Archive

Elements

Tamzhing Phag-chham: The Boar Mask dance of Tamzhing Monastery
English List
  • 1/1
    이전 다음
    확대
  • Manage No, Sortation, Country, Writer ,Date, Copyright
    Manage No EE00002090
    Country Bhutan
    ICH Domain Performing Arts
    Address
    As the Tamzhing Phag-chham is one of an indigenous performance of Tamzhing Lhundrub Choeling temple, it is located on the other side of Chhamkhar Chhu (river) at the very front of the sacred and popular Kurje Lhakhang (temple) under Chokor gewog (block). Tamzhing Lhundrub Choeling temple came to its existence when Pema Lingpa was fifty-two years of age, he was requested by his devotees to construct a temple. Among his adherents was the then ruler of Bumthang, Choekhor Ponpo (Ruler) Kunthub. Choekhor Ponpo agreed to give full support including labour for the temple construction. The autobiography states that the foundation was laid in the Year of the Female Iron Bird (1501) and completed in the Water Pig Year (1503). The consecration ceremony was to be conducted on the Wood Ox Year, corresponding to the Gregorian year 1505. Nearby by the Tamzhing temple, Tamzhing, Kharsum, Konchogsum, and Tekarzhong are communities and also the custodians and patrons of the temple. Though Phag-chham was introduced during the consecration of the Tamzhing temple, yet later it spread across the temples and monasteries either founded or established by himself or his successors in the country. However, there may be a slightly different costumes and steps than the original yet, there is no doubt while tracing its origin.
    Year of Designation 2015
Description Tamzhing Phag-chham is a solo mask dance with a mask made of a wild boar (Sus scrofa), which is very common on the Asian continent. The term "Phag-chham" sometimes has two different meanings; Phag-chham (tamzhing Phag-chham) and the other, the Phag-chham performed during the Raksha Mangchham (a theatrical mask dance of the Intermediate state). Tamzhing Phag-chham was originally composed by the Great Treasurer Terton Pama Lingpa (1450-1521) on the consecration of the temple Tamzhing Lhundrub Choeling on the 15th day of the Tiger Month (11th month) of the Wood Ox Year, which corresponds to the Gregorian year 1505, in Bumthang, one of the central districts of Bhutan. Later it was performed in other monasteries founded either by Terton himself or by his successors in most of the eastern and central parts of Bhutan. Phag-chham is among the most important and sacred mask dances in Tamzhing, and the festival "Tamzhing Phag-la Chod-pa" is also named after this dance, which is held every year from the 10th to the 12th of the eighth lunar month. It is performed by an amateur and can only be danced by the Chhamjug (the second leader of the mask dancers), who wears a wooden boar mask, exquisite brocade costumes with dangling skirts made of five eye-catching colored cloths, and holds two bundles of willow branches in both hands. The boar mask is considered one of the masterpieces of the founder himself, as are the dance steps themselves. Since the mask is considered sacred, it is received in a Chibdrel (traditional procession) when the dancer comes out of the Chhamkhang (preparation room). The origin of the mask dance lies in local tradition: Pema Lingpa was looking for a suitable place for his temple in the Choekhor valley when he saw a wild boar digging in the ground. He realized that this was a sign from the enlightened being Dorje Phagmo (deity Skt. Vajravarahi) to show him the suitable place. After the temple was built, he held a festival in honor of the patron deities during the inauguration as a symbol of gratitude. Since it is believed that the prophecy and the groundbreaking ceremony for the Tamzhing Temple was led by Dorje Phagmo, the festival is dedicated to her and is called Phagla-Chodpa. On the second day of the festival, Phag-chham leads the ground-breaking ceremony to sanctify the site before more mask dances are performed for the audience. Due to the unexpected loss of the Chham-yig (choreography manuscript) from the monastery many years ago, elders have regretfully found that the Phag-chham performed today no longer contains the complete steps and choreography. Elderly locals says that, at that time, there were more than 14 different types of steps, and due to faulty oral tradition, nearly 50% of the choreographies have been lost. The communities are concerned that without documentation, there is a risk of even more steps being lost and even new ones being added, as many of the artisans are either lay monks or farmers from the affiliated communities.
Social and cultural significance Tamzhing Lhundrub Choeling Monastery is an important site as it was the main seat of Terton Pema Lingpa and thus one of the most sacred temples in Bumthang valley. It is here that Pema Lingpa’s splendid art and architectural legacies survive, including the temple design, sculptures, paintings, iron chainmail, which survive alongside other relics. He also left behind his footprints in stone as well as numerous hidden treasures. Outwardly, the annual Phagla Chodpa showcases mask dances including the Tamzhing Phag-chham that were composed by Terton himself. Inwardly, it is a spiritually-oriented event that commemorates Pema Lingpa and his legacy, the performance not only indicates the communities’ identity but also represents a part of the nation’s cultural identity. The mask dance performance gives the spectators to remind their Spiritual Master; its choreographies show how temple’s foundations were laid and remarks thanksgiving prayers to the protective deity, Goddesses Dorji Phagmo, as her blessing as well as Terton’s blessings provide peace and prosperity to the individual community members. The event also provides a platform for individuals and the community to collectively engage in accumulating merit for all sentient beings.
Transmission method Generally, all performing arts’ choreographies are solely transmitted using traditional means; sharing oral accounts, demonstrating and making learners and trainers to imitate them until they acquire right technique. Similarly, almost all mask dances are taught through the same methods; teaching and making partitioners to impersonate although there are Chham-yig (mask dance choreography manuscript). However, Tamzhing Phag-chham is one of the mask dances in Tamzhing Lhakhang that lost its Chham-yig many years back. Currently, the particular performance is performed and succeeded by Chham-jug as a tradition and he learnt relevant choreographies from his predecessor, i.e. current Chhampon (the master of mask dancers). According to the current chhamjug is Pema Rigzin, age 33, from Tamzhing village said that there are more than seven different steps. However, elderly citizens who have witnessed the performance from their age until now expressed that, there have been more than 14 different types of interesting steps which the single performance would take nearly an hour. The loss of nearly 50% of its choreographies is primarily the loss of its Chham-yig, since then, it is taught through impersonating the predecessor and sometimes by oral accounts; and due to the performers being either lay monks or farmers. Due to the sacredness of the mask dance and the mask, which is considered a masterpiece of art and craftsmanship of Terton Pema Lingpa, he is received with an extended welcoming procession. The lone mask dancer is adorned with exquisite costumes consisting of a boar mask, a brocade top with Chris Cross decoration, two bundles of willow branches, a woven silk skirt in five different colors (white, yellow, red, green, blue) and Men-tse (a yellow silk cloth with floral motifs). Following the Tsa-tshig (choreography guidelines of the mask dance), the dancer performs the dance with an alternation of calm and aggressive steps, going in the four cardinal directions and showing the digging of earth, eating of grains and steps to suppress evil spirits, and finally sanctifying the area, concluding the performance. Leaving the platform, the performer is again seen off with a great solemn procession.
Community As said, Phag-chan is one of the mask dances performed during its annual festival which is actually a commemorative event of the completion of the temple by their root spiritual master Terton Pema Lingpa. Pema Lingpa handed over Tamzhing Lhakhang and its assets to his son Drakpa Gyeltshen as his property share. Though Drakpa Gyeltshen married, he didn’t produce an heir. However, the existing Tamzhing Choeje (nobility) line is descendants of Pema Lingpa’s youngest son, Sangdag. The ownership of the Tamzhing Lhundrub Choeling Lhakhang, and its associated landholdings have remained with the successive generations of the Tamzhing Choeje, who are therefore responsible for the annual rituals performed at the temple. Terton Pema Lingpa had many patrons and followers both from Bhutan and Tibet. Some of the disciples who accompanied him to Tamzhing contributed labour during the construction of the temple; many of them took up residence and, along with locals nearby Tamzhing, Kharsum, Konchogsum, and Tekarzhong, gradually became his main devotees. Thus, his followers and labour contributors became Drapa (lay monks) who worked and served for the Tamzhing Lhakhang, and his patrons the Threlpas (taxpayers) or Tsawa (sponsors). Tradition still maintains that Tamzhing Choeje has been coordinating Phagla Chodpa and sponsoring one meal during the first day of the festival, while the Tamzhing drapa shouldered responsibility of contributing mask dances, folk dances, and a collectively sponsored meal for the duration of the festival. The Tamzhing Phag-chham composed by Terton Pema Lingpa is succeeded by the mask dance performers i.e. men that inherited the Threlpa households esp. by the successors of Chham-jug amongst the mask dancers. Data collected by: Mr. Yeshi Lhendup, NLAB
Keyword
Information source
National Library and Archives of Bhutan
https://www.library.gov.bt/archive/
List

Materials related to

Photos