BHUTAN- an introduction
In the hearts of the mighty Eastern Himalayas lies Bhutan, with China on the north and India on the other three sides. With roughly the size of Switzerland and a population of about 6,90,000 people, Bhutan is an intensely religious and spiritual Buddhist country. It is popularly known as ‘the land of the Peaceful Dragon’ to the outside world. Fluttering prayer flags, century-old temples and monasteries, Dzongs (fortress) and Chortens (stupas), monks and old people spinning prayer wheels are common sights almost every where in Bhutan. Colorful religious festivals (called Tshechus) are occasions to see some of the most unique religious dances of the Buddhist society.
Bhutan is also a paradise for nature lovers. Dozens of snow-capped peaks, crystal clear mountain springs, meandering rivers, mystic valleys, diverse flora and fauna and an overall pristine environment makes Bhutan a place that industrialized countries envy. 72% of the country is forest and about the same percentage of the country's population lives on subsistence farming.
Bhutanese people are generally shy but they are hard working, fun loving, charming and incredibly friendly.
ARTS AND CRAFTS
The arts and crafts from Bhutan are unique and suggestive of the creative urges of the Bhutanese. All Bhutanese art, dance, drama and music have its roots in the Buddhist religion. Paintings are not done for tourists, but for specific purpose. And almost all representation in art, music and dance is a dramatization of the struggle between good and evil. The thirteen aspects of Bhutanese arts and crafts (called "Zorig Chusum") includes Shinzo (woodwork), Dozo (stone work) Jinzo (clay crafts), Shazo (wood turning), Parzo (wood, slate and stone carving), Lhazo (painting), Lugzo (bronze casting), Garzo (blacksmith), Troeko (silver and goldsmithy), Tsharzo (bamboo and cane crafts), Dhezo (papermaking), Thagzo (weaving) and Tshemzo (tailoring).
DZONGS
Bhutanese Dzongs have an unusual architectural magnificence about them. Architectural grandeur is expressed in height and massiveness of a Dzong. Thus Simtokha rises 4-storeys high, Tongsa high with wood and stonefacades 6-storeys, and the principal capital citadel Utse (Central Tower) at Punakha is 80ft. high. Most of theDzongs are the gigantic in structure, and rise high in a pastoral landscape as impregnable fortresses set in a patternof architectural design distinctively Bhutanese. Both in form and design the concept of Dzong architecture is oneof the most elegant and harmonious in fortress building in the world. Though massive, the Bhutanese Dzongarchitecture is not heavy; it has both form and elegance, and a rare blending of harmony and proportion. Although Dzong system came to Bhutan from Tibet, and Lam Gyalwa Lhanangpa is credited to have introduced it intoBhutan in the 12th century, yet the system transformed itself into its dual functional role, soon afterwards and to adopt itself to Bhutan's national and socio-economic requirements. Thus the earlier Dzongs constructed by various saints, who came to Bhutan before Zhabdrung Ngawang Namgyal, soon became archaic and incommodious for the temporal and religious requirements. Zhabdrung Ngawang Namgyal gave to the Dzong system a larger dimension, and a new ideology. He built almost all the principal Dzongs in Bhutan - Simtokha, Tongsa, Punakha, Wangdiphodrang, Gasa, Tashichhodzong, and the Rinpung Dzong at Paro. The basic concept of building these massive strongholds was primarily a bulwark or achain of defensive fastnesses to check Tibetan inroads into Bhutan. That the system enlarged itself into a focal point of all Bhutanese national activities-social, military, administrative and monastic, was a simultaneousdevelopment. Simtokha was built to stop further Tibetan intrusions; Tongsa commanded the trail between the eastern and western passes; Tashigang dominated the eastern region; Punakha became a historical capital after Bhutan's victory over the Mongol and Tibetan armies; Wangdiphodrang arose high between the rivers PunatshangChhu and Dang Chhu as a sentinal; Tashichhodzong grew to become the seat of central government; and finally, the Drukgyal Dzong guarded the traditional route to Tibet. The growth of these strategically located fortresses in Bhutan into defensive and functional strongholds had adistinct set pattern. They are all massive, gigantic and possess grandeur. Mostly located on a mountain spur, a Bhutanese Dzong usually overlooks and commands the valley, rising steep on three sides. Situated at the top of hillside are its watchtowers and observation posts. The Dzong walls are made of mixture of sand and clay bricks, the foundation is stone, and wooden beams are skillfully cut to fit each other most dexterously. The traditional Bhutanese architecture has no nails and no iron bars are used. Its foundation generally does not decline with the slope of the rock; its high walls are thick and solid.
It is usually oblong in construction, with a rectangular building surrounding a hollow square, in the centre of which is a larger tower several storeys high, surmounted by a large copper cupola. The entrance to the Dzong, usually by the side of the river, is over a bridge and single gateway linedwith iron plates. Some of the Dzongs, as for instance, Rinpung Dzong at Paro had an underground alley for exit intime of siege. A covered passage leads, as in Jakar Dzong, to the source of water supply. As defence fortress a Dzong's architectural design tends to make it not only impregnable and inaccessible, but also quite harmonious with the landscape. On the functional side, as it served both as religious and administrative centre of the region, it enlarged itself to accommodate both the monastic orders and administrative officials. It has numerous outer and inner buildings for that purpose and many temples. It serves the double purpose of a centre of religion and also of administration. It is the focal point of all social, religious and political activities of the region. The Dzongs contain some of the finest statues of the Buddha and the Bodhisattavas. The meditative Buddha Virochana with his female companion of Shakti is one of the most popular themes of Bhutanese Sculptor.
TSHECHU
Festivals, or Tshechus, are held in Bhutan through the year. They take place outdoors, in the courtyards of the great Dzong, of fortified monasteries, which are the centers of government and religion in each district of the kingdom. The festivals celebrate the faith, legends, myths and history of the Bhutanese in ancient rituals of dance and music. The dancers, monks or highly trained laymen, take on the aspects of wrathful and compassionate deities, heroes, demons and animals. Their dance is performed to bring blessings upon the people, to instruct them, to protect them, and to abolish evil influences. People travel many miles, often on foot, to attend, wearing their most beautiful clothing, creating a festive and joyful atmosphere which mingles with the mystic spirit of the occasion. In Bhutan festivals are not staged for visitors; rather the visitor is a privileged witness to these events, which have remained unchanged for centuries.
LANGUAGE
Dzongkha is the national language of Bhutan. Although Dzongkha may have its origin in classical Tibetan, it varies greatly in pronunciation. Dzongkha is also spoken by people of Thimphu, Paro, Punakha, Wangduephodrang and Dagana. There are many other dialects like Bumthap Kha spoken by people in Bumthang, Khengkha by people in Central Bhutan (Zhemgang and some part of Monggar), Sharchop Kha (or Tshangla lo) by people in the East, Lhotsham Kha spoken by people in Southern Bhutan of Nepali origin and Mangdep Kha by people in Trongsa.
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