The Bobrinski Bucket, also called a kettle or cauldron, is a 12th-century bronze bucket originally manufactured for a merchant in Herat in 1163 out of bronze with copper and silver inlaid decorations. It provides one of the earliest examples of Persian anthropomorphic calligraphy. [1] [2] It is named after a former owner, Count Bobrinsky, and is now in the Hermitage Museum in Saint Petersburg. [1] [2]
The decoration of the bucket is done with copper and silver inlay. In this process patterns are created by embedding a different material onto the surface of the object. The bucket features alternating bands of calligraphy and pictorial scenes. The inscriptions, written in Arabic, are of general well wishes. [1] In the pictorial scenes there is no visual hierarchy. The figures within each band are of the same size and detail. The first register is an inscription in anthropomorphic Naskh script with the tops of the letters having a human form. [3] The second register shows pictorial scenes of entertainment, followed by a band of inscription in interlaced Kufic script. Following that are depictions of men on horseback, playing polo and hunting. In the next band of inscription animals are interwoven in the calligraphy "as if these letters were trees in a wood". [1] The last band shows hares, antelopes and dogs running in file. [3]
The Bobrinski Bucket is the only known inlaid metal object with inscription which can be attributed to Herat with certainty, together with a remarkable ewer of the Ghurid Empire period, inscribed as being manufactured in Herat and dating to 1181-1282, and which is part of a large number of similar ewers, assumed to be from the same place and time period. [5]
Islamic art is a part of Islamic culture and encompasses the visual arts produced since the 7th century CE by people who lived within territories inhabited or ruled by Muslim populations. Referring to characteristic traditions across a wide range of lands, periods, and genres, Islamic art is a concept used first by Western art historians in the late 19th century. Public Islamic art is traditionally non-representational, except for the widespread use of plant forms, usually in varieties of the spiralling arabesque. These are often combined with Islamic calligraphy, geometric patterns in styles that are typically found in a wide variety of media, from small objects in ceramic or metalwork to large decorative schemes in tiling on the outside and inside of large buildings, including mosques. Other forms of Islamic art include Islamic miniature painting, artefacts like Islamic glass or pottery, and textile arts, such as carpets and embroidery.
The Zengiddynasty was a Sunni Muslim dynasty of Turkoman origin, which ruled parts of the Levant and Upper Mesopotamia on behalf of the Seljuk Empire and eventually seized control of Egypt in 1169. In 1174 the Zengid state extended from Tripoli to Hamadan and from Yemen to Sivas. The dynasty was founded by Imad ad-Din Zengi.
The Kufic script is a style of Arabic script that gained prominence early on as a preferred script for Quran transcription and architectural decoration, and it has since become a reference and an archetype for a number of other Arabic scripts. It developed from the Arabic alphabet in the city of Kufa, from which its name is derived. Kufic is characterized by angular, rectilinear letterforms and its horizontal orientation. There are many different versions of Kufic, such as square Kufic, floriated Kufic, knotted Kufic, and others. The artistic styling of Kufic led to its use in a non-Arabic context in Europe, as decoration on architecture, known as pseudo-Kufic.
Niello is a black mixture, usually of sulphur, copper, silver, and lead, used as an inlay on engraved or etched metal, especially silver. It is added as a powder or paste, then fired until it melts or at least softens, and flows or is pushed into the engraved lines in the metal. It hardens and blackens when cool, and the niello on the flat surface is polished off to show the filled lines in black, contrasting with the polished metal around it. It may also be used with other metalworking techniques to cover larger areas, as seen in the sky in the diptych illustrated here. The metal where niello is to be placed is often roughened to provide a key. In many cases, especially in objects that have been buried underground, where the niello is now lost, the roughened surface indicates that it was once there.
The Ghurid dynasty was a Persianate dynasty of presumably eastern Iranian Tajik origin, which ruled from the 8th-century in the region of Ghor, and became an Empire from 1175 to 1215. The Ghurids were centered in the hills of Ghor region in the present-day central Afghanistan, where they initially started out as local chiefs. They gradually converted to Sunni Islam after the conquest of Ghor by the Ghaznavid ruler Mahmud of Ghazni in 1011. The Ghurids eventually overran the Ghaznavids when Muhammad of Ghor seized Lahore and expelled the Ghaznavids from their last stronghold.
In modern usage, an aquamanile is a ewer or jug-type vessel in the form of one or more animal or human figures. It usually contained water for the washing of hands over a basin, which was part of both upper-class meals and the Christian Eucharist. Historically the term was used for a basin used for priest's ablutions. The water was supplied by a subdeacon, and aquamanile was a symbol of subdeaconate. The term was later transferred onto secular ewers. Most surviving examples are in metal, typically copper alloys, as pottery versions have rarely survived.
The Seljuk Empire, or the GreatSeljuk Empire, was a high medieval empire, culturally Turco-Persian, founded and ruled by the Qïnïq branch of Oghuz Turks. It spanned a total area of 3.9 million square kilometres from Anatolia and the Levant in the west to the Hindu Kush in the east, and from Central Asia in the north to the Persian Gulf in the south.
Fatimid art refers to artifacts and architecture from the Fatimid Caliphate (909–1171), an empire based in Egypt and North Africa. The Fatimid Caliphate was initially established in the Maghreb, with its roots in a ninth-century Shia Ismailist Many monuments survive in the Fatimid cities founded in North Africa, starting with Mahdia, on the Tunisian coast, the principal city prior to the conquest of Egypt in 969 and the building of al-Qahira, the "City Victorious", now part of modern-day Cairo. The period was marked by a prosperity amongst the upper echelons, manifested in the creation of opulent and finely wrought objects in the decorative arts, including carved rock crystal, lustreware and other ceramics, wood and ivory carving, gold jewelry and other metalware, textiles, books and coinage. These items not only reflected personal wealth, but were used as gifts to curry favour abroad. The most precious and valuable objects were amassed in the caliphal palaces in al-Qahira. In the 1060s, following several years of drought during which the armies received no payment, the palaces were systematically looted. The libraries largely destroyed, precious gold objects melted down, with a few of the treasures dispersed across the medieval Christian world. Afterwards Fatimid artifacts continued to be made in the same style, but were adapted to a larger populace using less precious materials.
Badr al-Din Lu'lu' was successor to the Zengid emirs of Mosul, where he governed in variety of capacities from 1234 to 1259 following the death of Nasir ad-Din Mahmud. Originally a slave of the Zengid ruler Nur al-Din Arslan Shah I, he was the first mamluk to transcend servitude and become an emir in his own right, founding the dynasty of the Lu'lu'id emirs (1234-1262), and anticipating the rise of the Bahri Mamluks to the sultanate of Egypt by twenty years. He preserved control of al-Jazira through a series of tactical submissions to larger neighboring powers, at various times recognizing Ayyubid, Rûmi Seljuq, and Mongol overlords. His surrender to the Mongols spared Mosul the destruction experienced by other settlements in Mesopotamia.
The art of Urartu refers to a historical and regional type of art from Urartu (Ararat), the ancient state of Western Asia which existed in the period from the 13th to the 6th centuries BC in the Armenian Highland. The art of Urartu was strongly influenced by nearby Assyria, the most prominent state of that period in the region. It peaked around the 8th century BC but was mostly looted, scattered and destroyed with the fall of Urartu about a century later.
Central Asian art is visual art created in Central Asia, in areas corresponding to modern Kyrgyzstan, Kazakhstan, Uzbekistan, Turkmenistan, Azerbaijan, Tajikistan, Afghanistan, Pakistan, and parts of modern Mongolia, China and Russia. The art of ancient and medieval Central Asia reflects the rich history of this vast area, home to a huge variety of peoples, religions and ways of life. The artistic remains of the region show a remarkable combinations of influences that exemplify the multicultural nature of Central Asian society. The Silk Road transmission of art, Scythian art, Greco-Buddhist art, Serindian art and more recently Persianate culture, are all part of this complicated history.
Persian pottery or Iranian pottery is the pottery made by the artists of Persia (Iran) and its history goes back to early Neolithic Age. Agriculture gave rise to the baking of clay, and the making of utensils by the people of Iran. Through the centuries, Persian potters have responded to the demands and changes brought by political turmoil by adopting and refining newly introduced forms and blending them into their own culture. This innovative attitude has survived through time and influenced many other cultures around the world.
Persian art or Iranian art has one of the richest art heritages in world history and has been strong in many media including architecture, painting, weaving, pottery, calligraphy, metalworking and sculpture. At different times, influences from the art of neighbouring civilizations have been very important, and latterly Persian art gave and received major influences as part of the wider styles of Islamic art. This article covers the art of Persia up to 1925, and the end of the Qajar dynasty; for later art see Iranian modern and contemporary art, and for traditional crafts see arts of Iran. Rock art in Iran is its most ancient surviving art. Iranian architecture is covered at that article.
Tiraz are medieval Islamic embroideries, usually in the form of armbands sewn onto robes of honour (khilat). They were bestowed upon high-ranking officials who showed loyalty to the Caliphate, and given as gifts to distinguished individuals. They were usually inscribed with the ruler's names, and were embroidered with threads of precious metal and decorated with complex patterns. Tiraz were a symbol of power; their production and export were strictly regulated, and were overseen by a government-appointed official.
Kulah Khuds were used in ancient western Asia for battle and as decorative head pieces.
During the thirteenth century, Mosul, Iraq became home to a school of luxury metalwork which rose to international renown. Artifacts classified as Mosul are some of the most intricately designed and revered pieces of the Middle Ages.
Mina'i ware is a type of Persian pottery, or Islamic pottery developed in Kashan, Iran, in the decades leading up to the Mongol invasion of Persia in 1219, after which production ceased. It has been described as "probably the most luxurious of all types of ceramic ware produced in the eastern Islamic lands during the medieval period". The ceramic body of white-ish fritware or stonepaste is fully decorated with detailed paintings using several colours, usually including figures.
In Islamic art, a shamsa is an intricately decorated rosette or medallion which is used in many contexts, including manuscripts, carpets, ornamental metalwork and architectural decoration such as the underside of domes. It can take a number of overall shapes, from circles to stars. The name means "little sun", as a diminutive of shams, the Arabic word meaning "sun", and the work is often stylised as a sunburst. It is characterized by the recurrent motifs present in Islamic art, such as the use of geometrical floral or vegetal forms in a repetitive design known as an arabesque. The arabesque is often used to symbolize the transcendent, indivisible and infinite nature of God, and as with other patterns and forms of Islamic art, the shamsa also has a religious significance, such as symbolizing the unity of God.
The Duck candlestick, a candelabra with ducks and cats, is an object of Islamic art in hammered and embossed copper alloy, with an inlaid decoration of silver and red copper. It was produced in the medieval Persian world in the 12th century, during the Seljuk and Ghurid eras. It is one of the masterpieces of the Islamic Arts Department of the Louvre Museum.
The Blacas ewer is a brass ewer, inlaid with silver and copper, made by Shuja' ibn Man'a al-Mawsili in Mosul in April or May 1232. One of the most important and well-known pieces of metalwork from Mosul, it was likely commissioned for Badr al-Din Lu'lu', who was already the de facto ruler of Mosul when the ewer was made and who officially became ruler one year later. Until 1997, the Blacas ewer was the only known piece of metalwork with an inscription explicitly saying it was made in Mosul. Because of this inscription, it forms one of the core items of the contested "Mosul School" of metalwork, since its Mosuli provenance is undisputed.
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