A SAFAVID PAPIER-MÂCHÉ MIRROR CASEBY MUHAMMAD ZAMAN, IRAN, LATE 17TH/ EARLY 18TH CENTURYA SAFAVID PAPIER-MÂCHÉ MIRROR CASEBY MUHAMMAD ZAMAN, IRAN, LATE 17TH/ EARLY 18TH CENTURYThe front decorated with an embracing couple, the back with a gul-o-bulbul motif, on the interior is a seated couple with attendant in a woodland surrounded by an inscription with an Arabic blessing, on the front an attribution to Muhammad Zaman and dated AH 1110/1698-99 AD, the main Safavid panels extended and assembled in the present form in the Qajar period, some losses to the outer edges of the case8 1/4 x 5 3/8in. (21 x 14cm.)This exceptional mirror case is an extremely rare survival of Safavid lacquer produced by the celebrated artist, Muhammad Zaman ibn Yusuf (fl.1673-1713). Although the signature is a later attribution, the work can be firmly attributed to the master himself. The decline in the production of lacquer bookbindings in the later 17th century resulted in the increase in other types of painted and varnished papier-mâché objects, most notably pen boxes and mirror cases (Khalili, Robinson and Stanley, Lacquer of the Islamic Lands, The Nasser D. Khalili of Islamic Art, Part One, London and New York, 1996, p.55-57). Available evidence suggests that there was a definite change in taste which originated from the court of Shah Sulayman (r.1666-1694) and that it was associated with the Shah’s patronage of Muhammad Zaman and his atelier. From the 1670s, Muhammad Zaman began to produce paintings bearing figural depictions in a new Europeanizing style, which became the backbone of Iranian lacquer production until the 20th century. At the same time, he is known to have reformulated the tradition of gul-o-bulbul drawings current in the early and mid-17th century. His style became a consistent feature of this genre of lacquer drawings produced until the 20th century (Khalili, Robinson and Stanley, op.cit., p.56). Our mirror case is an excellent example of lacquer which exhibits not only this new type of figural decoration, but also the style of flower and bird painting developed by Muhammad Zaman. A pen box in the Khalili collection created under the reign of Shah Sultan Husayn (r.1694-1722) which has almost identical episodes to ours is signed by Hajji Muhammad, whom Chahryar Adle has recognised as Muhammad Zaman’s brother in a detailed study of the piece (Khalili, Robinson and Stanley, op.cit., p.59; Adle, 1980). The three scenes depicted on the top of the Khalili box, two of which are also found on our mirror case are described by Adle as an allegory of the defeat of carnality and the triumph of mystic love. The outer surface of the shutter of our mirror case depicts a handsome couple standing in an amorous embrace, holding hands. While the man is kissing his lover’s cheek and looking at her, she is looking towards the viewer in an inviting gaze. The scene inside the shutter follows with a further painting of a couple seated in an embrace. The woman is illustrated with one hand on the man’s knee while resting her head on his shoulder and looking down. The man looking at his lover has one hand on her shoulder in a comforting manner and the other gesturing towards her. They are accompanied by a female attendant who is offering wine. This scene bears close resemblance to a pencase published by Diba (Layla Diba, Royal Persian Painting: The Qajar Epoch 1785-1925, New York 1998, p.112) which is also the work of Muhammad Zaman and is dated AH 1109/1697 AD. It depicts the same scene with slight variation in the placement of the couples' hands, the addition of musicians and another male attendant. The back of our case is adorned with a further allegorical love scene in the form of a gol-o-bulbul, executed in the new style introduced by Muhammad Zaman. Characteristically, the scenes feature trees with systematically modelled and distinctive trunks, low branches, and prominent roots. They also have clouds illustrated in an extremely realistic manner with strong use of shading that creates depth, and carefully situated architecture in the background. The placement of the figures in an elliptical format also enhances the impression of three-dimensional space. Such background scenes suggest a strong European influence as mastered by Muhammad Zaman. Another distinctive feature of Zaman’s works also found on our mirror case is his treatment of the eyes and distinctive and prominent nose of both female and male figures. These include the thick treatment of the upper and lower eyelids with the use of an extremely fine double line below the eyes which is often highlighted with large pupils. The lavishly dressed and ornamented couple and their attendant share close facial and decorative similarities with other works created by Muhammad Zaman. For further comparable pieces see the Muhammad Zaman penbox of 1697 (Adle, op.cit.,1980), the later copy of this work by Muhammad Ali, son of Muhammad Zaman (Sotheby's, London, 12th October 2000, lot 85).细节 A SAFAVID PAPIER-MÂCHÉ MIRROR CASEBY MUHAMMAD ZAMAN, IRAN, LATE 17TH/ EARLY 18TH CENTURYThe front decorated with an embracing couple, the back with a gul-o-bulbul motif, on the interior is a seated couple with attendant in a woodland surrounded by an inscription with an Arabic blessing, on the front an attribution to Muhammad Zaman and dated AH 1110/1698-99 AD, the main Safavid panels extended and assembled in the present form in the Qajar period, some losses to the outer edges of the case8 1/4 x 5 3/8in. (21 x 14cm.) 来源 Collection of Augustus Raymond Margary (1846-1875) thence to his direct descendants 注意事项 We will invoice under standard VAT rules and VAT will be charged at 20% on both the hammer price and buyer’s premium and shown separately on our invoice. 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