- 115
A rare and important Safavid silk tomb cover, Persia, 17th century
Description
Condition
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
inscriptions
In the narrow bands, repetition of the Basmala.
In the hands, repetition of 'God is my Lord'.
In the middle panels, repetition of Qur'an, surah al-Fath (XLVIII), v.1.
In the red panels and their side panels, repetition of a hadith of the Prophet, specifically an invocation to the third Imam Husayn:
qala al-Nabi salah Allah aleyhi wa aleyhi salam, ana min Husayn wa Husayn mini
'The Prophet, May God pray for him and peace be upon him, said: "I am from Husayn and Husayn is from me'''
By the beginning of the seventeenth century silk was the main trading commodity in Iran and high-quality textiles of this kind were made as tomb covers or hanging tributes for the shrines of Shi'a saints or honoured men. The invocation to Husayn is evidence of the honourable function of this piece. Inscribed in blue silk on gold and repeated on the red section, the quote from the hadith is of utmost significance as it shows The Prophet Muhammad bestowing upon his grandchild Husayn status and equal importance.
The inscriptions of Sura al-Fath (v.1) which translate as 'Lo! We have given thee a signal victory', refers to both the physical and the spiritual victory and is therefore chosen appropriately for a tomb. However, according to Anthony Welch the Surah al-Fath was probably chosen for its calligraphic potential. This piece gives an idea of the range of technique, the inventiveness in pattern, the soundness of the Persian colour scheme and of course the exceptional craftsmanship.
Similar panels can be found in the Museum of Islamic Art, Doha (see Thompson, J., Silk 13th to 18th Centuries, Doha, 2004, no.10, pp.46-49) and in the Musée Historique des Tissus, Lyon (see Welch 1970, pp.154-155, no.64). A similar piece sold at Christie's on 8 April 2008, Lot 190.