Introduction

Notes Introduction 1. Mohandas K. Gandhi, “Indian Art, Its Neglect,” Young India 1 no. 8 (May 31, 1919): 3. 2. Ibid. 3. Ibid. 4. For details on these, see Lisa Trivedi, Clothing Gandhi’s Nation: Homespun and Modern India (Bloomington: Indiana University Press, 2007). 5. Karen Livingstone and Linda Parry, eds., International Arts and Crafts (London: Victoria and Albert Museum, 2005). 6. For some of the major statements of this debate, see Marika Vicziany, “The Deindustrialization of India in the Nineteenth Century,” Indian Economic and Social History Review 16 no. 2 (1979): 105–146; Amiya Kumar Bagchi, “‘The Deindustrialization of India’: A Reply,” Indian Economic and Social History Review 16 no. 2 (1979): 147–161; and Colin Simmons. “‘De- industrialization,’ Industrialization and the Indian Economy, c. 1850–1947,” Modern Asian Studies 19 no. 3 (1985): 593–622. 7. Tirthankar Roy, Traditional Industry in the Economy of Colonial India (Cambridge: Cambridge University Press, 1999); Tirthankar Roy, Artisans and Industrialization: Indian Weaving in the Twentieth Century (Delhi: Oxford University Press, 1993); Douglas Haynes, “The Logic of the Artisan Firm in a Capitalist Economy: Handloom Weavers and Technological Change in Western India, 1880–1947,” in Institutions and Economic Change in South Asia, ed. Burton Stein and Sanjay Subrahmanyam (New Delhi: Oxford University Press, 1996), 173–205; Douglas Haynes, “Artisan Cloth-Producers and the Emergence of Powerloom Manufacture in Western India, 1920–1950,” Past and Present 172 (2001): 170–198; and Willem van Schendel, Reviving a Rural Industry: Silk Producers and Officials in India and Bangladesh, 1880s to 1980s (New Delhi: Manohar, 1995). 8. Manu Goswami, Producing India: From Colonial Economy to National Space (Chicago: University of Chicago Press, 2004). Other models have been pro- vided, much earlier, in African studies, where scholars have looked at how cultural values inform the meaning of wages, money, and work, thereby dem- onstrating how core economic categories are shaped by cultural context. See Keletso Atkins, The Moon is Dead! Give Us Our Money! The Cultural Origins 206 NOTES of an African Work Ethic, Natal, South Africa, 1843–1900 (Portsmouth, NH: Heinemann, 1993); John and Jean Comaroff, “Goodly Beasts, Beastly Goods: Cattle and Commodities in a South African Context,” American Ethnologist 17 no. 2 (May 1990): 195–216; Jane Guyer, ed., Money Matters: Instability, Values, and Social Payments in the Modern History of West African Communities (Portsmouth, NH: Heinemann, 1995); and Sharon Hutchinson, “The Cattle of Money and the Cattle of Girls Among the Nuer, 1930–83,” American Ethnologist 19 no. 2 (May 1992): 294–316. 9. For only a few of the most prominent examples, see Catherine Asher and Thomas Metcalf, eds., Perceptions of South Asia’s Visual Past (New Delhi: American Institute of Indian Studies, 1994); Bernard Cohn, Colonialism and Its Form of Knowledge: The British in India (Princeton: Princeton University Press, 1996); Nicholas Dirks, Castes of Mind: Colonialism and the Making of Modern India (Princeton: Princeton University Press, 2001); Sudipta Kaviraj, “Writing, Speaking, Being: Language and the Historical Formation of Identities in India,” in Nationalstaat und Sprachkonflikte in Sud-und Sudostasien, ed. Dagmar Hellmann-Rajanayagam and Dietmar Rothermund (Stuttgart: Franz Steiner Verlag, 1992): 25–65; Gyanendra Pandey, The Construction of Communalism in Colonial North India (Delhi: Oxford University Press, 1990); Mrinalini Sinha, Colonial Masculinity: The “Manly Englishman” and the “Effeminate Bengali” in the Late Nineteenth Century (New York: Manchester University Press, 1995). 10. Maxine Berg, “In Pursuit of Luxury: Global History and British Consumer Goods in the Eighteenth Century,” Past and Present 182 (2004): 104; and John Styles, “Product Innovation in Early Modern London,” Past and Present 168 (2000): 129, 167. 11. Tapati Guha-Thakurta, The Making of a New “Indian” Art: Artists, Aesthetics and Nationalism in Bengal 1850–1920 (Cambridge: Cambridge University Press, 1992); Partha Mitter, Art and Nationalism in Colonial India, 1850–1922: Occidental Orientations (Cambridge: Cambridge University Press, 1994). 12. Kamaladevi Chattopadhyaya, “Painting with the Needle,” Marg 17 no. 2 (1964): 3. 13. Saloni Mathur, India By Design: Colonial History and Cultural Display (Berkeley: University of California, 2007), 46. 14. Roy, Traditional Industry in the Economy of Colonial India, 6. 15. Arindam Dutta, The Bureaucracy of Beauty: Design in the Age of Its Global Reproducibility (New York: Routledge, 2006), 275. 16. For similar design reform efforts in England see Adrian Rifkin, “Success Disavowed: The Schools of Design in Mid-Nineteenth Century Britain (An Allegory),” Journal of Design History 1 no. 2 (1988): 89, 101. 17. For an overview of the major divisions in the nationalist movement for and against Western models of industrial and economic development, see Ira Klein, “Indian Nationalism and Anti-Industrialization: The Roots of Gandhian Economics,” South Asia 3 (August 1973): 93–104. 18. Goswami, Producing India, 240. NOTES 207 19. Bipan Chandra, The Rise and Growth of Economic Nationalism in India: Economic Policies of Indian National Leadership, 1880–1905 (New Delhi: People’s Publishing House, 1966). 20. Sanjay Joshi, Fractured Modernity: The Making of a Middle Class in Colonial North India (Delhi: Oxford University Press, 2001); Veena Naregal, Language Politics, Elites and the Public Sphere: Western India under Colonialism (London: Anthem Press, 2002). 21. Gyan Prakash, Another Reason: Science and the Imagination of Modern India (Princeton: Princeton University Press, 1999); Sanjay Seth, Subject Lessons: The Western Education of Colonial India (Durham: Duke University Press, 2007). 22. Partha Chatterjee, Nationalist Thought in the Colonial World: A Derivative Discourse? (Minneapolis: University of Minnesota Press, 1986). 23. Mathur, India By Design, 48. 24. Dutta, The Bureaucracy of Beauty; Mathur, India by Design. 25. Sudipta Sen, Empire of Free Trade: The East India Company and the Making of the Colonial Marketplace (Philadelphia: University of Pennsylvania Press, 1998); Carla Sinopoli, The Political Economy of Craft Production: Crafting Empire in South India, c. 1350–1650 (Cambridge: Cambridge University Press, 2003). 26. Thomas Metcalf, An Imperial Vision: Indian Architecture and Britain’s Raj (Berkeley: University of California Press, 1989); G. H. R. Tillotson, The Tradition of Indian Architecture: Continuity, Controversy and Change since 1850 (New Haven: Yale University Press, 1989); and Raymond Head, “Bagshot Park and Indian Crafts,” in Influences in Victorian Art and Architecture, ed. Sarah Macready and F. H. Thompson (London: Society of Antiquarians: Occasional Paper [New Series] VII, 1985), 139–149. 27. Mitter, Art and Nationalism in Colonial India, 1850–1922; Guha-Thakurta, The Making of a New “Indian” Art. 28. For examples of works that largely ignore politics, see Ritu Kumar, Costumes and Textiles of Royal India (London: Christie’s Books, 1999); Sherry Rehman and Naheed Jafri, Kashmiri Shawl: From Jamavar to Paisley (Ahmedabad, India: Mapin, 2006); B. N. Goswamy, Kalyan Krishna and Tarla P. Dundh, Indian Costumes in the Collection of the Calico Museum of Textiles (Ahmedabad, India: Calico Museum of Textiles, 1993); and Oppi Untracht, Traditional Jewelry of India (New York: Henry N. Abrams, 1997). For politics as expressed in and through dress, see Emma Tarlo, Clothing Matters: Dress and Identity in Modern India (Chicago: Chicago University Press, 1996). 29. Christopher Pinney, Camera Indica: The Social Life of Indian Photographs (Chicago: Chicago University Press, 1997); Christopher Pinney, “Photos of the Gods”: The Printed Image and Political Struggle in India (London: Reaktion, 2004); Kajri Jain, Gods in the Bazaar: The Economies of Indian Calendar Art (Durham: Duke University Press, 2007); Priya Jaikumar, Cinema at the End of Empire: A Politics of Transition in Britain and India (Durham : Duke University Press, 2006); and Sumathi Ramaswamy, ed., Beyond Appearances? Visual Practices and Ideologies in Modern India (New Delhi: Sage Publications, 2003). 208 NOTES 30. C. A. Bayly, “The Origins of Swadeshi (Home Industry): Cloth and Indian Society, 1700–1930,” in The Social Life of Things: Commodities in Cultural Perspective, ed. Arjun Appadurai (Cambridge: Cambridge University Press, 1986), 285–321. 31. Trivedi, Clothing Gandhi’s Nation. 32. Svati Joshi, “Dalpatram and the Nature of Literary Shifts in Nineteenth- Century Ahmedabad,” in India’s Literary History: Essays on the Nineteenth Century, ed. Stuart Blackburn and Vasudha Dalmia (New Delhi: Permanent Black, 2004), 327–357. 33. Goswami, Producing India, 67, 83. 34. A very expensive, double ikat silk in which color is applied by resist dyeing the warp and weft yarn, traditionally made in Patan and Surat. 35. For various proposals, see George Wilkens Terry to Government of Bombay, April 21, 1864. Maharashtra State Archives (hereafter MSA) General Department (hereafter GD), 1862–64: v. 15, c. 420: 275–279; “The Sir Jamsetjee Jeejebhoy School of Art and Industry.” MSA Education Department (hereafter ED) 1875: v. 16, c. 12: 305; K. M. Chatfield to C. Gonne, May 8, 1880. MSA ED 1881: v. 27, c. 7: 140; K. M. Chatfield to Secretary to Government, Educational Department, October 16, 1888. MSA ED 1889: v. 45, c. 8: 142; John Griffiths to Director of Public Instruction, October 22, 1889. MSA ED 1889:

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