56-57 / 168
54
55
Kalamkari master, from whom Jasleen Dhamija
acquired these two pieces directly.
Almost identical in design, the two
holehs
in the present
lot are predominantly decorated with the
boteh
motif,
popular in Iran where it was known as
khadife
. They
each have borders with four large
botehs
within which
a central
boteh
stands surrounded by smaller ones. The
centre is filled with alternate rows of small
botehs
, each
facing a different direction. In the corners are more
elaborate
botehs
, each facing towards the centre. The
narrower edge has an inscription in the centre.
26
HOLEH WRAP FOR THE BATH
ISFAHAN, IRAN, CIRCA 1930
a) Handspun and handwoven cotton, block printed
on both sides, natural dyes, inscribed in Persian at
the lower centre
90.25 x 52.25 in (229.4 x 133 cm)
b) Handspun and handwoven cotton, block printed
on both sides, natural dyes, inscribed in Persian at
the upper and lower centre
92.75 x 51.25 in (235 x 130.7 cm)
$ 4,550 - 6,065
Rs 3,00,000 - 4,00,000
(Set of two)
Kalamkari was also fashioned for use in public
baths or
hamams
, where they were used as towels
or wraps for carrying bundles of clothing by the
nobility. Known as
holeh
in Iran, in Arabic they were
referred to as
qatif
. Usually rectangular in shape, they
had large, elaborate borders with predominantly
unadorned centres.
Holehs
were typically made for
both men and women. While designs remained the
same, those with a white background were meant
for women, and a red background for men. The most
striking aspect of these two
holehs
is that they are
evenly printed on both sides, making them very
special. It is a rare feat achieved by a highly skilled
ab