The creation of cotton textiles in Burhanpur extended beyond dyeing to encompass painted fabrics. An example of this artistry is an 18th-century man’s robe (jama) adorned with delicate pink poppies. These floral motifs were rendered through a technique akin to painting on paper, distinct from the resist-and mordant-dyeing methods employed in kalamkari textiles. Pigments and gold leaf, mixed with an adhesive, were meticulously painted onto the fabric. The surface was then coated with starch and burnished to a subtle sheen. The robe’s current silk underarm ties, hem, wrist, and collar accents are later additions, likely replacements for worn-out originals, indicating the garment was tailored for a new owner.
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While the robe’s design and tailoring distinctly reflect Mughal aesthetics, its origins are linked to the Deccan region of India. This provenance aligns with a similar robe housed in the Victoria and Albert Museum in London, purportedly from the collection of the Nizam of Hyderabad. The fabric’s pattern and the robe’s style also resonate with garments depicted in late 17th- to mid-18th-century northern Deccani paintings, a period coinciding with Mughal rule in the area.
The robe’s most striking features are its elongated sleeves, designed to be gathered and bunched at the wrists, and its full, ankle-length skirt. These elements epitomize the opulent and flowing silhouettes characteristic of Mughal Fashion. This specific style, with its voluminous cut and dramatic draping, showcases the grandeur associated with Mughal attire. The robe provides a tangible link to the rich history of Mughal India, highlighting the artistic and cultural exchange that flourished within the empire. The meticulous craftsmanship and luxurious materials used in its construction further underscore the importance of fashion as a marker of status and wealth during the Mughal era.
