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. \n\nThe 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. \n\nGenerally 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.

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. \n\nThe 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. \n\nGenerally 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.

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. \n\nThe 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. \n\nGenerally 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.

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. \n\nThe 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. \n\nGenerally 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. \n\nPerhaps, 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. \n\nGradually, 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. \n\nPaper 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.\n\nAlthough, 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.

After four decades, women in Ney village in Gangzur Gewog (block) in Lhuentse revived a tradition of weaving fabrics from nettle yarn that was about to disappear. With the assistance of Tarayana Foundation, local women’s group secretary Yangchen Tshomo led the group to revive and promote kui tha the nettle yarn tradition. According to them, it has been more than 40 years since they saw their grandparents’ weaving fabrics from nettles. Earlier people used to make Thakpa (rope), Khorga (bag), Shingka (ancient female dress), Phatsa (sacks), and Bra-ger (ancient male dress). It is still being used for traditional bowstring in other parts of Bhutan. The foundation also supports the women’s work by marketing the product and they weave tablecloths and scarves, which help them in generating income for their families. \n\nTypes of Nettles: Zea Kuley - further distinguished in two categories:\n1.\tNgoi Kuley (Green)- harvested in July and August \n2.\tSer Juley (Yellow)- harvested in November\n\nAn elderly resident from Ney, Tenzin Wangmo, remembers how they used nettle to weave. According to her, in the past they used a different process of degumming. First, they would dig a hole to fit the nettle bark and built a hard wood fire to heat stones. After that, ash mixed with water was applied to nettle bark and it was placed in hole. The ash was applied to the bark in thick layers to protect it as the hot stones were placed alongside the bark. The ash prevented burns from destroying the fibers, and this was kept for two to three nights. Finally, the thread was washed in running river water and beating continuously until it was white.

After four decades, women in Ney village in Gangzur Gewog (block) in Lhuentse revived a tradition of weaving fabrics from nettle yarn that was about to disappear. With the assistance of Tarayana Foundation, local women’s group secretary Yangchen Tshomo led the group to revive and promote kui tha the nettle yarn tradition. According to them, it has been more than 40 years since they saw their grandparents’ weaving fabrics from nettles. Earlier people used to make Thakpa (rope), Khorga (bag), Shingka (ancient female dress), Phatsa (sacks), and Bra-ger (ancient male dress). It is still being used for traditional bowstring in other parts of Bhutan. The foundation also supports the women’s work by marketing the product and they weave tablecloths and scarves, which help them in generating income for their families. \n\nTypes of Nettles: Zea Kuley - further distinguished in two categories:\n1.\tNgoi Kuley (Green)- harvested in July and August \n2.\tSer Juley (Yellow)- harvested in November\n\nAn elderly resident from Ney, Tenzin Wangmo, remembers how they used nettle to weave. According to her, in the past they used a different process of degumming. First, they would dig a hole to fit the nettle bark and built a hard wood fire to heat stones. After that, ash mixed with water was applied to nettle bark and it was placed in hole. The ash was applied to the bark in thick layers to protect it as the hot stones were placed alongside the bark. The ash prevented burns from destroying the fibers, and this was kept for two to three nights. Finally, the thread was washed in running river water and beating continuously until it was white.

Bilum Fiber Colors\nThere are four primary colors used for bilum in traditional societies of Papua New Guinea: red, black, white, and yellow, which speak of the country's national identity since they constitute the national flag. These are traditional colors that have distinct local dialect names of indigenous communities. The colors blend into different bilum structures depending on which societies they exist. They add flavor of variations and layers in pattern designs. The colors are extracted from local plants for dying fibers for bilum weaving. The process of color-making remains with indigenous communities as custodians of the traditional colors concept.

Body of sound box is made of half shell of a coconut and the arm of violin is made of wood. One third of the coconut is cut off to be make the half shell of coconut. The playing surface is covered with wood flat or bamboo flat. Three strings are put on it. ( The playing surface is covered with leather and under it that is made redundant part of bow.) Silk string, strings of certain tree, bamboo fibers and creeper strings were used in the past time. Nowadays, nylon string and steel string are put on it and it is put on two strings together as double and five strings are put on as another string. It is played at Karean play, the entertainments, Union Day ceremony. It is very important instrument because it can be played together with other instruments.\n-24 inches in length\n-4.5 inches in arms\n-3 inches in under bow

Species of bamboo joint is chopped and dried. The outer surface of bamboo joint is made to be smooth and the external appearance is made a line of bamboo streak. Two bamboo slats are placed a support under the bamboo streaks . It has to be made four bamboo streaks to be distinctly. It was a rare Karean’s bamboo zither. There is no one who can play the Karean bamboo zither. The giant bamboo fibers of bamboo streaks are played to produce song. It has to be played to be relax when the farmer cultivate of the hill side cultivation and taking relax time.\n-19.5 inches in length\n-4 inches in the surface\n-14.5 inches the length of four bamboo streaks

Grandfathers of Lawngwaw people stayed on the moon. When they held offering ceremony of moon edifice, they played Zen instrument. They played Zen Manau drum is played to celebrate Zen Gaw ceremony annually by preserving their tradition. \nTaun Ta Mar wood is made hollow body and two playing surface is covered cow’s skin. Yarn cane fibers put on to make cown’s skin tied and loose. The pictures of moon and sun paint the body of Zen. The striker is struck the drum face to produce song. It is chainging to play according to dancing pattern. It is played Zen Kaw ceremony and when grandparents dead ,their sprits sent to moon. \n-5 feet 4 inches in Length\n-4 feet 10 inches in Girth\n-1 feet 3 inches in Diameter of right drum face\n-4 feet 2 inches in Circumference of right drum surface\n-1 feet 2 inches in Diameter of left drum face\n-4 feet 2 inches in Circumference of left drum surface

Padauk wood is used to make the body and two drumheads are covered with cow-skin and goat skin. The wood has to make a hollow and cow skin or goat skin is tightly stretched over the round frame of Ozi. The leather must be tightly tied with the strings of jute fibers. According to the song, it can be played with hand. It has to play together with the cymbals and gong.\n-3 feet in length\n-10 inches in circumference of drumhead\n-3 feet 2 inches in the girth of Ozi\n-1 feet 5 inches in the girth of body\n-3 feet in the bottom circumference

The find wood is curved into the body of the violin. And the sound box is covered with animal skin. It is used the guitar's number 1 string. The 2 strings violin is played with a bow made of fibers from hemp plants. Sound holes are made underneath. It is tuned to the note of banjo. It is played by pulling the bow along the strings.\n-2 feet in length \n-1 feet 4 inches in length of fret board\n-4 inches in length of sound box \n-3 inches in height of sound box