THE LEADING MOTIVE OF MUGHAL ART 87 



work of art we turn to, the same garden motives 

 reappear : in the beautiful inlaid flower-bed 

 dados of the Private Hall of Audience beyond 

 the Anguri Bagh, in the similar dado round the 

 Taj, in the well-known rose-water vessels and 

 flower- vases, the fruit-plates and wine -cups of 

 the old Persian and Indian tiles, they are equally 

 to be found. Bouquets of flowers cover the 

 fine gold -embroidered muslins ; flower -borders 

 edge the soft Kashmir shawls, and twine lightly 

 in and out of the pages of much-prized Nasta'liq 

 writing. The miniature portraits of Emperors, 

 and their nobles, often show a garden back- 

 ground ; and in nearly every case the figure holds 

 in one hand a sweet-scented garden flower, 

 some rose or narcissus painted with precise, 

 delicious skill. The waving pattern of the water 

 is seen on every hand ; pavements and platforms 

 are inlaid to represent the garden tanks ; the 

 same motive echoes the charm of the waterfalls 

 on embroidered rugs and hangings. The best 

 known and most beautiful theme of all, the 

 entwined cypress and fruit tree, which appears 

 and reappears on carpets, in tiles, embroideries, 

 and paintings, was taken directly from the garden 

 avenues, where cypress and fruit trees planted 



