毛巾末端 - 美国大都会艺术博物馆展品查阅

品名（中）	毛巾末端
品名（英）	Towel End
入馆年号	1879年，79.1.275
策展部门	伊斯兰艺术（Islamic Art）
创作者
创作年份	公元 1800 - 公元 1825
创作地区	归属于: 土耳其（Attributed to: Turkey）
分类	刺绣纺织品（Textiles-Embroidered）
尺寸	高 20 1/2 英寸 (52.1 厘米) 宽 25 英寸 (63.5 厘米)
介绍（中）	十八世纪以前的奥斯曼刺绣往往复制宫廷编织的华丽，更多的时候是作为价格较低的华丽编织丝绸和天鹅绒生产的。这种毛巾头支持了这样一种观点，即奥斯曼刺绣直到1720年才被视为一种艺术形式，当时它停止了复制编织设计，变得真正有创意，新的、更自然的花卉图案被允许在设计领域更自由地摆动。在这件迷人的作品中，插花的正式性被插花末端有趣的小花朵所背叛。与早期的作品形成对比的是，这件作品中的独立插花代表了19世纪早期奥斯曼帝国的刺绣。十八世纪常见的相互连接的茎或格子连接的缺失，为庆祝土耳其的一种多年生植物——花朵创造了一个更开放的框架。由于"土耳其毛巾"边界的僵化尚未到来，18世纪的仿制品风格已经落后，这件作品预示着奥斯曼刺绣的一场安静革命，并表明未来一个世纪人们对欧洲装饰艺术的兴趣越来越大。
介绍（英）	Ottoman embroidery before the eighteenth century tended to replicate the opulence of court weaving, and more often was produced as less expensive versions of the magnificent woven silks and velvets. This towel end lends support to the suggestion that Ottoman embroidery was not regarded as an art form until 1720, when it stopped copying woven designs and became truly creative, and new and more naturalistic floral motifs were permitted to sway more freely across the field of the design. In this charming piece, the formality of the floral rows is betrayed by the playful insertion of smaller flowers at the end of the rows. In contrast to the works of earlier periods, the freestanding floral arrangements in the present piece typify the early nineteenth-century Ottoman embroideries. The absence of interconnecting stems or trellis links, so common in the eighteenth century, create a more open framework for the celebration of a perennial Turkish delight: the flower. With the rigidity of "Turkish towel" borders as yet to come, and the copyist style of the eighteenth century well behind, this piece heralds a quiet revolution in Ottoman embroidery and points to a greater interest in European decorative arts in the century ahead.