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Lot 133
  • 133

A Fatimid Marble Jar-Stand (Kilga), Egypt, 10th-11th century

Estimate
30,000 - 50,000 GBP
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Description

of hollowed-out cylindrical form, with a rectangular trough and two projecting bosses in the form of lionheads, carved arch and muqarnas to the side panels, square kufic band around base, stands on four feet

Condition

overall in relatively good condition. has lost the length of the feet on which it stands, though they are still visible. bosses in the form of lionheads have also lost a lot of features. muqarnas and kufic inscription still quite strong, as viewed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

inscriptions

baraka kamila wa ni'ma al-tamma wa salama da'ima wa izz li-sa/hibihi wa yumn wa birr wa 'izz bi-la /.... baraka kamila wa ni'ma shamila wa salama da'ima

'Perfect Blessing and comple⛄te Grace and perpetual Well-being and Glory to its owner and Good-fortune and Piety and Glory without ..... Perfect Blessing and complete Grace and perpetual Well-being'

Originally intended to be used as supports for large unglazed terracotta water jars, kilgas, or jar-stands, are objects of utmost peculiarity, both for th🌞eir practical use—which has persisted for centuries—and for their decorative attributes. Carved out of a single piece of solid marble, their form comprises a main hollow cylindrical socket on which the vessel would rest, with its traditionally pointed base almost touching the interior surface of the stand. Water would then seep through the porous clay of the container, collect on the bottom and trickle onto the protruding basin, cooling down as it went.

Elfriede Knauer argues that these objects have no parallels outside the lands surrounding the Nile and suggests that their prevalence in the area is due to its population's strong dependence on drinking water carried in jars from the river (Elfriede R. Knauer, 'Marble Jar-Stands from Egypt', in Metropolitan Museum Journal, vol.14, New York, 1979, p.67-71). During his travels in the Middle East, John Lloyd Stevens took note of this custom and of Cairo's water carriers, writing that his 'store of provisions consisted of... two of the largest skins containing the filtered water of the Nile' (John Lloyd Stevens, Incidents of Travel in Egypt, Arabia Petraea, and the Holy Land, New York, 1837, p.150). Presently, the practical use of the kilga is only predominant in the rural countryside and the most elaborate and stylistically attractive examples are reserved for decorative purposes, often paired with marble vases or jars, as can be seen in the mid-17th century house of Sheikh es-Sihaimi, in Cairo (Knauer, op. cit., pp.72-4).

The most outstanding jar-stands are wonderfully engraved throughout, either with elements of Coptic iconography or, as is the case in the current lot, with Islamic designs. The latter are strongly associated with the Fatimid and Ayyubid dynasties, which ruled Egypt in 909-1171 AD and 1171-1341 AD, respectively. Indeed, a similar jar-stand was exhibited in Fatimid Treasures from Cairo at the Institut du Monde Arabe in Paris (Paris 1998, p.180, no.126) whilst another one bearing muqarnas and other architectural motifs analogous to those on the present example was sold in these rooms on 14 April 2010, lot 115. Two further kilgas, one with a comparable calligraphic inscription, are now in the Museum of Islamic Art in Cairo (see Schätze der Kalifen: Islamische Kunst zur Fatimidenzeit, Wilfried Seipel (ed.), Vienna, 1998, p⛄p.191-3, nos.155-6).