𝐍𝐞𝐰 𝐆𝐞𝐧𝐞𝐫𝐚𝐭𝐢𝐨𝐧 𝐁𝐫𝐞𝐚𝐭𝐡𝐞𝐬 𝐋𝐢𝐟𝐞 𝐈𝐧𝐭𝐨 𝐁𝐡𝐮𝐭𝐚𝐧’𝐬 𝐓𝐫𝐚𝐝𝐢𝐭𝐢𝐨𝐧𝐚𝐥 𝐀𝐫𝐭𝐬 𝐚𝐭 𝐍𝐚𝐭𝐢𝐨𝐧𝐚𝐥 𝐂𝐨𝐦𝐩𝐞𝐭𝐢𝐭𝐢𝐨𝐧

By Sonam Choden

The preservation and promotion of traditional Bhutanese art forms remain central to the nation’s cultural heritage initiatives, reflecting a deep respect for ancestral craftsmanship and a commitment to nurturing creativity within established cultural values. A key platform that continues to highlight these efforts is the National Design and Art Competition (NDAC), an annual event that brings together artisans from across Bhutan’s diverse artistic disciplines.
The 23rd edition of the NDAC was held on April 22, 2025, under the Royal Patronage of Her Majesty Gyalyum Sangay Choden Wangchuck. The event was organised by the Royal Textile Academy of Bhutan in collaboration with the Museum Division of the Department of Culture and Dzongkha Development, Ministry of Home Affairs. This year’s competition featured 88 artisans competing across six categories: weaving (Kira and Gho), embroidery, traditional painting, sculpture, and wood carving. The event was graced by Her Highness Ashi Eeuphelma Choden Wangchuck, whose presence highlighted the importance of sustaining Bhutan’s artistic traditions.

The award ceremony also marked the opening of a three-week public exhibition aimed at fostering greater public engagement and awareness of Bhutanese art forms.

Thinley Pemo, founder of Bhutan Origins and a repeat certificate recipient, observed that such initiatives bring national attention to the importance of traditional crafts and foster a collective sense of cultural pride. “The NDAC plays a pivotal role in the preservation and revitalisation of the nation’s cultural heritage,” she said. “The recognition I received from Her Royal Highness Princess Eeuphelma Choden Wangchuck is not merely a personal honour but a significant motivation to safeguard the dying art of traditional weaving.” Thinley further emphasised the need to integrate traditional practices with contemporary approaches, advocating for digital storytelling, modern fashion, and educational outreach to engage younger generations.

Participation in the NDAC has grown steadily, reflecting increasing youth interest in cultural heritage. Dechen Tshomo, a dedicated weaver who has participated since 2018, noted how the competition has evolved in significance. She attributed her recent success to collaborative efforts with peers, which she described as integral to her development as an artisan. Karma Zam, a textile designer, credited her inspiration to ancestral motifs and guidance from her mother-in-law. Her winning designs aim to bridge generational knowledge with contemporary aesthetics, positioning her as a cultural interpreter who honours tradition while exploring innovation.

The embroidery category highlighted the resilience and dedication of seasoned artisans. Norbu, an embroidery artist from Wangduephodrang with nearly sixty years of experience, began his practice at the age of fifteen through observation and informal learning. “My award-winning piece was the product of a seven-month collaboration involving a committed team,” he said. Norbu now volunteers to teach embroidery, viewing it as a crucial step in passing on intricate skills. He stressed the importance of platforms like the NDAC in fostering public interest and cultural continuity.

Wood carving also featured prominently in the competition. Phub Tshering, from the Department of Procurement and Properties, emphasized the role of mentorship in preserving traditional skills. Although he considers himself a learner rather than an expert, he expressed a desire to share his knowledge with others. “Winning was not my objective,” he said, “but the experience enriched my understanding and revealed how diverse styles can appeal to youth.”

In the field of sculpture, Dorji Khandu and Yeshi Chujur shared their reflections on the role of their craft. Dorji, employed in the private sector, spoke of his childhood interest in sculpting, supported by his family. “My parents always encouraged me,” he said. He advocated for the creation of dedicated showrooms and exhibition spaces to strengthen both cultural and economic opportunities. Chujur highlighted the importance of mentorship in shaping his practice, and expressed a commitment to uphold traditional values while engaging with contemporary audiences.

Traditional painting, another essential component of Bhutanese heritage, was also a key feature of the competition. Painter Nim Dorji collaborated with designer Sangay Tenzin to produce a piece recognised for its innovation. Created over seven months, the work utilised Do-tsen, a natural pigment known for its durability and vibrancy. “The digital age has transformed traditional painting by making resources and inspiration more accessible,” said Nim. He noted that the availability of high-quality materials like Do-tsen allows artists to preserve traditional aesthetics while encouraging artistic development.

The experiences of artisans across weaving, embroidery, sculpture, wood carving, and painting demonstrate a shared commitment to sustaining Bhutan’s cultural heritage through creative adaptation. More than a platform for artistic recognition, the NDAC functions as a catalyst for cultural continuity. It facilitates intergenerational dialogue, encourages mentorship, and creates opportunities for young people to engage meaningfully with their heritage.

By doing so, the NDAC plays a crucial role in safeguarding traditional Bhutanese art forms while supporting their evolution in response to modern influences. As such, the competition transcends its function as an annual artistic event and emerges as a significant cultural initiative. It bridges historical practices with future innovation, ensuring that Bhutan’s artistic legacy continues to flourish for generations to come.