The Bhutanese painting classification system categorizes traditional architectural painting (Lhazo) into quality tiers (Rab, Ding, Thamar, and Yutshon) and two structural painting techniques (Sumdang and Dangtshon). Regulated by the government, these classifications determine which painting styles may be applied to different types of buildings.
The Bhutanese painting classification system is a traditional framework for categorizing the quality and technique of architectural painting in Bhutan, known as Lhazo (ལྷ་བཟོ). One of the thirteen traditional arts and crafts (Zorig Chusum), Lhazo encompasses painting on buildings, scroll paintings (thangkas), wall murals, furniture, and architectural elements. The classification system defines four quality categories—Rab, Ding, Thamar, and Yutshon—and two principal painting techniques—Sumdang and Dangtshon. The system is regulated by the Department of Engineering Services under the Ministry of Works and Human Settlement, which prescribes which painting quality may be applied to specific building types.
Overview of Lhazo
Lhazo is one of the oldest continuously practiced art forms in Bhutan. It tells stories from Bhutanese mythology and Buddhist scripture through intricate designs, vibrant mineral-based colours, and spiritual symbols. The practice was traditionally transmitted from master painters (lhadrip) to apprentices, with masters executing the fine detail work while apprentices handled preparatory and foundational tasks. Although historically maintained primarily by monks, Lhazo is now also taught at the National Institute of Zorig Chusum and other institutions.[1]
The formal categorization of the Zorig Chusum, including Lhazo, is traditionally attributed to Gyalse Tenzin Rabgye (1680–1694), the Fourth Druk Desi (regent), though many of the skills and techniques existed well before this period.
Four Quality Categories
Bhutanese architectural painting is divided into four quality tiers, which determine the complexity, richness of colour, and detail permitted for a given building. The classifications are hierarchical and regulated:[2]
Rab-Tshon (Superior Quality)
Rab is the highest quality of traditional Bhutanese paint application. It involves the most elaborate designs, the finest pigments, and the most detailed iconographic and spiritual imagery. Rab-tshon is restricted to painting on dzongs, lhakhangs (temples), important government buildings, and other structures of national or religious significance. Only master painters are typically entrusted with Rab-level work.
Ding-Tshon (Intermediate Quality)
Ding represents the middle tier of paint quality. It is applied to institutional buildings such as schools, hospitals, and other public facilities. The designs are still detailed and colourful but less elaborate than Rab-level work.
Thamar-Tshon (Basic Quality)
Thamar is the simplest quality level of decorative painting. It is designated for staff quarters, residential buildings, and other similar structures where elaborate painting is not required or appropriate.
Yutshon (Base Paint)
Yutshon serves as the base or background paint on which the other painting types are applied. Unlike Rab, Ding, and Thamar, Yutshon does not contain colourful floral, iconographic, or spiritual imagery. It is applied to frames and architectural elements including railings (janatazi) and is predominantly seen on village residential buildings. Yutshon functions similarly to a background colour or primer coat, providing a uniform surface for either further decorative painting or as the final finish on simpler structures.
Two Structural Painting Techniques
Beyond the quality hierarchy, Bhutanese traditional painting employs two primary structural techniques that determine how paint and design are physically applied:[2]
| Technique | Description | Application |
|---|---|---|
| Sumdang | Painting applied in flat, uniform layers of colour with clearly defined outlines and distinct colour blocks | Used for iconographic imagery, deity figures, and formal architectural decoration |
| Dangtshon | A gradient technique in which paint is applied transitioning from a lower value (lighter shade) to a higher value (darker shade), creating depth and dimensionality | Used for decorative motifs such as flowers, jewels, clouds, and other ornamental patterns |
Both Sumdang and Dangtshon are applied over the Yutshon base layer. The choice between the two techniques depends on the subject being painted and the overall design requirements of the building.
Materials and Pigments
Traditional Bhutanese painting relies heavily on natural mineral pigments. Commonly used pigments include:
- Lapis lazuli and azurite for blue tones
- Malachite for green
- Ochre and earth pigments for yellow and brown tones
- Cinnabar and red earth (tag) for red
- Chalk (calcium carbonate) for white and foundational layers
- Lampblack (sa-na) for black
These pigments, collectively known as Sa-Tshon (soil pigments), are found naturally in Bhutan's geology. The wall surface is first prepared with multiple layers of gum or lime to create a smooth finish. An outline is then drawn using charcoal or Indian ink, beginning with the main subject and proceeding to supporting elements. Colours are applied in layers, and a final varnish coat of glue-lime mixed with the appropriate colour is applied to preserve the painting.[3]
Regulation and Modern Practice
The application of specific painting types to buildings in Bhutan is not merely a matter of tradition but is governed by official regulations. The Department of Engineering Services prescribes which quality level (Rab, Ding, or Thamar) is appropriate for each category of structure. This regulatory framework ensures that the hierarchy of painting reflects the hierarchy of building function, maintaining the cultural significance of the art form even in contemporary construction.
Training in Lhazo continues at the National Institute of Zorig Chusum in Thimphu and the eastern campus in Trashiyangtse, where students undergo multi-year programs in traditional painting techniques. The Handicraft Association of Bhutan also supports practising artists and the preservation of traditional methods.
See Also
References
- Lhazo: The Art of Painting in Bhutan — Taste of Bhutan
- Bhutanese Painting for Building Construction in Bhutan: Types, Significance and Specification — Civil Engineering Profile
- Bridging Bhutanese Art Cultures: The Inheritance of Natural Mineral Pigment and Painting Techniques, Part 2 — Pigment Tokyo
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