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 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

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.