The textiles of India form an important section of the industrial arts of that country. The materials used in the woven and embroidered fabrics are silk, cotton, wool, hair, coloured grasses, jute, gold, silver, and various tinsels.

Among the chief artistic productions in textiles are the kincobs, or silken brocades, made at Ahmedabad and Benares, the embroidered muslin of Dacca, the pile carpets of Malabar, the rugs of Madras, and the shawls of Cashmere.

The native excellence, however, in the design, colour, and manufacture that has characterised these textiles for centuries past is now in danger of extinction - and great mischief has been done already - from the influence of European designs, the introduction of magenta and aniline dyes, and by the competition with European markets, resulting in the production of cheaper forms of Indian goods. It is only in the case of a few instances where the textiles are made to order, or under the patronage of some of the remaining Indian princes, that the traditional superiority of manufacture is still maintained. Another exception is the production of the silk brocades, or kincobs (Fig. 261); this is owing in a great measure to the demand for these goods by the Chinese and other Orientals, who have not yet adopted the Western ideas of imitating the European style of dress.

Some of these kincobs are highly ornamented with interwoven gold or silver-gilt patterns of floral form, others are ornamented as in the "happy hunting-ground" patterns of Benares manufacture, with flowers, birds, and animals. This particular form of fabric is no doubt a survival, through Persian channels, of the embroidered garments of the ancient Babylonian monarchs.

In the production of cotton goods the trade of the native caste of weavers has suffered very much by the great importation of Manchester cottons, and by the establishment of monster cotton power-loom factories at Ahmedabad and elsewhere. Many natives of the weaver caste have been obliged to take to agricultural and other less lucrative pursuits, owing to the partial ruin of their trade by English competition.

Fig. 261. Kincob of Ahmedabad. (B).

Cotton-Printing

Cotton-Printing is still, however, an important native industry, especially in the city of Lucknow, where the colouring and design are still superior to that of the English or French chintzes. Some of the best Indian, or rather Indo-Persian, ornament is found on the printed calico palampores, or bed-coverings, made at Masulipatam and other places. Calicoes woven in varying stripes of coloured threads, checks, and tartans of all hues, are among the specialities of Indian textiles, the material being used for trouserings, skirts, and petticoats.

The once-famous Dacca muslins, that on account of their gossamer-like appearance have been known under the names of "evening dew" and "running water," are now almost non-existent, a cheaper and coarser variety taking their place. Muslins from Dacca and other places embroidered with silk are still greatly used in India, and are largely exported to the surrounding Eastern countries, including Turkey and Egypt.

Cotton Fabrics Interwoven With Golden Thread

Cotton Fabrics Interwoven With Golden Thread were formerly made in great quantities to meet the wants of the once-powerful native rulers and the Court retinues, but now, since the English rule in India, this kind of fabric with many others of a sumptuous nature are much less in demand.

Printing Patterns In Gold And Silver Foil

Printing Patterns In Gold And Silver Foil is a common method of decorating dark purple or deep green cottons; muslins are also stamped with patterns in gold.

Fine Gold And Silver-Gilt Wire

Fine Gold And Silver-Gilt Wire is used very much in India for lace-making, weaving, and embroidery. The natives excel all Europeans in the art of wire-drawing and in the making of gold and silver foil, tinsels, and spangles. These industries are carried on chiefly in the cities of Delhi, Lucknow, Ahmedabad, and Lahore.

Silk Manufacture

Silk Manufacture is still a flourishing industry in many parts of India, but, on the other hand, in some places it has declined very much owing to European competition. The tasar or tusser silk is a native wild silk, from which a coarser variety of silk is now manufactured in increasing quantities, and is exported chiefly from Bengal. It is a useful material, but has not the brilliancy or sheen of the ordinary silk. Plain silk cloth is made in the Punjaub, and the damasked or figured variety is made chiefly at Bhawalpur.

Cashmere

Cashmere has been famed for centuries past for its beautiful woollen shawls made from pushm, the wool of the Cashmere goat, and from camel's hair wool; the woven material of the latter is known as "camlet".

The principal design on the Cashmere shawls is the cone pattern decorated with a mixture of small flowers, the fillings between the cones being also a diapering of small floral forms. The cone patterns are also found on metal work, enamels, and carvings from Cashmere and its neighbourhood. On the genuine shawls the ornamentation is embroidered in wide borders, centrepieces, and corner groups of flowers. The Cashmere shawls have been imitated in woven shawls by the French and in the Paisley shawls of Scotch manufacture. Some of the costliest Cashmere shawls are embroidered with a "terrestrial paradise" of singing birds, flowers, animals, and figures.

Indian Ornament Or Decoration

Indian Ornament Or Decoration, from its mosaic-like or flattened-out character, is extremely well suited to the decoration of textile fabrics. The native ornament consists of a variety of flat renderings of the daisy (sventi), the lotus, the shoe flower (Figs. 91, 92, 261), knop and flower patterns, parrots, peacocks, lions, tigers, elephants, men on horseback, hunting or fighting, etc., and is always rendered in flat tints of alternating colours on flat grounds, in such works as enamels, tiles, pottery, wall paintings, lac-work, and textiles of all kinds. Though at times the vice of Indian ornament is illustrated in a riotous use of small detail, on the whole it is well suited for the decoration of flat surfaces. In the artistic products of the Mohammedan people of India, or descendants of Persian settlers, the ornament invariably consists of Persian or Saracenic types; the former is distinctly seen in the Masulipatam rugs, carpets, and palampores, and the latter in the various art work of the Mogul period, as, for instance, in the inlaid marbles and other work of Agra. (Fig. 293).