Jampey Lhakang
Basic Information
Location: Jakar, Chokor Valley, Bumthang District, Bhutan
Built: 659 A.D.[1]
[1] “Jambay Lhakhang.”
View of the outer gate from the parking lot.
Historical Context
In the heart of the Himalayas lies a supine demoness, pinned down to allow Buddhism to flourish in the region. Before the story of the demoness, it is important to understand the context in which she was encountered. Descriptions of early Tibetans describe them as savage, uncivilized, and demonic red-faced flesh eaters. Tibetan women were not spared this terrifying description. These Tibetans value courage and physical strength. Given this description of the humans who inhabit the territory one can see why the descriptions of the mythic demons are just as fearsome. The supine demoness comes from a particular specie of demons called the srin, srin-mo being the female form. These demonesses are an indigenously Tibetan and especially fierce. The srin species represent demonic early Tibetans and the spirit world. The srin species is very important in Buddhist myths because there is a long list of them that later on in time are subjugated by the great Pamdasambhava, showing us that this origin myth is closely tied to subsequent Buddhist history. The srin-mo demonesses represent the theme of the female causing chaos and being the source of desire and attachment. The description of something that is uncontrolled, and threatening is clearly associated with being female. It also makes sense that something that lives in the landscape would also be female, as the earth is considered feminine. In addition, there is a Buddhist belief of the planet as ursache, a living being.[1] This particular supine demoness spans the entire Himalayan region. Her head is in China and her feet are in Bhutan.[2] She is a main character in the origin myths of both Tibet and Bhutan. This demoness is still alive today, thanks to the Buddhist belief in not killing. Despite not killing her, we see the Buddhist theme of appeasement, subjugation, and control of demons that wreak havoc on land. Throughout Buddhist myth we can see countless stories of control of demons in a ritualistic way.[3] In addition, we can see this subjugation of the demoness as the simultaneous subjugation of the inherently wild Tibetans with the taming force of Buddhism. The bodhisattva of compassion, Avalokitesvara, has a vested interest in Buddhism coming to Tibet. He can manifest in different forms in order to achieve this goal. The Buddhist myth says that a great Tibetan emperor Songsten Gampo and a Chinese princess are two of these manifestations.[4] We will see these characters later on in in the story of the demoness.
History of Bumthang
In the Bumthang region, as in all of Tibet at the time, a religion by the name of Bon was practiced. The demoness represents the image of the savage nature of this pre-Buddhist, folk religion. When the demoness is pinned down with the Buddhist temples it transforms the space used to practice Bon to Buddhist realms. It converts all the old historical places to part of the Buddhist narrative.[5] It also makes Jampey is the oldest temple in Bhutan since it is the first physical introduction of Buddhism to Bhutan.[6]
[1] Gyatso, Janet.
[2] Vose, Kevin.
[3] Gyatso, Janet.
[4] Vose, Kevin.
[5] Gyatso, Janet.
[6] Chhoeda, Norzang.
Entry to temple courtyard from right inside the outer gate.
These big prayer wheels were right inside the outer entrance to the courtyard.
Mythic Founding
When we first are introduced to the land that is now Bhutan, in Buddhist myth we see the landscape as a living being. A living being that is hostile to the Buddhist religion and that must be subjugated in order for the religion to flourish. King Songsten Gampo cultivated a vast empire through his ferocious and successful military campaigns throughout the Himalayas. In the 7th century through these military endeavors he comes into contact with Buddhism in China.[1] According to Tibetan sources, as the result of a peace treaty between the Chinese and Tibet, a Chinese princess, Kong Jo, is sent to the Tibetan Court to be married to Songsten Gampo.[2] The Chinese princess that is a manifestation of Avalokitesvara. She travels by foot with all her belongings over the mountains. Among her possessions are some Buddhist texts, a giant Buddha statue, and some monks. As soon as the party reaches the Tibetan plateau, they get stuck in the mud. Geomancers and diviners are summoned to help determine what is the matter.[3] The Princess is able to see that the earth around them looks like a demoness and certain land marks were different parts of her body. The geomancers and diviners could see that the demoness was threatening to undermine the development of Buddhism in Tibet. There was never a question of whether they would kill her, but they needed a way to subjugate her. Songsten Gampo perceived that she was waving around her arms and legs, so he decided to build temples on top of particular points on her body to hold her in place.[4] 13 temples were built on crucial body parts to hold her down: shoulders, hips, elbows, knees, wrists, ankles, and one on her heart.[5] The Jampey Lhakang is built on her left knee and the other temple in Bhutan associated with the demoness is the Kyichu Lhakang in Paro that is built on her left ankle.[6]
The structures (temples) that are built to hold her down are seen to be overtly masculine and phallic. Buddhism is a male-dominated monastic tradition. The demoness and her Tibetan inhabitants here are seen as inhabiting a virgin territory that was waiting to be civilized by Buddhism. Along this theme, in Buddhist tradition women, especially demonesses, are seen to be enemies of the celibate, meditating, Buddhist monk.[7] Songsten Gampo is said to have built 108 temples in total, all in a single day. Jampey is one of the most well-known temples.[8] The demoness provides a constant threat of breaking loose with any relaxation of Buddhist practices providing motivation to keep this site in constant use.[9]
[1] Vose, Kevin.
[2] Gyatso, Janet.
[3] Vose, Kevin.
[4] Gyatso, Janet.
[5] Vose, Kevin.
[6] Chhoeda, Norzang.
[7] Gyatso, Janet.
[8] “Jambay Lhakhang.”
[9] Gyatso, Jane
View of the temple from the inner courtyard.
Entrance way to the inner temple.
Mural of the Guardians of the Four Directions outside the inner temple.
Historical Development (Until Present)
The temple is a one storied complex on a plateau by the Chamkhar Chhu River.[1] The temple has been repaired and rebuilt several times over the course of its history. In the 8th century Sendhu Raja, the then King of Bumthang, fell ill. The King fell ill when his protective deity stole his life force. The King invited Guru Rinpoche to Bumthang to heal him.[2] Rinpoche arrived in 746 A.D. and found out that the sickness was caused by this protective, local demon.[3] As part of the subjugation process he chased the demon into a cave. This cave is located near the Jampey Lhakang. Rinpoche meditated in that cave for three months. During his meditation he was able to subjugate the local demon. Due to his immense power, myth says that he left his body imprint in the rock he was sitting on. Thus, the cave became known as Kurjey which means body imprint in Tibetan. In addition, there are cypress trees beside Kurjey Lhakang that are believed to have sprouted from the walking stick of Rinpoche.[4] The temple is also the site where Guru Rinpoche gave his first sermon to the people of his home region, Bumthang.[5] The visit from Guru Rinpoche greatly increased the auspiciousness of the site. Also, after this visit King Raja renovated the Jampey temple to help maintain it after the Guru had been there.[6]
Over time, other important Buddhist figures have visited the temple and given Bhutanese more reasons to make a pilgrimage to the site. There are three steps from the outer portion of the temple to get into the inner shrine room. These three steps are said to represent the three ages: past, present, and future. The bottom step that represents the past age of the historical Buddha is now under ground. The middle step, representing the present, is almost even with the ground. The steps are sinking and being worn down and legend says that when the step for the present finally goes below ground level it will be doomsday and gods will become like humans. The world as it is now will cease to exist.[7] In that same doorway, there is a chain link portion on the door that protects the inner temple and is said to have been created by Pema Lingpa, the famous treasure revealer and blacksmith.[8] In the entryway there is also a statue of Guru Rinpoche where it is said that he meditated in this temple and left a footprint. It is also said that underneath the temple there is a lake with terma treasures that the Guru hid.[9] The first king of Bhutan, Gongsa Ugyen Wangchuk, constructed the Wheel of Time inside the temple to commemorate his victory over Punakha and Thimphu. This now is a symbol of the power and authority of the monarchy’s control over all of Bhutan. There are other very important relics housed in this temple. The most important is a statue of the future Buddha, Jowo Jampa. This statue is how the temple got its name. [10] The statue is flanked on one side by a statue of the past Buddha and on the other by a statue of the present Buddha. Beside them there are four bodhisattvas on each side, eight in total. The future Buddha is the most important because he is the one who is going to come to the six realms and liberate all sentient beings. Underneath the future Buddha is the figure of a white elephant. It is said that a white elephant was brought to Sendhu Raja but disappeared right after it arrived at his palace near Jampey. When the caretaker of the Lhakang was cleaning he found the elephant under the future Buddha statue. Raja ordered guards to bring it back to the palace, but the elephant spoke and told the guards that is was his destiny to be in the Lhakang and that he would stay. The white elephant has since been a symbol for the royal family.[11] The Future Buddha standing on the white elephant statue are the oldest part of the temple. Also in this inner chapel are murals of about 1,000 Buddhas. Outside of the temple, in the parking lot is a pile of stones carved with Buddhist mantras. This pile is called a thos. It represents the Guardians of the Four Directions: North, South, East, and West.[12]
[1] “Jambay Lhakhang Festival in Bumthang.”
[2] “Jambay Lhakhang.”
[3] Chhoeda, Norzang.
[4] “Jambay Lhakhang.”
[5] “Jambay Lhakhang Festival in Bumthang.”
[6] Mayhew, Bradley, and Lindsay Brown.
[7] Mayhew, Bradley, and Lindsay Brown.
[8] Chhoeda, Norzang.
[9] Mayhew, Bradley, and Lindsay Brown.
[10] “Jambay Lhakhang Festival in Bumthang.”
[11] Chhoeda, Norzang.
[12] Mayhew, Bradley, and Lindsay Brown.
External view of the temple from the external courtyard.
These small prayer wheels are on the external surface of the building.
Why People Visit
Buddhists and Bhutanese visit the site to make merit. They can do this by first just taking the time, money, and energy to get to the site. Second, by reciting prayers and doing prostrations before the relics and everything that the temple represents. There are two stupas behind the temple that house relics like ancient texts, gold, and statues of religious figures. One is dedicated to the second king’s younger brother and the other to Lama Pentsen Khenpo who was a spiritual adviser to the first and second Bhutanese kings.[1] Buddhist can make merit circumambulating these with prayer beads chanting mantras. Located around the outside of the temple are prayer wheels that can be spun to send the mantras out and take the place of having to chant them. These are especially useful for people who are not literate to be able to make merit. Every year, the Jampey Lhakang Drup is celebrated. The festival lasts five days. Famous sacred dances are performed.[2] The most important ritual is the Mewang, the Fire Ritual. This ritual is performed to bless infertile women so that they will bear children. Monks perform purification rituals and masked dancers light a large bonfire. All the guests present, if able, run under and jump over the flame to be purified from sin and evil deeds. It is said that if you go over and under three times you will be protected from misfortunes for an entire year. The masked dancers that light the fire perform the sacred Ter Chham, the Naked Dance. This dance begins in the middle of the night once astrologers give the go ahead that it is time.[3] Usually it happens around one in the morning. Guru Rinpoche was the one who discovered this dance.[4] 16 dancers are chosen by the Lama of Jampey and the local elders. All of the dancers are from the surrounding villages. The dancers are naked except for the masks over their faces to disguise their identities. The dancers perform around the fire and the temple for an hour. All photography of the event is strictly prohibited, for obvious reasons.[5]
[1] Mayhew, Bradley, and Lindsay Brown.
[2] “Jambay Lhakang Drup.”
[3] “Jambay Lhakhang Festival in Bumthang.”
[4] Chhoeda, Norzang.
[5] “Jambay Lhakhang Festival in Bumthang.”
Monks gathering to eat lunch in the field behind the temple.
Two stupas behind the temple.
Lay women in the external courtyard.
Future Development Concerns
Many temples and festivals in Bhutan are facing problems. Bhutan is dealing with the current clash of economic development with the conservation of local traditions. The number of willing participants for the dances in important festivals and celebrations is decreasing. In larger numbers, young men in communities are placing a larger emphasis on school in order to get a higher paying job. While the dances are considered very sacred, there is no economic compensation for the work put in. It takes months to learn a dance to perform at a festival. A student of the dance cannot be a student at school or holding a job because it is so time consuming.[1]
In addition to modernization concerns, time and use have not been kind to the temples of Bhutan. Preservation has only recently begun in Bhutan to help keep these temples and relics for future generations. Butter lamps have been found to cover the wall murals and other things in the temples with soot. To combat this Jampey, and some other temples in Bhutan, have been creating specific buildings to house these butter lamp offerings.[2] This reflects the importance of preserving the art, but also preserving this cultural way to donate to a temple. Another challenge is that only the Drukpa Kagyu school of Buddhism is funded by the government. All the monasteries in the Nyingma school have no governmental support, they rely on private donations and sponsors.[3] Because of the ancient nature of the temple, it falls under the old school of Buddhism (Nyingma), therefore relies on outside support.
[1] Jamtsho, Ngawang.
[2] Chhoeda, Norzang.
[3] Rigzin, Karma.
External butter lamp house.
Bibliography
Chhoeda, Norzang. “Jampey Lhakang.” Lecture, Jampey Lhakang, Bumthang, July 30, 2018.
Gyatso, Janet. “Down with the Demoness: Reflections on a Feminine Ground in Tibet.” The Tibet Journal 12, no. 4 (1987): 38-53.
“Jambay Lhakhang.” Druk Asia. https://www.drukasia.com/bhutan/bumthang/jambay-lhakhang/.
“Jambay Lhakang Drup.” Tourism Council of Bhutan. https://www.bhutan.travel/events/jambay-lhakang-drup.
“Jambay Lhakhang Festival in Bumthang.” Yelha Bhutan Tours & Travel. http://www.bhutanonlinevisa.com/jambay-lhakhang-festival-in-bumthang/.
Jamtsho, Ngawang. “Traditions in Western Bhutan.” Lecture, Royal University of Bhutan: College of Language and Cultural Studies, Takse, Trongsa, July 24, 2018.
Mayhew, Bradley, and Lindsay Brown. Bhutan. 6th ed. Carlton, Victoria: Lonely Planet, 2017.
Rigzin, Karma. “Buddhism and Bhutanese Life.” Lecture, Royal University of Bhutan: College of Language and Cultural Studies, Takse, Trongsa, July 25, 2018.
Vose, Kevin. “Arrival of Buddhism.” Lecture, Royal University of Bhutan: College of Language and Cultural Studies, Takse, Trongsa, July 10, 2018.
Created by: Anna Laws; All photos taken by Anna Laws.