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拍品專文
The fifteenth century, as noted in the previous two lots, was one where geometric interlace designs were popular throughout the Islamic world. The present ceiling demonstrates the early Ottoman interpretation of this form, incorporating many different motifs from the preceding two lots.
The geometry of this ceiling is relatively straightforward; based on radiating octagonal panels, it forms pronounced pentagonal stars within the design. In the central panel this is rotated by 22.5 degrees and slightly altered around the four secondary stalactitic muqarnas pendants to form a counterpoint to the more rigid feel of the border. Many of the painted designs are very close to Mamluk decorative painting; in particular the use of contrasting shades of the same colour to give depth to the floral designs can be seen on a number of Mamluk qur'ans of the reign of Sultan Sha'ban (James, David: Qur'ans of the Mamluks, London, 1988, particularly figs 132-144). The floral motifs within the paired addorsed split palmettes in the central panel of the ceiling can also easily be found in Mamluk decoration. But some of the other panels point to another origin.
In the border, the octagons contain two different alternating motifs in the main polygons around each centre. One is a palmette form which is similar to those found in illumination. The other is a carnation, a flower which does not feature in Mamluk illumination but became very popular in 16th century Ottoman designs. Similarly, the small dark polygons around the edge of the central panel contain the three cintamani roundels so popular a design under the Ottomans. Another feature which is distinctively Ottoman 15th century is the gold muqarnas work around the edge of the panel. This can be found in the ceiling of both the tomb of Sultan Murad II and the Muradiye itself in Bursa (Aslanapa, Oktay: Turkish Art and Architecture, London, 1971, pls.248 and 249). The Muradiye ceiling also includes a very similar palmette motif to that alternating in the present ceiling with the carnation. The geometry with its pronounced pentagonal stars is also very similar to that of the Mosque of Zaganos Pasha in Balikesir, the only difference being that the Zaganos Pasha design is based on an ten-pointed rather than an eight-pointed star (Humbert, Claude: Islamic Ornamental Design, London and Boston, 1980, pl.261).
The geometry of this ceiling is relatively straightforward; based on radiating octagonal panels, it forms pronounced pentagonal stars within the design. In the central panel this is rotated by 22.5 degrees and slightly altered around the four secondary stalactitic muqarnas pendants to form a counterpoint to the more rigid feel of the border. Many of the painted designs are very close to Mamluk decorative painting; in particular the use of contrasting shades of the same colour to give depth to the floral designs can be seen on a number of Mamluk qur'ans of the reign of Sultan Sha'ban (James, David: Qur'ans of the Mamluks, London, 1988, particularly figs 132-144). The floral motifs within the paired addorsed split palmettes in the central panel of the ceiling can also easily be found in Mamluk decoration. But some of the other panels point to another origin.
In the border, the octagons contain two different alternating motifs in the main polygons around each centre. One is a palmette form which is similar to those found in illumination. The other is a carnation, a flower which does not feature in Mamluk illumination but became very popular in 16th century Ottoman designs. Similarly, the small dark polygons around the edge of the central panel contain the three cintamani roundels so popular a design under the Ottomans. Another feature which is distinctively Ottoman 15th century is the gold muqarnas work around the edge of the panel. This can be found in the ceiling of both the tomb of Sultan Murad II and the Muradiye itself in Bursa (Aslanapa, Oktay: Turkish Art and Architecture, London, 1971, pls.248 and 249). The Muradiye ceiling also includes a very similar palmette motif to that alternating in the present ceiling with the carnation. The geometry with its pronounced pentagonal stars is also very similar to that of the Mosque of Zaganos Pasha in Balikesir, the only difference being that the Zaganos Pasha design is based on an ten-pointed rather than an eight-pointed star (Humbert, Claude: Islamic Ornamental Design, London and Boston, 1980, pl.261).