Rug with Persian Inscription
Artist/Maker
Persian
, Heriz
Dateca. 1875
MediumSilk
DimensionsOverall (with fringe): 79 × 49 in. (6.58 × 4.08 ft.)
Overall (without fringe): 66 1/2 × 49 in. (5.54 × 4.08 ft.)
Overall (without fringe): 66 1/2 × 49 in. (5.54 × 4.08 ft.)
Credit LineGift of Frederick Norton Finney
Object number1915.51
Status
Not on viewThis rug originally belonged to the Shah of Persia, Nasser al-Din Shah Qajar (1831-96). During the opening ceremonies for the Suez Canal in November 1869, it decorated the Gezirah Palace, constructed for the event by Isma’il Pasha (1830-95), the Khedive (viceroy) of Egypt and Sudan. Because France was the major sponsor of the canal project, an important guest at the ceremony was the Empress Eugénie, wife of Napoleon III of France. Later, the Shah presented the rug to the Empress, and it remained in her possession until the fall of the French Empire, when her belongings were sold at auction in Paris.
The rug was made in fine silk saturated with ivory, gold, and red. The brilliant colors not only create a translucent luster on the rug, but also symbolize the wealth and power of the owner. The fabric uses the Ghiordes knot, or Turkish knot, that brings both tuft ends together to the surface between two warp yarns, providing a strong consistency and symmetry to the carpet.
The composition of intertwined, symmetrical floral patterns—a combination of stylized peony and palmette motifs—delivers a visual effect of infinity. The patterns also highlight a large cartouche in the central medallion and eight border cartouches that frame Persian inscriptions, lines from selected odes of Persia’s beloved poet, Sa’di Shirazi (1210–ca. 1291–2).
Exhibition History
The rug was made in fine silk saturated with ivory, gold, and red. The brilliant colors not only create a translucent luster on the rug, but also symbolize the wealth and power of the owner. The fabric uses the Ghiordes knot, or Turkish knot, that brings both tuft ends together to the surface between two warp yarns, providing a strong consistency and symmetry to the carpet.
The composition of intertwined, symmetrical floral patterns—a combination of stylized peony and palmette motifs—delivers a visual effect of infinity. The patterns also highlight a large cartouche in the central medallion and eight border cartouches that frame Persian inscriptions, lines from selected odes of Persia’s beloved poet, Sa’di Shirazi (1210–ca. 1291–2).
As We Were: 1917
- Allen Memorial Art Museum, Oberlin, OH (September 9, 1966 - October 15, 1966 )
Islamic Carpets from the Museum Collection
- Allen Memorial Art Museum, Oberlin, OH (September 23, 1978 - October 22, 1978 )
Order and Rhythm: Carpets from the Islamic World
- Allen Memorial Art Museum, Oberlin, OH (September 10, 1993 - November 7, 1993 )
Treasures of Oriental Rugs: Selections from the Collections of Ernest H. Roberts and Charles Martin Hall
- The C. Paul Stocker Arts Center, Lorain Community College (February 27, 1998 - March 29, 1998 )
A Century of Asian Art at Oberlin: Persian and South Asian Paintings and Manuscripts
- Allen Memorial Art Museum, Oberlin, OH (June 6, 2017 - December 10, 2017 )
Collections
- Asian
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9th–10th century
late 17th century
late 19th century
9th–10th century
early 20th century
13th–16th century
18th century