The Wall Hangings / Pictorials are an exclusive selection of carpets that have a set of inimitable motifs that are absolutely unusual and singular in all aspects of designing, color combination and visual appearance. These carpet designs have a popular term for reference coined as “Garden” scenes or motifs set in gardens of palaces of yore. These designs originated in Persia and are widely believed to be inspired from one of the paramount wonders of the ancient world – The Gardens of Babylon & The Palace of Persepolis. The same inspiration has been modified in Indian context too, in the form of the famed Shalimar Garden (literally translated as – the Garden of Paradise) situated in Srinagar, Kashmir that enthused artists to create the Shalimar Garden designs along with the original interpretations of other such motifs, like the Bakhtiari, Hamadan & Qum from Persia.
Shalimar Garden (Hamadan)
Shalimar The Shalimar or the Garden-of-Paradise motif is a traditional Indo-Kashmiri design that is a distinct modification of the intricate and infinitesimal artistry of the original Hamadan (Persian) pattern and has a rather well-planned scheme of superb representation of the weaver’s flowering imagination that explains the symbolism that nature plays in mans life. This design is preferably used as a wall hanging as it is not a symmetrical motif and has pictorial motifs and one-sided patterns created on it.
Harmonizing the renowned Shalimar Bagh (Garden) in Srinagar, Kashmir, with a work of art is a glowing tribute to the elements of the nature. The different windows of this Hamadan design represents the various entrances or the gateways to this garden Shalimarï that literally translates to the Garden of Paradise in Kashmir.
The Shalimar was first built by the Mughal Emperor Jahangir for his wife Nur Jahan in 1619. The Shalimar is considered the highest point of Mughal horticulture, even today. While the recent history and development of the Mughal types of gardens is credited to Emperor Jahangir of the Mughal Dynasty, the ancient history of this garden that existed here can be traced even earlier to the 2nd century, when it was built during the reign of Pravarsena II.
The tree is a time-honored motif in Oriental art; its fruit is a source of sustenance and its leaves give welcome shade. It also provides the weaver with a convenient way of filling the field with directional design. Tree and shrub designs are found in classical Indian and Persian rugs but their style is inspired more by contemporary miniature painting than by the archaic design found in Sassanian art, in which two animals are depicted nibbling at the lower branches of a tree. It was also an adopted tribal emblem and is found in nineteenth-century rugs by the Ersari, Baluch and the Qashqai.
An overflowing vase was the attribute of the Sumerian water Goddess during the third millennium. Although it has long lost its original religious significance, the vase continues as a recurring motif in Oriental art right down to the present day.One of the most attractive types of classical rug is the Persian Vase group in which one or more vases serve as a pretext for the floral arrangement to extend over the field, either in the form of scrolling arabesques or in a lattice arrangement. Tree-of-life and vase motif rugs were made in Persian centers such as Kashan, Tabrez and Mashad and are today being produced in our workshops in Kashmir with impressive results.