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Over several centuries, Indian artisans perfected complex methods for producing dyes and mordants to create painted and printed cloth in a spectrum of fade-resistant colors. Starting in the 17th century, these often brilliant and intricately designed textiles became known as chintz, and consumers worldwide were captivated by the lavish fabric.

Global Threads: The Art and Fashion of Indian Chintz reveals how this innovative and often beautiful textile revolutionized fashion, industry, and global trade. In addition to displaying a wide range of chintz textiles made in India for various international markets, the exhibition includes a selection of European and American dress and furnishing textiles inspired by these fabrics. It also highlights contemporary Indian chintz artists who continue to advance this art form but with a deep concern for environmental responsibility and sustainable practices.

Largely drawn from the collection of Indian chintz at the Royal Ontario Museum in Toronto, the exhibition also features works from private collections and complementary objects from the Saint Louis Art Museum collection.

Global Threads: The Art and Fashion of Indian Chintz is curated by Sarah Fee, senior curator of global fashion and textiles at the Royal Ontario Museum. The presentation in St. Louis is cocurated by Philip Hu, curator of Asian art at the Saint Louis Art Museum, and Genevieve Cortinovis, the Andrew W. Mellon Foundation Assistant Curator of Decorative Arts and Design at the Saint Louis Art Museum.

Some works of art in this exhibition reference slavery, forced labor, and violence.

Woman's Jacket (Wentke) with Flowers and Phoenixes, c.1700s; textile: Indian for European market; construction and trim: Dutch; cotton, painted mordants, and resist; Royal Ontario Museum ROM962.107.2; © Royal Ontario Museum, Photo: Brian Boyle

This exhibition is produced and circulated by ROM (Royal Ontario Museum), Toronto, Canada.

 

 

Audio Guide

This audio guide presents a selection of textile works of painted and printed cloth known as chintz. Listen to the director’s welcome, cocurators Philip Hu and Genny Cortinovis, professor Geoff Ward, and artists Renuka Reddy and Mee Jey share how this innovative and beautiful textile revolutionized fashion, industry, and global trade.

Pouches for Tea Set

(left to right)

Pouch with Lozenge-Shaped Grid Pattern (hanabishide) for a Set of Five Pewter Saucers, 18th–19th century; Indian, for the Japanese market; pouch: India; mordant- and resist-dyed cotton; tea caddy: China; pewter; height: 4 15/16 inches; Courtesy Peter Lee, Singapore 2022.150.5a-f

Pouch with Tortoiseshell Pattern (kikkōde) for a Pewter Tea Caddy from China, 18th–19th century; Indian, for the Japanese market; pouch: India; mordant- and resist-dyed cotton; tea caddy: China; pewter; height: 2 9/16 inches; Courtesy Peter Lee, Singapore 2022.150.1a,b

Pouch with Floral Scroll and Gold Leaf (sasatsurude kinsarasa) for a Chinese Pewter Tea Caddy, 18th–19th century; Indian, for the Japanese market; pouch: India, mordant- and resist-dyed cotton with gold leaf; tea caddy: China; pewter; height: 3 15/16 inches; Courtesy Peter Lee, Singapore 2022.150.4a,b

Pouch with “Ceiling Grid” (gōtenjō) Pattern for a Chinese Clay Yixing Teapot, 18th–19th century; Indian, probably for the Indonesian market, used in Japan; pouch: India; ikat and mordant- and resist-dyed cotton; teapot: Fujian, China; clay; height: 2 9/16 inches; Courtesy Peter Lee, Singapore 2022.150.3a,b

Videos

Videos

Watch the videos to learn more about the global impact of cotton and the techniques used for creating the Indian chintz textiles on view in the exhibition.

Renuka Reddy painting indigo with the kalam pen
Renuka Reddy painting indigo with a kalam pen, Bangalore, 2019; Courtesy of Renuka Reddy, Photograph by Vandana Radhakrishnan

Glossary of Indian Chintz

Learn the terms and techniques used for creating the Indian chintz textiles on view in the exhibition, Global Threads: The Art and Fashion of Indian Chintz.

Painting Colored Pattern Process Set (detail)

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