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Lot Essay
INSCRIPTIONS:
On the inside of the rim: al-'izz al-da'im... 'Perpetual glory...'
The remainder is undeciphered
This fine mina’i bowl boasts a delicately-painted design that perfectly suits the romantic theme of its decoration. The scene depicted on it portrays the touching moment when Layla's father has come to remonstrate with Majnun in the wilderness, where he had sought refuge following the rejection of his marriage proposal. Majnun is depicted sitting on the ground, his chest bare, symbolizing the ascetic life he has been leading. Accompanied by two companions, Layla’s father sits atop his camel in a regal coat, but his expression reveals the emotion of the encounter.
Mina'i production, like lustre painting, was expensive and labour-intensive because of the double or sometimes triple-firing process involved. The painterly quality of this bowl is what sets it apart and underscores the close connection between mina’i ornamentation and the painting traditions of its time. A comparison can be made with the illustrations found in the Varqa wa Gulshah, a manuscript possibly authored in Konya around 1250 AD and painted by ‘Abd al-Mu’min al-Khuwayyi, which is currently held at the Topkapi Saray Museum (Hazine 841). The figures and plants depicted in these illustrations is stylistically similar to those on this bowl, particularly in the way the tall leafy fronds and sinuous figures are portrayed. This bowl is a true showcase of mina’i craftsmanship and artistry, with the vibrant enamel colours emphasizing the exceptional quality of the painting.
Narrative mina’i bowls such as this example are rare. A similar finely painted mina’i bowl depicting a mounted horseman was sold at Sotheby’s London, 3 October, 2012, lot 173.
A thermoluminescence analysis of samples taken from the base of the bowl indicates a firing date of 790 years ago +/- 60 years.
On the inside of the rim: al-'izz al-da'im... 'Perpetual glory...'
The remainder is undeciphered
This fine mina’i bowl boasts a delicately-painted design that perfectly suits the romantic theme of its decoration. The scene depicted on it portrays the touching moment when Layla's father has come to remonstrate with Majnun in the wilderness, where he had sought refuge following the rejection of his marriage proposal. Majnun is depicted sitting on the ground, his chest bare, symbolizing the ascetic life he has been leading. Accompanied by two companions, Layla’s father sits atop his camel in a regal coat, but his expression reveals the emotion of the encounter.
Mina'i production, like lustre painting, was expensive and labour-intensive because of the double or sometimes triple-firing process involved. The painterly quality of this bowl is what sets it apart and underscores the close connection between mina’i ornamentation and the painting traditions of its time. A comparison can be made with the illustrations found in the Varqa wa Gulshah, a manuscript possibly authored in Konya around 1250 AD and painted by ‘Abd al-Mu’min al-Khuwayyi, which is currently held at the Topkapi Saray Museum (Hazine 841). The figures and plants depicted in these illustrations is stylistically similar to those on this bowl, particularly in the way the tall leafy fronds and sinuous figures are portrayed. This bowl is a true showcase of mina’i craftsmanship and artistry, with the vibrant enamel colours emphasizing the exceptional quality of the painting.
Narrative mina’i bowls such as this example are rare. A similar finely painted mina’i bowl depicting a mounted horseman was sold at Sotheby’s London, 3 October, 2012, lot 173.
A thermoluminescence analysis of samples taken from the base of the bowl indicates a firing date of 790 years ago +/- 60 years.