Overview for Splendors of Pahari Embroidery
The Pahari Embroidery is the sparkle of the Embroiderer's Art over centuries in the land of Himachal Pradesh, undivided Punjab and Jummu Region. The Region is situated in closer proximity to Himalayas; hence it has been identified as Phari Embroidery. Althrough, it is popularly known as Chamba Rumals the art is practiced in the above mentioned regions of India; hence the nomenclature. The art is crried out ny masses and classes with great love and passion and hence some of the exexutions can be compared with the "Miniature Paintings" of the area. It was never supposed to be a commercial embroidery. It is execued on while muslin/khaddar coverlets exquisitely embroidered with silk threasa using satin stich. as th dominating stitch and it covers the themes on Krishna, Rasamanadala, Gajantaka Siva, Ganesha, Ramayana scences, Hanuman, wedding scenes, humting, geometric design and many more. So the questions which kept us busy in thoughts were why these were known as Chamba Rumal-while being practied in a very large geograohical area? It was not a commercial activity but the intensity and dedication to pursue the Art from was very close to the heart. What was the psychology behind it? These were a few basic questions nagging our minds to look at the various aspects of Pahari Embroidery vividly.
Fourteen scholars have contributed to look at different aspects of embroidery of Western Himalayan Region. Their contributions are on a variety of subjects.
The authors who contributed notably are -- Mr. Vijay Shar,a, Dr. Gagan Sharma, Dr. Anamika Pathak, Dr. Rohini Arora, Dr.Subhasini Aryan, Dr. Anjan Chakraverty, Dr.Toolika Gupta, Dr. Cristin MeKnight Seth, Dr. Nita Sen Gupta, Dr. Janki Turaga, Dr.Jasminder Kaur, Late Mr.Kamal Prashad Sharma, Dr. Binoy Kumar Sahay & Ms. Namrata Dalela.
The book deleves into the social and cultural imprints of the Pahari Embroidery and its waning popularity. An 'Art-from' which wa fondly an integral part of the family is dying out, This book aims to let people know about this beautiful creation from the western Himalayan region of India and this Art be given its due place in the Inidan Art scenario.
Anamika Pathak (Editor)
Anamika Pathak is deputy curator at the National Museum, New Delhi, where she has worked for over tw3o decades, gaining expertise in Museology, Decorative Arts and Textileâ€™s and archaeology. A student of ancient Indian History and Buddhist Studies, she participates actively in seminars, lectures and talks, and has mounted several exhibitions abroad. She has collaborated on a research project with the Nehru Trust, New Delhi, and the Victoria and Albert Museum, London, entitled â€˜Painting on Ivory.â€™ She is also the author of a pioneering book, Pashmina.
Binoy Kumar Sahay (Editor)
Dr. Bionoy Kumar Sahay. is the Deputy Curator (Numismatics & Epigraphy) and I/c Central Asian Antiquities Collection of Nationa; Museum, New Delhi and Nodal Officer for Digitization of National Museum Collections and "Q.R. Code" (Which is provided in Bronze-Gallary of National Museum). He is working in the Museum since, 1989.
He accessioned and the got physically verified the entire Central Asian Antiquities Collection of National Museum. He has participated in a number of National & International Seminars and Published 38 research papers in different Journals, periodocals and Art Volumes. He is an adjunct faculty of National Museum Institute (Deemed University) and guiding Research on their topics.
He has worked as Curator in many important exhibitations like:- Nizam's Jewellery, Alchi, Alamkara, Supreme Court of India, Tejas, Jewellery Exhibition (at Milan & Rome). On the Nalanda Trail, Exhibitaion from SAARC countries, Art of Bhutan etc. and for the following Galleries (i.e.) Jewellery, Numismatics and Central Asian Antiquties.
He was recipient of U.K. visiting fellowships in 2003 7 2009 by the Nehru Trust of Indian collection at the Victoria & Albert Museum and of Junior Research Felloowshio by U.G.C. in 1988.