Chhatrapati Shivaji Maharaj

Vastu Sangrahalaya
Formerly Prince of Wales Museum of Western India

SUBMITTED TO :- DR. JSR RAO

SUBMITTED BY:- 148129000 ( BTS )

NAWAZ SHARIF ANSARI

PREFACE

I am going to make a project on How Textile

Industry Promotes Tourism and in order to know
the Production of the small sector, the Material,
Designs,

Special

Costume

in

Region,

Manufacturing process and Layout. This project

also gives the some important information of
textile industry those brands, different product,
New

business,

New

technologies,

New

partnership. Because technologies also shape

corporate destines.
The report is made with clear objective of study
of textile industry its working.
will

give

The

report

the details of Production .My report

provides you all the information related

to

the

Production. I hope this report fulfils need of the

educational requirements.

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ACKNOWLEDGEMENT
I am heartily thankful to the IGNOU, which
has given us the golden opportunity to prepare
or analyze project report of textile industry. We
are also thankful to honorable professor Dr. JSR
RAO who has leaded us to enlighten ourselves in
preparation of this project.

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INDEX

N
O
1
2

PARTICULAR
PREFACE
ACKNOWLEDGEMENT

PAGE
NO.
2
3

OVERVIEW OF TEXTILE INDUSTRY

TYPE OF PRODUCTION SYSTEM

MANUFACTURING PROCESS OF
TEXTILE INDUSTRY

7-14

FACILITY LOCATION

FACILITY LAYOUT/PLANT LAYOUT

INDUSTRIAL SAFETY MEASURES

IN TEXTILE INDUSTRY

1519
2022
2327

BIBLIOGRAPHY

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Introduction
Chhatrapati Shivaji Maharaj Vastu Sangrahalaya,
formerly known as the Prince of Wales Museum
of Western India, is one of the premier art and
history museum in India. Situated on the
southern tip of Mumbai on the 'Crescent Site', the
Museum building is a fine example of the IndoSaracenic style of architecture.
Today this building is listed as a Grade I Heritage
Building and has been awarded the '2010
UNESCO Asia Pacific Heritage Award' for
Cultural Heritage Conservation. It has been
awarded first place for Heritage Building
Maintenance by the Indian Heritage Society.
Our aim at Chhatrapati Shivaji Maharaj Vastu
Sangrahalaya (CSMVS) is to create awareness
and sensitivity towards our rich heritage through
a visitor-friendly museum for the purposes of
education, study and enjoyment of the public.
The Museum offers a perfect leisure day out for
all its visitors where you can engage with a
world-class art collection and participate in fun-nlearn activities.
Today, CSMVS is a dynamic institution, buzzing
with cultural activities, rotating exhibits, outreach
and educational programmes. It is actively
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engaged in collaboration with international

museums and cultural organizations.

HISTORY
Founded in the early 1900s, Chhatrapati Shivaji
Maharaj Vastu Sangrahalaya is one of the
premier cultural institutions in the country. On
14th August 1905, a number of prominent people
of Bombay gathered at the Town Hall and
resolved to erect a Memorial to the visit of the
Prince of Wales (later King George V) in the form
of a public Museum which, would be named after
him. The meeting was attended by Sir
Pherozeshah Mehta, Justice Badrudin Tyabji,
Narotamdas Gokuldas, Justice Chandavarkar,
Sassoon J. David and many other dignitaries
known for their outstanding contribution in their
respective fields and also in the development of
the island of Bombay. The Foundation Stone of
the Museum was laid by the Prince of Wales on
11th November 1905 and the Museum was
named Prince of Wales Museum of Western India.
For a long time people had also felt the need for
a good museum in the city and finally the
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museum was established by the public

contribution aided by the then Government of
the Bombay Presidency.

This memorial in the form of a museum was to

be erected on the plot of land known as the
Crescent Site on the southern tip of the island.
The building was completed in 1914 but it
opened to the public much later on 10th January,
1922. Until then it was used by the military as a
hospital and for Childrens Welfare Exhibitions.
Many things have changed since then. Bombay is
now known as Mumbai and the name of the
Prince of Wales Museum of Western India is
changed to the Chhatrapati Shivaji Maharaj Vastu
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Sangrahalaya. Set against a well laid out garden

which retains its original plan even today, the
museum is an important Heritage building of the
city.

The Museum is situated on a Semi-Circular plot of

land known as the 'Crescent Site'

Bromide photograph by Raja Deen Dayal

Construction in progress (Museum Archives)

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The Museum building with the Garden in the

foreground Museum Archives, 1927

Museum Building and its History

(Architect, Style, conservation)
It is a Grade I Heritage Building of the city
and is set in a well laid out garden which retains
its original plan. It has been awarded first place
for Heritage Building Maintenance by the Indian
Heritage Society.
The architect of the building, George Wittet,
was selected after an open competition in 1909.
Wittet is known for the Indo-Saracenic style of
architecture of which this museum is one of the
best examples. The Indo-Saracenic style
combines Hindu and Saracenic architectural
forms, at times incorporating some elements of
Western architecture. The Indian pillared hall, the
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arched pavilion, the dome rising above the huge

intersecting
arches
forming
a
beautiful
geometrical pattern-all these together make the
Museum building a typical example of the IndoSaracenic style. Small jalis for light and wind add
to the grandeur of the building. George Wittet
skilfully incorporated the original wooden arched
pavilion purchased from a royal house (wada) at
Nasik in Maharashtra, as a circular railing on the
first floor of the building. The dome of this
building is designed after the Gol Gumbaz of
Bijapur and the finial is copied from the Taj at
Agra.
Today, CSMVS houses about 50,000 artefacts
and has an outstanding collection comprising of
sculptures, terracottas, bronzes, excavated
artefacts from the Harappan sites, Indian
miniature
paintings,
European
paintings,
porcelain and ivories from China and Japan, etc.
Besides these, the Museum has a separate
Natural History section.

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Sculpture Brahmanical Gallery, Museum

Archives, 1927

Far-Eastern Gallery, Museum Archives, 1927

George Wittet, Architect

Collections
The museum collection comprises
approximately 50,000 artifacts. The collection of
the museum is categorized primarily into three
sections: art, archaeology and natural history.
The museum also houses a forestry section,
which has specimens of timbers grown in the
Bombay Presidency (British India), and one
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exhibiting a small local geological collection of

rocks, minerals and fossils. The Maritime
Heritage Gallery, which displays objects relating
to navigation, is the "first of its kind in India".

In 2008, the Museum installed two new

galleries, displaying the "Karl and Meherbai
Khandalavala collection" and "the Coins of India".

Art section
The art section displays the collections of Sir
Purushottam Mavji, acquired in 1915, and the art
collections of Sir Ratan Tata and Sir Dorab Tata,
donated in 1921 and 1933 respectively.
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Dancing Krishna, from the Nepal-Tibet section.

Nepal, 18th Century AD. The headphone symbol
at the foot of the image indicates that the artifact
is part of the audio tour. The museum provides
an audio tour in six languages to visitor's .
The museum's miniature collection encompasses
representations of the main schools of Indian
painting namely, Mughal, Rajasthani, Pahari and
Deccani. It features palm leaf manuscripts dating
to the 11th-12th centuries to the early 19th
century pahari paintings, as well as paintings
from the Sultanate period. Notable manuscripts
housed in the museum include the Anwar-Suhayli
painted in Mughal emperor Akbars studio and a
17th Century manuscript of the Hindu epic
Ramayana from Mewar.
The ivory section has artefacts dating as early as
the Gupta era. The museum also has decorative
artefacts such as textiles, ivories, Mughal jades,
silver, gold and artistic metal ware. It also has a
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collection of European paintings, Chinese and

Japanese porcelain, ivory and jade artefacts. The
museum also has sections dedicated to arms and
armour and another to Nepali and Tibetan art.
The arms and armour section contains a finely
decorated armour of Akbar dating to 1581 CE,
consisting of a steel breastplate and a shield, the
former inscribed with religious verses.

Marble statue based on The Source by Jean

Ingres. Statue was formally on display in Musee
du Louvre. This exhibit was specially
commissioned by Dorabji Tata and presented to
the Prince of Wales Museum.

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Archaeological section
Sculptures and coins transferred from the Poona
Museum in Pune and the collections of the
Bombay branch of the Royal Asiatic Society
resulted in the development of an archaeological
section, with precious sculptures and epigrams.
The Indus Valley Culture Gallery houses fishing
hooks, weapons, ornaments and weights and
measures from the Indus Valley Civilization
(26001900 BCE). Artefacts from the excavation
of the Buddhist stupa of Mirpurkhas, were housed
in the Museum in 1919. The sculpture collection
holds Gupta (280 to 550 CE) terracotta figures
from Mirpurkhas in Sind of the early 5th century,
artefacts dating to the Chalukyan era (6th-12th
hcentury, Badami Chalukyas and Western
Chalukyas), and sculptures of the Rashtrakuta
period (753 982 CE) from Elephanta, near
Mumbai.
Natural History section

Uma-Maheshvara, Ground floor gallery, Aihole,

7th century
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The Bombay Natural History Society aided the

Museum Trust in creating the natural history
section. The museum's natural history section
makes use of habitat group cases and dioramas,
along with diagrams and charts, to illustrate
Indian wildlife, including flamingoes, great
hornbills, Indian bison, and tigers.
New galleries
A Prints Gallery was launched with an exhibition
entitled, Bombay to Mumbai - Door of the East
with its face to the West on 29 January 2015. The
gallery was inaugurated by Mr. Neil MacGregor,
Director, British Museum, London, who also gave
an illustrated lecture on 'World Cultures' at the
Central Foyer of the Museum.
As part of the renovation project initiated in
October 2008, the Krishna Gallery holding
artworks related to the Hindu god Krishna, a
Hindu deity of the preserver-god Vishnu, was
opened in March 2009.
A textile gallery, the first gallery in the city, is
going to be opened in April 2010. It will illustrate
"various techniques of textile manufacturing,
regional collections and traditional Indian
costumes".
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Matrika Design Collaborative is currently

designing the museum's Indian Miniature
Painting Gallery. The content developed for the
gallery will be converted into Braille text and
tactile labels for the blind with help from
designers, fabricators and consultants from the
Hellen Keller Institute.

Highlights of the Collection

Jade Mughal
Mid 18th Century A.D.
Sir Ratan Tata Collection
Ht. : 6.2 Dia: 15 cms

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Basalt Pitalkhora,
Aurangabad District, Maharashtra
2nd Century B.C.
165 x 66 x 52 cms

Shiva Gana,
Red Sandstone Khoh, Satna District Madhya Pradesh
5th Century A.D.
Gift of Smt. Pupul Jayakar
69 x 49.5 x 25 cms

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Porcelain
Ming Dynasty
522 - 1566 A.D.
Sir D.J. Tata Collection
Ht: 23.4cms Dia: 5.5 cms
Porcelain with gold decoration over red enamel and four character mark, 'Fuguijiaqi', (refined ware used by the wealthy and noble) Jiangxi province, Jingdezhen
production Ming dynasty, Jiajing Period.

CSMVS Museum Art Conservation

Centre

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The CSMVS Museum Art Conservation Centre (CSMVS MACC) is housed in

the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS) Mumbai,
formerly known as The Prince of Wales Museum of Western India. It is a
non-governmental, not-for-profit organization established in 1909, under
an act of legislation Prince of Wales Museum Act (Act III of 1909) of the
then Government of Bombay and is governed by a Board of Trustees. The
museum raises funds for its cultural, conservation and educational
activities through public support and from the revenue it generates from
ticket sales, exhibitions and cultural events on its premises.
CSMVS is a museum of national importance, with a collection of 70,000
historic and artistic works of various materials and technologies. The
CSMVS MACC was started to address the conservation and collection
needs
of
CSMVS
and
other
institutions.
The CSMVS MACC is gradually being acknowledged nationwide as an
upcoming premier facility for heritage conservation, research and
training.
Mission Statement of the CSMVS MACC
CSMVS Museum Art Conservation Centre (MACC), Mumbai, aims to
spearhead heritage conservation-restoration, research & development
and training activities in India as well as in other nations in the region, by
encouraging collaborations and freely sharing its expertise.
CSMVS MACC is spread over an area of 4000 sq.ft. in the Kalaghoda Art
District of Mumbai. The facility is climate controlled and has round the
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clock CCTV surveillance. The facility is manned by dedicated art

conservator-restorers and support teams who are trained to conserve art
objects of various materials and technologies. Mr. Anupam Sah, an art
conservation-restoration strategist, practitioner and educator, heads the
art conservation, research and training units and the centre is being
developed under his direction, in consultation with the CSMVS Board of
Trustees, Director General Mr. Sabyasachi Mukherjee and the curatorial
staff.
By virtue of its work and its dissemination practices, the centre is
gradually making its presence felt across India and along foreign shores.

MACC presently is equipped with the following units

Conservation-Restoration Unit

Research and Development Unit

Technical Analysis Unit

Documentation Unit

Education and Training Unit

Projects Unit

Exhibitions and Events Support Unit

MACC raises funds for its activities through its various projects. Various
private individuals and institutions have come forward to adopt some of
the museum collection for conservation. Few of our projects have
been; Conservation restoration treatment of the 16th Century illustrated
manuscript Anvar-i-Suhayli created at Emperor Akbar's Atelier under
conservation restoration treatment is being supported by Bank of
America. The Art Conservation Resurgence Project is being supported by
Sir Dorabji Tata Trust.

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Conservation-Restoration Unit

Once the causes of deterioration of a collection have been identified, a

treatment proposal is prepared which lays out both Preventive as well as
Remedial Conservation treatment plans. Once these treatment plans are
discussed for their efficacy, they are implemented in the conservationrestoration unit.

Documentation Unit

The Documentation unit meticulously records all the work activities of the
centre. It also prepares the graphic condition reports, maintains treatment
records, and digitizes the information that is generated on a daily basis.
The first step towards ensuring the safety of art collections is the
preparation of a conservation status report or the condition report. It is
this document that by inspection of the collection, identification of the
potential risks and recognition of objective signs of damage, helps to
propose a methodology for conservation and prepare an estimate of
conservation costs.

Technical Analysis Unit

These units provide technical support to the CSMVS as well as to various

other institutions. Examination techniques like UV fluorescence,
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Microscopy, Spectroscopy, X-Rays are employed here to assist in

diagnosis of the deterioration of artworks.

Research & Development Unit

Advanced research (for which it is not sustainable presently for MACC to

own such facilities or resources) are conducted in collaboration with other
specialized institutions. CSMVS MACC invites scientists, academicians,
and institutions to collaborate on art conservation technical studies,
research and development projects.

Education & Training Unit

CSMVS MACC imparts training in conservation-restoration and related

fields.

In affiliation with the University of Mumbai, the CSMVS conducts a Post

Graduate Diploma in Museology and Conservation.

It assists in the MA Ancient Indian Culture program at St.Xaviers College,

Autonomous.

In collaboration with the Mumbai Metropolitan Region Heritage

Conservation Society (MMR- HCS) and Sir J.J. College of Architecture, the
CSMVS, has jointly initiated a Diploma course in Built Heritage Studies and
Conservation (BHSC), a programme that attracts in-service personnel,
engineers, conservators and also others from Government organizations.

The centre also regularly conducts workshops, training programmes,

conferences and lectures.

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Exhibitions and Events Support Unit

This unit provides technical support for CSMVS during loans, exhibitions,
art acquisition evaluations, upgradation of museum facilities, climate
monitoring, seminars, and conferences. This unit works in close tandem
with the various technical divisions of the CSMVS.

Projects Unit

This unit is completely involved with initiation of projects, project

coordination and collaboration with various institutions and organizations.
This unit also helps generate funds for activities and research involved for
the projects and its components.

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Facilities

The Museum is committed to being a visitor-friendly place and creating a

comfortable, well-facilitated environment to offer visitors a wholesome
experience. The following facilities are available at the Museum.

Accessibility

Under its Universal Accessibility programme, the

Museum attempts to make visiting a comfortable
experience for everyone.
Lifts

Lift is available for senior citizens and disabled

visitors. The lift is situated in the extension wing of
the Museum building.
Wheelchairs

Wheelchairs are available at the Museum entrance

near the Key Gallery.
Visitors may enquire at the Information Desk for the
wheelchairs upon arrival.
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Information in Braille

The Museum is dedicated to make the collections

accessible to visually impaired visitors. In a
pioneering attempt, the Museum has introduced
Braille labels in the Sculpture gallery.
The Museum also organises tactile tours for visually
impaired groups. For further information on Tactile
Tours please visit the Education section.

Museum Shop

Contribute towards promotion of Indian culture

through different art materials. There is a wide range
of books published by the Museum and other
renowned publishers. The Shop also displays different
articles such as greeting cards, posters, brochures,
folders, letter-paper sets, gift-wrapping papers and
bags inspired by design/details of the art objects from
Museum collection. Bead necklaces, repousse copper
plates, embroidered silk scarves, purses and table
pieces are among other articles available in the Shop.
Pick up some unique gift items as a memoir of your
visit to the Museum or a present for a dear one! Your
visit to the Museum is incomplete without a stop at
the Museum Shop.

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Audio guide

Available at Museum Building Entrance

For all visitors

Rs. 40/-

For International visitors

Complimentary
along with ticket

Baggage Counter

The Visitors Centre has a well-furnished baggage

counter for visitors to store belongings. Big bags,
water bottles, packages are not allowed inside the
Museum for safety reasons.
The baggage counter is a safe place to store these
while you enjoy your visit.

Food and Drink

The Museum caf serves a delicious range of snacks

and beverages. Set in the Museums lush gardens,
the caf is perfect setting to sit back and relax with a
cup of coffee in the beginning, middle or end of your
visit.

Guided Tours

Schools, Colleges and other educational groups can

contact the Education Officer two weeks in advance
for guided tours. Guided tours are available for
groups of 25 to 30 persons.
For larger groups, special talk or orientation sessions
are available. More information about educational
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activities is available on the Education Page. Private

groups can also book tours for a charge.
Please contact the Education Officer to find out about
charges and payment options.

Information Kiosks

Interactive kiosks are positioned within various

galleries to facilitate extended information about the
Museum and the collections in the respective
galleries.

Lost & Found

Lost or found objects may be deposited at the

Museum office on the First Floor of the Heritage
Building. Visitors must take care of their personal
belongings. The Museum is not responsible for loss of
belongings.

Photography

Photography and video recording is permissible only

for non-commercial purposes. Photography passes
are available at the ticket counter and information
centre. Only hand held equipments without flash and
tripod are permitted.

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Mobile phone camera

Rs. 40/-

Still Camera

Rs. 200/-

Non-Professional

Rs. 1,000/IGNOU

Video Camera

Photography for members of the press is free of

charge, subject to producing their Press Card.

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BIBLOGRAPHY
BOOK:- 1) operation and supply management
12th edition
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2) Production and operation management

(k.aswathappa Himalaya publishing house)

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