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A METAL THREAD EMBROIDERED BLACK HANGING (SITARA) FROM THE HARAM AL NABAWI AT MEDINA

EGYPT, DATED AH 1209/1794-5 AD

細節

A METAL THREAD EMBROIDERED BLACK HANGING (SITARA) FROM THE HARAM AL NABAWI AT MEDINA
EGYPT, DATED AH 1209/1794-5 AD
Of rectangular form, the black field with applied thick silver and gilt embroidery forming calligraphic cartouches surrounding an inner mihrab with columns and mosque lamp, with two calligraphic panels on green and red silk grounds above, five red embroidered palmettes along the uppermost section, some areas of wear and discolouration
109¼ x 52in. (277.5 x 132cm.)

注意事項

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拍品專文

The inscription in the top cartouche on red ground is the Qur'an Sura 49 (al-Hujurat) v.3; on the upper green cartouche below it is a hadith of the Prophet; the side panels are from the Qur'an Sura 59 (al-Hashr) vv.22-24; in the six roundels are the names Allah, Muhammad, Abu Bakr, 'Umar, 'Uthman and 'Ali; the hanging lamp, in mirrored calligraphy, reads 'O the Opener [of all the gates]'; the lower cartouches on black ground read amara bi-'amal hadha al-sitara al-mubaraka , mawlana ... al-a'zam al-sultan selim khan, 'Our Lord, the greatest ... Sultan Selim Khan ordered this blessed covering (sitara) to be made'; the lower middle cartouche on red ground reads wa al-sahaba ajma'in, 'And all the companions'; in the tear-shaped hanging between the columns mawlana al-sultan , selim khan bi-misr , fi sanat 1209, 'Our Lord, the Sultan Selim Khan ... in Egypt ... in the year 1209'. The Sultan Selim Khan must therefore refer to Selim III (AH 1203-22/1789-1807 AD).

The Masjid al-Nabawi (Mosque of the Prophet) in Medina is, as the final resting place of Muhammad, the second holiest mosque in Islam. The interior walls of the Shrine of the Prophet Muhammad (rawda) within the mosque were historically covered in textiles similar to those of the Ka'ba in Mecca. However, unlike the Meccan Kiswa, they were changed considerably less frequently than once a year, and were often made in Ottoman Turkey rather than Egypt.

The layout of this piece is almost identical to one illustrated in Hulya Tezcan, Al-Astar al-Haramayn, Istanbul, 1996, no. 47, pp.118-20.