513:
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541:
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482:
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398:
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262:
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180:
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28:
20:
632:
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148:
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329:(reconstructed from fragments) is exceptional, both in its size of 47.8 cm across and in its design; it is the largest known plate in the mina'i technique. There are a vast number of figures, all at the small size typical of other, smaller, pieces. They are engaged in a battle, probably a specific event of the period when "an Assassin stronghold was attacked by a petty Iranian prince and his troops". The eight principal figures on the victorious side are named in inscriptions next to them, with Turkish names, and a
105:, though it is not clear that there was a connection between this and the earlier Persian use of the technique. As in other periods and regions when overglaze enamels were used, the purpose of the technique was to expand the range of colours available to painters beyond the very limited group that could withstand the temperature required for the main firing of the body and glaze, which in the case of these wares was about 950 °C.
1028:
288:. The "inscrutable rulers were probably never meant to represent particular rulers or their consorts", any more than the loving couples. Similar motifs abound in other media; it is not clear to what extent they reflected the actual lifestyle of the owners or users of pieces; probably, these "may indicate a general middle-class aspiration or identification" with the princely lifestyle.
373:, also of Turkic origin, initially as vassals of the Seljuk, until in 1190, they severed these ties and ruled independently until the devastating Mongol conquest beginning in 1219. Although generally described as belonging to the "Seljuk period", some of the "most iconic" productions of stonepaste vessels can be attributed to the Khwarazmian rulers after the end of Seljuk domination.
298:, especially around the outer border of flat open shapes. Scenes and figures from the Persian literary classics can be seen. The outside of raised bowls is usually not painted with images, although some have relatively simple floral or abstract decoration, but inscriptions of text running around the piece are common. Many of these are from standard works of
540:
481:
450:
around 1160. Since the shapes in
Persian lustreware are traditionally local, the refugee artisans likely were mostly pottery painters rather than potters. Lustreware painting styles can be connected to earlier ones in Arabic-speaking lands in a way that is not possible for mina'i ware, whose style,
167:
may be in underglaze, with a wider range of colours in overglaze. As well as the usual white glaze, a coloured turquoise glaze is used in some pieces, giving a background to the overglaze painting. The designs' outlines were black, with thin brushed lines. Some mina'i pieces, usually thought to be
120:
pieces are often dated to around or after 1200. It is assumed that the style and subjects in the painting of mina'i ware were drawn from contemporary
Persian manuscript paintings and wall paintings. It is known these existed, but no illustrated manuscripts or murals from the period before the Mongol
207:
A small proportion (smaller than for lustreware) of pieces are signed and dated. Watson records ten such pieces, signed by three potters, with dates from 1178 to 1219. For Kashan lustreware the equivalent numbers are "over ninety" pieces, "perhaps six" potters, and dates from 1178 and 1226; there
454:
The mina'i style was soon copied in other parts of the Seljuk empire, especially Syria. However, the makers did not know the secrets of the overglaze technique and used underglaze painting instead. The secrets of lustreware at least may have been held by a small number of families in Kashan. The
415:
in
Islamic societies, and almost all the survivals that have come down to us were broken, and probably mostly discarded after breakage. Most find sites are unrecorded; some pieces were buried unbroken, perhaps to hide them from looters. However, there are also modern forgeries and Michelsen and
124:
Most pieces are bowls, cups, and a range of pouring vessels: ewers, jars, and jugs, but only a handful are huge. Some pieces are considered begging bowls, or using the shape associated with that function. Tiles are rare, perhaps designed as centrepieces surrounded by other materials, rather than
283:
A few pieces have entirely abstract or geometric patterns or designs, but in most pieces, there are figures, usually several small ones. Images of enthroned rulers flanked by attendants are standard, as are figures of riders, who are often engaged in princely pursuits such as hunting and
244:
The study of mina'i ware is complicated by a lot of excessive restoration and embellishment by dealers after the pieces attracted the attention of collectors, mostly in the West, from the late 19th century onwards. For example, the catalogue entry for a bowl in the
397:
1190:"While stonepaste vessels are often attributed to the Seljuq period, some of the most iconic productions in the medium took place after this dynasty lost control over its eastern territories to other Central Asian Turkic groups, such as the Khwarezm-Shahis" in
751:, 1993, by Metropolitan Museum of Art, Stefano Carboni, Tomoko Masuya; Morgan; Abu al-Qasim Kasani's work is dated 1301, and he says that the mina'i technique was not produced in his time. He himself seems to have moved to more genteel occupations around the
139:, Turkey were probably made there by itinerant Persian artists. Sherds of mina'i ware have been excavated from "most urban sites in Iran and Central Asia" occupied during the period, although most writers believe that nearly all production was in Kashan.
693:
Fitzwilliam Museum: "Mina’i, meaning ‘enamelled’ ware, is one of the glories of
Islamic ceramics, and was a speciality of the renowned ceramics centre of Kashan in Iran during the decades of the late 12th and early 13th centuries preceding the Mongol
512:
603:
336:
This piece may well follow a depiction in a wall painting or other medium, as may a "celebrated" beaker, now also in the Freer, which is the fullest example of an iconographic scheme taken from the
Persian literary classics, in this case, the
261:
528:
214:, a Kashani potter in this period, demonstrated that the same workshop might produce the two techniques with the most signed pieces, with fifteen pieces. The earliest date on these is 1187, on a mina'i bowl, but most pieces are
355:
Inscribed exterior, reading "Triumph and lasting life to its owner — triumph and triumphant victory and lasting life . . . perpetual and increasing prosperity and triumphant victory and lasting glory to its owner" (who is not
380:, which was already imported into Persia and represented the main competition for local fine wares. This "white ware" body was used for various styles of decoration, all showing great advances in sophistication. Apart from
101:, "seven colours" in Persian. This term was used by the near-contemporary writer Abu al-Qasim Kasani, who had a pottery background. This technique much later became the standard method of decorating the best European and
59:
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
619:
1227:
Savage, 86–87; Caiger-Smith, 65–66; Michelsen and
Olafsdotter, throughout, especially 76–86, give an account of a technical examination by various methods of one crucial piece, surviving in many fragments.
390:, which also required a light second firing; the earliest dated Persian piece is from 1179. The main colour of lustre paint used was gold; this needs to be distinguished from the overglaze application of
428:, finds that much of the dish is made up of fragments originally from elsewhere (quite possibly also medieval) that have been reshaped to fit the dish, and then painted to match the decorative scheme.
431:
Though luxurious and considered pottery, the new
Persian lustre and mina'i wares may have represented a cost-saving alternative for vessels using precious metals, either in solid form or as inlays on
555:
376:
The fifty years from 1150 saw great developments in
Iranian ceramics. Firstly, the fritware body and the glazes used on it were greatly improved, allowing thinner walls and some translucency of
253:
collection, records that "Extensive restoration has interfered with the inscription in certain areas, and nearly every part of the interior decoration has been subjected to heavy overpainting".
658:
1179:
451:
and possibly artists, are normally taken to be drawn from manuscript painting. It is even clearer to scholars that lustreware production was concentrated in Kashan than for mina'i ware.
442:
Lustreware was not a new technique; it had been used in the Arabic-speaking world for centuries, but was new to Persia. Its spread there has been connected to a flight of potters from
1018:, Volume XV. Wolfram Koeppe, et al. The Metropolitan Museum of Art in association with Princeton University Press, 2012, p. 356. The outside of this lobed bowl is illustrated here.
567:
631:
591:
305:
112:
decoration to
Persian pottery, around 1200, and later mina'i pieces often combine both underglaze and overglaze decoration; the former may also be described as
579:
1637:
493:
116:. Most pieces are dated imprecisely as, for example, "late 12th or early 13th century", but the few inscribed dates begin in the 1170s and end in 1219.
405:
The "white ware" body was, however, not able to match Chinese porcelain in strength, and though historians praise the delicacy and lightness of
211:
23:
Bowl with couple in a garden, around 1200. In this type of scene, the figures are larger than in other common subjects. Diameter 18.8 cm.
420:, especially those that appear to be whole and unscathed". Their extended technical analysis of a large and well-known dish now in the
469:
411:
and lustred pieces, they are dubious about the practicality of these expensive wares, because of their fragility. Ceramics were not
56:
1605:
646:
179:
351:
1554:
1194:"Ceramic Technology in the Seljuq Period: Stonepaste in Syria and Iran in the Twelfth and Early Thirteenth Centuries"
880:
870:. Wolfram Koeppe, et al. The Metropolitan Museum of Art in association with Princeton University Press, 2012, p. 355.
200:
1290:
1586:
1568:
1532:
1511:
1493:
1465:
1443:
1414:
1379:
27:
19:
1667:
1662:
193:"If the beloved leaves me, what am I to do? If s/he does not see the wisdom of our union, what am I to do?"
64:
or stonepaste is fully decorated with detailed paintings using several colours, usually including figures.
1294:
421:
697:
246:
936:
439:. As early as 1100, the economy of the Seljuk Empire was weakening, and silver was in short supply.
208:
are then no dated pieces until 1261, suggesting the long-lasting disruption of the Mongol invasion.
1652:
147:
1497:
953:
692:
121:
conquest have survived, leaving the painting on the pottery as the best evidence of that style.
1472:
948:
1590:
1536:
534:
Jug with figures, combining lustre painting (top) and mina'i; 22.5 × 12.8 cm (8.8 × 5 in)
1476:
1453:
1418:
1399:
343:. Here, a whole story is told in several scenes in three registers running around the cup.
1447:
1320:
745:
369:, whose ruling dynasty and top elite were ethnically Turkish. But Persia was ruled by the
326:
318:
276:
8:
1346:
1175:
1011:
985:
966:
919:
863:
837:
152:
1572:
939:
In Grove Art Online. Oxford Art Online, (accessed June 2, 2020; subscription required).
503:
456:
370:
229:
wares, but these featured patterns rather than figures, with deep underglaze blue and
1622:
1614:
1582:
1564:
1550:
1528:
1507:
1489:
1461:
1439:
1410:
1395:
1375:
1367:
1193:
447:
377:
266:
102:
68:
333:
and an elephant appear in the scene. This bowl is dated to the early 13th century.
94:
86:
1610:
1384:
Canby, Sheila R., and others ( Deniz Beyazit, Martina Rugiadi, A. C. S. Peacock),
1372:
Lustre Pottery: Technique, Tradition and Innovation in Islam and the Western World
1657:
1634:"SCHOLAR FAVORITES: 12th–13th Century Mina’i Enamel Ware with Dr. Morris Rossabi"
1409:, eds. Katharine Baetjer, James David Draper, 1999, Metropolitan Museum of Art,
1389:
460:
302:, possibly taken from anthologies that would have been available to the potters.
294:
may accompany princes, and there are often numbers of the Islamic version of the
48:
44:
79:; after painting the wares were given a second firing at a lower temperature. "
1481:
310:
299:
1633:
1436:
The Legacy of Genghis Khan: Courtly Art and Culture in Western Asia, 1256–1353
191:
in 1194. Scene of poetic recitation, with poetic verses inscribed on the rim:
1646:
1626:
366:
250:
188:
156:
72:
892:
330:
234:
173:
76:
1423:
Holod, Renata, "Event and Memory: The Freer Gallery's Siege Scene Plate",
625:"Faceted Basin", with gilding over the pattern raised in slip. After 1200.
1542:
1458:
Envisioning Islamic Art and Architecture: Essays in Honor of Renata Holod
416:
Olafsdotter note that "one must now be rather suspicious of any piece of
238:
164:
93:), a term only used for these wares much later, means "enamelled" in the
1428:
176:). A few pieces combine lustre and mina'i painting in different zones.
499:
412:
387:
215:
172:, sometimes on patterns on the body that are raised up (probably using
109:
1140:
1095:
1407:
Only the Best: Masterpieces of the Calouste Gulbenkian Museum, Lisbon
637:
391:
339:
230:
222:
1077:
752:
727:
Needham, 618; Watson (2012), 326; Watson (1985), 24; Gulbenkian, 54
285:
271:
61:
664:
Bowl with Seated Figures by a Pond, Iran 1211-12, Ashmolean Museum
546:
Beggar's bowl with sphinxes & seated figures; colours include
547:
463:
on a metal base, practiced from the 18th century to the present.
291:
169:
113:
610:
519:
443:
436:
314:
313:. This is the largest known survival in the mina'i technique.
295:
196:
117:
52:
365:
ware began to be made when Persia was, in theory, part of the
1002:
Watson (2012), 336, note 43; Michelsen and Olafsdotter, 66–69
864:"Faceted Basin, Mina'i ("enameled") ware, early 13th century"
432:
425:
136:
1048:
Watson (2012), 328 quoted; Yale, 175; Canby, 72–73, #37, #71
597:
Bowl with abstract pattern, 6 1/4 in. (15.9 cm) across
225:, overglaze painting continued in a rare new style called
1396:“CERAMICS xiv. The Islamic Period, 11th–15th centuries,”
868:
The Robert Lehman Collection. Decorative Arts, Volume XV
1488:, Volume 5, Part 12, 2004, Cambridge University Press,
1218:
Osborne, 144–145; Caiger-Smith, 57–65; (2012), 325–326
700:
dated 1242, but this is not mentioned by later writers.
187:
bowl, dated 1187 CE, a few years before the end of the
1638:
Shangri La Museum of Islamic Art, Culture & Design
1577:
Watson, Oliver (2012), "Pottery under the Mongols" in
1281:
Caiger-Smith, 57–59; Yale, 178; Watson (2012), 328–329
1452:
Michelsen, Leslee Katrina and Olafsdotter, Johanna,
233:
fixed in a second firing. The Persian name refers to
640:
jar in the succeeding "lajvardina" style; after 1250
155:
in 1187 CE, just a few years before the fall of the
1604:
1347:"Faceted Basin, Mina'i ("enameled") ware Iranian"
1027:Yale, 175–176; Michelsen and Olafsdotter, 72–76;
1644:
1525:Medieval Islamic Civilization: an Encyclopedia
1386:Court and Cosmos: The Great Age of the Seljuqs
67:It is significant as the first pottery to use
1016:The Robert Lehman Collection. Decorative Arts
691:Komaroff, 4; Michelsen and Olafsdotter, 76;
406:
381:
360:
151:The earliest Mina'i bowl dated and signed by
126:
80:
36:
1454:"Telling Tales: Investigating a Mīnāʾī Bowl"
866:, with Catalogue entry from Linda Komaroff.
1504:The Oxford Companion to the Decorative Arts
1166:Michelsen and Olafsdotter, 72–76, 72 quoted
1427:, vol. 42, 2012, pp. 194–219. JSTOR,
1145:Smithsonian's National Museum of Asian Art
1100:Smithsonian's National Museum of Asian Art
446:(Cairo) during the turbulent collapse of
57:Mongol invasion of Persia and Mesopotamia
396:
350:
304:
260:
178:
146:
26:
18:
1602:
1318:
1078:"The Freer Gallery's Siege Scene Plate"
506:; 3 5/8 x 8 3/8in. (9.2 x 21.3 cm)
487:Enthroned figure flanked by attendants.
168:from the later part of the period, use
1645:
1547:Islamic Art and Architecture: 650–1250
1527:, Vol. 1, 2006, Taylor & Francis,
1473:"Il-khanids, iv, Ceramics; Production"
1460:, ed. David J. Roxburgh, 2014, BRILL,
1636:, Video (7:18) via YouTube, from the
1438:, 2002, Metropolitan Museum of Art,
1236:Michelsen and Olafsdotter, 69, note 6
1075:
986:"Three Tiles with 'Lajvardina' Glaze"
309:Low bowl depicting a battle scene in
1388:, 2016, Metropolitan Museum of Art,
241:was used., Osborne, 144</ref>
1581:, 2012, BRILL, Ed. Linda Komaroff,
1200:. Metropolitan Museum of Art (2021)
1191:
1130:Holod, throughout; Yale, 175 quoted
1012:Catalogue entry from Linda Komaroff
394:found in many later mina'i pieces.
90:
13:
1545:and Marilyn Jenkins-Madina, 2001,
879:Yale, 175; one illustrated below;
212:Abū Zayd ibn Muḥammad ibn Abī Zayd
142:
14:
1679:
1596:
1579:Beyond the Legacy of Genghis Khan
1523:Suleman, Fahmida, "Ceramics", in
1486:Science and Civilisation in China
827:Watson (2012), 329; Yale, 177–178
809:Canby, 82–83, 315, note 12 on #20
401:Jug with turquoise-coloured glaze
265:Beaker illustrating the story of
97:. The technique is also known as
55:in the decades leading up to the
1613:; Matringe, Denis; Nawas, John;
1245:Michelsen and Olafsdotter, 76–86
1076:Holod, Renata (1 January 2012).
657:
652:Ewer with gold lustre, 1190-1210
645:
630:
618:
602:
590:
578:
566:
554:
539:
527:
511:
492:
480:
468:
201:Los Angeles County Museum of Art
1603:McClary, Richard Piran (2021).
1339:
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830:
821:
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803:
794:
785:
776:
696:. Grube mentions a bowl in the
1621:(3rd ed.). Brill Online.
1541:"Yale": Richard Ettinghausen,
1351:The Metropolitan Museum of Art
990:The Metropolitan Museum of Art
971:The Metropolitan Museum of Art
767:
758:
739:
730:
721:
712:
703:
685:
676:
256:
218:, where dates extend to 1219.
1:
1361:
1327:, Vol. XIV, Fasc. 1, pp.48–55
386:ware, the most luxurious was
325:A well-known low bowl in the
1057:Yale, 175; Canby, 72–73, #37
920:"Metropolitan Museum of Art"
838:"Metropolitan Museum of Art"
475:Bowl with ruler and sphinxes
7:
1563:, 1985, Faber & Faber,
1295:National Museum of Damascus
1178:from Metropolitan Museum.
422:Museum of Islamic Art, Doha
407:
382:
361:
127:
108:The period also introduced
81:
37:
10:
1684:
698:Victoria and Albert Museum
561:Beaker with seated figures
346:
247:Metropolitan Museum of Art
31:Side view of the same bowl
1549:, Yale University Press,
1066:Canby, 318, note 5 on #39
967:"Covered Jar (Albarello)"
893:"Bowl, LACMA Collections"
818:Canby, 318, note 6 on #37
585:Jug with mounted falconer
1518:Pottery Through the Ages
1431:, Accessed 10 June 2020.
1374:(Faber and Faber, 1985)
669:
1559:Watson, Oliver (1985),
1325:, Encyclopaedia Iranica
1319:Borjian, Habib (2007),
1180:Inside of the same bowl
16:Type of Persian pottery
1619:Encyclopaedia of Islam
1502:Osborne, Harold (ed),
518:Rider in centre, with
402:
357:
322:
317:, early 13th century.
280:
204:
160:
32:
24:
1477:Encyclopaedia Iranica
1400:Encyclopaedia Iranica
975:, Watson (2012), 336
897:collections.lacma.org
400:
354:
308:
264:
182:
150:
135:by archaeologists at
30:
22:
1668:13th century in Iran
1663:12th century in Iran
1573:PDF www.academia.edu
1322:Isfahan xiii. CRAFTS
1299:Discover Islamic art
954:Encyclopædia Iranica
327:Freer Gallery of Art
319:Freer Gallery of Art
277:Freer Gallery of Art
1561:Persian Lustre Ware
1272:Caiger-Smith, 57–59
1263:Caiger-Smith, 20–55
791:Suleman, 144; Grube
371:Khwarazmian dynasty
237:, though the usual
153:Abu Zayd al-Kashani
125:placed in groups.
71:, painted over the
1609:. In Fleet, Kate;
1368:Caiger-Smith, Alan
1192:Rugiadi, Martina.
782:Watson (2012), 326
403:
358:
323:
281:
205:
161:
33:
25:
1589:, 9789004243408,
1535:, 9780415966917,
1496:, 9780521838337,
1446:, 9781588390714,
1434:Komaroff, Linda,
1417:, 9780870999260,
1394:Grube, Ernst J.,
1198:www.metmuseum.org
1157:Holod, 209; Grube
949:"Mina'i ware"
924:www.metmuseum.org
842:www.metmuseum.org
459:style was and is
378:Chinese porcelain
267:Bijan and Manijeh
103:Chinese porcelain
69:overglaze enamels
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1516:Savage, George,
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1309:Caiger-Smith, 59
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1254:Caiger-Smith, 59
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1039:Caiger-Smith, 73
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800:Canby, #s 19, 20
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773:Caiger-Smith, 57
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95:Persian language
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75:fixed by a main
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1653:Iranian pottery
1643:
1642:
1615:Rowson, Everett
1599:
1520:, Penguin, 1959
1482:Needham, Joseph
1471:Morgan, Peter,
1468:, 9789004280281
1456:, chapter 4 in
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1176:Catalogue entry
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45:Persian pottery
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51:developed in
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1591:google books
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1202:. Retrieved
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736:Suleman, 144
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338:
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331:siege engine
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290:
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243:
235:lapis lazuli
226:
220:
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184:
162:
132:
131:tiles found
123:
107:
98:
77:glost firing
66:
35:
34:
1543:Oleg Grabar
1336:Canby, # 27
937:"Abu Zayd."
909:(2012), 328
682:Canby, # 22
413:grave goods
257:Iconography
249:, from the
239:cobalt blue
165:cobalt blue
1647:Categories
1587:9004243402
1569:0571132359
1533:0415966914
1512:0198661134
1494:0521838339
1466:9004280286
1444:1588390713
1415:0870999265
1380:0571135072
1362:References
1204:1 February
1121:Holod, 196
1112:Holod, 195
1029:other side
694:invasions"
613:and dragon
500:Bahram Gur
388:lustreware
227:lajvardina
216:lustreware
163:Black and
110:underglaze
1627:1873-9830
764:Yale, 175
718:Yale, 175
709:Yale, 175
638:Albarello
522:in a band
392:gold leaf
340:Shahnameh
269:from the
231:gold leaf
223:Ilkhanate
99:haft-rang
1617:(eds.).
753:Ilkhanid
520:sphinxes
457:mīnākārī
292:Peacocks
286:falconry
272:Shahnama
199:, Iran.
62:fritware
1293:in the
1291:Pitcher
548:gilding
356:named).
347:Context
221:In the
170:gilding
133:in situ
114:inglaze
87:Persian
1658:Kashan
1625:
1585:
1567:
1553:
1531:
1510:
1492:
1484:(ed),
1464:
1442:
1413:
1378:
1141:"Bowl"
1096:"Bowl"
755:court.
611:Rustam
573:Couple
504:Azadeh
461:enamel
444:Fustat
437:bronze
418:mina'i
408:Mina'i
383:Mina'i
362:Mina'i
315:Kashan
296:sphinx
197:Kashan
185:Mina'i
128:Mina'i
118:Gilded
91:مینایی
82:Mina'i
53:Kashan
38:Mina'i
1429:JSTOR
1402:, V/3
1014:, in
749:, p.3
670:Notes
433:brass
426:Qatar
137:Konya
47:, or
1623:ISSN
1583:ISBN
1565:ISBN
1551:ISBN
1529:ISBN
1508:ISBN
1490:ISBN
1462:ISBN
1440:ISBN
1411:ISBN
1376:ISBN
1206:2023
174:slip
41:ware
1398:,
951:at
435:or
85:" (
1649::
1571:,
1475:,
1370:,
1349:.
1297:,
1196:.
1143:.
1098:.
1080:.
988:.
969:.
922:.
895:.
840:.
424:,
275:,
195:.
183:A
89::
1629:.
1353:.
1208:.
1147:.
1102:.
1084:.
992:.
973:.
926:.
899:.
844:.
321:.
279:.
203:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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_ware_MET_DP370826_(cropped).jpg)
