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Lot Essay
The tradition of changing the coverings of sacred sites in Mecca and Medina annually is an old one. However, Ottoman Sultans particularly cared for those in Medina. Buildings were renovated and as late as the reign of Sultan Ahmed III (r.1703-30), skilfully woven silk curtains were sent to the Ravza-i Mutahhara, the Tomb of the Prophet Muhammad (Hülya Tezcan, Sacred Covers of Islam's Holy Shrines with samples from Topkapi Palace, Istanbul, 2017, p.141). Tezcan, however, estimates that this tradition started during the reign of Süleyman the Magnificent (r.1520-66; Tezcan, “Kanuni’nin adını taşıyan ilk Kabe perdesi,” Antika 23, 1987, p.21).
The Topkapi Palace in Istanbul holds a large collection of these textiles, including several green-ground examples similar to ours (Tezcan, Sacred Covers, pp.212-19). With their characteristic zigzag epigraphic weavings, they were also frequently depicted in illustrated Ottoman manuscripts (see, for example, a Futuh al-Haramain in the British Library, Or. 11533, f.37r).
Described as “Medina the Radiant” covers, Selin İpek places the green-ground examples within eight subgroups, of which ours may be placed within the type dated to the 18th century (Selin İpek, "Ottoman Ravza-i Mutahhara Covers Sent from Istanbul to Medina with the Surre Processions," Muqarnas 23, 2006, pp.291-302). This is due to two related examples in the collection both dated AH 1291⁄1791 AD (TSM nos. 24⁄286, 24⁄288) and two others with identical designs, including the tulip, daisy, and rose decorations, and inscriptions (TSM nos. 24⁄281, 24⁄1643; see İpek, op.cit., figs.10-13). As a whole, this group follows characteristics of Ottoman decorative arts of the 18th century (İpek, op.cit., p.298).
For other related examples, see these in the Sadberk Hanım Museum, Istanbul (1880; Hülya Bilgi, Catma & Kemha: Ottoman Silk Textiles, Istanbul, 2007, pp. 54-55, no.16), The Al Thani Collection (ATC729f), The Khalili Collection (TXT 241), The L.A. Mayer Museum for Islamic Art, Jerusalem (T.389.69), Museé Historique des Tissus, Lyon (Anthony Welch, Calligraphy in the Arts of the Muslim World, Asia Society, Austin, 1979, no.34). Another related example was sold in these Rooms, 26 April 2005, lot 51A, while an earlier example was similarly sold in these Rooms, 23 October 2007, lot 34.
The Topkapi Palace in Istanbul holds a large collection of these textiles, including several green-ground examples similar to ours (Tezcan, Sacred Covers, pp.212-19). With their characteristic zigzag epigraphic weavings, they were also frequently depicted in illustrated Ottoman manuscripts (see, for example, a Futuh al-Haramain in the British Library, Or. 11533, f.37r).
Described as “Medina the Radiant” covers, Selin İpek places the green-ground examples within eight subgroups, of which ours may be placed within the type dated to the 18th century (Selin İpek, "Ottoman Ravza-i Mutahhara Covers Sent from Istanbul to Medina with the Surre Processions," Muqarnas 23, 2006, pp.291-302). This is due to two related examples in the collection both dated AH 1291⁄1791 AD (TSM nos. 24⁄286, 24⁄288) and two others with identical designs, including the tulip, daisy, and rose decorations, and inscriptions (TSM nos. 24⁄281, 24⁄1643; see İpek, op.cit., figs.10-13). As a whole, this group follows characteristics of Ottoman decorative arts of the 18th century (İpek, op.cit., p.298).
For other related examples, see these in the Sadberk Hanım Museum, Istanbul (1880; Hülya Bilgi, Catma & Kemha: Ottoman Silk Textiles, Istanbul, 2007, pp. 54-55, no.16), The Al Thani Collection (ATC729f), The Khalili Collection (TXT 241), The L.A. Mayer Museum for Islamic Art, Jerusalem (T.389.69), Museé Historique des Tissus, Lyon (Anthony Welch, Calligraphy in the Arts of the Muslim World, Asia Society, Austin, 1979, no.34). Another related example was sold in these Rooms, 26 April 2005, lot 51A, while an earlier example was similarly sold in these Rooms, 23 October 2007, lot 34.