The Art Of Thangka

The Art Of Thangka Craft documentation on Thangka Painting of Sikkim

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Digital document of a student publication for private circulation only

M.Des 2017, IT Integrated Communication Design (IICD), Integrated LIfe Style Product Design (ILPD) Kerala State Institute of Design, Kollam, India

Text Dennis Pious (IICD) C.H Suresh (ILPD)

Photographs Dennis Pious C.H Suresh

Illustrations Dennis Pious C.H Suresh

Guided By Gireesh P.T

KERALA STATE INSTITUTE OF DESIGN Chanthanatope Kollam

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The Art Of Thangka Craft Documentation By Dennis PIous C.H Suresh

Guided By Gireesh P.T

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o nte nt s

Acknowledgment..............

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Preface............................

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About Sikkim....................

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Kollam to Gangtok............

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G a n g t o k c i t y. . . . . . . . . . . . . . . . . . . . .

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Flora and fauna................

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Demographics..................

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Life style of people..........

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Religion...........................

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Significance of the Tibetan flag.....................

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Tra n s p o r t a t i o n . . . . . . . . . . . . . . . . . . .

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About craft........................

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T h a n g k a a r t h i s t o r y. . . . . . . . . . . .

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Impor tance of the craft......

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To o l s m a t e r i a l s a n d Process............................. 40 Tra d i t i o n a l m e t h o d s . . . . . . . . . . .

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P r a c t i c i n g c o m m u n i t y. . . . . . . . . 6 2 Culture..............................

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Clothing............................. 66 Cuisine.............................. 68 Houses............................. . 70 Fe s t i v a l s . . . . . . . . . . . . . . . . . . . . . . . . . . .. 7 2 Market...............................

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R e f e r e n c e s . . . . . . . . . . . . . . . . . . . . . . . ..

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c k now l e d g me nt

We are thankful to the Kerala state institute of design for supporting this craft documentation. We are thankful to Mr. Gireesh P.T Executive director, KSID our guide and mentor in this project who’s expertise in this field helped us a lot. Thanks to the Directorate of hand loom and handicraft Sikkim for helping us with the field research. Special thanks to all my colleagues and batch mates for there valuable inputs and suggestions

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reface

The state of Sikkim is famous for its traditional Tibetan culture and clean and green environment with rivers like serene and beautiful rivers, tropical forest and alpine forest which attracts the tourists to the state. Another USP of the state is its traditional crafts which has its roots from the Tibet. The traditional Sikkim crafts include the Thangka painting, the wooden mask craft etc.

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B O U T

S I K K I M

Sikkim was its own mountain kingdom kim’s capital and largest city is Gangtok. till 1975 and still retains a very distinctive Almost 25% of the state is covered by personality. The meditative, mural-filled the Khangchendzonga National Park. traditional monasteries of Tibetan Buddhism coexist with Hindu shrines of the ever-growing Nepali community.

Hassle free and warm-hearted, it’s a state that’s all too easy to fall in love with, explaining perhaps why permit regulations prevent foreigners staying too long or going too far. Clean, green and ‘all organic’ since 2016, Sikkim is mostly a maze of plunging, super-steep valleys thick with lush subtropical woodlands and rhododendron groves, rising in the north to the spectacular white-top peaks of the eastern Himalaya.

When clouds clear, an ever-thrilling experience from many a ridge-top perch is spotting the world’s third-highest mountain, Khangchendzonga (8598m), on the northwestern dawn horizon. A part of the Eastern Himalaya, Sikkim is notable for its biodiversity, including alpine and subtropical climates, as well as being a host to Kanchenjunga, the highest peak in India and third highest on Earth. Sik10

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o l l a m to G a n g to k

Sikkim is connected with roads from Siliguri in West Bengal. The siliguri corridor is the narrow stretch of land which connects Sikkim, Northeast, Bangladesh, Nepal and Kingdom of Bhutan and one of the busiest city where millions of people come to get connected with Indian main land and vice versa. The city is connected with railways and air. New Jalpaiguri railway station serves the city when Bagdogra airport connects the city with rest of India. There is private helicopter service to Gangtok from Bagdogra airport every day. One will get shared taxis and Buses to Gangtok from Siliguri. The hilly state is connected well with roads which is maintained by Border Road Organization (BRO). The state has very less number of public transport buses, Tourist and locals mainly depend upon the private taxis available to reach Gangtok.

Sikkim has Strict laws in migration and tourism.

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a n g t o k

Gangtok is the capital and largest town of Sikkim. Located in eastern Himalayan range and it is at the center of Sikkim tourism. Gangtok is a center of Tibetan Buddhist culture and learning, with the presence of several monasteries, religious educational institutions, and centers for Tibetology. One of the prominent monastery in Gangtok is the Enchey monastery which is established in the year of 1840. After India won its independence from Britain in 1947, Sikkim chose to remain an independent monarchy, with Gangtok as its capital. In 1975, after the integration with the union of India, Gangtok was made India’s 22nd state capital.

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c i t y

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Gangtok is known for its scenic attraction, sparkling rivers, streams meadows and clean streets. A splendid artistic heritage includes fine temple architecture, miniature soft toys, painting and wooden mask. Gangtok’s serene beauty make it the ideal holiday retreat. Isolated by high mountains Gangtok was allowed to develop its style of art and architecture.

Gangtok is the largest and capital of the state Sikkim. Situated in east Sikkim.

The population of Gangtok according to 2011 census is 98,658. In which the majority consist of Nepali followed by Bhutias and Lepchas.

Nestled within higher peaks of the Himalaya and enjoying a year-round mild temperate climate, Gangtok is at the center of Sikkim’s tourism industry. Summer and spring seasons are the most popular tourist seasons. Many of Gangtok’s residents are employed directly and indirectly in the tourism industry, with many residents owning and working in hotels and restaurants.

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lora and fauna

Because of the altitude that vary right from sea level to summits that touch the skies, the flora and fauna naturally covers a wide spectrum. Nowhere in the world in such a small area can one find flora and fauna of all Varieties-Tropical to the Alpines. Sikkim’s botanical and zoological richness is awe-inspiring, boasting of more than 4000 species of plants.

More than 4000 species of plant have been recorded in Sikkim. Over 600 species of orchids grow in Sikkim, Epiphytal and terrestrial types, in the tropical and temperate zones. 35 species of rhododendrons grow in temperate and alpine regions, their flowering from May to August colors hillsides. Rhododendron arboreum, the tree rhododendron, also known as burans or gurans, is an evergreen shrub or small tree with a showy display of bright red flowers. It is found in widely in Sikkim.

Sikkim exhibits a large variety in the animal world to match its floral delights.

Amongst the mammals of Sikkim are the rare Snow Leopard, Himalayan Black Bear, Red panda, Musk Deer and Blue 18

Sheep. Yak - A domesticated animal of Sikkim, survive above 10,000 ft. and can live without food for days together.

Chumpi is a hardened cheese is made of Yak. Red Panda - The two feet long, the “state animal� of Sikkim, Red Panda inhabits on treetops, a vegetarian is found in the mountain forests at between 6,00012,000 ft. above sea level. Himalayan Bear - Found in temperate forests, a vegetarian, living mostly on corn, wild plants, honey, etc.

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emographics

Sikkim is India’s least populous state, with 610,577 inhabitants according to the 2011 census. Sikkim is also one of the least densely populated Indian states, with only 86 persons per square kilometer. However, it has a high population growth rate, averaging 12.36% percent between 2001 and 2011. The sex ratio is 889 females per 1,000 males, with a total of 321,661 males and 286,027 females recorded in 2011.

The original inhabitants of Sikkim are said to be Lepchas. They existed much before the Bhutias and Nepalese migrated to the state. Before adopting Buddhism or Christianity as their religion, the earliest Lepcha settlers were believers in the bone faith or mune faith. This faith was basically based on spirits, good and bad. They worshiped spirits of mountains, rivers and forests which was but natural for a tribe that co-existed so harmoniously with the rich natural surroundings. The Lepcha (Zongu) folklore is rich with stories. The Lepcha population is concentrated in the central part of the Sikkim. This is the area that encompasses the confluence of Lachen and Lachung rivers and Dickchu.

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THE BHUTIAS These are the people of Tibetan origin. They migrated to Sikkim perhaps some-where after the fifteenth century through the state of Sikkim. In Northern Sikkim, where they are the major inhabitants, they are known as the Lachenpas and Lachungpas. The language spoken by the bhutias is Sikkimese. Bhutia villages are as large as those compared to those of Lepchas THE NEPALESE Between the 1890s and the early 1900s, the large scale immigration of Nepalis began, encouraged by colonial landlords in order to raise rents in otherwise densely forested Sikkim. Indigenous groups pressed the British Empire to stop such settlement on Lepcha and Bhutia lands, however by the turn of the century, the Nepalese population constituted a majority, and indigenous populations amalgamated into a composite Lepcha-Bhutia socio-ethnic group. The Nepalese now constitute more than 80 % of the total population. The Nepali settlers introduced the terraced system of cultivation. Cardamom was an important cash crop introduced by the Nepalis’.

Except for the Sherpas & Tamangs who are Buddhists, the Nepalis’ are orthodox Hindus with the usual cast system.

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i fe s t y l e o f p e o p l e

Gangtok is the largest and capital of the state Sikkim. situated in east Sikkim. The population of Gangtok according to 2011 census is 98,658. In which the majority consist of Nepali followed by Bhutias and Lepchas.

Nestled within higher peaks of the Himalaya and enjoying a yearround mild temperate climate, Gangtok is at the center of Sikkim’s tourism industry. Summer and spring seasons are the most popular tourist seasons. Many of Gangtok’s residents are employed directly and indirectly in the tourism industry, with many residents owning and working in hotels and restaurants.

The people of Sikkim have a very high standard of living. The state holds an average of 79.82% of literacy against the 74% of the national average and Sikkim is the one only state in the country to achieve 100% sanitation.

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eligion

Hinduism is the prominent religion in Sikkim followed by the dominant community of Nepalese an estimated 57.75% of total population are following Hinduism.

Vajrayana Buddhism, which accounts for 27.3 percent of the population, is Sikkim’s second-largest, yet most prominent religion. Prior to Sikkim’s becoming a part of the Indian Union, Vajrayana Buddhism was the state religion under the Chogyal.

Sikkim has 75 Buddhist monasteries, the oldest dating back to the 1700s.

The traditional religion of Sikkim can be considered as the munl religion which was followed by the Lepchas. But with the migration of Tibetan Bhutias in 14th century the Lepchas were converted to Buddhism and later with the invasion of British rest of them were converted to Christianity.

The public and visual aesthetics of Sikkim are executed in shades of Vajrayana Buddhism and Buddhism plays a significant role in public life, even among Sikkim’s majority Nepali Hindu population.

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ignificance of the Tibetan Flag

Hinduism is the prominent religion in Sikkim followed by the dominant community of Nepalese an estimated 57.75% of total population are following Hinduism.

Vajrayana Buddhism, which accounts for 27.3 percent of the population, is Sikkim’s second-largest, yet most prominent religion. Prior to Sikkim’s becoming a part of the Indian Union, Vajrayana Buddhism was the state religion under the Chogyal.

Sikkim has 75 Buddhist monasteries, the oldest dating back to the 1700s.

The traditional religion of Sikkim can be considered as the munl religion which was followed by the lepchas. But with the migration of Tibetan Bhutias in 14th century the Lepchas were converted to Buddhism and later with the invasion of British rest of them were converted to Christianity.

The public and visual aesthetics of Sikkim are executed in shades of Vajrayana Buddhism and Buddhism plays a significant role in public life, even among Sikkim’s majority Nepali Hindu population.

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ranspor tation

People of Sikkim have very high standard of living, Taxis are the most widely available public transport within Gangtok. Most of the residents stay within a few kilometers of the town center and many have their own vehicles such as two-wheelers and cars. The share of personal vehicles and taxis combined is 98% of Gangtok’s total vehicles, a high percentage when compared to other Indian cities. City buses comprise less than one percent of vehicles. Those traveling longer distances generally make use of share-jeeps, a kind of public taxis. Four wheel drives are used to easily navigate the steep slopes of the roads.

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b o ut c r a f t

INTRODUCTION Thangka are paintings on the cloth that depict the “kine”, the bodily forms of enlightened beings, or the diagrammatic mandala, the ‘sacred circle’, symbolizing the spiritual embodiment of the Buddha and the stages of spiritual realization. The figurative paintings either place the deities within a narrative by depicting episodes from there life. or by portraying aspects of Buddha’s nature of sentient being. For example, the deity Awalokiteshwara is the embodiment of wisdom and compassion. In the latter type, the selection of a particular deity for portrayal is usually linked with the effects desired by the person commissioning Thangka. Thus the Thangka of the dodos tara are in demand for her ability to remove obstacles and grant protection.

Hung in monasteries, shops and home, Thangka may be commissioned to bring well-being and health, to ward of evil eyes, to en-sure happy rebirth or for use as meditation aid their widespread presence makes them a significant element of the Buddhist visual culture.

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h a n g ka a r t h i s to r y

The exact time of the origin or history of the Thangka art a religious painting is not yet known. However, History of Thangka Art Paintings can be seen from Nepal in 7th century A.D. when Buddhists and Hindus began to make illustration of the deities and natural scenes. Historically, Tibetan and Chinese influence in Nepalese paintings is quite evident in Thangkas. Thangka’s are of two types, the Palas which are illustrative paintings of the deities and the Mandala, which is mystic diagrams paintings of complex test, prescribed patterns of circles and square each having specific significance.

It was through Nepal that Mahayana Buddhism was introduced into Tibet during reign of Angshu varma in the seventh century A.D. There was therefore a great demand for religious icons and Buddhist manuscripts for newly built monasteries throughout Tibet. The influence of Nepalese art extended till Tibet and even beyond in China in regular order during the thirteenth century. Nepalese artisans were dispatched to the courts of Chinese emperors at their request to perform their workmanship and impart 34

expert knowledge. The exemplary contribution made by the artisans of Nepal, specially by the Nepalese innovator and architect Balbahu, known by his popular name “Arniko� bear testimony to this fact even today. After the introduction of paper, palm leaf became less popular; however, it continued to be used until the eighteenth century. Paper manuscripts imitated the oblong shape but were wider than the palm leaves.

From the fifteenth century onwards, brighter colors gradually began to appear in Nepalese. Thangka. Because of the growing importance of the Tantric cult, various aspects of Shiva and Shakti were painted in conventional poses.

Mahakala, Manjushri, Lokeshwara and other deities were equally popular and so were also frequently represented in Thangka paintings of later dates. As Tantrism embodies the ideas of esoteric power, magic forces, and a great variety of symbols, strong emphasis is laid on the female element and sexuality in the paintings of that period.

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Religious paintings worshiped as icons are known as Paubha in Newari and Thangka in Tibetan. The origin of Paubha or Thangka paintings may be attributed to the Nepalese artists responsible for creating a number of special metal works and wall- paintings as well as illuminated manuscripts in Tibet. Realizing the great demand for religious icons in Tibet, these artists, along with monks and traders, took with them from Nepal not only metal sculptures but also a number of Buddhist manuscripts. To better fulfill the ever - increasing demand Nepalese artists initiated a new type of religious painting on cloth that could be easily rolled up and carried along with them. This type of painting be-came very popular both in Nepal and Tibet and so a new school of Thangka painting evolved as early as the ninth or tenth century and has remained popular to this day. One of the earliest specimens of Nepalese Thangka painting dates from the thirteenth /fourteenth century and shows Amitabha surrounded by Bodhisattva. Another Nepalese Thangka with three dates in the inscription (the last one corresponding to 1369 A.D.), is one of the earliest known Thangka with inscriptions. The “Mandala of Vishnu “ dated 1420 A.D., is another fine example of the painting of this period. Early Nepalese Thangkas are simple in design and composition. The main deity, a large figure, occupies the central position while surrounded by smaller figures of lesser divinities.

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Thangka painting is one of the major science out the five major and five minor fields of knowledge. Its origin can be traced all the way back to the time of Lord Buddha. The main themes of Thangka paintings are religious. During the reign of Dharma King Trisong, Duetsen the Tibetan masters re-fined there already well developed arts through research and studies of different country’s tradition. Thangka painting’s lining and measurement, costumes, implementations and ornaments are all based on Indian style. The drawing of figures is based on Nepalese style and the background sceneries are based on Chinese style. Thus, the Thangka paintings became a unique and distinctive art.

Thangka have developed in the northern Himalayan regions among the Lamas.

Besides Lamas, Gurung and Tamang communities are also producing Thangkas, which provide substantial employment opportunities for many people in the hills. Newari Thangkas (Also known as Paubha) has been the hidden art work in Kathmandu valley from 13th century.

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mpor tance of the craft

The craft of Thangka is practiced among the Buddhist people it is purely used for religious purposes. This ancient Tibetan craft is a unique craft where we can see the mixture of Indian Nepali and Chinese style. Thangka painting’s lining and measurement, costumes, implementations and ornaments are mostly based on Indian styles. The drawings of figures are based on Nepalese style and the background sceneries are based on Chinese style. The use of traditional Tibetan colors of red, blue, yellow, white and green can be seen in the Thangka painting which is also seen on the Tibetan flags. So, the Thangka painting is a unique and distinctive art. In Tibetan culture Thangka is used for the time of the ceremony on the 49 the of the reparative who passed away. The “Kine” (diety of the person) is drawn on thank and the particular rituals are done in the monastery and home. It is used also in the case of the congratulation of a marriage ceremony or the New Year. Moreover it has become a symbol and tradition of Tibetan people.

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o ol s mate r i a l s a nd p ro c e s s

TOOLS AND MATERIALS USED 1. Wooden frame 2. Pencils 3. Compass 4. Scale 5. Contemporary paint Brushes (of different sizes) 6. Glass for smoothening the canvas 7. Poplin cloth 8. Acrylic or poster color

“Khoichen� the traditional cloth used to frame the painting

Needle used to sew the canvas onto the bamboo frame

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Acrylic paints used for painting

Canvas tightened using a bamboo frame.

Brushes used for the painting.

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PROCESS: CANVAS PREPARATION The Thangka painting is made on poplin cotton cloth. The edges of the cloth is stitched and made a pocket to keep the bamboo stick. First, the cloth is carefully sewn onto four lengths of bamboo which are tightly strung to a large wooden frame.

He stirs up a mixture of distemper, water and fevicol in a clean pot to the consistency of thick cream. The mixture is then strained through fine gauze to remove any impurities and applied evenly to the dry canvas.

When this coat has dried, the canvas is held up to the light and the areas which have not been evenly coated are patched up with more of the distemper mixture and again left to dry.

The canvas is then laid upon a smooth wooden board and a small area is moistened with water using a soft white cloth.

Section by section, the artist vigorously rubs the canvas smooth with a piece of white marble or glass. This takes about an hour. The entire canvas is then slowly are carefully stretched by tightening the strings tied to the frame and left to dry in indirect sun.

Once dry, the entire procedure is repeated for the other side of the canvas, stretching it after each moistening and leaving 42

it to dry. When it has been thoroughly treated and dried, the canvas should be so tightly stretched that it makes a nice drum sound when tapped. This is the sign it is ready to be painted. The front of the canvas is then polished with a conch shell.

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FOUNDATIONAL LINE DRAWING a. Using pencil, compass and a scale, geometric markings are made on the backside of the canvas to define points for the drawing on the front side. The artist uses a thread dipped in color to find the center point of the canvas to start the measurements. The colored thread is stretched along the diagonals of the canvas and pinched which forms a line of color on the canvas.

Once the center point of the canvas is located, a circle is drawn on the center, and arcs are cut on it to segment its circumference. The points on which the arcs cut on the circumference are used to divide the canvas into half and to mark points for the border. b. It requires perfect skills in drawing, perfect figures and great understanding of the econometric principles to make the paintings. Balanced grid of angles and intersecting lines are used to portray arms, legs, eyes, nostrils, ears, and various ritual implements, thus for paintings these geometrically balanced drawings are first made on different paper and through tracing paper it is transferred to the prepared canvas. c. Once the initial sketch is over, the design is redrawn and details refined with ink.

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“Art is not a handicraft, it is the transmission of feeling the artist has experienced.�

- Leo Tolstoy

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PAINTING The drawing is then colored with poster or acrylic color. First the distant areas are colored like sky and background, and then the main figure is colored. The completed painting is taken to only the tailors who mount the work on silk brocade to complete the scroll painting of Tibetan Thangka.

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There is a definite, specific sequence to color application. In general, the Thangka is painted from top to bottom. The first step is the sky, which takes 3 to 6 days.

An initial deep blue wash is followed by innumerable slender, length wise brush strokes to produce a stipple effect of lines. Then all the blue parts of the Thangka (water, clothing, etc.) are filled in.

The dark green landscape and all the dark green areas are next. This is followed by light blue, then light green, red, orange, pink, brown, pale orange, yellow, pale yellow and finally white. When the whole series of base coat colors have been applied and allowed to dry, the Thangka is scraped with a razor blade, held at an arched angle to the cloth, to smooth away any roughness in the paint. The dust is brushed off with a soft cloth or feather.

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OPENING THE EYES This is the most important moment of a Thangka artist’s work. Before painting the figure’s eyes, the artist bathes and makes offerings to the Buddha’s body, speech and mind. When the eyes have been painted, seed syllables and prayers are inscribed on the back of the Thangka to awaken the image’s energy.

The artist then shades in color to give shape to the figure’s body and face. The flowers are given a final shading and all the minute background details such as fish, deer, birds, fruit and countless grass blades are painstakingly painted.

A considerable quantity of gold is used to highlight and give it its final glorious touches.

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THE CONSECRATION This final step is what distinguishes Tibetan Buddhist practice from ordinary “idol worship.” The practitioner takes his or her newly completed Thangka to a highly realized Buddhist master and makes offerings to request the master’s blessings.

The master, endowed with the clear mind of enlightenment, is able to “bring alive” the image on the Thangka by infusing it with energy and beseeching the deity to open its eyes and look upon all sentient beings. The Thangka, having now been properly consecrated, is a receptacle of wisdom. It is ready to be hung and venerated as a genuine living embodiment of enlightened mind.

It is believed that some Buddhist masters reincarnated intentionally as Thangka painters and if such artist paint the Thangka the consecration of the Thangka is naturally done while the process of making it.

A final 4 to 6 days’ elapses while the tailor affixes a brocade frame to the completed Thangka.

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raditional methods

There is lot of difference in traditional methods of making and current situation of making Thangka. The craft has evolved along with the time. The craft is now not just a mere way for worship it has broaden its market along with tourism. In old Tibet, a Thangka was the fruit of a sacred human trio: a lama, a religious practitioner and a Thangka artist. The practitioner, having sought the counsel of a qualified Buddhist lama, learned which deity image of the Tibetan pantheon was most beneficial for his or her spiritual practice. He or she then invited a Thangka painter to his or her home and hosted the artist with the best possible hospitality for the duration of the painting process. If the requested deity was especially difficult or unusual, the artist consulted with the lama to clarify aspects of the image.

In order that the finished Thangka be worthy of the practitioner’s heartfelt devotion, offering and meditation practice, the Thangka painter generated a pure intention free of all selfish motives and undertook the task with a joyful mind. There was no discussion of price when the or58

der was placed, and the Thangka was not considered a mere commodity bus as a living expression of enlightened energy.

The practitioner must be willing to be patient and refrain from rushing the artist. The combined energy generated by the realized lama, the devout practitioner and the concentrated artist renders the finished Thangka particularly sacred. In modern times, it has become necessary to set prices for thangkas, but in old Tibet an artist was paid whatever the practitioner could afford or felt was appropriate. The artist felt grateful and happy regardless of the size or quality of payment. Varieties of tools and raw materials are used for making this traditional art For preparing the canvas the traditional craftsmen used white clay and leather gum. The leather glue is heated in the water till it melts. It is mixed with the white clay along with water to make a paste. This paste is applied on the canvas to make it strong

FOUNDATIONAL LINE DRAWING At this stage the artist bathes, takes purification vows at dawn, meditates upon his tutelary deity, and performs rituals to clear away obstacles and harmful spirits.

Having studied the description of the image to be painted in a religious text and consulted a lama about any confusing details, the artist recites the sacred syllables of the Buddha or deity in question and begins to draw.

Ideally, the artist recites these syllables and visualizes the deity for the full duration of the creation of the Thangka. If this is done in a genuine way, the Thangka is very different from an ordinary work of modern art and is inherently highly sacred. The foundational lines are done in pencil (followed by black ink in old Tibet) and take between 10 to 30 days to complete, depending on the size and complexity of the Thangka.

MIXING PAINT It takes a full day to prepare the five primary colors. Traditionally, the materials included a variety of mineral and vegetable substances: minerals, precious stones, bark, leaves, flowers, gold, silver, copper, etc. Each had to be collected from its source in different areas of Tibet, cleaned, ground, powered, crushed or cooked.

While each color is being mixed, it is continuously tested on the edges of the canvas and allowed to dry. Only after the 59

paint has completely dried does it reveal its true color.

PAINTBRUSH MAKING Traditional paintbrushes were made out of several different materials. For medium soft brushes, the hair of horses’ tails was uses. For soft brushes of any size, the tufts of hair growing above goats’ hooves, the fine hair from the tail of Yak, and the fur of brown and black cats were used for painting.

The handle of the brush is a slender piece of upward growing bamboo cut just above the joint. One-inch-long hair clipped from the animal has to be carefully mixed with powder and sorted to find the hairs that resemble a needle in shape. These are carefully extracted and laid side by side perfectly evenly.

Then they are very carefully inserted into the bamboo in such a way that all the hairs lie together in a cone shaped point.

They are seized in between the fingertips and dunked into glue. The bamboo is also dunked in the glue, and the hair is then inserted into the bamboo. Each hair must be perfectly in place. Then a string is carefully tied around the bamboo, not too tight and not too loose. The brushes are then left to dry.

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r a c t i c i n g c o m mu n i t y

The craft of Thangka is followed by Buddhist community all over the world. In Sikkim Bhutias and Lepchas are the two communities who follow Buddhism. As the history goes Lepchas the indigenous tribes of Sikkim practiced the religion called mune with the immigration of bhutias during 14th century from Bhutan the Lepchas were converted to Buddhism, and later on the art of Thangka became a traditional craft for the Bhutias and Lepchas . Bhutan and Lepchas followed vajrayana Buddhism the Tibetan style of living and culture were followed by these people. Later during the British reign Nepal’s started to immigrate to Sikkim, majority of them were Hindus. Thus the craft remained in the bhutias and lepcha community. Later when the independent Sikkim empire joined the Indian union in 1975 democracy and secularism was introduced to the state and the practice and learning of the craft was opened up to everyone in the state.

Now the craft of Thangka painting is practiced by every community in the state because of the wide market Thangka has. In order to save the traditional art 60

and craft government is providing support to the craftsmen by opening a sales emporium in Gangtok. It also provides opportunity for the young generation to learn the craft.

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ulture

Sikkim’s Nepalese majority celebrate all traditional Sikkim style of architecture major Hindu festivals, including Diwali and wall paintings. and Dussera. Traditional local festivals, such as Maghe Sankranti and Bhimsen Puja, are also popular. Losar, Loosong, Saga Dawa, Lhabab Duechen, Drupka Teshi and Bhumchu are among the Buddhist festivals celebrated in Sikkim.

During the Losar (Tibetan New Year), most offices and educational institutions are closed for a week. Christmas has also been promoted in Gangtok to attract tourists during the off-season.

Western rock music and Indian pop have gained a wide following in Sikkim. Indigenous Nepali rock and Lepcha music are also popular. Sikkim’s most popular sports are football and cricket, The dressing style of people is heavily influenced by the western style and culture. Keeping the dressing style aside Unlike the other urban places in India people of Sikkim are really proud of their culture and they still follow their culture with pride. The love for their culture can be still seen in their life style and architecture, even the new buildings carry the 62

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lothing

The traditional outfit of Bhutias is called a bakhu (similar to the Tibetan chuba, but sleeveless) which is a loose cloak type garment that is fastened at the neck on one side and near the waist with a silk/ cotton belt. Male members array the bakhu with a loose trouser. The womenfolk don the bakhu with a silken full sleeve blouse called honju; a loose gown type garment fastened near the waist, tight with a belt. In the front portion a loose sheet of multi-colored woolen cloth with exotic geometric designs is tied. This is called the pangden and is a symbol of a married woman. This traditional outfit is complemented by embroidered leather boots by both men and women. Bhutias women enjoy a much higher status than their counterparts from other communities.

The traditional clothing for Lepcha women is the ankle-length dumdem, also called dumdyám (“Fe-male dress”). It is one large piece of smooth cotton or silk, usually of a solid color. When it is worn, it is folded over one shoulder, pinned at the other shoulder, and held in place by a waistband, or tago, over which excess 64

material drapes. A contrasting longsleeved blouse may be worn underneath.

The traditional Lepcha clothing for men is the dumpra (“male dress”). It is a multicolored, hand-woven cloth pinned at one shoulder and held in place by a waistband, usually worn over a white shirt and trousers. Men wear a flat round cap called a thyaktuk, with stiff black velvet sides and a multicolored top topped by a knot.

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uisine

Noodle-based dishes such as thukpa, chowmein, thanthuk, fakthu, gyathuk and wonton are common in Sikkim. Momos and steamed dumplings filled with vegetables, buffalo meat or pork and served with soup are a popular snack.

Beer, whiskey, rum and brandy are widely consumed in Sikkim. Sikkim has the third-highest per capita alcoholism rate amongst all Indian states, behind Punjab and Haryana.

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ouses

A traditional Bhutias house is called a “khim” and is usually rectangular. The Bhutias have a stone structure outside the house which is used for burning incense. It is called “sangbum.” “Sang” means incense and “bum” means vase; the shape of the structure is like a vase. It is used for burning sang, a sacred offering to the deities. The deities are offered scented dried leaves/stalks of rhododendron anthopogon, juniperus recurva, rhododendron setosum or incense sticks made of pine.

The mourned buildings and houses still follow the traditional architecture with the traditional pillars.

Even though the people of Sikkim have embraced the western style of clothing they haven’t changed their traditional taste in Interior of the house. Interior of the house is decorated with traditional carpets and utensils, with the traditional patterns and motifs on it.

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estivals

Maghe Sankranti Mela : This takes place on 13-15 January on the first day of Magh. People are in a carnival mood thronging the colorful local ‘meals’ or fairs held at several places.

Lossar is the Tibetan New Year festival that falls in the month of February and is marked with lot of gaiety & festivities at home with family gatherings and in monasteries.

Saga Dawa : This Buddhist festival falls on the 15th day, full moon of the 4th Tibetan month and is the Triple Blessed Festival that celebrates the birth, enlightenment and nirvana of Lord Buddha. You can get the blessings of the Holy Scriptures that are carried in procession by monks, students and devotees in most of the important monasteries.

Lossong : The famous Bhutias festival marks the end of the harvest season & also the end of the Tibetan year during the month of December or January.

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M

a r ke t

The traditional Thangka painting has really broad market. The traditional crafts men have updated their market according to the demand. The major market for the craft is tourism, the market for the craft widened along with the development in the tourism sector. As the state of Sikkim has abundant number of tourists throughout the year, there is always a good demand for the craft.

Sikkim Government has provided the craftsmen with a privilege of showcasing their crafts informant of tourist. On occasions government hires craftsmen to work on Thangka painting in Sikkim house at Delhi and Kolkata. The DHH (Directorate of Hand loom and Handicraft) in Gangtok has a sales emporium where they display all the crafts and the crafts men have an opportunity to sell their products in this sales emporium.

All of the tourism packages in Sikkim are connected with DHH and the sales emporium and thus they ensure that no tourist is unaware of the traditional crafts.

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For completing a Thangka painting it takes average of 3-4 weeks. The price of Thank ranges from 5000-3 lacs. according to the size, materials and painter. Usually the painters start to work on a Thangka painting if they get an order for one. But a few painters make some paintings in small size and they give to the craft shops in Gangtok for stock display. These paintings costs 2000-3000 with-out the Silk brocade border.

Gangtok is the center of Sikkim tourism and there are lots of craft shops in Gangtok city aiming on the domestic and foreign tourist visiting Sikkim. So most of the craftsmen are found around the city.

A Thangka painter’s skill can be used in other crafts too, so a Thangka painter never remains jobless as he is hired to paint on Choktse table (traditional foldable table of Sikkim) and buildings with traditional Tibetan motifs and patterns which are used in the Thangka painting.

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Some of them try new things like Lakpa Bhutias he is a part time thank painter who later turned to bamboo craft. After learning Thangka painting he tried painting the traditional Tibetan style on bamboo. Later he started his own workshop “Dragon Industries� mainly focused on bamboo craft.

Here the Tibetan style art is painted and carved on the bamboo for decorative purposes.

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eferences

http://bltribeofsikkim.blogspot.com/2013/10/bhutia-lepcha.html http://www.thlib.org/static/reprints/bot/bot_1995_01_18.pdf http://www.norbulingka.org/thangka-painting.html http://www.craftmark.org/sites/default/files/Thangka%20Painting.pdf http://www.indyatour.com/india/sikkim/people.php https://en.wikipedia.org/wiki/Thangka http://www.himalayanglacier.com/blog/the-9-spiritual-religious-and-artistic-facts-about-thangka-painting.html

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Dennis Pious

C.H Suresh

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