Contents

INTRODUCTION.....................................................................................................................................3
Himachal Pradesh..............................................................................................................................4
Chamba.............................................................................................................................................5
Festivals and stories of Chamba........................................................................................................6
Minjar mela...................................................................................................................................6
Sui matha mela..............................................................................................................................6
Chamba Temple.............................................................................................................................7
HISTORY OF CHAMBA........................................................................................................................7
TIME LINE......................................................................................................................................7
Ancient Period:..............................................................................................................................8
Early Dynasties:..............................................................................................................................8
Rulers of Chamba:.........................................................................................................................8
Mughal and Sikh Invasions:...........................................................................................................8
British Influence:............................................................................................................................9
Integration with India:...................................................................................................................9
Modern Era:...................................................................................................................................9
RAW MATERIALS.................................................................................................................................10
BEE WAX......................................................................................................................................10
BRASS...........................................................................................................................................10
CLAY.............................................................................................................................................11
COAL............................................................................................................................................11
TOOLS..................................................................................................................................................12
PROCESS..............................................................................................................................................13
MODEL MAKING..........................................................................................................................13
WAX MELTING:............................................................................................................................13
Sculpting......................................................................................................................................14
Mould making..................................................................................................................................15
First Layer Coating.......................................................................................................................15
Subsequent Layers.......................................................................................................................15
Reinforcement.............................................................................................................................16
Path Preparation..........................................................................................................................16
Drying and Hardening..................................................................................................................16
Burnout phase.............................................................................................................................16
Preparing the Furnace.................................................................................................................16
 Melting and Vaporizing the Wax.................................................................................................16
Venting........................................................................................................................................16
Controlled Heating.......................................................................................................................16
Metal melting..................................................................................................................................16
Collecting Scrap Metal:................................................................................................................16
Preparing the Crucible.................................................................................................................16
Heating the Crucible....................................................................................................................16
Fluxing.........................................................................................................................................17
Melting the Metal........................................................................................................................17
Breaking Larger Pieces.................................................................................................................17
Monitoring the Melting:..............................................................................................................17
Pouring the Molten Metal...........................................................................................................17
Casting:............................................................................................................................................17
Preheating the Mould:.................................................................................................................17
Preparing the Crucible.................................................................................................................17
Pouring the Molten Metal...........................................................................................................17
Filling the Mould..........................................................................................................................17
Overflow Casting..........................................................................................................................17
Cooling and Solidification................................................................................................................17
Natural Cooling............................................................................................................................18
Water Quenching........................................................................................................................18
INTRODUCTION
  Metal work has a long history in India with evidence of skilled metal craftsmen dating back to
ancient times. Techniques such as bronze and copper casting have been practiced for centuries.
Example The "Dancing Girl" is an iconic archaeological artifact from the ancient Indus Valley
Civilization. It is a small bronze statue of a young girl in a dancing pose, dating back to around
2500 BCE. The statue was discovered in 1926 during excavations at the ancient site of Mohenjo-
daro, which is located in present-day Pakistan.
    

The Dancing Girl is made using the lost-wax casting technique, which is a method of metal
casting that has been used by various ancient cultures around the world. The technique involves
creating a wax model of the desired object, covering it with clay or other materials to create a
mold, and then melting the wax to leave a cavity. Molten metal, such as bronze, is poured into the
cavity to create the final metal object.
The Dancing Girl is a remarkable example of the metallurgical skills and artistic sensibility of the
people of the Indus Valley Civilization. The statue stands at about 10.5 centimeters (4.1 inches)
tall and is made of nearly pure copper with traces of other elements like tin and lead. It showcases
intricate details, capturing the girl's pose, jewelry, and hairstyle with remarkable precision.

So we where curious about understanding which are the lost wax metal casting craft sectors of
India and got to know the prominent lost wax metal casting craft sectors in India include 
Dhokra Craft practiced in the tribal belt of Jharkhand, WestBengal , Orissa , AndhraPradesh ,
Chhattisgarh , Madhya Pradesh .Bell metal craft practiced in kerala and Manipur . Moradabad
Brassware in UttarPradesh is famous for its brassware industry . Chamba in Himachal Pradesh .

Chamba metal casting holds its unique speciality compared to other metal crafts in India, making
it stand out in the country's rich artistic landscape . Some of the distinctive features that set
Chamba metal casting apart are the iconic artform , intricate detailing , spiritual and ritual
significance , artistic style ,  its evolution over time , and the fact that there are only few takers for
this art today and it may fade away soon if steps are not taken to promote it .

Himachal Pradesh

Himachal Pradesh is a state located in the northern part of India. It is known for its breathtaking
landscapes, serene valleys, snow-capped mountains, and diverse cultural heritage. The state is
often referred to as "Devbhumi" or the "Land of Gods" due to the presence of numerous temples
and sacred sites.
Himachal Pradesh is situated in the western Himalayas, bordered by Jammu and Kashmir to the
north, Punjab to the southwest, Haryana to the south, Uttarakhand to the southeast, and Tibet
(China) to the east. The state's geographical diversity ranges from the lush green valleys of
Kangra and Kullu to the arid landscapes of Lahaul and Spiti.

It  is a popular tourist destination, attracting visitors from all over India and abroad. Tourists
come here to explore its hill stations like Shimla, Manali, Dalhousie,(in chamba district )and
Dharamshala, which offer pleasant weather and picturesque views. Adventure enthusiasts also
flock to the state for activities like trekking, paragliding, skiing, and river rafting.

It  has a rich cultural heritage with diverse customs, traditions, and languages. The people of the
state celebrate various colorful festivals, including Dussehra, Diwali, and Lohri, with much
enthusiasm.

 Agriculture is the mainstay of the state's economy, and Himachal Pradesh is known for
producing apples, apricots, plums, and other fruits. It is also a significant producer of vegetables,
including peas, potatoes, and cabbage.
Chamba plays a crucial role in the history and cultural fabric of Himachal Pradesh. It is one of the
oldest princely states of the region, known for its ancient temples, historical palaces, and unique
craft traditions. Chamba was once the capital of the Chamba Kingdom, which ruled over the
region for centuries. The town's rich history and architectural heritage attract tourists and
researchers interested in exploring the past.

Chamba

Chamba is a district and town located in the state of Himachal Pradesh in northern India. It is
situated in the western part of Himachal Pradesh and shares its borders with the state of Jammu
and Kashmir. Chamba town is the district headquarters and serves as the administrative center of
the Chamba district.

Chamba is known for its stunning natural beauty, picturesque landscapes, and rich cultural
heritage. The town is situated on the banks of the Ravi River and is surrounded by the majestic
Dhauladhar mountain range. It is a popular tourist destination, attracting visitors with its ancient
temples, historical sites, and traditional arts and crafts.

The region is famous for its traditional crafts, including Chamba rumal (embroidery), Chamba
chappal (handcrafted footwear), and Chamba metal casting, which involves the lost-wax casting
technique. The Chamba Valley has a unique cultural identity and is known for its festivals, local
fairs, and vibrant celebrations.

Chamba is well-connected by road to major cities in Himachal Pradesh and nearby states, making
it accessible for travelers and tourists. The town's serene and scenic surroundings make it a
popular destination for nature lovers, adventure enthusiasts, and those seeking a glimpse of
Himachal's rich cultural heritage.
Festivals and stories of Chamba

Minjar mela

 It is a harvest festival that lasts for 7 days and is celebrated as a  commemoration of the victory of the
Raja Sahil Varman over the ruler of Trigartha, present Kangra, in 935 AD. This fair is hosted at
Chaugan. On the last day of the fair, a procession starting from the palace to Chaugan, in which
people from all over Himachal Pradesh participate through their traditional dances and songs in the
procession. 

Sui matha mela

 This event is held in April to commemorate the sacrifice of their queen in order to bring water to the
village. It is a three day fair, primarily celebrated by women.Palanquin of Rani Sunayana, popularly
called Sui Mata, is brought from the princely palace to the temple for the fair. This event also
happened in the reign of Raja Sahil Varman. 
Chamba Temple

 The Champavati temple is a pilgrim destination and it holds great religious and historical
significance. The temple is named after Champavati, daughter of King Sahil Varman. It is believed
that the king constructed this temple in the memory of his daughter

HISTORY OF CHAMBA

TIME LINE
 

Chamba Valley, situated in the north-western part of Himachal Pradesh, India, is a region with a rich
history and cultural heritage. The valley is named after the ancient town of Chamba, which has been a
significant centre of power, trade, and culture for centuries. Let's delve into the detailed history of
Chamba Valley:

Ancient Period:
The history of Chamba Valley can be traced back to ancient times when the region was inhabited by
various indigenous tribes. The valley was strategically located along the ancient trade routes that
connected the Indian subcontinent with Central Asia. It is believed that the region was part of the
Gandharva Kingdom, mentioned in ancient Hindu texts like the Mahabharata.

Early Dynasties:
Around the 6th century AD, Chamba Valley came under the influence of the Guge Kingdom, which
was centered in present-day Tibet. The Guge rulers introduced Buddhism to the region, leaving a
lasting impact on Chamba's culture and architecture. In the 7th century, the valley fell under the
control of the Kashmiri rulers, and during this period, many temples and monasteries were
constructed in the region.

Rulers of Chamba:
In the 10th century, the Maru dynasty established its rule in Chamba, with Sahil Varman being the
first prominent ruler. The Maru dynasty ruled the region for several centuries, and their reign
witnessed significant cultural and architectural development. Many temples and palaces were built
during this period, showcasing a blend of Hindu and Buddhist architectural styles.

Mughal and Sikh Invasions:

British Influence:
In the early 19th century, the British East India Company's influence spread across northern India,
including Chamba Valley. The region came under British suzerainty but was allowed to retain its
princely state status. The British influence led to the construction of infrastructure such as roads and
administrative reforms in the valley.

Integration with India: 

After India gained independence from British rule in 1947, the princely states were given the option to
accede to either India or Pakistan. Chamba Valley's ruler, Raja Bhuri Singh, chose to accede to India
in 1948, and Chamba became a part of the state of Himachal Pradesh in 1948.

Modern Era:
Since its integration into Himachal Pradesh, Chamba Valley has witnessed significant development in
various sectors, including education, infrastructure, and tourism. The valley's natural beauty, historical
temples, and traditional culture.
RAW MATERIALS
BEE WAX: (sittha)  

 
Earlier artisans used to collect the bee wax from the forest themselves.  

BRASS: 
 
Throughout India's history, brass has held a significant cultural and practical role. From ancient
artifacts, temple architecture, and traditional utensils to musical instruments, royal insignia, and coins,
brass has been a cherished metal.
Brass, an alloy primarily made up of copper and zinc, exhibits an alluring warm, golden color. The
specific shade of brass can vary, ranging from a reddish-brown to a more yellow hue, which depends
on the amount of zinc present in the mix. Typically, brass comprises around 60-70% copper and 30-
40% zinc, though the exact composition can differ based on the intended use. For instance, when
crafting deities for temples, a purer brass with an increased zinc content is often preferred.
  Already cut circular brass sheets are bought from the market for making Chamba Thaali. Shown
below are the dimensions and thickness of the brass sheets available in market
Thickness Width Length
1.2mm 1250mm 2500mm/3050mm
1.5mm 1250mm 2500mm/3050mm
2mm 1250mm 2500mm/3050mm
3mm 1250mm 2500mm
4mm 1250mm 2500mm
Larger sheets of brass are bought and cut into desired dimensions for making donation box (daanpeti).
The remaining are melted and used for metal casting. 
.     
Brass for metal wax casting is usually bought from a nearby metal ware store which is around 500m
from the workshop where we get scrap metal for 450 rupees per kilogram of brass.  (the shop from
which we got brass for metal casting)

CLAY:

The clay is used to encase the wax model to create the mold. The clay is carefully applied around the
wax pattern, preserving all the fine details and contours of the original piece.
To prepare the clay for casting, clay collected from the hills is combined with sand from the Ravi
river and brick powder. Cow dung and shredded jute are also added to the mixture. The amount of
sand added depends on the fineness of the clay. The jute, when wetted and mixed with clay, acts as a
fiber that prevents the mold from cracking during the drying and heating stages. Brick powder is
included in the mixture as it is already baked and helps prevent cracking as well. The combination of
cow dung and potters clay facilitates easy extraction of the clay from the hollow molds.
The casting process involves adding a minimum of three layers of clay to the wax model. Each layer
is added only after the previous one has dried. For the first layer, less jute is used to ensure that no
fine details are lost in the molding process. This layering technique ensures a strong and detailed mold
for the lost wax metal casting process. The same clay is used while making the furnace.
  
COAL: 
Coal serves multiple purposes, such as being utilized as a fuel for melting bee wax and metals, as well
as providing heat for mundane metal heating. In the market, the current rate of coal is approximately 7
rupees per kilogram. To achieve the melting point, it is recommended to use twice the amount of coal
compared to the size of the crucible. 
TOOLS
PROCESS
Lost wax metal casting of Chamba ,this technique is used to craft metal idols of deities and various
other figurines. The process involves several steps, as mentioned in my previous response, including
creating a wax model, coating it with clay, melting the wax to create a cavity, pouring molten metal,
and finally, finishing the cast piece.

The lost wax metal casting technique is revered for its ability to capture fine details and nuances in
metal artworks, resulting in beautiful and unique pieces with a rustic and antique appearance. It has
been an essential part of the artistic and cultural heritage of Chamba, showcasing the skills and
craftsmanship of local artisans for generations.

These metal idols and artifacts crafted through the lost wax technique often hold significant cultural
and religious importance and are used in various religious ceremonies, festivals, and as home decor
items. The process preserves the traditional artistry of the region and adds to the charm and beauty of
these handcrafted metal objects.

MODEL MAKING:

The process of model creation in the lost wax metal casting of Chamba involves several steps, as
described below:

WAX MELTING:
 The first step is to melt the wax to a workable state. The wax used for sculpting is usually obtained
from previous molds and may be black in color due to reuse. Initially, the raw wax obtained from a
beekeeper is yellowish in color. The wax is melted either by exposing it to sunlight or placing it near a
furnace used for other processes. Care is taken not to overheat the wax, and if it gets too soft, it is
allowed to cool down to a workable state. The melted wax is kept in a steel bowl for use.

Sculpting:

Once the wax is in a workable state, the artist begins sculpting the model. They use their hands or
specific tools to shape the wax into the desired form. If the sculpture is large, it may be divided into
smaller parts, and each part is sculpted separately. The artist's skill and speed are crucial in this step,
as the wax can harden quickly, and continuous heating may be required to keep it workable.
Assembly: If the sculpture consists of multiple parts, they are made separately and then joined
together using a heating tool. After assembly, intricate details are added using specialized tools.

 Creating a Pouring Path: An additional part is added either at the bottom or top of the sculpture to
create a channel for pouring the molten metal during the casting process. 

 Uniform Heating: The completed wax model is heated with a heat gun to achieve uniformity and to
remove any  imperfections. However, this heating process is done carefully, as excessive heating can
lead to the loss of fine details.The wax model created through this process serves as the master pattern
for the lost wax casting.

Mould making

First Layer Coating: Once the wax model is completed, it is coated with a mixture of clay, sand,
brick powder, cow dung, and a small amount of jute. This first layer of coating is essential for
capturing the fine details of the wax model. The jute helps in adding texture and providing a good
surface for the subsequent layers. After applying the first layer, the mould is left to dry for a day.

 Subsequent Layers: After the first layer dries, additional layers of the clay mixture are applied one
by one. Each layer adds strength and thickness to the mould. The number of layers is determined
based on the size of the model and the desired thickness of the final ceramic shell. At a minimum,
three layers are applied, but larger models may require more layers for added strength.
 Reinforcement: After the third layer is applied, the mould is reinforced with metal wires. These
wires provide additional support to the ceramic shell, preventing it from cracking or breaking during
the casting process.

 Path Preparation: The base of the path, which was created during the wax model stage to allow the
molten metal to flow in, is kept open without applying the clay mixture. This ensures that there is a
clear path for pouring the molten metal into the mould.

 Drying and Hardening: Once all the layers are applied and the reinforcement is done, the entire
mould is left to dry and harden. During this drying process, the clay mixture forms a sturdy ceramic
shell around the wax model.

The mould-making process requires skill and precision to ensure that the ceramic shell can withstand
the high temperatures of the molten metal and maintain the intricate details of the original wax model.
It is an essential step in creating the beautiful and unique metal artworks .

Burnout phase :

In the burnout phase, the mould assembly is placed in a furnace, and the heat causes the wax inside
the ceramic shell to melt and vaporize, leaving behind an empty cavity that will be filled with molten
metal. Which involves

 Preparing the Furnace: The mould assembly, which consists of the ceramic shell encasing the wax
model and reinforced with metal wires, is carefully placed inside the furnace. The furnace is heated to
a specific temperature to ensure the complete removal of the wax.

Melting and Vaporizing the Wax: As the furnace temperature rises, the wax inside the ceramic shell
begins to melt and vaporize. The wax flows out through the gating system (the path created earlier for
pouring the metal), leaving behind a hollow cavity inside the ceramic shell with the exact shape of the
original wax model.

Venting: During the burnout, it is crucial to provide proper venting to allow the melted wax and any
remaining gases to escape from the mould. This prevents any pressure buildup inside the ceramic
shell and ensures a clean and accurate casting.

 Controlled Heating: The burnout process requires precise control of the furnace temperature to
avoid damaging the ceramic shell or causing any deformities in the final metal casting. The heating
cycle is carefully monitored to ensure that all the wax is completely removed from the mould.

Metal melting 

 Collecting Scrap Metal: The process begins with collecting scrap brass, which will be used for
melting. Brass is an alloy made from copper and zinc, and it is commonly used in traditional metal
casting due to its malleability and attractive appearance.

Preparing the Crucible: The crucible, which is a container made of heat-resistant material like clay
graphite or silicon carbide, is prepared for the metal melting process. The scrap brass pieces are
placed inside the crucible.

 Heating the Crucible: The crucible, with the scrap brass inside, is placed inside the furnace. The
furnace is then heated to a temperature high enough to melt the brass. The specific temperature and
heating time depend on the type of brass used and the quantity being melted.
 Fluxing: Borax, which acts as a flux, is added to the scrap brass inside the crucible. Flux helps to
remove any impurities or oxides that may be present in the metal. It ensures a cleaner and smoother
melt.

Melting the Metal: As the temperature in the furnace rises, the scrap brass inside the crucible starts to
melt. The metal pieces fuse together and form a molten liquid.

 Breaking Larger Pieces: If there are any larger scrap brass pieces that are difficult to melt, they may
be heated to a certain temperature and then broken into smaller pieces using a hammer. Smaller pieces
melt more easily and uniformly.

Monitoring the Melting: During the melting process, the furnace temperature and the condition of
the metal are closely monitored. Experienced metalworkers can determine the readiness of the molten
metal by observing the flame and sometimes by visually inspecting the molten metal in the crucible.

Pouring the Molten Metal: Once the scrap brass has melted completely and is in a molten state, the
crucible is taken out from the furnace. The molten metal is then carefully poured into the prepared
ceramic shell through the gating system.

Casting:

 Preheating the Mould: Before pouring the molten metal, the ceramic mould is heated in the furnace
to a certain temperature. Preheating the mould helps prevent thermal shock and cracking when the hot
molten metal comes into contact with the relatively cooler ceramic shell. The preheating process
ensures a smooth and successful casting.

Preparing the Crucible: While the mould is preheating, the molten metal is prepared in a crucible,
which is a container designed to withstand high temperatures. The scrap brass pieces are melted in the
crucible until they reach a molten state.

 Pouring the Molten Metal: Once the ceramic mould is preheated, it is taken out of the furnace and
placed over a container filled with sand. The sand helps to maintain the temperature and provides a
stable base for the mould during pouring. The molten metal is then carefully poured into the mould
through the gating system (the path created earlier in the wax model).

 Filling the Mould: The molten metal flows through the gating system and fills the hollow cavity left
by the melted wax. It takes the shape of the original wax model and captures all the intricate details.

Overflow Casting: If there is any excess molten metal after filling the primary mould, it is poured
into a separate mould, which typically takes the form of a bar or ingot. This excess metal can be
reused for other purposes, such as drawing wires or creating smaller metal components.

Cooling and Solidification

Cooling in the Ceramic Shell: After the molten metal is poured into the ceramic shell, the metal
begins to cool rapidly as it comes into contact with the cooler ceramic material. The ceramic shell acts
as an insulator, slowing down the cooling process and allowing the metal to gradually solidify.
 Natural Cooling: The metal artwork cools naturally within the ceramic shell without any additional
intervention. The cooling time depends on the size and thickness of the metal casting, as well as the
specific type of metal used.

 Water Quenching: In some instances, after the metal has cooled for a sufficient amount of time and
solidified within the ceramic shell, artisans may choose to speed up the cooling process by quenching
the metal. This is done by pouring water over the metal artwork or submerging it in water.

Water quenching helps to rapidly reduce the temperature of the metal, which can have certain effects
on its properties. For example, quenching may increase the hardness and strength of the metal, but it
may also lead to internal stresses and potential cracking. Therefore, quenching is usually reserved for
specific purposes and specific types of metals where these changes are desirable.

Breaking the Ceramic Shell:

 Once the metal has cooled and solidified, the ceramic shell becomes hard and rigid. To remove the
ceramic shell and access the metal artwork, the artisans carefully break the ceramic shell. They use
hammers or other suitable tools to gently tap and crack the ceramic shell without damaging the metal
inside.

 Cleaning the Metal Artwork: After breaking the ceramic shell, the metal artwork is exposed. The
artisans clean the metal surface, removing any remaining bits of ceramic or other impurities that may
have adhered to the metal during the casting process.

Finishing process:

Removing the Extra Part: As you mentioned, the extra part that was added to create a path for pouring
the molten metal is cut down. This part is no longer needed after the metal has solidified inside the
ceramic shell, so it is carefully removed from the metal artwork.

Grinding: The first step in the finishing process involves grinding the metal artwork. Grinding is done
to smooth out any rough surfaces, remove excess material, and shape the artwork to the desired form.
Special grinding tools and abrasives are used for this purpose.

Polishing: After grinding, the metal artwork undergoes a polishing process. Polishing enhances the
surface finish, making it smooth, shiny, and visually appealing. Various polishing techniques and
materials, such as polishing compounds and buffing wheels, are used to achieve the desired level of
shine and smoothness.

 Sanding: Sanding is another crucial step in the finishing process. Fine sandpaper or sanding tools are
used to refine the surface of the metal artwork further. Sanding helps to remove any remaining
imperfections and creates a uniform and consistent finish.

 Filing: Filing is employed to refine the edges and details of the metal artwork. Hand files or other
filing tools are used to smooth and shape specific areas of the artwork, ensuring clean lines and sharp
edges.

Necessary Repairs: During the finishing process, artisans carefully inspect the metal artwork for any
imperfections or defects that may have arisen during the casting or cooling stages. Any necessary
repairs, adjustments, or corrections are made to ensure the final artwork meets the desired quality
standards.
 Surface Treatments: Depending on the desired appearance and design, artisans may apply surface
treatments, such as uaseage of silver or coatings, to achieve specific colors or textures on the metal.
These surface treatments can add visual interest and uniqueness to the artwork.

 Quality Check: Throughout the finishing process, the metal artwork undergoes rigorous quality
checks to ensure it meets the desired standards. Artisans pay close attention to detail, ensuring that the
artwork is of high quality and adheres to the original design.

Process of Chamba thaal

Metal brass sheet is taken 

Cutting of the sheet : The sheet which we get in market is cut into circular shape but in this will create
lots wastage which go into scrap so now days they buy already cut circular sheets from the market 

The range of circular sheet they use are from