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Flowers in Mughal and Persian Rugs and Islamic Miniature Paintings

Richard Rothstein Oriental Rugs  Hagop Manoyan Antique Rugs

In Search of the Aberrant Floral Form

Based on the premise that court carpet are derivative of miniature art I have been looking for variances in the normal form of artistic expression in Islamic and related art. By comparing the floral forms seen in classical carpets with classical miniatures it has been possible to detect certain floral forms common in carpets but much rarer it miniatures. By tracking the occurrences of these floral form it gives me a way to track the diffusion of artistic patterns.

A major tool in this effort has been the use of PMA or pattern matching analysis. The idea is that images are scanned for patterns. Patterns are scanned for aberrations and aberrations are then matched on the basis of size, shape, color, spatial relationships and so on. Without getting complicated in describing the methodology I look for an unusual designs and then compare to the rest of Islamic and related art concentrating on 1400 to 1800 AD. This is done by scanning a data pool of over 5000 images of art looking for matches.

I was successful in isolating a floral form common in my study group of carpets but far less common in the body of Islamic art as a whole. I use the term floral form because I do not know the appropriate botanical description. I will leave the botanical codification of these floral forms to someone with more knowledge or interest in the subject because for my purposes it is enough to know that they are, not what they are.

This floral form appears in 15th century Timurid art. We then see it appear in art from Ottoman Turkey where we see it emerge in a similar form in the Ardibil carpets. At the same time we see a variant of this floral form in the Uzbek Court art of Mir Ali and his students from Bokhara circa 1540. It appears again in what may be Turanian carpets of the Uzbek Renaissance from Herat in the 1590s. Late in the sixteenth century we also this floral form appear in the early Mughal carpets and art. The important part of this floral form is that it is representative of a particularly distinctive group that is common on rugs yet far less common in Miniature paintings.

Detail - Vojtech Blau Mughal Animal Carpet

This floral form appears in 15th century Timurid art. We then see it appear in art from Ottoman Turkey where we see it emerge in a similar form in the Ardibil carpets. At the same time we see a variant of this floral form in the Uzbek Court art of Mir Ali and his students from Bokhara circa 1540. It appears again in what may be Turanian carpets of the Uzbek Renaissance from Herat in the 1590s. Late in the sixteenth century we also this floral form appear in the early Mughal carpets and art. The important part of this floral form is that it is representative of a particularly distinctive group that is common on rugs yet far less common in Miniature paintings.

It is often assumed (with little in the way of proof) that when Abu'l Fazl 1. mentions experienced weavers in discussing Mughal carpets he must be referring to Safavid Persian weavers. Setting aside the debate over what a "Persian" is it seems reasonable to suggest that there is evidence that that there is design continuity from Timurid origins in the Herat/Khorasan and Turania regions no matter who controlled the court.

In "Carpets and their Dating in Netherlandish Paintings 1540 - 1700", Onno Ydema 2. suggests that a truly distinctive Mughal style developed during the reign of Jahangir 1605 - 1627. Then citing Skelton's, "A Decorative Motif in Mughal Art", article Ydema suggests that that it has its roots in copies of European herbals. While not denying the roll of European influence in shaping an existing art form it seems reasonable to study the fusion of Timurid art with the Hindu art particularly the florals in the art of the Jahangir era. While we can see the European influence in art from artists like Mansur. One might also look at the role of Mansur's teachers in his later style. As a young artist Mansur studied under Basawan. Nanha, as well as Miskin. 3. By watching the style evolve we can better understand the European influence and its affect

This page is in many ways a work in progress and will be added to and expanded to as this project moves along. The theory that explains the Turanian Salting connection will be posted after the Mughal section is finished.
In "Carpets and their Dating in Netherlandish Paintings 1540 - 1700", Onno Ydema 2. suggests that a truly distinctive Mughal style developed during the reign of Jahangir 1605 - 1627. Then citing Skelton's, "A Decorative Motif in Mughal Art", article Ydema suggests that that it has its roots in copies of European herbals. While not denying the roll of European influence in shaping an existing art form it seems reasonable to study the fusion of Timurid art with the Hindu art particularly the florals in the art of the Jahangir era. While we can see the European influence in art from artists like Mansur. One might also look at the role of Mansur's teachers in his later style. As a young artist Mansur studied under Basawan. Nanha, as well as Miskin. 3. By watching the style evolve we can better understand the European influence and its affect

Detail - Vojtech Blau Mughal Animal Carpet

Please compare this floral form to each of the two major blossoms in the accompanying details. Please note what appears to be a top blossom and leaf is present in a similar form in both details

Detail - Salting Carpet 4.

The Turanian renaissance in Herat in the 1590s sparked a production of carpets that were Persianate while conforming to a different esthetic than was the norm in Safavid Persia.

Detail - Widener Animal Carpet

Please not the similarities in the three color leaves between this and the Salting Carpet particularly in the center stripe of orange.
Margin Detail from a folio of the Shahnama of Firdausi. 5. Herat, second quarter fifteenth century.

Margin Detail from a folio of the Shahnama of Firdausi. 5. Herat, second quarter fifteenth century.
Margin Detail from a folio of the Shahnama of Firdausi. 6. Herat, second quarter fifteenth century.

Margin Detail from a folio of the Shahnama of Firdausi. 6. Herat, second quarter fifteenth century.
Vojtech Blau Mughal Animal Carpet Mughal India, Circa 1600

Detail - Vojtech Blau Mughal Animal Carpet Mughal India, Circa 1600
Calligraphy signed by Ali al-Kateb (Mir Ali) 7. Bokhara circa 1540. This Turanian calligraphy was know to be in Mughal India prior to 1650 because of margin painting when the piece was remounted.

Detail - Calligraphy signed by Ali al-Kateb (Mir Ali) 7. Bokhara circa 1540. This Turanian calligraphy was know to be in Mughal India prior to 1650 because of margin painting when the piece was remounted.

Calligraphy signed by Ali al-Kateb (Mir Ali) from the Golshan Album 8. Bokhara circa 1540. This Turanian calligraphy was know to be in Mughal India by 1605 because of margin painting when the piece was remounted.

Detail - Calligraphy signed by Ali al-Kateb (Mir Ali) from the Golshan Album 8. Bokhara circa 1540. This Turanian calligraphy was know to be in Mughal India by 1605 because of margin painting when the piece was remounted.

Teymur's Army In Procession from the Golshan Album 9. Mughal India circa 1570.

Detail - Teymur's Army In Procession from the Golshan Album 9. Mughal India circa 1570.

Detail from a possibly Turanian Court Carpet fragment in the Museo Bargello, Florence These carpets have been called almost everything except "wall to wall". Estimates of dates range anywhere from the fifteenth to the nineteenth century but they are now thought to date to the later part of the sixteenth century. As a group they are usually referred to as Salting type but part of the group appears most likely to be from Herat during the Turanian renaissance of 1589 to 1598.

Detail from a possibly Turanian Court Carpet fragment in the Museo Bargello, Florence

These carpets have been called almost everything except "wall to wall". Estimates of dates range anywhere from the fifteenth to the nineteenth century but they are now thought to date to the later part of the sixteenth century. As a group they are usually referred to as Salting type but part of the group appears most likely to be from Herat during the Turanian renaissance of 1589 to 1598.
Detail from a Painting "A Philosopher in his studio" by Abraham van der Hecken

Detail from a Painting "A Philosopher in his studio" by Abraham van der Hecken

Amsterdam Holland, circa 1650. Michael Franses 10. described this as a red ground Lahore type Mughal palmette and leaf carpet.

This carpet strikes me as a commercial variant with a mixture of court and commercial floral form. An attribution of second quarter seventeenth century would fit with the date of the painting as well as the style of the art. (See the following Lancets - Blossom and Grape discussion.)
Later Mughal Type Carpet Border 11. Lahore 1650. Kanko-Boko Gion Festival Rug Kyoto Japan. Mughal Medallion Carpet from Kyoto ,Japan

Detail from Later Mughal Type Carpet Border 11. Lahore 1650. Kanko-Boko Gion Festival Rug Kyoto Japan. Mughal Medallion Carpet from Kyoto ,Japan

The ton-sur-ton red in the outer petal shows three reds (including the field red) which is rather unusual.

1. Abu'l Fazl as quoted in "Chinese and Exotic Rugs" By Murray L. Eiland (Jr.) New York Graphic Society, Boston, 1979. Page 133.

2. "Carpets and their Dating in Netherlandish Paintings 1540 - 1700", Onno Ydema, Antique Collectors Club, Woodbridge, 1991, page 79

3. "Indian Miniatures of The Mughal Court" Amina Okada, trans. by Deke Dusinberre, Harry N. Abrams, Inc., New York, 1992, page 218.

4. Bennett, Ian et al. Rugs & Carpets of the World. Edison: Wellfleet Press, 1977. Frontis.

5. Lentz, Thomas W. and Lowery, Glenn D. Timur and The Princely Vision. Washington DC: LACMA, Sackler, and Smithsonian, 1989, p. 129 cat. no. 44-B.

6. Lentz, Thomas W. and Lowery, Glenn D. Timur and The Princely Vision. Washington DC: LACMA, Sackler, and Smithsonian, 1989, p. 129 cat. no. 44-B.

7."Art of the Persian Court", Abolala Soudavar, Rizzoli, New York, 1992. Page 318 and Plate 129i

8. "Art of the Persian Court", Abolala Soudavar, Rizzoli, New York, 1992. Page 306 and Plate 128d

9. "Art of the Persian Court", Abolala Soudavar, Rizzoli, New York, 1992. Page 306 and Plate 128c

10. Hali 91March 1997 page 117

11. Hali 77 October November 1994 cover

Lancets - Blossom and Grape

Vojtech Blau Mughal Animal Carpet, Mughal and Related Carpets,

Thanks and best wishes,

J. Barry O'Connell Jr.

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