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国内拍卖首页 > Christie's UK > 伊斯兰与印度世界艺术品包括东方地毯 > Lot 54

INTERRUPTED LOVERS

英国北京时间

2020年06月25日开拍 / 2020年06月23日截止委托

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拍品描述: SIGNED MUHAMMAD HASSAN AFSHAR, QAJAR IRAN, DATED AH 1259/1843-44 AD Opaque pigments on card, lower left corner signed and dated, affixed to mount, some pigment loss to lower edge 2 3/8 x 3 5/8in. (6.1 x 9.1cm.) Two artists with the name of Muhammad Afshar were active at the Qajar court. The artist responsible for this painting is the first and more celebrated Muhammad Afshar Urumi, who in addition to being well-known as a painter of large formal court portraits, was also a gifted calligrapher, illuminator, caricaturist and lacquer painter (Diba, 1999, pp.225-227). Muhammad Afshar is described by I‘itimad ul-Saltaneh as a mute (lal), presumably meaning that he had not learned to speak due to his deafness. The French traveller Xavier Hommaire de Hell discusses meeting the artist in Tabriz in November 1847, ‘Today we received a visit from the most famous Persian painter, a deaf mute about 40-year-old, who brought us a pen box covered with paintings of heaven and hell’. The pen box referred to by Hommaire de Hell was sold Sotheby’s, London, 9 October 1978, lot 187. Muhammad Afshar commonly used the title naqqash-bashi (painter laureate) on works he produced from AH 1261 (AD 1845-6). This small painting, in which he refers to himself as naqqash-bashi, may be the earliest work on which he uses this title. The scene depicted here demonstrates the artist's sense of the art of caricature. The painting is extremely accomplished, vividly representing the variety of emotions excited by the discovery, heightening the psychological content of the painting. The scene of interrupted lovers appears to have been a popular subject during the Qajar period, and was repeated by several artists. A large-scale oil on canvas depicting the same scene and attributed to Abu'l Hasan Khan Ghaffari, sold in these Rooms, 17 April 2007, lot 284. Two other versions of the same scene by Muhammad Afshar are known – both of similarly small scale and both mounted into the lids of boxes – one in lacquer (Khalili, Robinson and Stanley, 1996, pp.149-50, fig.362) and the other in gold (recently sold in these Rooms, 26 October 2017, lot 111). It is likely, given its small scale format, that this was once similarly mounted or designed to be.
---以下为第三方软件翻译，仅供参考---

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