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Si: Calligraphy Pen
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  • Manage No, Sortation, Country, Writer ,Date, Copyright
    Manage No EE00002088
    Country Bhutan
    ICH Domain Traditional craft skills
    Address
    Si are crafted by the calligraphers while there is writing projects in and across the country. Therefore, there is no specific geographical location and its range is also depends on the where the calligraphers stay at present.
    Year of Designation 2019
Description 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.
Social and cultural significance Making calligraphy pen is closely associated to the writing skill subsequently, writing is the fundamental requirement of knowledge and the knowledge is believed to be the embodiment of the Wisdom God Manjushri. Therefore, the writing instrument, the pen is regarded as the Wisdom sword, the hand tool of the deity.
Transmission method The knowledge of making calligraphy out of Si reed is taught simultaneously while learning calligraphy by a professional calligrapher. The teacher first demonstrates and along-side explains in detail of know-how and its advantages and disadvantages on every step. Gradually, the learner impersonates the lesson and when he/she acquires writing skills, the crafting of pen also gets specialized. It is said that the quality of calligraphy solely depends on quality of pen and its nib while crafting. The quality of the pen plays an important role in the formation elegant letters. If one uses a bad pen, even though the shape and form are appropriately written, the look of the letters appears poor. Therefore, it is important to understand the need to obtain essential materials for pen and understand how pen are perfectly crafted in order to give smooth and elegant performance and product. As there is a saying; “do not learn to write, learn to make pen.” Following are the detailed procedures of Si making; 1. First, having trained in the skills of writing, one must the tools such as pen knife and chisel and not to forget, the Si, the reed or a bamboo. Normally in Bhutan, Lho Myug (pen from south) and Rong Myug (pen from the rugged gorges), it has been said, are good enough as materials to make pens. Though reed for making pens is also available in other parts of Bhutan, it is said that the reed found in the residential place of Lam Drukpa Kunleg at Töb Chagdanang, is imbued with blessings. This species is grown at an altitude of about 1,273 metres (or 4,117 feet) above sea level and belongs to the bamboo family. It grows to a height of some 8 to 13 metres and its culm wall is 3 to 4.5 cm. thick. Its colour becomes greenish yellow when fully matured. The length of the internode varies from 22 to 25 cm. and has double nodes. 2. Select matured reed, cut and dried over the oven or fire and somke until its completely dry. 3. While cutting into required length, Si should no longer than Tho-gang (a measurement of stretched middle finger to the tip of thumb) and cut at no less than three fingers above the node and nine fingers below the node. 4. Split the reed with help of knife to a required size and make it rounded to allow smooth rolling while writing. 5. The portion above the node i.e. the end of the pen should be length of five fingers, which symbolize the seat of five dakinis as well as Manjushri’s hand dagger. 6. While making the nib, one should cut away the pen on the inside. Above the area that is cut, a tiny ink channel is made to make the ink flow. 7. Then at the middle the nib is split through the channel from the tip. 8. Then, one should shave away both sides of the top of the pen. 9. After drying, cutting off the tip of the nib requires a knife with a good blade and an experienced hand. One way of cutting is by holding the pen between the index finger and middle finger, using the back of thumbnail as the anvil or cutting board. For those who can do it in this fashion, they can use any kind of hard material as an anvil. According to the experience of this writer, a piece of horn of a wild animal is quite handy as a base board. While cutting the nib, one must put the tip with the front on the board and cut diagonally shorter on the left slanting towards the right. As one cuts the tip, there should be a snap sound that indicates that the cutting has been good. If it does not make snap sound, it is a sign that the cutting has not been proper. 10. To make hard water repellent and long lasting, smearing the finished product in some pig fat on the tip of reed pen and put it near a red hot metal object, and turn it around until the fat is completely absorbed and dried. 11. A unique way of holding reed pen in Bhutan, traditionally, is holding the pen between the index finger and thumb, while the three fingers are folded into the palm almost into a fist. This is because writing any type requires the movement of pen appropriate to its requirements. Holding the pen between the thumb and index finger makes it convenient to move the pen in accordance with the change of shape of letters. 12. While taking ink from the ink vase, it is normally not known how much ink is left within it. Therefore, holding the pen between the thumb and the index finger, as you withdraw the pen from the container, tap it with the ring finger or middle finger whichever is convenient, to shake off excessive ink from the pen. Another way is to put the ink in a smaller container and take the ink on a hard hair like that of a pig, or a paint brush and pour it over the pen. This will enable the writer to take the required amount of ink on the pen. One may try any of the methods as convenient.
Community Following is the list of calligraphers involved in writing Golden Scripture of Kangyur under the King’s Project and these are the practitioners of Si making. 1. Lopen Kunzang Tobgay 2. Sonam Tobgay 3. Tshampa Norbu Wangchuk 4. Tenzin 5. Choki Gyeltshen 6. Dorji 7. Sonam Dorji 8. Sithar Wangchuk 9. Chador Phuntshog 10. Tshering Duba 11. Pema Tashi 12. Sonam Wangdi 13. Sonam Private individuals: 1. Lam Ugyen Tenzin (Monastic Body) 2. Lopen Yonten Tsondru (Monastic Body) 3. Lopen Wangdi Gyentshen, Lobesa, Punakha (Monastic Body) 4. Lopen Dung Dorji, Dhur, Bumthang 5. Lopen Yonten Phuntsho, Tsakaling, Mongar 6. Lopen Ugyen Dorji, Lhuntse 7. Lopen Yeshey Namgyal, Gyetsa, Bumthang (National Library & Archives of Bhutan) 8. Yeshi Lhendup, Begana, Thimphu (National Library & Archives of Bhutan) Data collected by: Mr. Yeshi Lhendup, NLAB
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National Library and Archives of Bhutan
https://www.library.gov.bt/archive/
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