Arts and crafts of Bhutan
Punakha Dzong reconstructed
Straddling the confluence of the snow-fed Pho Chu and Mo Chu rivers in Punakha, the five gilded pinnacles of the Dewachenpoi Phodrang glisten in the sunlight, more brilliant than ever. After centuries of natural and man-caused dilapidation this magnificent monument that represents one of the most memorable landmarks in Bhutanese history has been restored to its former glory on the personal initiative of the fourth Druk Gyalpo, His Majesty Jigme Singye Wangchuck.
The reconstruction and restoration of the Punakha Dzong is widely acclaimed as a historical accomplishment in the preservation of Bhutan’s rich heritage and an important spiritual legacy for all Buddhists. It is also recognised as a herculean architectural and construction feat that pays homage to the tradition of Bhutanese architecture and craftsmanship at their best.
The work on the Punakha Dzong epitomises the highest quality of the 13 crafts of the zorig chusum tradition. Apart from the traditional Bhutanese woodwork, masonry, metalwork, and paintings on the colossal main structures, the new treasures that have enriched the numerous Lhakhangs in the Dzong include more than 200 sacred images intricately crafted out of the five menjim (precious substances) and modern elements that include copper, brass, and other metals.
Over the centuries, the Dzong has been repeatedly challenged by man and nature. It was damaged by fires in 1780, 1789, 1802, 1831, 1849, and in 1986. There was a massive earthquake in 1897 and a devastating flash flood in 1994 when the Dzongchhung, which houses the images of the Jhou (Lord Buddha) and Dupthob Nagi Rinchhen (Vanaratna), was nearly washed away.
Time and natural elements as well as human weaknesses had thus taken their toll on this proud edifice. By the late 1980s many Lhakhangs were on the verge of collapse because the wooden structures of the Dzong had decayed. Precious images and manuscripts had been damaged and destroyed with losses estimated at millions of Ngultrums.
It was then that His Majesty the King commanded the reconstruction of the Dzong. Under His Majesty’s personal supervision, Bhutan’s centuries-old building and artistic traditions came together and, over the past 12 years, thousands of carpenters and wood sculptors, metal and clay sculptors, masons, painters, fresco experts, electricians, blacksmiths, goldsmiths, silversmiths, tailors, and monk artisans re-lived history as they worked on the Punakha Dzong Renovation Project. The Home Ministry was given the overall responsibility with the Tenso Lapon, Dasho Wangchuk, as site supervisor. Tenso Lapon Dasho Wangchuk is the recipient of the Druk Thuksey for his outstanding contributions in the renovation of the Punakha Dzong and restoration of Lhakhangs and monasteries.
The work stretched into years as the team of skilled craftsmen and builders representing every geog in the country strived to reach the perfection that His Majesty personally demanded on every aspect of the reconstruction. At one stage the Kuenrey had reached the floor level when it was found that the foundation was inadequate. The entire work was completely repeated, this time strengthened by cement, stone mortar and mud in a blend of modernity and tradition.
Large volumes of timber were extracted and seasoned, including the spectacular giant cypress logs for special features like the solid kachen (pillars), dung (beam), cham (joist), and roof posts. Rocks were ferried to the site where masons chipped them into fine blocks. Metal workers shaped copper, brass, and iron into structural and artistic products. Sculptors molded dozens of religious images of all sizes to be installed in the Lhakhangs.
The construction of the Punakha Dzong greatly contributed to the revival of the 13 traditional arts of the zorig chusum. Artisans from all parts of the country were called on to hone their skills and a new generation of Bhutanese craftsmen was trained in the traditional skills and arts of the zorig chusum, under the supervision of the best craftsmen in the country.
Among the most important sections of the Dzong that were completely reconstructed were the Machen Lhakhang where the sacred relics of Shabdrung Ngawang Namgyal rest in thudam (permanent retreat), the Kuenrey (congregation hall), the Tsen Chhorten which houses the eight sandalwood Chortens, the Je Zimchung, and monks’ living areas. Major restoration work was done on the Utse (central tower), the Kuenreys of the Drabi and Tshennyi divisions of the central monk body. The entire environment around the Dzong was given a facelift and the banks of the rivers secured against major floods in future.
The three-storey Machen Lhakhang was built out of Cyprus wood with four entrance pillars intricately embossed with religious symbols in gold and silver. The inside of the Lhakhang has been decorated with intrinsic and rich murals and frescos depicting the teachings of Lord Buddha. The images of seven incarnations of the Shabdrung were also installed in the Lhakhang.
An ornate 15-foot Kudung Chhorten was installed, made of sandalwood and encased in silver and gold and adorned with jewels like corals, pearls, turquoise, and other precious stones. It was constructed by 20 craftsmen over four years.
The Kuenrey, which was on the verge of collapse, was reconstructed on a grand scale. This great hall now features 12 30-foot Cyprus pillars adorned in gilded brass plates embossed with elaborate religious sculpture.
In the Kuenrey sits the main 35-foot image of Buddha Shakyamuni, crafted out of a mixture of five menjim (precious substances) and medicinal clay. The back wall carries images of the 16 arhats. The Buddha is flanked, on the right, by a 28-foot image of Guru Padmasambava and, on his left, by a 28-foot image of Shabdrung Ngawang Namgyal. Along the left wall of the Kuenrey sit 48 three-foot images of the spiritual masters of the kagyu lineage. On the right side are 48 three-foot images of dongyu zinpa (lineage holders).
The five Lhakhangs above the Kuenrey were all re-built and new sacred images installed: Neten Chudrung, Goengkhang, Lhamo, Rigsum Gompo, and Phurpai Lhakhang. In accordance to prophesy a 10-foot Guru Dorji Droley image was installed in the Droley Lhakhang facing the confluence of the Phochu and Mochu rivers.
The Tsen Chhorten was reconstructed as a two-storey building and the Je Khenpo’s residence expanded into a four-room apartment with a choekhang.
All the woodwork of massive beams, joists, pillars, floors, doors and windows - in the five floors of the Utse was changed, with timber brought in from different Dzongkhags. So were the wooden structures on the roof of the dukhang. New kitchen and restrooms for the monks were constructed outside the Dzong to reduce the risk of fire.
In 1994 a catastrophic flood damaged the Dzongchung although the Jhou (Buddha image) was miraculously saved. Originally built in 1374 by the great sage Dupthop Ngagi Rinchhen, the Dzongchung was restored in 1996 and consecrated by His Holiness, Geshe Gueden Rinchhen, the 69th Je Khenpo. Besides enlarging the plinth area to 1,500 square feet from the previous 590 square feet a large retaining wall, 25 to 35 feet in height, was constructed around the Dzongchhung, using stone masonry and cement mortar.
More than 200 new images crafted for the Dzong represent some of the finest masterpieces available in the country. The Shakyamuni Buddha, Guru Rimpochey, and Shabdrung Ngawang Namgyal in the Kuenrey, the life-size gilded images of Mahakala and Pelden Lhamo in the goenkhang, and dozens of larger-than-life images are unique works of art achieved through meditative focus and concentration.
The Yeshey Semba (essence of primordial wisdom deity) for the numerous Lhakhangs, Chortens, altars, and images in the Dzong are invaluable treasures offered by His Majesty the King and the royal family, lams and trulkus, and devotees from all parts of the country.
The reconstruction and restoration of the Dewachenpoi Phodrang cost Nu 495 million, out of which the government of India contributed Nu 255 million and the government of Bhutan funded the balance of about 240 million.
Simultaneously the project also completed the renovations of the Talo Dzong, river training work on the banks of the Phochu and Mochu, a Bailey bridge over the Mochu, landscaping and land filling around the dzong, a pedestrian bridge over Phochu, reconstruction of the Dzongchhung.
The total cost of the project, including the dzong restoration, was Nu 609.03 million, out of which the government of India contributed Nu 347 million and Bhutan paid Nu 261 million.
The completion of the Punakha Dzong project is celebrated by the Bhutanese population as an auspicious occasion because the Dzong symbolises, not just the finest of art and architecture and Bhutan’s sacred religious tradition, but the memories of many important eras in Bhutanese history.
Punakha Dzong was the seat of Shabdrung Ngawang Namgyal’s rule during which he unified the country, protected it from external invasion, strengthened the teachings of the Dharma, and established the tenets of the Bhutanese identity.
On December 17, 1907, it was in this Dzong that the Dratshang, Ponlops and Dzongpons, on behalf of the Bhutanese population, put their seals on the historic genja and unanimously elected Gongsar Ugyen Wangchuck as the first hereditary monarch of Bhutan.
With the completion of the project it has been enriched in religious treasures, in structural endurance, and in the beauty of traditional Bhutanese architecture and artwork by the fourth Druk Gyalpo. The Dewachenpoi Phodrang is, today, the sacred impregnable monument that Guru Rimpochey prophesied and Shabdrung Ngawang Namgyal established.
Source: Kuensel ( May 17, 2004 ), Bhutan's national newspaper.
