Folia archeologica 44.

Gerelyes Ibolya: Iszlám hatások a 16-17. századi magyar ötvösségben

ISLAMIC INFLUENCES IN 16TH AND 17TH CENTURY HUNGARIAN METALWORK A new, formerly unknown motif appeared in Hungarian metalwork of the later 16th century; generally described as a 'lambrequin', which also refers the formal traits of this ornamental motif. The word 'lambrequin' is generally used in descriptions of coats-of-arms or textiles, its original meaning being 'fringe', 'tassel', 'drapery' or 'curtain'.

1 The Islamic roots of this motif have already been noted earlier to judge from descriptions of various objects, which generally describe it as an oriental ornamentation, „an arabesque-like lambrequin" or „a lambrequin with arabesques".

2 However, the nature and origins of the interrelations reflected by the adoption of this motif have, by and large, been neglected by Hungarian art studies. The Collection of the Medieval Department of the Hungarian National Museum has several 'lambrequin ornamented' metal objects, mostly cylindrical, beakers and their later variants, cylindrical footed beakers. This motif occurs, albeit more rarely, on other objects too, such as chalices, tankards and lidded jugs, as well as on spoons.

3 These so-called 'lambrequin ornamented' objects, however, do not form any distinct group, either in terms of their form, or as regards their function. It must also be borne in mind that this ornamental motif is one of a wide repertory of decorative elements. Before a detailed description of the objects in question, a closer look at the lambrequin itself is in order. This motif, at first glance indeed reminiscent of a tassel, is the simplified, stylized, 'halved' variant of the multi-lobed cartouche, a popular motif of Ottoman Turkish art. The most lovely examples of this motif can perhaps be quoted from among the book-bindings made in Ottoman workshops (Fig. lb). A series of stylized, 'halved' cartouches, adopted from Ottoman art, encircles vessels, generally under the rim of the beaker, chalice or tankard. The outer contour of tne cartouche was generally drawn with a double line, and instead of the curved lobes of Ottoman art, a more simple, angular form was applied. The arabesques generally fill the cartouche. In most cases these are genuine arabesques with split leaves and flowing tendrils (Fig. la),

4 but sometimes incorporating also stylized flowers, tulips and roses, that were similarly popular in Ottoman Turkish art. The next section of the study surveys the objects that on the basis of their maker's mark or Hungarian inscription were most likely manufactured in Hungarian or Transylvanian workshops (Figs 2-10). From the first half of the 16th century, new motifs appeared in the mature Renaissance of Western Europe, that was quickly diffused through the pattern and design books of the period. Most important among these new motifs was the multilobed cartouche adopted from Ottoman Turkish art (primarily from book-bindings), in which the original stylized flowers, leafs and buds are replaced, or at least complemented by stylized arabesques. Comparable lobed cartouches and classical arabesques of split leafs with pointed tips can be seen in Giovanni Antonio Tagliette's pattern book, published in Venice in 1530, and in Peter Flötner's book, published some two decades later in Zurich (in 1549),

3

0 The 16th century pattern books drew their inspiration also from sources other than Ottoman art. The pattern book