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拍品專文
The inscription with unusual terms and combinations reads al-'izz wa al-iqbal wa,al-ni'ma wa al-...,al-majd wa al-ifzal,wa al-karam wa al-'ilm wa a,l-hilm wa,i'mal wa al-ijmal (ihmal) wa al-i,kmal al-akhlaq,[wa] al-ihsan wa al-..., (Glory and Prosperity and (God's) Grace and ... and Splendour and Excellence and Generosity and Knowledge and Forbearance and [causing] to apply [well] and ... and perfecting Manners and Charity and...).
The patronage of the Injuids rulers of Shiraz and Fars (1304-1357) is responsible for a rich and numerous production of metalwork of which the decoration of the present bowl is characteristic. A brass box in the Louvre in the form of a mausoleum shows a very similar medallions with horsemen and laudatory inscriptions written in the same elongated naskh (Linda Komaroff, Stefano Carboni, The Legacy of Genghis Khan, Courtly Art and Culture in Western Asia, 1256-1353, New York, 2003, fig.246). Each of the three medallions of this box illustrates a horseman in action, two of them hunting with a bow or a hawk, in a similar depiction to that on the present example. The band of chasing animals above the main register finds a comparison in a candlestick in Edinburgh dated to the early 14th century (Komaroff and Carboni, op. cit., fig.228).
This bowl has now lost its inlay. However, the spandrels between each medallion were almost certainly inlaid with large panels of silver as the surface of these spaces is not otherwise engraved and the edges are undercut to retain the panel. This unusual embellishment is another justification for Assadullah Souren Melikian-Chirvani's qualification of Fars metalwork as "one of the richest and most complex forms of artistic creation in the Iranian lands" (in Linda Komaroff, Stefano Carboni, op. cit., p.221).
The patronage of the Injuids rulers of Shiraz and Fars (1304-1357) is responsible for a rich and numerous production of metalwork of which the decoration of the present bowl is characteristic. A brass box in the Louvre in the form of a mausoleum shows a very similar medallions with horsemen and laudatory inscriptions written in the same elongated naskh (Linda Komaroff, Stefano Carboni, The Legacy of Genghis Khan, Courtly Art and Culture in Western Asia, 1256-1353, New York, 2003, fig.246). Each of the three medallions of this box illustrates a horseman in action, two of them hunting with a bow or a hawk, in a similar depiction to that on the present example. The band of chasing animals above the main register finds a comparison in a candlestick in Edinburgh dated to the early 14th century (Komaroff and Carboni, op. cit., fig.228).
This bowl has now lost its inlay. However, the spandrels between each medallion were almost certainly inlaid with large panels of silver as the surface of these spaces is not otherwise engraved and the edges are undercut to retain the panel. This unusual embellishment is another justification for Assadullah Souren Melikian-Chirvani's qualification of Fars metalwork as "one of the richest and most complex forms of artistic creation in the Iranian lands" (in Linda Komaroff, Stefano Carboni, op. cit., p.221).