Lot 903 A RED COPPER ENGRAVED TRAY, MADE BY TAGHI PASHOOTAN, PERSIA, LATE 19TH CENTURY

A large, intricately engraved circular copper tray with an everted rim, exemplifying masterful craftsmanship and opulent decorative themes.

At the center of the tray lies a highly detailed courtly scene: Shah Abbas is depicted receiving a distinguished guest in a majestic setting beneath an ornate architectural canopy. Below, a dancing woman performs while musicians play traditional instruments, evoking a vivid atmosphere of celebration and royal leisure.

Surrounding this central tableau is a meticulously engraved band of Arabic calligraphy, featuring Surah Al-Ikhlas and Surah Al-Kafirun rendered in elegant thuluth script.

Radiating outward from the medallion, a dynamic hunting scene unfolds: princely figures on horseback, accompanied by agile hunting dogs, pursue rabbits and deer across a lively, stylized landscape.

The rim is adorned with an additional band of engraved Quranic verses—Surah Al-Falaq, Surah Al-Nas, Surah Al-Kawthar, and Surah Al-Qadr—also inscribed in thuluth script. Nestled within this border are small cartouches bearing the maker’s signature: Taghi Pashootan.

Reverse: The underside of the tray is plain, showing natural patina and signs of wear consistent with age. Diameter: 58.5 cm

Catalogue Note: Master Taghi Pashootan stands as one of the preeminent figures in the tradition of Persian metal engraving (ghalamzani). Active during the 19th and early 20th centuries, he was celebrated for his unparalleled skill and his unique ability to fuse the technical brilliance of metalwork with the poetic depth of Persian literary heritage.

He was affectionately known by the honorific “Khayyam”, a tribute to his deep reverence for the famed Persian poet Omar Khayyam. Pashootan transformed copper surfaces into lyrical canvases, engraving lines of Khayyam’s and Hafez’s poetry using the traditional siah-qalam (“black pen”) technique. Each piece he produced stands as both a visual and literary masterpiece—remarkable for its precision, elegance, and profound cultural resonance.

Pashootan’s legacy extended well beyond his own practice. Among his most distinguished students was Master Ali Zarifi Esfahani, who began his apprenticeship at the age of four in the Haj Ali Naqi Caravanserai under Pashootan’s guidance. Zarifi would later become a leading innovator in the field, introducing pioneering techniques such as "metal-on-metal motion" and excelling in both pierced work and relief carving—a testament to the enduring influence of Pashootan’s artistic vision.