For special occasions, Mughal palaces and pavilions were spread with silk hangings, carpets, and embroidered velvets. On one New Year’s Day, for instance, the emperor Jahangir mentioned visiting his vizier and brother‑in‑law Asaf Khan, who had covered the road from the palace with velvets woven with gold and gold brocade. This sumptuous carpet may have been used for such an occasion. Its design is reminiscent of Iranian textiles, but ink inscriptions in Gujarati script on its selvages indicate that the carpet was woven in that state, which was well known for the production of silks, velvets, and cottons.
This image cannot be enlarged, viewed at full screen, or downloaded.
Open Access
As part of the Met's Open Access policy, you can freely copy, modify and distribute this image, even for commercial purposes.
API
Public domain data for this object can also be accessed using the Met's Open Access API.
This artwork is meant to be viewed from right to left. Scroll left to view more.
Recto
Row 1a
Row 1b
Row 1c
Row 2a
Row 2b
Row 2c
Row 3a
Row 3b
Row 3c
Row 4a
Row 4b
Row 4c
Row 5a
Row 5b
Row 5c
Artwork Details
Use your arrow keys to navigate the tabs below, and your tab key to choose an item
Title:Velvet and Silk Carpet
Date:17th century
Geography:Attributed to India
Medium:Silk, metal wrapped thread; cut and voided velvet, brocaded
Dimensions:Rug: L. 183 1/2 in. (466.1 cm) W. 103 3/4 in. (263.5 cm)
Classification:Textiles-Rugs
Credit Line:Purchase, Joseph Pulitzer Bequest, 1927
Object Number:27.115
Carpet
Jahangir, on a New Year's day, visited his brother-in-law Asaf Khan, who had covered the road between his house and the palace with gold brocade and velvet. This delicately sumptuous floor spread introduces us to an extraordinary tale of success at the Mughal court—and to the Iranian taste of Asaf Khan's sister, Nur-Jahan, the favorite wife of Emperor Jahangir, whose influence on Mughal art was almost as great as it was on the emperor.
Born with the name Mehr un-Nisa, she was the daughter of Ghiyath Beg, an aspiring but untried Iranian nobleman, who brought her to Mughal India with the rest of his family. She became the young bride of Sher Afkan, whose accidental death in 1607 led to her moving from Bengal to the Mughal court as lady-in-waiting to one of Akbar's widows. There, in 1611, at a fancy bazaar at which the ladies coyly played at being shopkeepers, selling trinkets to the emperor and his family and to the nobles of the court, she met Jahangir, a mutually soul-stirring encounter. One of the great royal marriages of world history soon followed; and Mehr un-Nisa received the title Nur-Mahal (Light of the Palace), which was soon increased in refulgence to Nur-Jahan (Light of the World). Magnetic, witty, a crack shot with a matchlock, artistically discriminating, hardly selfless but socially responsible (she established institutions for orphaned girls), she was above all subtle. And she enchanted her imperial husband, at whose side she was always present. When he, a Muslim ruler, struck coins bearing his own effigy holding a wine cup, it was considered extreme; but it was far more irregular when coins were minted in her name.
The Metropolitan Museum carpet, with its scintillating eight-lobed medallions and floral rosettes, is one of a set of three (with those in the Museum of Decorative Art, Copenhagen, and the Musee du Louvre, Paris) that bring to mind the artistic character of one of the finest Mughal buildings, the tomb commissioned and closely supervised between 1622 and 1624 by Nur-Jahan for her mother and her father, l'timad ad-Daula (Pillar of Government), one of Jahangir's most powerful nobles. Known for its pictra dura inlays in muted, often mottled buff, black, gray, and brown stone, it is preferred by many connoisseurs to the better-known Taj Mahal, the tomb of his granddaughter. Especially marvelous is the upper chamber, containing the cenotaphs of the late chief minister and his wife. The walls are huge, richly geometric jalis, and the floor a stunningly bold, vital, but stately arabesque in stone inlay for which the building is especially admired. The mind and eye that conceived this magnificent room-in which constant changes of light, by day and night, scatter rays through the screens, lending unearthly voices to the fugal pattern of the arabesques—would also have enjoyed the Metropolitan's superb carpet, with its once shimmering silver and gold threads playing against red velvet.
[Stuart Cary Welch 1985]
Royal House of Saxony(from 1683); [ J. Glückselig, Vienna, until 1927; sold to MMA]
New York. The Metropolitan Museum of Art. "INDIA !," September 14–September 14, 1985, no. 136.
Dimand, Maurice S. A Handbook of Muhammedan Decorative Arts. New York: The Metropolitan Museum of Art, 1930. pp. 217–18, ill. fig. 132 (b/w).
Reath, Nancy Andrews, and Eleanor B. Sachs. Persian Textiles and Their Technique from the Sixth to the Eighteenth Centuries Including a System for General Textile Classification. New Haven: Yale University Press, 1937.
Harari, Ralph, and Richard Ettinghausen. A Survey of Persian Art from Prehistoric Times to the Present, edited by Arthur Upham Pope. vol. I–VI. London and New York: Oxford University Press, 1938. ill. vol. VI, pl. 1068.
Dimand, Maurice S. A Handbook of Muhammadan Art. 2nd rev. and enl. ed. New York: The Metropolitan Museum of Art, 1944. p. 266, ill. fig. 174 (b/w).
Welch, Stuart Cary. India! Art and Culture 1300–1900. New York: Holt, Rinehart, and Winston, 1985. no. 136, pp. 206–8, ill. p. 207 (black, color detail).
Welch, Stuart Cary. The Islamic World. vol. 11. New York: The Metropolitan Museum of Art, 1987. pp. 159–61, ill. fig.122 (color).
The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars.
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.
The Met's collection of Islamic art is one of the most comprehensive in the world and ranges in date from the seventh to the twenty-first century. Its more than 15,000 objects reflect the great diversity and range of the cultural traditions from Spain to Indonesia.