Day 01: Arrive in Paro and travel to Thimphu

• Altitude in Thimphu: 2,320m
• Distance: 55km
• Estimated travel time: 1.30 hour

Welcome to Bhutan, a stunning Himalayan kingdom with hidden beauty. Each step you take will uncover unique cultural experiences, intriguing stories of the past, and the enchantment of tranquility.

As the plane approaches Paro (2,280m), you will be treated to a spectacular view of the Himalayan peaks from above. Upon arrival, our guide will be waiting to greet you and transport you to Thimphu. Let your adventure in Bhutan begin!

Thimphu, the largest city and capital of Bhutan, is situated in the western central region of the country. The third king, Jigme Dorji Wangchuck, made it the capital of the Kingdom of Bhutan in 1961, and has since functioned as the administrative and economic hub of the country. While the city’s central area may be characterized by tall buildings, just beyond its limits lies a tranquil blue pine forest. Thimphu exemplifies Bhutanese culture, where people find contentment and embrace modernity on their own terms.

The highway from Paro to Thimphu runs alongside the peaceful Pachu River, offering a glimpse into the pristine nature of Bhutan. En route, make a stop at Chuzom’s river confluence to visit Tachogang Lhakhang, or the Temple of the Excellent Horse. This temple is one of the most iconic works of Thangtong Gyalpo, a revered saint in Bhutanese culture. When you are here, you will have the chance to see its famous iron bridge, adorned with beautiful prayer flags. Take a moment to admire the breathtaking views of the crystal-clear river and the lush greenery surrounding the temple.

When you arrive in Thimphu, check-in at your hotel and take a short break. Then, you’ll continue today’s journey. The first site you will see in the capital will be the National Memorial Chorten. This striking site was built as a tribute to world peace and prosperity and later transformed into a memorial to honor the Late Third King, His Majesty Jigme Dorji Wangchuck (1928-1972).

The next stop will be the Buddha Point (Buddha Dordenma Statue), which stands atop a hill in Kuenselphodrang Nature Park. One can easily see it from afar since this gigantic Shakyamuni statue is 51.5 meters tall – one of the world’s highest Buddha statues. The monument is to fulfill an old prophecy revealed by Terton Pema Lingpa (the Religious Treasure Discoverer) to radiate tranquility and happiness throughout the world.

The last stop of the day will be Tashichho Dzong (or Thimphu Dzong). This enormous dzong, located north of the city on Wang Chhu’s west bank, offers views of a cascading waterfall and terraced farmland. Tashichho Dzong was constructed in 1641 and rebuilt in 1965. It is surrounded by beautiful gardens and well-maintained grass, with the main secretariat building at its center.

You will stay at the hotel in Thimphu for the first night.

Day 02: Thimphu to Gangtey

• Altitude in Gangtey: 2,900m
• Distance: 160km
• Estimated travel time: 6hrs

After the first day in Thimphu, we will travel to Gangtey or Phobjikha Valley in central Bhutan. Gangtey, named after the goemba perched on the valley’s ridge, is celebrated for its breathtaking scenery and importance as a wildlife sanctuary. The area features diverse landscapes and a rich variety of flora and fauna, including the rare black-necked cranes that migrate here during the winter months.

En route from Thimphu to Gangtey, you will stop at the Dochula Pass (3,050m), one of Bhutan’s most remarkable and well-known mountain passes. The 108 “Druk Wangyal Chortens,” built by Ashi Dorji Wangmo Wangchuk, the eldest Queen Mother, honor the soldiers who perished in the battle against Indian rebels. The pass provides a magnificent panoramic view of the snow-covered Himalayas, an unforgettable sight that remains etched in our memories.

The second stop will be will be Gangtey Goemba. Established in 1613, it was the sole Nyingmapa monastery in the Black Mountain region and remains the largest in the western area today. This extraordinary structure offers a stunning view of Gangtey Valley, which encompasses lush farms, pristine forests, and majestic mountains.

Following the visit to Gangtey Goemba, time to enjoy a scenic hike on the Gangtey Nature Trail, allowing you to explore the area’s picturesque landscape. The trail begins at a small peak above Gangtey Goemba and meanders through charming meadows before descending to the Semchubara hamlet. You will enter a dense forest of blue pines, where you can observe local wildlife and marvel at the natural beauty.

You will spend the night at the hotel in Gangtey.

Day 03: Gangtey to Trongsa

• Altitude in Trongsa: 2,200m 
• Distance: 80km 
• Estimated travel time: 2,5hrs 

On the third day of the tour, we will travel to Trongsa. Perched on a mountaintop in central Bhutan, it is often referred to as the heart of this Himalayan kingdom. The name Trongsa means “new town” in Bhutanese. This area holds great historical significance, housing Bhutan’s largest dzong and several important sites.

Upon arrival in Trongsa, you’ll check in at your hotel, take a short break, and then continue with your exploration. The first stop will be Ta Dzong. Built initially to prevent rebellions against Trongsa Dzong, it now serves as the National Museum, featuring valuable treasures from the Wangchuck Dynasty. The museum’s collections offer insights into the kingdom’s history, showcasing artifacts such as ancient diamonds and deity sculptures, all beautifully displayed.

Next, head to Trongsa Dzong, located below Ta Dzong and overlooking the Mangde Chhu River. Erected in 1644, this impressive five-storey structure is considered Bhutan’s most remarkable dzong. With its unique architecture, the dzong serves as both the administrative and monastic center for the district. The Dzongda heads the district administration, while the Lam Neten leads the monk body (dratshang). Trongsa Dzong houses 25 temples within its massive complex.

With some spare time in the afternoon, you can take a stroll through the town center of Trongsa. The town center is quite small, with one main road lined with shops. Here, you may find interesting souvenirs such as textiles made from hand-dyed wool and traditional-style carpets. 

If you come to the town center in the morning, you can catch a sight of the local vegetable market. This traditional market is a vibrant gathering place where local farmers bring their fresh produce, including potatoes, vegetables, and chilies, to sell. This vibrant scene provides a unique opportunity to witness the authentic rhythms of Bhutanese rural life.

You will stay overnight at the hotel in Trongsa.

Day 04: Trongsa town to Korphu village.

In the morning, we will drive 130 km, 4 hrs to Korphu village, the farthest village in Trongsa district. Part of Jigme Singye Wangchuck National Park, Korphu is connected only by farm roads. The name “Korphu” combines “gour” (stone) and “pho” (cave), literally meaning “stone cave.” According to legend, Guru Rinpoche created the settlement of Korphu and reconciled Gyab Sindu Raja and Nachoe (Big Nose), who vowed peace on the stone still in Nabji.

At Korphu, you will have time to explore Korphu Lhakhang, a two-story Bhutanese temple overlooking the scenic Nabji valley. Oral history suggests the temple was built in the 15th century, foreseen by the famous treasure discoverer Pema Lingpa.

You will stay overnight at a local house at Korphu Village.

Day 05: Korphu Drubchen Festival

Today, you will be participating in the Korphu Drubchen Festival. The festival will last for 4 days, from the 11th to the 14th days of the 11th month of the Bhutanese calendar.

According to Chakhar Lam Dorji, Korphu Drup was introduced with the Peling religious dance by Pema Lingpa and Trulku Chogden Gonpo in the 16th century, using Bumthang’s Jampa Lhakhang and Nabji Drup as models. However, there is one distinction. During Korphu Drup, religious dances of the Peling tradition are performed, whereas at Nabji Drup, religious dances of the Dorling tradition are performed.

Below are the programs for each festival day and introductions to some important performances.

Day One

At 5:30 a.m., two ritual performers wake up the village and the head lama (a monk appointed by the Trongsa monk body or a Rinpoche) by blowing the oboes (jaling) from the temple. Women sing a religious wake-up song near the lama’s residence.

At around 7:30 or 8 a.m., all the masked dancers and female dancers escort the head lama in a chipdrel (traditional procession) from his residence to the main temple of Lhundup Chodarling. During this chipdrel, dancers sing a song similar to “Alepe,” which is common throughout Bhutan, but here it is a song called “Shomo Alemo” with a deep metaphorical meaning. Lama Phuntsok introduced this tradition in the 20th century, and it has been continued to this day.

The lama advises and guides the dancers to follow the rules and regulations, avoid misconduct, and take responsibility for themselves until the Drup is completed. The dancers are then asked to drink “oath water” to bind this promise. 

After the lama’s speech and ceremonies, lay practitioners begin the ritual, which is followed by an interval around 9:30 a.m.

• Rehearsal of Masked Dances

The day commences around 10 a.m. with masked dance rehearsals, starting with the Yamantaka dance (Shinje Cham) and several others.

• Ritual of Setting Boundary

The ritual resumes at about 2:30 p.m. when the dancers prepare five large and five more miniature flags in blue, white, yellow, red, and green.

Around 3:30 p.m., all the villagers are summoned to join the “ritual of boundary.” The villagers believe that if they do so, they will be blessed and free from all obstacles for one year.

Once everyone is gathered, the dancers lead a procession to the temple to greet the head lama. The lama performs a ritual by offering cakes and beverages in each of the four directions and the center, creating a boundary. He then raises the five large and small flags in these five directions, representing the five Great Kings who protect the ritual performers, sponsors, and participants from all obstacles.

• Ritual of Exorcism

The exorcism ritual begins at approximately 4:30 p.m. 

An effigy of evil, packed in coarse hair, is placed in front of the head lama. He commands the evils to gather there three times, followed by the loud playing of religious instruments. Four wrathful dancers and the carriers of the five wrathful banners jump and run around the effigy of evil three times. The five wrathful banners are then hoisted in five directions. A senior and junior warrior perform the ritual, with the senior warrior chanting a warrior song while the junior dances to his words. 

After the song, the effigy of evil is dragged toward the triangle hole, and the head lama puts it into the hole in accordance with the ritual.

• Dance of Victory

The senior warrior leads the victory dance with all the male dancers, accompanied by a special song. They start the dance slowly and end with jumping and running. Beverages are offered to divine and local deities to thank them for their help in the war against evil.

• Dance of Ging

First, two gings (celestial beings from Guru Rinpoche’s paradise) perform a dance, and when they complete it, two other gings perform the dance. There is a break for dinner around 5:30 p.m.

• Wrathful Fire Offering Rites

Before 7 p.m., the dancers prepared a pyramid-shaped firepit stacked with wood in front of the temple. As villagers gathered, a lama dressed in a black hat emerged to begin the wrathful fire rites. Chanting mantras, he lit the pyre and fed it religious items representing the subduing of negative forces.

At the same time, dancers melted yak butter, which the lama blessed with ara alcohol. A large effigy of evils was then submerged in the flaming butter pool. Onlookers cheered as the burning embodiment of misfortune was consumed by leaping flames.

The lama’s assistant later performed the lhagcham dance amid the smoldering remains, conveying the subjugation of evil forces.

• Ritual of Fire Blessing

At around 8:10 p.m., the fire blessing begins with four ging dancers dancing with blazing torches. After their dance, they set fire to the gate. 

When the fire is blazing, the villagers pass through the gate three times to receive the fire blessing. The villagers believe that harmful evils cannot enter through this gate due to the blazing fire, and that the evils are driven away.

• Ritual to Remove Obstacles

Around 9 p.m., the head lama, wearing a black tantric hat, initiates a ritual to remove obstacles. Four ging dancers, carrying a special ritual cake called “gegtor” and a type of broom, visit each house in the village and sweep away obstacles by touching the householder and everything inside the house. The head lama then proceeds in a procession to each house, throwing pieces of holy stones inside to cleanse the space of obstacles.

After that, the villagers rush for drink offerings at every house.

• Dance of Victory and Offering Beverages for the Victory of War

When they finish the ritual of expelling the obstacles, a dance of victory and offering of a beverage for the victory of war is performed as before in front of the temple. Then the dance of four gings is performed, followed by the warrior dance around 1 a.m.

• Dance of Liberating the Evil Soul

Twelve dancers wearing wrathful masks and brocade dresses perform this dance of liberation. It aims to eliminate evil’s soul and liberate it from this lower realm and move it to a higher realm.

• Ter Cham

At 2 a.m., naked dancers perform the tercham. They cover only their faces with cloth, leaving a hole for their eyes. The lights around the temple are switched off, so only the light of the wood fire at the center remains. Villagers receive the blessing of tercham by bowing under the dancers’ male organs. 

This concludes the events of the first day around 3 a.m.

Day Two

In the early morning, around 4 a.m., two ritual performers wake up the village and the head lama by blowing oboes (jaling) from the temple. Women then sing a religious wake-up song near the lama’s residence.

Around 5:30 a.m., all the masked dancers and female dancers escort the head lama in a chipdrel (procession) from his residence to the main temple of Lhundup Chodarling. The ritual continues until 6:30 a.m., followed by a break.

At approximately 7 a.m., all the villagers gather at the temple for the long-life blessing given by the head lama. The purpose of receiving the long-life blessing is to pray to the deity Tshepame (Amitayus) to eliminate the obstacles that disturb life, give them a long life, and protect them from sudden death.

From around 11 a.m., gomchens perform masked dances to drive away bad spirits and bless both the people and the location.

Dances of Day Two include:

• Shinje Cham
• Peling Chagtsel: A unique dance special to Korphu Lhakhang: 8 masks for this dance were crafted by Pema Lingpa, so they are considered sacred
• Drametse Nga Cham – Drum Dance by Laymen

Drametse Nga Cham is the most popular mask dance performed throughout Bhutan during festivals held in honor of Guru Rinpoche. There are several versions of how the dance was first introduced. Most people say that the dance was first introduced by Khedrup Kuenga Gyeltshen in Ogyen Thechog Choling monastery in the 16th century. (Many believe this sage to be a brother of Pema Lingpa’s granddaughter, Ani Choeten Zangmo, who settled in Drametse after naming the place.) 

It is believed that while he was on meditative retreat, through his intense powers of concentration, Khedrup Kuenga Gyeltshen was able to visit the celestial palace of Zangdog Pelri, where he witnessed the heavenly attendants of Guru Rinpoche transform themselves into one hundred wrathful and peaceful deities and perform a dance using drums and drumsticks. From this vision, Khedrup Kuenga Gyeltshen understood that Guru Rinpoche wanted him to use this medium of dance to help sentient beings defeat the cycle of birth and rebirth. He carefully noted down the choreography of the dance and introduced it in Drametse.

• Zhana Nga Cham – Black Hat Drum Dance

Zhana Nga Cham is a dance that represents this process of good triumphing over evil. The sound of the drums in the dance symbolizes religion and the subtle form of Buddha’s teachings. This dance is usually performed during important events, such as when the Glorious Zhabdrung Ngawang Namgyal consolidated the country. It is believed that this dance helps to pacify the elements of earth, water, fire, and air, making them more supportive of positive initiatives. The dancers wear large black hats, felt boots, and colorful long brocade garments during the performance.

• Nyulema Cham Malevolent Spirit Dance
• Pholay Molay Cham – the Dance of Nobleman and Charming Lady

The Pholay Molay is a satirical mask dance rooted in the ancient lore of the Ngaden Kingdom in northern India. It tells the story of the benevolent King Norzang and his 500 queens.

One of the queens was Yidrogma, a beautiful woman given to King Norzang by a hunter’s son who had received her from a serpent spirit. Yidrogma became the king’s beloved consort, arousing jealousy in the other 499 queens.

The envious queens conspired with the deceitful court priest Hari, who used dark magic to give the king’s father a foreboding dream. Hari manipulated this vision, claiming it was a prophecy that the kingdom faced invasion unless they went to war preemptively.

Believing the false prophecy, King Norzang had to leave for battle, leaving Yidrogma behind with his sacred scarf and ring as tokens of remembrance. During his absence, the malicious queens and the traitorous priest tried to harm Yidrogma, but as a celestial dakini, she escaped their wicked designs by magically flying to the heavens.

The dance vividly depicts these mythical events through the actions of traditional characters such as the mischievous atsara clowns, a bickering elderly couple, and the king’s regal attendants. When the noble King Norzang triumphantly returns from the fictional war, he joyfully reunites with the reappeared Yidrogma. The story concludes with the king and his dakini consort finally able to live in divine happiness forever.

At approximately 8:00 p.m., the Dance of Liberating the Evil’s Soul is performed, followed by the same naked tercham as on the first evening.

Day Three

The morning session follows the same order as the second day, up to the long-life blessing. The masked dances are performed from around 10 a.m.:

• • Phagcham – Dance of Vajravarahi
  • Migoe Cham – Dance of the Snowman (Yeti)

• Jug Cham

The Peling Ging Sum Cham is a set of three sacred mask dances that were introduced by Pema Lingpa, while he was on a visit to Zangdo Pelri. The dances are considered a means of subjugating evil spirits, or nyulema, who hinder the Buddha’s teachings (Mantras and Sutras) by which one achieves ultimate happiness for all sentient beings in the three different worlds (Khamsum).

During his visit to Zangdog Pelri, Pema Lingpa witnessed how Guru Rinpoche miraculously subjugated the evil spirits by means of the three Ging dances. This was the secret teaching that Pema Lingpa received from Guru Rinpoche. Therefore, the Peling Ging Sum Cham is considered extremely sacred, and those who witness it are said to accumulate much merit.

The three dances, Jug Ging (dance holding a stick), Dri Ging (dance holding a sword), and Nga Ging (dance holding a drum), are performed in a sequence. 

The Jug Ging dance is unique in its ability to see and perceive the evil activities and obstacles created by Nyulemas in all three worlds. The word “Jug” means baton or wand, and the Jug Ging use their wands to sense the direction where evil lies. Using their psychic senses and supernatural powers, the Jug Ging captured the Nyulema, disarmed them spiritually, and instilled them with wisdom and compassion. This is the message that the Jug Ging dance conveys.

• Durdag Cham – Dance of the Lords of the Cremation Grounds

Durthroe Dagmo Chezi Cham, or Durdag Cham, or simply Durdag, is a dance that carries a special meaning. The performance symbolizes how a person who believes in religion and desires to spread its teachings can attain a higher state of life by following the white path with single-minded devotion. The lords of the cremation grounds take vows to protect the Dharma teaching and its practitioners. They guard the Mandalas of the Tantric Deities and protect them by rendering the evil forces powerless or destroying them. Any remaining spirits that are not destroyed are then offered to the higher deities.

During the performance, four dancers wear short white skirts, white gloves, white boots, and white skull masks, creating a mesmerizing sight. Witnessing the cham can serve as a powerful reminder of the importance of believing in religion and practicing the Dharma. 

• Dri Ging Cham 

The Dri Ging, who wield swords, use their weapons to defeat evil. They free the Nyulemas from their evil masters, purify their karma, and liberate them into celestial realms.

• Nga Ging Cham 

In Nga Ging, the dancers carry drums (nga) and perform a victory dance to celebrate their triumph over evil spirits. They beat their drums rapidly to mark their victory over these forces and the resulting spread of the Buddha’s teachings. This dance means to bring good luck and happiness to all beings and free them from the world of suffering, leading them to the Buddha realm. 

The Nga Ging is a highly regarded treasure dance from treasure-revealer Pema Lingpa. Merely witnessing it during religious festivals is said to increase one’s merit and help repel evil influences. The dancers, who are bare-chested, wear cloud collars, knee-length skirts, and masks. They carry sticks in the first part of the dance, swords in the second part, and hand drums in the third part.

• Ging Tsholing Cham – The Dance Enacts Sacred War between The Gods and Demons

The Ging Tsholing Chham dance is a captivating and powerful combination of two dances—Ging Chham and Tsholing Chham. Its origins can be traced back to the 15th century when Pema Lingpa had a vision of the dance and introduced it to the people.

Legend has it that during the construction of the Samye monastery in Tibet, King Thrisong Detsen encountered strong opposition from evil spirits. However, Guru Rinpoche, who possessed supernatural powers, took the form of Ging to vanquish and subdue these spirits. The dance portrays Zangdo Pelri, the paradise of Guru Rinpoche, with enlightened sages of India and Tibet seated on his right and scholars on his left. The intermediate areas showcase the 108 treasure discoverers, his incarnations, and his 25 disciples, including King Thrisong Detsen.

Tsholing Chham is a potent dance performed by the Tsholings, who are regarded as fearsome deities responsible for safeguarding the religion. The dance begins with the vigorous annihilation of an effigy, which represents the evil spirits, contained within a black box. After this, the Tsholing dancers, dressed in long and colorful costumes and wearing intimidating masks, are driven away by the Ging dancers.

The inner dance Ging Tsholing, which is known as the Ging dance, is performed by a group of spiritual heroes, deities, and dakinis in their peaceful and wrathful forms. The Ging dancers, wearing masks with a flag on top and dressed in imitation tiger skins, celebrate their victory over evil by beating their drums in a triumphal dance. This dance symbolizes the resolute triumph of good over evil.

• Ritual of Burning Torma

At 5 p.m., the ritual of throwing ritual cakes (torma) into the fire commences. Three types of torma, painted yellow, red, and blue and shaped like a pyramid, are prepared. They represent the Lama, the Yidam (tutelary deity), and the Khando (female wisdom), respectively.

The torma are brought to the fire, and they are thrown in by the head lama to symbolically rid the area of evils and prevent war by outside invaders.

Following this, there is a Dance of Victory, a Dance of Warriors, and an offering of beverages to honor the divine and local deities. Around 8 p.m., the Dance of Liberating the Evil’s Soul is performed, followed by a naked tercham dance, similar to the previous evenings.

Day Four

The morning session follows the same order as the previous two days up to the long-life blessing. From around 10 a.m., masked dances are performed:

• Shazam Cham – The Stag Dance

The dance is a spiritual practice performed to remove negative energy and cleanse the area for spiritual purposes. It is known as the ‘liberation’ ritual and is a powerful practice in Vajrayāna Buddhism. The dance combines the compassion of Mahāyāna Buddhism to alleviate the suffering of all sentient beings with the methods of secret tantras to achieve this goal. Four dancers who don deer masks and hold swords perform the dance.

• Raksha Langgo Cham – Dance of the Animal-headed Attendants
• Chipdrel / Raksha Mang Cham – Dance of the Judgement of the Dead

The Raksha Mangcham is an impressive dance form that was introduced by Tertoen Karma Lingpa. The dance is based on the Bardo Thoedrol (Book of the Dead), which is a text that was hidden by Guru Rinpoche in a cave and rediscovered by Karma Lingpa in the 14th century. This dance is closely connected with a person’s soul after they die. According to beliefs, when a person dies, their soul enters an intermediate state called bardo, which exists between death and rebirth. In this stage, the Buddha appears in numerous peaceful and wrathful forms to guide and liberate the confused soul to eternal peace. Those who believed in the Triple Gem while living on earth as human beings recognize these appearances of the Buddha as their saviors.

The entire dance is a powerful theatrical performance that takes place in a court of justice. The Lord of Death plays the supreme role of passing judgment based on a person’s deeds, and the most trusted Raksha Lango, the Ox-headed dancer, acts as the Minister of Justice, following the principles of the cause and effect relationship of good and bad deeds with strict obedience. Other loyal dancers, including Phag Gochen, the Wild hog-headed dancer, Chung Gochen, the Garuda-headed dancer, Singye Gochen, the lion-headed dancer, Domgyi Gochen, the bear-headed dancer, Drulgyi Gochen, the snake-headed dancer, and Trelgyi Gochen, the monkey-headed dancer, are also present at the court.

Upon closer observation, one can easily follow the dance of the intermediate state and witness the judgments passed by the Lord of Death on Digchen Nyalwabum, a sinner, and on Khimdag Palkyed, a virtuous householder.

Day Five

The Tshechu festival concludes with the unveiling of the Pema Lingpa Thongdrel, a huge embroidered painting big enough to cover an entire building’s facade. This highly revered scroll is only revealed before sunrise and taken down before the sun touches it. The name “Thongdrel” means ‘liberation through light’, and it is believed that one can absolve themselves of sins simply by viewing the scroll.

Moreover, there is a Dance of Dralha Pangtoe, a mock ritual by the jesters, and a ritual of dismantling the boundary, which was set at the start of the festival.

Finally, there is a ritual of prosperity prayer by all performers and villagers.

During this time, you will stay at a local house in Korphu Village.

Day 06: Korphu village to Nabji village

After a hearty breakfast, we will hike about 2 hrs to the sacred Nabji Lhakhang (2,156m). Nabji Lhakhang is located in Nabji village, standing regally in the middle of a field surrounded by a wall. Nabji village itself is situated in a vast, verdant valley that seems like a natural concave circular mandala.

The history of Nabji dates back to Guru Rinpoche’s first visit to Bhutan. It is said that Guru Rinpoche persuaded King Nawoche of Assam, India, to accompany him to the Bhutanese border to make peace with King Sindhu Raja of Bumthang. The two kings were constantly feuding, especially over border issues.

At the border, Guru Rinpoche reconciled the quarreling kings, giving them teachings and making them take an oath on a stone pillar (Nado) to live harmoniously without encroaching on each other’s lands. This place became known as Nabji, meaning “the open ground of oath” in the southern Mangdechhu valley. Guru Rinpoche also blessed Nabji as a Beyul (hidden land), concealing many treasures.

Later, Khandro Tashi Khyidren, daughter of King Sindhu Raja, sought to build a temple at this Guru Rinpoche-blessed site. However, demons nightly destroyed the construction. Khandro prayed for Guru Rinpoche’s help and saw him by facing the cliff, where Guru Rinpoche is supposed to have concealed numerous spiritual treasures. To distract the evil forces, he performed a sacred naked dance (tercham), shapeshifting between human and animal forms, allowing Khandro to complete the temple unhindered.

The temple was then named Nabji Lhakhang. It was consecrated by Terton Dorje Lingpa in the 13th century and extended by the patron Tashi Wangdi from Bumthang in the 19th century. Nabji Lhakhang only has one storey, which was built following traditional Bhutanese. It is enclosed by a wall, with a tree near the entrance believed to be Guru Rinpoche’s walking staff.

The front wall bears paintings by the Tibetan artist Lhalung Choki Wangchuk of Dorje Lingpa, Pema Lingpa, and their lineage holders, Chagzampa Thangtong Gyalpo and GreenTara. Statues of the Four Guardian Kings adorn the exterior chapel walls by the entrance. Inside, artworks depict the Eight Manifestations of Guru Rinpoche, Zhabdrung Ngawang Namgyel, Kagyu masters Marpa and Milarepa, and the Three Long Life Deities.

The central relic is a stone pillar in the right corner bearing the handprints of Kings Sindhu and Nawoche alongside Guru Rinpoche’s – a symbolic pact with sword markings as witness. Other sacred items housed here include a statue of Guru Rinpoche, a box holding local protective deity souls, a rock bearing Dorje Lingpa’s footprints alongside his horse’s, Khandro Tashi Khyidren’s fingerprints on a stone, and two rocks representing the Dakinis’ Body and Speech with a pillar for their Mind – the graffiti thought to be symbolic Dakini script.

You will stay overnight at a local house in Nabji village.

Day 07: Nabji Lhakhang Drup Festival

Today, you’ll attend the Nabji Lhakhang Drup Festival. The festival lasts 6 days, from the 15th to the 20th days of the 11th month of the Bhutanese calendar.

This festival is believed to have been introduced by Dorji Lingpa (1346–1405) in the 14th century. In the 16th century, Pema Lingpa (1450-1521) and Trulku Chogden Gonpo (1497–1530) went to Nabji and performed rituals to stop illnesses and resolve conflicts among several villages. 

With the villagers’ assistance, Chogden Gonpo restarted Nabji Drup, and later, it was either the Chakhar Lam from Bumthang (believed to be a reincarnation of Trulku Chogden Gonpo) or Lam Ugyen Zangpo who took care of the festival.

Preparation Day

On the 13th and 14th days of the 11th month, the temple caretaker collects items from the 46 villager households for the facility of the Drup. Everyone must contribute the requested items, but no money is collected for the ritual.

The village is divided into two parts, Upper Nabji and Lower Nabji, and the hosts for the Drup are selected by turns. Every day, four households from Upper Nabji prepare breakfast and donate butter for the afternoon tea, while another four households prepare dinner. This occurs in rotation so that every household works once during the festival.

Day One

Every year, the festival’s caretaker assigns a sponsor, with this year’s being Ap Trashi Penjor and Aum Phurpamo. Dorji Sey Trulku, from Tang, was invited by the villagers and abbot to head the festival. At 10 a.m., the caretaker performs a simple ceremony to prepare prominent relics, which are then taken to the sponsor’s residence and placed in the well-decorated inner altar room. The Trulku is escorted in a chipdrel procession to the sponsor’s home, where he sits in the inner altar room with important villagers. A small offering (marchang) ceremony is performed by dancers, followed by the lady of the house offering local wine to the Trulku and guests.

The relics are returned to the temple in a long, elaborate chipdrel procession. Along the way, the Trulku and lamas bless villagers. Upon reaching the temple, trumpets blare, and everyone circumambulates it once before entering the inner chapel. Inside, the Trulku, lamas, and others prostrate, chant prayers, and offer mandalas. The Trulku provides money and a scarf to the main inner chapel and the Guru statue. Devotees then prostrate to the Trulku and lamas.

The Zhudrel Phunsum Tshogpa ceremony follows, ending with people shouting while a woman sings. Dancers, cooks, caretakers, and all other festival participants are called in to receive their responsibilities from the Lama. Participants are given holy water, symbolizing purity and obedience, which works whether they drink it or not.

Ritual of Setting Boundary

At 1 p.m., the Trulku and lamas chant and insert tormas into boxes placed in each of the four directions around the temple, starting with the white box (east), then the yellow (south), red (west), and blue (north). They circumambulate the temple during this ritual.

Following this, the Trulku and Lama perform a ritual to clear obstacles on the temple steps, symbolically locking evil spirits in a hole covered by a slate. The Trulku makes a cross sign on the slate with a dagger, places fire (anger) on it, and then pours water (peace) over it.

Four masked dancers representing the Kings of Four Directions perform, accompanied by a hero holding a victory banner who dances to signify his abilities. Another similar dancer follows with a hero’s dance. Next, the ging dance is performed by four dancers. After these performances, most villagers disperse, while a blessing ceremony (Jinlab Thrikhar Koedni) takes place inside the temple.

In the evening, the Trulku, dressed as a black hat tantrist, sits before the temple as the Pezang dance begins, narrating ancestors’ descent to Nabji village. Pezang, son of the god Lhajagin Wangpo and the festival’s founder, entertains the audience. Four dancers representing the Kings of Four Directions perform, raising an effigy of an evil spirit above a courtyard fire. Six Zhana dancers join in, and Pezang entertains the crowd.

Two new performers with swords arrive, and the Trulku pours oil into the fire, burning the effigy. The four dancers leave, followed by the six Zhana dancers. A monk with a scarf and white substance dances around the fire before leaving. A man prostrates to the Trulku for a blessing, and then four performers return with sticks for the Gektor ritual to avoid obstacles.

The Trulku performs a ritual with a torma, bell, and thunderbolt. Afterwards, the Trulku and lamas walk to the paddy field for the fire blessing (mewang), standing above a burning gate made of leaves and straw. Participants pass through the gate multiple times to receive blessings and clear obstacles.

The Trulku, Lama, and Pezang then visit each household to remove obstacles. The Lama returns to the temple, later joined by the Trulku, Pezang, and dancers. In the altar room, the lady of the house receives blessings from Pezang and the Trulku, who is offered rice and wine. Dancers then perform at each home, where they are served wine.

The Trulku keeps his wine but leaves the rice at the house to be offered on the festival’s last day, bringing good luck to the family.

Day Two

At 5 a.m., the rising bell rings, and at 5:30 a.m., porridge is served in the temple to the Lama and lay monks. They then chant the Lama Kadue, a Dorji Lingpa ritual, while masked dancers prepare in the dressing room.

The Trulku arrives at the temple, and a simplified chipdrel procession begins, featuring a drummer, a boy with a bell, singers, and others. The Trulku and lamas are seated in front of the temple for the long-life blessings (tshekhuk). People start prostrating to them, and a carpet is placed in front of the marchang recipient. During the ritual, there are two marchang offerings: the Soeldeb Marchang, followed by a large pot of tshechang (long-life alcohol) placed among the recipients. While this takes place, four men perform the Zhenchey Pem dance in the courtyard.

Pezang arrives with a tshedar, a long-life flag, to bless the audience, joined by other jesters. The Trulku, Lama, and a girl dressed as a dakini (khandro) holding a skull filled with alcohol face the temple, perform prayers, and offer the alcohol to the four directions, honoring the Triple Gems, local deities, and dakinis.

They then stand near the cypress tree at the temple entrance, where people receive tshechang blessings from the Trulku and Pezang. Afterwards, young men lift and spin the villagers to help dissolve the tshechang into their bodies. This ritual is repeated for the next two days.

At 11 a.m., masked dances begin with the Gektor, a ritual cake offered to spirits and harmful forces that may obstruct the festival. 

The masked dances are as follows:

• • Salang Chham Shinjay Pho Mo
  • Zharling Chham

• Jug Ging Chham

You’ll find that many festivals feature popular dances, such as the Peling Ging Sum Cham, that are deeply rooted in tradition and spirituality.

In this mesmerizing dance, performers wield batons to sense and neutralize malevolent forces. With their supernatural abilities, they locate and spiritually disarm the Nyulema, infusing them with wisdom and compassion. The Jug Ging Cham is a dramatic portrayal of spiritual vigilance and purification.

• Dri Ging Chham

This dance sees the participants brandishing swords to vanquish evil. As they perform, they symbolically free the Nyulema from their dark masters, purifying their karma and guiding them to celestial realms. The Dri Ging Cham is a powerful demonstration of liberation and purification.

• Nga Ging Chham

This dance sees the participants brandishing swords to vanquish evil. As they perform, they symbolically free the Nyulema from their dark masters, purifying their karma and guiding them to celestial realms. The Dri Ging Cham is a powerful demonstration of liberation and purification.

• Jachung Baychung

At 9 pm, near the courtyard, the dance of liberating the evil spirit’s soul is performed, followed by the sacred naked Tercham.

Day Three

The rising bell is rung at 3 a.m., and at 3:20 a,.m, porridge is served in the temple to the Lama and lay monks. They begin the Lama Guru Drakpo ritual, led by the Trulku and the abbot. A man then plays the cymbals, drum, and bell to call the villagers, who gather in the courtyard.

The day starts similarly to the second day. The Trulku and lamas come to the courtyard to perform the long-life ritual. A pot for marchang is placed in front of the Trulku and lamas. The first marchang is the Soeldep Marchang, accompanied by the Zhenchey Pem dance. Pezang arrives with a long-life flag. After the marchang pot is removed, religious tea is served to the Trulku and lamas.

The caretaker then brings the second marchang, the tshechang, and the long-life blessing ritual follows the same order as the previous day. Later, Pezang enters the courtyard with a sword hanging on his belly to prepare for a fight with Pholay during the Pholay Molay dance.

From around 11 a.m., you may watch:

• Shazam Cham – The Stag Dance

This dance features four performers wearing deer masks and wielding swords. It’s a potent ritual in Vajrayāna Buddhism aimed at cleansing negative energies and promoting spiritual purification.

• Zhana Nga Cham – Black Hat Drum Dance

This is a powerful performance used to overcome obstacles and proclaim victory over evil spirits. The rhythmic drumming symbolizes the teachings of Buddha and helps to harmonize the elements—earth, water, fire, and air—making them supportive of great endeavors. Dancers in black hats, felt boots, and colorful brocade garments create an enthralling spectacle of triumph over adversity.

• Ging Tsholing Cham – The Dance Enacts Sacred War between The Gods and Demons

The Ging Tsholing Cham, a dramatic portrayal of the ancient battle between gods and demons, merges the Ging Cham and Tsholing Cham dances. Originating from Pema Lingpa’s 15th-century vision, it depicts Guru Rinpoche’s victory over evil spirits during the construction of Samye Monastery. The dance features spiritual heroes and deities in peaceful and wrathful forms, celebrating the triumph of good over evil with vibrant costumes and dynamic movements.

• Pholay Molay – The Dance of Nobleman and Charming Lady

The Pholay Molay Cham is a satirical dance based on the legend of King Norzang from the Ngaden Kingdom. It tells the story of the king, his beloved consort Yidrogma, and the jealousy of his other queens. The dance includes humorous characters like atsara clowns and an elderly couple, culminating in the reunion of King Norzang and Yidrogma, symbolizing the victory of virtue and divine happiness.

At 4:30 p.m., inside the temple, the ritual of Guru Drakpoi TorDok is performed to prevent obstacles and disasters in the village and the country and ensure the well-being of all sentient beings. At 6:20 p.m., the red-painted tormas are brought outside and placed on a table near the exit. Two Jachung, two Shana, and the Kings of Four Directions perform the Bey dance as the Trulku arrives in Zhana costume.

A massive heap of straw is gathered in a paddy field below the temple, where the tormas will be thrown and burned. Fireworks and small bombs are set off. After some time, the tormas are taken to the straw pile, and the Trulku and abbot throw them into the fire. The abbot is the final person to return to the temple, symbolizing that obstacles will not dare to affect the villagers.

Just as on the previous day, the Dance of Liberating the Evil’s Soul is performed near the courtyard at 9 p.m., followed by the sacred naked Tercham.

Day Four

The rising bell is rung at 4 a.m., and at 4:30 a.m., porridge is served in the temple to the Lama and lay monks. With the Trulku and abbot presiding, they begin the Lama Tshepamed ritual. The rituals follow the same order as on the second and third days, leading up to the long-life blessing and the Gektor.

At 11 a.m., these masked dances are performed:

• Chung Zam Chham – Dance of Garuda

Chung Zam Chham depicts a legend from the 8th century. According to the legend, a malevolent spirit and its followers spread diseases among sentient beings, causing immense suffering. To rescue the six classes of living beings from this plight, Guru Padmasambhava transformed into the mythical bird, Garuda, and defeated the harmful spirits, restoring peace and comfort.

• Raksha Mang Cham – Dance of the Judgement of the Dead

The Raksha Mangcham, introduced by Terton Karma Lingpa, is a dramatic dance based on the Bardo Thoedrol (Book of the Dead). This performance depicts the soul’s journey through the intermediate state (bardo) between death and rebirth, where the Buddha, in various forms, guides and liberates the soul. 

Set in a court of justice, the Lord of Death passes judgment, assisted by the Ox-headed dancer, Raksha Lango, and other animal-headed dancers who represent different virtues and vices. This dance vividly portrays the karmic consequences of one’s deeds and the ultimate liberation of the soul.

• Shinjay Cham – The Dance of Yamantaka

The night ends at 9 p.m., similar to the previous days with the Dance of liberating the evil’s soul and the sacred naked Tercham. 

Day Five

The day starts at the same time as Day Four. After this, they begin to chant the Lama Kadue, a Dorji Lingpa ritual.

A thongdrel of Guru Rinpoche and his two consorts, as well as of Zhabdrung, Dorji Lingpa, Trulku Chogden Gonpo, and protective deities, is displayed for blessings near the temple. Upon completion, the thongdrel is returned to the temple.

At 11:30 a.m., the next tercham of Dorji Lingpa is performed:

• Dri Cham
• Pa Cham – The Dance of The Heroes

In the 15th century, Tertoen Pema Lingpa introduced the Pa Cham dance. According to legend, Pema Lingpa had a mystical experience where he traveled to Zangdog Pelri, the copper-colored mountain, and saw Guru Rinpoche seated in the center of a beautiful mandala of rainbows. Guru Rinpoche was surrounded by an assembly of sages, heroes, heroines, tutelary deities, and dakas and dakinis (spiritual, non-human beings) who were dancing in the forms of emanations of peaceful and terrifying deities and singing harmoniously together. Pema Lingpa then introduced the Pa Cham dance to lead those who witnessed it into the presence of Guru Rinpoche. This form of dance is performed for the benefit of sentient beings. 

Unlike other traditional dances, the dancers in Pa Cham don’t wear any masks. They wear yellow knee-length skirts and golden, five-pointed crowns on their heads. Each of the five faces of the crowns represents one of the five meditational Buddha families of tantric Buddhism. The dancers represent long-haired dakinis, and long strands of black thread hang below their crowns. They perform the dance barefoot while carrying a small bell and a small drum.

• DorLing Nga Cham

After these dances are over, the prominent relics of the temple (statues of Dorji Lingpa, Chana Dorji/Vajrapani, Buddha, and a phallus-shaped stone) are brought out to the participants for blessings. The villagers then offer scarves and money to the dancers, after which they watch the farewell performance of Pezang returning to heaven. The mask of Pezang is then placed in the inner chapel and will not be taken out again until next year’s festival.

The villagers offer the auspicious prayer of Trashi Monlam and the rice offered to the Trulku and lamas on the first day.

The day’s rituals end with the Dance of Good Parting (Trashi Labey).

Day Six

On the final day, the rising bell is rung at 5 a.m., and at 5:15, a cleansing ritual (Lhabsang Thrusel) is performed inside the temple. Singers and dancers perform a song (zheymo) called Choe Ki Tsawa Mitsuk, composed by Dorji Lingpa.

The ritual that day is a confession ritual, which involves confessing all misdeeds, failures, and other adverse actions committed from the first day until the evening of the sixth day.

At 10:30 a.m., a jinsek (fire offering) is performed, followed by the dismantling of the boundary. Then, the Trulku and Lama visit the host’s house, carrying only the relics from Chakhar in Bumthang, not those from the temple.

The day ends with a Trashi Labey dance.

You will stay overnight at a local house in Nabji village.

Day 08: Nabji village to Trongsa town

After breakfast, we will head back to Trongsa town and prepare for today’s hike –  Taphey Goemba Hike. The road from the Naji village to Trongsa town is 120 km and takes around 3 – 4 hours of driving, as it is small and narrow.

Then, we will drive about 30 minutes to the North of Trongsa, above the Trongsa–Bumthang highway, approximately 15 km from Trongsa town, to start the hike at Dozhong village (Doshong village).

The hike is a moderate trek covering 14.5 km with an elevation gain of 931m. The highest point reached is 3,410m.

The best time to do this hike is during the spring (January-May), when you can enjoy the rhododendron blooms, or in the autumn and winter (October-December), you’ll have stunning views of the Himalayan mountains.

You will start from Dozhong village at an altitude of 3,070m. When you arrive, make a quick visit to Dozhong Goemba, also known as Dorji Goemba. “Dozhong” means “stone tub,” referring to the bath used by the local female deity, Yulha Menmo Palden Dolma. The stone tub is located below the highway, approximately 700m from the monastery, and the deity’s residence is about 500m away.

The temple follows the architectural style of a simple Bhutanese house, with basic woodwork and masonry. It has a small courtyard in front and a newly built kitchen on the left. This temple is associated with Lopen Tsultrim Tharchin, who was born in Tsangkha village in Tangsibi Gewog, Trongsa. He became a chopon, someone with authority over offerings. Tsultrim Tharchin also met with the 5th Zhabdrung Thuktrul Jigme Chogyal when Zhabdrung was traveling from Drametse to Punakha. They discussed religion, and Tsultrim Tharchin later offered the Zhabdrung a piece of sheepskin used for a mattress, which is now a relic at Punakha Dzong.

As you hike along the winding trail, you’ll experience unspoiled natural beauty, vibrant rhododendrons, towering conifers, graceful spruces, and shimmering silver forests. Keep your eyes peeled for stunning birds like the elusive Himalayan Monal, the brilliant Blood Pheasant, and the magnificent Satyr Tragopans. 

The trail begins with a gentle climb through lush rhododendron forests until reaching a rustic yak herders’ camp. Then, trek through a variety of majestic Himalayan trees, leading to a scenic ridge that takes you to the famous Singaythang (Place of Lion) – where impressive rocks oddly resemble a lion’s face, submerged as commanded by Bhutan’s formidable first king.

From Singaythang, admire the breathtaking views of Bemji, Dzongthang, Chela villages, the mighty Gangkhar Puensum (7,570m – highest in Bhutan and unclimbed), central Trongsa valley and Black Mountain (Durshingla).

Descend for another hour through pristine, idyllic natural landscapes to Taphey Goemba, constructed by Bhutan’s first king, around the 18th-century meditation site of Ngawang Tsamphel. Eight monks reside at the drubdey (meditation retreat), and its main chapel houses a two-storey statue of the 1001-armed Chenresig.

From Taphey Goemba, continue descending to Yuling village, making a stop at the historic temple of Willing village on the way.

The hike concludes at Yuling village. You will have the opportunity to explore Yuling Monastery, a sacred site associated with Yongzin Ngagi Wangchuk (1517-1555), the great-grandfather of Zhabdrung Ngawang Namgyel. Yongzin Ngagi Wangchuk, from the Drukpa ruling family, travelled from Tibet to Bhutan. Guided by a vision of the guardian deity Palden Lhamo, he arrived in the Trongsa (Mangdu) region in 1541 and stayed in Yueling village. The main relics inside the monastery are said to be from Yongzin Ngagi Wangchuk’s time, while the clay statue of him and other relics were added by devotees later on.

You will stay overnight at the hotel in Trongsa.

Day 09: Trongsa to Punakha

• Distance: 150km 
• Estimated travel time: 5hrs 
• Altitude in Punakha: 1,300m 

Your next stop, Punakha, is one of Bhutan’s most captivating destinations, renowned for its unique attractions. Before Thimphu became the capital in 1952, Punakha held that honor.

Upon arriving in Punakha, take a short break before heading to the iconic Punakha Dzong, also known as the Palace of Great Happiness. Established in 1637 by Ngawang Namgyal, the first Zhabdrung Rinpoche, this magnificent structure is situated at the confluence of the Po and Mo rivers. As the second-oldest dzong in Bhutan, it features six floors, including a central tower (or utse), surrounded by lush green landscapes.

Next, you’ll explore the Pho Chhu Suspension Bridge, located near Punakha Dzong. Stretching 160 meters, it is Bhutan’s longest suspension bridge. As you walk across, enjoy the serene views of Punakha Dzong, as well as the picturesque valleys and villages.

After a scenic walk through rice fields and pine trees lasting about an hour, you will reach Khamsum Yuelley Namgyal Chorten. This splendid structure sits on a ridge above the valley at an elevation of 1,500 meters. The chorten is a striking example of Bhutanese architecture, featuring a golden spire and intricate wall patterns that set it apart from other chortens. Its location on the crest offers breathtaking views of Punakha Valley — take a moment to soak in the panorama!

You will stay overnight at the hotel in Punakha.

Day 10: Punakha to Paro

• Distance: 125km
• Estimated travel time: 4hrs

On the 9th day, we’ll return to where your adventure began—Paro.

This charming town, nestled on the banks of the Paro (or Pa) Chhu River, is home to some of the world’s oldest monasteries and temples. With a history that dates back to the 7th century, Paro is steeped in myths and folklore.

You will first travel to Paro Rinpung Dzong, also known as the Fortress of the Heap of Jewels. This grand complex, celebrated as the finest example of Bhutanese architecture, includes courtyards, temples, offices, and residential areas. Its towering white walls are visible from nearly every corner of Paro. The dzong is also the site of the famous Paro Tshechu festival held annually.

Next, visit the National Museum of Bhutan, located in Ta Dzong. Originally a watchtower during times of conflict, Ta Dzong was later converted into the National Museum. Its impressive collections include Bhutanese thangkas, festival masks for Tshechu dances, textiles, weapons, armor, and much more.

After that, you will embark on a 3km hike, which takes about an hour, along the forested hillside to reach Zuri Dzong. The hike has an elevation range of 2,400m to 2,560m, with an ascent of 160m and a descent of 160m.

Zuri Dzong is one of the oldest dzongs, dating back to 1352, and it houses the valley’s local protector. Within its premises is a cave where Buddha is believed to have meditated in the 8th century. From the fortress, you can enjoy breathtaking panoramic views of the lovely valley.

The last site will be Kyichu Lhakhang, one of the 108 temples constructed in the Himalayas. According to legend, the Tibetan King Songtsen Gampo constructed these monuments in just one day to subdue a demon tigress that was trying to prevent the spread of Buddhism in the Himalayas. In the 8th century, Guru Padmasambhava also visited this historic temple. Kyichu Lhakhang is considered one of the most magnificent temples in the region.

You will stay overnight at the hotel in Paro.

Day 11: Paro sightseeing

Today, you will hike for 4-5 hours to reach the sacred Chumphu Ney, one of Bhutan’s top pilgrimage walks for those seeking an immersive experience in pristine nature. The Ney is located in Paro at 3,100 meters above sea level.

Chumphu Ney holds great significance as the second holiest Tsari, after Tsari Rongkor, which was the first tsari in Tibet. His Holiness, the ninth Je Khenpo Shakya Rinchen, discovered the Chumphu Ney. Guru Rinpoche is said to have returned here and meditated for two transformative months after his fabled visit to Paro Taktsang Monastery (Tiger’s Nest) on the back of a tigress.

You will reach the hike’s starting point after a 1-hour drive from Paro town. The nature trail runs alongside a babbling river and takes you through ancient, mystical forests. You’ll be able to admire the vibrant beauty of wildflowers, serene lakes, towering trees, and lush plant life. The soothing sounds of nature – the murmur of the brook, the melodic bird calls, the rustling leaves – will create a peaceful atmosphere to rejuvenate the mind and body.

The hike begins by passing between two enormous rock formations on either side of the path; these are believed to be the first symbolic “doors of liberation.” Two more such doors are on the trail: one at the halfway point and the other near the temple. According to legend, passing through all three doors liberates one from the three realms of suffering.

The first stop is the exquisite Sabu Lhakhang, a stunning 16th-century temple. As you make your way up, you will encounter the “gate to heaven,” Guru Rinpoche’s weathered throne, his robe imprint etched into the rock, a stone vase containing the revered holy water of long life, and imprints of Dakinis.

After approximately two hours, a magnificent side valley comes into view on the left, revealing the impressive Chumphu Monastery situated high above. A winding kora path leads left, ascending via steep steps, ladders, ledges, meditation caves, and natural stone pools, ultimately reaching the temple. Here, visitors can observe the imprint of Guru Rinpoche’s skull, a site of great spiritual significance where it is customary to receive blessings by touching one’s head.

Finally, you will reach the remarkable Chumphu Monastery. Positioned atop a verdant hill and surrounded by three crown-shaped mountains, the monastery, when viewed from above, forms the heart of an imaginary figure of a female deity wearing an ornate crown.

The monastery’s most precious relic is the inexplicable floating statue of Dorji Phagmo (Vajravarahi), which appears to defy gravity. Legend has it that Dorje Phagmo flew here and transformed into this statue. The statue was reportedly found by Terton Drukdra Dorji in the lake above the monastery and is believed to have miraculously grown from a smaller size to its present larger form.

Some of the sacred wonders of Chumphu Monastery to admire include the floating statue of Dorji Phagmo (Vajravarahi), caves where Guru Rinpoche and his consorts, dakinis, and legendary scholars were believed to have meditated, the gate to heaven, and Guru Rinpoche’s throne.

After you finish discovering the monastery, descend on the same route and then return to Paro town.

You will stay overnight at the hotel in Paro.

Day 12: Paro sightseeing

After enjoying a hearty breakfast, you will embark on a hike to the iconic Taktsang Monastery, also known as Tiger’s Nest, one of the holiest sites in Bhutan. The monastery is perched on a steep 900-meter cliff, providing breathtaking views of the lush Paro Valley. The uphill trek lasts approximately 3 hours and offers stunning vistas of the valley and the towering Himalayan peaks.

According to legend, Guru Rinpoche flew to this location on the back of a tigress and meditated in a cave, emerging in eight incarnated forms, which led to the name “Tiger’s Nest” for the monastery.

Upon reaching the revered complex, you will be amazed by its unique architecture, featuring four large temples with golden roofs, eight symbolic tunnels, and residential quarters intricately built into the cliff face.

Later, you’ll have the opportunity for an immersive cultural experience. In the late afternoon, you can attend a cooking class to learn the art of preparing classic dishes like Ema Datshi, red rice, Jasha Maru, and Phaksha Paa. After the cooking class, you’ll dine with a local family at their farmhouse for an authentic taste of Bhutanese cuisine.

Cap off this culturally enriching day by partaking in the traditional hot stone bath experience. Just like the locals have done for ages, you can unwind by soaking in herb-infused, mineral-rich warm waters, which is an ancient practice beneficial for health and rejuvenation.

The Taktsang monastery will mark the final stop of your spiritually and culturally immersive journey through Bhutan.

You will spend the last night at the hotel in Paro.

Day 13: Depart Paro

It’s time to say farewell to Paro and the magical kingdom of Bhutan. We hope that, with the assistance of our guide and driver, you have had a great trip. We hope to welcome you back to our country. Tashi delek!