Before industrial paper production began, the Monpa communities of present-day Tawang in Arunachal Pradesh were producing handmade sheets used within Himalayan monastic and cultural networks. For over 1,000 years, this tradition known as Mon Shugu has been part of their cultural and religious life, particularly for manuscripts and record-keeping in Buddhist monasteries.
The practice declined over time due to industrial paper and changing needs, with earlier revival attempts in the 1990s remaining limited. Since around 2020, renewed efforts with local participation and institutional support, including KVIC-related initiatives, have helped re-establish small-scale production in Tawang, aiming to preserve heritage and support rural livelihoods through traditional craftsmanship.
A Himalayan Craft That Predates Modern Paper Industry
Before factories mass-produced paper, the Monpa communities of present-day Tawang in Arunachal Pradesh were producing handmade sheets that travelled across the Himalayan region. For over 1,000 years, this tradition known as Mon Shugu has been part of their cultural, spiritual, and documentary practices. It was historically used for writing sacred Buddhist scriptures, preserving monastic knowledge, and recording local traditions that shaped community identity.
The craft is made using the bark of Daphne papyracea, a plant native to the Eastern Himalayas. The bark is carefully processed into pulp using traditional methods, then shaped into sheets with bamboo frames and dried naturally. This entirely manual process reflects a deep connection between the Monpa people’s environment, spirituality, and way of life.
Revival After Years of Decline
Over the years, the Mon Shugu tradition faced a sharp decline due to modern paper production, administrative changes, and reduced dependence on handmade materials. By the late 20th century, the craft was nearing extinction, with limited production and fading intergenerational knowledge.
Earlier revival efforts in the 1990s were unable to sustain long-term production. However, renewed intervention since 2020 has brought the craft back into structured practice. A Khadi and Village Industries Commission (KVIC)-supported initiative has helped establish local production units in Tawang, focusing on reviving both traditional techniques and economic viability for artisans.
Artisans involved in the revival say the renewed efforts have not only created livelihood opportunities but also helped younger generations reconnect with their cultural identity. Training programmes and community participation are now central to keeping the tradition alive.
Sustainable Craft Rooted in Indigenous Knowledge
Mon Shugu is also valued for its eco-friendly and sustainable nature. The process uses natural bark fibres without chemical treatment, making it a low-impact alternative to industrial paper production. Its revival aligns with growing interest in sustainable, community-led production systems that respect both ecology and tradition.
Local artisans emphasise that the craft is more than an economic activity, it is a cultural inheritance. By restoring Mon Shugu, communities are also reviving a knowledge system that integrates environment, spirituality, and livelihood in a balanced way.
The Logical Indian’s Perspective
The revival of Mon Shugu highlights the urgent need to protect India’s indigenous heritage systems that are deeply tied to sustainability and community identity. It also demonstrates how traditional knowledge can be revitalised when supported through thoughtful institutional backing and local participation. At a time when many ancient crafts are disappearing, such initiatives offer a path toward inclusive and culturally rooted development. How can India ensure that its indigenous crafts are not only revived but also made economically viable for future generations?
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