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Bhutan's
Architecture |
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Bhutan Information |
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Bhutanese
Architecture
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Kyichu Monastery near Paro
| Bhutanese
architecture is famous for its originality, its harmonious proportions
and its adaptation to the landscape. The first recorded
buildings in Bhutanese history were the temples of Lhakhang Karpo and Nagpo
in Haa, Kyichu near Paro and Jampa, Koebnchog-sum and Gayney Lhakhangs
in Bumthang, built around the 6th and the 7th centuries. From the 11th
century until the early 17th century, numerous lamas and their disciples
built temples and monasteries all over the country.
From
the buildings dating back to the 17th century that still exist, it can
be seen that they were relatively small structures with a courtyard enclosed
within their walls. In most cases they were only one-storied built close
to the temples were the lama's residence with the quarters for his disciples.
Among the most active temple-builders in the 15th century were Ngawang
Choegyal, the great grandfather of Zhabdrung Ngawang Namgyal, and
Tertoen Pema Lingpa. |
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Fortresses
such as Jathel Dzong, Chelkha Dzong and Dongoen Dzong were built
by the Lhapa Kagyu religiousschool which once dominated the western region
in the 12th century. In the eastern region, stone castles called khar were
built mostly by the local nobility.
In
the early 15th century, the saint Drubthop Thangthong Gyalpo, who
was popularly known as Chagzampa, visited the country and built
iron bridges in different parts of Bhutan.
The
architectural landscape changed in the 17th century when Zhabdrung Ngawang
Namgyal introduced the construction of dzongs which became the model
for all monasteries built or restored from that time. Gangtey Goemba, Dramitse
and Tango monasteries are based on the dzong model.
After
Zhabdrung Ngawang Namgyal, one of the most active temple builders was the 4th
Desi, Tenzin Rabgye, who at the end of the 17th century had Taktshang
and Tango built in their present form.
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| Memorial
Chorten in Thimphu |
Memorial
Chorten in Thimphu |
From
the second half of the 19th century and especially after the earthquake
of 1905, temples and dzongs were restored and palaces were built. The active
patrons were Jigme Namgyal and the successive Kings and their Queens.
Some of the best examples of Royal patronage are the Kharbandi monastery
in Phuenbtsholing, the Memorial Chorten in Thimphu, the new Kyechu
Lhakhang in Paro and the newly built Kuje Lhakhang in Bumthang.
Bhutan's
artistic tradition has its roots in Buddhism with almost all representation
in the arts running along the prevailing theme of struggle between good
and evil. A rare blend of Tibetan, Indian and Chinese traditional styles
in characteristic Bhutanese setting. Bhutanese art is mostly symbolic.
Principally located in monastic centers, it is highly decorative and ornamental.
The
Buddhist nature of Bhutan's artistic heritage may be traced to Pema Lingpa,
the great 15th century terton (the treasure discoverer) who was
an accomplished painter, sculptor, xylographer and architect.
Sertog
of Chimi Lhakhang in Lobesa>>
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1680, Desi Tenzin Rabgye opened the school of Zorig Chusum for thirteen
types of Bhutanese arts and crafts under the instructions of Zhabdrung
Ngawang Namgyal. Such promotion of traditional Bhutanese art has persevered
through the centuries with continued patronage provided by the royal family,
nobility and clergy.
The
common people who depend on the artisans for a wide variety of metals and
wooden objects, indispensable to typical Bhutanese households, provide
active support to the arts. |
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The
thirteen arts of Zorig Chusum area Lhazo (Painting), Shingzo (Carpentery),
Parzo (Carving), Jinzo (Sculpture), Lugzo (Casting), Garzo (Blacksmith),
Tsharzo (Bamboo Works), Serzo Ngulzo (Goldsmith & Silversmith), Thagzo
(Weaving), Tsehemzo (Embroidery), Dozo (Masonry), Kozo (Leather Work) and
Dezo (Paper Works).
Traditional
Bhutanese art is distinctive for its religious flavor and anonymity. The
artist is often a religious man who creates the work commissioned by the
jinda or patron. It is considered a pious act that gains merit for both
patron and artist. Though the artist's name is almost never revealed, the
name of jinda is sometimes mentioned on the work so that his pious act
may be remembered.
Paintings
and sculptures are made by the groups of artists working in special workshops
executed by monks or laymen. The basic preliminary work is done by the
disciples after which the master carries out the finishing touch of the
details.
Traditional
Bhutanese artists work to make a work of faith. They bound by the very
strict iconographic conventions in Bhutanese art and must observe them
meticulously. Artists can, however, express their own personality in minor
details or scenes.
Over
the years, the development of tourism and establishment of a government
school for arts and crafts has brought about a change in the purpose of
art, especially for the younger generation. For some, the desire to make
a living out of art has taken over religious motiv.
Within
seven months, several important structures were completed. Among them was
the Taktshang Pelphug which houses three lhakhangs: the Phurpai
Dubkhang on the ground floor where Guru Rinpoche meditated;
the Guru Sungjoen Lhakhang, situated on the first floor of the building
and named after the image of the Guru which is believed to have
spoken; and the Guru Tshen Gyed Lhakhang, on the top floor, named
after the eight manifestations of Guru Rinpoche.
A
fire proof structure (methub) will be constructed in the Chorten
Lhakhang to safeguard the sacred nangtens from fire and theft.
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