Nestled in the upper reaches of Paro valley, Hedi Goenpa is a popular pilgrimage site housing cultural treasures that bridge the earthly and divine realms. However, on 05 August 2024, the temple’s tranquility was shattered, sending shockwaves through Bhutan and beyond, raising urgent questions about the protection of cultural heritage in an increasingly interconnected world.
In the pre-dawn hours, one or more thieves struck at the heart of one of Bhutan’s spiritual heritages. As the first light crept over the hills, Pema Om (38) and her husband Gyem Tshering (54), the caretakers of Hedi Goenpa for over three decades, awoke to a chilling discovery. Where once stood revered statues of Dorje Namjon and Dorji Chang, only empty pedestals remained, their cold stone evidence of the night’s desecration.
To understand the profound impact of this theft, one must look back to the temple’s inception in the 13th century, when the revered 5th Sakya Patriarch, Drogon Chogyal Phagpa, foresaw this very place.
In his vision, two Sakya disciples travelled to the land that would one day be known as Bhutan to build a temple that would bridge the mortal and divine realms.
Place of Flying Gods
Those disciples, Drubthop Pawo Tangsham and his consort, Khandro Metok Seldron, a princess of the Sakya clan, embarked on their journey from Tibet with faith as their compass. In a place then called Tsento Zangthang or Copper Plain–now known as Zamsar–the Drubthop experienced a vivid dream of celestial beings hovering above a tranquil lake. This vision gave rise to the temple’s eventual name Lhading, the Place of Flying Gods, now popularly known as Hedi.
Through the support of the Princess, the Drubthop constructed a monastery modeled after the Lhasa Jowo Yidshin Norbu lhakhang. Lhading’s main statue ‘Jowo’ was brought from Tibet and installed in the newly built temple. Over the centuries, the small temple etched a name in the country’s pilgrim sites, becoming a popular destination for offering last rites and seeking spiritual enlightenment.
Built below the tree line at 3,100 metres, surrounded by towering mountains and far from human settlement, the temple has been cared for by Pema and Gyem’s family for generations. Recognising the monument’s significance, in 2022 the Buddhist Art and Cultural Conservation Centre of the Central Monastic Body took the initiative to conserve the monastery.
On the day of the theft, an auspicious date in the Bhutanese calendar, devotees had come to honour their ancestors, performing sacred rituals for the deceased. Little did they know that as they sought to guide departed souls, two irreplaceable pieces of their spiritual heritage were about to vanish into the night.
The culprits carried out their scheme with chilling precision, melding simple technology with age-old malevolence. A lock-breaking apparatus swiftly overcame the locks. Also broken were centuries-old safeguards of faith and trust. Pema reported that the main power transmission line had been sabotaged, engulfing the temple in darkness. “They knew exactly what they were after,” Pema recounted, her voice heavy with disbelief and sorrow. “Two doors, two locks, and then… silence. Our most precious artifacts, gone.”
Crafted from gold and copper, the two masterpiece statues stand 61 and 76 centimeters tall. They bear strong influence from and are believed to be largely the workmanship of a student of Arniko, the famous 13th-century Newari artist
The loss of these national treasures has left a void that extends far beyond their physical absence. Ama Tshering, an 82-year-old devotee, expressed the community’s anguish: “It’s as if the gods themselves have been kidnapped.” The theft’s impact reverberates through the community, affecting daily spiritual practices and shaking the sense of security that once permeated this sacred space.
Stolen to Order?
Some Bhutanese scholars emphasised the broader implications of the theft. One stated, “This incident highlights the vulnerability of our sacred sites in an increasingly interconnected world. We must find ways to protect our heritage while maintaining the openness that makes these places so special.”
Others speculated on the nature of the crime, with one expert suggesting, “Perhaps these items were stolen to order? It seems the most likely scenario.” This perspective underscores the sophisticated nature of art theft and the potential involvement of international criminal networks.
Interestingly, the challenges of preserving Bhutan’s cultural heritage were foreseen decades ago. Our Third King recognized these possibilities as early as the 1970s, when modernization began to take hold. In response, the National Assembly initiated discussions on preserving antiques of historical importance, including those in private hands.
These discussions led to concrete actions. In 1971, the Assembly passed a resolution outlining procedures for preserving valuable antiques in monasteries and temples.
The 35th resolution of the National Assembly specifically stated, “It was decided that until such time as a new National Library building was constructed, the responsibility for preservation of such items would rest with the owners of the monasteries/lhakhangs. It was further resolved that members of the public in possession of similar valuable antiques would not be permitted to export them. However, they could be sold within the country. Presentation of such items was also forbidden.”
Despite these early efforts, the recent theft demonstrates that the challenge of protecting cultural heritage remains ongoing. An international art crime expert adds perspective to this global issue: “The theft of these statues is not just a loss for Bhutan, but for the world’s cultural heritage. It underscores the need for increased international cooperation to combat this growing threat.
This theft serves as a wake-up call for Bhutan, reinforcing the critical need for enhanced security measures at sacred sites, stronger laws to prevent and prosecute acts of theft, and increased international cooperation in tracking and recovering stolen artifacts.
The investigation into the stolen statues has taken a significant turn, with informal reports suggesting their appearance on Nepal’s black market. As the investigation unfolds, it becomes increasingly clear that this incident is not isolated but rather part of a larger, global challenge posed by international art theft. The fate of these two statues serves as a stark reminder of the complex and far-reaching nature of art trafficking, highlighting the need for coordinated international efforts to combat such crimes.
UNESCO
Bhutan, having ratified the 1970 UNESCO Convention on trafficking cultural heritage property in 2002, will now have to leverage this agreement in its pursuit of the stolen artifacts. The Convention offers procedures for protecting and returning cultural property, providing hope for the return of the Hedi Goenpa sculptures.
As the sun sets on the mountains surrounding the ‘Place of Flying Gods,’ Pema and Gyem continue to receive calls from concerned community members. They cling to hope, waiting for their prayers to be answered. The question remains: Will faith be the key to recovering the stolen sentinels, or will this be immortalized as one of the darkest chapters in Hedi Goenpa’s storied history?
Bhutanese authorities are actively pursuing all avenues to bring Dorji Namjon and Dorji Chang home and to hold those responsible accountable. This case serves as a poignant reminder that the preservation of cultural heritage is not just a local concern but a global responsibility. As the world watches and waits, the fate of Bhutan’s spiritual bridge hangs in the balance, challenging us all to reflect on our role in protecting the irreplaceable treasures that connect us to our past and shape our collective future.
Contributed by
Tshering Tashi &
Ariana Maki