (earth)—are inscribed with prayers to bring prosperity and peace.

The vibrant flags fluttering in the wind create a serene and spiritual atmosphere, making it a unique and tranquil spot for visitors to experience Bhutan's rich cultural traditions.

4. Dochula Pass’s Flora And Fauna

After the Losar festival in February, which marks the Bhutanese New Year, and as the snow melts, the pass provides a spectacle of many species of flowers such as the Primal Denticulata, Primula Garcilipes, rhododendrons, and Magnolia campbellii.

Another fragrant plant, that people come to enjoy is the Daphne which is a small shrub which blooms with white flowers amidst an array of prayer flags that are fixed on the slopes. The bark of this plant is used to make paper which is a traditional paper used for writing religious scriptures as it is termite-free.

5. Druk Wangyal Lhakhang

Apart from the chortens, there is a monastery built nearby called the Druk Wangyal Lhakhang. The monastery was built against the backdrop of pristine forest of the snow-covered Himalayan mountains. The construction was completed in June 2008.

The temple was built as a memorial to celebrate 100 years of monarchy in Bhutan. Paintings on themes of Bhutanese history decorate the walls of the temple. Some of the paintings include the fourth King fighting Indian rebels in the forest, monks with laptops, and a Drukair plane.

6. Dochula Druk Wangyel Festival

The open ground in front of the monastery is a venue for the annual Dochula Druk Wangyel Festival. The Dochula Druk Wangyel Tshechu is a Bhutanese festival held annually on December 13. The festival is unique in Bhutan and the performances are unlike any other festivals.

Usually, monks and laity are the ones who perform during a Bhutanese festival, but the Dochula Druk Wangyel Festival is performed by the Royal Bhutan Army. This festival was established in 2011 to commemorate the victory of the Fourth Druk Gyalpo and the Armed Forces in 2003.

A special Tsechu was composed for the occasion by Dasho Karma Ura, and it involved costumed mask dances. It is a tribute to the wise leadership of His Majesty Jigme Singye Wangchuck and to celebrate the continuous efforts of the Royal Bhutan Army in protecting the sovereignty and the stability of the country.

This one-of-a-kind tshechu is performed against the backdrop of the magnificent Himalayan mountain range.

The Best Time To Visit Dochula Pass

The weather at the pass generally remains foggy and chilly. However, between October and February, panoramic views of the Bhutan Himalayas can be seen. The Dochula Pass remains beautiful in all seasons. Sometimes, you may even see snowfall at Dochula Pass and capture the chortens majestically covered in snow.

Best time to visit Bhutan

Conclusion About Dochula Pass

Dochula Pass is a beautiful mountain pass that offers a unique blend of natural beauty, cultural heritage, and spiritual significance. With stunning views of the snow-covered Himalayas and the 108 chortens, it stands as a popular tourist attraction.

For a seamless experience, consider booking with Druk Asia, a trusted Bhutan tour operator. We offer bespoke packages that provide a deep dive into Bhutanese culture and other attractions, including other mighty peaks.

Let Druk Asia guide you through this magical journey and make your visit to Dochula Pass unforgettable. Book a Bhutan tour today!

The three storeychorten- shaped temple representing hell, earth and heaven was built in 1421 by the iron-bridge builder ThangtongGyelpo. Also nicknamed The Changzampa, he was a great builder who built 58 iron bridges throughout Tibet and Bhutan and founded “Ache Lhamo” the Tibetan Opera. Legend has it that his opera performances raised the money he needed to build his iron bridges.

The temple has a lot of legend to why it was first constructed. The most popular legend says it was built on the head of a demon to suppress the serpentine force that was getting all inhabitants ill. 

The central tower (utse), the pinnacle of the temple is chained from four directions to the roof of the temple. It is believed that while the consecration was being performed, the central tower moved attempting to fly to Tibet. Thus to stop it from its flight, the central tower was chained down.

The lhakhang is conceived as a mandala, with three different storeys corresponding to the different levels of beginning (Hell, earth and heaven). Each level displays a massive collection of Buddhist painting and iconography as old as the 5th century.  The temple also portrays unique paintings of the progressive stages of Tantric Buddhist philosophy as well as the most important deities and figures of the Drukpa Kagyudpa School. 

It is shaped like a chorten with white tower on top which is not commonly seen in Bhutan. There are stories about Nya goe (Men of great strength) being employed in the construction to lift the massive pillars used in the temple. It is said that on the day of construction, the founder himself appeared in the form of five vultures, and circled the temple showering his blessings. 

The ground floors holds statue of different forms of Buddhas, Avalokiteshvara, Guru Rinpoche andThangtonGyelpo. On the second floor are depictions of Mahakala on the outer wall with hundreds of deities andBardo on the interior wall, the intermediary state between death and rebirth. On the third floor of Dungtselhakang are Tantric deities. Depicted on the exterior wall are Guhyasamaja, Vajrabhairava, Cakrasamvara, Hevajra, Kalacakra, Vajravarahi and Mahamaya.

The lhakhang was restored in the year 1842 by the 25th Head Abbot of Bhutan, SherabGyeltshen.  Beyond DungtseLhakhang, to the east of the road is PanaLhakhang, which is believed to have been built in the seventh century.

The three storeychorten- shaped temple representing hell, earth and heaven was built in 1421 by the iron-bridge builder ThangtongGyelpo. Also nicknamed The Changzampa, he was a great builder who built 58 iron bridges throughout Tibet and Bhutan and founded “Ache Lhamo” the Tibetan Opera. Legend has it that his opera performances raised the money he needed to build his iron bridges.

The temple has a lot of legend to why it was first constructed. The most popular legend says it was built on the head of a demon to suppress the serpentine force that was getting all inhabitants ill. 

The central tower (utse), the pinnacle of the temple is chained from four directions to the roof of the temple. It is believed that while the consecration was being performed, the central tower moved attempting to fly to Tibet. Thus to stop it from its flight, the central tower was chained down.

The lhakhang is conceived as a mandala, with three different storeys corresponding to the different levels of beginning (Hell, earth and heaven). Each level displays a massive collection of Buddhist painting and iconography as old as the 5th century.  The temple also portrays unique paintings of the progressive stages of Tantric Buddhist philosophy as well as the most important deities and figures of the Drukpa Kagyudpa School. 

It is shaped like a chorten with white tower on top which is not commonly seen in Bhutan. There are stories about Nya goe (Men of great strength) being employed in the construction to lift the massive pillars used in the temple. It is said that on the day of construction, the founder himself appeared in the form of five vultures, and circled the temple showering his blessings. 

The ground floors holds statue of different forms of Buddhas, Avalokiteshvara, Guru Rinpoche andThangtonGyelpo. On the second floor are depictions of Mahakala on the outer wall with hundreds of deities andBardo on the interior wall, the intermediary state between death and rebirth. On the third floor of Dungtselhakang are Tantric deities. Depicted on the exterior wall are Guhyasamaja, Vajrabhairava, Cakrasamvara, Hevajra, Kalacakra, Vajravarahi and Mahamaya.

The lhakhang was restored in the year 1842 by the 25th Head Abbot of Bhutan, SherabGyeltshen.  Beyond DungtseLhakhang, to the east of the road is PanaLhakhang, which is believed to have been built in the seventh century.

The Bhutan Textile Museum or the National Textile Museum is a national textiles museum in Thimphu, Bhutan, located near the National Library of Bhutan. It is operated by the National Commission for Cultural Affairs. Since its establishment in 2001, the museum has generated national and international attention and has garnered a substantial collection of antique textile artifacts, exclusive to Bhutan. The objective of setting up the museum is to promote Bhutan's achievements in the field of textile arts and to sustain and promote interest of the weavers to continue the traditional textile patterns. The museum also envisions becoming the centre for textile studies and research. The purpose is also to promote the history and culture of Bhutan.

The significance of Bhutan's textiles is attributed to many factors such as: its intricate patterns in textile art (unique in the world), skills and methods adopted in their creation, noteworthy role in religious, official and social events represented by "glyphs and symbols of ancient knowledge" and their deep sacred connotation.

The Bhutan Textile Museum was first conceived by Her Majesty, the Queen Mother Ashi Sangay Choden Wangchuck. It was established in 2001 and inaugurated by the Queen. Danish funding to the tune of US $165,000 enabled development of the infrastructure of the museum. Government of Bhutan and private donors has also provided assistance to set up the museum and the technical support of the Peabody Essex Museum in the United States.

Her Majesty, the Queen Ashi Sangay Choden Wangchuck is also the patron of the museum and has helped in boosting both national and international interest in Bhutan’s textiles and textile art traditions. Bhutan's textiles are an integral part of its cultural and heritage and are unique for their diversity and sophistication. Textile Museum at Thimphu has given a new platform to the nation’s textiles and Bhutanese weavers and boasts of an invaluable collection of antique textile artifacts of Bhutan. Some of the museum’s gems are the pearl robe from Tsamdrak Goenpa, crowns of Bhutan’s Kings, Namzas (dresses) and other accessories worn by the Royal Family, personal bedding of His Holiness Zhabdrung Jigme Dorji and the first version of the Raven Crown.

The ground floor of the Textile Museum displays skills of making cloth such as spinning, coloring fibers, preparing a loom, and manipulating two sets of yarns. It also displays decorative fabrics produced by Bhutanese weavers that can be used for several uses such as clothing, ceremonies and blankets. Various textile arts and crafts are categorically displayed in the galleries situated on the first floor of the Textile Museum. The highlights here include traditional regional garments and masterpieces produced by women and men. Women are the chief weavers in the household and men mostly embroider and appliqué for sacred and ceremonial use.

The six categories in which the exhibits are displayed are:

• Achievements in textile arts,
• Role of textiles in religion,
• Textiles from indigenous fibers,
• The Royal Collection,
• Warp pattern weaves, and
• Weft pattern weaves.

The museum has reintroduced traditional patterns and has brought Bhutan's unique achievements in the textile arts to light. The museum is slowly moving on the path to become a center for textile studies and carry out documentation, research and studies on textiles and other activities of the museum are:

• National Design Competition: Held annually in September and October, the best textiles during the competition are selected through public polling, instead of the panel of judges. Some of the categories in the competition are Pesar, Traditional Designs, Innovative Designs, Appliqué and Embroidery. A textile festival may also be held during the design competition.
• Auction of Modern Contemporary: The auction is still ‘under consideration’. The museum’s plan is to buy the best pieces of textiles from all interested weavers and sellers around the country, to quote the original price of the pieces quoted by the weavers as the ‘base price’ of the piece, and then perform the auctions. The bid amount that will exceed the base price will go to the textile museum. This plan is believed to be an encouragement to weavers to come up with better quality textiles and more intricate and appealing designs.
• Actual Demonstrations: Museum may also apply two weavers permanently to demonstrate to the visitors how the textiles are actually woven. One weaver will be for Pangtha and another for Thuetha style of weaving.

The Bhutan Textile Museum or the National Textile Museum is a national textiles museum in Thimphu, Bhutan, located near the National Library of Bhutan. It is operated by the National Commission for Cultural Affairs. Since its establishment in 2001, the museum has generated national and international attention and has garnered a substantial collection of antique textile artifacts, exclusive to Bhutan. The objective of setting up the museum is to promote Bhutan's achievements in the field of textile arts and to sustain and promote interest of the weavers to continue the traditional textile patterns. The museum also envisions becoming the centre for textile studies and research. The purpose is also to promote the history and culture of Bhutan.

The significance of Bhutan's textiles is attributed to many factors such as: its intricate patterns in textile art (unique in the world), skills and methods adopted in their creation, noteworthy role in religious, official and social events represented by "glyphs and symbols of ancient knowledge" and their deep sacred connotation.

The Bhutan Textile Museum was first conceived by Her Majesty, the Queen Mother Ashi Sangay Choden Wangchuck. It was established in 2001 and inaugurated by the Queen. Danish funding to the tune of US $165,000 enabled development of the infrastructure of the museum. Government of Bhutan and private donors has also provided assistance to set up the museum and the technical support of the Peabody Essex Museum in the United States.

Her Majesty, the Queen Ashi Sangay Choden Wangchuck is also the patron of the museum and has helped in boosting both national and international interest in Bhutan’s textiles and textile art traditions. Bhutan's textiles are an integral part of its cultural and heritage and are unique for their diversity and sophistication. Textile Museum at Thimphu has given a new platform to the nation’s textiles and Bhutanese weavers and boasts of an invaluable collection of antique textile artifacts of Bhutan. Some of the museum’s gems are the pearl robe from Tsamdrak Goenpa, crowns of Bhutan’s Kings, Namzas (dresses) and other accessories worn by the Royal Family, personal bedding of His Holiness Zhabdrung Jigme Dorji and the first version of the Raven Crown.

The ground floor of the Textile Museum displays skills of making cloth such as spinning, coloring fibers, preparing a loom, and manipulating two sets of yarns. It also displays decorative fabrics produced by Bhutanese weavers that can be used for several uses such as clothing, ceremonies and blankets. Various textile arts and crafts are categorically displayed in the galleries situated on the first floor of the Textile Museum. The highlights here include traditional regional garments and masterpieces produced by women and men. Women are the chief weavers in the household and men mostly embroider and appliqué for sacred and ceremonial use.

The six categories in which the exhibits are displayed are:

• Achievements in textile arts,
• Role of textiles in religion,
• Textiles from indigenous fibers,
• The Royal Collection,
• Warp pattern weaves, and
• Weft pattern weaves.

The museum has reintroduced traditional patterns and has brought Bhutan's unique achievements in the textile arts to light. The museum is slowly moving on the path to become a center for textile studies and carry out documentation, research and studies on textiles and other activities of the museum are:

• National Design Competition: Held annually in September and October, the best textiles during the competition are selected through public polling, instead of the panel of judges. Some of the categories in the competition are Pesar, Traditional Designs, Innovative Designs, Appliqué and Embroidery. A textile festival may also be held during the design competition.
• Auction of Modern Contemporary: The auction is still ‘under consideration’. The museum’s plan is to buy the best pieces of textiles from all interested weavers and sellers around the country, to quote the original price of the pieces quoted by the weavers as the ‘base price’ of the piece, and then perform the auctions. The bid amount that will exceed the base price will go to the textile museum. This plan is believed to be an encouragement to weavers to come up with better quality textiles and more intricate and appealing designs.
• Actual Demonstrations: Museum may also apply two weavers permanently to demonstrate to the visitors how the textiles are actually woven. One weaver will be for Pangtha and another for Thuetha style of weaving.

Folk Heritage Museum located in Kawajangsa, in the heart of the capital city, Thimphu. It is within the walking distance of the National Library of Bhutan and the National Institute for zorig choesum (13 Traditional Arts). The Folk Heritage Museum dedicates itself to connecting people with the rich Bhutanese Folk heritage and rural history through exhibits, demonstrations, educational programs and documentation of Bhutanese rural life. The Museum will strive to disseminate the rich heritage across generations by preserving it in different forms.

Folk Heritage Museum is also known as Phelchey Toenkhyim was established on July 28th, 2001 with the initiative of the Queen Mother of Bhutan, Her Majesty Ashi Dorji Wangmo Wangchuck. It is dedicated to connecting people to the Bhutanese rural past through exhibits, demonstrations, educational programs and documentation of rural life. Her Majesty is also the founder and patron of the Museum.

Folk Heritage Museum is the oldest historical place in Bhutan. The Museum is more than 150 years old, and one can see that the rural setting and flavor has been well-preserved in addition to the paddy, wheat and millet fields that can be seen here. A traditional water-mill with mill stones, traditional style kitchen gardens with vegetables that were grown over the past 100 years and the famous traditional hot stone bath are also preserved. Native trees and plants that have domestic uses in Bhutanese rural households are being grown here in an effort to keep indigenous knowledge about the use of natural resources alive and to include a patch of greenery, right in the heart of the capital city of Thimphu.

The ground floor entrance to the farmhouse is accessible via a small, partially covered, stone courtyard used to store fire wood, farming equipment and grain. There is also an incense burner even today, for the daily burning of incense as an offering to the protective deities. The ground floor resembles a barn more than the entrance to a home as this is where farm animals are housed during the coldest periods of Bhutan’s harsh winters.

The next two levels of the house is accessible via steep, open-tread timber stairs in which visitors are advised to take caution while moving between floors. The second level of the farmhouse is used primarily as a safe store for grain and food. And on the third level, visitors will have reached the center of the family’s living and dining area. This is the only level of the homestead with heating, generated by a wood-fired stove set against an external wall in the separate kitchen area. Adjoining the kitchen is a living area and also where the entire, often large, family would have slept.

Visit to the Folk Heritage Museum is a unique experience because the principal exhibit of the museum itself is a restored three storied, traditional rammed mud and the timber house dating back to the mid 19th century. The form and the design of the house are that of a conventional; household in the Wang area of that era.

Folk Heritage Museum located in Kawajangsa, in the heart of the capital city, Thimphu. It is within the walking distance of the National Library of Bhutan and the National Institute for zorig choesum (13 Traditional Arts). The Folk Heritage Museum dedicates itself to connecting people with the rich Bhutanese Folk heritage and rural history through exhibits, demonstrations, educational programs and documentation of Bhutanese rural life. The Museum will strive to disseminate the rich heritage across generations by preserving it in different forms.

Folk Heritage Museum is also known as Phelchey Toenkhyim was established on July 28th, 2001 with the initiative of the Queen Mother of Bhutan, Her Majesty Ashi Dorji Wangmo Wangchuck. It is dedicated to connecting people to the Bhutanese rural past through exhibits, demonstrations, educational programs and documentation of rural life. Her Majesty is also the founder and patron of the Museum.

Folk Heritage Museum is the oldest historical place in Bhutan. The Museum is more than 150 years old, and one can see that the rural setting and flavor has been well-preserved in addition to the paddy, wheat and millet fields that can be seen here. A traditional water-mill with mill stones, traditional style kitchen gardens with vegetables that were grown over the past 100 years and the famous traditional hot stone bath are also preserved. Native trees and plants that have domestic uses in Bhutanese rural households are being grown here in an effort to keep indigenous knowledge about the use of natural resources alive and to include a patch of greenery, right in the heart of the capital city of Thimphu.

The ground floor entrance to the farmhouse is accessible via a small, partially covered, stone courtyard used to store fire wood, farming equipment and grain. There is also an incense burner even today, for the daily burning of incense as an offering to the protective deities. The ground floor resembles a barn more than the entrance to a home as this is where farm animals are housed during the coldest periods of Bhutan’s harsh winters.

The next two levels of the house is accessible via steep, open-tread timber stairs in which visitors are advised to take caution while moving between floors. The second level of the farmhouse is used primarily as a safe store for grain and food. And on the third level, visitors will have reached the center of the family’s living and dining area. This is the only level of the homestead with heating, generated by a wood-fired stove set against an external wall in the separate kitchen area. Adjoining the kitchen is a living area and also where the entire, often large, family would have slept.

Visit to the Folk Heritage Museum is a unique experience because the principal exhibit of the museum itself is a restored three storied, traditional rammed mud and the timber house dating back to the mid 19th century. The form and the design of the house are that of a conventional; household in the Wang area of that era.

Alongside Bhutan’s internationally applauded concept of Gross National Happiness, the jaw- dropping landscapes, and the plethora of Buddhist sights, the country takes a distinct pride in its cultural heritage in arts and crafts, and along with painting, weaving and woodwork, paper making is one of them.

In 1990, the Ministry of Trade and Industry established the Jungshi Handmade Factory (Jungshi meaning natural) in Bhutan's capital Thimphu, to expand the old domestic skill for commercial purposes, and thus give the ancient art relevance in the modern world. Today, they export their products to the US, Japan, Europe, India and Nepal.

In a simple one story building in Thimphu’s southern suburbs, rough natural fibers are extracted from the bark of two species of highland shrubs and slowly transformed into beautiful translucent sheets of paper.  The factory uses the bark of two tree species, the Daphne tree and Dhekap tree in the manufacture of traditional paper. Visitors can observe the entire process of producing handmade paper using ancient traditional methods that have been practiced for generations. You can even try your hand at this ancient craft and make some paper of your very own as a souvenir. Deh-sho paper was originally used by monasteries for woodblock and manuscript books and also for writing prayer books.

It is located approximately 1 km from Thimphu City. The Jungshi paper factory continues to preserve and promote this age-old Bhutanese tradition. It also produces various other products, such as stationery and greeting cards.

What can you see at Khamsum Yulley Namgyal Chorten

 

 

 

 

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How to visit Khamsum Yulley Namgyal Chorten

Motithang Takin Preserve, located in the Motithang district of Thimphu, Bhutan is a wildlife reserve area for Takin, the national animal of Bhutan. Originally a mini-zoo, it was converted into a preserve when it was discovered that the animals refrained from inhabiting the surrounding forest even when set free. The reason for declaring Takin as a national animal of Bhutan is attributed to a legend of the animal’s creation in Bhutan in the 15th century by Lama Drukpa Kunley.

The local mythology related to declaring Takin as the national animal of Bhutan is dated to the 15th century. A Tibetan saint by the name Drukpa Kunley, popularly called by the epithet “The Divine Madman” is credited with creating the tamin with unique features. Drukpa Kunley, who was not only a religious preache, but also a proficient tantric, was requested by the people of Bhutan during one of his religious lectures to conjure a miracle before them. The saint agreed to do so provided he was fed for lunch, a whole cow and a whole goat. Once served, he devoured the food of both animals and left out the bones. He then took out the head of the goat and fixed it to the skeleton of the cow and uttered abracadabra and the magic worked. With a snap, he created a live animal, which had the head of the goat and the body of the cow. The animal sprang up and moved on to the meadows to graze. The animal was then given the name dong gyem tsey (Takin). Since then this animal has been a common sight in the hills of Bhutan. Because of this magical creation with high religious connotation, the animal has been adopted as the national animal of Bhutan

When a small number of Takin were confined in a "mini-zoo" in Thimphu, the King of Bhutan felt that it was improper for a Buddhist country to confine animals for religious and environmental reasons. He therefore ordered the release of the animals and the closure of the mini-zoo. To everyone’s surprise, the Takin, known for their docile behavior, refused to leave the immediate area, and strayed in the streets of Thimphu in search of food for weeks.

Given that the animals had become virtually domesticated, it was decided to keep them in an enclosed, forested habitat at the edge of Thimphu and thus the Takin preserve came to be established in the Motithang neighborhood. An area of 3.4 hectares (8.4 acres) was demarcated and fenced for the preserve. Improvements were implemented in 2004, a collaborative effort of the Royal Government of Bhutan and World Wide Fund, WWF (Bhutan), including a traditionally styled entrance gate, a small information center, signage and trash receptacles. Small openings in the fencing allow photo opportunities (intended) along with unregulated hand-feeding (unintended). As a result, most of the captive animals in the enclosure are obese. The preserve also holds a few sambar and barking deer. The Motithang Takin Reserve has been an integral part of Thimphu city and is an ongoing visitor attraction. NCD plans to expand the collection of the preserve by introducing other rarely seen animals of Bhutan such as the red panda, and the Himalayan serow.

Takin attract attention due to their unusual appearance; taxonomists were originally uncertain of this animal's phylogeny and many people describe it as a “bee-stung moose”. Bhutan Takin (Budorcas taxicolor whitei) is listed as a vulnerable species of goat-antelope, native to Bhutan, India and the People's Republic of China.

Its habitat is alpine meadows during the summer season, above an altitude of 3,700 metres (12,100 ft), where they feed primarily on grasses. During the summer monsoon season, the lower elevation forests are inhospitable for Takin due to the abundance of leeches, mosquitoes, and horseflies. Alpine meadows provide rich grazing for Takin and as a result some males have been reported to weigh as much as a tone. Courtship and mating occur in July and August. After a gestation period of about 8 months, a single calf is born, usually in late February or March. Adult takin have a golden yellow and brownish coat; calves are initially black in colour. As the rainy season tapers, the animals move down to elevations of 2,000 metres (6,600 ft) and 3,000 metres (9,800 ft) to browse during the winter season on temperate vegetation of broad leaf forests.

Takin have little economic value; they provide a traditional medicinal use by women to help them during child birth, and are of keen interest to a relatively small but uncertain number of trekkers annually in Bhutan.

Genetic health of the animals in the Takin preserve is believed to be on the decline due to inbreeding, according to the Nature Conservation Division (NCD) of the Ministry of Agriculture of Bhutan (NCD). The NCD is planning to introduce fresh genes of one male and two female Takin from the wild. Wild populations of Takin are believed to be stable, though there are no published studies to confirm this, and no one knows how climate change will affect the population of this species in Bhutan. The only known threats they face are from predators and very occasional poaching.

Motithang Takin Preserve, located in the Motithang district of Thimphu, Bhutan is a wildlife reserve area for Takin, the national animal of Bhutan. Originally a mini-zoo, it was converted into a preserve when it was discovered that the animals refrained from inhabiting the surrounding forest even when set free. The reason for declaring Takin as a national animal of Bhutan is attributed to a legend of the animal’s creation in Bhutan in the 15th century by Lama Drukpa Kunley.

The local mythology related to declaring Takin as the national animal of Bhutan is dated to the 15th century. A Tibetan saint by the name Drukpa Kunley, popularly called by the epithet “The Divine Madman” is credited with creating the tamin with unique features. Drukpa Kunley, who was not only a religious preache, but also a proficient tantric, was requested by the people of Bhutan during one of his religious lectures to conjure a miracle before them. The saint agreed to do so provided he was fed for lunch, a whole cow and a whole goat. Once served, he devoured the food of both animals and left out the bones. He then took out the head of the goat and fixed it to the skeleton of the cow and uttered abracadabra and the magic worked. With a snap, he created a live animal, which had the head of the goat and the body of the cow. The animal sprang up and moved on to the meadows to graze. The animal was then given the name dong gyem tsey (Takin). Since then this animal has been a common sight in the hills of Bhutan. Because of this magical creation with high religious connotation, the animal has been adopted as the national animal of Bhutan

When a small number of Takin were confined in a "mini-zoo" in Thimphu, the King of Bhutan felt that it was improper for a Buddhist country to confine animals for religious and environmental reasons. He therefore ordered the release of the animals and the closure of the mini-zoo. To everyone’s surprise, the Takin, known for their docile behavior, refused to leave the immediate area, and strayed in the streets of Thimphu in search of food for weeks.

Given that the animals had become virtually domesticated, it was decided to keep them in an enclosed, forested habitat at the edge of Thimphu and thus the Takin preserve came to be established in the Motithang neighborhood. An area of 3.4 hectares (8.4 acres) was demarcated and fenced for the preserve. Improvements were implemented in 2004, a collaborative effort of the Royal Government of Bhutan and World Wide Fund, WWF (Bhutan), including a traditionally styled entrance gate, a small information center, signage and trash receptacles. Small openings in the fencing allow photo opportunities (intended) along with unregulated hand-feeding (unintended). As a result, most of the captive animals in the enclosure are obese. The preserve also holds a few sambar and barking deer. The Motithang Takin Reserve has been an integral part of Thimphu city and is an ongoing visitor attraction. NCD plans to expand the collection of the preserve by introducing other rarely seen animals of Bhutan such as the red panda, and the Himalayan serow.

Takin attract attention due to their unusual appearance; taxonomists were originally uncertain of this animal's phylogeny and many people describe it as a “bee-stung moose”. Bhutan Takin (Budorcas taxicolor whitei) is listed as a vulnerable species of goat-antelope, native to Bhutan, India and the People's Republic of China.

Its habitat is alpine meadows during the summer season, above an altitude of 3,700 metres (12,100 ft), where they feed primarily on grasses. During the summer monsoon season, the lower elevation forests are inhospitable for Takin due to the abundance of leeches, mosquitoes, and horseflies. Alpine meadows provide rich grazing for Takin and as a result some males have been reported to weigh as much as a tone. Courtship and mating occur in July and August. After a gestation period of about 8 months, a single calf is born, usually in late February or March. Adult takin have a golden yellow and brownish coat; calves are initially black in colour. As the rainy season tapers, the animals move down to elevations of 2,000 metres (6,600 ft) and 3,000 metres (9,800 ft) to browse during the winter season on temperate vegetation of broad leaf forests.

Takin have little economic value; they provide a traditional medicinal use by women to help them during child birth, and are of keen interest to a relatively small but uncertain number of trekkers annually in Bhutan.

Genetic health of the animals in the Takin preserve is believed to be on the decline due to inbreeding, according to the Nature Conservation Division (NCD) of the Ministry of Agriculture of Bhutan (NCD). The NCD is planning to introduce fresh genes of one male and two female Takin from the wild. Wild populations of Takin are believed to be stable, though there are no published studies to confirm this, and no one knows how climate change will affect the population of this species in Bhutan. The only known threats they face are from predators and very occasional poaching.

Another unique structure is the prominent National Memorial Chorten. This stupa, which is predominantly white with spires of gold, was erected in 1974 in honor of the father of modern Bhutan, the third king of the country, His Majesty Jiqme Dorji Wangchuck. The Memorial Stupa, Thimphu, also known as the Thimphu Chorten, is a stupa in Thimphu, Bhutan, located on Doeboom Lam in the southern-central part of the city near the main roundabout and Indian military hospital with its prominent landmark in the city of golden spires and bells.

An idea on the Memorial Chorten of Thimphu was framed by Thinley Norbu (1904-1987), according to the Nyingma tradition of Tibetan Buddhism. It was erected in 1974 in memory of Jigme Dorji Wangchuck, 3rd Druk Gyalpo, who had died in 1972. The main patron was the Druk Gyalpo's mother, Phuntsho Choden.

This stupa is unlike others as it does not enshrine human remains. Only the Druk Gyalpo’s photo in a ceremonial dress adorns a hall in the ground floor.When he was alive, Jigme Dorji wanted to build "a chorten to represent the mind of the Buddha" and later after his death late majesty wish was fulfilled by her Queen mother Ashi Phuentsho Choden Wangchuk.Inside you will find mandalas, paintings, statues and shrines dedicated to the king.

Even the architecture of the chorten has been designed to present it as “one of the most visible religious structures in Thimphu”. The Memorial Chorten, in the heart of the city, is designed is a Tibetan style chorten, also called the Jangchup Chorten, patterned on the design of a classical stupa, with a pyramidal pillar crowned by a crescent moon and sun. The feature that is distinct here is the outward flaring of the rounded part to give the shape of a vase (a pyramidal shape), unlike a dome shape. The chorten depicts larger than life size images of wrathful deities with their female consorts in large numbers, and many in explicit Yab-Yum sexual poses.

The exterior as well as the interior of the stupa should be studied intently as this place allows you to peek into the kingdom’s Buddhist philosophy. An exterior of the stupa stand large white structure with a golden spire crowning it and a smaller golden spire above the front porch. It is approached through a small garden and a gate decorated with three slate carvings. On the exterior of the gate are representations of the three protective bodhisattvas – Avolokiteshvara (the symbol of compassion), Manjushiri (the symbol of knowledge) and Vajrapani, the symbol of power.  On the interior are slates engraved with the image of Ngawang Namgyal, Gautama Buddha and Padmasambhava. Large prayer wheels are located to the left. The chorten attracts many elderly Bhutanese on a daily basis who circumambulate the chorten, whirl the large red prayer wheels and pray at the shrine. It has four entrances but only one entrance is open for devotees to visit the shrine.

While the interior of the chorten is decorated with richly carved annexes facing the four directions, and contain mandalas, statues and a shrine dedicated to the third king.The ground floor of the chorten is consecrated to the teachings of Vajrakilya. It has four shrines, each with different pictures of the king; with the eastern shrine housing a Buddha image. From the ground floor, a staircase leads to two more floors and each floor has four shrines. A centrally placed large wooden carving covers all three levels, behind the shrines; a large number of wooden carvings mostly depict wrathful looking protective deities. The roof of chorten is accessed from the second level and a protective railing covers the terrace on the third floor. The second floor is dedicated to teachings of the Drukpa Lineage of the Kagyud school to subdue eight varieties of evil spirits and the top floor is dedicated to the teachings of Lama Gongdu. Combined, these three floors form the esoteric teachings of the Nyingmapa sect. All of the texts were once hidden by Padmasambhava and were rediscovered by tertöns in the 19th, 12th and 14th centuries respectively.The top floor has paintings depicting various deities of the Nyingma School, and visions which appear in the bardo. Above the top floor there is a gallery, which can be walked around the circumference of the chorten and which offers spectacular views of the city.

Owing to her rich history, the Chorten holds in great religious fervour. Devotees circumambulated only in a clockwise direction (reciting prayers and whirling the large red prayer wheels), as is the rule for any religious structures in Bhutan. The Moenlam Prayer Festival is held here when the Je Khenpo (the religious head of Bhutan) addresses and blesses those who congregate for the occasion.

Another unique structure is the prominent National Memorial Chorten. This stupa, which is predominantly white with spires of gold, was erected in 1974 in honor of the father of modern Bhutan, the third king of the country, His Majesty Jiqme Dorji Wangchuck. The Memorial Stupa, Thimphu, also known as the Thimphu Chorten, is a stupa in Thimphu, Bhutan, located on Doeboom Lam in the southern-central part of the city near the main roundabout and Indian military hospital with its prominent landmark in the city of golden spires and bells.

An idea on the Memorial Chorten of Thimphu was framed by Thinley Norbu (1904-1987), according to the Nyingma tradition of Tibetan Buddhism. It was erected in 1974 in memory of Jigme Dorji Wangchuck, 3rd Druk Gyalpo, who had died in 1972. The main patron was the Druk Gyalpo's mother, Phuntsho Choden.

This stupa is unlike others as it does not enshrine human remains. Only the Druk Gyalpo’s photo in a ceremonial dress adorns a hall in the ground floor.When he was alive, Jigme Dorji wanted to build "a chorten to represent the mind of the Buddha" and later after his death late majesty wish was fulfilled by her Queen mother Ashi Phuentsho Choden Wangchuk.Inside you will find mandalas, paintings, statues and shrines dedicated to the king.

Even the architecture of the chorten has been designed to present it as “one of the most visible religious structures in Thimphu”. The Memorial Chorten, in the heart of the city, is designed is a Tibetan style chorten, also called the Jangchup Chorten, patterned on the design of a classical stupa, with a pyramidal pillar crowned by a crescent moon and sun. The feature that is distinct here is the outward flaring of the rounded part to give the shape of a vase (a pyramidal shape), unlike a dome shape. The chorten depicts larger than life size images of wrathful deities with their female consorts in large numbers, and many in explicit Yab-Yum sexual poses.

The exterior as well as the interior of the stupa should be studied intently as this place allows you to peek into the kingdom’s Buddhist philosophy. An exterior of the stupa stand large white structure with a golden spire crowning it and a smaller golden spire above the front porch. It is approached through a small garden and a gate decorated with three slate carvings. On the exterior of the gate are representations of the three protective bodhisattvas – Avolokiteshvara (the symbol of compassion), Manjushiri (the symbol of knowledge) and Vajrapani, the symbol of power.  On the interior are slates engraved with the image of Ngawang Namgyal, Gautama Buddha and Padmasambhava. Large prayer wheels are located to the left. The chorten attracts many elderly Bhutanese on a daily basis who circumambulate the chorten, whirl the large red prayer wheels and pray at the shrine. It has four entrances but only one entrance is open for devotees to visit the shrine.

While the interior of the chorten is decorated with richly carved annexes facing the four directions, and contain mandalas, statues and a shrine dedicated to the third king.The ground floor of the chorten is consecrated to the teachings of Vajrakilya. It has four shrines, each with different pictures of the king; with the eastern shrine housing a Buddha image. From the ground floor, a staircase leads to two more floors and each floor has four shrines. A centrally placed large wooden carving covers all three levels, behind the shrines; a large number of wooden carvings mostly depict wrathful looking protective deities. The roof of chorten is accessed from the second level and a protective railing covers the terrace on the third floor. The second floor is dedicated to teachings of the Drukpa Lineage of the Kagyud school to subdue eight varieties of evil spirits and the top floor is dedicated to the teachings of Lama Gongdu. Combined, these three floors form the esoteric teachings of the Nyingmapa sect. All of the texts were once hidden by Padmasambhava and were rediscovered by tertöns in the 19th, 12th and 14th centuries respectively.The top floor has paintings depicting various deities of the Nyingma School, and visions which appear in the bardo. Above the top floor there is a gallery, which can be walked around the circumference of the chorten and which offers spectacular views of the city.

Owing to her rich history, the Chorten holds in great religious fervour. Devotees circumambulated only in a clockwise direction (reciting prayers and whirling the large red prayer wheels), as is the rule for any religious structures in Bhutan. The Moenlam Prayer Festival is held here when the Je Khenpo (the religious head of Bhutan) addresses and blesses those who congregate for the occasion.