Elements
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Manage No, Sortation, Country, Writer ,Date, Copyright Manage No EE00002080 Country Bhutan ICH Domain Traditional craft skills Address Although the workshops where papers were made in the past had never found a place in the historical documents, a few which are still functioning are listed below with designated Dzongkhags and particular locations: 1) Dzongkhag: Trashi Yangtse Gewog: Bumdeling Location: Nyangteng Village 2) Dzongkhag: Trashigang, Gewog: Pam Village: Ranshikhar Gonpa 3) Dzongkhag: Mongar, Gewog: Drametse 4) Dzongkhag: Thimphu Thromde, Workshop name: Jungzhi Paper House. According to the historical records, Paper manufacturing in the country was once very popular due to the woodblock printing projects in the Dzongs, and as well as demanded by the government as Daphne paper was an important medium for writing administration papers and for calligraphy writing purpose. Though there were designated paper manufacturers in the Dzongs and in the districts but, the collection of raw materials and its taxation was imposed almost all the districts were Daphne plants are grown abundantly.Year of Designation 2019
| Description | Dey-zo is an art of manufacturing paper using an indigenous plant locally called Dey-shing (Daphne: ). The term Dey refers to Daphne and zo is an art therefore, when these two words combines, an art of Daphne i.e. making paper out of Daphne pant bark. Though there are more than 21 different types of Daphne species- for paper making purpose in Bhutan are of two types; Dey-kar, white Daphne and the other is Dey-na, black Daphne. The white Daphne grows up to four or five metres in height and has pale green oval shaped leaves and greyish bark. Its flowers are yellow at the top so they look generally yellowish, though the stems are whitish in colour. They produce a pleasant odour. White Daphne grows in Bhutan from an altitude of 1,500 to 3,500 metres in huge groves on the edge of open meadows and forests. The black Daphne, on the other hand, grows from 500 to 3,000 metres above sea level. Unlike the white Daphne, it grows as individual plants, scattered along the forest floor. Though the colour of bark is greyish, the flowers are somewhat brownish. Papers made from black Daphne are considered to be the best for its long lasting and Thsar-sho paper specially manufactured by using bamboo mat frame are normally used for writing purpose. Generally Dey-sho comes in two different types; Tshar-sho and Re-sho. Tshar-sho is made by using a special bamboo crafted mat frame while the latter is a produce from cloth frame though both the papers’ raw materials are either white or black Daphne plant bark. However, upon the demand, paper makers also makes blue or indigo paper (Sho-na or Thing-sho) using the tshar-sho making techniques for gold script writing. Perhaps, the paper making art must have been existed in the early centuries, even before the use of words and sentences, when pictures and symbols were used as a means of communication in Bhutan as the Padma chronicles mention that "the king ordered paper to be collected in the land of the Mon." This was when the Dharma King Trisong Detsen (755-804) of invited Guru Padmasambava to Tibet in the 8th century and introduced the Tantric teachings to that land. Having completed the construction of Samye Monastery, translation of Buddha's precepts and commentary texts that are written in Sanskrit were initiated into Tibetan language through Indian pandits and incarnate translators from Tibet, but there was not enough paper in Tibet. So the king imported huge amounts of paper from the southern country (Bhutan), which enabled Tibet to produce many volumes of the scriptures. This means that trade between Tibet and Bhutan was already active at that time. The so-called shog-tang (shog-ltang), a cargo size of 1000 sheets of Daphne paper, were transported to Tibet in large quantities for trade purposes. This means that very early in history, papermaking was passed down from generation to generation, from father to son, from son to son, and so on. Gradually, as the demand for paper increased, the paper industry in the country expanded, especially in the 17th century when great changes took place in the country after the arrival of Zhabdrung Ngawang Namgyal (1594-1651). At that time, the demand for paper increased greatly at the central government, monastic community and monastery levels, leading to a nationwide expansion in the production and use of paper especially for printing purpose. Paper manufacturing units were instituted in Dzongs and employed five people either form the monastic body or from the lay citizens for papermaking. The raw materials such as daphne bark, ash, etc. were supplied by the residents of the respective dzongkhag as tax. The dzongkhag administrations then transported the paper cargoes to the central government and ensured proper remuneration. The skilled workers at the papermaking centers were also appointed from the villages and households in the district, who were exempt from other charges such as labor, fodder, firewood, and pounded rice. A load Shog-tang as mentioned above, was a bundle of 1000 sheets of paper. (Lam Kezang Chophel, 2021). Normally a single sheet of paper measures approximately 75x110 cm and colloquially it is called pheg-pang. Although, papermaking was once a thriving art until 1970 yet, due to the development progress in the country and introduction of imported papers such as books and note books has gradually affected in declining number of paper production centres in the country. |
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| Social and cultural significance | Dey-zo is an art that produces traditional paper and does carry social and cultural meanings such as; contributing paper products and these paper products serves as an important medium for writing. These records holds the history of evolution, scared doctrines and oral records and social and cultural significance. Dey-zo’s product Druk-sho (Bhutanese paper) also holds the identity of the community in the country but also represents Bhutan in the global product. Dey- zo is richly embedded in the Bhutanese culture not only as paper for writing purpose but also in many other ICH elements such as; Daphne barks or papers are required in Sculpturing (Zim-zo) in making strong by its fibers and also in tools associated to animal husbandry. |
| Transmission method | Paper making art require special knowledge as well as skills and has to learn this craftsmanship by involving oneself with the experienced artisans and impersonating them. It is said that, one can acquire complete skill in two to three years as one have to perfect not only in making paper but making different mat frames and collecting or raw materials. As mentioned before, there are mainly two types of papers Re-sho and Tshar-sho, both of them shares the same raw materials until the process of making paper pulp. The only difference is the production of papers as Re-sho are from cloth mat frame and Tshar-sho from the bamboo mat frame. Following is the detailed information about the paper production. Firstly the shared preparation process: 1) The time for taking the bark from both white and black Daphne begins after the flowering season, generally in the 3rd Month and continue till the 9th Month according to the Lunar Calendar. While harvesting, one should select plants that are already about one metre high and those that are mature. They should be cut at the base. The bark is peeled off when the plants are still fresh. After that, the thin skin outside the bark is scratched off with the help of knives. The bark is either left to dry in the sun or brought home. If possible, sorting of bark of young and old plants should be done at the time of debarking. This makes work easier at the time of boiling. If the thin skin is not removed at the beginning, it gets hardened and difficult to scratch off once the bark has dried. 2) Once debarking and peeling of thin skin is over, the bark is bound in bundles and left to dry for about three months. 3) Then again, these are soaked in the water for about a week. 4) Then, they are further made into thin slices and then washed. 5) After that, they are boiled in ash water in an iron pot till they are soft. 6) The cooked materials are then put in a sieve to allow the ash water to drain off. 7) The material is then pounded on smooth flat stones with wooden club until it becomes a soft pulp. After that, the pulp is put in a churning vessel and churned. 8) Then, the pulp is poured into a tub of water or a pond. For the Re-sho production: 1. Re-thram/par (cloth frame) is well soaked in the cold water the tup. 2. Using a jug or a scoop, the pulp is poured with the help of over the frame judging the paper thickness. 3. Spread out equally over the cloth mat by shaking to all the sides weaving paper fibres. 4. The mat with the pulp is then left to dry in the sun. 5. After drying, paper is detached from the frame from one corner gently putting one hand between the paper and the cloth while the other hand pulls. Re-sho paper are usually made during the sunny days as paper frames are dried in the open space. For the Tshar-sho production: 1. Paper pulp is poured into the tub. 2. Stirred thoroughly in the tub. 3. Then, holding on two edges, the bamboo mat (Tseb) is used to scoop up the broth-like pulp from the tub, making sure the pulp is spread evenly over the surface of the mat. 4. The mat is then held above the tub for two to three minutes to let the water drip off completely. 5. Take the bamboo mat from the frame and place the mat up-side-down firmly on the damp stretched cloth on a flat wooden plank. 6. Detach the paper and the bamboo mat. 7. Stretch another wet cloth over the freshly made paper. 8. Place yet another paper along with bamboo frame. (This process repeats until the completion of the paper pulp.) 9. Placing another plank over the stacked papers and squeeze out all the absorbed water. (This is kept for about 24 hours). After removing the 10. Later, each sheet of paper is then put against walls inside the room and in the verandahs with help of brush to let them dry. 11. Detaching from the wall is identical to that of Re-sho. For the paper to be stronger and to last longer, the age of each of the plants should be almost the same. The other factor that determines the life of paper is how the pulp is spread on the mat, how experienced the worker is and how organic the paper is made. If these factors are considered while making paper, it is said that De-shog can last from a hundred to a thousand years. |
| Community | Though there are recollect able experienced paper makers but, most of them had either discontinued the practice or some had taken over by their siblings thus, following practitioners are the active ones scattered all around the eastern and western Bhutan. 1) Dzongkhag: Trashi Yangtse Gewog: Bumdeling Location: Nyangteng Village Mr. Gymbola 69. Mr. Ugyen Wangdrag and Mrs. Aum Yangdon were the active paper makers in that community and supplies qualitative papers from their own outlets. They produce both cloth mat and bamboo mat frame papers. 2) Dzongkhag: Trashigang, Gewog: Pam Village: Ranshikhar Gonpa Lama (Spiritual master) Choten Tshering and Dugrung Lama Tshulthrim Dorji. 3) Dzongkhag: Mongar, Gewog: Drametse Lopen (Master) Tshering Namgyal from Lamai Gonpa vicinity, Lopen Wangdue from Nagtshang Thung Gonpa and Lopen Trashi from Tsekhalong Gonpa also produces two paper types. 4) Dzongkhag: Workshop name: Mr. Norbu Tenzin is the proprietor of Jungzhi Paper House based in Thimphu distict. He started the paper factory in Thimphu about 25 years ago and makes papers on both cloth and bamboo mats as per the requirements of his customers in the capital city. He meets all the demands within the country including sales to tourists, as well as exporting some paper. At present he has 18 employees, who are well trained in their respective jobs. Data collected by: Mr. Yeshi Lhendup, NLAB |
Keyword
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National Library and Archives of Bhutan
https://www.library.gov.bt/archive/Materials related to
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PI00006845
Dey-zo/Shog-zo (Traditional Art of Paper making)
Dey-zo is an art of manufacturing paper using an indigenous plant locally called Dey-shing (Daphne: ). The term Dey refers to Daphne and zo is an art therefore, when these two words combines, an art of Daphne i.e. making paper out of Daphne pant bark. Though there are more than 21 different types of Daphne species- for paper making purpose in Bhutan are of two types; Dey-kar, white Daphne and the other is Dey-na, black Daphne. The white Daphne grows up to four or five metres in height and has pale green oval shaped leaves and greyish bark. Its flowers are yellow at the top so they look generally yellowish, though the stems are whitish in colour. They produce a pleasant odour. White Daphne grows in Bhutan from an altitude of 1,500 to 3,500 metres in huge groves on the edge of open meadows and forests. The black Daphne, on the other hand, grows from 500 to 3,000 metres above sea level. Unlike the white Daphne, it grows as individual plants, scattered along the forest floor. Though the colour of bark is greyish, the flowers are somewhat brownish. Papers made from black Daphne are considered to be the best for its long lasting and Thsar-sho paper specially manufactured by using bamboo mat frame are normally used for writing purpose. Generally Dey-sho comes in two different types; Tshar-sho and Re-sho. Tshar-sho is made by using a special bamboo crafted mat frame while the latter is a produce from cloth frame though both the papers’ raw materials are either white or black Daphne plant bark. However, upon the demand, paper makers also makes blue or indigo paper (Sho-na or Thing-sho) using the tshar-sho making techniques for gold script writing.
Bhutan Tue -
PI00006844
Dey-zo/Shog-zo (Traditional Art of Paper making)
Dey-zo is an art of manufacturing paper using an indigenous plant locally called Dey-shing (Daphne: ). The term Dey refers to Daphne and zo is an art therefore, when these two words combines, an art of Daphne i.e. making paper out of Daphne pant bark. Though there are more than 21 different types of Daphne species- for paper making purpose in Bhutan are of two types; Dey-kar, white Daphne and the other is Dey-na, black Daphne. The white Daphne grows up to four or five metres in height and has pale green oval shaped leaves and greyish bark. Its flowers are yellow at the top so they look generally yellowish, though the stems are whitish in colour. They produce a pleasant odour. White Daphne grows in Bhutan from an altitude of 1,500 to 3,500 metres in huge groves on the edge of open meadows and forests. The black Daphne, on the other hand, grows from 500 to 3,000 metres above sea level. Unlike the white Daphne, it grows as individual plants, scattered along the forest floor. Though the colour of bark is greyish, the flowers are somewhat brownish. Papers made from black Daphne are considered to be the best for its long lasting and Thsar-sho paper specially manufactured by using bamboo mat frame are normally used for writing purpose. Generally Dey-sho comes in two different types; Tshar-sho and Re-sho. Tshar-sho is made by using a special bamboo crafted mat frame while the latter is a produce from cloth frame though both the papers’ raw materials are either white or black Daphne plant bark. However, upon the demand, paper makers also makes blue or indigo paper (Sho-na or Thing-sho) using the tshar-sho making techniques for gold script writing.
Bhutan Tue -
PI00007997
Bhutanese Traditional Paper Making
#bhutan #bhutaneseculture #bhutantravel #유네스코아태무형유산센터 #unesco Dey-zo is an art of manufacturing paper using an indigenous plant locally called Dey-shing (Daphne: ). The term Dey refers to Daphne and zo is an art therefore, when these two words combine, an art of Daphne i.e. making paper out of Daphne pant bark. Though there are more than 21 different types of Daphne species- for paper making purpose in Bhutan are of two types; Dey-kar, white Daphne and the other is Dey-na, black Daphne. The white Daphne grows up to four or five metres in height and has pale green oval shaped leaves and greyish bark. Its flowers are yellow at the top so they look generally yellowish, though the stems are whitish in colour. They produce a pleasant odour. White Daphne grows in Bhutan from an altitude of 1,500 to 3,500 metres in huge groves on the edge of open meadows and forests. The black Daphne, on the other hand, grows from 500 to 3,000 metres above sea level. Unlike the white Daphne, it grows as individual plants, scattered along the forest floor. Though the colour of bark is greyish, the flowers are somewhat brownish. Papers made from black Daphne are considered to be the best for its long lasting and Thsar-sho paper specially manufactured by using bamboo mat frame are normally used for writing purpose. Generally Dey-sho comes in two different types; Tshar-sho and Re-sho. Tshar-sho is made by using a special bamboo crafted mat frame while the latter is a produce from cloth frame though both the papers’ raw materials are either white or black Daphne plant bark. However, upon the demand, paper makers also makes blue or indigo paper (Sho-na or Thing-sho) using the tshar-sho making techniques for gold script writing. Perhaps, the paper making art must have been existed in the early centuries, even before the use of words and sentences, when pictures and symbols were used as a means of communication in Bhutan as the Padma chronicles mention that "the king ordered paper to be collected in the land of the Mon." This was when the Dharma King Trisong Detsen (755-804) of invited Guru Padmasambava to Tibet in the 8th century and introduced the Tantric teachings to that land. Having completed the construction of Samye Monastery, translation of Buddha's precepts and commentary texts that are written in Sanskrit were initiated into Tibetan language through Indian pandits and incarnate translators from Tibet, but there was not enough paper in Tibet. So the king imported huge amounts of paper from the southern country (Bhutan), which enabled Tibet to produce many volumes of the scriptures. This means that trade between Tibet and Bhutan was already active at that time. The so-called shog-tang (shog-ltang), a cargo size of 1000 sheets of Daphne paper, were transported to Tibet in large quantities for trade purposes. This means that very early in history, papermaking was passed down from generation to generation, from father to son, from son to son, and so on. Gradually, as the demand for paper increased, the paper industry in the country expanded, especially in the 17th century when great changes took place in the country after the arrival of Zhabdrung Ngawang Namgyal (1594-1651). At that time, the demand for paper increased greatly at the central government, monastic community and monastery levels, leading to a nationwide expansion in the production and use of paper especially for printing purpose. Paper manufacturing units were instituted in Dzongs and employed five people either form the monastic body or from the lay citizens for papermaking. The raw materials such as daphne bark, ash, etc. were supplied by the residents of the respective dzongkhag as tax. The dzongkhag administrations then transported the paper cargoes to the central government and ensured proper remuneration. The skilled workers at the papermaking centers were also appointed from the villages and households in the district, who were exempt from other charges such as labor, fodder, firewood, and pounded rice. A load Shog-tang as mentioned above, was a bundle of 1000 sheets of paper. (Lam Kezang Chophel, 2021). Normally a single sheet of paper measures approximately 75x110 cm and colloquially it is called pheg-pang. Although, papermaking was once a thriving art until 1970 yet, due to the development progress in the country and introduction of imported papers such as books and note books has gradually affected in declining number of paper production centres in the country. For more information https://www.ichlinks.com/archive/elements/elementsV.do?elementsUid=13874507459569673284
Bhutan 2023 -
PI00007996
Bhutanese Traditional Paper Making
#bhutan #bhutaneseculture #bhutantravel #유네스코아태무형유산센터 #unesco Dey-zo is an art of manufacturing paper using an indigenous plant locally called Dey-shing (Daphne: ). The term Dey refers to Daphne and zo is an art therefore, when these two words combine, an art of Daphne i.e. making paper out of Daphne pant bark. Though there are more than 21 different types of Daphne species- for paper making purpose in Bhutan are of two types; Dey-kar, white Daphne and the other is Dey-na, black Daphne. The white Daphne grows up to four or five metres in height and has pale green oval shaped leaves and greyish bark. Its flowers are yellow at the top so they look generally yellowish, though the stems are whitish in colour. They produce a pleasant odour. White Daphne grows in Bhutan from an altitude of 1,500 to 3,500 metres in huge groves on the edge of open meadows and forests. The black Daphne, on the other hand, grows from 500 to 3,000 metres above sea level. Unlike the white Daphne, it grows as individual plants, scattered along the forest floor. Though the colour of bark is greyish, the flowers are somewhat brownish. Papers made from black Daphne are considered to be the best for its long lasting and Thsar-sho paper specially manufactured by using bamboo mat frame are normally used for writing purpose. Generally Dey-sho comes in two different types; Tshar-sho and Re-sho. Tshar-sho is made by using a special bamboo crafted mat frame while the latter is a produce from cloth frame though both the papers’ raw materials are either white or black Daphne plant bark. However, upon the demand, paper makers also makes blue or indigo paper (Sho-na or Thing-sho) using the tshar-sho making techniques for gold script writing. Perhaps, the paper making art must have been existed in the early centuries, even before the use of words and sentences, when pictures and symbols were used as a means of communication in Bhutan as the Padma chronicles mention that "the king ordered paper to be collected in the land of the Mon." This was when the Dharma King Trisong Detsen (755-804) of invited Guru Padmasambava to Tibet in the 8th century and introduced the Tantric teachings to that land. Having completed the construction of Samye Monastery, translation of Buddha's precepts and commentary texts that are written in Sanskrit were initiated into Tibetan language through Indian pandits and incarnate translators from Tibet, but there was not enough paper in Tibet. So the king imported huge amounts of paper from the southern country (Bhutan), which enabled Tibet to produce many volumes of the scriptures. This means that trade between Tibet and Bhutan was already active at that time. The so-called shog-tang (shog-ltang), a cargo size of 1000 sheets of Daphne paper, were transported to Tibet in large quantities for trade purposes. This means that very early in history, papermaking was passed down from generation to generation, from father to son, from son to son, and so on. Gradually, as the demand for paper increased, the paper industry in the country expanded, especially in the 17th century when great changes took place in the country after the arrival of Zhabdrung Ngawang Namgyal (1594-1651). At that time, the demand for paper increased greatly at the central government, monastic community and monastery levels, leading to a nationwide expansion in the production and use of paper especially for printing purpose. Paper manufacturing units were instituted in Dzongs and employed five people either form the monastic body or from the lay citizens for papermaking. The raw materials such as daphne bark, ash, etc. were supplied by the residents of the respective dzongkhag as tax. The dzongkhag administrations then transported the paper cargoes to the central government and ensured proper remuneration. The skilled workers at the papermaking centers were also appointed from the villages and households in the district, who were exempt from other charges such as labor, fodder, firewood, and pounded rice. A load Shog-tang as mentioned above, was a bundle of 1000 sheets of paper. (Lam Kezang Chophel, 2021). Normally a single sheet of paper measures approximately 75x110 cm and colloquially it is called pheg-pang. Although, papermaking was once a thriving art until 1970 yet, due to the development progress in the country and introduction of imported papers such as books and note books has gradually affected in declining number of paper production centres in the country. For more information https://www.ichlinks.com/archive/elements/elementsV.do?elementsUid=13874507459569673284
Bhutan 2023
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VI00000984
Bhutanese Traditional Pen-making(CLEAN)
#bhutan #유네스코아태무형유산센터 #bhutanculture The term Si has dual connotation of referring to the Calligraphy pen as well as to the specific bamboo from which pen is crafted. According to Lopen (master) Wangdi Gyeltshen, a renown calligrapher of Central Monastic Body said that, there is also another reed locally called Tshi-nag (a reed with dark colour at its internode) which is available from Wangdi-tse monastery area in Thimphu. Actually, there is no specific origin of the Si as it came to exist simultaneously with the writing culture in Bhutan. Colloquially, all pens used for writing purposes are called as Myu-gu, which the name derived from its raw material Myug-ma (bamboo or reed). That is why any pen used for writing available in the market today, irrespective of what it is made of are commonly called Myu-gu (literally means reed pen). As there are different types of My-gu, thus, apart from the aforementioned Si, the pens are made from a wild fern called Kyer-ma is called Kyer-myug, and the ones made of quill is dro-myug, the nib made from metal is chag-myug. Similarly, sol-myug made from dead amber or charcoal, a talc stone is cut like a pencil for use -do-myug, the chalk comes in packets and used for educational purposes in schools is sa-myug. There are also pir-myug (brush pen) and lastly, the zha-myug, the lead pencil. Regarding the raw material; in Bhutan, Si is traditionally found at Chagdana in Toepai Gewog (Block) in Punakha, and near the Nag-tshang (Manor) at Drametse. It is also found in Kheng region of Zhemgang and at the Yarphel village of Trashi Yangtse district. Si is highly valued as being blessed by superior beings like Lord Manju Shri, Guru Rinpoche, the five classes of dakinis and the Dharma Lord Drukpa Kunleg (4155-1529). Si grows as big as normal bamboo, with short culm or internode, narrow lacuna and thick culm wall. They grow in heights of more than five arm-span. Both the plant and its leaves are generally yellowish. In ancient times, a writing pen was mainly a painting brush in China and in India it was made from the quill (moulted flight feather) of a peacock or other large bird. It is explained that the pen used traditionally in Tibet and Bhutan was made from the plant species called Si, which has thick nodes and grows mainly at lower altitudes. It is obvious that, if writing tradition is gradually disappearing, both the art of making Si as well as its usage is an inevitable element to be gone together. Due to the booming computing technologies and automatic printing machines, the writing along with Si related practices are being gradually driven out of its existence however, realizing its importance and for its revival, His Majesty’s Golden Scriptures Project and other similar projects being initiated by some individual Spiritual masters had help in revitalization of such tradition as well as involving calligrapher to carry on the writing and Si making culture amidst the emerging sophisticated technologies. For more information https://www.ichlinks.com/archive/elements/elementsV.do?elementsUid=13874510108445676802
11:42
Bhutan 2023 -
VI00000987
Bhutanese Traditional Xylographic Printing(CLEAN)
#bhutan #bhutantravel #bhutanculture #유네스코아태무형유산센터 #unesco The Bhutanese tradition of xylography and printing was begun in the 15th century by Terton (Hidden treasure discoverer) Pema Lingpa (1450-1521) and his sons, creating the root of virtues for the wellbeing of both living and dead in the country. Thereafter, the biography of the Terton and his collected works were printed on woodblocks and distributed to his residential monasteries and his patrons both in Bhutan and Tibet. Following the arrival of Zhabdrung Ngawang Namgyal (1594-1651) in Bhutan, the hitherto divided country was united under the main influence of the dual system of governance. Thereafter, the successive abbots of the monastic system and heads of the temporal system and then the successive far-sighted kings of the Wangchuck Dynasty, together with the heads of various other schools of Buddhism have continued to uphold the tradition. Skills training in woodblock making, engraving and printing were facilitated to provide sufficient copies of works on science and crafts, and the biographies and excellent teachings to be distributed to the communities of ordained monks and practitioners, dzongs and temples throughout the country. Therefore, Trashigang in the east, Trongsa in the centre, and Punakha and Paro in the west of the country became popular centres for such activities, until the reign of 3rd King Jigme Dorji Wangchuck (1928-1972). Starting 1970s, however, distribution has entered into a commercial phase, with increasing numbers of scriptural works being offset printed in India and then returned to Bhutan for distribution. At the same time, the interest in and practice of the traditional method of printing on woodblocks have been gradually losing their value among the users. Nowadays, printing machines have been set up in ever increasing numbers countrywide and these can produce, in larger quantities and within a very short time, scriptural volumes and other books that have a clear typeface, and are colourful and pleasing in appearance. On the one hand, this is a clear indication of progress in economic development, but on the other, this has become one of the main reasons for losing the precious heritage of woodblock print, among others. [Transmission method] In Bhutan, the transmission of the knowledge and skills related to Xylography printing is usually undertaken by teaching or engaging the interested candidates in the printing process. The process normally requires two persons for better results, but one person alone can also do the job in cases of urgency when there is no one else available to help. The woodblock is first placed flat on a printing bench. The following steps are followed for printing. For more information please visit https://www.ichlinks.com/archive/elements/elementsV.do?nation=BT&page=1&urlAnchor=txt&elementsUid=13874510342886677176&mode=grid&searchText=printing&orderCd=A&countrys=BT
15:07
Bhutan 2023 -
VI00000986
Bhutanese Traditional Paper Making(CLEAN)
#bhutan #bhutaneseculture #bhutantravel #유네스코아태무형유산센터 #unesco Dey-zo is an art of manufacturing paper using an indigenous plant locally called Dey-shing (Daphne: ). The term Dey refers to Daphne and zo is an art therefore, when these two words combine, an art of Daphne i.e. making paper out of Daphne pant bark. Though there are more than 21 different types of Daphne species- for paper making purpose in Bhutan are of two types; Dey-kar, white Daphne and the other is Dey-na, black Daphne. The white Daphne grows up to four or five metres in height and has pale green oval shaped leaves and greyish bark. Its flowers are yellow at the top so they look generally yellowish, though the stems are whitish in colour. They produce a pleasant odour. White Daphne grows in Bhutan from an altitude of 1,500 to 3,500 metres in huge groves on the edge of open meadows and forests. The black Daphne, on the other hand, grows from 500 to 3,000 metres above sea level. Unlike the white Daphne, it grows as individual plants, scattered along the forest floor. Though the colour of bark is greyish, the flowers are somewhat brownish. Papers made from black Daphne are considered to be the best for its long lasting and Thsar-sho paper specially manufactured by using bamboo mat frame are normally used for writing purpose. Generally Dey-sho comes in two different types; Tshar-sho and Re-sho. Tshar-sho is made by using a special bamboo crafted mat frame while the latter is a produce from cloth frame though both the papers’ raw materials are either white or black Daphne plant bark. However, upon the demand, paper makers also makes blue or indigo paper (Sho-na or Thing-sho) using the tshar-sho making techniques for gold script writing. Perhaps, the paper making art must have been existed in the early centuries, even before the use of words and sentences, when pictures and symbols were used as a means of communication in Bhutan as the Padma chronicles mention that "the king ordered paper to be collected in the land of the Mon." This was when the Dharma King Trisong Detsen (755-804) of invited Guru Padmasambava to Tibet in the 8th century and introduced the Tantric teachings to that land. Having completed the construction of Samye Monastery, translation of Buddha's precepts and commentary texts that are written in Sanskrit were initiated into Tibetan language through Indian pandits and incarnate translators from Tibet, but there was not enough paper in Tibet. So the king imported huge amounts of paper from the southern country (Bhutan), which enabled Tibet to produce many volumes of the scriptures. This means that trade between Tibet and Bhutan was already active at that time. The so-called shog-tang (shog-ltang), a cargo size of 1000 sheets of Daphne paper, were transported to Tibet in large quantities for trade purposes. This means that very early in history, papermaking was passed down from generation to generation, from father to son, from son to son, and so on. Gradually, as the demand for paper increased, the paper industry in the country expanded, especially in the 17th century when great changes took place in the country after the arrival of Zhabdrung Ngawang Namgyal (1594-1651). At that time, the demand for paper increased greatly at the central government, monastic community and monastery levels, leading to a nationwide expansion in the production and use of paper especially for printing purpose. Paper manufacturing units were instituted in Dzongs and employed five people either form the monastic body or from the lay citizens for papermaking. The raw materials such as daphne bark, ash, etc. were supplied by the residents of the respective dzongkhag as tax. The dzongkhag administrations then transported the paper cargoes to the central government and ensured proper remuneration. The skilled workers at the papermaking centers were also appointed from the villages and households in the district, who were exempt from other charges such as labor, fodder, firewood, and pounded rice. A load Shog-tang as mentioned above, was a bundle of 1000 sheets of paper. (Lam Kezang Chophel, 2021). Normally a single sheet of paper measures approximately 75x110 cm and colloquially it is called pheg-pang. Although, papermaking was once a thriving art until 1970 yet, due to the development progress in the country and introduction of imported papers such as books and note books has gradually affected in declining number of paper production centres in the country. For more information https://www.ichlinks.com/archive/elements/elementsV.do?elementsUid=13874507459569673284
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Bhutan