DORJE

A COMPILATION OF ARTICLES BY DARJEELING HISTORY CLUB

 CONTENTS

1. Origin of the name Darjeeling

2. The growth of the Hills through makeshift trade centres
3. The deep rooted mysticism in Darjeeling Hills
4. The ancient paintings of South Asia : Thangka Paintings (Part 1)
5. The ancient paintings of South Asia : Themes of Thangka Paintings (Part 2)
6. Nepali Bhasha Maanyata Diwas, and Political developments in 20 th century
Darjeeling Hills.
7. Dhaka Topi : A history of South Asian head wear
8. References
 ORIGIN OF THE NAME DARJEELING

By, S. K. Ghising

The name Darjeeling is derived from the word Dorje, which means thunder. According
to L.S.S. O’Malley, the name Darjeeling comes from the word Dorje-ling which means the
place of the Dorje, the mystic thunderbolt of the Lamaist religion.

It is climatically correct to say that Darjeeling is a land of thunders. It is because of its

geographical location and its nearness to Bay of Bengal, Darjeeling witnesses
thundershowers and heavy rainfall. At the beginning of the month of June, the warm and
dry south western monsoonal wind that originates from the Bay of Bengal finds a natural
obstruction of the mountains in eastern and northern portion of Bengal and cause heavy
rainfall. Frequent depressions and the whirlwind along with this heavy rainfall marks the
onset of the monsoon.

The picture depicted is a household item that most of the people in Darjeeling and the
surrounding region would be familiar with. Bells are not limited to Buddhism alone. In fact,
it was never a part of Buddhism. Many rituals were incorporated into the fold.

In the picture represented, mark A represents the bell, and mark B represents Dorje or Vajra
(Dorje is also known to be quite similar to a Vajra). Both bell and Dorje have significant
meanings. Dorje is normally held in the right hand, which represents skillful means, and the
bell, held in the left, represents wisdom. Their interaction leads to enlightenment.
 Pic : Samdruptse Hill in South Sikkim, Namchi. (File photo)

The word Dorje also refers to the “Lord of stones” in Tibetan, where as, Vajra is a Sanskrit
word which symbolizes hardness and firmness (indestructibility) and a thunderbolt. The
meaning in both the languages are similar, even though these are two different languages.
Vajra is also a weapon of the Indian Vedic Rain and Thunder deity Indra, and he too carries
it on his right hand.

This brings out many possibilities as to the reason behind the terminology of Darjeeling.
There are many commonalities between religions. Adaptability and survival has been a
theme of the religions in the past. If we delve into it now, there‟s a possibility that we might
open a pandora‟s box.
THE GROWTH OF THE HILLS THROUGH MAKESHIFT
TRADE CENTRES

By, S. K. Ghising

Economy is everything. It ushers modernity, shapes our religious beliefs, and contributes to
our social identity. Economy of a region has always begun with a surplus. The trade centers
facilitate these surpluses from point A to point B, ultimately giving rise to an economy. The
role of the trade centers are important here. There are permanent centers and makeshift or
temporary centers. In due process, the makeshift or the temporary centers ultimately gives
way to permanent centers, that drives the growth of an economy. Let me give you an
example of these in the context of the region in and around Darjeeling.

The closest example to a makeshift or temporary trade center, that we come across in the
region, in and around Darjeeling, are what are known as “haats” or “mela”. The most
important haat or mela was the Kalimpong mela, which was held on the last Wednesday
and Thursday of every November. This mela was started in 1891, and attracted people, not
only from the surrounding villages, but also strangers from Nepal, Bhutan, Sikkim, and
Tibet. The Tibetan traders brought ponies, silks, and mules for sale. The description of these
“melas” has been documented well in Satyajit Ray‟s documentary on Sikkim. These “melas”
were also an annual festival for the whole countryside, the villagers flocking in to see the
athletic sports, dancing and other amusements.

C.A.Bell‟s Report on the Survey and Settlement of the Kalimpong Government Estate, 1905,
shows how Kalimpong was the center for the Tibetan trade, and it was here that that the
Tibetan Graziers brought wool with the help of mules and pack ponies over the Jelep la
Pass.

It was then packed in bales, and despatched to the railway at Siliguri on bullock carts, which
brought back cotton piece goods and other merchandise for export to Tibet. The Tibetan
dealers made Kalimpong their headquarters from October to May, and the trade was almost
at a standstill during the rains, as wool, which was the chief article of commerce,
deteriorated rapidly if brought to Kalimpong and the plains, in the moist heat of the
monsoon months.

Trade with Nepal was conducted through Sukhia Pokhri, near the frontier on the road to
Tenglu. Simana Basti, 3 miles off Sukhia Pokhri was also becoming an important center for
this branch of trade, and Pul Bazar on the Little Rangit was another bazar attracting some of
the Nepalese merchandise. Rice and Jute were imported from Nepal.

Darjeeling district along with Kalimpong district were developing as major trade centers, in
connecting Tibet with the Indian subcontinent. On the western portion of the region, such as
Darjeeling, Kurseong and Siliguri the trade was carried on with the help of railways, and
ropeways, while on the eastern portion of the region such as Kalimpong, pack ponies and
bullock carts, plying along the Teesta Valley, were the only means of transport.

Before British built any permanent factories such as the Tea factories or the Cinchona
factories, these makeshift trade centers were impacting the socio, political and economic
aspects of the region. If i have to give an example, a khada or a silk scarf would be a perfect
one. Khada, which is made up of silk, has today become a part the culture and tradition of
the people, living in and around Darjeeling, Kurseong, Kalimpong, and in the surrounding
region of the hills.
 THE DEEP ROOTED MYSTICISM IN DARJEELING HILLS

By, S. K. Ghising

A major part of the culture of Darjeeling is deeply rooted in the Tibetan culture. The Tibetan
culture has heavily influenced the culture and tradition and religion of the people. Many
people wonder as to what was the culture of the people of Darjeeling prior to the British
rule. Many of the similarities can be found or be traced back to the Tibetan culture, prior to
the British rule. Darjeeling District today is one of the most diverse district in the country in
terms of religion, language and culture. According to the 2011 census of Darjeeling, the
District (Darjeeling District) has a total population of 18.47 lakh people. Out of 18.47 lakh
people, about 13 lakh are Hindus, 2 lakh are Buddhists, 1 lakh Muslims, 1 lakh Christians, 2
thousand Sikhs, and about 1 thousand Jains. Others constitute about 15 thousand people.
Diversity of the district began with the British rule.

But in this article, our main focus lies in the characteristics of a Tibetan Culture that was
ingrained in different cultures of the hills, in time. For example, many of us get confused
with the Buddhism that is followed and practiced in Darjeeling today. Buddhism that is
actually followed and practiced in Darjeeling as well as other Himalayan districts, is a blend
of Tibetan traditions and Buddhism. Tibetan traditions are a unique mixture of original
shamanic Bon practices. Before Buddhism was introduced in Tibet, there existed a different
set of religion and cultural practices. So in order for Buddhism to somehow survive in Tibet,
the psychic aspects of Tibetan tradition, primarily from the Pre Buddhist Shamanic Period
was extensively incorporated by the monks into their practices.

So what are these Tibetan Traditions ? The oldest Tibetan traditions are those of the oracles,
which involves deity possessions, Mo Divination, which often involves a Tibetan deity
called Palden Lhamo. Buddhism, all over the world varies depending upon the needs of
different regions. There are many types of Buddhism, and that in Tibet is renowned for its
inclusion and development of psychic abilities. This is very much reflected in the Buddhism
that is being practiced in the Trans Himalayan region, including Darjeeling and its
surrounding regions.

Tibetan Calendars are a perfect example. For example, Tibetan calendars specify more than a
dozen different attributes of each day, whether or not it is auspicious to start a business, get
married, etc.

Prophecies are a major constituent of Tibetan Traditions. They commonly take note of
omens such as certain birds being seen, overhearing certain music, or people saying
auspicious words.

As can be observed from the list of different types of practices, divination ranges from the
most simple “good or bad luck” omen through to highly developed clairvoyant skills, and
from practices that anyone can do to those normally preferred only by monks.

Palden Lhamo or “Dorje” is the main protector diety of Tibet. A kind of divination referred
to as mirror divination is performed or dedicated to Palden Lhamo. In this divination, a
mirror is placed ceremonially, and rituals are performed. The diviner sees appearances,
reflections of writings and letters from the deity.

An Oracle often is a medium in the Tibetan tradition . An Oracle becomes possessed by a

deity because of the wind energy in their channels. Some people, in this case, the Oracles
have the ability to see the future, because of past life Karma, which is related to their wind
energy.

Demons and the fear of them are apparently very common in Tibet. A disease is normally
attributed to a bad spirit. As a result an amulet is often worn around the neck as a charm
against evil or injury.

These are some of the many characteristics features of the Tibetan tradition, that ultimately
led their way into religions, and culture of the Trans Himalayan region. Tibet was able to
contain their culture for such a long time, because outsiders were not allowed in Tibet until
the 19th century.

Sir Francis Younghusband writes in his book, „Wonders of the Himalaya‟, “we have to trust to
someone higher than man to lead us through everything safely. The mere slip of the foot might often
send us to destruction, and even very trifling mishaps might spoil the success of the undertaking. So
that we cannot, but feel, that any success that may come in the end is due to an overruling Providence
and not to our won feeble efforts.” Sir Francis realizes that his change in understanding
“someone higher” has been due to his surrounding environment. So the Tibetan tradition
developed the way it developed, not because of anything but it‟s environment. And the
amalgation of religions that were foreign to the land of Tibet, quickly acquired the
properties of the Tibetan tradition, ultimately giving rise to many new traditions, having a
common parentage.
THE ANCIENT PAINTINGS OF SOUTH ASIA : THANGKA PAINTINGS
(PART I)

By, S. K. Ghising

What was printing like before the invention of printing press ? Block printing existed before
printing. Writing existed and was limited to libraries and religious institutions. In Europe, it
was church, and in South Asia, it was temples, mosques, and monasteries. So, how exactly
was printing done ? First, we had scribes, who would copy the original work, and then there
were illuminators, or the decorators, whose work was to decorate the book, and then there
were stationers. In 15th century Europe, during the advent of the printing press, these
stationers were against the printing press, as it would put them out of their jobs. The
printing press had an enormous contribution towards the reformation of Europe.
Knowledge was no longer restricted to the elites, but was now available to commoners. As a
result of which, many technological and scientific revolutions, philosophies, art, culture, and
many others, were able to flourish in Europe and outside Europe. But what was the
condition like in South Asia ? One of the most less talked about style of paintings are what
are called Thangka Paintings. Thangka Paintings are considered an artistic heritage of Tibet.
So what are Thangka Paintings ?

Thangka Paintings are basically portraits of deities. These became objects of worship. There
is a trace of influence of Hinduism in it too. Hindu philosophy and principles were analysed
in detail, and the deities acquired different names, attributes and symbols, or even shapes or
forms, with more heads, a plethora of arms and legs, while ritual artifacts, such as the
mandalas or sacred paintings underwent some transformations, and were improved upon
with different compositions and designs, but remained with the same purpose as objects of
worship. But it would be wrong to say that Thangka Painting was completely inspired by
Hinduism. To be aware of the differences, we need to be aware of the features. One of the
important feature was the mandala. In Nepal, the mandala retained its original basic design,
with a square enclosing a circle with a geometric triangular patterns at the center, but in
Tibet, the mandalas became more ornate and packed with symbols of numerous deities,
colored and rather became more attractive as works of art. It became the exclusive object of
worship for monks and the Lamas, because rituals became more specialized, complicated
and technical as it required the spiritual knowledge of the masters to perform them. But
why are there numerous deities in Thangka Painting ?

Prior to the introduction of Buddhism in the Tibetan valleys, the art culture was fully
developed. The Bonpo religion had numerous deities, and these deities were not discarded,
but were assimilated into Lamaism fold. As a result, these paintings became crowded with
deities. The Thangka Paintings possibly represented two things. Either, the Thangkas
represented the power and attribute of a single central deity, or, the Thangkas gave accounts
of episodes, particularly in the life of the Buddha or of other deities, or of important
historical personalities in the evolution and development of Buddhism in Tibet. The earliest
surviving Thangka Painting is in Nepal, which dates to about 14th century AD. But what
was the purpose of Thangka ?

Thangkas were mainly for the lay people. By possessing Thangka, they avoided sufferings in
life caused by difficulties, diseases, and obstacles. Tibetan Lamas would suggest the
Thangka painting to commoners, who would submit their problems to the Lamas. Also by
possessing an image of a deity as an object of worship, they could ensure their future with
happiness and benefits.

The evidence that suggests or proves Thangka Paintings as part of an ancient culture is its
materials, i.e, the materials that went into making a Thangka. Thangka Paintings are painted
in a scroll of cotton cloth or silk illuminating a deity or events usually of a religious
nature. The following four steps concludes the preparation of Thangka Paintings.

1. First step – stretching of the canvas on a wooden frame.

2. Second step – preparation of the painting surface, the design or composition by
sketching or by what is known as tracing.
 3. Third step – laying down the initial coats of paint, and the principal application of
paints
4. Fourth step – the finishing touches.

The tools include wooden frames. These are known as stretchers. The textile is a canvas,
cotton of a very fine weave, which had to be washed and dried. Other fabrics used are linen,
silk and even leather, and occasionally paper. These fabrics though in Thangka Painting
have become rare. The canvas has become the most commonly used fabric. There is also an
inner frame made of sticks, usually shorter than the main frame. The length of the sticks
varies according to the size of the canvas. The sides of the canvas are folded and stretched
with cords to make it stronger.

The paint base is quite interesting. The paint base material is referred to as “size”. It is
actually a glue made out of skin or a leather, boiled and dissolved. It is then turned into
gelatin. In Nepal, the water buffalo skin was used to prepare the “size”. The “size” is also
referred to as “gesso” (dam). Some artists mix a little ochre on a white chalk to add a dash of
yellow in the gesso. It must be stirred when mixed with the “size” to the consistency of a
buttermilk. In spreading the gesso on the canvas some artists use a brush, others a cloth, and
others a knife. The gesso is applied on both sides of the canvas. When it is dry the painter
checks the canvas for pinholes, and when pinholes are discovered it means usually another
coating of gesso. The next step is when the gesso on the canvas has dried, it has to be
polished. The canvas has to be slightly moistened for polishing. With the canvas surface
now properly polished the painter lays down the main lines of orientation. The painter does
this with a marking string (thigrkud), which is made to go through a leather bag containing
marking powder usually a mixture of ochre and charcoal. The string is properly positioned
and then snapped leaving a straight line on the canvas.

After the preparation is done, the process of Thangka Painting starts. Here are five steps to
create a Thangka.

1. The patron had to instruct the painter precisely which deities he wanted to be
depicted.
2. Very often a diagram was prepared by a Lama, and the patron showed this to the
painter.
3. Sometimes the patron could offer no diagram and there were no names of the figures
to be painted, but it was left to the artist to design a suitable layout.
4. In case of many figures, the artist was to determine from the patron, as to which
deities were subordinate or minor.
5. Very little originality – Religious paintings are generally the same in other creeds as
they are continually repeated over and over again, unless a new subject crops up.
Artists painting thangkas followed canonical authority or fixed set of rules or
traditions.

With the sacred paintings of deities or sculpture, there emerged professional artists, who
had to purify themselves and also meditate on the deity they were to paint. Over the years
this requirement appears to have been given up, and the work of painting sacred scrolls of
deities had been initiated in the Vajrayana discipline, but in due course of time even house
painters, who previously did decorative paintings on buildings, now take up painting
Thangkas. But before, every painter was required to undergo ritual initiation. They had to be
initiated into Tantrism before they are allowed to paint deities, belonging to the four classes
of Tantrics.
THE ANCIENT PAINTINGS OF SOUTH ASIA : THEMES OF
THANGKA PAINTING (PART II)

By, S. K. Ghising

The most common theme are the Refuge Tree and the Assembly Fields.

The Refuge Tree depicts deities or sacred objects or principles in which sanctuary is sought.
The most common refuge in Buddhism is the Three Jewels made up of the Buddha, Dharma,
and the Sangha. In Vajrayana, refuge include the immediate guru and his lineage, other
deities and protector of the Dharma. The guru is the main or central figure, and on the
branches of the tree are depicted the Buddha, the Dharma in the form of monks and
bodhisattvas.

The Assembly Fields thangka is an aid in visualizing the totality of the guru‟s lineage. In this
painting, a group of exalted beings, who were worshipped and to whom offerings were
made is depicted. The central figure, the guru, is surrounded by exalted beings, or deities
and minor deities, who are not considered as sanctuaries. These are all arranged in the
painting in a hierarchical structure. A monk is usually portrayed at a lower corner making a
symbolical offering of the universe and its contents in the form of a mandala.
NEPALI BHASHA MAANYATA DIWAS, AND POLITICAL
DEVELOPMENTS IN 20TH CENTURY DARJEELING HILLS

By, S. K. Ghising

” There have been demands for inclusion of certain languages in the Eighth Schedule to the
Constitution. It is proposed to include Konkani, Manipuri and Nepali languages in the Eighth
Schedule to the Constitution. The Bill seeks to give effect to this decision. The Nepali language is also
known in some areas as “Gorkha Bhasa”. In the Census operations, other nomenclatures such as
“Gorkhali”, “Gorkdhi”, “Gurkhiya”, “Khaskura” or “Naipali” have also been used ” – Sri
Shankarrao Chavan, the then Minister of Home Affairs.

The 71st amendment of the Constitution of India, officially known as the Constitution
(Seventy First Amendment) Act, 1992, amended the eighth schedule to the Constitution, so
as to include Konkani, Meitei (Manipuri), and Nepali. As a result of which 20th of August,
every year, is celebrated as Nepali Bhasa Manyata Diwas by the Nepali speaking population
in India, and by the Indian Nepali diaspora living all over the world. Nepali as a language
was included in the Constitution of India in the year 1992, but much of the efforts were put
in since the early 20th century.

This dates back to the 25th of May, in the year 1924, with the establishment of Nepali
Sahitya Samelan. The then intellectuals, the thinkers and the writers accepted the
terminology of calling it a Nepali language. This terminology of calling it a Nepali language
was further approved by Calcutta University on 30th May, 1932. But the then Chief Minister
of West Bengal, B. C. Roy ( 1948 – 1962 in office as Chief Minister ) corrupted the census and
showed the Nepali speaking population to be less, while at the same time showed the
Bengali speaking population to be more. As a result there was a widespread protests for the
protection of the Nepali language. The Nepali speaking population was alarmed by this and
felt insecure with this majoritarian act. The only solution that was found was to protect the
language. Language became a shield and it was to be protected at all time. The Bhasa
Andolan started in the 1950s and ended with the 71st Amendment Act in the year 1992.

Darjeeling in the 1960s was brewing with mature political dialogues. Local restaurants such
as Maya Restaurant and Dilkush Restaurant, in the 1960s were a hub of political discussions
and dialogues. The leaders of political parties such as Gorkha League, Congress,
Communists, RSP, and many others, would gather at these restaurants to discuss
developmental issues.

On 31st March, 1961, a political meeting was held at Gorkha Dukha Niwarak Sammelan
Bhawan. This meeting was attended by the likes of Ganeshlal Subba, Indra Bahadur Rai, Nar
Bahadur Gurung, Man Bahadur Gurung, and many others. As a result of this meeting, Zilla
Bhasa Manayata Samiti was established. The President of this Samiti was Ganeshlal Subba.
Other members included Indra Bahadur Rai, Chandra Kanta Ghising, Bal Bahadur Chettri,
Anand Prasad Pathak, Tarak Kumar Karki, Agam Singh Giri, Prem Thapa, Bhanubhakta
Kumai, Pema Tshering Lama, Mahananda Subba, Gokul Singh Gajmer, R. T. Ali, Madan
Kumar Thapa, Lakshmi Lohar, Gumansingh Chamling, Lakpa Tshering Sherpa, T. S.
Gurung, and Teel Bikram Nembang, a.k.a. Bairagi Kaila. Zilla Bhasa Manyata Samiti was an
important organisation during the Bhasa Andolan Movement.

From 1970 onwards, the branches of Akhil Bharatiya Nepali Samiti was being formed all
over India.

On 18th February, 1984, there were many who took padyatras from Dehradun to Gandhi
ghat in Delhi, and offered a flower garland. People like Chandrasita Laksham took part in
this padyatra. The padyatras instilled new energy, hope, motivation, and dedication
towards one‟s language.

In 1990, a meeting was held in Gangtok, Sikkim. As a result of this meeting, Bharatiya
Nepali Rashtriya Parishad was established. The Bill was introduced as a private bill by Smt.
Dilkumari Bhandari. It was passed by a majority of 343 in Lok Sabha, and almost passed by
all in Rajya Sabha.
DHAKA TOPI : A HISTORY OF SOUTH ASIAN HEAD WEAR

By, S. K. Ghising

The Nepali Topi or the Dhaka Topi, has connections with the then Kingdom of Bengal. The
Dhaka silk has its origin in the Dhaka city of Bangladesh, hence the Nepali Topi is also
referred to as Dhaka Topi. The Dhaka Silk was brought in Kathmandu during the reign of
Juddha Shumsher Jang Bahadur Rana in the 19th century. The Palpa district in Nepal today,
was the point of transaction between Bengal and Kathmandu.

The origin of this trade has been mentioned in Sachidananda Bhattacharya‟s „Bharatiya
Itihas Kosh‟. In his book he mentions that between 11th century and 13th century, Bengal
was ruled by the Sens. The Sens and Pals of Bengal further got dispersed due to invasion of
Ikhtiyar Khilji, son of Bakhtiyar Khilji, and ultimately reached the region of Nepal.
Mukunda Sen has been given credit for establishing a Sen Kingdom in Palpa district in
Nepal by many historians. As a result of which, the Dhaka Silk, along with many traditions
found place in the Palpa district of Nepal. And through Palpa district, the Dhaka Silk
ultimately reached Kathmandu, the capital city of Nepal.

But, how could Dhaka silk easily enter Kathmandu ? Khadga Shumsher Jang Bahadur Rana,
the brother of Juddha Shumsher Jang Bahadur Rana was sent to Palpa. Because of Khadga
Bahadur‟s presence in Palpa, there developed a cultural exchange between Palpa and
Kathmandu, and as a result of which, the Dhaka Silk made way to Kathmandu through
Palpa.

The Nepali Topis are typically „Mountain Shaped‟. There have been many debates of its
existence, prior to the entry of the Dhaka silk in Kathmandu, among the academic circle.
One such argument was given by Kamalmani Dikshit.

According to Kamalmani Dikshit, during the reign of the Ranas, only the Subbas or someone
above in the social hierarchy was allowed to wear those Topis, the kind which was worn by
Bhanubhakta Acharya or Motiram Bhatta. So these kind of Topis came from Turkey into
Nepal. There are other views as well. Others are of the opinion that the Nepali Topi is
influenced by the Muslims. Not only Topis, but many of their vocabularies have also been
included in the Nepali language. For example, Salwar. In Nepali, it is pronounced as
Suruwal, as in Daura Suruwal, a dress considered as a traditional dress by many Nepalis.

Today, we see two types of Nepali Topis. The first is Palpa-le, and the second is Bhad-
gaulay.
 REFERENCES

1. L. S. S. O‟Malley, Bengal District Gazette, 1907.

2. Lokhnath Upadhaya Chapagai, Dhaka Topiko Barema Tipan Tapan, Madhyamarg
3. J.R.Santiago, Thangka : The Sacred Painting of Tibet
4. Himalaya Darpan, Nepali Bhasa Mang ko Yatra, Bhim Subba
5. Himalaya Darpan, Yuga ko Antya, Yuga ko Samjhana
6. Jiwan Lawar, Kehi Charchit Wyaktitwa haru (Pahilo Khand)