Craft Cluster Document PDF

STUDY AND SURVEY OF CRAFT AND DOCUMENTATION
CHAMBA.
DEPARTMENT FOR FASHION AND LIFESTYLE

ACCESSORY DESIGN
BATCH 2017-21
Submitted By :
AAKANKSHA ARORA
AKILSHA K.S
MOHIT RAJ
SHWETA BHOGAWADE
SHIVAM NAYAR
SREJAN SHARMA
Copy right @National Institute of Fashion Technology, Year 2019
All rights reserved: no part of this book may be produced, stored or replicated in retriev-
al system or transmitted in any form, electronic or mechanical or otherwise without
prior permission from National Institute of Fashion
Technology. Except by a review/reader who wishes to quote brief passage in connection
with a review/essay
Written for inclusion in a periodical, newspaper or broadcast.
ACKNOWLEDGEMENT
Conducting this project would have been impossible without the support
and contribution of the individual and organisations. We would like to
express our profound gratitude to the Director and authorities of NIFT,
Kangra. We are also highly grateful to our respected faculties for their guid-
ance, encouragement and constant monitoring throughout the course:
Mr. Sandeep Sachan (Course Coordinator, Fashion and Lifestyle Accessory

Department)
Mr. Haji Badshah Miyan (An Empanelled Designer)
Mr. Vijay Sharma
Mr. Manoj Sharma (Founder of Not on Map)
Mr. Surender (Technical Assistant of Bhuri Singh Museum)
We are thankful to the artisans of Miniature painting and Stone Craft, Pine
needle and Horse hair craft who have indeed contributed their time,
knowledge and skills. Lastly, we are grateful to all of them for their immense
support during the period of our assignment.
NOTE OF THANKS
We would like to thank Shri Haji Badshah Miyan who has been recognized for
his skills as a Master Craftsman in the craft of tie and dye and showed us the
myriad of examples of Indian tie dyeing.
He has received a Shilp Guru Award for the the year 2014 for his extensive work
and research in tie and dye Leheria, with natural and herbal dyes from the then
president Pranab Mukherjee. The Shilp Guru Awards are awarded to a
craftsperson only once in a lifetime, to encourage master craftspersons to main-
tain excellence in craftsmanship and keep alive our old tradition. The Award
consists of a gold coin, Rs. 2,00,000/- in cash, a Tamrapatra, an Angavastram and
a certificate.
We had the opportunity to learn the craft of tie and dye using natural dyes not
only on fabrics but also on pine needles as a part of design innovation. With his
extensive 45 years of practice, expertise and guidance we were able to carry out
a process which has not been done before.
It was a rare opportunity for us to learn the art from the master of the field him-
self. We would like to thank him for accompanying us to our trip to Chamba and
being a part of this Craft Cluster initiative and sharing his knowledge in docu-
menting various crafts of Chamba.
PREFACE
Achamba is not just a result of six people visiting a beauteous valley Chamba, but
the countless artisans who accepted these students as their own poured out there
hopes, dreams and most intrinsically, their craft. -A craft they believe is a faculty pre-
sented to them by Gods, a craft they have nurtured for past few years.
The Craft Cluster initiated in the curriculum of NIFT involves, going to an assigned
place, learn and study the native crafts of the place and their environment and neigh-
borhood.
The aim is to study the origin, techniques, historical implication, use present scenario
of the craft and finally applying design innovation for the revival and promotion of
the craft.
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BIBLIOGRAPHY
A DYING CRAFT
MATERIAL AND PROCESS
Artisan Profile
9
HORSE HAIR CRAFT
History 8
7
ARTISAN PROFILE
SWOT Analysis
INTRODUCTION
12 CRAFTS OF CHAMBA
MINIATURE PAINTING
Introduction
3
• History and background
• Material & Process
4 SWOT ANALYSIS
Artisan Profile
5 PINE NEEDLE CRAFT

• About Pine Needle
6
• Material and Tools
• Process
• Technique
• Product Range
7
• Artisan Profiles
• SWOT Analysis
• Present Scenario
STONE CRAFT
LE History
Material & tools
9
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‘‘Chaugano, Ravi Nadi ra kinara, Gaddi nacho Ri Shobha
nachde, gande, haasda khelda jinhe sari jindari
Bitayi re raani chambyali Ra desho ebe baazi Navi badhai re
Raani raana re rohe na rajo , bane sane thogade raaje koi na eba bhookhiye sooto,
khole bhurvuye naaje’’.
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ABOUT CHAMBA
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INTRODUCTION
“Chamba shahar nangina janaa ek din tey jandaa mahi-na” (chamba is a gem
of a town, you go there for a day but stay on for a month)
In conformity to the ancient Vedic precept the town of Chamba is located on

the right side of the river Ravi when it takes a turn towards the north
(uttarvahini).The Hindu texts speak of the northern direction as the most
sacred where the celestial regions lie. The enchanting valley through which
the Ravi river flows was formed during the Pliocene period when the river
dug deep into the narrow gorges cutting through the accumulated glacial
matters leaving above the beautiful terraces and flat-topped places. On one
such river terrace the beautiful valley of Chamba is located.
The valley is spread below the towering mountain of Kailash,The jewel of

mighty Himalayas, the abode of Shiv supervening the life of people with his
benign grace and manifesting himself into numerous Shivlings strewn across
the region which justify the name of Chamba as Shivbhumi. What with the
tribes leading a life based on transhumance, the colourful costumes and rich
jewelery, the history and culture of this region, the flora and fauna,
Numerous Inscriptions on metal and stone, the ancient monuments, the
charms of Chamba are endless. In poets imagery, Chamba is Achambha. But
like any other Mountainous region of the world, one of the major
Contributors to Chamba’s history has been its geography.
The mountains acted as two-edged swords imposing isolation and present-

ing barriers. Perhaps the loveliest valley of himachal, is a treasure trove of
scenic attractions, sparkling streams, primeval lakes, meadows, dense alpine
tree covers, rich wildlife and fertile valleys. At the crossroads of dhauladhar
and zanskar ranges, the region borders jammu & Kashmir and is the
northernmost district of the state. Fast flowing streams drain into river ravi
on the southern side and into river Chenab on northern fringes.
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History
The origin of Chamba is not known definitely but it came into existence around 6th
Century AD out of the turmoil caused by invasions of tribes from the northwest of
India and the consequent disintegration of Gupta empire. Meru, who was a Suryavanshi
Rajput migrated from Ayodhya is said to be the founder of the state. The consequent
disintegration of the Gupta empire gave birth to the original town of Chamba.
Raja Meru founded his capital at Bhrahampura (Bharmour). Chamba was considered an
important center for Pahari paintings and it was a part of an Important trade route
Connecting Delhi and Kashmir. When Raja Sahil Dev Varman came into accession, he
made Chamba his
Capital.
Geography And Demography

•LATITUDE – 32°11’ & 33°13’ NORTH
•LONGITUDE – 75°45’ & 77°33’ EAST
•CLIMATE- Winter-Comes down to 0° or even lower
- Summer- 15°C - 20°
•RAINFALL- 1264.4 mm
•RAINY SEASON- June to September
•LANGUAGES – Gaddi, Hindi
•POPULATION- Male- 2,61,320
-Female- 2,57,76
How To Reach?
BY AIR: The nearest airport is at Gaggal, which is 144 kms away from Chamba . Other
airports are Amritsar and Jammu airports with distances of 157 and 122 kms respectively.
BY RAIL: The nearest railway station is at Pathankot, which is 120km from Chamba.
BY ROAD : Himachal Road Transport Corporation runs long distance throughout the
state from their main stands at Shimla, Solan, Kangra, Dharmshala and Pathankot and
from a location in the adjoining states of Delhi, Punjab, Haryana and Chandigarh. Private
buses, serving everywhere else, frequent and provide a relaxed mode of commuting .
Taxis and traveler buses too serve as the mode of travel.
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01
CHAMPA TREES:
Chamba was won from oth-
er Kshatriya in battle where the
trees of Champa were in abundance.
It was protected by worshipping the idol
of Mahishasur-Mardini, proving that a king-
dom and temples were already at Champa at
that time when Sahil Dev Varman came into
power. The abundance of Champa trees
is also one of the reasons attributed
to name the place as Champa.
P R I N C E S S
CHAMPAVATI: Popular lore
holds that when Sahil Dev Varman
shifted his capital to Chamba after con-
quering the lower Ravi basin. He visited
a small village inhabited by a few Brah-
min families, and his daughter expresses
a liking for this place so the town was
named after her as, Champa.
03
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How Chamba Got It’s Name?
02
THE HERMITAGE: Cham-
ba was originally a hermit-
age, visited by a devotee named
Champavati. Her father, the king,
suspecting his daughter of loose be-
havior, he followed her with a sword. But he did not
find his daughter or the ascetic. He heard a voice be-
rating him for unfounded suspicion and punishing
him by taking away his daughter. The repentant
king built a temple in his daughter’s honour
and built a city around the temple.
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Community
Chamba is inhabited mainly by 5 main communities which are known by the name of
the sub division in which they dwell.
- Gaddis from Bharmour
- Bhattyals from Bhattiyat+
- Chambayals from Chamba
- Churahis from Churah
- Pangwals from Pangi
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Culture
The culture has been developed in direct association with nature, serving as an inspira-
tion and as a beautiful backdrop to it, the folk songs, tales, dances, fairs and festivals of
the people throw light on numerous aspects of their lives. Some of the folk dances cov-
er a wide gamut of community, religious, social, etc. Some of the dances are: dandaras,
gaddi, Brahmouri nati, chhinjhoti, dance of parachanari,dhamal.
Fest And Festive :

Minjar fair –
Minjar fair , the main festival of chamba, is held at the sprawling chaugan ground in
july/august celebrating natures bounty, the farming community prays for good harvest
by offering the first sprouting corn silk, locally called ‘minjar’, to devine river ravi for the
occasion. The celebrations go on for a week. Stalls selling local crafts and produce are
put up for the evenings cultural performances that draw large crowds are held.
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Sui Mela
At the sui mata temple, chamba, a fair known as ‘sui mela’ is held commemorating
the queen who ended the towns water scarcity in 10 th century. Annually held in
second week of april month, this fair is attended by women and children who in their
best attire sing praises of the rani and offer homage to the rani for her singular sacri-
fice.
Chattradi Jatar
At chattradi in the confined chamba countryside, the fair is held in September at the
Shakti devi temple. A major attraction at the festival is the masked dance
Performance that has the audience spellbound.
Manimahesh Yatra, Bharmour

The simplicity, grandeur and intense belief system of Bharmour valley can be
witnessed during the holding of the Manimahesh yatra in August/September.
This festival is held after janmashtami. The yatra is an arduous and tough trek to the
beautiful mountain lake lying at the foot of mount Kailash at manimahesh.
At Bharmour, 35kms away of the lake this fest is held for 6 days.
Lishoo
It is mostly celebrated by localities of Chamba and Bharmour in the remote places of
Chamba. It is celebrated on the first of Baisakhi.
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Picture Courtesy: Chamba Rediscovered
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ARCHITECTURAL
LANDMARKS
Chaguan
Chaugan is the heart and hub center of all activities in CHAMBA and is surrounded by impressive admin-
istrative buildings and a shopping arcade built during the British period. The term Chaugan has Sanskrit
origin meaning four-sided. In 1890, the British converted five small Chaugans into a single Chaugan for
cricket matches, picnics, and promenades during the mid-summer months.
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It is large for a hill station, measuring 800 meters (2600ft) in length and 80 meters (260 ft) in width.
The Chaugan is fenced all along its periphery with several gates on all sides to provide ease in entry
from all sides. It is well illuminated during night with tall street lights acting as the light source. Chaugan
is also provided with benches all along the sides. During the annual Minjar Mela fair, the entire ground
becomes a flea market.
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Rang Mahal
Located in Surara Mohalla, Rang Mahal was founded by Raja Umed Singh during mid-18th cen-
tury. This palace displays a perfect mixture of British and Mughal style architecture. The super-
structure of the Rang Mahal which is in brick belongs to a later date with its southern portion
built around 1860 by Raja Sri Singh. The aim behind its erection, besides serving as king’s ac-
commodation, was to have awarehouse for royal grain and treasure. The palace served as the
center of royal activities in its inception. The walls of this 18th-century monument re adorned
with fine examples of Punjab hill style wall paintings, which portray the life of Lord Krishna.
The major attraction of the palace is the fact that its doors are carved and painted in style. The
descendants of the royal family sold the heritage building to the Himachal government in 1958.
Rang Mahal now houses the Himachal Emporium, which functions
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Temples Of Chamba
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Laxmi Narayan Temple
Presiding deity: Preserves marble image of Goddess Laxmi
Built by: Sahil Varman during 920-940 AD
To the north of the palace at Chamba, there is a group of six stone temples arranged in a row
from north to south. Three of these temples are dedicated to Vishnu and three to Shiva. The
northernmost is that of Lakshmi Narayana: The principal temple of Chamba, containing the
image in white marble.. The temple is said to have been founded by Sahil Varman shortly the
foundation of the town. Upon our visit, the old priest recited an old legend that goes around
with the construction of the temple: Desiring to raise the temple to Vishnu, the king sent nine
of his sons to the marble quarries in vindhyas to bring the white marble for the image. When
the marble was brought and was chiselled, a dead frog was found and hence it was declared
unsuitable for making Vishnu. The princes were deputed again but this time they were all
robbed and killed on their way back. Thereafter on receiving the news, the king sent his
eldest son who too was attacked by robbers but survived with the help of a saint and was able
to bring the marble for Vishnu image. Inside the temple various scenes from Ramayana and
Mahabharata have been inscribed. The temple is believed to have been held in high esteem by
the rulers of Chamba.
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Shakti Temple, Chatrari
Built by King Meru Verman of Bharmour , in Chamba, Himachal Pradesh, at an altitude of 6000
feet above sea level (32° 28′ N and Long. 76° 10′ E).
It is considered as one of the good specimens of the Shrines of hills. People from distant places
visit this temple in Himachal to take the blessings of Maa Shakti. When you visit this temple you
will get to see an outer doorway which is one of the recent additions made in this temple.
If you observe the ornamental decoration in the inner doorway you will get resemblance with
decoration of Lakshana Temple. You will get impressed with carved wood and stone work
which you will see in this temple. This temple is also called as “temple of Chhatrari” as is one of
the holiest one located in Himachal.
Influence of post Gupta period can be noticed in the sculptures of this temple. Ceder columns in
this temple are decorated with foliage motifs and pot.
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CRAFTS OF CHAMBA
Chamba Chappal
Chamba Chappal is an art of leather

embroidery and making patterns through
punching introduced by sister of Raja Bir
Singh of Nurpur.. The Himachal Pradesh
Industries Department has its own unit at
the Rang Mahal palace complex in Chamba
whose entire output is marketed through
the State Government Emporia all over the
country.
Chamba Rumal
Traditionally a rough, and hand woven

cotton, and mal-mal, also known as fine
muslin of about 1 ½ to 2 feet square in
size but they can be of any size and shape.
Chamba rumals are embellished with vivid
decorative motifs and designs. These were
used as covers for offerings to deities and for
exchange of gifts on weddings and occasions.
The Special feature of this rumal is that its
reversible. This technique is known as
dorukha, reversible, which is obtained by us-
ing double satin stitch, double running stitch
and long and short stitches are also used.
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Wood Carving
Wood has a special significance in the

crafts traditions of Himachal Pradesh. Be-
sides Kerala, Himachal is another
important producer of wood as a structur-
al material. Varieties of wood easily avail-
able here are deodar, walnut, teak, maple,
shisham, ash wood and box wood. The
artisans who work with wood are known
as tarkhan, badhi, khatti,
and thavi and refer to themselves as
dhimans, a professional caste name.. The
Gaddi tribes of Chamba and Bharmo-
ur are famous for their attractive wooden
utensils.
Stone Craft
Stone is a durable material used for sculp-

tures by sculptors to express their artistic
expressions and these sculptures were
used in olden days at temples. The Laxmi
Narayan Temple is a fine example of the
durability and the beauty of the stone
carvings. Kangra, Mandi, Bilaspur, Chamba
and Kullu have been traditional centres for
stone carving.It depicted the life exploits
of each deity in various incarnations and
statues of horses and soldier, gods and
goddesses, etc were observed.
Metal Craft
Metal craft is one of the most vital tradi-

tions of Himachal Pradesh. Metal statues
in the classical as well as rural traditions
were cast by the “lost wax” process and
both solid and hollow methods of casting
were used. The Himachal State Handicrafts
Corporation has established metal craft
training centres at Bilaspur, Chamba, kupa
in Kinnaur district, rohru in mahasu district
to impart training to bronze casting and all
metal crafts technique.
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Miniature Painting
Indian folk Pahari miniature painting is an

expression of the soul and its admiration for
natural beauty. Miniature refers to as minute
in size and done for decorative purpose.
Pine Needle Craft
Pine needle is simply the leaf of pine tree.

In Himachal Pradesh, pine needles are
a major cause of forest fires hence they
need to be cleared of. That is why Him-
achal Government took up projects to
promote pine needle craft and provide
employments in various sectors.
Horse Hair Craft
Horse hair craft of chamba is a craft which

is on the verge of extinction. Horse hair is
wrapped on the rings in various manners
to achieve the desired pattern on the prod-
uct. Generally hair strands of two differ-
ent colors are used to make the product
beautiful.
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PAHARI MINIATURE
PAINTINGS
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Introduction To Miniature Paintings
Miniature art is an intense labor of love illustrated on a range of materials like palm leaves, paper,
wood, marble, ivory panels and cloth. Organic and natural minerals like stone dust, real gold and silver
dusts are used to create the exquisite colors. Even the paper used is special; polished with stone to
render a smooth non porous surface.
TIMELINE:
After the murals of Ellora and fresco-secco of Ajanta Paintings, a large number of manuscripts on palm
leaves related to Budhhist themes were illustrated and written. The timeline of the miniature painitngs
in India was as follows:
7 th -11 th century – The Pala School

The earliest miniature paintings in India can be traced back to 7th century AD, when they flourished un-
der the patronage of the PALAS of the Bengal.Buddhist texts and themes were illustrated on 3 inches
wide palm leaves manuscripts with images of the Buddhist deities.
12 th -16 th century –The Jain School

While it was Buddhism in the east, it was Jainism that inspired the miniature art movement of the
western Indian stylr of miniature paintings. The form prevailed in the regions of Gujarat, Rajasthan and
Malwa from 12th to 16th century. Jain manuscripts were illustrated using exxagerated physical traits ,
vigorous lines and bold colors.
16 th -18 th century –The Mughal School

Mughal school was nothing new but a refined Indian style of miniature painting refined by the Persian
artists. Mughal school of painting started under the patronage of Babur, the founder of the Mughal
empire in India and flourished with generations. It resached it’s zenith during Akbar’s reign anda very
high level of excellence during Jahangir’s rule.The art of painting in Mughal rule saw it’s downfall
during Shahjahan’s reign and disappeared by the time Aurangzeb descended the throne.
16 th – 19 th century –The Deccan School

There was already an influence of the Mughal style on the Deccan miniature and it flourished into var-
ious styles when many painters migrated from Mughal court during Aurangzeb’s reign to the deccan
region. It led to the development of various styles of Deccan miniatures namely, Ahmednagar, Golcon-
da, Hyderabad and Tanjore.
17 th – 18 th century –The Rajasthani School

This school of painting is also known as Rajput School because it developed under the Rajput kings.
Initially the style was influenced by religious themes, which was later followed by folklores and love
poetry.
17 th - 19 th century – The Pahari School

Pahari painting is an umbrella term used for a form of Indian painting, done mostly in miniature forms,
originating from Himalayan hill kingdoms of North India, during 17th-19th century, notably Basohli, Man-
kot, Nurpur, Chamba, Kangra, Guler, Mandi, and Garhwal.
17 th -19 th century – The Orrisa School

A few instances of miniature paintings iin found under this school. The exhibits of this style appear to
belong to the 17th cenutry. The series of paintings found are mostly about the celebrated themes of
Lord Krishna, his leelas with gopis and Radha and Gita Govind.
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Pahari Miniature Paintings
The Pahari region comprises of the present state of Himachal Pradesh, some adjoining areas of
Punjab, the area of Jammu and Kashmir, and Garhwal in Uttar Pradesh. The whole area was
divided into small states ruled by the Rajput princeswho were often engaged in warfare.
These states were centers for great artistic activity from later half of the 17th century to the
middle of the 19th centuryas many artists from Rajasthan settled here due to the fear of Mughals.
Many schools flourished under the Pahari mininature, all with different styles , influenced by each
other.
SCHOOLS OF PAHARI MINIATURE:
1.BASHOLI
The earliest center of Pahari painting was the Basholi school under the patronage of Raja Kirpal
Pal, an artist named Devidasa executed miniatures in the form of Rasmanjari illustrations in 1694
AD. The illustrations of the two Rasmanjari series are scattered in anumber of Indian and foreign
museums.
The Basholi style of painitnngs are characterised by:
o Vigorous and bold lines.
o Strong glowing colors
o Use of dark green beetle wings to indicate jewels in ornaments
o Sky hsown through a narrow band of blue or white
o Facial type becomes heavier
o Naturalistic character in tree forms
o Lure eyes
o Red borders
2. GULER
The last phase of Basholi style was closely followed by the Jammu group of paintings mainly
consisting the portraits of Raja Balwant Singh of Jasrota by Nainsukh. These paintings are in a
new naturalistic and delicate style marking a change from the earlier traditions of the Basholi
art. At Guler, another state in the Pahari region , a number of portraits of Raja Goverdhan Chand
were executed in circa 1750 AD in a style of having close affinity with the portraits of Raja Balwant
Singh. They have been drawn delicately witha bright color palette.
Charateristics of Guler school are as follows:
o Soft and cool colors
o Delicate Lines
o Mythological themes (example: The Bhagwata,The GIta Govind, The Bihari Satsai, The Baramasa
and the Ragmala etc)
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3. KANGRA
The Guler stylee was followed by Kangra style, representing the third phase of the Pahari painting-
sin the last quarter of the 18th century. This style developed out of the Guler style and possesses
qualities like delicacy of drawing and quality of naturalism from the latter style. The Kangra style
continued to flourish at varioius places like Kangra, Chamba, Nurpur, Jammu and Garhwal.
Characteristics of Kangra style of painting are as follows:
o Profile faces
o Nose almost in line with the foreheads
o Long and narrow eyes
o Sharp chin
o No modelling of figures
o Hair treated as flat mass
o Depiction of landscapes
4. KULU-MANDI
Along with the naturalistic style of Kangra, also flourishes a folk style of painting in Kulu Mandi
area, mainly inspired from local traditions.
There was a use of symbolism to depict things.
Chatateristics offered in Kulu Mandi style are as follows:
o Bold Drawings
o Use of Dark and Dull colors
o Folk themes
o Symbolism
o Bold Lines.
5. GARHWAL
Garhwal paintings originated in Himachal Pradesh and were the first dominated by the Mughal style.
Later on, it started reflecting the cruder version of the Kangra paintings,
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5. GARHWAL
Garhwal paintings originated in Himachal Pradesh and were the first dominated by the Mughal style.
Later on, it started reflecting the cruder version of the Kangra paintings,
6. BILASPUR
Bilaspur witnessed the growth of pahari paintings around mid 17th century. Apart from the illustra-
tions of the Bhagvata Puran, the Ramayana and the Ragmalaa series, the artists also made paintings
on Rumals for ceremonies and rituals.
7.JAMMU
Jammu paintings of the late 18th and 19th century bear a striking similarity to the Kangra style. Shan-
gri Ramayana of the late 17th and 18th century was produced in Jammu itself.
8. JASROTA
Paintings from this school are mainly found in Jammu and Kashmir and revolve around court scenes,
events from lives of the kings etc.
9. MANKOT
These paintngs of Jammu and Kashmir bear a resembalance to the Basholi style with vivid colors and
bold subjects. In the mid 17th century, portraiture became a common theme.
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MATERIALS USED
1. PAPER:
Layers of Sialkoti paper are used to paint on. Sialkot is a place, now in Pakistan,
where such papers were produced in large quantities. Other is the Wasli, also
referred to as wasli paper, is a type of handmade paper used specifically for
painting miniatures. It was devised in India, in the 10th century, and figures
widely in Mughal-era painting. Wasli is an acid-free paper and it has archival
qualities. Paper eating insects can not eat it because of a poison copper sulphate/
Neela Thootha used in the making of this paper. The glue to paste sheets togeth-
er is also acid free made out of cooking flour. To use it for miniature paintings this
layered paper is burnished with either smooth glass or a sea shell. This way the
paper is shiny, smooth and have minimal perceptible grain. A sheet of wasli is cre-
ated by gluing together several layers of paper, then polishing them by hand until
they are shiny and smooth, with minimal perceptible grain
2. BRUSHES:
Miniature artists in the past used to prepare these brushes themselves as per
their convenience and requirement. They were made of ear hair of mongoose,
goat/ buck and calf; while for details and outlines brushes made of squirrel’s hair
were used which are so fine that each hair can be seen separately. The material
used for brushes are still much the same.
3. PAINTS:
Paints used in these paintings are made of three kinds of pigments:-

i. Mineral colours which are obtained from stones and other natural minerals.
They are finely ground and filtered and added to Arabic gum or babool (Acacia
nilotica) ka gond (gum) before being employed in a painting.
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PROCESS
The following steps are followed to make a painting:
o Preparing the surface
o Painting
o Finishing
Preparing the Surface:

Paintngs are generally made on handmade paper known as
Wasli in which two to three thin papers are stuck together
with the help of starch to make it thick. It is then allowed
to dry. After drying the surface is coated with a mixture of
Khadiya and Gond.This mixture is prepared by dipping Khadi-
ya in water for 4-5 hrs and allowing
it to dissolve. After that it is sieved and mixed with Gond.
The mixture is allowed to dry and the hard lumps are grind-
ed to make the powder. This powder is again mixed with wa-
ter to make the paste and applied on the paper. This paste
gives strength and better surface to the paper.
Painting:
The painting starts by sketching the borders with the help
of a pencil. Thereafter the figures, trees etc. are made on
the Basli. Sketches are made very lightly so that marks of
pencils are not visible after the application of color. Once
the sketching is done artisans starts filling the colors. Appli-
cation of colors starts with filling the base color and then fol-
lowed by details. Shading and fine detailings of face is done
at the end with fine squirrel brush. Face and facial expres-
sion are most important part of the painting and therefore
done with utmost precision and patience. The painters give
special detailing on eyebrows, eye, eyelashes and lips etc.
Borders of the garments and jewelries of god, goddesses,
kings and queens are painted with gold powder mixed with
water. Sometime Varakh is also used. Once embellished the
painting is allowed to dry properly.
43
SWOT ANALYSIS
STRENGTHS WEAKNESS
 It is very rich in tradition therefore it  Time and labor consuming.

has a lot of respect.  They’re a laborious craft and so
they’re very expensive so its buyers
 Its demand is increasing in the mar- are limited.
ket.  Due to long hours of continuous
work, the artisans face health issues
 Since these paintings are very beau- like back ache and weak eyesight.
tiful and intricate they become a piece  The number of artisans doing this
of heritage and people preserve it for craft is very limited.
generations to come.  The artisans source most of their
material from Jaipur and this adds up
to the expenditure.
44

OPPORTUNITIES THREATS
 Various government initiatives have  This is a dying craft.

been taken promote and uplift this
craft.  Manufacturing of brushes made of
 There are a lot craft fairs and exhibi- squirrel hair is banned.
tions in metropolitan cities that attract
buyers from across the globe.
 Social media is an excellent way
to exploit this craft in the market to
spread awareness.
 Tie ups with various brands and
platforms like Etsy Seller can help in
marketing the products.
45
SHRI VIJAY
SHARMA
An Indian painter and an art historian, Shri
Vijay Sharma is a 57 years old individual
associated with the Pahari Miniature
painting. With an experience of more than
36 years, he managed to paint various
literature themes, ranging from Bihari
Satsai to the Ragamala paintings. He was
honored by the Government of India, in
2012 for his tremendous works with the
fourth highest Indian civilian award of
Padma Shri. A follower of the Basholi and
Kangra styles of Pahari painting, Sharma is
also known to be a scholar and art
historian. He is reported to have learned
the ancient scripts of Śāradā and Takri and
has published many books and articles on
the arts and crafts of Himachal Pradesh.
Adding feathers to his cap, he received

the Himachal Pradesh state award in 1980
for his Ragamala paintings followed by
the award from the Ministry of Textiles in
1990. All India Fine Arts and Crafts Society
awarded him their annual AIFACS Award
in 1997 and Sharma received the Kalidas
Samman in 2011. In 2012, the Government
of India included him in the Republic Day
honors list for the award of Padma Shri.
In 2013, Himachal Pradesh University

awarded him the honorary doctorate.
46
This Kangra painting by Shri Vijay Sharma was
painted for the famous lyricist Gulzar Sahib that
represents the song “mora gora ang layi le” (Film
: Bandini) when he visited Himachal for the
promotion.
Gulzar Sahaib got was really impresed by this

beautiful painting and gifted his most famous
book 100 LYRICKS to Mr.Vijay Sharma with is
autograph on it.
47
ARTISAN PROFLIES
Name: Prikshit Sharma

Age: 41 years
Occupation: Miniature Painting Artist
Village: Chamba
Education: Graduation
Experience year: 20 years
Name: Bhupinder Sharma

Age: 33 years
Village: Uteep, Chamba
Education: 1+2
Experience year: 8-10 years
48
Name: Munesh Kumar
Age: 22 years
Village: Chamba
Name: Nishat Rana

Age: 21 years
Village: Bhagwanpura, Chamba
Education: Student
49
Name: Deepak Bhandari
Age: 25years
Village: Dodhamb, Chamba
Education: Secondary School
Name: Prajwal Sharma

Age: 24years
Village: Chamba
50
Name: Achyut Sharma
Age: 26years
Village: Dharog, Chamba
Name: Varun Kumar

Age: 23years
Village: Karian,Chamba
51
Name: Akshay Thakur
Age: 29years
Village: Mugla,Chamba
52
53
PINE NEEDLE CRAFT
54
The
Beginning
Stories of the evolution,
stories of the begining
55
56
HISTORY AND
BACKGROUND
Pine needle art is one of the oldest art forms known. Dating back to almost 9000 years,
even before pottery existed. The Seminole Indians were one of the first tribes to make
pine needle baskets. They used tools made of sea shells and bones as needle.
These baskets were used to carry water, winnowing seeds and carry things. Pine nee-
dle hats were made during the era of Civil war. As transportation started to become
important, raffia as well as sinew, was used to sew the baskets. Raffia comes from the
raffia palm which grows in Madagascar, Africa. In todays time, pine needle craft is still
being practiced by few people.
PINE NEEDLE
Pine needle art is one of the oldest crafts known. It dates back some 9000 years, even
before pottery which was made by lining twig baskets with clay.
However, today the art of pine needle basketry is still being done by a few creative
people. There is no limit to what one can do with pine needles along with a little
imagination and skills which will come with patience
57
58
CHARACTERISTICS AND
SIGNIFICANCE OF THE
RAW MATERIAL :
PINE LEAVES
Pine needles are long and slender. The length and color depends on three key
elements: the pine species, season we are in and the amount of water available to
the tree. Generally pine needles range from short (5” or less) to very long (up to
15”) and on any pine tree the length of needles may vary by several inches.
Pine needle colors may be brown, a whitish-green or a deep dark green.
The surface of the needle is hard and glossy and the color is rich brown.
The needles lose their luster, become dull and brittle.
As Pine Needle are abundantly available in the Alpine regions and have
negligible raw material cost. Through Pine Needle craft, a lot of human resource
can be developed. Since pine needle is a major cause for forest fires in Himachal
Pradesh hence it needs to be either cleared or put to use which is why Himachal
Government has taken up projects to encourage employment in various sectors
which directly deals with clearance of locally available pine needle and therefore
has major scope of craft development.
Pine needles play a role in this system. Shed needles can make a thick layer of duff
on the pinewood floor, and these ignite readily (by, for example, lightning). The
surface fires that consume such litter don’t typically kill mature pines while
"flushing" out the seedlings of competing trees, so in a sense pines help
Perpetuate themselves by their own dropped foliage
59
60
RAW MATERIAL
PINE : Pines are the thin and
long leaves of pine tree which
grows abundantly in the north
region. Each fall, pine sheds off
the trees.
These pine needles are soaked
in water to increase its
durability and flexibility.
This makes sure that the nee-
dles bend instead of breaking
when they are coiled or sewn.
THREAD : threads are used to

stitch the coils together.
The constant friction of pulling
the thread through the bun-
dles of needle requires a very
strong smooth thread so break-
age does not distract the work.
NEEDLE : Needle is a fine slen-

der piece of metal with point at
one end and hole for thread at
other end. It is used for sewing
bundles of pine together to
form a particular
object.
61
Which Needles Should be Used
for Basket Making?
All needles are not created equal, so it's a good idea to have an idea of the type
of needle you wish to use before getting started. Needles are selected based on
length, width, and also may have to be chosen based on what's available in your
location.
Some trees produce a 6-inch needle, but some of these can be on the skinny
side. Others produce needles that reach 12 inches in length. Some trees
offer longer needles still. Trees considered ideal for pine-needle crafting are
Ponderosa Pine and Longleaf Pine, Longleaf pine trees were traditionally relied
on because their needles could grow to impressive lengths. Longer pine needles
are generally preferred because they are considered easier to work with and one
doesn't have to sew in as many needles. Smaller needles from other pine tree
varieties may still be used, however. This might apply if you only have access to
shorter needles but still want to make baskets from what is available.
Ideally, pine needles should be about 5"-8" long.
62
63
PROCESS
STEP 1 :
COLLECTION AND SOAKING
Each fall season, pine trees shed their

needles. These are collected by the
locals to last them the whole year.
The needles are then soaked in water
overnight for them to become soft
and pliable.
STEP 2 :
NATURAL DYEING
Experiments in natural
dyeing are being done to color the
needles. This is done using roots and
stems of plant like Hingloda, Hinsar,
Jinjaroo and Thermole.
These are boiled in water and then the
pine needles are soaked in them.
64
STEP 3 :
TECHNIQUE
The needles have a knob (fascicle) on

one end. These can be removed or
left as it is, depending upon the type
of product to be made. In Chamba
cluster only Coiling technique is being
used. Coiling is usually done to make
coasters, baskets and jewelry.
A single needle is carefully and
continuously coiled on a bunch of
pine. The number of needles in the
bunch could vary depending upon
how thick one wants the coiled
strand to be. Baskets and
coasters grow like a spiral. For these
to strong and sturdy, each
concentric strand is sewn (with pine
or thread) to the previous one.
Sometimes glass bangles are used as
the base to coil over. Beads can be
easily added when making jewelry
pieces by slipping them in the needle
and working a small stitch to secure
them in place.
65
TECHNIQUES
66
WEAVING
Pine needles (weft) are woven into cotton

yarn (warp) to get very interesting
products like coasters, table-mats,
window-chic's etc. Cotton thread can be
dyed in the color of one’s choice and then
woven with the needles. A combination
of pine and different colors of threads can
be used as well
BRAIDING
Braiding is another way of expanding

the surface quickly, ideal for making
table-mats, glass-holders, jewelry and
COILING
Coiling is usually done to make coasters,

baskets and jewelry. A single needle is
carefully and continuously coiled on a
bunch of pine. The number of needles
in the bunch could vary depending upon
how thick one wants the coiled strand to
be. Baskets and coasters grow like a spiral.
For these to be strong and sturdy, each
concentric strand is sewn (with pine or
thread) to the previous one.
67
PRODUCT
RANGE
68
69
THE MAKERS THEMESELVES
70
Name: Pooja Devi
Age: 32 years
Occupation: Pine Needle
Village: Kundelhi
Education: Primary
Name: Sunita Devi

Age: 43 years
Village: Kakaiyan
Education: Primary
71
Name: Anita Devi
Age: 37 years
Village: Dhalei, Chamba
Education: Primary
Name: Lata
Age: 25years
Village: Uteep, Chamba
Education: Secondary school
72
Name: Jyoti Bala
Age: 36 years
Village: Kakiyan, Chyamba
Education: Primary
Name: Anjuna
Age: 26years
Village: Badi dehera, Chamba
73
Name: Rajni Devi
Age: 38 years
Education: primary school
Name: Aarti Devi

Age: 25years
74
Name: Babita
Age: 38 years
Education: Primary
Name: Kajal Kumar

Age: 20 years
Village: Kakaiyan
75
Name: Rajni
Age: 36 years
Name: Sandesh Kumari

Age: 43 years
Village: Kakaiyan, Chamba
Education: Primary school
76
Name: Babli
Age: 31 years
Education: Primary
Name: Babli
Age: 35 years
Village: Kakaiyan
Education: Primary School
77
Name: Seema Devi
Age: 36 years
Village: Kundeli, Chamba
Name: Monu Devi

Age: 28 years
78
Name: Kanika Kumari
Age: 19 years
Name: Madhu Thakur

Age: 21 years
79
SWOT ANALYSIS
STRENGTHS
Pine needle is fully handcrafted, making it more valuable.

Pine needle as raw material is abundantly available , the products made are completely
handcrafted and thus make them valuable. They involve a lot of time and effort of different
individuals adding extra spark to the product.
Its uniqueness is one of the biggest strength.

After research done , products of pine needle hold a factor uniqueness as urban buyers are
not aware of the material , and introducing a new material with sturdiness and various
other qualities helps in the up liftment.
There are not many competitors in the market.

Pine needle is a new material that has been recently introduced in the market , and because
of this it doesn’t face a lot of competition in the market. Material like cane , bamboo give
this material a competition but pine needle’s uniqueness helps it to be different from
Others.
The craft is Eco-friendly , helps with fire situation in the forest , are durable and as well as
washable.
Pine needle utensils are durable and washable like any other utensil. This craft is also
helping the Chamba district to reduce forest fire by making a potential use of abundantly
available material.
WEAKNESS
Lack of awareness and advertisement.

Pine needle craft lacks advertisement and awareness among urban marketers and buyers.
Craft needs proper advertising strategies and marketing strategies to earn revenue .
Lack of funds
This craft doesn't really have collaborations with associations , and lack funds. To uplift
what the artisans have initiated , a good funding source is required.
Serving the wrong target audience
Cannot afford the new technology, like, hand looms.

Artisans working with pine needle cannot afford heavy and expensive machinery like hand
looms . These artisans belong to small villages , and communication has been a massive
barrier.
No storage space. (no warehouse)

Material is definitely abundantly available , but lack of storage is also a weakness
highlighted. Every time artisans has to separately procure material and then work .
Time and effort consumption is very high in this case.
80
OPPORTUNITIES
E-commerce
E-commerce is one of the highlighted opportunity . Developing this craft
digitally will help with the awareness among urban marketers and buyers.
Various platforms like amazon , insagram etc can be pitched to sell
products and earn recognition.
Exhibitions and melas

Exhibitons and melas are also one of the platforms to showcase the talent
and initiation of artisans for this craft. Exhibitions like Saras Mela , Indian
Hnadicraft and Gifts Fair can be huge platforms to pitch product to urban
areas.
Local vendors at tourist places like, Dharamshala and McLeodGanj.
THREATS
People who are practicing right now are on the verge of abandoning the craft as they see
no future or profit at the moment.
Interstate competition with Uttarakhand, as well as, intrastate competition with Shimla
and Kangra district.
81
82
PRESENT SCENARIO FOR
PINE NEEDLE CRAFT
INITIATIVE OF EPCH (EXPORT PROMOTION SERVICES & SUPPORTING COUNCIL)
THROUGH INDIAN HANDICRAFT AND GIFTS FAIR (IHGF)
Shri Sandeep Sharma , Dy. Commissioner , Kangra has also approached NIFT , Kangra from
time to time for the various newproducts and design development of the arts and crafts of
Kangra. In this direction , the pine needle which is popularly known as CHEED has been in the
discussion so that it can avoid fire in the distrcit KANGRA.
Another attraction from HIMACHAL PRADESH at IHGF are home decor and utilit assortments
made using discarded leaves of pine needle tree - a raw material abundantly available locally.
Students of Fashion Lifestyle and Accessory Department from NIFT , Kangra

guided by their course professor Mr.Sandeep Sachan , developed pine craft products through
a joint project with local artisans and with support from the
GOVERNMENT OF HIMACHAL PRADESH.
INITIATIVE OF FASHION AND LIFESTYLE ACCESSORY DEPART , NIFT (KANGRA)
Students of Fashion Lifestyle and Accessory Department from NIFT , Kangra guided by their
course professor Mr. Sandeep Sachan , developed pine craft products through a joint project
with local artisans and with support from the GOVERNMENT OF HIMACHAL PRADESH.
With the contribution of traditional design inputs and training workshops , student held these
artisans to develop products that can find users in urban spaces and modern lives . With
pine leaves as the primary material , threads in different colors are used for binding them
together and lending a color variation. The resultant items such as coasters , flower vases ,
baskets , lamps , bags , and fashion accessories were put on the display at IHGF Fair.
83
84
Visit to Gram-panchayat-uteep
We visited Gram-panchayat-uteep with our Mentor Mr.Sandeep Sachan to interact with the womens
of local village involved in pine needle craft. We had and interactive interview session with them and
in return we also got their forms filed for Artisan Card.
85
STONE CRAFT
86
The
Beginning
Stories of the evolution,
stories of the begining
87
88
HISTORY
The land of temples has given rise to a significant craft of stone
carving in the state. The craft has been explored to the fullest.
In Chamba, the Laxminarayan Temple and in Kangra, the
Masroor and the Baijnath temple are a few great examples of this
craft being done in the state since time immemorial.
These temples themselves just don’t have stone architecture but
they are also surrounded by several fountains and stone
memorials that add to the grace of the place and depict the expert
craftsmanship of the carvers. Kangra, Mandi, Bilaspur, WWWW,
Chamba and Kullu have been traced as the traditional centres of
stone crafts of Himachal Pradesh where the craft can be traced
back to 7 th and 13 th century AD. The people of Bataihra or
Batada community are adroit in stone carving and the masons are
known as Batai Hadai.
Even in these modern times, the stone carvers have the old world
charm. They give life to the dead stones and create products such
as ‘kundi’ (spherical storing pots), ‘chakki’ (millstone),
‘angithi’( classic stoves) , ‘dauri danda’(pestle and mortar), statues
and many more products of daily use. Beautifully carved
memorial stone slabs called panihars are also found in
several places, especially near temples and fountains. The craft has
a distinct place in the arcade of crafts because of its unique style,
designs and innovative variations of the craftsmen.
The craft is an integral part of the tourism of Chamba. The
distinct variety and style of the craft is displayed in the creation
of colossal constructions and other items. The area provides vast
varieties of stones, black stone being the most suitable and used
one in Chamba. Other than black stone, sandstone and limestone
are also used.
89
TOOLS USED IN STONE
BRUSH
(For cleaning the dust)
TARKAR
(Divider for stone)
HAMMER
90
CRAFT IN LOCAL LANGUAGE
CHAINNI
(Hand chisel)
NAINNU
( Head chisel)
KALAM
( Hand point)
KURURAV
( Hand point)
91
92
STONE CRAFT IN GHARGARAH
We went to Ghargarah, on the very outskirts of Sirkhund village, to visit

Mr. Tej Singh. After an hour long uphill drive, we reached Sirkund vil-
lage. The next half an hour journey that led us to Ghargarah,was a total
off road adventure . Mr. Tej Singh had invited us to his apple orchard.
We found him grazing his cattle and working on his latest master piece.
We found him grazing his cattle and working on his latest master piece.
To our surprise, the piece that Mr. Tej Singh was creating wasn’t an idol
of God, but of Himachal Pradesh’s Chairman , Mr. Jai Ram Thakur! We
were astonished by his contemporary take on the ancient craft of black
stone craft.
Mr. Tej Singh has spent his last_____ years learning this ancient craft.
After he had fallen severely ill, in 2015, he found himself unable to con-
tinue working as a mechanic and working in his orchard. After feeling
helpless and unable to work for some days, Mr. Tej Singh picked up
a few stones and started to hit them with his chisel and hammer. He
spent his whole days of recovery, self learning this skill. After a few
months, he got better at it. He soon recovered from his sickness.
After a few months, he exhibited his work in Minjar Fair where his work
was acknowledged by now his guru, Mr. Hardev. He described the
whole experience of learning the craft as a gift given to him by Lord
Shiva.
93
MR.TEJ SINGH
Mr. Tej Singh has spent his last 30 years learning this ancient craft. After
he had fallen severely ill, in 2015, he found himself unable to continue
working as a mechanic and working in his orchard. After feeling helpless
and unable to work for some days, Mr. Tej Singh picked up a few stones
and started to hit them with his chisel and hammer. He spent his whole
days of recovery, self learning this skill. After a few months, he got bet-
ter at it. He soon recovered from his sickness.
After a few months, he exhibited his work in Minjar Fair where his work
was acknowledged by now his guru, Mr. Hardev. He described the
whole experience of learning the craft as a gift given to him by Lord
Shiva.
Mr. Tej Singh works as a mechanic and a carpenter. Although, in his

free hours, he works on improving his skill as a stone carver. He works
on several pieces at a time. He showed us multiple works that were in
progress.
94
95
The Idol of the Nandi in the picture at right, is a piece
that got cracked during its process. He made this
piece through a live study of the calf that he owned.
He told us that it takes a few weeks to months, to
complete one piece. “It all depends upon the design
and its size!”,he explains. “An intricate design may
take two three months to complete, but a simple ba-
sic abstracted form can be completed in a few days.”
He gets his raw material from the Sirkhani Dhar, a
huge mountain opposite to his village which contains
large rocks of black stone.
96
97
98
SHRI HARDEV JI
Born in 1944, Shri Hardev ji is one of the most famous stone carving
artist in Chamba. He was born and brought up in village Sohi, Chamba.
With an immense experience of almost 25 years with the craft, he still
claims himself to be a learner.
His work has been recognized for the State award in 2007 by the chief
minister in time, Himachal Pradesh and is now also nominated for the
National Award. A collection of beautifully carved pieces as huge as his
heart is worth mesmerizing for.
Hardev ji passed the skill to other 6 students and helped this dying craft
revive and survive in today’s time. Two of his main sculptures, the
Narsimha Avatar and the Shitla Mata murti was purchased by the Him-
achal State Museum, Shimla. Even at the age of 75, he is still young at
heart and allows things around him inspire him more to live life to the
fullest.
99
100
MR .TARA RAM
Tara Ram Ji, a middle-aged man who has been practicing Stone Carving
for almost 20 years now, resides in Chatrari, dist. Chamba. He works
with Black stone, locally known as “kala pathhar” which is sourced all
the way from Manimahesh. The major tools used include the hammer
and chisel.
Being from a family who has been carving stones for almost 4 genera-
tions, he wants his kids to also learn to carve but puts it on them if they
want to pursue it as a career or not.
He has been awarded the NHPC award by the State Government. He

claims to not receive any kind of subsidy or help in cash or kind by the
government of India. Other crafts practiced by him include the Kalgi
Topi and Wedding
101
SOWT ANALAYSIS
STRENGTHS:
Strong religious background

Bhangr
Abundant raw material
Integral part of tourism sector
WEAKNESSES :
Limited number of craftsmen
No help from government
Very heavy products
OPPORTUNITIES :
New thematic story themes can be done
Accessories and utility items can be

developed
THREATS:
Clay and ceramic sculptures are cheaper
Bone china products are more popular
102
Bhangra
Dhol
Talwar 06
103
Name: Ratan Dev
Age: 36 years
Occupation: Stone Craft
Village: Kundeli, Chamba
Education: secondary school
Name: Hemraj
Age: 32 years
Village: Chamba
104
Name: Manoj Kumar
Age: 25 years
Occupation: Stone Craving
Village: Chamba
Name: Mohit Thakur

Age: 21 years
Village: Chamba
105
Name: Manish Kumar
Age: 26 years
Village: Sirkund, Chamba
Name: Rajesh
Age: 30 years
Village: Sirkund, Chamba
Education: Seconday School
106
Name: Sanju Thakur
Age: 27 years
Village: Chamba
Name: Hans Raj

Age: 22 years
Village: Chamba
Education: graduation
107
HORSE HAIR CRAFT
108
109
A DYING CRAFT
Horse hair craft of chamba is a craft which is on the
verge of extinction. Even the local people of chamba
haven’t heard of this old craft. We were fortunate enough
to find a craftsman who practices this skill.
We met Mr. Rohit and his aunt after searching and

asking people around if anyone still practices this craft
in the area. Mr. rohit told us all about the artform and
how he learnt it. He explained that him and his aunt are
the only people who know about this nearly extinct craft
in Chamba. According to him it is dying because of the
unavailability of horse hair. People who own horses ar-
en’t willing to give these craftsmen the hair strands they
need to practice this skill. This is mainly due the super-
stition revolving around black magic and folklore.
Local people think that these craftsmen might do
something to their horses or their family by using the
hair of their horses. They take horse hair and make
fashion accessories like rings, bangles and necklace
etcetera. He said that this craft has been practiced in his
family since 200 years. He acquired this skill from his
aunt Shrimati Swarna Devi, who has an experience of 10
years in this craft. She learnt it from her maternal family
and according to her, her grandmother used to prac-
tice it and they have no information of who practiced it
before her.
110
111
RAW MATERIAL
HORSE HAIR
Horse hair acquired from the tail of a horse.
Craftsmen prefer hair strands having a consistent
shine, color and thickness. They select the hair
strands after washing them. The ones that do not
matchthe requirement are discarded.
BAMBOO STRIPS
Bamboo which is easily available in Himachal Pradesh
is cut in to thin strips to create the inner structure on
which the hair strands are weaved.
112
TECHINQUES
Small strips of bamboo is taken and put in

hot water to make it soft.
When the bamboo is soft enough, it is

bent into the desired shape of a ring or
bangle.
Every horse hair craft product requires

two bamboo rings. One outer ring and the
other inner ring.
The two rings are tied by threads and then

weaving/wrapping of horse hair is com-
menced.
Horse hair is wrapped on the rings in

various manners to achieve the desired
pattern on the product. Generally hair
strands of two different colors are used to
make the product beautiful.
Once the hair is weaved and tied, it

doesn’t need any other finishing. Horse
hair has a shine and strength of its own
which makes this craft as unique as it
sounds.
113
SOWT ANALAYSIS
STRENGTHS:
Unique craft
Less time consuming
Low manufacturing cost
WEAKNESSES :
Unavailability of raw material
Vanishing craft
No recognition from government
Unawareness among the people

T
OPPORTUNITIES :
Can establish well in the fashion accessories

sector
ntroducing a new unique craft in market
THREATS:
Threat from animal care departments
Unwillingness to learn this craft to stop it

from dying
114
Under the king’s rule, the craft was given
a lot of motivation and support. This is
perhaps the reason why these horsehair
bangles of Chamba are still renown in
parts of Lahaur, Shimla and Delhi. During
the royal times, the main raw material
required for this craft i.e. horsehair, was
made available for free by the king’s
private horses. But in today’s world, due
to the superstitions and folklores, horse-
hair are hardly available to the artisans.
Horse owners in Khajjiar and other parts
of Chamba are very sceptical about giving
their horsehairs to the artisans.
In 1983, a training center for this dying
THE MAKERS THEMESELVES craft was established by the Dept. of

Handicraft and Handloom at Mehla town
in Chamba. But due to lack of encourage-
ment, the training center was closed in
SWARNA mere two and a half years. There has been

no efforts in the conservation of this craft
by the Government since 1985.
DEVI Today it extremely hard and rare to ac-

quire these horsehair bangles that were
once sold for just 5-10 rupees.
Swarna Devi learnt this craft from
her late mother Mrs. Premi Devi.
Mrs. Premi was a renown master
artisan of this craft.
This horse shoe craft once, was one
of the most unique and famous
crafts of Chamba . But along with
the passage of time, this craft began
to vanish.
The situation has became so worse
that its highly likely that Mr. Rohit
and Mrs. Swarna may be the last
two crafts person left in the entire
world.
115
Name: Bhupinder Sharma
Age: 23 years
Village: Uteep, Chyamba
Education: 1+2
Annual Income : More than 1 lakh
116
BIBLIOGRAPHY
http://www.chambatalenthunt.com/Stone-Work.php
http://www.chambatalenthunt.com/Stone-Work.php
Anon., n.d. [Online]
Available at: https://himachalcraft.nic.in/history/
http://www.chambatalenthunt.com/Stone-Work.php.
http://bhurisinghmuseumchamba.in/
https://hpchamba.nic.in/
https://himachaltourism.gov.in/destination/chamba/
ist
117
118
07
119

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STUDY AND SURVEY OF CRAFT AND DOCUMENTATION

DEPARTMENT FOR FASHION AND LIFESTYLE

Copy right @National Institute of Fashion Technology, Year 2019

Mr. Sandeep Sachan (Course Coordinator, Fashion and Lifestyle Accessory

5 PINE NEEDLE CRAFT

In conformity to the ancient Vedic precept the town of Chamba is located on

The valley is spread below the towering mountain of Kailash,The jewel of

The mountains acted as two-edged swords imposing isolation and present-

Geography And Demography

Fest And Festive :

Manimahesh Yatra, Bharmour

Chamba Chappal is an art of leather

Traditionally a rough, and hand woven

Wood has a special significance in the

Stone is a durable material used for sculp-

Metal craft is one of the most vital tradi-

Indian folk Pahari miniature painting is an

Pine Needle Craft

Pine needle is simply the leaf of pine tree.

Horse Hair Craft

Horse hair craft of chamba is a craft which

7 th -11 th century – The Pala School

12 th -16 th century –The Jain School

16 th -18 th century –The Mughal School

16 th – 19 th century –The Deccan School

17 th – 18 th century –The Rajasthani School

17 th - 19 th century – The Pahari School

17 th -19 th century – The Orrisa School

SCHOOLS OF PAHARI MINIATURE:

Paints used in these paintings are made of three kinds of pigments:-

Preparing the Surface:

 It is very rich in tradition therefore it  Time and labor consuming.

 Various government initiatives have  This is a dying craft.

Adding feathers to his cap, he received

In 2013, Himachal Pradesh University

Gulzar Sahaib got was really impresed by this

Name: Prikshit Sharma

Name: Bhupinder Sharma

Name: Nishat Rana

Name: Prajwal Sharma

Name: Varun Kumar

THREAD : threads are used to

NEEDLE : Needle is a fine slen-

Each fall season, pine trees shed their

The needles have a knob (fascicle) on

Pine needles (weft) are woven into cotton

Braiding is another way of expanding

Coiling is usually done to make coasters,

Name: Sunita Devi

Name: Aarti Devi

Name: Kajal Kumar

Name: Sandesh Kumari

Name: Monu Devi

Name: Madhu Thakur

Pine needle is fully handcrafted, making it more valuable.

Its uniqueness is one of the biggest strength.

There are not many competitors in the market.

Lack of awareness and advertisement.

Serving the wrong target audience

Cannot afford the new technology, like, hand looms.

No storage space. (no warehouse)

Exhibitions and melas

Local vendors at tourist places like, Dharamshala and McLeodGanj.