Subsequent mughal kings, Jehangir and Shahjahan were equally supportive of this new found passion, which finally lead to the establishment of a new craft in India. Although initially Persian motifs and styles dominated the scene, with time it incorporated distinctly Indian features. The Kashmir carpet weave is however, still based on the Persian knot.

During the Mughal reign,the craftsman was free to lend his own artistic impression to the carpet he made. Eventually with the downfall of the Moghuls, the craft was largely confined to the ideas and fancies of the noble and elite class.

But finally, it was the British who turned the craft into a market savvy activity. The East India company flung open the doors for global appreciation and patronage of carpets. Sensing its huge market potential, it patronized traditional designs which were appreciated by foreigners, mainly the Britishers themselves.

After Independence, the appreciation of the craft was no longer confined to Britain but spread to find a global following. As with any Indian craft, in carpets too, design comes up as the primary consideration and everything else is secondary. The shape and renderings are most primary and have to be perfect.

The typical Kashmiri design include the tree of life, flower vase pattern and pazley (mughal stamp). Persian medallion designs are still rendered by the Kashmiri craftsmen. Key amongst them are Kashan, Kirman, Gunib etc., all derived from the names of places in Persia where the designs originated.