The present lot, as well as 161, 162 and 163, are rare surviving luxurious textiles that would have provided🃏 the surroundings for the royal Mughal courts. Dating from the mid-seventeenth century, the zenith of Mughal power and culture, these red tents were exclusively the prerogative of imperial princes. The embroidered designs are typical of the aesthetic of the period; a keen naturalism curbed by a stately order. The floral motifs are comparable to those in contemporary album paintings, such as a leaf from the Dara Shikoh album in the British Library (inv. no.Add.Or.3129).

These panels are closely comparable to an imperial tent attributed to the period of Shah Jahan (r.1628-58), preserved by the Maharaja of Jodhpur since 1659, now in the Mehrangarh Museum Trust, Fort, Jodphur, on loan from the Maharaja Sri Gaj Singhji II of Jodhpur (inv. no.L21/1981) (Welch 1985, pp.252-6, no.165). Although freestanding tents, considered by the Mughals as a part of their Central Asian nomadic heritage, were already depicted in histories of Babur (r.1526-30), the first Mughal emperor, these came to be further developed under Shah Jahan. As Stuart Cary Welch elegantly noted, “Red tents such as this one were the prerogative of imperial princes. The form and magnificence of this tent suggest that it provided the artistic… indeed, theatrical-climax to a vast encampment through which visitors would have been led along increasingly splendid pathways as they approached the temporary imperial quarters” (ibid, p.252). The Jodphur tent provides a full and exciting historic🥂al backdrop for these panels and the photograp⛎h of it mounted gives an idea of its magnificent impression.

The present lot was probably made in Rajasthan, and similar examples have been found in the taskakana (textile s💯tore) of the Jaipur palace. The technique of applying gold leaf onto velvet with gum can still be found in the region.