Origin of Name
The most extravagant carpet ever made in the history
of mankind, described by Sir George Birdwood, a connoisseur of Indian
jewelry, in 1879 as "the most wonderful piece of embroidery ever known,"
the Pearl Carpet of Baroda, gets its name from the Maratha Princely
State of Baroda, one of the four Princely States of the Maratha
Confederacy, that was ruled by the Gaekwar dynasty since 1740. The
Maharajah Gaekwar of Baroda Khande Rao who ruled between 1856 and 1870,
was one of the most notable connoisseurs and collectors of jewels and
jewelry in the history of the entire dynasty, who would have gone to any
extent, despite the expenditure involved, to acquire any jewel that
captured his interest in any part of the world, or create any fabulous
piece of jewelry that took shape in his fertile mind, using the
most highly skilled and experienced jewelry craftsmen, who had been
trained in the Mughal tradition of jewelry crafting, who were at the
disposal of his court. The Pearl Carpet of Baroda was one such creation
commissioned by Geakwar Khande Rao, in 1860 and completed in 1865, that
was meant to fulfill a vow he had made, to cover the tomb of the Holy
Prophet of Islam, Prophet Muhammad, at Medinat-ul-Munawwara, the
hallowed sanctuary, revered by Muslims all over the world. Gaekwar
Khande Rao was a Hindu ruler, but was fascinated by Islam and its
teachings, and ordered the carpets not only to fulfill a vow, but also
to show his respect and admiration for Islam, a religion followed by a
considerable number of his subjects. Covering the tombs of saints with
expensive materials is a tradition prevalent among Indian Muslims to
this day, and usually carried out in fulfillment of vows after their
prayers have been answered. The carpet was referred to as a "Pearl
Carpet," mainly because the dominant gems that were set in the carpet
were seed pearls, over one million of them, even though there were other
larger and more expensive gems incorporated such as diamonds, rubies,
emeralds and sapphires.
The Pearl Carpet of Baroda
©Sotheby's
Characteristics of
the Pearl Carpet
Dimensions and design
of the carpet
The rectangular-shaped pearl carpet has a length of
2.64 meters (8 ft. 8 ins) and a width of 1.73 meters (5ft. 8 ins.), and
is made of a combination of silk and deer hide. The carpet is densely
embroidered, with its design picked out in colored glass beads, and the
spaces filled entirely with an estimated 1.5 to 2.0 million natural seed
pearls, known as "Basra Pearls" measuring approximately 1-3 mm and
harvested in the southern Gulf region along the coasts of Qatar and
Bahrain. The design of the carpet seems to have been inspired by
the carpet designs of the Safavid period of Iran and the Mughal period
of India, with dense fields of swirling flowering vines. Across the
center of the carpet there are three large round "rosettes", placed
symmetrically. The center of the rosettes are filled with large
table-cut and occasional rose-cut diamonds, and are surrounded by
strings of natural "Basra Pearls" slightly larger in size (3-4 mm) than
the seed pearls found predominantly in other regions of the carpet. The
diamonds are set in silver-topped gold or possibly blackened gold. The
motifs are further enhanced with foil-backed rubies, emeralds and
sapphires set in gold. Smaller diamond rosettes, 32 in all and
embellished with sapphires, rubies and emeralds set in gold, are placed
right round the border of the carpet. In between the smaller diamond
rosettes, are found still smaller rosettes centered around a ruby and
surrounded by eight other rubies, all surrounded by strings of seed
pearls.
One of the central rosettes of the pearl carpet of Baroda
©Sotheby's
Close up of central rosette of the Pearl Carpet of Baroda
©Sotheby's
A mathematical
estimation of the number of pearls in the carpet
An idea of the total number of pearls used in the
carpet can be estimated by the following mathematical procedure. The
total area of the carpet is 173 X 264 cm² = 45,672
cm². The average number of pearls and beads per dm (10 cm) in the length
wise direction is 78, and in the breadth wise direction 64, which gives
a density of 78 x 64 = 4992 pearls and beads per dm²(100 cm²). If we
give an allowance of 500 cm² for the area of the three larger rosettes
and another 500 cm² for the total area of the 32 smaller rosettes, the
total area embroidered with pearls and beads become 45,672-1,000 =
44,672 or approximately 44,500 cm². Given that 100 cm² of the carpet
carries approximately 5,000 pearls and beads, the estimated number of
pearls and beads found in the carpet = 5,000/100 x 44,500 = 2,225,000.
Assuming there are an equal number of pearls and beads in the carpet,
the estimate of the number of pearls on the carpet becomes 1.1 million.
Thus an estimation of 1.5-2.0 million may not be too far from the real
figure. The total estimated weight of the pearls is 30,000 carats. The
total number of table-cut diamonds in the rosettes is approximately
2,520, having a total weight of around 350 to 400 carats. The number of
cabochon rubies in the carpet are over 1,000 and Colombian emeralds over
600.
The Pearl Carpet of Baroda- peripheral rosettes.
The
Pearl Carpet of Baroda testifies to the skilled workmanship and
mathematical understanding of the designers
The Pearl Carpet of Baroda is
indeed a diamond-and-pearl-encrusted masterpiece of 19th century
India. The genius of the designers had been clearly demonstrated in
turning out a rug of regular and symmetrical design, with mathematical
precision, from a multitude of pearls, diamonds, rubies, sapphires and
emeralds of varying gauges, that testifies to their skilled workmanship
and complete mathematical understanding. The exquisite execution, and
the highly unusual combination of form and material, make the Pearl
Carpet of Baroda one of the most remarkable objects ever created, on par
with the legendary Peacock-Throne of Shah Jahaan, the most splendorous
throne ever created in the history of mankind.
Close up of one of the smaller peripheral rosettes of the Pearl Carpet of Baroda
©Sotheby's
The
Pearl Carpet of Baroda is a living testimony to the flourishing pearl
trade in the past between the Persian Gulf and India
The Pearl Carpet of Baroda which
was mainly composed of an estimated 1.5 million Basra pearls, is a
living testimony to the flourishing pearl trade that existed in the past
between the Persian Gulf and the Indian subcontinent. The Persian Gulf,
the Red Sea and the Gulf of Mannar were the hub of the international
pearl trade since ancient times. The history of pearling in the Persian
Gulf dates back to over four millennia, and the Persian Gulf was
historically the oldest and most prolific pearl banks in the world,
whose pearls entered the courts of the kings and emperors of ancient
kingdoms, such as those of Egypt, Greece, Rome, Phoenicia etc. The
island of Bahrain, known as Tylos by the Greeks and Romans, had a
concentration of pearl bearing reefs, around which a pearl fishery
existed since time immemorial. The Greek historian Isidorus of Charax,
also refers to the pearl fisheries in the Island of Bahrain in the 3rd
century BC.
The Pearl banks of the Persian
Gulf are mainly found on the Arabian side of the Gulf, and extend from
Kuwait and the island of Bahrain in the west to Oman on the tip of the
Arabian peninsula. Besides Bahrain, other important pearling areas in
the Gulf were situated off the coast of Kuwait, the island of Dalmah off
Abu Dhabi, Abu Musa, Hormuz, and the Lavan-Kish island group on the
Persian side. Unlike other pearl banks such as the Gulf of Mannar, and
the pearl banks of the new world discovered by the Spanish in Venezuela,
Panama etc. which were decimated by over fishing due to government
sponsorship, the pearl banks of the Gulf were never over
exploited, and sustained pearl fishing continued for many centuries
without any interruption.
Pinctada radiata the pearl oyster species found in the Gulf mainly
produced seed pearls
The main pearl oyster species
around which the Persian Gulf pearling was based, was Pinctada
radiata, which can attain a maximum size of 7 to 8 cm, and produces
mainly seed pearls, and some individual pearls of medium size. Seed
pearls are sometimes produced as clusters inside the oysters. A single
cluster may sometimes contain over a hundred pearls. The seed pearls
produced in the pearl banks of the Gulf are known as "Basra Pearls"
because most of these pearls eventually ended up in the pearl markets of
Basra, the closest commercial center, from where they found their way to
other famous pearl markets in the world, such as Bombay and London. From
the 16th to the beginning of the 20th century, Arab pearl dealers from
the gulf preferred to send their pearls to the Bombay market, where
their products fetched a much higher price than the London markets. The Mughal emperors of this period, and the other maharajahs were ready to
pay much better prices for the Gulf pearls, and hence the higher prices
realized at the Bombay markets. Much of the "Basra Pearls" set on the
Baroda Pearl Carpet also reached Bombay in a similar manner, and were
purchased by the agents of Khande Rao Gaekwar, who appears to have
selected the best material available in the market for this purpose.
History of the Pearl Carpet
Origins of carpet weaving
The art of carpet weaving seems to be as old as
civilization itself, and have been ascribed to the ancient Egyptians,
Mesopotamians and the ancient Iranians. However there is no convincing
archaeological evidence to support any of these claims, as materials
used in carpets such as the hides of animals, wool, silk and cotton
undergo decay and are very rarely unearthed in archaeological
excavations. Archaeologists believe that carpet weaving was invented by
people whose main occupation was cattle rearing. Ancient inhabitants of
the Iranian Plateau whose main occupation was agriculture and cattle
raising were believed to be one of the first group of peoples from
whom the art of carpet weaving originated. When these people gradually
became familiar with the utilization of wool and its properties, the
first thing they would have turned out would have been clothing to cover
oneself from the inclement weather. Thus weaving of clothing material
preceded those of carpets in human cultural evolution.
The world's most
ancient carpet is preserved in the Hermitage Museum of Leningrad
One of the most ancient carpets in the world was
discovered in 1949 from a large coffin (sarcophagus) of an ancient Pars
ruler (satrap) near his mummified body, by Prof. Rodlenko in the border
of Moqolestan, a region called "Pazirik," under piles of ice. The age of
the partially preserved carpet determined by carbon-dating showed that it was woven in the
5th century BC. The dimensions of this rectangular carpet was 9.3 ft. by
6.5 ft (2.83 by 2.00 meters), and the carpet has 36 symmetrical knots
per cm². The advanced weaving technique employed in
this carpet shows that the art of carpet weaving must be much older than
the age of the carpet itself. Thus the "Pazirik" carpet is a result of a
long period of evolution of the technique of carpet weaving, which
perhaps extended back several thousand years from 5th century BC. Motifs
used in this carpet such as a mythical winged creature, a yellow-spotted
dear and a man mounted on a horse or standing near it, point to the
Iranian origin of this carpet. The yellow spotted dear is a rare animal
whose main habitat was near the shores of the Caspian Sea in the north
of Iran. Archaeologists believe that the "Pazirik" carpet, which is
preserved in the Hermitage Museum of Leningrad, is a product of the
Archaemenid period of Iran.
"Pazirik" Persian Carpet
500 years B.C.
In the 5th century BC, the
Archaeminian Court of Cyrus the Great at Pasargade was decked with
magnificent carpets according to historical records. When
Alexander the Great of Macedonia invaded Iran he was said to have been
dazzled by the carpets in the tomb area of Cyrus the Great at Pasagarde.
The
history of bejeweled carpets
The earliest known bejeweled
carpets adorned with jewels, pearls and gold date back to the Sassanian
period between the 3rd and 7th centuries AD in Iran. According to Prof.
Pope during the rule of the Sassanian king Khusraw II between 590 and
628 AD, the throne room in his palace at Ctesiphon was covered with
carpets made of gold-woven fabrics with pearls embroidered on them. One
of the largest carpets ever made with dimensions of 450 ft by 90 ft (140
m by 27 m) depicting a garden in full bloom, known as the "spring
carpet" or "winter carpet" covered the main audience hall of the
Sassanian Imperial Palace at Ctesiphon during the reign of Khusraw II,
and was made of wool, silk, gold and silver, and elaborately decorated with gemstones and pearls.
The King is said to have strolled along that seemingly endless,
bejeweled carpet in the winter time to savor its many spring time scenes
- birds in flight, flowers in full blossom, ripe fruits, and a broad
green meadow border, believed to have been designed of solid emeralds.
The fables of
the Arabian Nights, Alf Lailah wa Lailah - a Thousand and one nights,
written towards the end of the 9th century AD, mentions of carpets
decorated with pearls, rubies and turquoise, which seems to have derived
its inspiration from real carpets that adorned the palaces of the
Abbasid Caliphs of the period. Thus the Pearl Carpet of Baroda
represents a 19th century revival of the ancient art of encrusting
carpets with jewels.
The
history of jewel encrusted apparels
Encrusting royal apparel with
gemstones and pearls was another practice that had been prevalent in the
courts of mighty rulers, such as the Mughal emperors of India, the Shahs
of the Safavid dynasty of Persia, and the Sultans of the Ottoman Empire.
Among the Mughal rulers Shah Jahaan was well known for the pomp and
pageantry of his court, and the extraordinary brilliance of his apparel
and throne, including the famous "Peacock Throne" brought about by
encrustation with gemstones such as diamonds, emeralds, sapphires,
rubies, pearls etc. set on gold and silver. Among the Safavid rulers of
Iran, Fath Ali Shah was the most well known for the extraordinary
brilliance of his court, which emanated from the jewel encrusted throne,
apparel, as well as the crown.
Fath Ali Shah- seated on a jewel-studded carpet
The use of jewel-studded fabrics
during the Ottoman period, is illustrated in a portrait of Mehmet II -
one of the most powerful sultans of the Ottoman empire, who captured
Constantinople in 1453 and brought an end to the Byzantine empire - in
which Gentile Bellini, depicted the Sultan in an architectural niche
partially covered with a bejeweled fabric, whose embroidery echoes the
Renaissance bas-relief carving of the arch framing the sitter.
Mehmet II- Portrait by Gentile Bellini
In Europe, Queen Elizabeth I of
England who ruled between 1558 and 1603, was well known for her
jewel-studded royal apparel, and her portrait that commemorates the
defeat of the Spanish Armada in 1588, show her wearing pearl-studded
royal apparel and several strands of pearl necklaces. In this portrait
Queen Elizabeth's hand rests on a globe, symbolizing her international
power
Queen Elizabeth I of England-
Armada Portrait
History of the
Maratha Kingdom of Baroda
Events that led to
the creation of the Maratha Empire
The Maratha Princely State of Baroda with an area of
approximately 8,300 square miles was situated 250 miles north of Mumbai
in mid-western India. Even though the year of founding the state
is 1732, when the Maratha general Pilaji Rao Gaekwad conquered Baroda
City from the Mughal Empire, the region has a very ancient history
dating back by about 2,000 years. Vadodara, as it was known in ancient
times came under the sway of powerful Hindu rulers of dynasties such as
the Guptas, Chalukyas, and the Solanki Rajputs, until the 13th century,
when the region was captured by the Delhi Sultanate who ruled for over
300 years, and were themselves overthrown in the 16th century by the
powerful Mughal rulers. During the period of the Mughal Empire the
Maratha Hindu warriors of the region began their incessant military
campaigns to defend their religion and to win back control of their
ancestral territories from the foreign invaders. Maharaj Chhatrapati
Shivaji (1630-1680), a brilliant Marathi soldier and tactician, was able
during his life time to challenge the might of the Mughal Empire and
inflict defeat after defeat on the mighty Mughal army, that finally led
to the establishment of the Maratha Empire. Mughal Emperor Aurangzeb's
relentless efforts to defeat Shivaji and his successors and
destroy the Maratha Empire, proved futile, and costly, and led to the
depletion of the wealth and resources of the empire, that eventually led
to his death and downfall in 1705.
Shivagi Bhosle- Founder of Marathi Empire
Events that led to
the formation of the Maratha Princely State of Baroda
For the next 80 years Aurangzeb's heirs never challenged Maratha power, and the Peshwa
Marathas established themselves as the dominant power in their region,
capturing all territories that was once under the Mughal Empire. In the
year 1732, the Maratha General Pilaji Rao Gaekwad, the founder of the
Gaekwad dynasty, captured the city of
Vadodara from the Mughals, and the city was then given as a fief to
Pilaji Rao Gaekwad by the Peshwa, the leader of the Maratha Empire, in
recognition of his contribution to the war effort against the Mughal
Empire. Eventually, Pilaji Rao's son Damaji Rao Gaekwad consolidated
power over large areas of Gujarat and assumed the status of an
independent ruler, and Baroda became part of a loose confederacy, known
as the Maratha Confederacy, the other constituent states in this
confederacy being Indore, Gwalior, Nagpur and Poona. Baroda joined the Maratha
Confederacy in fighting the British at the first Anglo-Maratha War.
However, in 1802, the British intervened on behalf of Maharajah Gaekwar Anand Rao of Baroda, who had recently inherited the throne,
against rival claimants. The Gaekwad rulers then concluded a treaty with
the British, that recognized their independence from the Maratha Empire,
and guaranteed the Maharajahs of Baroda local autonomy, in return for
recognizing British suzerainty.
The survival of
the Princely State of Baroda until Indian Independence in 1947
The arrangement with the British not only ensured the
continued existence of Baroda as a Princely State, but also the
continuation of the Gaekwar dynasty as the main ruling family of the
state. According to the agreement the British received a share in
the state revenue, and was given representation in the Maharajah's court
by a British Resident. Since Pilaji Rao Gaekwar founded the Gaekwad
dynasty between 1721 and 1732, there had been 13 Gaekwad Maharajahs of
Baroda, until the year 1947, when the last Gaekwad of Baroda, Pratap
Singh Gaekwar acceded to the new Indian Republic and Vadodara
became part of Bombay State.
Khande
Rao Gaekwar a great connoisseur and collector of jewels and jewelry in
the 19th century
Out of the 13 Gaekwad Maharajahs of Baroda the one
that became most well known for his lavish spending and extravagant
tastes was Khande Rao Gaekwar, who ruled between 1856 and 1870. He was
one of the greatest collectors and connoisseurs of jewels and jewelry in
the 19th century. One of his remarkable acquisitions was the
128.48-carat "Star of the South Diamond," the first Brazilian diamond to
acquire international fame due to its extraordinary quality and was
purchased by Khande Rao Gaekwar for £80,000 in 1867. The
Prince was so enthused with this purchase, that he staged a massive
celebration to welcome the "Star of the South Diamond" to India, that
included a parade of his elephants adorned in their finest gilded
arrays. Subsequently the Maharajah also purchased the 76.5-carat
drop-shaped "English Dresden Diamond" and eventually got both stones
incorporated as the centerpiece of a triple-tiered diamond necklace,
that came to be known as the "Baroda Diamond Necklace." Other
extravagant pieces of jewelry designed during the period of Khande Rao
Gaekwar included the seven-stranded diamond and emerald necklace known
as the "Hindu Necklace," and the legendary seven-stranded natural pearl
necklace, which came to be known as the "Baroda Pearl Necklace," two of
the most expensive pieces of jewelry owned by him. He is also reported
to have purchased several pieces of jewelry that once belonged to
Empress Eugenie, empress consort of Napoleon III.
Maharaja Gaekwad Khande Rao
What
prompted Gaekwar Khande Rao to commission such an extraordinary carpet ?
The chronological sequence of
his lavish purchases, seem to suggest that the "Pearl Carpet" was one of
his first extravagant acquisitions which he commissioned in 1960, just 4
years after his ascension to the throne of Baroda, and took five years
to complete, with over a hundred of his court artisans actively involved
in the project. The primary aim in executing this lavish carpet
according to authentic sources, was to fulfill a vow which Khande Rao
Gaekwar had taken to cover the tomb of the Prophet of Islam, in Medina,
probably as a reciprocation for prayers answered or as a mark of respect
and admiration for Islam, a religion followed by a sizeable population
of his domain. Some writers even suggest that the extravagancy of the
carpet produced seem not only to show his fascination and respect for
the religion of Islam, but also his inherent inclination towards
it, even though he was not able to express it outwardly being a Hindu
Maharajah of a predominantly Hindu State. However, the fact that the
carpet was commissioned just 4 years after his ascension to the throne,
seem to indicate that the first reason adduced, viz. the fulfillment of
a vow, is the more plausible explanation.
Some writers have opined that by
turning out such an extraordinary carpet to cover the tomb of the
Prophet Muhammad, Khande Rap Gaekwar was actually emulating the mighty
Mughal Emperor Shah Jahaan, who too adorned the tomb of his beloved
wife, Mumtaz Mahal by covering it with an expensive jeweled carpet, and
by so doing demonstrated his status as a rich and powerful monarch,
equivalent to the mighty rulers of the Mughal Empire.
Was
Pearl Carpet of Baroda one of a suite of four carpets or one of two
carpets made in duplicate ?
According to Sir George Watt, who wrote a book on the
Indian Art Exhibition held in 1902-1903, titled "Indian Art at Delhi"
at which the Pearl Carpet of Baroda was exhibited, the carpet is actually one of four such pieces that
originally formed a suite of carpets. Sir George Watt wrote, "Perhaps if
any one article could be singled out as more freely discussed at the
exhibition than any other, it would be the pearl carpet of Baroda. The
circular portion shown in the plate was probably originally intended as
the veil or canopy, and the rectangular carpet shown on the walls of the
Loan Collection Gallery close by is one of the four such pieces that are
said to have formed the carpet. The field is in seed pearls, the
Arabesque design in blue and red being worked out in English glass
beads, with medallions and rosettes of diamonds, rubies, emeralds,
freely dispersed. To place on the four corners of the carpet were
constructed four large weights in solid gold, thickly set with
diamonds. Needless to add that this superb gift never went to Medina"
Another publication, "A year with the Gaekwar of
Baroda" written by a visitor to the palace, the Reverend Edward St.
Clair Weeden, and published in 1909 describes the carpets in the
following words :- "Four great squares, each as large as a fair-sized
carpet, which hung on the walls, apparently of tapestry. Closer
inspection showed that they consisted entirely of jewels - pearls,
emeralds, rubies, diamonds and so on."
Weeden also says that the Maharajah died before the gift
could be sent to Medina, and his successors did not feel compelled to
carry out his wishes.
Thus from the foregoing accounts
it is apparent that the Pearl Carpet of Baroda, as we know it today, was
actually one of a suite that originally consisted of four rectangular
pieces, a circular piece and four finials. The whole suite could be
assembled to form a canopy for the Prophet's tomb in Medina. Four gold
finials or posts were to be manufactured to serve as support for the
canopy. But the Maharajah died before the gold finials could be
completed.
However, according to E. L.
Tottenham who visited the palace in 1914, there was only one rectangular
carpet still hanging from the walls. His account reads as follows :- "Upon
the wall hung the oblong-shaped (rectangular) famous pearl carpet. It
was made in duplicate, the first to be dispatched to Medina to go over
the tomb of the Prophet Mohammed. This one now only remained. Its value
at the time of making was 68,500 rupees, but this day it was worth 2
lakhs (two hundred thousand rupees). The piece consisted of three big
diamond-set flowers along the middle portion, and thirty-three smaller
flowers, along the border. In the floral design are 1,269 rubies and 596
emeralds. The remaining portion of the carpet, in size 6 feet by 10
feet, is made of seed pearls, except the blue, green and red lines in
the floral design, which are of colored glass beads."
From the above account it is
apparent that the carpet was made in duplicate and the original was to
be dispatched to Medina, and now only the duplicate carpet remained.
Was
Gaekwar Khande Rao able to dispatch the Pearl Carpet to Mecca before his
death ?
The above account given by E. L. Tottenham does not
specifically mention whether the pearl carpet was actually sent to its
intended destination at Medina, the tomb of the Holy Prophet. Neither
does it say that the donor of the said carpet died before it could be
delivered to its intended destination. The account only says that the
original was to be dispatched to Medina, and what remained now was the
duplicate. This account creates an ambiguity in the mind of the reader
about the actual fate of the original carpet. The question that now
arises is, if the original carpet was not sent to Medina, what was the
ultimate fate of this carpet?
However, apart from Tottenham most other authors are
of the view that the carpet or suit of carpets was never delivered to
Medina, as the Maharajah died before his wishes could be fulfilled. If
we accept the view that Baroda Pearl Carpet was actually a part of a
suite of carpets which was not delivered to Medina, then the question
arises about the fate of the other three carpets in the suite. At the
time Tottenham visited the palace in 1914, what remained of the suite
was only a single rectangular-shaped carpet and the circular canopy,
which means that the missing three carpets were disposed of either
during the reign of Khande Rao Gaekwar's brother Mulhar Rao Gaekwar
(1870-1875), or Sayyaji Rao III Gaekwar (1875-1939), the most
enlightened of all the Gaekwars who contributed a great deal for the
social and economic upliftment of the people of Baroda.
Glowing tributes paid
by writers to the Pearl Carpet of Baroda
The Pearl Carpet of Baroda has since its creation
impressed writers as an extraordinary work of art, and most of them have
paid glowing tributes to it in their writings. One such tribute was paid
by Sir George M. Birdwood in 1880. He wrote :- "But the most
wonderful piece of embroidery ever known was the chaddar or veil made by
order of Khande Rao, the late Gaekwar of Baroda, for the tomb of Prophet
Mohammed at Medina. It was composed entirely of inwrought pearls and
precious stones, disposed in an Arabesque pattern, and is said to have
cost a crore (10 million rupees). Although the richest stones were
worked into it, the effect was most harmonious. When spread out in the
sun it seemed suffused with a general iridescent pearly bloom, as
grateful to the eyes as were the exquisite forms of its arabesques."
Michael White writing an article in the New York
Times of May 13, 1906, on the topic, "How Maharajah Gaekwar Became Ruler
of Baroda," stated that, "Maharajah Gaekwar possesses the most costly
piece of jewelry in the world. In dazzling magnificence, it never has
been, or is ever likely to be excelled. This treasure is in the form of
a shawl or cloak of woven pearls, edged with a deep border of arabesque
designs of diamonds, rubies, emeralds and sapphires."
Stuart Cary Welch sounds philosophical when he made
the following comments :- "However unbridled the
opulence of its million pearls of excellent quality, of its fine
diamonds, rubies and emeralds beyond count, the design is suitably
restrained and dignified, a classic arabesque descended from the Mughal tradition and probably
inspired by the legendary jeweled covering ordered by Shah Jahaan to
adorn the cenotaph of Mumtaz Mahal in the Taj Mahal. If one approaches
with an eye only for worldly delight, or even amusement, one soon backs
off, sensing the degree of underlying seriousness and religious
devotion."
Pratapsingh Rao
Gwaekwar, the last Gaekwar of Baroda before Indian independence inherits
the Peal Carpet of Baroda
Thus according to Tottenham what remained of the
pearl carpets during his visit to the Gaekwar Palace in 1914, and was
exhibited on the walls of the palace, was the rectangular-shaped pearl
carpet and the circular jeweled canopy. This was during the enlightened
period of Sayyagi Rao III Gaekwar, who ruled between 1875 and 1939.
Sayyagi Rao III Gaekwar was succeeded by his grandson Pratapsingh Rao
Gaekwar, who ruled from 1939 to 1947, and was the last Gaekwar of
Baroda, before the princely state was absorbed into the new Indian
Republic created in 1947. Pratapsingh Rao inherited most of the Baroda
Crown Jewels, that included the jewels and jewelry acquired during the
period of Khande Rao Gaekwar, such as the "Star of the South Diamond,"
the "English Dresden Diamond," Baroda Diamond Necklace, Baroda
Pearl Necklace, the Hindu Necklace and the Baroda Pearl Carpet and
Canopy. Pratapsingh Rao Gaekwar has gone down in history as the only
Gaekwar who took a second wife while his first wife was still living.
Please refer to Chalk Emerald Ring for the full story of this
marriage.
The Pearl Carpet of
Baroda is taken to Monaco by Pratapsingh Rao Gaekwar in 1946 together
with other treasures
His second wife Sita Devi was previously married to
the Zamindar of Vayyur, and first obtained a divorce from him before
marrying Pratap Singh Gaekwar. Sita Devi's marriage to Pratapsingh Rao
Gaekwar is compared to the marriage of Wallis Simpson a divorcee who
married King Edward VIII of The United Kingdom after his abdication, and
became the Duchess of Windsor after her husband's title of Duke of
Windsor. The western media referred to Sita Devi as India's Wallis
Simpson. After World War II, in 1946, Pratapsingh Rao purchased a
magnificent mansion in Monaco, which he converted to a second palace,
where his second wife Sita Devi took up permanent residence. It was
after this that Pratapsigh Rao Gaekwar moved cabin loads of the great
treasures of Baroda State, which included the Baroda Pearl Carpet and
Canopy to his new palace in Monaco, and Maharani Sita Devi was made the
custodian of these treasures. What prompted him to do so immediately
after World War II is not quite clear, but perhaps it was his knowledge
of the local and international political climate, the independence
movement of India that was gathering momentum at the time and his belief
that the British, who were the protectors of the Gaekwar dynasty, might
decide to pull out of India at any moment.
Maharaja Gaekwad Pratapsigh Rao
The ownership of the
Baroda Pearl Carpet is legally transferred to Sita Devi
Before India became a
republic in 1947, Maharani Sita Devi had already got the ownership of
most of the Baroda treasures including the Baroda Pearl Carpet and
Canopy transferred in her name. She then got Van Cleef & Arpels based in
Paris to remove most of the jewels from their old settings and remount
them in new settings. Fortunately, she decided to keep the Pearl Carpet
of Baroda, in its original pristine state, untouched, probably because of the intricate
designs and the sheer beauty of the piece, which she new very well was
irreplaceable. It is said that the Pearl Carpet of Baroda was kept in a
bank vault in Geneva, Switzerland.
After the Princely State of Baroda acceeded to the
Indian Union in 1947, the Government of India took over the Baroda
treasury and was shocked to find that the treasury was almost empty. The
Government forced the Maharajah to return the treasures under threat of
abdication, but only some of the treasures were eventually returned such
as the 7-stranded pearl necklace now reduced to six strands and the
"Star of the South Diamond." In 1951,
the Maharajah was forced to abdicate in favor of his son by his first
wife Fatehsingh Rao Gaekwar.
Maharani Sita Devi's
personal and financial problems
Pratapsingh Rao moved to Monaco where he lived with
his second wife Sita Devi and their only son Princie. Fallen from power
and denied of the privileges and special government purse paid to the
ex-Maharajahs of Princely States, they now resorted to selling their
jewels and jewelry for their survival. Soon misunderstandings developed
between husband and wife , that led to severe estrangement and finally
divorce in 1956. Pratapsingh Rao now moved to London where he took up
residence, and eventually died in exile in 1968.
Maharani Sita Devi
Sita Devi's problems worsened after her husband left
her, and she was forced to pledge some of her jewelry and eventually
sell some of them at an auction held in Monte Carlo in 1974 that netted
$4 million. In the year 1985, she lost her only son Princie who was 40
years of age, apparently by suicide, caused by alcoholism and drug
addiction. Just one year after the death of her son she too died in
France at the age of 69 years.
When was the Baroda
Pearl Carpet sold by Maharani Sita Devi ?
It is not known exactly when the Baroda Pearl Carpet
was sold by Maharani Sita Devi. The identity of the new owner of
the carpet including his nationality was equally unknown. However it is
believed that the carpet must have changed hands at the secret auction
of her jewels held in Monte Carlo in 1974, organized by Credit Mobilier
of Monaco, at the height of her pecuniary problems. The sale of her
jewels netted a total of $4,000,000 and it is believed that a
substantial proportion of this amount included moneys realized from the
sale of the carpet. The price at which the carpet was sold in 1974 is
also unknown, however, the new owners of the carpet were believed to be
a ruling family from the Middle East.
The Baroda Pearl
Carpet resurfaces at New York in 1985/86
The Baroda Pearl Carpet was last exhibited in
1903, at the Indian Art Exhibition held at the Qudsia Gardens in
Delhi, during the Delhi Durbar of 1903. The Maharajah of Baroda at the
time, Sir Sayyaji Rao III Gaekwar, allowed it to be displayed as a mark
of respect for the British Sovereign. This was the first time the carpet was released by the Royal
Palace of Baroda for public viewing since its creation in 1865. The
carpet remained in India at the Royal Palace of Baroda, until 1946, when
it was taken to Monaco. After its first exposition in Delhi in
1903, the carpet again resurfaced for public exposition only in
1985/1986 at The Metropolitan Museum of Art, in New York, at an
exhibition titled "INDIA" held between September 14, 1985 and January 5,
1986.
The Baroda Pearl
Carpet again in the news in 1994
After the carpets appearance in 1985/1986, at New
York, we here of it again in January 1994, when a news item appearing in
Arabian and Indian newspapers, described the Baroda Pearl Carpet as a
400-year old prayer rug. The report described the rug as being decorated
with three shining diamond centers in the middle, laced with pure gold
and surrounded by pearls, rubies and emeralds. The report also quoted a
Saudi-based agent Hisham-al-Baroodi as saying that he was negotiating
with relevant Saudi Officials to take the rug to the kingdom, where he
was confidant of finding a buyer.
Sotheby's announces
the auction of the Baroda Pearl Carpet at Doha, Qatar, on March 19, 2009
In February 2009, Sotheby's announced the auction of
the Pearl Carpet of Baroda together with other objects, at the inaugural
series of its sales in Doha, known as the "Arts of the Islamic World
Auction" to be held on March 19, 2009, at their new auction hall at
Level 15, Commercial Bank Plaza, Al-Markhiya Street, Doha. Bidding on
the carpet was to start around US $5 million, but was expected to rise
considerably higher reaching as much as $20 million. Mary Jo Otesa,
Worldwide Director of Rugs and Carpets at Sotheby's said, "It is
fitting that an historic object as magnificent and unique as the Pearl
Carpet of Baroda is a major highlight of our inaugural series of
auctions in Doha. The carpet has never appeared at auction before and
the sale therefore represents an unparalleled opportunity to acquire an
extraordinary significant work of art. I am delighted that middle
eastern collectors will be able to view this stunning work."
Sotheby's inaugural auction series was to begin
with an exclusive exhibition of artifacts from March 14, 2009. A
collection of Orientalist Art and Contemporary Art masterpieces was to
be auctioned on March 18, 2009, and "Arts of the Islamic World Auction"
was to be held on March 19, 2009.
The Baroda Pearl
Carpet is sold for $5.5 million, a new record for a carpet sold at an
auction
When the auction got underway on March 19, 2009,
there were only three bidders for the carpet, and therefore the starting
price was brought down to $4.5 million. An anonymous buyer who bid by
telephone eventually bought the Baroda Pearl Carpet for $5.5 million,
setting a new record for a carpet sold at an auction. The previous
record for a carpet sold at an auction, was created in June 2008, when a
400-year old Persian Isfahan Carpet, was auctioned by Christie's in New
York for $4.45 million. The fact that there were only three bidders for
the carpet, which fetched only $5.5 million, far short of the pre-sale
estimate of 20 million dollars, was a reflection of the falling demand
for such collectors items in the face of the current world recession.
The identity and nationality of the seller and the buyer were not
disclosed by the auction house.
Together with the Baroda Pearl Carpet, there were 18
other pieces lined up for sale, but eventually only five pieces sold. A
gorgeous silk velvet hanging, showing elegantly dressed women walking in
a garden, from early 17th century Safavid Persia sold for ten times its
estimated value, at $3.4 million, after fierce bidding between six
buyers. The winning bidder was reported to be a member of the Qatari
royal family and the piece was destined for the new Museum of Islamic
Art in Doha, which was opened in November 2008.
The other auctions held earlier featuring Orientalist
Art, Contemporary Art and watches, also turned in poor results, and the
auction house made just $18 million, well short of the pre-sale total
estimate of $30 million. Lord Poltimore, one of the two auctioneers in
Doha, commented, "While the results weren't everything we expected,
we feel positive for this sale in a new region. But we will review our
position all the time."
You are welcome to discuss this post/related topics with Dr Shihaan and other experts from around the world in our FORUMS (forums.internetstones.com)
Related :-
1)
Pearl of Kuwait
2)
Chalk Emerald Ring
External Links :-
Sotheby's
auctions calender pearl carpet of Baroda
References :-
1) The Pearl Carpet of Baroda - Sotheby's Auction
Catalogue
2) Yarn of the priceless pearl carpet that has
vanished - K.R.N. Swamy, The Tribune, Sunday, August 18, 2002.
www.tribuneindia.com
3) Pearl Carpet of Baroda Sells for Record $5.5
Million - Scott Reyburn, Bloomberg.com
4) The Pearl Carpet of Baroda to go under the hammer
- The Economic Times, economictimes.indiatimes.com
5) Carpet Weaving - SalamIran - Culture and Tourism,
Art and Handicraft of Iran
6) Persian Carpet - From Wikipedia, the free
encyclopedia
7) Gaekwad - From Wikipedia, the free encyclopedia
8) Vadodara - From Wikipedia, the free encyclopedia
9) Shivaji - From Wikipedia, the free encyclopedia
10) Elizabeth I of England - From Wikipedia, the free
encyclopedia
11) Mehmed II - From Wikipedia, the free encyclopedia
