In a world where cultural heritage often crumbles under the pressures of modernity, Princess Ashi Kesang Choden T., a princess with a mission of stewardship and protection, is charting a far more creative path. Choosing a path of dynamic service and professional calling over one defined solely by birthday, Ashi Kesang—described by friends as deeply down-to-earth—has pioneered a vital role as a guardian of her nation’s soul. She is currently strategic advisor to the Zhung Dratshang Preservation and Antiquities Conservation Center (ZDPACC). With ZDPACC’s motto being “Compassion, Conservation, and Continuity,” this team of custodians and conservators is working with the princess to modernize and redefine preservation by fielding cutting-edge 3D technology and digitization, as well as training monastics in the relevant methodologies.
In the following interview with BDG, this champion of preservation shares how she is ensuring that the sacred art and culture, architecture, and holistic heritage of Bhutan live and thrive for generations to come.
BDG: Ashi, thank you for your precious time in accepting this interview. In your current role, you have not only looked at thangkas and the forms of art that are used in monasteries, but also the preservation and restoration of monasteries themselves. What is unique about monastic architecture and interiors that requires concerted effort and bold thinking?
Ashi Kesang Choden T. : Thank you for giving me the opportunity to share a little about the work by ZDPACC, under the Central Monastic Body of Bhutan.
It has been incredibly humbling and meaningful to see our history and culture up close, and most of all, to meet our dedicated custodians, from monastics to civil servants and communities. Their sincerity and passion have been such an inspiration; it has truly been an honor to serve as executive director for the past decade, and now as one of its advisors.
From my personal experience, it is not boldness one needs, but humility, adaptability, and broad-mindedness. The ability to accept both traditional and modern knowledge. When we work on restoration projects, experience often matters more than a degree from a prestigious university as you are ensuring the continuity of something that has lasted for hundreds of years, not building something new from scratch.
All our traditional architecture uses no nails at all. Every structure depends on the harmonious balance of weight, and like Japan, the wood elements are fitted together. The design carries cultural and Buddhist elements that add meaning, protection and blessings to the structure itself and its surroundings.
It is vital that our teams combine modern engineers with traditional craftspeople as well as senior monastics to understand the larger purpose and utilization of the living heritage. Geomancy, auspicious timings, structural integrity, safety, and practical usage of spiritual spaces are some of the things we take into consideration. Modern tools and technology confirm and at times refine these assessments, but rarely replace years of intuitive knowledge and experience. At ZDPACC, we’ve seen that this balanced approach leads to the most enduring results.
BDG: One of ZDPACC’s supporters, the Druk Foundation, has trained monks in traditional conservation and restoration methods using historical pigments and techniques. What have been the most significant challenges and rewards in building this specialized capacity within monastic communities? How does involving monks in conservation work enhance both the preservation efforts and the spiritual life of the monasteries?
KCT: Since early 2000, art conservator Mr. Ephraim Jose has generously shared his time and expertise in the training of Bhutanese monastics in Asian art conservation. He founded the Druk Foundation, which has supported the ongoing training as well as contributing towards the construction of the new ZDPACC office. We were deeply fortunate to have had matching support from the Royal Government of Bhutan and additional generous contributions from close friends and well-wishers who believed in the Center’s vision when it was established in 2024.
Our monastics are already trained from a young age by the Central Monastic Body in traditional painting methods, using traditional pigments and raw materials, through their training in the Kyilkhor (mandala) section of the Central Monastic Body.
One of the main challenges is the lingering perception that monastics are detached from worldly affairs and are therefore less informed or so-called uneducated. In reality, the Monarchy and the Central Monastic Body form the two enduring pillars of Bhutan’s identity and sovereignty. As such, it is vital to equip monks and nuns with skills and knowledge to allow them to make informed decisions and take an active role in ensuring the preservation and continuity of Bhutan’s sacred heritage.
ZDPACC aspires to build on this legacy by formalizing training programs that merge traditional and modern conservation and cultural continuity practices, as well as life skills that will help them grow, not just as spiritual guardians, but also as part of the professional custodianship of Bhutan.
BDG: You’ve expressed concern about modern materials like cement, plastic, and acrylic causing “irreparable and irreversible damage” to traditional forms of art. How are you working to educate communities about appropriate materials and techniques? Are there ways to incorporate modern technology that respects rather than diminishes the spiritual essence of these works?
KCT: Their Majesties, the Central Monastic Body, and the Ministry of Home Affairs, as well as several cultural institutions continue to educate communities on the proper use of materials and techniques. It’s an ongoing effort that still needs broader consensus at both grassroots and policy levels.
The newly rebuilt Wangduephodrang and Drukgyel dzongs (royal fortresses) are excellent examples of modern engineering that is respectfully integrated within traditional architecture, with features like earthquake reinforcement added that does not affect the aesthetic or spiritual features of the structure itself. The Department of Culture and Dzongkha Development under the Ministry of Home Affairs, has also begun training in technologies like LIDAR (Light Detection and Ranging) to help assess and document heritage sites.
At ZDPACC, we focus on awareness within monastic communities through hands-on workshops, apprenticeships, and digital documentation. We train monastics in archival photography and 3D imaging so that sacred objects can be recorded for secure archival and preservation purposes. We also collaborate with local and international partners to strengthen both conservation and continuity. Modern tools are welcome when they deepen understanding or make our work more effective, however we are mindful that they must always serve the heritage, never define it.
BDG: There are many thangka artists in Bhutan, including master painter Kinzang Chojay. How do you view these artists who balance the contemporary with the tradition of thangka painting, and what role might the Thangka Conservation Center be able to play in supporting or collaborating with artists who wish to honor tradition while exploring new forms of expression?
KCT: It is really heartening to see traditional master artists exploring contemporary forms of expression. This exchange between tradition and modernity, helps keep Bhutanese art alive and relevant, both nationally and internationally.
We’ve brought together monastics, contemporary Bhutanese artists and tech professionals in a number of quite diverse and unusual collaborations, in hopes of creating connections and ways of thinking that perhaps weren’t thought of before. We hope these projects can help interpret Bhutan’s sacred art, its history and cultural significance, especially the values and wisdom behind it, for younger audiences, while opening new platforms for creativity and dialogue.
BDG: You have been an advisor to filmmaker Laurence Brahm’s Lotus-Born Master series, whose films we are now screening with Asia Society in Hong Kong as our venue. How might modern media like filmmaking, TV, and streaming help young Bhutanese and people from abroad understand Bhutanese and Himalayan art and heritage?
KCT: A close friend in Hong Kong asked me to assist Laurence Brahm when he filmed part of his Lotus-Born Master series in Bhutan. My role was mainly to provide background research and help ensure that the spiritual and cultural context was accurately represented. Modern media, of course, allows Bhutanese and Himalayan heritage to reach audiences in ways that the younger generation can connect with and relate to. I feel that while the medium may change, the core message of wisdom and compassion remains the same, and it is especially important in today’s volatile times.
At ZDPACC, our research and development division is exploring ways to create a secure yet accessible database, preserving the wealth of knowledge and information held by the Central Monastic Body about Bhutan, its culture, history, and identity.
BDG: You were homeschooled by His Holiness Dilgo Khyentse Rinpoche and deeply immersed in Buddhist philosophy from childhood. How did these early experiences shape your approach to cultural preservation? Additionally, how have your family members, including your grandmother, inspired and motivated your work with conserving monasteries and thangkas?
KCT: I was homeschooled by wonderful conventional teachers, to whom I remain deeply grateful to. Like many of my family members, I also had the great privilege of spending time in the presence of His Holiness Dilgo Khyentse Rinpoche; and like many Bhutanese, we grew up in an environment that naturally instilled Buddhist values and an awareness of the sacred in daily life.
Cultural preservation and continuity are deeply rooted in the Bhutanese psyche, and I am simply fortunate to serve in whatever capacity, in a role that allows me to contribute to it directly. My motivation comes from Her Majesty the Royal Grandmother, Their Majesties and my family; and I have also met countless Bhutanese, from all walks of life, who care deeply about our heritage. They have served as inspirational examples of devotion and dedication, working quietly behind the scenes in ensuring Bhutan’s essence remains for future generations for many years to come.
BDG: Looking forward, what projects or new directions is ZDPACC pursuing? How might international institutions and collaborators partner with your center in ways that respect Bhutan’s sovereignty and cultural protocols while contributing to the global understanding and preservation of Himalayan art?
KCT: Our work goes a bit beyond just preserving Bhutan’s heritage alone. It’s also about nurturing the monastic custodians who care for it. It is a growing reality that many young monastics joining the Central Monastic Body come from challenging backgrounds. Monastic life gives them structure and purpose, but we also want to help them grow into informed and responsible citizens who can contribute meaningfully to society.
Many monastic schools now include modern subjects like English, science, and computing. We are working with some of them to strengthen character-building alongside these new skills; ensuring that integrity and compassion are just as important as technical knowledge.
At ZDPACC, we combine conservation training with life skills, administrative knowledge, and digital literacy, so that our monastics can serve not only as spiritual upholders but also as capable guardians of Bhutan’s living heritage. Our main focus areas are:
- The Digitize Dratshang Project: helping organize and securely digitize the Central Monastic Body’s collections.
- Conservation studios and training: Strengthening traditional and modern conservation skills, while also building confidence and decision-making capacity.
- Research and outreach: developing a secure database of Bhutan’s cultural and historical knowledge for education and preservation.
We are open to international collaborations that are respectful to Bhutan’s sovereignty and cultural values. What we appreciate most are partnerships that share expertise, offer technical or financial support for our ongoing projects, or help Bhutanese voices in conservation reach a wider audience.
Our guiding principles of Compassion, Conservation and Continuity keep us grounded in our vision that preservation must go hand in hand with humility and authenticity.
If you have enquiries or donation offers for the work of ZDPACC, email: [email protected]
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ZDPACC (Instagram)
Zhung Dratshang Preservation & Antiquities Conservation (Facebook)
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