.jpg?w=1)
拍品專文
In the way the leaves turn upon themselves and the naturalism with which the subject is painted, this fine floral study resembles a painting of an iris and butterfly dated 1721 which is signed by Muhammad Rashid Khan (P. and D. Colnaghi, Persian and Mughal Art, exhibition catalogue, London, 1976, no.62, p.157). The iris there too is accompanied by a small butterfly that closely resembles ours. Though 16th century floral studies are known, the prevalence of drawings of anatomically correct plants of definable species, often surrounded by butterflies and bees, became much more popular from the 17th century and came to represent a new genre in Persian painting. The artist most commonly associated with the style is Shafi’ ‘Abbasi, the son of Reza ‘Abbasi, who became famous during the 1640s and 1650s for his particularly detailed and individualised studies of flowers and birds.
The floral sprays on either side of the tulip blossom, which each sprout from their own individual ‘tufts’ relate closely to the work found on contemporaneous Safavid penboxes. An example, decorated with a similar tulip was offered in these Rooms, 11 October 2005, lot 133. That was inscribed Muhammad Zaman and dated AH 1132/1719-20. Another related penbox, catalogued as 18th century and decorated with a similar curling tulip is in the Nasser D. Khalili Collection (Nasser D. Khalili, B.W. Robinson and Tim Stanley, Lacquer of the Islamic Lands, vol.I, London, 1996, no.81, pp.118-19). A drawing by Shafi’ ‘Abbasi, which shows a similar treatment of individualised floral sprays forming an overall composition is in the British Museum (Sheila Canby, Persian Painting, London, 1993, cat.72, p.108).
The floral sprays on either side of the tulip blossom, which each sprout from their own individual ‘tufts’ relate closely to the work found on contemporaneous Safavid penboxes. An example, decorated with a similar tulip was offered in these Rooms, 11 October 2005, lot 133. That was inscribed Muhammad Zaman and dated AH 1132/1719-20. Another related penbox, catalogued as 18th century and decorated with a similar curling tulip is in the Nasser D. Khalili Collection (Nasser D. Khalili, B.W. Robinson and Tim Stanley, Lacquer of the Islamic Lands, vol.I, London, 1996, no.81, pp.118-19). A drawing by Shafi’ ‘Abbasi, which shows a similar treatment of individualised floral sprays forming an overall composition is in the British Museum (Sheila Canby, Persian Painting, London, 1993, cat.72, p.108).