TENT HANGING, cotton painted, printed and dyed, Mughal. late 17th or early 18th century. V+A Part of a floorspread, resist- and mordant-dyed cotton, Mughal, late17th-early 18th century. V+A Mughal flowering plant motifs appear in other arts as well... here marble carvings on walls of Taj Mahal, Agra Cotton floorspread embroidered with silk thread. Mughal, early 18th century. V+A Handpainted, printed + dyed palampores, 18th ce, V+A HANDPAINTING + PRINTING ON TEXTILES TYPICALLY DONE IN TWO WAYS: WOODEN BLOCK (below) OR KALAM (above) Block carver in Sanganeer, Rajasthan Blockprinting workshops in Sanganer, Rajasthan RIGHT: The ties at the side have been made into a decorative feature in themselves, with carefully designed floral motifs made to fit the lappets. Man's robe (jama) made of printed, painted and dyed cotton, possibly made in Burhanpur, 18th century

LEFT: This robe is said to have belonged to Tipu Sultan of Mysore (d.1799), although there is only anecdotal evidence for this. The late Mughal style of the robe and its decoration do tally with an 18th-century date. 1658 Mughal painting of nobleman wearing Muslin Jama This man's robe is of the type called a jama, which crosses over the chest and fastens at the side. This example is exceptional in the amount of cloth used for its gathered skirt: it has a circumference at the hem of 65 metres of cloth, and the skirt is made up of 277 triangular panels. It was given to the India Museum (which was amalgamated into the South Kensington Museum, later the V&A) by the Maharaja of Bharatpur in Rajasthan in 1855. Man's robe (angarkha), embroidered muslin, Lucknow, early 20th century. V+A EXAMPLES OF CHIKAN, FRAGMENTS FROM 19TH CE woman in Lucknow embroidering chikan Embroidered coat, Mughal, 17th century. V+A Satin embroidered turban, Lucknow, Mid 19th Century. V+A Part of a turban cloth: Cotton, embroidered with silk, Mughal, 17th or early 18th century. V+A LEFT:

Cotton, tie-dyed part of a turban, with gold brocade edges. Acquired joined to two other pieces [7843G/(IS) and 7843(IS)] in a 'long turban' in 1867. The fine quality of the knotted patterns on this turban-cloth is typical of the work of Jamnagar and other Saurashtran centres.

Jamnagar, India (made)

1867 (made)

RIGHT:

When it was acquired by the Museum in 1867, for the large sum of 300 rupees, this cotton, tie-dyed turban piece was joined to two other pieces (Mus. no. 7843D/(IS) and 7843(IS)) as a 'long turban'. The fine quality of the knotted patterns on this turban cloth is typical of the work of Jamnagar and other centres in Saurashtra, Gujarat. Nethertheless, an identical piece which found its way to Alwar in Rajasthan was attributed to that town by T. H. Hendley in his book Ulwar and its Art Treasures in 1880. A complete turban cloth (L.850cm, W.40cm) in the same design is also in the V&A (Mus. no.5736(IS)).

Cotton, tie-dyed turban piece with gold brocade edges.

Jamnagar, India (made)

1867 (made) Place of Origin Kota, India (made)

Date ca. 1870 (made)

Artist/maker unknown (production)

Materials and Techniques Opaque watercolour on paper

Marks and inscriptions Kota ke maharay ji Sri Sataru Sal ji sayari gangor ka ganta ji jayani ki che Maharao Sri Chhatar Sal of Kota on horseback celebrating the Gangaur festival

Object history note From the Gayer-Anderson collection

Descriptive line Painting of Maharao Chhatar Sal of Kota in the Gangaur procession, made in Kota, ca. 1870

Subjects depicted Horse; Procession; Equestrian; Maharao Chhatar Sal

Categories Royalty; Paintings

Collection code IND Geographic location/provenance: Western India, Work title: Kalpasutra and Kalakacharya Katha, Balamitra and his wife Work view: detail Dates: c. 1400 Style-period: Jain manuscript making bandhani + leheriya, Jaipur, Rajasthan making bandhani + leheriya, Jaipur, Rajasthan making bandhani + leheriya, Jaipur, Rajasthan making bandhani + leheriya, Jaipur, Rajasthan making bandhani + leheriya, Jaipur, Rajasthan PATKAS...

RIGHT: TIPU SULTAN IN STRIPED PATKA, PERHAPS LAHARIYA... Painting, Portrait of Tipu Sultan (1749-99), The Ruler of Mysore, Mysore, ca. 1790 LEFT: MUGHAL COURTIER, c. 1658 to 1707 (made) LEFT: Geographic location/provenance: Bijapur, India Work title: Youth Reading Dates: c. 1605 Repository: Dublin, Collection of the Beatty Library RIGHT: Geographic location/provenance: Bijapur, India Work title: Portrait of Ibrahim Adil Shah Holding Castanets Dates: c. 1580-1626 Repository: London, British Museum Sash (patka) of printed, hand-painted and dyed cotton. Drawn by hand and painted on both sides in bright dye-colours. The pattern on each end is painted in pink, green and yellow outlined in black. It consists of a floral border design and five repetitions of a vertical floral spray of Celosia cristata (cockscomb) on each end. Narrow borders of the same motive on undulating stems running above and below each of the end panels as well as down the whole length of the sides.

Burhanpur, India (possibly, made)

18th century (made)

Printed, hand-painted and dyed cotton

Height: 526 cm, Width: 72.5 cm, Height: 207 in, Width: 28.5 in, Height: 77 cm patterned end and borders

Formerly in the collection of the Nizam of Hydrabad LEFT:

This fine sash (patka) would have been worn by a man around the waist of a tailored robe, probably of the type called a jama. It is woven of fine cotton muslin made in Bengal, then in eastern India but now in Bangladesh, which was traditionally a centre for weaving such fabrics. It is embroidered in a neat floral design with coloured silks in simple running stitch. This embroidered design, which conforms to the Mughal style of the 18th century, was probably meant to imitate a more costly woven pattern.

Man's girdle (Patka) sash of fine muslin embroidered in coloured silks with a pattern which suggests a woven design, with a typical late Mughal floral motif. One end is embroidered with horizontal rows of small stems of conventional flowers in purple with green stalks and leaves. Bands of undulating floral and leafy stems enclose these stems above and below and along the sides.

Man's girdle (Patka) sash of muslin embroidered in silks, probably made in Dhaka, ca. 1800

RIGHT:

Girdle (patka) of unbleached or faded cotton, embroidered with coloured floss silks and flattened silver wire. The patka is of coarse, loosely-woven cotton with a slightly harsh or stiff surface which seems to indicate the presence of a dressing. The field is plain, with decorated pallau, each consisting of a single row of seven stylised flowering plants, probably representing poppies. The embroidery is darning stitch. The flower-heads are worked in orange, outlined and partitioned by flattened silver wire. The stems and foliage are blue-green, with a central "vein" of yellow on each leaf. The entire background of the pallav sections, between the flowering plants, is filled with a diaper of "droplets" like large single inverted commas, embroidered in flattened silver wire. Three guard borders separate the pallau from the filed. They consist of a row of stylised poppy heads, alternately upright and inverted. The individual heads are enclosed in rectangular compartments outlined in blue green.. Enclosing this enclosure above and below is a narrow embroidered line in which blue-green and yellow alternate. An outer border of the same design runs round the edge of the shawl. Places where the embroidery has frayed show that the pattern was stamped on the fabric in a pinkish pigment.

Girdle (patka), woven cotton embroidered with floss silks and flattened silver wire, North India, 18th century Kashmir shawls, tapestry weave Pashmina shawl from Kashmir. "Pashm" from the Persian word for wool. "Pashmina" is derived from Pashm. Pashmina is the softest cashmere wool in the world. Pashmina fibers are obtained from the Himalayan goat (Capra Hircus) which lives in high altitudes in the Himalayas. The wool is spun and then hand woven and finally fringed at the ends.

Kashmir, India (made) ca. 1830 (made) Kashmir shawl, 1820 Metallic thread embroidery, Jaipur, Rajasthan GOTA:This extravagant costume would have been worn by a dancer or noblewoman at the flamboyant Lucknow Court, although the fashion for exaggeratedly wide trousers like these worn under a full, shorter overdress was popular in several centres of North India during the first half of the 19th century. Women wearing such costumes are shown in Lucknow paintings of the 19th century and in Company style paintings from several centres in North India.

Woman's dress (peshwaz) of green silk with applied gold ribbon (gota) and pompoms. The dress has a fitted bodice open in the front, and a full skirt made up of 31 triangular panels.

Lucknow, India (made)

19th century (made)

Bodice; silk and gold ribbon; North India; mid-19th century. V+A BEETLES’ WINGS used in embroidery ... A tapering flattened tube, white cotton ground fabric, surface entirely covered with couched silver and silver-gilt strips, inset sections of green and red velvet, applied beetle-wing segments, floss silk embroidery and tinsel.

Place of Origin India (north, made)

Date 1800-1850 (made)

Materials and Techniques Cotton, velvet, metal strip, sequins, beetle-wings, tinsel; embroidered and applique.

Dimensions Length: 85.5 cm, Width: 10 cm width at widest point (one end).

Production Note Probably from Lucknow

Collection code IND Embroidered cotton dress fabric, Hyderabad, ca.1855. V+A Embroidered dress fabric with applied metal strips, sequins and pieces of beetle-wing, Madras, about 1851. V+A Place of Origin Deccan?, India (made)

Date late 18th century (made)

Artist/maker unknown (production)

Materials and Techniques Velvet, embroidered with silver gilt thread, wire and sequins

Dimensions Height: 143.5 cm, Width: 142.2 cm

Object history note Bought by the South Kensington Museum in 1864 as : "Saddle cloth of crimson Genoa velvet thickly embroidered with gold thread in conventional foliage pattern, &c. Indian, formerly the property of Tippoo Sahib. Received from Stores 15 July 1864. Received from Mrs Williamson. Price £30.00." According to V&A Registry, 6/2/08, there is no nominal file for Mrs Williamson and there are no further acquisition details.

Bibliographic References (Citation, Note/Abstract, NAL no) Swallow, Deborah and John Guy eds. Arts of India: 1550-1900. text by Rosemary Crill, John Guy, Veronica Murphy, Susan Stronge and Deborah Swallow. London : V&A Publications, 1990. 240 p., ill. ISBN 1851770224, p.184, pl.163. Murphy Veronica, in The Indian Heritage. Court Life and Arts under Mughal Rule, V&A, 1982, cat. 237, p. 92, ISBN 0906969263.

Production Note Said to have belonged to Tipu Sultan and to have been taken at the Siege of Seringapatam in 1799

Subjects depicted Floral pattern

Categories Royalty; Entertainment & Leisure; Transport

Collection code IND Geographic location/provenance: Bikaner, Rajasthan, India Work title: Woman Holding a Flask Work description: From Northern India (Rajasthan, Probably Bikaner) Dates: c. 1750 Materials: gold, watercolor on paper Repository: Boston: Museum of Fine Arts (64.2025)

RIGHT:

Physical description 'Abhisarika nayika': a lady walking through a forest at night with snakes at her feet

Place of Origin Chamba, India (possibly, made) Punjab, India (possibly, made)

Date ca. 1870 (made)

Artist/maker Mangnu (possibly, artist)

Materials and Techniques Coloured drawing on paper

Historical context note Pahari painting is a style of miniature painting of the Rajput courts in what is now Himachal Pradesh. Chamba, an important centre of Pahari painting, is situated in the Ravi Valley in the heart of the Himalaya mountains.

Descriptive line Pahari painting; a lady walking through a forest, Chamba, 19th century.

Production Note Attributed to Mangnu

Techniques Drawn

Subjects depicted Woman; Figure; Snakes; Night

Categories Paintings

Collection code IND CONTEMPORARY GAGHRA + choli with odhini... ZARDOZI WORK... WOMEN ALSO WORE SARIS... LEFT: An Indian lady in a yellow semi-transparent sari and red pyjama trousers half squatting on a chair on a terrace, smoking a 'huqqa' which is on a small stand. In the foreground a parapet and a flower-bed with poppies. One of seven portraits of Indian men and women. Murshidabad, India (made) ca. 1760 - ca. 1764 (painted)

RIGHT: India (north, made)

17th century to 18th century (made) CONTEMPORARY WEDDING SARIS WOMEN ALSO WORE TUNICS / COATS (SOMETIMES CALLED PESHWAZ) WITH PAIJAMA

Geographic location/provenance: Bijapur, India Work title: Woman and Mynah Bird Dates: c. 1605 Repository: Dublin, Collection of the Beatty Library Shah Jahan Begum, 1870s WOMAN'S COURT COSTUME: Silk with gold and silver braid and pompoms. Lucknow, C.1830-40. V+A Poshak (costume for a woman), c.1900, Silk brocade with gold thread, base metal and sequins. Private Collection. Brocade

Length of Silk and gold fabric, Twill weave with complimentary wefts and inner warps, North India or Iran, mid 17th century. Brocade (kincob)

Silk brocade textile, Varanasi, 19th Century. Silk brocade textile, Varanasi, 19th Century. This luxuriously woven sash (patka) was woven in Iran but used in Hyderabad. It bears a stamp from the toshkhana (wardrobe store) of Asaf Jah, first Nizam of Hyderabad with the date 1159 AH (equivalent to 1746AD). The muted colour palette is typical of Safavid Persian taste, and the upright, symmetrical shape of the flowering plants in the end panels also indicates an Iranian rather than Indian origin..