The Chamba Rumal is a form of embroidery that originated in the Chamba region of Himachal Pradesh. [1] It involved outlining designs in charcoal which women would then embroider using untwisted silk thread in the double satin stitch. [2] Common motifs included religious scenes, characters from epics like the Ramayana and Mahabharata, and animals. [3] The craft has declined but efforts are being made to revive traditional techniques and promote the unique embroidery.
Artisan with careful hand, foot and eye coordination embarks on the journey of weaving each thread that binds elements of life into one golden fabric. The process is long, as sometimes only about 2-3” of border gets woven in a day depending on the complexity of the design. The whole family of the weaver is involved, sharing varied responsibilities pertaining to the weaving process... Not only their livelihood but it is their life & mode of self-expression.
An Indian traditional craft Phulkari practiced in Punjab from generations. People from all over the love this hand crafted skill by the women in punjab
usefull for all home science students and for all competitive exams like NET/JRF for other knowledge visit our you tube channel anita singh clothing and textile classes
The main motto of this topic is to study the knowledge society and its constraints and issues for Indian Craftspeople.
The objectives are as followed:
• To give them a platform for exhibitions and interactions with wholesalers/ retailers.
• To create some seminars for export knowledge.
• To study that why it is not neglected by society with due course of time.
• To explore new markets within the country.
• To increase export from the cluster.
• To develop High Fashion Garment Products with those artisans.
Artisan with careful hand, foot and eye coordination embarks on the journey of weaving each thread that binds elements of life into one golden fabric. The process is long, as sometimes only about 2-3” of border gets woven in a day depending on the complexity of the design. The whole family of the weaver is involved, sharing varied responsibilities pertaining to the weaving process... Not only their livelihood but it is their life & mode of self-expression.
An Indian traditional craft Phulkari practiced in Punjab from generations. People from all over the love this hand crafted skill by the women in punjab
usefull for all home science students and for all competitive exams like NET/JRF for other knowledge visit our you tube channel anita singh clothing and textile classes
The main motto of this topic is to study the knowledge society and its constraints and issues for Indian Craftspeople.
The objectives are as followed:
• To give them a platform for exhibitions and interactions with wholesalers/ retailers.
• To create some seminars for export knowledge.
• To study that why it is not neglected by society with due course of time.
• To explore new markets within the country.
• To increase export from the cluster.
• To develop High Fashion Garment Products with those artisans.
Trishulin Overseas is an internationally trusted manufacturer of home furnishings. It has earned an excellent reputation with our clients worldwide due to our policy of high quality and individuality. Trishulin Overseas is a globally oriented company, serving clients in America, Europe, Middle-East and Asia. Incepted in 1999, Trishulin Overseas has emerged as a competitive and revolutionary manufacturer cum exporter of home furnishings in soft goods.
DIVERSITY OF CULTURAL ARTEFACTS IN HIMACHAL PRADESHHasrat Arjjumend
Splendour of art and culture in Western Himalayas always lured human heart and mind to study and work to know the ultimate truth of art and culture and its value in human life. Politically, Himachal Pradesh was formed in 1966 when about 20 princely hill kingdoms were merged together. The Rajput kings were great connoisseurs of art and craft and extended patronage to talented artisans in times of peace, when they needed to commemorate, and perpetuate their victories. Himachal art and craft give us an insight into the social beliefs and religious practices, which stimulate and provide an outlet for the artistic energies of Pahari artisans. The villages display little changes in their fabric or community needs through largely impoverished craftsmen and artisans having retained their creativity through the ages. Grassroots Institute, in association of local NGOs, conducted an empirical study in 2008-09 to document various forms of cultural artefacts in Chamba, Kangraa, Mandi, Kullu, Shimla, Kinnaur and Lahaul & Spiti districts by using research tools of questionnaire, semi-structured interview, observation and photography. Cultural artefacts that were recorded include: embroidery (including Chamba rumaal), ornaments, Pahari painting, Kangra painting, Thangka painting, handloom crafts, hemp shoes, wood carving, basketry, metal craft and sacra-metal artefacts, dolls & soft toys and Budhist sculpture. This paper will present historical, socio-cultural, morphological and developmental aspects of different cultural artefacts and associated artisans. This paper also provides the suggestions to develop new styles and designs in artefacts for getting space in market. Government needs to support the artisans and craftworkers in variety of ways.
KAPS and VOH will be conducting an Arts Appreciation Course on Kangra Art in June. The course aims to introduce the participants to Kangra miniature art and take them through the evolution of this magnificent art form.
Zardozi 3D Jewel Wall Carpets & Decorations.
Rare | Hand woven | Art
Material Used: Original Semi-Precious Stones, Silk, Gold Polished Copper Wire, Silver Polished Copper Wire. Can be framed by buyer for decoration purpose.
Local Contact: Vinod Nair +971 56 633 4402
"A good traveler has no fixed plans, and is not intent on arriving.”
Lao Tzu
Don’t know whether we were good travelers, but seemed to be a little bit of it. We left home with the idea of exploring the enchanting land of Palampur, without knowing what plans the almighty had for us.
While negotiating with the Taxi operators in the Pathankot railway station, we ended up charting out a plan to first visit places in McLoad Ganj and Dharamshala (the land of Buddhist monks) and explore the vast green lands of Palampur on the way back. Though we maintained this travel plan till the end, the tit bits were changed many times in between with many omissions and additions. And at the end of the journey, when we were back to square one, there was consensus amongst us, it was a journey well made.
“I see my path, but I don't know where it leads. Not knowing where I'm going is what inspires me to travel it.” Rosalia de Castro
Travelling on the misty roads to Mcload Ganj, I realized the saying, ‘the journey, not the arrival that matters’. The suns playing ‘hide and seek’ among the trees in the foggy forests on both the sides of the road, touch of the ‘seemingly chilled but no not so cold’ fog on the face, rain drops lashing…it was a path to rejuvenation. Every moment I kept struggling to keep content my heart seeking to jump out and to vanish in the other side of the white vile of fog. The time was short and we had “milesto go before…”
On the way back, I made a promise to the misty land. “I’ll talk about you a lot. I’ll nourish you in the coziness of my heart. I’ll come back to you again.”
Sanjeevni Retreat in Dharamshala (Part-2)Mohit Sharma
We all along with our Sangeeta Mittal Ji organised a Spiritual Retreat To Dharamshala and Mcleodganj for Reiki's Active Members and there she taught us "How to Identify and empower Inner-core power with the chanting of Universal Mantra "OM",and Colour Ball Meditation with Laughing Meditation".
By prayers with all gratitude to Highest Vibration Life Force ..
All the information on textile crafts of West Bengal. Segregation of crafts according to the districts of West Bengal and origins and significance in the culture. Provided with a Textile Map.
2. Introduction
The Chamba Rumal , is a form of embroidery that
flourished in the eighteenth and early twentieth century in
the mountain region of north India.
Running through Chamba, Kulu, Kangra, Guler, Mandi and
Suket, the craft witnessed explicit distinctions between
'elite' and 'folk art'.
The languishing craft of the 'Chamba Rumal' refers only to
the delicately embroidered rumals created by royal and
elite women who had access to the professional services of
trained miniature artists.
These miniature artists not only drew the theme to be
embroidered on the rumal in charcoal, but also provided
the women who would be embroidering the rumal with a
sophisticated colour palette
3. Location of Chamba
Chamba is the north-
western district of
Himachal Pradesh.
Founded during the
6th century, it is one
of the oldest
princely states in
India.
Chamba has a rich
history of crafts
including metal
crafts, miniature
paintings, weaving,
leather work, wood
carving, basketry
and jewellery
making.
4. Traditions
• It was customary to gift embroidered
rumals in a girl’s marriage.
• Subjects like wedding scenes were
popular and were repeatedly
embroidered.
• This handicraft , being an important item
of the dowry, was dependent for its
existence almost on the social custom i.e.
wedding.
• No marriage ceremony would be
reckoned complete with out the gift of
Chamba rumal by the relatives of the
brides.
5. Raw material
Traditionally, the fabric used to make the Chamba Rumal was
hand-spun or hand-woven unbleached thin muslin or malmal.
The most popular fabric , employed in Chamba rumals, was
khaddar because of its availability, low cost and durability.
6. Threads
The thread used for the embroidery was untwisted silk yarn,
which, in the do - rukha stitch used in Chamba embroidery. This
untwisted silk thread - usually made in Sialkot, Amritsar, and
Ludhiana - was the same as that used in the Phulkari
embroidery of the Punjab.
Untwisted silken thread
8. STITCHES
The stitch used in embroidering the Chamba Rumal was the do –
rukha, double satin stitch which, as its name implies, can be
viewed from two (do) sides or aspects (rukh). The stitch is
carried both backward and forward and covers both sides of the
cloth, effecting a smooth finish that is flat and looks like colours
filled into a miniature painting. No knots are visible, and the
embroidered rumal can be viewed from both sides. It thus
becomes reversible.
9. Dandi Tanka - the stem stitch
The outline in black thread is a marked characteristic, which
is a conspicuous characteristic of the Chamba rumal. After
filling the colourful threads in the figures and floral designs ,
these are finally enclose with a fine line worked out in black
thread , which apparently lends the powerful affect as seen
in pahari miniature painting
10. Criss Cross stitch
The use of criss cross stitches , which comprise a simple
technique of crossing two stitches of equal size in the shape
of a cross (X) can be discerned in several rumals. This stitch
as a unit comprises a running band mostly in red colour ,
arrayed usually in straight or circular line identically visible
on the both sides of the fabric. This criss – cross stitch is no
longer practiced by any contemporary embroider in Chamba .
11. MOTIFS
•Animal and birds motifs are used along with human figures
•Bird motifs - parrot, peacock, duck and swan
• Animal motifs – tigers, horses, rams
• Tree motifs – cypress and the plantain trees bent, laden with
flowers and fruits.
22. Current designs, fabrics and tread
used.
Chamba Rumal on silk fabric
with traditional motifs
Currently, raw materials being used are cotton, malmal,
silk, terricot and polyester fabrics. Both twisted and
untwisted yarn is being used to do the embroidery. The
affect and the beauty of the Chamba Rumal are clearly
visible on the malmal or cotton. Other fabrics are mostly
being used to bring down the costs of the rumal and sell
it in the local market
23. Pahari painting in Chamba
There is a strong link between pahari paintings and the embroidery on
the rumals. The subject of the embroideries ranged from religious
themes, embodying the strong Vaishnava fervour in the pahari regions,
to themes from the great epics, the Ramayana, and the Mahabharata.
Krishna surrounded by his gopis , godhuli(the hour of cow dust, with
Krishna and his cow-herd friends bringing home the cows); the Radha-
Krishna alliance are among the popular themes.
24. Important Works
So far, the oldest dated rumal is a 16th century creation
that is supposed to have been embroidered by Bebe
Nanki, the sister of Guru Nanak, the founder of the Sikh
faith in India. This is now preserved in the Sikh shrine in
Gurdaspur in Punjab. A rumal depicting the battle of
Kurukshetra - from the Indian epic Mahabharata - is to be
found at the Victoria and Albert Museum in London. This
oblong piece is supposed to have been presented by Raja
Gopal Singh of Chamba to the British in 1833.
25. Bibliography
Books
Indian textiles,by John Gillow
Crafts of Himachal Pradesh , by Subhashlni Aryan
Indian Embroidery, by Irwin and Hall
The techniques of indian embroidery, by Anne Morrell
Indian Embroidery, by Jamila Brijbhushan
Fabric art heritage of india, by Sukladas