The Thirteen Arts and Crafts of Bhutan
Bhutanese arts and crafts depict unique characteristics which are all seamlessly harmonized by very strong influences of Vajrayana Buddhism. A very distinct feature of Bhutanese art is that it is anonymous and the artists almost never write their names on their work. Art in Bhutan is neither about self-expression nor is it taken up for art’s sake, but rather devoted to divine figures. We believe that making or painting them is a pious act which can lead to salvation. We regard visualization and contemplation of the patterns and colors as an integral part of our meditation sessions. Nurtured over the centuries by the clergy, ‘Zorig Chusum,’ (which translates as ‘The Thirteen Traditional Arts & Crafts’) were originally conducted in the Dzongs, monasteries and palaces, from where they began to spread out.
Bhutanese art forms carry a deeply religious relevance for our people. For instance, there is not a single social and cultural activity that is devoid of the use of religious arts and paintings. We treasure our traditional art forms and deem it crucial to preserve them as part of our cultural and religious heritage. It is what gives us our unique identity. Religion has always had an all-pervasive influence in Bhutan and the lives of our people, with the pull of religion affecting even our art. Mainstream art in Bhutan has therefore taken a distinct character, the tone of which is set by the highly respected disciplines of Zorig Chusum.
The painting tradition is called as ‘Lhazo’ and includes Thangkhas (religious scroll paintings), wall paintings and decorative paintings. Embroidery or ‘Tshemzo,’ includes boot making as well as sewing of pieces of differently colored cloths onto a common backdrop into the shape of an image. All our massive religious scrolls that are displayed during our ‘Tshechus,’ which are believed to cause liberation just by the mere sight of it, are created in that manner. Once the various types and forms of painting are completed, the final step of performing the consecration rites are considered the most important step. The consecration rites serve the purpose of removing defilements and negative energies and invoking the enlightened beings to unite their minds inseparably with the finished artifacts and paintings. With the completion of the consecration rites, the religious objects cease to be mere work works of art and instead, the icons depicted in them become the ultimate symbols of the perfected state of Buddhahood, serving as idealized manifestations of the state of awakened energy. All our religious items have to be mandatorily consecrated.
Carpentry is called ‘Shingzo’ or wood art, and serves its purpose in the construction of Dzongs, monasteries, temples and houses as well as the household items. Carving or ‘Parzo’ on wood, slate or stone is another important art form. Most of our religious texts are printed from wooden blocks on which the artists will have carved out mirror images of the texts. Sculpture or ‘Jinzo’ or mud work includes clay statues, ritual objects like drum stands, ‘Tormas’ or ritual cakes and masks (although most masks that are used for the religious dances are made from wood). Construction work for the creation of those massive walls that one can see in our traditional houses, using makeshift mortar, plaster and rammed earth are also included in this category. There are two types of casting, or ‘Lugzo,’ using sand and lost wax. Lugzo craftsmen produce statues, bells, ritual instruments, jewellery and kitchen equipments. Cane and bamboo works, or ‘Tshazo,’ is used in making bows and arrows, hats, mats, baskets for various purposes, including storing grains and bamboo thatch. The blacksmith, or ‘Chazo,’ makes iron goods such as swords, knives, chisels, axes, spades, darts, helmets, chains and plough blades. A number of household goods are made by the gold and silversmiths, including jewellery and ritual objects as well as religious amulets. ‘Thagzo’ encapsulates the entire process of the preparation of yarn to the dyeing and weaving of the beautiful products that have come to be known as Bhutanese textiles. In a fine turn of events Bhutanese textiles and designs are gaining popularity all over the world, which can only be attributed to the uniqueness of the designs, motifs and patterns. Cutting and stacking stone walls falls under ‘Dozo,’ or the art of masonry. It is specifically applied to the construction of the huge outer walls of the Dzongs, monasteries and other similar structures. Leather craftsmanship or ‘Lozo’ results in the production of ‘Gayu’ or leather bags for carrying grains and ‘Shadha’ or leather ropes and sword belts. And finally paperwork art, or ‘Dezo,’ in which we use the bark of the Daphne (De) plant manufacture our traditional paper. Our traditional paper, known for its durability, and therefore used for printing our religious texts are all produced by making use of that art form.
Age-old credos dictate the form of the patterns of our art. Over time they have evolved into a series of traditional arts and crafts skills which are not merely ancient and colorful, but very sophisticated in so many ways. The art forms, heavily influenced by Buddhism and typically depicting religious images, motifs and symbols, aren’t merely ornamental but instructive in nature. They have a strong didactic intent as well, revolving around religious themes and spiritual practices; and are used as a vehicle for transforming ordinary consciousness to that of an enlightened one. The aspect of artistic creativity and identity is therefore secondary, due to which (in a rare departure from artistic traditions of the west) the particular identity of artists and sculptors is never very important in Bhutanese art traditions. There is a strong feeling of beauty, line and color in our works of art irrespective of whether it is painting, sculpture or carvings, as our art concentrates on iconographical accuracy and verity of form rather than artistic expression.
Another notable feature of Bhutanese art is that it enjoys the patronage and support of all sections of our society, from the Royal Family and nobility to the monks and common people, who depend on artisans to supply them the wide variety of artistic products that they require. It is due to the consistent and unwavering patronage of our beloved Kings and Royal Families that our time honored arts and crafts have remained intact in their quality and intricacy. Most notably, it was under the benevolent guidance of our Fourth King, His Majesty Jigme Sengye Wangchuck, that training institutes in Thimphu in the west and Trashiyangtse in the east were established to ensure not just the survival but the thriving of these very important art forms. These institutes and the art forms that they promote are all the more important to us as its mandate is in line with the ‘Preservation and Promotion of Our Cultural heritage,’ which is one of the four main pillars of our development philosophy of Gross National Happiness.
The painting tradition is called as ‘Lhazo’ and includes Thangkhas (religious scroll paintings), wall paintings and decorative paintings. Embroidery or ‘Tshemzo,’ includes boot making as well as sewing of pieces of differently colored cloths onto a common backdrop into the shape of an image. All our massive religious scrolls that are displayed during our ‘Tshechus,’ which are believed to cause liberation just by the mere sight of it, are created in that manner. Once the various types and forms of painting are completed, the final step of performing the consecration rites are considered the most important step. The consecration rites serve the purpose of removing defilements and negative energies and invoking the enlightened beings to unite their minds inseparably with the finished artifacts and paintings. With the completion of the consecration rites, the religious objects cease to be mere work works of art and instead, the icons depicted in them become the ultimate symbols of the perfected state of Buddhahood, serving as idealized manifestations of the state of awakened energy. All our religious items have to be mandatorily consecrated.
Carpentry is called ‘Shingzo’ or wood art, and serves its purpose in the construction of Dzongs, monasteries, temples and houses as well as the household items. Carving or ‘Parzo’ on wood, slate or stone is another important art form. Most of our religious texts are printed from wooden blocks on which the artists will have carved out mirror images of the texts. Sculpture or ‘Jinzo’ or mud work includes clay statues, ritual objects like drum stands, ‘Tormas’ or ritual cakes and masks (although most masks that are used for the religious dances are made from wood). Construction work for the creation of those massive walls that one can see in our traditional houses, using makeshift mortar, plaster and rammed earth are also included in this category. There are two types of casting, or ‘Lugzo,’ using sand and lost wax. Lugzo craftsmen produce statues, bells, ritual instruments, jewellery and kitchen equipments. Cane and bamboo works, or ‘Tshazo,’ is used in making bows and arrows, hats, mats, baskets for various purposes, including storing grains and bamboo thatch. The blacksmith, or ‘Chazo,’ makes iron goods such as swords, knives, chisels, axes, spades, darts, helmets, chains and plough blades. A number of household goods are made by the gold and silversmiths, including jewellery and ritual objects as well as religious amulets. ‘Thagzo’ encapsulates the entire process of the preparation of yarn to the dyeing and weaving of the beautiful products that have come to be known as Bhutanese textiles. In a fine turn of events Bhutanese textiles and designs are gaining popularity all over the world, which can only be attributed to the uniqueness of the designs, motifs and patterns. Cutting and stacking stone walls falls under ‘Dozo,’ or the art of masonry. It is specifically applied to the construction of the huge outer walls of the Dzongs, monasteries and other similar structures. Leather craftsmanship or ‘Lozo’ results in the production of ‘Gayu’ or leather bags for carrying grains and ‘Shadha’ or leather ropes and sword belts. And finally paperwork art, or ‘Dezo,’ in which we use the bark of the Daphne (De) plant manufacture our traditional paper. Our traditional paper, known for its durability, and therefore used for printing our religious texts are all produced by making use of that art form.
Age-old credos dictate the form of the patterns of our art. Over time they have evolved into a series of traditional arts and crafts skills which are not merely ancient and colorful, but very sophisticated in so many ways. The art forms, heavily influenced by Buddhism and typically depicting religious images, motifs and symbols, aren’t merely ornamental but instructive in nature. They have a strong didactic intent as well, revolving around religious themes and spiritual practices; and are used as a vehicle for transforming ordinary consciousness to that of an enlightened one. The aspect of artistic creativity and identity is therefore secondary, due to which (in a rare departure from artistic traditions of the west) the particular identity of artists and sculptors is never very important in Bhutanese art traditions. There is a strong feeling of beauty, line and color in our works of art irrespective of whether it is painting, sculpture or carvings, as our art concentrates on iconographical accuracy and verity of form rather than artistic expression.
Another notable feature of Bhutanese art is that it enjoys the patronage and support of all sections of our society, from the Royal Family and nobility to the monks and common people, who depend on artisans to supply them the wide variety of artistic products that they require. It is due to the consistent and unwavering patronage of our beloved Kings and Royal Families that our time honored arts and crafts have remained intact in their quality and intricacy. Most notably, it was under the benevolent guidance of our Fourth King, His Majesty Jigme Sengye Wangchuck, that training institutes in Thimphu in the west and Trashiyangtse in the east were established to ensure not just the survival but the thriving of these very important art forms. These institutes and the art forms that they promote are all the more important to us as its mandate is in line with the ‘Preservation and Promotion of Our Cultural heritage,’ which is one of the four main pillars of our development philosophy of Gross National Happiness.