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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] We find mention of this dish in a list drawn up by the collector A. Vassilieff (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]
Samarkand or Samarqand is a city in southeastern Uzbekistan and among the oldest continuously inhabited cities in Central Asia. There is evidence of human activity in the area of the city from the late Paleolithic Era. Though there is no direct evidence of when Samarkand was founded, several theories propose that it was founded between the 8th and 7th centuries BCE. Prospering from its location on the Silk Road between China, Persia and Europe, at times Samarkand was one of the largest cities of Central Asia. Most of the inhabitants of the city are native speakers of the Tajik dialect of the Persian language. Samarkand is one of the historical centers of the Tajik people in Central Asia, and in the past was an important city of the great empires of Greater Iran.
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 since 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 Kara-Khanid Khanate, also known as the Karakhanids, Qarakhanids, Ilek Khanids or the Afrasiabids, was a Turkic khanate that ruled Central Asia in the 9th through 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 but historically referred to a much larger area, comprising the east and the northeast of the Persian Empire. The name Khorāsān is Persian and means "where the sun arrives from". The name was first given to the eastern province of Persia during the Sasanian Empire and was used from the late middle ages in distinction to neighbouring Transoxiana.
Nishapur or officially Romanized as Neyshabur is the second-largest city of Razavi Khorasan Province in the Northeast of Iran. Nishapur is situated in a fertile plain at the foot of Binalud Mountain Range and has been the historic capital of the Western Quarter of Greater Khorasan, the historic capital of the 9th-century Tahirid dynasty, the initial capital of the 11th-century Seljuk Empire, and is currently the capital city of Nishapur County and a historic Silk Road city of cultural and economic importance in Iran and the region of Greater Khorasan.
The Samanid Empire also known as the Samanian Empire, Samanid dynasty, Samanid amirate, or simply as the Samanids) was a Persianate Sunni Muslim empire, of Iranian dehqan origin. The empire was centred in Khorasan and Transoxiana; at its greatest extent encompassing Persia and Central Asia, from 819 to 999.
Greater Khorāsān, or Khorāsān, is a historical eastern region in the Iranian Plateau between Western and Central Asia. The name Khorāsān is Persian meaning "where the sun arrives from" or "the Eastern Province". The name was first given to the eastern province of Persia during the Sasanian Empire and was used from the late Middle Ages in distinction to neighbouring Transoxiana. Greater Khorasan is today sometimes used to distinguish the larger historical region from the former Khorasan Province of Iran (1906–2004), which roughly encompassed the western portion of the historical Greater Khorasan.
Medieval Islamic pottery occupied a geographical position between Chinese ceramics, the unchallenged leaders of Eurasian production, and the pottery of the Byzantine Empire and Europe. For most of the period it can fairly be said to have been between the two in terms of aesthetic achievement and influence as well, borrowing from China and exporting to and 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 specialty of Islamic ceramics.
The Suaire de Saint-Josse, the "Shroud of Saint Josse" that is now conserved in the Musée du Louvre, is a rich silk samite saddle cloth that was woven in northeastern Iran, some time before 961 C.E., when Abu Mansur Bakhtegin, the "camel-prince" for whom it was woven, was beheaded. It was brought back from the First Crusade by Étienne de Blois and dedicated as a votive gift at the Abbey of Saint-Josse, near Boulogne-sur-Mer, Pas-de-Calais. It has been described as "the major landmark in early Islamic silk weaving".
Islamic ornament is the use of decorative 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 Kufic script, or sometimes Arabic cursive script, 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.
Muqarnas, also known in Iberian architecture as Mocárabe, is a form of ornamented vaulting in Islamic architecture. It is the archetypal form of Islamic architecture, integral to the vernacular of Islamic buildings. It was most likely first developed in eleventh-century Iraq, though the earliest preserved examples are also found outside this region.
Chinese influences on Islamic pottery cover a period starting from at least the 8th century CE to the 19th century. This influence of Chinese ceramics 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 or Arab conquest of Transoxiana were the 7th and 8th century conquests, by Umayyad and Abbasid Arabs, of Transoxiana, the land between the Oxus and Jaxartes rivers, a part of Central Asia that today includes all or parts of Uzbekistan, Tajikistan, Kazakhstan, and Kyrgyzstan.
Transoxiana or Transoxania is the Latin name for a 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. 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, 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.
Kafir-kala is an ancient fortress 12 kilometers south of the city center of Samarkand in Uzbekistan, protecting the southern border of the Samarkand oasis. It consists in a central citadel built in mud-bricks and measuring 75 × 75 meters at its base has six towers and is surrounded by a moat, still visible today. Living quarters were located outside the citadel.
The State Museum of Culture History of Uzbekistan is a museum of history and culture in Samarkand.