“From royal courts to forgotten weaves”

The story of Dhaka Muslin

The dwindling art and heritage of Chamba Rumal

Himachal Pradesh embraces some ancient customs and heritage which have remained geographically and culturally distinct. The vernacular art of Himachal Pradesh reflects the intertwining of storytelling, geography and history whilst also providing a valuable insight into the social fabric and artistic expression. The Chamba region of Himachal Pradesh is known for its striking embroidery in the form of coverlets and hangings commonly known as “Chamba Rumals”.

The elaborate and intricate compositions on cotton fabrics embroidered with untwisted silk yarns come in a plethora of colours, depicting folk patterns and Pahari paintings. 

Embroidery is one of the oldest and most popular methods of value addition and elegance for fabrics, clothing and adornment. Embroidery is an integral part of Indian culture and has ornamented almost every form of fabric.The value of embroidery is deteriorating due to modernization and automation, with many traditional crafts facing the threat of extinction. Today, only a handful of regional Indian embroideries remain popular and in demand, while the majority are on the brink of disappearing.

The pictorial embroidery and traditional wisdom of the Chamba Rumals  

Chambal rumal employs a visual art form characterised by distinctive embroidery, that flourished in the Chambal district of Himachal Pradesh during the 17th and 18th century. “Rumal” is a Persian term that symbolizes a square piece of cloth traditionally used as a handkerchief in Persian culture worn on the head or around the neck. These handkerchiefs were produced by people from all classes of the Chamba region. These beautifully embroidered rumals were an integral part of the marriage ceremonies. The rumals became one of the main components of gifting or dowry and even brides used to embroider the rumal for their own marriages. Rumals were made in a myriad of shapes; each depicting several layers of meaning and purposes.Square coverlets, called dhaknu, were used in wedding ceremonies for presenting tamol (a gift of dry fruits and coconuts) and for covering ceremonial gifts and offerings to gods and royalty . The subjects embroidered on these rumals often depicted wedding scenes, known as byah by the people of Chamba, reflecting the life and customs of the local society. Chhabu, the circular embroidered coverlets, hold a fascinating cultural significance, particularly in the context of traditional wedding rituals. These coverlets, often made from bamboo baskets like chhad, chhabru, and khari, were not merely decorative items but also deeply symbolic. The til chauli motif, for instance, was associated with dance and movement, symbolizing celebration and harmony, often used to cover chhad—a basket containing the bridegroom’s attire and other personal items. 

The exquisite chamba embroidery was a fitting example of an endearing folk culture of chamba which was patronized by the royalty.Since the embroidery was patronized by the royalty; several rumals had visual depictions of court life and stateliness. 

The influence of paintings also shapes the themes of Chamba Rumal, with a strong focus on depictions of God, particularly Vishnu in his various incarnations, a recurring motif throughout the collection. The inspiration for patterns and designs also stemmed from natural elements like the ripples on a mountain stream, clouds, rainstorms, butterfly wings, snake markings, the interweaving of leaves and branches against the sky, and the colours of the rainbow.The embroidery showcase the craftsmanship,referred to as the “needle miniature of Himachal” or “Pahari Rumal.” Chamba embroidery was not only limited to rumals but was also seen on religious textiles, blouses, apparels and other daily household items.The rumal featured a creamy white base, adorned with detailed depictions of human figures, evergreen trees with colorful blossoms, animals like goats and deer, and a saddled horse known as the rasamandala. Rasamandala was a design symbolizing the cosmic circle or the cycle of life held significance as an omen of fertility, making them particularly auspicious during the wedding festivities. These iconography have been recreated by generations of Himalayan artists.

Rukmini Haran 19th century Fine Muslin Cloth, Embroidered with double satin stitch  Size: 62×64 cm 

Source-Museum, New Delhi

The process behind the execution of the craft-

Chamba embroidery was typically done while seated on the ground, with the fabric held under the knees for tension, without the use of a hoop. To prevent tangling, short lengths of yarn were used, and sharp, medium-length needles with large eyes were preferred. The yarns were delicate, requiring minimal tension to avoid breakage. Maintaining the right tension was crucial for ensuring a neat, even finish on both sides of the fabric. Most articles were worked in single sided stitches excluding coverlets and hand fans. The stitches most frequently used were single sided darning stitch in long and short stitches, satin stitch, stem stitch, chain stitch, double cross stitch and herringbone stitch.

The Chamba Rumal is embroidered using the do-rukha stitch, a double-satin stitch that can be viewed from both sides. This technique involves stitching both backward and forward, covering the fabric evenly to create a smooth, flat finish. The result resembles colors filled into a miniature painting, with no visible knots, making the embroidered piece reversible and visually appealing from either side.

Women often dyed the silk threads in a range of colors based on personal preference, including purple, pink, orange, red, yellow, green, ultramarine, and more. Specific colors are symbolically used: blue for Krishna when he is depicted bare-chested, crimson for his feet, and red, blue, and white for Brahma, Vishnu, and Maheshwara, respectively. The Gopis are typically shown in vibrant combinations of yellow, green, dark pink, or crimson.

With overlapping stitches of various lengths and colours an extremely delicate effect of shading could be accomplished, similar to needle painting.The direction in which long and short stitches fall was very important to achieve the desired effect.

The various factors that resulted in stitch variations for the stitches used include – sophisticated and a skilled administration of the stitches, number of strands of yarn used for embroidery, stitch size and spacing between stitches.The detailed and intricate depictions found in miniature and mural paintings were not achievable in Rumal embroidery due to the limitations of needle art. While painters had the freedom to use brushes and colors, the domestic nature of embroidery restricted its complexity. Despite these constraints, the themes and presentations in Rumals and paintings share notable similarities.

Source-Calico Museum, Ahemdabad, Acc. No. 2845, Source: National Museum, Source: Calico Museum, Ahemdabad, Acc. No. 643

Analysis of stitch direction.

Source- Folk Embroidery, S.Aryan 

Ragamala, Chamba, Himachal Pradesh, 19th century, Fine Muslin Cloth, Embroidered with double satin stitch Size: 63 x64cm. 

Source-Bharat Kala Bhavan, BHU

Concluding remarks –

Handicrafts in the past were a vital part of people’s religious and domestic life and remain so even today in many rural parts. Unfortunately because of various historical and social factors, mainly industrialisation , the art and aesthetics of handmade handicrafts is on a decline.At the start of the 20th century, the rich craft culture of the region began to decline, with the fall in standards becoming noticeable around 1920. This decline was attributed to the loss of court patronage, leading to the diminishing quality and traditional form of embroidery, which eventually became reduced to mere decorative stitching. Other than these efforts, Craft Council of India is also contributing in the preservation and development of this unique art. Today many women embroiderers are associated with this art. They prepare imitations of the antique Rumals, as well as the Rumals with the theme of buyer’s choice, and respectably earn their livelihood through this Centre. They all go back to their native places after one or two years of training. This has motivated the artists of adjoining regions and this piece of art is being produced at commercial level. However, about a decade after India’s independence, the craft of rumal regained attention when the Industries Department of Himachal Pradesh and the Himachal Pradesh Handicrafts and Handloom Corporation took steps to revive and promote this unique lineage of Himachal Pradesh. 

References-

• Kaur, J. (2017). CHAMBA RUMAL: THE PAINTING BY NEEDLE. International Journal of Research -GRANTHAALAYAH, 5(6), 18–32. https://doi.org/10.29121/granthaalayah.v5.i6.2017.1988
• Pathak A., Chamba rumal: Embroideries of the Himalayan region, Annals of the Naprstek Museum, 89-110 (2010)
• Kulkarni, S., Patil, J., Research Development Cell, Lady Amritbai Daga College for Women of Arts, Commerce & Science, Smt. Ratnidevi Purohit College of Home Science & Home Science Technology, Women’s Education Society’s, Wankhede, S., Pathak, P., Dhawad, K., Upadhyay, K., Jharia, H., Wasule, D., Kalmegh, S., Rathi, N., Vali, S., Kellelu, I., Ittadwar, A. M., Chakradeo, U., Marathe, S. R., . . . Kawale, S. (2015). Half yearly Journal of Science, Arts, Social Sciences, Commerce, Home Science & Home Science Technology [Journal-article]. Research Journal, 11–11(2). https://www.ladcollege.ac.in/wp-content/uploads/2024/06/Research-Journal-Vol.-11-No.-2-2015.pdf#page=67