Lot Essay
The kufic inscription around the rim reads: al-nasr w'al-(...) w'al-amr al-salam w'al-(...) w'al-(...) w'al-da'im(a) w'al-(...) w'al-dawla w'al-shakira (?) w'al-salama w'al-(...) (Victory, (...), a peaceful life, (...), pepetual (...), wealth, gratefulness, peace, (...)).
This is a remarkable example of the so-called "Miniature Style" of Persian lustre wares produced in Kashan at the end of the 12th century (see Watson, O.: Persian Lustre Ware, London, 1985, pp. 68-85). It also falls into the 'Kashan lustre group Four' as defined by Robert Mason ('Mediaeval Iranian Lustre Painted and Associated Wares; Typology in a Multidisciplinary Study' Iran, Volume XXXV, 1997, pp.103-137). Although related to the Kashan "Monumental Style", wares of this type are characterised by their distinctive painting technique, motifs, approach to decoration and vessel shapes. The motifs are painted directly in lustre, rather than in lustre reserve. Usually the decoration is divided into smaller compartments, friezes or panels which are filled with small repetitive motifs. This is the case in our plate where the surface consists of a lattice of triangles and hexagons containing small roundels. A similar arrangement is found on a lustre painted bottle in the Victoria and Albert Museum (Watson, op. cit., p. 77, pl. 47). The range of motifs on our plate is typical of the Miniature Style and consists of tiny horsemen set against a scroll background. The triangles contain small palmettes reminiscent of those found on a dish in the Victoria and Albert Museum (see Lane, A.: Early Islamic Pottery, London, 1947, pl. 52c).
The exterior of our dish is decorated with an elaborate lattice of interlaced arabesques. This relates to a similar design on a fragmentary vase found in Gurgan, which is signed by Abu Zaid and dated to 587/1191 (see Watson, op. cit., p. 81, pl. 53). The painterly approach which can be observed in the Miniature Style, with designs painted in rapid strokes creating a lively effect, has been attributed to the influence of manuscript painting. Illustrated manuscripts such as the famous Varqa and Gulshah, dating from the period before he Mongol conquests, may have provided the inspiration (see Melikian-Chirvani, A.S.: "Le Roman de Varque et Golsah', Arts Asiatiques, XXII, 1970, pp. 98-99). In shape the present item finds prominent comparisons in two dated bowls. One is in the Art Institute of Chicago, dated Safar 587/March 1191 (Pope, A.U.: A Survey of Persian Art, Oxford, 1938, pl.638), the other in the Khalili Collection dated AH 590/1193 AD (Watson, O., op. cit., p. 72, pl. 39). All are deep bowls with flaring sides. While in the former the sides turn vertical before ending in an ovehanging rim, in the latter the rim is less articulated. This is also the case in our bowl. The Chicago piece, furthermore, shows a remarkable resemblance in arrangement, motifs and style to our bowl, confirming a late 12th century attribution.
This is a remarkable example of the so-called "Miniature Style" of Persian lustre wares produced in Kashan at the end of the 12th century (see Watson, O.: Persian Lustre Ware, London, 1985, pp. 68-85). It also falls into the 'Kashan lustre group Four' as defined by Robert Mason ('Mediaeval Iranian Lustre Painted and Associated Wares; Typology in a Multidisciplinary Study' Iran, Volume XXXV, 1997, pp.103-137). Although related to the Kashan "Monumental Style", wares of this type are characterised by their distinctive painting technique, motifs, approach to decoration and vessel shapes. The motifs are painted directly in lustre, rather than in lustre reserve. Usually the decoration is divided into smaller compartments, friezes or panels which are filled with small repetitive motifs. This is the case in our plate where the surface consists of a lattice of triangles and hexagons containing small roundels. A similar arrangement is found on a lustre painted bottle in the Victoria and Albert Museum (Watson, op. cit., p. 77, pl. 47). The range of motifs on our plate is typical of the Miniature Style and consists of tiny horsemen set against a scroll background. The triangles contain small palmettes reminiscent of those found on a dish in the Victoria and Albert Museum (see Lane, A.: Early Islamic Pottery, London, 1947, pl. 52c).
The exterior of our dish is decorated with an elaborate lattice of interlaced arabesques. This relates to a similar design on a fragmentary vase found in Gurgan, which is signed by Abu Zaid and dated to 587/1191 (see Watson, op. cit., p. 81, pl. 53). The painterly approach which can be observed in the Miniature Style, with designs painted in rapid strokes creating a lively effect, has been attributed to the influence of manuscript painting. Illustrated manuscripts such as the famous Varqa and Gulshah, dating from the period before he Mongol conquests, may have provided the inspiration (see Melikian-Chirvani, A.S.: "Le Roman de Varque et Golsah', Arts Asiatiques, XXII, 1970, pp. 98-99). In shape the present item finds prominent comparisons in two dated bowls. One is in the Art Institute of Chicago, dated Safar 587/March 1191 (Pope, A.U.: A Survey of Persian Art, Oxford, 1938, pl.638), the other in the Khalili Collection dated AH 590/1193 AD (Watson, O., op. cit., p. 72, pl. 39). All are deep bowls with flaring sides. While in the former the sides turn vertical before ending in an ovehanging rim, in the latter the rim is less articulated. This is also the case in our bowl. The Chicago piece, furthermore, shows a remarkable resemblance in arrangement, motifs and style to our bowl, confirming a late 12th century attribution.