1285
皇室定制科爾曼羊毛古毯
產(chǎn)地：科爾曼市拉佛鎮(zhèn)（波斯東南部）
年代：1898年
材質(zhì)：羊毛、棉
出版：《東方地毯》（第一卷），伊恩?班尼特著，1981年。
尺寸：228×146cm
AN ANTIQUE RAVER KERMAN RUG
Origin: Raver, Kerman, Southeast Persia
Age: 1898
Medium: Wool, Cotton
Illustrated: Oriental Rugs, Vol.1, by Ian Bennett, 1981.
Size: 228×146cm
RMB: 100,000－120,000
根據(jù)伊恩?班尼特所著的《東方地毯》（第一卷），這條地毯是尊貴的卡扎爾王朝王子Ruknal-Dowlah在伊斯蘭教紀(jì)年1316年（公元1898年5月22日）定制的，地毯上下兩端的文字顯示：制作者是這一時期波斯Khorasan和錫斯坦省的司法部長和貿(mào)易部長……奉尊貴的Ruknal-Dowlah之命制作此毯。Ruknal-Dowlah王子與卡扎爾王朝統(tǒng)治者M(jìn)ozaffareddin Shah是兄弟，據(jù)數(shù)據(jù)標(biāo)明，卡扎爾時代皇室定購的毯子流傳至今的非常稀少，而這件作品無疑是其中的精品。
這張以生命樹為主題的拜毯也因此具有了重要的藝術(shù)史料價值。根據(jù)毯子下端文字中的日期以及我們現(xiàn)有的資料，此毯可以被看作是科爾曼拉佛地毯在“新古典主義”時期的最早樣本，新古典主義大約在1870-1880年間始于波斯西北部的塔伯利茲。這條地毯的存在，也駁斥了A.Cecil Edwards在1953年首次出版的《波斯地毯》一書中的論點：這個城市直到25年前才成為地毯編織中心，此前不過是貿(mào)易集散地（第307頁），同時它也證明了拉佛制作精美地毯的時間遠(yuǎn)遠(yuǎn)早于某些權(quán)威人士的推斷。
這張地毯的珍貴之處還在于它的書法。毯子上下兩端的書法字體各異，很少有編織者能夠制作出這樣的草體書法。作品的圖案設(shè)計和色彩搭配都堪稱大師手筆，具有極高的藝術(shù)價值。全毯品相極佳，采用純植物染色。
拉佛是科爾曼優(yōu)質(zhì)地毯的最早產(chǎn)區(qū)之一，根據(jù)史料記載，由于19世紀(jì)末期戰(zhàn)亂不斷，許多科爾曼人移居到拉佛，其中不乏優(yōu)秀的地毯編織者。盡管這里的地毯具有科爾曼特色，但拉佛出產(chǎn)的優(yōu)質(zhì)地毯還是基于它們自身的傳統(tǒng)，在短時期贏得了人們的認(rèn)可。
This carpet was commissioned by the Excellency Rukn-al-Dowlah in 1316 (Year of the Hejira). Rukn-al-Dowlah was a great Qajar prince, and first cousin of the reigning Shah, Mozaffareddin Shah Qajar, few rugs with such exalted patrons are known from the Qajar period, and this must undoubtedly be regarded as one of the most accomplished of such regal works. This immensely elegant Laver Kerman Tree- of Life prayer rug is of considerable art-historical importance on a number of counts. Its date, which is discreetly incorporated in the lower inscription cartouche, makes it the earliest recorded Laver Kerman that we know of from the ‘neo-classical’ or ‘Revival’ period of Persian rug knotting. The existence of this rug disproves A. Cecil Edwards’ contention in The Persian Carpet, first published in 1953, that “…the city…emerged as a weaving centre only about twenty-five years ago. Before that is was merely a collecting point…” (page 307), and demonstrates that rugs of great beauty were being knotted in Laver far earlier than most authorities would previously have given credit to. Perhaps the measure of this item’s refinement and grace is in the superb calligraphic art of the two inscribed cartouches, both in nastaliq script, yet of patently different calligraphic style – very few master-weavers would be capable of such curvilinear virtuosity. The design and colouring of field and borders speak for itself – this is a work of the highest artistic merit. The dyes are all natural and the condition is excellent, although the brown dyes show minor oxidation, as might be expected in a Laver Kerman of this age.
