Photos
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Manage No PI00005582 Country Bhutan Year 2011-11-26 ICH Domain Oral traditions and representations, Traditional craft skills
| Description | Sek-chung is normally held by the right hand: the middle finger and the thumb help to it hold firmly; the pointer finger is used to press and the ring finger function as the supporter to the Sek-chung tip. The carving is usually started from the right to the left direction. | ||
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| Photographer | Yeshi Lhendup | ||
| Place | Dechenphodrang, lob-dra, Thimphu, Bhutan | File Size | 0.99MB |
| Definition | 300 DPI | File Format | JPG |
| Copyright | Yeshi Lhendup, ICHCAP |
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Materials related to
Photos
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PI00005598
Par-zo, The Art of Woodblock Carving_Used for knowledge and wellbeing
Valuable by the quality of the paper used, the texts printed from woodblocks are considered blessed and sacred. Their contents are authentic. These texts are read, recited, and even paraded around the village to wharf off evil spirits and bless the land with timely rain, bountiful harvest, peace, and tranquility. Both the engraving process and products are integral to Bhutan's Intangible Cultural Heritage.
Bhutan 2011 -
PI00005597
Par-zo, The Art of Woodblock Carving_Respect texts as the speech of Lord Bddha
Thus, in fortresses, monasteries, temples, and even in some private houses in Bhutan, huge collections of ancient scriptures are found.
Bhutan 2011 -
PI00005596
Par-zo, The Art of Woodblock Carving_Printing of religious texts
In Buddhist context, engraved woodblocks are highly revered as they commemorate Buddha and other enlightened beings. The holy textual scriptures as well as woodblocks represents their speech.
Bhutan 2011 -
PI00005595
Par-zo, The Art of Woodblock Carving_Final printing usage
Large volumes of texts are printed from printing houses and distributed to needy institutions, and also sold for the institution development purpose.
Bhutan 2011
Videos
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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 -
VI00000988
Bhutanese Traditional Woodblock Engraving(CLEAN)
#bhutan #bhutantravel #bhutanculture #유네스코아태무형유산센터 #유네스코 Yig-par koni is an adverb that means engraving of scripts which is the art of Xylography, one of the indigenous craftsmanship art of Bhutan. Script engraving is done using special wood locally called Tag-pa shing (Birch: Betula utilis) that flourishes at altitudes varying from 3000 to 4200 meters above sea level. Tag-pa shing can be easily identified by its bark that has a mix red and pink and brown colours alternatively across the trunk like that of a tiger’s skin thus got its name. The art is considered as one of the religious craftsmanship since its significance, production and usage are all connected to spiritualistic believes and purpose. In Bhutan, the presence of skills for making woodblock prints are seen in temples, monasteries and Dzongs (fortress) every part of the country in the form of biographies, excellent teachings of the Buddha printed from woodblocks. The earliest biography is that of Terton (Hidden treasure discoverer) Pema Lingpa (1450-1521), as prophesied by Guru Padmasambava, the epitome of the Secret Teachings of Tantric Buddhism. Terton Pema Lingpa was the last reincarnate of Princess Pema Sal (?), daughter of King Thrisong Deutsan of Tibet. Owing to the propensity of his previous lives, the Terton knew craft works without training, and dedicating his skills to ensure the continuity of the Buddha’s teachings, had made uncountable number woodblocks, available in the monasteries established by the Terton himself and by his sons as well as in the house of a number of his patrons that can be seen even today. Moreover, Thugse Dawa Gyaltshan (1499-1586), the son of Pema Lingpa, had also engraved as many as 614 woodblocks for the collected works and autobiography in memory of his father which is still preserved at the sacred place of Kunzang Drag, Bumthang Dzongkhag (district). After Terton Pema Lingpa and his heart son Thugse Dawa Gyaltshen had started the tradition of woodblock print, Choje Ngagwang Tenzin (1522-1590), the reincarnate of Gartoen who was the son of Phajo Drugom Zhigpo, engraved the biography of Phajo Drugom in about 1570 (C.E). Then, in the 17th century Zhabdrung Ngawang Namgyal, having satisfactorily completed all the activities related to the dual system and before he went into the final retreat (i.e. parinirvana), initiated a project to engrave the collected works of the omniscient Pema Karpo (1527-1592) and all the essential ones and its prints are distributed them to all the monasteries and sangha communities as dharma donations. He created of the seat of Je Khenpo as the overall head of sangha monasteries and ecclesiastical affairs and that of Desi, who functioned as the secular head of the country. He had also appointed officials to fit these high-ranking positions. The successive Je Khenpo and Desis ensured the practice, manage and spread of the teachings and the good system of administration, by engraving unlimited number of woodblocks prints in their respective areas which can be seen still today in all the historical monuments. However, due to the advancement of printing technologies, the National Library & Archives of Bhutan is the only institution that is upholding the xylography art in the country while the practice is turned its form to an oral account. For more information https://www.ichlinks.com/archive/elements/elementsV.do?elementsUid=13874508750347675141
15:12
Bhutan 2023