Introduction
India has had a diverse cultural heritage when it comes to traditional textiles and among them is the Chamba Rumal. This form of art work is not just a piece of fabric, it blends embroidery, miniature paintings into a single textile masterpiece. This originated from the Chamba region of Himachal Pradesh, these rumals were once used in royal and ceremonial settings which were of symbolic significance. This art is deeply rooted in Pahari miniature art. These rumals were made in square or rectangular shapes and embroidered on soft, muslin or silk. They were often given as gifts during important occasions like weddings, religious offerings at temples, or between royal families.
Origin and History
Chamba Rumal originated back to the 17th century and is connected with the rich cultural and artistic traditions of the region. The term “rumal” which translates to “handkerchief” in Hindi, but within the art, it was mentioned to as embroidered textile used in rituals and special events. The art form flourished under royal patronage, particularly during the reign of Raja Umed Singh of Chamba (1748–1764). The rulers of Chamba encouraged local artists to blend the Pahari miniature painting (a style of distinctive form of painting that originated in the Himalayan region) with fine embroidery. This resulted as the Chamba Rumal emerging as a unique combination of storytelling and textile art. Artists would first sketch scenes or decorative motifs on cloth using charcoal or ink. Then these outlines were then embroidered with silk threads using a special double satin stitch technique (do-rukha).
Traditionally, women from royal and noble families practiced this art, created rumals as part of a bride’s wedding gift or as offerings to temples. The embroidery often displayed scenes from Hindu epics like the Ramayana, Mahabharata, and Bhagavata Purana. With time the craft spread beyond and was used by skilled artisans in local communities. During the colonial period, interest in Indian handicrafts grew, and Chamba Rumals were collected by British officials and displayed in exhibitions.
How It Flourished
This artwork had been supported by the royal patronage, and specific karkhanas (workshops) were established in town of Chamba. These centers trained artisans in painting and embroidery, helping standardize motifs and techniques. The inclusion of women particularly from elite families which helped maintain and spread the craft across generations. During the British colonial period, several pieces were collected and sent to museums and exhibitions in England and other parts of Europe. These early exports were limited but still laid the foundation for future recognition.
Current Status of Chamba Rumal
With the 20th century there was a gradual decline in traditional patronage given, but there were revival efforts made in the post-independence. The efforts done by Kamaladevi Chattopadhyay and institutions like Crafts Council of India in the 1970s played an important role in the recovery of the artform. It was showcased in national and international exhibitions, bringing its unique embroidery and narrative motifs to a global audience. In 2007, the Chamba Rumal was given Geographical Indication (GI) status, which officially recognized it as a special art form.
Motifs
Mythological theme
One of the most common motif is mythology. There are scenes from Mahabharata, Ramayana, Bhagavad Gita, and Krishna Leela which are commonly see on the rumals. One popular depiction is the Raas Leela, where Krishna is shown dancing with Radha and the Gopis are in a circular setting.
Nature
Another theme for the motifs was nature, rumals often featured nature-inspired motifs such as peacocks, lotus flowers, cows, elephants, and trees. These were not merely decorative but symbolic of scenes around them.
Border Patterns and Geometrical Designs
The borders were typically embroidered with repetitive geometric patterns or stylized floral vines, framing the central piece. These followed a uniform pattern, which were taken from the regional models and artisan tradition. The double satin stitch technique, or do-rukha, ensures that the design looks nearly identical on both sides which is something rarely found in other textile traditions.
References to Pop Culture
The Chamba Rumal has been presented in several documentary films and art cinema. The Doordarshan series “Bharat Ek Khoj” which shown traditional Indian crafts, including embroidery highlighting the Chamba Rumal in an episode on Indian textiles. The documentary “Threading the Past: Chamba Rumal” (2005) produced by Doordarshan also provides an understanding into the historical and cultural significance of this textile. It interviews artisans and showcases rumals preserved in museums.
The Fashion Design Council of India (FDCI) has also supported exhibitions and runway shows promoting traditional crafts, including the Chamba Rumal, as part of the “Crafts Revival Movement.” International museums like the Victoria and Albert Museum, London and National Museum, New Delhi, feature these in their South Asian textile collections. These displays have contributed to preserving and creating interest in the art form.
Conclusion
Chamba Rumal is one of the examples of India’s evolving culture and textile work. It was once rooted in royal patronage and has evolved to a medium of storytelling, artistry, and cultural preservation. Through its history, the Chamba Rumal has had multiple purposes it has been a ceremonial gift, a religious offering, a canvas for storytelling. From the royal courts of Himachal to modern museums and art galleries, the journey of the Chamba Rumal shows its adaptability and to appreciate the fine work. Even facing a period of decline because of industrialization and loss of patronage, the art form has seen significant revival through efforts by the cultural institutions, NGOs, and dedicated artisans who recognized its value as a national treasure.
Today, the Chamba Rumal is celebrated not only for its beauty but also for the cultural memory it carries. Preserving and promoting the Chamba Rumal is not just about saving a textile craft it is about protecting a rich cultural language that speaks through threads and stitches. As more people become aware of the need to protect traditional arts, the Chamba Rumal stands as a example of how history and artistry can be woven together into something truly enduring.
References
https://homegrown.co.in/homegrown-voices/chamba-rumal-inspired-by-pahari-painting-is-a-unique-kind-of-himachali-art
Chamba Rumals: Painted Embroideries or Embroidered Paintings?
https://thebetterindia.com/95481/chamba-rumal-himachal-pradesh-craft-embroidery/
https://www.sahapedia.org/chamba-rumal-interplay-literature-and-paintings