.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
拍品专文
The decoration on our vase includes alternating bands of carnations and hyacinths which were two of the most commonly used flowers used on Iznik ceramics. The carnation (karanfil) was highly admired for its pleasant scent and often referenced in court poetry, where it is likened to the face or cheek of the beloved (Turgt Saner, Sebnem Eryavuz and Hulya Bilgi, Motif from the Sadberk Hanim Museum Collection, Istanbul, 2020, p.98). The hyacinth (sumbul) was another favoured flower motif in literature and was a metaphor for the hair colour and form of the beloved, the colour of ink and many other things. On Iznik, as seen on our example, they were often matched with the bright red shades of carnations and tulips to create beautiful visual variations between the designs. (op.cit. p.102).
The present jug was at some point part of the collection of Edouard Aynard (1837-1913) of the Château de Charnay, Lyon. He was a banker by profession and a notable patron of the arts. He was a founding member of the Historical Museum of Fabrics of Lyon and the School of Commerce and Weaving. With a particular interest in Islamic art, he enriched the collections of the Museum of Lyon through generous donations, as well as chairing the commission of acquisitions and the board of directors. In 1913 he became an honorary member of the National Society of Fine Arts.
The present jug was at some point part of the collection of Edouard Aynard (1837-1913) of the Château de Charnay, Lyon. He was a banker by profession and a notable patron of the arts. He was a founding member of the Historical Museum of Fabrics of Lyon and the School of Commerce and Weaving. With a particular interest in Islamic art, he enriched the collections of the Museum of Lyon through generous donations, as well as chairing the commission of acquisitions and the board of directors. In 1913 he became an honorary member of the National Society of Fine Arts.