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CHAMBA
 RUMAL


         Arjun k a
         Sumesh b s
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
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.
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.
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.
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
Needle
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.
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
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 .
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.
MOTIFS
PROCESS
 STEP 1:
STEP 2 :




      Outlining of drawing with charcoal by
      the artist.
STEP 3 :




  Do-rukha embroidery done by the women folks.
EMBROIDARY DESIGNS
Dice board
Radha-Krishna
Shikargah
Radha-Krishna
Krishna Ras Leela
Radha-Krishna
Krishna Ras Leela
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
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.
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.
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
Websites



http://www.craftandartisans.com/chamba-rumal-embroidery-of-himachal.html
http://www.mumbaimirror.com/printarticle.aspx
http://niftcd.wordpress.com/chamba-rumal/
http://vibhavari.hubpages.com/hub/Indian-Embroidery-Chamba-Rumal
http://www.himbunkar.com/chamba.html
http://en.wikipedia.org/wiki/File:Chamba_Rumal_.jpg
http://mytextilenotes.blogspot.com/2008/07/chamba-rumal.html
http://www.archive.org/stream/ChambaRumal_709/Chamba_Rumal_1_djvu.txt
http://www.shimlahills.com/chamba-rumals.php
http://www.indiainfoweb.com/himachal-pradesh/arts-crafts/the-chamba-rumal.html

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Chamba rumal

  • 1. CHAMBA RUMAL Arjun k a Sumesh b s
  • 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.
  • 14. STEP 2 : Outlining of drawing with charcoal by the artist.
  • 15. STEP 3 : Do-rukha embroidery done by the women folks.
  • 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