Cast, copper-bronze ewer with chased and
incised
decoration; flaring, rounded sides rise up from
splayed foot-ring through broad, flattened
shoulders to tall funnel neck with flat, everted rim;
undulated handle, ribbed for grip, flanked by
tangs
and surmounted by pomegranate finial acting as
thumb-rest; Kufic inscription to shoulder; lobed
cartouche with harpy against arabesque ground
flanked by prowling feline on either side. Superb
condition, intact, attractive glossy patina over
whole.
An early example from a small group of extant
pomegranate-topped ewers dating to between
9th-
11th centuries. The Barakat Collection houses
five
pieces of this ware, which share a very distinct
physiognomy, yet, differ in size and decoration.
The decoration in this case singles this piece out
and
propels it into a superior class of metalwork.
Executed in a fine and steady hand, the design is
well laid-out and rendered in an articulate and
well-
mannered way.
The shape of the vessel and pomegranate finial
find
clear predecessors in Sassanian metalwork. The
pomegranate is a recurrent theme of interest
throughout history and is seen in the art of the
ancient civilisations of Mesopotamia, Persia,
Phoenicia and Egypt.
Much of the imagery we see here is also owed to
Persian metalwork. The harpy – a mythological
creature with human head and body of a bird –
has
been seen the art of the ancient Middle East for
centuries and was most likely transmitted to
Islam
by Persian sources following the fall of the last
Iranian empire in ACE 651.
While, the significance most likely changes over
the
centuries, the harpy in Islamic art may broadly be
seen to have positive connotations and
astrological
significance associated with the planet Mercury.
The
felines that flank the harpy also imitate Persian
metalwork and may be viewed as heraldic
symbols
intended to legitimise power or authority.
Rather than altering the design of the luxury
goods
that flooded the market, Islamic artisans
appropriated certain elements of the lexicon and
perpetrated them within their own...
Arabic script has always been viewed as exalted
and
holy due to the association of the script and the
Quran, lending to a desire to ornament everyday
objects with inscriptions.
Metal objects were the most important items of
equipment among the middle classes in Muslim
society and any discerning household would have
had a retinue of everyday metalwork objects.
Precious metals were costly and in all
circumstances
demanded great knowledge and skill to work.
Given its size, this piece is unlikely to have held
wine like the other examples. Perhaps it were
used
as a decantering jug or for oils instead.
A similar example dated 11th-12th century from
Iran is currently on display in Gallery 451 at the
Metropolitan Museum of Art in New York.
Cf. Islamic Art/The David Collection, Folsach
(Copenhagen 1990), P.186, no.302; Bonhams,
Islamic and Indian Art, 9th October 2009, lot 105
and 7th October 2010, lot 91.
- (JB.1349)
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