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craftnews by Neelam AS
The blog is to serve the education on world spread rare craft and bring it to universal platform of information.
Thursday, October 29, 2020
Saturday, May 19, 2018
Zorig Chusum: Shagzo: The Art of Wood Turning
The three related art of Bhutan
are Shagzo, Shingzo and Parzo. All these craft includes, slate carving, stone
carving and woodcarving.
Shagzo is wood carving.
Shagzo is Bhutanese art of wood
turning. It is an ancient art which has long journey of travelling through
generations. A lot number of articles, decorative art pieces and utensils are
made using this art. These are bowls
called dapa, cups called Dza Phob, plates, containers in various shapes and
sizes, and decorated in various colours.
The artist involved in making of this art is called Shagzopa.
A
great tradition is attached to this beautiful souvenir which keep reflecting
cultural heritage of Bhutan.
1.
Dapa, the traditional
wooden bowl is used to serve food when two halves of the bowl fits as two
cookies stick with cream.
2.
Bou Dapa is round
wooden bowl with a lid.
3.
Dum Chem dapa are
traditional bowls to serve rice.
4.
Tsam deg is a bowl
with lid used in northeast part of Bhutan and used to keep roasted wheat and
barley flour specifically.
5.
Thoke a traditional bowl
use to put fruits.
6.
Samden is used to
serve snacks.
Bou
and Dum dapa are used by monks and by monastic community. It is used to serve
dignitaries.
Types
of sey
1.
Zhosey : is the best
varnish
2.
Tsisey: it is obtained
from the seeds of seyshing.
3.
Tsag: It is obtained
from the bark of seshing.
4.
Dzasey
The
cultural heritage of Bhutan includes many more wooden articles like drum
sticks. These drum sticks are the par of rituals. It is known as “ngayog”, and drum
is called “nga”. These are mandate articles of temples and monasteries. Making
of these drums and sticks requires skilled artist of wood turning, wood carving,
leather and painting.
I extend special thanks to
Wednesday, December 13, 2017
GAR-ZO:
The art of blacksmithing; iron crafting art
from lonely land Bhutan: A dying Art
Continuing “Zorigchusum”, Thirteen
Chapter, thirteen crafts.
Here presenting information on: The Fourth
Chapter”; “Gar-ZO”. The land is not lonely in terms of art and has amazing arts
nurtured through years and to be gratified of.
Paksam: as depicted in Thangka paintings |
Introduction
8th century Gar-zo artifacts |
A ancient example of gar zo art: An iron chain bridge |
The bridges crossing over the Paro Chu, is
one such bridge made by DupthobThangtongyalpo. It is on the road from Paro to
Thimphu and is a highway.
Remain of other bridges by
DupthobThangtongyalpo are preserved at National Museum Bhutan.
Another Master piece of Gar-zo Art: iron Chain Bridge |
Blacksmithing is an old art in Bhutan and
fighting for its existence of essence now. In Bhutan, now only, Tibetan
settlers are practicing and preserving this art. Terton Pema Lingpa was another
saint who had been inscribed to expertise Garzo.
Village Barshong in eastern
Bhutan took up the art professionally and had paid taxes to the government. The
village had evidences of the smelting furnaces, holes dug up for smelting, and
traces of wrought iron. Woochu in Paro, and Chakrola in Thimpu in western
Bhutan are another such places.
8th century Gar-zo artifacts |
A close look of Chain bridge |
About the process:ART of Gar-zo The Blacksmith Art
This may be considered as a primitive art
which began in Iron Age, when man first started making tools out of Iron. Thus,
it is considered as an art of converting crude metal found in rocks to usable
trappings for longer uses. Spears, arrows, axes, knives, and swords were such
usable articles. In small beehive shaped furnaces made of rock, an opening on
the top and an entrance on the side, iron was smelted. These furnaces withstand
regular heating and a temperature above 2,800o F .
These furnaces are filled with iron-ore and charcoal. It is then set on fire. At the high temperature of 2800o F, iron melts and flows. It now hammered and converted to desired shape.
An image to understand Furnace in cross sectional view |
These furnaces are filled with iron-ore and charcoal. It is then set on fire. At the high temperature of 2800o F, iron melts and flows. It now hammered and converted to desired shape.
An ancient iron melting Furnace |
Current scenario of gar-zo:
Garzo has withstood time mortalities and
has now changed it forms, or it may had developed over the period of time,
reaching current stage. The original art slowly disappeared and has been
reshaped to Blacksmithing Industry. It may be broadly classified as:
1.
Armour-er:
Blacksmiths who made Armour
2.
Blade
smith: The knife, sword, chain, darts makers
3.
Lock
smith: Lock makers
The legend of Garzo of Sword
making: Patag is a type of single edged blade is now popular and traditional of
BhutanGarzo art. It is highly specialized craft.
Patag, the ceremonials swords are
made for gentry or senior officials for ceremonial honors. In Bhutan, all men
wear ceremonial swords, on special occasions. Children wear a traditional short
knife called the “DUDZOM”.
Bhutanese swords are named after the
blacksmith who first kiln it, locality of origin, appearance, design and
utility.
Image of various swords and Knifes: Gar-zo Art |
It was made popular during the reign
of kings
1. ‘Jigme Namgyal”. He was
forefather of Wnagchuck Dynasty. He served as 48thDruk Desi and held
the hereditary post of 10thpen lop (House) of Trongsa. He was also
called black ruler.
2. Tongsa Penlop Ugyen Wangchuck. He
was born on Phodrang Thinley Rapten. He was a farsighted statesman and
strategist.
Sword used for wars were marked with
cross placed on the blunt side of the sword.
Defiled swords are especially
valued.
Different types of swords were cast
in different localities of Bhutan.Bhutanese swords are straight, single edged,
with sharp arc tip.
Making of Patag: “Garzo”
Blacksmithing Art
1. Iron ore is obtained from the region of Chakor la and Barshong.
2. The process of melting the iron took from a week to a
month, depending upon the size of furnace.
3. The iron quality is related to the wood used for smelting.
4. Smelting
Bhutanese sword at metropolitan Museum New York |
Bhutanese sword and sccabard |
Sword and Knife fourth King Bhutan |
A good quality of iron is obtained
by heating it with castanopsis(Chinkapin, evergreen tree of beech family),
quercusglauca(ring cup oak tree) and rhododendron.
A medium quality can be obtained by
burning it with walnut, and Myrica woods.
A lower quality is received by
burning it with Rhussimialataand RhusScandens woods.
Swords were then rubbed multiple
times to remove stain with various materials.
Rubbing process involves various steps:
1. Rubbing on Shobda to remove stain
and other marks.
2.To remove marks, stain in grooves
and depressions, it is then rubbed with hide and water soaked sand.
3. To give ash black colour to
sword, it is rubbed with dreyda.
4.To increase the gleam of the
sword, it is rubbed with chagchey wrapped in hide.
5. To remove the dirt and patches of
previous process, it is rubbed with soot and green leaves of artemesia.
6.The final process which involves
removal of moisture, it is rubbed with powered charcoal of pinewood wrapped in
a piece of cloth.
7. The final touch is given by
rubbing it soft and dry cloth.
Scabbards
Gazo reaches its finesse with making of Bhutanese swords
(Patag) which is further classified on the basis of descriptive designs of the Scabbards
as:
1.
ChuriChemn: It has
received its name due its wavy pattern. This wavy pattern is hence called
CHURI. It was a matter of pride to chief attendant to king to carry churichemn.
Churi is usually gold plated.
Churi Chenm |
3.
Belpachenm: It is only
different from Churichemn in its design of scabbard. It is made of frog skin
and silver cased. Frog skin is called Belpa, therefore, received its name
Belpachenm.
4.
Hoshu Chenm: It is
different from above three. The scabbard is painted with pelt, red and green.
Visible are golden designs between the opening of scabbard and hilt. Rest par
is plain and silver cased. It is matter of pride for senior professionals and
elderly men of court. Images.
Hoshu tenzin and Paksam tenzin |
Other Bhutanese swords are:
1.
Paksam Tenzin
2.
Chukhap Tenzin
3.
BumthangTsen-dri
4.
Nagphala
5.
DungsumThum
6.
Barshongpa
7.
Thum
8.
Lungdri
Scabbard’s main body is made of Bashing and Dungshing wood.
Making of scabbard starts with cutting of wood planks of two equal sizes. The
wood should not be having any cracks. It is carved curve inside and pasted
together with wood pasting glue and left to dry for few hours.
The wood is covered with silver case and then painted in
different colours of pelt, which is usually wild animals, frog and cow, and
further gold plated. Colours are black, green and red. Dyes are mixed with milk
extracted from Seyshing and glue made out of cow’s hide. It is dried and
applied to the scabbard and stitched tightly. Some of scabbards have wave like
designs or knitted patterns, wherein gold in filled in the grooves and each
intervals. Scabbard is 1.5 cm longer than sword. Now, India is major supplier
for scabbard, reducing the process.
Hilt with silver knitted thread |
Details Scabbard |
Descriptions:Paksam Tenzin&HoshuChemn- It is a sword of nobles and kings, smooth,
mirror like shiny sword and edges are blunt and round with three grooves running the length. Sword is 160 mm
long and thin at tip than hilt. Width rages from 40 mm to 33 mm, with edge
thickness of 5mm at hilt and 2mm at tip. The blade and the blunt edge are made
of hard and soft iron, which make it resistant to high temperature, humidity
and corrosion, making it easy to bend meeting both ends without breaking. The sword
derives its name by the village “Paksam” and “blacksmith “Tenzin” and so the
name.
Blade of Paksam tenzin |
Chukhap Tenzin & Buepa Chen: Its
origin, name, shape and size similarise
with Paksam tenzin. It differs only texture of surface, which is not as
smooth as in paksam tenzin. Both can be identified with each other with its
sharp arc tip and the edge which look like tail of an ox and attractive washo.
There are different contradictory stories for the origin of the name of these
swords. As per few stories, neither paksam nor chukhap were casted in pasakha
and chukha. However, paksam is the name of blacksmith and tenzin was supervisor.
Chukhap Tenzin & Buepa Chen |
Nagphala: Also called Des i
Nagphalam. Name has again various accounts in the pocket. It was crafted during
the reign of desi Jigme Namgyal, so receved the name. Other accounts depicts
its association with bumtang, a place in Bhutan, where the ruins of his forgery
and unused irons can still be seen and this work of “Bumthang tsendri nagpo
phala is the result of its casting from iron uncovered from this place and the
thumb impression is seen on the hilt. As per one more narrations, it is
believed that blacksmith was black, and so the name phalam, therefore called
nagphala. The blade oscillates when bent and released, giving the impression of
its lightness and shines, and so considered the best. The width of this sword
is greater than paksam tenzin.
Dungsum Thum and Barshongpa: There
is a lake Dungtsho Karma Thang in Bhutan. Hence, the traces of forging can be
seen at the shore of lake. The credit of discovering this goes to Terton
Pema. Dungsum is the place famous for
iron extraction. It is hard and shorter and the symbol of heros. The thickness
remains same throughout. At eastern Bhutan, the other source of obtaining iron
ore is Barshong.This place is also famous for casting many iron equipment. From
this was traded various agricultural and domestic tools to many places. The
forging is done using charcoal of Sisi and Gum which toughens the sword casted.
As one of the folklore, iron from this place was also used to make iron chains
used in bridges.
Dungsum Thum |
Thum and Lungdri: This is not strong
as paksam and it is without chu. It is not casted out of soft and hard iron and
breaks easily if hit on hard object. Whereas, lungdri is soft and thin and
easily cuts objects finely.
Courtesy: Bhutan National Museum, Metropolitan museum NewYork, Journal of Bhutan StudiesSunday, October 22, 2017
craftnews by Neelam AS: Bhutan Architectural: Stone Art Dozo : DZONG
craftnews by Neelam AS: Bhutan Architectural: Stone Art Dozo : DZONG: Architectural: Stone Art of Bhutan: DZONG The Buddhism has great influence of the Dzong art of Bhutan. It was highly inspired by “Vajray...
Saturday, October 14, 2017
Friday, September 29, 2017
Friday, September 15, 2017
Bhutan Architectural: Stone Art Dozo : DZONG
Architectural:
Stone Art of Bhutan: DZONG
The
Buddhism has great influence of the Dzong art of Bhutan. It was highly inspired
by “Vajrayana”. It is translated as “diamond vehicle”, or “Thunderbolt
Vehicle”. It referred to a weapon “Vajra”, a mythical weapon used for rituals.
Founded by Indian Mahasiddhass, Vayrayana subscribes ti literature known as
Buddhist tantras, mantras, dharanis, mudra and mandalas. According to Buddha,
The three vehicles are the three routes to enlightenment.
The
exclusive art and crafts of Bhutan, represents “the spirit and freedom of
Himalayan Kingdom”. Dozo: The stone work
is the Masonry art of Bhutan and is still practiced today. In Bhutan, temples,
Dzongs, Chortens (Stupas), Farm houses, are all made using stones. Examples of
such work are “Chorten Kora” located in eastern Bhutan and “Chendebji Chorten”
located in central Bhutan.
Bhutanese has two demonstrated culture, one in
internal and is related to Buddha Dharma and another is external culture, which
is related to external worldly belongings like clothing, language, and other
related things.
Dzongs
are the monastery fortress. It is the stone craft of making walls to stone
masonry. The art is to work a block out of a rock, which fits next to, and on
top of another stone. The senior master mason makes the plans and supervises
the angles in building a wall.
Stupas,
Temples, bridges, houses and bridges are perfections, made immemorial. This art
does not involve time consuming process of making mortar, instead cement is
preferred which is also easily purchased. However, senior masons prefer mortar
over cement of today. Stone masons also make home utensils. Stupas represent
complete state of art, the cosmos and mind of Buddha. The art of stupa is
cosmological and psychological model.
Inheritance
in Dzongs : History of DOZO art : The Dozo art reached its peak in 17th
century under the leadership of “Shabddrung Rinpoche”. Until 17th
century Bhutan was split into small independent principalities. Today the fourth king of Bhutan is
leading the Bhutan in modern times. The monastery dzong/fortress may be
compared with European castles and fortress of middle century with strongholds
on political and religious power.
The
defensive Dozong were made during this period. One such fortress is “wangdue
phodrang” is amazing with spur overlooking the confluence of sakosh the “Puna
Tsang” and “Sang River” thus blocking attacks by southern invaders. The
“Drukgyel Dzong” at the head of the Paro valley uards the traditional Tibetian
invasion, path passes over the high Himalayans. Dzong were built on hilltops.
The valley build Dzong, were supported by a smaller dzong or watch tower,
typically build directly uphill from the main dzong. “Punakha Dzong” is
distinctive in the manner that it is sited on a relatively falt spit of land at
the confluence of two rvers; Mo and Pho. The rivers surround the dzong on three
sides.
Rinpung
Dzong is the largest Buddhist monastery and fortress in paro district, Bhutan.
Inside Rinpung Dzong are fourteen shrines and chapels.
1. Kungarwa
2. Monk’s
assembly hall
3. Sandal wood
stupas. Stupas are hemispherical structure, originated as pre Buddhist tumuli (grave)
where sramanas (Ascetic seekers) were buried.
4. Protector’s
shrine
5. Temple of
the Guru’s Eight Manifestations
6. Chapel of
the head lama
7. Chapel of
Amitayus
8. The clear
crystal shrine
9. Chapel of
the eleventh faced Avalokitesvara(Namo Ratna Trayāya Namaḥ Ārya Jñāna Sāgara Vairocana Vyūha
Rājāya Tathāgatāya Arhate Samyak Sambuddhaya Namah Sarva Tathagatebyah
Arhatebhyaḥ Samyaksaṃbuddhe Byaḥ Namaḥ Arya Avalokite Śvarāya Boddhisattvāya
Mahāsattvāya Mahākāruṇikāya Tadyathā Oṃ Dhara Dhara Dhiri Dhiri Dhuru Dhuru Ite
Va Itte Cale Cale Pra Cale Pra Cale Kusume Kusume Vare Ili Mili Citijvala
māpanāye Svāhā)
11. Apartments of the abbot
12. Chapel of Akshobhya (it is the embodiment
of “mirror knowledge)
13. Temple of the Treasure Revealer
44. Apartments of the king
15. Temple of the bursar
Outside
the main Dzong is the Deyangkha temple. There is a watch tower on the seventh
story. This is now National Museum of Bhutan. Just below the Dzong is
Cantilever Bridge.
Architectural
Identity and Power
Shabdrung,
was a great contributor to Bhuddhist Dzong art by uniting various small
kingdoms with their own tradition into one, politically united a national
costume, and most impressively independent architectural style with its
Bhutanese style fortresses, the complex structure and artistic arrangements of
wooden bay windows and the free standing roof. Bhutanese art of construction
stands unique in Himalayan culture.
Bhutan fortress-monasteries were the clear
reflection of dual system of government, combining religious and secular power,
with the most important positions in both the areas filled by clerics. All
Dzongs are divided into ecclesiastic and a state of wing. In the central part
was meant for temple and prayer halls, they practiced religion and was shaped
with Buddhism and in the other part they lived.
The temples are situated in the central tower in
the courtyard which is called “Dochen”. The name has origin from the big stone
with which the yard is cobbled. Inside the courtyard there are multistoried
buildings with verandas, which contain temples, halls of prayer. Monks lived in
quarters which had kitchens. Dochen was turned to religious center once in a
year for every province, on the day of “tsechu festival”. The other part of the
building, on ground was the hosts of Bhutan administrations and is run with the
rule of highest authority “Penlop”. These were also surrounded by multistoried
buildings. The façade at ground level often consists of arcades with wooden
columns topped off by plant or cloud capitals. The upper stories were
surrounded by veranda with wooden carvings or the facades are the structured
windows, is also the place of secular administrator, tax collector and other
jurisdiction authorities.
The cosmos of DZONGS: The Utse, the free tall
standing tower, containing various temples on every floor. The eaning of this
tower makes the architecture into an image of the Universe. Classical Buddhist
cosmology relates to Indian scholar “Vasubandhu” which described
“abhidharmaoksha” text in fifth century. As per the belief of Buddhism, the center
of the cosmos is within the world mountain “Meru”, on which the gods sits with
their indestructible and creative power. Hence, the tower connects with three
levels of heaven, earth and underwater world. The other four surrounding
building represents the four continents.
Paro Dzong, The Meru Mountain: A mural in the
PARO shows the world. At each cardinal point around the mountain there is a
continent in a different colour. Image
Songtsen Gampo: a mural in the Monsatery of
Taktsang, a Tibetian King, who promoted the Buddhism. Image
Kyichu
Lhakang: The temple is one of the most important shrines of Bhutan. It is an
important place of pilgrimage and of ceremonies for the royal families. Image
Guru
Rinpoche: He embodied Buddhism in the various Himalayan countries. Image
First
Buddhist Temples: Folklore is attached
to it. It is believed that King of Tibet Songsten Gampo erected the first
Buddhist temples, the Kyichu and Jampe-Lhakhang. This was indication of victory
of Buddhism over pre-buddhist deities. King wanted to tame a huge demon whose
body covered all of Tibet and its neighboring areas, which led to origin of a
particular problem to the spreading of Buddhism. King then decided to erect a
temple on each of joint of demon. Songsten had said to multiply himself and to
have sent all his releases to carious areas of Tibet so as to erect 108 temples
in one day. Towering temple over the heart of demon is famous “Johkhang in
Lhasa”. The demon knee if fixed at temple “Jampe in Lhakhang” and her left soul
is fixed at the “Kyichu in Paro”. Bhutan people do not any objections against
the erection of the temples.
Guru
Rinpoche introduced Buddhism in Bhutan. He was mystic and has image of
magician. It was believed that, building temples over demon has led to little
development in Bhutan, which was earlier not there.
Constructions
of Dzongs: It is constructed without any architectural plan under the
supervision of High Lama who establishes each dimension by the spiritual
inspiration. In earlier times it was made by “corvee”, the free unpaid labors,
who worked for only limited time in a year. Dzongs comprise heavy masonry
curtain walls surrounding one or more courtyards. The main functional area is
usually arranged in two separate sections. The two sections are administrative
offices and the religious functions, including temples and monks accommodation.
Accommodations were made between two covered walls, inner and outer, separated
by stone tower. Centrally located, within the courtyard, housed the main temple
that is used as defensible citadel. The main internal structures are again
built with stones an in domestic architecture by rammed clay blocks. This was
white washed inside and outside. The larger spaces such as the temple have
massive inert timber columns and beams to create galleries around an open
central full height area. Smaller structures were elaborately carved and
painted timber constructions.
The
roofs are massively constructed in hard wood and bamboo. This was highly
decorated also at the eaves. This was constructed traditionally without the use
of nails. These roofs were open at the eaves to provide a ventilated storage
area.
These were then finished with timber shingles. Roof shingles are a roof covering consisting of individual overlapping elements. These elements are typically flat, rectangular shapes laid in courses from the bottom edge of the roof up. Shingles are made of various materials like wood, slate, flagstone, fiber, cement, metal, asphalt and plastic. The roof of “Tsong Dzong” is one such Shingle roof. The courtyards were usually stone flagged, are generally at a higher level than the outside and approached by massive staircase and narrow defensible with large wooden doors. All doors have threshold to discourage the entrance of spirits. Temple was set at a level above the courtyard with further staircases up to them.
Special Thanks to :
www.bhutanculturalatlas.org
opon Kunzang
Thinley , Dasho Sangay Dorji
(2008) , Lopon Kunzang
Thinley (2008), Ardussi, John A.
(1999). "Gyalse Tenzin Rabgye and the Founding of Taktsang
Lhakhang" (pdf). Journal
of Bhutan Studies. Thimphu: Centre for Bhutan Studies.
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