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拍品專文
It is likely that velvet textiles were introduced to the Mughal empire from Safavid Persia, and whilst some were purchased there, it is thought that Persian craftsmen skilled in velvet weaving were present in Akbar's workshops. As a result, Safavid and Mughal velvets are often hard to distinguish from one another. Textiles had an important social function in Islamic society, and were intrinsic to certain formal customs in the Muslim kingdoms of both India and the Middle East. This tradition was perpetuated in India's Islamic kingdoms; textiles were seen as part of their wealth, and embassies were expected to offer the sovereign valuable woven fabrics. The finest fabrics were carefully preserved in the imperial treasury, to be shown at receptions held within the palace, or when important dignitaries visited the court. Such formal state occasions provided the opportunity to display robes of silk embroidered with gild or silver thread, as well as sumptuous rugs and hangings. Their opulence served as a compelling visual statement of the sovereign's power and standing, (Valerie Berinstain, 'Mughal Style', Hali, December 1990, pp.117-121).
Comparatively few textiles dating back to the early years of this long dynasty survive, but the exquisite miniatures painted in both imperial and regional courts provide important information about a great period in Indian textile history. By the end of the seventeenth century the Persian artists and their influence were beginning to wane in India and were travelling in the other direction, a process only speeded up by the plunder of Delhi by Nader Shah in 1748. The naturalistic floral designs of the mid 17th century under the reign of Shah Jahan (1605-27) gave way to a more reserved style at the turn of the century. This dazzling cut velvet with gold metal-thread brocading is striking both in its design and near perfect condition. Woven in three panels, the design is most unusual. The narrow alternating chevron rows of crimson velvet and gold brocade slice through one another giving the whole design a very modern but sumptuous appearance. The design of the present lot is relatively unusual but for a velvet floor covering with an overall design woven in contrasting red and ivory see Eberhart Herrmann, Asiatische Teppich-und Textilkunst, V. III, Munich, 1991, pl.69, pp.146-7.
Comparatively few textiles dating back to the early years of this long dynasty survive, but the exquisite miniatures painted in both imperial and regional courts provide important information about a great period in Indian textile history. By the end of the seventeenth century the Persian artists and their influence were beginning to wane in India and were travelling in the other direction, a process only speeded up by the plunder of Delhi by Nader Shah in 1748. The naturalistic floral designs of the mid 17th century under the reign of Shah Jahan (1605-27) gave way to a more reserved style at the turn of the century. This dazzling cut velvet with gold metal-thread brocading is striking both in its design and near perfect condition. Woven in three panels, the design is most unusual. The narrow alternating chevron rows of crimson velvet and gold brocade slice through one another giving the whole design a very modern but sumptuous appearance. The design of the present lot is relatively unusual but for a velvet floor covering with an overall design woven in contrasting red and ivory see Eberhart Herrmann, Asiatische Teppich-und Textilkunst, V. III, Munich, 1991, pl.69, pp.146-7.