| Description |
Jimzo is a traditional art of forming religious images. Jim means "clay" and Zo means "art", literally "clay art". In Bhutan, it can be traced back to the 7th century, to the time of Tibetan King Songtsen Gampo (569–649?), who is believed to have built 108 Lhakhangs (temples), under which the pioneering Buddhist temples such as Kichu and Jampa Lhakhangs were built. Various clay paintings from different centuries, beginning with the time of Guru Rinpoche, attest to the existence of clay art in Bhutan much earlier. In the time of Terton Pema Lingpa (1450-1521), this art became popular. Towards the end of the 17th century, the art was codified and included by the fourth Desi (temporary ruler) Gyalse Tenzin Rabgye (1638–1696), as one of the thirteen arts and crafts of Bhutan.
Later, at the time of Zhabdrung Ngawang Namgyal (1594-1651) in the 17th century, a very skilled sculptor named Trulku Dzing was invited to Bhutan. Trulku Dzing erected numerous clay figures in Punakha and Wangduephodrang Dzong. The art was later codified and included as one of the thirteen traditional arts and crafts of Bhutan by the 4th Druk Desi (temporary ruler) Gyalse Tenzin Rabgye in the late 17th century. Since then the art of sculpting has been maintained and passed from teacher to students over many generations until today.
Bhutanese jim zop (sculptors) are known for the quality and intricacy of creating delicate clay sculptures. They practice sculpting as a pious act since it is based on
the iconographic principles of Buddhist art. It is very important to adhere to the rules that prescribe the precise measurement of the body structure in relation to
the limbs, postures, eyes, ears, fingers and nose and the body tints, garments and ornaments.
a. Religious Statues and Ritual Objects:
Sculptors make clay statues, ritual objects and tsha tsha (miniature clay stupa) and clay masks worn during festivals. Numbers of exceedingly fine and intricate religious sculptures and ritual objects made of clay can be seen in every temple, monastery, and the dzongs of Bhutan. These clay sculptures vary in sizes, varying from tiny statues to over twenty feet. There are clay sculptures of the Buddhas and Bodhisattvas, various deities, gods, goddesses and prominent religious figures which depict
the foundation of faith, worship and reverence for the Buddhists.
b. Types of Clay used in Sculpting:
Clay is the basic material for making sculptures. A special kind of clay can be found deposited in small quantities between mud and gravels usually in marshy areas. Sculptors use the best quality clay as the images and objects they make must stand against the change of weather for generations.
Clay is processed into three different forms; tsa dam, kong dam, and jim dam. Each one is used for a specific purpose. Tsa dam is made by mixing clay powder with daesho (paper made from daphne plants) in the ratio of 7:3. If paper is not available, pulps made from the raw bark of daphne plant are used as substitute. This mixture prevents the mud from disintegrating when dried. Tsa dam is used for moulding the basic structure of the statue. Kong dam is prepared in the same way as tsa dam, but by adding more water to make the clay relatively thinner and softer. Kong dam is applied over the basic structure moulded from tsa dam to give proper shape to the statue.
Generally the proprietor adds any or all of the seven precious substances (gold, silver, and turquoise, and coral, pearl, bronze and any other precious stones) to tsa
dam and kong dam in order to increase the aura of the statue. Jim dam is applied as the final and finishing touch to the statue. To prepare jin dam; the clay powder is mixed with water and then stirred thoroughly until it turns into a thin paste. It is then filtered with the help of a thin cloth. The thin filtered paste is collected in a utensil and then placed on fire until the water component is evaporated. What is left in the pot is a very fine powder. This powder is then mixed with daphne papier mache to give it the binding strength which prevents the clay from cracking. This mixture is again mixed with water and stirred and applied to give the final touches to the statue.
c. Process of Clay Sculpting:
Clay sculpting process starts with the measurement of the space available where the statue will be kept later, or the size required by the owner/sponsor. Accordingly,
the basic structural frame is made by using copper wires for smaller statues, iron or steel rods for bigger statues as support. Steel rods are wrapped with copper
wire to add the value of the object. Gold and silver wires are considered the best to make the basic frame.
The frame is added with tsa dam while the internal part is left hollow for zung to be inserted later. When the tsa dam on the structure dries perfectly, kong dam is applied over it to give all the external physical features, forms and the attires. The parts such as hands and head are made separately and attached later to the body for smaller statues, though the head of bigger statues are made directly with the statue. The sculptor must ensure that the parts made separately are proportionate to the whole structure. Any part of the statue that is not proportionate to the whole body is considered an impious act of the sculptor and therefore must be avoided at all cost.
Sculpting is a tedious job, requiring the sculptor to apply the wooden chisel again and again to fill any gaps or remove the lumps over and over again. The statues are left for a long time to allow the clay to dry naturally, and to develop minor cracks which are also left unrepaired to allow air to pass for rapid drying. When no more cracks appear, it means the clay has dried up completely. The cracks are then repaired with tsa dam by mixing with glue. Once this is done, the sculptures are ready for final layers of finishing using jin dam. At this stage the sculpture is finally ready for zung (the inner relic).
Learners have to undergo rigorous training for several years under a master sculptor known as Jimzo lopoen. As sculpting for religious purpose is considered a spiritual act, sculptors have to choose the most auspicious day and time to start a project. Once completed, an expert (usually a monk) will insert a zung shing or sog shing (a strut inside the statue as its backbone) and zung consisting of written mantras and other precious substances. Then the statue is painted using appropriate colours. Upon completion of all these steps, a drub or rabney ceremony is conducted by an accomplished lama. The painters and sculptors are highly regarded for their profession.
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| Social and cultural significance |
This art is mainly used for making Buddhist images of various saints, masters, bodhisattvas, gods, goddesses, protectors and deities. It usually revolves around Buddhist themes and is therefore considered a pious act. Sculptors practice this art with great devotion, believing that it will earn them merit. The clay figures can be found in almost all houses, temples and monasteries of Bhutan. Therefore, this art is also a lucrative business for the sculptors. |
| Transmission method |
With the holistic goal of promoting Bhutanese culture through the preservation of traditional arts and crafts, reviving the dying craft skills and passing them on to the younger generations, and creating job opportunities and self-employment, the Royal Government of Bhutan established two institutes: the National Institute of Zorig Chusum, founded in 1971, and the Trashiyangtse Institute of Zorig Chusum (TIZC), founded in 1967. These institutes offer various art forms of traditional painting (Lha-zo), sculpture (Jim-zo), wood carving (Shag-zo), bronze casting (Lug-zo), embroidery (Tshem-zo), weaving (Thag-zo), carpentry (Par-zo) including slate carving, gold/silver smithing (Trozo), and black smithing (Garzo).
First, the size of the statue needed and the space where it will later be kept are measured. Then the basic frame is made. For smaller statues, the frame is often made of copper wire; for larger statues, iron or steel rods are used for support. The steel rods are wrapped with copper wires to increase the value. However, gold and silver wires are considered the best.
Sa-dam is then applied to the outside of the frame while leaving it hollow on the inside so that the tongs can be used later. When the Sa-dam is completely dry, the Kong-dam is applied to create the external features, appearance and clothing. For smaller statues, the hands and head are made separately and later attached to the body, while the larger statues are made together with the head. The sculptor takes care to ensure that the individual parts are proportionate to the overall structure. Any disproportionate feature of the statue is considered impious and must therefore be avoided.
Using a wooden chisel, the sculptor fills in the gaps or repeatedly removes the lumps that remain on the structure. It takes a long time for the clay statue to dry, and small cracks appear that are not repaired because the statue dries quickly in the air. When no more cracks appear, it means that the clay is completely dry. Then the small cracks are repaired with Sa-dam mixed with glue.
Finally, an expert (usually a monk) places a Zung-shing or Sok-shing (a stick that is inserted into the statue as a support), which often consists of written mantras and expensive jewelry. Then the statue is painted with the appropriate colors.
After all the processes are completed, the Rabney (Consecration) is performed by an experienced lama.
Required tangible and intangible elements
1. Dey-sho: traditional Bhutanese paper made from the bark of the Daphne plant.
2. clay: a special type of clay is used for this art: Sa-dam, Kong-dam and Jim-dam. And it comes in four different colors: white, black, yellow and red.
3. Kha-tram: for measuring the size.
4. Zang-key: for the structure inside.
5. Shok-sum: for Namza (Cloth wrapping).
6. Jami: for rivets in hair, rivet wreaths around seat or throne.
7. Ta-sep: for shaping the hair.
8. Bo-rim: for working the corners.
9. Ta-mi: for eyes and lips.
10. Copper wire in different sizes.
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| Community |
Bhutanese artisans.
Data collected by: Ms. Sonam Yangdon, NLAB. |
