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拍品专文
The knot count measures approximately 11V x 8H per cm. sq.
The design of this splendid silk Heriz carpet is known as a 'Triclinium' or 'Audience' carpet. The layout comprises the three main areas of the domestic Persian living room, the mian farsh (main carpet) flanked by two kenareh (side panels or runners) and on one of its short sides by a kalleghi (known in the West as a kelleh); see Jennifer Scarce, ‘The Role of Carpets within the 19th Century Persian Household’, HALI 24, 1984, pp.394-400, fig .11).
The golden-yellow ground of the mian farsh in the present carpet is decorated with entwined flowering vines inspired by earlier Safavid 'Vase' carpets. A comparable silk Heriz carpet, both in palette and drawing, inscribed 'The work of Sabbagh', with further inscription cartouches within its border containing verses from Hafez, together with the phrase 'Mubarak bad' ('Congratulations' or 'Good luck'), sold Sotheby's New York, 19 May 1984, lot 202. The similarity in appearance and quality of both carpets suggests that our carpet could also have been woven within the same workshop.
The single plane lattice of flowering shrubs in both kelleh draws upon earlier 'Vase' carpets but from a rarer subgroup which tend to be better spaced and have more complex borders. Only fragments have survived from that group, apart from the beautiful early 17th-century ‘Lady Dudley shrub lattice' carpet that was formerly in the collection of Prince Stanislaw Radziwill, which later sold in Sotheby's London, 11 October 1990, lot 706 and is now in the Museum of Islamic Art, Doha. The narrow format of a kelleh or kenareh, lends itself to an ascending design of floral decoration, and this format proved popular throughout the 18th and 19th centuries.
The kalleghi at the upper end of the carpet bears the same 'Shrub' design as the kelleh but is centered by a red scalloped medallion. The carpet is dated to 1868-9 AD and bears further poetic verses mirrored in the borders on either side by the renowned Persian poet Khwaja Shams-ud-Din Muhammad Hafez-e Shirazi, known by his pen name Hafez. Hafez, was a Persian poet who "lauded the joys of love and wine" but also targeted religious hypocrisy. His collected works are regarded as a pinnacle of Persian literature and continue to be recited today and used as common proverbs. His life and poems have been the subject of much analysis, commentary and interpretation, influencing post-14th century Persian writing more than any other author.
An impressive silk Heriz carpet of 'Garden' design, coincidentally woven in the same year, and completed on the same day as the present carpet, 31 October 1868 AD, sold in these Rooms, 3 May 2001, lot 50. That carpet was similarly woven with two ivory cartouches on either side of a golden yellow date cartouche containing the same two ghazals by Hafez. It bears two further ghazals, the second of which is certainly by Jami while the first, which is the same verse that appears in the upper side cartouches on our carpet, cannot be immediately identified. In all probability, it is likely that the first verse was an addition stemming from Jami's original ghazal, which proved popular, as it continued to be recited in early 20th century Iranian romance movies. The manner of execution of the calligraphy and the scalloped profile of the cartouches on both carpets would suggest that both of these large scale, silk Qajar carpets, woven simultaneously, were produced in the same workshop. It would have taken a highly proficient and established workshop to undertake two such commissions at the same time.
This splendid silk Heriz carpet, with its rich colours and intricate designs, is a wonderful example of one of a relatively small number of surviving 'Triclinium' carpets, which rarely come to market.
The design of this splendid silk Heriz carpet is known as a 'Triclinium' or 'Audience' carpet. The layout comprises the three main areas of the domestic Persian living room, the mian farsh (main carpet) flanked by two kenareh (side panels or runners) and on one of its short sides by a kalleghi (known in the West as a kelleh); see Jennifer Scarce, ‘The Role of Carpets within the 19th Century Persian Household’, HALI 24, 1984, pp.394-400, fig .11).
The golden-yellow ground of the mian farsh in the present carpet is decorated with entwined flowering vines inspired by earlier Safavid 'Vase' carpets. A comparable silk Heriz carpet, both in palette and drawing, inscribed 'The work of Sabbagh', with further inscription cartouches within its border containing verses from Hafez, together with the phrase 'Mubarak bad' ('Congratulations' or 'Good luck'), sold Sotheby's New York, 19 May 1984, lot 202. The similarity in appearance and quality of both carpets suggests that our carpet could also have been woven within the same workshop.
The single plane lattice of flowering shrubs in both kelleh draws upon earlier 'Vase' carpets but from a rarer subgroup which tend to be better spaced and have more complex borders. Only fragments have survived from that group, apart from the beautiful early 17th-century ‘Lady Dudley shrub lattice' carpet that was formerly in the collection of Prince Stanislaw Radziwill, which later sold in Sotheby's London, 11 October 1990, lot 706 and is now in the Museum of Islamic Art, Doha. The narrow format of a kelleh or kenareh, lends itself to an ascending design of floral decoration, and this format proved popular throughout the 18th and 19th centuries.
The kalleghi at the upper end of the carpet bears the same 'Shrub' design as the kelleh but is centered by a red scalloped medallion. The carpet is dated to 1868-9 AD and bears further poetic verses mirrored in the borders on either side by the renowned Persian poet Khwaja Shams-ud-Din Muhammad Hafez-e Shirazi, known by his pen name Hafez. Hafez, was a Persian poet who "lauded the joys of love and wine" but also targeted religious hypocrisy. His collected works are regarded as a pinnacle of Persian literature and continue to be recited today and used as common proverbs. His life and poems have been the subject of much analysis, commentary and interpretation, influencing post-14th century Persian writing more than any other author.
An impressive silk Heriz carpet of 'Garden' design, coincidentally woven in the same year, and completed on the same day as the present carpet, 31 October 1868 AD, sold in these Rooms, 3 May 2001, lot 50. That carpet was similarly woven with two ivory cartouches on either side of a golden yellow date cartouche containing the same two ghazals by Hafez. It bears two further ghazals, the second of which is certainly by Jami while the first, which is the same verse that appears in the upper side cartouches on our carpet, cannot be immediately identified. In all probability, it is likely that the first verse was an addition stemming from Jami's original ghazal, which proved popular, as it continued to be recited in early 20th century Iranian romance movies. The manner of execution of the calligraphy and the scalloped profile of the cartouches on both carpets would suggest that both of these large scale, silk Qajar carpets, woven simultaneously, were produced in the same workshop. It would have taken a highly proficient and established workshop to undertake two such commissions at the same time.
This splendid silk Heriz carpet, with its rich colours and intricate designs, is a wonderful example of one of a relatively small number of surviving 'Triclinium' carpets, which rarely come to market.