Thinley Namgay

Some of the oldest living examples of traditional mineral pigment paintings in Bhutan can be found at the Taktshang and Tango monasteries, showcasing the unique cultural identity of the country.

Although there is no recorded historical background of how or where mineral pigment painting originated in Bhutan, the practice continues, though on a very small scale.

Mineral pigment painting is an art technique that uses natural minerals, ground into fine powders, to create pigments. These pigments are derived from soil or earth minerals, obtained through processes such as extraction, drying, and pulverisation.

The technique has been used in traditional art forms throughout ancient and medieval periods, such as in cave paintings, illuminated manuscripts, and traditional Japanese and Chinese paintings.

One of the key advantages of mineral pigments is their longevity, as the colors are often resistant to fading over time.

There is a pressing need to revive this tradition in Bhutan. So far, no research has been conducted on how many mineral pigments are available in the country.

Aside from a few organisations, such as the Royal Textile Academy and the Bhutan Foundation, which have worked to revive this tradition in recent years, the Department of Culture and Dzongkha Development (DCDD) organised a workshop on mineral pigments in Thimphu from September 17 to 19 for 32 artists from across the country.

The participants were trained by experts from Nepal and Japan, where pigment painting remains popular in both countries.

The Chief of the Antiquities Division at DCDD, Utsha Gurung, said: “The materials for pigment painting in Bhutan today are scarce and expensive. DCDD is optimistic that the trainees could contribute to the ongoing Tango monastery restoration project, where some wall paintings require pigment painting.”

“DCDD will outsource some of the work to the trainees,” she added.

DCDD’s Director, Nagtsho Dorji, stated that this initiative aligns with the 13th Five-Year Plan, where one of the key priorities is to promote culture and tradition.

Nagtsho Dorji emphasised that the initiative is crucial for preserving Bhutan’s traditional art forms, reinforcing cultural identity, supporting local artisans, and ensuring the continued transmission of indigenous knowledge. “This can promote Bhutan’s artistic heritage,” she said.

However, Nagtsho Dorji noted that the trainees should sell their pigment paintings at reasonable prices. “Otherwise, it will be challenging to promote this culture, as people’s interest will narrow,” she said.

During the three-day workshop, participants also showcased their mineral pigment paintings of Buddha.

Dorji Wangchuk, a participant from Trashi Yangtse, said: “Through this workshop, I understood color combinations, sources of pigments, challenges, and ways to market the product.”

Another participant, Sonam Tshering from Thimphu, mentioned that he had been practicing mineral painting  without much knowledge about it. “It augmented my existing knowledge. One of the difficult aspects is that we have to be very careful when mixing colors,” he said.

Participants highlighted that the production process for mineral pigments is far more complex than for other pigments.

For example, extracting pigments from rocks involves several stages: sourcing and selecting materials, cleaning and washing, grinding, sieving, kneading, dispersion, and other processes.

They noted that mineral-based pigments have earthy colors and distinct appearances compared to synthetic pigments.

The participants also pointed out that mineral pigment paintings in Bhutan are expensive due to the lack of raw materials and the time-consuming production process.