Par-zo, The Art of Woodblock Carving_Hoisted prayer flags

The wind helps to flutter the prayer flags and it is believed that fluttering of flag is similar to reading and recitation of prayers. It not only helps to liberate the deceased souls, magnetizing one's fortunes but also the wind touching the prayer flags turns to holy air, purifying the rest of the place benefiting sentient beings in realizing the Buddhahood nature by mere feeling of the air.

Par-zo, The Art of Woodblock Carving_Woodblock engraving

Normally, hardwood such as la-tag (birch; betule utilis), lung-tag (birch; betula alnoides), Tsen-den (cypress; cupressus corneyana), Ta-go (walnut; Juglans regia), etc. are often used for engraving.

Sing-si (Oil Extracted from Parasassafras Confertiflora Fruits)

Sing-si is a type of oil/ghee produced manually. It is purely made with locally available materials and doesn’t mix any imported ingredients unlike the oil which are available in the market today. The main ingredient used is the Se-lung- a black small oily seed. Its scientific name is Parasassafras Confertiflora. The Se-lung tree is either wild or domesticated. Usually, in bygone days, it is believed that almost many villages had a trend of processing Sing-si, however, the trend wasn’t famous unlike Thongsa village under Chongshing Gewog (block) in Pemagatshel. According to grandma Nimdaza who is seventy-four years old, processing of Sing-si was part and parcel of their lives and members from every household were engaged in performing chores of Singsi production. Further she says that the labor contribution was also done depending upon the number of members present in the household. More than one worker was engaged from the household which had more family members. The materials needed were –Tsir (a small bamboo basket), Mar-kang (wooden block), plank, stones, Neetong-ma (pestle), frying pan, Luu (pounding stone). The Sing-si was used mainly for offering butter lamps. Other secondary uses were for human and animal consumption. Humans consumed it as there weren't imported oils available those days in the shops.

Yig-zo (Calligraphy)

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.

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It is observed as one of the most important annual events in Buddhist monasteries and institutions. ‘Yar’ means ‘summer’ and ‘ney’ means ‘to stay or abide in’. The Sanskrit term for Yarney is Varsavasa (varsa means ‘rains or rainy season’ and vasa means ‘dwelling or residence’) meaning ‘residence for rainy season or residence during rains’. The term widely used in Bhutan is Yarney which literally means Summer Retreat. The origin of Yarney can be traced back to Lord Buddha some 2600 years ago in India. The first Buddhist monks did not build monasteries and temples; they were mostly homeless and solely depended their sustenance on alms round. However, during summer, it was not practical for Lord Buddha and his Sangha to make daily customary alms round from village to village and teaching tours due to heavy monsoon rains. Summer was also the peak time when insects and worms would reproduce and inhabit the muddy walkways and small plants and newly planted rice paddies would start budding in the fields. It was also common trend at that time for Non-Buddhist (Tirthikas) to criticize and accuse the Buddha’s practice of alms round, reasoning that especially during the summer walking around for alms round killed several animals and insects. So in order to protect insects and worms being injured or killed while walking as well as crops in the fields from being crushed; or avoid injuring themselves due to the monsoon rains, flooding and displaced wildlife and also to avoid being criticized and accused by non-Buddhists for killing tiny beings, the Buddha established a rule that members of Sangha would not travel during the monsoon rains. Instead, they would remain within the premises of their residences or dwelling places (monasteries) each summer as summer or rainy season retreat. The place where "Yarney" was observed must be conducive to spiritual and mental development of the monk as one of the main object of observing "Yarney" was to practice meditation besides preaching the Dharma more often to lay devotees. The period for the retreat was determined as three months by lunar calendar and, would usually start in June or July and would continue until sometimes in September or October. Since then, there came into practice formally the precept of observing Yarney – the retreat during summer or the rainy season by Buddhists. The Buddha and Sangha would stay and spend days in their residences. This was a period for Sangha to spend time in quiet and serious meditation, give Dharma talks and help laypeople and junior Sangha members in spiritual development. It was also opportune time for them to clarify their understanding of every aspect of the Buddha’s teachings (through questions and answers), based on which in the later period of time that the sutras were said to have been written down.}

Yarney: the Summer Retreat

Yarney is one of the mainstays of monastic life in most of the Buddhist countries from the time of Buddha until today. It is observed as one of the most important annual events in Buddhist monasteries and institutions. ‘Yar’ means ‘summer’ and ‘ney’ means ‘to stay or abide in’. The Sanskrit term for Yarney is Varsavasa (varsa means ‘rains or rainy season’ and vasa means ‘dwelling or residence’) meaning ‘residence for rainy season or residence during rains’. The term widely used in Bhutan is Yarney which literally means Summer Retreat. The origin of Yarney can be traced back to Lord Buddha some 2600 years ago in India. The first Buddhist monks did not build monasteries and temples; they were mostly homeless and solely depended their sustenance on alms round. However, during summer, it was not practical for Lord Buddha and his Sangha to make daily customary alms round from village to village and teaching tours due to heavy monsoon rains. Summer was also the peak time when insects and worms would reproduce and inhabit the muddy walkways and small plants and newly planted rice paddies would start budding in the fields. It was also common trend at that time for Non-Buddhist (Tirthikas) to criticize and accuse the Buddha’s practice of alms round, reasoning that especially during the summer walking around for alms round killed several animals and insects. So in order to protect insects and worms being injured or killed while walking as well as crops in the fields from being crushed; or avoid injuring themselves due to the monsoon rains, flooding and displaced wildlife and also to avoid being criticized and accused by non-Buddhists for killing tiny beings, the Buddha established a rule that members of Sangha would not travel during the monsoon rains. Instead, they would remain within the premises of their residences or dwelling places (monasteries) each summer as summer or rainy season retreat. The place where "Yarney" was observed must be conducive to spiritual and mental development of the monk as one of the main object of observing "Yarney" was to practice meditation besides preaching the Dharma more often to lay devotees. The period for the retreat was determined as three months by lunar calendar and, would usually start in June or July and would continue until sometimes in September or October. Since then, there came into practice formally the precept of observing Yarney – the retreat during summer or the rainy season by Buddhists. The Buddha and Sangha would stay and spend days in their residences. This was a period for Sangha to spend time in quiet and serious meditation, give Dharma talks and help laypeople and junior Sangha members in spiritual development. It was also opportune time for them to clarify their understanding of every aspect of the Buddha’s teachings (through questions and answers), based on which in the later period of time that the sutras were said to have been written down.

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Dazo, The Art of Traditional Bow and Arrow Making in Bhutan_Fletching

Four equal lengths of around 14cm cello tape are cut out and pasted together on one end of the shaft using traditional glue made from animal hide called Lachhu. The cello tapes are glued and pasted perfectly to ensure that cellotape-made feathers are not twisted, if the feather get twisted, then the arrow become worst than one with twisted shaft.

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Yig-zo (Calligraphy)

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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)."], "SHOOT_DT": ["‎Tuesday, ‎April ‎26, ‎201"], "SJ.en-US": ["Sing-par tab-ni (Xylographic printing)"], "FORMAT": ["JPEG"], "GIS_LO_LA": ["27.4832964,89.6326392"], "MANAGE_NO": ["PI00006835"], "METERIALS_PHOTO": [{"SJ": ["Sing-par tab-ni (Xylographic printing)"], "RM": ["Sing-par tab-ni (Xylographic printing): Associated tools @ NLAB, Thimphu"]}], "ADRES.en-US": ["National Library & Archives of Bhutan, Thimphu"], "SIZE": ["6.50 MB"], "NATION_CDS": ["BT"], "CPYRIGHT.en-US": ["NLAB"], "CCL": ["CC-BY"], "ICH_DOMAIN": ["UD_05"], "HID_PHOTO": [], "SHOOT_MAN.en-US": ["Yeshi Lhendup"], "OTHBC_YN": ["Y"], "COLCT_PLACE.en-US": ["ICH of Bhutan data."], "COLCT_DT": [""], "PIX": ["300dpi"], "KEYWORD.en-US": ["woodblock,printing,xylography,scriptures,buddhism"]}, "metasetI18NCd": ["en-US", "dz-BT"], "metasetIds": ["ICH_PHOTO"]}, ICH_PHOTO.CPYRIGHT=, ICH_PHOTO.OTHBC_YN=Y, GIS_LO_LA=[B@410842e1, ICH_PHOTO.NATION_CDS_NM=འབྲུག།, ICH_PHOTO.PIX=300dpi, ICH_PHOTO.METERIALS_PHOTO.0={SJ=[Sing-par tab-ni (Xylographic printing)], RM=[Sing-par tab-ni (Xylographic printing): Associated tools @ NLAB, Thimphu]}, ICH_PHOTO.METERIALS_PHOTOs=, ICH_PHOTO.CCL_NMs=BY- གསར་བཟོ་འབད་མི་འདི་ལུ་ ངོས་འཛིན་འབད་དགོ།, ICH_PHOTO.OTHBC_YN.0_NM=མི་མང་གིས་མཐོང་ཚུགསཔ།, ICH_PHOTO.OTHBC_YN_NMs=མི་མང་གིས་མཐོང་ཚུགསཔ།, ICH_PHOTO.SHOOT_DT.size=1, ICH_PHOTO.COLCT_DT=, ICH_PHOTO.FORMAT.size=1, ICHDATA_PARNTS_UID=, ICH_PHOTO.ICH_DOMAINs=, ICH_PHOTO.COLCT_PLACE=, ICH_PHOTO.OTHBC_YN.size=1, DC=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).}

Sing-par tab-ni (Xylographic printing)

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).

གཞུང་བརྔོ་མཛརཝ།

གཞུང་བརྔོ་མཛརཝ་ཟེར་མི་འདི་ ཆུམ་གྱི་རིགས་མ་འདྲཝ་ཚུ་ བརྔོ་སྟེ་བཟོ་ཡོད་པའི་ ཡོངས་གྲགས་ལུ་ ཇ་རྩམ་གྱི་རིགས་ཅིག་ལུ་སླབ་ཨིན། མཛརཝ་ཟེར་མི་ཐ་སྙད་འདི་གི་དོན་དག་འདི་ཨིན་ཟེརཝ་ ངག་རྒྱུན་དང་ ཡིག་ཐོག་ག་ཏེ་ཡང་བཀོད་འདི་མེདཔ་ལས་ དུས་དང་ཕུ་ལས་ ཁ་རྒྱུན་སྦེ་སླབ་སྲོལ་དར་ཏེ་ཡོད་པའི་མིང་ཅིག་ཨིན་མས། གཞུང་བརྔོ་མཛརཝ་འདི་ ལོ་བསྟར་ལོ་ཆོག་གི་སྐབས་ལུ་དང་ ལོ་གསར་ཉི་ལོག་ཚུ་གི་སྐབས་ལུ་ ཇ་རྩམ་མེད་ཐབས་མེདཔ་ཅིག་ཨིན་པའི་ཁར་ མཛརཝ་ལྷམ་པ་མ་འདྲཝ་ཚུ་ ཚོགས་རྫས་སྦེ་ཡང་སྒྲིག་སྲོལ་ཡོདཔ་ཨིན། མཛརཝ་འདི་ མར་དང་གཅིག་ཁར་སྒྱེས་ཏེ་ མཛརཝ་མར་སྒྱེས་ཟེར་ ཇ་རྩམ་གྱི་ལྷམ་པ་བསྒྲིགས་ཡོད་པའི་གྲས་ལས་ ཇ་རྩམ་རྡིག་ཤོས་ཅིག་སྦེ་རྩིཝ་མ་ཚད་ སྤྱིར་བཏང་ གྲོང་གསེབ་གཡུས་སྒོ་ཚུ་ནང་ མེད་ཐབས་མེདཔ་ཅིག་སྦེ་བརྩིཝ་ཨིན། འདི་ཡང་ ཁྱིམ་ནང་ ནང་གི་ཨ་མའི་ལག་ཤུལ་བདེ་ནིའི་དོན་ལུ་ མཛརཝ་འདི་ དུས་ཨ་རྟགས་ར་ མ་ཆད་པར་བཞག་ཞིནམ་ལས་ ཁྱིམ་ནང་ མགྱོནམོ་ དྲག་ཞན་ཆེ་ཆུང་ ག་བཟུམ་ཅིག་འོང་རུང་ བསུ་བ་ ཇ་དང་མཛརཝ་ ཡང་ན་ ཆང་གི་འབདཝ་ཨིན་མས། གཞུང་བརྔོ་མཛརཝ་ བརྔོ་ཐངས། - ངངམ་བྱཱ་ཆུམ་འདི་ ཐབ་ཁར་ཆུ་དུགཔ་སྦེ་བཀོལ་ཏེ་ ས་ཁར་ཕབ་བཞག་ཞིནམ་ལས་ དྲོད་རན་ཏོག་ཏོ་འགྱོཝ་ད་ ཆུམ་འདི་སྦང་ཞིནམ་ལས་ ཞག་གཅིག་བཞག་དགོ། - དེ་ལས་ དྲོ་པ་མཛརཝ་བརྔོ་རནམ་ད་ ལག་ཅུང་ནང་བླུགས་ཏེ་ཆུ་འཛག་བཅུག་དགོ། - ལག་ཅུང་ནང་ལུ་ ཆུ་ཧོ་འཕྲོས་འཕྲོས་མ་ཐོན་ཚུན་ བཤལ་ཞིནམ་ལས་ ཆུ་ལེགས་ཤོམ་སྦེ་བཙག་བཀོ་དགོ། - ལྷ་ང་ནང་མི་སྦྱར་ནིའི་དོན་ལུ་ མར་ཁུག་དུམ་གྲ་ཅིག་བླུགས་ཏེ་སྒྱེས་དགོ། - དེ་ལས་ ལྷ་ང་ནང་བླུགས་ཏེ་ གསེག་གསེམ་གྱིས་དཀྲུག་ཅི་ར་བརྔོ་ཞིནམ་ལས་ མཛརཝ་སེར་རུ་རུ་འགྱོཝ་ད་ ཨམ་པ་གིས་བཏབ་ཏེ་ཕབ་དགོ།

Dazo, The Art of Traditional Bow and Arrow Making in Bhutan_

Dazo, the art of traditional bow and arrow making is an important intangible cultural element of Bhutan but the skills involved in the art is fast disappearing. The traditional bamboo bows and arrows were used to play archery. Archery is Bhutan’s national game. It is a popular sport especially among the male population. Archery promotes social cohesion, harmony and the preservation of tradition and shared values. But the use of traditional bows and arrows are increasingly becoming unpopular owing to a large number of people preferring to use foreign bows and arrows over the traditional ones, which are now easily accessible in the market. This has led to decline in the skills involved in making of the traditional bamboo bows and arrows. Today, there are only few people who acquire the skills required to make the traditional bow and arrow.

Kishuthara (The Silken Kira (Bhutanese women dress)

Kishuthara (the silken kira), is a native intricate patterned silk textile woven on Thakshing (backstrap loom). particularly Khoma Gewog (block) under Lhuentse Dzongkhag (district) where it become the production hotspot of the Bhutanese woven textile in the country.

Ging Tshogling Cham: Wrathful War Dance.

This dance was introduced in the 15th century by Pema Lingpa, to whom it was revealed in a vision. When King Thrisong Detsen of Tibet was building Samye monastery in Tibet, Guru Rinpoche applied his supernatural powers and manifested in the form of Ging, representing immense positive force to combat and subdue the evil spirits that were hindering the construction of the monastery, which was an important part of establishing the teachings of the Buddha. The dance depicts Zangdo Pelri, the paradise of Guru Rinpoche. The enlightened sages of India and Tibet are seated in a row on his right and the scholars are seated on his left. In the intermediate areas are the 108 treasure discoverers who are his incarnations and his 25 disciples including King Thrisong Detsen. The inner dance, called the Ging dance, is performed by an assembly of spiritual heroes, deities and dakinis in their peaceful and wrathful forms. The outer dance called Tsholing is performed by the the Tsholings, terrifying deities seen as protectors of the religion. After they have destroyed the evil spirits symbolised by an effigy in a black box they are chased away by the Ging, who then perform a victory dance while beating their drums. The Tsholing dancers wear long colourful dresses and terrifying masks, while the Ging dancers wear imitation tiger skins and terrifying masks with a flag on the top and carry drums in their left hands and drumsticks in their right. This dance symbolises the victory of good over evil.

2016 Field Survey Report: Intangible Cultural Heritage Safeguarding Efforts in Bhutan

Based on the ICHCAP Field Survey on Intangible Cultural Heritage Safeguarding Efforts in some South Asian countries (2010–2013), this summary provides a brief overview on the ICH situation in Nepal, Bhutan, Bangladesh, Pakistan, and Sri Lanka . The summary focuses mainly on ICH safeguarding systems, safeguarding policies, and ICH inventories as well as on pending issues and the urgent safeguarding needs of these countries. Moreover, information on the main entities in charge of ICH safeguarding and opinions of each country on the issue of community involvement are provided. To give a quick overview these countries’ participation in ICH safeguarding at the international level, some additional information related to UNESCO is specified as well. Some information on the ICH safeguarding status of Pakistan is updated, based on Periodic Report No.00794/Pakistan on the implementation of the Convention and on the status of elements inscribed on the RL submitted to UNESCO on December 2012. This survey report offers a large sample of the diverse ICH situations in South Asian countries. Each country has a different background on the issue of intangible heritage. Although all the participating countries are concerned about the threats facing ICH, most of the countries participating in the survey haven’t defined the ICH and haven’t established national ICH lists and/or ICH inventories.However, each country expresses a high degree of motivation and encouragement for safeguarding on ICH, sharing experiences, and cooperating internationally. A common point noticed among them is that they tend to pay more attention to traditional performing arts in comparison to other ICH domains. Apart from the main subject, information on the situation of intellectual property related to ICH safeguarding in each country is included. However, this issue is very briefly reflected, so it is necessary to go through the ICHCAP Field Survey on Intellectual Property Issues in the Process of ICH Information Building and Information Sharing (2011–2012) to obtain more comprehensive and concrete information on this topic. - Ratified the ICH Convention in 2005; conducted survey in 2010. - As of April 2013, has one element on the RL of UNESCO and no accredited NGOs.

INTANGIBLE CULTURAL HERITAGE OF BHUTAN

The book describes different elements of Bhutanese intangible culture under five chapters. Learning, studying, promoting and transmitting the Bhutanese culture, and its essence — the intangible cultural heritage — is a sublime obligation for each and every Bhutanese today. This book will not only serve as a basic manual for the study of the ICH of Bhutan for the future generations, but also inspire them to renew and share their awareness of (and engagement in) the research of our culture and traditions.

2010 Field Survey Report: Intangible Cultural Heritage Safeguarding Efforts in Bhutan

Based on the ICHCAP Field Survey on Intangible Cultural Heritage Safeguarding Efforts in some South Asian countries (2010–2013), this summary provides a brief overview on the ICH situation in Nepal, Bhutan, Bangladesh, Pakistan, and Sri Lanka . The summary focuses mainly on ICH safeguarding systems, safeguarding policies, and ICH inventories as well as on pending issues and the urgent safeguarding needs of these countries. Moreover, information on the main entities in charge of ICH safeguarding and opinions of each country on the issue of community involvement are provided. To give a quick overview these countries’ participation in ICH safeguarding at the international level, some additional information related to UNESCO is specified as well. Some information on the ICH safeguarding status of Pakistan is updated, based on Periodic Report No.00794/Pakistan on the implementation of the Convention and on the status of elements inscribed on the RL submitted to UNESCO on December 2012. This survey report offers a large sample of the diverse ICH situations in South Asian countries. Each country has a different background on the issue of intangible heritage. Although all the participating countries are concerned about the threats facing ICH, most of the countries participating in the survey haven’t defined the ICH and haven’t established national ICH lists and/or ICH inventories.However, each country expresses a high degree of motivation and encouragement for safeguarding o ICH, sharing experiences, and cooperating internationally. A common point noticed among them is that they tend to pay more attention to traditional performing arts in comparison to other ICH domains. Apart from the main subject, information on the situation of intellectual property related to ICH safeguarding in each country is included. However, this issue is very briefly reflected, so it is necessary to go through the ICHCAP Field Survey on Intellectual Property Issues in the Process of ICH Information Building and Information Sharing (2011–2012) to obtain more comprehensive and concrete information on this topic. -Ratified the ICH Convention in 2005; conducted survey in 2010. -As of April 2013, has one element on the RL of UNESCO and no accredited NGOs.