Threads of Tradition: Handicrafts and Textiles

Himachal Pradesh is renowned for its exquisite handicrafts and textiles, which are a testament to the skill, artistry, and cultural heritage of its people. These crafts, often necessitated by the mountainous environment and climate, showcase a rich tapestry of intricate designs, vibrant colors, and traditional techniques passed down through generations. Many of these crafts serve both utilitarian and ritualistic purposes, deeply integrated into the daily lives and spiritual practices of the Himachalis.

A. Woven Wonders

The extreme winters of Himachal Pradesh necessitated the art of wool weaving, making it a widespread household skill. Nearly every household historically owned a pit-loom, and wool is considered a pure material, often used for ritual cloths.⁴

1. Kullu Shawls

• History and Origin: The art of weaving in the Kullu valley has ancient roots, passed down through generations. The craft received a significant impetus in the mid-19th century with the arrival of Kashmiri weavers, who introduced techniques for creating pashmina shawls. These were then adapted using local wool and indigenous motifs.⁴³ Traditionally, Kullu people wove plain shawls, but the trend of depicting patterns began with the influence of skilled craftsmen from Bushair and evolving art and fashion trends.⁴⁴
• Materials: Kullu shawls are primarily crafted from pure wool, including local sheep wool, Merino wool, and Pashmina sourced from Himalayan goats. Angora wool, Yalk wool, synthetic yarn, and cotton are also used in various blends and types of shawls.⁴³
• Weaving Techniques: These shawls are meticulously handwoven by skilled artisans using traditional wooden handlooms. The process is labor-intensive, with each shawl taking several days to complete, depending on the intricacy of the design and patterns.⁴³
• Motifs and Symbolism: Kullu shawls are celebrated for their vibrant colors and intricate weaving patterns. Common designs include geometric and floral motifs, often adorning the borders of the shawls.⁴³ These motifs are not merely decorative; they are inspired by the natural surroundings of the Kullu valley – its flowers, leaves, and vines – as well as animals and elements of the Himalayan landscape, reflecting the region’s rich cultural and natural heritage.⁴³ A characteristic feature is the bright colored geometrical or floral patterns woven on both ends of the shawl.⁴⁴ These bands, typically a few centimeters wide (ranging from two to seven centimeters on each side), are decorated with a variety of patterns in brilliant colors like yellow, green, or white on a black background, or orange and green on a brown base.⁴⁵
• Production Centers: The Kullu valley is the heartland for the production of these iconic shawls.⁴³
• GI Tag: Kullu Shawls were among the earliest products from Himachal Pradesh to receive the Geographical Indication (GI) tag, registered in 2004 with GI No. 19.⁴³ Subsequently, the “Kullu Shawl (Logo)” was also registered in 2012.⁴⁵ The GI tag has played a crucial role in rescuing this art form from the proliferation of cheap imitations, ensuring authenticity for consumers and protecting the livelihood of genuine weavers.⁴³

2. Kinnauri Shawls

• History and Origin: Kinnauri shawls are manufactured in the Kinnaur district of Himachal Pradesh, a region known for its unique cultural blend of Hinduism and Buddhism.³⁹
• Materials: While specific wool types are not extensively detailed for Kinnauri shawls in all sources, they are generally woven from wool, including fine pashmina and local sheep wool, similar to other Himachali textiles.⁴⁵
• Weaving Process: Shawls intended for commercial purposes are typically woven on frame looms, whereas pit looms are used for shawls made for local consumption. A distinctive feature of their production is that weavers often create two separate pieces, each half the length of the final shawl, with identical or complementary designs. These two pieces are then meticulously joined at the center through stitching. The creation of a single Kinnauri shawl is a time-consuming process, taking approximately 45 days on average.³⁹
• Motifs and Symbolism: Kinnauri shawls are renowned for their intricate and highly stylized geometric designs, often incorporating objects of religious and mythological importance.³⁹ The colors used in these shawls are imbued with symbolic meanings rooted in Buddhist philosophy: green signifies air, blue represents ether or space, white symbolizes water, yellow stands for earth, and red embodies fire.³⁹ The geometric patterns often show Central Asian influences.³⁹ Common motifs include stylized Buddhist symbols and complex graphic patterns such as hexagons (locally known as gyatongor tank) and squares (palpe).⁴⁵
• Production Centers: The primary production area for these shawls is the Kinnaur district.³⁹
• GI Tag: Kinnauri Shawls were officially registered under the Geographical Indications of Goods (Registration and Protection) Act, 1999, in October 2010, further safeguarding their authenticity and traditional craftsmanship.³⁹

The prevalence of wool-based textiles like Kullu and Kinnauri shawls underscores the material’s economic, practical, and cultural significance in Himachal, born out of the region’s cold climate and pastoral traditions.⁴²

B. Embroidered Narratives

1. Chamba Rumal (Handkerchief)

• History and Patronage: The Chamba Rumal, an exquisite form of embroidered handkerchief, originated and flourished in Chamba town, primarily between the 17th and 18th centuries, under the patronage of the local rulers.⁴⁶ This art form drew significant inspiration from Pahari miniature paintings, particularly the Kangra school, as well as the murals found in the Rang Mahal of Chamba.³ Historically, the queens and royal ladies of Chamba embroidered these rumals, which served as important items for wedding dowries, ceremonial gifts, and ritualistic purposes.⁴⁷ The craft saw a decline after India’s independence due to loss of royal patronage and commercialization. However, revival efforts began in the late 1970s, spearheaded by figures like Usha Bhagat (an associate of Indira Gandhi) and the Development Commissioner for Handicrafts (DCC), and earlier in the 1960s by Kamaladevi Chattopadhyay, who established the first Chamba embroidery center run by artisan Maheshi Devi.⁴⁷
• Materials: Chamba Rumals are typically crafted on handspun, handwoven square pieces of unbleached muslin (khuddar or Khadi cotton) or fine silk muslin (mulmul). The embroidery is executed using untwisted silk threads, with glossy black silk often used for outlining figures.⁴⁶
• Technique: The hallmark of Chamba Rumal embroidery is the do-rukha stitch, a double satin stitch technique that renders the design identical on both sides of the fabric, with no visible knots. This makes the rumal perfectly reversible and showcases exceptional skill.⁴⁷ Alongside the double satin stitch, artisans also employ other stitches like the stem stitch for outlines, cross stitch, herringbone stitch, buttonhole stitch, long and short stitch, and pattern darning to give depth and texture to the embroidery.⁴⁷ Traditionally, master Pahari painting artists would draw the outlines of the composition on the fabric, which the embroiderers would then fill in with threads.⁴⁶
• Motifs and Themes: Each Chamba Rumal often narrates a story or depicts a specific scene. The themes are rich and varied, reflecting folk tales, mythology, scenes from daily life, and the royal lifestyle.⁴⁸ Popular themes include the Raas Mandal (Lord Krishna’s divine dance with the Gopis), the Ashta Nayika (eight types of heroines in different moods), the Shiva family, hunting expeditions, wedding processions, the Dasavatara (ten incarnations of Vishnu), episodes from the Bhagavata Purana, Nayika-Bheda (classification of heroines), and the game of chaupad (a traditional board game).³ The rumals are typically finished with an ornamental border, usually two to four inches wide, around all edges.⁴⁸
• GI Tag and Recognition: The Chamba Rumal received the Geographical Indication (GI) tag on January 22, 2007, recognizing its unique origin and craftsmanship.⁴⁵ Furthermore, it was granted World Heritage status by UNESCO on October 31, 2008.⁴⁷ Masterpieces of Chamba Rumal are preserved in prestigious museums across the world, including a rumal embroidered by Bebe Nanaki (sister of Guru Nanak) in Gurudwara Hoshiarpur and another depicting the Kurukshetra War (gifted by Raja Gopal Singh in 1883) at the Victoria and Albert Museum in London.⁴⁷

The close relationship between Chamba Rumal embroidery and Pahari miniature painting illustrates a fascinating interplay between different art forms, where the needle essentially “paints” with silk threads, capturing the lyricism and themes of the miniature tradition.

C. Earthen Art

1. Traditional Pottery

• Significance: The craft of pottery in Himachal Pradesh holds both utilitarian and ritualistic importance. There is an enduring demand for earthenware vessels for daily use, and clay figures and vessels play an integral role in various ritualistic occasions across the region.⁵¹ The pottery often reflects the rustic nature of the state and the contours and colors of the surrounding landscape.⁵¹
• Artisans: Local artisans, traditionally known as ‘kumhars’, are skilled in crafting a wide array of clay items.⁵¹ Women are noted to take an active part in pottery, while men often engage in carpentry.⁴
• Production Centers: Kangra district is considered the epicenter of clay craft in Himachal Pradesh, where artisans are known for creating clay items using striking black and dark red colors. A famous item from this region is the container used for setting curds.⁵¹ Other significant pottery centers are found in Mandi, Kullu, Chamba, and Shimla.⁵¹
• Materials: The clay used for pottery in Himachal Pradesh varies in color, with both red and yellow clay being commonly collected, typically twice a year according to seasonal availability.⁵¹ For decoration, a special type of clay called Golu clay is used to create intricate white patterns on the finished clay items.⁵¹
• Techniques: The potter’s wheel is a traditional tool used by Himachali kumhars, especially highlighted during the Diwali festival rituals.⁵¹ Hand-building techniques are also likely employed for creating items like clay toys and figurines of deities, though not explicitly detailed as such.⁵¹ Pottery is often a seasonal occupation, with work pausing during the harsh winter months (mid-November to January) and the peak summer rainy season (mid-May to July).⁵¹
• Products: A diverse range of clay products are crafted, including everyday pots, traditional toys, money banks with intricate designs, pitchers, bowls, platters, cups, lamps, and flower vases for decorative purposes. Storage containers such as gidya, patri, and narele are also common.⁵¹ Specific types of pots are made for particular uses: Gharra (for water storage), Muggi (for carrying water to fields), Gharau (for boiling milk, available in various sizes), Muggru (for carrying milk for sale), Kawradu and Dhialu (special vessels for yogurt/curd), Girriya (for ghee storage), Katori (for serving vegetables), Kanatu (used for draining water from cooked rice, the starchy water then given to animals), Handi (essential for cooking), Kangri (a traditional charcoal burning heater for winter), Hooka and Chillum (for tobacco smoking), and Goluk (a clay money box). A ritual pot known as Auli is specifically used for marriage ceremonies, along with other ritual pots for various occasions.⁵¹
• Cultural/Ritualistic Significance: Pottery is deeply embedded in the cultural and ritualistic life of Himachal Pradesh. Clay figures and vessels are indispensable for many ceremonies.⁵¹ During the festival of Diwali, the potter’s wheel itself becomes an object of reverence; it is adorned with a paste meticulously crafted from rice flour, and a puja (worship) is conducted with offerings of flowers, incense, rice, and sweets.⁵¹ The Auli pot holds special significance in marriage ceremonies.⁵¹ Furthermore, figurines of Hindu gods and goddesses are crafted from clay and painted in vibrant shades for use in various festivals.⁵¹ This demonstrates the dual role of pottery – serving practical daily needs while also fulfilling important spiritual and ceremonial functions.

D. Carved Heritage

1. Woodcraft

• Significance and Materials: Wood has been a primary structural and artistic material in Himachal Pradesh for centuries, utilized in the construction of temples, traditional homes, and idols of deities. This is largely due to the abundant availability of various types of timber, including Pine, Cedrus deodara (Himalayan Cedar), walnut, horse chestnut, and wild black mulberry.⁴ Deodar wood is particularly favored by artisans in the Bharmour area of Chamba district because its quality allows for intricate high-relief carving.⁵²
• Famous Centers: Prominent centers for woodcraft in Himachal Pradesh include Chamba (especially the areas of Bharmour, Chhatrari, Ranuh-Kothi, and Swai), Tisza, Kalpa, various parts of Kinnaur district, and Kullu district.⁴
• Items and Techniques: Woodcarving adorns various architectural elements such as the doors, windows, and balcony panels of village homes, with particularly fine examples found in the remote areas of Kinnaur and Kullu districts.⁴² The village of Ranuh-Kothi, near Chhattrari in Chamba, is specifically noted for its production of wooden utensils, indicating a specialized branch of woodcraft.⁵² The classical style of woodcarving is exemplified in the ancient temples of Lakshana Devi in Bharmour and Shakti Devi in Chhatrari, both commissioned by Raja Meruvarman around 700 CE. These temples are profusely embellished with woodcarvings of high artistic excellence, showing influences from Gupta art, such as purnaghat (pot and foliage) motifs on pillar capitals, figures of Kichakas (celestial beings), and full-blossomed lotus designs.⁵² Later woodcarvings, such as those on the State Kothi (a royal administrative building) of Bharmour, show Mughal artistic influence, with decorative panels executed in low relief on deodar planks, featuring figurative and decorative motifs borrowed from a provincial Mughal style of painting.⁵² A distinct folk style of figurative carving is also evident, for instance, in the carvings at the house of a local chieftain (Rana) in Swai village (near Bharmour), created by a local artisan named Chhajju in 1877 CE. These carvings depict human and divine figures in the traditional style of the Gaddi tribal people.⁵²
• Notable Examples (beyond Lakshana Devi & Shakti Devi Temples):
  • State Kothi of Bharmour: Originally built by Raja Prithvi Singh (1641–1664 CE), this structure was once richly embellished with decorative carved panels and brackets. Though damaged in an earthquake in 1905, many of its carved panels were preserved and are now housed in the Bhuri Singh Museum, Chamba. One notable door panel depicts Raja Prithvi Singh receiving honors from the Mughal Prince Dara Shukoh, showcasing the Mughal influence on local art.⁵²
  • Wooden Utensils of Ranuh-Kothi: This village near Chhattrari is famous for its traditional wooden utensils, demonstrating the continuity and mastery of woodcarving techniques for everyday objects.⁵²
  • House of Rana in Swai (near Bharmour): The remnants of this old mansion, decorated with splendid folk wooden art by the artisan Chhajju in 1877 CE, provide excellent examples of folk woodcraft. The carvings depict scenes from the daily life of the Gaddi tribe and local deities. The doorway of this house is particularly interesting for its massive size, constructed from three large blocks of deodar wood without the use of nails, and features intricate carvings on its lintel.⁵²
  • Stone Carving: While wood is predominant, stone carving also exists. The batada or bataihra community are traditional stone craftspersons. Sandstone is used for relief panels in temples, and limestone for utilitarian objects in Kangra, Mandi, Bilaspur, and Kullu. Dehlu village (Mandi) carvers chisel images of Deot Siddha and lingayoni stones. Domestic products like stoves (angithis), flour-mill stones (chakkis), and pestle-mortar sets are made. Fountain stones (panihas), commemorating important figures, are common in Chamba and Mandi.⁵⁴

The diverse applications of woodcraft, from grand temples to humble utensils, highlight its integral role in the material and artistic culture of Himachal Pradesh.

E. Metalcrafts

1. Mohra Metal Work

• Significance: Metalcraft, particularly the creation of Mohras (metal plaques or masks representing deities), is an ancient and highly esteemed art form in Himachal Pradesh, with prominent centers in Kullu and Chamba.⁵⁵ These Mohras, often depicting deities like Lord Shiva, are central to religious worship and processions.⁵⁵ Beyond their ritualistic importance, metalcraft in Himachal also produces utilitarian items such as lamps, bells, musical instruments, and vessels, as well as intricate jewelry.⁴⁹ Many temple doors and monastic embellishments also feature this craft.⁵⁵
• History: The tradition of sophisticated metalwork in Himachal Pradesh flourished under royal patronage, with evidence of specialized craftsmen in the courts of Himachali kings dating back to 600 AD.⁴² The specific tradition of Mohra metalwork is believed to date back to the 14th century.⁵⁶ Kashmiri artisans significantly influenced the bronze casting techniques and artistic styles in Chamba.⁵⁶ The Dhadiar community in Chamba has been instrumental in preserving this art form.⁵⁶
• Technique: The Cire Perdue (lost-wax casting) technique is traditionally used for creating intricate images and statues in Chamba. This meticulous process involves creating a wax model, covering it with a clay mold (leaving an aperture), melting out the wax, and then pouring molten metal into the cavity.⁵⁶ The Repousse technique, involving hammering metal from the reverse side to create a design in low relief, is evident on the temple doors of important shrines like Vajreshwari Devi (Kangra), Jwalamukhi (Kangra), Bhimkali (Sarahan), and Chandika Devi (Kinnaur).⁴⁹
• Materials: A variety of metals are employed in Himachali metalcraft, including precious metals like gold and silver, and base metals such as brass, bronze, copper, iron, and tin. Special components like mercury and chime metal (an alloy used for bells) are also utilized.⁵⁵ Mohras themselves often contain copper, tin, generic metal, ringer metal, and iron.⁵⁵
• Notable Examples:
  • Exquisite metal statuettes adorn temple entrances in Brahmaur (Chamba) and the Vajreshwari Devi temple in Kangra.⁴⁹
  • Remarkable bronze statues, showing Kashmiri influence, include those of Lakshmi, Ganesh, and Narsimha in Bharmaur, and Harirai and Gauri Shankar in Chamba town.⁵⁶
  • A magnificent canopy made of gold at the Jwalamukhi temple is a widely admired example of Himachal’s metalwork, believed to have been gifted by the Mughal emperor Akbar.⁴²
• Pahari Jewelry: Mohra metalwork techniques also extend to the creation of distinctive Pahari jewelry. The Chandahaar, a notable piece, is typically composed of five to seven strings of gold beads. Pahari women also adorn themselves with various metal bangles and beaded necklaces crafted by these skilled artisans.⁵⁶

The creation of Mohras and other metal artifacts is deeply intertwined with the religious life of Himachal Pradesh, where these objects are essential for worship and festivals, embodying the divine presence for the devotees.

F. Artistic Expressions

1. Pahari Painting (Kangra, Chamba, Guler, Basohli schools)

• Origin and Development: Pahari painting, meaning “painting of the hills,” is a significant school of Indian miniature art that evolved in the various small, independently ruled hill states of Himachal Pradesh and adjoining regions like Jammu & Kashmir, primarily between the 17th and 19th centuries.⁴⁶ The Guler state is considered the cradle of the Kangra art style, which emerged in the first half of the 18th century. This development was spurred by the migration of Kashmiri painters trained in the Mughal style who sought refuge at the court of Raja Dalip Singh of Guler (r. 1695–1741).⁵⁷ As the Basohli school of painting, known for its bold intensity, began to fade around the mid-18th century, the Kangra style rose to prominence, eventually becoming so widespread that the Pahari school itself came to be largely identified with Kangra painting.⁵⁷
• Patronage: The zenith of Kangra painting was achieved under the patronage of Maharaja Sansar Chand of Kangra (c. 1765–1823), an ardent devotee of Krishna and a great connoisseur of art. He commissioned a vast body of work, making Kangra the most important center of Pahari painting.⁵⁷ Raja Bhuri Singh of Chamba (early 20th century) was another notable patron who promoted the arts, including Chamba Rumal embroidery which was heavily influenced by Kangra paintings.⁴⁶
• Styles and Characteristics:
  • Basohli Style: This earlier Pahari style is characterized by its bold lines, intense, hot colors (like deep reds, yellows, and blues), and a primitive vitality. Figures often have fish-shaped elongated eyes, oval faces, receding foreheads, and are set against monochrome backgrounds. Decorative, stylized trees suggest perspective.⁴⁶
  • Guler-Kangra Style: This style, which evolved from Guler, is marked by its naturalism, precision, and fluidity of line, often described as lyrical. The faces are delicately modeled and shaded, possessing an almost porcelain-like delicacy. The color palette became cooler and fresher, with softer, washed hues.⁴⁶ There is a meticulous depiction of landscapes, verdant greenery, and flowing brooks. Feminine charm is portrayed with exceptional grace and refinement.⁵⁷
  • Chamba Style: While Chamba is more renowned for its unique embroidery (Chamba Rumal) that closely imitates the Kangra painting style in threadwork, painting traditions also existed, sharing characteristics with the broader Pahari schools.⁴⁶
• Themes: The central theme (rasa) of Kangra painting is Shringara (the sentiment of love and romantic Eroticism).⁵⁷ The legends of Radha and Krishna, particularly their amorous plays (Krishna-Lila), were a primary source of inspiration, often drawn from texts like the Bhagavata Purana and Jayadeva’s Gita Govinda.³ Other popular themes included the Nayak-Nayika Bheda (classification of heroes and heroines), Baramasa (depiction of the twelve months and associated emotions), scenes from the Sat Sai of Bihari (often set against architectural backgrounds), and stories of Nala and Damayanti.⁵⁷ Religious epics like the Ramayana, battle scenes, and poetic love scenes set in lush forests or flowered gardens were also common subjects.⁴⁶
• Materials and Techniques: Pahari painters used natural pigments extracted from minerals, vegetables, and even precious stones, which possessed an enamel-like luster and retained their freshness over centuries.⁵⁷ The drawing was precise and fluid, often outlined first in charcoal or with a fine brush before the application of colors.⁴⁶ Brushes were typically made from squirrel or kitten hair.
• Prominent Artists: Pandit Seu, a painter from Guler, and his exceptionally talented sons, Nainsukh and Manaku, were pioneers who significantly advanced the Guler-Kangra style.⁵⁷ Nainsukh (c. 1710–1778) is particularly celebrated for his distinctive style blending Mughal precision with personal innovation. Other important artists who contributed to this school between the 18th and 19th centuries include Manku (distinct from Manaku, son of Seu), Khushala, Kishan Lal, Basia, Purkhoo, and Fatoo.⁵⁷ In contemporary times, Vijay Sharma is a well-known Kangra artist, and Sneh Gangal is noted for combining Kangra art with calligraphy.⁴⁶
• GI Tag: Kangra painting was granted the Geographical Indication (GI) tag on April 2, 2012, recognizing its unique origin and protecting its legacy.⁴⁵

2. Thangka Painting

• Definition and Origin: Thangka (also Tang-kha or Tangka) is a traditional Tibetan Buddhist scroll painting, typically executed on cotton or linen canvas that has been treated. The term literally means “thing that one unrolls”.⁵⁸ It is also known by names like Ras-bris or Ras-rimo (Tibetan for “design on cotton”). This art form was borrowed from the Indian patta-chitra tradition and further developed in Tibet, often by nomadic monks who used these portable paintings to spread the teachings of Buddha.⁵⁸
• Centers in Himachal: Thangka painting is practiced in regions of Himachal Pradesh where Tibetan Buddhism has a strong presence, such as Lahaul-Spiti, Dharamshala (which houses the Norbulingka Institute, a key center for Tibetan arts), and parts of Kangra district.⁵⁹
• Materials: The traditional materials include cotton or linen cloth for the canvas, which is prepared with a mixture of leather glue and distemper powder. Pigments are primarily mineral-based (e.g., carbon black, cinnabar, lapis lazuli, malachite green, orpiment yellow, ochres) and can include powdered gold and silver. The finished painting is usually mounted on a silk brocade frame, often sourced from places like Varanasi.⁵⁸
• Techniques and Process: The creation of a Thangka is a meticulous and ritualized process:
  1. Canvas Preparation (Thig-tse): The canvas is stretched over a wooden frame, and a paste of glue and distemper powder is applied to both sides, dried, and then polished with a smooth stone or glass rim until the surface is perfectly smooth and the pores are filled.⁵⁸
  2. Drawing (Kya-ri): Geometric markings and grids are made (often on the back or lightly on the front) using pencil, compass, and scale to ensure correct proportions and placement of figures according to iconographic rules. Designs might be first drawn on paper and then transferred. The initial sketch is refined with ink.⁵⁸
  3. Coloring/Painting (Leb-tson, Ri-mo, Dang): Mineral color powders are mixed with a glue binder. Distant areas like the sky and background are usually colored first, followed by the main figures. Outlining (Ri-mo) and shading (Dang) add depth and detail.⁵⁸
  4. Mounting: The completed painting is then carefully sewn onto a silk brocade border, which often includes dowels at the top and bottom for hanging and rolling, and a silk cover (Zhal Khebs) to protect the painting.⁵⁸
• Iconography and Themes: Thangkas are sacred objects used as aids for various religious practices, teachings, and meditation.⁵⁸ They typically illustrate the life of Buddha, Bodhisattvas, important religious founders and saints, various Buddhist deities (like Green Tara, White Tara, Avalokiteshvara), or events from Buddhist history and Jataka tales (stories of Buddha’s previous lives). Mandalas, which are complex cosmic diagrams representing the universe or a deity’s abode, are also common subjects. The iconographic details, including proportions, colors, and attributes of deities, are strictly prescribed in Tibetan Buddhist scriptures, and artists must adhere to these rules, though some freedom is allowed in depicting background landscapes.⁵⁸
• Types: Thangkas can be broadly categorized into embroidered (Tsem-tang) and painted (Bris-tang). Further sub-divisions include appliqué (gos-tang), lacquered (tson-tang), black background (nag-tang), precious bead-inlay Thangkas, gold or silver thread Thangkas, and block-printed Thangkas.⁵⁸
• Size: The size of Thangkas can vary dramatically, from small personal devotional pieces (around 20 cm wide by 30 cm long) to enormous ceremonial Thangkas (up to 45 meters in width and 55 meters in length) that are unfurled only on special monastic occasions.⁵⁸

G. Floor Coverings

1. Carpet Weaving (Numdhas, Dhurries)

• Significance: Carpet weaving is a traditional occupation in the high-altitude regions of Himachal Pradesh, driven by the cold climate and the availability of wool from sheep and goat rearing.⁶⁰
• Centers:
  • Kullu and Giabong valleys: Main areas for gudma (fleecy, soft, heavy blankets).⁶⁰
  • Sirmur district (Paonta block): Villages like Bhuppur, Puruwala, Sataun, and Kamsan are home to many Tibetan craftspersons engaged in weaving woolen carpets.⁶⁰
  • Kinnaur: Noted for its fine weave in carpets.⁶⁰
  • Lahaul: Known for chali, a type of coarse carpet.⁶⁰
  • Chamba district (Pangi area): Produces thobis, which are black and grey carpets made from goat’s hair.⁶⁰
• Materials: The primary material is wool from sheep. Goat hair is used for making mattresses (kharchas) and specific carpets like thobis. A rough yarn called sheli, made from residue wool left after pashmina extraction, is used for carpets like karcha, chuktu, and chugdan. Another type of goat’s wool, bakratha, is mixed with sheli for some carpets. Cotton is also widely used, especially for weaving dhurries (flat-woven rugs).⁶⁰
• Looms and Techniques: Weavers in Sirmur often use pit-looms for making cotton dhurries.⁶⁰ Vertical looms employing the Panja technique (using a metallic claw-like tool to compact the weft) are also used for dhurries, ensuring strength and durability.⁶¹ Weaving is often undertaken by women.⁶⁰ Numdha making is a distinct craft involving felting the wool (matting wool fibers together rather than weaving) and then ornamenting it with colorful embroidery threads.⁶⁰
• Designs and Motifs: Himachali carpets are known for their rich and captivating designs and durable texture.
  • Common motifs include dragons (often borrowed from Chinese traditions) and Hindu swastikas.⁶⁰
  • Tibetan weavers in Sirmur predominantly use geometric patterns and blocks of color.⁶⁰
  • Asans (small square carpets for sitting) often feature motifs inspired by alpana or rangoli (traditional floor designs drawn during festive occasions), which can be geometric or floral.⁶⁰
  • Mythical Tibetan elements like birds (dak, jira), lions, and the god of lightning are common, indicating Tibetan cultural influence.⁶⁰
  • Central Asian influences are visible in the presence of the famous key and swastika designs.⁶⁰
  • Thobis carpets from the Pangi area of Chamba feature motifs like the trishul (trident), swastika, and an eight-pointed design made from a combination of a diamond and a concentric circle.⁶⁰
  • Cotton dhurries typically have simpler designs, often comprising stripes, with red or blue as the main colors.⁶⁰

H. Other Notable Crafts

1. Bamboo and Cane Crafts

• Products: A variety of functional and decorative items are crafted from bamboo and cane. These include boxes, sofas, chairs, baskets of various sizes and purposes, and racks.⁴ A particularly significant traditional product is the Kilta, a sturdy bamboo basket primarily used by local communities for agricultural purposes (carrying crops, firewood) and daily needs. Kiltas are typically made from locally sourced bamboo varieties like Nargal and Toong.⁶² Other bamboo products include chairs, tables, and lampshades.⁶³
• Communities/Centers: The Dom tribe is specifically mentioned as being expert in manufacturing bamboo items.⁴ The craft of Kilta making is predominantly practiced in regions such as Kullu, Mandi, and Kangra, often by small, close-knit communities where the skill is passed down through families.⁶² Various dealers and manufacturers of bamboo handicrafts are also listed in areas like Una, Hamirpur, Dharamshala, and Solan.⁶³
• Making Process (Kilta): The process of making a Kilta involves harvesting bamboo (typically 3-4 years old), stripping the leaves using a knife (Chakku), and splitting the bamboo into strips of required lengths and widths. For the base of the basket, thick bamboo strips are arranged in a circular pattern, and then thin bamboo strips are woven over these base strips, working upwards from the bottom. Different types of baskets, such as Dhalara and Chabdi, utilize various weaving techniques including coiling, interlacing, and plaiting. Once the weaving is complete, the ends of the strips are folded inward and secured to finish the basket. This craft is often practiced by women weavers year-round for domestic use and sale.⁶²

2. Other GI Tagged Products (Besides Shawls and Paintings)

The Geographical Indication tag is a significant marker of authenticity and regional origin, and Himachal Pradesh has several products recognized under this scheme. This not only protects the traditional knowledge and craftsmanship associated with these products but also provides economic benefits to the artisans by preventing imitations and ensuring fair value.

• Chamba Chappal (Footwear):
  
  • History: The tradition of wearing Chamba Chappals (slippers) dates back to the reign of King Sahil Verman in the early 9th century. It is said that when he married the princess of Noorpur, slipper manufacturers, among other artisans, were brought to Chamba. Initially, these chappals were worn exclusively by royalty, but they became more widely used after the British popularized and protected the art.⁴⁵
  • Materials: These handcrafted leather chappals are made using leather, with embroidery done using threads (some sources mention silk and gold threads ⁴⁵, while others refer to general threads and beads ⁵⁰).
  • Making Process: Artisans begin by cutting the leather into intricate patterns. The upper part and the sole are then stitched together. The chappals are adorned with delicate embroidery, often featuring floral and leaf motifs. Beads are sometimes skillfully woven into the design to enhance their appearance. The process combines precision cutting, stitching, and embellishment.⁴⁵
  • GI Tag: Chamba Chappal was granted the GI tag in 2021.⁴⁵ The application was filed in May 2018, and the product was certified on September 14, 2021.⁶⁷
• Lahauli Knitted Socks and Gloves:
  
  • History: The craft of knitting socks and gloves in Lahaul was introduced around 1862 by Moravian missionaries. These missionaries established a knitting school, teaching Lahauli women to make German-style gloves and socks. The local women subsequently adapted these skills, incorporating indigenous themes and designs into their knitting.⁴⁵
  • Materials: These items are traditionally made from indigenous sheep wool, locally spun by the shepherding community. Other types of wool, such as Angora, Merino, and Pashmina, are also used. Nylon thread is sometimes used for the embroidery patterns.⁴⁵
  • Making Process: Lahauli socks and gloves are hand-knitted using four double-pointed needles. They are typically knitted in parts: first the cuff, then the leg, and finally the heel. The upper part of the foot is distinctively decorated with traditional eye-catching patterns called ‘dashi’. These dashi patterns can comprise seven to eight different motifs (such as Bumchang, Lari Zildan, Kuru, Thingma, Kyog) and are often knit using up to eight different colors.⁴⁵
  • GI Tag: Lahauli Knitted Socks and Gloves received the GI tag (GI No. 405). Sources vary slightly on the year, with ⁶⁸ mentioning 2014, while ⁶⁹, and ⁶⁷ confirm certification in 2020 or September 2021 (application filed May 2019).⁶⁷
• Other GI Tagged Products from Himachal Pradesh include:
  
  • Kangra Tea (Category: Agriculture, Year: 2005).⁴⁵
  • Himachali Chulli Oil (Apricot Oil) (Category: Manufactured Goods, Year: 2019).⁴⁵
  • Himachali Kala Zeera (Black Cumin) (Category: Agriculture, Year: 2019).⁴⁵
  • Basmati Rice (shared GI tag with other states, Year: 2016).⁴⁵

The diverse range of handicrafts and textiles in Himachal Pradesh, many of which are now GI tagged, reflects a rich cultural heritage deeply connected to the region’s geography, climate, and the ingenuity of its people. These crafts not only serve as symbols of Himachali identity but also contribute significantly to the local economy. The syncretism evident in many art forms, where indigenous traditions have absorbed and adapted external influences (from Mughal and Rajasthani painting styles influencing Pahari art, to Central Asian motifs in Kinnauri shawls, and European knitting techniques in Lahauli socks), showcases a dynamic cultural evolution rather than static isolation.

Table 3: Key Handicrafts and Textiles of Himachal Pradesh (including GI Tagged items)

Craft/Textile Name	Primary Region(s) of Origin/Production	Key Materials Used	Distinctive Features/Motifs/Techniques	GI Tag Status & Year (if applicable)	Cultural/Historical Significance
Kullu Shawl	Kullu Valley	Pure wool (local, merino, pashmina), Angora, Yalk wool	Handwoven; geometric & floral patterns on ends; vibrant colors. 43	Yes (Shawl: 2004, Logo: 2012)	Iconic Himachali textile; influenced by Bushair & Kashmiri weavers. 43
Kinnauri Shawl	Kinnaur District	Wool (pashmina, local sheep)	Handwoven in two pieces, then stitched; intricate geometric & religious motifs (Buddhist symbols, hexagon, square); symbolic colors (green, blue, white, yellow, red). 39	Yes (2010)	Reflects Kinnauri culture, Buddhist philosophy, Central Asian influence. 39
Chamba Rumal	Chamba Town	Khuddar (cotton), Mulmul (muslin silk), silk threads	Do-rukha (double satin stitch) embroidery, identical on both sides; themes from Pahari paintings (Raas Mandal, mythology, royal life). 46	Yes (2007)	“Needle wonder”; strong link to Pahari miniature art; royal patronage. 3
Traditional Pottery	Kangra (epicenter), Mandi, Kullu, Chamba, Shimla	Red & yellow clay, Golu clay for decoration	Wheel-thrown & hand-built; items for daily use & rituals (Auli pot for marriage); black/dark redware in Kangra. 51	No specific GI mentioned	Integral to daily life & rituals (Diwali puja of potter’s wheel). 51
Woodcraft	Chamba, Tisza, Kalpa, Kinnaur, Kullu	Deodar, pine, walnut, horse chestnut, mulberry	Carvings on temples, homes (doors, windows, balconies); wooden utensils; classical (Gupta influence) & folk styles. 42	No specific GI mentioned	Ancient tradition; notable examples like Lakshana Devi Temple, State Kothi Bharmour. 52
Mohra Metal Work	Kullu, Chamba	Gold, silver, brass, bronze, copper, iron, tin	Metal plaques/masks of deities; Cire Perdue casting; Repousse work on temple doors; Pahari jewelry (Chandahaar). 49	No specific GI mentioned	Ancient art; central to deity worship; Kashmiri influence in Chamba bronzes. 42
Pahari Painting (Kangra)	Kangra, Guler	Natural mineral/vegetable pigments, handmade paper	Miniature paintings; lyrical, naturalistic; themes: Radha-Krishna, Shringara rasa, Gita Govinda. Key artists: Nainsukh, Manaku. 57	Yes (2012)	Major school of Indian miniature art; patronized by Maharaja Sansar Chand. 57
Thangka Painting	Lahaul-Spiti, Dharamshala, Kangra	Cotton/linen canvas, mineral pigments, silk brocade	Tibetan Buddhist scroll paintings; iconographic rules; themes: Buddha’s life, Mandalas, deities. 58	No specific GI mentioned	Sacred art for meditation & teaching; reflects Tibetan Buddhist influence. 58
Carpet Weaving (Numdha, Dhurrie)	Sirmur, Kullu, Kinnaur, Lahaul, Chamba	Wool, goat hair, cotton, sheli	Woven & felted; motifs: dragons, swastikas, geometric, floral, Tibetan symbols; pit & vertical looms. 60	No specific GI mentioned	Reflects adaptation to cold climate; Tibetan & Central Asian influences. 60
Bamboo Crafts (Kilta)	Kullu, Mandi, Kangra (Dom tribe)	Bamboo (Nargal, Toong)	Baskets, furniture; Kilta for agricultural/daily use; weaving techniques: coiling, interlacing, plaiting. 42	No specific GI mentioned	Utilizes local resources; specific tribal expertise. 42
Chamba Chappal	Chamba	Leather, silk/gold threads, beads	Handcrafted leather slippers; embroidery with floral/leaf motifs. 45	Yes (2021)	Ancient craft with royal lineage; popularized by British. 45
Lahauli Knitted Socks & Gloves	Lahaul-Spiti	Indigenous sheep wool, Angora, Merino, Pashmina	Hand-knitted on four needles; ‘dashi’ patterns (Bumchang, Kuru etc.) with up to 8 colors. 45	Yes (2020/2021)	Introduced by Moravian missionaries, adapted with indigenous themes. 45