2

 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: bhutext8@gmail.com

© David K. Barker Bangkok, November 2011

3

 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

4

 Textile Designs

     

Example of designs used on a Kira (Ladies dress)

5

 Textile Designs

     

Animal and flower designs

6

 Textile Designs

     

1. Goat

2. Peacock

3. Human form

4. Butterfly

5. Bird

6. Man and Yak

7

 Textile Designs

     

7. Yak and stylised human

8. Black crane

9. Peacock

10. Yak with stylised human

11. Flower

8

 Textile Designs

     

12. Flowers

13. Flowers

14. Flowers

15. Flowers and leaves

9

 Textile Designs

     

Small designs

10

16. Grapes

17. Swastika

18. Dorjés

11

 Textile Designs

     

19. Dorjé with swastika

20. Human and halo

21. Prayer flags

12

 Textile Designs

     

22. Double Dorjés

23. Prayer flags

24. Pagodas

13

 Textile Designs

     

25. Basket

26. Flower with leaves

27. Butterfly

28. Four prayer wheels

14

 Textile Designs

     

Medium Designs

15

 Textile Designs

     

29. Chorten

16

 Textile Designs

     

30. Chortens

31. Thangka

32. Wind prayer wheel

33. Basket

17

 Textile Designs

     

34. Zar Dre

35. Small Dzong

36. Prayer wheels

37. Festival basket

18

 Textile Designs

     

38. Prayer box

39. Four Dorjés

40. Baskets

19

 Textile Designs

     

41. Hand prayer wheels

20

 Textile Designs

     

42, Swastikas in Dorjé

21

 Textile Designs

     

43. Yak horns

44. Alpine

22

 Textile Designs

     

45. Simbachan

46. Choeting

47. Gemse

48. Spaced diamonds

49. Ninze Drami

23

 Textile Designs

     

50. Library

51. Simbachan and flags

24

 Textile Designs

     

52. Butterfly

53. Flags and pedestal

25

 Textile Designs

     

54. Mehub

55. Meto

26

 Textile Designs

     

56. Knives

57. Tren

58. Diamonds

27

 Textile Designs

     

59. Chorten

60. Peyab

61. Butterfly

62. Byapoi Zen

28

 Textile Designs

     

63. Double Drami

64. Trikep

65. Mountain trails

29

 Textile Designs

     

66. Zerpa

67. Four butterflies

68. Tangka

69. Bangchu Drami

30

 Textile Designs

     

70. Chhuam

71. Feathers

72. Drums

73. Dorjé Drami

31

 Textile Designs

     

74. Tashi Delek

75. Mani la khor

76. Meto

77. Wind prayer wheel

32

 Textile Designs

     

78. Victory

79. Koma Meto

80. Shingsa Dre

81. Zar Dre

33

 Textile Designs

     

82. Log and gentian

83. Jangtham

84. Thempang

34

 Textile Designs

     

85. Shinglo

86. Scroll

87. Jichu Mito

88. Peyab Ninze

35

 Textile Designs

     

89. Dorjé Baa

90. Trikep

91. Pechu Meto

92. Dorjé Dre

36

 Textile Designs

     

93. Waterfalls

94. Tangka

95. Chorten

96. Cushions

37

 Textile Designs

     

97. Flags

98. Swastika and flags

99. Zar Dre

100. Spears

38

 Textile Designs

     

101. Dorcha Drami

102. Gangri Tren

39

 Textile Designs

     

103. Pastoral

104. Chortens

40

 Textile Designs

     

105. Yuenrung

106. Tshito

107. Zim

108. Wind prayer wheel

41

 Textile Designs

     

109. Phyemali

110. Waterfalls and trails

42

 Textile Designs

     

111. Diamonds

112. Karsi Tangtin

43

 Textile Designs

     

113. Pinnacle

114. Drami

44

 Textile Designs

     

Large designs

45

 Textile Designs

     

115. Tangtin

46

 Textile Designs

     

116. Dorcha Drami

47

 Textile Designs

     

117. Spears and flags

48

 Textile Designs

     

118. Dorjé Japtha

119. Valleys

49

 Textile Designs

     

120. Phyemali Tren

50

 Textile Designs

     

121. Bangchu

51

 Textile Designs

     

123. Trikep

52

 Textile Designs

     

124. Karsi Drami

53

 Textile Designs

     

125. Peyab

54

 Textile Designs

     

126. Kempa

127. Multiple Yuenrung

55

 Textile Designs

     

128. Bom Trikep Dre

56

 Textile Designs

     

129. Peyab and cascades

57

 Textile Designs

     

130. Karsi Che

58

 Textile Designs

     

131. Tima Mehub

59

 Textile Designs

     

132. Bom Trikep

60

 Textile Designs

     

133. Mehub Tima

61

 Textile Designs

     

134. Karsi

62

 Textile Designs

     

135. Log

63

 Textile Designs

     

136. Flames

64

 Textile Designs

     

137. Tshito

65

 Textile Designs

     

138. Forest

66

 Textile Designs

     

139. Scrolls

67

 Textile Designs

     

140. Mani wall and prayer wheels

68

 Textile Designs

     

141. Mountains and flowers

69

 Textile Designs

     

142. Torma

70

 Textile Designs

     

143. Small Dzong

71

 Textile Designs

     

144. Feathers

72

 Textile Designs

     

145. Ungsham

73

 Textile Designs

     

146. Fortress

74

 Textile Designs

     

147. Section of 146

75

 Textile Designs

     

147. Centre section of 146

76

 Textile Designs

     

148. Mani wall and ferns

77

 Textile Designs

     

149. Gomong Khora

78

 Textile Designs

     

150. Paro

79

 Textile Designs

     

151. Multiple flowers

80

 Textile Designs

     

152. Chorten and prayer wheels

81

 Textile Designs

     

153. Zerpa

82

 Textile Designs

     

154. Dorcha

83

 Textile Designs

     

155. Kempa

84

 Textile Designs

     

156. Double Torma

85

 Textile Designs

     

157. Ladders

86

 Textile Designs

     

158. Bangchu

159. Rotation

87

 Textile Designs

     

160. Yathra

88

 Textile Designs

     

161. Tangtin

89

 Textile Designs

     

162. Pechu

90

 Textile Designs

     

163. Belo Meto

91

 Textile Designs

     

164. Bangchu Drami

92

 Textile Designs

     

165. Zim

93

 Textile Designs

     

166. Shingsa Dre

94

 Textile Designs

     

167. Sun rays

95

 Textile Designs

     

168. Multi Yuenrung

96

 Textile Designs

     

169. Belo

97

 Textile Designs

     

170. Baa

98

 Textile Designs

     

171. Shinglo

99

 Textile Designs

     

172. Japtha

100

 Textile Designs

     

173. Trikep

101

 Textile Designs

     

174. Choeting

175. Gemse Norbo Chunku

102

 Textile Designs

     

176. Janag Chagri

177. Phyemali in flight

103

 Textile Designs

     

178. Seku

104

 Textile Designs

     

179. Chorten Gemse

105

 Textile Designs

     

180. Pagodas

106

 Textile Designs

     

181. Thikta Meto

107

 Textile Designs

     

182. Forests and mountains

108

 Textile Designs

     

183. Himalayas

109

 Textile Designs

     

184. Mani La Khor

110

 Textile Designs

     

185. Bom Tshito

111

 Textile Designs

     

186. Kempa

112

 Textile Designs

     

187. Spring

113

 Textile Designs

     

188. Thempang

114

 Textile Designs

     

199. Mehub Dhama

115

 Textile Designs

     

200. Darkang

116

 Textile Designs

     

201. Drums

117

 Textile Designs

     

Border designs

118

202. Streams

203. Drami border

119

 Textile Designs

     

204. Cascades

205. Tsechu

120

 Textile Designs

     

206. Gencha

207. Libraries

121

 Textile Designs

     

208. Continuous Yeunrung

209. Baskets

122

 Textile Designs

     

210. Yuenrung in fields

211. Kochap

123

 Textile Designs

     

212. Hunting arrows

213. Drum border

124

 Textile Designs

     

214. Tshito

215. Meeto

125

 Textile Designs

     

216. Ninze

217. Shingsa

126

 Textile Designs

     

218. Janag Chagri

219. Phyemali border

127

 Textile Designs

     

220. Garey Dhama

221. Kongbu

128

 Textile Designs

     

222. Kera

223. Japtha

129

224. Yuenrung and flags

225. Godi border

130

226. Compound Tangka

227. Feathers

131

 Textile Designs

     

228. Jichu Mito

229. Pema border

132

 Textile Designs

     

230. Japtha and diamonds

231. Tashigang

133

 Textile Designs

     

232. Drami border

233. Alpine flowers

134

 Textile Designs

     

234. Gentian

235. Jichu

135

 Textile Designs

     

236. Mountain mist

237. Mountains and streams

136

 Textile Designs

     

238. Seepa

239. Zar

137

 Textile Designs

     

240. Compass

241. Landscape

138

242. Norbo

243. Flowers and mist

244. Che

139

 Textile Designs

     

245. Godi meander

246. Torma meander

247. Takure meander

140

 Textile Designs

     

248. Mountain streams

249. Spears

141

 Textile Designs

     

250. Kera Mentha

251. Zerpa meander

142

 Textile Designs

     

252. Pedastel meander

253. Ha meander

143

 Textile Designs

     

254. Wangdi

255. Yalang

144

 Textile Designs

     

256. Tangka meander

Exquisite weaving skills displayed on a kira

145

 Textile Designs

     

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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 Textile Designs

     

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.

147

 Textile Designs

     

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

148

 Textile Designs

     

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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 Textile Designs

     

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:

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 Textile Designs

     

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.