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.

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.

The Art of Calligraphy and writing is not only the fundamental need of academic knowledge but it is also an essential skill required preserving and promoting religious teachings. It not only requires academic intellects but most important the hand-skill of calligraphy. The origin of the calligraphy as per Lam (Spiritual master) Ugyen Tenzin Yoezer, popularly known as Lopen Nado, who was then the Advisor to the Department of Education on Dzongkha Development in Bhutan says that, there was a natural system of using words and phrases in oral communications such as conversations, discussions, and official announcements, consistent with the general practice. Development of the system of communication through the writing of letters and documentation had not been widespread. During the second visit of Guru Padmasambhava to Bumthang was in the 8th century, he was accompanied by one of his 25 principal disciples’ names Denmang Tsemang. At that time Guru Padmasambava gave the sacred teachings of the Secret Mantra to the King Sindhu Raja, but it was said that there was no system of writing in the country that time. So, it was Denma Tsemang who transcribed the transmitted teachings for the King’s practices and thus the beginning of the tradition of writing in Bhutan. Thereafter in the 15th century, Terton Pema Lingpa (1450-5121) transmitted the writing tradition to his heirs until the dawn of 17th century when Zhabdrung Ngawang Namgyal (1594-1651) established the State Government by initiating the Monastic Body where the Calligraphy section (Yig-zoi-de) was particularly set for the monks to impart and learn art of calligraphy. It was necessary not only or writing and learning for oneself but, for the woodblock engraving projects that was thriving in Punakha Dzong initiated mainly for the flourishment of the Buddhist teaching in the country. Later, the art was perpetuated and practiced by the successive Je Khenpos (chief abbot) and Druk Desis (temporal secular rulers) and Monarchs until now. Some of the remarkable calligraphers that are enlisted in the Bhutanese history were; 1.\tDenma Tsemang 9th century 2.\tNgawang Penjor as Dzongpon and Ngedup Penjor (1964) 3.\tDrungyig Zimchenpa Tandin Wanggyel 17th century 4.\tLopen Wangdue 17th century 5.\tLopen Phuentso 17th century 6.\tTshewang Dorji 17th century 7.\tLopen Gangchen, also called Kuenga Pelden, 19th century during the reign of Desi Jigma Namgyal (1825-1881) 8.\tDrungyig Tshewang Ngodrup, 19th century during the reign of His Majesty the 1st King Ugyen Wangchuck (1862–1926) 9.\tGonpo Tenzin from Lingzhi, 19th century during the reign of His Majesty the 1st King Ugyen Wangchuck 10.\tZhongar Dzongpon Kuenzang Wangdue, 20th century during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 11.\tDrungyig Tsowo Dasho Kezang Dawa, during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 12.\tTangbi Kezang, during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 13.\tUra Yeshey Wangdi, during the reign of His Majesty the 2nd King Jigme Wangchuck (1862–1926) 14.\tSonam Peljor, 15.\tDasho Gaydon Thinley Dorji (?) 20th century during the reign of His Majesty the 2nd and 3rd King Jigme Dorji Wangchuck (1929–1972) 16.\tDasho Shingkhar Lam Kuenzang Wangchuk (?) 17.\tSey Dopola Aka Dasho Phuntsho Wangdi (1892-1953) 18.\tLam Norbu Wangchuk (?), 21st century during the reign of His Majesty the 4th King Jigme Singye Wangchuck (1955–) 19.\tYarab Aja Lama Drodul Zhenphen Dorji Tenzin (1921-2005) 20.\tLam Pema Tshewang, (1926-2009), 21.\tLopen Gonpo Tenzin from Chumey, Bumthang 22.\tLam Nado from Namgyal Dratshang (?) 23.\tDasho Tenzin Dorji (1928-2012) 24.\tLam Tenzin from Ramjar, Tashi Yangtse 25.\tChabje Geshey Gedhun Rinchen (1926-1997) 26.\tChabje Khenchen Ngawang Tenzin Doendup, 68th Je Khenpo (1925-2020) 27.\tLopen Daupo from Bartsham 28.\tLam Kuenzang Wangdi (aka Lam Nyingkhula) 29.\tLopen Yonten Gyaltshen, Central Monastic Body 30.\tDasho Sangay Wangchuk Generally, there are five types of calligraphy writing; U-chen (Block script), U-mey (Headless script), Len-tsa (Rajana script), War-tu (a type of Indian script) and finally the Jog-yig (the typical Bhutanese script). Amongst these scripts, Len-tsa and War-tu scripts are mainly used as decorative scripts, while U-chen is more common in writing Buddhist canons, ritual scripts and even for the formal corresponding letters and Jog-yig script is just for writing formal records and corresponding letters. Regarding U-mey script, though it is rare to its usage bring a Tibetan script but there are some calligraphers knowing how to write. However, the tradition of writing i.e. Calligraphy has been greatly hampered and left on the verge of dying tradition due to the emergence of computer technology and available fonts in the country. Yet, there are still well known and skilled calligraphers which are mostly used by His Majesty’s Kangyur Project for writing Golden Scriptures of Buddhist Canon and even by some individual Spiritual masters which have helped in reviving and revitalizing the art in the country.

In the Lhotsam (Southern Bhutanese) community, baby shower is an event observed on the eleventh day after the birth of a baby, which is generally understood as the naming of the new born baby. In fact, the act of performing “Nauran” relates to Hindu Holy Scriptures and it is done as a cultural and religious mandate. It is performed by all casts like the Rai, Gurung, Ghalley, Chhetri or Brahmins in Hindu religion following the same process on the eleventh day which is regarded auspicious.

Yoga is a time honoured Indian holistic system of personal, physical, mental and spiritual wellness focused on all-round unification of body, mind and soul. Traditionally handed down over the centuries from teacher –Guru to disciple –Shishya, who after attaining mastery become a Guru to teach others. While Indian mythology traces the origin of yoga to the God Shiva as the first teacher its presence is well documented in Indian textual tradition from the Rigveda dated between c. 1500–1200 BCE to Satapatha Brahmana texts of 300 BCE to the philosophical treatises of the Upanishads – Mundaka and the Bhagvad Gita dated before fifth or fourth century BCE. The sage Patanjali systematised the text in his treatise -Yogasutras dated 400 CE while many other great sages and Yoga masters contributed to the furtherance of the system and its practice through their writings. The practice of Yoga leads to the union of individual consciousness with universal consciousness to attain harmony between the elements. The aim of Yoga is to realize the inner self, to mitigate all kinds of sufferings and to pave way for attaining the state of liberation. Yoga practices include Yama or five abstentions, Niyama-five observances, Asana –postures, Pranayama -Suspending Breath, Pratyahara –Abstraction, Dharana –Concentration, Dhyana –Meditation, Samadhi - Full integrated consciousness, Bandhas –Lock, Mudras – Gestures, Shat-karmas - Cleansing practices, Yukta-ahara - Holistic food, Yukta Karma -Right Action and MantraJapa -Chanting sacred words. Yogic practices have helped many millions learn to maintain a balanced way of life.

India 2016

As one of the conventional skills, China Engraved Block Printing Technique includes a series of processes: cutting tools are applied to the engraving of characters or patterns on wooden blocks, ink and paper are utilized for printing purpose and the printed book pages are bound into books. Historical cultural relics show the application of engraved block printing technique dates back to the end of the 6th century and early 7th century. The invention and application of engraved block printing technique in China has made tremendous contributions to the progress and development of human civilization thanks to its functions typical of recording and transmitting thoughts, knowledge and experience of human society.

China 2009

The Viet Belief in Mother Goddesses of the Three Realms is a form of worshiping the Mother Goddesses of the realms of the universe: sky, water, mountains and forests. From the 16th century, this belief became a religious and cultural activity that had a profound effect on the social life of the people. The Princess Liễu Hạnh and other Mother Goddesses governing the sky, water, mountains and forests, together with historical and legendary figures have been worshiped by communities. Daily worship rites are performed by custodians at the temples. Practices related to the Việt belief in the Mother Goddesses of Three Realms, known as lên đồng spirit mediumship, in particular at Phủ Dầy temple (Kim Thái commune, Vụ Bản district, Nam Định province) where Princess Liễu Hạnh, a leading figure in the Mother Goddess cult, is venerated. It takes place from the 3rd day to the 10th day of the third lunar month with special folk performances such as arranging letters, procession of Buddhist scriptures. Traditional cultural costumes, music, dance, folk performances of lên đồng spirit mediumship clearly show the unique cultural identity of the Viet people.

Viet Nam 2016

Statues, stupas and other religious structures are common sights in Bhutan. They are gorgeous to look at but without proper zung or inner relics, they have no spiritual values. If the statue is not filled in with the zung, it is believed that malevolent spirits get into the statue and cause harm to people. Therefore, installing zung in these structures is very important. With the installation of zung, the religious structure or statues become a living entity capable of bestowing blessings. Zung bestow them with spiritual importance and sacredness, hence inserting zung is tantamount to installing a soul in the body. Ideally, zung offering should be done by an ordained monk who does not eat meat, onion, garlic, drink alcohol, smoke or chew tobacco and has taken the vow of celibacy, but such a person is very rare to find in this modern era. Zung consists of scriptures in the form of mantras or prayers, and precious objects, supported by a sogshing (life wood) in the centre. The sogshing must be a fruit bearing tree with fragrant leaves such as juniper, cypress or sandalwood. It is cut into four sides tapering towards the tip while its base is kept in vajra shape. The whole sogshing is painted red and mantras are inscribed on the four sides in gold. The size of the sogshing depends on the height of the statue or stupa. Mantra rolls are an important component in filling the religious objects. Thus, Holy Scriptures or mantras are printed and rolled but each roll is marked to ensure the right order of the scripts for installation, as Bhutanese believe that installing scriptures upside down may cause more harm than good. Various other important components such as body, speech, and mind relics of great lamas, precious metals and a small statue (terma) are placed around the sogshing, which is then wrapped in silk brocade. After fitting the sogshing, rolls of mantras printed on papers and stuffed with sandalwood powders along with incense are arranged around it. The stuffed items will keep the zung items firmly in their respective positions. When every possible space is completely filled, the base is sealed with a bronze sheet. Finally, a consecration ceremony is performed to make the object fit for worship and refuge.

Generally, there is three wrathful tantric rituals; Nen (suppression), Seg (burn) and Phang (throw), exorcize and overcoming destructive evil spirits which the rituals reveal to be our own negative thoughts. In the Norbugang village community there are only a few households who organize the Se-nen ritual, which is performed along with the annual ritual called Lha-sey (lha gsol). Locally called Se-dam-pey, “burying the evil spirits,” the power of blessing of this annual ritual suppresses the source of ill-luck, famine, drought, diseases, quarrels, untimely deaths, and other unfavorable circumstances for the forthcoming year. It bestows peace and tranquility to the members of the family and the community as well. Se-dam-pey is performed according to the Lama Nor-jam liturgy text of the Pema Lingpa tradition, and it also includes local variations and worldly activities such as using household items to suppress the spirits and cheering with songs while dragging the Se to be buried. Locals believe this ritual was performed by Guru Padmasambhava while building the majestic Samye monastery in Lhasa, Tibet in the 8th century. Padmasambhava was invited by the Tibetan King Trisong Detsen to build Samye monastery after Vairocana, the eminent translator, could not control the evil activities at the construction site through compassionate acts. When Guru Padmasambhava arrived he used his unique accomplishment in tantric methods to summon the soul of the evil spirits and gather the country’s bad fortune which he suppressed into the ground and buried underneath the foundation of the building, concealed by vajra seal. Thereafter, the construction of the monastery proceeded without unfavourable circumstances or evil accidents. The final monastery was magnificent and could propagate the tantric teachings. Those teachings were brought to Bhutan by Guru Padmasambhava himself in the mid-eight century, and propagated by numerous eminent Vajra practitioners. Se-nen is revered as one of the most grand and powerful blessing rituals. In contemporary practice, the ritual is conducted by a community for the benefit of the people and is dedicated to all sentient beings. The power of the ritual is believed to suppress negativity and evil spells and leave blessings of peace, happiness and tranquillity. Prerequisite tools to prepare Se: -\tSe-ama or Se-lud (effigy representing the evil spirit), a painted human face on a boiled egg. -\tChong (gourd) to conceal the effigy. Although the original text requires a monkey skull to conceal the Se-ama, villagers use a gourd. -\tThe anchor is inserted through the knot and the rope is fastened to drag the Se ama into the Se-ga gang hole. -\tGo-tham shum (Egg shell to draw the face of the Se-ama -\tNab-sang (black cloth) for wrapping the gourd -\tKud-pa ney-nga (five colored thread) to bind -\tLa-cha (lacquer) for sealing -\tTek-pa (anchor) for clinching -\tRong-shong (rope) for pulling -\tThag-chey (all the traditional weaving tools) -\tNye-shing (pestle) -\tTok-tsi (small mortar and pestle) -\tGu-ga gang-che (drum handle) -\tRol-moi gang-che (cymbal handle) -\tSe-ga wang (hole to bury the Se-ama). The hole is usually dug just outside the threshold of a door. It is believed that the Se ama buried there will always remain underneath people’s feet.

Gelong, monks and Zhung Dratshang, Central monastic body or Geduen lobdra, monastic schools in Bhutan play an important role in religious and cultural life of the different sections of society. In the past, each family enrolled at least one of their sons into the local monastery, so that monks constituted a considerable proportion of the male population. Although this percentage has declined with the passage of time, the roles of the monastic community have increased in recent years. The Head Abbot or Je Khenpo, who is responsible for the nation’s religious affairs, holds a prominent place in the social and cultural life of the people. Five deputies or senior masters assist him in supervision across the kingdom. Below them are the monks of other ranks with specific responsibilities. A boy may be enrolled in the monastery at an early age, on an auspicious day. He starts to wear the maroon robe and his head is shaved. The novice receives ordination step by step, based on the monastic code of conduct specified in the Vinaya. The curriculum begins with the learning of the alphabet, spelling and reading, and advances to the memorisation of prayers and other relevant texts besides observing daily monastic rules of discipline. They also learn various ritual arts, metrical rhymes, trumpet playing, making ritual cakes etc. As they proceed to higher classes, they learn grammar, prosody or literary science, in preparation for pursuing higher Buddhist philosophical studies. After having gained a basic proficiency in religious studies from the monastic schools, the monks graduate to higher Buddhist philosophical studies. Besides emphasising liturgical, doctrinal and esoteric scriptures, monastic education also offers training in the auxiliary sciences and arts such as medicine, astrology, calligraphy, painting and grammar. The novice monk is eligible for full ordination only after the successful completion of a graded nine-year course. The entire period of study encompasses fifteen to twenty years. Needless to say, many whose abilities fail to meet the progressively higher standards settle for the lesser monastic grades, while the select few, in accordance with their accomplishments, rise up the hierarchical ladder. The monk’s education does not end with his gaining proficiency in Buddhist studies alone in the Buddhist colleges. After receiving theoretical teachings, he must undergo retreat for three years to practice meditation, called ‘losum choesum,’ which means three years and three faces of a month (the first face from the 1st day to the 15th day which is known as upper-face, the second face from the 16th to the 30th, known as the lower-face. Choesum means a complete month – upper and lower faces – and the upper face of the following month, which makes one and a half months). Performances of rituals on daily, monthly and annual basis are part of the normal monastic life. The monk must master different types of instruments including the trumpet, drum, clarinet and cymbals. Since almost every important occasion in the life of the average Bhutanese is coloured with religious significance, monks also visit households to perform annual rites for diverse occasions such as birth, marriage, sickness, death, construction of houses, promotion of senior officials, inaugural functions and many other day-to-day needs.

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.

Lha-soel (Lha means local deity and soel means offerings) is the ritual performed annually seeking assistance and blessing from the local deities with the offering and recitation of religious scriptures. Unlike rituals in other places in western Bhutan depending on the need and purposes, the people of Bem si-si, under Toebesa Gewog (block) perform this Lha-soel annually mostly towards the end of the year beginning from October till December month with the presence of the entire family members. As far as history is concerned there is no exact date of origin of this ritual. However, the village households herein perform Lha-soel that is passed down from the forefathers. This ritual originated from the Bonism commonly known as Nak-choe (ritual requiring animal sacrifices) wherein animals such as pigs and oxen were slaughtered for the offering. However, on later dates as per respondents, with blessing and order from the 70th Je-Khenpo (Chief Abbot) Trulku Jigme Chhoeda (1955- ) to avoid killing animals for the purpose of the rituals. The locals in Bem si-si started to offer butter, cheese, and fruits unlike before who used to offer meat, lungs, and blood along with the ritual cakes. Oral traditions say that Lha-soel is considered the most festive occasion of an individual household to gather all the family members who are now in challenge due to expenditures and lack of manpower. However, people in villages believe that these ritual practices are embedded in the lifestyles and traditions for ensuring prosperity, wealth, and long life besides the adoption of it as a medium for the higher Buddhist spiritual message, thus, individual households never fail to perform despite the challenges. The challenges the Lha-soel undergo is accrued that the too many of the present generations are engaged in the schools, colleges, and universities and gives priority to the curriculum in schools that lacks the knowledge of this very ritual in particular. Therefore, the children, unlike in the past who resided in villages, knew and easily inherited the cultural and traditional legacies of their time which decline today. Even though the majority of the younger population resides in the urban areas, therefore, only the older people are left in the villages observing rituals on behalf of all the family members.