This carpet overflows with naturalistically rendered flowers and plants, organized around one central medallion and four quarter- medallions in each corner. A similar medallion design can be seen on many decorative leather book covers from the same period, and it is likely that the manuscript design was incorporated into the visual repertoire of Safavid weavers. Artists working in the court atelier produced drawings and designs for artisans working in a variety of different media. The designs and trends generated by the court were then adopted by commercial workshops that created high-quality carpets like this one.
[ Dikran G. Kelekian, New York, by 1926– at least 1938]; Joseph V. McMullan, New York (by 1965–70; gifted to MMA)
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The Metropolitan Museum of Art, Daniel S. Walker, Arturo Ponce Guadián, Sussan Babaie, Stefano Carboni, Aimee Froom, Marie Lukens Swietochowski, Tomoko Masuya, Annie Christine Daskalakis-Matthews, Abdallah Kahil, and Rochelle Kessler. "Colegio de San Ildefonso, Septiembre de 1994-Enero de 1995." In Arte Islámico del Museo Metropolitano de Arte de Nueva York. Mexico City: Consejo Nacional para la Cultura y las Artes, 1994. no. 121, pp. 286-287, ill. p. 287 (b/w).
Denny, Walter B. How to Read Islamic Carpets. New Haven and London: The Metropolitan Museum of Art, 2014. p. 26, ill. fig. 18 (color).