Indian Painted and Printed Fabrics, parts of the craftsmen's ten-step process involved drawing the pattern with reed pens dipped in mordants, alternately applying and removing beeswax (a resist for the plant-based dyes), submerging the cloth in various dye baths, clearing away some of the dye, bleaching, and handpainting yellow dye over blue to achieve green where desired. Wood print-blocks were not used.
In the realm of Indian cotton-painting, this spread is the ne plus ultra, so Irwin and Hall ultimately chose it for the cover of their book.
There's definitely a lot to explore: the authors note dense flowering trees, deer, dragons, birds, combducks and courtiers in Indo-European dress.
Although spreads like this were commissioned by Europeans, Indo-Persians, and Persians, the craftsmen who decorated the cotton were caste Hindus. These cotton-painters incorporated eclectic fashionable motifs -- everything from Ming porcelain-inspired creatures to Italianate reversed-scrolls to Persian flora -- but, write Irwin and Hall, the global mash-up was always "transcended by a decorative style which was truly [the craftsmen's] own, and which gave the final stamp of individuality, charm and distinction to this early group of [coverlets and floorspreads]."
The fine print: In case it wasn't quite clear, all images in this post are zoomed-in views of the cover of Indian Painted and Printed Fabrics, a previously discussed book associated with the Calico Museum of Textiles.