.jpg?w=1)
拍品专文
Susanis from the Shakrizhabz region are prized not only for their craftsmanship but also for their bold design and colours. This example is no exception.
It also illustrates the shifting balance in this group from a dominant field to one in which borders and field almost have equal importance. A further development of this tendency eventually leads to the so-called 'Large Medallion' group, in which the field is completely over-taken by a single, large medallion. For a detailed discussion of this, see the catalogue notes to the "Keschte" example cited below.
This configuration is one that is repeated in several examples held in public collections. Compare Page 34, "Flowering Gardens Along the Silk Road", Rachel Hasson, LA Mayer Museum for Islamic Art, Jerusalem, 2001; Plate 30, page 120, "Susanis Usbekistans", G L Tschelpeleweskaja and O A Sucharewa, Staatliches Museum Orientalischer Kunst, Moscow, No 4114,III; "Keschte", Catalogue Number 15, The Marshall and Marilyn R Wolf Collection; and Numbers 32, 33, 34 and 35, "Vok Collection", Vok and Taube, 1994.
It also illustrates the shifting balance in this group from a dominant field to one in which borders and field almost have equal importance. A further development of this tendency eventually leads to the so-called 'Large Medallion' group, in which the field is completely over-taken by a single, large medallion. For a detailed discussion of this, see the catalogue notes to the "Keschte" example cited below.
This configuration is one that is repeated in several examples held in public collections. Compare Page 34, "Flowering Gardens Along the Silk Road", Rachel Hasson, LA Mayer Museum for Islamic Art, Jerusalem, 2001; Plate 30, page 120, "Susanis Usbekistans", G L Tschelpeleweskaja and O A Sucharewa, Staatliches Museum Orientalischer Kunst, Moscow, No 4114,III; "Keschte", Catalogue Number 15, The Marshall and Marilyn R Wolf Collection; and Numbers 32, 33, 34 and 35, "Vok Collection", Vok and Taube, 1994.