The art of metalwork has been one of the
principal forms of artistic expression in the
Islamic world. Responding to the taste and needs
of different social and economic classes, artists
continuously explored the technical and
decorative potential of their materials to
transform simple, functional objects into highly
refined works of art.
In the late tenth century, metalworkers in
eastern Iran began to manufacture brass and
bronze objects inlaid with designs in gold, silver,
and copper. This technique allowed
metalworkers "to paint" their vessels with scenes
of hunting and feasting—associated with courtly
life—astrological signs, and bold calligraphic
dedications to rulers. Although the art of inlay
was already known in West Asia since at least
the sixth century, it reached new levels of artistic
and technical sophistication after the arrival of
Islam. These vessels are among some of the most
powerful expressions of the social, political, and
cultural life and aspiration of the individuals and
societies for which they were created.
Originally, the engraved decorations incised onto
the exterior of this bronze vessel would have
been inlaid with silver or gold. This precious
adornment would have made this jug even that
much more resplendent. Surely this splendid
vessel once proudly stood in the center of a
table during sumptuous banquets and hearty
feasts. While serving a most basic function, this
jug is simultaneously a stunning work of art
treasured for its elegance and detailed
engravings. A band of cufic text has been
inscribed along the shoulder of the vessel,
perhaps a dedicatory passage to the owner or a
poetical or religious verse in honor of
gastronomic pursuits. This container is a
reminder of an earlier age when beauty was
prized over function. Today, a simple mass-
produced plastic pitcher would stand in place of
this jug, lacking any individual charm or unique
beauty. However, today this jug is treasured for
its form alone, for its resplendent artistry and
timeless elegance.
. FZ.394. Ewer with high spout, cast bronze with
engraved and copper inlaid decoration.
Cylindrical
upward opening body, resting on a raised base,
sloping shoulder with a flat top, cylindrical neck
terminating in an everted flat rim and with a rising
high spout imitating a bird’s head. Plain handle
with
a large thumb-piece on top. There is an
epigraphic
band in thuluth style on the body below the spout
inlaid in copper and with a roundel at both ends;
below this band is a lobed cartouce with simple
scroll design, while to the right and left a vase-
shaped design with emerging flowers. The flat top
of the shoulder carries a pseudo-epigraphic
band;
simple engraved designs on the neck and the
spout.
Afghanistan, probably Ghazni, 11th century.
Comparative material: Eva Baer, “Wider Aspects
of
Some Ghaznavid Bronzes”, Rivista degli Studi
Orientali, vol.LIX, 1987, pp.1-15; Géza Fehérvári,
„High spouted Ewers of Khorasan and Central
Asia” ,
Journal of Inner Asian Art and Archaeology, vol.
1,
2006, pp.157-62.
Prof. Geza Fehervari
Prof. Geoffrey King
- (FZ.394)
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