Trace Foundation

To complete the nine sculptures the artisans used almost five pounds of ghee.
The butter sculptors worked for three weeks to complete the nine pieces that made up the final exhibition. Here, Thupten sands the wooden forms that serve as the supports for the butter sculpture.
Work began with huge wheels of ghee, or clarified butter, that had been boiled with wax—to keep it from melting indoors— and chilled.
The butter shavings are gathered together and kneaded until pliable.
After working the butter into a cone it is left in cool water to keep it firm.
To dye the butter, oil paints are kneaded into the butter, creating a smooth, consistent color.
The nine final pieces are made from over five pounds of butter and melted wax.
From just a few colors a full palette is created for use in the sculptures.
A full set of wooden butter sculpting tools.
Different holes in the wooden block have different sized apertures; pieces of butter are pushed through the opening, producing ropes of butter for decorative and sculpting needs.
These thin ropes will be woven together to form an endless knot.
A simple plastic compass creates perfect circles to frame the primary offerings.
Nearly complete, the eight auspicious signs are shown here together.
The small lotus petals surrounding each symbolic offering are made and applied individually.

The container for the eight auspicious substances.

The precious jewel, one of the five qualities of enjoyment, offered here together with the eight auspicious signs.

Adding details to the parasol, a symbol of the power of the dharma to protect sentient beings from the heat of affliction.

A highly stylized pomegranate flower adorns one of the offerings.

Wooden tools are used to create patterns and lines.

The sculptors’ workstations include basins of water; pieces of molded butter are constantly dipped in the water for easier handling. The sculptors also use the water to keep their fingertips cool to the touch.

The monkey, one of the four harmonious friends, a symbol of respect for one’s elders and proper social relations.

The two scultpors, Thupten Thinley (left) and Dorjee Gombu (right) learned the art of butter-sculpting at Gyuto Tantric University in India.

With a carefully braced hand, the monkey’s fur is added after it has been attached to the elephant’s back.

The silken scarf is added last to the five qualities of enjoyment, symbols of the five senses.

Finally complete, the four harmonious friends share the bounty of a fruit tree by cooperating with one another.

Students of the library’s Children’s Program watch intently as Dorjee Gombu works on a sculpture.

The six long lives, originally Chinese, is a common decorative motif for Tibetan furniture, clothing, and homes.

This New Year’s offering consisting of various grains, sweets, fruits, and a symbolic animal sacrifice is typical of those made in Lhasa for Losar.

A young visitor enjoys the new year offering.

Gen Jamspal of Columbia University shares the Losar traditions of his home in Ladakh.

Nyima Dorje spoke about the new year traditions of his native Drakyap in Kham, where the holiday has the special name of "Béuluk losar" (literally baby yak and baby sheep new year).

Sonam Ongmo introduces the new year as celebrated in Bhutan.

Library Director Pema Bhum shares a laugh with a guest to the event.

The two sculptors Dorjee Gombu (left) and Thupten Thinley (right) worked for three weeks to complete the nine butter sculptures that made up the exhibition.

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