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Image of 2003.4.45 -

2003.4.45 -

This pouring vessel has a long neck and a thin handle with a separate spout attached to the top of the handle. The vessel is green from oxidation.

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 57.50 -

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 57.62 -

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 57.71 -

57.71 -

This one-handled jug has a melon-shaped body and beaked spout. It is decorated with geometric motifs, and animal figures that correspond nicely to the contours of the vessel. On the main panel of the body is a figure of a standing woman. Silhouette figures often stand-alone though it is usual for human and animal forms, whenever they occur, to be superimposed on a foliage background. Fish, water, woman and horse all relate to Sufi mystical metaphors. The stippled pattern on the female figure may have been intended to give the image depth. The shape of this pitcher is common in Seljuq metalwork. It is a phenomenon of many cultures, including Islamic ones, to imitate objects of more expensi

Image of 58.33 -

58.33 -

This turquoise terracotta bowl shows two birds with spread wings, separated by two quatrefoils on a plum ground. In this example decoration was applied onto the pot, painted in black slip under a turquoise glaze to create a silhouette effect. Large birds, animals, and fabulous creatures form the bulk of the imagery from this period. Iran, 800 AD - 1000 AD

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 58.35 - N/A

58.35 - N/A

Decorated with all-over geometric designs in green, red, and blue on a white ground, this pitcher has a bulbous body, narrow neck, and curved handle. This pitcher is an example of "K├╝tahya ware," an important pottery center of Turkey. It borrows the form of a "Rhodian" jug, so-called after the Greek city of Rhodes, the primary site of excavation of pitchers of this type. Safavid period, 1600-1699 AD

Image of 58.37 - Firdawsi

58.37 - Firdawsi

This is a manuscript page from the Shahnameh (or Book of Kings) of Firdawsi. The paper is burnished with a hard stone or glass to prepare it for use, and the artist creates a preliminary drawing before painting. The calligraphy is written in modern Persian, which is a slightly modified Arabic alphabet. One of the distinctions of Persian painting is the use of brilliant colors created from minerals and animal or plant matter. This manuscript page can be placed in the Timurid period (1370-1507 AD) based on the vivid colors, gestures, architecture and natural background, and the Chinese influence of ovoid faces and spiky moustaches. There were different centers of production and this page may h

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 58.67 -

58.67 -

This transparent green oil lamp is mold-blown in the form of a deep bowl with three handles of suspension curving from the tubular folded rim to diagonally fluted body. The ring-shaped base is formed from a separate coil. This type of three-handled lamp is commonly found on church and synagogue sites of the early Byzantine period, 400-600 AD. Complete unbroken examples are rare.

Image of 59.19 -

59.19 -

Egyptian mummy case for a falcon, carved wood with traces of paint, back is missing, dated to Third Intermediate-Late Period, 1070-664 BCE, 1085-332 BC, by Dr. R. Bianchi (4/91).

Image of 61.66 -

61.66 -

Coptic tapestry woven oval textile fragment from a tunic, black on brown background with birds and fish on border, two figures and tree in center. In the Byzantine period artisans transformed the imagery available to them to relate to Christian iconography, such as is seen in the central image of Adam and Eve and the tree of life on the fragment here.

Image of 61.65 -

61.65 -

Coptic Egyptian black on brown tapestry woven textile fragment, square with medallion center, border decorated with putti, animals, and vegetal designs. This fragment shows the classical motifs of the spiral and wave pattern in the borders. Craftsmen had at their disposal a vast storehouse of images, many of which circulated in the form of patterns, a few of which have survived on pappyri. Examples of classical imagery are seen on this tunic fragment.

Image of 66.1 -

66.1 -

Coptic embroidered textile with three orant figures, upright with arms raised in prayer. The figures on the left and right are shown with cross medallions on their garments. The center figure is shown with long hair or a head covering. Frontal views of faces with large, wide-set eyes are typical of Coptic figural art. The fragment is possibly from a garment, altar hanging, or curtain. A similar textile has been described as a 5th century Coptic curtain fragment.

Image of 67.13 -

67.13 -

This translucent pale green bottle has a broad cylindrical body with the base indented for stability, and long cylindrical neck widening into a funnel at the top. Three thick threads coil around the neck funnel. The vessel is freeblown green glass; there are areas of sandy crust, and a silvery multicolor iridescence.

Image of 67.28 -

67.28 -

Translucent blue-green double unguentarium, a small vessel that holds oils or other cosmetic liquids, with a thick thread zig-zagged from rim to neck, and thinner threads spiraling down the body. This free blown unguentarium is in the form of two joined tubes with a rounded base.

Image of 67.45 -

67.45 -

This translucent pale green, everted rim flask has a cylindrical neck, flat round body, and rounded bottom showing a pontil mark. Translucent dark blue green glass was used for two applied handles connecting shoulder to rim, and two coils, one each below the rim and one at the base of the neck. Hand blown. Silvery iridescence.

Image of 67.88 -

67.88 -

This bottle is made of clear freeblown glass and has accumulated encrustation and iridescence. Transparent and colorless, the bottle has a flared rim, narrow neck widening into a bulbous body, and ring base with an indentation in its center. Three threads are trailed around the middle of the neck at the narrowest point.

Image of 69.20 - N/A

69.20 - N/A

This is a shallow dark cobalt blue plate with green dot and light green dash decorations. This dish could reflect the influence in Iran in Chinese blue-and-white porcelain.