REPORT ON CRAFT CLUSTER
“CHAMBA RUMAL”
DEPARTMENT OF FASHION TECHNOLOGY, SEMESTER V (2018-2022)
NATIONAL INSTITUTE OF FASHION TECHNOLOGY,
KANGRA
UNDER THE GUIDANCE OF:
Mr. Kamaljeet Singh
SUBMITTED BY:
Jinny Sebastian, Jyoti Rawal, Nikita Daniel, Nishtha
Verma, Prerna Gupta, Sanya Kakkar, Surmayee
Umathe
Contents
REPORT ON CRAFT CLUSTER ..................................................................................................... 1
Introduction............................................................................................................................ 4
History ................................................................................................................................... 5
Origin ..................................................................................................................................... 5
Evolution ................................................................................................................................ 6
Materials ................................................................................................................................ 6
Tradition ................................................................................................................................ 7
Process................................................................................................................................... 8
Value Chain And Analysis.......................................................................................................... 8
Techniques ............................................................................................................................. 9
Products ................................................................................................................................. 9
Traditional Products ............................................................................................................. 9
Contemporary Products ...................................................................................................... 10
Fabrics ................................................................................................................................. 13
Motifs .................................................................................................................................. 14
Embroidery Threads .............................................................................................................. 21
Stitches ................................................................................................................................ 22
Texture ................................................................................................................................ 23
Stitch Direction ..................................................................................................................... 24
Conclusion ............................................................................................................................ 25
References ........................................................................................................................... 26
Acknowledgement
In the name of travel, the quest for knowledge and betterment, has been supported by
National Institute of Fashion Technology, Kangra campus, to which we owe the pleasure of
the opportunity.
We have taken efforts in this project. However, it would not have been possible without the
kind of support of many individuals and organizations. We would like to extend our sincere
gratitude to all of them.
We are highly indebted to our faculties for their guidance and constant supervision as well
as for providing necessary information regarding the project and also for their support in
completing the project.
Our thanks and appreciation also goes to our colleagues who have willingly helped us
throughout the project.
Objective and About the City
The Craft Cluster initiative at NIFT is meant with the objectives to sensitize NIFT
students to the realities of the craft sector and provides insight into regional
sensibilities and diversities, resources and environment.
Through this initiative, NIFT has been successful in creating a widespread
awareness and sensitivity in acculturation crafts into fashion and vice -versa.
The Craft Cluster Initiative program is envisioned to supply the scholars of NIFT
systematic, continuous and regular exposure per annum to the diversely rich
and unique handlooms and handicrafts of India. Under this positive and effective
initiative, the scholars of NIFT work closely with the artisans and weavers in
clusters of India and undertake activities like diagnostic study, design
intervention and prototype development.
It is beneficial for students as well as craftsmen, Sabyasachi Mukherjee got
manpower from village and the villagers and their art got recognized across the
world. So, in a broader perspective, as a design professional we need to know
very minutely “what craft can be used where?”He’s working with Musrshidabad
and Shantiniketan craftsmen. Hence, the all-embracing, mindful and thoughtful
drive in ingesting crafts into fashion and vice-a-versa is achieved.
‘Shimla nahin basna, Kasauli nahin basna, Chamba jana zaroor’ – Settle not in
Shimla, not in Kasauli, Chamba is a must go place- are the opening lines of a
Himachali folk song. Such is the charm of the place. Dotted with historical and
architecturally significant landmarks, the town in its temples and places AND
CRAFTS much of its rich medieval past.
Chamba is bounded on north-west by Jammu and Kashmir, on the north-east and
east by Ladakh area of Jammu and Kashmir state and Lahaul and Bara-Bangal area
of Himachal Pradesh, on the south-east and south by the District Kangra of
Himachal Pradesh and Gurdaspur District of the Punjab.
Chamba Rumal
Introduction
The ‘Chamba Rumal’ implies a visual art form that represents unique embroidery done on a
handspun cloth with an untwisted silken thread, which is greatly inspired by Pahari painting. This
pictorial embroidery was known and practised in some areas of Himachal Pradesh which remained
once important centres of Pahari painting.
The Chamba region has two embroidery streams.
● The first reflects folk style, has small subjects, vivid colours and uneven stitching.
The embroiderer draws the design. The designs in this style are plain and primitive.
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The other is a modern style with a balanced composition, attractive and subtle colours.
And fine lines of intricate double-running stitches or 'Dorukha Tanka' that make a mirror.
The illustration on the other side of the cloth; the picture of what we know today as the Chamba
Rumal.
The spacing of the scene, proportions of the figures and arrangement of elements are admirably
worked out. The motifs are finely manifested with the brilliant composition of colours.
It is said that a 'rumal', was embroidered by Bebe Nanki, sister of Guru Nanak Dev (1469-1539), and
presented to him during his wedding in late fifteenth century which has been still preserved as
documentation in Gurudwara of Gurdaspur
History
Rumal is a Persian word which means a ’kerchief ’, a square piece of cloth worn on the head or
around the neck. Chamba Rumal has a peculiar style, where patterns are made on a square or
rectangular unbleached hand-woven cloth (muslin) with the use of untwisted silk threads and
needles; the thread is popularly known as ‘Patt’
Chamba rumal needlework was developed by combining Pahadi miniature art with embroidery.
The paintings emerged around the third quarter of the 16th century. Rumals of this style were made
in the last of this century in Basohli, but the trend of Pahadi paintings based on Rumals was
developed during 1782-1828 A.D. in Chamba. This speciality called dorukha embroidery (doublefaced), came from Kashmir to take root in Basohli and Chamba, but the inspiration was taken from
the fabled miniature paintings of the region. Trained miniature artists drew the outlines in charcoal
and suggested colour schemes.
Chamba Rumal embroidery is also mentioned in Jataka tales.
Origin
Chamba Rumal emerged when rather than filling colours in the miniature painting, the embroidery
was used instead. Eventually, the concept evolved into what we see as a Chamba rumal. The
vividness and precision of the artwork is close to Pahadi miniatures and murals, it is also known as
“Needle Painting”
The rumals on which the compositions of narrative scenes were created on a single surface
Larger in scale, influenced by wall paintings.
In earlier times before Pahadi miniature paintings, the folk style was seen portraying the everyday
life of a woman
However, the theme of the miniature paintings was based on the pahadi poetry of Krishna and
Krishna.
The feelings and moods of a woman connecting to it
Evolution
In the 15th century, in Buddhist literature, there have been mentions that the embroidery was being
practised in Chamba, Pathankot and other neighbouring remote villages. From the beginning of the
18th century
At the start of the twentieth century, Chamba and its adjacent hill states, such as Kangra and Basohli
formed the centre of the development of rumal production.
Materials
The fabric used as a carrier in Chamba rumal is hand-spun & hand-woven cotton(khaddar) or fine
muslin (mal-mal) of an off-white colour. The off-white base of the fabric highlights the vibrant silken
threads employed for filling up the drawing, or the embroidery work is done on choli, caps or
coverlets; the coarse khaddar; red or blue colour is used for the rumals. The most popular fabric,
employed in Chamba rumals, was khaddar because of its availability, low cost and durability. The
figures, as well as the floral patterns drawn on the Chamba rumals, are filled in with the untwisted
silk floss also known as pat. Sometimes, the women used to get the silk threads dyed selecting the
tones and hues according to their fancy.
The coloured noticed in the Chamba embroidery are purple, brilliant pink, orange, carmine, deep
red-brown, lemon and deep yellow dark green, parrot green and green, ultramarine and Persian
blue, black and white.
Tradition
Gifting embroidered Rumals at a girl’s wedding was a custom as it was an essential part of the
bride’s dowry and the ceremonies were incomplete without it. Brides were considered to be allrounders if they were well trained in the craft of embroidery of the Chamba Rumal. The rumal was
an essential part of the bride’s dowry who was expected to have learnt this craft at a very tender
age.
The rumals were adorned by men and women alike. People of every class produced these rumals
and hung them proudly across their shoulders but those belonging to the elite classes preferred
more intricate, complex and beautiful designs.
Process
Almost all rumals are enclosed by a 2-4 inch wide band of decorative border filled with meandering
creepers that give the rumals a remarkable effect. The borders are formed as a frame for the central
image and serve to improve it. The method of making a Chamba Rumal consists of the following
steps:
● Visualization of the embroidered theme.
● The outlining of the original drawing in charcoal by a professional miniature artist.
● The predetermination of a palette of colors to be used when embroidering the rumal.
● The real embroidery of the rumal by the women along the designs by miniature artists
sketches in charcoal.
Value Chain And Analysis
The value chain of Chamba Rumal starts with the procurement of raw materials that include
malmal. cotton and silk and threads. The raw materials used are procured locally or from
Ludhiana or Delhi. Delhi Crafts Council (DCC) helps in supplying the raw materials to the
artisans. The artisans are also trained by them for value addition.
The other channel is through master crafts persons who are enterprise owners.
The third supply chain is the local traders who largely cater to the tourists of chamba, which
is limited. The local traders provide the fabric (with designs and color scheme) to the
individual artisan who has to invest on threads. The local traders realize the costs through
local sales or through assorted bulk buyers with whom they have created linkages.
The cost of raw material varies from Rs. 200 to Rs. 500 depending on the size and quality of
the raw material used.
The next level of value addition happens at the levels of master craftsperson where he or
any expert miniature painter (referred to as designer) draws the design on the fabric and
elucidates the color scheme. The designer is paid for his inputs based on the details of the
design. The whole process takes a few hours to design. The artisans are paid on the basis of
the pieces they make. The whole process requires extensive training and skilled artisans.
Later these art pieces are sold to cities to retailers to sell in cities.
Techniques
The dyeing is done by embroiderers themselves or by the professional dyers called nilaris.
The dyes are obtained from natural sources like roots and minerals, and the permanency of
colors are achieved from Alum. Some of the dyes used were manjistha (madder) for red,
neel (indigo) for blue, rab (molasses) for blackish brown, naspal (tree bark) for light brown,
kusumba (flower) for orange, kesoolphool (flower) for yellow, kai (moss) for green and iron
scrap for black color (Grewal, 1988).
In the present scenario raw materials such as base cloth, embroidery threads and natural
dyes used traditionally for embroidery were not available in Chamba town. The fabric used
was bleached cotton fabric or polyester instead of unbleached muslin. This fabric with its
machine finished sheen did not add value to the embroidered piece, unlike the hand-woven
fabric with pleasing dimensions. Also, the color of base cloth was not appealing with the
colors used for embroidery. The thread required was untwisted silk floss. Due to its
unavailability the embroiderers were using synthetic twisted yarn after unwinding in a
limited color palette. These were the chief factors which were declining the quality of
embroidered products.
Products
Traditional Products
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Religious offerings to deities.
Covers for wedding gifts
Rumal for the brides.
Wall hangings
Backdrops behind deities in temples.
Embroidered Cholis
Pakkhis(fans)
Small handkerchief
Topies
Contemporary Products
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Sarees, kurtis
Stoles/shawls/Scarves/dupatta
Wall hangings
Jewellery
Bags
Bookmarks
Calendars
Shawls
The shawls have a bright border in traditional design. Such designs have distinct regional
variations. The woven designs are used in making the famous Chamba caps also. “The
shawls have a bright border in traditional design.
Chamba Chappals
These are made by the male members of establishments. As usual, the bottom of the
Chappal is first cut according to required size and shape. The filling with waste leather
pieces is done by glueing the same with paste, made locally known as lati. Thereafter it is
hidden by sticking the lower and the upper portion of the sole with a flat leather cord. After
that the vamp along with the tieing strap is stitched.
Embroidered Chappals
These are also made in the same manner as Chamba Chappals except that the embroidery
on the vamp is done by women embroiderers.
Musical Instruments
Chamba had not only a rich tradition of visual arts but also a tradition of performing arts,
and as these traditions are being maintained today. Musical instruments are made in
Chamba by craftsmen in small studios.
“Singas” or horns, both straight and curved are made in Chamba. “Nagaras” or kettle drums
are also made. Bells of different types are cast and sometimes decorated with engravings.
Cymbals are also made of brass.
Wood Work
Wood carving is one of the most ancient craft in Chamba. Door panels, decoration under
the eaves, and huge wooden statues from olden times are found in Chamba even today.
Wood Carving- Wooden doors and windows, mythological subjects, animal forms, figures,
panels of framed lattice work (Jali) and human figures, furniture, spoons, face masks, table
lamps etc.
Wood Turning- Kunala (big bowl), Kosi (big milk- pot), Parku or Paru (lotus shaped utensils
with lid), Kalas(glass), “Thunti” (handle less cup), Dongri (for storing oil, ghee and honey),
Baringa (water drum with lid), Daglu (small bowl), small round wooden box, table lamp, bed
legs, hukka nari.
Chamba Rumal
The word ‘Chamba rumal ‘implies a peculiar visual art form that represents unique and
charming embroidery done on a hand spun cloth with untwisted silken thread, which is
greatly
inspired from Pahari painting. The drawing was drawn in outlines with fine brush by the
accomplished Pahari painters; sometimes, the female embroiderers would prefer to draw
the patterns and figures themselves. This resulted in two different styles one elegant
and fine in draughtsmanship and the other one somewhat coarse and bold in treatment.
Silk fabric was used generally by the royal clan of chamba for the chamba rumal for
presenting it during the festival times or during the marriage ceremonies. Silk being an
expensive fabric was not used by the common people and considered a symbol of status. It
is an embroidered handicraft that was once promoted under the patronage of the former
rulers of Chamba kingdom. It is a common item of gift during marriages with detailed
patterns in bright and pleasing colour schemes.
Jewellery
Chunky bead and metal jewellery of the hill people is very common as well as popular in
this region. Fine jewellery of Himachal Pradesh is usually crafted out of silver and gold. The
jewellers of Chamba District were famous for their enamelling skills Deep blue and green
colours were used frequently in enamellings. Elliptical anklets, solid iron-headed bangles,
hair ornaments, peepal-leaf-shaped forehead ornaments, necklaces known as chandanhaars
which can be described as a bunch of long silver chains linked by engraved or enamelled
silver plaques and pendants with motifs of the mother goddess are some of the exquisite
pieces they usually make. All the art needs proper craftsmanship and skill as well.
Wall Hangings
The elegance and grandeur of embroidery witnessed patronage of royalty since historical
times. The influence of pahari miniature paintings in its magnificent designs is quite
remarkable. Designs and motifs are so creatively redesigned to suit all walls and spaces. The
play of colors and textures of fabric infuse momentum to this wondrous craft.
Eg. उपासना Filling stitches: Long and short darning stitch
Unique composition of devotion of milk maids in folk style worshiping tulsi plant,
innovatively embroidered against dark background.
Chamba metal crafts
These include items such as metal idols and brass utensils which, historically, were made by
skilled artisans in the courts of kings of Chamba. There are efforts to revive the trade, and a
plate made from a brass-like alloy and having carvings of gods and goddesses is still popular.
Chamba Chukh
It is a chutney made from green and red chillies grown in Chamba and prepared in
traditional and unique ways. The practice has largely declined in rural households of
Chamba but survives to some extent at the small-scale industrial level.
E.g.
Bharmouri Rajmah: It is more specifically called the Kugtalu Rajmah since it grows in the
area around Kugti Pass in the Bharmour region of Chamba district. It is rich in proteins and
has a unique flavour.
Fabrics
Three different types of fabrics, i.e., muslin, khaddar (in plain weave) and silk, were
used earlier for embroidery.
In muslin thread, the embroidery effect was fine, executed and precise in smaller
stitch sizes. It was considered most suitable because the needle could easily move
through it and the effect of embroidery on both sides of the fabric was identical.
Royalty used silk and remained restricted to being used by them as it was costly.
Stitch sizes were larger in khaddar fabric and were considered suitable for easier,
less detailed work or single-sided embroidery for practical purposes. It was difficult
to achieve detailed figures, sharp pointing features of the human face, fingers, etc.
The effect of embroidery in khaddar fabrics was not identical and gaps were visible
between stitches on the reverse side of the cloth.
Earlier, fabric selection was based on cloth availability and social standing. Currently,
tussar and artificial silk, chanderi, cotton blends are also made of rumal. The
introduction of the various types of fabric is due to the aesthetic demand and
appeal or the type of product being manufactured. Nonetheless,
bleached/unbleached muslin is still mostly used.
Motifs
Each motif and object are intended to be a symbolic echo of the situation and does not
merely provide a naturalistic background. The common motifs revolve around the life of
Krishna, different flowers but mostly the lotus, people from the gaddi and gaddan tribe and
the nayak and nayika, different varieties of the phul buti for the borders, scenes of court life,
raga-raginis, bride, groom, parrot, deer, peacock, horses etc adorn the rumal.
Animal and bird motifs along with human figures are used. Bird motifs include parrots,
peacock, duck and swan. Animal motifs include leaping tigers, horses and rams. Tree Motifs
include the cypress and the plantain trees bent, laden with flowers and fruits. The motifs
were usually stylized in nature. The themes are mostly inspired by paintings and depict
scenes from Indian mythology, Ramayana, Mahabharata, Raslila, Krishnalila, Pahari
paintings, hunting, marriage scenes, and game of dice.
MAIN THEMES IN THE EMBROIDERY
Great influence of mythology is seen on the themes of paintings and embroidery. Along with
the themes of mythology, it is observed that Raga Ragini and Baramasa are also used
abundantly. The Rumals display other folk styles like marriage of Krishna and Rukmimi,
Vishnu in a lotus, Ganesha, Vishnu- Laxmi, Pahari women playing music instruments, men
smoking hukka.
SOME OF THE THEMES ARE:
RASAMANDALA: Centre of the theme depicts Lord Vishnu sitting in the padma, the lotus has
four arms, each holding a padma (lotus bud), a gadaa, shankh (conch shell) and his weapon,
the sudarshan chakra.
KALIYA DAMANA: Krishna killing the horrified kaliya kalinga sarpa (serpent), who lived in
Jamuna river
SAMUNDRA MANTHANA: the ocean was churned by Devas(gods) and Asuras(demons) using
a serpent, vasuki as rope and mountain Meru as the churning rod. Both nectar and poison
were the products of Samundra Manthana.
RUKMANI HARANA: The elopement of Rukmini and her marriage is the zest of the theme. It
is an elaborate theme, embroidered on Rumal depicting the various ceremonial activities
performed on one part and preparation of Rukmani wedding on the other.
Theme - Rukmini Haran, 1800, made on muslin
BATTLE OF KURUKSHETRA: Mahabharat is one of the great epics of India and many themes
of this epic are chosen for Embroidery. However, the most commonly found one’s are the
Battle of Kurukshetra and exile of pandavas.
RAGA RAGINI: The popular raga ragini themes that expresses the mode, mood, time, day,
season, month during which the particular raga is being sung.
Embroidery Threads
For embroidery, untwisted silk yarns were used as they gave a smooth finish and uniform
sheen to embroidery that resembled a painting effect.
For synthetic yarns, two strands (doura dhaga) were mostly used for filling and small fine
areas were created using a single yarn strand (ekura dhaga). Four to five silk filaments have
been slightly twisted together in the case of silk thread and used for embroidery. Gold and
silver threads have occasionally been used to intensify the effect of gold.
At present, due to the unavailability of untwisted yarns, synthetic twisted yarn was used to
unwind the er. When goods made from twisted yarns were washed in cold water, the same
result was achieved as in the case of untwisted yarns, DCC again introduces naturally dyed
silk - cotton blend threads.
Stitches
The stitch most frequently used for filling was combinations of satin stitch and darning stitch
in Chamba embroidery to achieve the effect of needle painting.
Three different types of stitches were found in embroidery, namely long and short stitch,
brick stitch, and invasive satin stitch.
Long and short stitches differed further in accordance with their length. The method of
conducting the stitch was the same for short lengths. The length of the stitches ranged from
0.2cm to 0.4 cm. The stitch length was short, due to tightly packed yarns, resulting in a
uniform appearance. The stitch length ranged from 0.5cm to 0.6cm for a medium length.
The stitch length ranged from 0.8 cm to 1 cm or even larger in the long length, resulting in
snagging of the yarns and a wavy appearance. In samples with long length stitches
overlapping of yarns was seen.
In addition, by varying the stitch size, the spacing between the stitches and the number of
yarn strands used for embroidery, variations could be made.
Different stitches were often used together several times, i.e., intruding stitches were mixed
with long and short stitches. It was obvious that for each person embroiderer, differences in
stitches would differ.
Texture
However, large varieties of textures were studied in double sided embroidery. Long and
short darning stitches were used to create textures in folk style, invading satin stitches in
various directions and colors.
Information and meticulous textures were created in the miniature style as an effort to
generate visual excitement and add realism to objects as they exist in nature.
The textures were accomplished by a voiding technique where a narrow gap was produced
between stitch rows. The voiding technique was used without outlining to bring out new
information and different areas. The outline was performed in outer sections only and
details were cleared using voiding within motifs.
Textures were produced by filling the background in the form of motifs, using various colors
to leave them unembroidered or filled. This technique was used to create patterns in
costumes of female forms and horse riders.
Stitch Direction
Stitches are taken in embroidery in the direction of yarns enclosed by a motif that can be
vertical (rask-length), horizontal (aada-width), slant and multiple directions. In folk style
gossip, multiple stitch paths were more widely used.
Outline (hasia) Stitches: outlines have a particular purpose and are used for the highlighting,
separation and definition of designs and motifs in selected areas. Stem stitch was the most
widely used outline stitch (dandi tanka).
In most earlier samples, however, it was noted that running stitch (kacha tanka) was used
for outline. In comparison to the colors used to fill in the figures, colors used for outline
were used. It was done to highlight individual sections and to stand out against the
background figures. Subdued colors were often used to combine with the figures in order to
achieve the entire composition's harmonious blending.
Conclusion
Chamba is known for its art and crafts that reflect the forefathers' ideals, imagination, history,
thoughts and social context. For decades, Indian crafts have made a great contribution to the world
economy and have been recognized globally. The crafts that are part of our rich heritage have been
practiced in families between generations.
With the rise of globalization, however, such patrimonial riches are not sought as an occupation by
modern technologies. A stagnation of native crafts is entirely associated with a slump in the cultural
value that a land holds with a lot of faster alternatives for the intricate, repetitive hand work
available and lack of knowledge among the youth about these timeless jewels.
However, the government, NGOs and self-help groups are taking rigorous steps to revive and
conserve the crafts listed in the paper. These initiatives empower livelihoods in rural India while
giving India's crafts heritage the visibility it deserves.
Initiatives such as craft cluster intensities have many possibilities to expose our traditional arts and
crafts, the lives of rural artisans and the ethos of heritage to the millennials and indeed all Indians. It
motivates us to explore the future scope of the craft and get involved and take the legacy forward
with this rich heritage.
References
● Chamba.pdf
● https://niftcd.wordpress.com/value-chain-analysis/
● chambarumal.pdf