DAWA ZANGMO | Thimphu
The Royal Textile Academy (RTA), in collaboration with the Museum Division under the Department of Culture and Dzongkha Development, Ministry of Home Affairs (MoHA), has announced the results of the 24th National Design and Art Competition (NDAC) 2026.
The annual competition, a key national platform for Bhutanese artisans, is organised to preserve and promote the country’s unique arts and crafts traditions.
Held under the Royal Patronage of Her Majesty Gyalyum Sangay Choden Wangchuck, the event continues to provide recognition and opportunities for artisans across the country.
According to the organizers, winners of this year’s competition received their certificates and prizes during the opening ceremony of the NDAC exhibition on April 2, 2026.
The NDAC is supported by funding from the Royal Government of Bhutan (RGoB) and Mr. and Mrs. Alan Bickell. Winners in each category are awarded cash prizes along with certificates.
The first-place winners receive Nu. 120,000, second-place winners Nu. 65,000, and third-place winners Nu. 32,500.
In addition, first place winners are conferred a Master’s Certificate by Her Majesty Gyalyum Sangay Choden Wangchuck.
The competition features six categories: Weaving (Gho), Weaving (Kira), Embroidery, Traditional Painting, Sculpture, and Wood Carving.
This year, a total of 50 entries were submitted across categories, including 15 in Weaving (Kira), 3 in Weaving (Gho), 11 in Embroidery, 11 in Traditional Painting, 6 in Wood Carving, and 4 in Sculpture.
Judging for the competition took place from March 19 to 20, 2026. Each category was evaluated by a panel of seven judges comprising experts in their respective fields.
The NDAC exhibition, showcasing the winning and selected works, is open to the public from April 3 to April 18, 2026, for a duration of two weeks.
Winners across categories highlighted both the cultural significance of their work and the challenges they encountered during the creative process.
The winner of the Sculpture category, Kinzang Dorji, presented a piece representing Green Tara, described as the “Mother of Compassion.” He stated that the inspiration behind the work was rooted in the symbolism of fearlessness and the act of helping others.
The figure’s posture, with one foot stepped forward, was intended to convey readiness to assist those in need at any moment.
Kinzang Dorji explained that he focused on achieving a gentle expression and intricate ornamentation to reflect both the aesthetic and cultural values associated with the figure.
He noted that the sculpture was created using clay and small hand tools, requiring careful and patient craftsmanship. He added that one of the most detailed aspects of the work involved crafting tiny bead-like elements, which demanded precision to maintain the calm and compassionate expression of the figure while preserving fine details.
The winner of the Wood Carving category, Tashi Tobden, described the craft as one that requires a high level of precision and patience.
He stated that one of the main challenges he faced was the limited availability of machinery, which extended the time required to complete the work. He reported that the project took approximately six months to finish.
Tashi Tobden also highlighted concerns regarding the valuation of such craftsmanship, noting that the effort invested is not always reflected in the perceived value of the work.
He added that access to machinery could reduce production time and potentially improve returns for artisans. Despite these challenges, he reported no major difficulties beyond time constraints.
He further stated that competitions like NDAC play a role in preserving and promoting Bhutan’s traditional wood carving skills by motivating individuals to participate and engage in the craft.
He added that such platforms can encourage youth, including those who are unemployed or have limited formal education, to develop interest and skills in traditional crafts.
The winner of the embroidery category, Sonam Wangmo, referenced the historical significance of embroidery in Bhutan, noting that the craft dates back to the 17th century and is associated with Zhabdrung Ngawang Namgyal, who contributed to shaping Bhutan’s national identity.
She stated that with ongoing development and modernization, younger generations are paying less attention to traditional arts and crafts.
As a Bhutanese youth, she said her intention was to create an impact by encouraging more young people to take interest in the field.
Sonam Wangmo reported that she did not face major challenges during the process, although she initially experienced uncertainty about her ability to complete the work, as it was her first attempt.
She credited the support of her master, parents, and friends for helping her complete the piece.
She added that platforms such as the NDAC are important due to the limited opportunities available for artisans to showcase their work to the public.
While expressing concern about the future of traditional embroidery, she stated that although its prominence may decline, the craft is unlikely to disappear entirely.
Organizers reiterated that the NDAC continues to serve as an important initiative in sustaining Bhutan’s cultural heritage by providing artisans with visibility, recognition, and incentives to continue practicing traditional arts.
