Royal Textiles from the Land of the Peaceful Dragon – Kingdom of Bhutan

An exhibit of four artifacts from the Textile Museum’s permanent collection will be on display at the National Museum – Palace of the Grand Dukes of Lithuania for the exhibition titled ‘ Royal Textiles from the Land of the Peaceful Dragon- Kingdom of Bhutan’ in collaboration with the Embassy of Lithuania, New Delhi, India to celebrate ‘Pivot to Asia- Challenges & Opportunities’ a international conference organized by the Ministry of Foreign Affairs, Lithuania. The conference aims to look deeper into challenges of the West-East dialogue and to provide a platform for discussion of possible policy choices to effectively balance interest of various players, to ensure thedevelopment of a free and open society as well as to be preserve the world order based on principles democracy and free market.

 

The exhibition will have on display four special exhibits comprising of : The Dragon Crown belonging to His Majesty the Fourth King of Bhutan Drukgyal Zhipa Jigme Singye Wangchuck; Royal Robe belonging to His Majesty the Fourth King of Bhutan Druk Gyalpo Jigme Singye Wangchuck. Royal Boots belonging to His Majesty the King of Bhutan Druk Gyalpo Jigme Khesar Namgyal Wangchuck and  Royal Dress belonging to Her Majesty the Queen Mother Gyalyum Sangay Choden Wangchuck.

Bhutan’s development paradigm is based on values propounded in the Gross National Happiness (GNH) vision. GNH is a holistic approach to development that emphasizes the importance of ensuring the overall well being and happiness of the people while pursuing economic prosperity. This development policy is built on four pillars; namely, preservation of our pristine natural environment, promotion of our cultural and traditional values, equitable and sustainable development, and good governance. Such a specific and supportive development policy has allowed for many aspects of Bhutan’s culture to gain momentum in the last few decades. ‘Thagzo’ or Weaving, is regarded as one of the thirteen traditional crafts collectively known as ‘Zorig-chu-sum’. This craft is widely practiced, highly regarded and is a significant component of Bhutan’s material heritage.

Weaving is integral to Bhutanese traditional life; it’s significant role and the subsequent production of cloth has persuasive influence on many aspects of socio-cultural, economic, and political as well as ceremonial and religious life. Over the years, the craft of weaving cloth as a necessity among primarily agrarian families evolved into an art form that has given the country’s textiles a distinctive and unique identity.

In the 1960’s when Bhutan joined the United Nations as one of the member states, the self-imposed isolation was not synonymous with static stagnation. The textile traditions while distinctively Bhutanese in character reflect influences shaped by weaving techniques and ideas from the South and South East Asia region. The cross fertilization of ideas and techniques enhanced the sophistication, and artistic mastery of the weavers throughout the country. While embracing technology and modern trends in society, Bhutan also actively works to recognize and protect aspects of its cultural heritage which may be eroded or overwhelmed by the inevitable phenomenon of global homogeneity.

Bhutanese weavers living within a wide range of agro-ecological conditions use fibers and dyes, all locally produced, to create a variety of fabrics. The Brokpas and Layaps inhabit the high altitude pastures in north east and northernmost regions of Bhutan, bordering Tibet and the Indian state of Arunachal Pradesh. These nomadic yak herders use the coarse outer hair and the soft undercoats of yaks to create various fabrics for their distinctive regional costumes and utilitarian textiles such as tents, bags, sacks which suitable for their nomadic lifestyles. The weavers in the temperate sheep rearing regions in central Bhutan have developed an amazing reservoir of skills and techniques for production of woolen textiles. At the lower subtropical altitudes Bura (raw silk), cotton and nettle fibers are used to produce textiles of exquisite artistry and durability. While there are commonalities in the techniques and patterns across the country, the regional and ethic differences enhance the richness of its textiles.

Bhutanese textiles are among the last major crafts of Asia to gain international recognition. Intricate brocades and complex supplementary weft pattern designs set Bhutan apart and are unparalleled anywhere else in the world. Although the term thagzo translates to weaving, its meaning encompasses related activities such as collection of raw materials, preparation of yarns, uses of indigenous dyes and weaving textiles. This engages the largest number of crafts persons, and most of the activities involved are monopolized by women. Therefore, the art of weaving is an important avenue for women to express their creativity and individuality and it is also a source of livelihood for many rural people.

A living cultural Heritage

Textiles play a very important role in Bhutan; inspired by mundane everyday sights that have been portrayed in resplendent weaves by their creators, who meticulously incorporate the meaning of nature, religion and life. Each textile tells a story that corresponds to a specific time period in the weaver’s life. A bulk of the products from the weavers’ looms is mainly used for clothing. Panels of hand woven cloth are cut and stitched to make the men’s garment gho and the kira for women. The national costumes have been promulgated by the Great Zhabdrung Nawang Namgyal, (1594-1651) the founder of Bhutan as a nation state. The code of dress was intended to give the Bhutanese a distinct identity and has in time become an essential symbol of the nation. Woven textiles are also used for making a variety of utilitarian and ceremonial items for use in the daily lives of the ordinary men and women as well the elite and the clergy. Cloth was also used as a form of currency for barter and payment of taxes. The use of cloth, thus, transcends social and political parameters.

Changes which affect the attitude, values and perception of people are evident in every aspect of Bhutanese society today. The traditional daily use of cloth for utilitarian purposes is rapidly being replaced by other machine woven fabrics imported from India. Dress and costumes have changed, as have patterns and motifs; hand-woven textiles traditionally woven for national costumes are quickly being replaced by western style clothing which is readily available as a low cost and easy care alternative. These changes could one day result in the complete loss of Bhutan’s textile heritage. To protect our national identity and support the indigenous craft of weaving, Driglam Namzha , a code of conduct was instated by royal decree in Bhutan in the 1988. This code of conduct governs how citizens should dress in public (i.e the national dress of the gho and kira and or regional costumes) and conduct themselves in formal settings.

Despite the efforts of the Royal Government of Bhutan the challenges faced in preserving the traditional art of weaving are vast. A recent example is the drastic decline and or discontinuation of the cultivation and use of cotton and nettle fibers as a raw material for weaving. Changes in the raw material used by weavers are evident even in the remotest villages where the use of imported fibers and commercial dyes imported from India is not uncommon. Facing a serious challenge from a mass preference for the imported, affordable, factory produced cloths, Bhutanese textiles are suffering. The time consuming technique used to produce the exquisite textiles are being dismissed in favor of more ‘cost or time effective’ methods. While there is a distinct decrease and change in the daily use of handmade and traditional Bhutanese textiles, there still remains a strong pride and ownership of fine textiles. A visit to any religious festival or Tshechu, or any celebratory gathering such as weddings, promotions etc, rural or urban, is a fashion show of the most extraordinary ghos and kira. Everyone wears their finest pieces, often passed down through generations. The strongest remaining sector of weaving continues to be cloths commissioned and patronized, such as devotional textiles for monasteries, as well as luxurious and sumptuous yardage for festivals and weddings. These commissions are handsomely paid for and support the highly skilled weavers.

In the recent years several authors have written books and articles on the textiles of Bhutan. The Peabody Essex Museum in the early 1990’s was one of the first international museums to organize an exhibition on Bhutanese textile under the royal patronage of Her Majesty the Queen Mother Gyalyum Sangay Choden Wangchuck, married to the Fourth King of Bhutan His Majesty Jigme Singye Wangchuck. This travelling exhibition and subsequent publication of a catalog; stimulated a major interest and recognition of Bhutanese textiles internationally. Although Bhutan took pride and privilege to share its cultural heritage with the rest of the world, at the time no serious attempts to collect, document, study , conduct research and publish articles or books on Bhutanese textiles within the country, albeit the collection at the National Museum in Paro. After a few years, increased interest and self-awareness, guided by high level patronage catapulted the subject of textiles to the limelight in Bhutan.

The Textile Museum

In the late 1990’s, some valuable and unique samples of Bhutanese textiles were still available within the country, safeguarded as heirlooms or phamaishuy. It was also highly conceivable that these fine examples of Bhutanese textile heritage could perish as redundant artifacts in private collections over time. Bhutanese textiles, particularly wool and silks are highly vulnerable to insects while others maybe destroyed from improper care and handling, as well as calamities as fires. Attractive prices offered by international museums, dealers and private collectors have lured many people into selling their valuable textiles outside the country. Her Majesty the Queen Mother Gyalyum Sangay Choden Wangchuck’s vision and purpose for establishing Bhutan’s first Textile Museum was to avert as national lament of –‘ too little to late’. Her Majesty realized that any further loss of Bhutan’s textile arts would be an irreversible impairment to an important aspect of the country’s cultural heritage. The knowledge and appreciation of the history, value, meaning, utility and the methods of production of Bhutanese textiles is an important component of Bhutan’s cultural heritage which needed to be accessible to all Bhutanese, not simply to scholars and collectors. The establishment of The Textile Museum in Thimphu in 2001 gave the Bhutanese, as well as the world, a chance to enjoy these incredible pieces of art.