6 Textiles


Lady in a garden, detail, velvet, Western India (Gujarat), early 17th century, silk and metal threads, showing an Iranian influence. Photo: Christoph von Virag © Abegg Stiftung


A


n exhibition of Indian textiles at the Abegg-Stiftung in Switzerland not only shows


the beauty of the fabric produced during the Mughal period (1526- 1858) but also explores their uses and the motifs used in the designs that have now become so popular around the world. It is a rare opportunity to explore Indian textiles from across several centuries, to delight in their colourful patterns, and to admire the technical mastery of their weaving. At the height of its power in the


late 17th century, the empire founded by the Muslim Mughal dynasty comprised almost the entire Indian Subcontinent as well as parts of what are now Pakistan and Afghanistan. To the Western world, it was an exotic realm of fairy tales, of unimaginable riches. It was a land where the arts flourished and sciences were actively promoted. Whereas buildings stand the tests


of time and can endure for centuries, textiles tend to have a much shorter lifespan and rot, are repurposed, or discarded. Made of organic fibres such as silk, cotton, linen, and wool, they are highly sensitive to both light and fluctuations in temperature and humidity. Mughal silks are especially rare – one


reason being India’s


tropical monsoon climate; another is that patterned silks, unlike cotton fabrics, were generally not traded internationally and stayed in India. Tese highly valued textiles were mainly made for the court and not exported – produced in royal workshops to supply a noble clientele. Textiles that did travel to other parts of the world mainly did so as diplomatic or ambassadorial gifts to foreign rulers. It was not until the 19th and 20th centuries that these luxurious textiles were sold on the open market and acquired by collectors and museums. Tis makes the Abegg-Stiftung’s small but fine collection of textiles such an important collection.


Hanging with figural scenes, detail, Western India (Gujarat), 14th/15th century, cotton. This intricate pattern featuring figures and animals was produced by an ingenious dyeing technique. Such resist-dyed cotton fabrics dyed by Indian specialists were shipped to both Egypt and Southeast Asia. Photo: Christoph von Virag © Abegg Stiftung


Velvet fragment with flower design, India, Ahmedabad or Delhi,


mid-17th century, silk and metal threads.


No two blooms in this design are alike. Photo:


Christoph von Virag © Abegg Stiftung


MUGHAL TEXTILES Te colourful fabrics patterned


with figural and floral designs from the collection are now on show for the first time. Flowers probably comprise the most well-known and admired motifs in Mughal decorative arts. While the Mughal court was influenced by the ‘garden of paradise’ from traditional Muslim teachings, it also brought an admiration for the natural world, the important role of gardens in daily life, and an appreciation of gently flowing water in the meticulously designed gardens, At court, gardens were seen as a physical link to ‘the garden in Paradise’ filled with wondrous plants, fruits, and trees. Many Mughal emperors took delight and interest in all types of flora as part of their overall interest in the natural world. However, despite the acquired knowledge of flowers from Central Asia and north India, the designers responsible for weaving these natural


themes into


Silk letter pouch, Northwestern India (Rajasthan), first half of 19th century, silk and metal threads, sealing wax. Princely letters were dispatched in silk pouches in India. The letter found inside is written in Persian. Photo: Christoph von Virag © Abegg Stiftung


ASIAN ART | OCTOBER 2025 |


their textiles were not always concerned with botanical accuracy; rather, emphasis was put on the overall design of the pattern and the balance of the composition. Often these flowers are arranged in rows to adorn velvet cushions, brocade hangings, and printed cotton patkas (waist sashes). Another motif linked to the natural world was the boteh, which is used in lines to serve as a border on sashes, shawls, and other textiles. Tese designs were seen in all areas of life, from jewellery to garments, personal accessories, and carpets as well other textiles used in interior decoration. Te first figurative patterns started


to become widespread during the Sultanate period (1206-1526), when Islamic cultures began to influence


#AsianArtPaper | asianartnewspaper |


Animals and birds are favourite Mughal


design motifs


mythology, literature, and art was also


incorporated. Tis pool of


inspiration also extended to such living creatures as tigers, elephants, peacocks, and parrots. Emperor Jahangir (1569-1627) was known for his interest in the natural world and commissioned scientifically accurate botanical and zoological miniatures, as well as keeping a menagerie of exotic animals. A good example of the


sumptuousness of Mughal textiles in the exhibition is a multi-coloured velvet patterned with a figural scene. Its symmetrical composition shows a lady standing next to a cypress tree, framed


by blossoming branches.


Border with peacocks and parakeets, Western or central India, mid-19th century, cotton, silk, and metal threads. Photo: Christoph von Virag © Abegg Stiftung


Indian art and design. Animals and birds are also favourite design motifs in Mughal textiles. Design inspiration did not just come from the Islamic world, as the vast array of mythical and real animals in Hindu


asianartnewspaper |


Finely dressed, she is savouring the scent of a flower and has elegantly turned her head to one side so that her face appears in profile. Te young cheetah at her feet is leaping up to her. It is not just the scene itself but also the materials and techniques that tell of the courtly context of this work and mark it out as a luxury fabric par excellence. Te ground is covered in gold threads, and viewers who look carefully will see that the lady’s jewellery is formed by loops of brocaded silver threads. No fewer than eight different colours are to be found in the velvet pile. Magnificent velvets


such as these were woven


under the influence of Iranian weavers who had settled in India. When they migrated to India, they brought with them both Persian stylistic elements and such technical innovations as the art of exchanging pile warp threads during the weaving process. Tis enabled the weavers to produce a pile with a much greater variety of colours than could be obtained


by Asian Art Newspaper conventional velvet


weaving. At the time, this technique was unknown in Europe, and exactly how the Iranian and Indian weavers accomplished it remains a mystery even today. A miniature in the exhibition,


painted on paper, depicts how a palace interior would have looked. It shows Krishna and his companion seated on a floral carpet with a chevron border. Tey are reclining on bolsters,


some of which have


decorative covers, and suspended over the doorway in the background, is a rolled-up curtain made of a patterned fabric, while draped over the balustrade is a red velvet with a green border and silver fringe. Tis shows how textiles were also important to the splendour


of outdoor events,


where they served to distinguish the ruler from other members of the court. Tis can also be seen in another fine miniature dating from around 1600. Here, Emperor Akbar (r 1556- 1605) is on a hunting expedition where he is enthroned beneath a canopy whose inside is lined with a patterned fabric, while unfurled at his feet is an exquisite carpet. Miniatures are an important source for textile historians, as


these meticulously


detailed miniature paintings not only bring a scene to life but often accurately record the fashions, textiles, and jewellery of the period. Originally compiled into albums, these illustrated texts also often recount historical events from the lives of the Mughal emperors or portray scenes from the epics of Indian mythology and literature. Indian attire of the Mughal period


typically included accessories such as sashes and shawls made of lavishly patterned silk fabrics. Tis exhibition


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24