7C. Conclusion India has beautiful textiles which have been recognised the world over for their beauty and craftsmanship. Repeated and persistent invasions, migrations, political upheavals and many other ups and downs led to a synthesis that enriched the textile craft of India. The richness and diversity of contemporary form of art practised in India owes much to the coexistence of numerous cultural strains on its soil.
Specific geographical regions in India have age-long traditions associated with fabric production. This is in terms of different fibre groups – cotton, silk and wool and different manufacturing processes – spinning, weaving, dyeing and printing and surface ornamentation. With changing times, the production centres have evolved their own grammar in terms of colour, design and ornamentation and their usage for specific products. A large number of such centres continue to be important in the social and economic life not only for the production of items associated with religious and social rites, also in their effort to make a statement which fits into contemporary usage.
Thus they are making an effort to go in for product diversification and alternate usage of traditional textiles. Gradually the emphasis is also shifting from customised products to mass production. Almost all the traditions of Indian textiles have survived. New design development has only enriched these age-old traditions.
Numerous government and non-government organisations, along with many academic institutions, have joined hands to preserve, revive and contemporarise the textile traditions. C hikan K ari E mbrodery K asuti E mbrodery K antha E mbrodery C hikan K ari C hakla T oran Key Terms Brocade, Mulmul, Jamdani, Kinkhwab, Shawl, Tapestry, Tie and Dye, Ikat, Patola, Embroidery, Phulkari, Kashida, Chikankari.