Metal Craft
Embroidery
(Chamba Rumal)
Wood
Carving
Painting
Basket
Making
Pottery
or Earthenware
Weaving
Jewellary
Chamba
Chappal
Dress & Ornaments
People
& their Life Style
Fairs
& Festivals
One
of the most interesting crafts of Himachal Pradesh is the art of
metal craft Chamba was foremost centre of metal casting the
temples of Bharmour and Chamba are embellished with life. Size
bronze 
sculptures
possessing high quality workmanship. The tradition of bronze
casting was introduced by the Kashmiri
artisans, hence, apparent. Kashmiri influence on these Chamba
bronzes is cleanly discernible. Lakshmi
Devi, Ganesh and Narsimha bronzes in Bharmour and Harirai and
Gauri Shankar at Chamba are the
marvels of the Bronze Sculptures.
The
method of casting of images in Chamba is Cire Perdu, the
lost wax process. The image is first made in wax and then a thin
coating of clay is given to the wax model, keeping a hole for
pouring the metal in. After burning the clay-covered mould, the
melted metal is poured in the hollow of the mould and hence image
assumes from. After the image has been taken out of the mould, and
then image is chiseled and finer details are carried out.
Sometimes eyes are inlaid in silver.
Some
craftsperson still, are practicing the art of metal craft in
Chamba. Sarna was such an accomplished artisan who made several
images in Chamba. The tradition is further revived by Prakash
Chand, Hakam singh, and Ramesh Chand who are renowned sculptors.
Parkash Chand and Hakam Singh are the recipient of the prestigious
National award for their excellence in the craft.
The
Chamba rumal conjures up an image of a finely embroidered miniature
painting. The tradition of Chamba rumal has been practiced in Chamba &
neighboring states. In the mid eighteenth century when the art of painting
was at its zenith, the women started embroider the figurative motifs. With
the course of time this craft was developed in Chamba and flourished in the
adjoining areas. These rumals are done on a 
squarish
pieces of fine muslin cloth with vivid silk threads. Firstly, the painter
used to device a design on a course loin cloth with black lines and then
women used to do embroidery work according to his instructions. The
stitch employed in the
embroidery is called "Do-rukha" means Double satin stitch which
comes out exactly
identical on the both sides.
Ladies
of the noble families in Chamba used to embroider the rumal during their
pastime. They also used to give the embroidered pieces to their daughters as
an important item of the dowry. Some times these rumals were also gifted to
the deities in the temple.
Rasamandal
was the famous subject of the Rumal however, hunting, Nayika Bhed, Shiva
family and Mahabharata were other popular themes.
The
tradition of Chamba Rumal is still alive in Chamba and a number of young
girls are engaged in producing beautiful Rumals. Kamla Nayyar is such an accomplished
embroider who has contributed a great role in the revival of
the tradition of the Chamba Rumal. Masto Devi, Poonam and Lata are other
gifted girls who are devoting their time for preserving this rich heritage.
The
tradition of woodcarving goes back to 7th – 8th century
AD. The temples of Lakshna D
evi
in Bharmour and Shakti Devi in Chattrari are embellished with highly
intricate woodwork done in
a classical manner of the post Gupta period. Deodar wood is chiefly employed
for wooden architecture of the temples as well as local houses. Later wooden
temples of seventeenth century are also decorated with figurative kind of
work, displaying the strong influences of the Chamba school of painting.
Some devil masks are also preserved
in Chamba museum which were used in dance in temple complex of Chattrari.
The
Chamunda temple of Devi Kothi (Churah) Shakti Devi temple Ganda dehra and
Chamunda Devi temple of Chamba town are famous for their exquisite wooden
relieves depicting the themes of Hindu mythology and folklore. The remains
of the State Kothi Bharmour are now preserved
in the Bhuri Singh Museum, Chamba .
Mohd.
latif is such one craftsman who has received National award for the making
of the replica of a door of Bharmour Kothi. Latif hails from the family of
traditional carpenters and his father Miran bux was also a good craftsman.
The
activity of painting in Chamba continued in to the nineteenth century and
Sikh influence in the colours, facial features and dresses of the figure can
be seen in the paintings executed in the last quarter of 18th
century. The tradition of painting in Chamba was dying gradually however,
the real blow to use this art activity came with the advent of photography
and oil painting techniques. The availability of the cheep aniline colours
in the market of, Punjab, Changed the character of traditional painting and
brought about the end of the great of the tradition. A portrait of young
Raja Sham Singh, now in the Bhuri Singh Museum, Chamba depicts the change in
the style prevalent in Chamba by the end of nineteen century. The painters
however, continued to execute painting in some particular forms, which were
required for various religious and social rituals.
Bangdwari
is such a traditional painting work, which is done on the either sides of a
door during wedding ceremony in Chamba. Several figures of Hindu Gods and
Goddess together with Ganesh at top are still painted in this ritual
painting. Sohnu and Jawahar were such local painters who were actively
painting through in a fine manner, in Chamba by beginning of present
century. Their works are also preserved in the BSM Chamba. Hira Lal and Prem
Lal were also traditional painters in Chamba who kept the art of painting
alive in Chamba until third quarter of the present century. The sons of Prem
Lal, the painter, Ami Chand ,Hans Raj and Prakash chand are also painters
and are still practicing their ancestral profession in Chamba town. Vijay
Sharma is another young man who paints in different styles of Pahari
painting and has received the National award in 1990.
Basket
manufacturing is intimately connected with daily life of all Pahari people.
It is one of the most widely practiced craft in Chamba also. Various
functional objects like sturdy bowls, trays and baskets of different shapes
and sizes with graceful handles are being manufactured here. The large
conical basket known as kilta or kultu in common parlance, is
required by all farmers for carrying heavy loads. Baskets are also used for
storing food grains and other household articles. Besides, winnowing fans, pinjras
(cage) and chhatroru (umbrella) are also made.
Basket-making craft is mainly done by the traditional professional people
called Dumanas. They work on bamboo grass or seed willow branches. The grass
used in Chamba for the purpose is known as niru which is short, fine
dull, green and growing abundantly in Bharmour and Chamba. Attractive
cushions, binnas, chatai are prepared with this grass and are used
for sitting purpose. The village women irrespective of caste are also adept
in this craft. The basket weavers adopt the usual method of coiling,
plaining, intertwining and interlacing.
Pottery
is a poor man's art for livelihood. Pots of different kinds and sizes are
made out of clay to meet the storage needs of the people. The clay is
abundantly available in Chamba as elsewhere in the state. This occupation is
traditionally with the people of Kumhar caste. Because of their creative
skill, they are also regarded as Prajapati. The origin of this art/ craft
can be traced back to Neolithic period when the man first
felt the necessity to store water and grains etc.
The Kumhars of Chamba are expert in making pitchers and surahis for
storing water, vessels and jars for storing grains etc., utensils
like handis with lids for preparing food, receptacles for food like
bowls, cups, katoris, basins etc. The toys of different types for
entertainment and earthen lamps for lighting purpose are also being made.
Some of these pots bear different kinds of paintings, motifs, decorations
and floral designs.
Weaving
in Chamba like in other hilly districts is one of the most important craft
which evolved in to an extremely fascinating craft as family units and
professional weavers handed down these techniques over the centuries. This
occupation was traditionally with the people belonging to Scheduled Castes.
The profession has now been picked up by almost all castes. Brahamans of
Chattrari and Muslims of Kihar have come to be known for doing all kinds of
weaving.
Due to perishable nature of the material, ancient specimens of fabrics have not survived till date. There is hardly any archaeological evidence of preserving these specimens but there are references to woolen wraps in Pahari folk song. Sir George Watt, Director of exhibition of Indian Art held at Delhi in 1903, makes a special reference to a black Pashmina shawl belonging to the royal family of Chamba woven by the court weaver in the year 1750 during the reign of Umed Singh. Shawls, blankets , thobis, pattus, pattis, loia etc. are the products of weaving which are traded after meeting the family needs.
Jewellary
and ornaments are fashioned by the suniars (goldsmiths) all over the
State. In Chamba little historical evidences are available to attest to the
antiquity of this craft of pahari jewellery. The only available evidence to
the ornamentation are the metal, wood and stone sculptures dating back to
7th centaury A.D. onwards Bharmour and Chattrari where female figurines in
Pahari miniature paintings are depicted with elaborate ornamentation like
necklace with circular beads, dodmala,
karanphul, jhumkha,
champakali and
chandrahar commonly worn by Pahari women.
The
Gaddi women are found of jewellery of both gold and silver and load
themselves with ornaments comprising of silver hairclips, ear-rings, large
nose-studs, nose-ring and hand ornaments. They also wear chandrahar,
jo
mala, head necklaces and kapoor mala. A special feature of the
Gaddi jewellery is the champakali haar and the Sabi necklace with a
pendant affixing a miniature painting of Shiva and Parvati. The woman of
Pangi do not wear ornaments on head and feet. Karanphul, jhumku,
silver or gold ear-rings, hairpins, karu, nose-ring or stud, bead necklaces,
closefitting necklace, gal pattu are the chief ornaments. the Churah
women wear all these ornaments and in addition they also wear coral
necklaces. The women of Chamba and Bhattiyat wear almost the same ornaments
as in the adjoining parts of Kangra district.
Chamba
is famous for hand-made chappals. This trade is concentrated in the hands of
cobbler families. It is said that once upon a time Chamba had no tradition
of leather shoes and they wore crude grass shoes. Things changed when a
princess of Kangra was married in royal family of Chamba. The princess
brought a cobbler family to Chamba as a part of dowry and with this came the
culture of leather shoes.
The craftsman of this trade use lather of sheep, goat and calf skin for the purpose. The striking feature of Chamba chappal is the embroidery done on them. The embroidery is done with silk and golden threads called russi - tilla. The motifs usually are of lantana flower and leaves. A unique pair of leather shoes with zari belonging to royal family of Chamba is preserved in Bhuri Singh Museum. leather embroidered belts are also commonly worn by the local people.