چکیده:
In museums and collections of Islamic art, there are silk textiles from the Safavid period that often bear inscriptions featuring the name of Imam Hussain. Despite their varying dimensions and potential diverse functions, most of these works have been classified as tomb covers without being examined collectively. This paper focuses on eighteen pieces, with ten of them dated between 1545 and 1740-41, specifically exploring examples from the eighteenth century. The research aims to address questions regarding the evolution of the content of inscriptions over time, its correlation with the Safavid period's history, as well as identifying the purpose and origin of these textiles. The investigation reveals that the production of these textiles aligned with the expansion of Muharram mourning practices, the construction of Husseiniyah buildings, and the establishment of endowments for Muharram rituals during the reign of Safavid Sultan Hussain. Until around 1710, Shiite references in the textiles were mainly expressed through ṣalawat-i kabira and a focus on Imam Ali, but afterwards, the prominence shifted to Imam Hussain's name. Through written sources, book paintings, and analysis of the textile inscriptions, it can be concluded that most of these textiles, particularly mourning banners (ʿalam), were likely created by artists from Kashan.
خلاصه ماشینی:
ir Article Information Abstract In museums of Islamic art, a group of silk textiles with inscriptions from the Safavid period can be found, generally containing the name of Imam Hussein (AS).
This research, focusing on the examples of the twelfth century, seeks answers to questions such as identifying changes in the content of inscriptions over time and its connection to the history of the Safavid period, as well as determining the application and place of weaving these works.
Research Background Hossein Emadzadeh, in a section of his book “The Life of Imam Ali ibn Musa al-Rida (AS)”, refers to three gold brocade fabrics in the Astan Quds Museum and reads their inscriptions (Emadzadeh, 1360: 262-268).
Since the use of the second piece was unknown to her, she also considered it a shroud, and therefore, to some extent, all Safavid silk textiles with inscriptions that have reached outside the country since then have been identified as shrouds; however, Shah Suleiman mentions the word “became” meaning flag and banner twice in the vowed fabric.
Several Pieces of Silk Fabric Endowed to Imam Hussein (AS) At the Philadelphia Museum of Art, a fabric is kept that is similar to the previous sample and has three rectangular red frames, with inscriptions in Thuluth script on all four sides (Image 16).
هنر جهان اسلام و هند، شامل مجموعهٔ خصوصی اهدا شده به نفع دانشگاه آکسفورد، بخش پنجم.
هنر جهان اسلام: شامل قالیها و منسوجات ظریف، لندن، ۱ آوریل ٢٠٠٩.
هنر جهان اسلام: شامل قالیها و منسوجات ظریف، لندن، ۶ اکتبر ٢٠١٠.
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