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Fragment of a golden lampas cloth with a captivating scene
(جزء من قماش لامباس ذهبي ذو مشهد أسر)

Title	Fragment of a golden lampas cloth with a captivating scene
Title Original	جزء من قماش لامباس ذهبي ذو مشهد أسر
Author	unknown
Author Original	مجهول
Publication Date:	Sixteenth century AD
Publication Place	- Khninko Museum
Subject	Silk, metallic threads, lampas knitting — Unknown
Type	Other
Language	Undetermined
Digital	Yes
Manuscript	No
Physical Dimensions	الطول : 109 سم ، العرض : 34 سم
Library:	Museum With No Frontiers
Library Asset ID	365 БВ
Record ID	object;EPM;uc;Mus21;11;ar
Library Location	Khninko Museum
Date	Sixteenth century AD
Notes	Silk fabrics with figures (patterns including portraits of people) were the pinnacle of fashion for the court of the Safavid era. A notable example of the style is this piece of golden lampas silk depicting a household scene. The most technologically complex and expensive fabric in Iran is the gold lampas, which give 10 silk threads of different colors in the pattern. The inclusion of threads covered with gold or silver leaf suggests that the fabric may have been produced in workshops ( Karkhana (Empire). The piece is one of two larger pieces among seven spread pieces of a very expensive man's dress, possibly belonging to a member of the Iranian Shah's family. The scene depicts patterns of Lambas silk, which are of great interest among researchers. And around a tree (sycamore or maple), where a relatively large bird perches on the branch, there is a knight on his horse leading a prisoner. There is a small child sitting behind the knight, and at the top there are people, as well as a rooster flying towards a tree. The scene depicts a knight equipped with his gear, and this is distinctive in Safavid art in the sixteenth century AD, and he is wearing a turban wrapped around a long crown hood with a number of twists, symbolizing 12 holy Shiite imams. The idea of treating the scene as a political direction for the victorious campaigns of Shah Tahmasp I in Georgia (1540-1553) was added to a Sufi interpretation of the subject. The scene of captivity was seen as a metaphor for a man who was trying to ascend to God. The knight thus represents the teacher who leads the captive through complex paths of learning toward the sacred truth personified by the ancient Iranian mythical bird, the Simorgh (djinn bird).
Sample Text	“Fragment of a golden lampas cloth with a captivating scene” from Explore Islamic Art Collections. Museum Without Borders, 2026. https://islamicart.museumwnf.org/database_item.php?id=object;EPM;uc;Mus21;11;ar

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Fragment of a golden lampas cloth with a captivating scene

(جزء من قماش لامباس ذهبي ذو مشهد أسر)

Author unknown

Author Original مجهول

Publication Date Sixteenth century AD

Publication Place - Khninko Museum

Subject Silk, metallic threads, lampas knitting — Unknown

Type Other

Language Undetermined

Digital Yes

Manuscript No

Physical Dimensions الطول : 109 سم ، العرض : 34 سم

Library Museum With No Frontiers

Library Asset ID 365 БВ

Record ID object;EPM;uc;Mus21;11;ar

Library Location Khninko Museum

Date Sixteenth century AD

Notes Silk fabrics with figures (patterns including portraits of people) were the pinnacle of fashion for the court of the Safavid era. A notable example of the style is this piece of golden lampas silk depicting a household scene. The most technologically complex and expensive fabric in Iran is the gold lampas, which give 10 silk threads of different colors in the pattern. The inclusion of threads covered with gold or silver leaf suggests that the fabric may have been produced in workshops ( Karkhana (Empire). The piece is one of two larger pieces among seven spread pieces of a very expensive man's dress, possibly belonging to a member of the Iranian Shah's family. The scene depicts patterns of Lambas silk, which are of great interest among researchers. And around a tree (sycamore or maple), where a relatively large bird perches on the branch, there is a knight on his horse leading a prisoner. There is a small child sitting behind the knight, and at the top there are people, as well as a rooster flying towards a tree. The scene depicts a knight equipped with his gear, and this is distinctive in Safavid art in the sixteenth century AD, and he is wearing a turban wrapped around a long crown hood with a number of twists, symbolizing 12 holy Shiite imams. The idea of treating the scene as a political direction for the victorious campaigns of Shah Tahmasp I in Georgia (1540-1553) was added to a Sufi interpretation of the subject. The scene of captivity was seen as a metaphor for a man who was trying to ascend to God. The knight thus represents the teacher who leads the captive through complex paths of learning toward the sacred truth personified by the ancient Iranian mythical bird, the Simorgh (djinn bird).

Sample Text “Fragment of a golden lampas cloth with a captivating scene” from Explore Islamic Art Collections. Museum Without Borders, 2026. https://islamicart.museumwnf.org/database_item.php?id=object;EPM;uc;Mus21;11;ar