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A dish with epigraphic decoration is an Islamic ceramic characteristic of the art developed in eastern Iran and Transoxiana around the 10th century, mainly during the Samanid dynasty (819-1005). The dish was presented to the Louvre Museum, by Alphonse Kann in 1935. [1]
The Dish with epigraphic decoration was made at the end of the 10th century, in eastern Iran or in Transoxiana. The production centers usually cited to house this type of ceramics are Nishapur and Samarkand. [2] The dish is mentioned in a list drawn up by the collector A. Vassilieff from Kyiv who acquired it from a person who carried out excavations in Samarkand, in a private capacity. It is now kept at the Department of Islamic Arts of the Louvre Museum (inventory number AA 96). It was donated by Alphonse Kann in 1935. [3]
The Kara-Khanid Khanate, also known as the Karakhanids, Qarakhanids, Ilek Khanids or the Afrasiabids, was a Karluk Turkic khanate that ruled Central Asia from the 9th to the early 13th century. The dynastic names of Karakhanids and Ilek Khanids refer to royal titles with Kara Khagan being the most important Turkic title up until the end of the dynasty.
Khorasan, also called Traxiane during Hellenistic and Parthian times, was a province in northeastern Iran until September 2004, when it was divided into three new provinces: North Khorasan, South Khorasan, and Razavi Khorasan.
Nishapur or Neyshabur is a city in the Central District of Nishapur County, Razavi Khorasan province, Iran, serving as capital of both the county and the district.
The Samanid Empire was a Persianate Sunni Muslim empire, ruled by a dynasty of Iranian dehqan origin. The empire was centred in Khorasan and Transoxiana, at its greatest extent encompassing northeastern Iran and Central Asia, from 819 to 999.
Greater Khorasan is a historical eastern region in the Iranian Plateau in West and Central Asia that encompasses western and northern Afghanistan, northeastern Iran, the eastern halves of Turkmenistan and Uzbekistan, western Tajikistan, and portions of Kyrgyzstan and Kazakhstan.
Iranian architecture or Persian architecture is the architecture of Iran and parts of the rest of West Asia, the Caucasus and Central Asia. Its history dates back to at least 5,000 BC with characteristic examples distributed over a vast area from Turkey and Iraq to Uzbekistan and Tajikistan, and from the Caucasus to Zanzibar. Persian buildings vary greatly in scale and function, from vernacular architecture to monumental complexes. In addition to historic gates, palaces, and mosques, the rapid growth of cities such as the capital Tehran has brought about a wave of demolition and new construction.
Islamic pottery occupied a geographical position between Chinese ceramics, and the pottery of the Byzantine Empire and Europe. For most of the period, it made great aesthetic achievements and influence as well, influencing Byzantium and Europe. The use of drinking and eating vessels in gold and silver, the ideal in ancient Rome and Persia as well as medieval Christian societies, is prohibited by the Hadiths, with the result that pottery and glass were used for tableware by Muslim elites, as pottery also was in China but was much rarer in Europe and Byzantium. In the same way, Islamic restrictions greatly discouraged figurative wall painting, encouraging the architectural use of schemes of decorative and often geometrically patterned titles, which are the most distinctive and original speciality of Islamic ceramics.
Architecture of Central Asia refers to the architectural styles of the numerous societies that have occupied Central Asia throughout history. These styles include a regional tradition of Islamic and Iranian architecture, including Timurid architecture of the 14th and 15th centuries, as well as 20th-century Soviet Modernism. Central Asia is an area that encompasses land from the Xinjiang Province of China in the East to the Caspian Sea in the West. The region is made up of the countries of Kazakhstan, Uzbekistan, Tajikistan, Kyrgyzstan, and Turkmenistan. The influence of Timurid architecture can be recognised in numerous sites in Kazakhstan and Uzbekistan, whilst the influence of Persian architecture is seen frequently in Uzbekistan and in some examples in Turkmenistan. Examples of Soviet architecture can be found in Uzbekistan, Kazakhstan, Tajikistan and Kyrgyzstan.
Islamic ornament is the use of decorative forms and patterns in Islamic art and Islamic architecture. Its elements can be broadly divided into the arabesque, using curving plant-based elements, geometric patterns with straight lines or regular curves, and calligraphy, consisting of religious texts with stylized appearance, used both decoratively and to convey meaning. All three often involve elaborate interlacing in various mediums.
Pseudo-Kufic, or Kufesque, also sometimes pseudo-Arabic, is a style of decoration used during the Middle Ages and the Renaissance, consisting of imitations of the Arabic script, especially Kufic, made in a non-Arabic context: "Imitations of Arabic in European art are often described as pseudo-Kufic, borrowing the term for an Arabic script that emphasizes straight and angular strokes, and is most commonly used in Islamic architectural decoration". Pseudo-Kufic appears especially often in Renaissance art in depictions of people from the Holy Land, particularly the Virgin Mary. It is an example of Islamic influences on Western art.
Chinese influences on Islamic pottery cover a period starting from at least the 8th century CE to the 19th century. The influence of Chinese ceramics on Islamic pottery has to be viewed in the broader context of the considerable importance of Chinese culture on Islamic arts in general.
The Muslim conquest of Transoxiana, also called the Arab conquest of Transoxiana, was part of the early Muslim conquests. It began shortly after the Muslim conquest of Persia enabled the Arabs to enter Central Asia. Relatively small-scale incursions had taken place under the Rashidun Caliphate, but it was not until after the establishment of the Umayyad Caliphate that an organized military effort was made to conquer Transoxiana, a region that today includes all or parts of Uzbekistan, Tajikistan, Kazakhstan, and Kyrgyzstan. The campaign continued under the Abbasid Caliphate, and gradually saw the Islamization of the region.
Transoxiana or Transoxania is the Latin name for the region and civilization located in lower Central Asia roughly corresponding to modern-day eastern Uzbekistan, western Tajikistan, parts of southern Kazakhstan, parts of Turkmenistan and southern Kyrgyzstan. The name was first coined by Alexander the Great in the 4th century BC when Alexander's troops were able to conquer the region. The region may have had a similar Greek name in the days of Alexander the Great, but the earlier Greek name is no longer known. Geographically, it is the region between the rivers Amu Darya to its south and the Syr Darya to its north.
Central Asian art is visual art created in Central Asia, in areas corresponding to modern Kyrgyzstan, Kazakhstan, Uzbekistan, Turkmenistan, Tajikistan, Afghanistan, 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.
Kubachi ware is a style of Persian pottery. Though it takes its name from the town of Kubachi in Dagestan, modern-day Russia, scholars believe that Kubachi ware pieces were created during the Safavid Period in the northwestern part of what is now Iran. Nishapur, Tabriz, Mashhad, and Isfahan have all been put forth as possible places of origin for Kubachi ware.
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.
The State Museum of Cultural History of Uzbekistan is a museum of history, art and culture in Samarkand. Founded in 1892, the museum is a non-profit educational organisation currently operating from 148, Mirzo Ulugbek Street, Samarkand. The museum has departments of history, ethnography and art, with the administration of the Samarkand State Museum-Reserve located in the building.
The art of the Seljuks of Iran refers to the art produced throughout the eastern part of the Islamic world, between the capture of Baghdad (1055) and the Mongol invasions.
Samanid Epigraphic Ware refers to a distinct category of ceramics made in Central Asia during the ninth to eleventh centuries. The ceramics are distinguished by calligraphic inscriptions painted around the edge of the slipware, and are notable for the refinement and boldness of the calligraphic style. Samanid epigraphic ware is the first example of calligraphic embellishment on pottery, and is mostly seen on large plates and bowls used for gatherings but can also be found on jugs or jars.
