A Garment of Modesty from the Mughals to the Indo-Pak Sub-Continent Today

Shalwar Kameez traces its origins to the Mongols and was once considered a Muslim Dress. Shalwar Kameez is a traditional garment worn by the people of India, Pakistan, Afghanistan and Bangladesh. It is worn by both men and women due to its modesty with Muslim values, comfort and freedom of movement. Differences exist between Men’s and Women’s Shalwaar Kameez.

The Shalwar Kameez has a very significant place in the History of the Textiles and traces its roots back to the invasion and subsequent rule of the Indian subcontinent by central Asians as far back as 400 CE.  Evidence of Persian influence on Textiles and Clothing in India can be traced to the Kushan dynasty (001 AD). Coinage and stone palettes found from the Indo-Scythian/Parthian period show Greek and Persian influences in clothing. The palettes depict people dressed in caps or head-bands, ruched long sleeved Tunics, calf-length Coats worn loose crossed-over from right to left and secured with leather or metal belt and baggy trousers.

The Timurids (Muslim Dynasty of Turko Mongols) who invaded the northern part of the subcontinent in the 12th century brought with them their traditional nomadic Attire with its Persian and Turk Mongol influences. The descendants of the Timurids established the Mughal Empire (derived from Mogulistan or Land of Mongols- AD 1526-AD 1857). 

The Mughal emperors are renowned for their impassioned interest in painting, architecture, jewellery making literature and poetry, textiles. Textiles flourished remarkably under the Mughals. Various techniques of weaving, crinkling, dying, patterning and embroidery were developed and encouraged. Interestingly, each emperor maintained his own contemporary style of dressing in court and otherwise.

Badshah Babar who laid the foundation for the empire came from the cooler climate of Samarkand, retained the costumes of his homeland. The most popular Garments in his period were a long Coat called Chafan and a sheep-skin Overcoat called Postin worn with Pajama-like trousers. His son, Humayun introduced Persian elements in the court costumes. A patron of arts and painting and passionately interested in astronomy, he is said to have sought the help of planetary movements in choosing what to wear. He also maintained a special treasure house in his palace to accommodate Textiles and Garments.

Humayun's successor Jalaluddin Akbar led the empire to its classic and most flourishing period in history. This Classic period saw the spread of the empire from the north to most areas of the Indian subcontinent. His reign encouraged a synthesis of Persian and Indian styles in everything from architecture to clothing. This led to the flowering of classical forms, styles and shapes that later became an integral part ofIndian Dress Design. Akbar took the initiative of introducing local textiles, which were best suited to the hot climate of the region. He commissioned workshops for carpet making, textile design and was devoted himself to making haberdashery which he considered a pleasant pastime!  He himself took interest in the fashioning of Court Dresses and introduced the Chakdar Jamah to his court, which is a cross over Tunic, with slits around the skirt and an asymmetrical hemline. The men dressed in a Tunic called Jamah and was worn with close fitting Pajama trousers called Izar and later known as Shalwar. Although it was in fashion in India since medieval times, Akbar restyled the garment and developed it into a formal gown by removing slits, rounding the hemline and increasing the fullness of the Skirt. The Tunic was tightened at the waist by a belt of fabric with tassels called Patka. The Jamah which was knee long in the beginning, reached up to the ankles (referred to as Sarbgati meaning that which covers the entire body) in the later Mughal days. The women's Dress of the empire consisted of close fitting trousers paired with a bodice (a variation of Jamah called Angharakha or Qameez) that came down to the end of the Shalwar and worn with a half-sleeved embroidered open Jacket with a delicate transparent Shawl (called Paramnarm meaning extremely soft) draped like a sari.

During subsequent reigns of Shah Jahan and Aurangazeb the royal garments became more decorated with heavy embellishments of floral designs. Motifs were outlined with gold thread coupled with ‘Pietra-dura’ effect of the precious stones. Block printing and the art of Kalamkari (meaning pen work) were rejuvenated with Persian influences of Persian flower motifs and designs by the 17th century.

The Mughal rule is considered a ‘golden age’ of textile crafts in the Sub-continent. By the seventeenth century, Jamah, Chogha(cape) and Anghrakha remained the height of fashion along with accessories for men such as the Atamsukh (a long, loose garment worn like an overcoat in winters), Turban (the style of tying the turban varied according to social status), Patka, Jutis (shoes) and Farji (kind of a coat) etc. The precursor of the current Cummerband was another popular piece of clothing (called Kamarbandh meaning waistband) worn as girdle or waistcoat by both men and women to enhance the bust-line. The court Garments of era were marked by intricate patterning of clothing and delicate handmade embellishments.

The form of dressing followed by Indian classical Kathak dancers is a near accurate portrayal of the styles of clothing in the Mughal period and shows vividly the influences in the fashion world in the Indian subcontinent today.

The present day Shalwar Kameez in its various styles is an adaptation of the clothing of Mughal era.

http://www.babaaj.com/store/pc/viewContent.asp?idpage=14

The "Princely" Nawabs of Bahawalpur of 17-Gun Salute!

The rulers of Bahawalpur were Abbasids who came from Shikarpur and Sukkur and captured the areas that became Bahawalpur State. They took the title of Amir until 1740, when the title changed to Nawab Amir. 

Muslim rulers almost all used the title "Nawab" (the Arabic honorific of naib, "deputy," used of the Mughal governors, who became de facto autonomous with the decline of the Mughal Empire), with the prominent exceptions of the Nizam of Hyderabad & Berar, the Wali/Khan of Kalat and the Wali of Swat.

Other less usual titles included Darbar Sahib, Dewan, Jam, Mehtar (unique to Chitral) and Mir (from Emir).

More prestigious Hindu rulers (mostly existing before the Mughal Empire, or having split from such old states) often used the title "Raja," or a variant such as "Rana," "Rao," "Rawat" or Rawal. Also in this 'class' were several Thakur Sahibs and a few particular titles, such as Sar Desai.

The most prestigious Hindu rulers usually had the prefix "maha" ("great", compare for example Grand duke) in their titles, as in Maharaja, Maharana, Maharao, etc.

A Princely State (also called Native State or Indian State) was a nominally sovereign entity of British rule of India that was not directly administered by the British, but rather by an Indian ruler under a form of indirect rule such as suzerainty or paramountcy.

At the time of Indian independence, only five rulers—the Nizam of Hyderabad, the Maharaja of Mysore, the Maharaja of Jammu & Kashmir State, the Maharaja Gaekwad of Baroda and the Maharaja Scindia of Gwalior—were entitled to a 21-gun salute.

Five more rulers—the Nawab of Bhopal, the Maharaja Holkar of Indore, the Maharana of Udaipur,  the Maharaja of Kolhapur and the Maharaja of Travancore—were entitled to 19-gun salutes.

The most senior princely ruler was the Nizam of Hyderabad, who was entitled to the unique style Exalted Highness.

Other princely rulers entitled to salutes of 11 guns (soon 9 guns too) or more were entitled to the style Highness. No special style was used by rulers entitled to lesser gun salutes.

As paramount ruler, and successor to the Mughals, the British King Emperor of India, for whom the style of Majesty was reserved, was entitled to an 'imperial' 101-gun salute—in the European tradition also the number of guns fired to announce the birth of a (male) heir to the throne.

All princely rulers were eligible to be appointed to certain British orders of chivalry associated with India, The Most Exalted Star of the Order of India and The Most Eminent Order of the Indian Empire. Even women could be appointed as "Knights" (instead of Dames) of these orders. 

The Royal House of Bahawalpur is said to be of Arabic origin and claims descent from Abbas, progenitor of the Abbasid Caliphs of Baghdad and Cairo. Sultan Ahmed II, son of Shah Muzammil of Egypt, left his country and arrived in Sindh with a large following of Arabs in 1370.

He married a daughter of Raja Rai Dhorang Sata, receiving a third of the country as a dowry. Amir Fath'ullah Khan Abbassi is the recognized ancestor of the dynasty. He conquered the Bhangar territory from Raja Dallu, of Alor and Bahmanabad, renaming it Qahir Bela. Amir Muhammad Chani Khan Abbasi entered the imperial service and gained appointment as a Panchhazari in 1583. At his death, the leadership of the tribe was contested between two branches of the family, the Daudputras and the Kalhoras. Amir Bahadur Khan Abbasi abandoned Tarai and settled near Bhakkar, founding the town of Shikarpur in 1690. Daud Khan, the first of his family to rule Bahawalpur, originated from Sind, where he had opposed the Afghan Governor of that province and was forced to flee.

The princely state of Bahawalpur was founded in 1802 by Nawab Mohammad Bahawal Khan II after the breakup of the Durrani Empire. The city claimed to be one of the largest states of British India more than 451 kilometres long. Nawab Mohammad Bahawal Khan III signed a treaty with the British on 22 February 1833, guaranteeing the independence of the Nawab. 

During the first Afghan war, the Nawab Muhammad Bahawal Khan III assisted the British with supplies and allowing passage and in 1847-8 he co-operated actively with Sir Herbert Edwardes in the expedition against Multan. For these services he was rewarded by the grant of the districts of Sabzalkot and Bhung, together with a life-pension of a lakh. On his death a dispute arose regarding succession. He was succeeded by his third son, whom he had nominated in place of his eldest son. The new ruler was, however, deposed by his elder brother, and obtained asylum in British territory, with a pension from the Bahawalpur revenues; he broke his promise to abandon his claims, and was confined in the Lahore fort, where he died in 1862.

In 1863 and 1866 insurrections broke out against the Nawab and was succeeded by his son, Nawab Sadiq Muhammad Khan IV, a boy of four. In 1879, the Nawab was invested with full powers, with the advice and assistance of a council of six members. During the Afghan campaigns (1878–80) the Nawab placed the entire resources of his State at the disposal of the British Indian Government, and a contingent of his troops was employed in keeping open communications, and in guarding the Dera Ghazi Khan frontier. On his death in 1899 he was succeeded by Muhammad Bahawal Khan V, who attained his majority in 1900, and was invested with full powers in 1903. Although the title was abolished in 1955 by the Government of Pakistan, the current head of the House of Bahawalpur (Salahuddin Muhammad Khan) is referred to as the Amir.

"The Foundation Stone of Sadiq Public School Bahawalpur was laid by the late Ala Hazrat Nawab Sadiq Mohammad Khan Abbasi -V, on March 04, 1953. The School was intended to produce young men with high moral principles, who should be self-reliant and self- confident, with qualities of initiative, sense of responsibility, selfless devotion to duty, religious outlook and burning desire to serve the cause of Islam and the country. This great project was taken up under the advice and guidance of Makhdumzada Syed Hasan Mahmud, the Chief Minister of Bahawaipur State and was executed with the blessings of the Ala Hazrat. The School started functioning on January 18, 1954 when the Ala Hazrat performed its opening ceremony."

Courtesy:

http://en.wikipedia.org/wiki/Princely_state

http://en.wikipedia.org/wiki/Bahawalpur

http://hmmad.wordpress.com/2009/07/08/sadiq-public-school-the-exelance-of-former-princely-state-bahawalpur/

http://en.wikipedia.org/wiki/Bahawalpur

http://uqconnect.net/~zzhsoszy/ips/b/bahawalpur.html

http://www.royalark.net/Pakistan/bahawal5.htm

A Nizam of Hyderabad & A Princess of the Ottoman Caliphate

Her Imperial Highness The Princess Hadice Hayriye Ayshe Dürrühsehvar Sultan, (Khadija Khayriya Ayesha Dürrühsehvar, خدیجہ خیریہ عائشہ در شہوار or Turkish: Hatice Hayriye Ayşe Dürrüşehvar), also known as HIH Princess Durru Shevar was born in Turkey when the Ottoman Empire was passing through its last phase. Her father, Caliph Abdülmecid II, went into exile in the Paris, France after the abolition of the Caliphate in 1924.

On the family's exile to France in 1924, she was sought by the Shah of Persia and King Fuad 1 of Egypt as a bride for their respective heirs, Mohammad Reza Pahlavi and Farouk, and by Prince Azam Jah(1907 - 1970), the eldest son and heir of the last Nizam of Hyderabad State, Osman ALi Khan, Asif Jah VII, whom she married in Nice, France, on 12 November 1931. Her first cousin Princess Niloufer, was married to Prince Moazzam Jah, the second son of the Nizam. It has been suggested that through these dynastic marriages, Osman Ali hoped to acquire the Caliphate for his descendants.

The marriage of the princess was performed, in the south of France, by the good offices of Maulana Shaukat ALi, brother of Maulana Muhammad Ali Jauhar, the leader of the Khilafat Movement in India.

It was believed at that time that the matrimonial alliance between the Nizam, the richest ruler in the world of his time, and the deposed Caliph would lead to the emergence of a Muslim ruler who could be acceptable to the world powers in place of the Ottoman sultans. Princess Durru Shahvar, whose father was raised by a branch of the Ottoman monarchy deeply interested in modernizing reforms and believed in modern education for women including his wives and daughter, became a popular public figure after her arrival in Hyderabad. 

Following the birth of her sons Prince Mukarram Jah in 1933 and Prince Muffakham Jah in 1936, she took charge of their upbringing, the two princes being educated in Britain  and also marrying Turkish ladies. The last Nizam later bypassed his own son and nominated her first son and his grandson, as his successor.The Princess became the first woman to inaugurate an airport when she inaugurated the airport in Hyderabad in the 1940s. She is also credited with inaugurating the Osmania General Hospital. She set up the Durru Shehvar Children's Hospital for women and children in the old city of Hyderabad. Her last public appearance in the city was when she presided over the opening ceremony of the Nizam’s Silver Jubilee Museum in 2000. She last visited Hyderabad in 2004. She divided her time principally between Hyderabad and London. 

Royal Patronage of the Nizams of Hyderabad & the Asif Jahi Dynasty

“The star of destiny shines on the forehead of your son”. Mir Qumaruddin displayed considerable skill as a warrior and at the age of nineteen, the Emperor  Aurengzeb bestowed on him the title “Chin Fateh Khan”.

At 26, he was appointed Commander in Chief and Viceroy, first at Bijapur, then Malwa and later of the Deccan. Viceroy Farukh Siar who was the Mughal Emperor for a brief tenure conferred on Mir Qumaruddin the title Nizam-ul-mulk Fateh Jung. He thus became the first Nizam. A subsequent Emperor, Muhammad Shah bestowed on him the title Asif Jah. The dynasty of the Nizams of Hyderabad thus came to be known as the Asif Jahi Dynasty. After gaining independence, Asif Jah came to be known as Nizam-ul-Mulk. He first set up his capital at Auragabad but later moved to Hyderabad, which became the capital of the Asif Jahi dynasty.

Asif Jah's second son Nasir Jung was supported by the British whereas Muzafar Jung, grandson of Asif Jah, was supported by the French. Nasir Jung succeeded; but after a brief rule he was slain in 1750 in an encounter with the French troops at Arcot. Thereupon, Muzafar Jung ascended the throne. In the following year he was murdered and his son Salabath Jung was put on the throne. In 1762 Salabeth Jung was dethroned by his brother Nizam Ali Khan, and confined at Bidar where he died in 1793.

Hence, Nasir Jung, Muzafar Jung and Salabath Jung, who were contestants for the sovereignty of the Deccan in the short span of thirteen years between the death of Asif Jah and accession of Nizam Ali Khan, have not been historically recognised as reigning Nizams.

Nizam Ali Khan ascended the throne in 1763 and he ruled Hyderabad for almost forty years. This was one of the eventful periods in the history of India. Foremost among competitors for supremacy in the Deccan were the Marhattas and it was during this period that the famous French adventurer Monsieur Raymond was employed by Nizam Ali Khan.

The succession of Sikandar Jah as Nizam was undisputed and he appointed Mir Alam as his Prime Minister. With the accession to the throne by Sikander Jah and end of war with the Marhattas, there commenced an entirely new era for Hyderabad. Sikander Jah was succeeded by his eldest son Nasir-ud-Daula. It was during his reign that Salar Jung was appointed as the Minister in 1853. Salar Jung guided the affairs of the Deccan with great wisdom and introduced several reforms to improve the finances of the Dominion.

On 17 May 1857 Afzal-ud-Daula became the fifth Nizam. This was the first time the first war of Indian Independence was fought in the North and there was general disorder in the Deccan.

Mir Mahboob Ali Khan, who was born on 18 August 1866, was the only son of Afzal-ud-Daula. He was installed on the masnad by the British Resident and Sir Salar Jung, who also acted as the co-regent. Mir Osman Ali Khan, the seventh and the last Nizam of Hyderabad ruled for 37 years (1911 - 1948). His Dominion was lager than England and Scotland put together, with an area of 86,000 Sq. miles.

The seventh Nizam led a very simple life, yet he was one of the richest men in the world. He donated generously to every cause in India as well as abroad irrespective of caste and religion. If it was the Muslim theological school at Deoband which received financial help, it was also the privilege of the Benaras Hindu University. His list of donations included Rabindranth Tagore’s Shantiniketan and several other institutions including hospitals, schools, for famine relief, etc. The golden temple in Amritsar also enjoyed an annual donation.

The Nizam’s rule saw the growth of Hyderabad economically and culturally. Electricity, railways, roads and airways developed. Huge reservoirs and irrigation projects such as the Tungabhadra, and Nizamsagar were completed. The early work on Nagarjunasagar was undertaken. The Osmania University, Colleges and Schools were founded throughout the state. Nearly all the public buildings currently in such as the Osmania General Hospital, High Court, Central State Library, Assembly Hall, Jubilee Hall and other buildings in the Public Garden were built during Osman Ali Khan’s reign.

Soon after India gained independence in 1947, all princely states were invited to join the Republic. Nizam VII was reluctant to do so; but in 1948, after the Police Action, Hyderabad state was merged into the Indian Union. Mir Osman Ali Khan, the last Nizam, died on Friday 24 February 1967. It was end of the princely era.

http://mahabubnagar.tripod.com/Nizam_Dynasty.htm

Henna Use As Adornment & Healing in Muslim Tradition

Henna occupies a unique place in the Moslem world.

Botanists believe the henna plant, Lawsonia inermis, originated in Persia. It grew extensively in Egypt and was carried to India where it was used since at least 700 AD for decorating hands and feet.  Some sources claim that the Moguls took the use of henna to India in the 12th Century C.E., centuries after use in the Middle East and North Africa. There is evidence to support that the tradition of mehndi originated in North Africa and the Middle Eastern countries during ancient times.

One of the earliest documentations of henna use comes from ancient Egypt, where it is known to have been used to stain the fingers and toes of the Pharaohs prior to mummification. 

Historically henna has also been used for medicinal purposes, to dye cloth and leather as well as hair, to color the manes of horses and other fur of other animals. In many eastern places, henna is thought to hold special medicinal or even magical properties. It is used to help heal skin diseases, prevent thinning hair, and cool the skin to reduce swelling in hot climates. It is made into a beverage to heal headaches and stomach pain. Newly purchased homes in Morocco often have their doors painted with henna to wish for prosperity and chase away evil. Henna is used as a protection against the “evil eye”. The foreheads of bulls, milk cows, and horses are sometimes decorated with henna for their protection. Tombstones in graveyards are sometimes washed with henna to please the sprits.

Henna is used in celebrations of betrothals, weddings, births, circumcisions, religious holidays (similarly for Hindus, Muslims, Jews, Christians and other religions) and National festivals. 

Henna was incorporated into the customs of Muslims in the 6th century CE. Henna traditions were long established in Arabia, and henna was used by Prophet Mohammed and all of his wives. As Islam expanded quickly into other countries, eastern Mediterranean henna traditions followed.

Henna was grown and used in Spain, by Christians, Jews and Moors from the 9th century AD until 1567 when the Spanish Inquisition outlawed it.

Muslims worldwide continue to celebrate the “Night of the Henna” and regard henna as a beautiful and suitable ornament for women to the present day.

Some of the most complex and elegant hennaes ever created were done between 900 to 1700 CE in the Islamic countries. Many miniature paintings and pottery pieces show elegantly patterned red and black henna during this period. Delicate and expressive henna patterns reached their peak in medieval Persia, incorporating calligraphy, multiple applications and varied colors. Persian henna artists achieved blacks, reds, browns, golds, oranges, even blue and green tints with additional herbs, spices and unusual techniques!

The henna paste is carefully applied and must remain undisturbed on the skin for several hours to create a strong dark stain. Most recipes contain some combination of sifted ground henna leaves, strong black tea, lemon juice and a few drops of eucalyptus oil. The thickness of the paste determines the ease of application. Factors which influence the intensity of the final design include heat, warmth which darkens the stain, and length of time the henna paste is left on the skin. Once the paste is applied it will dry and eventually crack. Today some artists still use sticks or toothpicks to apply it, though many prefer homemade plastic cones or large syringes. 

The leaves, flowers, and twigs are ground into a fine powder, and then mixed with hot water. Various shades are obtainable by mixing with the leaves of other plants, such as indigo, tea, coffee, cloves, tamarind, lemon, sugar, and various oils are also used to enhance the colour and longevity of design.

Generally, Arabic (Middle-eastern) mehndi features large, floral patterns on hands and feet, while Indian (Asian) mehndi uses fine line, lacy, floral and paisley patterns covering entire hands, forearms, feet and shins; and African mehndi art is large, and bold with geometrically patterned angles. African mehndi patterns usually use black henna while Asian and Middle Eastern mehndi is often reddish brown.

It is also a common custom in many countries to step into the mehndi, or simply apply the paste without creating a pattern in order to cool, protect or treat the skin (sometimes referred to as a “henna-shoe").

Henna is still in use in all the Middle Eastern and North African countries, though in some areas henna fell out of favor in the 20th century as women sought to emulate European and American fashions.

In the early Mughal courts of India, Persian women with elaborate black henna patterns are depicted alongside Indian women with red-tinted, although unpatterned hands. By 1700, the bridal celebration of the “Night of the Henna” was a well-established part of Muslim India’s traditions, and married Muslim women in India frequently used henna for adornment, for luck, and to enhance sensuality. A portrait of Mumtaz Mahal has one of the earliest Indian patterned hennaes.

http://www.habiba.org/culture.html

http://www.newsfinder.org/site/more/the_art_of_mehndi/

The Development & Foundation of the Sari by Hindu & Muslim Culture

The history and origin of sari seems to date back to the period of the establishment of civilization. Evidence states that women in the Indus Valley civilization used to cover themselves with a long piece of cloth, draped like a trouser. However, the word ‘sari’ originated from the Prakrit word ‘sattika’, which is mentioned in the early Buddhist literature. The word got shortened and was called sati, which further evolved into sari.

A statue recovered from the Indus Valley Civilization depicts a female priest wearing a cloth draped like a sari. The sari used to be draped in a way so that it divides the two legs and forms a trouser like attire. This was basically done to aid the temple dancers in their movements and also cover to their modesty. It is believed that the ‘dhoti’, which is the oldest Indian garment that was draped, is the foundation behind the sari. Till the 14th century, the dhoti was worn by both men and women.

The early statues of Goddesses show that the sari was draped in a sensual manner, like a ‘fishtail’, which was tied at the waist, covered up the legs and came in front of the legs like a decorative drape. During that era, the upper part of the body was either partially covered or was left bare. Down south in the state of Kerala, one can still see people wearing the traditional sari, which is a two piece garment, consisting of a lungi and a shawl. With the coming of the Muslims, the ghagra or the petticoat was discovered and clothes were stitched. Before that, Hindus believed piercing clothes with needles was impure.

 

The blouse came into existence with the Muslims and also the British. Since then, sari has come of age and now many new styles are being experimented with.

  

The Indian Sari  is more than 5000 years old. It was first mentioned in Rig Veda, the oldest surviving literature of the world, written somewhere around 3000 BC. The Sari, originally intended both for men and women, is probably the longest incessantly worn dress in the history of mankind.

Every Sari has a design theme, and often has a story to tell. The main field of the sari is framed on its three sides by decorative borders. Two of these borders run along the longitudinal sides of the sari, and the third comprises the end piece of the sari, and is known as its Pallav.

The Pallav is a border, and the more intensified version of the two longitudinal borders. This end piece is the part of the sari that is draped over the shoulder and left to hang over the back or front.

The Banarasi sari is a must for brides. This classic style came into existence during the Moghul era. The signature design of Banarasi saris is a narrow fringe like pattern - called Jhalar - found along the inner and outer border of the fabric.

http://www.scribd.com/doc/36554760/History-of-Saree-and-Types-of-Saris-From-Different-Regions-in-India

Satpara Kamkhwab of Mughals: A Seven Layer Brocade Fabric

Kam means little or scarcely. Khwab means a dream.

Kamkhwab or Kinkhwabs are heavy fabrics or several layers of warp threads with an elaborate all-over pattern of extra weft, which may be of silk, gold and / or silver threads or combinations. There may be three to seven layers of warp threads. Tipara means three layers and Chaupara means four layers to Satpara meaning seven layers. Its specialty is in profusely using the gold and silver thread in a manner that sometimes leaves the silk background hardly visible.

Often a touch of Badla was given to floral motives to enhance the beauty. This type of zari has mostly gone out of favor amongst the contemporary weavers and they mostly depend on polyester or pure silk as a substitute.

Silk brocade of Banaras, Ahmedabad and Surat (Mughal India) were well known in the seventeenth century. 

Kinkhwab was originally an elegant, heavy silk fabric with a floral or figured pattern known most for its butis and jals woven with silk as the warp and tilla as the weft, produced in China and Japan. Tilla in the earlier times was known as kasab. It was a combination of silver and tamba (copper) which was coated with a veneer of gold and silver.

http://en.wikipedia.org/wiki/Silk_in_the_Indian_subcontinent