Edge gilding on a dark ground is a technique that only makes sense if the carving is good. On a pale frame, shadow does the work of showing form; on a dark one there is no shadow to see, because the whole surface is already in shade. The gold line takes its place - it traces the top edge of every carved form, so what you read is the outline of the shape rather than its modelling.
That means the gold has to follow the carving exactly. A line that drifts off the edge and onto the flat, even by a millimetre, reads as a smear on a dark ground where it might pass unnoticed on white.
Our master Indian artisans apply it with the piece lying flat and lit from one side, so the raised edge catches the light and the brush can follow what the eye can actually see. It is slow, it cannot be rushed, and it is why the outlines on this bed stay crisp from the crest right down to the feet.