A CUT-STEEL CALLIGRAPHIC PANEL
A CUT-STEEL CALLIGRAPHIC PANEL
A CUT-STEEL CALLIGRAPHIC PANEL
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A CUT-STEEL CALLIGRAPHIC PANEL
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PROPERTY FROM A PRIVATE LONDON COLLECTION
A CUT-STEEL CALLIGRAPHIC PANEL

SAFAVID IRAN, 17TH CENTURY

細節
A CUT-STEEL CALLIGRAPHIC PANEL
SAFAVID IRAN, 17TH CENTURY
The cusped oval panel pierced with thuluth inscription against a ground of spiraling vine issuing leaves and palmettes, in modern custom wood mount
9 ½in. (24cm.) across
來源
Sotheby's London, 9 October 2013, lot 128.
更多詳情
Some countries prohibit or restrict the purchase and/or import of Iranian-origin property. Bidders must familiarise themselves with any laws or shipping restrictions that apply to them before bidding on these lots. For example, the USA prohibits dealings in and import of Iranian-origin “works of conventional craftsmanship” (such as carpets, textiles, decorative objects, and scientific instruments) without an appropriate licence. Christie’s has a general OFAC licence which, subject to compliance with certain conditions, would enable a buyer to import this type of lot into the USA. If you intend to use Christie’s licence, please contact us for further information before you bid.

榮譽呈獻

Sara Plumbly
Sara Plumbly Director, Head of Department

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Inscription:
'Allah, Maryam, Jesus'

Technically, steel panels of this type required great skill to make. First a master-scribe would have copied the inscription on paper and transferred it to the steel by means of a stencil or pounce. The metalworker would then need to capture the elegance of the calligraphy with what were a cumbersome set of tools - something he clearly performed with the utmost skill. Steel being primarily used for weapons, it is likely that the maker was a sword-smith trained in the discipline of cutting and forging pattern-welded steel. Esin Atil, when writing about a similar panel exhibited in 'The Unity of Islamic Art' writes that "steel reached a peak of decorative perfection under the Safavids in the 16th and 17th centuries" (Esin Atil, The Unity of Islamic Art, exhibition catalogue, Riyadh, 1985, no. 96, pp.120-21). A similar panel to that offered here is in the British Museum (The Arts of Islam, exhibition catalogue, London, 1976, no.235, p.200). Another sold in these Rooms, 13 April 2010, lot 110. That example had its original gilt copper backing plate, giving an idea of how these magnificent panels would have looked when still attached to their original structures.

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