Page 297 - Proceedings book

q
cd;sl mqrdúoHd iu¿j 2025
and natural dyes, was highly valued globally, showcasing India's expertise in cotton

weaving and design (Irwin & Margret, 1971). These textiles, primarily manufactured
for export and serving as valuable commodities in global trade, showcased intricate

designs and exquisite hand-painted and printed craftsmanship, contributing
significantly to India's cultural heritage and international reputation (Shah & Sharan,

2023).

These textiles, which were mostly manufactured for export and were much sought
after commodities in the global trade, had intricate designs and exquisite hand-painted

and printed craftsmanship, and constituted a significant part of India's cultural
heritage and international reputation (Shah & Sharan, 2023).

Somana fabrics, which featured complex flowered designs and vivid colors, were a

mark of status in Mughal India, dictating the style of the era along with art forms
(Houghteling, 2002). Indian chintz manufacturing entailed the application of mordant

and resist painting, a technique exclusive to Indian chintz producers, whereby
mordants were painted by hand onto cotton fabric using bamboo pens, to be

succeeded by resist dyeing for deep coloring (Varadarajan, 1979). Chintz patterns
included complex arrangements of plants, flowers, and animals in single, double, or

triple colors, with multi-colored patterns requiring complex processing techniques

(Gillow & Barnard, 2008). The global popularity of Indian chintz cloths, as evidenced
by their foreign trade and patronage by Mughal emperors, testifies to their cultural

and artistic significance in South Asia and the world.

In the 16th century, the Sinhalese Buddhist tradition experienced a notable

amalgamation with South Indian culture, primarily due to matrimonial alliances

between King Narendra Singha (1707-1739 AD), the final Sinhalese king of royal
lineage, and South Indian princesses (Dewaraja, 1988, p.38-45). This period marked

the onset of the Nayakkar Kings' era, characterized by significant South Indian
influences on dress inspirations. The arrival of Nayakkar relatives into Kandy,

stemming from a series of royal marriages with South Indian families, saw a sizable
colony being settled by the mid-18th century (Dewaraja, 1988, p. 43). This migration

facilitated the integration of South Indian cultural traditions, including their textile

traditions, into the Kandy society.

276