Kangpara gewog in Trashigang is seeing a decline in its traditional bamboo-craft (tsazo) practice, with craftsmen finding better economic opportunities elsewhere or in other line of work. Villages of Madewa, Pasaphu, Pedung practise bamboo-craft, and weave products like bangchung, pen case, tsezem (cane backpack), hand bag, belo (cane hat) and pey palang (incense case).
But this tradition has been on the decline since last year. “My father would transport the bamboo products to Thimphu twice a year but, since last year, he stopped,” a bamboo craftsman in Pedung, Kinzang Tshering, said. “The income is meagre.”
Chorten Nyingpo is a monastery in Kabisa, Punakha, that was built by Gyalsay Tenzin Rabgye in the 17 century. Chorten Nyingpo Lhakhang, was renovated recently using the art of conservation for inner mural paintings so they looked as old as they were.
Bhutan has paintings that are exquisite in quality and technically sophisticated, according to experts, who also said that the paintings that date back from the 16th to 19th centuries, were largely unknown and unrecorded in the west.
Penises painted on houses or suspended from rooftops in Bhutan are larger than humans.
48 years ago, a 10-year-old girl weaves a kira. She keeps it as an heirloom for 44 years. Now 55, she wears her prized kira.
Sitting on the bamboo floored verandah of his 2 storied traditional house in Kheng Zurphel, Ap Doekha makes containers, baskets and ropes from the tall perennial evergreen bamboo found in plenty around his house.
A pioneer in the making of what in Khengkha is called ‘zom’ (a cylindrical milk container), when Kuensel met him, the 61-year-old was stitching a broad hollow bamboo container, measuring about 40 cm in diameter and a meter high, with the capacity to contain the milk of five cows.
The sizable lobby and shop area at the Rubin Museum of Art (RMA), on 17th Street of New York’s Manhattan district, was packed with more than 1,000 people the evening of the 17 of September.