On textile trail of India at the new gallery at National Crafts Museum

India is known as the land of rich textiles wherein they are an intrinsic element of every aspect of life, be it a wedding, festive celebration, religious ritual, or even a funeral. History reveals how the highly embellished and ostentatious costumes worn by royalty of yore was a power statement.

From the pure zari, gold and silver brocade achkans of the Mughal emperors to the effervescent bandhani and gharchola ensembles of the Maratha and Rajput clans; from the opulent turbans of the rulers of the Sikh empire to the mul and cotton sarees of Bengal region — the evolution of textiles goes parallel to the changing political and socio-economic dynamics of the country. History is also witness to how fabrics have been a symbol of the power to protest, with khadi as a metaphor of Indian identity during the freedom movement. Handmade textiles have withstood the test of time and are celebrated for their unique artisanal and design aesthetics.

The National Crafts Museum and Hastkala Academy’s recently launched Indian Textiles Gallery II in New Delhi is an ode to this rich craftsmanship and its threatened yet continuing legacy. Curated by Fashion Design Council of India president Sunil Sethi and renowned art historian Jyotindra Jain, this immersive and magnificent exhibition is titled ‘Tradition and Innovation’.

The gallery features a one-of-its-kind collection of some 150 pieces. There are opulent weaves such as Banarasi brocades, the Mekhlas of Assam, the Patolas of Gujarat, the Balucharis of West Bengal and the Maheshwaris of Madhya Pradesh, besides block printed materials, embroidery techniques, kalamkari printing and resist-dyed fabrics. These have been carefully selected from over 2,600 museum artefacts, making it a display that embodies the cultural legacy of our country.

One can find Phulkari pieces from Punjab, along with mirror work or kaanchi embroidery cholis from Gujarat. There are telia rumals from Andhra Pradesh and batik rumals from Bengal, tie-and-die Rajasthani odhnis resplendent in colourful hues, Naga shawls, brocade patches on quilts, woven Tangaliya sarees, kantha-embellished fabrics — all a testament to the textiles of erstwhile India dating back to the 18th century and even earlier.

There is a section that highlights pieces from the ‘Vishwakarma’ exhibitions curated by the late textile conservator Martand Singh, fondly known as Mapu. ‘Vishwakarma’ involved a series of seven textile art and history exhibitions held across the length and breadth of the country between 1982 and 1992. Supported by cultural activist Pupul Jayakar, this initiative was instrumental in introducing design concepts to craftsmen, weavers and artisan communities.

Adding value to this poetic and exclusive gallery is the use of innovative museum lighting and presentation techniques, in tandem with specially-designed LED lighting that comes with sensors and dimmers. Alongside, there are podiums, platforms and toughened glass cases that display the rare and vintage textiles.

The inaugural show at the Innovation Gallery focuses on designer Payal Jain’s retrospective. On display are 30 years of her creations in the form of 15 installations. The designer deploys a multitude of materials like paper, metal, glass, bamboo, surface embellishments and nuanced embroidery techniques to portray her evolution and design journey. This section will be a floating space and a fresh exhibition will go live every three months.

In the installation section, most noteworthy is the creation titled ‘Soul of a Woman’, depicting the pains and pleasures of a woman’s life. The emphasis on using scraps of found natural material and objects like wood and metal lend it an aura of a sustainable creation that dwells on elements of the past and present. Viewers can also spot fabrics such as bandhej, kantha and crochet along with ghungroos, beads, baubles and thimbles embellishing this artwork — a testament to the fact that India is perhaps one of those rare lands where textile art, weaving and embroideries are living traditions and continue to exist.

As Sunil Sethi articulates, “It took us over eight months to sift through the mammoth number of vintage artefacts and see which ones would fall into a distinct narrative. The most remarkable and innovative textiles, the sheer beauty of handwork and design thinking can be seen in this exhibit.”