STUDY AND SURVEY OF CRAFT AND DOCUMENTATION CHAMBA. DEPARTMENT FOR FASHION AND LIFESTYLE ACCESSORY DESIGN BATCH 2017-21 Submitted By : AAKANKSHA ARORA AKILSHA K.S MOHIT RAJ SHWETA BHOGAWADE SHIVAM NAYAR SREJAN SHARMA Copy right @National Institute of Fashion Technology, Year 2019 All rights reserved: no part of this book may be produced, stored or replicated in retrieval system or transmitted in any form, electronic or mechanical or otherwise without prior permission from National Institute of Fashion Technology. Except by a review/reader who wishes to quote brief passage in connection with a review/essay Written for inclusion in a periodical, newspaper or broadcast.
ACKNOWLEDGEMENT
Conducting this project would have been impossible without the support and contribution of the individual and organisations. We would like to express our profound gratitude to the Director and authorities of NIFT, Kangra. We are also highly grateful to our respected faculties for their guidance, encouragement and constant monitoring throughout the course: Mr. Sandeep Sachan (Course Coordinator, Fashion and Lifestyle Accessory Department) Mr. Haji Badshah Miyan (An Empanelled Designer) Mr. Vijay Sharma Mr. Manoj Sharma (Founder of Not on Map) Mr. Surender (Technical Assistant of Bhuri Singh Museum)
We are thankful to the artisans of Miniature painting and Stone Craft, Pine needle and Horse hair craft who have indeed contributed their time, knowledge and skills. Lastly, we are grateful to all of them for their immense support during the period of our assignment.
NOTE OF THANKS
We would like to thank Shri Haji Badshah Miyan who has been recognized for his skills as a Master Craftsman in the craft of tie and dye and showed us the myriad of examples of Indian tie dyeing. He has received a Shilp Guru Award for the the year 2014 for his extensive work and research in tie and dye Leheria, with natural and herbal dyes from the then president Pranab Mukherjee. The Shilp Guru Awards are awarded to a craftsperson only once in a lifetime, to encourage master craftspersons to maintain excellence in craftsmanship and keep alive our old tradition. The Award consists of a gold coin, Rs. 2,00,000/- in cash, a Tamrapatra, an Angavastram and a certificate. We had the opportunity to learn the craft of tie and dye using natural dyes not only on fabrics but also on pine needles as a part of design innovation. With his extensive 45 years of practice, expertise and guidance we were able to carry out a process which has not been done before. It was a rare opportunity for us to learn the art from the master of the field himself. We would like to thank him for accompanying us to our trip to Chamba and being a part of this Craft Cluster initiative and sharing his knowledge in documenting various crafts of Chamba.
PREFACE
Achamba is not just a result of six people visiting a beauteous valley Chamba, but the countless artisans who accepted these students as their own poured out there hopes, dreams and most intrinsically, their craft. -A craft they believe is a faculty presented to them by Gods, a craft they have nurtured for past few years. The Craft Cluster initiated in the curriculum of NIFT involves, going to an assigned place, learn and study the native crafts of the place and their environment and neighborhood. The aim is to study the origin, techniques, historical implication, use present scenario of the craft and finally applying design innovation for the revival and promotion of the craft.
BIBLIOGRAPHY
A DYING CRAFT MATERIAL AND PROCESS Artisan Profile
HORSE HAIR CRAFT History
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ARTISAN PROFILE SWOT Analysis
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INTRODUCTION
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CRAFTS OF CHAMBA
MINIATURE PAINTING
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Introduction History and background Material & Process
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SWOT ANALYSIS Artisan Profile
PINE NEEDLE CRAFT
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About Pine Needle Material and Tools Process Technique Product Range Artisan Profiles SWOT Analysis Present Scenario
STONE CRAFT History Material & tools
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‘‘Chaugano, Ravi Nadi ra kinara, Gaddi nacho Ri Shobha nachde, gande, haasda khelda jinhe sari jindari Bitayi re raani chambyali Ra desho ebe baazi Navi badhai re Raani raana re rohe na rajo , bane sane thogade raaje koi na eba bhookhiye sooto, khole bhurvuye naaje’’.
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ABOUT CHAMBA
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INTRODUCTION “Chamba shahar nangina janaa ek din tey jandaa mahi-na� (chamba is a gem of a town, you go there for a day but stay on for a month) In conformity to the ancient Vedic precept the town of Chamba is located on the right side of the river Ravi when it takes a turn towards the north (uttarvahini).The Hindu texts speak of the northern direction as the most sacred where the celestial regions lie. The enchanting valley through which the Ravi river flows was formed during the Pliocene period when the river dug deep into the narrow gorges cutting through the accumulated glacial matters leaving above the beautiful terraces and flat-topped places. On one such river terrace the beautiful valley of Chamba is located. The valley is spread below the towering mountain of Kailash,The jewel of mighty Himalayas, the abode of Shiv supervening the life of people with his benign grace and manifesting himself into numerous Shivlings strewn across the region which justify the name of Chamba as Shivbhumi. What with the tribes leading a life based on transhumance, the colourful costumes and rich jewelery, the history and culture of this region, the flora and fauna, Numerous Inscriptions on metal and stone, the ancient monuments, the charms of Chamba are endless. In poets imagery, Chamba is Achambha. But like any other Mountainous region of the world, one of the major Contributors to Chamba’s history has been its geography. The mountains acted as two-edged swords imposing isolation and presenting barriers. Perhaps the loveliest valley of himachal, is a treasure trove of scenic attractions, sparkling streams, primeval lakes, meadows, dense alpine tree covers, rich wildlife and fertile valleys. At the crossroads of dhauladhar and zanskar ranges, the region borders jammu & Kashmir and is the northernmost district of the state. Fast flowing streams drain into river ravi on the southern side and into river Chenab on northern fringes.
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History The origin of Chamba is not known definitely but it came into existence around 6th Century AD out of the turmoil caused by invasions of tribes from the northwest of India and the consequent disintegration of Gupta empire. Meru, who was a Suryavanshi Rajput migrated from Ayodhya is said to be the founder of the state. The consequent disintegration of the Gupta empire gave birth to the original town of Chamba. Raja Meru founded his capital at Bhrahampura (Bharmour). Chamba was considered an important center for Pahari paintings and it was a part of an Important trade route Connecting Delhi and Kashmir. When Raja Sahil Dev Varman came into accession, he made Chamba his Capital.
Geography And Demography •LATITUDE – 32°11’ & 33°13’ NORTH •LONGITUDE – 75°45’ & 77°33’ EAST •CLIMATE- Winter-Comes down to 0° or even lower - Summer- 15°C - 20° •RAINFALL- 1264.4 mm •RAINY SEASON- June to September •LANGUAGES – Gaddi, Hindi •POPULATION- Male- 2,61,320 -Female- 2,57,76
How To Reach? BY AIR: The nearest airport is at Gaggal, which is 144 kms away from Chamba . Other airports are Amritsar and Jammu airports with distances of 157 and 122 kms respectively. BY RAIL: The nearest railway station is at Pathankot, which is 120km from Chamba. BY ROAD : Himachal Road Transport Corporation runs long distance throughout the state from their main stands at Shimla, Solan, Kangra, Dharmshala and Pathankot and from a location in the adjoining states of Delhi, Punjab, Haryana and Chandigarh. Private buses, serving everywhere else, frequent and provide a relaxed mode of commuting . Taxis and traveler buses too serve as the mode of travel.
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CHAMPA TREES: Chamba was won from other Kshatriya in battle where the trees of Champa were in abundance. It was protected by worshipping the idol of Mahishasur-Mardini, proving that a kingdom and temples were already at Champa at that time when Sahil Dev Varman came into power. The abundance of Champa trees is also one of the reasons attributed to name the place as Champa.
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P R I N C E S S CHAMPAVATI: Popular lore holds that when Sahil Dev Varman shifted his capital to Chamba after conquering the lower Ravi basin. He visited a small village inhabited by a few Brahmin families, and his daughter expresses a liking for this place so the town was named after her as, Champa.
How Chamba Got It’s Name?
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THE HERMITAGE: Chamba was originally a hermitage, visited by a devotee named Champavati. Her father, the king, suspecting his daughter of loose behavior, he followed her with a sword. But he did not find his daughter or the ascetic. He heard a voice berating him for unfounded suspicion and punishing him by taking away his daughter. The repentant king built a temple in his daughter’s honour and built a city around the temple.
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Community Chamba is inhabited mainly by 5 main communities which are known by the name of the sub division in which they dwell. - Gaddis from Bharmour - Bhattyals from Bhattiyat+ - Chambayals from Chamba - Churahis from Churah - Pangwals from Pangi 18
Culture The culture has been developed in direct association with nature, serving as an inspiration and as a beautiful backdrop to it, the folk songs, tales, dances, fairs and festivals of the people throw light on numerous aspects of their lives. Some of the folk dances cover a wide gamut of community, religious, social, etc. Some of the dances are: dandaras, gaddi, Brahmouri nati, chhinjhoti, dance of parachanari,dhamal.
Fest And Festive : Minjar fair – Minjar fair , the main festival of chamba, is held at the sprawling chaugan ground in july/august celebrating natures bounty, the farming community prays for good harvest by offering the first sprouting corn silk, locally called ‘minjar’, to devine river ravi for the occasion. The celebrations go on for a week. Stalls selling local crafts and produce are put up for the evenings cultural performances that draw large crowds are held.
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Sui Mela At the sui mata temple, chamba, a fair known as ‘sui mela’ is held commemorating the queen who ended the towns water scarcity in 10 th century. Annually held in second week of april month, this fair is attended by women and children who in their best attire sing praises of the rani and offer homage to the rani for her singular sacrifice.
Chattradi Jatar At chattradi in the confined chamba countryside, the fair is held in September at the Shakti devi temple. A major attraction at the festival is the masked dance Performance that has the audience spellbound.
Manimahesh Yatra, Bharmour The simplicity, grandeur and intense belief system of Bharmour valley can be witnessed during the holding of the Manimahesh yatra in August/September. This festival is held after janmashtami. The yatra is an arduous and tough trek to the beautiful mountain lake lying at the foot of mount Kailash at manimahesh. At Bharmour, 35kms away of the lake this fest is held for 6 days.
Lishoo It is mostly celebrated by localities of Chamba and Bharmour in the remote places of Chamba. It is celebrated on the first of Baisakhi.
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Picture Courtesy: Chamba Rediscovered
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ARCHITECTURAL LANDMARKS
Chaguan
Chaugan is the heart and hub center of all activities in CHAMBA and is surrounded by impressive administrative buildings and a shopping arcade built during the British period. The term Chaugan has Sanskrit origin meaning four-sided. In 1890, the British converted five small Chaugans into a single Chaugan for cricket matches, picnics, and promenades during the mid-summer months.
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It is large for a hill station, measuring 800 meters (2600ft) in length and 80 meters (260 ft) in width. The Chaugan is fenced all along its periphery with several gates on all sides to provide ease in entry from all sides. It is well illuminated during night with tall street lights acting as the light source. Chaugan is also provided with benches all along the sides. During the annual Minjar Mela fair, the entire ground becomes a flea market. 23
Rang Mahal
Located in Surara Mohalla, Rang Mahal was founded by Raja Umed Singh during mid-18th century. This palace displays a perfect mixture of British and Mughal style architecture. The superstructure of the Rang Mahal which is in brick belongs to a later date with its southern portion built around 1860 by Raja Sri Singh. The aim behind its erection, besides serving as king’s accommodation, was to have awarehouse for royal grain and treasure. The palace served as the center of royal activities in its inception. The walls of this 18th-century monument re adorned with fine examples of Punjab hill style wall paintings, which portray the life of Lord Krishna. The major attraction of the palace is the fact that its doors are carved and painted in style. The descendants of the royal family sold the heritage building to the Himachal government in 1958. Rang Mahal now houses the Himachal Emporium, which functions 24
Temples Of Chamba
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Laxmi Narayan Temple Presiding deity: Preserves marble image of Goddess Laxmi Built by: Sahil Varman during 920-940 AD To the north of the palace at Chamba, there is a group of six stone temples arranged in a row from north to south. Three of these temples are dedicated to Vishnu and three to Shiva. The northernmost is that of Lakshmi Narayana: The principal temple of Chamba, containing the image in white marble.. The temple is said to have been founded by Sahil Varman shortly the foundation of the town. Upon our visit, the old priest recited an old legend that goes around with the construction of the temple: Desiring to raise the temple to Vishnu, the king sent nine of his sons to the marble quarries in vindhyas to bring the white marble for the image. When the marble was brought and was chiselled, a dead frog was found and hence it was declared unsuitable for making Vishnu. The princes were deputed again but this time they were all robbed and killed on their way back. Thereafter on receiving the news, the king sent his eldest son who too was attacked by robbers but survived with the help of a saint and was able to bring the marble for Vishnu image. Inside the temple various scenes from Ramayana and Mahabharata have been inscribed. The temple is believed to have been held in high esteem by the rulers of Chamba. 26
Shakti Temple, Chatrari Built by King Meru Verman of Bharmour , in Chamba, Himachal Pradesh, at an altitude of 6000 feet above sea level (32° 28′ N and Long. 76° 10′ E). It is considered as one of the good specimens of the Shrines of hills. People from distant places visit this temple in Himachal to take the blessings of Maa Shakti. When you visit this temple you will get to see an outer doorway which is one of the recent additions made in this temple. If you observe the ornamental decoration in the inner doorway you will get resemblance with decoration of Lakshana Temple. You will get impressed with carved wood and stone work which you will see in this temple. This temple is also called as “temple of Chhatrari” as is one of the holiest one located in Himachal. Influence of post Gupta period can be noticed in the sculptures of this temple. Ceder columns in this temple are decorated with foliage motifs and pot.
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CRAFTS OF CHAMBA
Chamba Chappal Chamba Chappal is an art of leather embroidery and making patterns through punching introduced by sister of Raja Bir Singh of Nurpur.. The Himachal Pradesh Industries Department has its own unit at the Rang Mahal palace complex in Chamba whose entire output is marketed through the State Government Emporia all over the country.
Chamba Rumal Traditionally a rough, and hand woven cotton, and mal-mal, also known as fine muslin of about 1 ½ to 2 feet square in size but they can be of any size and shape. Chamba rumals are embellished with vivid decorative motifs and designs. These were used as covers for offerings to deities and for exchange of gifts on weddings and occasions. The Special feature of this rumal is that its reversible. This technique is known as dorukha, reversible, which is obtained by using double satin stitch, double running stitch and long and short stitches are also used.
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Wood Carving Wood has a special significance in the crafts traditions of Himachal Pradesh. Besides Kerala, Himachal is another important producer of wood as a structural material. Varieties of wood easily available here are deodar, walnut, teak, maple, shisham, ash wood and box wood. The artisans who work with wood are known as tarkhan, badhi, khatti, and thavi and refer to themselves as dhimans, a professional caste name.. The Gaddi tribes of Chamba and Bharmour are famous for their attractive wooden utensils.
Stone Craft Stone is a durable material used for sculptures by sculptors to express their artistic expressions and these sculptures were used in olden days at temples. The Laxmi Narayan Temple is a fine example of the durability and the beauty of the stone carvings. Kangra, Mandi, Bilaspur, Chamba and Kullu have been traditional centres for stone carving.It depicted the life exploits of each deity in various incarnations and statues of horses and soldier, gods and goddesses, etc were observed.
Metal Craft Metal craft is one of the most vital traditions of Himachal Pradesh. Metal statues in the classical as well as rural traditions were cast by the “lost wax� process and both solid and hollow methods of casting were used. The Himachal State Handicrafts Corporation has established metal craft training centres at Bilaspur, Chamba, kupa in Kinnaur district, rohru in mahasu district to impart training to bronze casting and all metal crafts technique. 29
Miniature Painting Indian folk Pahari miniature painting is an expression of the soul and its admiration for natural beauty. Miniature refers to as minute in size and done for decorative purpose.
Pine Needle Craft Pine needle is simply the leaf of pine tree. In Himachal Pradesh, pine needles are a major cause of forest fires hence they need to be cleared of. That is why Himachal Government took up projects to promote pine needle craft and provide employments in various sectors.
Horse Hair Craft Horse hair craft of chamba is a craft which is on the verge of extinction. Horse hair is wrapped on the rings in various manners to achieve the desired pattern on the product. Generally hair strands of two different colors are used to make the product beautiful.
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PAHARI MINIATURE PAINTINGS
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Introduction To Miniature Paintings Miniature art is an intense labor of love illustrated on a range of materials like palm leaves, paper, wood, marble, ivory panels and cloth. Organic and natural minerals like stone dust, real gold and silver dusts are used to create the exquisite colors. Even the paper used is special; polished with stone to render a smooth non porous surface.
TIMELINE:
After the murals of Ellora and fresco-secco of Ajanta Paintings, a large number of manuscripts on palm leaves related to Budhhist themes were illustrated and written. The timeline of the miniature painitngs in India was as follows: 7 th -11 th century – The Pala School The earliest miniature paintings in India can be traced back to 7th century AD, when they flourished under the patronage of the PALAS of the Bengal.Buddhist texts and themes were illustrated on 3 inches wide palm leaves manuscripts with images of the Buddhist deities. 12 th -16 th century –The Jain School While it was Buddhism in the east, it was Jainism that inspired the miniature art movement of the western Indian stylr of miniature paintings. The form prevailed in the regions of Gujarat, Rajasthan and Malwa from 12th to 16th century. Jain manuscripts were illustrated using exxagerated physical traits , vigorous lines and bold colors. 16 th -18 th century –The Mughal School Mughal school was nothing new but a refined Indian style of miniature painting refined by the Persian artists. Mughal school of painting started under the patronage of Babur, the founder of the Mughal empire in India and flourished with generations. It resached it’s zenith during Akbar’s reign anda very high level of excellence during Jahangir’s rule.The art of painting in Mughal rule saw it’s downfall during Shahjahan’s reign and disappeared by the time Aurangzeb descended the throne. 16 th – 19 th century –The Deccan School There was already an influence of the Mughal style on the Deccan miniature and it flourished into various styles when many painters migrated from Mughal court during Aurangzeb’s reign to the deccan region. It led to the development of various styles of Deccan miniatures namely, Ahmednagar, Golconda, Hyderabad and Tanjore. 17 th – 18 th century –The Rajasthani School This school of painting is also known as Rajput School because it developed under the Rajput kings. Initially the style was influenced by religious themes, which was later followed by folklores and love poetry. 17 th - 19 th century – The Pahari School Pahari painting is an umbrella term used for a form of Indian painting, done mostly in miniature forms, originating from Himalayan hill kingdoms of North India, during 17th-19th century, notably Basohli, Mankot, Nurpur, Chamba, Kangra, Guler, Mandi, and Garhwal. 17 th -19 th century – The Orrisa School A few instances of miniature paintings iin found under this school. The exhibits of this style appear to belong to the 17th cenutry. The series of paintings found are mostly about the celebrated themes of Lord Krishna, his leelas with gopis and Radha and Gita Govind. 34
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Pahari Miniature Paintings The Pahari region comprises of the present state of Himachal Pradesh, some adjoining areas of Punjab, the area of Jammu and Kashmir, and Garhwal in Uttar Pradesh. The whole area was divided into small states ruled by the Rajput princeswho were often engaged in warfare. These states were centers for great artistic activity from later half of the 17th century to the middle of the 19th centuryas many artists from Rajasthan settled here due to the fear of Mughals. Many schools flourished under the Pahari mininature, all with different styles , influenced by each other.
SCHOOLS OF PAHARI MINIATURE: 1.BASHOLI The earliest center of Pahari painting was the Basholi school under the patronage of Raja Kirpal Pal, an artist named Devidasa executed miniatures in the form of Rasmanjari illustrations in 1694 AD. The illustrations of the two Rasmanjari series are scattered in anumber of Indian and foreign museums. The Basholi style of painitnngs are characterised by: o Vigorous and bold lines. o Strong glowing colors o Use of dark green beetle wings to indicate jewels in ornaments o Sky hsown through a narrow band of blue or white o Facial type becomes heavier o Naturalistic character in tree forms o Lure eyes o Red borders 2. GULER The last phase of Basholi style was closely followed by the Jammu group of paintings mainly consisting the portraits of Raja Balwant Singh of Jasrota by Nainsukh. These paintings are in a new naturalistic and delicate style marking a change from the earlier traditions of the Basholi art. At Guler, another state in the Pahari region , a number of portraits of Raja Goverdhan Chand were executed in circa 1750 AD in a style of having close affinity with the portraits of Raja Balwant Singh. They have been drawn delicately witha bright color palette. Charateristics of Guler school are as follows: o Soft and cool colors o Delicate Lines o Mythological themes (example: The Bhagwata,The GIta Govind, The Bihari Satsai, The Baramasa and the Ragmala etc)
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3. KANGRA The Guler stylee was followed by Kangra style, representing the third phase of the Pahari paintingsin the last quarter of the 18th century. This style developed out of the Guler style and possesses qualities like delicacy of drawing and quality of naturalism from the latter style. The Kangra style continued to flourish at varioius places like Kangra, Chamba, Nurpur, Jammu and Garhwal. Characteristics of Kangra style of painting are as follows: o Profile faces o Nose almost in line with the foreheads o Long and narrow eyes o Sharp chin o No modelling of figures o Hair treated as flat mass o Depiction of landscapes 4. KULU-MANDI Along with the naturalistic style of Kangra, also flourishes a folk style of painting in Kulu Mandi area, mainly inspired from local traditions. There was a use of symbolism to depict things. Chatateristics offered in Kulu Mandi style are as follows: o Bold Drawings o Use of Dark and Dull colors o Folk themes o Symbolism o Bold Lines. 5. GARHWAL Garhwal paintings originated in Himachal Pradesh and were the first dominated by the Mughal style. Later on, it started reflecting the cruder version of the Kangra paintings,
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5. GARHWAL Garhwal paintings originated in Himachal Pradesh and were the first dominated by the Mughal style. Later on, it started reflecting the cruder version of the Kangra paintings, 6. BILASPUR Bilaspur witnessed the growth of pahari paintings around mid 17th century. Apart from the illustrations of the Bhagvata Puran, the Ramayana and the Ragmalaa series, the artists also made paintings on Rumals for ceremonies and rituals. 7.JAMMU Jammu paintings of the late 18th and 19th century bear a striking similarity to the Kangra style. Shangri Ramayana of the late 17th and 18th century was produced in Jammu itself. 8. JASROTA Paintings from this school are mainly found in Jammu and Kashmir and revolve around court scenes, events from lives of the kings etc. 9. MANKOT These paintngs of Jammu and Kashmir bear a resembalance to the Basholi style with vivid colors and bold subjects. In the mid 17th century, portraiture became a common theme.
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MATERIALS USED 1. PAPER: Layers of Sialkoti paper are used to paint on. Sialkot is a place, now in Pakistan, where such papers were produced in large quantities. Other is the Wasli, also referred to as wasli paper, is a type of handmade paper used specifically for painting miniatures. It was devised in India, in the 10th century, and figures widely in Mughal-era painting. Wasli is an acid-free paper and it has archival qualities. Paper eating insects can not eat it because of a poison copper sulphate/ Neela Thootha used in the making of this paper. The glue to paste sheets together is also acid free made out of cooking flour. To use it for miniature paintings this layered paper is burnished with either smooth glass or a sea shell. This way the paper is shiny, smooth and have minimal perceptible grain. A sheet of wasli is created by gluing together several layers of paper, then polishing them by hand until they are shiny and smooth, with minimal perceptible grain 2. BRUSHES: Miniature artists in the past used to prepare these brushes themselves as per their convenience and requirement. They were made of ear hair of mongoose, goat/ buck and calf; while for details and outlines brushes made of squirrel’s hair were used which are so fine that each hair can be seen separately. The material used for brushes are still much the same. 3. PAINTS: Paints used in these paintings are made of three kinds of pigments:i. Mineral colours which are obtained from stones and other natural minerals. They are finely ground and filtered and added to Arabic gum or babool (Acacia nilotica) ka gond (gum) before being employed in a painting.
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PROCESS The following steps are followed to make a painting: o Preparing the surface o Painting o Finishing Preparing the Surface: Paintngs are generally made on handmade paper known as Wasli in which two to three thin papers are stuck together with the help of starch to make it thick. It is then allowed to dry. After drying the surface is coated with a mixture of Khadiya and Gond.This mixture is prepared by dipping Khadiya in water for 4-5 hrs and allowing it to dissolve. After that it is sieved and mixed with Gond. The mixture is allowed to dry and the hard lumps are grinded to make the powder. This powder is again mixed with water to make the paste and applied on the paper. This paste gives strength and better surface to the paper. Painting: The painting starts by sketching the borders with the help of a pencil. Thereafter the figures, trees etc. are made on the Basli. Sketches are made very lightly so that marks of pencils are not visible after the application of color. Once the sketching is done artisans starts filling the colors. Application of colors starts with filling the base color and then followed by details. Shading and fine detailings of face is done at the end with fine squirrel brush. Face and facial expression are most important part of the painting and therefore done with utmost precision and patience. The painters give special detailing on eyebrows, eye, eyelashes and lips etc. Borders of the garments and jewelries of god, goddesses, kings and queens are painted with gold powder mixed with water. Sometime Varakh is also used. Once embellished the painting is allowed to dry properly.
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SWOT ANALYSIS STRENGTHS It is very rich in tradition therefore it has a lot of respect. Its demand is increasing in the market. Since these paintings are very beautiful and intricate they become a piece of heritage and people preserve it for generations to come.
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WEAKNESS Time and labor consuming. They’re a laborious craft and so they’re very expensive so its buyers are limited. Due to long hours of continuous work, the artisans face health issues like back ache and weak eyesight. The number of artisans doing this craft is very limited. The artisans source most of their material from Jaipur and this adds up to the expenditure.
OPPORTUNITIES Various government initiatives have been taken promote and uplift this craft. There are a lot craft fairs and exhibitions in metropolitan cities that attract buyers from across the globe. Social media is an excellent way to exploit this craft in the market to spread awareness. Tie ups with various brands and platforms like Etsy Seller can help in marketing the products.
THREATS This is a dying craft. Manufacturing of brushes made of squirrel hair is banned.
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SHRI VIJAY SHARMA An Indian painter and an art historian, Shri Vijay Sharma is a 57 years old individual associated with the Pahari Miniature painting. With an experience of more than 36 years, he managed to paint various literature themes, ranging from Bihari Satsai to the Ragamala paintings. He was honored by the Government of India, in 2012 for his tremendous works with the fourth highest Indian civilian award of Padma Shri. A follower of the Basholi and Kangra styles of Pahari painting, Sharma is also known to be a scholar and art historian. He is reported to have learned the ancient scripts of Śāradā and Takri and has published many books and articles on the arts and crafts of Himachal Pradesh. Adding feathers to his cap, he received the Himachal Pradesh state award in 1980 for his Ragamala paintings followed by the award from the Ministry of Textiles in 1990. All India Fine Arts and Crafts Society awarded him their annual AIFACS Award in 1997 and Sharma received the Kalidas Samman in 2011. In 2012, the Government of India included him in the Republic Day honors list for the award of Padma Shri. In 2013, Himachal Pradesh University awarded him the honorary doctorate.
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This Kangra painting by Shri Vijay Sharma was painted for the famous lyricist Gulzar Sahib that represents the song “mora gora ang layi le� (Film : Bandini) when he visited Himachal for the promotion. Gulzar Sahaib got was really impresed by this beautiful painting and gifted his most famous book 100 LYRICKS to Mr.Vijay Sharma with is autograph on it.
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ARTISAN PROFLIES
Name: Prikshit Sharma Age: 41 years Occupation: Miniature Painting Artist Village: Chamba Education: Graduation Experience year: 20 years
Name: Bhupinder Sharma Age: 33 years Occupation: Miniature Painting Artist Village: Uteep, Chamba Education: 1+2 Experience year: 8-10 years
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Name: Munesh Kumar Age: 22 years Occupation: Miniature Painting Artist Village: Chamba Education: Graduation Experience year: 1-2 years
Name: Nishat Rana Age: 21 years Occupation: Miniature Painting Artist Village: Bhagwanpura, Chamba Education: Student Experience year: 5-7 years
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Name: Deepak Bhandari Age: 25years Occupation: Miniature Painting Artist Village: Dodhamb, Chamba Education: Secondary School Experience year: 5 years
Name: Prajwal Sharma Age: 24years Occupation: Miniature Painting Artist Village: Chamba Education: Secondary School Experience year: 3 years
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Name: Achyut Sharma Age: 26years Occupation: Miniature Painting Artist Village: Dharog, Chamba Education: Secondary School Experience year: 5 years
Name: Varun Kumar Age: 23years Occupation: Miniature Painting Artist Village: Karian,Chamba Education: Secondary School Experience year: 2 years
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Name: Akshay Thakur Age: 29years Occupation: Miniature Painting Artist Village: Mugla,Chamba Education: Secondary School Experience year: 5 years
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PINE NEEDLE CRAFT
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The Beginning Stories of the evolution, stories of the begining 55
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HISTORY AND BACKGROUND Pine needle art is one of the oldest art forms known. Dating back to almost 9000 years, even before pottery existed. The Seminole Indians were one of the first tribes to make pine needle baskets. They used tools made of sea shells and bones as needle. These baskets were used to carry water, winnowing seeds and carry things. Pine needle hats were made during the era of Civil war. As transportation started to become important, raffia as well as sinew, was used to sew the baskets. Raffia comes from the raffia palm which grows in Madagascar, Africa. In todays time, pine needle craft is still being practiced by few people.
PINE NEEDLE Pine needle art is one of the oldest crafts known. It dates back some 9000 years, even before pottery which was made by lining twig baskets with clay. However, today the art of pine needle basketry is still being done by a few creative people. There is no limit to what one can do with pine needles along with a little imagination and skills which will come with patience
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CHARACTERISTICS AND SIGNIFICANCE OF THE RAW MATERIAL : PINE LEAVES Pine needles are long and slender. The length and color depends on three key elements: the pine species, season we are in and the amount of water available to the tree. Generally pine needles range from short (5” or less) to very long (up to 15”) and on any pine tree the length of needles may vary by several inches. Pine needle colors may be brown, a whitish-green or a deep dark green. The surface of the needle is hard and glossy and the color is rich brown. The needles lose their luster, become dull and brittle. As Pine Needle are abundantly available in the Alpine regions and have negligible raw material cost. Through Pine Needle craft, a lot of human resource can be developed. Since pine needle is a major cause for forest fires in Himachal Pradesh hence it needs to be either cleared or put to use which is why Himachal Government has taken up projects to encourage employment in various sectors which directly deals with clearance of locally available pine needle and therefore has major scope of craft development. Pine needles play a role in this system. Shed needles can make a thick layer of duff on the pinewood floor, and these ignite readily (by, for example, lightning). The surface fires that consume such litter don’t typically kill mature pines while "flushing" out the seedlings of competing trees, so in a sense pines help Perpetuate themselves by their own dropped foliage
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RAW MATERIAL PINE : Pines are the thin and long leaves of pine tree which grows abundantly in the north region. Each fall, pine sheds off the trees. These pine needles are soaked in water to increase its durability and flexibility. This makes sure that the needles bend instead of breaking when they are coiled or sewn. THREAD : threads are used to stitch the coils together. The constant friction of pulling the thread through the bundles of needle requires a very strong smooth thread so breakage does not distract the work. NEEDLE : Needle is a fine slender piece of metal with point at one end and hole for thread at other end. It is used for sewing bundles of pine together to form a particular object.
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Which Needles Should be Used for Basket Making? All needles are not created equal, so it's a good idea to have an idea of the type of needle you wish to use before getting started. Needles are selected based on length, width, and also may have to be chosen based on what's available in your location. Some trees produce a 6-inch needle, but some of these can be on the skinny side. Others produce needles that reach 12 inches in length. Some trees offer longer needles still. Trees considered ideal for pine-needle crafting are Ponderosa Pine and Longleaf Pine, Longleaf pine trees were traditionally relied on because their needles could grow to impressive lengths. Longer pine needles are generally preferred because they are considered easier to work with and one doesn't have to sew in as many needles. Smaller needles from other pine tree varieties may still be used, however. This might apply if you only have access to shorter needles but still want to make baskets from what is available. Ideally, pine needles should be about 5"-8" long.
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PROCESS STEP 1 :
COLLECTION AND SOAKING Each fall season, pine trees shed their needles. These are collected by the locals to last them the whole year. The needles are then soaked in water overnight for them to become soft and pliable.
STEP 2 :
NATURAL DYEING Experiments in natural dyeing are being done to color the needles. This is done using roots and stems of plant like Hingloda, Hinsar, Jinjaroo and Thermole. These are boiled in water and then the pine needles are soaked in them.
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STEP 3 :
TECHNIQUE The needles have a knob (fascicle) on one end. These can be removed or left as it is, depending upon the type of product to be made. In Chamba cluster only Coiling technique is being used. Coiling is usually done to make coasters, baskets and jewelry. A single needle is carefully and continuously coiled on a bunch of pine. The number of needles in the bunch could vary depending upon how thick one wants the coiled strand to be. Baskets and coasters grow like a spiral. For these to strong and sturdy, each concentric strand is sewn (with pine or thread) to the previous one. Sometimes glass bangles are used as the base to coil over. Beads can be easily added when making jewelry pieces by slipping them in the needle and working a small stitch to secure them in place.
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TECHNIQUES
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WEAVING Pine needles (weft) are woven into cotton yarn (warp) to get very interesting products like coasters, table-mats, window-chic's etc. Cotton thread can be dyed in the color of one’s choice and then woven with the needles. A combination of pine and different colors of threads can be used as well
BRAIDING Braiding is another way of expanding the surface quickly, ideal for making table-mats, glass-holders, jewelry and
COILING Coiling is usually done to make coasters, baskets and jewelry. A single needle is carefully and continuously coiled on a bunch of pine. The number of needles in the bunch could vary depending upon how thick one wants the coiled strand to be. Baskets and coasters grow like a spiral. For these to be strong and sturdy, each concentric strand is sewn (with pine or thread) to the previous one. 67
PRODUCT RANGE
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THE MAKERS THEMESELVES
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Name: Pooja Devi Age: 32 years Occupation: Pine Needle Village: Kundelhi Education: Primary Experience year: 10 years
Name: Sunita Devi Age: 43 years Occupation: Pine Needle Village: Kakaiyan Education: Primary Experience year: 10 years
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Name: Anita Devi Age: 37 years Occupation: Pine Needle Village: Dhalei, Chamba Education: Primary Experience year: 8 years
Name: Lata Age: 25years Occupation: Pine Needle Village: Uteep, Chamba Education: Secondary school Experience year: 10 years
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Name: Jyoti Bala Age: 36 years Occupation: Pine Needle Village: Kakiyan, Chyamba Education: Primary Experience year: 8 years
Name: Anjuna Age: 26years Occupation: Pine Needle Village: Badi dehera, Chamba Education: Secondary school Experience year: 8 years
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Name: Rajni Devi Age: 38 years Occupation: Pine Needle Village: Badi dehera, Chamba Education: primary school Experience year: 8 years
Name: Aarti Devi Age: 25years Occupation: Pine Needle Village: Badi dehera, Chamba Education: Secondary school Experience year: 7-10 years
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Name: Babita Age: 38 years Occupation: Pine Needle Village: Kakiyan, Chyamba Education: Primary Experience year: 8-10 years
Name: Kajal Kumar Age: 20 years Occupation: Pine Needle Village: Kakaiyan Education: Secondary School Experience year: 6-7 years
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Name: Rajni Age: 36 years Occupation: Pine Needle Village: Badi dehera, Chamba Education: primary school Experience year: 8 years
Name: Sandesh Kumari Age: 43 years Occupation: Pine Needle Village: Kakaiyan, Chamba Education: Primary school Experience year: 7-10 years
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Name: Babli Age: 31 years Occupation: Pine Needle Village: Kakiyan, Chyamba Education: Primary Experience year: 8-10 years
Name: Babli Age: 35 years Occupation: Pine Needle Village: Kakaiyan Education: Primary School Experience year: 8 years
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Name: Seema Devi Age: 36 years Occupation: Pine Needle Village: Kundeli, Chamba Education: primary school Experience year: 8 years
Name: Monu Devi Age: 28 years Occupation: Pine Needle Village: Badi dehera, Chamba Education: Secondary school Experience year: 6-7 years
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Name: Kanika Kumari Age: 19 years Occupation: Pine Needle Village: Badi dehera, Chamba Education: primary school Experience year: 4-5 years
Name: Madhu Thakur Age: 21 years Occupation: Pine Needle Village: Badi dehera, Chamba Education: primary school Experience year: 5-6 years
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SWOT ANALYSIS STRENGTHS Pine needle is fully handcrafted, making it more valuable. Pine needle as raw material is abundantly available , the products made are completely handcrafted and thus make them valuable. They involve a lot of time and effort of different individuals adding extra spark to the product. Its uniqueness is one of the biggest strength. After research done , products of pine needle hold a factor uniqueness as urban buyers are not aware of the material , and introducing a new material with sturdiness and various other qualities helps in the up liftment. There are not many competitors in the market. Pine needle is a new material that has been recently introduced in the market , and because of this it doesn’t face a lot of competition in the market. Material like cane , bamboo give this material a competition but pine needle’s uniqueness helps it to be different from Others. The craft is Eco-friendly , helps with fire situation in the forest , are durable and as well as washable. Pine needle utensils are durable and washable like any other utensil. This craft is also helping the Chamba district to reduce forest fire by making a potential use of abundantly available material.
WEAKNESS Lack of awareness and advertisement. Pine needle craft lacks advertisement and awareness among urban marketers and buyers. Craft needs proper advertising strategies and marketing strategies to earn revenue . Lack of funds This craft doesn't really have collaborations with associations , and lack funds. To uplift what the artisans have initiated , a good funding source is required. Serving the wrong target audience Cannot afford the new technology, like, hand looms. Artisans working with pine needle cannot afford heavy and expensive machinery like hand looms . These artisans belong to small villages , and communication has been a massive barrier. No storage space. (no warehouse) Material is definitely abundantly available , but lack of storage is also a weakness highlighted. Every time artisans has to separately procure material and then work . Time and effort consumption is very high in this case. 80
OPPORTUNITIES E-commerce E-commerce is one of the highlighted opportunity . Developing this craft digitally will help with the awareness among urban marketers and buyers. Various platforms like amazon , insagram etc can be pitched to sell products and earn recognition. Exhibitions and melas Exhibitons and melas are also one of the platforms to showcase the talent and initiation of artisans for this craft. Exhibitions like Saras Mela , Indian Hnadicraft and Gifts Fair can be huge platforms to pitch product to urban areas. Local vendors at tourist places like, Dharamshala and McLeodGanj.
THREATS People who are practicing right now are on the verge of abandoning the craft as they see no future or profit at the moment. Interstate competition with Uttarakhand, as well as, intrastate competition with Shimla and Kangra district.
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PRESENT SCENARIO FOR PINE NEEDLE CRAFT INITIATIVE OF EPCH (EXPORT PROMOTION SERVICES & SUPPORTING COUNCIL) THROUGH INDIAN HANDICRAFT AND GIFTS FAIR (IHGF) Shri Sandeep Sharma , Dy. Commissioner , Kangra has also approached NIFT , Kangra from time to time for the various newproducts and design development of the arts and crafts of Kangra. In this direction , the pine needle which is popularly known as CHEED has been in the discussion so that it can avoid fire in the distrcit KANGRA. Another attraction from HIMACHAL PRADESH at IHGF are home decor and utilit assortments made using discarded leaves of pine needle tree - a raw material abundantly available locally. Students of Fashion Lifestyle and Accessory Department from NIFT , Kangra guided by their course professor Mr.Sandeep Sachan , developed pine craft products through a joint project with local artisans and with support from the GOVERNMENT OF HIMACHAL PRADESH.
INITIATIVE OF FASHION AND LIFESTYLE ACCESSORY DEPART , NIFT (KANGRA) Students of Fashion Lifestyle and Accessory Department from NIFT , Kangra guided by their course professor Mr. Sandeep Sachan , developed pine craft products through a joint project with local artisans and with support from the GOVERNMENT OF HIMACHAL PRADESH. With the contribution of traditional design inputs and training workshops , student held these artisans to develop products that can find users in urban spaces and modern lives . With pine leaves as the primary material , threads in different colors are used for binding them together and lending a color variation. The resultant items such as coasters , flower vases , baskets , lamps , bags , and fashion accessories were put on the display at IHGF Fair.
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Visit to Gram-panchayat-uteep We visited Gram-panchayat-uteep with our Mentor Mr.Sandeep Sachan to interact with the womens of local village involved in pine needle craft. We had and interactive interview session with them and in return we also got their forms filed for Artisan Card.
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STONE CRAFT
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The Beginning Stories of the evolution, stories of the begining
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HISTORY The land of temples has given rise to a significant craft of stone carving in the state. The craft has been explored to the fullest. In Chamba, the Laxminarayan Temple and in Kangra, the Masroor and the Baijnath temple are a few great examples of this craft being done in the state since time immemorial. These temples themselves just don’t have stone architecture but they are also surrounded by several fountains and stone memorials that add to the grace of the place and depict the expert craftsmanship of the carvers. Kangra, Mandi, Bilaspur, WWWW, Chamba and Kullu have been traced as the traditional centres of stone crafts of Himachal Pradesh where the craft can be traced back to 7 th and 13 th century AD. The people of Bataihra or Batada community are adroit in stone carving and the masons are known as Batai Hadai. Even in these modern times, the stone carvers have the old world charm. They give life to the dead stones and create products such as ‘kundi’ (spherical storing pots), ‘chakki’ (millstone), ‘angithi’( classic stoves) , ‘dauri danda’(pestle and mortar), statues and many more products of daily use. Beautifully carved memorial stone slabs called panihars are also found in several places, especially near temples and fountains. The craft has a distinct place in the arcade of crafts because of its unique style, designs and innovative variations of the craftsmen. The craft is an integral part of the tourism of Chamba. The distinct variety and style of the craft is displayed in the creation of colossal constructions and other items. The area provides vast varieties of stones, black stone being the most suitable and used one in Chamba. Other than black stone, sandstone and limestone are also used.
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TOOLS USED IN STONE
BRUSH
(For cleaning the dust)
HAMMER
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TARKAR (Divider for stone)
CRAFT IN LOCAL LANGUAGE
CHAINNI (Hand chisel) NAINNU
( Head chisel) KALAM
( Hand point)
KURURAV
( Hand point)
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STONE CRAFT IN GHARGARAH We went to Ghargarah, on the very outskirts of Sirkhund village, to visit Mr. Tej Singh. After an hour long uphill drive, we reached Sirkund village. The next half an hour journey that led us to Ghargarah,was a total off road adventure . Mr. Tej Singh had invited us to his apple orchard. We found him grazing his cattle and working on his latest master piece. We found him grazing his cattle and working on his latest master piece. To our surprise, the piece that Mr. Tej Singh was creating wasn’t an idol of God, but of Himachal Pradesh’s Chairman , Mr. Jai Ram Thakur! We were astonished by his contemporary take on the ancient craft of black stone craft. Mr. Tej Singh has spent his last_____ years learning this ancient craft. After he had fallen severely ill, in 2015, he found himself unable to continue working as a mechanic and working in his orchard. After feeling helpless and unable to work for some days, Mr. Tej Singh picked up a few stones and started to hit them with his chisel and hammer. He spent his whole days of recovery, self learning this skill. After a few months, he got better at it. He soon recovered from his sickness. After a few months, he exhibited his work in Minjar Fair where his work was acknowledged by now his guru, Mr. Hardev. He described the whole experience of learning the craft as a gift given to him by Lord Shiva.
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MR.TEJ SINGH Mr. Tej Singh has spent his last 30 years learning this ancient craft. After he had fallen severely ill, in 2015, he found himself unable to continue working as a mechanic and working in his orchard. After feeling helpless and unable to work for some days, Mr. Tej Singh picked up a few stones and started to hit them with his chisel and hammer. He spent his whole days of recovery, self learning this skill. After a few months, he got better at it. He soon recovered from his sickness. After a few months, he exhibited his work in Minjar Fair where his work was acknowledged by now his guru, Mr. Hardev. He described the whole experience of learning the craft as a gift given to him by Lord Shiva. Mr. Tej Singh works as a mechanic and a carpenter. Although, in his free hours, he works on improving his skill as a stone carver. He works on several pieces at a time. He showed us multiple works that were in progress.
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The Idol of the Nandi in the picture at right, is a piece that got cracked during its process. He made this piece through a live study of the calf that he owned. He told us that it takes a few weeks to months, to complete one piece. “It all depends upon the design and its size!”,he explains. “An intricate design may take two three months to complete, but a simple basic abstracted form can be completed in a few days.” He gets his raw material from the Sirkhani Dhar, a huge mountain opposite to his village which contains large rocks of black stone.
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SHRI HARDEV JI Born in 1944, Shri Hardev ji is one of the most famous stone carving artist in Chamba. He was born and brought up in village Sohi, Chamba. With an immense experience of almost 25 years with the craft, he still claims himself to be a learner. His work has been recognized for the State award in 2007 by the chief minister in time, Himachal Pradesh and is now also nominated for the National Award. A collection of beautifully carved pieces as huge as his heart is worth mesmerizing for. Hardev ji passed the skill to other 6 students and helped this dying craft revive and survive in today’s time. Two of his main sculptures, the Narsimha Avatar and the Shitla Mata murti was purchased by the Himachal State Museum, Shimla. Even at the age of 75, he is still young at heart and allows things around him inspire him more to live life to the fullest.
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MR .TARA RAM Tara Ram Ji, a middle-aged man who has been practicing Stone Carving for almost 20 years now, resides in Chatrari, dist. Chamba. He works with Black stone, locally known as “kala pathhar� which is sourced all the way from Manimahesh. The major tools used include the hammer and chisel. Being from a family who has been carving stones for almost 4 generations, he wants his kids to also learn to carve but puts it on them if they want to pursue it as a career or not. He has been awarded the NHPC award by the State Government. He claims to not receive any kind of subsidy or help in cash or kind by the government of India. Other crafts practiced by him include the Kalgi Topi and Wedding
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SOWT ANALAYSIS STRENGTHS: Strong religious background Abundant raw material Integral part of tourism sector
WEAKNESSES : Limited number of craftsmen No help from government Very heavy products
OPPORTUNITIES : New thematic story themes can be done Accessories and utility items can be developed
THREATS: Clay and ceramic sculptures are cheaper Bone china products are more popular
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Bhangr
Bhangra
Dhol
Talwar
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Name: Ratan Dev Age: 36 years Occupation: Stone Craft Village: Kundeli, Chamba Education: secondary school Experience year: 3 years
Name: Hemraj Age: 32 years Occupation: Stone Craft Village: Chamba Education: Secondary school Experience year: 2-4 years
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Name: Manoj Kumar Age: 25 years Occupation: Stone Craving Village: Chamba Education: Graduation Experience year: 1 years
Name: Mohit Thakur Age: 21 years Occupation: Stone Craft Village: Chamba Education: secondary school Experience year: 2 years
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Name: Manish Kumar Age: 26 years Occupation: Stone Craft Village: Sirkund, Chamba Education: secondary school Experience year: 3 years
Name: Rajesh Age: 30 years Occupation: Stone Craft Village: Sirkund, Chamba Education: Seconday School Experience year: 4 years
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Name: Sanju Thakur Age: 27 years Occupation: Stone Craft Village: Chamba Education: Graduation Experience year: 4 years
Name: Hans Raj Age: 22 years Occupation: Stone Craft Village: Chamba Education: graduation Experience year: 2 years
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HORSE HAIR CRAFT
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A DYING CRAFT Horse hair craft of chamba is a craft which is on the verge of extinction. Even the local people of chamba haven’t heard of this old craft. We were fortunate enough to find a craftsman who practices this skill. We met Mr. Rohit and his aunt after searching and asking people around if anyone still practices this craft in the area. Mr. rohit told us all about the artform and how he learnt it. He explained that him and his aunt are the only people who know about this nearly extinct craft in Chamba. According to him it is dying because of the unavailability of horse hair. People who own horses aren’t willing to give these craftsmen the hair strands they need to practice this skill. This is mainly due the superstition revolving around black magic and folklore. Local people think that these craftsmen might do something to their horses or their family by using the hair of their horses. They take horse hair and make fashion accessories like rings, bangles and necklace etcetera. He said that this craft has been practiced in his family since 200 years. He acquired this skill from his aunt Shrimati Swarna Devi, who has an experience of 10 years in this craft. She learnt it from her maternal family and according to her, her grandmother used to practice it and they have no information of who practiced it before her.
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RAW MATERIAL
HORSE HAIR Horse hair acquired from the tail of a horse. Craftsmen prefer hair strands having a consistent shine, color and thickness. They select the hair strands after washing them. The ones that do not matchthe requirement are discarded.
BAMBOO STRIPS Bamboo which is easily available in Himachal Pradesh is cut in to thin strips to create the inner structure on which the hair strands are weaved.
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TECHINQUES Small strips of bamboo is taken and put in hot water to make it soft. When the bamboo is soft enough, it is bent into the desired shape of a ring or bangle. Every horse hair craft product requires two bamboo rings. One outer ring and the other inner ring. The two rings are tied by threads and then weaving/wrapping of horse hair is commenced. Horse hair is wrapped on the rings in various manners to achieve the desired pattern on the product. Generally hair strands of two different colors are used to make the product beautiful. Once the hair is weaved and tied, it doesn’t need any other finishing. Horse hair has a shine and strength of its own which makes this craft as unique as it sounds.
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SOWT ANALAYSIS STRENGTHS: Unique craft Less time consuming Low manufacturing cost
WEAKNESSES : Unavailability of raw material Vanishing craft No recognition from government Unawareness among the people
OPPORTUNITIES : Can establish well in the fashion accessories sector ntroducing a new unique craft in market
THREATS: Threat from animal care departments Unwillingness to learn this craft to stop it from dying
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Under the king’s rule, the craft was given a lot of motivation and support. This is perhaps the reason why these horsehair bangles of Chamba are still renown in parts of Lahaur, Shimla and Delhi. During the royal times, the main raw material required for this craft i.e. horsehair, was made available for free by the king’s private horses. But in today’s world, due to the superstitions and folklores, horsehair are hardly available to the artisans. Horse owners in Khajjiar and other parts of Chamba are very sceptical about giving their horsehairs to the artisans. In 1983, a training center for this dying craft was established by the Dept. of Handicraft and Handloom at Mehla town in Chamba. But due to lack of encouragement, the training center was closed in mere two and a half years. There has been no efforts in the conservation of this craft by the Government since 1985. Today it extremely hard and rare to acquire these horsehair bangles that were once sold for just 5-10 rupees.
THE MAKERS THEMESELVES SWARNA DEVI Swarna Devi learnt this craft from her late mother Mrs. Premi Devi. Mrs. Premi was a renown master artisan of this craft. This horse shoe craft once, was one of the most unique and famous crafts of Chamba . But along with the passage of time, this craft began to vanish. The situation has became so worse that its highly likely that Mr. Rohit and Mrs. Swarna may be the last two crafts person left in the entire world.
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Name: Bhupinder Sharma Age: 23 years Occupation: Miniature Painting Artist Village: Uteep, Chyamba Education: 1+2 Experience year: 8-10 years Annual Income : More than 1 lakh
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BIBLIOGRAPHY http://www.chambatalenthunt.com/Stone-Work.php http://www.chambatalenthunt.com/Stone-Work.php Anon., n.d. [Online] Available at: https://himachalcraft.nic.in/history/ http://www.chambatalenthunt.com/Stone-Work.php. http://bhurisinghmuseumchamba.in/ https://hpchamba.nic.in/ https://himachaltourism.gov.in/destination/chamba/
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