Whispers of love, strokes of tradition, and threads of devotion come together in the delicate artistry of the Chamba Rumal—a ceremonial cloth that tells tales of royalty, mythology, and resilience.

Legend whispered that the town’s very foundation was inspired by the loving gesture of a father towards his daughter. Raja Sahil Verman, the founder of Chamba, christened the town in honour of his beloved daughter, Champavati. It was her gentle touch, it is said, that pointed to the spot where the town would rise. Little did they know that this town would one day become the cradle of an enchanting art form — the Chamba Rumal.

Origins Rooted in Royal Patronage

The roots of Chamba Rumal found nourishment in the fertile soil of the Chamba school of Pahari painting — a tradition that had already captured the essence of the hills’ beauty on canvas. But it was during the reign of Raja Prithvi Singh, a connoisseur of art and a keen administrator, that this embroidery style began to blossom.

A frequent guest at the court of Mughal Emperor Shah Jahan, Raja Prithvi Singh was deeply influenced by the intricate textile arts and splendid brocades he encountered. Inspired, he brought back to Chamba a handful of skilled artisans from Delhi. These craftsmen began producing royal insignias, flags, and embroidered textiles for the palace — planting the seeds of what would become the Chamba Rumal.

A Craft Honed by Royal Women

In the 17th century, the queens and royal ladies of Chamba began to embroider these Rumals, mainly for wedding dowries, ceremonial gifts, and ritualistic purposes. The delicate designs drew inspiration from the vibrant Pahari miniature paintings, which in turn were deeply influenced by Mughal artistry. By the 18th and 19th centuries, these embroidered masterpieces resembled paintings in thread — a detail that captivated art historian Dr. Stella Kramrisch, who remarked on their painterly elegance.

Patronage and Flourishing Under Raja Umed Singh

The true zenith of Chamba Rumal embroidery was witnessed under Raja Umed Singh, whose patronage provided sanctuary to miniature painters fleeing the declining Mughal Empire. These artists brought their refined aesthetic to the hills, influencing the motifs and themes of Chamba embroidery. The paintings on the walls of Rang Mahal and other royal structures inspired new designs, and under successive rulers like Raj Singh and Chatar Singh, the craft continued to evolve.

As time passed, the embroidery moved from royal palaces to local homes. It became an essential part of traditional wedding ceremonies, symbolising goodwill between families.

Rich Embroidery Techniques

The Chamba Rumal stands out for its unique embroidery style — primarily the do-rukha stitch, which ensures that the design appears identical on both sides. This reversible art form uses a stem stitch to outline figures in glossy black silk threads. Alongside this, artisans employ a blend of cross stitch, herringbone stitch, buttonhole stitch, long and short stitch, and pattern darning, giving each Rumal depth and texture.

What truly sets this embroidery apart is the absence of visible knots, rendering the piece flawless from both sides.

Captivating Designs and Symbolism

Each Chamba Rumal tells a story. Popular themes include:

• Ras Mandal (Krishna’s divine dance)
• The Shiva family
• Hunting and wedding processions
• The Dasavatara (Ten Incarnations of Vishnu)
• Tales from the Bhagavata Purana
• Nayika-Bheda (types of heroines)

These embroidered tales are not just artistic expressions but are steeped in spiritual and cultural symbolism.

Recognised Global Heritage

The fame of the Chamba Rumal transcended Indian borders. These embroidered masterpieces are now preserved in museums across the world. A Rumal embroidered by Bebe Nanaki, sister of Guru Nanak, is preserved in Gurudwara Hoshiarpur, while another, depicting the Kurukshetra War, was gifted by Raja Gopal Singh in 1883 and now rests at the Victoria and Albert Museum in London.

In recognition of its artistic and cultural value, UNESCO granted World Heritage status to Chamba Rumal on October 31, 2008.

Moreover, the Chamba Rumal received the Geographical Indication (GI) tag on January 22, 2007, under the Geographical Indications of Goods (Registration and Protection) Act, 1999, securing its authenticity and heritage value.

Decline and Revival

After India’s independence, the loss of royal patronage and commercialization led to a decline in quality. Flooded with cheap imitations, the craft faced near extinction. But in the late 1970s, revival efforts spearheaded by Usha Bhagat, a close associate of Indira Gandhi, began to turn the tide. Under the guidance of the Development Commissioner for Handicrafts (DCC), original designs were sourced from museums, and local women were retrained in traditional techniques.

Lalita Vakil, a dedicated revivalist, played a pivotal role in preserving the legacy. For her efforts, she was honoured with the Nari Shakti Puraskar in 2018, presented by the President of India.

Cultural Significance

• Ceremonial Use: Traditionally exchanged during weddings and auspicious occasions as a symbol of goodwill.
• Heritage Symbol: A representation of Himachal’s rich artistic past and a legacy passed through generations.
• Global Recognition: Celebrated by collectors, museums, and UNESCO for its uniqueness and cultural depth.

Conclusion

The Chamba Rumal is more than just embroidery — it is a bridge between the past and present, between royalty and folk traditions, between painting and textile. As artisans, institutions, and communities come together to preserve and promote this heritage craft, the Rumal continues to flourish as a beacon of India’s rich cultural tapestry.

Let the threads of Chamba Rumal remind us that while time may pass, art, when nurtured, never fades—it only evolves, carrying with it the spirit of those who dare to dream in silk and thread.

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