A three-day workshop on mineral pigment painting in Thimphu concluded yesterday, bringing together experts from Japan and Nepal to share their techniques with Bhutanese artists. Organised by the Department of Culture and Dzongkha Development, the workshop aimed to preserve traditional techniques while also exploring innovative methods to enhance mineral pigment painting in Bhutan. 32 local painters, including instructors from various art institutes across the country, participated in this initiative aimed at revitalising an art form practised for generations.
“We’ve been stuck thinking that we have to extract mineral pigments from just rocks. But from what we have learned, they also extract it from iron, aluminium and other sources. There are a lot of such minerals in Bhutan and if we can extract these pigments, I think we can make our own pigments,” said Tshewang Tenzin, a painter.
“The experts from Japan and Nepal have been teaching us a lot in these three days. Their lessons on how to use their pigments and tools will complement what we are practising here in terms of mineral pigment painting,” said Sangay Khandu, a painter.
Another key reason for organising the workshop is to ensure the preservation of the tradition of mineral pigment painting in Bhutan. With some of the attendees being instructors from art institutes, the organisers hope that the knowledge gained can be passed on to future generations, helping to sustain and revive this important cultural practice.
“I am glad that we got to interact and learn from experts who have come from Japan and Nepal. I hope to take what I have learned about mineral pigment painting from the workshop and share them with my students,” said Gyam Dorji, Kilkhor Lopen, Central Monastic Body.
“I can take what I have learned from these experts and teach my students. And in turn, they will spread this practice of mineral painting. Since mineral painting has a lot of advantages compared to conventional painting, I think even the market for it will improve with time,” said Chhimi Wangchuk, instructor at National Institute for Zorig Chusum.
The department and the experts from Japan and Nepal hope to collaborate and bring in additional expertise in the future and resources that could support the practice of mineral pigment painting in Bhutan, ultimately helping to preserve and revitalise this important tradition.
“We have a lot of world-class art supplies in Japan. So, we would like to keep in contact with experts from Bhutan and teach them how they can use these Japanese art supplies,” said Masahiro Akimoto, executive vice president of Warehouse TERRADA, Japan.
The department hopes that these training sessions will spark renewed interest in mineral painting in the country and ultimately contribute to the participation of these local artists in the renovation of monasteries and temples in future government projects.
Karma Samten Wangda
Edited by Kipchu
