Lha-soel (Lha means local deity and soel means offerings) is the ritual performed annually seeking assistance and blessing from the local deities with the offering and recitation of religious scriptures. Unlike rituals in other places in western Bhutan depending on the need and purposes, the people of Bem si-si, under Toebesa Gewog (block) perform this Lha-soel annually mostly towards the end of the year beginning from October till December month with the presence of the entire family members. As far as history is concerned there is no exact date of origin of this ritual. However, the village households herein perform Lha-soel that is passed down from the forefathers. This ritual originated from the Bonism commonly known as Nak-choe (ritual requiring animal sacrifices) wherein animals such as pigs and oxen were slaughtered for the offering. However, on later dates as per respondents, with blessing and order from the 70th Je-Khenpo (Chief Abbot) Trulku Jigme Chhoeda (1955- ) to avoid killing animals for the purpose of the rituals. The locals in Bem si-si started to offer butter, cheese, and fruits unlike before who used to offer meat, lungs, and blood along with the ritual cakes. Oral traditions say that Lha-soel is considered the most festive occasion of an individual household to gather all the family members who are now in challenge due to expenditures and lack of manpower. However, people in villages believe that these ritual practices are embedded in the lifestyles and traditions for ensuring prosperity, wealth, and long life besides the adoption of it as a medium for the higher Buddhist spiritual message, thus, individual households never fail to perform despite the challenges. The challenges the Lha-soel undergo is accrued that the too many of the present generations are engaged in the schools, colleges, and universities and gives priority to the curriculum in schools that lacks the knowledge of this very ritual in particular. Therefore, the children, unlike in the past who resided in villages, knew and easily inherited the cultural and traditional legacies of their time which decline today. Even though the majority of the younger population resides in the urban areas, therefore, only the older people are left in the villages observing rituals on behalf of all the family members.

The name for this festival brings together two words, Lha means god and Soel means offering or prayer. The tradition in Sangbekha is primarily a Bon practice. Bon was a diverse body of localized ritual practices flourishing in Tibet before Buddhism expanded into the region. According to Sam Van Schaik (2013), Bon or the Bonpo religion, only emerged as a unified body of practices when put in contrast to Buddhist practice as the “othered” alternative to Buddha’s teachings. Following the eleventh century, the diverse practices organized and formalized in conversation with contemporary practices. Scriptures emerged, mainly through Terma hidden treasures, and visions of Tertons who discover the treasures such as Loden Nyingpo. Although Bon Terma contain legends that Bon existed before the introduction of Buddhism to Tibet, Van Shaik notes "the 'old religion' was in fact a new religion." Following these developments and reforms of the practices to eliminate animal sacrifices, some scholars consider Bon to be a distinct sub-school within Tibetan Buddhism. Over time, Buddhism became more popular and Bon practice waned. The Bon tradition also existed in Bhutan before Buddhism took hold. Although the Bon tradition is not as strongly recognized by the people of Bhutan, it still existed in every corner of the country, making this tradition one of the oldest in Bhutan. The Bon tradition takes refuge in the earth, rocks, cliffs, trees, sun, moon, stars, etc. are the protectors, and formerly involved offering animals in sacrifice. The Bon practitioners in Wangdiphodrang Dzongkhag or district, such as the communities of Gaseng Tshogom, Khatoekha and Lhashing Tsawa, performed a common ritual known as Lha-soel every three years. The ritual is organized by one of the Pawo male shamen, and Neljorm or Pamo female shaman, of each village. They alternate hosting the program every three years. The organizer of the year prepares for the rituals, tents are pitched near the organizer's house and the Lha-soel ritual takes two whole days. In an interview with 68-year-old female shaman Aum, elder, Kencho Om has been a Pamo for 25 years in Nakey-kha village in Sangbekha gewog, Haa Dzongkhag a district of eastern Bhutan. She said that the Pamos are the same as Nyeljoms and are common throughout central and eastern Bhutan. They are the female mediums who are possessed by local deities. Their job is to diagnose and cure diseases through divination and rituals. It is believed that the abilities of Pamo continuously persist through the family line. When a practitioner dies, the spirit passes to her daughter. However, it depends on the decision of the deity to choose the legitimate “wife” to inherit the role among the daughters or granddaughters. Aum Kencho has no formal education, but learned the and rituals transmitted through their family line. According to her, Pamo play an important psychological and healing role in a rural society where the supernatural is a part of life. They do what others cannot, such as mediate through the mind. The Bhutanese believe that illnesses are due to an imbalance in the various elements that make up the body, and that they are often caused by one of the numerous vengeful spirits associated with certain symptoms that consist of Tsa energy channels, the Lung wind channel, and the Thig-le seed channel in the human body. When these channels unbalance each other, it causes illness. The Lha-soel is held at the beginning of the 6th month (July) and another in the 12th month (January) according to the Bhutanese calendar. It is performed twice a year (summer and winter). In summer, they perform a shortened ritual (Due-pa) in the evening, while in winter they perform a grand ritual (Gye-pa) that usually lasts from evening to the next morning. Although there is no specific time, the ritual is performed either on the 8th, 10th, 15th, 25th and 30th of the month.

Gelong, monks and Zhung Dratshang, Central monastic body or Geduen lobdra, monastic schools in Bhutan play an important role in religious and cultural life of the different sections of society. In the past, each family enrolled at least one of their sons into the local monastery, so that monks constituted a considerable proportion of the male population. Although this percentage has declined with the passage of time, the roles of the monastic community have increased in recent years. The Head Abbot or Je Khenpo, who is responsible for the nation’s religious affairs, holds a prominent place in the social and cultural life of the people. Five deputies or senior masters assist him in supervision across the kingdom. Below them are the monks of other ranks with specific responsibilities. A boy may be enrolled in the monastery at an early age, on an auspicious day. He starts to wear the maroon robe and his head is shaved. The novice receives ordination step by step, based on the monastic code of conduct specified in the Vinaya. The curriculum begins with the learning of the alphabet, spelling and reading, and advances to the memorisation of prayers and other relevant texts besides observing daily monastic rules of discipline. They also learn various ritual arts, metrical rhymes, trumpet playing, making ritual cakes etc. As they proceed to higher classes, they learn grammar, prosody or literary science, in preparation for pursuing higher Buddhist philosophical studies. After having gained a basic proficiency in religious studies from the monastic schools, the monks graduate to higher Buddhist philosophical studies. Besides emphasising liturgical, doctrinal and esoteric scriptures, monastic education also offers training in the auxiliary sciences and arts such as medicine, astrology, calligraphy, painting and grammar. The novice monk is eligible for full ordination only after the successful completion of a graded nine-year course. The entire period of study encompasses fifteen to twenty years. Needless to say, many whose abilities fail to meet the progressively higher standards settle for the lesser monastic grades, while the select few, in accordance with their accomplishments, rise up the hierarchical ladder. The monk’s education does not end with his gaining proficiency in Buddhist studies alone in the Buddhist colleges. After receiving theoretical teachings, he must undergo retreat for three years to practice meditation, called ‘losum choesum,’ which means three years and three faces of a month (the first face from the 1st day to the 15th day which is known as upper-face, the second face from the 16th to the 30th, known as the lower-face. Choesum means a complete month – upper and lower faces – and the upper face of the following month, which makes one and a half months). Performances of rituals on daily, monthly and annual basis are part of the normal monastic life. The monk must master different types of instruments including the trumpet, drum, clarinet and cymbals. Since almost every important occasion in the life of the average Bhutanese is coloured with religious significance, monks also visit households to perform annual rites for diverse occasions such as birth, marriage, sickness, death, construction of houses, promotion of senior officials, inaugural functions and many other day-to-day needs.

The Art of Calligraphy and writing is not only the fundamental need of academic knowledge but it is also an essential skill required preserving and promoting religious teachings. It not only requires academic intellects but most important the hand-skill of calligraphy. The origin of the calligraphy as per Lam (Spiritual master) Ugyen Tenzin Yoezer, popularly known as Lopen Nado, who was then the Advisor to the Department of Education on Dzongkha Development in Bhutan says that, there was a natural system of using words and phrases in oral communications such as conversations, discussions, and official announcements, consistent with the general practice. Development of the system of communication through the writing of letters and documentation had not been widespread. During the second visit of Guru Padmasambhava to Bumthang was in the 8th century, he was accompanied by one of his 25 principal disciples’ names Denmang Tsemang. At that time Guru Padmasambava gave the sacred teachings of the Secret Mantra to the King Sindhu Raja, but it was said that there was no system of writing in the country that time. So, it was Denma Tsemang who transcribed the transmitted teachings for the King’s practices and thus the beginning of the tradition of writing in Bhutan. Thereafter in the 15th century, Terton Pema Lingpa (1450-5121) transmitted the writing tradition to his heirs until the dawn of 17th century when Zhabdrung Ngawang Namgyal (1594-1651) established the State Government by initiating the Monastic Body where the Calligraphy section (Yig-zoi-de) was particularly set for the monks to impart and learn art of calligraphy. It was necessary not only or writing and learning for oneself but, for the woodblock engraving projects that was thriving in Punakha Dzong initiated mainly for the flourishment of the Buddhist teaching in the country. Later, the art was perpetuated and practiced by the successive Je Khenpos (chief abbot) and Druk Desis (temporal secular rulers) and Monarchs until now. Some of the remarkable calligraphers that are enlisted in the Bhutanese history were; 1.\tDenma Tsemang 9th century 2.\tNgawang Penjor as Dzongpon and Ngedup Penjor (1964) 3.\tDrungyig Zimchenpa Tandin Wanggyel 17th century 4.\tLopen Wangdue 17th century 5.\tLopen Phuentso 17th century 6.\tTshewang Dorji 17th century 7.\tLopen Gangchen, also called Kuenga Pelden, 19th century during the reign of Desi Jigma Namgyal (1825-1881) 8.\tDrungyig Tshewang Ngodrup, 19th century during the reign of His Majesty the 1st King Ugyen Wangchuck (1862–1926) 9.\tGonpo Tenzin from Lingzhi, 19th century during the reign of His Majesty the 1st King Ugyen Wangchuck 10.\tZhongar Dzongpon Kuenzang Wangdue, 20th century during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 11.\tDrungyig Tsowo Dasho Kezang Dawa, during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 12.\tTangbi Kezang, during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 13.\tUra Yeshey Wangdi, during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 14.\tSonam Peljor, 15.\tDasho Gaydon Thinley Dorji (?) 20th century during the reign of His Majesty the 2nd and 3rd King Jigme Dorji Wangchuck (1929–1972) 16.\tDasho Shingkhar Lam Kuenzang Wangchuk (?) 17.\tSey Dopola Aka Dasho Phuntsho Wangdi (1892-1953) 18.\tLam Norbu Wangchuk (?), 21st century during the reign of His Majesty the 4th King Jigme Singye Wangchuck (1955–) 19.\tYarab Aja Lama Drodul Zhenphen Dorji Tenzin (1921-2005) 20.\tLam Pema Tshewang, (1926-2009), 21.\tLopen Gonpo Tenzin from Chumey, Bumthang 22.\tLam Nado from Namgyal Dratshang (?) 23.\tDasho Tenzin Dorji (1928-2012) 24.\tLam Tenzin from Ramjar, Tashi Yangtse 25.\tChabje Geshey Gedhun Rinchen (1926-1997) 26.\tChabje Khenchen Ngawang Tenzin Doendup, 68th Je Khenpo (1925-2020) 27.\tLopen Daupo from Bartsham 28.\tLam Kuenzang Wangdi (aka Lam Nyingkhula) 29.\tLopen Yonten Gyaltshen, Central Monastic Body 30.\tDasho Sangay Wangchuk Generally, there are five types of calligraphy writing; U-chen (Block script), U-mey (Headless script), Len-tsa (Rajana script), War-tu (a type of Indian script) and finally the Jog-yig (the typical Bhutanese script). Amongst these scripts, Len-tsa and War-tu scripts are mainly used as decorative scripts, while U-chen is more common in writing Buddhist canons, ritual scripts and even for the formal corresponding letters and Jog-yig script is just for writing formal records and corresponding letters. Regarding U-mey script, though it is rare to its usage bring a Tibetan script but there are some calligraphers knowing how to write. However, the tradition of writing i.e. Calligraphy has been greatly hampered and left on the verge of dying tradition due to the emergence of computer technology and available fonts in the country. Yet, there are still well known and skilled calligraphers which are mostly used by His Majesty’s Kangyur Project for writing Golden Scriptures of Buddhist Canon and even by some individual Spiritual masters which have helped in reviving and revitalizing the art in the country.

The Viet Belief in Mother Goddesses of the Three Realms is a form of worshiping the Mother Goddesses of the realms of the universe: sky, water, mountains and forests. From the 16th century, this belief became a religious and cultural activity that had a profound effect on the social life of the people. The Princess Liễu Hạnh and other Mother Goddesses governing the sky, water, mountains and forests, together with historical and legendary figures have been worshiped by communities. Daily worship rites are performed by custodians at the temples. Practices related to the Việt belief in the Mother Goddesses of Three Realms, known as lên đồng spirit mediumship, in particular at Phủ Dầy temple (Kim Thái commune, Vụ Bản district, Nam Định province) where Princess Liễu Hạnh, a leading figure in the Mother Goddess cult, is venerated. It takes place from the 3rd day to the 10th day of the third lunar month with special folk performances such as arranging letters, procession of Buddhist scriptures. Traditional cultural costumes, music, dance, folk performances of lên đồng spirit mediumship clearly show the unique cultural identity of the Viet people.

Viet Nam 2016

National Intangible Cultural Heritage, Republic of Korea Hwagak is a transparent plate made of finely ground ox horn. Hwagakjang refers to the handicraft skill of making such a plate or to an artisan with the skill. The materials are scarce and the work requires a great deal of time and a meticulous procedure. This artwork was chiefly used by upper class people. During the Goryeo Period (877 – 1394), cases for keeping Buddhist scriptures and rosaries were made from the skin of the hawksbill sea turtle (Eretmochelys imbricata). Artisans used a technique of applying colors to the back of an object which permeated to the front, along with mother-of-pearl. This practice continued until the mid-Joseon Period (1392 – 1910). In the ensuing period, handicrafts adorned purely with hwagak developed. Objects made with hwagak skill include wardrobes, chests of drawers, side tables, dressing tables, pencil cases, powder cases, sewing rulers, desks, workbaskets, hand-held fans, and writing brush handles. Hwagak handicraft features elaborate ornamentation in colors and patterns.

"Udumvara/Udumbara" is a Sanskrit word meaning an auspicious flower of the sky. This type of flower is believed to bloom only once in 3000 years. In the Mahayana Buddhist scriptures (Arts, 2011), it is said that "Udumbara is the product of unwholesome and supernatural phenomena; it is a heavenly flower and does not exist in the mundane world." According to the Monlam dictionary, "In Tibetan, it is called Phag-chog or Tsher-zag. There is also a plant called Dud-jom-shing, which bears a flower that is unique and is called Udumvara because of its rarity in the world. Udumvara exists only when there is a living Buddha in the world. It has attractive colors and a sweet aroma that can spread over a large area. The plant is known for treating eye diseases, phytic abnormalities and is also known for other medicinal properties. Whether the flower is a specimen of its kind or an unknown plant, I have heard a few times that this plant grows in the Yangthang Goenpa area. There are various online sources or books written about the properties of Udumvara, one of the authors has the following to say about Udumvara; "Udumbara flowers are tiny white tulip-shaped flowers that grow on a white thread-like stem. The flowers have no leaves or roots and grow on anything" (Haddock, 2018). On the other hand, the udumvara growing in front of Yangthang Goenpa is different from the one in the online sources or images available online. The Udumvara seen at Yangthang Goenpa has a green color and my interviewees said that until today, no one is able to identify the species of this plant. Perhaps the plant was named by Drubthop itself because it is a very rare species of its kind. It was in 2015 when the plant bloomed in June just before His Majesty's visit to Yangthang Goenpa. Everyone was amazed when the five petals of this plant opened. According to Lopen Tshering Wangchuk, who has been in charge of the Goenpa for four years, he did not observe the plant's blooming. However, he believes that the plant blooms once a year, on the 15th day of the 4th month in the Bhutanese calendar. So far, propagation of the plant has been unsuccessful. Currently, the plant is well protected and surrounded by a tall structure to prevent visitors from stealing or touching it. He has heard from previous caretakers that the flower resembles a peony. The literature states that peony consists of 33 species, including annuals and perennials, all native to Central and East Asia, including eastern Tibet. The first indication is that Udumvara came to Yangthang Goenpa via Tibet. The Yangthang Zabdon Chholing Goenpa or Lhakhang is located at an altitude of 2920 meters above sea level and was founded by Lam Thinley Gyatsho, a follower of Lama Drakpa Gyatsho's disciple Lam Choeying Gyatsho, in the 17th century5. The Yangthang Goenpa has important cultural and religious significance not only for the Yangthang community, but for all Haaps in general. The Goenpa was rebuilt in 2012 under His Majesty's command after being damaged by an earthquake in 2011. All sacred artifacts are restored inside the Goenpa. The Goenpa consists of a two-story building; the top floor houses the Choe-long Trul-sum Lhakhang and the Lami Lhakhang, and the first floor is dedicated to the Chenrezig Lhakhang6. The inauguration of the Goenpa was performed by His Majesty and Gyaltsuen, led by His Eminence Dorji Lopon Kinley (also known as Sonam Jamtsho) from Zhung Dratshang. During this time, hundreds of people gathered and presented various cultural programs. His Majesty offered prayers for the safety and happiness of the country and its people. According to local oral sources, around the 15th century, a Tibetan saint named Drupthob Dondup was on a pilgrimage and took the seed of the plant Udumvara during his lifelong pilgrimage. According to an oral account, "he promised to sow the seed wherever he finished his journey. However, it was believed that he ended his lifelong pilgrimage at Yangthang Goenpa. He sowed the seed of Udumvara in front of the Lhakhang and also left behind a Tashigomang; (auspicious multiple doors). The Tashigomang is shown or displayed to the public only during a specific event. Such significance of the Goenpa attracts not only the locals but also visitors from other Dzongkhags. When tourists visit the Goenpa, they primarily ask about the Udumvara plant. On important occasions and events, many people come to receive offerings and blessings.

National Intangible Cultural Heritage, Republic of Korea Sagyeongjang can refer to either the art of copying Buddhist texts or to the masters of this art. Sutra copying enjoyed its heyday during the Goryeo Dynasty when Buddhism gained widespread popularity. During the reign of King Chungnyeol, the Goryeo court dispatched to China hundreds of Buddhist monks trained in sutra copying. Although sutra copying declined during the Joseon era with the adoption of Confucianism as the governing philosophy, the Buddhist practice lived on with the support of certain royal family members and Buddhist temples. The ink transcription of the Avatamsaka Sutra (Flower Garland Sutra) from the Unified Silla era, designated National Treasure, is the oldest surviving artifact in Korea testifying to the sutra copying practice. The art of sutra copying is generally comprised of three parts: transcribing text, reproducing byeonsangdo paintings, and decorating the cover with a design of Buddhist figures or plants. It is further divided into 10 different steps: color formation with gold powder, glue making, surface treatment of the paper, paper cutting, connecting paper sheets, line drawing, writing text by hand, drawing byeonsangdo paintings, decorating the cover with a drawing, and treating the cover with gold powder. It demands expert knowledge of calligraphy, Chinese characters, Buddhist theory, and painting. Furthermore, intense concentration over long periods is essential. * Sagyeong (寫經): The practice of transcribing Buddhist scriptures or the resulting transcripts. Sutra copying is intended to disseminate Buddhist texts or cultivate merit. * Byeonsangdo (變相圖): Paintings illustrating the teachings of the Buddha

The Knowledge and Techniques of Writing on Buông Leaf of the Khmer in An Giang belong to the category of folk knowledge heritage, containing the value and content of Buddhist scriptures, also known as Buông Leaf scriptures (Xatra Slákrít). This is a rare ancient book engraved on Buông leaves, written in ancient Khmer or Balinese, which appeared in the 19th century. Buông Leaf scriptures have 4 types: Buddhist scriptures; Folk tales; Festivals, folk games; Folk teachings, showing the values of technique, aesthetics, art and have important significance in the spiritual and religious life of the Khmer people. From choosing leaves, drying leaves, processing and using black powder to highlight the letters, especially writing on leaves (or carving letters on leaves) is very elaborate. The artisan uses a pen with a sharp metal tip (called a decha) to slowly carve on the dried leaves, carving on the leaves must be done evenly. After writing, people mix soot with oil and rub it on the leaves, then wipe the surface of the leaves clean, so that the letters stand out. When all the documents are written, the pages are pierced to "close" them into a book with a wooden cover, also known as Satra. Each set of Sutras is 5 - 8cm thick, weighs 300 - 600 grams. Each set of Sutras has 4 - 10 books (volumes); each book has 20 - 60 sutra leaves; each leaf has 5 lines, with about 150 words. The content written on the leaves, in addition to copying sutras, also includes stories and lessons of high educational value to help people become good, maintain filial piety towards grandparents, parents... contributing to preserving and promoting the cultural identity of the Khmer people. With its unique values, in 2017, the Ministry of Culture - Sports and Tourism recognized "Knowledge and Techniques of Writing on Buông Leaf of the Khmer" as a National Intangible Cultural Heritage.

Choe-lhag-ni is a Dzongkha (National Language) term for recitation of Buddhist scriptures especially Sanskrit Tripitaka at the various religious institutions or at the individual houses by either a monk, lay monks or by ourselves. Reading scripture is not only one a virtuous act (ge-wi-la) in accumulating merits to oneself but also helps other to arouse faith and aids in realizing the Buddhahood nature. It also a ritual (rim-dro) which helps in clearing and overcoming the obstacles and hindrance created by malicious spirits our daily activities and purifies our sins and defilements as well. While conducting Choe-lhag-ni program, the reader or the reciter is normally called Choe-neb and Choe-yon or Jin-dha for sponsors and patrons. Normally, such program can be conducted or organized as an annual program or carryout as and when there are sicknesses or can when an astrologer or a Spiritual masters either advices or make divination. This Dharma activity is always conducted in consultation with astrologer or a Spiritual masters seeking favourable elements that coincides Lha-za (spirit/vital-day) and if not possible, then on the Sog-za (life-force day) of either a sick person or the main family member. Performing on that particular day is said to be more effective and beneficial than conducting on other days which are called Gang-tong (neutral days). It is instructed and also believed not to conduct any virtuous activities be it the Recitation of Scriptures on Shey-za (bad days) as it causes harm than benefiting oneself and the patrons. As mentioned above, recitation of whole set of Tripitaka comprise two sets namely; Kan-guyr (direct word of Buddha) with 99-108 volumes and Ten-gyur (its commentaries) with 200-228 volumes is a great and enormous activity which one need huge number of readers as well as enough financial assets for an individual therefore, Institutions such as; Monastic body, government’s initiative or a joint private individuals can only organize such program intendent for wellbeing of sentient beings and particularly to the people of the country. In a rare case, out of interest, benefit the sentient beings or to enlighten oneself, an individual sometimes engage themselves in reading whole Kan-gyur volumes. Normally, Buddhist followers who want to clear the unforeseen obstacles, ward off illnesses, counterforce mishaps and sometimes as a routine basis reads mostly either 16 volumes of Skt. Prajnaparamita (Perfection of wisdom Sutras) and more often the single volume called Do-mang or Zung-due, where there is numerous collection of important Buddhist texts. Reciters or readers can be a person or more depending on the sponsor’s wish nevertheless, often if the recitation is not in haste or an emergency then, a person will stay in the sponsor’s house until the completion of the scripture. But, in case a ritual of a sick person and have limited time, the patron will invite numbers of Reciters as to complete the whole set in a day. The tradition of reading Buddhist scriptures for wellbeing and performing meritorious deeds had been common from the days of Buddha Shakyamuni in India. Having translated these teachings translated into Tibetan as early as 7th century and thereafter, introduced the tradition of reading them. Later in the 8th century, when King Thrisong Detsan (755-797 or 804) was having the Indian Dharma translated into Tibetan, the translator Ba Ratna Manju (?) was translating the greater Prajnaparamita Sutra. In his dream, he saw the entire land of Tibet was filled with the scripture of Prajnaparamita. This was an omen that there would be purely Mahayana practitioners born in the land of Tibet. When looking at the Prajna of hearing and contemplating in the mountainous land of Tibet, though training was done in all the schools, the experiences in Drub-jue sing-ta-gyed (Eight Chariots of Practice Lineage) in all the four Schools of Dharma Tradition are essentially Mahayana, and particularly the practice in the Sa-ngag (Secret Mantra) is as per the prediction of this omen. When Ba Ratna Manju offered this to the King, the king was pleased, brushed his hand over his head and gave great rewards for his services. It also shows the King’s deep faith in the Prajnaparamita Sutra. As much as his faith in this outstanding text among all the excellent teachings, it was King Thrisong Deutsan who had started the tradition of reading the scriptures in Tibet. It is said that the twelve volumes of Bum (hundred thousand stanza) scripts used to be read, from beginning to end every morning by dividing the scriptures among some 300 monks at Samye Monastery, Tibet. From Tibet, the tradition gradually flourished to the neighbouring countries including Bhutan which the people of Bhutan still practice the culture not only for remedial purpose but also to uphold the sacred doctrine and inculcating the faith to the future generations. However, the modernization couldn’t make much affect for this reading culture while it had somewhat impacted other ICH for its survival.