textile designs of bhutan
DESCRIPTION
Traditional and classical textiles of the Royal Kingdom of Bhutan. 250 designs collated in graphical format.TRANSCRIPT
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Textile Designs
Contents
1. Introduction…………………………………………………………… 3
2. Animal and flower designs …….. (Nos.: 1-15) ………………….. 5
3. Small designs …………………… (Nos: 16-28) ………………...… 9
4. Medium designs ……………….. (Nos: 29-114) ………………….. 14
5. Large designs …………………… (Nos: 115-201) ………………….. 44
6. Border designs ………………….. (Nos: 202-256) ………………….. 117
7. General notes …………………………………………………………. 145
8. Glossary ……………………………………………………………….. 147
9. Further reading ……………………………………………………….. 149
10. About the author ……………………………………………………… 150
Cover design: Pema Domingo-Barker
Please acknowledge source when reproducing or transmitting through electronic media.
Larger versions of designs are available on request from: email: [email protected]
© David K. Barker Bangkok, November 2011
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Textile Designs
Introduction
The Royal Himalayan Kingdom of Bhutan continues to fascinate most imaginations due to its remote and almost mystical aura, a hidden kingdom juxtaposed between Nepal, Sikkim, Chins (Tibet), West Bengal and Assam of northern India.
The weaving tradition of Bhutan has spanned several centuries with meticulously constructed traditional 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 the early 80s that led to the compilation of the designs in simple grid format. This format intended to capture the 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 discovered and are now presented in this portfolio. The earlier publication had the advantage of discovering the Bhutanese 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, succinctly and 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 and culture that has survived over the centuries. This very tradition has lent and identity and uniqueness to 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 motifs contained herein have been strongly influenced by the Buddhist and Bonpo religions, as well as by the personal 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 designs were held inside the minds of the weavers who wove from memory. These two volumes’ singular aim is to preserve a truly unique Bhutanese art and craft embedded in classical Bhutanese fabrics of dress, decoration and utilitarian items by providing, on paper, designs captured from various textile collections. Their inspiration is doubtless drawn and gives us a glimpse into the window of the physical structure of the country: mountains, rivers, waterfalls, clouds, mists, cascades, hills and valleys, and from the abundance of flora and fauna as well as the natural phenomena of lighting and earthquakes.
Evelyn Domingo-Barker and David K. Barker
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Textile Designs
Example of designs used on a Kira (Ladies dress)
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Textile Designs
Animal and flower designs
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Textile Designs
1. Goat
2. Peacock
3. Human form
4. Butterfly
5. Bird
6. Man and Yak
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Textile Designs
7. Yak and stylised human
8. Black crane
9. Peacock
10. Yak with stylised human
11. Flower
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Textile Designs
12. Flowers
13. Flowers
14. Flowers
15. Flowers and leaves
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Textile Designs
Small designs
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16. Grapes
17. Swastika
18. Dorjés
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Textile Designs
19. Dorjé with swastika
20. Human and halo
21. Prayer flags
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Textile Designs
22. Double Dorjés
23. Prayer flags
24. Pagodas
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Textile Designs
25. Basket
26. Flower with leaves
27. Butterfly
28. Four prayer wheels
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Textile Designs
Medium Designs
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Textile Designs
29. Chorten
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Textile Designs
30. Chortens
31. Thangka
32. Wind prayer wheel
33. Basket
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Textile Designs
34. Zar Dre
35. Small Dzong
36. Prayer wheels
37. Festival basket
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Textile Designs
38. Prayer box
39. Four Dorjés
40. Baskets
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Textile Designs
41. Hand prayer wheels
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Textile Designs
42, Swastikas in Dorjé
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Textile Designs
43. Yak horns
44. Alpine
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Textile Designs
45. Simbachan
46. Choeting
47. Gemse
48. Spaced diamonds
49. Ninze Drami
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Textile Designs
50. Library
51. Simbachan and flags
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Textile Designs
52. Butterfly
53. Flags and pedestal
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Textile Designs
54. Mehub
55. Meto
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Textile Designs
56. Knives
57. Tren
58. Diamonds
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Textile Designs
59. Chorten
60. Peyab
61. Butterfly
62. Byapoi Zen
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Textile Designs
63. Double Drami
64. Trikep
65. Mountain trails
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Textile Designs
66. Zerpa
67. Four butterflies
68. Tangka
69. Bangchu Drami
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Textile Designs
70. Chhuam
71. Feathers
72. Drums
73. Dorjé Drami
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Textile Designs
74. Tashi Delek
75. Mani la khor
76. Meto
77. Wind prayer wheel
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Textile Designs
78. Victory
79. Koma Meto
80. Shingsa Dre
81. Zar Dre
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Textile Designs
82. Log and gentian
83. Jangtham
84. Thempang
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Textile Designs
85. Shinglo
86. Scroll
87. Jichu Mito
88. Peyab Ninze
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Textile Designs
89. Dorjé Baa
90. Trikep
91. Pechu Meto
92. Dorjé Dre
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Textile Designs
93. Waterfalls
94. Tangka
95. Chorten
96. Cushions
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Textile Designs
97. Flags
98. Swastika and flags
99. Zar Dre
100. Spears
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Textile Designs
101. Dorcha Drami
102. Gangri Tren
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Textile Designs
103. Pastoral
104. Chortens
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Textile Designs
105. Yuenrung
106. Tshito
107. Zim
108. Wind prayer wheel
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Textile Designs
109. Phyemali
110. Waterfalls and trails
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Textile Designs
111. Diamonds
112. Karsi Tangtin
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Textile Designs
113. Pinnacle
114. Drami
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Textile Designs
Large designs
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Textile Designs
115. Tangtin
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Textile Designs
116. Dorcha Drami
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Textile Designs
117. Spears and flags
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Textile Designs
118. Dorjé Japtha
119. Valleys
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Textile Designs
120. Phyemali Tren
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Textile Designs
121. Bangchu
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Textile Designs
123. Trikep
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Textile Designs
124. Karsi Drami
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Textile Designs
125. Peyab
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Textile Designs
126. Kempa
127. Multiple Yuenrung
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Textile Designs
128. Bom Trikep Dre
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Textile Designs
129. Peyab and cascades
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Textile Designs
130. Karsi Che
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Textile Designs
131. Tima Mehub
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Textile Designs
132. Bom Trikep
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Textile Designs
133. Mehub Tima
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Textile Designs
134. Karsi
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Textile Designs
135. Log
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Textile Designs
136. Flames
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Textile Designs
137. Tshito
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Textile Designs
138. Forest
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Textile Designs
139. Scrolls
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Textile Designs
140. Mani wall and prayer wheels
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Textile Designs
141. Mountains and flowers
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Textile Designs
142. Torma
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Textile Designs
143. Small Dzong
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Textile Designs
144. Feathers
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Textile Designs
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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Textile Designs
148. Mani wall and ferns
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Textile Designs
149. Gomong Khora
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Textile Designs
150. Paro
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Textile Designs
151. Multiple flowers
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Textile Designs
152. Chorten and prayer wheels
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153. Zerpa
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Textile Designs
154. Dorcha
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155. Kempa
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Textile Designs
156. Double Torma
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Textile Designs
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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162. Pechu
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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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187. Spring
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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 fields
211. Kochap
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212. Hunting arrows
213. Drum border
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214. Tshito
215. Meeto
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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 Tangka
227. 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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236. Mountain mist
237. Mountains and streams
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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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245. Godi meander
246. Torma meander
247. Takure meander
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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 Bhutanese names are given with each of the designs. In other instances designs are provided with descriptive names. While designs have particular overall names, several features, sometimes derived from several sources of
inspiration, are often combined into one design. The name that is applied appears to refer to the most predominant feature of the design.
The Kira (Ladies’ dress) The kira is the canvas for the display of exquisite designs and the excellent skills of the weaver. It is normally composed 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 the background colour used. Older textiles, pre-20th century, 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 strips B. 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 main designs in general seem to be repeated twice in parallel, and these, with the accompanying intense design strips and other motif inclusions, comprise the width of the loom. One loom width comprises a series of design units with border panels at each end. Each woven design unit consists of two of the same full size motifs, sometimes of differing colours, with four attendant demi-forms to each full size design and supporting intense design strips. This design unit measures 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 three
parts: two borders, same design (d) and one centre panel.
b. Large geometric forms (2) c. Demi-forms (4)
Intense design strip. Refer ‘a’ figure 2. Fig. 3
d. Border strips e. Meander or small border design
End borders. The border panels at each end are usually between 38 to 50 cm (15 to 20 in) width and consist of between seven and nine repeat border motifs in panels. End border. Centre panel. Fig. 4
I. Panels are of the same design, with the
least 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 motif embellishment. In some instances specific designs are combined on a panel to provide an illusion of viewing mountains when the fabric is seem from a distance. The effect created is the result of a predominance of large and colourful design elements (mountains) that overshadow the smaller, less predominant ones. This illusion is particularly clear when the kira is fully opened; this ‘secondary’ effect may not be apparent when the kira is worn. Colours. Although a vast range of colours has been used in Bhutan, particularly in the more recent times, the tonal effects within each piece conform to harmony and careful balancing in order to create an overall effect of good taste and pleasure. This balancing is particularly significant in all Buddhist concepts and art forms.
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Glossary
Notes: The various descriptive words used for each of the designs are written in the phonetic form of Dzongkha, the national language. Several dialects and languages are spoken so that variations of Dzongkha are also used to describe the designs. Aikapur. Narrow, plain stripes alternated with narrow design strips. Cotton or silk. Baa. Fine and graceful bamboo used for basketry. Back-strap loom. Weaver’s personal loom that provides for warp tension to be adjusted by movement of the weaver’s back. The width of loom normally used in Bhutan is approximately 50.8 cm (20 in). Bangchu. Special type of round, airtight, woven bamboo container used for giving gifts and carrying food. Belo. Traditional form of bamboo hat. Usually 31 cm (12 in) in diameter. Bhundi. Heavy-load carrying cloth usually with woven cords at each of the four corners. Approximately 128 cm (50 in) square. Boden. Woven design which creates a soft ‘cushion-like” effect. Boku. See Koh Bom. Large Bo(u)mthang. Central valley known for its large fortress, forestry school and significant holy places of Buddhist worship. Bon. Of the Bonpo faith. Shamanistic rites and practices are still in evidence in the interior of Bhutan. Bura. Raw silk. Byapoi zen. Cock’s comb. Byichu meto. Eyes of a small bird. Bykur. Basket design. Ceremonial scarf. Made from various fibres with silk being used throughout the scarf for the most
important elements. In daily use for audiences with His Majesty the King; visit to the dzong and official occasions. Approximately 215-250 cm (85-99 in) in length with a width of 40-120 cm (16-48 in). Different colours are used according to the rank of the wearer. Chakra. Wheel of Law. One of the eight auspicious signs of the Buddhist faith, representing the word set in motion. Che. “Tongue of the fire.” Flames Chepsa. Small dagger normally carried in the gho by menfolk. Cheptala. Ritual metal object with a vase shape. Chhagsi pangkheb. Honorific name for a special cloth used when eating; community napkin. Characterised by a strong central motif. Approximately 208 x 92 cm (82 x 36 in). Chhuam. Dragonfly. Choeting. Lamp. Chokse. Four directions of the compass. Chorten. Structure used for worship usually housing sacred relics. Of various sizes in eight distinct forms. Chume. Whirlpool. Chunku. Small flower. Colours. Traditionally, colours were obtained from vegetable and natural sources. In recent years aniline dyes have been introduced for various textiles, although traditional dyes are still in use. Conch shell. One of the eight auspicious signs of the Buddhist faith. Represents the spoken word, power over water. Darkang. Special form of tassel used in monasteries and for adornment of various objects. Usually of brocade in several colours. Approximately 23 x 8 cm (9 x 3 in). Dengkep. Throne cover usually of appliqué.
Dhama. Leaves. Dhumre. Garden flowers. Dorcha. Courtyard. Dorjé Vajra, ‘thunderbolt.’ The five pointed darts that touch, represent the five bodies of Dyani Buddhas. The diamond form implies indestructability and complete pureness. Also used in Buddhism as the male symbol. Drami. ‘Net’, interlocking design. Dre. Design. Dromchu chaim. Generic name for extra designs on lungsema, mense mathra and aikapur fabrics used for the kira and gho. Druksume. Triangles. Dzong. Fort, monastery and administrative centre of a district. Eternal knot. Endless knot. One of the eight auspicious signs of the Buddhist faith. Represents longevity. Also known as luck knot, life knot or love knot. Eura. Thread/fibre/yarn of the stinging nettle plant. Gangri. Large mountain. Garey. Small mountain. Gau. Amulet or prayer box. Gemse/Jemse. Scissors. Gencha. Generic name for jewellery. Gentian. Blue flower common at high 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 Bhutan with ancient trade links to Tibet. Jahtso. Red dye obtained from a plant on which a parasite is grown.
Jamje. Ceremonial teapot. In daily use by the royal household and high lamas. Janag chagri. A wall of particular consequence and when used as embellishment or decoration it is likely to depict the Mani wall: prayer wall. Jangtham. In regular sequence. Japtha. The decorative chain that links two koma. Jichu. Bird. Jichu kam. Leg of the bird. Karsi. Trident. Normally seen carried in the left hand of the saint and teacher Padma Sambhava. Kempa. Pinchers. Kera. Woven belt or sash, with fringe ends, of a size about 200 x 35 cm (80 x 14 in). Usually woven in wool or cotton and used by men as a belt for the gho, by women as a belt for the kira. Khamar. Head person of three or four villages. Kira. National dress of the Bhutanese female, worn daily throughout Bhutan. A wrap-around dress length. Approximately 250 x 150 cm (100 x 60 in). Woven in strips of 50 cm (20 in) width, on a back-strap loom. Its rich fabric and embellishment comprises cotton, wool, silk or combination of all three. May be panelled so that for daily use the less decorated portion only will show, and the highly decorated portion on special and ceremonial occasions. Kishung. See Poncho. Kishuthara. Provincial kira made from natural or unbleached cotton. Kochap. Special ceremonial belt. Koh, Boku, Gho. National dress of the Bhutanese male, worn daily throughout Bhutan. Made from three or four lengths of material, generously cut to allow for wrapping around the body; placing of the kera, belt; and to form a pouch for carrying personal items and daggers. Woven in striped
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design from cotton, wool or silk or a combination of all three. The lengthy sleeves can be folded back over the wrists. Koma. Decorative shoulder clips, worn as a pair, to clasp the kira at the shoulders. Linked together by a japtha. Usually made of silver with a gold finish. Kongbu. Butter lamp used for religious and ceremonial purposes. Kumney. Male ceremonial scarf. La. Honorific. Highest point. Leushum. Fine quality cotton and name of design. Log. Lightning. Lotus. See Pema. Mandala. Geometric diagram of magical or mystical content. Mani dunkhor. Large prayer wheel containing mantras, prayers. Mani la khor. Hand-held personal prayer wheel containing mantras, prayers.. Mapshem. Fabric of cotton, wool or silk woven with a jathso, red background. Marchang. Ceremonial tripod used to support the throe, a special cast metal bowl for liquids. Meeto. Small. Megeche. See Che. Mehub. See Che. Mentha. Fabric with a pleasing array of small floral patterns set in fine stripes. Meto. Flower. Mito. Eye. Napshem. Fabric of cotton, wool or silk woven with black background. Ngoshem. Fabric of cotton, silk or wool woven with blue or green background. Nin. Sun. Ninze. Rays of the sun. Norbo. Jewel.
Pangkheb. Special cloth, similar to the chhagsi pangkheb, but with smaller designs and with less decoration. Approximately 243 x 72 cm (96 x 28 in). Paro. Valley in western Bhutan which until recent times was the principal cultural, commercial and political focus of the country. Home of the National Museum. Pecha. Books. Pechu. See Bhundi. Pema. Lotus. One of the eight auspicious signs of the Buddhist faith. Represents perfection and purity. Peyab. See Eternal Knot. Phyemali. Butterfly. Poncho. Sleeveless shirt-style dress. Usually made of unbleached cotton or wool. Approximate size 120 cm length by 90 cm width (48 x 36 in). Usually embellished with fine designs in silk or cotton. Prayer flags. Narrow strips of fabric with woodblock printed prayers, fitted to lofty poles and erected in auspicious places throughout the country. Punaka. Until the 1950’s winter capital of Bhutan. Remains the winter home of the Je Kenpo (Chief Abbot) spiritual leader of Bhutan. Rachung. Wide scarf with fringed ends, used for holding children on the back. Seepa. Butter container. Seku. Wood or bamboo utensil used 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 from eastern Bhutan. Ta. Horse. Takure. Yarn spindle. Tangka. Chinese design. Tangtin. Small hand-held drums.
Tashi Delek. Good luck. Tashigang. Valley in eastern Bhutan and important weaving centre. Thempang. Crossbeams. Thikta. Random. Tima. Twisted threads. Lace effect. Toigo. Outside blouse/jacket for the kira, usually of silk brocade. Torma. Image to represent certain gods and goddesses. Tren. Clouds. Trident. See Karsi. Trikep. Appliqué cover in felt or silk. Truntrun. White bird. Tsangkhu. Grain carrier. Tschering kingkhor. Special hat of long life. Tshito. Cross or ‘X’. Ungsham. Honorific. Hat of the Yellow Hats. Wonju. Inside blouse for the kira, usually of a single coloured silk. Yalang. Village in central Bhutan close to the capital Thimphu. Yathra. Usually woven from wool and used as a floor covering or blanket. In various sizes and composed of three or four 50 cm (20 in) woven strips. The length is usually between 140-200 cm (56-80 in). Total width 150-200 cm (60-80 in). Normally woven in central Bhutan. Yin/yang. Represents universal dualism; the male/female symbol. Yura. See Eura. Yeunrung. Ancient line design with the crampons facing to the right. Known in Bon iconography. Yuroong. Swastika, an ancient line design with the crampons facing to the left. Known in Buddhist iconography. 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 of Asia 15, 4 (July–August): 103–111. ——. (1990) Textiles – Bhutan, Encyclopedia of Modern Asia, Volume 5, 445-447, A Berkshire Reference Work, Charles Scribner’s Sons’ New York.
Bean, S., and D. Myers, eds. (1994) From the Land of the Thunder Dragon: Textile Arts of Bhutan. London: Serindia Publications. Bhutan, Royal Government
Various 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, National Women'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): 73–81. ——. (1995) "The Social Life of Cloth in Bhutan." Fiberarts, 21, 5 (March/April): 25–31. ——. (1994) "Textiles in Bhutan: Cloth, Gender and Society." In Bhutan: Aspects of Culture and 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, 173–190. UNESCO. (1983) Bhutan, Asian Culture No. 35, Asian Cultural Centre, Tokyo. Yablonsky, Gabrielle. (1997) "Textiles, Religion and Gender in Bhutan: A Dialogical Approach." In
Tibetan Studies: Proceedings of the 7th Seminar of the International Association for Tibetan Studies, edited by Ernst Steinkellner, H. Krasser, and M. Much. Vienna: Osterreischische Akademie der Wissenschaften, 1081–1102.
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About the author
David Keith Barker was born in England and completed his full-time education in England and the South Pacific. In 1968, he commenced his career with international organisations undertaking assignments in the Caribbean, Iran, Fiji, Bangladesh, Nepal and Thailand. For several years he was a freelance photographer and writer specialising in handicrafts and associated subjects. He is now retired and is resident in Thailand with his wife Evelyn. Both continue 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 the country in the 1980’s and prompted his compilation of Designs of Bhutan in 1985 to record textile designs seen on early century fabrics for repetition by present day weavers and to preserve their historic importance. Currently he is preparing additional manuscripts on Prayer Wheels of the Himalayas, Maskey: Premier Artist of Nepal and The Kiras of Bhutan.