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拍品專文
A similar textile, which was donated to a monastery in 1652 by Alexei Ivanovich Shein (d.1700), a courtier during the reigns of Tsar Fyodor III, Tsarevna Sophia and Peter the Great, is illustrated in Nurhan Atasoy, Walter B. Denny, Louise Mackie, and Hülya
Tezcan, IPEK. The Crescent & the Rose: Imperial Ottoman Silks and Velvets, 2001, p.248, no.48. Another is in the Kestner-Museum in Hannover, catalogued there as 16th/17th century (Christian Erber (ed.), A Wealth of Silk and Velvet, Bremen, 1993, pp.102-3). The pattern was a popular one amongst 17th century Bursa velvets. Atasoy et al suggest that this is due to the fact that the vertical and horizontal symmetry inherent in the design, allowed for a relatively simple programmed repeat which could be adapted to a wide variety of functions.
Tezcan, IPEK. The Crescent & the Rose: Imperial Ottoman Silks and Velvets, 2001, p.248, no.48. Another is in the Kestner-Museum in Hannover, catalogued there as 16th/17th century (Christian Erber (ed.), A Wealth of Silk and Velvet, Bremen, 1993, pp.102-3). The pattern was a popular one amongst 17th century Bursa velvets. Atasoy et al suggest that this is due to the fact that the vertical and horizontal symmetry inherent in the design, allowed for a relatively simple programmed repeat which could be adapted to a wide variety of functions.