1

BHAjMOUj
2 3

We take this opportunity to express our gratitude to the people who have
been instrumental in the successful completion of this project. Apart from
our efforts, the success of this documentation depended upon the encour-
agement and guidelines of many others, to whom we are highly obliged.

First of all we want to convey our sincere reverence to our honourable di-
rector, Mr. D.K Rangra, for serving as the backbone of our support and
inspiration channel. Also our heartfelt gratitude to Course Co-ordinator,
Mr. Aasutosh Porus and Cluster Initiative Co-ordinator, Ms. Chhavi Goyal,
who presented us with this unique opportunity to document this paradise
National Institute of Fashion and Technology, called BHARMOUR which, even after being the home for such heritage,
Kangra has been missing from the craft map of India.
We express our gratitude to our senior batch; their earlier work and docu-
Accessory design (2010-2014) mentation was a yardstick for us.
Last, but not the least, we would like to give a sincere gratitude to the people
Coordinated by: of Bharmour, especially the craftsmen and artisans, who accommodated
Mr. Ashutosh Porus (Course Coordinator, Accessory Design) our requests and shared their knowledge of skills and expertise with us. We
Ms. Chhavi Goyal (Cluster Initiative Coordinator) sincerely hope that this endeavour of ours will benefit these people whose
deft hands are sustaining the real India.
Core Team
Avijit S. Panesar
Sabina Khan

ACKNOWLEDGEMENT
Saloni Jain
Sannu Kumari
Sarita Prakash
Shalini Kumari
4 5
Craft documentation was introduced in the curriculum, with the idea of
sensitizing design students who came from city background towards re-
gional craft traditions of India in 1990.This gave them a good exposure
to the rural crafts in their natural habitat where they were made by the
artisans from locally available materials and using homemade tools. The
exposure resulted in developing greater sensitivity and appreciation of the
crafts and the indigenous process. Since this was a onetime activity there
was no long term association of the students and NIFT with the crafts and
artisans which was much needed.
In 2003 when the curriculum of NIFT was restructured, an industry sur-
vey was conducted, and a strong need was felt by the industry that NIFT
should play a preeminent role in bringing the craft legacy of India to the
main stream. This need clubbed with the vision of NIFT for concern for
social and human values led to the evolution of Cluster development ini-
tiative.
NIFT approached Ministry of rural development with a project plan fo-
cusing on clear deliverables. Initially the Project was sanctioned by the
ministry in five clusters under Special Projects of the Swarnjayanti Gram
Swarozgar Yogna (SGSY) of Ministry of rural Development, of India. The
Craft Cluster Initiative of the Institute is a carefully developed formula
`for integrating the crafts sector of the country with the mainstream.
NIFT, with active support from the Ministry of Rural Development. Of-
fice of Development Commissioner (`Handicrafts and Handlooms) and
National Centre for Jute Development is developing and implementing
a craft cluster initiative towards the overall progress of craft, the cottage
industry and vocational activities.The intension of the project is to involve
NIFT’s professional capabilities in the areas of design, techonology, mar-
keting and management along external expertise, and synergize all devel-
opment activities by various government and non-government agencies.
Now it has spread to cover a lot of ground and dreams as well.
PREFACE
6 7
8 9

Introduction Architecture
19
Gaddi Khaddi Traditional Wood Craft Stone Other Diagnostic Reference Glossary
11 25 31 59 101
costume
45
craft craft Study data
99
67 75 79

CONTENTS
10 11

“Fortunate is the one who gets an opportunity to step into the sacred land
of Bharmour”

Surrounded by the high mountains of Himachal Pradesh, 64 kms from

Chamba lies the quaint little fascinating town of Bharmour (sometimes
referred to as Bharmwar). It lies in the inaccessible, inhospitable terrain be-
tween the Pir-Panjal and Dhauladhar range, between Ravi and Chenab val-
ley. Its ancient temples endow Bharmour with an aura of a hallowed place.
The country around Bharmour is regarded as the abode of Lord Shiva giv-
ing it the name of Shiva-bhumi. The abundant alpine pastures in the region
are home to the nomadic shepherds-Gaddies thus it is also called Gad-
deran. The place becomes more enthralling because of its delicious apples
and local blankets. Life in Bharmour centres around the Chaurasi-a temple
square which owes its name to the 84 shrines built within its periphery.
Tucked away amidst the magical surroundings, Bharmour is best known
for its serene and amazingly tranquil environs. This town, like a number of
other hill settlements across the state is transforming under forces of moder-
nity. Yet its unique religious bearings and the strong beliefs of its people to
stick to their roots that have nourished them over the centuries will ensure
that it has a different story. The place is still a lot unexplored to the whole
world so, full of hidden treasures that we shall try to unveil as we proceed…

INTRODUCTION
12 13

Profile Distances from the nearest cities:

Chamba (from District Headquarter)-64 km
Area: located in Chamba district, Himacahal Pradesh Kangra-140 km
Dharmashala-145 km
Altitude: 7000 feet Manali-220 km
Shimla-350 km
Geographical location: between north latitude 32° 15′ 36″ and 32.26° Pathankot-150 km
and east longitude 76° 19′ 12″ and 76.32° Chandigarh-350 km
Delhi-650 km
Climate: In winter, the temperature gets quite low and in summer Nearest approaches:-
temperature is mild
Road
Rainfall: 1264.4mm Pathankot (150 km)
Shimla (350 km)
Primary rainy season: June to September Delhi (450 km)
Temperatures: Summer: 15°C – 20°C Winter: comes down to even 0°C Railway station
or even lower Pathankot (150 km)
Languages: Hindi, Gaddi bhasha Airport
Kangra airport at Gaggal (130 km)
Months in which Bharmour can be visited are April to October as Kullu airport at Bhuntar (185 km)
in winters the land there can get under snow as high as 5-6 ft as in- Shimla airport at Ganhatti (350 km)
formed by the locals.
14 15

History
Folklores, legends and facts entwine
Weathered by passing time
Incorporate perspectives of generations
That is how we get historical narrations.

As scriptures say:
The history of Bharmour can be traced back to the 6th century when
emperor MeruVarman, a ruler from Ayodhya and his first prince Jaist-
ambh defeated the Ranas and held their territory. Meru found access to
the upper mountainous region through the Ravi valley. It was then called
Brahampura. He made it the capital of his new state.
After Meru, several Rajas ruled in succession. After about four hundred
years SahilVarman conquered the lower Ravi valley. He transferred the
capital from Brahmpura to Chamba which has the district headquarters
as of present and has evolves as the major town of the area.

As folklores tell:
According to a local legend the name got its origin from the Brahami-
ni goddess temple which is situated there. As the story goes, Brahamini
Devi was living with her son who was very fond of his pet birds. One day
he found them killed by a peasant which shocked the son to death. The
mourning also led to the death of Brahamini Devi. The spirits of this trio
started haunting the people awfully who raised Brahmani Devi to the sta-
tus of deity and built her a temple. The people believe that the place was
called Brahmpura after Brahmani Devi.
16 17

Chaurasi
The Chaurasi Temple Complex offers a delightful, clean and a scenic view.
Nurtured by faith, frequented by memories, radiating many stories, set in The complex is surrounded by numerous schools. The most extraordinary
heavenly surroundings lies the heart and soul of Bharmour- CHAURASI, site of the complex is the tallest temple of Manimahesh, which is built in
84 carved and sculpted pages from history. the Shikhara style of architecture. Another temple built in the same style is
As mentioned earlier, life in Bharmour revolves around the Chaurasi tem- that of Lord Vishnu cast in his Narsimha Avtar.
ple complex. It is renowned for its cluster of temples collectively known
as the ‘Chaurasi’. Though of varying architectural design, these temples
are noted for their fine workmanship. Major temples at Chaurasi temple complex
An interesting legend surrounds the Chaurasi (meaning 84 in hindi).
In ancient times when Brahmapura, present Bharmour was the abode Ganesha Temple
of goddess Brahmani. On their way to Manimahesh Kailash, Lord Shiva Lakshana devi (Lakhna devi) Temple
and 84 sidhhas stopped in a scenic garden there and lit some fires. Angry Swami Kartik (kelang) Temple
at this trespass, she ordered Shiva and the Sidhas to get out of the place. Manimahesh temple (Lord Shiva)
Shiva importuned in all his humility for allowing them to spend a night Maa Chamunda Temple
in the beautiful garden as they were tired, and promised to leave early in Hanuman Temple
the morning. At dawn God Shiva left 84 Sidhhas sleeping and went to Maa Sheetla Temple
ManimaheshKailash, but the 84 Sidhas transformed themselves in to 84 Dharameshwar Mahadev temple
Shivlingas because they wished to settle there. Nandi temple
Legend also has it that in the 10th century, 84 Sidhhas (holy men) visited Jai krishan Giriji temple
Bharmour; they blessed the ruler Raja SahilVarman with ten sons and a Nar Singh temple
daughter Champavati whom the town of Chamba is said to be named. Ardh Ganga or Ardh Gaya
And while some shrines were already in existence, the Raja had the re- Trameshwar Mahadev
mainder built to commemorate their sojourn. These include the Lakhna Surya linga Mahadev
Devi Temple, the Ganesh Temple and the Nar Singh Temple. Installed in Kuber Linga Mahadev
the sanctum of the Lakhna Devi Temple is an exquisite brass image of the
goddess, The temple of Lord Dharamraj is also in the Chaurasi and only
one in the whole world.
18 19

Architecture encompasses a multitude of expressions over space and

time, constantly absorbing new ideas. The result is an evolving range
of architectural production that nonetheless retains a certain amount
of continuity across history. A number of Indian architectural features
one of which is temple spire or sikhara have become famous symbols
of Asian culture. Thus we can say that architecture of a given place to a
great extent reflects human knowledge and requirements, culture, art
and expression of that place at a given time.

ARCHITECTURE
20 21

The unique architecture of houses and temples are the splendid features
of this thousand year old town. The striking objects of interest are the
old temples which exhibit architectural beauty of design and execution.
The Chaurasi temple square in Bharmour was identified as one of its
most vital assets
both in terms of physical and social significance. Detailed studies on
Chaurasi revealed
the complex juxtaposition of a diverse range of form, functions and
activities. These at
one level comprised and defined the place as the nucleus of the settle-
ment. It is a unique example of community-oriented public architecture.
Most of the shrines in Chaurasi are built influenced from the Shikhara
style of architecture as it is best suited for higher altitudes and areas with
high snow-fall.
A tower like conical formation built of stone and decorated with carv-
ings is Shikhar style of architecture. The tallest temple in the whole
complex is of Manimahesh built in Shikhara style of architecture. The
temple has a Shiva lingam on a raised platform. The other temple in
Shikhara style is of Narsimha. Lord Vishnu in his avtar as Nar Singh has
been cast vividly. . Even the less significant temples of the Chaurasi are
wonders in terms of their architecture and detailing.
One of the oldest temples in the area is that of Lakshna Devi. This tem-
ple is made in the hill style with gable roofs and rubble masonry. The
outer facade, the inner facade of sanctum, circum ambulatory path and
the ceiling are exquisitely carved. The idol of Lakshna Devi in her incar-
nation as Mahisasurmardini is magnificent.

Around the central core of Chaurasi lies an intricate weave of some of

the finest manifestations of Himalayan vernacular architecture reflected
through the traditional residential fabric surrounding the space. Laid
in accordance with topographical conditions and social groupings, this
inter-woven fabric of domestic spaces and dwellings depict the refined
evolution of community-based constructional wisdom and collective
aesthetics.
22 23

Bharmour signifies a locally rooted, thriving culture, symbolic of the no-

tion of Himalayan life and living processes. Its built environment reflects
this refined state in all its expressional aspects. Hints of change and shifts
in this apparently stable system have begun.

The housing type, cluster formations, constructional systems are all na-
ture-based responses to a very large extent. Community preferences vary
with physical conditions. Also, it is an earthquake prone area. As Bhar-
mour is a town at a very high altitude and large amount of snowfall, these
all factors are given utmost importance while designing and construc-
tion. Some of the highlighted aspects are:
The architectural heritage is interconnected to its larger physical environ-
•Sloped roofs so that the snow does not stay ment through various tangible and intangible linkages. These linkages
•Vivid use of wood as the chief material can be symbolic associations, physical connectors or traditions of art and
•Old houses had a single thick long tree as the beam for the whole con- crafts. Bharmour is endowed with a repertoire of iconic structures, refined
struction domestic vernacular, articulated open space, environmental assets, and an
evolved cultural system reflective of the identity and character of a tribal
•The walls are made in a special way in which blocks of cement and wood Himalayan society.
are fitted in a specific manner that makes the house earthquake resistant.
The old houses had a feature worth noticing in self-made long wooden
nails with the help of which these blocks were joined.
•The roofs are mostly made with stacking the locally available stones that
are cut flat. It is called “chinnayi”. Without any actually joining, just with
the perfect placement the roof becomes sustainable.
•According the locals, the so called Pakka houses cannot survive the
harsh weather conditions during the snow fall.
•Most of the villages or settlements are at hill tops and it requires an up-
hill walk of about 1-2 kms to reach. The main reason to this is that those
locations are best suited to grow apples.
24 25

Gaddi is a generic term used for all of the indigenous population of the
Bharmour area of Chamba district and some regions of Jammu and
Kashmir. Historically, Gaddis have been a transhumance tribe and,
therefore, share much with similar communities found across the world.
However, their inhospitable habitat and livelihood practices have made
them evolve as a unique culture, though not really refined in the mod-
ern sense. Gaddis are widely respected for their honesty, friendliness,
peaceful lifestyle and God-fearing nature.

Tyrants cannot wipe faiths out…mighty wills dwarf mighty kingdoms…

and mighty mountains as well

GADDI’S
26
History of gaddi’s
In regard to the history of Gaddi’s as per their own traditional accounts,
they are the descendants of migrants who fled the plains of India for the
relative security of the hills during times of trouble. It is believed that the
Rajput - Chauhan Gaddies emigrated to Bharmour from Rajasthan. Most
of the other castes of Gaddis are thought to be descended from people who
fled to the hills to escape from the Mughal emperor Aurangzeb’s persecu-
tions in the 17th century. The history confirms that Gaddi Rajputs migrat-
ed from Lahore to this place in order to avoid religious persecution.
Habitat
Under the Gaddi’s feet lie difficult terrains.
Historically, Gaddis are known to have occupied one of the most inhos-
pitable geographic regions in the world - highlands in the shadows of the
mighty Dhauladhara and the Middle Himalayas - but over the last century
they have also made lower areas in Himachal Pradesh their home. There
are still a lot of Gaddi hamlets hidden in the shadows of the mighty moun-
tains that have not fallen on the path of an outsider, except the ‘adventur-
ous’ ones.
In Himachal Pradesh, Gaddis are mainly settled in the Ravi and Budil
river basins in Bharmaur, and scattered across Kangra, Chamba, Mandi
and Kullu districts on the outer foothills of the Dhauladhar mountains and
also on the fringes of the Pir-Panjal ranges. Their habitat offers breathtak-
ing landscapes coloured with hills, cliffs, streams, rivulets and even thick
jungles. A sizable number of Gaddi families have land and assets on either
side of the Dhauladhars and some families still follow the near ritualistic
practice of migrating to Kangra valley from Bharmaur during winters.
Profession
In search of pastures, I traverse the mountains
They nurture my flock, my fields and my people
A shepherd I was all my life
But my son has a much larger world under his feet.
The majority of the Gaddies are landowners and practice agriculture
(wheat and maize are the main grains and mah and rajmah are the main
pulses that are cultivated) and horticulture (of world famous variety of red
royal and golden delicious apples, chestnuts and almond trees) as their pri-
mary means of livelihood. They are also pastorals and own large flocks of
sheep and goats, as a subsidiary occupation. This has also resulted in their
customary rights on forest land which are government owned. They travel
to high reaches of Himalaya, generally Lauhal spiti in summers through
Chobia, Kalicho and Kugti Passes and to Kangra valley, Una and even Pun-
jab in winters. The extreme cold winters of the district necessitated wool
weaving. These local people weave for themselves as well as for commercial
purposes.
Today, many of them have also taken up a lot of high ranking jobs in gov-
ernment and private organizations and other white collar jobs. Most of
Gaddi shepherd spent their whole life with their flock. Some are also work-
ing as unskilled laborers in public works department and forest depart-
ments to augment their income.
Culture 27
Shiva, our savior
We wear thy robes
We sing and dance to thee
A step towards Manimahesh
And fun and feasts light our land…
Researchers have often described Gaddis as a clan of semi-nomads, a tribe
of transhumance people, and even a distinct nationality. It’s in fact a great
irony that Gaddis have lived and supplemented the greater mountain cul-
ture of the region for centuries, and yet maintained a very distinct identity
for themselves.
Demography
There is no actual record, whether authentic or otherwise, about the Gad-
di population. Due to their migratory living in the past, no census gives
any estimate regarding their population. However, a rough estimate can
be pegged at around half a million. The Gaddis are mostly hindus (with
immense belief in Lord Shiva) and include the Savarnas such as Brahman,
Rajputs, Khatri, Thakur Rathi and the non–Savarnas like Hali, Rihare and
Dom. Although all are categorized as scheduled tribe by virtue of their
living in a scheduled area, the non-Savarnas are also included separately
as scheduled caste. Each group is largely an endogamous. Each section is
further subdivided into a number of exogamous gotras which are of two
types the anderla (or the rishi gotra) and baherla (or the territorial gotra)
denoting the place of origin Gotra. The practice of writing ‘Singh’ as their
surname is not common among Rajput Gaddis.
28
Dialect
Even illiterate Gaddis are polyglots, capable of conversing in Gaddi,
Pahari and Hindi. They use their own dialect among themselves where-
as while talking to other people they talk in the Pahari/Kangri dialect.
There is no script for the Gaddi dialect, but ‘Devnagri’ script can be
easily adopted. The previous generations of Gaddis have also been
known to have used Taakri as their script. The influence of the neigh-
bouring state of Punjab can also be seen as some of the inhabitants
were well-versed in Punjabi as well.
Costume
Gaddies can be recognized because of their dress as it includes chola
(or cholu), Dor, Topi for men and Luanchari, dora and long dupatta for
women. The dora has a religious touch as the gaddis take it as a sign of
‘Lord Shiva”.The constume of Gaddi is markedly different as compared
to other areas. Most of the hill women of Himachal are free of the
restrictions of purdah and excessive modesty but the Gaddis or Gaddi
women seem to be particularly outgoing, friendly and full of self-confi-
dence to everyone. The only exception is that in the presence of any of
their older male in-laws they immediately cover their heads. As Gaddis
are basically shepherd by profession and have to bear extreme weather
condition, Patti (A woven woolen cloth) is used for making their cos-
tume. (For details, refer pg.)
29
Lifestyle
Gaddis are very fond of sur (home-made alcoholic drink) which is taken
on occasions such as religious affairs and even the pension days set by the
government. Women consume it only on festive and social occasions. They
also smoke tobacco in hukka, which forms a part of their daily sittings.
Their special madira (liquor) along with a sweet preparation is a must on
all social and festive occasions. They usually spend plenty of time to sit in
the verandah and gently smoke a hookah and chat. Sacrifice of goats is still
practiced in the Gaddi traditions especially in the temple of Kartik swami
temple in Kugti.
Fairs and Festivals
The Gaddi community celebrates all the national festivals. They also cel-
ebrate local festivals like Manimahesh Yatra, lohri, Bhaishaki etc. Manima-
hesh fair is the best occasion to see and study the custom and rituals of the
Gaddis as it is their largest affair of the year.
Ornaments
Traditionally, heavy silver ornaments are common among the Gaddi wom-
en. Most of the traditional Gaddi ornaments have mina work on it. The
community has total dependence on local market for its jewellery. Orna-
ments of nose have their social and religious importance as these are con-
sidered the sign of “Suhag” of the women. Widow gaddi women do not
wear any ornament in the nose. (For details, refer pg.)
30 31

A skill and some threads

Begins the magic of the khaddi
Khat-khat go the warp and the weft
And weave warm for every Gaddi

KHADDI
32 33

The traditional loom used for weaving chaddars, blankets, pattu and patti
is locally known as ‘khaddi’. It can be found in almost every household.
People in this area weave for personal use and sometimes commercially.
The width of khaddi is 5 feet and the height is about 5 to 6 feet.
The main parts of Khaddi are front beam, heedles, shafts, shuttle, reed col-
umn and pedal shafts.
The front beam is where the woven fabric gets wrapped and is situated close
to the weaver’s seat. The heedles or the harnesses which are connected to
the shafts, placed in which every yarn gets its position and alignment. The
heedless are made up of cotton threads. The shafts are the columns which
differentiate each set of yarns. There are 4 shafts in the khaddis.
The shuttles used in khaddi are made of plastic and one end is closed. Yarns
are either tied to it or stuffed inside it. The movement of shuttle is manual.
The reeds or the kanghi is approximately 4 to 5 inches in height and it
combs the warp yarns , thus setting the weft insertion into a straight align-
ment.
The back beam supports the warp yarns and aligns them under tension.
The warp threads are taken to the top back of the loom and tied.
34 35

Material and Processes

The sheeps are reared thrice a year with either large sized scissor/shearer
which is locally called kaatra or with large electric shavers that have been
employed by the government. It takes about 6 kg of wool to make a small
blanket. If one does not own a sheep, wool can be easily bought at around
50 rupees/ kg for white and 60 rupees/ kg for black wool.
The wool is then combed and spun on local charkhas to make yarn.
The yarn is never dyed as a result of which the color of what is to be woven
is the same as the colour of the sheep. More recently cashmelon threads
that are bought from local markets are being used to add design to the pat-
terns.
The yarn is then doubled in some cases for better strength by rotating it
over a spindle.
36 37

Weaving on khaddi:
Weaving on the khaddi has the paddle shaft mechanism; the paddles are
attached to the shafts/heedles. The warp is made manually by winding it
around peg-stands placed at a distance as required. The drafting and dent-
ing is done by pulling the yarns manually by hands through the heedles
and the reed column respectively. The main weave employed in the weav-
ing of the fabrics are plain and twill and the local name for the most com-
mon pattern is “dabbidaar” or chequered.
The woven specimen is then washed in ”kund” for about 2 days as it then
loses weight and shrinks. If required two woven parts are stitched together
by simple hand stitch with colored yarns (red color generally).
Another interesting aspect to this whole process is that the handloom is lo-
cally made by carpenters and most of them are dismantled and kept when
not in use.
38
Woven woollen articles:
The weaving in Bharmour is less commercialized and people mostly weave
for their own needs. As there is no popularisation and exposure of these
products the weavers do not even try to sell their products outside. More-
over, they show very little interest in government initatives or training pro-
grammes. They depend on the local market.
GARDU: Gardu is a blanket which has black and white squares pat-
terns formed alternatively. The length is approximately 5 to 5.55 m and the
width is approximately 1 to 1.25 m. Possession of Gardu is considered as
a status symbol of the Gaddis. Gardu is so warm that it protects the shep-
herds from both snow and rain.
GARDI: Gardi is a blanket of smaller size and weighs lighter than Gar-
du. It has the same pattern as Gardu.
39
DODH: Dodh is generally monochrome and made up of undyed yarns.
The dimensions are same as to the Gardu. It is sometimes decorated with
colored threads.
PATTI: Patti is woven in single color, mostly in off- whites and black
and is narrow in width. It generally serves as a raw fabric material and is
used to make coat, cholu, suthan, kurti, topi.
SHAWLS: Shawls are used by both men and women. The difference
between these shawls is remarkable. The shawls that are made for females
are woven in multicolored designs and threads while those meant for the
males are generally woven in single color with white and black checks.
The male shawls are heavy in weight and are larger than the females. The
female shawls are relatively smooth in texture and soft in feel. The size of
female shawl is 2.5*1 meter while the male shawls are about 3*1.5 meter.
The product that are hand woven on Khaddi are beautiful, functional and
timeless
40 41

ARTISAN PROFILE

Charno Devi
Village Suchui, Bharmour

She is a 46 year old women and can comprehend in hindi, Punjabi and Gaddi. She is involved in
spinning and weaving of cloth. She wants to train her children as she wants to carry on this tra-
ditional practice. She has a savings bank account. She has shoulder pain due to weaving practice.

Bina Devi
Village Malkota, Bharmour

She is associated with the art of weaving and has been practicing this art form for the past 30 years, and
works for 28 per week. The demand rises in the winter months. She has health issues like back pain due
to weaving. Her monthly income is 5000 and she has a bank account. She works on traditional old pat-
terns and designs.

Ranjha ramji
Village Pranghala

He has been practicing the art of weaving for the past 50 years. His monthly income is 5000 and does not
want to train his children. He has his own house, which is under construction. He has purchased a land
and a mobile phone in the past two years. They purchase raw material from the local market.
42 43

ARTISAN PROFILE

Reshamo Devi
Village Spedka, Bharmour

A 36 year old woman has been practicing various art forms to fulfill her basic family needs, spinning, agriculture
and farming as well. Her monthly income is 5000 and has a saving bank account. She would like to strengthen her
growth in designing. The pricing of the product is based on the local market demand. She produces raw material
from the local market.

Satya devi
Village Pranghala, Bharmour

Spinning and farming has been practiced in her family for the past 50 years and has been earning up to
5000 per month. She works for her own consumption and needs to strengthen her production. The demand
of the craft rises in the winter months.

Subh Karan
Village Pranghala, Tehsil Bharmour, District Chamba

He has been associated with farming and carpentry for the past 25 years. He does not want to train his children in this
particular field, he wants to educate them. Currently, he earns 3000 per month. He and his brother are the only working
members of their house and are skilled in their field. They work to satisfy their basic necessities. They require boost in
their production.
44 45

Our robes and our jewels for that ethereal touch of beauty
Our belief and our traditions for that eternal bliss of prosperity

TRADITIONAL
COSTUME
46 47

COSTUMES
Bharmour is not only known for its scenic beauty and ancient temples
but also for its inhabitants, the Gaddi tribe. It can be safely said that
the Gaddis are better shepherds than farmers. Bharmour has extreme
weather and rough terrains and so are the Gaddis residing in this area.
This is well reflected in their distinctive style of dressing. Another fact
very clearly reflected in their costumes is their faith and belief in Lord
Shiva. The Gaddis are not nomadic in its strict sense as they have villages
in which they reside but they travel to higher mountains of lahaul in
summers and lower hills near plains in winters with their flock of sheep
and goats. Their dresses are best suited for this activity and might have
been designed or evolved keeping all this in mind. Though the clothing
pattern is going through change with the passage of time, yet some tra-
ditional clothing remains an indispensable part of special occasions such
as marriages and festivals such as the Maninahesh yatra even today.

Traditional mens wear

Traditional male Gaddis wear Chola (or Cholu) which is a long loose
woolen dress upto their knees and tied round the waist with several
rounds of Dora. The chola is made from patti (hand spun woolen cloth)
and is stitched in such a way that Gaddis during migration can keep new
born lambs in their ‘Chola’. ‘Chola’ is also used as bedding during the
long journeys. Special design of the ‘Chola’ is made of wool as it is be-
lieved to be the dress of Lord Shiva. Legs generally used to be kept naked
by men earlier. But now “Suthan” or “Pyjama” is worn on certain occa-
sions especially on marriages etc.This “Pyjama” or “Suthan” is made of
cotton or woolen fabric (also called ‘Unali-suthan’) whicn is loose above
the knees and tight after that. A loose shirt “Kurti” is worn by men under
“Chola”. This “Kurti” or “Kurta” is also made of cotton.

Both cap and turban are used to cover the head by the males. The most
common topi (cap) is made of woollen piece of cloth and is a round one
which is 5 to 6 inches in height.
48 49

Traditional female wear

Female costume consists of luanchardi,dora along with a dupatta with
frill, called gothan wala gundu. This attire is worn over regular clothes i.e
salwar suit. It required 20 m of fabric to make a luanchari. Complete lu-
anchri reaches down to the ankles and is made with a special pattern and
design. Traditionally luanchrdi was made in a single color with 108 pan-
els and was called swaj. The present day luanchrdi has a maximum of 36
panels and has a fall mostly in green/blue called sanjap which is around
8 inches wide and is folded in a manner that one inch can be seen on the
outside. Piping is done commonly in white and yellow over this visible
part of sanjap and is called gaala.

Dora
Dora is the most important part of the dress as it is worn over ‘Chola’
or ‘Luanchri’ around the waist. The maximum weight of the dora is 2 kg
which is worn by adult males. The ‘Dora’ of adult woman weighs in be-
tween 1 to 2 Kgs, whereas the `dora’ of a child is about half kilogram. The
maximum length of a traditional dora can run upto 40 feets and is around
2 cm thick.
It is made of sheep wool yarn through the manual process of continuous
compression in a special container locally called okhli or kund filled with
water. This process is called “mandhna”. It is usually black in colour. It can
take days to prepare a dora. It is worn due to a number of reasons.It is
used as saddle for carrying the load on the back. It keeps the waist erect
specially while climbing up the hills. Small articles like leather pouch of
tobacco, flute and money bag are tied in it. This is also used as pillow es-
pecially during journeys. It has a religious touch to it as well because the
gaddis take it as a sign of ‘Lord Shiva”.
In fact the traditional Gaddi costumes are believed to be the replicas of
the divine clothing of Lord Shiva and Parvati
50 51

Material:
Traditionally the pattern of luanchrdi was made in the hand-spun material
and was also called chola. Luanchrdi on the other hand is made of two fab-
rics: contrast plain yolks which are mostly in velvet and the printed lower
flair whose material can vary from cotton to other fabrics that can be easily
sourced from the local market. The laces used for the embellishment of the
garment are also self made from fabrics and threads.
Men’s cholu or even coats are made from hand spun home-made fabric i.e
patti. Mostly people make their own fabric and get it stitched from the lo-
cal but skilled tailors.

Techniques:
No special sewing machines or threads are required to stitch these tradi-
tional costumes but it takes special skills to stitch a luanchrdi because of its
unique pattern and even higher levels of expertise to stitch a chola as it is
made of hand-spun fabric and hence is thick and has coarse texture. Chola
is hand stitched and yarn threads are used at times.
52 53

Women Ornaments BeeniChakk:

It is round in shape and fixed over the plait after combing hair properly.
One loop and two strings are attached to fix the beenichakk.

Chakk or Chonk: Phullu:

These are toe ornaments.These are of different shapes and sizes.Al-
It is put in the top/back portion of the head. It is conical in shape. It has
though these are worn by most of women, for newly weds they are con-
two small round structures called chakdi in uniform size attached with
sidered mandetory.
silver strings. These are fixed on both sides of the main part after mount-
ing it over the head.It is also considered sign of a married lady. Fulli:
Fulli is big sized nose pin made up of gold.It is round in shape and gen-
Gojru: erally red colored stone is placed in the middle of fulli. It is also consid-
Gojru are silver bracelets with narrow width and are worn in pair.
ered as the symbol of a married lady.
Chanderhar: Balu:
It is a big sized necklace made up of silvers with mina work over it. It is
Balu is a big sized nose ring. It is made up of gold and may vary in
worn in marriages and fairs. It is worn with Chola-dora and can be worn
shape and size. Traditional jewelley of gaddis was hand made but now
with a salvarkamij as well. On marriage groom also wears chanderhaar.
with new trends they go for machine worked jewellery as well.
Malka-ke-Rupaon-ki-Mala:
Gaddi women wore necklaces of silver rupee coins with the emblem of
Queen Victoria(also the literal meaning of the name). Many necklaces
were just coins of 4 Annas and 8 Annas of pure silver.
Chiri:
Chiri is worn on forehead and is fixed with the help of strings. It is similar
to mangtika and is important ornamanet of a married lady.
Toke:
These are also flat silver bracelets as compared to gojru.Tokes are also
worn in pair.
Pari:
Pari is Payal(foot necklace). Worn on ankels usually made of silver. It
makes loud sound while walking.It is usually a symbol of the presence of
a newly wed in the house.
Jhumka:
Jhumkas are the ear rings which may vary in shape size and metal.
54 55

ARTISAN PROFILE

Arjun Singh
Village Sachuin, PO Bharmour, District Chamba

He is a tailor who works according to the local market demands and stitches the traditional garments namely Luan-
chrdi and Coats usually worn during Festivals.
He has been working for the past 20 years and works throughtout the year. He works on traditional designs.

Om Prakash Sharma
Village Gourthu, PO Bharmour.

He has his partnership with Arjun Singh and works as a tailor itself. His family consists of two males and
three females. He works 12 hours per day. He has his own inherited house, with no exploration in raw mate-
rial and has taken no training. He decides the price according to the work needed.

Kaushaliya devi
Village Bharmour

She is 41 years old practicing the art of making traditional Gaddi dresses, apart from this she also practices farming. The
months of demand are june and july and November and December. She changed her location of practice from Pullan to
Village Bharmour. She wants to train her children for economic and traditional factors. Her monthly income is 6000 and
apart from that, she practiced sehra making which bought a rise in her income. She has health problems due to the craft
she practices. She orks on traditional designs and has life insurance policy. She is the master craftsman and few girls work
under her. They do not explore any raw material or new designs, she works on traditional designs. She hasn’t taken any
training regarding her craft and she sets the price according to the raw material she uses.
56 57

Head Ornaments
Chak, Chiri, Jinjroo, Litki, Nam Tika, Clip

Ear Ornaments
Jhumke, Kante, Chhalka, Boonde, Bor, Bali, Pher

Hand and Arm Ornaments

Gojroo, Toke, Choorian, Kangnoo, Char Kangna, Thoti (of beads), Nag
Band, AngothiBorWali, Angothi Nag Wali, AngothiBager Nag

Foot Ornaments
Tore, Jhanjar, Panjeb(Pari), Patadi(Pattari), Ghun Karl, Phuloo

Nose Ornaments
Balu, Besar, Phulli, Tilli, Blak, Long

Neck Ornaments
Gal Sari, Kapoor-ri-mala, Singi, Chamkali, Dhulsete, Chanderhaar, Mal-
ka-ke-Rupaon-ki-Mala, Jaun Mala, AthaniChawani-ri-Mala

The community had a total dependence on local market for its jewellery.
Necklaces were mostly hand-crafted by silver smiths of the village using
silver sourced from the nearby towns
But now due to so much commercialization and better connectivity all
the jewellery is bought from chamba where there are still some tradition-
al artisans and sold by local jewelers. They still follow traditional design.
Gaddi jewellery pieces are meant to be heavy but now-a-days its weight
is reducing according to the taste of wearer.
58 59

Wood carving in the Himalayan region is one of the most ancient forms
of folk art. Door panels and huge wooden statues from olden times are
found in Chamba valley even today. The tradition of woodcarving goes
back to 7th – 8th century AD. The temple of Lakshna Devi in Chattrari
is embellished with highly intricate woodwork and is famous for its ex-
quisite wooden relieves depicting the themes of Hindu mythology and
folklore.

WOOD CRAFT
60 Handcraft wood is an inspiring sight invoking emotions of awe at the sheer 61
patience of the artisan. As we look closer stories and characters come alive.
Intricate patterns carved on wood, three-dimensional wooden sculptures
having mythological bearings are all there taking us back through time. All
that is felt by looking at those was reverence for craftsmen and their faith
spanning generations. Marveling at the skill they possess to create such
beautiful work at such a scale, one cannot help but wonder “can something
like this be created this day?” As one digs further it is found that like all
other handicrafts, wood carving is also a casualty in the mechanized world.
Skilled wood carvers, today, can be counted on fingers in Bharmour.
In the region we could find only a humble number of craftsmen involved in
wood carving and other wood related crafts such as the use of traditional
lathes to make simple yet effective products. The main reasons attributed to
declining interest in handicrafts are many. In the absence of patrons, wood
craft is not economically viable. Commercially too intricate woodcraft can
turn out to be too expensive to be taken up on a large scale as it was in
temples in forgone days. The descendants of the artisans do not have the
requisite passion and patience to pursue the craft of their forefathers. Most
of them have now turned carpenters and carving has a taken a back seat.

The winds of change (demographic, economic, technological and so on…)

are swaying the coming generations away from the traditional crafts and
towards the patterns that are not even remotely reminiscent of the old
grandeur.
62 63

Material
Deodar wood was chiefly employed for wooden architecture of the temples
as well as local houses but now a cheaper alternative in “kel” wood is used
in houses. Kel wood is also called kel devta i.e it is given the reputation of
God by the local people as it is their lifeline and is available in abundance
in the surrounding forests.
Other variety of woods that are used in craft are Ghun, Dhaun, Akhrot ki
lakdi.

Techniques
Carving is done with regular chisels and in the absence of any modern
tools, the carvers justify that the skill lies in hand. A wooden block is cho-
sen according to the design to be carved and then a pattern is sketched over
it. The larger unwanted portions are chiseled away and then the intricate
detailing is done.
The interesting thing is that the tools are also hand-made and some of them
are bought in from Chamba.

The indigenous lathe is another interesting aspect of wooden craft. Unlike

the regular lathes, the turning operation in these is either completely or
partially controlled just by hand and not mechanically.
The crafts person rotates the work piece with the help of a wheel to which
it is attached. The whole arrangement is called kamancha. The blade is held
in the other hand whose angle and depth is adjusted according to the de-
sign. The blade is locally called barma and is also self-made.
Advancement in this design is that the work piece is rotated with the help
of an electric motor and the tools again unlike the modern lathes are held
with hand. The arrangement is assisted by a tool rest which helps in main-
taining the angle of the blade.
In case of making a hollow piece the inner material is removed by hand.
The products are then smoothened and finished but not to a very great
extent.
64 65

ARTISAN PROFILE

Bhagat Ram
Village Jagat Dak Ghar, PO Ruridhikthi District Chamba

He knows the local languages Gaddi and Hindi. He lives in a nuclear family and is associated with Wood and Stone carving. He spends 6 hours
on his work. He works throughout the year. His income is 9000 per month, with an inherited house. He has no health problems and wants this
family craft to be carried by his children. Though he has not explored any raw material, still he likes this traditional craft. He designs himself
and wants to strengthen his design skills for better results. He wants to be trained further in this field. He decides the price of the product
himself and they have no problem regarding the raw material.

Chuni lal
Village Malkota , Bharmour

A 62 year old wood craftsman has worked for 25 years now. His monthly income is 7500, living in a semi pukka house. In the past two years , he has
purchased electronic gadgets and mobile phone. He works on traditional and market demand designs. He requires training in design innovation.

Jagiya
Village Jagat Dak Ghar, PO Ruridhikthi District Chamba

He is a 65 years old skilled craftsman and has been practicing wood work for 50 years now. He also works on the khaddi and weaves
pattus. He wants his children to practice this art form. His monthly income is 5000 and he has a bank account too. He has his own
house and lives with his family. He has no health issues and works on traditional designs. He wants to be trained in capacity building
and is not satisfied with his basic salary. He explored wood (Ghu) which is used as a spoon for pickles. The speciality of the wood being
that it destroys the germs in the stomach.
66 67

A part of the mountain it was, when an artisan picked it up

Chiseled and sculpted it
And behold…
A piece of art it turns for generations to see
And feel the stories retold…

STONE CARVING
68 In stone carving, pieces of rough natural stones are given the desired form 69
by the controlled removal of stone. Owing to the permanence of the mate-
rial, evidence can be found that this is an age old craft. The landscapes of hi-
machal Pradesh are dotted with numerous beautifully carved temples. The
shrines at Bharmour and Chhatrari are examplry of the superb creations in
the medium dating back to the 7th- 13th centuries. Shaktidevi in chhatrari
and Lakhnadevi temple in chaurasi in bharmour is the masterpiece of the
classical wooden architecture in entire Himalayan region. Most parts of
this temple are made of wood and stone. The undated inscription on the
pedestal, records that it was built by an artist named Gugga on the order of
King Meru Verman.
The legacy has carried on in this area though not very wide spread now as
there are a very few people associated with this craft.
70 71
Materials
Khaddi pathhar is most commonly used for carving in Bharmour. The
main reasons for this are the local and easy availability and its apt proper-
ties. The stone is in complete control of the carver as the cut to be made
is directly proportional to the force that is applied without any variations.
Also, the stone does not wither away during the chiseling process. Labour
is employed to dig out the stone from the mountain and carry it to the
workshop. The whole process of getting the raw material for the stone carv-
ing is cumbersome

Techniques
The process starts from choosing a stone of an appropriate size which is
normally a bit bigger than the final form to be given. The design is then
sketched over the surface. The pieces that are now carved have relief only
on one side and the rear side is flat.
The larger chunks are then chiseled out with the help of chhiniya (chisels)
and hammer. The intricate detailing is done with chhoti chhiniya. A new
tool has been developed recently to make holes in the sculpture like nos-
trils or passage for flowing water in case of a fountain. This is locally called
kruru. Other local tools that are used are dangu and behla.
After the carving is done, the surface is made smooth by sand papers (no.
60, 80, 100, 400) and filers (locally called tesi and chosa) that are bought in
from Chamba unlike the other tools that are either self made or made by
local blacksmiths. One filer can be used for only one sculpture as its rough
surface then smoothens out. The same is then used as chisels by sharpening
their front edge.
The last step is of varnishing the work piece for finishing. It is not manda-
tory. The varnish is self made by mixing the gum of an apricot tree with oil.
Previously only mustard oil, locally called kauda tel was used. The sculp-
ture after polishing become waterproof.
72 73

ARTISAN PROFILE

Tara Ram
Village Chhatrari,P.O. chhatrari, distrit. Chammba

His family has been practicing stone carving for the past 50 years and it is a skill that they live on. As it’s his family profession,
he devotes 30 hours a week.
He is self-employed. He is also involved in weaving on the local khaddi for local consumption, sehra making and farming to
compliment his income. He wishes to train his children in carving the stones for both economical and traditional factors, as he
wants this legacy to continue in his family.
He earns a humble amount of about 5000 rupees a month. He has a workshop near his house and mostly works on orders giv-
en either by the people of his village or surrounding villages. His expertise lies in making idols of gods and goddess for temples.
He is renowned in what he does by virtue of which he also got an order by THE NHPC to make models.
He is very complacent but thinks that strengthening his marketing skills will help him grow in his work. He decides the price of
his work pieces on the basis of the time spent, detailing and the size of his product.

Milap Singh
Village Jagat Dak Ghar, PO Ruridhikthi District Chamba

He spends 5 hours daily on stone and wood carving. He has to work throughout the year. His monthly salary is 5000
and he has explored new raw material like walnut wood. They get their raw material from the local market and face
no difficulty in buying it.
74 75

OTHER CRAFT
76 77

Giddi:
One of the best examples of sustainable design that one can find in terms
of floor sitting is giddi. A part of almost every household in Bharmour,
its weaving technique is very simple and can be learnt from any other
woman in the neighborhood. It is made from the dried maize leaves and
is completely ecofriendly and easy on the eyes. Design is put it the center
with the help of coloured plastic polythene. It is always circular and the
diameter can vary according to the requirement.

Thalach:
Goats are reared once a year and with the hair, an extremely strong and
intricate rope is made that is used for the entire year. It is valuable and
hence normally not made on order. The goat here is first spun and then
woven to make thalch. It is used to carry loads or to dry woolen clothes
that are heavy. It is generally 8-10 meters in length and 2 cm thick.
78 79

DIAGNOSTIC
STUDY
80 81
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92 93
94
APPENDIX I 17. Are you a member of any of the following organizations?
1) SHGs ( ) 2) Cooperative ( )
95

3) Society ( ) 4) any other ( ) 5) None ( )

National Institute of Fashion Technology 18. Are you planning to train your children in your traditional craft prac-
………………… (NIFT center) tices?
1) Yes ( ) 2) No ( )
CRAFT DEVELOPMENT INITIATIVE Give reasons for your choice _______________________________

GENERAL INFORMATION INCOME RELATED QUESTIONS

1. Artisan’s Name- 19 . Current monthly income of the artisan:
2. Contact Number- 1) Rs. 2500 – 5000 ( ) 2) Rs. 5000 – 7500 ( )
3. Artisan’s Address- 3) Rs. 7500 – 10,000 ( ) 4) More than Rs. 10000 ( )
4. Artisan’s Age- From other source _______________
5. Artisan’s Sex 1)Male( ) 2) Female ( ) 20. Do you have a saving account in the:
6. Education level of artisan 1) Illiterate ( ) 2) Primary( ) 1) Bank ( ) 2) Post Office ( )
3) Any Other ( ) 4) No ( )
3) Secondary ( ) 4) College ( ) ASSETS
21. Dwelling
7. Languages known- Comprehend ______Read_______ 1) Own House ( ) 2) Rented House ( )
Write______ 22. Type of House
1) Kachha ( ) 2) Pucca ( ) 3) Semi-Pucca ( )
8. Size of the family unit – Male ( ), Female ( ), Children (below 13 yrs) 23. If own house, did you
( ). 1) Purchase ( ) 2) Constructed ( ) 3) Inherited ( )
24. If rented house, what is the monthly rent
9. What craft are you associated with? _______________________
10. For how many years the craft has been practiced by family? 25. In the last two years, have you purchased/changed or added any of
0-5yrs ( ) 5-10yrs ( ) 10-25yrs ( ) 25-50yrs( ) beyond 50 yrs( ) the following:
11. Family members participating in craft - Male ( ), Female ( ) • Land ( )
12. Average number of hours devoted to the craft per week – • Cattle ( )
Male ( ), Female ( ) • Two-wheeler ( )
13. No. of months for which artisan is involved in craft related activity: • Four-wheeler ( )
1) 3 – 6 months ( ) 2) 6 – 9 months ( ) 3) Throughout the year ( ) • Electronics (TV/Radio/Mixer/Grinder/Music System/etc) ( )
14. Are you engaged in any other activity apart from the handicrafts? • Mobile ( )
1) Yes ( ) 2) No ( ) • Gas Connection ( )
If yes, specify the occupation _________ • Computer ( )
15. Any month /months in the year that is high in demand for craft - • Any other item ( )
16. Has there been a change in the location or area of the craft? • None
If yes, specify original ___________
96 97
MEDICAL FACILITY
26. Are there any occupational health hazard/diseases, linked with
your craft practice? 4) Marketing ( ) 5) Any other __________________________
1) Yes ( ) 2) No ( )
If yes, please specify ________________________________ TRAINING
27. Do you have health/ life insurance policy? 37. Have you received any training recently for upgrading your skills?
1) Yes ( ) 2) No ( ) 1) Yes ( ) 2) No ( )
If yes, specify the kind ___________
DESIGN & TECHNOLOGY 38. Are these kind of training good for your work opportunities? 47. Do you have any problem in buying of raw materials Yes ( ) No ( )
28. Are you working on- 1) Yes ( ) 2) No ( ) If yes then specify – 1) Often ( ), 2) Sometimes ( ), 3) Rarely ( )
a) Traditional Design ( ) b) Latest Design ( ) 39. Do you need further training? 48. How can this problem be eliminated? (Give suggestions).
d). Market Demand Design ( ) 1) Yes ( ) 2) No ( ) ________________________________________________________
29. Who gives the design? 40. In which of the following areas would you want to be trained? 49. Do you get any subsidy from the Govt. while procuring raw materials?
1) Own ( ) 2). Trader/Agent ( ) 3) Old Patterns ( ) 4) Designers 1) Skill Development 2) Capacity Building 3) Design Innovation 1) Yes ( ) 2) No ( ) If yes, specify _____________
30. Has there been an adoption of new techniques in development of craft 4) Better Quality 5) Marketing 6) Any other _______________
because of any change of location? 41. Do you know how to use Computer? MARKETING
If yes, specify_____________ 1) Yes ( ) 2) No ( ) 50. How do you sell your products?
31. Have you developed any new products in last two years? 42. Do you use Internet? 1) Directly to customers ( ) 2) melas & Festivals ( )
a. _______________________ 1) Yes ( ) 2) No ( ) 3) Dealers/Agent Network ( ) 4) Exports ( ) 5) Local Markets ( )
b. _______________________ If yes, what do you use it for? 6) Trade fairs ( ) 7) any other __________
c. _______________________ 1) Personal ( ) 2) Business Purpose ( ) 3) Both ( ) 51. Are you facing any difficulty in marketing your products?
32. Have you explored new raw materials other than traditional? 43. Have you benefited in any way by the use of Internet? 1) Yes ( ) 2) No ( )
Yes ( ) No ( ) 1) Yes ( ) 2) No ( ) If yes, specify _____________ 52. If yes, what are the main reasons?
If yes specify reason – 1) Distance from your unit to market ( ) 2) Transportation ( )
1) Better pricing ( ) 2) Non availability ( ) 3) Creative persuasion 3) Middlemen/Agent ( ) 4) Lack of domestic/local market ( )
4) Market Demand ( ) 5) Any other __________ PRICING Any other ( ) ___________
33. If yes, are the new products more profitable than the old products? 44. Who or what decides the pricing of your products?
1) Yes ( ) 2) No ( ) 1) Self ( ) 2) Trader/Agent ( ) 3) Raw Materials ( ) 4) Local Market De-
34. Identify the skill level of the artisans (as per the artisan’s perception), mand ( ) 5) Labour Cost ( ) 6) Any other _____________ STUDENT’S NAME : ______________________________
with respect to the handicraft only: 45. Are you satisfied with the present system of pricing? COURSE & SEMESTER : __________________________
1) Unskilled ( ) 2) Semi-skilled ( ) 1) Yes ( ) 2) No ( ) CLUSTER : ______________ DATE __________________
3) Skilled ( ) 4) Master craftsmen ( ) If no, then give suggestions ____________________________________
35. Are you self employed - Yes ( ) No ( ) _______
If no, specify place ______________ 46. Where do you procure raw material from?
36. Which are would you like to strengthen for your growth 1) Local Market ( ) 2) Agents ( ) 3) Nearby Markets ( ) 4) Far away
1) Production ( ) 2) Design ( ) 3) Packaging ( ) markets ( )
98 99

Books
Handmade in India
Handicraft of Himachal
Handcrafted Indian textiles

REFFERENCE
MATERIAL
100 101

Gota – A trimming made of gold or silver threads.

B Gundu – Lace used for the edeges of the duptta.
Barma – Type of chisels. J
C Jhumka – Earrings.
Chaddar – Blanket. K
Chakdi – Chakk has two small round structures. Kamncha – Wooden frame for lathe
Chakk or Chonk – Conical headgear. Katra – Sharp edged tool to take out wool from sheep.
Chandrahar – Chandrahar is a necklace comprising five or seven rows Khurmani – Appricot.
of facetted silver beads. Kingari – Arrangement of pleating with double folded fabric.
Charkha – Spinning wheel. Kururu – Chisels used for making holes.
Chiri – Mangtika L
Cholu – Traditional wear constructed through hand spun fabric for Luanchadi – Traditional wear for Gaddi’s women.
men and women. M
Chhiniya – Tool used for wood carving and stone carving. Malka- ki- rupaon-ki-mala – Silver rupee necklace
D Mandhana – Process of compessing the wool or threads.
Dangu and Bhela – Types of chisels. N
Dora – Belt used for tying cholu and luanchadi. Nali – Bobbin.
Dodh – Monocrome and made up of undyed yarn. P
G Pari – Payal.
Gaddi – Community involved in sheep rearing. Patti – Woven in single colour.
Gardi – Smaller than gardu. S
Gardu – Gardu is a blanket. Suthan – Pyjama.
Gojru - Silver bracelets Swaz – Earlier version of Luanchadi used to be constructed with 108 pan-
nels.
T
Toke – Silver bracelets worn in pair.

GLOSSARY