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Name Iran

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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 2010.6.29 -

2010.6.29 -

Silk brocade hanging with pink and green border, center field design in gold and pink with all-over floral motif.

Image of 2011.34 - Jalal ad-Din Muhammad Rumi

2011.34 - Jalal ad-Din Muhammad Rumi

The Masnavi is an extensive poem written in Persian by by Jalal ad-Din Muhammad Rumi (1207-1273 AD), the celebrated Persian Sufi saint and poet. It is one of the best known and most influential works of both Sufism and Persian literature. The Masnavi is a series of six books of poetry that each amount to about 25,000 verses or 50,000 lines. It is a spiritual writing that teaches Sufis how to reach their goal of being in true love with God. This manuscript was copied in Nasta'liq calligraphy in 1856. The manuscript is bound in a Kajar style lacquer binding of pasteboard painted with floral design and a lacquered doublure (inner lining) decorated with yellow narcissus flowers. The manuscript t

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 57.66 -

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 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 58.32 -

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 58.33 -

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 "Kütahya 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 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.

Image of 88.1.11 -

88.1.11 -

Terracotta bowl with painted fish motif on interior.

Image of 88.1.12 -

88.1.12 -

Cylindrical hammered bronze ewer with sharp shoulders, rounded meeting point with body; cylindrical neck with high channel spout; neck and shoulder are decorated with incised inscription and geometric motifs, the handle curves from the rim to the body of the vessel where it ends in a leaf form.

Image of 92.9.2 -

92.9.2 -

This oil lamp more closely recalls prototypes from Classical antiquity. Round-bodied, with a round filling hole in the top, the lamp has an elongated spout with a spade-shaped termination. Two trefoil-shaped lug handles project from the sides of the body. In back is a vertical, rectangular handle with a small bird sitting on top, both its feet and its tail are attached to the handle itself. The lamp sits on a small ring base, giving it a squat and less-elegant proportion.

Image of 93.8.4 - N/A

93.8.4 - N/A

Protome fragment in the form of the front part of an animal, possibly feline, attached to an openwork tube; originally part of a vessel, probably an incense holder.