.jpg?w=1)
拍品專文
This velvet panel closely relates to a fine and large velvet hanging in the Metropolitan Museum, New York, dated to the reign of Shah Jahan (1628-1658), which is decorated with almost identical borders (inv. 41.190.256). The present piece was originally part of a larger floor spread and another fragment, exhibited in Philadelphia in 1928 as part of the Kelekian Collection, was sold at Christie's South Kensington, 24 April 2015, lot 76. It has been suggested that they were borders to a panel now in the Victoria and Albert Museum (possibly 281:1 to 3-1893).
In the later sixteenth and early seventeenth century there was a strong flow of artists and craftsmen from Iran to the Mughal Court, leading to a well documented, strong Persian influence in the arts of early Mughal India. In the same way as the Safavids, the Mughal courts produced velvet carpets woven in coloured silks on a metal-thread ground. By the end of the seventeenth century however, much of the influence was travelling in the other direction, a process only speeded up by the plunder of Delhi by Nadir Shah in 1748. Two superb quality Mughal pashmina carpets which are now in the Shrine of the Imam Reza at Mashhad were probably donated at this time. The most impressive of all is probably that in the Metropolitan Museum of Art (Stuart Cary Welch, India, exhibition catalogue, New York, 1985, no.136, p.207).
In the later sixteenth and early seventeenth century there was a strong flow of artists and craftsmen from Iran to the Mughal Court, leading to a well documented, strong Persian influence in the arts of early Mughal India. In the same way as the Safavids, the Mughal courts produced velvet carpets woven in coloured silks on a metal-thread ground. By the end of the seventeenth century however, much of the influence was travelling in the other direction, a process only speeded up by the plunder of Delhi by Nadir Shah in 1748. Two superb quality Mughal pashmina carpets which are now in the Shrine of the Imam Reza at Mashhad were probably donated at this time. The most impressive of all is probably that in the Metropolitan Museum of Art (Stuart Cary Welch, India, exhibition catalogue, New York, 1985, no.136, p.207).