Tibetan Woodblock Printing Skill

Tibetan Woodblock Printing Skill (藏族雕版印刷技艺), also known as Boro Guze Woodblock Carving Technique (波罗古泽刻版制作技艺), is a traditional craftsmanship from Jiangda County (江达县) in the Tibet Autonomous Region (西藏自治区). This art form has been recognized as part of China’s National Intangible Cultural Heritage. It involves exceptional craftsmanship, with delicate carvings, unique designs, and durable, high-quality finished products. The wooden furniture, including Tibetan cabinets and Tibetan tables, is especially notable for its solid structure, vivid color contrasts, and intricate decorations that convey a sense of both elegance and solemnity.

In 2008, Tibetan Woodblock Printing was officially included in the National Intangible Cultural Heritage list by the State Council of the People’s Republic of China, with heritage number VIII-80.

Key Information

  • Heritage Name: Tibetan Woodblock Printing Skill (藏族雕版印刷技艺)

  • Approval Date: June 7, 2008 (2008年6月7日)

  • Heritage Level: National (国家级)

  • Heritage Number: VIII-80

  • Heritage Category: Traditional Craftsmanship (传统技艺)

  • Region: Jiangda County, Chamdo Prefecture, Tibet Autonomous Region (西藏自治区昌都地区江达县)

  • Protecting Unit: Jiangda County Culture and Tourism Bureau (江达县文化和旅游局)

Historical Origins

The Birth of Tibetan Woodblock Printing

The tradition of Tibetan woodblock printing dates back to the 15th year of the reign of Emperor Kangxi (康熙十五年, 1676) during the Qing Dynasty (清朝). It was initiated by the 12th Chieftain of Dege (德格第十二世土司), Chögyi Denba Tsering (却吉·登巴次仁), and is primarily associated with the Boro Village (波罗乡) in Jiangda County.

During the Qing Dynasty, the regions of Dege (德格), Baiyu County (白玉县) in Sichuan, and Jiangda (江达) in Tibet were all under the control of the Dege Chieftain (德格土司). With the rise of Buddhism in Tibet, the need for printing Buddhist scriptures and images spurred the development of woodblock carving. This led to the flourishing of the Boro Guze Woodblock Carving Technique.

In the Qing Dynasty, the Tibetan chieftains and monks invested substantial manpower and resources to collect historical and religious texts for printing. Many thousands of woodblock prints were created, with over 80% of the woodblocks used in the famous Dege Tibetan Printing House (德格印经院) made in Boro Village.

Craft Characteristics

Types of Tibetan Woodblock Prints

Tibetan woodblock printing can be divided into three main categories:

  1. Scripture Blocks (经书版) – Woodblocks used for printing religious texts.

  2. Buddha Image Blocks (佛像版) – Blocks used for carving images of Buddhas and deities.

  3. Art Blocks (美术版) – Woodblocks used for artistic designs and motifs.

Additionally, the traditional woodblock printing technique can be used for creating seals and carving wooden crafts. The woodblock prints are known for their fine detailing, vivid colors, and dynamic lines that embody a lively yet elegant aesthetic.

Craft Process

Materials Used

The primary material for carving woodblocks in Boro Village is the Birch Tree (桦胶树), which grows locally. The trees selected for woodblock carving must have straight, blemish-free trunks. After the trees are cut, the wood is soaked in a special liquid and left to dry for a year. After drying, the wood is smoothed before it is used to create the printing blocks.

Tools Used

A complete set of carving tools for Boro Woodblock Printing includes dozens of different carving knives. The types of knives used depend on the size and content of the block being carved. The four main types of knives used in the process include:

  • Sai Jie (赛杰): Used for carving long-legged letters or slanted strokes.

  • Bo (波): Used for carving round letters.

  • Zhu Jie (珠结): Used for carving snake-shaped strokes.

  • Sen Jia (森加): Used for carving rounded details, named after the shape of a fingernail.

These tools are essential for achieving the fine details and intricate designs that characterize the art of Tibetan woodblock printing.

Carving Process

The process of carving a Tibetan Woodblock Print involves a series of carefully executed steps. For each block, the content must first be written by a renowned or local Tibetan calligrapher. After this, the text is checked and then transferred to the wooden block using a special liquid. The carving artisans then trace and replicate the text and images on the block, followed by multiple rounds of careful proofreading.

Once the block is carved, it is treated with butter to preserve the wood. The block is then dried and painted with vermilion (朱砂) to protect it from insects and to enhance its color. After drying, the block is dipped in a plant-based solution to prevent deterioration and insect damage, ensuring that the prints can last for generations.

Inheritance and Protection

Value of Inheritance

Tibetan woodblock printing is a cornerstone of Tibetan culture, especially in the transmission of Buddhist teachings. It has played an enormous role in the development of Tibetan culture and the preservation of Tibetan Buddhist texts. This skill represents a significant aspect of Tibetan heritage, and its continued transmission is crucial for maintaining the unique traditions of the Tibetan people.

Challenges in Transmission

Due to issues such as underdeveloped infrastructure, the lack of organization among carving artisans, and limited market access for handmade crafts, the transmission of the Boro Guze Woodblock Carving Technique has faced significant challenges. The art form has encountered difficulty in reaching newer generations, with fewer artisans being trained in the traditional techniques.

Key Figures in the Inheritance

  • Dorje Denca (多吉登次): Born in 1924, Dorje Denca is a prominent figure in the inheritance of Tibetan woodblock printing. He was recognized as a representative inheritor of this craftsmanship in the Third Batch of National Intangible Cultural Heritage in 2009.

  • Ze Pei (泽培): Another prominent inheritor, Ze Pei, has contributed significantly to preserving this art form and was recognized as a representative inheritor in the Fifth Batch of National Intangible Cultural Heritage.

Protection Measures

In 2023, the Jiangda County Culture and Tourism Bureau (江达县文化和旅游局) was re-designated as the official protection unit for Tibetan Woodblock Printing, following significant changes in the previous protecting organization.

In 2024, the Tibetan Xuebakang Traditional Woodcut Art Co. Ltd. (西藏雪巴康传统木刻艺术有限公司) was recognized as a National Intangible Cultural Heritage Production Protection Demonstration Base, ensuring further development and preservation of the technique.

Social Impact

Important Exhibitions

Tibetan woodblock printing has been showcased in various exhibitions, highlighting its cultural significance and the efforts to preserve the technique. Some notable exhibitions include:

  • “Zhuo Zhuo Kamba: The Legend of Chamdo” (卓卓康巴·传奇昌都) – A cultural and tourism exhibition held at the Tianjin Museum (天津博物馆) on August 31, 2023, which featured Tibetan woodblock printing.

  • “The Charm of Tibetan Woodblock Culture” (指尖神韵——西藏雕版文化创意展) – An exhibition held at the Tibet Arts and Crafts Museum (西藏自治区群众艺术馆) on July 18, 2024, showcasing works of Tibetan woodblock printing.