Chamba State in the context of "Chamba, Himachal Pradesh"

Play Trivia Questions online!

or

Skip to study material about Chamba State in the context of "Chamba, Himachal Pradesh"

Ad spacer

>>>PUT SHARE BUTTONS HERE<<<

👉 Chamba State in the context of Chamba, Himachal Pradesh

Chamba is a town in the Chamba district in the Indian state of Himachal Pradesh. According to the 2001 Indian census, Chamba has a population of 20,312 people. Located at an altitude of 1,006 metres (3,301 ft) above mean sea level, the town is situated on the banks of the Ravi River (a major tributary of the Trans-Himalayan Indus River), at its confluence with the Sal River.

Though historical records date the history of the Chamba region to the Kolian tribes in the 2nd century BC, the area was formally ruled by the Maru dynasty, starting with the Raju Maru from around 500 AD, ruling from the ancient capital of Bharmour, which is located 65 kilometres (40 mi) from the town of Chamba. In 920, Raja Sahil Varman (or Raja Sahil Verman) shifted the capital of the kingdom to Chamba, following the specific request of his daughter Champavati (Chamba was named after her). From the time of Raju Maru, 67 Rajas of this dynasty ruled over Chamba until it finally merged with the Indian Union in April 1948, although Chamba was under British suzerainty from 1846 to this time.

↓ Explore More Topics
In this Dossier

Chamba State in the context of Pahari painting

Pahari painting (lit. 'a painting from the mountainous regions, pahar meaning a mountain in Hindi') is an umbrella term used for a form of Indian painting, done mostly in miniature forms, originating from the lower Himalayan hill kingdoms of North India, during the early 17th to mid 19th century, notably Basohli, Mankot, Nurpur, Chamba, Kangra, Guler, Mandi and Garhwal. Nainsukh was a famous master of the mid-18th century, followed by his family workshop for another two generations. The central theme of Pahari painting is depiction of eternal love of the Hindu deities Radha and Krishna. A distinct lyricism, spontaneous rhythm, softness, minute intricate details of composition, and intense perception and portrayal of human emotions and physical features distinguish the Pahari miniatures from the other miniature schools like Deccan, Mughal and Rajasthani-Rajput.

↑ Return to Menu