Lot Essay
This fragment, which at first appears complete, is a part of one of the rare large Mamluk carpets, probably representing the central medallion, which has had the two original end borders attached. The beginnings of the medallions flanking it can be seen at each end. Apart from the three very well known large Mamluk carpets, the Simonetti Carpet (Dimand, M.S. and Mailey, J.: Oriental Rugs in the Metropolitan Museum of Art, New York 1973, cat. no. 97, pp.229-230, fig.181, p.154), the Medici Mamluk discovered recently in Florence (King, D. and Sylvester, D.: The Eastern Carpet in the Western World, exhibition catalogue, London 1983, no. 21, pp.61-2 and colour pl. p.41), and the magnificent silk carpet in Vienna (De Unger, E.: Connoisseur's choice in HALI 31, pp.8-9), most of the few other large carpets are fragmentary.
Many authors have tried to establish relationships between the various design types within the Mamluk group, but while a few guiding principles have been established, a continuous development over time has not been firmly established, nor have the dates of the beginning and end of manufacture. There is also still discussion as to the place of manufacture. Within the group, the large carpets are as diverse as the small; they do not all belong to one period or a single design group.
The present example relates closely to a rug in the Textile Museum, Washington, R 7.5 (Kühnel, E and Bellinger, L.: Cairene Rugs and those technically related, 15th century-17th century, Washington D.C. 1957, p.19, and pl.IX). Both have comparable layout and also include touches of yellow picking out design elements. Not only is the central stellar medallion very similar, but also the corner panels of the main field, each containing diagonal rows of lozenges around octagons, are more prominent than is usually found in the group, extending so they just touch the central motif. This last facet is one that can also be observed in a few of the three-coloured rugs such as the Boston Mamluk rug (King, D. and Sylvester, D.: op.cit., no.23, p.63 and col. pl. p.40) the similar Mamluk rug in the Metropolitan Museum, New York (Dimand, M.S. and Mailey, J.: op.cit. no.99, pp.230-231, ill. p.195) and, ultimately, the Vienna silk Mamluk carpet.
This rug shows clearly the superb balance achieved by the weavings of this group, a balance of complex geometry and subtle colours.
Many authors have tried to establish relationships between the various design types within the Mamluk group, but while a few guiding principles have been established, a continuous development over time has not been firmly established, nor have the dates of the beginning and end of manufacture. There is also still discussion as to the place of manufacture. Within the group, the large carpets are as diverse as the small; they do not all belong to one period or a single design group.
The present example relates closely to a rug in the Textile Museum, Washington, R 7.5 (Kühnel, E and Bellinger, L.: Cairene Rugs and those technically related, 15th century-17th century, Washington D.C. 1957, p.19, and pl.IX). Both have comparable layout and also include touches of yellow picking out design elements. Not only is the central stellar medallion very similar, but also the corner panels of the main field, each containing diagonal rows of lozenges around octagons, are more prominent than is usually found in the group, extending so they just touch the central motif. This last facet is one that can also be observed in a few of the three-coloured rugs such as the Boston Mamluk rug (King, D. and Sylvester, D.: op.cit., no.23, p.63 and col. pl. p.40) the similar Mamluk rug in the Metropolitan Museum, New York (Dimand, M.S. and Mailey, J.: op.cit. no.99, pp.230-231, ill. p.195) and, ultimately, the Vienna silk Mamluk carpet.
This rug shows clearly the superb balance achieved by the weavings of this group, a balance of complex geometry and subtle colours.