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拍品专文
"Veneto-Saracenic" wares comprise a corpus of objects whose hybrid aesthetic reflects the vibrant artistic and commercial exchanges between Renaissance Europe and the Islamic world during the fifteenth and sixteenth century. While now a somewhat antiquated term, nothing better has yet been proposed to replace it. Characterised by dense vegetal ornament, intricate silver-inlaid decoration and a visual language that draws simultaneously upon Islamic and European traditions, these works have long occupied a central position in discussions concerning artistic production and cultural interaction across the Mediterranean.
Our charger bears the signature of the enigmatic master Mahmud al-Kurdi. Of the four known craftsmen to sign Veneto-Saracenic vessels, he is perhaps the most celebrated, alongside Zain al-Din, Muhammad b. 'Ali b. Husayn and Muhammad Badr. While there are notable differences between the work of the four masters, all share certain defining characteristics, most notably the use of linear silver inlay to form compartments filled with scrolling vegetal ornament and interlace. James Allan demonstrated the close relationship between these decorative structures and the manuscript illumination of fifteenth-century Mamluk Egypt (J. Allan, Metalwork of the Islamic World: The Aron Collection, London, 1986, p.55). While most scholars since Allan have favoured a Mamluk origin for this signed group, the precise location of production remains unsettled.
Mahmud al-Kurdi occupies a pivotal position within this debate, not least because his signature appears both in Arabic and, on at least one recorded object, in transliterated Latin script. This unusual circumstance, together with the cosmopolitan character of the objects themselves, has fuelled a long-standing discussion regarding their place of manufacture. Earlier scholarship favoured production by Muslim craftsmen working in Venice, while more recent studies have proposed centres in Egypt, Syria, eastern Anatolia, Diyarbakir or western Iran. As Sylvia Auld demonstrated in her seminal study, the question remains unresolved, and Mahmud continues to stand at the centre of one of the most intriguing problems in the study of late medieval Islamic metalwork (Sylvia Auld, Renaissance Venice, Islam, and Mahmud the Kurd: A Metalworking Enigma, London, 2004).
Although only a relatively small number of objects can be securely assigned to Mahmud al-Kurdi, they constitute the largest surviving group of signed works by a single metalworker of the period. Auld identified eleven securely accepted works, including salvers, boxes and a bucket, all distinguished by exceptionally refined workmanship and sophisticated decorative programmes (Auld, op.cit., p.12). We can now add to this list a magnificent Veneto-Saracenic Bucket Signed by Mahmud al-Kurdi sold in these Rooms, 1 April 2021, lot 10. The present charger displays many of the hallmarks associated with this group, including its intricate engraved foliate ground, carefully organised network of silver-inlaid cartouches and medallions, and the characteristic signature formula 'amal al-mu'allim Mahmud al-Kurdi yarju al-maghfira ("The work of the master Mahmud al-Kurdi, who seeks forgiveness"). Both the use of the title al-mu'allim and the pious closing phrase occur repeatedly on works accepted as by Mahmud al-Kurdi.
The decorative vocabulary finds close parallels in a number of securely attributed pieces, notably the signed trays in the Musée du Louvre (OA 7526) and the State Hermitage Museum (VC 235), as well as the celebrated round-bottomed box in the Victoria and Albert Museum (2290-1855). Particularly characteristic is the alternation between clearly defined scrolling forms and more densely layered vegetal ornament separated by silver inlay, a feature repeatedly encountered in Mahmud's work.
One especially intriguing feature is a small motif incorporated into the signature. At first glance this appears to be a simple ornamental knot, yet it may in fact represent a highly compressed rendering of Mahmud's nisba, al-Kurdi, concealed within the design itself. If this interpretation is correct, it would constitute a previously unrecorded variation in the master's signature. The use of calligraphic devices used by craftsmen to embed their names into their work finds precedent in late Mamluk architectural decoration. 'Abd al-Qadir al-Naqqash signs the mihrab of the Qijmas al-Ishaqi mosque (1479-81) with a complex mirrored inscription and employs a similar inscription above a window in the most of Abu Bakr b. Muzhir (1479-80; Doris Behrens-Abouseif, Islamic Architecture in Cairo: An Introduction, Leiden, New York and Cologne, 1989, pp.148-9, pl.108 and pp.151-2, pl.112).
Our charger bears the signature of the enigmatic master Mahmud al-Kurdi. Of the four known craftsmen to sign Veneto-Saracenic vessels, he is perhaps the most celebrated, alongside Zain al-Din, Muhammad b. 'Ali b. Husayn and Muhammad Badr. While there are notable differences between the work of the four masters, all share certain defining characteristics, most notably the use of linear silver inlay to form compartments filled with scrolling vegetal ornament and interlace. James Allan demonstrated the close relationship between these decorative structures and the manuscript illumination of fifteenth-century Mamluk Egypt (J. Allan, Metalwork of the Islamic World: The Aron Collection, London, 1986, p.55). While most scholars since Allan have favoured a Mamluk origin for this signed group, the precise location of production remains unsettled.
Mahmud al-Kurdi occupies a pivotal position within this debate, not least because his signature appears both in Arabic and, on at least one recorded object, in transliterated Latin script. This unusual circumstance, together with the cosmopolitan character of the objects themselves, has fuelled a long-standing discussion regarding their place of manufacture. Earlier scholarship favoured production by Muslim craftsmen working in Venice, while more recent studies have proposed centres in Egypt, Syria, eastern Anatolia, Diyarbakir or western Iran. As Sylvia Auld demonstrated in her seminal study, the question remains unresolved, and Mahmud continues to stand at the centre of one of the most intriguing problems in the study of late medieval Islamic metalwork (Sylvia Auld, Renaissance Venice, Islam, and Mahmud the Kurd: A Metalworking Enigma, London, 2004).
Although only a relatively small number of objects can be securely assigned to Mahmud al-Kurdi, they constitute the largest surviving group of signed works by a single metalworker of the period. Auld identified eleven securely accepted works, including salvers, boxes and a bucket, all distinguished by exceptionally refined workmanship and sophisticated decorative programmes (Auld, op.cit., p.12). We can now add to this list a magnificent Veneto-Saracenic Bucket Signed by Mahmud al-Kurdi sold in these Rooms, 1 April 2021, lot 10. The present charger displays many of the hallmarks associated with this group, including its intricate engraved foliate ground, carefully organised network of silver-inlaid cartouches and medallions, and the characteristic signature formula 'amal al-mu'allim Mahmud al-Kurdi yarju al-maghfira ("The work of the master Mahmud al-Kurdi, who seeks forgiveness"). Both the use of the title al-mu'allim and the pious closing phrase occur repeatedly on works accepted as by Mahmud al-Kurdi.
The decorative vocabulary finds close parallels in a number of securely attributed pieces, notably the signed trays in the Musée du Louvre (OA 7526) and the State Hermitage Museum (VC 235), as well as the celebrated round-bottomed box in the Victoria and Albert Museum (2290-1855). Particularly characteristic is the alternation between clearly defined scrolling forms and more densely layered vegetal ornament separated by silver inlay, a feature repeatedly encountered in Mahmud's work.
One especially intriguing feature is a small motif incorporated into the signature. At first glance this appears to be a simple ornamental knot, yet it may in fact represent a highly compressed rendering of Mahmud's nisba, al-Kurdi, concealed within the design itself. If this interpretation is correct, it would constitute a previously unrecorded variation in the master's signature. The use of calligraphic devices used by craftsmen to embed their names into their work finds precedent in late Mamluk architectural decoration. 'Abd al-Qadir al-Naqqash signs the mihrab of the Qijmas al-Ishaqi mosque (1479-81) with a complex mirrored inscription and employs a similar inscription above a window in the most of Abu Bakr b. Muzhir (1479-80; Doris Behrens-Abouseif, Islamic Architecture in Cairo: An Introduction, Leiden, New York and Cologne, 1989, pp.148-9, pl.108 and pp.151-2, pl.112).