<p class="ql-block"><br></p><p class="ql-block">伊朗</p><p class="ql-block">IRAN</p><p class="ql-block">萨法维帝国</p><p class="ql-block">(1501-1736)</p><p class="ql-block">1501年，苏菲派首领的后裔沙阿伊斯玛仪一世建立萨法维王朝，一统广袤疆域。以今伊朗为中心，王朝版图从亚美尼亚延伸至阿富汗。他将伊斯兰教什叶派奉为官方宗教,与周边几大逊尼派势力对峙:西面的奥斯曼帝国、东北方向的乌兹别克，以及东面的莫卧儿王朝。1555年5月，《阿马西亚和约》的签订标志着萨法维王朝与奥斯曼帝国最终休战。1587年，沙阿阿巴斯一世执政。在他治下，帝国国力雄厚、内政稳定，促进了同欧洲强国之间的贸易与文化交流。阿巴斯使萨法维王朝焕然一新，呈现出繁荣兴盛的气象。他迁都中部城市伊斯法罕，推动了中央集权体制的建立，行政体系由沙阿直接控制。这座古城内，至今留存着诸多壮丽的纪念性建筑，它们见证了“伊斯法罕的世纪”。该城更因其繁华鼎盛，享有“天下的一半”之美誉。这一时期，全国大兴土木，广建宏丽建筑，并为此生产了大量陶砖。然而，尽管阿巴斯的继任者们勉力维系盛世，仍难免王权式微。1736年，萨法维王朝彻底落幕。</p><p class="ql-block">Safavid Empire</p><p class="ql-block">(1501-1736)</p><p class="ql-block">In 1501, Shah Ismail I, descended from a Sufi order leader founded the Safavid dynasty and unified a vast domain centred on Iran and extending from Armenia to Afghanistan. He established Shiism as the official state religion in opposition to his powerful Sunni neighbours: the Ottomans to the west, the Uzbeks to the northeast, and the Mughals to the east. In May 1555, the signing of the Amasya Peace Treaty marked a definitive truce with the Ottomans. Shah Abbas I took power in 1587. During his reign, the stability and power of the empire fostered trade and cultural exchange with European powers, transforming the country into a modern, prosperous kingdom.</p><p class="ql-block">The transfer of the capital to Isfahan, in the centre of the country, contributed to the development of a centralised administration under the Shah's direct control. The beautiful monuments that still adorn this city have earned this period the name "century of Isfahan". The city itself was famously known as "half the world' for its splendour. The country was covered with prestigious buildings, for which ceramic tiles were produced in large numbers. While the reigns of his successors maintained a degree of prosperity, they also witnessed the gradual disintegration of royal power, which ended definitively in 1736.</p> <p class="ql-block"><br></p><p class="ql-block">亚美尼亚族群与丝绸贸易</p><p class="ql-block">The Armenian communities and silk trade</p><p class="ql-block">1605年，萨法维王朝在亚美尼亚与格鲁吉亚战胜奥斯曼帝国后，沙阿阿巴斯将两地居民迁至伊斯法罕南部。迁徙人口中，亚美尼亚人多为精通丝绸贸易的商人，基督徒的身份使其更易与欧洲开展往来。在萨法维王朝，他们得到沙阿的支持，建立起庞大的商人网络，足迹遍布世界各地，尤以亚洲为盛。</p><p class="ql-block">Following victories over the Ottomans in Armenia and Georgia in 1605, Shah Abbas relocated the populations of these two regions to the south of Isfahan. Among them, the Armenian largely skilled merchants experienced in the silk trade and their transactions with European countries were facilitated by their Christian status. They enjoyed the Shah's official support and established an extensive network of merchants spreading throughout the world, especially in Asia.</p> <p class="ql-block"><br></p><p class="ql-block">亚美尼亚族群与丝绸贸易</p><p class="ql-block">The Armenian communities and silk trade</p><p class="ql-block">地毯</p><p class="ql-block">阿塞拜疆，18一19世纪</p><p class="ql-block">棉纱、羊毛</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆</p><p class="ql-block">Carpet</p><p class="ql-block">Azerbaijan,18th-19th c.</p><p class="ql-block">Cotton,wool</p><p class="ql-block">Musee du Louvre, on deposit from the Musee des Arts decoratifs, Paris</p> <p class="ql-block"><br></p><p class="ql-block">亚美尼亚族群与丝绸贸易</p><p class="ql-block">The Armenian communities and silk trade</p><p class="ql-block">地毯</p><p class="ql-block">伊朗，约1650年</p><p class="ql-block">丝绸、羊毛、棉纱、金银丝</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆</p><p class="ql-block">Carpet</p><p class="ql-block">Iran,ca 1650</p><p class="ql-block">Silk, wool, cotton, metallic thread</p><p class="ql-block">Musee du Louvre, on deposit from the Musee des Arts decoratifs, Paris</p> <p class="ql-block"><br></p><p class="ql-block">亚美尼亚族群与丝绸贸易</p><p class="ql-block">The Armenian communities and silk trade</p><p class="ql-block">亚美尼亚宗教仪仗图</p><p class="ql-block">伊朗，1650-1700年</p><p class="ql-block">釉陶</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆</p><p class="ql-block">这块陶板描绘的画面中，头戴兜帽的仪仗人员手持十字架、香炉与行进队列的旌旗，右侧教堂楼顶可见一名摇铃者。根据现在的解释，此场景描绘了亚美尼亚基督教王国建国时，“启蒙者”格列高利于314年为梯里达底三世施洗的场景。</p><p class="ql-block">Armenian Procession scene</p><p class="ql-block">Iran,1650-1700</p><p class="ql-block">Glazed ceramic</p><p class="ql-block">Musee du Louvre, on deposit from the Musee des Arts decoratifs, Paris</p><p class="ql-block">This panel depicts hooded figures carrying crosses censers and procession banners. On the right, a figure perched on top of a church appears to be ringing bells. This scene is thought to depict the founding event of the Christian Kingdom of Armenia: the baptism of Tiridates IIl by Gregory the illuminator in 314.</p> <p class="ql-block"><br></p><p class="ql-block">建立帝国</p><p class="ql-block">日益频繁的贸易活动及商品的大规模生产，推动了萨法维时期艺术创作的蓬勃发展。陶瓷制品呈现出丰富多样的纹饰与技法，既满足国内市场，又远销海外。人物图案与诗歌铭文成为主流装饰元素，体现了波斯文学的深厚底蕴。</p><p class="ql-block">Building an Empire</p><p class="ql-block">Artistic production during the Safavid period was marked by increased trade and the establishment of large-scale productions. Ceramic creations featured a wide variety of designs and techniques for both domestic and foreign markets. Figurative representations and poetic inscriptions predominated, reflecting the rich tradition of Persian literature.</p> <p class="ql-block"><br></p><p class="ql-block">兽斗纹圆形饰板</p><p class="ql-block">伊朗，17世纪</p><p class="ql-block">马赛克式釉陶</p><p class="ql-block">雄狮制伏公牛的画面可能典出寓言集《卡里来与笛木乃》。这部源于印度的故事集讲述了两只豺狼提供谏言并制定行为准则的典故。这些寓言译成拉丁语后，启发了包括拉封丹在内的众多作家。拉封丹就在其影响下创作了一系列动物寓言。</p><p class="ql-block">Panel with animal fight</p><p class="ql-block">Iran,17th c.</p><p class="ql-block">Ceramic mosaic</p><p class="ql-block">The scene of a lion dominating a bull may be linked to the fables entitled "Kalila and Dimna" This compilation of Indian origin is the story of two jackals who offer advice and set out rules of conduct.</p><p class="ql-block">Translated into Latin, they inspired many writers, including La Fontaine for his animal fables.</p> <p class="ql-block"><br></p><p class="ql-block">不言自明的自然</p><p class="ql-block">Speaking nature</p><p class="ql-block">书籍插画里的植物和动物图案，与诗歌和文学相关联，往往暗含隐喻。萨法维时期的陶瓷装饰与书籍艺术联系紧密，这种关联也体现在自然景物的象征用法中。例如，诗歌中常以柏树比喻俊男或美女;被其他植物缠绕的柏树，不言自明地象征着缠绵的爱人。此外，孔雀与天堂有关，象征王权，而枝繁叶茂的树木寓意春天，以及时值春分的伊朗新年。</p><p class="ql-block">In relation to poetry and literature, the vegetal and animal motifs depicted in book paintings often carry metaphorical meanings. During the Safavid era, ceramic decoration was closely linked to the art of the book, as reflected in the symbolic use of nature. For instance, in poetry, the cypress tree might represent the beauty of a man or woman. A cypress enlaced by other plants was an obvious symbol of a loving couple. The peacock, associated with paradise, embodied royalty, while blossoming trees evoked spring and the Iranian New Year at the spring equinox.</p> <p class="ql-block"><br></p><p class="ql-block">不言自明的自然</p><p class="ql-block">Speaking nature</p><p class="ql-block">吹笛者饰板</p><p class="ql-block">伊朗，</p><p class="ql-block">约1680-1730年</p><p class="ql-block">釉陶</p><p class="ql-block">Panel with flautist</p><p class="ql-block">Iran,ca 1680-1730</p><p class="ql-block">Glazed cerami</p> <p class="ql-block"><br></p><p class="ql-block">不言自明的自然</p><p class="ql-block">Speaking nature</p><p class="ql-block">鸭与瓶纹饰板</p><p class="ql-block">伊朗</p><p class="ql-block">17世纪</p><p class="ql-block">釉陶</p><p class="ql-block">Panel with a vase and ducks</p><p class="ql-block">Iran,17th c.</p><p class="ql-block">Glazed ceramic</p> <p class="ql-block"><br></p><p class="ql-block">赛诗会饰板</p><p class="ql-block">伊朗，17世纪中叶</p><p class="ql-block">釉陶</p><p class="ql-block">这块陶板描绘了两名男青年斗诗的场景。一人正在写诗，另一人正吟诵诗句。该陶板可能源自伊斯法罕王室建筑群中的某座亭阁。类似的饰板常用于墙裙部位，其上方则绘有壁画。</p><p class="ql-block">Tile panel with poetry contest</p><p class="ql-block">Iran,mid-17th c.</p><p class="ql-block">Glazed ceramic</p><p class="ql-block">This panel depicts two young men engaged in a poetry contest. One is writing verses, while the other recites them. The panel probably belonged to a pavilion of the royal complex in Isfahan. Similar panels were placed on the dado of walls, whose upper parts were adorned with wall paintings.</p> <p class="ql-block"><br></p><p class="ql-block">从图书到陶瓷</p><p class="ql-block">From books to ceramic</p><p class="ql-block">到16世纪末，伊斯法罕已是萨法维王朝新</p><p class="ql-block">的文化中心。诸多艺术范式在此形成，特</p><p class="ql-block">别是通过王室画院，影响各省。这一时</p><p class="ql-block">期，陶瓷装饰频繁借鉴这套视觉语汇。人</p><p class="ql-block">物场景成为陶器的主要表现主题，以传统</p><p class="ql-block">的手法刻画恋人形象，以此反映经典的诗</p><p class="ql-block">歌意象。</p><p class="ql-block">By the end of the 16th century, Isfahan had become the country's new cultural centre. Models developed there, notably in the royal painting workshop, spread to the provinces. Durine this time, ceramic decoration drew heavily on this repertoire. Figurative scenes dominated ceramics, reflecting classical poetic imagery through conventional representations of lovers.</p> <p class="ql-block">[1]</p><p class="ql-block">男青年</p><p class="ql-block">(谢赫·穆罕默德作)</p><p class="ql-block">伊朗，约1560年</p><p class="ql-block">墨、水粉、金、纸</p><p class="ql-block">[1]</p><p class="ql-block">Young man,</p><p class="ql-block">by Sheikh Muhammad</p><p class="ql-block">Iran, ca 1560</p><p class="ql-block">Ink,gouache,gold, paper</p><p class="ql-block"> </p><p class="ql-block"> </p> <p class="ql-block">[2]</p><p class="ql-block">男青年肖像砖</p><p class="ql-block">伊朗，约1590 1630年</p><p class="ql-block">釉陶</p><p class="ql-block">[2]</p><p class="ql-block">Tile with portrait of</p><p class="ql-block">a young man</p><p class="ql-block">Iran,ca 1590-1630</p><p class="ql-block">Glazed ceramic</p> <p class="ql-block"><br></p><p class="ql-block">[4-1,4-2]</p><p class="ql-block">男青年肖像砖</p><p class="ql-block">女青年肖像砖</p><p class="ql-block">达吉斯坦，16世纪</p><p class="ql-block">釉陶</p><p class="ql-block">属巴黎装饰艺术博物馆,现长期寄存于卢浮宫博物馆</p><p class="ql-block">[4-1, 4-2]</p><p class="ql-block">Tiles with young woman and man</p><p class="ql-block">Dagestan, 16th c.</p><p class="ql-block">Glazed ceramic</p><p class="ql-block">Musee du Louvre, on deposit from the Musee des Arts decoratifs, Paris</p> <p class="ql-block"><br></p><p class="ql-block">[5]</p><p class="ql-block">一双爱侣</p><p class="ql-block">(阿布·哈桑·伊斯法哈尼作)</p><p class="ql-block">伊朗，1845年</p><p class="ql-block">水粉、纸</p><p class="ql-block">[5]</p><p class="ql-block">Lovers, by Abu</p><p class="ql-block">al Hasan Isfahani</p><p class="ql-block">Iran,1845</p><p class="ql-block">Gouache, paper</p> <p class="ql-block"><br></p><p class="ql-block">文学氛围: 会说话的艺术品</p><p class="ql-block">Literary culture: speaking objects</p><p class="ql-block">为器物的使用者镌刻铭文，是伊斯兰世界的一项悠久传统。萨法维时期，为风雅的精英阶层打造的金属与陶瓷器皿上，常刻有神秘诗句与双关妙语，既为赏玩，亦供品鉴。</p><p class="ql-block">Objects bearing inscriptions intended for their users are part of a long-standing tradition in the Islamic world. During the Safavid era, metals and ceramics made for a cultured elite were inscribed with mystical poems and puns for entertainment and enjoyment.</p> <p class="ql-block"><br></p><p class="ql-block">铭诗烛台(两件)</p><p class="ql-block">伊朗，16世纪末</p><p class="ql-block">铜合金、里彩填料</p><p class="ql-block">属巴黎装饰艺术的物馆，现长明寄存于卢浮宫博物馆</p><p class="ql-block">Candlesticks with poetic inscription</p><p class="ql-block">Iran,endof 16th c.</p><p class="ql-block">Copper alloy, black paste</p><p class="ql-block">MseeduLouvre,on deposit from the Museedes Arts decoratifs,Paris</p><p class="ql-block">波斯语铭文:</p><p class="ql-block">“当灵魂为偶像之爱灼烧，</p><p class="ql-block">每时每刻，爱火都将我炙烤。</p><p class="ql-block">我似飞蛾扑向烛焰，</p><p class="ql-block">若再近一步，翅翼必将焚焦。</p><p class="ql-block">我因爱你而痛苦，我在痛苦中燃烧，</p><p class="ql-block">这燃烧让我顿悟</p><p class="ql-block">头顶上方有一支烛火</p><p class="ql-block">正绽放荣耀的光芒”</p> <p class="ql-block"><br></p><p class="ql-block">铭刻菲鲁兹·罗斯塔姆·菲鲁兹姓名的碗</p><p class="ql-block">伊朗，约1585一1650年</p><p class="ql-block">铜合金、黑彩填料</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆</p><p class="ql-block">Bowl in the name of Firuz-i Rustam-i Firuz</p><p class="ql-block">Iran,ca 1585-1650</p><p class="ql-block">Copper alloy, black paste</p><p class="ql-block">Musee du Louvre,on deposit from the Musee des Arts decoratifs, Paris</p><p class="ql-block">波斯语铭文:</p><p class="ql-block">此杯盛满考萨尔天泉琼浆，</p><p class="ql-block">器形宛如美人侧颜。</p><p class="ql-block">凡饮此杯甘露者，</p><p class="ql-block">将如智者赫兹尔般获得勃勃生气。</p><p class="ql-block">在你爱的荒漠中，我疾行，</p><p class="ql-block">遇见两千个嗜血的黑人，</p><p class="ql-block">他们以秘语互相诉说:</p><p class="ql-block">手中杯盏，倾而勿泻!”</p> <p class="ql-block"><br></p><p class="ql-block">铭诗浴桶(两件)</p><p class="ql-block">伊朗，16世纪末</p><p class="ql-block">青铜、彩绘填料</p><p class="ql-block">Bath buckets with poetic inscription</p><p class="ql-block">Iran, end of 16th c.</p><p class="ql-block">Bronze, colour pastes</p><p class="ql-block">波斯语铭文:</p><p class="ql-block">‘当貌如明月的佳人步入浴场,</p><p class="ql-block">我悄然起身</p><p class="ql-block">以水盈眸，</p><p class="ql-block">又将其倾注于她的玉足之上</p><p class="ql-block">为了你的沐浴啊，初绽的玫瑰，</p><p class="ql-block">太阳作金杯，新月为杯柄</p><p class="ql-block">[..]</p><p class="ql-block">每当貌如明月的佳人沐浴时，</p><p class="ql-block">水杯即我眼,弯眉为杯柄”</p><p class="ql-block"> </p><p class="ql-block"> </p><p class="ql-block"> </p> <p class="ql-block"><br></p><p class="ql-block">铭诗盘</p><p class="ql-block">伊朗，约1585一1615年</p><p class="ql-block">釉陶</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆</p><p class="ql-block">Dish with poetic inscription</p><p class="ql-block">Iran,ca 1585-1615</p><p class="ql-block">Glazed ceramic</p><p class="ql-block">Musee du Louvre, on deposit from the Musee des Arts decoratifs, Paris</p><p class="ql-block">波斯语铭文:</p><p class="ql-block">“愿此盘常盛佳肴，</p><p class="ql-block">永伴雅士之席。</p><p class="ql-block">愿美味永享不尽，</p><p class="ql-block">凡用此盘者</p><p class="ql-block">[愿常保康健]</p> <p class="ql-block"><br></p><p class="ql-block">从中国到伊朗</p><p class="ql-block">17世纪，贸易活动蓬勃发展:传统陆路商道依然畅通，海上航线则由不断扩张的欧洲势力所主导。沙阿阿巴斯一世终结了葡萄牙的垄断地位、并推动英国、荷兰的东印度公司的设立。来自欧洲和东亚的商品影响了萨法维时期的工艺品生产，尤其以陶瓷业为甚一当时试图烧制出可与青花瓷相媲美的陶器。</p><p class="ql-block">萨法维陶工竭力仿制备受精英阶层推崇的中国青花瓷，作品与原型极为相似，但有时也会采用不同的工艺与色调加以改动。</p><p class="ql-block">From China to Iran</p><p class="ql-block">Trade flourished throughout the 17th century: traditional overland routes were still active, while the maritime routes were dominated by the European expansion. Shah Abbas I ended the Portuguese monopoly and encouraged the establishment of the English and Dutch East India Companies. The import of goods from Europe and the East Asia impacted Safavid productionparticularly ceramics, which sought to compete with ‘blue-and white' porcelain.</p><p class="ql-block">Safavid potters tried to copy the ‘blue-and-white' Chinese porcelains highly prized by the elite, producing pieces that closely resembled the originals, while sometimes adapting the models with different techniques and palettes.</p> <p class="ql-block"><br></p><p class="ql-block">在中国酒罐上打盹的饮者</p><p class="ql-block">乌兹别克斯坦，1585一1600年</p><p class="ql-block">墨、金、纸、卡纸</p><p class="ql-block">Drinker dozing on a Chinese jar</p><p class="ql-block">Uzbekistan,1585-1600</p><p class="ql-block">Ink,gold, paper, cardboard</p> <p class="ql-block"><br></p><p class="ql-block">[1-1,1-2,1-3]</p><p class="ql-block">龙纹盘(三件)</p><p class="ql-block">伊朗，17世纪</p><p class="ql-block">釉陶</p><p class="ql-block">部分展品为卢浮宫博物馆藏品;部分属巴黎装饰艺术博物馆，现长期寄存于卢浮宫</p><p class="ql-block">[1-1,1-2,1-3]</p><p class="ql-block">Dishes with dragon</p><p class="ql-block">Iran,17th c.</p><p class="ql-block">Glazed ceramic</p><p class="ql-block">Musee du Louvre and Musee des Arts decoratifs (deposit)</p> <p class="ql-block"><br></p><p class="ql-block">[2-1,2-2,2-3,2-4]</p><p class="ql-block">龙纹瓶(三件)、龙纹罐</p><p class="ql-block">伊朗，17世纪</p><p class="ql-block">釉陶</p><p class="ql-block">部分展品为卢浮宫博物馆藏品;部分属巴黎装饰艺术博物馆，现长期寄存于卢浮官</p><p class="ql-block">[2-1,2-2,2-3,2-4]</p><p class="ql-block">Bottles and vase with dragon</p><p class="ql-block">Iran,17th c.</p><p class="ql-block">Glazed ceramic</p><p class="ql-block">Musee du Louvre and Musee des Arts decorati (deposit)</p> <p class="ql-block"><br></p><p class="ql-block">鹤纹碗</p><p class="ql-block">伊朗，17世纪</p><p class="ql-block">釉陶</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆</p><p class="ql-block">Bowl with crane</p><p class="ql-block">Iran, 17th c.</p><p class="ql-block">Glazed ceramic</p><p class="ql-block">Musee du Louvre, on deposit from the Musee des Arts decoratifs, Paris</p> <p class="ql-block"><br></p><p class="ql-block">盘</p><p class="ql-block">伊朗，18一19世纪</p><p class="ql-block">釉陶</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆</p><p class="ql-block">Dish</p><p class="ql-block">Iran,18th-19th c.</p><p class="ql-block">Glazed ceramic</p><p class="ql-block">Musee du Louvre, on deposit from the Musee des Arts decoratifs,Paris</p> <p class="ql-block"><br></p><p class="ql-block">碗、碟、盘</p><p class="ql-block">伊朗，17世纪下半叶</p><p class="ql-block">釉陶</p><p class="ql-block">部分展品为卢浮宫博物馆藏品;部分属巴黎装饰艺术博物馆，现长期寄存于卢浮宫</p><p class="ql-block">Bowl, plate, dish</p><p class="ql-block">Iran,2nd half of 17th c.</p><p class="ql-block">Glazed ceramic</p><p class="ql-block">Musee du Louvre and Musee des Arts decoratifs(deposit)</p> <p class="ql-block"><br></p><p class="ql-block">鹤纹盘</p><p class="ql-block">伊朗，17世纪</p><p class="ql-block">釉陶</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆</p><p class="ql-block">Dish with cranes</p><p class="ql-block">Iran, 17th c.</p><p class="ql-block">Glazed ceramic</p><p class="ql-block">Musee du Louvre, on deposit from the Musee des Arts decoratifs, Paris</p> <p class="ql-block"><br></p><p class="ql-block">牡丹纹盘(两件)</p><p class="ql-block">伊朗，15世纪</p><p class="ql-block">釉陶</p><p class="ql-block">部分展品为卢浮宫博物馆藏品;部分属巴黎装饰艺术博物馆，现长期寄存于卢浮宫</p><p class="ql-block">Dish with peony</p><p class="ql-block">Iran, 15th c.</p><p class="ql-block">Glazed ceramic</p><p class="ql-block">Musee du Louvre and Musee des Arts decoratifs(deposit)</p> <p class="ql-block"><br></p><p class="ql-block">麒麟纹盘</p><p class="ql-block">伊朗，16001650年</p><p class="ql-block">釉陶</p><p class="ql-block">Dish base with Oilin</p><p class="ql-block">Iran,1600-50</p><p class="ql-block">Glazed ceramic</p> <p class="ql-block"><br></p><p class="ql-block">瓶</p><p class="ql-block">伊朗，17一18世纪</p><p class="ql-block">釉陶</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆</p><p class="ql-block">Bottle</p><p class="ql-block">Iran,17th-18th c.</p><p class="ql-block">Glazed ceramic</p><p class="ql-block">Musee du Louvre, on deposit from the Musee des Arts decoratifs, Paris</p> <p class="ql-block"><br></p><p class="ql-block">盘、碗</p><p class="ql-block">伊朗，约1650年</p><p class="ql-block">釉陶</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆</p><p class="ql-block">Dish and Bowl</p><p class="ql-block">Iran,ca 1650</p><p class="ql-block">Glazed ceramic</p><p class="ql-block">Musee du Louvre, on deposit from the Musee des Arts decoratifs, Paris</p> <p class="ql-block"><br></p><p class="ql-block">笔盒</p><p class="ql-block">伊朗，18世纪</p><p class="ql-block">釉陶</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆</p><p class="ql-block">Pen box</p><p class="ql-block">Iran, 18th c.</p><p class="ql-block">Glazed ceramic</p><p class="ql-block">Museedu Louvre, on deposit from the Musee des Arts decoratifs,Paris</p> <p class="ql-block"><br></p><p class="ql-block">仪式庆典</p><p class="ql-block">Ritual celebrations</p><p class="ql-block">什叶派作为伊斯兰教两大主要分支之一，</p><p class="ql-block">被萨法维王朝奉为官方宗教。什叶派宗教</p><p class="ql-block">仪式也由此成为全国性的官方庆典，其中</p><p class="ql-block">包括与宗教人物诞生和去世相关的仪式。</p><p class="ql-block">这些仪式在现存诸多文物中得以印证:如</p><p class="ql-block">游行中所举旌旗的残片，以及衰悼仪式中</p><p class="ql-block">用于收集泪水的瓶子。</p><p class="ql-block">Adopted as the official religion by the Safavids, Shiism is one of the two main branches of Islam. Shiite rituals, such as those linked to the birth and death of religious figures, were officially celebrated throughout the country. This is reflected in numerous surviving objects, such as fragments of banners carried in processions and bottles used to collect tears shed duringmourning ceremonies.</p> <p class="ql-block"><br></p><p class="ql-block">[1-1,1-2]</p><p class="ql-block">泪瓶(两件)</p><p class="ql-block">伊朗，19世纪</p><p class="ql-block">吹制玻璃</p><p class="ql-block">[1-1,1-2]</p><p class="ql-block">Tear vases</p><p class="ql-block">Iran, 19th c</p><p class="ql-block">Blown glass</p> <p class="ql-block"><br></p><p class="ql-block">[2-1,2-2]</p><p class="ql-block">镂雕牌饰(两件)</p><p class="ql-block">伊朗，1564年;17世纪下半叶</p><p class="ql-block">钢、铁合金</p><p class="ql-block">[2-1,2-2]</p><p class="ql-block">Openwork plaques</p><p class="ql-block">Iran, 1564;2nd half-17th c.</p><p class="ql-block">Steel, Iron alloy</p> <p class="ql-block"><br></p><p class="ql-block">[3]</p><p class="ql-block">铭文盘</p><p class="ql-block">伊朗，16世纪</p><p class="ql-block">铜</p><p class="ql-block">[3]</p><p class="ql-block">Dish with epigraphic design</p><p class="ql-block">Iran,16th c.</p><p class="ql-block">Copper</p> <p class="ql-block"><br></p><p class="ql-block">[1-1,1-2; 1-3,1-4]</p><p class="ql-block">中式山水纹盘(四件)</p><p class="ql-block">伊朗，达吉斯坦，17世纪</p><p class="ql-block">釉陶</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆</p><p class="ql-block">[1-1,1-2; 1-3,1-4]</p><p class="ql-block">Dishes with Chinese type</p><p class="ql-block">landscape</p><p class="ql-block">Iran; Dagestan; 17th c.</p><p class="ql-block">Glazed ceramic</p><p class="ql-block">Musee du Louvre, on deposit from the Musee des Arts decoratifs, Paris</p> <p class="ql-block"><br></p><p class="ql-block">[2-1,2-2]</p><p class="ql-block">中式纹饰碗(两件)</p><p class="ql-block">伊朗，1600-1750年</p><p class="ql-block">釉陶</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆</p><p class="ql-block">[2-1,2-2]</p><p class="ql-block">Bowls with Chinese type decoration</p><p class="ql-block">Iran,1600-1650</p><p class="ql-block">Glazed ceramic</p><p class="ql-block">Musee du Louvre, on deposit from the Musee des Arts decoratifs, Paris</p> <p class="ql-block"><br></p><p class="ql-block">[4]</p><p class="ql-block">盘</p><p class="ql-block">达吉斯坦，16世纪</p><p class="ql-block">釉陶</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆</p><p class="ql-block">[4]</p><p class="ql-block">Dish</p><p class="ql-block">Dagestan, 16th c.</p><p class="ql-block">Glazed ceramic</p><p class="ql-block">Musee du Louvre, on deposit from the Musee des Arts decoratifs, Paris</p> <p class="ql-block"><br></p><p class="ql-block">如金属般闪耀</p><p class="ql-block">Shining like precious metal</p><p class="ql-block">这种被称为“拉斯特彩陶”的奢华装饰技法，使陶瓷表面呈现出金属般的闪耀光泽。12至14世纪，该工艺曾广泛流行于伊朗，之后逐渐被遗忘。可能得益于西班牙拉斯特彩陶或中国的五彩描金瓷器(即在彩色釉面上施以金彩绘饰亦称“金襕手”)的传入，这种工艺于17世纪再度流行。</p> <p class="ql-block"><br></p><p class="ql-block">瓶[1,3,5,7）</p><p class="ql-block">伊朗，1650-1700年</p><p class="ql-block">釉陶</p><p class="ql-block">部分展品为卢浮宫博物馆藏品;部分属巴黎装饰艺术博物馆，现长期寄存于卢浮宫</p><p class="ql-block">Bottles [1,3, 5,7]</p><p class="ql-block">Iran,1650-1700</p><p class="ql-block">Glazed ceramic</p><p class="ql-block">Musee du Louvre and Musee des Arts decoratifs (deposit)</p> <p class="ql-block"><br></p><p class="ql-block">盘[2]、碗[4,6]、杯[8]</p><p class="ql-block">伊朗，1650一1700年</p><p class="ql-block">釉陶</p><p class="ql-block">部分展品为卢浮宫博物馆藏品;部分属巴黎装饰艺术博物馆，现长期寄存于卢浮宫</p><p class="ql-block">Dish [2], bowls [4,6], cup [8]</p><p class="ql-block">Iran,1650-1700</p><p class="ql-block">Glazed ceramic</p><p class="ql-block">Musee du Louvre and Musee des Arts decoratifs (deposit)</p> <p class="ql-block"><br></p><p class="ql-block">卡扎尔王朝</p><p class="ql-block">(1794-1925)</p><p class="ql-block">经过一个世纪的动荡，卡扎尔王朝于1794年建立，使伊朗政局归于稳定。</p><p class="ql-block">土库曼裔的卡扎尔人定都德黑兰，实行君主专制。整个19世纪，他们不断遭受奥斯曼帝国、英国和俄国的侵略，这些外敌强占了高加索地区的部分原属地和卡扎尔王朝东北部的部分领土。法特赫-阿里·沙阿(1797一1834年在位)建立了等级分明的行政体系，推进军队现代化，并最终确定了国家的疆界。他还从伊朗文化根源中汲取养分，推动了艺术的复兴。纳赛尔.丁·沙阿(1848一1896年在位)推行改革，鼓励商贸与工业发展。他多次亲赴欧洲，将新思潮带回国内。1851年，他创办了伊朗第一所现代高等教育机构，1871年又仿照欧洲国家的模式组建政府。然而，外部势力的干涉日益严重。政府对欧洲特权的让步引发了民众的不满，加之新的政治理念涌现，遂引发1905至1911年的立宪革命，并推动了伊朗议会的诞生。第一次世界大战期间，为争夺石油资源，俄英军队曾占领伊朗。最终在1925年，礼萨·汗·巴列维推翻了卡扎尔王朝。</p> <p class="ql-block"><br></p><p class="ql-block">审美的去中心化</p><p class="ql-block">The Decentring of Beauty</p><p class="ql-block">这一时期，艺术亦发生了深刻变化。欧洲范式的传播催生了欧式的艺术风格，这种风格在书籍插画、宫廷壁画和地毯艺术中尤为明显:画家们开始运用透视、明暗对比、立体造型等欧洲常见技法,并创作大尺幅的布面油画肖像。</p><p class="ql-block">The arts underwent major changes during this period. The spread of European models led to the rise of a Europeanised style, visible in book painting, palace wall paintings, and also in the art of carpet. Painters adopted European conventions such as perspective. chiaroscuro. modelline andexecuted laree oil-on-canvas portraits.</p><p class="ql-block">阿拉伯蔓藤花纹与法式洛可可风纹饰地毯</p><p class="ql-block">伊朗，约1860一1880年</p><p class="ql-block">羊毛</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮言博物馆</p><p class="ql-block">Carpet with arabesques and decoration inspired by French Rococo design</p><p class="ql-block">Iran,ca 1860-1880</p><p class="ql-block">Wool</p><p class="ql-block">Musee du Louvre, on deposit from the Musee des Arts decoratifs, Paris</p> <p class="ql-block"><br></p><p class="ql-block">审美的去中心化</p><p class="ql-block">The Decentring of Beauty</p><p class="ql-block">19世纪下半叶，在采用西方范式的同时，伊朗也开始正视本国的历史和文学。阿契美尼德王朝、萨珊王朝与萨法维王朝这三段历史，启发了大量“仿古风格”的创作。</p><p class="ql-block">In parallel with the adoption of Western codes and canons, Iran in the second half of the 19th century turned to its own past and literature. Achaemenid Sassanid and Safavid history all inspired creations “in style".</p><p class="ql-block">卡扎尔时期的新阿契美尼德风格</p><p class="ql-block">浅浮雕:古波斯国王及两名随从</p><p class="ql-block">伊朗，约1880年</p><p class="ql-block">雪花石膏</p><p class="ql-block">Qajar bas-relief in neo-Achaemenid</p><p class="ql-block">style: a king of antique Persia and two stewards</p><p class="ql-block">Iran. ca 1880</p><p class="ql-block">Alabaster</p> <p class="ql-block"><br></p><p class="ql-block">双叶门</p><p class="ql-block">伊朗，16一17世纪</p><p class="ql-block">木、金属、彩料、金、清漆</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆</p><p class="ql-block">经细致研究，此门的装饰分为两层，来自两个不同的时期:第一层或制作于17世纪，其风格明显受书籍艺术的影响，绘有莲花、玫瑰、茎叶等植物纹样，以及北山羊、牡鹿、猫科动物、狐狸等动物纹样，纹样以棕黑色绘制，并以金彩勾勒。</p><p class="ql-block">第二层或制作于19世纪，彩绘团花覆盖前一层纹饰，团花内绘萨法维风格的人物肖像与庭院景致。19世纪时，萨法维王朝被视为艺术创作的黄金时代，成为画家们争相效法的典范。这可能解释了为何此门第二层装饰借鉴了萨法维时期的艺术范式。</p><p class="ql-block">Double-leaf door</p><p class="ql-block">Iran,16th-17th c</p><p class="ql-block">wood,metal, pigments, gold, varnish</p><p class="ql-block">Musee du Louvre,on deposit from the Musee des Arts decoratifs, Paris</p><p class="ql-block">A close study of this door reveals a two-phase decoration. The first phase is probably 17th c. and shows a direct inspiration from the arts of</p><p class="ql-block">the book: vegetal motifs (lotuses, rosettes, stems and leaves) and animals (ibex, stag, feline, fox) are painted in brownish-black and highlighted with gold.</p><p class="ql-block">The second phase may be a 19th-century creation: coloured medallions with portraits and garden scenes in Safavid style cover the earlier decoration. During the 19th century, the Safavid period was considered a golden age of artistic production, and served as a reference for painters. This may explain the use of Safavid models and the deliberate references to this period.</p> <p class="ql-block"><br></p><p class="ql-block">穆罕默德·沙阿·卡扎尔</p><p class="ql-block">(1834一-1848年在位) 肖像</p><p class="ql-block">(穆罕默德·哈桑·阿夫沙尔作)</p><p class="ql-block">伊朗，1837-1838年</p><p class="ql-block">布面油画</p><p class="ql-block">属凡尔赛言，现长期寄存于卢浮宫博物馆</p><p class="ql-block">卡扎尔王朝第三任统治者穆罕默德·沙阿·卡扎尔的这幅肖像，反映出欧洲绘画传统愈发深入的影响。与法特赫-阿里·沙阿肖像形成鲜明对比，这幅作品主色调暗沉，背景呈现出自然主义风景的开阔景致。人物装饰亦呈现微妙变化:摒弃金饰，代之以白银与钻石，镶嵌在朴素的底衬上;不设王座，代之以身后的欧式桌案，桌上摆放着一把欧洲制造的手枪。</p><p class="ql-block">Portrait of Muhammad Shah Qajar (r. 1834-1848), by Muhammad Hasan Afshar</p><p class="ql-block">Iran,1837-38</p><p class="ql-block">Oil on canvas</p><p class="ql-block">Musee du Louvre, on deposit from the Chateau de Versailles</p><p class="ql-block">This portrait of the third Qajar ruler shows the increasing influence of European painting traditions. In contrast to the portrait of Fath-Ali Shah, the dominant palette here is dark and the background opens onto a naturalistic landscape. The ruler's attribute also shows a subtle change: no gold here, silver and diamond in sober mounts, and no throne, but a European-style table behind him, upon which lies a pistol of European manufacture.</p> <p class="ql-block"><br></p><p class="ql-block">法特赫-阿里·沙阿·卡扎尔</p><p class="ql-block">(1797-1834年在位)肖像</p><p class="ql-block">(米尔·阿里作)</p><p class="ql-block">伊朗，1800一1806年</p><p class="ql-block">布面油画</p><p class="ql-block">属凡尔赛宫，现长期寄存于卢浮宫博物馆</p><p class="ql-block">这幅肖像描绘的是卡扎尔王朝第二任统治者法特赫-阿里·沙阿。作品被认为出自米尔.阿里之手，他是19世纪初伊朗最有名的肖像画家之一。画中君主端坐于宝石镶嵌的王座之上，各类权力象征物描绘得精巧细致，构图与技法明显受到西方影响。此画曾作为外交礼物赠予法国皇帝拿破仑一世。</p><p class="ql-block">Portrait of Fath-Ali Shah Qajar (r. 1797-1834), by Mihr Ali</p><p class="ql-block">Iran,1800-06</p><p class="ql-block">Oil on canvas</p><p class="ql-block">Musee du Louvre,on deposit from the Chateau de Versailles</p><p class="ql-block">This portrait of the second Qajar ruler, Fath-Ali Shah,is attributed to one of Iran's most famous portraitists of the early 19th century, Mihr Ali. The sovereign is shown seated on a throne inlaid with precious stones. The symbols of power are depicted with great care. The painting's composition and technique bear witness to a Western influence. This portrait was offered as a diplomatic gift to Emperor Napoleon I.</p> <p class="ql-block"><br></p><p class="ql-block">什叶派宗教仪式</p><p class="ql-block">Shiite rituals</p><p class="ql-block">19世纪下半叶，大型仪仗旌旗开始广泛使</p><p class="ql-block">用。本展区所陈列的瓶、雕塑等器物，当</p><p class="ql-block">年均装在旗杆上，用于什叶派丧葬游行。</p><p class="ql-block">武器与盔甲则用于“塔齐耶”仪式-一种纪念第三任伊玛目侯赛因去世的什叶派宗教戏剧表演。</p><p class="ql-block">The use of monumental banners became widespread in the second half of the 19th century. The pieces in this display (vases, sculptures) were mounted on masts and carried in Shiite funeral processions. Weapons and armour were also used in ta'zieh, a Shiite religious theatrical performance commemorating the death of the third Imam, Husayn.</p><p class="ql-block"> </p><p class="ql-block"> </p> <p class="ql-block"><br></p><p class="ql-block">[1-1,1-2]</p><p class="ql-block">对瓶</p><p class="ql-block">伊朗，1860-1880</p><p class="ql-block">钢、金</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆</p><p class="ql-block">[1-1，1-2]</p><p class="ql-block">Two vases</p><p class="ql-block">Iran,1860-80</p><p class="ql-block">Steel,gold</p><p class="ql-block">Musee du Louvre, on deposit from the Musee des Arts decoratifs, Paris</p><p class="ql-block"> </p><p class="ql-block"> </p> <p class="ql-block"><br></p><p class="ql-block">[2]</p><p class="ql-block">牛首战锤、恶魔首战锤</p><p class="ql-block">伊朗，19世纪</p><p class="ql-block">钢、银</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮官博物馆</p><p class="ql-block">[2]</p><p class="ql-block">Maces</p><p class="ql-block">with bull's head and with demon's head</p><p class="ql-block">Iran,19th c</p><p class="ql-block">Steel, silver</p><p class="ql-block">Musee du Louvre, on deposit from the Musee des Arts decoratifs, Paris</p> <p class="ql-block"><br></p><p class="ql-block">[3]</p><p class="ql-block">铭沙阿苏丹·侯赛因之名的盾牌</p><p class="ql-block">伊朗，18-19世纪</p><p class="ql-block">铁合金、铜合金、金、银、皮革、纺织品</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆</p><p class="ql-block">[3]</p><p class="ql-block">Shield in the name of Shah Sultan Husayn</p><p class="ql-block">Iran,18th-19th c.</p><p class="ql-block">Iron alloy, copper alloy, gold, silver,leather,textile</p><p class="ql-block">Musee du Louvre, on deposit from the Musee des Arts decoratifs, Paris</p> <p class="ql-block"><br></p><p class="ql-block">[4]</p><p class="ql-block">恶魔首形饰头盔</p><p class="ql-block">伊朗，19世纪</p><p class="ql-block">铁合金、银、金</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆</p><p class="ql-block">[4]</p><p class="ql-block">Helmet with demon's head decoration</p><p class="ql-block">Iran, 19th c.</p><p class="ql-block">Iron alloy, silver, gold</p><p class="ql-block">Musee du Louvre, on deposit from the Musee des Arts decoratifs, Paris</p> <p class="ql-block"><br></p><p class="ql-block">[5]</p><p class="ql-block">骑手之斧</p><p class="ql-block">伊朗，17751800年</p><p class="ql-block">钢、金、木、皮革</p><p class="ql-block">[5]</p><p class="ql-block">Horseman's axe</p><p class="ql-block">Iran,1775-1800</p><p class="ql-block">Steel, gold, wood,leather</p> <p class="ql-block"><br></p><p class="ql-block">[6]</p><p class="ql-block">一对猫形饰</p><p class="ql-block">伊朗，1850一1900年</p><p class="ql-block">钢、金、银</p><p class="ql-block">[6]</p><p class="ql-block">Pair of decorative felines</p><p class="ql-block">Iran,1850-1900</p><p class="ql-block">Steel,gold, silver</p> <p class="ql-block"><br></p><p class="ql-block">[7]</p><p class="ql-block">果形饰</p><p class="ql-block">伊朗，1850-1900年</p><p class="ql-block">钢、金、银</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆</p><p class="ql-block">[7]</p><p class="ql-block">Decorative fruit</p><p class="ql-block">Iran,1850-1900</p><p class="ql-block">Steel, gold, silver</p><p class="ql-block">Musee du Louyre, on deposit from the Musee des Arts decoratifs, Paris</p> <p class="ql-block"><br></p><p class="ql-block">玫瑰与夜莺</p><p class="ql-block">花鸟画的风潮源自中国宋代(960一1279年)，并于15世纪传播至伊朗。随着欧洲植物版画的传入，这一题材在此后几个世纪风靡伊朗。19世纪，这类题材以“玫瑰与夜莺”为名达到鼎盛。相关意象广泛应用于各种艺术媒介，从绘画、书籍装帧到漆器比如笔盒和镜子。</p><p class="ql-block">Rose and Nightingale</p><p class="ql-block">The vogue for flower-and-bird paintings originated in China during the Song dynasty (960-1279). It spread to the Iranian world in the 15th century, and in the following centuries enjoyed a considerable craze, stimulated by the arrival of European botanical engravings. Grouped under the name ‘rose and nightingale' - gol o bolbol in Persian - these themes enjoyed great success in the 19th century. They appeared in a variety of media, from paintings and bindings to lacquered objects such as pen cases and mirrors.</p> <p class="ql-block"><br></p><p class="ql-block">玫瑰与夜莺图</p><p class="ql-block">(卢特夫·阿里·汗·设拉兹作)</p><p class="ql-block">伊朗，约1850年</p><p class="ql-block">彩料、纸</p><p class="ql-block">Drawing of a rose and a nightingale</p><p class="ql-block">by Lutf Ali Khan Shirazi</p><p class="ql-block">Iran, ca 1850</p><p class="ql-block">Pigments， paper</p> <p class="ql-block"><br></p><p class="ql-block">手绘图册的一页</p><p class="ql-block">(穆罕默德·哈桑作)</p><p class="ql-block">伊朗，约1840-1845年</p><p class="ql-block">墨、彩料、纸</p><p class="ql-block">Page from an album of handwritten drawings, by Muhammad Hasan</p><p class="ql-block">Iran,ca 1840-45</p><p class="ql-block">Ink, pigments, paper</p> <p class="ql-block"><br></p><p class="ql-block">献给阿敏·苏丹的笔盒</p><p class="ql-block">(古拉姆·里扎·伊玛来制)</p><p class="ql-block">伊朗、1882--1883年</p><p class="ql-block">混凝纸、彩料、漆</p><p class="ql-block">Pen box dedicated to Amin Sultan，by Ghulam Riza Imami</p><p class="ql-block">iran,1882-83</p><p class="ql-block">Papier-mache, pigments, lacquer</p> <p class="ql-block"><br></p><p class="ql-block">“玫瑰与夜莺”纹水烟壶顶饰</p><p class="ql-block">伊朗、19世纪</p><p class="ql-block">铜合金、金、珐琅</p><p class="ql-block">Water pipe top with “Rose and Nightingale" style decoration</p><p class="ql-block">Iran, 19th c.</p><p class="ql-block">Copper alloy, gold, enamel</p> <p class="ql-block"><br></p><p class="ql-block">“玫瑰与夜莺”纹镜盒</p><p class="ql-block">伊朗，1850一1900年</p><p class="ql-block">混凝纸、彩料、漆</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆</p><p class="ql-block">Mirror box with “Rose and Nightingale style</p><p class="ql-block">decoration</p><p class="ql-block">1ran,1850-1900</p><p class="ql-block">Papier-mache, pigments,lacquer</p><p class="ql-block">Musee du Louyre, on deposit from the Musee des Arts decoratifs, Paris</p> <p class="ql-block"><br></p><p class="ql-block">中央饰有一组清晰可辨的花卉植物纹样:鸢尾、风信子、康乃馨、玫瑰，甚至还有榛实。边框为绿底，间以团花，内刻萨迪《果园》诗句:</p><p class="ql-block">“无香无色的玫瑰实属异类。</p><p class="ql-block">夜莺自不会为之倾心。</p><p class="ql-block">读书人啊，我所爱慕的</p><p class="ql-block">乃是此花的精魂，而非美色娇姿。”</p> <p class="ql-block"><br></p><p class="ql-block">陶瓷与哈塔姆工艺</p><p class="ql-block">19世纪50年代，伊朗掀起传统艺术复兴浪潮。德黑兰大巴扎成立了“工艺美术联盟”。这股艺术热潮的涌现，恰逢欧洲对波斯艺术的兴趣渐浓，伦敦南肯辛顿博物馆、巴黎附近的塞夫尔陶瓷制造厂等机构，都在这一时期收藏了一批波斯艺术品。陶砖制作(尤其是釉下彩陶砖)再度流行，用于室内装饰。陶砖的设计灵感来自民族文学，或借鉴萨法维时期的中式艺术风格。这一时期，陶砖的运输、出口也相当便捷。至于这些餐具器皿，虽然延续了萨法维时期受中国影响的瓷器制作传统，但在造型与装饰上亦有创新。此外，自14世纪以来沿用的哈塔姆工艺(微马赛克工艺)在19世纪末也焕发新生。</p> <p class="ql-block"><br></p><p class="ql-block">陶瓷器一组</p><p class="ql-block">伊朗，18-19世纪</p><p class="ql-block">釉陶</p><p class="ql-block">部分展品为卢浮宫博物馆藏品，部分属巴黎装饰艺术博物馆，现长期寄存于卢浮宫。</p><p class="ql-block">其中三只碗刻有萨迪《真境花园》中的诗句。</p><p class="ql-block">波斯语铭文:</p><p class="ql-block">“一日，我从挚爱处偶得香泥，</p><p class="ql-block">芬芳醉人，不禁问之:</p><p class="ql-block">'汝为麝香，抑或龙涎?</p><p class="ql-block">泥坨应曰：’吾本凡土,</p><p class="ql-block">然曾与玫瑰为伴-</p><p class="ql-block">故友之德芬馥沾我，</p><p class="ql-block">然我犹是昔日之泥。’ ”</p> <p class="ql-block"><br></p><p class="ql-block">[1-1,1-2]</p><p class="ql-block">陶砖:席琳沐浴,被霍斯劳国王看见</p><p class="ql-block">陶砖:国王巴赫拉姆·古尔与肩扛瘤牛的菲特娜</p><p class="ql-block">伊朗，约1870一1880年</p><p class="ql-block">釉陶</p><p class="ql-block">[1-1,1-2]</p><p class="ql-block">Tile with Shirin at the bath, seen by King Khosrow</p><p class="ql-block">Tile with Bahram Gur and Fitnah carrying</p><p class="ql-block">a zebu</p><p class="ql-block">Iran,ca 1870-80</p><p class="ql-block">Glazed ceramic</p><p class="ql-block"><br></p><p class="ql-block">这两方陶砖取材自12世纪末波斯文学巨著</p><p class="ql-block">内扎米《五卷诗》中的经典场景。</p><p class="ql-block">第一方陶砖描绘的是“得胜王”霍斯劳窥</p><p class="ql-block">见席琳公主沐浴而对其一见倾心的典故。</p><p class="ql-block">第二方陶砖刻画了萨珊君主巴赫拉姆·古尔</p><p class="ql-block">狩猎归来，与肩扛瘤牛的侍女菲特娜同行</p><p class="ql-block">的场景。</p><p class="ql-block">These two tiles depict scenes from one of the most important works of Persian literature, the Nizami Quintet, written at the end of the 12th century.</p><p class="ql-block">The first tile shows the story of Princess Shirin: King Khosrow Parviz spies her bathing and falls in love with her.</p><p class="ql-block">The second tile recalls an episode from the tale of the Sassanian king Bahram Gur returning from hunting with his servant Fitnah, who carries a zebu on her shoulders.</p><p class="ql-block"><br></p> <p class="ql-block"><br></p><p class="ql-block">[2-1,2-2]</p><p class="ql-block">铭诗陶砖 (两件)</p><p class="ql-block">伊朗，1856一1857年</p><p class="ql-block">釉陶</p><p class="ql-block">[2-1,2-2]</p><p class="ql-block">Tiles with poetic inscription</p><p class="ql-block">Iran,1856-57</p><p class="ql-block">Glazed ceramic</p> <p class="ql-block"><br></p><p class="ql-block">哈塔姆工艺装饰</p><p class="ql-block">Khatam Kari decoration</p><p class="ql-block">这种微马赛克工艺，是将木条、染色骨条与金属条拼合成几何形状，再切割为薄片，随后黏贴于器物之上，完整覆盖其表面。</p><p class="ql-block"> </p><p class="ql-block"> </p> <p class="ql-block"><br></p><p class="ql-block">[1]</p><p class="ql-block"> 匣</p><p class="ql-block">伊朗，19世纪</p><p class="ql-block">各类木材、金属、骨</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮官博物馆</p><p class="ql-block">[1]</p><p class="ql-block">Casket</p><p class="ql-block">Iran,19th c.</p><p class="ql-block">Woods, metal and bones</p><p class="ql-block">Musee du Louvre, on deposit from the Musee des Arts decoratifs, Paris</p><p class="ql-block"><br></p> <p class="ql-block"><br></p><p class="ql-block">[2]</p><p class="ql-block">匣</p><p class="ql-block">伊朗、高加索地区或印度，19世纪</p><p class="ql-block">各类木材、金属、骨</p><p class="ql-block">属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆</p><p class="ql-block">[2]</p><p class="ql-block">Casket</p><p class="ql-block">Iran,Caucasus or India, 19th c.</p><p class="ql-block">Woods, metal and bones</p><p class="ql-block">Musee du Louvre,on deposit from the Musee des Arts decoratifs, Paris</p> <p class="ql-block"><br></p><p class="ql-block">珐琅</p><p class="ql-block">Enamel</p><p class="ql-block">艺术品流通促进了审美品位与工艺的国际化。例如，17世纪，珐琅工艺在欧洲和亚洲都备受推崇。钟表、鼻烟盒、小匣子等物品广泛流通，并成为西方人用作外交馈赠的礼物。</p><p class="ql-block">在伊朗，萨法维王室对珐琅情有独钟，为此引进了专精此工艺的西方金匠。自18世纪起，尤其是在19世纪的卡扎尔时期，珐琅制品的生产工艺日趋成熟，其中一些作品与18世纪中叶英格兰生产的器物有着密切联系。最初专供王室的珐琅器，逐渐走向更广阔的市场。</p><p class="ql-block">The circulation of artworks led to an internationalisation of tastes and techniques. Enamel, for example, enjoyed great success in the 17th century, from Europe to Asia. Watches, snuffboxes and small caskets circulated easily and were part of the diplomatic gifts offered by Westerners.</p><p class="ql-block">In Iran, the Safavids valued enamels and brought in Western goldsmiths specialised in these techniques. From the 18th century onwards, and particularly under the Qajar in the 19th century, a production of enamelled objects developed, with some pieces closely linked to English production in the mid-18th century.Initially produced for the court, enamelled wares gradually spread to a wider market.</p> <p class="ql-block"><br></p><p class="ql-block">水烟壶壶身</p><p class="ql-block">伊朗，19世纪</p><p class="ql-block">银、珐琅</p><p class="ql-block">[1]</p><p class="ql-block">Water piper vessel</p><p class="ql-block">Iran,19th c.</p><p class="ql-block">Silver,enamel</p> <p class="ql-block"><br></p><p class="ql-block">[2-1,2-2,2-3,2-4,2-5,2-6]</p><p class="ql-block">水烟壶顶饰(六件)</p><p class="ql-block">伊朗，19世纪</p><p class="ql-block">铜合金、金、珐琅</p><p class="ql-block"> [2-1,2-2,2-3,2-4,2-5,2-6]</p><p class="ql-block">Water pipe tops</p><p class="ql-block">Iran,19th c.</p><p class="ql-block">Copper alloy, gold,enamel</p> <p class="ql-block"><br></p><p class="ql-block">[3]</p><p class="ql-block">水烟壶握柄</p><p class="ql-block">伊朗，19世纪</p><p class="ql-block">铜合金、金、珐琅</p><p class="ql-block">[3]</p><p class="ql-block">Handle of water pipe</p><p class="ql-block">Iran,19th c.</p><p class="ql-block">Copper alloy, gold, enamel</p> <p class="ql-block"><br></p><p class="ql-block">绘有欧洲情侣的水烟壶上部组件</p><p class="ql-block">伊朗，19世纪中叶</p><p class="ql-block">铜合金、金、珐琅、木</p><p class="ql-block">Upper part of a water pipe with European couples</p><p class="ql-block">Iran,mid-19th c.</p><p class="ql-block">Copper alloy, gold,enamel, wood</p> <p class="ql-block"><br></p><p class="ql-block">[5]</p><p class="ql-block">水烟壶上部组件</p><p class="ql-block">(易卜拉欣制)</p><p class="ql-block">伊朗，19世纪中叶</p><p class="ql-block">铜合金、金珐琅、木</p><p class="ql-block">[5]</p><p class="ql-block">Upper part of a water pipe, by Ibrahim</p><p class="ql-block">Iran,mid-19th c.</p><p class="ql-block">Copper alloy, gold,enamel, wood</p>