• .' ,FIFTY-ONE PHOTOGRAPHIC ILLUSTRATIONS " , • TAKEN BY ORDER OF THE GOVERNMENT OF

"

OF SOME SELECTED OBJECTS. SHOWN AT THE, THIRD' •

"y ,,\;. EXHIBITION OF NATIVE FINE AND INDUSTRIAL ART

OPENED AT SIMLA BY HIS EXCELLENCY

THE VICEROY ON THE

24TH SEPTEMBER

1881

•

131

THE PHOTOGRAPHS ARE PERMANENT HAVING BEEN PRINTED BY THE

WOODBURY PERMANENT PHOTOGRAPHIC PRINTING COMPANY

157 GREAT PORTLAND'STREET LONDON

MDCCCLXXXIII

:If: :If: • :If: , ' NATIVE INDUSTRIAL ART COMM"ITTEE, SIMLA.

)j)atron. HIS EXCELLENCY THE MOST HONOURABLE THE MARQUIS OF RIPON, KG., G.M.S.I., G.M.I.E., Viceroy and Governor-General of India.

Jl)jce-1Patron~. HIS EXCELLENCY SIR DONALD MARTIN STEWART, BART., G.C.B., C.I.E., Commander-in· Chief in India. HIS EXCELLENCY THE RIGHT HON. SIR JAMES FERGUSSON, BART., D.CL., F.RS., M.RAS., F.RI.B.A., KC.M.G., CI.E., Govenzor of Bombay. HIS EXCELLENCY SIR SALAR jUNG,G.C.S.I., Prime Minister to His Highness the/Vizam of Hyderabad. THE HON. SIR ASHLEY EDEN, KCS.l.i CLE., Lt'eutenant-Governor of Bengal THE HON. SIR GEORGE COUPER, BART., C.B., KCS.L, C.LE., Lieutenant­ Governor of tke North-Western Provinces and Oudlt. THE HON. SIR ROBERT EGERTON, KCS.I., C.LE., Lieutenant-Governor of the • .

Jl1lemlter~. THE HON. JAMES GIBBS, C.s.L, CLE. (President of the Committee of Management). THE HON. MAJOR E. BARING, CS.I., C.LE. SIR LEPEL H. GRIFFIN, CS., K.CS.I. THE HON. CHARLES GRANT, CS., CS.I. T. C HOPE, ESQ., CS., CS.I. • MAJOR-GENERAL A. CUNNINGHAM, C:S.I., C.I.E., RE. MAJOR-GENERAL SIR CHARLES MACGREGOR, KCB., CS.I., CLE. MAJOR-GENERAL NAPIER G. CAMPBELL, RA. LUiUTENANT-COLONEL P. D. HENDERSON,' CS.I. CAPTAIN H. H. COLE, R.E., Honorary Secretar),. • 4 Third Exhz'bz"tz'on of Natz've Fz"n,e and 1 ndustrz'al Art.

• J. H. MORRIS, ESQ., C.S.I., Chief Commz'ssioner of the Central Provinces. C. E. BERNARD, ESQ., C.S., C.S.I., Ojficiating Chief Commzssioner of Brilish Burma. SIR STEUART BAYLEY, C.S., K.C.S.I., Residenl at Hyderabad. C. A. ELLIOTT, ESQ., C.S., Ojficiating Chief Commissioner of Assam. LIEUTENANT-COLONEL C. K. M. WALTER, Ojficiating Agent 10 lhe Governor- General, Rajputana. THE HON. SYAD AHMED KHAN BAHADUR, C.S.1. THE HON. AMARAVATI SESHAYA SASTRI, C.S.I. SIRDAR PERTAB SINGH, SON OF SIR DEWA SINGH, K.C.S.I., President Council of Regency, State, OF PATIALA. . KHALIFA SYAD MUHAMMAD HASSAN KHAN BAHADUR, Prime Minister to His Highness the of Patiala. RAJENDRALALA MITTRA, RAI BAHADUR, LL.D., C.I.E. J. H. RIVETT-CARNAC, ESQ., C.S., C.I.E. E. FORSTER \VEBSTER, ESQ., C.S., Ojfici~tz'1tg Secretary to the Government of .Madras. H. B. GRIGG, ESQ., C.S. B.A., Director if Public Instruction, Madras. R. F. CHISHOLM, ESQ., F.R.I.B.A., Superintendent, School if Industria~ Arts, .Madras. J. L. KIPLING, ESQ., Principal, Mayo School of 4rt, La/tore. CAPTAIN W. LOCH, Prillcipal, Mayo College, Ajmere.

• The object of the Committee is to encourage decorative industries which have a direct connection with the Oriental Fine Arts of India, Persia, Arabia, handed down by long tradition. Encouragement is felt to be required, since many of the Industrial Arts now practised in India have deteriorated through the influence of foreign ideas, both in ornament and shape. The Native Industrial Art Committee's medals in silver, bronze, and cer­ tificates of merit were awarded for specimens of Fine Art applied to industry, of the following classes :- A .-Carvings in ivory- (a) for adaptation in furniture, such as panels, carved or inlaid; (b) for ornamental purposes; (c) for application in objects of use. B.-Enamel painting on copper or gold­ (a) for jewellery; (b) for objects of use, such as caskets, salvers, arms, armour, &c. • Th£rdEzh£bitjon oj Native Fine and Industrial Art. 5

C.-Painting on wood or painting in lacquer- (a) for use in the decoration of houses, door panels, &c. ; (b) for application to objects of US6. D.-Inlaid metal work made at Moradabad.

~ • CARVED IVORY.

NDIA has always been famed for ivory carvings, which are applied to furniture and to all descriptions of useful and ornamental objects. I The modern work is produced mostly at Mursheda.bad in Bengal, and at Shah,Pur, Amritsar and Delhi in the Punjab, at Bhurtpur, Jodhpur and Udaipur in Rajputana, in Bombay, in Assam, ,and in Burma, and at Vizagapatam and in Madras. Small statuettes, models of elephants and other animals, carved paper-cutters, chowris or fly whisks, sword and 'knife handles, chess-boards and chessmen, tankards, combs, and all descriptions of boxes, are among the most commonly produced articles. Carving in ivory produced in India is done for the most part by hand, and is much to be admired for elaboration of detail and for picturesque grouping of figures and animals. The geometrical and foliated ornament is always first-rate, and the production of carved ivory· suitable for the application to furniture and to useful objects should be developed and encouraged. European furniture-makers would doubtless be glad to get into communication with the ivory-carvers of this country. Some will no doubt remember the ivory throne and foptstool exhibited in 1851, the gift of the of Travancore to Her Majesty the Queen." It is a remarkable specimen of carved ivory, displaying skill in the design and execution . • The ornament of the back and sides is very elaborate, and consists of bands and compartments of conventional foliage, human figures and animals, the style and arrangement of which derives its character from the carved architectural ornament of Dravidian art.

~ ENAMEL WORK.

NAMELLING, or the art of fixing colours by melting in fire, is of very ancient date; it was practised by the Egyptians and carried to a high Edegree of perfection in Persia, in China, and in Japan. The art is known in many parts of India; it was originally employed. in ornamenting arms and, for jewellery, not only on gold, but on silver and on copper. • 6 Third Exhibition oj Native Fine and Industria! Art.

Now the art is applied principally to personal ornaments and to salvers and vessels of all kinds. Nearly all the Indian enamels being embedded in the metal employed are of the champ/eve class, and the mos~ perfect Indian work is that of Jaipur, which is on gold. The enamel work on silver of Kashmir and· of Lucknow is often beautiful, but lor lustrous and transparent colours Jaipur bears away the palm. A translucent enamel is made at Partabgarh, and is effective, with delicate gold forms representing hunting scenes and floral and scroll patterns.

~ LACQUER-WARE.

HE possession of the substance "lac" and of vegetable oils, which furnish natu! al varnishes, has given dse in Japan, China, Burma, and T India to "lacquer-work." The term however is vague, ~ince under it are comprehended not only objects in the production of which many vario\ls processes of the application of "lac" are involved, but many otHers in which .. lac" plays no part at all. In the Kashmir lacquer-work only a small quantity of "lac" is used. Wood or papier mache is the basis upon which the painted patterns are executed, and a coating of lac dissolved in spirit is applied in the first instance over plaster ground, then the painting is executed, and finally coats of clear varnish are applied in order to produce a fine hard polish. In one variety of Indian work a kind of sealing wax is spread over wood. and the" polished by turning. Patterns are then worked on the surface by incising .the external coating.. The mode of manufacturing Burmese lacquer-ware is thus described in the British Burma Administration Report for 187<)-80:- " Drinking cups and boxes for carrying the necessary ingredients for betel­ chewing are made of lacquered-ware, principally in Upper Burma, Lacquer-work. but also in different places in the province. A box of the required size and shape is prepared of exceedingly fine bamboo wicker-work. On this is evenly applied a coat of a vegetable oil known as thitsee, and obtained from the Afelattoorr/uxa usilalissima (once largely exported to China vid Ba-mo, and when cleaned and purified known as "China varnish "). 'When this is dry, a paste of fine sa"wdust, thitsee, and rice-water is thickly and evenly laid on; and as soon as this has set, the box is fastened to a rude lathe, and carefully smoothed with a piece of silicIOUS bamboo, which is used in the place of sand-paper .. The next coat consists of a coat of finely powdered bone dust and thitsee, which when dry is Third Exhibitz'on 0/ Native Fine and Industrial Art. 7 smoothed in the same way, and the grounding is complete. In colouring the boxes three colours only are used, but of different shades. For Jel/ow, yellow orpiment is carefully pounded and washed several times, being allowed to dry between each washing until a pure and impalpable powder remains, reduced three parts in bulk from the raw powder: with this is intimately mixed a small quantity of a kind of "tragacanth, and the whole is dried in the sun. This is tvorked up to the proper consistency with a vegetable oil called shansee, and a little thitsee is added, but not enough to injure the colour. For green, finely ground indigo is added to the orpiment in a sufficient proportion to give the required shade, and the rest of the process is the same. Red is prepared from finely ground vermilion, mixed with a little thitsee and worked up with shan see. A coat of the colour and shade intended for the groundwork is thickly and evenly applied, and when it is thoroughly dry the pattern which is to appear in the next shade or colour is engraved with a style and the colouring matter applied over the box. When it is dry, the box is placed on the lathe, and the second colour removed by means of a bit of silicious bamboo, so that it remains only in the lines of the engraved pattern. Similar processes are followed for the different colours or shades till the design is complete. Lastly, one or two coats are given of a varnish composed of thitsee and shansee. As the box-makers use a lathe, they can give a straight line, which the silver-smiths do not. Lacquered boxes, lacquered urns, lacquered trays are largely used by Buddhist priests and others to carry or store food, and for many other purposes. Every bazaar or row of shops in a Burmese town or village is certain to contain more or less of lacquered-wares for sale.

II In almost every monastery is to be found a large chest ornamented in black and gold: these are largely made at Prome. The box is of teak, Gilding. and when finished is covered with a mixture of thitsee and sifted teak saw-dust, which is allowed to dry; any inequalities are then smoo·thed down, and the box is covered with a preparation of finely sifted burnt rice-husk, wood-oil, and rice-water. When this is dry, it is rubbed down with a smooth stone and cocoa­ nut-husk and water, and is then again rubbed with thitsee. It is again fined down and put in the sun, and when quite dry receives another coat of thitsee and is put away in the shade. When dry, it is washed, put out in the sun, coated again with thitsee, and put away to dry. It is now ready to be ornamented. Sometimes this is done by sticking on small pieces of glass in different patterns intermixed with gilding, but more generally gilding only is employed. The boxes with glass have a tawdry appearance. Figures and flowers are drawn in thitsee mixed with a kind of gold size; and as soon as this is dry, the box is washed in the sun with boiled thitsee, and gold leaf is applied all over and gently rubbed with cotton-wool. It is then gently washed with water, when the gilding comes away from all the 8 Tlzzrd Exlzz'bz'tz'on oj Natz"ve Fz"ne and lndustrz'a! Art.

unsized parts. Some of these boxes are exceedingly, handsome, and in almost • every case tlrere is more gilding than groundwork showing."

• MORADABAD WARE .

HE character of this well-known metal work has been greatly improved, owing to the exertions of Mir Imdad-ul-Ali, C.S.I., Deputy Collector of T Moradabad, and is in considerable demand both in and out of India. There is a marked and most satisfactory advance in the work since it was first exhibited at Simla in 1879.

AWARDS.

IVORY WORK.

Silver Medal to Moung Nyein of Moulmein for his carved sword and knife handles (Nos. 379 to 381). Bronze Medal to the maker of the ivory casket lent by the Maharani Sarna Moyi of Kasim Bazar, Murshedabad (No. 557).

Certificates 0/ Honourable Mention. I. Maker of the book slide with carved and engraved ivory ornament • (No. 416) exhibited by Ganugula Chinna Virama, Vizagapatam, Madras. 2. To Jtima of Jodhpur for a powder flask built up of discs (No. 90). 3. To the maker of the two ivory figures of Krishna and Siva sent by the School of Art, Jaipur.

ENAMELS. Silver Medal to Kasinath, Jaipur, for a necklet with plaques of enamel on gold (No. 689). Bronze Medal to Sawal Dass of Lucknow for a silver enamelled pan dan (No 890).

Certificates 0/ Honourable Alention, I. To Gtirma and Gisa Sing of Jaipur for an enamelled gold plate (No. 726) . • • • Third Exhibition of Native Fz'ne and Industrial Art. 9

2. To the maker of a sarahi (No. 131), blue and green enamel on silver, • Bahawalpur. 3· To SaIiq Ram of Delhi for a necklace (910), enamel on gold plaques. 4. To Malwa Mal of Delhi for a necklace (No. 909), enamel on gold . . 5. To Wasna Ram and Khema Ram of Mooltan for enamel on silver. . . 6. To the maker of a gold enamelled tray set with pearls (No. 730) sent by the School of Art, ]aipur. 7. To the maker.of a silver water vessel enamelled in blue and green (No. 146) contributed by the .

LACQUER WORK.

Silver Medal to the maker of the panels and fans contributed by Nawab Shamsul Umara Kabir of Hyderabad, Deccan . • Bronze Medal to Moung Shway Mag of Pagan, Burma, for lacquered bowls.

Certificates of Honourable Mention. I. To Moung Pa of Prome, Burma, for lacquer panels. 2. To Nubbi Bux, Agra, for a set of forty pairs of panels in turned lacquer. 3. To the makers of the Kashmir lacquer-ware, Nos. 1016 to 1234. 4. To the maker of the specimens of lacquer (No. 10) contributed by the Deputy Commissioner, Hoshiarpur. 5. To the maker of the inlaid ivory work contt:ibuted by the Deputy Commissioner of Hoshiarpur. 6. To the maker of the painted pottery contributed . by the Deputy Commissioner of Hoshiarpur. 7. To the maker of the lacquer-work, Nos. 1497 to 1512, contributed through the Collector of Hyderabad, Sind.

MORADABAD METAL WORK.

Silver Medal to Makun Lal of Moradabad. Bronze Medal to Muhammad Yar Khan of Moradabad.

Certificates of Honourable Mention. I. To Gholam Rasul of Gujrat for koftgari salver (No. 2167). 2. To Muhammad Azim of Gujrat for koftgari. 3. To Mir-ud-din of Gujrat for koftgari. 4. To Sultan Muhammad of Gujrat for koftgari. 5. To Ibrahim of Gujrat for koftgari. B • •• 10 Thz"rd ExhZ"bz"tz"on of Natz~ve Fz'ne and Industrz'al Art.

6. To Sumbramomey Puthen of Tanjore for copper and silver work • (No. 2103). 7. To Shitumbram Puthen of Tanjore for copper and silver work (No. 2108). 8. To Lassu of Kashmir for a copper surahi (black enamel). 9. To Muhammad Ali of Lucknow for gold and silver inlaid metal work . • 10. To Sham Lall of Moradabad for a hukah and stand .

MISCELLANEOUS. •

I. To the maker of the coloured tiles lent by Mr. A. Brandreth, C.S., of Lahore. 2. To the maker of the album cover of stamped and gilt leather contributed by the Maharao Raja of Ulwar. REP OR T.

• I. N impression that decorative art is inferior and less difficult to learn and excel in than pictorial art, sometimes leads to a mistaken depreciation , - A of what is called .. Industrial Art." The successful application of orna- mental art to works of utility entails a varied knowledge not necessarily required in simple picture painting. 2. It is, of course, well known that great .artists were also great ornamentists. The works of Ghiberti, Perugino, Raphael, Michael Angelo, and Benvenuto Cellini, fully bear this out. They bestowed labour and thought on their paintings, frescos, sculptures, metal works, &c., and bringing decorative and ideal art into harmony and union, produced masterpieces. 3. A valuable element in , is due to the unswerving tendency of most Native artisans and craftsmen to follow defined principles of decoration. 4. They possess a hand-power which machinery cannot rival in carving, modelling, and chasing. They possess a readiness in adapting forms for orna­ ment and in harmonizing and contrasting colours. These powers, if further developed, could probably meet an indefinite demand for the products of artistic industries which are practised all over India. 5. A problem to be solved is the suitable application of this remarkable handicraft and power of design. 6. There are a vast number of useful objects which Native artisans manu­ facture well, and to which the application of Native indigenous ornament could be both agreeable and suitable. 7. Throughout this enormous country, there are many thousand workers in all materials from pottery to fabrics and metal work, to whom the invention of a pattern and the tracing of it is a pastime and delight. 8. If th~se talents were more largely utilized than at present, the welfare of ndian manufartures would presumably improve. • 12 Third Exhzoition of Native Fine and Industrial Art. . . 9· It is, therefore, I submit, desirable that a further direction be given to the • vanous Industrial Arts. The material must be suitable to the object and the decoration suitable to both material, form, and use. Can there be a legitimate demand, for instance, for papier mache flagons, howeve~ beautiful the shape and lacquered ornament? The material is thoroughly unsuitable to the object. . . 10. The collections now exhibited are not only larger than at the two previous exhibitions, but the exhibits themselves are of better workmanship and in better taste. There are fewer objectionable productions and still fewer examples of hybrid design. 1 I. It is a sign of vitality that the objects contributed are numerically nearly treble those sent last year; and although a good many adverse opinions have been expressed as to the use of an industrial exhibition at Simla, the fact is now demonstrated that artisans value the Simla awards, and accordingly produce a better class of work. 12. As at all exhibitions, the contributions by makers are for sale and becpme the property of purchasers after the clos,e of the exhibition. This year there has been considerable demand for the various specimens exhibited under the four classes of ivory, enamels, lacquer-ware and Moradabad metal work. The most beautiful specimens 'are, however, not modern, but belong to the Native Chiefs of . Central India, Rajputana, and the Punjab. 13. These antique and splendid examples of a former pre-eminence in the applied arts are valuable as showing good ornamental design and workmanship, and how appropriately the one is applied, and how skilfully the other is per­ formed. The effect of such collections should be to raise the standard by which modern work can be judged.

14. II Ravenswood," which His Highness the Maharaja of 'Faridkot lent for the purposes of the exhibition, did not admit of pictures and industries being • separated as they were last year at Kennedy House, and the general coup d'w:'1 pro- duced by having all the best specimens of Native art in one room was therefore wanting. Th£rd Exh£b£tzon oj' Nat£ve Fz"ne and Industr£al Art. 13

•

I V 0 R Y.

HE class of ivory work numbers 233 specimens. The sword and knife handles sent by the Chief Commissioner of Burma are exceedingly T .eIaborate and handsome, showing a quaint fancy in design. The whole of the handles of ivory are wrought in delicate open work of foliated tracery surrounding grotesque figures of demons. The School of Art at ]aipur contributes some small figures of animals and mythology, twenty-nine in number, some of them being cleverly modelled. Two similar specimens of work and a set of chessmen are sent from Delhi by the Deputy Commissioner, Mr. Smyth. Some se,:,enty-one specimens of ivory applied to wood are exhibited from Vizagapatam in Madras, and among them are some handsome examples of carving. The majority of objects are, however, boxes which, although of beautiful finish, are utterly wanting in good design. In the first place, the ivory is applied to the sandalwood in such a way as to project in knobs and hands liable to break off. Secondly, the way of applying the ivory is not ornamental, and somewhat resembles brass bindings on a traveller's trunk. The work itself is good, and it s~ems a pity that it is. not applied with better designs". Some remarkable specimens of ivory are sent from Bhurtpur. They are two chowries or fly wavers made by a mistri attached to the palace of the Maharaja, and consist of ivory shavings, said to number 5,000 separate hair-like lengths. The application of ivory to such a purpose is a mere lour de force. The Deputy Commissioner of Shahpur sends 21 pieces of ivory, some being stick handles fancifully coloured and cut; others being mere toys. A rectangular ivory casket (No. 557) with some well-carved patterns in low relief is contributed by the Maharani Sarna Moyi of Kasim Bazar. " Such work is suitable in every way in ivory. Models of elephants and a boat carved in ivory are sent by Mr. Mosley, Collector of Murshedabad, through" the Secretary of the Bengal Economic Museum; although well executed and finished, they are mere ornaments and very fragile. Eight small objects carved in ivory are sent from Gujranwala by the Deputy Commissioner. The Secretary to the Municipal Committee Amritsar, contributes six specimens of ivory, a set of chessmen, and five sets of painted bangles, nothing very remarkable for carving. Some chessmen and small toys from Surat, Bombay, are quaint, consisting of

• 14 Thz'rd ExhZ"bz"tz'on of Nat£ve Fz"ne and Industrz"a! Art. brightly coloured figures made of ivory, but the inlaid work applied to boxes, book stands, &c., rs tedious arid unattractive: the ivory specimens from Travancore have unfortunately not yet arrived, and are too late for the award of prizes or for any notice in this report .

•

IVORY OBJECTS ON LOAN.

MONG the ivory loan objects the Maharaja of Scindia sends through

Colonel W. Osborne, c.B., an ivory" Chob II or club, a handsomely A carved pen tray, some six turned ivory fan sticks, and a handsome set of chessmen, which, although carved in India Oaipur}, are Chinese in manner, and seem to be imitated. The Maharana of Udaipur, through the Resident of Meywar, lends some very beautiful and curious specimens of ivory work: a knife handle consisting of a cleverly carved elephant's head, a handsome pen box carved in low relief, a club of State, an elephant goad, a carved crutch used by Natives sitting cross-legged to support the arm. Two fiy wavers or chowries-one being beautifully carved in imitation of a palm leaf. Three" Panjas II or back scratchers, evidently of some age, but curiously carved and exquisitely finished. One has a handle with a little wigged and long-coated figure of Queen Anne's. time. Three" Bartanas" or instruments usea for relieving the pressure of a tigbt turban; they are like paper knives, and are carved at the handle with figures and fighting elephants. The Maharaja of Jodhpur lends several ivory specimens through the Political· Agent of , Colonel Tweedie, C.B.: a fine powder horn cleverly built up of ivory discs, and a "Sitar II or Native guitar ornamented with an inlay of ivory are the two best specimens, both by the same man Tooma. The imitation flowers in coloured ivory are very curious, but it is difficult to di!ttinguish them from paper.. A number of combs, walking sticks, and small objeCts are also sent. The Maharaja of Patiala lends some three specimens of ivory work, one being a sort of finial delicately carved in open foliated work. Sirdar Pertab Sing of Patiala, who takes great interest in the welfare of Indian Art, sends some four specimens of carving in ivory. His Excellency the Commander-in-Chief lends an Afghan matchlock, having a wooden stock quaintly inlaid with ivory bands. • • Third Exhibition ofNative Fine and Industrial A rt. IS

•

,ENAMELS.

HE class of enamels is fairly well represented. • . There are 35 specimens of enamels on gold contributed by Kasinath T of J aipur, mostly jewellery and personal ornaments, but very dainty in finish and rich and lustrous in colour. Gurma and G(sa Singh of J aipur contribute some other specimens, one a gold plate beautifully enamelled, the joint work of the two men. The Jaipur School of Art sends 13 specimens of enamel on gold and 11 specimens of enamel on silver. A tray set with pearls is a good specimen of the gold enamel work. The silver enamel is coarsely made. The Maharaja of Kashmir, through Mr: Henvey, the Political Officer, contributes a set of 77 specimens of silver and enamel work of different kinds, the coarser kind on copper being most effective in large salvers and trays. Subhana of Srinagar sends 23 specimens of silver and copper enamel. Lassu of Srinagar exhibits 21 specimens of the coarser Kashmir enamels. As a whole, the Kashmir work is not so well represented as it was in Simla in 1879. The examples sent an": not the best of their kind, but Kashmir is unusually full this year of visitors, to whom the workers in enamel naturally prefer to dispose of their productions. Mr. Henvey, the Political Officer at Srinagar, tells m~ that he had great difficulty in getting a representative collection sent out of the country at all. The collection of enamel on silver from Lucknow is the first that has appeared at a Simla Exhibition, and represents very completely the modern work of that city. Mr. Currie, the Deputy Commissioner, has sent some 22 examples, all by the same maker, Lala Din, ~cepting a piece of old enamel (No. 897) lent by the Honorary Magistrate of Lucknow. The enamel work on silver and gold collected and sent by Major Gordon Young, the Commissioner, and by Mr. Smyth, the Deputy Commissioner, of Delhi, includes some very refined and tasteful productions. The enamel on gold is similar to that produced at Jaipur, and is probably made by natives of Jaipur now resident in Delhi. The small casket of green enamel on silver (No. 908) is an instance of very good work, but unfortunately has a setting in the lid of a mother-o'-pearl plaque of European make, which is out of character. A cam bay stone or Indian onyx would be in better keeping. The MooItan enamelled articles in silver collected by the Deputy Commissioner . . 16 Th£rd Exhz'b£t£on of Nat£ve Fz'ne and Industrz'alA rt.

well represent the present manufacture, and many of the pieces of jewellery are .. • pleasing in colouring and pattern, and well finished. The jewellery sent by the Extra Assistant Commissioner of Kangra, Mr. John Goldney, numbers ten pieces, of which two pieces are in enamel on silver in very good native taste . • The specimens of Cutch (Bombay) enamel on silver contributed through the Political Agent, Major H. Reeves, are direct imitations of European work, and although vefY finely worked are not all that can be desired in respect of design.

ENAMEL OBJECTS ON LOAN.

HER~ are some remarkably fine specimens of enamel among the objects contnbuted on loan.· . T The Maharaja of Scindia lends a shield of buffalo hide ornamented with four bosses and a crescent of delicate enamel on gold (J aipur work); also • a spice box of the same work, which is, perhaps, the finest example in the exhibition, far superior in finish, colour, and the durability of the enamel to the modern J aipur • work. It is to be regretted that the Jaipur collections have no s~ecimens of old enamel on gold; the Maharaja must possess in his "Kappurdwara" or treasury abundant examples of the finest and most magnificent old work. He lends one specimen of enamel on iron-a mace handle. The Maharana of V daipur lends a beautifully worked Peshgabz or dagger with a handle of lustrous red enamel on gold-one of the finest pieces of gold enamel work in the exhibition. The Maharawat of Partabgurh s~nds through the Resident of Meywar a pair of wristlets composed of fourteen plaques of green enamel with the usual gold tracery laid in the surface. The Nawab of Bahawalpur lends three pieces of the brilliant blue and green enamel work of the Bahawalpur State. From Ulwar a fine old specimen of Kashmir enamel on silver is contributed by the Maharao Raja: a large hukah with blue and green ornament tastefully applied to the chillam stem and base. The Maharaja of Patiala shows four specimens of gold and silver enamel, a silver golabpash being of good shape .. Major Baring's collection of jewellery and plate includes three fine specimens • Third ExhibititJ1Z of!Vatz"ve Fine and I ndustrz"a! A rt. 17 of the Partabgarh enamel work-and' some fine and interesting pieces of European • work. A painted enamel snuff-box of Frederick the Great, with a diagram of the battle of Loboshutz on the lid, is of great historic value and quaint in design. Another painted enamel snuff-box is a good example of Dresden work, and there is • a very fine brilliant blue etui case enamel on gold (Louis XV.) and a knife handle of finely painted Dresden enamel. Major Biddulph's collection includes Kashmir cups and vases of parti-coloured enamel on gilt copper, being good specimens of that class of work.

LACQUER WORK.

HE number of lacquer work specimens contributed from all parts of India is considerable, reaching a total of 565. T The Maharaja of Kashmir sends 165 pieces, and the Co-operative Society at Sri sends 54 pieces. Some of the boxes and trays are handsomely painted, but as a rule the lacquerwork is unsuitably applied, anq liable to suffer by handling. Lacquered and painted papier mache was originally used in the decoration of ceilings, and panels of the work so applied were most effective and appropriate. Converted to the uses of chairs and tables the work has a vulgar appearance, and soon gets worn and tawdry. Generally the use of lacquerware should be considered with reference to its fragility, and is, I submit, at its best when employed in house CIecorations or fittings where it is not exposed to damage. The great majority of Kashmir lacquered works are, however, necessarily small portable articles like trays, boxes, pen boxes, &c., and the only way to improve these is to protect the painted surfaces as much as possible by substantial frame work. The coloured designs too require keeping in order. They have got tainted with strange colours, and sometimes with coarse and vulgar patterns, which in the old work were unknown. Some 23 specimens of painting on wood and lacquer work are contributed by Mr. Bernard, Chief Commissioner of British Burma. Of these, 15 are of the bond fide Burmese lacquer work described at page 6. Being composed of wicker impregnated with vegetable oils, it is elastic and impervious to moisture, and the boxes are used by the Burmese for storing food, clothes, &c. A lacquerware of this kind is thoroughly useful and appropriate, whilst it can at the same time be rendered very ornamental. The lacquered wood sent from Burma is c . . . 18 T hz'rd Exhz'bitzon ifNative Fine and Industrial Art. of two kinds: flat painted and gilt-work, and work in elaborate .. relievo." The .. • former is applied to tables, and, although handsome and fancifully designed, is open to the two objections-that the table top is generally covered and the ornament hidden, and that the surfaces soon get damaged. The four panels of work in relief, coloured black and brqwn, are at once good . . and handsome, being most suitable for use in furniture, doors, &c. It would, I think, be worth while to bring such panels to the notice of London furniture- . makers. The specimens of Hyderabad lacquerware (sent by Nawab Shamsul Umara Kabir through Major G. H. Trevor, President of the Hyderabad Committee for the Simla Exhibition) excited considerable admiration for their effective patterns and rich gilding and colouring. Some large bamboo leaf fans and panels and trays are sent, on the surfaces of which a profusion of handsome ornament has been lavished. The 60 specimens of Agra lacquered wood-work, produced under the direction of Mr. Lawrence, the Magistrate, and President of the Municipal Com~ittee, present an entirely novel feature. The ware is ordinarily confined to small turned boxes, cups, &c.; but in order to obtain large flat surfaces for other purposes, Mr. Lawrence had large discs prepared, out of which panels and tiles can be cut for use in boxes, fittings, or furniture. This is a branch of lacquer manufacture which should be brought to the notice of furniture makers. Cabinets, chimney-places, dados, might be decorated with this work. The Agra lacquer workers have a great fertility in the varieties of floral patterns that they incise on the lacquered surfaces, and they are at Agra surrounded by abundant examples of delicate traceries in stone and mosaic from which to gather ideas. The Jaipur Museum has, through Dr. Hendley, contributed some 129 pieces of lacquer painted toys and woodwork. The manufacture might be extended to more suitable and useful purposes. The Deputy Commissioner of Lahore, Colonel C. Beadon, exhibits two pieces of lacquered woodwork of the" lathe make," the ornamentation and tracery of which are delicate. This ware being on wood is more durable than the Kashmir papier mach~, and could be applied to trays and in the same way as the Agra new disc work. Singular fo~ extreme delicacy of tracery, the wooden lacquer boxes and trays from Dera Ismail Khan are spoilt in appearance by the circular medallions of ivory dotted over the surface. \Vith suitable designs this ware would be very attractive. The Deputy Commissioner, Major Macaulay, has contributed some 19 specimens of the work, which is on wood and of the" lathe class." The Secretary to the Municipal Committee of Montgomery has sent some seven • Third E.xhibition of Native FZlze and hzdustrial Art. 19 examples of Pak Patan lacquer work on wood. They consist of bed le~s, boxes, and cups which are produced by turning in the lathe. The Hoshiarpur lacquer contributed through Mr. W. Coldstream, the Deputy Commissioner, is made of wood turned and lacquered. The patterns are in various colours, the arabesques being incised through the different layers of lacquer. The • ware is represented by 21 specimens, which include some pieces of Hoshiarpurwood- work, beautifully inlaid with ivory, and a few painted or lacquered pottery cups prepared as a novelty under the direction of Lieutenant Leigh, Assistant Commissioner. As regards the lacquer ware, it is certainly worth extension in the direction of large flat surfaces recently given to Hoshiarpur work by Mr. Coldstream, and by Mr. Lawrence to the Agra work, and good designs would permit of an indefinite application of lacquer tiles cut out of the largest circular discs that can be made. The purple colours used in the work exhibited were considered by the Judges not quite harmonious, and it would be in better taste to apply patterns and colouring of purely Indian tradition.

'.J A collection of 16 specimens of lacquer work is sent from Hyderabad, Sind. through the Collector, Mr. Ross. The work is handsome, well finished, and singular for clever figure outlines of men and animals. This ware is on wood and turned in the lathe, being capable of application like the new Agra ware. A single example of Kurnul lacquerware in papier mache is lent by the Collector of Kurnul, Madras, Mr. W. H. Glenny; and is a brightly colour<'lli and gilt decoration on'slightly raiS(d foliations. The Magistrate of Bijnour, Mr. H. D. Monk, has forwarded a collection of 37 examples of ebony work from Nagina. This ware, though effectively carved in ·low relief, is sombre, and requires contrast either by the insertion of bands of silver or by lining out with ivory. Mr. Mo~ has also sent some four specimens of Mandawar lacquer on papier mache with well coloured and effective decoration. A somewhat remarkable collection of specimens oflacquer is sent through the School of Art, Calcutta, from the Magistrate of Beerbhoom, Bengal, and consists of marbled inkstands, paper cases, paper weights, and other objects. The Deputy Commissioner of Sylhet, Assam, sends five specimens of lacquered work of curious aboriginal design and. workmanship. Some ornamental imitations of Kashmir lacquer are lent by the Patiala State. • 20 Third Exhibition 0/ Native Fine and Industrial Art.· ••

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MORADABAD METAL WORK . • HE Moradabad metal ware was taken up by Mr. Buck, late Director of the Department of Agriculture and Commerce in the North-Western T Provinces, in 1879, at the time of the First Simla Exhibition of Native Art, and some very excellent specimens were then contributed through Mir Imdad­ ul-Ali, C.S.I. Since that time the manufacture has greatly expanded. Makun Lal, whom the Department in the North-Western Provinces first employed as a purchasing medium, has now started a manufactory, the largest in Moradabad, and employs between 50 and 100 hands. All the best work is now turned out from his workshop. The following is a rough account of the manufacture furnished by Mr. Benett, the Officiating Director of Agriculture and Commerce in the North-Western Provinces :- The vessels are of brass, and after casting are polished on a lathe and coated with pewter. Having received the patterns, the ground is blackened with a prepara­ tion of lac or dammer. The surface ornament is sometimes sketched in pencil, but the more skilful workmen are independent of any such assistance. As already pointed out at page 8, this work has greatly improv.ed since Imdad-ul-Ali first took it in hand, and the collections now exhibited fully represent the present manufacture, which received its first encouragementfrom His Royal Highness the Prince of\Vales' visit in 1876. The shapes, particularly those of Makun Lal, are in most cases in good taste, and a marvellous fertility is displayed in the various surface patterns. Besides the usual delicate foliated ornament which closely covers the many vessels and objects, a new and bolder class of work has been started, which is very pleasant and effective. The patterns are more distinct, and look well on a large surface of black grounding. The Moradabad ware now only wants good patterns and designs for suitable objects of use and ornament to make it capable of infinite extension. All Makun Lal's work is in good taste, but the tea-cup and bedroom candle­ sticks scnt by Sham LaII are not to be commended.

. . • Third Exhibition of Nati7. l c Fine and Industrial Art. 21

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METAL WORK FROM LUCI\NOW, TANJORE, GUJRAT, AHMEDNAGAR, AND MISCELLANEOUS. CONTRIBUTIONS.

HE contributions of metal' work from Lucknow number 227 pieces. There are two kinds of work: that which is in direct imitation of the T Bideri work of the Nizam's dominions, and that whiE:h is a modification of Bideri ware. In the first the vessel is of a black mixed metal inlaid with patterns of silver, the silver being smooth and polished (sometimes engraved). In the second the silver is slightly raised on the surface of the black metal and is chased . .Both wares are capable of being very effective, and the application can take precisely the same direction as the Moradabad work. The Tanjore metal work, i.e., copper in and overiaid with silver, contributed' by Mr. Forster Webster, the late Collector of Tanjore, through Surgeon-Major George Bidie, of the Madras Museum, numbers some seven specimens of very good and well-designed work. It would probably do good if a local industrial school could be established at Tanjore to foster the work, under such direction as should maintain the excellence of principles derived from good design, and thus encourage an improved taste and demand for this class of work. It is already in consider­ able demand, but the difficulty of procuring specimens prevents the further extension it seems to deserve. The examples of metal work from the Jaipur School of Art are not remarkable. Some of the koftgari is no doubt well designed and executed, but there is room for general improvement. Gujrat, in the Punjab, contributes through its Deputy Com­ missioner some excellent pieces of koftgari, i.e., damascening steel with gold wire. Some pieces are of a new kind, silver being mixed with the gold, and the patterns bolder and more effective than in the old work made at Kotli and Sialkot. Some specimens of silver chased work are contributed by Messrs. Cursetji & Co., through the Secretary to Government of Bombay, from Ahmednagar. They resemble Cutch work, but are utterly misapplied to European designs for tea sets and small salt and pepper castors. • 22. Third Exhibition of Nittz"ve Fine and Industrial Art. .. •

OBJOCTS ON LOAN NOT UNDER ANY OF THE SPECIAL CLASSES OF THE EXHIBITION.

IS Excellency the Viceroy has kindly lent some specimens of " Faience" made at the Bombay School of Art, some of the pieces being of H excellent design and colouring. This School of Art has been a contributor to the Simla Exhibition for the two first displays of Natiye Art, and the potters imported from Sind have done excellent work by adapting the ornaments of the paintings in the Buddhist Caves of Ajanta. His Excellency the Commander-in-Chief lends some beautiful specimens of carpets which he brought from , and these show what really good Oriental carpets and rugs are. Major Baring's collection of plate and jewellery numbers many examples of Indian gold and silver work, and several beautiful pieces of French and Italian work. The jewel case of Bombay sandalwood carving is a most suitable way of applying that highly ornamental and intricate work. The personal ornaments of Himalayan work adorned with beads of amber and turquoise are picturesque and curious examples of the aboriginal art of the hills. A pierced silver missal cover of Italian work affords an excellent suggestion to Indian workers in silver of how to apply ornament in which they would find no difficulty of excelling. The specimens of Egyptian embroidery lent by Mrs. Baring are most harmonious in colour and ornament, offering very valuable ideas to Indian workpeople. Mr. Grant lends a most effective piece of antique Indian embroidery: which affords suggestions in the sphere of textile fabrics. Mr. C. Plowden's three specimens of Persian pierced brasswork are most intricate in ornament and handsome in effect. They would serve admirably as models for a new development of Indian metal work. Mr. Lawrence, Collector of Agra, and Surgeon Hendley of Jaipur, lend some vcry curious Hindu caste stamps, and the latter contributes a valuable collection of ancient brass vessels from ~aipur. Mr. Lawrence exhibits some old drawings of the fort, Taj, and river buildings at Agra. Drawings of this class are most valuable, as affording evidence of the appearance and condition of the buildings before the mutiny. Some of the buildings • • ~. ~ . . itzrd Exhibition of Native Fine and Industrial Art. 23 .. . ha~e. d,j~pp~ared'. altogether, and without a record of the kind now affo~ded, nothing would be known about them. Major W. T. \V. Muir, Political Agent, Harowtee and Tonk, sends a small collection of metal work ~nd ivory from the Tonk Durbar; the former consists of a golabpash of silver gilt and some sword hilts of very effective koftg~ri, i.e., gold damascening'n steel. This work differs slightly from the Punjab koft, and suggests a mode of treating the gold which in this case is partly raised above the steel surface and chased. The ivory work is effectively applied to two mirror frames, which seem to me thoroughly appropriate and handsome objects. The Maharao Raja of Ulwur has through Major Law, the Political Agent, contributed some exceedingly valuable and beautiful paintings on paper. These are historically and artistically of great interest. The painting is very minute and careful, being superior to anything produced by modern miniature painters at Delhi or elsewhere. The Maharao Raja also sends a piece of elaborate embroidery in - coloured silks and gold, the effect being unusually handsome and effective in hue. Mr. Brandreth, C.S., sends a fine piece of tile work made by a Native potter at Jullundur; it is in imitation and revival of the work to be seen on the walls of Wazir Khan's mosque in the city of Lahore. Mir Imdad-ul-Ali sends a small contribution of new pottery made at Morada­ bad, which is effective in colour. The objects of glass, porcelain, and metal work collected for me by the Executive Engineer at Bijapu'r, Bombay, are curious examples of Indian workmanship of the r6th and earlier centuries. The Chinese porcelain vessels made for the Bijapur Kings resemble those made by order of the Delhi Emperors in China. The specimens of glass are rare examples of how glass was formerly used by Native Kings and Chiefs, and good suggestions as to shape and ornament may be obtained from some of the brass vessels. H. H. COLE, Captain, R.E.,

0, • Honorary Secretary, Native Indl/strial Art Committee, and C1lrator of A ndent M on1lments in India. · . CHISWICK PRESS:-c. WHITTINGHAM AND CO., TOOKS COURT., CHANCERY LANE.