One of the arts all three empires shared was carpetmaking. Carpet designs and weaving techniques demonstrate both cultural integration and local distinctiveness. Turkic migrants carried their weaving traditions with them as they moved but also readily adopted new motifs, especially from Persia. In Safavid Persia, Shah Abbas was determined to improve his country’s export trade and built the small cottage business of carpet weaving into a national industry. In the capital city of Isfahan alone, factories employed more than twenty-
Another art that spread from Persia to both Ottoman and Mughal lands was miniature painting, especially for book illustration. This tradition had been enriched by the many Chinese artists brought to Persia during the Mongol period. There was also an interplay between carpets and miniature painting. Naturalistic depictions of lotus blossoms, peonies, chrysanthemums, tulips, carnations, birds, and even dragons appear in both book illustrations and carpets.
In Mughal India, as throughout the Muslim world, books were regarded as precious objects. Time, talent, and expensive materials went into their production, and they were highly coveted because they reflected wealth, learning, and power. Akbar reportedly possessed twenty-
His Majesty’s library is divided into several parts. . . . Prose works, poetical works, Hindi, Persian, Greek, Kashmirian, Arabic, are all separately placed. In this order they are also inspected. Experienced people bring them daily and read them before His Majesty, who hears every book from beginning to end . . . and rewards the readers with presents of cash either in gold or silver, according to the number of leaves read out by them. . . . There are no historical facts of past ages, or curiosities of science, or interesting points of philosophy, with which His Majesty, a leader of impartial sages, is unacquainted.2