A SUPERB KHORASSAN SILVER AND COPPER INLAID BRONZE INCENSE BURNER of cylindrical form on three feet with half-dome cover and bird finial, the sides lightly engraved and inlaid in copper with a band of arabic naskh calligraphy surrounded by scrolling vine and enclosed within copper inlaid bands meeting at times in continuous knot panels, flanked by narrower bands of scrolling vine around kufic benedictory inscriptions interrupted by roundels, the lip with a similar kufic inscription, the back of the dome with two triangular panels pierced with scrolling interlaced vine flanking a central panel engraved with similar motifs around the kufic signature of the maker, the leading edge of the dome with a similar band of copper-inlaid naskh calligraphy interrupted by roundels containing bird combat groups and by rectangles depicting prowling lions, the front of the dome with a pierced and shaped panel filled with scrolling leafy vine within copper inlaid borders, the bird finial of unusually naturalistic form with wings crossed over its back, the feather markings carefully detailed on all surfaces, the feet with simple scrolling floral motifs, the underside of the body with a large roundel depicting scrolling vine around the mounted figure of a falconer, 12th century (one foot repaired, one replaced, very slight damage to inlay)8¼in. (20.6cm.) high

A SUPERB KHORASSAN SILVER AND COPPER INLAID BRONZE INCENSE BURNER of cylindrical form on three feet with half-dome cover and bird finial, the sides lightly engraved and inlaid in copper with a band of arabic naskh calligraphy surrounded by scrolling vine and enclosed within copper inlaid bands meeting at times in continuous knot panels, flanked by narrower bands of scrolling vine around kufic benedictory inscriptions interrupted by roundels, the lip with a similar kufic inscription, the back of the dome with two triangular panels pierced with scrolling interlaced vine flanking a central panel engraved with similar motifs around the kufic signature of the maker, the leading edge of the dome with a similar band of copper-inlaid naskh calligraphy interrupted by roundels containing bird combat groups and by rectangles depicting prowling lions, the front of the dome with a pierced and shaped panel filled with scrolling leafy vine within copper inlaid borders, the bird finial of unusually naturalistic form with wings crossed over its back, the feather markings carefully detailed on all surfaces, the feet with simple scrolling floral motifs, the underside of the body with a large roundel depicting scrolling vine around the mounted figure of a falconer, 12th century (one foot repaired, one replaced, very slight damage to inlay) 8¼in. (20.6cm.) high

Details

A SUPERB KHORASSAN SILVER AND COPPER INLAID BRONZE INCENSE BURNER of cylindrical form on three feet with half-dome cover and bird finial, the sides lightly engraved and inlaid in copper with a band of arabic naskh calligraphy surrounded by scrolling vine and enclosed within copper inlaid bands meeting at times in continuous knot panels, flanked by narrower bands of scrolling vine around kufic benedictory inscriptions interrupted by roundels, the lip with a similar kufic inscription, the back of the dome with two triangular panels pierced with scrolling interlaced vine flanking a central panel engraved with similar motifs around the kufic signature of the maker, the leading edge of the dome with a similar band of copper-inlaid naskh calligraphy interrupted by roundels containing bird combat groups and by rectangles depicting prowling lions, the front of the dome with a pierced and shaped panel filled with scrolling leafy vine within copper inlaid borders, the bird finial of unusually naturalistic form with wings crossed over its back, the feather markings carefully detailed on all surfaces, the feet with simple scrolling floral motifs, the underside of the body with a large roundel depicting scrolling vine around the mounted figure of a falconer, 12th century (one foot repaired, one replaced, very slight damage to inlay)
8¼in. (20.6cm.) high

Lot Essay

The kufic inscription on the spine of the cover, continuing onto the lip of the well reads: 'amal Abu'l-Futuh(?) ibn Mas'ud

The naskh inscription in four panels along the front of the cover reads: 'izz man qan'a dhull man tam'a' (strength belong to him who has a sufficiency, weakness to him who has excess)

The inscriptions around the side of the well are:
Upper: w'al-baraka wa'l-sa'ada w'al-dawla wa'l-'afiya wa'l-'izz wa'l-salama wa'l-surur li-sahibihi (blessing, bliss, good fortune, immunity, glory, peace and joy to the owner)
The central naskh inscription appears to be an arabic hadith beginning 'and whenever God wishes to...'
Lower: b'il-yumn wa'l-baraka wa'l karama wa'l-salama wa'l-dawla li-sahibihi (with prosperity, blessing, generosity, peace and good fortune to the owner)

There is a near pair to this incense burner in the Museum of Fine Arts, Boston. (Baer,E.: Metalwork in Medieval Islamic Art, New York 1983, pp.52-55, pl.39 [front view and detail], and Atil, E., Chase, W.T. and Jett, P.: Islamic Metalwork in the Freer Gallery of Art, Washington 1985, p.93, pl.35 [rear view]). Both share the same proportions, delicacy of detail, unusually naturalistic bird finial (that in Boston is a cockerel) and pierced inlaid panels. Both also bear the same signature, the Boston example being written entirely on the spine of the cover while ours continues to the lip of the well.

While discussing the Boston example, Eva Baer (op cit. pp.52-3) states 'Of remarkable artistic quality, it is also the latest known example of this group [of incense burners], attributable to the second quarter of the thirteenth century. Also, it is the only specimen of its kind to bear the name of the artist, a certain Abu'l Munif (?) ibn Mas'ud, who is as yet not known from any other work of art.' While ours, unlike the Boston example, has no gold inlay, the quality of the decoration is very much of the same level. The main difference is that the central band of ours has a naskh arabic inscription (itself a rarity), while Boston has alternating sphynx panels and human figure roundels.

The figural detail on ours has been reserved for the underside. There is found the well observed mounted falconer roundel filling most of the surface. Figural decoration on Khorassan metalwork is not to be expected. It is very possible that its positioning acknowledged the official strictures against human representation while humouring the patron's and the artist's fancy in a concealed area.

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