The Chamba Rumaal’s Journey from Guru Nanak to G20

The Chamba Rumaal is no ordinary handkerchief. This craft form can be seen all the way from the times of Guru Nanak to the 2022 G20 summit. Here’s a closer look at the iconic rumaal.

Chamba Rumaal. Illustrated by Riya Kumari: Visual Storyteller at ThisDay

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

Origins of the Chamba Rumaal

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu Shawls, Kangra Miniature Paintings, and Kinnauri Shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.

When one thinks of a rumaal, the first thought that comes to mind is that of the humble day-to-day handkerchief that one might use to dry their hands or blow their nose. However, handkerchiefs have a hierarchy as well, and the Chamba Rumaal perhaps sits at the top of the list. This is no ordinary handkerchief, but one of the finest examples of Indian craftsmanship.

This double-embroidered piece of cloth is used not as a regular handkerchief but as a cover for gifts and offerings. This is of particular significance in religious rituals where offerings are made to the gods covered in these rumaals. They are also used to cover religious texts. Similarly, gifts that are exchanged during wedding and pre-wedding ceremonies are also covered using the Chamba Rumaal.

The Chamba Rumaal is characterized by a special embroidery where both the sides of the cloth are stitched at the same time using the ‘do rukha tanka’ technique. Popularly known as the double satin stitch, this type of embroidery is not seen anywhere else in India. The embroidery on both the sides appears identical, and what is more, it remains knot free! However, before the embroidery work actually begins, artists draw the outlines on these handkerchiefs using charcoal.

**Origins of the Chamba Rumaal **

While a number of kingdoms along the hills practised making these rumaals, this craft perhaps traces its origins to the Dogra kingdoms, particularly around the Basohli region. However, a large number of artists moved out of the kingdom following a period of political instability in the late 18th century. At the same time, Maharaja Sansar Chand of Kangra and Raja Raj Singh of Chamba started providing patronage to these artists.

As pointed out by OC Handa in his book Panorama of Himalayan Art, another factor that possibly contributed to the growth of this art form were matrimonial alliances. The wedding of Raja Jit Singh of Chamba to Sharada Devi, the princess of Jammu, brought a fresh wave of enthusiasm for the Chamba Rumaal, as Sharada Devi was a skilled embroiderer herself.

At the turn of the 20th century, British officials were presented with these rumaals by the rulers of Chamba, and the name ‘Chamba Rumaal’ stuck. Locally, these are known as ‘thapadas’ or just ‘rumaals’.

The Guru Nanak Connection

Surprisingly, this isn’t the beginning of the story for this craft. The earliest references to these double-embroidered pieces of cloth come from as far back as the Buddhist Jataka tales, which point out that embroidery was being practised in the kingdoms in the hills. However, perhaps the oldest surviving Chamba Rumaal is one that was created by Bebe Nanaki, the elder sister of Guru Nanak, the founder of Sikhism.

If one were to visit the Dera Baba Nanak gurudwara in Gurdaspur, they would come across this rumaal — its exquisite embroidery has been preserved for close to 5 centuries now. Baba Kuldip Singh Bedi, the fifteenth descendant of Guru Nanak, is the present-day caretaker of this rumaal, upon which one of the robes worn by Guru Nanak, called the Chola Sahib, rests.

On a side note, Baba Kuldip Singh Bedi is a distant relative of Baba Pyare Lal Bedi, the Indian spiritual guru who gained quite the following in Italy. The latter Baba Bedi was also the father of veteran bollywood actor Kabir Bedi. In his autobiography Stories I Must Tell, Kabir writes extensively about his father and his spiritual awakening.

Motifs and Depictions

Made using long and short darning stitches, the rumaal made by Bebe Nanaki depicts various animals and birds such as peacocks, horses, and deer, as well as floral motifs like banana and willow trees.

The visuals that one sees in these rumaals are rather similar to what one might see in a pahari painting — for instance, images of various gods and goddesses, Lord Krishna’s leelas, and events from the Ramayana are quite popular. Apart from their use as covers, these rumaals are also used as partitions and are often framed to be displayed as showpieces.

Rumaals depicting Lord Krishna with blue thread along with gopis dressed in vibrant colours are commonly seen. Lord Ganesha with a plate of ladoos next to him and Goddess Durga riding a lion or a tiger are also common visuals which appear on these rumaals. Often, you might even come across Rama aiming his arrow at Ravana, the ten-headed demon king. Various folktales and local legends are also seen here.

Raga-ragini depictions are another recurring motif in these rumaals. These are an extension of the Ragamala pahari paintings, where each of the six musical raga has five wives (raginis) and eight sons. Each of these paintings depict a certain mood and occasion. Occasionally, one might also come across Rasmandala art, which depicts events from a mythological character's life in circular patterns.

Chamba Rumaal in the 21st Century

The Chamba Rumaal, much like many other forms of traditional craft, has been on a slow decline over the years. However, efforts are being made to promote and preserve the craft over the past decade and a half. In 2008, a GI Tag was awarded to the Chamba Rumaal. Similarly, Chamba’s embroidered slippers, the Chamba Chappals, were also awarded this tag a little over a decade later.

Today, however, the Chamba Rumaal and the art of embroidery remains a major source of employment for women, particularly those living in the rural centres in and around Chamba. The Delhi Craft Council’s CHARU project is one such step towards helping this craft stay alive. Similarly, various other government-backed as well as non-governmental organisations are helping train people to embroider the Chamba Rumaal.

In more recent times, the Chamba Rumaal got major national visibility, as it was a part of the 2017 Himachal Pradesh tableau during the Republic Day celebrations. Furthermore, during the 2022 G20 summit in Indonesia, Prime Minister Narendra Modi carried the Chamba Rumaal as one of the gifts for the world leaders who were a part of the summit. Among other gifts were Kullu shawls, Kangra miniature paintings, and Kinnauri shawls.

While the practice of traditional arts and crafts continues to be on a decline, thanks to the efforts of the government as well as various non-governmental bodies, the Chamba Rumaal continues to hang around by more than just a thread.