Our Campsite & trekking groups

Hotel Pictures

Few of our actual Hotel Pictures

www.dalhousieadventure.com

Chamba - Divine Painting

Pahari Chamba

The art of miniature painting was introduced in Chamba, it is believed that the beginnings in this art were made in the early seventeenth century. There were probably no regular ateliers at that time at Chamba but the presence of some itinerant artist can safely be assumed, from the evidence of portraits of the princes of that period. It seems that some artists working at Nurpur had migrated to Chamba in the first half of the seventeenth century. At first a naturalistic style of painting having affinities with Mughal painting of the Jehangir period may have been introduced at Nurpur and not long afterwards at Chamba. Thereafter the migration of painters from the centres of the Mughal painting who were not first rate artists of Imperial atelier and the presence in the Hills of the pre-Mughal style of manuscript illustration, resulted in the evolution of a style which is peculiar to the Hills. Gradually the naturalistic style gave way to stylization while more vivid colour tonalities were preferred.

In the beginning of the eighteenth century the facial type becomes slightly heavier but soon thereafter a longish facial type was evolved which remained popular for some decades. Mid-eighteenth century paintings from Chamba have a distinctive style of their own as can be seen in both dated and signed works. Trees crowned with triangular foliage and irregular trunks rows, are a common features of the paintings of this period. The backgrounds are generally plain. There is no attempt at perspective. Architectural features though not very intricate have resemblances to contemporary Mughal architecture. The drawing is competent though human figures are stylized.

Durga slays asura

Chamba, an important centre of Pahari painting, is situated in the Ravi Valley in the heart of the Himalaya mountains. To its north-west lies the State of Jammu-Kashmir. Chamba was till recently the capital of a small principality. Being protected naturally, and too small to attract an invasion, its archaeological wealth is well preserved. As a result of the explorations carried out by J. Ph. Vogel in the opening years of this century, a museum was established at Chamba in 1908. Raja Bhuri Singh, of Chamba after whom this museum is named, presented a large number of Pahari miniature paintings from the palace collection to the museum. The gift included an extensive set of paintings on the Ramayana.

The historicity of the Ramayana epic has received the attention of several scholars. Monier Williams and Arthur Berridale Keith were of the view that the original portion was written around 400 B.C. Valmiki Ramayana is a great classic and in content more than an epic. Rama the hero of the story, as depicted by Valmiki is a human being possessing unique valour and endowed with divine powers.

All ancient Indian scriptures hold a man’s character above all else. In fact, ‘the central idea of old Hindu civilization… was that of dharma which was something much more than religion or creed; it was a conception of obligations, of the discharge of one’s duties to oneself and to others’. The epic is encyclopedic in its content and it has been said that there is no situation or circumstance, one face in life, which does not occur in this story and thus it guides its hearers to righteous action on all occasions and for all obligations and duties in different situations and circumstances. Countless versions of the Ramayana exist in local dialects and folk songs peculiar to small areas and communities. Chamba is no exception and it, too, has a beautiful loka Ramayana in a long poem, known as anchali of Rama, which is sung for the whole night on auspicious occasions. It is simple and is usually sung in chorus. Noteing a literary work of a single poet, it is hardly possible to ascertain the antiquity of this folk poem.

Siege of Lanka

Although for want of adequate material it is difficult to say exactly when the art of miniature painting was introduced in Chamba, it is believed that the beginnings in this art were made in the early seventeenth century. There were probably no regular ateliers at that time at Chamba but the presence of some itinerant artist can safely be assumed, from the evidence of portraits of the princes of that period. It seems that some artists working at Nurpur had migrated to Chamba in the first half of the seventeenth century. At first a naturalistic style of painting having affinities with Mughal painting of the Jehangir period may have been introduced at Nurpur and not long afterwards at Chamba. Thereafter the migration of painters from the centres of the Mughal painting who were not first rate artists of Imperial atelier and the presence in the Hills of the pre-Mughal style of manuscript illustration, resulted in the evolution of a style which is peculiar to the Hills. Gradually the naturalistic style gave way to stylization while more vivid colour tonalities were preferred.

In the beginning of the eighteenth century the facial type becomes slightly heavier but soon thereafter a longish facial type was evolved which remained popular for some decades. Mid-eighteenth century paintings from Chamba have a distinctive style of their own as can be seen in both dated and signed works. Trees crowned with triangular foliage and irregular trunks rows, are a common features of the paintings of this period. The backgrounds are generally plain. There is no attempt at perspective. Architectural features though not very intricate have resemblances to contemporary Mughal architecture. The drawing is competent though human figures are stylized.

Thereafter for a decade or so, two broad styles seem to have been in vogue at Chamba, one having its roots in the local style yet disclosing some influence from other centres and the other considered to be an off-shoot of the Guler style till its development into the Kangra style.

Phill Gill - Travel, Dalhousie, Hotel Monal

Please check

http://www.facebook.com/photo.php?pid=988304&id=718095519&l=75224

http://www.facebook.com/photo.php?pid=988308&id=718095519&l=75224

http://www.facebook.com/photo.php?pid=988310&id=718095519&l=75224

Travellers Diary

And so to Dalhousie - about a week later than I had planned but surely once you get there thats all that really counts. A quite enthusiastic reception committee welcomed me off the bus - it probably ranks just behind the reception I received in Jaisalmer for sheer frenzied shuffling of feet. About 8 lads with brochures open showing off their rooms at rock bottom prices. It does come as a bit of a shock especially after a fairly substantial bus journey but once you regain your composure it really has to be looked at as a very positiive situation. You have virtually the choice of the accomodation and have a very strong bargaining position. I had a look at what was on offer and went with Hotel Monal. The walk there was tough though, through a pine forest uphill most of the way. While I am not in the worst of shape the backpack on my back certainly made the going harder than normal. Dalhousie being a hill station set up for the british administrators in nearby lahore is a very quiet town perched ontop of 4 hills each over 2000 metres. Altitude!!! Lungs were in bits by the time we rolled up to the hotel…

The price quoted for the room was 400 rupees. The room was worth 10 times that amount, god bless the off season. The balcony alone had the most wonderful view. Perfect for reading a book while warming ones hands with the odd pot of chai. Tired after the journey and the trek up there I ordered some room service and had an early night.

The next day I got up at a reasonable hour and went out to explore. Dalhousie is really nice, really quiet and serene. Two words you would never associate with india. After a lunch with some local folk I explored the region, for 6 hours I walked around the place. On one side of the town you can see the vast expanse of the himalayas while on the other you can see the foothills level off till they eventually hit pakistan and kashmir. As hillstations go you really have to hand it to the brittish planners for picking this place. At one point along the way I was beckoned over to a family having a picnic on their weekend break. They were from the state of punjab and pretty well off it seemed. One of the spent alot of his time globetrotting managing a few restaurants they have set up here there and everywhere. They have one in san francisco, I told them my old man was from there. They liked that fact so paddy joe be sure to drop the name the next time your back in your old stomping ground - might be worth a free naan with your tikka masalla!! They were very nice people, very welcoming and even let me tuck into some of the food which they had ordered.

I did have plans to visit the local wildlife park the following day but a weather front came in from somewhere and covered the place in one massive blanket of cloud. It was impossible to see more than 50 yards. Bit of a bummer, spent the day planning out the rest of my trip. I have a little over two months left in india and I have to decide whether I can dedicate some time to nepal in that time. In order to fit that in I will need to speed things up a little bit. I will give the mountains of Himachel Pradesh another 2 weeks or so then it really is time to move up the gears, grab that ellusive passport and get a little further east. My next destination is Mandi at the mouth of the Kullu valley. 12 hours on a public bus, 6 o’clock start. Can’t wait!!!

Koladhi - 13 K.M from Dalhousie