A 17th –18th Centuries Old Art From Himachal Pradesh
A 17th –18th Centuries Old Art From Himachal Pradesh
A 17th –18th Centuries Old Art From Himachal Pradesh
A 17th –18th Centuries Old Art From Himachal Pradesh
A 17th –18th Centuries Old Art From Himachal Pradesh
“Do-Rukha” (Do means two and Rukh means sides/direction) is unique embroidery art that looks identical on both sides and is the soul of Chamba Rumal. This 500-year-old royal art form, originating from the Chamba region of Himachal Pradesh, India, transformed Pahadi miniature art onto cloth. Initially used as large-size handkerchiefs by royals of Chamba to cover the gift platters (thaals), it is now used as an art form including home décor and wearable art on Sarees, Stoles, and other apparel.
“Do-Rukha” (Do means two and Rukh means sides/direction) is unique embroidery art that looks identical on both sides and is the soul of Chamba Rumal. This 500-year-old royal art form, originating from the Chamba region of Himachal Pradesh, India, transformed Pahadi miniature art onto cloth. Initially used as large-size handkerchiefs by royals of Chamba to cover the gift platters (thaals), it is now used as an art form including home décor and wearable art on Sarees, Stoles, and other apparel.
“Do-Rukha” (Do means two and Rukh means sides/direction) is unique embroidery art that looks identical on both sides and is the soul of Chamba Rumal. This 500-year-old royal art form, originating from the Chamba region of Himachal Pradesh, India, transformed Pahadi miniature art onto cloth. Initially used as large-size handkerchiefs by royals of Chamba to cover the gift platters (thaals), it is now used as an art form including home décor and wearable art on Sarees, Stoles, and other apparel.
“Do-Rukha” (Do means two and Rukh means sides/direction) is unique embroidery art that looks identical on both sides and is the soul of Chamba Rumal. This 500-year-old royal art form, originating from the Chamba region of Himachal Pradesh, India, transformed Pahadi miniature art onto cloth. Initially used as large-size handkerchiefs by royals of Chamba to cover the gift platters (thaals), it is now used as an art form including home décor and wearable art on Sarees, Stoles, and other apparel.
“Do-Rukha” (Do means two and Rukh means sides/direction) is unique embroidery art that looks identical on both sides and is the soul of Chamba Rumal. This 500-year-old royal art form, originating from the Chamba region of Himachal Pradesh, India, transformed Pahadi miniature art onto cloth. Initially used as large-size handkerchiefs by royals of Chamba to cover the gift platters (thaals), it is now used as an art form including home décor and wearable art on Sarees, Stoles, and other apparel.
Chamba Rumal is practised by women and passed on by mothers to their daughters as a generational art. The patterns adopted are local folklore, with stories of Krishna and from other epics like Ramayana and Mahabharata. Geet Govind, Ashtnayika (eight heroines), Gaddi Gaddan (the shepherd couple), and Shikar (snow-clad mountain) are some of the commonly seen storylines depicted through Chamba Rumal. The red colour (symbolizing fear) is used for Lord Shiva, Blue (the colour of love) is used for Lord Vishnu and Lord Krishna, and White depicts Lord Brahma.
Chamba Rumal is practised by women and passed on by mothers to their daughters as a generational art. The patterns adopted are local folklore, with stories of Krishna and from other epics like Ramayana and Mahabharata. Geet Govind, Ashtnayika (eight heroines), Gaddi Gaddan (the shepherd couple), and Shikar (snow-clad mountain) are some of the commonly seen storylines depicted through Chamba Rumal. The red colour (symbolizing fear) is used for Lord Shiva, Blue (the colour of love) is used for Lord Vishnu and Lord Krishna, and White depicts Lord Brahma.
Chamba Rumal is practised by women and passed on by mothers to their daughters as a generational art. The patterns adopted are local folklore, with stories of Krishna and from other epics like Ramayana and Mahabharata. Geet Govind, Ashtnayika (eight heroines), Gaddi Gaddan (the shepherd couple), and Shikar (snow-clad mountain) are some of the commonly seen storylines depicted through Chamba Rumal. The red colour (symbolizing fear) is used for Lord Shiva, Blue (the colour of love) is used for Lord Vishnu and Lord Krishna, and White depicts Lord Brahma.
Chamba Rumal is practised by women and passed on by mothers to their daughters as a generational art. The patterns adopted are local folklore, with stories of Krishna and from other epics like Ramayana and Mahabharata. Geet Govind, Ashtnayika (eight heroines), Gaddi Gaddan (the shepherd couple), and Shikar (snow-clad mountain) are some of the commonly seen storylines depicted through Chamba Rumal. The red colour (symbolizing fear) is used for Lord Shiva, Blue (the colour of love) is used for Lord Vishnu and Lord Krishna, and White depicts Lord Brahma.
Chamba Rumal is practised by women and passed on by mothers to their daughters as a generational art. The patterns adopted are local folklore, with stories of Krishna and from other epics like Ramayana and Mahabharata. Geet Govind, Ashtnayika (eight heroines), Gaddi Gaddan (the shepherd couple), and Shikar (snow-clad mountain) are some of the commonly seen storylines depicted through Chamba Rumal. The red colour (symbolizing fear) is used for Lord Shiva, Blue (the colour of love) is used for Lord Vishnu and Lord Krishna, and White depicts Lord Brahma.