BHURI
SINGH MUSEUM
A TREASURE HOUSE OF CHAMBA-ART
Chamba, a treasure
house of cultural heritage, has plenty to offer to the art history of the country.
Alexander Cunningham visited Chamba and Brahmaur in AD 1839 and he, for the time, drew the
attention of art-lovers towards its rich cultural wealth. The eminent Indologist, J. Ph.
Vogel made extensive exploration of the area from AD 1902 to 1905 and collected large
number of inscriptions engraved on both the metal and stone. These inscriptions have great
significance in the history of the region. Therefore, it is imminent to protect and
preserve this cultural heritage against the unfavourable climatic conditions and
vandalism. Vogel enlightened Raja Bhuri Singh, the ruler of erstwhile Chamba state about
the importance of this cultural and art heritage, which was endangered and becoming
extinct without of shelter and preservation. Raja Bhuri Singh took keen interest in this
epigraphic collection and other relics of the past and transferred them in one of the
public buildings suitably located by the side of Chaugan. Raja Bhuri Singh also
gifted his inherited art collection to this museum and J. Ph. Vogel imparted his
invaluable services for setting up this museum. The dream came true on the 14th
September 1908 when the museum was opened to the visitors and named after Raja Bhuri
Singh.
The objects
displayed in the museum are related to art, craft and culture of the Chamba state. These
relics stand as an eloquent testimony to the life of past and have their value for the
appreciation of art and culture of this region. At present, the museum possesses more than
5000 objects related to art, archaeology, craft and cultural anthropology, especially
those related to Chamba. However, the art objects of the other parts are also displayed.
The museum-complex also has a reference library, a seminar hall and an exhibition hall.
Stone sculpture,
bronzes, memorial stones, Pahari miniature paintings and Chamba rumals, etc.,
reflecting on the workmanship, art and tradition of the region. The art style of this area
was greatly influenced by the adjoining Kashmir region, which is apparently discernible in
the artefacts displayed in the galleries. Theme, style and material provide us with a good
perspective of the regional cultural life. The stone sculpture of Surya from Gum
dated to 6th century AD and bronzes of a devotee with a lamp and Sidha are among
the finest specimens of sculptural art of the area. The memorial stones throw light on the
deceased for whom these were erected. The memorial stones of Chamba are unique for the
history of Indian Art. These stones are decorated with motifs like lotus roundels,
meandering creepers, striding elephants, horse riders, foot soldiers, hamsa, varunas,
Shiv-linga, Sheshashayi Vishnu, Ganga, Yamuna and entwined snakes, etc. These
slabs form spouts of the natural fountains, locally known as the paniharas
(fountains). These stones not only show the artistic skill, but also provide an important
historical record. Some of these, particularly of Churah region, are engraved in Takri and
Sharda scripts. The inscriptions engraved on these stones provide us with a good
perspective of the political history of the state and its relations with the adjoining
states. These stones evoke association with the certain stages of social and economic
evolution of the society and provide a constant endeavour to search out parallels with the
societies in the same or very similar stages of development.
Museum has a
significant collection of Miniature painting in particular Pahari School painting. These
miniature paintings can be distinguished from the Mughal ones in their simplicity and
freshness; and from Rajasthani miniature in their lyrical quality. These schools
flourished in the hill states of western Himalaya from the 17th to 19th century AD. The
Basohali painting shows unusual brilliance of colour and animated expression. Spacious
composition, rhythm and brilliant colour harmonies entitle them to a very high place among
the Pahari paintings. In Guler paintings, draftsmanship is linear and naturalistic. The
female figures are slim and tall with long slender necks and small well-formed faces. The
treatment of trees and landscapes are naturalistic. The beauty of Kangra painting lies
mainly in its rhythmic lines, especially in rendering flaming beauty of the female figures
and in illustrating the delicate grace of the Indian womanhood. The themes of these
paintings are mostly related to the Epics, Puranas, Gita-Govinda, Bihari-satsai,
Baramasa, etc. The Paintings on Usha-Anirudha, Rukmini-Mangal, Sudama-charit,
Hamir-hattha, Ramayana and Mahabharata series are of great interest.
Some nicely
embroidered specimens of the world famous Chamba rumals are also share the part of
its rich treasure. The Chamba rumal, also known as the painting on cloth done with
the needle, flourished in the princely state of Chamba during 18-19th century AD. Muslin
cloth is used to embroider figural and floral motifs inspired from the Pahari miniature
paintings. The embroidery was done by the double satin stitch, carried forward and
backward simultaneously on the two sides of cloth so that both sides appeared equally
effective and similar in content. That style of stitching is known as dorukha (double-sided).
Wood was widely
used for the architectural and sculptural art in this area. Because of its plasticity and
smooth texture it afforded possibilities to the wood carver to devise various artistic
forms and designs, which were from time to time elaborated and refined under the impact of
various styles that influenced the art activities of the area. Ornate and beautifully
carved doors, window-frames, balconies, carved panels, brackets, pillars testify to the
height to which the craft had reached in the early days. A massive and an inscribed door
from Swai near Bharmour, which is displayed in the Museum, is of special interest not only
because of its antiquity but also because of the splendid display of form and variety of
subjects delineated on it. The prominent doorway (Parol-SKT Pratoli) is
carved in folk style displaying several divine and human figures. Panel portraying Hindu
deity is carved in strict adherence to iconographical tenets for immediate recognition. It
is not only the deities and human form, which have provided the subjects of artistic
expression but also the birds, animals, flowers and foliate as well have found the fullest
expression in the variety of form. These carvings reflect the socio-religious aspect of
which the society. The figures are set in the arched enclosure of the local variety.
Woodcarvings of Bharmour kothi, which was ruined in the earthquake in 1905 and some
specimens of which are now preserved in the Museum clearly show the influence of Mughal
art, especially in the use of cusped arch in which the figures are enclosed. The figures
are adorned with the Mughal dress. The doorjambs and lintels are decorated with the floral
and foliated designs of Mughal style, which is commonly used for the decoration of
architectural members during the Mughal period. The figures of deities are carved strictly
on the pattern of miniature arts. Some other panels show royal personage wearing Mughal
dress and resting against the bolster under a cusped arch this being the peculiar style of
Mughal art. Chamba came under the Muslim influence during the period of Prithvi Singh
(1642-1664). The folk style, which was gaining popularity, started disintegrating with the
extension of Mughal political power. The Mughal style, which entered in the region proved
much, superior to the folk styles. Craftsmen from the Mughal courts migrated to this hilly
region and enjoyed the patronage of local rulers. The royal palaces, houses and temples
built during that periods possess the wooden work executed in Mughal style. Besides the
decoration of architectural members and making of images, Exquisite work seems to have
been done in items of day to day use like utensils, objects of ritual worship, household
objects and furniture etc. which in fact reflects the true folk tradition of the region.
The utensils were hewn out of cylindrical wooden logs and were given a proper finishing
and shape. Generally, these vessels were used for the storage of grains, churning the curd
and kneading the floor, etc storage of butter, milk and also used for making the local
wine etc.
One of the most
important and significant section of the museum is its epigraphic collection.
Inscriptions, engraved on the metal and stones, provide information on several aspects,
covering a period of about one thousand years. Most of these inscriptions are on
copperplates, representing the information regarding the grant of land and treaties. These
inscriptions are inscribed in Sharda and Takri scripts. In addition to these, some
important Takri and Persian paper documents from the archives of the Chamba rulers
throw considerable light on the relation between the Chamba and the suzerain, the Mughals
and Durranis.
Coins are important
source of history and contemporary upon the political, economic and social aspects of the
era. The earliest coins, i.e., the punch-marked, Kuninda, Indo-Greek, Gupta, Mughal
and local rulers, etc; are also on display in the museum. The old photographs of the
Chamba town give a glimpse to the grandeur of the state during its heydays.
