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拍品專文
Philippe-Joseph Brocard began life as a restorer of glass, which gave him the capability of understanding in minute detail the techniques used. His first works of art in enamelled glass were presented at the Paris exhibition of 1867 and created quite a stir with his most important pieces being enamelled glass mosque lamps. He was the first to revive this technique of large glass vessels with enamelled surface decoration copying Mamluk originals.
Our vase, not typically Islamic in shape, shows the bold and monumental calligraphy on dense floral ground found on mosque lamps and the tight geometric lattice composed of interlocked repeating geometric patterns found on metalwork of the Mamluk period. The treatment of the large white enamel flowerheads also recalls the lotus flower frequently found on Mamluk metalwork interspersed with armorial devices.
The eclectic range of his production resulted in increased popularity and his being copied in Paris by others including Giboin, Imberton, and subsequently, Galle and Daum, who developed the style.
Our vase, not typically Islamic in shape, shows the bold and monumental calligraphy on dense floral ground found on mosque lamps and the tight geometric lattice composed of interlocked repeating geometric patterns found on metalwork of the Mamluk period. The treatment of the large white enamel flowerheads also recalls the lotus flower frequently found on Mamluk metalwork interspersed with armorial devices.
The eclectic range of his production resulted in increased popularity and his being copied in Paris by others including Giboin, Imberton, and subsequently, Galle and Daum, who developed the style.