Lot 46: AN OTTOMAN TALISMANIC SHIRT JAMA WITH CALLIGRAPHIC INSCRIPTIONS AND ARCHITECTURAL RENDERINGS.
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The garment is extensively decorated with a complex program of talismanic and religious iconography executed in black, red, blue, and gold-coloured inks. The front of the shirt features a central upper panel with a large stylized crescent and diamond-shaped composition in gold leaf, bordered by lines of blue and red Naskh script. To the viewer’s right is a rectangular panel containing an architectural rendering of the Masjid al-Haram in Mecca, showing the Kaaba and surrounding colonnades in a schematic style with yellow, red, and black pigments. Below the gold-leaf panel is a large grid containing the Asma al-Husna (the 99 Beautiful Names of Allah) in black ink, framed by an elaborate border of red Thuluth calligraphy . A second grid below this lists the titles and names of the Prophet Muhammad. The upper right shoulder displays a circular calligraphic composition within a square border containing an abjad grid or wafq. The reverse features large-scale, block-like Kufic script in a faded red pigment, alongside several repeating circular stamps containing religious invocations . A vertical panel on the reverse contains large stylized script in a faded red-brown tone. The sleeves and lower hem are finished with simple stitched edges. The panels are of varying sizes, with trapezoidal inserts at the lower sides to create a flared silhouette.
H: Approximately 80cm
L: Approximately 86cm
Condition report:
The tunic exhibits overall atmospheric toning and yellowing to the cotton fabric consistent with age and use. There are numerous areas of irregular red and brown staining, notably on the lower front panels (photo 6) and extensively across the reverse (photos 2 and 3), appearing as pigment bleed or historical liquid contact. Faint overall spotting and scattered foxing are visible across the textile (photo 5). Several loose threads are present at the seams where panels meet (photo 2). The pigments in the primary decorative panels on the front remain relatively clear, though the red ink on the reverse is significantly faded and blurred (photo 3). The edges of the fabric show light fraying in places (photo 6). No significant tears or holes are visible in the provided images.
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