Design methodology in mughal textile how they wear ,design , work on it

1. MUGHAL
era
Include
• Introduction
• Mughal region
• Basic characteristics
• Material use in Mughal era
• Textile techniques
• Design thinking
• Design aesthetics
• Aesthetic in visuals
• Pleasue in eye perception
• Social pleasure
• Psychological and ideological
pleasure
• Balance aesthetic and usability

2. • Mughal empire culture is enriched with Persian and
Indian subtitles
• The Mughal rulers valued India’s rich artistic
heritage and its textile culture and promote it
• weavers, dyers, embroiderers and printers.
• knowledge of Mughal textiles comes from
miniature paintings of the kings courts
• Primarily, miniature paintings constitute a key
reference for textiles; and the textural quality and
intricacy of the fabrics and designs is remarkably
captured
MUGHAL
TEXTILE
Introduction

3. MUGHAL
TEXTILE
Mughal region
BABUR
HUMAYUN
AKBAR
JAHANGIR
SHAH JAHAN
AURANGZEB
BAHADUR SHAH ZAFAR ||
• Mughal era also termed as
• Golden Age of textile production’
• they had a vast collections of prints,
embroideries, woven and painted Fabrics
• Largest manufacturing industry in Mughal
empire was textile manufacturing
• Known as cotton textile manufacturing

4. In textile
made with muslin, silk, velvet and brocade
patterns including dots, checks, and waves, floral
design animals birds
MUGHAL
TEXTILE Basic characteristics
In painting
Miniature paintings (small ,brightly colored ,
detailed )
Painting about events ,their king and queens
Combination of Persian and Indian culture
In architecture
Large domes , minars at the corner ,delicate
ornamentation

5. Material use in
Mughal textile ,
architecture ,
paintings
1. The Mughals primarily used red sandstone in
their construction of monuments in the
beginning, and the extensive use of white
marble became popular during the reign of Shah
Jahan.
2. Cotton and velvet play imp role in Mughal era
3. Velvet costumes were worn for ceremonial
purposes, a sign of pomp and show.
4. Vermilion (mercuric sulphide) and red lead were
the most common reds. Many greens were used.
The most common was verdigris, copper
chloride produced by the reaction of copper
metal with salt water. Metallic pigments were
also used, including gold in painted powder
form, and a tin metal that was silver in color.

6. MUGHAL
TEXTILE
Kalamkaris
Kalamkaris (patterns painted on fabrics using
‘kalam’) soon the demand for intricate
patterns and designs attracted many
foreigners to Mughal India.
Floral patterns
Floral patterns were a popular decorative
element. The Mughals adored gardens and
decorated their buildings and textiles with
stylized representations of nature.
Their passion of flowers and arabesque forms
led to the expansion of India’s collection of
motifs and designs.
The most exquisite textiles are adorned with
the damask rose, the opium poppy, the iris
and the lily which recur in elegant dancing
rhythms on carpets, wall hangings and
garments
Lily iris
Repeated
pattern
Damask rose
Techniques in Mughal
textile

7. MUGHAL
TEXTILE
Kashmiri motifs
The Mughal rulers were drawn to Kashmir because
of its natural beauty and scenic landscapes. As a
result, the influence of Persian elements in the
crafts of Kashmir was considerable.
Now the motif is commonly known as the ‘Paisley’
motif and its history can be traced all the way back
to the Mughal era.
Zardozi
The art of old embroidery ‘zardozi’ is thought to
have been introduced in Medieval
India. From the study of the fabrics in Jaipur, the
designs have been influenced by Mughal courts
and the embroideries and embellishments had a
high level of intricacy.
Floral motifs were embroidered with a restrained
use of gold and soft colored threads. For garments
precious gems and stones were also used to
embellish royal fabrics and costumes

8. The court costumes worn during Emperor Babur’s and
Humayun’s reigns were of Turkish or Mongol origin.
During the early decades of Akbar’s rule, the fusion of
Hindu and Persian clothing styles took place
Akbar’s reign saw quite the innovation in court
costumes. His choice of fabric (cotton) was a practical
option as opposed to of his predecessors choosing
fabrics and accessories that were not suitable for the
hot climate of india. He also chose cotton as a symbolic
gesture to integrate the local Hindu rulers in the
Mughal courts. He also adopted their indigenous
costumes, altered others and renamed a few.Akbar’s
court gave rise to creativity in all walks of life,
particularly textiles. He introduced the chakdar jama to
his court and restyled it into a formal gown worn by
leading members of the court -kind of similar to a court
‘uniform
DESIGN
THINKINGDesign thinking behind
court costumes

9. DESIGN
AESTHETIC
Design aesthetic in
dresses
Akbar’s son, Salim (better known as Jahangir)
inherited the throne in 1605 and he was also an
exquisite connoisseur of the artsHis interest in the
visual arts was keen and he compiled albums of
European prints set in superb Mughal floral
borders.His passion for the Kashmir flora was
reflected in the delicate representations of herbs
and flowers which were woven, printed and
embroidered on textiles.certain fabrics were woven
exclusively for Jahangir’s use and his garments were
‘made-to-order’. One such garment was the nadiri,
which literally means ‘rarity’, a type of garment
worn over the jama

10. Aesthetic
in
visuals
• This white satin ‘rider’s coat’ (an example of
the nadiri introduced by Jahangir) is
deemed as the earliest sample of Indian
‘haute couture’ due to its exquisite and
intricate embroidery on pure woven silk.
• It is a synthesis of Persian and Indian design.
The chain stitch embroidery is extremely
sophisticated and the colors are reminiscent
of Persian miniature paintings.
• The birds, animals and floral motifs are in a
repeated pattern and depicted in a
naturalistic style -which was not often seen
on Indian textiles.
• The cool color palette demonstrates the
versatility of Indian craftsmen and their
ability to adapt their skills to new design
concepts.
Aesthetic in visuals (color
,motifs, patterns

11. pleasure
in
eye
perception
• Humayun's Tomb is an example of Mughal
architecture
• Its was made for humayu after 14 years of his
death by his widow biga begum
• the Taj Mahal is a combination of Persian,
Indian, and Islamic architectural styles
• TAJ mahal is symbol of love

12. SOCIAL
PLEASURE
• •Under the rule of King Akbar, there was
a large scale growth of Painting
experience.
• •He encouraged paintings based on
Ramayana, Mahabharata and Persian
epics. It also used to depict nature,
animal tales and portraits of Kings and
Queens.
• •The king who showed the maximum
interest in painting was Emperor
Jahangir.
• •This period saw more and more
refinement in brushwork, along with the
use of much lighter colours.
Audience attraction to product
(painting in Mughal empire )

13. PSYCHOLOGICAL PLEASURE IDEOLOGICAL PLEASURE

14. BALANCE
AESTHETIC
AND
USABILITY
TURBANS
PAGRI
Heavy jewellary
Belts

15. Presented by
Sehrish ,dua,narmeen ,muqadas,hammad ,moazzam,suhail,azeem
Thanky
ou