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拍品專文
The larger inscription on the upper surface is from the Gulestan of Sa'di. The inscriptions in the cartouches around the sides are Persian verses in praise of the kashkul which are very frequently found used in this way.
For a discussion of the kashkul and the origin of its form please see Melikian-Chirvani, A.S.: "From the Royal Boat to the Beggar's Bowl", Islamic Art IV, 1991, pp.3-111). Another steel kashkul also signed in the name of Hajji 'Abbas is in the Nuhad es-Said Collection (Allan, James W.: Islamic Metalwork in the Nuhad es-Said Collection, London, 1982, no.26, pp.114-117). That is however of considerably finer workmanship than the present example. This is much more like one in the Tanavoli Collection for which there are a number of parallels noted: in the Hermitage Museum, St. Petersburg [probably erroneously] dated AH 1207 (1792-3 AD), one in the Museum of Oriental Art, Moscow dated AH 1296 (1879 AD), one in the Gulistan Palace Tehran, one in the Nahman Collection, and one on loan to the Ashmolean Museum (Allan, James W.: Persian Steel, The Tanavoli Collection, Oxford, 2000, pp.318-320).
For a discussion of the kashkul and the origin of its form please see Melikian-Chirvani, A.S.: "From the Royal Boat to the Beggar's Bowl", Islamic Art IV, 1991, pp.3-111). Another steel kashkul also signed in the name of Hajji 'Abbas is in the Nuhad es-Said Collection (Allan, James W.: Islamic Metalwork in the Nuhad es-Said Collection, London, 1982, no.26, pp.114-117). That is however of considerably finer workmanship than the present example. This is much more like one in the Tanavoli Collection for which there are a number of parallels noted: in the Hermitage Museum, St. Petersburg [probably erroneously] dated AH 1207 (1792-3 AD), one in the Museum of Oriental Art, Moscow dated AH 1296 (1879 AD), one in the Gulistan Palace Tehran, one in the Nahman Collection, and one on loan to the Ashmolean Museum (Allan, James W.: Persian Steel, The Tanavoli Collection, Oxford, 2000, pp.318-320).