Chapter IV v

Motifs and Patterns

Designs used in textiles happen to be a special treatment

given to the fabrics for beautification and also to free those

from monotony.

The traditional term Bhakti was used for design in ancient

1
times. The word is found in the Harsa-Gharita of Bana^hatta and

also in a number of other sources. The traditional printers or

Hangarez of Eajasthan, Gujarat and Utuarpradesh are knoxm to use

the same term for motif even up to the present time.

Patterns in Indian printed textiles aro vigorous and signi­

ficant for their simplicity and use of colour. Through the medium of

patterns, the printers undertake the break the monotony of colour and

appearance on the surface of the textiles. The decorative motifs found

in Indian textiles may be enumerated as representing animals, human

figures, fish, birds and floral motifs as well as geometric. Sings,

dots and zig-zag ornaments'/have, also /been used within panels, printed

horizontally and vertically. Different symbols have been evolved

from these elements and a large number of patterns were developed in

course of time. Patterns representing Aeroplanes, clocks and graraapheme

records have also come to be added as motifs for ornamenting the

fabrics in recent times.

1 Agarwal, V.S, Harsacharita eik Sanskritik Addhyayana,

Patna, 196^. P» 73
 178

Floral motifs wore extensively used in India since ancient

/
times to impart beauty and attractiveness to the fabrics. The treat

love that the Mughals had for flowers and gardens haa inspired the

printers to produce a very large variety of floral motifs. The

floral motifs wore shaded in various tones of indigenous colours

in o;der to produce effects of great delicacy and beauty.

The discovery of a madder-dyed cloth (already described} from

Moheajodaro and the motifs of the painted potteries of Indus valley

are very closer to the Sassanian fabrics of the Sixth and Seventh
<Ptn

Century, which prove that the motifs were very commonly used for the
2
decoration of fabrics and pottery. In the resist dyed textile piece

the colours used were the isaae as found in pottery. In both pottery

and resist dyed fabric t;e find the decorative patterns to be geometric

and highly stylised. The common motifs were lotus flower, bird, pipal

leaf and occasionly human forms.

cu> _ —
The common motifs found in later days have been known Butis
A*"" ""

available in large varieties. They were originally derived from the

Persian or Mughal Stock. Some Butis -were depicted as pairs of Parrot

or Bulbul and sometimes alternated with the beautiful forms of

peacocks ; occasionally figures of Putalis or toy damsels were printed

as Butis. Usually, one or two types of Butis and a peacock are

grouped and printed in an attractive manner. Often stylised flox/ers

2 Jayakar, Papul. Indian Printed Textiles. All India

Handicrafts Board, II, Delhi p, 5

were also printed, knoxm in Gujarat as Karmphuls or ffadirsbahi Buta,

Those were generally in creeper forme.

The rich‘miniature paintings of India show the great heritage

of Indian printed designs* Ue find the common motifs in textiles ai^d

•paintings , Those motifs were plain stripes, tie-dyo circles, spirals,

squares, rosettes, lozenges, cross patterns, small flowers, stylised

flowers, arabesques and zig-zag lines etc. The space for the painters

was limited } therefore, it was not possible for them to depict all

the details of the contemporary textile patterns. But the designs

V\ (X,
depicted in the paintings show that the motifs of Chipplkars* were

quite old.

The traditional designs of Indian printed textiles had greatly

* ~T»7.0
impressed the European ^ Of oii&s. Many designs and patterns were

produced with the mixture of^persian and original Indian motifs.

The Persian features consisted of birds, butterflies, squirrels and

various other flora and fauna. This led to a great craze for Indian

chintz in Western Europe. In late eighteenth century, Indian printers

started showing interest in European subject matters for the chintz

or printed textiles* Those motifs xxere of miscellaneous types.

3
According to Mr. K.B. Brett, the source of Indian printed textile

was French. French artists engraved different motifs, from where tho

printers of Coromandel Coast got inspiration. These motifs consisted

3 Brett, K.B. A French Source of Indian Chintz Design.

Published in Journal of Indian Textile History, Ho 1956. P P-

 178

of arches, lamps with stands, European figures etc. In Coroman&al

Soast, flower vases or GCrmalas were printed in the place of arches

like French patterns*

When the printed textiles were made for the foreign markets,

the traditional motifs of Indian prints were changed* Many of

those ' fabrics had Arabic motifs. Some of the scrolls and human

figures appearing in tho printed textiles of laic eighteenth century

or early nineteenth century, show the degradation of traditional

motifs of Indian Chintzs.

Tho printed motifs of Indian textiles had ’a clear influence

of Indian miniature, architectures and mosaic or inlay tradition as

*
well as potteries, specially in the printed textiles of Masulipatam,

Rajasthan, Western India and Uttar Pradesh, The designs reflect local

influence to a great extent. Designs from the Horth and Kashmir

consisted of fruits and flowers which grew in extensive scale,

whereas in the prints or painted textiles of South India had motifs

de icting (the ocean kingdom) tigers, and snakes etc. Bengal textiles

consisted floral as well as animal motifs. Symbolic forms had played

an important role in the traditional designs of printed textiles of

India. Vis 5 lotus, Swastika, Kalka etc. Different motifs from

Alpana or Rahgoli or floor decoration were also adopted in a very

simple manner in the printed textiles of India.

A good number of printed textile pieces are found preserved

in different Museums. These exhibits draw the attention of visitors

 179

due to the “beautiful bright colours and delicate motifs

displayed on them.

The motifs used in these textiles can be classified under

the foliov;ing heads

1. Floral j Flowers, tree leaves, creepers, trees, fruits

etc.

2. Vegetal : Vegetables such as brinjol, Chillis etc.

5, Animate objects : Animals, Birds, Fish and Human

figures.

k. Geometrical patterns and other motifs.

5. Architectural motifs .

6 . Miscellaneous other forms.

Floral & Vegetal motifs.

From pre historic art to later art, the representation of

nature was quite popular . Floral motifs in ancient sculptures at

Bharhut, Sahchi, Amaravatl etc . as well as the motifs of Mughal

architectures became the traditional motifs of Indian printed

textiles. A large number of floral motifs in Indian printed textiles

were derived from Persian sources during the early Mughal period.

These motifs display the grace and delicacy of the Persian floral

decoration and she naturalistic characteristics of Mughal art.

Nature played a vital role in influencing artists to express their

inner feelings from earliest times*

Buta or Buti or Sprays. Cones :

Traditionally, it was a flowering plant with' a curling bud at

the top $ gradually it became stiff and formal. But the small
 180

Butis wore fine and not changed and this tradition is adopted

by the machine printers of recent times.

It was also known as Cone or mango or Kairi. When it was

printed in mango form it was reduced to a floral pattern design

with the form of the Cone* Larger motifs of this type were knotm

as Buta and the smaller ones as Buti.

This motif was developed in the Mughal period* There are

many views regarding the origin of this motif. According to the

Western Art Critics, the motif originated in Persia, white the

Indian art critics have different views* Some believe that this

form originated in Kashmir, from the shape of Chinar tree and

some others say, that it was from the shape of Mango* A feu

others believe that it was developed from the shape of Almond,

i

There are critics who take the tradition back to tho Indus valley.

They think that it was derived from the famous tri-foil motif of

the shai;l worn by the lime stone statue of Mohenjodaro, It i/as

the developed form of the tri-foil motif in which the central

leaf became the principal design and the loaves on two sides were

omitted. Thus the cone motif was produced. Finally, tho Kalka

motif of famous Kashmiri Shawl or Masulipatam5 s Palampores had

originated. This became one of tho important motifs of northern

India. Kalka motif was specially popular in Tanjore and a dominant

motif at Masulipatam.

But as were generally formed of many flowers with stems, buds,

1 birds and iaTsects etc . and always constituted a single flower

 181

or figure, not joined to a running pattern. According to the

shape and style of the Butis* the names of the motifs used to

vary. There were many different types of Butis■to be found

among such designs.

Chanda Buti Chanda Butis* are circular in shape and

were printed or painted in the middle part of the fabrics like

Dupatta*s. It had only a circular outline with floral or

geometrical motifs filled in.

Turahj Buti s- This motif was generally used in shawls. It

was a little elongated type of Buti. It was also known as Kalgl

Buti or Kalga Buta. This type of Buta was specially found in the

corners of the printed Chadars or bed covers.

Pan Buta 1- It vas a heart shaped or betel leaf shaped

Buta. This design was normally used in the Bridal Scarfs and

shawls. The design mentioned as Pan Bhant by Banaj&hatta in the

Harsacharit, can well be identified as a predeccessor of the

Paabhanta.

FardxButi It was an ornamental design in which the effect

of Buti was produced by points or dots .

Pahkha Buti Panlsha Buti was a fan like Buti. It was Imovm

in different names according to the petals it contains as Tia-Pahkha

or three petalled, Sat-Pahkha or seven petalled. The Seven-parikha

style of Buta was gonerally of big size.

 1S8

Sara Bufrl It was a circular or square But! which

resembled a star. It was usually a small Buti# This Buti

was specially used in tie-dyed fabrics of India.

Asharfi Buti s- It -was a circular shaped gold Buti.

This was generally used in woven textiles but can be

seen in the tinsel printed textiles of Punjab, Pajasthan and

Madhya Pradesh.

Jhar-Dar-Buti S- It was a quite elaborated type of Buti.

It consisted of whole branch of a tree#

Phul-Buti Phul-Buti was printed in the shape of a flower.

It was called after the names of various flowers viz. Chameli

Buti ( Jasmine ), Guldaudi Buti ( Chrysanthemum ) Genda-Buti

(Marigold)* Sometimes, this Buti was printed in the creeper or

Bel for&i known as Bel Buti.

Tfo plants
Butis were also known by the names of the plants. after

which the But is are named are conventional plants ’which have

existed in India from long before Muhammadan invasion but they

became popular in Islamic art, particularly in the. mosques of

fourteenth and fifteenth century A,D#

Terchha-BCti :« When the Buti was diagonally printed it

was known as Terchfaa-Buti.

In Mughal period simple floral motifs were treated more

formally and the number of flowers storaing from a single plant

increased with the combination of conventional motifs*, flowers

 183

with roots and vases of flovrers were reproduced as beautiful

designs known as Buta, the literary meaning of which was £lo\;er.

Firstly, it was in the form of single flower and gradually

numbers of flowers were added, and the forms began to develop*

This sort of motif was largoly used in the printed textiles of

seventeenth and eighteenth century A,D „ It was very popular in

Britain in nineteenth Century A.D. Gradually, cone motif began to

lose its- naturalistic floral origin and became a purely conven­

tional form and finally it became elongated and transformed into

a scroll which was used to unite the complicated over all patterns.

In the printed textiles of United provinces and Punjab one

can see the minute and charming cones compact with flowers.

In Cambay PatolaS_, sprays or But as, were arranged length

wise .

In Farutehabad, the festoons of flowers encircled the cones

to demarcate the traditional facades and balconies.

Elaborated large and bold Persian cones and vases with sprays

of flowers or bunches of Carnation like flowers were beautifully

printed at Jafarangunj.

In Sanganer, graceful sprays of flowers or flame cones built

up of flowers or of bunches of flowers were printed beautifully

with bright colours. These types of sprays were repeated all over

the surface at a fixed distance, and were usually printed in

diagonal wanner. Hero, the sprays were generally of two to three

 184

inches in siae, The flowers which were Used in those motifs

can be still recognised. The most popular flowers were iris,

lily, rose, hibiscus with leaves, and Chameli etc. Occasionally,

forms imitating Brinjals, Chillis, Mangoes were also used to

form a spray or Buta.

The floral cones with highly ornamented shapes were also used

in the wax printed Bumals of Ilasulipatam, where the background

could be either white or blue, or dark: red. The pink coloured

sprays of Masuiipatam are quite attractive to look at. Usually,

the whole ground of the fabrics were decorated with floral molife

like creeper. Composed of flowers and buds and the corners were

richly decorated with most stylised cones consisting of flowers,

birds, flies etc.

Single Flower s-
Flowor motifs are known to have originated in the soil of

India. The flowers were familiar to the artists and therefore,

easy to draw and reproduce by the designer and easily recognisable

by the people.

The simplest floral motif was a small circle or dot with

short radiating lines on all sides. It -was the copy of a flower

called Maulsari or Bakul (Mimusops-elengi). The second developed

i 0
form of it was a well designed petalled flower known as Gulchandl

(Tabers citrifolia) and Parijat or Harasringar (Hyctanthesarbor-

tristis). Gradually the number of petals increased.

 183

Sometimes, star shaped flowers with eight or six

projections came into use. These designs were quite easy

to reproduce. Gradually, the form developed in.- a beautiful

flower, shaped like Cosmos or Sunflower.

Small flower design s~

This motif is generally found in early textiles, where those

occur all over the ground. It had florets composed of round dots,

surrounded by six identical dots or petals. Single flowers with

four petals produced a pattern as i?e find in the paintings of

h
Ajunta.

Sometimes, single flowers wore depicted inside the plain

checks. The tradition of this type of pattern is quite old. We

can soo this type of motif in the painted potteries of Indus

valley, Stupas of Sahchi, Amaravati, Sarnavh etc. This design

had become an important motif of Indian printed textiles at an

early date and the tradition is still followed.

Dolicato single flowers with three potallod shape in red

on white ground was quite popular in Gujarat. This motif can

5
be traced in the Kalpasutra paintings of Gujarat,
i ,

We find representations of beautiful fabrics with

traditionally adopted small flowers in the miniature paintings

k Chandra Moti, fVa.-ftKci.Ve. pp. 208. ^ £'c P *' vj^.

5 Chandra Moti, Jain Miniature Paintings from Western

India, p. 120. <^e-e N0 yTT

 186

of India. Tho pnin.ce and princes in Inese miniatures were

shown wearing lovely printed costumes. In the Shahi type

paintings of fourteenth century A.D.^the princes are found

to have been depicted with attractive conical caps and

cafatans having rich flower motifs in circles, squares

and arabesques. The beautiful decorated Dhotis with floral

motifs can also be seen in the Kalpasutra paintings of

Gujarat. She motifs to be found in those paintings include

epoos, four petallod flowers, multicoloured stripes and

chocks, small sprays consisting of flowers and leaves,

wavy lines, scrolls etc. and those motifs were very popular
6
in the Mughal and Rajasthani paintings.

Representation of small flowers in scroll fora aro also

found upon ancient sculptures and in miniature paintings of

midiaeval period. The beautiful scarfs shoi/n upon sculptures

of Bharhut, Sanchi, Amaravati and Khajuraho etc. appear to have

been ornamented with small flot/ers. The Mughal Pabteas6 were

famous for iho floral ornamentation .

In the Fard or quilt’s cover of Lucknow and Kaaauj beautifully

designed small flowers were printed. The whole backgrounds of

the textiles were covered with this minute flowers . This design

6 Khandalwala, Karl, Chandra, Moti. op.cit. PI. I, II.

 187

was the characteristic of Lucknow and Kanauj.

The flouers noted below can be recognised as the sources

of the design and pattern adopted for the printed textiles in

different parts of India.- -

Lotus : The lotus flower plays an important role in

'Indian Art. It was a very common and widely used motif of

conventional Indian decoration. The actual flowers are well

shaped and of attractive characters. The leaves are shield

shaped and bluish green in colour. Sometimes, the fcoius was

depicted with two buds at two sides and a straight or bent

leaf on either side. There are numerous printed and painted

textile pieces preserved in different museums, whore the

lotus flowers are found extensively represented. The fabrics

used for purposes other than wearing, were usually decorated

with a big sise of lotus motif.

Tho India>\lotus form was quite different jfron the

Egyptian motif whoro the lotus and leaves -were floated over

water upon a soft stem. The Indian lotus, on the contrary,

had its flowers and leaves well raised from the water with a

strong stem. The lotus motif had been taken from the designs
7
found on sculptures. Marshall writes, "At stylised plants

and flowers the artists were marvellously adept : could weave

7 Marshall, John. Sanehi, I.pp. 196.

 188

them into countless lovely patterns and suit them to almost

any shape of surface. 'Their speoial forte was the lotus,

which they could draw to perfection in every form of loaf

and bud and blossom*" In the early forms of lotus, tho petals

were shorn painted and more in numbers than to be found in

late* periods. In early forms the petals x-jere tapered and

compact but afterwards tho petals were shown by simple lines

and folded over each other, The leaves were represented deli­

cately ornamented, The tradition of lotus motif is very old.

The early crude form of this flower can be seen in the painted

potteries of Indus valley.

Sometimes, the lotus was depicted in the central part of

ornaments, shaped in tho fora of medallions. Thesecentro designs

of textiles wore closely associated with the temple domes in

Gujarat and Eajasthan, where it was known as Shatadal (hundred

peitaled). The same type of lotus motif was also found in the

Architectures of Khandesh. The lotus medallions were a most

important feature of Gujarat temples, mosques and tombs, and

were also used for the decoration of buildings at Burahanpur.

One can easily say that the printers had got. their inspirations

from those ornamental decorations used in temples and other

architectural edifices* We find the motif in the textile pieces

8
found at Foetal, The origin of these textiles appear to have

8 Pfister, E. Les toiles imprimeos de Post at.,,.p. 35*

 189

been in Gujarat. In the prayer mats of Burhanpur f architectural

motifs representing Miharabs are found surrounded by a border of

leaf scroll bearing small lotus-leaves and half open lotus

l

flowers of excellent design.

Poppy : Poppy is an artistic flower with lobed or cut

leaves, generally long-stalked, Poppy has a large white or

blue or purple body. Being an indigenous flower, it has tempted

a >i
U»t
the printers to be adoptediin their design and they had frequently

represented those in interesting motif forms to decorate the

fabrics, She design was/also/used' in the paintings and architec-

fj
_ *
**
tures under the Mughals,

Poppy plants with flowers, stems and cuttle aves are found

•widely used in the printed textiles of different parts of India,

In the wall hangings of Coromandel Coast, conventional poppy

plant was used tn-thin the arches® Two small flowring plants arc

shown beside the main plant, Flowers consisted six petals* The

poppy flowers were also frequently used for the ornamentation of

tent hangings and wall-hanging3 in South India, Tho poppy flowers

were printed or painted with dark red colour and the petals were

finely shaded with two tones, A little pure yellow colour \;as

used at the centres of the flowers to represent tho pollengrains

( ), The poppy plants were conventionalised and drawn

with keen observation w/iiek restrained the balance of the design.

 ISO

Sometimes, the poppy flower uas used in floral scroll,

with many different varieties of flowers. Usually large poppy

flowers were printed alternately in deep violet and rod colours.

At the some time boll shaped flouers were also present in those

borders.

Sun flower ; The largo yellow flower with cub.leaves was

quite popular in Indian printed textiles. It is an Indian flower

with many petals, the inner portion of which is dark brown.

There are many good pieces of printed textile preserved in

different museums having the Sun flower motif. A beautiful cotton

piece decorated with this motif is found preserved in the Bharata

9
Kala BhaxTan. It is a block printed piece from Rajasthan. The

treatment of the motif is very expressive. The beautiful yellow

coloured flowers with reddish innerpart and sharpodged petals

having firm stem, arc printed on black background muslin.

Guldaudi or Crysanthemum s This flower is also of Indian

origin, and from her© it had reached to the Western world, China

and Japan, where it has become an important feature of textile

decoration. The flower gets fine long and thin petals and cut

ornamented loaves with fine edges. It was depicted in its

original shape in Indian prints, specially made for foreign

markets.

9 Bharat Kali. Bhawan, Banaras Hindu University.

Varanasi Museum Ho. 7332, 8889. See P\ Ni o

 191

A beautiful fine muslin scarf ornamented with this

10
motif is found preserved in the Bharat Kala Bhawan. It is

a block printed cotton piece, probably from Rajasthan. Back

ground colour in this textile is pale cream. Two ends of

the piece are found decorated with Kalka made of different

types of flowers and leaves. After these Kalitas *, fourteen

Cryaanthemua flowers are shown printed with dark red colour*

She form of the flower is so stylized that it creates a

problem in identifying the flowers. But the petals show

that the flower is indeed a Crysantheaum flower.

Tisi ( liana or linseed oil plant ) : It was a very

popular motif of Indian prints* Sheso small flowers were

beautifully, printed on the fabrics, fhe design was generally

produced by arranging the flowers ac a certain distance. It

was very common in mest parts of India.

Tube rose or Ba.ianiganddha : Tube roso is an Indian

flower. It is a white'Tlower with long thin pointed leaves

and long stem. Shis flower was specially used in the printed
\

tentlies of Uttarpradesh and in other regions of eastern India.

v
In late periods it was also used in the printed fabrics of

South India and Rajasthan. She pattern was produced by resist

method on coloured ground. Shis motif can be seen beautifully

' 10 Ibid. Museum Ho. ?295» Se-e f\jn ~yl>>_ I- 1/

 19a

depicted on the PaUcas or scarfs of Mughal period*

Siris or Albizsialebbk : 5iris is a lovely green flower

with thin ( like stripes ) and long petals* The flower is very

attractive but not flat, Therefore, it was not very popular in

prints, only few pieces of textile with this motif are known.

Tulips : Shis flower was quite popular during Mughal period.

This flower has been used as an important motif* It was found

extensively in the printed textiles as full blossom form on

flowering trees or as in borders* These prints are very

decorative, usually with bold stripes and pointed petals* It

was widely used in its crude form in fifteenth century A,D.,

but in seventeenth and eighteenth centuries the form became

fine and were printed with great caro*

The origin of this motif seems to be Dutch rather than

Persian. She Tulip flower was probably unknown in South India,

therefore, it was possible that when the Rarigareg or Indian

printers adopted this motif in boqueis form, they had tried

to copy the flot/er in a natural manner, not tried to make ir

more stylised*

Hose or Gulab : The rose is known as the queen of

flowers* It grows profusely in Persia* The rose motif has’

been very popular in India, specially during the Mughal period.

It was extensively used as a boquet fora in the textiles of

Coromandal Coast in late eighteenth century A.D. Bouquets

 193

showing half open rose buds tied with a ribbon appear to

have been very popular in India# She flower is used in a

very stylized form in prints. In late eighteenth century,

specially roses were used in scroll form with, buds and

leaves. Usually, roses are found printed with red colour

with curled petals and green leaves.

In Rajasthan and Gujarat Gulab-Butas were printed in

late periods.

The iris is a flower of foreign origin but

very much popular in Indian prints. It was unknown to the

Indian printers before seventeenth century A.D, Indian

printers had copied iris flower from the embroideries of

western countries and had mixed it with the traditional

marigold and sunflower designs, thus producing a different

form of iris.

A largo number of printed textiles having iris motif

are found preserved in different museums# In Rajasthan,

motifs representing this flower became very popular during

the late period. A boautiful piece of cotton textile •

ornamented with this motif is found preserved in the Bharat

11
Kaia Bhawan. This textile piece is an unstiched Jama. The

ground colour is white. The iris flowers with dark and light

brown colour are printed upon it in hemisphei'ical form. The

flowers are very stylized and delicate.

11 Ibid. Museum Ho. 769B. $\ |sj0 XTTf ^

 194

Carnation s Full blom carnation flowers are found to

have been used within the stylized Bufcas is the printed

textiles of seventeenth to late eighteenth century iUD.,

specially in Gujarat, Rajasthan and Masulipatam. The

printed flox/ers were in yellow and red colour ’with crack

petals, and the centre petals were curled inward and the

outer petals dcnmjt/ard. In Masulipatam and Golconda, brush

was specially used io give the designs complete perfection*

These flowers 'were delicate and sometimes those wore used

with wavy stem in order to produce fine floral scrolls.

Hibiscus or Java or China rose : The flowers are quite

large in size, and the designs imitated from those flowers

are found with green curved ornamented leaves. Hibiscus

designs are found in two varieties, single and double petalled

with numerous shades. Most probably the flower was brought to

India from some eastern country for its medical properties.

1 ,
The beautiful flowers and their foliage attracted the attention

of the printers and they had beautifully reproduced then in

prints.

The tradition of the use of this flower design is quite

old. The flower with five petals and -pointed broad loaves can
12
' be scon in the miniature paintings of India. This motif was

12 Brown, Percy. Indian paintings under “the Mughals,

pi. XXIV. Set Mo W 2-

 195

very popular in Gujarat, Rajasthan and Uttarpradosh. The

dark red coloured flower with green leaves and half covered

buds appeared as beautiful ButiS in the printed textiles.

13
Thero is a piece of cloth with such motif found

preserved in Bharat Kala Shavian* It is a printed cotton

piece collected from Ajmer. Red coloured single petalled .

Hibiscus flowers, with green delicate leaves were printed with

the help of blocks on mustard coloured ground.

Araaranthus or Amarlata : Amaranthus or Amarlata is a

type of flower vihich never fades. The flower is very ornamental

and bright coloured. It is profusly grown in India. The flower

and foliage had given rise to a distinct form of motif, specially

during the late period* The motif, however, never attained any

great popularity.

Champa ( Michella Champaea ) s In India the knowledge about

_ #•

Champa flower has been very old. In ancient times the flower via®

used for personal decoration. It became quite early a favourite

motif for Indian designers and printers. Usually the golden

yellow flowers were printed with small stems on a dark background.

This motif was extensively used in the seventeenth and eighteenth

century A*D. in Western India, Rajasthan and Uttarpradosh.

13 Bharat Kala Bhawan, M. No . 7702. Se* PI NolTyT Fig 2.

 198

Many textile pieces ornamented xiith the motif of the

Champa flowers are found preserved in the Bharat Kala Shavian

at Bananas. The printing usually occurs on rough cloth with

black or contrast dark background. The little flowers of

golden yellow hue are beautifully printed on dark blue ground.

Bouquets of Flowers : Bunch of flowers tied with ribbon

and coining up from a vase had become a common motif in the

wall hangingsof Golconda and Masulipataa* The bunched consisted

of different varieties of flowers. In Udaipur such bunches of

flowers were printed on pale background. The motif was indeed

very charming and gave an extra importance to the printed

fabrics of Udaipur.

Festoons of flowers : Decoration with the festoon of

flowers is very popular in Indian art* We can see the beautiful

examples of floral festoons in the sculptures of Bharhut, Sanehi,

Amaravati otc. Festoons of flowers in the form of wreaths tied

with ribbons and pendant tassels, -were vory popular in the

printed textiles of seventeenth and eighteenth century A.D. This

motif was used to isolate certain portions or panels which vie re

filled in with bunches of realistically adopted flowers.

Leaves I The tradition of using tree and plant leaf as a

motif is quite ancient. Stylised leaves used as decorative

designs can be found on the painted potteries of Indus valley,

 1S7

14
specially from Amri. Only a few stylized leaves can be

recognised. 2Ms tradition was continued in later period,

She mythological animals together with pipal tree are found

t

in Indus valley seals. Such leaves are quite similar to

the leaves printed in the textiles of later age*

Decoration with loaf was a quite known mode of ornamen­

tation in ancient tames, as we find reference of such

15
decoration in the Acharanga Sutta -
n a \i

Sometimes single leaf motif was printed upon fabrics, A

design formed of small curled and serrated loaves can be found

freely drawn on the textiles of South India, She leaves were

arranged in fan like pattern over the fabric, She gold printed

textiles of Ba jets than and Gujarat are also found ornamented

with this motif.

gyj-foil motif : The tradition of tri-foil motif is as

old as our culture. The motif was found in the shawl of well
16
known bearded lime stone figure of flohenjodaro. In the printed

textiles of Bajasthan and Gujarat, which were worn by the

14 Manchanda, O.P, A Study of Harappan pottery, p. 516.

Se« Pi 2.
15 Chandra, Moti. Prachin Bharatiya Vesh Bhusha p. 153*

16 Marshall, J. Supra, p . 53• S-e-'e. f'Jo J, F'i

 188

devotees of Siva in religious occasions, motifs representing

the tri-foil loaves of the Bel tree were printed in Seventeenth

and Eighteenth century A.D. Still the tradition is continued.

In tri-foil motif, three leaves were joined together with a

small stem. In some such pieces of textile,* the motif was used

at the two ends or Paltu and the name of Siva was printed allover

the ground.

Tri-foil motif was also popular during the Mughal period.

17
This motif can he found in the cashes and turbans of the figures

occuring in Mughal paintings. In this painting the motif depicted

had two parts . One part was decorated with tri-foil motif and the

other part would bo decorated with creeper motif. Most probably

brush was used to produce the design like the painted fabrics of

Ilasulipatam.

Tobacco Plant (Hicotiana Tobocum) : The Indian printers not

only depicted floral motifs on textiles, they had also adopted

the Tobacco plant as a motif. This motif had given a novelty to the

Indian prints. The tobaco plant was used as a Buta without any

flower. Probably this motif was introduced by the printers of

Gujarat..

Flowering tree or Tree of Life : The tradition of this motif

is also quite old. This motif can bo traced from Indus valley

period to as late as the time of the Mughal*in Indian art. This

i ......... , ,t - lt M | lu ^ ___^ r-.t in,n„riTir-..M-Tr, -r—n --------------------—— I”*"**1*

17 Brown, Percy, op.cit* PI. ZXXI Procession scone at

fcho court of Jahangir.

 189

motif has, however, been present in all ancient civilisations

of the world. In the Indian tradition of art, this motif is

called Kalpavriksha or the desire fulfilling tree. In Indus

valley art, there arc representations of simple plants,

sprouting from pots with beautiful leaves and branches,

traceable on the seals and potteries found from different sites.

Shis motif was commonly used in the printed and painted

textiles of India of later age. There has been a controversy

regarding the origin of this motif. Some scholars believe it's

an unindian motif, while few others say that it has been tradi-

tionally an Indian motif. Some have stated that the conception

was inspired by the floxcering tree designs of contemporary -

18
European decorative art, especially, English embroideries.

According to Sir John Irwin, the flowering tree of Indian

Chinta was neither purely eastern nor purely western in

conception, but it was a compound of Chinese, European and

Indian influence. Western art historians have assumed that

"the large branches for hangings, which characterise both English

embroidery and Indian Chintss of the period, originated as India*s

gift to Europe. The facts arc, however, that the style originated

in Europe but was modified in Indian hands, so that when the

18 Bett, K*B. The flowe&ing tree in Indian Chints. Article

published in Journal of Indian Textile History ilo.ffll. 1957*

 300

Indianiaed versions reached Eurono, they uere welcomed as

19
something new and exotic”.

The flowering tree, and allover flower patterns uere the

common designs for the ornamentation of the printed fabrics of

late seventeenth and eighteenth century A.D. Flowering trees

were usually printed beautifully on the wall hangings or on

some sort of big pieces of textiles. The trees were so stylised

that it would easily loose its reality. They uere not symetric,

their -crunks and roots were entwined and shox; leaves with cut

ends. Trees wore presented without any effect in the perspective.

The leaves do not overlap or fall over each other and the Stems

never get entangled.

The tradition of tree of life was very elaborately developed

yw*
*

in’eighteenth century A.D. Flowering trees during this period

were shown with tiro slim trunks, growing from a rocky mound.

In such works, branches of the main tree fill the field. The trees

show small pointed leaves and several types of conventional flowers.

This type of motif was developed by the East India company to meet

contemporary taste for ’’Chinoiserie". It is believed to have boon

produced duo to influence of Chinese wall papers and embroidered

hangings.

19 Irwin, John. Origins of the oriental style in English

decorative Art. Burlington Magazine, London* Vol. XCVII Ho. 625. Wi'y

p. 106-114.
 Sometimes flowering plant motifs were printed within the

conventional mango form. These trees " ’ *

flowers, loaves ajja buds etc. Often

depicted . The leaves of the tree were quite largo. The" tradition

of plant printing had flourished during fifteenth century A.D.

at Ahamodabad.. This motif was very close to the trees depicted

upon the Siddi-Sayyad mosque, at Ahamedabad.

Farukhabad printers were very fond of this motif. The

pattern with a profusion of green leaves were used there.

Bold representation of tree of life with bright colours

are found on textiles printed at Jafranganj.

In Lahore, Persian tree of life with birds and other

animals were specially used for the ornamentation of printed

Dados (Dowalglris).

Sometimes the tree of life motif was printed in double

and completely ornamented with open boughs, graceful branches,

long pale yellow, blue or green leaves and bright pink flowers.

A kind of flowering tree was popular in Uttarpradech. Such

motifs consist of large cones, springs of flowers, vasos etc.

and wore printed with blue and dark colours and outlined also

with dark colour.

In Punjab, the- motif was boldly printed in panels.

Scroll or Lata-7allari : The scroll motif found on printed

textiles was derived from the form of delicate wavy creepers.

 son

Such motif was known as Sol or Lata in India. It was a running

floral pattern. She Bel pattern consists of flowers buds, conch

etc, She Bel pattern was also knovm as creeper pattern. Diagonally

printed Bel motif was known as Ari-Bel.

wore also called, according to

the names of the flowers used, as Padmalata or Lotus Bel, with

Conch or Shaukha^ShaAkhoXata etc.

In Coimbatore in South ladiajbold designs consisted of

scrolls ornamented with birds and animals, were used for the

decoration of textiles, The scrolls became so compact that it

becomes quite difficult to trace out the beginning and ending of

the design. She flowers were usually big and numerous, and quite

largo, infact, so as to very nearly obliterate all other details.

The outlines of the petals were printed with pale colours. The

borders were widely ornamented with floral festoons.

Mixed floral motif : An elaborate design with three main

motifs - a floret and S shaped scroll and a square, composed of

tri-foil around a central cross, found on some textiles has come

to be known as mixed floral motif. This decoration of textile

specially occurs in Gujarat.

Vegetal and Fruit motifs s

Indian textile-printers had tried to adopt many of their

motifs from fruits and vegetables as well. Fruits resting within

plates or vases are found printed in the textiles of late period.

The printers of Rajasthan and Gujarat had adopted this motif in

 203

a natural manner. Coconut along with tree and pine apple

were printed and painted on the wall hangings of Masulipatam

and Golconda in late eighteenth century A.D.

Brinjal or Baigan : Brinjal is an Indian vegetable. It has

been very popular in Indian printed fabrics. She motif was

/ N

specially used in Rajasthan. She brinjal motifs were printed

with deep purple brom colour and show a bright blue speck near

the centre. Shis treatment of the motif attribute naturality

to the design.

Chilli ; Motifs showing chillies have been quite common in

Rajasthan and Gujarat. She spray made of Chillies i were known as

Mirch-Buta or Mirehi Buti. Uhon this motif was printed closely

allover the fabric' it was known as Ilirchi-Bag or Mirch Bag.

Usually the motif was printed on dark background with bright

colours.

Pine ancle : Pine apple motif was introduced by the Portuguse

and was commonly used in different part© of India. Shis motif was

frequently used in the cotton painted textiles of South India.

Mango t She mango is held as an indegenous fruit of India.

'She outer form of the mango had taken tho form of Bu$a or Kairi

( already described ), She mango motif as such had become

popular in the wall hangings of the late period.

Animate objects 5 In the field of Indian printed textile art,

Chhippikaras tried to emulate what they found existing in nature.

She motifs which they adopted from the nature wore rather crude
 204

during the early period. Gradually the Chhippikaras

succeeded in developing their workmanship. They had tried

to show naturalism in the motifs adopted from animals and

human figures as in the caso of flowers, fruits, leaves

and creepers etc. Animal forms had fascinated the printers

from quite ancient times and inspired them to use those ns

designs. By using those animal motifs, printers had tried to

make the articles more attractive, The attractive animal

motifs show a v/ido -world of men who were most sensitive to

t

feel the wonderment and suspense *

Chhippikaras of different periods had shoxjn interest

for animal and human forms in varying degrees. From the

findings of Indusvalley civilisation it is clear that tho

tradition of animal figures in Indian art is very old. Tho

printers had tried to show the vigour and the strength of

the animals, though tho primary motif of representation was

to bring about diversity and attractiveness upon the surface.

Fantastic patterns of animal forms can be found frequently

over tho ancient' Indian monuments as well as in the paintings.

Some of these animals were shown in a running form, -while in

prints the animals have mostly been represented as static or

’without any movement in character. Ofcourse, in a few examples,

those animals have been depicted in running form also, but such

representations are of very late ago.

 205

Animal motifs were used by the Gujarat printers only on

the body of the cloth. They were never used in profusion as

scrolls that swept loosely over the cloth, their treatment

was extremely vigorous though formalized. Sometimes animal

motifs form parts of geometric designs. The animal motifs used

in printed textiles were elephants, horsos, dogs, squirrels,

monkeys, peacocks, fishes, tigers, crows, cocks, parrots,

goose etc.

Elephant ; The elephant has been used as a popular motif

of Indian art. Elephants can be found depicted upon textiles

20
shown in Jaiaa miniature paintings of Gujarat, In some examples

of these fabrics, elephants had been shown with raised trunk.

The interest regarding elephants had been emphasised in the

cave paintings of Ajanta,

Printers had tried to represent the stylized form of

elephants, sometimes elephants were shown with trees. Elephants

with raised trunk were very popular in the printed textiles

of Gujarat.

Elephant motifs were profusely used in Patola textiles

of Gujarat and Vichitra-puri Sari of Orissa. The Patola fabric

with elephant motif was known as "KetipagadjahM ; in this

20 Chandra, Moti. Jain Miniature paintings from Western

India, fig. 240,

 806

nomenclature uGad-Tahn means elephant. Series of elephants

f
can be found represented within the field of tlse Pamelas ,

produced ex Pataw.

Elephants were beautifully printed in the wall hangings

of Tamil region and Golconda in late eighteenth century A.D. .

The elephants in these textiles are found printed along with *

\

various other animals* Elephant figures were massive but full

of vigour. Big tusks can be found shown as growing from sides.

/■> ^

Antflone % The antilope has been an old motif found in

printed textiles. Antilopes were printed v;ith delicacy but at

the same time force was also present in these representations.

The body of the animal \:as usually ornamented with deep lines

or spots or wavy lines. This motif was used in the Patolas,

shown as if in a running state. In the painted textiles of

Masulipatam and Madras, the antelope was usually shown along

i;ith other animals. Here the animals were shown as having

thin horns and thin legs. Sometimes, the animal was shown

as being attacked by dogs or other animals. Antelopes have

also been found in the printed\textiles hailing from Egypt.

c

Sqn^rrels : The squirrel has been present in Indian art

from the Harappan age. In printed textiles, it was specially

represented in the wall hangings of Golconda. It has been shown

as climbing trees or1 appearing among branches and flowers.

 207

Squirrels have been depicted in their natural fora.

Dranron 2 Dragon was borrowed from the Chinese decorative

conventions* It was found in the painted and printed textiles

of late eighteenth and nineteenth century A*D, from the

Coromandal Coast.

Monkey S She importance of monkey in Indian mythology is

very well known. Monkeys aro depicted as sitting upon the tree•

and eating fruits in the hangings of Rajasthan* The depiction

of monkey was very naturalistic*

Turtles 2 turtles are found depicted under water, specially

in the mythological scenes, printed on the hangings from Masuli-

pataa, Golconda add Western India*

Dog i The dog motif has also been quite popular in the

printed textiles of India* Dogs \;ere printed in running manner.

This motif was specially represented in the hangings of Western

India, Madras, Masulipatam etc. Sometimes it was shown as

attacking other animals« In a hanging painted in Pulicai

(preserved in Victoria Museum, London) a big fat dog shown as a

highly ornate decoration was printed in the centre. The piece

21
shows a court scene with European influence*

Fish 2 Fish has been held from very early times in India as

an auspicious motif. The fish motif can be traced in the Harappan

potteries and later in the wall paintings of Ajanta. The motif

21 Murphy, Viroaica. Chintz a revolution in taste. Pub.

in the jpimes of India annual, 1970* P* ^Q* pi* 2.

 208

also occurs in the sculptural panels. It was widely

represented in the Patola and Chirala rumals. Usually

it was used in natural form. Sometimes it was represented

in between the scrolls.

Tiger s Figures of tiger have been very common in

Indian Art from-an early ago, specially in Deccan* I-Je find

good example’s of tigers in the reliefs on the gates of Bidar,

Bi^apur and Chanderi or in the Hindu temples of Chamba and

Kullu ; tigers were executed on the basis of the traditional

tiger figures depicted upon the mosaic tiles of the Takht-

22 "

Mahal at Bidar. These tiger figures were very closer to the

23
tiger figures of textile found from the Fostat. The tigers

were decorated with star and resetbes motif. The representa­

tion has been so stylised that it is very difficult in

identifying the animal. The animal had stripes like tiger,

but the outer shape had the likeness of the lion. It seems

that the artist had made an attempt to create naturalism. In

architecture, lionswere executed at the entrance gate of the

buildings } tiger figures upon textiles seem to be the part

of the royal teats.

22 A. Goetz, H. Some Early Indo-Muslim Textiles

Oriental Art, Vol. I, No. 1»(B.) Goetz. H. Art and Architecture

of Bikaner, Oxford, 1950. p. 101 f.

23 Pfister, R. Les Toiles Imprimees de Postal et'

Ilindostan, p. 66.
 203

In the wall hangings of ' XSolconda and. Palampores of

Masulipatam, tigers were painted along with other animals.

Those were shown in climbing or running position. She

printers and painters had tried to show the inner strength

and wildness of the animal in a vivid manner.

Deer j She deer constituted a very common motif in the

Patolas and Chirala Rumals. She doers have been depicted with

contrast of colours.

Deers were also painted in the wall hangings and Palampores

of Coromandel Coast. Usually those were shown in running posture

along -with other animals'.

Conch or Shell : Shis was commonly represented in Patola of

Gujarat and Vichitrapuri Sari of Orissa. Shis motif was derived

from the traditional floor decorative designs, kno'wa as Rahgoli.

Birds Motifs

Hamsa or Geese : Geese motif has been a very favourite

decorative design used by the Indian printers from the ancient

times. Baaa has mentioned in his Kadambari of a x?hite Sari

ornamented with Hamsa motif. Mr. Pfister has discovered a

printed calico piece from Fostat. Shis was ornamented with

Hamsa motif. According to the communication sent to Mr. Pfister

by Sri A* K. Coomarst/amy, the origin of this piece was northern

2k
India or Gujarat. She geese in procession style, can also be

seen in the textiles outside India® We can say that the

2k Pfister, R, Leatoiles iaprimdos de Fostat. Pt. II

p. 32-3*f. _____
Se-e, V\-^o 'J-
 210

procession of birds motif was not a monopoly of India at all.

The motif Hamsa or tho sacred goose combined with the

lotus was a very ancient motif in Indian Art and occurs in

wall paintings of the first to eighth century A.D, at Ajauta.

This was known as Hamsa Mithuna in Gupta period* In a painting

of Ajanta cavo No, 1, the Chamargrahini figure is shown as

wearing a garment which had been ornamented with Hamsa motif.

The Hamsa figures had been diagonally depicted all over the

fabric«

Geese motif was very popular in Gujarat and Rajasthan,

\

Still now the tradition is continued.

Peacock : The peacock was a very popular motif in Indian

printed textiles. It was kaoxm as Hofcall in Rajasthan and as

«

Mayur in eastern India, This motif was a favourite motif of

the Chhippikaras * of Gujarat and Rajasthan . The origin of the

motif is Indian, Peacock can be seen on the potteries of Indus

valley* In Indue valley, tho form of peacock was rather crude.

Only straight lines were used to show tho tail. This motif was

frequently found in-Indian sculptures as well as in paintings.

Peacock motif was represented in the RumalS of Cbirala,

Patola and in the calico prints of Jafarangunge, Gujarat,

Rajasthan and Coramandal Coast. The peacock motif of Jaiaran-

gunge was large and gracefully outlined and delicately coloured.

Printers had tried to decorate the body of the peacock with

dots and lines. The peacock motif was beautifully printed in tho

wall hangings of Masulipatan and Golconda. Hef*o generally tho

 211

peacocks had been depicted along with other animals or shown

on two sides of vases. Sometimes those were also depicted

uith branches and steins of flower plants. The bright colours

were used in depicting these designs. The tail of the bird

was shown as excessively long and the legs were thin and

little unnatural.

Small Butis xiith peacocks wore very common in Gujarat

and Rajasthan. The peacock Butis were printed all over the

ground with’ contrast colours. In such cases, the tail was

long but quite broad and ornamented with flowers, dots, checks

and flat linos* Sometimes the tail was printed in the scroll

form also.

Sometimes only stylised feathers of peacock uere represented

as a'motif. This motif had appeared in the printed textiles

found at Fostat and also in the miniature paintings of

25
Hostera India.

Parrot or Tonta : The Parrot was a very common motif in

Indian printed textiles. It was known as Potat in Gujarat and

Tohia in Rajasthan and other eastern parts of India. This motif

was printed in But! form as well as"border designs of Sari or

Chadar. In the printed textiles of South India the bird was

shorn as flying and sitting on the branches of the flowering

trees. Parrots were usually printed in natural manner and can,

therefore, be identified with ease.

25 Chandra, Moti, Jaina Miniature Paintings of

Western India, Figure 215.

 212

Gujarat and Rajasthan printers had used this motif

extensively. Parrots were produced in Chunarls . by tie and

dye process, uhere only the outlines x/ere represented. In

the Patolas of Gujarat, parrots were shown in a stylized

manner, in block printed Saris, parrots were printed allover

with red, white and dark green colours. Beautiful parrots

can be seen in the famous Chirala Rumals. Parrots holding

branch in their beaks v/ere an important characteristic

feature of prints. We often see the parrots to have been

drax/r. with a few rapid strokes, but sometimes those were

drawn with care. She eyes of the birds v/ere shown downward

and the neck v/as a little long.

When the parrot designs were used for the purpose of

producing attractive Pallus. specially in Saris, the size

of the parrots was made quite large.

Crox/ : Indian printers v/ere so fond of nature that they

could sot leave even the crow outside the range of their

choice. Ihe crows in crude form may be found depicted in the

printed fabrics of Coromandal coast, fhose were shown along

with other animals and birds in flying posture. Good examples

of crows are found in the x/all hangings of South India,

specially made in late eighteenth century A.D,

Swan ! Swan with long neck and long legs were printed

in the hangings of Western India of seventeenth and eighteenth

<v.
 26
century A.D. The swans were usually printed along with other

animals as standing on the branches of the flowering trees.

Such decorative swans %*ere represented in a very natural form

and ono can easily identify the bird.

Cock or Murga : The cock was also adopted as a very

popular motif, though such motifs occur in the printed textiles

of late period. Some scholars believe that the use of cock

motif was the result of European influence. The cock motif

was usually seen in the painted and printed wall hangings of

Golconda and Masulipatam.

Pigeon i The pigeon motif in its natural form was quite

popular in the printed textiles of Coroaandal Coast. Usually

it was represented with other animals. Sometimes pigeon was

depicted as sitting on the roof of the palace. ( This sort of

example can be seen in the wall hangings of Golconda made for

the European markets. ) This bird was shown short in length,

fat and with curled feathers.

The pigeon motif was also in use at Rajasthan. In

Rajasthan it is known as Kabu or Kabutar. Here, sometimes

Bel or Scroll was produced by pigeon motif known as Kabu Bel.

A beautiful cotton piece of textile decorated with Kabu

motif from Jaipur, is found preserved in the Indian Museum

27
at Calcutta* It is a, printed cotton scarf ornamented with

2.6 fYju-TpV>Y , V’-t-i'tontCiv- . Of> P^ 6 P4|

27 Indian Museum, Calcutta, 11. ho. 325*5* See. Pi No XW
 214

floral and bird motifs. The two ends or Pallus of the

fabric are ornamented tilth the floral spz-ays and the body

is found decorated with Kabu Buti or sprays made of styli­

zed pigeons seated on a small branch with leaves. The

motif is printed with dark brov-m colour on light yellow

background* One can say that the motif had originated with

the mixture of Hamsa., peacock and cock. The shortness of the

figure indicates that it had been a pigeon.

/

Human figures :»

Dolls or Putali : Motifs derived from dolls or Putalls

( damsel ) wore particularly popular in Gujarat and Rajasthan.

In those parts of the country, the design was usually found

printed upon Bridal Saris. In Ahomadabad, this motif was

printed as a ButaTall over the cloth but sometimes, it was

also used only in borders of the fabric* In Kutch, bold

Putalls xdLth bright colours were printed in a row at the one

end of the sari, which produced an attractive Pallu.

In tie-dye fabrics, beautiful PutaliS are found

represented with dots or squares. Often, the Putalalis., were

shown in RasleelS scene or in dancing posture. Sometimes

PutaliS ; were also shown as carrying water jars on head.

Uomen holding Birds : The tradition of this motif was

quite popular in the late seventeenth and eighteenth centuries

I
of the Christian ora in Rajasthan and Western India. This theme
had been spread although Rajasthan and Western India. In

Rajasthani prints, the figures were usually shown standing

and facing cypress trees* She costumes of such women depict

both Mughal and Rajput influences. In some examples the lady

was shown as holding a parrot or flower in her hand and

wearing Sari and Choll, and in others, they wore shown as

wearing Kurta or Parlhana and Paijama, She figures were

finely drawn and the print blocks were of exceptionally high

quality. This motif was quite common in tie and dye fabrics

and Patolas of Gujarat.

Horseman i Shis horseman or Ghurswar motif was frequently

used in tie and dye fabrics of Western India. Sometimes the mofif

can be found in the painted fabrics of Coromandal coast. These

fabrics wore made for the European markets in seventeenth and

eighteenth centuries.

Human figure s The story tolling method of ornamentation is

very old. This tradition can be seen in the old sculptures of

Bharahut, Sanchi, Anaravati etc. In a variety of textiles, such

story telling designs can be found, wherein human figures were

printed or painted in bold manner. Such figures are found in tho

hangings of Golconda, Masulipatam, Madras,otc» Such designs are

found particularly on those hangings which had European arid

Persian influences.

Geometrical and other motifs ; Geometrical motifs may be

considered to have been an essential feature or Indian art• The

geometric patterns were specially introduced in the architectures

of sixteenth century A.D. Geometric patterns had strongly

appealed to the Emperor Akbar, In his time the geometric

patterns were extensively used with the floral and animal

motifs in Indian textile art. It was also an important

feature of Indian printed textiles. The geometric motifs

found in the printed textiles, appear to have very close

similarity to the geometric patterns found upon the Indus

valley potteries. It can easily be said that the tradition

is as old as our culture, The motifs found at Indus valley

can be classified as linear stripes , diagonal stripes,

chocks, spots, spirals, squares etc. These forms were also

similar to the painted potteries of Sindhu and Baluchisthan.

The motifs wore parallel to the decorative patterns of terra­

cottas of the KushSn and Gupta period and few motifs were

nearer to the motifs depicted on the temples, tombs and

mosques of Hindu and Muslin periods.

Under this head, all sorts of geometrical and linear

motifs have been classified, which can be traced in the

printed textiles found from different parts of India.

Squares $ This motif was specially represented in the

printed textiles of South India and Bajasthan. Sometimes

frieses were composed of squares with alternate designs.

This method of ornamentation was well known in India. The

square motif was also found in the mosque of Shaik Jodh of

 217

Anhilwada. Shis motif had been extensively used in the

Telia rumals of Andhrapradesh. This has been a very simple

motif v?hich has been widely used in order to cover empty

space upon the body of the textile,

Star : The star motif with seven points had been widely

used in the art of Ahamadabad since fifteenth century A.D. ,

This motif can be traced in the Jali ( Lattice ) of a window

in the Cloister of the tomb of a queen at Ahamadabad* The motif

was often found upon the costumes of the personalities represen­

ted in the printed textiles of Masulipatam and on the wall

hangings of Golconda and also in the miniature paintings of

fifteenth century A.D*

Swastik ; The Suastik has been held as an auspicious

motif in India from a very early time. Regarding Swastik motif

A jit Ghosh has written - "At every stage of the development of

design in oarly times the Buddhist and Hindu designs influenced

oach other. Symbols like Purpaghata, Suastik are common to the

Hindu, Buddhist and Jain faiths* Again Hindu and Muslim styles

and patterns have mutually reacted and as the Mughalc freely

borrowed from the Hindus, so have Hindus unhesitatingly adopted

28
Muslim designs."

Swastik motif can be found in the printed textiles of

Western India. A few pieces with such motif were found from Fostat.

-28 Ghosh, Ajit, A Survey of Indian designs, Art in

Industry. Ho. 4, 1974* p..40.

 218

The tradition of ornamentation upon fabric with Swastik

motif in still continued. It was specially used in tho

Rumals of Chirala and Pochampalli*

Hexagon circles : Hexagon designs and circles had

been quite popular and widely used for the ornamentation

of the fabrics* The borders of the Patola Saris and

Palangnosh of Masuiipatam may be found widely decorated

with this motif.

Diamond s The common diamond motif had the shape of

a rectangle and was popularized as brick shape. Thic motif

29
woa extensively found in tho painted potteries of Kalibanga.

Diamond design was known as Tika in Gujarat. This Tiki, was

very common in tie and dyo fabrics. With the manupulation of

the diamond design, a number of different motifs were produced

as flowers? birds, fishes etc. Assembling seven diamonds, one

in the centre and three disposed symmetrically on either side

of the latter, had been used in some textiles in order to

produce a peculiar type of motif knoxm as Phul or Phul Bhant.

The size of the diamond motif varied according to the space

available upon the body of the fabric.

The diamond design was also used upon the Patolas’and

Chirala Rumals and also on the rumals of Pochompalli, Sometimes

29 Manchanda, 0. Gp.cit. p. 3^5•

 219

decorative panels xrere produced by the use of the- diamond

design as ire see in the wall hangings of Golconda*

Diamond motif may be found in the garments-represented

30
in the wall paintings of Alania* In a painting of cavo Ho. 1,

a musgisian is depicted xrearing a long coat ornamented with

different types of motifs as geese, diagonal lines and

diamonds.

Checks i The check was a simple and populax* motif. She

earliest appearance of this motif can bo found on the potteries

of Indus valley. The tradition of this motif is quite ancient.

A number of human figures depicted in the Ajanta paintings had

_31
been shox-m as wearing chock Dhotis. Checks were generally

printed all over the ground of the textiles. It was used in its

simplest form as a border band cut into small squares filled

with dor or four petalled small floxrere or eircCles in each

square.

Shrines or Doriya s A simple pattern which was used by the

printers has been known as Doriya* The design actually consists

of simple stripes made by the use of linos. Uhen the stripes ran

breadtlOnuse of the cloth, the motif has been knoi’jn as Salal-dar,

30 Chandra, Moti. Prachah Bharatiya ¥esh Bhusha. p. 227.

31 Ibid. p. 22.

v
 220

and when diagonally, it has been called as Ara-Doriya.

When the linos were v;avy and angular, the pattern has

been called Khan.iaridar. The Khan.iaridar motif was also

known as Lahariya», The Lahariya had been larger than

other stripe design, and usually got a rounded corner# The

tradition of Lahariya motif is very old..In ancient tests, we

find the mention of Lahariya Pattgranule# Though this was the

name of an woven textile yen the motif had been the same. The

Lahariya motif was very much popular with the Mughals• In the

Mughal paintings, turbans were vJidely found decorated with the

32
Lahariya motif.

Lahariya formed of Zig-Zag lines of one colour or more,

may be found depicted in the Pagaris worn by the Marwaris. In

Ahamadabad Lahariya cloth was manufactured in two deeply

contrast colours, namely rod and blue or red and green. The

two colour'' offect had been quite effective and beautiful to

look at.

Doriyas formed of plain stripes with some decorated

panels my be found printed on the fabrics hailing from

Gujarat. This motif utxs very closer to the designs apnearing

... 33
in the miniature paintings of Western India dated 1350-1450 A.D.

32 Brown, f>. Op.cit., pi. XLIX.

33 Chandra, Moti. Jain miniature paintings of

W# India p. 119
 221

The Doriya design at Mathura has been very famous iron

ancient times. Doriyas pan bo seen specially in the Dhotis’

and Panaris ,& representedvvm£n the sculptures of Bharahut,

Asaravati and of Gupta period. The paintings of Ajanta also

3k
reveal that the Doriya motif had been very much popular in

those days.

Motifs formed of horizontal band can be found in the

35
Harappan potteries. On the potteries, the bands were executed

as thick boad bands or as thin lines, simple or multiple linos

etc. Zig-Zag lines were often used to cover empty space in

Harappan potteries. The same motifs can bo found on the textiles

discovered at Fostat.

The beauty of famous Mashru fabric only depends on the

t

sig-sag lines which were known as Khan.jari.

Decorative Bands : The decorative bands with a creeper like

stems xxere represented for the ornamentation of printed textiles.

This had boon also known as floral bands. Sometimes such bands

were also diagonally printed. In Jodhpur, the patterns were usually

closely compacted in parallel bands, an inch or so in breadth and

arranged lengtiCuise allover the fabric.

3k Chandra, Moti. Prach,iu. 3haratiya Vesh Bhusha. p. 22.

33 I-lanchanda, 0. op.ci'c. p. 333 • Se-e. pi (Jo JJ,

 222

Lozenges ; The lozenge has been a very common motif

used in Patola and Chlrala ruinals.

■Ealaotts : The palmetts show the influence of Persian

pile carpet design. Broad borders consisting of pa'lmett

motifs can be seen in the painted textiles of Coromandal Coast.

eV' p!. --
Board of Choupav : Tho board of Choupat was a traditional

motif of Gujarat and Rajasthan. Such boards wore meant for a

game in which tho boards were made with check motif. Tho

Choupat is tho Gujarati version of Choupar* an indoor game

which is supposed to 'have originated in India* The game -was

played with the help of wooden pieces, moved through a disc.

Usually this board motif was printed in the central part of

the fabric. The Choupat motif can be found on the garment of

Ajanfca painting of cave IIo. 17* Generally this motif \;as

represented with contrast colours in the Patola fabric of

Gujarat.

Pyramids ; The pyramids t/ao a temple like motif. Those

motifs were quite popular in Gujarat, Andhrapradesh and Madras.

In Gujarat, it was known as Gana. This motif was extensively

used in Patolas and Vichltranuri Saris and Chirala P.utnals.

Tumpal : The tumpal was an attractive motif j usually

used in the Ikat or Patola of Gujarat. It consisted of a band

of long pointed motifs which literally means "teeth" highly

ornamented. Shis motif was specially associated with the

textiles of South-east-Asia including Indonesia and i;ith

those fabrics which were made in India for theso markets.

Often it can be seen in tho lelia-rumals of Andhrapradeoh.

Ip was an abstract motif.

' Medallions : The tradition of this motif is very old.

It was a circle decorated with flowers and bands of different

colours. Decorated medallions or Phullas were found in the

old sculptures, such as on the railings of Bharahut Stupa,

also on the female figures of Kuefcan period and Amaravati.

Beautiful scarfs ornamented with checks and floral medallions

36
was found on a Prasadhika figure of Jaggayapotta. Shis motif

was known as moon stone during the Mughal period..

Generally medallions were printed in tho centre portion of

tho textiles. The large round medallions were ornamented with -

closely integreted patterns of leaves scroll, conventional

flowers, fruits and birds. This motif 'was popular in sixteenth

and seventeenth century A.D. In late eighteenth century pine

i

apple motif was introduced in place of flowers.

In the Bumals and Palampores of Masulipatam, the

medallions wore beautifully printed on the four corners and

in centre.

36 Chandra, lloti. Prachln Bharatiya Vesh Bhusa p. ?3

 Spots, Dots or Budakl : This notif had been knotm as

Phuttak in ancient times. This word i& found mentioned in

the first chapter of the Harsa Gharit /as Buiak Bahdfc.
i

( already described in II chapter ), The name suggests that

it uas a simple round motif* This motif was specially used

in the tie and dye or BaMhana fabrics* These designs were

usually square or round in shape. When the floral design

X7as produced with this motif it was knoi/n as Phulwari and

when animal motif was produced by using this motif ; the

designs were known as Sikarl.

These spots or circles were commonly used to produce

different forms of designs in tie and dye fabrics. The names

of different varieties of Chunaris wore indicative of the

number of spots used for producing such motifs, say for

instance in the eikdali chunaris. the designs were formed

of single small circles and squares ; in Tikhuhti - circles

l

wore used in groups of three j in Choubandi - circles in

groupsof four ; Satabandi-circles in groups of seven ; Jaldar

with circles arranged in diagonal manner j when Bel or scrolls

were produced by using the spots, these^ wore knoxm as Beldar.

In a painting of Bagh cave, seventeen horse riders are

found depicted as wearing lovely coats ornamented v/ith Budakl

motifs. Here, different types of designs aro produced by the

37
arrangement of Budakis in a different manner.

V
37 Ibid. p. 19^
 225

Ornamented fabrics with spots or Budakis1 are also found

in the paintings of A3anta. In the scene representing the

Shadantak Jatak ( Cave Ho. 10 ), the hunter or Shikari Sonuttar

■ " ^ 3S -•—

is shown ’wearing a Kanchuk decorated with this motif, The dot

or spot motif was very common in the Chunaris*of Rajasthan and

Gujarat, One can notice beautiful designs produced by using-

spots, made with contrast colours at Ajmer, Jodhpur and

Gujarat.

Vases : Usually, vases were used as motifs in the textiles

of sixteenth and seventeenth century A.D, This motif was commonly

represented in South India, and Western India. Sometimes the motif

was depicted as flanked by a pair of peacocks. In the wall

hangings, floral scroll or flowering trees can also bo found as

growing from vase.

In some examples, specially in Rajasthan and Gujarat, the

vases used, had been known as Gataala. Gamalas’ with flowers and

leaves appearing as floral Butas were printed allover the ground.

Lotas : Designs representing Lotas or water jari'^ had also

been used to decorate the textiles* This motif was generally,

depicted in the printed textiles of Rajasthan and Western India

as the base of the decorated pillars or some times in place of

GamaBis also.

38 Ibid, 5* 90

x
 22U

Pearl necklace 5 She pearl necklace may be considered

an a net; type of Indian decorative motif. Shis motif had

been extensively used over the monument designs. While the

Persians used glased borders with big discs which represent

simply the nail head, Indians on the contrary, drew over the

temples,designs representing necklace, in which the pearls

have laces, relatively small and the strings are shown

1

composed of many rows, threaded together and held at two ends.

Pearl necklaces were a Very interesting motif in Hindu

sculpture & In the printed textiles, the design was often

used in conjunction with animals. Baadhana stylo of fabrics

were decorated with this motif.

Mythological Scenes i Mythological scenes were usually

depicted on the temple hangings from Kalahasti, Rajasthan,

Gujarat and Mathura etc. Probably this style of decoration

was derived from the aural paintings. In Jaipur it was very

closer to the mural paintings of eighteenth century A.D.

Many fine examples are still found preserved in the city

palace museum of Jaipur.

In the printed textiles of Rajasthan and Gujarat,

scenes depicting the n5asraandaln were quite commen • The

r % - -'7-

Bhagavata Purana had been,interpreted in popular local style

in these -textiles. In producing these patterns, individual

blocks representing figures, animals and flowers were used.

The Easmahdal scenes were printed as a medallion in the

central part of the fabrics. Usually the design consisted of

five prints of the figure of Krishna and five prints, of the

figures of the Goplk^iko. The Gopini'os were shown holding sticks
r.i*. ijiinr.. ^rn irrwn " T ^ ~*mn

in their hands. In Gujarat, the stick dance and clapping dances

are held as a very popular pastimo, Gopjga.es are shown in these

designs as dancing with lord Krishna in a very natural manner.

The whole medallion usually shows eight bands, one of which

contains a representation of the stick dance, another band

shows a procession of musriciano, the third band has boon decora­

ted with horses and fourth with floral Bufras etc. On the whole,

these scenes are made very attractive by .using bright colours

and the figures appear to be very delicate.

i Kalhasti in north Arcot district produced printed textiles

for temple canopies with mythological themos from the Epics and

the Purans in bright colours* In Tanjore also mythological scenes

uero printed on textiles but the colours were smooth and sober.

The Falamporos of Kalhasti are known to be very rich in

mythological scenes and such scenes were full of descriptions

derived from vernacular sources. There are many good examples of

such textiles preserved in the Indian Museum, Calcutta. A

beautiful temple hanging from Masulipatam having Krishna liia

39
scene is found preserved in the Bharat Kala Bhawan; Banaras *

10
Bharat Kala Bhawan Varanasi M. Bo gee PI No XJJlf'pl
39 323
 The whole ground is found enclosed with a beautiful floral

scroll* The background colour is dark blue* The dresses of

the women figures arc decorarcd with gold paint* There are

four stylized peacocks depicted on the four corners of the

•>

fabric* Trees are printed as a form of floxjering tree motif' .

The whole scene is found ccrapartraenfced by the arches. In the ,

central part, Kadha and Krishna are shown occupying a place

of eminence, where^jln the figure of Krishna is shown as

playing on hi3 flute*

Sun God i The worship of Sungod was quite common in

northern part of India, specially in Rajasthan. The^mali-

/ ) )
zed face of Sun God or Surva. surrounded bv ravs are. extensi­

vely found in the printed

’was painted with gold, the eyes and the pearls of oar-rings

■were painted as per Rajasthani tradition and the figures are

shown to have moustaches*

Scenes other than Mythological : Under this type of

fab-ri-as, those hangings and fabrics will be discussed which

had Persian and European influences. Generally, the scenes of

-■ court and huntings were depicted. Good examples of such scenes

were printed and paxated upon the wall hangings of Golconda and

Masulipatan. The human figures were shown wearing Persian or

European dresses. The depiction of such scenes in printed and

painted textiles wore very popular in eighteenth and late

nineteenth centtiries of Christian era*

 22B
0

■ Architectural motifs _ ..Hindu temples and Mughal l -

/ j
■ ~ 4> u
?/ A V s>
s 4 h.
architecture serve as/a mint for traditional designs in -v -
\k.. - - -
Indian art; Architectural motifs can also be found in the

printed textiles. Generally the printed prayer mats and

floor spreads‘and beds spreads were ornamented with

conventional architectural motifs.

Miharab : The Miharab or the arch motif is always

found present upon prayer mats used by tho Muslims. These

Iliharabs represented tho finely carved niches in the mosques,

s
which the worshippers face at the time of offering their

prayer, as if facing Mecca. Miharab designs ornamented with

. _
rising sun, 'four triangles and broad borders filled with

stems have been found in the printed textiles of Gujarat of

V)
sixteenth century A.D,

Sometimes, Miharabs were printed incorporating a flower

plant in a vase ; the stem spreading to fill the whole area.

This type of motif can be seen in the printed textiles of

Vl
Gujarat found from Fostat.

1 A Miharab filled with floral ornaments flanked by cypress

trees and pair of peacocks have been considered as Indo-Persian

motifs. Usually, in the centre of hangings or palampor'es or

jajims, a large conventional cypress tree had been shown as if

hO Irwin, John and Hall, Margaret. Indian painted and

printed fabrics, p. 11.

Vi Ibid. p. 11.
 230

growing from a vase flanked by a pair of peacocks.

Arches wore used in the printed textiles of Farukhabad

and Bullandshahar for deviding the patterns into different

parts.

Palace with Halls s Conventional representation of a

palace with hall, terraces and pavilion, scene showing

courtiers sitting at leisure, drinking or in amorous position

etc, are found in the printed textiles of Coromandal Coast.

The architectural characteristics were very close to the

architectural remains of seventeenth century A.D., of Islamic

style in the Deccan.

Stono Screen Work ; She motif representing stone screen

(Jali) became a popular feature for the decoration of Mughal

architecture. The endless varieties of this Jali or net work

can be found in the famous Tajmagal of Agra and the tomb of

Salim Chisfci at Fatehpur Sikri, In printed and painted textiles

of India, this motif was copied from Muslim architecture. This

motif was found in the textiles of Fosiat of fifteenth century

42
A.D. They were very close to the motifs depicted in the mosques

and tombs in the region of Ahamadabad. Most probably, this motif

originated from the Ahamadabad and migrated to other places

from here.

42 Pfister, R. les toiles imprim^es de Fostat et

I*Hindustan, p* 50.
 00 4

The following is a list of traditional motifs popular

ia Gujarat and Rajasthan during late eighteenth century A.D.

onward, These names of the motifs have boon collected by

field survey,

Chatai ki Bel : Motif like mat pattern,

C-^dr 4? ctaj
Si-oahx : Soldir pattern ( Human figure )

Chirax : A type of floral pattern*

£)
Pakha ka dugga : A type of floral pattern.

Pitta Kali : A typo of small floral pattern,

l n+r* =^ic?i) __
Jal-Choukari : ITet pattern ornamented vfith floral motifs,
Q wra «^s\ _)
Dhaniya i Small leaf pattern similar to the leaves of
tfAvHu)
Shaniya,.

Ckoubundl ; Pour fetalted flowers.

Jnsbfi _) *”
Baihayhi ; A floral Kalka motif,
_
Chakari ka Jal : A net pattern produced by small circles,
(/<4*n\ <45 cmhj)
Ghoukhana : Chock pattern,
W*WA| _)
KachanSr ki Butl : Small sprays consisting of Kaohaaar
dK oQ # J
flowers*

Patasi ki Buti : Small floral sprays,

~irw
Sher Gh^hap 3ol s Scroll design consisting of tiger figure
SDT )
Ghirlya ChdhaP 3ol ^ Scroll design consisting of small

bird figures.

Chundari : Pat torn produced by small circles arid bricks

t )
like txe-tyed fabrics,

Kel : Design like bannana flowers*

Boncli J Small round flowers with seven petals.

 S33

Chakari ki But! : Small round flowers with elongated

T^^F^TcprT
petals.

Dhattura Bel : Scroll pattern consisting of Dhattura

flowers. v

Kamal-ka-Hansiya : Scroll or border design produced

v\oi 35.1 i?jwj
by the geometrical form of lotus flower.

J^el.' Pat to ka Putt a : The outer print block with Bel leaf.
GsTpTj'
Am ki Chirai : Mango shaped floral spray.
Cvrnr <4 tETTj )
Pahkho ka Phool : Fan shaped flower motif.
j
Titari : Butterfly shaped small motifs.
{J$r?r¥7
Phoolo Ki Choukari : Check motif, filled with small
"q^qr ^ 4^Tsi ) ’
single flowers.

Mukuta : Motif like crown shapeo.

Chhakka : Tri-foil motif.

{ )
Chhoti morali : Small peacock shaped motif.
yjw-' *
Bel-patta Buta : Big spray consisting of Bel leaves.
l^oao-1 )
Choudani : Square motif.
I
Bundoli : Small flowers with small four circular petals
(e* a\ c-fi )
and a small stem.

There were many floral motifs known by different names such

as Pauga, Lote ka^tigga, Gulab Ka Hansiya, Bari Ifairi, Bawal -

_ lh\^" / a u* 35*; j **>' €T£rtT) (ars^ 2r?[} (j^ei
Saika dugga, Galatoot ka dugga etc.

The following is a list of traditional motifs used for

tie and dyed fabrics and Patola :-

Hari-kunjar Bhat : Dancing girl and elephant design

with parrot and other birds.

 233

Pan-bhat : Leaf design like Pipal or betel leaf.

CW3 -mTSj)
Rattan-Choxdc bbat j Cross or diamond designs.

Okhar Bhat i Water-cress design. Probably it was a

motif like walnut.

Phulwadi Bhat : Floral design, often ornamented with

MT? _) 1
small flovrer diapers.

Wagh-Kuhriar-Bhat : Tiger-elephant design*

Chhabari Bhat : Basket design.

(_£<ua?i vvr?F5
Chowkhahdi Bhat : A diaper \fith a double outlined

diapers containing three flowers.

Ras Bhat : Dancing design.

{y^\ viiHj)