1276
喀桑鏤空真絲古毯
產(chǎn)地：喀桑（波斯中部）
年代：約1910年
材質(zhì)：真絲，金屬線(xiàn)
出版：《罕見(jiàn)的東方地毯》第一冊(cè)，SH.Sameyeh著，第146頁(yè)，圖版100，SH.SAMEYEH PTE LTD，德國(guó)，1982年。
尺寸：202×133cm
AN ANTIQUE KESHAN EMBOSSED SILK RUG
Origin: Kashan, Central Persia
Age: circa 1910
Medium: Silk, Metal thread
Illustrated: Exceptional Oriental Carpets Catalogue No.1, SH.SAMEYEH PTE LTD, Germany, 1982, p.146, pl.100.
Size: 202×133cm
Description: 1,210,000 knots per square meter, 100% natural vegetable colours, some tear in the centre and border area; otherwise in perfect condition.
RMB: 150,000－180,000
這條極具收藏價(jià)值的喀桑古毯全部由真絲編織而成，其中絨面部分采用優(yōu)質(zhì)的拉什特手坊絲，中心葵部分由真絲和金屬線(xiàn)混織成鏤空?qǐng)D案，別具一格。全毯采用100%植物性染料，色彩豐富和諧，且經(jīng)久不變。該毯編織技法精湛，結(jié)點(diǎn)緊密（每平方米達(dá)121萬(wàn)個(gè)結(jié)點(diǎn)），紋飾清晰流暢。除中心及邊緣部分略有損傷，總體品相堪稱(chēng)一流。原藏家專(zhuān)門(mén)將此毯裝裱在鏡框中，懸掛在墻上達(dá)40年之久，珍愛(ài)備至。在當(dāng)今藝術(shù)市場(chǎng)上，這一類(lèi)的喀桑古毯備受關(guān)注。
絲毯的主面板底色呈淡藍(lán)色，與邊界部分淡雅的玫瑰色形成對(duì)比。鏤空的中心葵是以波斯16世紀(jì)杰出君王“阿巴斯”命名的經(jīng)典圖案，強(qiáng)烈的深藍(lán)色光澤是真絲與金屬線(xiàn)混紡的結(jié)果。這在地毯中難得一見(jiàn)，由于金屬線(xiàn)不易被染色，因此只有在最高檔的真絲毯中才會(huì)編入金屬線(xiàn)，以達(dá)到最佳的視覺(jué)效果。
在中心葵四周，裝點(diǎn)以紅色與米黃色的鏤空蔓藤花紋，構(gòu)成一個(gè)菱形。主面板四角的藍(lán)黑色拱肩內(nèi)飾有精美的棕櫚葉圖案，覆于淡藍(lán)色的底子上。玫瑰色主邊界
內(nèi)同樣遍布著結(jié)構(gòu)規(guī)整、優(yōu)雅繁密的枝葉圖紋，六條細(xì)致的護(hù)邊以交錯(cuò)的線(xiàn)條豐富了整體空間。由于真絲的光澤和鏤空的陰影效果，從不同的視角看去，毯面呈現(xiàn)出不同的色澤變幻，令人稱(chēng)奇。底部的邊穗被染成紅藍(lán)兩色，增強(qiáng)了裝飾效果，為整幅織品完美收尾。
The pattern is knotted in silk against a woven light blue silk field and woven pale rose-pink border ground. Kashans of this group are very highly valued on today's market, particularly when displaying the extremely fine quality both of knotting and weaving found here, and with the rich contrasts and precise clarity of ornament that give this piece its compelling visual character. The intense luminosity of the midnight-blue in the medallion is rarely seen in combination with silk (with its resistance to saturated dye penetration), associated more with wool Mohtaschems and some Sarouk and Malayer rugs. An intricate red and beige arabesque configuration outlines the main lozenge against the light-blue flat-woven field, which is covered with a flower-and leaf stem-lattice of conventional Kashan conception, yet here given dramatic emphasis by its raised-silk, "relief" structure, and the vitality of its dye shades, which produce different chromatic effects whenever the direction of view is altered. The blue-black corner spandrels each contain a crisply-detailed ornamental palmetto, its interior in woven pale blue, against which all subsidiary decoration is piled. Graceful roseate and both palmettos of great internal complexity are piled in a perfectly-organized border composition (witness the fluent corner solutions) against the roseate pink flat-weave ground. Six guard stripes and chequered lines give increased prominence to the spare design and striking colour of the border, while silk end fringes dyed in red and blue add a final flourish to this tour-de-force of weaving art. This excellent collectable item has to be fixed in a frame and hanged on the wall.
