Copper Craft ~ Chiling, Ladakh

Introduction:

Usage:

The region’s tribal culture is fascinating. When we observe their cooking methods and utensils, we can clearly see the use of metal. However, metal objects may have taken on a more artistic look due to royal patronage, as rulers commissioned high-value goods, or because of religious demands.

Monasteries play a significant role in defining the iconography of these objects. The coppersmiths of Ladakh craft everything from statues to utensils, creating objects for both religious purposes and the daily needs of monks. Even today, such objects can be easily spotted in monasteries—like butter lamps,copper jars, tea strainers, prayer bowls, door hooks, prayer wheels, musical instruments, and many more—made in Ladakh using copper, brass, silver, and gold. But now their main focus has shifted is on smaller ritual implements for monasteries and household utensils. The latter include teapots (‘chapskyan’) also used to serve chang (‘barley beer’), tea sets (‘meslang tibring’) cups (‘korey’), lids for cups (‘khachod’), bowls (‘taben’), spoons (‘thurmang’), ladles (‘thum-bu’), tiffin boxes to store food or spices (‘karshun’) and hookah bases amongst other items. ‘Thaap’ or ‘Melang Chau’ is a copper artifact used to keep a household warm.

However, the artifacts from Chilling are quite expensive, therefore, most of the local people prefer to use the bowls, cooking pots and agricultural implements made by local blacksmiths (‘gara’).

Significance:

The Ladakh region is at a high altitude, and the weather is mostly very cold. Surviving in this region requires special skills and tools. As soon as communities started settling, they needed various objects for daily use, such as tools for farming, cutting, cooking, boiling water, and serving food.

Copper and brass have played a significant role in fulfilling these needs. Even today, in most traditional Ladakhi kitchens, brass and copper utensils are commonly seen. The copper jugs and teapots crafted here are staples in all Ladakhi households, embodying both practicality and artistry.

Zanskaris often say that copper pans are very hygienic. While we do not know for sure, it could be that drinking water from copper vessels also helps keep the heart and joints healthy—an essential benefit in such harsh terrain.

The handcrafted copper items also play cultural and spiritual significance for the people of Ladakh. Besides utensils, other items crafted are butter lamps (used in Buddhist rituals), agricultural tools, tubular scroll containers, doorknobs and locks. Butter lamps (‘choe-me’), incense burners, and ritual daggers (‘phurb’a) are core instruments in Buddhist practices. One of the most important pieces of metal work in Buddhist art is the prayer wheel. The finer decorative work, in copper or brass embellished with silver, applied to prayer-wheels and other objects used in worship is also made by them.

Traditional instruments like cymbals and horns are also created using Ladakhi metalwork. ‘Daman’ is a copper instrument shaped like a large bowl with copper sides wrapped in cow leather and is central to the musical culture of Ladakh. Copper ornaments, like rings, are also common in Ladakhi culture. ‘Dugu’ is a handmade copper bangle worn by both women and men.

The copper crafts not only showcase the skill of Ladakhi artisans but also symbolize the harmony between Ladakhi people and their rugged environment.

Myths & Legends:

Oral history, as passed on in the families of the metalworkers in Chilling village of Ladakh, connects their ancestry to the Newari metalworkers of Nepal. Some stories reveal that the coppersmiths of the Sumda cluster of Ladakh moved from Nepal to Ladakh in the medieval period (around the 17th century) under the reign of King Delden Namgyal, to build a colossal idol of Buddha Sakyamuni at Shey Monastery to honor his dead father. Some documents and other proofs have been found to support this story. It is further said that after the completion of the statue which took years, the king allowed the craftsmen to stay on in Chilling, as a gesture of gratitude, giving them land and a high status. The artisans went on to make numerous more monastic commissions and also fabricate a wide range of domestic vessels in brass and copper.

The story goes on to talk about how a man decided to reside in Chilling. He shot an arrow from the top of a mountain, and the field where the arrow landed is now called Darang. He decided to build his home at the place where the arrow landed, and he subsequently settled there. One can still see the home of the first artisan who came to Chilling, which has become a heritage site, and no one is allowed to demolish the age-old home today. After the king’s death, his son continued patronage of the metal craftsmen and their art flourished as they built many more religious images in Ladakh.

Another story also connects Ladakh with Kashmir, recording how Kashmiri artisans came to Ladakh as early as the eighth century and carved stone figures such as the large-scale Maitreya Buddhas at Mulbeck and Suru. There is also a large presence of metal sculptures of Buddhist deities from Kashmir in many temples in Ladakh.

History:

Ladakh holds an important position—its western region connects with Kashmir, while its northeast has links to Tibet. The nomadic community has been the backbone of the economy in the Changthang region of Ladakh, nestled in the lofty Indian Trans-Himalaya. These pastoralist nomads not only supply the finest quality Pashmina wool but also play a significant role in trade operations. They are composed of three distinct groups located in Rupsho, Kharnak, and Korzok, rearing a variety of livestock such as sheep, goats, horses, and yaks. It is difficult to determine exactly how long they or similar groups have been living in this region.

We can clearly see their trade links with different areas and communities. For example, apart from Pashmina, there were well-established trade relations between Kashmir and Ladakh. Ladakhi goldsmiths, silversmiths, and coppersmiths, influenced by their Kashmiri connections and traditions, used the customary weight ‘man,’ which was equivalent to 30 tolas, rather than the Indian ‘man,’ which equaled 3,200 tolas or 40 ‘seers’.

A major influence on Ladakh’s art and culture has been Buddhism. In more recent centuries, the flow of Buddhist ideas and artistic styles has traveled from Tibet to Ladakh. The tradition of sending Ladakhi novices to Tibet for higher studies began as early as the 13th century, and Tibet’s spiritual preeminence is reflected in later Buddhist monastic art in the region. However, Ladakh also remained subject to multiple cultural influences from the west and south, as seen in its musical traditions.

John Bray discusses the origin, stating: “Both sets of enclaves share a common origin, dating back to the period when the Kings of Ladakh controlled the whole of Western Tibet (Mnga’ ris skor gsum). The link with Bhutan arises from the Ladakhi royal family’s association with the Drukpa Kagyupa (’Brug pa bka’ rgyud pa) sect. This association dates back at least to the late 16th century. In 1577, King Jamyang Namgyal (Jams dbyang rnam rgyal, r. c. 1595–1616) of Ladakh, who had a priest-patron relationship with the Drukpa leader Padma Karpo (Padma dkar po, 1527–1592), sponsored the construction of a tantra school in his territory. The Drukpa school also established close ties with Zangskar, which was subordinate to Ladakh during the same period.”

Identifying locally manufactured metal objects in Ladakh is challenging, but it is evident that functional and decorative metal items have long been in use. Some references suggest that copperware production began in Ladakh in the early 16th century. Various historical accounts describe the arrival of coppersmiths in the region. The indigenous copper craftsmen, who have lived here for centuries, traditionally served kings and monasteries by creating exquisite copperware.

Many historical records mention Ladakh’s rich metal art. Several sources also document the invasion of Ladakh by the Dogras. Francke, drawing from the accounts of Basti Ram, a senior Dogra officer under Zorawar Singh, describes how Zorawar Singh and his men looted gold, silver, precious stones, silk, and tea, emptying the treasures of Ladakh’s palaces, gompas, and temples in Tashigang, Chhumurti, Spiti, Thsale-rang, Tholing, and Purang. They even took sacred utensils made of silver, gold, and copper, along with carpets and silk, sending 70 ponyloads of these valuables to Jammu. This suggests that while people may not always migrate, objects themselves can facilitate cultural exchange.

Today, though the village population has dwindled to just 60–70 residents, seven families continue to keep this historical art form of metal craft alive. The craftsmen of Chilling were primarily goldsmiths (locally called ‘sergar’). Today, they mainly work with copper, brass, and occasionally silver. They hold a respected position in Ladakhi society, unlike the blacksmiths (‘garra’), who are often looked down upon and considered lower in social status. Unlike blacksmiths, they never work with iron or steel.

Design:

Metal objects from Ladakh have a distinctive aesthetic, primarily characterized by the combination of copper and brass. This interplay of metals gives Ladakhi metalwork a unique visual appeal and structural contrast.

When compared to Kashmiri metalwork, a key difference emerges in the approach to decoration. In Kashmir, artisans often focus on shaping basic forms and then intricately carving detailed patterns directly onto the surface. These carvings are typically floral or geometric, covering the entire object with elaborate designs.

In Ladakh, however, ornamentation follows a different approach. Instead of carving directly onto the surface, artisans first create a simple yet well-proportioned base form—such as a kettle—using copper. Once the base structure is ready, they enhance it by adding intricately carved brass plates at various positions. These embellishments may include decorative bands, medallions, or even religious motifs, carefully placed to complement the overall form. Additionally, artisans often attach elaborately designed brass handles or spouts, elevating the aesthetic appeal of the object.

This layered approach to decoration in Ladakhi metalwork not only adds visual contrast but also reflects the region’s artistic heritage, where ornamentation is often modular and assembled rather than directly engraved.

With a rich Buddhist heritage, Ladakhi craft incorporates many Tibetan elements, particularly in religious iconography and craftsmanship. Metalwork allows artisans to express their creativity through intricate designs, patterns, and sculptures. It merges functionality with aesthetics, creating pieces that are both visually striking and culturally meaningful. Whether it’s a finely crafted sword hilt, a decorative vase, or a monumental sculpture, metalwork merges functionality with aesthetics. The choice of motifs, the intricacy of the design, and the finishing touches all contribute to the final product’s beauty.

The common motifs found in copper products are dragons, floral patterns similar to those on Ladakhi caps and brocaded cloth,’ rgya-nag Icags-ri’ (interlocking pattern on carpet borders and edges of socks), and ‘yumdumlagyut’ (pattern in prayer room decorations). Religious themes and symbolism are commonly found in these designs. The coppersmiths are probably best known for their elaborate teapots (‘chapskyan’), decorated with representations of the dragon or ‘makara’ (water monsters) on their handles and spouts. The level of detailing that goes into these crafts are extraordinary and talks about the craftsman’s devotion that goes behind it.

Copper artifacts are viewed locally as a sign of prosperity. Copper products are often made combined with some other materials. Some artifacts, like a dragon kettle, have fine designs engraved on silver and brass as well; such designs may take as long as two months to make. 

Ladakh’s metal artisans often create bespoke pieces, tailor-made to fulfil specific religious or ceremonial requirements. This customization allows for a personal connection between the object and its intended purpose.

Challenges:

During the old times, coal used to be sourced from the village of Alam. However, today, with time, the mines have become much more inaccessible. Moreover, the number of workers willing to dive deep for the material is decreasing at a fast pace as well. So, now most of the coal is of lower quality, sourced from Delhi.

The coppersmiths are finding it difficult to find consistent avenues for monetizing their skills and are looking for alternatives to sustain their livelihood. They get a few orders once in a while but are struggling to compete with the cheaper copper and silverware made in places like Delhi. The current economy has forced these artisans to keep their children away from the skill set that has been passed from so many generations. Once a thriving art form, today only two out of the initial seven families of the village continue to practice this profession as their livelihood. Lack of appreciation for the craft have impacted the artisans adversely as well. Some men in other families continue to do the metalwork in their leisure time, having sought other professions. Chiling Sumda village, Sumda Chenmo, Sumda Chun, and Tsogty are some of the last remaining villages of Ladakh where this work is still preserved.

Introduction Process:

The artisans practice their copper craft in their workshops, which are called ‘zomal’. It is here that they can be seen beating and casting their metal pieces. However, the word ‘zomal’ is also used synonymously with the work that they do. The small workshops, usually just 5 by 5 feet in size and with a coal fire to melt copper, make for a cozy environment for the artisans in the cold weather.

Raw Materials:

Initially, the artisans used to procure their raw materials from the bed of the Zanskar River. Gradually, the coppersmiths began to bring in materials from Srinagar or Kargil. But today, Leh serves this purpose on a major scale. The primary materials used are copper and brass, which artisans work with in sheet form or by melting old metal to create new forms. Additionally, they use a locally known metal called Sikka, which is used for filling hollow objects before carving. Later, this material is removed and reused.

Charcoal for forges is provided by the thorns found in various bushes that grow in and around the village.

Local clay plays an important role in the process. Artisans create various molds using the clay and pour the melted metal into them. Later, the clay is reused.

Tools & Tech:

The key tools used in the process of copper products include fired bricks, metal scissors, knives, hammers, tongs, chisels, tack pullers, prying tools, pliers, thread, and needles. Preciously tools from animal bones and hides were used.  Even today, some elderly artisans use them in their age-old workshop.

Moreover, the craftsmen majorly use a hearth and anvils, alongwith other tools such as the hammer and punches for the production of their work.
Zutpa is an ancient tool used to blow air into coal, made using animal skin.

Rituals:

Most age old coppersmiths practise a tradition of worship and Buddhist chanting before begginning their day’s work. They do not enter their workshops without completing their morning prayer.

process:

The process of making these objects can be divided into two categories. The first involves taking a brass sheet and shaping it into the required form, such as a spoon or plate. Artisans then engrave designs using a chisel and refine the edges.

The second method is used for creating larger forms. Here, metal is shaped using a hammer, gradually achieving the desired shape through repeated beating. The pieces are then joined by heating. For highly intricate and elaborate products, both processes are combined.

Crafting copper products is hard and progresses slowly. With traditional tools and techniques, it needs a lot of patience and grit to beat and shape the raw copper into sheets.

First, the metal is heated to a high temperature and shaped by hammering or pressing—a process called forging. Fire helps the artisan soften the metal to achieve the desired shape. During this process, the fire in the hearth is maintained using traditional air bellows made from goatskin (‘bhutpa’). The coal-firing technique used in this craft today is derived from medieval-era goatskin igniters.
In this process, artisans create hemispherical forms, which serve as the final shapes for some objects like bowls and cups. However, for more complex forms, two hemispheres are joined together to create a larger structure, such as a tea kettle. Forging is used again to seamlessly join these two forms. Once these forms are ready, they are set aside for further processing.
To create an additional layer of ornamentation, melted metal is poured into molds to form specific shapes or sheets—a technique called casting. Some products use pre-existing molds, while new molds are created for others.
Chisels of various sizes are used to cut and engrave intricate designs on brass or copper. Other surface patterns are created using repoussé work or engraving. Repoussé is a technique where hammering is done from the reverse side to create raised designs.

To achieve detailed carvings on a hemispherical surface, artisans pour a melted material called “sikka” inside. This provides support, preventing the shape from deforming during the carving process. Once the carving is completed, the “sikka” is removed, leaving the carved hemisphere ready to be attached to other objects. A similar technique is used to make bowls, cups, and plates.
Further embellishments are done with silver or gold to enhance the beauty of the object. The metal pieces are then joined using heat or pressure through welding. Additionally, these pieces are sometimes melted at high temperatures, fused together, and given finishing touches to form the final product.

Once the products are completed, most artisans take them to Leh to sell, as they traditionally did in the past. However, highly skilled artisans often receive commissions for their work.

Waste:

Neither the manufacturing nor the discarding of any of these artisanal copper products creates any waste.

However, this copper work is done in the presence of toxic physical conditions. It is quite difficult to work in a sooty and dusty workshop for long hours. Also, the Sulphur fumes of coal fire and fumes of melting metals tend to cause lung diseases in the long run.

Cluster Name: Chiling Sumda village

Introduction:

Home to beautiful snow capped mountains and dense deodar trees, Chilling Sumda village is composed of traditional stone houses and spirit shrines (locally called ‘lathos’), which have been strategically positioned along the extended banks of the Zanskar River. The fact that the metal work of Chilling is unique is based on the account that the land of Chilling is composed of alluvial gold and pieces of almost pure copper that can be found in the Zanskar river.

History:

The name Chilling (Pyi-gling), translates to ‘place of the foreigner’, and this probably references their being outsiders in Ladakh, who subsequently settled here. The village used to be quite inhospitable for a livelihood in the olden days. It is said that the reason the metalworkers chose the location was that it was rich in natural resources, with alluvial gold and pieces of almost pure copper being found in the Zanskar river. Thorn was also available from surrounding bushes that provided charcoal for forges, while there was enough fertile land to farm for their sustenance.

Geography:

A beautiful road runs just along the Zanskar river that takes a person to Chilling village. Chilling is located in a small hamlet in the valley of lower Zanskar, about 60 kilometres from Leh, at an altitude of about 3,200 meters (10,500 feet). Reaching the craft village requires a mini-trek of sorts, passing through areas heavily camouflaged by waving willows. The village, with its natural scenic beauty, serves as the base camp for the famous Chadar Trek.

Environment:

Dried mud bricks and stone houses, with prayer flags and lush green fields make up the village. The smell of wild Indian lavender fills the air and fields filled with shrubs of bright-orange sea buckthorn is a sight to behold.

Chilling Tso Lake, also known as Chilling Lake, is one of the most pristine bodies of water that one can see today, situated just near the small Chilling village. Historically, the lake has formed an important trade route, connecting Ladakh with Central Asia. With crystal-clear waters that reflect the snow-capped surrounding mountains, the area around the lake is all barren, with only a few patches of vegetation, mostly small shrubs, mosses and grasses, scattered here and there. The region also houses some high altitude wildlife, including the Tibetan antelope or chiru, the Ladakhi urial, and a few species of migratory birds. The lake also has a few species of fish, though not that abundant. This also reflects on the ecological balance that prevails in this extremely sensitive environment. The Chilling lake and its surroundings usually feature in almost every folk song and are considered sacred by the locals.

In recent years, Chilling has become more of a creative hub, due to efforts of the Kangsing collective, who have built unique ice installations, including a “mini-colosseum,” a cafeteria, and a sauna in the village. These structures, made from blocks of ice from the frozen Zanskar River, serve as a launching point for the famous Chadar Trek.

Infrastructure:

The region of Zanskar is limited to resources in terms of inadequate agricultural land, fuels and mineral resources and scarcity of water. There is no running water for daily activities in the houses here, and electricity is inconsistent as well. For water requirements, one has to go to the lifeline of Ladakh, Zanskar river. With its blue green hues that freezes in winter, Zanskar river carries the essence of glacial purity and timeless beauty.

A steel bridge can be seen across the river Zanskar above Chilling village connecting the villages of Skui and Kaya with the mainland. As of 2023, there is also a road that has been under construction that will eventually lead to Padum Village from Chilling, running along the Zanskar river. Once the road is completed, it will render full-year connectivity of Zanskar Valley to Leh Ladakh.

Renewable solar power, along with some developments have been done, and are still ongoing. A few homestays have been built for the passionate trekkers who take on the famous Chadar Trek. For any internet access, one has to travel long and far.

Architecture:

Ladakhi architecture combines Tibetan, Central Asian, and Indian influences, creating a style that is both practical and distinctive. The design emphasizes the use of local materials and traditional methods, resulting in sustainable structures that harmonize with the natural surroundings.

Most of the houses here have a flat roof made of beams of poplar stems, crossed with willow branches. To endure harsh winters, walls are constructed thick using a mix of locally available mud and stone. The thickness of these walls helps maintain internal warmth and insulation, providing comfort to residents. Flat roofs serve as practical spaces for drying crops, and also helps manage snow accumulation in winters.

In these villages of Ladakh, the homes are sparsely furnished, and toilets are outhouses of the long-drop type. The excrement from the toilet is collected and used as manure in the fields. Here, the kitchen is the largest part, and most decorated of all rooms as well. A mud or metal hearth is found right in the middle of the room, which serves as a focal point. The kitchen is where families sit together on the floor to share meals, a ritual unconsciously followed everyday. Since it is the only room with a proper heating source, it is used additionally as a guest room and living room as well.

Stupas (‘chorten’ in Ladakhi) of various sizes and shapes are commonplace in the village. Some large scale monasteries (called ‘gompas’ meaning solitary places in Ladakhi) are found here, reflecting the Buddhist beliefs of the Ladakhis. These are mostly built of mud bricks and stones, with a slanting roof made out of wooden beams, and are simple and white. With a white base and some hangings on the walls, along with other decorations, these monasteries are a sight to behold, standing tall in a village covered with snow for most of the year. The insides of these structures are much more colourful, decorated with prayer flags, and other Buddhist textiles and artifacts, and supported by some pillars ornamented in a similar manner.

Culture:

Ladakh is a land of contrasts: stark mountains, rich Buddhist traditions, and isolated villages that preserve ancient handicrafts. Chilling village essentially symbolizes the typical culture and customs of Ladakh, with traditional Ladakhi handicrafts like pashmina weaving and Buddhist-inspired art that reflects the area’s unique heritage and the resilience of its people. Stone carving can also be found here, where the artists skillfully chisel away at stones, creating intricate patterns, religious symbols, and architectural embellishments. Every piece of art, be it in the form of a painting, weaving or metalwork, tells a story, embodying the values, spirituality, and endurance of the Ladakhi people.

Overall, Ladakh's languages, religions, dance, music, architecture, food, and customs are very similar to neighboring Tibet. ‘Chhang’, a barley-based beer, is the local beer of Ladakh, India, and is often consumed in Chilling Village. It's a traditional drink that's part of the region's culture and is consumed during social and religious events.

People:

Life in Chilling flows at an unhurried pace, far away from the hustle and bustle of city life. Majority of the inhabitants of the village practice Tibetan Buddhism. The remoteness of the villages has forced them to adapt to self-sufficiency. The inhabitants, predominantly male, engage in a longstanding tradition of metal craftsmanship, along with rearing cattle and land farming, which form the main occupations of the people of the village.

A communal way of surviving is practiced here, because of the extreme harsh weather conditions and terrain landscape. Locals go out of their way to help one another, be it in sowing and harvesting, or in other everyday activities. They are very welcoming to tourists as well, always smiling and greeting the passersby, and do not think twice before stopping their vehicle to assist a tourist vehicle stuck somewhere.

The locals in the region speak in the Ladakhi language, and most of them have a fairly decent grip on English and Hindi as well. As of 2022, the population of the village numbers no more than 60 to 70 residents, with the numbers continuously going further down, as people move away from better opportunities and an easier lifestyle, away from the harsh weather.

Famous For:

The famous Chadar trek that begins from the Chilling village, has saved the village from being erased off from the map, despite the extreme harsh weather conditions. River rafting across the Zanskar river, from Chilling to Nimmu village, is another activity that most enjoy.

A unique phenomenon that defies gravity, the Magnetic Hill, is an unmissable spot, very close to Chilling. Here, vehicles appear to roll uphill on their own. Furthermore, Chilling is also surrounded by the Shanti Stupa, a serene Buddhist monument perched on a hilltop, that offers panoramic views of Leh and its surroundings.

Gallery

Craftsmen

List of craftsmen.

Documentation by:

Team Gaatha

Process Reference:

https://www.architecturaldigest.in/story/500-year-old-legacy-of-ladakh-surviving-copper-craftsmen/

https://www.travelandleisureasia.com/in/destinations/on-a-trip-to-ladakh-we-stumble-upon-an-ancient-village-of-coppersmiths-lavender-fields-more/

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https://map.sahapedia.org/gallery/The-Legacy-of-Metal-Craftsmen-of-Chilling,-Ladakh/11738

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Cluster Reference: