Thimphu

Long before Thimphu became the bustling capital it is today, a fortress stood quietly by the banks of the Wang Chhu River. This was Tashichho Dzong, whose origins trace back to 1216, when Lama Gyalwa Lhanangpa first built a small temple known as Do Ngon Dzong—the Blue Stone Fortress. But the real transformation began in the 17th century, when Zhabdrung Ngawang Namgyel, the unifier of Bhutan, took control of the site. He demolished the old structure and built a new dzong in 1641, naming it Tashichho Dzong, meaning “Fortress of the Glorious Religion.”

The Zhabdrung’s intention wasn’t just to build a fortress—it was to establish a seat of governance that combined both spiritual and administrative authority. And for centuries, that vision held true. The dzong became the summer residence of Bhutan’s central monastic body and the office of the Desi (temporal ruler) and Je Khenpo (chief abbot). However, it wasn’t always peaceful. Fires and earthquakes damaged the original structures multiple times, leading to several reconstructions. One such disaster occurred in 1772, when the dzong was severely damaged by fire and had to be rebuilt again.


The most significant change came much later, in the 1960s, under the leadership of King Jigme Dorji Wangchuck, Bhutan’s Third King and a reformer who was preparing the country to enter the modern world. He shifted Bhutan’s capital from Punakha to Thimphu and renovated Tashichho Dzong extensively to house the national government. With care and reverence for Bhutanese architecture, the renovation retained traditional styles—no nails, no foreign designs—just master craftsmanship rooted in centuries of Buddhist culture. Since then, Tashichho Dzong has remained the administrative and spiritual heart of the nation. It houses the King’s throne room, government ministries, and the summer residence of the Je Khenpo and his monks, who migrate to Punakha for the winter. The dzong is also the venue for the Thimphu Tshechu, one of Bhutan’s grandest religious festivals, attracting thousands of devotees and tourists. Today, when you walk through its quiet courtyards or gaze at it from across the river at sunset, you’re not just looking at a building—you’re looking at centuries of Bhutanese resilience, faith, and unity carved into stone and wood. Tashichho Dzong is where Bhutan’s history lives and breathes.

Perched dramatically at Dochula Pass, 3,100 meters above sea level, the Druk Wangyel Chorten stands among a striking cluster of 108 stupas, collectively known as the Druk Wangyel Tshechhen Stupa or simply the Dochula Chhortens. These whitewashed chortens, each with a gilded spire, were built under the command of Her Majesty the Queen Mother Ashi Dorji Wangmo Wangchuck in 2004. More than just beautiful religious monuments, they are deeply symbolic—built in memory of the Bhutanese soldiers who sacrificed their lives during the military operations in 2003 to flush out Indian insurgents who had intruded into southern Bhutanese territory.

The chortens were built as a tribute to peace and stability. It was a difficult and sensitive time for Bhutan, a nation known for its nonviolence and diplomacy. Yet, under the leadership of His Majesty the Fourth King Jigme Singye Wangchuck, Bhutan acted decisively to protect its sovereignty. The success of the operation was deeply felt across the nation, and the Druk Wangyel Chortens became a national symbol of unity, sacrifice, and enlightened leadership.

Set against the backdrop of the eastern Himalayas—on clear days, you can see towering snow peaks like Gangkar Puensum, the world’s highest unclimbed mountain—the chortens are not just a religious site, but a place of deep national reflection. Locals and travelers alike stop here to offer prayers, spin the prayer wheels, or simply take in the serene landscape and the sound of fluttering prayer flags.

In the years since their construction, the site has also become home to the Druk Wangyel Lhakhang, a temple that uniquely blends modern Bhutanese history with traditional artistry. Inside, vivid murals depict scenes not only from Buddhist mythology but also of modern Bhutanese events, including the 2003 military operation—a rare narrative shift in Bhutanese temple art that honors both the spiritual and the temporal.