HANDICRAFTS AND HANDLOOM INDUSTRY IN SIKKIM:

CHANGES AND CONTINUITY (1947-1975)

A Dissertation Submitted

To

Sikkim University

In Partial Fulfillment of the Requirement for the

Degree of Master of Philosophy

By

Sangay Tshering Sherpa

Department of History

School of Social Sciences

February, 2019

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ACKNOWLEDGEMENT

I would like to take this opportunity to acknowledge my sincere gratitude to my

supervisor Dr. Anira Phipon Lepcha, for her support, guidance and encouragement

to complete my dissertation. I’m grateful to Dr. Vijay Kumar Thangellapali, Head

of the Department of History, for his guidance and valuable advice in every step of

my research works. I also express my deepest gratitude to all the professors of the

Department of History for their guidance and valuable suggestion.

For the completion of my research work I convey my thanks to the faculty

member and librarian of the Sikkim State Library, Sikkim University Central library,

Namgyal Institute of Tibetology, Handicraft and Handloom Center, West Sikkim and

Sikkim State Archive. I would like to thank the Chopel madam, Additional Director

of Directorate of Handicrafts and Handloom, Government of Sikkim for providing

different figure of arts and crafts.

I would like to express my deepest gratitude to Almighty Lord for your

blessing and guidance. I’m also very much thankful to my sister Nimdiki and Puja

for helping me to collect data and information. I would like to thanks my brother

Passang Dorjee for providing financial support and encouragement. I also like

convey my thanks to my friends Bhaskar, and Rukshana for your valuable

cooperation and support. Lastly it is needless to say that without your support and

encouragement the present work would not possible.

SANGAY TSHERING SHERPA

i

GLOSSARY

Pepon : The administrative head of a particular region of North Sikkim

Chaprasi : The guard

Chogyal : Dharma raja or king or Maharaja

Majito : Creeper Plant locally found in forest and the botanical name is

Rubia Cardifolia

Moorah : Stool made of bamboo products

Hatts : Weekly local Market

Mela : Fairs or crafts fairs

Choekyi : The wheel of Dharma

Palbhen : Endless Knot

Pema : Meaning is lotus

Nam-khang : Manufacturing center

ii

LIST OF ILLUSTRATIONS

LIST OF TABLES Page No.

Table 1:Tools used in Carpets Making 36

Table 1.1: Name of the Plants use for Dyeing

Handloom and Handicrafts Products 42

Table1. 2: Share of Sectoral and Sub-Sectoral Plan Allocation in

Sikkim (1954-1975) 61

Table 1.3: Number of Trainees in Four District of Sikkim in

Handicrafts and Handloom sector from 1997-2001 64

Table 1.4: Fourth Five Year Plan of Sikkim, Handicraft &

Cottage Industries (1972-1973) 66-67

Table1.5: Center and Section of Handicrafts and Handloom in

North, South East and West district of Sikkim. 69-72

Table 1.6: Branches in North and South district of Sikkim with

Year of Establishments 75-76

Table 1.7: Branches in West district of Sikkim with the Year of

Establishment 77

Table 1.8: Community wise Census of Sikkim 1891 85

Table1.9: Number of Trainees by gender and type of

handicrafts from1997-1999 105

iii

LIST OF FIGURES

Page No.

Figure.1: Thanka painting 27

Figure.1.1: Cane and bamboo crafts 30

Figure.1.2: Loom for carpet weaving 34

Figure.1.3: Carpet designs 35

Figure.1.4: Wooden table 37

Figure.1.5: Wooden screen 38

Figure.1.6: Image painted with natural dye 44

Figure.1.7: Lepcha traditional dress 88

Figure.1.8: Lepcha hat 90

Figure.1.9: Traditional dress of Nepali community 96

figure.1.10: Lucky signs 103

CONTENTS

Page No.

ACKNOWLEDGEMENT i

GLOSSARY ii

LIST OF ILLUSTRATIONS ii-iv

CHAPTER-I 1-15

Introduction

CHAPTER-II 16-47

The nature and growth of handicrafts and handloom industry in Sikkim

CHAPTER-III 48-78

The role of the state in handicrafts and handloom industry in Sikkim

CHAPTER-IV 79-107

Socio-economic structure of handicrafts and handloom industry in Sikkim

CHAPTER-V

Conclusion 108-113

BIBLIOGRAPHY 114-119

1

CHAPTER-I

INTRODUCTION

The establishment of handicrafts and handloom industry in and around the world has its

long historical and cultural background. The practice of producing goods to be used for

local consumption had started since the dawn of civilization and slowly with the advance

of culture the excess production of handicrafts and handlooms became a part of the trade,

thus turning into an industry. It is thus deeply rooted in the culture and tradition of the

native society as a whole. Employment of the people in craft production fulfilled their

daily requirement of the family in rural as well as in urban areas. Manufacturing of the

several crafts and handloom products are flourished across the villages as well as in

towns.

The handicrafts were primarily practiced by the craftsperson having the traditional

skills and knowledge (including both skilled and semi-skilled). The productions in the

field of handicrafts industries generally are rural and family-based rather than

manufacturing as a whole. As a result, in India, most of the crafts are produced within

families, which require manual labour and skills. This craftsmanship and the crafts reflect

the artistic value and the traditional lifestyle of that particular rural area. In India, there

are many highly commercialized crafts like printed textile, carpet, wooden products,

handloom weaving, etc. and the export of handicraft products gradually saw an increase

from the 1990s onwards.1

1 Government of India, Ministry of Textiles, Note on Handloom Sector, Office of the

Development Commissioner Handloom, 2015, pp. 1-2.

2

Handloom is an integral part of the rural and semi-rural economic activities. Apart from

agriculture, it is one of the largest unorganized activities. The production of handloom

goods is eco-friendly and requires minimum use of mechanical power and capital. The

contribution of the weavers and their skills keep the traditional crafts and handloom alive

in the different state of India.2 The different terminologies being used to denote the

handicrafts and handloom industries like cottage industries, household industries,

handicrafts, and traditional Industries, etc. With the utilization of traditional skills and

knowledge, millions of people continue the production of handicrafts goods in the world

even today.3 The Government, as well as private organizations, is taking several

initiatives and policies to increase the scale of handicrafts and handloom production.

In this context, this research work proposes to look into the handicrafts and

handloom industry in the state of Sikkim, emphasizing to seek its development, changes,

and continuity as a major industry. Sikkim is situated in the northeastern part of the

Himalayan region of India. The development of skills, craftsmanship and the

establishment of handicrafts and handloom industries in Sikkim have long historical root.

The skills in handicrafts and handloom production reflect the talent and culture of the

different communities of Sikkim.

Each community in Sikkim has their skills and interest in the practice of craft

production as well as in weaving. For instance, the Lepcha community is skilled in

bamboo-crafts, spinning of loom and weaving, similarly, on the other hand, the Bhutia

2Ibid.

3 Maureen Liebl, Tirthankar Roy, Handmade in India, Preliminary Analysis of Craft Producers

and Craft Production, Economic and Political Weekly, 2003, pp.1-6.

3

community is skilled in ancient Tibetan practices of carpet weaving and rug weaving

with muted shades and brilliant colours of pure vegetable dyes. The Nepali communities

are famous in metal work, silverware, and woodwork.

The role of the state is also prominent in the enhancement of the practice of craft

making and weaving. The patronage of the government further promotes the

sustainability of traditional industries and craft production in Sikkim. Initially, the people

used to weave cloths and carpets by using their handlooms at their houses with the help

of the indigenous equipment for self-use and sometimes they used to sell the surplus

produce in the Hatts.4 In order to sustain this practice of handicrafts and handloom, the

Palden Thondup Institute of Cottage Industries was set up in 1957 by the then Chogyal

Palden Thondup Namgyal in Gangtok.5 In the beginning, there were only 58 trainees

(local female and male) enrolled in this institute, but slowly the numbers increased with

the development of scope and marketing. Similarly, the two weaving factories were also

established in Lachung and Lachen, both in North Sikkim in 1976.6 In this research work

the state signifies the Chogyal or Maharaja of Sikkim and the Government of Sikkim.

The primary aims and objectives of this institute were to preserve the traditional

arts and crafts and the traditional skills and talent of the people of Sikkim. This institute

encouraged the local youths which included both boys and girls for regular training in the

4 Weekly local Market

5 Golden Jubilee Celebrations,1957-2007,Estd.9

th March, Directorate of Handicrafts &

Handloom, Government of Sikkim, issued by Information and Public Relations Department,

Government of Sikkim, 2007, p.1

6 Sukhdev Singh Chib, This Beautiful India, Sikkim, Light & Life Publishers, New Delhi,

1977,p.49.

4

field of craft and weaving. The Palden Thondup Institute of Cottage Industries was later

known as Government Institute of Cottage Industry (GICI) likewise at now, it is known

as Directorate of Handicrafts and Handloom, Government of Sikkim. In this Institute,

people are employed as part-time workers as well as a permanent employee. Furthermore,

it is making considerable efforts in employing, the youth to be self-reliant and self-

depended.

The involvement of people in the field of handicrafts and handloom industry

support the social and economic life of the people of Sikkim. The ideas, skills and

traditional knowledge of craft production and weaving continuously transfer from one

generation to the other. The innovation of tools and technique in the process of weaving

and craft making further developed a variety of designs and products.

STATEMENT OF THE PROBLEM

The practices of weaving and craft production reflect the culture and traditions of society.

Handicrafts and handloom industry is a major source of income for rural communities

which support the livelihood of the family or individuals. It has both social and economic

significance. The numbers of the weaver, craftsperson, and artisan are engaged in crafts

work as a part-time as well as permanent. Historically, in Sikkim, different communities

are engaged in particular handicrafts and handloom activities which throw much light on

their social structure of the society.

In Sikkim, the state played a leading role in the development of handicrafts and

handloom industry. The establishment of the training schools and Palden Thondup

Institute of Cottage Industries further initiate the training programmes in various parts of

5

the state under the Chogyals (ruler of Sikkim). These generated the interest and

participation of the people in handicrafts and handloom sector. Further, with the

establishment of Directorate of Handcrafts and Handloom, there was a rise in the number

of weaving and crafts making institutions in the four districts of Sikkim. As a result, the

visible impact can be seen in the increase in the volume of production. Therefore, this

institute further, started to search for the market to supply the products globally. With the

passage of time, many integrated handicrafts and handloom institutions and the training

schools were established in every corner of all the four districts of Sikkim. The initiative

of the state and cooperation of all the communities further promote the growth and

development of weaving and craft production in the state of Sikkim.

The main focus and motive of this research are to seek and bring forth the

elements of development in the area of handicrafts and handloom production and also to

look into the causes behind the changes. The topic of this research itself reflects the

changes and continuity of Handicrafts and Handloom industry. Therefore, this work

could not limit itself to the said time frame (1947-1975). Moreover, it emphasizes both

the traditional and contemporary nature of the handicrafts and handloom industry. After

India‟s independence (1947), many planning were initiated in India. As a result, Sikkim

also received financial support which cumulatively helped in the development of cottage

or village industries in Sikkim. However, in 1975 Sikkim became the 22nd

state of Indian

Union.

6

LITERATURE REVIEW

In this research, both the primary and secondary sources are referred. Further, to have a

proper understanding of the tradition of weaving, wood carving, crafts making, the

process of evolution, and the dyeing process; journals, articles, Gazetteers, and archival

records are used. However, much of the work has not been done in this area. Most of the

books and journals have analyzed the broader understanding of the industries and the

economy of the state of Sikkim.

H. H, Risley, The Gazetteer of Sikkim view on the historical background of the

handicrafts and handloom tradition of Sikkim. He also observes the imports of raw

materials and the traditional economic lifestyle of the communities of Sikkim. However,

in this book, there is an absence of comprehensive study about the establishment of

weaving institution.

J Claude White in his book, Sikkim and Bhutan Twenty-One Years on the North-

East-Frontier, particularly in chapter „Arts and Industries of Sikkim and Bhutan‟

mentioned his experience and observation on Sikkim traditional handloom practices.

Further, he has also described his personal experience in the state of Sikkim. White also

mentions how his policies improved the traditional practices of weaving and crafts

making in Sikkim.

Gazetteer of Sikkim, edited by Sunita Kharel and Jigme Wangchuk Bhutia briefly

highlights the historical background of the handicrafts and handloom industry in Sikkim.

It does not explain the provision of the trade and market for handicrafts and handloom

products.

7

Smririkumar Sarkar‟s article Social Organization of Artisan Production in India:

Changing Role of Market, Technology and Merchant-Creditor: 18th

to 20th

Centuries in

History of Science, Philosophy and Culture in Indian Civilizations, Volume-VIII,edited

by D.P Chattopadhyaya, Binay Bhushan, Chaudhuri gives the detailed analysis of the

artisan‟s involvement in the handicrafts and handloom tradition in India. He explains that

the structure of artisans is changed with the changing time. Further, this book emphasizes

how Indian historiography neglected the artisan historiography. Beside this book also

illustrates the impact of British rule on Indian artisans.

S.R, Lepcha, R. Gurung, & M.L, Arrawatia, in Indian Journal of Traditional

Knowledge, volume-11, published “Traditional Lepcha crafts Sumok-thyakut (Lepcha

Hat) and Conservation in Dzongu Tribal Reserved Area (DTRA), Sikkim, India.” This

article pointed out that the weaving of Lepcha Hat is one of the oldest arts and crafts of

Sikkim. Cane and bamboo, the tail of birds, are the main raw materials for weaving the

Lepcha hat. This journal further explains about methods and process of weaving hat.

The Splendor of Sikkim, Culture and Tradition of Ethnic Communities of Sikkim,

published by Cultural Affairs and Heritage Department Government of Sikkim

highlighted the social economic and religious tradition of the various communities of

Sikkim. Each community has their distinct arts and crafts in Sikkim. However, it does not

mention the nature and growth of the handicrafts and handloom institutes.

Theodore Herman‟s article on „Role of Cottage and Small-Scale Industries in

Asian Economic Development‟ mentions the concept of handicrafts, handloom and

cottage industries. Further, he also discusses the exports and imports of handicraft

8

products in Asia. This has helped to understand the concept of handicrafts, handloom,

and cottages industries, also the production scale, and export in Asia.

The book on History, Culture, and Customs of Sikkim written by J.R Subba

mention the historical background of the origin of arts and crafts in Sikkim. He has also

highlighted the study of the traditional weaving dresses, making handicrafts equipment,

weapons, and the community wise handicrafts and handloom products in detail.

Regarding the background of economic plan and policy of the Government of

Sikkim, J.C Debnath, on his book Economic History of Sikkim, Before and After

Independence observes that the different plan and policy of the Government of Sikkim

helped in the establishment of training sections, and institute of the cottage industry.

The book written by David Arnold, Kharchandy, Understanding Tribes of Asia,

views about the social and cultural background of the Lepcha community. This article has

helped to understand the social setup of the aboriginals Lepchas of Sikkim.

Mowsume Bose Roy‟s (Datta) book on Women in Handicrafts Industry, A Study

of Sikkim broadly analysis about the women‟s contribution to the development of

handicrafts and handloom tradition in Sikkim. Another interesting point is that this book

points out the data of some handicrafts and handloom institutions. However, this book

does not outlook the historical background of the tradition of weaving and crafts making.

Similarly, it does not mention about the plan and policy of the State Government.

An Autobiography, Time Change written by Hope Cook describes her journey of

life from the USA to Sikkim. Her autobiography also pointed out as how people of hilly

areas use bamboo to conducts water from one place to other. It also mentions Maharaja

9

Kumar or Chogyal Palden Thondup Namgyal was attracted to the beautiful design of

carpets. His room was decorated with carpets and handicrafts products.

An article entitled „Note on Handloom Sector‟ issued by the Government of India,

Ministry of Textiles, helps to understand the handloom industries in India. On the other

hand, it also mentions the materials required in the handloom industries. However, it does

not provide much information on the handicraft related issue.

Suresh Kumar Gurung emphasized the social and political dimensions of Sikkim.

His book Sikkim Ethnicity and Political Dynamics, A Triadic Perspective mostly view the

cultural and political history of Sikkim and its community.

Journal of Traditional Knowledge, entitled Traditional handloom and handicrafts

of Sikkim, volume-9, written by Tika Prashad, Sharma & S.K, Borthakur describes

mainly about the community and their professional arts and crafts.

T.M Abraham in his Handicrafts in India analyzes the interrelation between

society, culture and the tradition of arts and crafts. This book generally deals about the

structure and the origin of the handicrafts in India and the world.

Aribam Indubala Devi has studied a various economic occupation and the

government institutions of Sikkim. Moreover, her book on Amazing North East Sikkim

also examined growth and development of the small scale industries of Sikkim.

The book on Indian Folk arts and crafts, written by Jasleen, Dhamija broadly

revealed on the Indian ancient arts and crafts. Her studies also examine the various

cultural festivals and the society of India.

10

Verrier, Elwin made the detailed analysis of the ancient arts and crafts of the

tribal areas of North East. Moreover, the interesting information regarding the

interrelation between the tribal communities with the weaving and craft tradition can be

found in his book Art of the North-East Frontier of India, North-East Frontiers Agency.

Sukhdev Singh Chib‟s book on This Beautiful India, Sikkim briefly mentions

Sikkim‟s handicrafts and small scale industry.

Regarding the dyeing and dye process across the world C.E. Pellew, has done the

extensive studies on the book Dyes and Dyeing. Similarly Pellew also broadly analyzed

the significance of vegetable dyes and aniline dyes.

David P Jackson, Janice A, Jackson on his book Tibetan Thanka Painting,

Method and Materials studied the historical background and the composition of thanka

painting. Besides, the studies were also undertaken on how thanka painting became

popular in South Asian countries as well as in the world. It has also helped to understand

more on Tibetan thanka paintings.

The book on Kashmiri Shawls and Carpets written by Vidhu Ganjoor Buzz Burza

examines the historical background of the carpet weaving. Further, this book also pointed

out the dyes and dyeing.

The extensive study on the Tibetan painting was carried out by Pratapaditya Pal,

in his book on Tibetan Paintings, A Study of Tibetan Thankas eleventh to the nineteenth

century. He also broadly analyzed the origin of thanka paintings.

An article on Handmade in India written by Maureen Liebl and Tirthankar Roy

gives information about the handicrafts and handloom industries in India. Further, it also

discusses in detail about the export and import of handicrafts and handloom product.

11

However, this article does not analyse particularly about the design and variety of

products.

M. Sharma‟s „Industrial Development in Sikkim‟ has explained about the

planning process in Sikkim which helped in the development of infrastructure like roads

and transport which resulted in the improvement of the infrastructure and then to the

development of small scale industries. He has also discussed the reasons for the industrial

backwardness of the state of Sikkim. He further argued that in the proposed Planning the

government should have included the development of Technological ideas and innovation

for the development of cottages industries. However, this journal is lacks to provide data-

based information.

In the Sikkim Problem and Prospects of Development written by Mans Das Gupta

mentions the industries of Sikkim and also has used the term „old type‟ and „new type‟

industries. His writing dealt with the development and backwardness of the industrial

processes in Sikkim. He writes that the old type industries are Fruit Preservation Factory,

Brewery, Handloom, Distillery, and Sikkim Jewels. The new types of industries are flour

mills, watch and rollers. This book insights the brief historical process of industrial

development in Sikkim. It does not provide much information about the handloom

industry.

Alok K. Shrivastava‟s book Surajkund, The Sikkim Story dealt with the traditional

Handloom and handcrafts Industries in Sikkim. He mentions the thanka painting,

bamboo, and crafts, wood carving, carpet weaving. In his book, he further mentioned

about the various communities engaged in these traditional handloom and handicraft

12

industries. However, this book does not provide much information on the historical

background of weaving and craft work.

Anjan Chakrabarti in his book on Economic Development and Employment in

Sikkim mentions the process of industrial development in Sikkim. He further discusses

the plan allocation in the industrial sector from 1954-2005. He also explains the causes of

the industrial backwardness of Sikkim. It does not focus much on traditional craft and

handloom.

Sanjay Kathuria‟s article „Handicrafts Export‟ analyses the export of handicrafts

product from India. Further, this article also mentions the volume of trade and the

production process. However, it does not reveal much information about the relationship

between society and craft production.

R.K. Mishra and J. Kiranmai‟s book State Level Public Enterprises in Sikkim

Policy and Planning mentions about the Enterprises of Sikkim. This book throws some

light on the development of State Level Public Enterprise in Sikkim and its objectives

and functions in the promotion of the small and large scale industries. He writes that there

are numbers of enterprises in Sikkim and one of them is Sikkim Industrial Development

and Investment Corporation Ltd (SIDICO). This enterprise provides financial help to

other enterprises based on industries. These enterprises provide loan and subsidies for the

establishment of the Cottage Industries in Sikkim. The enterprise as Handloom and

Handicrafts Development Corporation Ltd (HHDC) supports for the promotion of

handloom and handicrafts products in Sikkim. However, lack to address the evolution of

enterprises in the state of Sikkim.

13

David S Manson‟s book A Concise History of Modern Europe: Liberty, Equality,

Solidarity broadly mentioned the Industrial Revolution in Britain. He has also dealt with

the causes and the impact of the Industrial Revolution in Europe. He has explained that

the geographical location of England made her as the center of trade and activities. The

changes in agricultural production and the innovation of the new ideas as well as the

invention of the machine created favourable condition for the birth of the Industrial

Revolution.

Anup Chatterjee mentions the Industrial Revolution in India in his book Industrial

Policy and Economic Development in India. He further argues that the establishment of

the British rule disturbed the self-sufficient village economy of India. He also mentions

that the British Raj was responsible for the decline of handicraft industries in India.

However, they are also credited for the establishment of the modern factories and

railways here in India.

OBJECTIVES

1. To understand the nature and growth of the handicrafts and handloom industry in

Sikkim.

2. To analyze the role of the state in the development of handicrafts and handloom

industry in Sikkim.

3. To identify the socio-economic structure of the handicrafts and handloom industry in

Sikkim.

14

METHODOLOGY

This research is based on historical methodology. It is an explanatory and descriptive-

statistical work. In this research, both the primary and secondary sources are used.

In order to collect data, the following institutes were visited. They are Sikkim

State Archive; Crafts Museum of Directorates of Handicrafts and Handloom Industry,

Gangtok; Various Handicraft and handloom center across Sikkim; Museum of Sikkim

High Court, Gangtok; Sikkim State Library, Sikkim University Central Library, and the

library of Namgyal Institute of Tibetology.

CHAPTERISATION

CHAPTER I: INTRODUCTION

The chapter discusses the condition of handicrafts and handloom traditions in

Sikkim with special reference to the three different community viz. the Lepchas, the

Bhutias and the Nepalis. Further, this chapter focuses on the ideas, concepts as well as the

practice of weaving craft production.

CHAPTER II: THE NATURE AND GROWTH OF HANDICRAFTS AND

HANDLOOM INDUSTRY IN SIKKIM

This chapter focuses on the varieties of handicrafts and handloom products in Sikkim. It

further explains the nature and its growth of the weaving and crafts making institutes. It

also mentions the export and import of goods.

15

CHAPTER III:-THE ROLE OF THE STATE IN HANDICRAFTS AND

HANDLOOM INDUSTRY IN SIKKIM.

This chapter explores the role as well as initiatives of the government in the

development of both craft making and weaving tradition in Sikkim. It also depicts the

process of institutionalization of handicrafts and handloom industries in Sikkim.

CHAPTER IV: SOCIO-ECONOMIC STRUCTURE OF HANDICRAFTS AND

HANDLOOM INDUSTRY IN SIKKIM

This chapter explains the involvement of various communities in weaving and

crafts production. Further, this chapter looks into the requirement of raw materials as well

as the use of tools and technique.

CHAPTER V: CONCLUSION

This chapter summarizes the findings of the research work and examines the trend

and progress of the crafts and weaving.

16

CHAPTER- II

THE NATURE AND GROWTH OF HANDICRAFTS AND

HANDLOOM INDUSTRY IN SIKKIM

The practice of crafts making and weaving is an integral part of human civilization. Both

the handicrafts and handloom tradition have a distinct history of its origin in this world.

Since time immemorial, various communities are socially and culturally involved in the

process of weaving and crafts making. Use of various design and colour in crafts making

provides the glimpse of the culture and tradition of that society. The varieties of

handicrafts products demonstrated the expression of natures and rural folk culture.

Initially, people use to make quite a lot of crafts for their daily use in their household. For

instance, with the help of bamboo people used to make baskets, small huts, vessels,

arrows, bridges, and different decorative objects. The arts and crafts are traditionally

mingled with the religions, cultures, community, and society.

The influx of various religious and cultural practices within a society resulted in

the evolution of designs and motifs in crafts and weaving products. Crafts are the creation

of an individual‟s imagination and became the product of villages and towns. No doubt

with the advent of modern technology and machine production, gradually, the tradition of

making handicrafts and weaving is decaying day by day. However, in many rural as well

as in urban areas the culture of craft production is still alive and well preserved.7

Concerning to the interrelation between arts, crafts and the society it has been noted,

“The fragments of vases and vessels on earth from the banks of Indus, the carved metal

7 T.M Abraham, Handicrafts in India, Mathew Cherian, New Delhi, pp. 1-12.

17

bowls and coloured tiles from Euphrates the miniature wooden toys and gold ornaments

from the banks of Nile, all truly reflect the culture of a bygone age.”8

However, weaving is also one of the dominant arts of the society, which

developed since human civilization. Fibers, threat, silks, wool, cotton, textiles, yarns as

well as several natural products are the integral component of the handloom industry.

There is a long historical evolution of the weaving process in India as well all over the

world.

Regarding the historical background of the carpet weaving it has been mentioned,

“Earlier in the 20th

century, a frozen royal tomb in Siberia yielded a magnificent 2, 500

years old carpet of Persian origin. This is the earliest example of carpets. Beginning with

the 3rd

century, the technique of carpet weaving spread throughout the Orient… The

techniques of carpet were brought to South Asia during the 15th

century by Sultan Zain-

ul-Abadin.”9 However, the handloom industry provides employment to both skilled and

semi-skilled labours, which further helps to enhance the rural economy.10

As in the context of the state of Sikkim, since from the beginning, culturally the

state is also known for its handicrafts and handloom products. The craftsperson along

with the various communities of Sikkim inherited the skills of weaving and crafts

making. Such skills are continuously preserved and advanced from one generation to

another generation. Geographically, Sikkim is in the eastern part of the Himalayan region

8Ibid.

9Vidhu Ganjoor Buzz Burza, Kashmiri Shawls and Carpets, Samvedana Culture & Heritage

Trust, New Delhi, 2006, p.24.

10T.M Abraham, op.cit., p. 127.

18

of India. Historical account of Sikkim reveals that three monks coronated Phuntshog

Namgyal in 1642 as the temporal and religious ruler of Sikkim. From that period onwards

the Namgyal dynasty began to rule over Sikkim. Historically the geographical area of

Sikkim was extended far beyond the present frontier. In Anjan Chakrabarti‟s book,

Economic Development and Employment in Sikkim, is mentioned “In North it extended

up to Thang La near Tibet, in the East up to Tagong La near Paro in Bhutan, in South

Kishanganj in Purnia district in Bihar and West to Tumir Chorten on the Timar River in

Nepal.”11

However, the Gazetteer of Sikkim, 2013, mentions as the present geographical

area of Sikkim as “Sikkim is separated by the Singali la range from Nepal in the west,

Chola range from Tibet in the northeast and Kingdom of Bhutan in the southeast, Rangit

and Rangpo Rivers from the borders with the Indian state of West Bengal in the south.”12

Traditionally, several communities of Sikkim are skilled in the diverse profession

of weaving and craft making like the Lepcha community are skillful in the making of

different crafts and weaving, on the other hand, the Bhutia community are expert in

carpet weaving, and the Nepali community is famous for silver and woodwork. In the

rural areas, though the craftsmen are agriculturist or cultivator, during the lean season,

they are also engaged in crafts production for their self earning and sustenance. Initially,

11

Anjan Chakrabarti, Economic Development and Employment in Sikkim, Authors Press, Delhi,

2009, pp.7-8.

12 Sunita Kharel & Jigme Wangchuk Bhutia (ed), Gazetteer of Sikkim, Home Department,

Government of Sikkim, Gangtok, 2013, p.1.

19

in Sikkim, the market was limited to the supply of crafts and weaving products.13

However, gradually rudimentary local market provided the platform for the exchange of

crafts and weaving products. In order to promote and preserve the local handicrafts and

weaving culture, the two weaving schools were also set up at Lachung and Lachen in

North Sikkim.14

Regarding these weaving schools, J.C Debnath in Economic History of Sikkim

mentions, “The two weaving schools at Lachung and Lachen, which are managed by the

ladies of the Scandinavian Alliance Mission stationed there, received aid from the state.

The school buildings and looms are the property of the state, and a small annual grant is

given for their maintenance. In return, the state receives 2 annas in the rupee on sales.”15

These two weaving schools were under the supervision of Maharani, but after the death

of Maharani, Maharaja continued to look after these schools.

Regarding the name and the contribution of Scandinavian Alliance missionary, J.

Claude White‟s Sikkim and Bhutan, Twenty-one Years on the North- East Frontiers

1887-1908 wrote “The Lachung schools turned out most excellent tweeds, thanks to the

assistance given by Miss Johanson, a Scandinavian missionary under whose care the

village girls regularly came to work, collected the requisite dyes from the jungle, and

followed the patterns; but that supervision is withdrawn, the girls would work or not as

13

Mahendra P. Lama, Sikkim Human Development Report, 2001, Government of Sikkim Social

Science Press, Delhi, 2001, p.69.

14Anjan Chakrabarti, op.cit., pp. 33-34.

15J.C Debnath, Economic History of Sikkim, Before and After Independence, Abhijeet Publication,

Delhi, 2009, p.221.

20

the spirit moved them, and pattern neglected; but so long as, Miss Johanson remains

output is excellent.”16

By looking at the historical background of these schools, it is clear that during

1922 these two weaving schools at Lachen and Lachung, North Sikkim was under the

supervision of Mission house. The various types of woolen cloth as well as woolen

blanket used to be manufactured at this weaving school. However, the then Maharaja of

Sikkim also used to send the demand of different pattern of tweeds and rugs through

letters and orders. At that period, weaving school of Lachen was under the supervision of

Miss E. Kronquist, the Mission House. Therefore, in order to buy the manufactured

handmade goods firstly, demand had to be placed before the supervisor of Mission

House.17

The economic lifestyle of the weavers is a concern. Although weaving and crafts

making tradition was their main economic occupation, they also used to carry out the

agriculture activities to maintain their livelihood. Sometimes in order to purchase wool to

make rugs and tweeds weavers of Lachung and Lachen also used to take loans or advance

money from the State. At the weaving centers apart from weaving various clothes and

blankets, weavers also used to weave the handmade uniform for the officers, peon, and

guard of different Departments. During that period, the several workers and the officers

of the various department of Sikkim used to wear the handmade woven uniform. These

all handmade uniforms were used to manufacture at the different weaving centers.

16

J. Claude White , Sikkim and Bhutan, Twenty-one Years on the North- East Frontiers, 1887-

1908, Low Publications, Delhi, (Reprint), 1999, p.296.

17 File no 4530, serial no 19, Sikkim State, office of His Highness the Maharaja of Sikkim, 1922.

21

Sometimes, in order to weave cloths, blankets and Carpets and the reeds for rugs and

tweeds were also brought from Kalimpong, West Bengal. Traditionally the raw materials

were used to carry from Tista- Bridge to the Royal-mail to Gangtok, Sikkim.18

Initially, most of the weaving schools were under the mission‟s supervision, but

from 1941 onwards the Forest Department, Sikkim State, and the Pepon19

also started to

supervise these weaving schools. Both the Forest Department and the Pepon acted as the

intermediary between weavers and state. As the demand and supply of the woolen cloths

are concerned, firstly, the office of the Maharaja used to make an order of many sets of

uniform to the Forest Manager.

Similarly, the forest manager further used forward this order to the Pepon. Then

only the Pepon used to place the demand to the supervisors of weaving schools. It is also

found that Sometimes the office of the Maharaja used to place the order to the Pepon

directly. These handmade uniforms were demanded basically for the Bhutia and Nepali

chaprasis20

of the Finance Department, high school and the state press. In the same way,

the khaki tweeds cloths, coats, and many other uniforms were ordered for the sub-

inspector and peon of various departments. The letter dated 14/11/1942 of Financial

Secretary to the His Highness; the Maharaja to the Forest Manager reflects the demand of

uniforms made by Maharaja to the Forest Manager and also the type of uniforms for the

chaprasis belonging to Nepali and Bhutia communities. The letters mention “list of

Bhutia and Nepali chaprasis of Finance Department who are entitled to warm uniform

18

File no 3, serial no 10, Sikkim State, General Department, Reg. Manufacturing of Rugs and

Tweeds at Lachen and Lachung, 1942.

19 Pepon is the administrative head of a particular region.

20 Chaprasi is a guard.

22

for 1042 (Tweed uniform- Bhutia Chaprasis-Bokhu & putty and Nepali Chaprasis- coat,

knicker, booker & putty).”21

Since the beginning, culturally, the state of Sikkim is also known for its

handicrafts and handloom products. The artisans belonging to the various communities of

Sikkim inherited the skills of weaving and crafts making from their predecessors. These

skills and technique are continuously preserved and used from one generation to another

generation. In the beginning, artisan never used to obtain any proper formal training, but

they developed their skills in their family.

Aribam Indubala Devi in his book Amazing North East Sikkim mentions that

Sikkimese artisans and craftsmen are greatly influenced by the Gandhian ideals. During

his political career, Gandhi also gave more importance for the upliftment of the village

people, by promoting the developments of handicrafts and cottage industries in India.22

The various products of handicrafts and handloom support the fulfillment of their

household needs. They used to exchange their product through local trade as well as

through barter system. The products like carpet weaving, Sikkimese garments, wood

carving, thanka painting, dolls making, blanket weaving, cane and bamboo product as

well as handmade paper making are the integral part of the handloom and handicrafts

products in Sikkim.

21

Memo No 3056/F, dt.14/II/42, Financial Secretary to H.H the Maharaja of Sikkim, Forwarded

to the Forest Manager.

22Ibid.

23

During the premerger epoch, Chogyal provided much attention towards the development

of handicrafts and weaving practices.23

In order to promote and preserve the local

handicrafts and weaving culture, in Sikkim, Palden Thondup Institute of Cottage Industry

was established at Gangtok in 1957.

Apart from agriculture and Tourism Handicrafts and Handloom industry is the

largest industry in Sikkim. With the establishment of institutions in various parts of

Sikkim, imparting of training in the field of various crafts making and weaving also

started. Gradually, in various training institutions, a different section of handicrafts and

handloom was established. The designs, paintings, murals, motifs, and various carpets

weaving, as well as the wood product of Sikkim reveal the Hindu and Buddhist

iconography. Apart from various traditions of crafts making, mask making is also one of

the earliest forms of art in Sikkim. In this mask making wood are carved and made into

various faces of god and goddess. Mask would be made from the wood which is known

as Zarushing (Zaru wood) found in high altitude area. These masks are used by people or

particularly by monks (Lamas) in different religious festivals and religious dances.24

23

AribamIndubala Devi, (ed), Amazing North East Sikkim, Vij Books, New Delhi, 2010, pp.171-

172.

24 Sunita Kharel & Jigme Wangchuk Bhutia, op.cit., pp.420-421.

24

VARIOUS HANDICRAFTS AND HANDLOOM PRODUCTS OF SIKKIM

The following are the brief description of various handicrafts and handloom products of

Sikkim which incorporate wood carving, thanka painting, carpet weaving, cane and

bamboo product as well as handmade paper making.

THANKA PAINTING

Apart from various arts and crafts thanka painting is the oldest forms of art in Asia. This

painting incorporates the iconography, skills of painters, style, design, and religious

contents. Most of the Buddhist art portray rten (which means support) the physical

representation of the enlightened body as well as mind and speech. Most of the Buddhist

art like stupas, scripture, and thankas represent the enlightened body. There are many

paintings in Tibet which were not rten. These paintings illustrate the Buddhist doctrine.

On the other hand, paintings which portray the bodily part of the enlightened one

are termed as sukrten (body support). The thankas which depict the painting of stupas,

temples, as well as monasteries belong to sukrten paintings.25

Thanka is the rolled up or scroll paintings of an image on cloth. It is not

horizontal but rather vertical scroll. In China, thankas are painted on silk cloth whereas in

India and Tibet thankas are painted on cotton cloth. Almost during fourteen and fifteen

century in western Tibet, there prevailed Khache-Tibetans style and Kadampa style of

paintings. These natures of the painting are found in thanka as well as in wall paintings.

25

David P Jackson, Janice A Jackson, Tibetan Thanka Painting, Method and Materials, Serindia

Publication, London, 1988, pp.1-25.

25

In Tibet, Indians artists were there during the period of Yarlung Dynasty. Similarly, there

were also Artists from Nepal and China.26

Initially, the practice of Thanka painting came to Sikkim from Tibet. The artists

of the thankas were primarily lamas or monks. The artists have to follow specific rules

and regulation in the process of thanka painting. While making thankas, some artist also

uses their own methods of coloring in order to make the painting attractive. Thanka is the

paintings on cloth which can be rolled up. There are several steps which can be applied in

the process of thanka paintings. Firstly, the piece of cloths is made smooth and sizing

with the mixture of chalk and glue. When clothes get dried, master uses black and red

color in the outer clothes. The outline color is painted by the master, but sometimes joint

efforts of both master and trainees are also needed. The painting has to carry out in a slow

process, having a single mistake in the painting is also considered as a sin.

When the painting is completed, the thankas is mounted with silk. The image of

Buddha or Bodhisattva in the painted thankas is also observed and adequately examined

by the other monks or lamas. Mostly the thankas are placed on the various corner of the

wall in monasteries as well as hung in the domestic altars. The devotees worship the

thankas placed in monasteries and altars. Occasionally the people donate thankas to the

monasteries. In some of the thankas, the artists also depicted the image of monks and the

teachers which are also placed in monasteries. With the establishment of various

Buddhist sects, the tradition and the style of paintings also began to transform.

26

Pratapaditya Pal, Tibetan Paintings, A Study of Tibetan Thankas eleventh to nineteenth century,

Time Book International, New Delhi,1988, pp.1-98.

26

The size of the thankas varies in shape, and size. Some are small in size and some of the

Thankas are large almost 100feet long. The large vertical thankas are displayed during

religious festivals in many monasteries and religious places till today. In some thankas,

the image of single deity is depicted and such technique is called Kangdsa.

27

Figure.1 THANKA PAINTING

Source: Crafts Gallery, Directorate of Handicrafts & Handloom Industry,

Government of Sikkim.

28

There are different categories of thankas. In Vajrayana discipline, the image of teachers

and guru-lineage are depicted. In other types, one can find the depiction of monks

„confession sutras‟ of the thirty-five Buddha‟s and the „mandalas‟ painted on canvas.27

The culture of thanka painting began since ancient times and still prevalent in different

parts of Asia and the world. The artists and the people of different regions inherit the

skills of thanka paintings and its religious and cultural significance from generation to

generation.

CANE AND BAMBOO CRAFTS

Bamboo is found almost in various region of India. From the earlier period

onwards the people of Sikkim use the bamboo for different purposes. The utilization of

bamboo is connected with the social and economical lifestyle of Sikkim. Traditionally,

bamboo was used by the people of Sikkim for various purposes.

For the construction of the house, making furniture, fences, gates, baskets, flutes,

etc different kind of bamboo are used. They are also used for hoisting prayer flags,

making moorahs or small stools and other items like flowers, baskets, and dustbin.

Firstly, the bamboo is cut into different pieces and size with the help of local tools like

khukuri, bamfok, or knife. By using these pieces, the craftsmen make several handicraft

27

Golden Jubilee Celebrations,1957-2007,Estd.9th March, Directorate of Handicrafts &

Handloom, Government of Sikkim, issued by Information and Public Relations Department,

Government of Sikkim, 2007, pp.7-11.

29

items. The Directorate of Handicrafts and Handloom, Government of Sikkim, promotes

the use of bamboo and the local raw materials for various purposes.28

Initially, the use of bamboo was the traditional art of Lepchas and Nepalies of Sikkim

Himalaya.29

28

Sikkim Handloom & Handicrafts Development Corporation, Zero Point Gangtok, Catalogue,

Ethnic Sikkim Handicraft Products, Office of the Development Commissioner (Handicrafts)

Ministry of textiles, Government of India, New Delhi, pp.7-8.

29 Alok k. Shrivastava, Surajkund the Sikkim Story, Information &Public Relations, Department,

Government of Sikkim, South Asia Foundation, New Delhi, pp.60-61.

30

Figure.1.1 CANE AND BAMBOO CRAFTS

Source: Crafts Gallery, Directorate of Handicrafts & Handloom Industry,

Government of Sikkim.

31

HAND MADE PAPER

The use of handmade paper is increasingly becoming popular in the world market. In

order to manufacture the handmade paper, they use the waste materials which also help in

the process of recycling waste resources. Therefore, the use of the paper is also eco-

friendly and helps in saving the environment.

Primarily, in Sikkim, the handmade paper unit was started at Directorate of

Handicrafts and Handloom in 1957. Initially, the unit had only two trainers and the

process of preparing paper was entirely done manually. Slowly, the modern machines

were also introduced for manufacturing various types of papers. The locally available

plant named argeli (edgeworthia gardenia) is mainly use for the manufacturing papers.

The raw materials used in handmade paper making unit are waste papers from different

offices, printing press and the bark of argalee (edgeworthia gardenia) collected from

nearby villages.

The process of manufacturing handmade paper comprised of eight steps. Firstly,

the raw materials are collected from various sources and are made into several tiny

pieces. Secondly, in order to remove the unwanted materials methods like sorting, cutting

and dusting are followed. The Hollander beater tool is used to arrange the rags in a proper

location. The raw materials are soaked into water and a certain amount of chemical is

also added. The third step is called paper lifting and coaching. Here, the soaked materials

are converted into cloth. Fourthly, the hydraulic press is used to dry the water and moist

from sheets. Sometimes, sheets are also placed and hung for drying in the air. This step is

called pressing and separation. Fifthly, when the sheets get dried, then the dirt particles

are removed by clearing and sizing. In the sixth step, the clean sheets are placed in a

32

metallic sheet and get it passed through the loaded rollers. The final process is the

posting, cutting and packing in which the papers are piled and cut into the required shape

and size.30

CARPET MAKING

In Sikkim, the carpet weaving was initially woven in two weaving schools

Lachung and Lachen at North Sikkim under Maharaja Factory. However, these traditions

of carpet weaving were further extended by the Palden Thondup Institute of Cottage

Industries, established at Gangtok in 1957.31

In Sikkim, the carpets are made of pure

wool with natural dyes in different sizes and colours. Throughout Sikkim, the style of

dying and weaving also varies from place to place. Initially, the motifs in carpet are those

of dragon, snow lion, lotus, and flower patterns.

Similarly, some of the other designs are also found in the carpets which are

related to Buddhist iconography, for example, Dhawaja (flag), Kalash (water vessel), etc.

Since the beginning, the unit of carpet making is successful in providing employment to

the people of the rural area of Sikkim. This practice of carpet making is mostly carried

out by the women of Sikkim. Carpets are used for covering the walls, chairs, floor, beds,

etc. The finished products are marked by the Sikkim Handloom and Handicrafts

Development Corporation.32

30

Golden Jubilee Celebrations, op.cit., pp.13-14.

31 Mahendra P. Lama, Sikkim Human Development Report, Government of Sikkim, Social

Science Press, 2001, p.69.

32 Sikkim Handloom & Handicrafts Development Corporation, op.cit., p.7.

33

There is a process to weave a carpet. This process involves a number of steps. At first, a

weaver makes the taan in den thak-thi (loom) by using cotton wool according to the

remarkable size. Then after, by referring to graphs design, the weaving process will start.

The fong or thowa (wooden hammers) are used for knotting the wooden gauge rod, and

knots are compressed down to tighten against the earlier rows of knot. After weaving, the

process of leveling the carpet with a special scissor is done.

34

Figure.1.2 LOOM FOR CARPET WEAVING

Source: Crafts Gallery, Directorate of Handicrafts & Handloom Industry, Government of

Sikkim.

35

Figure.1.3 CARPET DESIGNS

Sources: Office of the Directorate of Handicrafts and Handloom, Government of

Sikkim, Gangtok , East Sikkim.

The following table shows the names of various tools and looms used for carpet weaving.

Further, this table also mentions the various tools and its functions. However, the prices

are given in approximate rates.

36

Table 1: Tools used in Carpets Making

Sl.

No.

Items Function Price

(approx)

1. Den Thak-thi (Loom) Upon which the main carpet is woven Rs. 300/-

2. Bha-shey (carder

brush)

To roll raw wool for spinning Rs.25

3. Phang (spindle) For spinning Yarn Rs. 5

4. Sok (axis-rod) Holds the wrap and functions as its

main support

Rs. 1

5. Pen–shing (spool) Pushes weft threads across warp Rs.5

6. Tam (shed sticks) Ease way for spools to pass through

warp and also separates wrap threads

Rs.1

7. Ne –shing Attached by leashes of cord to each

wrap thread its function is to keep the

wrap tight

Rs. 1

8. Chak – tap (comb

beater in)

To press weft thread firmly down Rs.20

9. Gyuk – shu (gague-

rod)

Around which the woolen pile is

knotted

Rs.5

10. Thowa (wooden

hammer)

After each row of knotting the gauge-

rod and knots are beaten down against

the previous rows of knots with Thowa

Rs.5

11. Shyap (wooden

pieces)

Help adjust the length of wrap Rs.1

12. Jhem – chey(scissor) For outlining unwanted threads Rs.15

13. -do- For contouring and shearing finished

carpet

Rs.50

14. Dhi (knife) For cutting knots woven around the

gauge-rod after hammering

Rs.4

15. Charkha (wheel) For reeling and plying yarns Rs.25

16. Dom (box) For keeping rolled yarns for weaving Rs.25

17. Den – thi (seat) For weavers to sit Rs. 20

Source: Government Institute of Cottage Industries, Government of Sikkim, Gangtok,

Sikkim Handicrafts and Catalogue, 1987.

37

WOOD CARVING

Wood carving is considered as one of the ancient art forms of Sikkim. Wood

carving is one of the units of Directorate Handicrafts and Handloom. This unit

manufactures the product like Choktis (carved table), „bakchoe’ (square table), wooden

masks, decorative screens, alters, and other product in traditional design. Wood is one of

the main raw materials used for wood carving. Particularly the woods of ‘tooni’

(toonaceliata), „rani chaap’ (MacaliaExelsa) and ‘okher’(Walnut) are used to make

several wooden products. The following pictures show the measurement of wooden table

and wooden screen produced by wood carving units.

Figure.1.4 WOODEN TABLE

Sources: Office of the Directorate of Handicrafts and Handloom, Government of Sikkim,

Gangtok , East Sikkim.

38

Figure.1.5 Wooden Screen

Sources: Office of Director, Directorate of Handicrafts and Handloom,

Government of Sikkim, Gangtok, East Sikkim.

39

The Directorate of Handicrafts and Handloom provide three years of training and after

completion, the trainees are given certificates. After the training, the trainees are free to

start their own business or a cooperative society.33

Apart from conducting training these institutes also produce many products based

on traditional arts and crafts. These finished products are sold in local and in the global

market. In order to provide the benefit to the people of Sikkim and also to promote the

traditional skills number of handicrafts‟ institutes were established in several regions of

Sikkim. To popularize the arts and crafts of Sikkim, the government regularly organizes

the sales cum exhibition of handicrafts and metal works of Sikkim at the Central Cottage

Industries Emporium, New Delhi since 1975.34

The Central Cottage Industries Emporium in New Delhi displays the various

kinds of handicrafts and handloom products. In the emporium, a section of Sikkimese arts

and items are found. This emporium also creates consciousness and awareness among the

people regarding the richness of arts and crafts. It provides the platform to sell the various

products of handicrafts and handloom from the different corners of the country. Further,

the products are also exported to foreign markets like Europe and the United States of

America.35

33

Golden Jubilee Celebrations, op.cit., pp. 17-18.

34Sukhdev Singh Chib,This Beautiful India,Sikkim, Light & Life Publishers,1977, pp.49-50.

35Jasleen Dhamija, Indian Folk arts and crafts, National Book Trust, New Delhi, (Reprint), 2005,

p.7

40

DYES AND DYEING

Dyeing plays a prominent role to make handicrafts and handloom products attractive,

valuable and beautiful. History reveals that there was evolution occurred in the art of

dyeing. During ancient period the dyes and dyeing were mostly based on vegetables dye

extracted from fruits, plants and various forest products. However, during the modern

period, the so-called aniline dyes are introduced in the dyeing. Therefore, the quality,

value, and the beauty of these vegetable dye and aniline dyes are differed from each

other.

The process and the quality of dyeing are continuously changing from generation

to generation. Concerning the continuous transformation of the dyeing, it has been

written, “In the19th centuries second half, aniline or chemical dye began to spread to the

Orient, replacing traditional natural dyes. The processes of getting the natural dyes were

very time consuming and tedious.”36

In the Indian context, traditionally different colours for dyeing were drawn from

vegetables, plant, and fruits. These natural dyestuffs were largely use for dyeing clothes,

woolen goods, silk items etc. For instance, turmeric and safflower are used for yellow

dye, carthamus tinctorum for pink dye, red-wood for red dye, cutch (catechu) and

gambier for brown dye and Indigo. Gradually, these natural dyes are replaced by the

aniline dye, acid dye, and chemical dye.

Regarding this dyes and dyeing methods, it has been noted, “To suppose for an

instant this is important and highly specialized art has not advanced nearly two thousand

36

Vidhu Ganjoor Buzz Burza, op.cit, p.23.

41

years…the fact that many of the very best, fastest, and most beautiful of the dyes of our

ancestors-such as cochineal, with the dyed practically all of their fast pinks and scarlets;

logwood, with which silk as well as wool was, and is still dyed black; fustic, which was

used for yellows on wool and cotton and several others.”37

As in the context of Sikkim, traditionally the different natural or vegetable dyes

have been used for dyeing the traditional cloth, woolen carpets, blankets, and shawls. The

dye was drawn from fruits, plants and different forest products. However, during the 20th

century, the aniline dye was introduced in Sikkim. As compared to the natural dye this

aniline dye is cheaper and gives brilliant colour which easily available in the market.

However, in order to preserve the tradition of using natural dyes, this new aniline dyes

was prohibited from selling in the market. Sikhim and Bhutan, Twenty Years on the

North-East Frontier, 1887-1908, written by the first British political officer to Sikkim

J.Claude White mentions, “The women weave at small looms set up in different houses

where the dyeing of the thread is also done; and until lately vegetable dyes, to be found in

abundance in the forests and jungles of Sikhim, were always used.”38

With the view to developing designs and colour under the Institute of handicrafts

and handloom of Sikkim the new dyeing shed was also constructed in 1985-86 at North

Sikkim, Chungthang.39

Traditionally, till 1918, the natural dye made by the Lepcha of

Zongu North Sikkim was also exchanged with wool and salt of Tibet via Lachen North

Sikkim. After consuming some amount of salt for their family further, the salt was again

37

C.E. Pellew, Dyes and Dyeing, Abhishek Publicatin, Chandigarh, 2007, pp. 19-32.

38 J.Claude White, op.cit., pp. 295-296.

39 Golden Jubilee Celebrations, op.cit, p. 21.

42

exchanged with the cotton of Darjeeling. During that period, Tibet was the main supplier

of wool in Sikkim.40

However, in Sikkim, the importance and the beauty of vegetable dyes are

prevalent even today. The different natural or vegetable dye extracted from fruits, roots,

barks, leaves of plants are summarized in the following table.

Table 1.1: Name of the Plants used for Dyeing Handloom and Handicrafts Products

Local Name Botanical Name Parts of plants Life of plants Season

available

Chucha Rhubarb Roots Can be stored October

Cho / Majito Rubia Cordifolia Vine Can be stored May – June

Shungay SymplocosRacemosa Leaves Short May – June

Tanga /

Okher

Juglan Regia Bark, fruit Can be stored October

Halhaley Rumex nepalisis Leaves &

roots

Short May – June

Source: Golden Jubilee Celebrations, 1957-2007, Estd.9th March, Directorate of

Handicrafts & Handloom, Government of Sikkim, issued by Information and Public

Relations Department, Government of Sikkim, 2007.

40

J.C Debnath, op.cit., pp.81-85.

43

The above table mentions the name of the plants and fruits as well as the different parts

of plants used for the colouring of woven cotton clothes, carpets and woolen blankets

which are collected from the forest of Sikkim. The varieties mentioned-above of plants

are used for the purpose of dyeing different colour for instance, Tanga or okher is used

for brown colour, Cho or Majito for pink, maroon and orange colour, and Rhubarb root is

for golden yellow colour. Similarly, there are other plants and flowers used for dyeing

such as Burberry, leaves of tea, turmeric and myrobolan (terminalila chebula).41

41

Ibid, p.21.

44

Figure.1.6 Image Painted with Natural Dye

Sources: Office of the Directorate of Handicrafts and Handloom, Government of Sikkim,

Gangtok, East Sikkim.

45

In 1950 the majority of the people of Sikkim were settled in the rural areas. During that

period, there were only a few roads for the people to move from one place to another.

The roads and infrastructure were not properly developed.42

Manas Das Gupta‟s book Sikkim Problem and Prospects of Development

mentions “Historically, in Sikkim, the relative lack of capital, the presence of a large

number of unskilled workers, the discouragement to entrepreneurship and social structure

that emphasized tradition, particularism and diffused functional relationship-all were

barriers to structural changes and the economic transformation.”43

In India when the planning was introduced in 1950 Sikkim was also given

monetary aid of Rupees three lakh per annum.44

In Sikkim, the First Seven Years

Development Plan was initiated from 1954 to 1961 after the several discussions between

the then ruler of Sikkim and Late Prime Minister Jawaralal Nehru. Moreover, this Plan

gave more emphasis on the development of cottage industries.

Regarding the plan investment and expenditure it is point out, “Sikkim

experimented its first experience by formulating a Seven year Development Plan (1954 to

1961) and accorded emphasis on the development of cottage industries with a view that

42

B. Bhattacharya, Sikkim Land and People, Omsons Publications, New Delhi, 1997, p.103.

43 Manas Das Gupta, Sikkim Problem and Prospect of Development, Indus Publishing Company,

New Delhi, 1992, p.132.

44 Sunita Kharel & Jigme Wangchuk Bhutia, op.cit., p.409.

46

this would serves means of stabilizing the rural economy and provide subsidiary income

to rural population which contributed about 95% of the total population.”45

However, during that period the Plan was also initiated to strengthen the rural

economy and to provide income to the rural population. On 16th

May 1975, when Sikkim

became the Constituent state of Indian Union all the four districts in Sikkim were

declared as industrially backward. Gradually, many initiatives were taken by the

government for the growth of cottage industry in Sikkim. In order to look after the

industrial development of Sikkim in 1976, the Directorate of Industries was set up.

Similarly in 1976 training institute was also started at Rangpo, East Sikkim. As a result,

these initiatives of the government further helped in the development of the handicrafts

and handloom institution and training centers in Sikkim.46

Conclusion

Lastly in conclusion, previously the crafts and weaving occupation was

restricted in within the family or households which fulfilled the requirement of their

households only. After the technological and infrastructural developments, there was

growth in crafts and weaving production. Similarly, the number of new institutions of

cottage industry also increased to a great extent. Moreover, with the implementation of

plan and policy of the government and allocation of aids, much progress could be

witnessed in the field of handicrafts and handloom sector. Most notable among the

45

File No ‟S-54167 The Industrial Economy Of Sikkim, , Bur/Ind, A.No;13417, Bureau of

Economics & Statistics ,Planning & Development Department, Government of Sikkim ,1987, p.

1.

46Ibid, p.14.

47

development of institution was the establishment of Palden Thondup Cottage Industry

in1957. The Palden Thondup Cottage Industry further paved the way for the growth and

developments of many new sections/units of handicrafts and handloom products. Within

the First Plan period, the new carpentry section was also started. On the whole, this

cottage industry revolutionized the growth and the development of handicrafts and

handloom sector by starting many new sections of arts and crafts. Gradually, in various

parts of Sikkim, different branches were also setup under the Government Institute of

Cottage Industry. In different weaving centers, the training was also initiated to the local

girls and boys. Many new training programmes are also initiated for different arts and

crafts such as wood carving, thanka painting, carpet weaving, cane and bamboo product

as well as handmade paper making. Therefore, in order to cope with the rapidly

increasing demand of the products and to preserve the traditional arts and crafts of

Sikkim, the Directorate of Handicrafts and Handloom has established a number of

weaving and crafts centers in different districts. It can be observed that the state,various

center of cottage industry, involvement of weavers, artisan, craftsmen, are making

considerable efforts for the growth and the development of weaving and crafts making

tradition in Sikkim.

48

CHAPTER- III

THE ROLE OF THE STATE IN HANDICRAFTS AND HANDLOOM

INDUSTRY IN SIKKIM

The arts and crafts are an integral part of Sikkimese society. It is difficult to analyze as

when did the handicrafts and handloom work started in Sikkim. But it can be argued that

since the human civilization people started weaving and crafts making tradition by

applying various ways and technique. In the context of Sikkim, historically people used

to weave different cotton cloths by using the locally available raw materials. The women

of Sikkim manufactured various clothes in their looms for self-utilization. The weavers

also used vegetable or natural dye for colouring weaved clothes.

The skills and technique applied in handicrafts and handloom production of

Sikkim reflect the traditions, cultures, and talents of the different communities of Sikkim.

J.R Subba in his book History, Culture and Custom of Sikkim writes “The ancient art and

culture of the antiquity of Sikkim comprise of simple household items of the ancient

people of that time- the Lepcha, the Limboos and the Bhutia…the extraction of nettle

bark for fiber and weaving the clothes, making mats (pira, gundri, gajra) out of paddy

straw, dry maize khosela, etc. by the primitive people of that time are the art and culture,

and that could be some example of early arts of Sikkim.”47

The above-written statement

clearly shows that the earliest arts and crafts of Sikkim were confined within their

households, to fulfill their family needs and necessity.

47

J.R Subba, History, Culture and Customs of Sikkim, Gyan Publishing House, New Delhi, 2008,

p. 224.

49

With time, the Chogyal48

also began to patronize the art and crafts in Sikkim. The

Chogyal Tashi Namgyal played a vital role in spreading and flourishing the traditions of

crafts and weaving practices in various region of Sikkim. It is mentioned, “It is not very

clear exactly when the carpet-weaving began in Sikkim but an earnest and serious step

towards this direction had been taken in the early 1920s when Chogyal Tashi Namgyal

encouraged the craft and created Palace workshop for carpet weaving known as “NAM-

KHANG”, which literally means woolen products manufacturing centre.”49

These

consistent efforts of the Chogyal by way of establishing woolen manufacturing centre

further flourish the tradition of weaving in Sikkim. The governments used to hire skilled

local craftsmen from different communities of Sikkim and with their help training and

workshop were conducted in order to generate interest among the people of Sikkim.

It has been observed in the File no 4 of 1922, Serial No 25 Sikkim State General

Department that, the handicrafts and handloom sector was under the state supervision and

the supply and demand of manufactured rugs, tweeds, woolen goods, and carpets from

Sikkim tweed and rug factories were also under the direct control of Maharaja of Sikkim.

Many historical written evidences show that the function of the General Secretary to His

Highness the Maharaja of Sikkim was immense in the tweed and rugs related business

and market. As regard to the demand of different uniforms for peon, guard, and chaprasis

of various department of Sikkim, the General Secretary used to write a letters of order to

weave handmade uniforms on behalf of Maharaja of Sikkim to both forest managers and

the pepons (administrative heads) of Lachung and Lachen. Similarly, even in the supply

48

Dharma raja or king or Maharaja

49Government Institute of Cottage Industries, Government of Sikkim, Gangtok, Sikkim

Handicrafts and Catalogue, 1987, p. 4.

50

of rugs and tweeds, the General Secretary used to make agreements with different

commission agents. The number of orders sent by the commission agents was received by

the General Secretary who again used to give orders of the demand for the manufactured

goods to the different Maharajas factories.

The File No 4 of 1922 mentions that the business transaction was conducted by an

agreement between the commission agent and the General Secretary (who was

considered as an employer). On the 14th

July 1922, the agreement was signed between

one of the commission agent named Abdul Kasim Peer Mahommed, Resident of

Raghunathpur, and the General Secretary, His Highness the Maharaja of Sikkim Durbar.

In this agreement both the party, the employer and the commission agent had to comply

the following terms and conditions for the business of Tweeds and Rugs where they have

signed on the Sikkim state eight annas stamp.

1. “The employer will employ the Commission Agent from the date hereof as a

commission agent in the employers business of Tweeds and Rugs.

2. The Commission Agent will, during the continuance of this agreement, diligently

and faithfully serve the employer in such capacity as aforesaid.

3. The Commission Agent shall use his utmost endeavours to obtain orders for the

goods manufactured in the Sikkim Tweed and Rug factories, and shall at regular

intervals visit customers and endeavour to obtain orders for such goods and shall

accurately and promptly transmit all orders obtained by him to the employer.

4. The Commission Agent will secure orders for Tweeds at the rate of Rs.5/-, per

yard, and for Rugs at Rs.22/8/ each.

51

5. The employer will pay the Commission Agent, rupee one, as commission on

every yard of tweed and Rs.4/8/-, for each rug in respect of all original orders

secured.

6. The account relating to the payment of the Commission Agent will be settled once

a year or at any convenient interval.

7. The Commission Agent will at all time keep full and accurate accounts of all

orders received by him, and in particular, will forward to the employer daily the

triplicate copy of all orders received by him, with an advance of 10% on the value

for which the orders are secured.

8. The employer will keep a proper account of all articles sold through the

Commission Agent and will send to the Commission Agent a copy of invoice of

articles sold through him.

9. The employer will give to the Commission Agent book containing order forms in

triplicate. A copy of each triplicate form will be retained by the Commission

Agent. A copy will be given to the purchaser, and a copy will be sent to the

employer as herein before mentioned.

10. The employer will, on receipt of his copy of the order form, dispatch to the

purchaser by V.P.P goods according to the number given on the samples of tweed

or rug selected.

11. The employer will provide the Commission Agent free of cost with:-

(a) Letter paper and envelopes.

(b) Samples of Rugs and of tweeds; and,

(c) Order form books.

52

12. Either party may, at any time, determine this agreement by giving to the other

three calendar months, notice, in writing, or the employer may, in the event of any

breach by the Commission Agent of this agreement, determine the same without

notice.

In witness whereof, the said parties have hereunto set their hands the day and year

above mentioned.”50

This 26th

Day of July 1922, I, Abdul Kasim Peer Mohamed hereby agree to sell

Carpets for Sikkim State under the terms and conditions of the above agreement

except as regards rates for securing orders. The condition in respect to Carpets

will follow as under:-

“The Commission Agent will secure orders for carpets at the rate of

Rs.2/8/- per square feet.

The employer will pay Commission Agent -/8/- per square foot, as

commission on every square foot of carpet in respect of all original orders

secured.

In witness whereof the said parties have hereunto set their hands the day and year above

mentioned.”51

50

File no 4 of 1922, Serial No 25, Sikkim State, General Department, Tweeds & Rugs sale

agreement between Sikkim Durbar& Abdul Kassim Peer Mohammad, (commission agent),

Sikkim State Archives, Gangtok, p.I.

51 Ibid, p.II.

53

Likewise, a copy of an agreement was signed between the General Secretary and Abdul

Kasim Peer Mohamed on 26th

Day of July 1922, which shows that Abdul as a

commission agent agreed to sell carpets for Sikkim State under the terms and conditions

of the above agreement except as regards to rates for securing orders. However, further in

respect to selling carpets, other conditions were made between them. The conditions were

as follows: - “The Commission Agent will secure orders for carpets at the rate of Rs.2/8/-

per square feet. The employer will pay Commission Agent -/8/- per square foot, as

commission on every square foot of carpet in respect of all original orders secured.”52

In facts, many official letters exchanged between different commissioned agents

and the General Secretary shows the list of various demand and supply of Rugs and

Tweed at a different cost. Further, these letters also highlight that the various agencies

and the commission agent of different places used to buy different rugs and tweeds

products manufactured in Maharaja Factories. By keeping a certain amount of

commission further, these manufactured woolen products were supplied to the other

places. The letter dated 20th

September 1922, No 3516 mentions that the application of

Nada Kesher Prasad of Mowna Chapra, C/O, Ram Sewak Ram, Gangtok sent on 16th

September 1922 requesting to be allowed to work as an Agent, for selling Sikkim Rug

and tweeds on a commission of 6 ¼ percent. The request of the Nada Kesher as a

commission agent was accepted and granted by the General Secretary.53

52

Ibid, p.III.

53 Sikkim State, Office of His Highness the Maharaja of Sikkim, General Department, Serial No,

192, Letter No 3516, dated. 20/9/1922.

54

The role of the commission agents in the business of the woolen cloths, blankets, carpets

as well as different handloom products was an intermediary between the state and the

purchaser. Firstly, the agents used to obtain orders from the customers and forward the

list of orders along with the address of customer/purchaser to the General Secretary. After

receiving the orders from commission agents, the General Secretary further used to

dispatch the demanded goods through value payable post. However, the agent used to get

a certain amount of commission for his service.54

Alok k. Shrivastava in his book Surajkund the Sikkim Story mentions, “Sikkim is

a land of very old and deeply rooted by handloom and handicrafts tradition. The activities

such as thanka painting, wood carving and Lepcha handloom weaving are typical in

Sikkim. Certain other craft, such as cane &bamboo, carpet weaving metal crafts, multi-

crafts are also practiced in state.”55

The establishments of various permanent training

centers further help in the enhancement of weaving and crafts production in Sikkim. In

order to provide training in various crafts, seven training centers were established in

1919. For the infrastructural development, many buildings were also constructed at

Gangtok, Dzongu, Melli, and Namchi. Gradually, the printing sections were also set up in

various centers. The machine-like carts iron looms began to be used in the weaving

section. The infrastructural and technological development further resulted in the increase

of crafts production in the Sikkim.56

54

Sikkim State, General Department, Letter No 4684, dated 29/11/1922.

55Alok k. Shrivastava, Surajkund the Sikkim Story, Information &Public Relations, Department,

Government of Sikkim, South Asia Foundation, New Delhi,p.51.

56 Sukhdev Singh Chib, This beautiful India, Sikkim, Light & Life Publishers, New Delhi, 1977,

pp. 49-50.

55

The real boost to the weaving and crafts works in Sikkim, however, was given with the

establishments of Palden Thondup Cottage Industries Institute in 1957 by the Chogyal

Palden Thondup Namgyal. In the initial phase there were only 58 trainees, but slowly the

numbers of trainees increased with the growth of infrastructure, facilities, and market.

The primary aims and objective of this institute were to preserve the traditional arts &

crafts and the traditional skills and talent. This cottage industry also initiates and

encourage the local youth which include both boys and girls for regular training in

handicrafts and Handloom. At present, Palden Thondup Cottage Industries Institute is

named as Government Institute of Cottage Industry under Director of Handicrafts &

Handloom which is at Zero Point, Gangtok, East Sikkim.

Historically, a variety of handloom and handicrafts products manufactured in

Sikkim was also sent to the different exhibition which was organized in India as well as

in foreign countries. Sikkim handloom products like woolen tweeds and different cloth

and crafts products were well-known in various parts of India.

In December 1921, the Industrial exhibition was organized by the All India Hand

Weaving Exhibition at Patna. In that industrial exhibition, the high quality of crafts and

handloom products of Sikkim were also displayed. On that exhibition, a Sikkimese

weaver name recorded as Pamputi wife of Munshi Karmala received silver medal and

certificate.57

From this information, it may be noted that since the earlier period, the

handloom and handicrafts product of Sikkim were famous. Furthermore, from 1975 the

57

File No 4, Serial No28(IV), Sikkim State, General Department, Award of Silver medal to

Samputi by All India Hand Weaving Exhibition, Patna, 1922.

56

Sikkim State Government has been arranging sales-cum-exhibition of various handicrafts

and handloom product at Central Cottage Emporium at New Delhi.58

In the connection of the exhibition of crafts and handloom products, in 1987

under the supervision of Surendra Patel of Sharad Gandharva fame the new mela59

called

as Surajkund Crafts Mela was also started. At present, this Surajkund Crafts Mela is

organized under the agencies of the Ministry of Tourism, Government of India. The

authority of this mela is under the offices of the Development Commissioners

(Handicrafts) and Development Commissioner (Handloom). The Crafts Museum of New

Delhi and Haryana are also the member agencies of this mela. The Mela authority

continuously organizes this Surajkund Mela in order to display the various handicrafts

and handloom products of the country. Every year, during the exhibition, the various

finest handicrafts and handloom products of Sikkim like carpet, handloom, multi-craft,

wood crafts, thanka, cane and bamboo crafts, the religious mask are also displayed.

During this event, the weavers not only showcase the arts and crafts but also demonstrate

their looms and techniques in order to draw the attention of the people and to show the

cultural heritage of the country. Every year this mela begins from 1st to 15

th February at

Surajkund, Faridabad in Haryana. This mela was started to exhibit the various arts and

58

AribamIndubala Devi, (ed), Amazing North East Sikkim, Viji Books India, New Delhi, 2010, p.

172.

59Fairs or crafts fairs

57

crafts of the country. This mela further encourages these arts and crafts tradition of the

whole country.60

However, at present, the various handicrafts and handloom products are exhibited

in different regional crafts bazaars and trade fairs. During the exhibitions, the excellent

participants also receive the awards and certificate, for example in 2005 at North East

Trade Expo in New Delhi participants from Sikkim also received the award. Even within

Sikkim the government also confers the state awards to the craftsmen, weavers, and

trainers who excel in a particular unit of handicrafts and handloom sector.61

In order to

increase the production and to sustain the crafts and weaving traditions, the state

government of Sikkim is continuously working in the process of modernizing tools and

technology and annually organizing the crafts fair at Gangtok and other regions of

Sikkim.

The establishment of the Government Institute of Cottage Industry and its

branches further support to keep this tradition of crafts making and weaving all over

Sikkim. Similarly, the cottage industry is making considerable efforts in providing

employment opportunity to make the youths of the state self-reliant and self-depended.

With the passes of time, Research & Design Development Unit was also established. This

unit initiates the design and survey of traditional arts and crafts resources in monasteries

60

Surajkund Crafts Mela, Department of Tourism, Ministry of Tourism & Culture, Government

of India, in collaboration with Development Commissioners for Handloom, Commissioner

Development(Handicrafts), 2002.

61 Golden Jubilee Celebrations,1957-2007, Estd.9

th March, Directorate of Handicrafts &

Handloom, Government of Sikkim, issued by Information and Public Relations Department,

Government of Sikkim, 2007, p. 5.

58

and rural area. In 1991-92 graph designing also began in Research & Design

Development Unit. In order to increase the production and supply of the handicrafts and

handloom product, this unit also searches for the market and raw materials. It also

examines and studies the design, technique, tools and technology and quality varieties of

wooden products, bamboo crafts, blankets, carpet, and thanka paintings of various

regions and collects the photographs and samples for the record. Further, these new

collected designs and techniques are applied in various sections of the handicrafts and

handloom industry.

In order to continue their skill of crafts and arts, the government provided most of

the tools required for weaving/crafts making to the ex-trainees and trained craftsmen and

weavers. However, due to some circumstances, this objective was not successful. Later

on, the trained people were also given loans for buying the raw materials and to develop

the trade network.

Gradually, this Institute of Cottage Industry was divided into two units like

Production and Training units. The Field Level Organization was also established to

provide help for those who were engaged in their own production and also to increase the

marketing area. Up to 1990, the stipend for the trainees was between Rs.30 to 200 per

month which was gradually increased. In 2003, the stipend increased to Rs 500 and 600

per month. This institute provides the training in various sections of crafts making and

weaving like blanket weaving, mask making, carpet weaving, thanka painting, wood

carving, cane and bamboo crafts, and multi-craft. The duration of training periods varies

on the basis of sections, for instance, the two-year training is provided for the trainees of

blanket weaving, carpet weaving, mask making, and multi-craft. Similarly, the three

59

years training has been provided to wood carving and one-year training for cane and

bamboo crafts. Likewise, for thanka painting, the trainees are provided four years of the

training course.62

The institutes of the Directors of Handicrafts and Handloom have many

productive missions as well as the aims and objectives. The first mission is to be the

major center of learning and training in the field of traditional arts and crafts of the state

of Sikkim. The second is to preserve and revive the traditional arts and crafts of the state.

The third mission is to achieve a high level of participation and skill development with

the help of capacity skill. The fourth is to multiply the information of the plan and

programs of the state and central Government and to generate the employment and

income of the product of handloom and handicrafts. The last aim is to develop the state in

the field of crafts and arts.63

Likewise, the objectives of this institute are to train the talented and educated

youth and to show them the direction in the field of handloom and handicrafts. In the

same way, the objective is also to reduce the migration of youths from the rural area by

providing them the building skills and developmental training. The objective is to transfer

the talent and technique of crafts making and weaving from one generation to the coming

generation.64

62

Golden Jubilee Celebrations, op.cit., p.1.

63 Sikkim Handloom & Handicrafts Development Corporation, Zero Point, Gangtok, The office

of the Development Commissioners(Handicrafts), Ministry of Textiles, Government of India,

New Delhi, 2003, p. 3

64Ibid.

60

In facts, from mid -1970, the introduction and implementation of the development of

infrastructural and organizational supports enhanced the growth and development of

crafts and weaving tradition in Sikkim. As a result, it provided employment opportunity

to the number of local people.65

In Sikkim the First Five Year Plan which was introduced in 1954, which gave

more focused on the development of infrastructure, commercial farming, and cottage

industries. Similarly, in the Second Plan, the government emphasized the development of

road and bridge, education, health, and road transports. The Third Five Year Plan

increased plan allocation by 6.2 percent as compared to the Second Five Year Plan. The

whole roads & bridge sector got the highest allocations. From the third plan onwards the

allocation on the road & bridge and industries, and health is observed downward trends.

Table1.2 given below shows the plan allocation in Sikkim from 1954-1975. Apart

from the allocation of aid to the different sectors, it is observed that since from the first

plan period allocation of aid was continuously given for the development of cottage

industry.

65

M. Sharma, Industrial Development In Sikkim, Proceeding of Workshop on Science and

Technology input for Socio-economic development of Sikkim, 24-25 August 1987, Sikkim Science

Society, Gangtok, 1987, p. 44.

61

Table1. 2: Share of Sectoral and Sub-Sectoral Plan Allocation in Sikkim (1954-1975)

Sectors I

Plan

(1954-61)

%

II

Plan

(1961-66)

%

III

Plan

(1966-71)

%

IV

Plan

(1971-75)

%

Agriculture allied

activities

21.5 20.0 15.0 14.2

Power 9.2 8.3 7.3 8.8

Industries 4.3 0.5 6.7 3.5

Road and bridge 42.8 40.5 43.4 36.3

Road Transport 5.2 6.9 4.1 3.5

Education 7.4 12.4 7.9 8.8

Health 7.1 7.2 9.4 4.1

Tourism 0.8 0.4 4.4 2.0

Others

Total outlay(Rs

million

2.5

32.4

3.4

63.7

5.8

97.1

16

203.6

Source: Anjan Chakrabarti, Economic History and Employment in Sikkim, Authors press,

2009, p.60.

62

With the introduction of the development plan and policy, the governmental patronage to

the cottage industry including handicrafts and handloom became much more direct. The

developmental plan was also initiated to promote the handicraft and handloom industry

and to enhance the rural economy as well.

In the First Plan Period, Rs.3.87 lakhs was spent by the Government towards

the development of cottage industries. Within this First plan period, Palden Thondup

Institute of Cottage Industries was established in 1957 at Gangtok, East Sikkim. After the

establishment of the Palden Thondup Institute of Cottage Industry many steps had been

taken to flourish the tradition of crafts making and weaving in Sikkim. For instance, in

order to spread the scope of crafts making and weaving the Palden Thondup Institute of

Cottage Industries began to initiate the training programmes. In the First Phase of the

training period, almost 42 participants completed their course in various arts and crafts.

Each student was also given Rs 25 as a stipend per month. These 42 students completed

their course in handloom weaving, carpet making carpentry, handmade papermaking and

doll making. Within the training period with the help of these participants, this institute

also produced various types of handicrafts and handloom product.66

In order to increase production, this institute introduced many new machines

like a loom, lathe machines, and sewing machine. With this institute new section of

handicrafts and handloom was established. Gradually the demand for the finished

handicrafts and handloom products was increased. Therefore, in order to full fill the

growing demand some of the section of handicrafts and handloom was converted to

66

J.C Debnath in Economic History of Sikkim, Before and After Independence, Abhijeet

Publication, Delhi, 2009, p.22.

63

training-cum-production center. The carpentry section of Palden Thondup Institute of

Cottage Industries was upgraded as the training-cum-production center in 1959. From

1962 onwards, the different sections were also upgraded.

During the Second Five Year Plan, almost 113 participants successfully

completed their training in various sections of handloom and handicrafts including carpet

making, hand-made paper making, carpentry, handloom, doll making, and multi-arts and

crafts. Further 109 students were also given training in tailoring, ceramics and batik

work. During their training period, the trainees were also given Rs 30 as a stipend per

month. It is observed that the stipends were also increased. Hostel for both girls and boys

were also constructed.67

Those students who completed their training period were offered employment

in the different production unit of this institute. Within this institute, they were working

as a paid laboures and workers. However, their salary was varied according to their work,

for example, some workers received Rs 35 per month, and some worker received Rs 200

per month. During the last phase of the Second Five Year Plan, almost forty-two students

were given the employment opportunity in this institute as paid workers. During this

Plan, seven selected students were also sent for different vocational training of

handicrafts and handloom. They were given training in tailoring, handmade paper

making, leather work, and electrical works. In order to increase these traditions of

67

Ibid, p. 223.

64

weaving and crafts making different training and production unit and weaving schools

were also established.68

The number of trainees in East, West, South, North district of Sikkim in handicrafts and

handloom sector from 1997-2001 is summarized in the following table.

Table 1.3: Number of Trainees in Four Districts of Sikkim in Handicrafts and

Handloom Sector (1997-2001)

Districts 1997 1998 1999 2000 2001

East Sikkim 70 57 78 74 57

West Sikkim 44 56 74 74 67

North

Sikkim

65 54 121 99 69

South

Sikkim

31 42 66 51 30

Total 219 209 339 298 223

Source: Mowsume Bose Roy (Datta), Women in Handicrafts Industry, A Study of Sikkim,

p. 119.

68

Ibid.

65

The above table shows that there has been an increase in the number of trainees from

1997 to 1999. Moreover, this table also indicates that from 1999 to 2001 the number of

trainees is slowly decreasing as per the total number. Further, this above it statically

mentions the number of trainees in North, South, East and west district of Sikkim in

1997, 1998, 1999, 2000 and 2001.

Sikkim initiated different plans and policy which supported in the development of

handicrafts and handloom sector in Sikkim. The table number 1.4 shows that the year-

wise expenditure in various units of cottage industry advanced the development of tools

and technology as well as the production scale. Further, the yearly expenditure which was

introduced between1972-1973 successfully increased the progress and the growth of

training units, handmade paper units, and production units. This expenditure of

government further promoted the enhancement of the various section of production

within the handicrafts and handloom industry.

66

The Fourth Five Year Plan of Sikkim, Handicraft & Cottage Industries (1972-1973) is

shown as follows.

Table: 1.4: Fourth Five Year Plan of Sikkim, Handicraft & Cottage Industries (1972-

1973)

I. Training Unit

Sl.

No.

Head of Account 1971-1972 Actual(1971-72) 1972-

1973(lakhs)

1 Pay of Establishment 0.05 0.01 0.12

2 Allowances & Honoraria 0.01 0.01 0.03

3 Office contingencies - - 0.04

4 Other Contingencies

i) Equipment & Materials

ii) Excursion & Education

0.01

0.02

0.01

0.02

0.04

0.05

5 Stipend 0.44 0.20 0.36

6 Specialized Training 0.05 - 0.20

7 Building - - 0.30

67

II. Hand Made Paper Unit

Sl.

No.

Head of Account 1971-

1972

Actual(1971-72) 1972-1973(lakhs)

1 Pay of Establishment 0.12 0.12 0.13

2 Allowances &

Honoraria

0.3 0.9 0.6

3 Furniture - - 0.5

4 Working Capital 0.39 0.32 0.40

5 Deduct Sale proceeds (-).40 (-).32 (-.)40

III. Production Unit

Sl.

No.

Head of Account 1971-

1972

Actual(1971-

72)

1972-

1973(lakhs)

1 Pay of Officer 0.06 0.05 0.14

2 Pay of Establishment 0.05 0.01 0.03

3 Allowances& Honoraria

i) Travelling Allowance

ii) Other Allowance

0.01

0.02

-

0.01

0.01

0.03

Sources: File No-S-54167/fin, Fourth Five Year Plan of Sikkim, Budget Estimates, 1972-

73, Government of Sikkim, Finance Department, September 1972.

These above tables give details regarding the process of the fourth five years plan in

Sikkim from 1972-73. Similarly, the above table has further examined the year-wise

68

expenditure between 1972-1973. It has mostly provided the data of three units of the

handicrafts and cottage industries of training units, Hand paper units and Production

units.69

Under Directorate of Handicrafts and Handloom Industry, many new institutes were

gradually started in various region of the state. In order to increase the crafts production and

continue the weaving tradition, many new technologies were also implemented in these

institutes. At headquarter of Directorate of Handicrafts and Handloom Industry Gangtok, the

Office cum storehouse was established in 1985-86.70

In the different centers many new specialized sections of training cum production

were also introduced. The names of the center and sections of handicrafts and handloom in

four districts of Sikkim are shown in the following table.

69

File no-S-54167/fin, Fourth Five Year Plan of Sikkim, Budget Estimates, 1972-73,

Government of Sikkim, Finance Department, September 1972.

70 Golden Jubilee Celebrations, op.cit., p. 22.

69

Table1.5: Centers and Sections in North, South, East and West districts of Sikkim

North Sikkim

Sl. No. Name of Centre Section

1. Kabi Carpet weaving and wood

carving

2. Lingdong Carpets, Handloom, wood

carving

3. Chungthang Carpet and Handloom

4. Lachung Carpet and blanket weaving

5. Lachen Carpet and blanket weaving

Sources: Golden Jubilee Celebrations, 1957-2007, Estd.9th March, Directorate of

Handicrafts & Handloom, Government of Sikkim, issued by Information and Public

Relations Department, Government of Sikkim, 2007, pp. 2-3.

In North Sikkim, Lachen and Lachung center is the oldest center of the handloom

and handicrafts of Sikkim. At present, there are 5 centers of the Institute of Cottage

Industry of Sikkim.

70

West Sikkim

Sl. No. Name of Center Section

1. Pelling Carpet and Arts

2. Okharey Carpets and Arts

3. Soreng Carpet and Handloom

4. Dentam Carpet and Arts

5. Chakung Handloom and Arts

6. Renchenpong Carpet and Arts

7. Tashinding Carpet and Arts

8. Reshi Handloom and Multi-craft

9. Chumbong Carpet

10. Singling Multi-craft

11. Salangdang Carpet

12. Tharpu Carpet and Handloom

13. Karjee Carpet

Sources: Office of the Directorate of Handicrafts and Handloom Industry at Gazying,

West District, retrieved on 21.08.2018.

71

The above table illustrates the different sections of handicrafts and handloom that are

established at the west district of Sikkim. There are almost 13 centers where the trainees

receive training in various sections of the handloom and handicrafts.

South Sikkim

Sl. No. Name of Centre Section

1. Namchi Carpet weaving, handloom,

wood carving

2. Melli Carpets and Handloom

3. Kewzing Carpet and Handloom and

wood carving

4. Temi –Tarku Carpet and handloom

5. Yangang Carpet and wood carving

Sources: Golden Jubilee Celebrations, 1957-2007, Estd.9th March, Directorate of

Handicrafts & Handloom, Government of Sikkim, issued by Information and Public

Relations Department, Government of Sikkim, 2007.

Within south Sikkim, the centers of the government institute of handicrafts and handloom

are Namchi, Melli, Kewzing, Temi-Tarku, and Yangang. The sections are carpet

weaving, handloom, and wood carving. Namchi is the main district center of south

Sikkim.

72

East Sikkim

Sl. No. Name of Centre Section

14. Rongli Carpet and wood carving

15. Rhenock Handloom and multi-crafts

16. Lingdok Carpet and Handloom

17. Parakha Handloom and multi-crafts

18. Central Pandam Handloom and multi-crafts

19. Martam Carpet

20. Kokaley handloom

21. Tumin Carpet

Sources: Golden Jubilee Celebrations, 1957-2007, Estd.9th March, Directorate of

Handicrafts & Handloom, Government of Sikkim, issued by Information and Public

Relations Department, Government of Sikkim, 2007.

The above table mentions the centers, of East district such as Rongli, Rhenock, Lingdok,

Parakha, Central Pandam, Martam, Kokaley, and Tumin. In each centers training on

different sections are conducted.

While looking at the historical background of these institutes and its sections/units

it has been found that it was only after the establishment of the Palden Thondup Institute

of Cottage Industries in 1957 by the Chogyal Palden Thondup Namgyal gradually

institutionalized the various weaving centers of Sikkim. At the beginning in this Institute,

73

there were only 58 trainees and limited section of crafts making and weaving. However,

slowly the numbers of trainees increased with the opening of the different training center

of handicrafts and handloom industry.

It is found that in order to expand the crafts and weaving sections two new storied

buildings were also constructed at Lachen, North Sikkim in 1989-90. Apart from

imparting training in various crafts, mask making training was also started in 1991-92 at

the main center Gangtok, East Sikkim. Besides, meeting the growing demands in the

market and to uplift the handloom sectors, in 1995-96 the new loom which is known as

frame loom was introduced for the first time in handloom section. In 1997-1998 a new

three-storied building was constructed for carpet weaving at Gangtok. The real boost in

carpet weaving was carried out with the introduction of the iron loom at Gangtok in

1997-98.71

It is observed that the role of the government in advancing and introducing the

modernized tools and technologies and providing infrastructural facilities, financial

support to the trainees further increase the handicrafts and handloom production and a

number of centers in various regions of Sikkim.

STATE LEVEL PUBLIC ENTERPRISE

The State Level Public Enterprise was established by the Government Company, Public

Corporation, Co-operative Society and departmental firms. There are various enterprises

under the State Level Public Enterprises (SLPEs) in Sikkim, which play a fundamental

role in the economic development of the state. Gradually and slowly the scale of

investment in the State Level Public Enterprise is also increasing. Some of the enterprises

71

Ibid, p.22.

74

were set up before the merger of Sikkim (1975) in the India union.72

For the development

of industries in general in Sikkim, the Sikkim Industrial Development and Investment

Corporation Ltd (SIDICO) was established on March 1977. The main objectives of the

SIDICO are to provide financial support, to provide subsidies and loans for the

establishment of a new cottage and other industries, and also to provide financial

assistance to the various small and medium scale industries. Moreover, on 23rd

December

1977, the Government of India made a new policy for the development of village or

cottage industries.73

In order to promote the handicrafts and handloom tradition in Sikkim, the

Sikkim Handloom and Handicrafts Development Corporation limited (HHDC) was

formed on December 2003. Sikkim Handloom and Handicrafts Development Corporation

particularly work for the marketing of Handicrafts and Handloom products in Sikkim.

There are competitions among the entrepreneurs for market and supply of the products. In

order to expand the skill of craftsmanship and weaving, the Handloom and Handicrafts

Development Corporation organize many training in different parts of the state. This

Corporation makes efforts in searching the market to sell the various handloom and crafts

products. Furthermore, in order to attract the buyers and to promote the market Sikkim

Handloom and Handicrafts Development Corporation showcases the attractive products

72

R. K Sharma & J. Kirannai, State Level Public Enterprise in Sikkim, Policy and Planning,

Concept Publishing Company, New Delhi, 1997, pp. 16-17.

73 File No ‟S-54167 The Industrial Economy Of Sikkim, Bur/Ind, A.No;13417, Bureau of

Economics & Statistics, Planning & Development Department, Government of Sikkim,1987, p. 2.

75

in the exhibitions. The consistent effort of the Government and public entrepreneurs, the

Sikkimese arts and crafts is gaining its glory.74

VARIOUS CENTERS OF HANDICRAFTS AND HANDLOOM INDUSTRY IN

SIKKIM

The Government Institute of Cottage Industry plays a fundamental role to

enhance the local crafts and weaving traditions of Sikkim. To benefit the people of local

and remote areas this institute has expanded the branches almost all four district of

Sikkim. The following table shows the branches of the Directorate of Handicrafts &

Handloom, Government of Sikkim.

Table 1.6: Branches in North and South Districts of Sikkim, with the Year of

Establishment

Sl.

No

Year of

establishment

Place District

1 1976 Lachung North Sikkim

2 1980 Chungthang North Sikkim

3 1982 Lachen North Sikkim

5 1984 Kewzing South Sikkim

6 1987 Lingdong North Sikkim

74

R. K Sharma & J. Kirannai, op.cit., pp. 16-17.

76

7 1991 Namchi South Sikkim

8 1993 Rhenock East Sikkim

9 1996 Kabi North Sikkim

10 1996 Rongli East Sikkim

11 1996 Yangang South Sikkim

12 2000 Melli South Sikkim

13 2003 Lingdok East Sikkim

14 2004 Parakha East Sikkim

15 2005 Martam East Sikkim

16 2005 Central Pendam East Sikkim

17 2005 Kokaley East Sikkim

18 2005 TimiTarku South Sikkim

Source: Golden Jubilee Celebrations, 1957-2007, Directorate of Handicrafts &

Handloom, Government of Sikkim p.23.

77

Table 1.7: Branches in West district of Sikkim, with the Year of Establishment

Sl. No. Name of Center Date of opening

1. Pelling 18/08/1982

2. Okharey 07/09/1987

3. Soreng 01/01/1993

4. Dentam 01/04/1995

5. Chakung 21/09/1996

6. Renchenpong 20/08/1996

7. Tashinding 01/04/2000

8. Reshi 03/07/2003

9. Chumbong 01/04/2005

10. Singling 14/04/2005

11. Salangdang 01/09/2006

12. Tharpu 24/04/2007

13. Karjee 13/09/2011

Sources: Office of the Directorate of Handicrafts and Handloom Industry at West

District, Gazying.

The above table indicates that the branches of Government Institute of Cottage

Industry are increasing in all the four districts of Sikkim. From 1976 to 2011 this institute

78

has 31 training center in all four districts of Sikkim. The main headquarter, Directorate of

Handicrafts and Handloom is situated at Gangtok Zero Point. These centers provide

training to the local craftsmen and weavers in various fields of handicrafts and handloom.

The handicrafts and handloom industry is gradually generating both employment

and income in rural and urban areas. Many handicrafts and handloom products have

captured the international and national markets. By applying both the manpower and

modern technology the quality and the number of Sikkim‟s handicrafts and handloom

product are upgrading day by day. The speedy growth of the tourism industry in Sikkim

has also helped in the promotion of its arts and crafts outside the state.75

Conclusion

It is quite understandable that traditionally the crafts making and the weaving is

a part of the culture of the Sikkimese society. However, the state played a prominent role

in the development of the old aged tradition of making handicrafts and handloom

products. During the rule of Chogyal Tashi Namgyal, the institution called Namkhang

was established for manufacturing rugs and tweeds. In 1954 onwards the First Plan was

initiated in Sikkim which improved the growth of the production of arts and crafts. This

Plan also brought improvement in tools and technology. In order to administer the

handicrafts and handloom sectors, an Institution named Palden Thondup Cottage Industry

was established in 1957 at Gangtok. The Palden Thondup Cottage Industry was later

formally established as the Directorate of Handicrafts and Handloom, Government of

Sikkim. As a result, many new training centers were started in various region of Sikkim.

75

Sikkim Human Development Report, Planning Commission, Government of India, Academic

Foundation, New Delhi, 2008, p.139.

79

CHAPTER- IV

SOCIO-ECONOMIC STRUCTURE OF HANDICRAFTS AND

HANDLOOM INDUSTRY IN SIKKIM

The socio-economic structure of the Handicrafts and Handlooms Industry in Sikkim

seeks to analyze the involvement of various communities of Sikkim in weaving and crafts

production. Further, it also examines the data of trainees in the institution. The artisans

and the weavers are an integral part of society. “The artisan is a person belonging to a

particular social group, which evolved out of their co-existence, uniformity of

occupational interests, working culture and above all their tool technique.”76

Since the dawn of civilization, most of the crafts and handloom products were

utilized by human beings. The crafts and woven cloth were used for their self-use.

However, due to the social and technological changes, the production of crafts increases

on a large scale. As a result, they began to supply the surplus for the commercial purpose.

Jasleen Dhamija on Indian Folk Arts and Crafts mentions “Simultaneously, Crafts

Museum and Regional Cultural centers bring craftsmen and performing artists to the

76

Smririkumar Sarkar, Social Organization of Artisan Production in India: Changing Role of

Market, Technology and Merchant-Creditor: 18th to 20

th Centuries in History of Science,

Philosophy and Culture in Indian Civilizations, D.P Chattopadhyaya, Binay Bhushan Chudhuri,

(ed), History of Science, Philosophy and Culture in Indian Civilizations, Volume-VIII, Economic

History of India form Eighteen to Twentieth Century, PHIPSPC, Center for Studies in

Civilizations, 2005, pp.108-131.

80

metropolis.”77

The artisans were traditionally engaged in particular kind of craft work

which had gone through the long history of evolution.

While talking about the historical background of the arts and crafts of Sikkim, it is

interesting to know that the different communities of people have migrated to Sikkim

from different geographical regions who also brought there along the age-old tradition of

artistic design and culture. The Sikkimese arts and crafts have been influenced by Indian,

Chinese, and Nepalese culture of arts and crafts. About this relationship and influence of

arts and crafts White writes “The arts and industries of Sikkim and Bhutan have an

intimate connection with those of China, as from their earliest days... with the spread of

Buddhism a certain amount of Indian influence was brought in…it has, however, also

crept in through Nepal, and whenever the Newar craftsmen have penetrated Indian

designs are to be met.”78

In Sikkim, there are various government institutes which impart

training on a regular basis. The establishments of the Directorate of Handloom and

Handicrafts Industry in Sikkim expose the talent and tradition of arts and crafts across the

state. Earlier it was like community-based crafts and weaving tradition. However, slowly

these institutes began to impart training despite their caste and community. Therefore the

structure of community-based crafts gradually transforms into multicultural crafts. The

advent of the new technology in the process of crafts production and weaving have

transformed the then existing social structure of artisans, and weavers. Further, the

traditional way of production changed to technological based production. These

77

Jasleen Dhamija, Indian Folk arts and Crafts, National Book Trust, New Delhi, (reprint), 2005,

p.1.

78 J.Claude White, Sikhim and Bhutan, Twenty-one years on the North-East Frontier, 1887-1908,

Low Price Publication, Delhi, 1909, pp. 294.

81

implementations of modern technology in handloom and handicrafts sector increase the

specialization in crafts and weaving works.

By looking at the background of the marketing of handicrafts and handloom

products, it is clear that traditionally before the establishment of the center for sales cum

exhibition, people exchanged the products through the barter system. For instance, during

1918 the natural dye made by the Lepcha of Zongu was also exchanged with wool and

salt of Tibet via Lachen, North Sikkim. Tibet was the main supplier of wool in Sikkim.

The salt was brought from Tibet was again used to exchange with the cotton of

Darjeeling.79

However, later with the establishment of Handicrafts and Handloom

Institute of Cottage Industry, the various marketing agencies were also established. For

instance, the Handicrafts and Handloom Development Corporation looks after the

marketing of crafts and handloom products. The artisans and the craftsmen of rural areas

also sell their handicrafts and handloom product through this corporation.

Similarly, in different institutions, sales, cum exhibition centers were also

established. There are sales emporiums at Delhi, Bagdogra, Gangtok, Rangpo, and

Soreng. The different Non-Governmental Organization is also working for the marketing

of these crafts and handloom products.80

In the handloom sector after the use of power and iron looms the scale of

production gradually increased. With the increase in producing various kinds of craft

began to be supplied to the markets. Handloom is also one of the chief means of

79

J.C Debnath in Economic History of Sikkim, Before and After Independence, Abhijeet

Publication, Delhi, 2009, pp.81-85.

80 Golden Jubilee Celebrations,1957-2007,Estd.9

th March, Directorate of Handicrafts &

Handloom, Government of Sikkim, issued by Information and Public Relations Department,

Government of Sikkim, 2007, p. 5.

82

livelihood which plays a crucial role in the socio-economic development of the society.

Sikkim is also one of the attractive tourist destinations in the world. In Sikkim, the

several communities are also economically dependent on tourism. The artistic designs

and the diversity of arts and crafts of Sikkim also contributed in promoting the tourism

industry in the state. While talking about the crafts, the structure of monasteries,

Chortens, wooden masks, and various paintings are the example of the craftsmanship of

the state. Gradually in Sikkim, the tourism sector is developing day by day.81

Sikkim comprises various communities, among them the Lepchas, the Bhutias

and the Nepalis are the major communities. Each community has their distinct history,

custom, and tradition. Linguistically and culturally they are different from one another.

The Lepchas are the original inhabitants of Sikkim. The Lepchas have originated from

the mongoloid race and having a linguistic connection to the Tibeto-Burman family, the

Lepchas, are the actual autochthones of Sikkim and Darjeeling Himalayas. They call

themselves Rumkup, Ronhpa, and Raongkup. Their country called as Mayel Lyang,

meaning the land of hidden paradise. They are known by different names as like in

Sikkim they are called as Renjyongmubin and in Darjeeling Tamsangmu.82

The Lepchas have their language, scripts, and dialects which are varied from other

communities. Lepcha language is called as „Rongring‟ and use script known as

„Mutanchi Rong Aming.‟ Namsoong or Numbun is the festivals of Lepchas which

celebrate are during December as a New Year. They also celebrate Tendong Lho Rum

81

Mahendra P. Lama, (ed), Sikkim society, Polity, Economy, Environment, Indus Publishing

Company, New Delhi, 2000, pp.221-223.

82 David Arnold Kharchandy, Understanding Tribes of Asia, Lakshi Publisher & Distributer, New

Delhi, 2018, p.182.

83

Faat. During this festival, they used to offer prayer to Mount Tendong. Wood and other

forest products are used to construct their traditional house. In the foundation laying

ceremony of the house, they used to put up the nine wooden pillars on the stone to protect

from decay.

Lepchas were occupationally agriculturalist and hunters-gatherers, but with the passage

of times gradually they also adopted various other occupations. In the context of

handloom and handicrafts, Lepchas are primarily expert in weaving and craftworks.83

The Bhutias are also known as Lopo, which means the „the dwellers of the

southward‟ or Denjongpa (people from Denjong)84

or Denzongpas or Lhopas85

or Lhori.

Bhutias have many sub-groups like Dukpas, Chumbipas, Dopthapas, Tromopas,

Lachenpas, and Lachungpas. They are divided into two main groups, i.e., Tong-du-ruzi

and Beb tsen gyed. Within Tong-du-ruzi, four rus or clans that incorporate Tsechu

Tharpa, Sangdarpa, Kachopa and Shengaoa. Similarly, within Beb tsen gyed there are

eight rus or clans which include Ethenpas, Phenchungpa, Phenpunadik, Namnakpa,

Nachangpa, Gonsarpa, Namchangopa, and Chungiopa.86

Bhutias are live in different

parts of Sikkim. In North Sikkim particularly the Lachenpas and Lachungpas have the

administration of their own and legal system, called „Dzumsa.‟ In this region, people

elect Pipon as the head of „Dzumsa.‟

83

The Splendor of Sikkim, Culture and Tradition of Ethnic Communities of Sikkim, Cultural

Affairs and Heritage Department, Government of Sikkim,Gangtok, 2017, pp.31-35.

84 Ibid, p.15.

85 Suresh Kumar Gurung, Sikkim Ethnicity and Political Dynamics, A Triadic Perspective, Kunal

Books publisher & Distributer, Delhi, 2011, p.92.

86Sunita Kharel, & Jigme Wangchuk Bhutia (ed), Gazetteer of Sikkim, Home Department,

Government of Sikkim, Gangtok, p.116.

84

The language of Bhutia is known as Lhokey and use Tibetans script. Bhutias follow the

lamastic form of Buddhism. Monks conducted the various kinds of rites and ceremonies

in monasteries, the village as well as at home. Previously, one male member of every

Bhutias family was used to send to the monasteries. Traditionally the house of the

Bhutias community was constructed with the help of wood and stone. Sonam Losoong is

the main festival of Bhutias. During the festival they offer various kinds of fruits. Apart

from Sonam Losoong, Pang Lhabsol is also another ritual festival. Occupationally

Bhutias used to practice agriculture and cattle rearing. However, with time they began to

work in Governments, private as well as business sector. Apart from this, they are also

expert in various handloom and handicrafts work like weaving, wood- carving and thanka

paintings.87

The Nepalis are also one of the major ethnic communities of Sikkim. The term

Nepali communities include many other communities like Bahuns, Chettries, Newares,

Limboos, Khambu-Rais, Mangars, Yakhas, Sunuwars, Gurung, Tamangs, Bhujels,

Thamis, Kamis, Damais, Sarkis, Majihis, Thakuris, Jogis, Sanyasis, and Thakuris. Each

of these communities has a distinct culture, tradition, custom, and history.88

87

The Splendor of Sikkim, op.cit., pp.15-17.

88 Sunita Kharel, & Jigme Wangchuk Bhutia op.cit., p.117.

85

The following Table shows the population of Lepcha, Bhutia, and Nepali. The

community wise census conducted in 1891 by White.

Table 1.8: Community wise Census of Sikkim 1891

Sl.

No.

Community Population

1. Lepchas 5,800

2. Bhutias 4,700

3. Nepali 19,500

4. Total 30,000

Source: HH Risley, The Gazetteer of Sikkim, B.R Publishing Corporation,

Delhi2005, 2010, p.259.

Community Involvement in Weaving and Craft Production

In Sikkim, the Lepchas are mostly professional in weaving or handloom works.

Mowsume Bose Roy (Datta), in Women in Handicrafts Industry, A Study of Sikkim,

coated the lines from Gorer (1938) which explicitly mentions “until the beginning of this

century Lepchas used to weave all their cloth, but nowadays only a couple of women

bother to weave, people were instead ready-made and fairly shoddy clothes”.89

Gradually

this tradition of weaving is producing the generation of weavers in Sikkim. Historically,

89

Mowsume Bose Roy (Datta), Women in Handicrafts Industry, A Study of Sikkim, Mittal

Publications, New Delhi, 2012, p. 115.

86

the Lepcha weavers mostly used sheep wool, cotton, woolen yarn and silk for weaving

various cloths. However, over time they also began to use acrylic as raw materials.

Cotton was grown in the lower valley. There is also evidence that weavers also used the

nettle fibers for weaving cloth which is commonly called as sisnu. HH Risley‟s, The

Gazetteer of Sikkim, wrote mentions “cotton is grown in small quantities in the lower

valley. Jute is not grown in Sikhim. Wild fibers-the natives employ the large nettle (so-

ris) for making cloth, which is said to be very durable.”90

In loin looms clothes are weaved in various traditional designs and attractive

colour. The frame of loin loom is of bamboo and wood. However, there are many loin

looms such as Blackstrap, Shuttle, Breast bar, and Bamboo bar. These implements are

mostly made of bamboo or wood. The types of equipment like front bar, breast bar,

herald bar, circular bamboo bar, lease rod, blackstrap, and sword are the tools or parts of

loin loom. There are multiple patterns and techniques which are used to weave the cloths

in lion loom. In the process of weaving, firstly the weavers wind the cotton yarns in a

wooden frame according to the required lengths. Secondly, the wound yarn is placed in

vertical frame loom for weaving. Thirdly, the weavers lay down several patterns and

designs in cloths as well as in various woven products. Commonly they apply motifs like

Damru, (musical instrument) swastika, water, and flowers. The various tools used to

weave cloths are spinning machine, spindle, wrap drum and loom.

The Lepcha were famous in traditional weaving and spinning yarn. In the process

of weaving, they follow the different kinds of methods like shedding, picking and

beating. Lepcha women also weave many handloom products like traditional dresses,

90

H H Risley, op.cit., p.77.

87

table mates, shawls, bed covers, and jackets.91

Apart from this, the Lepcha duree is also

woven by the Lepcha women. The woolen and cotton yarn is used to weave the Lepcha

duree. Further, the dyed yarn used for weaving duree has to get dry almost a week, and

the synthetic and vegetable dyes with different colours are used.

91

Sunita Kharel, & Jigme Wangchuk Bhutia, op.cit., p. 420.

88

Figure.1.7 LEPCHA TRADITIONAL DRESS

Source: Crafts Gallery, Directorate of Handicrafts & Handloom Industry, Government of

Sikkim.

89

The weaver mostly uses green, yellow, red, white and black colours. Earlier the weaver

used to apply the vegetable dye in the yarn, found in the forested region of Sikkim.

However, with the introduction of aniline dyes, gradually the weavers began using it. Due

to the cheaper rate and more comfortable to use, the weavers desire to apply aniline dyes;

as a result, aniline dyes slowly replace the attractiveness of vegetable dye.92

Most of the Lepcha traditional costumes are the oldest form of handicrafts and

handloom tradition. The Lepcha traditional hat is one of the earliest crafts of Sikkim. The

bamboo (Cephalostachyum Capitatum) and cane (Calamus acanthomatous) or Ru is used

to weave the Lepcha hat. Since from the beginning, the Lepcha community utilizes

bamboo and cane for various household work. Every section of a hat has traditional

meaning and importance. The people of the Lepcha Community use to wear the

traditional hat in various Lepcha festivals including Namsoong, an offering of prayer to

Mt Kanchenjunga, Mt Tendong and also in marriage ceremonies. Sometimes they also

use to wear a traditional Lepcha hat in different cultural and religious festivals.

The weaving of traditional Lepcha hat is also one of the oldest tradition of

handicrafts and handloom of Sikkim. The craftsperson should have the skill of

craftsmanship in making it. It may take more than a week or month, depending on the

skill of craftsperson. For this, the craftsman has to apply many steps. The strings or poli

of cane or bamboo are used. By keeping 4mm thickness, in a rounded shape the strings

are woven. The natural dye of climber locally called as Rubia manjith is used for dying

the hat.

92

Mowsume Bose Roy (Datta), op.cit., p.107.

90

Figure.1.8 LEPCHA HAT

Source: Crafts Gallery, Directorate of Handicrafts & Handloom Industry, Government of

Sikkim

91

Traditional Lepcha hat comprises four different layers. The first layer of Lepcha hat is

known as Sungdyong song which means the web of a spider. The second layer is as Ee-

mik which means eye of putka (mountain bee). Likewise, the third layer is Sumok tsum

which means the design of the armour. Finally, the fourth or base of the hat is known as

Afyel. Here, they attach the tail of a bird Nubong Ong Fo with carved wood or metal

piece in the moon and sun shape.93

Many materials like Po Pali (large bamboo yarn), Payongpali (small pieces of

bamboo),Rukup (cane), Kung cho (natural dye of Majito94

), Tonzer long (stone which is

like glass), kaffer (leaf), Nambongong (feather or tail of birds), Pugu reep, and Mongyung

Tukseem (feather of peacock) are used in the process of weaving the Lepcha hat.95

Historically the Lepcha community was dependent on the occupation of hunting,

gathering, animal rearing and agricultural activities. Traditionally the different

agricultural tools and the household implements of Lepcha community are connected

with the arts and crafts of Sikkim. J.R Subba mention the various handicrafts tools of the

Lepcha community, “Vir Tangsit or traps, made of bamboo which is used for trapping

fish, Srigli (net) for fish catching, Chompo (basket), tung zyag (basket), Slu and Chong

hup (bow and arrow made of bamboo, string and iron), spear, Ban and knife for hunting,

fitok (earthen vessels for cooking), Tali (wooden plates), Zaru (bamboo spoon), padam

93

S R Lepcha, R Gurung & M L Arrawatia, Traditional Lepcha crafts Sumok-thyakut (Lepcha

Hat) and conservation in Dzongu Tribal Reserved Area (DTRA), Sikkim, India, Indian Journal of

Traditional Knowledge, volume- 11, 2012, pp. 537-540.

94 Creeper Plant locally found in forest and the botanical name is Rubia Cardifolia.

95 Golden Jubilee Celebrations, op.cit., p. 16.

92

(long bamboo can bring water), pathyoth (bamboo can for millet beer), injidut (milk

can)etc.”96

Similarly, the Lepcha women weavers are traditionally famous in weaving the

traditional dresses of the Lepcha community like dam ta gaap (female dress of Lepcha),

dom pra (male dress of Lepcha) which are also related to handloom weaving culture of

Sikkim.97

The distinct design and colour of the weaving product somehow represent the

cultural synthesis of the people of Sikkim.

Even during 1925, Lepcha community followed the traditional way of lifestyle. In

the traditional life of the Lepchas, the bamboo was the main implements for making

vessels, mats and different types of equipment. In the earlier days, for weaving, the

Lepcha use simple tools like spinning roads and spinning spindles. They are also

involved in the making of crude pottery of black soil. However, Nepal exported better

quality of pottery to Sikkim. Apart from this, villagers were also involved in the making

of handmade white paper. For making this white paper villagers mostly use nettle as a

raw material. During this time the tradition of painting in the skin was also introduced in

Sikkim from Tibet. However, gradually most of the local arts are becoming specific day

by day. From these points, it is clear that traditionally most of the products were

exchanged through the barter system.98

Historically, wood carving is practiced by the Lepchas and the Bhutias professing

Buddhist religion. Wood carving is the earliest art of the Lepcha and the Bhutia

96

J.R Subba, History, Culture and Customs of Sikkim, Gyan Publishing House, New Delhi, 2008,

p. 224.

97 Ibid, p. 24.

98 J.C Debnath, op.cit., 2009, p. 83.

93

community. The eight Buddhist signs are depicted in woodcrafts which are place in

monasteries as well as several older buildings. However, with the establishment of

Government Institute of Cottage Industries, the Nepali communities are also getting

trained and are engaged in wood carving. As a result, gradually people from Nepali

communities are involved in wood carving.

The making of a wooden mask is also one of the traditions of crafts making. The

carved wooden mask is known as Zaru-shing. The different colours and designs are

applied in it to make it more attractive and meaningful. Earlier they used to paint with

vegetable dye, but now they use synthetic dye. Each mask has a different meaning and

associate with distinct religious stories. The Monks or the Buddhist lamas perform

several mask dances in the different religious festival at monasteries. The Bhutias and the

Lepchas carved the wooden mask of Mahakal, Garura, and Kanchgchendzonga. The

wooden mask is kept for a different decorative purpose.

Thanka paintings are also one of the art and crafts of Sikkim. It is the religious

scrolls which are place in several Buddhist monasteries. Primarily, the religious artisans

of Bhutia and Lepcha communities used to paint the thankas. They were known as

Larips. While painting, the thanka artisans are necessary to know the Tibetan language.

However, slowly the Nepalise also began to involve in this kind of art. Apart from the

Bhutia and the Lepcha community, several other communities are also involved in

different handicrafts and handloom works.99

Within Nepali communities, some were expert in mining and metal works. HH

Risley, in The Gazetteer of Sikkim, wrote “The miners are all Nepalies, and belong to the

99

Mowsume Bose Roy (Datta), op.cit., pp. 108-115.

94

caste of Mangers” and further mentions “the Nepalies miners have a very keen eye for

copper ores.”100

Some of the Nepali communities are also expert in various kinds of

handicrafts and handloom works. The communities included within the Nepali

community are Bahuns, Chettries, Newares, Limboos, Khambu-Rais, Mangars, Yakhas,

Sunuwars, Gurung, Tamangs, Bhujels, Thamis, Kamis, Damais, Sarkis, Majihis,

Thakuris, Jogis, Sanyasis, and Thakuris. Each community has their history and cultural

occupation. Traditionally, even during 20th

century, the Nepali communities were very

much skilled in the making of arts and crafts of Sikkim. Besides, J.C White also mentions

“In Sikkim, the arts are now almost entirely carried on by Nepales craftsmen… .”101

The Nepali community also has their prominent role in preservation and

flourishing the tradition of craft making and the weaving in Sikkim. The weaving of

different traditional clothes, the making of various crafts and arts are the main

contribution of the Nepali community. Culturally, the women from the Gurung

community are skilled in weaving various handloom products like Rardi, Burkasan, Topii

(caps) and use raw wool of sheep for weaving these clothes

Similarly, women of the Nepali community are also professional in weaving

traditional dresses like Dhaka Fariya, Choli, Dhaka Topi, Dhaka Mujetro. Gradually,

these handicrafts and handloom products were introduced in the state of Sikkim. Apart

from weaving, they are also skilled in making bamboo crafts and wood crafts. The

animal‟s skin and bamboo used as raw materials for making of baskets, tray, lamb stand,

100

H H Risley, op.cit., p.66-71.

101 J.Claude White, op.cit., 294.

95

pen stand and the weaving of Gajra, Pira from khosala (maze product), Gundari, basket,

and stools (mura).102

Bhujel is also one of the ethnic communities of Sikkim; locally call as „Khawas,

They belong to the Mongoloid stocks. According to their mythology, they are descendent

of Rocky Mountains of Hugam. They settled in different parts of Sikkim such as

Daramdin, Salangdang, Kitam, Turuk, Rhenock, Jitlang, Dodok, Karthok, Tokal

Bermiok, Pakyong, Chujachen, and Rigu. Bhujel have their language is called Puhgal

Gnur. They have their religion, culture, and tradition. Traditionally bamboo is one of the

essential materials in their life. The Bhujel community makes various bamboo products

for their daily use. They acquire the skill of bamboo craftsmanship. Women from the

Bhujel community are also expert in handloom weaving and knitting.

102

J.R Subba, op.cit., p. 227.

96

Figure.1.9 TRADITIONAL DRESS OF NEPALI COMMUNITY

Source: Crafts Gallery, Directorate of Handicrafts & Handloom Industry, Government of

Sikkim.

97

Similarly, the Gurung community call themselves as Tamu which means courageous and

fearlessness. They have their language called as Timu Kye and use Khema script. The

main occupation of the Gurung is Sheep rearing. The Gurung women are expert in

spinning and weaving tradition. Historically, they used to woven cloth for their family as

well as to sell in market. By using the wooden spindle, women spin a yarn of sheep.

Further, the yarns of sheep are used to weave many handloom products like

blanket, rugs, caps as well as coats. With the use of corn husk and bamboo, men weave

several handicrafts products like stool (moorah), baskets (made of bamboo product),

ropes and mats (made of corn/maze husk).103

The people of hilly areas extensively used Bamboo and canes. There are multiple

uses of bamboo-like for making various types of agricultural equipment, making the

house, weaving various crafts, making of several implements. Earlier people also use

bamboo for taking water from the river.

Regarding the use of bamboo, it has been mentioned, “Network of bamboo

aqueducts conducts water from one level of terraces to another. Sunk into the ground at

each other level of terracing are bamboo shunts to draw of excess water.”104

Kagatey is also another community of Sikkim. They belonged from Yolmo

community and originated from the border of Nepal and Tibet. The handmade

papermaking is the prominent occupation for their livelihood. In the Nepali language, the

meaning of title „Kagatey‟ itself is the paper maker. They used to make the paper from a

plant, locally called as Orgalley which found in the hilly areas. However, the Kagatey are

103

The Splendor of Sikkim, op.cit., pp.139-223.

104 Hope Cook, Time Change An Autobiography, Simon and Schuster, New York, 1980, p.65.

98

also skilled in thanka painting as well in the painting of god and goddesses (kheba).

Traditionally women from Kagatey were engaged in weaving various woolen carpets.105

The communities like Damai, Kami, and Sarki makes the Nepali Schedule Caste

community of Sikkim. They are skilled in gold, silver, and metalwork like making many

tools of agriculture, khukuri, bamfok, and sickle. However, with time they are also

involved in different Government as well as private sectors.106

Mangars are also the early settlers of Sikkim. They also have their language.

Their script is known as Akkharika script. Their languages belong to Tibeto-Burman

family. Apart from agriculture and hunting, weaving and the making of the bamboo

basket are also the main occupation of Manger. The Mangars were skilled in making

handmade clothes by using the animal skins. Mostly, they used the skin of sheep as well

as the bark of nettle (sisnu) for making cloth.107

The Sunuwar also called as „Mukhia‟ are one of the community of Sikkim. They

belong to the linguistic tribe of Kirat. The Sunuwar are divided into clans like Barathares,

Dasthares, and Jirels. Apart from hunting and agriculture, they are also occupationally

dependent on various handloom and handicrafts work. Traditionally, the women of

Sunuwar community were skilled in weaving woolen hand-made loom garments.

Similarly, men of Sunuwar community were skilled in making of baskets and other

bamboo product for daily use.108

105

The Splendor of Sikkim, op.cit., pp.139-223.

106 Ibid.

107 Ibid.

108Ibid.

99

While talking about the Limboo community, occupationally, they are dependent on

agricultural activities. The Limboo community has their history, tradition, unique culture

and one of the tribal communities of the state of Sikkim. The various agricultural and

household tools and implements of this community are primarily related to the arts and

crafts of Sikkim. Similarly, some of the traditional musical instrument, bows and arrows,

and hunting weapons or equipment is made of handicrafts products.

However, some of the handicrafts tools and implements are also popular among

the different other communities of the state of Sikkim. The different handicrafts tools and

implements are listed by J.R. Subba. They are “Agricultural implements: Kekhu (plough),

Nising (juwa), Pensing (Harish), Hemek (Dandhey), Phehikli (Phyauri), Phali,

Phengkhen (Karuwa), Kang (spead), Tingkang (Kanta)Lepkong (Kodali), ..Lokphey/

Thupa (spear), Thowa (Kunjo),..Michak (Chakmak).. Hattaso, Bhakari, Chitra, Chandey,

Yakphang, Chyaphla, Phayet (Nanglo), Sappo/ Thingey (Doko), Lumbhu (Thunchey),

Khuruk/ Wanglep (Ghum),Mangdang (Deli), Noyee/ Pokwa (Dalo), Sachep (Perongo),

Chep (Pecha), Phurlung,Mohola, Yangdang (Kokro), Sorma (Chhapani), Phuney,

Khannam (Namlo), Thakpa (Damlo), Phethokwa/ Thokwa (Dhiri), Kandya (Dhungro),

Chongey, Pipsing/ Tom, Chillingey (Chalni),etc.”109

Most of these handicrafts tools, implements and equipments are made of cane and

bamboo and wood crafts. All these implements are utilized in daily life among the

various communities of Sikkim. Similarly, some of these crafts are also traditionally

utilized in different cultural festivals. However, few prominent implements are gradually

extinct from society. Mainly, for these handicrafts tools and implements, the different

109

J.R Subba, op.cit., p. 225.

100

communities used their terminology. Further, the terminology is also distinct from region

to region and community to community.

Beside these agricultural tools and implements, there are various household

materials made of either wood crafts or cane and bamboo. Some of these materials are

Khookchng, or Sano Okhli, Khemba or Ghempa, Pong or Theki, Okhli, Mushli, Dhiki,

Dundero, Chimta, Pira, Gundri, Rari, Burkasan, etc. All the terminologies as mentioned

above of household materials are local or community-based terminology. The various

communities traditionally use most of these materials. Similarly, the various traditional

musical instruments and the weapon made of handicrafts, handloom and metals products

are also listed by J.R Subba. They are as follows “Pheja (Khukuri), Pokphey (Bamphok),

Mudenphey (Sword), Lee (Bow), Tong (Arrow), Purtha (Guleli), Kola (Matengra),

Tmmok (gun), Toati (Banchoro), Kuthumpma/ Tu (Spear), Khoo (Dhal). Further, the

musical instruments are Simikla Kom (Binayo), Phenjey Kom (Muchunga), Ke/

Chyabrung (Long log Drum), Nagara, Mephra (Bansuri), Udhungba (Sarangi),

Yalamber muksam, (Yalamber Baja), Tungna, etc.”110

These instruments are the

traditional musical instrument of the Limboo and the Rai Community. Some of these

handicrafts mentioned above products are also popular among the various other

communities in Sikkim.

110

Ibid, p. 225.

101

INVOLVEMENT OF WOMEN IN HANDICRAFTS AND HANDLOOM

INDUSTRY IN SIKKIM

This section particularly examines the role of the women belonging to the

different communities, in the weaving sector. Since from the beginning, women play a

prominent role in flourishing the tradition of the weaving and handloom works in Sikkim.

Mostly the women were dominated in carpet making, handloom and blanket weaving. On

the other, hand men participated in wood carving; mask making, thanka painting, cane,

and bamboo work. However, after the establishment of the Government Institute of

Cottage Industries, in fact, it would be correct to say that the crafts and weaving are

entirely carried out by both male and female. Both the women and men of Sikkim

uniformly contribute to the promotion and the development of handicrafts and handloom

product in Sikkim. However, the handloom and weaving section is dominated by the

women weavers in all the institutes situated in different regions of the state.

The women of the Lepcha community played a fundamental role in handloom

weaving. Since from the beginning, the Lepcha women used to weave various handloom

products like shawls, Lepcha traditional dresses, table mats shoulder bags, woven jackets,

etc. They use multiple design and colour to make products attractive and valuable. Cotton

yarns use as the primary raw material for handloom weaving. Vertical frame loom is used

for weaving the various handloom products.

Similarly, the women of Bhutia community were expert in carpet weaving. They

use sheep wool to woven the woolen carpet, such tradition is carried from generation.

The cotton yarn is used as a raw material for weaving carpet.111

During carpet making the

111

Tika Prashad Sharma & S.K Borthakur, Traditional handloom and handicrafts of Sikkim,

Indian Journal of Traditional Knowledge, volume-9, 2008, p. 376.

102

cotton yarns is further converted into taan. The woven carpets are used for different

purposes like covering chair, beds, and sofas.112

In the same way, the Nepali women are also expert in blanket weaving. Mostly

the yarns of sheep wool have been used for weaving blanket. First of all, in order to

remove the dirt from the wool, the raw sheep wool is washed with soap. Then after, the

wool is sun-dried. The dried wool is placed for spinning the yarn. The spun yarns, the

yarns are set in wooden instrument named phang. Then the yarn is processed for

colouring. They apply both the natural and chemical dye for dying yarn. Finally, it is

weaved in the loom.113

Similarly, the making of the lucky signs is also one of the components of

handicrafts. In the making of lucky sign mostly the women occupy a dominant position.

While in the preparation of lucky sign either needle or paint is used to make signs. The

lucky sign is drawn on silk cloths either in the form of symbol or words. There are

different varieties of lucky sign such as Choekyi (the wheel of Dharma), Palbhen (endless

Knot), Pema (meaning is lotus), etc. By using colours some of the Buddhist mantras are

also presented in cloths as a lucky sign. These signs are in monasteries, households and

other decorative works.

112

Ibid.

113 Ibid.

103

Figure.1.10 LUCKY SIGN

Source: Crafts Gallery, Directorate of Handicrafts & Handloom Industry, Government of

Sikkim.

104

Besides this, the women also participate in handmade papermaking. This section of

handmade papermaking began in 1962. The products from the handmade paper section

are card sheet, rags paper, and rayon paper. This unit of handicrafts recycles the waste

paper collected from various the departments and offices.

On the other hand, in order to spread the tradition of weaving and handicrafts,

many women cooperatives are established in various districts of Sikkim. In East Sikkim,

the working women cooperatives are Educated Unemployed women‟s Welfare Co-

operatives Society, Srishti Samity, Carpets Training Weaving center, Denzong Women

Handloom Co-operative Society, Mahili Broom Marketing Co-operative Society, and

Nayuma Women Co-operative Society. The Women Cutting and Tailoring Co-operative

Societies are in South Sikkim, and Tribal Women‟s Weaver and Handicraft Co-operative

Society is in West Sikkim. These co-operative societies are involved in producing various

types of handicrafts and handloom works.114

These co-operative have played a significant in making women of Sikkim more

self-reliant and has indeed helped in raising the living standard of the people. Generally,

the women of Sikkim predominantly played a vital role in promoting the handloom

weaving culture in Sikkim.

The table mentioned below show the number of male and female trainees involved in

various sections of the handicrafts and handloom industry in Sikkim between 1997

to1999.

114

Mowsume Bose Roy (Datta), op.cit., pp.118.124.

105

Table 1.9: Number of Trainees by Gender and Type of handicrafts in Sikkim (1997-

1999)

Type of Training Male/female 1997 1998 1999

Wood carving Male

Female

20

-

30

-

25

-

Carpet Male

Female

-

126

-

102

-

215

Handloom Male

Female

-

32

-

49

-

50

Multi –crafts Male

Female

-

21

-

7

-

15

Thanka paintings Male

Female

3

-

5

-

8

-

Mask making Total 1 3

Cane and bamboo Male

Female

2 2 -

Blanket Male

Female

-

15

-

13

-

Source: Mowsume Bose Roy (Datta), Women in Handicrafts Industry, A Study of Sikkim,

p. 119.

106

This table shows the integrated figures of the trainees from 1997 to 1999. There are

many sections within the handicrafts and handloom sector, such as wood carving, carpet

making, handloom weaving, multi-craft, mask making, thanka painting, cane and

bamboo, and blanket weaving. In each section, various types of training have been

imparted. The above table indicates that the male trainees were mostly involved in

handicrafts work like wood carving, mask making, thanka painting, and cane and

bamboo. However, female trainees were more in number in the weaving like carpet

weaving, handloom and blanket weaving.

Conclusion

Lastly, Sikkim is the multi-ethnic and multi-cultural state. The different

communities inherited their traditional arts and crafts. Each of the community is

professional in particular types handicrafts and handloom products. Their traditional

dresses, household equipment are made by themselves. Mostly women were involved in

the handloom weaving tradition, on the other hand, the involvement of the men

dominated the crafts making and wood carving. However, with the establishment of the

Institute of Cottage Industries, the community-based arts and crafts are transformed

multi-cultural arts and crafts. The various skill developmental training was initiated for

weaving and crafts making where anyone from any community could join the training. It

shows democratic character of administration where there is no disparity concerning

caste, creed, religion, and gender. Both the gender equally participates in the handicrafts

and handloom industry in Sikkim. The Government role in upgrading this sector is

immense. This industry has captured the eyes of the tourists too. It has played the role of

107

making the people as economically independent which further motivates an individual in

the social realm. The Sikkimese women co-operatives initiation in developing weaving

culture is enormous in the state. This industry tries to safeguard the age-old traditional

patterns of weaving, wood carving, paper making, paintings, etc. However, due to the

modernization and globalizations, the Sikkimese handicrafts and handloom products are

of demand in international markets. The production in this industry has been increased

due to the establishment of many new centers across Sikkim. Even the popularity of

finely woven traditional dresses, handmade ornaments, motifs are vanishing from society.

Concerning to these facts and changes, it is noted, “Plastic ornaments easily take the

place of the older, far more beautiful, ornaments of bone, seeds and wings of birds. A

singlet takes the place of the decorative coat; short supplant the finely woven and

cowries-decorated apron or the loin-cloth of leopard-skin.”115

However, as a whole, the

old arts and crafts are slowly vanishing day by day.

115

Verrier Elwin, Art of the North-East Frontier of India, North-East Frontiers Agency, Shillong,

1959, p.183.

108

CHAPTER-V

CONCLUSION

The tradition of crafts making and the weaving culture is the part of the traditional

occupation of the Sikkimese society. Sikkim is known by its Himalayan Mountains,

glaciers, and the varieties of arts and crafts. Sikkim is the land of the cultural diversities

and amalgamation of the deeply rooted tradition of crafts making and weaving culture.

Sikkim is a multi-ethnic state. There are major ethnic communities like the Lepchas, the

Bhutias and the Nepalies. Sikkim is also known for its tradition of making handicrafts

and handloom products like carpet weaving, wood carving, blanket making, thanka

painting, cane and bamboo crafts, and metal arts.

By looking at the historical background of the arts and crafts of Sikkim, each of

these communities living here specializes in particular handicrafts and handloom product.

The Lepcha community is skillful in bamboo crafts, weaving, and woodwork, on the

other hand, the Bhutias are expert in Tibetans carpet weaving, and the Nepali community

is famous for silver and woodwork.

Traditionally, the arts and crafts are the original creation of human society.

Regarding the connections between society and arts and crafts, it is mentioned “The

world of arts and crafts is as valuable as the world of science, philosophy or ethics. Like

art, crafts reflect the state of human society through the individual.”116

Even the varieties

of the design, motifs, colour and the different pattern of the arts and crafts reflect the

cultural diversity of the society of Sikkim. Even during the Chogyal period or the

Namgyal dynasty period, the tradition of craft making and weaving was present among

116

T.M Abraham, Handicrafts in India, Graphics Columbia, New Delhi, p.2.

109

the people of Sikkim. The different household materials and the agricultural equipment

are associated with the handicrafts and handloom products. The different primary and

secondary sources also reveal that the people of Sikkim made their clothes, agricultural

equipments and the variety of arts and crafts for their self-consumption, and not for the

commercialization. The women used to weave the woolen and cotton clothes by using

their implements made of bamboo. Some of the literary sources also mention that the

women weaved clothes at their small looms. Historically, the raw materials like wool,

cotton, silk, and dye, were brought from Tibet and other regions. Apart from other crafts,

bamboo crafts were very much popular in the society. While looking about the dyeing,

traditionally the artisans of Sikkim used the natural or vegetable dye for colouring the

woven products, collected from the jungles of Sikkim.

Gradually, the Chogyal or the Raja of Sikkim also provided significant initiatives

for the development and preserving the age-old tradition of weaving. The Scandinavian

Alliance Mission in Lachen and Lachung in North Sikkim played a functional role in the

opening of weaving school in the latter half of the 19th

century. It was J.C White the first

British Political Officer who opened the doors for these missionaries to carry their works

in Sikkim. These two weaving schools were under the supervision of various Mission

schools. Later, these weaving schools came under the supervision of the Pepon and the

forest department of Sikkim. The Maharaja of Sikkim also gave the supervisor a certain

amount of aid. The various handicrafts and handloom products manufactured at these

weaving schools were supplied to the different commission agents. The uniform of peons,

chaprasis, and guards of different departments were also manufactured at these weaving

schools.

110

In 1920, the Chogyal, Tashi Namgyal, established the manufacturing center called as

Nam-khang which produced carpets, blankets, and different handloom products. Slowly

and gradually the tradition of craft making and weaving flourished among the people of

Sikkim.

During the reign of last Chogyal, Palden Thondup Namgyal, an Institution of

Cottage Industry was set up in 1957 at Gangtok East Sikkim. The name of this Institute

was Palden Thondup Institute of Cottage Industries. In order to continue the tradition of

crafts making and the weaving, this institute began to impart training in various sections

of arts and crafts. Initially, this institute had less number of trainees, but slowly the

number increased. The trainees received a certain amount of stipend every month.

However, after the establishment of the Palden Thondup Institute of Cottage

Industries, many new sections of arts and crafts were also introduced in Sikkim.

Similarly, within this institute, many new tools and equipment were gradually

implemented. These technological evolutions further helped in the production of arts and

crafts. Later on, the Palden Thondup Cottage Industry was called as Government Institute

of Cottage Industry (GICI), but now it is known as Directorate of handicrafts and

handloom, Government of Sikkim (DHH).

Under the Directorate of Handicrafts and Handloom Industry, many new branches

were established in the four districts of Sikkim, viz. East, West, North, and South. The

earlier established weaving schools were also brought under the administration of the

Directorate of handicrafts and handloom, Government of Sikkim. The headquarter of all

these institutes is at Gangtok. In each centers many new sections of arts and crafts were

introduced. In each centers, training was conducted on the various sections of crafts and

111

handloom weaving. The duration of training is based on the sections of handicrafts and

handloom. In the same way, in many areas, the skill development training was also

started. In different centers productions-cum training unit was introduced to increase the

production.

Traditionally, the variety of finest handicrafts and handloom products were sent

for the exhibition organized at different parts of the country. In most of the exhibition

participants from Sikkim also received many medals, awards, and certifications. Even at

present, the participants from the Directorate of Handicrafts and Handloom also take part

in the different crafts fairs and exhibitions.

Similarly, in order to increase the scope and marketing, the sale-cum-production

unit was established at the different institution under the Directorate of Handicrafts and

Handloom. This center of handicrafts and handloom provides training in carpet weaving,

blanket weaving, thanka painting, multi-craft, mask making, handmade papermaking,

wood carving, and cane and bamboo crafts making. Most of the raw materials for these

arts and crafts are locally available.

In order to provide financial support and subsidies, Sikkim Industrial

Development and Investment Corporation Ltd (SIDICO) was formed on March 1977.

Similarly, the Sikkim Handloom and Handicrafts Development Corporation limited

(HHDC) was also established in December 2003 to work for the marketing of the crafts

and woven products. The initiation of the Five Year Plan and the allocation of aid in the

industrial sectors explicitly supported the development of handicrafts and handloom

industry in Sikkim

112

Slowly, the Directorate of Handicrafts and Handloom industry was divided into

production and training units. Earlier, the arts and crafts were community-based.

However, with the establishments of the Institute of Handicrafts and Handloom, this

communities-based crafts, gradually becoming multi-ethnic crafts. This institute provides

training to the local boys and girls irrespective of their caste creed and religion. Now,

during the training period, the local trainees can learn any forms of arts and crafts.

Earlier, the women dominated the handloom and weaving sections and the men the crafts

work. However, at present, both the women and men can obtain training in crafts making

and weaving.

In facts, even today the people of the rural areas in Sikkim have the skill of

making a variety of arts and crafts. The different handicrafts equipment and the

implements are still used in agricultural and household activities. In the sustainability of

this tradition of handicrafts and handloom, the rural people of Sikkim are playing a

prominent role. This quality, the designs and the uniqueness of the variety of arts and

crafts also help in the development of the tourism industry in Sikkim. The Directorate of

Handicrafts and Handloom Industry have a significant role in preserving the unique arts

and crafts tradition of Sikkim. At present, different government agencies, women co-

operatives, ex-trainees and, Non-Governmental Organization are still working for the

promotion and preservation of old tradition of crafts making and weaving culture. The

arts and crafts of the state of Sikkim are in the transitional phase. In fact, before the

beginning of the Palden Thondup Institute of Cottage Industries, the production,

composition, designs, and the diversity was restricted within family or produce generally

for domestic purpose. It is fact that the method of weaving and craft making is

113

transforming but this culture is still alive in different parts of Sikkim. The modification in

technique and the increase of production collectively substantiate that, the handicrafts and

handloom industry of Sikkim are in the state of change and continuity.

114

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