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拍品专文
The form of this cenotaph is clearly close to that of Timurid grey schist examples of the 15th century, and the floral designs carved to fill the spaces are very similar indeed. Identical layouts to our example, with the same cusped octofoil upper panel, are seen in a number of the secondary cenotaphs belonging to members of the Mughal royal family inside Humayun’s tomb in Delhi. Exactly the same inscription in very similar script fills the upper cusped octofoil element. The use of this form by the Mughals and their conscious inspiration from their own Timurid antecedents may well have been a conscious reference to the same long central Asian lineage that they promoted in paintings.
The central raised ridge on the present stone alludes to an earlier original fully ridged form, well attested in mediaeval Afghanistan. Here it has been reduced to a symbolic element incorporated into the rectangular design. The form indicates that it is a male who is being commemorated; the female form is a flatter panel.
A complete white marble cenotaph with similar top and comparable dimensions was sold in these Rooms 11 April 2000, and is now in the Museum of Islamic Art, Qatar.
The central raised ridge on the present stone alludes to an earlier original fully ridged form, well attested in mediaeval Afghanistan. Here it has been reduced to a symbolic element incorporated into the rectangular design. The form indicates that it is a male who is being commemorated; the female form is a flatter panel.
A complete white marble cenotaph with similar top and comparable dimensions was sold in these Rooms 11 April 2000, and is now in the Museum of Islamic Art, Qatar.