i
THE HEART OF TIBETAN CULTURE
Index Map v Acknowledgement vii Preface ix Environmental & Sustainability Studies xi Dharamshala xiii - Climate - People Norbulingka xv - Sustaining Tibetan Heritage - Origin - Masters - Temple - Doll Museum - Shop - Message from Kalsang Yeshi Indian Culture xxv Traditional Crafts xxvii Traditional Textile xxix Wooden Carving xxxiii Applied Thangkas xxxvii Government Policies xxxix Experience xli Contact Details xliii Team xlv Glossary xlvii Bibliography xlix
ii
iii
Map To reach Dharamshala, By Air - Dharamshala town can be reached through Gaggal airport, about 15km to the towns south and 10km from its north. By Train - One has to reach Kangra, a small town of Himachal Pradesh , by Kangra valley railway line from Pathankot and then take a bus or taxi. Pathankot is a broad gauge railway head. The nearest station to Dharamshala on this line is Chamunda Marg, half an hour away. By Road - Buses of all classes, starting from regular ones to Deluxe air conditioned, are available to Dharamshala from major cities like Chandigarh, Delhi and Shimla.
To reach Norbulingka, If your flight arrives in New Delhi, Dharamsala is A 9 hour drive by car, An 11 hour ride by bus, A 10 hour overnight train ride to Pathankot, followed by a 2½ drive by car, or A 2 hour flight to the Kangra Airport at Gaggal; there are daily flights. Coming from Dharamsala or McLeod Ganj, Norbulingka is a drive of 20-30 minutes.
iv
v
Acknowledgement We would like to express our gratitude to GD Goenka University, for giving us an opportunity to explore traditional crafts under the Environmental & Sustainability Studies project. We would also like to thank and appreciate the efforts and guidance of Mr. TashiDhondup(staff member of the norbulingka institute)at Norbulingka Institute ,who helped us by providing necessary information about the vision, philosophy, work culture and functioning of the institute. A special thanks to our project mentor , Ms. Sonali Pal, for her support and guidance . We would also like to acknowledge with much appreciation the crucial role of the other staff members of Norbulingka Institute, who gave the permission to record the video and the necessary information to complete the project. Last but not least, many thanks go to Dr.Sanjay Gupta, Dean SOFD, for giving us this opportunity.
vi
vii
Preface
The focus of this document is to study the evolution and processes involved for the various hand crafts being followed at Norbulingka Institute in Dharamshala. Our Group had a great exposure to the ways of Tibetan Refugees. We learnt about Tibetan culture, crafts , design ideas and mythologies, choice of colors, motif development, and sources of inspiration at Norbulingka Institute in Dharamshala. This report also brings an introduction to the difference between the crafts of Tibet and crafts of India. This two week project was not only about exploring but also about the intense knowledge which we get from the people of Tibet during our journey. The two main crafts covered were Wood Carving and Silk Patchworks.
viii
ix
ESS Environmental & Sustainability Studies is a term used to describe when businesses look beyond their initial duty to their staff and customers (or students in the case of a college), and acknowledge that their actions have a wider impact. Undertaking a programme of CSR activities encourages businesses to operate in more sustainable, ethical and charitable ways. As part of the College experience, students at GDGU SOFD are encouraged to consider their own social responsibility through the study of traditional hand crafts of India and profile the artisans and their lifestyles involved in them. While studying the wood craft at Dharamshala at Norbulingkainstitute, this project helped us to expand our knowledge in this domain. We learntin depth about theTibetan culture and their crafts. Their idea of self sustainabilityis creating and bringing uniqueness to everything. Their craft is not only unique due to their designs or beliefs but also because they use different tools and techniques for their skills. Strangely each of their works were also pointing towards sustainability and thus bringing us close to our learning’s of Environmental & Sustainability Studies project. At the end of this project we are able to:
x
1.
Appreciate the skills and hardships of an artisan for creating a beautiful handcrafted artifact
2.
Understand the processes, mythological stories behind the motif selection, choice of colors and mate rials used.
3.
Understand the evolution of the craft from traditional to contemporary times with change in techno logical and economic shifts of the country.
xi
DHARAMSHALA Dharamshala is a city in the upper reaches of the Kangra valley, and is surrounded by dense coniferous consisting mainly of stately Deoder ceder trees. The suburbs include McLeodganj , Bhagsunath, Dharamkot , Naddi , ForsythGanj, Kotwali Bazaar (the main market), Kaccheri Adda (government offices such as the court, police, post, etc.), Dari, Ramnagar, Sidhpur, and Sidhbari (where the Karmapa is based). The village McLeodganj in the upper reaches, is known for the presence of Dalai Lama. Dharamshala is the centre of the Tibetan exile world in India. Following the 1959 Tibetan uprising there was an influx of Tibetan refugees who followed the 14th Dalai Lama. His presence and the Tibetan population has made Dharamshala a popular destination for Indian and foreign tourists, including students studying Tibet. Over 80000 Tibetans led by their religious and temporal leader, Dalai Lama, had fled the Chinese occupation of their country and established a refugee community at Dharamshala, India. Today Dharamshala is the centre of the Tibetan exile world in India.
CLIMATE Dharamshala has a beautiful monsoon influenced subtropical climate. Summer starts in early April and lasts till June. From July, the monsoon season goes up to 3000mm rainfall, making Dharamshala one of the wettest places of the state.Autumn is mild and lasts from October till end of November. However, best times to visit are autumn and spring months.
PEOPLE The majority of the population of 19124 (2001 Census) in Dharamshala involves Tibetans, others are local Indians referred to as ‘himachalis’ . There are around 4342 houses (according to 2001 Census),in which almost all the people have urban settlements , with a literacy rate of 77.0 %. Several thousand Tibetan exiles have now settled in this area and most live in and around McLeodGnj in upper Dharamshala, where they have built monasteries, temples and schools. McLeodGanj is sometimes known as ‘Little Lhasa’, after the Tibetan capital city ‘Dhasa’. Dharamshala is the winter capital of Himachal Pradesh. The Legislative Assembly is at Sidhbari, and the winter sessions of the Government are held there.
xii
xiii
Norbulingka THE HEART OF TIBETAN CULTURE Sustaining Tibetan Heritage Norbulingka is about the preservation of Tibetan historical convention in content, design, framework, system, and process by providing traineeship in traditional Tibetan art forms and making Tibetan skills and practical knowledge comprehensible for modern lifestyle. Norbulingka is a community of artisans working within a sustainable business model, driven by a strong social mission: To keep Tibetan culture alive by training people for the future. Currently, more than 300 people work at Norbulingka..The aim of the institute is to preserve the design, quality and tradition. They work on culturally meaningful design. From the material used in techniques handed down for generations to represent themes of great religious and cultural significance, every product has a story to tell. From raw material to finished product, Norbulingka is about excellence in the Tibetan tradition.
Origin The thought of Norbulingka Institute appeared in 1980s and founded by Kelsang Yeshiand Kim Yeshi based at sidhpur near dharmsala which is the capital of Tibet in exile.With the means of handing down tradition and restoring standards by providing training, education, employment for Tibetans and filling the gap between the old and new Tibet.A place that could preserve the past for the future.The institute is named after Norbulingka the literal meaning is “The Jewelled Park�,traditional summer residence of the Dalai Lamas, in Lhasa, Tibet. The building of Norbulingka began in 1988 and was functionally completed by 1995 .The architecture is based on the proportion grid of Avalokitesvara, the thousand-armed god of compassion, with the temple as the head. The temple is a tribute to many artists who worked for more than a year sometimes long into the night to bring it to the completion. Tibetan culture has been destroyed in its homeland, Norbulingka is now its guardian until the historical events take the better turn.
xiv
xv
Norbulingka Norbulingka is a vibrant community, it is made up of refugees who are rebuilding their families and their lives in exile. Norbulingka provides security such as health care facilities to their families . Tibetan culture has been destroyed in its homeland, Norbulingka is now its guardian until the historical events take the better turn. The first artists arrived a year later when Temba Chophel and some of his students from Lhasa joined the Institute. They began to decorate the gatehouse in the traditional manner. As the Institute grew, carpenters, woodcarvers and sculptors began to contribute, each in their own way. Meanwhile, many people freshly arrived from Tibet and in search of work and training were taken on. As efficient administration became necessary young Tibetans born and educated in India were employed. Tibetan writers created a literary and cultural research team and began publishing in Tibetan. Qualified masters in traditional arts strive to revive the work that once existed in Tibet
The Masters TEMBA CHÖPHEL Temba Chöphel was born in Lhasa in January 1959. As a child he was denied schooling in the new Chinese social hierarchy because of his family’s reactionary background. His father taught him to read and write, and apprenticed him to the former head of the Tailor’s Guild. He trained in appliqué and later studied Thangka painting. In 1972, he participated in the first restoration of the Jokhang Temple in Lhasa. He continued to train with various artists during the period of cultural rehabilitation that emerged in the late 1970s and refined his practice and style to reach a high level of accomplishment. In 1984, Temba Chöphel left Tibet for India, becoming a monk at Drepung Gomang Monastery, in South India. He joined Norbulingka Institute in 1989 and gradually assembled around him many of the apprentices he had worked with in Lhasa. Master of Thangka painting i.e painting on silk with embroidery, usually depicting a Buddhist deity. The apprentices who is training last six years first learn to draw Thangkas based on the proportion grids of various deities then filling the pigments made from ground minerals and vegetable dyes. The fully qualified painters add the details and finishing touches. Each Thangka takes up to several months
xvi
xvii
Norbulingka Master Temba Chöphel was also in charge of Appliqué Thangka section. These are similar to Thangka Paintings in nature except that they are stitched from thousands of pieces of silk and brocade couched with horsetail wrapped in silk an sewn by hand. An Appliqué Thangka can be thirteen storeys high. Atnorbulingka the tallest one made was about 25 ft.
MASTER PEMBA DORJE Master Sculptor Pemba Dorje was born in 1930.Trained in Tibet he came to India in 1960 and has spent his time working and instructing apprentices who takes as long as 12 years to complete their training. Large statutes made of copper and plated with gold consist of over different 300 assembled pieces and about ten people upto a year to complete He now leads a team consisting of two assistant masters and 15 students. Not only has he passed on much of his skill and experience to these artisans, whose apprenticeship lasts 12 years, but he has also conducted substantial research and prepared two books in Tibetan explaining this sculptural tradition in exhaustive detail. He is one of the few remaining who makes large statues assembled from hand hammered copper plates.
CHO PHUNTSOK Cho Phuntsok, who recently retired at the age of 83 was the master of wood carving. He was trained in southern Tibet. He later learned the fine art of woodcarving at Tashi Lhunpo in Shigatse. During his career in Tibet he participated in the building of many monasteries and temples and the creation of religious artefacts and decorations inside them. In 1960, he moved to ShaKhumbu in Nepal where he lived and worked until 1979. He helped revive Tibetan woodcarving and trained apprentices in Dharamsala for nearly 15 years prior to his joining Norbulingka Institute in 1994. During his time with us, Cho Phuntsok’s team produced eight grand thrones, from which His Holiness the Dalai Lama and others have subsequently given Buddhist teachings. At Norbulingka apprentices are trained for six years to make their own carving tools. They crave altar for temples and carpenters make boxes, cabinets, frames and other household objects. Carved pieces are carefully sanded, oiled or painted with traditional colours.
xviii
xix
Norbulingka Temple The Deden Tsuglagkhang is an elegant stone structure built on traditional Tibetan lines. Its principal focus is a 14 ft gilded copper statue of the Buddha that was made by the Norbulingka Sculpture Studio, which is surrounded by elaborate paintings and murals executed by Thangka Painters.
Doll Museum The Losel Doll Museum houses a unique collection of 150 costumed dolls depicting the regional, official and monastic costumes of Tibet. These were created by a group of artistic monks from Drepung Loseling Monastery that has been re-established in South India.
Shop The Norling shop is well lit and beautifully set out with plenty of space to make it easy for you to find what you want from our unique Norling range of fine goods, all of which have been made by hand. Many of our products, such as our rich silk appliquĂŠd hangings, cushion covers and bedspreads, and our Tibetan boxes and chests decorated with a lightly moulded design that enhances the effect of paint and colour, you will not find anywhere else. Our attentive staff are always on hand to answer any questions you may have and to help you make a choice.
xx
xxi
Norbulingka Message from Kalsang Yeshi “It is largely from Buddhism that Tibetan culture draws values that have the potential to benefit not only Tibetans, but human beings everywhere. Therefore, it has become Tibetans’ special responsibility, especially those of us in exile, to work to preserve our heritage, not only for ourselves, but also for the whole of humankind. This is why we established the Norbulingka Institute.”
xxii
xxiii
INDIAN CULTURE India is a country rich in culture. In India north, south, east and west have their own distinct cultureand almost every state has carved out its own cultural niche. Indian culture is a composite mixture of varying styles and influences.Every corner of India is unique whether it is cuisine, Folklore, dance and music, attire, color preferences, getup, jewellery and yet the country is one because of its characteristic diversity. Indian culture treats guests as god and serves them and takes care of them as if they are a part and parcel of the family itself. “Respect one another” is another lesson that is taught from the books of Indian culture. Helpful nature is another striking feature in our Indian culture. Indian culture tells us to multiply and distribute joy and happiness and share sadness and pain. It tells us that by all this we can develop co-operation and better living amongst ourselves and subsequently make this world a better place to live in. Indian Culture has crossed the geographic boundaries and has become Glocal. The traditional culture of India is so that one and all are attracted towards it, especially for the traditional hand crafts.
xxiv
xxv
TRADITIONAL CRAFTS Hand Crafts are an integral part in the life of an Indian, despite the rapid social and technological changes that are taking place. Although, in the Western world, special artists create craft objects and they are considered as luxury items. Whereas in India it is the main source of employment for a vast majority of the population, next to agriculture. Handicrafts can be defined simply as objects made by the skill of the hand and which carry a part of the creator as well as centuries of evolutionary tradition. It can range from the simple clay- lamps to the diamond -studded jewellery items. Handicrafts; consists of objects created by skilled people for religious rituals, like wedding and celebrations and for personal use as well as luxurious ones created by specialized craftsmen for specific requirements. Handicrafts bring a great sense of grace to every home be it the poor hut or the opulent star hotel. There is a timeless quality in these craft objects, for they have evolved over centuries and continue to be made even today with the same sentiment.
xxvi
xxvii
WOODEN CRAFTS India also has a heritage of wood craft. This is the one of the oldest craft in the world. If we look back in past man has started making toys and decorative material for homes by using wood carving method. Images of Gods, Idols and Deities were also made of Wood. Sacred woods were used in such creations. The wood carvers had to retain strict austerity throughout the period they were occupied in the work. There was no restriction on the usage of colour and varnish. The modern wood carving has touched a new height of sculpuresque perfection. Yet some artists have kept a focus on maintaining the traditional local flavor at the same time. There are different types of carving known as styles.Each style is unique to itself and may require specific tools that other styles do not, and visa versa.
xxviii
xxix
WOODEN CRAFTS STATE
WOOD TYPE
UTTAR PRADESH
Ebony or Black Sheesham
KASHMIR
Walnut and Deodar
MADHYA PRADESH
Teak, Dhudi, Sal and Kikar
PUNJAB
xxx
GUJARAT
Timber
RAJASTHAN
Teakwood
ORISSA
Teakwood
KARNATAKA
Sandalwood
WEST BENGAL
Bamboo and Cane
STYLE OF WOOD CARVING Mainpuri
PRODUCTS
Trays, Lamps, TeaCoasters, Cigarette Boxes and Tables Lattice Work and Houseboats,Ceilings and Geometrical Patterns Windows Wood Lacquering Toys Boxes, Bedposts, Cradle Frames and Flower Vases Inlaying Wood with Furniture, Trays, and Ivory Mirror Frames Lacquer Work Toys, Parts of Bedstead, Low Stools and Chairs Animal Figures, After Ends, Pillars and Geometric and Floral Brackets, Openwork Jali Forms Screens, Windows, Doors and Door Frames Wooden Boxes, Antique Trunks and Doors Boxes, Trays, Key Chains and Small Figurines Carved and Slotted Wood Furniture, Baskets Woven from Cane and Bamboo Strips
xxxi
TRADITIONAL TEXTILES India s a rich country in terms of textiles, fabrics, embellishments and aesthetics are the identity of each state or empire of India.These crafts are recognized globally and have also become a constant source of inspiration for the contemporary designers. There is a long tradition behind hand patched and embroidered textiles of India.
Silk is the one of the most famous and luxurious textile in the world and also it is referred to as the “Queen of the textiles�. Exquisite qualities like the natural sheen, inherent affinity for dyes and vibrant colours high absorbance, light weight, resilience and excellent drape etc. have made silk the irresistible and inevitable companion of the eve, all over the world. For exquisite looks and divine designs hand patched textiles in silk are one of the unique products done at institute of Norbulingka Institute.
xxxii
xxxiii
WOOD CARVING Wood Carving is a traditional Tibetan art which is practiced in Norbulingka Institute and classes are also given to students. This traditional craft grew from the monasteries and filtered down to public. Norbulingka , trains currently young workers in the art of Wood Carving. They provide upto 12 years of course to students and sometimes even more. It takes a long time to master themselves in the art of wood carving and carpentry. Carving tools include different types of chisels and also chisel sharpener which they make on their own, very few are brought from local stores.
PROCESS 1. 2. 3. 4. 5. 6. 7. 8. 9.
xxxiv
Teak and pine wood are brought from nearby markets as well as chisels. They are available at local stores in Dharamshala. Pine wood is softer and lighter, easily found in India, while Teak is harder, not found in Tibet. After the orders have been made, according to customer’s requirement, the master carpenter draws or sketches the design. Plain wood is cut properly according to proper measurements and dust is removed, so that not much wood is wasted. The paper containing the design is placed on the block of wood, then tiny holes are pierced on the design with the help of chisels on the outline after which the red powder is applied on it. Artist draws the image on the board and then using a drill punches holes on the image. A Bamboo fret is an old method which is used to make fine edges on the designs. Finally after hours of work, they carve the wood perfectly with chisels. After the carving is done, finally it is polished. However teak wood is generally painted than polished. Joint knot is used finally to join the parts together or sometimes glue is used as well.
xxxv
APPLIQUE THANGKA Thangkas are used by Tibetans to help them develop a close relation with a meditational deity. Commissioning a Thangka painting is regarded as a way of generating spiritual merit. Similar to Thangka Painting is Appliqué Thangka, except that this is done on coloured raw silk clothe. It is a fine example of both appliqué and embroidery techniques. Thus this remarkably well preserved specimen combining both techniques could have been created either in Tibet or China, most likely for Tibetan usage. In most Tibetan household, the Thangka together with bronze images, is an integral part of the family alter and vehicle of visual dharma. Tools used are mainly needle (Eg. Sharp G8/12 Pony Needle) for stitching. Horse tails are brought mainly from Bangalore. Master Carpenter at the Norbulingka Institute is Loyak Tashi
PROCESS 1. 2. 3. 4. 5. 6. 7. 8. 9.
xxxvi
The coloured silk is stretched over a wooden frame. The sketch is drawn on a stencil by the master. Then holes are drawn on the stencil and placed on the cloth. Chalk powder is spread on the outlines, so that an imprint is made on the cloth beneath. The designs are redrawn with the help or pencils or charcoal. Colours are applied and completed with gold embellishments. Horse tail is inserted into a silk thread to make it tougher and put on the lines and stitched. Appliqué thangka’s are framed with brocade borders after finishing. Almost 2 months is taken to complete one thangka of approx. 18inches length and 14 inches width.
xxxvii
Government policy As far as government policies are concerned, the Central Tibetan Organisation (CTA) is an organisation based in India with the goals of rehabilitating Tibetan Refugees and restoring freedom and happiness in Tibet. It was established by 14th Dalai Lama 1959 shortly after his exile from Tibet. It is commonly referred to as Tibetan Government in Exile, but it is not designed to take power in Tibet, rather it will be resolved as soon as freedom is restored in Tibet. However, in Norbulingka Institute, the Indian Government provides security facilities to the Tibetans but not much financial support is provided to them. Indian Government has registered the institute, and tax is also paid to the government.
xxxviii
xxxix
EXPERIENCE When it was decided that we would be going to Dharamshala, we didn’t have any idea how this trip would be, but we took the chance. After visiting the Norbulingka Institute, our thoughts about the place and people was re framed. We discovered that Tibetan culture is one of the most fascinating and peaceful encounter we have ever come across. Starting from the place, the weather, the food and the people, everything seemed to welcome us in their own ways. The place is heavenly beautiful, and the people were friendly to us, we didn’t have any problem in travelling and the food was delicious. Tibetan Handicrafts is considered one of the finest crafts of the world. The institute taught us how to work together and how much hard work is important in order to achieve our goals. Tibetan people are very religious and their crafts have been inspired from their religion. We learned that there basic goal is to spread their culture and to preserve it with pride. In order to do it, they welcome guests from all over the world to visit them and get to know about their culture and handicrafts. We thoroughly studied their culture, food, religion, crafts and found out that inspite of being under the control of the Chinese, these people have not lost hope in their capability and are still proud of their identity and religion. Overall, exploring their crafts and culture was a great experience and spending our time was worth it.
xl
xli
Contact Details Norbulingka Institute Postal Address - Norbulingka Institute PO Sidhpur (Nr Dharamsala) Distt Kangra HP 176057
Telephone: +91 1892 246405 Mobile:
+91 9418436410
Email:
norlingarts@norbulingka.org info@norbulingka.org
Tashi Dhondup Mobile: Email:
9882041808 dhonduptashi@gmail.com
Master Jamyang Nyima Mobile: Email:
xlii
91 8894151723 jamyangnyima65@gmail.com
xliii
Team
xliv
Pushkaran Vaid
Rahul Saini
Jasmine Narula
08376868914 ssk.agent47@gmail.com
07838741309 rahulandroid20@gmail.com
09810298411 jasmine.kaur@gdgu.org
Silvia Samanta
Shubham Sachdeva
09560623227 silvia94.samanta@gmail.com
09899224545 shubham.sachdeva@gdgu.org
xlv
Glossary
xlvi
1. . 2.
AppliquĂŠ-ornamental needlework in which pieces of fabric are sewn or stuck on to a larger piece to form a picture or pattern
3.
Fret-gradually wear away by rubbing.
4.
Brocade-a rich fabric woven with a raised pattern, typically with gold or silver thread.
5.
Apprentice-a person who is learning a trade from a skilled employer, having agreed to work for a fixed period at low wages.
6.
Folklore-the traditional beliefs, customs, and stories of a community, passed through the generations by word of mouth.
7.
Avalokitesvara-The thousand-armed god of compassion.
8.
Dalai Lama-the spiritual head of Tibetan Buddhism and, until the establishment of Chinese communist rule, the spiritual and temporal ruler of Tibet.
9.
Exile-The state of being barred from one’s native country, typically for political or punitive reasons.
10.
Gatehouse-A house standing by a gateway, especially on a country estate.
11.
Monastic-Relating to monks, nuns, or others living under religious vows, or the buildings in which they live.
Thangka-A thangka, also known as tangka, thanka or tanka is a painting on silk with embroidery, usually depicting a Buddhist deity, scene, or mandala of some sort.
xlvii
Bibliography http://www.dalai-lama-dharma-dharamsala-miniguide.com/norbulingka-dharamsala.html http://en.wikipedia.org/wiki/Central_Tibetan_Administration http://freetibet.org/about/society-culture-and-religion http://www.iisd.org/50comm/commdb/desc/d46.htm http://www.tibetoralhistory.org/Interviews/24_Kalsang_Yangchen.pdf http://www.indianartisansonline.com http://www.indiaheritage.org/creative/creative_woodcraft.htm Book -‘Tibet at a glance’ https://www.google.co.in/ https://www.wikipedia.org/
xlviii
xlix
l