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国内拍卖首页 > Galerie Zacke > 第一天——精美的亚洲艺术、佛教与印度教 > Lot 0183
A GARNET-INLAID GOLD SCROLL CASE PERSIA, SELJUK EMPIRE, 11TH - 12TH CENTURY, WITH TWO INSCRIBED GOLD
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2025年10月16日 开拍
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FOIL SHEETSThe scroll case of slender cylindrical form, fitted with tiered finials on either end, and applied with circular medallions inlaid with garnets to the center, flanked by short rectangular panels. The surface of the case is minutely worked with granulation separating lozenge bands.The two gold-foil sheets are incised with cuneiform scripts in Persian, Assyrian, and Sumerian languages. One sheet is further decorated with an Assyrian winged sun emblem adjacent to an anthropomorphic feline, and Sumerian figures with shaved heads. (3)Expert's note: The case itself is firmly attributable to the Seljuk workshops of Persia in the 11th-12th century, with its precise goldsmithing and garnet inlay. The two associated gold foils, however, present an anomaly: they are incised with cuneiform characters and Mesopotamian-style motifs, including a winged sun emblem and shaved-headed figures. As cuneiform was long extinct by the Seljuk period, the foils cannot be contemporary with the case. They may represent much earlier Mesopotamian elements repurposed as potent amulets, or, alternatively, later historicist additions inspired by rediscovered antiquities. Their presence underscores the complex afterlife of ancient scripts and symbols within Islamic-period objects.Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Condition: Good condition, commensurate with age. Ancient wear, the gold with soil encrustations indicating a prolonged period of burial, minuscule dents, small nicks, and minor losses. The gold foil with creasing, small tears, and minor losses. Some of the embellishments, though ancient, may be associated. Alloy composition range: 91.38% gold, 7.12% silver, and 1.49% copper (the case). 90.97% gold, 8.96% silver, and 0.06% copper (one sheet). 87.65% gold, 12.28% silver, and 0.06% copper (the other sheet). The lot was tested by the Zelnik István Southeast Asian Gold Museum.Weight: 20.1 g (inscribed sheet), 18.6 g (illustrated sheet), 125.6 g (scroll case with plug)Dimensions: Length 22.3 cm (scroll case), Size 15.5 x 10.5 cm (each sheet) The Seljuks (11th-13th centuries), a Turkic dynasty ruling across Iran, Anatolia, and Central Asia, are celebrated for their artistic production in architecture, ceramics, textiles, and metalwork. While bronze and silver vessels and inlaid wares from this period survive in greater numbers, objects made of gold are exceedingly rare—partly because precious metal was often melted down and reused. Seljuk goldsmiths drew on both Persian and Central Asian traditions, combining them with motifs from Byzantine and Islamic sources. The present lot is decorated with rows of grains added in the groove between two twisted wires, a technique influenced by contemporaneous jewelry from Syria and the Fatimid dynasty in Egypt.Gold tablets inscribed with cuneiform script, imitating the clay prototypes of ancient Mesopotamia, illustrate the enduring prestige of earlier textual traditions. A notable comparison can be drawn with the Neo-Assyrian gold tablet commemorating the founding of Dur-Sharrukin, the capital established by Sargon II (721-705 BC), now in the Louvre (see literature comparison). While Sargon II styled himself as a ruler of a new era, he deliberately adopted the name of Sargon of Akkad, the legendary founder of the Old Akkadian empire nearly two millennia earlier. Such examples reveal how cuneiform inscriptions frequently drew upon the authority of older texts and dynastic precedents, projecting legitimacy through continuity with the distant past.The gold sheets are decorated with iconic motifs inspired by earlier traditions including two confronting Sumerian figures, identifiable by their shaved heads; the bare-chested dancing men are dressed in loincloths with their hands raised. The men's heads and beards are shaved, suggesting that they are participating in a religious ceremony which required ritual purification of the body. Their face appears in profile, with a prominent nose, sloping forehead, and foreshortened ear. See a similar dancing man from Early Dynastic III Mesopotamia, dated ca. 2600-2350 BC, in the Metropolitan Museum of Art, object number 59.41.53. The back shows an Assyrian winged sun, emblematic of the solar symbol associated with divinity, royalty, and power in the Ancient Near East. See a similar ceiling relief at the temple entrance to the first columned hall in the mortuary temple of Ramses III in Medinet Habu, Egypt, dated to the 9th century BC, and another winged sun emblem over the temple of Kom Ombo, constructed during the Ptolemaic dynasty, 180-47 BC.Literature comparison: Compare a related Neo-Assyrian gold tablet inscribed in cuneiform commemorating the creation and founding of Dur-Sharrukin, dated c. 722-705 BC, in the Louvre, numéro principal AO 19933. Compare a related gold filigree roundel with similar granulation, Iran, dated to the 11th century, 7.1 cm wide, in the Metropolitan Museum of Art, object number 1980.344. Compare a related earlier Assyrian gold tablet, dated to 1243 to 1207 BC, Ishtar Temple, formerly in the collection of the Vorderasiatisches Museum.

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