Islamic Art Treasures from
The Rouach Collection
G PRESS O
This publication in supported by the Rouach Family Foundation.
Cover photography by: David Rouach On the cover Front: Miniature, Iran, c. 1526. Back: Fachralo central medallion, Prayer-carpet, Kazak, mi-19th century.
Any copy of this book issued by the publisher as a paperback is sold subject to the condition that is shall not by way of trade or otherwise be lent, resold, hired out or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition inclunding these words being imposed on a subsequent purchaser.
Graphic: Graphik’Al Grenoble Copyright ©: David Rouach, 2016 Text copyright ©: David Rouach Specially commissioned photography by David Rouach
Distributed by rouachbooks@gmail.com
Islamic Art Treasures from
• PAGE 1 •
The Rouach Collection
David Rouach
G Press The O
• PAGE 3 •
Tang dynastie China
618 622 Muhammed established first
muslim community in Medina
762 Baghdad founded as capital Charlemagne crowned First Holy Roman Emperor
800
of the Islamic empire
971 Caire founded to rival Baghdad 1181 Muslim army retakes Jerusalem from the Crusaders
1453 Constantinople (Istambul) becomes capital of the Ottoman Turks
Christopher Colombus 1492 discovers America
1517 Ottomans conquer Egypt 1598 Isfahan capital of Iran
1722 Last safavid Shah over thrown French Revolution 1789
First world wars begins 1914
1922 End of The Ottoman empire
TIMELINE
• PAGE 5 •
1258 Monghols conquer Baghdad
CONTENTS
5
TIME LINE
9
ISLAMIC ART
11 13 25 35 49
ISLAMIC ART IN DETAIL - IRANIAN BOTTLE - SAFAVID PLANISPHERIC ASTROLABE - MUGHAL DAGGER - PALESTINIAN HEADDRESS
59 CATALOGUE 61 - PRAYER CARPET AND TEXTILE 79 - THE ISLAM BOOK 101 - MINIATURE PAINTING 107 - LAQUER PENBOX 113 - METAL WORK 139 - GLASS 149 - CERAMICS 159 - STUCCO, WOOD, IVORY 163 - COINS SELECTED BIBLIOGRAPHY
• PAGE 7 •
3 MAP
MOSQUE LAMP
Iron alloy Syria or Egypt, 19th century H. 32 cm Bibliography : Khemir, 2006, p. 132 / Tajan, 2011, Lot 203
Islamic Art and Culture
T
he term “Islamic” is used in this gallery to define the culture of peoples living in lands where the dominant religion is islam.
I
mages of living beings appear rarely because of the belief in Islam that only God can create living forms. This means that humans or animals do not generally appear in religious contexts. They are never found in copies of the Qur’an an seldom in religious buildings. However, humans and animals do appear on other types of objects, where they were more popular during some periods than others.
• PAGE 9 •
I
t applies to religious works of art as well as objects for everyday use. At different times the lands of Islam have extended from Spain in the west of Indonesia in the east. Tha arts of this culture differ widely across time and region. However, there are recognizable features that appear throughout: the powerful presence of the Arabic script; the fondness for arabesque and geometric ornament ans the relative rarity of the human figure.
Art and detail
• PAGE 11 •
Islamic
A Rosewater Sprinkler
• PAGE 13 •
The Iran Bottle
IRAN or IRANIAN BOTTLE
made of cast bronze, engraved and inlaid with silver Eastern Iran or, Afghanistan, Late 12th century Allan 1986, p. 120, n° 54, B/2 23 x 11 cm
BASE
Rosewater Sprinkler
Another method of perfuming the air was to burn incense, for which beautiful vessels were also designed. Cultivation of sweet smelling plants and flowers, and preparing perfumes, oils, creams, “Qalieh” (musk and ambergris) and incense were widespread in Iran. During the Sassanid period, (224-651) preparation of various kinds of perfumes and water extracted from flowers (like rosewater, sweetbrier or eglantine water) was prevalent.
• PAGE 15 •
This Rosewater Sprinkler was a pleasant way to freshen a room or to scent ones clothing or body. Reflecting their pleasant function, rosewater Sprinklers could also be beautiful objects of luxury.
The Bottle Forms
Bibliography: Allan 1986
• PAGE 17 •
The bottle forms combines elements found in greater Iran during the early Islamic period. The origin of the shape in general appears to be the common Sasanian silver bottle style (224 AD to 651 AD). Very often such objects have bosses around the base of their necks.
The elements of the bottle Key feature of the bottle Mouth Neck
Shoulder
Body
Foot
The bottler has a globular body, a tall inward-slopping cyclindrical foot, a flat shoulder, narrow neck and tall everted mouth. Around the mouth are six bosses.
The Body the eight figures
• PAGE 19 •
The body is decorated with eight figures in interlacing roundels. These are four seated drinker and four dancers. Between each roundel is arabesques.The scenes represented relate to court life, from drinking and dancing.
Kufic Inscription Below and above the figures and on the foot it is a band of cursive and ornemental Kufic calligraphy there are Arabic inscription of the benedictory nature “Good fortune and grâce (god’s)” “Glory and prosperity and good fortune ” “Good fortune and uninterrupted happiness” On the outside with the silver inlay make it a luxurious object intended for a wealthy owner.
The Shoulder
• PAGE 21 •
On the shoulder are six walking animals. There are propably “Persian leopard”. The Persian Leopard resides in rugged mountainous terrain in Iran, Afghanistan. Persian literature boast a large number of animals fables. In the 12th century Shihab al-Din al-Suhrawadi wrote many short stories of animals.
The function of the bottle The bottle was a Rosewater sprinkler. It used to freshen a room or a body. The sweet heavy perfume of the rose has long held a poetic appeal. Roses feature often in Persian poetry, sometimes evoking both sensuality and mysticism. The poet Sa’di (died 1292) from Shiraz in southern Iran, wrote a poetic compilation of anecdotes entitled “Gulistan“ (The Rose Garden), which is a image work of Persian Literature.
The Conservation The bottle required carefully considered treatment. The overwall structure of the Rosewater spinkler was deemed sound and altered over the centuries.
Loss of silver is apparent where there are dark, brown areas of “oxidised“ brass — where it has been exposed to the atmosphere over a long period. In a certain areas a light white substance is visible. After trials to check the solubility of the various materials on the bottle, it was decided to remove the dirt and the discoloured aliphatiques (miror) from Henkel firm.
• PAGE 23 •
The remaining silver appears well adhered and secure in spite of the damage and torn edges which are the result of age and varying uses.
TUS
Ast ronomical Inst rument a Safavid
• PAGE 25 •
Planispheric Astrolabe
PLANISPHERIC ASTROBALE
Made by Amal Mohammed Nasiri Al Tusi dated 1142 A.H./1728-1729 A.D., brass, cast, Tus, Persia
The elements of the Astrobale
Rete
Pin
Body the mater (mother)
The Persian Astrobale (astorlab mosattah) (in persia)
Combiner three elements. The body (The Mother) “omm� The rete, and a pin (qotb) which holds the diopter or alidade (ezada).
Planisphere Astrobale Astorlab (or OSTORLAB), astrolabe, an instrument used for a variety of purposes.
Astronomical instruments such as astrolabes were produced in large numbers. They were used in scientific enquiry or served religious purposes. They were also used in astrology to cast horoscopes, for examples. Astrologers played an important role in Safavid culture. In 1667, for instance, the told Shah Safi II to repeat his accession ceremonies at a more auspicious time. He did so, and returned to the throne under a new name, Shah Sulayman
• PAGE 27 •
For centuries, astrnomers in the Islamic middle East led the world in their Knoledge of the heavens.
The Body (back) The back is typical of the safavid productions. The outer scale is divided and labelled for each 5째 and subdivided for each 1째. In the upper left there is a trigonometric quadrant with horizontal parallels for each 1째 and superposed on this are the markings for a universal horary. Bellow a double shadow squares to bases 7 and 12.
Back
The Body (front)
Suspension ring Throne
Body
Front
• PAGE 29 •
The body (omm) consists principally of a circular body with two parallel flat surfaces to which are attached various other parts. The Trone (korst) is a piece, triangular - to it, near its apex, is fitted a handle (orwa) bearing a suspension ring (halqa). This apparatus allows the instrument to be hung, it remains vertical. The body or the mater (mother) which is deep enough to hold three flat plates called tympans, or climates. A tympan is made for a specific latitude and is engraved with a stereographic projection of circles denoting azimuth and altitude and representing the portion of the celestial sphere above the local horizon.
Amal Muhammed NASIRI AL TUSI
The Tympan
This is a cartouche bearing The date 1142 AH / 1728-1729 AD signed Amal Muhammed Nasiri Al Tusi
The Tympans
• PAGE 31 •
On each tympan (safiha), a circle representing the zodiac, and pointers indicating the relative positions of a selected number of stars. The stereographic projections engraved on the face or on the tympans and the star positions represent three concentric circles the tropic of Capricorn, the equator and the tropic of Cancer.
The Pin and the Alidate The center of the body and of each tympan has a role through which is inserted a pin (qotb). The pin holds the diopter or alidate (ezada) to the back (no present) Both the alidate and the rete freely rotate about the pin
The Tympan
The circles of Altitude
The Rete
• PAGE 33 •
The rete, a framework bearing a projection of the ecliptic plane and several pointers indicating the positions of the brightest stars, is free to rotate. The rete, representing the sky, functions as a star chart.
Mughal India : ad 1526 / 1858
T
he Mughal rulers were lavish patrons of the arts and architecture. Their commissions include the Taj Mahal at Agra.
I
n AD 1526 Babur, a Central Asian prince and descendant of Timur and Chinghiz (Genghis) Khan, invaded lndia and defeated the Ibrahim Lodi, Sultan of Delhi. He took control oflands stretching from Kabul to Bihar. Crowned at age fourteen, Akbar, BaburÂťs grandson, ruled India brilliantly for forty-nine years, expanding Mughal control south to Ahmadnagar in the Deccan. His interest in philosophy, history and religion attracted writers, thinkers and artists to his court.
I
n AD 1605 Akbar died, leaving his son Jahangir, a devoted patron of the arts, to rule an immensely rich country with an efficient governmental administration. His son and heir, Shah Jahan (AD 1627-58), continued the southward conquest of India, building exceptional monuments such as the Taj Mahal at Agra. Although Aurangzeb (AD 1658-1707) dominated the rest of the Deccan, Mughal lndia entered a long decline after the AD 1739 sack of Delhi until AD 1858 when it became part of the British Empire.
Weapon
• PAGE 35 •
The Mughal Dagger
MUGHAL DAGGER
Made of pearl studded plates ans a steel blade, Nord India, Gujarat, 18th century H. 36 cm
Lahore
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Delhi
New-Dehli
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• PAGE 37 •
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WATER PIPE BASE
Cast bronze, inlaid with enamels India, Lucknow, 19th century Height 24 cm
• PAGE 39 •
WATER PIPE BASE Cast bronze India, 9th century
Height 17 cm Bibliography: Forsach 2001, p. 333, fig. 542
BELT
Silver India, Kerala, 19th century L. 115 cm
The elements of the dagger The dagger combines two elements, the handle and a blade
• PAGE 41 •
Handle
Blade
Key features of the dagger
The Handle (poignĂŠe ou monture) The weaporny produced at the Mughal court reflects the some refinement as other portable arts. The handle is composed of a Knob surmonted o a horse-head, and croosbar of guard terminates at the base. Animal-headed hilts were especially fovored, and the realism of their rendering conveys the keen appreciation for nature by Mughal artists.
Knob (pommeau)
Crossbar of guard (traversĂŠe de garde)
The Handle
The Blade
• PAGE 43 •
The blade of the dagger is made of steel (“Damascus steel”) bent into its extremity. It is called asymmetric. The black smith will ultimately shape this blade reducing its final lenght. He gives it the final curvature and fashioned with a central ridge whose slopes creates sharp
Max Lenght with handle : 36,5 cm (14 3/8 in.) Max Lenght of the Blade : 24,6 cm (9 11/16 in.) Max Lenght of the handle : 12,2 cm (4 13/16 in.) Max Widh of botton of the handle : 5,1 cm (2.)
MUGHAL miniature
Tempera on paper, India, Mughal dynasty, 19th century 12,5 x 9 cm
The Blade
T
his exacting process and the output of fine Damascus blades gradually disappeared in the mid-19th century. Recent discoveries have appeared to solve the mystery of this cessation of the manufacture of fine Damascus Steel blades.
T
hese recent discoveries utilized the latest chemical analysis, using emissions spectroscopy. This analysis involved investigation of the microstructure and the micro-analysis of at least 10 period Oriental Damascus Steel blades. The study and evaluation of these blades has indicated the presence of trace elements of vanadium, titanium and/or chromium. The study indicates that these elements are essential in the formation and alignment of the cementite and pearlite particles which, having different hardness qualities, show up as a different shade after polishing and etching.
C
arbonization of steel (the introduction of carbon into the iron ore) creates a low alloy steel. The amount of carbon in Oriental Damascus Steel is usually between 1 percent and 2 percent by weight. The introduction of carbon is the main factor in bath the added strength of the steel and its appearance.
• PAGE 45 •
The term “Damascus Steel” has been used to describe this type of steel. The terme ”Damascus steel” has ist origin in city of Damascus, Syria. In 1404 AD, the city od Damascus was conquered by Timur. A contempory 1717 AD, indicates on the importance of Damascus as a center of quality sword production. The same source also mentions the continuous caravan trade from India.
MUGHAL miniature
Tempera on paper, India, Mughal dynasty, 19th century 14,5 x 10,2 cm
The Function of the Dagger The Dagger was sometine awarded to officiers who had distinguished themselves in military victory and were worn at court as dress accessoires indicating royal favor.
This dagger originated in the Gujarat and first appeared in Mughal paintings during the reign of Shah Jahan, around the time in which this dagger was made.
• PAGE 47 •
Daggers in Mughal India displayed the wealth and power of theirs owners.
Netanya
Tulkarm
CENTRAL
Nabulus
Herzliyya
TEL AVIV Tel Aviv-Yafo Ramla Ashqelon Gaza
GAZA
Ja
WEST BANK
Bat Yam
Ashdod
J o rd a n
Hadera
Ram Allah
Jericho
Jerusalem JERUSALEM
Madaba
Bethlehem
Qiryat Gat
Hebron
Dead Sea
Yunis
Beersheba SOUTHERN
an
Zefa'
Dimona
Abu 'Ujaylah 'Ayn al Qusaymah
Zin NEGEV Mizpe Ramon
Ak Karak As Safi
Wedding Ceremony
• PAGE 49 •
The Palestinian Headdress
PALESTINIAN HEADDRESS
Made of coins, glass beads, cowrie shells, coral, plastic, embroidery and iron Southern Hebron hills, Palestinian Authotiry, AD 1808 48 x 18 cm
Palestinian Headdress This headdress or “money hat” (wu qa yat al-darahem) was worn during the wedding ceremony, especially for the “going out the Thewell”, ceremony when the bride appare ared in public as a married woman for the first time. Today this ceremony stopped to be practised across the region. The headdress displayed the pride and status of the family.
Back
The elements of the Headdress The headdress combines elements from traditional Semitics religions, the ancient Middle East and Islamic mysticism.
Body
Charms
Key features of the headdress
• PAGE 51 •
Head
The Brooch Other ornaments include a brooch In the colour symbolism of wa qayat al-darahem, different colours appeal to differents spirits. For example, blue and green beads might have related to Muslim spirits, red beads to Christians spirits and potentially malevolents spirits. In the early nineteenth century they were mass producted in Europe for trading purposes in Ottoman region.
Brooch, iron, granualtion, filigree, glass stones.
The Body Ottoman coins
• PAGE 53 •
This headdress or “money hat” (wa qayat al-darahem) was made by Bethlemen women for the use of villagers in the hills of southern Palestine. The most numerous coins are Ottoman Turkish, dating from the reign of Mahmud II (1808-1839). The Ottoman coins were minted in Cairo and Istambul (Constantinople) between 1860 (AH 1277) and 1876 (AH 1293). At this time, Hebron was ruled by the Ottoman Empire.
1808 s Palestian Authority
Coins, glass beads, cowrie shells, coral, plastic, emvroidery and iron.
The Charms of the headdress The headdress is festooned with charms inclunding glass beads, shell, belles, coins and cowrie shells. These objects originated from a variety of locations across Europe, Africa and Asia.
Cowrie Shells The shells attached to the headdress symbolise wealth and power, and also be associated with ideas of feminity and fertility. Shells, particularly cowrie shells, were widely used as a form of currency. Huge quantities of cowrie shells were farmed in the Indian Ocean, particulairy in the Maldives, and exported to Ottoman Empire
COWRIE SHELLS
Hands of Fatimah (khamsa)
• PAGE 55 •
The headdress also features crescents, “Hands of Fatimah” (against the evil eye) Belief in the evil eye was very common in the ancient world and still today is wedely accepted by many cultures. It is based on the perception that a look can harm a person or property. The evil look usually stems from jealousy or other negative feelings. Since wealth beauty, good fortune, and good wedding wedding provoke jealousy and might therefore attract the evil eye. A form of protection from the evil eye is the use of different kinds of amulets such as the Khamsa.
Coral ”Murgana” is the Arabic term for ”Coral”. Italians transcribed the word as ”Morgiana” Blood and its colour stand for life and female fecundity. Water, fertility and sexual prowess belong together.
In Palestine, little branches of coral were fastened to children’s caps or to their heads to protect them from disease. Coral was replaced from 1870 by stones made of celluloide paste.
The function of the headdress
• PAGE 57 •
The headdress was worn during the wedding ceremony, especially for the “going out to the well”. The headdress displayed the pride ans status of the family, and was passed down through the generations
OTTOMAN SULTANI GOLD Abd端l Mecit Turkey, Constantinople, 1277 H = 1860 Diameter 1,4 cm
• PAGE 59 •
Cat alogue
PRAYER-CARPET with niche design Wool, Mudjar, Ottoman Turkey, 19th century
135 x 98 cm Bibliography : Sotheby’s, New York, 2006, n° 151
• PAGE 61 •
PRAYER-CARPET with niche design Wool, Mudjar, Turkey, 19th century
131 x 113 cm Bibliography : Sotheby’s, New York, 2006, n° 151
PRAYER-CARPET with double niche design Wool, Caucasus, Akstafa, 2nd half of 19th century 110 x 87 cm Bibliography : Kaffel, 1998, p. 143, n째 88
• PAGE 63 •
PRAYER-CARPET with niche design
Wool, Southwestern, Caucasus, Borchalo, 2nd half of 19th century 130 x 90 cm Bibliography : Kaffel, 1998, p. 43, n° 5
PRAYER-CARPET with niche design Wool, Eastern Caucasus, Shirvan, mid-19th century 113 x 95 cm Bibliography : Kaffel, 1998, p. 137, n째 82
• PAGE 65 •
PRAYER-CARPET with multiples niches design Wool, Turkey, Saph Gördes, early 19th century
219 x 84 cm Bibliography : Folsach, Copenhagen 2001 / Gros et Delettrez, Paris 2008, Lot 420
PRAYER-CARPET with niche design Wool, Eastern Persia, Herat, 2nd half of 19th century 185 x 130 cm Bibliography : Spuhler, 2012, p. 102, cat. 22
• PAGE 67 •
PRAYER-CARPET with niche design Wool, South Caucasus, Kazak, mid-19th century
150 x 90 cm Bibliography : Kaffel, 1998, p. 51, n° 10 / Sotheby’s, 2007, Lot 10
PRAYER-CARPET with niche design Wool, Turkey, Ladik, early 19th century 160 x 90 cm Bibliography : http://jozan.net/blog
• PAGE 69 •
PRAYER-CARPET with niche design Wool, Turkey, Mudjar, Late 19th century
156 x 108 cm Bibliography : Sotheby’s, New York 2006, n° 151
PRAYER-CARPET with double niche design Wool, Turkey, Kircheir, 19th century
170 x 110 cm Bibliography : Tapis présent de l’Orient à l’Occident, Paris, IMA, 1989
• PAGE 71 •
PRAYER-CARPET with niche design Wool, Caucasus, Shirvan, 19th century 125 x 110 cm Bibliography : Kaffel, 1998, p. 130, n° 76
PRAYER-CARPET with double niche design Wool, Iran, Hamadan, C. 1318 AH / 1900-1901 AD 162 x 110 cm Bibliography : Bennet et Bassoul, 2005, p. 192, n째 67
• PAGE 73 •
PRAYER-CARPET with niche design Wool, Turkey, Gördes, 19th century
150 x 91 cm Bibliography : Gantzhorn, 1991, p. 495, n° 689 / Khalili, 2009, p. 337, n° 393
PRAYER-CARPET
Wool, Southwestern Caucasus, Borchalo, 19th century 133 x 78 cm Bibliography : Kaffel, 1998, p. 39, n째 2 / Spuhler, 2012, p. 144, cat. 34
• PAGE 75 •
PRAYER-CARPET
Wool, Turkey, Gördes, 19th century 170 x 94 cm Bibliography : Spuhler, 2002, n° 13
PRAYER-CARPET with niche design Wool, Turkey, Hereke, 19th century
92 x 60 cm Bibliography : Khalili, 2009, n° 396>397 / Sotheby’s, 2010, Lot 110 / Christie’s, 2012, Lot 5707
• PAGE 77 •
PRAYER-CARPET with niche design Wool, Iran, Kashan, 19th century 100 x 58 cm Bibliography : Spuhler, 2002, n° 18
KAFTAN Ottoman Dynasty, Turkey 19th century
Lenght: 127 cm Bibliography : Khalili, 2005, p. 148 / Chirstie’s London, 7 oct. 2011, n° 496
The Islamic Book and
• PAGE 79 •
Miniature Painting
CALLIGRAPHY
Tempera and gilding on paper Ottoman Turkey, c. 1312 AH/1894 AD Bibliography : Khalili, 2009, p. 242, n° 284 / Khalili, 2006, p. 45
IMPERIAL DECREE
Ferman with a Tughra Signatur and seal of sultan Abd端l Hamid I Tempera and gliding on paper, Ottoman Turkey, c. 1788 A.D. 76 x 51 cm cm Bibliography : Khalili, 2006, p. 46
• PAGE 81 •
MARIAGE CONTRACT
Tempera and gilding on paper Ottoman dynasty, c. 1312 AH/1904 A.D. 25 x 17 cm
A CALLIGRAPHIC COMPOSITION (Levha) Ink on paper, Ottoman Turkey, C. 1358 AH/1886 A.B.
51 x 36 cm Bibliography : Khalili, 2006, p. 47 / Christie’s London, 10 april 2014, p. 204, n° 214
• PAGE 83 •
A TUGHRA LEAF
Signatur and seal of Mehmed V, r. 1909-1918 Tempera and gliding on a leaf Ottoman Turkey, 20th century 15,5 x 12,5 cm Bibliography : Khalili, 2006, p. 47
UNBOUND QUR’AN AND CARRYNG CASE
This complete Qur’an is made up of hundred of loose leaf pages that are inscribed by hand in brown and red inks on European paper. West african Qur’an are usually unbound ans stored in purpose - made leather cases. Teachers often distributed the pages among pupils in a Madrasa (Qur’anic school) so they could practise.
• PAGE 85 •
Copying The Arabic verses on wooden writing tablets The Qur’an is opened here at the end of surat with decorative chapter. The fully vocalised script is called Sudani maghribi, derived from the maghribi scripts of North Africa.
SINGLE Volume QUR’AN Gold, black ink and pigments on paper Ottoman Turkey, C. 1296 AH/1807 AD 13,5 x 8,5 cm
• PAGE 87 •
BINDING (Tenaghalt)
Stamped leather with engraving and gilding Ottoman, Turkey, C. 1296 AH/1807 AD 13,5 x 8,5 cm Bibliography : Arts Islamic, Malaysia, p. 177, n° 28
BINDING
Stamped leather with engraving and gilding India, 18th century 12 x 8 cm
• PAGE 89 •
SINGLE - VOLUME QUR’AN Gold, black ink and pigments on paper India, 18th century
12 x 8 cm Bibliography : Arts Islamic, Malaysia, p. 210, n° 44
BINDING
Stamped leather with engraving Ottoman, Turkey, C. 1222 AH/1807 AD 11,7 x 10 cm
• PAGE 91 •
SINGLE - VOLUME QUR’AN Gold, black ink and pigments on paper Ottoma, Turkey, C. 1222 AH/1807 AD 11,7 x 10 cm
BINDING
Stamped leather with engraving China, 19th century 23 x 16 cm
• PAGE 93 •
SINGLE - VOLUME QUR’AN Black and red ink on paper China, 19th century
23 x 16 cm Bibliography : Arts Islamic, Malaysia, p. 242, n° 61
BINDING
Stamped leather with engraving Central Asia, 19th century 20,5 x 15 cm
• PAGE 95 •
SINGLE - VOLUME QUR’AN Black ink on paper Central Asia, 19th century
20,5 x 15 cm Bibliography : Arts Islamic, Malaysia, p. 225
BINDING
Stamped leather with engraving North Africa, 19th century 11 x 12 cm
• PAGE 97 •
SINGLE BOOK OF SIGNS BENEFACTIONS (Dala’Il Al - Khayiat) Black ink and pigments on paper North Africa, 19th century
11 x 12 cm Bibliography : Arts Islamic, Malaysia, p. 228, n° 54
SINGLE - VOLUME QUR’AN Black ink 19th century
• PAGE 99 •
SINGLE BOOK OF PRAYER (Dalâil Al - Khayiat) Tempera on paper Maghreb, 19th century
H. 9,3 cm; W. 10 cm Bibliography : Gros et Delettrez, 2013, p. 161, n° 357
HEBREW MINIATURE Tempera on paper, Iran, 17th century 21 x 17 cm
• PAGE 101 •
MINIATURE
From The Book of Kings by Ferdowsi Tempera on paper, Iran, C. 1525 19 x 12 cm Bibliography : Lory, 2004, p. 125
MINIATURE
From The Book of Kings by Ferdowsi Tempera on paper, Iran, C. 1525 29 x 15 cm
• PAGE 103 •
MINIATURE
From The Book of Kings by Ferdowsi Tempera on paper, Iran, C. 1525 29 x 15 cm Bibliography : Lory, 2004, p. 43 / Sotheby’s London, 22 april 2015, n° 114
MINIATURE
From The Book of Hafez Tempera on paper, India, C. 1600-1650 22 x 13,5 cm
• PAGE 105 •
MINIATURE
Of a prince with a courtesan on a terrace Tempera on paper, India, C. 1570-1580 12,5 x 9 cm Bibliography : Sotheby’s London, 22 april 2015, n° 149
MINIATURE
Tempera on paper, Iran, 18th century 26,5 x 15 cm
• PAGE 107 •
Laquer Penbox
PENBOX (Qalamdan)
Laquer pâpier mâché, Iran, 19th century 24,5 x 5,5 x 3 cm Bibliography : Khalili, 2009, p. 383, n° 466
PENBOX Qatar dynasty
• PAGE 109 •
These penboxes attest to the creativity of lacquer painters during the Qajar period (1779-1924). The delicate paintings on these exemples include men, women, birds, horses and landscapes. Some were inspired by European originals.
PENBOX (Qalamdan)
Laquer pâpier mâché, Iran, 19th century 23 x 4,5 x 3 cm 31 x 8 x 6,5 cm 23,5 x 5 x 3,3 cm Bibliography : Khalili, 2009, p. 383, n° 466
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PENBOX (Qalamdan)
Laquer pâpier mâché, Iran, 19th century 20 x 3,8 x 3,5 cm 21 x 4 x 3 cm 23,5 x 5 x 3,5 cm Bibliography : Khalili, 2009, p. 383, n° 466 / Boisgirard, 2006, p. 26>27
EARRING
Gold, wire and granulations Iran, Kurdistan, 12-13th century Height 35 cm ; Diameter 3,5 cm Bibliography : Hasson, 1987, n째 35
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Met al Work
JUG
Sheet silver with cast handle, parcel gilded, punched, chased and worked in repousse Turkey, C. 1895 Height 11,9 cm Bibliography : Allan, 1986, p. 112, n° 23
CELESTIAL GLOBE Brass cast, engraved inlaid India, 18th century
D. 19 cm ; P. 680 gr. Bibliography : Khalili, 2009, p. 120
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WATER FLASK
Cast bronze with engraving India, Deccan, 17th century H. 28 cm Bibliography : Khalili, 2009, p. 306, n° 356
PENDANT Cast bronze Iran, Amlast,
8 x 4,5 cm Bibliography : Folsach, 2001, p. 302, n째 473 / Boisgirard, 16 dec. 2006, n째 129 A-B
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BAZU - BAND ARMOUR (Dastana) Steel, damascened with silver Iran, 19th century
Height 31 cm Bibliography : Renard, 2012, n° 44
CALLIGRAPHER’S SCISSORS Brass and iron damascened with gold Turkey dynasty, 18-19th century
Height 30 cm Bibliography : Markariou, 2008, p. 170, n° 61 / Boisgirard, 2006, p. 25, n° 82
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FELINE - SHAPE INCENSE BURNER Cast bronze with perforations Eastern Iran or Afghanistan, 17th century
Height 19 cm Bibliography : Forsach, 2001, p. 302, n° 471 / Makariou, 2012, p. 111
INKWELL
Quaternary alloy, cast and inlaid with silver and a black bituminous Eastern Iran or Afghanistan, mid. 13th century Height 10,5 cm ; Diameter 12 cm Bibliography : Allan, 1986, p. 70 / Sotheby’s, 22 apr. 2015, n° 178
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INKWELL
Brass inlaid with silver, copper and black compound Eastern Iran or Afghanistan, mid. 13th century Height 10,5 cm ; Diameter 12 cm Bibliography : Allan, 1986, p. 70
DAGGER AND SHEATH Ivory blade, steel, gold inlay Turkey, 18th century
Height 40 cm Bibliography : Jacob A., p. 59>60, Al Khemir S., p. 148
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CANDERSTICK
Cast bronze, damascened with silver and copper Egypt or Syria, 19th century Height 38 cm Bibliography : Khalili, 2006, p. 115
BIRD - SHAPPED
Cast bronze with engraving Eastern Iran or Afghanistan, 12th century Height 33 cm Bibliography : Forsach, 2001, p. 302, n째 472 / Curatola, 2001, p. 155, n째 15 / Moma, 2001, n째 1975.318/n째 1976.284
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STANDARD “Alam”
Cast, engraved, and punched bronze Iran, 18th century Height 55 cm Bibliography : Makariou, 2008, p. 148>150, n° 52>53
MIRROR
Parcel-gild silver, embossed, engraved and punched Turkey, 19th century Diameter 22 cm Bibliography : Gros et Delettrez, 2009, p. 466, Lot 463
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TORCH-STAND OR MAS’HAL Hammered brass, damascened with niello Iran, 18th century
Height 18 cm Bibliography : L’Art de l’Iran Safavide, p. 376, n° 136 / Sotheby’s, London, Lot 121
TRIPODE
Cast and engraved bronze Eastern Iran or Afghanistan, 12th century Diameter 23 cm Bibliography : Forsach, 2007, p. 303, n° 474 / Chefs d’œuvre islamiques de l’Aga Khan Museum, Paris, 2007, Musée du Louvre, p. 182-183
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WATTER PIPE BASE (Huqqa) Cast bronze, inlaid with silver India, 19th century
Height 30 cm ; Diameter 12 cm Bibliography : Forsath, 2007, p. 335, n° 547
ROSE WATER SPRINKLER Cast incised and inlaid with silver Easter Iran or Afghanistan, 11th century
Height 16 cm Bibliography : Allan, 1986, p. 120, n째 54, B/2
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DISH
Copper-inlaid, bronze Eastern Iran or Afghanistan, 12th century Diameter 17,7 cm Bibliography : Allan, 1986, p. 93, n° 12
PLANISPHERIC ASTROLABE Made Amal Mohammed Nasseri Al Tusi Cast brass, engraved Eastern, Iran, Tus, C. 1729-1730
Height 24 cm ; Diameter 17 cm Bibliography : Khalili et Al, 2009, p. 312 / Forsach, 2007, p. 350, n째 594
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FEZ
East bronze, silver, chased coins and metal chaims Syria, As Suwayder, 19th century 11 x 17 x 18 cm Bibliography : Kalter, 1991, p. 152 / Seiwert, 2009, n° 766
HEAD ORNAMENT
Silver set with semi-precious stones Ottoman Provinces, Uzbekistan 26 x 7 cm Bibliography : Bijoux Ethniques, 2002, p. 108
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NECKLACE
Silver inlaid with niello and filigree Spain (Nasrides), 13th century Bibliography : Rabaté M-R, Goldenberg, 1999, p. 213 / Gonzalez 1994
BELT BUCKLE
A coral-set and enamelled silver gilt Ottoman provinces, Balkans, 19th century Diameter 19 cm Bibliography : Sotheby’s London, 8 october 2014, n° 130 / Seiwert, 2009, p. 23, n° 44
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BRIDAL HEADDRESS (Wuqayet Darahim) Coins, fabric, coral, amber, cowrie, shells, metal chains Ottoman Turkey, Hebron, C. 1807 AD Height 48 cm ; width 18 cm Bibliography : Seiwert, 2009, p. 300, n° 775
HORSE-HEADED DAGGER (Khanjar) Hilt Nephrite, black watered steel North India, Mughal dynasty, Circa 1700
Height 36 cm Bibliography : Renard, A, 2012, XXVIe Biennale des Antiquaires, p. 37, n째 31
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Glass
PERFUME SPINKLER Cut glass Syria, 12-13th century
6,5 x 2,9 cm Bibliography : Carbonni, 2001, p. 160, n° 3.16
BOTTLE
Bottle, blue glass, with cut and relief-cut decoration Iraq or Syria, 9-10th century Height 20 cm Bibliography : Carbonni, 2001, n째 3.26e / Folsach, 2001, p. 209
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BOTTLE, ABBASID or BUYID Syrian or Iranian region, 10th century
Bibliography : Carbonni, 2001, p. 191, Cat. 3.26e
MOLAR FLASK Cut glass Egypt, 9th-19th century
5,2 x 1,7 cm Bibliography : Folsach K., 2001, Copenhagen, n° 332 / Sotheby’s London, 5 oct. 2010, n° 68
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MOLAR FLASK Cut glass Egypt, 9th-10th century
Height 6,2 cm Bibliography : Folsach, 2001, p. 216 n° 332
FIGURE OF A CAT Glass, marvered decoration Syria, 8th-9th century
3,5 x 5,9 cm Bibliography : Carboni, 2001, p. 317, n째 3.64 a.b
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FRAGMENTARY PERFUME SPINKLER
Glass, amber, blown, applied marvered opaque white and opaque decoration Syria, 12th-13th century Bibliography : Carboni, 2001, p. 319, n° 3.66
BOWL
Iridescent glass Syria, 7th-8th century Diameter 8,1 cm ; Hight 3,5 cm Bibliography : Carboni, 2001, n째 1.3
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BOTTLE
Iridescent glass Syria, 8th-9th century Hight 11,4 cm ; widht 6,5 cm Bibliography : Carboni, 2001, p. 39, n° 15
BOWL
Frit body, painted in lustre on an opaque white glaze Iran, Kashan, C. 1170-1200 Diameter 37 cm Bibliography : Soustiel, 1985, n° 81 / Folsach, 2001, n° 150 / Watson, 2004, p. 348
MINA’Ï BOWL (Saljuq or Khwarazmshah)
Frit body, opaque white glaze with in glaze painted in blue turquoise and purple Iran, Kashan, 13th century Diameter 37 cm Bibliography : Watson, 2004, p. 366
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Ceramics
BOWL
Frit body, painted in lustre on an opaque white glaze Iran, Kashan, C. 1170-1200 Diameter 11 cm ; Height 4,5 cm Bibliography : Watson, 2004, p. 349, n° 0-4 / Soustiel, 1985, p. 90, n° 81
BOWL
Frit body, painted in lustre on an opaque white glaze Iran, Kashan, C.1200-1220 Height 7 ; Diameter 22 cm Bibliography : Watson, 2004, p. 358, cat. 0.16
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Dish with kufic inscription that reads : ”He who speaks, his speech is silver, but silence is a ruby, with good health and prosperity” Iran, Samanid dynasty, 10th century
SLIP PAINTED DISK
Earthenware with white slip decorated in black under a transparent glaze Samanid, Iran or Central Asia, 10th century Height 7,5 ; Diameter 21 cm Bibliography : Makariou, 2007, n° 62
BOWL
Earthenware, black decoration under a transparent glaze Eastern Iranian world, 10th century Height 10 cm ; Diameter 21 cm Bibliography : Watson, 2004, p. 241
BOWL
Decorated with a pseudo-script and folate ornament Iran, Samanid dynasty, 10th century Height 5,7 cm ; Diameter 10,7 cm
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BOWL
Frit body, painted in lustre on an opaque white glaze Iran, Kashan, , C. 1170-1200 Height 10 cm ; Diameter 16 cm
SLIP PAINTED BOWL
Samanid, Iran (Nishapur), 10th century Height 9 cm ; Diameter 21 cm Bibliography : Watson, 2004, p. 249 / Folsach, 2007, p. 138
DISH
Height 7,2 cm ; Diameter 21 cm Bibliography : Watson, 2004, n° 0.3
BOWL
Frit body, painted in lustre and blue on an opaque white glaze Iran, Kashan, C. 1170-1200 Height 4 cm ; Diameter 12 cm Bibliography : Watson, 2004, p. 349
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Frit body, painted in lustre on an opaque white glaze Iran, Kashan, C. 1170-1200
TWELVE DAMASCUS POTTERIES
Fritware tile, painted in blue, green, under a transparent glaze Ottoman, Syria, 17th century 40 x 30 cm each Bibliography : Kalili, 2005, p. 101 / Christie’s London, 7 october 2011, n° 194
FRITWARE TILE PANEL
Painted in blue turquoise, and black and with a red slip under a transparent glaze Turkey, Iznik, C. 1560 Height 12 cm Bibliography : Folsach, 2001, n° 279
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EWER
Frit body, incised decoration under a transparent glaze Eastern, Iran, 12th-13th century Height 12 cm Bibliography : Waston, 2004, p. 233
FRITWARE TILE PANEL
Painted in blue, turquoise, black and with a red slip under a transparent glaze Turkey, Iznik, C. 1560 Height 20 cm ; Width 20 cm Bibliography : Folsach, 2001, n째 279
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St ucco, Wood, Ivory
FRAGMENT
Fragment of a freeze with animals and inscribed relief, Kufi inscription Limestone, Iran, Hamadan Height 16 cm ; Width 30 cm Bibliography : http://www.netmuseum.org/n° 394059
EPIGRAPHIC FRIEZE Stucco Ottoman, Turkey, 18th century
L. 164 cm (14,5 inches) x 37 x 5 cm
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CHESS PIECE Cut ivory Iran, C. 800-1100
2,5 cm ; 4 cm Bibliography : Moma
BAHRI MAMLUK DINAR GOLD Saif Al-Din Jaqmaq Egypt, Cairo, 542-547 H = 1147-1152
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Coins
FATIMID DINAR GOLD Al-Mustansir Misr, Egypt, 536 H = 1141-1142 Diameter 2,1 cm
BARKIYARUQ
Iran, Ispahan, 487 H = 1094 Diameter 2,4 cm
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SAFAVID DINAR, GOLD Ismaël Iran, Qumm, 1501-1524 Diameter 1,6 cm
Selected Bibliography The Islamic Book
Le Coran, trad., Denise Masson, Paris, 1976 Huesdon Maris-Geneviève et Vernay-Nourri Anne, L’Art du livre arabe : du manuscrit au livre d’artisite, Paris, 2001. Enluminures en terre d’Islam : entre abstraction et figuration, Pars, 2001. Spendeurs persanes : manuscrits du XIe au XVIIe siècle, Paris, 1997. Melikian-Chirvani, Le chant du monde, l’Art de l’Iran Safavide, catalogue, Paris, 5 octobre 2007, p. 198 Lory, “Orient”, mille ans de poésie et de peinture, Paris, 2004 Hasson Rachel, Later Islamic Jewellery, Jerusalem, 1987.
Ceramic
Watson Olivier, Ceramics From Islamic Lands, The Al-Sabah Collection, London, 2004. Soustiel Jean, La Ceramique Islamique, Fribourg, 1985. Carswell John, Iznik Pottery, London, 1998.
Coins
Broomer Michael, A Handbook of Islamic coins, London 2006.
Glass, Ivory, Stone, Andwood
Carboni Stefano, Glass from Islamic Lands, The Al-Sabah Collection, London, 2001.
Metal
Metalwork of The Islamic world, The Aron Collection, James W. Allen, New York, 1986 Rouach David, Bijoux Berbères au Maroc dans la Tradition Judéo-Arabe. Courbevoie/Paris : ACR Editions 1989. Bijoux Ethniques : Afrique, Asie et Iles du Pacifique, Amsterdam, 2002. Tirri Anthony C. : Islamic Weapons, Maghreb to Moghul, 2003.
Allsen Thomas, Commodity and Exchange in the Mongol Empire : a Cultural History Islamic textiles, Cambridge et New York, 1997. Spuhler Friedrich, Cartes from Islamic Lands, The Al-Sabah Collection, London, 2012. Kappel Ralph, Caucasian Prayer Rugs, London, 2003.
General Works
Folsach Kjeld, Art from the World of Islam, Copenhagen, 2001. Les Arts de l’Islam au Musée du Louvre, Paris, 2002. Master pieces of Islamic, Art in the Hermitage Musuem, Kuwait, 1990. Treasures of Islam, ed. Toby Falk, Musée d’art et d’histoire, Geneva, London, 1985. Art from the World of Islam, in the David Collection, Copenhagen, 2001. Chef d’œuvre islamiques de l’Aga Khan Musuem, Paris, 2007. De Cordoue à Samarcande, chefs-d’œuvre d’art islamique de Doha, Paris, 2006. Arts de l’Islam, chefs-d’œuvre de la collection Khalili, Paris, 2009 Piotrovsky Michail Borisovitch, Heaven on Earth : Art from Islamic Lands, London, 2004. Khalili Nasser D., Art et Culture de l’Islam, Paris, 2006
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Textiles and Carpets
I
slamic Art surveys 250 of the finest examples of Islamic Art from the Rouach Collection, of witch 120 are reproducted in stunning color illustrations.
T
he Rouach Family Collection was founded by Joseph Rouach in 1890, a jewish silversmith from Meknes, Morocco and has been expanded under the expert supervision of Dr David Rouach.
D
r David Rouach hold a Phd in anthropology from Stendhal University in Grenoble, France and author of Bijoux Berbères au Maroc dans la Tradition Judeo-Arabe. Courbevoie/Paris : ACR Editions 1989 ; Les TALISMANS : Magie et Traditions juives. Paris : ALBIN MICHEL, 1989 ; IMMA ou Rites, coutumes et croyances chez la femme juive d’Afrique du Nord. PARIS : Maisonneuve & Larose, 1990.
IBSN: 978-2-9555760-1-4 20e Prix TTC France 9
782955
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