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拍品專文
From the Safavid period onwards, the city of Rasht in Persia supplied the Safavid courts at Ardebil and Tabriz with highly sophisticated embroideries, known as rasht-duzi textiles. They were executed primarily by professional male embroiderers in well-established workshops, and in the Qajar period served as saddle covers, floor covers and hangings within impressive courtly tents (Wearden, 1991, p.122).
The gul-duzi-i-rasht (stitched inlay) technique was complex and entailed cutting a shape out of the ground fabric and replacing it with a carefully cut fabric of the same shape in a contrasting colour. In order to establish the necessary precision of each piece, Wearden suggests that a sharp instrument was used, much like a biscuit cutter, before the joins were disguised by fine embroidery which also served to refine the details of the design (Wearden, 1991, p.121).
The design of the present embroidery is clearly inspired by Persian medallion carpets and displays a number of intricate details such as the birds perched within the scrolls in the field. Further Rasht textiles of a medallion design include one housed in the Museum der Kulturen Basel, published in HALI, no.143, 2005, p.114, and one sold at Christie’s, New York, 14-15 December 2015, lot 643.
The gul-duzi-i-rasht (stitched inlay) technique was complex and entailed cutting a shape out of the ground fabric and replacing it with a carefully cut fabric of the same shape in a contrasting colour. In order to establish the necessary precision of each piece, Wearden suggests that a sharp instrument was used, much like a biscuit cutter, before the joins were disguised by fine embroidery which also served to refine the details of the design (Wearden, 1991, p.121).
The design of the present embroidery is clearly inspired by Persian medallion carpets and displays a number of intricate details such as the birds perched within the scrolls in the field. Further Rasht textiles of a medallion design include one housed in the Museum der Kulturen Basel, published in HALI, no.143, 2005, p.114, and one sold at Christie’s, New York, 14-15 December 2015, lot 643.