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

The art of blacksmithing is the fourth art of “ZorigChusum”, which started in late 14^th century, by Tibetan saint DupthobThangtongyalpo, the esteemed master engineer for this skill in casting iron chains, and erecting them as bridges over gorges. In his credit are eight suspension bridges in Bhutan.  

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.

8th century Gar-zo artifacts 

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.

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 2,800^o F . 

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 2800^o 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

4.      Ferrier: Blacksmith who shod horses

Furnace process and making of Patag

 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 48^thDruk Desi and held the hereditary post of 10^thpen 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

The meaning of Chakor la is hill surrounded by iron ore. Traditionally, a dig of one story approx. is done to extract ore. The ore found is mixed with black soil. Digging is done using crowbars and pick axes. The crude ore is carried in baskets made of bamboo. Furnace is usually square in shape. A circular hole is dug inside the furnace to hold the ore. The furnace is fully filled with ore. Fire is lit. The process of melting the iron takes one week to one month. The duration completely depends on the size of the furnace. The melted iron is collected in various holes in the furnace. This is soft iron and called nyen cha. These are in the form of small iron balls. These iron balls are put inside charcoal and heated continuously to make it hard. Swords and other tools are then made out of it.

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

2.      Ben Chang: It is as equal to Churi Chemn except in design. It is plainer.

Ben Chang

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 

Hoshu tenzin and Paksam tenzin

Grooves in 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 Studies

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...

Unseen distinguished wood mosaic, ivory craft, from Syria : documentary...

documentary chad

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 17^th century under the leadership of “Shabddrung Rinpoche”. Until 17^th 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

www.dozogroup.com

bhutan.ims.tuwien.ac.at

buddhistmonksbhutan.com

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.