In Bhutan, the phallus is everywhere—painted on houses, carved into wood, dangling from rooftops like wind chimes of virility. It’s not crude; it’s tradition. It wards off evil, invites fertility, and reminds you not to take yourself too seriously.
Blame (or thank) Drukpa Kunley, the “Divine Madman,” for this unapologetic display of sacred irreverence. He fought demons with humor, tamed spirits with wine, and left behind a legacy where the absurd and the holy walk hand in hand. It’s hard to be a prude in a country where even the sacred is a little mischievous.
I went on a quest to find this elusive mural by DALeast high up in the hills of a nunnery, today.
This mural in Thimphu, Bhutan, painted by the Chinese-born street artist DALeast, features a striking, dynamic depiction of a horse rendered in his signature style. The flowing lines create an illusion of movement, energy, and intensity, resembling a sculpture of light and wire. The choice of a horse—a powerful and symbolic figure—reflects themes of freedom, strength, and spirituality, often tied to Bhutan’s cultural and Buddhist ethos.
In his Instagram post, DALeast refers to the legendary figure Tangtong Gyalpo, a Bhutanese and Tibetan historical figure renowned as a mahasiddha (an accomplished tantric practitioner). Tangtong Gyalpo was a polymath—a spiritual master, architect, physician, and artist—credited with innovations such as the construction of suspension bridges in the Himalayas and the promotion of ironwork.
DALeast’s mural pays homage to Tangtong Gyalpo’s legacy by symbolizing the energy and creativity that defined the mahasiddha’s life. The post conveys DALeast’s inspiration and admiration for Tangtong Gyalpo’s impact on Bhutanese and Himalayan culture. The collaboration at the residence of a modern Bhutanese spiritual figure, Tang Tong Tulku, further links this artwork to both the historical and contemporary continuity of spiritual and artistic traditions in Bhutan. 🇧🇹
Here, I am with Ngawang, a nun who has lived at the Zilukha Nunnery, where this mural is, for the past 8 years.
Fading yellow walls blazing in the Himalayan sun, just blazing like some ancient scroll of wisdom. Tigers and dragons dancing wild and free up there near the eaves, painted by some holy monk-artist who must’ve seen these spirits in his deepest meditations, must’ve caught their essence with his brush while prayer flags snapped in the mountain wind.
Windows like dark eyes staring out at the street, wooden frames aged by a thousand monsoons, and that incredible frieze of Buddhist symbols marching across the middle like some cosmic parade – oranges and golds telling stories, older than time maybe. Traditional Bhutanese architecture but it’s really a poem in yellow stucco and wood, every carved detail singing its own sutra. This is the real thing, the genuine article – not some tourist trap but a living, breathing piece of the Thunder Dragon Kingdom. Those decorative bands with their endless knots and lotus flowers, they’re like mantras frozen in paint and plaster, and the whole building’s got this rhythm, this beat that goes way back to when the first lamas came over the mountains bringing their sacred dharma.
The shadows falling across that facade tell their own story as the sun moves west toward India, and somewhere inside those dark windows, life goes on – prayer wheels turning, butter lamps flickering, and the eternal Om Mani Padme Hum echoing off these ancient walls that have seen it all, man, seen it all and still standing here telling their tale to anyone who’ll stop and really look at what’s being laid down in this corner of Thimphu where past and present dance their eternal dance.
There it prowls – a creature of savage grace rendered in the ancient hand, its form both terrible and sublime against the pallid expanse of whitewashed stone. The tiger, they say in these remote Buddhist kingdoms that cling to the very roof of the world, represents one of the four dignities alongside the snow lion, garuda, and dragon – those mystical beings that embody the enlightened qualities all seekers must cultivate on the path to wisdom.
The beast’s eyes burn with an almost phosphorescent intensity, like twin jade lamps penetrating the mists of ignorance. Its sinuous form, captured mid-stride across stylized hills that undulate like waves in some celestial sea, speaks to that most ineffable of Buddhist virtues: confidence without pride, power without aggression. The very strokes that gave it life – bold, decisive, yet flowing with an inner harmony – mirror the brush-wielding lama’s understanding that all form is ultimately emptiness, all emptiness ultimately form.
Its savage beauty serves as both warning and invitation – a reminder that the path to enlightenment requires us to face and transform our most primal nature, not deny it. In this, the tiger of Thimphu stands as eternal guardian of truths both terrible and profound, its painted eyes forever watching the endless procession of seekers on their own winding path to wisdom.
Maybe this is a Mahakala? In Bhutanese Buddhism, Mahakala is seen as both a protector of the teachings and a remover of obstacles to enlightenment. The Punakha Dzong, where this mural is located, has particular significance as both the second-oldest and second-largest dzong in Bhutan, and continues to serve as an important administrative and monastic center. The presence of Mahakala’s image here serves to protect this sacred space and its inhabitants. Punakha, Bhutan 🇧🇹 24dec24
This appears to be an image of a Drapa Ngonshe (འདྲ་པ་དངོས་བཤད), one of the celestial musicians or gandharvas in Buddhist iconography. In Bhutanese Buddhist art, these divine beings are often depicted playing musical instruments and are considered to be heavenly musicians who reside in the celestial realms. In this particular mural in Punakha Dzong, the figure is shown in traditional celestial garb wearing elaborate robes and ornaments typical of Buddhist deities. The figure is playing what appears to be a Tibetan lute or dramyin (སྒྲ་སྙན), a traditional stringed instrument commonly used in Bhutanese religious music and ceremonies. Punakha, Bhutan 🇧🇹 24dec24
This mural depicts Vajrapani, a wrathful deity in Tibetan Buddhism. He is often depicted as the protector of the Dharma and is known for his fierce appearance and powerful energy. Vajrapani is typically shown with a thunderbolt (vajra) in his hand, which symbolizes his power and ability to destroy ignorance and obstacles. He is often associated with the Buddha Shakyamuni and is considered to be his main protector and attendant. On a wall at Punakha Dzong. Punakha, Bhutan 🇧🇹 24dec24
The painting depicts Padmasambhava, also known as Guru Rinpoche. He is a revered figure in Vajrayana Buddhism and is credited with introducing Buddhism to Bhutan in the 8th century.
The painting depicts Vajrapani, a fierce and powerful protector deity in both Hinduism and Buddhism. Fierce Expression: He usually has a fierce expression, with bulging eyes and a wrathful demeanor. This reflects his role as a protector, who can subdue demons and obstacles. In the context of Buddhism: Vajrapani is often associated with the Buddha and serves as his protector. He is one of the most important bodhisattvas, beings who have attained enlightenment but choose to remain in the world to help others. This mural is in the Punakha Dzong. Punakha, Bhutan 🇧🇹 24dec24
