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拍品专文
Inscriptions:
Around the border of the top: ‘izz li-mawlana al-sultan al-‘alim al-‘adil al-mujahid al-murabit al-muthaghir al-mu’ ayyad al-mansur sultan islam wa’l-muslimin qatil al-kafara wa’l-mushrikin muhyi al-‘adil [sic] fi’l-‘alamin mujir al-mazlumin min al-zalimin al-mansur al-shahid ibn qalawun al-salihi ‘azza nasrahu, ‘Glory to our Lord, the sultan, the learned, the just, the holy warrior, the defender, the protector of frontiers, the supported (by God), the victorious, the sultan of Islam and Muslims, the slayer of unbelievers and polytheists, the reviver of justice in the worlds, the defender of the oppressed from the oppressors, al-Mansur, the martyr, ibn Qalawun al-Salihi, may [God] glorify his victory’
Around the border of the roundel in the center: ‘izz li-mawlana al-sultan al-malik al-‘alim al-nasir qalawun al-…, 'Glory to our Lord, the sultan, the wise king, al-Nasir Qalawun al-…’
In the center of the roundel: 'Muhammad'
On the sides are variations of the same inscriptions
The Mamluk revival of the late nineteenth-century was a response to a surge of interest in Egypt’s medieval past, triggered by the opening of the Dar al-Athar al-Arabiyya (Museum of Arabic Art) in Cairo in 1884. The demand for Mamluk-era antiques was met by craftsmen who produced objects modelled on items in the museum collection. This kursi was based on a prototype made for Sultan al-Nasir Muhammad (r. 1294-1340, with interruptions) in AH 728/1327-28 AD by Muhammad ibn Sunqur al-Baghdadi, which is kept today in the Museum of Islamic Art in Cairo. Another nineteenth-century kursi, with inscriptions also modelled on those of the original, is in the Khalili collection (S. Vernoit, Occidentalism, Oxford, 1997, p. 239). A similar nineteenth-century example sold at Sotheby’s, London, 18 April 2007, lot 207.
Around the border of the top: ‘izz li-mawlana al-sultan al-‘alim al-‘adil al-mujahid al-murabit al-muthaghir al-mu’ ayyad al-mansur sultan islam wa’l-muslimin qatil al-kafara wa’l-mushrikin muhyi al-‘adil [sic] fi’l-‘alamin mujir al-mazlumin min al-zalimin al-mansur al-shahid ibn qalawun al-salihi ‘azza nasrahu, ‘Glory to our Lord, the sultan, the learned, the just, the holy warrior, the defender, the protector of frontiers, the supported (by God), the victorious, the sultan of Islam and Muslims, the slayer of unbelievers and polytheists, the reviver of justice in the worlds, the defender of the oppressed from the oppressors, al-Mansur, the martyr, ibn Qalawun al-Salihi, may [God] glorify his victory’
Around the border of the roundel in the center: ‘izz li-mawlana al-sultan al-malik al-‘alim al-nasir qalawun al-…, 'Glory to our Lord, the sultan, the wise king, al-Nasir Qalawun al-…’
In the center of the roundel: 'Muhammad'
On the sides are variations of the same inscriptions
The Mamluk revival of the late nineteenth-century was a response to a surge of interest in Egypt’s medieval past, triggered by the opening of the Dar al-Athar al-Arabiyya (Museum of Arabic Art) in Cairo in 1884. The demand for Mamluk-era antiques was met by craftsmen who produced objects modelled on items in the museum collection. This kursi was based on a prototype made for Sultan al-Nasir Muhammad (r. 1294-1340, with interruptions) in AH 728/1327-28 AD by Muhammad ibn Sunqur al-Baghdadi, which is kept today in the Museum of Islamic Art in Cairo. Another nineteenth-century kursi, with inscriptions also modelled on those of the original, is in the Khalili collection (S. Vernoit, Occidentalism, Oxford, 1997, p. 239). A similar nineteenth-century example sold at Sotheby’s, London, 18 April 2007, lot 207.