Search Term Record

  • Email This Page
  • Send Feedback
Name 13th century AD

Associated Records

Image of 2002.7.23 -

2002.7.23 -

This Coca bag (ch'uspa) is woven with cotton warp and wool weft in red, blue, yellow, green, and white on a brown background in a multi-stripe design, and has separately woven strap in a zig-zag pattern. Marianne Hogue has suggested that the patterns most commonly found in Inca textiles - the step, the zigzag and the rectangle - have political and agricultural significance. A visual representation of reality was a lesser priority than the aesthetic impact of pattern and color and repetition. Pre-Columbian Andeans chose geometry and abstraction as the best means to communicate their ideas, though artists were certainly capable of creating naturalistic representations of the world as can be

Image of 2002.7.3 -

2002.7.3 -

One of the most stunning small pieces in the collection, a pair of Chimú ear spools from the central or north coast of Peru dating from 1200-1500 C.E., reveals a unique technique employed in Andean feather art. Here, the ear spool's blue, black, and red feathers are glued onto a wooden backing and trimmed into a flower-like pattern emanating from the center. One should note the slight difference in patterning between the two ear spools, for such variations reveal the difficulty of maintaining the strict precision in patterning that can be found in other art forms such as ceramics or woven textiles. But what these objects and other examples of feather art may lack in uniformity, they make up

Image of 2002.7.5 -

2002.7.5 -

Pair of Earflares, dark brown wood with the frontals covered in aqua feathers in a circular pattern with an 8-pointed star shape in the middle. One should note the slight difference in patterning between the two ear spools, for such variations reveal the difficulty of maintaining the strict precision in patterning that can be found in other art forms such as ceramics or woven textiles. But what these objects and other examples of feather art may lack in uniformity, they make up for in their remarkable sense of texture and color that cannot be replicated in any other media. Ear spools consist of a round circular disk with a long thick post that is inserted into the ear. They were worn b

Image of 2003.3.1 -

2003.3.1 -

This sculpted Muchalinda Buddha is an icon that records the Enlightenment at Bodh Gaya, one of the eight major events in the life of Buddha. Once painted with lacquer, the sculpture represents the artistic tradition of Southeast Asia. This is the region where Theravada Buddhism prevailed, with its focus upon the historical Buddha and his former incarnations. Positioned frontally, the Buddha sits cross-legged in a posture of meditation on bulging snake coils with honeycomb scales. Buddha is attired in the vestments of a monk, his sash and robe defined by curving double lines. His strongly structured face, rendered with a tranquil but profound expression, features a broad forehead, wide, sq

Image of 2006.2.14 -

2006.2.14 -

This bracelet, from the area known today as Mali, is known there as manilas, from the Portuguese word for bracelet, "manilha". Manillas (the anglicized form of the word) were introduced by the Portuguese as a new form of currency when European trading began in West Africa around 1450; bronze and copper-alloy metals were imported by Europeans and used for the exchange of goods. These metals also provided raw materials for local industries and manillas therefore also were used to promote African economies. Manillas eventually became decorative and were used as jewelry. Along with other jewelry, they indicated status and wealth in life and in death, for both women and men. The demand for manilla

Image of 2007.11.2 -

2007.11.2 -

Central coast cultures such as the Chancay are known primarily through burial goods. Vast numbers of textiles have been preserved from the area, though little is known about their specific context because most were recovered by looters, and only a few have been excavated scientifically. Chancay tombs were notable for their textiles and included elaborate gauzes such as the cotton Panel seen here. This type of monochrome openwork with square spaces and embroidery is unique to Chancay and is reminiscent of fishing net. As such, it reflects a textile tradition that developed out of net-making needs, and it signifies the culture's long history fishing the Humboldt Current off the Peruvian coas

Image of 57.20 -

57.20 -

This simple but beautiful small porcelain bowl dates to the Song dynasty. Its green celadon glaze, first invented in Korea, varies between dark and translucent light green. Such a bowl was either a collector's item or used as everyday ware. Reference: Winter, Amy H., with Xiaoping Lin (eds.), "The Light of Infinite Wisdom: Asian Art from the Godwin-Ternbach Museum and Other Collections," Queens College, CUNY, 2003.

Image of 57.21 -

57.21 -

This porcelain vase, from the Song dynasty, 960-1279 AD, has an applied lotus design below the shoulder of the body. A simpler open lotus design, lightly etched into the clay, runs around the base of the vase. Such a piece could have been a collector's item, used as everyday ware, or even figured in rituals by virtue of its lotus decoration. Lotus flowers are important symbols in the Buddhist religion and often decorate ritual objects. Reference: Winter, Amy H., with Xiaoping Lin (eds.), "The Light of Infinite Wisdom: Asian Art from the Godwin-Ternbach Museum and Other Collections," Queens College, CUNY, 2003.

Image of 57.64 -

57.64 -

This bowl from the , Seljuq period, 1200 AD - 1300 AD, has a simple Kufic script around the inner rim and circular motif in the center. Kufic, a modified form of Syriac script, is the oldest form of Arabic calligraphic scripts. The name is derived from the city of Kufa (in modern day Iraq) and the script is formed of straight and angled lines.

Image of 57.22 -

57.22 -

This highly detailed funerary pillow dating from the Song dynasty, 960 AD - 1279 AD, was produced during a period when ceramic ware was highly sought after and exported to regions as far as Eastern Europe and Africa. On this funerary pillow, the ceramic form is painted with free-flowing decoration utilizing a floral pattern of scrolling tendrils. Nested within the vine-like spandrels, a protrusion of flowers bloom to decorate the surface with a whimsical, asymmetrical, repeating surface pattern.

Image of 57.50 -

57.50 -

Set on a trumpet-shaped, octagonal foot, this lamp has an elongated body and flaring spout. The oval loop handle in the rear of the lamp is surmounted by a small bird. The keyhole-shaped opening in the top of the body, used for filling the lamp with oil, originally would have had a hinged lid, possibly with a second small bird on top (as known from other surviving examples of such lamps); part of the hinge is visible on the rim. Seljuq period, 13th century AD

Image of 57.59 -

57.59 -

Metalwork in the Seljuq period, 13th century AD, was particularly important and generally fabricated from high-quality materials. Bronze or bass vessels such as this would be engraved and often inlaid with copper, silver, gold, or niello (an alloy of copper). Sometimes enamel was also used. This bowl has a graceful body contour, with a contracted rim. Its exterior surface is decorated with an intricate combination of geometric motifs and human figures, inlaid in silver.

Image of 57.62 -

57.62 -

This footed bowl is luster painted beige with naskhi inscriptions on the interior and exterior rim. Naskhi was one of the earliest Arabic scripts to evolve. Naskhi displays a rhythmic line written with short horizontal stems. Since the script is relatively easy to read, it appealed to the general population of Arabs and Muslims around the world and more Qur'ans have been written in naskhi than in all other scripts together. Seljuq period, 1200 AD - 1300 AD

Image of 57.66 -

57.66 -

Turquoise footed bowl with molded rosettes and ribs. Deep bowl with no interior decoration, bottom of the bowl has a dark blue glaze. Seljuq, 1200 AD - 1300 AD

Image of 57.67 -

57.67 -

Shallow footed bowl with turquoise glaze, black abstract design on the interior. Seljuq, 1200- 1300 AD

Image of 57.70 -

57.70 -

The design on the inside of this bowl depicts horses and riders within arabesques under the inside rim; possibly a fifth figure was depicted in the worn bottom medallion. The horsemen have been identified as polo players. The game of polo dates back to the 6th century BC in Iran. It was played by aristocrats and kings, and this may explain why the horses represented on this bowl are arrayed in decorated fabrics. The figures and facial types of both people and horses are characteristic of Seljuq ceramics of the 12th to early 13th century, especially ceramics from Kashan workshops. The luster technique of decorating pottery was developed during the Abbasid period, in the 9th century. The metall

Image of 58.32 -

58.32 -

This open bowl has a gently curved body profile and a scalloped rim. The interior is decorated with a blue and white trellis design, inhabited by birds, fish, and plants. The free-form nature of the figural motifs adds to the charm of the object. The overall apparent symmetry of the pattern is not strictly maintained; note the two stylized forms and the frog that interrupt the radiating row of fish. When filled with water, the animals would appear to swim in the bowl, and the animals rimming the bowl’s interior would be reflected in the surface of the water. This bowl is a lovely example of "minai" ware from Kashan, with enamel painting on a white ground. This type of polychrome pottery wa

Image of 58.34 -

58.34 -

This turquoise blue bowl, an example of Seljuq pottery, is decorated with molded stylized inscriptions around the outside of the rim. In the mid-11th century, the Seljuqs, a nomadic tribe of Turks, conquered Persia. From the 11th to the 13th century, the Seljuqs brought a period of peace that allowed for the flourishing of the arts in general, and specifically, pottery. Figure decoration appeared on Seljuq pottery from the mid 12th century onwards. At first the decoration was carved or molded while the glaze was monochrome. Such ware can be seen in this turquoise bowl which shows molded pseudo-calligraphy. 1200-1300 AD

Image of 58.38 -

58.38 -

Ovoid jar with short, wide neck and five loop handles decorated with undulating band of cable molded in relief around the shoulder, glazed in turquoise. Seljuq, 1100 AD - 1300 AD

Image of 59.127 -

59.127 -

Circular seal decorated in intaglio with images defined by hatched lines and an inscription near the rim but it is almost impossible to identify the letters. The obverse figure is on a cross, the reverse figure is enclosed in a square, this figure appears to have a mitre on its head. 500- 1300 AD