[Philip]

Having handled many antique Indian weapons during my career as an arms restorer, I would like to point out that on occasion one does encounter examples of koftgari work in which the precious metal (whether gold or silver) does not lie perfectly flat with the surface, but does indeed form a slight topography.

Whether or not this appears, and the degree to which it is observed may have depended on the artisan's original intent and/or the amount of cleaning the piece received during its working life. The thicker overlay does create a pleasing tactile and visual texture and could well represent a prevailing style or the taste of patrons who were willing to pay a premium for it.

At any rate, there is no doubt what the technique is, and it is not paint. The crosshatching is visible under magnification. Areas of losses do not reveal grooves that would indicate true inlay. Detached pieces of the precious metal (observations in the post about the bond being loosened by underlying oxidation are spot on) have all the characteristics of precious metal foil, not paint flakes.

Granted, there are other signs of age that are also apparent in an old piece that also need to be taken into consideration. Koftgari was a widely-practiced decorative technique in eastern cultures, from the Far East to the Maghreb, and it is interesting to note the differences and similarities in the way it was executed from one region to another. In a multi-cultural empire like Mughal India, you can expect variations here and there, not to mention over time.