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    Chamba Rumal

    Uploaded by

    Archana Archie
    Chamba rumals originated in the hill states of northern India and reflected the artistic styles of Pahari miniature paintings. They were traditionally created by upper class women and exchanged between families. The cloth was handspun cotton or silk and motifs from local folklore and religion were embroidered using double satin stitch. Rumals depicted scenes from Hindu scriptures and the lives of royal families.

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    Attribution Non-Commercial (BY-NC)
    Download as PPTX, PDF, TXT or read online from Scribd

    Chamba Rumal

    Uploaded by

    Archana Archie
    525 views20 pages
    Chamba rumals originated in the hill states of northern India and reflected the artistic styles of Pahari miniature paintings. They were traditionally created by upper class women and exchanged between families. The cloth was handspun cotton or silk and motifs from local folklore and religion were embroidered using double satin stitch. Rumals depicted scenes from Hindu scriptures and the lives of royal families.

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    Chamba rumals originated in the hill states of northern India and reflected the artistic styles of Pahari miniature paintings. They were traditionally created by upper class women and exchanged between families. The cloth was handspun cotton or silk and motifs from local folklore and religion were embroidered using double satin stitch. Rumals depicted scenes from Hindu scriptures and the lives of royal families.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
    525 views20 pages

    Chamba Rumal

    Uploaded by

    Archana Archie
    Chamba rumals originated in the hill states of northern India and reflected the artistic styles of Pahari miniature paintings. They were traditionally created by upper class women and exchanged between families. The cloth was handspun cotton or silk and motifs from local folklore and religion were embroidered using double satin stitch. Rumals depicted scenes from Hindu scriptures and the lives of royal families.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
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    CHAMBA RUMAL

    Cliquez pour modifier le style des sous-titres du masque Done by Aparimitha. Shinde Archana. H Shreen. Vinod

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    CHAMBA RUMAL

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    originated in the erstwhile princely hill states of Chamba, Kangra, Basohli and nearby states. Reflected artistic styles of Pahari miniature painting. done by the upper class women of royalty. Traditionally the rumals were exchanged between the families of the bride and groom. miniature artist -draw the theme of the rumal in charcoal-provide guiding colour schemes.

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    Fabric was handspun unbleached mulmul or fine Khaddar. Traditionally the base cloth used was of two types of unbleached cotton cloth, first one being light weight, fine, delicate, cambric like, manufactured in Sailkot, Amritsar, Ludhiana; second being handwoven, coarser, relatively heavier Khaddar, however Tassar silk was also used in white and cream shades. In later time the ground fabric used can be terycot, organdie, linen, poplin and muslin. Embroidery was done in double satin stitch called dorukha. The stitch was carried forwards and

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    Rumals were expressions of the life of the common man. rumals are usually square pieces of cloth, beautifully embroidered, and used to cover gifts and offerings. The artists chitra used to prepare the designs for rumals, who had sufficient knowledge about pahari paintings started using the motifs from the paintings, they not only drew the motifs also guided the women about the color combination.

    Motifs and Stitches

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    Reflecting back in to the Pahari embroidery, almost all the motifs namely human figures, birds, flora & fauna were highly stylized and disproportionately drawn. Colors used were very bright, bold and brilliant. The Pahari style was evolved by the ladies of Chamba and their attendants, which led to the complete development of images of the miniatures, the folk style was replaced by subdued colors in the 19 th century and got

    Motifs and Stitches

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    the infinite shades and tints of bright brilliant and contrasting colours were used. Most commonly used colours are red, yellow, green, blue, crimson and purple. Blue is always used as krishna; red, blue, and white colors are used for the brahma, vishnu and mahesh respectively. Gopis in vivid colors of yellow and green or dark pink or crimson combination. The

    Stitches

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    The embroidery is done with double satin stitch done both ways, where the effect is reversible. It is so fine that not only the background is hardly visible but it is very difficult to identify the right side, since the work is never started with a knot but with a back stitch and the threads are never joined with knots either. It was also observed that in some of the old wall hangings chain stitch was used for outlining as well as filling the motifs, in which it is easy to make out as to where the artist stated from. However, chain stitch was not used on

    Motifs

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    A greater population of Himachal Pradesh are Vaishnavas, believers of lord Krishna, the reincarnation of lord Vishnu. The motifs are collectively brought from the life history of lord Krishna. There also exists a compatibility between the movements of the human and the animal motifs in the needle

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    Motifs, in Himachal embroidery consists of symbolic animals like leaping tigers, running goats, cantering horses, fleeting rams, jumping deer, etc. along with these the bird motifs comprised of peacock, sparrow, or parrots. Sometimes these motifs are used to fill up the empty spaces. Rumals comprised of elliptical framework having two to three inches of floral bodies on all four sides. Centre of the rumal has creeper and guldastas are in the corners. Sometimes the complete

    Themes

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    RASAMANDALA this theme depicts the stories about Lord Krishna and Radha together . KALIYA DAMANA this theme depicts the stories of Lord Krishna slaying the demons. SAMUDRA MANTHANA this theme depicts the stories of Lord Krishna capturing the 7 headed water snake. RAGA RAGNI this theme depicts the 4 ragas(songs).

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    RUKMINI HARANA this theme depicts the stories of the incidents that happened on rukmanis wedding . BATTLE OF KURUKSHETRA this theme depicts the stories from the mahabharat. ASHTA NAYAK this theme depicts the mood swings of the male and a female relationship. MINJAR MELA JALUS this

    THE HOUR OF COWDUSTa scene from Bhagavat purana

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    It is the hour before dusk when the cows are brought home to the village by the cowherds of Vrindavan. Below, in the centre Krishna stands holding his flute, talking to Radha, who carries a lata which she has just filled from the river Jamuna scene below. The rumal is bordered by a formal leaf scroll bearing

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    COVER (RUMAL) Cotton, embroidered with silk and silver-gilt thread. Chamba, 18/19th century POET PRESENTING HIS MANUSCRIPT TO HIS PATRON

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    In the centre, a poet presents his manuscript to his patron. Between them is a lotus leaf bearing two buds and an open flower, above is the sun. Attendants stand by, bearing peacock fly-whisks and fans, and women dance before them to the music of two drummers. The field is filled with banana trees, and birds fly among the devas. The panel is surrounded by a

    LORD GANESHA

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    In the centre is the god Ganesha seated on a lotus, and in each corner is a palm tree. In one scene , two peacocks face the tree, in the second a pair of monkeys, in the third, a pair of deer are seated facing the tree. The fourth scene is derived from the story of laila and majnun. The rumal is surrounded by a border of of cusped arches, within which are small formal flower sprays.

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    THANK YOU
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