A CHINTZ KALAMKARI FOR THE SOUTHEAST ASIAN MARKET
A CHINTZ KALAMKARI FOR THE SOUTHEAST ASIAN MARKET
A CHINTZ KALAMKARI FOR THE SOUTHEAST ASIAN MARKET
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A CHINTZ KALAMKARI FOR THE SOUTHEAST ASIAN MARKET
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PROPERTY OF AN EMINENT LONDON COLLECTION
A CHINTZ KALAMKARI FOR THE SOUTHEAST ASIAN MARKET

DECCAN, INDIA, MID 18TH CENTURY

細節
A CHINTZ KALAMKARI FOR THE SOUTHEAST ASIAN MARKET
DECCAN, INDIA, MID 18TH CENTURY
The cotton cloth ground painted and stencilled with the battle between the armies of Rama and Ravanna from the Ramayana, couched onto later cotton backing, scattered staining and losses throughout
Kalamkari 185 3/8in. x 38in. (471 x 96.5cm.); overall 198 3/8in. x 50 1/8in. (504 x 127.2cm.)
來源
Private London collection by the 1960s and thence by descent

榮譽呈獻

Sara Plumbly
Sara Plumbly Director, Head of Department

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拍品專文


The Kalamkari technique involved applying dyes directly onto cloth. To European readers, the term might be most readily associated with the palampores and other textiles made for the Western market in the 18th and 19th centuries. However, the entrepreneurial dyers of the Coromandel coast also adapted their products to suit the tastes of the Southeast Asian market. The movement of textiles from India to Sulawesi and Bali may have a long history: a remarkable textile in the National Gallery of Australia, Canberra (acc.no.1989.1325) was reportedly found in Sulawesi, and bears an old owner's stamp which may associate it with Raja Man Singh of Jaipur, which would suggest it was made in the 16th or 17th century (acc.no.1989.1325, Rahul Jain, Rapture: the Art of the Indian Textile, New Delhi, 2011, p.58, no.17).

Textiles associated with this cultural milieu were often narrative in content, drawing on the stories from Hindu mythology which were current across the Indian Ocean and beyond. A textile in the Calico Museum, Ahmedabad, for example, is almost three metres in length and depicts many scenes from the Ramayana together with Tamil inscriptions (John Irwin and Margaret Hall, Indian Painted and Printed Fabrics, Volume 1, Ahmedabad, 1971, p.70, no.60). A textile with an identical composition to the present lot is in the collection of the Royal Ontario Museum, Toronto (acc.no.2016.42.2), and another is in the Victoria and Albert Museum, London (acc.no.IS.23-1996)

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