Lot n° 250
Estimation :
4000 - 6000
EUR
Result with fees
Result
: 7 680EUR
Composition of twelve tiles with a composite... - Lot 250 - Ader
Composition of twelve tiles with a composite dromedary, Iran qâjâr, 19th
centurySiliceous ceramic decorated with black lines representing a composite dromedary mounted by a winged figure seated in a palanquin and led by a dîv. Around it, several wading birds in flight, tchi clouds and floral stems. The scene is encircled by a wavy floral lotus stem on a blue background.
Dim. panel : 65 x 86 cm ; dim. tile : 21,5 x 21,5 cm
.
Composite creatures seem to appear in Indian and Persian artistic creations from the end of the 16th century. This bestiary, dominated by the figures of the dromedary, the horse and the elephant ridden by real or imaginary riders, has the particularity of having a body composed of animals of a great diversity entangled in each other and can include human or monstrous figures such as dîvs and demons. These representations, which became a favorite theme of artists in Iran, Khorasan and Hindustan in the 17th century, appear mainly in the form of isolated album drawings, made in ink and sometimes enhanced with color. These creatures are also found on other media such as carpets, Mughal ivory powder horns or architectural decorations like our panel. Their origin is a matter of debate. While Armen Tokatlian mentions Armenian manuscripts painted by Grigoris, the Catholicos of Aghtamar (1510-1534) as a source, others see it as inspired by the animal style of ancient Luristan, while the pre-Mongolian Hindu tradition is most often cited as a reference. Whatever their origin, and their actual meaning, the versions converge on the idea of esoteric representations that may be an allegory of the link between the diversity of existence and the Oneness of the Absolute Being (God) or symbolize the need for man (represented by the rider) to master his passions and his inner self (represented by the figures contorted to form the body of his mount). The composition adorning this tile panel is here dominated by the supernatural. Indeed, the winged figure riding the dromedary is probably a peri, that creature known from literature and appearing in popular beliefs, which can easily be mistaken for an angel but which is closer to the fairies of Western tales. His palanquin is also framed by two long arms holding long ribbons finished with dragon heads. Finally, the camel driver takes on the appearance of a dîv, a demon with a particular appearance here with its flames on its head and its legs of a bird of prey. This iconography of the composite dromedary ridden by a winged woman under a palanquin can be found in several Qajar and Mughal graphic works, such as the album page of the Gentil collection kept at the Bibliothèque Nationale de France (Paris) under the inventory number Reserve OD-44 FOL, n° 8.
References :
- COLLECTIVE, L'Etrange et le Merveilleux en terres d'Islam, Exhibition Paris Musée du Louvre, 27 April-23 July 2001, RMN, Paris : 200
.
- DEL BONTA, Robert J., "Reinventing nature: Mughal composite animal painting", in Flora and fauna in Mughal art, vol 50, March 1995, Marq publications, Mombay, pp. 69-80.
- TOKATLIAN, Armen, "L'énigme des figures composites", in Ars orientalis, 2014, pp. 1-11.
A pottery tile panel with a composite camel, Qajar Iran, late 19th century
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