METAL CRAFT

WORK-CHAMBA

Anjala S.S,
Rajalakshmi,
Piyush Makwana
CHAMBA
Himachal
Pradesh

h
Location: Chamba Situated on a mountain ledge overlooking the River Ravi, the town of Chamba was

Himachal Pradesh established in the 10th century when Raja Sahil Varman relocated his capital from the
neighbouring Bharmour region, now the homeland of the semi-nomadic sheep
herding Gaddis. The city is believed to have been named after the king’s favourite
daughter, Champavati, who legend says, sacrificed herself to provide water for the
parched city. To this day, women and children sing her praises in the town’s temples
on the occasion of the annual Sui festival. The ornate carving of the Lakshmi Narayan
Temple Complex, the Chamunda Temple and the Madho Rai Temple provide ample
testament to the consistent art patronage provided by Raja Sahil Varman and his
successors. The hill state was ruled by a single dynasty in a continuous series of
accessions and consequently, it enjoyed a remarkably stable political environment in
which the arts could be actively cultivated by the rulers. In the mid-18th century, a
number of artists fleeing religious persecution were given refuge in the Pahari states;
notable among the courts in which these artists found avid patrons was that of Raja
Umed Singh of Chamba.
 Metal work : History

The tradition of lost wax bronze casting is believed to have been brought
to Chamba by immigrant Kashmiri artisans who found patronage at the
courts of the Pahari kings; the antique metal statuettes enshrined at a
number of temples in the region (among them the Lakshmi Narayan
Temple, the temple of Bansi Gopal and the Hari Rai Temple in Chamba)
suggests that these craftsmen specialized in making idols. Over time, the
Kashmiri idiom, which these craftsmen were trained in, was infused with
some local stylistic elements and a number of metal ware products
catering to the religious, ritual and domestic needs of the populace were
introduced in the Pahari states. The idols in this fusion style generally
stand in tribhanga mudra and wear three-pronged crowns, and heavy
ornaments and a cummerbund; the torna (background) is embellished in
the Pahari style as are the goddesses with long tapering eyes draped in
sari, the chou (pleats) of which are executed with great care. The metal
used is usually an alloy of brass with 65% copper and 35% zinc. Silver is
also included in the casting in a proportion of 10 gm of silver to 1 gm of
copper; it is also occasionally used to inlay a figurine’s eyes.
PEOPLE OF
CHAMBA
Overview of crafts in the location

Chamba rumal Silver jewellery Embroidery on leather Chamba painting metal work

Selected Craft range and variety metal work

TOOLS, TECHNIQUE
AND PROCESS OF
MAKING
MAKING OF
CHAMBA
THAAL mostly involve beating of metal sheets
The Pahari population
their way of life
the house in Chamba and around
the market place
the major temple in Chamba
product range
lost wax metal casting
beating sheet metal
solid casted idols chamba thal
moharas sand casting musical instruments :
bell kahl, snake
miniature sculptures
hollow casting
Artisants profile

Ankit Verma Himanshu Anand

What all information to be gathered
Geography Macro mapping
other crafts around
Map the cluster
Religious practices and beliefs
Busy period in year
women and children
how long in family its practiced
family history
swot analysis
product range
geopgraphical tag
what make it unique
other places in India its practiced
tools and raw material
how they learned
Are they willing to explore
Are they making things specifically for market
Museum in location
SWOT Analysis, is the craft sustainable
Competative
what make it unique
Artisants profile
Process documentation: pre production ,production, post production
 Chamunda Temple

Hari Rai Temple

Festival: Suhi Mata Mela

Held in April to commemorate the sacrifice of queen of Chamba. It is believed that in order to bring water to
the village, the queen or her son had to be sacrificed. So, the queen decided to sacrifice her life. In order to
celebrate her deed, people of Chamba participate in a four day fair. On the last day, the procession is
carried out from Chaughan to Suhi Mata temple.
SWOT Analysis
STRENGTH
wax can be reused (that's why the molds are black in colour)

WEAKNESS
With one mold only one sculpture can be casted

OPPORTUNITY

THREAT
because of the technology , there is unfair competition in the market ,
future generation not interested in this craft
Thank you