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THE OF EIGHTEENTH CENTURY -JAIPUR

THESIS

SUBMITTED FOR THE AWARD OF THE DEGREE OF

Doctor of Philosophy In HISTORY

SUBMITTED BY SWANTI KULSHRESTHA

UNDER THE SUPERVISION OF DR. SUMBUL HALIM KHAN (Associate Professor)

DEPARTMENT OF HISTORY ALIGARH MUSLIM UNIVERSITY ALIGARH- 202002 () 2019

Dr. Sumbul Halim Khan DEPARTMENT OF HISTORY Ph.D. ALIGARH MUSLIM UNIVERSITY Associate Professor ALIGARH – 202002, INDIA

Dated: September 13, 2019,

Certificate

This is to certify that this thesis entitled “The Costumes of Eighteenth Century Amber-Jaipur” has been carried out by Swanti Kulshrestha completed under my supervision. The thesis is suitable for submission for the award of the degree of Doctor of Philosophy in History.

Dr. Sumbul Halim Khan (Supervisior)

i Acknowledgement

I bow in reverence to almighty God who bestowed me with understanding and learning and who brought me out of ignorance and illiteracy. The humblest and deepest gratitude to the greatest educator of mankind. Without his bounty, grace and mercy this work would have never been accomplished.

Words fall short to express my heartfelt gratitude and I bow my head to Sir Syed Ahmad Khan and to his great of , where I have not only finished this task but prepared myself to face challenges of life.

I wish to record my thankfulness and gratitude to a number of persons who helped me in the course of preparation of this thesis and with the help of their co-operation and positive direction, plentitude to this thesis become possible.

I wish to express my sincere thanks and deep sense of gratitude to my supervisor, Dr. Sumbul Halim Khan, under whose aegis this research work was started and completed. I appreciate her very systematic approach of working. I must mention that it was an opportunity to follow her instructions, guidelines and words that paved the way of my learning. Her research acumen, comments and questions encouraged, support and enlightened me. She has been a patience bearer of my mistakes and always supported my efforts in this work I can never repay the debt of gratitude that I owe to her.

I am deeply thankful to Prof. Syed Ali Nadeem Rezavi the Chairman and Coordinator, Centre of Advanced Study, Department of History for providing research facilities in the department and teaching me the Ph.D courses and general guidance.

I would like to express my thanks to Prof .B.L.Bhadani, and Prof. Yaqub for their kindness, help and useful discussions.

I am thankful to Prof. Mohd. Parvez, who as an examiner provided me significant response during my pre-submission Ph.D thesis presentation.

Words fail to express my sincere gratitude to Dr. Fahim Halim Khan for his concern, moral support and encouragement all through my work .

I would also thank to my senior Dr. Monika Sharma and the youngest Junior Mehwish Musharraf for their valuable guidance, unremitting encouragement, considerate love and assistance in my Ph.D work

ii I must acknowledge the contribution of my colleagues under the same supervision who helped me a lot mentally and academically Farhat Kamal, Rakhi Chaudhary, Farzana Zeeshan, Mohd. Shahnawaz and Masrat Ahmad Mir.

Word fails to express my genuine gratitude to my friends who always remain available in anxiety and the constant source of love and joy Shagufta Parveen, Gulshan Zubair, Anam Rais, Sayeema Nizam, Shaista Saife, Renu Tiwari, Posha Parveen Dar, Shakeel Ahmad, and with Samreen Iram, and Syed Sumbul Arif, I accomplished the collection of research material from archive and museums and lastly Safia Shahzad who encouraged and accompanied me for .

Words and lexicons cannot do full justice in expressing deep sense of gratitude and indebtedness which flow from inner core of my heart for my beloved husband Abhay Rajput for his inspiration and meticulous care with moral support at every stage of this work. This cannot be completed without referring the constant support I nurtured by my Mother-in-law Smt. Savitri Devi and Father-in-law Shri Ramesh Singh Rajput. The hilarious moments with sister-in-law Aparna and niece Unnati Rajput gives me strength.

Finally, this work is a result of continuous support, guidance, patience and blessings of my family. Words cannot re compensate the cooperation and enlightenment which I have received from my Mom Smt. Satyawati Kulshrestha, PaPa Shri Shyam Baboo Kulshrestha and my all four Brothers and sister-in-laws. They have been remaining a constant source of inspiration throughout the work and played a role of backbone for my every adversity. Their moral support and encouragement cannot be expressed in words. My all nephew and niece their humorous activities and childish behavior make me feel pleasant in the pessimistic and low frequency period.

I would like to express sincere gratitude to Library Staff of Rajasthan State Archive, Bikaner, Maharaja Sawai Man Singh II Museum, Albert Museum of Jaipur, Museum Ahmadabad, M.S. University Baroda. All other teachers and non-teaching staff and staff of Seminar Library, Department of History and Maulana Azad Library A.M.U. Aligarh for their promptness in rendering miscellaneous kinds of help

I would conclude by expressing my indebtedness to University Grant Commission and Indian Council for Historical Research for the financial support in the form of contingent grant and fellowship is gratefully acknowledged.

Swanti Kulshrestha

iii

THE COSTUMES OF EIGHTEENTH CENTURY AMBER-JAIPUR

ABSTRACT OF THE THESIS

SUBMITTED FOR THE AWARD OF THE DEGREE OF

Doctor of Philosophy In HISTORY

SUBMITTED BY SWANTI KULSHRESTHA

UNDER THE SUPERVISION OF DR. SUMBUL HALIM KHAN (Associate Professor)

DEPARTMENT OF HISTORY ALIGARH MUSLIM UNIVERSITY ALIGARH- 202002 (INDIA) 2019 Abstract

ABSTRACT

This topic intends to capture the world of colour, shape, and fabric that belong to Jaipur costumes. The aim is to project what purport costumes fulfil, to what gender it belonged and the manner in which it was adorned. An investigation of costumes unleashes the standard of living of a particular echelon of society. It also reflects the panorama of culture. The usage and production of is due mainly to the nature of its economy.

The major classic works on and costumes come to us in the shape of catalogue. The present thesis aims at co-ordinating these illustrative studies with the rich profusion of archival records housed in Rajasthan State Archive, Bikaner. These documents relate to medieval manufactories which produced textile and costumes such as Rangkhana, Chhapakhana, Ratangrah, Vastragrah and Silehkhana. Other records like Arhsatta, Kapad Dwar and Dastur Komwar supplement with supplying details of production, town planning etc . The marvels of museums also abound.

Textile was a thriving of Mughal India. History of textile gradually developed from lucid techniques of , , dying towards more complex processes of embellishment. The later multiplied with the course of time

Textile and costume received desired patronage during Sultanate and Mughal Period. In the context of Jaipur, the foundation of Jaipur city lent a fillip to the demand of luxurious urban products, in general, and textile in particular. The process culminated in vibrant products of not only Jaipur but also Bagru and Sanganer .

The rich profusion of information pertaining to textile and the finished products of costumes has made us explore nature of fabric, their colouring, printing and decoration, designing of costumes as also organisation of the various involved.

We can broadly understand the varieties of textures of the fabrics, their composition, nomenclature of fabrics and costumes, which were used by Rajas ,and elite class of Amber in eighteenth century ,with the help of karkhanazat . We can also compare it with the section of Ain-i-Akbari in order to understand resemblances and variations between the types of fabric used by the Amber Raja and the Mughals.

1 Abstract

The nature of fabric can be classified into cotton, , mixed fabric like and Sattinete, woollen and . Due to the climatic condition of the area the cotton textile was most acceptable and favourable fabric. It was not costly hence easy to afford and easy to use and had wide variety in clothes too. This is also evident by available varieties of cotton fabric mentioned in our karkhanazat documents.

The cotton industry contributed a lot to the enhancement of the economy of . Similarly, it also contributed a lot in the economy of Jaipur state. The fabrics which were widely used in warm climate of Jaipur were cotton like alam, adhotra, , mahmudi, panchtolna, sahan, srisaf and salu were main fabric used in Jaipur household.

Its versatile collection indicates that it was popular too. The various graphics, from related catalogue, clearly facilitates our knowledge about the varieties of texture prevalent in our region. The cotton fabric was mostly beautified at Jaipur or Sanganer. It had wide varieties recorded, but the silk texture was mentioned in much larger quantity. The most popularly used variety was of mixed fabric. Most of the preserved fabrics of silk and mixed are from the area of Gujarat, some varieties are from the region of and Banaras etc.

Colouring was carried with immense expertise from vegetable extracts, and, mineral source. The natural herbs recorded in the Rangkhana document are gulal (red powder), kesar (saffron), kusum (safflower), phitkari (alum), saji (vegetable), haldi (turmeric), pevrhi (mahaleb cherry), naspal (pomegranate), neel (indigo), tel (oil), patrang (yellow wood or sappon wood ), chawal (rice), nimbu (lemon), mahawar (lac resin), kasumal (flower/red), tun (indian mahogany) saresh(glue ). There were minerals and other chemical products which were made use of viz lajward (lapis lazuli), zangar (sulphate), sindur (vermillion), loh (iron), sabun (soap), upchandi (silver), khariyah (whitening chalk).

Embellishment was conducted by beautification of fabrics through printing motifs, weaving of different with cotton thread or metal thread like , chikandozi/chikankari, phoolkari or guldozi, kalabattu, mukesi/kamdani.It was done by the artisans on the textiles for the elite class of Amber/Jaipur. other than embroideries are from , , tilai, nukrai, charkhana, chaukari, uttu, badla etc

2 Abstract

The or more specifically the area of colouring and had reached its zenith in eighteenth century. Sanganer and Bagru region both became effectively skilled centre for dyeing and printing of the textiles and this continues till today. The laharia, mothra, bandhej, pachrangi safa or dyed fabric in fast colours is the speciality of the region of Jaipur.

There are different techniques which were used for the printing of textiles viz dabu printing and ajrakh printing. These printing techniques were conducted by wooden blocks manually. Dabu printing is also called as resist printing, in which the solution of mud was applied with the help of blocks, and then the fabric is immersed in coloured extracts, rest of area is soaked in colour. In ajrakh printing, the technique was same ,but the primary colour used was blue (or indigo).

The different varieties of costumes which we have found in our documents are namely , , angrakha, atamsukh, / kurti, kanchali, , ghaghra, , odhani, neema, kamarbandh, balabandi etc. It also had Mughal impact on the trendy vogues developed by Rajputs. These are classified in upper garments and lower garments. , topi, angrakhi and jama, kurta, kanchali, choli nima () are the costumes repeatedly described in archival document also.

The study of costumes makes us understand the and trends which were followed in medieval India at Jaipur. The museum’s portraits and paintings played a very important role in keeping the various apparels attractively illustrated and make us possible to study and analyse the rich legacy.

Designing of the costume is the procedure to draft or draw plan for the creation of costume. There are significant variation in a specific costume. The source to understand desigining of costumes are paintings and portaits of the Maharaja Sawai Man Singh II museum and Albert Museum. Karkhanazat documents provides us names of different kind of costumes.

The splendid illustrations describe diverse techniques to the costumes, which were prevailing in 18th century in the region of Amber-Jaipur. Most of the designing had immense Mughal impact. The different components of the costumes like collar, sleeves, , , pyjama, band dupatta were variously styled.

3 Abstract

We also noted that most of the royal people used to wear heavily pleated and long sweeping costumes. We can see long gathers in sleeves and pyjamas. We can also discern that royals used to wear over like costumes on heavy costumes also. On the other hand we observe that the commoners used to wear light costumes, short jama with straight and loose pyjama. only appears to be worn by local common people. It does not find its place in royal costumes or formal . We get wide variety of costume designing in the upper garment or coats, and slightly less variety in the lower garment like pyjama ghaghra and dhoti.

Textile artisans are very important unit for the study of textile industry in Mughal India as as Jaipur state. One has to recognize that there were certain professions which were hereditary in nature bearing identity of caste, and they represented a specialised . The skilful artisans were patronised by royals of Jaipur state karkhanas. This made the conditions of artisans much better than those who were working as independent one.

Artisans who possessed technical specialisation in their specific sector like zardoz, chikandoz, chhipas, rangrez, neelgar were provided the opportunity by royal karkhanas to practice their art and produced exquisite items for royal usage. It can be said that the textile industry flourished and experienced boom in 18th century Jaipur and perhaps their most famous identity was dying, printing and embellishment of the cloth.

4 CONTENTS

Certificate i Acknowledgement ii-iii Abbreviation iv Illustrations v-vii

Introduction 1-12

Chapter-1: Nature of Fabrics 13-38 Various types of fabric-(Variations of Fabric) 1.1 Cotton Fabrics 1.2 Silk 1.2.1 Striped and Mothra Design: 1.2.1.1 Mothra 1.2.1.2 Stripes 1.2.1.3 Pot 1.2.1.4 Charkhana 1.3 Brocade 1.4 Mixed Fabric 1.4.1 Mashru 1.4.1.1 Chaukari 1.4.2 Satinette

Chapter 2: Colouring and Embellishment 39-62 2.1 Colouring 2.1.1 Ingredient 2.1.2 Preparation of Colours 2.1.3 Significance of Colours 2.1.4 Bandhani 2.1.4.1 Likhai 2.1.4.2 Bandhai 2.1.4.3 Dyeing 2.1.4.4 Tipai 2.1.5 Pomcha 2.1.6 Laharia 2.1.7 Chunari

2.2 Printing Craft 2.2.1 Bagru and Sanganer Printing 2.2.2 and Techniques 2.2.2.1 Dabu Printing Technique 2.2.2.2 Printing Technique 2.3 2.3.1 Zardozi 2.3.2 Chikandozi/Chikankari 2.3.3 Phoolkari or Guldozi 2.3.4 Kalabattu 2.3.5 Mukesi/Kamdani 2.3.6 Murassakari

viii Chapter 3: Varieties of Costumes 63-89 3.1 Upper Garment 3.2 Lower garments 3.3 Armour 3.4 Accessories

Chapter 4: Designing of Costumes 90-107 4.1 Components of dresses 4.2 Patterned Templates 4.3 Desigining of various costumes

Chapter 5: Involved In Textile Industry 108-130 5.1 Spinners 5.2 Weavers 5.3 Dyers: 5.3.1 Rangrez 5.3.2 Neelgars 5.3.3 Chitera 5.4 Printers 5.5 Embellishers 5.5.1 Zardoz 5.5.2 Chikandoz 5.5.3 Tarkash 5.6 Minakar 5.7 Darzi 5.8 Rafugar 5.9 Artisan Cum Merchant

Conclusion 131-133

Glossary 134-140

Bibliography 141-150

ix ABBREVIATIONS

Ain-i- Akbari : Ain

Farhang Istilahat-i-Peshwaran : Istilahat

Bundle Number : B.N.

Folio Number : F. N.

Rajasthan State Archives Bikaner : R.S.A.B

Vikram Samvat : V.S.

Maharaja Sawai Man Singh II Museum : MSMSII museum

Art and Material Culture of the Paintings of Mughal court : Art and Material Culture

Proceedings of Indian History Congress : P.I.H.C.

Proceedings of Rajasthan History congress : P.R.H.C.

Indian Historical Research : I.H.R

Indian Economic and Social History Review : I.E.S.H.R

Indian Journal of History of science : I.J.H.S

International Journal of Humanities and : I.J.H.R

Economic and Political Weekly : E.P.W

Journal of Asiatic Society of Bombay : J.A.S.B

iv

Illustrations 1. Fig1.1- Depicting various blocks and block printing on fabric, Picture courtesy Town Hall Albert Museum, Jaipur 2. Fig 1.2- percentage of area under cotton production in Jaipur. 3. Fig 1.3 - Rise in %age of area under cotton production in two parganas 4. Fig1.4-Brocade, V.S. 1793 (A.D.1736) Gujarat, No. 311, courtesy Catalogue MSMSII 5. Fig1.5 -Brocade, early 18th century, Gujarat, No. 312, courtesy Catalogue MSMSII 6. Fig1.6- Brocade, V.S. 1851 (A.D. 1764), Banaras no. 416, courtesy Catalogue MSMSII 7. Fig1.7- Brocade, Ca 1800, Banaras, No. 485, fabric designed for Ghaghra, courtesy Catalogue MSMSII 8. Fig1.8-Brocade, Ca 1800, , No. 496, courtesy Catalogue MSMSII 9. Fig1.9- Brocade, 18th century, western India No. 500 courtesy Catalogue MSMSII 10. Fig1.10- Description of Brocade and Mashru, courtesy Albert museum, Jaipur 11. Fig 1.11- horizontal depict weft and vertical yarn depict warp (technique of weaving Mashru with different fabric yarn) 12. Fig1.12- Mashru, Ca. 1800, eastern India No. 563, courtesy Catalogue MSMSII 13. Fig1.13- Mashru, Ca 1800 Gujarat, No. 599, courtesy Catalogue MSMSII 14. Fig 2.1- Method showing tie and (Bhandhej) having four steps of Likhai, Bandhai Dyeing and Tipai. 15. Fig 2.2- Shows the tie and dye fabrics: courtesy Albert museum, Jaipur 16. Fig 2.3- Dyed and printed fabric worn by peasant society in 19th century Rajasthan, courtesy: Albert museum Jaipur 17. Fig 2.4 – Article in local newspaper, picture courtesy, library of Albert museum 18. Fig 2.5- Showing various blocks courtesy Albert museum 19. Fig 2.6- Showing wooden block and its application 20. Fig 2.7- Dabu or Resist printing technique 21. Fig 2.8- Details of Ajrak printing techniques 22. Fig 2.9- Picture depicting Ajark from colourful textiles of Rajasthan 23. Fig 2.10-The technique of Kalabattu 24. Fig 2.11- The Mukesa/ Mukesi embroidery type 25. Fig 2.12- Different embroideries of Rajasthan, courtesy Albert museum

v

26. Fig 2.13-The artisan involved in doing a kind of embellishment with (Kiran), courtesy, Albert museum 27. Fig 3.1- Angrakhi and Payjama, picture courtesy Albert museum 28. Fig 3.2- Picture of Achakan 29. Fig 3.3- Picture of Chuga, Courtesy to MSMSII 30. Fig 3.4- Atamsukh, picture courtesy Catalogue MSMSII 31. Fig 3.5- Picture of Jama, picture courtesy city palace 32. Fig 3.6- Picture of Jama, Courtesy to MSMSII 33. Fig 3.7-Upper garment of common people, courtesy to Art and Material Culture 34. Fig 3.8-Darzi preparing the , picture courtesy Albert museum 35. Fig 3.9- Picture of Kurti and Kanchali picture courtesy Albert museum 36. Fig 3.10- picture of padded jacket courtesy Albert museum 37. Fig 3.11- Pyjama from Catalogue MSMSII 38. Fig 3.12- Depiction of costumes of common folk 39. Fig 3.13- Picture show type of Ghaghra material, catalogue MSMSII 40. Fig 3.14 -Ghaghra picture taken from Albert museum 41. Fig 3.15- of Armour 42. Figures 3.16, 3.17, 3.18, - Different types of head gears, picture courtesy, Albert museum 43. Fig 3.19 - Picture of Odhani, embroidered with Zari 44. Fig 3.20- picture depicting a type of Odhani called Pomcha 45. Fig 3.21- Picture showing types Odhani Pomcha and Chunari 46. Fig 3.22- of different styles 47. Fig 3.23- Jhunga picture courtesy Albert museum 48. Fig 4.1 – Document recording names of various costumes Sari, Ghaghra, Dupatta, Odhani, Kurtazari, Dhoti 49. Fig 4.2- Document records lower garment Izar rangeen and Ghaghara rangeen. 50. Fig 4.3 Vastrgrah document 51. Fig 4.4 – Draft for stitiching Jama, courtesy Indian Costumes of the calico museum 52. Fig 4.5 – Draft for Ghaghra choli courtesy Indian Costumes of the calico museum 53. Fig 4.6- Dress named as Peshwaz, adapted from Art and material culture in the painting from court 54. Fig 4.7 - Dress named , adapted from Art and material culture 55. Fig 4.8- Dress named Gadar, adapted from Art and material culture 56. Fig 4.9 - Mughal Costume with Gadar of 17th Century

vi

57. Fig 4.10- Dress named Farji, of two different styles adapted from Art and material culture 58. Fig 4.11 – Nobel man wearing Angrakha a Mughal style of costume, 17th century 59. Fig 4.12 -Two different styles of Jama, adapted from Art and material culture 60. Fig 4.13 – Jama having strings to tie at left side, calico museum 61. Fig 4.14 - The dress showing Jama, tied at right hand side, Calico Museum 62. Fig 4.15- Angrakha picture taken from Costume Textile of India 63. Fig 4.16 – Royal costume of 18th century, courtesy catalogue MSMSII museum 64. Fig 4.17 Jama for the common man adapted from Art and Material Culture 65. Fig 4.18 – Tail of attendant of royal court, picture courtesy Art and Material Culture 66. Fig 4.19- picture of Kurti and kanchali 67. Fig 4.20 kurti Kanchali picture courtesy, Albert museum 68. Fig 4.21- costume choli, calico museum 69. Fig 4.22 – Ghaghra picture courtesy costume textile jewellery of India 70. Fig 4.23- Full costume of Rajasthani woman. 71. Fig 4.24- Clay model of working women Albert museum 72. Fig 4.25- Costumes of lady saint and a common man of Jaipur region 18th century, catalogue of MSMSII museum 73. Fig 4.26- Different style to tie the costume named dhoti 74. Fig 5.1 -Woman carried Cotton-Gin with Warm Gears courtesy to Miniature of the East 75. Fig 5.2-Spinning of Gandhi ji, Gandhi Ashram Ahmedabad. 76. Fig 5.3 Kabir Das doing weaving 77. Fig 5.4-Flow chart of Generalised representation of spinning and weaving technique during medieval time 78. Fig 5.5-Rangrez mixing colours, picture courtesy Colourful textile of Rajasthan 79. Fig 5.6 -Artisan printing with blocks, picture courtesy Albert museum during my physical survey 80. Fig 5.7-The artisans involved in embroidery, picture courtesy Albert museum 81. Fig 5.8- Artisan making lace (Tarkas), picture courtesy Albert museum 82. Fig 5.9 - Shop of tailored articles, picture courtesy Albert museum 83. Fig 5.10- Clay model of Indian Merchant, picture courtesy Albert museum

vii

INTRODUCTION Introduction

INTRODUCTION The present thesis is entitled „Costumes of 18th century Amber-Jaipur‟ the topic appears pertinent in view of costume having relevance in varied spheres. Costumes were a common adopted by the lay people and royalty. Living standards of different echelons of society are hence discernable in such a study. Costumes of Jaipur are splendid marvels which are redolent of rich legacy.

The associated glitter was a shared one since the Amber Raja was a Mughal noble in which capacity he conformed to most of the Mughal imperial paraphernalia. In view of unfortunate perishing of medieval costumes, the dazzling survivals of Jaipur costumes are our good fortune.

Textile Industry journeyed through simple spinning, weaving, bleaching and dyeing in 12th century, to multiplication of professions which included embellishments of various kinds.1 Expansion of artisanal class also accordingly took place.

Although manufacture of costumes has attracted attention of Afif and Abul Fazl, it was in 18th century Jaipur that it acquired centre stage under the patronage of Sawai Jai Singh, and his Jaipur project. His vision envisaged a properly planned city, exemplary of its kind, incorporating residential space for larger populace, including artisans. Planned market catered to the rising urban demand. The textile industry was chief beneficiary of boost in urban demand in the wake of foundation of Jaipur city.

The foundation of Jaipur city gave an impetus to demand of urban products. The expansion of population started taking place, the area gained prosperity. Sawai Jai Singh aimed at making Jaipur a renowned place for various textiles by patronising art and craft through karkhanas. Jaipur became a well-known centre for textile production in eighteenth century.

One can gauge the significance of textiles from the fact that while Abul Fazl mentions one karkhana, for our region, the textile industry at Jaipur had multiplied into Rangkhana, Chhapakhana, Ratangrah, Vastrgrah etc. under royal patronage.

1Eugenia Vanina, Urban and Craftsmen in medieval India (Thirteenth-Eighteenth centuries), (New Delhi, Munshiram Manoharlal Publishers Pvt. Ltd., 2004) see table 1 p 41.

1 Introduction

Mughal had established different karkhanas in different provinces to cater the luxuries of imperial household. In this manner the end product were best of its kind so as to secure imperial interest.

The meticulous excellence achieved in Bagru and Sanganer textiles, and the modern day fame of vibrant cotton textile of Jaipur, therefore rest on a systematic process of evolution nurtured over the centuries, which survived in the throes of time.

The objective of my study is to explore different aspects co- related to costumes like the socio cultural and economic structure of the region. Our aim is to study the nature of fabric their colouring, printing, and decoration, designing of costumes, organisation of artisans involved through scrutiny of primary documents and surviving masterpieces.

The varied nature of process shall also be taken into consideration. It is our singular good fortune, that we have extant study material in the shape of surviving costumes, portraits, and statistical data in related documents, which have immensely facilitated our investigation.

We find a rich variety of fabric available to study. Such a profuse collection of fabrics is discussed in our documents, because some products are manufactured in our karkhanas at Jaipur and others were procured from Sanganer. Some were imported from various specialised centres of textile like Gujarat, Radhanagar, Banaras, Malwa etc. We also find many kinds of costumes as well, along with the diversity in fabrics for instance jama, angrakha, chuga, atmasukh, kurta, kanchali, choli, ghaghra, pyjama dhoti etc. These costumes were dyed or printed in vibrant colours which is known speciality of Jaipur.

We can also gauge the living standards of different classes of society through costumes like the long sweeping and heavily embellished costumes were owned by royals. Commoners preferred light weighted, clinging cotton costumes so that they do not obstruct their work.

Costumes also help us to study culture, like some region has traditional culture, some prefer comparatively modern outfits, somewhere ghaghra choli was in vogue and some region prefer Sari. Costumes also reveal the occasions like festive celebrations, marriage

2 Introduction ceremonies or mourning. of honour were conferred by Emperor2 and Raja3. Professions could also be easily determined by the outfit worn by a person.

Textiles also have its economic significance to study the industry involving the peasants and labour class. Different cesses were levied which contributed to state economy. Their transport and trade gave opportunity to merchants. The hawalgi system made the merchant responsible to furnish raw material and remuneration to artisans in advance for smooth pursual of artisanal activities. The role of merchant is very crucial in this context.

There were varied types of fabric, which were used by Amber rulers; the collection is preserved in the Maharaja Sawai Man Singh II museum. The different types of fabrics are luckily extant in the museum. The fabrics which were widely used in warm climate of Jaipur were cotton like alam, adhotra, khasa, mahmudi, panchtolna, sahan, srisaf and salu which were main fabric used in Jaipur household.

I Modern Approaches

The study of costumes has attracted the attention of many scholars in varied context. We shall broadly peruse these approaches in the subsequent discussion. The reason of so doing is to show how and why our study is worthwhile.

Pioneering Works We can classify the modern approaches in some significant genres. A new vista was unleashed by some major works, which facilitated further probing in history of textile and costume. To begin with, mentionworthy are pioneering work of G.S. Ghurye4 Jamila Brij Bhushan5 and Moti Chandra6 which set a trend of studying Indian costumes and have analytically traced Indian costumes from earliest time to 20th century. Likewise commendable effort has been made by Forbes Watson7 and Roshen Alkazi8. The

2 Sumbul Halim Khan and Masrat Ahmad Mir, “Saga of Mughal Farman-Understanding the Essential” International Journal of Social Science and Economic Research, Vol. 4, (6 June 2019) 4094-95. 3 Dastur Komwar, Book no. 4, 18, 23 (miscellaneous), V.S. 1821/AD 1764, V.S. 1888/ AD 1831 4 G.S. Ghurye, Indian Costume, (Bombay, Popular book depot, 1951) 5 Jamila Brij Bhushan, The Costume and Textile of India, (Bombay, B.D, Taraporevala Sons & Co. Private Ltd. 1958) 6 Moti Chandra, Costumes Textiles Cosmetics & Coiffure in Ancient and medieval India, (Delhi, Oriental Pubs, 1973) 7 J Forbes Watson, The textile manufactures and the costumes of the people of India, (Varanasi, Indological book house, 1982) 8 Roshen Alkazi, Ancient Indian Costumes, (New Delhi, National book trust, 1983)

3 Introduction endeavours of Irwin and Margret hall have outlined material and techniques of varied art in their volumes on Indian Embroideries9, and Indian Painted and printed fabrics10 respectively.

The work of B.N Goswamy11, the distinguished art historian makes a close scrutiny of Indian costumes in Calico museum, which serves as an outline of stitched garment. The supplement on patterns by Tarla P. Dhundh is of particular interest for supplying technical input.

Art and Material Culture in the Paintings of Akbar’s Court by S.P. Verma, this work is based on Akbar‟s Paintings. He has categorised the costumes of different profession and also thoroughly described accessories like shoes etc.12

Technology Related to Textile Industry Scholar have been concerned over technological advances in India in the context is considered simple as compared to European techniques by scholars like Tapan Raychaudhary13. Tracing the origin of draw loom has also been made by experts on . Irfan Habib opines draw loom was known in neighbourhood of India i.e. yet unknown in India14. Vijaya Ramaswamy however bases on South Indian records to suggest its existence in 11th century15. Ishrat Alam gives credit to Chinese weaver who served royal workshop in 14th century India for introducing it to India16.

Likewise genesis of cloth printing has been traced on varied and South Indian sources by Lallanji Gopal17 and Vijaya Ramaswamy. Tapan Raychaudhary however dates it as later i.e. 16-17th .

9 John Irvin, and Hall Margaret, Indian Embroideries, Vol. II, (Ahmadabad, Calico Museum, 1973) 10John Irvin and Hall Margaret Hall, Indian Painted and Printed Fabrics, Vol. I, (Ahmadabad, Calico Museum, 1971) 11B. N. Goswamy, Indian Costumes In the Collection of the Calico Museum of Textiles, in association with Kalyan Krishna with a supplement and pattern and technical notes by Tarla P. Dhundh, Vol. V, 3rd edition, (Ahmadabad, Calico Museum, 2010) 12S.P. Verma, Art and Material Culture in the Paintings of Akbar’s Court, (New Delhi, Vikas Publishing house, 1978) 13Tapan Raychaudhary, “Non-Agricultural Production”, in Irfan Habib and Tapan Raychaudhary, Eds. The Cambridge Economic History of India, Vol. I, (Cambridge, Cambridge University Press, 1982), 293 14Irfan Habib, “Technology and Barriers to social change in Mughal India”, IHR, Vol. 5, (1978-79), 169 15Vijaya Ramaswamy, Textile and weavers Textiles and Weavers in Medieval South India, (Delhi, University Press, 1985) P 24 16Ishrat Alam, “Textile and Tools as depicted in Ajanta and Mughal Paintings”, in Aniruddha Roy and S.K. Bagchi, Eds., Technology in Ancient and Medieval India, (Delhi, South Asia Books, 1986) 136 17Lallanji Gopal, “The Textile History of Early Medieval India”, J.A.S.B, Vols. 39-40, (1964) 10.

4 Introduction

Forbes Watson has traced the use of needle with the coming of muslims18, scholars like B.N. Goswami have contested the thesis and point out the art of was known since early times.19

Region Specific Studied on Costumes This aspect is taken up by interesting researches of Chandramani Singh, Vandana Bhandari Aman Nath and Sumbul Halim Khan.

There is a good collection of costumes in Maharaja Sawai Man Singh II Museum, which has been catalogued by Chandramani Singh in Textiles and costumes from the Maharaja Sawai Man Singh II Museum. She gives ample information on textile and fabrics which were used in Jaipur royal household from 17th to 18th century and preserved in Man Singh II museum. She provides exhaustive details of royal costumes in her catalogue.20

Vandana Bhandari,s work costumes, textile and Jewellery of India – tradition of Rajasthan explores the different techniques of weaving, dyeing and printing like block printing, ajrak printing on the fabrics of Rajasthan. We can also understand the different styles of embroideries which were in vogue in Rajasthan, though for a later period. She has also dealt with stitched and unstitched cloth in which she explains the female and male costumes in great detail. The related art in jewellery, hairstyles, mehendi, tattoos and other tradition are also taken up.21

Art and Craft of Rajasthan by Aman Nath and Francis Wacziarg studies different kinds of traditionally famous costumes of the area like pagari, safa, ghaghara, chunari, pomcha, and their embellishment processes like bandhani (tie and dye), primitive Bagru and Sanganer method of printings. It symbolises the colours with its important use in the costumes.22

18J. Forbes Watson, The textile manufactures and the costumes of the people of India, op.cit, p11, He cites Buchanan who says: “It would appear that before the invasion of India, the art of sewing was not practised there”. He also speaks of strict Hindus still to be found for whom “a garment composed of several pieces sewn together is an abomination and defilement”. 19B.N. Goswamy, Indian Costumes , op. cit., p 2-3 20Chandramani Singh, Textiles and Costumes of Maharaja Sawai Man Singh II museum, (Jaipur, MSMS II Museum Trust, 2001) 21Vandana Bhandari, Costumes, Textile and Jewellery of India – Tradition of Rajasthan, (London, Mercury books, 2004) 22Aman Nath and Francis Wacziarg, Art and Craft of Rajasthan, (Ahmadabad, Mapin Publishing Pvt. Ltd.,1987)

5 Introduction

Sumbul Halim Khan‟s work Art and Craft Workshop under the Mughals- A Study of Jaipur karkhanas. She has introduced karkhanazat records. The work has unleashed a plethora of information on various facets of medieval manufactories. Her work is especially helpful to comprehend colouring of textiles.23

Social Condition of Artisans Second genre entails the social structure in context of the costumes. Work of Gulab Kothari, Asha Bhagat, and A.K. Roy are relevant

Gulab Kothari‟s work colourful textile of Rajasthan discusses traditional industry of textile in the past. Besides explaining the weaving dyeing and printing techniques, its major concern is the social life of the artisans related to textile like chhipon ka akola and the artisans of Bagru and Sanganer.24

Asha Bhagat studies the various methods of chhapai (printing) of the regions namely Rajasthan, Gujarat and Madhya Pradesh, under the heading Chhapai Vidhi, Chhapai Mai Prayukt Bhant, Kacha Mal Avam Upkaran. This book broadly deals with artisan of chhapai i. e. printers with great detail. She explains that the artisans got rewards for their good work and, financial assistance when they were in need. The printers came from other places and were settled down in Jaipur.25

A. K Roy in his work History of the Jaipur City describes about the Jaipur city being inhabited by skilful artisans and traders invited from different areas. It broadly states about the establishment and town-planning of Jaipur city. One can study the society of artisans from this book26

Economic Backdrop of Rajasthan Thirdly in order to focus on the economic backdrop related to costumes‟ in this genre we include approaches of the historians like S.P. Gupta, Agrarian System of Eastern Rajasthan (c. 1650 -1750) by S.P. Gupta makes us understand the region of Jaipur was

23Sumbul Halim Khan, Art and Craft Workshops under Mughals – A Study of Jaipur Karkhanas, (New Delhi, Primus Books, 2015) 24 Gulab Kothari, Colourful Textiles of Rajasthan, (Jaipur, Jaipur Printer Pvt. Ltd, 1995) 25Asha Bhagat, Rajasthan Gujarat Avam, Madhya Pradesh ki Chhapai Kala ka Servechhan, (New Delhi, Radha Publication, 1995) 26A.K. Roy, History of the Jaipur City, (New Delhi, Manohar publication,1978)

6 Introduction favourable for the production of cotton and indigo. It also discusses about the system of taxes levied on textile and Indigo.27

S.P. Gupta‟s work on Evidence of “Urban Population and its Composition from 17th – 18th Century Rajasthan” is similarly helpful for comparative study of artisans.28

Trade and Commerce in Rajasthan during the 18th Century by B.L Gupta discusses the different production such as cotton spinning and weaving of textile, methods of dyeing fabric, calico printing, cotton and woollen textile industry. Trade and commerce of different artisanal products contribute to the economy of Rajasthan. We also come to know the different professions of the artisans like dyers, weavers, cotton carders, and embroiderer.29

The work Peasants, Artisans and Entrepreneurs by B. L. Bhadani examines different aspects of the economy of Marwar of 17th century. He has focussed economy of Marwar .He has compared administrative territories under contemporary Mughal Empire with British India. He has also analysed the demographic aspects of western Rajasthan.30

Works on Craft Production and Relation The last genre which has miscellaneous information related to costume, and textile industries includes Tripta Verma, Eugenia Vanina etc

Tripta Verma discusses in detail the all types of karkhanas in Mughal Empire at large she has traced the evolution of karkhanas as also its administration and organisations31

Eugenia Vanina in her book „Urban Crafts and Craftsmen in India‟ has discussed the development of urban industries in Mughal India. She has analytically explored the process of economic organization, production and social institutions. She discusses the tools and technology used in medieval times and the social conditions of medieval craftsmen like their caste, hereditary trainings.32

27 S.P. Gupta, Agrarian System of Eastern Rajasthan (c. 1650-c. 1750), (Delhi, Manohar publication, 1986) 28 S.P Gupta, “Evidence of Urban Population and its Composition from 17th – 18th Century Rajasthan”, Proceedings of Indian History Congress, 37ths session, (Calicut, 1976) 29 Gupta, B. L., Trade and Commerce in Rajasthan, during the 18th Century, (Jaipur, Jaipur Pub. House, 1987) 30B. L. Bhadani, Peasants, Artisans and Entrepreneurs, (Jaipur, Rawat Publication, 1999) 31Tripta Verma, Karkhanas under the Mughals from Akbar to Aurangzeb- A Study in Economic Development, (Delhi, Pragati Publications, 1994) 32Eugenia Vanina, Urban Crafts and Craftsmen in Medieval India, op.cit.

7 Introduction

II Primary Sources and Reference Work

In order to frame an idea of the larger perspective concerning Mughal Empire. Abul Fazl provides exhaustive information of costumes in wardrobe section. Ain explains the different styles of coats which were used by Mughals. One also finds information about various costumes and fabrics with their names and rates. We have , categorised under cotton, silk and woollen. It provides the information of names of costumes coined by Emperor Akbar. The information of colours and their usage are also dealt. We also come to know about different styles of embroideries and other embellishments.33

Mirat-i-Ahmadi is a Persian work written by Ali Mohammad Khan which discusses the history of Gujarat. It broadly explains the merchants of Gujarat and their good relation with Mughal Emperor. Khatama-i-Mirat-i-Ahmadi or the supplement provides the exhaustive details of different castes and professions through which we learn about various artisans also.34 Tuzuk-i-Jahangiri enriches our knowledge about the history of Jahangir‟s period. We come to know that many skilful artisans were invited by Jahangir from the place like , Persia and Turkey.35

To understand the dhundhari language terms we have benefitted from the dictionaries like Sita Ram Lalas Rajasthani Shabdkaosh36. While Istilahat-i-Peshwaran37, Bahar-i- Ajam38 and Miftah-ul-Fuzula39 are very useful for medieval Persian and terms for tools and techniques used at that time.

Major base of our study is archival sources related to the costumes. We have abundance of primary sources which are preserved in Rajasthan State Archive, Bikaner. They are karkhanazat . Karkhanas of different goods were maintained by royal household. Such manufactories or karkhanas maintained ledgers of income and expenditure and studied by scholars40. Various other categories of documents are important.

33Abul fazl, Ain-i-Akbari, Eds Sir Syed Ahmad Khan, (Aligarh, Sir Syed Academy, 2005) 34Ali Mohammad khan, Mirat-i-Ahmadi, Eds. Nawab Ali, 1 Vols. and Supplement., (Baroda, Oriental Institute1927) 35 Jahangir, Tuzuk-i-Jahangiri, tr., A. Rogers, Vol. II., (Delhi, Munshiram Manoharlal, 1978,) p 96 36 Stita Ram Lalas, Rajsthani Shabdkosh, 11 Vols. (Jodhpur, Rajasthani Granthagar, 2013) 37 Maulvi Zafarur Rahman, Farhang Istilahat-i-Peshwaran, Vol 2 (Delhi, Anjuman Tarraqi, 1944) 38 Munshi, Tek Chand Bahar, Bahar-i-Ajam, A.D. 1739-40, Eds. Nawal Kishore, Lucknow, 1916. 39 Bin Daud Mahmud Shadiabadi, Miftah-ul-fuzala,( British Library, MS. or. 3299, A.H.872/ A.D.1468-69) 40Jamakharach document studied by Sumbul Halim Khan, Art And Craft Workshops Under the Mughals – A Study of Jaipur Karkhanas, op.cit,

8 Introduction

Chhapakhana41, Rangkhana42, Vastragrah43, Toshakhana44, Ratnagrah45, Dastoor Komwar, Kapad dwara, Arzdasht, provides us complex information about textile and decoration, printing and colouring techniques. Our documents tell us about the daily expenditure of the textiles, its designs and also the expenditure involved in the upkeep of the karkhanazat papers46. From these sources we can mainly study about prevalent costume culture among royal household of Jaipur.

Rangkhana supplies information on colouring of fabrics used for making several types of garments. In this document we find greater details of colours, dye, tannin and other acids, , mordant, wax, gum, starch and oils47. Mostly herbal colours were preferred for dyeing or leaving a faint perfume to the cloth. Particular fabric were coloured by some selected colours only. Different colours and shades can be achieved by combinations of extracts and modification in processing.

Chhapakhana document records the exhaustive details about the printing of fabrics. It provides information on the different styles of printing like motifs of bel, butas, jhar etc. and the fabric printed was records as chhapdar, butadar. We can also infer information about artisans name, their wages and expenditure procured in the printing of fabrics.

Vastragrah is the document which communicates us about the different embellishment types used on fabrics like mukesdozi, chikandozi48, gospech, chhint, chhapadar, butadar, galmasuri49, phulkari50, geeradpech51, kalabattu52. chikandozi and are the most famous types of embroideries which were repeatedly in demand in our document.

Toshakhana provides details about the mattresses, , fabrics, cushions, pillows, bed cover. The different type of embroidery like mukesdozi, chikandozi, kalabattu works, zardozi and zari works are mentioned in Toshakhana.

41Jamakharach Chhapakhana, Bundle No. 2, V.S. 1784/1727A.D. to V.S. 1786/1729A.D., Rajasthan State Archives Bikaner. 42Jamakharach Rangkhana, Bundle No.1 V.S 1755/1698 A.D. to V.S. 1793/1736A.D. R.S.A.B. 43Jamakharach, Vastragrah, B.N. 2, V.S. 1799/1742A.D., R.S.A.B. 44Jamakharach Toshakhana, B. N.7, V.S. 1786/1729A.D., R.S.A.B. 45Jamakharach Ratnagrah, V.S. 1798/1741A.D. to VS.1799/ 1742 AD., R.S.A.B. 46Jamakharach Chhapakhana, Rangkhana Vastragrah, Toshakhana, Ratangrah op.cit. 47Jamakharach Rangkhana 1 Rajab A.H. 1110/1698 to 20 Rajab 1111/1699, p 422 See also Sumbul Halim Khan, Art and Craft workshop Under Mughals- A Study of Jaipur Karkhanas, op.cit P 37 48Vastragrah, op.cit. f, 21 49Ibid, f. 29 50Ibid, f. 30 51Ibid, f. 31 52Ibid, f. 39

9 Introduction

Ratangrah is a unique karkhana (workshop) which furnishes the textile to be adorned on deities. Jamakharch Ratangrah contains comprehensive details of cloths with its unit (than), and different type of threads and embellishments like kalabattu. The expenditure of particular commodity is mentioned in the document.

Dastur Komwar is very important document which give exhaustive information of different professions and caste. It also supplies information about the reward and honours to artisans. It has 32 volumes preserved in Rajasthan State Archives. Book no 23 (miscellaneous) of Dastur Komwar records the information pertaining to artisans and craftsmen such as painters, zardoz, dyers (rangrez), tailor, (darzi) indigo dyers (neelgar) and printers (chhipas) etc. The document belongs to the period from 1718 to 1918.53

Kapad Dwara are rare category of miscellaneous documents, it has of large number of maps, plans and notes on the planning of Jaipur, which is very important document to study the structural plan of Jaipur. These documents contain the information of artisan‟s residential areas like kumarho ka mohalla, Sanganeri chhipas markets for particular manufacturing like Rui ka katla for cotton manufacturing and Johari Bazar for the manufacturing Jewellery etc. These are in map forms and notes attached to it.54

Arhsatta can be described as the revenue records which contain both the income as well as expenditure of a particular pargana. It is further detailed into village wise statistics. There are different types of Arhsattas. I have utilised Arhsattas of Pargana Malarna, Chatsu55

I have also used Arhsattas of Rangkhana document in my work56

Arzdashat are petitions of subordinate officials to Amber Raja. These are in Rajasthani and Persian languages. It embodies miscellaneous information pertaining to day to day affairs of various parganas.57

53Dastur Komwar, book no. 4, 18, 23 (miscellaneous), V.S. 1821/AD 1764, V.S. 1888/ AD 1831, R.S.A.B 54Bahuria, Gopal Narayan, Singh Chandarmani, Eds Catalogue of Historical Documents in Kapad- Dwara, Vol.II, (Jaipur, Jaigarh Public Charitable Trust 1990) see also Sumbul Halim Khan, Planning of the Pink City, Maps and Documents‟, Indica, The Heras Institute St. Xavier‟s College Mumbai, (1998) 55Arhsatta Jamabandi Pargana Malarna,V.S. 1787/ A.D. 1730 ; Arhsatta Pargana Chatsu V.S. 1765/A.D.1708, V.S. 1767 / A.D.1710, V.S.1806 / A.D.1749. R.S.A.B. 56 Arhsatta Rangkhana, V.S. 1831/A.D. 1774, R.S.A.B. 57 Jaipur Arzdasht Rajasthani, V.S. 1687 to A.D.1743, V.S. 1762 to A.D.1775, VS. 1743 to A.D. 1749 R.S.A.B.

10 Introduction

Marwar ra Pargana ri Vigat compiled by Munhot Nansi provides us rich statistical data, which makes us able to attempt an estimate of population of Marwar region in 17th century. We can undertake demographic study on the basis of total number of houses counted in all pargana headquarters and number of plough for a number of villages. The figure of five pargana headquarters (namely Sojat, Jaitaran, Phalodi, Pokaran and Siwana) are utilised from vigat.58

III Outline of Chapters

The chapter layout consists of five chapters. The first chapter is entitled ‘Nature of the Fabrics’. This chapter explores the type of textures of the fabrics, their composition, their process of naming which were used for making costumes of the Rajas and elite class of Amber in eighteenth century with the help of karkhanazat papers and compare it with the wardrobe section of Ain-i-Akbari of Abul Fazl, so that we can gather good knowledge of similarities or the dissimilarities between the types of fabric used by the Kachhwahas and the Mughals.

The second chapter is ‘Colouring and Embellishment of Jaipur Costumes’. This chapter explores that colouring is the process of dyeing, and embellishment is the method of beautification of the fabric. Both are considered to be important and necessary for the decorative motif of these fabrics. The colouring and embellishment includes procedures like colouring, printing, designing. Colouring is the system of shading texture and yarn by immersing it in a mixture of dye, acquired from vegetable extracts, and other mineral source. Embellishment is a type of decoration of fabrics by printing motifs, weaving of different embroideries with cotton thread or metal thread.

Chapter third entitled ‘Varieties of Costumes’ this chapter is an attempt to classify different kinds of attires of an individual or group. The study of costumes is immensely useful for the analysis of status, culture and the social behaviour of the people of the selected area.

Chapter four is ‘Designing of the costumes’ In this chapter we focus on designing of the costume which is the method to draft for making costume. There are considerable variation in a particular costume. If we consider the example of head gear, from one

58 Munhot Nansi, Marwar Ra Pargana Ri Vigat, Jodhpur, 3 Vol. 1968.

11 Introduction piece of cloth, one can tie many styles of head gear. Likewise one variety of costume can have different designing. Ain describes the variety of coats, we shall attempt to understand their different styles or stitching patteren.

Chapter five is ‘Artisans of Textile Industry’. In this chapter an attempt has been made to analyse that artisans played an important role in the establishment of any institution. This chapter focuses on the artisanal activity and their contribution in the working of karkhanas related to textile. The present work focuses on textile workers. Primarily various textile artisans comprised of pinjara (cotton carder), balai bangar (spinner), jatiya bangar (spinner), kartiya (spinner) julaha (weaver), rangrez, neelgars (dyers), chhipas (printers), zardoz (embroiders), darzi (tailors), rafugar (darner). Different karkhanazat documents facilitate to study the work, raw material and the mode of wages of the artisans.

12

CHAPTER-1 NATURE OF FABRICS Chapter-1 Nature of Fabrics

CHAPTER-1 NATURE OF FABRICS

Nature of fabrics can be defined as the essential characteristic, quality and kinds of a fabric. A variety of fabrics has been used for costumes since ages. Many improvements were made because of assimilation of various cultures. We can broadly classify the textile on the basis of plant product fabric and animal product fabric. Abul Fazl discusses cotton, silk, woollen and mixed fabrics to classify the fabrics in Ain.1 Wide varieties of these above defined categories were recorded for our region in karkhanazat documents. Chandramani Singh has also supplied considerable illustration on varied categories in the catalogue of fabrics preserved in Maharaja Sawai Man Singh museum II, these relate mainly to cotton, silk, , mixed fabric, etc.

One can cull information related to the textiles from the karkhanas. These played significant role in the flourishing of textile industry. Such karkhanas are Chhapakhana2, Rangkhana3, Vastragrah4, Toshakhana5, Ratnagrah6. Along with them, the major sources through which we can investigate the history of textiles are the different museums, such as Maharaja Sawai Man Singh II museum7 and Albert museum8 Jaipur, which have preserved the costumes of the period of our study. Our documents supply rich profusion of intricate details of fabrics.

The cotton industry contributed a lot to the improvement of the economy of Mughal Empire9. Likewise, it also boosted economy of Jaipur state. Due to the climatic condition of the area the cotton textile was most acceptable and favourable fabric. It was not expensive, hence easy to afford, and easy to use, and had wide variety in clothes too. Its versatile collection indicates that it was popular too. Development of textile (cotton and

1Abul Fazl, Ain-i- Akbari, Eds. Sir Syed Ahmad Khan, (Aligarh, Sir Syed Academy, 2005) p 76 to 78. 2Jamakharach Chhapakhana, Bundle No. 2 (henceforth B. N.), V.S. 1784/A.D 1727. to V.S. 1786/A.D.1729, Rajasthan State Archives Bikaner, (henceforth R.S.A.B.) 3Jamakharach Rangkhana, B. N. V.S 1755/A.D 1698 to V.S. 1793/ A.D.1736, R.S.A.B. 4Jamakharach, Vastragrah, B.N. 2, V.S. 1799/A.D 1742. R.S.A.B. 5Jamakharach Toshakhana, B. N.7, V.S. 1786/ A.D.1729, R.S.A.B. 6Jamakharach Ratangrah, V.S. 1798/A.D.1741 to VS.1799/ A.D.1742, R.S.A.B. 7Maharaja Sawai Man Singh II Museum has preserved wide variety of royal costumes. 8Albert Museum has specimens of costumes for royalty and common man. Craftsmen are also shown at work. 9Tripta Verma, Karkhanas under the Mughals from Akbar to Aurangzeb, A Study in Economic Development, op.cit, p 108.

13 Chapter-1 Nature of Fabrics silk) material industry in the Mughal period was a consequence of immense demand for Indian commodities by foreign traders10

Gold Mixed like zari (brocades) was prepared through the diverse action of gold on looms11.The travelogues also praise the beauty and finesse of the textiles of India12. City of Ahmadabad was celebrated for the karkhanas delivering velvet woven with gold and silver13. Gujarat was well known centre of silk and brocades, as was referred by Ali Mohammad Khan in his Mirat-i-Ahmadi14.

This chapter intends to deconstruct the type of textures of the fabrics, their composition, and process of naming costumes. With the help of Karkhanazat paper one can compare it with the wardrobe section of Ain-i-Akbari in order to understand similarities or the dissimilarities between the types of fabric used by the Amber Raja and the Mughals. Ain provides various names of fabrics under silk, cotton and woollen stuff, with their approximate cost for instance silk stuff includes varieties like qatifa-yi, taja-baf, dara-i- baf, mutabbaq kamkhab, tawar, khuri, , sihrang, tafta, ambari, alaicha etc15. Cotton stuff comprises of khasa, chautar, malmal, tansukh, shrisaf, gangajal, bhiraun, sahan, atan, bafta mahmudi, panchtoliya etc16 and woollen stuff named as suf-i-murabbas, parmnarm, chira-yi-parmnarm, fota, -i-parmnarm, gospech sarpech, misri, and burd-i-yamani etc.17. While our tauji records give additional details of types of fabrics, their unit, their cost, occasions to wear particular costumes, dyeing methods, printing methods, tailoring techniques, as also types of embroidery and other embellishments.

We have interesting information about the nature of available details of different textiles from Sawai Jai Singh Charit, which gives the information, that on the occasion of marriage ceremony of mother of Sawai Jai Singh, his grandmother distributed various

10Pelsaert, Jahangir’s India, The Remonstratie of Francois Pelsaert, Eds. W.H. Moreland and P. Geyl, (Cambridge, W. Heffer & Sons Ltd, 1925) pp. 6 to 9. 11 George Watt, Indian Art at Delhi, (The superintendent of Govt. Printing, 1903) pp. 236 – 237. 12Thevenot, Travels of the Thevenot and Careri, Eds. S.N. Sen, Vol. I., (Delhi, National Archives of India, 1949) pp, 17, 50-53. Ovington, India in the Seventeenth Century-A voyage to Surat, Eds. J.P. Guha Vol. I., (New Delhi, Associated Publishing House, 1975). pp. 97, 148. Tavernier, Travels in India, tr. V. Ball, 2 Vols, (London, Macmillan & Co. 1889) Vol. I., p. 51, Vol. II., p. 5. 13Karkhanas under the Mughals from Akbar to Aurangzeb, op.cit p 27. 14Ali Mohammad Khan, Mirat-i-Ahmadi, tr. M.F. Lokhanwala, (Baroda, Oriental Institute, 1930) Vol. I, p. 352. 15Ain, op.cit P-76 16Ibid P. 77 17Ibid, P. 78

14 Chapter-1 Nature of Fabrics gifts in cash and kind which comprised of wide variety of cloth like pheta18, , pagari (pieces of cloth which were used as tied head – gear)19, chira (it is made from the combination of velvet and zari or gold work)20, thirma (woollen cloth)21, panchtolana (superior quality cotton fabric)22, iktara (cotton stuff weave from single thread by hand)23, atlas (type of silk cloth)24, kinari (lace)25, tas (gold and silver or fabric made of cotton thread and badla – cotton as and badla as weft)26, asawari (type of superior quality cotton cloth)27, takhi (a cloth to cover head of the children)28 sirbandh (a cloth used to tie overhead), ilaicha (corded silk stuff)29 dariyai (plain silk fabric)30. Both illaicha and dariyai come in the same category, prakala (type of cotton fabric)31.These information supplies the different names of fabrics.32

Graphic information on various fabrics in Rangkhana, Chhapakhana, Vastragrah and Ratangrah documents of Jaipur include varieties of cotton and silk cloth. As for example, tafta (moderately priced silk - stuff)33, bafta (High quality cotton stuff)34,

18Sitaram Lalas, Rajasthani Shabdkosh Vol VII, p 3656 19Chandramani Singh, Textiles and costumes from the Maharaja Sawai Man Singh II (henceforth Catalogue MSMSII) Museum, 2001, p-167. 20Sukhsingh Bhati, Rajasthan k Paramparagat Vastra Paridhan, (Jodhpur, Maharaja Man Singh Pustak Prakash Shodh Kendra, 2008), p. 32 21Ibid, p. 56 22Catalogue MSMSII Museum, op.cit, p –xiv see also Sumbul Halim Khan, Art and Craft Workshops under the Mughals – A Study of Jaipur Karkhanas, op.cit P- 36 23Rajasthani Shabdkosh, op.cit Vol I, p 309 24Ibid, p. 79 25The English literal meaning of Kinari is Fringe, but here kinari is used as lace, which were used to decorate the borders or fringes of the costumes 26John Irwin and Margret Hall, Indian Embroideries, volume II, op.cit, glossary, the warp of a very fine cotton or silk. The weft is a fine thread of flattened metal. Gauze defined as a thin transparent fabric of silk, or cotton, a very fine wire . See also Catalogue MSMSII Museum, op.cit, p – 165 27Rajasthani Shabdkosh, op.cit, Vol I 28Rajasthan k Paramparagat Vastra Paridhan, op.cit, p. 87 29Ibid, p. 74 30Catalogue MSMSII Museum, op.cit, p –xv 31Rajasthan k Paramparagat Vastra Paridhan, op.cit, p. 104 32Gopal Narayan Bahura, Kavi Atmaram Virachit-Sawai Jai Singh Charit, (MSMS II Museum, City Palace Jaipur, 1979), pp 14 -15. 33 Ain-i-Akbari, op.cit p.71; Irfan Habib, Atlas of Mughal empire, Political and Economic Maps with detailed Notes, Bibliography and Index, (Delhi Oxford University Press, 1982), p. 70; Munshi, Tek Chand Bahar, Bahar-i-Ajam, A.D. 1739-40, Eds. Nawal Kishore, Vol I, (Lucknow, 1916), p 230; Hobson Jobson, A Glossary of Colloquial Anglo-Indian works and phrases and of kindred terms, Etymological, Historical, Geographical and Discursive by Henry Yule and A.C. Burnell, New Edition, Eds. William Crooke, (London, John Murry, 1903), Repr., (New Delhi, Asian Educational Services, 1995), p 708b; Jahangir’s India, op.cit, p 32. 34Ain, op.cit, p 73; Jahangir’s India, op.cit, p 32,Catalogue MSMS II Museum, op.cit, p–xii; Atlas of Mughal Empire, op.cit p 69

15 Chapter-1 Nature of Fabrics tansukh (High Priced cotton)35, panchtolna (superior quality cotton fabric)36, shrisaf (cotton stuff), suqlat (woollen cloth), alam (a kind of ) , kamkhab ( type of silk cloth), zari (brocade), mashru (mixture of silk and cotton stuff), khasa ( cotton stuff), atlas (type of silk cloth), pheta (cotton stuff), makhmal (velvet) etc. The above described fabrics are frequently mentioned in our sources of Amber region37.

Bakhatram in his poem also describes famed fabrics

कह ं वस्त्र ऩाटके फहु रय स्त्वेत। 38 भहभ दी खासा तनसुखेत।।

Somewhere the cloths are very white Mahmudi khasa tansukhet

The poet in this couplet has mentioned white cloth and then refers to the three types of very famous fabrics namely mahmudi39, khasa, tansukh, (all are the name of different types of high priced cotton) which were in vogue at that time in Jaipur.

Table No1.1- The variety of fabrics mentioned in the Rangkhana document Name of the Fabric Unit Reference (Than) Folio no Cotton Bafta (High quality cotton stuff) 6 4 Tansukh (High Priced cotton) 3 4 Panchtolna (cotton stuff) 16 7 Khasa (cotton stuff) 4 11 Gazi (cotton stuff) 6 14 Malmal (very fine cotton stuff) 4 15 Shrisaf (cotton stuff) 12 62 Saila (good quality cloth) 52 2 Mahmudi ( white cotton cloth) 66 8 Tanzeb (fine white cotton fabric) 19 4 Alam (a kind of muslin) Rangeen 1 2

35 Ibid, p 72; see also Atlas of Mughal empire, op.cit, p 69. 36Ibid. p 68, Catalogue MSMS II Museum, op.cit, p – xiv, 37Jamakharach Rangkhana op.cit; Jamakharach Chhapakhana, op.cit; Jamakharach Vastrgrah op.cit Jamakharach Ratangrah, op.cit, R.S.A. See also, B.L. Gupta, Trade and Commerce in Rajasthan during the 18th century, op.cit , p.56. 38Bakhatram, Budhi Vilas, Eds. Padam Dhar Pathak, (Jodhpur, Rajasthan oriental research institute 1964), p 17 39 Istilahat-i-Peshwaran, Vol., II, p 88, it describe Mahmudi as high quality cotton cloth.

16 Chapter-1 Nature of Fabrics

Tafta (moderately priced silk - stuff) - 28 Makhmali (velvet) 2 8 Momani ( wax fabric) 1 27 Botana - 3 Adhotra 6 26

The above table from Jamakharach Rangkhana reveal to us the various names of the fabric with their unit in than/bayle. We have several illustrations of rangeen and suped/safed (white) than of the fabrics such as alam rangeen and alam safed. Rangkhana document frequently mention kinds of fabric dyed in various colours (rangeen, badrang) which are as follows, panchtolna (cotton stuff), mahmudi, khasa (cotton stuff), malmal, bafta (cotton stuff), tafta (silk cloth), etc. We also observe that the fabric panchtolna was mentioned in the document Rangkhana only and the other three tauji do not give any reference of this fabric. It is interesting that Abul Fazl also describes this fabric. Chandramani Singh opines that panchtolna got its name from paanch tola (weight)40. Art and craft workshops, on the basis of its regular demand, call this fabric as local favourite41. The quantity of fabric mahmudi and saila is highest, which shows much usage of these fabrics. tanzeb and panchtolna fabrics were also in demand. Istilahat-i- peshwaran describes this fabric tanzeb in great detail as fine white cotton.42Watt has also observed the fabric tanzeb in the category of finer goods.43 botana is also type of cloth, however its characteristics cannot be identified.44

Table No 1.2- The list of fabrics recorded in the Jamakharach Chhapakhana Name of the Fabric Unit (Than) Reference (Folio no) Saila 8 6 Atlas 4 7 Mahmudi Rangeen 1 53 Bafta Rangeen 2 53 Adhotra 2 20 Tafta - 20 Alam 26 2 Khasa - 54

40Catalogue MSMS II Museum, op.cit, p-xiv. 41Art and Craft Workshops under the Mughals. op.cit, P- 36 42 Maulvi Zafarur Rahman, Farhang Istilahat-i-Peshwaran, 8 Vols., (Delhi, Anjuman-i- Tarraqi-i-Urdu, 1944) Vol., II, p. 63 43George Watt, Indian Art at Delhi, op.cit, p. 275 44Rajasthan k Paramparagat Vastra Paridhan, op.cit, p. 54

17 Chapter-1 Nature of Fabrics

Jamakharach Chhapakhana throws light on the types of designs, which were made on cloths like floral motifs, plain coloured outline, creeper (bail) and butadar etc. We gauge the different chhapas and butas, from this document (fig1.1). We also see the listed fabrics used for printing in the table 1.2. In this source we mostly find the name of the fabrics with varied motifs like bafta rangeen or bafta chhapdar or bafta butadar etc.

There was another quality of fabric, which was known as, atlas (type of silk). This was pure and high quality of silk listed in Ain45. Istilahat has also discussed this fabric as silk fabric46. Atlas was a common term coined for satin of India.47 Watt considers atlas as satin proper and treats it under the category of silk48 Chandramani Singh has mentioned that it was not very expensive and was used for lahanga and choli of women folk, as is evident from following devotional folk song.

49 “अतलस लेहंगा पेहहर सखी मℂ झुरमुट खेलन जाती” O friend wearing a lahanga of Atlas I go to play in the grove

Fig 1.1 - Depicting various blocks and block printing on fabric, picture courtesy Albert Museum, Jaipur

45Ain, op.cit, p. 71. 46Farhang Istilahat-i-Peshwaran, op.cit, Vol. II, p 51 47A Yusuf Ali, A Monograph on Silk Fabrics, (Allahabad, North-Western provinces and Oudh Press, 1900), p 93, see also Hobson Jobson, op.cit. 48Watt, Indian art at Delhi, op.cit, p 301, 362 49Catalogue MSMS II Museum, op.cit., p. XVI, Chandramani Singh here discusses a line from a folk song –a devotional one composed by Mira bai “ o friend wearing a lahanga of Atlas I go to play in the grove” this elucidates that Atlas is a fabric which was used for making lahanga and choli.

18 Chapter-1 Nature of Fabrics

Table No 1.3- Lists of fabrics mentioned in Vastragrah, Rajasthan State Archive, Bikaner

Name of the Fabric Unit (Than) Reference (Folio no) Bafta Suped 5 18 Naurangshahi (white muslin) 10 18 Mahmudi Suped 2 19 Momjama 10 25 Saila 102 25 Gospech 30 29 Gazi (cotton stuff) 153 30 Adhotra 1 39 Tafta (silk stuff) 32 45 Tansukh (high priced cotton) 10 53 Makhmali (velvet) 13 53 Taat () 1 59 Gujarati (Gujarat Silk) 57 67 Banarasi (Banaras silk) 31 68 Zari (brocade) 7 69 Ambari (silk) 12 85 Atlas (type of silk cloth) 1149 85 Alaicha (corded silk stuff) 1 227 Sada (plain) Alam (a kind of muslin) 132 228 Resham (silk) - 233 Mashru (mixture of silk and 7 274 cotton) Butadar (flora) Firangi (imported stuff) - 103 Dodami (low price cotton) 1 258 Bengal Mashru (Bengal - 117 variety of Mashru) Agra Zari 2 227

The table1.3 from Jamakharch Vastragrah gives most of the fabrics used for the making of costumes of Amber household. Most of the fabrics used (as shown in Rangkhana and Chhapakhana documents) were similar but Vastragrah contains certain additional information about varieties of textiles such as naurangshahi, khaki, gujrati, banarasi, resham, mashru, firangi, dodami etc. The table1.3 indicates the fabrics procured from the cities of Banaras, Gujarat, Bengal mashru and Agra zari, which shows the demand of new variety. It seems there were region wise specialised fabrics, which became royal favourites.

19 Chapter-1 Nature of Fabrics

Table No1.4 - The varieties of fabrics mentioned in Jamakharach Ratangrah Name of the Fabric Unit (Than) Reference (Folio no) Adhotra 7 1380 Bafta 8 1380 Tafta 27 1380 Gujrati 2 1523 Banarasi 3 1523 Zari 23 1525 Mashru 23 1381 (cotton fabric containing the 9 1381 designs of bel and buti) Tanzeb 128 1382

Ratangrah document, recorded information about the embellishments, on the expensive fabrics. It also supplies the information mostly related to Thakur ji and Thakuranui ji, so it refers to nobles of Amber in eighteenth century. This document also describes the fabrics used in the clothes of deities. It supplies information of mainly expensive fabrics. As can be seen, the names and fabrics of the textiles used were almost the same as mentioned in other documents, however the embellishment to adorn the fabric was with expensive material like gold and silver and kor Resham ki (fringes of silk).

Chira – Chira can be described as “a piece of cloth of any fabric” which was used as head gear or cotton pagari.50 Karkhanazat documents refer to it frequently.51

Gazi - Gazi was a cotton fabric having a low range in price, Istilahat mentions as thin cotton fabric, it also recorded in the Ain and labelled as calico.52

Taat - Taatband was a certain type of cloth, which was prepared from silk fabric and used for making tents and screens.53 Watt mentions that taatband was knitted into a coarse type of white cloth of incredible strength.54

Tansukh - Ain describes that tansukh was a high-priced cotton cloth.55Bahar-i-Ajam explains it as a form of muslin, which was very delicate and soft.56 It was also observed as to nainsukh.57

50Bahar-i-Ajam, op.cit, vol I, p 327; Istilahat-i-Peshwaran, op. cit p.69-70, see also An Atlas of the Mughal Empire, op.cit, p. 69; see also Catalogue MSMSII museum, op.cit, p xxii. 51Jamakharach Rangkhana, op.cit, f 2; Jamakharach Chhapakhana, op.cit, f 2, Jamakharach Vastragrah, op.cit, f. 34 52Istilahat-i-Peshwaran, Vol., II, p. 84; see also An Atlas of Mughal Empire, op.cit p-69; See also Art and Craft Workshops under the Mughals. op.cit, P- 36 53Ain, op.cit, Vol. I., p. 70 54George Watt, Dictionary of Commercial Product, Vol. III, p. 163

20 Chapter-1 Nature of Fabrics

Malmal was frequently recorded in karkhanazat documents. Hobson Jobson mentions this term as Muslin.58 Istilahat, watt and watson discuss the fabrics in a poetic form, they describes the mulmul khas as the king‟s muslin59, bafta as woven air because it would float like a cloud, if thrown in air, ab-rawan as running water, it could not be seen if placed in a stream.60

The Indian textiles were rated much superior as compared to the Chinese and European counterpart. Five hundred skilled weavers were employed by Muhammad bin Tughlaq to weave silk and gold brocades for royalty at Delhi.61According to watt every native state had some peculiar and distinctive textile enumeration of each was difficult.62

Chandramani Singh in Textiles and costumes opined that the process of coining the names of the fabrics sometimes was based on place of production. For instance, devagiri derived from the place of manufacture; likewise the fabric radhanagari (striped white cotton), got its name from Radhanagar which is a place near Bengal.

Sometimes design, weight, finesse of fabric determine its name like bulbulchashma subsequently named from design, panchtolna after weight, khasa got its name from delicate nature of fabric material and also techniques applied to make fabric. Dhup- Chhanh name was generated from the technique in which warp of one colour and weft of different colour were used63. The thread could be silk or cotton. Another criterion was to coin name after , noblemen, who had fondness of a particular fabric e.g. Mahmud Khalji of Malwa was very fond of fabric mahmudi, naurangshahi after Aurangzeb.

55Ain-i-Akbari, opcit, p. 72. 56Bahar-i-Ajam, op. cit., Vol. I., p. 258. 57Istilahat-i-Peshwaran, Vol., II, p. 90; Hobson-Jobson, op. cit., p. 595 58Hobson Jobson, op. cit., p. 595 59Istilahat-i-Peshwaran, Vol., II, p.88, G. Watt, Indian Art at Delhi, op.cit p 281; J. Forbes Watson, The textile manufactures and the costumes of the people of India, op.cit, p 75. 60Meaning of Ab-rawan can also be seen in A Yusuf Ali, A Monograph on Silk Fabrics, op.cit, p 95 see also G. Watt, Indian Art at Delhi, op.cit p 281; See also J. Forbes Watson, The textile manufactures and the costumes of the people of India, op.cit, p 75 61Shihab al Din al Umari (d. 1348) Masalik-al-Absarfi Mamalik-al- , Elliot and Dowson, History of India as Told by its Historian, Vol. III., p. 578,C. F. Artisans and Craftsmen in 18th century Jaipur, op.cit p 57. 62G. Watt, Indian Art at Delhi, op.cit, p 247. 63A Yusuf Ali, A Monograph on Silk Fabrics, op. cit. p 97.

21 Chapter-1 Nature of Fabrics

For better understanding of fabrics, costumes we should also study the catalogue of the collection preserved in Maharaja Sawai Man Singh Museum II Jaipur, it houses a wide variety of fabrics and costumes in the museum. Chandramani Singh provides comprehensive details of textile fabrics, which were used in Jaipur royal household from 17th & 18th century. Artisans, zari workers and printers migrated from different areas for production of textile. Such an opinion can also be gleaned from Budhi Vilas.

फह ववधध के कायीगय अन ऩ। 64 ऩरयवाय सहहत फुरवामे ब ऩ।।

Various types of skilled artisans With their families were invited by Raja

Illustratively the name of different fabrics of textile were such as cotton, alam, adhotra, mahmudi, khasa, panchtolya, sahan, srisaf, salu, bafta, naurangshahi, radhanagari, ilayacha, daryai, ab-rawan, suqlat, atlas, makhmal, mashru, atan, dhup-chhanh (sunshine-shade), amaru-himaru (silk brocade – in such kind of fabric silk was the main component for making designs instead of zari) etc.65. Francois Bernier defined ilayacha (alaicha) as corded or twisted stuff prepared from the category of silk66 and Yusuf Ali called it as striped silk fabric67. Fortunately, Chandramani Singh has catalogued the wide variety of fabrics of silk, cotton, wool and velvet, which help us comprehend the nature of each masterpiece. The following information can be gathered from catalogue details.

1.1 Cotton Fabrics There were 91 variety of cotton categorised by Chandramani Singh, which shows, that not only cotton was very popular, but also variations were made to royal taste. The illustration show richness of fabric, achieved by embroidering cotton with gold and silver wire (badla work), and bright red orange silk thread bearing motif of beetle wing embroidered at Jaipur.68

64Budhi Vilas, op.cit p 17 65Catalogue MSMSII museum, op.cit. pp-xii to xvi. 66Francois Bernier, Travels in Mughal Empire A.D. 1656 – 1668, tr. Vincent A. Smith (Bombay, Oxford University Press, 1916) p 120. 67A Yusuf Ali, A Monograph on Silk Fabrics, op.cit, p 95 68 Catalogue, MSMSII Museums, op.cit, Acc. no. Tc. 462.75 , p4, the time period of the preserved fabric is Ca 1800, L. 112*W. 70cm

22 Chapter-1 Nature of Fabrics

Another illustration also had cotton fabric, which was light brown (malagiri) in colour, embroidered again with badla work and silk thread of green, and black, this was also embroidered at Jaipur, and it has 50cm length and 72.7cm width69. We have about 8 such examples from 18th century listed in the catalogue. %age Area of cotton production Pargana Jaipur (1677)

6.2

other crops

93.8 Cotton

Fig 1.2- Percentage of area under cotton production in Jaipur70

From the foregoing discussion it appears cotton was in considerable demand. One would then wonder how this demand of cotton was meted out. In this context one may take into account the area of cotton production in our region. Though at a glance cotton production would appear small but the subsequent figure 1.3 would amplify the improved position of cotton. The major agricultural production was occupied by food crops like Bajra, Jowar, Pulses, Moth, Urd and Mung. Among the cash crop cotton had a significant percentage of area as compared to Til, Tobacco, and Indigo.

Cotton (pargana Bahatri) Cotton Pargana Chatsu

15 20

10 10 0 5 1708 1710 1749 0 in%age Area

Area in%age Area Year 1665 Year 1725

Fig 1.3 - Rise in percentage of area under cotton production in two parganas

69Ibid, Acc. no. Tc. 786.75, p 4 70 Diagram based on statistical data supplied in S.P. Gupta, Agrarian system of Eastern Rajasthan, op.cit p 61.

23 Chapter-1 Nature of Fabrics

It may also be pointed out that cotton was also produced in substantial area in western Rajasthan as well. See following table on data supplied by Muhnot Nainsi71, wherein Phalodi and Pokaran had sizeable area of cotton production.

Table 1.5- Area of cotton production in western Rajasthan Year Places % c 1658 Phalodi 65 c 1658 Pokaran 50 c 1658 Sojat 38 c 1658 Siwana 13 c 1658 Jaitaran 3

1.2 Silk Stuff The catalogue gives exhaustive variety of silk fabric. More than two hundred variety have been listed which shows wide usage of expensive material for royalty. In the catalogue these are procured from Banaras, Gujarat, Bengal and Bikaner the material had wide variety ranging from banarasi pot, likdar pot, mothra, gulbadan, alaicha, doria etc. these patterns have geometrical designs evident in the following illustrations below:

1.2.1 Striped and Mothra Design: 1.2.1.1 Mothra Mothra used for criss-cross pattern in tie-dye. In mashru brocade and Banaras pot, mothra used as a guarding line in which two colours was used, in plain weaving making a very narrow line72. Fabric of silk, having zig-zag pattern with white and maroon stripes which were arranged vertically dated back to18th century, place where it came from was Banaras with the length 68cm and width 67cm73.

1.2.1.2. Stripes Colourful or one coloured straight lines. Catalogue example illustrates silk fabric, which was striped with white line on maroon ground. A stitched piece of paper to the fabric reads that “204 fel: xqtjkrh dks Fkku&1” it can be translated as 204 one piece of mashru from Gujarat having a length 463cm with Width 69.6 cm74.

71Munhot Nansi, Marwar Ra Pargana Ri Vigat, Vol I (Jodhpur, Rajasthan Prachyavidya Pratishthan, 1968) p 16, 239, 240, 242 396. 72Catalogue, MSMSII Museums, op.cit, glossary 73Ibid, Acc. no. Tc. 164.75, p 7 74Ibid, Acc. no. Tc. 168.75, p 7

24 Chapter-1 Nature of Fabrics

Silk fabric with striped pattern has yellow and white plain stripes. Ca. 1800 came from eastern India is 842cm lengthier and 77.5cm wider75. Fabric of silk having a design of plain white stripes and the patterned stripes has red-maroon floral design with yellow and grey mothra work, it has some inscription written on a piece of paper attached to it which reads, “व रव र चसभो की॰ ८ 셁 १० आना वा॰ ष॰ सेठ गोयधनदास 煍भा भी भाह व ॰ ११ स॰ १८५६. its translation referred the information that, a fabric named bulbulchashmo price Rs 8.10 anna, was purchased from Seth Gordhandas and deposited in the month of magh, 11 day of dark half, year V.S. 1856 (A.D.1799), with the length. 945cm and width 66cm. it is in damaged form76. This evidence shows us the intricacies of recorded details that even the date, day and month of purchased fabric was noted.

Silk fabric which was printed with deep light pink color stripes, furnished with yellow and black mothra work. Inscription on a piece of paper recorded the fabric as illaicha. Another inscription informs that this piece of gulbadan was bought from Mir Ali Rirsal Jaipuri in V.S. 1853 (A.D. 1796) came from Gujarat having the length 660.5cm with width 73.5 cm77. This case demonstrates that illayacha and gulbadan are identical to the point that occasionally it was difficult to separate.

Silk textured cloth which is grounded with dull crimson colour, striped with white and black lines and embellished with yellow and black mothra design, it was marked as mashru-gujarati, on a label attached to it, dated back to Ca. 1800, came from Gujarat with the length 547.5cm and width 69.6 cm, but its present situation has damaged78. This reference tells us the mashru come from Gujarat.

Silk fabric having striped patterned with crimson and yellow stripes and designed with black and white mothra work, dated V.S. 1855 (A.D. 1798) which came from northern

India, the label stitched on the material reads” अरामचा सो奍ता वीकानेयी का 饃 १४/- 煍भा

मभ. असोज फदी ११ स. १८५५” , “ illayacha sokhta Bikaner ka dar 14/- jama mi Asoj badi 11 sa 1855” – A damaged (piece of) illaycha of Bikaner price Rs. 14/- deposited on the

75Ibid, Acc. no. Tc. 231.75, p 9 76Ibid, Acc. no. Tc. 236.75, p 10 77Ibid, Acc. no. Tc. 290.75, p 10 78Ibid, Acc. no. Tc. 419.75, p 12

25 Chapter-1 Nature of Fabrics

11 day of dark half of month of asoj in the year V.S. 1855 (A.D. 1798) with length 315cm and width 75.8 and now this material is damaged79.

The cloth named doria (striped fabric) which had silk – muslin texture and cream in colour. The label attached to the fabric reads. “सीयसकय सुऩेद की. ७ 셁 ११ आना भा जुभया

करावंत की 煍भा भी. द सावन सु. १० स. १८५४, Siraskar saped ki Rs. 7 (anna) 11 ma. Jumara kalawant ki jama mi du sawan sudi10 samvat.1854” – its translation is Siraskar of white colour with price Rs. 7. 11anna, through Jumara Kalawant, deposited on the 10th day of bright half of month of Sawan in the year V.S. 1854 (A.D. 1797). An inscription written in black ink on the material in Bengali script reads, “Gangadhar Gui”, „Gui‟ was a name associated with weavers community of Bengal, dated V.S. 1854 (A.D. 1797) Bengal with length 2069cm and width 66.5 cm, it is in damaged condition80.

1.2.1.3 Pot Very fine light fabric made at Banaras known as pot. The superior quality of which is chiniya pot. Pot than were high priced, consisting of silk and kalabattu work but their texture was lighter than that of kamkhab. This creates the main difference between the pot and kamkhab.81 Pot is also defined in Istilahat.82

The material of fabric in the catalogue defined as Pot, the fabric has likdar (striped) broad and yellow narrow lines on maroon ground prepared in 18th century at Bengal with the length 2043 cm and width 70.7cm but the piece is damaged83.

Another illustration also has the fabric pot, which has striped pattern, with yellow lines on maroon ground was prepared in18th century at Bengal with the length 2346 cm and width 70 cm84.

1.2.1.4 Charkhana The word charkhana simply means the ,85 but the term was applied to certain silk or mixed fabric containing small checks, usually about 8 or 10 in a line to an inch.86

79Ibid Acc. no. Tc. 596.75, p13 80Ibid, Acc. no. Tc. 695.75, p 13 81 A Yusuf Ali, A Monograph on Silk Fabrics, op.cit, p-96. See also Catalogue, MSMSII museum, op.cit, Glossary. 82 Istilahat-i-Peshwaran, Vol., II, p 58 83Catalogue, MSMSII museum, op.cit,Acc. no. Tc. 228.75, p 9 84Ibid Acc. no. Tc. 229.75, , p 9

26 Chapter-1 Nature of Fabrics

Catalogue illustration shows silk textured cloth, charakhana pattern was printed with maroon and white colour, dated back to V.S. 1755 (A.D. 1698), came from Radhanagar (Bengal) with 707cm length and 69 cm width, the label stitched to the material reads.

“याधानगयी भा. सेठ गोयधनदास 煍भा भी काती सु. १२ स. १७५५ की. ६, “Radhanagari ma Seth Gordhandas jama mi kaati sudi 12 samvat 1755 ki Rs. 6.” Radhanagari (acquired) from Seth Gordhandas, deposited on the 12th day of the bright half of the month of kartik in the year V.S. 1755 (A.D. 1698) price Rs. 6/- Radhanagar district Hoogly in Bengal was a well-known weaving center.

Another illustration shows fabric printed with charkhana pattern but with doria, which was a striped fabric, was also a famous product of this place. Hindi poet Jagnathdas „Ratnakar‟ has praised Radhanagri doria in his poem.87

These are the few examples taken from silk fabric. These references not only broaden our understanding regarding the types of fabrics, which are preserved in the city palace museum, but it also helps us to know the damaged varieties of the fabrics which we cannot get from anywhere in Jaipur. These examples show us that most of the cotton fabric was prepared or beautified at various centers of Rajasthan like Sanganer, Jaipur, while other come from Malwa. In case of Silk most of the fabric came from Gujarat, Bengal, and places like Banaras.

1.3 Brocade Brocade can be comprehended as richly decorated of silk with gold and silver threads. It is a supplementary weft technique where a supplementary weft is employed in addition to standard weft.88 The appearance thus acquired was of embroidery

Diverse kinds of textures are illustrated in the catalogue including fabric with zari i.e. Brocades. Here in this category about 232 types of fabric are recorded which were dated from 18th- 20th century. We have concentrated only on the eighteenth century textile according to the time-slot of theme, so we have 32 kinds of textile with zari (brocade)

85Istilahat-i-Peshwaran, Vol., II, p 68 86A Yusuf Ali, A Monograph on Silk Fabrics, op.cit, p 93. 87Catalogue, MSMSII museum, op.cit, Acc. no. Tc. 839.75, p 14 88Watt, Indian Art at Delhi, op.cit, p 294-296.

27 Chapter-1 Nature of Fabrics utilized by the elites and then recorded in the catalogue. We have taken few illustrations as follows:

The material was marked as brocade, which is a mixture of cotton and silk, it had pale pink colour, bud motif of same colour which was printed on it with zari work. The inscription written in black ink on one corner of the material reads, “यजु फकसयाभ त॰

कोठा सवाइी जैऩुय भा॰ फारचꅍद भुकीभ भीती असोज सुदी ११ स॰ १७९३ की॰ ५१”, Raju Bakasram ta. Kotha Sawai Jaipur ma. Balchand Mukim miti asoj sudi 11 samvat. 1793 ki. 51/-. Its translation is Bakasram tahavildar of Sawai Jaipur store acquired through Balchand the Mukim on the eleventh day of bright half of ashwin. V.S. 1793 (A.D.1736) price 51/-. The same text written beside the above inscription. A label stitched with the material gives the name of the material “brocade” and its store number 521. Dated V.S. 1793 (A.D.1736), Gujarat, L. 185.5cm with W. 84.5cm, now in damaged situation89.

Fig 1.4-Brocade, V.S. 1793 (A.D.1736) Gujarat, No. 311, courtesy Catalogue MSMSII

The texture of cloth is identified as brocade made of silver zari and light green silk thread with deep blue-butis on cream white base in early 18th century. It came from western India and measured as 40cm long and 83cm wide90.

89Ibid, Acc. no. Tc. Q 12, plate 4B, p 17 90Ibid, Acc. no. Tc. Q 13, plate 4A, p 17.

28 Chapter-1 Nature of Fabrics

Fig 1.5 -Brocade, early 18th century, Gujarat, No. 312, courtesy Catalogue MSMSII

Another illustration also refers brocade stuff, made from the combination of red, orange, and green, silk yarn and silver zari on yellow ground with butidar, small cari butis motifs; inscription on a piece of paper stitched on the material reads, “ऩायीचो जयद व टीदाय

छोटी व टी को 煍भा भी बादवा सुदी १२ सनीश्रवाय स॰ १८५१ भा॰ खवास योड़ायाभ की”, yellow brocade with small butis, deposited on Saturday, the twelfth day of bright half of the month of bhadwa in the year V.S. 1851(A.D. 1794) through Khawas Rodaram came from Banaras having a length of 513.8cm and width 82cm91.

Fig 1.6- Brocade, V.S. 1851 (A.D. 1764), Banaras no. 416, courtesy Catalogue MSMSII

91Ibid, Acc. no. Tc. 541.75, plates 5A, p 23.

29 Chapter-1 Nature of Fabrics

Jal: When the pattern made by buti enclosed in a network of geometrical pattern in compartments and closed figures, such pattern were known as jal Pattern.92 Jal pattern on brocade fabric made from silk yarn of colour-red orange and two green on silver zari ground. Time period was defined as Ca1800, and it came from Ahmedabad L. 48* W. 67.5cm93.

Ganga-Jamani: Ganga-Jamani is a type of embroidery or weaving done in both gold and silver zari.94 These were at times minutely meshed. The weft was of silk and the warp of gold.95 Fig1.7 depicts small piece of brocade fabric embroidered with maroon ganga-jamani design and badrum jal pattern with sakhi motif in zari and green silk, one side of the material have floral border in zari and silk, which suggest that the material was meant for ghaghra. Ca.1800 is the defined period and the place was Banaras. The length and width of the piece of cloth is 106cm and 102.4cm respectively96.

Fig 1.7- Brocade, Ca 1800, Banaras, No. 485, fabric designed for Ghaghra, courtesy Catalogue MSMSII Another illustration also has almost same set of information i. e. small piece of brocade fabric having butidar print and ganga – jamani embroidery with zari and silk butis on deep blue ground, dated back to Ca 1800, western India. L. 25cm and W. 80.3cm97.

92 A Yusuf Ali, A Monograph on Silk Fabrics, op.cit, p 62 93Catalogue, MSMSII museum, op.cit, Acc. no. Tc. 548.75, p 23 94Istilahat-i-Peshwaran, Vol., II, p 197 see also Catalogue, MSMSII museum, op.cit, Glossary 95 Watt, Indian Art at Delhi, op.cit, p 423-424. 96 Catalogue, MSMSII museum, op.cit , Acc. no. Tc. 748.75, plate 8A, p 26. 97Ibid, Acc. no. Tc. 873.75, plate 8B, p 26.

30 Chapter-1 Nature of Fabrics

Fig 1.8-Brocade, Ca 1800, western India, No. 496, courtesy Catalogue MSMSII

Jhar butis: The patterns which have bush, shrub, and a plant motif are called as jhar butis.98This illustration relates to striped brocade piece of fabric, stripes were made from zari with the printed patterned laharia creeper and green mothra: on broad maroon stripes jhar butis of green silk and zari was embroidered, dated back to18th century. The piece of brocade belongs to western India with length 129.5cm and width 22cm; presently it is in damaged condition99.

Fig 1.9- Brocade, 18th century, western India No. 500 courtesy Catalogue MSMSII

98Ibid, Glossary 99Ibid, Acc. no. Tc. 879.75, plate 6B, p 27.

31 Chapter-1 Nature of Fabrics

1.4 Mixed Fabrics Another variety recorded in the catalogue is mixed fabric in which diverse varieties of mashru fabrics were discussed, it shows that mashru seems to be preferably used fabric because it has the largest number of recorded references. Out of 314 variety of mixed texture, 137 are from 18th century. Interestingly about 118 varieties are from the province of Gujarat and rest are from Western India, Eastern India and Banaras. The major instances of the mixed fabric are as follows:

1.4.1 Mashru This form of cloth is woven by amalgamation of two types of thread usually cotton and silk thread, since wearing pure silk is forbidden for men in .100 The placard from Albert Museum indicates an interesting information which says that mashru was invented by combining cotton stuff with silk, so that it becomes permitted (mashru) for muslims. Wearing of pure silk is prohibited or not permitted for men.101 The nobles were honoured by bestowing of expensive cloth like mashru butadar, mahmudi chikandozi, chira mukesdozi.102

Fig 1.10- Description of Brocade and Mashru, courtesy Albert museum, Jaipur

One of the patterns in mashru is khanjari style or wavy style. In weaving this form of fabrics, two different threads of yarns are used in . In this khanjari style of mashru only weft is dyed in colour. The cotton-gold mashru, weft is done by gold thread

100 Istilahat-i-Peshwaran, Vol., II, p 88 101 Catalogue MSMS II Museum, op.cit. p-xix. 102 Sumbul Halim Khan, “Peshkash in the Jagirs of the Amber Rulers, C. 1690-1750”, PIHC, 53 session, (Warangal,1992-93) 297

32 Chapter-1 Nature of Fabrics and warp is done by cotton thread that has been tie-dyed. The tie-dyed cotton thread are wrapped around small pieces of wood and used in warp. The loom is then so adjusted that dyed portion of cotton thread produce wavy lines (khanjari pattern) in the cloth. To create intricate patterns, cotton threads are wrapped on very small pieces of wood (for eg. 1/16 inch instead of 1 piece of wood) and used in weaving.

Fig 1.11- Horizontal yarn depict weft and vertical yarn depict warp (technique of weaving Mashru with different fabric yarn)

Gulbadan is variation in weaving in which different coloured wefts were used and warps were partially dyed. In sangi type of weave, different colours of weft is used and two colour warp threads are used to create pattern

Mashru fabric having plain and patterned stripes; plain stripes were printed in blue yellow and maroon colours while patterned stripes with betel leaf (pan) and khanjari103 design in green and maroon colour, also beautified with mothra work as shown in fig 1.12. The defined time period is Ca 1800, fabric came from Eastern India with length of 473.5cm and width 66.6cm.104

103 Wavy line as described in A Yusuf Ali, A Monograph on Silk Fabrics, op.cit, p 89 104Catalogue, MSMS II Museums, op.cit, Acc. no. Tc. 42.75, plate 9B, p30

33 Chapter-1 Nature of Fabrics

Fig1.12- Mashru, Ca. 1800, eastern India No. 563, courtesy Catalogue MSMSII

Another illustration is also defined as mashru, which has stripes with plain and patterned print; plain stripes designed with yellow and green line with red and yellow mothra; patterned stripes have pan design in maroon on white ground. A piece of paper stitched with the material reads, “३२५ भस셂 सदा फनायसी की॰ १३ 셁 साड़े ४ आना वा॰ ष॰ 煍भा भी

असाढ़ व ॰ ३ सा॰ १८५५”, 325 mashru plain banarasi, price Rs. 13.4 anna.5 paisa, was purchased and deposited on the third day of dark half of asadh V.S. 1855 (A.D. 1798). L. 432.5* W. 67cm105.

Fabric mashru, which has printed stripes in five colours i. e. panchrang these are red, green, yellow white and deep blue prepared in 18th c. at Gujarat with length of 602cm and width 63cm, but its present form is damaged106. In catalogue list we can study that the mashru fabric could be printed in five colours simultaneously.

1.4.1.1 Chaukari From chaukari design, we can understand chaukor means patterned with squares overall107. This fabric of mashru was beautified in chaukari style. The lines of chaukari style were printed in red on white colour with mothra in red and yellow; plain blue stripes with line in yellow and red. It was prepared in 18th c. came from Gujarat,

105Ibid Acc. no. Tc. 46.75, p 30. 106Ibid, Acc. no. Tc. 58.75, p 31. 107 Ibid, Glossary

34 Chapter-1 Nature of Fabrics measurement of L. 492* W. 64.8 cm slightly damaged108. From this reference we came to know about a type of design known as chaukari design.

The texture of mashru has zig-zag stripes in white and black colour. Ca. 1800 came from Gujarat. L. 461* W. 65cm.109

Fig 1.13- Mashru, Ca 1800 Gujarat, No. 599, courtesy Catalogue MSMSII

Other than mashru another variety of mixed fabric is satinette, which we can understand with few instance given below:

1.4.2 Satinette There are about 26 variety of satinette documented in the catalogue with the category mixed fabric and most of the were dating Ca 1800, so it can be concluded here that in the 18th century mashru was in vogue but in late eighteenth century there seems a little shift towards other mixed fabrics also like satinette.

Texture of material can be identified as satinette, which was red in colour Ca 1800, came from the place Gujarat with the dimensions L. 89.5cm and W. 73.6cm110. Fabric of plain satinette having orange and crimson colour narrow border on sides, time period of its preparation recorded as Ca 1800 at Gujarat, length 471.3m and width 61.5cm111.

108Ibid, Acc. no. Tc. 70.75, p 31. 109Ibid, Acc. no. Tc. 79.75, plate 9C, p 32. 110Ibid, Acc. no. Tc. 140.75, p 34 111Ibid, Acc. no. Tc. 432.75, p 42

35 Chapter-1 Nature of Fabrics

This illustration also refers to the fabric satinette of crimson colour, which has narrow green border on both sides. Inscription written in black ink on the material reads, “भस셂

असयप था॰ १४०” mashru Ashraf than 140. Probably the satinette is called Ashraf, Ca. 1800 Gujarat L. 552* W.59cm112.

For the woolen and velvet in the catalogue, Chandramani Singh has documented illustrated woolen from 19th century and velvet from 20th century textiles. In our karkhanazat documents, we have the reference of costumes like atamsukh, parmnaram and quilted , for winter season.

The other different names of the fabric or textiles listed by scholar are adhotar, alaicha, ambari, amberty, atan, atlas, bafta, beteellas, bhairon, checlas, chhapka, chikan, chira, doriya, gazi, ghinghams, jamawar, kamkhab, , khasa, mahmudi, makhmal, malmal, momini, mushajjar, muslin, patola, qutqni, sahan, salu, sela, sirsaf, suqlat, tafta, tansukh, zarbaft, and zartari113.

Rajasthani journals namely Rajasthan Sujas and Hiteshi also furnish various names of the fabrics. It provided 50 varieties of cotton fabrics, it surveys the time period of V.S.

1825 (A.D.1768). These fabrics include tansukh, tanzeb, tarandam(तयंदभ), shabnam, sanjarwani, aagawani, do-dami (the fabric was of very low cost, like that of soil), doria, rezi, charkhana, chadar, khesle, phoolkari (made of different kinds of flowers), sirsaf, khasa, kapoornur (this was expensive one), malmal, bafta, panchtoliya ( a unit of than should be comprises of five tola), seli, sindli, gajia, jhilmil, gulbadan, bulbulchashm, musanwar(भुसꅍवय), atlas, tafta dariyai, kasab, alaicha, himaru, kimkhab, jarbafat, tadpatri, loungi, mashru, mahmudi, babri, akbari, aurangzebi, nadirshahi, khairabadi, saunsi, aara, sipi, kheershakkar, kalindra, swalura, atan, kachiya, tukadi, thirma, dumeriya, multani, salu, supa. 114

112Ibid, Acc. no. Tc. 703.75, p45 113An Atlas of Mughal Empire, op.cit p-69. 114Gopal Narayan Bahura, “Jaipur k Vastra Vidhan : Ateet ka sandhan”, Rajasthan Sujas, (October – November, 1997) 11 see also Shankarlal Sharma, “Jaipur k Udyog Dhandhe”, Hiteshi A local Journal, (Jaipur, December-January, 1941-42), 323

36 Chapter-1 Nature of Fabrics

It also mentions about silk and woollen cloth elwaan, charhasiya, khalilkhani, palledar, butadar, alfi, , , do-shawle, malida, patti or pari, sammu, dussa, posti, sankarlata, do-tampa, makhmal.115

The karkhanazat papers related to the region of Amber- Jaipur in the eighteenth century reveal minute information about the textiles used or preferred, coloured, dyed, printed, along with their cost (kimat), unit in bayle (than). It also provides us daily expenditure incurred on the fabric. It also recorded the textile gifted to nobles or to any worker (chakar).

We have examined the various illustrations, from the catalogue of MSMS II museum which considerably improves our knowledge about the varieties of texture prevalent in our region. The cotton fabric was mostly beautified at Jaipur or Sanganer. It had around 91 varieties recorded in total, but the silk texture was mentioned in much larger quantity. The most popularly used variety was of mixed fabric. Most of the preserved fabrics of silk and mixed are from the area of Gujarat, some varieties are from the region of Bengal and Banaras etc.

This study concludes that the nature of fabric had vast diversity. The nature of fabric can be classified into cotton, silk, mixed fabric like brocade mashru and sattinete, woollen and velvet. It was generally supposed that according to the climatic conditions of the region of Jaipur, the most suitable and favourite fabric was cotton. This is also evident by available varieties of cotton fabric mentioned in our karkhanazat documents.

When we study the catalogue prepared by Chandramani Singh and the illustrated fabrics therein, we find that the largest number of fabric recorded were from the section of silk and mashru (mixed fabric). So we can assume that the imperial and royal strata preferred the usage of expensive fabric.

We also come across the process of naming of fabrics. Some fabric got its name from the texture type i.e. the finesse or coarse cloth eg. malmal khasa. Some got its name from the place of its manufacture like banarasi, gujarati, radhnagari etc. Some were named after the weights, measures and price like panchtolna, gazi, dodami. Some fabrics were named

115Ibid, page 323

37

CHAPTER- 2 COLOURING AND EMBELLISHMENT OF JAIPUR COSTUMES Chapter-2 Colouring and Embellishment of Jaipur Costumes

CHAPTER-2 COLOURING AND EMBELLISHMENT OF JAIPUR COSTUMES

Colouring and embellishment are necessary for the beautification of the fabric. The colouring and embellishment includes procedures like colouring, printing, designing. Colouring is the system of shading textile and yarn by immersing it in a mixture of dye, acquired from vegetable extracts, and, mineral source. The official source of Akbar, Ain- i-Akabri provides comprehensive details about the blending of various colours and diverse varieties of adornments. Abul Fazl tells us that two contrast colours white and black were supposed to be the foundation of entire colouring phenomenon. Different shades are formed with the combination of these two colours, white and black are viewed as extremes, and important components of different shades. When white colour was blended in large amount of contaminated black, the yield was yellow, and when white and black in equivalent quantity were mixed it gave red. White blended with ample amount of black, gave somewhat bluish green.1

Embellishment is a type of decoration of fabrics by printing motifs, weaving of different embroideries with cotton thread or metal thread. It was done by the artisans on the textiles for the elite class of Amber/Jaipur. In the present chapter we study these embellishments in the light of karkhanazat papers of the region.

2.1 Colouring Rangkhana document enhances our knowledge about the variety of colours made from the natural herbs, , tannin, mordant, method of colouring. Intricacies related to the expenditure on the colours used in dyeing the fabric in unit and rates are also furnished. Jamakharach Rangkhana illustrates that the colour used for dyeing the various fabrics were prepared from the natural herbs products.

2.1.1 Ingredient The variations in colours and shades were obtained by combination of the extracts and various methods of processing.2 The natural herbs recorded in the Rangkhana document

1Ain, op. cit, p. 78. 2Jamakharach Rangkhana, Bundle no 1, V.S.1755 to 1793/ A.D.1698 to 1736, Roznama Rangkhana V.S.1831 to 1841/ A.D.1774 to 1784, V.S.1852/ A.D.1795, Arhsatta Rangkhana V.S.1847/ A.D.1790, R.S.A.B. see also Art and Craft workshops under the Mughals op.cit, p 37; Hiteshi A local Journal, op.cit, (Jaipur, December-January, 1941-42), 323. 39 Chapter-2 Colouring and Embellishment of Jaipur Costumes are gulal (red powder)3, kesar (saffron), kusum (safflower),4 phitkari (alum), saji (vegetable), haldi (turmeric), pevrhi (mahaleb cherry),5 naspal (pomegranate), neel (indigo),6 tel (oil), patrang (yellow wood or sappon wood ), chawal (rice),7 nimbu (lemon),8 mahawar (lac resin),9 kasumal (flower/red)10, tun (indian mahogany)11 saresh(glue starch)12. There were minerals and other chemical products which were made use of viz lajward (lapis lazuli),13 zangar (sulphate)14, sindur (vermillion), loh (iron), sabun (soap),15 upchandi (silver), khariyah (whitening chalk),16 We find interesting reference of 30 man neel(Indigo) being sold by sanganeri merchant17 and 55ser cotton poured in nimbu (lemon juice) was brought for imperial use.18

Table2.1- The natural products with colour extract, their use, rates and weights. Names of Colour/use Amount Quantity Ser Reference natural Rs. /Anna Posa chhatank products Pevrhi Yellow 8 3 243 Zangar Green 6 1 8 243 Sindur ? 52 2 243 Neel Blue (used as 6.8 1 243 dye) Mahawar ? 8 2 243 Sares Adhesive (used 3 2 243 as Glue Starch) Haldi Yellow colour 5.1 1 319 Naspal yellow (used as 3 319 dye) Phitkari Mordant (used 59 9 319 as dye)

3Gulal is a mixture of Alum, rice or barley and sappan wood, explanation taken from Art and craft workshops under the Mughals, op.cit, p 38. 4Jamakharach Rangkhana, Bundle no 1, V.S. 1755 to 1793/ A.D. 1697 to 1735, R.S.A.B., f-20. 5Ibid, f-22. 6Ibid f-23. 7Ibid,f-24. 8Ibid f-32. 9Ibid f-244. 10Ibid f-117. 11Ibid,f-260. 12Jamakharach Rangkhana, A.D. 1698/1699, f. 241, for detail see Art and craft workshops under the Mughals, op.cit, p. 38. 13Ibid, f-21. 14Jamakharach Rangkhana, Bundle no 1, V.S. 1755 to 1793/ A.D. 1697 to 1735 p 22 15Ibid ,f-23 16Ibid,f-24 17Jaipur Arzdasht Rajasthani, V.S. 1687 to 1743/ A.D. 1629 to 1649, R.S.A.B., p 7;Mohan Send an information to Mirza Raja Jai Singh on Shrawan Sudi 3, V.S. 1698 V.S. /30 July 1641 AD. 18Jaipur Arzdasht Rajasthani, V.S.1743 to 1749/ A.D.1649 to 1693, R.S.A.B, p 99;An information send by Ajit Das Manram to Maharaja Bishan Shingh on Magh Vadi 1 V.S. 1749/ 13 June 1693 A.D. 40 Chapter-2 Colouring and Embellishment of Jaipur Costumes

The above table is prepared from information culled from the Jamakharach Rangkhana document. It explains various ingredient used in the extraction of colours with their units and weight. Herbs and other ingredient were used to make various colours, dye or adhesives like pevrhi gives yellow, haldi also gives yellow shade, zangar gives green, neel used for the extraction of blue coloured dye, sares as adhesive19, phitkari was used as mordant20.

The ingredient Sindur weighing 2 posa has the highest rate at Rs 52/-. The quantity of naspal, according to the table seems maximum it is mentioned 3 ser. Thus the usage of naspal as a dying colour was high.

In most parts of Rajasthan varied hues names were in vogue derived from the names of herbs like kasumal (red), toru phooli (yellow), moongia (dull green)etc. so that the local populace can grasp related information clearly. In dyeing, the names of shades were not similar to the nomenclature of colours of present day, the hues name likewise reflect nature and natural source.21

2.1.2 Preparation of Colours It has been observed by a recent research on the basis of information collected from interaction with 62 year old worker, who had worked as rangrez during his youth. He used to live in Neelgaron ki Nal in Jaipur. He provided ample information about preparation of vegetable colours. He worked only as a dyer, and not as bandhej worker. He told that yellow has different shades. There was a specific need of different kinds of ingredients for every shade. The yellow dye can be obtained by boiling naspal (pomegranate rinds) in water and mixing haldi (turmeric), soda caustic and phitkari (alum).

Some other observation were by mixing of stick of Harsingar (night Jasmine), haldi, leaves of kesar, flowers of Palash22 and yellow soil together gives yellow colour23. The

19Adhesive is a substance used as glue for providing the fastness to the dyes and colours on fabrics or sometimes for the purpose of starch on fabric 20A substance typically an inorganic oxide, that combines with a dye or stain and thereby fixes it in a material 21Gulab Kothari, Colourful Textiles of Rajasthan, op.cit, p 57. 22 The botanical name of palash is Butea monosperma, popularly it is also called as tesu flower and also keshu flower. 23 Gopal Narayan Bahura, “Jaipur ka Vastra Vidhan : Atit Ka Snadhan”, Rajasthan Sujas, (October – November , 1997), 11 41 Chapter-2 Colouring and Embellishment of Jaipur Costumes kesariya colour was obtained from kesu or harsingar flowers24, and the kesar (saffron) itself gives the yellow tinge.25 The red dye was also obtained from Kusumi (safflower) flowers. The blue dye was obtained from locally grown neel (indigo).26 With the combination of neel, lajward, green, yellow and blue shade was prepared.27

On boiling madder root (manjit) and adding alum to it, the maroon dye was obtained. Green colour can be prepared from mixing indigo and turmeric. After boiling khakhara leaves, khakhi colour can be obtained. Ochre (geru) was used for making ochre coloured dye which gave a dull orange shade28. Addition of kesu flower in pink dye, the singarafi (very light vermilion shade, bright red) colour can be obtained, if the kesu flower was added in large quantity in pink dye, the colour obtained was orange. Likewise when it was added with pink dye, harsingar flower produce red. The mixture of indigo and turmeric were used to produce moongia dye.29

Indigo was the best source for blue colour. Yellow was obtained from pomegranate peel. As and when blue and yellow were mixed, it produced green. Red was acquired from manjit, the madder root (Rubia tinctoria L.)30, black from iron shavings and vinegar and yellow from turmeric roots. With Islamic impact and the assimilation of culture, new tones of colour were added to the palette of native dyer. Studies show that two extraordinary shades were Amauva and malagiri. Amauva, a hue somewhat looks like green, practically like khakhi was worn by noble people, when they used to go for hunting and furthermore by the representatives of shikarkhana, (chasing lodge). With the decay of hunting, the colouring of amauva shade stopped slowly. Malagiri, a light shade of brown colour, was used to make from the number of component that made it a fragrant dye and the rich could stand to wear it. With the loss of support of royal houses, this colour has vanished31.

24 Colourful textiles of Rajasthan, op.cit, p 54 25 Art and craft workshops under the Mughals, op.cit , p 38 26 Colourful textiles of Rajasthan, op.cit, p 54. 27 “Jaipur ka vastra Vidhan : Atit Ka Snadhan”, Rajasthan Sujas, op.cit, 11. 28Art and craft workshops under the Mughals, op.cit, p 39. See also Colourful textiles of Rajasthan, op.cit, p 54. 29Colourful textiles of Rajasthan, p 54. 30Madder is a perennial climbing plant with evergreen leaves and small pale yellow flowers. The root can be over three feet long, and are usually harvested in the second and third year of growth. Considered an ancient or heirloom dye plant; madder has been used throughout history for the brilliant orange and red hues it can produce. The root is utilized as a natural orange to red dye. With the help of a mordant (usually alums) madder is suitable to dye both plant and animal based textile. 31Catalogue MSMSII museum. op.cit 161, see also Aman Nath and Francis Wacziarg, Art and Craft of Rajasthan, op.cit p 39 42 Chapter-2 Colouring and Embellishment of Jaipur Costumes

2.1.3 Significance of Colours Each colour was associated with various seasons, customs and functions, and with feelings of all sections of the people. It has been noticed that red is the shades of beloved and happiness and hence used in the , odhnis and ghaghra. Yellow is the shade of spring, bloom and bliss, while saffron is for sadhus and abandonment of this world. White speaks of transparency and simplicity.32

While learning about the various uses of colours, we additionally find that in Rajasthan the colours were categorised in two classes’ kacha (transitory) and pakka (lasting). Kachha colours are utilized among single and wedded ladies while the widows used the pakka colour. It speaks of chastity, a short-term stage while widowhood being the everlasting in lady's life. Red, yellow, parrot green and saffron are kacha colour while pakka colours include grey, brown, dark green, dark blue and maroon33.

2.1.4 Bandhani Yellow, pink, red and green were generally contrasted, for instance red border on yellow ground, green with saffron and pink. In the simplest method of bandhani the cloth material was tied firmly in clusters. Where the strings are drawn firmly and tied, they stop the penetration of dye. The subsequent unevenness and sporadic shading that normally shows up on the texture gives it a power and strength of its own. The Samudralahar design depicts the wave of the ocean. It comprises of multi-coloured diagonal strip in the three, five or seven colours and maybe one of the most primitive designs known to the artist Malik Mohammad Jayasi in sixteenth century referred to a Cheer, Sari of this pattern in Padmavat.34

In Rajasthan bandhani or Tie and dye have been a popular method of decorating a fabric in Jaipur, which added a new height to the method of . Watt observe that the process of bandhej is simple yet labourious and it could be possible to be employed only in a country where food was cheap and labour wages were abnormally low.35 The bandhej work had to undergo four stages likhai, bhandhai, dyeing and tipai.36 (see fig. 2.1)

32Vandana Bhandari, Costumes Textiles and Jewellery of India -Traditions of Rajasthan, op.cit, p 42, see also Art and Craft of Rajasthan, op.cit. P 39 33Ibid, p 42, P 39 34Chandramani Singh,” Banka h Bandhej”, Rajasthan Sujas Vastra Vidhan, section 6, (October-November 1997), 14; see also -Art and Craft of Rajasthan, opcit, p 43 35 Watt, Indian Art at Delhi, op.cit p253 36 Colourful textiles of Rajasthan, op.cit, p. 48. 43 Chapter-2 Colouring and Embellishment of Jaipur Costumes

2.1.4.1 Likhai The layering of the cloth was of at least by four levels used to be done and lightly sewed. In some areas sometimes four folds become six. With the use of washable colours the sketch was first drawn on these folds. This is known as likhai. Wooden block were used for likhai.37 The wooden block consisted of wood with a mass of nails all over.38

2.1.4.2 Bandhai Then the process of Bandhai was done on the folded sketch or outlines, it was holded with thumb and forefinger of the left hand and was tied with right hand strongly by the before the fabric used to be placed in the dye.39 An expert skill is needed for secure grasp of all layers of cloth and to crinkle in a peculiar manner.40

2.1.4.3 Dyeing Now the next method which comes in the series was of dyeing. In this process the dyer immerses the cloth into any desired colour which becomes a ground colour of the cloth. After giving colour to the cloth the bandh or tied knots were used to open by cutting the thread, which exposes the white dots on the knotted place.41 The pattern and scheme of colour were sometimes very elaborately contemplated and therefore demanded repeated dying and tying.42

2.1.4.4 Tipai After dyeing the base of a cloth, the remaining dots were given different colours through the same process followed previously for the base colour of the cloth. This method of dyeing of bandhs, bund, and white dots later with different colour is known as Tipai.43

37Ibid, p. 50 38 Watt, Indian Art at Delhi, op.cit, p 253 39John Irwin And Margret Hall, Indian Embroiders, Vol. II, 1973, Glossary; see also Ibid, p. 50 40 Watt, Indian Art at Delhi, op.cit, p 253 41Ibid,, p. 50 42 Watt, Indian Art at Delhi, op.cit, p 253 43 Ibid, p. 50 44 Chapter-2 Colouring and Embellishment of Jaipur Costumes

Fig 2.1-Method showing tie and dye (Bhandhej) having four steps of Likhai, Bandhai Dyeing and Tipai.44

There were innumerable varieties of dying: plain base in one colour, coloured ground with borders in contrasting colours, both fast and fugitive colour were employed. Three different styles of dyeing on odhanis in Rajasthan have been employed traditionally. Fortunately in Albert museum all three varieties of odhanis have been displayed namely Pomacha, laharia and chunari.45 (See fig 2.2)

2.1.5 Pomcha It has a yellow base with red border (fig 2.2), the odhani with the motif of lotus (Padma or Pom) in its printing is known as pomcha. In Hindi lotus was pronounced as Padma, thus word pom is derived from the corrupt form of padma46

कह ं षञी छीऩे चुनरीन, 47 ऩोमचे व ंधध वेचत प्रवीन

Somewhere Khatri chhipe is busy in making chunari Tying pomcha and selling products

2.1.6 Laharia It was a pattern, in which diagonal stripes were dyed in as many as five or seven colours. It looks like a wave (lahar) pattern of a sea (fig 2.2)48

रंगरेज़ रंगत कह ं ऩट सुरंग 49 ऱहररय जु ब ंधत करर उमंग (Somewhere rangrez are dying fabric Tying laharia with ray of hope)

44 Ibid, pp. 52, 53 45 Picture and description taken from Albert museum, at the time of physical survey, the museum collection dated from 19 century. Samples were collected by col. T. H. Hendley. 46Ibid,. See also Catalogue MSMSII museum, op.cit, p. xxxvii 47 Budhi Vilas, op.cit, p 18 48 Picture and description taken from Albert museum, at the time of physical survey. 49 Budhi Vilas, op.cit, p 18 45 Chapter-2 Colouring and Embellishment of Jaipur Costumes

Both couplets from Budhi Vilas clearly indicate that khatri chhipe was making and selling chunari and tying pomcha on his head. The second couplet describes rangrez busy in dying fabrics and tying the laharia with great pleasure.

2.1.7 Chunari In chunari the most popular pattern, the design has obtained by the arrangement of dots on a red or green ground (fig 2). The dots printed were locally known as bund or bandh, other scholar observed the dots in tie and dye as dhanak50, the designs containing these bandhs is called as bandhej.51

Fig 2.2-Shows the tie and dye fabrics courtesy Albert museum, Jaipur

Fig 2.3-Dyed and printed fabric worn by peasant society in 19th century Rajasthan, courtesy Albert museum Jaipur

50 Catalogue MSMSII museum, op.cit, p 158. 51 Picture and description taken from Albert museum, at the time of physical survey. See also Colourful textiles of Rajasthan, op.cit, p. 48 46 Chapter-2 Colouring and Embellishment of Jaipur Costumes

The above picture shows the various patterns of dyed and printed fabrics which were popular among common people. It shows a textile which has a white base and two types of motifs are printed on it. A bird motif diagonally and a floral motif diagonally, border is grounded with red colour with jhar and floral motifs. The second fabric has red ground with floral buta and black border. Another fabric has green base with lotus or pom motif. Our karkhanazat records only provide us the details about the textile and type of designing used by royals while, the collection at the museum enriches the history of costume among common people.

Fig 2.4 –Article in local newspaper, picture courtesy, library of Albert museum

52 जयऩुर मᴂ आरंभ मᴂ जो क म ऩनऩ वो कऩड़ⴂ की छऩ ई क थ . (Initially the work started in Jaipur was of printing)

2.2 Printing Craft Printing holds an important position among the craft work of Jaipur, as it was the first craft work started in Jaipur. A local newspaper of Jaipur Dainik Bhasker has published an interesting article, above line from the article entitled “pehle Kapado ki chhapai fir ratno ne di Jaipur k udyog ko pehchan”, it clearly elucidates the importance of printing in Jaipur. Rajasthan was widely valued and became famous for its fine hand printed cotton materials. The above art of Dabu printing was achieved over centuries and technical abilities in block printing like Dabu (resist printing) printing were incomparable. The expertise craft of Dabu could not flourish so widely because it was transmitted on hereditary basis to the succeeding generations. The skills were stranded in the family. Individuals occupied with this sort of arrangement were recognized as the

52Prakash Bhandari, “Pehle Kapado Ki Chhapai Fir Ratno ne di Jaipur k Udyog ko Pehchan”, Danik Bhaskar, (Jaipur 27 september, 2016) 11 47 Chapter-2 Colouring and Embellishment of Jaipur Costumes

Chippas.53 There is considerable information of chhipa community in our document Dastoor Komwar, who were doing different types of printing, and in return getting gift from royals or elites such as the Rs.50/- was gifted by Meena Dev Singh to Pusa chhipa.54

2.2.1 Bagru and Sanganer Printing The artisan of Jaipur generally crafted motif that have blend of flowers, buds and leaves or other forms such as cari (mango), pan (betel leaf), katar (dagger) or jhumka (ear- ring).55 In India the design of floral motifs were derived from Persian source during the Mughal period.56 The structures of printing motifs have been named after vegetable, flora and fauna (birds, their feathers) and different objects of the nature, so that the names can be related by local natives. Traditionally, themes printed at Bagru were huge with bold lines on the grounds that these were intended for peasant society. The printers and block producer of Bagru focuses took motivation from wild flowers, buds, leaves, and printed geometrical patterns.

Sanganer town is renowned as the very Metropolis of Calico Printing craft of India so far as art conception and technique are concerned.57 Despite all other printing image the regular renderings of flower like poppy iris and rose were favoured at Sanganer. Sober hues and fine lines were the main features of Sanganer printing. Motifs were of lotus, iris, rose, poppy, water lily, marigold, sunflower, Chinese rose, Champa and numerous other such blooms are imprinted on Sanganer chhint.58 Sangner designs were much appreciated because the flowers etc. were not likely to be seen by calico printers yet the renderings were very realistic, which shows the art filtered through the centuries of evolution. The perfect feel is evident in nature, colour reciprocity and technique in printing.59 The regional printing traditions took care that the animal motifs were not applied on the fabrics meant for costumes. In the region of Jaipur, motifs have been influenced from Islamic culture because of the Mughal impact.

53 Costumes, textiles and jewellery of India Tradition of Rajasthan, op.cit, P-44. 54 Dastur Komwar, (micelleneous), book no 23, V.S. 1819/ AD 1762, page 481. 55Costumes, textiles and jewellery of India Tradition of Rajasthan, op.cit, P-44. See also Colourful textiles of Rajasthan,op.cit, p 62 56John Irwin and Margret Hall, Indian Embroideries, volume II, op.cit, glossary 57 Watt, Indian Art at Delhi, op.cit, p 248. 58Ibid; see also Gulab Kothari, Colourful textiles of Rajasthan, op.cit p 62. 59 Watt, Indian Art at Delhi, op.cit, p 248. Watt goes to the extent of keeping the Sanganer Calico standing out from any modern school of Calico printing in India and Europe achieved by modest worker of Sanganer. 48 Chapter-2 Colouring and Embellishment of Jaipur Costumes

2.2.2 Tools and Techniques The manual printing of different images with the help of wooden block was one of the primitive methods of printing. It has been observed that block printing had prominent place among printing techniques. It was a well-known economical practice, utilized, particularly for tiny piece of texture and solo pattern to design cloth piece. The essential device for block printing was hand blocks carved from wood. Blocks were made by carpenter – lathe – man, who was indigenously called batkare or the one who can give form to things. The woods used for making these blocks were gurjan, shisham, teakwood or rohjra wood, usually half an inch deep. Generally they were variedly shaped as rectangular, square and circular. The blocks have cylinder-shaped hole, drilled from the rear side to ensure the discharge of air bubbles during the procedure of printing the designs. On the edges of the blocks, cuts of the registration notches provided to confirm that each block register properly. About one to five butis, could be carved out on each blocks therefore they were known as buta, dugga (two), tigga (three), chauga (four) and panja (five).60

Sun Flower Motif Block Rose Flower Motif Block Geometrical Motif block

Shrub (Jhar) motif block (Bel) motif block (Buta) motif Block Fig 2.5- Showing various blocks courtesy Albert museum61

60Costumes, textiles and jewellery of India, op.cit, P 45. See also, Colourful textiles of Rajasthan, op.cit, p 61 61Pictures of the various blocks have been taken from the costumes section of Albert Museum of Jaipur at the time of physical survey. 49 Chapter-2 Colouring and Embellishment of Jaipur Costumes

Fig 2.6- Showing wooden block and its application.62

The gad, rekh and datta are three different types of block that are identifiable by their unique styles of cutting. The gad was utilized to print large foundation figure, while rekh and datta are cut in assistance. Rekh additionally denoted the layouts of the theme and are regularly utilized in the combination of gad block. The rekh structured the fine intricate lines inside the made by gad block. Datta is cut in bold relief and compliment the design of both gad and rekh blocks. Each of these blocks was utilized independently or together to make variety in structures.63

The other tools which can be used in textile making were brushes made up of squirrel tail, this can be evident by Rangkhana document poonchh gilhari ki, Kimat 64, than 2.64 Needles were basically used to stitch the garments. This also had use in different types of embroideries. For the process of spinning the type of used was and for weaving, stand was use for making warp and weft arrangement to support yarn, this have been discussed subsequently in the chapter 5.

Traditionally there were two types of printing dabu or resist – printing, Ajrak printing. The techniques involved in dabu or resist printing and Ajrak printing are shown in the diagram. The main feature of the Bagru printing techniques is the dabu or resist printing.

62Colourful textiles of Rajasthan, op.cit, p 17. 63Costumes, textiles and jewellery of India, op.cit, P- 45. See also Colourful textiles of Rajasthan, op.cit, p 61. 64 Jamakharach Rangkhana, B.N. 2 op.cit, f 31. 50 Chapter-2 Colouring and Embellishment of Jaipur Costumes

2.2.2.1 Dabu Printing Technique Dabu or resist printing is the most famous printing technique which flourished in Bagru. It is a block printing with mud instead of paint. The fabric is printed with the paste of Dabu (resist) or alum (mordant) or with both. When the cloth printed with mordant is immersed in different dye, it reacts with dye and colour develops only in those areas which have been treated with mordant and in the case of dabu printing, however, only the area which is unresisted will accept the colour.65

Wash in the solution of Camel dung + Raw Cloth Soda ash + Castor oil

Raw Cloth Dipped for one Night when Fumes created, It seems starch Is removed

White Cloth Treated with Myrobalan, mixture Mixture of become yellow Myrobalan powder Known as Harisarna process and water+ White Cloth

Printing Done with

Syahi paste, Black Dabu or resist colour made from Bagar paste (red (Rusted iron + colour outline) paste made from jaggery + normal Alum + Clay + (clay and water+ leave for 30 days) Babool Resin lime dissolved in iron water + kept for 3-4 water+ white tamarind seed days, dyed with flour and water+ creates a black alzarine creates gum) solution paste after boiling rich red colour left overnight

Fig 2.7- Dabu or Resist printing technique

65 Costumes, textiles and jewellery of India, op.cit, P- 45 51 Chapter-2 Colouring and Embellishment of Jaipur Costumes

The printing with these three pastes was followed by sprinkling of saw dust on wet dabu paste to facilitate quick drying of fabric. Prior to the application of Alzarine on Bagar paste, the cloth was washed and dried. Then the cloth was dyed with indigo which gave the blue colour. Naspal (yellow dye) was also used on the fabrics which give yellow and green colour.

2.2.2.2 Ajrak Printing Technique The Sanskrit word jharat is supposed to be the foundation of term Ajrak, or it may be derivation of a-jharat (stable article). Indigo is the major ingredient of Ajrak printing. In the word Ajrak implies as blue, so indigo could be a source of Ajrak, – as customarily, blue is one of the important shading in Ajrak printing.66

Wash in the solution of Raw Cloth Camel dung + Soda ash + Castor oil Raw cloth Dipped for one Night when Fumes created, It seems starch Is removed

White Cloth become yellow Mixture of Myrobalan powder and water+ White Cloth

Now Printing Process Started

First dyeing technique Second dyeing technique Third dyeing technique Black colour made from Paste of resist (Quick lime + (Rusted iron + jaggery + With the paste of Alum + Babool tree resin + water) normal leave for 30 days) Clay + Babool Resin kept Applied on the cloth iron water +tamarind seed for 3-4 days creates a black paste after boiling Fig 2.8- Details of Ajrak printing techniques

After these three types of printing, cloth is dyed in indigo two times (first Indigo dye after drying second indigo dye) to achieve the colour, and the cloth soaked in Indigo colour except was turning blue the area where three dyes were already applied i. e. resist, black and alum. When in third dye alzarine used instead of alum yellow used to turn into red.

66 Costumes, textiles and jewellery of India, op.cit, P- 49

52 Chapter-2 Colouring and Embellishment of Jaipur Costumes

Fig 2.9- Picture depicting Ajark from colourful textiles of Rajasthan

2.3 Embroidery Embroidery includes all forms of needle work and a kind of practice for ornamenting the textile by embroiderer. The art of weaving metal thread with that of fabric for the purpose of beautification is called embroidery. It brings a new character and dimensions to any article that it graces. Metal embroidery was patronised mainly by royalty and the wealthy merchant who wore elaborately ornamented clothing. They preferred garment profusely embroidered in gold and silver because embroidery was considered auspicious and also because it represented affluence and importance.

The Jaipur textiles become eminent from its vibrant colours like panchrangi safa which was dyed in five colours like one of the scholar has represented Rajputs as topi-walas.67 In the region of Rajasthan, Karkhanas were developed in order to serve nobility. Elaborate embroideries richly worked with gold and silver and even precious stones, embellished the garments and , which were produced in these court- workshops. Gota and Zari were used extensively in odhnis and other garments. Khandela, in Sikar district, is known for producing gota and Jaipur is renowned for using it in applique work. The Zari workers were invited to Jaipur from Surat by Sawai Jai Singh. Even today the embroiderers of Jaipur get their Zari from Surat. Some of the most beautiful borders, butis, flowers motifs and pallus (borders) were made by the collaboration of crafts people of Khandela and Jaipur.68

67John T. Hitchcock, “The Idea of Martial Rajput”, Eds. Milton Singer, Traditional India: Structure and Change, (Jaipur, Rawat Publication, 1975), page 11. Information taken from a letter preserved at R.S.A.B. 68Art and Craft of Rajasthan, op.cit p 59 53 Chapter-2 Colouring and Embellishment of Jaipur Costumes

2.3.1 Zardozi Embroidery that uses pure gold and silver wire i.e. zari is known as zardozi. This style of embroidery in Jaipur was a result of Mughal impact. Zardozi was also known as karchobi when used on heavy base material like velvet or satin69

The following couplet from Budhi Vilas informs us about the embroiderer who were involved in the work of zardozi.

ज़रदोज़ कह ं सीवत ववत न 70 ससरऩव न के बहु वस्त्र – थ न “Somewhere zardoz is doing embroidery on costumes There were varieties of fabrics in bayle for Siropao (dress of honour)

2.3.2 Chikandozi/Chikankari Embroidery in white cotton thread upon fine white cotton fabric.71 The pattern was used in stitchery upon the surface of fabric, in open work ( type), or in shadow work (bakhia and khatwa). Sometimes several of these techniques are combined upon the same pattern.72

2.3.3 Phoolkari or Guldozi It involves an embroidery on coarse cotton by using the floss silk (untwisted silk thread). It is a flowered work which is executed from the back of the fabric, picking single thread with the needle.73

2.3.4 Kalabattu Embroidery done with gold or silver gilt threads.74

69Indian Embroideries, vol II, op.cit, Glossary. See also J. Forbes Watson, The textile manufactures and the costumes of the people of India, op.cit, p114 70Budhi Vilas, op.cit, p 18 71 Farhang Istilahat-i-Peshwaran, op.cit, Vol. II, p 68 72Indian Embroideries, vol II, op.cit, Glossary; Costumes, textile and jewellery, opcit., page 57, See also J Forbes Watson, The textile manufactures and the costumes of the people of India, op.cit, p116. 73Ibid 74Ibid 54 Chapter-2 Colouring and Embellishment of Jaipur Costumes

Fig 2.10-The technique of Kalabattu 2.3.5 Mukesi/Kamdani Embroidery done with flattened gold or silver thread. Usually small dots are embroidered.75

Fig 2.11- The Mukesa/ Mukesi embroidery

Fig 2.12- Different embroideries of Rajasthan, courtesy Albert museum

75Ibid. 55 Chapter-2 Colouring and Embellishment of Jaipur Costumes

2.3.6 Murassakari Inlayering with that of gold and silver wire. Interestingly enough Vastragrah document elucidate the nature of technique employed by the artisans, by gold inlayer (Murasakari), the face was in layered by the combination of Gold wire and the essence of Jasmine flower phool mogra sangeen murassakari sone ka tar ka lapeta chehra.76. We come to know the details of the faces of animals designed on the fabric eg. Peacock Madhai Ieepa ki Mewal Mor Ka chehra.77 On the Sarbansukh fabric Hirani (Deer) ka Chehra and Mor Morni (male and female peacock) ka Chehra is mentioned78. These types of motif and designs on the fabric were not favoured by Mughals instead they preferred Butas, Chhapas of flowers and plants. In one of the folio of Vastragrah, it is recorded Madhai Mor ki Pankha79. It shows that the designs on the pattern of Mughals were also implemented in the workshops at Jaipur.

Table 2.2- Different types of techniques employed to beautify the fabrics, as culled from Vasragrah Document Date/ Day Total Unit Techniques on Price. Reference Than/bayle Fabrics Rs. Annas (Folio no.) Asoj Vadi 14/ 1 Zari (Gold) 30 259 Friday 5 Chikandozi 25.5 259 1 Mukesdozi 55.8 259 Asoj Sudi 4/ 1 Mukesi 13 259 Tuesday

9 Kalabattu 39 2 Chhaapadar 29 27 Butadar 29 1 Chhint ka 29 8 Phoolkari 30

Table 2.2 from document Jamakharach Vastragrah records the various types of embroideries like Chikandozi, Mukesdozi, Phoolkari, Kalabattu, embroidery from Zari (designs made by gold) i. e, Zardozi etc. which were discussed earlier. The above table also shows us the other techniques of adornment used on the fabrics like chhapdar, design is called as chhapadar; when it has prints of several motifs (chappas of various kinds) and Butadar when it has special prints of butas, butis, bels, Chhint is another type

76Jamakharach, Vastragrah, Bundle No 2, V. S. 1799/A.D.1742, R.S.A., f. 130 77 Ibid,f. 122 78Ibid,f 133. 79Ibid, f 40 56 Chapter-2 Colouring and Embellishment of Jaipur Costumes of technique which can be understood as spatter print. We can also understand, that among the prints Butadar technique has been applied on maximum bayle of fabric (i. e. 27). Technique of Mukesdozi or Mukesi, embroidered as dots from gold wire is most expensive among the embroideries in document Vastragrah, its rate is Rs55.8annas. Ain also mentions about the Zardozi, Kashida and Kalabatun embroidered stuffs.80. The Kalabatun (gold wire) is used as a special weft along with silk.81

Table2.3- Different types of embellishments done on the fabrics based on Vastragrah Document. Date/ Day Total Unit Embellishment Price. Reference Than/bayle on Fabrics Rs. /As (Folio no.) Asoj Sudi 4/ 24 Dor Reshami 52 Tuesday Gota Zari 233 Kinari Zari 100 8 Nukrai (gold) 52 17 Kiran 408 6 Tilai (silver) 424

Table 2.3 gives us information about different types of embellishment material used on fabrics. For instance Dor reshami 24 than used as decorating material for embroidery and other stitches and Kiran (lace) 17 than and Gota zari (golden lace or gold worked lace) were used to decorate the borders of the Costumes. Similarly kinari Zari shows us the border of the fabric beautified with the design made from Gold wire i.e. Zari. The adornments such as Nukrai and Tilai is frequently mentioned in our documents can be understood as the golden work and silver work on the fabrics.

Fig 2.13-The artisan involved in embellishment with lace (Kiran), courtesy, Albert museum

80 Ain,op.cit, p. 67. 81 Indian Art at Delhi, op.cit, p 416 57 Chapter-2 Colouring and Embellishment of Jaipur Costumes

Table2.4-Details of fabric alongside the embellishment as gleaned from Ratangrah Document

Variety of Cloths with Total Unit Unit Price. Reference different types of (Than/bayle) With Rs. Annas embellishment Breakup Pashami (woollen) sada 3 2 19.8 1380 (plain) 1 8.8 1380 Jhilmil 5 1 10.8 1380 1 7.4 1380 2 7 1380 1 6.9 1380 Butadar Pashami 43 1 6 1380 20 5.6 1380 3 5 1380 6 5.2 1380 8 4.11 1380 1 3.12 1380 2 3.10 1380 1 3.4 1380 1 2.2 1380 Jama mashru Chikandozi 1 1525 Rangeen Chhapdar 3 1525 Mahsru Chikandozi 1 1525 Zari ka 1 23 1525 Sari rangeen mai kor 5 1 7.13 3097 1 7.7 3097 3 7 3097 Pheta rangeen mai kor 2 1 5.11 3097 1 4.14 3097 Mahmudi Rangeen mai kor 1 1.13 3097 Mashru butadar 4 10.2 3097 Alaicha butadar (alaicha is 1 7 3097 striped silk stuff) kurta zari saila Rangeen mai 2 2.10 3097 Gota (saila is high priced cotton stuff) Phulkari (floral embroidery) 5 2 2.2 1381 1 1.12 1381 2 .9 1381 Mukesi 4 1 20 3096 2 15 3096 1 7.8 3096 Sarpech pashmi butadar kor 6 1 28.2 3096 1 13 3096 1 12.14 3096 1 11 3096 1 9.11 3096

58 Chapter-2 Colouring and Embellishment of Jaipur Costumes

1 6 3096 Gujrati (brocade) 2 1 11.12 1523 1 6 1523 Banarasi (brocade) 3 1 10 1523 1 6 1523 1 5 1523

We can infer from above table that costumes like Jama, Sari, Pheta, Kurta, Sarpech were made of variety of cloth and embellishments. Most of the fabrics were expensive variety i.e. pashmina, mahmudi, masru, Alaicha, Banarasi etc. These fabrics were further decorated.

Document Ratangrah also recorded the types of embroideries like Mahsru Chikandozi,82 and Phulkari83. This document also enrich our knowledge of adornment on the kor (fringes) like Sari Zari Nukra Mai Kor,84 from this we can understand type of golden work on Sari which has silver decorated fringes. We can also notice here the variation in the beautification done on the fabric namely Sada, Rangeen Butas, Chhapas, Gota, Jhilmil, Sunheri, Zari(Brocade), Nukra (chandi), thus one can discern that not only the fabric was best of its kind but fancy luxury items are used for embellishment. Sometimes goods were imported from other states, like Gujarat and Banaras85.

Table 2.5- Expenditure incurred upon adornment of deities and royalty statistics from Ratangrah

Names of Total Unit Raw Material/ Unit (Than) Price. Reference Deities or (Than) Variety of With Rs./As Royal people Cloths Breakup Thakurani ji 3 1522 Sari Zari(Gold) 1 173 1522 Nukra(Silver) mai kor Ghaghra Tas 1 12 1522 Zari Nukra Kanchli Kurta 1 2/8 1522 Swami 2 1522 Radhakrishan Sari Amari ki 1 8 /8 1522 Awaro chhint ko 1 1/8 1522 Thakur Shri 16 1519 Ram ji Sari Rangeen 8 1/12 1519

82Jamakharach, Ratngrah Bundle No 2, V. S. 1799/A.D. 1742, R.S.A.B, f. 1525. 83Ibid.f 1381. 84Ibid, f. 1522. 85Ibid, f. 1523 59 Chapter-2 Colouring and Embellishment of Jaipur Costumes

Ghaghra 8 12As 1519 Rangeen Thakur Shri 3 1519 Lakshman ji Turro Sunehri 1 6 1519 Chira Rangeen 1 3/13 1519 Alam Rangeen 1 1/13 1519

Gaz Thakurji 5 6.75 38/11 3101 Thakurani ji 12 134 1641 Thakur Sri 6 29.75 1642 Mahaprabhu ji

As is evident from the name of document, Ratnagrah relates to expensive material. It might be because the fabric and the other goods used for embellishment were manufactured and consumed by elite strata of society and also manufactured commodity used in offertory of the deities as shown in the table. The table illustrates the total unit of than (bayle) and the sub – division of than under the heading breakup which shows us the different varieties of fabric or costumes used for one individual or deity for instance for Thakurani ji the total unit of than recorded is 3, but this quantity is divided under Sari Zari Nukra mai kor 1 than, Ghaghra Tas Zari Nukra 1 than, Kanchli Kurta 1 than with their respective rates Rs 173, Rs 12, Rs 2 8As. The table also indicates that the maximum unit of than 16 was used for Thakur Sri Ram ji but the price was lowest i.e.12 anna.86 So this indicates that highest unit of bayle i. e. 16 than used for Sri Ram ji, but the fabric referred as Rangeen means the fabric only dyed in some colour. The price of Cloth bayle 3 for Thakurani ji is highest Rs 173, this refers to us that the adorning done on the Sari of Thakurani ji was the most expensive one, we can infer that the costumes of Thakurani ji were beautified by gold and silver.87 Therefore the than (bayle) used for Sri Ram ji was quantitative and for Thakurani ji was qualitative.

We can trace that total 2 bayle were given for Swami Radha Krishan ji as sari ambari ki and awaro chhint ko with 1 bayle each.88 Ratangrah recorded 6 bayle and 30 gaz of fabric for Thakur Sri Mahaprabhu ji89 and the other deities recorded in our documents

86 Jamakharach Ratngrah, Bhadva Sudi 3 V.S. 1798/A.D.1741 to Pausa Vadi 10 V.S.1799/A.D.1742., R.S.A.B., f. 1519. 87Ibid, f. 1522 88Ibid, f. 1522 89 Ibid f. 1642 60 Chapter-2 Colouring and Embellishment of Jaipur Costumes are Thakur Sri Kilki ji ke gona mai 8 bayle of textile was given90. In the decorative of Sri Ramji tafta was used.91 The name of deities like Sri Salegram ji92 and Sri Govind ji93 also find mention in our source. We can understand from studying Ratangrah that the expenditure incurred for adornment on textile and offertory fabrics of deities was recorded on daily basis.

We can conclude that there was a wide variety of techniques used in colouring and beautification of fabrics, which were manufactured as costumes for the usage of royal household. Multiple types of decoration were done on the fabrics in karkhanas of Jaipur for royal people and it was recorded in the documents with their intricate details of unit, price, weight, measurement.

Rangkhana document gives information about various types of ingredient used for the extraction of colours from natural herbs like pomegranate rinds, turmeric, vermillion, indigo, saffron, safflower etc. Natural extracts were used for dyeing the fabrics. There are various types of dying pattern known as Tie and dye, also called as bandhani and laharia pattern.

Chhapakhana document recorded the different types of print used on fabrics for instance various designs of motifs butas and bels with the help of blocks. In the document we repeatedly find the terms like butadar, chhapadar, chhint, rangeen and badrang. We also come to know about the printing techniques, which were prevalent in eighteenth century; the names were Dabu printing techniques, and Ajrak printing technique, wherein main ingredient colour was indigo.

The Vastrgrah and Ratangrah documents illustrates the embellishment types like embroideries named as zardozi, chikandozi, phooldozi, kalabattu, mukesa etc and Tinsel like gota, decorated Kinari, tilai, nukrai, gold and silver .

The study of costumes assumes importance because it gives social representation and cultural identity of a society at that particular time and place. Our study shows that although almost all types of karkhanas were present in Jaipur, but the textile industry or more specifically the area of colouring and dyeing had reached its zenith in eighteenth

90Ibid,Vadi 6, Friday, f. 3101 91Ibid, Sudi 10 Tuesday, f.1519 92Ibid, Shravan, Vadi 3, Staurday, f. 1643. 93Ibid, Shravan, Vadi 8, Wednesday f.1649 61 Chapter-2 Colouring and Embellishment of Jaipur Costumes century. Sanganer and Bagru region both became effective skilled centre for dyeing and printing of the textiles and this continues till today. The laharia, bandhej, pachrangi safa or dyed fabric in fast colours is the speciality of the region of Jaipur.

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CHAPTER-3 VARIETIES OF COSTUMES Chapter-3 Varieties of Costumes

CHAPTER-3 VARIETIES OF COSTUMES

Costumes are the outfits or attires of an individual or group that reflects gender, profession, ethnicity, social and economic status of the community and represent the characteristic of a particular period. It defines the prevailing . The study of costumes is immensely useful for the analysis of status, culture and the social behaviour of the people of the rural or urban area.

The climatic conditions of the region also determine the type of costume worn by community. Diffusion of different cultures through centuries in India also resulted for creation of varieties of new costumes. As one may consider Qaba, Jama, Gadar types of costumes, which have Turkish origin, but with the coming of Mughals to India, it assumed an Indian appearance. Gadar is defined as coat, which was broader and lengthier from jama, with more wadding. In Hindustan, it occupies the place of fur– coat.1

The sources to scrutiny the varieties of costumes for Jaipur region are extant both in literary and visual form, manuscripts viz Ain-i-Akbari, archival records like Rangkhana, Toshakhana, Chhapakhana, Vastragrah, Ratnagrah, and painting and portraits preserved in different museums like Maharaja Sawai Man Singh II Museum in City Palace of Jaipur and Albert museum. It is through these sources we comprehend the variety of costumes worn by the common people as well as royal class.

Mughal wardrobe exercised tremendous impact on the costumes of Jaipur, fortunately one can have a fair idea of Mughal apparel from Ain-i-Akbari, and it dealt with the various attires in the wardrobe section. Ain gives us details and names of different costumes, which are dealt in following discussion.

In the 16th century, coming of Mughals, affected the trend and vogues of the prevalent costumes. It was now mixed choice of Hindus and Muslims, with only minor changes. From the museums of Jaipur i.e. Albert museum and Maharaja Sawai Man Singh II museum, we can understand the sense of dressing among the royal classes. We also get the glimpse of common man costumes from the paintings and clay model preserved in museums.

1 Ain, op.cit, P 71

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Broadly costumes can be classified into upper garment, lower garment, Armour, and Accessories. Each of these categories had several types, which are discussed below

3.1 Upper Garment The various types of costumes used as upper garments in the royal household of Jaipur in late medieval period can be defined as different types of angarakha, achakan, chuga, atamsukh, jama, neema (Jacket) etc. The commoners also used same kinds of upper garments like angrakha, jama, chuga made by ordinary cloth as will be seen in course of discussion. These upper garments of Jaipur royals were inspired from the various coats described in Ain. So we first discuss coats of Mughal India described in Ain.

Coats: There is a wide variety of coats mentioned therein, determined by different occasions to adorn it, as for instance takauchiyah, peshwaz, dutahi, shah-ajidah, qaba, gadar, farji and chakman.

Takauchiyah, Abul Fazl defines it, as an Indian form of a coat, which was without lining, commonly known as jama2. Primarily it used to be tied on the left and had cuts of skirt, but it got its new look as per the instructions of Emperor Akbar. The refined version had the skirt attached to it, now became round and it also came to be tied on the right side.3

Peshwaz, a long flowing robe for ladies, it has been defined as a coat, somewhat like Takauchiyah, it is open from the front, occasionally it was without strings at the opening.4

In Ain Dutahi is explained as a coat with lining. As is apparent by the name itself it was double layered apparel.

Shah-Ajidah as is inferable by its term was royal stitched coat. It had woollen texture, and it was generally supposed to have double lining or wadded or quilted material with sixty attractive stitches per . It was supposed to be an expensive work done for royal people5.

2S.P. Verma, Art and material culture in Paintings of Akbar court, op.cit p 47 3Ain, op.cit, P 70 4Ibid, P 71, see also Art and material culture, op.cit, p 48. 5Ain, op.cit, P 71

64 Chapter-3 Varieties of Costumes

Qaba is a costume which Ain demonstrates as jamah-i- pumbahdar or as long coat which was wadded6.

Gadar was a coat with sweeping length and wide breadth than qaba, it used more wadding and served the purpose of fur-coat7

Farji was a shaped waist coat which was front open and was supposed to be top coat. It had Turkish origin.8

Chakman was a coat prepared variously from , woollen stuff or wax cloth9.

Upper garments described in region of Jaipur Angarakhi: Angrakhi is a derivative of the term angrakshak, Buchanan called it as angrakhi which was a short calico vest with sleeves similar to angga10, he further added instead of being fastened on both side, was tied on one side only viz, on right side by Hindu and on left side by Mahomedan11. In 18th century a regular angrakhi for the ordinary people was identified as a long dress of double breasted style, with fastening on the shoulders and under the arms. It had a circular cut in front which was indicated by magaji on cotton costumes.12 Variations were made by colourful brocades bel on luxurious or exclusive ones. It has full sleeves open at the wrists.13 It served as for royals14. Various types of angrakhi are briefly mentioned below

The illustration refers to the quilted angrakhi made of brocade having a golden zari jhar motif on red ground, which has uttu (highlighted) design; jhar butis also have blue silk dots and zari border on neck, front wrists and on hem. It also had zari ghundis (loop) in front and on wrists. This angrakhi is stitched in Maratha style, which has longish neck cut and also wrists with three corner, gathering on waist, yellow silk sinjaf (inward

6Ibid, see also, Art and material culture, op.cit, p 48. 7Ibid 8Ibid 9Ibid, p 72 10 Istilahat-i-Peshwaran, Vol., II, p 118 11Buchanan, C.F. J Forbes Watson, The textile manufactures and the costumes of the people of India, op.cit, p 56. see also B.N Goswamy, Indian costumes in the collection of Calico museum of textile, opcit. P 27 12 See figure 5.6. 13Ibid,p xxv: see also Chandramani Singh, “Paridhano Ka Safar”, Sujas Vastr Vidhan”, Rajasthan Sujas, (October – November, 1997), 5; see also Rajasthan k Paramparagat Vastra Paridhan, op.cit 2008 . 14Costumes Textiles and Jewellery of India, op.cit, p 95

65 Chapter-3 Varieties of Costumes border) and light green silk sinkia (very narrow) magaji (border). Mid-18th century could be gifted from Scindias of Gwalior with Length 114 cm15.

Another woollen quilted angrakhi had green loom and was woven with floral butis in red, pink, yellow, blue and brown colour yarn on green ground; orange silk sinjaf having cotton and silk lining and yellow silk sinkia magaji, zari border on neck, sleeves front and on daman, dated back to Second quarter of 18th century. Kashmir material tailored at Jaipur. L 125 cm, damaged.16

We have collection of 6 more angrakhis of Kashmir material tailored at Jaipur in 18th century in which three are damaged. It means in 18th century the angrakhis of woollen material were much in demand, later in 19th century cotton angrakhis were also stitched as observed from the collection preserved in city palace at Jaipur. Regional document also give details of dress like angrakhi, the details are as follows angrakhi panchtolna ki rangeen than 117, angrakhi Chhint ki than 2, dar 1318. angrakha makhmali than 619. Local journal considered this costume as majestic angrakha, because when it was folded it appeared like ghaghra of females, when it was hanged or worn looks like a male dress20

Fig3.1- Angrakhi and Pyjama, picture courtesy Albert museum

15Catalogue MSMSII, meuseum, Acc.no. Tc./A-8, op.cit p 60. 16Ibid, Acc.no. Tc. 977.76, p 63 17Roznama Rangkhana, V.S. 1852/ A.D. 1795. f 2, Miti Baisakh Vadi 2, Sunday 18Dastur Komwar, V.S. 1841/ A.D. 1784 B.N. 23 (Miscellaneous), page 364, Miti Chaitra Sudi 6 Saturday to Miti Mah Vadi 11 V.S. 1834/ A.D. 1777, Toshakhana. 19Jamakharach Silehkhana, V.S. 1771 to 1772/ A.D 1714 to 1715, f 77 20 Hiteshi, op.cit, p 324.

66 Chapter-3 Varieties of Costumes

Achakans: Angrakhi later on, become a form of achakan. There were kalis on achakan in the beginning, and also a circular cut on the front but with a straight opening with . After a decade kalis disappeared and a new form, achakan appeared, though the old angrakhi remained in use. Present angarakhi is a double breasted dress of waist length, which more or less combines jama and angrakhi.21

Fig3.2- Picture of Achakan

Chuga: Chuga/Choga –The royalty in medieval India wore chuga over angarakhi on formal occasions. Chuga was a long with full sleeves or can be understand as an over coat, always of expensive material. It was either of very fine muslin with gold or silk embroidery, wool and embroidered or woven pattern, especially designed brocade or silk with beautiful intricate pattern. Chuga was in fashion and was in demand therefore weavers of Dacca and Banaras made chuga pieces, with buti or jal on the ground and pan, mukuta kalanga or large jhar butas on the arms, back, front and on daman.22

Chuga, silk satin, maroon, chaukari design in uttu23, quilted, zari border on neck, front wrists and on daman, golden chip on neck, zari ghundis in front and on wrists, yellow silk Sinjaf and striped silk lining. Early 18th century, tailored at Jaipur. L. 150 cm.24

21Ibid, p xxv see also, “Paridhano Ka Safar”, Rajasthan Sujas, op.cit, p 5 see also Rajasthan k Paramparagat Vastra Paridhan, op.cit, 2008. 22Ibid p xxvi see also Ibid; see also B.N Goswamy, Indian costumes in the collection of Calico museum of textile, opcit. P87 23Catalogue MSMSII, meuseum, op.cit, Glossary, Uttu means carved design or embossing work

67 Chapter-3 Varieties of Costumes

Fig 3.3- Picture of Chuga, Courtesy to MSMSII

Chuga of Maharaja Sawai Jagat Singh – Brocade, golden zari mohar butis on red ground, minakari on sleeves, yellow silk Sinjaf L. 151 cm, and Banaras material tailored at Jaipur, Ca 1810. (A figure taken from city palace)

Atamsukh: In severe cold, men in the royal household wore a long quilted dress to keep themselves warm known as atamsukh or a “comfort to the soul”. This dress flowed till the ankle and had short sleeves for show and was not for actual use. An atamsukh was instead was wrapped around the body like a cloak. The dress is simple but majestic. An atamsukh was generally made of silk or brocade but after 1850 when European fabric started pouring into the Indian market, the Maharaja and their courtiers preferred European printed cotton and instead of the traditional Indian material.25 Different types of atamsukh are briefly mentioned below:

Atamsukh, long and loose quilted dress, worn in winter, its sleeves were not meant to put on and therefore were small. Brocade - golden zari butis on red ground. butis have green silk dots, light yellow cotton lining and yellow silk sinkia magaji. This particular piece was probably worn by Maharaja Madho singh I (1751-1768). Ca 1760, western Indian material, tailored at Jaipur. L. 198.5cm.26

24Ibid, Acc.no. Tc./A-47, p 65 25Ibid, p xxvii see also “Paridhano Ka Safar” Rajasthan Sujas, op.cit, 6. B.N Goswamy, Indian costumes in the collection of Calico museum of textile, opcit. P 44 26Catalogue, MSMS II museums, op.cit, Acc.no. Tc./A-11, p 63

68 Chapter-3 Varieties of Costumes

Atamsukh, long quilted dress, woollen material, floral butis in blue, red, yellow and black on green ground; light red silk sinkia magaji; and yellow silk sinjaf; salaidar (striped) silk lining, slit on arms, golden zari ghundis in front, chip only in front portion, but zari bel on neck sleeves front and on hem, early 18th century Kashmir material, tailored at Jaipur. Length is 156cm now in damaged condition.27

Fig3.4- Atamsukh, picture courtesy Catalogue MSMSII

Jama: An official costume for medieval period was jama,28 which was divided into two parts, the upper one comprises of a tight-fitted bodice or a sort of coat, which was fastened by a skirt for the lower one. It had full sleeves. Jama is a dress of primary origin and perhaps is one of the oldest garments to survive so long, though with some changes in style. The ancient khurasani skirts with pointed corners become round in the late medieval period and the skirt swept down gradually from knee to ankle.29 Various types of jama are given below:

Jama of cotton fabric which was white in colour and has embroidered with green blue silk and badla; crimson silk sinjaf, dated back to Ca 1750 tailored at Jaipur with length 125.5cm.30

27Ibid, Acc.no. Tc.983.76, p 64 28 Istilahat-i-Peshwaran, Vol., II, p 137 29Catalogue MSMS II museums, op.cit , p xxvi see also “Paridhano Ka Safar”, op.cit p 6 see also Rajasthan k Paramparagat Vastra Paridhan, op.cit, 2008 . B.N Goswamy, Indian costumes in the collection of Calico museum of textile, opcit. P 38 to 47 30Catalogue, MSMS II museums, op.cit , Acc.no. Tc./F-7, p 67.

69 Chapter-3 Varieties of Costumes

Fig3.5- Picture of Jama, picture courtesy city palace

Jama of Maharaja Sawai Ishwari Singh – cotton, white blue silk and badla crimson silk sinjaf (border turned in wards), tailored at Jaipur. (city palace).31

Fig3.6- Picture of Wedding Jama, Courtesy to MSMSII

31 Picture taken from the museum of city palace in physical survey, L 125.5 cm, AD 1750

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Wedding jama of Maharaja Sawai Pratap Singh – cotton red, decorated with gota and lappa, the jama has very heavy skirt, bodice of the jama has gota and beetle wings decoration, 320 Plaits are in the skirt, Tailored at Jaipur. This jama was also illustrated with special reference of wedding jama32

We also have many of references of costume jama in our archival documents i.e. jama than 633, jama pashmi kimat Rs 19, dar 15, than 234, jama saila than 4 in which than 2 having a dar Rs 13.8 anna, than 1 dar Rs 20, another than 1was of dar Rs 1835, jama saila mukesi than1 kimat Rs 200.36

The upper garment of common folk like jama angrakha had less cloth material in their costumes, due to daily chores, they had to perform as is depicted in the sketches from Art and Material Culture. The costumes of common people were also according to their professions. The royal servants had to wear tail coat.37 The normal artisans used to wear short angrakha or anggya type of garment which used to reach only up to haunches38

Fig 3.7-Upper garment of common people , courtesy to Art and Material Culture

32 Ibid L 129 cm, Ca. 1790, Catalogue MSMSII, museum, op.cit, Acc.no. Tc./J-1, p 67 33 Jamakharach Ratangrah, op.cit, f 641 34 Ibid, f 3102 35Jamakharach Vastragrah, op.cit, f 246 36Ibid, f 260 37S.P. Verma, Art and Material culture, op.cit, 38 J. Forbes Watson, The textile manufactures and the costumes of the people of India, op.cit 56.

71 Chapter-3 Varieties of Costumes

Fig 3.8-Darzi preparing the caps, picture courtesy Albert museum

The costumes of common man can be traced by clay model preserved in Albert museum. The artisan wearing short angrakha up to the waist and pyjama is little below of the knee.

Kurti and Kanchali: Kanchali a corrupt form of Sanskrit kanchuki was a bodice with long sleeves but short at the waist, and was worn with kurti because kurti is long at waist with sleeveless . Both were worn simultaneously along with one another. The Maharaja Sawai Man Singh II museum has a number of kurti and kanchalis of cotton and silk. They are often decorated with gota and beetle wings and salma-sitara. A set of kurti-kanchali usually has the same pattern of embroidery and gota work. In an ordinary kurti and kanchali, cotton magaji was used on the sleeves, neck and on the lower edges to make the dress attractive.39 Jamakharach Ratangrah give details of kurta kanchali thus than 1 kimat Rs 2.8 anna40, kurta zari ka41, kanchali with the combination of kurta zari dar 2.10anna than 2, and its kor i.e. fringe was of rangeen gota with dar 11anna, than 342

39Catalogue MSMS II museums, op.cit, p xxxv see also “Paridhano Ka Safar” op.cit p 7 see also Rajasthan k Paramparagat Vastra Paridhan, op.cit, 2008 . 40Jamakharach Ratangrah. op.cit f 1522 41 Ibid, f 1382. 42 Ibid, f 1525

72 Chapter-3 Varieties of Costumes

Fig3.9-Picture of Kurti and Kanchali picture courtesy Albert museum

Fig3.10-Picture of padded jacket courtesy Albert museum

Padded Jacket – An upper garment, which comes up to the waist with half sleeves, worn under chained variety of armour, tailored at Amber.43 The recorded length was 57.5 cm it belongs to early 18th century.

Waist Band – Padded, brocade, bordered (beldar) – stripes of silver zari and violet colour silk, western India, Length of 98 cm. x Width 40 cm. early 18th century.

43Picture taken from the museum of city palace, during physical survey, L 57.5 cm, early 18th century

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3.2 Lower Garments The characteristic lower costume in medieval Jaipur consisted of dhoti, pyjama, ghaghra, which are still in use in rural area of Rajasthan.

Dhoti: Dhoti is a type of dress used by males as a lower garment with angarakhi, chuga and jama. The dhoti is a long piece of cloth which is variously adorned in different parts of India. The fabric is about four and half meter long, and has one meter width. It is mostly plain white cotton sometimes with a very narrow border on both sides lengthwise.44

Dhoti is also recorded in our document like dhoti rangeen than 645, dhoti khasa than 8, rangeen than 4, sada than 446.

Pyjama: Pyjama is type of dress which was locally known as izar in Jaipur region, worn now-a-days with kurta. It was tight-fitted in the legs but was quite broad at the waist. Single or double magaji was sewed on the of regular cotton pyjama and an expensive brocade border was stitched on silk or mashru ones. For cotton pyjamas, the silk material was turned and stitched at the waist making a narrow passage all around to obtain the draw string izarband in brocade and other expensive fabrics either cotton or plain silk was used for this purpose. A small number of late 18th and early 19th century brocade pyjama show the fashion of that period.

Portaits of Jagat Singh (1803-1818) depict him dressed in brocade Chuga or sometime angarakhi and pyjama of same material. Pyjama made of brocade, which has small cari butis of zari on deep violet ground. It has triple sinkia magaji and minakari ki bel on mohari with deep brick cotton lining. It also has broad magaji on the edges of the leg and yellow silk sinjaf. This is a characteristic example of pyjama as worn in the late 18th century.47

Woollen Pyjama with badrum jal pattern embroidered on slate grey ground with badla and silk green, yellow and orange, red silk sinkia magaji, yellow silk sinjaf and cotton lining, zari border on mohar, second half of 18th century, Kashmir material embroidered and tailored at Jaipur with length of 116.5 cm.48

44Catalogue MSMS II museums, op.cit, p xxviii see also “Paridhano Ka Safar”, op.cit, p 6 45Jamakharach Ratangrah, op.cit f 1641. 46Jamakharach Rangkhana, op.cit f 10. 47Catalogue MSMS II museums, op.cit, p xxviii see also “Paridhano Ka Safar”, op.cit, p 6 48Catalogue, MSMSII Museums, Acc. no. Tc. 986.76, p 103

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Another is also a woollen Pyjama whose loom was woven as small floral butis in yellow, blue, green and black on deep pink ground, white cotton lining, red silk sinkia magaji and yellow silk sinjaf, golden chip on muhr, second half of 18th century, Kashmir material tailored at Jaipur, length 114.3 cm49

Fig3.11- Pyjama from Catalogue MSMSII

Pyjamas in our document are izar referred as eg. izar rangeen chhapdar than 150, izar bafta ka than 1051.

Most of the lower garment pyjama and ghaghra of common people seem to have length little below the knee. This is evident in the fig. below

Fig 3.12-Depiction of costumes of common folk, picture courtesy to Art and Material Culture

49Ibid, Acc. no. Tc. 987.76, 50 Jamakharach Ratangrah, op.cit, f 1525 51Jamakharach Rangkhana, op.cit f 66

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Ghaghra: Ghaghra was a long skirt which came down to the ankle, the usual length being sixty to seventy centimetres, depending on the height of the woman who wore it. In the early medieval times ghaghra was not very heavy, with just enough pleats to look neat and still be comfortable in moving, but gradually the skirt become heavier like jama with the result that in the late 19th century, ladies wore ghaghra with four hundred and eighty kalis, which was neither comfortable nor elegant. It was only fashionable exaggeration. For daily wear woman had cotton ghaghra, printed or dyed. The material was dyed beforehand and then cut and stitched.52

Material for ghaghra was recorded as silk satin, maroon with red tinge, embroidered with kalabattu; bird and tree motif as shown in fig 3.15. A paper label stitched on the material reads, ghaghra of Atlas…..deposited on the fifth day of dark half of month bhadwa, V.S. 1855 (A.D. 1798) one. L. 210 * W. 79.8 cm. damaged.53

We have very good number of reference in our document for the costumes like ghaghra which can be followed as ghaghra worth Rs 47.8 anna54, ghaghra tas zari nukra amounting to Rs 12/- for than 155, ghaghra bafta dar 10 anna than 456, kor reshmina ghaghra than 857, ghaghra bafta rangeen than 658.

Fig3.13- Picture show type of Ghaghra material, catalogue MSMSII

52Catalogue, MSMS II museums, op.cit , p xxxv see also “Paridhano Ka Safar”,op.cit p 7 see also Rajasthan k Paramparagat Vastra Paridhan, op.cit 2008 . 53Catalogue, MSMS II Museums, Acc. no. Tc. 787.75, colour plate plate III, op.cit p 124 54 Jamakharach Ratangrah, op.cit, f 1525 55Ibid, f 1522 56Ibid. 57Ibid. 58Ibid, f 1642

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Fig3.14 -Ghaghra picture taken from Albert museum

3.3 Armour We also have some costumes names from the Silehkhana document. It is a document which records the material related to armoury. Costumes name like angrakha makhmali than/ bayle 659, was a quilted cloth, has a good length and width, it was worn over the armour. It was open in front and reached down the middle of shin.60pheta than 461. Angrakha, moza pheta was the costumes of the warriors. Through Silehkhana document we can study about costumes of army contingent.

The solider wore a particular costume which acted as body armour. These were not style based but served purpose of protection. The make of these costumes was heavy which was achieved by use of velvet and padded cotton cloth or quilted material. Some such examples are as follows

Beneath the metal soft cotton, velvet, silk or kimkhabs were used for padding them from inside. The outside edges were damascened and the borders carved with beautiful designs or decorated with patterns in gold and silver.62

Jaibah was a velvet coat of mail studded with small studs or knobs (mikh) all over.

Angrakha was an ordinary quilted tight-fitting coat of cotton. It reached till the knees which proposed a safeguard against sword-cuts. It was worn by the ordinary soldiers. It could also be used beneath the chain armours.63

59Jamakharach Silehkana, V.S. 1771 to 1772/ A.D. 1745 to 1746, f 115 60Art and Material Culture, op.cit, p 98 61Ibid,, f 97 62 G.N. Pant, Indian Arms and Armour, Vol. II., (New Delhi, Army Education Stores, 1980), P-166

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Jamaa-i-fatahi was a fine silken embroidered coat used by the men of upper rank. It was decorated with salma-sitara work and during the battles it was used beneath the coat of mail.64

Kamals were coat padded with cotton and wool. Almost every soldier in our region has his head secured by many folds of cotton cloth, which not only pass round but likewise over it and under the chin and the protection from the back of neck was provided with similar materials. This was composed of cotton thickly quilted between cloths and so substantial as almost to retain the shape of body like stiff armour.65

Fig 3.15- Dress of Armour

3.4 Accessories It included the subsidiary items like head-gear, gloves, vest/, jhunga/janghya, izarband (draw string), patka (waist band), , shoes (chaplis)

Head-Gear: Head gears are the type of costumes which used to cover the topmost part of body i.e. head. It was supposed to be the most important part of dressing in Mughal period, because it was associated with the ethics carrying element of an honour. Interestingly enough even the most modestly dressed artisan is always seen with covered head in paintings and museum. Subsequent discussion in this chapter would inform us,

63 Ibid, p 167 64 Ibid. 65 Ibid.

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Emperor Akbar coined term sissobha for head-gear, which implied the honour of head. There were several kinds of head gears which were identified by different terms such as pagari, safa, mandil. Cotton pagaris, chira and pheta, remain much in use, among the middle class of Jaipur around medieval India. Topi or , however was not an official head gear of youth in 17th-18th centuries, it later became popular in 19th century.66 The head-gear used for the women are odhani, dupatta, chunari, aanchal which were used to cover the head.

Pagari: Initially in the area of Rajasthan the use of pagari started with a long piece of fabric, for head protection in the hot climate. The pagaris were mostly prepared by cotton fabric, generally was 25 mts in length with 20 cm width. Usually a type of adornment (dying or printing) was done according to the occasion or social and economic position of a person. For the daily requirement, commonly dyed pagaris, in one single colour were used by all classes of the society, but tie-dyed pagaris with laharia, mothra (criss-cross pattern in tie-dye) and chunari pattern were for special occasions red, pink, orange and saffron were preferred colours.67 The variety of collected pagari given in the collection of catalogue also has white cotton pagari, which was embroidered with silk and badla (flat metallic wire, often silver gilt, used for embroidery) work, late 18th century made in Jaipur68. In the catalogue of MSMS II museum, most of the collection of pagari relates to 19th and 20th century

Safa: Safa is wider than pagari but smaller in length. The method of tying of safa on the head is that, one end remains hanging till the waist on the back. It is always adorned either in printed or embroidered or with a woven design. Safa was used only by the higher strata of the society and could not find its position among rural and common folk. At present also, grooms wear safa in their wedding, so this makes us understand the special position of safa in the social arena. The oldest safa in the collection of museum belongs to early 18th century.69

We shall briefly describe few important types of safas catalogued in the MSMSII museum below. These masterpieces are mostly cotton fabric profusely embellished by silk and gold work or printed motifs

66Catalogue MSMS II museums, op.cit, p xxii. 67Ibid p xxii. 68Ibid Acc. no. Tc. 32.76, p 51 69Ibid, p xxiii.

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Safa made of cotton fabric; it has printed tiny butis in white, red, purple, green and black on mustard colour ground with floral butis on pallava on red ground, also decorated with zari strip on pallava. It was embellished in first quarter of 18th century at the place known as Sanganer it has length of 3487 cm and Width 42cms70.

Safa whose fabric was defined as cotton having a white base on which leaf motif was printed in black, but pallava with butis was missing. A square octroi seal on it reads सवाई

जैपुर सवं त 1856” – Sawai Jaipur V. S. 1856 (A.D.1799). This is the earliest dated example, printed at Sanganer in this collection which was about1200 cm longer and 40 cm wider.71

Cotton fabric safa which has prints of white dot on black ground, designed in first quarter of 18th century at Malwa, presently damaged.72

Some other illustrations of safa in the collection printed at Malwa in 18th century are also badly damaged. They were three in number.

Safa made of white cotton, with zari border on the pallava, above the zari portion there was printed border on pallava in green colour and gold. The broad pallava has printed with plant motif prepared in early half of 18th century at Burhanpur 1503cm and 63cm. length and breadth respectively73

Another illustration is of white cotton safa, having ganga-jamani zari border on pallava. Both narrow border and broad pallava have mothra in dark blue colour which was printed in early half of 18th century at Banaras with length 800cm and Width 59.5cm.74

This illustration has brown cotton safa decorated with zari on both pallava- one side plain zari pattern and the other side has tree motif with bel around, pattern is in silk yarn of colour red green black and in sliver zari on zari ground. A paper label stitched with the material reads, takuji, deposited on the fifteenth day of bright half of month of paush V.S. 1848 (A.D. 1791) chira of abbasi colour, piece 1 (price) Rs. 30/- prepared at Chanderi with Length 2652 Width 52.5cm.75

70Ibid Acc.no. Tc/B- 48, op.cit, p 52 71Ibid, Acc.no. Tc/B- 49, p 52 72Ibid, p52 73Ibid 74Ibid, p53 75Ibid

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These above samples of the collection of safa preserved in city palace makes us understand that the safa was procured from various places like Sanganer, Malwa, Burhanpur, Banaras Chanderi, and was in vogue in 18th century as compared to pagari, mandil etc. The most popular head-gear seems to be safa among the royal class.

Mandil: It was a type of head gear which seems to be shorter in length, then pagari about 11 mts long and slightly wider then pagari about 26cm We can understand mandil as smaller form of pagari. People who have seen men wearing mandil say that it was tied in a style different from pagari. Seeing the size of mandil it can safely be said that it was a head dress like pagari but for which bandhej (tying pattern) must have been different.76

Mandil of cotton fabric white in colour which was embroidered time period recorded late 18th or early 19th century at a place Jaipur, L. 1442 and W. 42cm.77 most of the collection is from 19th and 20th century.

Topi or Cap: In 16th century Topi or Cap can be understood as a . It was somewhat a modern wear not traditional one. Later in 19th century it became popular in the court. There were three types of cap were in vogue: dupalia, or cap made of two pieces, chaugoshia, consisting of four pieces and panchapalia of five pieces.78

This illustration is a variety of topi which is known as chaukhulia having green brocade with gota, also embroidered with kalabattu ca 1850, Jaipur.79

Dupalia: As mentioned the above dupalia type of cap can emerge by the stitching of two pieces together. Because of its shape, it was known as khankhasenuma topi, which was somewhat lengthier and semi-circular like a cocks comb: These dupalias were made of cotton, silk or brocade, in maximum cases they look beautiful either embroidered or with applique work with gota, gopharu or salma-sitara or beetle wings. These topis have intricate designs on them. The topi was lighter than safa, pagari or mandil and become very popular in the 19th century.80

Topi which was termed as dupalia having a white with red magaji, (border) embroidered with sitara gokharu and pot prepared at Jaipur.81

76Ibid p xxiv. 77Ibid, Acc.no. Tc. 483.75, p 51 78Ibid p xxiv. 79Ibid, Acc.no. Tc./A-45, p 53 80Ibid p xxiv. 81Ibid, Acc.no. Tc./c-5, p 54

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It has been observed the caps became more famous in 19th century, so we have more collection of caps of both types chaukhulia and dupalia but dated mostly from 19th and 20th century.

The information procured from the karkhanazat documents elucidates that two terms were used frequently for head gear in the region of Jaipur these are pheta and top or topi, for instance pheta than 682, pheta rangeen mai kor than 283, pheta banarasi than 1 Rs. 1084, pheta Agra zari than 1 kimat Rs. 4085, pheta mukesi Rs. 40.8anna86, top than 10187, top tafta ka than 8, Rs 2.8 anna,88, top pashmi butadar than 5 at dar Rs 5.2anna89, topi oon ki .51 Paisa90 chira mukesi than 1291

Our document demonstrate the variety of costume like pheta having a rich diversity in its decoration like pheta made up of banarasi, pashmina and tafta fabric, pheta embroidered with mukesi design and butadar print, the topi likewise have several types.

82 Jamakharach Ratangrah, Bundle No 2, V.S. 1799/A.D. 1742, R.S.A.B, f. 3102 83Ibid, f. 1525 84 Jamakharach Vastragrah, Bundle No 2, V.S. 1799/A.D. 1742, R.S.A.B, f.247 85 Ibid, f.248 86Ibid, f.248 date and day recorded is Miti Asoj Vadi 12 Wednesday. 87Ibid, f. 1642 88 Ibid, f. 261, date and day recorded is Miti Asoj Sudi 8, Saturday. 89 Ibid, f. 273 Miti Magshri Sudi 14, Tarikh 15, Tuesday. 90 Jamakharach Rangkhana, Bundle no 1 V.S. 1755 to 1793/ A.D. 1698 to 1635, f 18 91Ibid, f. 271 Bhadwa Sudi 3 V.S. 1799, pous Vadi 10 Samvat Majkar jma ujuh Mojiram togdar Ratngrah ka the paya

82 Chapter-3 Varieties of Costumes

Fig3.16

Fig3.17

Fig3.18 Figures 3.16, 3.17, 3.18, - Different types of head gears, picture courtesy, Albert museum

83 Chapter-3 Varieties of Costumes

Ain also elucidates the word as the cloth to tie, which has been used as head gears, it was variously pronounced as chira and fautah at that time (the types of ).92

Odhani: Women wore odhani, a piece of material usually three meters long and one and half meter wide. One corner of this material was tucked in the ghaghra at the waist and the other was left hanging down to the ankle. This length of fabric was then passed over the head and the right shoulder, so that its other end was left hanging covering the breasts or tucked into the ghaghra. The museum has large collection of odhani of different types. Most of them are of cotton either printed or dyed. Some are of Banaras silk and some of cotton, with intricate pattern of gota and silk. A number of late 19th century odhanis are of net also, embroidered either with silk or kalabattu.93Different types of odhani are described below:

Odhani made of pot which contain mauve colour, embroidered with kalabattu and salma-sitara; jal on ground, bel on borders, arch with flower vase pattern on pallava and also pallu; gota all round on edges. Late 18th century, embroidered at Jaipur. Length 264 and width 134 cm it is damaged.94 Odhani of cotton fabric and printed with shaivaite motifs Ca 1800, Sanganer. L. 297.5* W.168.695

Material for odhani, cotton, black, anchal has jhar butas in red, black and light green, silk on golden zari ground guarded by bel and plain silk lines defined time period is Ca 1800 at the place known as Chanderi with Length of 376.5 and Width 103.5cm in damaged form now.96

Karkhanazat document refer to this costume with the term as odhani and dupatta like odhani than 8297, odhani rangeen than 4698, dupatta bafta ko than 199, dupatta than 6, in which rangeen were than 3 and safed than 3100, odhani makhmali at the rate of Rs. 2/-101.

92Ain, op.cit, p 72 93Catalogue, MSMS II museums, op.cit p xxxvi see also “Paridhano Ka Safar”, op.cit p 7 see also Rajasthan k Paramparagat Vastra Paridhan, op.cit . 94Catalogue, MSMS II Museums, op.cit Acc. no. Tc/A. 49, p105 95Ibid Acc. no. Tc. 218.73, p 116 96Ibid Acc. no. Tc. 711.75, p 120 97Jamakharach Chhapakhana B.N. 2 V.S. 1784/ A.D.1727, f 5 98 Ibid, f 29 99 Ibid, f 44 100 Jamakharach Rangkhana, op.cit f 4. 101 Ibid, f 8

84 Chapter-3 Varieties of Costumes

Fig 3.19 - Picture of Odhani, embroidered with Zari

Pomcha: Pom is a corrupt form of Padma, the lotus, thus an odhani with Padma or pom motif is pomcha. In this style the ground is dyed in one colour, may be pink, yellow or saffron; borders all around have chunari pattern tie-dye work, which can be just a floral border or with birds, animals or female forms known as sakhi or putali motif. A pomcha in yellow with red border is known as pila meaning yellow and is essential wear for new mother. It came as gift from parents‟ home.102

Fig 3.20- Picture depicting a type of Odhani called Pomcha

Chunari: A chunari pattern is also a symbol of love and affection. A husband presents chunari fabric to his wife and a brother to his sister. There are many occasions when women ask their brothers and husbands to get a chunari for them in traditional colour

102Catalogue MSMS II museums, op.cit, p xxxvii see also „Paridhano Ka Safar‟, op.cit, p 7.

85 Chapter-3 Varieties of Costumes scheme- red and green. Jaipur has a long tradition of this art and folk songs from eastern India also refer to “Jaipuri Chunari” given to a daughter sister and beloved.103

Fig3.21- Picture showing types Odhani Pomcha and Chunari

Gloves: The garment to protect hand also finds mention. We have evidence of dastana jodi in Vastragrah document as discussed subsequently in the chapter below through table based on variety of costumes from karkhanazat documents104.

Vest/chemise: The accessories like vest/chemise was used as lining underneath the costumes made of transparent cloth. The costumes had or cuts in it. The of the female designed with V shaped neck needed females to wear chemise. On the basis of miniature painting from Jami-ut-Tavarikh this has been inferred in a recent work.105

Fig3.23-Jhunga picture courtesy Albert museum

103Ibid 104 Jamakharach Vastragrah, B.N. 1 V.S. f, 102. 105Rajrupa Das, “Mughalia Libaas-The Trans Migration of Central Asian Fashion to the Indian Sub- Continent”, Dress and Textile Histories, (University of Glassgow, 2013), 44

86 Chapter-3 Varieties of Costumes

Jungha: This under garment for male (Jhunga) served as accessories it is a , like garment soft as belonging to Maharaja Budh Singh, Hada of Bundi who was brother-in-law of Maharaja Sawai Jai Singh II106. The other type of under garment recorded in our karkhanazat document is janghya/ janghat for which requisition of 8 bayle was recorded.107 Istilahat also describes janghya.108

Patka (WaistBand): Our karkhanazat document records patka or qamarband for making loose dress tight or making gathers at waist.

Socks: The socks and were mentioned as pair of 58 socks (moza jodi than 58)109, and paicha jodi than 74110. They were variously designed from soft fabrics like the one in our karkhanas. It was also mentioned in Istilahat as jurab.111 It was also made from deer skin.112

Shoes and (chaplis): Shoes bear an essential component of grooming. In this context it may be pointed out. That leather industry held an important position from ancient India. There were shoes worn by common man which were simple and modest. Those used by royalty were elaborately ornamented and beautified. There were famed centre of shoes like Agra, Peshawar, Lucknow, Surat, Hyderabad similarly Jaipur and Bikaner were popular centre.113

Fig 3.22-Shoes of different styles picture courtesy Art and Material Culture

106Picture taken from the museum of city palace in physical survey Ca 1720 107 Jamakharach Vastragrah, B.N. 2 op.cit, f 54, 108 Istilahat-i-Peshwaran, Vol., II, p 137. 109Jamakharach Silehkana, op.cit, f 80, Jamakharach Vastragrah, B.N. 2 op.cit, f 408, than 3, 110Jamakharach Vastragrah, B.N. 2 V.S. 1799/ A.D. 1742, op.cit f. 103, Jamakharach Chhapakhana, B.N. 2 VS 1784/ AD 1727, f 6, Than 8 of Paicha jodi 111 Istilahat-i-Peshwaran, Vol., II, p 139. 112Watt, Indian Art at Delhi, op.cit, p 201. 113Ibid, p 199, 200

87 Chapter-3 Varieties of Costumes

Some shoes have raised ankle cover. Fancy turn is also shown at the toe in other , some are like , some had stripes and others were profusely designed in front covers. Beauty consideration is very obvious114 Table3.1- Names of the costumes recorded in karkhanazat documents Costumes Rangkgana/ Chhapakhana/ Vastragrah/ Ratangrah/ Unit(bayle)/ Unit(bayle)/ Unit(bayle)/ Unit(bayle)/ Folio Folio Folio Folio Sari 34/7 42/5 6/81 9/1525 Jama 106/2 172/2 980/42 9/1525 Angrakha - 31/82 - Atamsukh 8/89 Kurta/ kurti 6/13 1/20 8/ -/1382 Kanchali 56/9 - -/3101 Choli 1/151 282/38 - Ghaghra 70/9 38/5 - 9/1525 Dupatta 6/4 1/44 151/60 4/1639 Odhani 139/7 82/5 - - Pagari 1/273 Top/Topi -/18 363/50 101/1380 Cheera 84/ 52/2 279/34 - Pheta 10/17 18/6 2/266 2/3097 Izar 8/17 102/5 1120/95 17/1380 Dastana Jodi - 12/102 - Moza Jodi - 54/109 - Neema 54/6 468/414 Kamarbandha - 62/23 - Balabandi - 10/75 - Janghat/ - 8/54 10/1380 Jhanghya

Table 3.1 elucidates the names of costumes recorded in four documents namely Rangkhana, Chhapakhana, Vastragrah, Ratnagrah. We can get information about maximum number of costumes from the Vastragrah document. Description of neema, dastana, mauja, kamarbandha, balabandi is found. Balabandi is a kind of male upper costume, with long sleeves, it reached slightly below the waist, and it can also be called as kamari angrakhi115.

Akbar offered new and attractive names to certain costumes. For jama or coat, he coined the word sarbgati (which covers the entire body); for izar or trouser he used the term yarpirahan (the accessory of the coat); for nimtanah (a jacket), tanzeb; for or , chitragupita (one who hides the face or chitra); for kulah or cap, sissobha (the glory of

114 S.P. Verma, Art and Material Culture, op.cit, plate xxxiv 115Catalogue MSMS II museums, op.cit, P 155.

88 Chapter-3 Varieties of Costumes

the head); for patka or lion cloth, katzeb (a piece of cloth for waist).116 Archival sources provide very minute details and statistical data also.

Conclusion can be drawn that there were wide variety of costumes used by the common people and royalty in eighteenth century Amber/ Jaipur. It also had Mughal impact on the trendy vogues developed by Rajputs. These are classified in upper garments and lower garments. Upper garment consisted of pagari angrakhi, jama, achakan , choga, atamsukh, kurta/ kurti, kanchali, choli. Pheta, topi angrakhi and jama, kurta, kanchali, choli nima (jacket) are the costumes repeatedly described in archival document also. Lower garments comprised of dhoti, pyjama, ghaghra. In regional document the word izar is used instead of pyjama, and there was description of varieties in ghaghra costume. We have also noticed the repeated description of varied sari, in our document.

The above study of costumes makes us understand the fashions and trends which were followed in medieval India at Jaipur. The museum‟s portraits and paintings played a very important role in keeping the various apparels picturesquely illustrated and make us possible to study and analyse the rich legacy.

From the karkhanazat document along with socio – cultural aspect, we can also comprehend the economic aspects. We can observe the expenditure from the given data of than (unit), dar (At the rate) and kimat (price) incurred on the manufacturing of varieties of costumes, and we can also come to know the formal wear used at the courts.

116 Ain. op.cit, p72

89

CHAPTER 4 DESIGNING OF COSTUMES Chapter-4 Designing of Costumes

CHAPTER-4 DESIGNING OF COSTUMES

In the forgoing chapter we have studied, how Mughals commissioned preparation of renowned marvels of textile. This legacy was then carried forth by Mughal nobels like Amber Raja in their principality. This chapter intends to investigate how these textiles were transformed into costumes. The desigining of these costumes involved close consideration of consumer demand, climate, colour preference, compatibility of fabric etc after these preliminary examination some rough nature of sketch would have to be made in order to figure out the the desired get-up. The element of visual design would take into account its silhoustte, with a combination of line and mass.

Designing of the costume is the process to draft or draw plan for making costume. There are considerable variation in a particular costume. If we consider the example of head gear, from one piece of cloth, one can tie many styles of head gear. Likewise one variety of costume can have different designing. we are using word desiging for a different styling or wearing patteren of one form of costume. Ain describes the variety of coats which were disscussed in earlier chapter. Now in this chapter we shall attempt to understand their different styles or stitching patteren.

The primary data to understand desigining of costumes are visual source furnished in paintings like Ragmala paintings and portaits of the MSMSII museum and Albert Museum. Karkhanazat documents provides us names of different kind of costumes. Royal people used to wear long sweeping and pleated costumes. Their costumes also served as formal dress for court purpose. Local or common people used to wear body clinging short dresses like jamah, angrakha or dhoti which do not hinder in their work.

This chapter is based on the decription of paintings and photographs taken at the time of physical survey. We can register minor stylistic difference in the costume avialable. These can be studied broadly by taking into account, the component of dress, desigining , patterned template as also the popular dress desigins.

90 Chapter-4 Designing of Costumes

Fig 4.1 – Document recording names of various costumes Sari, Ghaghra, Dupatta, Odhani, Kurtazari, Dhoti

4.1 Components of Dresses Collar /Neckline: Collar of the upper garments had different style like cross collar style, normal collar converging at the front, bordered neckline or having a piping made by cloth itself at the neck.1

Sleeves: Variety of sleeves include deep cut sleeves, quarter, sleeves half, full sleeves and the sleeves, which had gathers (choori) at the wrist. Sometimes the sleeves at the wrist had slits. Sometimes they have flowing cut at the wrist for show purpose, while the sleeve underneath was fitted to cover the arm.2

Main Bodice: Most of the time main bodice remains uniform in character, the only difference is in fastenings like open from front or from sides or closed front whatsoever.3 Fine material bodice was sufficiently lined to properly hold fabric.

Skirt: Skirt attached to the bodice in dresses has broad width and sometimes had gathers or sometimes it was neatly pleated. At other times has a straight cut or A – line cut. The skirt most of the time remained long and sweeping and sometimes short with knee length. The commoners wore dresses above knee4 which was practical in carrying out their work.

1 Illustration developed from the photographs taken during the physical survey from MSMS II Museum, Albert museum; Sketches of the Art and material culture, op.cit. 2Ibid. see also Catalogue MSMSII, Museum, p xxv, xxvi, xxvii 3 Ibid. 4 Ibid;

91 Chapter-4 Designing of Costumes

Daman (Hem): Daman of the costumes were profusely decorated with borders of motif, bel butis, Zari and broad borders and laces.5

Aanchal: In females aanchal was covered on head, one side of it covered the front portion of female and the other side was inserted into the ghaghra, otherwise it was left for loosely hanging. In males dupatta was worn and one side remain hanging on the shoulder the other was kept round in the hands.6 This accessory added althemore elegant to royal apparels.

Lower Garment: It comprises the pyjama, dhoti, and Ghaghara. We do not get much variation in all three costumes pyjama sometimes look fitted. were sometime straight and loose, so that gathers (churi) could be formed. Ghaghra also has broad sweep with gathers and pleats in it and sometimes had a straight look. Long sweeping and short in length also7 were both in vogue.

Fig 4.2- Document records lower garment Izar rangeen and Ghaghara rangeen.

Accessories: It consisted of stylish buttons made from cloth itself, long strings to fasten dresses, loops for buttons and waist band (kamarbandha8, Izarband). The izarband itself was a piece of art comprising fine net of uniformed coloured silk with rich ornamentation.9

5 Ibid. Catalogue where evidence of Jama, Chuga, Angrakhi, Atamsukh are referred 6 Ibid. 7Description of lower garment on the basis of observation of picture taken from Albert museum; Izar, Ghaghra, Dhoti evident in our documents Jamakharach Vastrgrah, Jamakharach Chhapakhana, Jamakharach Rangkhana, op.cit.; catalogue MSMSII, p xxviii 8Jamakharach Vastrgrah, B. N. 2 VS 1799/AD.1742, f 23; Catalogue MSMSII, p xxix 9 Watt p. 411.

92 Chapter-4 Designing of Costumes

Fig 4.3 Vastrgrah document

Vastragrah documents records the type of costume named as Thirma, which is woollen cloth used as a shawl to cover the body. Sometime this costume also served as the robe of honour as evident in Vastrgrah. There is information that in V.S. 1799 thirma was given as a (dress of honour) siropav10

Table 4.1- Details of costume given as honour Thirma from Vastragrah and Ratangrah document Document Date Costume Unit (than)/ folio kimat (Rs/As) Vastragrah Miti Asoj Vadi 11, Thirma Butadar 5 258 V.S. 1799 Tuesday Miti Magshiri Vadi Thirma Butadar 2/ 13.6 268 9, Tuesday Miti Magshiri, Sudi Thirma Butadar 26 272 10, Friday Thirma Butadar 262 57 Ratangrah Thirma 5/ 1.10 3103 V.S. 1798

The table 4.1 shows the costume named as Thirma with its unit in than and kimat in rupees with the day and date. This costumeis found to be confered as robe of honour at festive and official occasions. It does not have various components in it, because it was a woollen shawl type garment.

10Jamakharach Vastrgrah, Bhadwa Sudi 3, V.S. 1799/ A.D. 1742, poush Vadi 10, f 276

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4.2 Patterned Templates In order to comprehend how the desiging of the costumes took place, one has to bear in mind that there was meticulous care taken to achieve the proper grace and elegance, which is so typical of Mughal garments.Allthough we have not come across any draft pattern in our records, a splendid effort had been attemped by Tarla Dhund in the supplement on patterns in Indian costumes in the collection of calico museum.11 The following is an illustration of the draft patterned costume. In the following figure The skirt panel is repeated 332 times to achieve the entire spread of the skirt. The dress material is stifenned to facilitate stitching.

Fig 4.4 – Draft for stitiching Jama, courtesy Indian Costumes of the calico museum12

Firstly sketch with measurments on paper is made then to sew a dress and to design it, a template is traced on fabric to be accordingly cut and assembled. This process is termed pattern drafting and demands tailoring expertise.

11 B.N. Goswamy, Indian Costumes in the collection of calico museum of textiles, Ahmedabad. 2010, 12 Ibid, p 280

94 Chapter-4 Designing of Costumes

Fig 4.5 – Draft for Ghaghra choli courtesy Indian Costumes of the calico museum13

4.3 Designing of Various Costumes The peshwaz in the fig 4.6 is a dress for ladies, robe like dress having many pleats around the waist. A dupatta like cloth on the breast was attached to the costume, hanging on the back on one side. Ain refers to it as resembling a coat, which was used to have opening in front, and have strings without opening in front14. It has knee length and is without sleeves.

13 Ibid, p 376, 377 14 Ain, op.cit, P 71, see also Art and material culture, op.cit, p 48, plate xxx

95 Chapter-4 Designing of Costumes

Gathers/Pleats Dupatta

Fig4.6- Dress named as Peshwaz, adapted from Art and material culture in the painting from Akbar court

Upward facing Loops with

Forward facing Border

Fig4.7 - Dress named Qaba, adapted from Art and material culture

Qaba Seems like a long coat, opening at the front, having a forward facing border at opening with button stitched in an upward manner, not used for the fastening the costume. Sleeves are very short, about one quarter of the hand it had double border lining on sleeves15.

15Ibid, plate xxxi

96 Chapter-4 Designing of Costumes

Fig4.8- Dress named Gadar, adapted from Art and material culture

Costume named as Gadar is a long coat, open from the front, having a double lining at neck which came up to portion of thighs, not meant for fasten from the front because there seems to be no tying technique like button or fasten strings, sleeve length is full. It appears to be worn over clothes or on the inner costumes16 as shown below in fig 4.9

Fig 4.9 - Mughal Costume with Gadar of 17th Century17

The above figure is a 17th century Mughal miniature depicting a youth wearing a full dress consisting of Jama or Angrakha as an inner costume and Gadar or Qaba (as described above) as an over coat. The youth is wearing some form of Dupatta which is shown to hang on shoulder, taking a round from its back.

16Ibid. 17 Jamila Brij Bhushan, The Costume and textiles of India, op.cit

97 Chapter-4 Designing of Costumes

Collar Front opening With fringes and Loop

No gathers

Fig4.10- Dress named Farji, of two different styles adapted from Art and Material Culture

Farji was a waist coat which was open at front, it has a collared neck, and buttons were to fasten the costume. It had full sleeves. It was supposed to be top coat which was loosely fitted. It was tied at the waist with the katzeb (cloth stitched ), which was knotted in the front18. Second picture in the fig 4.8 is also defined as Farji in Art and Material Culture. It has the same style of collar, same knee length coat, but variation appears in stylistic knotted waist band with changed style of button on both side of the opening in front. The cloth of the costume is not gathered at the waist.19

Waistband

Fig 4.11 – Nobel man wearing Angrakha a Mughal style of costume, 17th century20

18 Ain, op.cit, P 71, see also Art and material culture, op.cit, p 48 19 Art and material culture, op.cit, plate xxx 20 Jamila Brij Bhushan, The Costume and textiles of India, op.cit.

98 Chapter-4 Designing of Costumes

The above painting depicts costume of Mughal style. Man wearing an angrakha having a cross collar style at neck with long sweeping skirt below the knee. Pleats at the waist were not much in number, with half sleeves and knotted waist band.

Collarline With piping

Collarline

Fringes to tie

Sharp Edges in Fig 4.12 -Two different styles of Jama, adapted from Art and material culture A Line

Jama is another kind of upper garment or coat which was very famous in 18th century Jaipur. Fig 4.12 depicts two different styles of Jama in which first picture shows a neckline having a border, the cloth of the upper bodice portion of costume reached up to left hand for meeting the tying arrangement with the string loops stitched there. It has long sweeping skirt, but not with much gathers at the waist, which is tied with waist band and had full sleeves. Another sketch has piping neckline. It is open at right hand side with the same string and loop style for tying purpose, with full sleeves. The shape of skirt is somewhat different. It appears to be A-line shaped with sharp edges at the bottom. These were the royal style of Jama.21

21 Art and material culture, op.cit, plate xxix

99 Chapter-4 Designing of Costumes

Fig 4.13 – Jama having strings to tie at left side, calico museum22

The dress named jama was tied at right side, the upper portion of the dress consisted of tight bodice fit with cross neck collar style and long sleeves style, which were pushed up to create gathers (churi) style. Lower portion below chest was fastened with profuse gathers at the waist of the skirt, which reached up to the knee length

Fig 4.14 - The dress showing Jama, tied at right hand side, Calico Museum.23

22 Jamila Brij Bhushan, The Costume and textiles of India, op.cit. 23 Ibid

100 Chapter-4 Designing of Costumes

It is white cotton jama, with collared neck which reached up to the opening at right hand side and the extra cloth attached to the collar was used to tie with a knot, in style. It has tight fitted bodice up to the waist with a long gathered skirt till knee length

Fig 4.15- Angrakha picture taken from Costume Textile Jewellery of India 24

Fig 4.15 shows the round neck which reached up to chest and was tied with one string. Sleeves are short having gathers on the border. The bodice having the inner garment and upper garment is front open, all over up to the bottom with A- line shape of the costume. The length of the costumes seems to be below the knee.

Fig 4.16 – Royal costume of 18th century, courtesy catalogue MSMSII museum

24 Vandana Bhandari, Costume Textile Jewellery of India, op.cit, p 97.

101 Chapter-4 Designing of Costumes

A man wearing a jama with tight fitted bodice and long sweeping skirt almost had ankle length with many pleats. This illustrates the elaborate style of wearing costumes of royal people. Their costumes were very striking and richly styled25.

Fig 4.17 Jama for the common man adapted from Art and Material Culture

Fig 4.17 describes the jama of the common people as illustrated in Art and material culture. First picture depicts the bordered neckline and the part of costume of bodice reached up to left hand side open to wear the costume. The opening had the various strings for fastening. Waist band was tied at the waist which creates little gathers there. It had full sleeves. Skirt seems to be short in length. Second picture also have bordered neckline with the opening at left. Same string pattern was used for tying arrangement, sleeves are quarter in length. Waist band with no gathers at waist. Skirt attached to bodice is short in length26.

25 Catalogue MSMSII museum, plate 10 26 Art and material culture, op.cit, plate xxix

102 Chapter-4 Designing of Costumes

Jama with Tail

Fig 4.18 – Tail coat of attendant of royal court, picture courtesy Art and Material Culture

It is observed that the guards or attendant of the royal court had to dress in a distinct costume viz tail – coat which appears to be a variation based on jama style. In the above sketch shown in fig 4.16 the upper portion is very similar to jama, having a bordered neckline, tight fitted bodice, opened at right side with strings to fasten the costume. Lower portion consisted of long costume attached to the back side of the bodice which covered the hip and reached to the half calf muscles. In front the costume seems to be very short reached up to middle of the thigh.27

Fig 4.19- picture of Kurti and kanchali28

27 Ibid, p 48, plate xxxi 28 Vandana Bhandari, Costume textile jewellery of India, op.cit, p 79

103 Chapter-4 Designing of Costumes

The above figure depicts costume name kurti and kanchali. Kanchali seems to have lace, making a design at breast portion which reached up to neck and tied was there. Sleeves are half in length. Bodice is very short and was worn under the kurti. Two strings are attached to the back portion of kanchali. Kurti consists of round neck, which reached up to the waist length, with deep cut sleeves.

Fig 4.20 kurti Kanchali picture courtesy, Albert museum

Kanchali here have deep round neck with strings at the back, sleeves are wide and the length was up to elbow. Long thread made by cloth attached to the string, which remained hanging at the back of the costume. Kurti is sleeveless, it does not have deep cut in the sleeves, round neck, broader at the upper side than waist.

Fig 4.21- costume choli, calico museum29

Another kind of ladies wear is a sort of kanchali known as choli, which was worn with ghaghra. It has deep neck, string at back, half sleeves. It has two sided effect. The word choli was defined by Ishtilahat.30

29 Jamila Brij Bhushan, The Costume and Textiles of India, Bombay, 1958

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Fig 4.22 – Ghaghra picture courtesy costume textile Jewellery of India

The above fig illustrates different kind of ghaghra. The first ghaghra does not seems to have many pleats, but its gathers are plentiful. Second and third ghaghra have many pleats. The width of the costumes is so big that it forms semicircle.

Fig 4.23- Full costume of Rajasthani woman31

Fig shows the Ghaghra with many pleats and a broad border in middle of costume. Lower border of pleat seems to have some design.

30 Farhang Istilahat-i-Peshwaran, op.cit, Vol. II, p 4. 31 Art and Craft Workshop Under Mughals, op.cit, p 39

105 Chapter-4 Designing of Costumes

Fig 4.24- Clay model of working women Albert museum

Above fig shows the full costume of a working woman. She has worn a choli of quarter sleeves with border. Light ghaghra not having rich gathering.

Fig 4.25- Costumes of lady saint and a common man of Jaipur region 18th century, catalogue of MSMSII museum32

In the above fig the costumes of the ladies cannot be identified. Last lady is seen wearing a full long kurti with dark shade ghaghra without any gathers or pleats. Man wearing the very short kurta up to the waist length with pyjama of ankle length, pyjama seems to be loose for comfort, not fitted in legs.

32 Catalogue MSMSII museum plate 45

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Fig 4.26- Different style to tie the costume named dhoti33

The regular lower garment of common people of Mahomedans and Hindus, whilst at work or at home comprises simply of the piece of cloth called dhoti draped round the sides. After turning twice, round the waist, the end of piece was taken in between the legs by the Hindu and thrust under the folds which cross behind. Sometimes, though the end was passed from behind and fastened in front. Amongst the Mahomedans again, the loin-cloth, after being wrapped two or three times round the waist was usually allowed to hang down.34

Conclusion can be drawn from the illustrations that there were different styles to stitch the costumes prevailing in 18th century in the region of Amber-Jaipur. Most of the designing had immense Mughal impact. The different components of the costumes like collar, sleeves, bodice, skirt, pyjama, waist band dupatta were variously designed. We also noted that most of the royal people used to wear heavily pleated and long sweeping costumes. We can see elaborate gathers in sleeves and pyjamas. We can also discern that royals used to wear over coats like costumes on heavy costumes also. On the other hand we observe that the commoners used to wear light costumes, short jama with straight skirts and loose pyjama. Dhoti only appears to worn by local common people. It does not find its place in royal costumes or formal dresses. We get wide variety of costume designing in the upper garment or coats, and slightly less variety in the lower garment like pyjama ghaghra and dhoti.

33 Costume, Textile Jewellery, op.cit, p 107 34 J. Forbes Watson, The Textile Manufactures and the Costumes of the people of India, op.cit, p 21.

107

CHAPTER-5 ARTISANS INVOLVED IN TEXTILE INDUSTRY Chapter-5 Artisans Involved in Textile Industry

CHAPTER-5 ARTISANS INVOLVED IN TEXTILE INDUSTRY

In order to form an idea of artisan in Mughal India one has to acknowledge that there were certain professions which were hereditary in nature, bearing identity of caste, and they represented a specialised craft. Such artisan abounded in the Mughal Empire, testimony to which is available the accounts of Babur1, Abul Fazl2, Pelseart3 and Bernier4. However the existence and operation of independent skilful artisan was unimaginable. There was absence of privately owned by able artisans. One can observe that there were (1) artisans who were hired on different terms and (2) those who became a part of karkhana setup.

Artisans associated to textile industry were there in many towns and industrial centres namely, Sindh – Thatta5, Patna, Surat, Burhanpur6. Weavers of Gujarat and Bengal were praised by Manrique7 and Pelseart8. The product acquired appreciation in countries like Persia, Turkey, Poland, , Arabia9 etc.

Karkhana The artisans opted for employment in Karkhanas for job security. They had scope of regular work in karkhanas. The royal patronage to artisans resulted in development of varied art and craft.10

Karkhanas were the workshops which manufactured various commodities for the consumption of royal household. Karkhanazat documents were maintained to record the expenditure occurring with graphic details of weights, rates and bayle of raw material. On the basis of the study of Ain-i-Akbari, we understand that the Jaipur karkhanas were highly influenced by Mughal counterpart. Fortunately our documents on karkhanas

1 Annette Susannah Beveridge, Babur Namah (Memoirs of Babur), (New Delhi, Saeed International, 1989), p 520 2 Ain, Vol I, p 93 3Pelsaert , Jahangir‟s India,, op.cit, p 60 4 Bernier, op.cit, p 259 5 W, Foster, Eds, The English factories in India: A Calendar of Documents in the India office (1634-36), (oxford, The clarendon Press, 1911), pp 128, 130 6Ibid, (1618-21), pp 75,128,151,171,238; Pelseart, Jahangir‟s India, 7, 35 op.cit, W. Foster Eds. Early Travels In India 1583-1619, (London, Oxford University Press, 1921), p16 7 S. Manrique, Travels of Fray Sabastain Manrique 1629-43, vol 2(London, Hakluyt Society, 1927) p 45 8Pelsaert, Jahangir‟s India, op.cit, p 8. 9 Tavernier, op.cit, pp 42, 46 10Dastur Komwar book no. 4, 18, 23 (miscellaneous), V.S. 1821/AD 1764, V.S. 1888/ AD 1831, R.S.A.B

108 Chapter-5 Artisans Involved in Textile Industry furnish more intricate details as compared with Abul Fazl work. This chapter focuses on the artisanal activity and their contribution in the working of karkhanas related to textile.

Administrative Structure of Karkhanas There was a proper administrative structure of karkhanas manned with hierarchy of officials. Among these were Khansama, Darogha, Tahvildar etc.

Khansama: khansama was responsible for production and supply of every article required, from luxury articles and jewels to weapons of war and artillery but also for their stock and inventory. He arranged for goods demanded by emperor out product of karkhanas, and also for supply to provincial government. He certified the delivery of an imperial reward, if not in cash. The marriage celebration of royal princes was supervised by him. He looked after royal food and tent and maintained animals of the army transport and hunting.11

Darogha (Supritendent) –He directly dealt with artisans of the manufactory. He took the raw material and unfinished goods from Tahvildar and distributed them to artisans. At the end of the day he had to take back articles in whatever stage they might be on that day and after noting the amount of work done deposited with the Tahvildar. The incomplete goods would be reissued the next day by Darogha.12

Tahvildar (Cashier and Store – Keeper) – Tahvildar had a charge of cash and material required. He kept the cash and necessary material for use. When the work was completed, the cost of material used and the wages paid to the artisans were calculated and noted as the cost price of commodity by Tahvildar.13

My work focuses on textile workers as I am dealing with the costumes of eighteenth century Amber – Jaipur. Primarily various textile artisans are dyers (Rangrez, Neelgars), printers (Chhipas), embroiders (Zardoz), tailors (Darzi), darner (Rafugar). Different karkhanza tdocuments have recorded the work, name and the mode of wages of the artisans. I have used document named as Rangkhana, Chapakhana Vastragrah, Ratangrah karkhanazat papers and Arzdashat (petitions of subordinate officials to Amber Raja). The most important document which seems essential for the study of

11TriptaVerma, Karkhanas under Mughals from Akbar to Aurangzeb. op.cit, p 47 12Ibid, p 52 13Ibid.

109 Chapter-5 Artisans Involved in Textile Industry artisan is Dastur komwar, which gives detailed information about every professional group and caste (qaum) in the state of Jaipur in the eighteenth century.

Fortunately enough we have data regarding textile workers from our region in Arhsattas of A.D. 1723, 1725, 1729, which clearly indicates predominance of textile workers. It is also evident that one-third of the professional caste workers were dependent on cotton textile industry, which is understandable because cotton i.e. (van or vani) was a crop.14Luckily for western Rajasthan as well, data is available in Pargana ri vigat. These artisans were operative in Merta, Jaitaran, Sojhat, Phalodi, Siwana, Pokaran, Jalore, Sanchor. The castes of the textile workers mentioned therein are Julaha (weaver), Darji (tailor), Pinjara(cotton carder), Chhinpa (calico printer), BalaiBangar (spinner), JatiyaBangar (spinner), Bandhara (tyer and dyer), Kartiya (spinner), Rangrej (dyer). It has been observed that out of the total population of artisanal castes the textile workers were the largest majority in c1660 in parganas of Merta, Jaitaran, Sojhat, Phalodi, Siwana, Jalor, Sanchor and Pokaran.15

From the foregoing discussion it is discernable that there existed several professions attached to the textile industry, we shall therefore classify these into spinners, weavers, dyers, embellishers, tailor, cap makers and darners, and lastly the artisan cum merchants.

5.1 Spinners Artisan family constitutes as the basic unit of production for urban economy. In the towns the textile manufacture was very important means of production. Cotton was an important fibre which existed in India since ancient times. There were five stages of making cloth from cotton: cultivation and harvest, preparatory processes, spinning, weaving, , and making fabrics. The main preparatory processes involve separation of seeds and fibres. Fibres once separated from seeds are still not good enough to be spanned into thread. It was first separated from each other by a process called scutching. Scutching separates impurities from materials. This was primarily though not exclusively performed by bow string like instrument. The artisans who handled these instruments were called dhunyas‟. The lint thus obtained is then compacted into balls and spinning is a process in which lint is drawn into fibres. During initial phase, though spinning was done by hand, later spinning wheel evolved in which lint was drawn into

14 S.P. Gupta, “Evidence of Urban Population and its Composition from 17th – 18th Century Rajasthan”, op.cit, 179 to 183 15 B.L. Bhadani, Peasants, Artisans and Entrepreneurs, op.cit, p 361, see table 1.

110 Chapter-5 Artisans Involved in Textile Industry fibres, or yarn. Weaving is the next step which involves criss-crossing fibres to form weave of fabric.

In the painting of 18th century cotton-gin with warm gears is shown to be carried on by a woman 16[See fig 5.1]. There is other evidence also, where women used to do separation from cotton seed. We can infer this from conversation of Sheikh Nizamuddin Auliya and his mother, when she promised him to arrange and cleared the cotton, which she gives to dresser.17 But there is another process of separation of seeds from fibre and that is hand beating, this is laborious process done by women evident by English Factors in 1660‟s.18

Fig 5.1 -Woman carried Cotton-Gin with Warm Gears courtesy to Miniature from the East

The step followed by separation of fibre from seeds is spinning. The process of spinning was prominently the women‟s job. Spinning evolved from twisting the fibres by hand, to using a drop spindle, for using spinning wheel. Spindle or parts of them have been found in archaeological sites and may represent one of the first pieces of technology available. Spinning was almost exclusively done by women by hand spindle or by wheel. In south the sangam literature also discusses about spinners they were referred as Paruttipentukal. Shudra saint from the weaver‟s caste named Iedara Dasimyya was known and his wife

16 L. Hajek, Miniature of the East, (London, 1960), Plate-48, 49. 17An account of the Majalis of Shaikh Nasiruddin Chiragh of Delhi, by Hamid Qalandari, Khair-ul- Majalis, tr Ishrat Hussain Ansari & Hamid Ashfaq Siddique, Assembly 56, Delhi, 2010, p. 147 18.William Foster, Eds., English Factories in India, 1665-7, (Oxford, The clarendon Press, 1925), P-147

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Duggli spun the thread which he wove into cloth.19In another instance Amir Khusrau compared needle and the spindle to the young women‟s and .20

There are very important pictorial evidences mainly from 17th century. The paintings of Mughal painters and its fusion with Indian school, figured out a woman with spinning wheel with no handles dated 1606.21 And during the reign of Jahangir a painting shows three women working on spinning wheel in foreground 1617.22 Similarly there is an evidence of Shahjahan‟s reign in 1627-58 which shows a woman and a wheel with a half handle.23 In 17th century a sturdy village woman is seen sitting in front of a spinning wheel with handles24.The following figure of spinning wheel taken, during the physical survey to Gujarat, makes us better understand its functioning.

Fig 5.2-Spinning wheel of Gandhi ji, picture courtesy to Sabarmati Ashram, Ahmedabad, during physical survey.

After this process of spinning the next step was weaving. Arthashastra speaks of weaving done by women in preparing warp and weft.25 A weaver brushing warp and a

19Vijaya Ramaswamy, op.cit. p 154. 20 S. H. Askari, Amir Khusrau- As a Historian, (Patna, Khuda Bakhsh Oriental Library, 1989) P. 62. 21 E. Kuhnel and H. Goetz, Indian Book Painting from Jahangir‟s Album in the State Library in Berlin, (London, Kegan Paul, Trubner & Co, Ltd., 1926), Plate-l 22 A. K. Das, During Jahangir‟s reign, (Calcutta, Asiatic Society, 1978), Plate-2 23Illustrated on the basis of Moosvi studies of Ivan Stchokine, „La PeintureIndiennaEpoque Les Granas Moghols‟ Paris in her book People Taxation and Trade, (New Delhi, Oxford University Press, 2008), P- 143 24 F. R. Martin, The Miniature Paintings and the Painters of Persia, India, Turkey from the Eighth to Eighteenth Century, (London, B. Quaritch,1912), Plate 207a 25Shadab Bano, “Women‟s work in early 19th Century Bihar”, Proceedings of Indian History Congress, (2010), 346.

112 Chapter-5 Artisans Involved in Textile Industry woman holding a asari was shown in Tanjor in 18th century.26 Each loom requires one man and one woman, latter was to wind and assist in warping and dyeing.27 A man and woman weave and warp seven pieces a month. Besides they wind monthly 2000 tasar cocoon which cost Rs.10/-. Thus the weaver and his wife make annually by weaving warp Rs 26.25/- and by weaving tasar Rs. 24/- and the total will be Rs. 50.25/- .28

5.2 Weavers Weaving was practised in all major towns and cities. Indian weaver produced cotton, silk, woollen and mixed fabric in both eastern as well as western Rajasthan. We find a sizeable population of weavers in 17th and 18th century. They were variously termed as Julaha, Koli, Gui etc. while Balai Bangar, Jaitiya Bangar and Kartiya were Spinners

Fortunately enough we have interesting information forthcoming from the Saint – Poet Kabir

झीनी झीनी बफनी चदरयमा काहे के ताना, काहे कक बयनी? कोन ताय से फीनी चदरयमा इंगरा पऩंगरा ताना बयनी सुखभन ताय से बफनी चदरयमा आठ कंवर दर चयख डोरे ऩ祍च तत गुण बफनी चदरयमा साℂ को ससथत भास दस रागे ठोक ठोक के बफनी चदरयमा सो चादय सुय नयभनु न ओढℂ ओढढ के भेरी ककनी चदरयमा दास कफीय जातां से ओढ़ी 煍मⴂ कक 配मⴂ धय ढदनी चदरयमा

This garment is so delicate Which warp, which weft Which thread it is thus made? Ingla the wrap of moon; Pingla the weft of sun, Happy heart is the subtle thread,

26.Archer Milfred & Graham Parlett, Company Paintings, (London, Mapin international,1993), p-56, in the visual reference of weaving man is holding a durie under his arm, the women is distaff bed, p- 62 27Buchanan, Behar-Patna report, op. cit. P-651 28Buchanan, Shahabad report, op. cit. p-410

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Eight petals of the lotus of the spinning wheel Five elements to weave it with, For all ten month the matter was busy at work, Making the loom sing he created the cloth, Once worn, devotees and ascetics put it to bad use And left their veiled soiled, But kabir thy servant has woven it with care As he received, it so he returned it

Weaving is a method of textile production. Wherein two distinct set of yarns are interlaced at right angles to form a cloth. The longitudinal threads are termed as warp while the lateral is weft. Kabir Das is seen working on horizontal loom in the depicted figure. All the metaphors and similis are derived from his weaving experience such as warp and weft (tana-bana).

Vertical Cords ( or rach) Heavy Wooden Frame

Horizontal Wooden Roller

Parallel Bamboo Treadles Teeth

Fig 5.3-Kabir Das weaving cloth 29

At the time of my physical survey, I have interacted with Shankarlal. He is a contemporary artisan working in Rajasthan Co-operative Limited. While weaving the carpet he told me that, at present spinners and weavers used to live at Subash Chowk and there is a place named as pannigaron ka mohallah, pannigar whose occupation was to deal with chandik waraq who still inhabit the area. Their business is hereditary, they are a closed community, and they do not allow their children to adopt any other profession.30

29 A.A. Ivanova, el al. Album of Indian and Persian Miniatures xvi-xviii Centuries, Akademi of Sciences, USSR, Moscow, 1962 (Pl. 66), Urban Crafts and Craftsmen, op.cit. 30Based on physical survey and interview of artisans taken, while my visit to Jaipur in search of material collection to the libraries and museums.

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Cotton Pod Separation (manual)

Seeds fibre

Discarded Scutching done by dhuniyas

Separated cotton fibres Manual

Compressed into balls Spinning Manually/or Simple Instrument

Yarn/ Thick fibre Weaving (done by weavers)

Cloth/ Fabric Fig5.4-Flow chart of generalised representation of spinning and weaving technique during medieval time period 5.3 Dyers: 5.3.1 Rangrez It has been observed that most characteristic feature of a typical Indian village street was garment of variegated colours hung from one end to other. So that colours are fixed and textiles dried and bleached in sun, it is therefore a universal and commonly employed craft31. Rangrez were important and most popular section of the artisanal society in textile industry of Jaipur also. These artisans used to work with dyes. Compositely all the dyers were called as Rangrez. Bhakht Ram also emphasises the importance of Rangrez through his description in the given couplets

यंगयेजयंगतकह ंऩटसुयंग रहरयमाजुवांधतकरयउभंग

“Rangrez are dyeing the fabric in its own colour Tying the dyed lahariya with hopes”32

31 George Watt, Indian Art at Delhi, op.cit, p 238. 32Bakhatram, Budhi Vilas, Eds Padam Dhar Pathak, op.cit, p 18, see also Nand Kishore Parikh, Rajdarbar aur Raniwas, Rajasthan patrika, Jaipur 1984, p 205. R.S.A.B.

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Roznama Rangkhana also record Nura Rangrez has dyed Dupatta Rangeen and also he has been given the wage for masala (dyeing ingredients)33. By a close scrutiny of Roznama Rangkhana, we come across the name of a Chiman Rangrez whose expenditure incurred wasRs. 67 recorded for dyeing.34 Varied ceremonies and festivities demanded specific coloured costumes, Dyers were continuously employed. The poor repeatedly bleached and dyed their limited garments.35

5.3.2 Neelgars There is a special category of Rangrez, who specialised in the art of dyeing the cloth with indigo only, which were known as Neelgars.36 The best colours are achieved from indigo in terms of being permanent37. Jaipur Arzdasht caters information regarding neelgar vyopari of Sanganer purchased 30 man of Neel at the rate of Rs.25 per man for which they received Rs.750 after the sale of neel which was sent to Maharaja.38Eesab khan Pathan and Kamal Khan both are mentioned as neelka Vyopari .Kamaal Khan is mentioned as the native of Qandhar in Dastur Komwar.39Albakhas Neelgar is recorded in Dastur Komwar for receiving the prize of Rs 2/ for his able work.40Another artisan, named Salim told me that most of the work used to be done by Musalman, and Neelgaron ka mohallah is situated in Badi chopar (circle chauraha).41 Neel (indigo) is essential ingredient of Ajrak printing as discussed earlier.

5.3.3 Chitera Chitera were painter who worked with strokes of brush over printed motifs to afford detailing like shading flowers or providing ribs of leaves. This craft raised the product to refined finesse.42Jaipur Arzdasht provides us information that Nathu chitera undertook to reconstruct the peacock motif of doli (palanquin) and flowers of blanket of bahuji Shri Rathoriji43.

33Roznama Rangkhana, Fagun Sudi 14, V.S. 1852/ AD 1795 f 2,3 34Roznama Rangkhana Miti Magshri Sudi 8 Saturday, V.S. 1848/ AD 1791, Expenditure recorded under Nathpaaliwal Daroga. R.S.A.B. 35 Watt, Indian Art at Delhi, op.cit p 238 36 Farhang Istilahat-i-Peshwaran, op.cit, Vol. II, p 49 37Ibid, p 239. 38Jaipur Arzdasht, Rajasthani, VS. 1687 to 1743/ A.D 1630 to 1686, p 7 39Dastur Komwar, book no 18, Rafid Kom Musalman, pp - 707,802 40Dastur Komwar, book no 23 (miscellaneous), book no 23, V.S. 1888/ AD 1831, p- 6 41Based on physical survey and interview of artisans taken, during my visit to Jaipur for material collection to the libraries and museums. 42 Watt, Indian Art at Delhi, op.cit p 243. 43Jaipur Arzdasht, Rajasthani, VS. 1750 to 1761/A.D 1693 to 1704, p 52, R.S.A.B

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Fig5.5-Rangrez mixing colours, picture courtesy Colourful textile of Rajasthan

5.4 Printers Chhipas: The artisans who used to print cloth were named as chhipas. Different castes specialised in specific realm44. Division of labour is found clearly demarcated hindu chhipas used pakka rang produced from turmeric, alum etc., in their printing. They did not use kusum and neel in their colours of printing.45They used dabu printing type. Musalman chhipe used Indigo in dying and as discussed in ajrak printing previously. Brahma khatri chhipa used to dye chunari.46 Couplet from Budhhi Vilas also elucidates this phenomenon about khatri chhipe

कह ंषत्रीनिऩेचुनयीन ऩोभचेवांधधवेचतप्रपवन।

“Somewhere Khatri Chhipe Dyeing the Chunari Selling the Pomcha (a type of Chunari) in good number”47

Jamakharach Chhapakhana records mention name of famed printer (Chhipa) e.g. Chhajuram who came from the city of Udaipur.48 In the city of Jaipur the Chhipas were living in Purani Basti, perhaps they had settled down there subsequent to the foundation of Jaipur city.49

44 Chandramani Singh, „Paridhanon ka Safar‟, Rajasthan Sujas, Sujas Vastra Vidhan, October November 1997, part 6, p. 6. 45Ibid 46Ibid 47Budhi Vilas, op.cit, p 18, see also Rajdarbar Aur Rniwas, Rajasthan Patrika, op.cit 1984, p 205. R.S.A.B. 48Jamakharach Chhapakhana,op.cit., p 26. 49Peter Mundy, Travels of peter Mundy in Europe and Asia, 16o8-1667, Eds. R. C. Temple, part- 35 (London, The Hakluyt Society, 1914), p 56, See Also John Irwin and Margret Hall, Indian Painted and

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Fig5.6 -Artisan printing with blocks, picture courtesy Albert museum during my physical survey,

During 18th century most of them were patronised by royal karkhanas and this can be best understood by the information recorded in the karkhanajat papers, such as in V.S. 1823/ A.D. 1766 Rupa Chhipa was given Rs 2.15anna for the printing of Kurta and female costume.50 In 1751A.D.Chhipa named Vipa was honoured by Alam Safed(white fabric ) measuring unit of 1 bayle (Than) amounting to price (kimat) Rs1.10 anna as reward for his good printing on Kacha Kurta51. In 1752A.DRamu chhipa received financial assistance of Rs. 15/ in her daughter‟s marriage and Rs. 20/ for son‟s marriage in 1754 A.D52.Therefore we can thus comprehend that not only artisanal skills were patronised by the royal karkhanas, but artisans were suitably rewarded also by the Rajas of Jaipur from time to time. Roznama Rangkhana also records the name of Nathu Chhipa who used to print at the rate of Rs. 4 per than.53Dastur Komwar also record the name of Pusa Chhipa who was gifted Rs 50/ by Meena Dev Singh54and this document also informs about Ramu Chhipa who was given 75 than for printing costume for wedding55.

printed fabric, part-I, p 25, 1971 see also Bhagat Asha, Rajasthan, Gujarat and Madhya Pradhesh Ki Chhapai kala Ka Sarvechchhan, op.cit, p 111. 50Arhsatta Chhapakhana, V.S. 1823/A.D. 1766, C. F. B.L. Gupta, Trade and commerce in Rajasthan during 18th century, Jaipur 1987, p25 51 Travels of peter Mundy in Asia, 1628-34, op.cit, p 56, see also, Rajasthan, Gujarat and Madhya Pradhesh Ki Chhapai kala Ka Servechchhan,op.cit, p 111. 52Ibid. 53Roznama Rangkhana,V.S. 1852, miti chaitra vadi 12 Tuesday 54Dastur Komwar, book no 23(miscellaneous), opcit. p 481 55Dastur Komwar, book no 23 (miscellaneous), opcit., V.S. 1821/AD 1764, p 659

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Arhsatta Nakadi Rangkhana informs us that chhint ki rangai ki chir was rated as Rs. 285.3anna by Ramuchhaju chhipa.56

5.5 Embellishers 5.5.1 Zardoz The person who used to do embroidery from gold wire. We have frequent evidence for zardoz in our documents.Couplets from Budhhi Vilas highlight its importance

ज़यदोज़ कह ं सीवत पवतान, ससयऩवान के वह वस्त्त्र–थान।

“Somewhere zardoz is doing embroidery on costumes There were varieties of fabrics in bayle for Siropao (dress of honour)”57

Dastur Komwar gives the name of Hidayatullah zardoz who was given the prize (inam) of Rs 100/ by Himmat Ram58, same document also records the name of Nizami zardoz, who got the prize of Rs 1.13 annas.59

5.5.2 Chikandoz: The person who used to do embroidery from cotton yarn on cotton cloth.

Fig5.7-The artisans involved in embroidery, picture courtesy Albert museum

56Arhsatta Roznama Rangkhana, Bhadvasudi 3, V.S. 1831/AD 1774, f 8. 57Budhi Vilas, op.cit p 18, see also Nand Kishore Parikh, Rajdarbar AurRniwas, Rajasthan Patrika, op.cit, p 205.R.S.A.B. 58Dastur Komwar, (miscellaneous), book no 23, V.S. 1819/ AD 1762, page 736, R.S.A.B. 59Ibid, page, 449.

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5.5.3 Tarkash Tarkash or wire drawing technique was worked on kamkhwab to obtain floral and animal motifs. At times field or base was in gold wire while border was of stripes. There was various manifestation of this art60. Dastur komwar records the name of kriparam Tarkas Agra ka61

Fig 5.8- Artisan making lace (Tarkas), picture courtesy Albert museum

5.6 Minakar Gumani Mal Minakar who was honoured with Thirma Pashmi Butadar worth Rs. 23 at Jaipur Darbar62

Thamandas karigar Gujarat ka, came to Sawai Jaipur with pheta makhmal ka63 Dilawar pannigar chakar sarkar ka64

5.7 Darzi Dastur Komwar document describe the caste of Darzi (tailors) with details. Jiwa darzi tailored the dress of Thakur Laxminarayanji on his birthday and was rewarded with white chira cloth worth Rs 7.8 anna.65Other examples are Jeevan Khuspalaka darzi,66

60 Watt, Indian Art at Delhi, op.cit 329, 484 61Dastur Komwar, book no 23 (miscellaneous), V.S. 1888/ AD 1831, p 46 62Ibid, p 315 63Ibid, p 395 64Ibid, p 412, Miti Chaitra Sudi 2 Saturday, Miti MaghVadi 3 V.S. 1831, Chira Rangeen rated Rs.5 from Toshakhana has been recorded. 65Dastur Komwar, book no 23, op.cit, p 410, V.S.1824/ AD 1767, Miti AsojVadi 6, Bhadwa Budi Amawas V.S. 1823/A.D. 1766 66Dastur Komwar, book no 4, page 444

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Baldev darzi67. Another document Jamakharach SilehKhana recorded the market wages of darzi (Ajuro darzi Bajar ka) 12 anna.68Roznamah Ratngrah evidenced that darzi was given the wage for tailoring the dress from fabric Tanzeb Rs. 8.11anna and the Moza (socks) was tailored by darzi Raikisan at the wage Rs1.4 anna.69

Hiteshi journal gives us the detail of price at which costumes were stitched by darzi, according to the journal the charges were nominal. The variation in price is as follow 4 topis were stitched in 1paisa, kurta 2 paisa, angrakha 1 anna and mangjidar ghaghra 3 anna.70

Fig 5.9- Shop of tailored articles, picture courtesy Albert museum

A separate karkhana namely siwankhana for tailoring evolved to meet the rising demands, unfortunately the extant documents relate to 19thcentury hence we have ignored it for the present study.

5.8 Rafugar Dastur Komwar gives the references about various other artisans who were involved in varied works in textile industry namely Rafugar (darner).One finds instance of darning of special dress in Dastur Komwar by Rafugar. Mention is made to khairu khan Sekha ka Rafugar 71

67Ibid, p 509 68Jamakharach Silehkhana, Bundle no 1, Miti Chaitra Sudi 10 V.S. 1771 Miti Bhadwa Sudi 2 V.S. 1772, f 784, R.S.A.B. 69Roznama Ratangrah, Miti Bhadwa Dinak 3 Thursday, V.S. 1799/A.D 1742, f 3, R.S.A.B 70 Hiteshi journal, op.cit p 324 71 Dastur Komwar, book no 23 (miscellaneous), V.S. 1888/ AD 1831, p 292

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5.9 Artisan Cum Merchant There was a category of artisan who was involved in production of cloth as well as its sale .This practise overruled the interference of merchants. These were small scale producing artisans involved in cotton , printing etc. Budhi Vilas conjures the vivid description of Jaipur market wherein varied artisans are selling cloth

चौऩरय के कीꅍहे हℂ वजाय पवधच वीधच वनामे चौक चाय। ------핍मौऩाय कयन रागे अनेक

वह बानतन के करय करय पववेक। ------कह ंवस्त्त्रऩाटके फहु रयस्त्वेत। भहभ दीखासातनसुखेत।। कह ंऩसभीना पु नन पवकत ऩान ------कह ं फनात ऩारयचा जयीवाव अनत गवव बये नहीं देत जाव ज़यदोज़ कह ं सीवत पवतान ससयऩवान के फहु वस्त्त्र – थान यंगयेजयंगतकह ंऩटसुयंग रहरयमाजुवांधतकरयउभंग कह ंषत्रीनिऩेचुनयीन ऩोभचेवांधधवेचतप्रपवन।

Artisans of variegated skills were summoned with their respective families and were inhabited in cities (pura). Their Hasil (tax) was remitted. There was influx of population. Divergent people flocked unbounded. They exhibited alluring expertise in exchange of muhr and rupees. Gems were on sale. At some places cloth were being sold. Along with many Patka of white colour Mahmudi, Khasa, Tansukh. etc At other places pashmina was sold together with betel leaf, perfumes and sweets, dry fruits and condiments of countries far and wide were being sold, parcha and zaribav was being prepared at some places with great pride of their skill, zardoz were busy embroidering several bayles of siropav,

122 Chapter-5 Artisans Involved in Textile Industry

rangrez was dyeing variously, Laharia was tied with hopes, at some places khatri was printing chunari, pomcha was bundled to be sold.

Similar testimony comes from the Kota regarding Sita, Sheo Ram and Dharma chhipa of Qasba Manoharthana, who carried 10 scrolls of printed cloth for sale in the weekly market of qasba Arandkhera.72 In 1827, when a Kota prince was born 319 scrolls of sarees worth Rs.174/- were purchased from chhipa of Kota.73

Likewise in the records of Zakat (tax) of Qasba Manoharthana for V.S. 1873/ A.D. 1816 there is information regarding Nanji chhipa of Qasba Manoharthana ,who brought 8 scrolls of cloths to the weekly market of Qasba Dhulat74.

Kota records informs us that in V.S. 1873, Pinjara Nizam carried 2 man and 10 sers of raw cotton from Manoharthana to Rajgarh for cardening and Pinjara Fakir Chand carried 10 man 35 sers cotton from Manoharthana to Beora.75

A scrutiny of Kapad Dwara indicates that the locality (Mohallah) nomenclature was in accordance to the names of artisans such as printers (chhipa), weaver (julaha)76.Ample opportunities of employments were provided by imperial karkhanas to artisans and craftsmen in different crafts77. The artisans manufactured the articles according to the taste of royalty and for the gift of articles to influential persons and other state rulers. One of the karkhanajat documents refers Chhapakhana of Jaipur hired labour in the karkhana for the manufacturing of precious articles.78

Jaipur expanded into an urban centre. A scrutiny of Arhsatta pargana Amber indicates there was a sharp decline in the percentage of printers at Amber because of their migrating to Jaipur in 1726-27, when the new town was founded. This is revealed by a study of urban population of the region.79The skilled artisans and rich merchants with their family also flocked from neighbouring areas like Delhi, Agra, and Gujarat, built

72Zakat Bahi, Bhandar no.4, Basta no. 1, Qasba Manoharthana, V.S. 1833 (A.D. 1776) C.F. B.L. Gupta, Trade and Commerce in Rajasthan, opcit p 25 73Zakat Bahi Bhandar no.4, Basta no. 1, pargana Nandgao (Kota), Margashirsha Sudi 6, 1827 (A.D.1770 ) C.F B.L. Gupta, Trade and Commerce in Rajasthan, opcit p 25. 74B.L. Gupta, Trade and Commerce in Rajasthan, op.cit p 80. 75Zakat Bahi, Bhandar no.4, Basta no. 3, Qasba Manoharthana, V.S 1873 (A.D.1816) C.F. B.L. Gupta, Trade and Commerce in Rajasthan, opcit p 26 76Kapad Dwara, Map no and notes no 69, see also .Sumbul Halim Khan, „Planning the Pink city maps and documents‟, Indica 35, the Heras Instittute St Xavier college, Mumbai, p 37 1998. 77Tripta Verma, Karkhanas under the Mughals: A study of economic development, Delhi, 1994, p 15. 78Jamakharach Chhapakhana, op.cit., f. 27. 79“Evidence of Urban Population and its Composition”, op.cit. p181.

123 Chapter-5 Artisans Involved in Textile Industry their houses in the city80. Separate locality were allotted to the artisans who came from other places, this can be understood by Mohallah of Gujarati Chhipa at Sanganer.81Jaipur hosted all kinds of manufactures, in order to accommodate the growing demands, in the city. In the narration of Budhi Vilas, we get the reference of the formation of new urban city Jaipur.

नगयफसामोमकनमौ,जमस्त्मघंसवाई, 82 जाकीसोबाजगतभℂ,दसह㄂ढदससिाई।

A new state has been established by Sawai Jai Singh Which become popular in all the directions in the world.

The couplet of Budhi Vilas glorifies the new city established by Sawai Jai Singh. The karkhanas also afforded massive opportunity to the artisans of various skills. For instance, textile colouring and dyeing, printing, all types of metal embellishments like various embroideries, stone studded embellishments etc. all these art contributed to earn recognition. The poet from Chatsu, Bakhat Ram talks about 36 karkhanas.

ऊँ चदे यवाजेसुगभवा紼। कंचनसभजढटतफनेकऩाट।। रगतेफनवामेचौकईस। 83 तहॅयहेकायखानेितीस।।

Big doors beautiful markets Entrance appeared as if studded with gold. Squares shaped plinths were made. In which 36 karkhanas were there.

Karkhanas acted as a manufactory, stores for personal use, official stores etc.84 It has been observed that Sawai Jai Singh had changed the Persian name of manufactories established in Jaipur from karkhanas to grah, Yatha– khazana changed to kosh– grah, Kutubkhanato Pothigrah, Suratkhana to Chitragrah,Zargarkhana to Ratnagarh, and Kirkirakhana to Vastragrahetc. Zargarkhana and Toshakhanacome under Vastrgrah, and collectively these Karkhanas or Grah were named as Kapad dwara. Kapad dwara includes diverse collection of cloths and textile of 17th, 18th, and 19th century. At present

80A. K. Roy, History of Jaipur City, op.cit, P 233. 81Kapad Dwara, Map no and notes no 107 Ist quarter of 18th century, see also. Sumbul Halim Khan, „Planning the Pink city maps and documents‟, Indica 35, the Heras Instittute St Xavier college, Mumbai, p 38, 1998. 82Bakhatram, Budhi Vilas, edited by Padam Dhar Pathak, op.cit, P 14, poet is from Chatsu, the place 25 miles away from Jaipur in south 83Ibid, 1964, p 24 84Jadunath Sarkar, Mughal Administration, (Calcutta, M.C. Sarkar 1935), pp 122-133

124 Chapter-5 Artisans Involved in Textile Industry this section of kapad dwara related to cloth is a part of Maharaja Sawai Man Singh II Museum of Jaipur85.

Role of Merchants: There is information from the Arzdasht that the businessman (vyopari) who came from the state of Amber to sell their cloths, should be safeguarded from any kind of inconvenience caused to them, because the people used to buy the textiles with the understanding that they were provided safe conduct by the royals to them.86 Other information reveals that the cloth for Jai Singh Sawai used to be taken to Delhi by the vyoparis. The merchants were stranded for several days, due to some violent situation which occurred in the state, the trade could not function smoothly, therefore orders were given by Maharaja to Pancholi Bihari Das, to take the cloth from Delhi and send it to Shahipura with utmost care.87The Jaipur Arzdasht informs us about the method to transport lemon juice; it informs us that cart loads of Rooi (cotton) poured with juice of lemon which weighed 55 ser and tol 28. It was sent for imperial consumption mentioned as hazuri.88 Another Arzdasht elucidates the amount of Neel used. 30 man (weight), of neel at the rate of Rs 25/per man was purchased by the neelgar vyopari of Sanganer and through the sale of neelRs 750 / were sent to Maharaja.89

Information gleaned from Arzdasht suggest, there was a system to collect levies on the cloth coming from different state, for instance the Amil of Qasba Sanganer Manram Natani demanded tax named badshahi and hazuri from the mahajans and vyoparis of sanganer on the cloth coming from Gujarat, which resulted in a conflict.90 This kind of information shows the commercial relation of other states with the state of Jaipur. Thus the role of merchant is very crucial for the artisanal study of textile workers.

For the purpose of commercial activities and its growth several rich merchants settled down in Jaipur in its early days. They were given concessions for carrying the business and some remission on the tax levied on goods carried from one place to another place.91Rajasthani document record the information about the merchants (Mahajans,

85Gopal Narayan Bahura, „Jaipur k Vastra Vidhan : Ateet Ka Sandhan‟, op.cit, 12 86Jaipur Arzdasht, Rajasthani, VS. 1687 to 1743, pp 153, 154. 87Jaipur Arzdasht, Rajasthani, VS. 1762 to 1775, p 62. 88Jaipur Arzdasht, Rajasthan, V.S.1743 to 1749/ A.D.1649 to 1693, R.S.A.B, p 99;An information send by Ajit Das Manram to Maharaja Bishan Shingh on Magh Vadi 1 V.S. 1749/ 13 June A.D 1693. 89Jaipur Arzdasht, Rajasthan, V.S. 1687 to 1743/ A.D. 1629 to 1649, R.S.A.B., p 7; Mohan Send an information to Mirza Raja Jai Singh on Shrawan Sudi 3, V.S. 1698 /30 July A.D 1641 90Jaipur Arzdasht, op.cit, VS.1743 to 1749, p 56. 91Roy A. K. History of Jaipur City, op.cit, p. 52.

125 Chapter-5 Artisans Involved in Textile Industry

Bajaj) which were engaged in selling and purchasing of articles. In Rajasthan, Mahajans were the people which were engaged in the trade of various category of goods, but in general the word can be understood as Mahan Jan (great people). Bajaj was particularly known as the traders of the cloth articles. It has been observed that cotton cloths were mostly demanded for sale and purchase by Bajaj in the villages of Jaipur.92

Brisk trade was operative to cater to textile industry as may be discerned from the following table. The Bichhait, Sahthani, Gujrati merchants were instrumental in undertaking these commercial activities. Gujarat and Akbarabad were the places from where raw material was procured.

Table 5.1 –Taxation on Items of textile industry based on Dastur rates93

Rahdari in Pargana Malpura

Items Rs Annas Taka Dam Remark Cloth, Jasad(zinc), Sisa (lead) 25 Rate on collective items Blue colour (indigo) brought by the 1 Rate on kafila of Gujarat and Akbarabad collective (Agra) Khand and Sugar items Cloth 12.50 Raw cotton per cart per chauki , 25 Rate on salt, tiland cloth per chauki collective items Banjara on 100 pack oxen kirana, 3 Rate on cloth, tiletc. collective items Camel, buffalo carrying kirana and 6 Rate on raw cotton collective items A) Item per cart Zinc, Lead and Cloth 7 Rate on collective items Raw cotton, ghee, oil, iron 1 Rate on collective items Cotton 2 Grain, salt, cloth 1 Rate on collective items

92Gupta S.P., Agrarian System of Eastern Rajasthan (c.1650-c. 1750), op.cit. 93Dastur-ul-Amal and Amal-Dastur, R.S.A.B., C.F., S.P. Gupta, Agrarian System of Eastern Rajasthan, op.cit PP- 108-113

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On indigo, silken cloth brought by 1 4 the Kafila from Gujarat and Akbarabad etc. B) Commodities carried by Camel and buffalo on chauki 1 Cloth and betel (nagarbeli) kirana, 2 Rate on Raw cotton, ghee,oil, khand. collective items i) Of Qasba 37.50 ii) Bachhait 1 Indigo, silken cloth brought by the 3 Kafila from Gujarat and Akbarabad C) Commodities carried by bullocks Raw cotton, kirana, ghee, oil, Rate on gur,khand, iron, paper, tobacco collective items i) Bichhaiti 25 ii) Qasbaka 19 Cloth, lead, zinc 1

Pargana Chatsu 1712 A.D. Items Rs Annas Taka Dam Remark A) Bichhaiti Raw cotton, ghee„asli 1 2 Rate on collective items Kharach 4 Parav 6 25

Indigo „asli 5 Kharach 8 Parav 6 25 B) Sahthani (chauki 1) Raw cotton, ghee 8

Qasba Phagi (1684 A.D.) Seller Buyer Remark Taka Dam Taka Dam Commodities sold by Bichhait (outside 31 0 merchant) On the sale of iron, wood, sunn, raw 25 Rate on cotton, moonj sold to bichhait by the collectiv village merchant e items Sale of Calico and Silk cloth by the 6/Than bichhait in the village

127 Chapter-5 Artisans Involved in Textile Industry

Sawai Jai Singh Charit refers to instruction to five – Bajaj of Amber, Jaipur and Sanganer etc.to adhere to the order of Maharaja, from Sawan Sudi 3, that they would not import the silk material, which was procured from Gujarat and Akbarabad. They would only sell the material prepared at Amber, Jaipur and Sanganer94. So from this type of information, we can understand that Sawai Jai Singh enforced regulations in order to make Jaipur most prosperous city from manufactured products in the royal Karkhanas.

The state accrued revenue from principal areas of eastern Rajasthan for each crop. We have indicated in the following table the revenue derived from cotton in four principal parganas under Amber Raja. The purpose of this table is to show the percentage of revenue reaching the state. It is also evident that cotton was a regular crop in the parganas for different years, though there are certain fluctuations thereof. The table indicates regular revenue from Jaipur .The size proportion of revenue was also highest in Jaipur.

Table 5.2-Revenue derived from cotton crop in four sample Parganas under Amber Raja (in %age)95

Year Jaipur Malarna Bahatri Chatsu Remark 1690 24 9 - - - means data not available 1716 19 7.4 33 19 1723 20 5.2 23 18 1724 15 - 13.1 9 - means data not available 1725 25 - 25.4 - - means data not available 1733 46 - - 24 - means data not available 1737 20 12.3 - 23.5 - means data not available

94Kavi Atamaram, Sawai Jai Singh Charit, Eds. Gopal Narayan Bahura, Sawan Sudi 3, Arzi 692, Maharaja Sawai Man Singh Museum, City Palace Jaipur, 1979 p146. 95 Table based on Arhsattas read by S.P. Gupta, Agrarian System of Eastern Rajasthan (c.1650-c. 1750), op.cit, p 45 to 48

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Table 5.3 - Ratangrah documents illustrating involvement of the merchants in cloth trade

Names of Total Unit Raw Measurement Price. Reference Mahajans/ (Than) Material/ [Gaz] [Kimat] Bajaj Variety of Rs/AS Cloths Dayaram - JamavarPas 5.12 3.12 3099 hmiButadar Kirparam 1 Turrovadi ? - - 3093 Bajaj 1 AbraTasZari 4 - 3093 Ramrap KaGhaghra Sahajram - Turrovadi 3093 Manohar - Tafta 1.1 1 3099

The table from Ratangrah makes us better understand the recorded data in the document. The five merchants namely Dayaram, Kirparam, Sahajram, Ramrap and Manohar respectively were records. Two Mahajans were dealing with the fabric Turrovadi which finds frequent mention in Ratangrah and Vastrgrah documents.

Fig5.10- Clay model of Indian Merchant, picture courtesy Albert museum

Karkhanas were connected with the market through procurement of raw material supply and certain finished goods. In 1788 Chhapakhana refers to the name of tehvildar Gulab Chand who arranged the hired workforce for printing workshop and also provided the raw material to the artisans for printing. The different motifs printed in these cloths were according to the demand of aristocracy. The documents recorded the name of artisans along with their fathers.96Roznamah Chhapakhana illustrates that the dress of Shri Govind Devji was printed at the rates of Rs1000/ under Sevaram Daroga, Nathuram

96Jamakharach Chhapakhana, op.cit., p 103s

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Togdar and Sapamuram Khajanchi.97Rangkhana also indicates that the raw materials for dyeing the cloth were brought by Nathu rangrez.98Nathu and other artisans coloured the textile narma ki with expenditure of 1.25 taka incurred on 2 than and 2 ser 1 posa ingredient were brought from market in Rangkhana.99. Rangkhana document also refer the word Chakar which means servant and more specifically as Karigar Chakar and Rangrez Chakar.100 The mode of remuneration to artisans was through the means of Dadani and Hawalgi, for which merchants were made responsible. Practice of dadani was familiar for Mughal Empire however for hawalgi attention has been drawn recently.101

Conclusion can be drawn from the present study of artisans that skilful artisans like zardoz, chikandoz, chhipas, rangrez, neelgar were patronised by royal karkhanas. These karkhanas produced exquisite items for royal usage. It can be said that the textile industry flourished and experienced boom in 18th century Jaipur and perhaps their most famous identity was dying, printing and embellishment of the cloth.

97Roznamah Chhapakhana,Miti Bhadwa Sudi 3 Tuesday VS.1791/AD.1734, f 3, R.S.A.B. 98Jamakharach Rangkhana,op.cit, f. 279 99Ibid, f. 324 100Ibid, f. 323- 324 101Sumbul Halim, Khan, Art and craft workshops under the Mughals – A study of Jaipur karkhanas, op.cit , p 106.

130

CONCLUSION Conclusion

Conclusion

Our study concludes that history of costumes is essential to analyse social, cultural and economic growth of a region .In this phase of history, Sawai Jai Singh established Jaipur and patronised the karkhanas. The textile industry acquired fame for its unique and exquisite costumes. It is through rich collection of costumes and textiles we come to know that both fabric and types of costumes had vast diversity.

The nature of fabric popular at that time can be classified into cotton, silk, mixed fabric like brocade mashru and sattinete, woollen and velvet. It was generally supposed that according to the varied climatic conditions of the region of Jaipur, fabric was chosen accordingly. We find wide varieties of cotton fabric mentioned in our karkhanazat documents.

When we study the catalogue prepared by Chandramani Singh and the illustrated fabrics therein, we find that the largest number of fabric recorded were from the section of silk and mashru (mixed fabric). Hence we can safely assume that the imperial and royal strata preferred the usage of expensive fabric.

We also come across the process of naming of fabrics, Some fabric got its name from the texture type i.e. the finesse or coarse cloth eg. Malmal Khasa, some got its name from the place of its manufacture like Banarasi, Gujarati, Radhnagari etc. Still others were named after the weights, measures and price like panchtolna, gazi, dodami. Some fabrics were named because of their attractiveness to some emperor for instance Naurangshahi was named after Emperor Aurangzeb.

It is noteworthy that most of the textiles are procured from Gujarat. We can assume that the distance supposed to be a good factor due to which good quality of silk and mixed fabric were available from area of close proximity to Rajasthan i.e. Gujarat .In the 18th century most famous silk centres were Surat and Broach.

A wide variety of techniques were used in colouring and beautification of fabrics, which were manufactured as costumes for the usage of royal household. Multiple types of decoration were done on the fabrics in karkhanas of Jaipur for royals and it was recorded in the documents with their intricate details of unit, price, weight, measurement.

131 Conclusion

Rangkhana document gives information about various types of ingredient used for the extraction of colours from natural herbs like pomegranate rinds, turmeric, vermillion, indigo, saffron, safflower etc. Natural extracts were used for dyeing the fabrics. There are various types of dying pattern known as Tie and dye, also called as Bandhani and laharia pattern that are still in currency.

Chhapakhana document records the use of different types of design printed on fabrics for instance various designs of motifs butas and bels with the help of blocks. In the document we repeatedly find the terms like Butadar, Chhapadar, Chhint, rangeen and badrang. We also came to know about the printing techniques which were prevalent in eighteenth century such as Dabu printing techniques and Ajrak printing technique, whose main ingredient colour was indigo.

The Vastrgrah and Ratngrah documents illustrates the embellishment types like embroideries named as zardozi, chikandozi, phooldozi, kalabattu, mukesa etc and other things like gota, decorated Kinari, tilai, nukrai, gold and silver laces.

The study of costumes assumes importance because it gives social representation and cultural identity of a society at that particular time and place. Our study shows that although almost all types of Karkhanas were in Jaipur, but the textile industry specially the area of colouring and dyeing reached zenith in eighteenth century. Sanganer and Bagru region both became effective skilled centre for dyeing and printing of the textiles and this continues till today. The laharia, bandhej, pachrangi safa or dyed fabric in fast colours is the speciality of the region of Jaipur.

There were wide variety of costumes used by the royalty in eighteenth century Amber/ Jaipur. It had Mughal impact on the trendy vogues developed by Rajputs. These are classified in upper garments and lower garments. Upper garment consisted of pagari angrakhi, jama, achakan , choga, atamsukh, kurta/ kurti, kanchali, choli. Pheta, topi angrakhi and jama, kurta, kanchali, choli nima (jacket) are the costumes repeatedly described in archival document also. Lower garments comprises of dhoti, pyjama, ghaghra. In regional document the word izar is used instead of pyjama, and there was description of varieties in ghaghra costume in females. We have also noticed the repeated description of varied sari, in our document, but in the paintings of 18th century visual depiction of sari resembling todays version of sari seems to be missing.

132 Conclusion

The study of costumes makes us understand the fashions and trends which were followed in medieval India at Jaipur. The museums portraits and paintings played an important role in keeping the various apparels picturesquely illustrated and make us possible to study and analyse the rich legacy. The intricacies of costumes and fabrics culled from our documents and surviving samples in the museums of Jaipur suggests that we have inherited a polished art of not only dying, printing fabric but also making beautiful costumes from Jaipur including some that are envied even today.

133

GLOSSARY Glossary

GLOSSARY Aanchal : Veil Aba : A loose cloak possibly of Arabian origin Abho : A loose like garment, worn by women mostly in Gujarat and Rajasthan Angarkha : A long dress for male Achakan : A long male dress with full sleeves and straight opening in front. Adi Bel : A Pattern in which floral strips are woven, printed or embroidered diagonally. Asis : Potassium nitrate Atlas : A type of pure and high quality of silk Auntna : The process of separating Badla/badli : Flat metallic wire, often silver gilt, used in embroidery. Badrum : Name of pattern Bafta : A kind of cotton stuff Balabandi : A male upper garment which comes a little below the waist with long sleeves Bandhej : The craft of tie and die, the mode of tying Bel : Stripe with creeper design Butasosini : Lily Butadar : Printed with floral Buti : A floral motif on Indian textile Cari : Green mango shaped motif in textile. Chadri : A wrap for the shoulder worn by a man Chakma : A woollen padded cloth Charkhana : Check pattern Chira : A cloth Chhateriv : Thin cloth Chhint : Chhippa : Printer Chitera : Painter Chuga : A loose fitted long coat Cholna : Jacket

134 Glossary

Chothai : One fourth parts Chudani buti : Motif with four dots. Chaukari Jal : Pattern with squares overall Churidar : With bangle like gather or wrinkle Daghlah : A coat of quilted cloth Daman : Hem, lower part of upper garment Danedar : Fabric with dots Dari : Mattress Darzi : Tailor Dhanak : Dots in tie and dye. Dhatu : Metals Dupatta : A piece of material which men put on their shoulder Dushala : Two woollen stitched together Do Dami : Low priced cotton stuff. Fargul : A kind of Jacket. Farji : A long over garment without sleeves or with very short sleeves, open in front and worn like an Fota : Loin band Gaj : A unit of measurement Gandadar : Stripes in zigzag pattern Ganga Jamani: Embroidery or weaving done in both gold and silver zari Gatta : Paste board Gazi : A low priced cotton cloth and also designated as calico Geru : Ochre Ghagra : Skirt worn by female Gher : Lower edge of Ghaghra, Flared Ghundi : Loop, generally used to hold the little button – like boss called tukma Gogal : Sal Gospech : Woollen cloth Gota Zari : A narrow border in which badla forms the weft and silk or cotton threads the warp Gulabi : Pink Gulal : Red starch

135 Glossary

Guldoz : Embroidery in which flowers are stitched on cloth Gund : Wax Hindola : Swing Ilaicha : Type of textile fabric Jali : One of the methods of open work Jalidar : Over all patterns Jama : A piece of dress for men with tight fitted bodice long sleeves and heavy skirt gathered around the waist : Flowered muslin Jhar buta : Bush, shrub, a plant motif Jhalari : A fringe usually an edging comprised of gold/silver thread hanging like a fringe Julaha : Weaver Juzdan : Cover Kagad : Paper Kalabatun : Gold wire Kalgi : Kamal : Lotus Kamdani : Light and graceful form of gold and silver wire embroidery Kamarband : Waist band Kansa : Bell metal Kanti : Used to press the filament from the cloth Karchob : A kind of embroidery Kashida : Embroidery with silk Katna : Spinning Kawach : Waist coat Khadi : A type of cloth Kharwa : A type of cloth Kharia : Whitening chalk Khasa : Cotton stuff Khilat : Dress of honour Kimkhab : A type of silk cloth or silk fabric brocaded with silver and gold Kiran : Gold or silver fringe Kinari Zari : Border of brocade

136 Glossary

Kirki : A tool used to compress weaving work Koftgar : Gold or damascening worker Konia : Pattern for a corner Kunchi : Saddle cloth Kurta : An upper garment for men with full sleeves Kurti : An upper garment for women Kusum : Safflower Lahardar : With diagonal shaped Lahargoda Gota : A kind of gota in which weaving is done in a manner that it is look like zigzag stripes. Laharia : A pattern in which diagonal stripes are obtained by tie:dye technique Laharia bel : Border with diagonal stripes Lachha : Bundle Lapeta : A small piece of material to be tied on the Turban Lappa : Broad woven lace made of gold and silver gilt flattened wire as weft and cotton warp Lajward : Lapis lazuli Lakdi Karap Outbani : A kind of wood used for making the colours Launvarhi : Fibre Magaji : Border Makkhi Buti : Tiny motif Makhmal : Velvet Mahmudi : White cloth Malagiri : A light Shade of brown, in which fragrant dye is used Majur Jamahaal : Labourer’s expenditure Makda : A wooden tool to raise the whole structure of cloth Weaving Mandil : A type of head gear, similar to pagari Mashru : A fabric woven in silk and cotton, the warp of one material and the weft of other. Mayam : A kind of shawl

137 Glossary

Minakari : Enamelling zari border or buti woven with different colour silk and giving the appearance of enamel Minakari ki bel : Floral border woven with different colour silk and zari

Mohari : The circumference of each of the lower openings of a trouser Mothara : This term is used for criss:cross pattern in tie:dye. Momjama : A type of fabric Moza:i:ahani : Socks of iron Muga : A type of wild silk Mukeshdozi : Embroidery with badla usually small dots are embroidered Mukesa : Embroidery with badla – Usually small dots are embroidered Naddaf/ Dhuniya : Carder Nefa : A folded part at the waist of a pyjama and Ghaghra for receiving the Izarband Narangi : Orange colour Narma : A type of cloth Naspal : Pomegranate Nawar-Baafi : Coarse layers Neel : Indigo Neelak : A type of textile Neelgar : Indigo:dyer Nimbu : Lime Nima : Jacket, a kind of Tunic Nukra : Gold Odhni : It is a piece of cloth three meters long and half meter wide. Women wear it with ghaghra. Pag : Turban Pagari : Turban Pamari : Cotton shawl Payjama : A costume of lower garment Panchrang : Five coloured Panchtolna : Cotton stuff Parcha:baafi : Cloth Weaving

138 Glossary

Pareta : Collected silk in cage spool Patadar : With broad stripes Patti : Straight border Patka : Waist:band Paricha, Jarwaf : Embroidery cloth Peetal : Bronze Peshwaz : A Gaon like dress, consisting essentially of a choli with front opening skirt Pevrhi : Mahaleb cherry Pheroza : Feroza (a precious stone) Pheta : Cotton stuff used for head gear Pasami : Woollen Pomcha : The odhani with pom (lotus) motif : Dress Posa : One:fourth part of any unit Pot : Very fine light fabric made at Banaras Qaba : A full sleeve garment for outer wear Rangrez : Dyer Razai, Dulayi : Reja : A type of cloth Resham-Saaz : Silk twisting Sadari : Waist coat Salaidar : Striped Safa : A type of turban Saresh : Green herb Sarpech : Turban Sawz : Green colour Shrisaf : Cotton stuff Siluqi : Thread Singrafi : Very light vermilion shade Sinjaf : Border turned inward Sinkia : Very narrow Siyah : Black smoothing the wrinkles

139 Glossary sozangar : Needle makers Sua/Sui : Needle Surmai : Shade of deep steel blue Suqlat : Woollen cloth Taat : A kind of cloth which was made of eri silk and used for making the tents and screens Taatpirhi : Seat of eri silk Tafta : A type of silk cloth Takauchiya : A kind of Jama Tansukh : A high:priced cotton cloth and a kind of muslin which was very delicate and soft Tanzeb : Fine white cotton fabric Tani : Coloured thread used lengthwise in gota Tara Buti : Star motif Tarahdar : Patterned Tar loh : Iron wire Tarkash : Wire maker, lace maker Tarku : Spindle Taswir : Picture Tasa : A fabric made of cotton thread and badla: cotton as warp and badla as weft Tatwafi : Raised embroidery work Than : Unit Topi : Cap Topi Dopalia : Cap with two pieces Topi Chaukhulia : Cap with four piece

Topi Panchpalia : Cap with five piece

Tukma : A loop to hold ghundi, the ball:shaped button Turri Buti : Twig motif Uttu : Embossing (highlighted) work Zari : Brocade Zardoz : Embroider used to work with gold wire.

140

BIBLIOGRAPHY

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125. Rajrupa Das, “Mughalia Libaas-The Trans Migration of Central Asian Fashion to the Indian Sub-Continent”, Dress and Textile Histories, (University of Glassgow, 2013) 44. 126. S. P. Gupta, “Evidence for Urban Population and Its Composition from 17th -18th Century Rajasthan”, Proceedings of Indian History Congress (Calicut, 1976). 127. S. P. Verma, “Margin Paintings of Medieval Indian Art”, Proceedings of Indian History Congress, (Waltair, 1979). 128. S. P. Verma, “Mughal Atelier”, Proceedings of Indian History Congress. (Srinagar (mimeograph), 1986). 129. S. P. Verma, “Sixteenth Century Mughal Miniatures at the Royal Library (Windsor) and Indian Office Library (London) A Survey hitherto unnoticed paintings India”, Proceedings of Indian History Congress, (Bodhgaya, 1981). 130. Shadab Bano, “Women’s work in early 19th Century Bihar”, Proceedings of Indian History Congress (2010). 131. Shankarlal Sharma, “Jaipur k Udyog Dhandhe”, Hiteshi A local Journal, (Jaipur, Dec-Jan. 1941-42). 132. Sumbul Halim Khan and Masrat Ahmad Mir, “Saga of Mughal Farman- Understanding the Essential” International Journal of Social Science and Economic Research, Vol 4, (6 June 2019). 4094-95. 133. Sumbul Halim Khan, “Karkhanas of a Mughal Noble: Evidence from the Amber/Jaipur Records”, Proceedings of Indian History Congress, (Delhi, 1992). 134. Sumbul Halim Khan, “Mughal Karkhanas at Amber: A Study of Animal Stables and Manufactories of Arms and Palanquins in the Eighteenth Centuries”, Islamic Culture, Vol. LXXIV, no. 4, (October 2000). 135. Sumbul Halim Khan, “Organization of Amber Atelier”, Proceedings of Indian History Congress (1993). 136. Sumbul Halim Khan, “Peshkash in the Jagirs of the Amber Rulers, C. 1690-1750”, Proceedings of Indian History Congress, 53 sessions (Warangal, 1992-93). 137. Sumbul Halim Khan, “Planning of the Pink City, Maps and Documents”, Indica, (The Heras Institute St. Xavier’s College Mumbai, 1998). 138. Swanti Kulshrestha, “An Explorative study of Vastragrah Documents”, Proceeding of Rajasthan History Congress, (Jodhpur, December 2016).

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139. Swanti Kulshrestha, “An Overview of Eighteenth Century Costume in South Asia- A Case Study of Amber Jaipur”, Proceeding of South Asian History Conference , ( 2015). 140. Swanti Kulshrestha, “Artisans and Patrons-A Case Study of 18th Century Textile Worker Jaipur”, Paper Presented at South Asian History Conference, Punjabi University Patiala, (Unpublished, 2016). 141. Swanti Kulshrestha, “Reconnoitring Costumes Culture from Ratangrah of Amber Sate”, Paper Presented at National Seminar at Centre of Advance Study, Department of History, A.M.U. Aligarh, (Unpublished, 2016). 142. Swanti Kulshrestha, “Regional Source on Royal Wardrobe of 18th century Amber- Jaipur”, Paper Presented at National Seminar at, Centre of Advance Study, Department of History, A.M.U. Aligarh, (Unpublished, 2017). 143. Swanti Kulshrestha, “Working Women in Textile Industries in 17th Century”, Paper Presented at Indian History Congress at Mumbai University, (Unpublished, 2012).

Unpublished Research Works 144. Farhat Kamal, Artisans and Craftsmen in 18th century Jaipur, Centre of Advance Study, Department of History, A.M.U. Aligarh, (2016). 145. Farhat Kamal, Urban Morphology of 18th Century Jaipur, Centre of Advance Study, Department of History, A.M.U. Aligarh, (2011). 146. Ishrat Alam, Textile Craft and Trade in India in Sixteen and Seventeen Centuries, Centre of Advance Study, Department of History, A. M. U. Aligarh, (2005). 147. Jibraeil, Urban Centres and Population during 18th -19th Century in Rajasthan, Centre of Advance Study, Department of History, A.M.U. Aligarh, (2007). 148. Swanti Kulshrestha, Women’s Labour in Transitional India, 1800C, Centre of Advance Study, Department of History, A.M.U. Aligarh, (2013).

Gazetteers 149. Rajasthan District Gazetteers, of different districts Jaipur, Bikaner, Jaisalmer, Jodhpur, Kota, Churu, Udaipur and Jalor.

150