Rumals of Chamba: Embroidering History, One Thread at a Time

Chamba Rumal, a distinctive form of embroidery, originated and thrived in the 17th-18th centuries in Himachal Pradesh’s Chamba Valley. The term “Rumal” derives from Persian, referring to a handkerchief. This craft involves intricate embroidery on square-shaped hand-spun khaddar or fine muslin cloth. These embroidered pieces range in size from small handkerchiefs to towels and even large bed sheets.

These Rumals primarily used khaddar fabric due to its affordability, availability, and durability. The base fabric is typically hand-spun cotton (khaddar) or fine off-white muslin (mal-mal). This neutral background accentuates the vivid silken thread designs.

It was officially designated as “Chamba Rumal” on January 22, 2007, under India’s GI Act of 1999. This registration falls under Class 24 for Textile and Textile Goods, confirmed by the Controller General of Patents, Designs, and Trademarks through application number 79.

One of the most striking features of the Chamba Rumal is its depiction of environmental elements, particularly forest landscapes and the relationship between nature and human rituals. The rumals often feature detailed representations of trees, animals, and rivers, embodying a deep connection to the natural world. These forest motifs are not merely decorative; they serve as symbolic representations of life, fertility, and the sacredness of nature. The stitches used in these designs—primarily the double satin stitch—enable artisans to depict complex and flowing natural forms, with vibrant threads that mirror the lushness of forests and the serenity of natural landscapes.

The environmental motifs on the Chamba Rumal frequently integrate visuals of sacred groves and forested spaces, which were central to the spiritual and cultural life of the communities that produced them. Ritual scenes, such as those depicting episodes from the Mahabharata and Ramayana, are often set within forested backdrops, reflecting the significance of the wilderness in Hindu mythology. The forest is not just a passive background but an active participant in the rituals—trees symbolise divine protection, rivers mark sacred boundaries, and animals represent cosmic forces. The artisans of the Chamba region skillfully incorporate these elements into the fabric, using fine stitching techniques to create textures that evoke the dense canopies of trees, the flowing rivers, and the dynamic movement of forest creatures. This visual dialogue between the natural and the sacred is central to the storytelling function of the rumal, as it creates a narrative space where environmental and spiritual elements coexist.

The use of fine silk or cotton threads in multiple hues helps to create a vibrant depiction of forestry, where the stitches simulate the movement and texture of natural elements. Each stitch is imbued with meaning—whether outlining the branches of a tree or the fur of an animal, the craftsmanship brings the forest to life on cloth. The ritualistic aspect is also emphasised through the depiction of religious ceremonies or festivals, often occurring in forest settings, thus emphasising the interconnection between the spiritual and natural realms. The Chamba Rumal’s embroidery serves as a tactile and visual document of ecological and cultural history, reflecting how forests were not only habitats but also sacred spaces integral to the spiritual practices and environmental consciousness of the community.

Story Of Chamba Rumal

In the heart of the northwestern Himalayas, nestled within the princely hill state of Chamba, a remarkable craft known as Chamba Kasidakari flourished, captivating the world with its intricate beauty. This artistry, famously embodied in the Chamba Rumals, traced its origins back to the town of Chamba itself, a place whose name bore a story as charming as the craft it created.

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 was 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 roots of Chamba Rumal found their nourishment in the fertile soil of the Chamba school of Pahari painting, a tradition that had already capture d the essence of the hills’ beauty on canvas. Yet, it was the reign of Raja Prithvi Singh of Chamba, a ruler adorned with administrative prowess and an unquenchable love for art, that paved the way for the evolution of this handicraft.

Raja Prithvi Singh, a frequent visitor to the opulent courts of the Mughal Emperor Shahjahan, found himself enamoured by the textile art and splendid brocades that adorned the Mughal court. The emperors’ appreciation for textile arts, particularly brocades adorned with intricate figures, led to the commissioning of masterpieces for their nobles and the valorous Rajput chiefs. Among these treasures, Raja Prithvi Singh received royal standards, insignias, and khilats crafted in resplendent brocade.

As he returned to Chamba from these vibrant encounters, the ruler brought with him a handful of skilled artisans from Delhi, their expertise and nimble hands ready to cultivate the arts in the lush valleys of Chamba. These craftsmen, adept in the art of embroidery, embarked on the creation of royal insignias, flags, standards, and textiles that graced the elegant interiors of the royal household. And thus, from the seeds planted by these skilled hands, the Chamba Rumals were born, a testament to the ingenuity of those early artisans.

In the 17th century, the Chamba Rumal embroidery was done by the queens and royal ladies of Chamba for wedding dowries, important gifts and ceremonial coverings.

The spirit of the Pahari miniature paintings, deeply influenced by Mughal miniatures, danced upon the fabric of the rumals that bloomed in the 18th and 19th centuries. It was as if these textiles had captured the essence of a miniature painting and woven it into threads. The renowned art historian Dr Stella Kramrisch marvelled at the Chamba Rumals, noting how they seemed to have translated paintings into exquisite embroidery.

The true flowering of this craft found its zenith during the rule of Raja Umed Singh of Chamba, a patron whose heart beat in rhythm with the miniature artists fleeing the turbulent courts of the Mughal rulers. Under his guiding patronage, this craft flourished and spread its wings, unfurling its splendour for generations to come. The legacy continued to thrive through the reigns of Raj Singh and Chatar Singh, each ruler nurturing the art with their own unique touch. The very inspiration for these remarkable embroideries stemmed not only from the work of the Pahari artists but also from the captivating paintings adorning the walls of the Rang Mahal during Raja Umed Singh’s reign.

The tradition gradually made its way out of the palace walls and began to be practiced by local craft clusters. The Rumals came to be an integral part of weddings, exchanged by the bride and groom’s families as a sign of goodwill.