bhutan textiles

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Contents

1. Introduction 32. Animal and flower designs .. (Nos.: 1-15) .. 53. Small designs (Nos: 16-28) ... 94. Medium designs .. (Nos: 29-114) .. 145. Large designs (Nos: 115-201) .. 446. Border designs .. (Nos: 202-256) .. 1177. General notes . 1458.

Glossary .. 147

9. Further reading .. 14910.About the author 150

Cover design: Pema Domingo-Barker

Please acknowledge source when reproducing or transmittingthrough electronic media.

Larger versions of designs are available on request from: email:[email protected]

David K. BarkerBangkok, November 2011


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Introduction

The Royal Himalayan Kingdom of Bhutan continues to fascinate most imaginations due to itsremote and almost mystical aura, a hidden kingdom juxtaposed between Nepal, Sikkim, Chins (Tibet), WestBengal and Assam of northern India.

The weaving tradition of Bhutan has spanned several centuries with meticulously constructedtraditional and classical designs of yesteryear, continuing to be woven by the Bhutanese.

These geometrically inspired designs became fascinating to the author of Designs of Bhutan in theearly 80s that led to the compilation of the designs in simple grid format. This format intended to capturethe designs as both a historical record and for older classic designs to be replicated by current day weavers.

Since the above collection published in 1985 additional fabrics and designs have been discoveredand are now presented in this portfolio. The earlier publication had the advantage of discovering theBhutanese names for each design. However, this is not the case with this portfolio that uses interpretations

for each design name instead and some Bhutanese names.

The foreword to Designs of Bhutan (White Lotus, Bangkok) by Dasho Barun Gurung, succinctlyand aptly stated the background to Bhutanese design and weaving skills.

All such designs and art forms in Bhutan are inspired and influenced by Buddhist tradition.Besides an obvious aesthetic value, such designs and art forms represent a larger tradition andculture that has survived over the centuries. This very tradition has lent and identity and uniquenessto Bhutanese society that has sustained us in this period of transition and rapid modernization.

Further studies in the future will undoubtedly reveal further information concerning the derivation

and beliefs associated with many Bhutanese designs. It is however evident that the patterns and motifscontained herein have been strongly influenced by the Buddhist and Bonpo religions, as well as by thepersonal and individual expression and interpretation of weavers and craft persons.

Before Designs of Bhutan and this 2nd edition were completed, it is believed that most designswere held inside the minds of the weavers who wove from memory. These two volumes singular aim is topreserve a truly unique Bhutanese art and craft embedded in classical Bhutanese fabrics of dress, decorationand utilitarian items by providing, on paper, designs captured from various textile collections. Theirinspiration is doubtless drawn and gives us a glimpse into the window of the physical structure of thecountry: mountains, rivers, waterfalls, clouds, mists, cascades, hills and valleys, and from the abundance offlora and fauna as well as the natural phenomena of lighting and earthquakes.

Evelyn Domingo-Barker and David K. Barker


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Example of designs used on a Kira(Ladies dress)


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Animal and flower designs


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1. Goat

2. Peacock

3. Human form

4. Butterfly

5. Bird

6. Man and Yak


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7. Yak and stylised human

8. Black crane

9. Peacock

10.Yak with stylised human

11.Flower


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12. Flowers

13. Flowers

14. Flowers

15. Flowers and leaves


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Small designs


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16. Grapes

17. Swastika

18. Dorjs


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19. Dorjwith swastika

20. Human and halo

21. Prayer flags


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22. Double Dorjs

23. Prayer flags

24. Pagodas


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25. Basket

26. Flower with leaves

27. Butterfly

28. Four prayer wheels


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Medium Designs


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29. Chorten


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30. Chortens

31. Thangka

32. Wind prayer wheel

33. Basket


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34. Zar Dre

35. Small Dzong

36. Prayer wheels

37. Festival basket


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38. Prayer box 39. Four Dorjs

40. Baskets


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41. Hand prayer wheels


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42, Swastikas in Dorj


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43. Yak horns

44. Alpine


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45. Simbachan

46. Choeting

47. Gemse

48. Spaced diamonds

49. Ninze Drami


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50. Library

51. Simbachan and flags


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52. Butterfly

53. Flags and pedestal


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54. Mehub

55. Meto


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56. Knives

57. Tren

58. Diamonds


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59. Chorten

60. Peyab

61. Butterfly

62. Byapoi Zen


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63. Double Drami

64. Trikep

65. Mountain trails


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66. Zerpa

67. Four butterflies

68. Tangka

69. Bangchu Drami


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70. Chhuam

71. Feathers

72. Drums

73. Dorj Drami


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74. Tashi Delek

75. Mani la khor

76. Meto



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78. Victory

79. Koma Meto

80. Shingsa Dre

81. Zar Dre


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82. Log and gentian

83. Jangtham 84. Thempang


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85. Shinglo

86. Scroll

87. Jichu Mito

88. Peyab Ninze


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89. Dorj Baa

90. Trikep

91. Pechu Meto

92. Dorj Dre


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93. Waterfalls

94. Tangka

95. Chorten

96. Cushions


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97. Flags

98. Swastika and flags

99. Zar Dre

100. Spears


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101. Dorcha Drami

102. Gangri Tren


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103. Pastoral

104. Chortens


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105. Yuenrung

106. Tshito

107. Zim



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109. Phyemali

110. Waterfalls and trails


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111. Diamonds

112. Karsi Tangtin


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113. Pinnacle

114. Drami


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Large designs


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115. Tangtin


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116. Dorcha Drami


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117. Spears and flags


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118. Dorj Japtha

119. Valleys


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120. Phyemali Tren


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121. Bangchu


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123. Trikep


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124. Karsi Drami


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125. Peyab


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126. Kempa

127. Multiple Yuenrung


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128. Bom Trikep Dre


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129. Peyab and cascades


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130. Karsi Che


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131. Tima Mehub


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132. Bom Trikep


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133. Mehub Tima


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134. Karsi


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135. Log


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136. Flames


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137. Tshito


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138. Forest


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139. Scrolls


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140. Mani wall and prayer wheels


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141. Mountains and flowers


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142. Torma


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143. Small Dzong


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144. Feathers


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145. Ungsham


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146. Fortress


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147. Section of 146


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147. Centre section of 146


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148. Mani wall and ferns


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149. Gomong Khora


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150. Paro


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151. Multiple flowers


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152. Chorten and prayer wheels


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153. Zerpa


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154. Dorcha


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155. Kempa


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156. Double Torma


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157. Ladders


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158. Bangchu

159. Rotation


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160. Yathra


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161. Tangtin


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163. Belo Meto


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164. Bangchu Drami


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165. Zim


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166. Shingsa Dre


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167. Sun rays


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168. Multi Yuenrung


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169. Belo


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170. Baa


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171. Shinglo


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172. Japtha


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173. Trikep


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174. Choeting

175. Gemse Norbo Chunku


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176. Janag Chagri

177. Phyemali in flight


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178. Seku


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179. Chorten Gemse


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180. Pagodas


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181. Thikta Meto


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182. Forests and mountains


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183. Himalayas


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184. Mani La Khor


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185. Bom Tshito


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186. Kempa


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188. Thempang


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199. Mehub Dhama


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200. Darkang


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201. Drums


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Border designs


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202. Streams

203. Drami border


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204. Cascades

205. Tsechu


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206. Gencha

207. Libraries


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208. Continuous Yeunrung

209. Baskets


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210. Yuenrung in fields211. Kochap


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212. Hunting arrows

213. Drum border


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216. Ninze 217. Shingsa


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218. Janag Chagri

219. Phyemali border


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220. Garey Dhama

221. Kongbu


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222. Kera 223. Japtha


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224. Yuenrung and flags

225. Godi border


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226. Compound Tangka227. Feathers


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228. Jichu Mito 229. Pema border


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230. Japtha and diamonds

231. Tashigang


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232. Drami border 233. Alpine flowers


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234. Gentian 235. Jichu


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238. Seepa 239. Zar


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240. Compass

241. Landscape


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242. Norbo

243. Flowers and mist

244. Che


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248. Mountain streams

249. Spears


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250. Kera Mentha

251. Zerpa meander


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252. Pedastel meander

253. Ha meander


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254. Wangdi

255. Yalang


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256. Tangka meander

Exquisite weaving skills displayed on a kira


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General Notes

Design names. Wherever possible, the Bhutanesenames are given with each of the designs. In otherinstances designs are provided with descriptive names.While designs have particular overall names, severalfeatures, sometimes derived from several sources of

inspiration, are often combined into one design. Thename that is applied appears to refer to the mostpredominant feature of the design.

The i r (Ladies dress)The kira is the canvas for the display of exquisite designs and the excellent skills of the weaver. It is normallycomposed of three 50 cm (20 in) loom widths of handwoven fabric with an overall length of 250 cm (100 in).Background colours are traditionally white, blue, black, green or red, and classification of the kira is according to thebackground colour used. Older textiles, pre-20thcentury, were usually of four colours: black, red, dark blue and off-white.

CONSTRUCTION OF A TYPICAL KIRA

Fig. 1

A. End border a. Narrow intense design stripsB. Side border b. Large geometric forms

c. Demi-forms (half-forms)d. Large geometric forms in smaller

(1 in = 2.5 cm) format


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Within each loom width large geometric and maindesigns in general seem to be repeated twice inparallel, and these, with the accompanying intensedesign strips and other motif inclusions, comprise the

width of the loom. One loom width comprises a seriesof design units with border panels at each end. Eachwoven design unit consists of two of the same full sizemotifs, sometimes of differing colours, with fourattendant demi-forms to each full size design andsupporting intense design strips. This design unitmeasures approximately 25 x 50 cm (10 x 20 in).

One design unit. Centre panel of kira.

Fig. 2

a. Narrow intense design strips; each of threeparts: two borders, same design (d) and onecentre panel.

b. Large geometric forms (2)c. Demi-forms (4)

Intense design strip. Refer a figure 2.

Fig. 3

d. Border stripse. Meander or small border design

End borders. The border panels at each end areusually between 38 to 50 cm (15 to 20 in) width andconsist of between seven and nine repeat bordermotifs in panels.

End border. Centre panel.

Fig. 4

I. Panels are of the same design, with theleast detail.

II. Panels contain more detail than those at I.III. Panels that contain most detail.The two side borders, Figure 1, vary between 11

to 20 cm (41/2 to 8 in) width, and may be un-adorned stripes or have a small motifembellishment.

In some instances specific designs are combinedon a panel to provide an illusion of viewingmountains when the fabric is seem from adistance. The effect created is the result of apredominance of large and colourful designelements (mountains) that overshadow thesmaller, less predominant ones. This illusion isparticularly clear when the kirais fully opened; this

secondary effect may not be apparent when thekirais worn.

Colours. Although a vast range of colours hasbeen used in Bhutan, particularly in the morerecent times, the tonal effects within each piececonform to harmony and careful balancing inorder to create an overall effect of good taste andpleasure. This balancing is particularly significantin all Buddhist concepts and art forms.


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Glossary

Notes:The various descriptivewords used for each of the des igns

are written in the phonetic form ofDzongkha, the national language.Several dialects and languages arespoken so that variations ofDzongkha are also used to describethe designs.

Aikapur. Narrow, plain stripesalternated with narrow design strips.Cotton or silk.

Baa.Fine and graceful bambooused for basketry.

Back-strap loom. Weaverspersonal loom that provides for

warp tension to be adjusted by

movement of the weavers back.The width of loom normally used inBhutan is approximately 50.8 cm(20 in).

Bangchu. Special type of round,airtight, woven bamboo containerused for giving gifts and carryingfood.

Belo.Traditional form of bamboohat. Usually 31 cm (12 in) indiameter.

Bhundi.Heavy-load carrying clothusually with woven cords at each ofthe four corners. Approximately

128 cm (50 in) square.

Boden.Woven design whichcreates a soft cushion-like effect.

Boku. See Koh

Bom. Large

Bo(u)mthang. Central valleyknown for its large fortress, forestryschool and significant holy places ofBuddhist worship.

Bon. Of the Bonpo faith.Shamanistic rites and practices arestill in evidence in the interior of

Bhutan.

Bura.Raw silk.

Byapoi zen. Cocks comb.

Byichu meto. Eyes of a small bird.

Bykur. Basket design.

Ceremonial scarf. Made fromvarious fibres with silk being usedthroughout the scarf for the most

important elements. In daily use foraudiences with His Majesty the

King; visit to the dzongand officialoccasions. Approximately 215-250cm (85-99 in) in length with a widthof 40-120 cm (16-48 in). Differentcolours are used according to therank of the wearer.

Chakra.Wheel of Law. One of theeight auspicious signs of theBuddhist faith, representing the

word set in motion.

Che.Tongue of the fire. Flames

Chepsa.Small dagger normallycarried in theghoby menfolk.

Cheptala.Ritual metal object witha vase shape.

Chhagsi pangkheb. Honorificname for a special cloth used wheneating; community napkin.Characterised by a strong centralmotif. Approximately 208 x 92 cm(82 x 36 in).

Chhuam. Dragonfly.

Choeting.Lamp.

Chokse.Four directions of thecompass.

Chorten. Structure used forworship usually housing sacredrelics. Of various sizes in eightdistinct forms.

Chume. Whirlpool.

Chunku.Small flower.

Colours. Traditionally, colourswere obtained from vegetable andnatural sources. In recent yearsaniline dyes have been introducedfor various textiles, althoughtraditional dyes are still in use.

Conch shell. One of the eight

auspicious signs of the Buddhistfaith. Represents the spoken word,power over water.

Darkang. Special form of tasselused in monasteries and foradornment of various objects.Usually of brocade in severalcolours. Approximately 23 x 8 cm(9 x 3 in).

Dengkep. Throne cover usually ofappliqu.

Dhama. Leaves.

Dhumre. Garden flowers.

Dorcha. Courtyard.

DorjVajra, thunderbolt. The fivepointed darts that touch, representthe five bodies of Dyani Buddhas.

The diamond form impliesindestructability and completepureness. Also used in Buddhism asthe male symbol.

Drami. Net, interlocking design.

Dre. Design.

Dromchu chaim. Generic name

for extra designs on lungsema, mensemathraand aikapurfabrics used forthe kiraandgho.

Druksume.Triangles.

Dzong. Fort, monastery andadministrative centre of a district.

Eternal knot. Endless knot. Oneof the eight auspicious signs of theBuddhist faith. Representslongevity. Also known as luck knot,life knot or love knot.

Eura.Thread/fibre/yarn of thestinging nettle plant.

Gangri. Large mountain.

Garey. Small mountain.

Gau.Amulet or prayer box.

Gemse/Jemse. Scissors.

Gencha. Generic name forjewellery.

Gentian. Blue flower common athigh altitudes in the Himalayas.

Gho.See Koh.

Ghu. Nine.

Gibden. See Boden.

Godi.Bhutanese style window.

Gomong khora. Multi-door chorten.

Ha.Flat valley in Western Bhutanwith ancient trade links to Tibet.

Jahtso.Red dye obtained from aplant on which a parasite is grown.

Jamje. Ceremonial teapot. In dailyuse by the royal household and high

lamas.

Janag chagri.A wall of particularconsequence and when used asembellishment or decoration it islikely to depict the Mani wall: prayer

wall.

Jangtham.In regular sequence.

Japtha.The decorative chain thatlinks two koma.

Jichu. Bird.

Jichu kam. Leg of the bird.

Karsi. Trident. Normally seencarried in the left hand of the saintand teacher Padma Sambhava.

Kempa. Pinchers.

Kera. Woven belt or sash, withfringe ends, of a size about 200 x 35cm (80 x 14 in). Usually woven in

wool or cotton and used by men asa belt for thegho, by women as abelt for the kira.

Khamar. Head person of three orfour villages.

Kira.National dress of the

Bhutanese female, worn dailythroughout Bhutan. A wrap-arounddress length. Approximately 250 x150 cm (100 x 60 in). Woven instrips of 50 cm (20 in) width, on aback-strap loom. Its rich fabric andembellishment comprises cotton,

wool, silk or combination of allthree. May be panelled so that fordaily use the less decorated portiononly will show, and the highlydecorated portion on special andceremonial occasions.

Kishung. See Poncho.

Kishuthara. Provincial kiramade

from natural or unbleached cotton.

Kochap.Special ceremonial belt.

Koh,Boku, Gho.National dress ofthe Bhutanese male, worn dailythroughout Bhutan. Made fromthree or four lengths of material,generously cut to allow for

wrapping around the body; placingof the kera,belt; and to form apouch for carrying personal itemsand daggers. Woven in striped


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design from cotton, wool or silk ora combination of all three. Thelengthy sleeves can be folded backover the wrists.

Koma. Decorative shoulder clips,worn as a pair, to clasp the kiraatthe shoulders. Linked together by a

japtha.Usually made of silver with agold finish.

Kongbu.Butter lamp used forreligious and ceremonial purposes.

Kumney. Male ceremonial scarf.

La. Honorific. Highest point.

Leushum. Fine quality cotton andname of design.

Log. Lightning.

Lotus. See Pema.

Mandala.Geometric diagram ofmagical or mystical content.

Mani dunkhor. Large prayer wheelcontaining mantras,prayers.

Mani la khor. Hand-held personalprayer wheel containing mantras,prayers..

Mapshem. Fabric of cotton, woolor silk woven with ajathso, redbackground.

Marchang. Ceremonial tripod usedto support the throe, a special castmetal bowl for liquids.

Meeto. Small.

Megeche. See Che.

Mehub.See Che.

Mentha. Fabric with a pleasingarray of small floral patterns set infine stripes.

Meto. Flower.

Mito.Eye.

Napshem. Fabric of cotton, woolor silk woven with blackbackground.

Ngoshem. Fabric of cotton, silk orwool woven with blue or greenbackground.

Nin. Sun.

Ninze. Rays of the sun.

Norbo. Jewel.

Pangkheb. Special cloth, similar tothe chhagsi pangkheb, but with smallerdesigns and with less decoration.

Approximately 243 x 72 cm (96 x28 in).Paro.Valley in western Bhutan

which until recent times was theprincipal cultural, commercial andpolitical focus of the country.Home of the National Museum.

Pecha. Books.

Pechu. See Bhundi.

Pema.Lotus. One of the eightauspicious signs of the Buddhistfaith. Represents perfection andpurity.

Peyab. See Eternal Knot.

Phyemali.Butterfly.

Poncho. Sleeveless shirt-style dress.Usually made of unbleached cottonor wool. Approximate size 120 cmlength by 90 cm width (48 x 36 in).Usually embellished with finedesigns in silk or cotton.

Prayer flags. Narrow strips offabric with woodblock printedprayers, fitted to lofty poles anderected in auspicious placesthroughout the country.

Punaka. Until the 1950s wintercapital of Bhutan. Remains the

winter home of the Je Kenpo (ChiefAbbot) spiritual leader of Bhutan.

Rachung. Wide scarf with fringedends, used for holding children onthe back.

Seepa. Butter container.

Seku.Wood or bamboo utensilused for grinding chillies.

Selwaimelong. Divine mirror.Symbol of happiness.

Seshe. Filament of refined silk.

Sham. Base.

Shinglo. Plant.

Shingsa. Special fruit.

Simbachan. A web design fromeastern Bhutan.

Ta.Horse.

Takure. Yarn spindle.

Tangka. Chinese design.Tangtin. Small hand-held drums.

Tashi Delek. Good luck.

Tashigang. Valley in easternBhutan and important weavingcentre.

Thempang. Crossbeams.

Thikta. Random.

Tima.Twisted threads. Lace effect.

Toigo. Outside blouse/jacket forthe kira,usually of silk brocade.

Torma. Image to represent certaingods and goddesses.

Tren.Clouds.

Trident.See Karsi.

Trikep.Appliqu cover in felt orsilk.

Truntrun. White bird.

Tsangkhu.Grain carrier.

Tschering kingkhor.Special hatof long life.

Tshito. Cross or X.

Ungsham.Honorific. Hat of theYellow Hats.

Wonju.Inside blouse for the kira,usually of a single coloured silk.

Yalang. Village in central Bhutanclose to the capital Thimphu.

Yathra. Usually woven from wooland used as a floor covering orblanket. In various sizes andcomposed of three or four 50 cm(20 in) woven strips. The length isusually between 140-200 cm (56-80in). Total width 150-200 cm (60-80in). Normally woven in centralBhutan.

Yin/yang.Represents universaldualism; the male/female symbol.

Yura. See Eura.

Yeunrung.Ancient line designwith the crampons facing to theright. Known in Bon iconography.

Yuroong. Swastika, an ancient linedesign with the crampons facing tothe left. Known in Buddhisticonography.

Zar. Fruits.

Zerpa. Thorns.Zim.Pliers.

Zuccha. Stinging nettle plant.


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Further reading

Adams, Barbara. (1984) Traditional Textiles of Bhutan. Bangkok, Thailand: White Orchid.

Barker, David. (1985) Designs of Bhutan, Bangkok, Thailand: White Lotus.. (1985) "Bhutanese Handwoven Textiles."Arts ofAsia15, 4 (JulyAugust): 103111.. (1990) Textiles Bhutan, Encyclopedia of Modern Asia, Volume 5, 445-447, ABerkshire Reference Work, Charles Scribners Sons New York.

Bean, S., and D. Myers, eds. (1994) From the Land of theThunder Dragon: Textile Arts of Bhutan. London:Serindia Publications.

Bhutan, Royal GovernmentVarious issues, Druk Losel. Quarterly, Department of Information, Thimphu.

Various issues, Kuensel. Weekly, Department of Information, Thimphu.

Grieder, Susanne. (1995) Gesponnen Gewoben Getragen: Textilien aus Bhutan.Zurich:Volkerkundemuseum der Universitat Zurich.

Hasrat, B.J. (1980) History of Bhutan: Land of the Peaceful Dragon, Royal Government of Bhutan,Department of Education, Thimphu: 241pp.

Kapma, Alet, and Wouter Ton. (1993) Bhutanese Weaving:A Source of Inspiration. Thimphu, NationalWomen's Association of Bhutan.

Mele, P.F. (1982) Bhutan, Paragon Book Gallery, Delhi.

Myers, Diana. (1998) Glimpses of the Past, Visions of the Present: Costume and Ceremonial Textiles of Bhutan.Washington, DC: Textile Museum Journal.. (1995) "The Kushung and Shingka of Bhutan." Hali, 78 (December/January): 7381.. (1995) "The Social Life of Cloth in Bhutan." Fiberarts,21, 5 (March/April): 2531.. (1994) "Textiles in Bhutan: Cloth, Gender and Society." In Bhutan: Aspects of Cultureand Development,edited by Michael Aris and Michael Hutt. Gartmore, Scotland: Kiscadale.

Pommaret, Francoise. (1994) "Textiles in Bhutan: Way of Life and Identity Symbol." In Bhutan: Aspects of Culture and Development,edited Michael Aris and Michael Hutt. Gartmore, U.K.:

Kiscadale, 173190.

UNESCO. (1983) Bhutan, Asian Culture No. 35, Asian Cultural Centre, Tokyo.

Yablonsky, Gabrielle. (1997) "Textiles, Religion and Gender in Bhutan: A Dialogical Approach." InTibetan Studies: Proceedings of the 7thSeminar of the International Association for Tibetan Studies,editedby Ernst Steinkellner, H. Krasser, and M. Much. Vienna: Osterreischische Akademie derWissenschaften, 10811102.


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About the author

David Keith Barker was born in England and completed his full-timeeducation in England and the South Pacific.

In 1968, he commenced his career with international organisationsundertaking assignments in the Caribbean, Iran, Fiji, Bangladesh, Nepal and Thailand.For several years he was a freelance photographer and writer specialising in handicraftsand associated subjects.

He is now retired and is resident in Thailand with his wife Evelyn. Bothcontinue to actively assist and support NGOs in Cambodia, Laos, Nepal and Vietnam.Pema, the only daughter, currently works at a Museum in New York.

His personal discovery of Bhutanese textiles occurred during visits to thecountry in the 1980s and prompted his compilation of Designs of Bhutan in 1985 torecord textile designs seen on early century fabrics for repetition by present day weaversand to preserve their historic importance.

Currently he is preparing additional manuscripts on Prayer Wheels of theHimalayas,Maskey: Premier Artist of Nepaland The Kiras of Bhutan.

bhutan textiles

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