Embroidery and surface decoration have long been dismissed as a “genteel hobby”—a passive, feminine pursuit tied to traditional roles of obedience and domesticity. Often relegated to tasks like mending clothes, adding decorative touches, or preparing a bride’s trousseau, embroidery was seldom recognised as a serious practice. This is, perhaps, a glaring reflection of the institutional bias in the art world. 

Yet, handcrafted textiles have always been central to social and trade networks. From royal embroideries like zardozi and aari, influenced by Persian and Central Asian styles, to temple hangings from Gujarat and Tamil Nadu, these creations symbolised power and prestige, crafted by men and backed by patronage.